Delroy Lindo

That's exactly where the music comes from.

And yet another affirmation for me, Tanya, in terms of how people have received this work, it's incredibly affirming that audiences, many audiences, have made the connection between the pain of what I was experiencing and the birth of the music

And I certainly was not thinking about that in the moment.

No.

The humming, the hollering, no, it was not scripted.

It happened organically on probably the sixth or seventh take.

And what is so beautiful about that moment and its retention in the film, it was born of a company of people all working together.

And what I mean by that is

We had a very specific distance to get the scene.

We had a finite amount of real estate to get the scene in.

We started at point A, and by the time we got to point B or point Z, I had to have finished the monologue.

It was a three-page monologue.

Within a certain amount of time.

And then we had to turn the car around, turn all the equipment around, and go in the opposite direction and do it again.

And then turn around and come back and go in the opposite direction and do it again.

On probably the sixth take, and I'm forever indebted to Mike playing Stack, Mike didn't stop the car.

We got to what was supposed to be the end point, and he veered off into the underbrush and kept going.

Ryan kept the cameras rolling.

And as a result of that, it gave the scene more time to breathe and for us extra time, more time to be in that moment.

The only thing that I've said is that