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Denzel Washington is proud of his children. Why wouldn’t he be? His youngest son, Malcolm Washington, just premiered his directorial debut with an adaptation of August Wilson’s play, “The Piano Lesson,” which he co-wrote with Virgil Williams. In addition, the film stars his Denzel’s eldest son, John David Washington, with his sister Katia serving as executive producer and Malcolm’s twin sister Olivia, also having a role in the movie.
Washington has been designated the custodian of Wilson’s legacy by Constanza Romero, and with it, he has an overall deal with Netflix to produce all of Wilson’s 10-play Pittsburgh Cycle, also known as “The Century Cycle.” Set across several decades of the 20th century, it chronicles the experience and heritage of the African American community.
His longtime producing partner, Todd Black, has collaborated with him for years on various projects, including the first three Wilson adaptations: “Fences” (2016), “Ma Rainey’s Black Bottom” (2020), and now “The Piano Lesson.”
“Fences” earned Black his first Oscar nom for best picture, alongside Washington, who became the first Black person in history to be nominated for producing and acting in the same year.
“The Piano Lesson,” which also stars Samuel L. Jackson, Danielle Deadwyler, Ray Fisher, Corey Hawkins and Michael Potts, is the most cinematic of three Wilson adaptations to date. Denzel Washington wants all of the Wilson films to feel unique. “Each one is different, will be different,” he says.
Todd Black
Black and Washington tell Variety exclusively that the next adaptation from the Wilson catalog will be “Joe Turner’s Come and Gone.”
“We haven’t talked about anybody involved in that yet, though,” Washington says before chuckling, “Well…we haven’t talked to you guys about it.”
Does that mean they are close to casting the main roles? The film is set in the second decade of the 20th century and tells the story of a few freed former enslaved African Americans in the North, dealing with migration and discrimination.
“Joe Turner” opened on Broadway in 1988, directed by Lloyd Richards with a cast including Delroy Lindo and Angela Bassett. A Broadway revival, directed by Bartlett Sher, opened at the Belasco Theatre in 2009 with Chad L. Coleman and Danai Gurira.
Variety sat down with Black and Washington to discuss their longstanding partnership, their families growing up together, and what to expect from Washington’s upcoming role in Ridley Scott’s highly anticipated “Gladiator 2.”
Ray Fisher, left, writer/director Malcolm Washington and John David Washington on the set of “The Piano Lesson”
Katia Washington/Netflix
How did the partnership with Todd Black and Denzel Washington begin?
Todd Black: It all started in the Valley back in July 1989. I was a baby producer, and I really wanted to meet Denzel. At that time, I had never seen an actor like him — someone who didn’t just act but lived the role. So, I kept bugging his agent, Ed Limato, to arrange a meeting. Finally, Ed gave me an hour with Denzel.
And how did that first meeting go?
Black: I was nervous but more excited than anything else. We sat down for lunch, and Denzel asked me, “Why am I here?” I told him, “Because I want to work with you.” He was kind, and he said something that’s always stuck with me: “When you read a script that makes your heart race and keeps you up all night, call me.” That advice stuck with me through all my movies.
Denzel, can you talk about your son Malcolm and his journey as a filmmaker?
Washington: I’m extremely proud of Malcolm. He went to AFI, one of the top film schools, and graduated number one in his class. I think he did anyway, and that’s what I’ve been telling everybody. From early on, I knew he had a vision. I’ve learned through my son the difference between making a film and being a filmmaker. I’ve directed four films. I had Todd to lean on, but I didn’t know what to do necessarily. Malcolm has studied filmmaking. He’s an academic. When he was younger, he would read my scripts and ask insightful questions. His mother is a huge film buff, so he — like all my kids — grew up watching movies. He always had a desire to make films, and now he’s doing it.
Todd, you’ve known Malcolm since he was young. What’s it like seeing him follow in his father’s footsteps?
