Kevin Rodney Sullivan is a director on How to Get Away with Murder.


Early LifeEdit

Sullivan is a native of San Francisco who began his career as a child actor. He grew up in St. Francis Square in the Fillmore district of San Francisco as the youngest of three children. His father was a bus driver, and his mother was a receptionist for the St. Mary's hospital. According to Sullivan, he was "one step up from a housing project". During sixth grade while performing A Midsummer Night's Dream, Sullivan's talents were picked up by Ann Brebner, who placed him and his entire class as extras in a movie by Sydney Poitier, They Call Me Mr. Tibbs. This was his first experience with cinema. Brebner would continue to give him auditions for various roles. In 1970, he was picked up for a job in an Alphabits Cereal commercial, making over 7,000 dollars off of that role alone. He continued to obtain small roles in theater productions and doing commercials. Most notably, He got a role as the Master of Ceremonies during a show of Sesame Street that was being filmed live at Golden Gate Park. He was made to "sit on this big garbage can with a microphone and introduce the various skits," with Jim Henson controlling the puppets.


The movie How Stella Got Her Groove Back (1998) which swept the NAACP Image Awards and won the award for outstanding picture.[2] was Kevin Rodney Sullivan's Hollywood directorial debut. The movie was based on a popular novel at the time, and follows the story of Stella (played by Angela Bassett) who is a single mother of one who finds love in Jamaica with a man much younger than her named Winston (played by Taye Diggs). It also had many a few notable stars such as Whoopi Goldberg, who plays Stella's best friend in the movie. The film, while not the first to use a tropic paradise as its background, "may be the first to blatantly portray a tropical paradise as a sexual mecca beckoning tired American businesswomen to shed their clothes and inhibitions," according to a review by the New York Times. Despite some mixed reviews, Sullivan still "provides a movie that speaks in a recognizable way to a black audience, particularly black women who have found themselves omitted from serious screen depiction over the decades".[3]


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