The sizzling summer in New York has cooled as it reaches it's end. I look back on a happening summer of events. Me, being without an air conditioner and all, took refuge from the heat in the welcomed chilliness of movie theaters. Like I was a kid again, I extended my cinema stay without having to pay to see more then one film a day. Well, this time I did not have to sneak from film to film 'cause I had some complimentary invites to attend the 1999 Urbanworld Film Festival (UWFF) held here in August. The UWFF is an HBO sponsored independent film festival dedicated to popularizing, and enhancing cinema by, about, and starring people of color.

While chillin' at the UWFF I saw the recently aired HBO's "Introducing Dorothy Dandridge", co-produced by and starring actress Halle Barry. There was also a good group of independent full length and short feature films screened during the festival. I had the chance to chat with two up and coming writer/directors Niva Dorell and Khari Wyatt, whose films were shown during the festival. I spoke with them about their backgrounds and interest in film writing and directing. They shared some of their insights and experiences from film school to film festival.

Niva Dorell's short feature film "Kings" deals with the different paths taken by two men who were once inseparable friends. Dorell recently received her masters in film production from the University of Southern California, where her mentors were award winning writer/directors John Singleton and Robert Zemeckis. This is not the first major film festival her film has been accepted into, earlier this year her film was in the Hollywood Black Film Festival. "Kings" can also be seen in the upcoming New York Independent Film Festival this month.

EM "What has been the response to your scripts at this point?"

DORELL "I'm not quite at the stage where I'm showing my scripts yet. I'm at the stage where people [in the film industry] are looking at the movie. I'm working on a script now. I'm having meetings with people. In general, I've had more attention from black production companies, and black people in Hollywood then I've had otherwise. The film ["Kings" ] has only gotten into black film festivals. I've sent it to other film festivals but it hasn't gotten in. I mean, the DC International Film Festival is not just black [writers], but the director of the festival is [black]."

EM "So, are you saying that it does still make a difference what race the person considering your work is?"

DORELL "When you look at other film festivals which are not supposed to be race or culturally specific, and you count how many African American films there are, and you count how many white films [films written, directed or starring white Americans]. You'll be able to count the African American films on one hand. So I feel like---I don't know. I mean, if they see the cover of Kings which has two black males on it, maybe they come to the conclusion that; its gotta be that kind of film.' "

EM "How does it make you feel, the issues of raced based decisions in the film industry? Is it daunting?"

DORELL "In my case, it's actually confusing because, half the time people don't expect to see me after watching Kings. They see me, and they don't know right away that I'm mixed. They think I'm just white, I guess. As far as me personally, you know it's more about what I wanna make. Because people looking at me don't think; 'here comes an African American female'. So, I guess I'm going to be more judged as far as race and culture on what I wanna make. So, if I want to make an African American feature [film] it might be difficult."

EM "What are some of the things you hope to accomplish with your work as a writer and director?"

DORELL "My goal is to create well rounded characters based on my experiences and the experiences of people I know. I foresee, down the line, people trying to make them [my film characters] into stereotypes. Because they [the characters] don't fit into the box that they're used to thinking in. You know? It'll be my challenge, and I feel, my duty to stay true. Insist and convince people you can have well rounded characters. There is an audience for it. I think that people are craving to see more of them [in black films]."

Khari Wyatt is currently a Masters candidate in film production at Columbia University in New York. He will receive his degree in October. He wrote and directed his short feature film, Stompin Down At Sugar Love's, a fictional murder mystery centered around the murder of a local fortune- teller in Harlem. This is the first major film festival his work has been accepted in.

EM "What inspired you to write and direct your short feature?"

WYATT "I live uptown. My crib is uptown. I was inspired by the things I saw around me on a daily basis. There is so much flava up in [the] Harlem and Washington Heights area. You got people from the Caribbean, Latinos, brothers and sisters from Africa. You walk out your door and you interact with these people wherever you go. Whether you go to the market, to the botanica you pass everyday, you hear the roosters clucking. So, I'm like; Hey! I gotta put this into a story form! Hopefully, I can capture a little bit of that diversity in Harlem, the different cultures. I wanted to put that into a story that was interesting."

