The Process of Storytelling w/ Malcolm D. Lee

Summary

Keep it Positive, Sweetie

Episode: "The Process of Storytelling" with Malcolm D. Lee

Host: Crystal Renee Hayslett
Guest: Malcolm D. Lee
Date: August 17, 2025

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Episode Overview

This episode delves into the creative journey and legacy of acclaimed writer, director, and producer Malcolm D. Lee, celebrated for his culture-shifting films "The Best Man," "Girls Trip," and more. Host Crystal Renee Hayslett leads a candid, in-depth conversation about Lee’s upbringing, inspiration, the process of storytelling across mediums, the ups and downs of a creative career, and how authentic Black narratives are brought to life. Lee shares insights into his transition from screenwriting to novel writing, the challenges he’s navigated in Hollywood, and how he continues to center humanity, joy, and complexity in Black stories.

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Key Discussion Points & Insights

1. Malcolm D. Lee’s Background and Creative Roots

• Growing up in Queens & Brooklyn:
  • Malcolm shares early exposure to both the arts and the duality of Blackness in predominantly white schools while living in a Black neighborhood ([02:05–07:29]).

    “That was like the duality that I was living…trying to be Black enough for my neighborhood and trying to be, at least, a model minority for the white folks. Code-switching.” — Malcolm D. Lee (06:55)

• Family Influence:
  • Creative encouragement from family; mother was an academic, father a musician.
  • Notably, his cousin is celebrated filmmaker Spike Lee, who lived in Malcolm’s family basement during film school ([04:22–05:03]).

    “He demonstrated that it was possible to have a career in this industry…Demonstrating how powerful the moving image was, particularly when it came to Black people.” — Malcolm D. Lee (05:03)

2. Authenticity & Representation in Black Storytelling

• Breaking Stereotypes:

  • Malcolm discusses the lack of nuanced depictions of Black lives in mainstream cinema and his commitment to multidimensional characters—especially educated Black people ([07:29–09:18]).

    “They just forgot they were Black…no cultural specificity. That’s not my experience and not the experience of people that I went to school with.” — Malcolm D. Lee (09:18)

• Personal Experience as Inspiration:

  • His college days at Georgetown and diverse “types” of Blackness deeply influenced “The Best Man.” He found influence in films like “Love Jones” and “Soul Food” that felt authentic ([09:29]).

3. The Birth and Legacy of “The Best Man”

• From Script to Screen:

  • Wrote “The Best Man” after four previous scripts, aiming for commercial success and to fill a gap in Black-led ensemble wedding movies ([10:06–12:16]).

    “I was just like, you know what, I’m gonna write something so commercial I’m gonna sell it...that script was ‘The Best Man.’” — Malcolm D. Lee (11:07)

• Greenlighting Process & Cultural Impact:

  • Navigated studio rejections before Universal Studios greenlit the movie—ultimately grossed over three times its budget, beating out major films ([14:44–17:37]).

    “After you become what I like to say is the prom queen, everybody wants to dance.” — Malcolm D. Lee (17:49)

  • The film’s ongoing resonance was intentional.

    “My intention in making ‘The Best Man’ was to make a classic…that would resonate for decades and generations.” — Malcolm D. Lee (20:31)

• Sequel and Brand Evolution:

  • Despite initial reluctance, “branding” led him to revisit the characters for sequels and now, novelization ([21:59]).

4. Creative Process — Writing, Evolution, and Joy

• Process & Perseverance:

  • Malcolm reflects on evolution from waiting for the “muse” to recognizing writing as a job, emphasizing the necessity of “writing the crappy draft” ([24:00–24:46]).

    “You have to write the crappy draft…Screenwriting and now I found out novel writing is all about rewriting.” — Malcolm D. Lee (24:28)

• Navigating Dry Spells in Hollywood:

  • Discusses the long game in the film industry, adapting to dry periods—pivoted to television and embraced new opportunities ([26:54–29:18]).

    “During those dry patches, you gotta try to reinvent yourself…You can’t just squander these opportunities.” — Malcolm D. Lee (28:54)

• Life Balance & Decision-making:

  • The role of his wife in maintaining a personal/professional balance; sometimes difficult decisions come down to family and long-term relationships ([29:18–31:04]).

5. State of Hollywood and Storytelling Today

• Industry Challenges:

  • Impact of strikes and contraction within the industry: more risk-averse studios, reliance on proven IP, original ideas harder to sell ([32:13–33:41]).

    “They want the surefire thing. There’s no such thing, by the way.” — Malcolm D. Lee (33:00)

• Book Writing vs. Screenwriting:

  • Malcolm details differences between the two, with a novel providing deeper character exploration and sensory detail. Collaborated with co-writer Jane Allen ([34:01–37:42]).

    “With a book, you’re able to get into their subconscious…It’s a fantastic, more expansive way of storytelling.” — Malcolm D. Lee (35:31)

6. Studying Character and Longevity

• Staying True to Character:
  • Explores how characters evolve with both the writer and the audience’s age/life stages—now telling stories for mature readers ([44:02–46:29]).
• Storytelling as Discipline:
  • Describes writing as a “lonely process” that requires discipline, self-starting, and frequent self-doubt ([40:23–41:36]).

    “It’s a lonely process…It takes a lot of discipline, because no one’s just telling you, ‘you gotta reach this many pages in a day’.” — Malcolm D. Lee (40:23)

• Research and Realism:
  • For the new book, he traveled to Ghana to authentically depict setting and characters ([43:01–43:34]).

7. Personal Life Intertwined with Story

• Life Reflecting Art:
  • Some aspects of his own journey—midlife metamorphosis, marriage, and parenting—inform his current work ([48:40–50:24]).

    “Midlife metamorphosis…my body is changing…but I do feel like the best I’ve felt in years.” — Malcolm D. Lee (48:59)

8. What Readers Can Expect

• For Fans of ‘The Best Man’:
  • Promises the new book holds the same emotional depth, humor, and page-turning quality ([51:49–52:51]).

    “If you love ‘Best Man’…you’re going to love this book. There’s a depth of emotion…some surprises…People are finishing this book in two days.” — Malcolm D. Lee (51:49, 52:40)

9. Rapid Fire Q&A — Light-hearted Close ([53:03–54:55])

• First script: “Morningside Prep”
• Favorite film he didn’t direct: “Parenthood”
• Book that changed his life: “Native Son”
• Most surreal moment: “Shooting at Essence for ‘Girls Trip’”
• Favorite author: Richard Wright
• Favorite own character: Quentin (with caveats)
• Biggest joy right now: “Life in general…kids are healthy, wife’s behind in my corner, I got a book coming out…”

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Notable Quotes with Timestamps

• On code-switching and dual experiences

  “That was like the duality… being Black enough for my neighborhood and trying to be the model minority for the white folks.”
  — Malcolm D. Lee ([06:55])

• On family legacy and possibility:

  “He (Spike Lee) demonstrated that it was possible to have a career in this industry…movies and television shape attitudes and culture.”
  — Malcolm D. Lee ([05:03])

• On breaking stereotypes:

  “Particularly when it came to educated brothers, they just, like, forgot they were Black… That’s not authentic to me.”
  — Malcolm D. Lee ([09:18])

• On his original intent with “The Best Man”

  “My intention…was to make a classic…that would resonate for decades and generations.”
  — Malcolm D. Lee ([20:31])

• On self-doubt in the creative process:

  “Every day is not going to be a banner day…Who would care? …But then you gotta say, okay, wait a minute. You wrote it for a reason.”
  — Malcolm D. Lee ([40:23])

• On industry realities:

  “They’re not just saying yes to everything…They want the surefire thing. There’s no such thing, by the way.”
  — Malcolm D. Lee ([33:00])

• On life and joy:

  “I think life in general…kids are healthy, wife’s behind in my corner…career is doing well…I’m good.”
  — Malcolm D. Lee ([54:38])

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Memorable Moments & Highlights

• Malcolm’s shock when host Kris learns his cousin is Spike Lee ([04:40]).
• The moment Universal greenlit “The Best Man”—Malcolm unsure if he was on a beeper or cellphone ([16:08]).
• The vulnerable discussion of both self-doubt and pride after “winning the prom” and the “bubble” of Hollywood ([17:49–19:12]).
• Reception of the new book: fans finishing nearly 500 pages in two days, bookstores selling out ([52:35–50:55]).
• Playful, heartwarming rapid fire round: favorite characters, surreal moments, and Malcolm’s gratitude for life ([53:03–54:55]).

