The Big Picture

Collider’s Steve Weintraub talks with
The Piano Lesson
co-stars John David Washington and Danielle Deadwyler.
Deadwyler and Washington discuss the universality of August Wilson’s writing and the deep-rooted family dynamics.
The actors delve into the preparation process for their roles, emphasizing the significance of transforming the stage play into a cinematic experience.

After her heartbreaking performance as Mamie Till in the critically acclaimed Till, Danielle Deadwyler is soon to be a household name. John David Washington wowed audiences in Christopher Nolan’s cinematic palindrome Tenet before top-billing Spike Lee’s fabulous BlacKkKlansman. Now, both performers collaborate under director Malcolm Washington (John David’s brother in his feature debut) on The Piano Lesson, based on renowned author August Wilson’s Drama Desk Award-winning play.

The Piano Lesson is set in 1936 in Pittsburgh, during the aftermath of the Great Depression. The story follows the lives of the Charles family, their household, and their family piano — an heirloom decorated with designs carved by an enslaved ancestor. Washington plays Boy Willie, intent on building a better life for the future family. Deadwyler plays his sister Berniece, resolved to preserve their family’s history, even at a cost. The film also stars Samuel L. Jackson, Ray Fisher, and Michael Potts.

Ahead of the Netflix premiere, Deadwyler and Washington sat down with Collider’s own Steve Weintraub to talk about The Piano Lesson. In this interview, they discuss how they transformed a well-known stage play into a visual, cinematic experience, the musicality and universal language of legendary playwright August Wilson, and coming in on off-days just to watch four-time Grammy Award-winning co-star and singer-songwriter Erykah Badu on set.

The Universality of Playwright August Wilson
“August is hidden. He’s got a rhythm.”

COLLIDER: It must be very tough doing press all day when everyone’s walking in, being like, “Oh, this is fantastic.”

DANIELLE DEADWYLER: Not at all!

JOHN DAVID WASHINGTON: Honestly, I’ve been a part of a couple of films the last few years that I didn’t get to talk to people one-on-one, whether it’s a pandemic or a strike. So, I’m happy to be able to interact and talk about something that we’re a part of.

DEADWYLER: And it’s exciting to talk about the work because the themes are major. They hit across the board. They connect with all kinds of folks. You wanna do that. You wanna have a real conversation about the work

100%. Also, it’s just so good. Before we get started, I just want to give you a shout-out because I loved Watchmen and I love Station 11 . I just wanna make sure people watch it. If they have not seen either of those shows, they need to watch both.

DEADWYLER: That’s so kind.

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There are going to be people out there who are not familiar with August Wilson. For those people, what do you want to tell them? What’s August’s secret sauce in his writing? Because of the stuff that I’ve read, he’s so good. Could you talk a little bit about that?

WASHINGTON: I think the universality of his writing is the family dynamics in this particular piece that is so relatable. Proof positive of that statement is what we’ve experienced in Telluride, whether it be high school students from all over who express their thoughts about the position of Boy Willie and Berniece and some elders we talked to, as well, who have the same passion for and can identify with some of the dynamics of how brothers and sisters act and what’s right. What’s the right way to take care of your family? What’s the right way to cultivate and generate wealth generationally for your family?

DEADWYLER: August is hidden. He’s got a rhythm, right? Everybody connects to musicality, which is that universality you’re speaking of. Everybody connects when it comes to a certain style and sound and rhythm of life, a nd August knows that because he is a person of the people. So, if you wanna come see something about people, about the rhythm of people, about a specific Black American experience that is connected to everybody, this is what you want to do.

Image via Netflix

One of the reasons I think it’s so good is that the arguments you’re making to each other are totally valid — why you would want to keep it and why you would want to sell it.

‘The Piano Lesson’ Stands on the Shoulders of Giants
“I’m thinking about my mother and her artistry and who she was before she was married and had kids.”
Image via Netflix

You’re both so good in this. You played this role on Broadway, and I’m so curious, what is it like before the first day you’re getting ready to film? What is it like for both of you in terms of the preparation to step on set? Can you sort of talk a little bit about what you did? Because you played the role, and you’re new to this.

