Making Of SINNERS (2025) - Best Of Behind The Scenes, Set Visit, Stunt Action With Michael B. Jordan

Two cameras, Denver Mark. Here we go. Fire in the hole. Ready. In. Three. Two. One. Action. Every day we left everything, you know, on set, you know, went home with nothing left to give daily, you know. So we put everything into this. I haven't been on any set where we filmed to the actual music that would, was going to be in the movie, you know. So the fact that I knew that this is a song that's going to go on over here in this scene, in this moment, okay, when I'm doing X, Y, and Z, this is what we're going to be listening to. And really being in the moment, I think that helped out tremendously. And I want people to feel that in their bones too. You want to be on? Yeah. Here? Yeah. I've been in and did try to like build, build a frame here. Just like kind of. Yeah, yeah, yeah. I'm going to go right here. I mean, all you need to do is go straight down. Like go straight here? Yeah. Okay. The process of kind of like going from one character to the next, like for me, it was a lot of, you know, music and catchphrases and things of that nature. A body position or a stance, you know, that, that, that, that I worked through to kind of establish the, the two of them and, you know, locking into that, you know, you know, day after day, you know, you start to create your own rhythm and routine, you know, Smoke wore his trauma differently. You know, he, he, he kind of closed up a bit. So, you know, Smoke is, you know, a man of a few words. And that's what we kind of understood a lot amongst identical twins, you know, usually, you know, you know, twin brothers that, you know, are around each other a lot, you know, you know, one is more dominant in certain areas than the other. You know, if you're always with your brother and you know, your brother usually does most of the talking, you naturally don't talk that much because, you know, your brother's taking care of most of that. But, you know, Smoke, you know, had a, had a heaviness to him. Um, and, and, and, and Stack was a lot lighter, you know, he smiled through his pain, you know, he smiled through his trauma. He talked his way through it, you know, so he, um, you know, had a lot more things to do and say and, and, and, um, and to deflect, to not, to, to not sit still and let those feelings and those traumas kind of catch up to him. So Stack was always kind of like, he's always on the move, always, always kind of fleeing from, from things. Scene six, take two. Okay, Mark. Here we go. In three, two, one, action. Ain't seen nothing yet. These two going to be playing down at the old sawmill. You know, the one right on the riverbank, right outside Clarksdale. when you get to work on something with a group of people that are so deeply passionate about the, the, the work that is at hand. Um, and, and beyond that, everybody's experience and wellbeing throughout, right? Um, we were really in the thick of it together, all of us at, at pretty much every, every moment, uh, throughout. Um, and I think we can all blame the, the bad weather, uh, that we endured for, for sort of keeping us there, trapping us there. And, and I think in, in ways it really served us and brought us closer. And, um, it was just genuinely one of the greatest experiences I've ever had. And Ryan is one of the most phenomenal storytellers of our, of all time. Um, and to be a part of, of his vision and his world, um, is just the greatest honor. And yeah, it was something, an experience I'll never forget. Here we go, stand, rehearsing, recording, ready, and action. And one, and two, and three. Cutting. These characters are larger than life, but also if a big sell of this movie is, you know, we're going to show, you know, a generation of Americans that are often overlooked. People feel uncomfortable talking about, people don't want to spend time with, but, but, but to me, these people from this era are giants. You know what I'm, you know what I mean? Like they, they, they towering, they towering figures. Musicians aside, just the people that endured, you know, that, that, that, that time to help us get to where we are now. So I was like, oh, it has to be shot in the most epic format. That's such a cinematic statement. When we got into it, man, we realized that just that decision, it put us on the forefront of a lot of things that put us in, in rarefied, in rarefied air. And also, man, I love going to see movies in, in, in IMAX. And the film has such a specific, has such a specific look. And it's really because like nobody's really made a movie with a cast like this, you know, in a location like this with this format, you know, and Autumn and Hannah and Ruth, they have very specific ways of attacking their craft. It's just made for something extremely massive in scale, but also extremely bespoke and unique, which is, you know, what I'm all about as a, as a maker of things, but also as a consumer. I've been singing, you know, since I was a kid. And when I turned 16, I got a call to sing background for her. And, you know, we, we, um, we opened up for Coldplay. We were on tour for the last three years. And, um, coming off a tour, I picked up the guitar, you know, just randomly just started messing around with it. Little did I know that this opportunity would be right around the corner. And, um, I started, started practicing, you know, once I, once I got the call and I just started, you know, going every day practicing, it was definitely a challenge, but, um, I had some help by, um, this guy, his name is Randy Bolin. He's a great guitarist. And, you know, we went to the studio every day. He taught me like the fundamentals of, you know, the guitar and taught me how to use the slide and everything like that. And so I'm just proud of what I was able to accomplish in that short amount of time. A real challenge of like stamina and keeping the momentum up, but you're shooting these scenes for weeks, you know, and it's like, you want to make sure that you come into each scene with the exact right energy of, from what happened before and where you're going. And it, and it, it was quite difficult, um, to, to, to really pitch it like exactly. And sometimes we're not shooting in order. Right. Um, so I feel like the, those scenes were, you know, I think we just really try to lock in and just be like, play the scene, play the, play our motivation, play our obstacles, play our wants and needs. Um, cause that's all we can really do because you also don't know how it's going to change in the edit too, you know, um, but it was being in that space with those people. Again, I keep saying magical because it really was like, we formed these bonds and it was like family and every day, like, you know, as the Duke, you know, when just being in that Duke, Duke joint, like every day, it was like family. It was joy. It was puzzle solving. It was games. It was, it was everything. Like it was, it was community. The first thing I said to Ryan in our meeting on Zoom, having read the script for the first time, I asked him, who's the audience? And he just says, I want everybody to go and see this. Um, I mean, obviously there's, you know, uh, there are, uh, there is a limit to that, but he says everybody and I, and I, I feel like I know what he means now. You know, youngsters can go and watch this film and discover stuff about, uh, a genre of music that perhaps didn't know too well. Your older ones can go and see this, this wonderful depiction on, on how, um, blues music was formed and, and how, uh, people congregated. And I just, I really do think it's across the board. I think the audience for this potentially could be very vast. Um, that's, that's one thing he said to me on the initial meeting. And now I know what he means.