SHADOWBOXER
An Interview with Producer Damon Dash
By Wilson Morales

November 2, 2006

In just a short time that Damon Dash has been in the film industry, he’s compiled an impressive resume; from acting in films like “State Property” to directing films like “Death of a Dynasty”, Dash’s best gig comes as a producer. He produced successful films and documentary such as “Backstage”, “Paid in Full”, “The Woodsman” and most recently “Shadowboxer”, which the latter two being collaborated with Lee Daniels as co-producer and director respectively. Outside of the film business, Dash continues to make headlines with the success his PRO-KEDS and Rachel Roy fashion, and other countless ventures. In speaking with blackfilm.com, Dash talks about the release of “Shadowboxer” DVD and how he got involved as producer and briefly discusses his other projects.

How did you come to produce the film?

Damon Dash: I had executive produced “The Woodsman” so I was familiar with Lee Daniels and while he was doing that, he let me read the script; and “The Woodsman” was so successful and it validated me so much in the movie business that I appreciate everything that Lee Daniels did so I was like, “Whatever you need me to do, I’ll ride with you.”

What about his choice to direct the film? Were there any reservations to that?

DD: When Lee produces a film, he’s so hands-on, I knew that he would end up directing eventually anyway, so I thought for his directorial debut, he chose to take on something that was challenging and I respect that. Being the underdog, I was with that.

Unlike the other films you have produced, including “The Woodsman”, this film took some time to find a distributor. Why so?

DD: I think the content and also probably he was driving a hard bargain.

How did you decide on a distributor?

DD: They decided really. I wasn’t really a part of that. I trust his opinion on it so I told him to do what he has to do.

As producer of the film, what exactly was your role?

DD: I was the money for “The Woodsman” and I put some money up for this movie as well.

Did you have any decision as far as casting?

DD: No, I didn’t. Lee Daniels does his thing so you have to let him do what he has to do.

Were you pleased with its financial outcome once the film was released?

DD: Of course, I rather would have the movie make $100 million dollars , and that would have made my life better, but when you get to make a movie like this, you have to roll with the punches.

When you throw in money to a film as a producer, what challenges do you face?

DD: There are no real issues, but getting your money back. When the product is good, you are happy, but you still want to make money of it.

What should we expect from the DVD?

DD: I’m not sure. I saw a lot of cuts, so if it’s the director’s cut, it would be worth watching.

What sort of films are you looking to produce?

DD: All sorts of projects. Of course, I would like to do smart things that have some degree of social relevance, but I would also like to be able to have something that’s successful to pop culture, but still be smart and be able to make some money, but also get an Oscar.

You have directed a film as well with “State Property II”. Are you thinking about doing that again?

DD: Directing takes a lot of time so you have to respect your projects and I’m running around and doing a lot of different things and producing is a stretch for me at this point, but I’m still doing it. The minute I can take a year and just really work on something, I’m going to do that.

Last I read, you were working on three projects, including “The Larry Davis Story” and another was about a female fight club. What stage are you at with there films?

DD: The female fight club is being written by Peter Sollett, and more likely he will direct it. He directed “Raising Victor Vargas”; so he’s a great filmmaker and the Larry Davis movie is being written as well. They are all in development now. This is the first time I’m working on major movies since my first movie, which was “Paid in Full”, so we’ll see how it works. I have learned a lot so we’ll see how I can apply that.

How do you balance everything from producing movie, music, and fashion?

DD: It’s been more about the fashion and movies lately. If you follow the fashion that I’m doing, I was successful in urban fashion and I acquired PRO-KEDS, which is actually doing quite well; and then my wife’s line, Rachel Roy, which is on the third floor in Bergdorf Goodman. That’s the highest level of fashion you can get and it’s a whole different business. Basically, what I’m doing is evolving my brand and it’s reflecting in a really good way when you look at the products that I’m selling and promoting.

What are you currently promoting these days?

DD: I guess Rachel Roy and urban fashion, which is going to another level and something that wasn’t anticipated. When I took PRO-KEDS, it was doing like 3-4 million. Now it’s doing like 50 million, breaking my business plans by 10-20 million dollars without a rapper or anybody in urban marketplace and it has evolved at the forefront of it. It’s just pure business. Then I’m launching a new clothing line called “CEO”, which will be urban and fashion. It will be competitive with Rocawear and that will be in January. The other thing is Armadale Vodka. I’m also building this brand Tiret, which is my jewelry company; and I also launched www.blacksavvy.com, a social networking website, which is like myspace on steroids, which gives you the ability to interact and build. I’m working more on just being a businessman.

What keeps you grounded?

DD: My kids and my friends. The reality is that I’m using my own money to do all these different things and I’m independent. All this takes a lot of attention. If you mess up, you end up broke.

For those who didn’t catch “Shadowboxer” in theaters, why should they pick up the DVD?

DD: Number one, it’s a very challenging subject matter in a sensitive way; and I think overall, it’s very entertaining. Also, an African-American made this movie and produced this movie, and if we continue to do this, we can be a general force in the entertainment business outside of the corporate infrastructure.