Latest / All The Right Movies / Get Out (2017) | Ep. 18 - Part 1

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Get Out (2017) | Ep. 18 - Part 1 · All The Right Movies

• 0:04
  All the right movies. That's Drake.
• 0:09
  Drake. Andre Hayworth used to kick him
• 0:11
  with Veronica. Veronica from what?
• 0:12
  Teresa's sister? That work at the movie theater
• 0:14
  on 8th. You think is him?
• 0:18
  Is him. But wait, wait, wait, wait.
• 0:19
  This is so fucking fucking crazy, yo.
• 0:23
  He's different. No shit.
• 0:25
  Why is he dressed like that? It's not that it's everything.
• 0:29
  Teens at a party with a white woman like 30 years old sex
• 0:32
  slave interracial couple. Chris and Rose take a trip to
• 0:35
  the country to meet Rose's parents.
• 0:37
  Chris's initial concerns about being the only black person
• 0:40
  around are slowly confirmed after various inappropriate
• 0:43
  interactions with family friends, leading Chris to a
• 0:45
  shocking realization. Jordan Peele's serine
• 0:48
  directorial debut Get Out push the boundaries in the horror
• 0:51
  genre with layers of social commentary.
• 0:53
  It was lapped up by audiences and critics alike and is now
• 0:56
  considered one of the best films of the 21st century.
• 0:59
  My name is Luke and the two fellas with me have been doing
• 1:01
  their detective work. It's Westie.
• 1:03
  I believe they've been abducting black people, brainwashing them,
• 1:06
  making them work from the sex slaves and shit.
• 1:09
  Sorry about the shit. And Matt?
• 1:11
  By the way, I would have voted for Obama for a third term if I
• 1:14
  could. All the right movies want your
• 1:16
  eye, man. We want those things you see
• 1:18
  through. Hello everyone.
• 1:38
  Thanks for tuning in and welcome to all the right motherfucking
• 1:41
  movies. We handle shit, that's what we.
• 1:44
  Do. We are back in the saddle and
• 1:47
  feeling great. Isn't that right, fellas?
• 1:49
  That's correct it. Really is.
• 1:50
  Now, if you're new to the show, welcome.
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  Don't be put off by the long runtime.
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  Come on in, the water is just fine.
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  Oh yeah. To our old listeners, well, you
• 2:00
  always knew we'd be back at some point, right?
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  Absolutely. I think they knew.
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  Yeah, of course. Yes, we've been off doing other
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  things in the last 12 months. We've been building our content
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  and following on YouTube and social media and beefing up our
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  website. But we are back, back as a
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  podcast and ready to deep dive into all the classics that the
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  movie world has to offer. And what we had to return, a
• 2:20
  game changer for sure, It is Jordan Peels.
• 2:23
  Get out. Get in.
• 2:29
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  Every little helps. Yes.
• 3:30
  So admin out of the way, Matt, we know that you would have
• 3:33
  voted for Obama for a third term.
• 3:36
  So why are we talking about get out as?
• 3:38
  President of my lifetime, hands down.
• 3:40
  I'm not even American. Still is.
• 3:42
  Agree. Agree.
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  With no irony. With no iron you whatsoever, no
• 3:48
  get out. It just stuck with me right from
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  that very first view and because I remember watching things well,
• 3:52
  this has got such a familiar setup.
• 3:54
  Surely this, it's going to go exactly where I think it's going
• 3:57
  to go, but it doesn't. It goes in a direction almost
• 4:00
  kind of familiar but also one you don't really expect.
• 4:03
  And things happen that aren't very apparent on 1st view.
• 4:05
  And it's a film that I think, and I'll probably mention this a
• 4:08
  few times, it's just rewards repeat view and so much this
• 4:11
  one. Yeah, me too.
• 4:13
  Yeah. Jordan Peele.
• 4:14
  I've just wanted to talk about him for a while now because, you
• 4:16
  know, we don't do this. But, you know, just in general,
• 4:19
  we shouldn't limit ourselves to the establish likes of Scorsese,
• 4:23
  Spielberg, Cameron, people who have that huge back catalog.
• 4:26
  We should talk more about people like Jordan Peele, you know,
• 4:28
  directors who are making their classics right now.
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  And for me, he's someone who makes and more exciting right
• 4:34
  now. You know, he's in that rare
• 4:35
  level of directors where of course he is.
• 4:37
  New film tomorrow. You wouldn't have to show me
• 4:40
  your trailer. Tell me the plot, tell me the
• 4:42
  title. I would just go new.
• 4:44
  Jordan Peele, Phil, I mean. So yeah, this one.
• 4:47
  Let's go back to it and see what all started from.
• 4:49
  I love it. Yeah.
• 4:50
  I've only recently started to understand the power of the
• 4:52
  film, really. I think that's because I've
• 4:54
  watched it a couple of times for the show.
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  And what you were saying, Matt, it rewards on repeat viewings.
• 4:59
  It's a completely different film watching the second and third
• 5:01
  time. Yeah.
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  And I think that Jordan Peele's a leading figure in modern
• 5:04
  cinema, a really important filmmaker.
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  And as such, like you said, it's about bloody time that we're
• 5:08
  talking about. I should also note as well that
• 5:12
  the irony isn't lost on us that we are three middle-aged white
• 5:15
  fellas from England talking about complex racial issues in
• 5:18
  America. Yes.
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  Yes, we're very rare. Is not lost on us at.
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  All we'll probably cover it to be.
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  What about you, Westie? Why get out?
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  Exactly the same. I mean it, it stuck with me as
• 5:30
  well when I first saw it was very refreshing, but again, very
• 5:32
  familiar. Just like Matt was saying.
• 5:34
  It's very accessible. I think as a as a film, it's not
• 5:36
  necessarily an all out horror film.
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  It's got a lot of things to say. There's a lot of complex themes
• 5:41
  and a lot of beautiful subtext. There's a lot of amazing
• 5:43
  foreshadow and he puts in it's very visual storytelling.
• 5:46
  It's got a great pace, it's got a great concept.
• 5:49
  It spins around and I think the fact that it's a debut film from
• 5:52
  the director, underwrite ad producer is an outstanding.
• 5:55
  It's just ridiculous. So for all of them reasons, I'm
• 5:58
  happy to dive in and into the Something place and have a good
• 6:01
  chat about it. Love It, Get Out was written,
• 6:03
  directed by Jordan Peele and produced by Sean Mckittrick,
• 6:06
  Jason Bloom, Edward Ham Junior and Peel himself for Bloom House
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  Productions and multiple productions distributed by
• 6:12
  Universal Pictures on the 24th of February 2017.
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  Daniel Kalugya stars as Chris Allison Williams as Rose, and
• 6:19
  they're supported by Catherine Keener and Bradley Whitford, who
• 6:22
  starred as Rose's parents. And last but not least, Little
• 6:25
  Rail Howery stars as TSA advocate Rod Chris's best
• 6:28
  friend. Nearly steals the whole film.
• 6:30
  He really does. Let's go then, fellas, on a trip
• 6:35
  upstate to liberal America to explore the complexities of Get
• 6:39
  Out. We're right from the start of
• 7:05
  the film, an ominous setting as we track the young fella on his
• 7:08
  phone at night who will later learn is Andre Haworth.
• 7:11
  Westie, you want to light the candle on this?
• 7:13
  I like the candle on this. It's a great great sequence.
• 7:16
  Very reminiscent to Halloween for me, very much using that's
• 7:20
  it's a 2 minutes, 11 seconds Steadicam shot, which again, is
• 7:24
  quite brave to open your first film with you see where his
• 7:27
  influences are coming from. I think it's really confident.
• 7:29
  Yeah. And we mentioned it in the
• 7:31
  double feature episode, actually, that we've just done.
• 7:32
  And then this sequence to me is quite forgettable because the
• 7:35
  rest of the film was so memorable.
• 7:36
  Not that this is a bad sequence. I just seem to forget it when
• 7:39
  the film's over. Even when you say Andrea again,
• 7:42
  you're just like, oh, was that the guy from the start?
• 7:44
  Watch it again and again and again.
• 7:45
  And the more it sticks with, you know, the run Ronnie's wearing,
• 7:47
  that night helmet that you don't realize he's wearing.
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  He chokes about in six seconds exactly, which is how long it
• 7:52
  takes to knock somebody out. All these little points and just
• 7:54
  all that pointing to this creepiness is great.
• 7:57
  And it subverts that, you know, that white girl in a bad
• 8:00
  neighborhood. It's that, you know, that black
• 8:02
  guy in a suburban neighborhood, and he's like, what the fuck am
• 8:04
  I doing here? And it looks really calm to us.
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  And we don't get that. That's terrifying, but it
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  subverts that beautifully. And that's really, really good.
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  I think the only thing he could have done to improve this
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  sequence is have that suburban estate or that suburban block
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  and have it in broad daylight. And that this happens in broad
• 8:21
  daylight, yeah, like Halloween. So it's just got that, that
• 8:24
  terrify and like, and everyone's at work or nobody's there.
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  It's like the ghost town when people are turning the backs on
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  the window and kind of letting it happen.
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  I don't know if that might have been a bit too much, too quick,
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  but I think that would have been excellent and completely
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  subverted that dark nighttime creepiness and added an extra
• 8:40
  element of the film, which he does all the way through, apart
• 8:42
  from that opening sequence of sort.
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  Why? I think it is a little bit more
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  forgettable, but it is brilliant.
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  It is brilliant. Visually, it matches the town of
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  Haddonfield as well. Does it?
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  Yeah. I really like like Keith
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  Stanfield, who plays Andre. The imagery of him in this
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  setting is is jarring from a visual point of view because you
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  know, quite honestly, a black man in an affluent white middle
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  America, not something that we used to seen on screen.
• 9:06
  No, no. And then kind of crept up by a
• 9:09
  white car as well. Yeah, exactly.
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  Yeah, Peel said that the trope has always been that the
• 9:15
  outsider in these neighborhoods is usually viewed as the
• 9:17
  villain, so presenting the outsider as the good guy or
• 9:20
  victim here flips the trope on its head.
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  Like, yes. And Westie, I like that.
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  Andre is talking a waiter himself.
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  He's chanting away. He says it's like a hedge maze
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  out here, like kind of a reference to the Shiner.
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  Yeah, Yeah. And then he talks himself out of
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  being in this situation. He knows there's something
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  really creepy about the whole thing.
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  Is like, not me, not today, I'm out.
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  I'm going the other way. And it taps into one of Peel's
• 9:43
  inspirations for the film, which was a comedy bit by Eddie Murphy
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  on Delirious, his 1983 stand up. Yeah.
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  Murphy jokes that in horror movies, the house is clearly
• 9:51
  haunted. And everybody, you see this all
• 9:53
  the time. But the white couple are happy
• 9:54
  to bring their entire family to live there.
• 9:56
  Yeah. And he specifically referenced
• 9:58
  The Amityville Horror and said that if a black couple came into
• 10:00
  a house like that and heard a ghostly voice in Get Out, they'd
• 10:04
  be straight out of the door, no messing.
• 10:08
  I would have been in the house to say, oh baby, this is
• 10:09
  beautiful. We got chandelier hanging up
• 10:12
  here, kids outside playing. It's a beautiful neighborhood.
• 10:15
  Being out underwear. I really love them.
• 10:16
  This is really nice. Too bad we can't stay, baby.
• 10:21
  But it is just a little too late for Andre, who gets nabbed by
• 10:24
  what we later learned as Jeremy. Yes, the original plan for the
• 10:27
  scene was to have Andre being taken down by a dart gun and
• 10:30
  peel like the animalistic imagery of the scene and like
• 10:33
  Andre was being hunted. But he changed it because he
• 10:36
  said it felt off brand for his type of horror.
• 10:39
  But the suggestion of being haunted is still there with the
• 10:41
  haunting use of Run Rabbit. Run in the soundtrack.
• 10:44
  Yeah, yeah, yeah. That mass over to you.
• 10:47
  Yeah. What do you think of the
• 10:48
  opening? I think it's brilliant because
• 10:50
  one of the great things about the film is when you get to the
• 10:52
  end, you see what's been going on all along.
• 10:55
  You realize what Jordan Peele wants get out to be about.
• 10:58
  You come back to the sun. You realize he started all
• 11:00
  together right from the start. Because after this scene, you
• 11:02
  get the most innocuous everyday scene in the film, which is just
• 11:05
  Chris getting ready, getting packed.
• 11:08
  But even though you've got that image of Chris Shavin, which is
• 11:11
  such an everyday activity, but visually it's Chris taking that
• 11:13
  white form and scraping it off to reveal his black skin
• 11:16
  underneath. And that's the whole film.
• 11:18
  The whole film is about people who have one colour of skin on
• 11:21
  the outside, but peel that back and they were totally different
• 11:24
  colour underneath and it. Cuts himself as he does it.
• 11:26
  Cuts himself as he does it. And it's such like a simple but
• 11:30
  effective metaphor for what's to come.
• 11:31
  It's great. And it's all just in the scene,
• 11:33
  which I see you. What do you think?
• 11:34
  Well, this is a sex position. We'll find out why Chris is
• 11:37
  anxious. And then even as he watched the
• 11:40
  film, you go, Oh, no, this was about setting up the Obama joke
• 11:43
  later on, you know, because Rose brings it to be, you know, the
• 11:46
  love is very real. And you think that's what The
• 11:48
  thing is about? Even before that, yeah, you've
• 11:50
  got Rose just picking from all of the owners.
• 11:52
  She's got a selection and she's loving that.
• 11:54
  And it uses a head to to bang on the door as if she's going to
• 11:57
  get into his head. And that's where it's all gone.
• 11:59
  It's genius. It is.
• 12:00
  It's brilliant. It's like, say, just the most
• 12:02
  innocuous for what we're seeing. But he's already putting all his
• 12:05
  IDs in right from the very start.
• 12:07
  Yeah. The song playing over the
• 12:09
  scenes, Red borne by Childish Gambino.
• 12:11
  Yeah, He'll chose the song because the lyrics like stay,
• 12:14
  walk and don't close your eyes. Yeah, yeah, yeah.
• 12:17
  So a super creepy opening. And Chris's anxiety is laid out
• 12:20
  on the table. A great start to the film, yeah.
• 12:22
  Brilliant. In our next scene, we're
• 12:26
  tracking Chris and Rose upstairs to meet her parents and Westie,
• 12:30
  it's over to you. Yeah, I mean, it just gets it
• 12:33
  just it gets progressively just better and it's their
• 12:36
  relationship is so believable and you're just with them in the
• 12:40
  car and then you get that introduction to Rod, which is
• 12:43
  great. When he rings the open, he's got
• 12:44
  all these different idea. Next time 11 is going to be some
• 12:46
  geriatric shit. It's just like really, really
• 12:48
  fucking brilliant. And that totally takes your
• 12:51
  attention away from what's going to happen.
• 12:52
  And then you get that bang with the deer come from your.
• 12:54
  Big shock. And you just whoa, OK, right.
• 12:56
  How many jumpscares am I going to get?
• 12:58
  It's broad daylight. He's actually doing what I
• 12:59
  thought he was going to do now. And then there's that really
• 13:02
  brilliant moment, and I love that moment with the deer
• 13:04
  because it takes so long for Chris to get there and figure
• 13:07
  out what's going on. And you find out later that
• 13:10
  that's how his mom died. It was a hit and run and she
• 13:12
  died. She died by herself at the side
• 13:14
  of the road. So he's revisiting that.
• 13:16
  He does all the way through the film this to me, but he steps
• 13:19
  off the main road into the woods.
• 13:21
  It's that he's prepared to do anything to a grieve that guilt.
• 13:25
  And that's brilliant. And then obviously you get when
• 13:27
  the policeman turns up and you get that back and forth again,
• 13:30
  that's fantastic. But it's just that moment
• 13:32
  hitting the D And you think, why is he lingering on that for so
• 13:34
  long? And he hears the cry.
• 13:36
  She stares at the car. She's not involved with these
• 13:38
  past. He's trying to make up for
• 13:40
  something. And again, that's a really
• 13:41
  powerful moment. So for me, just as it leads up
• 13:44
  to it, there's just so many amazing, amazing foreshadowing
• 13:46
  moments. It's such a familiar setting,
• 13:48
  that journey somewhere and hitting something on the road,
• 13:52
  but it's got so many layers here and it subverts what you're
• 13:55
  expecting. The music and the opening
• 13:58
  credits, it's sung in Swahili. Yeah, yeah.
• 14:00
  Except for the word brother. Yeah, yeah, yeah.
• 14:03
  The composer Michael Abels is the voices and the song I meant
• 14:06
  to represent the souls of black lynching victims and slave
• 14:09
  warners. Which yeah, kind of works.
• 14:11
  Yeah, translated the lyrics of Brother Run.
• 14:14
  Listen to the elders. Listen to the truth.
• 14:16
  Run away. Save yourself.
• 14:17
  Wow, so for all the Swahili speakers, the fucked Swahili.
• 14:22
  Speakers knew exactly what it was from the get go.
• 14:25
  Right, we'll get out and show. But I want to pick up where Rose
• 14:31
  and Chris get to the house. When they arrive, everything
• 14:33
  seems nice and normal and welcoming.
• 14:35
  How could this be a problem? But it's shot really wide and
• 14:39
  it's difficult to make anything out apart from the dialogue.
• 14:42
  But then when we get inside and the things start to turn weird
• 14:45
  in close up. I think what people say in there
• 14:47
  is that from afar and the outside everything looks normal.
• 14:51
  But you get close up and you start to see what's really see.
• 14:53
  The cracks, yeah, there's that lovely shot as well when it just
• 14:55
  kind of dollies over from the the door straight and where
• 14:58
  they're sitting down. That's a great shot.
• 14:59
  Great. And I've got to mention the two
• 15:01
  parental performances by Bradley Whitford and Catherine Keener
• 15:04
  here. They play kind of this multi
• 15:06
  layered performance really well. Kind of Alison Williams does the
• 15:09
  same. They're acting acting and they
• 15:12
  do it really effectively. But these two in particular have
• 15:15
  to find in their performance something welcoming but off kilt
• 15:18
  a slightly. And that's a really difficult
• 15:20
  thing to articulate to an actor without them being over with it.
