00:00Sous-titrage Société Radio-Canada
00:30Sous-titrage Société Radio-Canada
01:00Sous-titrage Société Radio-Canada
01:02When you're in the actual place where something happens, then every frame you set up has a truth to it.
01:07This film, it just had to feel true, but it also had to feel beautiful.
01:14We didn't want to layer the horrors of slavery with the sort of dirt and mud and everything else,
01:21because the reality is the locations are really quite sumptuous and would be unnecessary to make it look bad.
01:28It's simply the contrast between the beauty of nature in which they all existed
01:33and the horror of the world and lives that they had to live through.
01:37Steve shoots very, very simply with Sean, and often he allows things to breathe.
01:42It doesn't mean to say that it's ever slow, because it's not.
01:45There's a tension, which is very, very carefully managed.
01:48And there are many examples where a shot is held long,
01:52and I believe it just gives the audience time to really feel things
01:56and develop a relationship with the film,
01:58which they're not allowed to do when you bombard them with images.
02:01God damn you, I thought you knowed something!
02:05I did as instructed.
02:07If there's something wrong, it's wrong with the instruction.
02:13Adam Stockhausen, he's just talented,
02:16and it's all about detail with him, and the feel.
02:19He's an artist, and just like Patty is an artist.
02:22We looked at a lot of plantations,
02:24and then we narrowed it down to our handful that we're actually shooting.
02:27I am the God of Abraham, the God of Isaac, and the God of Jacob.
02:33Ford's plantation, it's still owned by a family that works farming,
02:37and they actually farm sugar cane.
02:39And that servant, that don't obey his lord,
02:42shall be beaten with many stripes.
02:46That's scripture.
02:47Epp's plantation also feels very much like a working farm,
02:51but it's very gritty, and it's very hard out there,
02:53and everything just felt very gray and very rough.
02:56Listen up. You're Judge Turner's for the season.
02:59Turner's plantation feels very sheltered in,
03:01and the whole feeling of the place is less vast and more insulated.
03:06Light up. It's a good Sunday morning.
03:08Good morning, Master Shaw.
03:10Master sent me to retrieve Patsy. May I approach?
03:12You may.
03:13And Shaw's plantation is sort of this relief for Patsy,
03:16where she's treated like a human being, and it's beautiful.
03:19This is nice.
03:20They all had their own identity,
03:22and we had some visual separation between them.
03:25The look of the film, and the look of the set,
03:30and the look of the costumes,
03:31for me, everything was about being connected to Solomon.
03:36And so everything assisted that journey for me,
03:39and just allowed me to have a sort of way into this world.
03:44I felt that very deeply.
03:46If you want to survive, do and say as little as possible.
03:50Well, I don't want to survive.
03:52I want to live.
03:54We are together.
03:54We know each other.
03:55There's a kind of a community,
03:56and then you can actually act as everyone can take risk
03:59of share their opinions and come together as a real team.
04:02It's great.
04:03I want to live.
04:16Sous-titrage FR ?
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