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Malcolm-Jamal Warner

Television actor and television director Malcolm-Jamal Warner was born on August 18, 1970 in Jersey City, New Jersey. Warner was raised by his mother, Pamela Warner, in California where he became interested in acting at the age of nine. He attended Angelus Mesa Elementary School in Los Angeles, California and he graduated from the Professional Children’s School in New York City in 1988.

In 1982, Warner was cast as Johnny Randolph on an episode of Matt Houston, and in 1983 he was cast as Lucas Boyd on an episode of Fame entitled Ending on a High Note. In 1984, Warner was cast as Theodore Huxtable on The Cosby Show . In addition to being nominated for a prime-time Emmy Award for best supporting actor in a comedy series, Warner also won two Young Actor Awards for his role as Theodore Huxtable. He also provided the soundtrack for the 1986 season and directed five episodes of The Cosby Show, including the reunion show. Throughout the 1980s, Warner appeared in several television series and television specials including an ABC afterschool special entitled A Desperate Exit and The Father Clements Story In 1989, he authored Theo and Me Get into The Groove. Warner continued to work in television and film during the 1990s as a producer and director. He directed music videos for the R&B group, New Edition. During 1992, he directed a documentary entitled The Truth About You and Me and AIDS. The same year, Warner starred in his own sitcom entitled Here and Now. He appeared in the HBO films The Tuskegee Airmen as well as Tyson, and the feature film Drop Zone with Wesley Snipes. Warner also produced an animated educational series entitled The Magic School Bus. From 1996 through 2000, Warner co-starred as Malcolm McGhee on the sitcom, Malcolm & Eddie. He directed over a dozen episodes and served as show supervisor in 1997.

From 2002-2006 Warner was cast in various television productions including Lyric Café, HBO’s Def Poetry Jam ,Jeremiah and Dexter. In 2007, Warner showcased his musical and spoken word talents by releasing his debut EP The Miles Long Mixtape.

Malcolm-Jamal Warner was interviewed by The HistoryMakers on April 2, 2008.

Accession Number

A2008.070

Sex

Male

Interview Date

4/2/2008

Last Name

Warner

Maker Category
Organizations
Schools

Angeles Mesa Elementary School

Hillcrest Drive Elementary School

Coliseum Street Elementary School

Paul Revere Charter Middle School

Professional Children's School

First Name

Malcolm-Jamal

Birth City, State, Country

Jersey City

HM ID

WAR12

Favorite Season

Summer

State

New Jersey

Favorite Vacation Destination

Jamaica

Favorite Quote

My Word Is My Bond; Integrity Is All You Have.

Bio Photo
Speakers Bureau Region State

California

Birth Date

8/18/1970

Birth Place Term
Speakers Bureau Region City

Los Angeles

Country

United States

Favorite Food

Pizza

Short Description

Television actor and television director Malcolm-Jamal Warner (1970 - ) was best known for his role as Theodore Huxtable on "The Cosby Show," which earned him a nomination for a Primetime Emmy Award. His other television and film credits included, "The Father Clements Story," "The Tuskegee Airmen," "Drop Zone" and "Malcolm & Eddie." Warner was also a spoken word artist and musician with his group Miles Long.

Employment

NBC

Miles Long

UPN

Favorite Color

Blue

DAStories

Tape: 1 Story: 1 - Slating of Malcolm-Jamal Warner's interview

Tape: 1 Story: 2 - Malcolm-Jamal Warner lists his favorites

Tape: 1 Story: 3 - Malcolm-Jamal Warner describes his mother's personality

Tape: 1 Story: 4 - Malcolm-Jamal Warner remembers his father's personality

Tape: 1 Story: 5 - Malcolm-Jamal Warner describes his grandmothers

Tape: 1 Story: 6 - Malcolm-Jamal Warner remembers his grandfathers

Tape: 1 Story: 7 - Malcolm-Jamal Warner describes how his parents met

Tape: 1 Story: 8 - Malcolm-Jamal Warner talks about his extended family

Tape: 1 Story: 9 - Malcolm-Jamal Warner describes his earliest childhood memory

Tape: 1 Story: 10 - Malcolm-Jamal Warner describes the sights, sounds and smells of his childhood

Tape: 1 Story: 11 - Malcolm-Jamal Warner recalls moving to Los Angeles, California

Tape: 1 Story: 12 - Malcolm-Jamal Warner remembers his home in Los Angeles, California

Tape: 1 Story: 13 - Malcolm-Jamal Warner describes Angeles Mesa Elementary School in Los Angeles, California

Tape: 1 Story: 14 - Malcolm-Jamal Warner remembers his neighbors in Los Angeles, California

Tape: 1 Story: 15 - Malcolm-Jamal Warner talks about moving to the Baldwin Village neighborhood of Los Angeles, California

Tape: 1 Story: 16 - Malcolm-Jamal Warner recalls his early influences

Tape: 2 Story: 1 - Malcolm-Jamal Warner recalls his busing experience at Coliseum Street Elementary School in Los Angeles, California

Tape: 2 Story: 2 - Malcolm-Jamal Warner talks about his early interest in acting

Tape: 2 Story: 3 - Malcolm-Jamal Warner recalls his acting experiences at the Inglewood Playhouse in Inglewood, California

Tape: 2 Story: 4 - Malcolm-Jamal Warner remembers his high school experiences

Tape: 2 Story: 5 - Malcolm-Jamal Warner describes the challenges he faced as a child star

Tape: 2 Story: 6 - Malcolm-Jamal Warner talks about auditioning for 'The Cosby Show'

Tape: 2 Story: 7 - Malcolm-Jamal Warner recalls his screen test for 'The Cosby Show'

Tape: 3 Story: 1 - Malcolm-Jamal Warner describes his mother's home cooking business

Tape: 3 Story: 2 - Malcolm-Jamal Warner recalls his move to New York City

Tape: 3 Story: 3 - Malcolm-Jamal Warner talks about enrolling at the Professional Children's School in New York City

Tape: 3 Story: 4 - Malcolm-Jamal Warner remembers filming the pilot for 'The Cosby Show'

Tape: 3 Story: 5 - Malcolm-Jamal Warner describes Bill Cosby's vision for 'The Cosby Show'

