Moviefone Editorial

Tag: bleeker-street

  • ‘Love Me’ Interview: Kristen Stewart and Steven Yeun

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    Opening in theaters on January 31st is post-apocalyptic romance ‘Love Me’, which was written and directed by Sam and Andy Zuchero, and stars Kristen Stewart (‘Love Lies Bleeding’) and Steven Yeun (‘Beef’).

    Related Article: Kristen Stewart, Katy O’Brian and Rose Glass Talk ‘Love Lies Bleeding’

    (L to R) Kristen Stewart and Steven Yeun star in 'Love Me'.
    (L to R) Kristen Stewart and Steven Yeun star in ‘Love Me’.

    Moviefone recently had the pleasure of speaking with Kristen Stewart and Steven Yeun about their work on ‘Love Me’, their first reaction to the screenplay, how they approached playing their unusual characters, and the difficulties of the human relationship that they form.

    You can watch the full interview below or click on the video player above to watch our interviews with Stewart, Yeun, and filmmakers Sam and Andy Zuchero.

    (L to R) Kristen Stewart and Steven Yeun in Bleecker Street's 'Love Me'. Credit: Bleecker Street.
    (L to R) Kristen Stewart and Steven Yeun in Bleecker Street’s ‘Love Me’. Credit: Bleecker Street.

    Moviefone: To begin with, Kristen, can you talk about your first reaction to the screenplay and Sam and Andy Zuchero’s unusual vision for this project?

    Kristen Stewart: I thought it was one of the most experimental, weird, ambitious, bizarre things that I had read. I thought the endeavor was a little cuckoo because it doesn’t profess to answer any of these unanswerable existential questions, and it doesn’t. I don’t think it’s something that’s like, “Oh, this is a movie that takes place in the future and therefore has all these conclusions”. It was like an invitation to do a really elaborate acting exercise that would reveal us to ourselves and each other daily. It was a diving board. The script felt like the most confronting thing about it wasn’t its setting or its characters, it was just how unfixed identity is. It can be scary if you suddenly find yourself responsible for determining those things. It holds a mirror just like a centimeter away from your face, basically. I just also watched a short film that they made that was equally as daring and I wanted to hang out with them. I was drawn to their curiosity and their earnestness and that’s it.

    A Still from 'Love Me'. Courtesy Bleecker Street. Credit: Bleecker Street
    A Still from ‘Love Me’. Courtesy Bleecker Street. Credit: Bleecker Street

    MF: Steven, can you talk about your approach to playing these characters, both in live-action and animation, what was that process like for you?

    Steven Yeun: Mine was probably a different experience in that my characters were largely reflecting off Kristen’s characters. He was wanting to be, in some ways defined by it, but then also struggled with that tension. I was following and reacting and playing that mirror consciously, in a way. So, it was fun. It was also revealing of the character’s own tension with wanting his own control or its own control. It’s an exercise in surrender and control. It’s just that tension between those two things.

    A Still from 'Love Me'. Courtesy Bleecker Street. Credit: Bleecker Street
    A Still from ‘Love Me’. Courtesy Bleecker Street. Credit: Bleecker Street

    MF: Finally, Kristen, while this is a story about two machines, they end up having a very human connection and relationship. Can you talk about that and the message of the movie?

    KS: I mean, I guess instead of doing a movie where you have two isolated people that can’t be affected by affectation or own individual experiences, if you were to just all of a sudden be dropped into consciousness if you were a matured person who could potentially write the storybook of your life with an intellect that didn’t need to be acquired and that was never shaped by individual experience, is genuinely just the knowable universe, I think that immediately renders a person. Well, these people don’t exist, right? This is all a metaphor. Buoys don’t talk to satellites. I mean, they do, but not in this way. I think maybe just the opportunity to allow something that you immediately diminish as something that couldn’t be alive, you must stay open. I mean, it’s so presumptuous. It’s like you only know what’s going on within yourself. I think, playing babies in adult bodies or the idea of bodies. This was just a movie about unfixed identity, defining that weird friction and contrast between reality, what real is compared to everyone’s own unique experiences and how they differ, reality doesn’t exist. So, we all must define it for ourselves, and it just felt like a base look at that. I was down to being in a vacuous space with Steven trying to figure out what all that means.

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    What is the plot of ‘Love Me’?