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Timestamps: Important Segments

• Malcolm’s upbringing, family, and dual identity: [02:05–07:29]
• The necessity of authentic Black storytelling: [07:29–09:18]
• Inception and greenlighting of “The Best Man”: [10:06–17:03]
• Navigating career highs/lows and learning along the way: [17:49–21:59]
• Process, discipline, and writing challenges: [24:00–26:54], [40:23–41:36]
• State of the industry and adaptation to change: [32:13–33:41]
• Book process vs. screenwriting: [34:01–37:42]
• Personal reflections mirrored in his work: [48:40–50:24]
• What to expect from the new book: [51:49–52:51]
• Rapid-fire questions (fun close): [53:03–54:55]

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Conclusion

Malcolm D. Lee’s episode is an engaging, revealing lesson in resilience, purpose, and the true art of storytelling. He conveys the importance of Black humanity onscreen and on the page, the evolution of his own craft, and the enduring journey of keeping it positive, sweetie—no matter where the process leads.

For fans of “The Best Man” or lovers of Black storytelling, this episode brims with wisdom, warmth, and inspiration.

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Transcript

[Kris Renee Hazel]

This back to school season, spend less on your kids with Amazon. I remember when my little brother swore rainbow gel pens would boost his aura. They nearly tanked mine at the checkout. Amazon's prices keep the vibe high and the cost low, so positivity stays free. So remember, with Amazon's low back to school prices, just spend less on your kids because every dollar you don't spend on them, it's a dollar you haven't spent on them. Calling all my sweeties to the forefront. I'm your host, Kris Renee Hazel, and this is the Keep It Positive Sweetie Show. Hey, sweeties. You already know what time it is. It's your weekly dose of joy, real talk, and a little soul work on the side. I have been so excited about every single guest that we've had this season. We've had nothing but gems dropped every single episode. And today will be no different. He is a writer, director, producer of work that has spanned over different generations. We all love his characters. We root for them, we've cried with them, and we've grown with them. You may know him from films like Best Man, Girls Trip, Night School Kids, Family, Please give a very warm welcome to Malcolm D. Lee. Malcolm, how are you feeling?

[Malcolm D. Lee]

I'm well.

[Kris Renee Hazel]

Good.

[Malcolm D. Lee]

You?

[Kris Renee Hazel]

Fresh off a flight?

[Malcolm D. Lee]

Fresh off the flight. Very glad to be here.

[Kris Renee Hazel]

Yes. So this is the second stop on your book tour. Yeah, the first one was amazing. So I guess I got some big shoes to fill for tonight.

[Malcolm D. Lee]

Oh, you'll be fine. It's gonna be good. No pressure. Just, you know, let's just. Let's just have a conversation.

[Kris Renee Hazel]

I love it. So let's. Everyone knows you from your best man film and the television series Girls Trip, which was one of my favorite. Oh, my gosh. And then I heard they may be doing another one. As soon as I heard, I was like, I need that.

[Malcolm D. Lee]

We're working on it.

[Kris Renee Hazel]

Working on it.

[Interviewer/Host Assistant]

Yes.

[Kris Renee Hazel]

And Space Jam, the Legacy people know you from that, but I want to know who Malcolm is. Where are you from? Tell us your journey to get to the best man that has a movie that we've all grown up to and watched for years.

[Malcolm D. Lee]

Yeah. I was born in Queens, New York. I was raised in Brooklyn. I grew up with both my parents and my brother and predominantly white private school since the fifth grade. Twelfth grade, I went to and. And I was the only black male in my class from 5th to 12th grade. Ended up going, yeah, yeah, that was. It was interesting existence. And then went to. To Georgetown University undergrad, uh, went to NYU film school and Always had a love for the fine and performing arts, you know, from a very early age. And what those, you know, prep schools did for me was exposed me to film and television very early animation, video making. And I always like to act and write and draw, you know, create little scenarios with, you know, action figures and things like that. So yeah, that's, that's, you know, grew up, I grew up like that and participating in many different arts endeavors and I think it was certainly encouraged by my family. They kind of said, let me explore. My mom would put me in art classes and things like that. And she was a medical records administrator. She transitioned to be a college professor later on. My father was a school teacher and musician and. Yeah. And so we grew up in a limestone in Crown Heights, Brooklyn.

[Interviewer/Host Assistant]

Very nice. I love that.

[Kris Renee Hazel]

So.

[Interviewer/Host Assistant]

Wow.

[Kris Renee Hazel]

It's similar to me, my childhood, I grew up predominantly white community. Was one of the few black kids from kindergarten all the way to the 12th grade and then moved to D.C. you went to Georgetown. That's when I was like, whoa, a whole new world.

[Malcolm D. Lee]

Yeah, yeah, yeah, absolutely. Yeah. No, I mean, even going to Georgetown, like that was more black people than I've been around in my, in my life. And you know, it was how it was right across the, you know, right across town. So yeah, if I wanted to, you know, see more, I could, I could, I could, you know, experience. And it was all. At the time it was still known as Chocolate City.

[Interviewer/Host Assistant]

Yeah, exactly.

[Malcolm D. Lee]

So, yeah, I, I would say primarily good, good, happy childhood, you know, pretty well adjusted and, you know, kind of felt like I knew what I wanted to do when I was an undergrad. I mean, I got to work with my cousin Spike very early on. Spike Lee?

[Kris Renee Hazel]

That's your cousin?

[Malcolm D. Lee]

That's my cousin, yeah.

[Interviewer/Host Assistant]

Wow.

[Malcolm D. Lee]

You didn't know that?

[Kris Renee Hazel]

No. He's in the bloodline.

[Malcolm D. Lee]

All right now, you know. Yeah. So I got to work with him very early on. He was in film school in the early 80s and living in my parents basement.

[Interviewer/Host Assistant]

Wow.

[Malcolm D. Lee]

And so I got to see very early on the emergence of the, you know, great American and now world renowned filmmaker who I didn't know at the time was going to be that.

[Interviewer/Host Assistant]

Right.

[Malcolm D. Lee]

And, but he demonstrated that it was possible to have a career in this industry and, you know, I got to work with him really from She's Got to have it on through Malcolm X and Clockers and Girl six. And so that was, you know, great education and a great encouragement from him to, you know, be creative and write black film and, you know, and really trying to demonstrating how powerful the moving image was, particularly when it came to black people. So it's not something that should be taken lightly because that, you know, movies, television, shape attitudes and culture and can affect people's views.

[Interviewer/Host Assistant]

Yeah.

[Malcolm D. Lee]

Of, you know, humanity. So I've always taken that very seriously. And the legacy that my family has come from has very much been that, you know, my father's side of the family, he had six brothers and sisters, and they all went to HBCUs. They all played instruments. The instruments skipped. My generation, I don't play anything but the radio. Um, and so, you know, that was a legacy that. That, that. That was. That I came from. The education was important. And because they had seen one filmmaker come out of the basement, they were like, well, you know, why don't you pursue that?

