November 2009 | blackfilm.com | PRECIOUS | An Interview with Executive Producer Tyler Perry

November 2009

PRECIOUS | An Interview with Executive Producer Tyler Perry

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PRECIOUS: BASED ON THE NOVEL 'PUSH'
An Interview with Executive Producer Tyler Perry
by Wilson Morales

November 4, 2009

In a matter of days from now on November 6, the film that has captivated festival goers from Sundance to Cannes to Toronto, will be released in theaters.

With the backing of Tyler Perry and Oprah Winfrey, 'Precious: Based on the Novel 'Push,' will let everyone know how good everyone in the cast is, but more importantly, bring out a subject that's rarely seen in films.

Perry and Winfrey will support Lionsgate's distribution of the movie through their respective motion picture companies: Harpo Films and 34th Street Films. It will be the first film affiliated with Perry's 34th Street banner.

Starring in the film are Mo'Nique, Paula Patton, Lenny Kravitz, Mariah Carey, Kimberly Russell and Sherri Shepherd. Newcomer Gabourey Sidibe is playing the starring role.

In speaking with Blackfilm.com, Mr. Perry spoke about his involvemnet with the film, his next film 'For Colored Girls,' and reuniting the cast of 'Why Did I Get Married?' for the sequel.

This is one of the first projects you decided to campaign on that’s not of your own, and you’re also teaming up with Oprah. How did that all come about? Did you know Lee before this movie?

Tyler Perry: Never met Lee. I sent my team up to Sundance and they found the film because I started a new film company and I wanted to find some new filmmakers and really push them. They found a great film and brought it to me and I was blown away by it because it was so close to my childhood and how I grew up. Mo’Nique’s character was so close to my father. I watched it and called Oprah, asked her if she’d seen it. She said, “I have it in my purse, I haven’t watched it.” She watched it and she’s like, “Tyler, this is so great. I’m so glad you’re doing this because people will get a chance to see it.” I said, “More people will get a chance to see it if we did it together,” and she said, “Let’s do it.” That’s when it became “Oprah Winfrey and Tyler Perry Presents”.

Outside of Oprah promoting the film on the show, what’s her involvement? Putting it in her magazines and everything else?

TP: All of that, as well as me pushing it through the website and asking people to see it. It’s what we bring, and I think what Oprah brings more than anything is she makes it not just a movie for black people. She makes it a movie that everybody will be invited to and feel comfortable going. I can cover the black folks, I can cover us! It is amazing to see what she will be able to do with that, because the film is universal. There are little girls who grew up in trailer parks who went through the exact same thing who are not black. It’ll all work out.
Your films present the dark as well as positive sides of life. This film is dark for most of the duration before the positive side comes out. When you’re introducing this to your audience, how are you going to present it so they don’t think it’s your production?

TP: It’s starting with a huge warning, saying, first of all, I did not write or direct the film. It is not a Tyler Perry film. It’s gonna start with that warning. It is EXTREMELY profane. I know I got the grandmothers and the seniors who will go and see it right away and think it is something I’ve written and they’ll bring all the kids to see it, but I need all of them to understand, and you can help me with this, that this is not a Tyler Perry film and I would not suggest them bringing their children to see it. Once that is said, my next move is letting them know why I felt the need to get involved, and that is because of my own life story and growing up that way.
You said it had this profound effect because you saw parts of your life in the movie. Now that you and Oprah are behind it, is there anything to change it, or enhance it editing-wise?

TP: Nothing, not a thing. I think it’s all Lee’s vision and what he wanted it to be from the very beginning. The only thing I suggested and was a little adamant about was Mary J’s song being involved, called “I See Color”. That was still Lee’s decision, so that was all Lee.

This movie has had a lot of buzz since Sundance, but this is more than just a film. What do you plan to do after the film has been released, since this is a subject matter that needs to be talked about. Taboo is not presented on the big screen without some sort of comedy involved, but this is bleak and dark. What more can you do that goes beyond the film?

