Fox Searchlight Pictures
Presents
A HELLER HIGHWATER /
MAGIC JOHNSON ENTERTAINMENT Production
A RICK FAMUYIWA Film
TAYE DIGGS
SANAA LATHAN
MOS DEF
NICOLE ARI PARKER
BORIS KODJOE
and QUEEN LATIFAH
WENDELL PIERCE
ERIK WEINER
REGGI WYNS
Casting by ALEXA L. FOGEL
Music Composed by ROBERT HURST
Music Supervisors BARRY COLE and
CHRISTOPHER COVERT
Co-Producer TRISH HOFMANN
Costume Designer DARRYLE JOHNSON
Film Editor DIRK WESTERVELT
Production Designer KALINA IVANOV
Director of Photography ENRIQUE CHEDIAK
Executive Producer EARVIN "MAGIC" JOHNSON
Produced by PETER HELLER
Story by MICHAEL ELLIOT
Screenplay by MICHAEL ELLIOT and
RICK FAMUYIWA
Directed by RICK FAMUYIWA
Rated: PG-13, Run Time: 109 minutes
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SYNOPSIS
Dre (Taye Diggs) and Sidney (Sanaa Lathan) can attribute their friendship and the launch of their careers to a single childhood moment … the day they discovered hip-hop on a New York street corner. Now some 15 years later, she is a revered music critic and he is a successful, though unfulfilled music executive. As they lay down the tracks toward their futures, hip-hop isn't the only thing that keeps them coming back to that moment on the corner…
Directed by Rick Famuyiwa (THE WOOD), BROWN SUGAR stars Taye Diggs (HOW STELLA GOT HER GROOVE BACK), Sanaa Lathan (LOVE & BASKETBALL), Mos Def (MONSTER'S BALL), Nicole Ari Parker (REMEMBER THE TITANS), Boris Kodjoe (LOVE & BASKETBALL) and Queen Latifah (THE BONE COLLECTOR). The screenplay is written by Michael Elliot (LIKE MIKE) and Rick Famuyiwa based on a story by Michael Elliot. The film is produced by Peter Heller (LIKE MIKE) and co-produced by Trish Hofmann (IGBY GOES DOWN). BROWN SUGAR marks Earvin "Magic" Johnson's first feature film as an executive producer.
ABOUT THE STORY
"I always felt like all the great love stories weren't ones that had black people in them. I just wanted to create something really romantic that by the end of the movie, touched you," says Screenwriter Mike Elliot of his motivation for BROWN SUGAR.
Elliot decided to base the story on lifelong friends who, as adults, come to the realization that they are also in love with each other. Once he had worked with the basic concepts of the love story, Elliot placed Sidney and Dre against a background he was intimately familiar with, the world of hip-hop music. "I had the desire to create a love story inside a world that I loved. It just made sense," Elliot recalls.
Producer Peter Heller was quick to recognize the story's potential. "It's really hard to find a romantic comedy that can surprise people because the structure for the genre has become so fixed in stone. This film sets the audience up to believe that something is going to happen, and then all sorts of other things happen. "
Elliot's obvious love and understanding for his characters was another reason Heller was drawn to the script. He explains, "The secondary characters in romantic comedies are usually set up to be weak, so you know why the two main characters end up together. This was not the case. All of the characters are really funny and rich, unique and grounded. "
When Fox Searchlight Pictures came on board, the quest began to find a director who could bring this unique combination of elements to the screen. It soon became apparent that Rick Famuyiwa was the ideal man for the task. "He saw in this script an opportunity to use it as a metaphor for people who grew up loving hip-hop music, and who found something in the music that was unique and fresh and theirs," comments Heller.
Famuyiwa made his feature film debut with THE WOOD. The film, an insightful exploration of male friendship, also proved that he knew how to make music an integral and seamless element of the story. In addition to being a talented director, Famuyiwa is also a noted screenwriter. After reading the script, he had a number of ideas that he wanted to incorporate into the story. Elliot welcomed the opportunity to collaborate with the talented director. "It is such a blessing to have someone like Rick to work with. From the moment Rick added his own thoughts to it, not only did his ideas gel with mine, but they elevated the script and the movie. "
Famuyiwa describes BROWN SUGAR as a dream project because it combines some of his favorite topics - romance, hip-hop culture and the ways in which people relate to each other. "I love doing stories about people, about friendships and relationships, and how we fall in love. So when I saw the concepts in the screenplay, I knew that I wanted to build on that. It had six characters that I thought I could develop and really make into special, quirky individuals. "
Like Elliot, Famuyiwa grew up listening to hip-hop. He can easily recall the time that he fell in the love with this constantly evolving cultural force. "There was a radio station in Los Angeles called K-DAY that played hip-hop all the time. There was an outlet that I could turn the dial and hear Eric B. and Rakim, LL Cool J and Run DMC. I heard all the stuff coming out of New York, and the stuff that started to develop in Los Angeles with NWA and Eazy E and that's when I truly fell in love," Famuyiwa reminisces.
"Just the idea of this romantic comedy being set in the world of hip-hop, which is the music that I grew up with, really moved me. I felt a connection immediately. I thought that it would be interesting to make a film where the characters' love for the music spoke to the love that they had for each other. That's the idea that I wanted to play with. "
He welcomed the opportunity to show the diverse elements that co-exist in the world of hip-hop. "You don't think of hip-hop when you think of a romantic comedy. There's a certain connotation that comes with the music, because a lot of what's popular is negative and violent. I feel that there's always been romance in the music. It's always been a music that's true, so whether that truth is violent, whether that truth is love or friendship - hip-hop has always been multi-layered. .. I wanted to do something that showed a different side of the music that I love," he concludes.
ABOUT THE CAST AND CHARACTERS
With the script complete, the filmmakers started the search for the actors who could bring the characters to life. As he developed the characters Dre and Sidney, Famuyiwa knew that he wanted to cast Taye Diggs and Sanaa Lathan for the roles. "I'd worked with them before on THE WOOD, and they have chemistry between them. I knew they would work perfectly together. "
Famuyiwa believes that audiences will be surprised to see a new side of Diggs' many talents. "Most people don't see how funny he is. Taye is a serious actor, but he also has a warmth and humor that he really hasn't shown before. "
Diggs was working on another project when he first heard about BROWN SUGAR. "Anything that Rick's attached to always interests me because he has a real sensitivity and sensibility for telling a good story, and tugging on people's strings. So I was interested," Diggs remembers.
That initial interest grew when Diggs read about the metamorphosis that Dre goes through during the course of the film. "He starts out as a slick, music industry cat, then he realizes that he's lost why he came into the music business in the first place. At the same time, his relationship with his wife is undergoing a series of changes that push him toward becoming a better, more grounded person. All these dynamics were a wonderful opportunity for an actor to play different shades of a character," Diggs recalls.
The thematic thrust of the story was yet another attraction, Diggs says. "It's a love story with comic overtones, but that also deals with old friends and their relationships. As I get older, a lot of these themes have more relevance for me. This was something that I wanted to be part of. And then I found out that they were talking to Sanaa as well. She's always a ball to work with, she's one of the best actresses I know. "
Sanaa Lathan plays Sidney Shaw, a journalist who has recently relocated to New York from Los Angeles to become the editor of the hip-hop magazine, "XXL. " Famuyiwa says of Lathan, "There are so many ways Sidney could have been played, but Sanaa brought such a strength and vulnerability, a sweetness and honesty to the character. .. To see Sidney come to life with the nuances that Sanaa brought to the character each day, surprised and motivated me. "
Lathan counts on her intuitive sense when considering a role. She describes the process, "It's all a gut feeling - how I feel when I turn the last page. " Lathan describes her character as "A regular woman who loves music and is good at what she does. She's a workaholic who's given up dating. She never meets the right guys. At the beginning of the story, Sidney has decided to focus on her work. "
Of Diggs, with whom she had previously worked in her breakout performance in THE BEST MAN, Lathan states, "There's only so far that you can go pretending to be best friends, but Taye and I have worked together before. We've been friends ever since then, so we're very comfortable with each other. We're able to be silly and let it all hang out. "
Their friendship in the film parallels the development of hip-hop music and culture. They met as young children at a rap freestyle battle and became best friends. As Sidney and Dre mature, so does the music. Tastes change, styles change, but the people and music continue to grow and evolve. Sidney is in love with hip-hop, and that love distracts her from acknowledging her deeper feelings for Dre.
