Clark Johnson, the film's DIRECTOR, recalls vividly from his youth "the 'colored water fountain;' and the 'white water fountain,' so it's important to also reach those younger people who aren't familiar with that time -- we want to take them there. We wanted to dig into it and show them what it was like. We wanted people to listen in on the meetings, hear the conversations, feel what it was like to step off the curb -- to see how they worked through the struggles."

This desire to place the younger generations of today inside the event itself is what inspired Johnson to shoot Boycott in a montage style. "Boycott utilizes different techniques to tell a complete story, shot in a stylized 'documentary within a feature film framework'," said Johnson. "There are many different perspectives in any issue, and the film represents that by allowing the viewer to observe the process from the inside and hear directly from the people involved."

Shelby Stone, the film's EXECUTIVE PRODUCER, connected with the personal aspect of this film and the characters in it. "By seeing the hardships that King went through, we see how human he is," observed Ms. Stone. "He loses his temper, he doubts himself, he has fear, he makes mistakes, but he keeps learning. When he triumphs, we realize that all of us can aspire to his greatness. That's the tremendous message of Boycott." One of the great challenges of the production was the casting. "We were not casting look-alikes," noted Stone. "It was more important to get great actors who could capture the spirit of these people, because they are highly revered icons of our culture."

Preston Holmes, the film's PRODUCER, was astonished with the real life characters that the actors portray in this film. "What really impresses me is how young they were -- Martin was 26 and Fred Gray was only 22," he observed. "A movement of this size really hadn't been done before, not on this scale and not for this length of time. It's a real accomplishment and perhaps young people can learn from that."

Charles Bennett, the film's PRODUCTION DESIGNER, spent countless hours of research and employed painstaking attention to detail in recreating 1950's Montgomery. "Because I had done previous films in Montgomery, I knew quite a few people there. They gave us access to their pictures and resources so that we could further study the period and replicate certain things. Everything had to make a complete picture of the time -- from the wallpapers to the fabrics in the sofas, from the great halls of the churches to city structures. We wanted to capture the texture and nuances of the real houses. I have a great love for the period -- my hobby is researching the political and social background of the South, and studying the way people lived, and what it says about them."

David Hennings, the film's DIRECTOR OF PHOTOGRAPHY employed an innovative, flexible, technique called Digital Intermediate, by IDI/Stargate, which has only been used for a handful of films to date, and never before to this extent. It gives Boycott it's signature look by combining different styles, and allows the viewer to move among different perspectives. "Essentially, the process allowed us to digitally hand-paint the whole movie, all 170,000 frames," said Hennings.

The five different styles of Boycott are: the "conventional feature film" look; the "docu-feature" segments, used to show behind the scenes action, which gives the viewer a feeling of being right there as it happens with a moving camera; the "stock footage" look, employing actual stock footage from the '50s, as well as digitally treated film that mimics grainy stock footage of the day; the "newsreel" style footage, which could be shot by a crew covering a news event; and the "home movie" look, capturing a personal side of the King family that could not be conveyed any other way.

Hennings felt that the potential of the digital process can be limitless, compared to the traditional style of finishing film in a lab, where only four basic alterations -- density, brightness, color and contrast -- can be made. "The entire process of meticulously cutting and gluing the film together is eliminated, and, with the touch of a button, you can make a change that would take a week to do the traditional way," he explained. "Also, the traditional process is expensive. Thanks to the new process, we were able to scan our film in standard high-def resolution and then edit it, so we achieved the same look of more expensive and lengthy processes."

Jeffrey Wright, who portrayed DR. MARTIN LUTHER KING JR. in the film, admitted to being intimidated about playing M.L. King, Jr., noting, "He was an American hero in the classic sense, a man of the people, and he was revolutionary the way he inspired this incredible democratic action. It represents the best of what America alleges. The weight that he carried on his shoulders was overwhelming." Wright also felt that showing how the young and inexperienced minister struggled with the boycott allows the human side of this heroic man to emerge. "Then all of us bring about change the way he did," said Wright.