Inspirational Women In Hollywood: How Tina Andrews Is Helping To Shake Up The Entertainment Industry

…The more voices we have from women and women of color, the better. We are headed in a good direction now, so I am hoping to experience more of the narratives from female directors, writers and producers out there.

As a part of our series about Inspirational Women In Hollywood, I had the distinct pleasure of interviewing Tina Andrews.

Tina Andrews, is an American actress, television producer, screenwriter, author and playwright. She played Valerie Grant in the NBC soap opera series Days of Our Lives from 1975 until 1977. Andrews also wrote the TV mini-series, Sally Hemings: An American Scandal, which was the first time that the relationship between Thomas Jefferson and Sally Hemings had been explored on TV, and with Hemings portrayed as a fully realized woman. In 2001, Andrews was the first African American to win the Writers Guild of America award for Original Long Form, for her script for this mini-series.

Thank you so much for doing this with us! Our readers would love to get to know you a bit better. Can you tell us the story of how you grew up?

I am from Chicago. I grew up in a middle-class area on the southside with my younger brother, Donald. My parents were beloved in the neighborhood. I watched them work hard and give Donald and me all that life has to offer — love, family and Christian values, education, a sense of community, fun & laughter, and a mid-western work ethic. Oh, we had some great debates in the Andrews living room. Voicing opinions were encouraged. There was never a question of “whether” we were going to college. It was “which” college we were going to. Achievement was looked upon with great pride.

My father was well-read. I later inherited his wonderful library which became the cornerstone of my own now consisting of 3,000+ books. Daddy had been the first African American to rise to Produce Manager at a chain of grocery stores back then called Hillman’s. He later became the first African-American to become a manager at what was then Illinois Bell Telephone. He bought a stock that split — thus money was never a problem in the household. He also sold four blueprints for houses he designed (like the one we lived in) to a major Contractor. Daddy was able to pay off the house he built for us in 11 years versus 30. I remember the big mortgage-burning party we had. What fun.

My mom could see how dramatic I was (and still am). She encouraged me into showbusiness when she saw I was headed toward dancing and acting. Dad encouraged me as a writer. He always said, “Have a fallback profession in case showbusiness doesn’t work out.” Since I excelled in History, he suggested I think about becoming a history professor as my plan “B.” Little did he know I would use both my love for history and my ability to write to become a “Historical Fiction” author and screenwriter in Hollywood.

Can you share a story with us about what brought you to this specific career path?

I had become disenchanted with the roles I was receiving in Hollywood as an actress. I had done “Roots” and appeared on “Days Of Our Lives” in a groundbreaking controversial role as one-half of daytime television’s first interracial couple. But then I was being offered too many undignified roles than I wanted to portray. I called daddy very upset. He said, “We sent you to NYU, you write plays. Why are you not writing the dignified, empowering roles that you would want to play?” I was ready to hear him that day, and I started working on a story that had been on my mind for some time — the life of 50’s doo-wop star Frankie Lymon. Years later, it morphed into what became my first produced film “Why Do Fools Fall In Love” for Warner Bros.

Can you tell us the most interesting story that happened to you since you began your career?

I had researched and written a screenplay on Sally Hemings, the enslaved woman in President Thomas Jefferson’s life. But no one wanted to believe Jefferson had any relationship with one of his slaves let alone have children with her. No one wanted to produce it. So it became my most provocative writing sample which almost everyone in Hollywood read at one time or another. I went on to write other projects. Then in 1998–15 years later — on a Friday, while I had friends over to play cards, an announcement comes on TV saying “DNA proves Thomas Jefferson had at least one child with Sally Hemings.” I was in shock. By Monday morning every studio or network in town called me directly or my agents and said “Where is that script on Sally Hemings?” I had my choice of places to sell it — and CBS gave me four hours. It was fast-tracked after lying dormant for years.

Can you share a story about the funniest mistake you made when you were first starting? Can you tell us what lesson you learned from that?

People used to love to watch me dance. I was a good dancer. It was my first love. I had been in the National company of “Hello, Dolly” with Pearl Bailey and Cab Calloway. So here I was at a disco called “Carlos & Charlie’s” on Sunset Blvd. I’m dancing to Donna Summer songs. A guy approaches me and says, “Hey, you dance like you can sing. Can you sing disco?” I was always told to say “Yes” to any question about ability. I said “Yeah. I can.” He gives me his card and says, come to this address. I think I could fashion you into a disco singer.” I look at the card. It’s Giorgio Moroder — Donna Summer’s producer. Of course, I go, he gets me into the studio, and no matter what he did — vocorder, echo, whatever — I still sounded like Donald Duck. I can’t sing. Dance, yes, sing Not a note.