Black: I’ve known Malcolm since he was in Pauletta’s stomach. I remember when Malcolm and his siblings came to my office when they were younger, maybe not even teenagers yet; Malcolm was the one asking all the questions about movies. He’s always had a love for film. Seeing him grow into the visionary filmmaker he is today is amazing. He’s worked hard, studied filmmaking at the highest level, and now he’s creating incredible work.
Cinephiles say you have a “signature” acting move, the single tear drop, like the one you showed in 1989’s “Glory.”
Washington: That’s not a “signature move.” Signature move sounds like a go-to. In fact, I teared because the whip was wet and it actually hurt. It was a real tear. That’s a true story. It was felt, and if you go back and look, they kept wetting everything down, and the felt was wet. And it was hitting me in the back, and it hurt.
Black: How many takes did you do?
Washington: I don’t even know, or how he cut it to be honest with you. He cut back and forth so many times, there’s no telling what takes it is. All I know It hurt — I wasn’t crying but it was a real tear.
How did you land on Danielle Deadwyler and Ray Fisher?
Washington: Bernice is such a complex character, and Danielle is just an extraordinary actress and person.
Black: With Ray, If you saw the stage play, he was great there. We had the advantage of seeing him on stage. We had trouble getting him because he had other commitments. We just thank God for his agents. They were really helpful. We just stayed on it, because every time we talked about other actors that we weren’t going to get, they didn’t come close. I remember this conversation with Denzel and Malcolm. We were like, “That’s a good actor, but they’re not Ray.” It comes with time when an actor meets a role, or a role meets an actor, whatever they call it, and that’s what that is for Ray.
You must feel immense pride seeing your children thrive in filmmaking and acting.
Washington: Of course, as a parent, the dream is to see your children doing what they love and succeeding at it. And they’re doing fantastic. My daughter is working in the West End in London, and my sons and daughter Katia are making waves in film. I’m proud of them, not just for their success but for the fact that they’re doing it as a close-knit family, supporting each other. So, this is the greatest gift. That they’re healthy, still humble. And working hard. And love each other, a tight unit. I’ll smack them upside the head if they’re not.
Denzel, I’ve got to ask you about your involvement in “Gladiator 2.” Fans were nervous when they first heard the announcement, but knowing you’re a part of it has brought hope. What can you tell us?
Washington: Huge! Ridiculously big! [Long pause with a smile]
And… Paul Mescal and Pedro Pascal? Are they good?
Washington: Not good. Great. Both of them. It’s a hard act to follow, and Paul pulled it off. He’s his own gladiator. I didn’t have to do anything but this [sips water with pinky up]. That was my job. Just twirl the glass, twirl the goblet, and hold whatever I had in my other hand. And make sure I don’t step on my gown. A new trailer [for “Gladiator 2”] comes out on the 23rd. It’s epic.
Denzel, I observed the love your children have for Pauletta, your wife, and we can only hope that our kids can love us that much, even well into adulthood. Can you speak to that?
Washington: [Laughing] Listen, I know if there’s a choice between their mother and I… “Dad, thanks… see ya!” You can’t win that one, and you never will. And I get it.
Black: He’s just not as good a cook as she is.
Washington: But seriously… That’s the foundation for all of my children. The actors, the directors, the producers, and the other one in London. Their mother has laid a foundation for them. She’s reliable in every syllable and letter of that word. She’s consistent. She’s done everything that a woman or a man could do. She’s been amazing.
What are some of the key lessons you’ve learned from each other?
Black: I mean…Denzel is always generous with his knowledge, and his loyalty in this business is rare. We know what each other likes, and we have similar tastes when it comes to films. It’s more than just business — it’s fun. We laugh, we argue sometimes, but it’s always about making the best movie possible. Denzel has made me a better producer by pushing me to focus on detail and simplicity. We develop scripts together, reading them out loud and going through every line. That process has shaped how I work with other filmmakers too.
Washington: We are pros, and we are friends. And that’s saying a lot in this business. He is the best at what he does, and he’s my friend. Can’t ask for more.
