CBR TV: Hudlin & Cowan Talk Milestone 2.0, Cultural Significance, Accessible Books & More

Jonah Weiland, Executive Producer/Publisher, Comic Book Resources

Back in January, Milestone Media announced its return, with newcomer Reginald Hudlin now in the mix alongside original co-founders Denys Cowan and Derek Dingle. This new company, Milestone 2.0, announced plans to bring back classic characters from the Milestone stable along with new creations spread across of a variety of outlets and mediums, including a new live-action “Static Shock” series in the works with Warner Bros.’ Blue Ribbon Content shingle. Two of the new company’s principles, Hudlin and Cowan, boarded the world famous CBR Floating Tiki Room at Comic-Con International in San Diego to discuss the company, its new agenda and much more in a lively conversation with CBR TV’s Jonah Weiland.

SDCC: Milestone Media Returns to DC Comics as “Earth-M”

The discussion begins with Hudlin and Cowan examining whether Milestone 2.0 is possibly even more relevant in 2015 than the original company was when it formed in 1993. They also discuss Milestone’s legacy and why its cultural significance has been so pronounced in the years that followed, something both creators credit the animated “Static Shock” with having a hand in.

On whether Milestone 2.0 is even more relevant today than when the original Milestone Media was launched in 1993:

Reginald Hudlin: As a consumer, as a fan, Milestone was hugely impactful. First of all, I’m fans of all these guys individually. I was a huge fan of Denys Cowan’s art; I was a huge fan of Dwayne McDuffie’s writing. So these guys teaming up, them discovering all these other incredible talents, but most of all creating fantastic characters, characters that have what I call “great bones.” Because when you measure comic book characters, you have to look at them in 75 [to] 100-year periods. Is this gonna be a good idea? I mean, like, The Shadow’s a good idea; Batman’s a good idea; Spider-Man’s a good idea. These things last over decades and that’s what struck me about the Milestone creations — Static Shock, Hardware, Icon, and so on and so on, Xombi — is that they had great bones. And then the other thing was that they existed as a company for the top black creators to come together to create the comic book equivalent of Motown. And that’s a big deal.

When we announced 2.0, we thought, “This is a good idea, people want to see this.” It was like, “Oh god, we broke the Internet! What happened?” And it just reminded us, yes, the character is great, but the idea is even greater.

Denys Cowan: Milestone in the ’90s was important, for what it was at that time, and it was great what we did. It called a lot of attention to a lot of things that were going on. Milestone 2.0 is just as important for this time. I can’t say one is more important than the other. I can say they’re both, for their times, right on time, right now. The issues that we’re concerned with — it almost seems that Milestone 2.0 is an amplified version of Milestone, but we’re in amplified times. It feels like even though, when we did it, “Okay, we’re just gonna do this little idea and see if it explodes,” the way it’s been impactful has shown us that, no, this is the right time. We’re doing this at the right time, perhaps the best time to do this company.

On how the “Static Shock” cartoon helped cement the company’s cultural significance:

Cowan: As the audience grew up, we ceased publishing, but they had kids and they taught their kids about Milestone, and the “Static Shock” cartoon was a big thing. We can’t discount that. That was hugely impactful, perhaps more impactful than the comic books themselves because it just reached a lot more people and the same messages — you know Dwayne was a writer on the show, and I was a director and a producer on the show — so we were able to get the same messages across, tell those same Milestone stories to a much bigger audience. So the impact kind of stretched.

Hudlin: And when you think about the audience of kind of Black Saturday morning cartoon shows, usually they were music-based. It was the Jackson 5, it was Hammer Man, it was the Harlem Globetrotters.

Cowan: Mr. T and the T-Force.

Hudlin: “Static Shock” was not a stunt. It wasn’t catching a momentary popularity. It was a legit superhero, with comic books, done by legit comic book creators. In that way, it stood legitimately next to Superman and Batman, and in fact had better ratings than Superman and Batman at the time.

