Interview: THE COLOR PURPLE Director Blitz Bazawule Breaks Down Fantasia's 'I'm Here' & More Musical Moments From the Film

I'm so excited to speak with you today

I was so in love with this movie. And the Color Purple has been around for a very long time

with the book and the original Spielberg movie. But when were you first introduced

to the Color Purple musical? Well, I lived in New York for several years

and I was very fortunate to know of the musical back then

I think it's 2005 is when I heard about it. But when I was hired

I was also given tapes of the 2016 production. So I got a chance to see that as well

Yeah, I mean, and musical numbers in this movie just are totally incredible

How did you sort of approach the musical aspect of this movie

Well, the musical aspect of the movie required that we were going to take the beautiful music

we had been given from the Broadway production and figure out how to make it lived in

So that required me to split up the music into three parts, spirituals and gospel

blues and jazz. And those three movements required practitioners who could come in and make it a more lived in experience

and less of a stage experience. So I hired Ricky Dillard on gospel

hired Keb Moore on blues, hired Christian McBride on jazz. And the three of them kind of went in

and kind of added that lived in experience that our film really needed

So that was a very helpful process for us because it allowed the music to feel like it functioned

in the real world as opposed to a stage production. Yeah, I mean, that's something that you sometimes see

with movie musicals that the songs don't always fit in, but these just flowed so seamlessly throughout the movie

So I feel like these Broadway fans are gonna be very, very happy with them

Very, very exciting. The other thing too, I think is very helpful

is that the music has a source. And that for me was another very important thing

I watched several musicals getting ready to make this film and the best ones were the ones that had

kind of a source for their music. And so I was very clear that I was gonna have

to build cadence all the time before a full number kicks in

So whether it's my opening number where you hear the horses' hoofs

that become the girls playing pat-a-cake in a tree and then it becomes the banjo

and then it blossom into a moment. Or Harper and his buddies building a house

with hammers, saws, and chisels. And then before you know it, that cadence builds into a song

I think that those things ground the musical very much so and allows the audience a believability factor

Oh, I know where this song comes from. I think ultimately that's the best power of musicals

is when the music kicks in, when the words are not enough

And I think that we were very aware about that and how the music was going to flow

Speaking of a moment where words are maybe not enough, I'm Here is one of the most iconic parts

of the musical adaptation and Fantasia just totally knocks it out of the park

What was it like working with her on that song? Well, first, you know, when you cast Fantasia

who is arguably one of the greatest singers of all time, you've kind of got the cheat code

because you don't have to do much except let her do her thing

For me, in that moment, my job was just to take away all the distractions

and make it just about her, strip it all down. So we'd had big, epic dance numbers

and lots of fancy lighting and fancy sequences. In that, I was just like

you're just in your store and you just come outside, just you

And she responded very well to that. I still think that when the camera is on her

and she says, I'm beautiful and I'm here, it's probably one of the most powerful moments

I tear up every single time. And she's a genius. She looks into the camera and delivers that line

in one of the most powerful ways ever. So I can't say enough about how lucky I was

to have Fantasia play Celie. And being surrounded by such an incredible cast

more on that musical aspect, what do you hope fans of musical theater and Broadway

enjoy about this movie elsewhere? Well, I think that, I hope that they enjoy the brilliant choreography

and scale, which wasn't really a hallmark of the Broadway adaptation. Especially the revival is quite stripped down

And so this, I brought in Fatima Robinson and she really opened up and turned this

into grand spectacle. I also hope musical theater fans and students appreciate the thoughtful way in which music

is woven through the story, where it is actually a storytelling device

and not a fancy addition. And so that's what I do hope for the film

Yeah, I can't wait for everyone to see it. I mean, and this movie is coming

at a time where I think the world really, really needs it. And I'm so excited for all the audiences to see it

So what do you hope everyone takes away from this movie when they see it this holiday season

Wow, well, I really hope that people find a piece of themselves in it

You know, and for anyone whose heart is open or heart is broken can find healing in it

That's what Alice Walker's seminal work has been. And I think we can all use a little healing

I also hope that people are thoroughly entertained. I think that this film has big laugh out moments

It has big gasp, you know, gasping moments. It has some tragedy that makes you tear up

and some happy reunions. And I think that you couldn't ask for a better full circle narrative

where you leave feeling full. How come you don't laugh none

Ain't you got something to make you just smile? My sister, and I ain't seen her in years

You know, if you ain't gonna laugh, you need to sell your funny bone. I was married to a man I didn't love

Whatever I say, go. And he took my sister away from me

Even if we have to part, you and me, us have one heart

How come you so nice? Don't know. Maybe you're too nice. You seem like trouble

I come here out of respect. But if there ain't none to get

there sure ain't none to give. Now that I've got your attention

here's what you may need to hear. Drinks on the house! Push the button

There's gonna be some changes made. Give me something. You gots to stand up

I know my sister's somewhere in the world. Someday, we're gonna meet again

Keep your head held high, just like mom taught us. It's time I be free from you

and then turn to creation. I'd die before I let that happen. Good

That's just the going-away present I've been needing. Ooh! Ha, ha, ha, ha

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