Production Information (Cont'd)
The adult Jordan Sanders we first meet in Little is a nightmare boss, living
in a glamorous penthouse, yelling at her assistant April Williams over the
phone. In fact, you could say that yelling is basically the cornerstone of her
management style. "Jordan Sanders would scream right now," Hall jokes. "Jordan
is smart, driven and incredibly sensitive to a fault. Her motto is to hurt
before being hurt and to always be the one to strike first. Her employees would
probably describe her as a tyrant or a monster because she's kind of like a
little spoiled demon. But she's also quite charming when she wants to be. Like
most people, Jordan is a mass of complexities. She's crazy, but that's why she
was so much fun for me to play."
Jordan has created a massively successful tech firm, JS Innovations, and has
invented a virtual assistant called HomeGirl, which is like an Amazon Alexa but
with a lot more personality. Jordan is rich and lives in ultimate high style,
but she doesn't form close connections with anyone.
"Jordan's career is exceptional," Hall says. "She's been on the cover of
pretty much every tech and company magazine. She is cutting edge, and she loves
winning. Her company builds apps, software, hardware and games. The company is
innovative in the tech world, and Jordan is always coming up with new ideas; and
you can see in the movie that she's been innovative since she was a very little
girl. So now, she's found a space where her nerdiness can be chic and cool."
She has earned the right to be entitled, but that doesn't make her any more
pleasant to be around. "Jordan can cut the line at Starbucks because her money
entitles her to do whatever she wants," Hall says. "I don't think Jordan thinks
about other people's time or needs. Jordan doesn't think she has to play by the
rules because she thinks she's above the rules. Jordan's priority is Jordan."
That narcissism, and that isolation, is reflected in everything from her
wardrobe to her car to her penthouse apartment. "Jordan is basically at the top
of the world," Gordon says. "Her home is her fortress and it's full of sharp
edges and cold marble. There's nothing warm or fuzzy about it. She lives at the
top of the world overlooking the Atlanta skyline, which symbolizes how detached
she is from the rest of the world." Her clothes are custom-made and are designed
to make a statement. "Jordan is fashion-forward and not conservative by any
means," Hall says. "Her wardrobe, hair and car create attention. She's bold,
loves color and isn't afraid to be seen."
She's impressive, if terrifying. "Jordan is a strong, powerful black woman,"
Martin says. "She doesn't care what you think. She has an amazing house and is
kind of spoiled. No one likes her because she's very mean. She doesn't care
about anyone else or what they think. She just does her own thing."
Without context, Jordan would be a hard character to root for, but because
the audience knows, before we first meet adult Jordan, about her years of being
bullied for being smart, she's still a sympathetic character. We know where her
behavior is coming from. Plus, her insults to people can be incredibly funny,
even if they're cruel, and Hall imbues her with a strength and charm that make
her almost impossible to resist. "Jordan is unapologetically rotten, but you
still love her," Hall says. "At least I do. She has a lot of fruit to show for
her hard work, ethics and perfectionism. She pretends to have a high sense of
self, but I think Jordan is actually really insecure."
Packer agrees with that interpretation. "Jordan had a rough childhood," says
Packer. "She was super smart but was picked on. She found that being herself,
her little beautiful, nerdy, quirky black-girl self, didn't make her endearing
to the other kids in middle school. So she vowed that she would work hard to
become in charge and be the bully when she got older, so they could never bully
That may make her relatable, but it doesn't make working for her any more
fun. She berates and belittles her staff constantly, and motivates people
through fear and intimidation rather than by empowering them. "I think the world
of science and creativity were very exciting to Jordan starting at a young age,
but she abandoned her kindness when she went into self-protection mode," Hall
says. "The work environment at JSI is tense for the employees. I would just say
that Jordan has high standards and if you can't meet them, then you shouldn't be
there. Unfortunately, she's not the best at listening to her employees."
Hall has worked with producer Packer on multiple films, and so she first
heard about the idea for Little almost from the beginning. "I became involved
with Little a few years ago," Hall says. "I know Kenya Barris and I work with
Will Packer a lot. I'm a big fan of Marsai and had worked with Kenya and Tracy
Oliver on Girls Trip. So Will told me about the idea during the early
developmental stages and I was really excited about it. I thought it was so
great for young girls and women to see a story that was magical and had such a
beautiful arc about friendship, trust, vulnerability and what it means to be
Hall would eventually sign on to not only play Jordan, but to become an
executive producer on the film. "This has been a perfect project to be the first
that I executive produce," Hall says. "Instead of just having the credit of
executive producer, I was actually able to participate in what it really is. I'm
really grateful and I feel really lucky." Gordon was grateful to have her in
such a prominent role on the film. "I love that Regina is an executive producer
and that she was on set to lend her support," Gordon says. "Her comedic
instincts are selfless, sharp and quick. She's a smart woman and collaborating
with her definitely elevated the movie."