Cowan: Yeah, we were killing in the ratings. But the thing is, it was the same philosophy. Reggie had mentioned this, when we set up the comic books originally, our goal was not to do anything that was fad-ish; not to do anything that was like — except for variant covers, we did that. But we didn’t want to fall into that trap of being so trendy that you’re just out of favor at the next trend. Let’s do solid comic books with solid coloring and solid stories that would stand the test of time. So our emphasis was always on the characters and what we did but not on trends or gimmicks or anything like that.

In the second part of their conversation, Hudlin and Cowan speak to the importance of telling stories accessible to as wide an audience as possible and why the new Milestone books will please new readers and original fans alike. They also discuss the return of writer Christopher Priest, explaining how much they like his work and has crucial he is to both phases of Milestone. Wrapping up, Cowan elaborates on why Milestone 2.0 is much more than just a business move for him.

On whether the Milestone 2.0 stories will fit in canon, function as a reboot, or be something else entirely:

Hudlin: It’s a new starting point because — my philosophy is always ‘something is always someone’s first comic book.’ I’ve got young kids — I’ve got an eight and a ten-year-old — and when they pick up a book and I’ve gotta explain for 15 minutes what’s going on, in a 20-page comic book — that’s not right. When I was a kid you could just pick up the book and know what’s going on. It explained who everybody was, you understood what their interpersonal dynamics were, and you could ride along.

Cowan: Whether you had ever seen it before or not.

Hudlin: I’m a big believer in making a really accessible book. One thing that’s exciting to me when I look at what’s happening today with all kinds of new creators and fans go, “Thank you. All I have to worry about is these six issues. I don’t have to sweat what happened the previous 75 years.

If you were a fan of the original books, you’re gonna love these books. But if you want your son or daughter to get into comics and you want a book that looks like them, or you want your kid to have a more diverse range of reading, this is for you. That’s what’s so great. That’s one of the things we look at and go, “Wow, this is gonna be even bigger this time.” … Kids aren’t hung up about race, they just want the cool thing. We just want to deliver the cool thing.

On whether Christopher Priest will be back in the Milestone fold:

Cowan: We love Christopher Priest.

Hudlin: I’m just gonna say it. So the drive from L.A. to San Diego is like three and a half hours long. I pretty much spent the entire trip talking to Christopher Priest as we were breaking a story. So then I got down here, I go to Denys, “Let me tell you what we’ve been working on.”

Cowan: Except it was at 1 o’clock in the morning. So we’re speaking for an hour at 1 o’clock in the morning. He’s telling me this story. It’s so good we stayed on the phone for an hour just talking about that like, “Dude. And then what happens? And then what happens? And then what happens?” I’m like, “Oh my god, I have to draw this right now.”

Hudlin: It’s so good, it’s so much fun. So then last night I was up, everybody was asleep, I’m like “OK,” because he sent me notes so I got like four different e-mails this morning. I’m like “Aaaaaaah!”

Cowan: To answer the question, yes.

Hudlin: And Christopher Priest, who we love, who we’ve always loved and we’re so happy to be working with him again, he was part of the original team.

Cowan: He was part of the original Milestone. That fifth Beatle that never really gets recognition.

Hudlin: But there’s been so many incredible high-level writers and artists who’ve been like, “What?! Milestone’s back? I’m in! When? Where?” It’s been incredible. The biggest names in the business are like, “We are down. We wanna be in.” We’re super excited about the amount of firepower we’re gonna bring.”

On what has Cowan so excited about the return and future of Milestone:

Cowan: It’s very simple. When we talk about Milestone and you said, “Well, first of all it’s a business.” And I’m thinking to myself, my first thing is, “I have to interrupt my man.” ‘Cause it’s not just a business, it’s a cause. It’s a mission. To me there is no — I feel intense about Milestone and the characters we do because to me there is no greater thing to do than to do something for our fans in this medium with these characters. That’s it for me. I’d be very happy if this is all I worked on for the rest of my career; doing these characters and doing it for this audience that I love.

Me And Cousin Chris At Work

Or “Doctor Chris”, as we call him at our house, to distinguish him from “Uncle Chris” aka my brother.

