Enlighten Up! DVD

 

 

DVD Review by Kam Williams

 

Headline: DVD Follows Cynic’s Search for Inner Peace through Yoga

 

                     29 year-old Nick Rosen was already a little skeptical about the value of yoga when he decided to embark on a personal quest to find out whether it could transform his nagging discontent into a state of bliss the way it seems to do for so many others. So, he agreed to allow his friend, filmmaker Kate Churchill, an avid yoga enthusiast, to follow him around with a camera as he traveled from New York to India, stopping at a variety of gyms, clubs and ashrams along the way in search of inner peace.

                     Were the yogis they encountered really capable of cosmic healing, or was the industry just a sham scamming millions of Westerners inclined to consume spirituality in the same way they way buy sneakers and hot dogs? I think Nick was half-hoping to find a legit alternative to the life he’d been leading, since the Quebec-born journalist freely admitted to being unsatisfied with his current, mainly materialistic path.

                     The upshot of his half-year endeavor is this charming little documentary called Enlighten Up!, an alternatively funny and revealing flick which dares to knock some seemingly sacrosanct gurus off their lofty pedestals. The movie succeeds primarily because of the contrast between the approaches to yoga taken by ever-battling Nick and Kate, the former being an irreverent Doubting Thomas, while the latter is decidedly deferential to the shamans they seek out.

                     In the end, alas, neither one’s attitude changed much, leading the viewer inexorably to the conclusion that the answer to the question of whether the practice of yoga holds the key to nirvana just might be in the eye or the soul of the beholder. Ommmmm….

 

Excellent (4 stars)

Unrated

Running time: 82 minutes

Studio: Docurama Films

DVD Extras: Deleted scenes, photo montage of Northern India, filmmaker biography and extended interviews.

Bruno DVD

 

 

DVD Review by Kam Williams

 

Headline: Bruno DVD Doesn’t Measure Up to Borat

 

                Borat, a shock comedy chronicling the misadventures of a crass journalist from Kazakhstan as he traveled across the U.S., was, in this critic’s opinion, the funniest film of 2006. Its star, Sacha Baron Cohen, landed an Oscar nomination for writing that faux documentary which employed a controversial bait-and-switch casting style to dupe a series of unsuspecting straight men to unwittingly make absolute fools of themselves.

                Wonders do cease. For Cohen’s is back as Bruno, an aggressively-gay Austrian who comes to America to conquer Hollywood. But where Borat brilliantly employed an experimental approach to guerilla moviemaking, that cinematic innovation already feels played out in this derivative sequel. The film’s fatal flaw rests in the fact that, this time around, virtually all, if not all of the participants were obviously in on the joke.

                This begs the question, if Cohen is not posing as gay here to elicit authentic, homophobic responses to expose bigotry, what exactly is his reason for filling the screen with the feigned reactions of folks pretending to be outraged by Bruno’s flamboyance? Unfortunately, the character’s over the top antics seem designed more to inflame passions and thus encourage gay-bashing than to teach any sorely-needed lessons about tolerance.

 For example, very effeminate Bruno takes an orphan he’s adopted overseas onto a Jerry Springer-ish TV talk show and informs the host that he has given the toddler a traditional African name, “O.J.” In addition, the child is dressed in a shirt emblazoned with the word “Gayby,” suggesting that he plans to raise the boy to be a homosexual. Such a deliberate provocation proves to be red meat for the mostly black audience which predictably erupts into rage.

                Because such scenes seem staged, one has to wonder exactly what emotions they are supposed to evoke, for Bruno is neither funny nor clever, just a terminally-annoying jerk. An over-indulgence in vulgarity of no redeeming social value apt to set back gay-straight relations.

 

Poor (0 stars)

Rated R for profanity, sexuality, pervasive crude humor and graphic nudity.

Running time: 82 minutes

Studio: Universal Studios Home Entertainment

DVD Extras: An hour of alternative, deleted and extended scenes, enhanced commentary by Sacha Baron Cohen and the director, and an interview with Hollywood agent Lloyd Robinson.

