In conversation with young Ghanian American filmmaker Opoku | Q & A on “Apple Cider” - part two

Newark, NJ - In Part 1 of our interview with Newark native and Howard University filmmaker Opoku “OpotheBoat” Boateng, we sat down with Set Designer Lillian “Phoenyx” Ojo, and Gaffer and Sound Mixer, Isaiah “Konté” Conte. Together, the trio discussed their goals and approach in developing their first 20-minute short film, "Apple Cider - A Parable of Black Love", a character-driven drama that explores ideas of Black love as three youths face their shared family trauma.

For Part 2 of our interview, Opoku stuck around with Phoenyx to reveal more about himself as an artist and upcoming work with their production company, Opo’s Canon. They also shared the challenges they faced making “Apple Cider,” the lessons they learned about themselves and each other during the production, and what film and storytelling mean to them as young artists living in New Jersey.

Video credit: Anthony Orlando for Public Square Amplified.

Public Square Amplified: Now, this question’s for Opo. What was it like editing this film? What inspired you when creating the movie's psychedelic visuals? 

Opoku: Bro, everyone keeps saying it (laughs). Whatever, I thought it was spacy. I thought it was African. Well, yeah. So…There was so many first times on set, in the post-production, it was a lot of, okay, how are we going to correct these first times?

And that’s between, like, continuity, that’s between technical difficulties. That’s between, like, corrupted files…I didn’t necessarily, although I knew there was going to be ghost effects, I didn’t necessarily make it, like, an intentional visual choice to be so hard-leaning into, like, the African effects until, like, as post-production was happening. That’s when I was realizing, like, now we have to creatively like, you know, put band-aids, you know?

So fortunately, the film had the plot of the Ghost, which is already in mind, but I had to even kind of compensate where there were certain things. Like, I wanted there to be, like, wind blowing in the room at certain points, you know what I’m saying? I wanted to do that, but because, just let’s say budget costs.

In terms of the trippy visuals, like, so as I was going through it, I, like, in the script, it was written that the Ghost was there. You know, what I'm saying? It was written that the character is going to be, like, basically seeing the things, but…for me it really was that, like, in the writing of the script, that was more so, if not African, I guess, like, I've done a lot of like work with like, ego work, or like spiritual work and stuff like that. 

People need to understand that when people are like, “Oh, there's demons in the room where they speak,” it's not something that is, that's not something that's not present. It’s just in what I call “Water.”  It's just like in the mind if someone's like, “Oh, I'm battling with anxiety.” Yeah. No one's beating them up. But there is things going on in their head, and how can I show that other than [with] visual effects? 

So that is, really what that was. But you know, if people like psychedelics, I'm like, go broke. Whatever help you understand. 

PSA: Wow, you just kind of blew my mind right now…As a follow-up, let's talk about storytelling as a Black person who grew up in New Jersey and how does the intersection of race play a role for you? I mean, of course, I know that may seem provocative or a trite question coming from somebody like me, but you can shape the question. What's the most empowering thing about using your voice to tell this story? Expanding on that question, how important is it for you, for not only you, but for your audience to be able to use that kind of voice?

Opoku: Being from Jersey and being Black. It didn’t really feel like an intersection. It just felt like that was life, especially being from Newark. So I guess the statement is that, like...people in Newark, New Jersey, are exposed to a lot of diversity and realness. That's not everybody. You know what I'm saying? 

So because of that, I think that, I just think, basically what I’m saying is, like, I think it's really important that people create art that is real. I do feel like it’s important for my people to understand that, like, “Yo, if you’re not really building to something that’s, like, truly for the betterment of your people, you’re going to be at a loss.”

PSA: Absolutely…Did you discover any new things or ideas about art or each other as filmmakers or artists?

Phoenyx: Yeah, I would say, like, working with Opo has, like, made me realize how thoughtful he is, not just as a writer, but just as, like, a friend and just, like, a colleague, in general. Even just seeing him, how he, like, healed a lot of the relationships that he talked about within the film, during that time. 

It was actually very beautiful to see just someone actually, like, use their art as healing and stick to, like, that messaging, that they were trying to execute, and then, also like realizing how patient he is. I think he has the patience to sit and listen to, like, how things can grow and be better over time. I'm, I'm actually very grateful to be working with someone that's very empathetic and patient like that because it's, you know, the art world is cutthroat.

PSA: To go deeper into my previous question, you were a young and black filmmaker trying to carve spaces in a tough industry. Can you tell us a bit more about some of the challenges and surprises and lessons you've had so far? 

Opoku: Man, challenges and lessons. Man, I'm about to get playfully arrogant…I started doing this film stuff because I thought that, you know, it was going to be a smarter decision for me to find a career path that is truly aligned with my spirit, than writing books.

And what I'm looking at as future goals are bigger than what I thought they would be. I want the Canon to be its own major production company. You know, I'm saying I want this to be an international thing. I want it to be artist-centered, meaning that it's not about promoting just anything, but rather it's about getting production for artists who are really trying to help change the world and create a better culture.

PSA: What's next for you? I mean, do you have more films you're working on, or are you working on a different medium?

Opoku: We're currently in space right now where it's like we're doing a lot with…really stamping ourself as a production company. So not necessarily short films, but just, like, working with bigger clients, or we’re looking for more artistic visions, or, like, kind of making sure that we're, for the artists, creating solid content as well, so that or so that we ourselves are getting produced. Really just leaning into the Canon being another channel.

PSA: Awesome. And that’s a wrap. Thank you so much for sharing all this.

Opoku Boateng recently released his first 20-minute short feature, Apple Cider: A Parable of Black Love, a character-driven drama about three youths who must face their shared family trauma as they try to reconnect one night together. He is the founder of Opo’s Canon in Newark and also studied at Howard University. 

Lillian “Phoenyx” Ojo served as a Set Designer and one of the Lead Stylists of Apple Cider. She is also a visual artist and a specialist in providing care for youths with autism.