11.28.18

Barry Jenkins, Stephan James & KiKi Layne Discuss "If Beale Street Could Talk"

From director Barry Jenkins ("Moonlight") comes "If Beale Street Could Talk" which is a timeless and moving love story set in the early-1970s Harlem that follows a couple's unbreakable bond and the African-American family's empowering embrace. A daughter and wife-to-be, Tish Rivers (KiKi Layne) vividly recalls the passion, respect and trust that have connected her and her artist fiancé Alonzo Hunt, who goes by the nickname Fonny (Stephan James). Through the unique intimacy and power of cinema, "If Beale Street Could Talk" honors the author's prescient words and imagery, charting the emotional currents navigated in an unforgiving and racially biased world as the filmmaker poetically crosses time frames to show how love and humanity endure.

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>>> THANKS, EVERYBODY. WELCOME TO BUILD. I'M YOUR HOST RICKY CAMILLERI. I'M SO, SO EXCITED ABOUT THIS. IN 2016, A LANDMARK MOVIE WON BEST PICTURE OF THE YEAR AFTER A BIT OF CONFUSION, BARRY JENKINS BEAUTIFUL "MOONLIGHT" TOOK HOME THE GOLD. HE HAS RETURNED WITH A FOLLOW-UP TO "MOONLIGHT" THAT MAY SURPASS IT, ADAPTING THE JAMES BALDWIN BOOK "IF BEALE STREET COULD TALK," HE CREATED A BEAUTIFUL STORY ABOUT LOVE IN THE FACE OF INJUSTICE. LET'S TAKE A LOOK. \M\M

>> ARE YOU READY FOR THIS? \M SINGING MY LIFE WITH HIS WORDS \M

>> I'VE NEVER BEEN MORE READY FOR ANYTHING IN MY WHOLE LIFE. \M KILLING ME SOFTLY WITH HIS SONG \M

>> WE'RE DRINKING TO NEW LIFE. TISH IS GOING TO HAVE A BABY.

>> I HOPE IT IS A BOY.

>> WE'RE GOING TO HAVE A BABY.

>> SURE ABOUT THAT? \M\M

>> YOU'RE NOT BY YOURSELF.

>> THESE ARE CHILDREN. WE GOT TO SET THEM FREE. \M\M

>> I'LL HOLD MY BABY IN MY ARMS.

>> I'M WITH YOU.

>> YOU TRUSTED LOVE THIS FAR. TRUST IT ALL THE WAY. \M WITH HIS SONG \M

>> EVERYBODY, PLEASE WELCOME THE GREAT BARRY JENKINS, KIKI LAYNE AND JOINING US ON STAGE RIGHT NOW, STEPHAN JAMES. [ APPLAUSE ]

>> HEY. "IF BEALE STREET COULD TALK," THAT WAS FUN. I WISH MORE GUESTS WOULD DO THAT. THAT ADDED A LITTLE SPICE TO THE MIX. THANKS, MAN.

>> HAD TO USE THE BATHROOM.

>> CONGRATULATIONS ON THE FILM. IT IS SO BEAUTIFUL. IT IS AN ABSOLUTELY WONDERFUL FOLLOW-UP TO "MOONLIGHT" FEELS IN SOME WAYS LIKE A COMPANION PIECE, I THINK BECAUSE YOU WROTE THEM AT THE SAME TIME, RIGHT, AND YOUR HEAD WAS IN THE SAME PLAY STYLISTICALLY, BUT IT IS ALL THERE. DOES IT FEEL THAT WAY FOR YOU?

>> I THINK A LITTLE BIT. I THINK BOTH FILMS ARE ABOUT BLACK FAMILIES, BLACK MOTHERS IN PARTICULAR, DOING THE BEST THEY CAN TO RAISE THEIR CHILDREN. I THINK IN THAT WAY, YEAH, THERE IS SOME CURRENTS BETWEEN THE TWO FILMS.

>> CAST AROUND THE TWO OF YOU, YOU TWO ARE SO PERFECT IN THIS FILM. AND KIKI, THIS IS YOUR FIRST FILM, RIGHT, THAT YOU'VE DONE. STEPHAN, YOU'VE BEEN AROUND FOR A LITTLE BIT, WE HAVE SEEN YOU IN SOME STUFF, RIGHT?

>> STEPHAN PLAYED CHAN LEWIS AND JESSE OWENS BEFORE THIS, SO, YEAH, HE'S DONE A FEW THINGS.

>> I THINK SOMETIMES IT TAKES AN INCREDIBLE DIRECTOR, THOUGH, TO REALLY NOTICE YOU AND FORCE AUDIENCES TO TAKE NOTICE OF YOU AS WELL. BOTH OF YOU HAVE THAT IN THIS FILM. AND I'VE HAD A RECENT EXPERIENCE WITH A NUMBER OF ACTORS WHO TALKED ABOUT WORKING WITH GREAT DIRECTORS WHO SAY THE BEST DIRECTORS NOTICE THEM, AND THEY FEEL IT ON SET. DOES IT FEEL THAT WAY WITH BARRY? HE RUNS A LOOSE SET, DOES IT FEEL LIKE HE'S REALLY PAYING ATTENTION TO EVERYTHING YOU'RE DOING AND CAPTURING IT AND GETTING THE BEST FROM YOU?

>> OH, YEAH, ABSOLUTELY. I THINK BARRY IS -- HE'S JUST SO ATTENTIVE TO WHAT ALL OF US AS INDIVIDUAL ARTISTS NEEDS. HE JUST PAYS ATTENTION TO, YOU KNOW, WHO WE ARE AS INDIVIDUAL ARTISTS AND CATERS TO THAT AND LISTENS AND PAYS ATTENTION TO THAT.

>> YEAH, I MEAN, I WOULD HAVE TO AGREE WITH THAT. I THINK THAT, YOU KNOW, BEST THING, THE THING I LIKE THE MOST ABOUT WORKING WITH BARRY IS HE'S IMPROMPTU, YOU'LL HAVE SOME MOMENTS WHERE HE'LL SEE SOMETHING AND HE'LL FEEL SOMETHING AND BE, LIKE, WE'RE GOING TO DO THIS SHOT AND IT IS LIKE IT KEEPS YOU ON YOUR TOES, IT IS A FUN WAY TO WORK.

>> YOU GET THE SENSE OF THAT WHILE WATCHING THE FILM, NOT THAT THE FILM FEELS LOOSE, BUT MY FAVORITE FILMS ARE THE ONES WHERE I CAN FEEL THE FILMMAKER FINDING THE MOVIE THROUGH THE SCRIPT, ON SET AND FINDING IT WHILE EDITING IT, NOTHING FEELS STATIC. HOW DO YOU WORK THAT WAY AS A FILMMAKER WHEN YOUR MOVIES HAVE SOME SHOTS IN IT THAT FEEL LIKE THEY HAD TO HAVE BEEN PLANNED MONTHS IN ADVANCE, THE OPENING SHOT OF THE FILM IS ONE FOR THE AGES, I THINK.

>> YEAH, BUT I THINK YOU HAVE TO CREATE AN ENERGY WHERE EVERYTHING IS POSSIBLE BECAUSE, FOR EXAMPLE, THAT SHOT ACTUALLY WASN'T PLANNED MONTHS IN ADVANCE, THE OPENING SHOT. WE WERE LOCATION SCOUTING FOR THE MOMENT WHERE THE FATHERS ARE HUSTLING TO GET THE MONEY TO RAISE THE BAIL, AND THAT JUST HAPPENED TO BE ACROSS THE STREET FROM THIS WALKWAY. AS YOU WERE SCOUTING, I WALKED OFF, AND STARTED WALKING UP THIS WALKWAY, BUT THE CHARACTERS ARE IN MY HEAD. I SAW THEM WALKING DOWN IT. IT WAS, LIKE, OKAY, NEXT WEEK, WE'RE GOING TO DO THIS. I THINK YOU HAVE TO BE LIKE REALLY OPEN AND RESPONDING TO BOTH THE ACTORS AND THE ENVIRONMENT.