In addition to portraying a strong male/female friendship on screen, Lathan had the opportunity to explore the female relationship that develops between Sidney and Dre's wife Reese, played by Nicole Ari Parker. Parker describes Reese as "very straightforward. She loves her man, she loves her job, and she loves life. I don't know if she even considers failing at anything. She's a real go-getter and hustler in the way she works a room, works a party. She's kind of innocent in a way, because she's so driven and exacting. "
An ambitious and driven lawyer, Reese begins to resent the time that Sidney and Dre spend with each other. Lathan explains, "Reese has a problem with the fact that Dre tells Sidney things first, or calls her late at night. Dre and Sidney have something that they don't have. So sparks fly…"
Heller says of Parker and her character, "Reese is a very important part of the movie, because it's a movie where you really don't want to know until the end of the film who's going to end up with who in various ways. Reese was written as a really strong character, and we needed an actress who would believably take Dre's breath away. We were lucky. Nicole is so beautiful, and such a beautiful actress, she's just so sexy and wonderful in this film. "
Boris Kodjoe is well known for his role opposite Nicole Ari Parker on the popular show "Soul Food" but that was not what drove the filmmakers to cast him as Kelby, Sidney's love interest in the film. "We were interested in Nicole and Boris individually, but it was funny to see their dynamic on the show, even though they only have a brief scene together in the story," says Heller.
Kelby's role in the film is similar to that of Reese. He represents Sidney's love interest in contrast to her friendship with Dre. It was important to cast someone who the audience would accept as a viable competitor for Dre - someone who would make Sidney's head turn. "In Boris, we have someone who does that. He's a great looking guy and is believable as a great basketball player. He is also intelligent and interesting to a woman like Sidney. Boris pulls it off," comments Heller.
A veteran of hip-hop's music tradition, Queen Latifah plays the role of Francine, Sidney's best friend. The filmmakers wanted to defy some of the stereotypes associated with 'best friend roles. ' They were not interested in having Francine played as a "loud, over the top, larger than life character," explains Famuyiwa. "I knew that Latifah has a subtlety about herself and a presence that would be great for Francine. She has her moments, but it doesn't become sitcom-like. "
Latifah describes Francine as a "party girl," but recognizes that the character serves to remind Sidney to connect with her feelings, and to allow herself to enjoy life. "Francine sees when Sidney is trying to cover up her emotions. She spends half of her time trying to convince Sidney of what she already knows. "
Cast in the role of the talented, but jaded rapper Chris, Mos Def brings much more than his authentic hip-hop credentials to the project. Famuyiwa explains, "He's such a natural. He uncovered unexpected layers in Chris. He's brilliant. He plays eight instruments, he acts, he sings, he does everything. " As an actor, Famuyiwa says of Mos Def, "He understands the work and understands what he has to do. Each time, he comes into a scene, your eye goes to him, because he has such a presence. "
Mos Def seized the opportunity. "I wanted the chance to work with Rick, Taye and Sanaa. Plus the prospect of doing a romantic comedy was exciting. " He will admit to having had some concerns about the role. "It's a challenge playing a rapper even though it may not seem so, but I don't want to play anyone who's close to me. I wanted to play a character that was different from me," he explains.
The similarities between Mos Def and his character are patently clear. They both rhyme, and have deep convictions about whom they conduct business with, and the way that their music should be promoted. However, Mos Def is quick to pinpoint the differences as well. "Chris is real talented, but he's not that ambitious. He's waiting for the dust to settle. He's not a career dude, he's just a really great artist who's jaded and disaffected about the industry. So, it's fun to play a character like that. "
As a character, Chris symbolizes the ancient conflict between creativity and commerce. When he spurns Dre's offer of a contract, he forces Dre to make a choice - a return to a 'purer' way of making music. Unlike his character, Mos Def does not consider himself a revivalist. "But I think that it's important to be able to learn from history, tradition and apply it to new movements in music. That's one of the disadvantages of popular culture today is that it doesn't have a real relationship to anything that came before it. "
Heller gives credit to Famuyiwa for the way he set the cast at ease. He explains, "Rick's confidence and knowing what he wanted, enabled the actors to feel very open. They were able to relax in these roles and bounce off each other. " Kodjoe agrees, "He empowered us to be creative and to express ourselves. He allows you to reveal yourself within the framework of his creative vision. That's an important gift to have as a director. "
ABOUT THE PRODUCTION
BROWN SUGAR has the distinction of being one of the first feature films to shoot on location in New York following the tragic events of September 11, 2001. Comments Famuyiwa, "It's good to make a film that celebrates the city in the way that this film does. "
During the pre-production phase, the filmmakers scouted the city in search of the perfect locations to illustrate hip-hop's birth and ongoing evolution within the city. "New York is the birthplace of hip-hop music. There's a sensibility in New York - a sophisticated, cosmopolitan, urban thing that you get in New York and nowhere else. That was the energy that we really wanted in this film," says Heller.
Shooting on location in New York City, was a big drawing card for Famuyiwa. "I wanted the film to be a love letter to the city. I definitely wanted to capture how I see the city and what it means to me. " Coming from Los Angeles, Famuyiwa felt that he could offer a fresh slant. "I think that I have a different eye and a different perspective on the city, as opposed to if I was born and raised in New York. "
Two days after the tragedy, with the Queens production office inaccessible to the largely Manhattan-based crew, producers Heller, Hofmann and Famuyiwa met with the department heads in a park to discuss their options. "We sat and talked. Everyone got the opportunity to say that they didn't want to go on with the picture, that they were scared, that they were too emotional, or that it was the wrong time," remembers Heller. But no one felt that way. "To the last person, everyone insisted that we keep going," says Famuyiwa. "It's a credit to the toughness of New York that we were able to continue. "
Famuyiwa says executive producer Earvin "Magic" Johnson played a big part in helping them to make the final decision. "He came in and lifted morale. His visit really helped. We already felt that we were doing something important and special, but to have him and his presence was just what we needed at the time. "
Still, the decision to continue made for a difficult time. "There were many things that would have made it impossible to shoot the movie. Yet, we had to believe that as we went forward, those restrictions would loosen up," says Heller. Their optimism was rewarded. Film and location permits became available as needed. "We ended up being able to use all of the locations that we had originally picked, including one in Tribeca that required special permission from the Mayor's Office. "
The film was shot in Manhattan, Brooklyn, Queens and the Bronx as the filmmakers re-traced the evolution of hip-hop, and the trajectory of the story's romance. "We wanted to use the atmosphere of New York's hip-hop culture as a backdrop to a brewing romance," states Famuyiwa. "We also utilized Fort Green Park, parts of Williamsburg and Brooklyn, which really allowed us to show the city that comes across in the film. "
Of those post-9/11 days Lathan recalls, "It was healing for everyone that came to set everyday to work, and actually have something to do. There were times when we were shooting in Central Park and people would walk by and thank us for staying and doing a film in the city. "
Kodjoe remembers the family atmosphere that developed amongst the cast members. "To create chemistry on a deeper level, you have to click on and off the set. That happened instantly. .. We are like a family. We talk about our lives at home. We care about each other and that shows on the screen. "
During the film's pre-production phase, cinematographer Enrique Chediak started what he terms 'an incredible collaboration' with Famuyiwa. "Rick wanted us to do something that isn't usually seen in romantic comedies. .. When shooting began, we had already shot-listed everything in advance so we hardly had to speak. It was all very smooth," recalls Chediak.
