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More “Madea” from Tyler Perry
He survived abuse as a child and lived in his car at one point. Then Tyler Perry channelled his emotions into a series of popular stage plays and blockbuster movies featuring his mad, black alter-ego Madea.
Now Perry, 39, helps finance and maintains total creative control of his films, his two TV shows and his very own studio just outside Atlanta, where he is based. With Oprah Winfrey as a role model, he is looking to grow his empire, recently launching 34th Street Prods, to help bring films he loves to his loyal audience -- including the Sundance hit "Push: Based on the Novel By Sapphire."
His latest film, "Madea Goes to Jail," opened recently. Here's what this prolific filmmaker had to say about his craft.
How do you describe your filmmaking style?
Tyler Perry: My stories are usually pretty predictable. The dialogue is always very simple because I am very aware of who I'm speaking to. My audience is from 2- and 3-year-olds all the way up to 90, so I’m not trying to tell any extremely stylistic, artistic stories.
Why do you think your audience has been ignored by
Hollywood?
Perry: For the most part people speak from their own experiences, and in Hollywood. there have not been a lot of African-Americans who have been able to tell their
stories unfiltered, unedited, with no notes, and bring (them) directly to the people. That's why I love my relationship with Lionsgate: It's a nonote, we-don't-show-up-to-the-set relationship. 1 bring
them a finished film and we test it and it usually does extremely well.
The studios do so much research about who audiences are and what they want, and this is an audience that for many years was just missed. How is that?
Perry. Even from my first movie ("Diary of a Mad Black Woman"), the tracking was way off. They have gotten better with tracking and understanding my films, but if you're not a part of (the community), you can't really get the information. I don't know what it's like to be Japanese. But if I was there in the culture I could get some sort of understanding. I think you need to be in the culture to understand it. I'm really only beginning to wrap my brain around how Hollywood can be so insulated from the rest of the world. There is Hollywood and then there is New York -and then America is in the middle. I've been to every major city in this country, with the exception of the Dakotas, I think, and we would sell shows out -- 30,000-40,000 people a week coming in the doors. People find this hard to believe, and most of it was sold by e-mail before we even got to the city. I have the box office
record at the Kodak (Theatre, in Hollywood). 1 had 18 or 19 shows there that have all sold out.
Has the audience changed at all since you started making films?
Perry: My last tour was in 2004-05, and it started to change. It was the first time 1 was onstage and I could look out in the audience and there would be maybe five white people or Hispanics. Then there were 600-700 or 1,000 in the audience. The videos (of the plays) had gotten out there.
In Ho 1 lywood , the conventional wisdom is, "Don't fund your own projects." You defied that. Why?
Perry: When I came into Hollywood, I was doing extremely well. Before I even had a film, my shows were approaching $100 million on tour. I didn't come in saying, "Give me this money so tha11 can do a film," because when that happens you lose all creative control. The money is not as important to me as the creative control. So I have to fund it for that to happen, just as I've done it in television.
Source: Reuters