At the SAG Awards, critics darling and Oscar front-runner Mo’Nique flipped the script. She took a special, unexpected moment to give a nod to the dedicated and not-so-visible ‘sistren’ collaborators behind-the-scenes of Precious, the women whose focused energy came together in perfect parts to bring the little film that could to life.
One such fierce woman, Lisa Cortes, the film’s executive producer, is all about the power of harnessing and circling energy in the art world: from film to music; corporate to non-profit; high art to folk. “In my mind producing films and supporting other arts are intertwined because the big picture intention is to increase the well-being of woman and mankind. Art opens the door to possibility …”
For a film that has truly sparked dialogue and opened many unlikely doors within the industry, Mo’Nique knew to ‘recognize’ — as do we. Let’s take a moment then, shall we, to get to know the triple-threat producer behind the six-time Academy Award nominated Precious.
L.A. Collins: They say an actor who can also sing and dance is a triple threat. But what about a producer who can ‘do’: art, music and film? You’re certainly a triple threat, no?
Lisa Cortes: Why, thank you!
COLLINS: Can you discuss your roots in the music business and how that naturally transitioned into producing films?
CORTES: In 1987 I was fresh out of Yale and part of the original team at Def Jam records/Rush Artist Management. There were no titles — we just got “whatever was assigned to you” done. Or if you wanted to take a project on, you could. In the A.M. I worked for the management company, and in P.M. for the label. It was an environment where you had to constantly find creative solutions. From the inane (‘How can I get LL Cool J to take his hat off for his passport photo?’) to culture changing (convincing corporate entities like Adidas to endorse the artists). As the “smart girl” it was assumed that I could figure it out; and I came to love my time there because I got to exercise the commercial and creative sides of my brain.
COLLINS: So it paid to have that education under-your-belt, so to speak?
CORTES: Yeah. By the time I ended up running my own label, Loose Cannon, at Polygram I had become an executive who actively found artists, made records, marketed and distributed them. So when I made the transition to producing I felt that process was the same. It’s about the having a broad overview, problem solving, translating and facilitating a vision — and keeping it on track.
COLLINS: We always hear the upside of producing after the pros have had time to exhale, but can you take us back to the most trying day for you on set? And how, as a producer, did you negotiate your way out of it?
CORTES: The development, production and post of Precious presented many challenges. Honoring the work, finding the talent, and creating a believable New York circa 1987 had me constantly relying on my ability to improvise. I remember one day where we showed up at a location and there was dog crap all over the sidewalk. All you can do is start shoveling.
COLLINS: As a female producer did you find your authority/judgment, at times, in question? Do you think your femaleness gave you less or more leverage in situations you encountered?
CORTES: In our daily lives we sometimes encounter forces that don’t appreciate what we bring to the mix as women, but that’s not my problem; I gracefully power through and get the job done. Each day brings different obstacles and I think it’s all about not getting stuck in the problem loop and being able to have strong convictions, while looking to compromise when needed.
COLLINS: Your favorite film growing up?
CORTES: Hmmm, my favorite film growing up was The Wizard of Oz. I loved the story, mythic characters, music and visuals. It delighted my senses on all levels.
COLLINS: From TV to stage to the movies — was there an African-American ensemble whose work left a major impression on you? … I ask this in light of the stellar work by the Precious team!
CORTES: The African-American ensemble whose work left a major impression on me was The Cosby Show. I loved seeing this family each week on TV. They were memorable loving characters and had classic scenes that still move you. Who can ever forget Rudy Huxtable singing ‘The Night Time (Is the Right Time)’?
COLLINS: Some audiences, particularly black, are disturbed about Precious noting that it can enhance stereotypes of ghetto, urban life while telling its “truths.” How do you respond to such inquiries?
CORTES: Precious is a very balanced film. There is pathos and humor. Good Samaritans and villains. We shouldn’t close our eyes to the truths it shows. That’s part of the reason as to why it was made. I’ve always thought that films are so potent because they can entertain, educate and open us up to worlds beyond our everyday existence.
COLLINS: You have both a male writer (Geoffrey Fletcher) and director (Lee Daniels) interpreting Sapphire’s novel Push. Why do you feel these two filmmaking men were able to adroitly and effectively translate this world told from a young female’s POV?
CORTES: The writer, Geoffrey Fletcher and director, Lee Daniels, were able to translate Precious’ world because of their considerable talents and because they embraced the vividness and scope of the world created by Sapphire in the book, Push. She created complex and lyrical characters and allowed us to gaze through the looking glass at a distinctive world.
