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Adam: We were shocked that not everyone knew, namely Sterling and Regina.
Oh, they didn’t know that?
Adan: Not before shooting.
They nailed him.
Adamma and Adan: They made.
Adam: They are professionals.
How did you find the balance between how much of the film is a documentary and how much of the film is personal time between Trinity and Lee-Curtis?
Adam: Most of it is written in the script. Every line 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 laid out the standard narrative work. So it was written into the script every time we switched back and forth and the switches were motivated by the story. We play a lot with who is the truth and who is telling the truth and who is their true self, and so we loved this idea that when the cameras are on, Trinity and Lee-Curtis do the most, they are not their true selves. Then when the cameras are off, it’s the other way around.
Something I really got interested in when I was trying to figure out the best times to switch back and forth was when you wanted them to break in front of the camera. When you want the camera to catch them doing something when they’re at their most uncomfortable, when they’re at their most desperate, and then switch right before it gets too rough…until the camera crew catches it all.
Adan: I will say that there are certain things that were entirely in the editorial. Most of it was scripted, but there are things that we discovered entirely in the edit. We shot many of the scenes in both directions.
Adam: Shout out to Gwiz. It was his idea.
Adan: For example, when Regina is on stage alone and she speaks directly to Anita (Andrea Laing), saying, I just want to make sure we’re on the same page. We shot this both ways. Both the full documentary style and the cinematic style. On the page, I don’t think this scene was written to make it into the cinema.
Adam: No, it’s documentary style.
Adan: But because we got it both ways, we felt that when Trinitie asks Anita to cut back, story-wise, it feels right. She asked her to cut, so the cameras are off, or at least she thinks they are. So then we went from the full documentary style to the cinematic style. I think that was completely built into the edit. It’s finding those plot points where we would switch between styles in a scene.
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