Tape: 3 Story: 6 - Malcolm-Jamal Warner talks about his relationship with his co-stars on 'The Cosby Show'

Tape: 3 Story: 7 - Malcolm-Jamal Warner recalls Bill Cosby's influence on 'The Cosby Show'

Tape: 3 Story: 8 - Malcolm-Jamal Warner remembers his relationship with his mother as a teenager

Tape: 3 Story: 9 - Malcolm-Jamal Warner describes the addition of Sabrina Le Beauf to 'The Cosby Show'

Tape: 4 Story: 1 - Malcolm-Jamal Warner describes Raven-Symone's debut on 'The Cosby Show'

Tape: 4 Story: 2 - Malcolm-Jamal Warner talks about the famous guest stars on 'The Cosby Show'

Tape: 4 Story: 3 - Malcolm-Jamal Warner recalls changes in the later seasons of 'The Cosby Show'

Tape: 4 Story: 4 - Malcolm-Jamal Warner remembers his mother's role as his manager

Tape: 4 Story: 5 - Malcolm-Jamal Warner talks about the differences between actors on the East Coast and West Coast

Tape: 4 Story: 6 - Malcolm-Jamal Warner remembers the final season of 'The Cosby Show'

Tape: 4 Story: 7 - Malcolm-Jamal Warner describes 'A Different World'

Tape: 4 Story: 8 - Malcolm-Jamal Warner talks about the television show 'Here and Now'

Tape: 4 Story: 9 - Malcolm-Jamal Warner remembers the death of Ennis Cosby

Tape: 4 Story: 10 - Malcolm-Jamal Warner talks about his film career

Tape: 4 Story: 11 - Malcolm-Jamal Warner describes the quality of black sitcoms

Tape: 4 Story: 12 - Malcolm-Jamal Warner remembers starring on 'Malcolm and Eddie'

Tape: 5 Story: 1 - Malcolm-Jamal Warner describes the start of his music career

Tape: 5 Story: 2 - Malcolm-Jamal Warner talks about his plans for the future

Tape: 5 Story: 3 - Malcolm-Jamal Warner reflects upon his legacy

Tape: 5 Story: 4 - Malcolm-Jamal Warner shares his advice to aspiring artists

Tape: 5 Story: 5 - Malcolm-Jamal Warner describes his hopes for the African American community

Reginald Hudlin

Reginald Alan Hudlin was born on December 15, 1961, in Centreville, Missouri. He was raised in East St. Louis, Illinois, by his parents Warrington W. Hudlin, Sr. and Helen (Cason) Hudlin. In 1983, Hudlin received his B.A. degree from Harvard University where his senior thesis project was the first version of the film, House Party. Hudlin was supported as an artist-in-residence by the Illinois Arts Council from 1984 to 1985.

At the age of seventeen, Hudlin co-founded the non-profit Black Filmmakers Foundation (BFF) with his brother, Warrington Hudlin, Jr., in 1978. The brothers then formed Hudlin Bros., Inc., a production company which made several popular music videos for MCA and Polygram Records for artists like Heavy D and the Boyz, Guy and Blue Magic. In 1990, Hudlin expanded his Harvard thesis project into the full length feature film House Party, starring the rap duo Kid ‘N Play. Hudlin directed the hit movie Boomerang in 1992, starring Eddie Murphy. Later that year, Hudlin co-executive produced Bebe’s Kids, an animated musical comedy based on the comic monologues of the late Robin Harris. In 1994, Hudlin created and directed the animated series Cosmic Slop which combined fantasy and social commentary. He received a Cable Ace Award for his work on Cosmic Slop in 1995.

The Hudlin Brothers then founded Hudlin Bros. Records in 1996 and signed a distribution deal with Epic Records, a division of Sony. Between 1996 and 2002, Hudlin directed or produced a number of films including The Great White Hype (1996), Ride (1998), The Ladies’ Man (2000) and Serving Sara (2002). Starting in 2004, Hudlin began writing the story line for the Marvel Comic series Black Panther, the first modern Black superhero. In 2005, Hudlin co-wrote a comic novel, Birth of a Nation, with The Boondocks creator Aaron McGruder. He also serves as executive producer for the animated version of The Boondocks on the Cartoon Network. On July 12, 2005, Hudlin was named President of Entertainment for Black Entertainment Television (BET) Networks. At BET, Hudlin is chief programming executive in charge of the network’s music, entertainment, specials, sports, news and public affairs, film and program acquisitions, home entertainment and programming development units. Hudlin married Chrisette Suter on November 30, 2002. They have a daughter, Helena Grace, and reside in Los Angeles, California.

Accession Number

A2008.067

Sex

Male

Interview Date

3/31/2008 |and| 12/12/2018

Last Name

Hudlin

Maker Category
Schools

Alta Sita Elementary School

St. Francis Xavier School

Assumption Catholic High School

Harvard University

Search Occupation Category
First Name

Reginald

Birth City, State, Country

Centerville

HM ID

HUD05

Favorite Season

None

Sponsor

Black Entertainment Television

State

Missouri

Favorite Vacation Destination

Hawaii

Favorite Quote

None

Bio Photo
Speakers Bureau Region State

California

Birth Date

12/15/1961

Birth Place Term
Speakers Bureau Region City

Los Angeles

Country

United States

Favorite Food

Indian Food

Short Description

Film director, broadcast executive, and television director Reginald Hudlin (1961 - ) was the president of entertainment for Black Entertainment Television (BET) Networks. He wrote, produced, executive-produced and directed several films and televisions shows including House Party, Boomerang, The Great White Hype, Cosmic Slop,The Bernie Mac Show, Everybody Hates Chris and The Boondocks.

