'I just find the jokes where the dramas didn’t,' Wayans tells EW

By Nia Howe-Smith
Updated August 13, 2015 at 10:38 PM EDT
Credit: Dimitrios Kambouris/Getty Images

If you turned the last page on or watched the last scene of Fifty Shades of Grey and thought, “As funny as this was, what if it were intentionally funny?” then you’re in luck! Marlon Wayans (A Haunted House 2) is back with another cinematic send-up of pop culture with the upcoming Fifty Shades of Black. But what is it?

“Like Fifty Shades of Grey if Christian Grey was black and he was rich, but we don’t know exactly how he got his money, he’s a little shady, and he’s a really bad lover,” Wayans tells EW. And while his film will definitely poke some fun at E L James’ titular BDSM-loving billionaire, don’t be so quick to call it a spoof.

“I don’t look at these movies like spoofs, as much as comedic remixes. I just approach it as its own original movie, with its own plot and its own characters, and just take them through a similar journey. I just find the jokes where the dramas didn’t. It’s kind of like what Kanye [West] does to old soul music; I just remix it for this generation, for people that want to see comedies.”

This is far from Wayans’ first outing with this type of material; the actor/comedian has written and starred in the Scary Movie franchise, Dance Flick, A Haunted House, A Haunted House 2, and the cult favorite White Chicks, so there’s a good chance he’ll tickle your inner goddess’ funny bone with his latest.

But what about people who are less familiar with the sexy misadventures of Anastasia Steele and Christian Grey?

“It’s not so much, ‘Hey, if you didn’t see it, you’re not going to enjoy the movie.’ If you’ve seen it you may enjoy certain parts a little bit more, but I’m trying to make this for everybody to enjoy. Everybody who’s ever been in a relationship, or ever had sex, or been in these similar situations — or not — they can enjoy it.”

Fifty Shades of Black hits theaters on Jan. 29.

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Fifty Shades of Black

  • Movie
  • R
  • 92 minutes
  • Michael Tiddes