hey viewers if you would like to get too soon Netflix News videos please subscribe to our Channel update news America and stay with us how Netflix's Rebel Ridge navigated America's two biggest taboos furer fans know by now to keep an eye out for new Jeremy snir movies from his over-the-top horror debut Murder Party to the deceptively low-key onew punch confrontation dramas of Blue Ruin and green room to the viciously chilly William baraldi adaptation hold the dark salir specializes in Moody films punctuated by shockingly graphic violence that often catches his protagonists offg guard the tones of these movies vary widely and so does their thinking about how necessary violence is and what it does to the perpetrator but they're all viseral and memorable in different ways and they all turn budged into an unsettling momentous event a real achievement when working in so many GES where violence is common and expected both by the protagonists and the audience the threat of violence hangs over nearly every minute of his Netflix movie Rebel Ridge debuting on the service September 6 xmarine Terry Richmond Aaron Pierre from the Underground Railroad and ight shyamalan's old enters a small southern town with a bag full of cash acquired to bail his cousin out of jail in the opening scene the local police assault him and seize the money under civil asset forfeiture law claiming it could possibly be drug money the situation escalates from there but it's a slow burn deliberately paced procedural of an escalation roping in the local police chief action vet Don Johnson a bureaucrat with Secrets Anna sopia rob a respected local Judge James Cromwell and many others ahead of the movie's September 6 release polygon talked to salir about threading the needle on a movie about some of the most polarizing political issues in modern America and about taking inspiration from Sylvester stalon in first blood but not in the most obvious ways polygon this is a movie about a lot of different things including the Injustice of civil asset forfeiture but it's also about race and white supremacy in policing even though no one in the film overtly admits their motives or prejudices the southern setting Terry being black local law enforcement mostly being white the specific role of the One Cop who isn't it's hard not to see race as a ma Factor here how did you approach navigating that Jeremy solier it definitely is there but as you said not foregrounded not because I wanted to shy away from it but because I just wanted to stay true to a certain narrative cast the best actors and let things play out and these broader themes come from the audience because we made a point not to go down that road especially as it relates to Don Johnson and Matt character the primary goal here was to make a traditional American action flick with ideally more Artistry a little headier I like to get into the very grounded nature the minu of other films might pass by as far as institutions go not just as it relates to race but as it relates to human beings in these systems what part they play whether they're aware of it or not or if they are how they choose to disavow their responsibility or ignore the fact that they're perpetuating corrupt systems so those mechanics were easier to research and dissect when came to Casting the movie I was just trying to find the right actor to help the movie The only real thing on my mind it's written in the actual first draft of the script is that Terry is brown it adds its own context that does not need any help from me or pushing and when it came to those issues I really drew a very hard line with the narrative the structure the characters the Dynamics once Aaron came aboard I listened and I followed his lead he was very loyal to the text he was very reverent to not only only myself as a filmmaker but the entire crew which supported him he tried to give it his all physically emotionally but when he had an issue as a black man when something in the movie reflected his experience he was kindly vocal about it and I followed his lead and that was a very synergistic way of working where I stayed true to what I knew as I developed the movie and was very open to listening when Aaron spoke up can you point to anything specific that he wanted to discuss or alter a lot lot of the specific conversations between me and the actors are private not out of sensitivity but because of the protocol sometimes it would just be vernacular how he felt more comfortable expressing certain lines and sometimes it was asking me about a bigger broader context of what a SE meant what it might be referring to and sometimes he'd say well okay now that I understand the implications and the references here I'd like to do this instead and the answer was always yes