Get Out - Script to Screen

[Music] so welcome i'm at ryan policy of director hostess script to screen tonight we're celebrating script screen get out has been nominated for four Oscars best actor daniel Kula and three for our guest today jordan field best picture director and and i think the most important original screenplays it's risk screenwriting show okay so before we start I just want to get the controversy out of the way one bit of controversy do you feel snubbed because you didn't get a Best Documentary Feature it's real life yes no III do not feel snob I feel very you know this is like this is the craziest dream come true these nominations you know the genre of the movie and the confusion over what to call it is kind of it's kind of cool to me you know I love I set out to make a movie that we've never seen before so III think that you know our our there's a very human need to categorize things you know I think it's it's something that makes us sort of stand out from the rest of the animal kingdom and in good ways but also very bad ways and so the fact that this movie itself is about categorization that we do I find it kind of like you know twisted and a little funny that we're having a hard time categorizing the movie so I think it's one of the reasons people because there was a phenomenal success horror films Jersey do not gross hundreds of millions of dollars there's one of you to keep going back to see it over and over again or subtly they don't feel like they don't know how to categorize it yeah well that's that's cool I you know I've there's there are I do think the repeat viewing of the movie is the thing that sort of sent the box-office into that of their stratosphere and I couldn't be more pleased it's you know I've I really was trying to sew layers into it that I imagined you know 20 years in the future somebody would go you know that movie get out it's got some interesting stuff going on yeah you should look I'm gonna write something about that so the fact that that caught on instantly the those Easter eggs and the I think the rewatch ability I think you know I want I wanted to make a movie that didn't rely on a twist but has many reveals to it and I think I think that's another thing that that happens is it's it's fun to take somebody who hasn't seen the movie what you know watch it with and basically watch them watch it I think that's like did you do a lot of that at the beginning what came out oh my theater and yeah yeah yeah I'm just I'm tuned into the audience but does it really because the audience horror film has a really special relation of the audience because it is so emotional and visceral and you know the bodily reactions when writing a script did you imagine the audience reactions in your scene was that part of the process for you yeah yeah yeah yeah I mean I'm so I'm from you know comedy and when you do enough live comedy you just get into this you're in a zone where you're trying to get the whole audience to react and you're trying to sort of surf the emotion and the press where where the moment is taking the audience you're trying to be very conscious of that so that's my that's my pedigree basically that's what what is I I have an audience in my head that I was like my best guess of how this will work for writing a joke on Key & Peele I can sort of hear if it works or not sometimes I'm wrong but I've got a pretty good gauge and then so that moving into this this horror genre it was the same same thing you know it's it's you just have to be very conscious of what the audience knows what the audience feels what the audience thinks is going to happen you know those things at every point it's what any of our films influenced you especially yeah the the big ones were Rosemary's Baby and and The Stepford Wives among among others but you know those the those were stories written by Ira Levin who is a you know really brilliant novelist and and has written many screenplays and and his technique of inching us towards this in his inevitable horrific reveal but not moving so fast that you don't understand why the lead character is staying in the the this the scene you know I mean this whole movie was made to address the the black need for characters in horror movies to do the right thing to avoid danger I don't know if you ever watched a horrible in a black neighborhood but it gets laughs get out the house you know call the cops no don't walk backwards and so I wanted to make a movie that was for that audience and and I knew I had to if I was gonna have a black protagonist in this movie it the characters actions have to pass the the african-american smell test you know it has to or else you're just done and so what I realized was what Ira Levin did with Rosemary's Baby and the Stepford Wives as he moved these these very social thrillers and he build them so subtly that the main character couldn't quite tell if something really dark and horrendous was happening or if this was just garden-variety average social weirdness and that's what kept keeps them in the character so you know I think with what one of the things we achieved with Chris is like we understand why he's there even if we want him to even want him to leave we get it yeah did you have to balance that because we know you don't want to diminish the intelligence because we should get out so is that something early on the drafts with Chris you had to focus on to make sure he was smart enough to you know not be that character well it's it's the I think what ruins a lot of horror movies is it's hard to write a care a whole movie where the lead character does the right thing because as soon as it gets scary leave is the right thing and then all of a sudden you're paying for another set you don't have the money for another set you don't have a you got to bring the monster over so there's there's a it's it's a very it's a difficult thing and you know there's this you know some some classic so I got Eddie Murphy bit I don't know if you guys remember I think from maybe delirious but and Richard Pryor did some material on this too but this idea of like if if black people were in you know the leaves of a horror movie it would go very differently and the example Eddie Murphy uses is like this sort of Amityville Horror