Production Designer Kalina Ivanov said her goal was to capture the vitality of hip-hop music through the film's design. Ivanov explains, "Hip-hop is a pure New York art form because it began here and evolved from here. Hip-hop began as something sweet and rebellious and became an international phenomenon. Rick and I wanted to show that in the film's palette, its colors and its locations. "
The added element of the September 11th tragedy colored that approach. "The film became a valentine to New York and to hip-hop. I wanted to layer it with warmth and love," says Ivanov.
Famuyiwa and Heller wanted the film to be infused with touchstones of the hip-hop culture. "Everything that is referenced in the film is real. Sidney doesn't work at a fake magazine, she works at "XXL" - a bona-fide hip-hop publication," says Heller. Ivanov points out the use of Webster Hall - the location of many hip-hop Open Mic shows - for the scene in which Dre sees Chris perform for the first time, and the radio station Hot 97. Track suits, gazelles, Kangols and gold rope chains are recognizable signifiers of the culture, as are the break-dancing and pop-locking extras that contribute to making the film a viable ode to hip-hop.
Costume Designer Darryle Johnson knew that it was important to get the look right. "Hip-hop has a uniform. It has become important for many hip-hop artists to wear their success on the outside. They also lead fashion. " Johnson knew that the look had to be authentic to the world of hip-hop; it had to denote a certain amount of success in a culture in which appearances are important and the personalities are recognizable. "I want the audience to believe that anyone of the characters could be their neighbor. "
In designing the look for Sidney, Johnson drew inspiration from record industry veteran Sylvia Rhone. "I wondered what would a young Sylvia Rhone look like?" he recalls. Yet he wanted to be able to capture Sidney's transition from 'one of the boys' to becoming a woman who knows that she deserves to have a personal life.
With Dre, Johnson shows a different type of transition. Dre has reached the top level of the music industry and finds that it's regimented and that there's less leeway to take chances and be creative. Johnson captures this by dressing Dre in Thierry Mugler's streamlined suits. When Dre leaves Millenium Records and strikes out on his own, his style evolves into a looser, more casual style of costuming.
ABOUT THE MUSIC
Icons of the hip-hop world - Doug E. Fresh, Slick Rick, Dana Dane, Big Daddy Kane, Kool G Rap, De La Soul, Talib Kweli, Common, ?uestlove, Black Thought, Jermaine Dupri and Pete Rock - appear in the film's opening sequence. Their answers to the question, "when did you first fall in love with hip-hop?" reveal that the romance with the music is heartfelt and everlasting.
Famuyiwa says, "I thought that it would be interesting to ask some real folks that question, because that's the metaphor of the film. It was also very important to me to not only use hip-hop as the backdrop but to also implement some true hip-hop legends in the film. Working with Doug E. Fresh, Slick Rick and Mos Def was a true blessing," states Famuyiwa. "I mean Russell Simmons even makes a cameo in the film. "
Composer Robert Hurst enjoyed the chance to create source music that accentuates and unites the film's diverse musical and emotional layers. He let himself be inspired by the action on the screen. He recalls, "The actors did a great job of getting their vibes and feelings across on screen. I simply watched the acting and listened to Rick to connect the dots. There is music in everything and a 'musician' knows what to play and how to play it. "
Hurst believes that the score music and source music function in parallel to enhance the director's vision for each scene and story line. The benefits of such an arrangement are that "one is allowed to enjoy familiar source music, new original 'pop' songs, and a host of textures in the under-score throughout the film. "
Famuyiwa was deeply involved in supervising the musical elements for the film. He explains, "Hip-hop is literally a character in the film, so I had to be a director in selecting the music as well. And considering how the music adds to the scenes and to the filmmaking process, it was important to choose wisely. "
As befits a film that uses hip-hop as an integral 'character,' BROWN SUGAR is saturated with music, which was supervised by Barry Cole and Christopher Covert. Their choices combine both old school and contemporary hip-hop music with jazz and a traditional underscore to create a rich and diverse sound. Cole explains, "There are two different worlds of music within the film. The music that the characters deal with directly and the music that tracks the characters' emotional growth. "
The soundtrack, which includes original songs written expressly for the film, classics and previously unreleased material, will be released by MJM/MCA UMG Soundtracks on September 24. The title track, "Brown Sugar (Extra Sweet)" by Mos Def and featuring Faith Evans, is followed by "Love Of My Life (An Ode To Hip-Hop)" by Erykah Badu featuring Common; Angie Stone on "Bring Your Heart;' Black Star with "Brown Sugar (Raw);" Jill Scott's "Easy Conversation;" Blackalicious' "It's Going Down;" Mos Def "Breakdown;" Hi-Tek "No One Knows Her Name;" Eric B. and Rakim "Paid In Full (Seven Minutes Of Madness);" Rahsaan Patterson "You Make Life So Good;" Mary J. Blige on "Never Been;" and Cassandra Wilson's rendition of "Time After Time. " Mos Def and Faith Evans' "Brown Sugar (Extra Sweet)"; and Love Of My Life (An Ode To Hip-Hop)" by Erykah Badu featuring Common will be released as singles with accompanying videos.
"The music is a love letter to hip-hop as defined by the characters. This isn't a greatest- hits compilation from the last 25 years. It is a reflection of what it was like for the first generation of hip-hop, growing up as the music began, and maturing as the music continues to evolve," says Cole.
Cole and Covert were pleased to work with a director "who's so passionate about music. It was nice to know that we were on the same page. "
Famuyiwa's overall goal is simple. "I want you to walk out of the theatre feeling good. It's the kind of film that makes you want to fall in love. If there's something that you love passionately whether it's music, art, a person, a job, I want you to walk away with an appreciation of what that love is," concludes Famuyiwa.
ABOUT THE CAST
TAYE DIGGS (Dre)
Taye Diggs made an unforgettable feature film debut starring opposite Angela Bassett in Twentieth Century Fox's HOW STELLA GOT HER GROOVE BACK. Diggs will next be seen in Miramax's screen adaptation of CHICAGO, opposite Renée Zellweger, Catherine Zeta-Jones, Richard Gere and John C. Reilly. The film is scheduled for a December release. He recently completed production on John McTiernan's BASIC, in which he stars opposite Samuel L. Jackson and John Travolta. Diggs is currently in production on Warner Bros. ' "Untitled Jamie Kennedy Project" for director John Whitesell. He will next be seen in the futuristic thriller EQUILIBRIUM, opposite Emily Watson and Christian Bale.
Diggs' additional film credits include Doug Liman's GO; THE WAY OF THE GUN, written and directed by Christopher McQuarrie; Malcolm D. Lee's THE BEST MAN; HOUSE ON HAUNTED HILL; and Rick Famuyiwa's THE WOOD.
For television, Diggs was last seen guest starring as Jackson Duper on David E. Kelley's hit "Ally McBeal, " for which he appeared in six episodes. Diggs has also appeared on "New York Undercover," "Law and Order" and "The Guiding Light. "
Diggs' talent was first recognized in Broadway's Pulitzer Prize winning play "Rent" for his role as Benny the landlord. His first stage appearance was a coveted role in the ensemble cast of the five-time Tony Award®-winning play "Carousel. " Recently Diggs appeared in Manhattan Theater Club's "The Wild Party," winner of the Outer Critics Circle Award for "Best Off-Broadway Musical. "
SANAA LATHAN (Sidney)
Sanaa Lathan first worked with Rick Famuyiwa on his directorial debut, THE WOOD. She will next be seen opposite Denzel Washington in Carl Franklin's crime thriller OUT OF TIME.
Lathan received critical acclaim, including a Best Actress Award from the NAACP, for her performance in writer/director Gina Prince-Bythewood's romantic drama LOVE & BASKETBALL with Omar Epps. She reunited with Prince-Bythewood for the HBO film "Disappearing Acts," starring opposite Wesley Snipes. Lathan also appeared in Malcolm D. Lee's THE BEST MAN opposite Taye Diggs. Her performance earned her an Image Award nomination for Best Supporting Actress.
