brooklyn’s finest
-1
archive,tag,tag-brooklyns-finest,tag-1946,wp-custom-logo,wp-theme-bridge,bridge-core-3.3.4.8,qi-blocks-1.5.2,qodef-gutenberg--no-touch,qode-optimizer-1.2.2,qode-page-transition-enabled,ajax_fade,page_not_loaded,,qode-title-hidden,qode_grid_1300,qode-content-sidebar-responsive,qode-smooth-scroll-enabled,qode-theme-ver-30.8.8.9,qode-theme-bridge,disabled_footer_bottom,qode_header_in_grid,wpb-js-composer js-comp-ver-8.7.3,vc_responsive

On the eve of the worldwide release of Brooklyn's Finest, SoulCulture's Hugo Salvaterra delved into the cinematic motivations of director Antoine Fuqua - exploring why he wants to tell us another Street story and its contrast with other projects, his choice of actors and his perspective on America. From Hollywood L.A. to London, let's gets into Antoine Fuqua's mind… Hugo Salvaterra: First of all, after the success of Training Day why another movie in the same genre, why would you want to explore that again after all the accolades that you got? Antoine Fuqua:

The director of Training Day trades L.A.'s warmth and light for the cold darkness of New York City. Photography adjusts aptly as Brooklyn's Finest is shot with absolute honesty and no artificial gloss. The rawness only strengthens the plot - much like The Dark Knight did, but with a much bigger budget. Antoine Fuqua is formulaic casting his directorial spells and he should be so - if he wants to establish himself as an identity director, Spike Jonze, Michael Mann, Scorscese, Terrance Malick and Terry Gilliam all have their little idiosyncrasies. He should fight for his.