Director Ryan Coogler's latest film, "Sinners," transcends the conventional vampire horror genre by vividly portraying the atmosphere of Mississippi in the 1930s and utilizing the blues—a genre once condemned as "the devil's music"—to delve into the lives of its predominantly African-American characters. Michael B. Jordan stars as twin brothers Smoke and Stack, anchoring the film with compelling performances.

As Eric Goldman noted in his glowing review for IGN, "Sinners" not only satisfies the vampire's thirst for blood but also pulses with the rhythm of music, particularly the blues, which characters like Sammie (Miles Caton) and Delta Slim (Delroy Lindo) perform at the twins' venue. Coogler harnesses this music to explore its profound impact on people from all walks of life, uniting them across generations. The film also weaves in Irish folk tunes, introduced by the charismatic vampire leader Remmick (Jack O'Connell), drawing a parallel between the blues and the music of his heritage.

By integrating African-American blues and Irish folk music, Coogler illuminates the shared colonial histories of both the human and vampire characters. These musical elements are showcased in spectacular set pieces that, according to Goldman, render "Sinners" "musical adjacent," allowing the audience to experience how music echoes through time and immortalizes its creators.

In a recent interview with IGN, Coogler discussed the significance of blues and Irish music in "Sinners," highlighting the film's memorable musical sequences and the personal connection he felt to the vampire villain, Remmick, comparing it to his experience with Killmonger in "Black Panther."

Ryan Coogler: The blues is an affirmation of full humanity for these characters. It complements the church, which focuses on the soul, while the blues embraces both the soul and the flesh. It acknowledges the pain, sexual desire, and anger that come with their situation, serving as a rebellion against generational oppression while celebrating the beauty of their humanity. The juke joint becomes a sanctuary where people can be their true selves, free from the constraints of their daily lives.

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 raw as possible to the audience, allowing them to derive their own meanings from it. Writing Remmick was a deeply personal experience for me, similar to crafting Killmonger. I aimed to explore the concept of a master vampire who defies expectations, presenting one way but revealing a different persona. His connection with the diverse group he leads was particularly exciting and powerful to me.

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26 ImagesIGN: 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 scenes are the heart of the movie, showcasing fellowship and love amidst the oppressive structures these characters face. The juke joint and the Irish step dance were acts of rebellion, reflecting the characters' desires for freedom and connection. We aimed to give audiences a visceral experience reminiscent of the awe-inspiring moments of cinema's past.

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12 ImagesIGN: The juke joint sequence is particularly amazing because it's staged as a one-er. You're playing with time, and you're showing the cultural crossovers too. Visually, you're showing us how music is timeless, or at least what it brings out in people is timeless. At what point did you realize you wanted to play with time in that scene?

Ryan Coogler: The idea came during the writing process. I wanted to capture the transcendent experience of witnessing a virtuoso performance, which is a universal human experience. Through cinematic language, we aimed to convey the feeling of being uplifted and transported by music, reflecting the cultural significance and the rebellious spirit of the juke joint in the 1930s.

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 blues, embodies a mastery of contrast. It tells stories of hardship with vigor and hidden meanings, much like the delta blues. Both cultures, African and Irish, share a resilience and a spirit that refuses to be broken, celebrating life even in the face of adversity. This connection was a key element in crafting the film's narrative and showcasing the vampire's journey.