setup where you know white family goes into a house and here's get out and it's like what do we do what do we do or something black black family you know goes in the same house oh nice chandeliers I like it this is a kid ah too bad we can't be a short movie so you know this extra sort of you know I I think the reason this movie you know sort of resonated so much is it turns out everybody you know whatever whatever race you are everybody wants the main character to do the smart thing and there's there's just a tradition that's of horror that gets a little bit lazy on that but for you it's interesting cuz most horror films go the route where the the the the woman is the victim hero and traumatize you decide to flip the convention make the male actually have a traumatic experience was so did always land on that or do you consider other options going for the woman character or something else you know what there was a draft or an almost draft in fact it probably wasn't even a draft was probably a outline somewhere in the outline process which the outline took me very long I explored so many angles and there was a point where I was exploring what if Jeremy the brother of the the Armitage family also brought home a brought home a black woman and that that would be a moment where Chris is like okay what's going on here you know they're both you know why both siblings you know are bringing home black people it's like just one more kind of and and that that thing ended up turning into the georgina plotline interesting so all right so what did you see I mean you have an african-american experience male experience as you lead protagonist what did you see in Daniel because he's actually from Britain was there any reservations about bringing a British actor into it maybe wouldn't understand the experience as well or yeah I mean there were there were slight you know he never got out of my reel number one spot but I had seen him in this show black mirror where he does he does the full range of emotion that I needed and it's this beautiful performance so I I called I got in a Skype with him and you know he was you know we talked about this very thing I was very upfront I was like what so I this is a this is the african-american experience I'm trying to portray here I'm a little worried that you know I don't know what your experience is it was like yo yo let me tell you something let me tell you something this is this is a movie my friends and I've been asking for forever this I have to do and he totally got it you know and he said one thing he said that really just sort of ended that part of the conversation for me was he was like look black is black you know look I've you know being black operating in white spaces is what it is I've recognized all these moments and he's like you know for I've the further thing of in in Britain I'm African I'm African I'm extra outsider you know and I very quickly I was like okay this he knows he knows this world he knows the emotion that I put into this movie now we talked to Allison William in rows I mean acts 1 and 2 the audience completely buys that she's on his side he's the great thing with the cops like standing up for the raise and then of course you know the complete flip when she turns evil and eating Froot Loops and stalking people online - I'm having the time of my life we also buy that like the switch when you want us to what did you see in Allison made you think she could play all of that so perfectly you know she's she's just a she's extremely naturalistic performer as I had seen on in Marnie on girls you know she's she just she feels like a very real person which to me that was that that the first part of the the movie the first you know the first rose that we meet just had to feel real and she had to feel she had to feel like the person you would cast if this was a movie about an interracial love story that was going to conquer all in the face of whatever horror is coming like we really had to feel that now when I saw her in Peter Pan right and there's something about like it's so I knew she was like musical theater there's something about musical theater people that's like there's a psychopath in there I started a musical theater so I know but there's like there's you know there's a precision to it and there's a this weird like seeing ambition to it and you know it's it's it's so I sort of knew that other part was in there as well and when we started talking about it we were just talking about in very precise ways because of course this character it's like ever the movie depends on us not figuring this character out which ended up being much more probably the hardest part of this movie you don't want to give away too much cuz then when I was evil at the same time you want us to look back and say oh yeah I can kind of see that yeah and by the way the you know we've got this character who's bringing him into harm's way and it's her family so the clues are there and it became that's why it will became extremely difficult the you know too intense to not suspect well maybe she's in on it she's bringing them there it's almost impossible and so what it became about for me was people will suspect that I give the audience benefit of the doubt they will go there they're going everywhere how do I take them back from that point and convince them but nah that's not this movie Belle this movie would never do it and so you know there was a couple of scenes that in the original script I had you know after Jeremy the brother is like trying to put Chris in a headlock downstairs we go upstairs and there's a scene between Chris and Rose and in the original script it was Chris was like see I told you this is not what I was experiencing and she was kind of like pacifying him she was like look no I know my look my family I see it now they're a little bit clumsy and they're a little bit like say the wrong thing but they really mean well and just give us a chance to do this for me baby and watching them in rehearsal I was like oh no I'm on to her right like the audience is feeling Chris what Chris is feeling which is like get out get out get out get out and for her to be the one that's you know taking away those arguments was just too much so we flipped it and that's where her sort