Kam's Kapsules: Weekly Previews That Make Choosing a Film Fun

OPENING THIS WEEK

Kam's Kapsules:              

Weekly Previews That Make Choosing a Film Fun           

by Kam Williams

For movies opening November 13, 2009

 

                           

BIG BUDGET FILMS

 

2012 (PG-13 for profanity and intense disaster sequences) Epic adventure about the heroic efforts of an academic researcher (John Cusack) to lead a group of survivors to safety in the wake of an apocalyptic global event which devastates the planet, leaving humanity on the brink of extinction. Ensemble cast includes Amanda Peet, Chiwetel Ejiofor, Thandie Newton, Oliver Platt, Danny Glover and Woody Harrelson. 

 

The Fantastic Mr. Fox (PG for action, smoking and slang) Wes Anderson directs this animated comedy about three mean farmers (Michael Gambon, Robin Hurlstone and Hugo Guinness) who join forces to catch the clever fox (George Clooney) that’s been raiding their chicken coops. Voice cast includes Meryl Streep, Bill Murray, Owen Wilson, Willem Dafoe and Jason Schwartzman.

 

Pirate Radio (R for profanity, sexuality and brief nudity) Raucous musical comedy, set in the Sixties, revolving around a crew of eight rogue DJs illegally broadcasting rock and roll from a renegade radio station operating on a ship in the North Sea, much to the chagrin of the British government. Cast includes Philip Seymour Hoffman, Bill Nighy, Rhys Ifans, Nick Frost, Emma Thompson and Kenneth Branagh.  

 

 

INDEPENDENT & FOREIGN FILMS

 

Dare (R for profanity, sexuality and underage alcohol consumption) Coming-of-age drama revolving around a high school senior (Emmy Rossum) who becomes embroiled in a love triangle when she and her gay best friend (Ashley Springer) both become infatuated with the same mysterious classmate (Zach Gilford). 

 

The End of Poverty? (Unrated) Globalization expose’ examines why so many people all over the world continue to suffer at a time of unparalleled corporate wealth. (In French, Spanish, English and Portuguese)

 

Four Seasons Lodge (Unrated) Borscht Belt documentary chronicling what might be the final gathering of a rapidly-dwindling group Holocaust survivors who have reunited at a resort in the Catskills every summer to celebrate their lives.  

 

The Good Soldier (Unrated) Postwar documentary poses the question “What makes a good soldier?” to five veterans of WWII, Vietnam and the Middle East conflicts.

 

The Hand of Fatima (Unrated) Mystical documentary about the friendship forged between NY Times critic Bob Palmer and a legendary band of Sufi musicians from Morocco.

 

The Messenger (R for profanity, sexuality and nudity) Romance drama about a wounded, U.S. Army veteran (Ben Foster) who finds himself facing an ethical dilemma when he gets involved with a war widow (Samantha Morton) he’s just informed about the death of her husband. Supporting cast includes Woody Harrelson, Steve Buscemi and Yaya DaCosta. (In English and Spanish with subtitles)  

 

Oh My God (Unrated) Chicken or egg documentary asking folks from all walks of life “Did God create man or did man create God?” Interviewees include Hugh Jackman, Ringo Starr, David Copperfield, Bob Geldof, Seal and Baz Luhrmann.

 

Uncertainty (Unrated) Bifurcated drama featuring a pair of parallel tales detailing the divergent fates which await a young couple (Joseph Gordon-Levitt and Lynn Collins) following their outcome of a flip of a coin on the Brooklyn Bridge on July 4^th.   

 

William Kunstler: Disturbing the Universe (Unrated) Political bio-pic about the life and times of the late civil rights lawyer whose controversial clients included Malcolm X, Dr. Martin Luther King, H. Rap Brown, Stokely Carmichael, Abbie Hoffman, Adam Clayton Powell and the Berrigan brothers.