[Interviewer/Host Assistant]

Yeah.

[Malcolm D. Lee]

And, you know, and I was encouraged to do so.

[Kris Renee Hazel]

Okay, I love that. That is fascinating. Wow. So Spike Lee is in your basement. I wanted to ask you, growing up around predominantly white people and a predominantly white community, where did you find the inspiration to write the way you write our community? Because it is. It hits home every single time I tell you.

[Malcolm D. Lee]

Well, you know, I. I was living. My neighborhood that I lived in was black, you know, and I, you know, I play ball, you know, down at the local playground. You know, there's plenty of, you know, I play a black experience. And it was like, that was. That was like the duality that I was living, you know, like, you know, being, you know, black, you know, trying to be black enough for my. For my neighborhood and trying to be, you know, at least a model minority for the white folks, you know, and so that was the kind of the. The, you know, this, you know, you talk about code switching. That was doing that very, very right on.

[Interviewer/Host Assistant]

Yeah.

[Malcolm D. Lee]

But, you know, what I. What it afforded me and what it allowed me to think was like, you know, I saw, you know, a lot of different sides of the world, you know, Jewish kids, Christian kids, WASPy kids, whatever, and, you know, you know, and also wealthy kids. And so haven't experienced that not only in 5th through 12th grade, but also in college. Gave me a wealth of experience. And then also going to college, you see different kinds of black people, too, right? Like, so, like brothers from Texas and Atlanta and from California and, you know, the D.C. area. There's lots of different dialects and lots of different, you know, way, you know, mores and way people speak. So, you know, I observed all of that and became friends with lots of different kinds of people and different kinds of black people, which, you Know, and my experiences at Georgetown definitely influenced and was inspired by my relationships that I made at Georgetown. And so what I was finding, particularly in movies about black people, or not even about black, but they had black people in it. You know, it was very, kind of, very, very narrow depictions. Yes, right. You know, so there was the. You know, there's the hood brother, there's the. The quirky friend, or there's always the sassy girlfriend. And it's like. And then, particularly when it came to educated brothers, they just, like, forgot they were black. You know, they had no cultural specificity of blackness, so they would, like, check their ethnicity of the door. And that somehow that meant because you're educated, you're speaking the King's English, you are, you know, one way, you have a bat up your behind, and you're just like, you know, you just. You just aspire to be white.

[Interviewer/Host Assistant]

Right.

[Malcolm D. Lee]

Which is, like, not my experience and not the experience of the people that I went to school with. So I was like, this is not. This is not real or not authentic to me. And so I drew on my experiences to create characters that I thought were more authentically, you know, presented. And, you know, movies that. That preceded the best man, like Love Jones and Soul Food, even Waiting to Exhale, at least for the women, you know, were truer depictions of the black people that I interacted with.

[Kris Renee Hazel]

Yeah, I love that. Take us to when the idea of best man came. Where were you?

[Malcolm D. Lee]

That's an interesting question. Now, I had done after film school. I'm sorry, before film school, in between film school and undergrad, I went to do a screenwriting program at Disney. I got a fellowship. I wrote two scripts, my first two screenplays there. When I went to film school, did a couple of shorts. I wrote three more screenplays. That fifth one I was determined to make. Right. It was called Feast and Famine. It was a, you know, romantic comedy very much in the vein of, like, an Annie hall or When Harry Met Sally, a classic New York love story. And, you know, I wanted to make the movie. I was trying to raise money for it, Right. And so when I couldn't do that independently, it was really difficult. And I was just like, you know what? I'm gonna write something so commercial that I'm gonna sell it, and I'm gonna use the money that I sell that with to make Beast and Famine.

[Interviewer/Host Assistant]

Yeah.

[Malcolm D. Lee]

And that script was the Best man.

[Interviewer/Host Assistant]

Wow.

[Malcolm D. Lee]

And so I was in the midst of writing it, and I was just like, oh, I can direct this. And. But. And. And I will Say I knew how it was going to be commercial was, I knew that there was was, you know, a dearth of movies about black or a wedding. Right. Like the wedding moves are very popular at the time. And so I was like, okay, I gotta do a movie, a wedding movie with black people in it. And because there hadn't been one to date at that time and I love ensemble movies and I wanted to have a very clear three act structure and there was built in set pieces.

[Interviewer/Host Assistant]

Yeah.

[Malcolm D. Lee]

Your bachelor party, your, the fellas hanging out one night. The, the, the rehearsal dinner, the you know, one on the wedding itself.

[Interviewer/Host Assistant]

Yeah.

[Malcolm D. Lee]

And then I knew that was going to have a magic prop in there that was, which was the book that keeps getting passed around.

[Interviewer/Host Assistant]

Yeah.

[Malcolm D. Lee]

So I, I, I, I, I, I made sure that I had all of the, the ELE commercial movie before I wrote it.

[Interviewer/Host Assistant]

Right.

[Malcolm D. Lee]

And so when I wrote it I was like, okay, this feels right.

[Kris Renee Hazel]

Awesome. Now how long did it take from writing the Best man to it actually getting greenlit?

[Malcolm D. Lee]

I remember finishing the script. It was, you know, I was up early one morning and I was, and I, I just finished it and I was in my parents basement and I walked upstairs, I said if this ain't it, I don't know what they want.

[Interviewer/Host Assistant]

Yeah.

[Malcolm D. Lee]

And I was gonna be like, either become a teacher or go to law school and because you know what, what to make, they weren't trying to make. So I, I would say that was, I knew I would, what I wanted to do was time it, I'm trying to remember now. I wanted to time the, finishing the script by the time the movie Soul Food came out. Got it now also being strategic about how I was going to approach it. And, and I thought if Soul Food would going to be successful because I had read about, you know, the, the, the movie in a trade magazine and I remember thinking, yeah, like it's. Even though what I'm writing is not Soul Food, they'll be looking for the next soul food type of thing.

[Kris Renee Hazel]

Right.

[Malcolm D. Lee]

That where black people are just do. We're doing more than just, you know, being in the hood and running from danger. You know what I mean? So I was like, okay, if this movie is successful with Nia Long and Vivica Fox and Vanessa Williams and Babyface is going to be doing a soundtrack. This could do well.

[Interviewer/Host Assistant]

Yeah.

[Malcolm D. Lee]

And if that does well, this might, that would bode well for my script. So I fit, I was done with it by the time Soul Foods premiered at Urban World in New York. And I think that was fall Of. Or late summer of 98. No, 97. Sorry. And then we went around to a couple different studios. Spike had read it. He was like, this is the one. And so we met with Columbia. He had a deal there at the time. There's a funny story behind that, but I'll get to that later.

[Kris Renee Hazel]

Okay.

[Malcolm D. Lee]

Then I would say that was late mid fall. And then by the time the Academy Awards came around, we landed at Universal.

[Interviewer/Host Assistant]

Oh, wow. Okay.

[Malcolm D. Lee]

In March of 98. And they said, we like this. We want to try to develop it and make it.

[Interviewer/Host Assistant]

Wow.

[Kris Renee Hazel]

How did that feel in that moment when they said, finally, someone's like, we like.

[Malcolm D. Lee]

Well, it was funny because it was. It's not that it doesn't happen like that, because what happens is because in. In. In fact, the first few students we went to, they were like, we like it, but it's not for us.

[Kris Renee Hazel]

Okay.

[Malcolm D. Lee]

Right.

[Interviewer/Host Assistant]

Yeah.

[Malcolm D. Lee]

We need to do some development. And Spike is. Being who he is, is like, all right, later for y', all, we're going someplace else. Right? So I'm like, maybe we should listen.

[Kris Renee Hazel]

Right?

