WEBVTT - Ep25 - Jordan Peele / "Get Out"

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<v Speaker 1>Welcome to Playback, a Variety podcast. I'm your host, Variety

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<v Speaker 1>Awards Editor Chris Tapley. On today's show, we bring back

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<v Speaker 1>Variety Senior VP Tim Gray for final Oscar predictions ahead

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<v Speaker 1>of Hollywood's big night. A little bit later, I'll be

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<v Speaker 1>talking to Get Out writer and director Jordan Peel. So

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<v Speaker 1>stick around. Okay, here we are. We've got a couple

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<v Speaker 1>of days left. I'll miss you, guys. I won't see

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<v Speaker 1>you again until what August. That kind of put us

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<v Speaker 1>in our holes. Let's go hid eight for the next

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<v Speaker 1>few months. I should say I'm here with Janelle again

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<v Speaker 1>as well, obviously, and Tim Gray is back. Name like

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<v Speaker 1>share Rihanna exactly. That one name is enough. And Tim

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<v Speaker 1>was just talking to some foreign press. I'm curious, what

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<v Speaker 1>are they? What is their perspective on the Oscars? Tim Well, well, actually, um,

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<v Speaker 1>people this year always want to know about of course,

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<v Speaker 1>they want to know who's gonna win, and they want

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<v Speaker 1>to know about Oscars so white, about the diversity, and

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<v Speaker 1>you know, I think it's it's a valent question after

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<v Speaker 1>last year. But but I always feel like a little

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<v Speaker 1>defensive for the people who were nominated this year and

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<v Speaker 1>the truth of it is if you see those movies,

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<v Speaker 1>you wouldn't have to ask, you know, are they being

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<v Speaker 1>nominated for for the sake of diversity, because it's I mean,

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<v Speaker 1>you know, like Fences, those performances, like I mean, they'd

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<v Speaker 1>be amazing any year breaking news from the heartland. My

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<v Speaker 1>parents loved Moonlight. They finally thought it and they loved it.

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<v Speaker 1>Yet well it wasn't what was the review going around

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<v Speaker 1>this week in from the Times in London where the

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<v Speaker 1>critic was like, who is this movie for? Certainly not

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<v Speaker 1>the straight white males who will watch it. It was

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<v Speaker 1>a pretty awful, terrible We only want to see movies

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<v Speaker 1>about I would hate to see a movie about me.

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<v Speaker 1>But then she ultimately came to shet of me. She

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<v Speaker 1>ultimately came to some point that like the black people

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<v Speaker 1>would not be interested in this film, and I was like,

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<v Speaker 1>what point are you trying to make? She took the

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<v Speaker 1>hill you want to die on? Well, I mean, I mean,

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<v Speaker 1>the truth of it is. I I will say, you know,

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<v Speaker 1>journalists always try and see and things from an angle

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<v Speaker 1>that most people wouldn't pick up on so and and

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<v Speaker 1>and this week, of course, you know it's fashionable if

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<v Speaker 1>a movie got nominated then there must be something wrong

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<v Speaker 1>with it, so so let me explain why. But I

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<v Speaker 1>also feel like, you know what calmed down. I mean, yeah,

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<v Speaker 1>she does have a point though, because I know only

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<v Speaker 1>superheroes like to see Avengers movies. Yes, exactly. Yeah, it's

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<v Speaker 1>really not anybody else going going to those guarding the

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<v Speaker 1>uh you know, the the sense of a meritok receiversus

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<v Speaker 1>doing things for the I mean, do you get the

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<v Speaker 1>feeling that Cheryl bon Isaacs at the Academy has acted

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<v Speaker 1>like their initiative is what spawned these nominations because people

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<v Speaker 1>keep talking about Cheryl's speech at the uh luncheon where

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<v Speaker 1>she said clearly progress has been made. But when she

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<v Speaker 1>said that, I didn't take that as see you look

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<v Speaker 1>at these nominees. I think it as we we added

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<v Speaker 1>seven hundred voices and over two hundred or nearly three

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<v Speaker 1>hundred of them more international people and blah blah blah

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<v Speaker 1>blah blah. So what does the vibe you've gotten temp

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<v Speaker 1>from the Academy on that score? Do you you get

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<v Speaker 1>a sense of back padding out of self back padding?

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<v Speaker 1>I mean, I find the Academy is so secretive. I mean,

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<v Speaker 1>they just have a culture of not talking about themselves,

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<v Speaker 1>so so it's like they don't even pat themselves on

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<v Speaker 1>the back. But I think I when when all the

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<v Speaker 1>diversity discussion happened last year, Cheryl B and I has

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<v Speaker 1>made a couple of statements about, look, we're going to

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<v Speaker 1>set an example, because if you want the Academy to

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<v Speaker 1>reflect the industry as it is today, it's like it's

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<v Speaker 1>going to be white males. But but she's saying, look,

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<v Speaker 1>we're we're going to diversify and maybe they'll pick up

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<v Speaker 1>our cues. So I kind of think that's what they're

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<v Speaker 1>congratulating themselves about, don't Because yeah, I certainly can't imagine

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<v Speaker 1>that you would expect that movies that were already in

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<v Speaker 1>the pipeline that we're already filming happened to be movies anyway,

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<v Speaker 1>that that that this reaction is somehow that I can't

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<v Speaker 1>blame them for, you know, taking an opportunity to pat

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<v Speaker 1>themselves on the back a little bit. Though, yeah, I

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<v Speaker 1>think they are making change. I think that's okay, but

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<v Speaker 1>I also think it's it's kind of selling the other

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<v Speaker 1>members short by just saying that's why Fences and Moonlight

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<v Speaker 1>were nominated this year because of these come out last year.