 

Women in Trouble (R for sexuality and profanity) Ensemble comedy chronicling an eventful day-in-the-life of ten women living in L.A., including a pregnant porn star (Carla Gugino) and a pair of strippers (Adrianne Palicki and Emmanuelle Chriqui). With Dolly Parton, Simon Baker, Joseph Gordon-Levitt, Elizabeth Berkley, Garcelle Beauvais-Nilon and Marley Shelton.

Endgame

Film Review by Kam Williams

 

Headline: South African Docudrama Chronicles Demise of Apartheid

 

                While most people are well aware of the years of civil unrest which led to the demise of Apartheid in 1994, not as many know about the secret talks that simultaneously transpired for almost a decade between the South African government and the African National Congress (ANC), the political party spearheading the independence movement. Since the racist regime officially opposed the notion of negotiating with terrorists, President P.W. Botha (Timothy West) couldn’t let the white minority know that he had, in fact, dispatched an emissary to England to meet with a representative of the outlawed ANC.

                     A series of clandestine meetings were set up by Michael Young (Jonny Lee Miller) an executive with Consolidated Goldfields, a British mining company with financial interests in the region and thus a big stake in a smooth transition to majority rule. So, Young enlisted Professor Will Esterhuyse (William Hurt) to serve as an intermediary between the two warring factions. Esterhuyse reluctantly accepted the assignment and would play a pivotal role in getting ANC leader Thabo Mbeki (Chiwetel Ejiofor) to speak on behalf of imprisoned Nelson Mandela (Clarke Peters) while Dr. Niel Barnard (Mark Strong) did the same for the Boer-Afrikaners.

                     The ensuing intellectual confrontation is the focus of Endgame, a powerful docudrama directed by Pete Travis (Omagh). Given that the movie revolves mostly around discussions, don’t expect much n the way of action and you won’t be disappointed. The picture is nonetheless fairly intriguing, especially when presenting the contrast of what politicians were saying in public at a time when they were simultaneously so desperate to cut a deal.

                     For instance, F.W. de Klerk (Matthew Marsh) is shown arrogantly dismissing Mandela’s words as “existential ramblings about universal suffrage,” despite being frightened by the escalation of attacks on whites, such as the bombing of a shopping center in Johannesburg which claimed the lives of a number of civilians.

                     But Mbeki kept his pedal to the medal, making no concessions on equality, insisting that “only when we can fully participate in a democratic process will armed struggle become obsolete.” The popular movement ultimately prevailed, of course, which proved to be no mean feat, given that Apartheid enjoyed the military backing of the United States, particularly over the course of the Reagan administration.

                     Yet, Mbeki, who would later follow Mandela as President, sought reconciliation rather than revenge once the hostilities ceased, saying “If we are to truly win our freedom, we must first banish bitterness,” An inspirational tale chronicling the contributions of a few unseen players in the South African struggle for independence.

 

Excellent (4 stars)

Rated PG-13 for violence, profanity and disturbing images.

In English, Afrikaans and Xhosa with subtitles.

Running time: 109 minutes

Studio: Monterey Media

The Conversation (BOOK REVIEW)

The Conversation:

How Black Men and Women Can Build Loving, Trusting Relationships

by Hill Harper

Gotham Books

Hardcover, $22.50

288 pages, illustrated

ISBN: 978-1-592-40475-9

 

 

Book Review by Kam Williams

 

 “One of the things I’ve heard a lot from young brothers and sisters during my recent travels is ‘I want a woman like Michelle’ or ‘Why can’t I meet a together brother like Barack?’ In truth, they might be that person every day. These young people are seeing the finished product, the result of years and years of work and struggle…

I jokingly remind sisters that when Michelle met Barack, the car he was driving around in had a hole in the floor of the passenger’s side so big that you could see the street… People tend to look for status in a mate when they should be looking for potential… and that means looking beyond the external.”

