Interview: A Conversation With Director Darius Clark Monroe On 'Evolution of a Criminal'
Photo Credit: S & A

Interview: A Conversation With Director Darius Clark Monroe On 'Evolution of a Criminal'


There’s a really special scene in Darius Clark Monroe’s autobiographical

feature documentary Evolution of Criminal where his

stepfather explains how he fell in love with Clark’s mother right before they

share a kiss, smearing her red lipstick on both their lips. It is a pre-wedding

video shot on VHS. The footage is full of life, color, and of possibility. It

helps us enter the world of a loving family and the hard, economic trials that

they face; trials that a young Darius hopes to remedy by robbing a bank at age

16. These two things almost don’t add up- loving family and bank robbery- but

they do, and Monroe captures their evolution on film. Clark retraces the

events, moments, and social dynamics that led him to rob a bank, and explores

the lasting trauma it caused him, his family, and the people in the bank during

the robbery, as he takes responsibility for his actions, on camera.

Premiering at SXSW to packed theaters and

executive-produced by Spike Lee, the film recently won the Reva

and David Logan Grand Jury Award at the Full Frame Documentary

Film Festival in Durham, North Carolina. I caught up with Clark for an

in-depth conversation about the seven-year process of making the film, how it

felt like a “second sentence,” and the “electric” premiere at SXSW.

Shadow & Act: When did you decide you wanted to make a

film about this? What initially prompted you to begin retracing your actions in

this way?

Darius Clark Monroe: I was in my third year at NYU and

we were supposed to do a thesis film and I didn’t know what I wanted to do a

thesis film on. I went to the bank one day and I was standing in line and

looking out the window, when I saw some guy who looked like he was going to rob

the bank. I had an anxiety attack and I thought that this person was bringing

karma my way.

For some reason after my bank robbery, I always thought I was

going to be involved in a robbery for a pay-back sort of thing and as it

happened, the guy wasn’t a robber at all and that feeling I got freaked me out,

and I thought for the first time about the situation inside the bank and even

if those people weren’t harmed physically, I’m sure emotionally that experience

was something that was traumatic, and I really wanted to apologize.

So I called up my friend Daniel Patterson who

is also the DP of the movie, and told him I was thinking about doing this, and

he was like this sounds like a movie we should do. I started to think about

including my family, and in addition to the customers inside the bank, I would

also include myself and really try to go back and figure out how I evolved and

how this happened.

S&A: How did your family react when you told them

about the idea of the story, especially your mother because she plays such an

important part in the narrative?


DCM: You know, there wasn’t any resistance. I noticed some

apprehension. People were definitely trying to figure out what I was going to

do and ask. They knew I was coming for months, but I didn’t give them any

questions, and for a lot of the interviews, I didn’t have anything written


S&A: Wow, that’s so interesting.

DCM: When I interviewed myself, I definitely had to write down

what I was going to talk about but when talking to my family, it really was a

conversation. We were having a conversation and it’s rare that you can sit down

with people and ask them really detailed, intimate questions and my family knew

that I was also on tape so it wasn’t like I was going to step out and have them

do something that was really emotional and vulnerable. I was also going to be

telling my part of the story and my experience.

S&A: I also wonder about your decision to make a

documentary about this subject because I’ve seen your previous narrative work.

Why did you choose to make a documentary, rather than a narrative film about


DCM: A documentary is really like a new-age version of

hieroglyphics- there’s so much history and it’s like a time capsule, so I knew

in addition to doing this documentary about this topic, to have my family

history recorded was important. There were times when I was asking questions

about family history that had nothing to do with the documentary. When I talked

to my grandmother, I interviewed her for like six hours and for like two days

and only in a few of those hours, did she talk about the documentary.

Growing up, I had no reference for the black experience,

especially the black, southern working class experience- there’s none of that,

especially from the perspective of somebody who is black.

S&A: That’s interesting because I feel like the visual

style of your film has this nostalgic quality to it, especially with the

addition of the home video footage. Can you talk about your conversations with

DP Daniel Patterson and the look that you were going for with the film?