He’s a surgeon, which automatically makes him that family member you treasure because he’s the one you call to get a second opinion on your every ache and pain.

While I was shooting HEARTBREAKER, a new medical show for NBC, I invited him down to visit me on set, which he had never done before.

Since he had actually performed the liver transplant we were shooting, he ended up on camera, helping us all make the scene more realistic.

Dr. Kathy Magliato, the doctor whose book is the basis of the show, loved having him on set and they happily talked in a medical jargon far over my head.

The entire cast and crew loved him, including the camera operators who invited him to try out the steadicam.  Even with the monstrous weight, he took to it quicker and easier than any of us had ever seen.

My Conversation With Van Jones

I was invited as a special guest at this year’s San Diego ComiCon. I’ve been doing comics for over ten years now, starting with my graphic novel BIRTH OF A NATION, writing Black Panther and Spider Man comics for Marvel, adapting the screenplay of DJANGO UNCHAINED into a graphic novel, supervising the Django/Zorro mini-series, and now relaunching the Milestone line of comics. I guess that’s a lot, but I still feel like a newbie in comics.

So when they said there would be a panel devoted to me, I was flattered. But I was really blown away when representatives from the Convention arrived before they started the event to give me the Icon Award, which has been awarded to legends in the business.

Then I had an hour-long conversation with one of the smartest guys I know: Van Jones, who is a great journalist, political organizer, great friend and very serious comic book fan. I said let’s just talk the way we do at home or at dinner, except it would be in front of people. He did an incredible job steering the conversation.

We talked about film, television, comics….well, I really don’t remember all the stuff I said, which is why I’m so glad that Jeff Kent filmed the whole thing. But I do remember it was good stuff, I real deep dive that made me glad my family was there to witness it.

It ended with Van giving me one of the greatest compliments I had ever received. The kind of words it takes a lifetime to live up to. Thank you Van Jones for taking time out of your incredible schedule of activism, journalism and fatherhood to be there with me on a very important day.

TV Producers of 2016 Oscars Are Selected

By MICHAEL CIEPLY SEPT. 1, 2015 New York Times

LOS ANGELES — The producers for the next Oscar ceremony will be Reginald Hudlin, a filmmaker schooled in urban comedy, and David Hill, a television producer with credits on “American Idol” and the 2011 World Series broadcast, the Academy of Motion Picture Arts and Sciences said on Tuesday.

The appointments for the ceremony, which is set for broadcast on Feb. 28 on ABC, followed a wide search, as the Academy reviewed candidates to replace Neil Meron and Craig Zadan, who had produced three successive Academy Awards shows. The audience for the last of those shows, hosted by Neil Patrick Harris earlier this year, dropped nearly 15 percent, to around 36.6 million viewers, from 43 million in 2014.

Mr. Hudlin was a producer of “Django Unchained,” which was nominated for the best picture Oscar in 2012. He also produced the Academy’s Governors Awards ceremony last year, after working as an executive, writer, director and producer on a string of films and television shows that began with a comic short, “House Party,” and the several feature films to which it gave rise.

For weeks, Mr. Hudlin had been mentioned by Academy insiders as being high on a list of possible producers. Those included Michael Shamberg, who was an executive producer of “Django Unchained,” and Joel Gallen, who was a producer of the last Film Independent Spirit Awards.

Mr. Hill, a less expected choice, has worked with various Fox-affiliated companies in a long executive career that included a stint as chief executive of the Fox Sports Media group.

Cheryl Boone Isaacs, the Academy’s president, cited in a statement Mr. Hill’s “vast experience as a live events producer” and Mr. Hudlin’s “energy, creativity and talent as a filmmaker.”

Having accepted the producing post, Mr. Hill and Mr. Hudlin will now turn to the show’s biggest annual challenge: finding a host. Mr. Harris was widely criticized for his February performance.

Other hosting problems have included a decision by Eddie Murphy to abandon the host spot for the 2012 ceremony when the show’s producer, Brett Ratner, resigned after his public use of an anti-gay slur, and a lackluster performance by the actor James Franco for the 2011 ceremony.