Tony Todd on the joy of 'Candyman', and the role of black horror | ABS-CBN
ADVERTISEMENT
![dpo-dps-seal](https://od2-image-api.abs-cbn.com/prod/Seal_Image_OD.png)
Welcome, Kapamilya! We use cookies to improve your browsing experience. Continuing to use this site means you agree to our use of cookies. Tell me more!
Tony Todd on the joy of 'Candyman', and the role of black horror
Tony Todd on the joy of 'Candyman', and the role of black horror
Candice Frederick,
The New York Times
Published Oct 22, 2020 10:03 AM PHT
|
Updated Oct 22, 2020 11:51 PM PHT
![Clipboard](https://od2-image-api.abs-cbn.com/prod/ClipboardNews.png)
Tony Todd, the veteran horror star, has found himself in an unusual state: He’s scared. But not of what comes after you say “Candyman” five times in the mirror or of the frights in his myriad other films, like “Final Destination,” that keep his fans up at night.
Tony Todd, the veteran horror star, has found himself in an unusual state: He’s scared. But not of what comes after you say “Candyman” five times in the mirror or of the frights in his myriad other films, like “Final Destination,” that keep his fans up at night.
He’s afraid for the fate of live performance amid the pandemic.
He’s afraid for the fate of live performance amid the pandemic.
“Opera, dance, ballet, museums, everything,” Todd said on a phone call from his Los Angeles home, where he’s been quarantined. “I worry about a world without culture at some point.”
“Opera, dance, ballet, museums, everything,” Todd said on a phone call from his Los Angeles home, where he’s been quarantined. “I worry about a world without culture at some point.”
It’s a pressing concern for Todd, 65, who earned a master’s degree from the Trinity Repertory Company, studied at the Eugene O’Neill Theater Center and started in political theater. He still has friends who perform live, many of them blues musicians now living, as he described it, “hand-to-mouth.” And before the world went sideways, the actor could return to theater, “which is my first love,” between making movies.
It’s a pressing concern for Todd, 65, who earned a master’s degree from the Trinity Repertory Company, studied at the Eugene O’Neill Theater Center and started in political theater. He still has friends who perform live, many of them blues musicians now living, as he described it, “hand-to-mouth.” And before the world went sideways, the actor could return to theater, “which is my first love,” between making movies.
ADVERTISEMENT
But despite the dismal circumstances, Todd feels inspired: “From the ashes, if ‘Candyman’ can resurrect after 30 years, anything is possible.” Next year, he’ll be seen reprising his title role from the 1992 classic “Candyman” for director Nia DaCosta’s remake (its release date was delayed because of COVID-19). He is also back haunting audiences in “Tales From the Hood 3,” an anthology horror film that premiered on Syfy this month and is available on major streaming platforms as well.
But despite the dismal circumstances, Todd feels inspired: “From the ashes, if ‘Candyman’ can resurrect after 30 years, anything is possible.” Next year, he’ll be seen reprising his title role from the 1992 classic “Candyman” for director Nia DaCosta’s remake (its release date was delayed because of COVID-19). He is also back haunting audiences in “Tales From the Hood 3,” an anthology horror film that premiered on Syfy this month and is available on major streaming platforms as well.
Written and directed by Rusty Cundieff and Darin Scott, this installment in the horror franchise finds Todd playing a quiet villain with a 6-year-old (Sage Arrindell) in tow as they try to escape an unseen evil outside. She tells scary stories to divert her mind from the danger ahead of them.
Written and directed by Rusty Cundieff and Darin Scott, this installment in the horror franchise finds Todd playing a quiet villain with a 6-year-old (Sage Arrindell) in tow as they try to escape an unseen evil outside. She tells scary stories to divert her mind from the danger ahead of them.
Todd discussed creating horror in the age of social consciousness, fighting for inclusion in and out of the arts world, and how he feels about being known as the king of Black horror. Here are edited excerpts from our conversation.
Todd discussed creating horror in the age of social consciousness, fighting for inclusion in and out of the arts world, and how he feels about being known as the king of Black horror. Here are edited excerpts from our conversation.
Q: “Tales From the Hood 3” covers gentrification, racism and the dangerous costs of fame. Do you consider horror a space where ills against Black people can be avenged?
Q: “Tales From the Hood 3” covers gentrification, racism and the dangerous costs of fame. Do you consider horror a space where ills against Black people can be avenged?
