When Ben Barenholtz, 83, died Wednesday at his new home in Prague, we lost one of the giants of American independent cinema. This vital and genial man has left a legacy behind few can equal. Many in the film community remember him as an entrepreneur, champion of new talent, mentor, cinephile and filmmaker. (Check out his many Facebook tributes here.) Others shared their thoughts in emails to IndieWire throughout the day.
“Ben’s passing is the end of an era,” said John Turturro. “I knew Ben first as a theater owner of the Elgin, which I used to frequent as a young man. Then I worked with him as a producer of ‘Miller’s Crossing’ and ‘Barton Fink.’ He introduced me to so many talented people. His great eye, his sense of humor and mischievous rebellious outlook masked a complicated and difficult early life. He was one of a kind and...
“Ben’s passing is the end of an era,” said John Turturro. “I knew Ben first as a theater owner of the Elgin, which I used to frequent as a young man. Then I worked with him as a producer of ‘Miller’s Crossing’ and ‘Barton Fink.’ He introduced me to so many talented people. His great eye, his sense of humor and mischievous rebellious outlook masked a complicated and difficult early life. He was one of a kind and...
- 6/28/2019
- by Tom Brueggemann
- Indiewire
Film to Premiere at a special one-night, invitation-only, engagement sponsored by HBO(R) on October at the AMC Empire 25 on 42nd Street
New York, NY – September 25, 2013 – (Hispanicize Wire) – ProyectoNEXT, a new showcase for emerging Latino and Urban talent sponsored by HBO, will debut next month with the New York premiere of director Henry Barrial’s “The House That Jack Built.” The one-night, invitation-only feature presentation will take place October 2 in Manhattan at the AMC Empire 25.
Hailed by The Hollywood Reporter as a “convincing portrait of a neighborhood and its Nuyorican culture,” and “a majestic journey of crime, family drama, and redemption” by The Awards Circuit, “The House That Jack Built” stars Bronx native E.J. Bonilla and features an all-Latino cast of Caribbean descent from New York, including Melissa Fumero, Leo Minaya, Flor De Liz Perez, Saundra Santiago, John Herrera, and Rosal Colon.
“HBO is extremely excited to partner in the...
New York, NY – September 25, 2013 – (Hispanicize Wire) – ProyectoNEXT, a new showcase for emerging Latino and Urban talent sponsored by HBO, will debut next month with the New York premiere of director Henry Barrial’s “The House That Jack Built.” The one-night, invitation-only feature presentation will take place October 2 in Manhattan at the AMC Empire 25.
Hailed by The Hollywood Reporter as a “convincing portrait of a neighborhood and its Nuyorican culture,” and “a majestic journey of crime, family drama, and redemption” by The Awards Circuit, “The House That Jack Built” stars Bronx native E.J. Bonilla and features an all-Latino cast of Caribbean descent from New York, including Melissa Fumero, Leo Minaya, Flor De Liz Perez, Saundra Santiago, John Herrera, and Rosal Colon.
“HBO is extremely excited to partner in the...
- 9/26/2013
- by El Mayimbe
- LRMonline.com
Rosie graduated film school and worked briefly with a small film production company for 3 years where she learned the basics of creative and commerce on the studio side and TV side of the business. Big studio fare was not exactly the kind of films she favored, and she wanted to be involved with the sort of films she wanted to see herself.
You can see her credits on short films were more in line with her next job at Sundance Institute where she was recruited by festival programmers Caroline Libresco and John Nein. She began in 2004 as Geoff Gilmore’s assistant. John Cooper had joined Sundance in 1989 and in 2001 he initiated the idea for someone be a liaison/consultant to help industry folks during the Festival. By 2006, that idea became more official and the Sundance Industry Office (Sio) was born. The Sio became a one-stop-shop for the sales and industry representatives who had been attending Sundance for years and offered a members-only access to purchase passes and ticket packages. In addition, screenings and attendance were going up so Press and Industry Screenings were introduced as well.
Space at Sundance Film Festival is however always at a premium. Screening rooms are limited (unlike Toronto which also had to face this issue earlier in its own history). The trade can be quite demanding as we in the industry well know. We get anxious and we want instant help when we are pressed for time to see and do all me must during these top festivals. I remember a time when Sam Kitt and others were shut out of a screening in Toronto and we caused such a fuss that then next year they started the Sales and Industry Office. But Sundance resisted our attempts to “label” the festival as a trade event. It was a festival; it did not cater to “the trade”; it catered to filmmakers whose independence from the studios, from the trade was prized by Robert Redford himself.