• 15:24
  But they managed to pull off this kind of like something's
• 15:26
  wrong, but you can't quite put your finger on it.
• 15:29
  Yeah, really, really great performances.
• 15:31
  And Dean Shaw and Chris around the house try and act hip.
• 15:33
  Oh God, it's screw she even. Before that was like how long is
• 15:37
  this Ting? Yeah, oh God.
• 15:42
  Then he says him add a boy like oh God, that right?
• 15:46
  And like the bit on the porch, just when he's jumping up and
• 15:49
  down, like hopping up and down, it's like, Oh my God, this.
• 15:52
  Is like man. Yeah, it's like this is going to
• 15:54
  be the worst dad you would ever, ever meet.
• 15:57
  Like everyone nightmares. It's paid flaps.
• 16:00
  That's the thing. That's what keeps you off.
• 16:02
  Guilt. Yeah.
• 16:04
  Matt, what about you and this scene?
• 16:05
  Yeah, it's brilliant because it it's place here.
• 16:08
  There is that sense of unease throughout the film that
• 16:11
  something is wrong and Chris can censor but he can't work out
• 16:13
  what it is yet. And I think a big part of that
• 16:15
  throughout the film, but especially here is how Walter
• 16:18
  and Georgina, who are the household help, how they're used
• 16:22
  because there's a lot of foreshadowing here with these
• 16:24
  two. Like, their performances are so
• 16:26
  weird and stilted. Like when Georgina spills
• 16:29
  Chris's drink and there's a real tension in where that Missy
• 16:33
  tells us to go and have a lie down and it's only Lady
• 16:36
  realized. Well, yeah, again, these are
• 16:38
  people playing a part. Georgina isn't actually the
• 16:41
  maid. She's just acting as if she's
• 16:42
  the maid. And Missy is very that's just
• 16:45
  going to mess the whole thing up.
• 16:46
  So that's why she's like, go and have a lie down.
• 16:49
  And it's the same with Walter. Like it's one of these really
• 16:51
  subtle clues that live on this huge estate and you see using a
• 16:54
  handheld week for the garden that's going to take like a
• 16:58
  week. But again, it's just to perform.
• 17:01
  So Chris's benefit and the hope that he's not going to be around
• 17:03
  long enough to twig. And it's the same as, you know,
• 17:06
  Georgina was playing with that big fringe while with the
• 17:08
  baseball cap. It's took over the scars
• 17:10
  discover later on. And these are all these elements
• 17:13
  that just pay off so well second time around.
• 17:15
  It's when Dean walks into the kitchen.
• 17:16
  She's just stood there and that kitchen is Immaculate.
• 17:19
  He always says I'll be. Mom loved her kitchen, so we'll
• 17:21
  keep a piece of her here. Yeah.
• 17:25
  Yeah, that's great. That's.
• 17:27
  Brilliant. And it's the same when Dane is
• 17:29
  talking about the help to Chris and he says we hire Georgina and
• 17:32
  Walter to help care for my parents when they died.
• 17:34
  I couldn't better let them go. Exactly.
• 17:36
  Yeah. Couldn't better let the parents
• 17:38
  go. Which he realized later on.
• 17:40
  It's just all this wonderful foreshadowing going on that just
• 17:43
  pays off so well down the line. Yeah, it does.
• 17:45
  It's really benefit from additional watches.
• 17:48
  Even like 4th, 5th time I'm still seeing things where I
• 17:50
  think, Oh my God, that's so obvious.
• 17:52
  Yeah, so obvious now. Yeah, it is.
• 17:54
  Yeah, kind of kick yourself. So, great first act, no
• 17:57
  confirmation that there's something amiss, but there's
• 17:59
  definitely something very strange happening in suburbia.
• 18:02
  Absolutely the director. A directorial debut for Jordan
• 18:11
  Peele, who at the time was probably best known as one part
• 18:14
  of successful comedy Dual Key and Peele Emmy award-winning.
• 18:18
  But what a way to start your movie career, Matt.
• 18:21
  What do you think about his work as director on Get Out?
• 18:23
  I just think it's so self assured.
• 18:25
  It's really clear in his head what he wants.
• 18:28
  And I think this is what you get when you get somebody who writes
• 18:30
  and directs but can do both. Because quite often you can see
• 18:33
  someone try to do that. They've got a really good idea,
• 18:35
  but they don't know how to translate it on the screen.
• 18:38
  And this is this is the opposite.
• 18:39
  And I think Pale does such a great job of teasing the
• 18:42
  audience and leaving you guessing for the majority of the
• 18:45
  time. Like not just what's going on,
• 18:47
  but what kind of film am I watching?
• 18:48
  Because it does start ever then at at this house, like it's an
• 18:52
  awkward social comedy. Like we've said, it's kind of
• 18:54
  funny. And like the way that the office
• 18:56
  is funny, it's like, God, it's so cringy, but I am kind of
• 18:58
  laughing at it. But is there something more
• 19:00
  sinister going on? And he just has this real sense
• 19:03
  of push and pull for the film where he will set up sequences
• 19:07
  that go very weird but go really dark and he pushes the audience
• 19:10
  into them. But then he'll pull them right
• 19:12
  back and, you know, he'll set up, you know, a convinced an
• 19:15
  explanation from us or you'll drop in a joke that diffuses the
• 19:18
  situation. And it just leaves you feeling
• 19:20
  really disorientated, just like Chris does.
• 19:22
  And I think he just does a really good job of putting it in
• 19:25
  the main character shoes. Like should I be worried back
• 19:28
  this or am I just being paranoid and I'm just trying to really
• 19:31
  mass for how he manipulates the tone of the film to then
• 19:34
  manipulate our reactions to it and visually as well.
• 19:37
  He just knows how to creep you out.
• 19:38
  Like we've already mentioned that arrived with the house and
• 19:41
  that like amazing pull back, which he thinks why is he doing
• 19:44
  that until he realizes he's pulling back till he see Walter
• 19:47
  just stood stock still staring at them.
• 19:50
  You know, brilliant touch there. So it doesn't feel like a debut
• 19:54
  because it feels so confident in what it's doing.
• 19:56
  So shoot. So shoot, you know, he knows
• 19:58
  when to go for wide shot, he knows when to go for a big close
• 20:01
  up in this film. It's got some incredible
• 20:03
  close-ups, faces, You know, we'll talk about them in more
• 20:07
  detail, but Chris being hypnotized, Georgie in the
• 20:09
  bedroom, I just think it's such an impressive, self assured,
• 20:13
  confident debut work here. I think from his past as
• 20:16
  well-being that then being as good as he was and as funny as
• 20:19
  he is. And if you see the clips, I
• 20:22
  mean, there's that meme that goes around when he plays the
• 20:24
  president. He's just kind of like high 5
• 20:26
  and everybody ignoring the white people and then engage with the
• 20:28
  black people. I think that's hilarious.
• 20:30
  But that to me is just like him, right?
• 20:31
  And get out, you know what I mean?
• 20:32
  I'm doing this for me. And he's got that kind of
• 20:34
  outlook. I think it's just the way he
• 20:36
  uses the frame, like Matt mentioned, the way he blocks
• 20:38
  actors, the way it's very reminiscent the Seventies, 80s
• 20:42
  horror. It's got them frames and the
• 20:44
  camera moves exactly when it needs to.
• 20:46
  And it's always got that pace and it's got that flow and he
• 20:49
  knows and understands that. And it's just the way that uses
• 20:53
  the wide angles, like Matt said, the way he uses the close-ups.
• 20:55
  But for me it's that kind of the reference to The Shining and
• 20:59
  again, Halloween and without it being like, oh, that's an
• 21:02
  obvious Kubrick shot. You just kind of like, oh, the
• 21:04
  symmetry is there raw sat at the end with the milk.
• 21:08
  It's exactly the same Scatman Crothers.
• 21:09
  You've got that old fashioned TV with that push in that Kubrick
• 21:12
  push, and he uses it exactly when he needs to, when he
• 21:14
  doesn't overuse anything. That's that.
• 21:16
  He's got so much in his Canon here.
• 21:18
  Nothing's overused. Nothing's they a cliche.
• 21:21
  And again, I just think it's how good he is working with Agnes
• 21:24
  and he understands their role and he understands how to give a
• 21:27
  small amount of motivation and just absolutely nail it.
• 21:32
  Chris didn't know whether like he's motivation when they didn't
• 21:34
  have a lot of time to shoot. The sun was going down.
• 21:36
  And there's that moment that he has with Rose where he's like he
• 21:39
  says to Jordan people, why? Why doesn't he camera character
• 21:41
  just run away? Why does he just leave right now
• 21:43
  when there's something up? Because he says, well, you're
• 21:45
  burdened with the guilt of your family leaving you and you need
• 21:48
  to make this work and you need to find some reason why it
• 21:51
  works. And then he just nailed it first
• 21:52
  take. So I think it's his motivations
• 21:54
  and he's the way that he understands actors and he
• 21:56
  understands cameramen and he understands, you know, how to
• 21:59
  write and where things are going to be.
• 22:00
  It's just these understanding of the full process gives you this
• 22:03
  as a debut and it you cannot have a debut like this without a
• 22:07
  full understanding of the whole process, which definitely has.
• 22:10
  Yeah, yeah. And I think, yeah, his
• 22:12
  experience in acting, producing, writing and now directing, and I
• 22:16
  think that that really helps that give that whole rounded
• 22:19
  process. That's why I think every
• 22:20
  performance is is pretty flawless in this film.
• 22:22
  I don't think anyone brings anything bad, he just wouldn't
• 22:24
  allow it. No, I agree totally.
• 22:27
  As it's Jordan Peele's script. There was nobody else in the
• 22:29
  frame to direct in the end, but he wasn't planning to direct
• 22:32
  originally, he said. Halfway through writing it, I
• 22:35
  realized that I had to direct it.
• 22:36
  I think I got up to the party scene and I was like, who else
• 22:39
  is going to direct this? I've seen so few horror movies
• 22:42
  where a black person has been given the director's chair.
• 22:44
  Then I realized why not me and all this thing.
• 22:48
  And he certainly knows the iconography of horror as well
• 22:50
  without it being derivative in any way for me.
• 22:53
  He uses films like Rosemary's Baby in The Step Wives as a
• 22:56
  jumping off point for Get Out. He said that these films were
• 23:00
  able to address fears surrounding the women's Lib
• 23:02
  movement in a way that was engaging, not preachy, but fun.
• 23:06
  He said that audience related to the protagonists in these films
• 23:09
  regardless of their gender and wanted to see him forget out
• 23:11
  despite the colour of his skin. Chris is being persecuted and
• 23:15
  that's what audiences will see. Yeah, and it's so close as well,
• 23:18
  but it doesn't feel like a RIP off, feels like a margin, a
• 23:20
  complete, like a clever take on. It it is very close, but yeah,
• 23:23
  it doesn't feel derivative at all.
• 23:25
  I mean, there's nothing new in terms of the setting of the
• 23:27
  film, an uneasy location where something doesn't quite feel
• 23:30
  right and then some crazy shit goes down.
• 23:33
  But by shooting from the perspective of a black person, I
• 23:36
  think he gave voice to a huge audience who were are still
• 23:39
  under represented in cinema. Yeah.
• 23:41
  Black protagonists are few and far between.
• 23:43
  And I think Chris is way smarter than your average horror lead.
• 23:47
  Yeah. He doesn't need anything
• 23:49
  concrete to know that something is not right at this party.
• 23:51
  It's just, you know, the odd word here, an unplugged phone,
• 23:55
  their interactions with the staff that just don't seem
• 23:57
  right. Yeah.
• 23:58
  And Chris's sentences are heightened because he's kind of
• 24:01
  kind of guess he's been in these uncomfortable situations before.
• 24:04
  And this is really refreshing to see this familiar setting but
• 24:07
  with a completely different context.
• 24:08
  A completely different context. Yeah, usually it starts with
• 24:12
  that question. He asks rules and just says, do
• 24:14
  they know I'm black? That's where it starts, because
• 24:16
  he knows for a fact that it's just going to be awkward and
• 24:19
  weird because people just don't accept it.
• 24:21
  Yeah, yeah, that's brilliant. And that's exactly what we.
• 24:23
  Get exactly what we get. You're with him though, and
• 24:25
  you're like, this is what it's like.
• 24:27
  Yeah, exactly. Yeah, yeah.
• 24:30
  And I think the iconic review of horror.
• 24:32
  The same goes with the house itself.
• 24:34
  The haunted house is obviously huge in the genre.
• 24:37
  This house isn't haunted in the traditional sense, but it's
• 24:39
  haunted by evil nonetheless. Evil that is living and
• 24:42
  breathing, which is surely more terrifying than ghosts and
• 24:44
  goblins. Yeah.
• 24:46
  So to wrap up our section on Jordan Peele as director, we've
• 24:49
  got a question from one of our wonderful Patreon supporters.
• 24:52
  That is another benefit of becoming an ATR and patron.
• 24:55
  You can ask us questions which will answer on the show, both
• 24:57
  this and our double feature show.
• 25:00
  Our first comes from long time patron Craig Rooney.
• 25:03
  How are you doing, Craig? Hello, Craig.
• 25:04
  Hello, Craig. Yes, yes, Craig says.
• 25:07
  For a debut feature, Jordan Peele knocked it out of the
• 25:09
  park. What other director debuts are
• 25:12
  your favorites, Westie. Any genre.
• 25:15
  Anything you like? Right.
• 25:16
  OK, there's the classics. There's three classics that I
• 25:18
  love. There's three that have stuck
• 25:19
  with us and and more of a modern way of the way I wanted to look
• 25:22
  at this is that you cannot tell that this is Jordan Peele's
• 25:24
  debut. So I wanted to think of three
• 25:26
  films where I thought that kind of be a debut.
• 25:29
  OK, there's Nightcrawler by Dan Gilroy.
• 25:32
  Oh. Which what's that film isn't?
• 25:35
  Yeah. What's that go?
• 25:35
  That's his debut film. Yeah.
• 25:37
  No chance. Being John Malkovich, Spike
• 25:39
  Jones first film. Oh.
• 25:41
  Yeah. Wow, you know it's a Charlie
• 25:42
  Kaufman script, but who else can pull that off?
• 25:45
  And finally, American Beauty Sam Mendez.
• 25:47
  Yes. That how's that debut?
• 25:49
  You know, there's that classic coming.
• 25:50
  I love Badlands, 12, Angry Men, Reservoir Dogs, the list goes
• 25:53
  on. But then 3 for me, stick to me
• 25:56
  as like that kind of put your debut.
• 25:57
  There must have been something before that.
• 25:58
  Yeah, great. Shouts Night Crawler.
• 26:00
  Who? Yeah, Love to give that a bit
• 26:02
  more time. Yeah.
• 26:03
  All right. Yeah.
• 26:11
  Agree with Craig. He one of the most memorable
• 26:13
  debuts in recent memory. The films that came to my mind
• 26:16
  and I didn't think too hard about them.
• 26:17
  These were just straight off the bat.
• 26:19
  Blood Simple, The Corn Brothers, I'm appreciating that film more
• 26:22
  and more as I get older. I just really love the the
• 26:25
  disturbance subject matter. It's fantastic.
• 26:27
  And it's just Joel and Ethan has like kind of what you were
• 26:30
  saying, Wesley fully formed as film makers from the word called
• 26:33
  boom. The other one for me is The Evil
• 26:36
  Dead, directed by 20 year old Sam Raimi. 2020. 20 year old I
• 26:41
  know I. Couldn't do it now by the two
• 26:44
  genres had never really been joined before.
• 26:46
  Ridiculous. Crazy.
• 26:48
  It's just remarkable what he did with the cast and crew of his
• 26:51
  buddy. One location, limited budget and
• 26:53
  some phantasmagorical effects were I love it.
• 26:57
  The difference between the two is that with Blood Simple, the
• 26:59
  coins have made a number of films arguably better than Blood
• 27:03
  Simple. With Evil Dead, I think that
• 27:05
  really peaked with his debut. I know a lot of people prefer to
• 27:09
  not saying that he's been poor since I'll watch anything he
• 27:11
  makes, but I think his debut is something something completely
• 27:14
  different. Spider Man 3.
• 27:17
  Yeah, well, you know everything I say, with the caveat that
• 27:22
  aside from comic book films. Films are adults is what you say
• 27:26
  is awful. For adults.
• 27:33
  What about you, Matt? Have you got any?
• 27:35
  Yeah, I did. I kind of like you guys wanted
• 27:37
  to think outside the usual names that get brought up.
• 27:39
  And I was going to mention Spike Jones because I had to double
• 27:42
  check that was like, that was never his first film.
• 27:44
  Because that's really isn't it ridiculous?
• 27:46
  To. Imagine.
• 27:47
  That that's your first film? No.
• 27:50
  That's your first and last. Imagine nothing else since just
• 27:53
  disappeared. Just a Jackass for the rest of
• 27:54
  his life. So the other two wanted to
• 28:00
  mention the first one, someone who were all a huge fan of, and
• 28:03
  I always forget this was his debut film, but Martin
• 28:05
  McDonough, In Bruges. Oh yeah.
• 28:07
  Like, yeah, ridiculous. That's that's crazy, isn't it?
• 28:10
  That's incredible and one that we did the YouTube version of,
• 28:14
  but I still think we could do a proper full on deep dive into
• 28:18
  it. Daniel Myrick and Eduardo
• 28:20
  Sanchez play which project that is just like a bolt of
• 28:23
  lightning, that film the way that yeah, first and last.
• 28:28
  What else are you going to do after that though, after pulling
• 28:30
  that into the game stand that they did, you may as well.
• 28:33
  Yeah, I'm just done. I'm done because.
• 28:35
  It's kind of disappointing. I've just clocked horror movies
• 28:37
  I've done. The last page.
• 28:39
  Myrick Sanchez. Yeah, amazing.
• 28:41
  Great. Yeah, well, I'll mention Blair
• 28:43
  Witch again later, but we'll keep you in suspense for that.
• 28:46
  Oh. Wow, can't wait.
• 28:47
  Oh yeah, so some solid work behind the camera with Jordan
• 28:50
  Peele breaking down barriers on his debut film.
• 28:52
  A real game changer. Yeah, absolutely.