Employment

Black Entertainment Television

Self Employed

University of Wisconsin--Milwaukee

Ogilvy and Mather

Main Sponsor
Main Sponsor URL
Favorite Color

Orange

Timing Pairs
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DAStories

Tape: 1 Story: 1 - Slating of Reginald Hudlin's interview

Tape: 1 Story: 2 - Reginald Hudlin lists his favorites

Tape: 1 Story: 3 - Reginald Hudlin describes his mother's personality

Tape: 1 Story: 4 - Reginald Hudlin describes his mother's family background

Tape: 1 Story: 5 - Reginald Hudlin describes his father's family background, pt. 1

Tape: 1 Story: 6 - Reginald Hudlin describes his father's family background, pt. 2

Tape: 1 Story: 7 - Reginald Hudlin talks about his paternal aunts and uncles

Tape: 1 Story: 8 - Reginald Hudlin describes his father's professions

Tape: 1 Story: 9 - Reginald Hudlin describes his earliest childhood memory

Tape: 1 Story: 10 - Reginald Hudlin recalls his father's personality and discipline

Tape: 1 Story: 11 - Reginald Hudlin describes the sights, sounds and smells of his childhood, pt. 1

Tape: 2 Story: 1 - Reginald Hudlin describes the sights, sounds and smells of his childhood, pt. 2

Tape: 2 Story: 2 - Reginald Hudlin recalls his neighbors in East St. Louis, Illinois

Tape: 2 Story: 3 - Reginald Hudlin remembers his childhood adventures in East St. Louis, Illinois

Tape: 2 Story: 4 - Reginald Hudlin describes the Katherine Dunham Centers for Arts and Humanities in East St. Louis, Illinois

Tape: 2 Story: 5 - Reginald Hudlin talks about his early education

Tape: 2 Story: 6 - Reginald Hudlin describes his relationship with his brothers

Tape: 2 Story: 7 - Reginald Hudlin talks about his paternal family's dinnertime activities

Tape: 2 Story: 8 - Reginald Hudlin describes his early interest in storytelling and comic books

Tape: 2 Story: 9 - Reginald Hudlin describes his brother's academic success

Tape: 2 Story: 10 - Reginald Hudlin talks about his experiences in private schools

Tape: 3 Story: 1 - Reginald Hudlin remembers Mor Thiam

Tape: 3 Story: 2 - Reginald Hudlin describes how he came to attend the Assumption Catholic High School in East St. Louis, Illinois

Tape: 3 Story: 3 - Reginald Hudlin describes his early interest in filmmaking

Tape: 3 Story: 4 - Reginald Hudlin recalls the television programs of his youth

Tape: 3 Story: 5 - Reginald Hudlin describes his decision to enroll at Harvard University

Tape: 3 Story: 6 - Reginald Hudlin talks about his introduction to independent filmmaking

Tape: 3 Story: 7 - Reginald Hudlin remembers his classmates at Harvard University

Tape: 3 Story: 8 - Reginald Hudlin describes his first day at Harvard University

Tape: 3 Story: 9 - Reginald Hudlin reflects upon his time at Harvard University

Tape: 3 Story: 10 - Reginald Hudlin talks about the black community at Harvard University

Tape: 3 Story: 11 - Reginald Hudlin describes his film assignments at Harvard University

Tape: 4 Story: 1 - Reginald Hudlin remembers creating his short film, 'House Party'

Tape: 4 Story: 2 - Reginald Hudlin talks about his influences as a filmmaker

Tape: 4 Story: 3 - Reginald Hudlin recalls his start as an independent filmmaker

Tape: 4 Story: 4 - Reginald Hudlin describes his break into the motion picture industry

Tape: 4 Story: 5 - Reginald Hudlin recalls New Line Cinema's purchase of 'House Party'

Tape: 4 Story: 6 - Reginald Hudlin remembers the Black Filmmaker Foundation's film festivals

Tape: 4 Story: 7 - Reginald Hudlin talks about the rise of African American popular culture

Tape: 4 Story: 8 - Reginald Hudlin recalls the production of his feature film, 'House Party'

Tape: 4 Story: 9 - Reginald Hudlin remembers the cast of 'House Party'

