Dec 13, 2024
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Carmen Madden Creator, Everyday Black Man
D. Blair and R. Seifert
Carmen Madden is shy - by her own description - and short - by anyone's observation - but she has ostentatious and tall dreams. Already a writer in high school, she started publishing in her twenties. The literary journal, Renegade Magazine, now defunct, included her story "Suit Man," about a psychiatrist who gets his comeuppance. Perhaps from early church experience, she always enjoyed reading about characters who strived to evolve or were looking for redemption.
Her first and masterful feature, Click to see a CineClip was a product of her CLM Productions, with Madden writing and directing. With a run-time of an hour and 23 minutes, it concerns the quiet and thoughtful Moses Stanton, owner of a corner store, who tries to do good and close the door on his violent past. But when a drug dealer, pretending to be a Black Muslim leader, befriends him and targets his store for operations, Moses is forced to return to his past to save his beloved neighborhood and family.
We went to see Madden at her roomy downtown office adorned with posters for EDBM. She was the only one there, sitting behind a massive Mac screen, taking notes on her rough cut, shooting to have a final by the end of April.
How long have you been making films?
I have been writing for a long time, but this is my first film, period. I have written a number of short stories and screenplays. Indeed, I have a couple more, ready to go.
Did you get a consultant to help you tweak it to such a professional level?
No. But the week before I started shooting, I met Debbie Brubaker (a local Hollywood-style line producer). She advised me not to do it, because she felt I wasn't ready - I didn't know a lot of technical things. But she did refer me to a talented student hers, Karen Dea, who turned out to be a great UPM (unit production manager). I had an assistant director, Josh Hoover, who I knew from salsa dancing and he was very good. Through him, we got the cinematographer, Phillip Briggs, who was excellent. Although he had done shorts, this was also his first feature - we were all first-timers together.
Was he Black?
My crew was white. Josh is white and so is Phillip, they just had to quickly get people they knew. Anyway, it is not a big deal to me.
We had only preproduction of three weeks because I didn't have the money until June 2008. I didn't meet Henry Brown, the lead, 'til the end June. I teach full-time at Ohlone College in Freemont. I was on sabbatical for the spring semester and I was due back at the end of August. So we had to jump in fast and feet first.
Did you go to film school?
Yes, I got a B.A. in Film Writing from SF State and also did grad school there, an MA in English/creative writing.
What was the budget for the film?
$300,000 - entirely self-funded, I did mostly through real estate refinancing of family property and through some friends.
Did you shoot entirely in Oakland?
Also Hayward and Menlo Park but mostly West Oakland and Montclaire. Shot on the Red - we love the Red! It makes things look great.
Did you use professional actors?
Most were SAG but couple weren't. I used to be a talent agent and taught acting, for six years, at the Fame Talent Agency, in Hayward.
Where were they from?
Mostly L.A. The lead, Henry Brown, lives in Santa Barbara but was raised in Alameda and Oakland and his family is still here. I met him at a Santa Barbara writing conference where they have actors come in and read parts. They had never had a Black actor but this time they did and he read the part of Moses and I liked him. I couldn't find a Sonny. This one guy Corey Jackson couldn't make the first audition but when he called to to apologize, I knew over the phone he was my Sonny. Then he came in and read with Henry and they were perfect.
What were some of your inspirations for the film?
American History X, a character who changes... the story of Chauncey Bailey [the Oakland journalist killed in 2007, allegedly on directions from Yusuf Ali Bey, the Your Black Muslim Bakery CEO]... just living in Oakland. What I really wanted was another Do the Right Thing. I really like Spike Lee, especially his older pieces. That is what I was looking for, a film we could ask questions and wonder about.
Are you worried about your safety?
No, although it could be controversial. But if [the Black Muslims] see it, they would see it wasn't against them. The villan is pretending to be a member of the movement. I was trying to approach the complexity of the situation. I think the movie turns out to be a little more pro-Black Muslim then against. Moses is a store owner but he wasn't making any money. Maybe desegregation wasn't the best thing for Black small business owners and re-segregation, Black Muslim style, has its points. The movie raises issues for people to think about.
Do you think it's important that Oakland confront violence head on or try to move on?
We have to deal with the violence. Pushing it under the rug isn't going to do anything. People have looked the other way for far to long. People need to start paying attention. And standing up, which is hard.
What is the best way to stand up, do you think?
The best way is by being more active in your community - not just go and target drug dealers - but by talking to other people in your community, taking a more active part, even becoming a leader. As a community, you can target an owner who leaves a house empty so it is not attractive to dealers. Then, of course, there's making art. I agree with bell hooks that cinema can help create reality, not just reflect it.
How do you feel about Oakland's legacy as a place of Black community organizing, like the Black Panthers, but also, unfortunately, of violence, crime, and prostitution?