>> NOW, YOUR BUDGET FOR -- YOU HAD THREE MOVIES NOW THIS IS YOUR THIRD MOVIE, FIRST MOVIE WAS $15,000, RIGHT? SHOT IN 15 DAYS, A THOUSAND DOLLAR S A DAY, ESSENTIALLY.

>> YES, IT WAS.

>> THE NEXT ONE 26 DAYS WITH THE SUCCESS OF "MOONLIGHT."

>> 25 DAYS.

>> 25 DAYS. BATTLE TESTED.

>> GIVE ME BACK MY DAY.

>> DID YOU HAVE MORE MONEY, MORE TIME, DID IT FEEL LIKE YOU DID?

>> A LITTLE MORE MONEY, A LITTLE MORE TIME. THIS WAS 32 DAYS, NOT MUCH MORE. I THINK THE MOVIES, THE MOVIES ARE MADE WHEN THEY'RE MADE. AND I THINK SOMETIMES YOU HAVE TO BE, LIKE, FOR EXAMPLE, IN ALL THREE OF THE TRAILERS, THERE IS THIS MOMENT OF STEPHAN RUNNING DOWN THE STEPS OF A SUBWAY STATION AND HE'S GRABBING THE BARS AND THE CAMERA SPINS AWAY, NONE OF THAT WAS PLANNED. NONE OF THAT WAS PLANNED. THAT WAS IN THE LAST 30 MINUTES OF THE FIRST DAY OF SHOOTING. SO, YEAH, YOU CAN PLAN A WHOLE DAY AROUND THAT. I THINK YOU MAKE THE MOVIES AND THE TIME YOU HAVE TO MAKE THEM.

>> HOW DO YOU -- THIS IS GOING TO SOUND LIKE A SILLY QUESTION, HOW DO YOU GET THE CONFIDENCE TO DO THAT. IT TAKES AN INCREDIBLE AMOUNT OF CONFIDENCE TO CARRY A MOVIE SET, MAKE A MOVIE FROM BEGINNING TO END, TO GET THERE LIKE, NO, NO, NO, NOT THAT, WE'LL DO THIS INSTEAD.

>> FLORIDA STATE UNIVERSITY, WHERE I LEARNED MOST OF THE THINGS ABOUT FILM, BUT YOU HAVE TO DO EVERYTHING ON SET, GRIP, BOOM, AD, CINEMATOGRAPHER, EVERYTHING. YOU UNDERSTAND THE TIME IT TAKES FOR ANYTHING TO BE PULLED OFF, AND SO WHEN I MAKE A DECISION LIKE THAT, I UNDERSTAND, I'VE ALREADY LOOKED AND, OKAY, MOVE THE TRACK HERE, BACK THE TRAIN UP, I GOT TO GIVE STEPHAN THE SIMPLEST LINES I CAN WHEN HE COMES DOWN THE STAIRS, WHEN YOU HAVE ALL THE ROLES ON SET, YOU HAVE NOT AN ACCURATE BUT REASONABLE EXPECTATION OF WHAT PEOPLE CAN AND CANNOT PULL OFF. YOU GET ON THE SET AND THE CREW SEES YOU AND APPRECIATES WHAT YOU DO, THEY WILL WORK HARDER FOR YOU AND TRUST YOU WHEN YOU ASK THEM TO DO SOMETHING, THEY'LL FEEL CONFIDENT TO DO IT.

>> ONE THING IN "MOONLIGHT" AND WITH THIS ARE THE CLOSE-UPS, THESE ABSOLUTELY DEVASTATING BEAUTIFUL CLOSE-UPS OF THE TWO OF YOU, WHETHER YOU'RE TALKING OR NOT. OFTEN WHEN YOU'RE NOT TALKING. ONE OF MY FAVORITE SHOTS OF YOU OUTSIDE THE OPENING IS THE END OF THE FILM, BETWEEN THE GLASS, IT IS THIS CLOSE-UP OF THE TWO OF YOU, CUTTING BACK AND FORTH, BUT THE ONE SPECIFICALLY OF YOU, STEPHAN, THE COLOR, THE LIGHTING IS SO BEAUTIFUL, THE YELLOW HUES, IT IS INCREDIBLE. BUT I'VE HEARD THAT YOU ALSO KIND OF PULL THOSE CLOSE-UPS UP IMPROMPTU AND OUT OF THE SPOT. SO HOW DO YOU BECOME COMFORTABLE WITH THAT AS AN ACTOR.

>> HOW DO YOU GET COMFORTABLE WITH THAT, KIKI?

>> LOOK INTO THE CAMERA.

>> I CALLED IT LOOKING INTO THE BLACK HOLE ONE TIME, ONE TIME. BUT IT IS NOT A BLACK HOLE. IT IS TAKES SOME GETTING USED TO. IT IS STRANGE TO FIND MYSELF HAVING TO LIVE IN THESE REALLY EMOTIONAL AND OFTEN PAINFUL, YOU KNOW, MOMENTS AND JUST SIT THERE WITH IT AND THEN JUST GIVE IT ALL. YOU KNOW, ACTING IS SO MUCH ABOUT WHAT YOU'RE RECEIVING FROM YOUR PARTNER, AND SO IT WAS INTERESTING TO BE IN A POSITION WHERE I WASN'T REALLY RECEIVING ANYTHING, BUT I'M HAVING TO GIVE SO MUCH AND LIVE IN THESE REALLY, YOU KNOW, PAINFUL THINGS. AND SO THE FIRST COUPLE OF TIMES IT WAS A LITTLE ROUGH FOR ME, IT GOT BETTER. I THINK I GOT MORE COMFORTABLE.

>> I THINK YOU WERE EXTREMELY COMFORTABLE. WE DON'T PLAN THOSE SHOTS. THE SCENES AND THE PRISON, THOSE ARE WHAT YOU CALL THE INTERATRON, THEY CAN SEE EACH OTHER THERE. BUT THE OTHER --

>> YOU'RE USING AN ACTUAL INTERATRON THERE?

>> IN THE PRISON SCENES, THE OTHER DIRECTOR CAMERAS, THEY'RE LOOKING INTO A BLACK HOLE, IT ABSORBS LIGHT AND DOES NOTHING BUT DESTROY IT I FEEL LIKE THE LIGHT WE'RE TAKING FROM THE ACTORS WE'RE GIVING TO THE AUDIENCE IN THAT CASE. YES, IT DOES FEEL LIKE LOOKING INTO A BLACK HOLE --

>> ONE TIME YOU SAID BLACK HOLE AND HE --

>> I NEVER LET HER FORGET IT. THE PRISON SCENES, THEY'RE LOOKING INTO AN INTERATRON, BUT I WANT THEM TO LOOK DIRECTLY AT THE AUDIENCE AGAIN. WE BUILT AN ACTUAL SET THAT REFLECTED THE TOMBS, IT WAS TO HAVE THEM STAGGERED AT THE KIOSK, AT THE PARTITIONS, BUT THEN IT YIELDS SOME UNEXPECTED RESULTS. WHEN THOSE SHOTS YOU'RE MENTIONING, STEPHAN GETS UP AND BACKS AWAY FROM CAMERA, WE LEAVE THE FOCUS SHALLOW AND HE JUST DRIFTS INTO THIS GORGEOUS YELLOW COLOR. AND HE'S MOVING LIKE A PANTHER, LIKE ROCKING LEFT AND RIGHT, I DON'T KNOW WHY YOU DID THAT.

>> NOT SURE.