DASession

1$1

DATape

2$4

DAStory

3$4

DATitle
Reginald Hudlin remembers his childhood adventures in East St. Louis, Illinois
Reginald Hudlin describes his break into the motion picture industry
Transcript
And, we'd go ride bikes or whatever, and we went to red hill. You know, a lot of the kind of, you know, when you go on kind of a, an adventure trip, kind of a Huck Finn [Huckleberry Finn] type thing with your boys. It was always somewhere profoundly unhealthy (laughter). Because East St. Louis [Illinois] is full of all these bad post-industrial wastelands, right. So, you'd go to red hill, which was some kind of mining thing. So, literally, it was this big hill, or you know, kind of thing you would climb and it was all red. Kind of a red smudge, sand combination. I don't know why it was red. Maybe it was red clay that had been churned or whatever. So, it felt like you were on Mars. And, you'd be walking, then you see these bones. And, you're like, "Where are those bones from?" And, someone would say, "From the pack of wild dogs." Which was, you know, it probably--I mean, or were there wild dogs there? Absolutely (laughter). Were there feral dogs roaming through red hill? Yes. Which of course, for the excitement of going to red hill (laughter). What--was that a leftover bone from one? I don't know. But, it was part of the excitement. Or, it was a big grain factory. Not factory, but, you know, they would store the grains and the trains would come and load up. And, one day that caught fire. And, it was amazing 'cause it was a giant fire. So, of course, everyone comes to watch the fire. And, all of a sudden you heard all the popcorn pop (makes noise). But, like, it sounded like Iraq. And, then the popcorn smell. Then the smell of burnt popcorn which is not so fun. So, what was left of that plant, we'd go rummaging around in, just like an old factory, weed covered, and you'd see a mattress and then somebody would say, "Man, you should bring a girl out there. It's a mattress." And, you'd be like, "How's that supposed to work?" Some mattress in a weedy lot. That's not romantic (laughter). And, then there was a, there was, there was this elaborate sprinkler system, right. And, there's this, and there was water and kids were literally playing in this. And, we were like, "That is chemical water." That's some kind of fertilizer or something. So, like, I don't know what kind of chromosomal damage those kids got from playing in that water, but I knew not to get in it. And, on occasions you'd look down there and a snake would just pop out. We were like, "Ho! It's chemical water and it's a snake" (laughter). We were--they were like, "Whatever, it's all good," (laughter). Or, we would walk down to Lincoln Park [East St. Louis, Illinois], which was the park. And, none of us knew how to swim. But, each of us knew a little bit of how to swim. So, we were determined to teach each other how to swim. And, we each learned as much as three kids who don't know how to swim (laughter) could learn. Eventually, I took real swimming lessons but (laughter). So, yeah, it was, we had--and there were apple trees. So, there'd be apple wars where you know, you go--a big thing full of apples and they're hard apples, they're not ripe yet. So, you throw 'em (gesture), right and they would sting. So, you'd be running through the neighborhood (gesture), you know, hitting people, attacking people, which is, you know--and, that's not nearly as bad a chat war. And, chat are those little smooth stones that you put in a driveway or whatever. And, now that could put your eye out (laughter). So, there would be that kind of action too.$$So, you're describing a typically boy, young, adventuresome boys--?$$(Nods head).$$Playing, playing in the neighborhood.$$I mean, there were some like heavier stuff like, the park I remember, you know, occasionally they'd be like a gang fight and they'd be some people pulling out guns and stuff. So, yeah, it sometimes it would go to another level. But, again, that's before drugs became big. I mean, in the '60s [1960s] it was not the same kind of thing as later when drugs drove the stakes up really high.$And, then 'She's Gotta Have It' came out and everything changes.$$So, tel- that's what I was gonna ask 'cause 'She's Gotta Have It' came out in 1985 [sic. 1986].$$Um-hm.$$Right? So, what does that, what do you mean by everything changes?$$Well, all of sudden Hollywood's like, "Hey, there's another kind of filmmaker that's resonating with the audience. We don't know how to make that. Let's figure out who these people are. Is there another one? Can we buy it?" I remember a big party at Nelson George's house and, you know, Nelson is the hub of all things. In fact, if you haven't done Nelson, you really--$$We haven't done--I don't remember--$$That's the number one person you need to profile in this thing (laughter). It's like what you need, a day (laughter). So, we're at Nelson's house, so [HistoryMaker] Russell Simmons is there. And, I know he's working on--he's planning this movie called 'Tougher Than Leather,' and I'm pleading with him to let him--let me direct 'Tougher Than Leather.' He's like no my partner is gonna direct it. And, later I find out he's just like, "Who's this Harvard [Harvard University, Cambridge, Massachusetts] guy? He doesn't know anything about hip hop and wants to do this movie?" So, I was like--and, Spike [Spike Lee] gives me script. 'Cause Spike lives down the street.$$Now, do you--how did you meet Spike? Like, I mean, do you know him at this point? And, I'm just wondering if he was in the BFF [Black Filmmaker Foundation] circle or not?$$Yeah. What happened was, Warrington [Hudlin's brother, Warrington Hudlin] in 1979, 1980, does this big film conference in New York [New York], and everyone's there. There's filmmakers from Africa, all kinds of folks. [HistoryMaker] Julie Dash is there. Just all kinds of folks are there. And, there is this film student from NYU [New York University, New York, New York], comes in at the last minute. Warrington waives the fee, lets him in. And, he shows his first film, 'The Answer,' which is a student film. He's doing it at NYU. So, that's when I meet Spike. So, Spike's there and he goes, "Yeah, A and M Films want me to do the Otis Redding story. I don't wanna do it. I gave him your name Reggie [HistoryMaker Reginald Hudlin]. Here's the script." So, I'm like, 'Sittin' on the Dock of the Bay' [ph.]. Fine, I'm in." So, I'm so--I call them up--$$Wait, but year is this? I'm sorry.$$Oh, I'm sorry. This was (simultaneous)--$$(Simultaneous) 'Sittin' on the Dock of Bay'? I mean--okay.$$No, no. This was, this was--$$Is this, this is not a--$$This is eighty--what year did 'She's Gotta Have It' come out?$$Eighty-five [1985].$$Yeah. Eighty-five [1985]. It's '85 [1985].$$Okay.$$So, I called them on Sunday. (Laughter) 'Cause I'm like, "Hey, I want a job." So, finally I get a call back. And, they go--I said, "Well, I love Otis Redding." They said, "Okay. But, we're not doing that movie. We're gonna do a movie, 'Janet Jackson and The Time'." I'm like, "Whoa. That beats Otis, Otis Redding any day," (laughter). So, I get my--they fly me out to Hollywood. I get my first Hollywood job writing the movie 'Janet Jackson and The Time,' which never happens. But, the money from writing that script--for, A, I learned how to write a script. I had never written hundred pages of anything--$$Wait a minute, okay. Okay, Spike Lee has success with 'She's Gotta Have It,' okay. Then they contact him, am I--$$About an Otis Redding movie.$$Otis Redding movie.$$So, I--$$But, he doesn't wanna do it?$$No. He says, "You should call Reggie, he's talented." So, I call them, they call me back. They say, "But, great we wanna meet with you but not about the Otis Redding movie. About this movie with Janet Jackson and The Time," which is a hundred times more interesting than Otis Redding. So, they fly me out, and A and M Films has the old Charlie Chaplin Studios [A and M Studios; Jim Henson Company Lot, Los Angeles, California].$$Can I just ask, are you showing anything? I mean, do they wanna see some of your work?$$Yeah. I showed 'em--$$Okay.$$--'House Party,' and you know.$$They like--okay.$$Yeah. Well, it was, you know, one of those people. It's interesting--$$(Laughter).$$--like now, if you've written a black play on the Chitlin' Circuit like Tyler Perry, you can get a job in Hollywood, okay. So, that's what it was for black film in '85 [1985]. So, they were like, like you're a kid, you're paying your tui- like, nothing to lose, right. So, they fly me out, (makes noise) give me the job. I'm like, "How can I write a hundred pages?" If, if you took everything I wrote all together it's not a hundred pages (laughter), right. So, I write this script. It's a hundred and fifty pages of mess. So, the executive works with me and we beat it into shape. And, you know, and it's still not great but, it's a, kind of a movie. But, then you know, it goes nowhere, right. But, with that movie, I have enough money to buy a computer. And, with a computer I can write, I don't have to write longhand and ask some friend of my brother's to type it on a computer. So, I buy a computer, and that's then I write the spec for 'House Party.'$$So, how much did you get paid on that job? That first job, do you remember?$$Forty thousand dollars I think, forty-five thousand, something like that. They just gave me money. I mean, from what I've been living on. You know, 'cause I said, "I can buy a computer and still catch cabs." 'Cause, I always says, "My thing is like, I'm the guy going home with my date at three in the morning on the subway." So, I'm like, "I can catch a subway [sic. cab] late at night." I was living. I was balling out. I could eat in a restaurant. (Laughter) You know, I was balling out.