• 28:54
  The cast. Jordan Peele pulled together a
• 29:03
  cast largely better known for their TV work, aside from the
• 29:06
  great Catherine Keener, of course.
• 29:09
  Matt, can you start us off with your favorite performance and
• 29:11
  get out? Yeah, well, you can't go anyone
• 29:14
  other than Daniel Kluya, can you?
• 29:16
  I mean, he's one of these actors where it's so good to watch him
• 29:19
  because you just see him becoming this real stand out of
• 29:22
  his generation. It's not just this film, you
• 29:24
  know, such a young actor. He's already got such variety
• 29:27
  under his belt. You know, he's terrifying.
• 29:29
  And Widows is like the the bad guy Judas and the Black Messiah,
• 29:34
  incredibly charismatic and that. And for me, the first thing I
• 29:37
  remember watching him in was Psychoville, which was the the
• 29:41
  little scene follow up to League of Gentlemen.
• 29:44
  Yeah, and there's loads of that in this as well.
• 29:46
  There is, there is. If you've never seen
• 29:49
  Psychoville, go back and watch that on League of Gentlemen.
• 29:51
  And I think if you did know, I think you would assume he's
• 29:54
  American. And yet he's a cockney.
• 29:56
  Like his accent is flawless. And it is.
• 29:59
  It really is. And he's just one of my favorite
• 30:01
  actors at the minute. I've just seen.
• 30:02
  He's on such a great run of form, and then you've got this
• 30:05
  role and so much of it is on his shoulder.
• 30:07
  So much is about him getting across that sense of something
• 30:11
  feels wrong. But I might just be paranoid.
• 30:14
  And from the beginning, he's already on edge because of the
• 30:17
  racial aspect of the relationship.
• 30:18
  So the last thing he wants to do is overreact to the family.
• 30:22
  And it's a way that clearly it just brings Chris up and down.
• 30:25
  Like this is weird. I'm freaking out, freaking out,
• 30:27
  freaking Outlaw. I'm OK.
• 30:29
  I'm probably the other thing that I'm just going to calm
• 30:31
  yourself down and get on with that.
• 30:33
  He's constantly doing that and it's like, it's like if you
• 30:35
  watch like a pan of water on the stove and you waiting for it to
• 30:38
  just boil over and lose it. But he just keeps it so close to
• 30:42
  his chest and tries to dampen it all down.
• 30:44
  And it's a really internal performance.
• 30:46
  And yet he expresses so much. And I think what helps that is
• 30:49
  he's just got this really incredibly expressive face.
• 30:53
  Like so many scenes come alive to slip his facial expressions.
• 30:57
  He can do comedy. So you know when Dean says about
• 30:59
  voting for Obama with their term, Khalidi's expression, he's
• 31:03
  just like, Oh my God, this guy. And he just goes.
• 31:06
  I agree. Yeah, that's great.
• 31:08
  Yep, and then but then he can do the tension so when he's talking
• 31:12
  to Andre slash Logan at the party scene and he realizes
• 31:15
  something not about him just the way like tilts his head and like
• 31:19
  what's up with this guy? The same to you in the dinner
• 31:22
  with Jeremy, when Jeremy starts needling him and it's like, I'm
• 31:26
  incredibly uncomfortable. I'm trying to be really polite
• 31:28
  at the same time. And obviously we're going to
• 31:31
  talk about that expression when he is first hypnotized to me.
• 31:33
  Not on the poster. Yeah.
• 31:36
  That was all you needed. It just felt, well, that's like
• 31:38
  a classic image of the horror genre already.
• 31:41
  Yeah, already. Already history, yeah.
• 31:43
  You mentioned his accent there, but I actually think he's better
• 31:46
  when he's got no dialogue. I know what you mean.
• 31:50
  I know what you mean. I know you mean something.
• 31:52
  Out of that, some of the lines you could have just cut and you
• 31:55
  know exactly what he's thinking. Yeah, great.
• 31:57
  Totally. And yeah, I mean, it's a great
• 32:00
  performance. And, you know, like, no one
• 32:02
  should take the Oscars seriously.
• 32:04
  You know, it's all just arbitrary and what's favoured
• 32:06
  the moment. But I do think has to be said,
• 32:08
  they never ever really look at performances like this.
• 32:12
  But they did with Daniel Kalu. Yeah, you know, and he probably
• 32:15
  should have won, to be honest, in my opinion.
• 32:17
  That's how good he is. That's great.
• 32:19
  What you were seeing there Westie?
• 32:22
  Just expression, no dialogue during that police pullover
• 32:25
  scene, the way Rose takes charge of the situation and the shots
• 32:28
  of Chris just wincing as she's given just a shit.
• 32:31
  Back to the convent. He's like, fucking hell, I
• 32:33
  couldn't get into this. And you know what he's thinking.
• 32:35
  Yeah, he knows that. You know, I've been in this
• 32:37
  situation before. If I was to say this, I'd be in
• 32:40
  cuffs and behind bars. Yeah.
• 32:42
  And you can tell that just by his his expression.
• 32:44
  Yeah, Eddie Murphy was originally chose to play Chris,
• 32:48
  but Jordan Peele changed his mind after he decided he was too
• 32:51
  old for the role that. Would have been outrageously
• 32:53
  can. You imagine Eddie Murphy Donkey.
• 33:01
  Would have absolutely wept at it.
• 33:05
  Absolutely love him, but like he would have just been, you know,
• 33:07
  he's like when he's in the Naughty professor, when he's
• 33:09
  thin and he's just really effervescent.
• 33:10
  He just turned the house and he would just be like, hey, what's
• 33:13
  going on? Kaluu was cast after Peel saw
• 33:19
  him in 15,000,000. Merits episode of Black Mirror.
• 33:23
  Of course. Oh yes, that's a great one.
• 33:25
  Yeah, it's a great one. Yeah.
• 33:26
  His audition was the sunken play scene.
• 33:28
  He cried on cue. One single tier and that's all
• 33:30
  Peel needed. That's all he needed to see.
• 33:33
  Yeah. Exactly the same tier five
• 33:35
  times. Yeah, got the I.
• 33:36
  Mean. Magnificent.
• 33:38
  Yeah. So great performance by Kaluya
• 33:42
  who picked up a Rising Star BAFTA for his efforts as well.
• 33:45
  Absolutely. I could have got that part.
• 33:46
  I cry five times a day. Is it just floods of teas
• 33:55
  though? West.
• 33:56
  Yeah, it's not the same tea every time.
• 33:59
  They might get a tattoo like like another 48 hours.
• 34:08
  That's wonderful. I'm going to go for the, and I'm
• 34:17
  going to say it, delectable Jason Williams as my God, what a
• 34:22
  treat. She's just the perfect.
• 34:25
  Steady. Odd.
• 34:26
  No. But she is just at the start of
• 34:28
  the film. She's just the perfect
• 34:29
  girlfriend. She's just understanding.
• 34:32
  She's hot as toast, She's bringing you doughnuts and
• 34:35
  coffee and she's just friends with your dog and she looks
• 34:38
  amazing and she's standing up with a fucking plot.
• 34:40
  And she's like, come and meet me family.
• 34:42
  I don't even have to tell them that you're black.
• 34:43
  I love you that much. She's so cute and then so
• 34:46
  psychotic. Perfect dual performances I
• 34:50
  think I've seen in a horror film when she's talking to Rod, when
• 34:53
  Chris has disappeared and she's sitting there stoic and just
• 34:57
  blank, dead, blank face, hair back on the phone.
• 35:01
  And she sounds like Rose, but. But you don't look like it,
• 35:04
  doesn't look like it's. And then the camera just comes
• 35:07
  around beautifully when she gets the best of them.
• 35:09
  And then you just see the family standing in the doorway.
• 35:11
  Yeah. And you know why she's doing it?
• 35:13
  It's absolutely brilliant. You know, the Rose amongst the
• 35:16
  thorns actually shows that racism isn't all just burning
• 35:18
  crosses and it isn't always on the surface.
• 35:21
  It could be deep, it could be the family influence, and it
• 35:24
  could be the nicest person in the world who could have this
• 35:27
  horrible, disgusting evil streak.
• 35:29
  And she is evil. By the end of the film, she's
• 35:31
  evil personified. She's got no feelings, she's got
• 35:34
  no emotions. And I don't know if this is down
• 35:37
  as a commentary on the family's influence and generational
• 35:40
  influence and that racism is passed down through family,
• 35:43
  which it probably is in many cases.
• 35:45
  It's generational and it's what you believe in.
• 35:47
  But has she done this so many times that she just doesn't care
• 35:51
  anymore? It's just that job.
• 35:53
  She's known to it. Yeah, really beautifully played,
• 35:56
  really beautifully fleshed out. And I think if she stays the
• 35:59
  same for the first half of the film, she'd been like that all
• 36:02
  the way through. She probably 1 of me favorite
• 36:04
  favorite performances in a horror film.
• 36:05
  It's like just the perfect girlfriend, but just he spins it
• 36:08
  around and he knows it and it's great because you're just like,
• 36:11
  shit. I would have fell for that 100%.
• 36:13
  Yeah. Easily, yeah.
• 36:14
  Look line and sinker. Look line and sinker.
• 36:17
  Donut, coffee and sinker don't. I love all those glances she
• 36:22
  gives it everyone, like during the party scene.
• 36:25
  Yeah, because if anything, oh, she's just pissed off with
• 36:28
  everyone again, repeat view. And it's like nauseous where
• 36:31
  we're going to give the game away.
• 36:32
  Like, exactly. Calm down.
• 36:34
  Like, yeah, keep a lid on it. We've nearly got him.
• 36:37
  Brilliant performance. Brilliant.
• 36:39
  Much is like the table. What she says is dude when he's
• 36:41
  going to be too far. Yeah, yeah, dude.
• 36:43
  He's like, dude, what? You just second?
• 36:45
  Mean in, isn't it, when you watch it for a second time?
• 36:47
  Yeah. Brilliant.
• 36:48
  She was cast because Peele thought her previous roles in
• 36:50
  TV's Girls, the TV show Girls and then Peter Pan would make it
• 36:54
  easy for audiences to trust her and think she couldn't possibly
• 36:58
  be in on the whole thing. Peel said that Williams reminded
• 37:01
  him of someone you knew at summer camp and had a crush on.
• 37:05
  Absolutely. Matthew Westie.
• 37:07
  Absolutely. I haven't seen either Girls or
• 37:11
  her version of Peter Pan, and I still think she couldn't be
• 37:14
  possibly be part of this whole thing because that's on her
• 37:17
  absolutely incredible performance.
• 37:19
  Her performance changes on the second watch and then the third
• 37:21
  watch and the fourth watch, and totally different view it
• 37:23
  totally differently. Yeah.
• 37:25
  So a wonderfully nuanced performance from Allison
• 37:27
  Williams. Sean, fantastic range.
• 37:30
  Yeah. Lovely.
• 37:33
  I'm going to talk about a glorious performance in the
• 37:36
  film. It's the one and only Lil Row
• 37:38
  Harry who plays Rod Williams DSA.
• 37:45
  I mean, I could just watch this guy do his thing all day long.
• 37:48
  He's basically the audience telling Chris not to go in the
• 37:51
  house. When he gets there, tell him to
• 37:53
  get out of the house. His comments are largely based
• 37:55
  on what he sees on films and on TV on some Fritzl shit.
• 38:00
  His conclusions are pretty outrageous, but they're
• 38:03
  basically true. Andre has become a sex slave and
• 38:06
  shit. Among other things, I presume.
• 38:08
  Yeah, and he's also obviously the Comic Relief in the film.
• 38:12
  That scene in the police station is an absolute joy when he's
• 38:18
  outlining his hypothesis, claiming that he's probably more
• 38:20
  trained than the police because of his TSA work.
• 38:24
  That's OK. He said.
• 38:28
  He said I've been doing my detective work kind of just to
• 38:31
  make it sound more legitimate, take me seriously because I've
• 38:35
  been doing my detective work here.
• 38:37
  That scene is just golden for me.
• 38:39
  His delivery and his cadence and his phrase and irresistible.
• 38:43
  He lays it all down and says what's the next move?
• 38:46
  As if he's in on the whole thing.
• 38:48
  As if he's convinced her. Yeah, yeah.
• 38:50
  Like her Stony face is brilliant.
• 38:53
  She's brilliant because you don't know until they start
• 38:55
  loving. It's sort of good, brings you
• 38:56
  over to you guys that he shows her is just Andre dressed as
• 39:00
  like in a white men's clothes, Like he's not going to wear
• 39:02
  that. That's enough evidence.
• 39:03
  Doesn't show that. Like doesn't show that this man
• 39:05
  is missing. Like any kind of real evidence
• 39:07
  that he's missing. Just like, yeah, it's just a
• 39:09
  picture. Of a guy.
• 39:10
  In a hat, yeah. He doesn't dress like that.
• 39:11
  He would never dress like that. He must be a sex slave and shit.
• 39:16
  This dude is from Brooklyn. He didn't dress like this.
• 39:19
  He got the dog with him as well, yeah.
• 39:22
  He's got the dog with him. Yeah.
• 39:23
  Lifts him up. He's right.
• 39:29
  And also that phone call seen between him and Rose, he thinks
• 39:33
  he's going to crack this case wide open.
• 39:35
  He's got Rose right where he wants her.
• 39:37
  He puts her on hold. I'm going to record this shit.
• 39:38
  He's got that TSA shit tingling. But she just says one thing to
• 39:43
  her about wanting to have sex with her and all of his
• 39:45
  detective work all falls apart and he hangs up the phone.
• 39:48
  Oh shit, she's genius. She's genius.
• 39:53
  That's when he goes speaker. Record.
• 39:56
  Yeah. Unmute.
• 39:57
  Yeah. And that and that's a payoff,
• 40:03
  what Rose is saying. And that's a payoff to a moment
• 40:05
  when they have the phone call in the car on the way up right at
• 40:08
  the start. Yeah.
• 40:09
  Yeah. Great.
• 40:10
  Again, great writing. Yeah.
• 40:12
  Great performances by both in that scene.
• 40:14
  I just think that this is the type of character that could
• 40:16
  have gone way overboard and blunt the message of the film.
• 40:20
  But how Really And Peel judge the balance really, really well?
• 40:22
  Yeah, yeah, they really do. So stand out performances all
• 40:26
  around, not forgetting the talents of Catherine Keener,
• 40:28
  Bradley Whitford, Stephen Root and Lakeith Stanfield.
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• 41:54
  The middle. We're picking up directly where
• 41:58
  we left off in this section, an uncomfortable family dinner
• 42:01
  followed by the iconic sunken placing.
• 42:05
  Matthew, you're going to get the ball rolling here.
• 42:06
  Yeah, I mean, you see it uncomfortable this.
• 42:09
  Yeah, it's just horrific. And it's a great opportunity to
• 42:13
  talk about another prompts that we probably wouldn't have time
• 42:16
  space for elsewhere. Caleb Landry Jones is Jeremy
• 42:20
  absolute piece of shit but a great.
• 42:22
  Performance. He's.
• 42:24
  Great. He's great in Three Billboards
• 42:26
  as well. Yes, he is.
• 42:29
  He's really good. But one moment that got me and
• 42:32
  it was only like last week when I watched this, I did think, how
• 42:35
  many times have they played the snow?
• 42:36
  You are with other men that Rose has brought home.
• 42:39
  They've gone through the exact same lines and I think that's
• 42:42
  why Jeremy is the way he is. He's bored.
• 42:44
  Bored of it? Yeah.
• 42:45
  He's the wild card and he just wants to lay Chris out and get
• 42:48
  it over and done with. Doesn't care that people arrive
• 42:51
  in the next year to bid on them and they've got to play the long
• 42:54
  game. He's just thinking, I just want
• 42:56
  to rile them up into like that confrontation.
• 42:59
  And yeah. He's already done 4 in his head
• 43:01
  isn't he's like. No patience for.
• 43:02
  This for this facade, yeah, he's.
• 43:05
  Pushing the boundaries, isn't he?
• 43:06
  Yeah, and I just think his dialogue gets so carefully
• 43:09
  chosen because he's he's seeing racist things, but in a very
• 43:13
  subtle way, like talking about Chris's genetic makeup, and he
• 43:16
  could be a beast. He's choosing it very carefully.
• 43:20
  And it's one of these scenes where, again, just look at all
• 43:22
  the little glances going on between the other members of the
• 43:24
  family, like Missy to Dean, Dean to Jeremy.
• 43:27
  And Dean says, let someone else have the floor, basically,
• 43:30
  because you're going to give this whole thing away and fuck
• 43:32
  it up if you keep on going the way you are.
• 43:35
  But again, there's so many double maintenance going on.
• 43:38
  You know, Dean is only asking Chris what sports he does
• 43:40
  because he wants to know how physically fit he is because
• 43:43
  that's going to be important the next day.
• 43:45
  And, like, what kind of price are they going to get for him?
• 43:47
  And one of my favorite little details in the film is the way a
• 43:50
  Dean perks up and looks at Chris when Chris says he was.
• 43:53
  He is too brutal because, I mean, Chris isn't a fighter.
• 43:56
  He's not going to put up much of A struggle when if things do
• 43:58
  have to get physical with him. And it's Dean's faces aside,
• 44:02
  interesting. Just such a little detail you
• 44:06
  can miss. And it's brilliant.
• 44:07
  And then Jeremy at the end, you know, I wasn't going to hurt him
• 44:10
  before walking out. Just what we had to leave that
• 44:13
  scene. So.
• 44:14
  It's a great performance and one thing I've read and I hope this
• 44:17
  is right. If people who are martial arts
• 44:18
  better than I do, feel free to correct me, but.
• 44:21
  I can't imagine that's many then.
• 44:22
  Well, yeah, I mean, I am. Just look at me.
• 44:24
  I'm clearly at the top of my game, but.
• 44:30
  Matt Claude Van Done. Matt Claude Reigns.
• 44:42
  Outrageous. So and so.
• 44:43
  Matt Black belt. But obviously at this point,
• 44:48
  Jeremy brings up jujitsu because Chris says he does judo.
• 44:51
  And apparently the difference is with judo, that's about standing
• 44:54
  your ground from people to the ground or over your back,
• 44:57
  whereas jujitsu is about grappling your opponent to the
• 45:00
  floor with you, which you do see with Jeremy's attacks.
