The stars of the latest Blumhouse slasher “Freaky” discuss what it was like emulating one another’s mannerisms, blending horror and comedy genres, and working with writer-director Christopher Landon.Β
Screening at the DOC NYC Virtual Film Festival, “Beautiful Something Left Behind” is a heartening documentary following the children of the Good Grief Community in New Jersey who have lost a parent or loved one.
Bella Thorne and Malin Akerman go head-to-head in their new film “Chick Fight.” The film follows Akerman’s character Anna as she joins an all-female underground fight club as a way to get her life together. The suggestion comes from her bestie (Dulce Sloan) when Anna’s life seems to be falling apart.
Writer-director Christopher Landon and producer Jason Blum have cornered the modern horror genre, so why not expand it a little further? “Freaky,” this generation’s “Freaky Friday” and “Hot Chick” with a murderous twist, brings a lighthearted approach to slasher-comedyβwith a fresh modern commentary on such implications.
The new film βLet Him Goβ is out this week. The Knockturnal got the chance to sit down with the director, Thomas Bezucha ahead of its release.
On November 1st, the film’s stars celebrated at the Drive-In Movie Premiere of βBlackjack: The Jackie Ryan Storyβ directed by Danny A. Abeckaser at The Sunset Strip Presents: Late Night Drive-In Theatre at The Andaz West Hollywood. The film is based on the real-life story of New York street basketball legend Jackie Ryan.
The last time I spoke with Phillip Youmans, it was in a restaurant in Lower Manhattan, a few weeks ahead of the release of his debut feature film,Β Burning Cane.
He had just become the youngest winner of Tribecaβs Founderβs Award, at 19 years old, and the first Black director to achieve that feat. Now, a year later,Β Burning CaneΒ is streaming on Netflix, heβs put out a few other projects, includingΒ Imagine a Moon Colony,Β for Hulu as part of their Black History Month programming, has been featured in DAZED, on Forbesβ 30 Under 30 list, and more recently, he was profiled in Vogue Magazine.
Heβs been on a non-stop rise in his career, one Youmans tells me over the phone, that heβs grateful for. Most recently, he put out a film called,Β November, which is currently streaming on theshed.org until November 7th. Originally, the piece was a play namedΒ Help, written by theΒ formidable, Claudia Rankine. As Rankine puts it,Β her original intent was to, βconfront, address, and have conversations with white men regarding white dominance and their white privilege. This line of inquiry was [my] attempt to understand how we arrived at 2016 with a white nationalist in the White Houseβ.Β Unfortunately, because of COVID-19βs impact on live performances here in New York City, any possibility of stagingΒ HelpΒ in its original format had gone out the window. Thatβs where Youmans came in. βI was brought toΒ NovemberΒ by Jane Rosenthal and Alex Poots and they reached out to me aboutΒ NovemberΒ to see if I wanted to come on boardβ¦.I was really attached to it. One: the opportunity to work with Claudia, [like I said] the chance to make a political statement with my art, but also because I have this very real reverence for Black women and the experiences of Black womenβ¦.It was kind of a no brainer across the boardβ.
