Visual History with Stan Lathan
Interviewed by:Oz Scott
While at WGBH-TV, Lathan directed Say Brother, and was assistant director on On Being Black, working with directors Rick Edelstein and Fielder Cook. Moving to New York City in 1970, he worked at WNET, directing Black Journal, Sesame Street and Soul! He made his transition to Hollywood and to episodic television in 1974 when executive producer Aaron Ruben hired Lathan to direct Sanford and Son. He then began directing one-hour episodic dramas, including Eight Is Enough, The Waltons, Remington Steele and Hill Street Blues. Lathan has also directed a concert feature, Save the Children (1973); movies for television such as The Trial of the Moke (1978), Go Tell It on the Mountain (1984) and Uncle Tom’s Cabin (1987); and feature films, including Amazing Grace (1974) and Beat Street (1984). However, he is best known for his work on the comedy series Martin, Moesha, The Steve Harvey Show, The Soul Man and Real Husbands of Hollywood; the variety programs Def Comedy Jam and Def Poetry Jam; and the stand-up comedy specials Dave Chappelle: Killin’ Them Softly (2000), Dave Chappelle: For What It’s Worth (2004), and Cedric the Entertainer: Taking You Higher (2007).
For his directorial efforts, Lathan has received four NAACP nominations and three CableACE Awards nominations. Stan Lathan has been a member of the Guild since 1972.
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Highlights


Director Stan Lathan opens up about working on the set of Sanford and Son at a time when there were few African American directors in the industry and the impact it had on the show’s crew.
Stan Lathan / Highlight 1
Director Stan Lathan opens up about working on the set of Sanford and Son at a time when there were few African American directors in the industry and the impact it had on the show’s crew.


Lathan talks about the unique staging of Def Comedy Jam, which took advantage of the excitement of the audience at the venue to create a more entertaining show for viewers watching at home.
Stan Lathan / Highlight 2
Lathan talks about the unique staging of Def Comedy Jam, which took advantage of the excitement of the audience at the venue to create a more entertaining show for viewers watching at home.


Lathan tells how directing a spontaneous show like Sesame Street trained him to focus on the next shot, allowing him to anticipate how it would fit into a visual whole.
Stan Lathan / Highlight 3
Lathan tells how directing a spontaneous show like Sesame Street trained him to focus on the next shot, allowing him to anticipate how it would fit into a visual whole.