![]() Part of the systemic failure in representation is that we are relegated to boxes. Just by putting a black family in the center of this movie, which is not about race, we see shades of what it means to be African-American that aren't out there. These are not genres that can end with just silence, you know? If it works, then something we don't entirely understand happens to us, you know, in the scream or the shudder or the laugh. On similarities between comedy and horrorīoth of these things are about getting a visceral, uncontrollable reaction from the audience. Television For Key And Peele, Biracial Roots Bestow Special Comedic 'Power' So what I'm trying to do is actually make something that feels more realistic than your average genre film in that there's a lot of ways we respond. Other times, we'll get caught up in something petty, even in emergency. Sometimes somebody says something to break the ice or break the tension. The reality of how we act in emergency is not necessarily what we assume. You have to try to portray as real a world as possible. the family's argument as they attempt to flee On deploying comedy in a horror movie, e.g. I think in the simplest form, the very nature of "us" means there is a "them," right? So that is what this movie is about to me, is that: Whatever your "us" is, we turn "them" into the enemy, and maybe "we" are our own worst enemy. Everybody thinks of the term "us" in different ways - it can be "us" the family, "us" the town, "us the country, "us" humanity. And I think one of the reasons this movie has an expansiveness is because "us" is subjective. ![]() And the duality of this country and our beliefs and our demons, I think, is on display. I think a lot of people are catching onto the fact that there's a lot of United States/American imagery in this. Writer, producer and director Jordan Peele poses on the set of Us.
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