You can definitely see a trend of, like, most of the black horror films that are
made about racial trauma, so absolutely there are forces that are like, 'This is
what black film-makers need to be making if they're working in this space.'
One quote that really stood out in the film was, 'They love what we make but not
us.' So, what was it like working on a film where there was this shared
experience and understanding of what it means to actually be a black artist and
creative?
It was great. It was, like, vaguely cathartic at times as well because some of
the stuff, that Anthony's saying or that people are saying to Anthony, it can
really easily mirror the experience of being a black film-maker in Hollywood. But
it was great for 2 reasons, (1)1 because, you know, we're doing Candyman, but we're
doing it from more of a black point of view, which, which I think was really
important and really special. And then just as a fan of,
of Candyman and the character, and Daniel Robitaille,
it was cool to have-, to mirror, mirror that experience for our main character,
Anthony. So, so yeah, that was great.
Films like this are really important in showing that you, you can make it as a
black creative, and you will find the environment where you will flourish. So,
yeah, I really love that.
I fell really connected to this story.
Go on.
Right here in this neighbourhood,
the legend started.
Uh-huh.
And the legend is if we say his name 5 times while looking in the mirror we could
summon it.
Summon the Candyman.
Hell no.
The main character, Anthony, finds himself faced with making a choice between the art
he wants to make
and what the world wants to see. Whose opinions matter the most when you want to
join a project?
Oh, as-, when joining as a writer/director?
Yeah.
Yeah? Oh, mine. 100%.
Like, even going into the process of pitching for a movie or something, like,
I, I won't pitch unless I really feel passionately about it, or I really know,
like, okay, this is what I really want to do. And then, after that, once I get
deeper into the process and meet more of the people, like, if we're not vibing
then, you know, I'm not staying to make the movie.
And every movie I get better at figuring that out. But I think, for any artist, it
really is your opinion that has to matter the most.
I do agree, but I also think, don't you think about, like,- especially with a film
that centres around the black experience, like, how people are going to interpret
it, even, like, because there are differences between, like, the African
diaspora and how everyone interprets it, do you ever, like, get worried about that?
Oh, yeah, for sure. I mean, especially when dealing with racial trauma in
particular, it's so, so painful and it's so triggering. And so, undoubtedly, you
know, like-, of course, you make anything, you want everyone to love it, but of
course, like, there are gonna be people who, who don't feel seen by this, by this
film
and I, and I always hesitate to say, like, 'This is for everyone who is black,'
because we're very different, you know, whether you're American or British or from
the north or the south, you know, all these, all these things. So,
yeah, I wouldn't say it was cripplingly worrying, but it was just something that I
was cognisant of and had to accept, which I think anyone who's an artist has to
accept, really.
This isn't real.
You don't understand.
Okay, I, I, I will show you that. Okay. Candyman.
No.
Candyman.
Don't say his name.
Don't follow me.
Yahya's character in the film is pressured by white figures in power to make art that
is seen as on-topic or trending in relation to the black experience. You
touched upon this earlier, but how-, did you feel those same restraints, being in
the film industry?
I would say
you can definitely see a trend of, like, most of the black horror films that are
made are about racial trauma, so absolutely there are forces that are,
like, 'This is what black film-makers need to be making if they're working in this
space.'
Same thing with, like, black dramas, they're often about racial trauma,
slavery, civil rights movement, etc. So, I definitely-, don't feel pressure so much
as I understand that that's what is happening in the industry. But there are
also a lot of really interesting black film-makers who are, kind of, moving in
their own ways,
working around those topics but also finding other things to, to, to tell
really black stories about, which I really appreciate. So,
I think, now, I'm at the privilege of having a lot of choice, so I can also,
kind of, forge my own path, in that way.
That makes a lot of sense, thank you so much for taking the time to talk to me.
No, of course, thank you.