PRODUCER
TPS’s production style, environment, and formula can’t be duplicated. The training is like a million- dollar education! The experience is invaluable. – asante white
Asante was all too familiar with the corporate world. So, he didn’t want anyone knowing that we were married, it can be frowned upon or possibly used against us. I went by my maiden name exclusively. One day we were shooting a promo for a Tyler Perry and OWN Network collaboration. In between takes, Oprah (dressed as Sofia from The Color Purple ) and I were walking down this country road, just chit-chatting, when she says, “So you’re married?” I was obviously in shock, as if she were some sort of great oracle—I mean this is Oprah Winfrey—I responded, “Yes, his name is Asante.” Unbeknownst to me, her mic was still hot, so the whole video village heard our conversation. I just remember seeing Asante’s face—complete shock and embarrassment—when we made it back to video village. Tyler Perry later expressed that it was okay, there was no reason to hide our union. It’s funny now, but, in that moment, I was scared. WHAT’S NEXT FOR “THE WHITES”? Over the years, we have been fortunate enough to garner relationships and develop content with a lot of great people. Currently, we have more than a dozen projects in development, both film and television, that are almost ready to go. Just like many really good producers and directors, we’ve thrived in the independent world. Of course, producing content under one of the majors would be an amazing opportunity. But I think the independence of the independent world is what most attracts a lot of filmmakers. I am sure we will eventually take “that next step” in some sort of studio deal. But for the time being, we get to make our own rules and set our own boundaries—there’s no ceiling. We look for projects and material that we believe in. More importantly, we look for partnerships and relationships that we can build on. WHAT ADVICE DO YOU HAVE FOR ANYONE STARTING OR TRYING TO START IN THIS INDUSTRY? Volunteer on indie projects. You’ll be accepted because it’s free labor, and there can never be enough PAs. Once you’re there, work like you are getting paid. Ten times out of ten, there will be someone there who is already in the production and they will refer you for a job. If nothing else, LEARN SOMETHING! Get as close to your dream as possible. You may not be on the floor you want to be on, but at least you’re in the building. Just don’t let anything deter you!
went from Second Assistant Director to Unit Production Manager. I knew all along I wanted to produce, so I forged relationships with some very good writers, directors, and creatives who needed their projects to get made and I made them. In this business, you get out what you put in; I was willing to put in the work. I took on so many different projects, even in the beginning, so that’s the kind of reputation I built for myself. Jasmine: Initially, I wanted to be in front of the camera; I went to the New York Conservatory for Dramatic Arts on a full scholarship before trying my luck out in Hollywood where I developed a passion for all the action behind-the-scenes. When you are growing up, you don’t realize the many job functions it takes to create a successful production. You just see the glitz and glamour on the screen; people ignore the art that goes into everything else involved. To me, that was glitz and glamour—from a different vantage point. I fell in love with it—especially the TV world. Eventually, I moved to Atlanta, far more diverse than traditional Hollywood, to study at SCAD. I landed by first job working on a Kim Fields project, having no idea at the time that a lot of the crew was working for Tyler Perry. My work ethic was noticed, and I was given a shot on House of Payne , which Kim Fields was also directing. I worked as a Basecamp PA and became very acclimated to working with cast members; executives took notice, including Tyler Perry. This led to me being grandfathered into the Directors Guild of America. After being responsible for such a large portion of production, I started managing and producing smaller, independent projects. HOW DO YOU PROFESSIONALLY COMPLEMENT ONE ANOTHER? Asante: While we both know and understand the production process, I think that Jasmine is more of the creative brain. It’s more than just her managing crew and steering the production. Some producers are so left- brained that it can sometimes get in the way of the actual “filmmaking” process—especially when trying to manage expectations of writers and directors. But Jasmine’s more inclined to try new ideas to make production effective and efficient. She’s great at coming up with a new way of “doing” on the fly. She brings those intangibles to the table and delivers them in a different way—especially for me. Jasmine: Asante is definitely a numbers guy. He’s more logistical—wants to spend every dollar as efficiently as possible and stay on budget. Not that he can’t be flexible, but when he comes up with a creative
production plan prior to photography, he doesn’t go out of his way to deviate from that. HOW DO YOU BALANCE WORK AND FAMILY LIFE? Jasmine: I think it helps that we’ve known each other since our teenage years. We were married seven years before we decided to start a family. During that time, we got into a rhythm with just the two of us working crazy hours, so when it came time to start a family, we knew what that would mean for us as far as adjusting our lives. We had the same focus and work ethic. Now that children are in the picture, there are times when one of us is rushing home from work to see the kids before bedtime or rushing to work after morning pancakes and hide-and-seek. Asante: I think it’s been a blessing that the two of us have the same drive/passion and work in the same industry. Understanding what each other goes through on a daily basis is absolutely necessary. I can’t imagine how difficult it might be if either of us wasn’t working in this industry. It also helps that her desk is often a short walk down the hall; I can visit whenever we are working on the same productions. But we’ve made a conscious decision to leave work at work. We have two little people who require our attention—and we very much want theirs! WHAT DO YOU THINK CONTRIBUTES TO YOUR SUCCESS IN AN INDUSTRY SO SATURATED WITH TALENT AND AMBITION? Asante: Most importantly, drive and preparedness! If you are disciplined and pursuant, the opportunities will come. You have to be ready when they do present themselves. I would also say a major factor is having the opportunity to work at Tyler Perry Studios. There are opportunities that exist for people of color that ordinarily would not be afforded. TPS’s production style, environment, and formula can’t be duplicated. The training is like a million-dollar education! The experience is invaluable. It’s like living through a real life master class. Jasmine: Being adaptable and learning to do production multiple ways. With technologies forever changing, the way you make TV and film has to change as well. The flexibility to learn to do production a new way, then master and implement it, can go a long way! DO YOU HAVE ANY FUNNY STORIES OR ANECDOTES FROM YOUR INDUSTRY EXPERIENCES? Jasmine: One of my more memorable stories has to be when we were hiding our relationship from essentially everyone, early on—our friends and co-workers included.
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