Rosewood: About The Production

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"Rosewood" is a dramatic adaptation of a historical event, but its terrible story is based on truth. In the first week of 1923, in the central Florida town of Sumner, a white woman did blame a black man for attacking her (although none was ever identified) and the ensuing mob violence did result in the burning and destruction of the neighboring, predominently black town of Rosewood. Men were lynched and women were assaulted and murdered, and those who survived left all their worldly belongings behind and hid in the swamps in order to escape certain death. And there was a train that ran through Rosewood which was commandeered in the middle of the disaster; on that train, the women and children who had survived in the swamps were carried to safety.

Although for years the devastation of Rosewood was kept a secret, in 1982 a newspaper reporter for the St. Petersburg Times named Gary Moore was working on a weekend feature story about the Levy County area of Florida, where Rosewood had once been located. He noted that there seemed to be no black residents of the region and asked why. Eventually, with the help of hesitant personal recollections and old newspaper clippings, Moore began to piece together an account of what had occurred.

His next step was to try to find witnesses to the event, which turned out to be considerably more difficult than he had expected. Most of the former Rosewood families had moved far away, and many of them, after losing their homes and possessions, had been forced to take menial jobs for the rest of their lives. Survivors of the massacre feared that whites might try to track them down, and that, combined with shame about their victimization, kept many tenaciously silent.

Eventually, however, Moore identified about 20 survivors and their descendants. He began to research their stories, assisted in his efforts by Arnette Doctor, the son of a survivor of the events at Rosewood who had himself been researching Rosewood's past and seeking justice for what had been done to his family and fellow townspeople.

Moore's reporting of the information he discovered piqued the interest of the respected CBS-TV news program 60 Minutes, which first reported the story of Rosewood in 1983. More than a decade of legal action ensued, as Doctor strenuously worked to aid passage of a bill in the Florida House and Senate offering reparations to the survivors of Rosewood and their families.

Finally, in April, 1994, the bill was passed, the first of its kind ever to become law in America. 60 Minutes once again covered the Rosewood story, this time with its legislative aftermath. At that time, it came to the attention of producer Jon Peters, whose company, Peters Entertainment, acquired rights to the story and began to develop it as a motion picture.

"When I saw the 60 Minutes story on Rosewood I knew this could be a huge movie," says Peters. "It has raw emotion, action and strong characters, and it's totally relevant to what's going on today with race relations in this country."

Concurs executive producer Tracy Barone, "It also has hope, because it shows how a few principled people can work together to save the lives of many. The story of Rosewood, both its destruction and the deliverence of the survivors, is a difficult but exceptional look at human nature."

Seeking a Director

Peters, in tandem with Barone, began seeking a director. They immediately contacted John Singleton, whom Peters had previously backed in his directorial debut, "Boyz N the Hood," when Peters was co-chairman of Sony Pictures.

Says Peters, "I've known John since the beginning of his career and I knew he had the talent, the guts and the heart to tell this story. I knew he could make it work dramatically and he could deal with the issues at the same time."

Adds Barone, "This story has to make sense out of chaos; it has to be a balanced portrayal. John understood that; he had the ability and the passion to commit to the project."

Singleton had read a magazine article about Rosewood, and was both moved and troubled by this chapter in the ugly history of American race relations.

"I've always had this strong aversion to the South as it pertains to people of African descent," he says. "It evokes so many negative images -- slavery, whipping, bodies hanging on trees -- that I never thought I would approach any subjects on film that would deal with anything Southern.

"But when I read the article, I was intrigued by the stories of the individual people who had lived in Rosewood: Sylvester Carrier and his mother Sarah, both proud, accomplished people; James Carrier, who was forced by the mob to dig his own grave; and many others. I found it hard to put them out of my mind."

Singleton met with Jon Peters and Tracy Barone and they told him they had acquired the rights to the Rosewood survivors' stories. Singleton responded by telling them that he was familiar with the ordeal.

"I began to think about how the events of Rosewood could be turned into a movie," Singleton recalls. "As I pondered it, the idea became increasingly interesting to me. Rosewood seemed like a ripe subject to paint a very provocative portrait of the America people rarely want to talk about. Ours is a morbid history; most of us try to evade it. Black people don't want to remember being the victims of lynching, rape, the separation of families, living under Jim Crow and all the horrors those things entailed. And white folks don't want to remember being the perpetrators of that kind of persecution.