-Excerpted from Chapter 9 (pages 103-104)

 

                After winning NAACP Image Awards for his best-selling children’s books “Letters to a Young Brother” and “Letters to a Young Sister,” Hill Harper decided to write one for adults. The Conversation: How Black Men and Women Can Build Loving, Trusting Relationships does dole out plenty of practical love advice, even though the author’s never been married and freely admits to a checkered past in terms of dating.

 Half how-to tome, half intimate memoir, The Conversation is divided

between the battle-of-the-sexes and Harper’s frustration at his own failure to find a lifemate. The latter aspect of the text proves more compelling than trite, ubiquitous maxims like “Let your feelings show” and “Think outside the box,” since Hill eventually falls for Nichole, a single-mom from D.C. he first met years ago at a friend’s wedding.

 In this ill-conceived opus, however, he makes the tactical error of going public with his feelings, announcing to the world that “This beautiful Black queen is my great blessing here on earth.” And in his concluding chapter, he waxes romantic about their solid future together, despite the odds against long-distance liaisons when one person’s on the East Coast while the other lives out in L.A.

                Regrettably, the couple has reportedly already called it quits, which makes you wonder why Hill’s editors didn’t try to talk him out of mixing business and pleasure on the pages of his book, especially given his spotty track record. Sorry, it’s kind of hard to take any advice from a bachelor-turned-relationship guru who didn’t see this safe falling from the sky or at least have the common sense to keep his private life private.

 

Precious

Film Review by Kam Williams

Headline: Lee Daniels’ Long-Anticipated Sundance-Winner Lives up to the Buzz.

Precious is finally arriving in theaters after being the beneficiary of practically a year’s worth of buzz since winning a trio of trophies at Sundance, including that prestigious film festival’s equivalent of Best Picture. I’m happy to be the bearer of the good news that the movie more than lives up to the critical acclaim.
Based on the novel “Push” by Sapphire, that relentlessly-raw best seller has been faithfully adapted by Lee Daniels, the producer of Monster’s Ball, the flick for which Halle Berry won her Academy Award in 2002. There’s a good chance that Daniels is about to repeat that historic feat, for he has coaxed an Oscar-quality performance out of comedienne-turned-actress Mo’Nique, who is riveting here as one of the most monstrous screen villains in memory.
Set in Harlem in 1987, this remarkably-realistic tale of woe is narrated by Clareece “Precious” Jones (Gabby Sidibe), an overweight and illiterate, 16 year-old still in junior high. She claims to enjoy Math class because, instead of opening her textbook, she simply sits there fantasizing about sleeping with her teacher, Mr. Wicher (Ean Sheehy). However, as the film further unfolds, being behind a few grades turns out to be the least of the portly pepperpot’s problems.
Over the protests, ”I do my work,” and “My grades is good,” Precious is still suspended from school for being pregnant. We also learn that she is not only expecting, but already has a daughter with Down Syndrome. So, between the absentee-father who impregnated her, and the relentlessly-abusive mother (Mo’Nique) who insists she’ll never amount to anything, it’s no surprise that Precious frequently escapes into a parallel universe where she daydreams about being rescued from her nightmarish existence by “a light-skinned boyfriend with good hair.”
But while desperately awaiting that proverbial “knight in shining armor” to materialize, Precious finds herself repeatedly slapped in the face, whether literally, by her mom, or figuratively, by a social service bureaucracy way too willing to let her slip through the cracks. The all but lost teen is shuttled back and forth between well-meaning, if ineffective lifelines, like her clueless welfare case-worker (Mariah Carey) and a kindly nurse (Lenny Kravitz).
Tragically, no one seems to have any answers until Precious’ goes back to school where her compassionate GED teacher (Paula Patton) takes a special interest in her well-being. Nonetheless, nurturing the self-esteem of a life-long doormat calls for a Herculean effort that might prove beyond the resources of resolute Ms Rain.
As poignant as it is shocking, Precious stands as an undeniably authentic contrast to those ghetto fabulous adventures celebrating macho, misogynistic, malevolent and misanthropic behavior presumably of no emotional consequence. A searing, inner-city saga of transformation and triumph, and a masterpiece not to be forgotten during awards season.