Additional feature film credits include Ted Demme's hit comedy LIFE; New Line's sci-fi thriller BLADE, with Wesley Snipes; and producer/writer/director Chi Moui Lo's CATFISH IN BLACK BEAN SAUCE.
Lathan's television credits include a series regular role on NBC's "LateLine" with Al Franken, and a starring role in the CBS original movie "Miracle In the Woods" with Della Reese and Meredith Baxter.
A graduate of the Yale School of Drama, Lathan has performed on stage in numerous regional and off-Broadway productions including "Por' Knockers" and "A Movie Star Has To Star in Black and White" at The Public Theater. Last summer she appeared as Isabella the nun in a Shakespeare in the Park production of "Measure for Measure" at the Delacorte Theater in Central Park.
Her performance in "To Take Arms" in Los Angeles was rewarded with a nomination for Best Actress by the NAACP Theatrical Award Committee. Most recently she starred in New York's West Side theatre production of Eve Ensler's acclaimed production of "The Vagina Monologues. "
MOS DEF (Chris)
Mos Def recently appeared in MONSTER'S BALL with Halle Berry and opposite Robert De Niro and Eddie Murphy in SHOWTIME. Other film credits include MTV's "Carmen: A Hip Hopera" and Spike Lee's BAMBOOZLED.
His work for television includes appearances with Bill Cosby on "Cosby Murder Mysteries" and MTV's hip-hop comedy series "Lyricist Lounge" as a producer, writer and cast member. He serves as co-executive producer, music supervisor and host of the HBO series "Def Poetry. "
Def recently made his Broadway debut in the role of Booth in "Topdog/Underdog," with Jeffrey Wright. Directed by the acclaimed, George C. Wolfe, "Topdog/Underdog" has won critical praise as well as the Pulitzer Prize for Drama for playwright Suzan-Lori Parks.
Def catapulted to hip-hop fame with the release of "Universal Magnetic" in 1996. With Talib Kweli he formed Black Star, whose debut "Mos Def and Talib Kweli Are. .. Black Star" would become one of 1998's most important and critically acclaimed hip-hop albums. Def released a solo album, "Black of Both Sides," and appeared on "Lyricist Lounge Vol. 1" and "Lyricist Lounge Vol. 2," with Def performing on three tracks. Scheduled for release in 2003 is the debut album of the Black Jack Johnson Project, a band Def put together consisting of himself, Will Calhoun and Doug Wimbish of Living Colour, Doctor Know of Bad Brains, and Bernie Worrell of Parliament Funkadelic.
NICOLE ARI PARKER (Reese)
Nicole Ari Parker was most recently seen in REMEMBER THE TITANS. She has also appeared in BLUE STREAK, BOOGIE NIGHTS and in the HBO Original Film DANCING IN SEPTEMBER. Other film credits include 200 CIGARETTES, LOVING JEZEBEL, SUBWAY STORIES and THE ADVENTURES OF SEBASTIAN COLE, a winner at the 1999 Sundance Film Festival.
Parker is best known for her role as Teri Joseph on Showtime's award-winning original series "Soul Food. " She also appeared in the television movie The Wonderful World of Disney's "The Loretta Claiborne Story," "Exiled," and "Mind Prey. "
Parker has an extensive background in theatre, having performed in off-Broadway productions like "Chicago," "House of Lear," and "Romeo and Juliet. "
Parker has been nominated for three NAACP Image Award and had the pleasure of presenting President Bill Clinton with a Thurgood Marshall Lifetime Achievement Award at a ceremony hosted by the NAACP. She also received a special award at the Urban World Film Festival for Outstanding Body of Work as an Actress.
BORIS KODJOE (Kelby)
Boris Kodjoe was recently seen in LOVE & BASKETBALL with Omar Epps and Sanaa Lathan. He is currently developing a project for Fox Searchlight Pictures entitled PAPA WAS, in which he will star and produce.
Kodjoe received a 2002 NAACP Award Nomination for Outstanding Supporting Actor in a Drama Series for his second season on "Soul Food. " He has also guest-starred on the sitcom "For Your Love. "
Kodjoe joined the Ford Modeling agency in 1997. His career skyrocketed immediately when he booked 12 campaigns such as Ralph Lauren, Perry Ellis, Yves Saint Laurent and GAP within the first seven months. He worked with photographers like Bruce Weber, Herb Ritts, Mathew Rolston and Marco Glaviano for major publications, such as Vogue, GQ and Esquire. His impressive track record was awarded with a Supermodel Award at the Fall '98 fashion shows. He can currently be seen in magazine ads and on billboards worldwide for Polo Ralph Lauren.
QUEEN LATIFAH (Francine)
Queen Latifah will next be seen in Miramax's CHICAGO with Richard Gere, Catherine Zeta-Jones and Renée Zellweger. She recently completed work on BRINGING DOWN THE HOUZE, in which she stars and serves as executive producer.
Since her screen debut in Spike Lee's 1992 film JUNGLE FEVER, Latifah has starred in SET IT OFF, which earned her a nomination for a Spirit Award in the Best Actress category; and co-starred with Holly Hunter and Danny DeVito in the critically acclaimed LIVING OUT LOUD. She was last seen in Universal's THE BONE COLLECTOR, directed by Phillip Noyce and starring Denzel Washington.
Latifah recently starred in a film for CBS entitled "Living With the Dead," opposite Ted Danson. For two years she hosted a one-hour syndicated talk show appropriately entitled "Queen Latifah. " Her first series, "Living Single," was a huge success and is currently in syndication.
Latifah is also one of music's most well respected rappers. Since her ground breaking 1989 debut "All Hail the Queen," Latifah has earned three Grammy® nominations as well as a Grammy Award for Best Solo Rap Performance in 1994. Her upcoming album will feature celebrated artists such as Missy Elliot, Mary J. Blige and Method Man, and new artists Cole, Gotti and Picasso. Flavor Unit Entertainment, a company owned and operated by Latifah and her partner Sha-Kim Compere, manages some of the biggest names in music.
In addition to music, film and television, Latifah has also written a book on self-esteem entitled Ladies First: Revelations of a Strong Woman.
ABOUT THE FILMMAKERS
RICK FAMUYIWA (Director/Co-Screenwriter)
Rick Famuyiwa made his feature film directorial debut with THE WOOD from an original script he developed at The Sundance Institute. Recently Famuyiwa served as one the writers on the upcoming film THE FIGHTING TEMPTATIONS. He is currently writing a script that he will also direct for Fox Searchlight Pictures called FEELING ARETHA.
Famuyiwa played Division I basketball for USC where he was a double major in Cinema/Television Production and Critical Studies. During his senior year at USC, Famuyiwa wrote and directed his critically acclaimed thesis film BLACKTOP LINGO, a 12-minute short film about basketball. In 1996, the film was one of only 29 films selected from 1,500 submissions to be screened at the Sundance Film Festival, earning Famuyiwa the distinction of becoming the first undergraduate from USC to ever have a film shown there.
MICHAEL ELLIOT (Writer)
Michael Elliot sold his first spec script - SEVEN DAYS - to Twentieth Century Fox. Since then Elliot has written the recent LIKE MIKE and MTV'S "Carmen: A Hip Hopera. " His other film writing credits include THE LAST RIDE and GOT MONEY? He is currently developing MTV's next hip hopera FAUST and the feature GOT MILK? for Universal Pictures.
Elliot made hip-hop history when he published "Krush Rap," the first publication devoted to hip-hop music. He also wrote and self-published, The Unsigned Rappers' Guide to Gettin' a Record Deal in 1992. Elliot was the host and co-producer of the nationally syndicated hip-hop countdown radio show "Street Heat" and served as president of Source Entertainment. He also served as executive producer for the "The Source Hip-Hop Music Awards" in 1999 and 2000.