"But I thought about the Rosewood victims whose voices had been silenced for so long, and about the fact that life was affording me an opportunity to add to their newfound breath. Prompted by the haunting remembrance of the article I had read, I agreed to direct the movie for Peters Entertainment."

Emphasizes Jon Peters, "You can look at recent stories about white people who have committed violent crimes and blamed them on unnamed black people, and see how willing everyone was to believe their stories, which were later proven false, as in the case of Susan Smith or the person in Boston a few years ago."

Adds Singleton, "Black churches are being burned all over America today. And in Florida, even after the Rosewood reparations have been approved, a television station reported that many people in Cedar Key still ësneer at the massacre.' I think the need to tell this story is as great today as it has ever been.

"I don't believe any black man has had the opportunity to direct a film like this in this context, and on so wide a canvas," Singleton expresses. "I felt proud and grateful to have the opportunity and I think there is much relevance about the story today."

Searching For The Past

By the end of the summer of 1994, Singleton was on board as director and the filmmakers were considering screenwriters for their developing project. In December of the same year, the company found its writer in Gregory Poirier, a new young talent who had already sold several as-yet-unproduced scripts.

Says Singleton, "I was attracted to his style of writing action, and I knew I wanted action in the picture. I wanted the entire film to focus on those four days from New Year's Eve, when Fanny Taylor lies about being beaten by a black man, to the torching of the town. I wanted to chronicle the ferocity and hysteria that took place."

Singleton, Barone and Poirier immersed themselves in researching the Rosewood story, conducting their own interviews with survivors and visiting the Central Florida site where the town once stood. They taped many first-person accounts by the eight Rosewood survivors and their more than 50 descendants, particularly spending time with Arnette Doctor, whose mother, Philomena, had told him the story of his past when he was six years old.

As Doctor recounted, his mother repeated the story every year after that on Christmas, allowing no questions and adding no new information. The story became an annual ritual, as fascinating as it was horrible.

Despite his mother's secrecy, Doctor wanted to know more. As he got older he traveled on his own to meet with survivors, look through photographs and read letters. His determination to uncover the mysteries of Rosewood only intensified when his mother died. Explains Doctor, "For me, Rosewood became more than a mystery to be solved. It was my roots."

Doctor was thrilled that, in the wake of the passage of the Rosewood Bill by the Florida legislature, the entire story of Rosewood was now going to receive wider attention on film.

"I think it's going to open a new chapter about what happened to African-Americans after slavery," asserts Doctor. "We didn't go from chains to the projects. ëRosewood' will lend credence to the fact that African-Americans were important in the development of the state of Florida and the country as a whole, and it will point out the fact that there were strong black men who raised and defended their families. From that perspective, the telling of this story today will be very important to how African-Americans will be portrayed in years to come."

Working with a screen story crafted by Singleton and a screenplay by Poirier, "Rosewood" began to take shape as a movie.

Says Jon Peters, "Everything that happened in Rosewood still goes on in America today. But when it's shown like this, in one town, with one group of people, over one violent week, you can't ignore the truth; it's in your face."

Says Tracy Barone, "What struck me when we met with the survivors and considered their recollections, as well as the historical accounts we could find, was that something of irreplaceable value had been lost when Rosewood was destroyed.

"More than a single act of violence, Rosewood became a symbol to the African-American families who lived through it that hatred and racism were not based on any inherent behavior of theirs. Everybody in Sumner knew Fanny Taylor had been seeing men -- white men -- behind her husband's back. They weren't avenging her honor with their posse. The white people of Sumner hated the black people of Rosewood because of their color and their prosperity -- not because of their inferiority, but because of their ability to make good lives for themselves, and because of the general racism of the day."

Agrees John Singleton, "No matter where the Rosewood survivors went, they were still trapped in this country, in this culture, in these beliefs. And I think it had a profound and permanent effect on all of them and their families. They knew that they were surrounded by people who despised and feared them, no matter how they lived and what they did. They would always be vulnerable.

"Talking to the survivors of Rosewood was an experience I will never forget. Minnie Lee Langley, who passed away just before we began shooting the film, was nine years old when the massacre occurred, and she was related to all the key people -- the Carriers were her mother's family and Sarah Carrier was her grandma.

