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Netflix新片《誓血五人組》上線, 聚焦黑人士兵的遭遇

Netflix新片《誓血五人組》上線, 聚焦黑人士兵的遭遇

Radhika Marya 2020-06-27
這部電影講述了四名黑人退伍軍人重返越南,尋找陣亡戰(zhàn)友遺骸和寶藏的故事。

在喬納森·梅杰斯看來,和斯派克·李合作《誓血五人組》(Da 5 Bloods)堪比經(jīng)歷了一段軍人生活,也像是加入了專業(yè)的運(yùn)動(dòng)隊(duì)。他說,電影制作人“會(huì)激勵(lì)你成為最好的演員,同時(shí)他也是一名教練,會(huì)不斷挑戰(zhàn)你,讓你在表演中爆發(fā)最大的運(yùn)動(dòng)潛能”。

這部電影講述了四名黑人退伍軍人重返越南,尋找陣亡戰(zhàn)友遺骸和寶藏的故事,6月19日在流媒體Netflix首播。德爾羅伊·林多扮演一位患有創(chuàng)傷后應(yīng)激障礙、支持唐納德·特朗普的退伍軍人,他的兒子大衛(wèi)也與老兵們一起踏上了征途,劇中由梅杰斯飾演。在為角色做準(zhǔn)備的過程中,演員們涉獵了包括越南戰(zhàn)爭(zhēng)、“戰(zhàn)術(shù)槍械演練”在內(nèi)的大量資料。

“我飾演的角色大衛(wèi)并沒有親歷戰(zhàn)爭(zhēng),他去那里的目的也和其他人不同?!泵方芩拐f?!八古煽司拖駥W(xué)者一樣,讓我參與了所有的訓(xùn)練。”

在接受《財(cái)富》雜志采訪時(shí),梅杰斯談到了自己的角色,以及這部電影是如何聚焦黑人士兵經(jīng)歷的——《現(xiàn)代啟示錄》(Apocalypse Now)和《野戰(zhàn)排》(Platoon)等越戰(zhàn)電影都沒有采用這種手法。為簡(jiǎn)明起見,以下采訪內(nèi)容有所精簡(jiǎn)。

斯派克·李協(xié)助演員為角色做了哪些準(zhǔn)備工作

我們把一本名為《血》(Bloods)的越戰(zhàn)退伍軍人回憶錄奉為理解歷史背景的圣經(jīng)。這本書刻畫了黑人越戰(zhàn)退伍軍人的經(jīng)歷和所處的時(shí)代,因此是我們的必讀書目。導(dǎo)演還邀請(qǐng)了許多退伍軍人來到泰國(guó)和越南(影片拍攝地)與我們直接交流,我不知道(導(dǎo)演)是怎么做到這一切的。如此一來,我們不僅能從書中獲得一對(duì)一的敘事,還能聽到這些老兵親身講述自己的故事。除此之外,我們還學(xué)習(xí)了黑人打招呼的方式。

你有時(shí)會(huì)看到,有人在街頭跑步遇見朋友或死黨時(shí),通常會(huì)用相互擊掌或別的方式問好——這種文化其實(shí)源自越南戰(zhàn)爭(zhēng)中的黑人退伍軍人,它不僅是一種互道“你好”的形式,也可以由此推斷對(duì)方來自何方。你在戲里就能看到這些問候方式。我們學(xué)習(xí)了六種動(dòng)作,其中有一些是越南老兵曾經(jīng)用過的,經(jīng)過重新編排后得以在電影里重現(xiàn),看上去都很酷。此外,我們還接受了一些高于基本要求的訓(xùn)練——比如包含動(dòng)作序列的戰(zhàn)術(shù)槍械演練。我們學(xué)以致用,在拍攝時(shí)用上了貨真價(jià)實(shí)的防御動(dòng)作。