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<v Speaker 1>I totally agree, totally agree, um and I think we

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<v Speaker 1>wouldn't have had the Oscar so White discussion. But I'm

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<v Speaker 1>glad there was a discussion because I do think people

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<v Speaker 1>in the industry are thinking maybe maybe we have been

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<v Speaker 1>a little insular in our thinking. Absolutely well, predictions, just

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<v Speaker 1>give the people what they want. I've got a copy

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<v Speaker 1>of our ballot and our magazine which has Jimmy Kimmel

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<v Speaker 1>on the cover. I guess Kimmel not fallon too many

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<v Speaker 1>Jimmy's and late what do we think about him as

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<v Speaker 1>the host? By the way, I'm so excited. I think

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<v Speaker 1>he's a great host, that he did a great job

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<v Speaker 1>with the Emmys, and I think he'll be just subversive

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<v Speaker 1>enough and just uh doesn't give an f enough that

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<v Speaker 1>will be Really I love Jimmy Kimmel, and for for years,

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<v Speaker 1>because he's with ABC, I had heard rumors that some

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<v Speaker 1>people wanted him, but they feared he was too edgy

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<v Speaker 1>for us, God forbid, And I thought that's exactly what

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<v Speaker 1>oscars need, is somebody a little edgy but also McFarlin. Well, well,

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<v Speaker 1>but I was talking to Austrian TV. I said, do

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<v Speaker 1>you people know Jimmy Kimmel because his show is and

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<v Speaker 1>they said, yeah, through social media, and I thought, oh god,

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<v Speaker 1>I mean that's really thing because that would not have

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<v Speaker 1>been the case fifteen years ago. But they said, you

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<v Speaker 1>know he he and his people will post a little

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<v Speaker 1>clips and stuff like that, so people they don't watch

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<v Speaker 1>his show because it's not available in Austria, but but

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<v Speaker 1>they know him. He said, I think he's a great choice.

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<v Speaker 1>I mean, Hugh Jackman would always be my first choice.

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<v Speaker 1>But if you can't have him, you know, Hugh Jackman,

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<v Speaker 1>j Kimmel, you're pretty much looking at the same always

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<v Speaker 1>thought Kevin Spacey would have been interesting, but maybe not anymore. Yeah,

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<v Speaker 1>I'm gonna get Janelle to roll her eyes for me.

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<v Speaker 1>It hurts. It hurts so much. Let's make some predictions people, Alright,

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<v Speaker 1>this is going to be easy. Come on, sound. Let's

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<v Speaker 1>start with the sound category. Do you do that to me?

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<v Speaker 1>Sound mixing got to be an easy call, right, Well, yeah,

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<v Speaker 1>I think see I was I thought it was I

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<v Speaker 1>was taking that and sound editing. Yeah, maybe, I mean,

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<v Speaker 1>I mean because I kind of actually, I kind of

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<v Speaker 1>think one film is gonna win in both categories, but

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<v Speaker 1>that might not be true. Um, but but La La

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<v Speaker 1>Land or hacks O Rich for both? For you? Yeah, yeah,

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<v Speaker 1>I think I think it's uh, well, I'm going with

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<v Speaker 1>Laala for mixing, you are two, right, and then for

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<v Speaker 1>sound editing, We're I'm on hacks Office because you know,

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<v Speaker 1>war film all of that. But I hear what you're saying.

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<v Speaker 1>I mean they can't, like so many of these people

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<v Speaker 1>don't know what the difference between these categories is that so, like,

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<v Speaker 1>you know, there's there's a tendency. I could get into

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<v Speaker 1>some geeky stats, but I won't um stats about what

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<v Speaker 1>about just about how how the sound categories play out

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<v Speaker 1>when there's like, uh, you know, movies nominated in both

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<v Speaker 1>categories like slum Dog Millionaire that year both of that

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<v Speaker 1>in the Dark Knight were nominated in both categories and

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<v Speaker 1>The Dark Knight one sound editing, but slum Dog ones

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<v Speaker 1>sound mixing, And I think that's like split. They do split.

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<v Speaker 1>But that's like the only time where like like the

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<v Speaker 1>movie that one sound mixing loss to another movie that

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<v Speaker 1>was also nominated for sound mixing and sound editing. Does

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<v Speaker 1>that make sense? You told me to go there, But

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<v Speaker 1>I'm also curious, I mean, you know, part of the

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<v Speaker 1>fun of oscars, and part of the frustration is that

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<v Speaker 1>you never see the results. So out of like six

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<v Speaker 1>thousand voters, you know, I'd love to know how many

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<v Speaker 1>people cast their ballots. And over the years, I've asked

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<v Speaker 1>a lot of people, can do you know the difference

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<v Speaker 1>between sound editing and sound mixing? A lot of people said, oh,

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<v Speaker 1>I never vote on that category. People, I want to

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<v Speaker 1>know if they really don't vote on it, or if

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<v Speaker 1>they just say I love la la la exactly that

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<v Speaker 1>I'm sure the sound was great. That could absolutely happen. Yeah,

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<v Speaker 1>it's a musical, of course, the sound was great. Yeah.

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<v Speaker 1>I rarely call splits on these just because of what

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<v Speaker 1>you say. It tends to be where they'll just for

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<v Speaker 1>both of them, check check. I think they should combine

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<v Speaker 1>these categories, and I appreciate the sound editors fought hard

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<v Speaker 1>to have their own category years and then the show

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<v Speaker 1>would be shorter. Yeah. I just I just think it's

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<v Speaker 1>it's you know, Yeah, it's a little ridiculous for one

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<v Speaker 1>branch to have two categories. And you could say something

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<v Speaker 1>about the actors if you wanted to. So visual effects

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<v Speaker 1>that's an easy call, right, Come on, what what do you.

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<v Speaker 1>I think it's jungle Book. Don't be scared to step

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<v Speaker 1>up with you. I don't have Chris all memorized, and

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<v Speaker 1>I'm not even sure what it's competition is. Yeah, it's

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<v Speaker 1>gonna be jungle Book. Question there is do actors feel,

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<v Speaker 1>you know, pushed out of the game with stuff like

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<v Speaker 1>the effects work done in Rogue one? Maybe? I mean,

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<v Speaker 1>I think and I don't know, but but I think

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<v Speaker 1>actors feel threatened by motion capture. But the idea of

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<v Speaker 1>I could have played that panther, you know, I don't.

