Dianne Houston: Writing, Directing, Producing and Living Life to the Fullest
By Deardra Shuler
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Dianne Houston looks regal as she lounges on the green divan drinking
herbal tea. A quick glimpse into her eyes reveals a woman comfortable
in her own skin. There is a serenity that exudes from Houston. One
senses that she is confident and very much in touch with herself
and her creative spirit. Her light hair and chiseled features harmonize
perfectly with her mocha complexion as she chatted amicably about
her life in the entertainment industry.
Houston, who was raised in Washington, D.C., began working professionally
in the theatre at age 16. "I really went to college by fluke.
I was already working in my profession so I didn't think I needed
college. Then a producer in a show in which I was performing absconded
with the entire show payload. It was right about then, that my grandmother
stepped in and said "how about college now?" Houston attended
Howard University where she discovered her true love. "It was
a wonderful thing that I went to Howard because I found my true love
was not acting at all, but directing. My formal training in college
was in directing. I began directing professionally and writing for
theatre. My first plays were produced around 1977. One of the first
plays I wrote and directed was called "The Fishermen" which
played at Washington's Back Alley Theatre, and still tours college
campuses."
Soon afterward, Dianne began to do fringe and experimental theatre,
first in New York, then in Berlin and Amsterdam. A whole new world
opened up for Dianne. "It was an amazing time for me. I had
experiences with Joe Papp, Joe Chaiken and Ntozake Shange. I studied
with Marquetta Kimbrell and with Peter Brook's company. Working closely
with artists all over the world shaped my own mind set as an artist.
Although, I am an African American, I developed a worldview and not
solely and specifically an African American community view. "The
experiences I have had," continues the screenwriter... "serve
to substantiate my position as a world citizen." As an artist,
Houston feels part of something much larger than simply the community
she grew up in and tries to incorporate what she has learned as a
citizen of the world in her work. "I am a product of all I have
been exposed to and that is the content that informs all the work
I do, whether its in theatre, film, writing for television or when
I am producing or directing," says the multi-talented creator.
In 1990, Houston became bi-coastal, traveling back and forth between
LA and NY writing for screen and television. "I did a little
stint in Chicago writing the show, "Brewster Place" for
Winfrey's Company, HARPO. Winfrey is a far better actress than people
give her credit for. She is one of the more intuitive actresses I
have ever worked with. Her heart as a human being is so large and
compassionate, that it influences her work as an artist. I have tremendous
respect for Oprah and find her to be a truly generous soul," states
Houston.
In 1994, the prolific writer found herself making a permanent move
to California where she wrote and directed her first short film,
starring Ruby Dee and Bill Cobbs, entitled "Tuesday Morning
Ride." The film won her an Oscar nomination in 1996, making
Houston the first black female director to be nominated for an Academy
Award. "That was a mad crazy time because that particular year
Jesse Jackson was protesting the Oscars. I felt like... 'Oh come
on, not now!' But the good news is that I had a wonderful experience."
During the career of this screenwriter/producer/thespian/ director,
a few key people have stepped forward to support her in her goals. "I
was in need of funding for an extra day of shooting my film when
Oprah Winfrey came through for me as a financial backer. I love and
respect Oprah so much that I didn't want to be one of the folks standing
in line with my hand out. However, the film meant so much to me that
I ended up contacting her. I told Oprah I would send her the script,
but before she even got it, she had already sent me the money. "Oprah
is one of the few well seeded and wonderful people in my career who
have believed in me and demonstrated their belief. One other is Jane
Rosenthal, the prolific producer who, with Robert DeNiro, heads up
the Tribeca Film Center. When people believe in you, its one thing
if they believe in you quietly and keep it to themselves, but its another,
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