April 24, 2026

A Script By: Jordan Peele - Get Out

A Script By: Jordan Peele - Get Out

Before it was a film, it was a script. Brad Koszo dives deep into some of Hollywood's most celebrated screenplays to analyze their structure, themes, and page-to-film journey. Get ready for a look at the writers behind the words as he explore their...

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Season 7
Before it was a film, it was a script.

Brad Koszo dives deep into some of Hollywood's most celebrated screenplays to analyze their structure, themes, and page-to-film journey. Get ready for a look at the writers behind the words as he explore their process, what influenced them, and how they inspired some of the iconic cinema we enjoy today.

This month, Amber "The Voice of Reason" Lewis joins Brad to discuss one of her favorites! Get ready for Jordan Peele's Get Out!

Check out our NEW YouTube Channel and subscribe now!

Head over to our Patreon and get started with a FREE 7-day trial. We've got plenty of exclusive content and episodes that you'll only find there! You can also sign up as a free member!

www.afilmbypodcast.com/ for more information.
Email us at afilmbypodcast@gmail.com with your questions, comments, and requests.
Find us on Instagram, X, and Facebook @afilmbypodcast.
WEBVTT

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Welcome to a Script by Episode four. I am your host,

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Brad Kozo. Thanks for joining me on this show. We

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break down some of Hollywood's most notable screenplays and explore

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why they remain so powerful on the page. So far,

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we've explored corruption in Chinatown, the wit and charm of

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Butch Cassidy and The Sun Dance Kid, and teenage life

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in nineteen fifties Texas in the Last Picture. So this

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time we're going more modern. We're diving into one of

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the most shocking and original screenplays of the twenty first century,

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Jordan Peel's Academy Award winning script get Out. This is

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a script that takes an over the top concept and

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grounds it in something real, exploring race, identity and a

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horror that feels both unimaginable and uncomfortably familiar. From its

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opening pages, the film delivers tension, unease, and something much

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deeper beneath the surface. This is a script by Let's

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turn the page. Welcome back to a script by I

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Am Your Host, Brad Kozo, and this is episode four,

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Get Out, written and directed by Jordan Peel. This is

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the screenplay that helped redefine modern horror, blending social commentary

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with general storytelling in a way that feels both entertaining

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and deeply unsettling. What starts as a simple premise a

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young man going to meet his girlfriend's parents quickly becomes

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something much more complex, a story about identity control and

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the systems that exist just beneath the surface. What makes

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his script so affective is how it builds it. It

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doesn't start extreme, It starts familiar, and then it slowly

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pushes the familiarity into something far more disturbing. But before

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we dive into the script, let's bring in today's guests.

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Jeff Johnson calls her the voice of Reason. She's frequently

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appeared on episodes of a film by Docking Base seventy

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seven and now a script by Amber Lewis. Amber, welcome

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to the show.

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Thank you. I am very excited to be doing an episode.

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Well, it's good to have you. When was the first

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time you saw the movie? And then later, what did

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you think about the script?

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I wasn't able to see the movie in the theater,

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but I was like waiting, maybe made a breath for

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it to come out, like on streaming or whatever. So

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the second it dropped, I was watching it because I

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heard everybody was just losing their minds over how good

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it was, right, and I didn't want any spoilers, and

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that's hard to avoid in this day and age. So

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you know, I watched it like the second it dropped

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and just it was instantly like one of my favorites.

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But hadn't read the script. I had listened to the

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director's commentary, but hadn't read the script until we started

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on this episode. And I was really interested in the

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fact that it the script and the filmer are pretty

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much identical, and I thought that was interesting and perhaps

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due to Jordan Pale also directing his own script, I think, yeah,

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you know, of course makes a difference, but the cuts

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that he made I thought were very judicious and very

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well done.

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He made the.

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Choices, and I was just really impressed that the only

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diversion is Rod. He is the only difference to what

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is on the page, and for good reason.

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Yeah, and I don't know if I included it in

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this episode, but a shout out to the character Rod.

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It really he's he's us. Yeah, he's us as we're

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as we're you know, watching it. He does our talking

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for us, you know, he's he's the most rational one

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in like that entire screenplay. Yeah, I remember I had

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to wait, yeah for it to come out to or

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just you know, just like I said, time didn't have

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it didn't have time to get into it. And once

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I saw it, I was I was just more shocked

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at first because I didn't realize that it would that

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he went that far and it and then it worked,

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and then obviously I just had to revisit it again.

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And it's just one of these movies that now you

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got to come back to it again and again, and

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I can't. I don't know how many times you watched

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it before prepping it. I did twice, but four. Yeah,

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but still it was just like and still each time

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was like, there's that, there's that, you know, so and

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obviously we're gonna we're gonna dig into all of that.

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Yeah. We actually covered this film on Docking Day seventy

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seven back in twenty twenty two. It was one of

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it was like my third episode ever on the show. Okay,

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so if you go back and listen, it's a little rough,

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but we had a great time and it's one of

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the I listened to that episode today and it's one

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of those things where I've picked up things in subsequent

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viewings that I missed back then.

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Oh yeah, yeah, me too.

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Yeah, weren't even on my radar back then.

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It's a film that grows more on you. You know,

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you don't love it immediately, you keep seeing it and

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loving it and loving it and just like more and

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more kind of protective of it. Yes, absolutely, Well, let's

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get into the background of our writer, Jordan Peel. He

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began writing get Out in the early two thousand, but

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also a little bit more complicated the way that I

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saw in an interview that he said he goes it

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was during the Obama administration and everybody was like, Okay, oh,

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we're good, black president, racism over, you know. But he

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basically described the idea of what if the system itself

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was the monster? You know. So he approached the script

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as a genre film at first, a horror story that

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could stand on its own, but layered with some social

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tensions underneath. He was influenced for films like Stepher Wives

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Rosemary's Baby, but he built the story slowly, grounding it

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into familiar situations but pushing it into something far more extreme.

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But getting it made wasn't that easy. I mean, Peel

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was known for comedy, you know, sketch comedy. That's all

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anyone knew him from, you know, and the script itself

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really didn't fit into one specific like horror category, you know. So,

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but it was Jason bloom that saw it, the script,

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and he was just like, yeah, he took the chance,

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I mean, directorial debut. I mean it just worked as

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pure entertainment, but it maan, it sparked conversations, and of course,

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of course it without a doubt deserves the Academy Award

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for Best Original Screenplay.

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Yeah. Absolutely, I mean what he does with this script

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is really just amazing, and I think, you know, shout

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out to Bloomhouse for agreeing to make it and to

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give a voice to a demographic that was largely unseen

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in the horror genre, you know, kind to the point

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where it became like a joke, like you don't see

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black people in horror movies, Like it just doesn't happen.

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So to get this rich cultural you know, a description

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of a genre that we know so well and just

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turn everything completely on its side. Oh yes, it you know,

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it is just absolutely fascinating to me.

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Yeah, I mean it's we're gonna we're gonna dig into

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it more. But I mean, it's just the layers of

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this script is I mean, it's just it's a masterclass.

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And but we'll get into.

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And I love his intention like he when you hear

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him talk about it, and I for for this episode,

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got the the annotated version, so it's got lots of

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notes that he has written about the script and how

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thoughtful he was with everything he put in it. There

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is nothing in there that, with the exception of a

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little bit of rod, everything else is one hundred percent intentional.

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It's one hundred percent. Yes, I was making an homage

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to this movie. Yes, I did deliver. Really have this

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character say this to address this racist trope, you know,

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and that kind of just genius level thinking is it's

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just brilliant.

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Yeah, well, we're gonna have to take our first break.

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But when we return, we're going to jump into the

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first ten pages and act one of get Out. Welcome

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back to a script by we are talking Jordan Peele's

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Get Out and breaking down the first ten pages. The

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first ten pages of get Out don't ease you in,

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they grab you immediately. We open with a kidnapping, no context,

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no explanation, just a quiet, suburban street sense that something

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isn't right, and then it happens. It's direct, it's unsettling.

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It tells the audience one thing right away, this world

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is dangerous. Then the script shifts. We meet Chris, everything

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feels normal, comfortable, even a relationship, a conversation, a trip

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being planned. Now the writer can hit the brakes a

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little bit, you know, because that opening has already done

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its job, because now the audience knows something the main

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character does, and that creates the tension in every single

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scene that follows, even the little smallest moments, you know,

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meeting Rose's parents, casual conversations, seemingly harmless interactions, they all

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carry that little bit of weight because watching for something,

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we're waiting where is it? Where is it? And that's

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what makes the first temp pages so effective. They don't

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just introduce the story, They control how we experience it.

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And so I guess my question for you is, then,

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do the first temp pages work because of the shock

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of the opening or because they give the audience the

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information the main character doesn't have.

