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MOST MAGAZINE - ISSUE 69 39Q: Your work often features stories told through movement and dance. How does Then Comes the Body expand on or differ from your previous projects?A: This film has all the elements that excite me: an unlikely story about global culture, kinetic action in unfamiliar settings, and the chance to collaborate in a way that combines observation with cinematic storytelling.For example, the moment where Precious dances in the bus park is a small intervention that becomes powerfully symbolic in the story. It represents what it feels like to unexpectedly find oneself on a stage and to experience solitude in a big city. I haven%u2019t had many opportunities to approach documentary storytelling in this way, and I love how it builds on my previous dance work. Q: How did you approach blending the technicality of ballet with the raw emotional storytelling of the students%u2019 journey?A: Story is everything. While technique is important to the dancers, it%u2019s not a major focus for me. We spent a week living with the community, gathering stories and asking questions before filming interviews. This gave me a sense of how to craft the narrative that guides the filmQ: Cinematography plays a big role in your films. Can you talk about the visual style you chose for Then Comes the Body and how you captured the vibrant spirit of Lagos?A: I love the visual language we developed for this film. The cinematographer, Soren Nielsen, is a longtime collaborator. Though our equipment was simple, we had extensive discussions about how we wanted the film to feel and how we might be perceived as two Americans visiting the outskirts of a mega-city in Nigeria.We committed to using a single lens, which made us slow-moving and unthreatening. Filming with a tight lens allowed us to capture emotional moments from a distance while controlling what appeared in the frame. This approach helped us focus on humanity and dignity, even in a setting where signs of poverty are ever-present. Q: The film has already won several prestigious awards and is Oscar%u00ae qualified. What does this recognition mean to you personally and for the project as a whole?A: Is art meant to be judged? I%u2019m not sure. But the power of validation is undeniable%u2014it%u2019s the voice that says, %u201cKeep going, dammit! You%u2019re on the right track!%u201d Q: What do you hope audiences take away from Then Comes the Body, especially regarding the power of art in underserved communities?A: I think it%u2019s impossible not to root for the dancers you meet in the film. On a larger level, seeing what they%u2019ve built with so few resources is incredibly inspiring.In a world filled with nightmares and disasters, positive stories often feel scarce. When you feel inspired, you want to spread that feeling, and this story leaves audiences feeling appreciative and generous. Q: What role do you think social media played in amplifying the story of Leap of Dance Academy, both in real life and in the film?A: Social media is the great discovery tool of our time. It has undoubtedly changed the lives and opportunities for everyone at Leap of Dance. At the same time, it has rewired our attention spans, making it challenging to stay relevant amidst so much noise.Part of what I love about our film is how it reintroduces Leap of Dance to audiences who might have caught a fleeting glimpse of their story years ago.Q: In your opinion, how can the global film community better support and showcase stories from places like Nigeria that are often underrepresented?A: The curiosity and hunger for stories from around the world are very much alive. I%u2019d love to see streaming platforms make more space for short films%u2014they%u2019re exciting, digestible, and offer filmmakers a lower barrier to entry than features. It%u2019s puzzling why shorts are so difficult to find and host.MOSTMAGAZINE