HE’S NO. 1Number One on the Call Sheet director Reginald Hudlin. (Lou Aguilar)
Throughout his 40-plus-year career, filmmaker and Oscar-nominated producer Reginald Hudlin has collaborated with some of Hollywood’s biggest stars, including Eddie Murphy, Jamie Foxx, and even the legendary Sidney Poitier. However, even Hudlin was left with a fresh perspective on the industry thanks to his work as co-director on the two-part Apple TV+ documentary, Number One on the Call Sheet, where top Black actors and actresses recount their experiences on set.
“I just felt so fortunate to be asking these questions and getting these answers,” said Hudlin, who directed the two-part doc with Shola Lynch. “The movie is about a winner’s mindset, ultimately. But there are all these different paths to winning,” he adds, citing Oscar winners like Denzel Washington and Morgan Freeman and populist entertainers like Kevin Hart and Ice Cube. “There’s all these paths to winning, but they all have something in common, which is being willing to do the work.”
‘Number One on the Call Sheet’ Apple TV+: The Ankler & Pure Nonfiction Documentary Spotlight
Filmmaker Reginald Hudlin has collaborated with some of Hollywood’s biggest stars in his career, including Eddie Murphy, Jamie Foxx, and the legendary Sidney Poitier. However, even Hudlin was left with a fresh perspective on the industry thanks to his work as co-director on the two-part Apple TV+ documentary, Number One on the Call Sheet, where top Black actors and actresses recount their experiences on set. In conversation with Thom Powers on May 21, Hudlin recalls a “lightning bolt story” actor Laurence Fishburne tells on screen about his experiences on Apocalypse Now, and how a kind word from Martin Sheen changed Fishburne’s entire trajectory. “I just felt so fortunate to be asking these questions and getting these answers,” says Hudlin, who directed the doc with Shola Lynch. “The movie is about a winner’s mindset, ultimately. But there are all these different paths to winning,” he adds, citing Oscar winners like Denzel Washington and Morgan Freeman and populist entertainers like Kevin Hart and Ice Cube. “They’re all successful and they’re all doing great work, and that’s an important message for everyone to hear.” You can watch Number One on the Call Sheet on Apple TV+.
“It was a producing and political feat to get all of these people to sit down,” say the directors of Apple TV+’s ‘Number One on the Call Sheet.’
Halle Berry appears in Apple TV+’s Number One on the Call Sheet.
When Reginald Hudlin received a call from Jamie Foxx and producer Datari Turner in 2019 saying that they wanted to make a movie about leading Black actors in Hollywood, he was all in.
“It was kind of a no-brainer,” says Hudlin, director of Apple TV+’s Number One on the Call Sheet. “As we started talking through the idea, it was pretty obvious that there was more than enough talent to feature in this film. In fact, we needed to restructure this movie so it was even bigger — hence, Shola Lynch.”
Lynch came on board to direct the film on Black leading women in Hollywood, while Hudlin was at the helm for the film on Black leading men. Together they make up the two-part docuseries in which some 30 A-listers, from Angela Bassett, Halle Berry, Whoopi Goldberg and Viola Davis to Denzel Washington, Will Smith and Eddie Murphy, discuss their journeys as entertainers. The stars were filmed over a period of roughly two years starting in 2022, with Kevin Hart and Foxx appearing as subjects and serving as producers through their respective companies, Hartbeat and Foxxhole Productions.
“It was a producing and political feat to get all of these people to sit down,” says Lynch, whose credits include the Cicely Tyson tribute at the 2018 Governors Awards. “After that piece, I thought, ‘Oh my gosh, let’s make a piece about Black women in filmmaking in Hollywood,’ and she and her people were like, ‘We can’t do that. The political capital [is too great],’ and it never quite got off the ground. So when all the guys circled to me, my only regret was Ms. Tyson is gone,” adds Lynch. “But here to mark the time in a way that nobody else had the capacity to do are these films that are produced by Black film companies. Their power, celebrity and cachet helped ride that wave and get everybody to sit down because there is no precedent for it.”