    A post-apocalyptic romance in which a buoy (Kristen Stewart) and a satellite (Steven Yeun) meet online and fall in love after the end of human civilization.

    Who is in the cast of ‘Love Me’?

    • Kristen Stewart as Me / Deja
    • Steven Yeun as Iam / Liam
    (L to R) Kristen Stewart and Steven Yeun in Bleecker Street's 'Love Me'. Credit: Bleecker Street.
    (L to R) Kristen Stewart and Steven Yeun in Bleecker Street’s ‘Love Me’. Credit: Bleecker Street.

    List of Kristen Stewart Movies:

    Buy Kristen Stewart Movies on Amazon

     

  • ‘Hard Truths’ Exclusive Interview with Cast and Crew

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    Opening in theaters in wide release on January 10th is the latest movie from acclaimed filmmaker Mike Leigh (‘Topsy-Turvy’) entitled ‘Hard Truths’. The new movie reunites Leigh with his ‘Secrets & Lies’ cast members Marianne Jean-Baptiste and Michele Austin, and in addition stars David Webber (‘Captain Phillips’), Tuwaine Barrett (‘Back to Black’), Ani Nelson (‘Crooked House’) and Sophia Brown (‘Beauty and the Beast’).

    Related Article: Movie Review: ‘Hard Truths’

    (Left) Marianne Jean-Baptiste. Photo: Thin Man Films Ltd. (Center) Mike Leigh. Photo: Myrna Suarez. (Right) Michele Austin. Photo: Michael Shelford.
    (Left) Marianne Jean-Baptiste. Photo: Thin Man Films Ltd. (Center) Mike Leigh. Photo: Myrna Suarez. (Right) Michele Austin. Photo: Michael Shelford.

    Moviefone recently had the pleasure of speaking with director Mike Leigh and actors Marianne Jean-Baptiste and Michele Austin about their work on ‘Hard Truths’, the unique way Leigh makes movies, reuniting with Jean-Baptiste and Austin on set, why they love working with Leigh, their approach to playing their characters, and Leigh’s working relationship with his crew.

    You can watch the full interview below or click on the video player above to watch the interview.

    (L to R) Michele Austin, filmmaker Mike Leigh and Marianne Jean-Baptiste discuss 'Hard Truths'.
    (L to R) Michele Austin, filmmaker Mike Leigh and Marianne Jean-Baptiste discuss ‘Hard Truths’.

    Moviefone: To begin with, Mike, can you talk about developing the idea for this film and the themes that you wanted to explore as a director?

    Mike Leigh: Well, it’s a difficult question. I mean, like all my films, apart from the historical ones, and even that’s not entirely true, it taps into ongoing preoccupations of all kinds. It’s impossible to talk about developing an idea, because it’s quite a complex film. The truth is, as you may or may not know, is that we make these films by embarking on a journey to find out what the film is on the journey of making the film. So, there isn’t an answer to the question really, as such. But you think, oh, that’s what this is. It just grows, really, because you see people say to me, “Where’d you get your ideas for your films?” Well, literally, I’ve only got to walk down the street and walk past ten people I don’t know and there are ten films there. For me, films come from life out there.

    MF: Has your process of making movies changed at all over the year or is it the same as it’s always been?

    ML: Basically, the same since 1965, films and stage plays. I mean, it changes in a way, in subtle ways for each project, because different things have different requirements. It obviously changed in obvious ways when I made those various period films, although it’s still the same process with no script. So no, it hasn’t really changed fundamentally. I mean, we’ll have days when we’ve got days in the location without the crew where we’ll create the scenes, then the crew will arrive, and then we’ll look at it, share it with the cinematographer and the gang, and then we’ll work out how to shoot it and we’ll shoot it. So, the real point about what you’re talking about is that what we shoot is very precise. It comes out of improvisations, out of months of improvisation, and we improvise. We go to the location, we create the scenes scene by scene, sequence by sequence, location by location, in the location, because I can only visualize a scene by being in the actual place. We script through rehearsal. So, we arrive at something very precise through a rehearsal process. I don’t go away and write a script and bring it back.

    Marianne Jean-Baptiste in 'Hard Truths'. Copyright: Thin Man Films Ltd.
    Marianne Jean-Baptiste in ‘Hard Truths’. Copyright: Thin Man Films Ltd.

    MF: Marianne, you’ve worked with Mike before, what do you enjoy about working with him and the specific way that he makes movies?