>> RUBBING YOUR HANDS, YOU KNOW? IT TAKES AN EFFECT. THEN YOU SEE KIKI, SHE LOOKS UP, AND I DON'T KNOW WHY YOU DID THAT. BECAUSE YOU COULDN'T SEE HIM. HE WENT OUT OF THE IMAGE AND IT WAS JUST THE INTERATRON THERE. BUT YOU GET SO IMMERSED IN WHAT YOU'RE DOING, THAT NOW HE'S THERE AND HE'S GOING AWAY. GOOD WORK, GOOD WORK, MY DEAR. GOOD WORK.

>> SINCE I SAW THE TRAILER AND WATCHED THE MOVIE, I WANTED TO COMMEND YOUR FOCUS POLAR WHO LOOKED LIKE HE WAS DOING --

>> ON THIS FORMAT TOO, THE ALEXIS 65, SO THE FOCUS IS MORE OR LESS FORGIVING. SO, YEAH, WE PUT HIM THROUGH THE WRINGER. SHOUTOUT TO NICK WYNN WHO WENT TO FILM SCHOOL WITH ME AT FLORIDA STATE. SHOUTOUT TO HIM, YEAH.

>> SO LET'S TALK ABOUT WHY THIS BOOK. APPARENTLY YOU WENT TO SORT OF WRITE THE ADAPTATION FOR THIS, ENDED UP WRITING "MOONLIGHT" AND THIS, WHAT WAS IT ABOUT THIS BALDWIN BOOK SPECIFICALLY THAT MADE YOU WANT TO ADAPT IT. THERE HAVEN'T BEEN THAT MANY ADAPTATIONS OF HIS WORK.

>> THERE HAVEN'T BEEN THAT MANY, WHICH IS UNFORTUNATE. AND DUE TO A WHOLE HOST OF REASONS, BUT WITH THIS BOOK IN PARTICULAR, I LOVE THAT IT CAPTURED THESE DUELING VOICES, ONE OF THOSE VOICES OBSESSED WITH LOVE, ROMANTICISM, SEXUALITY AND THE OTHER VOICE, PASSIONATE ABOUT CALLING OUT INJUSTICE AND THE WAYS IN WHICH THE AMERICAN GOVERNMENT, THE AMERICAN SOCIETY HAS PLAYED A LARGE ROLE IN THE DEGRADATION OF THE LIVES AND SOULS OF BLACK FOLKS IN THE HISTORY OF AMERICA. I THINK IN THIS BOOK, I FOUND THE FUSION OF THOSE TWO VOICES. THEY SAY A STORY IS THE BEST VEHICLE TO TRANSLATE AN IDEA. I THINK A RELATIONSHIP IS THE BEST VEHICLE TO TRANSLATE AN EMOTION. SO TO TAKE THIS EMOTION OF WHAT IT FEELS LIKE TO BE OPPRESSED BY AMERICAN SOCIETY, MASS INCARCERATIONS OF THE JUDICIAL SYSTEM, TO TAKE THAT AND PUT IT INTO THE HOUSING OF A RELATIONSHIP, FUNCTIONING FAMILY, IT MOVED ME LIKE NOTHING ELSE.

>> TO JUXTAPOSE THE HARSH REALITY OF THE JUSTICE SYSTEM WITH LOVE, ABSOLUTE LOVE.

>> THE LOVE IS SO PURE. THEY'RE SOUL MATES. ULTIMATELY DESPITE THE JOY THEY BRING TO EACH OTHER, IT IS LIKE THE GREATEST TRAGEDY BECAUSE CIRCUMSTANCES OUTSIDE THEM ARE KEEPING THEM FROM THIS LOVE.

>> HOW DOES THAT AFFECT YOUR IDEA OF A SCENE WHEN SOMEONE TELLS YOU THE TWO CHARACTERS ARE SOUL MATES. BECAUSE OFTENTIMES THE TWO OF YOU ARE COMMUNICATING WITH EACH OTHER WITHOUT LINES. SUPPOSED TO BE IN THE EYES, IN THE BODY MOVEMENT. HOW DO YOU ACT AS ACTORS -- HOW DO YOU BEHAVE AS ACTORS THAT MAKES YOU RECOGNIZE THAT YOU ARE SOUL MATES? DO YOU TRY TO THINK ABOUT THAT OR JUST TRY TO LISTEN TO WHAT YOU'RE TOLD TO KIND OF DO?

>> I THINK THEY JUST ADD ANOTHER WEIGHT OF RESPONSIBILITY TO THE STORY AND TO OUR CHARACTERS, YOU KNOW, KIKI AND I WERE SORT OF PUT IN THIS POSITION WHERE WE DIDN'T HAVE A WHOLE BUNCH OF REHEARSAL TIME BEFOREHAND, OUTSIDE OF THE CHEMISTRY READ, YOU KNOW, THAT'S THE ONLY TIME WE SPENT TOGETHER BEFORE MAKING THIS FILM. AND, YOU KNOW, YOU JUST SORT OF FIGURE OUT YOU HAVE TO LET DOWN A LOT OF WALLS REAL, REAL FAST AND GET COMFORTABLE WITH EACH OTHER AND, YOU KNOW, LUCKILY ENOUGH WE HAD BARRY TO HELP US WITH THAT PROCESS, BUT I THINK IT IS JUST AN ATTENTION TO THE MATERIAL AND REALIZING THAT THESE GUYS ARE MORE THAN LOVERS, YOU KNOW, SOUL MATES AND THEY'RE BEST FRIENDS.

>> YEAH, AND ONE OF THE THINGS THAT YOU HAVE TO DO AS ACTORS IN THE FILM AS WELL, THERE IS REALLY ONLY -- WE WERE TALKING ABOUT THIS IN THE GREEN ROOM, THERE IS THREE SCENES IN THE FILM. IN TERMS OF BEGINNING, MIDDLE AND END SCENE. THE REST IS MONTAGE THAT SWIRLS AROUND THESE SCENES AND TELLS THE STORY THROUGH LETTING OUT LITTLE BITS OF INFORMATION. MOST MOVIES THAT YOU DO, MOST TV SHOWS YOU DO ARE COMPRISED OF SCENES, VERY LITTLE MONTAGE, YOU HAVE A LOT TO GRAB ON TO AS ACTORS. HOW DID YOU DO THAT IN THIS? HOW DID YOU MAKE SURE YOU KNEW WHERE YOU WERE IN EACH MOMENT OF MONTAGE AND SHOOTING IN REGARDS TO THE STORY?

>> I HAD THE BOOK WITH ME EVERY DAY ON SET. SO THAT WAS THE -- MY MAIN SOURCE OF KEEPING UP WITH WHAT, YOU KNOW, WHAT DOES TISH KNOW AT WHAT MOMENT. JUST TO BE SURE THAT I'M NOT PLAYING THINGS THAT HAVEN'T ACTUALLY HAPPENED, YOU KNOW, EVEN IF WE ALREADY FILMED IT OR, YOU KNOW, SO JUST TRYING TO BE ATTENTIVE TO THAT AND JUST MAKING SURE THAT I'M USING THE BOOK TO, YOU KNOW, GET AS MUCH INFORMATION ABOUT, YOU KNOW WHAT MY CHARACTER MIGHT BE FEELING OR THINKING EVEN IF, YOU KNOW, BECAUSE OBVIOUSLY EVERYTHING CAN'T MAKE IT INTO THE SCRIPT.