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I think it's the shock value for me at least,

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because you are already kind of wrong footed, because it's

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got a very Halloween feel to it. You know, you're

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in the suburbs, you're at night, and you know something

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because you're in a horror movie, like something's going to happen, right,

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But we have been conditioned to think he's probably going

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to be andre I'm speaking of is probably going to

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be harassed or questioned, or someone's going to call the

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cops on him, you know, and how far how dangerous

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is that interaction going to be. That's what you're presuming

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is going to happen. So the shock value of him

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getting choked out and thrown into the trunk of a

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car was not on my list of things that were

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going to happen to him in that scene. No, So

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I don't feel so much that we know something that

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Chris doesn't. I just feel like we just got this

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like car craft of a shock value, you know, in

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that cold open and you're still kind of the adrenaline

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is kind of wearing off as you're meeting Chris, and

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you're kind of distracted by that whole domestic scene that

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you get.

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But I think what it does, why it's so affective,

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is because we do know that we do know that

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thing that you know that Chris doesn't know, because we

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know that something is going to be off somewhere.

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So every scene that follows.

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That we know in this world the suburbs are more

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dangerous than you think they are.

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Yeah, and now they're going to the suburbs, you know,

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and it's just like you from the second they're going,

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you're like, oh, it seems Harmer's but this is gonna

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go really bad. But you can't put your finger on it.

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But you you must know, you know, I mean it

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just that's what's so great about it. It's not I

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think some it's a great way to start a script,

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you know, to get people to want to immediately finish it.

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I mean, if you're selling a script and you want

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to make sure that the person that reads it doesn't

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flow it down after like the first ten pages or fifteen,

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you know, have an opening like this. Even if they

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don't like it, they're gonna want to finish it to

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the end. And that's right to.

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Find out at least what happened to that guy.

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Yeah, that's what's so effective about it. Well let's get

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into act one, then, shall we. Act one of get

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Out is built around a simple decision that Chris agrees

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to go meet Rose's parents. On the surface, it feels normal,

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a relationship step, something routine, something everyone's done. But then

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the script frames it differently because from the very beginning

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there's a hesitation. Chris asks that question, do they know

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him black?

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You know?

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Rose brushes it off. You know, it's a small moment,

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but it tells us everything. There's already tension there, not

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over not explosive, just enough to feel off, you know.

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And as they arrive to the Armitage House, that feeling

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builds keeps building. The environment is welcoming, almost overly so

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though the conversations they're friendly but slightly uncomfortable. People say

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the right things, but in the wrong way, and that's

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what defines Act one. Nothing is openly wrong, but nothing

229
00:14:30.840 --> 00:14:35.000
feels right. You know. These supporting characters, Missy, Dean, Walter,

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Georgina each add to that unease, but individually they seem

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pretty harmless, but together they have something unsettling. And then

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we get the turn. Chris gets shypnotized and falls into

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the sunken place, and for the first time the film

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stops suggesting something's wrong and it finally shows it there is.

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You're inciting and because now the danger isn't just social now,

236
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it's real. So at what point of the script does

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the tension shift from social discomfort into something that feels

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genuinely dangerous?

239
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You know?

240
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I mean to you, like, when did it go from

241
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this is weird to oh, oh, this is bad.

242
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I it took me a little longer because the film

243
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does such a good job of gaslighting you at the beginning,

244
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because you're with the liberal elite. I would have voted

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for Obama a third time if I could have, you know,

246
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And it's easy when you're in, you know, a very conservative,

247
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racist environment to know who the villain is. But when

248
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you're in this environment that everything on the outside is

249
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telling you no, we're on your side. We like you.

250
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We may not do it in a in a smooth way,

251
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we may be awkward about it, but you know, we

252
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want to be woke, we want to be yeah, you know,

253
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set do all the good things and be inclusive. And

254
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you know, and that goes on even through his first

255
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hypnotism session, because you're left with did that happen or

256
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did he dream it?

257
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Right?

258
00:16:21.120 --> 00:16:24.840
Because and if it did happen, was it just to

259
00:16:24.879 --> 00:16:29.000
get him to stop smoking? Which is invasive? But kind

260
00:16:29.000 --> 00:16:35.600
of harmless, right and helpful but intrusive way. So I

261
00:16:35.720 --> 00:16:42.399
didn't feel threatened until Andre got flashed with the phone

262
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and started screaming at him to get out. And the

263
00:16:45.320 --> 00:16:48.240
way I explained it to a friend of mine who

264
00:16:48.679 --> 00:16:50.639
was like, you know, I don't really get it, but

265
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maybe it's because I'm white, And I said, the way

266
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I got it is I'm a woman. And what if

267
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I was in an environment and there were only men there, Yeah,

268
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and the one other woman all of a sudden starts

269
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screaming at me to get out, Like I'd have been

270
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in the car ready, I wouldn't have packed and I've

271
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been like, nope, sorry, I gotta go. So uh that

272
00:17:14.720 --> 00:17:17.640
was the thing that got me where, Like my stomach

273
00:17:17.680 --> 00:17:22.880
turned over when that happened, and I was inwardly screaming

274
00:17:22.920 --> 00:17:25.720
at Chris for the whole rest of Act two.

275
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Like justle That's what I like about this script so much.

276
00:17:30.359 --> 00:17:35.200
There isn't very much that you look at and go

277
00:17:35.720 --> 00:17:38.039
I wouldn't have done something so stupid. A lot of

278
00:17:38.079 --> 00:17:40.720
the stuff, a lot things that are said really smart,

279
00:17:40.960 --> 00:17:44.039
very yeah, they're very much like yeah, that's what I

280
00:17:44.039 --> 00:17:46.759
would have done, you know, or that's what I would

281
00:17:46.799 --> 00:17:49.039
have said, you know type thing, especially with the Rod

282
00:17:49.119 --> 00:17:49.960
dialogue as well.

283
00:17:50.240 --> 00:17:54.400
Oh yeah, well, and my favorite horror trope is, I say,

284
00:17:54.480 --> 00:17:58.680
every time people die in horror movies because they're polite, right,

285
00:17:59.039 --> 00:18:00.799
They don't want to be rude, they don't want to

286
00:18:00.839 --> 00:18:03.519
make a scene, they don't want to look stupid, you know,

287
00:18:03.640 --> 00:18:06.720
so they're just like, well, I'll just go along and

288
00:18:07.319 --> 00:18:11.559
you know, it's probably fine, and and that's how they

289
00:18:11.559 --> 00:18:11.839
get you.

290
00:18:12.359 --> 00:18:16.319
Yeah, yeah, I mean up to that point, yeah, you

291
00:18:16.359 --> 00:18:18.799
were waiting for something bad to happen, but you still

292
00:18:20.119 --> 00:18:25.759
weren't sure who's involved. But you knew someone in that

293
00:18:25.839 --> 00:18:29.240
family somehow is involved and you but you but you're

294
00:18:29.319 --> 00:18:34.440
just not sure. They seem so polite. They seem so polite,

295
00:18:34.519 --> 00:18:35.400
I mean well.

296
00:18:35.279 --> 00:18:40.240
And Bradley Whitford as Dean is just like a master

297
00:18:40.400 --> 00:18:49.880
class of like bad dad jokes and you know, awkward wokeness. Yeah,

298
00:18:49.960 --> 00:18:52.200
he just really plays it well.

299
00:18:52.359 --> 00:18:57.839
So they're very very convincing. Well, we are going to

300
00:18:57.920 --> 00:19:00.680
have to take our last break, and then we're going

301
00:19:00.759 --> 00:19:04.400
to dive into Act two of Get Out. Welcome back

302
00:19:04.440 --> 00:19:06.880
to a script. By we are talking and Jordan Peele's

303
00:19:06.920 --> 00:19:10.480
Get Out and we're into Act two, and that is

304
00:19:10.519 --> 00:19:14.519
where the script begins to really tighten. What started out

305
00:19:14.519 --> 00:19:18.880
as social discomfort slowly turns into something much more unsettling.