"As Minnie Lee recounted the story of how she fled, how she hid in the marshes with the other children as the white posse hunted them like animals, I could sense the fear she had experienced. Toward the end of the interview she said, ëThey destroyed us; we got no place to call home no more,' and it struck me that, 72 years later, she still considered Rosewood to be her home."


Because so much of the story of Rosewood has been passed down as oral history and so few records actually describe what occurred during that first week of 1923, certain accommodations had to be made to create a cohesive story for the screen.

The filmmakers created a single fictional central character named Mann. Played by Ving Rhames ("Pulp Fiction," "Mission: Impossible"), Mann is a World War I veteran who is passing through Rosewood when he becomes caught up in the events that unfold there.

Says Singleton, "Mann is a drifter who rides into town; first he's the stranger and then he becomes the hero. He changes because of what happens and in some ways he changes for the better, because he makes a commitment to the people of Rosewood and saves their lives in the process.

"Ving Rhames is not a man cut in a mold; he's a real rounded man, like those men were in the South in the Twenties. At first I had thought of him for the part of Sylvester Carrier, but then I thought about some of the work he's done recently and what a strong impression he'd made on me. I decided he'd be perfect as the lead, and he did fit the role perfectly."

Says Rhames about choosing "Rosewood" as his next project, "I like the fact that the script moves. I like the fact that it's historical. I also like the fact that you don't really see this type of character that often in the person of an African-American male.

"He's a World War I veteran trying to find his place in the world. He comes upon Rosewood and sees that colored folk are living much better than anything he's seen before. He happens to meet a young lady and to begin to fall in love with her.

"And then, when things start happening in Rosewood, his first impulse is to leave, because he's a stranger and he doesn't want to be accused of Fanny Taylor's alleged rape. But something draws him back and he does what he has to do as a man, as a soldier, as a human being, to help save the town."

Unexpectedly, Mann joins forces with the lone white shopkeeper in Rosewood, a man named John Wright, played by Academy Award-winner Jon Voight ("Heat," "Mission: Impossible"), to help the women and children of Rosewood make a daring escape from the swampy woods in which they were hiding. Wright, though not historically the sole white man in Rosewood, was an actual resident of the town.

Comments Jon Peters, "Jon and Ving are terrific together. They had already worked together on ëMission: Impossible' so we knew they had chemistry. But more important, this story has a lot of meaning for both of them -- they feel passionately about the material. You can really see the result of that on the screen."

Reveals Singleton, "I found that a lot of actors were hesitant to take part in a picture like this because of the subject matter. That automatically weeded out the meek from being involved, so all the actors who did take part ended up being the strongest ones we could ever have hoped for.

"A case in point is Jon Voight, who portrays John Wright, the head of Rosewood's only white family. Jon is known for taking roles in films that have challenging subject matter, like ëMidnight Cowboy,' ëDeliverance' and ëComing Home,' so it was great to have him become involved in this project.

"Jon is one of the most unselfish actors I've ever met. He makes everyone else better because he is really very caring about the whole of the piece. Sometimes I felt that he was uncomfortable playing the white Southern man in this era who had a superior attitude, which is a testimony to how good a person Jon is. It was very interesting to see him go through the paces of playing this character."

Executive producer Tracy Barone stresses that the filmmakers did not want to sentimentalize either of the lead characters. "Wright is a property owner and merchant in Rosewood. He's not there on a mission of mercy; he's there because it's good business for him. But by living and working with the residents of Rosewood day after day, he begins to know them by more than the color of their skins. When he's caught in the events of Rosewood's destruction, his beliefs crystallize into courageous action."

Jon Voight acknowledges his desire to tell an important story with "Rosewood," while asserting that the events could not be recounted by a single voice. "Racism is a disease; the natural order of human nature is love and brotherhood. God created all people, of all creeds and colors. The love and harmony between all the actors in ëRosewood' proved my beliefs.

"The characters are wonderful; there are many great characters in the story. It doesn't just rest on any one person's shoulders; it has to be an ensemble. Fortunately, we have a wonderful group of actors who have taken on this challenge."

Among that group is Don Cheadle, who drew critical acclaim in last year's "Devil in a Blue Dress," and who plays the defiant Sylvester Carrier in "Rosewood."