    Marianne Jean-Baptiste: I feel that I’m at my most creative when working with him. It’s collaborative. It’s freeing. It’s great to be working with somebody that you really trust and can trust as a director that also trusts you. I mean, it’s collaboration in the truest sense of the word. You get to use your imagination. Nobody works like that. I mean, it’s a very efficient way of working, because everybody knows exactly what they must do. You’re not trying to find out what your character’s motivation is in the middle of the day of shooting. There are not multiple takes of things. So, it’s an efficient way of working.

    MF: Michele, can you talk about what it is like to be an actor on a Mike Leigh project?

    Michele Austin: Oh, my goodness. What’s it like? Well, I was going to say it’s much the same, but it’s not, I suppose. The way we create the scenes, when Mike writes the scenes, they tend to be done in the morning, usually, on set. Everything’s always on set on location. So, you sort of have this dual time on the set where you are creating in the morning and honing it and then showing it to the crew maybe in the afternoon, and then it’s shot. We always get home in time for dinner.

    (L to R) Marianne Jean-Baptiste and Michele Austin in in 'Hard Truths'. Courtesy of Simon Mein. Copyright: Thin Man Films Ltd.
    (L to R) Marianne Jean-Baptiste and Michele Austin in in ‘Hard Truths’. Courtesy of Simon Mein. Copyright: Thin Man Films Ltd.

    MF: Marianne, can you talk about your approach to playing Pansy and was it difficult to find the character’s depression and anger and to stay in that state throughout filming?

    MJB: No, not particularly because again, of the process and the way that we create the character. We’re also very strict about, or rather, Mike is strict about it, and we become strict about coming out of character. There’s a process where we warm up and we get into character and then we warm down, if you like, and come out of character. So, there’s none of this sort of method style of living with this tortured character.

    MF: Michele, can you talk about Chantelle’s relationship with Pansy and how she tries to relate to her and help her out of this situation?

    MA: Well, obviously it comes out of all the months of creating their family history. She does adore her sister, I think. I think what is interesting about Chantelle is that she is very positive. She wants to make things better, but not in a kind of sacrificing way. But yeah, she wants her sister to be better and to feel better, but she just doesn’t necessarily have the tools to do that. But I think what I’m struck by with their relationship is that I think in every family, there are difficult relationships that people are trying to make better, they don’t want to give up on, or they want their families to work, and they want people to be happy. I mean, I know that’s one of those awful words, but they do. They want people to be secure and happy and they’re trying their best. I think that the tension, I suppose, is when you have a sister who finds life easy, and you have a sister who struggles a bit and how they sort of rub up against each other. I think that’s her character. Her characteristic is she wants to help, and she wants people to be content. She has a certain level of contentment that she lives with. It was quite a nice state to be in. It’s quite a nice character to inhabit because I’m not like that. I think that it was very interesting to play somebody who is pretty much content and looking for the good things in life and people and having a laugh, and not being as cynical as I am.

    (L to R) David Webber, Marianne Jean-Baptiste, and Tuwaine Barrett in 'Hard Truths'. Courtesy of Simon Mein. Copyright: Thin Man Films Ltd.
    (L to R) David Webber, Marianne Jean-Baptiste, and Tuwaine Barrett in ‘Hard Truths’. Courtesy of Simon Mein. Copyright: Thin Man Films Ltd.

    MF: Marianne, can you talk about the improvisation process and do the relationships and backstories for these characters come out of those improvisations?

    MJB: Oh, yeah. I mean, the whole world and everything comes out of improvisations, discussions, and movements. It is all about exploring and discovering who these people are.

    MF: Finally, Mike, as a filmmaker, do you think that you ultimately find the movie in the editing room, or is it in your head on set while you’re filming?

    ML: This kind of film is not the kind of film which you discover in the editing room in the sense that you shoot a lot of wild footage and try and figure it all out afterwards. It’s not one of those. It’s very disciplined. So, in that sense, what you take to the cutting room is very disciplined. I mean, there’s a structure and all of that. However, all films of every kind, be they features or documentaries of any kind, all films are made in the cutting room. That is a fact of filmmaking. That’s to say you take all kinds of variable versions of things and put them together, and then when you put them together, you realize that, well, that can go, or that should be like this, back to front, or that bit’s better than this bit, and you distill it. So, in that sense, of course, like all films, yes, my films are made in the cutting room, but not in the sense of trying to work out what the hell to do with all this wild spaghetti that has been shot in an undisciplined manner.