>> THE SAME THING, I MEAN, I THINK YOU DEFINITELY REFER TO THE BOOK, THE BOOK WAS SOMETHING THAT I THINK ALL THE ACTORS SORT OF HAD HANDY AND WERE GOING BACK AND FORTH WITH IT. BUT, YOU KNOW, BARRY WAS VERY HELPFUL IN TERMS OF JUST, YOU KNOW, HELPING US ESTABLISH -- I THINK IT IS IMPORTANT THAT THERE IS A LOT TO BE SAID IN THIS FILM WITHOUT ACTUALLY SAYING ANYTHING. AND SO THOSE MOMENTS, YOU KNOW, YOU'RE VERY CAREFUL WITH THEM AS IF, YOU KNOW, THEY WERE LINES, YOU KNOW, TO BE SAID. I THINK THERE WAS STILL MESSAGES THAT NEEDED TO BE PORTRAYED AND BARRY LIKES TO SAY THERE ARE THINGS IN THE PERFORMANCE THAT AREN'T NECESSARILY IN THE FILM AND SO YOU KNOW YOU TRY TO KEEP THAT SORT OF THING IN MIND.

>> WHEN IT COMES TO THE BOOK, THE BOOK WAS 1973, RIGHT? AND --

>> 74.

>> EXCUSE ME. AND THE CHARACTERS IN THE BOOK ARE RIGHTFULLY, I WOULD SAY, EVEN MORE CONSPIRATORIAL IN REGARDS TO THE POLICE AND THE JUSTICE SYSTEM THROUGHOUT THE BOOK AND I SAY THAT RIGHTFULLY BECAUSE THE FRENCH CONNECTION IS REFERENCING, NOT NECESSARILY CONSPIRATORIAL, IT IS FACT. BUT YOU HAVE REMOVED SOME OF THAT FROM THE MOVIE. I'M WONDERING IF YOU THOUGHT THAT AUDIENCES IN THIS PERIOD OF TIME WOULDN'T NECESSARILY KNOW HOW TO STOMACH BELIEFS ABOUT THE JUSTICE SYSTEM AND THAT WAY OR BELIEFS ABOUT POLICE IN THAT WAY.

>> IT WASN'T THAT SO MUCH. IT TAKES 20 HOURS TO READ THE BOOK, TWO HOURS TO WATCH THE FILM AND I THINK WHEN YOU READ THE BOOK, YOU HAVE ALL THE MOMENTS OF REPOSE WHERE YOU CAN GO DOWN THE SORT OF LIKE BACK ROADS AND REALLY EXPLORE SOME OF THE THINGS AND ARE MAYBE MORE LATENT, BUT IN THE FEATURE FILM, YOU HAVE TO PICK AND CHOOSE, AND AS STEPHAN SAID, IT IS IN THE PERFORMANCE BUT NOT THE FILM. A LOT OF THAT IS IN THE SUBTEXT OF THE MOVIE BUT NOT LITERALLY IN THE TEXT OF THE FILM. I THINK EVEN AS THE FILM IS FRAMED NOW, WITH THE TWO HOURS, THAT EXISTS, THERE IS STILL SOME OF THAT STUFF THAT GOES OVER, YOU KNOW, SOME PEOPLE'S HEADS IN A WAY THAT IS, I THINK, PERFECTLY FINE, STILL DIGEST THE MOVIE. BUT ONE OF THOSE THINGS OF WORKING WITH ADAPTATION, ESPECIALLY A BOOK AS DENSE AS THIS ONE. ONLY 200 PAGES, BUT SO MUCH IN IT. JUST HAVE TO PICK AND CHOOSE, SO, YES, THAT STUFF, I FELT LIKE IT WAS BETTER TO BE LEFT, HEY, I LOVE THIS MOVIE, LET ME GO WATCH -- I LOVE THIS FILM, I'LL READ THE BOOK.

>> YES. AND YOU ARE RIGHT, THE MOVIE ALLUDES TO THOSE THINGS. THE ILLUSION IS ENOUGH.

>> I THINK SO. ALSO I THINK TOO THAT THE MOVIE IS PRIMARILY ABOUT THE RELATIONSHIP BETWEEN THESE TWO PEOPLE. AND ALSO THE DYNAMICS OF THEIR FAMILIES, AND TO ME THAT WAS THE FOREFRONT, THAT WAS THE PROPULSION OF THE MOVIE, AND IT WAS ABOUT STRIKING A BALANCE ABOUT HOW MUCH THE JUDICIAL SYSTEM, MASS INCARCERATION, HOW MUCH THOSE THINGS NEED TO BE IN THE TEXT AND NEEDS TO BE AS STEPHAN SAID IN THE PERFORMANCE.

>> YOU KNOW, WHEN IT COMES TO YOUR FILMS, AT LEAST THE LAST TWO FILMS, THE MUSIC IS JUST -- I ALMOST CAN'T IMAGINE THE MOVIES WITHOUT THE MUSIC. WHAT DO YOU TELL YOUR COMPOSER, WHAT ARE YOU SHOWING HIM IN TERMS OF THE MUSIC? WITH THIS, THE WAY THAT THE IMAGES MATCH THE MUSIC, THERE WERE SCENES I CRIED IMMEDIATELY AND THERE WAS NOTHING HAPPENING EMOTIONALLY TO MAKE ME CRY EXCEPT FOR THE TONE YOU WERE BRINGING.

>> YOU SHOULDN'T BE ABLE TO IMAGINE THE MOVIES WITHOUT THE MUSIC. NICK ISN'T WRITING SCORES INDEPENDENT OF PERFORMANCE OR INDEPENDENT OF THE SCENE WORK. HE'S RESPONDING TO THE EMOTION THAT KIKI IS GIVING, RESPONDING TO THE EMOTION OF STEPHAN. WITH THIS FILM, EVEN MORE THAN THE PREVIOUS ONE, WE ACTUALLY DEVELOPED THE SCORE AS WE WERE CUTTING THE FILM. AND WE COULDN'T FINISH ONE BEFORE THE OTHER. LITERALLY RIGHT UP UNTIL TORONTO, NICK WAS STILL WORKING AND WE WERE STILL FINE TUNING CERTAIN THINGS TO THE POINT THAT WE DO DIRECTED CAMERA CLOSE-UPS WE WERE TALKING ABOUT, AND THE LAST TWO IN THE FILM, WHICH IS STEPHAN AND KIKI AT THE BOTTOM OF THE STEPS, THE OPENING OF THE FILM YOU REFERRED TO, WE HAD THOSE, THEY WEREN'T IN THE FILM, DIDN'T KNOW WHERE THEY WERE GOING TO GO. IT WASN'T UNTIL NICK SAW THOSE AND GAVE ME A PIECE OF MUSIC THAT I REALIZED THIS IS HOW WE GET TO THE ENDING OF THE FILM. IN A CERTAIN WAY, IT IS ABSOLUTELY CORRECT TO SAY THAT YOU CAN'T IMAGINE THE MOVIE WITHOUT THE MUSIC, BECAUSE THE MOVIE IS WHAT CREATES THE MUSIC IN A CERTAIN WAY. AND NICHOLAS WHO DID THE SCORE FOR "MOONLIGHT" AND "IF BEALE STREET COULD TALK," SO IN TUNED WITH THE SPIRITUALITY OF THE CHARACTERS, WITH THE THEMES OF THE FILM AND I THINK HE DOES A GOOD JOB OF CAPTURING THAT IN THE SOUNDSCAPE.

>> THE OTHER ACTORS SURROUNDING THE TWO OF YOU AND YOUR WONDERFUL PERFORMANCES ARE ALSO INCREDIBLE, INCREDIBLE FACES, FROM, LIKE, BRIEF CAMEOS, I DON'T WANT TO NAME NAMES IN SOME OF THEM, IT WAS FUN. I DIDN'T KNOW SOME OF THEM WOULD BE THERE AND IT IS HILARIOUS WHEN THEY APPEAR ON SCREEN.

>> SOMETIMES HILARIOUS, SOMETIMES NOT MEANT TO BE HILARIOUS, BUT YES.

>> I REALIZE IT IS NOT MEANT TO BE. ONE I DIDN'T KNOW IT WAS HIM UNTIL THE CREDITS. THAT WAS --

>> WHICH ONE?

>> THE POLICE OFFICER.

>> OH, OKAY, GOTCHA.

