The riot isn't seen in the movie, but it is alluded to. He has this one speech that gives a great sense of texture and paints a picture of what was happening in Harlem then.
But out of limitations comes creativity.
I didn't need the insurance. I do it again if my DP tells me it didn't look good in the camera or if the actors didn't hit their marks. But if everything was working why do it again?
Time management is a big part of the director's job.
Michael Ralph brilliantly plays the street prophet, a West Indian who foreshadows the Harlem riot.
I'm always moving forward.
Making this movie was a great opportunity for me to explore high-definition. I'm glad I got to see what the challenges are, what makes it better. It works wonderfully.
You have to examine a scene on the page first. Then you get into the basics of acting: Who are you? Who are you talking to? How do you feel about that person?
I got my dailies every day, although I couldn't always look at them because I was usually preparing for the next day's shoot, both as an actress and as the director.
A director just pushes them a little this way or that way.
But it was not possible to do this movie, in this matter of time, without a solid rehearsal period.
Everything has to be well thought out - what do you really need, when can you do with less coverage.
The radio for these women is like television is for us today, which is really like looking at the radio.
It goes back to a style of moviemaking I remember seeing as a child, in movies like The Man With The Golden Arm, which I think was shot all on a sound stage.
I use something that is a real staple in the directing world. It's called a dance floor. You lay it down so that it's so smooth you can roll around, and you can put furniture on top of it. It's seamless and you don't see it.
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