00:04Per me, è stato un anno, un privilégio di rendere questo libro, per quanto riguarda il film.
00:09È stato un po' molto dottore, in un modo, ma è una storia absoluta storia.
00:15Se justice fosse stato fatto, non ho mai avuto qui.
00:17At that time, ho pensato a me, questo è come la Anne Frank book di America.
00:21D'ora, io ero con la mia famiglia, in mia casa.
00:24Ora ti dicono che tutto è stato fatto.
00:30Steve è un unico individuo, con una visione unico.
00:33Il tutto ciò che è stato fatto da un tempo.
00:35È venuto dal mondo dell'arte, dove non ci sono limitazioni.
00:39È tutto sull'immagine, la verità e la braveria.
00:41È venuto a fare film film con nessuna delle convenzioni e nessuna delle restricioni che molti filmatori siano impostati su
00:49loro.
00:51Steve both knows exactly the kinds of things that he wants,
00:55ma, almeno, non è assicurato a nessuna idea, o nessuna idea, o nessuna idea, o nessuna idea, o nessuna forma
01:02di fare cose.
01:03He ha un'assolutamente open minde, e è totalmente fissuto quando riguarda le idee, particolarmente le idee visuelle.
01:11Steve ha una visione molto clara di come certe cose devono essere,
01:15e ci sono alcune elementi emozioni che aveva pensato, che aveva pensato, che aveva pensato.
01:20I wanted to tell a storia di sviluppo.
01:21My high sisters were slaves, um, they're from the Caribbean,
01:26e ho voglio trovare un'interessante angle into la narrativa.
01:30I like the idea di, starting with someone who is a free man,
01:34dragged into slavery via kidnapping.
01:36My name is Solomon, look.
01:38I'm a free man.
01:39He has such faith in the narrative, and the characters, and in human behavior,
01:45and such faith in the fireworks that just come out of real life.
01:49There's an authenticity to that, which is fantastic.
01:52And I think it not only informs, you know, the cinematography, but also the actors as well.
01:57Just looking at the dailies, every frame, you're just like, you know, you can't believe it.
02:03The shots that Steve puts together with Sean, it really is like a painting.
02:08Steve McQuee is such an incredible artist.
02:12He manages to tell these really hard stories.
02:16He's very open as a director, and he lets you run with it.
02:19He gives you the room to figure it out on your own, and then steers you if you need it.
02:24Steve's just very good with human beings, I think, and understands human behavior,
02:28and has a curiosity in it for sure, and approaches it in a non-judgmental way.
02:33And he's passionate about what he's doing.
02:35He's just a very inspirational person to be around.
02:36What you enjoy in an audience, you enjoy as an actor as well,
02:40because there's a real purity of purpose between the performance space and the cameras.
02:44It really brings you into the moment, and that's what Steve's trying to capture.
02:47And often he allows things to breathe.
02:50It doesn't mean to say that it's ever slow, because it's not.
02:52There's a tension, which is very, very carefully managed.
02:55And there are many examples where a shot is held long, and I believe it just gives the audience time
03:01to really feel things.
03:03I think shooting it that way, pointing out the complicity of the people around the situation,
03:11he charges you with complicity as well.
03:13Bear witness, for real.
03:14He doesn't want you to forget it.
03:18Working with somebody that I admire so hugely was a treat.
03:22The whole thing has just felt like a kind of projected fantasy.
03:25You know, like I dreamed that I worked with Steve and made this film.
03:28It was a really great experience.
03:30This is not an African-American film.
03:33This is an American story.
03:34And slavery is a part of the history of America.
03:38Well, I was a free man.
03:40I'm not a slave.
03:42I don't want to survive.
03:44I want to live.
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