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

While Ryan Coogler’s *Sinners* may appear on the surface to be a traditional vampire horror film, its true cinematic originality lies in how it vividly captures a specific time and place—Mississippi in the 1930s—while using the blues as a narrative lens. This genre of music, once condemned by preachers as “the devil’s music,” becomes central to exploring the lives of the film’s largely African-American characters, with Michael B. Jordan portraying twin brothers Smoke and Stack.

As Eric Goldman noted in his glowing Sinners review for IGN, “music flows through the veins” of the film. Sammie (Miles Caton) and Delta Slim (Delroy Lindo), a respected local musician, are hired to perform at Smoke and Stack’s establishment, anchoring the story in authentic musical tradition. Coogler uses this as more than just background ambiance—it becomes a thematic pillar that connects generations and communities. The vampires, led by Remmick (Jack O’Connell), offer an intriguing parallel to this musical motif, as Irish folk traditions begin to weave into the narrative in increasingly profound ways.

Coogler masterfully contrasts two musical legacies—the African-American blues and Irish folk—to reflect the shared histories of oppression between humans and vampires. Both forms of music serve not only as cultural expressions but also as acts of resistance against colonial forces. Each receives standout set pieces throughout the film, reinforcing what Goldman describes as *Sinners* being “musical adjacent.” These scenes immerse the audience in a sensory journey, showing how music echoes across time and immortalizes those who create it.

In a recent interview, I spoke with Ryan Coogler about the role of music in *Sinners*, the emotional depth behind its characters, and why Remmick is one of the most personal antagonists he’s ever written—drawing comparisons to Killmonger from *Black Panther*. Below is our edited conversation for clarity:

Ryan Coogler: To me, blues music is an affirmation of full humanity. It exists alongside church music, yet speaks to both soul and body. Blues acknowledges pain, desire, anger, and all aspects of human emotion without censorship. While church music might filter out the rawness of life, blues embraces every flaw and strength. It’s a rebellion against historical oppression and a celebration of beauty forged through struggle. In the juke joint, people find a space where they can be fully themselves—a rare freedom when the outside world denies it.

IGN: What’s your take on the vampire community? They unite people of different backgrounds, yet function as a collective rather than individuals. There’s clearly a deeper meaning there.

Ryan Coogler: I wanted this film to belong to the audience. Once it's released, it’s no longer mine or the team’s—it’s for viewers to interpret however they feel. But personally, Remmick is a character I connected with deeply while writing. He was unlike any antagonist I’ve worked with before. I loved crafting his complexity—how he appears one way but reveals something entirely different. His rejection of racial divisions and identification with the Black community felt especially powerful. That dynamic made him incredibly compelling to bring to life.

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IGN: Two of my favorite moments in the film are the large musical sequences—one in the juke joint and another from the vampires' perspective. How did those come together?

Ryan Coogler: Those scenes are the heartbeat of the movie. Without them, the themes of fellowship and love wouldn’t land the way they need to. These are people whose lives were shaped by oppressive systems—and yet, they found joy and expression through music. Whether it’s the blues or Irish step dancing, both were born from restrictions. The rigidity of Irish dance, for example, came from being forbidden. So when Remmick arrives in Clarksdale in 1932, the question becomes—who does he identify with? Where does he want to spend Saturday night? Answering that fueled everything creatively.

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IGN: The juke joint sequence is shot as a single continuous take. When did you decide to play with time visually in that scene?

Ryan Coogler: That idea came during the writing process. Vampirism alone wasn’t enough—I needed something more supernatural. Through cinema, I wanted to show what it feels like to witness a transcendent performance. People often describe such experiences in explosive terms—"they tore the house down," "blew me away"—but words fall short. As a filmmaker, it’s my job to translate that feeling using the tools we have. Juke joints formed because people were denied joy, yet they still found a way to celebrate. And maybe, just maybe, their music could allow them to party with future generations.

IGN: Later in the film, we see a major musical sequence from the vampires’ perspective, centered around traditional Irish folk music. Can you elaborate on that choice?

Ryan Coogler: Irish folk music has this beautiful contrast within it. Take “Rocky Road to Dublin”—it’s a heartbreaking story delivered with energy and vigor. It’s like telling a ghost story while dancing. That duality mirrors delta blues perfectly. Both cultures endured hardship, agricultural labor, and systemic poverty. Yet, they expressed resilience through song and dance. At a funeral, we cry—but we also dance. That’s a sentiment that resonates across African and Irish traditions. Music becomes a secret language, hidden in plain sight. And for Remmick, a vampire who defies appearances, finding kinship with people who don’t look like him becomes the core of the film’s message.