of awoken Inge you know kind of came from which by the way actually plays more realistic and has a sort of realistic merit where she's the one who's like she's dating this black guy and she's seeing for the first time racism and it's my dad said my man what the my brother was he was about to strangle you he's never done that like what she's having this crisis and he's the one that's like actually it's this is kind of like normal races home I'm cool with it I like I didn't want to get shot but I can handle this this is this is a so all of a sudden now she is sort of representing what the audience is feeling but we're also at the same time going hmm but you don't know what you really what you're talking about and but she's definitely not trying to keep him there she's not trying to pacify him she's if anything she's trying to work him up and he's the one that said so that little flip and a couple of times really was also set up well because early in the movie we buy that she's actually comfortable he's not he had she had to convince him to go in the first place right so setup well good now okay now there you know a little clueless but they're still in love that's right yeah and and and the other thing that really worked in my favor is that there's this trope of the white Savior in movies about race and so you know what turned out is I think the audience instinctively knows even if they're not thinking about it consciously it's like there are no movies where there's not at least one good white person to give us like to give white people that out it just doesn't exist it's part of the the sort of comforting of this piece of black experience I wanted to make some mischief with this thing so that it felt important to me that this the you know ultimately I could use the history of film to help disguise my twist and ultimately have this reveal which is like there are some places you can go where there's an all white people are evil it does exist he's never been a film about it but there is man well speaking of whistie because i found an interesting on the tour you throw in the subplot of the grand paul losing of Jesse Owens which ties in later to eugenics and you know the whole thing did you how do you want to play with that convention this that subplot of the new German Nazi fascism well yeah I wanted the you know I went to the the Nazism sort of angle and this grudge that his grandfather had from Jesse Owens just to sort of bake in a certain motive or feeling like wait you're talking about Nazis now what do we what are we doing but but yes the real thing was that that character Roman Armitage upon being beaten in the qualifying round for the Olympics went mad and he's part of the secret society and he's the one who began working with this theory that the black physicality is is an unfair match that you know we have you know white people have the determination and the intelligence and the and the internal ability black people have this unfair body that's that's the only reason I could be beat by Jesse Owen so that's where you know he's the patriarch of the family that's kind of where that whole thing comes from of course that's why the groundskeeper is always running is he's trying to beat Jesse Owens his time yeah I also find but one of the first characters of resolution is Walter in Georgina because you are sensing they're not talking normal how do you go about directing actors who are being kind of hijacked by someone else's like you know I I really nailed it with casting first of all or I should say we we nailed it with casting common thank you yeah they're these those characters were so important to the the movie and yet I didn't going into the the auditioning process have the clearest sense of what they needed to be so Marcus and Betty brought so much just by being them and Marcus's take on the Roman role was this you know where it was I had at some point thought of you know thought of it very step forward Stepford Wives Ian or whatever you want to say I had thought of it you know is it like are they kind of like lobotomized or that well Marcus came in and his performance was so crisp and vibrant and it had this feeling like you were talking to you know Walt Disney himself and it just I hadn't I'd never seen anything like that it scared me it put me off balance and so he he snagged it with that audition Betty and Betty came in and has this quality of her where you know she can do this character that feels like yeah there could be an old white lady in there first of all and then and then when you know when we got to her scene it was really it was just like watching just an absolute master work she she came she did she did the scene it was just you know perfect I was like wow that's you pretty much got it you want to do another one just so we you know do know she does another one it gets a little bit better way okay great all right well let's the you know dial up the crazy a little bit you know this is this is a scene where like it had to be the scariest scene in the movie this far and on paper it's really a conversation so I'm just basically telling her give me a little bit more crazy give me a little bit more crazy like it's get me more knows give me more and we did it 11 times and I was like well this we could do this all day because it just keeps getting better and so we got it I was like unless you want one more she goes give me one more we did and that's the one that's in there so let's go to the sunken place how difficult was writing that scene it was that writing that scene was a little of everything it was it was did I it was at the point of the scene imagine getting to this point in the scene not knowing what needed all I knew just like that other scene all I knew was that I had have I've had the audience waiting for 35 minutes for me to tell them what's going on and this was an opera to be scary it needed to tell tell them look you've you've been waiting for a reason this is scary so I went to this this idea of like you know what's worse what's what's worse than death and of course this this feeling of being trapped in your own body for you know eternity or having having no agency having no voice not being able to and I had always felt like you know when you when you're about to fall