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<v Speaker 1>I don't think they go so I I don't. I

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<v Speaker 1>don't feel like Jungle bies threatening. They made this movie

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<v Speaker 1>downtown Los Angeles. It's amazing, like in a warehouse. We

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<v Speaker 1>had Jon Favreaux on the show. So yeah, I think

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<v Speaker 1>we all think jungle Book for that film. Editing. You

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<v Speaker 1>have the list, I do have the list. It is

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<v Speaker 1>Stall Stall Stall. Well, I'm gonna jump in and I'm

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<v Speaker 1>gonna guess has a Ridge on that one too? Really? Yeah?

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<v Speaker 1>But but again, I mean, you know, La La Land

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<v Speaker 1>is a favorite here. It's a rival Hexa Ridge, Hell

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<v Speaker 1>or high Water, La La Land and Moonlight. I U

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<v Speaker 1>I'm leaning towards Tsa Ridge as well. But but you know,

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<v Speaker 1>I mean seriously, Lawa Land could and also Arrival. Um.

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<v Speaker 1>You know when when you look at even clips from that,

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<v Speaker 1>you know, one minute clip, you think, wow, we've talked

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<v Speaker 1>about that. The structure of Arrival is very dependent on

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<v Speaker 1>the editing. Yes, I'm going with La La Land. I

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<v Speaker 1>just yeah, which is interesting in that Manchester by the

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<v Speaker 1>Sea was not nominating this category because again structure have

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<v Speaker 1>I have we talked about that on here we have? Yeah, Um,

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<v Speaker 1>so you're both more hacks all. That's interesting. It won

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<v Speaker 1>the Bathdoor Award. I didn't see that coming. So you know,

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<v Speaker 1>if they like it enough, I could see that happening.

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<v Speaker 1>It would be interesting if hacks all one film editing,

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<v Speaker 1>sound editing, sound mixing, it would kind of make sense,

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<v Speaker 1>like the Big War Movie nominated for Picture and Director. Yeah, yeah,

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<v Speaker 1>I mean I think it's down to Hacks or La

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<v Speaker 1>La Land. And I'm just trying to be slightly subversive,

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<v Speaker 1>not subversive. And I'm going with the say you you

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<v Speaker 1>are subversive without even trying. Yeah, I'm grown woman in pigtails.

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<v Speaker 1>I mean look about some versive. I am makeup and hairstyle.

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<v Speaker 1>Speaking of pigtails. So we have a man called Star

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<v Speaker 1>Trek Beyond and Suicide Squad. I'm calling Star Trek Beyond. Oh,

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<v Speaker 1>I was going to say Suicide Squad. Really, Suicide Squad

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<v Speaker 1>would be an Oscar winning movie. But see, because I think,

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<v Speaker 1>you know, and I keep be wrong, but I think,

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<v Speaker 1>I think if all you have to do is look

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<v Speaker 1>at photos from Suicide Squad, you know when photos from

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<v Speaker 1>Star Trek or often of Chris Pine or something, and

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<v Speaker 1>and but it's like if you get a shot of

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<v Speaker 1>Isras Elbow, I mean, well, yeah, exactly, I mean look

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<v Speaker 1>all three of them. It's like I feel like what

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<v Speaker 1>always happens with Oscars. Everybody who was nominated deserves to

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<v Speaker 1>be there, but there were a lot of people who

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<v Speaker 1>I also deserve to be there. There's a wide variety

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<v Speaker 1>of stuff on Suicide Squad to like the whole squad.

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<v Speaker 1>You know, everybody has a very definitive look Killer Croc

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<v Speaker 1>with you know, his whole get up, and obviously the Joker,

0:12:15.160 --> 0:12:18.560
<v Speaker 1>and you know, I just gosh, maybe I'm just angry

0:12:18.600 --> 0:12:21.880
<v Speaker 1>at all the Harley Quinn inspired Halloween costumes. I had

0:12:21.920 --> 0:12:24.120
<v Speaker 1>to endure that I can't give it up for the

0:12:24.120 --> 0:12:26.280
<v Speaker 1>makeup in Hairstack. We all agree that the foreign film

0:12:26.360 --> 0:12:28.280
<v Speaker 1>is probably not going to happen because who will have

0:12:28.320 --> 0:12:31.199
<v Speaker 1>seen it outside of people voting in foreign film? It's

0:12:31.240 --> 0:12:36.400
<v Speaker 1>not in that category. Yeah, yeah, I kind of, I

0:12:36.480 --> 0:12:39.840
<v Speaker 1>kind of. I'm not sure enough people saw that. Let's

0:12:39.840 --> 0:12:42.040
<v Speaker 1>wake everybody up with some major category. All right, should

0:12:42.080 --> 0:12:44.960
<v Speaker 1>go to screenplay. Let's go to a screenplays original screenplay?

0:12:45.640 --> 0:12:50.880
<v Speaker 1>La La Land me too? Yeah, sold unanimous? Can we

0:12:50.920 --> 0:12:52.959
<v Speaker 1>talk you into it or you that was your choice? Well,

0:12:53.240 --> 0:12:56.000
<v Speaker 1>those people are picking Manchester on that. Well, I'm not

0:12:56.360 --> 0:12:59.160
<v Speaker 1>sure why has it won any precursors won the back

0:12:59.280 --> 0:13:02.199
<v Speaker 1>won most of the critics prizes. Yeah, but I mean look,

0:13:02.280 --> 0:13:04.520
<v Speaker 1>Keneth owner again is one of our greatest living writers.

0:13:04.600 --> 0:13:07.679
<v Speaker 1>Like I, I get it, but um yeah, and I

0:13:07.720 --> 0:13:12.200
<v Speaker 1>wouldn't be surprised. Actually, La and they both both lost

0:13:12.200 --> 0:13:14.920
<v Speaker 1>the original and w g A, which is Moonlight. Yeah,

0:13:14.920 --> 0:13:17.960
<v Speaker 1>and then Moonlight moved into adapted for the Oscars, really

0:13:18.160 --> 0:13:22.000
<v Speaker 1>really messing up my pool. Yeah, uh no, I would not.

0:13:22.120 --> 0:13:24.120
<v Speaker 1>I would not be surprised at Manchester one. Um, and

0:13:24.120 --> 0:13:26.080
<v Speaker 1>I know, like a lot of people, we've had this discussion.