And although Youmans didnβt question much whether he wanted to be part of the project, making sure it came together wasnβt as easy as his decision to sign on. For one, he had to adapt Rankineβs play to fit into a completely different medium, and he only had four weeks to do it. βI wanted to bring forth free association into the project. I wanted to have people be able to come to the project, and hear Claudiaβs very, very powerful, very affecting words, and pair it with imagery that allowed for some free association. It felt like I was going to marry this vignette of performance with outside vignettes, with documentary elements. It felt like this could be a snapshot piece, like a slice of the life of the narrator recounting their experiences.β Ever the collaborator, he credits the team beside him for helping him get it done within his month-long timeframe, especially his producer Ayesha Nadarajah. βI had the help of my amazing producer, to help assemble and pull everything from a logistical standpoint together. Her and the help ofΒ Laura Aswad, the producer of The Shed.βΒ
From the moment he landed in New York, it was a rush of conversations, ever-evolving scripts, and coordinating between his team and the team at The Shed. But it wasnβt just lighting, sound, and staging, the director had to be concerned with, he also had a new worry: coronavirus. He tells me that, of course, everyone followed proper CDC guidelines, wearing masks, and staying socially distant as much as possible, but that these safety precautions, fortunately, didnβt do much to dampen anyoneβs spirit. βI donβt think itβs changed as much of the spirit of what we do. If anything, itβs made it even more of a group, sort of community feeling, that everyone has to go through the same sort of protocols. But itβs important. Peopleβs safety is the most important thing.β Of course, he laments on βthe old wayβ of shooting, where less than a year ago, we were all free to carry on in close proximity without having to worry about wearing masks and sanitizing our hands every twenty minutes, but heβd rather be doing something than nothing at all. βIt just feels good to be back in production. It feels good to be making things. Period. So, for that, I feel super grateful.β
Throughout our conversation, Youmans is quickΒ to emphasize just how much he believes in the message ofΒ NovemberΒ and how grateful he is to have a chance to make a statement with his work. It was important to him, with this film, to show the juxtaposition between the ways white privilege can rear its ugly head in our lives, and the eternal commitment Black people have towards finding joy in any situation. So, I posed the question, βWhat is Black joy to [him]?β βBlack joy to me is being able to live and determine our own destiny. To love freely, to love unconditionally, and really be who we are a hundred ten percent, and to have that sort of spirit of determining our own destiny; reverberate across color lines and across race lines. Even in the face of everything we go through, considering the harshness of [it], just as Black people on a cultural level, Black joy is defined by the counterpoint to that. I feel like weβre so soulful, and we have so much life, considering everything weβve gone through as a peopleβ¦. The joy is really something Iβm trying to highlight as an artist.β I think he succeeds in doing so.
Weaved between vignettes of Black women monologuing about interactions with Trump supporters while waiting in line, there are images of Black couples driving aimlessly in parking lots, arms in the air, feeling the wind on their backs, a group of Black men playing a game of pickup basketball, and even a few shots of Youmans and his friends/cast members enjoying a dip in the pool, amongst other things. My next question for the Louisiana native, of course, is how he maintains his own joy with all thatβs going on in the world right now. βMaking sure Iβm invested in real-time and in the emotional relationships in my life; my best friends, my family, my mom, my sister. Finding time to stay in tune with that is the most important thingβ¦.Thatβs been huge.β You can hear the reverence in Youmansβ voice when he speaks about his mother and his sister, two Black women who he says have influenced him greatly in his life. They came up more than a few times in our talk and each time he expressed his love and awe for their support. Heβs gotten a lot closer to them in quarantine, speaking with them quite a lot, and I believe that bond he shares with them is evident in his work.Β November, although not written by Youmans, is another one of his works that centers Black women.Β Burning Cane, while highlighting themes of toxic masculinity and religious fundamentalism, really seeks to explore the way those behaviors in men affect the women in their lives. Another Black woman he reveres? Claudia Rankine. βShe was amazingβ¦.I love Claudia. Sheβs really, really, dope, whippingly intelligent. Her opinionsΒ and her POV about everything always comes from such a carefully, calculated, intelligent, full-hearted perspective. Itβs very, very inspiring to be around someone who works that way and who is that way. In working with her, Iβve only had amazing things to say about her, honestly.β A sentiment, Iβm sure Rankine returns considering the careful and considerate way Youmans went about bringing her piece to life.
NovemberΒ is a stunning film, filled with deep performances that, for me as a Black woman, felt like listening to my friends and family talk about their personal experiences. Each actress brought her own flair and personality to her role, highlighting the vast differences between Black womenβs experiences. One of my favorite parts of the film included a moment when the camera βbackflipsβ from the stage where an actress, Zora Howard, is performing, into a sea of actors. Howard appears in the crowd, reciting a line, pantomimed by a white male actor positioned in front of the camera. Itβs an interesting shot that echoes the ways in which white men are often brought to the forefront of conversation, while Black women are left behind and forgotten. The film is filled with what Iβm coming to realize might be Youmansβ directorial signatures. There were a multitude of jump cuts, seemingly handheld tracking shots, and several closeups and low angle shots meant to illuminate and give power to his subjects.