fall asleep and you feel like you're falling but you so you wake up and catch yourself I always thought to myself what if you didn't catch yourself what if you didn't wake up where would you fall to and that was sort of bubbling under as well as as kind of the scariest idea so when I got to writing this scene you know it came out very instinctively in terms of my my worst fears and and and sort of imagery I felt like was beautiful and cinematic and it wasn't until I sort of completed that scene that I really started noticing the parallels to the prison industrial complex and and the fact that you know black men are essentially abducted at a completely disproportional rate and then sort of tossed away and not just tossed away but neglected forgotten about by society by myself you know I got to this point in the script without you know really thinking about that and I started thinking about the of being black in a movie theater and not having our not not not having our voice represented not having our skin our sort of idea you yell at the screen you know don't walk backwards my and they you know they still do and so the connection of this lack of agency this this connection between the lack of voices and so at that point I realized this sunken place was this symbol for the system that keeps us down you know I originally felt like it was black people but I feel I've had many people women many people of different all different races tell me they felt that so I you know I want to honor that now that this is a feeling of the voiceless the feeling of having your your power taken away and so I wrote this scene and I I just started crying at the end of the scene what up until this point had been at such a fun process and it was still fun but it's emotion poured out and I was the process breaking we daniel on set because he does everything paralyzed all in his face yeah his eyes how did you work with him on that team well that you know the you know he of course the the iconic shot where he you know you know just his frozen it's just you know it's a beautiful sort of mask he puts on the the moment the moments that really impressed me of his work in that scene were them the scene leading up to it you know so he's you know he comes in and you know Missy who we know has this hypnosis trick that the audience is like [Music] hypnosis and and he comes in and I need that like I said I need that black audience to stay with us so you know he can't he can't just come in yeah sure let's do hypnosis you know that doesn't work so for him to but we understand why he would come in to his potential future in-law you know her her little chamber and everything so his his guard was completely up the way our guard in the audience was were completely up and the trick for me was I needed as a director I needed to hypnotize Dan Chris and the audience before they knew it was happening that's where the teacup comes in right she's just with the teacup and she's talking about you know they're talking about pocket watches and that's not you know yeah it's a thing but whatever and then before we know it we sort of realized oh it's already happened I can't I can no longer judge him because I missed it so that's with Daniel we were talking very much about this guard he was putting up and how that becomes stripped away and he did he he he he accessed that real dark place of not showing up for you know the character not showing up for his mother when his mother died and it's well what's a little talk about Catherine Keener because how did he work with her because or how evil do you maker in that scene was there any kind of wrestling of how far you'd push Missy's character in that point yeah you know we it was very she when we got hypnotized for for this role to see what it was like to see and she had it recorded and so we watched that together we talked about it and to hypnotize there's a real you really need to be able to put somebody at ease but to put the subject at ease you have to there needs to be a certain calm and a certain just an emotional I don't know relationship so it was important for us that Missy was the character that was kind of the most comforting even though she's not but she's she's listening to him she's feeling what he's he's telling her what he's showing her and she got pretty emotional several times with him because she was kind of going you know I think Kathryn was forgetting that she was you know the villain in a certain way you know for many of the takes and it was very it was very helpful because it you know much like an actual therapist relationship or an ideal therapist relationship the helped Daniel open up and there was a couple of these takes that at the end of it catherine was crying with with Chris or Daniel and then it wasn't you know but I I was like you know I needed that dark take too I needed that take where she reached the the rug out of this person we're kind of trusting she helps him get to this thing and then she goes you know sink into the floor and it's it's just this turn that gets us so I let her do the emotional one the whole the whole day and then at the end I said you gotta give me one with the evil version and that's you know where it goes at the end now we're at the party scene action scene what would the talent wrecking that scene how much would you leave as a floor of like him interacting with the different people that are considering his body not a lot on the floor you mean like the cutting room floor yeah yeah there's not a lot that's cut from that scene those scenes there might there might be a little there's probably a little bit but the hardest part of directing those scenes were you know those were the first times I had directed that many people with you know the background actors and the the other actors and it was it's just it's just chaos you know when you have to do something like that so it was it was very tough but I was I was very fortunate to just have have found these perfect actors for I think from maybe Atlanta maybe some from New Orleans a couple of Alabama natives we were in we were in Alabama but yeah it was logistical was the the hard part there I was interesting the way they just had a collective evil like each character was part of one evil plan so as I