Nelson George - Film and Television Work

Film and Television Work

In 2004, George made a short film called To Be a Black Man, starring Samuel L. Jackson, and a documentary called A Great Day in Hip-Hop. Both titles appeared in festivals in New York, London, and Amsterdam. He executive-produced the HBO film Everyday People which also debuted in 2004 at the Sundance Film Festival.

Currently he is serving as co-executive producer of VH1's Hip Hop Honors television show and executive producer of Black Entertainment Television's American Gangster series, which was the highest rated series in the history of BET in 2006. His directorial debut, Life Support, starring Queen Latifah, aired on HBO on March 10, 2007. Latifah won several awards for her performance as Ana Wallace, including a Golden Globe, Screen Actors Guild award, and the NAACP Image Award. Life Support was also named best TV film of the year by the NAACP. He also currently hosts the VH-1 series "Soul Cities", which examines the music and culture of six prominent cities in the U.S.

A resident of Fort Greene, Brooklyn for over 25 years, George wrote, narrated, and co-directed with Diane Paragas the 2012 feature documentary, Brooklyn Boheme, portraying the uniquely vibrant and diverse African American artistic community of Fort Greene and Clinton Hill during the 1980′s and '90′s that included Spike Lee, Chris Rock, Branford Marsalis, Rosie Perez, Saul Williams, Lorna Simpson, Erykah Badu, and Talib Kweli, among many others. Unlike the legendary Harlem Renaissance of the 1920s, which was largely a literary scene, the artists collected in these neighborhoods were as involved with newer means of expression (film, rock music, hip hop, avante garde theater, stand up comedy, photography) as with traditional African-American artistic pursuits (poetry, jazz.) The film premiered on Showtime Networks in February 2012 for Black History Month.

Read more about this topic:  Nelson George

Famous quotes containing the words film and, film, television and/or work:

    The obvious parallels between Star Wars and The Wizard of Oz have frequently been noted: in both there is the orphan hero who is raised on a farm by an aunt and uncle and yearns to escape to adventure. Obi-wan Kenobi resembles the Wizard; the loyal, plucky little robot R2D2 is Toto; C3PO is the Tin Man; and Chewbacca is the Cowardly Lion. Darth Vader replaces the Wicked Witch: this is a patriarchy rather than a matriarchy.
    Andrew Gordon, U.S. educator, critic. “The Inescapable Family in American Science Fiction and Fantasy Films,” Journal of Popular Film and Television (Summer 1992)

    His education lay like a film of white oil on the black lake of his barbarian consciousness. For this reason, the things he said were hardly interesting at all. Only what he was.
    —D.H. (David Herbert)

    Never before has a generation of parents faced such awesome competition with the mass media for their children’s attention. While parents tout the virtues of premarital virginity, drug-free living, nonviolent resolution of social conflict, or character over physical appearance, their values are daily challenged by television soaps, rock music lyrics, tabloid headlines, and movie scenes extolling the importance of physical appearance and conformity.
    Marianne E. Neifert (20th century)

    In some withdrawn, unpublic mead
    Let me sigh upon a reed,
    Or in the woods, with leafy din,
    Whisper the still evening in:
    Some still work give me to do,—
    Only—be it near to you!
    For I’d rather be thy child
    And pupil, in the forest wild,
    Than be the king of men elsewhere,
    And most sovereign slave of care:
    To have one moment of thy dawn,
    Than share the city’s year forlorn.
    Henry David Thoreau (1817–1862)