The central relationship in the film is the one between Jordan and April.
"It's established in the first couple scenes of the film that the relationship
between April and Jordan is borderline abusive," executive producer Holmes says.
"Jordan is unreasonably demanding of April, but being the person she is, April
just rolls with the punches. Once Jordan becomes little, the power dynamic
switches. While Jordan is still April's boss, she's put into a position where
she's almost completely dependent on April to function. So April uses that as an
opportunity to turn the tables and make Jordan give her a little more respect."
The power dynamic between Jordan and April flips, and their relationship
deepens into something more honest and human and real. "When Jordan becomes
little, the only person who knows is her assistant, April, and you see the
journey that she and April go on from being boss and employee to being friends
and partners," Hall says.
For her part, Hall found that playing Jordan was liberating in ways she
didn't expect. "It was really fun, I got to yell at everyone," Hall jokes. "It
shouldn't be fun, but it is. I don't think I've ever played someone this
horrible." Her co-star Rae thinks she perhaps got a little too into it, maybe?
"She's mean," Rae jokes. "She's really good at being mean, which makes you ask
yourself, 'What kind of person is able to tap into being mean so easily?' I'll
let you come to that conclusion yourself."
Seriously, though, Hall and Rae loved working together. "Regina has been
really great to work with on set," Rae says. "A lot of the improv jokes in the
movie came from her. She's just really funny. Right after we began shooting
together she was already cracking me up." Josh Martin adds: "Regina's dope. I've
known her for about two years, and she's amazing. She always makes me laugh."
Little was also a welcome opportunity for Hall and Packer to collaborate on
another film after many past successes. "Will and I work well together," Hall
says. "Will is very easy to talk to and to collaborate with. He loves what he
does and he's smart about it. His goal is to make everyone amazing. He loves
making black women be, look and feel fabulous." And she admires his taste in the
stories he chooses to tell on film. "Will isn't afraid to shine a light on new
things," she adds. "To some degree, it's just a very comfortable relationship
and we've just had a lot of great success."
Hall and Packer have also clearly developed an ease with each other that
allows him to tease her pretty mercilessly. Case in point, his response to a
question about working with her. "If you think about Regina's best work,
Packer's involved," he jokes. "Regina is well produced. I mean, sure, there's
talent, right? But when you think about her best moments, you think about Girls
Trip, Think Like a Man and About Last Night. Those are actually the only Regina
Hall movies I even remember because they're the best. We're very close because
she knows that I have her back and I make her great. She's okay without me but
she's great with me. She would agree with everything I just said, but don't tell
her until I leave."
If you think your job is bad, or that your boss is a monster, you can take
some solace in the fact that April Williams has it worse. "April is Jordan's
assistant who just wants to be promoted," Issa Rae says. "She just wants to come
up but she lacks the confidence to be able to ask for what she wants because
she's been bullied by Jordan. I think it's that classic story of women in the
workplace being afraid to speak up about what they deserve. April has this
amazing, fresh voice that Jordan has been looking for, but every time she tries
to speak up, she gets crushed."
On the surface, April appears to be the opposite of Jordan in almost every
way. "I look at April as a woman who probably joined the company to be like
Jordan one day," Gordon says. "That is, until she got to know Jordan." And their
styles are completely different. "April's style is bohemian and eclectic,"
Gordon says. "She doesn't have the highest salary, but she's very artistic and
creative. Her home is filled with antique objects and items from flea markets.
She's very imaginative." The first scenes in the film highlight the stark
contrasts between them. "We see Jordan's extravagant closet and then April's
rack of clothes," Rae says. "April doesn't even have a car; she's over here
riding her bike in the heat. She's a bit meeker than Jordan for sure."
