(Photo courtesy of Matthew Jordan Smith.) Writer-Director-Producer Felicia D. Henderson.
Q&A with Writer-Director-Producer Felicia D. Henderson
By Ellexia Nguyen | 04.03.16
This month’s interview spotlights successful women in television. With that being said, I am thrilled to have the honor of interviewing Writers Guild of America nominee and three-time NAACP Image Award® winner, Felicia D. Henderson.
As a writer-director-producer, Henderson has earned more TV credits than you can count on both hands. She has written and co-executive produced high-profile shows such as “Gossip Girl,” “Everybody Hates Chris,” and “Fringe,” a sci-fi drama which garnered her a Writers Guild of America nomination.
Henderson is also the award-winning creator of the Showtime Network hit series “Soul Food,” the longest running African American-themed one-hour drama on primetime television. Among her many credits, Henderson executive produced “Single Ladies,” and “Reed Between the Lines” for BET Networks. Amidst Henderson's busy schedule, shooting her new drama pilot, THE YARD, she graciously carved out time to do this interview.
There are countless scripts that pass through the hands of producers before they end up in the hands of A-list actors. In your opinion, what roles or stories are A-list actors most interested today?
In my experience and the experience of my friends, actors still respond to great material. In other words, it always starts with the written word. Well-written, interesting, unique characters, navigating challenging experiences that stretch an actor's ability are always going to get the interest of talented actors. Flawed characters they haven’t explored before are always a plus.
From a producer’s perspective, how well does creative nonfiction (movies based on real life stories) do in the film/TV industry?
Interest in biographical narratives, from actors and audiences, seems to be cyclical. The key is to find compelling and fresh ways to structure your story. That’s the way to set your story apart. At this point, there have been a lot of well-done biographical films for feature release and television. Simply depicting a challenging childhood, creative or physical genius, and an unfortunate ending isn’t enough. It’s been done… and done.
How is your story-telling going to stand out? This is what determines how well it will do. And, of course, you have to cast someone that audiences are interested in now to depict your hero of the past. It’s one of the first things I thought about when Prince passed away recently. I thought, “I hope there isn’t a rush to develop a film about his life.” I can’t imagine any actor delivering a great Prince, no more than I can imagine an actor delivering Michael Jackson – at best you’d end up with mimicry as opposed to interpretation. No thank you.
By Ellexia Nguyen | 04.03.16
This month’s interview spotlights successful women in television. With that being said, I am thrilled to have the honor of interviewing Writers Guild of America nominee and three-time NAACP Image Award® winner, Felicia D. Henderson.
As a writer-director-producer, Henderson has earned more TV credits than you can count on both hands. She has written and co-executive produced high-profile shows such as “Gossip Girl,” “Everybody Hates Chris,” and “Fringe,” a sci-fi drama which garnered her a Writers Guild of America nomination.
Henderson is also the award-winning creator of the Showtime Network hit series “Soul Food,” the longest running African American-themed one-hour drama on primetime television. Among her many credits, Henderson executive produced “Single Ladies,” and “Reed Between the Lines” for BET Networks. Amidst Henderson's busy schedule, shooting her new drama pilot, THE YARD, she graciously carved out time to do this interview.
There are countless scripts that pass through the hands of producers before they end up in the hands of A-list actors. In your opinion, what roles or stories are A-list actors most interested today?
In my experience and the experience of my friends, actors still respond to great material. In other words, it always starts with the written word. Well-written, interesting, unique characters, navigating challenging experiences that stretch an actor's ability are always going to get the interest of talented actors. Flawed characters they haven’t explored before are always a plus.
From a producer’s perspective, how well does creative nonfiction (movies based on real life stories) do in the film/TV industry?
Interest in biographical narratives, from actors and audiences, seems to be cyclical. The key is to find compelling and fresh ways to structure your story. That’s the way to set your story apart. At this point, there have been a lot of well-done biographical films for feature release and television. Simply depicting a challenging childhood, creative or physical genius, and an unfortunate ending isn’t enough. It’s been done… and done.