DEADWYLER: I’m preparing for a play. I’m over-preparing. I know I’m coming in with some “beat dogs,” and I want to be ready and free to do that, to be honest and rigorous and disciplined on the set. Just speaking with Malcolm — I think Malcolm talked to everybody pretty deeply and ongoing — he’s such a passionate, beautiful artist and man, and came with so many ideas, from weaving through Black American Christianity and West African spirituality as an arc for Berniece. Weaving what it is, the true desire and longing that she is coming to as a result of grief and loss, those are universal experiences, things that I know well from a particular Black womanhood vantage point. Rounding all that out to come to this collision of family, that’s what I moved with in preparation.

Image via Netflix

WASHINGTON: Understanding that it’s going to be a cinematic experience, so the things that are written and talked about in dialogue in the play, we’re gonna get to see. It’s a visual experience now, which can inform my behavior a little differently. Now, there’s a close-up on me listening to her or a close-up on her listening to these men talking at her, talking crazy to her, her brother just berating her. But yet we’re seeing her reaction. So, that goes into the consideration of the performance in a way, then you completely let it go once you’re in it. I’m thinking about whose chain I’m wearing right now, my Uncle Woodson; I’m thinking about my mother and her artistry and who she was before she was married and had kids; I’m thinking about the people I’m working with — Samuel L. Jackson — I’m thinking about Mr. [Michael] Potts, who’s worked on all August Wilson’s plays. We’re standing on giants, on their shoulders, knowing that’s gonna be infused into the performance.

Everyone Was Excited About Erykah Badu
“Berniece doesn’t get to see that world, but Danielle is gonna see that world!”
Image via Netflix

For both of you, you see the shooting schedule in front of you. What day do you circle in terms of, “I cannot wait to film this? ” And is there any day circled in terms of, “Oh, that’s gonna be a tough day?”

DEADWYLER: I don’t circle. I just take the shooting schedule, and you put them next to each other — long ways, vertical ways — and you just block that whole thing out. And I’m about to have fun the whole time, right? It’s not a singular place or a day and time. I want to be there every day as often as I can.

Do you go in when you’re not shooting?

DEADWYLER: Oh, yeah. I wasn’t slated to be at the shooting date for Erykah Badu…

WASHINGTON: That’s what I was gonna say. I was really excited.

DEADWYLER: But you know I damn well showed up. You know what I mean?

WASHINGTON: I was very excited about that day.

Image via Netflix

DEADWYLER: And to see them dancing and to see that world? Berniece doesn’t get to see that world, but Danielle gonna see that world! Okay? [Laughs]

WASHINGTON: Yeah, I was in awe. She’s a magical creature up there, Erykah Badu. My childhood, teenage years, all that was coming to a head when I was watching her do her thing. She was so gracious. She was cool, professional, she was telling jokes, dirty jokes, in between takes.

DEADWYLER: Don’t be telling…

WASHINGTON: She was, though! It was good stuff. It was funny. She’s hilarious. She was really funny.

DEADWYLER: You want to be there every day. You can be. These are rare sets. These are rare experiences.

The Piano Lesson comes to theaters on November 8.

The Piano Lesson Follows the lives of the Charles family as they deal with themes of family legacy and more, in deciding what to do with an heirloom, the family piano.Release Date November 8, 2024 Director Malcolm Washington Cast Samuel L. Jackson , John David Washington , Danielle Deadwyler , Ray Fisher , Corey Hawkins , Michael Potts , Skylar Smith , Stephan James , Erykah Badu , Malik J Ali , Charity Jordan , Isaiah Gunn , Matrell Smith , Jerrika Hinton , Gail Bean , Hanniel Joseph , Pauletta Washington , Olivia Washington , Kylee D. Allen , Deetta West , Jay Peterson , David Atkinson , Tony Fox , Melanie Jeffcoat , Owen Harn , Charles Green Runtime 125 Minutes Writers Virgil Williams , Malcolm Washington Expand

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