TP: I think the film is just that. Oprah and I are both doing this for charity. We’re not getting paid. The movie speaks for itself. There’s no better way to teach a lesson or share stories or inspire and encourage than film, and there’s no better way to tear a person down than film. By supporting the film I think that’s a lot.

There’s aa lot of new talent in this film, and different skills from people we have seen. Mo’Nique’s getting the best reviews of her career, and Mariah’s getting new life in the film business regarding this. What do you make of their performances?

TP: Stunning. Mo’Nique scared the crap out of me. When she first showed up on the screen I thought it was going to be funny, but the performance and what she embodied was just SCARY how she let go in this film and how great she is in it. Mariah…You don’t understand what a feat it is for Mariah Carey not to have her own lighting person lighting her in a scene. That’s someone who really was committed, and it showed. Gabbie, great job, every one of them.

Including the kids. Just like your films they introduce talent that no one has seen. You give them a start and hope they can make things work. When you’re working with Lee, as filmmakers, are you learning from each other?

TP: I haven’t worked with Lee on set so I wouldn’t know anything about that, but watching the film what I’ve learned and understand about him is he’s a true artist. He’s a true arthouse director. He clearly knows how to make it this thing, in festivals, and he clearly gets that and is really great at it.

This is one of the rare films, with the exception of “Dreamgirls” and “Ray”, in the last six or seven years that has gotten worldwide attention. Part of it is because you and Oprah are involved, and without the two of you, this would be a good film but because the cast members are not as big internationally who knows how well it would do. What does it take for an all-black production to get across to everyone, to say, “Hey, we can do the same films like everybody else, it doesn’t have to be all-black, this is an international, humane story”?

TP: Oprah Winfrey. I think she’s a key in getting that broader audience to pay attention to it, because people want to feel like they found things and it was introduced to them rather than hit them over the head. So she’s inviting them.

Outside of the Madea films that you do, does this make you think that there’s a lot more stuff that you know that you don’t bring but you want to bring?

TP: Here’s the thing, I’m not the kinda guy that’s gonna sit here and say, “I’m going to do all kinds of films for all kinds of black people.” That’s not my gift. I’m in my lane, and I’m very good in my lane, no one can beat me in my lane. But I also can use what I have and my following to champion someone else and lift them up and that’s why I’m doing this for Lee. I’ve never met him until this whole experience in trying to propel him forward. Then there’ll be another Lee, another somebody else, whoever I can help to tell all kinds of stories. I want to tell mine the way I want to tell them, but I want to help people who want to tell theirs as well.

If this takes off financially and critically the way you want it to be, are you going to go out and grab more films for you to promote with your production company?

TP: Certainly, I’m always looking for films but it has to be something that resonates with me. There’s so much negativity out there already. You can find negativity within two seconds of stepping out of your front door. Not gonna be involved in any of that. If there’s something that’s positive that resonates with me then absolutely, there’ll be a lot more.
You saw this probably in December, or at Sundance. We’re now going into November, so the question is have you seen more films?

TP: I have not, because 34th Street Films, my company, they are in charge of that and they are reading a lot of scripts and seeing a lot of stuff. A lot of it they don’t even get to me, because if it doesn’t get past them I won’t see it.

‘Colored Girls’ is getting a lot more attention because a lot of people know that story and they’re going to want to see what you do with it. How do you plan to enhance what people know? You mentioned that there are fifteen characters instead of seven.

TP: Madea’s playing all fifteen characters. I’m kidding! That would piss some folks off. There is no Madea in the movie.

Are there any males in the movie or is it an all-female cast?

TP: There are males in the movie and I’m walking a fine line. I’m letting Ntozake’s work dictate where the script goes. The movie’s a lot like “Crash” at the beginning, nobody knows each other they’re just all crossing each other’s paths until the end when they all wind up in this Colored Girls Center where they all go through this 12-Step of Healing program, and it is a way to get every one of Ntozake’s points into a movie. The play was all abstract. There was no finite story to it.

