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15.12.2022 - 19:31 / deadline.com
William Okuwah Garrett, film editor on Hollywood Shuffle and director of music videos during the “Black Pack” era of the early ’90s, has died. He was 73. His wife, producer-director Marlene McCurtis, told Deadline that Garrett died December 9 of complications related to kidney disease.
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Hollywood Shuffle, the 1987 satire co-written, produced and directed by and starring Robert Townsend, was a comedic poke in the eye of Hollywood for its stereotyping of Black actors. With a budget of $100,000, the pic opened to critical acclaim and pulled in $5.2 million at the box office. It featured a series of vignettes and fantasies that Garrett wove into a film that inspired the Washington Post to write that it’s technical proficiency “should thoroughly embarrass those studios.”
The man friends called Okuwah went on to work on Mom and Dad Save the World, From a Whisper to a Scream, Deep Cover, Fear of a Black Hat and In Dangerous Company before transitioning into directing music videos. He started by helming jazz giants Stanley Clark and George Duke in their cover of Funkadelic’s “Mothership Connection.” Among his many videos were Dr. Dre’s title cut from the film Deep Cover — which featured the first appearance on a record or video by the rapper then known as Snoop Doggy Dogg — along with clips for songs by Kris Kross, Yo-Yo, MC Eiht , Gangstarr, Blackstreet and Kirk Franklin.
Garrett was born on April 17, 1949, in Edenton, NC. After graduating from Emerson College in 1980, he was accepted into the masters program at the USC School of Cinematic Arts, where he wrote and directed short film The Deluxe.
As the millennium turned, Garrett left the industry for a new calling. He
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something, and by the end of the three hours and eight minutes of Damien Chazelle’s “Babylon,” viewers will have been exposed to any number of bodily secretions, including urine, vomit and tears.The tears come at the film’s climax, no doubt in the hopes that the audience will follow suit, but of all the aforementioned emittances, they feel the least organic to this bloated, hyperbolized and ultimately dreary extravaganza of decadence and nostalgia.Both a valentine and a poison-pen letter to the American film industry in its infancy, “Babylon” aspires to the grandiosity of “The Last Tycoon” and “The Day of the Locust,” though it more often recalls Ryan Murphy’s embarrassing and wildly ahistorical “Hollywood” miniseries.The film opens with a seemingly endless Hollywood party – it’s the 1920s, and Bel Air is still a nondescript, undeveloped hillside – where we will meet most of the major players: Hero and audience surrogate Manuel Torres (Diego Calva, “Narcos: Mexico”), one of the unfortunate handlers of the incontinent pachyderm, has dreams and ambitions in the nascent film industry. Screen king Jack Conrad (Brad Pitt) loves women and booze, not necessarily in that order.
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