Sinners: Secret Chadwick Tribute You Missed!

In the creation of “Sinners,” it was the minor details that received particular care from Academy Award-winning production designer, Hannah Beachler – even going as far as meticulously handling each speck of dust that graced the set.

Upon hearing that Ryan Coogler was working on a script, Beachler immediately embarked on her research. Given that Coogler had recently followed the Blues Trail across the Mississippi Delta, interacting with blues musicians and delving into the music’s history, Beachler felt inspired to do the same. She wanted to engage with both older and younger generations, and during this journey, she met a few juke joint owners who shared insights about local dialect and architecture. Most of her trip was focused on observation, noticing the subtle details that would contribute to her understanding of the project.

During a thirty-minute drive, Beachler found herself on an almost deserted road. Along the way, she passed through a vast field and continued driving for about a mile until she spotted a quaint little church. As she recalled, “The only things surrounding it were endless blue skies and cotton fields.” This particular scene later appeared in the movie as she designed the chapel with a farmhouse aesthetic. In this tranquil setting, she subtly incorporated references to her previous projects like “Black Panther: Wakanda Forever” and paid tribute to African folklore and the blues.

The movie ‘Sinners’ isn’t just an outstanding vampire film; it delves into folklore, spirituality, history, and culture. Michael B. Jordan portrays twin brothers Smoke and Stack, who return to Clarksdale, Mississippi with the intention of opening a juke joint. They invite their cousin Sammie, played by Miles Caton, to join in the music. However, Sammie’s musical talent isn’t ordinary; his voice possesses an otherworldly quality that attracts supernatural entities lurking within the town, who covet him for their own purposes.

In the film, it was the supernatural elements that made it captivating for Beachler. She pondered over how to incorporate these themes into her set designs. “Ryan allowed us the freedom to infuse a piece of ourselves into it,” Beachler explains, “either through an Easter egg or something that has inspired me, or as a tribute. I want to pay tribute to something that I believe is significant to the community.

In this discussion, she dissects the significant locations in the movie that were rebuilt to mirror Downtown Clarksdale, Mississippi; a local church, Annie’s house, and Smoke and Stack’s juke joint. She hints at the “Black Panther 2” and Easter eggs related to Howlin’ Wolf. For Beachler, however, it was more about the intricate details, what they signified, and the messages hidden within them.

Downtown Clarksdale

Bo and Grace Chow’s grocery stores were modeled after those owned by the Gows, dating back to the 1920s in Clarksdale.

— HannahBeachler (@HannahEBeachler) April 20, 2025

Upon Smoke and Stack’s return, they often make their way first to downtown Clarksdale, Mississippi – a place where they share their message about the juke joint and acquire necessary supplies. This scene was filmed in Donaldsonville, Louisiana. Interestingly, Beachler only had three to four weeks at his disposal for this project, which was quite unusual. To authenticate the era, each road was covered with dirt instead of asphalt, truckloads of it being brought in. What’s more significant is that each side of the street mirrored the segregated nature of their hometown.

In our movie, when you visit downtown, King Tamales will be one of the neighboring shops, just beside the grocery store. I found myself delving into the history of tamales there, as it’s quite significant in the Mississippi Delta, an unusual pairing, tamales and the Mississippi Delta.

In Beachler’s words, “The diverse cultures significantly influenced the movie. I aimed to incorporate elements like Red Hots and King Tamales, items steeped in their heritage.

Ryan aspired to segment the street, with one half being black and the other white. This idea was significantly impacted by Min Sang, a Chinese-American grocer in Clarksdale during that period. Consequently, the train station and downtown reflect much of what Clarksdale truly was, not merely our perceptions. If you glance at the window, it provides information about your location.

In the two grocery stores, one is the produce-focused store owned by Bo and Grace Chow, who happen to be Asian American. The items for sale there include not just fruits and vegetables, but also practical things like hoses, brooms, buckets, and mops. It was expected that employees would primarily perform manual labor. This store had simpler candies compared to the other store. In contrast, the other store had a wider variety of goods including cakes, fruit, and more advertising. These minor differences reflect the two sides of the stores. Even from the outside, you’ll notice similarities in the signs due to Grace’s creative touch; she would likely be recognized as an artist today. Her influence can be seen in the unique way her signs communicate, which was inspired by Chinese graphics from the 1920s in Shanghai.

We aimed to highlight the distinct features of both locations during the Jim Crow era. On the white side, there was a car dealership and a movie theater, whereas on the Black side, there was a tamale store and a small cafe. Contrastingly, a larger café could be found on the other side.

The Church

Among my most cherished designs is this set, which includes the juke joint and Annie’s, and they were actually the first three projects I worked on. It feels like I was driven by some force when I began delving into research and immersing myself in the work of photographer Eudora Welty, who captured the essence of the Delta during the same era. With my sketchbook in hand, the initial sketches that emerged were those that eventually made it to the screen. However, the church evolved into a symbol representing various concepts discussed with Ryan, primarily embodying the contrast between the spiritual holiness and purity found alongside the unrestrained hedonism and capitalism of the juke joint.