If Jordan's journey is about learning that kindness does not make you weak,
April's is learning that strength and self-confidence don't have to make you a
narcissistic monster. "April knows what she wants," Rae says. "She's really
creative and talented, but she hasn't learned to grab life by the horns like
Jordan has yet. April is abused by Jordan. Their relationship is tough. I don't
know that I could personally do it, but April feels like she needs Jordan and
needs to take Jordan's abuse. To some degree, April is happy being the victim
and not-so-happily suppressing all the anger and the things she wants to say to
Jordan. She needs to speak up for herself; Jordan takes advantage of using
Jordan may never hear (or care) what April is really thinking, but Rae gives
the audience a pretty good idea. "If April could say anything to Jordan, I think
it would consist of a lot of four-letter expletives," Rae says. "I think hands
would be involved. But, she can't do that. I think, at the end of the day, April
just wants a shot."
She gets that shot when Jordan wakes up as a 13-year-old and April suddenly
finds herself with some leverage, and some power. The day before Jordan wakes up
little, JSI's top client, Connor (Mikey Day), demands a presentation of new
ideas or he'll be taking his business elsewhere. With Jordan not able to do the
presentation as her teen self, she will have to rely on April to not only keep
the office running, and hide her absence, but save the future of the company.
"April has been wanting a chance to be a creative exec," Rae says. "Now that she
knows that Jordan needs her, she finally gets the courage to stand up to her."
Jordan's transformation proves to be the beginning of April's, too. "In the
beginning of the film, April is just starting to understand who she is and what
she brings to the table," executive produce Preston Holmes says. "At the same
time, the audience can see that her efforts are suppressed by her boss, so one
of the major arcs in the film is when April grows and comes into her own."
Unfortunately, having a 13-year-old boss isn't nearly as much fun as it
sounds. There are...complications. "Once Jordan becomes little, you'd think April
would be free," Rae says. "However, by way of circumstance, April is roped in by
Child Protective Services. She has to help Jordan as her legal guardian, which
she uses to her advantage by telling Jordan that she'll be her legal guardian as
long as she hears her pitch." The dynamic between April and Little Jordan
evolves into something almost maternal-or an older-sister-younger-sister
dynamic-and they both gain a greater understanding of each other in the process.
"April is kind of a caretaker to Little Jordan," Martin says. "So Little Jordan
learns how to love April and understand what she's going through." Hall adds:
"The great thing about when Jordan turns little is that April learns to speak up
for herself, and Jordan learns what it's like to have a friend."
The casting of Rae in the role was crucial because in the wrong hands, April
could quickly become a passive doormat of a character. That was never a concern
with Rae. "Issa has such a different sensibility, tone and voice that bring
something to the character of April that no one else could bring," Packer says.
"She has quirks and a little bit of awkwardness about her, and that's her
trademark. It's very natural and works really, really well in April's
Her ability to make literally anything funny raised everyone's game. "Issa's
comedic timing is impeccable," producer Lopez says. "I don't think there's
anyone else who could deliver lines and throw shade in the nonchalant way she
does. There aren't enough superlatives to describe what she brings to this role,
but it's beyond what we envisioned."
For both Hall and Martin, who had to play Jordan opposite her, Rae was a
dream scene partner. "I met Issa years ago, after Awkward Black Girl but before
Insecure," Hall says. "She's so talented and has such a likeability about her.
She has such a quick wit, her timing is great and she makes it seem effortless.
She's creative, refreshing and beautiful," Hall says. "We were really lucky to
have her because she's able to play April so convincingly and you just root for
her. She's really great and this is just the beginning for her. There's only
more to come and more to discover with Issa." And the Hall-Rae chemistry
surpassed everyone's already high expectations. "Issa and Regina are brilliant
actresses and great comics," Lopez says. "They injected new energy and thoughts
into scenes that we didn't even think of, and their comedic timing made the
scenes even better."
For Martin, acting opposite Rae was everything she'd hoped for, and more:
"Working with Issa was surreal to me because I've known about Insecure and
Awkward Black Girl and she's been such an inspiration to me and other young
Little Jordan Sanders
In addition to sharing the role of Jordan Sanders with Regina Hall, Marsai
Martin was tasked with playing two distinct versions of Little Jordan: The
13-year-old Jordan from the past, before she grew up, and the grown-up version
of Jordan, now trapped in a 13-year-old body. "In the early '90s, Little Jordan
was very smart, but she was bullied in junior high and never got over it," Lopez
says. "She wasn't very fashionable, wore thick glasses, had acne, wore braces
and hadn't blossomed yet. When she comes back as an adult in a 13 year old's
body, she's now the bully. She's more fashionable, has financial means and uses
her knowledge and experience to try to navigate through the same junior high
that she once went to."