0:13:26.160 --> 0:13:27.720
<v Speaker 1>We Chris and I both think La La Land is

0:13:27.720 --> 0:13:30.640
<v Speaker 1>a great script, and we don't understand the complaints that

0:13:30.760 --> 0:13:34.120
<v Speaker 1>say that's the weakest part. Um. But yeah, I think

0:13:34.160 --> 0:13:36.920
<v Speaker 1>it wins. Let me also say this is my like,

0:13:37.880 --> 0:13:40.640
<v Speaker 1>you know, if I had the balls to pick it,

0:13:40.720 --> 0:13:43.560
<v Speaker 1>I would category. I feel like Hell or High Water

0:13:44.440 --> 0:13:46.560
<v Speaker 1>is a possibility in original street play that people don't

0:13:46.559 --> 0:13:49.720
<v Speaker 1>see coming. Yeah. I mean, but but you know again,

0:13:50.520 --> 0:13:53.960
<v Speaker 1>it's it's a script that you you notice, you know,

0:13:54.200 --> 0:13:57.199
<v Speaker 1>because I think La La Land part of its virtue

0:13:57.320 --> 0:13:59.880
<v Speaker 1>is that it looks effortless. It looks, you know, if

0:14:00.080 --> 0:14:04.120
<v Speaker 1>looks like it just happened, um and um. And with

0:14:04.120 --> 0:14:06.440
<v Speaker 1>with Hell or High Water and with with Manchester, you

0:14:06.440 --> 0:14:09.200
<v Speaker 1>could tell somebody sat down to feel the technique. Yeah, yeah,

0:14:09.240 --> 0:14:12.480
<v Speaker 1>you feel that, which which you know. But I think

0:14:12.480 --> 0:14:14.920
<v Speaker 1>you're probably right now, Chris. I am finally letting go

0:14:15.080 --> 0:14:17.719
<v Speaker 1>of Tom Hanks getting an Oscar nomination this year. I

0:14:18.000 --> 0:14:19.600
<v Speaker 1>think maybe you should let go of Hell or High

0:14:19.600 --> 0:14:22.720
<v Speaker 1>Water winning anything this year. I've never what do you

0:14:22.720 --> 0:14:25.240
<v Speaker 1>mean you really think it could win Original screen Play?

0:14:25.320 --> 0:14:26.640
<v Speaker 1>Have I harped on that? I don't. I don't think

0:14:26.640 --> 0:14:28.880
<v Speaker 1>it's harped on. No, I'm just saying that I do.

0:14:29.000 --> 0:14:31.840
<v Speaker 1>I think I think that's a lurking thing. Yeah, because

0:14:32.840 --> 0:14:35.240
<v Speaker 1>that movie has gone over well with like, let's say it,

0:14:35.360 --> 0:14:38.120
<v Speaker 1>the older white male demographic in the Academy, and it's

0:14:38.200 --> 0:14:41.120
<v Speaker 1>it's picking up you know, Best Picture votes, and I

0:14:41.120 --> 0:14:44.240
<v Speaker 1>don't know, I just think it's something that's Hey, I

0:14:44.280 --> 0:14:47.120
<v Speaker 1>told you all thirteen Hours was going to be nominator something. Yeah. No,

0:14:47.160 --> 0:14:50.600
<v Speaker 1>I mean, you know, I'll never question you again. What

0:14:50.680 --> 0:14:54.560
<v Speaker 1>about the screen? I am now convinced it will be

0:14:54.560 --> 0:14:56.920
<v Speaker 1>Moonlight since it one the WJ and Original, although for

0:14:56.960 --> 0:14:59.200
<v Speaker 1>a long time I was thinking Arrival and Lyne and

0:14:59.240 --> 0:15:02.640
<v Speaker 1>even Hidden Figure you sneak in there. Yeah. No, I mean,

0:15:02.680 --> 0:15:05.400
<v Speaker 1>I mean, you know, a lot of these very strong categories.

0:15:05.400 --> 0:15:07.720
<v Speaker 1>But but I do think it's it's Moonlight. Yeah. I

0:15:07.720 --> 0:15:10.000
<v Speaker 1>mean winning the w g A against Layla Land in

0:15:10.040 --> 0:15:14.640
<v Speaker 1>Manchester was a huge boon, and and I'm thrilled we

0:15:14.680 --> 0:15:17.240
<v Speaker 1>all think Viola is winning supporting actress. I mean, is

0:15:17.240 --> 0:15:18.960
<v Speaker 1>there even when I mean, if I if you were

0:15:18.960 --> 0:15:21.600
<v Speaker 1>the person who beat Viola when you come, I would

0:15:21.600 --> 0:15:25.800
<v Speaker 1>stay in my seat. No, I mean, you know, I

0:15:25.800 --> 0:15:29.400
<v Speaker 1>mean there's always surprises with oscars, so I think it's possible.

0:15:29.440 --> 0:15:31.680
<v Speaker 1>But I'm telling you, if I had to have pissed

0:15:31.720 --> 0:15:35.160
<v Speaker 1>somebody off. If I were betting money on the Oscars,

0:15:35.600 --> 0:15:37.760
<v Speaker 1>that is the one category, the one wind that I

0:15:37.800 --> 0:15:41.320
<v Speaker 1>would bet money because, I mean, she's electric, you know,

0:15:41.880 --> 0:15:45.480
<v Speaker 1>it's you know, it's also got the narrative she's over you. Yeah,

0:15:45.720 --> 0:15:48.360
<v Speaker 1>it seems it's like it's been unquestioned all year, like,

0:15:48.400 --> 0:15:50.960
<v Speaker 1>oh yeah, Viola. Did you see Sam Jackson's rant about

0:15:50.960 --> 0:15:53.160
<v Speaker 1>how that's not a supporting role. Yeah, he's not wrong.

0:15:53.200 --> 0:15:55.800
<v Speaker 1>She would have won lead to by the way, convinced.

