I can only imagine how emotionally taxing it is to play a role like this, and was wondering if you could speak to that process of self-preservation during the filmmaking process?
I think I honestly have a personal arc that mirrored Starr’s. I was scared at first, going into the process of filming, just because I knew how beloved the book is, how relevant the story is, how critical it is that we have stories like this. I was also facing controversy about my casting in it–people were doubting that I was capable of doing it, while also facing notes from the studio that I felt contributed some inauthenticity in terms of how the character should be portrayed. It was really important to me to protect the book, and protect the character, and protect Blackness in the process of making this, while still having the cognitive set that there is some commodification that is done in the process in order to get these films made if you make them with a large studio. It definitely felt like a lot on my shoulders, but I was really very reliant on DAMN. by Kendrick Lamar the whole time [laughs]. Every morning, I played the album as I was getting ready for work, and I would dissect all the lyrics, and the themes, which felt really relatable. I found a lot of strength in the people around me too–I think because of everyone’s support, I was able to find my inner strength. And of course I took precautions in terms of protecting my emotional core because the events of the film are traumatic. I can’t say that I was 100% successful–I think there is still some residual trauma that I carry from it, but it felt really necessary to dive as deep as possible because of the real people, and the real lives in real communities. What really drove me forward throughout the whole process was understanding the weight, and the importance of it, and wanting more than anything to encourage people.

Director George Tillman Jr. by Valheria Rocha.

In terms of working with others, how were the emotions on the set?
It was family on set. George Tillman, the director, is basically my uncle now–we became very close through the process. It was a heavy set but there was a lot of levity! There was a lot of joy and laughter, because that’s how we move through things. It was fun, it was special, it felt exhilarating to be able to construct what I feel is one of the most interesting characters I’ve had the pleasure of portraying. We had fun. We were in Atlanta, and Atlanta’s popping [laughs]. We spent a lot of time hanging out in the city, going out together, bonding, dancing, and we became a family in the process. You could tell everyone on set was fully committed to the project, and that they had their whole hearts in it.

What was it like working with Russell Hornsby and Regina Hall as your parents, and did you learn anything from them as an actor?
Oh my God, yeah, I learned endless things. Russell was kind of a guiding hand for me the whole time, similar to how Mav is a guiding hand for Starr. He was tough on me in the best way possible. He had high expectations for me, but he was supportive, and more than anything, he believed in me. He would give me notes and tips in terms of the place from which I was pulling my emotions. He would give me reminders of how to communicate my authenticity and how to stay fulfilled and grounded and safe throughout the whole process of filming. He became such a critical mentor to me, and of course I’m so astounded by his work and his career, so I think in many ways we did have a father-daughter relationship. Regina was definitely the comedic relief of the set–she kept everyone laughing. She was always joking around and offering her love in that way. In moments of tension and moments of heaviness because of the material, she would be there smiling, making us laugh and making us realize it’s serious but at the same time, it’s life. So they were both really important tools for me.

You talk a lot about authenticity in relation to this role, and I was wondering what your thoughts are on the conversation around colorism and you having the lead role of Starr. I know you have great care for the role and that’s so important for it to shine through, but do you have any thoughts on the commentary on the book cover version of Starr and you as a light-skinned actress?
I think I understand why people make those criticisms, but I don’t think they know the history of how this project came together. I was actually cast in the role before there even was a book cover. It’s not how Starr is described in the book or how Angie Thomas imagined her–it’s one artist’s rendition that they decided to go with. Angie actually wrote the book with me in mind, so it’s been kind of synchronistic from the jump. Of course I’m very wary with how I choose my roles, what spaces I think I can inhabit, where I feel is appropriate for me to apply myself, how I portray my Blackness. I’m wary of the commodification of it, so I defend against stereotypes, but I still wanted room in this film to have Starr not be perfect, not be easily digestible, not be one-dimensional, you know? I think she’s multi-dimensional. In terms of colorism, it’s obviously an insidious problem, and something I have in mind every single time I look at a project. This project felt so right for a myriad of reasons. I think it’s easy to jump to conclusions when you don’t have the history of it, but this felt right to me. I felt like I could apply so much of myself and my own experience to it and also step outside of myself and play a character who has a lot on her plate that is different from my experience. ♦