Many of the gay mors surroundg John Sgleton (Four Brothers, 2 Fast 2 Fur, Boyz n the Hood) seem to be tied to his obssive attentn to his body, like most directors. However the poll suggts that a big majory (69%) of rponnts don't believe that he’s gay.
Contents:
- WHAT HOLLYWOOD OW TO JOHN SGLETONTHE BOYZ N THE HOOD TR RVED OUT A SPECIFIC, VAL NICHE AS THE DTRY’S FG BLACK STUD DIRECTOR.BY K. AT COLLSAPRIL 30, 2019© COLUMBIA PICTUR/EVERETT COLLECTN.SAVE THIS STORYSAVESAVE THIS STORYSAVEAROUND THE RELEASE OF RYAN COOGLER’S BLACK PANTHER, THE STORY WENT THAT OUR TIME HAD ARRIVED: YOUNG BLACK PEOPLE WERE FALLY GETTG A CHANCE TO SEE THEMSELV ON THE BIG SCREEN. AT LONG LAST, BLACK YOUTHS WERE BEG TREATED TO HOLLYWOOD STUD FARE FULL OF PEOPLE WHO LOOKED, SOUND, AND FELT THE WAY THEY DID—NEVER MD THE PURE FICTN OF THOSE VIBRANIUM P. FALLY, WE SAID. NEARLY 20 MOVI , HERE ME A MARVEL MOVIE FOR (SOME OF) THE RT OF —FULL OF BLACK CHARACTERS WHO WEREN’T RELEGATED TO IL SI ROL OR SASSY SIKICK ADVICE-GIVG. THEY WERE BLACK LEADS TELLG BLACK STORI WH HOLLYWOOD MONEY, AND TO MASTREAM ACCLAIM. THEY ME THE WAKE OF GET OUT, STRAIGHT OUTTA COMPTON, CREED, MOONLIGHT, SELMA, PREC, 12 YEARS A SLAVE, KEV HART, TYLER PERRY—THE LAST 10 YEARS OF MASTREAM AMERIN MOVI, WHICH HAVE LEGIMATELY FELT LIKE A MOMENT FOR BLACK FILMMAKG.WE’RE ALL SUPPOSED TO FEEL GOOD ABOUT THAT— PART, HOLLYWOOD TELLS , BEE WE’RE SUPPOSED TO FEEL LIKE ’S NEVER HAPPENED BEFORE. WE’RE SUPPOSED TO REACT TO THE DTRY’S NEW DIVERSY AGENDA AS IF BOX-OFFICE AND AWARDS-IENDLY BLACK STORYTELLG WERE A 21ST-CENTURY CULTURAL VENTN, ONE FOR WHICH A NEWER, WOKER HOLLYWOOD ULD TAKE CRED.JOHN SGLETON, WHO DIED THIS WEEK AT THE AGE OF 51, KNEW BETTER. HE KNEW, FOR ONE THG, THAT THE HOLLYWOOD OF TODAY ISN’T SO DIFFERENT OM THE ONE THAT MA NEARLY IMPOSSIBLE FOR HIM TO GET HIS CLASSIC DRAMA BOYZ N THE HOOD TO THEATERS 1991, WHEN HE WAS AN AMB RECENT U.S.C. GRAD. AND HE KNEW THAT SPE AN FLUX OF NEW BLACK HOLLYWOOD TALENT, THE DTRY RETAED AN AGGRSIVE BROAR HOMOGENEY—A REFAL TO LET BLACK FILMMAKERS TELL THE WIST POSSIBLE RANGE OF STORI AVAILABLE TO THEM.EVEN 2014, HE SAID, BLACK FILMMAKERS STILL WEREN’T BEG HIRED AS NSISTENTLY AS THEY ULD HAVE BEEN TO DIRECT MOVI ABOUT BLACK SUBJECTS. “THEY WANT BLACK PEOPLE TO BE WHO THEY WANT THEM TO BE, AS OPPOSED TO WHAT THEY ARE,” HE TOLD A GROUP OF STUNTS THAT YEAR. “THE BLACK FILMS NOW—SO-LLED BLACK FILMS NOW—THEY’RE GREAT. THEY’RE GREAT FILMS. BUT THEY’RE JT PRODUCT.”SGLETON’S MOVI, BY