Already Iβve seen talk labeling Youmans an βauteurβ, but when I try to ascribe the label to him, he gets a little squeamish. βI canβt really indulge much in what that means or whoβs saying that. The biggest thing is that Iβm making films, especially in the narrative feature space at this point. Iβm just trying to make sure that I stay true to films and projects that personally resonate with me, that I have substantive attachment to. Iβm separating more from, whatever [being an auteur] means, in terms of a wider conversation, or a wider look at what the word auteur means, really. As a filmmaker, I feel like Iβm a true artist. I try to attach myself to the things that really resonate with meβ¦.Itβs just hard to say that about yourself. Itβs dope to be considered that. Itβs dope to be spoken of in that way, because I want to say Iβm an uncompromising collaborative in that way, but that Iβm really firm in my convictions as a filmmaker. Thatβs what I feel is the βauteurβ spirit. But itβs weird to point the finger at myself and call myself that.β A sentiment, I find completely understandable, although I assure him itβs more than okay if he nods his head along in agreement at the moniker being thrown his way. I also wonder, as someone in the same generation as him, how he feels about so much of the chatter concerning how young he is. He recognizes and is okay with the fact that his being 20-years-old is a big part of his narrative. βItβs just part of the story, I guess. I also feel like itβs dope that Iβve had the opportunities that Iβve had at the age that Iβve had them. I also understand that my age is hard to separate from the story of it all. At the end of the day, as an artist, I want my work to be appreciated no matter what extraneous factors or considerations are attached.β
His work, for the large part, tries to focus on Black joy and his own perspective of Blackness as it informs his world. I ask if any of the conversations swirling around on social media about which Black stories are being told in the media affect the way he chooses his projects, and it is something Youmans is cognizant of, always. βI want to be representative of what Black people want to see. I want to be a part of that vanguard, in terms of expanding the view- and the way that we as Black people get to live in the film space. I want to be a part of broadening that, a part of widening that. I think my work is doing that. At least, thatβs really what Iβm trying to do.β
At this point, I switch gears, to more lighthearted questions. Iβm curious to know what inspires him and informs the worldview he speaks about so much. I noticed, in another interview, he talked about music, a medium very centered in the lives of Gen Z people. He rattles off for me a list of artists, from what I refer to as his βexpansive libraryβ, some that include Interwave (a Latinx band from LA), Raveena, Liv.e, AminΓ©, Crumb, and lots of Orion Sun. He also cites older influences such as The Velvetones, Elis Regina, Antonio Carlos Jobim, Aretha Franklin, The Beach Boys, Irma Thomas, The OJs, Marvin Gaye, and so many more. Bossa nova, alternative R&B, and soul music have been in heavy rotation for him recently as they serve as some of his inspo for his upcoming Black Panthers centered film,Β Magnolia Bloom. We donβt get much into it because as Youmans tells me itβs constantly evolving so heβd rather not divulge many details. But, he has been making playlists to help keep him motivated.
Another source of motivation for him is his native Louisiana. Youmans was born and raised in New Orleans, where he calls home. βNew Orleans is home. Itβs been the source of me developing my entire creative POV. That, my mother, my upbringing, everything that city represents, and has brought to me has been so cataclysmic. I have nothing but love and reverence for New Orleans. Iβm making my next feature (Magnolia Bloom), the bulk of our principal photography is in New Orleans. Iβm trying to bring all the work I can there and really represent the city in the best way I can.βΒ For a city so well known, its film scene is a little less known, but Youmans does good on bringing it more in the spotlight. Later, I wonder out loud which of his peers Youmans is inspired by as well. He takes quite a while to ponder before answering, making sure he doesnβt forget anyone. When he does have an answer, he names Garrett Bradley, Zac Manuel, and Nikki Houston. As for films heβs seen lately, he namesΒ Black Mother, but he admits he hasnβt been too tapped into whatβs been coming out (mostly in the festival circuit) because heβs so focused on production forΒ Magnolia Bloom, as well as whatβs been going on in politics and with the election.