However, as we all know, trade is essential if filmmakers want to recoup their investments. In 1989 when Sex, Lies and Videotape hit Sundance, the trade was alerted that not only were there great films that could supplement the new video industry but there were careers to be made.
In Rosie’s early days running the Sio, seven years ago, there were 800 to 900 industry attendees. Today there are 1,300 and there are many reasons for their attending Sundance. Back in the early 90s, primarily buyers were there looking for new acquisitions for theatrical and home video. Most films did not even have international sales agents. Now, there are festival people, especially regional programmers looking beyond the Competition and Premieres for highlighting new talent or more focused on their regional audience desires; there are distributors also looking for new digital platforms, there are casting agents looking for talent, agents looking for talent, post-production houses looking for business from directors and producers, film commissions – especially during these days of runaway production – offering tax credits, non-profits looking for films or making films to hit their cause-oriented constituencies. There are even TV executives looking at shorts for future TV directors. Having international sales agents standing at the theater entrance noting which distributors are attending needs to be explained to the theater operators.
With such a broad range of industry sites, Rosie and her staff of 3 (they just hired a 3rd), still must hold the limit on passes (without spare room, there is a limited number of passes available). Their first duty is to help the filmmakers with films needing to be seen by those who can help the filmmaker the most. Calming stressed out executives is key to smooth operations too, and both the volunteers and the industry folk have commented on a marked improvement in their mutual dealings with one another over the past few years.
(Now if we could just get the “townies” to stop referring to us as “the people in black”, we would have an even better time in Sundance.)
One of Rosie’s favorite activities is getting to know each person in the trade, many of whom are her heroes, and educating key staff, whether the “carnie lifestyle” seasonal workers or the volunteers, so that they can meet the demands which industry sites will make. Speaking of this “carnie lifestyle”, Rosie’s new Associate Manager who was hired two weeks ago, was at Telluride.
Another interesting activity is educating the new filmmakers on the importance of international distribution. Debuting filmmakers often do not understand that if a film does not get a U.S. distribution deal, it does not mean there is no audience for that film. Understanding that international market and understanding that international sales can make a huge difference for their films and fir their careers. Understanding “splitting rights” between U.S. and international is a concept that often does not occur to them.
I asked Rosie how the Next Weekend expansion of Sundance worked this past summer in L.A. Out of 10 features, all but four had already shown at Sundance. Those world premiering films had no U.S. or international sales agents attached, so there was something for the trade to watch. However 8 of them had distribution and were being shown locally in L.A. to introduce local audiences to the next generation of indie filmmakers. This brain child of John Cooper and Trevor Groth was more of a community oriented affair.
Sundance does have some interesting alliances, for instance, with Cinando. Last year Rosie and Jerome Paillard the director of the Cannes Market met at Afm and she saw the value of filmmakers having the option to show their films online on the Cannes website, Cinando, to the international film trade. Filmmakers can choose how, when and to whom to show their films – whether after Sundance, or after Berlin where they are also invited to screen, thanks to Caroline Libresco and other programmers. They can show only to international sales agents or to distributors or only to festival programmers. The choice is theirs or, if they have an international sales agent, it is often left to them to decide. Sundance filmmakers can also show on Festivalscope, which is a B2B internet platform for film professionals worldwide that has partnered with more than 80 international film festivals.
This international trade-only online platform is important because attending Sundance for the international crowd is cost-prohibitive. There is a core group which comes every year like Michael Weber of The Match Factory, or sales agents like Fortissimo whose films show in the festival, distribution executives Karin Beyens of Diaphana, an important French distributor, and a few others, but most of them would prefer to see films online through Cinando which is market connected.
Filmmakers need to know that once producers are on Cinando, they can use phone apps as well and have access to the P&I screening schedules of other Tiff as well as other top festivals, like Berlin, Cannes Festival and Cannes Market, Karlovy Vary, San Sebastian, Ventana Sur, etc. with its 2,500 films on offer. Sundance’s own P&I (Press and Industry) schedule is only available on Cinando. It also shows who in the industry is where…both online and on iphone.
Cooper (John Cooper) also came up with the idea of the Art House Project, which now has blossomed into the now quite important Art House Convergence, held just before Sundance, where art house theater owners can discuss common issues, often with the art house distributors who now attend as well.
