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A Behind-the-Scenes Look at the Filming of ‘Get Hard’

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Kevin Hart in "Get Hard"

Kevin Hart in “Get Hard”

 

By Dwight Brown
NNPA Film Critic

NEW ORLEANS (NNPA) – The comedy Get Hard, scheduled for release March 27, co-stars Will Ferrell and Kevin Hart. The shoot took place in New Orleans. A visit to the film’s production studios in there found Ferrell and Hart deep in their craft of making comedy mountains out of molehills.

The plot centers on a millionaire hedge fund manager James (Will Ferrell) who has been convicted of a crime and is being sent to prison. Scared to death, he looks for someone, his car detail guy Darnell (Kevin Hart), to show him the ropes. To his utter misjudgment, James pays his teacher for a crash course not knowing that his would-be mentor has never spent a day in prison and is as middle class as the Brady Bunch.

In real life, the two actors have had two different experiences dealing with the law. Hart bluntly says, with not a hint of embarrassment, and not using it as a badge of street cred, “I’ve been to jail. I was in jail three times: DUI, parking tickets…” On the other hand Farrell has not been behind bars. After a run-in with campus police during college, he has been a model citizen: “I was scared straight.”

On location in New Orleans, during a scene in which Darnell prepares James to withstand a prison riot, Hart and Farrell ham it up, polishing shtick and punching up lines. As the actors improvise, director Etan Cohen gives them free reign.

Shooting day 39 of a 44-day shoot Darnell (Hart) tries to teach James (Ferrell) how to survive in prison during a riot. Wearing what looks like a fireman’s uniform, with a megaphone in his mouth, Darnell, cues the extras who will stage a prison riot. He bellows, “We are about to simulate a prison riot. … The key to surviving is to not panic…” James, “Do I get body armor?” Darnell, “No! We do not have that kind of time!” James turns pallid; his facial expressions say very loudly, “I’m scared to death.”  Darnell warns: “Do not freak out!”

When the camera stops for a break, Farrell and Hart brainstorm about how they can pump up the scene. The two comic actors mine the material and the moment like pros.

Always looking for a laugh, and setting the crew at ease, Hart makes a joke, a

Derogatory – but funny – remark about the lighting. Offstage, a camerawoman deadpans: “Rule number one: Never insult the one who lights your face!” The whole set erupts in laughter.

When producer Chris Henchy is asked how you manage comedic talents, he has a simple answer: “You don’t. You let them run free. Let them do what they do best.”

Sitting offset with earphones and a monitor and watching the making of the prison riot scene with Hart and Farrell in full comic spasm, you see how a film breaks down. You see the mechanics of building a movie, scene-by-scene, take-by-take, brick-by-brick.

Hart has his own cadence, a rhythm to his speech pattern that is distinctly his. He will be known for years for his antics and high, heavily caffeinated-like persona. But his vocal pattern is classic, too.

The title Get Hard, with its funny connotation, was a calculated marketing/creative strategy. Farrell and his producing partner Chris Henchy take the credit. They and the writers Jay Martel and Ian Roberts and director/co-writer Etan Cohen created the storyline for the comedy with echoes of Trading Places and 48 Hours, humorous movies that defied racial stereotypes.

The film shot for three days in the 9th Ward, where Hurricane Katrina did most of its damage on the six-feet below sea level neighborhood. In this heavily African American district, the locals, who turned out to watch the filming, knew Hart and rapper TI, who plays Hart’s brother. But Ferrell had his fans, too. Hart: “They didn’t call him Will, they called him ‘Ricky Bobby,’” the character Ferrell played in the popular comedy Talladega Nights: The Ballad of Ricky Bobby has left an indelible impression on the American psyche.

Will Ferrell patterned his hedge fund character on the stiffest White person you are ever going to meet. “Perfect posture,” says Ferrell. “I patterned him on a snobby Harvard guy.” Hart has his character all figured out, too. “Darnell is basically a good guy but he‘s the kind of guy that always loses. He wants to do the right thing. This is the one chance that he can get a do-over,” he says.

Hart swears he stays focused and doesn’t burn the midnight oil when he’s filming. When asked if they have favorite places to eat out in NOLA, Hart deadpans, “Brothers Chicken, you can get it at a gas station. I don’t want to see it being cooked, but I’ll eat it.”  Ferrell, being true to his character, recommends Willy Mae’s Scotch House (2401 St Ann St. New Orleans), a lauded family-owned spot since 1957, famous for fried chicken and other soul food in a humble setting; and the highbrow Le Petite Grocery (4238 Magazine St.), where the menu offerings run from Turtle Bolognese to Gulf Shrimp & Grits.