The tone of the series is both celebratory and raw. The male actors pay homage to pioneers like Sidney Poitier and reflect on how Smith’s box office success shattered preconceived notions that Black entertainers couldn’t be international movie stars. The actresses reflect on thresholds they have and have yet to surmount, a significant portion of the series centering on Berry’s post as the sole Black woman in the Academy’s 97-year history to win an Oscar for best actress. The takeaway, however, the filmmakers say, isn’t to point fingers at the industry but rather draw inspiration from the ways in which each subject has defied the odds.
Denzel Washington in Number One on the Call Sheet.
“I think this is what people need — not just want but need, which is blueprints for living,” says Hudlin. “Here’s a bunch of winners telling you how to win, and there’s not one path. There are a number of different paths. Pick the one that’s right for you.”
Adds Lynch: “It makes each one of us think, ‘How can we be number one on our own call sheet?’ How can we be the excellence [that we want to see] or be in our purpose?’ Because these women, they’re in their purpose and they’re going to do it regardless. They’re going to find a way, and that in itself is very, very inspiring.”
“Number One on the Call Sheet” focuses on the journeys of Hollywood’s leading Black actors and actresses.
A rare club in Hollywood: those who’ve been “No. 1 on the call sheet,” meaning the one who usually gets the biggest role and the most money for a film. The Black actors and actresses who’ve achieved that status are the focus of a new Apple TV+ documentary, Number One on the Call Sheet. The first part, directed by Reginald Hudlin, features male actors like Denzel Washington, Morgan Freeman, Eddie Murphy, and Will Smith. The second, directed by Shola Lynch, is about women such as Viola Davis, Angela Bassett, Whoopi Goldberg, and Halle Berry.
Will Smith particularly wanted to be a global star when Hollywood believed films with Black actors wouldn’t work overseas. In the documentary, he says, “It was Arnold [Schwarzenegger], Bruce [Willis], and Sly [Stallone], and I walked up to them, and I was like, ‘Hey, look, I don’t mean to interrupt y’all, but I want to do what y’all do. What’s the secret? I know you know something that other people don’t know.’ And Arnold said, ‘If you want to be a movie star, you never be a movie star if your movies are only successful in America. Your movies must be successful everywhere on Earth.’”
Will Smith in “Number One on the Call Sheet.” Credit: Apple TV+.
Hudlin says Smith was a rapper from Philadelphia who had the talent and willpower to do movies with worldwide appeal, and he was confident that studios would promote them as if he were a white actor.
Hudlin adds, “All these people are change agents. We were very deliberate to talk to people from different generations who work in different genres of film, because we need Lawrence Fishburne … Kevin Hart … Morgan Freeman. … They’re all fighting the same war on different fronts.”
Morgan Freeman in “Number One on the Call Sheet.” Credit: Apple TV+.
Did women express the same goals of global prominence? “You have to look at it in different ways,” Lynch says. “And for Black women in our society, when often we are dismissed as not the lead or as the lowest-ranking … that you find your way, and you see where you are. But you also make sure that you’re working towards your No. 1 on your call sheet.”
In the film, Viola Davis points out that what’s available for, say, Meryl Streep is not available for her: “It is hard to get a job, no matter how much intention you have to say, ‘This is a type of role I want next time, don’t call me unless you have that role.’ A lot of those roles, especially for us, I’m 58, I’m a dark-skinned Black woman, even if I were light-skinned, really, those roles don’t even exist.”
Viola Davis (right) with director Shola Lynch (left) in “Number One on the Call Sheet.” Credit: Apple TV+.
Nia Long also talks about being considered tough to work with: “People think I’m crazy because I like to do my own touch-ups, I know what I want to fix on my face. Why is that a bad thing? … Every woman who’s ever made an impact on this industry has been labeled difficult.”
Nia Long appears in “Number One on the Call Sheet.” Credit: Apple TV+.
Hudlin says there’s the challenge of having one’s humanity acknowledged, which includes issues with hair and skin texture that others may not understand or care about, but affect people’s abilities to do their jobs.
He gives the example of Sidney Poitier putting in his contract for In the Heat of the Night: Producers would not cut the scene of him slapping back another character. “‘Nowhere in the world can you change the movie so that I just take a slap,’” Hudlin quotes Poitier.
He continues, “To get that put into his contract, to protect the integrity of his character and who he is as an actor … was an issue. But he knew that the implications of that imagery were so powerful that he had to protect it, his artistry, with legal protection.”