Excellent (4 stars)
Rated R for child abuse, sexual assault, violence, pervasive profanity, ethnic slurs and mature themes.
Running time:110 minutes
Studio: Lionsgate Films

Lee Daniels: The “Precious” Interview

with Kam Williams

Headline: Euphoric Lee

Lee Louis Daniels was born in Philly on December 24, 1959.

The iconoclastic director/producer’s own life story is every bit as raw as the films he creates. Overcoming assorted childhood adversities, he founded and was running his own health care agency by the age of 21, providing nurses to private homes and hospitals while simultaneously trying to become a scriptwriter.

After selling his business, and abandoning screenplays, Lee began managing such actors as Loretta Divine, Michael Shannon, Natassja Kinski, and Aishwarya Rai. As a consequence of the frustration he encountered while searching for great projects for his clients, he later turned to producing, and the natural leap to directing soon followed thereafter.

Monster’s Ball, for which Halle Berry won the Academy Award for Best Actress in 2002, was the initial offering of Lee Daniels Entertainment. The movie also marked Mr. Daniels as the first solo African-American producer of an Oscar-winning film. He subsequently produced The Woodsman, made his directorial debut with Shadowboxer, and then produced Tennessee.

Here, he talks about new movie, Precious, the critically-acclaimed screen adaptation of Sapphire’s best-selling novel, “Push.” The picture stars Gabby Sidibe in the title role, along with an all-star cast which includes Mo’Nique, Mariah Carey, Paula Patton, Lenny Kravitz and Sherri Shepherd. The movie has been the beneficiary of considerable Oscar-buzz since winning three awards at Sundance Film Festival last January, including best picture.



Kam Williams: Lee, I loved the film, and I have lot of questions, but they told me I can only have 10 or 15 minutes with you, so I have to ask you to keep your answers brief in order to touch on everything.

Lee Daniels: To hell with the minutes! We can delve deeply into it. Don’t think about the time.

KW: Great! What inspired you to adapt “Push” to the screen?

LD: Its truth. I read the book, and it just left me gasping for air. I couldn’t believe it. My mouth was open as I turned page after page. I was like, “What the [bleep]?” And yet it was so truthful. I had never seen truth written in such a way. So, I had to have it. I became obsessed with it like a lover. I slept with it under my pillow.

KW: I assume the abuse issues struck a nerve because you had experienced that as a child yourself.

LD: I did. That’s part of the film, and it’s certainly something that I identify with. But through the abuse and through the darkness, I actually identify more with the sense of loving yourself, of finding self-love and ultimately loving yourself. That’s what I identify most with, because it took me a long time to love myself and not be so hard on myself. That’s what makes the movie not just a black film, but a universal story.

KW: One of the questions I routinely ask in my interviews is, What has been the biggest obstacle you have had to overcome in life? And I’m always surprised at the number of celebrities who answer something like “self-acceptance” or “self-love.”

LD: That’s deep, isn’t it?

KW: Yeah. How are you enjoying all the critical acclaim the film is receiving?

LD: I don’t read the reviews, the blogs, or anything else. Instead, I feel the audience when I show the film. And that’s my only experience with connecting to people around Precious. I cry inside when people are standing and clapping for me, and sometimes I even cry on the outside. And I often just have to walk away from it, because I have my own issue with accepting people’s embracing the film. It’s hard for me to accept love. I wish I could lie to you and tell you that it’s easy for me, but it’s not.

KW: How was it collaborating with Sapphire on bringing her book to the screen and having her on set during the shooting?

