What exactly is art; who defines it; who makes it, and where in Atlanta do poets, thespians, and artists congregate and create? We’ll use this space to catch up with a few for a few…some you may know; others we hope you’ll be pleased to meet their acquaintance.
Screenwriter J.A. Brown grew up like many of us in the ’80s, going to the movies on Friday nights to watch the latest blockbuster. But for the Bronx NY native, going to the movies was more than an occasional escape with a bucket of buttered popcorn. They introduced him to any and every world his mind could build.
Now some 30 years later, when not hanging out at Phipps Plaza (no doubt people-watching and a little ear hustling), he is at home in west metro Atlanta in his own writer’s room, still building new worlds.
What is your earliest memory of wanting to be screenwriter; when did you first know it was what you were meant to do?
When I was 16 years old, I went to see The Empire Strikes Back, and there was this one particular scene that I vividly recall; that left a profound impact on me in this beautifully crafted tale; it was the unforgettable plot twist when Darth Vader reveals himself to Luke: “No, I am your father.” In that instant, I felt the immense power of storytelling through film—how it could deeply move and inspire people. It was then that I knew I wanted to be a screenwriter. So, I started back then learning the art and craft of screenwriting. This was, of course, before YouTube or classes online, back when a library card was all you needed. I’d sit for hours and research and study screenwriting teachers like Syd Fields or Robert McKee. I also started studying the shows of screenwriters like David E. Kelley, analyzing different media and eras. And I began writing my screenplays over time – thanks to that one scene.
You have written quite a few screenplays, where do you get your ideas from, what inspires you?
Everyday life. My personal experiences play a significant part; I also pay close attention to people, how they interact, what they say, how they say it. Sometimes a simple conversation or a chance encounter has sparked an idea that evolves into a full-fledged screenplay. For instance, one of my screenplays, The Pawnbroker, was the Science Fiction Screenplay Award Winner a few years ago—and that idea came from watching a movie about time travel; and I thought about what it would be like to have the power to go back in time and change history. Books, movies, and TV shows transport me to different worlds; and the opportunity to study and experiment with different narrative approaches. Being a storyteller allows me to weave an idea in a story I hope will make audiences feel like I did when I was that 16-year-old kid watching The Empire Strikes Back.
What’s your favorite quote about creativity or art, and how does it apply to your work?
One of my favorite quotes is by Pablo Picasso, “Every child is an artist. The problem is how to remain an artist once we grow up.” As children, we naturally embrace our imagination without self-judgment or inhibition; then, we become adults, and the world’s expectations and self-doubt can stifle our creative spirit. I try to maintain a sense of childlike wonder and playfulness in my work by not editing my ideas when I first write them down. Yes, I will eventually proofread and edit for grammar, etc. But I try not to put up a fence around my ideas, let go of preconceived notions and push beyond my comfort zone. I believe being an artist is not limited to a specific profession or domain; it’s a mindset. Finally, the quote reminds me of art’s true joy: valuing the process rather than focusing on the end result.
You mentioned The Empire Strikes Back as being the genesis of your love for writing; what are some of your favorite films, filmmakers, or writers and who would you love to collaborate with now?
I was 15 when I saw The Godfather and then The Godfather Part II for the first time. Francis Ford Coppola is definitely one of my favorites. I also appreciate George Lucas too because The Empire Strikes Back had a transformational impact on me. The writer I’d love to collaborate with is David E. Kelley. I’ve watched mostly everything he’s done from The Practice, Boston Legal and Picket Fences, to his most recent shows like The Undoing and Lincoln Lawyer. I love his writing, character development, and storytelling style.
What does being an artist mean to you; and how would you describe the worlds you create?
I come from an artistic family; my parents were both singers, my sister sings, and my niece, who attends Howard University, is a singer and guitarist. I even sing a little, so being an artist is about freedom, blending worlds, and pushing boundaries. The worlds I create allow me to learn from them; and invite others along the journey. For example, the titular character in my screenplay, Christian Morris, is in the final days of his life, reliving his mistakes—finally revealing secrets and truths that will be painful for his family to hear. At the same time, Christian’s best friend Dominic must decide whether to reveal own secrets he’s kept from him before he dies. These two men face the same internal conflict that most humans have: what are our secrets, what is the truth, who deserves to know them, and when should we take them to the grave. The worlds I build have in common the journey to truth, even in the face of adversity, even when we are in our own way.
You can learn more about Brown’s work at www.darktanionfilmgrp.com.