COLLINS: Many startling scenes of violence chart what Precious endures; and while we know it’s acting, what was it like being on-set, watching Gabby and Mo’Nique play out this raw dynamic? Did it connect the cast and crew in a particular way?
CORTES: When you shoot a scene where violence occurs, a focus and stillness would come upon the entire set. There are deep emotions that have to be accessed, and careful choreography executed to insure the safety of your actors; so everyone pulls together to ensure the execution of the scene. What was great about the set was that as soon as Lee [Daniels] said, “Cut,” it would return to being a warm and loving environment. Mo’Nique always took great care to differentiate from ‘acting’ like Mary when in character, and being Mo’Nique when we broke. When the cameras stopped she was the nicest and brightest person to be around.
COLLINS: Sounds like you’re on a great path to building a rich layered professional life, where do you see yourself five years from now?
CORTES: In five years from now I see myself on a beach where my Kindle reads scripts to me while massaging my feet. On a serious note, I will continue to produce for film, television and my work with art philanthropy. I look forward to helping to redefine the landscape in front of and behind the camera through the stories that are told, and the people who tell them.
COLLINS: Let’s NOT gloss over the very cool fact that a working producer, you tackle quite a wide range of philanthropic pursuits!
CORTES: I currently serve on the boards of Yaddo, ITVS, and Trajal Harrell.
COLLINS: Does it get overwhelming to have all of this happening simultaneously on your slate?
CORTES: It’s a willing choice, really. I fully enjoy working with these various boards because of the communities and narratives that I’m exposed to. During the process of producing, one learns very quickly that community is integral in realizing a project. It really does take a village. I’ve found that the more worlds I connect and help, the greater is the return in aiding the projects I’m involved with …
COLLINS: … In other words, it’s about circling the energy, no?
CORTES: Yes! I look to use the skill sets I’ve learned in one area to benefit another. For example by producing a series of events that showcase the work of Yaddo artists, I can share the benefit of time spent there with diverse groups and concurrently encourage artists to apply for residencies. In my mind producing films and supporting other arts are intertwined because the big picture intention is to increase the well-being of woman and mankind. Art opens the door to possibility — and inspires dialogue and change.
COLLINS: You surround your space with bold, fantastic pieces that have a clear ‘folk art’ leaning. So, you’re drawn to both collaborating with and collecting the works of a varied range of artists?
CORTES: When I first started collecting art it was because of the narrative in the work, itself. I was 13 and I bought a colorful, spirited Haitian market scene. Whether abstract or literal, I’m drawn to an artists’ interpretation of an aspect of their reality. Not mine. These images take me to different places and expand my perception in terms of what it can be like going from ‘A to Z’ from varied angles.
COLLINS: Can you share a bit about some of the upcoming film projects you’re working on?
CORTES: I’ve started my own production company, Cortes Films and my projects include a film version of Pulitzer prize-winner Lynn Nottage’s Mud, River, Stone which will be directed by Tony Gerber. Executive producing Oscar’s Comeback a documentary in post-production that just won a Chicken & Egg grant. The film is directed by Lisa Collins and Mark Schwartzburt and is about a curious festival in South Dakota dedicated to controversial black film pioneer Oscar Micheaux. I’m also collaborating with a few noted visual artists — such as Creative Capital grantee Kalup Linzy. And I’m developing a musical with pretty dresses!
COLLINS: There’s a rise in the number of women directors/producers who’ve gotten their (celebrated) films made in the past year including Kathryn Bigelow (The Hurt Locker), Lone Sherfig (An Education), and Gina Prince-Bythewood (The Secret Lives of Bees.) Can you share any advice for women navigating their way through this business?
CORTES: Women have always had a presence in film — in front of and behind the camera. Take yourself and your craft seriously, keep trying to get better and then hopefully the right people will recognize your talents. If not, keep it moving and make your movies.
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Thank you. Really enjoyed that! I love her combination of being pro-woman but not letting the sexism get her down. There may be obstacles, tricky people, etc, but if you focus on finding the open door and stop worrying about the ones that may be closed, you get through the open door faster.
Let’s see how many women directors she hires/works with as a producer. She could end up just like christine vachon: the woman behind the man, handmaiden to male genius, with very little concern for women directors and especially after Precious, with women’s stories.
where do you get that Christine Vachon doesn’t produce movies with women directors?? BOYS DON’T CRY, I SHOT ANDY WARHOL, GO FISH, CAIRO TIME. CRACKS, MRS HARRIS, BETTIE PAGE–and thats just off the top of my head!!
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