Filmmaker Debra Wilson: Telling Our Stories

I had the good fortune of running into out Black filmmaker Debra Wilson while hanging out in the lobby of the Director’s Guild of America (DGA) and she was gracious enough to give a spontaneous interview.

A California native, currently in the Oakland area, Debra has been very deliberate about how she uses her gift as filmmaker. She feels it is her mission to tell the stories of the various communities she belongs to and communities that are consistently ignored. Debra is quite aware of the power of film and how it often educates audiences who might never come in contact with provocative topics in any other way.

Debra’s own curiosity also helps determine what stories she will develop. After being asked to leave a break out session for “butch-identified lesbians” (because she was not one) while attending the 2001 Zuna Institute National Black Lesbian Conference, she became determined to shine a light into this mysterious world. Over two years, paying for the project out of her pocket, she developed the documentary film Butch Mystique and went on to win the Showtime Black Filmmaker Showcase, where the film first aired.

The documentary follows six butch-identified African-American lesbians in the San Francisco area. Through interviews, issues of power, lifestyle, masculine/feminine energies, outward appearance, and identity are examined.

The Showtime win afforded Debra a $30,000 budget and the opportunity to develop another project that would also air on the premium cable channel. In 2006, Jumpin’ the Broom: The New Covenant made its debut. The documentary focuses on committed same-sex relationships among Black lesbian and gay couples, who build families and lives in the face of opposition to “gay marriage” in the Black community. The term “jumpin’ the broom” is a custom from the days of slavery. During this period, black couples weren’t allowed to legally marry and jumping over a broom was a symbolic gesture to celebrate their love and commitment to each other. Debra’s film suggests that modern day same-sex couples are placed in the same situation of creating their own rituals and ceremonies to legitimize their loving relationships.

At the time the film was released only one state in the U.S., Massachusetts, recognized same-sex marriages. Two years later, the LGBT community in California was in a bitter battle against supporters of Proposition 8, which would overturn the courts decision to mandate marriage for all couples, regardless of sexual orientation. On November 4, 2008, Prop 8 was passed and the right to marry was taken from same-sex couples (who were not married before November 4th). Debra voiced her disappointment that her film was not used to educate the Black community during that campaign. She says she made the film to be accessible to the straight community and hopes to still get it out to its intended audience.

Debra’s most recent project, where she serves as a producer, is Mississippi Damned, a feature film written and directed by Tina Mabry. The true story focuses on a young girl growing up in Mississippi and battling family demons to carve out her own life.

With 15 years of experience in the film industry, Debra looks forward to developing more documentaries as well as webisodes and television projects. She loves what she does and recommends that up-and-coming filmmakers tell stories that they are passionate about and can’t wait to tell. “That passion will buffer you from those who tell you your story is not worth telling,” she counsels. And as far as Debra is concerned, she will never stop telling our stories.



Michelle Sewell is a freelance writer who makes it a habit of hanging out in lobbies.

Open Letter to the UCLA Comedy Panelists: You Suck! Tina Mabry and Michael Hyatt: You Two - Rock!

When I walked out of the UCLA Writers' Fair last Sunday I was extremely agitated.

I had come to help a friend hand out business cards to promote her resource website for writers (very awesome- check it out) and hopefully do some networking of my own. The Writers' Fair was an attempt to attract writers - of all genres - to the fabled UCLA Extension program. More than a few success stories had come out of there, so I was geeked to have the opportunity to get some free advice from the various panels that were set up for the day.

My primary concentration is screenwriting, but I've committed myself to adding a couple television spec scripts to my portfolio - so I took my happy ass over to the Comedy Writing for Television panel. Comedy! What better way to spend 40 minutes? Almost immediately I had the sense that I should leave. The four panelists in attendance seemed knowledgeable enough, but the amount of grousing going on was absolutely off-putting. The first ten minutes was used to tell all the potentially most talented writers in the world sitting in that room (and the place was packed), that the business was hard and there was only a handful of opportunities for the most determined and young writers. WTF!