PETER HELLER (Producer)
Peter Heller recently produced LIKE MIKE for Twentieth Century Fox, starring Lil' Bow Wow and Morris Chestnut. Other producing credits include BONES for New Line Cinema, starring Snoop Doggy Dogg and Pam Grier and directed by Ernest R. Dickerson, and CAUGHT UP with Bokeem Woodbine and Cynda Williams. Heller served as executive producer on BARB WIRE and HOTEL DE LOVE.
Before becoming an independent producer, Heller ran the film division of Propaganda Films, was the president of John Hughes' production company, and was an executive at Universal Pictures. His company, Heller Highwater, also manages writers and directors.
EARVIN "MAGIC" JOHNSON (Executive Producer)
BROWN SUGAR marks Earvin "Magic" Johnson's debut as an executive producer on a feature film. Although Johnson is universally known for his illustrious 13-year career in the National Basketball Association, he has redefined himself as a businessman who focuses his efforts on revitalizing neglected communities and providing quality entertainment and services. Johnson is Founder and CEO of Magic Johnson Entertainment, a multimedia company of film, television, publishing and animation divisions. The company recently produced MAGIC VS. BIRD: THE GAME THAT CHANGED THE GAME, a documentary for Fox Sports Net and "Passing Glory," a movie of the week for TNT, both of which Johnson executive produced. As host of a one-hour network special for FOX, Johnson had interviews with Whoopi Goldberg, Garth Brooks and Shaquille O'Neal. He also co-hosted Nickelodeon's Cable Ace winning broadcast, "A Conversation with Magic," now on video. Johnson commentated for NBC at the 1996 Summer Olympic Games, and has served as an analyst for the network on NBA telecasts.
Magic Johnson Entertainment has a partnership with Blackboard Entertainment, a company that creates, produces and distributes a brand of children's educational multimedia products. Magic Johnson Music (MJM) includes a record label distributed by MCA. Their first artist, Avant, went platinum. Magic Johnson Productions (MJP) promotes special events and tours, like the recent Up In Smoke Tour.
Johnson also serves as Chairman and CEO of Magic Johnson Theatres and Johnson Development Corporation. The Johnson Development Corporation (JDC) works to foster local growth and financial empowerment in long-neglected urban and surburban neighborhoods by developing entertainment complexes, restaurants, and retail centers in under-served communities. JDC is comprised of Magic Johnson Theatres, Urban Coffee Opportunities (Starbucks Coffee Company), Magic Johnson's T. G. I. Friday's, West Las Vegas Joint Venture and the Canyon-Johnson Urban Fund, LP.
In April 1998, Johnson partnered with Janet Jackson and Jheryl Busby to acquire majority interest in Founders National Bank in South Central and East Los Angeles, forming JJB Partnership. This partnership recently merged with Boston Bank of Commerce, forming the third largest African American owned bank, with assets over 300 million dollars.
The recipient of several awards and honors, Johnson was recently named "Entrepreneur of the Year" by the Crenshaw Chamber of Commerce, named one of Fortune Magazine's Top 50 Most Powerful Black CEOs, honored with the Summit 2000 Ronald H. Brown Award for Leadership, the 1998 Boston College Excellence in Community Leadership Award, the 1998 PRAME President's Award, named one of the 100 Most Powerful People in Los Angeles, and named the 1998 United Nations Day Co-Chair. Johnson has earned five NBA championship rings, led the Los Angeles Lakers to nine appearances in the NBA finals and was a member of the original Dream Team, winning a gold medal at the 1992 Olympics in Barcelona. During his career with the NBA, Johnson also won three MVP awards and played in 12 NBA All-Star Games. Johnson remains part of the Laker team, serving as vice president and co-owner.
Although retired from the NBA, Johnson still plays basketball on his Magic Johnson All Stars Team. The team, composed of ex-NBA players, has traveled internationally to more than 20 countries and plays Olympic teams, professional clubs, national teams and professional league all-star teams.
The co-author of several books, Johnson has penned his autobiography, My Life, as well as What You Can Do To Avoid AIDS in 1991 and Magic's Touch in 1989.
ENRIQUE CHEDIAK (Director of Photography)
Enrique Chediak's recent credits include Fox Searchlight Pictures' THE GOOD GIRL; director Rose Troche's THE SAFETY OF OBJECTS, produced by Killer Films, which screened at the 2001 Toronto Film Festival; Forty Acres and a Mule's 3 AM, which screened at the Sundance Film Festival; and Rigas Entertainment's 2000 Sundance entry SONGCATCHER, which was released by Lions Gate Films.
Honored by Variety as one of the "Ten Cinematographers to Watch" in 1999, Chediak's additional credits include New Line's BOILER ROOM for Team Todd and director Ben Younger, as well as Robert Rodriguez's THE FACULTY for Miramax. Chediak received the 1997 Sundance Film Festival's cinematography award for his work on director Morgan J. Freeman's HURRICANE STREETS and later worked with the director on DESERT BLUE. Additional credits include FROGS FOR SNAKES and GETTING OFF.
Born in Quito, Ecuador, Chediak studied photography in Madrid and communications in Santiago, Chile before entering NYU's film graduate program. Chediak received the cinematography award at NYU's First Run Film Festival for the student shorts ANGELES DON'T KNOW, MEMORIAL DAY and DARKNESS. In 1997, he wrote and directed his graduate thesis film EL RIO, which garnered second place at the 1998 NYU Wasserman Awards, the Best Student Short Award at the 1998 Hamptons Film Festival and both the Best Student Short and Audience Awards at the 1998 Shorts International Film Festival.
KALINA IVANOV (Production Designer)
Kalina Ivanov has lent her talents as a production designer to such films as Malcolm D. Lee's THE BEST MAN, John Polson's SWIMFAN, Ernest R. Dickerson's "Monday Night Mayhem," Gina Prince-Bythewood's "Disappearing Acts," the Kevin Spacey starrer THE BIG KAHUNA, Paul Auster's LULU ON THE BRIDGE, Wayne Wang's SMOKE, and many others.
Prior to her production design work, Ivanov was a storyboard artist. A selected list of credits include Barry Levinson's SLEEPERS, Robert Redford's THE HORSE WHISPERER and QUIZ SHOW, Forest Whitaker's WAITING TO EXHALE, Jonathan Demme's THE SILENCE OF THE LAMBS, Robert Benton's BILLY BATHGATE, Jodie Foster's HOME FOR THE HOLIDAYS.
Ivanov is the recipient of many awards for her designs. Her artwork has toured the USA on a special exhibition organized by Lincoln Center. She was also a faculty member of NYU's Design Department where she taught Art Direction for four years.
DIRK WESTERVELT (Editor)
Dirk Westervelt's first feature film as an editor was Fox 2000's MEN OF HONOR. He shared the editor credit on that film with John Carter, A. C. E. , after having worked within his department on several features including FRIDAY, SET IT OFF, SOUL FOOD and the Rick Famuyiwa-directed THE WOOD. In addition to BROWN SUGAR, Westervelt recently served as visual effects editor on BLADE II.
DARRYLE JOHNSON (Costume Designer)
Darryle Johnson has worked on such feature films as WHO'S YOUR DADDY, Takeshi Kitano's BROTHER, SCARY MOVIE, ONCE IN THE LIFE and BOYZ N THE HOOD
After training in Europe, Johnson returned to the states to continue his studies. While working as a stylist for various magazines and music videos, he caught the attention of actor Billy Dee Williams, who encouraged him to pursue a career in designing for television and feature films.
TRISH HOFMANN (Co-Producer)
Trish Hofmann has worked as a co-producer and line producer on independent and studio films across the country and around the world, including in such remote countries as Bulgaria and Vietnam. Her credits include BROWN SUGAR, IGBY GOES DOWN, THE GREY ZONE, DOWN TO YOU, THREE SEASONS, and HEAVY. Over the past 11 years, her production credits include work with established directors such as Ron Howard, Woody Allen, Barbet Schroeder, Alain Berliner, and James Mangold. She is currently co-producing HAVANA NIGHTS for Miramax and Artisan Entertainment.
