UpRising: Tell me about how Haunted Heist came about.

Lil Rel Howery: I did a movie on Hulu a couple of years ago called The Mill, and a couple of the producers from there—Sean King O'Grady and Josh Feldman—had the idea for Haunted Heist. They hit me up out of the blue one day, like, “Have you thought about directing?” I was like, “Yeah, just waiting on the shot.” They pitched me Haunted Heist; it was still being fleshed out. They found a writer, Carl Reid, to start writing it. That's how it happened. Based on what they saw me doing with The Mill, they could tell I have a director's mind. 

If it were just horror, I don’t know if I would’ve done it. But comedy horror enticed me. I wanted to cast stand-up comics who act. A lot of movies only cast comedic actors—there’s a big difference.

What is the difference between comedic actors and stand-up comics?

A stand-up comic is traveling every weekend, or performing all week long in front of people. They have an [understanding of] what people are laughing at. It's not just depending on what somebody put on a page. They're gonna be able to naturally bring what people are reacting to. That was really important. 

Did you always want to direct? And why did this feel like the right time to do so?

The director's bug came when I was doing a sketch series with the Lucas Brothers and Jermaine Fowler called Friends of the People. Bobcat Goldthwait was one of our directors. I wrote a sketch, and he was like, “How do you wanna shoot this?” And I'm like, “I don't know, man, you the director.” But he was like, “Nah, you wrote it—how do you see this being shot?” Once we were done shooting, he was like, “Yeah, this is your thing.” 

It's interesting, as a Black entertainer or just in general, we don't really know all the different jobs that you can do. Most of the time, we’re only looking at the acting. I don't know why, even though we had Spike Lee and John Singleton, it felt like an exclusive club. And because I didn't really understand it, maybe I didn't even think that was possible [for me] until Bobcat told me I could do it.

Did anyone give you advice or guidance as you got into the process?

I contacted my mentors, Ava DuVernay and Sean Levy. Ava was on the phone with me for a couple of hours. She said to make sure base camp is really comfortable for your actors so they don't have an attitude. She was adamant about that, about having the right [director of photography], finding somebody to work with who you have that chemistry with, and knowing my vision.

Sean is so organized; that’s what made me call him. When we did Free Guy, I was looking at how his storyboards were set up. So organized. It was so much happening, but he would never be flustered, because he was way ahead of it. I loved that. He sent me a Stranger Things shot list. I had to be like, “Hey man, I don’t wanna see this before the last season came out!” But I appreciate him letting me know what that looks like, because that helped me create my own shot list. I had to be the luckiest dude in the world to talk to those two major directors. I'm so appreciative of them.

We're almost 10 years out from your breakout role in Jordan Peele’s Get Out. When that dropped, were you surprised at the way it took off and catapulted you? 

I remember reading the script like, “Brother, if they let you shoot this, I’d love to be a part of it.” Jordan always was excited about it, but I don't think any of us truly knew. I remember the first time I watched it on my laptop before we did reshoots. I was sitting there like, “This is one of the best movies I've watched in a long time. But [do I think] this is good ’cause I'm in it and it’s my first big feature?” I didn't know how to feel. When the trailer came out, and we saw the buzz, it was like, “Is this about to be a thing?” 

To be a part of a classic, it just kept blowing my mind. I didn't know what was gonna happen, but something in my spirit was like, “This is gonna be special.” I will forever be indebted to Jordan Peele and forever grateful for being part of such a masterpiece.

Get Out dropped shortly after Donald Trump’s first presidential term began. The political climate made the film feel more resonant and timely.

It's interesting, [Jordan Peele] wrote it during the [Barack] Obama years. The question was, “Are we past all this stuff?” And we got an answer.

Back in 2018, you had your own Fox series, Rel, that ran for a season. What did you learn from that experience?

That's a great question. I learned how to collaborate. The era I grew up in, you're taught to be the boss. I learned that it's more about collaboration—that's what a boss does, not necessarily try to dictate everything. I could have done a better job at that. But at that time, I put a lot on myself that really didn't make any damn sense. I wanted to make the cool Black sitcom. But it kind of ties into Get Out. That time was such a whirlwind. I didn’t get a chance to sit down and take in what was happening. You're never prepared for the catapult. 

Issa Rae produced Screen Time, TikTok's most addictive microdrama of the year. Could you see yourself dabbling in the vertical storytelling space, too?

