Delroy Lindo

Sinner like me, I can't ask for more than that.

So, no, it wasn't that my character began and ended with that first scene.

What it was was that the introduction was so dynamic that what happened in the second half of the screenplay, I was not as present.

I was there, but I was not as present.

And since Ryan had introduced the character, my character, Delta, Delta Slim, so dynamically, I spoke with Ryan and I said, how can we enhance my presence in the second act of the film?

And Ryan understood that.

And he assured me that we would work on enhancing my presence in the second act.

And he did.

First of all, thank you for what you just said about your grandfather, because various people have mentioned to me that that scene and my presence reminds them of an uncle or their grandfather, somebody that they knew from their families.

And that is a huge compliment.

But more importantly than being a compliment, it's an affirmation for the work.

To answer your question, it started, my preparation for this started with Ryan sending me two books, Blues People by Amiri Baraka, who was Leroy Jones when he wrote the book, and Deep Blues by Robert Palmer.

And I read those books.

That was my intro into the world of Sinners.

And in reading those books and then referencing those books throughout production, I was given an entree into the lifestyles of these musicians.

There's a certain kind of itinerant quality that they moved around a lot.

The constant for them is their music.

so that there is this deep-seated connection to the music.

And because they are following where the music takes them, that then becomes an intrinsic part of their lifestyles.

There are no words.