"I realized that the black voice was at the core (technically, formally, and spiritually) of why black music was powerful. People typically talked about cinema in terms of stories, narratives, thematics—but it quickly became clear that we needed (additionally) different concepts. So, for example, the idea of black visual intonation was conceived as the cinematic equivalent of the black voice. You’d never confuse Billie Holiday with Fela or Fela with Bob Marley or Marley with Charlie Parker or Miles Davis, right? Each has a certain signature relationship to the black voice (as transgenerational continuity) and with black vocal intonation specifically, whether in the voice of the performer or played out instrumentally, as a primary mode of expressive articulation. I was interested in coming to understand this vocal intonation, and how these traditions or continuities of manipulating tonalities are bound up with what it means to be black."