INTERVIEW WITH MICHAEL EALY
 

17. Did you use your own personal tragedies or past life experience to prepare for the “garage scene” where your sister is dying in your arms and how many times did you have to shoot that scene?
     

1. No.  We shot that scene in two takes.  Basically, what I did was watch the scene where she got shot and then they turned the cameras on me.  That was all I needed to see.  Also, if you put yourself to a certain extent in this position where you saw your little sister, lying there all bloodied in a private school uniform, that would have an impact and that isn’t as hard as it seems as long as you can react to what you see – this is all I have and she’s gone and that’s the tragedy of Michael.  There’s so much going on at that point, looking at her and seeing the bullet holes and she’s looking at me for help in shock and she dies, I lose it.

Q.  How was it working with DMX?

A.  We have a lot of respect for each other.  He brought a lot of energy to the table and I had to step it up a little bit.  I was really feeling his character and I decided to give him all my hatred.

Q. Having read Baldwin, Wright and now Donald Goines’ novels, do you have a greater appreciation for why a person like Donald Goines, as an author, is relevant to people with certain backgrounds?

A.  Part of the appeal for doing this movie was because it takes place in a world I’m not aware of or a part of.  The fact that this world exists and Goines was writing about this world and living this world, means that there is definitely an audience for it.  Goines has a huge following in Europe.  People who he writes about - this is their stories and needs to be told because some people are not aware.  We know that there are the poor, but do we really know about children growing up with no hope.  Michael is twenty-years old.  He’s a hitman because he has to be, not because there’s an option.  He’s never been to Florida.  There are plenty of people growing up with no hope.  If you are not aware, watch this movie, read the book.  The whole message of the movie is “this is not the life you want”.  This movie is not for everybody.  A certain frame of mind is required to watch it.

Q.  You talk about the “hope” thing regarding black men.  Don’t you see that everyday on the news, in the streets?

A.  I think what we see is the end result.  We don’t see how it happened.  We look at John Malvo and we say what was he thinking, but if we saw a movie about his life, we might understand how he got there.  I think in order to cause change, you need to understand where these people are coming from.  These people story are not being told.  I understand there are images in this movie that are repulsive and relentless.  This is a life that Donald Goines wrote about that he lived.  

Q.  I read in Essence you prefer older women, why is that?

A.  I remember going through my twenties and dealing with women my age.  Older women have a swagger to them that is less noticeable in younger women.  Older women to me have a vibe that is more calm.  They have an understanding of who they are.  I need someone who is sure of themselves.  To be with me would be a big order.  I’m difficult at times.  I’m serious about what I do, not just about being an actor, it’s a craft.  I think an older woman would understand me better.  I’ve always had better relationships with older women. 

INTERVIEW WITH ERNEST DICKERSON

17. Michael had mentioned earlier that a lot of work went into the tattoos on his body in the movie and I noticed that throughout the movie there were definitely more visual effects than dialogue, “look between the scenes” as opposed to “read between the lines” – was that because of the time constraints (18) shooting days or because you consider yourself a more visual director?
     

1. I’m a former camera man and photographer and I’m trained in the science so I am a very visual person.  To me, well-placed visual is much better than the line of story.    If I could eliminate the dialogue and do it visually, I would.  I want the audience to look at the movie and see the movie.
    

17. The flashbacks of DMX (King David)’s life from present to past - was that difficult for you since you don’t normally do flashbacks in your movies?
     

1. That worked in this case.  The flashbacks actually came from the book.  James Gibson was able to use the flashbacks and also find a way of incorporating Paul into the action of the book.  He kind of just sits in his room reading the diaries in the novel.   He never actually gets involved in the story.  James Gibson, when he wrote the script, found a way in getting Paul involved in the movie more dramatically.  Each time period had a different look.  The California scenes were much brighter colors, more sun.  The New York scenes had a more grainy look.

Q.  There were several scenes where Paul clearly wore a Star of David and King David had left him the cross and tapes inside the Bible.  Where there any correlation between the two?

A.  Paul is Jewish living in a black neighborhood, trying to get a job on a black paper.  Actually we cut out some stuff out that really focused on his religion where he was trying to hide the Star of David in order to get the job.  That’s just who he is. 

Q.  Was this movie a tribute to Donald Goines or just more a story that attracted you to it?

A.  It definitely taken one of his story to stay true to what he wrote.  He was long overdue of some recognition in this country.  What’s interesting is that in Europe, his books have gone hardcover.  They’ve never gone hardcover in America.  There have been critical analysis done on his novels.  In America, he’s completely critically ignored.  Since the showing of the screening, I’m amazed as to how many Goines’ fans there are.  I hope that word gets out.across.

Q.  Why did you chose David Arquette to be in the movie, was it his personality?

A.  He really wanted to play that part.  David was at that point where he’s done so much comedy roles that he really wanted to re-invent himself into a more dramatic role.  He was great and I think he should be in more dramatic roles.

Q.  Was it a pre-requisite for all the actors to read the book before the movie?

A.  No. 

Q.  In the novel, does Donald Goines ever mentions what happens to Paul (Arquette)? 

A.  No.  Paul just inherits his King David’s diaries.  He doesn’t die, everyone else does, even  Mike dies in the novel.  He was lucky that he didn’t die.  The interesting thing about Paul is that he was a hunted man and didn’t even know it.

Q.  Was Paul’s girlfriend added into the script or was she in the novel?  I thought it was pretty ironic what she told him about “slumming” in the neighborhood and come see me when you get a life.

A.  She was in the script, but not in the novel.  I made her black.  Paul’s character was made to be real.  Some people are uncomfortable with their own background.  I think Paul is a real guy which we gave hints with the posters in his room of Wu-Tang and Ernest Hemingway.  His girlfriend was always there to question his motives.  She raised the questions that we all wanted to ask.

 -----------------