Oz Scott

Director and producer Oz Scott was born Osborne E. Scott, Jr. September 16, 1949 in Fortman Row, Virginia. His father was Army chaplain Brigadier General Osborne Scott, Sr. and his mother, Jean Sampson Scott, was the president of the Schomburg chapter of the African American Genealogical Society. Raised in Japan and Germany until he was twelve years old, Scott attended Baumholder School and Bad Kreuznach American School. In Mt. Vernon, New York he attended Graham School, Pemberton School and graduated from Mt. Vernon High School in 1967. Starting at Friends World College, he transferred to Marlboro College where he started doing theatre before earning his B.A. from Antioch College in 1972. Already working with Back Alley Theatre and Arena Stage, he received an MFA from NYU’s Tisch School of the Arts in 1974.

Scott began his theatrical career at Washington, D.C.’s Arena Stage where he managed The Living Stage. In New York, Scott staged and took to Broadway, for colored girls who considered suicide when the rainbow is enuf by Ntozake Shange in 1977. He also directed Sonia Sanchez’ Sister Sonji; Richard Wesley’s The Past is the Past; and Fences by August Wilson. A director with writing skills, Scott started his television work in 1976 with The Jeffersons and Archie Bunker’s Place. In the 1980’s Scott directed episodes of Hill Street Blues, Gimme a Break! Scarecrow and Mrs. King, The Cosby Show, 227, L.A. Law, and Dirty Dancing. In the 1990s it was Lois and Clark: The New Adventures of Superman, Picket Fences, Party of Five, Chicago Hope, JAG, The Practice, Ally McBeal, Family Law, Time Cop, Get Real and Any Day Now. Since 2000 he has directed Soul Food, Strong Medicine, CSI, Ed, Lizzie McGuire, The Guardian, dr. vegas and was both director and supervising producer to CBS TV’s The District. Scott’s movie credits include: The Cheetah Girls (2003), Play’d A Hip-Hop Story (2002), and Crash Course (1988).

Scott has received the NAACP Image Award, the Drama Desk Award, and a Village Voice Obie Award for off Broadway, Genesis Award and the Nancy Susan Reynolds Award. He serves on the board of directors of the Charles R. Drew University of Medicine and Science, the Deans Council for California State University at Northridge’s College of Arts, Media and Communication. Scott directed the video that introduced Rev. Jesse L. Jackson to the 1988 Democratic National Convention and the Nelson Mandela Rally for Freedom at the Los Angeles Coliseum in 1990.

Accession Number

A2005.109

Sex

Male

Interview Date

4/26/2005 |and| 10/2/2005

Last Name

Scott

Marital Status

Married

Schools

Mount Vernon High School

Graham Elementary School

Pemberton School

Bad Kreuznach American High School

Baumholder Middle School/High School

Antioch College

New York University

Search Occupation Category
First Name

Oz

Birth City, State, Country

Hampton

HM ID

SCO04

Favorite Season

Fall, Spring, Summer

State

Virginia

Favorite Vacation Destination

None

Favorite Quote

Go With The Flow.

Bio Photo
Speakers Bureau Region State

California

Birth Date

9/16/1949

Birth Place Term
Speakers Bureau Region City

Los Angeles

Country

United States

Favorite Food

Chicken, Salmon

Short Description

Stage director, television director, and television producer Oz Scott (1949 - ) brought, "For Colored Girls Who Considered Suicide/When the Rainbow is Enuf," by Ntozake Shange to Broadway. Scott has also produced or directed episodes of The Jeffersons, Archie Bunker’s Place, The Cosby Show and 227, among many more.

Employment

Arena Stage

Hollywood - various networks and studios

Favorite Color

Blue, Red

Timing Pairs
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DAStories

Tape: 1 Story: 1 - Slating of Oz Scott's interview, session 1

Tape: 1 Story: 2 - Oz Scott lists his favorites

Tape: 1 Story: 3 - Oz Scott describes his mother's family background, pt. 1

Tape: 1 Story: 4 - Oz Scott describes his mother's family background, pt. 2

Tape: 1 Story: 5 - Oz Scott recalls his maternal grandfather and his mother's early life

Tape: 1 Story: 6 - Oz Scott describes his father's family background

Tape: 1 Story: 7 - Oz Scott recalls his father's service in the U.S. Army

Tape: 1 Story: 8 - Oz Scott recalls his father's experience with race relations in the U.S. Army

Tape: 2 Story: 1 - Oz Scott describes his father's ministry and how his parents met

Tape: 2 Story: 2 - Oz Scott describes growing up with his parents

Tape: 2 Story: 3 - Oz Scott recalls his father as a professor at City College of New York

Tape: 2 Story: 4 - Oz Scott recalls his parents' association with Leonard Jeffries

Tape: 2 Story: 5 - Oz Scott describes his brother, Michael Scott

Tape: 2 Story: 6 - Oz Scott describes his earliest childhood memories

Tape: 2 Story: 7 - Oz Scott retells a story about Richard Pryor's experience in the U.S. Army

Tape: 2 Story: 8 - Oz Scott describes the sights, sounds and smells of growing up

Tape: 2 Story: 9 - Oz Scott recalls his travels as a child

Tape: 2 Story: 10 - Oz Scott recalls his paternal grandfather moving to Germany

Tape: 3 Story: 1 - Oz Scott describes himself as a young boy, pt. 1

Tape: 3 Story: 2 - Oz Scott describes himself as a young boy, pt. 2

Tape: 3 Story: 3 - Oz Scott recalls his mother's treatment with cortisone in the 1960s

Tape: 3 Story: 4 - Oz Scott reflects upon his mother's influence on his artistic pursuits

Tape: 3 Story: 5 - Oz Scott recalls his interest in television and its influence on his work

Tape: 3 Story: 6 - Oz Scott recalls the schools that he attended

Tape: 3 Story: 7 - Oz Scott recalls the plays that he watched as a schoolboy

Tape: 3 Story: 8 - Oz Scott recalls his interest in reading

Tape: 3 Story: 9 - Oz Scott describes his father's religious affiliation

Tape: 4 Story: 1 - Oz Scott recalls his extracurricular activities at Mount Vernon High School

Tape: 4 Story: 2 - Oz Scott describes the race demographics of Mount Vernon, New York

