‘American Fiction’ Cast Q&A: 'Let Them Love All of You'

In a new Q&A, the cast of Cord Jefferson's satire 'American Fiction' explains what drew them to the timely material. Featuring Jeffrey Wright, Sterling K. Brown, Erika Alexander, John Ortiz, and Leslie Uggams.

[@KathyYvette]

It was an amazing piece of work with many layers...yes❤👏🏾👏🏾👏🏾👏🏾🔥🔥🔥

[@ptgirl1957]

I loved this movie so much it's deep, lighthearted, passionate, painful, elevating, depressing, loving, hateful....deeply human

[@mickguinn8462]

"American Fiction" is one of the most satisfying films I've seen in a long, long time. Yes, it's “small," but speaks in gargantuan terms about so much in such a short time.
And there are no small parts in this film. I resist comparing it to a Frank Capra film, but there's something magical in "American Fiction" that left me flashing back into scenes for a solid week after seeing it. Capra used to speak to every extra in all of his shots and give them a specific character and motivation. It feels like in American Fiction, every character counts.
John Ortiz's character, Arthur, could easily have been reduced to a 2-dimensional cliche, but he's not. Ortiz’s understated portrayal has depth, subtly, and nuance. I loved Arthur’s relationship with Monk, and think it’s no accident his name is nearly “Author,” as if an inside joke from the writer. Ortiz’s performance has an ease, depth, and nuance that allows us to better understand Monk and the relationship they’ve had for many years.
Erika's Coraline was radiant and gracefully understated. It imbued her power and charm that swept me away (I officially have a crush). Loved how she took the initiative and asked Monk out, but did so in such an “attractive” way. She doesn't rush him, she attracts him. She pulls him into considering the comfort of company and the love, and affection of someone who can actually see and appreciate him. She reads him! And in doing so, she coopts us as collaborators.
Sterling K’s Clifford seems to steal (or “borrow”) every scene he’s in. We have an addict who again escapes cliche. He has so many precious moments, it’s hard to know which to cite. His slow dance with Leslie Uggams, which seems to pull her out of dementia, is deeply moving and jarring as her dismissal of his homosexuality shatters their waltz. The other moment that moved me so deeply was when Clifford kissed his brother Monk’s forehead and said, "People love you. You should let them love all of you." Wow, just wow.
Tracee Ellis Ross’ far-too-short cameo as the charismatic Lisa, Monk’s sister, is as remarkable as it is charming. In a few short minutes of screen time, we bond to her. We instantly like her and how she gets her brother Monk. We see their obvious sibling love for each other and experience the shock and grief throughout the family in her sudden and unexpected death.
The characters of Lorraine and Maynard are too sweet for words. That lump-in-the-throat moment in the car where Lorraine asks Monk to walk her down the aisle? Pitch-perfect performances from Taylor and Thomas. Was I the only one who wished they would move in next door to me?
And Jeffrey Wright?
Honestly, who else could have played this role so perfectly understated? At times, I wondered if Monk was on the spectrum. Or perhaps I was remembering his excellent work on Westworld as a lifelike robot. Watching the erudite Monk trying to find the language of an uneducated convict on the run was priceless. Yet another moment when overacting could have ruined these scenes, you can see Monk’s reluctance to cave and do the voice over the phone. Wright is clearly a journeyman at this stage in his career, and the subtle choices he makes with the character of Monk work wonderfully well in American Fiction.
Cord Jefferson.
Where have you been all my life? Oh. Wait. I loved Master of None, The Watchmen, and remind me how many nominations and awards did The Good Place get? What a gift you are to the written word. In this film, you managed to design so many understated, hilarious, outrageous, aggravating, absurd, and sad moments. There were multiple times during the film when I felt the audience wanted to lean in and fill the unspoken silences. I found myself confused about wanting to yell at the ignorance or burst out laughing at the dry, ironic sense of humor contained in the dialogue. It’s a magnificent script and was directed (conducted?) with a graceful, unobtrusive hand. Bravo, Mr. Jefferson. Bravo.
I don’t know how Hollywood will vote, but if it was up to me, American Fiction should win Best Picture. It’s a beautiful picture and makes me want to return to the movies.

[@storyhutson3773]

❤