Ryan Coogler Discusses Blues, Irish Music Parallels and His Love for Vampire Villain in 'Sinners'

Director Ryan Coogler's latest film, *Sinners*, transcends the typical boundaries of a vampire horror movie by immersing viewers in the vibrant setting of 1930s Mississippi. The film not only brings this distinct time and place to life but also uses the blues—a genre once condemned as "the devil's music"—to delve into the lives of its predominantly African-American characters, with Michael B. Jordan portraying the twin brothers Smoke and Stack.

Eric Goldman, in his glowing review for IGN, highlights how *Sinners* pulses with music, starting with the blues performed by Sammie (Miles Caton) and Delta Slim (Delroy Lindo) at Smoke and Stack's establishment. Coogler leverages this musical backdrop to explore the profound impact of music on people from all walks of life, connecting them across generations. The film also introduces a fascinating parallel through Remmick (Jack O'Connell), the charismatic vampire leader, whose Irish folk music heritage intertwines with the blues, enriching the narrative with cultural depth.

Coogler masterfully uses both African-American blues and Irish folk music to shed light on the shared painful histories of the human and vampire characters. These musical elements are showcased in standout set pieces that, as Goldman notes, make *Sinners* "musical adjacent," allowing audiences to experience how music echoes through time and immortalizes its creators.

In a recent interview with IGN, Ryan Coogler discussed the significance of blues and Irish music in *Sinners*, the film's memorable set pieces, and his personal connection to the vampire villain, Remmick, comparing it to his experience writing Killmonger for *Black Panther*. The following excerpts from the interview have been edited for clarity.

Ryan Coogler: Blues music is an affirmation of the full humanity of these characters. It's intertwined with church music, which is why it's often called the devil's music. While church music is for the soul, blues music embraces the entire human experience—the soul and the flesh. It acknowledges the pain, sexual desire, and anger that come with life's situations. It's a rebellion against the oppressive conditions these people faced, yet it also celebrates their beauty and resilience. The juke joint, where blues is played, becomes a safe haven where people can be their true selves, free from the constraints of daily life.

IGN: What’s your read on the vampire community? They bring all these people of different races and backgrounds together but now they’re a collective rather than individual. There’s probably a lot of ways people could interpret what that means.

Ryan Coogler: I want Sinners to be an open canvas for the audience. Once the film is released, it belongs to them, and their interpretations are valid. Writing Remmick was a deeply personal experience for me, much like writing Killmonger. I wanted him to be a master vampire, exploring the dynamics of leadership within a vampire group. What excited me was the contrast between his outward appearance and his true nature, especially his views on race, which defy expectations and add a powerful layer to his character.

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26 ImagesIGN: My two favorite sequences in this movie are the two big showstopping musical set pieces. The juke joint one and then the vampires get theirs too.

Ryan Coogler: Those scenes are the heart of the movie, showcasing fellowship and love. They're essential to understanding the film's themes, especially given the historical context of imperial structures that suppressed these expressions. The juke joint and Irish step dance were acts of rebellion, and the film explores how these cultural elements connect different characters. I wanted to give audiences an experience that feels fresh and transcendent, much like the awe I felt watching movies in a less cynical time.

Sinners Gallery

12 ImagesIGN: The juke joint sequence is particularly amazing because it's staged as a one-er. You're playing with time, and you're showing the cultural crossovers too. Visually, you're showing us how music is timeless, or at least what it brings out in people is timeless. At what point did you realize you wanted to play with time in that scene?

Ryan Coogler: The idea came during the writing process. I wanted to capture the feeling of witnessing a virtuoso performance, which transcends cultural boundaries. Through cinematic language, I aimed to convey that universal human experience of being moved by music, where words fail to describe the impact. The juke joint culture of the 1930s was a response to the denial of freedom, and I wanted to show how music could bridge generations, allowing people to connect with their future.

IGN: There’s that second tour de force musical set-piece later, and it's from the vampires’ perspective using traditional Irish folk music.

Ryan Coogler: Irish folk music, like the blues, embodies a mastery of contrast. Songs like "Rocky Road To Dublin" tell heartbreaking stories with an energetic flair, reflecting the resilience of the Irish people. This mirrors the delta blues, where people forced into poverty and labor still found ways to express their humanity through music. Both cultures celebrate life even in the face of adversity, using music and dance as a form of resistance and celebration. The vampire, Remmick, finds kinship with the African-American characters, not because of their appearance, but because of their shared experiences of struggle and defiance.