The esteemed visual artist provided both the semi-autobiographical story and the paintings for his feature directorial debut.
required everything of the artist. The semi-autobiographical film, about a successful American painter navigating familial trauma and forgiveness through his artwork, expands on the themes found in Kaphar’s previous works to riveting effect. It also helped heal Kaphar himself.), and their young son in a beautiful suburban home on the East Coast.
He compared the approach to being bilingual. “ you speak at least two languages, sometimes speaking in just one doesn’t . There’s a better way to say things in the other language. As an artist, I want to be bilingual. I want to be trilingual and speak whatever language I need to speak to get the narrative across.”
This interconnectedness is at the very root of this project—so much so that there is no clear-cut answer to which came first: the paintings or the movie. “They emerged at the same time,” Kaphar said. “I would wake up, start writing at about five o'clock, and take my kids to school. Then, I'd go to the studio and listen to what I've written through this app while making sketches. By the time I was done, I had a complete narrative and body of paintings.
Kaphar is animated when talking about how he went about casting an actor to play himself. “Find an extraordinary actor more handsome than you are,” he chuckled about Holland. “And find somebody who has a much better voice than you do. It doesn't matter what he's saying, you just want to listen to him.” A crucial aspect of the authenticity Kaphar wanted to portray incame from Holland’s eventual dexterity with a brush.
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