>> I WOULD NOT WANT TO LAUGH AT THAT. THAT'S NOT FUNNY. BUT THERE WAS ONE MAN WHO I THINK IT IS A FUNNY SCENE.

>> IT IS A FUNNY SCENE. WE RIFT IT IN A WAY THAT WE LEAN INTO THE HUMOR OF IT. AT THAT POINT, YOU NEED A BREATH.

>> THAT'S ONE OF THE SCENES OF THE MOVIE I FEEL LIKE YOU EXPANDED ON WHAT IS IN THE BOOK.

>> RIGHT. YOU READ THE BOOK. TALKING ABOUT THE SCENE, THE DAY FRANCO APPEARS IN THE MOVIE AS A LANDLORD, THIS GUY NAMED LEVY. THERE IS A SEQUENCE IN THE BOOK I WAS QUITE TAKEN WITH BUT I COULDN'T QUITE UNDERSTAND AND BETWEEN MYSELF, KIKI, STEPHAN AND DAVE, WE RIFFED OUT AND BETWEEN LOCATION SCOUTING TO BE HONEST, RIFFED OUT A WAY TO REALLY CONNECT THAT CHARACTER WITH OUR MAIN CHARACTERS AND IT CAME THROUGH THIS IDEA OF MOTHERS. AND THE IDEA OF NATURE VERSUS NURTURE AND THIS NURTURING BEING THE THING THAT DISTINGUISHES US FROM PEOPLE WHO ARE MAYBE LESS KIND TO US. IT IS ONE OF MY FAVORITE MOMENTS IN THE FILM. THESE SATELLITE CHARACTERS WHO SURROUND KIKI AND STEPHAN, THEY ALL JUST DO GREAT WORK.

>> YEAH, AND I GUESS WE SHOULD TALK ABOUT THE -- REGINA KING, THE ABSOLUTE BEST, SHE DOESN'T DESERVE -- IF SHE DOESN'T GET AN OSCAR FOR THIS, IT IS RIDICULOUS. WHAT WAS IT LIKE WORKING WITH HER?

>> IT WAS GREAT WORKING WITH HER. I'LL SPEED PAST THE FIRST PART OF THE COMMENT.

>> SORRY.

>> NO, IT WAS AWESOME WORKING WITH HER. I REMEMBER WATCHING 227 GROWING UP AND SO I FEEL LIKE I'VE COME OF AGE ALONG WITH REGINA KING IN A CERTAIN WAY. AND YOU THINK OF A MOTHER, A MATRIARCH, SOMEBODY WHO CAN BE AS CLOSE TO THEIR CHILD, GENERATIONALLY, BUT ALSO BE ONE GENERATION AHEAD AND SO CAN RELATE AND EMPATHIZE AND ALL THESE THINGS, REGINA KING WAS THIS FACE THAT POPPED IN MY HEAD. I THINK SHE GOES TO A PLACE IN THE FILM, ESPECIALLY WHEN WE GIVE HER THE FILM ESSENTIALLY, FOR 15 MINUTES, ONE OF THE SCENES YOU'RE TALKING ABOUT, WHEN MOM GOES TO PUERTO RICO AND I THINK SHE SHOWS THESE WELLS OF VULNERABILITY THAT IS REALLY JUST AMAZING.

>> I WATCHED HER ON SCREEN BEFORE AND I WAS, LIKE, WILL YOU BE MY MOM? COME ON.

>> I GOT TO ASK THAT QUESTION. SHE SAID YES.

>> WHAT WAS IT LIKE FOR YOU GUYS WORKING WITH HER AND COLEMAN AS WELL?

>> WORKING WITH THEM AND JUST THE WHOLE CAST WAS AMAZING. ESPECIALLY FOR ME BECAUSE THE WAY YOU SEE THESE CHARACTERS COME AROUND TISH IS HOW THIS WHOLE ENSEMBLE CAME AROUND ME AS I WAS, YOU KNOW, EXPERIENCING ALL THESE NEW THINGS AND LEARNING SO MUCH, YOU KNOW, VERY QUICKLY, JUST LIKE TISH. I'M SO THANKFUL TO HAVE HAD, YOU KNOW, REGINA THERE, COLMAN THERE, STEPH THERE, LOOKING OUT FOR ME AND JUST BEING THAT GENUINELY SUPPORTIVE.

>> YEAH IT WAS A VERY SORT OF FAMILIAL ENVIRONMENT WE CREATED WITH THIS. I WORKED WITH COLMAN AND I WORKED WITH REGINA BEFORE. AND, YOU KNOW, I REALLY WOULDN'T RATHER TELL STORIES WITH ANYBODY ELSE, HONESTLY. I WISH I COULD MAKE MOVIES WITH THESE GUYS FOREVER, YOU KNOW. SUCH A GEM, REGINA KING, YOU KNOW, TO BE ABLE TO SEE JUST THE TRAJECTORY OF HER CAREER AND JUST EVERYTHING SHE'S DONE, ALL THE WORK SHE'S DONE AND TO SORT OF BE RECOGNIZED IN THIS WAY NOW, YOU KNOW. IT SEEMS LONG, LONG OVERDUE. SO JUST INCREDIBLY HAPPY TO BE ABLE TO HAVE DONE THIS WITH BOTH OF THEM.

>> ANOTHER FACE THAT MAKES WONDERFUL APPEARANCE IN THE MOVIE, BRIAN TYREE HENRY. THERE WAS A SHOT I ALMOST FELL OUT OF MY SEAT LAUGHING AT.

>> THAT'S GOOD. THAT'S HOW IT SHOULD BE.

>> OUT OF NOWHERE.

>> THAT'S HOW IT SHOULD BE. WHEN YOU COME TO -- YOU'RE LAUGHING.

>> I HAVE BEEN THERE WITH A FRIEND I HAVEN'T SEEN IN A WHILE, YOU KNOW, YOU'RE SO EXCITED, AND IT IS PERFECTLY CAPTURED.

>> AND TO START THERE, AND END UP WHERE BRIAN ENDS UP TEN MINUTES LATER, MY GOODNESS. OH, MY GOODNESS.

>> HE'S EXCEPTIONAL. HE'S EXCEPTIONAL. THE BIGGEST BRIAN FAN IN THE WORLD. HE CAME IN FOR, LIKE, TWO DAYS.

>> ONE DAY.

>> ONE DAY.

>> WHAT?

>> AND JUST, LIKE, HE BLEW IT OUT OF THE PARK, HE'S, LIKE THE BIGGEST BALDWIN FAN. YOU COULD TELL THE RESPONSIBILITY THAT HE HAD TAKEN UPON HIMSELF TO MAKE SURE THAT HE WAS, YOU KNOW, HE WAS TELLING THE STORY. HIS CHARACTER IS SO IMPORTANT, THAT MOMENT IS SO IMPORTANT. I FEEL LIKE YOU'RE TALKING ABOUT BLACK LOVE, WHICH IS A BIG THEME IN THIS BOOK, YOU KNOW, AND IN THIS FILM. THAT'S ONE OF THE BIGGEST MOMENTS YOU GET TO SEE THAT, LIKE, BLACK BROTHERS LOVING ON EACH OTHER.

>> BROTHERLY LOVE.

>> THAT BROTHERLY LOVE, LOVING ON EACH OTHER AND BEING VULNERABLE WITH EACH OTHER AND, YOU KNOW, BRIAN TYREE IS THE BEST IN THE WORLD.

>> WAS THAT ANOTHER SHOT THAT YOU JUST KIND OF PICKED UP WHEN YOU WERE WITH HIM, JUST, LIKE, GET OVER THERE AND LET'S SEE HOW THIS GOES.