Why were these people representing the Writing Program? They had clearly been beaten up by the game and were clearly bitter! In fairness, the chairman of the panel, a gregarious guy who was born to be a comedy writer, tried to keep the proceedings a little more hopeful, but the other panelist (especially the husband and wife team) would have none of it. Finally, during the Q&A period, one of the attendees asked, what I'm sure we all had been wondering, "Do you like being a writer?" They all chimed in a mostly convincing "yes," but the damage had already been done, at least as far as I was concerned.

Now don't get me wrong. I am fully aware how tough this business can be and how much talent road kill litters the halls of studios and production offices, but you don't go out of your way to crush a dream before it has even gotten its sea legs.

As I drove home, still shaking my head at the ridiculousness of the most inappropriate people to populate a "come spend your money at our school" panel, I was grateful that I had had a more encouraging dinner with director Tina Mabry (Mississippi Damned, Brooklyn's Bridge to Jordan) and actor Michael Hyatt(Mississippi Damned, The Wire) a couple weeks before.



I'd met Michael in church of all places. I had just seen Mississippi Damned the night before and was blown away by her performance. And as the Universe would have it she sat right next to me in the packed room. She let me be a gushing fangirl for a moment (very gracious woman) then we chatted like normal people (me telling her I was a screenwriter and new to LA, and she congratulating me for following my destiny). At the end of the service she asked that we exchange info. I was floored. Actors are really regular people...lol

A couple weeks later I got a call from Michael inviting me to dinner with her and Tina. We ended up meeting at Morel's French Steakhouse and Bistro at the much talked about The Grove. Almost immediately I knew I was in for a hell of an evening. Tina and Michael were bawdy and funny and smart and way down to earth. Over escargot (yuck!) and wine, they shared stories of their time on the Mississippi Damned set (I wont repeat the more juicy details here) and how profoundly blessed they felt to have the opportunity to make this provocative and moving film (see review a couple entries down).


I was totally sucked into their banter so I was completely caught off guard when they both turned to me and asked why I had given up my life in DC and moved to the city of movie dreams. Now I barely can remember what I said. Maybe something about always loving movies? Understanding how film has been a huge cultural touchstone in our society. And who wouldn't want to live in sunny Los Angeles - even as a struggling writer. Something like that.

Suddenly Michael and Tina got all serious on me. They started doling out some "sister love and advice." Tina was adamant that I remember exactly who I was when opportunities came my way. She was clear that no amount of money was worth forgetting that. At the end of the day I needed to feel good about myself. She was currently getting a lot of praise and opportunities, as a result of her stellar work on Mississippi Damned, so she knew what she was talking about. Michael chimed in that as artists we should never sell our art short. What we do is not easy, even if some claim it is frivolous, and we shouldn't give it away - ultimately causing others to believe it not valuable.

Somewhere in there they both shared that the business was hard. That I always had to show up with my A game. That I shouldn't get caught up on the perceived "lost opportunities" because there were plenty more right around the corner. But what they really wanted me to remember? If I kept my integrity and maintained a solid support system, I would always be alright.

Sure these fabulous divas led me astray on the escargot (did I mention - yuck!), but on everything else, I know they were absolutely right. And they certainly had a better pitch than the bitter bitch panelists at UCLA.

Love, Michelle:)

Mississippi Damned: A Damn Fine Film

(originally posted on Velvet Park)

First, I have to tell you how I even came to see this film. I was hanging out in the DGA the day before its L.A. premiere and ran into one of the producers, Debra Wilson. We struck up a conversation and I learned that she was promoting Mississippi Damned. This was not the first time I had heard of the film. Before I left D.C., Lisa Moore of Redbone Press sent me the trailer and informed me that I had to check the movie out if I was going to be in town during Outfest.

When Debra and I parted company, I had all intentions of buying a ticket that day. But somehow I got sidetracked and, before I knew it, the film sold out. The only other alternative was to get to the theatre an extra hour early and hang out in the "stand-by line" in hopes of snagging a vacant seat. This whole L.A. thing has been my little adventure so I was game to waste an hour and see if the ticket gods were on my side.

