James Baldwin, James James, Barry Jenkins discussed on /Film Daily

/Film Daily
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Automatic TRANSCRIPT

The challenge of adapting such a beloved novel and much more. Without further ado, here's our interview with Barry Jenkins. Well, congratulations movie, it's lovely heartbreaking. And really enjoyed it. Also, congratulations on moonlight. I haven't spoken to you since one best picture. I'm curious about directors after they win best picture. Have you noticed a significant shift in opportunities being available to you since the Duffy shipping opportunities being available like to say is, you know, if I sent an Email now actually know that there will be a replied unbelievable, smell somebody will return, which this industry in this town on your careers often jeered around it, I try and get people to say, yes. And now a think much we're is geared around trying to be very diligent wise about how often say now. So that's been the biggest change. This movie is like sensual in a way. But I think most American movies are not is that is that vibes that feeling something that is like inherently baked into you as a storyteller where where does that come from you? I can't say as victims me as a storyteller, you know, both these films have been hesitations of other people's work James James, Baldwin, Terrell avenue mccranie. So I think the credit you must originate with them for creating these pieces that won't speak to something very vital about American life. But without without sacrificing the sensuality of everyday experience. I don't know. I can't I can't say that, you know, unlike most American films that you said that. But I think it is something that that we all sort of encounter in our everyday life just goes many different depictions of sensuality. And so I see no reason to take that out of the work or to be afraid to revel in it in the works. I think at times both these films, we do, and what kind of visual influences, did you have going into this the biggest one with this? And you know, James was in Memphis yesterday, giving a masterclass on own cinematography and talking about this film in particular. Indie Memphis, and he was saying, and I agree that the energy of James Baldwin the way he writes, especially in this film on this book the detail, which he writes with the primary inspiration, the primaries, we'll specification, and then we would try to the film is not a documentary, but we wanted to find references that really have the -delity to experience of Harlem, you know, in the sixties in the early seventies. And we found that mostly still autocracy when work by ROY decarava in Gordon park. And so it was a blend of the lushness of Mr. Baldwin's literal syntax the way he constructs these sentences and then this beautiful photography of the period. As why the film is presented to buy one. That's opposed to the more the more common aspect ratios of one five or two point five. Okay. I think my favorite shot of the movie is of Titian Fani walking down this really gorgeous lit street under this red umbrella, and they've turned down a one way street yet. And they go the wrong way. And we're those signs written into the script. Or did that just happen that this is what I love about making movies all of that? It wasn't an accident. But you know, we didn't bring in rain. It just poured rain the day. Really? There was not meant to be an umbrella. You know, like so much of that of the way we frame that was not meant to be. But, you know, even though it's movie had more resources in the moonlight. You know, it's still, you know, a small small budget or a modest budget. I should say, and so we had to work with the elements. And so I just poured Raimo day. And so once we got to the setup just seemed like well, what's the best way to film this now gorgeous free a free rein? And it was Diego was like a Bhagwat says how you say umbrella in Spanish, and the whole thing just took on this life of its own as far as walking left versus right..

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