Hudlin Entertainment

THE BLACK GODFATHER was awarded BEST DOCUMENTARY by the African American Film Critics Association!

Here I am on the Red Carpet with Clarence Avant with his wife Jackie, his daughter, producer Nicole Avant and her husband, Netflix CCO Ted Sarandos.  
Here I am onstage flanked by producers Nicole Avant and Byron Phillips.  
Me with Tichina Arnold, who I worked with on the pilot of EVERYBODY HATES CHRIS) and Joe Talbot, the director of THE LAST BLACK MAN IN SAN FRANCISCO.  
Here we are back with Chaz Ebert, who presented us with our awards.  

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Briarcliff Lands U.S. Rights To Slave Rebellion Thriller ‘Emperor’ & Sets March 27 Release

I produced this movie in Georgia a while back and here it comes!  Can’t wait for you all to see it.

EXCLUSIVE: Briarcliff Entertainment CEO Tom Ortenberg has completed an acquisition of U.S. distribution rights to the slave rebellion action-thriller Emperor. Briarcliffe has dated the film for a March 27 theatrical release. The film is directed by Mark Amin and written by Amin and Pat Charles, and stars Dayo Okeniyi, Kat GrahamBruce DernJames Cromwell and Mykelti Williamson.
The film is based on a true story, and Okeniyi plays Shields Green, an escaped slave who will do anything to free his family. Racing north, Green joins forces with the legendary John Brown in the battle at Harpers Ferry, a key battle of the abolitionist movement which helped spark the Civil War.
The film is produced by Sobini Films’ Amin and Cami Winikoff, and Reginald Hudlin. Pic was shot on location in Savannah, Georgia.
Ortenberg called Emperor “a terrific, moving film with great heart that could not be more timely.”
Said Amin: “Here was a young slave who ran away from his plantation, made it to freedom, and had Fredrick Douglas offer to send him to Canada to live in safety. Instead he chose to join John Brown and fight for the principles he believed in. This is what inspired me to make this film.”
Hudlin said, “This isn’t a slavery movie. It’s a freedom movie. This is a film about a man smart enough and strong enough to fight the system and change the world.”
Briarcliff was launched by the former Open Road chief Ortenberg and its releases so far have included Michael Moore’s Fahrenheit 11/9, El Chicano and Don’t Let Go, which starred David Oyelowo and Storm Reid.
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REGGIE HUDLIN AT THE CLIPPERS GAME WITH KAWHI LEONARD BLACK PANTHER BOBBLEHEADS!

The Clippers and Marvel collaborate to create Black Panther-inspired Kawhi Leonard bobblehead 

Today the L.A. Clippers announced that limited-edition bobbleheads will be available exclusively to a select number of fans attending Clippers home games on February 5th against the Miami Heat and March 1st against the Philadelphia 76ers.

For the team’s February 5th game, the Clippers have collaborated with Marvel to create a limited-edition bobblehead featuring Kawhi Leonard portrayed as Black Panther that will be available to the first 10,000 fans attending the game. The bobblehead, which is presented by City National Bank, the official bank of the L.A. Clippers, sits on a pedestal that features the Clippers logo, City National Bank logo and the Black Panther mask, and Kawhi in the Clippers’ black statement jersey with accents of the Black Panther’s suit weaved throughout the jersey’s design. Each fan who receives a bobblehead will receive a unique redemption code for a free digital Marvel comic. In addition, City National Bank will host a pre-game conversation for Clippers Courtside MVPs with Reginald Hudlin, a contributing writer to the Black Panther comic book series.

On March 1, the first 10,000 fans to enter the arena will receive an exclusive Paul George bobblehead, courtesy of Cedars-Sinai the official health partner of the L.A. Clippers. Paul’s bobblehead sits on a pedestal that features the Clippers logo and Cedars-Sinai logo, and the “Young Trece” billboard that has been displayed across L.A. Paul is wearing the Clippers’ blue icon jersey and the black and white colorway of his recently released “PG4” Nike signature shoe. The “PG4” is the fourth edition of his signature shoe and is available at retail, globally, on January 24.

To purchase tickets for either of these games or any upcoming Clippers’ home games, fans can visit www.clippers.com.