How is your story-telling going to stand out? This is what determines how well it will do. And, of course, you have to cast someone that audiences are interested in now to depict your hero of the past. It’s one of the first things I thought about when Prince passed away recently. I thought, “I hope there isn’t a rush to develop a film about his life.” I can’t imagine any actor delivering a great Prince, no more than I can imagine an actor delivering Michael Jackson – at best you’d end up with mimicry as opposed to interpretation. No thank you.
In your view, what do you think is the best way to get a TV network to pick up a new writer’s series idea? Writing a TV show bible or penning a pilot script?
This is a tricky question. A network isn’t going to pick up a new writer’s idea. What networks care about most is knowing that there’s an executive producer/showrunner who can captain the ship, manage production of the show – from hiring writers, breaking stories, writing scripts, hiring directors, approving wardrobe, music, locations, etc., etc., and then pushing those episodes through the post-production process in time to meet the airdate.
A new writer doesn't have the experience to do that. A new writer can become part of a writing staff, however, and learn the process of becoming a showrunner so that one day, he or she can sell his/her own shows. Another option, is to get a potential showrunner interested in your idea and convincing him/her to partner with you. But most showrunners have their own ideas they’re trying to sell, so this is difficult, too.
I’m not trying to be discouraging. But I do want to be realistic about the process. New writers should focus on writing original script ideas that they can use to get a manager or agent or share with their manager or agent. Great writing should be the focus. A show bible usually comes later, when there’s serious interest in your script or when the script is sold.
At one time, movies were dominated by male leading roles. What is the likelihood of getting a script with a female leading role produced these days?
It’s still very difficult. This isn’t true in television but it’s still true at most studios. At this time, studios like Universal are acknowledging that female driven projects are good box office, so you see more projects being developed and released from Universal – especially comedies. But other studios are very slow to come to this realization.
This is a tricky question. A network isn’t going to pick up a new writer’s idea. What networks care about most is knowing that there’s an executive producer/showrunner who can captain the ship, manage production of the show – from hiring writers, breaking stories, writing scripts, hiring directors, approving wardrobe, music, locations, etc., etc., and then pushing those episodes through the post-production process in time to meet the airdate.
A new writer doesn't have the experience to do that. A new writer can become part of a writing staff, however, and learn the process of becoming a showrunner so that one day, he or she can sell his/her own shows. Another option, is to get a potential showrunner interested in your idea and convincing him/her to partner with you. But most showrunners have their own ideas they’re trying to sell, so this is difficult, too.
I’m not trying to be discouraging. But I do want to be realistic about the process. New writers should focus on writing original script ideas that they can use to get a manager or agent or share with their manager or agent. Great writing should be the focus. A show bible usually comes later, when there’s serious interest in your script or when the script is sold.
At one time, movies were dominated by male leading roles. What is the likelihood of getting a script with a female leading role produced these days?
It’s still very difficult. This isn’t true in television but it’s still true at most studios. At this time, studios like Universal are acknowledging that female driven projects are good box office, so you see more projects being developed and released from Universal – especially comedies. But other studios are very slow to come to this realization.
You've directed about four episodes of the hit TV series “Soul Food,” a show which you also created. Based on your experience, besides talent, what traits do you look for when selecting actors to work with?
I actually directed more episodes than that. I also directed episodes of “Single Ladies” on BET, a few music videos, and a short film. On a television series, it’s the Executive Producer/Showrunner who is the dominant voice in casting the show. As a showrunner, I really try to have a No Assholes policy. But some people believe that if the actor is talented enough, you overlook bad behavior. No one is that talented, in my opinion.
I once read an interview with Woody Allen. He explained that he’d pretty much worked with every talented actor that he wanted to work with given that he doesn’t want to work with talented actors who are also assholes. From that moment, I thought, “If that philosophy is good enough for Woody Allen, it’s good enough for me.”
Artists/creative folks can be very quirky, odd, and insecure. To that I say, so what. We all have something we’re dealing with. But people who treat others in a nasty, disrespectful, unnecessarily harsh and/or dismissive manner – those are the type of people I don’t want around me. Work ethic, professionalism, and an attitude of play -- someone who’ll try anything, regardless of whether or not they think it will work – that’s my favorite kind of actor.
