Page 40 - Sharp Summer 2021
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 The role of a piece of art like this is to fill this vacuum and cavity that has been creat- ed in American history, or at the very least the public consciousness of understand- ing American history. It’s funny; I always struggle with this question. The reason why I struggle with it is that, to me, it seems so obvious. And I hear myself talking away from the thing I created, and towards this conversation that shouldn’t necessarily exist. One of the very first Hollywood fea- ture films was called The Birth of a Nation (originally The Clansmen), and this idea of depicting Black trauma is not something that begins with Black creators.
Now that we have this history of de- monizing Black folks and people of colour in this medium, I think it’s time for some of us to set the record straight. I’m glad you mentioned the depiction of the brutality in episode one: it is just a presentation of what it is. And it is so barbaric that any over-sen- sationalization is unnecessary.
Okay, [laughs] this is getting pretty deep, Sarah!
I know! We’re really getting into it now, and we don’t have a ton of time here. I
guess, thinking about this show and when these things happened to the present day, Black suffering is just unending.
I think people are justified — by which
I mean, I can’t tell someone that they shouldn’t be triggered by depictions of Black trauma. I can’t tell someone that they should be able to watch more depic- tions of Black trauma on film than they’re capable of. However, as a human being, especially having done research, [these] depictions pale in comparison to what actually went down.
Sometimes watching the show felt like a horror movie, where I just felt the pressure and fear mounting — especially in episode two.
This has been a very heady talk, and most of the interviews I’m doing about this
show have been very heady. And yeah, the show’s deep and very, very serious. And yet, I’m also a craftsperson. Part of the project, as heavy as it was, was also very stimulating and fun. Because Cora’s journey does take us through different genres. I’m the guy who makes romantic dramas, [but] in this show, I got to make a Western; I got
to make psychological horror! At certain parts, it felt like a fucking action film.
It seems like in your work, you really champion relative newcomers and bring them into the spotlight, which is so great because they often go on to do amazing things.
I think all the folks I work with are extreme- ly talented. Sometimes you have to ask the question, if they are extremely talented, then why haven’t they broken through? Why haven’t they gotten to showcase
their talent? We assume, “Oh, there are
no roles for these actors, blah, blah, blah". Then create the roles, and when you create these roles, it gives people actual access
to it. I’m not looking to cast unknowns or breakthroughs. I just want these actors to show me who these characters are, and that opportunity belongs to anybody. Nothing against movie stars — Regina
King is a movie star, Joel Edgerton is a movie star — but I’m not out here trying to work with movie stars. I want to work with actors, and so many people have talent and just haven’t been given the opportunity to showcase it.
40 SHARPMAGAZINE.COM SUMMER 2021
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