I was almost a cop before I was an actor, but my IQ test score was too high. I’ve always been close to law enforcement in my life. My other brother just retired as a secret service agent. This film was comprised of a great deal of things from my life. My love for the Latin community and the homage to my brother, who passed away just before we started filming. I wanted to have this movie unfold in that community. I’ve always had a love for the Latin community. He left the United States, went into Mexico, fell in love, and started a family there. How Can Black Women Achieve Financial Wellness: Interview with Financial Expert Marsha Barnes What about your lived experiences influenced the process of writing this movie? You have named being influenced by films such as Karate Kid and blaxploitation films. It all comes down to what our opportunities are. I like how he gave the character that spin. There’s a certain assigned imagery that comes with, but sometimes our heroes come in different packages. I set the film in Mexico, where you don’t see a lot of demand for Latino action stars. His temperament, his spirit, it was like came to life. Luca won several tournaments, but was also working as an actor. Turns out Luca trained with one of the best martial artists, Peter Cunningham, who is a friend of mind. And to have that in a seasoned actor doesn’t happen often. It’s not very often you have someone who can do martial arts and act. I couldn’t have been more lucky to have the co-stars that I had. What was it like working with your co-stars? With this particular fighting style, I thought, it led to what I was describing in the movie: having a fighting style that, once the bad guys see it, they can identify and track my mysterious character to that style. It’s just irresponsible to put the actors in harm’s way. We don’t rely too much on the stunt doubles. What was it like working with the stunt doubles and stunt coordination? What was the team effort in the actors’ fight choreography versus the stunt doubles? I always want someone in Istanbul to be able to feel and understand what it’s like going on in a movie without, necessarily, the dialogue. To settle in and be a voyeur to someone’s life. I just wanted to get people in the right frame of mind. Many times, I think dialogue is a crutch. Just wanted to settle back and see what this life is. I like to do things that would be considered global in storytelling. It just what came to mind when I was thinking about it. What led to the decision to make the beginning of the film mostly in silence in your writing process? There are others parts that are in silence too, but the beginning particularly stood out to me.
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