306
00:19:19.519 --> 00:19:22.680
At the Armitage House, everything feels slightly off, but never

307
00:19:22.799 --> 00:19:26.160
enough to confirm that something is wrong. Conversations are polite

308
00:19:26.279 --> 00:19:32.440
but loaded. Behavior is friendly but unnatural, and that's intentional

309
00:19:32.559 --> 00:19:37.720
because the script is building the tension through contradiction. People

310
00:19:37.759 --> 00:19:40.640
say the right things but in the wrong way. Georgina

311
00:19:40.759 --> 00:19:44.319
and Walter don't behave normally. The guests that the party

312
00:19:44.359 --> 00:19:47.960
treat Claris like an object, even the compliments they feel

313
00:19:49.039 --> 00:19:53.440
just weird, and it's it's all surface level more, but

314
00:19:53.519 --> 00:19:57.319
there's just something underneath it. And then the film crosses

315
00:19:57.359 --> 00:20:01.039
the line when Misy hypnotizes Chris and we're introduced to

316
00:20:01.039 --> 00:20:04.160
the sunken Place. That's the midpoint because for the first

317
00:20:04.240 --> 00:20:08.000
time the film stops suggesting something is wrong and shows it,

318
00:20:08.079 --> 00:20:11.720
and from that moment on, the tension isn't socialomore, it's physical,

319
00:20:11.759 --> 00:20:16.119
it's psychological, it's real, and everything after that builds toward

320
00:20:16.200 --> 00:20:20.400
that great revivial. Act two doesn't reveal the whrror. It

321
00:20:20.519 --> 00:20:24.680
lets you feel it big before you before it shows it.

322
00:20:25.519 --> 00:20:29.440
So is act too about just discovering what's happening or

323
00:20:29.519 --> 00:20:32.960
is it realizing how long it's already been happening.

324
00:20:34.160 --> 00:20:39.640
I think it's as the peeling back of the layers,

325
00:20:40.240 --> 00:20:46.440
like it's not just some kind of superficial threat, you know.

326
00:20:46.519 --> 00:20:48.839
Then you peel back the layer when they're at the

327
00:20:49.880 --> 00:20:53.000
bingo game and you find out that they're auctioning him

328
00:20:53.079 --> 00:20:56.519
off for what you have no idea, like is this

329
00:20:56.599 --> 00:20:58.119
going to be the most dangerous game and they're going

330
00:20:58.160 --> 00:20:59.839
to hunt him down? Like what? Yeah?

331
00:21:00.079 --> 00:21:02.440
I mean your mind can go anywhere.

332
00:21:02.519 --> 00:21:06.119
Yeah, so you still don't really know what the endgame is.

333
00:21:06.200 --> 00:21:10.880
You might have a suspicion, but then you know, to

334
00:21:11.519 --> 00:21:16.160
go into like another deeper layer of the whole family's

335
00:21:16.160 --> 00:21:18.480
in on it, you know, And then to go into

336
00:21:18.519 --> 00:21:20.960
the deeper layer and the reveal that Rose was in

337
00:21:21.079 --> 00:21:24.000
on it, you know. I think that's where your mind

338
00:21:24.160 --> 00:21:25.079
is just blown.

339
00:21:25.920 --> 00:21:31.799
Yeah, because she is so convincing of what's wrong with

340
00:21:31.839 --> 00:21:32.519
my parents?

341
00:21:32.599 --> 00:21:32.839
You know?

342
00:21:32.920 --> 00:21:36.240
And why is this? Because she's agreeing with him that

343
00:21:36.480 --> 00:21:37.400
things are weird.

344
00:21:38.279 --> 00:21:40.160
Well, and she's the first one to point it out.

345
00:21:40.200 --> 00:21:43.240
She's the first one to say, like what was with

346
00:21:43.279 --> 00:21:46.599
what my mom was being rude and yeah, you know,

347
00:21:46.880 --> 00:21:49.079
she's the first one to jump up and say, like,

348
00:21:49.799 --> 00:21:51.359
that was the most awkward dinner ever.

349
00:21:51.440 --> 00:21:54.720
Oh my gosh, yeah that yeah, Like I said, the

350
00:21:54.759 --> 00:21:59.920
family's in on it. Okay, that's awful, and the daughter

351
00:22:00.599 --> 00:22:04.640
and it's been going on this, you know, this long

352
00:22:04.839 --> 00:22:09.200
and just yeah, when he sees the pictures, it's just wow,

353
00:22:09.559 --> 00:22:13.720
you're still really not convinced though, You're still like really

354
00:22:14.160 --> 00:22:16.279
really and you gotta go for it.

355
00:22:16.640 --> 00:22:20.480
Until Rose said, oh you mean these keys, babe. Until

356
00:22:20.559 --> 00:22:24.880
she said that, I one hundred percent thought that somehow

357
00:22:25.400 --> 00:22:29.680
she was being tricked. Yep, that she was being tricked.

358
00:22:29.720 --> 00:22:34.000
She was not in on it. Yeah, and which I

359
00:22:34.400 --> 00:22:37.400
guess says word about me than it does about the script.

360
00:22:37.480 --> 00:22:43.519
But man, when she just like her entire her physicality changes,

361
00:22:44.079 --> 00:22:47.960
her facial expression changes, her voice changes, she pulls her

362
00:22:47.960 --> 00:22:51.240
hair up and that ponytail, and all of a sudden,

363
00:22:51.279 --> 00:22:54.839
she is we realize we have not met Rose at all.

364
00:22:55.440 --> 00:22:56.359
No, she is.

365
00:22:57.039 --> 00:22:59.240
I mean, and it's a long time because they have

366
00:22:59.279 --> 00:23:00.960
been together for five months.

367
00:23:01.279 --> 00:23:04.839
Yeah, I mean that's the thing. It's like, wow, this

368
00:23:05.000 --> 00:23:10.319
is so extreme and so over the top, and still

369
00:23:10.359 --> 00:23:14.640
at this point you know where. We don't know what

370
00:23:14.880 --> 00:23:19.599
is fully happening until we get in two Act three,

371
00:23:19.720 --> 00:23:24.119
and that is where everything is revealed. Because up until

372
00:23:24.160 --> 00:23:29.240
this point the film has been building tension, suggestions, small moments,

373
00:23:29.359 --> 00:23:34.079
uncomfortable interactions, okay, the feeling something's not right. Yes, Now

374
00:23:34.119 --> 00:23:38.119
the script makes it clear. The Armitage family isn't just strange.

375
00:23:38.440 --> 00:23:43.319
They're part of a system. The coagula, the idea that

376
00:23:43.359 --> 00:23:49.119
bodies can be taken, controlled and repurposed. It's shocking, it's extreme,

377
00:23:49.200 --> 00:23:52.039
and on paper it shouldn't work. But by the time

378
00:23:52.079 --> 00:23:55.480
we get there, the script has already prepared us, so

379
00:23:55.519 --> 00:23:59.359
the reveieal doesn't. The reveal doesn't feel random. It it

380
00:23:59.400 --> 00:24:02.599
feels earned, you know. And that's what makes Act three

381
00:24:02.920 --> 00:24:06.359
so effective, because once Chris understands what's happening, the story

382
00:24:06.599 --> 00:24:10.319
just shifts again. It's not about this long discovery. This

383
00:24:10.400 --> 00:24:14.400
is all about survival now, and everything that follows becomes focused.

384
00:24:14.480 --> 00:24:18.319
Every action matters, every move is intentional. The horror is

385
00:24:18.359 --> 00:24:20.400
no longer beneath the surface. It's it's out there, it's

386
00:24:20.400 --> 00:24:24.599
fully exposed. Act three doesn't just reveal the truth, it

387
00:24:24.759 --> 00:24:27.759
shows it from the you know, from the very beginning.

388
00:24:28.480 --> 00:24:33.039
I mean, like you said it, it shouldn't work on paper,

389
00:24:34.000 --> 00:24:38.359
and yet it does and it still is so satisfying.

390
00:24:38.400 --> 00:24:42.519
You know, how are they able to or how is

391
00:24:42.559 --> 00:24:46.039
he able to go that far and not have the

392
00:24:46.119 --> 00:24:49.480
audience question it? I guess is my question because it's

393
00:24:49.519 --> 00:24:54.319
so over the top but just so cleverly done.

394
00:24:54.640 --> 00:25:00.920
Because what he's really saying is when you're getting taken

395
00:25:01.240 --> 00:25:05.599
to the sunken place, your will is being taken away

396
00:25:05.680 --> 00:25:09.920
and your body is going to be used. So it's

397
00:25:10.039 --> 00:25:15.240
just modern slavery. So it's what white people have already

398
00:25:15.279 --> 00:25:19.680
done to black people. He's just got this, you know,

399
00:25:19.759 --> 00:25:25.720
Frankenstein supernatural, you know, horror trope element to it. But

400
00:25:26.279 --> 00:25:29.400
you know, to come right out and say, you know,

401
00:25:29.599 --> 00:25:33.319
you're being valued as a culture and as a color

402
00:25:33.640 --> 00:25:38.839
and for what you bring to enhance white people's lives,

403
00:25:38.920 --> 00:25:42.359
but you're not being valued as a soul or a

404
00:25:42.440 --> 00:25:43.359
human being.

405
00:25:43.559 --> 00:25:46.599
Right, you know? Is passenger?

406
00:25:47.200 --> 00:25:47.519
Yes?