Hart and Ferrell have never worked together before. Ferrell is astounded that Hart is so media savvy. “He sends something out in the morning and he has 300,000 likes by the afternoon,” says Ferrell.  “And, he reads everyone’s comment.”

Hart wades into ironic humor when talking about the film’s targeted demographics. “Will’s Black fans will come.  My White fans will come,” he says laughing. “This is a universal movie.  Everyone the world over should see the film. Let’s make a comedy that everyone wants to see.”

Audiences will decide on March 27. And after seeing the film they may just be tempted to take a trip down to NOLA to see where Hart and Farrell filmed the movie and visit their favorite restaurants.

Visit NNPA Film Critic Dwight Brown at DwightBrownInk.com.

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Business

From Historic Memories to New Possibilities: Oakland Celebrates Coliseum 60

More than 75 people gathered at Youth UpRising in East Oakland on Friday, September 18, for Coliseum 60, an event marking six decades of sports, entertainment, employment, and community memories at the Oakland-Alameda County Coliseum Complex. Held 60 years to the day after the Coliseum first opened, the celebration featured cultural performances and a mini-documentary highlighting its history. Speakers reflected on the venue’s significant role in the community and its future possibilities. Read more to learn about the individuals and stories honored during this special event.

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Quixote Atkins of VillageGIVE moderates a panel discussion at the Coliseum 60 celebration at Youth UpRising featuring Keith Brown, a member of IATSE Local 107; author, historian and former Black Panther Party member Tareka Lewis; and African American Sports and Entertainment Group President Ray Bobbitt.

More than 75 people gathered at Youth UpRising in East Oakland on Friday, Sept. 18, for Coliseum 60, a celebration honoring six decades of sports, entertainment, employment and community memories connected to the Oakland-Alameda County Coliseum Complex.

Held 60 years to the day after the Coliseum opened, the event carried the theme, “One Community. One Legacy. One Future. Forward Together.”

The celebration opened with the national anthem performed by sisters Anese Jade, Amina Benjamin and Zaza Benjamin. Diamano Coura West African Dance Company contributed African dance and drumming, bringing movement, rhythm and cultural expression to the program.

A mini documentary highlighted the Coliseum’s sports history and its broader role as an entertainment destination. Archival material recalled performances by Prince and Tina Turner, along with memorable games featuring the Warriors, Oakland A’s and Raiders.

“The Coliseum 60 is about much more than celebrating a building or looking back at 60 years of history,” said event organizer Quixote Atkins of VillageGIVE.

“It’s about the people who made that history possible: the families, workers, athletes, artists, community leaders, fans and generations who gathered there and created memories together.”

A panel exploring that history featured author, historian and former Black Panther Party member Tareka Lewis; stagehand and union representative Keith Brown; and Ray Bobbitt, president of the African American Sports and Entertainment Group AASEG. Lewis described her family as fourth-generation Bay Area pioneers.

“My family and Black families who arrived even earlier helped build the Bay Area, grew businesses and established culture here,” Lewis said. “This should be taught in the public schools.”

Lewis recalled Oakland’s influence on sports, music and literature, from the Raiders’ beginnings at Laney College to stars such as The Pointer Sisters and Rickey Henderson who attended Oakland public schools. She also advocated for school museums, historical timelines, entrepreneurship training and investments benefiting corridors such as Bancroft Avenue and High Street.

Keith Brown, a member of Local 107 of the International Alliance of Theater and Stage Employees (IATSE) who began working at the Coliseum in 2011, remembered the Ringling Bros. and Barnum & Bailey Circus, the Ice Capades, baseball bat giveaways and Nelson Mandela’s 1990 appearance.

“The special events are amazing, but it’s the workers that make the memories real for everyone,” Brown said. “They make the magic happen at the Coliseum.”

The program recognized longtime workers, including beer-stand manager Robert Preston, who served for 40 years, and Kenyatta Gentry, who worked as a vendor for 24 years and used her earnings to purchase her first apartment. Union workers Jose Gonzales and Carmen Sandoval were also honored. Speakers emphasized that Coliseum employment provided generations of residents with union wages and benefits.