Most of us in Oakland love the city and our history, and we have so much more to offer than the negative. We'd like to see more positive things coming out of the community. It's one thing to have power, but it doesn't do any good if people are scared of you. That gets old real quick.
Mayor Dellums opposes the HBO pilot Gentlemen of Leisure - how do you feel about i?
I'm all for it. We need production jobs - that is precisely what the Oakland film community needs. Just because we have a negative history, it doesn't mean you turn things away. I'm all about character. I love The Wire. I had neighbors that were upset about the idea of pimps being portrayed in Oakland, but I think the show would be a good thing.
Do you think the Mayor and others in the city should have done more to shut down Your Black Muslim bakery?
It appears that they could've done a lot more. They seemed to be scared. A lot of people are scared, especially now.
What would you like to see for the future of Oakland?
I'd like to see Oakland have better community so that we're known for something more than violence. And I'd like to see Oakland have more opportunities to be known for our talent.
What do you see for the future of Oakland's film/video community?
Blaxploitation is an interesting genre, but sad. Melvin van Peebles innovated all of those styles. For Hollywood to take that and use it to sell tickets to Black audiences, where the characters are basically white, is sad. What they should do is find narratives that speak to people - not just make these cartoon characters. Not all whites are going to be stupid nor are blacks are going to be Shaft. If we have more in depth characters, like in Crash, you get to see these people. You get to see prejudice, the hatred they have for the government or what ever that drives them. Then it makes sense and you understand. When you have cartoon characters, there is nothing you can do. They are there to be laughed at, that is all.
Which is kind of ironic because you got your finishing funds from Monte Schultz, son of Charles Schultz, the Peanuts guy.
Yes, isn't it? We have been friends for years. I met Monte at another Santa Barbara writer's conference. Both he and his father have always been big supporters and wonderful to me. Charles was wonderful. We would have great conversations. He would ask me things like: "Do you think Jesus had a dog?" A really a sweet man and crazy about his kids.
So now you can move to final.
Yes, we hope to have the final cut by the end of April [now pushed to end of May].
Congratulations Carmen! It has been a long road, and we look forward to the premiere of Everyday Black Man, undoubtedly here in Oakland, at the start of summer. Because it will also be the premiere of new local light in cinema, Carmen Madden, taking on the difficult task of displaying the "Oakland Story," with the promise of many more. We wish her luck. For a taste of Everyday Black Man see the trailer at: http://www.everydayblackman.com.
Posted on May 03, 2009 - 01:10 AM
D. Blair and R. Seifert
Carmen Madden is shy - by her own description - and short - by anyone's observation - but she has ostentatious and tall dreams. Already a writer in high school, she started publishing in her twenties. The literary journal, Renegade Magazine, now defunct, included her story "Suit Man," about a psychiatrist who gets his comeuppance. Perhaps from early church experience, she always enjoyed reading about characters who strived to evolve or were looking for redemption.
Her first and masterful feature, Click to see a CineClip was a product of her CLM Productions, with Madden writing and directing. With a run-time of an hour and 23 minutes, it concerns the quiet and thoughtful Moses Stanton, owner of a corner store, who tries to do good and close the door on his violent past. But when a drug dealer, pretending to be a Black Muslim leader, befriends him and targets his store for operations, Moses is forced to return to his past to save his beloved neighborhood and family.
We went to see Madden at her roomy downtown office adorned with posters for EDBM. She was the only one there, sitting behind a massive Mac screen, taking notes on her rough cut, shooting to have a final by the end of April.
How long have you been making films?
I have been writing for a long time, but this is my first film, period. I have written a number of short stories and screenplays. Indeed, I have a couple more, ready to go.
Did you get a consultant to help you tweak it to such a professional level?
No. But the week before I started shooting, I met Debbie Brubaker (a local Hollywood-style line producer). She advised me not to do it, because she felt I wasn't ready - I didn't know a lot of technical things. But she did refer me to a talented student hers, Karen Dea, who turned out to be a great UPM (unit production manager). I had an assistant director, Josh Hoover, who I knew from salsa dancing and he was very good. Through him, we got the cinematographer, Phillip Briggs, who was excellent. Although he had done shorts, this was also his first feature - we were all first-timers together.
Was he Black?
My crew was white. Josh is white and so is Phillip, they just had to quickly get people they knew. Anyway, it is not a big deal to me.
We had only preproduction of three weeks because I didn't have the money until June 2008. I didn't meet Henry Brown, the lead, 'til the end June. I teach full-time at Ohlone College in Freemont. I was on sabbatical for the spring semester and I was due back at the end of August. So we had to jump in fast and feet first.
Did you go to film school?
Yes, I got a B.A. in Film Writing from SF State and also did grad school there, an MA in English/creative writing.
What was the budget for the film?
$300,000 - entirely self-funded, I did mostly through real estate refinancing of family property and through some friends.