NTRAST, WERE NOT PRODUCT. THEY NSTUTE A NON OF BLACK LIFE THE MOVI—SPECIFILLY URBAN AND SPECIFILLY 90S, WH ALL THE PRETERNATURAL SENSIVY AND VISN THAT THE MIDDLE-CLASS L.A. NATIVE WH A FILM-SCHOOL GREE OM U.S.C. ULD BRG TO BEAR ON THE SUBJECT. BOYZ N THE HOOD—THE PHENOMENAL URBAN MELODRAMA THAT HELPED LNCH THE ACTG REERS OF ICE CUBE AND FUTURE OSR WNER CUBA GOODG JR., AND MA SGLETON THE FIRST BLACK PERSON NOMATED FOR BT DIRECTOR AT THE AMY AWARDS (AS WELL AS THE YOUNGT BT-DIRECTOR NOMEE EVER)—WAS JT THE START. HE FOLLOWED WH 1993’S POETIC JTICE, STARRG JA JACKSON, TUPAC SHAKUR, AND YET ANOTHER FUTURE OSR WNER, REGA KG, WHO ALSO HAD A SMALL ROLE BOYZ.HIGHER LEARNG (1995), ROSEWOOD (1997), BABY BOY (2001)—THE WERE STUD MOVI ABOUT BLACK URBAN LIFE THAT, TODAY, HAVE ALMOST NO RRELATE, EXCEPT GLIMPS OF THE BIG-BUDGET MOVI OF OTHER PEOPLE. THOSE EARLY OAKLAND SCEN BLACK PANTHER OWE MORE THAN A LTLE TO THE RICH DOMTIC AND FAIAL LIV OF BLACK ANGELENOS AND OAKLANRS, THE STORI OF MOTHERS, FATHERS, SONS, AND DGHTERS, THAT SGLETON GAVE . STRAIGHT OUTTA COMPTON (2015), ABOUT THE RAP GROUP N.W.A., IS MORE THAN A THROWBACK: RETURNG TO THE LOOK AND FEEL OF THAT GROUP’S ERA, TRYG TO WRENCH THE INOGRAPHY OF THE BLACK 90S TO THE PRENT, PRACTILLY FASHNED N.W.A.’S STORY TO A SGLETON MOVIE, BEAT FOR BEAT.WHICH MAK SENSE, EVEN AS ’S TGED WH IRONY. THOUGH HE SHIFTED BETWEEN THE HARD-HTG DRAMAS OF HIS EARLIER REER AND THE ACTN FARE HE WOULD TURN TO SOMEWHAT LATER, SGLETON WAS ABOVE ALL A BLACK SOCIAL REALIST THE TRADN OF OSR MICHEX, A DIRECTOR MAKG MOVI ABOUT THE MOR BLACK DRAMAS ROILG WH THE LARGER AMERIN ON: MOVI ABOUT FAIAL NFLICT AND EVERYDAY JOY, SPAIR, AND ASPIRATN, TAKG PLACE AMID A LARGER WORLD AFLAME WH VLENCE, RACISM, AND SHIFTG SOCIAL TIS. A DIRECTOR WHOSE EMPHATIC LOVE OF FAY AND BLACK SELF-PRERVATN NECSARILY MEANT THAT HIS APPROACH TO TELLG THE STORI WOULD FEEL REVISNIST PARED TO SO MANY WELL-MEANT LIBERAL “RACE PICTUR,” WH THEIR BLACK PIETY AND MORAL GOODNS.SGLETON MA FILMS ABOUT RACE, BUT HE DIDN’T MAKE SIMPLISTIC SOCIAL FARE. HIS BLACK CHARACTERS WERE FLAWED, OFTEN FAILUR; HIS FILMS TAILED THE EXTENT TO WHICH THE FAILUR WERE PERSONAL, AND MA CLEAR WHEN THEY WERE SYSTEMIC. SGLETON’S BLACK PEOPLE WERE HUMAN. THEY SPOKE AND BEHAVED THE LANGUAGE AND S OF THEIR TIM. THEY WERE MIDDLE CLASS, OR AT LEAST ASPIRED TO BE—STGGLED TO BE. AND RATHER THAN TRYG TO OFFER STERN RRECTIV FOR THE BAD BEHAVRS THAT BET HOODS LIKE COMPTON, SGLETON WOULD SHOW BLACK PEOPLE STICKG UP FOR—AND