BARRY COLE (Music Supervisor)
Barry Cole is co-founder of SPOT Music. He has served as music supervisor and consultant on nearly 50 films and produced nearly 20 soundtrack albums. Cole's first foray into supervision started at The Shooting Gallery with NEW JERSEY DRIVE. While there he worked on a variety of films such as ILLTOWN, NIAGARA, NIAGARA, and Dee Snider's STRANGELAND. Other film credits include NEXT STOP WONDERLAND and AMERICAN PSYCHO.
Cole partnered with Gwen Bethel to create Clear Music, specializing in music supervision, consulting, clearance, and soundtrack distribution. When Bethel left, Cole renamed the company SPOT Music and brought in Christopher Covert.
When not working, Cole is likely found DJ'ing at Botanica (the site of the original Knitting Factory) in New York City's East Village. Cole is also a frequent speaker on panels for such organizations as CMJ, Film Music Network, IFP, BMI, The Avignon Film Festival, IFFM (US and Tokyo) and ASCAP.
CHRISTOPHER COVERT (Music Supervisor)
Christopher Covert has served as music supervisor on more than a dozen pictures, including two films directed by Billy Bob Thornton, ALL THE PRETTY HORSES and the upcoming DADDY AND THEM, as well as the Academy Award-nominated film YOU CAN COUNT ON ME. Other film credits include THE MINUS MAN, Fox Searchlight Pictures' SUPER TROOPERS, AMERICAN PSYCHO, "Disappearing Acts" and THE BUMBLEBEE FLIES ANYWAY.
As an associate producer for MTV, Covert worked on such shows as "120 Minutes" and "The Beach House. " While working as associate producer on the independent documentary film FREE TIBET, Covert entered the world of music supervision. This brought him to the attention of Barry Cole and Gwen Bethel of Clear Music/The Shooting Gallery. Eventually Covert joined Barry Cole and co-founded SPOT Music. Covert and SPOT Music recently started a new venture - artist development. Covert is currently working with their first artist, singer/songwriter Karen Ires.
Covert also hosts a country and bluegrass music jam at The Hog Pit BBQ in New York City. This weekly event has attracted a wide range of performers, including surprise appearances by members of Radiohead, Blues Traveler and Seven Mary Three.
ROBERT HURST (Composer)
Robert Hurst is a highly respected and recognized composer, bassist,
educator and recording artist. He first worked with Rick Famuyiwa on the feature film THE WOOD.
Among Hurst's extensive performances on major motion pictures and television soundtracks, he has had over eight years of performing, directing, arranging, and composing music for NBC's "The Tonight Show with Jay Leno. " He has won four Grammy Awards as well as multiple top-10 recognition and five-star honors globally, and recently performed music for OCEAN'S ELEVEN.
Hurst teaches as a faculty member with California State Northridge, and conducts master classes for the Thelonius Monk Institute of Jazz at USC, The Jazz Institute at
The Juilliard School of Music, and several other top educational institutions. He has recently released a new recording entitled "Unrehurst" Vol. 1, a straight ahead jazz trio, and is scheduled to release a sophisticated jazz and multi-cultural vocal and instrumental collection of familiar childhood nursery rhymes with new original compositions entitled "Family Album" Volume 1. These releases will be followed by projects featuring Branford Marsalis, Jeff "Tain" Watts and Robert Glasper. Hurst has toured and performed on Grammy Award-winning recordings featuring Wynton Marsalis, Dave Brubeck, Terrence Blanchard, Charles Lloyd, Branford Marsalis, Tony Williams, Nicholas Payton, Sting, Carl Allen, and the legendary Pharoah Sanders.
Hurst has recently been appointed Artistic Director and Board Member for The John Coltrane Foundation.
Credits
Unit Production Manager TRISH HOFMANN
First Assistant Director JONO OLIVER
Second Assistant Director REBECCA STRICKLAND
Cast and Crew
Dre TAYE DIGGS
Sidney SANAA LATHAN
Chris MOS DEF
Reese NICOLE ARI PARKER
Kelby BORIS KODJOE
Francine QUEEN LATIFAH
Simon WENDELL PIERCE
Ren ERIK WEINER
Ten REGGI WYNS
Meghan MELISSA MARTINEZ
Young Sidney AALIYYAH HILL
Young Dre MARC JOHN JEFFERIES
Older Woman VENIDA EVANS
Woman BREECE WILSON
Woman 2 BRETTE TAYLOR
Woman 3 DONNA DUPLANTIER
Trish Hofmann ROSALYN COLEMAN
Bartender 1 ROBIN T. KIRKSEY
Co-Worker STERLING K. BROWN
Host KOFI BOAKYE
Hot 97 Assistant DENA ATLANTIC
Instructor GERRY PINZON
Iridium Waiter SAM McPHERSON
As Himself BIG DADDY KANE
As Himself BLACK THOUGHT
"THE ROOTS"
As Himself AHMIR "?UESTLOVE" THOMPSON
"THE ROOTS
As Himself KOOL G RAP
Reverend HELMAR AUGUSTUS COOPER
Richard KEITH TISDELL
Bartender WYKING JONES
Sidney's LA Assistant TOKS OLAGUNDOYE
Crafts Vendor OPAL ALLADIN
As Herself ANGIE MARTINEZ
As Himself DANA DANE
As Himself DOUG E. FRESH
As Himself SLICK RICK
As Himself JERMAINE DUPRI
As Himself PETE ROCK
As Himself TRUGOY THE DOVE
"DE LA SOUL"
As Himself PLUGWON POSDNUOS
"DE LA SOUL"
As Himself VINCENT L. MASON
"DE LA SOUL"
As Herself KIMORA LEE SIMMONS
As Himself RUSSELL SIMMONS
As Himself BEANIE SIGEL
As Himself TALIB KWELI
As Himself COMMON
Backstage Bartender HADLEY MARTIN FISHER
Kid In The Park D. J. JUS
Hot 97 Receptionist LIZA LAPIRA
Stunt Coordinator DOUGLAS CROSBY
Stunts by: G. A. AGUILAR
SEAN P. ANDERSON
JEFF BLATNICK
JOHN W. MOYLER
STEPHEN A. POPE
DERRICK SIMMONS
Production Supervisor SEAN FOGEL
Art Director DAVID STEIN
Set Decorator ROBERTA J. HOLINKO
Buyers ALYSSA WINTER
KATE YATSKO
HARRIET ZUCKER
Leadman GUS PAPADOPOULOS
Set Dressers SHIRLEY BELWOOD
COBURN BOYD
SUZANNE E. CESTARE
On Set Dresser RUTH ANN DeLEON
Charge Scenic GREG SULLIVAN
Camera Scenic LYVAN A. MUNLYN
Graphic Artist ADDISON F. PETTIT
Second Second Assistant Director LOUIS J. GUERRA
Camera Operator MICHAEL GREEN
First Assistant Camera AURELIA WINBORN
Second Assistant Camera AMY SILVERMAN
Loader JACQUI HOWELL
Still Photographer K. C. BAILEY
B-Camera/Steadicam Operator WILLIAM ARNOT
Steadicam Operator RICK RAPHAEL
Steadicam First Assistant MARK D. HIRSCHFELD
B-Camera Operators BILL COLEMAN
ANDREW CASEY
B-Camera First Assistants ANDREW PRIESTLEY
DAVID BARON
Sound Mixer WILLIAM SAROKIN
Boom Person TOMMY LOUIE
Cable Person SCHAVARIA REEVES
Property Master PETER GELFMAN
Assistant Property Masters GREG MORELL
TIM GRIMES
Script Supervisor DEIRDRE HORGAN ASKA
Gaffer JOSEPH QUIRK
Best oy Electric JEFF DANIELSON
Company Electricians HUGO BONILLA
SAMUEL CHASE
KEITH DEVLIN
MARK SUMMERS
JOEL TISHCOFF
Key Grip RICHARD GUINNESS, JR.