said did you work with each actor like how much different aspect they would take of you know protein Chris no you know these were all performances that you know I saw the the tapes the audition tapes and they're all performances where I was like got it got the role there was not a whole lot of digging deep with those things I really had to spend more time with Daniel and Alison to make sure that their reactions to what they were saying were making sense to the audience that Daniel you know Daniel has to get Aang they both have to get angry enough that we sort of like them that they're seeing what we're seeing but they can't get so angry that you know it's it releases all the tension and it becomes a it's uh you know we have to save that release till the end of the movie and now of course we have andre the de pivotal moment of that scene how did you work with him because did you approach them differently than Walter you know including or did you kind of because he is the one that really finally gets Chris like I gotta get out of here yeah I you know he I think I had already worked with with Marcus and Betty for a while before the Keith came in to do his role and Yallah Keith it wasn't as an interesting one because he's so he's so cool and I however like if I dressed him I tried to dress him in like the squarish world and he looked even cooler I was like how does that work that's like you're making a chilled choice so really the the the hardest part with like Heath was getting us like you know this guy can't be cool this guy can't be cool yet we have to find something and we we ended up finding this this sort of glaze you know this glazed over we kind of went a little bit more step Stepford Wives with him to find it and he you know found this Logan character I think is so funny his portrayal of this character but also likitha is a guy who has a very you know he he you know unlike you know what I said about Marcus and Betty like where he doesn't have that readily available old white guy that you can see in there and and because we meet him in the beginning and meet him walking down the street you know I knew I needed that part to be sort of just an authentic dude and then when we see him later in the party it to feel like mm-hmm this is wrong this guy's cool I know this guy's cool you know the other ones I didn't meet so they could be they who they are but this guy I know he's cool um so that's kind of how we talked about it all right so you haven't had it I want a 45-minute well horror film that's really getting under our skin so you need a little release so now comes a rod yes so how did you approach his character because of trying to break all this tension I it was it was just that you know I certain mount into writing a draft or an outline or something I realized like look we're at this point in the movie you know the point when they they make the fur the the second call the call from roses parents house it's like look I've I'm putting this audience through this such an uncomfortable stressful experience they need a release they need a relief like you said so he you know he came in when his audition was kind of imperfect like he didn't like you kept the lines you know and it was but it doesn't matter at all it did not matter at all and and because you could just tell it was one of those situations I didn't know I was writing it for him but then when he came in like that's the dude that's the dude I was picturing so for him he would you know he came in and like I said he did his pieces in isolation like we only had him for two days and he was you know some of the lines you know as I would write them and he be and he would get you would get like caught up in the script a little bit and then as soon as I was like well you know what like look let's you know how would you say this line he would sort of open up and he's a stand-up so this was a situation where you know I I really ultimately asked him to approach the scene from a stand-up perspective he's going on these little mini ramps he's talking about these crazy theories he has these crazy ideas and different and you know that's where he rolls and it's just like you know it just feels like your best friend all right so now you have the really the big climax the fight scenes you have you know the starting with Chris cotton in as a year is killing Dean Missy you know fighting Jeremy what challenger do you have in that whole sequence cuz it's only a couple of minutes but it's really tight well we have very little time to shoot it so that was the the first big challenge and and I'm so happy with the way it turned out I mean you know every I think a great action sequence it's it's basically this series of a victory and a setback and then a victory and a setback and to be able to change up the type of victory and the type of setback so that it's not you know I'm not I'm not into I was booked my stunt coordinator it was mark van Oslo was a you know just great stunt coordinator he but I was talked to him about like this is an action movie action that's not what I do like I'm I'm into a horror movie action and what that means to me is it's brutal its sloppy its off-balance it's improvisational the the energy changes and but but but also that I'm I don't want to I don't need to see it all the most of the most powerful violence to me is the the violence you don't actually see that the audience does in their head you know the moment where he stomps Jeremy's head and kills Jeremy it's like the most brutal moment and the thing we don't see I know there's no prosthetic there's no blood in that scene it's it's a guy you know it's Chris is stomping a you know a pillow and you know Jeremy's moving his legs and that kind of thing so that's the sort of philosophy I went to is is you know if you if you put too much gore if you show too many if you show a knife going in you're sort of taking away from the brutality and the audience's involvement in a way it's also good news of good sound yeah you can certainly - you you sound you have the sound of the drill with the brain we actually heard it more than saw it and that so how did you work with your sound designer to create kind of easier eek well we were just you know the sound was we I just feel like sound is 50% of