>> WE KNEW WE WOULD PULL HIM TO THE DOOR. THAT WAS AN EXPERIMENTAL DAY, WE WERE USING TWO CAMERAS AND THE ENERGY BETWEEN STEPHAN AND BRIAN WAS SO POTENT THAT I DIDN'T WANT TO INTELLECTUALLY HAVE TO CUT BETWEEN THEM. I WANTED THEM TO PASS THE ENERGY BACK AND FORTH. AFTER WE HAD DONE THE ENTIRE SCENE, BASICALLY, WE TOOK THE CAMERA OUT, PUT IT ON THE SLIDER AND SAID, OKAY, LET'S DO IT AGAIN AND NOW WE START PANNING LEFT TO RIGHT, PANNING FROM PERSON TO PERSON. SO THE ENERGY IS PASSED TO ONE MAN AND THAT MAN TAKES THE ENERGY, CHANGES IT AND PASSES IT BACK. THAT WAS THE DAY WHERE, AGAIN, YOU COULD HAVE BEEN, LIKE, YOU DID THE DAY OF SCENE, BUT I GOT TO FIGURE IT OUT NOW, TRUST ME. THEY TRUST IT. NOW IT IS ONE OF MY FAVORITE SCENES ON THE FILM.

>> IT IS A REALLY WONDERFUL SCENE IN THE FILM. AS WE TALK ABOUT BEFORE, SOME OF THE STUFF HAS KIND OF BEEN CHANGED, AS AN ADAPTATION SHOULD DO, NOT AN AFFRONT TO THE ORIGINAL MATERIAL, BUT SOME OF THE WAYS YOU CHANGED IT MADE IT SO THE STORY STILL KIND OF -- IT IS SET IN '73, STILL VERY MUCH WORKS RIGHT NOW, WAS THAT YOUR INTENTION IN GOING INTO WRITING THE SCRIPT? THIS PART OF THE BOOK WOULDN'T NECESSARILY TRANSLATE IN THE BEST WAY TO RIGHT NOW OR WOULD IT AT LEAST TAKE PEOPLE OUT OF THINKING ABOUT THIS MOMENT AS WELL?

>> I KIND OF TOOK THAT OUT, OUT OF MY MIND IN A CERTAIN WAY. I THOUGHT, OH, IF YOU MAKE IT PRESENT DAY, IT WILL BE MUCH MORE AFFORDABLE TO SHOOT, WE CAN POINT THE CAMERA ANYWHERE. THE LOGIC SIDE OF MY PRODUCTION BRAIN. BUT MR. BALDWIN WAS SO WISE AND PRESCIENT, THAT THE MOST POWERFUL THING TO DO WAS TO ALLOW EVERYTHING TO REMAIN SET IN THE TIME IT WAS PUBLISHED AND THE TIME IT WAS WRITTEN JUST TO SHOW HOW PERVASIVE THE PROBLEMS ARE AND HOW THEY ARE ALLOWED TO PERSIST.

>> LET'S GET QUESTIONS FROM THE AUDIENCE.

>> HELLO.

>> HEY.

>> HI. SO I SAW THE FILM AT THE APOLLO AND, YOU KNOW, LET ME JUST SAY THAT I'VE NEVER SEEN ANYTHING AS REVOLUTIONARY AND AS UNAPOLOGETIC AS THE WAY YOU SEE BLACK LOVE ON FILM.

>> THANK YOU.

>> BACK IN YOUR AFTERNOON INTERVIEW FOR THE NEW YORK FILM FESTIVAL, YOU WENT ON ABOUT THE PREVALENCE OF THE INTERIOR VOICE AND HOW IT IS OUR JOB AS FILMMAKERS AND WRITERS TO MAKE SURE THAT VOICE IS VISUALLY SOUND AND ORALLY SOUND. SO I WANTED YOU TO REITERATE ON THAT IDEA AND HOW YOU WERE ABLE TO REFLECT THAT INTO THIS FILM.

>> YEAH, I THINK PART OF IT WAS ENTRUSTING THE ACTORS, YOU KNOW, LIKE KIKI SAID AND STEPHAN SAID AS WELL, YOU KNOW, I WANTED TO EMBRACE THE TEXT AND SO THERE IS SO MUCH INTERIOR VOICE IN THE NOVEL BECAUSE LITERATURE SAY BETTER VESSEL FOR THAT STUFF THAT I FELT VERY COMFORTABLE WITH THEM BRINGING TO SET. AND I THINK THOSE THINGS MAKE THEIR WAY INTO THE PERFORMANCE. AS FAR AS THE ORALLY SOUND, I'LL SPEAK TO THE SEQUENCE THAT HOMEBOY WAS TALKING ABOUT, I CALL EVERYBODY HOMEBOY, THE SCENE WITH BRIAN TYREE HENRY AND STEPHAN JAMES, A MOMENT WHERE A MILES DAVIS SONG PLAYS IN THE BACKGROUND, AS WE INTRODUCE THE SCORE, WE TAKE THE SONG AND NOW YOU'RE SITTING IN AN AUDITORIUM, LIKE THIS, THE SPEAKERS ARE ALL AROUND. INSTEAD OF TURNING THAT SONG OFF, WHEN YOU DO WHEN YOU INTRODUCE SCORE, WE TOOK THAT SONG AND I WANTED TO FEEL FOR THE AUDIENCE AND THE WAY IT FEELS FOR THE CHARACTERS. WE START PANNING IT AROUND THE ROOM AND REVERB, IT COMES IN, COMES OUT. THAT IS HELPING ORIENT YOU GUYS, RADICAL EMPATHY. YOU HEAR THINGS THE WAY THE CHARACTERS HEAR THEM AS OPPOSED TO A PARTICIPANT IN AN AUDIENCE. WHEN THE CHARACTER IS LOOKING DIRECTLY IN THE EYE AS WELL, INSTEAD OF BEING A VOYEUR, THE CAMERA IS ALWAYS HERE, THE OTHER CAMERA IS HERE. WHO IS THE CAMERA? YOU. YOU. SO I THINK IN THAT WAY YOU CAN USE THE TOOLS OF THE PROCESS TO ACTIVELY ENGAGE THE AUDIENCE SO YOU ACTIVATE THEIR EMPATHY.

>> THANK YOU SO MUCH.

>> DID I MAKE A FACE WHEN YOU CALLED ME HOMEBOY?

>> YOU DID, BUT --

>> I WAS GOING, BARRY JENKINS IS CALLING ME HOMEBOY.

>> THAT'S THE WAY YOU SHOULD HAVE TAKEN IT.

>> SPEAKING IN INTERNAL VOICES, KIKI, YOU DO AN AMAZING JOB OF PRESENTING THIS WOMAN WHO IS INCREDIBLY STRONG AND ALSO VERY WOUNDED WHEN WE FIRST MEET HER AND STRUGGLING WITH A VERY REAL ISSUE. AND IT IS SUCH A LAYERED PERFORMANCE IN THE WAY THAT YOU HAVE TO MOVE FROM STRENGTH TO KIND OF FEAR AND HOW -- THE SCENE WITH THE FAMILIES AND WHERE YOU GO FROM THE BEGINNING OF THAT SCENE TO THE END OF THAT SCENE. CAN YOU TALK ABOUT CRAFTING THAT WITH BARRY?