A: Absolutely. Horror always opens the question of what frightens us truly, right? The better films always present that in a scathing way that people come out of with new understanding. I don’t want to use the word “fun,” but “Tales From the Hood 3” is also cloaked in a comic book style that allows people to maybe get in.
A: Absolutely. Horror always opens the question of what frightens us truly, right? The better films always present that in a scathing way that people come out of with new understanding. I don’t want to use the word “fun,” but “Tales From the Hood 3” is also cloaked in a comic book style that allows people to maybe get in.
Q: It’s interesting that you mention its accessibility, because many people who are not fans of horror seem more drawn to the genre these days because it mirrors real-world fears.
Q: It’s interesting that you mention its accessibility, because many people who are not fans of horror seem more drawn to the genre these days because it mirrors real-world fears.
A: With what we’ve gone through this year with the pandemic, a lot of writers are holed up. I think in two years we’re going to have some extraordinary work come out of this. Bernard Rose (the 1992 “Candyman” writer-director) and I had been working on a project at the start of the pandemic. We ended shooting on the first weekend of the George Floyd protests. So we opened with the emptiness of L.A., in kind of a film noir style.
A: With what we’ve gone through this year with the pandemic, a lot of writers are holed up. I think in two years we’re going to have some extraordinary work come out of this. Bernard Rose (the 1992 “Candyman” writer-director) and I had been working on a project at the start of the pandemic. We ended shooting on the first weekend of the George Floyd protests. So we opened with the emptiness of L.A., in kind of a film noir style.
Q: Have you gone to any of the protests?
Q: Have you gone to any of the protests?
A: Yeah. My daughter did, too. Not heavily because I can’t afford to get arrested. But I’ve always been very socially conscious. The first job I got was with a political theater group called Modern Times Theater. It was my first time traveling the world doing theater.
A: Yeah. My daughter did, too. Not heavily because I can’t afford to get arrested. But I’ve always been very socially conscious. The first job I got was with a political theater group called Modern Times Theater. It was my first time traveling the world doing theater.
Q: How do you feel about the recent calls for inclusion in the theater community?
Q: How do you feel about the recent calls for inclusion in the theater community?
A: Well, as much as I love theater, every time I’m called to do an August Wilson play, I say, “What is our donor base?” And invariably it’s less representative than the world we live in. It always bothered me. If there’s 800 seats, I’d maybe count 10 Black people. I always tried to push back. Particularly if the plays are about the people that are excluded, you need to figure a way to make it more profitable and less expensive. If it’s not there on a corporate level, writers have to figure out a way to find the space and let people know that they’re telling stories about ourselves.
A: Well, as much as I love theater, every time I’m called to do an August Wilson play, I say, “What is our donor base?” And invariably it’s less representative than the world we live in. It always bothered me. If there’s 800 seats, I’d maybe count 10 Black people. I always tried to push back. Particularly if the plays are about the people that are excluded, you need to figure a way to make it more profitable and less expensive. If it’s not there on a corporate level, writers have to figure out a way to find the space and let people know that they’re telling stories about ourselves.
Q: What keeps you coming back to horror?
Q: What keeps you coming back to horror?
A: Well, I didn’t get my master’s saying, “I want to be a horror film star.” I just wanted to be a good actor. If you look at my résumé, horror’s been 30% of it. My friend Stan Shaw says, “In Hollywood, if you play a certain color vividly” —(laughs) — “they’re not interested in you straying away from the rainbow.” So, I keep going back to theater because whenever it gets too boring or repetitive, I tell my people to seek out some theater.
A: Well, I didn’t get my master’s saying, “I want to be a horror film star.” I just wanted to be a good actor. If you look at my résumé, horror’s been 30% of it. My friend Stan Shaw says, “In Hollywood, if you play a certain color vividly” —(laughs) — “they’re not interested in you straying away from the rainbow.” So, I keep going back to theater because whenever it gets too boring or repetitive, I tell my people to seek out some theater.
Unfortunately, this year so many artists in New York City are without that platform. I worry because they don’t have the normal fallback positions of bartending and waitering anymore. But we will get stronger and come back more vibrantly than ever.
Unfortunately, this year so many artists in New York City are without that platform. I worry because they don’t have the normal fallback positions of bartending and waitering anymore. But we will get stronger and come back more vibrantly than ever.