Rosie’s industry office needs to stay aware of all these aspects of the industry to serve them so that Sundance can continue to serve a broad and ever growing community!
You can see her credits on short films were more in line with her next job at Sundance Institute where she was recruited by festival programmers Caroline Libresco and John Nein. She began in 2004 as Geoff Gilmore’s assistant. John Cooper had joined Sundance in 1989 and in 2001 he initiated the idea for someone be a liaison/consultant to help industry folks during the Festival. By 2006, that idea became more official and the Sundance Industry Office (Sio) was born. The Sio became a one-stop-shop for the sales and industry representatives who had been attending Sundance for years and offered a members-only access to purchase passes and ticket packages. In addition, screenings and attendance were going up so Press and Industry Screenings were introduced as well.
Space at Sundance Film Festival is however always at a premium. Screening rooms are limited (unlike Toronto which also had to face this issue earlier in its own history). The trade can be quite demanding as we in the industry well know. We get anxious and we want instant help when we are pressed for time to see and do all me must during these top festivals. I remember a time when Sam Kitt and others were shut out of a screening in Toronto and we caused such a fuss that then next year they started the Sales and Industry Office. But Sundance resisted our attempts to “label” the festival as a trade event. It was a festival; it did not cater to “the trade”; it catered to filmmakers whose independence from the studios, from the trade was prized by Robert Redford himself.
However, as we all know, trade is essential if filmmakers want to recoup their investments. In 1989 when Sex, Lies and Videotape hit Sundance, the trade was alerted that not only were there great films that could supplement the new video industry but there were careers to be made.
In Rosie’s early days running the Sio, seven years ago, there were 800 to 900 industry attendees. Today there are 1,300 and there are many reasons for their attending Sundance. Back in the early 90s, primarily buyers were there looking for new acquisitions for theatrical and home video. Most films did not even have international sales agents. Now, there are festival people, especially regional programmers looking beyond the Competition and Premieres for highlighting new talent or more focused on their regional audience desires; there are distributors also looking for new digital platforms, there are casting agents looking for talent, agents looking for talent, post-production houses looking for business from directors and producers, film commissions – especially during these days of runaway production – offering tax credits, non-profits looking for films or making films to hit their cause-oriented constituencies. There are even TV executives looking at shorts for future TV directors. Having international sales agents standing at the theater entrance noting which distributors are attending needs to be explained to the theater operators.
With such a broad range of industry sites, Rosie and her staff of 3 (they just hired a 3rd), still must hold the limit on passes (without spare room, there is a limited number of passes available). Their first duty is to help the filmmakers with films needing to be seen by those who can help the filmmaker the most. Calming stressed out executives is key to smooth operations too, and both the volunteers and the industry folk have commented on a marked improvement in their mutual dealings with one another over the past few years.
(Now if we could just get the “townies” to stop referring to us as “the people in black”, we would have an even better time in Sundance.)
One of Rosie’s favorite activities is getting to know each person in the trade, many of whom are her heroes, and educating key staff, whether the “carnie lifestyle” seasonal workers or the volunteers, so that they can meet the demands which industry sites will make. Speaking of this “carnie lifestyle”, Rosie’s new Associate Manager who was hired two weeks ago, was at Telluride.
Another interesting activity is educating the new filmmakers on the importance of international distribution. Debuting filmmakers often do not understand that if a film does not get a U.S. distribution deal, it does not mean there is no audience for that film. Understanding that international market and understanding that international sales can make a huge difference for their films and fir their careers. Understanding “splitting rights” between U.S. and international is a concept that often does not occur to them.
I asked Rosie how the Next Weekend expansion of Sundance worked this past summer in L.A. Out of 10 features, all but four had already shown at Sundance. Those world premiering films had no U.S. or international sales agents attached, so there was something for the trade to watch. However 8 of them had distribution and were being shown locally in L.A. to introduce local audiences to the next generation of indie filmmakers. This brain child of John Cooper and Trevor Groth was more of a community oriented affair.
Sundance does have some interesting alliances, for instance, with Cinando. Last year Rosie and Jerome Paillard the director of the Cannes Market met at Afm and she saw the value of filmmakers having the option to show their films online on the Cannes website, Cinando, to the international film trade. Filmmakers can choose how, when and to whom to show their films – whether after Sundance, or after Berlin where they are also invited to screen, thanks to Caroline Libresco and other programmers. They can show only to international sales agents or to distributors or only to festival programmers. The choice is theirs or, if they have an international sales agent, it is often left to them to decide. Sundance filmmakers can also show on Festivalscope, which is a B2B internet platform for film professionals worldwide that has partnered with more than 80 international film festivals.