407
00:25:48.240 --> 00:25:52.599
I mean when he explains that that part of the dialogue,

408
00:25:52.680 --> 00:25:55.559
when when he's explaining everything to Chris and how he

409
00:25:55.680 --> 00:25:59.519
just says, you'll you'll be there, But like like I said,

410
00:25:59.519 --> 00:26:02.279
you know, he won't be able to say anything or

411
00:26:03.119 --> 00:26:06.880
do anything, but you'll just have to watch as a

412
00:26:06.880 --> 00:26:10.039
passenger this happened. It's like you don't even die. You

413
00:26:10.119 --> 00:26:13.240
have to just be tortured with this forever. I mean,

414
00:26:15.000 --> 00:26:20.440
it just so terrifying, so terrifying. What they're doing is

415
00:26:20.559 --> 00:26:27.279
so creepingly clever. But like I said, it's it just

416
00:26:27.480 --> 00:26:29.440
it works on so many levels, and like I can't

417
00:26:29.480 --> 00:26:32.880
think of you know, I know I said before that

418
00:26:32.960 --> 00:26:37.079
you know it changed modern horror, but I kind of

419
00:26:37.119 --> 00:26:41.359
think it did. You know, there were you know, horror

420
00:26:41.440 --> 00:26:45.519
obviously doesn't die, but this, you know, ones come out

421
00:26:45.519 --> 00:26:48.000
every once in a while that you know, do really

422
00:26:48.000 --> 00:26:50.920
well or really clever, but this one was a game changer.

423
00:26:51.000 --> 00:26:53.480
This one's going to be talked about for a long time.

424
00:26:55.240 --> 00:27:01.640
Yeah, because you know, any art that puts you in

425
00:27:02.000 --> 00:27:09.599
another culture's perspective and another person's point of view and

426
00:27:09.799 --> 00:27:14.400
changes your mindset is something that is going to be

427
00:27:14.519 --> 00:27:17.640
endlessly debated and argued. And there's layers that you can

428
00:27:17.720 --> 00:27:21.240
just keep peeling as you reveal more about yourself, you

429
00:27:21.319 --> 00:27:23.880
reveal more about what you know and what you don't know,

430
00:27:25.480 --> 00:27:27.599
and so it just becomes more. You know, you can

431
00:27:27.680 --> 00:27:32.079
watch it on a like creepy Stepford wives, you know

432
00:27:32.400 --> 00:27:35.599
kind of level and you know, or you can really

433
00:27:35.599 --> 00:27:37.880
get into it and go out for coffee after and

434
00:27:38.440 --> 00:27:40.880
talk about all the things that you know, we're not

435
00:27:40.920 --> 00:27:44.160
supposed to talk about. And I think that, you know,

436
00:27:44.240 --> 00:27:49.960
the more that we have other cultures allowed to really

437
00:27:50.240 --> 00:27:53.359
immerse you in their point of view, I think the

438
00:27:53.799 --> 00:27:54.799
better the art is.

439
00:27:55.960 --> 00:27:59.920
And another thing that that didn't really get touched up,

440
00:28:00.319 --> 00:28:04.160
I think as much is his the humor. The humor

441
00:28:04.160 --> 00:28:08.720
in the film, every comedy beat is well earned, well deserved,

442
00:28:10.039 --> 00:28:14.119
not very misplaced, and kind of needed that you know,

443
00:28:14.319 --> 00:28:16.119
needed to kind of bring us down to reality. I

444
00:28:16.200 --> 00:28:18.799
was like, this is still a movie. This is still

445
00:28:18.839 --> 00:28:21.440
a movie, but we're still having fun here. We're making

446
00:28:21.640 --> 00:28:25.319
a fun horror movie, but we're not. It's taking yourself

447
00:28:25.359 --> 00:28:27.880
seriously but also being like, yeah, this is what i'd

448
00:28:27.880 --> 00:28:30.240
say too. I mean, like with Rod saying this stuff

449
00:28:30.319 --> 00:28:33.000
like this is eyes wide shuck kind of stuff, can

450
00:28:33.039 --> 00:28:38.079
you start to think until you don't know, is Rod right? Yeah?

451
00:28:38.119 --> 00:28:41.400
I mean he really didn't stray too far from the mark,

452
00:28:41.599 --> 00:28:44.799
to be honest, like he kind of hit it. Yeah,

453
00:28:44.839 --> 00:28:49.000
And that's something that Jordan Peel, you know, himself said

454
00:28:49.359 --> 00:28:52.519
was that he feels that that horror and comedy are

455
00:28:53.000 --> 00:28:56.680
just kind of the same coin, but different sides, you know,

456
00:28:56.759 --> 00:29:00.279
because it's all about the pacing and the reveal, right,

457
00:29:00.640 --> 00:29:03.279
and the understanding that you can only go so far

458
00:29:03.480 --> 00:29:07.240
without needing, like you said, needing to release some of

459
00:29:07.240 --> 00:29:11.119
that tension, right, and you're either going to release it

460
00:29:11.200 --> 00:29:13.319
by le you know, there's one point he gives us

461
00:29:13.319 --> 00:29:19.279
one good jump scare and that kind of okay, I

462
00:29:19.279 --> 00:29:21.400
can relax a little bit. You know. It lets you

463
00:29:21.559 --> 00:29:23.759
get rid of some of that adrenaline. And then you

464
00:29:23.839 --> 00:29:27.920
get Rod to come in and you know, be let's

465
00:29:27.920 --> 00:29:30.480
be honest. The best friend ever, Like he never tells

466
00:29:30.559 --> 00:29:34.039
Chris he's wrong or you're overreacting or anything. The first

467
00:29:34.039 --> 00:29:35.200
thing he says is get out.

468
00:29:35.640 --> 00:29:37.400
Yeah, so you.

469
00:29:37.359 --> 00:29:40.000
Know, but he also is very funny and he lets

470
00:29:40.039 --> 00:29:42.519
you release some of that tension by kind of laughing

471
00:29:42.559 --> 00:29:48.599
at the situation. And you know, so it just I

472
00:29:48.599 --> 00:29:52.880
think is a brilliant choice to have a comedian make

473
00:29:52.960 --> 00:29:54.240
such a tight horror film.

474
00:29:54.400 --> 00:29:56.279
And I feel like he's saying what we want to

475
00:29:56.319 --> 00:29:59.519
say to Chris. Yes, you know, it's like we want

476
00:29:59.559 --> 00:30:03.200
to say that to that Yes, well, now that we

477
00:30:03.319 --> 00:30:05.440
have gone through the script, we're going to go to

478
00:30:05.559 --> 00:30:08.359
our special sections, and our first one up is going

479
00:30:08.440 --> 00:30:10.359
to be foreshadowing and set up.

480
00:30:11.039 --> 00:30:11.160
Now.

481
00:30:11.200 --> 00:30:13.160
One of the most impressive things about get Out is

482
00:30:13.160 --> 00:30:17.200
how carefully it sets everything up. Nothing in this script

483
00:30:17.480 --> 00:30:20.960
is accidental. I mean, early on the details they feel small.

484
00:30:21.119 --> 00:30:23.880
They're very easy to overlook. You know, a comment here,

485
00:30:24.079 --> 00:30:28.319
a behavior there. Some feel slightly off but not fully explain,

486
00:30:28.920 --> 00:30:32.160
But as a story unfolds, those details start to connect.

487
00:30:32.680 --> 00:30:36.079
The deer, the tea cup, the way Missy stirs it,

488
00:30:36.119 --> 00:30:39.480
the strange behavior of Georgina and Walter, even the party

489
00:30:39.519 --> 00:30:42.400
guests and the questions they ask. It's like, say, but

490
00:30:42.440 --> 00:30:45.640
it's it's It all feels like atmosphere, but it's not.

491
00:30:46.160 --> 00:30:50.400
It's structure because every one of those moments is planning

492
00:30:50.480 --> 00:30:54.240
information the audience doesn't fully understand yet, but you know

493
00:30:54.319 --> 00:30:57.319
we will, and that's what makes the script so effective.

494
00:30:57.319 --> 00:31:01.039
When the reveal comes, it doesn't feel like a twist.

495
00:31:01.279 --> 00:31:03.359
You know, it's not an all twist. It feels like

496
00:31:03.440 --> 00:31:07.559
something we've been watching the entire time without realizing it.

497
00:31:08.240 --> 00:31:11.119
That's the difference between surprise and payoff. Get Out doesn't

498
00:31:11.440 --> 00:31:16.079
just surprise you. It prepares you. Do you think the

499
00:31:16.119 --> 00:31:19.559
film is more effective because you don't notice the setup

500
00:31:19.839 --> 00:31:21.799
the first time, or because you can see how carefully

501
00:31:21.799 --> 00:31:23.920
it's built when you go when you go back.