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    What is the plot of ‘Hard Truths’?

    Set in London, the plot follows the plight of depressed middle-aged woman Pansy (Marianne Jean-Baptiste) and her relationship with her close ones—including the crumbling relationship with her jovial sister, Chantelle (Michele Austin) – who is opposite in terms of mood, and the state of her other interpersonal relationships.

    Who is in the cast of ‘Hard Truths’?

    • Marianne Jean-Baptiste as Pansy Deacon
    • Michele Austin as Chantelle
    • David Webber as Curtley Deacon
    • Tuwaine Barrett as Moses Deacon
    • Ani Nelson as Kayla
    • Sophia Brown as Aleisha
    • Jonathan Livingstone as Virgil
    'Hard Truths' opens in theaters everywhere on January 10th. Photo: Thin Man Films Ltd.
    ‘Hard Truths’ opens in theaters everywhere on January 10th. Photo: Thin Man Films Ltd.

    List of Mike Leigh Movies:

    Buy Tickets: ‘Hard Truths’ Movie Showtimes

    Buy Mike Leigh Movies on Amazon

     

  • ‘Slingshot’ Exclusive Interview: Laurence Fishburne

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    Opening in theaters on August 30th is the new sci-fi thriller ‘Slinshot’, which was directed by Mikael Håfström (‘Evil’) and stars Oscar-winner Casey Affleck (‘Manchester by the Sea’), Laurence Fishburne (‘The Matrix’), Emily Beecham (‘Guy Ritchie’s The Covenant’) and Tomer Capone (‘The Boys’).

    Related Article: Laurence Fishburne Joining ‘The Witcher’ to Play the Character of Regis

    (L to R) Laurence Fishburne and Casey Affleck in Bleecker Street's 'Slingshot'. Credit: Bleecker Street.
    (L to R) Laurence Fishburne and Casey Affleck in Bleecker Street’s ‘Slingshot’. Credit: Bleecker Street.

    Moviefone recently had the pleasure of speaking with legendary actor Laurence Fishburne about his work on ‘Slingshot’, his first reaction to the screenplay, his approach to his character, the incredible sets, and working with Casey Affleck.

    You can read the full interview below or click on the video player above to watch our interviews with Fishburne and director Mikael Håfström.

    (L to R) Laurence Fishburne, Casey Affleck, and Tomer Capone in Bleecker Street's 'Slingshot'. Credit: Bleecker Street.
    (L to R) Laurence Fishburne, Casey Affleck, and Tomer Capone in Bleecker Street’s ‘Slingshot’. Credit: Bleecker Street.

    Moviefone: To begin with, can you talk about your first reaction to the screenplay and why you wanted to be part of this project?

    Laurence Fishburne: Well, when I read it, I was very surprised that I couldn’t figure out where it was going. I thought, okay, I want to do this because if it surprised me, hopefully we’ll surprise the audience. Also, Casey Affleck was attached, and he’s a brilliant actor, somebody who I’ve admired for many years, and I was like, oh yeah, I really want to work with him. Then I discovered that Tomer Capone was going to be playing the other character, and I love his work on ‘The Boys’, and I just thought, yeah, we’re going to make a wonderful trio. So those are the reasons that I wanted to do it.

    MF: Is that what you looking for when you are reading scripts and choosing projects, something that surprises you with a good cast and director?

    LF: I don’t necessarily approach it with “what I’m looking for”. I always approach it with an open mind and an open heart. If there’s something that I discover whether it’s a surprise or it’s funny or it makes me cry or whatever it is, I really must connect with the story on some level. That’s first and foremost. Then of course, if there are wonderful people attached, like our director, Mikael Håfström on this, a wonderful director whose work I wasn’t familiar with, but once I met him, I was like, oh, this guy’s fantastic, and we’re going to do something really cool together. It doesn’t matter whether anybody gets it, you just know like, we’ve got a good piece of material, we’ve got a great crew, we’ve got a great cast, and we’ve got a leader in our director who has a vision that he’s confident about. So, if he’s confident about it, then he’s the guy I’m willing to follow.