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REGGIE HUDLIN APPEARS IN THE NEW YORK TIMES REVIEW OF BOOKS!

I had to fight to keep this scene in the film.  I thought it was important and historically innovative not only to have Langston Hughes (with a male date) AND Zora Neale Hurston make appearances in my Thurgood Marshall movie, but to show them having some kind of beef reflecting some creative/romantic tension.  Nice to be validated by the New York Times book review!  

The Harlem Renaissance Through Zora Neale Hurston’s Eyes

Zora Neale Hurston was a peerless raconteur and an intrepid investigator of American culture.Credit…Courtesy of Barbara Hurston Lewis and Faye Hurston

HITTING A STRAIGHT LICK WITH A CROOKED STICK
Stories From the Harlem Renaissance
By Zora Neale Hurston

Early in Reginald Hudlin’s 2017 biopic about Thurgood MarshallZora Neale Hurston makes a memorable cameo appearance. The soon-to-be legendary attorney and his wife are sharing a booth at a nightclub with Langston Hughes and a friend when Hurston saunters in. Portrayed by the R&B star Rozonda “Chilli” Thomas, she looks as if she’s stepped out of a Carl Van Vechten portrait, oozing confidence and sly intelligence. The brief scene in “Marshall,” with its cutting repartee, suggests what Hurston admirers have long known: She would have been some kind of star even if she’d never parked her genius in front of a typewriter. But how fortunate we are that she did. Today she is revered as a peerless raconteur, intrepid investigator of culture and ritual, and author of a great American novel, “Their Eyes Were Watching God.”

“Hitting a Straight Lick With a Crooked Stick,” edited and with an introduction by Genevieve West, with a foreword by Tayari Jones, helps illuminate Hurston’s path to iconic status. Its 21 stories are presented in the order in which she composed them. As a result, readers can note the progression from earnest “apprentice” works and experiments with form to the polished brilliance of her best-known stories. The latter include “The Gilded Six-Bits,” with its plot turning on heartbreak and betrayal; “Spunk,” a spooky adultery fable drenched in swagger; and “Sweat,” a nail-biting tale of domestic terror.

West is primarily interested in the eight “recovered” stories that unfold in Northern places like Harlem. She notes that their settings, far from Hurston’s well-known Eatonville, Fla., locale, “reflect the tumult of the Great Migration,” expanding our understanding of Hurston’s fictional territory. She also points out that stories like “The Book of Harlem” differed from Hurston’s fellow writers’ treatments of the epic journey from South to North by persistently flashing elements of wit. Just as Ralph Ellison sought to wring the marvelous from the terrible, Hurston boldly found humor in the midst of tragedy and disruption. All the while, she recognized that what a black audience found comic could be a double-edged blade, easily confusing uninformed audiences. (At the end of the intense “Six-Bits,” Hurston shows a white character blithely assessing what he believes to be the typical black personality: “Wisht I could be like those darkies. Laughin’ all the time. Nothin’ worries ’em.”)

Explaining the meaning of Hurston’s homespun title, West cites Hurston’s various definitions of the expression. Of those, my favorite is “making a way out of no-way.” Equally a part of Northern, Midwestern and Southern African-American culture, the saying recognizes our ancestors’ ability to survive and thrive in the most challenging circumstances. In many of the stories in this collection, Hurston’s men and women confront those challenges while also trying and failing at love, then trying again.

Hurston is equally insistent on displaying the bruised, bloody underside of romantic misadventure. “Everybody in the country cut the fool over husbands and wives — violence was the rule,” she writes in “The Country in the Woman.” Men aren’t the only ones who provoke mayhem, but they flaunt their willingness to live by their fists. And meat-axes. And pistols. (West calls this behavior “tyrannical masculinity”; she does not exaggerate.) Hurston’s willingness to show warts and wounds ran counter to black bourgeois sensitivities about revealing dirty laundry in public. Against the backdrop of Harlem Renaissance bigwigs calling for positive depictions of high-achieving Negroes, Hurston unpacked the lives of everyday black people doing everyday things.

Add her matchless powers of observation, exemplary fidelity to idiomatic speech and irresistible engagement with folklore, and the outcome is a collection of value to more than Hurston completists. Any addition to her awe-inspiring oeuvre should be met with open arms.

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