Q: Since you have such a variety of experience, how do you feel about being known as the king of Black horror?
Q: Since you have such a variety of experience, how do you feel about being known as the king of Black horror?
A: I don’t mind. You can label me however you want. I know who I am. As long as they pay the bills and for my daughter’s grad-school education, I’m fine. Horror fans are the most ferocious fan base there is. That allows for a lot of personal appearances and celebrating a genre that’s sort of kicked to the side but also passionately adored — so I don’t see it as a secondhand citizenship. I have outside interests; I’m not worried about being pigeonholed.
A: I don’t mind. You can label me however you want. I know who I am. As long as they pay the bills and for my daughter’s grad-school education, I’m fine. Horror fans are the most ferocious fan base there is. That allows for a lot of personal appearances and celebrating a genre that’s sort of kicked to the side but also passionately adored — so I don’t see it as a secondhand citizenship. I have outside interests; I’m not worried about being pigeonholed.
Q: What was it like returning to “Candyman”?
Q: What was it like returning to “Candyman”?
A: It was a joy. I’m proud of “Candyman.” If I had never done another horror film, I could live with that, and I’d carry this character. I thought he would disappear. After 30 years, we’re back with a fascinating, powerful new chapter. Nia DaCosta will bring that femininity to a darkness, which is great. And we’re back in Cabrini-Green, which was no longer Cabrini-Green. Gentrification. (The towers of the Chicago housing project where the original movie had been set were razed.)
A: It was a joy. I’m proud of “Candyman.” If I had never done another horror film, I could live with that, and I’d carry this character. I thought he would disappear. After 30 years, we’re back with a fascinating, powerful new chapter. Nia DaCosta will bring that femininity to a darkness, which is great. And we’re back in Cabrini-Green, which was no longer Cabrini-Green. Gentrification. (The towers of the Chicago housing project where the original movie had been set were razed.)
Q: DaCosta is one of very few Black female horror filmmakers right now. Coming up at a time when that was almost inconceivable —
Q: DaCosta is one of very few Black female horror filmmakers right now. Coming up at a time when that was almost inconceivable —
A: No, it was almost nonexistent. When I started in this business, I would show up on set and not only would I be the only Black actor, I would be the only Black person in jobs that anybody should have the opportunity to do if it wasn’t for nepotism. Now it’s changed. I would go on set and the entire transportation department and hair and makeup were people that looked like me and knew how to apply makeup to me. (Laughs) And light me, OK? Just the joy that occurred, finally being allowed to the dance.
A: No, it was almost nonexistent. When I started in this business, I would show up on set and not only would I be the only Black actor, I would be the only Black person in jobs that anybody should have the opportunity to do if it wasn’t for nepotism. Now it’s changed. I would go on set and the entire transportation department and hair and makeup were people that looked like me and knew how to apply makeup to me. (Laughs) And light me, OK? Just the joy that occurred, finally being allowed to the dance.
Q: So, do you feel invigorated by the fact that more Black women are taking up space in horror?
Q: So, do you feel invigorated by the fact that more Black women are taking up space in horror?
A: Absolutely. We’re a cosmopolitan society with many different shades and nationalities. Sometimes we lose sight of that in the quest to make America great again, whatever that means. So maybe things will calm down politically by this time next year and we’ll find a vaccine, get back on a plane without a possible horror situation. Because if I see somebody without a mask and he starts to cough, that’s it. After 9/11, we used to watch everybody that was different from us. Now the enemy may be ourselves.
A: Absolutely. We’re a cosmopolitan society with many different shades and nationalities. Sometimes we lose sight of that in the quest to make America great again, whatever that means. So maybe things will calm down politically by this time next year and we’ll find a vaccine, get back on a plane without a possible horror situation. Because if I see somebody without a mask and he starts to cough, that’s it. After 9/11, we used to watch everybody that was different from us. Now the enemy may be ourselves.
Copyright:
c.2020 The New York Times Company
Copyright:
c.2020 The New York Times Company
ADVERTISEMENT
First FAMAS Short Film Festival director encourages more celebrities to explore short filmmaking
First FAMAS Short Film Festival director encourages more celebrities to explore short filmmaking
Push Team
Published Feb 13, 2025 12:16 AM PHT
![Clipboard](https://od2-image-api.abs-cbn.com/prod/ClipboardNews.png)
Ahead of the highly anticipated inaugural FAMAS Short Film Festival, festival director Gabby Ramos encouraged celebrities to explore the world of short filmmaking.