LD: It took me forever to talk her into letting me have the book. She was fine with it remaining solely in the literary form, and didn’t want anyone to throw it onto the screen. She’s a scholar and true artist who doesn’t really care about Hollywood. She’d already been courted by Hollywood. I think she believed that a bad screen version would reflect badly on her novel. She finally came around when she finally realized that whether the film was good or bad wouldn’t affect her great piece of literature one way or another.

KW: Why was she so protective of the book? Is it autobiographical?

LD: No, not in the least! I thought it was, because it was so real. How could anybody make all this up? But Sapphire’s a teacher, and Precious is a composite of many of her students’ lives.

KW: Why did you change the title from Push to Precious? Because of that Djimon Hounsou film Push that came out in February?

LD: Yeah, we had to. I didn’t feel good about it at first, but I accepted it. However, now I love the title, because the word “precious” has a couple of great double meanings.

KW: Attorney Bernadette Beekman asks, do you think the film will open a new dialogue about child abuse, incest and teen pregnancy in the African-American community?

LD: It better! I certainly hope so. That’s my objective here. That people will see the film and walk away from it open to discussion. But like I said before, it’s not just about abuse. It really is about learning to love yourself. And it’s also about literacy, and homophobia.

KW: It also touched in a subtly-powerful way on issues having to do with skin color, hair and class within the black community.

LD: Yeah, I’ve had all types of beautiful girls tell me that they ugly when they look in the mirror, as if it’s someone else’s reflection they see. So, yes we see it through Precious’ eyes, because she’s this black girl, but I think the film can resonate with anyone. You know, it was adapted into a play in London, and the whole cast was white.

KW: Where did you find the confidence to cast comediennes like Mo’Nique and Sherri Shepherd, and singers like Mariah Carey and Lenny Kravitz?

LD: They’re all friends, and I really like working with friends. I’m always more comfortable and in a good place when I’m with friends because I know they trust me. I’m able to get great performances from people who trust me.

KW: How about casting Gabby Sidibe in the title role?

LD: It was the hardest role to cast. I interviewed over 400 girls before I found her. She blew me away. Her smarts is what did it. She’s so smart!

KW: What was it like to win at Sundance?

LD: Out of body! I felt so honored even to be there. So, when you end up winning, it’s an out of body experience. I can’t even describe it to you. There’s no word to describe it. I felt, “Oh my God, I’m not worthy of this. All these other filmmakers have worked just as hard as I have.” I saw some other films that I thought were as good, but I guess people connected to Precious on another level.

KW: What were the biggest challenges you faced in making this film?

LD: Really, there were none. This was the easiest movie I’ve made. I don’t know how I found Gabby. It was almost like we had angels over us. And then to have Oprah Winfrey call me! I think God has been looking over me, because I decided to talk about a girl that we never see, to focus on a face that we see everyday, yet we don’t REALLY see her.

KW: Children’s book author Irene Smalls asks, did you have any hesitation about bringing Push to the screen, since it’s, in many ways, a salacious story that ties into all the negative stereotypes many people have about the black family?

LD: I did. When I first put the film together, it was in front of some white people. I thought, “I don’t know about this,” since it’s such a personal story. But not long thereafter, when I had this Chinese lady cry in my arms after watching it, I realized that I needed to get over myself because it was a universal story where the characters just happen to be black.

KW: Is there any question no one ever asks you, that you wish someone would?

LD: Yeah. No one picks up on the irony of the picture’s hero, the teacher [played by Paula Patton], being a lesbian which is someone Precious has been told all of her life is a bad person by a mother [played by Mo’Nique] who’s been sexually-abusing her. That’s crazy!

KW: The Tasha Smith question: Are you ever afraid?

LD: Yeah, sometimes, but I have true faith in God. So, I step out of my fear through prayer. I’m afraid for my kids sometimes, for their safety running the streets of New York and on the subway by themselves. Because there are some sick [bleeps] out there, so I get nervous. That’s my biggest fear. But they’re okay.

KW: Do you still live in Harlem? That’s where you were living the last time we spoke.

LD: No, I moved to midtown Manhattan.