One of those rare times when I am on time for anything resulted in me being the first person in line. I knew this positioning guaranteed that I would get into one of the 10 seats that are historically open during sold out shows, but I wasn't expecting that at 7:30 p.m. one of the Outfest volunteers would walk up to me and hand me a FREE ticket. Seems that they were having some sort of contest and the first person in the stand-by line for the showing of the film won a ticket. Lucky me! But my luck didn't end there. The line they instructed me to stand in turned out to be the crew/cast line and, before I knew it, I was being ushered into an empty theatre with my choice of seats. So I go from fretting I wouldn't get into the movie at all to being pushed to the front of the line.

So, clearly, all this good fortune put me in a great mood to receive this much talked about movie. But I have to admit I was secretly worried. The buzz on the film, and there was a significant amount of it, was that the story was compelling, the photography haunting andthe acting, by a primarily all-black cast, was exceptional. Still licking my wounds after being shamed into seeing Tyler Perry’s Why Did I Get Married, with the weirdly same kinds of accolades, I had reason to hold on to some of my skepticism.


I’ve been to my fair share of film festivals and often the centerpiece film stinks to high heaven. It is often chosen because of the stars in the film or some other political reason. So what if this film fell into that category? What if it sucked? What if the mixed audience didn't get the story that writer/director Tina Mabry was trying to tell in her feature-length directorial debut? What if all the fanfare was unwarranted?

Five minutes into the film it was clear there was nothing to worry about. Mississippi Damned was in the capable hands of Ms. Mabry and she never lost control.

Based on a true story, the film follows a tight knit and expansive Mississippi family over the course of 12 years. On the surface, it appears like everyone is happy and doing their best to carve out a quality life, but through the eyes of the youngest members of the family, we quickly learn there are more than a few cracks in the foundation of this fiery and volatile southern clan.

Physical and sexual abuse plays a large part in this story and touches virtually every member of the family. And, like a lot of families, everyone knows but no one talks about it. Mabry is especially unflinching in the depiction of the sexual abuse of the youngest members. The audience was audibly disturbed when young Sammy is made to participate in oral sex with a family friend in exchange for the money he needs to attend an out-of-town basketball game (and maybe his one chance to escape his soul-sucking hometown).

The large cast is stellar. With stand outs being Michael Hyatt (Fame, The Wire), Malcolm David Kelley (Lost, Saving Grace) and Simbi Kali Williams (The Bernie Mac Show, 3rd Rock from the Sun). Their performances are riveting and heartbreaking. You can’t help but root for them, although it is clear not all of them will make it and their undoing is often by their own hands.


During the Q&A, Mabry shared that the film was shot in 19 days. The seasoned filmmakers in the audience literally gasped understanding what an amazing hat trick was pulled off. There is nothing about this film that seems rushed or lacking. Coming in at 120 minutes, the director takes the time to show us all the nooks and crannies. Each character is given the opportunity to develop and make an impression. The script is solid, with memorable dialogue like, “When you get one of your titties cut off then you can preach to me about thanking God. Until then, shut up!”

My chief complaint is that it is not clear that the story is being told primarily though young Kari’s eyes. It would not be until the narrative shifts into her young adult years that it becomes clear that she is the one that we need to invest all our hopes in escaping the suffocating dysfunction that surrounds her.

The cocktail reception that followed the screening elicited a lot of conversation around the various taboo subjects that were broached during the film. Two very interesting observations came up among the primarily black audience. First, why was the only family member to make it out a very light-skinned, pretty character? Second, why did the only gay character in the film end up in a mental hospital? Since the film is based on fact it is hard to argue with the outcome, but I do wonder if Mabry has heard this feedback before?

I suspect the other feedback she will hear, especially if the film wins a larger audience, is the way in which the men in the family are depicted. They are all at the mercy of some sort of vice, be it liquor, gambling or the need to batter their wives. It appears the women are left to hold the family together, but if we look close enough we can see that they are significantly flawed as well.

Mississippi Damned has received much deserved praise and high visibility on the festival circuit. Now the producers (Morgan Stiff and Lee Stiff) and filmmaker are hoping to treat the film to a theatrical release and, hopefully, to a wider audience.

Without a doubt, this powerful film needs to be seen at a theatre near you.

Review by Michelle Sewell

For more information on the film, check here.

View the trailer of the Mississippi Damned below