• 45:03
  But he also says it's like chess.
• 45:05
  You know, Judah 2 is about thing in 3-4 moves ahead, and that's
• 45:07
  what Chris ends up doing. You know, totally a bit of how
• 45:10
  he avoids getting sent to sleep by stuff in the cotton disease.
• 45:14
  So yeah, it's a brilliant saying, really unsettling and
• 45:16
  just sets up, you know, more plot threads are going to get
• 45:19
  paid off later on. Yeah.
• 45:21
  I mean, look at all of the meaning that you've pulled out
• 45:24
  of that, Matt, and you haven't even talked about Just on the
• 45:27
  surface, it's a really uncomfortable scene just from
• 45:29
  like a meeting the parents family kind of perspective.
• 45:32
  Yeah. Yeah.
• 45:33
  I mean, we've all been in those situations, but you haven't even
• 45:36
  mentioned that. There's so many layers to that,
• 45:38
  that moment. Yeah.
• 45:39
  Like when Messi goes out, you just see the grandma standard
• 45:41
  with the cake ready. Just that glimpse and he's, you
• 45:44
  know what the fuck? And then he's even more
• 45:46
  uncomfortable. It's like, I'm going to go and
• 45:47
  get the cake. But how long has she been
• 45:48
  standing there with that? I was.
• 45:51
  Yeah, yeah, well, that leads us to the night where Chris can't
• 45:55
  sleep. And I just love the opening to
• 45:57
  that scene where he pops outside for a sneaky smoke and the set
• 46:01
  of the scenes. That classic horror movie stuff.
• 46:03
  Again, it's Evil Dead, it's name on Elm Street.
• 46:05
  Going out late at night on your own.
• 46:07
  Chris isn't investigating a strange noise or something, but
• 46:10
  the setting is very familiar so you know something's going to
• 46:13
  happen. Georgina appealing behind Chris
• 46:15
  in the hallway is classic horror movie stuff, but there's a
• 46:19
  really well judged musical cue to heighten the fright in there
• 46:22
  as well. It's terrifying.
• 46:23
  And it's terrifying when Walter comes steaming towards Chris at
• 46:26
  full speed, eyes bulging in apparent fury, again heightened
• 46:30
  by the score. But Peel doesn't give us what
• 46:33
  we're expecting. Walter V is off and the shock
• 46:35
  comes from inside the house instead when Missy appears from
• 46:38
  nowhere with the light over the light switch.
• 46:40
  Yeah, you feel on edge on that sequence as well, because he's
• 46:42
  going out for a smoke and he's not supposed to.
• 46:44
  And he's been told that it's bad from Don't Smoke in front of my
• 46:46
  daughter. And we disagree with all that,
• 46:48
  obviously, because they wanted to keep his body as pure as
• 46:50
  possible. You know, it's brilliant.
• 46:52
  And you're on edge anyway because he's just kind of
• 46:54
  sneaking around. Yeah.
• 46:55
  Yeah, which is great and it's. Just that she like, what the
• 46:58
  fuck are we have Walter charged in the water?
• 47:00
  Like, yeah. What, you just think he's going
• 47:03
  to run? Them at me.
• 47:04
  Yeah, because you you automatically think that they're
• 47:06
  in trouble, although the because they're the black characters.
• 47:09
  So you're on edge with these day Weird.
• 47:10
  There's something going on with these guys.
• 47:11
  They're going to try and overtake the House of this
• 47:13
  lovely family and this guy running straight for the camera,
• 47:16
  you're just like, fuck, he's going to have to, he's telling
• 47:18
  us something wrong, we're going to find out something here.
• 47:20
  And then he just beat us off. We're doing laps from the
• 47:22
  gardens is ridiculous. It's not a paranoid verse.
• 47:25
  Watch. But obviously the elder Armitage
• 47:27
  Roman was a runner and got beaten by Jesse Owens of the
• 47:30
  Olympics. That's what we're told at the
• 47:31
  start. Possibly a reason why Roman was
• 47:34
  motivated by race hate. Yeah, Yeah.
• 47:36
  Maybe he got. Over as well first place.
• 47:38
  That's a. Great line.
• 47:40
  Yeah, you nearly put that in the end as well, didn't he?
• 47:42
  Nearly. When he caught up with him, he
• 47:43
  nearly said I've beat you now, Jesse.
• 47:45
  Really. Yeah.
• 47:46
  But he decided not to put that in.
• 47:47
  Like when he tackles him down. He was going to beat you now
• 47:49
  Jesse in there of course, but feel thought that was just too
• 47:52
  on the North. Yeah, far too on the North.
• 47:54
  Definitely glad it's not in. Yeah, yeah, it's a double scare
• 47:57
  as well. Once that once he is off, Chris
• 48:00
  turns around and sees Georgina in in the window.
• 48:03
  That's great. The scene for me is just is
• 48:05
  seeing that something place and seeing the way that he's
• 48:08
  manipulated and lets himself go and the way that she's been
• 48:13
  collecting information all the way through when she first taps
• 48:15
  that glass is what he mentions the death of his mother and how
• 48:18
  vulnerable he is. And she's kind of like, oh,
• 48:20
  right, there's there's a signifier.
• 48:22
  So she's done that and automatically tapped that, which
• 48:25
  I love that silver spoon because that's an ultimate sign of
• 48:27
  privilege being silver spoon in your mouth.
• 48:29
  So you're able to tap that side of privilege against tea.
• 48:32
  You know, the Boston Tea Party and all this kind of stuff and
• 48:34
  all the history of it. It's just so subtle, but like so
• 48:38
  massive. It's just such a punch in the
• 48:40
  gut way. It's just like, yeah, that's
• 48:41
  that's how easy it was for white people to just manipulate Bang,
• 48:44
  bang, bang, done. You know, they've got pure
• 48:46
  control. And I love that.
• 48:48
  But what I really, really love is the the look of the something
• 48:51
  place and kind of what it represents.
• 48:53
  And an appeal said that the something place means we are
• 48:55
  marginalized. No matter how hard we scream,
• 48:58
  the system silences us. And that's huge for me.
• 49:02
  I love the way it looks. I love the way he's fallen into
• 49:03
  that slow motion. I love the way it's just
• 49:05
  completely black. Reminds me of like, you know,
• 49:08
  the work that was done in gravity and things like that,
• 49:10
  where it's just this complete space.
• 49:12
  But it's when he looks up and sees how far he is from reality,
• 49:16
  but he is still himself, you know, it's that horrible
• 49:19
  feeling. But that they must have, you
• 49:20
  know, as that lesser race, I guess, in the world's eyes to
• 49:24
  try and have an opinion or try and say something and they're
• 49:26
  just getting pushed down. And no, the system is going to
• 49:28
  push you down. And you can scream as loud as
• 49:29
  you want, but we can't hear you. You know, I think it's
• 49:31
  incredibly, incredibly powerful. Then we can all, you know,
• 49:35
  appreciate that on one level or another where you have your
• 49:37
  opinion and want to try and get across and you want to feel
• 49:39
  respected and listen to and it doesn't necessarily happen.
• 49:42
  And he does it on such a huge on huge scale.
• 49:45
  I mean, I'm, I'm the same when I'm trying to speak to you guys
• 49:47
  about space hunter or something, I feel like I'm in like the
• 49:48
  sunken area. I'm sorry.
• 49:53
  I hope he never fucking wakes up.
• 49:56
  I think it's great. Like it's just that really
• 49:58
  lovely mix of practical and CGI. Love the way he's actually on
• 50:00
  wires and it's on a black background and it's literally
• 50:02
  nice and it looks really good and it really gets the point
• 50:04
  across without it being cheesy. Could have, could, it really
• 50:06
  could have been, oh, I'm in the sunken pool, you know it's on.
• 50:10
  In lesser hands it could look really shocking, but it looks
• 50:12
  brilliant and I absolutely love it.
• 50:13
  I love everything. That disconnect from reality.
• 50:16
  I think that's really, really well done and doesn't take out
• 50:18
  the film either. That doesn't make you think, Oh
• 50:20
  well, this is a supernatural film now.
• 50:22
  No it doesn't. It's in keeping with the whole
• 50:24
  it. Is, yeah, it is, yeah, Peel
• 50:26
  said. There are many different social
• 50:28
  phenomenons that the song of players represents.
• 50:29
  But in the moment, I was thinking about people who had
• 50:32
  been locked away for having some weed on them because he used to
• 50:35
  be a weed monster. In his words, he says there's a
• 50:38
  cultural epidemic of black men being taken and locked away in
• 50:40
  dark places where we don't have to acknowledge or think about
• 50:43
  them. Realizing that was the first
• 50:45
  time I realized the potential importance of this piece of
• 50:48
  expression. Great stuff.
• 50:51
  And he's right in the scene. He said it evoked some really
• 50:53
  immortal feelings. He said there was a point in the
• 50:55
  process where I got to something that was very vulnerable.
• 50:58
  The fun evolved into tears, and I ended up crying that day.
• 51:01
  And it was a cathartic thing. I think he kind of really
• 51:05
  culturally hit upon something by doing this scene.
• 51:09
  It crossed over. It became a meme.
• 51:11
  It became a relatable concept to so many people that wasn't there
• 51:15
  before SO. Simple, it's it's the thousand
• 51:18
  voices that have been silenced that he's finally let scream.
• 51:21
  Some people get on the big screen, and he's actually given
• 51:24
  all of these people who have been silenced over the history
• 51:26
  of the world, you know, their final chance to say we matter,
• 51:29
  we have something to say and we've been pushed down by
• 51:32
  society and we've been allowed to do that.
• 51:34
  And it's and. We've got a visual
• 51:35
  representation of that, something that is culturally
• 51:37
  accepted and culturally well known.
• 51:40
  Yeah. And I think that's why it
• 51:41
  resonates so much. I mean, just the just those,
• 51:44
  those images of Daniel Collier's face, the one T of the red and
• 51:48
  eyes, yeah. I mean, it's just imprinted in
• 51:50
  the cinema history that now, yeah.
• 51:52
  Just that feeling of absolute loss and powerlessness, it's
• 51:56
  just completely powerless. I love the distortion in Missy's
• 52:00
  voice when she says sink. Yeah, yeah.
• 52:04
  Now sink into the floor. Wait, wait, wait, wait, wait,
• 52:09
  wait, sink. And how good is Catherine Kane
• 52:15
  as well? Yes, it's such an understated
• 52:18
  performance, but incredibly wicked.
• 52:20
  Yeah, yeah, really creepy. Just.
• 52:24
  She's consistently great as well.
• 52:26
  She is. I mean, yeah, she's always.
• 52:27
  Brilliant, So great scene containing the defining image
• 52:30
  from Get Out and one of the most memorable in 21st century
• 52:33
  cinema. Our next scene in the second act
• 52:38
  is the increasingly creepy house party scene, completes with
• 52:41
  outrageous behaviour from all partygoers.
• 52:43
  Matt, you're up first again. Yeah, I mean, this is where it
• 52:47
  gets even weirder for Chris. He's already had to put up being
• 52:51
  hypnotized by his girlfriend's mom the night before.
• 52:54
  The garden has been running Adam for no reason like And it just
• 52:57
  gets worse from now on and clearly just plays it so well.
• 53:02
  Like just wandering around wondering what the hell is going
• 53:04
  on with these people. All these comments, loads of
• 53:07
  patronizing comments about the African American experience.
• 53:11
  Black is in fashion. Outrageous.
• 53:13
  They're all a fan of Tiger Woods.
• 53:14
  Oh my God, you know, it's such a horrible cliche, isn't it?
• 53:19
  Is. It's like the office.
• 53:21
  It's like it. Is it is?
• 53:22
  He's not. His favorite black actor?
• 53:24
  Yeah. Mr. Sidney, 40.
• 53:26
  Mr. Sidney, 40. Yeah.
• 53:28
  Like when he and he's basically he's just getting felt up by the
• 53:30
  women. Like how handsome is like
• 53:32
  squeezed his arm and asking was is it better?
• 53:35
  Like absolutely outrageous and but again, just the comments
• 53:39
  just make so much sense when you realize what they are there for.
• 53:41
  Yeah, when you see Andrea as well, just spinning around as if
• 53:44
  he's shown his body off, that's the first shot of him.
• 53:46
  I've got that like the third watch, I'm like, fucking hell, I
• 53:48
  would have missed that. Yeah, exactly.
• 53:50
  Well, I mean, yeah, because I do have to talk about the Keith
• 53:52
  Sanfield here because this performance is so good.
• 53:56
  It's so weird. It's so chilling.
• 53:58
  He looks so out of place on the arm of that woman, but it's all
• 54:01
  in his eyes. He can practically see on rear
• 54:04
  behind the eye, screaming to escape.
• 54:06
  And yeah, that little twirly does because initially he just
• 54:09
  seems really patronizing until, like you say, where's he went
• 54:12
  when it clicks, you know? Oh, my God, that's what he's
• 54:14
  doing. He's showing.
• 54:15
  Us why he's there he's getting showed off because he's the last
• 54:18
  one to be abducted. So he's the last one where this
• 54:20
  procedures work and just bringing them back to go.
• 54:22
  Do you know this is what I've got?
• 54:25
  This is what you can get. Yeah, and all the dialogue.
• 54:27
  I was like, when he leaves and he says I'll have to let you all
• 54:30
  get on without the aid of my marvelous wit.
• 54:32
  Yeah, and the mannerism cycling. Chris raises his fist to do with
• 54:35
  fist bump and he just shakes it instead.
• 54:37
  That's so good. It's so good.
• 54:40
  It's the biggest representation you could ever need in this
• 54:43
  film. Yeah, exactly.
• 54:44
  It's like, of course, that's an old white man's brain in that
• 54:47
  body. It's such a lead performance.
• 54:49
  I absolutely like, I mean, Stanfield has maybe what, 3-4
• 54:53
  minutes of screen time overall, he makes the most out of it.
• 54:56
  He's so iconic in this. And then I mean, you talk about
• 55:00
  iconic Saints. I think you have to talk about
• 55:01
  Georgina in the bedroom with Chris as well, because that just
• 55:05
  arms up the tension to an unbearable level here because
• 55:08
  that close up of her, the fixed screen, which contrasts so well
• 55:12
  to what's going on again with her eyes.
• 55:14
  And again, that one slow trickling down.
• 55:18
  And I just think that dialogue is so good.
• 55:20
  You know, it's, it's like bread crumbs from Jordan Peele gone.
• 55:23
  Here's some more clues for you. Calling the mobile a cellular
• 55:26
  phone. Yeah.
• 55:27
  Doesn't understand what snitched me to 1st.
• 55:29
  Oh, Tattletale. Tattletale.
• 55:32
  That's amazing. It is amazing.
• 55:33
  That is amazing. And then which?
• 55:34
  Goes I don't answer to anyone. Yeah, because you're the
• 55:37
  grandma. You're not the hell.
• 55:39
  You're the grandma. It's just that scene just blew
• 55:42
  my mind when I saw the cinema. That huge close up of a face,
• 55:46
  just brilliant. A little.
• 55:47
  Unsettling. It is.
• 55:48
  It's so uncertainty like, like Chris really get out, like don't
• 55:53
  know what's going on, but just don't be around here.
• 55:55
  That's how good Peel is without this.
• 55:56
  Like, what motivation is that? You are trapped inside this
• 55:59
  body. Yeah.
• 56:00
  And you are screaming to get out.
• 56:01
  You were allowed one tear. That's your expression.
• 56:03
  And everything else is shut off. Shut down.
• 56:06
  Don't stop, smile. Don't stop, Smile with your
• 56:09
  eyes. Brilliant.
• 56:09
  That fix close up bond take doesn't doesn't cut away, No.
• 56:14
  And her repeated nose. Oh, no, no, no, no, no, no, no,
• 56:18
  no, no, no. Oh, wow.
• 56:20
  Yeah. Incredible stuff.
• 56:21
  Brilliant. Brilliant Westy, what about you
• 56:24
  in this scene? It's really, really good.
• 56:26
  It's really, really clever and it's so much better on the
• 56:28
  second and third watch when he goes upstairs and there's just,
• 56:31
  everyone stops, just looks. It's brilliant, like.
• 56:35
  Invasion of the body snatches, Yeah.
• 56:36
  And he's got the camera and he's just walking around and then he
• 56:39
  zooms in on Dean and Dean points at him as it was like that guy
• 56:43
  there and everyone could turn around like, oh, is this the one
• 56:45
  I'm interested in this That's really good, you know, And
• 56:47
  everyone else wearing black, the blind guy who wants to wants to
• 56:50
  actually have his body or his eyes is, is dressed fully in
• 56:53
  black, which is great. I like that little twist where
• 56:57
  it's he wants his eyes and that's what he's kind of looking
• 56:59
  for. But in my mind, he needs his
• 57:01
  brain as well. Because, you know, as a
• 57:03
  photographer, it's not just your eyes, it's what you program your
• 57:05
  eyes to see. So it's not just a case of that,
• 57:07
  which I think that is a little bit that's a tiny bit slack for
• 57:10
  me. But and the other thing as well,
• 57:12
  that really grates on me. And there's not much because
• 57:15
  this is just a tiny, tiny point in an otherwise perfect film.
• 57:20
  It's just that camera flash. OK.
• 57:23
  Triggers them out, right. It's a really common thing to
• 57:25
  have a flash and light or a camera flash.
• 57:27
  I have to something to get them out with a hypnosis that easily.
• 57:30
  Yeah, it must have happened by now.
• 57:33
  It must have. The can't just go away and live
• 57:35
  a life anyway. So I don't know if there's a
• 57:37
  community somewhere where's all these are the guys that Rosa's
• 57:39
  got, Where are they? Why aren't they all part of a
• 57:42
  community? They have just kind of
• 57:43
  disappeared. It's all a little bit weird of
• 57:45
  like understand the motivation of why they do it, but how did
• 57:50
  they do it? How does it evolve?
• 57:52
  How does it? Oh, it's fine if you keep them
• 57:54
  on your property as your grandparents and you keep an eye
• 57:56
  on them and then that's fine. But if they're going out into
• 57:59
  the world or going out into the suburbs and someone takes a
• 58:02
  photo of them, they're going to run wild.