This international trade-only online platform is important because attending Sundance for the international crowd is cost-prohibitive. There is a core group which comes every year like Michael Weber of The Match Factory, or sales agents like Fortissimo whose films show in the festival, distribution executives Karin Beyens of Diaphana, an important French distributor, and a few others, but most of them would prefer to see films online through Cinando which is market connected.
Filmmakers need to know that once producers are on Cinando, they can use phone apps as well and have access to the P&I screening schedules of other Tiff as well as other top festivals, like Berlin, Cannes Festival and Cannes Market, Karlovy Vary, San Sebastian, Ventana Sur, etc. with its 2,500 films on offer. Sundance’s own P&I (Press and Industry) schedule is only available on Cinando. It also shows who in the industry is where…both online and on iphone.
Cooper (John Cooper) also came up with the idea of the Art House Project, which now has blossomed into the now quite important Art House Convergence, held just before Sundance, where art house theater owners can discuss common issues, often with the art house distributors who now attend as well.
Rosie’s industry office needs to stay aware of all these aspects of the industry to serve them so that Sundance can continue to serve a broad and ever growing community!
- 9/19/2013
- by Sydney Levine
- Sydney's Buzz
At Bingham Ray's La Memorial at Busby's on Wilshire Friday, the Sundance Institute's Keri Putnam, Michele Satter, John Cooper, and Trevor Groth announced a new creative producing fellowship to honor Bingham Ray, worth $10,000. The Sundance fellow they seek--an honest and crazy maverick who loves indie cinema--will be announced in June. The fellow will attend the Sundance Producing Lab and Summit, which brings long-term advisor relationships with two industry mentors as well as Sundance Institute Feature Film Program staff. Among the other speakers at Ray's La Memorial, who were introduced at the open mic by host Sam Kitt, were Fox co-chairman Tom Rothman, who told an...
- 2/18/2012
- by Anne Thompson
- Thompson on Hollywood
Perhaps it was because it was the first night of Afm, or perhaps it was a prequel to the first night of AFI Fest, but whatever the occasion, it was a great party Wednesday night at The Cat and Fiddle on Sunset Boulevard given by SXSW Film Conference and Festival. Janet Pierson was the regal hostess and everyone seemed to have a film in post. From Janet Grillo with Fly Away, Seth Nagel, Stephen Israel with three films in post no less: I Am Ben, Audrey and The Secret Lives of Dorks, Matt Wahl to Sam Kitt whose Cherry is…...
- 11/4/2010
- Sydney's Buzz
The second annual Filmmaker Forum, organized by Film Independent, is expanding into a two-day seminar to be held in late October at the Hammer Museum in Westwood. The forum will kick off Oct. 26 with a preview screening of Phillip Noyce's political thriller Catch a Fire, starring Tim Robbins and Derek Luke, at the Mann Festival Theatre in Westwood. A Q&A with Noyce, screenwriter Shawn Slovo and producer Robyn Slovo and an opening reception at the Hammer Museum will follow the screening. Participants in the two days of panel discussions on Oct. 27 and 28 will include Peter Broderick (Paradigm Consulting), Micah Green (CAA), Rena Ronson (William Morris Independent), Anne Thompson (The Hollywood Reporter) and Nancy Utley (Fox Searchlight) as well as filmmakers Stephanie Allain, Anna Boden, Neill Dela Llana, Kirby Dick, Ryan Fleck, Sean Furst, Ian Gamazon, Sam Kitt, Peggy Rajski and Wash Westmoreland.
- 9/28/2006
- The Hollywood Reporter - Movie News
The second annual Filmmaker Forum, organized by Film Independent, is expanding into a two-day seminar to be held in late October at the Hammer Museum in Westwood. The forum will kick off Oct. 26 with a preview screening of Phillip Noyce's political thriller Catch a Fire, starring Tim Robbins and Derek Luke, at the Mann Festival Theatre in Westwood. A Q&A with Noyce, screenwriter Shawn Slovo and producer Robyn Slovo and an opening reception at the Hammer Museum will follow the screening. Participants in the two days of panel discussions on Oct. 27 and 28 will include Peter Broderick (Paradigm Consulting), Micah Green (CAA), Rena Ronson (William Morris Independent), Anne Thompson (The Hollywood Reporter) and Nancy Utley (Fox Searchlight) as well as filmmakers Stephanie Allain, Anna Boden, Neill Dela Llana, Kirby Dick, Ryan Fleck, Sean Furst, Ian Gamazon, Sam Kitt, Peggy Rajski and Wash Westmoreland.
