utter that word in front of a mirror, not that many times, but she’s more than happy to train her camera on the unfortunate soul who does. The 30-year-old director was just a child when the 1992 horror classicintroduced audiences to its titular terrifier, a dead descendant of slaves who, after being accidentally summoned by a skeptical grad student investigating his legend, stalks Chicago’s Cabrini-Green projects with his bloody hook.
DACOSTA: The day I pitched to him in October of 2018. I got the script from Win Rosenfeld, who’s one of the co-writers, while I was in London shooting a TV series. I pitched it a few times, and by the time I finished shooting the show, it was time for me to go meet the big man. We were just smiling at each other the whole meeting. I was like, “I feel like this is a good sign.”
DACOSTA: [Laughs] When I was in elementary school, I thought the Candyman was a real thing that was happening to everyone, especially because it took place in the projects, which I lived across the street from. So I never have— and never will—say his name five times in the mirror. It’s not in my nature. It just feels reckless and futile.
DACOSTA: I knew I wanted to do a genre film next, and I’m such a huge fan of Jordan’s. I read the script and even though it’s very different now, the core of it is still the same—the story of an unwilling martyr, a person’s descent into madness, and race and violence in America. So I was like, “I think I can handle this.” It felt like exorcising my own trauma of growing up in such a racist country, and doing it in my chosen language.
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