Over the years, you’ve had the opportunity to co-executive produce eleven episodes of the TV series “Fringe” with some big names in Hollywood. What do you think are the habits that contribute to your continued success? What do you look for when picking projects to produce?
Hmmm. Part of the reason my resume is so eclectic is that I find myself attracted to things I haven’t done before. So, I guess you could say that what I look for is something I haven’t done before. But I also look for something I’ve done before and really enjoyed. I’m very partial to family drama and sci-fi/fantasy. A project that combines both of those will get me every time!
In terms of the habits that have helped me, I think there are three:
1) I work really hard. I feel like it’s a blessing to get an opportunity to get paid for the only thing I want to do for the rest of my life. Working hard is my gift of gratitude.
2) I know how to treat people. I don’t like people who are what we call “Good up, Bad down,” meaning they’re nice to everyone who’s above them in the food chain, but treat those at the bottom with disregard. NOT COOL.
3) I am always reading and writing. Whether you’re working or not, you should always be writing something. Whether you’re working or not, you should be reading – reading scripts, Shakespeare, news – everything.
I actually directed more episodes than that. I also directed episodes of “Single Ladies” on BET, a few music videos, and a short film. On a television series, it’s the Executive Producer/Showrunner who is the dominant voice in casting the show. As a showrunner, I really try to have a No Assholes policy. But some people believe that if the actor is talented enough, you overlook bad behavior. No one is that talented, in my opinion.
I once read an interview with Woody Allen. He explained that he’d pretty much worked with every talented actor that he wanted to work with given that he doesn’t want to work with talented actors who are also assholes. From that moment, I thought, “If that philosophy is good enough for Woody Allen, it’s good enough for me.”
Artists/creative folks can be very quirky, odd, and insecure. To that I say, so what. We all have something we’re dealing with. But people who treat others in a nasty, disrespectful, unnecessarily harsh and/or dismissive manner – those are the type of people I don’t want around me. Work ethic, professionalism, and an attitude of play -- someone who’ll try anything, regardless of whether or not they think it will work – that’s my favorite kind of actor.
Over the years, you’ve had the opportunity to co-executive produce eleven episodes of the TV series “Fringe” with some big names in Hollywood. What do you think are the habits that contribute to your continued success? What do you look for when picking projects to produce?
Hmmm. Part of the reason my resume is so eclectic is that I find myself attracted to things I haven’t done before. So, I guess you could say that what I look for is something I haven’t done before. But I also look for something I’ve done before and really enjoyed. I’m very partial to family drama and sci-fi/fantasy. A project that combines both of those will get me every time!
In terms of the habits that have helped me, I think there are three:
1) I work really hard. I feel like it’s a blessing to get an opportunity to get paid for the only thing I want to do for the rest of my life. Working hard is my gift of gratitude.
2) I know how to treat people. I don’t like people who are what we call “Good up, Bad down,” meaning they’re nice to everyone who’s above them in the food chain, but treat those at the bottom with disregard. NOT COOL.
3) I am always reading and writing. Whether you’re working or not, you should always be writing something. Whether you’re working or not, you should be reading – reading scripts, Shakespeare, news – everything.
Is there a director who you’d love to team up with but haven’t had the opportunity to do so?
I’d like to work with directors from whom I can learn and, most importantly, can elevate my material. I'm a huge fan of F. Gary Gray. I am a big fan of Spike Lee, as well – I love the shape of his career and all the chances he’s taken. I really like Ben Affleck as a director. David Fincher and Steven Soderbergh are pretty much gods. On the television front, Kevin Hooks and Paris Barclay are pretty damn impressive!
Lastly, can you talk a little bit about WaterWalk Entertainment and one of your current projects?
WaterWalk Productions, Inc. is the name of my production company. For a short while I was interested in artist management and that’s what WaterWalk Entertainment was. But I wasn’t having any fun. I’m not good at dealing with ungrateful, immature people and that’s what my first artists turned out to be. I’m not saying I wouldn’t do it again, but for now, I’m focusing on what I do best – create.