0:15:55.920 --> 0:15:57.760
<v Speaker 1>I kind of think so too. It would have been

0:15:57.800 --> 0:16:01.120
<v Speaker 1>Denzel and Viola either way. Yeah, I think let's talk

0:16:01.120 --> 0:16:04.120
<v Speaker 1>about best Actor, the best Actor. I think it's Denzel.

0:16:04.160 --> 0:16:07.400
<v Speaker 1>He won the SAG Award. I'm think you know, I've

0:16:07.520 --> 0:16:10.800
<v Speaker 1>been saying I was saying him even before. Yes, so

0:16:10.880 --> 0:16:12.240
<v Speaker 1>were we. We thought it was a lock for the

0:16:12.280 --> 0:16:15.000
<v Speaker 1>longest time. Yeah, yeah, I mean I drifted away just

0:16:15.000 --> 0:16:18.000
<v Speaker 1>because Casey was so dominant in the well. I mean,

0:16:18.360 --> 0:16:22.240
<v Speaker 1>Casey is excellent, he could win Best Actor, But I

0:16:22.280 --> 0:16:27.480
<v Speaker 1>think going against what SAG picked is sort of foolish.

0:16:27.560 --> 0:16:29.360
<v Speaker 1>I'm going with Sag in each category. I'm going with

0:16:29.440 --> 0:16:33.600
<v Speaker 1>the Stone also, Yeah, Emma Stone. I mean, who could

0:16:33.640 --> 0:16:36.440
<v Speaker 1>even be mart. I'm sticking with my harshal Alley and

0:16:36.440 --> 0:16:41.280
<v Speaker 1>I'm really nervous. You're nervous. If he doesn't win, there's

0:16:41.280 --> 0:16:45.760
<v Speaker 1>gonna be some screaming coming from Culver City. Yeah, that's

0:16:45.760 --> 0:16:47.720
<v Speaker 1>probably the one I'm most invested in, although I mean,

0:16:47.760 --> 0:16:51.760
<v Speaker 1>come on, that category is Dev Patel is amazing. Michael Shannon,

0:16:51.840 --> 0:16:54.960
<v Speaker 1>Jeff Bridges, Lucas Hedges, these are all great actors. But

0:16:55.120 --> 0:16:57.520
<v Speaker 1>I just love from Michael Shannon to win. That speech

0:16:57.520 --> 0:17:00.960
<v Speaker 1>would be it'd be in the eazing. But you don't

0:17:01.000 --> 0:17:02.480
<v Speaker 1>have to wait a little while. He's just gonna have

0:17:02.520 --> 0:17:05.200
<v Speaker 1>to be content with continuously surprising us with his nomination.

0:17:06.040 --> 0:17:07.919
<v Speaker 1>Michael Shannon will be just fine. He'll be He'll be

0:17:07.960 --> 0:17:10.119
<v Speaker 1>back in a year probably and we can see his

0:17:10.160 --> 0:17:16.840
<v Speaker 1>speech then. Cinematography, Uh La Land Lena's Yeah, Yeah, I

0:17:16.880 --> 0:17:19.000
<v Speaker 1>think I think so too. Yeah A s c went

0:17:19.040 --> 0:17:26.560
<v Speaker 1>to Lyon but slightly surprising but not terribly Yeah, um

0:17:26.760 --> 0:17:28.520
<v Speaker 1>La La Land won the bath too. I'm picking La

0:17:28.600 --> 0:17:33.240
<v Speaker 1>La costume design. Costume design is Jackie La La Land, Lion,

0:17:33.359 --> 0:17:37.919
<v Speaker 1>Moonlight and Passengers. Wait no, sorry, that's original score. I

0:17:37.960 --> 0:17:40.720
<v Speaker 1>was like, that's an interesting lineup. I was like, wait,

0:17:41.520 --> 0:17:44.639
<v Speaker 1>that can't be right. It is Jackie, Florence Foster, Jenkins,

0:17:44.960 --> 0:17:48.680
<v Speaker 1>La La land You. I can't even find it. Oh

0:17:48.720 --> 0:17:53.040
<v Speaker 1>here it is, yeah, allied fantastic to find jack and Lalla.

0:17:53.400 --> 0:17:58.240
<v Speaker 1>I'm kind of leaning towards Fantastic Beasts really yeah. I mean, look,

0:17:58.280 --> 0:18:01.800
<v Speaker 1>I I like daring predictions, although I think it's La

0:18:01.880 --> 0:18:04.199
<v Speaker 1>La land um. You know, I mean, you know, the

0:18:04.240 --> 0:18:09.359
<v Speaker 1>conventional wisdom says, oh yeah, modern contemporary costumes ever again,

0:18:09.440 --> 0:18:12.600
<v Speaker 1>but you notice the costumes in there, you know, I

0:18:12.600 --> 0:18:16.359
<v Speaker 1>mean they're very striking. Really well yeah, well I think, well, Jackie,

0:18:16.440 --> 0:18:19.000
<v Speaker 1>I mean that's amazing work. I mean it's a hard category.

0:18:19.280 --> 0:18:23.399
<v Speaker 1>It's not obvious costume porn anywhere. Lae Costor Jenkins has

0:18:23.400 --> 0:18:26.600
<v Speaker 1>some beautiful costumes. But the remember the four Front I

0:18:26.640 --> 0:18:28.480
<v Speaker 1>remember the main one at the end, remember like the

0:18:28.880 --> 0:18:32.199
<v Speaker 1>angel thing, Yeah something, But like I think that's a

0:18:32.280 --> 0:18:36.400
<v Speaker 1>lurking possibility actually, but I'm gonna go with Jackie. I think, yeah,

0:18:36.400 --> 0:18:38.200
<v Speaker 1>the best thing about Fantastic Beast and where to find

0:18:38.200 --> 0:18:41.280
<v Speaker 1>them is the costumes. I'd say the production design actually,

0:18:41.640 --> 0:18:44.479
<v Speaker 1>which I think has a possible shot at winning won

0:18:44.600 --> 0:18:48.960
<v Speaker 1>the BAFTA UM although it lost its category at the

0:18:49.040 --> 0:18:51.879
<v Speaker 1>Art Director's Guild to Passengers, Well, here's the thing about