《誓血五人組》劇照:(從左至右)梅爾文(小伊塞亞·維特洛克飾)、艾迪(諾姆·劉易斯飾)、歐迪斯(克拉克·彼得斯飾)、保羅(德爾羅伊·林多飾)和喬納森·梅杰斯。

圖片來源:David Lee—Netflix

關(guān)于學(xué)習(xí)越戰(zhàn)歷史中不為人知的部分

過往的影片沒有把戰(zhàn)爭(zhēng)和非裔美國(guó)人的故事結(jié)合在一起,我們也在很大程度上已經(jīng)遠(yuǎn)離了這段歷史。我本身是退伍軍人的后代,所以對(duì)此有一定的體會(huì)。但其實(shí)退伍軍人并不喜歡和別人談起國(guó)外的狼狽遭遇,甚至對(duì)自己的兒孫也是如此,這一點(diǎn)還蠻常見的。所以,我從拍攝中獲得了雙重感悟:一是越南戰(zhàn)爭(zhēng)就僅僅是我們口中的越戰(zhàn)嗎?還是那只是我們給它起的名字而已。老兵們稱其為美國(guó)戰(zhàn)爭(zhēng),因?yàn)楫?dāng)時(shí)在國(guó)內(nèi)也爆發(fā)了沖突。

我現(xiàn)在還搞清楚了另一點(diǎn),那就是這幫兄弟其實(shí)經(jīng)歷了兩場(chǎng)戰(zhàn)爭(zhēng)。在父權(quán)制社會(huì)的背景下,系統(tǒng)性的種族背叛和不公義現(xiàn)象十分猖獗。他們當(dāng)中有很多人都背井離鄉(xiāng)——我的祖父離開了得克薩斯,因?yàn)樗?dāng)時(shí)沒有工作可做。而不止是他,他的三個(gè)兄弟也都在越戰(zhàn)期間加入了軍隊(duì)。歷史書不會(huì)提到這種掙扎,也不會(huì)教授黑人士兵文化。越戰(zhàn)期間,黑人士兵常去當(dāng)?shù)氐撵`魂巷相聚,而國(guó)內(nèi)的黑人運(yùn)動(dòng)正如火如荼,黑人力量逐漸壯大,呼聲甚至傳到了戰(zhàn)場(chǎng)前方。有的黑人士兵用不慣某種剃須刀刮胡子,因?yàn)榉且崦绹?guó)人的膚質(zhì)不同,會(huì)感到不舒服——軍隊(duì)發(fā)的剃須刀會(huì)刮傷皮膚。所以,你會(huì)發(fā)現(xiàn)有的軍人留著胡子,因?yàn)樗麄儾幌M约旱哪槺还纹?。但你從歷史書或電影中看不到這些,《現(xiàn)代啟示錄》里沒有描繪這一幕,《野戰(zhàn)排》也沒有,那些電影推崇的是腳踏戰(zhàn)靴的約翰·韋恩式的硬漢人物。

關(guān)于飾演大衛(wèi)這個(gè)角色

我知道,他不得不背負(fù)一些東西。他來自莫爾豪斯學(xué)院(一所傳統(tǒng)上招收黑人的美國(guó)私立男子文理學(xué)院——譯注),其校訓(xùn)是“擁抱光明”。那是一個(gè)比喻,用富有詩(shī)意的方式在說,“是的,這個(gè)人來自這里,他以自己從莫爾豪斯畢業(yè)為傲。”他是一名田徑隊(duì)員,所以我在身體動(dòng)作方面都要揣摩他的特點(diǎn);他還是一名老師,對(duì)他來說,任何形式的教學(xué)方法都非常重要。但我認(rèn)為,他和父親之間的互動(dòng)才是至關(guān)重要的部分。

關(guān)于劇中復(fù)雜的父子關(guān)系

這是一個(gè)關(guān)于父子的故事,兒子一直都很難理解父親,但很愛他。實(shí)際上,正因?yàn)閮蓚€(gè)男人都關(guān)心彼此,才形成了緊張不安的父子關(guān)系。在現(xiàn)實(shí)生活中,很多人都不知道如何去愛一個(gè)人,每個(gè)人表達(dá)愛的方式也不盡相同。在劇中,兩人之間長(zhǎng)久以來都存有隔閡,兒子認(rèn)為“我想得到父親的愛,想成為他的模范兒子”。我的父親是一名軍人,我也想做最好的軍人,希望像他們一樣聰明、強(qiáng)壯、忠誠(chéng)和有道德感,但因?yàn)椋ㄟ@個(gè)角色的父親)支持特朗普,所以面臨了諸多挑戰(zhàn)……兒子大衛(wèi)并不贊同父親的立場(chǎng),因此兩人的關(guān)系矛盾重重,但他一心都想追尋父愛。我(角色)的使命就是:獲得父愛,讓他為我感到自豪。在這個(gè)過程中,你能看到很多相關(guān)的情節(jié)。