What did I learn? Tell the truth. Don’t waste people’s time. Years later I became friends with Donna while working on a script about her life before she died. I told her what happened and we had a good laugh about it. She said “Too bad you couldn’t sing. Georgio would’ve done great with you.

Oh well…

None of us are able to achieve success without some help along the way. Is there a particular person who you are grateful towards who helped get you to where you are? Can you share a story about that?

Alex Haley. I had been in “Roots” and met and hung out with Alex back then. Now it’s 1990, and I’m broke, working in some place as a receptionist AFTER having become a ‘successful’ actress, and I’m praying my phones won’t be turned off. I’d use their postage machine to send out scripts to potential producers and studios, and months before had sent my Sally Hemings script to Alex.

Lo and behold, one day I get a message on my home answering machine from Alex, saying “If this is the same Tina Andrews who was in Roots, gosh, when did you become such a good writer? Call me.” He left his number. I call and indeed Alex was interested in me working on a PBS project with him called Alex Haley Presents: Great Men of African Descent. He wanted to send me a ticket to fly down to his home in Tennessee to collaborate with him. And he’d pay me. I quit my job the next day and by Friday was working with Alex. His recommendation got me my first deal at Columbia Pictures as a screenwriter. He died before we could finish the PBS project, but his spirit still hovers over me in all my endeavors now. He really paved the way.

You have been blessed with great success in a career path that can be challenging. Do you have any words of advice for others who may want to embark on this career path, but seem daunted by the prospect of failure?

Frankly, you must fail to learn. My advice is to just get out there and try — and keep trying. Fall off the horse, get injured but don’t linger down there. Dust yourself off and get back up on the horse. There is no success without the pain of disappointment, letdown or catastrophe. Accept that there will be flops and people who will hate what you do. But you have to keep at it. Mine is a career of ups and downs. At one point I thought my middle name was “No.” But now, all those projects people were taking a ‘wait-and-see’ approach to, or flat out said “no” to, are all in some stage of development at studios. Sir Andrew Barton once wrote: “Fight on my men. I am hurt, but I am not slain; I’ll lay me down and bleed a-while, And then I’ll rise and fight again”.

Let that be your mantra.

What drives you to get up every day and work in TV and Film? What change do you want to see in the industry going forward?

I can’t wait for the day when I get to write “The End.” That’s what gets me up every morning at 5 a.m., and sits me down at the computer. I’m always looking forward to finishing and typing “The End” on a project. Along the way, I treat myself like a puppy. I must at least write three pages a day. Many times it’s much more, but I must do three pages. Then I allow myself to shop for shoes or go to my favorite Thai place, or hang out with friends — only after I’ve done the work.

In terms of changes to the industry — the more voices we have from women and women of color, the better. We are headed in a good direction now, so I am hoping to experience more of the narratives from female directors, writers and producers out there.

You have such impressive work. What are some of the most interesting or exciting projects you are working on now? Where do you see yourself heading from here?

My novel Charlotte Sophia: Myth, Madness and the Moor is being developed into a series for HBO Max. I am Creator, Executive Producer and writer. The book chronicles the life of Queen Charlotte of Great Britain, who was a woman of color married to King George III. No one knew she was a Moor because she wore heavy white Elizabethan-type make-up, and the court was not about to have it revealed she was ethnic. I will be directing episodes, so I see myself directing a feature film from here based on another of the books I’m prepping.

We are very interested in looking at diversity in the entertainment industry. Can you share three reasons with our readers why you think it’s important to have diversity represented in film and television? How can that potentially affect our culture and our youth growing up today?

You think very little of yourself when you do not see yourself represented — particularly in film and on television. You won’t be as encouraged to do the thing not witnessed. To know that there is a place for you because you are inspired by what and who you see. If all you saw on a regular basis is the arrest of black men (many not even criminals) or police beatings, and the images of drug dealers and life in inner-cities, you will start to believe that is who you are and not the possibilities.