Ahead of the highly anticipated inaugural FAMAS Short Film Festival, festival director Gabby Ramos encouraged celebrities to explore the world of short filmmaking.
![](https://od2-image-api.abs-cbn.com/prod/editorImage/1739376928085PUSH-First-FAMAS-Film-Festival-Director-Encourages-Celebs.jpg)
During an intimate meet-up with select entertainment press in Quezon City, Director Gabby shared that aside from being a big help in promoting short films by involving celebrities, this initiative would also allow the actors to learn and gain more experience.
During an intimate meet-up with select entertainment press in Quezon City, Director Gabby shared that aside from being a big help in promoting short films by involving celebrities, this initiative would also allow the actors to learn and gain more experience.
“Actually lahat ng artista ABS (CBN Corporation) or sa ibang network gusto ko silang pumasok sa short film (para) may experience sila yung kultura ng paggawa ng mga bagong filmmaker or mga professional filmmaker na gumawa ng short (films). Malaking tulong ang (mga) artista,” the festival director said.
“Actually lahat ng artista ABS (CBN Corporation) or sa ibang network gusto ko silang pumasok sa short film (para) may experience sila yung kultura ng paggawa ng mga bagong filmmaker or mga professional filmmaker na gumawa ng short (films). Malaking tulong ang (mga) artista,” the festival director said.
He added that it's also timely, as short films are now gaining traction even on Video On Demand platforms.
He added that it's also timely, as short films are now gaining traction even on Video On Demand platforms.
ADVERTISEMENT
“I'm trying to tell na lahat ng artists ah even big stars tsaka malaking tulong na rin yun sa industry saka we're, we're moving (towards) another wave na VOD,” Ramos explained.
“I'm trying to tell na lahat ng artists ah even big stars tsaka malaking tulong na rin yun sa industry saka we're, we're moving (towards) another wave na VOD,” Ramos explained.
On February 10, the Filipino Academy of Movie Arts and Sciences, more commonly known as FAMAS, formally launched their newest festival, which will be led by Ramos and FAMAS President Francia Conrado. The event will also be presented by REMS Entertainment.
On February 10, the Filipino Academy of Movie Arts and Sciences, more commonly known as FAMAS, formally launched their newest festival, which will be led by Ramos and FAMAS President Francia Conrado. The event will also be presented by REMS Entertainment.
Director Gabby, who won Best Short Film at FAMAS 2024 for his entry Huling Sayaw ni Erlinda, shared the type of movies they are currently looking for.
Director Gabby, who won Best Short Film at FAMAS 2024 for his entry Huling Sayaw ni Erlinda, shared the type of movies they are currently looking for.
“Yung excellence kasi yung hinahanap. Napakahalaga yung information na kayang ibigay ng isang director. Anong mensahe mo sa tao? Nakakapagbago ba ito ng imahinasyon? Nakakatulong ba ito sa kapwa ng Pilipino? Hindi lang basta pinaiyak eh, kundi umiiyak ka pa rin kahit hindi ka nanonood,” he explained.
“Yung excellence kasi yung hinahanap. Napakahalaga yung information na kayang ibigay ng isang director. Anong mensahe mo sa tao? Nakakapagbago ba ito ng imahinasyon? Nakakatulong ba ito sa kapwa ng Pilipino? Hindi lang basta pinaiyak eh, kundi umiiyak ka pa rin kahit hindi ka nanonood,” he explained.
The director added that the movie should ideally be impactful, inspiring its audience to walk the talk and live by the lesson they've learned.
The director added that the movie should ideally be impactful, inspiring its audience to walk the talk and live by the lesson they've learned.
He went on, “Hindi lang basta nakapagbigay ng lesson. Kundi nagawa dapat nung nanonood yung lesson na natutunan. That’s the power of filmmaking. So, yun ang hinahanap talaga natin.”
He went on, “Hindi lang basta nakapagbigay ng lesson. Kundi nagawa dapat nung nanonood yung lesson na natutunan. That’s the power of filmmaking. So, yun ang hinahanap talaga natin.”
Despite the festival being new, the festival director hopes that in future editions, they will be able to offer grants to participants.