The film also focuses on the Academy Awards, and to this day, Halle Berry remains the only Black woman to win the Best Actress in a Leading Role category (for Monster’s Ball in 2001).
Halle Berry in “Number One on the Call Sheet.” Credit: Apple TV+.
Lynch says it’s important to lay out the history that came before: “So Hattie McDaniel wins the Best Supporting Actress for being a maid in Gone With the Wind. And we’re cast in Hollywood as, at best, supporting. … And for us to push back and find the roles and get the votes … it took until Halle Berry. … And there’s been enormous change. … I think the women would be disappointed if I sat here complaining for them, because they see where things are, but they also see how far we’ve come.”
Here’s a lot of recent comic book material of mine currently in stores!
There’s the BLACK PANTHER by Reginald Hudlin, which is an Omnibus Edition with all my Black Panther work collected into one big beautiful book!
Doggone right it’s influential! First appearance of Shuri, my creation, his marriage to Storm, Panther on missions with Blade and Luke Cage…so much feel good kick ass action!
Black superhero love. I deliver.
Next is the first ever ICON action figure by McFarlane Toys, which also offers a Platinum edition alternate costume version! I love Icon, which is why I wrote the books when we relaunched Milestone Media.
Here’s a page of him after he destroyed the Confederate White House and walked out with the head of Jefferson Davis. Seems relevant to recent events.
Here’s Icon in the modern day, threatening the life of a NSA agent who thinks she’s in charge of him. As I have said, Icon and Superman have similar powers, but Icon goes harder than Superman would ever do!
Also, the Fourth MILESTONE COMPENDIUM of the collected issues of the original Milestone run! Also, we have compact paperback of the first season of STATIC SHOCK, featuring the brilliant anime inspired art of Nikolas Draper-Ivey! I love making comics as much as I do making movies, TV shows, live concerts and everything else I do!
This all good stuff for summertime reading, birthday or holiday gifts, so go to your local comic book shop or go online and get you some!
I had a great screening of NUMBER ONE ON THE CALL SHEET at the Aero Theater in Santa Monica as part of the American Cinematheque documentary festival.
Representing on the step and repeat!
It was a packed house!
After the movie, we had a great question and answer session with my friend Shawn Fannie of the Cultural Agency, who has been a champion of Black film since our days at the Motion Picture Academy together. I had friends in the house from my childhood, college years and collaborators I work with today. Special thanks to Erika Clarke of Apple TV, who has been a great exec on the project and keeps attending screenings, even though she’s seen the movie a zillion times! That’s support!
We didn’t do a formal question and answer session with the audience afterwards but I hung out and talked and took pictures with folks anyway. I got to see old friends like high school buddy Michele Claybourne, college friend Kathy Busby, my editor Jim May, my DP Matt Chavez and more!
My friend David Belasco teaches an amazing course at USC about entrepreneurship with an incredible line up of guest speakers. Last time I did it, he encouraged me to bring my kids since they get to see their dad in a way they usually don’t experience. Great advice which led to a fantastic event.
So I did it again, and brought my son with me, and we did a mini tour of the USC campus, which is really a breathtaking school! Great facilities, great courses…I think one of America’s best.
The students in Belasco’s class were great as always, with smart questions and infectious enthusiasm. Top notch experience.
Darrell has been my attorney for years and he’s so good that Variety honored him for his work in Hollywood! Well deserved!
Will Packer was also honored, who I’ve known since he was an intern on RIDE, a movie I produced a lifetime ago. Now he’s a billion-dollar producer with the same drive and charm.
Shola Lynch and Reginald Hudlin turn the lens on Hollywood’s Black A-listers in a two-part documentary for AppleTV+’s ‘Number One On The Call Sheet.’
They only need one name. Whoopi. Will. Viola. Denzel. Cynthia. Morgan. Legends who carved their names into Hollywood’s highest peaks—often without a safety net. Before they were box-office draws, they were underdogs, fighting for roles that weren’t just afterthoughts, battling Hollywood’s narrow definition of “marketability,” and rewriting the script for what Black talent looks like on screen.