Recalls Singleton, "I had seen Don Cheadle's portrayal of Mouse in ëDevil in a Blue Dress' and was so impressed with his performance that I had called him up afterward and told him we had to work together. I didn't know what it would be at the time, but when we were casting ëRosewood,' I realized he would be a great Sylvester."

Sylvester Carrier was a central figure in Rosewood, a prosperous and educated man who owned a piano and dearly loved his family. Although he was polite and well-spoken to everyone, he refused to shuffle and mumble deferentially to white people. When the rumors of a black rapist exploded in Sumner, white men who had long resented Sylvester Carrier and his comfortable life decided to avenge themselves on him, whether he was involved or not.

Says Cheadle of his character, "It's funny; whenever a black man from that period stood up and fought back, he was considered crazy. It wasn't that he was a man of honor and believed in justice and thought that there was no color line -- he was thought of as being crazy. But the way I'm trying to portray the character is that he's just very straightforward and honest. And when there's a wrong, he doesn't back away from it.

"Sylvester, with his nice house and clothes and piano, was like a symbol of the difference between Rosewood and Sumner. The people in Rosewood were, for the time, relatively affluent. Sumner, on the other hand, was a mill town with tract housing. So there were a lot of class issues, as well as racial ones, adding to the tension between the towns. And it festered. Eventually it got so powerful that the men in Sumner came over to kill Sylvester and anyone else they could find.

"These people were not killing strangers, you know. They were killing people that they saw daily and knew very well."

Sylvester's mother, Sarah Carrier, the matriarch of her family, is one of only two witnesses to the event Fanny Taylor is dishonestly blaming on a black man. A hard-nosed realist, she has little faith in white people. She believes that black people have survived by staying out of the way of whites, not by gaining their acceptance.

Says Esther Rolle, who portrays Sarah Carrier, " Everybody knew who Fanny Taylor was -- she was a tramp. Sarah worked for her and saw her get beaten by her white lover; in fact, she helped wash Fanny up from her wounds. But Fanny knew that Sarah wouldn't say anything. So all of these nobodies in Sumner got together to protect a tramp of a woman.

"Sarah's son, Sylvester, was a music teacher and he had a piano in his house. When the news got around that Fanny was claiming to have been molested by a black man, people said ëwho did it?'. And the answer was ëI don't know but they said this black man escaped from prison and they saw him going toward the Carriers' house.' And the next statement was ëOh, that's them uppity folks that own a piano. I don't even own one.' And that was really the beginning of the whole mess.

"Sarah knew Sylvester was a spirited man. Out of her love and concern for him she did something unlike herself. When the posse came to her house, she said ëlet me see if I can talk to them. Maybe I can tame the beast.'

"The hatred was about the ambition of Rosewood; it was about the dignity of this town. It wasn't about anything else. They wanted to break us."

Michael Rooker, who plays Sumner's Sheriff Walker, becomes caught between ideas about blacks and whites he's carelessly accepted and a growing horror at the decimation of Rosewood. Early on, as plans for a search posse to find Fanny Taylor's mysterious black assailant are formed, Sheriff Walker tries to persuade the Rosewood citizens to get out of town.

Says Don Cheadle, "The sheriff's telling a man who built a town with his family that he needs to leave, which is the most asinine thing in the world. It's the only home he's ever had. So while the sheriff thinks he's protecting Sylvester, again we see Sylvester as a man who's standing up for what's right. Who would he be if he ran? He wouldn't be himself. And the events that followed were the events that followed because of that."

Rooker comments, "In the beginning I asked Sarah Carrier what she saw and she said she didn't see anything, which is a lie. She saw everything; she heard everything. And she never told my character the truth. Then, when it literally comes to her front door, she says, ëI want to tell you what really happened,' but just as we finally get some communication going, the crowd has gotten out of control and everything goes into motion. The snowball is rolling and by then it just has to run its course."

Singleton recalls with sympathy the efforts made by some of the characters to accurately portray the distasteful behavior of their characters. "Bruce McGill, who plays a deeply racist Sumner resident, the father of a young boy, went to the depths of his psyche to play this despicable guy with some type of respect. He's vicious and ornery and ugly, but at the same time you come to understand why Duke makes the decisions he does; he believes that the world requires it of him. Here's a man who teaches his son how to hunt, how to fish and how to make a noose to lynch a black man. As terrible as that is, he believes he's preparing his son to become a man."

