00:02Yeah, it was awesome working with Nick Bertel on the score, you know, who I didn't really know of before.
00:10This movie could have taken place, you know, many places.
00:13You know, we could have gone to New Orleans, we could have gone to Atlanta.
00:15And I mention those places because, you know, with tax rebates, our budget could have gone quite a bit farther.
00:20But, you know, it was really important to me and important to Terrell that the piece be set, you know,
00:26where we're from, you know?
00:27There's so many biographical elements in this movie.
00:32And, you know, the only way I could see them, you know, being represented in their most authentic form was
00:39to place them against the backdrop that inspired them, which was Miami.
00:43You know, Terrell describes Miami as a beautiful nightmare.
00:47And when he says that, I think what he means is, you know, Miami is a very rough place.
00:52The neighborhood we grew up in, at the very least, is a very rough place.
00:55And yet you're always surrounded by and you're always aware of the beauty, the natural beauty of your environment.
01:03And I think to set this film anywhere else, I think we would have lost some of the energy, the
01:11juxtaposition of the roughness of the life that we live there.
01:16But also the just, I don't even know what the word for it is, the cruelty of how beautiful the
01:24setting that that rough life was lived in.
01:27And I also think, too, that there were some things about the adaptation, you know, of Terrell's piece, like the
01:36little, the craft element of it that was inspired by my relationship to Miami.
01:40And so going there to make the film, it was therapeutic for me, like emotionally, but it was also just
01:47invigorating, you know, to take my memories, you know, and put them on the screen in a way that I
01:53felt like was very truthful and respectful to the life I lived there.
01:58Bye.
01:59Bye.
02:00Bye.
02:00Bye.
02:01Bye.
02:01Bye.
02:02Bye.
02:02Bye.
02:02Bye.
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