0:18:51.880 --> 0:18:55.359
<v Speaker 1>production design, and we have a rival fantastic beasts Hail Caesar,

0:18:55.440 --> 0:18:58.520
<v Speaker 1>La La Land and Passengers have David and Sandy wasco

0:18:58.680 --> 0:19:01.760
<v Speaker 1>ever one before. That's insane to me. They're nominated this

0:19:01.800 --> 0:19:03.840
<v Speaker 1>year for La La Land. They did, Um, we're all

0:19:03.880 --> 0:19:06.800
<v Speaker 1>tennant bonds. They do all Quentin Tarantino's movies. Talk about

0:19:06.840 --> 0:19:12.000
<v Speaker 1>over too. Yeah, like I'm picking Yeah, yeah, although I

0:19:12.320 --> 0:19:14.760
<v Speaker 1>mean I don't know. Did you see Hail Caesar? Of course,

0:19:14.800 --> 0:19:16.560
<v Speaker 1>I mean that would be my personal choice. I mean

0:19:16.600 --> 0:19:19.760
<v Speaker 1>it's so it's so amazing, and you know again that

0:19:19.760 --> 0:19:22.399
<v Speaker 1>that was done in a very limited budget. Um, well,

0:19:22.440 --> 0:19:26.040
<v Speaker 1>Passengers is great too. Well yeah, yeah, I'm going with

0:19:26.119 --> 0:19:28.679
<v Speaker 1>law Land. With Arrival of the Spoiler, I think really

0:19:28.720 --> 0:19:30.760
<v Speaker 1>like a place where you could award it and it

0:19:30.800 --> 0:19:37.359
<v Speaker 1>does have like some iconic already. Yeah. So, um, do

0:19:37.400 --> 0:19:40.679
<v Speaker 1>you want to films or have you guys seen the shorts?

0:19:41.000 --> 0:19:45.560
<v Speaker 1>You know, I've only seen some of the Yeah, um,

0:19:45.760 --> 0:19:49.560
<v Speaker 1>so directing, directing, is there any question? I don't think so,

0:19:50.400 --> 0:19:54.199
<v Speaker 1>Damien Hill at least whever. Yeah, I mean, you know,

0:19:54.280 --> 0:19:58.399
<v Speaker 1>I mean there's always upsets, but I think it's not

0:19:58.440 --> 0:20:01.760
<v Speaker 1>going to be in that. What's the record the youngest

0:20:02.119 --> 0:20:08.520
<v Speaker 1>okay five years? Um, yeah, and so deserved picture. Yeah,

0:20:08.600 --> 0:20:14.960
<v Speaker 1>I'm gonna go with oh, don't even oh, I got Yeah,

0:20:15.800 --> 0:20:18.080
<v Speaker 1>did we miss anything? We did? We missed? Documentary feature?

0:20:18.160 --> 0:20:21.800
<v Speaker 1>Documentary feature. Well, that's an interesting category. Yes, I am

0:20:21.840 --> 0:20:24.280
<v Speaker 1>sticking with thet I'm trusting people to do the right

0:20:24.320 --> 0:20:26.240
<v Speaker 1>thing and recognize that O J Made in America is

0:20:26.280 --> 0:20:31.280
<v Speaker 1>not a movie as possible. I mean, but I mean,

0:20:31.400 --> 0:20:34.000
<v Speaker 1>I will say I think this has been an amazing

0:20:34.040 --> 0:20:39.320
<v Speaker 1>year for documentary year. Those five terrific, but there's also

0:20:39.600 --> 0:20:42.960
<v Speaker 1>like another dozen that we're really amazing that weren't not. Yeah,

0:20:43.240 --> 0:20:45.040
<v Speaker 1>I kind of think you're right. I kind of think

0:20:45.080 --> 0:20:47.840
<v Speaker 1>it's thirteen. But um, I mean I am not your

0:20:47.840 --> 0:20:51.280
<v Speaker 1>Negro Life, Animated Fire at Sea, these are these are

0:20:51.320 --> 0:20:53.879
<v Speaker 1>all really good. Yeah, I don't. I don't have the

0:20:53.920 --> 0:20:57.480
<v Speaker 1>guts to be too uh adventurous here, So I'm gonna

0:20:57.480 --> 0:21:01.080
<v Speaker 1>go with OJ. You know what we fort was foreignlanguage film,

0:21:01.200 --> 0:21:03.520
<v Speaker 1>just foreign film. I think, like I said, I think

0:21:03.560 --> 0:21:08.280
<v Speaker 1>a man called Ova is going to be there, you

0:21:08.280 --> 0:21:11.240
<v Speaker 1>thinkin Yeah, I mean, it's just it's the most palatable

0:21:11.280 --> 0:21:14.480
<v Speaker 1>of the nominees. It's uh, you know, it's charming. I

0:21:14.760 --> 0:21:16.840
<v Speaker 1>think it's like I just was talking to somebody. I

0:21:16.880 --> 0:21:19.280
<v Speaker 1>call it like the palatable Tony Erdman. Actually, you know,

0:21:19.280 --> 0:21:20.680
<v Speaker 1>it takes Tony Erdman an hour and a half to

0:21:20.720 --> 0:21:24.040
<v Speaker 1>get going right, like man called Ova. It's really hits.

0:21:24.040 --> 0:21:28.600
<v Speaker 1>It strided early, and it's charming and you know that

0:21:28.880 --> 0:21:31.880
<v Speaker 1>it's a dark comedy and all that. Actually it would

0:21:31.880 --> 0:21:34.159
<v Speaker 1>be my personal pick probably, but I think it's going

0:21:34.200 --> 0:21:38.560
<v Speaker 1>to be the Salesman on as a legit like this

0:21:38.600 --> 0:21:42.880
<v Speaker 1>is what we think protests. I'm sure protest doesn't hurt,

0:21:42.960 --> 0:21:46.520
<v Speaker 1>and the fact that the title is out there because

0:21:46.560 --> 0:21:49.280
<v Speaker 1>of the protests, But I mean, you know, he's also

0:21:49.359 --> 0:21:51.879
<v Speaker 1>a great filmmaker, and people genuinely do love that movie.