Tape: 4 Story: 3 - Oz Scott recalls his high school's athletics

Tape: 4 Story: 4 - Oz Scott recalls his decision to attend Friends World Institute in Long Island

Tape: 4 Story: 5 - Oz Scott describes his experience in Mexico

Tape: 4 Story: 6 - Oz Scott recalls attending Marlboro College and Antioch College

Tape: 4 Story: 7 - Oz Scott recalls his experience working at Arena Stage

Tape: 4 Story: 8 - Oz Scott recalls his science studies at Antioch College

Tape: 5 Story: 1 - Slating of Oz Scott's interview, session 2

Tape: 5 Story: 2 - Oz Scott describes his experience as a taxi driver in New York City

Tape: 5 Story: 3 - Oz Scott describes his decision to join New York University's directing program

Tape: 5 Story: 4 - Oz Scott describes his first year at New York University

Tape: 5 Story: 5 - Oz Scott describes recalls meeting HistoryMaker Ntozake Shange

Tape: 5 Story: 6 - Oz Scott describes how he brought 'For Colored Girls' to stage

Tape: 5 Story: 7 - Oz Scott recalls meeting his future wife

Tape: 5 Story: 8 - Oz Scott remembers realizing his calling as a director

Tape: 5 Story: 9 - Oz Scott recalls directing a documentary film in New Orleans

Tape: 6 Story: 1 - Oz Scott recalls his first opportunity to direct a Hollywood film

Tape: 6 Story: 2 - Oz Scott recalls working on the script for 'Bustin Loose'

Tape: 6 Story: 3 - Oz Scott describes his experience directing 'Bustin' Loose'

Tape: 6 Story: 4 - Oz Scott recalls the cast of 'Bustin' Loose'

Tape: 6 Story: 5 - Oz Scott describes filming the Ku Klux Klan scene in 'Bustin' Loose,' pt. 1

Tape: 6 Story: 6 - Oz Scott describes filming the Ku Klux Klan scene in 'Bustin' Loose,' pt. 2

Tape: 6 Story: 7 - Oz Scott recalls Vincent Price's acting in 'Bustin' Loose'

Tape: 6 Story: 8 - Oz Scott reflects upon Richard Pryor's career as an actor

Tape: 6 Story: 9 - Oz Scott recalls marrying his wife and starting a family

Tape: 6 Story: 10 - Oz Scott recalls his start in directing television shows

Tape: 7 Story: 1 - Oz Scott describes the pace of directing television shows

Tape: 7 Story: 2 - Oz Scott recalls the TV series that he directed before 'The Cosby Show'

Tape: 7 Story: 3 - Oz Scott reflects upon the importance of ratings in Hollywood

Tape: 7 Story: 4 - Oz Scott recalls resuming his career as a director after a break

Tape: 7 Story: 5 - Oz Scott recalls directing the show 'Picket Fences'

Tape: 7 Story: 6 - Oz Scott recalls his involvement in theatre

Tape: 7 Story: 7 - Oz Scott recalls his involvement in the 1988 Democratic National Convention

Tape: 7 Story: 8 - Oz Scott recalls directing Nelson Mandela's rally in Los Angeles in 1990

Tape: 7 Story: 9 - Oz Scott recalls his community affairs involvement in Los Angeles

Tape: 8 Story: 1 - Oz Scott recalls directing 'The Old Settler' in Russia

Tape: 8 Story: 2 - Oz Scott reflects upon his work as a director, pt. 1

Tape: 8 Story: 3 - Oz Scott reflects upon his work as a director, pt. 2

Tape: 8 Story: 4 - Oz Scott recalls his experience directing a motion-based platform ride

Tape: 8 Story: 5 - Oz Scott reflects upon his goals in television, film and theatre

Tape: 8 Story: 6 - Oz Scott reflects upon his career

Tape: 8 Story: 7 - Oz Scott reflects upon his legacy

Tape: 8 Story: 8 - Oz Scott describes his hopes and concerns for the African American community