TO—THEMSELV. GUN VLENCE BOYZ N THE HOOD ISN’T SO SIMPLE AS THE REA OF “WHAT ABOUT BLACK-ON-BLACK VLENCE?,” EVEN AS NONTS THE REALY OF BLACK GANG VLENCE. IT’S SOMETHG MUCH MORE TRAGIC—JT NOTE THE CLIMAX OF THAT FILM. A BLACK MAN WH A PLAN TO PE THE HOOD IS SHOT AD HIS TRACKS, AND WHAT DO YOU SEE? MOURNG. THE RT OF THE STORY PLAYS OUT LIKE A LONG, ANGRY WAIL.SGLETON MOURNED AS HE MOVED . HE TED WH A FIRM BUT VISIBLE HAND. DURG A HEATED ARGUMENT POETIC JTICE, ONE CHARACTER LLS ANOTHER A BCH, TO WHICH SHE REPLI: “IF I’M A BCH, YOUR MAMA’S A BCH. BCH.” FIGHTS BREAK OUT OVER ALHOLISM AND DOMTIC VLENCE, SELF-LOVE AND SELF-HATRED. LONG SCEN SHOW BROKEN HOM THAT FY THE ELS STEREOTYP OF THE ERA; THEY SHOW A GAY MAN GETTG THE LL THAT HE HAS H.I.V., A WOMAN FIGHTG THE PRSN OF LOSG A LOVED ONE TO GUN VLENCE.MOST POPULAR25 PERFECT TV EPISOS FROM THE LAST 25 YEARSBY HILLARY BISFIRST LOOK: ANTE BENG SWIMS TOWARD THE ROLE OF A LIFETIME NYADBY DAVID CANFIELDCHARLIZE THERON DENI PLASTIC SURGERY RUMORS: “BCH, I’M JT AGG!”BY SAVANNAH WALSHHE WOULD MAKE MOVI LIKE THE THROUGHOUT HIS REER. YOU TRY TO IMAGE NOW, AND YOU ALMOST N’T: A STUD THE LIK OF WARNER BROS. MAKG A MOVIE LIKE 1997’S ROSEWOOD, A $25 LN-BUDGET HISTORIL DRAMA ABOUT A REAL-LIFE RACIST MASSACRE OM 1923, DIRECTED BY A BLACK MAN. TRY TO PICTURE 2019: A MOVIE THAT KNOWS VG RHAM IS A MOVIE STAR POST-PULP FICTN, WHICH WHE DIENC ARE FORCED TO RECKON WH THE MORAL BACK-AND-FORTH OF WELL-MEANG WH WHO PERHAPS AREN’T DOG ALL THAT THEY ULD TO REVERSE THE URSE OF RACIAL JTICE. WATCHG AGA LAST NIGHT, I THOUGHT, “A STUD MA THIS?”CRICS TALK A LOT ABOUT THE DISAPPEARANCE OF THE MID-BUDGET MOVIE FOR ADULTS. WE OUGHT TO TALK MORE, AND MORE SPECIFILLY, ABOUT THE IMPACT THAT THIS VANISHG HAS HAD ON THE WORK OF MORY DIRECTORS LIKE SGLETON—WHO EVENTUALLY TURNED TO ACTN MOVI AND THEN TO TV DRAMA, THANKS NO SMALL PART TO AN DTRY THAT WAS SQUEEZG DIRECTORS LIKE HIM OUT OF THE MIDDLE. HE ULD VERY WELL HAVE TURNED TO PENNT FILMMAKG, OF THE KD THAT SAW THE RISE OF BARRY JENKS AND AVA DUVERNAY, OR THE REER STENANCE OF HIS PEER SPIKE LEE.BUT SGLETON’S SPECIFIC ROLE, I THK, WAS TO PH THE STUD SYSTEM FORWARD‚ TO SHOW THAT FILMS ABOUT BLACK LIFE SHOULDN’T HAVE TO BE RELEGATED TO THE PENNT SPHERE, EVEN AS THAT’S WHERE THE BLACK DIRECTORS OF HIS GENERATN GOT THE MOST TRACTN. HIS AIM WAS TO MAKE MOVI ABOUT BLACK LIFE THAT SPECIFIC SPACE—FILMS STARRG ICE CUBE THAT HAD A COLUMBIA PICTUR LOGO PLAYG UP ONT. BEE BLACKNS WAS, AND IS, THE MASTREAM. AND SGLETON KNEW , EVEN AS HIS MOVI SOMETIM WAVERED. EVEN AS SOME FELT THE SLIGHTT B PROMISED BY EXACTLY THE STGGL HE SOUGHT TO RRECT. EVEN WHEN I’VE SEEN BETTER MOVI AND, GO WHOUT SAYG, FAR WORSE ON, I DON’T THK I N SAY I’VE SEEN A BODY OF WORK QUE LIKE HIS. AND I DON’T THK I ULD POSSIBLY LOVE MORE.K. AT COLLS
