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"The first day I started filming, Viola was bleeding from her leg and her toes. I looked down and said, 'You need to get that sorted.' But that was a secondary thought for her. She had determination."
TM: It was great because Lashana is someone that I could bounce ideas off of. We had a relationship that made us feel safe enough to take risks and try things out. There was a mutual understanding of supporting each other. If I'm not mistaken, Gina said it was a take that I did where my character is speaking of Lashana's character, Izogie, that made her go back and switch some of the script to have Izogie and Nawi get closer throughout the movie. Their relationship could have been completely different had that moment not occurred earlier on. Lashana and I were constantly working to earn the chemistry that you see onscreen so that when [that pivotal scene] happens, it's like, "WTF?" We had to earn that.
JB: I think this film has a very nuanced take on that time in history. It's a movie about self-reflection, it's a movie about trauma, and it's a movie about pain. As creators, we are here to shine a light on the realities of the world. We're not necessarily always here to preach a very accepting message. Art can live in a moral or immoral space and could sometimes just be about shining a light on human nature, history, and the reality of that conflict. So, for me, [Gina and Dana Stevens] including that just shows that there is a way in which we can embrace stories that accept the fact that humanity is not perfect, while also being entertaining and something you can learn from.
[Editor's note: Dana Stevens wrote the screenplay for The Woman King.]
TM: They gave me my machetes — like, the real heavy one! I have it in my apartment. They gave us a bracelet with a cowrie shell because the cowrie shell was so important to the Agojie women. They wore it on their uniform and it conveyed rank. They gifted it to us.
JB: I didn't get anything, but I definitely wanted some stuff. Maybe I'll ask for something now. [laughs]
TM: My older sister. She has been my fighter. We've been in the trenches together. She's all I have in this world, literally, in every sense of the word. And she's my champion, through and through.
JB: My mom [is my woman king]. Lord, where do I even start? I mean, she's everything. Her support, her knowledge, and the fact that we have a great friendship.
JB: It inspired me in so many ways. My number one goal is to create more opportunities for brown-skin girls. I feel like this is now an opportunity for production companies to be inspired. Hopefully, we make some money and the movie gets enough traction so that producers are inspired to purchase, develop, and green-light more stories like this. Also, hopefully, it inspires Hollywood to fund more projects that bring the diaspora together. We're all big fans of each other, and we build great characters and great chemistry on set. Especially when there are actors from South Africa and Nigeria, the UK, and America. We all love to collaborate. This movie is really for the diaspora and people from different African backgrounds. Hopefully, that continues to be a thing.
TM: I know how proud my niece will be to see me onscreen. And I know that being in a movie like this means she can experience the world in a completely different way from how I had to experience the world growing up just because I was darker.
I have a light-skin sister, so I'm speaking from experience. She was the favored one. She was the one that people gravitated toward. She was the one who was told she was beautiful and that she was likable. I hadn't done or made anything to earn the title of being the opposite of who she is; I was just existing as a dark-skin girl. My niece is also dark-skinned, and she's always been told that she looks like me. For her to see something like The Woman King will expand who she can become, and that makes me very excited.