0:21:51.960 --> 0:21:54.240
<v Speaker 1>So you think I mean, I I think it's it's

0:21:54.240 --> 0:21:57.040
<v Speaker 1>Salesman too by exactly for the same reasons you did.

0:21:57.080 --> 0:21:59.760
<v Speaker 1>I think. I think, I think it's a really good film,

0:21:59.760 --> 0:22:01.399
<v Speaker 1>and I think people can vote for it with a

0:22:01.440 --> 0:22:04.960
<v Speaker 1>clear conscience. But the topicality of it, it's like a

0:22:05.000 --> 0:22:09.359
<v Speaker 1>little bonus. You know. We skipped the music, yes, Lala

0:22:09.440 --> 0:22:12.000
<v Speaker 1>Land and both the original Storm song. Which song is

0:22:12.000 --> 0:22:14.760
<v Speaker 1>the question? City of Stars, City of Stars. Yeah, it's

0:22:14.760 --> 0:22:16.639
<v Speaker 1>not the best of the two songs nominated. It's not

0:22:16.720 --> 0:22:19.880
<v Speaker 1>Auditions the best of the of the two nominated. I think,

0:22:20.119 --> 0:22:21.960
<v Speaker 1>did you like Audition best of all the songs in

0:22:22.000 --> 0:22:25.119
<v Speaker 1>the movie? No? No, Another Day I've Done is my favorite,

0:22:25.200 --> 0:22:29.200
<v Speaker 1>and I also like the opening is my favorite. Somewhere

0:22:29.200 --> 0:22:30.639
<v Speaker 1>in the Crowd is a great song. That's the one

0:22:30.720 --> 0:22:33.159
<v Speaker 1>just goes on. But I also like the John Legend

0:22:33.240 --> 0:22:37.600
<v Speaker 1>start a Fire song that is so damn catchy and

0:22:37.640 --> 0:22:39.840
<v Speaker 1>I have been caught in my car singing along that.

0:22:40.040 --> 0:22:42.600
<v Speaker 1>But but see, I love the audition, So I mean,

0:22:42.640 --> 0:22:44.080
<v Speaker 1>you know, I don't want to be a spoiler for

0:22:44.119 --> 0:22:46.119
<v Speaker 1>anybody who hasn't seen the movie, but it's you know,

0:22:46.200 --> 0:22:49.159
<v Speaker 1>it's three quarters of the way through it. But I

0:22:49.200 --> 0:22:52.159
<v Speaker 1>feel like that that one song kind of sums up

0:22:52.200 --> 0:22:55.560
<v Speaker 1>the whole movie. Yeah, that's that's not the kind although

0:22:55.600 --> 0:22:58.520
<v Speaker 1>it's not something that you would expect to hear a

0:22:58.520 --> 0:23:01.119
<v Speaker 1>lot of covers of and in the next ten years.

0:23:01.280 --> 0:23:03.080
<v Speaker 1>By the way, um, I don't know if you read

0:23:03.119 --> 0:23:06.359
<v Speaker 1>my piece about the anatomy of the song, but you

0:23:06.400 --> 0:23:09.480
<v Speaker 1>know the song um City of Stars, which was originally

0:23:09.520 --> 0:23:11.880
<v Speaker 1>written from a stone to sing and then they realized

0:23:11.880 --> 0:23:13.760
<v Speaker 1>she had this big number at the end with Audition,

0:23:13.800 --> 0:23:15.440
<v Speaker 1>and it kind of took away from the power of it,

0:23:15.880 --> 0:23:19.800
<v Speaker 1>and um Sebastian Ryan Goslin's character really needed his own number,

0:23:20.280 --> 0:23:22.360
<v Speaker 1>so they sort of transferred it over to him better

0:23:22.400 --> 0:23:25.280
<v Speaker 1>with it does John Legend will be performing both. He

0:23:25.480 --> 0:23:30.040
<v Speaker 1>is he's performing audition. Oh miss that? No? Yeah, yeah,

0:23:30.080 --> 0:23:33.600
<v Speaker 1>he's performing both. I okay, it seems weird, right, like

0:23:33.800 --> 0:23:35.439
<v Speaker 1>very weird. The City of Stars. I can see him

0:23:35.480 --> 0:23:39.359
<v Speaker 1>singing audition like yeah, I mean, I wouldn't see what

0:23:39.440 --> 0:23:41.520
<v Speaker 1>he does with it. I guess I don't think he's

0:23:41.520 --> 0:23:43.880
<v Speaker 1>not going to sing the whole song, probably right, Oh,

0:23:44.000 --> 0:23:46.720
<v Speaker 1>you might be right, Like maybe he'll do part of that.

0:23:47.680 --> 0:23:48.919
<v Speaker 1>I kind of hope he does. I hope he does

0:23:48.920 --> 0:23:51.960
<v Speaker 1>it acapella, sing the whole song, because why would you

0:23:52.000 --> 0:23:53.640
<v Speaker 1>just do a medley of those because they're gonna sing

0:23:53.680 --> 0:23:56.680
<v Speaker 1>all of the others. I'm sure, are you? Because remember

0:23:57.119 --> 0:23:59.560
<v Speaker 1>was it last year they no, this has been announced? Yeah,

0:23:59.680 --> 0:24:03.520
<v Speaker 1>men was gonna sing the Moana song and what are

0:24:03.560 --> 0:24:06.880
<v Speaker 1>the other two nominees? Oh? Yeah, is going to sing

0:24:07.000 --> 0:24:10.480
<v Speaker 1>his song. So some years they've done a medally five

0:24:10.560 --> 0:24:13.000
<v Speaker 1>songs all at once and stuff like that. But they

0:24:13.040 --> 0:24:15.560
<v Speaker 1>did the Dreamgirls medley of the three well, there was

0:24:15.600 --> 0:24:17.560
<v Speaker 1>a big controvert one. It was that big. But a

0:24:17.560 --> 0:24:19.520
<v Speaker 1>couple of years ago when they didn't or was it

0:24:19.600 --> 0:24:21.800
<v Speaker 1>last year when they when they when they cut, they

0:24:21.880 --> 0:24:24.080
<v Speaker 1>cut two of them. They cut the song from mantur

0:24:24.119 --> 0:24:26.240
<v Speaker 1>Rage and it was just strictly because they were not

0:24:26.320 --> 0:24:28.679
<v Speaker 1>well known performers, which is ridiculous because talk about a

0:24:28.720 --> 0:24:32.159
<v Speaker 1>song that's like integral to the plot, Youth that that

0:24:32.320 --> 0:24:34.959
<v Speaker 1>song was the movie. I didn't like that movie, but

0:24:35.000 --> 0:24:39.520
<v Speaker 1>I thought the song was the category should be exactly. Yeah.

