00:00Speaking about the energy and the look of the film, that's what really struck me was so dark
00:04and so terrifying. I mean, someone who has gone to an Ivy League university in the Northeast,
00:09like it's really a haunting experience. I wanted to know more about the microaggressions and why,
00:17was it a collaboration choosing to put certain microaggressions in the film? So for example,
00:22when Jasmine comes in her dorm and her roommate has all these people in their outside clothes
00:26suggested, I was like distraught for her. I mean, just small things like that and even sort of
00:34the things that Gail's experiencing in her home, that creepy, like the critters that are coming
00:40out everywhere. How did you all decide what to put in the film? Like we've all experienced microaggressions,
00:45but it's almost like, wait, did I really experience that or not? So what was that process like?
00:51You know, when I was writing the script, I was really drawing from my experience and from things
00:58that had either directly happened to me or that I had observed or were, you know, a, you know,
01:05a reinterpretation of something that had happened to me. And like, you know, these, these are the sorts of
01:12darts that come at you a mile a minute. And if I could have included all of the microaggressions
01:21that, you know, that Zoe, Regina and I know about and talked about when we were talking about the
01:26characters, the film would have been full of them. So this was even, you know, a, a distillation of what
01:32was, you know, in many senses, a much more, you know, overwhelming experience. But it felt like when I
01:40was rendering that world, that was, you know, that was so much of the texture of, of my experience and
01:47what I was going through. And it was in a way, it was kind of, you know, it was, it was kind of
01:54cathartic to, to bring them out and to bring them to light in a way that we're even within myself. A lot
02:02of the time I, I keep it suppressed in order to not, you know, go insane with rage. But, um, yeah,
02:09I, um, I had a friend who saw the film and that part where, you know, the other college students
02:15are sitting on Zoe's bed and he said, that's on site. I would fight on site, you know, it's infuriating
02:24in a certain sense. And I think that part of what's so frustrating about it is that we, it's real,
02:30you know, we, we know it and we've lived in and definitely, you know, so many conversations at
02:35the outset that I had with Regina and with Zoe about our own experiences and spaces like that.
02:42And what does it feel like and how do we respond and how do we wish we responded and, and all of the,
02:47you know, complexities that are contained therein. I even liked the, when you had the, uh, the woman who
02:53worked in the kitchen, you know, like even that microaggression, which is also real and kind of,
03:00you know, a little mind boggling and confusing. I just, yeah, there were so many, there were so many
03:05subtle things that I loved about, I think that's what I love that nothing felt like,
03:10you know, message. Everything was just subtle where, if you told the story, what happened?
03:16Someone came in and they were sitting on my bed. It doesn't, it can't translate to what it feels
03:22like, right? So it's the, it's seeing what that experience feels like. That's what I thought,
03:27um, Mariama did so well throughout the movie.
03:46Let's talk to you guys.
04:01Let's pray for that.
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