Despite the festival being new, the festival director hopes that in future editions, they will be able to offer grants to participants.
“Next year, kapag, in God's provision, maybe we'll be having a grant na kung may papasok ng mga sponsors and everything, na yung mga gustong tumulong. May mga tao na instead na mag-support for today, for this year, yung gusto nila na o next year pag meron. Baka pwede na tayo mag-abot ng grant sa kanila,” the director shared.
“Next year, kapag, in God's provision, maybe we'll be having a grant na kung may papasok ng mga sponsors and everything, na yung mga gustong tumulong. May mga tao na instead na mag-support for today, for this year, yung gusto nila na o next year pag meron. Baka pwede na tayo mag-abot ng grant sa kanila,” the director shared.
He also noted how important it is and how the grant will make a significant impact.
He also noted how important it is and how the grant will make a significant impact.
“You know, grant is different eh. Kasi it's, you know, 500,000, 700,000 (pesos) makes a difference sa isang filmmaker kung maibibigay yung grant na yun,” he explained.
“You know, grant is different eh. Kasi it's, you know, 500,000, 700,000 (pesos) makes a difference sa isang filmmaker kung maibibigay yung grant na yun,” he explained.
But for now, winning entries are set to receive a trophy, on par with the awards the organization presents at their usual festivals.
But for now, winning entries are set to receive a trophy, on par with the awards the organization presents at their usual festivals.
FAMAS president Francia Conrado told the media: “The reason why I really want this because nanghihinayang din ako dun sa mga magaling na mga filmmakers ng short film. They really deserved this.”
FAMAS president Francia Conrado told the media: “The reason why I really want this because nanghihinayang din ako dun sa mga magaling na mga filmmakers ng short film. They really deserved this.”
The FAMAS president went on to share how prestigious the trophy is.
The FAMAS president went on to share how prestigious the trophy is.
“Sabi ko nga, the most coveted trophy. It's 3.5 kilos na, kasi ‘di ganun kabigat. It's made of solid bronze. And well, I can say its price. Somebody deserves to have it dahil it's not (just any other trophy), it's (worth) 5 figures,” she added.
“Sabi ko nga, the most coveted trophy. It's 3.5 kilos na, kasi ‘di ganun kabigat. It's made of solid bronze. And well, I can say its price. Somebody deserves to have it dahil it's not (just any other trophy), it's (worth) 5 figures,” she added.
The short film festival is open to all ages and participants from across the country, including OFWs, as long as they meet the basic criteria. This includes a maximum running time of 20 minutes, with films having been premiered between January 2024 and March 2025.
The short film festival is open to all ages and participants from across the country, including OFWs, as long as they meet the basic criteria. This includes a maximum running time of 20 minutes, with films having been premiered between January 2024 and March 2025.
Additionally, the director must be a Filipino citizen, and the production must be based in the Philippines, although co-productions are also allowed.
Additionally, the director must be a Filipino citizen, and the production must be based in the Philippines, although co-productions are also allowed.
For the complete list of criteria and other inquiries, interested parties may reach FAMAS via email at famas.shortfilm@gmail.com or on Facebook at FAMAS Short Film Festival.
For the complete list of criteria and other inquiries, interested parties may reach FAMAS via email at famas.shortfilm@gmail.com or on Facebook at FAMAS Short Film Festival.
The deadline for submission of entries is on March 25, 2025, with selected films set to screen from May 3 to May 9, 2025. The festival will wrap up with an awards night on May 10, featuring categories such as Best Actor, Best Actress, and Best Short Film, among others.
The deadline for submission of entries is on March 25, 2025, with selected films set to screen from May 3 to May 9, 2025. The festival will wrap up with an awards night on May 10, featuring categories such as Best Actor, Best Actress, and Best Short Film, among others.
Entries can be submitted through the following link: https://forms.gle/dnH5Y53U3jaxWqWB8.
Entries can be submitted through the following link: https://forms.gle/dnH5Y53U3jaxWqWB8.
SEE RELATED STORY:
SEE RELATED STORY:
—By Jemuel Tandoc
—By Jemuel Tandoc
Read More:
Gabby Ramos
Conrado
Ramos
Quezon City
FAMAS
Francia Conrado
Philippines
FAMAS Short Film Festival
Filipino Academy of Movie Arts and Sciences
president
ADVERTISEMENT
ADVERTISEMENT