the experience you know we sit there we watch and we listen to a movie so you have to put in as much energy into the aural experience as you do the visual you know we went we went and just beat by beat and we we had we you know my Foley guy got some great sound design you know and and then [Music] yeah it was it was it was it was very similar to the the the visual editing process just beat by beat you know does this work or doesn't doesn't it work so now we're at the end so what did you always want to circle back to Chris's guilt about his mom when he hits a grandma was that always the intention or that's a good question I I don't I don't remember if that was a fix so you know the party's talking about he hits he hit G no leisure in the site and the road and I know I knew that I wanted I don't remember but I do know that when we got to I knew that that was going to be one of the moments where the audience is like no no you do not go back for that we know that's not her that's not and and so I knew I you know I I needed that to happen I needed this scene to you know the setbacks in the I needed to play this moment so I was a question while we were shooting it I definitely while we were shooting it it's like look this is not gonna this won't work for the audience unless Chris is also like us going no no you know and he does he sort of when he voices that I always listen to that moment cuz the audience starts going like uh-uh he starts going no no they're like yeah no no but then I believe it was an editing phase I decided that I needed to connect the dots for the audience that one last thing show him as a kid and show the shot of Georgina one last time with the tear coming down her face to sort of signify this connection of like if he doesn't get her now he's his he's never gonna beat his demon and and and that what by seeing her face in that tear we are reminded but she is in there somewhere but she is in there so when those two shots happen like like clockwork you know I would watch this audience the the audience go no no yeah okay no no and then understand why he's doing it I understand why he's doing it and that's kind of the process of that so then did you wrestle with the halberd lien any would be or the levels of the violence or the end or did you kind of always settle under ending well I had several endings several endings in several stages of the the script writing process one of them was a little bit more Stepford Wives Rosemary's Baby where it was it took place in a gated community at that point and rod like three you know Chris is trying to get out and you know at the very end he sort of comes up against you know some final force or something and we go out we don't see what happens to him and then it cuts to like three months later and we see rod is breaking into the gated community he's walking down this sort of Main Street of the gated community he sees Chris looking in this mirror in the window as a reflection and rod goes Chris and Chris turns on he goes I assure you I don't know so that was one that kind of Twilight Zone II yeah that one that one was very Ira Levin like that it's all going you know you are gonna become what the monster but you know the one and I you know I was people probably know that there was one another one we shot where he ends up in prison which was very you know I think I think we just the the ending that you know I I have in there is has all the benefit of that ending plus a hero at the end for for the audience so now I do have to ask you about another show you done Cokie meal and I got to give you kudos to my favorite short the white race is Ami's I love that short but how did working on all those really short films really prepare you for future directing like exploring your craft you know it's it's the the ability to go back and let your story be informed by the limitations is invaluable I'm you know I'm and I'm an improviser you know first and foremost that was like my earliest training was an improv so you know with key and Peele it's like you know money was always an issue as it is with every movie and every TV show ever so as soon as I come across a you know oh but you can't have this or oh we can't you actually can't shoot this in an auditorium you can shoot it in a classroom I go back and say well why is a classroom better than an auditorium and then you've rewrite the scene towards that so the my philosophy coming into this and to get out which is we did for 4.5 million dollars we did for 23 days and my philosophy was like anything they throw at me has to be the best choice that the fates have decided for this movie and you guys I just have to rely on my imagination to figure out why well we always end our show with the same question could you tell us about a childhood movie theater experience you had or a special movie that might have influenced you go in your family or something like that um yeah you know I there's there's so many and I just love you know that that growing up for me this movie theater was it was like church to me I mean I would go there alone and you know right after school I would just go sit and watch with just a bunch of strangers watch the same movies over and over again one that was purchased one that was very special was Edward Scissorhands which I saw at the Ziegfeld Theatre in New York which is this beautiful classic theater that's now gone sadly and it's it's huge it was the biggest theater I knew of at the time and that just the that's that acute vision an aesthetic of Tim Burton you know he had sort of explored it several times but this was where it was like everything came together and I just feel like that was a move you know in a lead lead character that was an outsider that was you know so it was perfect timing and the Danny Elfman's score everything is in perfect harmony in that movie well like you're a great ending forget out we do have to end acute rqa you know I thank you so much for taking time out to talk about this bill right here thank you [Applause] [Music] [Music] you [Music] you

Channel: University of California Television (UCTV)

Views: 47,388

Rating: 4.9308944 out of 5

Keywords: Jordan Peele, Get Out, filmmaking

Id: 6lZpjhtbVRI

Length: 48min 31sec (2911 seconds)

Published: Fri Feb 09 2018