[Malcolm D. Lee]

But he was like, nope, we're gonna find somebody. This. This movie's gonna get made. So. Okay, fine. So we go to Universal, and he says, okay, look, we're gonna tell them they gotta pay you for a rewrite. If they wanna do any notes, they'll pay you for a rewrite, and if they don't like it, we're taking it away. I said, great. So we're gonna listen to their notes.

[Interviewer/Host Assistant]

Yeah.

[Malcolm D. Lee]

So that's what happened. So, you know, there was. There were notes, and they said, here's a little money. And at first I was excited, but. But when you get, like, the money that they offer, it's great, but, like, you see where Uncle Sam really comes in and just. I was like, that's what I'm. That's. That's what I got.

[Kris Renee Hazel]

Right.

[Malcolm D. Lee]

Okay. But fine. I was living in my parents basement. It was all fine. And did the rewrite, and in about two months. And then I was greenlit.

[Interviewer/Host Assistant]

Wow.

[Malcolm D. Lee]

So that was exciting. The night that. That. That I found out that we were greenlit at a budget, I think we were asking for seven or eight. And they said, you can have it for nine.

[Interviewer/Host Assistant]

Oh, wow.

[Malcolm D. Lee]

Yeah, because they looked at it and you're gonna need nine. And then we actually needed more, but we were like, great. So that was exciting. Very exciting. I remember where I was. I was in. I was in New York. My girlfriend, who's my. Who was my wife at the time, now And. And another couple, and we just came from a restaurant, and I got the. Did I have a cell phone then, or was it a beeper? I don't remember. I'm. I'm trying to remember. I was on a payphone or if I was on a cell phone. I think it was a cell phone, though. Yeah. And I got a call from my executive at the studio, says, yep, you're greenlit. Let's go with best man, though. We did. We did become number one at the box office.

[Kris Renee Hazel]

How much did that one grow after getting for 9 million?

[Malcolm D. Lee]

Then you first weekend, it made its budget back.

[Kris Renee Hazel]

Okay, perfect.

[Malcolm D. Lee]

And then it grossed about 34 or 35 million. Yeah.

[Interviewer/Host Assistant]

Wow.

[Kris Renee Hazel]

And that's a huge.

[Malcolm D. Lee]

Yeah, it was big. It was big. It was very big.

[Kris Renee Hazel]

Was that even for that time for a black film?

[Malcolm D. Lee]

Oh, it's very big. Even the fact that we. We were number one that weekend was huge.

[Interviewer/Host Assistant]

Yeah.

[Malcolm D. Lee]

I mean, no, nobody makes. Nobody gets $9 million. And like, oh, you're number one. How do you get to be number. That's unheard of today to be like, yeah, whatever, $9 million. But it was. And we beat out Fight Club and a Martin Scorsese movie and this. This very popular movie that Ashley Judd had done called Double Jeopardy.

[Kris Renee Hazel]

Oh, that was a good one. I remember.

[Malcolm D. Lee]

Yeah, yeah, yeah. So it was. It was. It was. It was a great, great story.

[Interviewer/Host Assistant]

Yeah.

[Kris Renee Hazel]

How did that shift, like, where you were in your life at that point?

[Malcolm D. Lee]

It was everything, man. Like, I was like, that was that. That after you become what I like to say is the prom queen. Everybody wants to dance.

[Interviewer/Host Assistant]

Yeah, right.

[Malcolm D. Lee]

Everybody wants to meet. Everybody wants to, you know, like, you know, give you projects. They all want to say, hey, would you consider this? Yada, yada, yada. So it was. It was pretty fantastic. And you, you know, your head can get, you know, swole and you. And blow up and stuff. And you. And again, you know, I'm young. I'm, like, just new to this business. But when you start getting accolades and you think, oh, my stuff don't stink, I'm good.

[Kris Renee Hazel]

Did you go through a phase of that?

[Malcolm D. Lee]

Oh, yeah. I mean, it's. It's impossible not to. Right. At whatever age you are or when you're first coming in the business, you know, it's tough to. To, like, you know, navigate all of that.

[Kris Renee Hazel]

Absolutely.

[Malcolm D. Lee]

Because they will. They will. They. I'm sure you've heard the saying, they'll build you up and they'll tear you down. And it happens, you know, and sometimes that can Be your own doing. Like, I wanted to be an auteur. I wanted to be a writer director. So if they were coming to me with a script that they were like, well, we'd love you to direct this, I'd be like, well, I didn't write that. So that's not. I do better than that.

[Interviewer/Host Assistant]

Right.

[Malcolm D. Lee]

You know, or, you know, if. If they want you to write something that you know, but they don't want you to direct it. I was just like, I'm not doing that either.

[Kris Renee Hazel]

Right.

[Malcolm D. Lee]

But that's shortsighted.

[Kris Renee Hazel]

Right.

[Malcolm D. Lee]

I learned that now.

[Kris Renee Hazel]

So now you would take the opportunity to, like, well, now.

[Malcolm D. Lee]

Now I know I'm post 50 now, so I'm just like, no, I'm gonna do what I want. But at that age, you have to be much more malleable. You have to feel like you had to. You got to kind of, you know, look at the entire landscape and, you know, because what's. What is popular today, what is working now ain't gonna work in a couple of years. Yeah, Right. So you have to, like, really kind of read the tea leaves. You have to, like, you know, learn to say, well, maybe I can do something with this. I mean, at certain points, you're gonna. You know, there's something that they'll give you to be like, I don't know what the heck I'm gonna do with this. Right. But I think that's the balance. Right. Of trying to figure out one's career. But at the same time, it's like, if you don't go through certain things, you're not gonna learn.

[Kris Renee Hazel]

Absolutely. Absolutely. You said, what works now may not work 10 years from now.

[Malcolm D. Lee]

You created something five years from now.

[Kris Renee Hazel]

Right. But you actually created something back then that still works today. How does it feel that you created something that is still so relevant and resonates from me being in my teens at that time, to me being an adult where I can watch it and still like, oh, my goodness, I still get it.

[Malcolm D. Lee]

You know, I feel very fortunate. You know, my intention. This is no lie. My intention in making the Best man was to make a classic.

[Interviewer/Host Assistant]

Yeah, well, you did make a movie.

[Malcolm D. Lee]

That, you know, would stand the test of time, that would resonate for decades and generations. And thankfully, that happened, you know, thanks to. I mean, I think in large part to the. Where the script. You know, where we started with the script. You know, I wrote a good script, and it was the right script at the right time. You know, a lot of times when, you know, films, the zeitgeist they're like, oh, like that strikes a nerve. And it's nostalgia, you know, from then on, so people can't really see any other thing. And so that was the intention. It was never the intention to do a sequel or do a television series or now even a book. You know, it was just like, let me just make a movie that's going to be a one off because I don't want to. I did not want to repeat myself second time around. You know what I mean? So, you know, so there was talk of a sequel very early on, but I was like, no, I don't want to do that. I don't want to be a one trick pony. And these characters need to live some life. I need to live some life before I decide I want to tackle this again. So it just so happened that, you know, as they would have it, as I. And as I said around 2010, 2011, business for me was very slow. And what was the big thing then? Branding.

[Interviewer/Host Assistant]

Yeah.

[Malcolm D. Lee]

What was my brand? The Best Man. Everyone knew that I had done four other movies, right. But they weren't as popular or as, you know, kind of like memorable as the Best man. And I was like, I think it's time to start doing it. And I started, like, doing little notes and things on the sequel for years after that, but never really committing to paper. But I was like, okay, now's the time to try to do a sequel. And I pitch it to the cast and they were like, let's do it.

[Interviewer/Host Assistant]

Yeah.