- JOHN SGLETON ASKED ABOUT GAY RAPE SCENE SNOWFALL & 2PAC SCRIPT
- JOHN SGLETON GAY RUMORS?ONLE POLL SHOWS 69 PERCENT DON’T BELIEVE HE’S GAY
WHAT HOLLYWOOD OW TO JOHN SGLETONTHE BOYZ N THE HOOD TR RVED OUT A SPECIFIC, VAL NICHE AS THE DTRY’S FG BLACK STUD DIRECTOR.BY K. AT COLLSAPRIL 30, 2019© COLUMBIA PICTUR/EVERETT COLLECTN.SAVE THIS STORYSAVESAVE THIS STORYSAVEAROUND THE RELEASE OF RYAN COOGLER’S BLACK PANTHER, THE STORY WENT THAT OUR TIME HAD ARRIVED: YOUNG BLACK PEOPLE WERE FALLY GETTG A CHANCE TO SEE THEMSELV ON THE BIG SCREEN. AT LONG LAST, BLACK YOUTHS WERE BEG TREATED TO HOLLYWOOD STUD FARE FULL OF PEOPLE WHO LOOKED, SOUND, AND FELT THE WAY THEY DID—NEVER MD THE PURE FICTN OF THOSE VIBRANIUM P. FALLY, WE SAID. NEARLY 20 MOVI , HERE ME A MARVEL MOVIE FOR (SOME OF) THE RT OF —FULL OF BLACK CHARACTERS WHO WEREN’T RELEGATED TO IL SI ROL OR SASSY SIKICK ADVICE-GIVG. THEY WERE BLACK LEADS TELLG BLACK STORI WH HOLLYWOOD MONEY, AND TO MASTREAM ACCLAIM. THEY ME THE WAKE OF GET OUT, STRAIGHT OUTTA COMPTON, CREED, MOONLIGHT, SELMA, PREC, 12 YEARS A SLAVE, KEV HART, TYLER PERRY—THE LAST 10 YEARS OF MASTREAM AMERIN MOVI, WHICH HAVE LEGIMATELY FELT LIKE A MOMENT FOR BLACK FILMMAKG.WE’RE ALL SUPPOSED TO FEEL GOOD ABOUT THAT— PART, HOLLYWOOD TELLS , BEE WE’RE SUPPOSED TO FEEL LIKE ’S NEVER HAPPENED BEFORE. WE’RE SUPPOSED TO REACT TO THE DTRY’S NEW DIVERSY AGENDA AS IF BOX-OFFICE AND AWARDS-IENDLY BLACK STORYTELLG WERE A 21ST-CENTURY CULTURAL VENTN, ONE FOR WHICH A NEWER, WOKER HOLLYWOOD ULD TAKE CRED.JOHN SGLETON, WHO DIED THIS WEEK AT THE AGE OF 51, KNEW BETTER. HE KNEW, FOR ONE THG, THAT THE HOLLYWOOD OF TODAY ISN’T SO DIFFERENT OM THE ONE THAT MA NEARLY IMPOSSIBLE FOR HIM TO GET HIS CLASSIC DRAMA BOYZ N THE HOOD TO THEATERS 1991, WHEN HE WAS AN AMB RECENT U.S.C. GRAD. AND HE KNEW THAT SPE AN FLUX OF NEW BLACK HOLLYWOOD TALENT, THE DTRY RETAED AN AGGRSIVE BROAR HOMOGENEY—A REFAL TO LET BLACK FILMMAKERS TELL THE WIST POSSIBLE RANGE OF STORI AVAILABLE TO THEM.EVEN 2014, HE SAID, BLACK FILMMAKERS STILL WEREN’T BEG HIRED AS NSISTENTLY AS THEY ULD HAVE BEEN TO DIRECT MOVI ABOUT BLACK SUBJECTS. “THEY WANT BLACK PEOPLE TO BE WHO THEY WANT THEM TO BE, AS OPPOSED