斯派克·李、克拉克·彼得斯、德爾羅伊·林多、喬納森·梅杰斯和諾姆·劉易斯在《誓血五人組》片場(chǎng)。

圖片來源:David Lee—Netflix

關(guān)于電影上映的時(shí)機(jī)

嗯,我想說的是,現(xiàn)在正發(fā)生的(反種族主義和警察暴行的抗議活動(dòng))未必算得上激進(jìn)。

這是世上最自然的事。試想,如果你把生物關(guān)進(jìn)籠子會(huì)怎么樣?更不用說是人了,對(duì)不對(duì)?世間萬物都有心靈、有家庭、有需求、欲望和夢(mèng)想,一旦把它們關(guān)進(jìn)籠子里,或是禁錮一個(gè)人、一種文化和種族,隨著時(shí)間推移,那個(gè)人、那個(gè)種族和群體必定會(huì)起身反抗。

身為一位電影制作人,斯派克·李做的事情是再自然不過的,他展現(xiàn)了故事的另一面。我們現(xiàn)在上街也表達(dá)了對(duì)父權(quán)制社會(huì)的不滿,發(fā)出了大多數(shù)人的聲音,體現(xiàn)出美國(guó)的另一面。因此,這部電影在此時(shí)此刻橫空出世,對(duì)于我來說——無論秉持哪種信仰,相信哪個(gè)人——都像是一個(gè)非常明確且不可否認(rèn)的征兆,預(yù)示著事已至此,一切都該停止了。這部電影是這場(chǎng)運(yùn)動(dòng)的一部分,也是抗議活動(dòng)的一部分。我指的是,這部電影揭露了不公義的事,反映了缺乏公平的現(xiàn)實(shí)社會(huì):某些人從1619年開始就制訂了不公平的游戲規(guī)則,而現(xiàn)在終于多行不義必自斃。僅此而已,就是這么簡(jiǎn)單。

我很高興看到這部電影在此時(shí)上映。它增加了雙方的對(duì)話,也具有教育意義。

關(guān)于觀眾的反應(yīng),以及如何看待影片在Netflix上線

觀眾喜歡這部電影。在此我想分享一件軼事:我在得克薩斯州長(zhǎng)大,22歲才觀看了人生中第一場(chǎng)百老匯演出。我從小到大都買不起百老匯的門票,還是花獎(jiǎng)學(xué)金才買到了票。放在流媒體這里,也有同樣的問題。(對(duì)于某些人而言),電影票可能很貴。如果有的人不幸生病、破產(chǎn),就只能把錢花在其他事情上——如果這部電影沒有在Netflix上線,他們或許就難以有機(jī)會(huì)看到它。所以對(duì)我來說,這種上映方式也是一種關(guān)心他人福祉的善舉,體現(xiàn)了造福所有群體的真諦。(財(cái)富中文網(wǎng))

譯者:Shog

在喬納森·梅杰斯看來,和斯派克·李合作《誓血五人組》(Da 5 Bloods)堪比經(jīng)歷了一段軍人生活,也像是加入了專業(yè)的運(yùn)動(dòng)隊(duì)。他說,電影制作人“會(huì)激勵(lì)你成為最好的演員,同時(shí)他也是一名教練,會(huì)不斷挑戰(zhàn)你,讓你在表演中爆發(fā)最大的運(yùn)動(dòng)潛能”。