[Kris Renee Hazel]

When you look back from over the years and you see the impact that you've made on our community, what is a part of your legacy that means the most to you?

[Malcolm D. Lee]

You know, look, I love that black folks in particular love these depictions. Yeah, right. Like it. It is my mission, I firmly believe it's my mission on earth to show the humanity of black people and to normalize black life in America. You know, I've always wanted to tell a universal story with black people. We all experience the same human emotions, you know, and so with. There's. All the stories are very universal. There's a lot of cultural specificity, and I always want to do that with my work. And I'm glad that people get it. It resonates. People, you know, feel it in here. They don't just, you know, laugh and smile and cry, whatever. Like they, it's. It's a part of who they are and their, you know, their. Their DNA and, you know, that, that it. That it resonates. And it's great that you Know, every time Candy from Cameo comes on, everybody does the Electric Slide. I. I find that pretty amazing, right?

[Interviewer/Host Assistant]

For sure.

[Kris Renee Hazel]

I love that. When it comes to your creative process, do you wait on something to spark or what? What moves you? And then how do you really go through that whole process? When it comes to writing, it's.

[Malcolm D. Lee]

It's a mixed bag, you know, And I would say it's changed, it's evolved over the years. You know, sometimes, you know, I wait when I'm writing something. I'm like, oh, you gotta wait till the muse hits me. Around three o' clock is when the muse is gonna hit me and play a visit and I can start, you know, really getting creative. But then it gets to a point where you realize, like, this is a job and, you know, you're always going to write the crappy draft. You have to write the crappy draft.

[Kris Renee Hazel]

That's so good.

[Malcolm D. Lee]

You have to, because you have to. You got to get to the end. Because screenwriting and I'm. And I now found out novel writing is all about rewriting, you know, you got to get to the end and then look back and say, okay, oh, that's terrible. Oh, well, that's not so bad. And that's it. And then you just make it better.

[Kris Renee Hazel]

Do you find joy in that process?

[Malcolm D. Lee]

He said, yeah, sometimes it's fantastic. Sometimes it's like I find myself laughing when things are supposed to be funny. I find myself crying when they're emotional. Yeah. So that's very joyous. But it's hard. It's a hard process to get there. Right. But the thing I have to keep reminding myself is you guys got to keep plowing forward. And even if you're gonna not write what's, you know, the, the, the. The story that you're working on, you got to write something.

[Interviewer/Host Assistant]

Yeah.

[Malcolm D. Lee]

You have to, like, you know, I, I've learned recently from a writer friend of mine, like, just the beginning of the day, start your brain dump. You know, I meditate first. I do a meditation, and then you try to. Try to clear my mind, and then go ahead and write what's. What's. What's on my brain, what's on my head. So I can just get rid of that. And then, okay, now I can get back to the page that I write. And then, like, just. And it ain't gonna be great. It might be great, it might not be. And some days are better.

[Kris Renee Hazel]

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[Interviewer/Host Assistant]

Yeah, for sure.

[Kris Renee Hazel]

I think that's with everything you talked about. For some years, there was a time where it was really slow for you. What were those moments, like, when you realized you had to play the long game and it wasn't just gonna come like you thought, like, it was coming in 1999.

[Malcolm D. Lee]

That was a long game too, you know, I mean, I knew I wanted to be a filmmaker this time. I was 19. So by the time I was 25 and in my third year of film school, I was like, this ain't working. Like, I, you know, John Singleton made Boys in the Hood by the time he was 22. Orson Welles made Citizen Kane by 25. Like, what am I doing?

[Interviewer/Host Assistant]

Wow.

[Malcolm D. Lee]

Right?

[Interviewer/Host Assistant]

Yeah.

[Malcolm D. Lee]

So it is a long. And you have to just, you know, what I've learned is you have to be a little patient. You have to have perseverance, stick to itiveness, you know, and like I said, you gotta. If something comes along, sometimes it's ridiculous. My agent will give me a script, and I'm like, they want to make this. What? What? Right. Why do they?

[Kris Renee Hazel]

Huh?

[Malcolm D. Lee]

And so I remember there was one script, there was a star that was circling it, and he was like, supposed to be a Kirk Franklin type, right? And he. And he's like, you know, he was very much kind of a taskmaster and not a good guy.

[Interviewer/Host Assistant]

Yeah.

[Malcolm D. Lee]

And he ends up in purgatory. He gets into a car accident, ends up in purgatory. And they're like, well, you can go to either heaven or hell, or you can go back to this little white town and teach these white people gospel music. And I was like, they want to make this. They want to make this. They're like, yeah. I was like, they want to make this. And so, like, you get. Those things happen, you know, and during those dry patches, it's like, you just got to try, you know, to reinvent yourself. Like, I. And during that time, that's when I started to move towards television. I'd written a spec script that didn't get sold. And then I said, okay, let me see if I can make a television show. And that kept me afoot for a bit because I was able to turn a television show and get a little bit of money. And then that's when I came up with the branding thing with Best Man Holiday.

[Interviewer/Host Assistant]

Yeah.

[Malcolm D. Lee]

And after that, I was like, I ain't saying no to nothing, but when. When a script comes in and I, I, I, I, it's. They, they want me to do it, and they. And it's going. And the train's about to leave the station. All right, give me a week or two, and I'll just go and do it. Because you can't. You can't just squander these opportunities. When you're hot, you gotta, like, you know, keep hopping on, but at the same time, you have to have a, A life balance as well.

[Kris Renee Hazel]

Right, let's talk about that.

[Malcolm D. Lee]

It's, it's, it's, it's not. It's. It's funny, you know, my wife keeps me in check very much, you know, in terms of, like, making sure that I'm present, right? And like, at the same time, she's like, yo, you got to go make that money, too. Right? And I remember it was so funny. I had just done Girls Trip, and it was. It wasn't coming out yet, but they had tremendous buzz, right? And Universal wanted to make this movie, Night School with Kevin Hart. And I was like. And they gave me a script, and I, I read it twice. I fell asleep. I'm like, I can't do this. Like, this is not a good script, right? And. But they were like, oh, it's very important to the studio, and blah, blah, blah, and they were gonna make it. And I was just like. And I talked over my wife, and she was like, well, look, you gotta do what you feel, right? And they were gonna pay me, you know, a good salary.

[Interviewer/Host Assistant]

Yeah.

[Malcolm D. Lee]

But I was like, you know, Girlship was so hard. I had a very hard year between Girls and Barbershop, and I'm not gonna do it. So I tell Will Packer, you know, I'm gonna pass. And then I hung up the phone. I was in my office, and I called my wife, and she was like. I said, yep, I passed. She's like, all that money, huh? I was like, but you said, dude. I said, I swallow my heart. I said, I want to call him back. So I called back, and I was like, yeah, yeah, yeah, yeah, yeah, yeah, I got his points. Hey, hey, call me back. I'm in.

[Kris Renee Hazel]

That is hilarious. This one, like, the saying when she says one thing, but she really means another.

[Malcolm D. Lee]

No, actually, you know, she. She just, you know, again, she keeps me check. It's like, you know, it's. It's all about checks and balances.

[Interviewer/Host Assistant]

Right.

[Malcolm D. Lee]

It's like, okay, you know, think about it. But what is it going to mean?

[Interviewer/Host Assistant]

Yeah.

[Malcolm D. Lee]

Long term.

[Interviewer/Host Assistant]

Right.

[Malcolm D. Lee]

And again, when you, when you say no. And that was the other thing, too. Having done that movie, that was very important to the studio. I got my deal at the studio. There's a whole bu. There's relationships that are very important that need to be, you know, preserved and cultivated. So it's. That's the long game.

[Interviewer/Host Assistant]

Yeah.