Tape: 9 Story: 1 - Oz Scott reflects upon making artistic endeavors profitable

Tape: 9 Story: 2 - Oz Scott talks about his family, pt. 1

Tape: 9 Story: 3 - Oz Scott talks about his family, pt. 2

Tape: 9 Story: 4 - Oz Scott describes how he would like to be remembered

Tape: 9 Story: 5 - Oz Scott narrates his photographs

DASession

2$2

DATape

5$6

DAStory

5$6

DATitle
Oz Scott describes recalls meeting HistoryMaker Ntozake Shange
Oz Scott describes filming the Ku Klux Klan scene in 'Bustin' Loose,' pt. 2
Transcript
I survived one year doing it, and the second year [at New York University (NYU), New York, New York] I went to my film teachers, Beta Baca [ph.] who was my camera teacher and Ian Maitland who was editing and I said, "Guys, I gotta make a choice," because they said, "Are you going to stay in film or you going to stay in theatre?" Everybody, both departments were wide open to me and both of them said, "Oz [HistoryMaker Oz Scott], get a good editor and get a good DP [director of photography]. They can help you learn the camera. They can help you learn the techniques that you need." Beta said, "Come and take my color emulsion class, I do it five weeks, five, five seminars. After that, he said, you can learn the camera within a year or two. It's going to take you a lifetime to learn the actors so it's best to start now." And so I stayed in theatre. I mean, that and the fact that theatre program, to get a master's [degree], was a two-year program and film was a three-year program, I figured, two years, and I thought it was very good because I, it was learning the actors, it was working with actors which I still think is a very strong element to my directing. So, so the second year I was doing a lot of stage managing for Joe Papp [Joseph Papp]. I did a play by Miguel Pinero called 'The Sun Always Shines for the Cool' which becomes a whole another story because I got a, I was hanging out with Ifa [Ifa Bayeza], guess what her name, at this, now her name is Ifa Bayeza, who's [HistoryMaker] Ntozake Shange's sister and Ifa introduced me to Ntozake and Ntozake, and Ifa said, "Why don't you take, why don't you give Oz your poems and let him make 'em into a play." And so Ntozake gave me her poems and we set about making them into a play. I said, "Zake, I will make them into a play but you have to get me a venue. Get me a venue, I'll give you a award-winning play." I was very cocky back then and she came back to me the next day and she had gotten a bar on the Lower East Side [New York, New York], a Puerto Rican bar on the Lower East Side without a door between the back room and the bar where they served the fried chicken and they, it was like a block up from where Slugs' [Slugs' Saloon] had been on--in Alphabet City [New York, New York] and we did--Del Monte's was the bar, and we proceeded to do 'For Colored Girls' ['For Colored Girls Who Have Considered Suicide / When The Rainbow Is Enuf,' Ntozake Shange]. That December, we had two, she had gotten two Saturday nights--.$$Now, now what year is this?$$This is 1975.$$Okay.$$I graduated NYU in 1974 and, I mean, so we ended up doing the first part of 'For Colored Girls' in 1975, December.$Cut to the bus. Again, this is all made up. I don't have a clue what, what's going on. I don't know what I'm doing. I'm just saying, okay, let's try this. The words Richard [Richard Pryor] is coming up with on the spot. I'm just--again, this is sort of like 'Dreamland' back in New Orleans [Louisiana]. I'm coming up with, "Here's the situation, I don't know what you're going to say, but here's the situation." So, it turns out, I had the blind kid sitting in the front seat and Richard pulls the, has the Klansman come on with the hood and the Klansman comes on, Richard comes on behind, and I said, "Okay, oh, I got it, I got it, I got it." I told the blind kid to reach up and grab the sheet off the Klansman and pull it off, de- defrock him; and I said, "Richard," and then I said, "all the kids, you're all blind." And so, so Richard started, he said, "Okay," he, he's like, they start, and he said, "They're blind, they're all blind, they're all blind," and he gets the Klansman off, you know, off the bus and at this point I, I was lost. I said, "Richard, I don't have a clue what you're going to say now. Say something to him, but we've got the scene. I can cut the scene this way," and Richard right there, on the spot, without, was not the night before, we just, I just created that scene right there on the spot. He said, "We're on our way to the Ray Charles Institute for the Blind to get that miracle operation. They've been running it on the Oral Roberts show, and I know they run it in your area," (laughter) and I had this old stuntman as playing the Klansman and he said, "Okay, get back on the bus, get on the bus; we'll give you a push." And Richard looks at him, and this is Richard, and he just says, "You're a great American and great human being. Thank you," and he gets on the bus. The place falls out. The crew is just rolling. I mean it's just a brilliant, brilliant moment and I said to Richard, "Do it again." Richard goes off. "Oh, Mr. Director wants me to do it again. Oh, I'm going to do it again because Mr. Director wants me to do it." And he was furious because he had got it. He knew he had nailed it. So he gets on there, he does the same line, "You're a great American and a great human being," and then he grabs the Klansman by the head and he pulls him to him and gives him a mouth-to-mouth kiss; and the poor Klansman you could just see him, the actor went (makes sound) (laughter) and Richard gets on the bus and the place just, I mean, it erupted with applause. It was just, and Richard turned to me as he walked off the bus and said, "So you knew, fuck you," and he walked to his (gesture)--what I knew was he had to top himself. I didn't know how he was going to top what he had done, which was already brilliant, but he, he did it, he topped it. There are scenes in the film where I have told Richard, when he's walking off the back of the bus, I said, "Oh, Richard, I got this idea, this is great. When you go to get the, I want you to go off the back of the bus," and I said, "somebody give me a shovel, give me a shovel." So I started digging a ditch and I poured water in it and mud and I said, "Richard, when you jump down, you're going to go down into this water and you're going to fall and you're going to flop around and you're going to be all--." "Oh, and you think that's funny. The, I'm going to fall in the mud. You think that's funny." Richard walked, he's walking down the bus talking about, "F him, F you, F you," (makes sounds) and he was talking about me. I kept it in the film. I'm like, and he goes off and he does the whole flopping around and he's great. He's just, you know, so, 'Bustin' Loose' we did that. Richard burnt himself up. Scenes were shot after they were in the film; and that's 'Bustin' Loose.'

Kim Fields

Actress Kim Fields was born on May 12, 1969, in New York City to an acting family; her mother, Chip Fields, and Fields's sister, Alexis, were actresses. Though she began acting at age age five, Fields had her first memorable role as a child actress in the classic Mrs. Butterworth syrup commercial at age seven.

Fields later played the young daughter on the short-lived series, Baby, I'm Back. In 1979, Fields landed the role of Dorothy "Tootie" Ramsey on the hit show, The Facts of Life, where she grew up in front of the television audience until the show ended in 1988. In 1980, Fields played a gymnast on the NBC movie, Children of Divorce.

After The Facts of Life, Fields attended Pepperdine University from which she graduated in 1990 with her B.A. degree in communications and film. While studying at Pepperdine, Fields started her own production company, Victory Entertainment, which specialized in television, film and theater.

In 1993, Fields returned to TV in another hit series; in her new role she played the part of Regine Hunter, opposite Queen Latifah, in the Fox sitcom, Living Single. In 1998, Living Single went off the air and Fields founded Little Mogul Holdings. In 1994, Fields received an NAACP Image Award for Best Director for bringing Vanities to the stage in Los Angeles; in 1995, she was again honored by the NAACP with an Image Award for Best Actress in Fight the Good Fight.

Fields also directed Nickelodeon's Keenan and Kel and Taina; Disney's The Jersey; and episodes of Living Single. Fields also made guest appearances on The Fresh Prince of Bel Air, Keenan and Kel, Cupid and Strong Medicine. Fields's starring roles include: Martin (1992), The Golden Palace (1992), The Crew (1995), C. Bear and Jamal (1996), Music of the Heart (1999), An Invited Guest (1999), and in the independent feature film, Me and Mrs. Jones.

Fields gave birth to her son, Sebastian Alexander Morgan, on March 4, 2007; on July 23, 2007, Fields married the actor and father of her child, Christopher Morgan.

Accession Number

A2002.215

Sex

Female

Interview Date

11/21/2002

Last Name

Fields

Maker Category
Marital Status

Married

Organizations
First Name

Kim

Birth City, State, Country

New York

HM ID

FIE01

Favorite Season

Fall

Sponsor

Carol H. Williams Advertising

State

New York

Favorite Vacation Destination

St. Lucia

Favorite Quote

Peace and blessings.