這部電影講述了四名黑人退伍軍人重返越南,尋找陣亡戰(zhàn)友遺骸和寶藏的故事,6月19日在流媒體Netflix首播。德爾羅伊·林多扮演一位患有創(chuàng)傷后應(yīng)激障礙、支持唐納德·特朗普的退伍軍人,他的兒子大衛(wèi)也與老兵們一起踏上了征途,劇中由梅杰斯飾演。在為角色做準(zhǔn)備的過程中,演員們涉獵了包括越南戰(zhàn)爭(zhēng)、“戰(zhàn)術(shù)槍械演練”在內(nèi)的大量資料。

“我飾演的角色大衛(wèi)并沒有親歷戰(zhàn)爭(zhēng),他去那里的目的也和其他人不同。”梅杰斯說?!八古煽司拖駥W(xué)者一樣,讓我參與了所有的訓(xùn)練?!?/font>

在接受《財(cái)富》雜志采訪時(shí),梅杰斯談到了自己的角色,以及這部電影是如何聚焦黑人士兵經(jīng)歷的——《現(xiàn)代啟示錄》(Apocalypse Now)和《野戰(zhàn)排》(Platoon)等越戰(zhàn)電影都沒有采用這種手法。為簡(jiǎn)明起見,以下采訪內(nèi)容有所精簡(jiǎn)。

斯派克·李協(xié)助演員為角色做了哪些準(zhǔn)備工作

我們把一本名為《血》(Bloods)的越戰(zhàn)退伍軍人回憶錄奉為理解歷史背景的圣經(jīng)。這本書刻畫了黑人越戰(zhàn)退伍軍人的經(jīng)歷和所處的時(shí)代,因此是我們的必讀書目。導(dǎo)演還邀請(qǐng)了許多退伍軍人來到泰國(guó)和越南(影片拍攝地)與我們直接交流,我不知道(導(dǎo)演)是怎么做到這一切的。如此一來,我們不僅能從書中獲得一對(duì)一的敘事,還能聽到這些老兵親身講述自己的故事。除此之外,我們還學(xué)習(xí)了黑人打招呼的方式。

你有時(shí)會(huì)看到,有人在街頭跑步遇見朋友或死黨時(shí),通常會(huì)用相互擊掌或別的方式問好——這種文化其實(shí)源自越南戰(zhàn)爭(zhēng)中的黑人退伍軍人,它不僅是一種互道“你好”的形式,也可以由此推斷對(duì)方來自何方。你在戲里就能看到這些問候方式。我們學(xué)習(xí)了六種動(dòng)作,其中有一些是越南老兵曾經(jīng)用過的,經(jīng)過重新編排后得以在電影里重現(xiàn),看上去都很酷。此外,我們還接受了一些高于基本要求的訓(xùn)練——比如包含動(dòng)作序列的戰(zhàn)術(shù)槍械演練。我們學(xué)以致用,在拍攝時(shí)用上了貨真價(jià)實(shí)的防御動(dòng)作。

關(guān)于學(xué)習(xí)越戰(zhàn)歷史中不為人知的部分

過往的影片沒有把戰(zhàn)爭(zhēng)和非裔美國(guó)人的故事結(jié)合在一起,我們也在很大程度上已經(jīng)遠(yuǎn)離了這段歷史。我本身是退伍軍人的后代,所以對(duì)此有一定的體會(huì)。但其實(shí)退伍軍人并不喜歡和別人談起國(guó)外的狼狽遭遇,甚至對(duì)自己的兒孫也是如此,這一點(diǎn)還蠻常見的。所以,我從拍攝中獲得了雙重感悟:一是越南戰(zhàn)爭(zhēng)就僅僅是我們口中的越戰(zhàn)嗎?還是那只是我們給它起的名字而已。老兵們稱其為美國(guó)戰(zhàn)爭(zhēng),因?yàn)楫?dāng)時(shí)在國(guó)內(nèi)也爆發(fā)了沖突。