[Kris Renee Hazel]

Did that in turn, that deal with him. Did that in turn help you with the peacock deal for.

[Malcolm D. Lee]

I was already in a, a, a, a, A. Right. I'm sorry. Television deal with Universal Television. Universal Studios is different. But I have a deal with both of them right now. So it's. I'm one of their soldiers.

[Kris Renee Hazel]

Love that. Love it. And that's working out good for y'.

[Interviewer/Host Assistant]

All. See.

[Malcolm D. Lee]

Could be better.

[Kris Renee Hazel]

But, you know, I think that's. Let's talk about that, too. Just the state of Hollywood. You know, we had. The writers had a strike, then the actors had a strike, and then Transvo, they almost had a strike. How has that one affected you? And then when you say it could be better, I think everybody in the industry feels like that's their answer. It could be better.

[Malcolm D. Lee]

Yeah. I mean, it's. It's a tough time right now, I think, especially the past two years. And then, you know, if you even count the. The pandemic, you know, before that, that was very, very tough. A lot of people are losing jobs. The industry is shrinking, especially after the writer's track. There it is. It is the. It's a con. It's in a business that's contracting, and it. This happens. It goes through es and flows.

[Interviewer/Host Assistant]

Yes.

[Malcolm D. Lee]

And so I would say that, yeah, I mean, it's. It's. It's a tough time. And they're very much running scared. You know, they're not just saying yes to everything. They're not, you know, like, taking chances on a lot of things. They want the surefire thing. There's no such thing, by the way, but they're relying very much on intellectual property that's been successful in the past.

[Interviewer/Host Assistant]

Right.

[Malcolm D. Lee]

So that's why you see it in the Jurassic park being made, Mission Impossible being made. You know, if the, you know, they're. They fail, people are going to go to those. People are going to show up, you know, so that's what we're, we're doing that and a number of other things. Trying to do original content, trying to do, you know, you know, things like, like, you know, book adaptations to the screen and things like that too. So, you know, if it has a following, if it has a built in audience, it's easier for them to say yes.

[Interviewer/Host Assistant]

Right.

[Malcolm D. Lee]

But even that, you know, the development process, finding the right writer, finding the right producer, finding the right actors, finding the right talent, trying to find the, you know, the schedules that will line up. It's not easy.

[Kris Renee Hazel]

It's not. It's so true. Yeah, that's true. Talk about book adaptations. One of the questions we all had was, is he going to make, turn this book into a series? Because, you know, it's a truck. You're going to do three books.

[Malcolm D. Lee]

Three books.

[Kris Renee Hazel]

Three books. This is the first one of the three. How is the writing process for a script and a book different?

[Malcolm D. Lee]

I think, you know, they're similar in that you, you got to have character, you have to have story, you have to write scenes, you have to write dialogue.

[Kris Renee Hazel]

Right.

[Malcolm D. Lee]

You have to create a world. However, with a screenplay, it's a lot more contained and a lot more restrictive.

[Kris Renee Hazel]

Gotcha.

[Malcolm D. Lee]

But something great can come out of that. Right? But you have to have that classic three act structure with your inciting incident and your engine that pulls you through the second act and the denouement and the third act crisis or the end of second act crisis and then the resolution. And all these are, these are part of movie lore. You have to do these things. There are exceptions to that rule. But with a book you can kind of take your time a little bit. There's a lot more expansive storytelling that goes on where you get into these characters brains and psyches and get to know them on an intimate level. I mean, people think they know Harper, Robin and Jordan, but they don't know some of their backstory, they don't know their upbringing, they don't know where they, where they came from really. You know, they might have some idea, but, and what their, their thinking is. I mean, you can only tell what they're thinking when they tell you what they're thinking.

[Kris Renee Hazel]

Right.

[Malcolm D. Lee]

On, on television show or a movie or if they're doing voiceover. But with a book, you're able to, to, to, to get into their subconscious. You're able to also take advantage of all kinds of the sense, all, all the senses. You know, the touch, the feel, the see, the hearing, the taste. So, you know, it was. It's a. A fantastic, more expansive way of storytelling.

[Kris Renee Hazel]

Absolutely. What made you say it is time to write a book?

[Malcolm D. Lee]

I love the written word. From, you know, early on and fantasized about writing a novel.

[Kris Renee Hazel]

Really?

[Malcolm D. Lee]

Yeah. Because, you know, my screenplays have always been too long. Right. Like, you know, I remember my first draft of the Best man was like, 135 pages.

[Kris Renee Hazel]

Oh, wow.

[Interviewer/Host Assistant]

Yeah.

[Malcolm D. Lee]

And the studio was like, you got to cut this down. So I, you know, I played with fonts and stuff, and we got it down to 120. Big mistake. Once they reset that thing, they were like, oh, my God, you've got to cut this. And I was like, well, you know, so I like having the, you know, the breadth of storytelling in writing a novel. So, like, that was a beautiful process. And I got to, you know, collaborate with a co writer named Jane Allen.

[Interviewer/Host Assistant]

Yes.

[Malcolm D. Lee]

And she was established in the world. You know, I hadn't, you know, had that opportunity, and I knew I wasn't going to be able to do it myself. I do have a day job. And so, you know, I said, well, I want to try this thing and see how it could potentially work. But it was time and also time to do it with these characters. And this was kind of an easy foray or an easier foray than to create characters from whole cloth. There was a backstory that existed. There's the characters that existed. There were circumstances that people were familiar with, and even those people who aren't familiar with it, I think can still vibe with the storytelling that goes on here. So, yeah, I mean, it was time to do it. And I knew that, you know, it'll be incredibly difficult to mount another television show or movie with the storytelling that I wanted to do. And to get all those actors back together would be very difficult.

[Interviewer/Host Assistant]

Yeah.

[Malcolm D. Lee]

So I was like, well, let me. Let me give this a shot and try it. And because the fans wanted more, you know, from these characters, I thought we were done after final chapters. And I think it was mainly because of how difficult it was to wrangle everybody and different things, get the studio to agree to, you know, this budget, and it's just not easy.

[Interviewer/Host Assistant]

Yeah. Oh, man.

[Kris Renee Hazel]

So does that mean we may not get any more final chapters? Because we're left.

[Malcolm D. Lee]

We're getting it right there on the written floor. You'll have it there. And it's a very cinematic experience. You know, people are really going to. This is a deeper look at these characters than we've ever experienced before.

[Kris Renee Hazel]

I will say that we spoke about this too when you read a book and then you go watch the TV or film adaptation, the book is always better. So I'm excited to really dive in.

[Malcolm D. Lee]

Yeah. Because, you know, look, when you're reading a book, you have what you envision for, right? And there's, there's probably millions of people's interpretations of, you know, what that is. Right. But when you're watching a movie, television show, that's one person's vision, right. It's a director, the writer, maybe five people's vision of what that thing should be. And then you have a bunch of other people, like costume designers and, you know, directors of photography and, you know, production designers that are all going to, like, put their, their stamp on it as well. So it's a collaborative process, whereas the book is a singular experience, you know, for the reader and for the writer.

[Interviewer/Host Assistant]

Yeah.

[Kris Renee Hazel]

Which one do you enjoy better.

[Interviewer/Host Assistant]

If.

[Kris Renee Hazel]

You had to pick?

[Malcolm D. Lee]

I, I, I definitely enjoyed this. And I, I enjoyed the screenwriting process too. You know, when it's, when it's flowing, when it ain't, it's hard. It's like, that is so tough. This is tough. I mean, I, I like them both. I like the creative process and, you know, and especially, you know, in television and in, you know, in this case with the, with the, with the book, I had a collaborator, you know, and in the television show, we had writers. So it's always good to, like, you know, get input, and that's, that generates good, healthy discussion. Right. And that generates ideas. When you're, you know, singular and writing your own screenplay. That's great also.