DCM: I shot on SD (standard definition) because at the time, it

was 2007 and everybody was still shooting on the DVX 100 and then the 100B came

out. After that, the lens adapters came out so we wanted to have them, and we

had access to the DVX camera and for financial reasons, we shot SD and we got a

Redrock Micro lens adapter. For the first portion of the documentary, I

was funding it with student loans so that effected the budget, and we shot it

on SD. It’s just different because it’s 2014 now and we’re taking SD and

blowing it up to 1080 and we were already shooting with the lens adapter and it

naturally created the nostalgia.

I didn’t know how to feel because I had that footage, I had the

VHS footage of the wedding, and all top of that I have some interviews that

were shot on 1080, and the reenactments are shot on RED Scarlet so the whole

film is like the evolution of technology. The feel and the tone are consistent

no matter what camera we’re using.

S&A: I could definitely see a passage of time, but

everything was linked visually. I also wanted to know about those reenactments.

Sometimes reenactments in documentaries get a bad rap because they can be

disjointed or poorly performed, but I was really into your reenactments and the

performances. What was the process of bringing them into the film and how was

it locating your past motivations during the robbery to direct your actors? 

DCM: At first I was struggling because I was looking for the

young, chubby actor to play me. (laughs.) And then one day I was just

talking to my friends and they were like, maybe you can get some people with

similar skin tones, similar height, but the thing that’s important is that they

nail the emotion and what it felt like and if they were able to give a good

performance then people wouldn’t be so caught up in the fact that he’s not 35

pounds heavier like Darius is in real life.

The short film reenactments were literally a collaboration

between people who have been working with me on short films, people I’ve been a

fan of, and a lot of the actors worked with people I know, so it was this

community of people coming together to get it done. I shipped most of the

actors the documentary to watch so they got to see who the real people were,

and the actress who played my mother made a stream recording of my mother’s

interviews and would just listen to it and walk around, so they were really

committed and I told them every time we met about the seriousness of the

subject matter and to me, it was a short film that I could bridge the interviews

together for the film because I felt that we were missing that.

When we shot that robbery, we all went in and we shot it a

couple times and it was very emotional and the actors were getting into it. I

would call action from the bathroom in the back so I couldn’t even see anything

until I watched playback but I could hear it, and it was tough.

S&A: I did feel like I was watching this short film- it

was two narratives linked together. There was a scene that showed the cold feet

that you and your friends had prior to going to the bank until a Tupac song

came on and helped get you guys riled up. I really connected to that part and

it also made me think of some pre- bank robbery scenes in Set It Off and A Place

Beyond The Pines, but then with your film you get this extended depth of

perspective and reflection. I was wondering when you where conceiving of this

film, were you aware of how it would reflect and give a more raw insight into

pop culture tropes that people see?

DCM: No. (laughs). And you know what, it took

me years to convince myself to do the reenactments. I was very much against

them because I just knew that if the reenactments didn’t work it would be

disrespectful to my family and disrespectful to the customers inside the bank,

and it would make a mockery of the seriousness, so I knew I wanted to make

something cinematic but I didn’t want to glamorize this.

I wanted it to look nice but I

didn’t want it to be shiny with glitter on top and I didn’t realize until the

edit that you could see those things and the teenage decision-making. A lot of

the stuff I could see when it was coming together- the pop culture tropes came

out, and I think some people in a weird way view it as a Robin Hood story

and I don’t agree with that. It was a serious crime. 

S&A: I appreciate how your film goes in-depth and you

really see how you’re struggling with what happened, and talking to the people

that were affected was really interesting. 

DCM: My mom didn’t believe me when I told her I think this was

harder than my incarceration. I was only locked up for three years and

I’ve been doing this film for seven years, twice as long as my jail time. It

felt like another sentence, and I couldn’t figure out when I was going to be

done. The time just kept going on and I was writing other stuff, and this film

was always in my head.

S&A: And we also see in the film- when you were

apologizing and speaking to some of the people in the bank during the robbery.

When and how did you decide you wanted to include those people, and how did it

feel when people didn’t want to be involved, or didn’t want to accept your


DCM: In terms of the edit, and how they were placed in the film,

I knew that I wanted Pastor Ned to be a part of the whole thing, and I wanted

the audience to experience it from both sides, and just the way it happened, he

was the only person who said yes, and he carries it. He’s the voice of all the

customers inside that bank. And we just so happened to have footage of the

gentleman who did not want me on his property and for me, I understand exactly.

