Hollywood Shuffle Director Robert Townsend On The Staying Power Of His Debut Film [Exclusive Interview]

Robert Townsend looks back on his debut film, "Hollywood Shuffle," with a major sense of fondness. By all accounts, it was a struggle to get off the ground — Townsend notoriously maxed out a handful of credit cards to fund the two-and-a-half-year shoot, and the story itself was born from Townsend's frustrating beginnings as a Black actor. But he quickly decided to take that frustration and spin it into an opportunity. "We were just being bad boys and just having fun," Townsend says now of the experience. "I just felt it was funny. I felt like we wanted to say something."

The intervening years have definitely been kind to Townsend, and to the film he co-wrote with Keenen Ivory Wayans. The duo's scathing critiques take on a new form in a series of sharp, ingenious comedy sketches. From a Siskel & Ebert-style chat show to a remix of classic noirs like "The Maltese Falcon," "Hollywood Shuffle" is so much more than a clapback on Hollywood's worst casting practices. It's also a demonstration of the potential in Black performers, potential Townsend would continue to demonstrate in his varied career as an actor, writer, and director. He set the stage for Black superheroes with "Meteor Man" and Black female buddy comedies with "B.A.P.S.", but with "Hollywood Shuffle" being added to the Criterion Collection this month, Townsend has come full circle.

I spoke with Townsend about the timeless humor of "Hollywood Shuffle," the experience of bringing the film to Criterion, and the evolution of opportunities for Black performers.

Note: This interview has been lightly edited for clarity and brevity.

How has it felt watching this film evolve into such a cultural touchstone across these 30-plus years, and especially getting the Criterion treatment now?

It's really a beautiful feeling, I'm not going to lie. This was my first movie. I had never directed anything. I just felt it was funny. I felt like we wanted to say something. We did say something. And the fact that the film still resonates with audiences across the world is a really good feeling, because I think we planted seeds. We planted seeds about how actors are treated in Hollywood, how the Hollywood system works, how Black actors are part of the problem too because they accept these roles ... it's a film about empowerment, so the fact that the Criterion Collection now is like, "Hey, we want to give you the Criterion treatment," it's a good day all the way around.

As a filmmaker, I have watched so many Criterion films to hear the director's commentary and how the film was made and the behind-the-scenes. And to get this treatment now, where people can hear me talk about my journey — because I've never really talked about "Hollywood Shuffle" in depth, so this is the first time. It's a beautiful thing when you create something and it withstands the test of time.

I know you said in the past that all of your films are your babies, but in terms of "Hollywood Shuffle," do you have a favorite moment or a favorite skit that you look back on and you're like, "That was probably one of my favorite parts of making that"?

Let me say this. The film holds up, so I could say, "Oh, it's Sam Ace, the black-and-white with Jheri Curl. That makes me laugh. It's Sneakin' in the Movies, the zombie pimps." But I think the Black Acting School makes me laugh because that was really life in Hollywood as actors. Something like, "Okay, you're the brother. You're the bad one. Watch me do it, brother. You're a homeboy. Come on, brother."

I was looking at it when we were putting together the Criterion [edition], and it's the actors that are in that who really sell the bulls***. Grand Bush, when he goes, "Yeah, I played a rapist twice. That was fun." It's just the absurdity of the world, but that's what we really went through. You would have conversations like that. But I just think we made a lot of beautiful statements in that film. The runaway slaves and the Mandingo as he leaves with the white girl ... I mean, we were just being bad boys and just having fun.

I've got a bit of a selfish question. "B.A.P.S." is one of my favorite movies, and I keep thinking it would be so cool if it got a Criterion treatment as well. With "Hollywood Shuffle" entering the canon, how likely do you think "B.A.P.S." getting in there would be now?

Let me say this: I would love "B.A.P.S." in there. It's kind of interesting because some people love "B.A.P.S." and then some people don't like "B.A.P.S.", and some people are mad because they go, "You gave Halle Berry gold teeth and blonde hair." And I was like, "Yeah, I did!"

She still looked good! She looked great.

I thought so, too. And then they was like, "Why is Robert doing this kind of comedy?" But it's like "The Beverly Hillbillies." It was funny and silly. It's so funny because people want a sequel to that and ... I don't know. And then Natalie [Desselle] passed away. But I would love to do a Criterion on "B.A.P.S." I really would, so thank you for asking.

I know it gets a bad rap, but I think it's kind of a similar film [as "Hollywood Shuffle"] in the respect of having your audience feel seen.

The thing that I would say is this: I'm a filmmaker. It's a well-made movie. And if you go on the ride and go, "Oh, it's two country girls trying to make some money and then they find who they are, and at the end of the day, they do win. But it's because they're being honest and transparent." Do gold diggers or women that have ulterior motives exist? Yeah. These two country girls from Decatur, Georgia got caught up in the scheme, but at the end of the day, we reveal their heart, and it's a love story. There's people that love, love, love the film and some people that didn't get it. And those that love it —  like you love it and you get it — I've had people go, "Hey, we want to do a remake." Everybody from Megan Thee Stallion to Cardi B is like, "Could we do..." I mean, it's like, I don't know. So, thank you for asking.