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Spoiler Alert: This article contains spoilers for “Run“Now she is playing in the theaters.
Markues Houston is on a mission to bring more black audiences to theaters.
This goal served as his north star as the General Manager Shots MoviesThe production company in which he executes and writes most of the titles.
Founded and chaired by Chris Stokes, an independent film company was behind the tube and bets, including “pastor”, “forever us”, “” a “maćeh” franchise and “victim”.
Houston is an artist R & B, producer and actor, which was catapulted in Hollywood in the 1990s, and his first acting role as Voice Khalila in 1992. years “Bebe’s Kids”.
Its most important role – which is still stated in pop culture – is his presentation of Roger from the popular ’90 -i Sitcom “sisters, sisters.” He played a persistent uncomfortable neighbor who became popular to a large extent due to partikephrases, “go home, Roger,” which “sister,” Stars Stars Tia and Tamer Movri are often shouting him.
“It is the greatest feeling in the world to be part of history and culture with” Sister, Sister “,” You served “, and my music group is immature,” says Houston Variety. “Knowing you have a role in history, you seem to feel like you did something great – that you made your brand. That’s all you can take away from this industry.”
By 2010. He started on his journey for a movie for film for film after joining forces with Stokes.
With a wide range of horror and thrillers under banner production, SCI-Fi suspense function “Run” is a ‘latest project to hit theaters on Friday.
“Run” is the story of the nation that has prevailed an alien attack. After Melissa leaves his fiancé Andre on the altar, her best friends took her to the cabin to help her clean her head. But your girlfriend’s journey takes a shocking turn when one of their friends found in the woods. With a surprising visit to Andre and his crew, a group of friends tries to survive.
Houston and Stokes work in tandem on scripts, often sharing similar approaches that the actor described as “creatively see eyes and sharing the same vision.”
Their ability to work closely with a long-standing associate. Their relationship can be monitored by 2004. year, when Houston starred in Stokes’ blockbuster hit “you received”.
Despite this in several projects from a recording, Houston admitted that he did not plan to play a leading role in “Run”, but Stokes suggested it.
“I was like”, wait a minute. Oh, no. I didn’t expect to be in this. “But he was like, ‘I didn’t want to tell you because I didn’t want you to write it for yourself. I wanted to write a character.’ ‘
Once Houston signed that the game Andra, two set up the remaining actors Annie Ilonzeh, Erica Mena, Drev Sidor, Erica Pinkett, Ken Lavson, Claudia Jordan and Command Babatunde.
Houston talked to Variety About the concept of the film, which is Cliffhenger with Andre, his pressure on more painful led horrors and thrillers to become more mainstream and more.
Where does the “Run” concept come from?
It was Chris’s idea. We are both large Sci-Fi fans. He had this idea to enter this situation with aliens and puts it in a group setting with friends in the cabin. He gave me the whole concept on how he wanted to do it. I thought drugs were.
Did you all have an impact that you withdrew inspiration from the story?
Not at all. We like to be as original as we can, so it is better not to withdraw from anything and go with creativity. Chris will give me the whole outline in the whole story and it’s my job as a screenwriter to pair it with dialogue and direction. We were both sat and that we were like, “That’s what we want to talk about. This is the story we want to say. Let’s get him together.”
What are some of the biggest challenges involved behind and in front of the camera?
It was harder because I had to do a lot of action and running. Once the scenario was done, I told everyone, “Now that it’s all over, I have to go to the actor. Everyone focuses on everything else.” That’s why you have to trust your team. The team you choose to be around while making movies is important. It is very crucial, so you can focus on the character.
In the end, Andre is sacrificed to save Melissa from aliens. What did everything made you in that direction especially after their decision to be together if they took it alive?
We wanted to set up for two parts. Chris wanted to continue the story. The film ends abruptly. You don’t know what’s going on. You don’t know what happens when I get into the house. At that moment, anything could happen. It’s like Marvel’s movie where you’re left on that edge and you’re like, “wait, what happens next?” We wanted be absent So you just don’t know where these characters are falling, so there can be a continuation.
Which ideas or subjects are discussed if it was due to happen?
We talked about more invasion towards the aliens – I may be pulled out of the woods and putting it more in the context of the world. We bound immediately around ideas. It is still fresh, but we know what the characters survive.
You have another thriller, “Goes”, to be released at the top next year. What inspired the concept of the film?
“Departure” is more psychological thriller based on true events that happened in Freemanville, FLA after civil war, it was one of the first places where black people can possess and buy property. It is based on when it happened.
What was your creative process for “departure” different from your past projects?
Not too different. Every movie, explore. We move over the story. Once the story is set, we put it into play with the characters. The creative concept is the same for every movie, but we have to write only different ideas with. “Run” is genuine and not based on anything, but it’s SCI-Fi. “Departure” is based on a period of time. It’s different.
What do you hope to lead to a cinematographic experience that viewers will be excited for the film?
I hope people take the information. It is knowledge. “Go away” has a lot of subtle hints about information that no one really speaks. I hope people are educated about what happened at the time, as Blacks treated and where they came from. People don’t know much about Freemanville and how they (blacks) could buy and sell property. African American history is always good to talk.
What made you “go” in the history of Freemanville, Fla.?
Chris was just trying to do something different. He wanted to make a film that empowered and well known. He wanted this film to be informative, but also to frighten people and have them on the edge of their seats. We like to work thrillers. We love to excite and excite the audience because the whole thing sets blacks back to the theater. There is an empty slot for blacks moving back to the movies, stating all your family members together and are implemented well. We are trying to return that energy that makes people actually want to go to the movies.
In recent years, the thrillers ruled by black and horror movies. Many films of movies are reflected in it. With its partnerships with Bet + and Tubi, why is it important for filming a movie for pushing black horror and thriller to become more mainstream?
We can do the same as other filmmakers. Black people love horror. Maybe you wouldn’t think that, but black people like to be scared. Let’s be afraid of a different way, but we’re scared too. It is important to lead to your forehead and let people know we can do the same thing. We like our films reflecting and successful black people. Nothing is anything against any other black filmmaker, because I take off my hat anyone who creates content, jobs for people and opportunities. In our films, we like black people to be successful and have these situations in which you could take a white movie and put it in a black role. No difference. It’s all Hollywood. It’s all film creation. It’s all creativity. Creativity is more important than black and white.
What is the goal or mission of movie movies when it comes to champion diverse stories and talent?
Our main thing is to create all types of talents and employment opportunities, new manufacturers, upcoming writers and actors to really make their rating in Hollywood with occasion that was not there if it were not for films.