Elise Neal, who plays Scrappie, a young schoolteacher who becomes smitten with Mann when he rides into town, has a different role from many of the others.

"Scrappie has a moment of being loved and courted and protected by a strong black man," says Neal. "She's only 17 years old and very innocent when she meets Mann, and their short courtship is very sweet, so she kind of represents whatever hope there is for the future of the survivors of Rosewood.

"It's important to know that there were black people, even in 1923, who were trying to make their own town and their own life and make it special, something they were proud of. And that people of other races were afraid and trying to strip them of that even then. I think it's important to see that it is a struggle; it started a long time ago and it's still going on."

Loren Dean plays Fanny Taylor's naive and cuckolded husband James, who is swept away by the aftermath of his wife's accusations, even as he slowly begins to doubt her story and everything else about his life in Sumner.

"What's tragic about my character is that he just sort of goes along with the crowd," says Dean. "He's humiliated and he's pushed over the edge because he feels like a fool, married to the town slut. He's disturbed about what's happening early on, but then is so angered by his own hurt and humiliation that he just goes along with everything. And that's his weakness."

Once the extensive cast, which includes characters to populate both towns, was assembled, Singleton held group script readings that offered fascinating insights into the tensions of the situation. "Listening to all the raw, volatile feelings that some actors expressed about their characters and their situations was like slipping back in time, and yet so very present. So was watching some of the actors like Bruce McGill have the courage to be disliked and spout forth with ease and conviction racist comments reflecting the mindset of the era."

Continues Singleton, "Once we started shooting, other powerful moments emerged. One of my favorite scenes is where Ving Rhames as Mann is riding along a country road on his big stallion and suddenly some crackers in a truck start shooting at him. He takes off into the woods, where the trees are only six feet apart. Through gunshots, Mann weaves in and out of the trees on horseback. We wanted closeups of Mann's face, so Ving replaced the stunt double and acted the scene himself. It looks incredible. Then he jumps off the horse and runs from the posse, but at a certain point he turns and faces them down. I think it's an exciting moment, because in that day and age you'd expect him to run but you don't expect him to turn around and fight back."

Creating Rosewood

Production on "Rosewood" took place entirely on location in Lake County in central Florida, about three hours from the original sites. There is nothing left of the original town of Rosewood except John Wright's large, white, two-story house. Near the now-vacant property are a few trailer homes with white residents, and it was neither feasible nor appealing to contemplate filming there.

Academy Award-winning production designer Paul Sylbert arrived months before production started and began digging for information, which turned out to be considerably more difficult than he had expected. After two weeks of searching, Sylbert had two photos of Rosewood: one of a shack burning and the other a wide panoramic shot with limited detail.

To reconstruct Rosewood, Sylbert turned to a more fertile source, survivor Minnie Lee Langley. Langley was nine years old when her family was run off their land, but due to her sharp memory, Minnie later became a star witness at the Florida legislative hearings about Rosewood.

"Minnie was great, an incredible source," says Sylbert of the elderly woman, who died just months after their last conversation. "She didn't romanticize the town like some did. She gave it to me straight. Rosewood wasn't some picket-fence world. It was in the middle of the woods."

Thanks to Langley's vivid descriptions, Sylbert was able to build a replica of the town. More than 30 period buildings were transported to Lake County from various parts of central Florida. The remaining set was constructed with raw materials from Cedar Key, an area whose terrain is consistent with Rosewood's.

"We came in and built 15 more homes," Sylbert says. "We removed trees we wanted out and kept ones we needed. We started from scratch. Our Rosewood was built exactly like the one they built."

The original Rosewood was a quiet, picturesque town built in 1848. By the time it was destroyed, 150 to 300 people had settled there. Most of the homes were small but several had two stories with glass-paned windows. Vegetable gardens grew out front where there were livestock, horses and mules. Some residences even enjoyed such luxuries as pianos and electricity.

In the neighboring town of Sumner, three miles down the road from the actual Rosewood, life hadn't been as desirable. Built in 1915, Sumner was a company town. The local lumber company, which owned the sawmill, also owned the hotel, the store and most of the houses.

"Residents here had no freedoms, no livestock and only rented furniture. These were two really opposing worlds," observes Sylbert. "Sumner was geometric and regimented; Rosewood was organic and free-flowing."