• 58:04
  And it's not just a one off because it happens again at the
• 58:06
  end. They're going to just wake up
• 58:07
  and what the fuck and don't know where they are and it's just
• 58:10
  going to be absolute Helen. And I don't really think that's
• 58:13
  highlighted enough. Is a, it's a massive thing.
• 58:15
  I wish it should. It could have just been
• 58:16
  something, I don't know what it could have been.
• 58:18
  I haven't had a chance to think about it to that level.
• 58:20
  But I would have loved it to being something a little bit
• 58:23
  more, just a bit with a bit more thought, just a bit more clever.
• 58:26
  Something very rare that happened that he has access to
• 58:29
  something, a new infrared camera that he's testing and has a new
• 58:34
  flash on it. And there's just like that a
• 58:35
  little bit in the back story because he's a photographer and
• 58:37
  I'm going to take this on the trip.
• 58:38
  I'm going to try this out and it fires by accident and he's not
• 58:41
  meant to use it outside, you know, or something like that.
• 58:44
  Yeah, something a bit more nuanced.
• 58:46
  Yeah, just something that a bit more rare, because I feel that's
• 58:48
  just quite easy for him to just flash out of it.
• 58:50
  And then from there, you set it up so beautifully.
• 58:53
  I feel like he just knocks a few of the pins down a bit too easy
• 58:56
  and expects us to go, OK then. Yeah, it's really clever.
• 58:58
  That's really good. All right.
• 58:59
  It's just a camera flash that grates on me a little bit.
• 59:03
  Yeah, Peale said on the significance of making Chris a
• 59:06
  photographer. For somebody who had been
• 59:08
  through the worst day of his life when his mother died and
• 59:10
  was in this stasis while watching TV, it would make sense
• 59:12
  that he chose photography. He's freezing moments and
• 59:15
  collecting them. Yeah, you're singing it from,
• 59:16
  You've seen the world through his own eyes as well.
• 59:18
  I mean to see him in the Stepford Wives as well.
• 59:19
  I mean the main photographer, he's taken it from there.
• 59:23
  Peel said that he felt it was kind of like a special power for
• 59:26
  Chris, the ability to step back and investigate through a
• 59:29
  telescopic lens, and said it goes all the way to him using a
• 59:31
  flash to break Andre and Walter out of the sunken place.
• 59:34
  Camera phones have become such an important tool in the fight
• 59:37
  against racism. Yeah, yeah, I get that that
• 59:39
  works. But yeah.
• 59:40
  But I I certainly take something else.
• 59:42
  Just something a bit more. Just a bit more, because there's
• 59:46
  always been camera flashes. Even if you're going back to
• 59:48
  grandmother, even if you're going back to freaking Wild
• 59:50
  West, there's always been you've had to have them.
• 59:52
  Only now, ironically, do you not need them because phones are
• 59:55
  that good and they've got to have the high of a megapixel.
• 59:57
  You don't necessarily need a flash.
• 59:59
  Something I don't know. Yeah, I know, I know, I know
• 1:00:01
  what you mean. Can I just ask, when you were
• 1:00:03
  saying about even going back to the Wild West, there was camera
• 1:00:05
  flashes. What do you think about the
• 1:00:07
  future? I'd say the clock telling you or
• 1:00:12
  Jesse James when they take photos of his body at the end.
• 1:00:15
  Great, that big. Yeah, yeah, fantastic.
• 1:00:20
  Well, I want to talk about the the the party, the people of the
• 1:00:22
  party in the bingo game. Oh, nice, yeah.
• 1:00:25
  Yeah, costume and colour scheme plays a huge part in this scene.
• 1:00:28
  The red in some form or another on the party goes outfits Chris
• 1:00:32
  is wearing blue represents kind of the red state, blue state
• 1:00:36
  divided in America. The the red signifies the secret
• 1:00:39
  society they're all part of. Roses in red and white, he's in
• 1:00:43
  blue to kind of signify and all American couple loads of layers.
• 1:00:47
  When you watch your back, you realise that all these
• 1:00:49
  interactions that Chris has, they're basically assessing
• 1:00:52
  Chris's attributes to work out if he'd be a suitable donor.
• 1:00:55
  Once I can know about his golf game.
• 1:00:57
  Another basically wants a virile young man to have sex with
• 1:01:00
  Outrageous, and it all feeds into the bingo scene,
• 1:01:05
  particularly their interaction with the blind art dealer Jim,
• 1:01:08
  who you think is on the level because he's outside of the
• 1:01:11
  party by himself and he's blind. So that kind of how can he be
• 1:01:14
  sinister if he's blind? It kind of takes that away from
• 1:01:17
  him a little bit. But he turns out to be his
• 1:01:19
  heinous as everyone else. And this character had to be
• 1:01:23
  played by Stephen Root. Yeah.
• 1:01:24
  Of course he did. The casting is pitch perfect.
• 1:01:27
  Same as old brother, isn't it exactly Stephen Root?
• 1:01:30
  Yeah. Exactly.
• 1:01:31
  There's a fan bunch of boys. There's a mighty fan of singing
• 1:01:34
  in a picking. Because you never know Stephen
• 1:01:39
  Stephen Root's entire career, which goes back all the way to
• 1:01:41
  Crocodile Dundee. Two, Yes, it does.
• 1:01:44
  You never know if his character is how his character is going to
• 1:01:47
  turn out, but there's always an air of weirdness about them.
• 1:01:50
  Yeah, there's always a fragility there.
• 1:01:52
  There's always even indulgible, you know what I mean?
• 1:01:54
  He's always helpful, love for love.
• 1:01:57
  He's always like, really fragile.
• 1:02:00
  Yeah, Yeah he is. The moment I find earth
• 1:02:02
  shattering is the silent bingo scene, which I didn't really
• 1:02:05
  realise on 1st watch. It's an auction for Chris.
• 1:02:09
  So unbelievably creepy when you realise what they're doing.
• 1:02:12
  Absolutely abhorrent. And the music is deafening,
• 1:02:15
  deafening, and it's all been set up so beautifully without any
• 1:02:19
  signposting. Earlier, Rose takes Chris for a
• 1:02:22
  walk after the Andre incident, and she does that because they
• 1:02:26
  need some time out of this party.
• 1:02:27
  It's an outrage, you know, all of these kind of things going
• 1:02:29
  on. But she does that because she
• 1:02:31
  needs to get him out of the pitcher for the auction to take
• 1:02:33
  place. Fantastic writing.
• 1:02:35
  Because that isn't a forced beat at all.
• 1:02:37
  It's completely natural step for those characters to take
• 1:02:40
  considering the narrative so far.
• 1:02:42
  Brilliant stuff. Yeah, they don't need his
• 1:02:44
  picture that big. What if he just happened to
• 1:02:46
  walk? Back though he's he's been
• 1:02:48
  paraded around the party. You don't need that picture.
• 1:02:50
  Where do you get it from? Even if he just happens to get
• 1:02:53
  back, they could have an argument.
• 1:02:54
  He could it. Rose is good, which is not
• 1:02:56
  incredibly good that you can count on at the goal.
• 1:02:58
  He's definitely not coming back around here outside 5 minutes
• 1:03:03
  walk away. I know the neighbors on the next
• 1:03:05
  lake or whatever else but you don't put like a fucking 20 by
• 1:03:07
  30 framed image. No.
• 1:03:10
  Where do they get it from to do with it?
• 1:03:16
  Yeah. But all of Chris's interactions
• 1:03:18
  at the party just served to heighten his awareness that
• 1:03:20
  something just isn't right. Daniel Kaluya said that he can
• 1:03:24
  relate to that scene. He said, I've been to that party
• 1:03:26
  before. That kind of racism isn't seen
• 1:03:29
  as mainstream racism. It's just life.
• 1:03:31
  And to explore that is quite an uncomfortable conversation, he
• 1:03:34
  said. Jordan just spoke the truth.
• 1:03:35
  He's cinematically articulated an experience that millions of
• 1:03:38
  people go through, and they're made to feel crazy for going
• 1:03:41
  through that. But he said, no, you're actually
• 1:03:43
  not crazy. We all feel like that.
• 1:03:46
  I love that cinematically articulated an experience.
• 1:03:49
  That's great language. Great phrase, that.
• 1:03:52
  So still no confirmation that something's badly wrong for
• 1:03:55
  Chris, but the film sticks to its promise as by the end of the
• 1:03:58
  second-half, Chris does make the decision to get out.
• 1:04:04
  The crew. Not Jordan Peele's first screen
• 1:04:09
  rate and credit. That was action comedy Keanu a
• 1:04:12
  year earlier. Yes, it didn't really hint
• 1:04:15
  towards classic horror movie for his second writing credit, but
• 1:04:19
  that is exactly what we got and I'm going to start us off here.
• 1:04:22
  What's amazing to me is the subtlety in the writing.
• 1:04:24
  It's not Mississippi Burning or Django Unchained, It's not
• 1:04:27
  burning crosses in the KKK. It's much more subtle and
• 1:04:30
  relatable, I think on a micro level, and it's here in the way
• 1:04:34
  that people speak to Chris Dean calls him my man and talks about
• 1:04:38
  Jesse Owens. One person talks about Chris's
• 1:04:41
  sexual prowess, another one talks about his perceived
• 1:04:44
  coolness of being black. And this is a universal theme.
• 1:04:48
  Black people, I'm sure, would have been in situations like
• 1:04:50
  these, and white people I'm sure, may have acted like this
• 1:04:53
  and winced at it up on screen. Jason Bloom of Bloom House said
• 1:04:56
  that he saw his own behavior in the film and wasn't aware of it
• 1:05:00
  until producing Get Out. And I'm I'm certain he wasn't
• 1:05:03
  the only one. Yeah, outrageous.
• 1:05:04
  Jason Bloom calling saying my man to every black person he
• 1:05:07
  meets. How long this thing been going
• 1:05:10
  on? You mentioned Georgina earlier
• 1:05:15
  and the tattletale thing man. She also stumbles while pouring
• 1:05:18
  the drinks at the start which is brought on by Missy Clink and
• 1:05:20
  the spoon to the glass. She's obviously used the
• 1:05:23
  hypotherapy on Georgina but we wouldn't know that on 1st
• 1:05:26
  viewing so that's why she she stumbles.
• 1:05:28
  Great. And I really love that scene
• 1:05:31
  after they've had the family dinner at the start where Chris
• 1:05:33
  and Rose are upstairs. Roses seeing things from Chris's
• 1:05:36
  perspective. If it was Chris who was
• 1:05:38
  complaining about the Armitage's behavior, you know that would be
• 1:05:41
  expected. You know I told you so and all
• 1:05:44
  this he does say I told you so, but Peel, flip the dialogue.
• 1:05:47
  So it was Rose who is outraged. And this serves 2 purposes.
• 1:05:50
  Firstly, it highlights that Chris sees this behavior all the
• 1:05:53
  time. He's come to terms with it and
• 1:05:55
  this is how he deals with it in his way, you know what happens
• 1:05:57
  all the time. So he's not outraged, he just
• 1:06:00
  knows the grin and Burt, which is a horrible thought.
• 1:06:02
  It also tricks the audience into making them think that Rose
• 1:06:05
  isn't a baddie either. Why would you be going on like
• 1:06:07
  this if you if you wanted Chris to stay, that's great writing
• 1:06:10
  for me. Because her reveal at the end,
• 1:06:12
  like I said earlier, that's not signposted at all.
• 1:06:15
  That flip. And it's all those subtle little
• 1:06:18
  things in this writing that reward and repeat viewings and
• 1:06:20
  give the film just like endless depth.
• 1:06:23
  Matt, what about you, Screenplay?
• 1:06:25
  Yeah, I do think it's the reason why you do keep coming back the
• 1:06:28
  film, because it does have all these layers, because, you know,
• 1:06:32
  Jordan Peele doesn't use his film to slap you in the face
• 1:06:34
  with what he wants to talk about.
• 1:06:36
  And for me, it is how he talks about racism because he doesn't
• 1:06:39
  go the obvious route with it. And the key scene for me starts
• 1:06:42
  when the cop asks for Chris's ID and Ross takes control of the
• 1:06:45
  situation and gets the cop to leave him alone because it's
• 1:06:48
  just so loaded with weight and meaning.
• 1:06:51
  Because, you know, it is well known in America there is a
• 1:06:54
  problem with police violence against black people.
• 1:06:56
  And on 1st viewing, and this is obviously well before you know
• 1:06:59
  what Rose is really up to, you think, oh great, Rose is
• 1:07:01
  standing up for a man Brilliant. But actually by not letting
• 1:07:06
  Chris stand up for himself, she's saying as a white woman,
• 1:07:10
  I'm more equipped to deal with this situation than you are
• 1:07:12
  because you are a black man, which is extremely patronizing.
• 1:07:15
  No matter how well-intentioned, it's still really patronizing
• 1:07:18
  because it's robbing him of his voice, which obviously again
• 1:07:21
  feeds into what they want to do with them ultimately, but also
• 1:07:24
  his self worth. And it's the same when he has
• 1:07:26
  that conversation with the Dean. And it's a funny line.
• 1:07:28
  And we all after when he says, you know, I'd have ordered for
• 1:07:31
  Obama third time. But it's the same patronizing
• 1:07:33
  attitude because he's essentially saying, well, Chris,
• 1:07:36
  I assume you as a black man would have ordered for Obama,
• 1:07:39
  but you wouldn't twist it around.
• 1:07:40
  You wouldn't say today. Well, I assume you would have
• 1:07:42
  ordered for Mitt Romney, Trump, Trump because you're a white
• 1:07:45
  man. It's, it's, it's what you said
• 1:07:48
  there, Luke. He's not going after the KKK.
• 1:07:50
  He's not going after the Red Hat.
• 1:07:52
  Whereas in America, he's going after people who think they're
• 1:07:55
  allies. He's going after people who
• 1:07:57
  listen to 1 hip hop album and we'll start talking like Eminem
• 1:08:00
  in everyday life. And that's why this film is so
• 1:08:03
  uncomfortable to watch for so many people, because it's not
• 1:08:06
  the easy target. Yeah, it's a cultural
• 1:08:08
  interpretation of a whole race, isn't it?
• 1:08:10
  As opposed to just finding out one person's tastes or style.
• 1:08:13
  It's kind of just an assumption. And I think another thing going
• 1:08:16
  back to what Rose was doing is not getting a paper trail from
• 1:08:20
  the police. So if they run both the
• 1:08:21
  licenses, they're going to know that she was with him and then
• 1:08:23
  he's gone missing all of a sudden.
• 1:08:24
  Yeah, I think she's covering our tracks as well, which is doubly
• 1:08:27
  genius, Yeah. Yeah, it is.
• 1:08:29
  It's really great. And The thing is, like, he's not
• 1:08:31
  like Spike Lee. Like when Spike Lee makes a
• 1:08:33
  political point, he's a real black band and it's like getting
• 1:08:35
  punched in the face, you know? Yeah, yeah, I love it.
• 1:08:38
  But Jordan Peele is like, you know what?
• 1:08:40
  This is how it is. And it's up to you to decide if
• 1:08:43
  you've done these things or not, if you've taken these attitudes.
• 1:08:46
  And like, if you look at Jordan Peele as a person in it, in real
• 1:08:49
  life, he is a Democrat, he is a liberal, but he's not going
• 1:08:52
  after the other side here. He's going after people who he
• 1:08:55
  would identify with. And he's saying to them, you
• 1:08:58
  know what? You might be my allies, but you
• 1:09:00
  do have a problem as well. And you need to acknowledge.
• 1:09:03
  And I think that's such a tricky thing to pull off.
• 1:09:05
  And that's why I think this film is so uncomfortable for a lot of
• 1:09:08
  people because it's like what you said about Jason Bloom, the
• 1:09:11
  fact to go like made these assumptions and said that kind
• 1:09:16
  of thing. And you see him because that
• 1:09:18
  guys back he would have ordered for Obama.
• 1:09:21
  And then having said all that, he's he's put all this in the
• 1:09:24
  film, which is about a family of Matt scientists who was stealing
• 1:09:27
  peoples brains on the surface. And you can watch it on that
• 1:09:32
  level and still enjoy it. But then you can pick it apart
• 1:09:35
  and call. He's talking about a lot of
• 1:09:37
  stuff here. I'm just saying it's such a
• 1:09:39
  balanced, skillful, bitter item. It's it's just so impressive.
• 1:09:44
  Yeah, it's incredible. And you know, one of the other
• 1:09:46
  people who didn't really pick up on the on the right and was
• 1:09:49
  Bradley Whitford, who plays Rosa's dad.
• 1:09:52
  That line, the I would have voted for Obama for the third
• 1:09:54
  time. He didn't realize it was a
• 1:09:56
  satirical jab at condescending white liberals and actually
• 1:09:59
  thought it was just a nice sentiment.
• 1:10:02
  And it didn't dawn on him until after the release of the film,
• 1:10:04
  and he realized he was the kind of person being skewered by
• 1:10:07
  peels, right? Exactly.
• 1:10:09
  But there you go, that's exactly the target.
• 1:10:11
  Fantastic, I. Mean there's another great line
• 1:10:13
  that just keeps coming in. Behave.
• 1:10:14
  When you're talking about Dean's walking around the house and he
• 1:10:16
  just talks about the basement, he goes, we've got some black
• 1:10:18
  mold down there. Yeah.
• 1:10:20
  It's like we've got a mold of black people that would turn
• 1:10:22
  into white people inside. Yeah.
• 1:10:24
  But I think I'm going to talk more about the process because I
• 1:10:27
  know those 200 drafts written with this before you cut, you
• 1:10:31
  got to the final. And for me, that would be
• 1:10:33
  incredibly difficult to change. Once I got that final draft, I'd
• 1:10:37
  be like, right, people go and I always talk about whether the
• 1:10:40
  scripts finished and it's on the page like a McDonough film or
• 1:10:43
  whether, all right, Coen Brothers or whether it's an
• 1:10:45
  outline and it's fleshed along as we go.
• 1:10:47
  And you can tell with them different films where there's a
• 1:10:50
  lot of, but this is a lot of ad Lib in here.
