1. First, I love how quiet Jezebel is as a film. It has the cadence of a symphony orchestra-- there are moments, visual melodies in mood and tone that are delicate and skillfully refined as violin solo, juxtaposed with intensely loud and fiery brass section scenes. This dynamic is beautifully displayed in the back to back scenes where the family argues after finding out their mother has died followed by the quiet scene with the two sisters in the bathroom. It's a pitch perfect example of artistic control-- extremely loud and then expertly quiet, almost like a post-rock tune. My question is this: What's your approach to sculpting quiet moments of connection in a scene? What guidance, and advice do you give your actors in regards to laying out the groundwork for such an emotional journey?
My approach to sculpting the quiet moments starts in the casting— finding actors who have that range and flexibility to express fully yet nuanced. I can tell from the first few moments of a reel or audition tape or a meeting even. Then as the work unfolds I help tune the instrument- no no too sharp - no too flat — actors with supple instruments and openness allow me to do that and we are in the dance together.
2. That wig gifting scene: It's one of the sweetest on-screen moments I've ever seen that portrays the depth of a sibling bond. You could feel the love, the longing, the sadness and despair as they clung to each other after losing their mom. That scene really stopped me in my tracks-- it's perhaps the masterpiece moment of the film, the subtle core. Can you walk me through your directing mindset on the day you filmed it?
3. I find it fascinating how the wig equally represented sisterly love, and sexual empowerment. It was her cape, her superhero suit, as she made her way through the cam girl dark universe in Las Vegas. I'm curious, do you have something that you bring to film sets, perhaps, a necklace, a poem (a tangible item) that reminds you to stand tall in your role as a director? I think that speaks to the human condition. Kind of like how a baseball player might bring a lucky charm to a game. Do you have a lucky directing charm that you carry?
6. What actresses, or cinematographers, or collaborators in general, are you eager to work with in the future? Who are some of your dream collabs? Or perhaps, you have a dream location you'd like to shoot at.
There are so many emerging talents that I’m excited about! As an actor I’d love to work with Janicza Bravo. As a director I love Nikki Beharie she’s an indie darling; I’d love to find something for us. I look forward to working with Tiffany again and Stephen Barrington from Jezebel as well. I’m always very open to fresh faces new talent and people who aren’t necessarily actors at all but they inspire me.
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