In a matter of days, the film that has captivated festival-goers from Sundance to Cannes will be released in theaters here in the states.

With the backing of Tyler Perry and Oprah Winfrey, 'Precious: Based on the Novel 'Push' will bring out a subject matter rarely confronted in films: incest and illiteracy within the black community.

Perry and Winfrey will support Lionsgate's distribution of the movie through their respective motion picture companies, Harpo Films and 34th Street Films. It will be the first film affiliated with Perry's 34th Street banner.

Starring in the film are Mo'Nique, Paula Patton, Lenny Kravitz, Mariah Carey, Kimberly Russell and Sherri Shepherd. Newcomer Gabourey Sidibe is playing the starring role.

The drama tells the redemptive story of Precious Jones, a young girl in Harlem struggling to overcome tremendous obstacles and discover her own voice.

Black Voices recently caught up with Perry to discuss his involvement in the film, his plans for 'Colored Girls' and reuniting the cast of 'Why Did I Get Married?' for the sequel.

This is one of the first projects you decided to campaign for that isn't one of your own. You've also teamed up with Oprah. How did that all come about? Did you know Lee Daniels before this movie?

Tyler Perry: Never met Lee. I sent my team up to Sundance, and they found the film. I started a new film company, and I wanted to find some new filmmakers and really push them. They found a great film and brought it to me, and I was blown away by it because it was so close to my childhood and how I grew up. Mo'Nique's character was so close to my father. I watched it and called Oprah and asked her if she'd seen it. She said, "I have it in my purse, I haven't watched it." She watched it, and she's like, "Tyler, this is so great. I'm so glad you're doing this because people will get a chance to see it." I said, "More people will get a chance to see it if we did it together," and she said, "Let's do it." That's when it became Oprah Winfrey and Tyler Perry presents.

In addition to promoting the film, what's Oprah's involvement? Promoting it in her magazines?

TP: All of that, as well as pushing it through the Website and asking people to see it. It's what we bring, and I think what Oprah brings more than anything is she makes it not just a movie for black people. She makes it a movie that everybody will be invited to and feel comfortable going to. I can cover the black folks. I can cover us! It is amazing to see what she will be able to do with that, because the film is universal. There are little girls who grew up in trailer parks who went through the exact same thing who are not black. It'll all work out.

When you're introducing this film to your audience, how are you going to present it so they don't think it's your production?

TP: It's starting with a huge warning, saying, first of all, I did not write or direct the film. It is not a Tyler Perry film. It's gonna start with that warning. I know I got the grandmothers and the seniors who will go and see it right away and think it is something I've written and they'll bring all the kids to see it, but I need all of them to understand, and you can help me with this, that this is not a Tyler Perry film, and I would not suggest that they bring their children to see it. Once that is said, my next move is letting them know why I felt the need to get involved, and that is because of my own life story.

You said this movie had a profound effect on you because you saw parts of your life in it. Now that you and Oprah are behind it, is there anything you plan to change or to enhance?

TP: Nothing, not a thing. I think it's all Lee's vision and what he wanted it to be from the very beginning. The only thing I suggested and was a little adamant about was Mary J.'s song being involved, called 'I See Color.' That was still Lee's decision, so that was all Lee.

This film has had a lot of buzz since Sundance, but this is more than just a film. What do you plan to do after it has been released, since it tackles a taboo subject matter. What more can you do that beyond the movie?

TP: I think the film is just that. Oprah and I are both doing this for charity. We're not getting paid. The movie speaks for itself. There's no better way to teach a lesson or share stories or inspire and encourage than film, and there's no better way to tear a person down than film. By supporting the film, I think that's a lot.

There's a lot of new talent in this film. Mo'Nique's getting the best reviews of her career, and Mariah's getting new life in the film business regarding this. What do you make of their performances?

TP: Stunning. Mo'Nique scared the crap out of me. When she first showed up on the screen, I thought it was going to be funny. But the performance and what she embodied was just scary. How she let go in this film and how great she is in it. Mariah...you don't understand what a feat it is for Mariah Carey not to have her own lighting person. That's someone who really was committed, and it showed. Gabbie did a great job. Every one of them did.

When you're working with Lee, as filmmakers, are you learning from each other?

TP: I haven't worked with Lee on set, so I wouldn't know anything about that, but watching the film, what I've learned and understand about him is he's a true artist. He's a true art house director.

This is one of the rare films, with the exception of 'Tyler PerryDreamgirls' and 'Ray,' in the last six or seven years that has gotten worldwide attention. Part of it is because you and Oprah are involved. Without the two of you, this would be a good film, but because the cast members are not as big internationally, who knows how well it would do. What does it take for an all-black production to make a movie that appeals to everyone regardless of race?

TP: Oprah Winfrey. I think she's a key in getting that broader audience to pay attention to it, because people want to feel like they found things and it was introduced to them rather than hit them over the head. So she's inviting them.

Does this movie make you think that there's a lot more you want to do in your films?