If you get your dream cast, how are you planning to write it so everybody gets a chance to shine?

TP: The poems themselves and the script, the way it’s written, everybody shines, believe it or not. Even as I’m sitting there writing it I’m like, “Wow, everybody has a great moment.” Some moments are better than others, but everybody has a great moment.

With “Why Did I Get Married” you’ve got the whole cast back. It’s your first sequel. How easy was it the second time around?

TP It was really great. With Michael’s death being so tragic I think it was really great to have Janet in the arms of people she knew, because we really became friends on the first film. This one was really great for everyone to rally around her.

Was it in the middle of shooting?

TP: It was the first day, she was coming into Atlanta to go to work. We scrambled because Jill Scott had just had the baby so she wasn’t ready to go to work. It was so great ‘cause Jill stepped up and said, “You know what, I’ll come in and go to work early so we won’t have to shut down.” Everybody made adjustments.

Most people think sequels are a retread of the first one, that there’s nothing new being brought in.

TP: People aren’t ready for this one. One of these couples is not going make it. That dynamic of relationships is so great. I was in this crazy relationship, I loved this girl so much, man. We had these ridiculous arguments, arguments I didn’t understand which gave me the first “Why Did I Get Married?”. So this one, after being in a much healthier relationship, I started exploring a lot of those situations. As long as there’s a man and a woman you’ve got stories all your life.

You’rein a comfort zone. You’ve got your own studio, nobody breathing down your neck, telling you to do this and that. When you have that power, what else can you do? “Can he do an action film? Can he do a sci-fi film?”

TP: The thing is, I can’t write that stuff, but we’re looking for it. If I find a great action flick, a great sci-fi flick, are you kidding me? I’m all over it! “Alien” is my favorite movie in the world, the first two. If I find something like that I’m going for it, something I could build a franchise on.

You’re also a good actor. Your cameo in “Star Trek” opened up a number of eyes. You said you don’t want to do something that you can do yourself. Since “Star Trek” have you been approached to be in other people’s films?

TP: I’ve had a few offers. I was gonna do “Wolverine”. Will.i.am was in that role. I couldn’t because I was doing my own work. “Star Trek” happened to be perfect because I only had a week and they only needed a week. It had to be the perfect situation because if I’m not in Atlanta working there are 400 people at home. If I’m not doing a film, nothing’s going on. I wanted to get the studio to a place where it’s self-sufficient and I don’t have to be there for everything. Kim Fields and Alfonso Ribeiro are both directing my shows while I’m away. They’re doing a great job.

Going back to “Precious”, what scene struck you the most?

TP: The imagination. Whatever tragic moment she was in, ‘cause this is me as a kid, she would leave. She’d be on the carpet having a good time. I think that’s how I got through my childhood, ‘cause that Mo’Nique character is my father, man. That’s what was so uncomfortable for me and at the same time comfortable knowing that I made it through.

I know Oprah’s had her demons as well. When you guys got together did you open up and talk about how it struck both of you?

TP: Yeah, we did. We had a lot of conversation about that. After we saw it we both kind of sat still and couldn’t say anything for a minute, on the phone just quiet because we both… yeah, it was pretty powerful.

What do you think is going happen after November? After it’s released how much are you going to promote this movie and keep people involved?

TP: The way Lionsgate’s rolling this film out I don’t know anything about, this limited release. They’re starting it in just a few cities, New York and LA first. That whole art house thing, I don’t know anything about that. My whole thing is tell them it’s coming, because if I send an email saying it’s out my folks is going be looking for it.

That’s what happened with “Dreamgirls”!

TP: Exactly. That’s my problem with it. Listen, I’ve been arguing about this from day one, but there’s some sort of plan so I’m just going along with the plan.

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