It’s easy to believe the war is over. In an era where Lupita Nyong’o wins an Oscar for her breakout role, where Jordan Peele reinvents horror, and where Beyoncé drops a Renaissance film that sells out theaters worldwide, it almost seems like we’ve arrived. But anyone who’s lived through Hollywood’s cycle of short-term amnesia knows better.
That’s exactly why Academy Award nominee Reginald Hudlin and Shola Lynch set out to make Number One on the Call Sheet. The film sets out to remind us that Black actors aren’t just here; they’ve been here—fighting for space, legacy, and respect since the dawn of cinema. Directed by Hudlin (House Party, Boomerang) and Lynch (Free Angela and All Political Prisoners) and executive producer Bryan Smiley (HARTBEAT), the two-part documentary digs into the unfiltered reality of being Black in Hollywood. Not just the wins, but the near-misses, the coded rejection, and glass ceilings that, though cracked, haven’t fully shattered. Featuring over 30 actors—the doc unpacks what it really means to be number one on the call sheet when the system wasn’t built for you in the first place.
Pulling off a project of this scale? It took the “Avengers,” as the directors call them, to get these stars to sit down. Hudlin shares, “A lot of it came down to personal relationships. It was me either calling the person or Datari calling the person, calling their agent, calling their publicist.”
For many, the title alone says it all. The phrase “number one on the call sheet” carries weight—it’s a distinction that comes with prestige and responsibility. It means you’re the lead, the face of the production, the one everything revolves around. However, for Black actors, that title has historically been elusive. It’s a seat at the table that, for too long, felt reserved for someone else.
“The battles fought by the previous generation paved the way for us. Now, it’s our turn to fight,” Hudlin says.
The documentary dives deep into those journeys, tracing a history that starts long before today’s stars. Before Denzel’s commanding presence or Viola’s gut-wrenching monologues, there was Sam Lucas, the first Black actor to play Uncle Tom in a 1914 silent film. There was Hattie McDaniel, who won an Oscar for Gone with the Wind in 1940 but was forced to sit in a segregated section of the ceremony. There was Sidney Poitier, who carried the weight of dignity and grace in every role he took. Dorothy Dandridge, who dazzled Hollywood but was cast aside too soon. Every step forward was hard won, and every door cracked open had to be pried wide. “One of the lines I love in the men’s film is, what do you do when you get to the top of the mountain? Make more mountains. You gotta keep going. You can’t stop dreaming,” Lynch says.
The project is split into two films—one focusing on men, the other on women—and each takes a different lens to what it means to lead while Black. The men’s segment, Number One on the Call Sheet: Black Leading Men in Hollywood, directed by Hudlin and produced by Jamie Foxx, Kevin Hart, Datari Turner and Dan Cogan, takes on the evolution of Black male stardom, from trailblazers like Richard Roundtree in Shaft to Will Smith redefining what a global movie star could be.
Hudlin made it clear that this is far from your typical sit-down documentary. “How do you even define success? And the definitions of success were all over the place. When Lawerence Fishburne says, “Well, it’s about the diversity of roles.” You go, oh, okay. That’s a measurement.” Oscar winner Daniel Kaluuya takes it a step further in the film, declaring, “They might call us a minority. I ain’t taking nothing minor. I’m major, bro.”
Lynch’s installment, Number One on the Call Sheet: Black Leading Women in Hollywood, is executive produced by Angela Bassett and Academy Award winner Halle Berry, and highlights Black women who have led films while navigating a different set of expectations, constraints, and pressures. From Cicely Tyson’s trailblazing performances to Halle Berry’s historic Oscar win to Angela Bassett’s still-undeniable screen presence, the film examines what it takes for a Black woman to lead, and to demand the space she deserves. As Lynch puts it, “You have to empower those who deserve it. And remember, the fight’s never over. To hear these stories from these 17 women who have figured it out for themselves and are still figuring it out,” Lynch says.
Together, they craft a project that takes you on a ride through Black movie history that doesn’t just celebrate the resilience and success stories of Black Hollywood’s elite; it looks at the cost of being “the first,” the responsibility of being “the only,” and what’s required to stay at the top.