>> OH, MAN. I MEAN, AGAIN, THE BIGGEST THING FOR ME WAS JUST PAYING ATTENTION TO EVERYTHING THAT BALDWIN WAS GIVING ME IN THE NOVEL. BECAUSE IT IS JUST SO MUCH MORE OF THE WAY THAT TISH IS THINKING AND FEELING ABOUT EVERYTHING. IN TERMS OF WORKING WITH BARRY IN DEVELOPING ALL OF THAT, HE REALLY JUST ENCOURAGED ME TO TRUST THAT I WAS DOING ENOUGH BECAUSE I DEFINITELY HAVE MOMENTS OF QUESTIONING, I'M, LIKE, IS IT TOO SMALL, IS IT ACTUALLY BEING COMMUNICATED. I'M, LIKE, I'M FEELING THESE THINGS, BUT THEY STILL -- SO THERE WAS A LOT OF THAT BACK AND FORTH AND JUST QUESTIONING MYSELF AND SO THE BIGGEST THING I RECEIVED FROM BARRY THERE WAS JUST TRUSTING THAT I WAS COMMUNICATING THOSE THINGS. IT WAS ENOUGH AND JUST TRUSTING THAT, YOU KNOW, I WAS REALLY LETTING THESE CIRCUMSTANCES HIT ME AND THAT THAT IN AND OF ITSELF WOULD, YOU KNOW, ALLOW THOSE REAL EMOTIONS AND FEELINGS TO COME OUT JUST BY LETTING EVERYTHING THAT TISH WAS EXPERIENCING IN.

>> DID YOU HAVE THE BOOK ON YOU WHILE YOU WERE SHOOTING AS WELL? DID YOU REFER BACK TO IT?

>> I DIDN'T. FOR ME THAT WAS PROBABLY NOT A GOOD IDEA. I WOULD WANT TO BRING ALL THESE THINGS BACK IN. SO FOR ME, WHEN I'M ON SET, IT IS ALL ABOUT WHAT'S IN FRONT OF ME, EVEN WHEN IT IS AN ORIGINAL. ONCE I GET TO THE SET, THE SCRIPT GOES OUT THE WINDOW. I HOPE THE WORDS END UP THE SAME WAY. IT IS NOT THE MOST IMPORTANT THING. THE MOST IMPORTANT THING IS WHAT IS IN FRONT OF ME. DON'T HAVE THE BOOK WITH ME ON SET.

>> RIGHT AFTER "MOONLIGHT," A LOT OF PEOPLE WHO -- A LOT OF PEOPLE WERE REFERENCING YOUR INFLUENCES, YOU'RE YOUR OWN MAN AND DOING YOUR OWN THING, BUT I'M WONDERING IF THERE WAS ANY SPECIFIC INFLUENCES GOING INTO THIS MOVIE, ANYONE YOU WERE THINKING OF OR NOW THAT YOU WATCH IT, YOU GO, OH, YEAH, THAT'S IN MY DNA.

>> IT WASN'T CINEMATIC INFLUENCES, IT WAS MORE STILL PHOTOGRAPHY FROM THE ERA, LIKE GORDON PARKS, BUT IT IS INTERESTING, THE THING OF DNA, YOU KNOW, I SIGN AUTOGRAPHS NOW BECAUSE PEOPLE WANT MY AUTOGRAPH, BUT --

>> WE GET IT, BARRY, WE GET IT.

>> I DON'T LIKE MY HANDWRITING AND I WAS THINKING ABOUT IT, WHY DON'T I LOOK MY HANDWRITING? I DON'T WRITE IN CURSIVE. I REMEMBER WHEN I WAS TAUGHT CURSIVE, MY THIRD GRADE TEACH, I WRITE LIKE HER, WHEN I WRITE, IT IS MY OWN VOICE, MY HANDWRITING IS WRITTEN IN HER HAND. THE VERY FIRST FILMS I STARTED WATCHING, WHEN I WANTED TO BECOME A FILMMAKER, EVEN THOUGH MAKING FILMS IN MY OWN VOICE, THERE IS NO DOUBT THE WAY I WRITE WITH IMAGES IS THE DNA ROOTED IN THEIR HAND AND SO I THINK IT IS ALWAYS GOING TO BE A PART OF IT.

>> NEXT QUESTION.

>> HI. HOW ARE YOU GUYS? I SAW THE FILM ACTUALLY AT NYFF, I DIDN'T SEE IT AT THE APOLLO.

>> THE APOLLO SCREENING WAS DOPE.

>> I KNOW, I MISSED IT.

>> DOPE. FOMO.

>> I WAS TRYING TO LOOK FOR IT. IT WAS SOLD OUT.

>> I'M MESSING WITH YOU, MAN. THANK YOU FOR SEEING THE FILM.

>> I WANTED TO REALLY WONDERED IF YOU COULD TALK ABOUT THE SCORE AS WELL. I KNOW YOU ELABORATED ON IT AS WELL ALREADY. BUT I JUST REALLY WANTED TO, LIKE, TALK ABOUT MORE OF -- THERE IS A LOT OF MOVEMENT IN THE SCENES IN THE FILM, AND IT KIND OF REALLY, LIKE, REALLY COINCIDED WITH THE MUSIC. AND I FEEL LIKE NICHOLAS BRITTLE DID, LIKE, JUST SUCH A FANTASTIC JOB, ONE OF MY FAVORITE SCORES OF THE YEAR. IF YOU COULD ELABORATE MORE A LITTLE BIT ON THAT.

>> YEAH, YEAH. JUST REAL QUICK, WE STARTED OFF, MY FIRST INSTINCT WAS IT NEEDED TO BE JAZZ, A LOT OF HORNS, I WANTED THAT TO BE THE BASE OF THE SCORE. AND NICK STARTED OUT WORKING THAT WAY, BUT AS WE WATCH THE FILM YOU REALIZE THAT SOMETHING ABOUT THIS LOVE DEMANDED STRINGS. AND SO WE STARTED UP BY WRITING THINGS, ORCHESTRATIONS FOR BRASS, BUT PLAYING THEM WITH STRINGS, AND THEN BY THE END OF THE FILM, IT FLIPPED ON ITSELF, WE WERE COMPOSING THINGS FOR STRINGS BUT PLAYING IT WITH BRASS. THAT WAS ONE JUST NATURAL EVOLUTION OF THE SCORE. BUT I THINK WHAT REALLY STARTS TO HAPPEN IS, YOU KNOW, YOU WATCH THE ACTORS AND THEY GIVE US ENERGY AND IF THE PIECE OF SCORE WORKS WELL WITH NICK, WHAT HE'LL DO IS, HE'S NOT AFRAID OF BEING TRANSPARENT WITH ME. HE'LL SEND ME EVERY STEM IN THAT SCORE. BECAUSE MAYBE SOMETHING THAT IS THE EIGHTH MOST IMPORTANT IN THIS TRACK, I GO, OH, BUT NOW THIS MAKES ME FEEL THIS THING IN THE THIRD ACT, NOW IT IS MOST IMPORTANT PIECE IN THIS TRACK. AND THAT WAY ALL THE MUSIC STARTS TO TALK TO EACH OTHER. THE FIRST TIME THEY MAKE LOVE, THIS IS REALLY LUSH PIECE OF SCORE CALLED HEROES, THAT SAME PIECE OF SCORE IS PLAYED WHEN THE SCENE BETWEEN STEPHAN AND BRIAN TYREE HENRY DESCENDS ON ITSELF. THERE IS A THING ABOUT JOY AND BIRTH CORRUPTED BY THE CIRCUMSTANCES TO REPRESENT DESPAIR AND DEATH. THE SAME THING WHEN COLMAN IS HOLDING KIKI IN THE KITCHEN, A PIECE CALLED STORAGE, WHICH IS WE USED ALL THESE TERMS FOR DIFFERENT PHASES OF LOVE. AND THEN WHEN MOM GETS TO PUERTO RICO, IT IS THE SAME TRACK AND STARTS OUT HOPEFUL, BUT SHE PUTS ON THE WIG AND IT DESCENDS AND DESCENDS. IT IS NOT OUTSIDE THE MOVIE. IT IS NOT INTELLECTUAL. IT IS AN EMOTIONAL RESPONSE TO WHAT IS HAPPENING ON THE SCREEN. ARE YOU A MUSICIAN? COOL, COOL, COOL.

>> NEXT QUESTION.