• 1:10:52
  A lot of this is improvised, especially Lil Rihori.
• 1:10:55
  I think he did most of these lines, which you can tell, and
• 1:10:57
  it's got that real looseness to the dialogue.
• 1:11:01
  It's that understanding of character, but also the
• 1:11:03
  understanding of actors. And I think what he's done is
• 1:11:05
  he's just created this space and he's created this message and
• 1:11:10
  everyone's allowed to bring what they want to the table.
• 1:11:11
  And I think that's why it works. I don't think he's one of them
• 1:11:14
  directors where he's just bossing everyone around.
• 1:11:16
  It needs to be like this. Do it. 900 takes, he's well
• 1:11:19
  opened for inclusion and kind of work and with people, and I
• 1:11:23
  think that that is to ease credit in this film.
• 1:11:25
  You can see that everyone's having a good time, everyone's
• 1:11:27
  exploring their character as much as they can, and I think to
• 1:11:30
  write 200 drafts and then still give people that space to move
• 1:11:35
  within that you should understand the story.
• 1:11:37
  Stillwell, you must you know, is it be for beat frame, for
• 1:11:40
  framework, for word and not being like the coins mean like
• 1:11:43
  don't even put a different dude in there or a different.
• 1:11:45
  Don't put a different are in there.
• 1:11:48
  And he's not, he's not scared of losing the message of someone ad
• 1:11:51
  libs because you understand that they understand.
• 1:11:53
  And I think that's really good. And there's one influence,
• 1:11:55
  especially on the right, I think he's a better writer than he is
• 1:11:57
  a director because I think that in regards to the humor, because
• 1:12:01
  I think the humor is delivered through dialogue.
• 1:12:04
  There's not many visual gags in this film, so I don't think he
• 1:12:06
  understands the language of the camera.
• 1:12:08
  The only one is when Norman's running and then he turns last
• 1:12:11
  minute and runs away from the camera.
• 1:12:12
  That's probably the only kind of visual camera gag where there's
• 1:12:15
  no dialogue, but everything else is thought through when it's
• 1:12:18
  written down. I think that just comes from his
• 1:12:20
  right and past, you know, being in television and doing that
• 1:12:22
  show. And it has to be dialogue
• 1:12:24
  because you don't have a lot of moving camera and you don't get
• 1:12:26
  a chance to do that. So for me, he is a better
• 1:12:28
  writer. But it's a film that but haven't
• 1:12:31
  mentioned that I think is really, really important.
• 1:12:33
  And he hasn't mentioned that either.
• 1:12:34
  It's Guess Who's Coming to dinner, and I think that's such
• 1:12:37
  an important film for their lunch.
• 1:12:39
  And you just think, yeah, he's taking a lot from that.
• 1:12:41
  He obviously taken a lot from Rosie's be able to step forward.
• 1:12:44
  But also on the sequence where he's being hypnotized, that's
• 1:12:48
  Silence of the Lambs. That's Jonathan Demi shot for
• 1:12:50
  shot because they're straight into the camera, camera, camera,
• 1:12:53
  camera. And he's like, I'm going to take
• 1:12:54
  Jonathan Demi here. I'm going to take this and say,
• 1:12:57
  and I think that's in the writing of like, he knows how.
• 1:12:59
  I think he's written the shot list as well as he's written the
• 1:13:01
  dialogue. And I think that's.
• 1:13:03
  Why he chose to be a director? Exactly.
• 1:13:05
  So he knows what it's. Going to look.
• 1:13:06
  Like he knows where he's going to put the camera, so he's not
• 1:13:08
  really playing with the camera. He's playing with the dialogue
• 1:13:10
  and the actors and giving them space.
• 1:13:12
  He's setting up the frame, knows it looks great, and just went
• 1:13:14
  right. Fill that with everything.
• 1:13:16
  These are my ideas on the page. Add what you want.
• 1:13:19
  As a writer, I don't think actors need any more than that.
• 1:13:21
  I think that's a beautiful thing.
• 1:13:22
  Yeah, I know the influence that the living dead black
• 1:13:25
  protagonist. Yeah, probably the last last
• 1:13:28
  time horror films done that until this.
• 1:13:30
  Protagonist Yeah, yeah, but what was the only film, what was the
• 1:13:33
  first film of African American survivors 9 on Elm Street 3.
• 1:13:37
  Three, Yeah, that's right. King kid from three.
• 1:13:39
  Yeah, he dies in. The first, but he was the first
• 1:13:44
  to survive and that would have been what, mid 80s?
• 1:13:46
  87. 87 yeah, yeah. So it's been a long time coming
• 1:13:49
  to have a black protagonist. It is.
• 1:13:51
  And but when it's now the Living Dead 60. 68.
• 1:13:54
  Yeah, I think, yeah. So, you know, well worth.
• 1:13:57
  E 5 some Dawn of the Dead though, doesn't he?
• 1:13:58
  The black protagonist and that he gets to win the helicopter.
• 1:14:01
  All right, yeah, Dawn of the Dead.
• 1:14:03
  Yeah. But again, that's. 78 that's. 78
• 1:14:06
  So it's like, yeah, but yeah, I mean, it's very sporadic where
• 1:14:10
  we'll have to really think, yeah, it's the one.
• 1:14:13
  You know it's the more than one. Yeah, there should be a lot more
• 1:14:15
  and I think it's come along and just went.
• 1:14:17
  I'm probably better the most white protagonist because I can
• 1:14:19
  really act. So boom, yeah.
• 1:14:23
  Stage that. Yeah.
• 1:14:24
  I mean, look at the way that the dialogue is delivered by Chris,
• 1:14:29
  the way he talks to Rose, the way he talks the armitages is
• 1:14:32
  completely different. The way he talks to Rod, he's
• 1:14:35
  code switching. He's adapting the circumstances
• 1:14:38
  to fit in. Where is there not?
• 1:14:41
  They're just the same all the way through, yeah.
• 1:14:44
  It's great. I mean, jeez, the writing is
• 1:14:46
  superb. Yeah, it's superb.
• 1:14:49
  People got the idea for the film when Obama was in office, 2009.
• 1:14:53
  People are exclaiming that it was the end of racism in
• 1:14:55
  America, and it was something that Peel had yet to experience.
• 1:14:58
  Yeah. And he plowed this into a
• 1:15:00
  script, thinking that he'd never seen a horror movie from his
• 1:15:02
  perspective, but bubbled away for a while until he pitched it
• 1:15:06
  to producers Sean Mckittrick about five years later.
• 1:15:09
  And Kittrick like the idea so much that he bought a pitch and
• 1:15:12
  paid Peel to write the screenplay.
• 1:15:14
  Yeah. Nice.
• 1:15:15
  Peel set it up with he is something that you're just
• 1:15:18
  definitely not going to like. And he said it and he's like,
• 1:15:20
  no, actually, I love that. Yeah, right.
• 1:15:22
  Great. OK, so that brings us to our 2nd
• 1:15:25
  and final question from one of our patrons.
• 1:15:27
  It's a game from a long time supporter of ATRN, Ryan Chippo.
• 1:15:30
  Hello. Hello.
• 1:15:31
  Hello, Matt. Hello, Ryan.
• 1:15:33
  Yes, yes, Ryan asks. Do you think Jordan Peel will
• 1:15:37
  fizzle out in a few years or do you think he can keep making
• 1:15:39
  solid movies for years? It kind of reminds me the start
• 1:15:43
  of M Night Shyamalan's career. Curious to see which way it
• 1:15:45
  goes. What do you think that?
• 1:15:48
  I think that Shyamalan comparison is really interesting
• 1:15:51
  actually, because I think if you go from 6th Sense, which I know
• 1:15:55
  wasn't Shyamalan's debut, but it is breakthrough film, so I see
• 1:15:58
  that's a jumping off point night and then he doesn't break.
• 1:16:00
  Well, then you decide. I do like all those.
• 1:16:03
  I think they've all got flaws to them.
• 1:16:05
  So I don't think the stack up against Peel following this up
• 1:16:08
  with us. And then no, I think Peel is a
• 1:16:11
  better writer, probably a better director as well.
• 1:16:14
  But what's newest to me, and it is an interesting question, is,
• 1:16:17
  does Peel stick in this fantasy, sci-fi whole genre?
• 1:16:20
  Because I think if you just stick in one genre, I think it's
• 1:16:23
  really hard to stay fresh and to keep feeling relevant, which
• 1:16:27
  will be a challenge from if that's what he wants to do.
• 1:16:29
  But equally, if he makes the jump to another genre, is he
• 1:16:32
  going to be able to do that? You know, what would a Jordan
• 1:16:34
  Peel Wall film look like? Could he could he do a spy film?
• 1:16:37
  Could he make a romantic comedy, You know, so I mean, I certainly
• 1:16:41
  hope he doesn't fizzle out because, you know, love pretty
• 1:16:44
  much well, half. I've loved all three of these
• 1:16:46
  films so far, and I'm certainly confident we'll get more great
• 1:16:49
  films from him. But yeah, it's going to be
• 1:16:50
  interesting to see. Does he stick to this one genre?
• 1:16:54
  And if he doesn't, how successfully will he adapt to
• 1:16:56
  other ones? So that's the big question for
• 1:16:58
  me, I think. Pretty much the same.
• 1:17:00
  I think these films have got a little bit more style of a
• 1:17:02
  substance as they've gone through.
• 1:17:04
  I don't think Us or No is as good as this content wise.
• 1:17:09
  I think that's just the the well, I'll get into that one.
• 1:17:11
  Talk about the cinematography. I think that's got a massive,
• 1:17:13
  massive thing to do with it. But yeah, I mean, it's it's
• 1:17:15
  fresh and he's got fresh ideas and he is making the most of a
• 1:17:19
  genre that people have tried to emulate.
• 1:17:21
  But he's doing it with a real love coming from a place of
• 1:17:25
  appreciation. And the sci-fi elements he
• 1:17:28
  brings to no great. You know, that claustrophobia
• 1:17:31
  that he brings to us is great. The the tension that he brings
• 1:17:34
  to Get Out is fantastic. I just don't know if he just hit
• 1:17:38
  too big too soon and like like Matt says, where does he go from
• 1:17:42
  now? It's 5050.
• 1:17:44
  He could either come back with an incredible remake of
• 1:17:46
  something and just go fucking hell, I didn't even know that
• 1:17:48
  film existed, or come back with a different genre to find and
• 1:17:51
  piece that he did with Get Out. Or he might he might fizzle out
• 1:17:54
  with a bad film. I don't know.
• 1:17:56
  I'd like to think that Peel's got more in his locker than
• 1:17:58
  Shyamalan, to be honest. Yeah, and Knight has made a
• 1:18:01
  couple of good ones, but the least said about the rest the
• 1:18:03
  better for me. I think Peel is a very smart
• 1:18:06
  writer and his films feel like real event movies.
• 1:18:10
  There was a huge buzz when Nope was announced, I remember.
• 1:18:13
  Not on the same level, but a similar feeling that I get when
• 1:18:17
  like a Christopher Nolan film is announced.
• 1:18:19
  But he's in that very small group of directors who's got big
• 1:18:22
  studio backing and seemingly allowed to do what he wants to
• 1:18:25
  and only really think of Nolan, Tarantino and Scorsese.
• 1:18:28
  He's got that kind of creative freedom on a really big scale.
• 1:18:32
  Yeah, like crossover into like blockbuster territory, Yes.
• 1:18:35
  Spielberg. Well, still.
• 1:18:37
  Yeah, of course. Spielberg.
• 1:18:39
  Yeah, naturally. Spielberg.
• 1:18:40
  Cameron. OK, OK, OK.
• 1:18:43
  Just. The.
• 1:18:45
  Ones you like, Yeah. No, but he's broken into a
• 1:18:48
  seemingly impenetrable group. Yeah, after three films.
• 1:18:51
  Yeah, after three films and he's the only black man in there.
• 1:18:53
  And he's the only black man in there.
• 1:18:55
  Exactly. Yeah.
• 1:18:55
  Yeah. So I think that's really
• 1:18:57
  remarkable from three, three films in.
• 1:19:00
  And I think what holds him in good stead is his age.
• 1:19:02
  He's not a kid. He's 44.
• 1:19:03
  And he's experienced, like you were saying earlier, near the
• 1:19:06
  top W he is that he's known the industry from the ground up,
• 1:19:09
  Right. And working in TV producing and
• 1:19:12
  I think he's got some really inventive original ideas,
• 1:19:15
  something of a rarity these days.
• 1:19:17
  And I still think we're going to get another couple of
• 1:19:19
  masterpieces from his, from his filmography.
• 1:19:21
  Yeah. I look forward to them.
• 1:19:22
  Like this one? Yeah, great.
• 1:19:24
  Thanks for the question, Ryan, and much appreciate.
• 1:19:26
  It thank you, Ryan. Yeah.
• 1:19:30
  And now we're moving to our second crew member, Toby Oliver,
• 1:19:33
  who shot the film, and we're just going to let Westie go on
• 1:19:36
  this. Right.
• 1:19:39
  OK. Toby Oliver, Australian.
• 1:19:41
  He did Wolf Creek 2. He did Happy Death Day.
• 1:19:43
  He did Happy Death Day to you. He did the dirt, which was that
• 1:19:46
  motley crew. Yeah.
• 1:19:49
  Day shift with Jamie Foxx. Have you seen that?
• 1:19:51
  That's a lot of fun when he hunts fun players through the
• 1:19:54
  day. It's good.
• 1:19:55
  But they all look, they all have this look, this safe look this.
• 1:19:59
  Just get it on the screen, get it exposed, move the camera
• 1:20:02
  where you want to. And I think working with Toby
• 1:20:04
  Oliver Peel was just like, I need someone who can turn the
• 1:20:06
  camera on and point it somewhere and light it to a lot.
• 1:20:09
  I think it looks nice and move it where to the speed.
• 1:20:13
  I want them to move it into the place that I want to move it to.
• 1:20:15
  So I think there's not a lot of Toby Oliver in this film or any
• 1:20:19
  of the films that he's done. And I'm not saying that that
• 1:20:21
  makes him a bad cinematographer. I think that makes him an
• 1:20:24
  incredible cinematographer because he's not looking to put
• 1:20:26
  a style or a stamp on anything. It's just peel going.
• 1:20:29
  Just get it on the screen, get what I want to see on that
• 1:20:33
  screen. And that's what he's done.
• 1:20:35
  And that's why I love this film, because it all feels like Jordan
• 1:20:37
  Peele. It feels like he's looking at
• 1:20:39
  every shot, looking at every camera, moving, going.
• 1:20:41
  That's exactly what I want. Now.
• 1:20:42
  If you look at us, he's moved on to Michael Julakis, who did It
• 1:20:45
  Follows and he did split and he worked with them night time
• 1:20:48
  land. So it kind of ties it all in.
• 1:20:50
  But that's a more of a visual. The look of us is completely
• 1:20:54
  taken from this. It's it's totally, totally
• 1:20:56
  opposite to this. It's dark, it's the shadows are
• 1:20:59
  there. It's been more thought through.
• 1:21:00
  Peel doesn't have as much of a hold of us with the look of it.
• 1:21:04
  I don't think it's very stylized.
• 1:21:07
  And then from then with Nope, he's going to Hoyt van Hoyt
• 1:21:10
  Emmer who did everything since Interstellar for Nolan, Dunkirk,
• 1:21:14
  Interstellar Spectra, like incredible looking films,
• 1:21:17
  Dunkirk, you know what I mean? He's gone from Toby Oliver to
• 1:21:21
  Hoyt Emmer and he shot Nope some sequences on IMAX.
• 1:21:25
  So he's gone from like the Alexa, the Alexa mini for this
• 1:21:28
  to the fucking IMAX before I find Hoyt Emmer shooting it.
• 1:21:31
  So it's to say it's gone from style of a substance is a bit of
• 1:21:34
  an understatement really, because it definitely has.
• 1:21:36
  But I think what's great about this is that no QA crew member
• 1:21:40
  really stands out. And being like other
• 1:21:41
  cinematography, there's some horror films where you go that
• 1:21:43
  looks amazing, but there's no context at all.
• 1:21:47
  Whereas this film is all about the context and it's very safe
• 1:21:52
  and there's not much to play with the visual side.
• 1:21:54
  And I like the fact that he does that opening shot in one take,
• 1:21:57
  but it doesn't feel like Dean Conde doing Halloween, you know,
• 1:22:01
  that confidence behind that camera movement.
• 1:22:03
  It just feels like he could go off the frame at any moment.
• 1:22:07
  Like it's just there and then we'll come around and then the
• 1:22:09
  doors open. It's not very complex.
• 1:22:11
  There's not doesn't. Feel like there's an identity of
• 1:22:13
  the cinematography. It feels like it's Jordan Peele
• 1:22:15
  who shot. It feels like it's Jordan Peele
• 1:22:17
  just going, yeah, that looks good, move the camera where I
• 1:22:18
  wanted to be too. So for that reason it works.
• 1:22:21
  But it's the same. I mean, I'd like to have seen
• 1:22:23
  him given a little bit more ad Lib to the cinematography as he
• 1:22:26
  did to the actors. But like I say, he doesn't
• 1:22:28
  understand the visuals yet. You just want someone who can
• 1:22:30
  put it on the screen. So that's why as he's
• 1:22:32
  understanding visuals, he's going to a better
• 1:22:34
  cinematographer each time. And I think if he goes for high
• 1:22:37
  timeout again and shoot something in IMAX again after,
• 1:22:39
  no, but it's just going to get bigger.
• 1:22:41
  But I think that's the, again, one of the polls for this film
• 1:22:44
  for me, that it looks very simple and it is very simple in
• 1:22:46
  the context is very, very complicated.
• 1:22:47
  So it all works together really. Functional, isn't it?
• 1:22:49
  Yeah, well it was. It was he who suggested using a
• 1:22:52
  dry for wet technique for the sunken placing.
• 1:22:56
  It was shot on a dry stage at a high frame rate to create a
• 1:22:58
  sense of floating with clue you're suspended on wires.
• 1:23:02
  And he wore loose clothes which would get the requisite ripple
• 1:23:04
  effect from wind machines underneath him to make it look
• 1:23:07
  like he was falling. Really effective practical
• 1:23:10
  effects, you know, they're often the best.