TO WHAT THEY ARE,” HE TOLD A GROUP OF STUNTS THAT YEAR. “THE BLACK FILMS NOW—SO-LLED BLACK FILMS NOW—THEY’RE GREAT. THEY’RE GREAT FILMS. BUT THEY’RE JT PRODUCT.”SGLETON’S MOVI, BY NTRAST, WERE NOT PRODUCT. THEY NSTUTE A NON OF BLACK LIFE THE MOVI—SPECIFILLY URBAN AND SPECIFILLY 90S, WH ALL THE PRETERNATURAL SENSIVY AND VISN THAT THE MIDDLE-CLASS L.A. NATIVE WH A FILM-SCHOOL GREE OM U.S.C. ULD BRG TO BEAR ON THE SUBJECT. BOYZ N THE HOOD—THE PHENOMENAL URBAN MELODRAMA THAT HELPED LNCH THE ACTG REERS OF ICE CUBE AND FUTURE OSR WNER CUBA GOODG JR., AND MA SGLETON THE FIRST BLACK PERSON NOMATED FOR BT DIRECTOR AT THE AMY AWARDS (AS WELL AS THE YOUNGT BT-DIRECTOR NOMEE EVER)—WAS JT THE START. HE FOLLOWED WH 1993’S POETIC JTICE, STARRG JA JACKSON, TUPAC SHAKUR, AND YET ANOTHER FUTURE OSR WNER, REGA KG, WHO ALSO HAD A SMALL ROLE BOYZ.HIGHER LEARNG (1995), ROSEWOOD (1997), BABY BOY (2001)—THE WERE STUD MOVI ABOUT BLACK URBAN LIFE THAT, TODAY, HAVE ALMOST NO RRELATE, EXCEPT GLIMPS OF THE BIG-BUDGET MOVI OF OTHER PEOPLE. THOSE EARLY OAKLAND SCEN BLACK PANTHER OWE MORE THAN A LTLE TO THE RICH DOMTIC AND FAIAL LIV OF BLACK ANGELENOS AND OAKLANRS, THE STORI OF MOTHERS, FATHERS, SONS, AND DGHTERS, THAT SGLETON GAVE . STRAIGHT OUTTA COMPTON (2015), ABOUT THE RAP GROUP N.W.A., IS MORE THAN A THROWBACK: RETURNG TO THE LOOK AND FEEL OF THAT GROUP’S ERA, TRYG TO WRENCH THE INOGRAPHY OF THE BLACK 90S TO THE PRENT, PRACTILLY FASHNED N.W.A.’S STORY TO A SGLETON MOVIE, BEAT FOR BEAT.WHICH MAK SENSE, EVEN AS ’S TGED WH IRONY. THOUGH HE SHIFTED BETWEEN THE HARD-HTG DRAMAS OF HIS EARLIER REER AND THE ACTN FARE HE WOULD TURN TO SOMEWHAT LATER, SGLETON WAS ABOVE ALL A BLACK SOCIAL REALIST THE TRADN OF OSR MICHEX, A DIRECTOR MAKG MOVI ABOUT THE MOR BLACK DRAMAS ROILG WH THE LARGER AMERIN ON: MOVI ABOUT FAIAL NFLICT AND EVERYDAY JOY, SPAIR, AND ASPIRATN, TAKG PLACE AMID A LARGER WORLD AFLAME WH VLENCE, RACISM, AND SHIFTG SOCIAL TIS. A DIRECTOR WHOSE EMPHATIC LOVE OF FAY AND BLACK SELF-PRERVATN NECSARILY MEANT THAT HIS APPROACH TO TELLG THE STORI WOULD FEEL REVISNIST PARED TO SO MANY WELL-MEANT LIBERAL “RACE PICTUR,” WH THEIR BLACK PIETY AND MORAL GOODNS.SGLETON MA FILMS ABOUT RACE, BUT HE DIDN’T MAKE SIMPLISTIC SOCIAL FARE. HIS BLACK CHARACTERS WERE FLAWED, OFTEN FAILUR; HIS FILMS TAILED THE EXTENT TO WHICH THE FAILUR WERE PERSONAL, AND MA CLEAR WHEN THEY WERE SYSTEMIC. SGLETON’S BLACK PEOPLE WERE HUMAN. THEY SPOKE AND BEHAVED THE LANGUAGE AND S OF THEIR TIM. THEY WERE MIDDLE