Universal Pictures Home Entertainment has picked up the U.S. rights to Emperor,the feature based on the harrowing journey of American freedom fighter Shields Green, played by Dayo Okeniyi (Shades of Blue). Oscar nominee James Cromwell (The Green Mile) co-stars along with Kat Graham (The Vampire Diaries), Naturi Naughton (Power), Mykelti Williamson (Fences), Ben Robson (The Boy) and Oscar nominee Bruce Dern (Once Upon a Time…In Hollywood).
Mark Amin directed the pic, which was originally slated for a limited theatrical release in March via Briarcliff Entertainment but was halted due to the COVID-19 pandemic. It’ll be released on digital, DVD and on-demand on August 18.
Set in the pre-Civil War South, the film details Green’s escape from slavery and his transformation into one of America’s greatest heroes. Seeking freedom for his family, Emperor fights his way north, joining the daring raid on Harper’s Ferry, the key battle of the abolitionist movement which helped spark the beginning of the Civil War and alter the course of American history.
Amin co-wrote the screenplay with Pat Charles. Django Unchained producer Reginald Hudlin produced the pic along with Amin and Cami Winikoff.
Disney+ revealed today an exclusive sneak peek from their upcoming new original anthology docuseries Marvel’s 616. The new series will be revealed further later this week at Comic-Con@Home on Thursday, July 23, 1:00 p.m. and discuss the making of the show
The show will premiere this fall.
The first clip is from the episode “Higher, Further, Faster” directed by actor/director Gillian Jacobs, which shines a light on the women of Marvel Comics and how they found ways to tell stories of representation and inclusion. Watch it below.
The second clip is from the Paul Scheer-directed episode “Lost and Found,” following the actor and comedian’s eye-opening and at times hilarious journey to discover the “forgotten” characters of Marvel Comics. Watch it below.
In the early ‘90s, Reginald Hudlin first encountered Denys Cowan, by then a celebrated artist off his work on projects ranging from DEATHLOK to THE QUESTION. Riding high off his own success of writing and directing the 1990 hit House Party, the future President of Black Entertainment Television recalls this first meeting:
“It had to be around the founding of Milestone [Media],” says Hudlin, referring to the landmark comic imprint that Cowan helped found alongside Dwayne McDuffie, Michael Davis, and Derek T. Dingle. “I was a fan of the work of each of the creators, and loved that they were teaming up to start a company. They actually asked if I wanted to join them, but I had just made House Party and thought I should solidify my movie career before I started branching off into new fields. I remember sitting on the desks of their offices, hearing great stories, like the time when Clarence Thomas called their offices as a fan. And talking about creators who were hating on them for being successful. I told them don’t worry about the haters, time will tell the story. And it did.”
The idea of working in comics stuck with Hudlin, and the prospect of collaborating on something Cowan could help bring to life remained a long term goal of both men. In 2005, Reggie made his debut as a writer on BLACK PANTHER, and after an influential three-year run on the book, the writer wanted to make sure he wrapped his stint by scripting something for his friend.
“Denys is an amazing artist, so having him is just a good look, period,” reflects Reggie. “And he always does something unexpected. I remember one of his character explorations [for Black Panther] where he drew the collar on the cap really tall, sort of Doctor Strange style. It was brilliant. Made the character mysterious, kind of reinvented but not going too far.”
Working with his editor Axel Alonso, Hudlin conceived the concept that would become CAPTAIN AMERICA/BLACK PANTHER: FLAGS OF OUR FATHER, a flashback tale set during World War II that saw Steve Rogers and the Howling Commandos visit Wakanda for the first time and encounter our Panther’s predecessor in the form of T’Challa’sgrandfather.
“It was a lot of fun to do,” says Cowan of the project, in which he drew the standout title characters as well as Nick Furyand his crew, plus the villainous Red Skull. Paired with the potent inks of fellow industry legend Klaus Janson as well as vibrant colors from Pete Pantazis, the visuals Denys provided would resonate in terms of both action and pathos.
Hudlin considered CAPTAIN AMERICA/BLACK PANTHER an important story to tell and a suitable sendoff to his time in Wakanda: “Both characters represent the ideals of their nation. Captain America stands for the best of the United States, and Black Panther symbolizes the greatness of all of Africa. More than their physical prowess, their moral compass is what makes them natural leaders.”
“Seeing each of them through the eyes of Gabe Jones, an African American soldier serving with Sgt. Fury and the Howling Commandos, felt like a natural story that needed to be told. And folks are still reading it!”
CAPTAIN AMERICA/BLACK PANTHER: FLAGS OF OUR FATHERS (2010) #1
Clarence Avant was a fascinating enigma from the beginning. I mean right from the jump. I first heard about him through Andre Harrell back when I did music videos for Uptown Records. And the way everyone — Andre, Russell Simmons, all those guys — talked about Clarence, he wasn’t just an executive; he was somewhere on Mount Olympus! He was this celestial figure with incredible power and wisdom. They all deferred to him. They all respected him. They all got advice from him. Then I met the man, and I finally understood.
The first time I met him was at the airport. From there he took me off to his house. I remember sitting there, looking around, and he had the most amazing collection of art I had ever seen in a private home: paintings, sculptures, everything. I saw an Andy Warhol. I said, Whoa, seriously? An Andy Warhol? This black person owns an Andy Warhol! I was floored. I’ve been in celebrity homes, and their walls are bare. They don’t collect art, and the art they do have isn’t very impressive, to be honest. Clarence was the opposite. His walls were just brimming with beautiful artwork that spoke to a real peacefulness. Here’s this guy with this gruff demeanor and an incredible, tasteful aesthetic and completely unpretentious manner. At that point, I just went, I need to know everything I can about this man. And the more I learned about the man, the more I thought that the world needed to know about him. And in the process, I learned some unforgettable lessons.
Reginald Hudlin (left) with “The Black Godfather” Clarence Avant (right)
Talking with Clarence confirmed the need to trust my gut. I knew that already, but he confirmed it. For my first Hollywood deal, I got hired to write a script. It was the most money I’d ever made in my life. You go, Wow, this is a lot of money. What are you going to spend it on? I could buy a car or buy a computer — back then they cost about the same. I decided I was going to buy that computer because if I had a computer, I could write another script and make that same amount of money again, maybe more. That was just me investing in myself and going with my gut feeling. It was the right decision.
This is a Clarence trait, too. He picked an eclectic range of artists, from Bill Withers to Cherrelle to all these different white rock acts he signed. Clarence did what he thought was right. That’s always been my belief: If you trust your gut, it’ll work out. The only times I have failed have been the times I did what someone “smart” said I should do instead of what I believed in. Not that I’m above selling out; it just never works out for me, so that gives me clarity that I’m just going to do what I believe in. Let the chips fall where they may.
