Ryan Coogler Discusses Blues, Irish Music Parallels and His Vampire Villain in Sinners

While Ryan Coogler’s latest film *Sinners* is, on the surface, a vampire horror story, its true cinematic originality lies in how it vividly captures a specific time and place—Mississippi in the 1930s. Through the lens of blues music, once controversially labeled “the devil’s music,” the film delves into the lives of its predominantly African-American characters, led by Michael B. Jordan in a dual role as twin brothers Smoke and Stack.

As Eric Goldman noted in his enthusiastic Sinners review for IGN, “music flows through the veins” of the film. Sammie (Miles Caton) and Delta Slim (Delroy Lindo), a respected local blues musician, are hired to perform at Smoke and Stack’s establishment, setting the stage for a deeper exploration of music’s universal power to connect people across generations and experiences. Remmick (Jack O’Connell), the charismatic vampire leader, offers an intriguing parallel with his own cultural heritage—Irish folk music—gradually revealing a narrative thread that intertwines both musical traditions into the broader emotional fabric of the film.

Coogler uses this duality—African-American blues and Irish folk—to reflect the painful colonial histories shared by both the human and vampire characters. Each musical tradition is showcased in powerful set pieces that not only elevate the storytelling but also allow the audience to experience how these sounds echo through history, immortalizing the people behind them. As Goldman observed, these sequences make *Sinners* feel “musical adjacent” and help viewers “see and hear how music reverberates through time.”

In a recent interview, Coogler discussed the importance of blues and Irish folk music in *Sinners*, the impact of the film’s standout musical scenes, and why Remmick, the vampire antagonist, was one of the most personal characters he’s ever written—comparable in depth to Killmonger from *Black Panther*. Below is a condensed and edited version of our conversation:

Ryan Coogler: To the characters, blues music represents a full affirmation of their humanity. It exists alongside church music, which speaks to the soul, while blues speak to the body—the flesh and all that comes with it. This genre acknowledges pain, sexual desire, anger, and the complexities of human emotion. It’s a rebellion against oppressive conditions, a celebration of beauty amidst struggle, and a reflection of the complete human condition.

Church music often edits out the darker aspects of life, but blues doesn’t shy away from imperfections. It embraces flaws, admits to mistakes, and still finds room for redemption. In the juke joint—a safe haven—it allows people to be themselves without pretense. A space where they can express who they truly are, even if they must suppress those feelings elsewhere.

IGN: How do you see the vampire community in the film? They bring together diverse individuals, yet function more as a collective than separate entities. What message might that carry?

Ryan Coogler: I made this movie with my heart, just like with Killmonger in *Black Panther*. I wanted to give audiences something raw and authentic. Once the film releases, it belongs to the viewers, and whatever interpretations they draw are valid. For me, Remmick was a deeply personal character to write. I loved directing Jack O’Connell and exploring layers beneath the surface of this vampire leader.

I wanted him to start off appearing one way, only to reveal something completely different. The idea that he fears being seen as racist, yet identifies deeply with the humans around him, felt fresh and emotionally resonant. Watching his group evolve throughout the film added another dimension to the narrative.

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IGN: Two of the film’s most memorable moments are the large-scale musical sequences—one in the juke joint and the other from the vampires’ perspective. What inspired these scenes?

Ryan Coogler: Those are my favorite parts too. The entire film builds toward those moments, especially since the story revolves around fellowship and love. Without these scenes, the essence of the film wouldn’t fully land.

These gatherings represent acts of defiance against imperial oppression. Whether it’s the juke joint or the vampire dance, they’re expressions of identity and freedom. Seeing Remmick find his home among these people—and choosing to spend Saturday night there—was a driving force behind the storytelling.

This is for a modern, skeptical audience, so I wanted to recreate that sense of wonder I felt watching something groundbreaking for the first time—like seeing dinosaurs on screen in *Jurassic Park*. That’s the experience I aimed to deliver with *Sinners*.

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IGN: The juke joint sequence is visually stunning, particularly because it’s shot as a single continuous take. At what point did you decide to play with time in that scene?

Ryan Coogler: That came during the writing process, along with the realization that vampirism alone wasn’t enough. I needed additional supernatural elements to convey the emotional weight of the moment. Cinema is my language, so I wanted to use visual tools to capture that transcendent feeling when witnessing a virtuoso performance—where it feels like the performer leaves their body and the audience with them.

Juke joints emerged because people were denied joy and expression. Even though they lived under harsh realities, they found ways to celebrate and connect through music. The idea that someone could party with future generations through the power of sound became a core theme of the film.

IGN: Later in the film, we see a major musical set piece from the vampires’ perspective, using traditional Irish folk music. What inspired that choice?

Ryan Coogler: There’s a beautiful contrast in Irish folk music. Songs like “Rocky Road To Dublin” mix sorrow with energy, much like delta blues. Both genres stem from agricultural societies where people were forced to work the land but found strength and identity in their music.

That same contrast appears in how cultures handle hardship—whether it’s dancing at a funeral or hiding meaning in song lyrics. Remmick, the vampire, sees himself in these people despite their differences. He understands their struggles, and that connection drives the film’s emotional core. That’s what makes *Sinners* more than just a vampire movie—it’s a story about music, memory, and shared humanity.