CLASS, OR AT LEAST ASPIRED TO BE—STGGLED TO BE. AND RATHER THAN TRYG TO OFFER STERN RRECTIV FOR THE BAD BEHAVRS THAT BET HOODS LIKE COMPTON, SGLETON WOULD SHOW BLACK PEOPLE STICKG UP FOR—AND TO—THEMSELV. GUN VLENCE BOYZ N THE HOOD ISN’T SO SIMPLE AS THE REA OF “WHAT ABOUT BLACK-ON-BLACK VLENCE?,” EVEN AS NONTS THE REALY OF BLACK GANG VLENCE. IT’S SOMETHG MUCH MORE TRAGIC—JT NOTE THE CLIMAX OF THAT FILM. A BLACK MAN WH A PLAN TO PE THE HOOD IS SHOT AD HIS TRACKS, AND WHAT DO YOU SEE? MOURNG. THE RT OF THE STORY PLAYS OUT LIKE A LONG, ANGRY WAIL.SGLETON MOURNED AS HE MOVED . HE TED WH A FIRM BUT VISIBLE HAND. DURG A HEATED ARGUMENT POETIC JTICE, ONE CHARACTER LLS ANOTHER A BCH, TO WHICH SHE REPLI: “IF I’M A BCH, YOUR MAMA’S A BCH. BCH.” FIGHTS BREAK OUT OVER ALHOLISM AND DOMTIC VLENCE, SELF-LOVE AND SELF-HATRED. LONG SCEN SHOW BROKEN HOM THAT FY THE ELS STEREOTYP OF THE ERA; THEY SHOW A GAY MAN GETTG THE LL THAT HE HAS H.I.V., A WOMAN FIGHTG THE PRSN OF LOSG A LOVED ONE TO GUN VLENCE.MOST POPULAR25 PERFECT TV EPISOS FROM THE LAST 25 YEARSBY HILLARY BISFIRST LOOK: ANTE BENG SWIMS TOWARD THE ROLE OF A LIFETIME NYADBY DAVID CANFIELDCHARLIZE THERON DENI PLASTIC SURGERY RUMORS: “BCH, I’M JT AGG!”BY SAVANNAH WALSHHE WOULD MAKE MOVI LIKE THE THROUGHOUT HIS REER. YOU TRY TO IMAGE NOW, AND YOU ALMOST N’T: A STUD THE LIK OF WARNER BROS. MAKG A MOVIE LIKE 1997’S ROSEWOOD, A $25 LN-BUDGET HISTORIL DRAMA ABOUT A REAL-LIFE RACIST MASSACRE OM 1923, DIRECTED BY A BLACK MAN. TRY TO PICTURE 2019: A MOVIE THAT KNOWS VG RHAM IS A MOVIE STAR POST-PULP FICTN, WHICH WHE DIENC ARE FORCED TO RECKON WH THE MORAL BACK-AND-FORTH OF WELL-MEANG WH WHO PERHAPS AREN’T DOG ALL THAT THEY ULD TO REVERSE THE URSE OF RACIAL JTICE. WATCHG AGA LAST NIGHT, I THOUGHT, “A STUD MA THIS?”CRICS TALK A LOT ABOUT THE DISAPPEARANCE OF THE MID-BUDGET MOVIE FOR ADULTS. WE OUGHT TO TALK MORE, AND MORE SPECIFILLY, ABOUT THE IMPACT THAT THIS VANISHG HAS HAD ON THE WORK OF MORY DIRECTORS LIKE SGLETON—WHO EVENTUALLY TURNED TO ACTN MOVI AND THEN TO TV DRAMA, THANKS NO SMALL PART TO AN DTRY THAT WAS SQUEEZG DIRECTORS LIKE HIM OUT OF THE MIDDLE. HE ULD VERY WELL HAVE TURNED TO PENNT FILMMAKG, OF THE KD THAT SAW THE RISE OF BARRY JENKS AND AVA DUVERNAY, OR THE REER STENANCE OF HIS PEER SPIKE LEE.BUT SGLETON’S SPECIFIC ROLE, I THK, WAS TO PH THE STUD SYSTEM FORWARD‚ TO SHOW THAT FILMS ABOUT BLACK LIFE SHOULDN’T HAVE TO BE RELEGATED TO THE PENNT SPHERE, EVEN AS THAT’S WHERE THE BLACK DIRECTORS OF HIS GENERATN GOT THE