502
00:31:26.000 --> 00:31:29.839
I love the fact that every time you watch it,

503
00:31:30.160 --> 00:31:34.039
you get another piece that maybe you missed the first time.

504
00:31:34.160 --> 00:31:37.440
It took me several watches before I understood what the

505
00:31:37.480 --> 00:31:40.839
Deer was all about. I didn't get that like at all, which, right,

506
00:31:41.319 --> 00:31:44.559
it may seem really obvious, but I just didn't get it.

507
00:31:45.720 --> 00:31:51.039
And then on the most recent watch something that I

508
00:31:51.079 --> 00:31:55.839
hadn't noticed before. The scene where they're having tea on

509
00:31:55.920 --> 00:32:00.920
the back veranda, Yeah, and Georgina like into a trance

510
00:32:00.960 --> 00:32:05.319
and she spills the tea and Missy kind of snaps

511
00:32:05.319 --> 00:32:06.759
at her and tells her to go lay down and

512
00:32:06.799 --> 00:32:09.079
take a nap. Yeah, and she just kind of gives

513
00:32:09.079 --> 00:32:10.960
her that smile and she's like, you know what, I'll

514
00:32:10.960 --> 00:32:15.519
do that. All of that is like passive aggressive mother

515
00:32:15.680 --> 00:32:19.440
in law and daughter in law stuff. Yeah, And like

516
00:32:19.920 --> 00:32:22.559
I never clued into that before, and I was just

517
00:32:22.599 --> 00:32:26.160
watching it, going, oh, they hate each other because they're

518
00:32:26.559 --> 00:32:29.799
it's that mother in law daughter in law, Yeah, stereotype

519
00:32:29.839 --> 00:32:33.400
and they can't stand each other, these two. And I

520
00:32:33.480 --> 00:32:36.319
never noticed it the twenty other times I watched the movie,

521
00:32:36.480 --> 00:32:39.599
So I think that's what. You know. It's it's like

522
00:32:39.799 --> 00:32:43.880
hitchcocky in in that way where you always see these

523
00:32:43.920 --> 00:32:47.839
little winks that he gave you all along. Yeah, you know,

524
00:32:47.880 --> 00:32:49.799
and you just didn't realize.

525
00:32:50.359 --> 00:32:52.720
With the very beginning when she when her and Chris

526
00:32:52.759 --> 00:32:55.440
are deciding to go to you know, her parents and

527
00:32:55.440 --> 00:32:57.200
are just talking about it, and he's like, I just

528
00:32:57.200 --> 00:32:59.119
don't want to, you know, be chased off the you know,

529
00:32:59.240 --> 00:33:01.559
lawn with a shock. He has literally chased off the

530
00:33:01.640 --> 00:33:02.519
law with the shotgun.

531
00:33:02.880 --> 00:33:07.279
That is great, yes, well, and even like the little

532
00:33:07.559 --> 00:33:10.920
piece after they hit the deer and she rose is

533
00:33:10.920 --> 00:33:13.519
getting into it with the cop. Yeah, and you think

534
00:33:13.559 --> 00:33:17.039
she's being like, yeah, stand up white person, saying like

535
00:33:17.480 --> 00:33:20.960
he doesn't need his ID. I was driving, And then

536
00:33:21.000 --> 00:33:23.400
you realize it has nothing to do with that.

537
00:33:23.440 --> 00:33:27.680
She doesn't what a paper trail exactly. Oh my god,

538
00:33:27.960 --> 00:33:30.480
I mean you're and then we were watching she's like, god,

539
00:33:30.559 --> 00:33:34.640
you bitch, You're just you're awful. You're the worst, the worst.

540
00:33:36.400 --> 00:33:40.480
So now we come to dialogue, character and subtext. Now

541
00:33:40.519 --> 00:33:42.680
what makes the Dialogue and get Out. So effective is

542
00:33:42.680 --> 00:33:45.440
that it's doing two things at once. On the surface,

543
00:33:45.480 --> 00:33:49.960
the conversations feel polite, friendly, even welcoming, but underneath, there's

544
00:33:49.960 --> 00:33:53.079
something else happening. The characters say the right things, been

545
00:33:53.119 --> 00:33:57.039
in the wrong way. Lines that sound like compliments, you're strong,

546
00:33:57.400 --> 00:33:59.960
black is in fashion. I would have voted for Obama

547
00:34:00.119 --> 00:34:05.960
third time. They don't land as compliments. They feel invasive, uncomfortable,

548
00:34:06.480 --> 00:34:09.519
and that is where the subtext lives, because the script

549
00:34:09.559 --> 00:34:13.800
is using dialogue to create tension, not by what's being said,

550
00:34:14.199 --> 00:34:19.360
but what's being implied even the simple conversations they carry. Wait,

551
00:34:19.960 --> 00:34:22.840
Chris isn't just reacting to the words, He's reacting to

552
00:34:22.880 --> 00:34:26.639
their tone, their behavior, and the feeling that just Sun's

553
00:34:26.679 --> 00:34:30.079
not right. And that's what makes the dialogue so powerful.

554
00:34:30.159 --> 00:34:33.719
It builds unease without ever announcing it. The whore isn't

555
00:34:33.760 --> 00:34:38.519
in the words, it's with what is underneath them. Do

556
00:34:38.599 --> 00:34:41.519
you think the dialogue works because of what the characters

557
00:34:41.559 --> 00:34:45.440
say or because of what they don't realize they're saying.

558
00:34:47.719 --> 00:34:53.039
I think for I think it works on two levels.

559
00:34:53.239 --> 00:34:57.519
In that I think especially the party scene, every black

560
00:34:57.559 --> 00:35:01.280
person watching that scene has been in a situation like that,

561
00:35:01.360 --> 00:35:04.519
and it's had somebody say some stupid stuff like that

562
00:35:04.599 --> 00:35:08.480
to them. But I think also it's the moment of

563
00:35:08.480 --> 00:35:11.920
self awareness for the white audience to go, oh God,

564
00:35:12.000 --> 00:35:13.039
did I sound like that?

565
00:35:13.559 --> 00:35:14.800
Do I say these things?

566
00:35:15.840 --> 00:35:20.639
You know? Like what an idiot? So I think that

567
00:35:20.639 --> 00:35:26.000
that's a great self aware layer to you know, this

568
00:35:26.159 --> 00:35:29.119
story that you're trying to figure out this puzzle, because

569
00:35:29.159 --> 00:35:31.920
all of that section is Chris is kind of being

570
00:35:31.920 --> 00:35:36.079
a detective at this point and trying to figure out like, so,

571
00:35:36.159 --> 00:35:38.400
what is the deal with this family? What is the

572
00:35:38.440 --> 00:35:42.920
deal with these friends and this party that's supposed to

573
00:35:43.119 --> 00:35:47.199
you know, honor the grandparents, and you know, like none

574
00:35:47.239 --> 00:35:49.800
of this seems like it's it is what it should be.

575
00:35:50.239 --> 00:35:50.440
Yeah.

576
00:35:53.199 --> 00:35:55.039
So I like that you're thrown a little bit of

577
00:35:55.079 --> 00:35:58.440
an ex direction with the obviousness of the things that

578
00:35:58.440 --> 00:35:59.000
they're saying.

579
00:35:59.480 --> 00:36:02.559
Yeah, and then I'll throw out like a big clue,

580
00:36:03.280 --> 00:36:06.960
but doesn't fully explain it. Like when Chris goes upstairs

581
00:36:06.960 --> 00:36:09.760
to check his phone and everyone he's gotta go past

582
00:36:09.760 --> 00:36:12.760
everybody in the like the dining room and stuff like that,

583
00:36:13.239 --> 00:36:15.360
and he goes up and they all start stop talking

584
00:36:15.400 --> 00:36:17.159
and just listen to him.

585
00:36:17.360 --> 00:36:18.559
Yeah, they're all staring at the.

586
00:36:18.599 --> 00:36:22.039
Killing creepy, but we still don't know yet.

587
00:36:22.280 --> 00:36:26.519
You know, Yeah, you just you don't know why.

588
00:36:26.800 --> 00:36:32.280
So we're gonna get into page versus screen. Now. You

589
00:36:32.360 --> 00:36:34.559
said you you have a script that you bought. The

590
00:36:34.639 --> 00:36:38.840
script that I read, I think is a very maybe

591
00:36:38.960 --> 00:36:43.639
first draft, So there were some differences, Yeah.

592
00:36:43.840 --> 00:36:46.199
Through like two hundred drafts.

593
00:36:46.280 --> 00:36:51.360
Yeah, but still on the page, the story's already tight. Yeah.