[Interviewer/Host Assistant]

Right.

[Malcolm D. Lee]

And I do enjoy that, too.

[Kris Renee Hazel]

But, you know, I love that. What part of being a storyteller do you think that people don't get to see? We see the, the finished outcome. We see everything that you do on tv, but we don't really see the ins and outs. What is something that you could share with us that we really don't get to see?

[Malcolm D. Lee]

I mean, it's, it's, it's. It's a lonely process.

[Interviewer/Host Assistant]

Wow.

[Malcolm D. Lee]

It's a, it's, it is, you know, it's a singular, you know, process that requires discipline and perseverance and because every day is not going to be a banner day when you write something, you know, you mean, oh, my God, this sucks. Why? Who would care? Who even cares that about these characters? I've got, I've got to end my screenplay being like, who's gonna care? Right? And. But then you gotta say, okay, wait a minute. You wrote it for a reason. The Idea was. It was inspiration behind it. Okay, so what's good about it?

[Interviewer/Host Assistant]

Yeah.

[Malcolm D. Lee]

And so it's lonely. It's, it's, it's, it takes, it takes a lot of discipline. Because no one's just telling you like, oh, like you gotta reach this many pages in a day.

[Interviewer/Host Assistant]

Right, Right.

[Malcolm D. Lee]

I mean, you, if you're getting paid, you, you know, you do, you're, you are supposed to, like, you know, hit some deadlines, and that's a lot of pressure.

[Interviewer/Host Assistant]

Yeah.

[Malcolm D. Lee]

And, you know, it doesn't always, you know, work like that.

[Kris Renee Hazel]

When you say discipline, can you take us through a day with Malcolm D. Lee, like, what that discipline looks like? Because I'm sure some people don't even understand the discipline it takes to be a storyteller. What does that look like from your lens?

[Malcolm D. Lee]

You know, every screenplay has been different. You know, first you can't just start writing interior, you know, Max's house day. You know, setting the scene. You, you have to like, do pieces. You gotta do a lot of pre writing. You have to like, who is this character? What does he, where does he come from? Where does she come from? What does he like? What's the, what, you know, and so character first. That's where I always start with character. And just, you know, try to like, first, what's, what story are you telling? Right. And then how is, and what's the interaction going to be? Is it a, what's the tone? Is it a comedy? Is it a dramedy? Is it a drama? Is it a tragedy? You know, you have to figure out tone, character, story, plot, inciting incident, you know, what's, and what's going to keep this going? Like, why, why, why are we going to be watching?

[Interviewer/Host Assistant]

Right.

[Malcolm D. Lee]

Or, or, or reading.

[Kris Renee Hazel]

Reading.

[Interviewer/Host Assistant]

Yeah.

[Malcolm D. Lee]

You know, so there's a lot that, that goes into it, and some of it at this point, I think, is a little bit intuitive. Other, other things are just, they, they take some, some discussion or, you know, looking, reading other things, like reading other books, doing research. You know, for instance, in this book here, we have a huge section of it that takes place in Ghana.

[Interviewer/Host Assistant]

Yes.

[Malcolm D. Lee]

And, you know, I had to go there for like 10 days to like, just get myself immersed in the culture so I could speak authentically about what an American woman's experience might be. There. Somebody who's trying to open a restaurant.

[Kris Renee Hazel]

That's good. How was that experience going there?

[Malcolm D. Lee]

Great. I love, I love Ghana.

[Interviewer/Host Assistant]

Yeah.

[Malcolm D. Lee]

Yeah. You know, it's just very like traveling the world gives you a definitely a different perspective on America. And the world. Right.

[Kris Renee Hazel]

Absolutely.

[Malcolm D. Lee]

About like where we've come from, what was taken from us, what we've endured and what's still going on. So it's eye opening.

[Interviewer/Host Assistant]

Yeah.

[Kris Renee Hazel]

That's so good. When it comes to your book and you've grown with these characters, how do you approach them now as an adult? Different than the way you did as a 20 year old.

[Malcolm D. Lee]

That's interesting. I don't know, you know, look, I, I, I, I look at their commonalities and their, and their humanity and what they're going, what, what are, what did 20 year olds go through? Is all, you know, was all the experience that I had.

[Interviewer/Host Assistant]

Yeah, right.

[Malcolm D. Lee]

And then you know, what would happen if like, you know, you've got kids and you know, one of your friends was dying? Like what does that going to be? Like, what if one's having financial trouble? What is that? You know, what if this same group of friends has something, you know, that, that, that, that comes up from there from your past that is, you know, affecting your future. So these are all questions you ask and then, okay, let's put it in the holidays and see what happens. Right. And so, you know, same thing with the final chapters and with this book here you say what's life like for, you know, post divorce, you know, for somebody who's very successful, like Harper is, who is like, you know, a Pulitzer Prize winner. You know, he's financially independent. He's, you know, not and kind of flush with cash and like getting a little, you know, he's outside, you know, you know, trying to find companionship.

[Interviewer/Host Assistant]

Yeah.

[Malcolm D. Lee]

But it's not really working. What is it? What is life, life for, for, for Jordan who's finally given up the, the, the grind and gone into self care. What does that look like for a woman who's, you know, Black woman, a professional black woman who's approaching her 50s, you know, saying and, and, and what's it look like for a woman who's raising their very American child, you know, over in Accra, Ghana.

[Interviewer/Host Assistant]

Yeah.

[Malcolm D. Lee]

And trying to open a restaurant and you know, the little child is like, you know, having their own opinions and you know, becoming a teenager and dealing with that and you know, so, and then new love and rebirth and all these things that like we explore in the, in the novel and then things that, that have happened in the past that affect you now. So it's, you know, those are all themes that you just kind of like, you know, want to tackle. And then on top of it, you know, I'm a better writer now. Than I was then. I know, like, what has to happen and what the expectations are and where we're leading. But at the same time, you have to trust the material and the characters because they will tell you where it's going to go.

[Interviewer/Host Assistant]

That's good.

[Malcolm D. Lee]

It's the truth.

[Interviewer/Host Assistant]

Yeah.

[Malcolm D. Lee]

I mean, I will say, same thing happened in the best man, the first best man that happened in this book. I was going along a path. I'll give you an example. Robin was never. That's the Sanada Lathan's character. She was never coming to the wedding in the original draft.

[Kris Renee Hazel]

Really?

[Malcolm D. Lee]

That's correct. It wasn't until we were. We were doing the. I was doing the rewrite for the studio, and, you know, my producer was like, well, what if she came to the wedding? Because all was going to happen was Harper was going to get his ass beat. He was going to, you know, have his lesson learned. And he was going to be like, you know what? I need to make a stronger commitment to my relationship. He goes home, he's trying to make a meal for Robin. He's messing it up. And she's like, what happened? And he's like, here. He gave her a key to his place. It's nice, but it's not what it needed to be. Once she got there and once you understood, you must put pressure on your main character in order to see what they're going to do.

[Interviewer/Host Assistant]

Right.

[Malcolm D. Lee]

That is how you tell story. It's conflict. It's, you know, it's like, okay. So I was like, God, what's gonna happen? Right? You know, and you write it and you say, oh, this is good. This is better. She does calm him down. First. She's pissed off and she wants to leave, but he tells, I need you. Please don't leave me. And that's a real thing. That was okay. Like, she can help and she's the woman for you.

[Interviewer/Host Assistant]

Yeah, right.

[Malcolm D. Lee]

Same thing in this. But I'm not gonna tell you the ending. But I was going along a path, and Jane and I were talking, and Chelsea, our editor, was like, well, this is the way this is happening. And, you know, you really gotta think about what's what. This choice and what that choice and what he should do here and what she should do there. And I'm like, man, yeah, we gotta do that. Yeah, because that makes sense.