Before she grows up and becomes a bully boss, Little Jordan is earnest,
enthusiastic and mystified by the cruelty of others. "I love the character of
Little Jordan," Gordon says. "I love how she pursues her love of science and is
so open-hearted. She believes that if she shows her talent, the world will love
her." And she has grown up in a supportive (if uncool) home. "I think she came
from parents who were similar to her," Gordon says, and then laughs. "I think
it's a family of nerds."
Martin easily connected with that original Little Jordan. "When you see
Little Jordan, you see her as a typical 13-year-old girl," Martin says. "She's
quirky, smart, loves science and is a very sweet girl. She's totally different
from adult Jordan."
After adult Jordan becomes little, she definitely has an edge, and an
attitude, that the original teen Jordan never had. "Present-day Little Jordan is
so comedic because she has the resources," Gordon says. "She has the black-card
resources to cover up who she was in the past. So she gets to be little again
using all of these resources, which is so funny." And Martin played her with the
comedic timing of an actor twice her age. "Some kids are old souls," Gordon
says. "Marsai has an innate understanding of human nature and is professional
beyond her years. She is a joy to work with."
For Martin, playing present-day Little Jordan allowed her to explore some
pretty deep character psychology. "Little Jordan in the present day is the same
as Big Jordan, just in a different body," Martin says. "She's panicking about
the person that she's turned into. It's during this time that she basically
learns how to be herself and discovers that she doesn't have to put on a show to
make people feel good about themselves. She learns what's right and wrong and
that she doesn't have to be a bully to get people to listen."
Also, it was a lot fun getting to do and say adult things and wear adult
clothes. "I had so much fun with the costume changes," Martin says. "Jordan is
basically a style icon." And she can get away with things that no real teenager
could. "In the scene when you first see adult Jordan as Little Jordan, she
doesn't look like a grown lady, but she has the demeanor of one," Martin says.
"She's just a mean person in this little kid's body. Her walk is different, she
thinks she has an awesome body and you see all the tracks coming out of her
hair. She's hungover and not sure if she's actually little or if it's the
alcohol talking to her."
When Little Jordan is forced to go back to middle school, though, her old
insecurities flare back up. Not welcomed by the popular kids, she finds herself
relegated to the outcast area of the lunchroom, known as the Friend Zone. Gordon
loved the double meaning behind that name. "I thought of the Friend Zone when I
was thinking about being in the Friend Zone as an adult," Gordon says. "Once
you're in the Friend Zone, you can't get out. So somehow, this translated to the
physical space of the Friend Zone at the school. The kids in the Friend Zone
welcome Little Jordan into this safe space where bullies aren't allowed to
Middle school, it turns out, is a whole new social landscape for Little
Jordan to navigate, and she has to find a way to use her powers to improve the
social status of not only herself, but her new low-tier pals. "We all remember
the Friend Zone kids," Packer says. "They were awkward, nerdy, embarrassing and
no one wanted to hang with them. No one else would sit with them in the
cafeteria. That's who the kids in this film are, and it's fun because at the end
of the day, we feel for them and they have their moment."
"Jordan remembers those days because she was one of them," Packer continues.
"They didn't call it the Friend Zone when she was in middle school; she was just
the outcast who was ostracized. Little Jordan is that same person with a big,
puffy afro, nerdy glasses and braces, and she ends up back in the Friend Zone
with these kids. It's really fun to see them interact and to root for them.
These kids are super cool and do a great job portraying the nerds that you
With her money and confidence and refusal to be second best, she eventually
rallies the kids to become their best selves and becomes the best version of
herself in the process. The goal, she discovers, is not to become popular or
powerful, but to embrace your true self with all your quirks and eccentricities.
"Jordan becomes the ring leader of the Friend Zone kids and learns so much from
them about what's really important," Packer says. "She learns that being
yourself is good enough."
Most of the humor in the film, though, comes from Little Jordan's
interactions with the adult world, and the scenes between Rae's April and
Martin's Little Jordan were a blast for everyone involved. "My favorite scenes
to shoot were the buddy-comedy moments between Marsai and Issa," Gordon says. "I
was nervous about what the pairing would be like because of their age
difference, but because Marsai is such an old soul and Issa has such great
comedic timing, they ended up being a hilarious comedic duo."