When he told me get off his property, I respect that because I know if I had

not gone through this, had not gotten in trouble, and was a grown man and

someone had come to my door who had robbed my mother years ago, I don’t think I

would be so forgiving, so I think one of the things the film talks about is

forgiveness, and it’s difficult to have compassion especially when you hurt

that person.

S&A: Those parts were fascinating and I was also

holding my breath because we don’t know what they’re going to say.

DCM: It’s life happening right in front of you. We knew we were

not going to have these cameras in people’s faces, so we had to go out the car

window, I was mic’d up but there was no way we were going to have the cameras

in anybody’s face while I was apologizing. I struggled with that because I

didn’t want it be about the film but I knew I needed something, so I


S&A: I wondered if you kept this information

guarded while making the film or during school and how? Did you experience any

kind of catharsis or release by completing this film?

DCM: I wasn’t thinking every day that I’m a former bank robber.

I was in film school, I was busy and I wasn’t thinking I have this secret. It

wasn’t until I decided to do a documentary that I needed to say it out loud.

Mind you, of course some of my classmates knew- some knew the first semester

but as far as the faculty, the Dean and the Chair- did they need to know

everything ? I didn’t think so. It wasn’t like I was lying.

S&A: How did you start to work with Spike Lee on this


DCM: He’s the artistic director of my film program so in our

third year, you don’t have to take Spike’s class but you should take Spike’s

class. So, I sat down with Spike like I talked with everyone and I was telling

him what it was and left it on his desk, and he told me to come back, talk to

him and I came back for a second time and I asked Spike Lee to be interviewed

for the documentary, and he immediately shut me down and said no thank you and

I asked him to help produce and he said, I’ll do that and I was like, he

doesn’t mean that. So I went back home and emailed him and he said yeah, and

since then 2007 when we went down to Houston to shoot, Spike would call us, say

how’s it going, and he would keep up with it.

Spike likes to get stuff done so for him, for me to take seven

years, that’s too long. He did the Katrina doc in one year and he was like,

what’s taking you so long? And I knew he was going to ask me about the doc, and

I had to talk about it so I would say that Spike kept on for the seven years

and helped us finish it.

S&A: What do you see for the life of this film? What

was your experience at SXSW screening it, and where do you see it going- do you

want to bring it to schools or the theatrical route?

DCM: I think it would do fine theatrically, I think it would do

incredibly well on TV, incredibly well on Netflix. It’s an interesting film

because I went to SXSW and the movie is about the black experience with

universal themes. There definitely is a singular experience for the black,

working class family living paycheck to paycheck and trying to survive and at

SXSW, the audiences are mostly white and those people stayed and it was sold

out. Those people had an experience. Those people came into the lobby and

talked to me. It’s a film about black life, but it’s universal.

So, in addition to going those routes, I definitely want to

screen the film in schools- in middle schools, high schools, and I definitely

want to go to juvenile halls and prisons and I definitely want to let

Prosecutors see it and Defense Attorneys to see it and just experience it. It

would be difficult for me to go through this process and not be for juvenile

justice. And, winning the Reva and David Logan Grand Jury Award at

Full Frame really blew me away.

My SXSW premiere was electric. My grandmother said a prayer and

Spike did a great intro, Ya’Ke Smith did a great Q&A and

Pastor Ned came up, my father, my aunts, and my mother were there and Tre, one

of the guys from the bank robbery was there and Spike had my grandmother bless

the beginning before the screening, so I’m sure some of the industry people

were like, What? My grandmother took the microphone and it was

just overwhelming. I felt like I was on a drug.

S&A: What’s next for you?

DCM: I’ve been working on a script for three years and it

won the Best Screenplay at Urbanworld Film Festival. I

was at the Screenwriters Colony in Nantucket for it for a

whole month, so I’m ready. It’s called Year of Our Lord and

it’s about a black couple and their son who may or may not be the second coming

of Christ. It’s a dramatic, R-rated thriller that delves into religion, media,

parental relationships and all the stuff I’m obsessed with.


Darius Clark Monroe and the film on Twitter @daclamo and @evolutiondoc.




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