Surprisingly, our conversation dips into something easier; sharing film recommendations, discussing favorite directors, and what weβve been doing in quarantine. Youmans, as Iβve come to learn of him, gives a somewhat profound and serious answer, with a breezy, yet earnest delivery. βIβve gotten better about using my time more productively. The more intense bends of isolation has helped me to key in. I feel like Iβve kind of rediscovered what brought me here in a lot of ways in quarantine. I feel like that same sort of tenacious, working spirit that Iβve always had, really came back in a big wayβ¦.I feel like my work has been a super therapeutic thing, so Iβve been a lot better about managing my time; diving into my work when outside pressures seem more intense because it helps me deal with them. It helps me cope.β When I mention my penchant for baking during my quarantine, it jogs his memory of the one new definitive skill he claims to have learned, cooking. βI know how to fry rice. I know how to cook bacon and cook a whole breakfast. I make the best French toast with brioche bread. All that kind of stuff. All those recipes. All that cooking has come from quarantine too.β But heβs partial to his signature dish chicken fried rice with brioche bread.
We wind up the conversation, talking about different odds and ends; playlists, astrology, Youmansβ older sister, Sydney, meditation and yoga, and healthier living practices. In our friendly rapport, it was easy to get sidetracked talking about random things, something I think speaks to how open and easy-going Youmans is himself. Finally, before signing off, he tells me about what new work he has coming up. A new short film (that he canβt speak much about yet), some music videos, and pre-production on his next feature,Β Magnolia Bloom. IfΒ Burning CaneΒ andΒ NovemberΒ have anything to say about it, Iβm sureΒ Magnolia BloomΒ will be yet another success in his filmography.
November streams on theshed.org until November 7th.
Preview YouTube video A Peek at βNovember,β Directed by Phillip Youmans | THE SHED
From the producer of The Town and Sicario, comes The Informer, a crime thriller that demands your attention from start to finish.
Moris Chestnut is known for his iconic roles such as Ricky in “Boyz n the Hood” and Lance in “The Best Man” and “The Best Man Holiday.”
However, the actor is now taking on a new role as a producer. Morris Chestnut is one of the producers of the film SpellΒ and his work on the film is the beginning of the next chapter of his career. The Knockturnal spoke with him about his new position as a producer, the film Spell, and what fans can expect to see next from him.
The Knockturnal: Many people know you from your roles in Boyz n the Hood, the Best Man, and other iconic Black films. What was it like working as a producer for spells?
Morris Chestnut: It was great, it was a great opportunity for me. This was something that I wanted. I started this project when there was nothing on the page. Everything else that Iβve been involved in within my career there was already a script and the studio had already bought it. This was something that had came about because Gordon Gray a producer on the film he gave me a script I read it, it was a good script but it wasnβt something I was interested in being involved with at that time and then my manager and I had a concept we talked to Gordon about Gordon responded to it and we started meeting with writers Kurt Wimmer who ultimately ended up writing Spell had a great pitch and Kurt is an extremely colorful person with a bright and sharp mind quick. So, Kurt came in and we told him the concept, he added a few things, and then we have Spell.
The Knockturnal: How do you feel working as a producer will influence your work in front of the camera?
Morris: Seeing projects from beginning to end. It gives me a better understanding of Β what people go through when they come up and when they get to the production of a project. I can say that most projects Iβve been involved with theyβve kind of already been sold. Iβve sold a couple of them but there was already something there. Now, this aspect of taking something from the beginning in shaping the character-shaping the world because sometimes it is much harder to do when a project is already done the writerβs already sold it the studio already loves it and then here us actors come in and say well we like the moon being full but we want it half. So it’s just little things like that it felt good to be able to shape a project from the beginning.
