Jordan Peele Is the New Master of Suspense - WSJ - 0 views
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Peele draws a straight line from his past, conducting laughs, to his present, conducting dread: “People who have done live comedy and who have written comedy develop a real sense of how an audience is going to react. It’s a skill that continues to sharpen, and in my directing career, it’s left me obsessed with riding the audience like a wave.”
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“I do like to give the audience enough to figure it out, if they were to watch the movie enough, but I feel similarly to David Lynch in that I don’t think the audience needs to know everything. The key for me, as a director, is that I need to know everything, because the audience can sense it if I don’t. The beauty of Lynch’s work is that you can leave fulfilled and, at the same time, clueless as to what it was about.”
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Peele wants social critiques to intertwine with his scares. “When you look at the great horror directors—George Romero, Wes Craven, John Carpenter, Alfred Hitchcock—they’re all talking about something without talking about it,
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Peele repeatedly explained how the notion of a post-racial America, which circulated around the 2008 election, struck him as part of a destructive national mind-set of denial. “The thing I didn’t feel we were talking about in any substantive manner was race. With this one, I asked myself, ‘What are we not ready to talk about now?’ And the answer for me was, ‘What is my part in this mess?’
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“We’re living in a messy time,” he continues. “A dark time. And I think there’s plenty of blame to go around, but what I don’t see happening enough is people looking at their own part in this dark turn. It’s so much easier to blame the other. It connects to something in human nature, and to a duality in the history and present of this country as well: this fear of the outsider. This movie was a way to say, What if the intruder is us? Maybe the monster has our face, and we’re so obsessed with some unrecognizable monster that we’ve been blinded to the real one.”
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By the time he dropped out of Sarah Lawrence he’d become hyperliterate in horror and, simultaneously, obsessed with improv comedy. In both idioms, he has addressed complex questions about race, such as what it means to be authentically black—a question with particular resonance to a kid whose own dad once asked him why he “talked white.”
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in Us. Rather than another meditation on race, Peele says, he wanted to explore questions of economic privilege, training his lens on an upper-middle-class American family that happens to be black.
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“There’s this idea that we deserve our privilege,” Peele says, “but when someone enjoys privilege, there almost has to be someone suffering so you can have that. Which means it’s not deserved. It’s violent. In this country we shield ourselves from the people who make our shoes. The people who have to work three jobs. The people we’ve murdered to build over. The wars that have happened so that we can have what we have. If we really acknowledge our place in the world, we have to acknowledge the atrocities, even if we’re not active members in them.”
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I observe that Peele has just paraphrased Marx’s theories of alienation in describing a potential Hollywood blockbuster, and he doesn’t miss a beat: “The Tethered are wearing red.”
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“I can watch Us, just like I watched Get Out, and learn what I’m trying to say to myself,” he says. “You never make a film and know what you were doing entirely.”
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Peele says that, in Hollywood, “the presumption used to be that a successful story is about someone who looks and feels like the audience. With the majority population being white, why would you make a movie with a protagonist of a different race than where your money is? It was a failure of imagination. Black people always saw white movies—because we had to! But also because when a story works, you see yourself in it no matter who you are.”