• 1:23:11
  Definitely for that alone, I think he's earned more than
• 1:23:14
  earned his money from this film. Very much so.
• 1:23:17
  Backed by a talented crew, Jordan Peele wrote an incredible
• 1:23:20
  screenplay, explorer and themes rarely seen in any genre.
• 1:23:24
  Definitely the end. Into the final act of Get Out,
• 1:23:32
  Chris and Rose make their excuses and already leave the
• 1:23:35
  Armitage House. But we're in for a shocking
• 1:23:38
  reveal, Westie. It's fantastic reveal, isn't it?
• 1:23:42
  Because you're still on the fence.
• 1:23:43
  You don't quite know what's going on.
• 1:23:46
  There's this anxiety that's just bubbling under all of this.
• 1:23:49
  Who do you trust? Who's who's got anyone's best
• 1:23:52
  interests at heart? Chris is just like almost
• 1:23:54
  pleading. He's like nearly crying, like
• 1:23:56
  what's going on. And then you just, it's one
• 1:23:59
  thing after the other. And when he's actually in the
• 1:24:02
  games room and then tired of the chair, it's like, is he a game?
• 1:24:05
  Is this a game? Is what they're doing taken
• 1:24:07
  seriously? You know what I mean?
• 1:24:08
  And that's just such an incredible image, you know?
• 1:24:11
  But this whole sequence is a great payoff.
• 1:24:13
  But for me, it is just, I don't know, just a little bit thin,
• 1:24:17
  but how clever the film's been up to this point.
• 1:24:19
  It's just kind of like a bit, a very kind of standard bang,
• 1:24:23
  bang, bang there. Yeah, Yeah.
• 1:24:24
  Do you know what I mean? I.
• 1:24:25
  Don't know what you mean. Kind of hits the beats of
• 1:24:28
  traditional horror, doesn't. It yeah.
• 1:24:29
  And, and I don't know if that's, I mean, that's probably
• 1:24:32
  brilliant because that's why I love nearly every horror film
• 1:24:34
  that's come before this. But from this film, I expected
• 1:24:36
  just to like A twist before the twist and A twist, you know what
• 1:24:39
  I mean? And it's just like a bang, bang,
• 1:24:41
  bang. He's in the chair.
• 1:24:41
  You know what's going to happen, but I just love the way the
• 1:24:44
  anxiety is ramped. And again, that's down the
• 1:24:46
  performances. Great.
• 1:24:48
  Yeah. It's magnificent when Chris
• 1:24:50
  finds the pile of photographs. Yeah, yeah, a horrible dawning
• 1:24:54
  on Chris, which for me is tinged with some hilarity.
• 1:24:57
  Yeah, it's all working. No play makes Jack a dull boy,
• 1:24:59
  isn't it? Kind of reveal, Yeah.
• 1:25:02
  When he gets to the photo of Rose and Georgina, it's a double
• 1:25:05
  whammy shit. That's the housekeeper.
• 1:25:08
  But also like sexual preferences are out the window for Rose.
• 1:25:11
  She'll do anything to ensnare someone one suspect, an innocent
• 1:25:14
  person, man or woman. At least she's not a complete
• 1:25:16
  bigot. The first four pictures are of
• 1:25:19
  her. How self involved is she?
• 1:25:25
  That, I mean it's shocking, but it is quite funny when that
• 1:25:29
  picture of her and Georgina comes.
• 1:25:30
  Out. It's great.
• 1:25:31
  It's well played, yeah. What about you, Matt?
• 1:25:34
  This thing. I just love it so much because
• 1:25:37
  it's just this is when it just all comes to head for Chris,
• 1:25:40
  isn't it? And just that sense of like, I'm
• 1:25:42
  in so much trouble and I love it.
• 1:25:45
  I mean, it's a classic horror shot.
• 1:25:47
  I think that that reveal of roar standing behind the door when he
• 1:25:50
  when he's looked at the photos and she's been blocked off by by
• 1:25:53
  the wardrobe door, cup of door. And Williams is so good.
• 1:25:57
  He is. She just changes her performance
• 1:26:00
  ever so slightly. There's a little bit of
• 1:26:02
  coldness, a little bit of woodenness in a delivery because
• 1:26:05
  she doesn't have to pretend for that much longer.
• 1:26:08
  And just the sense that he, well, he's not going to get out.
• 1:26:11
  He can't escape because Missy stirring the cup of tea, ready
• 1:26:14
  to just tap a Jeremy standing guard at the door and Dean just
• 1:26:18
  so relaxed to stand in that fire like, yeah, this, this is a done
• 1:26:22
  deal, Chris, you're not getting out.
• 1:26:24
  Yeah, it's done this 100 times, Yeah.
• 1:26:26
  Done this so many times right? It's proper nerve shred and
• 1:26:28
  stuff. But what gives such power is
• 1:26:31
  even now you still don't know what they want with them.
• 1:26:34
  Like, yeah, you know, by now it. Well, it's got to be more than
• 1:26:36
  sacrificing them or just straight out killing them
• 1:26:38
  because they could have done that ages ago.
• 1:26:40
  Yeah, exactly. And I just keep coming back to
• 1:26:42
  those performances from Cluya and Williams because that she a
• 1:26:45
  terror he's feeling is so palpable in the way he keeps
• 1:26:48
  asking me for the keys. Have you found the keys where
• 1:26:50
  those keys rose? Each time he asks just a little
• 1:26:52
  bit more tense, it's a little bit more frantic until he just
• 1:26:57
  screams that other because he's just lost about he's a broken
• 1:27:00
  man. And then he knows that she's in
• 1:27:03
  and out and he's utterly screwed and not defeat in his voice when
• 1:27:07
  he asks for them one last time and he knows he's not getting
• 1:27:10
  them, but he just can't believe it and he still feels he has to
• 1:27:13
  ask. Where are those keys, Rose?
• 1:27:19
  You know I can't give. You the keys, right babe?
• 1:27:21
  Again, it's another incredible facial expression from Cluya
• 1:27:24
  when he realizes, yeah, she's in on it and he's.
• 1:27:27
  Trap Allison Williams as well, which is drops the keys.
• 1:27:30
  Yeah. And they're just still in her
• 1:27:31
  finger. Yeah.
• 1:27:32
  You know I can't give you these keys.
• 1:27:33
  Yeah, exactly. The way she drops the nice girl
• 1:27:36
  act, it's brilliant. And one little touch, something
• 1:27:39
  is sore brilliant. And like, kind of goes back to
• 1:27:42
  Wesley's point about it. Like throughout the film she's
• 1:27:44
  looked so like, feminine and warm and alluring.
• 1:27:47
  That hair just like cascading around the shoulders.
• 1:27:50
  As soon as she drops that act, she's back in the ponytail.
• 1:27:52
  Exactly. Really sharp looking.
• 1:27:54
  She's all curious now. Yeah.
• 1:27:56
  Astonishing sequence. Great.
• 1:27:58
  I like the moment where Chris is locked in that room.
• 1:28:01
  Well, you know, from a strictly like movie and Alice's point of
• 1:28:03
  view, I don't get my kicks out of it.
• 1:28:07
  Yeah. It kind of reminds me of A
• 1:28:12
  Clockwork Orange where Alex is forced to watch those disturbing
• 1:28:15
  images. Yeah, yeah, very much so.
• 1:28:17
  I think the sound design is so effective.
• 1:28:19
  Just the scrape and of that spoon sends a shiver just
• 1:28:22
  because of what it represents. It's a deeper meaning than than
• 1:28:26
  just this scene. It's much bigger.
• 1:28:27
  It's crossed over culturally. Richard Heard plays Roman
• 1:28:30
  Armitage in that ad that Chris is watching.
• 1:28:33
  Yeah, it's great. That reminds me of like the
• 1:28:34
  infomercials from Lost. Do you remember them?
• 1:28:36
  Yes. Yes, it really does.
• 1:28:38
  Yeah. Very good, yeah.
• 1:28:40
  Jordan Peele's notes to Richard Hurd were to envisage his mood
• 1:28:44
  as a Viagra ad trying to hide deep rage.
• 1:28:48
  He's saying, yeah, I can do that, Yeah.
• 1:28:50
  I couldn't. That's why he's an actor.
• 1:28:53
  Exactly. And I am not.
• 1:28:55
  But that's the ad tells you absolutely fuck all.
• 1:28:58
  Nothing tells you nothing. It's just.
• 1:29:01
  Weird. Very, very unclear what he acts.
• 1:29:04
  Like more wigs which kind of gives you everything.
• 1:29:07
  Even underwater, there are slavery references all the way
• 1:29:13
  through the film. The bingo game is similar to the
• 1:29:15
  way slave auctions used to be. Yeah, but here Chris is bound in
• 1:29:19
  leather manacle similar to what slaves were put in.
• 1:29:23
  And when he makes his escape, he literally picks cotton out of
• 1:29:26
  the chair to block out the sound of the spoon and cup, something
• 1:29:29
  that's obviously seen as a symbol of slavery, but Chris has
• 1:29:32
  reclaimed it as something to fight against racism.
• 1:29:35
  Yeah, I absolutely love that. I love that.
• 1:29:38
  Brilliant, isn't it? That's amazing.
• 1:29:40
  Even if the whole film was shit and that was the payoff at the
• 1:29:42
  end, I'll be like, this is fucking great.
• 1:29:44
  That is magnificent, Yeah. A really inventive way of Chris
• 1:29:48
  getting out of this impossible situation, which again really
• 1:29:50
  rewards on rewatches. Yeah, definitely.
• 1:29:55
  So with Chris Brick and free of his shackles, he attempts to
• 1:29:58
  make it out of the armitages. How House, Which is the final
• 1:30:01
  sequence that we're talking about.
• 1:30:03
  Westie, do you want to take this one away?
• 1:30:05
  Oh, it gets violent, doesn't it? Doesn't It gets violent quick?
• 1:30:10
  Where did that come from a couple of things wrong with the
• 1:30:13
  sequence. Why is he taking his head off
• 1:30:14
  when there's just he's nowhere near prep for the surgery yet.
• 1:30:17
  He's just wants to cut the top of his head off and then waiting
• 1:30:19
  for why candlelight that's really weird.
• 1:30:24
  You can't hear him running up the corridor with a massive
• 1:30:27
  antlers. He just turned around the last
• 1:30:28
  minute bang that's in there. And I think when Jeremy gets hit
• 1:30:31
  in the head as well, that noise he makes when he's on the floor
• 1:30:33
  and he's just horrible. That's really fucking horrible.
• 1:30:38
  But the thing I get from the violence in this, it's not just
• 1:30:40
  gratuitous violence. I mean, it's gratuitous
• 1:30:41
  violence. It's fantastic.
• 1:30:42
  I absolutely love it. But there's meaning behind it
• 1:30:45
  and the symbolism behind it. The way that, you know, Dean
• 1:30:47
  slagged off Diaz as soon as they arrive.
• 1:30:49
  You've done us a favour. I see.
• 1:30:50
  One day I want it dead. And that's how he dies.
• 1:30:52
  So he's impaled through the the chin and into his brain.
• 1:30:55
  So that's a headshot, Missy. She puts up a fight, but then
• 1:30:59
  she's impaled through the eye and through the brain.
• 1:31:01
  So that's another headshot. And Jeremy gets his head stamped
• 1:31:04
  in after it's been caved in a couple of times and he's still
• 1:31:07
  alive. And the genius thing about, you
• 1:31:09
  know, the three steps ahead as he kicks the door three times
• 1:31:11
  and on the third time he stabs him in the leg.
• 1:31:13
  So he's just using the jiu jitsu against him, which is fantastic,
• 1:31:16
  but he gets his head caved in. Walter later on gets the flash
• 1:31:20
  goes off, he realizes who he is and then shoots himself in the
• 1:31:22
  head. And Georgina has a fractured
• 1:31:24
  skull through the car. Yeah, she gets ahead to all the
• 1:31:27
  family die through the brains, dying 1st and not the body.
• 1:31:30
  The only whose body dies is Rose, who's used a body to
• 1:31:32
  manipulate these people. And he leaves that down the side
• 1:31:34
  of the road as his mom did. And that is retribution for his
• 1:31:37
  mom's death. And therefore he escapes, which
• 1:31:39
  is fucking great. So the violence is not just
• 1:31:40
  violence for any reason. It also has a lot of subjects.
• 1:31:43
  Yeah, of course it. Does, and that's all I've got to
• 1:31:45
  say about that. Perfectly.
• 1:31:47
  One must be well done, succinct, articulus, learned, thoughtful.
• 1:31:52
  Powerful thank. You.
• 1:31:55
  Well, I want to talk about Rose eating cereal.
• 1:31:57
  Beautiful. Strap yourselves in, listeners.
• 1:32:02
  Here we go. Yeah, you knock them down.
• 1:32:08
  Well, I mean, she's oblivious to what's going on downstairs.
• 1:32:11
  Like you've you've just outlined there, Westie.
• 1:32:13
  She's got her headphones on. And that flip of Rose is
• 1:32:16
  incredible. She's a different person now.
• 1:32:18
  She's got her hair tied back. She's not the smiley girl from
• 1:32:21
  summer camp anymore. She's turned into a sadistic,
• 1:32:23
  racist killer machine. And this scene really highlights
• 1:32:27
  this. She's in her bedroom listening
• 1:32:28
  to I've had the time of My life. I mean.
• 1:32:33
  Looking for new victims? Loads of meaning behind this
• 1:32:38
  song. It's the whitest song in
• 1:32:41
  history. It's the whitest room in
• 1:32:42
  history. Yeah, but chillingly, she's just
• 1:32:46
  got no remorse from what she's done to Chris.
• 1:32:49
  She's at the time of our life and now she's searching for the
• 1:32:51
  next prey and she's separating the Fruit Loops from the milk
• 1:32:55
  because she doesn't want the colour to mix with the white of
• 1:32:58
  the milk. Super creepy, really effective.
• 1:33:02
  That is just, that is just an incredible image.
• 1:33:05
  Jordan Peele when he was writing that he must be thinking that is
• 1:33:08
  brilliant. Yeah, that is subtext.
• 1:33:11
  Bang, massive power. Oh, great.
• 1:33:14
  What about you, Matt? You're going to bring it up.
• 1:33:16
  Yeah, the ending is the only bit that I feel a little
• 1:33:19
  dissatisfaction with because I just feel it's a bit too rushed.
• 1:33:24
  It's one best thing as a debut director writer did.
• 1:33:27
  Peel does run out of time a little bit, either shooting days
• 1:33:30
  or in the edit. And I just feel if he had maybe
• 1:33:33
  a couple more days, I think he could have nailed the sequence
• 1:33:35
  perfectly because I just find the change in pace a little too
• 1:33:38
  jarring. What I will say is I think he
• 1:33:42
  absolutely 6 the final bit of the landing here because when
• 1:33:45
  Chris sees the sirens and he sees what he thinks is a cop car
• 1:33:49
  poaching in the cinema watching out, my heart just sank for him.
• 1:33:54
  And I thought, oh. OK, we'll go back to reality.
• 1:33:57
  Yeah, I know how this ends. I've seen out of the living
• 1:33:59
  dead. And you think this is going to
• 1:34:02
  be off the early scene with the cop And like, say America does
• 1:34:05
  have a problem with police violence against black people,
• 1:34:08
  specifically black men, and thinking, Chris, he's a black
• 1:34:12
  guy in the Deep South. He's got his hands around the
• 1:34:14
  neck of a dead white woman. There's more bodies behind him.
• 1:34:17
  The house is on fire, like he's not getting out of this.
• 1:34:22
  He's dead. So that relief when you realize
• 1:34:25
  it's a rod and it's OK. You just see airport on the
• 1:34:28
  door. It's fucking great.
• 1:34:30
  Yeah. But I don't know how Pale makes
• 1:34:32
  that ending work, because how many hours have you seen that
• 1:34:34
  have a bleak ending where the protagonist is killed or the bad
• 1:34:37
  guys win. And often when a horror film
• 1:34:40
  doesn't do that, you feel a bit cheated.
• 1:34:42
  You think, yes, that's copped out.
• 1:34:44
  This never feels like that. And I don't know how people
• 1:34:47
  makes work. He just ends on a really good
• 1:34:49
  joke because that pause but Rod leaves hanging before he goes.
• 1:34:54
  Yeah, You know, to go on that house perfectly judged and you
• 1:35:01
  don't feel cheated by any of this, it still feels so
• 1:35:04
  satisfying. And I don't know how Peel has
• 1:35:06
  made that swerve and made it work it.
• 1:35:08
  It's like, say it's a bit rushed to get to this point, but this
• 1:35:11
  point perfectly judged. Yeah, that is perfectly judged.
• 1:35:15
  But the character as well of Chris has been so smart
• 1:35:17
  throughout the whole film. He's been so in touch, so
• 1:35:19
  intelligent, and when he walks away from that room and it's all
• 1:35:22
  on fire, I'm like, that's all the evidence.
• 1:35:24
  Just put the fire out. Yeah, exactly.
• 1:35:26
  Yeah. Something like if that all goes
• 1:35:30
  into flames, you've got absolutely nothing.
• 1:35:32
  Have you both seen the fairpoint?
• 1:35:33
  The other ending. Yes, I haven't.
• 1:35:35
  Actually. Yeah, it's, it's, it's bleak,
• 1:35:38
  like. Right, it's very bleeding.
• 1:35:39
  Summer Kalu is best at him as well.
• 1:35:41
  It's when he actually gets arrested by two policemen.
• 1:35:43
  He's it's when he's in there and Rod goes in.
• 1:35:46
  He's he's told him on the phone and he's just, he just can't
• 1:35:48
  make eye contact with him. And he just asked if the dog's
• 1:35:50
  all right. He just kind of looks down and
• 1:35:52
  all he says is I've got them, I've got them, I'm going to be
• 1:35:54
  good and hangs the phone up and then goes in and you just think
• 1:35:56
  he's got a life sentence. That's it.
• 1:35:57
  He's done. Oh.
• 1:35:58
  Wow. Yeah.
• 1:35:59
  I thought it was going to be like, you know, poison the hood,
• 1:36:02
  blaze of glory coming out, No explanation whatsoever, not even
• 1:36:06
  an arrest. That's what I thought was going
• 1:36:07
  to happen, you know, to kind of to replicate that.
