KB: You could tell that she was heavily influenced by Black women artists.
So Kara Walker, who's an artist (she did the big large sugar woman) but her earlier work includes these shadow puppets that allows for and discusses enslavement of Africans, in a way that is — not safe — but in a way that it allows for a certain removal. Because they are these dark outlines of figures, and not the hyper reality of seeing an actual person undergo this.
And so that's what DaCosta borrows, that sort of visual language. Even in the original Candyman and telling Daniel Robitaille's story...they go in and they show the white mob, taking him and dropping him in honey and all of these things. [DaCosta] uses shadow puppets, where you get the idea of what happened, but you don't have the gore, you don't have the visceral nature. And in this way, she's able to respect the trauma here.
She's also influenced by, you can see, the visual language of Carrie Mae Weems, another Black woman artist who works a lot with mirrors and reflection. And in the film, you don't see Candyman always appearing before you, not until the very end. You see the reflection of Candyman. You see him in the mirror. Is gore happening? Is he murdering the victims? Yes, definitely. But there's still this safety in the removal of not having it happen right in front of your face.