    (L to R) Casey Affleck and Laurence Fishburne in Bleecker Street's 'Slingshot'. Credit: Bleecker Street.
    (L to R) Casey Affleck and Laurence Fishburne in Bleecker Street’s ‘Slingshot’. Credit: Bleecker Street.

    MF: Can you talk about your approach to playing Captain Franks?

    LF: It’s the kind of role that I’m comfortable in, that people absolutely buy me as, kind of an authority figure. I’m the captain of the ship, so I kind of have that kind of military bearing. I’ve played a captain of a ship in space before, so it’s not like a big stretch for anybody to believe me as that. So, it was about the tone because it’s such an intimate film, it’s such a small kind of space. It’s three people on a ship altogether, claustrophobic at times, and then at moments because you’re in space, it’s very expansive. Then they introduced the idea that the ship might be compromised, and the mission might be compromised, and our lives might be in danger. So, when you have a small group of people floating through space on something that’s the size of a golf ball, the stakes suddenly get very high.

    MF: Can you talk about how Captain Franks deals with the mutiny on his ship and the different dynamics between his crew members?

    LF: It’s great because there’s this whole triangulation thing that happens between the three characters. So, in moments, my character Captain Franks sits at the top of the pyramid and then it shifts, when the other two are alone and they’re conspiring about whether they’re going to follow my orders or whether they’re going to mutiny. Then it shifts again when I kind of persuade one of them to see things my way. Then it keeps shifting and changing and that just ratchets up the tension and you’re like, okay, what’s going to happen here? Who’s going to captain the ship, as it were?

    Casey Affleck in Bleecker Street's 'Slingshot'. Credit: Bleecker Street.
    Casey Affleck in Bleecker Street’s ‘Slingshot’. Credit: Bleecker Street.

    MF: What was it like working with Casey Affleck and having him as a scene partner?

    LF: Hey man, he was great. Casey is like the Chet Baker of acting. I mean, he’s lyrical. He’s whimsical. He’s got this incredible sense of melody that’s in the emotional range, and he plays it all so subtly and with a kind of beautiful melancholy that is just captivating. So, it was just great working with him.

    MF: Finally, do you think that the small spaceship set helped add the feeling of claustrophobia to your performance?

    LF: Well, it did at times. It was very deceptive because it’s shaped like a circle, right? So those scenes where we’re walking in the hall, you keep walking round and round, but you can’t, because of the way it’s the angles are designed, you can never see the end of it. So, it seems to go on forever in some ways. What Mikael Håfström was able to do with his DP was he was able to sometimes make it feel like it was quite spacious, and then at other times to bring it tight and make it seem very claustrophobic so that your perspective changes. You’re not sure is it up, is it down? It was really a beautifully constructed and designed set.

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    What is the plot of ‘Slingshot’?

    An astronaut (Casey Affleck) on a possibly fatally endangered mission to Saturn’s moon Titan struggles to keep his grip on reality.

    Who is in the cast of ‘Slingshot’?

    • Casey Affleck as John
    • Laurence Fishburne as Captain Franks
    • Emily Beecham as Zoe
    • Tomer Capone as Nash
    Casey Affleck in Bleecker Street's 'Slingshot'. Credit: Bleecker Street.
    Casey Affleck in Bleecker Street’s ‘Slingshot’. Credit: Bleecker Street.

    List of Laurence Fishburne Movies and TV Shows:

    Buy Laurence Fishburne Movies on Amazon

     

  • John Boyega and Nicole Beharie Talk ‘Breaking’

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    Opening in theaters on August 26th is the new drama ‘Breaking,’ which was written and directed by Abi Damaris Corbin.

    Based on a true story, the movie centers on Lance Corporal Brian Brown-Easley (John Boyega), a former Marine Corps veteran in financial trouble.
    After not receiving several of his benefit checks from the VA, and with no one listening to his complaints, Brian takes two hostages (Nicole Beharie and Selenis Leyva) at a local bank, hoping to gain attention from the media.

    With a police Major (Jeffrey Donovan) itching to take him out, Brian deals with a sympathetic police negotiator (Michael K. Williams), and a local reporter (Connie Britton) willing to listen to his story.

    Moviefone recently had the pleasure of speaking with John Boyega and Nicole Beharie about their work on ‘Breaking,’ the true story it is based on, their characters, the mood on set, and working with writer/director Abi Damaris Corbin.