Best Boy Grip GLEN ENGELS
Dolly Grip PAT McGRATH
Company Grips NICK CHARUET
HOWARD DAVIDSON
JAMES SCUTAKES
Assistant Costume Designer KIM WILCOX
Wardrobe Supervisors CAREEN FOWLES
JILL MERRITT
Set Costumer RACHEL J. LEEK
Key Makeup Artist ANITA GIBSON
Key Hair Stylist CAROL D. CAMPBELL
Makeup for Ms. Lathan KATE BEST
Makeup for Queen Latifah ROXANNA FLOYD
Hair for Ms. Lathan & Ms. Parker QUENTIN HARRIS
Hair for Queen Latifah JULIE TAYLOR
Makeup Artist JOE CAMPAYNO
Hair Stylist SANDRA MURPHY
Location Manager THOMAS YEAGER
Assistant Location Manager KIMBERLY NOBLE
Production Coordinator HEATHER NEELD
Assistant Production Coordinator REID WARMAN
Art Department Coordinator NORA KASARDA
Location Assistants BETH AVERY
ROBERT CAVALLUZZO
AMY GORIN
Parking Coordinator LEON ADAIR, JR.
Assistant Parking Coordinator LEO DRIVER
Construction Consultant TOM COSTABILE
Key Construction Grip MONIQUE MITCHELL
Carpenter MICHAEL HERLIHY
Grip BRYAN TONKIN
Assistant to Mr. Famuyiwa DANIELLE FRANCO
Assistant to Mr. Heller ELIOT GERSTEL
Assistant to Queen Latifah LAWANDA BLACK, aka LB
Production Accountant KATHI SCHARER
1st Assistant Accountant J. MAX RUSCHAK
Payroll Accountant DARRYL A. SMITH
2nd Assistant Accountant ALMA VICTORIA LaMARR
Production Assistants DAWN BRIDGEWATER
KIJA BROOKS
DALIA BURDE
JOSHUA C. HERSKO
TERRELL JOHN
MEEGAN E. NEEB
CHRIS PETERSON
LISA VARLEY
MARCUS WOODS
MICHAEL REILLY
Casting Associate HEATHER BAIRD
Extras Casting WINSOME SINCLAIR & ASSOCIATES
Additional Extras Casting TUFFY'S EYE CANDY INC.
Unit Publicist CASSANDRA BUTCHER
Transportation Captain STEVEN R. HAMMOND
Transportation Co-Captain PETE CLORES
Catering PREMIERE CATERING
Craft Service McKENNA BROTHERS
JOSH MICHAEL
EUGENE STAMOS
Product Placement LAURIE GERSHON
Video Playback NILS JOHNSON
24 Frame Operator DENNIS GREEN
Associate Editor JOSH CAMPBELL
1st Assistant Editor DE NON PORTER
2nd Assistant Edtior SANDRA NASH
Apprentice Editor MICHAEL SHERMAN
Rerecorded at TODD-AO STUDIOS, RADFORD
Rerecording Mixers ROB FERNANDEZ
GARY GEGAN
Recordist MATTHEW COLLERAN
Engineer STEVE BARTKOWICZ
Supervising Sound Editor GREGORY HEDGEPATH, M. P. S. E.
First Assistant Sound Editor VICTOR RAY ENNIS
Sound Effects Editor ROLAND THAI
Dialogue Editors DANIEL S. IRWIN, M. P. S. E.
STEPHANIE FLACK
ADR Editor MICHAEL HERTLEIN
Foley Editors ANNE SLACK
ALEC ST. JOHN
Background Editor MICHAEL MULLAN
Sound Assistants PAUL FLINCHBAUGH
DAVID KUDELL
Foley Mixer ALAN FREEDMAN, C. A. S.
Foley Artist S. DIANNE MARSHALL
Music Clearance JIM BLACK
Score Recorded at BEBOB MUSIC STUDIOS,
CALABASAS, CA
Score Conducted, Orchestrated and Contracted by ROBERT HURST
Drum Programming by DAMION REED
Keyboards and Piano NICK SMITH
SCOTT KINSEY
Woodwinds BENNIE MAUPIN
STEVE TAVAGLIONE
Drums DAMION REED
Bass ROBERT HURST
Score Vocalist SHERREE FORD-PAYNE
Score Mixed by BERNIE KRISH
Music Editor BRIAN RICHARDS
Assistant Music Editor MARK SKILLINGBERG
Turntablist DJ JES GREW
Temp Music Editor JOSH CAMPBELL
Music Preparation by SHERISSE ROGERS
Voice Casting BARBARA HARRIS
Dailies by TECHNICOLOR® NEW YORK
Dailies Advisor JOE VIOLANTE
Negative Cutter GARY BURRITT
Color Timer DENNY McNEILL
Titles, Digital and Optical Effects by CUSTOM FILM EFFECTS
Visual Effects Supervisor MARK DORNFELD
Visual Effects Producer SUSAN SHIN GEORGE
Digital Supervisor/Lead Artist LAURIE POWERS
Digital Artists STEVE CALDWELL
SHAINA HOLMES
I/O Technician DAVID SMITHSON
Production Manager ADAM GASS
Additional Title Design DAVID ACAMPORA
Graffiti Title Art MERES @ 5 POINTZ
Songs
1. ACT TOO (LOVE OF MY LIFE) Live and Studio Versions
Written by Rashid Lonnie Lynn, James Jason Poyser, Tarik L. Collins, Leonard Hubbard, Ahmir Thompson
Performed by The Roots
Courtesy of MCA Records under license from Universal Music Enterprises
2. I FOUND LOVIN'
Written by Johnny Flippen and Michael Walker
Performed by The Fatback Band
Courtesy of Ace Records Ltd.
By arrangement with Big Sounds International
3. PLAY AT YOUR OWN RISK
Written by Arthur Baker and John Robie
Performed by Planet Patrol
Courtesy of Tommy Boy Music
4. BATTLE IN THE BRONX
Written by Douglas Davis, Rich Walters and Dana Dane
Performed by Doug E. Fresh, Slick Rick and Dana Dane
Slick Rick appears courtesy of The Island Def Jam Music Group
5. HUMAN BEAT BOX
Written by Douglas Davis
Performed by Doug E. Fresh
6. NOWHERE FAST
Written by ?estlove, Chief Xcel and Gift of Gab
Performed by Blackalicious
Courtesy of MCA Records under license from Universal Music Enterprises
7. BEYOND REAL
Written by D. Ogbourne and V. Williams
Performed by Jigmastas
Courtesy of Beyond Real Recordings
8. BROWN SUGAR (SUPER FINE)
Written by Dante Smith, Kanye West, Darryl Toler-Shabazz, Douglas Wimbish, Dominick Durham and Lamar Mitchell
Performed by Mos Def
Produced by Kanye West for Kanman Productions
Mos Def appears courtesy of Good Tree Media/MCA Records
9. ANTE UP (ROBBING HOODZ THEORY)
Written by Gerard Grinnage, Eric Murry and Darryl Pittman
Performed by M. O. P.
Courtesy of Loud/Columbia Records
By arrangement with Sony Music Licensing
10. THE DAY I FELL OFF
Written by Jean-Jacques Cadet
Performed by J-Live
Courtesy of Triple Threat Productions
11. PAID IN FULL (7 MINUTES OF MADNESS REMIX)
Written by Eric Barrier and William Griffin
Performed by Eric B. and Rakim
Courtesy of The Island Def Jam Music Group
Under license from Universal Music Enterprises
12. NEVER BEEN
Written by Missy Elliot, Henri Charlemagne, Gene McFadden, John Whitehead and Jerry Cohen
Performed by Mary J. Blige
Courtesy of MCA Records
(contains elements of "Why Oh Why" written by Gene McFadden, John Whitehead and Jerry Cohen. Performed by McFadden & Whitehead. Courtesy of Philadelphia Int'l. )
13. RED CLAY
Written by Freddie Hubbard
Performed by Robert Hurst
14. BREAKDOWN
Written by Dante Smith and Kanye West
Performed by Mos Def
Produced by Kanye West for Kanman Productions
Mos Def appears courtesy of Good Tree Media/MCA Records
15. FAMILY STAND
Written by Brian Digby Jr. and Jason Rawls
Performed by Brian Digby Jr.