Bio Photo
Speakers Bureau Region State

California

Birth Date

5/12/1969

Birth Place Term
Speakers Bureau Region City

Los Angeles

Country

United States

Favorite Food

Turkey Lasagna

Short Description

Actress Kim Fields (1969 - ) began her acting career as a child and continued to act and direct into adulthood. She is best known for her work on the television series, The Facts of Life, and Living Single.

Main Sponsor
Favorite Color

Black

DAStories

Tape: 1 Story: 1 - Slating of Kim Fields interview

Tape: 1 Story: 2 - Kim Fields's Favorites

Tape: 1 Story: 3 - Kim Fields tells of her mother

Tape: 1 Story: 4 - Kim Fields talks about her mother's career as an actress

Tape: 1 Story: 5 - Kim Fields's father

Tape: 1 Story: 6 - Kim Fields's earliest memories

Tape: 1 Story: 7 - Kim Fields recalls the sounds of Harlem

Tape: 1 Story: 8 - Kim Fields and her mother move to Los Angeles

Tape: 1 Story: 9 - Kim Fields's talent as a youngster

Tape: 1 Story: 10 - The roots of Kim Fields's talent

Tape: 1 Story: 11 - Kim Fields remembers her grandmother

Tape: 1 Story: 12 - Kim Fields talks about Sesame Street

Tape: 1 Story: 13 - Kim Fields tells of her first audition

Tape: 2 Story: 1 - Kim Fields on her mother's parenting ability

Tape: 2 Story: 2 - Kim Fields describes Los Angeles

Tape: 2 Story: 3 - Kim Field's tells of some of her mother's acting roles

Tape: 2 Story: 4 - Kim Fields speaks of being on television as a child

Tape: 2 Story: 5 - Kim Fields talks about school

Tape: 2 Story: 6 - Kim Fields on TV show 'Baby, I'm Back'

Tape: 2 Story: 7 - Kim Fields's acting lessons

Tape: 2 Story: 8 - Kim Fields discusses awareness of the entertainment business as a child actor

Tape: 2 Story: 9 - Kim Fields being the breadwinner

Tape: 3 Story: 1 - Kim Fields discusses her busy schedule of work and school

Tape: 3 Story: 2 - Kim Fields auditions and gets a role on TV program 'The Facts of Life'

Tape: 3 Story: 3 - Kim Fields discusses the impact of being on TV show 'The Facts of Life', part 1

Tape: 3 Story: 4 - Kim Fields talks about dealing with fame

Tape: 3 Story: 5 - New generations of Kim Fields and TV show 'Facts of Life' fans

Tape: 3 Story: 6 - Kim Fields tells about growing up in the public eye

Tape: 3 Story: 7 - Kim Fields talks about 'The Facts of Life' cast and their families

Tape: 3 Story: 8 - Kim Fields describes her connection to the African American community

Tape: 4 Story: 1 - Kim Fields talks about her influences while growing up

Tape: 4 Story: 2 - Kim Fields tells of her favorite episodes of 'The Facts of Life'

Tape: 4 Story: 3 - Kim Fields is concerned about too many characters in 'The Facts of Life'

Tape: 4 Story: 4 - Kim Fields speaks of a 'Facts of Life' script she was against

Tape: 4 Story: 5 - Kim Fields relationship with other African American actors

Tape: 4 Story: 6 - Kim Fields discusses the cast of 'Diff'rent Strokes'

Tape: 4 Story: 7 - Kim Fields talks about religion

Tape: 4 Story: 8 - Kim Fields goes to college

Tape: 5 Story: 1 - Kim Fields becomes a full-time student

Tape: 5 Story: 2 - Kim Fields talks of understanding the business of entertainment

Tape: 5 Story: 3 - Kim Fields's longevity

Tape: 5 Story: 4 - Kim Field's discusses transitions

Tape: 5 Story: 5 - Kim Fields in 'Living Single'

Tape: 5 Story: 6 - Kim Fields talks about Fox

Tape: 5 Story: 7 - Kim Fields speaks about 'Living Single's' chance to be a hit

Tape: 5 Story: 8 - Kim Fields discusses the cast's role in 'Living Single's' artistic direction

Tape: 5 Story: 9 - Kim Fields talks about Queen Latifah

Tape: 5 Story: 10 - Kim Fields briefly remembers the first season of 'Living Single'

Tape: 6 Story: 1 - Kim Fields's favorite episode of 'Living Single'

Tape: 6 Story: 2 - Kim Fields speaks about African American sisterhood

Tape: 6 Story: 3 - Kim Fields discusses marriage

Tape: 6 Story: 4 - Kim Fields leaves 'Living Single'

Tape: 6 Story: 5 - The differences between Kim Fields and Regine

Tape: 6 Story: 6 - Kim Fields talks about Kim Coles

Tape: 6 Story: 7 - Kim Fields talks about Queen Latifah

Tape: 6 Story: 8 - Kim Fields talks about Erika Alexander

Tape: 6 Story: 9 - Kim Fields talks about T.C. Carson

Tape: 6 Story: 10 - Kim Fields talks about John Henton

Tape: 6 Story: 11 - Kim Fields talks about Johnathon Franklin Freeman

Tape: 7 Story: 1 - Where Kim Fields is professionally in 2002

Tape: 7 Story: 2 - Where Kim Fields is personally in 2002

Tape: 7 Story: 3 - Kim Fields discusses directing

Tape: 7 Story: 4 - Kim Fields talks again about having a family

Tape: 7 Story: 5 - Kim Fields discusses the entertainment industy

Tape: 7 Story: 6 - Kim Fields's inspirations

Tape: 7 Story: 7 - Kim Fields talks of African Americans in the entertainment industry

Tape: 7 Story: 8 - Kim Fields's legacy

Tape: 7 Story: 9 - Kim Fields's explains how she will raise children

Tape: 7 Story: 10 - Kim Fields talks about Chip Fields's current career

Tape: 8 Story: 1 - Kim Fields on being in the entertainment industry for the right reasons

Tape: 8 Story: 2 - Kim Fields's hopes to bring theater to her neighborhood

Tape: 8 Story: 3 - Kim Fields's changes through time

Tape: 8 Story: 4 - Kim Fields discusses future roles

Tape: 8 Story: 5 - What Kim Fields wants to be remembered for

Tape: 8 Story: 6 - Kim Fields speaks about Sally Field