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

Director Ryan Coogler's latest film, *Sinners*, transcends the typical vampire horror genre by immersing audiences in the rich cultural tapestry of 1930s Mississippi. The film leverages the soulful sounds of the blues—once controversially labeled as "the devil’s music"—to delve into the lives of its predominantly African-American characters, anchored by Michael B. Jordan's compelling portrayal of twin brothers, Smoke and Stack.

Eric Goldman of IGN praised the film in his review, highlighting its unique approach: "In addition to the hemoglobin vampires crave, *Sinners* has music flowing through its veins, starting with the blues that Sammie [Miles Caton] and respected local musician Delta Slim (Delroy Lindo) are hired to perform at Smoke and Stack’s place." Coogler's narrative weaves the blues into a broader exploration of music's profound impact, connecting generations and cultures. This theme is mirrored in the character of Remmick (Jack O’Connell), the charismatic vampire leader, whose story intertwines with Irish folk tunes, reflecting the shared colonial histories of the film's human and vampire characters. Goldman notes that these musical elements make *Sinners* "musical adjacent," enhancing the film's exploration of how music echoes through time and immortalizes its creators.

In a recent interview with IGN, Coogler discussed the significance of blues and Irish music in *Sinners*, the film's standout musical sequences, and the deeply personal connection he felt to the vampire antagonist, Remmick, comparing it to his experience with Killmonger in *Black Panther*:

Ryan Coogler: Blues music is an affirmation of the full humanity of these characters. It's intertwined with the church, which is why it carries that genre of music. It's some of the first music known in the United States, often called the devil's music due to the judgment it faced. But while the church addresses the soul, blues music speaks to the full body, encompassing the soul and the flesh. It acknowledges the pain, sexual desire, and anger inherent in human experiences. It's a rebellion against the oppressive situations these people faced generationally, yet it also celebrates the beauty of the human condition. Unlike the church, which may edit out the negative aspects, the blues embraces all of human flaws and virtues. In the juke joint, people can be their true selves, a safe haven where they don't have to hide their desires or true nature.

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 love this movie and wanted to present it as raw as possible. Once it's released, it belongs to the audience, and their interpretations are valid. Writing Remmick was a deeply personal experience, much like Killmonger in Black Panther. I wanted him to be a master vampire, exploring different dimensions of vampirism. I was excited about presenting him as one thing on the surface, only for his true nature to reveal a different perspective on race and identity, which was powerful and unique.

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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 sequences are crucial to the film's theme of fellowship and love. They represent the rebellion against the oppressive structures that denied these expressions. The juke joint scene, staged as a one-er, plays with time to showcase the timelessness of music and its cultural crossovers. During the writing process, I realized that vampirism alone wasn't enough; other supernatural elements and cinematic language were needed to convey the human experience of witnessing a virtuoso performance. The film captures that transcendent feeling where music and culture unite people across generations.

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 developed during the writing process. I wanted to use cinematic language to portray the feeling of being in a room with people who truly understand a virtuoso performance. It's a human experience that transcends words, and I aimed to capture that through film. The juke joint culture of the 1930s was born out of necessity and defiance, allowing these people to express themselves freely despite the oppression they faced.

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 music, like the delta blues, is rich with hidden contrasts. Songs like "Rocky Road To Dublin" convey heartbreak with vigor, embodying a mastery of contrast. This mirrors the experiences of the characters, both human and vampire, who are forced into poverty and denied their humanity. Yet, they find joy and rebellion in music and dance, a shared trait across African and Irish cultures. Remmick, the vampire, connects with these people despite their differences, understanding their struggles intimately. This connection is what filmmaking is all about.