>> SO I'M CURRENTLY A FILM MAJOR AT NYU. AND WHILE I'M LEARNING HOW TO DIRECT AND MAKE FILMS IN THE CLASSROOM, I WAS WONDERING AS SOMEBODY WHO HAS BEEN IN THE INDUSTRY, WHAT SORT OF ADVICE YOU COULD GIVE TO US ASPIRING FILMMAKERS?

>> I CAN'T GIVE YOU ADVICE ABOUT THE INDUSTRY, I KNOW SO LITTLE ABOUT IT. I'M, LIKE, STILL FUMBLING AROUND TRYING TO FIGURE IT OUT MYSELF. WHAT I WILL SAY IS ON THIS FILM, TO THE PRODUCERS, THE CINEMATOGRAPHER, THE EDITORS ARE PEOPLE I WANT TO FILM SCHOOL WITH. WHILE YOU POINT IT THAT WAY, NYU MUST BE CLOSE BY, RIGHT THERE, SO WHILE YOU'RE AT NYU, I THINK YOU GOT TO LOOK FOR YOUR TRIBE AND LOOK FOR YOUR CLIQUE. AND AS YOU'RE DEVELOPING AND AS YOU ARE LEARNING, YOU GOT TO CLICK UP AND DEVELOP AND LEARN WITH THOSE FOLKS. EVENTUALLY MY FIRST FILM AS YOU SAID WAS MADE FOR $15,000, EVERY SINGLE PERSON ON THAT FIVE PERSON CREW WAS SOMEBODY ON THAT -- NOT AT NYU BUT FSU. DON'T WORRY ABOUT THE INDUSTRY NOW. TRY TO BUILD RELATIONSHIPS AND TRY TO FIND PEOPLE WHO BELIEVE IN THINGS YOU LOVE AND BELIEVE IN YOUR VOICE.

>> NEXT QUESTION.

>> THIS QUESTION IS FOR MR. JENKINS. THIS FILM AS WELL AS MOONLIGHT OR ADAPTED WORKS, YOUR FIRST WAS AN ORIGINAL. I'M CURIOUS TO KNOW IF THERE IS ANY DIFFERENCES OR SIMILARITIES WHEN YOU'RE APPROACHED BOTH SCRIPTS AND WORKING ON SOMETHING ORIGINAL AGAIN IN THE NEAR FUTURE.

>> INTERESTING QUESTION. SO I THINK WITH AN ORIGINAL I DOUBT WHETHER OR NOT THE WRITER IS ANY GOOD. WITH AN ADAPTATION, I KNOW THE WRITER OF THE SOURCE MATERIAL IS GOOD. IT IS LIKE I'M CHEATING. JAMES BALDWIN IS A GENIUS, GENIUS, PERIOD. I THINK IN A CERTAIN WAY IT GIVES ME AT LEAST A MORE SOLID FOUNDATION TO WORK FROM. WHEN I'M WORKING ON THE ADAPTATION. SO MUCH IN THE SOURCE MATERIAL THAT IS RICH, AT THAT POINT LIKE EDITORIAL AND NOT SO MUCH PURE CREATION. AND ACTIVATES THE VISUAL SIDE OF MY BRAIN. HOPEFULLY I WILL GET BACK TO CREATING ORIGINAL SCREENPLAYS. I'M WORKING ON ADAPTATION RIGHT NOW FOR AMAZON, THE UNDERGROUND RAILROAD. I'M STILL USING THIS PLAYSTATION CHICO FROM THE EASTER EGG FROM THE ORIGINAL PLAYSTATION.

>> YOU'RE DOING AN ADAPTATION OF THE UNDERGROUND RAILROAD?

>> I AM.

>> I DON'T WANT TO FIND OUT ON CAMERA. THAT'S AMAZING.

>> I'LL SAY THIS, PEOPLE THINK OF ADAPTATIONS AS A DIRTY WORD. NOT COMPARING MYSELF TO THE FILMMAKER AT ALL. I DON'T THINK STANLEY KUBRICK EVER WROTE AN ORIGINAL SCREENPLAY. I WANT TO SAY EVERY FILM HE DID WAS AN ADAPTATION, DIFFERENT MEDIUM. THERE IS NOTHING WRONG WITH TAKING SOMETHING RICH IN ONE MEDIUM AND TAKING IT AND NOT JUST TRANSLATING IT BUT REALLY TAKING IT AND GIVING IT A WHOLE NEW LIFE AND ANOTHER MEDIUM. NO PROBLEM WORKING ADAPTATIONS.

>> WAS THAT A JIM THOMPSON NOVEL.

>> IT WAS AN ADAPTATION OF --

>> I DON'T THINK KUBRICK MADE THE FIRST VERSION OF THE KILLING. THERE IS MULTIPLE VERSIONS OF IT. I'M NOT SURE. I'M NOT SURE. TWITTER, DON'T JUMP ON ME ABOUT THAT.

>> THAT'S AMAZING. THIS MOVIE IS INCREDIBLE. IT IS AMAZING YOU'RE DOING THE UNDERGROUND RAILROAD. A SERIES OR A MOVIE.

>> A SERIES. YOU CAN TAKE THE STORY AND IT DICTATES THE FORMAT IT NEEDS TO BE TOLD AT. WE'RE GOING TO GO ON COURSE FULL JOURNEY FOR NINE, TEN, HOWEVER MANY HOURS, YEAH.

>> THAT'S AMAZING. LAST QUESTION FOR YOU ABOUT THE MAKING OF THIS AND YOUR PROCESS, BECAUSE I THINK IT IS FASCINATING. THE SCRIPT WE SET FOR THIS HAS THREE SCENES IN IT. AND THEN A LOT OF THAT IS MONTAGE. I'M CURIOUS WHAT THAT LOOKS LIKE ON THE PAGE AND HOW YOU PRESENT THE PAGES TO FINANCIERS OR OTHER PEOPLE WHO ARE LOOKING AT A SCRIPT THAT CONSISTS OF SCENES. WE ALWAYS TALK ABOUT SCREENWRITERS AS THE SORKINS AND STUFF WHO WRITE --

>> I HAVE THE WORST ANSWER.

>> YEAH?

>> BY THE TIME THIS IS PRESENTED TO FINANCIERS, I HAD AN OSCAR, SO IT DIDN'T REALLY -- IT DIDN'T REALLY --

>> THAT'S AN HONEST ANSWER. THAT'S GOOD.

>> AS FAR AS THE BALDWIN -- THEN IT IS A CONVERSATION ABOUT DESCRIBING HOW --

>> THEY HADN'T SEEN "MOONLIGHT."

>> THEY ONLY SAW MY FIRST FILM. THE REASON WHY THE FILM IS STRUCTURED THE WAY IT IS, IT IS MEANT TO REFLECT HER -- HER CONSCIOUSNESS, HER POINT OF VIEW. AND TO ME YOU GET INTO THE MENTAL, LIKE, THE MIND, IT DOESN'T WORK IN A STRAIGHT LINE. LIKE IN THIS AUDIENCE, SOME OF YOU HAD THE WHOLE TIME, BUT SOME OF YOU HAVEN'T. AND YOUR MIND WENT THIS WAY AND THAT WAY. I THINK A FILM SHOULD BE ALLOWED TO DO THE SAME THING. HAVING THESE THREE BEDROCK SEQUENCES TO ME THAT WAS ENOUGH AND YOU CAN SURROUND IT WITH AS MONTAGE, MEANT TO REFLECT THE WAY THE HUMAN MIND DRIFTS.

>> CONGRATULATIONS ON THE FILM. SO BEAUTIFUL AND INCREDIBLE WORK BY THE BOTH OF YOU AND THE WHOLE CAST AND ANOTHER GREAT FILM, A PLEASURE, A WONDER TO WATCH YOUR WORK. THE FILM, "IF BEALE STREET COULD TALK" OPENS DECEMBER 14th. GIVE THEM A BIG ROUND OF APPLAUSE.

>> THANK YOU. [ APPLAUSE ]

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