It’s been 25 years since an aspiring filmmaker from Los Angeles would videotape an interview with Jean-Michel Basquiat, the rock star of the art world who, by age 27, would pass away from a heroin overdose. Since his death in 1988, the myth of the infamous artist continues to grow, becoming more legendary than truth. Decades later, Basquiat would be best remembered as a homeless nomad dressed in paint splattered Armani suits and crowned with dreadlocks who bedded countless women, including an unknown Madonna, and used his friendship with Andy Warhol to increase his celebrity-a grossly exaggerated tale. Despite selling countless pieces for over thousands of dollars, the Puerto Rican-Haitian, who ran away from his middle class Brooklyn home to pursue his passion for art, faced discrimination and was categorized as a wild street kid by the media. It was one of the many reasons why Hollywood director Tamra Davis decided to release her private conversations in Jean-Michel Basquiat: The Radiant Child, a loving and heartbreaking tribute to her misunderstood friend. Davis speaks exclusively with nocheLatina about her relationship with Basquiat and why people continue to be fascinated by “the radiant child.”
nocheLatina: Why was it important for you to release The Radiant Child now?
Tamra Davis: After I showed it to the Museum of Contemporary Art (MOCA), I didn’t realize that it was important footage at the time. The people at the museum were like, ‘This is very rare footage. It shouldn’t just be sitting in your drawer.’ And also, Jean-Michel is being talked about more and more each day. His star is shining brighter now. I just felt that he was misunderstood as the person I knew compared to how he was portrayed by the media. That was something I wanted to address and give him the chance to talk.
nocheLatina: Out of all the times that you spent with him, what’s one memory that has stayed with you?
Tamra Davis: Just everything we shared. It was fun hanging out with him. He had so much energy. Every moment he pushed everything to the limit, which was thrilling. It was an amazing time for me.
nocheLatina: You first spoke with his father Gerard Basquiat to get permission to use the tapes. Why was it important for you to obtain Gerard’s approval when Jean-Michel agreed to be on camera many years ago?
Tamra Davis: Even though I had the rights to the footage I shot, I didn’t have the rights to the reproduction of his artwork. To be able to make a historical documentary where I can show all of his paintings, I needed to get Gerard’s permission. Jean-Michel’s father is the head of his estate and owns all the rights to his images. He had never given approval up to this point. People participated in the film because he’s never done that before.
nocheLatina: It must have been surprising for Gerard to meet you and discover this footage that’s over 20 years old.
Tamra Davis: He just looked at me and said, ‘I never heard of you. You have this incredible material on my son. So many people would create careers out of this. I trust you.’ Of course, I explained that I wanted to make a passionate film about Jean-Michel’s art and let audiences see the person I knew, which was the same person his father knew.
nocheLatina: Do you still keep in touch with the Basquiat family?
Tamra Davis: I realized it was probably best not to because I wanted to make sure I made the film in my own way and not be too influenced, which was wonderful for all of us, but this project was made independently. The father hasn’t seen the film and he told me that he probably won‘t. It’s just too hard to see his son.
nocheLatina: How did you feel when you first saw the tapes?
Tamra Davis: I saw them originally with actor Jeffrey Wright, who was portraying Jean-Michel for the film Basquiat. It took about eight months to edit this piece. I think that’s what kept me so passionate, being in the editing room. I would revisit so many of those moments we shared and in a weird way, see the relationship I had with him come to life. You could see all the playing, teasing, and flirting. I was just happy to see all of that again.
nocheLatina: What were some of the challenges you faced in sharing this story?
Tamra Davis: For me it was to tell the truth. The only way I could do that was to judge my soul in everything that I did in making this film, from watching the footage to speaking with people Jean-Michel knew. I had to imagine the kind of film I would make for Jean-Michel to see. That’s what kept me going, just imaging what he would have thought. I think he would have wanted me to write him a love letter.
nocheLatina: Did you face any hesitation from the many people that you interviewed on revealing their experiences with Jean-Michel?
Tamra Davis: Of course, there were some people I spoke to that didn’t want to be on film, like some of the girlfriends who are friends of mine. I wanted to get as much information as possible to get the film right, but I also wanted to respect the privacy of these people.
nocheLatina: What were some of the surprising things that you discovered about Jean-Michel?
Tamra Davis: I felt that each time I did an interview I would find how exciting it was to hear their experiences with Jean-Michel. It would have been great to write a book and dedicate a chapter on each person I spoke with. Everyone just kept saying these amazing things and I viewed them as roadmaps to the next person I would speak with or the next topic the film would touch on. I made sure to listen carefully on what people said to me.
nocheLatina: I remembered in one interview where you described being in a car with Jean-Michel and he kept playing ‘More Than A Feeling’ by Boston. It was driving you crazy, but it also made you realize how passionate he was about everything that he did, not just art.
Tamra Davis: Exactly. It’s like when you asked me what was my favorite memory, it’s definitely that. He would just get into something and it would be so thrilling. Whatever it was, whether it was a food he ate, a painting, a song, or a bottle of wine, he would get so excited. He had this childlike quality when he would see or do something.
nocheLatina: The Radiant Child, in many ways, debunks a lot of the myths that people associate with Jean-Michel. Was this a conscious choice?
Tamra Davis: Definitely! I wanted to make sure people knew he wasn’t this primitive painter who wandered around the streets and lived in basements. He was ambitious, charming, and a friend, not the crazy stuff that would go down in history. It was important for me to paint an image of the person I knew.
nocheLatina: How important was it for you to touch on race?
Tamra Davis: Race was a huge issue for Jean-Michel and that was something I definitely wanted to touch upon. I knew it from just being with him, and also for his love of culture. There was a beauty in that. He could go to a French restaurant and speak French, walk to a street corner and speak Spanish, or go to a hip-hop club and be Black. He embraced culture and I think it really hurt him when people would treat him as a lesser person because of that. I think he really wanted to express that in his work.
nocheLatina: Why, in your opinion, are people still fascinated by Jean-Michel?
Tamra Davis: He was an incredibly charismatic person. If he walked into your office today, you would just follow him. It’s amazing that his spirit is so vibrant because he really did have an impact on everyone he met. I’m grateful to have known him. It’s so hard to find people like that and when you do, they’re not here for very long. He was one of those people.
nocheLatina: What do you hope audiences will get from The Radiant Child?
Tamra Davis: I tried to make this film so that it wasn’t just for people who knew Jean Michel or for people in the art world to get it only. I made this film for everyone. I made it for those who can’t get to a museum so that they, too, can have a cultural and artistic experience. I also wanted to touch on the craziness of the art world, as well as the obsession with fame and how it has both positive and destructive parts to it. In a sense, it’s also a lesson on celebrity, the media, and why you shouldn’t do drugs. I do hope that upon seeing The Radiant Child, audiences will learn Jean-Michel was Puerto Rican, yet his work speaks to all cultures. He really embraced it all.
See the trailer for Jean-Michel Basquiat: The Radiant Child here.
