Dianne Houston is not your typical Hollywood success story. As a screenwriter and director, Dianne stands firm in the belief that you must carve your own path, especially in the glitz and glamor of Hollywood. Dianne believes it’s important to tell powerful stories where audiences can see themselves projected and amplified.
In a recent interview with Her Agenda, Dianne opens up about her creative process, her hilarious and shocking tales of Hollywood, and her latest project, “Freedom Hair.” In our interview, I realize Dianne is a passionate artist consistently pushing boundaries and challenging herself to grow not just in her artistry but on a human level. From her early days as a screenwriter to becoming the first Black woman director to be nominated for an Oscar in the Live Action Shorts category for her short film “Tuesday Morning Ride,” her career is a true testament to never giving up on your dreams.
In her films and work, like the Michael Jackson documentary “Finding Neverland,” she is engulfed with the human experience. She finds stories that resonate with her on a personal level and then captures the minds and hearts of audiences. When asked which love is stronger between writing and directing, she proclaims, “I am a writer before I am anything else. Yeah, that’s like my air,” she explains. “Directing is dessert. You can live without dessert.” This perspective informs her approach to filmmaking, where she prefers to direct what she writes, creating a seamless connection between her vision on paper and its realization on screen, like her latest project, “Freedom Hair.”
Dianne’s work often touches on Black experiences and social issues, but not in a calculated way. “What anybody is going to know if they’ve spent two minutes with me is that I bring who I am to what I do,” she states. “You know, I’m a Black woman, and nope, you can’t get sides. I’m gonna have a view of the world.”
She goes on to say, “I always look for the story first,” she says. “It is of interest to us on a human level then I consider it topical.” “Freedom Hair” exemplifies this message. “Freedom Hair” began as a pitch for a political story about taking on the state of Georgia and then evolved into a nuanced exploration of a woman discovering her own power through the lens of her hair. Dianne saw beyond the surface-level politics, recognizing a universal story of self-discovery and empowerment. “This story is about much more than her taking on Mississippi,” she explains. Black women and their hair will always be a never-ending conversation, our “crown and glory,” and Dianne knows this. She shares a poignant anecdote about a poem used in the film, “Ode to My Hair,” written by her daughter when she was 16. “When she’s having all those conflicting things about her hair. What does that tell you?” Dianne asks. “I know for a fact she’s grown up with positive imagery and self-confidence and all that. But the hair is still the thing, you know.”
As one of the few Black women directors in Hollywood, Dianne’s career has been marked by significant achievements, including being the first Black woman nominated for an Oscar for her short film for “Tuesday Morning Ride” in 1996. While it’s an incredible honor, it’s now 28 years later, and progress has seemed to stall as we’ve seen incredible stories like Ava Duvernay’s “Origin” and “The Woman King” be snubbed at the Oscars. Dianne expresses how “pathetic” it is that films like these have been passed up because “it shouldn’t be that way.” However, she remains focused on the future rather than dwelling on past accolades when speaking of her own success. “I’m so involved in where I’m headed that I don’t always honor where I’ve been,” she reflects. We bond over this sentiment for a moment and promise each other that we will do better.
Despite the challenges of being a Black woman in Hollywood, Dianne remains optimistic and encourages aspiring filmmakers to push through. “Just don’t give up,” she advises. “You just keep going, telling your story, and do your dance. Just do it. Don’t let anybody tell you no.”
Later in our interview, Dianne surprises me by recanting stories of iconic figures like Nina Simone, Miles Davis, and Toni Morrison. I ask how these experiences influence her work as a filmmaker but she brings me back to the humanity piece. Dianne’s adventures with these icons are nothing short of extraordinary and unbelievable for the average person. She states truthfully that she absolutely does not do drugs, but legend Miles Davis did indeed inadvertently ask for help to acquire drugs at one point during a night out. She didn’t even realize it was him at first, “Oh my god, the scraggly little dude is Miles Davis.'”
Her interactions with other legends like Toni Morrison were equally impactful. Dianne recalls a moment when she engaged in a deep conversation over a novel with the author. “Before I realized it, oh my god, I’m having a conversation with Toni Morrison,” she says. “And it made such a difference in me that afterward, she spoke, gave me this look, and this nod. And I was like, I felt ordained. She told me, ‘You belong here.’ That’s what it meant to me, the highest praise.”
Dianne’s relationship with Nina Simone was particularly profound and complex. “The thing with Nina was like the one that actually went on for months back and forth,” she explains. “She was in a bad state. It’s a bittersweet story. It was very meaningful.” She’s currently working on a film based on her month-long adventures with Nina Simone, titled “Sugar Foot,” with Lorraine Toussaint set to play the legendary singer. Very reminiscent of a similar film about the iconic figure Marilyn Monroe entitled “My Week With Marilyn.”
These encounters with such towering figures in music and literature have deeply influenced Dianne’s work and perspective as a filmmaker. “For me, it was like a moment with giants.”
Dianne’s experiences with these icons have not only shaped her as an artist but also instilled in her a sense of belonging and purpose. “Nina Simone, Toni Morrison, those are the building blocks for me, like my introduction to what literature really means to me, what music means to me.”
As we near the end of the interview, I wonder about the adventures of my own life, thinking about how talking to prominent Black figures like Dianne has shaped my worldview and humanistic experience. In our short time together, I’ve learned to be appreciative of where I am in my journey and laugh. Laughter is truly the best medicine, and Dianne is funnier than she realizes.
As she continues to create and inspire, Dianne Houston stands as a beacon of authentic storytelling and the importance of diverse voices in sharing these stories. She inspires the next generation of dreamers to remember the impact their singular voice can have in shaping narratives and changing perspectives. Dianne’s journey through the entertainment industry is as engaging as the stories she brings to life.
[Editor’s note: This feature has been edited for length and clarity.]