Dr. Denise Saddler, the superintendent of the Oakland Unified School District (OUSD) was also honored. Saddler shared her family’s history of working at the Coliseum. 

District 7 Oakland City Councilmember Ken Houston discussed the complex ownership arrangements involving the city, county and private interests.

“This was the most complex deal of its kind in the country,” Houston said.

Prior to moving from the East Coast, Alameda County Supervisor and Coliseum Joint Powers Authority Chair Nate Miley recalled learning about Oakland through its three professional sports teams. As an elected official and public servant, Miley fought hard to keep the Golden State Warriors, Oakland As, and the Raiders, but he is hopeful for the future.

“The story is not over for the Coliseum,” Miley said. “We’re entering a new chapter.”

Bobbitt said the departure of three teams had once seemed unimaginable, but he maintained that Oakland’s future remains bright.

“Oakland is a cultural superpower worldwide,” Bobbitt said. “We’re going to write the future where we participate and drive the redevelopment.”

Bobbitt highlighted AASEG’s four-year partnership with Castlemont High School’s architecture program, which engages students in reimagining and creating redevelopment concepts for the Coliseum property. “The youth will always move us forward. They are the future.”

In closing, Atkins said, “September 18 is the celebration, but what we build together afterward is the legacy.”

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Oakland Post: Week of September 23 – 29, 2026

The printed Weekly Edition of the Oakland Post: Week of September 23 – 29, 2026

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Books

BOOK REVIEW: ‘Laws of Solomon’ Reveals Tender Heart of Former Child Soldier

The monsters that came to him early in his sleep were the easy ones. It was the later demons that stole Solomon Nangobi’s sleep, the spirits of all the people he killed when he was a child soldier in Uganda, and when he was a fixer in New York as an adult. Their ghosts called to him with urgent voices, though he left that life behind long ago.

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Book cover of “Laws of Solomon.” Courtesy of Poisoned Pen Press

Author: Eriq La Salle, Copyright: c.2026, Publisher: Poisoned Pen Press, SRP: $18.99, Page Count: 304 pages

Finally, after so much work, you’ve left your past behind.

That’s what you tell yourself: what’s done is done and you can’t undo history. It’s over. You try not to think about last month, last year, a decade back because what does it matter? As in the new novel, “Laws of Solomon” by Eriq La Salle, remembering is too full of pain.

The monsters that came to him early in his sleep were the easy ones. It was the later demons that stole Solomon Nangobi’s sleep, the spirits of all the people he killed when he was a child soldier in Uganda, and when he was a fixer in New York as an adult. Their ghosts called to him with urgent voices, though he left that life behind long ago.

Now, his days were filled working the soil in gardens near Malibu, and he loved the quiet life.

Still, he kept his guns.

And he was glad: when Solomon recognized two Zeta gunmen stalking a well-dressed man, woman, and child through the gardens, he couldn’t walk away. He stopped the gangsters with bullets, but not before the adults and their bodyguards were dead. The child, an 8-year-old boy named Gaby, was safe, but Gaby couldn’t tell Solomon what was going on.

What became quickly certain, however, was that Solomon was now Gaby’s guardian, and the Zeta crime boss wanted them dead, too.

When he was the same age as Gaby, Solomon saw unspeakable things, the murder of his parents, the destruction of his homeland, and the atrocities that Uganda dictator Idi Amin’s soldiers committed. He learned to kill, he observed, and he was hardened, understanding as a small boy that revenge was often necessary and needed, and that blood would shed at those times.

But Gaby was pure, an innocent, a child.

Solomon reached out to his contacts to try to get the boy to safety, but being a contact of a marked man was likewise a dangerous thing: the monsters outside were worse than the ones inside him.

Two words for you: ‘Whoo weee.’ That’s what you’re going to say when you close the back cover of “Laws of Solomon,” knowing that you’ve just been taken on a wild up-and-down, around-and-round ride.

La Salle makes it impossible not to like Solomon, an African man who has, over time, lost nearly everything dear to him and who has no faith in much of anything. Readers get that part of the story eventually, and there’s historical authenticity in some of it, but we never really get to know Solomon, which makes the book feel dark and dangerous. Along the way, we meet and get to know his helpers, which buoys Solomon’s chase to find safety for the boy, and your heart won’t stop pounding.

Keep in mind that this is a thriller partially set in 1970s Uganda, so expect lots of violence but don’t expect a lot of people to live. If you’re up for that, find “Laws of Solomon.” You won’t be able to leave it behind.

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