TP: Here's the thing, I'm not the kinda guy that's gonna sit here and say, "I'm going to do all kinds of films for all kinds of black people." That's not my gift. I'm in my lane, and I'm very good in my lane. No one can beat me in my lane. But I also can use what I have and my following to champion someone else and lift them up, and that's why I'm doing this for Lee. I've never met him until this whole experience in trying to propel him forward. Then there'll be another Lee, another somebody else, whoever I can help to tell all kinds of stories. I want to tell mine the way I want to tell them, but I want to help people who want to tell theirs as well.

If this takes off financially and critically, are you going to seek out more films to promote through your production company?

TP: Certainly. I'm always looking for films, but it has to be something that resonates with me. There's so much negativity out there already. You can find negativity within two seconds of stepping out of your front door. I'm not gonna be involved in any of that. If there's something that's positive that resonates with me then, absolutely, there'll be a lot more.

'Colored Girls' is getting a lot more attention because a lot of people know that story and they're going to want to see what you do with it. How do you plan to enhance what people know? You mentioned that there are 15 characters instead of seven.

TP: Madea's playing all 15 characters. I'm kidding! That would piss some folks off. There is no Madea in the movie.

Are there any males in the movie or is it an all-female cast?

TP: There are males in the movie, and I'm walking a fine line. I'm letting Ntozake Shange's work dictate where the script goes. The movie's a lot like 'Crash' at the beginning. Nobody knows each other, they're just all crossing each other's paths until the end when they all wind up in this colored girls' center where they all go through this 12-step healing program, and it is a way to get every one of Ntozake's points into a movie. The play was all abstract. There was no finite story to it.

If you get your dream cast, how are you planning to write it so everybody gets a chance to shine?

TP: The poems themselves and the script, the way it's written, everybody shines, believe it or not. Even as I'm sitting there writing it, I'm like, "Wow, everybody has a great moment." Some moments are better than others, but everybody has a great moment.

With 'Why Did I Get Married,' you've got the whole cast back. It's your first sequel. How easy was it the second time around?

TP: It was really great. With Michael's death being so tragic, I think it was really great to have Janet in the arms of people she knew, because we really became friends on the first film. This one was really great for everyone to rally around her.

Was it in the middle of shooting?

TP: It was the first day. She was coming into Atlanta to go to work. We scrambled because Jill Scott had just had the baby, so she wasn't ready to go to work. It was so great because Jill stepped up and said, "You know what, I'll come in and go to work early so we won't have to shut down." Everybody made adjustments.

Most people think sequels are a retread of the first one, that there's nothing new being brought in.

TP: People aren't ready for this one. One of these couples is not going make it. That dynamic of relationships is so great. I was in this crazy relationship. I loved this girl so much, man. We had these ridiculous arguments, arguments I didn't understand, which gave me the first 'Why Did I Get Married?' So this one, after being in a much healthier relationship, I started exploring a lot of those situations. As long as there's a man and a woman, you've got stories all your life.

You're in a comfort zone. You've got your own studio, nobody's breathing down your neck, telling you to do this and that. When you have that power, what else can you do? Will you pursue action films? Or sci-fi films?

TP: The thing is, I can't write that stuff, but we're looking for it. If I find a great action flick, a great sci-fi flick, are you kidding me? I'm all over it! 'Alien' is my favorite movie in the world, the first two. If I find something like that, I'm going for it, something I could build a franchise on.

You're also a good actor. Your cameo in 'Star Trek' opened up a number of eyes. You said you don't want to do something that you can do yourself. Have you been approached to be in other people's films?

TP: I've had a few offers. I was gonna do 'Wolverine.' Will.i.am was in that role. I couldn't because I was doing my own work. 'Star Trek' happened to be perfect, because I only had a week, and they only needed a week.

Going back to 'Precious,' what scene struck you the most?

TP: The imagination. Whatever tragic moment she was in, because this is me as a kid, she would leave. I think that's how I got through my childhood, because that Mo'Nique character is my father, man. That's what was so uncomfortable for me and at the same time comfortable knowing that I made it through.

I know Oprah's had her demons as well. When you guys got together did you open up and talk about how it struck both of you?

TP: Yeah, we did. We had a lot of conversation about that. After we saw it, we both kind of sat still and couldn't say anything for a minute on the phone, just quiet, because we both... yeah, it was pretty powerful.

What do you think is going to happen after November? After the movie is released how much are you going to promote it and keep people involved?

TP: The way Lionsgate's rolling this film out, I don't know anything about this limited release. They're starting it in just a few cities, New York and L.A. first. That whole art house thing, I don't know anything about that. My whole thing is tell them it's coming, because if I send an e-mail saying it's out, my folks is going be looking for it.

That's the same thing that happened with 'Dreamgirls.'

TP: Exactly. That's my problem with it. Listen, I've been arguing about this from day one, but there's some sort of plan so I'm just going along with the plan.

