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There are some people on the team, like our head of post-production, is from Chicago and remembers that time period, so he was a resource as well. That, combined with photos and videos, and various kinds of first-hand accounts, all informed how we wanted to create Chicago. Some of the VFX work was unavoidable. But one of the great things about shooting in Georgia is that the state looks so different piece by piece. You have parts that can be dressed up as downtown Chicago or parts that can be dressed up as rural Mississippi. So it wasn’t and it was a challenge.
The initial tilt to Marshall Fields is great. It’s not exactly Marshall Fields, but it’s a good facsimile.
CC: We do our best to honor the emotional truth.
I will say that I had to pause just to be sure.
CC: Look, I knew you Chicagoans would do this. [laughs] So I was like, I can’t mess this up, man.
This is what we do! Chicago is a small city.
CC: Oh listen, I see. I fully expect the people of Mississippi to press pause as well. For example, if there’s something with something from Alaska or Nigeria, I’m looking.
Not to be mean on purpose, but I wanted to get into the burden of the black witness in 1955 as opposed to now, especially when in 2022 images of black trauma are almost inevitable. Is the testimony as powerful today as it was in 1955?
DD: No. That’s the thing, that’s the beauty of witnessing the way Mamie did it, because that’s called critical care. It was her choice to show that body. When you see this body for the first time, at a time when you don’t see things, then your eyes are opened. She called it a global awakening. For her personally, it was an awakening. And because she has this experience, she knows that others must have it too. She knows America must have it. She knows the world has to have it. And so this body is watched carefully.
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