“DAMN, IT’S HOT OUT HERE,” says Tyler Perry, who isn’t making it easy on himself, clad in all black but for the shock of a white mask, as he directs a 12-person crew through a scene for the BET comedy Sistas. Last year, Perry might have avoided shooting in Atlanta’s July sun, but in this coronavirus era, you take any window you can, and “Camp Quarantine” at his Tyler Perry Studios is trying to pioneer post-pandemic entertainment making.
“Get out of the car,” he calls out to an actor in a cop car who walks over to a silver pickup driven by show regular Devale Ellis. Then he feeds Ellis his line —“What’d I do?” No one seems to have seen the script. When you’re looking to get an entire season of primetime television in the can in 11 days — all before the rest of Hollywood has made it out of hiding — corners must be cut.
Away from the shoot, sitting alone on a metal folding chair in the center of a cavernous and empty soundstage, a container of Lysol wipes at his feet, Perry explains his method. “I mostly go on my gut and my instinct. I like to challenge the system and see what I can do differently.”
That’s an especially winning strategy in a system that feels stacked against you. Mostly dismissed by the Hollywood establishment and even some other Black luminaries (Spike Lee once derided Perry’s crass slapstick approach as “coonery buffoonery” before later relenting), Perry has succeeded for two reasons: He has honed a product that too many others viewed as destined for the discount bin. And he made sure to control it all.
この記事は Forbes Africa の December - January 2021 版に掲載されています。
7 日間の Magzter GOLD 無料トライアルを開始して、何千もの厳選されたプレミアム ストーリー、9,000 以上の雑誌や新聞にアクセスしてください。
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この記事は Forbes Africa の December - January 2021 版に掲載されています。
7 日間の Magzter GOLD 無料トライアルを開始して、何千もの厳選されたプレミアム ストーリー、9,000 以上の雑誌や新聞にアクセスしてください。
すでに購読者です? サインイン
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