594
00:36:51.360 --> 00:36:55.320
I mean the structures there, the foreshottings precise, the tone,

595
00:36:55.599 --> 00:37:00.360
it's carefully controlled. Uh. There's some additional moments in ended

596
00:37:00.400 --> 00:37:04.480
scenes give a little more detail of that world. But

597
00:37:04.920 --> 00:37:08.320
the thing that really stands out, you know, is the ending.

598
00:37:08.440 --> 00:37:14.719
But because the original script, you know, Chris doesn't escape cleanly. Instead,

599
00:37:14.760 --> 00:37:18.039
he's arrested, and the final scene takes place in prison

600
00:37:18.079 --> 00:37:22.719
where Rod visits him. Chris understands what happens, but the

601
00:37:22.840 --> 00:37:27.559
system remains intact. It is a much darker ending. If

602
00:37:27.599 --> 00:37:32.119
it's the theme, sure, but Jordan Peele ultimately changed it,

603
00:37:32.199 --> 00:37:35.199
and in the film, obviously Rod vibes just in time

604
00:37:35.239 --> 00:37:40.000
and Chris escapes. That decision matters because I think it

605
00:37:40.079 --> 00:37:44.519
shifts that emotional impact the original landing reinforces the idea

606
00:37:44.559 --> 00:37:48.719
that the system wins. You know, this version gives us

607
00:37:49.119 --> 00:37:54.760
release without undoing everything that the film is built. Now,

608
00:37:55.079 --> 00:37:58.320
the difference between screen and it's not the structure, it's

609
00:37:58.480 --> 00:38:02.760
it's just like the diaro, it's the intention. Do you

610
00:38:02.760 --> 00:38:05.320
think the original ending would have been more powerful or

611
00:38:06.039 --> 00:38:09.199
the version that we get, you know, truly land better

612
00:38:09.199 --> 00:38:10.360
for audiences?

613
00:38:11.280 --> 00:38:15.039
Well, I like that that. The way Jordan Peele described

614
00:38:15.079 --> 00:38:19.159
it was that when he was originally writing the movie,

615
00:38:19.159 --> 00:38:23.039
it was a much more cynical place that he was in.

616
00:38:23.679 --> 00:38:27.679
And by the time you know, it was coming up

617
00:38:27.679 --> 00:38:33.719
to filming, you know, people were our eyes were being

618
00:38:33.719 --> 00:38:39.719
opened to the racial injustice that is just everywhere, and

619
00:38:40.679 --> 00:38:46.639
the activation of people, you know, to really push for

620
00:38:46.719 --> 00:38:49.960
societal change had begun, and so he was in a

621
00:38:50.039 --> 00:38:53.599
much more hopeful place. Yeah, and so he felt like

622
00:38:53.719 --> 00:38:58.559
giving us like a reward, you know, like we need

623
00:38:58.599 --> 00:39:03.079
a win. And and for me that the powerful the

624
00:39:03.079 --> 00:39:06.880
most powerful thing about the theatrical ending and why I

625
00:39:07.000 --> 00:39:11.119
like it so much is as a white woman who

626
00:39:11.159 --> 00:39:16.119
grew up in the suburbs, you are trained through your

627
00:39:16.119 --> 00:39:19.000
real life but also through every horror movie. You know,

628
00:39:19.079 --> 00:39:21.159
all you have to do is make it until the

629
00:39:21.199 --> 00:39:23.760
morning comes. All you have to do is make it

630
00:39:23.840 --> 00:39:28.400
until you get to this location or until the police

631
00:39:28.480 --> 00:39:32.280
arrived to rescue you. And so I have spent you know,

632
00:39:32.280 --> 00:39:33.840
by the time this movie came out, I was in

633
00:39:33.880 --> 00:39:38.360
my forties, you know, decades being told like once the

634
00:39:38.400 --> 00:39:42.800
police arrived, you're saved. And I was so into this

635
00:39:42.920 --> 00:39:48.679
movie and had so become at one with this protagonist

636
00:39:48.800 --> 00:39:54.000
that when he is fighting with Rose and you see

637
00:39:54.119 --> 00:39:57.400
you hear that siren and you see the blue lights flashing,

638
00:39:57.960 --> 00:40:00.719
my first thought was not, Oh, thank god, the cops

639
00:40:00.760 --> 00:40:04.239
are here. My first thought was, oh my god, the

640
00:40:04.280 --> 00:40:07.559
cops are here, and is he going to get arrested

641
00:40:07.639 --> 00:40:10.159
or is he just going to get shot? Like there

642
00:40:10.239 --> 00:40:13.679
was no relief, There was no oh, he's saved. It

643
00:40:13.840 --> 00:40:17.639
was what horrible thing is going to happen next? And

644
00:40:17.719 --> 00:40:21.599
so the reveal that it's Rid is like I was cheering.

645
00:40:21.920 --> 00:40:25.679
I was like, I have never been happier in a

646
00:40:25.719 --> 00:40:30.480
movie to see a character arrive because of the despair

647
00:40:30.599 --> 00:40:34.039
that I felt for what I thought was going to happen, right,

648
00:40:35.159 --> 00:40:38.199
And I just think that the power of that where

649
00:40:39.400 --> 00:40:41.320
I can't be the only person that felt like that

650
00:40:41.440 --> 00:40:43.920
you know what I mean. So the power to have

651
00:40:44.079 --> 00:40:46.679
your audience feel that way and to put them in

652
00:40:46.719 --> 00:40:50.760
those shoes in that moment, I think is so important

653
00:40:51.000 --> 00:40:59.880
that Yes, artistically the director's original ending is artistically more power,

654
00:41:00.320 --> 00:41:05.800
but we needed the wind and I did with with

655
00:41:06.079 --> 00:41:08.800
changing our perspective, like cannot be understated.

656
00:41:09.239 --> 00:41:13.559
Yeah, I mean once you because when those like you said,

657
00:41:13.559 --> 00:41:17.599
when you see those blue and red lights, you're you

658
00:41:17.679 --> 00:41:19.760
start because you're you're you're think you're out of the clear.

659
00:41:19.840 --> 00:41:22.840
Everyone else is dead. And he's got Rose by the throat.

660
00:41:23.119 --> 00:41:25.360
That's gonna be it. She's she's not gonna survive. She

661
00:41:25.440 --> 00:41:31.159
got a you know, bullet, you know. And then the

662
00:41:31.199 --> 00:41:33.840
cops come up and you're just like, this isn't going

663
00:41:33.880 --> 00:41:36.599
to go good. Yeah, this is not going to go good.

664
00:41:36.679 --> 00:41:40.079
So then you as the reader or the audience member

665
00:41:40.159 --> 00:41:43.880
already like oh no, and then he pulls you out

666
00:41:43.880 --> 00:41:44.119
of it.

667
00:41:44.559 --> 00:41:48.119
Yeah, but you get that moment. This is how black

668
00:41:48.159 --> 00:41:50.280
people feel every day.

669
00:41:50.880 --> 00:41:53.719
Yeah, but but more of like and also to it

670
00:41:53.880 --> 00:41:57.960
just it felt earned. It felt that Chris needed to

671
00:41:58.079 --> 00:42:03.400
be we needed to he needed to win. Yes, Yeah,

672
00:42:03.639 --> 00:42:06.800
so yeah, I am usually a person that likes dark

673
00:42:06.920 --> 00:42:09.840
endings but I agree with you here this this ending

674
00:42:09.960 --> 00:42:13.119
is more satisfying. I mean, if you have the I

675
00:42:13.159 --> 00:42:16.079
think the Blu ray or just the DVD, the ending

676
00:42:16.159 --> 00:42:20.199
is on there and it's depressing. So I mean, yeah,

677
00:42:20.320 --> 00:42:21.119
I add on.

678
00:42:21.039 --> 00:42:23.800
That person like the darkest I can go is like

679
00:42:23.840 --> 00:42:27.480
the ending of Halloween, where like is he dead or

680
00:42:27.599 --> 00:42:30.679
isn't he because he disappeared? You know, that's as dark

681
00:42:30.719 --> 00:42:33.400
as I could go. Otherwise that when everybody whoever's left

682
00:42:33.480 --> 00:42:34.519
gets to go, I'm happy.

683
00:42:36.360 --> 00:42:38.719
Well, now we talk to the section where the moment

684
00:42:39.159 --> 00:42:42.599
that defines the script. Now every script has a moment

685
00:42:42.639 --> 00:42:45.920
where everything comes into focus and get out. That moment

686
00:42:45.960 --> 00:42:48.800
is the Sunken Place. Up until this point, the film

687
00:42:48.880 --> 00:42:54.199
has been building tension through suggestion, awkward conversations, subtle discomfort,

688
00:42:54.360 --> 00:42:58.480
the feeling that something isn't quite right. But here the

689
00:42:58.519 --> 00:43:03.199
script makes it clear Chris isn't just uncomfortable. He's trapped.

