Off-Set: The Sit-In

THE SIT-IN:

Harry Belafonte Hosts The Tonight Show

INTERVIEW WITH

Director Yoruba Richen

Had you heard about Harry Belafonte hosting The Tonight Show before you became involved in the project?

Like so many folks, I had not heard about this history. Part of what I love to do as a director is uncover histories that are not widely known, so it was very intriguing to me that he hosted this show and had so many luminaries of both entertainment and activism.

How did you approach working out what story you wanted to tell based on the available and missing footage?

Initially we thought we might do it day by day. We quickly realised that that wasn’t going to work, and so we ended up going back to the footage and mining what else was in there and then expanding upon that. It really became how Harry Belafonte and his guests saw what was

happening at this time in 1968. Once we figured that out, it helped us understand how we were going to structure the film and that it had to be more thematic.

Why do you think we are now seeing an outpouring of documentaries like The Sit-In or Summer of Soul directed by Black filmmakers that revisit Black cultural events?

I think, in the documentary community, and in the wider entertainment industry, we are starting to recognise that African American and other POC filmmakers need to be telling their own stories; that’s just a bottom line. When we don’t have the access to tell our own stories, we don’t get to tell the stories about our history and about events that may have been forgotten. So much of our history has not been told, and specifically has not been told by us – that is finally starting to be understood by the wider industry.

Your recent documentaries have focused on Black female entertainers and police brutality. Has this focus presented challenges to you as a filmmaker?

Trying to get How It Feels to Be Free (2021) made was a five-year process and quite frankly it was very frustrating. Even though there is more access for Black filmmakers, it’s still tough when we are not the gatekeepers. With The Killing of Breona Taylor (2020), it was very painful and emotionally challenging. I knew that I wanted to tell the story of not only trying to figure out what happened to her, but also who Breona was as a person so that she wasn’t just this victim of a terrible crime – I mean what I think is a crime.

Why did you get into documentary filmmaking?

I was able to combine my loves of storytelling, talking to people, finding information and social activism, so it just hit that sweet spot for me. Passion goes a long way and, if you have an idea, technology gives us the ability to go out and just do it, even if you don’t have experience. Christopher Deane n

Yoruba Richen

starring Segilola Ogidan Kehinde Bankole Jemima Aderemi Tina Mba Efa Iwara OKP Productions presents in association with Igodo Films and 37th State Productions

TAINTED CANVAS

A Segilola Ogidan Film.

M usic: Etuk Ubong, Chiedza Faith Maburutse. Production Design: Victor Akpan. Costume Designer: Victoria Charles. Make Up: Marlene Abuah. Editor: Bolaji Kekere-Ekun. Director of Photography: Akpe Ododoru. Executive Producers: Segilola Ogidan, Bola Ogidan, Orwi Manny Ameh, Bolaji Kekere-Ekun. Executive Producers: Fola Adeola, Moronfolu Fasinro. Executive Producers: Chiamaka Ezenwa, Chuba Ezenwa. Written by: Segilola Ogidan. Producers: Orwi Manny Ameh, Onuora Abuah. Directed By: Segilola Ogidan