Hudlin’s journey to telling this story began when he was asked to produce the Academy’s Governor Awards and needed a director to honor Harry Belafonte. When the list of potential directors didn’t include any people of color, a friend suggested Lynch’s name. “He said, ‘I’m going to ask you to do something you have to say yes to, and you have to kill it,’” Lynch recalls. “It was a call to action, a challenge that we both knew would shape our work together.’”
When Lynch’s tribute made its way to The Academy for screening, they weren’t exactly silent. Hudlin remembers the conversation vividly: “I’m the producer, so I’m just the buffer between her doing her thing and The Academy. I’m getting these weird notes. Then I’m like, ‘Wait a minute, what’s happening right now?’”
For Hudlin, that’s when the reminder of a sad truth about how history can be erased in a single edit. “They finally admitted, ‘You know, we think we won the civil rights battle,’ but the civil rights battle was still going on. There were people within The Academy who were like, ‘Why are we giving this award to Harry Belafonte, and why are you bringing up this political stuff?’” Hudlin pauses. “I’m like, Oh my God, the fight continues.”
Despite the pushback, the pair held their ground, locking arms and keeping the tribute authentic, no matter the cost. “Before you think this has nothing to do with being Number One On The Call Sheet, it has everything to do with being Number One On The Call Sheet, right?” she says, emphasizing her point. “You got to bring people along, you got to honor the past. You must be aware of the present but not so mired in negativity.”
Fast forward to when Hudlin was on the hunt for the perfect female voice to help tell the story of these cinematic giants. Lynch was the first one he called.
“We’re in this amazing period of Black girl magic, which is great. So now with all this wonderful Black girl magic, we now have to lift up men,” Hudlin explains. “And that doesn’t mean you don’t lift up women; it means you lift up everyone.”
Lynch’s eyes widen as she remembers a moment at the New York City premiere. She shared that someone had remarked that the documentary felt like a Roots moment. She agreed, noting that such cultural moments, when enough people engage with them, become part of a larger conversation. Whether people agreed with the choices made in the film or not, the important thing was that it sparked a conversation—one that no one else would ever have the chance to facilitate again.
For both directors, shaping this visual timeline of Black Hollywood’s evolution is no small feat—they know the weight of preserving these stories and the truths they carry. “In every story I tell, and a lot of them, whether it’s a documentary or a scripted movie, I have a feeling of like, well, don’t waste everyone’s time and money,” Hudlin continues. “Authenticity is everything. We have to tell the truth and be authentic to the culture. That’s an integral part of our jobs.”
Lynch agrees. “As an artist, as a craft person, as a storyteller, my name goes on it. When my name goes on something, I want it to mean something. What that means is the work. I did everything I could to tell the best story, best narrative, the truth, the best story possible, with whatever the budget was. Whatever the constraints were, I was going to go 110 percent. That’s what a film by Shola Lynch means.”
Apple TV+’s Number One on the Call Sheet celebrates the unstoppable strength and perseverance of Black entertainers, whose legacy continues to shape Hollywood. Their stories remind us that this journey isn’t always linear—but every breakthrough, even the ones that seem like a “not yet,” proves that when you put yourself at the top of the call sheet, the impact lasts long after the director yells “cut.”
‘Number One on the Call Sheet,’ a two-part documentary series, premieres globally on Apple TV+ on March 28, 2025.
CREDITS: Photographed by Xavier Scott Marshall Styled by Dione Davis Hair: Rachel Polycarpe using L’Oreal Paris at Forward Artists Makeup: Rose Grace using Victoria Beckham Beauty at Forward Artists Nails: Leanne Woodley using Essie & She Nails It at See Management Set Design: Jenny Correa at Walter Schupfer Management Tailor: Ketchat Carol Ai PhotographyAssistants: Asher Phillips & Kermide Luc Lighting Technician: Sangwoo Suh Digital Technicial: Santana Brecheen Fashion Assistant: Shola Shodipo SetAssistants: Andy Meerow & Will Rose Production: The Morrison Group Production Assistants: CaseyHussey & Alexzandria Ashton Location: Please Studio
Reggie Hudlin directs the vision behind Number One on the Call Sheet (Courtesy of Apple TV+)
Reggie Hudlin’s career spans decades and genres, from cult classics like “House Party” and “Boomerang” to shepherding major events like the NAACP Image Awards. But his latest work, “Number One on the Call Sheet,” might be his most personal and culturally significant yet.