One moment in a bar remains a highlight for Martin. "My favorite scene to
shoot was definitely when I was singing on top of a bar with Issa," Martin says.
"I loved it because I love Mary J. Blige. It was so funny to sing with her, and
we kept doing it, which I loved. Plus, I was just singing to a breadstick."
The comedic energy between Martin and Rae created some of the film's most
hilarious moments. "What Issa brings to the character of April juxtaposed
against Marsai's boisterous character creates a really fun pairing," Packer
says. Rae enjoyed it, too. "Marsai is a dream to work with," Rae says. "She's so
much fun, smart and full of life. She makes such smart acting choices, and I
improved just working alongside her. She just gets it. I love that she can tap
into being a mean adult who hurts my feelings and then into being just a fun,
Martin's maturity and precision infused Little Jordan with a complexity and
nuance rarely seen in performances by actors her age. "Little Jordan is dealing
with the fact that she's pretended to be something she's not for so long,"
Packer says. "Adult Jordan's not really a mean person, but she's been a bully
out of insecurity and fear. When she becomes little, she's stripped of that
power and is forced to engage with people in a different way. That's what's
great about Marsai's portrayal of Little Jordan. She had to have depth to show
not only the aggressive bullying, but also her vulnerability. Marsai did an
incredible job because that's a very difficult and delicate balance. I've seen
actresses and actors with more years of experience handle it less deftly than
Where Martin's preternatural maturity comes from is a bit of mystery, but her
confidence, drive and commitment to hard work have always been a part of her,
according to her parents. "When Marsai was about eight years old, she asked me
what a legend is," her mother, Carol Martin, says. "I explained it to her, and
when she had a For Your Consideration event for Black-ish, they asked her what
she wanted to be when she grew up. She said, 'A legend.'"
Whatever that is within Martin that gives her that poise and composure, her
parents have tried to encourage and preserve it. "We've always told Marsai that
if she wants to do something, she can achieve it," Carol Martin says. Her
father, Josh Martin adds: "I believe that parents need to listen to their kids
and help them be creative. It's important to let them know that you're on their
side and that you're an advocate for them. We just want to continue to see her
flourish and do well." Marsai Martin is grateful for their support and guidance
and for their unflagging belief in her. "My parents tell me that I can do
anything every day," Martin continues, "that I can put my mind to anything I
want to do, which has really pushed me to know that I can."
Preston, played by Tone Bell, is April's co-worker at JSI. He's smart,
creative and a little nerdy, and April is harboring a huge crush on him, but her
lack of confidence prevents her from telling him how she feels-even though it's
clear to everyone but her that he feels the same way about her. "Preston is
cute," Rae says. "April would love for him to ask her out, but every time he
comes around, she becomes too nervous. As Jordan so politely puts it, April
'can't close.' I'm sure April would love a chance to go out with Preston, but,
like many other aspects of her life, she hasn't had a chance to talk herself
Bell brought an easy-going charm to Preston that proved perfect for the role.
"Tone is super talented," Packer says. "His character is a little quirky.
He's someone who supports April and is always telling her to pitch her ideas and
have confidence in herself. I've known Tone for a while. He's a super-talented
brother, and we were fortunate to have him in this movie."
Connor, played by Mikey Day, is Jordan's biggest client, and he loves to throw
his power around. He's cocky and the only person who can throw adult Jordan off
her game. When he announces that he is pulling all his business from JSI unless
Jordan and her team impress him with some new, out-of-the-box ideas, it sets off
a chain of events and also cranks up Jordan's cruelty to her staff to an 11. And
then, of course, she wakes up as a 13-year-old with the entire future of her
company on the line. "The office setting scenes are fun and dynamic because we
not only see Jordan in all her rage, but we also see Little Jordan come back to
the office and overhear what people think about adult Jordan," Lopez says. "This
strikes a chord with her and helps the evolution of her character."
Day is one of the film's few male characters, and he and his fellow guys
brought a fresh energy to their scenes. "Between Preston, played by Tone Bell,
and Connor, played by Mikey Day, we get to see a little male interaction in the
film that creates a great dynamic in the office setting," Lopez says.
