Van Peebles began writing about his experiences as a cable car driver. What evolved from an initially small article and a series of photographs was Van Peebles’ first book, The Big Heart.
One day, a passenger suggested that Van Peebles should become a filmmaker. He shot his first short film, Pickup Men for Herrick, in 1957. He made two more short films during the same period. According to Van Peebles, “I thought they were features. Each one turned out to be eleven minutes long. I was trying to do features. I knew nothing.” As Van Peebles learned more about the filmmaking process, he found out that “I could make a feature for five hundred dollars. That was the cost of ninety minutes of film. I didn’t know a thing about shooting a film sixteen to one or ten to one or none of that shit. Then I forgot you had to develop film. And I didn’t know you needed a work print. All I can say is that after I did one thing he would say, ‘Well, aren’t you gonna put sound on it?’ and I would go… read more
Van Peebles began writing about his experiences as a cable car driver. What evolved from an initially small article and a series of photographs was Van Peebles’ first book, The Big Heart.
One day, a passenger suggested that Van Peebles should become a filmmaker. He shot his first short film, Pickup Men for Herrick, in 1957. He made two more short films during the same period. According to Van Peebles, “I thought they were features. Each one turned out to be eleven minutes long. I was trying to do features. I knew nothing.” As Van Peebles learned more about the filmmaking process, he found out that “I could make a feature for five hundred dollars. That was the cost of ninety minutes of film. I didn’t know a thing about shooting a film sixteen to one or ten to one or none of that shit. Then I forgot you had to develop film. And I didn’t know you needed a work print. All I can say is that after I did one thing he would say, ‘Well, aren’t you gonna put sound on it?’ and I would go, ‘Oh shit!’ That’s all I could say.”
After Van Peebles completed his first short films, he took them with him to Hollywood in order to try and find work, but was unable to find anyone who wanted to hire him as a director. In New York City, Van Peebles met a man who saw his films and wanted to screen them in France. In 1959 he went to Europe and worked for the Dutch National Theater before being invited to Paris by Henry Langlois, founder of the Cinémathèque Française, on the strength of his short films. In France, Van Peebles learned French, and was hired to translate Mad magazine into French. He began to write plays in French, utilizing the sprechgesang form of songwriting, where the lyrics were spoken over the music. This style carried over to Van Peebles’ debut album, Brer Soul.
He wrote a number of novels and made another short film, Cinq cent balles (1965). It was here that he made his first feature length film, The Story of a Three-Day Pass (La Permission) (1968), which caught the attention of Hollywood producers who mistook him for a French auteur. His first Hollywood film was the 1970 Columbia Pictures comedy Watermelon Man, written by Herman Raucher. The movie told the story of a casually racist white man who suddenly wakes up black and finds himself alienated from his friends, family and job. In 1970 Van Peebles was also to direct filming of the Powder Ridge Rock Festival, which was banned by court injunction.
It was after the resulting bad experience directing Watermelon Man that Van Peebles became determined to have complete control over his next production, which became the groundbreaking Sweet Sweetback’s Baadasssss Song (1971), privately funded with his own money, and in part by a $50,000.00 loan from Bill Cosby. Van Peebles not only directed, scripted, and edited the film, but wrote the score and directed the marketing campaign. The film, which in the end grossed $10 million, was, among many others, acclaimed by the Black Panthers for its political resonance with the black struggle. His son Mario’s 2004 film BAADASSSSS! tells the story behind the making of Sweet Sweetback’s Baadasssss Song.
In 2005, Van Peebles was the subject of a documentary entitled How to Eat Your Watermelon in White Company (and Enjoy It). In 2008, Van Peebles completed the film Confessionsofa Ex-Doofus-ItchyFooted Mutha, and appeared on All My Children as Melvin Woods, the father of Samuel Woods, a character portrayed by his son, Mario.
In 2005 Van Peebles collaborated on a double album with Madlib, to be released on Stones Throw Records. The first disc of the album will was Brer Soul Meets Quasimoto and the second is the Madlib Invazion remix. Madlib had previously sampled Van Peebles heavily on both of his albums under the Quasimoto moniker.
In 2009 Van Peebles became involved with a project to make Sweet Sweetback a musical. A preliminary version of this was staged at the Apollo on April 25–26, 2009. As well, he wrote and performed in a stage musical, Unmitigated Truth: Life, a Lavatory, Loves, and Ladies, which featured some of his previous songs as well as some new material. —wikipedia
