Nia DaCosta

Yeah.

So I think also holding that and holding all of the people who become martyrs and sort of emblems of our pain and our systemic oppression is why it was really important to me to balance all these things properly.

You know, the horror and the thrills, but also the real pain that we're talking about.

Yeah, I think it's just really great for tension and building anticipation.

You know, why aren't we cutting?

What's going to happen?

Why am I sitting here on the shot?

I think it makes the audience lean in.

I think sometimes when you cut too much, viewing a film can become something of a passive experience where I'm literally telling you, look here, look here, look here, look here, do this, feel this.

But what I really want is...

For you to feel the things I want you to feel, but because you are participating in a way.

You're actively looking at the frame and you're like, okay, what am I looking for in a way?

Especially when it's a wide shot and we're holding on a wide.

And then I just think it's great to just get out of the way of the actors sometimes.

You know, just really trust and be confident in what they're doing and that they can hold the attention of the audience.

Oh, man, it's so interesting because

So much of what I love about this is the process of doing it.

And that being said, it was pretty amazing.

I was like, oh, I didn't know any of these things, actually.

Like, I think I was in an interview when a journalist told me I was the youngest Marvel director.