我現(xiàn)在還搞清楚了另一點(diǎn),那就是這幫兄弟其實(shí)經(jīng)歷了兩場(chǎng)戰(zhàn)爭(zhēng)。在父權(quán)制社會(huì)的背景下,系統(tǒng)性的種族背叛和不公義現(xiàn)象十分猖獗。他們當(dāng)中有很多人都背井離鄉(xiāng)——我的祖父離開了得克薩斯,因?yàn)樗?dāng)時(shí)沒有工作可做。而不止是他,他的三個(gè)兄弟也都在越戰(zhàn)期間加入了軍隊(duì)。歷史書不會(huì)提到這種掙扎,也不會(huì)教授黑人士兵文化。越戰(zhàn)期間,黑人士兵常去當(dāng)?shù)氐撵`魂巷相聚,而國(guó)內(nèi)的黑人運(yùn)動(dòng)正如火如荼,黑人力量逐漸壯大,呼聲甚至傳到了戰(zhàn)場(chǎng)前方。有的黑人士兵用不慣某種剃須刀刮胡子,因?yàn)榉且崦绹?guó)人的膚質(zhì)不同,會(huì)感到不舒服——軍隊(duì)發(fā)的剃須刀會(huì)刮傷皮膚。所以,你會(huì)發(fā)現(xiàn)有的軍人留著胡子,因?yàn)樗麄儾幌M约旱哪槺还纹?。但你從歷史書或電影中看不到這些,《現(xiàn)代啟示錄》里沒有描繪這一幕,《野戰(zhàn)排》也沒有,那些電影推崇的是腳踏戰(zhàn)靴的約翰·韋恩式的硬漢人物。

關(guān)于飾演大衛(wèi)這個(gè)角色

我知道,他不得不背負(fù)一些東西。他來自莫爾豪斯學(xué)院(一所傳統(tǒng)上招收黑人的美國(guó)私立男子文理學(xué)院——譯注),其校訓(xùn)是“擁抱光明”。那是一個(gè)比喻,用富有詩(shī)意的方式在說,“是的,這個(gè)人來自這里,他以自己從莫爾豪斯畢業(yè)為傲?!彼且幻飶疥?duì)員,所以我在身體動(dòng)作方面都要揣摩他的特點(diǎn);他還是一名老師,對(duì)他來說,任何形式的教學(xué)方法都非常重要。但我認(rèn)為,他和父親之間的互動(dòng)才是至關(guān)重要的部分。

關(guān)于劇中復(fù)雜的父子關(guān)系

這是一個(gè)關(guān)于父子的故事,兒子一直都很難理解父親,但很愛他。實(shí)際上,正因?yàn)閮蓚€(gè)男人都關(guān)心彼此,才形成了緊張不安的父子關(guān)系。在現(xiàn)實(shí)生活中,很多人都不知道如何去愛一個(gè)人,每個(gè)人表達(dá)愛的方式也不盡相同。在劇中,兩人之間長(zhǎng)久以來都存有隔閡,兒子認(rèn)為“我想得到父親的愛,想成為他的模范兒子”。我的父親是一名軍人,我也想做最好的軍人,希望像他們一樣聰明、強(qiáng)壯、忠誠(chéng)和有道德感,但因?yàn)椋ㄟ@個(gè)角色的父親)支持特朗普,所以面臨了諸多挑戰(zhàn)……兒子大衛(wèi)并不贊同父親的立場(chǎng),因此兩人的關(guān)系矛盾重重,但他一心都想追尋父愛。我(角色)的使命就是:獲得父愛,讓他為我感到自豪。在這個(gè)過程中,你能看到很多相關(guān)的情節(jié)。

關(guān)于電影上映的時(shí)機(jī)

嗯,我想說的是,現(xiàn)在正發(fā)生的(反種族主義和警察暴行的抗議活動(dòng))未必算得上激進(jìn)。

這是世上最自然的事。試想,如果你把生物關(guān)進(jìn)籠子會(huì)怎么樣?更不用說是人了,對(duì)不對(duì)?世間萬物都有心靈、有家庭、有需求、欲望和夢(mèng)想,一旦把它們關(guān)進(jìn)籠子里,或是禁錮一個(gè)人、一種文化和種族,隨著時(shí)間推移,那個(gè)人、那個(gè)種族和群體必定會(huì)起身反抗。