Growing up, I didn’t even consider being an actress on TV because there were not many black women I saw that I identified with. There was Diahann Carroll on “Julia” and Nichelle Nichols on “Star Trek” in terms of series, and various guest actors on shows, but it wasn’t until the 70s that there was an explosion of black characters and I thought maybe there could be a place for me in Hollywood. Yes, many were on comedies, but still black folks were more visible than before.

What are your “5 things I wish someone told me when I first started” and why? Please share a story or example for each.

1. Learn to do more than one thing in the business. I started out as a dancer. I then became an actress, and when I learned I needed power to have the stories I wanted out there, I became a writer, a producer and a director. I’m looking for longevity now. When I first started I just wanted to work.
2. When you become famous, don’t assume you’ll stay famous. It is an evil, tough, debilitating business with years of no joy sometimes. But you must keep working at your craft, keep growing and developing your brand, and staying in prayer.
3. Take time off to really smell the roses. Okay, I am not one who knows how to “vacate when I vacation.” I always choose places to go that I want to set my books or film/TV projects in. That’s why I love London and Paris so much. But I have a time-share in Maui and I just veg-out there. I flop down on the sand, drink something with rum and an umbrella in it, and let my mind stay still. I do that more and more these days.
4. Honor your friends. I have four amazing friends with whom I speak or text almost every day. Frankly, I don’t know what I’d do without them. They keep me positive and hopeful, and they give it to me straight. No sugar-coating. You need people in your life who are honest with you. They also push me to be as good as I can be.
5. Do work that you would do even if you weren’t being paid for it. I love what I do. I write because God compels me to say what’s on my mind and heart. When I was younger, it was all about finding, getting and keeping a job to pay my bills…which is what most people do — and that’s cool. But I found that in working 9 to 5 for someone else, even though I was paying my bills, I was woefully unhappy. It wasn’t until the Alex Haley gig that I stepped out on faith and told myself “I can do this — and it will lead to the career I want.” I quit my regular job and have not looked back. There is a line from the film Field of Dreams — “If you build it, they will come.”

Can you share with our readers any selfcare routines, practices or treatments that you do to help your body, mind or heart to thrive? Please share a story for each one if you can.

I meditate daily — sometimes twice a day. I have to center myself. My mind has, in the past, had a tendency to go to a dark place. So I condition it by sitting quietly and thanking God for the blessings. I’ve learned to order myself emotionally by “staying-in-the-middle.” Not get too excited nor disappointed by life events. To choose happiness. I also make some pretty great face products I use. My refrigerator is filled with my homemade cucumber toners, honey, royal jelly and olive oil creams potions I also walk daily — very early in the morning. No matter where I am, I love my meditational walks. Central Park when I am in New York, Runyon Canyon in LA.

Can you please give us your favorite “Life Lesson Quote”? Can you share how that was relevant to you in your life?

“Be yourself. Do yourself. Even if you don’t see anyone doing what you do or how you see yourself, just be you.”

When I started my career as a screenwriter I wanted to write stories from our past. Period pieces. Costume and Historical dramas. Everyone said, “No. Don’t. They don’t sell.” All of them — my agents, managers, studio executives, wanted me to write comedies because I have a humorous personality. They kept saying, “Write a black Rom-Com — like so-and-so.” I wasn’t interested in that. Yes, my first produced film was funny, but it didn’t start out that way. Now, it completely cracks me up that I am known as “The Historical Griot” in Hollywood. It took a long time for Hollywood to catch up with my dream to tell stories from back in the day..

You are a person of huge influence. If you could inspire a movement that would bring the most amount of good to the most amount of people, what would that be?

Universal health care and housing for the most disadvantaged and underprivileged amongst us. People need to know they can get their medicines — and the homeless crisis is at epidemic proportions.

Is there a person in the world whom you would love to have lunch with, and why? Maybe we can tag them and see what happens!

Aaron Sorkin. He does exactly what I love. I thought “The Trial of the Chicago 7” was fabulous. He started as a playwright — which is how I started; and he is a screenwriter, a TV writer, and a director/producer. He writes what he wants and develops it. Now I realize that as a woman of color it takes me longer, but I would love to know what his process is, to see if that part of his career and mine are at all similar. I met him backstage after we both won our WGA awards in 2001.

Thank you for these fantastic insights. We wish you only continued success in your great work!