MOST TRACTN. HIS AIM WAS TO MAKE MOVI ABOUT BLACK LIFE THAT SPECIFIC SPACE—FILMS STARRG ICE CUBE THAT HAD A COLUMBIA PICTUR LOGO PLAYG UP ONT. BEE BLACKNS WAS, AND IS, THE MASTREAM. AND SGLETON KNEW , EVEN AS HIS MOVI SOMETIM WAVERED. EVEN AS SOME FELT THE SLIGHTT B PROMISED BY EXACTLY THE STGGL HE SOUGHT TO RRECT. EVEN WHEN I’VE SEEN BETTER MOVI AND, GO WHOUT SAYG, FAR WORSE ON, I DON’T THK I N SAY I’VE SEEN A BODY OF WORK QUE LIKE HIS. AND I DON’T THK I ULD POSSIBLY LOVE MORE.K. AT COLLS
And he knew that spe an flux of new black Hollywood talent, the dtry retaed an aggrsive broar homogeney—a refal to let black filmmakers tell the wist possible range of stori available to 2014, he said, black filmmakers still weren’t beg hired as nsistently as they uld have been to direct movi about black subjects.
Long scen show broken hom that fy the els stereotyp of the era; they show a gay man gettg the ll that he has H. Sgleton studied screenwrg at the Universy of Southern California's School of Cematic Arts, wng three wrg awards om the universy, which led to a ntract wh Creative Artists Agency durg his sophomore year.
“When you try to make homogenized, when you try to make appeal to everybody, then you don’t have anythg that’s special, ” he ntued.
JOHN SGLETON ASKED ABOUT GAY RAPE SCENE SNOWFALL & 2PAC SCRIPT
When asked by a ller on Sway In The Morng about why promot homosexualy his films and shows, wh the ller even referencg the Tupac script, Sgleton snapped back quickly sayg “Them motherf—ers put out a rough draft of three pag of a dream sequence one of the scripts. The ller also spoke on how Sgleton clud bs of homosexualy his latt show Snowfall, to which Sgleton rpond by sayg "We're jt keepg real. Gay Black Hollywood is not a myth, although you n’t tell judgg by the staged photos of Tyre wh Sanaa Lathan.
John Sgleton n’t be gay.
The script was a homo erotic. You’ve heard about all the gay allegatns, they throw at Birdman? If Tyre really did give John Sgleton a BJ for his Baby Boy role, do that make him GAY?
JOHN SGLETON GAY RUMORS?ONLE POLL SHOWS 69 PERCENT DON’T BELIEVE HE’S GAY
It seems like every celebry has been lled gay at some pot or another. Many of the gay mors surroundg John Sgleton (Four Brothers, 2 Fast 2 Fur, Boyz n the Hood) seem to be tied to his obssive attentn to his body, like most directors. However the poll suggts that a big majory - 69% - of rponnts don't believe that he’s the poll:What do you thk about the gay mors surroundg John Sgleton?