Trevor, played by Luke James, is Jordan's steady hookup, and he's eager to
have a real relationship with her, but she's a woman with rules, and she keeps
him (and all men, really) at arm's length so that she doesn't get emotionally
involved. Trevor's feelings for her are totally sincere and he has zero ulterior
motives, but Jordan refuses to trust him. "Trevor and Jordan have a
'friends-with-benefits' relationship," Hall says. "Actually, I think the
benefits are mostly Jordan's. His nickname is 'D-boy.' Jordan doesn't let people
get close to her, but for whatever reason, Trevor really likes her. He's so
likeable and warm, which is the opposite of Jordan. So you think, 'Why does he
stay with this woman?'"
But when she becomes little, Jordan gets to hear what he really thinks about
her, and it forces her to rethink him, and the possibility of a future with him,
for the better. "Through the eyes of Little Jordan, she sees that Trevor
genuinely likes her and doesn't have an ulterior motive," Hall says. "So their
relationship is able to grow through his interactions with Little Jordan."
Jordan also gets a reminder of how smokin' hot the guy is when she sees
April's reaction to him when he shows up on Jordan's balcony one night, thinking
he's surprising adult Jordan, and finds April and Little Jordan instead. "I
think the moment April sees Trevor, she thinks 'Wow, Jordan is out here having
all the fine pickings,'" Rae says. "She's impressed by what Trevor has to offer,
and I think if she saw how Jordan treated Trevor, she'd be mad. Jordan has this
great man who shows up, brings her flowers, sings, strips and serenades her with
choreography and she's not grateful? I think April would only dream of being
able to have that, and Jordan just doesn't even realize what it is."
His appearance also adds some serious male eye candy to the film, which
wasn't hurting anyone's feelings. "So, the movie is about the ladies-it's
clearly black girl magic-but we need our brothers to support them, right?"
Packer says. "I've known Luke for a while. He's a super-talented brother and he
was great. Having him work opposite Regina and Marsai was fun. He got a chance
to take his shirt off and do a nice little striptease routine, which he wasn't
The whole black-girl-magic element of Little is set in motion by a little
girl named Stevie, played by Marley Taylor. "Stevie is a little girl who is the
face of the town's donut truck," Martin says. "She's a very sweet, smiley, cute
and kindhearted person. She has a wand that she plays around with, which ends up
being the wand that turns Jordan little in the first place. So after Stevie
realizes that she turned Jordan little, there's a scene where she starts to try
to make desserts appear out of thin air, and it's just hilarious."
Martin adored working with her. "I love her so much," Martin says. "She gives
the best hugs too. Marley is really great as this character."
Tracee Ellis Ross
One of Jordan Sanders' coolest creations is a virtual assistant/smart speaker
known as HomeGirl, voiced by Tracee Ellis Ross. "HomeGirl is a fictional device,
kind of like if Cardi B and Amazon's Alexa were smashed into one," Packer says.
"It's a smarthome device that hears everything you say and can react just like
other home devices, but HomeGirl has way more flavor than your typical Alexa or
Google. HomeGirl is dangerous and has a lot of attitude."
The idea for HomeGirl came to Gordon in a moment of inspiration. "I thought
of HomeGirl when I was reading an article about an artificial intelligent
friend," Gordon says. "I laughed and thought, 'Wow, that would be the kind of
friend Jordan would have.' The idea for HomeGirl was that Jordan didn't have any
human friends but she had the ability to make one through technology."
We "meet" HomeGirl in an early scene when adult Jordan wakes up to the device
giving her positive reinforcement and encouraging her to get out of bed and take
on the world. "HomeGirl is Jordan's best and only friend," Hall says. "She wakes
Jordan up, tells Jordan to calm down, plays music and more. I mean, she does
Not only is HomeGirl a prime example of Jordan's brilliance, and how she has
elevated technology from something nerdy into something infinitely cool, but the
device is a breakthrough because it has the personality and voice of an
empowered black woman. It breaks a glass ceiling, even if it's only
fictional-for now. "It's basically an affirmation device for African-American
women who wake up in the morning and need a word of encouragement," Lopez says.
"It also executes commands and plays your programmed jams." And really, who
wouldn't want that?
Serious Talent, Killer Threads
Writer-Director Tina Gordon
On a film set teeming with impressive black woman, Tina Gordon's inspired
vision and leadership dazzled everyone, starting first and foremost with Packer.
