There aren’t too many Black films about race and sexuality; and even fewer of those films actually make enough of a buzz in the mainstream to capture the media and public’s attention.  Director, writer, and actor Maurice Jamal has persevered against the odds with his latest film, Dirty Laundry.

This NAACP Image Award nominated film for best independent film follows Patrick, a magazine writer, played by Rockmond Dunbar (Soul Food, Prison Break) who seems to have the "perfect life," until he’s brought face to face with the traditional southern family he hasn't seen in over 10 years.  What follows is a comic-drama about family, race, homosexuality, and more.  The film also stars Loretta Devine (First Sunday), Jennifer Lewis (Antwone Fisher Story), Sommore (Queens of Comedy), and more. 

Sixshot hit the cutting room floor as Maurice talked the struggle to get African-Americans to support his film, the dynamics of race and sexuality, Hollywood’s closeted community, homophobia in hip-hop culture, and more.     
      
Your film which deals with the controversial issue of sexuality and sexual orientation received an NAACP award nomination for b est indie film.  How did that feel?

There have been so many amazing films that haven’t been recognized.  So for this to be the first film dealing with these themes to receive recognition from the NAACP is an amazing thing.  I kind of have to pinch myself because it’s such a mainstream award.  So it’s great that the film has been embraced by mainstream Black America, and even what people would say is conservative Black America.  So it’s a huge honor.  I think films can make a difference and start conversations. I'm glad that this film can do that.

What were some of the challenges you faced in getting this film made?

Money—the budget was really small and raising money was difficult to get from the African-American community.  It's similar to African-Americans and their resistance to Barack Obama.  It was, “Can we really do it?  Do you really think you’ll get this talent and get into theaters?”  I would always say, “Yes,” and they would look at me like I was a little crazy.  I think that’s a challenge that we as people have to overcome feeling that we’re limited.  We have to realize that we have the power and the ability to do anything that we want to do; but we have to be about the business of doing.

Race is a major issue in your film alongside sexual orientation.  What were the challenges of race and homosexuality that you wanted to address with this film?

I think that sexuality for some people is another challenge or compounds some of our issues and isms.  I like to think of it as adding a different flavor.  One thing I wanted to do with the film is show the way that we talk about these issues.  Sometimes it’s subtle and oftentimes it doesn’t play out in dramatic moments.  We don’t often see that.  I wanted to show that black families talk things out and can work things out.  It's not always a punch line or big dramatic moments.

The film was marketed as a comedy.  Why did you choose that approach as opposed to dealing with these serious issues in a more dramatic light?

Well mostly because that’s my style as an artist.  When I was writing the film—even in the dramatic moments there were things that felt really funny.  I find almost everything funny and it keeps my spirit up.  So it’s my natural reaction to find the humor in the moment.  I think also because I wish that was the way it could be more of the time—that you’re able to smile at the absurdity of it all.  I wanted to leave the audience with that feeling.

I read that you consider your films to be reflective of you and your own journey of self-discovery.  How does this film fit into that pattern?

Very much so—Rockmond kept telling me that I was the Patrick character.  Now I see it.  It reminds me of the challenges of my internalized homophobia in my own life.  I would hope I'm following the same kind of journey that this family was set on of growing better, stronger, and more accepting everyday.

When did you realize that you wanted to be a filmmaker, and when did you realize that you wanted to be an out filmmaker?

That’s a good question.  The answer is forever.  I always loved movies.  Whenever I watched films, I watched from the perspective of being in them and making them.  I would say being an out filmmaker happened with my first film Ski Trip. I realized when I made that film—because I wrote, directed, and played lead—that people would ask questions and want to know stuff.  I had to make a decision as to whether I would give some guarded answer and be coy, or give an answer that was more genuine.  It seemed natural for me to give an honest answer.  I get to make movies and that’s a blessing and an honor.  So part of the trade off to live out my dreams is that I live much of my life in the public eye—is not a big deal for me.

Was it challenging to find a black actor to take on the role of a gay man because of the stigma of playing someone who is gay?

It was to Rockmond's credit—he was always down for it.  He loved the script from the beginning.  But as we were doing our search it was difficult.  Many black actors loved the script but said they felt like they couldn’t play gay.  I think that’s the difference between the African-American and White community as far as independent films and acting go.  White actors are often willing to take risks.  As an artist when you take a risk it allows the audience to see you in a different light and it's an amazing benefit to your career.  You have so many black actors who say they’re tired of playing stereotypes, but they choose to do the same films over and over again.

There are rumors about closeted Hollywood people.  As an out black film maker are you alienated from those that are closeted?  Do they seem to keep a distance from you out of fear of association?

Yes, I have some associates and friends who directly tell me that they want to hang out one-on-one.  They’re afraid if they’re seen at an awards ceremony people will talk about them.  Everyone makes their personal decision.  For me I know that being out has been one of the great joys in my life.  I get to be authentic with what and who I am and there's a freedom in that.  Even some of these guys are a little envious of me having this conversation.  They wish they could do this or that.  Those who want to be more supportive of the film are afraid.  I don’t want to judge their choice but I know it’s not the choice for me. 

What are your thoughts on the issue of homophobia and hypermasculinity within hip-hop?

What's sad is that the gay community has taken so much of that on, and not just in dating but in relationships.  We need to find a way to shake those chains and shackles loose.  It’s homophobia at its root.  It’s not really about masculinity, but whether you can pass walking down the street and be clocked.  It’s about whether or not you have the benefits of what my friends call straight privilege.  There are those that are gay men and benefit from it because people don’t know that they’re gay.  So I think it’s a big issue that we need to move past and resolve.  Honestly, I think it’s unhealthy and it’s a little psychotic.  There’s such a fascination with what people are thinking is outward masculinity—the way somebody walks or talks as opposed to the things that really make you a man.  That is do you keep your word and respect your family and friends?   Do you live your life with integrity?  Do you support people that you say you love?  Those to me are the definitions of masculinity and manhood.  We need to begin to value the things that are truly important: spiritually, psychically, and mentally.

How did you negotiate your own identity and sexuality as you grew up in that culture?

I went through the same pressures that all of us did who are part of the hip-hop generation.  I still do now on some levels.  Every once in a while I'm at a party or event, and I realize that I'm the gay kid in the room.  Sometimes it feels like that.  I just have to get over it—dust my shoulders off.  I do what my mama said, “You hold your head high, hold your shoulders back, and walk into the room like you’re supposed to be there—because you are.

For more information please visit:
www.dirtylaundrythemovie.com