- 9/27/2006
- The Hollywood Reporter - Movie News
Director Spike Lee has closed down the Los Angeles branch of his 40 Acres And A Mule Filmworks and cut back on the development of its New York headquarters in an effort to downsize. The operation's longtime Los Angeles-based co-principal, Sam Kitt, is stepping down and pursuing outside projects while continuing to work with Lee. 40 Acres development head Steve Lee is also pursuing outside projects. Kitt calls the reshuffle a "tactical retrenchment", due to the expiration of an exclusive first-look deal at Disney. The studio released three of Lee's last five feature projects, including 25th Hour. Kitt says, "Deals come and go, but Spike continues to make his movies. We're going to continue to push ahead with these projects, and I'm sure there will continue to be more stuff in the future." The camp's latest effort, She Hate Me, made only $57,049 from 11 theatres in its first weekend of release in America.
- 8/10/2004
- WENN
The field is shrinking at 40 Acres and a Mule Filmworks, Spike Lee's production company. Lee has quietly downsized his operation in recent months, sources said, by shutting the Los Angeles satellite branch of the company. The indie auteur also has cut back the development department at his Brooklyn headquarters. Meanwhile, Lee remains active, with his latest feature, She Hate Me, which bowed in limited release over the weekend through Sony Pictures Classics, and took in $57,049 from five theaters. News also broke last week that the helmer is expected to take on James Ellroy's original script The Night Watchman as his next feature (HR 7/29). Sam Kitt, the longtime, Los Angeles-based co-principal of 40 Acres, confirmed that the company has gone through what he called a "tactical retrenchment," which he attributed to the expiration of an exclusive first-look deal on theatrical projects with Walt Disney Studios that ran from February 2002-June 2003. Disney has released three of Lee's last five feature projects, including the 2002 Edward Norton vehicle 25th Hour. Kitt is stepping down as 40 Acres president, and he acknowledged last week that he is pursuing outside projects while continuing to work with Lee.
The field is shrinking at 40 Acres and a Mule Filmworks, Spike Lee's production company. Lee has quietly downsized his operation in recent months, sources said, by shutting the Los Angeles satellite branch of the company. The indie auteur also has cut back the development department at his Brooklyn headquarters. Meanwhile, Lee remains active, with his latest feature, She Hate Me, which bowed in limited release over the weekend through Sony Pictures Classics, and took in $57,049 from five theaters. News also broke last week that the helmer is expected to take on James Ellroy's original script The Night Watchman as his next feature (HR 7/29). Sam Kitt, the longtime, Los Angeles-based co-principal of 40 Acres, confirmed that the company has gone through what he called a "tactical retrenchment," which he attributed to the expiration of an exclusive first-look deal on theatrical projects with Walt Disney Studios that ran from February 2002-June 2003. Disney has released three of Lee's last five feature projects, including the 2002 Edward Norton vehicle 25th Hour. Kitt is stepping down as 40 Acres president, and he acknowledged last week that he is pursuing outside projects while continuing to work with Lee.
Imagine "Four Weddings and a Funeral" with the hijinks of all four weddings jammed into a long weekend and the distinct possibility of a funeral at its conclusion if the bridegroom finds out what happened between his bride and best man during a certain night long ago. That sums up "The Best Man", a boisterous, likable comedy.
Writer-director Malcolm D. Lee, a cousin of Spike Lee -- whose company produced the film -- demonstrates that Spike is not the family's only filmmaking talent. Universal has a lively movie with crossover potential along the lines of such films as "Waiting to Exhale" and "How Stella Got Her Groove Back".
The nuptials of pro football running back Lance (Morris Chestnut) and longtime girlfriend Mia (Monica Calhoun) precipitate a joyful reunion of a bunch of college buddies. Best man Harper (Taye Diggs) is a novelist trying to dodge marital commitments to his girlfriend Robin (Sanaa Lathan). One key reason is Jordan (Nia Long), now a TV producer who is, as one of Harper's buddies comments, "the best girlfriend you never had." Both parties wonder if they want to change that "never" during the weekend.