Did you shoot entirely in Oakland?
Also Hayward and Menlo Park but mostly West Oakland and Montclaire. Shot on the Red - we love the Red! It makes things look great.
Did you use professional actors?
Most were SAG but couple weren't. I used to be a talent agent and taught acting, for six years, at the Fame Talent Agency, in Hayward.
Where were they from?
Mostly L.A. The lead, Henry Brown, lives in Santa Barbara but was raised in Alameda and Oakland and his family is still here. I met him at a Santa Barbara writing conference where they have actors come in and read parts. They had never had a Black actor but this time they did and he read the part of Moses and I liked him. I couldn't find a Sonny. This one guy Corey Jackson couldn't make the first audition but when he called to to apologize, I knew over the phone he was my Sonny. Then he came in and read with Henry and they were perfect.
What were some of your inspirations for the film?
American History X, a character who changes... the story of Chauncey Bailey [the Oakland journalist killed in 2007, allegedly on directions from Yusuf Ali Bey, the Your Black Muslim Bakery CEO]... just living in Oakland. What I really wanted was another Do the Right Thing. I really like Spike Lee, especially his older pieces. That is what I was looking for, a film we could ask questions and wonder about.
Are you worried about your safety?
No, although it could be controversial. But if [the Black Muslims] see it, they would see it wasn't against them. The villan is pretending to be a member of the movement. I was trying to approach the complexity of the situation. I think the movie turns out to be a little more pro-Black Muslim then against. Moses is a store owner but he wasn't making any money. Maybe desegregation wasn't the best thing for Black small business owners and re-segregation, Black Muslim style, has its points. The movie raises issues for people to think about.
Do you think it's important that Oakland confront violence head on or try to move on?
We have to deal with the violence. Pushing it under the rug isn't going to do anything. People have looked the other way for far to long. People need to start paying attention. And standing up, which is hard.
What is the best way to stand up, do you think?
The best way is by being more active in your community - not just go and target drug dealers - but by talking to other people in your community, taking a more active part, even becoming a leader. As a community, you can target an owner who leaves a house empty so it is not attractive to dealers. Then, of course, there's making art. I agree with bell hooks that cinema can help create reality, not just reflect it.
How do you feel about Oakland's legacy as a place of Black community organizing, like the Black Panthers, but also, unfortunately, of violence, crime, and prostitution?
Most of us in Oakland love the city and our history, and we have so much more to offer than the negative. We'd like to see more positive things coming out of the community. It's one thing to have power, but it doesn't do any good if people are scared of you. That gets old real quick.
Mayor Dellums opposes the HBO pilot Gentlemen of Leisure - how do you feel about i?
I'm all for it. We need production jobs - that is precisely what the Oakland film community needs. Just because we have a negative history, it doesn't mean you turn things away. I'm all about character. I love The Wire. I had neighbors that were upset about the idea of pimps being portrayed in Oakland, but I think the show would be a good thing.
Do you think the Mayor and others in the city should have done more to shut down Your Black Muslim bakery?
It appears that they could've done a lot more. They seemed to be scared. A lot of people are scared, especially now.
What would you like to see for the future of Oakland?
I'd like to see Oakland have better community so that we're known for something more than violence. And I'd like to see Oakland have more opportunities to be known for our talent.
What do you see for the future of Oakland's film/video community?
Blaxploitation is an interesting genre, but sad. Melvin van Peebles innovated all of those styles. For Hollywood to take that and use it to sell tickets to Black audiences, where the characters are basically white, is sad. What they should do is find narratives that speak to people - not just make these cartoon characters. Not all whites are going to be stupid nor are blacks are going to be Shaft. If we have more in depth characters, like in Crash, you get to see these people. You get to see prejudice, the hatred they have for the government or what ever that drives them. Then it makes sense and you understand. When you have cartoon characters, there is nothing you can do. They are there to be laughed at, that is all.
Which is kind of ironic because you got your finishing funds from Monte Schultz, son of Charles Schultz, the Peanuts guy.
Yes, isn't it? We have been friends for years. I met Monte at another Santa Barbara writer's conference. Both he and his father have always been big supporters and wonderful to me. Charles was wonderful. We would have great conversations. He would ask me things like: "Do you think Jesus had a dog?" A really a sweet man and crazy about his kids.
So now you can move to final.
Yes, we hope to have the final cut by the end of April [now pushed to end of May].
Congratulations Carmen! It has been a long road, and we look forward to the premiere of Everyday Black Man, undoubtedly here in Oakland, at the start of summer. Because it will also be the premiere of new local light in cinema, Carmen Madden, taking on the difficult task of displaying the "Oakland Story," with the promise of many more. We wish her luck. For a taste of Everyday Black Man see the trailer at: http://www.everydayblackman.com.
Posted on May 03, 2009 - 01:10 AM