In our ceiling, we’ve got a cross shaped like the symbol of Wakanda, as a tribute to ‘Black Panther: Wakanda Forever’ and Chadwick Boseman. This is because it mimics the Wakandan gesture in the beams. Interestingly, this cross appears to follow specific characters.

Additionally, there are three crosses symbolizing the Father, the Son, and the Holy Spirit. When Sammie (Miles Caton) and Jedidiah (Saul Williams) stand beneath one, they represent the Father and the Son, making them the fourth cross. As Sammie enters with his guitar in hand, he walks right under the cross, creating a contrast with the opened veil and their presence in this deeply spiritual setting where Sammie must make a choice. Notably, the crosses are spaced 33 inches apart, symbolizing Jesus’ age at death.

The Juke Joint

The juke joint serves as the core of “Sinners.” Here, music and spirituality intertwine, and most of the events take place.

Beachler had eight weeks at his disposal to construct two different juke joints, one for indoor filming and another for outdoor scenes. The focus was on the intricate steps Beachler took in this project. “We applied boric acid to corrode the metal sheets used for the exterior of the juke joint,” Beachler disclosed.

During the lengthier process, Beachler aimed for an authentic, genuine feel, ensuring everything was truly realistic. This meant even the rust had to be actual.

One aspect I’ll reveal later is that within the juke joint, there’s a symbolic depiction for each environment we encountered during our journey. For instance, you’ll find a representation of Annie’s oak trees, which symbolically shield and shelter her home in the juke joint, offering similar protection to those spaces.

In the third scene, the wall that Mary (Hailee Steinfeld) bites Stack (Michael B. Jordan) on is symbolic of a white church. There are lines running horizontally above the characters’ heads, notably Stack and the vampires, throughout this setting.

Initially, the location appears with a Hogwood-inspired color scheme, giving off an aged wooden vibe. However, as we approach the juke joint, everything at ground level is transformed to resemble rough-hewn timber. This wood was intentionally kept damp during construction, allowing it to shrink and create a rustic effect. As filming progressed, the wood continued to shrink and we added dust to enhance this natural phenomenon. Nothing was placed beneath the wooden structures, so they would creak when stepped on. During the scene where Jamie Lawson sings and everyone is seen tapping the floor, the floor itself was bouncy and the dust would rise, adding to the overall ambiance. This setup beautifully complemented the music and contributed to the sultry, lively atmosphere created by the extras during the juke joint dance scene.

As a cinephile, I can’t help but notice an intriguing detail in this film: a hidden tribute to a classic song. In the heart of the juke joint, if you look at the back wall where the entrance is, you’ll find a rusted tin interior. If you play ‘Smokestack Lightning’ by Howlin’ Wolf here, pause it at the chorus, and examine the equalizer, you’ll see that the bars stop in a pattern that mirrors the rhythm of the song. This chorus seems to resonate throughout the juke joint, creating an immersive experience for the audience. A clever touch, indeed!

In my opinion, they conclude with, ‘For that one day we were free,’ which perfectly encapsulates the essence. It’s a tale reminiscent of the sun, and this was our guiding force when creating Sergio Leone’s style. I have always been fond of Westerns, and it’s something Ryan and I share deeply. As a child, I used to binge-watch Westerns. So, elements from ‘Stagecoach,’ ‘The Searchers,’ ‘Chisum,’ and Leone’s trilogy can all be found within.

Annie’s Home

While constructing Annie’s house, Beachler drew inspiration from a picture she had come across. It was the woman’s posture that particularly caught her attention. Beachler decided to paint Annie’s house in a haint blue color, a light, protective shade inspired by the Gullah Geechee community and African slaves who believed this color warded off evil spirits.

As a movie critic, allow me to share my thoughts on this captivating character: In the heart of the plantation, Annie stood as an unwavering beacon of hope and resilience. Not only did she nurture the spirits of those around her, but also provided essential goods for the workers. My intention was to portray her as a guardian, a sanctuary in a world fraught with turmoil. When times were tough, Annie was the one who offered solace and healing.

One of the initial images I encountered during my research stood out to me – a sharecropper’s home with a pile of cotton on the porch, leaning slightly in a vast field. A woman was standing outside, and something about that scene in that humble abode immediately resonated with me. It conveyed the harsh reality and modest living conditions of that era without uttering a word. Yet, this woman wore a stunning dress and hat, exuding an undeniable dignity and grace amidst apparent destitution. There was a sense of Annie’s strength emanating from her in that image.

I desired to incorporate the soothing ‘haint blue’ into her environment as it is believed to offer protection. We adorned several small prayer charms throughout the loft, and during their practice session, one of these charms slipped from its place and was caught by Michael. The charm bore the message, “You are exactly where you belong.

A Hoodoo practitioner consulted with us regarding some of her spiritual rituals, and these practices were incorporated. Soon after, mysterious weevils appeared, creating intricate patterns everywhere, making the place ideal. If not for my persistent efforts, we might have missed out on this location. But I kept pushing until we secured it as our spot.

In addition, I aimed to contrast her with the experiences I believe many Black women face today, especially if they’re strong. They are often perceived in specific ways or burdened by stereotypes. The plantations didn’t disappear after slavery ended; instead, a different form of enslavement emerged during sharecropping and Jim Crow times. Annie’s character held a profound significance for me.

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2025-04-26 19:49