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Precious Movie Premiere

Singer Mary J. Blige arrives at the premiere of the film "Precious: Based on the Novel 'Push' by Sapphire" at AFI Fest 2009 in Los Angeles, Sunday, Nov. 1, 2009. (AP Photo/Chris Pizzello)

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Black Filmmakers

Spike Lee
Besides Woody Allen, no other filmmaker has had more films on the big screen in the last 20 years than Lee. From 'She's Gotta Have It' to 'Jungle Fever' to the critically acclaimed and Oscar-nominated 'Do The Right Thing,' Lee's production company, 40 Acres & A Mule Filmworks, has produced more than 35 films since 1983. In 2008, the Atlanta native released his latest film, 'Miracle at St. Anna,' a story about blacks fighting in WWII that stars Derek Luke and Michael Ealy.


Oscar Micheaux
As the pioneer of African American filmmakers, this Metropolis, Illinois, native revolutionized the film industry when he formed his own movie production company and, in 1919, became the first African American to make a film. He wrote, directed and produced the silent motion picture 'The Homesteader' and then introduced the film world to Paul Robeson in 'Body and Soul.' In 1986, the Directors Guild of America honored Micheaux with a Golden Jubilee Special Award, and today the Oscar Micheaux Award is presented each year by the Producers Guild.


Robert Townsend
Primarily known as a comedian, this Chicago native established himself when he wrote, directed, produced and starred in the comedy 'Hollywood Shuffle,' his 1987 film about struggling black actors. He also created and produced the CableACE award–winning 'Robert Townsend and His Partners in Crime' for HBO. His best film to date is the 1991 musical 'The Five Heartbeats.' Townsend recently directed the documentary 'Why We Laugh,' a story on black comedians and their impact in America.


Bill Duke
Known for his imposing 6-foot-6-inch figure and action films such as 1987's 'Predator,' the Poughkeepsie, New York, native began directing feature-length films in the 1990s with the crime dramas 'A Rage in Harlem,' 'Deep Cover' and 'Hoodlum.' In 2007, Duke directed 'Cover,' which starred Vivica A. Fox, and most recently 'Not Easily Broken,' which is based on a T.D Jakes novel and stars Morris Chestnut and Taraji P. Henson.


Ossie Davis
As a pioneer in the film business and a legend in the African American community, Davis was an actor, director, poet, playwright, writer and social activist whose career spanned nearly 50 years. Davis directed numerous films during the blaxploitation era, including 1970's 'Cotton Comes to Harlem' and 1973's 'Gordon's War.' Along with wife Ruby Dee, the Georgia native starred in many movies, including several of director Spike Lee's films such as 'Do The Right Thing,' 'Jungle Fever' and 'She Hate Me.'


Melvin Van Peebles
This Chicago actor, director, screenwriter, playwright, novelist and composer is most famously known for his contribution to the blaxploitation era with the independently financed and critically acclaimed film 'Sweet Sweetback's Baadasssss Song.' The 1971 film was written, produced, scored, directed by and starred Van Peebles and tells the story of a deprived African American man on his escape from the white authority. The father of actor/ director Mario, in 2008, Melvin completed the film 'Confessionsofa Ex-Doofus-ItchyFooted Mutha,' which played at various film festivals.





Julie Dash
In 1991, this Queens, New York, native's film 'Daughters of the Dust,' which tells the story of three generations of Gullah women at the turn of the 20th century, was the first full-length film with general theatrical release in the United States by an African American woman. In 2004, the film was included in the National Film Registry.


F. Gary Gray
Having directed more than 30 music videos for artists such as Ice Cube, Queen Latifah, TLC, Dr. Dre and Mary J. Blige, and winning several awards for his work, the New York native moved into the film world with the cult favorite 'Friday,' starring Ice Cube and Chris Tucker. He then followed that film with another fan favorite, 'Set It Off,' with Queen Latifah, Vivica A. Fox and Jada Pinkett Smith, before moving on to big budgeted films such as 'The Negotiator,' 'The Italian Job' and 'Be Cool.' His next feature is slated to be 'Marvin: The Life Story of Marvin Gaye.'


Forest Whitaker
An Academy Award winner for his performance as Ugandan dictator Idi Amin in the 2006 film 'The Last King of Scotland', the Longview, Texas, native has directed many films, including the fan favorite 1995's 'Waiting to Exhale,' based on the Terry McMillan novel of the same name. Other directorial films from Whitaker include 'Hope Floats' and 'First Daughter.'


Lee Daniels
Beginning his career in entertainment as a casting director and manager, the Philadelphia native worked on projects such as 'Under the Cherry Moon' and 'Purple Rain,' both of which starred Prince, before hitting the jackpot with his production of 'Monster's Ball' in 2001. That film garnered Halle Berry a best actress Oscar, making her the first African American woman to do so. In 2006, Daniels made his directorial debut with 'Shadowboxer,' which starred Oscar winners Cuba Gooding, Jr., and Helen Mirren. Just recently, in January 2009, his latest directing gig, 'Push,' won three awards at the Sundance Film Festival, including best film.