Adama: We were shocked that not everyone knew about it, namely Sterling and Regina.

Oh, they didn’t know that?

Adana: Not before shooting.

They nailed it.

Adamma and Adane: They did it.

Adama: They are pros.

How did you find the balance between the part of the film which is the documentary and the part of the film which is the private time between Trinitie and Lee-Curtis?

Adama: The majority is written in the script. Each slugline in the script will say “Exterior: Wander To Greater Paths Baptist Church – Documentary”. And if it wasn’t in that format, it would be “Exterior: Wander To Greater Paths Baptist Church – Cinematic” is how we’ve delineated standard narrative work. So it was written in the script every time we came and went, and the changes were driven by the story. We play around a lot with what’s the truth and who’s telling the truth and who’s their true selves, and so we loved this idea that when the cameras are on, Trinitie and Lee-Curtis put the most on, they’re not being their true me. And when the cameras are off, it’s the other way around.

Something that really interested me when trying to figure out what the best times to go back and forth was when you wanted them to break on camera. When you want the camera to catch them doing something, when they’re most uncomfortable, when they’re most desperate, and then change just before it gets too gritty. .until the camera crew captured it all.

Adana: I will say that there are some things that were entirely in the editing. Most of it was scripted, but there are things we found entirely in the edit. We shot a lot of scenes back and forth.

Adama: Shout out to Gwiz. It was his idea.

Adana: For example, when Regina is alone on stage and she talks directly to Anita (Andrea Laing) saying, I just want to make sure we’re on the same page. We turned back and forth. Both the full documentary style and the cinematic style. On the page, I don’t think this scene is written to go into the cutscene.

Adama: No, it’s documentary style.

Adana: But because we got it both ways, we felt like when Trinitie asks Anita to cut, in the direction of the story, it feels right. She asked him to cut, so the cameras are off, or at least she thinks they are off. So we went from the full documentary style to the cinematic style. I think it was built entirely in the edit. It’s about finding those story points where we would switch between styles in a scene.