“My name is George Tillman Jr., and I am the director of “The Hate U Give.” We always called this scene “the talk.” The scene was actually in the middle of the book, but we decided very early on to move it at the top of the film. What I love about this scene is, outside, you see a normal neighborhood, with a lot of playing. It feels like a Saturday afternoon. But I cinematically wanted to move slowly towards this house, to really show that, while everyone is having a good time playing, there’s important business being done with the Carter family. The first guy we see is Mav Carter. You see a guy who got braids, and he got a tattoo, so your assumption is that this guy is a gang member and he’s up to no good. But as the scene sort of progressed, I love turning the scene on its head and seeing that he’s not who you think he is.” “Now, one day, you’re all going to be with me, and you best bet we gonna get pulled over.” He’s a guy who’s a father, a husband, and he’s talking about something that’s a very serious issue, that he’s telling them to put their hands on the table. “You’re going to see me with my hands like this.” What I love about this scene is that this feels like a normal conversation like somebody would have about the birds and the bees with their children. But this is a scene that’s very normal in a lot of African-American families across the country, which is, how you keep your kids safe. How do you get them to understand how to act around police officers? It’s all about a father protecting his family. “It can get real dangerous, so don’t argue with them. But keep — “ The rehearsal for the scene was very important. It started off by rehearsing a scene with Lamar Johnson, who plays Seven, and Amandla Stenberg, who plays Starr. They rehearsed the scene, but they are not actually in the scene, but I only rehearsed it with them so they could have it as a backstory for them, moving forward, for the rest of the film. “Now, just because we got to deal with this mess, don’t you ever forget that being black is an honor, because you come from greatness.” But the young kids who played the scene in the film, I didn’t rehearse with them. I wanted them to be on camera for the first time experiencing that. So what we do — we’re seeing three different kinds of dynamics in this scene, is understanding the subtext of what an African-American family go through in the inner city. We’re seeing a father figure who is very present in the household. And we’re seeing a relationship that shows a loving relationship between a husband and wife. Even though they have disagreements, we still see a love. “You understand?”