As she says, “I was really clear about what I wanted and then I went for it.” Currently, I’m only clear on one thing: if 2018 was DaCosta’s golden year, then she’s now about to go platinum. While my eyes have been fixated on the ceiling, hers have been locked on the bag. “There’s not much I can say about that right now.”Īs our conversation draws to a close, I begin to get the feeling that DaCosta’s successes haven’t come as much of a surprise to her. She doesn’t sound as excited about the project as I’d expected when it’s brought up. It’s an important milestone for DaCosta and the Marvel Cinematic Universe, but the latter deserves far less credit.
again?” In 2020, news stories such as these reveal how long the gate has been closed to existing talent. The news filled me with joy initially, until I thought, “Wait, we’re celebrating a first. In August, it was announced that DaCosta will become Marvel’s “first black female director!” for the Captain Marvel sequel. “It really doesn’t matter what level you’re at, you’re always going to find those things.”
“Even on Candyman, there are some people I worked with who I could tell, if I wasn’t a young black woman, we wouldn’t be having these interactions.” It may sound vague, but I’m surprised by how specific DaCosta is, particularly about a film she’s currently promoting.
“I was absolutely always aware of how my race and gender affected how people treat me,” she says, starting to choose her words more carefully.
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