身為一位電影制作人,斯派克·李做的事情是再自然不過的,他展現(xiàn)了故事的另一面。我們現(xiàn)在上街也表達(dá)了對(duì)父權(quán)制社會(huì)的不滿,發(fā)出了大多數(shù)人的聲音,體現(xiàn)出美國(guó)的另一面。因此,這部電影在此時(shí)此刻橫空出世,對(duì)于我來說——無論秉持哪種信仰,相信哪個(gè)人——都像是一個(gè)非常明確且不可否認(rèn)的征兆,預(yù)示著事已至此,一切都該停止了。這部電影是這場(chǎng)運(yùn)動(dòng)的一部分,也是抗議活動(dòng)的一部分。我指的是,這部電影揭露了不公義的事,反映了缺乏公平的現(xiàn)實(shí)社會(huì):某些人從1619年開始就制訂了不公平的游戲規(guī)則,而現(xiàn)在終于多行不義必自斃。僅此而已,就是這么簡(jiǎn)單。

我很高興看到這部電影在此時(shí)上映。它增加了雙方的對(duì)話,也具有教育意義。

關(guān)于觀眾的反應(yīng),以及如何看待影片在Netflix上線

觀眾喜歡這部電影。在此我想分享一件軼事:我在得克薩斯州長(zhǎng)大,22歲才觀看了人生中第一場(chǎng)百老匯演出。我從小到大都買不起百老匯的門票,還是花獎(jiǎng)學(xué)金才買到了票。放在流媒體這里,也有同樣的問題。(對(duì)于某些人而言),電影票可能很貴。如果有的人不幸生病、破產(chǎn),就只能把錢花在其他事情上——如果這部電影沒有在Netflix上線,他們或許就難以有機(jī)會(huì)看到它。所以對(duì)我來說,這種上映方式也是一種關(guān)心他人福祉的善舉,體現(xiàn)了造福所有群體的真諦。(財(cái)富中文網(wǎng))

譯者:Shog

Jonathan Majors compares working with Spike Lee on Da 5 Bloods to being in the military—and to being on a professional sports team. The filmmaker “inspires you to be your best artist,” the actor says. “He’s such a coach, too, that he challenges you to be the most athletic you can be in your craft.”

The film, which started streaming on Netflix June 19, focuses on four black veterans as they return to Vietnam in search of a fallen comrade’s remains as well as buried treasure. They’re joined by David (Majors), the son of a PTSD-afflicted, Donald Trump–supporting veteran (Delroy Lindo). Preparing for the role involved everything from reading up on the Vietnam War to “tactical gun drills.”

“David, my character—he doesn’t do any of that, right? He’s not there for that,” Majors says. “Spike, the scholar that he is, had me do all the training.”

Majors spoke to Fortune about his role in the film, as well as how it highlights the experience of black soldiers in a way that Vietnam War movies like Apocalypse Now and Platoon did not. What follows are his words, lightly edited and condensed for clarity.

How Spike Lee prepared the cast for their roles

The bible for us was a book called Bloods, and Bloods is a collection of memoirs from Vietnam War vets—particularly and singularly black Vietnam War vets—and it talks about their time. So that was essential reading. I don’t know how [Lee] did it, but he got a lot of war veterans to come to [shooting locations in] Thailand, where we were, or Vietnam—and speak to us directly. So we didn’t only get a one-on-one account from the books—we got an in-person personal recounting of what that experience was like for those fellas. In addition to that, there was the dapping.

You’re running down a street, you see a friend, you see a homie—you high-five or whatever you do—a great deal of that culture originated in the Vietnam War among the black vets. And the dap was a way of saying, “Hello, how are you,” and also a way of establishing where you’re from. And so there would be a dap. Among the guys in the cast, we had multiple daps—we learned six daps. And some of these daps they did in Vietnam at that time. We re-created those and pushed those into the lifeblood of the film. That was really cool. In addition to that, we did a little more than basic training—tactical gun drills to work on the action sequences. We learned it practically, then we applied the actual blocking and camera movements.

Learning untold aspects of Vietnam War history

The story of war and the story of African-Americans does not go hand in hand. We have been divorced from that narrative a great deal. I’ve been blessed to be a son and grandson of war vets, so I have a certain understanding about what that is, but it’s not uncommon knowledge that war vets don’t like to talk about the shit that happened overseas, even to their grandsons, even to their sons. So what I learned a great deal is twofold: One was that the Vietnam War is just what we call it, right? That’s just our naming of it. There, they call it the American War—and in the American War, all this happened.