• 1:36:10
  But yeah, it's it's I'm, I'm so pleased that it ends the way it
• 1:36:13
  does. I think you've seen enough.
• 1:36:15
  Yeah, I agree. I think we've been through
• 1:36:16
  enough and in his shoes and you want to get him away because he
• 1:36:19
  is the audience, essentially. So Get Out ended like it
• 1:36:22
  absolutely should satisfy him for all involved.
• 1:36:26
  Rod to the rescue. Rod to the Rescue Reception and
• 1:36:31
  Awards. Get Out turned out to be a bit
• 1:36:36
  of a cultural juggernaut. Critics loved it.
• 1:36:39
  Time magazine said Peel succeeds where sometimes even more
• 1:36:42
  experienced film makers feel he'd made Agile and Tim, and
• 1:36:46
  whose social and cultural observations are so woven
• 1:36:48
  tightly into the fabric that you're laughing even as you're
• 1:36:51
  thinking, and vice versa. Yeah.
• 1:36:53
  Yeah. The time said in a double whammy
• 1:36:55
  of satire. Get Out Up ends all the expected
• 1:36:58
  tropes of the horror movie and gives middle class white
• 1:37:00
  liberals a thorough scuber. Good.
• 1:37:03
  And Satan Sound said thematically it's full on, yet
• 1:37:06
  the nuanced craft and narrative guile bring audiences along for
• 1:37:09
  the scares before they realize the radical adventure they've
• 1:37:11
  just experienced. Is it too early to call this a
• 1:37:14
  modern genre classic? They didn't answer the question
• 1:37:17
  they just posted. Some solid journalism there.
• 1:37:23
  Sight and sound, no message. I know, right?
• 1:37:26
  And now, six years on, Get Out has a Rotten Tomatoes rating of
• 1:37:29
  98% and 7.7 out of 10 on IMDb. They'd.
• 1:37:33
  Have 100 on Rotten Tomatoes for like a year.
• 1:37:36
  Yes, yeah, until a negative review.
• 1:37:39
  Donald Trump sought. Probably.
• 1:37:43
  Make get out great again, Dick. It was huge at the box office.
• 1:37:50
  On a $4.5 million budget, it returned 225 million huge.
• 1:37:57
  Wow, what's Jordan Peele doing next?
• 1:37:59
  Anything he bloody well. Wants anything he wants.
• 1:38:01
  And in doing so, Peel became the first black director to surpass
• 1:38:04
  100 million domestically with their debut feature.
• 1:38:08
  It also became the highest grossing debut film based on an
• 1:38:11
  original idea. It took that crown from The
• 1:38:13
  Blair Witch. Project.
• 1:38:15
  From 18 years prior, musician Chance the Rapper loved Get Out
• 1:38:19
  so much that he bought all the tickets at various movie
• 1:38:21
  theatres in predominantly black neighbourhoods in Chicago so
• 1:38:24
  that people could see Get Out for free.
• 1:38:26
  Amazingly, And it was a big player on the the award circuit
• 1:38:30
  with nominations and awards across the board.
• 1:38:32
  Most prominently, it was nominated for best picture,
• 1:38:34
  director and actor, and Jordan Peele won the best screenplay.
• 1:38:38
  Megan Peele, the first Black person in Oscar history to win
• 1:38:40
  that award. Big, big shit.
• 1:38:42
  This isn't it. Yeah, it's huge.
• 1:38:44
  It is. It's a big cultural phenomenon.
• 1:38:47
  Yeah, really is. There was a lot of controversy
• 1:38:50
  surrounding the awards at the time, with reports of certain
• 1:38:53
  Academy members dismissing Get Out as not Oscar worthy, most of
• 1:38:56
  which reportedly hadn't seen the film.
• 1:38:59
  One anonymous Academy voter was quoted by The Hollywood Reporter
• 1:39:02
  as saying, And I'm reading this verbatim, instead of focusing on
• 1:39:06
  the fact that this was an entertaining little horror movie
• 1:39:08
  that made quite a bit of money, they started trying to suggest
• 1:39:11
  it had deeper meaning than it does.
• 1:39:13
  And as far as I'm concerned, they played the race card.
• 1:39:15
  And that really turned me off. In fact, at one of the
• 1:39:18
  luncheons, Daniel Kaluya, who was not from the United States,
• 1:39:22
  was given us a lecture on racism in America and how Black lives
• 1:39:25
  matter. And I thought, what does this
• 1:39:27
  have to do with get out? Outrageous.
• 1:39:34
  I don't know how you can be so ignorant.
• 1:39:35
  I don't know how you can be so. That's crazy.
• 1:39:37
  I mean, he's just proved the point of why the film needs to
• 1:39:41
  be made. Exactly.
• 1:39:43
  Oh my God. So to count, I'm going to wrap
• 1:39:47
  up here with a quote from the non American Daniel Kaluya.
• 1:39:50
  He said quotes the film allows you to exhale.
• 1:39:54
  It makes you feel less crazy. That's what the film did for me.
• 1:39:57
  And if you carry in that tension or holding your breath, you
• 1:39:59
  understand that he's created a cinematic landscape for what
• 1:40:03
  happens when you're in those situations.
• 1:40:05
  People in my life say something, place They now have a word that
• 1:40:08
  describes everything that they've felt before and before
• 1:40:11
  the film. You know it, but you don't have
• 1:40:12
  the words for it. Yeah, exactly.
• 1:40:14
  He's an articulate guy, like, isn't he?
• 1:40:17
  Oh, he really is. Yeah.
• 1:40:18
  So as you can expect with such emotionally charged subject
• 1:40:21
  matter, Get Out created quite a stir.
• 1:40:23
  But it got the hat trick of success with audiences, awards
• 1:40:26
  and critics. Yeah.
• 1:40:30
  All the right movies ranking. We've reached the end of the
• 1:40:34
  show, but first we're going to hypnotize you with a classic of
• 1:40:37
  our own. It's the iconic ATRM rate,
• 1:40:41
  Wesley. Do you want to take it away?
• 1:40:42
  No. Pressure.
• 1:40:44
  I'll hypnotize you no problem. Big words.
• 1:40:47
  Yeah, huge, huge film. Yeah.
• 1:40:50
  Like you've just mentioned the incredible impact, incredible
• 1:40:53
  journey from, you know, Peel writing this just for himself.
• 1:40:56
  And I think he needed to write it as a more of a cathartic
• 1:40:59
  exercise of what he was feeling. And it's a very personal film
• 1:41:02
  and it's very personal experience.
• 1:41:04
  That's actually universal. And I think if a lot more people
• 1:41:06
  did that and wrote down exactly what they wanted to say and how
• 1:41:09
  they were, how they felt about a certain situation, would all
• 1:41:12
  realize that we're not as fucking mental as we think we
• 1:41:14
  are, you know, and that's all quite a universal message.
• 1:41:16
  And even as a middle-aged white Englishman, I still understand
• 1:41:20
  the pain that he must be going through and how awful and how
• 1:41:24
  uncomfortable and how, you know, cliched it must be to go to like
• 1:41:27
  even that party sequence is just excruciating.
• 1:41:31
  And it helps us understand that. And I think that's what people
• 1:41:34
  should take from the film. And because of that, it's
• 1:41:36
  incredibly important. So it obviously puts it on the
• 1:41:38
  on the higher end of the score. And but from a content point of
• 1:41:41
  view, from an entertainment point of view, from the film
• 1:41:43
  point of view, it does have a couple of things that kind of
• 1:41:45
  pull me out a little bit. One of them being the camera
• 1:41:47
  flash, which again, could have been a little bit more clever.
• 1:41:51
  And the person at the end, like Matt said, it just kind of fast
• 1:41:55
  forwards itself a little bit too much and depends on this over
• 1:41:59
  the top violence that I think he was going to cut together as
• 1:42:01
  this incredibly paced like bang, bang, bang, bang, bang.
• 1:42:03
  And it doesn't sit that way. It does feel quite slow.
• 1:42:07
  And it does feel like there was things that were missing there
• 1:42:09
  that could have been a little bit more fleshed out.
• 1:42:11
  He could have rang for the police as she was in the car.
• 1:42:14
  You know, they don't need to say grandma.
• 1:42:15
  She doesn't need to say grandpa, get them ground put on all this
• 1:42:18
  kind of stuff. It's laid on quite thick at the
• 1:42:19
  end where it's really covered at the start.
• 1:42:21
  So I think it kind of loses forget that because of that.
• 1:42:24
  And that kind of pulls out a little bit, but that it doesn't
• 1:42:27
  lose a lot from that. But for them little points as an
• 1:42:29
  overall movie, I'm going to give it an 8.5 out of 10. 8.5 OK, big
• 1:42:34
  score Matt, what about you? It's.
• 1:42:36
  Been a favorite of mine for the last 6-7 years or so.
• 1:42:39
  It's want to go back to Regli because like we've said, it just
• 1:42:41
  pays off re watches so well. And I was really keen for it to
• 1:42:46
  get the full classic treatment. And I'm so glad to do it because
• 1:42:48
  it's been so good to hear your takes on it to see like how
• 1:42:52
  opinions have changed and like to really pull it apart and see
• 1:42:55
  what's going on underneath my you guys have seen in it.
• 1:42:58
  I think, you know, speaks testament to what is actually in
• 1:43:00
  the film. I think it's a hell of a calling
• 1:43:02
  card from Jordan Peele. And the strength of the film
• 1:43:04
  isn't the fact that it's just this one simple idea, but he
• 1:43:07
  gets so much like creative juice out of that idea Lord and takes
• 1:43:11
  a familiar setup, like I said right at the beginning, really
• 1:43:14
  familiar setup in a fresh direction.
• 1:43:17
  Like that quote you read out. Luke is so important in the film
• 1:43:20
  because if this film has made you feel uncomfortable or you've
• 1:43:25
  tried to dismiss it, it's just been a message movie or
• 1:43:27
  something. Well, it's supposed to make you
• 1:43:29
  feel uncomfortable. Yeah, exactly.
• 1:43:30
  It's done its job, Yeah. It's done its job and it does
• 1:43:32
  its job really well. So yeah, Jordan Peele a thing is
• 1:43:35
  work is excellent, superb performances from everyone.
• 1:43:39
  And so for in terms of Scott, it just comes down to really fine
• 1:43:42
  margins with me and I'll still stick with seeing the end.
• 1:43:46
  And there's a little rushed in comparison to the rest of it.
• 1:43:48
  Wesley's made some really good points about little bits of the
• 1:43:51
  plot that don't add up, so they are the only issues I have with
• 1:43:54
  it. So for me it's a 9.5. 9.5 Very
• 1:43:59
  nice. Well for me it's a real modern
• 1:44:02
  classic I think and with a lot of important things to say
• 1:44:05
  obviously, but it balances the social commentary with some
• 1:44:08
  truly chilling moments and stand out comedy bits as well.
• 1:44:11
  Yes, introduces movie audiences to Jordan Peele who's now names.
• 1:44:15
  Comes with a huge sense of expectation and spectacle.
• 1:44:18
  I think all of the performances are top notch, particularly
• 1:44:21
  Daniel Kaluya, and I've got such a soft spot for Little Royal
• 1:44:23
  Howery. You, you 2 have made some good
• 1:44:29
  points. And I do take those points about
• 1:44:31
  the ending, about The Flash, which I hadn't really thought
• 1:44:34
  about that, to be honest, that hasn't really had an impact on
• 1:44:37
  me. But it hasn't quite gone down as
• 1:44:38
  one of my favorite films since the turn of the century.
• 1:44:41
  So for that reason, I can't give it top marks.
• 1:44:44
  So I'm going to give Get Out a big 9 out of 10, yeah.
• 1:44:47
  OK, lovely. Our 4th and final score for Get
• 1:44:51
  outcomes from our Twitter faithful.
• 1:44:54
  This will be interesting, won't it?
• 1:44:55
  Oh yes, it is. Yeah.
• 1:44:57
  We've asked people to give their written out of 10 and we've got
• 1:44:59
  a big response, real big response.
• 1:45:01
  I can imagine we did. Before I reveal the score, I've
• 1:45:04
  picked out a few pearls of wisdom from the Twitterverse.
• 1:45:06
  Fantastic. OK, here it comes.
• 1:45:09
  Tim at Unintimidating said get out his pace perfectly with a
• 1:45:14
  brilliantly executed final reveal.
• 1:45:17
  It's an original idea and looks great.
• 1:45:19
  Can't disagree with Tim. Good stuff, Tim, good stuff.
• 1:45:21
  Score. OK always love those ones they
• 1:45:27
  are my. Favorite.
• 1:45:28
  I love it. Yeah.
• 1:45:31
  To me, no. At.
• 1:45:32
  To me, no. Said it.
• 1:45:34
  An imaginative allegory about racism.
• 1:45:36
  Not without problems, especially the last act, but it kept me
• 1:45:39
  guessing. A lot of the comments did have
• 1:45:42
  problems with the last act, that it felt as if they didn't follow
• 1:45:45
  through. Yeah.
• 1:45:45
  Yeah. Finally featuring Ving Rhames as
• 1:45:48
  Stimpy at Mike. Under score C under score, Sharp
• 1:45:52
  said simply 10. Movie fucking rules man.
• 1:46:01
  Why do we spend 2 hours talking about film?
• 1:46:03
  We could just. Say that you know we could.
• 1:46:04
  Do. Featuring big Rams as Stimpy has
• 1:46:06
  nailed it immediately, yeah. Two-minute podcast.
• 1:46:11
  It certainly wasn't without its detractors on Twitter, with a
• 1:46:14
  lot of people giving it a negative review, the worst of
• 1:46:17
  which was probably this one. This is from John Reston the
• 1:46:21
  second at John under score. Reston under score 2.
• 1:46:25
  Who said get Out was pure walkest effluvium?
• 1:46:29
  Why aren't 0 or one options on the pole?
• 1:46:32
  The movie sucked ball sacks. Unusual juxtaposition of
• 1:46:36
  language there from Reston the Second.
• 1:46:37
  Is that all he's got to say? That's all he's got to say.
• 1:46:39
  Really. He doesn't elaborate.
• 1:46:41
  It suck ball sacks. A pure walk effluvium.
• 1:46:44
  Walk effluvium. So he's just word of the day
• 1:46:46
  toilet paper. He's just found out what
• 1:46:47
  effluvium means, went on Twitter, wrote two things, and
• 1:46:52
  then went back to his normal language of ball sacks getting
• 1:46:54
  sucked and then just went zero. You know what?
• 1:46:57
  I did what I'd give that zero. Just seems to me the film
• 1:47:03
  touched a nerve, that's all. I'll.
• 1:47:04
  Say yeah, yeah, yeah, potentially, yeah.
• 1:47:07
  And that was a pattern. People asking why our Paul only
• 1:47:09
  gives like 10987 as options. A lot of people said where's 2?
• 1:47:13
  Where's 0? Unfortunately, Twitter only
• 1:47:15
  allows four options for a poll. So we're not going to put 4321
• 1:47:21
  as options. Are we cover those kind of
• 1:47:23
  films, you know, give give it a fair few years.
• 1:47:25
  We might do, you know, master the universe and like that.
• 1:47:31
  So after all the comments and Vorton, what do you think?
• 1:47:33
  Get out averaged on Twitter, fellas.
• 1:47:37
  Well, it will have its detractors.
• 1:47:38
  Strongly, I think. Yeah, I would say it as well.
• 1:47:44
  It bang on the money you've got. To raise the tension there.
• 1:47:50
  Yes, absolutely. Yeah, There was a lot of tune
• 1:47:53
  and fro and a lot of positives, a lot of negative, a lot of
• 1:47:55
  negatives. Yeah.
• 1:47:56
  So when I was in the Twitter scores combined that leads get
• 1:47:59
  out with a score of 35 out of 40.
• 1:48:02
  It's good. Still a big score worthy for me
• 1:48:04
  as well, yeah. Yeah, definitely, yeah.
• 1:48:07
  You can go to alltherightmovies.com/leaderboard
• 1:48:09
  to see where Get Out stands next to the other films that were
• 1:48:12
  covered so far on the podcast. Yep, as mentioned, you can sign
• 1:48:15
  up to be in All the Right Movies period, supported by visiting
• 1:48:18
  patreon.com/all the Right Movies.
• 1:48:20
  You get access to all of those podcasts that we mentioned at
• 1:48:23
  the top, have a say in what films that we cover on Double
• 1:48:25
  Feature, and ask us questions for our shows as well, and we'd
• 1:48:29
  be very happy if you did. Yes, yes, over the moon.
• 1:48:31
  Yeah, please do. Would be wonderful.
• 1:48:34
  Join us again in all the right movies in two weeks, milkshakes
• 1:48:37
  at the ready, as John, Matt and Westie dive head first into
• 1:48:39
  PTA's There Will Be blood. Looking to fall to that one
• 1:48:43
  fellas. It's just.
• 1:48:47
  Going to be that for two hours. Yeah, fantastic.
• 1:48:51
  Yeah, it should be a good one. It should.
• 1:48:53
  Our most recent Patreon exclusive podcast is On The Fog
• 1:48:57
  and Escape from New York, a lively discussion that we had
• 1:48:59
  there made for one hell of a shore.
• 1:49:01
  It was good, I enjoyed that one. Strong opinions.
• 1:49:04
  I enjoyed hard a bit half of it. But to find out what half?
• 1:49:08
  Which? Half sign up and the next
• 1:49:11
  episode of double feature will be with you soon.
• 1:49:14
  Next Friday, it'll be exact 26th of May bound to have two great
• 1:49:17
  films that we're talking about there for sure yeah.
• 1:49:19
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• 1:49:22
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• 1:49:26
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• 1:49:28
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  with loads of great features, is all the right movies.com.
• 1:49:51
  Yeah, sure is. We've got loads of stuff.
• 1:49:54
  Loads and loads and that is it. Consider this situation handled.
• 1:49:58
  We're off to put our applications in for the TSA.
• 1:50:01
  We'll see you soon, everyone. See you soon everyone, thanks
• 1:50:03
  for listening. Thank you tuning in.
• 1:50:26
  I mean, I told you not to. Go in that house.