The Knockturnal: As a producer how do you feel Spell has evolved from the initial idea to the film audiences will see?
Morris: Spell its evolved. When we had the meeting with Kurt I have to say it’s pretty there are some things in the film that when we came up with the concept my manager and I and we met with Gordon and he responded we started meeting writers so we already had a basic fundamental concept of what we wanted the film to be when we met with Kurt he was adding this he was adding that adding the hoodoo over the voodoo. He added a lot of nice touches, of course, he wrote it and he turned it around fairly quickly and when he did that you know we had some notes as you do with a collaborative effort somethings are gonna make it in and then some things arenβt. The film has evolved into a good place there are some things that I wanted in or changed that part but a part of the collaborative process and I think ultimately we have a good project that people are going to be entertained by so that’s great.
The Knockturnal: Did you learn anything about Hoodoo or root healing by working on this project?
Morris: A little bit not much. It was a world that I was not that familiar with and Kurt he’s like an encyclopedia. I donβt know if you know what an encyclopedia is? Some long time ago we used to have to look things up. Kurt, he’s very knowledgeable on it and those are the types of things that I have a little bit of knowledge about but I donβt get too close or too deep.
The Knockturnal: Speaking of iconic Black films, one of the stars of this movie is Loretta Devine. What was it like being able to work with her on this project?
Morris:Β One of the things I wanted to do on this project that I wasn’t able to because of my schedule was that I wanted to be an onset producer with the project. Once, this project started at least four or five years ago now, and by the time we got it sold and had the green light I was already on another project so I didn’t get the chance to go out and be on set and work with the actors and just be there in a different capacity than I normally was, unfortunately.
The Knockturnal: Loretta stars in this film with Omari Hardwick who many of us know from the show power what was it like seeing Omari transition from depicting Ghost to playing Marq in this film.
Morris: It was good. I was looking forward to seeing Β what he was going to do with it and how he was going to approach it. I think people will enjoy him in the role. I know a lot of people love Power and he has a huge fan base so it was good to see him make the transition.
The Knockturnal: What was one of your favorite aspects of producing this film?
Morris: Just taking it from its inception I mean you know what I feel good about is that this project is not even coming out in theaters or on streaming or anything without my manager and I talking to Gordon about our idea without my manager and Iβs concept about what we wanted to do this film or this feature film doesn’t exist so that’s one of my favorite points about it.
The Knockturnal: What do you hope audiences will gain from this project?
Morris: I just hope that audiences will be entertained I know that sometimes with films or with projects there are messages that we want people to get and messages that you know agendas people have and I think you know with this particular film at this particular time in the world I just hope that it’s escapism to where we can get away for a minute from everything we have going on in the world and just be entertained. That’s what I hope.
The Knockturnal: With you mentioning escapism do you feel like entertainment or film, in general, has that power especially in 2020?
Morris: Most definitely yeah most definitely. I think that when I say without an agenda I think that sometimes people create entertainment to push an agenda. I just feel there are times when I watch sports or when I go watch a movie or tv I just want to have an escape. I’ve had a busy day here I’ve been dealing with this and dealing with that and I just want to escape I don’t want to think about everything I’ve been thinking about for the whole week so now I don’t wanna think about what I’ve been thinking about since 2020 Β since a lot has been happening. So I hope that this is the type of film where people can escape for two hours and just enjoy the film.
The Knockturnal: Do you see yourself wearing the producer hat in the near future?
Morris: Without a doubt, that’s what I want to do more than anything. Itβs hard as an actor for being in front of the camera it’s hard for people to take you seriously behind the camera because you know actors get these vanity titles βhey okay we’ll put your name as a producer just star in the movie don’t say anything do your work and weβll give you the producer titleβ but I want to make a film from beginning to end without being in front of a camera two seconds and being the onset producer that’s my goal and this brings me one step closer to it.
“Come Play” is an untraditional horror story written by Jacob Chase.