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

While director Ryan Coogler’s new film Sinners is ostensibly a vampire horror film, its true uniqueness lies in its vivid portrayal of Mississippi in the 1930s and its use of the blues – music once condemned as “the devil’s music” by preachers – to delve into the lives of its predominantly African-American characters, led by Michael B. Jordan as twin brothers Smoke and Stack.

Eric Goldman of IGN praised the film in his review, noting, “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.”

Goldman further elaborates on how Coogler uses music as a central theme to explore its significance across different generations and cultures. He highlights the character Remmick (Jack O’Connell), the charming and charismatic leader of the vampires, whose Irish folk music heritage adds another layer to the film’s soundtrack, drawing fascinating parallels with the blues.

Coogler masterfully intertwines African-American blues and Irish folk music to illuminate the shared painful colonial histories of both humans and vampires. These musical elements are showcased in standout set pieces that, as Goldman describes, make Sinners “musical adjacent” and allow audiences to see and hear how music echoes through time, immortalizing its creators.

In an interview with IGN, Ryan Coogler discussed the film’s use of blues and Irish music, its memorable set pieces, and the personal significance of the vampire villain, Remmick, comparing him to Killmonger from Black Panther.

IGN: Can you talk about what blues music means to this world and these characters?

Ryan Coogler: Blues music is an affirmation of the characters' full humanity. It's tied to the church, yet it's the music that acknowledges the full spectrum of human emotions – the soul and the flesh. It's a rebellion against the oppressive situations these people faced, celebrating both the beauty and the pain of their lives. Unlike the church, which can be edited to exclude the 'bad' parts, the blues embraces all human flaws and desires. It's a safe space where people can be their true selves, away from the harsh realities of life.

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 wanted to present Sinners as authentically as possible, allowing the audience to interpret it freely. Writing Remmick was a deeply personal experience for me, much like Killmonger in Black Panther. I envisioned him as a master vampire, exploring the dynamics of a group forming around a charismatic leader. What excited me was subverting expectations – Remmick presenting as one thing but revealing a completely different perspective on race and identity.

IGN: 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 the heart of the movie, illustrating fellowship and love amidst oppressive structures. The juke joint scene, staged as a one-er, was a way to play with time and showcase cultural crossovers, demonstrating the timeless nature of music. It was about capturing the feeling of witnessing a virtuoso performance, a transcendent experience that cinema can uniquely convey. The development of juke joint culture in the 1930s was a response to the denial of freedom these people faced, a celebration that could bridge generations.

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 folk music, like the delta blues, embodies a mastery of contrast. It's lively yet often tells heartbreaking stories. This contrast resonates with the shared experiences of oppression and resilience in both African and Irish cultures. The vampire, Remmick, connects with the people of Clarksdale not because of how they look, but because he understands their struggles intimately. This connection, this shared humanity despite differences, is what filmmaking is all about.

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