Barry Jenkins’ Moonlight Interview: Journey To Making a Classic. Barry Jenkins is about to become the next big thing, but he’s been here before. “Moonlight,” which he wrote and directed, has been celebrated as the year’s major discovery and the ultimate achievement in modern black filmmaking. That’s nothing new for Jenkins: Eight years ago, the director faced similar acclaim on a smaller scale with his 2. Medicine for Melancholy.” However, the lag between his first two features is a testament to Jenkins’ quiet determination — and to a culture that had yet to catch up. It takes time for the world to recognize a genuine vision.“I think a filmmaker like me isn’t on the outside in the same way that I was in 2. It’s completely fucking crazy, because it didn’t used to be that way.”  While “Moonlight” marks Jenkins’ transition into a major artist, it also stems from a world that swept him up, spat him out and forced him to find a new way to hack the system.“Medicine for Melancholy”Jenkins made his debut at the SXSW Film Festival in 2.

That was the year of “mumblecore” — a dubious label for low- budget productions focused on rambling characters and flimsy plots. Jenkins’ “Medicine for Melancholy” was a scrappy, sepia- toned story (starring future “Daily Show” actor Wyatt Cenac and Tracey Heggins) that focused on a young African- American couple wandering San Francisco after a one- night stand. Importing the tradition of Richard Linklater’s walking- and- talking “Before Sunrise,” the film was filled with casual philosophical debates about issues ranging from interracial dating to housing rights.

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Medicine” managed to navigate precise sociological terrain even as it remained intimately relatable. However, those nuances couldn’t stand up to the power of a buzzword trend. At its premiere, the first audience question was, “Would you consider this movie mumblecore?” A few months later, Jenkins was folded into a New York Times photo feature about the alleged movement, which presented him as its sole black member. A Revolution Begins. IFC Films released “Medicine for Melancholy” in January 2.

But it had a bigger impact beyond the box office, quietly inspiring a generation of black filmmakers eager to make movies about the modern world. One was young film publicist Justin Simien, who decided after seeing “Medicine” to dust off the draft of the project that would become his own well- received debut, “Dear White People.” (The 2.

Sundance hit, a college- set satire of race relations, is currently in production as a Netflix series; Jenkins directs an episode.)Justin Simien and the cast of “Dear White People”Daniel Bergeron. For Simien, “Medicine” was a wakeup call. I remember halfway through my first viewing of the film, feeling that tinge of awe and envy I always feel when encountering a new and exciting cinematic voice,” he said. The black cinema revolution had begun, and I’d be damned if I’d miss the train.”READ MORE: ‘Moonlight’ Review: Barry Jenkins Delivers a Mesmerizing Look at Black Life in America. Another “Medicine” fan was Terence Nance, a Dallas- based filmmaker struggling to finish his handcrafted feature debut, a half- animated diary film called “An Oversimplification Of Her Beauty.” In 2. Nance turned to Indiegogo in a desperate attempt to gather finishing funds for his unorthodox project.

Jenkins noticed it online and wrote Nance.“He encouraged me to reach the finish line,” Nance said. I wouldn’t be a filmmaker without him.” Nance also saw “Medicine” when it came out. “I remember walking out of the theater with the mantra, ‘I can do this’ running through my mind,” he said. I’m sure a large percentage of young black filmmakers will have a similar story.”Jenkins had been primed for success and faced a new set of opportunities. He signed with Jay Baker at CAA and started taking a lot of meetings. Then nothing turned out quite right. The Next Step. Jenkins’ initial pass at working with studios came at a seismic moment for their boutique subsidiaries. Many of the ones producing and releasing more adventurous fare — Paramount Vantage, Warner Independent, Picturehouse — would be shelved by the end of the year as the effects of the recession set in.

At the studios, smaller projects with stars were becoming less viable. Filmmaker Ira Sachs recently labeled many of the movies produced at this time as “Bush- era follies.”)Jenkins also had discussions with Disney executives about a more traditional crowdpleaser.

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It was a really positive story,” he said, but the studio hired another filmmaker. Jenkins won’t name of the project, but it was eventually produced and released.)READ MORE: New Classics: Barry Jenkins’ ‘Medicine for Melancholy’Through CAA, Jenkins got a deal with Focus Features, one company that managed to hang on. He could develop any project that struck his interest, and he landed on an inventive story involving Stevie Wonder and time travel. Jenkins went so far as to line up a cast that included the unlikely combo of Solange Knowles and Nance, by then one of Jenkins’ close friends. Terence was going to play a character loosely based on Madlib, and Solange played this free- thinking performance artist, and they both time- traveled back to 1. Jenkins said. “It was really, really dope.” But after two years of development, the high concept went nowhere.

The Focus deal also lead Jenkins to a passion project, “Portrait of an Addict as a Young Man,” the devastating memoir of recovering crack addict Bill Clegg. More accomplished filmmakers expressed interest in directing the adaptation, but Jenkins pitched a structurally inventive approach that impressed the producer. He landed the gig, and made his way through three drafts before the project fell apart. The film I wanted to make was a bit darker than the one they ended up wanting to make,” he said.

So it was taken away from me.”Still, Jenkins’ body of work continued to grow; he’s baffled by perceptions that he simply dropped off the map. People either ignore that those other things exists or they act like they don’t count,” Jenkins said. But I wasn’t just sitting the corner.”READ MORE: Checking In On Barry Jenkins… 4 Feature Projects In Development, $5. Grant & Staying Busy.

They included an offer from Borscht Corp., a film collective in his native Miami that landed financing from the Knight Foundation. After watching “Medicine,” Borscht producer Andrew Hevia reached out to Jenkins in a quest to generate more work set in Miami. Jenkins agreed, and in 2. Chlorophyl,” a 1.

Moonlight (2. 01. Reviews - Metacritic. Continue with Facebook.

Not Rated. A2. 4 Release Date: October 2. Summary: Moonlight is the tender, heartbreaking story of a young man’s struggle to find himself, told across three defining chapters in his life as he experiences the ecstasy, pain, and beauty of falling in love, while grappling with his own sexuality.