The new Apple TV+ documentary, produced alongside Jamie Foxx, Kevin Hart, and Datari Turner, tells the story of Black excellence through the voices of the biggest names in Hollywood.
Hudlin calls it “a bookend to Sidney.”
“I made a movie a few years ago about the life of Sidney Poitier, who was the first Black movie star. Everyone in these films stands on the shoulders of Sidney,” Hudlin said. “So, I thought, this would be the perfect way to do it—to feature every star today.”
Gabrielle Union shares reflections on her experience as a leading woman in Hollywood (Courtesy of Apple TV+)
“Number One on the Call Sheet” is more than a star-studded film. It’s a roadmap, a love letter, and a masterclass rolled into one. The documentary features powerhouse talents like Denzel Washington, Will Smith, Kevin Hart, Dwayne “The Rock” Johnson, Eddie Murphy, Laurence Fishburne, and more.
“Everyone had something amazing to contribute,” Hudlin said. “People come up to me and say, ‘Oh my God, Laurence Fishburne had me crying in the first five minutes,’ or ‘I was so inspired by what Will said.’ What these guys are really providing are blueprints for living.”
For Hudlin, these aren’t just soundbites—they’re deeply rooted lessons.
“As different as they all are, the one thing they share is a winner’s mentality. That’s the common thread.”
Vivica A. Fox speaks candidly about career longevity and reinvention (Courtesy of Apple TV+)
Hudlin learned quickly that there’s no one path to success, especially in Black Hollywood.
“Listening to their stories, you realize how Ice Cube did it is very different from how Will Smith did it, or Morgan Freeman. But they all got to the same place: number one on the call sheet. That’s the universal message—find your own road and walk it well.”
Still, the road to making the film was far from simple. Scheduling the biggest stars in the industry is like casting constellations.
“These are some of the most in-demand actors in Hollywood,” he explained. “The challenge wasn’t willingness—they all wanted to do it. It was their availability. We just kept shooting for years. It’s like fishing. You wait for Denzel. You wait for the moment.”
Tessa Thompson discusses identity and intention in modern stardom (Courtesy of Apple TV+)
Hudlin says what made this documentary different was its honesty. These weren’t press junkets or promotional rounds. These were heart-to-hearts. “We weren’t plugging a project,” he said. “We were telling stories—real stories. We wanted to show the whole person.”
That authenticity extended to how the film was shot. From Kevin Hart’s office to Denzel’s personal reflections on theater versus film, the doc captures a rare intimacy.
“You really see Kevin in his moguldom,” Hudlin said. “He’s more than just funny. There’s a whole enterprise behind that performance.”
Beyond celebrity, “Number One on the Call Sheet” reflects Black identity in the entertainment industry and the evolution of representation. And for Hudlin, it’s another step in a career rooted in legacy and purpose.
Will Smith appears in Number One on the Call Sheet sharing insight on his journey to the top (Courtesy of Apple TV+)
From his early days making “House Party” as a Harvard student, to running BET and producing “Django Unchained,” Hudlin’s journey has always been driven by passion—and community.
“I’ve always known what kind of stories I want to tell,” he said. “And I’ve always known that the culture matters. Who we are matters.”
Hudlin also reflected on how being back on the production side—full-time—has changed his view of the industry’s power players. “I understand their concerns now,” he said. “So, I preemptively address those. It’s not about whether we agree or not—it’s about making sure everyone feels seen.”
So, what’s next?
Kevin Hart reflects on his growth as both entertainer and entrepreneur (Courtesy of Apple TV+)
Hudlin is staying tight-lipped but hinted at new projects in film and TV. Still, it’s “Number One on the Call Sheet” that may leave the deepest mark.
“It’s a love letter to Black performers, past and present,” he said. “And it’s a reminder that greatness isn’t a fluke—it’s a pattern, built on vision, work, and willpower.”
Jamie Foxx joins fellow stars in honoring Black excellence on screen (Courtesy of Apple TV+)
For anyone chasing their dream, Hudlin has a simple message:
“There’s not one road to success. You just have to find the right path for you. That’s how you win.”
And if “Number One on the Call Sheet” teaches us anything, it’s that the spotlight isn’t just a destination—it’s a calling.