Currently, I’m in the middle of shooting a really cool drama pilot for BET Networks. It’s called THE YARD and it’s about life on the campus of a historically black university as it gets its first woman president. I co-created it with my long-time friend and frequent collaborator, Charles Holland. We had so much fun writing the pilot, so we were thrilled to get the pilot greenlight call from BET. Now, we’re shooting it in Atlanta and then we’ll wait to hear whether or not it will be ordered to series. Wait, wait, wait. In television, specifically, you pitch an idea to a network, channel, or digital outlet, if they say, “Yes, we like it,” they pay you to write a pilot script. Then, you wait for them to read it. If they like it, they say yes and you get to shoot your pilot. Then, you wait for them to screen and test the pilot. If it tests well, then you finally get an order for the series. Then, when your first episode airs, you hold your breath again and hope that people watch it and critics like it. Half of my career has been spent waiting and the other half, holding my breath.
I’d like to work with directors from whom I can learn and, most importantly, can elevate my material. I'm a huge fan of F. Gary Gray. I am a big fan of Spike Lee, as well – I love the shape of his career and all the chances he’s taken. I really like Ben Affleck as a director. David Fincher and Steven Soderbergh are pretty much gods. On the television front, Kevin Hooks and Paris Barclay are pretty damn impressive!
Lastly, can you talk a little bit about WaterWalk Entertainment and one of your current projects?
WaterWalk Productions, Inc. is the name of my production company. For a short while I was interested in artist management and that’s what WaterWalk Entertainment was. But I wasn’t having any fun. I’m not good at dealing with ungrateful, immature people and that’s what my first artists turned out to be. I’m not saying I wouldn’t do it again, but for now, I’m focusing on what I do best – create.
Currently, I’m in the middle of shooting a really cool drama pilot for BET Networks. It’s called THE YARD and it’s about life on the campus of a historically black university as it gets its first woman president. I co-created it with my long-time friend and frequent collaborator, Charles Holland. We had so much fun writing the pilot, so we were thrilled to get the pilot greenlight call from BET. Now, we’re shooting it in Atlanta and then we’ll wait to hear whether or not it will be ordered to series. Wait, wait, wait. In television, specifically, you pitch an idea to a network, channel, or digital outlet, if they say, “Yes, we like it,” they pay you to write a pilot script. Then, you wait for them to read it. If they like it, they say yes and you get to shoot your pilot. Then, you wait for them to screen and test the pilot. If it tests well, then you finally get an order for the series. Then, when your first episode airs, you hold your breath again and hope that people watch it and critics like it. Half of my career has been spent waiting and the other half, holding my breath.
Felicia D. Henderson
I’m also writing a feature film that I will direct that’s semi-autobiographical, and I’m adapting a comic book I optioned, called FALLEN ANGEL. I’m still a fan girl at heart, so when I approached Peter David, the book’s creator and he said yes, I screamed with delight… very loudly. I’ve loved this book for a long time. I’m excited about adapting it.
Felicia D. Henderson holds a PH.D. in Cinema and Media Studies from UCLA. She received the UCLA School of Theater, Film and Television’s Alumni Achievement Award in 2010. In addition to being a member of the Diversity Committee for the Sundance Screenwriters Lab, Henderson is a trustee for the Humanitas Prize and a mentor for the Humanitas Prize New Voices program. She is also an Honorary Board Member of Los Angeles based Coalition for Restoring At-Risk Youth and a Board Member of Dancing for N.E.D. (a non-profit that raises funds for the treatment of women’s cancers).
Felicia D. Henderson holds a PH.D. in Cinema and Media Studies from UCLA. She received the UCLA School of Theater, Film and Television’s Alumni Achievement Award in 2010. In addition to being a member of the Diversity Committee for the Sundance Screenwriters Lab, Henderson is a trustee for the Humanitas Prize and a mentor for the Humanitas Prize New Voices program. She is also an Honorary Board Member of Los Angeles based Coalition for Restoring At-Risk Youth and a Board Member of Dancing for N.E.D. (a non-profit that raises funds for the treatment of women’s cancers).