After the remarkable success of American Fiction at the Oscars, screenwriter/director Cord Jefferson engaged in reflective dialogue, delving into the film’s significance and the profound implications of representation in contemporary cinema.
The conversation commenced with congratulations extended to Jefferson for the film’s remarkable achievements, to which he responded with a humble “Thank you.”
Prompted by an astute observation regarding his character’s prophetic words in the film, Jefferson was invited to expound on the significance of being recognized for a project that defied stereotypes. In response, he evoked a poignant quote by Victor Hugo, underscoring the transformative power of ideas that challenge conventional paradigms.
“There’s a Victor Hugo quote that he says, ‘Nothing is more powerful than an idea whose time has come.’ And so, you know, I was very passionate about this film. Everybody who worked this film is very passionate about it. Nobody was there for the money because we didn’t have any money. So people were there because they believed in it. And so, to be here now and to receive this — this kind of response is — is, yeah, it feels incredibly surreal. I’m so grateful for it. I think everybody on the film is so grateful for it.”
Jefferson conveyed deep gratitude for the overwhelming response to American Fiction, emphasizing the film’s reliance on grassroots advocacy and underscoring the existence of an audience hungry for diverse narratives.
“What I tried to convey in my speech is that there’s an audience for things that are different. There is — there is an appetite for things that are different. And, you know, a story with black characters that’s going to appeal to a lot of people doesn’t need to take place on a plantation, doesn’t need to take place in the projects, doesn’t need to have drug dealers in it, doesn’t need to have gang members in it. But there’s an audience for different depictions of people’s lives, and that it — there is a market for depictions of black life that are as broad and as deep as any other depictions of people’s lives. Does that make sense?” Jefferson noted.
Transitioning to a discussion about the film’s setting in Boston, Jefferson elaborated on his intention to depict an alternative perspective of the city, divergent from mainstream portrayals. He emphasized the multifaceted nature of Boston’s cultural landscape, particularly within the black community, and underscored the importance of showcasing diversity within diversity.
Despite budgetary constraints limiting on-location filming in Martha’s Vineyard, Jefferson revealed how the film paid homage to the vibrant black community there, reaffirming his commitment to authentic and nuanced storytelling.
REELated:
“I wanted to depict a different kind of Boston than is normally depicted in the films. So I said no pictures of Fenway Park, no pictures of duck boats on the Charles, right. It’s sort of — I wanted to — I wanted to explore a different side of Boston and, you know, one of the different sides of Boston is black people. You know, you don’t really see — it, you know, there’s a lot of The Departed, which I love. There’s a lot of the town, which I love. Gone Baby Gone, which I love. Like, most of the depictions of Boston are sort of like, you know, it is sort of like working-class Italians or Irish people. And I think that, you know, there’s a whole other side of Boston that we don’t — that we don’t really see.
Jefferson added, “And I think it was important, you know, we weren’t able to shoot in Martha’s Vineyard because the film didn’t have Martha’s Vineyard money, but, you know, there’s a little bit of sort of, like, a nod to Oak Bluffs in the film and sort of a nod to the black community that is sort of thriving in that — in that part of the world.”
As the dialogue neared its conclusion, Jefferson expressed gratitude for the opportunity to share his insights and reiterated his appreciation for the recognition bestowed upon “American Fiction.”
Jefferson’s reflections offer a compelling narrative of artistic vision, cultural resonance, and the enduring impact of inclusive storytelling. American Fiction stands as a beacon of cinematic excellence, challenging stereotypes, amplifying marginalized voices, and fostering a more inclusive and empathetic cinematic landscape.
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