The 'Sopranos' prequel director, executive producer Marcus Viscidi and several stars talk about portraying the 1967 riots as the film's backdrop and the unexpected timeliness of a story more than a decade in the making.
But he was also really daunted by it, a feeling that likely grew during the “strange” experience of having started a film in one year and by the time filming ended, delivering it in “a very different world with a very different consciousness,” he toldThat cultural shift due to the 2020 protests ultimately impacted some of what audiences will see, and some things that were reshot, according to“They went back and did some reshoots and there was some real re-examination of that in the light of...
That includes a moment in the film where a young Black kid is shot during the riots, which the team “lifted from a story of a boy who wound up on the cover ofmagazine.” While 26 others died in Newark during what was known nationally as “the long host summer of 1967,” that boy, named Joe Bass Jr., lived after being hit by a stray bullet from a police officer.
Another measure of how dedicated the film was to bringing accuracy and authenticity to their recreation of those four fiery days following the brutal police beating of Black Newark resident and taxi driver John William Smith was in the response from locals who witnessed the filming. “We had people coming out of their homes from the neighborhood and had been there, older people who remember from their childhood. Some of them had tears in their eyes saying it was exactly as they remembered it.
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