    John Boyega in 'Breaking.'
    John Boyega in ‘Breaking.’ Courtesy of Bleecker Street.

    You can read the full interview below or click on the video player above to watch our interviews with Boyega, Beharie, and writer/director Abi Damaris Corbin.

    Moviefone: To begin with, John, can you talk about your first reaction to hearing Brian’s story, reading the screenplay, and your approach to playing this character?

    John Boyega: My first reaction, I was quite surprised. I hadn’t heard of the story. It was shocking that this happened in Atlanta, in a major city, and at the same time that I hadn’t heard about it. But then going into the screenplay, going into script, I liked how detailed it was. I liked that this wasn’t just a typical thriller. I like that this was actually a character study.

    Also, at the same time, a moment to go back into the life of a vet, a perspective that personally, from my background, I didn’t necessarily have family members that have gone and done that. So, for me, it was an education and then excitement, because we have a lot of dramatic moments.

    I heard that Michael Kenneth Williams might be a part of it, and Nicole and Selenis. The combination of all those things was like, “Okay, cool. This is a project I would love to do if I get the opportunity.”

    MF: Nicole, can you talk about how Estel handles the situation she finds herself in and the sympathy that she ends up having for Brian?

    Nicole Beharie: It’s interesting. This is based on a true story and I did get to read what the protocol for a bank manager is. Initially, look, Nicole is not staying in the bank, okay? When that’s happening, I’m not staying in the bank, I’m running.

    But I felt like this woman’s heroism came from her training, and also this man, seeing something that she identified from other people that she knew, and wanting to protect him as best she could. I think that was a big part of it for me.

    Selenis Leyva, Nicole Beharie, and John Boyega in 'Breaking.'
    (L to R) Selenis Leyva, Nicole Beharie, and John Boyega in ‘Breaking.’ Courtesy of Bleecker Street.

    MF: Nicole, your scenes are incredibly intense, can you talk about how you prepared emotionally day-to-day to be a hostage?

    NB: Do you know what’s funny is my scenes are only intense because John came in with all the intensity. He provided the fire for us to be like, “We have to take this fire out.” So, I have to give that to my fellow cast in creating this world, keeping it alive so that we can be reacting and working off of the nuances, the little changes.

    I think that’s really what it’s about and so exciting when it works that way, and that’s exactly what happened. So, for me, I didn’t have to do a whole lot of work because everyone brought it. We were just there, keeping it alive.

    MF: Can you both talk about what the movie says about the way we treat our veterans in this country?

    JB: For me, it’s the loneliness that was so interesting. We have a lot of these people in our society who walk amongst us, but don’t have their perspective and their point of view heard. I think for me that can be so frustrating to go to several different avenues, the official avenues that comes with the veteran’s affairs, but also going to try and talk to family. Trying to get some form of empathy can be quite hard because a lot of people just don’t have that perspective.

    But then you do the full circle, when you think about it, you’re like, “Oh, well that’s the illusion.” Right? As civilians who are protected, we’re the babies in the bubble that the governments say, “Don’t tell them anything, they might freak out.” So, to have this perspective, especially when vets come back home and they’re trying to integrate back into society, to see their complications and their struggles is something that we can all learn from, for real.

    NB: Another reason I was drawn to this movie was because I have quite a few family members who’ve served in the military in different aspects. I, in particular, had one uncle who came back different and this speaks to everything in that. I feel like personally, as a civilian, as John said, I wasn’t able to be there in the way that Estel is. So, it’s like I vicariously get to have this other experience. I just wanted to add that, because it’s a big part of the pull for me.

    Nicole Beharie in 'Breaking.'
    Nicole Beharie in ‘Breaking.’ Courtesy of Bleecker Street.

    Finally, Nicole, what was your experience like working with writer and director Abi Damaris Corbin?

    NB: Abi was amazing. She also has a personal connection, having veterans in her family and she really cares about all the details in this story. I think also what’s really interesting is its Brian’s story, but there are all these different other characters that pop in here and there and they still feel very fleshed out.

    It feels like that dance that they have between corporate and what they’re told to do with bureaucracy, whether it’s at the VA, the detective or the news anchor, they all are dancing this line between institution and humanity, and what they want to do. I just think it’s really powerful the way that she executed that.

    John Boyega in 'Breaking.'
    John Boyega in ‘Breaking.’ Courtesy of Bleecker Street.
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