EM "How do you see your future prospects in the film industry as a black writer/director?"

WYATT "I would say my prospects are good, in that there is opportunity. You still have to make your [own] opportunity. You have to go out, you have to hobnob to meet people. Because if you're just sending your things out cold, they're gonna come back cold. I'm finding much more, as I get older, you have to know somebody. You know what I'm saying."

EM Do you think it matters whether the person considering your script or film knows that you are African American?

WYATT "I find that, even with people of color, they're still working for whoever they work for. Whatever production company they work for, they are an agent of that company and that companie's taste. They can only do so much for you. [But] they might read it whereas someone else may just throw it on the pile. However, if they take it to the next step up in the chain of command, it still could get shot down. I find that often happens to a lot of people. It's a hard thing to do. You get in where you fit in basically. It's not just about the talent. You gotta have connec's. Someone who is interested and willing to introduce you to another person, who'll introduce you to another person [etceteras]."

EM It seems that film school is a prerequisite these days to become a filmmaker. What have you gotten out of your time as a film student at Columbia University?

WYATT "School helped me with my craft. It helped me hone my talent. I have a mentor [in school] who has been very helpful to me. Introducing me to people. Giving me feedback on my stuff. For instance, my mentor went to the Sundance Institute Film Feature Program, like four years ago. He has a good relationship with those people still. I say; Well, I wanna enter the feature film program. I sent off the prerequisite materials. He put in a good word for me, and I'm in the next round now. I still may not get in the program. At least I got a lot further than I might have 'cause he called and said; 'I got a talented, serious brother here. Read his stuff. Give him a shot.' "

EM "Are there other ways, outside of entering film school, for someone who wants to become a director or writer?"

WYATT "There are different support groups that spring up independently for people who want to do writing or directing. They'll get together, vibe, and kick back ideas. But then you still may not have the connec's. The good thing about Columbia [University], I met my mentor. He works hard in the industry, constantly doing rewrites and getting paid. Making his living writing. That's the best thing that has happened to me in my five years at Columbia."

EM Recently the major television networks revealed their fall schedule line-up of shows. This caused some controversy within communities of color. Almost all of the main characters are white Americans, as are most of the writers of these new shoes. How do you feel about this situation?

WYATT "You would think that it would make me feel bad but, it doesn't. It's more par for the course. It's been this way forever. You know what I mean? At this point, either we are going to put money into doing our own thing or we're gonna have to play ball. As much as we want say we deserve some black characters on the screen, and shows with black themes---they're not obligated to do it. You can cry all you want. They own all the networks. They can do what they want. I think what we might wanna do instead is tell people to hit them [the television networks] in their pockets. I mean, money talks in America. We need to tell people to hit the advertisers during these shows. If you don't like the schedule they put out, don't buy it [the advertised product]. Now you're talkin'! We got a lot of dollars we're spending in the black community. We need to exercise our economic power. Don't buy that stuff."

EM How important is it that there are film festivals, like Urbanworld, which help to specifically promote movies directed, written by, or starring people of color?

WYATT "It matters because, when you play the game of the studios, that' the game that they play, film festivals. Film festivals are very important. They look at film festivals. My film playing at Urbanworld---Urbanworld is a beautiful film festival. It is something that is much needed, because we can't get up in a lot of different festivals. They won't screen our things. It is not necessarily racism per se. But, for the crowd that they [film companies] attract, they might be like; 'my crowd may not understand it'. Therefore, it's cool but we can't use it. I've applied to other film festivals that were not predominately for people of color, and I haven't gotten in. Now, you know that could be in part because; maybe my film wasn't tight enough at the time. I've put out different versions. So, I'm not gonna scream racism. I'm gonna do what I have to do. I mean people do it. Spike Lee has fourteen films, John Singleton has done four. You gotta be able to do it somehow. You gotta keep scrapping. You know what I'm saying. If you want it, you have to keep going. "