"I think this is Tina's moment," Packer says. "She and I worked together years
ago on a project that she wrote for me, but I always saw her as a dual threat of
writer and director. She has such a great sensibility. People don't understand
how tough comedy is. To have a comedy that really connects with people, it's a
special thing, and I think Tina has a great handle on both character and
Gordon created a positive, inclusive energy on set that motivated people to
do their best work. She encouraged excellence and got it. "Tina's spirit as a
director and writer on set is infectious," Lopez says. "She was absolutely
amazing with the cast and crew." And her cast were thrilled to have her at the
"Tina is a hilarious director," Rae says. "It also helped that she had a hand
in the script and had a clear vision. She was so great at coming up with
different ways for us to try things on camera." Hall admired her talent, her
vision and the positive atmosphere she created on set. "Tina's so much fun and
so encouraging," Hall says. "I've worked with her before, but this was my first
time working with her as the director, and she had great ideas and a great
vision. It felt different to have a woman behind the camera and getting her
perspective and collaborating with her." Her young star, Martin, adds: "Tina is
just a boss. She is so kindhearted and sweet. She's the type of director who
will give you some time and freedom to do your own thing in your takes."
She was also quite possibly the best-dressed director in history. "Tina's
really stylish," Hall says. "I liked coming to work to see what Tina was going
to wear. She always looks cool and comfortable, and effortlessly chic. So, she's
Light and Laughter
Capturing the Beauty of Black Girl Magic
Most film comedies are not known for the beautiful cinematography. Scenes are
usually shot for speed and laughs, not beauty. But cinematographer Greg Gardiner
may have shot one of the most glamorous and attractive comedies ever filmed,
brimming with exquisite light and vivid, energetic color. "I lucked out with
Greg because he really saw the movie the way I saw it," Gordon says. "He brought
his amazing creativity and ideas to the film. He just understood the aesthetics,
script and moments of the movie. Greg is our white man magic."
THE MUSIC AND CHOREOGRAPHY
Go Huge or Go Home
Little's Big Dance Number
In the first scene of the film, set in the '90s, Little Jordan is humiliated
at the annual student talent competition. When she's forced to go back to the
same school, Windsor, trapped in her 13-year-old body, she finds herself
confronting the same event, now known as WinChella. Her uncool Friend Zone pals
want to perform a big dance routine, but Little Jordan is convinced they'll
humiliate themselves and doom themselves to the social fringe for the rest of
their school days if they do. She talks them out of it, but then, in a
last-minute change of heart, she shows up at the event determined to get them on
"The pep rally scene is the big event of the year where Little Jordan
attempts to show the other kids that you can be yourself and don't need to be
worried about what others think," Packer says. "She ends up flat on her face in
embarrassment in front of the school, but her point is proven because she went
out and gave it 110 percent. This gives her crew the confidence to do their own
performance, which of course, ends up being amazing."
The result is the film's biggest set piece and pulling it off required
military-level planning and execution. "The big pep rally scene in the junior
high auditorium was definitely a production within a production," Lopez says.
"We got music specifically composed for that scene, had choreography with our
main cast, supporting cast and extras, and constructed a band from scratch. It's
a huge set piece in the film. Tina and everyone behind the scenes put a lot of
work into pulling it off."
"I like the WinChella scene because of all the different elements it
incorporates," executive producer Holmes says. "Producing this sequence started
with finding the right people." They hired musicians BIG BLOCK 454, Drumline
conductor DON ROBERTS and choreographer SEAN BANKHEAD (FOX network's Star), who
has worked with Beyonce, Britney Spears, Usher, Ciara and more. "On the
production end, the scene involved multiple cameras, a crane and hundreds of
background extras," Holmes says. "It was a lot of fun for everyone involved and
I think audiences will enjoy it."
The music was inspired by Gordon's film Drumline. "Tina was a writer on the
film and was intimately involved in the production, so that scene was paying
homage to that," Lopez says. And Gordon herself was raring to take it on,
despite the size and scale of the scene. "I really didn't think about how big
the WinChella scene would be, but it ended up spiraling into something that was
really big and fun," Gordon says. "I wasn't worried about the dancing because,
as it turns out, kids can pick up dancing quicker than adults."
Under the guidance of Sean Bankhead, the kids delivered on some serious
old-school hip-hop moves. "He was amazing because he was able to incorporate
comedy into the choreography," Gordon says. Packer was impressed: "This was my
first time working with Sean Bankhead," Packer says. "The brother is super
talented. I mean, his credits speak for themselves, but to work with him
directly and have him choreograph primarily young kids and see what they can do
is amazing. He finds the most talented kids and puts together amazing routines
for them. He's really good. I'd work with him again in a heartbeat."
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