Overall, the "Rosewood" production built nearly 50 houses and re-created a railroad track that ran through the center of Rosewood and had been instrumental in establishing the local economy. In designing the "new" Rosewood, Sylbert said, "I didn't open it up quite as much as the real town because if I had we'd only be able to get one house into each shot. It was important to see more on the screen, so I compressed things."

Dirt was trucked in; gardens were planted. Said John Singleton, "It was really something to see; not many films are made like this anymore, where an entire environment is built from scratch."

Costume designer Ruth Carter purchased as much period clothing as she could obtain, after completing her research on the era, since two entire towns needed to be clothed. Then, for the lead characters, she created wardrobes.

"Early on I decided I would eliminate red," recounts Carter. "I would eliminate any strong colors and hope that as I gathered together the things that I liked from the period, the colors would sort of dictate themselves. I would see more greys, more tans, more whites, pinks, and then I sparingly used red -- what I called my Rosewood reds. When you see the children in the swamp, you might see a red bow. If you see an older woman running for her life, she might have a red shawl. I gave Sylvester a red vest for the scene where he goes to tell Duke to leave Scrappie alone. And Emma wears a red blouse when they capture her son Aaron and drag him down the road.

"I wanted Mann to be romantic and attractive and I wanted him to look strong. So I suggested some things from the period and he was receptive. Basically I was concerned about reality but I was also concerned about a message -- pushing the reality to deliver a message. I pushed the button so that it would appear visually that there was a big difference between the town of Sumner and the town of Rosewood."

Director of photography Johnny Jensen used warm filters and lighting during the early part of the story to emphasize the sunny daylight in which "Rosewood" begins. Later, as the violence escalates, much of the story takes place at night.

Says Singleton, "More than one third of the picture was shot during the night, and we had several locations that were hard to contend with. We shot in swamps and forests, with snakes, ticks, mosquitoes, endless torrents of rain and large groups of very young children. Then, toward the end of the shoot, we worked with the hazards of fire."

For the film's fire sequences, the production employed eight technicians and as many as 30 Lake County Fire Rescue members. Numerous precautions were taken to prevent possible danger to the cast, crew and environment. "We had to be very cautious about the forest," says special effects coordinator Joe DiGaetano. "We went through a very extensive process of drilling wells so we wouldn't have to transport water after every shot. We also placed plumbing underground that was trailed into each of the homes for fire protection."

The fires were controlled by a propane pilot system that was operated by remote control. "It works very much like a stove at home," says DiGaetano. The difference is that these use map gas, kerosene and pyro gel and the flames can reach 15,000 degrees Fahrenheit.

To enable the filmmakers to shoot multiple takes without destroying the sets prematurely, sheet metal was placed indoors and outdoors on areas which might be exposed to the fire. Custom-made sheet-metal boxes were also built to direct flames to shoot out from the open window of homes while the fire brigade stood by with hoses. Once all the houses in the town were flameproofed, actors took their places and the deadly blaze that wiped an entire community off the map was simulated.

Adding the Music

During pre-production on "Rosewood" director John Singleton spent a lot of time listening to the blues -- Bessie Smith, Ma Rainey and others, immersing himself in the sounds of the era. "It's hard to really put yourself back there and not feel a certain sense of sadness," reflects the director. "I finally replaced those sad songs with music by John Williams, who came on board to compose the score for the film."

In their conversations about the film, Williams and Singleton decided to take their inspiration from music that is culturally specific to the Southeastern United States in the early 1900s. "We wanted American folk music, black and white, to be played, so that you really get into the texture of the time period," says Singleton.

Reflecting on the Story

"I'm grateful that frightened survivors who had changed their names and buried their pasts took courage and spoke out about Rosewood," says John Singleton. "I can honestly say that bringing their story to the big screen is one of the most worthwhile ventures I have ever embarked on."

Warner Bros. Presents A Peters Entertainment Production, In Association with New Deal Productions, of a John Singleton Film: "Rosewood," starring Jon Voight, Ving Rhames, Don Cheadle, Bruce McGill, Loren Dean, Esther Rolle and Michael Rooker. The music is composed by John Williams; the co-producer is Penelope L. Foster; and the executive producer is Tracy Barone. "Rosewood" is written by Gregory Poirier and produced by Jon Peters. It is directed by John Singleton and distributed by Warner Bros., A Time Warner Entertainment Company.

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