Quentin (Terrence Howard), a perennial student, makes it clear that he intends to remain a perennial dater. And Murch (Harold Perrineau) is determined to stick with his domineering lover Shelby Melissa De Sousa), though everyone knows she is all wrong for him.
But there is a ticking time bomb amid the festivities. Harper's first novel, to hit bookstores in weeks, is an all-too-thinly disguised roman a clef about himself and the very same circle of college friends. Jordan has acquired an advance copy, which is rapidly making the rounds. When it winds up in the bridegroom's hands, everyone can only hope he's a slow reader. But what kind of a comedy would this be if he were?
Lee constructs his script neatly to expose his characters' foibles and soft spots. As his plot lines deftly intersect for optimum comic payoff, Lee is able to explore male-female relationships at some of their most unguarded moments. It's a talky script, but the talk opens up the characters' insecurities and fears.
A further plus is Lee's astute casting. One senses that each actor understands and loves playing their role. It's unfortunate that black actors seldom have the opportunity to play such multidimensional characters.
Technical credits are fine, though at times the interiors are a tad overlighted, even for a comedy.
THE BEST MAN
Universal Pictures
40 Acres and a Mule Filmworks
Producers: Spike Lee, Sam Kitt, Bill Carraro
Screenwriter-director: Malcolm D. Lee
Director of photography: Frank Prinzi
Production designer: Kalina Ivanov
Music: Stanley Clarke
Editor: Cara Silverman
Color/stereo
Cast:
Harper: Taye Diggs
Jordan: Nia Long
Lance: Morris Chestnut
Murch: Harold Perrineau
Quentin: Terrence Howard
Robin: Sanaa Lathan
Mia: Monica Calhoun
Shelby: Melissa De Sousa
Anita: Victoria Dillard
Candy: Regina Hall
Running time -- 115 minutes
MPAA rating: R...
Writer-director Malcolm D. Lee, a cousin of Spike Lee -- whose company produced the film -- demonstrates that Spike is not the family's only filmmaking talent. Universal has a lively movie with crossover potential along the lines of such films as "Waiting to Exhale" and "How Stella Got Her Groove Back".
The nuptials of pro football running back Lance (Morris Chestnut) and longtime girlfriend Mia (Monica Calhoun) precipitate a joyful reunion of a bunch of college buddies. Best man Harper (Taye Diggs) is a novelist trying to dodge marital commitments to his girlfriend Robin (Sanaa Lathan). One key reason is Jordan (Nia Long), now a TV producer who is, as one of Harper's buddies comments, "the best girlfriend you never had." Both parties wonder if they want to change that "never" during the weekend.
Quentin (Terrence Howard), a perennial student, makes it clear that he intends to remain a perennial dater. And Murch (Harold Perrineau) is determined to stick with his domineering lover Shelby Melissa De Sousa), though everyone knows she is all wrong for him.
But there is a ticking time bomb amid the festivities. Harper's first novel, to hit bookstores in weeks, is an all-too-thinly disguised roman a clef about himself and the very same circle of college friends. Jordan has acquired an advance copy, which is rapidly making the rounds. When it winds up in the bridegroom's hands, everyone can only hope he's a slow reader. But what kind of a comedy would this be if he were?
Lee constructs his script neatly to expose his characters' foibles and soft spots. As his plot lines deftly intersect for optimum comic payoff, Lee is able to explore male-female relationships at some of their most unguarded moments. It's a talky script, but the talk opens up the characters' insecurities and fears.
A further plus is Lee's astute casting. One senses that each actor understands and loves playing their role. It's unfortunate that black actors seldom have the opportunity to play such multidimensional characters.
Technical credits are fine, though at times the interiors are a tad overlighted, even for a comedy.
THE BEST MAN
Universal Pictures
40 Acres and a Mule Filmworks
Producers: Spike Lee, Sam Kitt, Bill Carraro
Screenwriter-director: Malcolm D. Lee
Director of photography: Frank Prinzi
Production designer: Kalina Ivanov
Music: Stanley Clarke
Editor: Cara Silverman
Color/stereo
Cast:
Harper: Taye Diggs
Jordan: Nia Long
Lance: Morris Chestnut
Murch: Harold Perrineau
Quentin: Terrence Howard
Robin: Sanaa Lathan
Mia: Monica Calhoun
Shelby: Melissa De Sousa
Anita: Victoria Dillard
Candy: Regina Hall
Running time -- 115 minutes
MPAA rating: R...
- 9/17/1999
- The Hollywood Reporter - Movie News
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