690
00:43:03.719 --> 00:43:06.639
And what makes the Sunken Place so powerful is how

691
00:43:06.880 --> 00:43:11.840
simple the idea is. He's still there, still aware, still

692
00:43:11.880 --> 00:43:14.920
able to see what's happening, but he can't control anything,

693
00:43:15.000 --> 00:43:18.719
and he's watching his own life from a distance. That's

694
00:43:18.760 --> 00:43:21.519
the core of the film because it isn't just physical

695
00:43:21.559 --> 00:43:27.639
horror psychological, it's symbolic. It's about losing agency. The Sunken

696
00:43:27.679 --> 00:43:31.079
Place takes everything that the script and the film have

697
00:43:31.159 --> 00:43:34.639
been hinting at and turns it into something visual, immediate,

698
00:43:34.760 --> 00:43:39.480
and undeniable. Before this moment, the danger isn't suggested. After

699
00:43:39.559 --> 00:43:44.320
at the danger is just defined. Do you think the

700
00:43:44.360 --> 00:43:48.400
Sunken Place works more as a plot device or as

701
00:43:48.440 --> 00:43:49.159
a metaphor.

702
00:43:52.199 --> 00:43:54.880
I think it depends on who you are, Yeah, and

703
00:43:54.920 --> 00:44:00.119
what scares you, because like this movie, it was in

704
00:44:00.119 --> 00:44:04.360
tense and adrenaline field, but it didn't scare me the

705
00:44:04.400 --> 00:44:07.920
way it terrified my son, Like the idea of being

706
00:44:08.800 --> 00:44:12.880
hypnotized and not have control like that. Just he's like

707
00:44:12.960 --> 00:44:17.159
mm mmm, nope, never munched this movie again. Conversely, we

708
00:44:17.239 --> 00:44:20.840
went to see Jordan Peele's next film, US Right, and

709
00:44:21.119 --> 00:44:23.320
I was so terrified, like I had my eyes closed

710
00:44:23.320 --> 00:44:25.719
half the time, like, and Liam loved it. He thought

711
00:44:25.719 --> 00:44:30.119
it was a great ride. So it's what scares you more,

712
00:44:30.360 --> 00:44:32.639
you know. And so for me, the Sunken Place works

713
00:44:32.679 --> 00:44:38.000
more as a metaphor of you know, the oppression and

714
00:44:38.039 --> 00:44:43.079
the slavery and the taking over of another you know,

715
00:44:43.199 --> 00:44:46.719
culture and another people and not regarding them as people,

716
00:44:46.800 --> 00:44:51.079
just regarding them as shells to do with whatever you wanted.

717
00:44:52.320 --> 00:44:55.440
All those layers make it more meaningful to me. But

718
00:44:55.519 --> 00:44:58.000
I think there are other people that that is their

719
00:44:58.039 --> 00:45:02.599
greatest fear is to not have control, and so as

720
00:45:02.599 --> 00:45:05.079
a plot device, like that's all they need to see.

721
00:45:06.360 --> 00:45:10.800
So I think it. I don't know, it works. It

722
00:45:10.840 --> 00:45:13.559
works both so well. It's a great plot device because,

723
00:45:13.599 --> 00:45:16.239
like I said, that feeling of it's almost like being

724
00:45:16.360 --> 00:45:21.760
very alive. Yes, you know that's creepy, but like I said,

725
00:45:21.840 --> 00:45:25.440
it is a metaphor for everything, and especially somebody of

726
00:45:25.559 --> 00:45:30.880
Chris's character. You know, it's like does one work better

727
00:45:30.920 --> 00:45:34.480
than the other? I mean, I think they work just

728
00:45:34.519 --> 00:45:38.320
as good, but I think it's more fascinating that it

729
00:45:38.440 --> 00:45:41.280
works as a metaphor as well. Yeah, I think that's

730
00:45:41.360 --> 00:45:44.440
It's like it's scripts are not supposed to be this good,

731
00:45:45.280 --> 00:45:47.400
you know, it's like you know this.

732
00:45:47.639 --> 00:45:52.719
Like especially your first one, like yeahs at college about.

733
00:45:52.440 --> 00:45:54.760
It, Yeah he Citizen Kane and through this one.

734
00:45:54.880 --> 00:45:59.039
You know, yes, But I feel so bad because I

735
00:45:59.079 --> 00:46:01.760
was one of the people that It's like I loved

736
00:46:01.840 --> 00:46:04.599
Key and Peel the television show, like I just thought

737
00:46:04.599 --> 00:46:06.599
that was the funniest thing I'd ever seen in my life.

738
00:46:07.159 --> 00:46:10.039
And when this movie came out, I was like, but

739
00:46:10.199 --> 00:46:11.840
he's a comedy guy.

740
00:46:12.760 --> 00:46:13.480
Yeah, you know.

741
00:46:13.679 --> 00:46:16.400
I was that person that was like, he can't do

742
00:46:16.559 --> 00:46:19.760
more than one thing? And oh how wrong I was.

743
00:46:19.960 --> 00:46:24.480
Coadians are are just as wicked as the all of all. Yes,

744
00:46:26.039 --> 00:46:29.239
well then let's get into legacy and lessons. Uh, you know,

745
00:46:29.320 --> 00:46:31.599
get Out didn't just succeed as a film. I mean,

746
00:46:31.800 --> 00:46:34.280
like I said, it changed a conversation. It proved that

747
00:46:34.360 --> 00:46:40.000
screenplay could be both entertaining deeply thematic without sacrificing either.

748
00:46:40.719 --> 00:46:43.599
You could take a genre like horror, something built on

749
00:46:43.679 --> 00:46:46.239
tension and payoff, and use it to explore real world

750
00:46:46.280 --> 00:46:50.119
ideas in a way that feels immediate. That's what makes

751
00:46:50.159 --> 00:46:55.719
it last. Structurally, it's incredibly precise. Every setup pays off,

752
00:46:55.880 --> 00:47:00.079
every detail matters. The script doesn't waste time and it

753
00:47:00.079 --> 00:47:03.159
ever loses control of its tone. But more importantly, it

754
00:47:03.280 --> 00:47:07.079
understands something fundamental. You can take an extreme idea and

755
00:47:07.159 --> 00:47:11.000
make it feel real, not by explaining it, but by

756
00:47:11.199 --> 00:47:15.320
grounding it in an experience. That's the lesson. Because get

757
00:47:15.320 --> 00:47:17.519
Out doesn't ask the audience to believe the plot. It

758
00:47:17.599 --> 00:47:21.159
asks them to recognize the feeling behind it, and that's

759
00:47:21.159 --> 00:47:25.119
why it works because beneath the horror, beneath the satire,

760
00:47:25.639 --> 00:47:30.920
beneath the structure, there is something honest about it. And yeah,

761
00:47:30.960 --> 00:47:35.000
I mean it's gonna have a lasting effect I think

762
00:47:35.000 --> 00:47:38.480
for decades. I mean, do you agree, Oh yeah, I

763
00:47:38.519 --> 00:47:41.360
mean our children, you know, Yeah.

764
00:47:41.199 --> 00:47:45.440
This will be one of those that everybody talks about.

765
00:47:45.599 --> 00:47:50.639
Yeah, this will be on the list of screenplay lists

766
00:47:50.679 --> 00:47:54.440
for you know, the top twenty ten to fifty or

767
00:47:54.440 --> 00:47:56.400
one hundred. You know, it'll it'll be on there. You know.

768
00:47:56.480 --> 00:48:01.000
It's definitely has lasting power. I mean, it doesn't feel

769
00:48:01.039 --> 00:48:05.559
like a first script, you know, No, it doesn't.

770
00:48:06.480 --> 00:48:08.599
Well, and I guess in fairness, like it is a

771
00:48:08.639 --> 00:48:12.000
first like feature film script. But I mean he wrote

772
00:48:12.079 --> 00:48:16.719
Key and Peel, so you know, he's he's been practicing

773
00:48:17.440 --> 00:48:20.440
for a while and he's, you know, a horror film

774
00:48:20.440 --> 00:48:24.320
efficient auto. I mean the subtle ways that he puts

775
00:48:24.360 --> 00:48:29.119
homages to all these other films that he loves in

776
00:48:29.159 --> 00:48:34.079
his work, I think is just fabulous. It's like he's

777
00:48:34.119 --> 00:48:36.800
one of us, you know, like he loves all these

778
00:48:36.840 --> 00:48:42.320
things too. But I think the you know, just the

779
00:48:42.400 --> 00:48:50.159
social impact of you know, a black led film with

780
00:48:51.159 --> 00:48:55.159
you know, a black crew and a black protagonist. You know,

781
00:48:55.280 --> 00:48:57.800
all of these things can succeed at the box office,

782
00:48:58.639 --> 00:49:01.480
and therefore we can put our money into these things

783
00:49:02.280 --> 00:49:04.920
and you know, come up with richer storytelling.

