Summary
"I am very happy to be back here," [Euzhan Palcy] said of Los Angeles. "There are some new people at the studios, and they seem to be very receptive to the stories I would like to tell." It seems that finally the studios have caught up with Palcy, the "people's filmmaker," whose strategy is to make films that she herself can learn from, and in turn, share with the public. It's a winning combination that has earned her body of work classic status. This is the Euzhan Palcy brand. And no amount of money can purchase this trademark because it comes from her heart.
LA moviegoers related to "A Dry White Season" so profoundly that following the* screening, they dialogued about how to go about getting the film rereleased so that today's younger generation can experience it. A similar cry evolved following the ICD Film Festival's screening of the Attica prison political drama, "The Killing Yard," (Paramount/Showtime, 2001), when the highly respected Dr. G. Hodge, principal of the Frederick Douglass Academy in Harlem, asked a related question: "What do we need to do to have this film shown to every Black youth in high school?" As such, plans are underway this fall for a massive screening of "The Killing Yard," which stars Alan Alda and Morris Chestnut.See the full content of this document
Extract
Palcy Puts Passion On Film, Part Two
The film "A Dry White Season" (MGM, 1989) has given international filmmaker Euzhan Palcy the distinction of being the first Black woman to direct a Hollywood movie. Although the motion picture, now considered a classic, wa...
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