[Kris Renee Hazel]

That's so good. I love that. How much of your storytelling mirrors your life?

[Malcolm D. Lee]

Well, some elements, yes, but not. Not a ton. I mean, look, I'm going through, you know, things that, like, a lot of these characters going through, like, midlife metamorphosis, you know, like, what? My body is changing, like, you know.

[Interviewer/Host Assistant]

Yeah.

[Malcolm D. Lee]

You know, do it. And I do feel like. Like the best I felt in years. But at the same time, like, your body's like, you ain't. You ain't 25 no more. You ain't 40, you know, and so, like. And you see friends who, you know, we have friends who have. Were together for a long time. They got divorced. Especially around this age.

[Interviewer/Host Assistant]

Yeah.

[Malcolm D. Lee]

So there's a reflection for sure that we're seeing. You know, fortunately, unlike Harper, I am still married.

[Kris Renee Hazel]

Amen.

[Malcolm D. Lee]

And, you know, I'm. I'm as much as. As I've been on the grind and want to be on the grind and know the grind, Want to push for the grind. Like, you know, I, like Jordan has. Trying to find, like, a balance. Right. So, like, that's been, you know, healthy as well. Just trying to know, figure all those things out. And, you know, Robin being in Ghana, I get that. I get that she's like a she choosing herself. She chose herself and she chose her happiness. And she wasn't going to be, you know, supportive of a man that wasn't going to give a reciprocal reciprocity to the relationship. And so, you know, I don't know if I fantasize about being in Ghana, but when I was there, I was like, could I do this? Yeah, maybe if things keep going the way they're going here, maybe.

[Kris Renee Hazel]

Yeah, that's so true. That's so true. Readers, I've heard the books are flying off the shelves.

[Malcolm D. Lee]

Yeah, Yeah. I was just, just yesterday, my. My co writer, Jane, you know, she went. She has a ritual where she, like, she goes. She goes. When she's in New York, she gets a little hot chocolate from a certain place. She goes to a Barnes and Noble in midtown and, you know, signs books. So she did. She went and got the hot chocolate yesterday, went to Barnes and Noble, sold out.

[Interviewer/Host Assistant]

Wow.

[Malcolm D. Lee]

And I was like, word. She was like, yeah. So. And then we had the Schaumburg last night. All the books were sold out. You know, the house was packed. It's fantastic. So, like, I'm glad that people are taking to that. They care about the story and they want to know the story. Even though it's not on the big or the small screen, they can have their own small screen or big screen experience. And what everyone tells me, and I believe it, and I think it's true. It feels like a movie because you see who the actors were. You don't have to picture who they are. There's a few new characters that you might say, oh, who would that be? You know, and that's fair. Go ahead and do that.

[Interviewer/Host Assistant]

Yeah.

[Malcolm D. Lee]

And so, you know, and the social media has been. Been. Been pretty robust as well, so we're very excited.

[Kris Renee Hazel]

That's amazing. For people who are looking forward to diving in the book, what can you tell them to look forward to?

[Malcolm D. Lee]

More of the same. If you love Best man or if you even like Best man, you're going to love this book.

[Interviewer/Host Assistant]

Yeah.

[Malcolm D. Lee]

You know, it's more of the same. The humor's there. You know, there's a depth of emotion that's there. There's going to be some surprises. I definitely think people are going to laugh. They're going to talk out loud to the book. You know, they're going to, you know, get angry at characters. They're going to, you know, be sad for characters. They're going to, you know, they should. They should be, you know, when the songs get referenced in there, they should play the playlist for themselves.

[Interviewer/Host Assistant]

Yeah.

[Malcolm D. Lee]

I think there's going to be a lot to expect. They're going to have a great time. A. It's a great journey. And I'm hearing that people just like they binged final chapters. People like. I mean, they watched it like multiple times.

[Interviewer/Host Assistant]

Yes.

[Malcolm D. Lee]

And they watched it like, from like beginning to end in one setting.

[Kris Renee Hazel]

That's an avenger.

[Malcolm D. Lee]

That is what I'm hearing. People are finishing this book in two days.

[Kris Renee Hazel]

Wow.

[Malcolm D. Lee]

And this book is almost 500 pages.

[Interviewer/Host Assistant]

Oh, yeah.

[Malcolm D. Lee]

And the people are like just. It's a page turner. They're. They're just voraciously reading it.

[Kris Renee Hazel]

That's amazing. Congratulations on everything. I'm so excited. Excited for you. Much success. Before we get out of here, I do want to play a little game with you.

[Malcolm D. Lee]

Oh, playing games.

[Interviewer/Host Assistant]

Yeah. Okay.

[Kris Renee Hazel]

It's a rapid fire game. So just the first thing that comes to mind.

[Malcolm D. Lee]

Oh, boy. I'm terrible at these things. I'm an overthink.

[Kris Renee Hazel]

Some of these you would know because these are like. Some of them are direct.

[Malcolm D. Lee]

Okay.

[Kris Renee Hazel]

What is the first script you ever wrote?

[Malcolm D. Lee]

Oh, Morningside Prep.

[Kris Renee Hazel]

Favorite film that you didn't direct.

[Malcolm D. Lee]

I was gonna. I'm gonna say Parenthood.

[Kris Renee Hazel]

Okay, let's go. Okay. A book that changed your life.

[Malcolm D. Lee]

It changed my life, but I would say Native Son.

[Interviewer/Host Assistant]

Good.

[Kris Renee Hazel]

Most surreal moment in your career so far.

[Malcolm D. Lee]

I'm sure it has to do with Girls Trip. Probably shooting at Essence of Girls Trip.

[Interviewer/Host Assistant]

Yes.

[Kris Renee Hazel]

That was. Yeah, that was Crazy that y' all did that. Your favorite author.

[Malcolm D. Lee]

Probably Richard Wright.

[Interviewer/Host Assistant]

Okay.

[Kris Renee Hazel]

And favorite fictional character? Do you have a favorite in your. In your world, like a favorite character?

[Malcolm D. Lee]

Oh, boy. No, I love all these. I love all my characters. Right. Maybe Quentin. But that's very selfish to say my own character. I'm sure there are others in the movies and television that I can't think. Nobody's coming to mind. And my mind's a blank.

[Kris Renee Hazel]

All right, last one. What is bringing you the most joy right now?

[Malcolm D. Lee]

I think life in general. Like, I got a very good balance. Kids are healthy, wife's behind in my corner. I got a book coming out. I got. My career is doing well. I'd like to make a little bit more money, but other than that, I'm good.

[Kris Renee Hazel]

I love that. Malcolm, thank you so much. Thank you. Get the book. It's on the shelves right now.

[Malcolm D. Lee]

Or maybe not. They're selling out. Better get that book.

[Interviewer/Host Assistant]

Yes.

[Malcolm D. Lee]

Don't be left out the chat.

[Kris Renee Hazel]

Yeah, listen. Do not be left out the chat. Thank you so much.

[Malcolm D. Lee]

Thank you.

[Kris Renee Hazel]

This is amazing. Today on the shoes, I am wearing a Heart Alaia pump. My skirt is leopard print by Zara. T. Shirt is Christian Dior Jury Van Cleef Schiaparelli. And my earrings are also by Schiaparelli. Get into it. Wow. It feels like maybe the sweeties need to start a book club and call a meeting. Because we need to discuss this book and these characters. Make sure you guys, like, subscribe and tell a friend to tell a friend. And make sure you hit that notification button. Until next time, keep it positive. Sweeties.

[Malcolm D. Lee]

Sam.