Tonya Mosley

Nia DaCosta grew up in Harlem and studied film at NYU's Tisch School of the Arts.

She started out as a production assistant, working on sets for Martin Scorsese, Steve McQueen, and Steven Soderbergh.

She recently wrapped directing 28 years later, The Bone Temple, the next film in the zombie horror trilogy.

Nia DaCosta, welcome to Fresh Air.

Thank you so much for having me.

You know, you have been quoted as saying that this particular story, Hedda, it was like a revelation when you first read the play.

And I just have to know, what was it about Hedda's character that you couldn't let go of?

That's so interesting you use the words vulnerable and vicious because Hedda is a product of her time.

The original play is set in 19th century Norway.

So we understand what life for a woman was back in those days.

But in your version, that confinement happened.

takes on new dimensions because you've reimagined her.

She's a mixed-race woman.

Her former lover and her husband's rival is also a woman.

Walk me through those decisions.

Okay, this is so fascinating.

First, I want to start with the race thing because your approach kind of feels different than blind casting, which is something that we've seen recently over the last few years.

It's not like you're ignoring race entirely by just choosing someone and just plopping them into a time period.

How do you view it?

How do you look at it?