Now the other part that became very clear to me is that the brothers that were in this war were fighting two wars, right? The patriarchy is the patriarchy, and racial systematic betrayal and injustice are rampant. A lot of them left—my grandfather left Texas because at that time, there was nothing else for him to do. So not only him, but his, I believe, three brothers, all went into the armed forces—all joined the Army around the time of the Vietnam War. That struggle is not taught in history books. The other thing that’s not taught in history books is the culture of what it was to be a black soldier. There’s a place called Soul Alley where all the brothers hung out, and those in the black movement—it was moving through the ranks, even there—were growing their Afros out. Some of the brothers were feeling discomfort because some African-American men, because of the way our skin is, can’t shave with a certain type of razor—the razor they give us in the armed forces is not good for our skin. So you’ve got soldiers who are growing beards because they don’t want their face to be all tore up. The culture of that, that’s not something you learn from the history books or from the movies. Apocalypse Now is not dealing with that; Platoon is not dealing with that. They’re too busy with John Wayne in combat boots.

On playing David

There were certain things I knew he had to have. He was a Morehouse [College] man—the motto of Morehouse is “Let there be light.” So that’s a metaphor, something to drop in poetically to suggest, “Okay, this is where this man is coming from, and he’s very proud of having graduated from Morehouse.” We also know he’s on the track team, so that informed my body and how I moved, and we also know he’s a teacher, so pedagogy of any sort is very important to him. But I think the most crucial part of it was the father-son dynamic.

Establishing a complicated father-son dynamic

This is a story about a father and a son, and the son is having a very hard time getting to know his father. And he loves his father. The tautness of the relationship, the turbulence of the relationship, is because these men actually love each other. In real life, you don’t know how to love somebody. Everyone loves differently. And in this case, there’s a historical block between them: "I want my father’s love, and I want to be the model son for him." So if my father was a soldier, I want to behave like a soldier in the best way. I want to be as intelligent as a soldier. I want to be as strong as a soldier. I want to have the loyalty and the moral compass of a soldier, which [his character’s father] challenges so much because his flag he’s flying under—the Trump flag…is not what David agrees with. So there’s turmoil and hardship there, but you just go after the love. My [character's] mission was: Get my father’s love, make my father proud, and in doing that, you can get a whole lot of stories.

The timing of the film’s release

Well, I’d say that it’s not necessarily radical—the [protests against racism and police brutality] that are happening right now.

It’s the most natural thing in the world. If you cage any living thing, right? Let alone a man, right? Something that has a heart, that has a spirit, that has a family, that has needs, wants, desires, dreams? The second you cage that thing, you cage that man, you cage that culture, you cage that race—over time, that man, that race, that group of people will undoubtedly fight back and revolt.

Spike Lee is doing the most natural thing he could do as a filmmaker. He is giving the other side of the narrative. Here in the streets right now, we are giving the patriarchy, the majority, the other side of America. And so the film popping off right now at this time and this moment, is to me—whatever you believe in, whomever you believe in—a very definite and undeniable sign that things have come to an end. Things are stopping now. The film is a part of the movement, a part of the protests. And I mean the things that this film is bringing to light—the unfairness. It’s just unfair: Since 1619, a certain group of folks have not been playing fair, and the chicken has come home to roost. That’s all it is. It’s as simple as that.

I’m very pleased that the film is out right now. I think it adds to the conversation, and it adds education.

Audience reactions and the film’s straight-to-Netflix release

People are loving the film. I’ll leave you with this anecdote: I grew up in Texas and I saw my first Broadway show when I was 22 years old. I could never afford a Broadway ticket between birth to that. I think I used college money to buy the ticket. The same thing can be said about streaming. Movie tickets can be tough [for some people to afford]. And I think that certain people who are sick, who are broke, who literally have to spend their money on other things—they would not have had the opportunity to see this film had it not come out on Netflix. So to me, it is again a divine action taken by whoever, by whatever, for the better good.

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