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‘The Wire’ Michael K. Williams Becomes Ol’ Dirty Bastard In ‘DIRTY WHITE BOYS’

Posted at March 29, 2012 by 0 Comment

We all miss Omar Little on The Wire and get very little of Chalky White on Boardwalk Empire, but Michael K. Williams will be taking Ol’ Dirty Bastard’ (real name: Russell Jones), lengendary Wu-Tang Clan rapper “whose impressive mic skills and outrageous showmanship were eclipsed by his erratic offstage behavior, assorted arrests, and an early death.”

“The movie is based on the final years of ODB’s life — a true story that is nonetheless stranger than fiction.

Titled Dirty White Boy, the film focuses on the offbeat friendship between the Wu-Tang Clan co-founder and Jarred Weisfeld, a 22-year-old VH1 production assistant who through a lot of hustle (and the occasional lie) talked his way into becoming the rapper’s manager when Jones was serving a three-year stint in prison in the early 2000s.

Despite Weisfeld’s inexperience, and having a client whose talent was undermined by addiction and mental illness, the novice manager engineered an unlikely comeback — only to have it cut short by the star’s fatal drug overdose in 2004 at age 35.”

An issue being raised is how will the actual real-life scar for Williams affect or integrate into the “character license” of the film. I honestly find this issue disrespectful of all actors facial attributes, as im sure some facial prosthetics will be used. Why debate a matter when makeup has done so much to change the appearance of other actors in their respective productions. Remember Meryl Streep in The Iron Lady?

Joaquin Baca-Asay will be making his feature directorial debut, previously cinematographer on We Own The Night, Roger Dodger and Jay-Z video 99 Problems and is written by Brent Hoff.

Williams has also appear in many notable films: John hillcoat’s The Road, Todd Solondz’ Life During Wartime and Antoine Fuqua’s Brooklyn Finest.

Source: Indiewire

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Mario Melidona

About Mario Melidona

Mario has produced and written several screenplays and recently directed and edited a Black & White Short filmed on 16mm. His newfound love for postmodernism and the rise of existential cinema has been a great influence on his writings.