Terrence Howard

Interview By: Mark Plante
MarkPlante@TheCinemaSource.com

Terrence Howard is crashing into moviegoers again this summer with the release of Hustle and Flow, about a pimp with dreams of being a rapper. He sits down to talk to the Cinema Source about his recent success, his near future and his own craft.

Howard, at the age of 36, has been under the radar for quite a few years, but all that has changed with the release of Crash and the upcoming Hustle and Flow. Crash has already turned into the independent hit of the year, but with the July 22nd release of Hustle & Flow, Howard's star is sure to rise to the A list.

This story was one no studio wanted to tell. It took the determination of the writer/director Craig Brewer, producer John Singleton and it's star Terrence Howard, who stayed with the picture when it was looking unlikely it would ever be made. Hard work indeed paid off when the film won the audience award at the Sundance Film Festival earlier this year. Now, with two acclaimed roles, Oscar buzz is beginning and a nomination expected.

'How do you answer that' How do you answer that without sounding like an ass' asks Howard. 'I hope not that far. But far enough for me to keep reaching.'

To prepare for the role Howard looked no further then his writer/director Craig Brewer.

'I learned the character listening to Craig. He told me 'we are making a man'. We are creating a man. We are not making a boy. We're not making a sucker. We are making a man who has men problems and all that is associated with that.' Howard also talked to 123 pimps and 78 prostitutes over two and a half years before filming began.

Despite being considered a pretty boy, the struggles all working actors face and the role of a pimp in this film; Howard never considered being a pimp. He laughs like a school boy when asked the question.

'No. I don't have that game I'm corny and shy and uncomfortable, mostly with women and people. And introverted,' said Howard.' 'I would never have the confidence. One of the pimps I talked to. He was watching me talk to this girl on the street. and he was coaching me. ' 'He said the first thing you do when you talk to a woman. Stop her. Turn her around. Get her to take a couple steps in your direction. Than you send her away. Never ask for a negative response. You never give them a choice' .'

Howard was also not impressed enough with what he learned from these pimps to change his own style. He has stronger influences in his life.

'I like what my momma taught. I like what she taught me better. I want my daughters to be with someone like me and not someone like, you know, like that pimp,' said Howard. 'I'd rather be someone that's strong, but insecure. Need to be directed and reassured. Vulnerability that can stand up and be a lion when it has to. That's the type of man I want my daughters to get, so that's the type of man I want to be.'

Howard isn't just an actor, but a musician. He's on the soundtrack to Hustle and Flow and makes it clear that all the songs were recorded live. He doesn't dream of transitioning into a musical career at the age of thirty-six. He feels he's a bit too old for that transition, but he is keeping his music to hand down to his children one day. He also has no problem with letting his children see this film. He believes the content and the message is more important then any rating.

While he may receive bigger offers now, Howard isn't looking to cash in just yet. He knows first hand the problems and the benefits that come with working within the studios. 'The problem with the studio is the studio has millions of dollars and maybe hundreds or thousands of people and these people don't want you to do things on the spur of the moment. They go by a formula and a code. And that formula and code is just the bottom line of how to make the smallest amount of profit or the largest amount of profit with the least amount of effort. Creativity is a very scary thing to bring into an equation. The studios I appreciate what they do. A lot of those films- they keep us in business. But these independent films - they keep us in love with filmmaking. I hope that it's always somewhat of a struggle. It will really bring out the true artist and not the profit bearings that's just trying to get some quick money. I'm so glad John Singleton put three million of his own money into the movie and four months later was able to get nine million dollars for that three million. And hopefully whenever this film comes out he'll make a hundred million because that's betting on creativity.'

For his work in Hustle & Flow, Howard earned ten thousand dollars for four weeks worth of work. He earned six thousand dollars for his two weeks of work on Crash, but would never trade the experience. 'Crash was another monumental opportunity to play with really gifted actors,' said Howard. 'Each and every actor in Crash and Hustle & Flow was talented and brilliant in their own right.

When asked to talk more about Crash, especially due to Oprah Winfrey's experience with possibly being shut out of a store because of her race, he is happy too. 'Crash is such a powerful film because it still talks about the racism that lives underneath the skin, link in this chain to events towards some kind of equality and human rights.'

Howard himself has learned from his early career, when his craft was not as strong as it is today. You can tell he is a man who is always searching for the truth within his life and in his work. '...Now I know it's about being honest and telling the truth and surrendering to the craft and to the director. That's our job. That's all are job is. You're just a piece. A paintbrush.'

I have a feeling people will be watching Terrence Howard paint for years to come.