It’s funny, I'm gonna have lunch with Issa soon; I sent her a voice note with an idea. She liked it, so we'll see what happens. But I wanna see more comedies in that vertical space. I think those will work. You watch some of these vertical dramas, like, “This is silly.” Y'all think of it as too serious. I think comedy would thrive on that. R. Kelly's “Trapped in the Closet” would have been perfect.

Circling back to Haunted Heist, you did that film independently. How was that experience?

The great thing about going independent is the freedom. I'm so involved in every single thing. And I love that because I'm learning so much. Even the relationships we built with theater owners. If you’re an independent filmmaker, you should be insanely encouraged right now. It's cool if you create, but you better learn some of this business. Go directly to these theater owners. Build relationships. 

Speaking of relationships, do you think there will be a third Vacation Friends movie?

I'm working with that producer on something else. I wonder whether he would be open to me writing [a third Vacation Friends]. Our director had been writing them all, but it might be kinda dope if Lil Rel wrote the third one. I have a very interesting idea. I like when John Cena interacts with the crazy Black families. It's so much funnier, ‘cause they’re insane. Our family was a classy, sophisticated Black family. Something about dropping white people around Black people is just so funny.

What else do you have on the horizon? 

I have a movie called God With Us coming out on Black Friday by first-time director Jimmy Jenkins. A beautiful, faith-based story. Great cast. It's gonna be a good one. The third year of my What's Funny Comedy Festival in Chicago takes place Sept. 19 to Sept. 26. It's gonna be even better. I'm teaching a masterclass this year, along with all the amazing comedy shows we have. I'm shooting my next special at the Black Ensemble Theater. There are a lot of very exciting things happening. A lot of collaboration and creating opportunities for people.

—John Kennedy

__________

Haunted Heist follows four estranged friends who plan to rob an antiquated house for a valuable artifact only to discover it is haunted. The film stars Lil Rel Howery, Tiffany Haddish, Andrew “King Bach” Bachelor, and Karlous Miller, and hits theaters July 24. Grab tickets here. 

[In Case You Were Wondering]

Mask Off

Peacock’s new psychological drama Strung has endless twists. But masks are a central motif. Director Malcolm D. Lee breaks down their significance in the film.

—————
We all wear a mask at some point, especially when we're first meeting somebody. We're very guarded about who we are. The same thing in this movie. Zuri is masking some trauma that occurred with her and her family. And Layla is obviously wearing a mask, because she's experienced trauma as well. Then there are folks in the house who are masking because they're hiding something. You wear a mask to hide, whether it's grief, pain, or something sinister. 

When it came to figuring out Zuri’s mask, we looked at a lot of different kinds of masks from the Continent to see the symbolism of those particular masks. The white face. The large lips. We wanted to make sure the eyes were hollow, and you couldn't see the mouth articulate underneath. It made it that much more mysterious and creepy.

—As told to John Kennedy

[TAKEN OUT OF CONTEXT]

I saw this production design person turning the chairs over and throwing clothes on the floor… I asked what was going on and he said, ‘I’m making the ghetto.’

This film and television legend has seen it all—including Hollywood’s bad ol’ days of microaggressions and racial tropes. Take a look to see who it is, and then get into this revealing New York Times interview, where he opens up about his early career and resurgence on a sunsetting hit Hulu series.

Let's Link

• How Olivia Rodrigo Is Getting Back at the Trump Administration [The Hollywood Reporter]

• Don Cheadle on Creativity, Legacy, and His Broadway Debut in Proof [Vibe]

• How Go-Go Is Reaching a Generation That Didn’t Grow Up With It [Capital B]

• Meet Kandy G. Lopez, the Dominican Turning Yarn Into Larger-Than-Life Portraits [Remezcla]

• How a Brooklyn Fan Turned a Jay-Z Pitch Deck Into a Yankee Stadium Collection [Andscape]

[OUTRO]

Take This Audio Doggie Bag With You

“The Bridge,” Kelela Feat. PinkPantheress

Kelela has called this peppy duet with UK singer PinkPantheress “the ultimate makeout song.” You’ll likely agree. The vocals are sultry and layered, as the DMV native sings, “It's bliss when we cross the line.” It’s just one standout from her intoxicating new album, New Avatar.

Listen Now →