Courtesy of SevenHeads Recordings
16. MOMENT I FEARED
Written by Milo Berger
Performed by The High & Mighty
Courtesy of Eastern Conference Records
17. THE UNIT
Written by R. Brinson, F. Ferraro, M. Hagler, D. Owens, Q. Pender, D. Pitman, R. Scalere, T. Spence
Performed by the Unit (Queen Latifah, Grizzley, G-Fella, Storm, Rowdy Rahz, Aposouls)
Courtesy of Flavor Unit Records
18. LOVE OF MY LIFE (An Ode To Hip Hop)
Written by Raphael Saadiq, Erykah Badu, Madukwu Chinwah, Rashid Lonnie Lynn, Robert Ozuna, James Poyser and Glen Standridge
Performed by Erykah Badu featuring Common
Produced by Erykah Badu and Raphael Saadiq for Whiskey Slew Productions
Co-Produced by Jake & The Phatman for Whiskey Slew Productions and James Poyser
Erykah Badu appears courtesy of Motown Records
Common appears courtesy of MCA Records
19. JESU, JOY OF MAN'S DESIRING
Written by G. Sigrist
Courtesy of Killer Tracks
20. WEDDING MARCH
Written by Lohengrin
Courtesy of Killer Tracks
21. GET IT TOGETHER
Written by India. Arie Simpson, Andrew Ramsey and Shannon Sanders
Performed by India. Arie
Courtesy of Motown Records under license from Universal Music Enterprises
22. GRAND RIGHT NOW
Written by S. Jung and Jared Taylor
Performed by Grand Agents
Courtesy of Groove Attack, LLC
23. I GOT THE.
Written and Performed by Labi Siffre
Courtesy of EMI Records
Under license from EMI & Television Music
24. THE HO IS MINE
Written and Produced by Guy Moon
Performed by Ren and Ten
25. AIN'T NO LOVE IN THE HEART OF THE CITY
Written by Michael Price and Dan Walsh
Performed by Bobby "Blue" Bland
Courtesy of MCA Records under license from Universal Music Enterprises
26. MAKE YOU FEEL THAT WAY
Written by Chief Xcel, Duncan and Gift of Gab
Performed by Blackalicious
Courtesy of MCA Records under license from Universal Music Enterprises
27. BRING YOUR HEART
Written by Angie Stone, Homer Talbert and Herscholt Polk
Performed by Angie Stone
Produced by Angie Stone for Stone Pro, LLC
Angie Stone appears courtesy of J Records
(Contains elements of "Ain't Understanding Mellow", performed by Jerry Butler (featuring Brenda Lee Eager), Courtesy of The Island Def Jam Music Group under license from Universal Music Enterprises)
28. I USED TO LOVE H. E. R.
Written by Rashid Lonnie Lynn and Ernest D. Wilson
Performed by Common Sense
Courtesy of Columbia Records
under license from Sony Music
By arrangement with Sony Music Licensing
29. HARLEM HENDOO
Written by Laurence Griffen and Yolando Paterno
Performed by Al Hirt
Courtesy of The RCA Records Label, a unit of BMG Music
Under license from BMG Special Products
30. EASY CONVERSATION
Written by Jill Scott, Vidal Davis and Andre Harris
Performed by Jill Scott
Produced by Vidal Davis and Andre Harris
Jill Scott appears courtesy of Hidden Beach Recordings
31. YOU MAKE LIFE SO GOOD
Written by Rahsaan Patterson & Davel Bo McKenzie
Performed by Rahsaan Patterson
Rahsaan Patterson appears courtesy of MCA Records under license from Universal Music Enterprises
32. BROWN SUGAR (FINE)
Written by Dante Smith, Kanye West, Bronislaw Kaper and Paul Francis Webster
Performed by Mos Def
Produced by Kanye West for Kanman Productions
Mos Def appears courtesy of Good Tree Media/MCA Records
(contains elements from "Invitation", performed by Norman Connors, Courtesy of Buddha Records. Under license from BMG Special Products, Inc. )
33. I SEE YA
Written and Performed by The Soul Project
Courtesy of Slam Jamz
34. IT'S GOING DOWN
Written by Chief Xcel, Gift of Gab and Jonnell
Performed by Blackalicious (featuring Lateef The Truth Speaker and Keke Wyatt)
Courtesy of MCA Records under license from Universal Music Enterprises
35. BROWN SUGAR (RAW)
Written by Dante Smith, Talib Kweli Green and Kanye West
Performed by Blackstar
Produced by Kanye West for Kanman Productions
Blackstar appears courtesy of Good Tree Media/MCA Records
36. COMMONWEALTH (Cheap Chicks)
Written by Antonia Reed and R. L. Estill
Performed by Bahamadia
Courtesy of GoodVibe Recordings
37. UNDERGROUND UP
Written by Corey Roberts and Vincent Williams
Performed by Mr. Complex
Courtesy of Core Records
38. CLOUD 9
Written and Performed by Donnie
Courtesy of Giant Step Records
39. NO ONE KNOWS HER NAME
Performed by Hi-Tek featuring Big D and Piakhan
Written by Tony Cottrell, Delvin Geralds, and David Standford, Jr.
Hi-Tek appears courtesy of MCA Records
Big D and Piakhan appears courtesy of Hi-Tek Productions, Inc.
40. BOUNCE
Written by T. Avery, C. Sholar
Performed by The Professionals
Courtesy of Bam Bam Music, Inc.
41. TIME AFTER TIME
Written by Cyndi Lauper, Rob Hyman
Performed by Cassandra Wilson
Courtesy of Blue Note Records, a Division of Capitol Records, Inc.
Under license from EMI Film & Television Music
42. SERVE THIS ROYALTY
Written and Performed by Cody ChesnuTT
Courtesy of Ready Set Go!
43. THE BREEZE
Written by T. Avery, C. Sholar
Performed by The Professionals
Courtesy of Bam Bam Music, Inc.
44. DAY ONE
Written by Chief Xcel and Gift of Gab
Performed by Blackalicious
Courtesy of MCA Records under license from Universal Music Enterprises
45. SELF LOVE
Written and Performed by Jaguar Wright
Courtesy of MCA Records under license from Universal Music Enterprises
SOUNDTRACK AVAILABLE ON MAGIC JOHNSON MUSIC / MCA RECORDS / UNIVERSAL SOUNDTRACKS COMPACT DISCS
THE PRODUCERS WISH TO THANK THE FOLLOWING FOR THEIR ASSISTANCE:
NEW YORK CITY MAYOR'S OFFICE FOR FILM, THEATRE & BROADCASTING
NEW YORK CITY POLICE DEPARTMENT MOVIE & TELEVISION UNIT
COUNTY OF NASSAU
COUNTY OF WESTCHESTER
MAKE-UP PROVIDED BY MAC
CARTIER
ENYCE
GABRIELLE SANCHEZ JEWELRY
PAULA VARSALONA BRIDAL WEAR
PLEIN SUD
SEAN JOHN
THIERRY MUGLER
"XXL"
"HOT 97 FM"
RUSH COMMUNICATIONS
"LOS ANGELES TIMES," Copyright 2001, Los Angeles Times. Reprinted with permission
PURPLE DART and FBS#1 courtesy of Lynn Fisher Hill
NBA MARKS and Game Footage courtesy of NBA ENTERTAINMENT.
Color and Prints by DELUXE®
Filmed with PANAVISION®
Cameras & Lenses
KODAK
FILM STOCK
DOLBY ©2002 Twentieth Century Fox. All rights reserved. Permission is granted to newspapers and periodicals to reproduce this text in articles publicizing the distribution of the Motion Picture. All other use is strictly prohibited, including sale, uplication, or other transfer of this material. This press kit, in whole or in part, must not be leased, sold, or given away.