784
00:49:04.960 --> 00:49:08.079
And this was a huge payoff for Bluemhouse. Yeah, this

785
00:49:08.199 --> 00:49:10.239
was a huge, big deal for them.

786
00:49:10.800 --> 00:49:12.519
I mean it was a four and a half million

787
00:49:12.559 --> 00:49:15.400
dollar budget and it grossed over two hundred million.

788
00:49:16.079 --> 00:49:21.440
Yeah right, so my god, it opened the floodgates for them, basically.

789
00:49:22.039 --> 00:49:23.440
Yeah.

790
00:49:23.519 --> 00:49:26.400
Well then, so let's talk about some other things, like

791
00:49:26.480 --> 00:49:30.719
our companion picks. I'm sorry, let's talk about our companion picks.

792
00:49:31.079 --> 00:49:34.000
Each episode, we like to highlight a companion piece that

793
00:49:34.039 --> 00:49:37.079
pairs well with the script we're discussing. For this one,

794
00:49:37.679 --> 00:49:40.119
it's an easy one, but I am going to choose

795
00:49:40.280 --> 00:49:44.239
US from my get Out and US Trip double feature here,

796
00:49:46.119 --> 00:49:50.760
another high concept idea, just as unselling on paper, and

797
00:49:50.840 --> 00:49:56.239
again it grounds it something unsettling. We'll get out some

798
00:49:56.519 --> 00:50:02.880
precise and controlled US just feels symbolic, uh manic, uh,

799
00:50:03.840 --> 00:50:07.639
just kind of pushing the edge, you know, so I

800
00:50:07.639 --> 00:50:10.360
guess it bloop if get Out is the blueprint, then

801
00:50:10.480 --> 00:50:14.280
Us is the evolution. I mean, I liked this one

802
00:50:14.519 --> 00:50:20.559
right away, and I'm so glad that it was not

803
00:50:20.760 --> 00:50:24.199
at all like get Out, not at all. I mean,

804
00:50:24.239 --> 00:50:27.199
it just was. I was like, this guy has ranged,

805
00:50:27.239 --> 00:50:28.880
and I'm really surprised he hasn't done more.

806
00:50:29.000 --> 00:50:31.480
But I mean, well, you can add Nope in there

807
00:50:31.519 --> 00:50:33.679
too and just make it a trilogy and call it

808
00:50:33.719 --> 00:50:37.360
a day, because all three of those are bangs.

809
00:50:37.719 --> 00:50:41.280
Nope kind of. I think that it wasn't the story

810
00:50:41.320 --> 00:50:46.320
that flow flat with Nope. With me, it was the

811
00:50:46.320 --> 00:50:49.119
the appearance of the monster or the thing.

812
00:50:49.199 --> 00:50:51.960
You know, it's very unusual, it's very.

813
00:50:51.880 --> 00:50:56.679
Yeah, I felt like, but I mean, you can't make

814
00:50:56.960 --> 00:50:58.000
every single.

815
00:50:57.719 --> 00:50:59.440
One to say it's wrong though.

816
00:50:59.679 --> 00:51:04.119
Yeah, but that movie is once again doing something. It's

817
00:51:04.320 --> 00:51:07.760
kind of out getting some traction on streaming and stuff

818
00:51:07.760 --> 00:51:11.440
of people being revisiting and stuff. But what was your

819
00:51:11.480 --> 00:51:12.079
companion pick?

820
00:51:12.519 --> 00:51:14.719
Okay, well do it? Jeff hates it when I do this.

821
00:51:14.760 --> 00:51:19.719
Do I have to have one? Oh? Good? So I

822
00:51:19.760 --> 00:51:24.360
did too. Then I went old school and knew for

823
00:51:24.440 --> 00:51:29.000
the old school choice. For me, this movie most closely

824
00:51:29.360 --> 00:51:34.320
parallels Rosemary's Baby, which is a film that I absolutely

825
00:51:34.360 --> 00:51:39.440
love and I think the same themes of you know,

826
00:51:39.519 --> 00:51:44.559
you have this woman being gaslet by everyone around her,

827
00:51:44.679 --> 00:51:48.280
and you're in this with her and going but I

828
00:51:48.320 --> 00:51:50.760
saw what she saw, like how can we belong?

829
00:51:51.800 --> 00:51:54.360
You know? I was right there, right.

830
00:51:55.079 --> 00:52:01.719
And so I absolutely the paranoia the possession angle. I

831
00:52:01.760 --> 00:52:05.039
think that that would be a great double feature.

832
00:52:05.519 --> 00:52:06.559
Yeah.

833
00:52:06.800 --> 00:52:10.800
But then also, if you want to go new, the

834
00:52:10.840 --> 00:52:15.000
best film of twenty twenty five was Sinners, and so

835
00:52:15.039 --> 00:52:19.840
you can continue the black horror filmmaking experience and watch

836
00:52:19.920 --> 00:52:29.280
that absolute masterpiece of a film and just relish in

837
00:52:29.639 --> 00:52:30.599
the genius of it all.

838
00:52:31.679 --> 00:52:32.920
Everybody loves horror.

839
00:52:34.079 --> 00:52:36.280
Yes, horror movie is of a past.

840
00:52:36.679 --> 00:52:40.159
Yeah, well that's going to be a wrap on Get Out,

841
00:52:40.280 --> 00:52:43.360
a script by Jordan Peele, a screenplay that proves you

842
00:52:43.400 --> 00:52:45.440
can take an over the top concept and ground it

843
00:52:45.480 --> 00:52:48.519
in something real, something honest, and something that stays with

844
00:52:48.559 --> 00:52:51.480
you long laughter. It's over and that's what makes it work.

845
00:52:51.559 --> 00:52:55.199
It's not just the horror, it's what's underneath it. Next

846
00:52:55.280 --> 00:52:57.280
up on a script by We are heading to the

847
00:52:57.280 --> 00:53:01.000
Streets of New York. We are diving into mean streets.

848
00:53:01.079 --> 00:53:05.039
A script by Martin Scorsese and Mardik Martin, a raw,

849
00:53:05.159 --> 00:53:07.760
character driven story that helped you find the new Hollywood

850
00:53:07.800 --> 00:53:09.760
movement in one of the earliest looks at the themes

851
00:53:09.760 --> 00:53:13.119
Scorsese would returned to throughout his career. That's coming up

852
00:53:13.199 --> 00:53:16.639
next on the script by I want to thank my

853
00:53:16.760 --> 00:53:20.159
guest Amber Lewis for joining me. Amber. Anything coming up

854
00:53:20.199 --> 00:53:22.559
for you? Any spots on a film buy or docking Bay?

855
00:53:23.719 --> 00:53:26.159
Uh yeah, We've got a couple of things coming up

856
00:53:26.199 --> 00:53:28.199
on a film buy. I know we're going to revisit

857
00:53:28.320 --> 00:53:33.000
Ocean's eleven here in a couple of weeks, so very

858
00:53:33.000 --> 00:53:37.719
excited about that. Five years Uh yeah, hard to believe.

859
00:53:38.519 --> 00:53:41.719
Yeah, oh, well, you know what this is. And I

860
00:53:41.760 --> 00:53:44.400
forgot to mention this is the ten year anniversary for

861
00:53:44.480 --> 00:53:45.239
Get Out, so.

862
00:53:45.559 --> 00:53:48.880
Oh that's right, it is. Yeah, and o we're on

863
00:53:48.960 --> 00:53:54.480
docking Bay. We're continuing our live action Disney movie special events.

864
00:53:54.639 --> 00:53:59.559
So check it out all right, Well, make sure you

865
00:53:59.639 --> 00:54:02.679
keep up with a film buy, with new episodes dropping

866
00:54:02.800 --> 00:54:06.119
every Monday. In the continuing Star Trek series, Phaser set

867
00:54:06.159 --> 00:54:11.199
to stun every Wednesday. You can also find us on YouTube, Instagram, Facebook,

868
00:54:11.239 --> 00:54:14.360
and x Be sure to visit the official website at

869
00:54:14.400 --> 00:54:18.760
wwwafilmbypodcast dot com and email us at a film by

870
00:54:18.840 --> 00:54:22.320
Podcast at gmail dot com. We love hearing from you,

871
00:54:22.440 --> 00:54:26.079
sharing opinions, taking requests, and debating great movies that'll do

872
00:54:26.119 --> 00:54:29.159
it first. Script by Thanks for listening, See you next time.