The Book Review Podcast: How ‘Nickel Boys’ Became One of the Year’s Most Visually Striking Films
Hosted by Gilbert Cruz, The New York Times Book Review Podcast delves into the intricacies of literature and its cinematic adaptations. In the episode titled "How ‘Nickel Boys’ Became One of the Year’s Most Visually Striking Films," released on February 7, 2025, host Gilbert Cruz engages in an in-depth conversation with Romel Ross, the Oscar-nominated director and screenwriter behind the acclaimed film adaptation of Colson Whitehead's Pulitzer Prize-winning novel, The Nickel Boys. This episode offers listeners a comprehensive exploration of Ross's unique filmmaking approach, the challenges of adapting a powerful narrative, and his artistic journey from documentary to narrative feature filmmaking.
Introduction to Romel Ross and Nickel Boys
Gilbert Cruz opens the discussion by introducing Romel Ross and highlighting the significance of Nickel Boys. He states:
“Today I'm talking with Romel Ross, whose film Nickel Boys was adapted from Colson Whitehead's Pulitzer Prize winning novel. That book and the movie both are about a pair of black boys, Elwood and Turner, who find themselves in a dangerous reform school in the Jim Crow South.” [00:37]
Ross elaborates on the film's premise, emphasizing the bleak choices faced by the protagonists:
“There are four ways out of Nickel: serve your time or age out, court might intervene, if you believe in miracles you could die, they could kill you, you could run. Only four ways out of.” [01:19]
The conversation sets the stage for a deep dive into Ross's creative process and the film's visual storytelling.
Distinctive Filmmaking Style: Sentient Perspective
A central theme of the episode is Ross's innovative "sentient perspective" approach to filmmaking. Cruz observes:
“Nickel Boys has a very particular style. It's shot from the point of view of its main characters. I've been comparing it to sort of like a first person video game... I found it to be a really special experience.” [02:11]
Ross explains the concept:
“It's a film that is shot in first person, which would eventually come to call sentient perspective. It is essentially the character looking directly into the camera and the camera, of course, is the other character. And also you are the camera and you are that character.” [02:38]
He further discusses how this technique immerses the audience:
“You're really, I believe, kind of locked in, at least conceptually, to what the character is seeing and how they're seeing it and why they're seeing it.” [02:38]
From Page to Screen: Adapting The Nickel Boys
Cruz inquires about Ross's transition from reading The Nickel Boys to visualizing it through his unique lens:
“When you read Nickel Boys, what were you seeing in your head and how did you make the leap from that to, as you described, the sentient perspective, this point of view type of filmmaking?” [03:16]
Ross shares his creative journey:
“The story itself is so known, which is the brightest and the best, falls victim to circumstances outside of their control. There’s so much imagination space in it... I left with thousands, if not millions of images that were my own.” [03:31]
He reflects on how Colson Whitehead's writing provided a fertile ground for his visual interpretation:
“These images are emerging from more specifically my personal poetic. What a way to encounter a book.” [04:11]
Influences and Philosophical Foundations
Ross attributes part of his inspiration to literary greats, notably Toni Morrison:
“I am referencing Toni Morrison. She said, you can write from the perspective of a black person, but how do you explicitly film from the perspective of a black person?” [05:55]
This philosophical underpinning drives Ross to center his narrative through authentic black experiences, challenging traditional filmmaking norms.
Documentary Roots: Hale County This Morning, This Evening
Gilbert Cruz draws parallels between Ross's documentary work and his narrative film style:
“Hale County This Morning, This Evening is your first person movie. Essentially, we are seeing what you're seeing. It made me think about the ways in which sort of observational documentaries are inherently first person in that way.” [07:31]
Ross delves into the paradox of documentary filmmaking:
“The documentary language is fly on the wall... the underpinnings of the documentary aesthetic is that you can use a camera, you can participate, but you're not altering it, you're just observing it.” [07:31]
He contrasts this with his narrative work, emphasizing his desire for deeper emotional and psychological engagement:
“I'm carrying someone's consciousness... what does that look like?” [12:16]
Transitioning from Still Photography to Film
Cruz explores Ross's evolution from photography to filmmaking:
“So you moved to Alabama and you start teaching photography. How did you make the leap from still photographs to embedding yourself essentially in this community and just go shoot for a long time... and then that thing was a documentary. How did that all happen?” [09:04]
Ross recounts his serendipitous move to Alabama and the subsequent immersion into the community:
“Artists in general make silly decisions... I'm making images because I don't know this place very well and I've seen this place before. So I'm going to make images towards the images that I know are good.” [10:11]
This introspection leads him to develop a more personal poetic vision, paving the way for his unique narrative style.
Collaborative Process and Working with Actors
The discussion shifts to the practical aspects of directing, particularly working with actors under the sentient perspective framework:
“One of the things that you had to learn... was how to deal with actors... sometimes the actors were in the camera, sometimes the actors, you only see their hands.” [14:13]
Ross shares his approach to fostering a collaborative environment:
“You don't want to give them... you want to open up a space for them to find it. I'm more of a perceiver than I think a director.” [15:28]
He highlights the importance of empowering actors to bring authenticity to their performances, aligning with the film's narrative.
Memorable Moments and Visual Storytelling
Ross recounts specific scenes that exemplify his visual storytelling prowess:
“Ellis Taylor plays Hattie... Anjanu's first day is the day in which she's coming to visit Elwood... some crows start, like, doing their crow sound.” [16:38]
He explains the significance of such moments:
“These moments are images that are one step removed from plot direction and plot thrust, and they're hopefully expanding the interiority of the character.” [19:38]
Ross emphasizes how these visuals enhance the audience's emotional connection without overtly advancing the plot.
Recognition and Future Endeavors
As Nickel Boys garners critical acclaim, including two Academy Award nominations, Ross reflects on his journey:
“I'm astounded that the film was nominated... the risk to me is kind of just built in with making art.” [21:16]
When asked about future projects, Ross remains open-ended:
“I think I'll definitely make more films at some point. I also have an art practice, so I have a lot of things on the back burner.” [21:16]
He hints at continued exploration of longitudinal projects like Hale County, suggesting a sustained commitment to authentic storytelling.
Conclusion
The episode concludes with Cruz expressing his appreciation for Ross's insights:
“Rommel Ross, thank you so much for joining the Book Review podcast. It's been a real delight to talk to you.” [22:58]
Ross reciprocates the sentiment, leaving listeners with a profound understanding of the artistic vision and dedication behind Nickel Boys.
This episode offers a captivating glimpse into Romel Ross's filmmaking ethos, illustrating how personal poetic vision and innovative techniques can redefine narrative cinema. Listeners are encouraged to watch Nickel Boys and explore Ross's documentary work, Hale County This Morning, This Evening, to fully appreciate the depth and artistry discussed.