KW: The Columbus Short question: Are you happy?

LD: [Chuckles] Yep, I’m happy! I’m the happiest I’ve ever been.

KW: The Teri Emerson question: When was the last time you had a good laugh?

LD: [LOL] Just minutes ago, with this African-American journalist. After seeing the movie, she came right up to me and said, “Lee, there you go being naughty again.” I laughed so heartily.

KW: The bookworm Troy Johnson question: What was the last book you read?

LD: The Bible. That’s mandatory reading for me. I wish I could say something more profound, but I’m finishing up the Bible. I’m in the Book of Revelations right now. Otherwise, I’m constantly reading scripts, which doesn’t leave me any time to get to my pile of books. I need a vacation! But I want to hurry up and get to Pete Dexter’s “The Paperboy.” I’m very anxious to read that.


KW: The music maven Heather Covington question: What music are you listening to nowadays?

LD: I’m sort of obsessed with Nona Hendryx right now, who was one of the members of Labelle. She’s no joke. She’s incredible. I’m sort of feeling her right now, now that I know who I am.

KW: What has been the biggest obstacle you have had to overcome?

LD: Knowing that my father loved me. I had a lot of issues with him. Not until recently, when I was already in my 40s, did I realize how much he loved me. Is that too personal? As for ordinary obstacles, I have never taken “no” for an answer, so I’ve always been blessed enough to get what I want.

KW: When you look in the mirror, what do you see?

LD: I see a little bloat from last night’s alcohol that I’d like to figure out how to drop, because I have to be on TV in a couple minutes. [Laughs] How vain is that?

KW: What is your favorite dish to cook?

LD: I cook an incredible potato salad, incredible fried chicken and incredible cornbread.

KW: Southern soul food staples.

LD: Those are the three things that my mom taught me to cook that I’ve been commended on.

KW: The Flex Alexander question: How do you get through the tough times?

LD: With prayer and by leaning on the shoulders of friends. I have a couple of really great friends who support me and help me deal with my neuroses.

KW: The Laz Alonso question: How can your fans help you?

LD: [Shouts] My fans? I don’t know. Do I have fans? By coming out and supporting my film. That would be nice.

KW: The Boris Kodjoe question: What do you consider your biggest accomplishment?

LD: My kids. I’m just really, really, really, really, really proud of them.

KW: Yale University grad Tommy Russell asks, what do you think about Iran’s tentative agreement to export enriched uranium to Russia and France. Do you think Iran will continue to enrich uranium secretly?

LD: Oh my God! [Laughs] I don’t have an answer for that. I’m not adept to answer that intelligently, but I clearly disagree with it. I’m not a politician. I just make movies and raise kids.

KW: Tommy was also wondering what’s your favorite scary film, and film overall?

LD: My favorite scary film is Hush, Hush, Sweet Charlotte. That scared the [bleep] out of me, even more than Rosemary’s Baby or The Exorcist. There’s something really disturbing about what happens to Charlotte. It’s really a sick film. I’d say my favorite film of all time is Gone with the Wind.

KW: Producer Dianne Cleare who was at the Lincoln Center Film Festival's premiere of Precious, also attended the director's dialogue session with you afterwards. She said she enjoys your work but was most inspired by your graciousness and realness, and would love to work with you in the future.

LD: Really? That’s so sweet. Tell her to get in touch with me at Facebook.

KW: Will do. The Rudy Lewis question: Who’s at the top of your hero list?

LD: Oprah Winfrey.

KW: How do you want to be remembered?

LD: For my work, and for my honesty. As a good, honest man who tried to do the best that he could at whatever he did. I’m currently doing cinema. If I decide to give this up for teaching, I hope people remember me as a good teacher.

KW: What’s your next movie, Selma, about?

LD: It’s a moment in time, about what happened there between Lyndon Johnson and Martin Luther King.

KW: Thanks for the time, Lee, and best of luck with Precious.

LD: All right, man, have a good one.