0:24:39.800 --> 0:24:42.000
<v Speaker 1>I think that's all of them and we've gone along. Yeah,

0:24:42.080 --> 0:24:44.760
<v Speaker 1>so every ones like get it over. No, people are

0:24:44.840 --> 0:24:47.960
<v Speaker 1>dying and there our opinions. Um, so what did we

0:24:48.000 --> 0:24:51.920
<v Speaker 1>decide for it for a song? Yeah, okay, yeah, yeah,

0:24:52.000 --> 0:24:53.800
<v Speaker 1>definitely all right. I think we're on the record for

0:24:53.840 --> 0:24:57.440
<v Speaker 1>everything now. I don't think we missed were voting his clothes,

0:24:57.480 --> 0:24:59.600
<v Speaker 1>so nobody can be angry with that's true. That's true.

0:25:00.320 --> 0:25:04.480
<v Speaker 1>Wait animated film so Utopia oh oh yeah yeah obviously

0:25:04.560 --> 0:25:06.760
<v Speaker 1>yeah yeah, going out on a limb with Yeah, you

0:25:06.760 --> 0:25:09.560
<v Speaker 1>should have been nominated the best which was fun. Yeah.

0:25:10.160 --> 0:25:16.520
<v Speaker 1>So the show is Sunday. Any last thoughts. I mean,

0:25:16.640 --> 0:25:19.520
<v Speaker 1>you know, we could talk about how political do we

0:25:19.560 --> 0:25:21.960
<v Speaker 1>think the acceptance speeches are going to get, but that's

0:25:21.960 --> 0:25:25.480
<v Speaker 1>that's a whole nineties. I hope Jimmy presses the buttons.

0:25:25.800 --> 0:25:29.560
<v Speaker 1>I'm sure he will. Like My prediction is he drops

0:25:29.560 --> 0:25:36.760
<v Speaker 1>an F bomb? Really sure? Why not? Just one? Just one? Yeah?

0:25:37.119 --> 0:25:38.440
<v Speaker 1>I don't know what else we have to say here,

0:25:38.600 --> 0:25:41.480
<v Speaker 1>but anyway, those are a predictions. Enjoy the show. Thanks

0:25:41.480 --> 0:25:44.639
<v Speaker 1>for coming on show, Tim, Congratulations to both of you

0:25:44.760 --> 0:25:49.560
<v Speaker 1>for exhausting Oscar season. I mean seriously, but did great work.

0:25:49.640 --> 0:25:52.240
<v Speaker 1>Thank you so much. And uh oh, by the way,

0:25:52.480 --> 0:25:55.000
<v Speaker 1>I should probably tell everyone who I'm about to talk

0:25:55.040 --> 0:25:57.560
<v Speaker 1>to on the show. I'm so excited, just so you know.

0:25:57.800 --> 0:26:00.520
<v Speaker 1>This isn't like strictly an awards season thing. This should

0:26:00.520 --> 0:26:02.280
<v Speaker 1>make it clear that we're gonna keep it going in

0:26:02.320 --> 0:26:05.480
<v Speaker 1>the off season. I'm talking to Jordan Peel from Get Out.

0:26:05.680 --> 0:26:08.439
<v Speaker 1>Oh my god, so exciting. Yeah, that is excited. Did

0:26:08.480 --> 0:26:10.760
<v Speaker 1>you see get No, I haven't seen you seen it soon,

0:26:10.840 --> 0:26:12.920
<v Speaker 1>I've seen it tonight. Yes, I cannot wait. This movie

0:26:12.920 --> 0:26:14.840
<v Speaker 1>has been eluding me and I have been in love

0:26:14.840 --> 0:26:17.320
<v Speaker 1>with it since the trailer it's pretty twisted, but anyway,

0:26:17.400 --> 0:26:42.000
<v Speaker 1>stay tuned for Jordan right after this. You got your too?

0:26:42.880 --> 0:26:46.560
<v Speaker 1>Do you have your own do you have your cozy clothes?

0:26:49.800 --> 0:26:53.080
<v Speaker 1>Did you know him? Black? Should? You might wanta you

0:26:53.720 --> 0:26:56.080
<v Speaker 1>mom and dad. My black boyfriend will be coming up

0:26:56.160 --> 0:26:58.000
<v Speaker 1>this weekend. I just don't want you to be shocked.

0:26:58.119 --> 0:27:01.320
<v Speaker 1>But he's a black man. I I've never seen you

0:27:01.359 --> 0:27:04.640
<v Speaker 1>like this before. Broamily and take a road trip. Don't

0:27:04.640 --> 0:27:07.119
<v Speaker 1>come back, old bis, come back, get your day of

0:27:07.160 --> 0:27:16.520
<v Speaker 1>pants up to your damn stomach. Anything. So you guys

0:27:16.680 --> 0:27:18.439
<v Speaker 1>coming up from the city. Yeah, we're just heading up

0:27:18.480 --> 0:27:20.320
<v Speaker 1>for the weekend. Can I see your license? Please? He

0:27:20.400 --> 0:27:22.520
<v Speaker 1>wasn't driving. I didn't ask who was driving. I asked

0:27:22.520 --> 0:27:27.720
<v Speaker 1>to see his I d come back and be so

0:27:27.800 --> 0:27:30.720
<v Speaker 1>look I go do it my restarch. Apparently a whole

0:27:30.760 --> 0:27:32.679
<v Speaker 1>bunch of brother has been missing in this suburb. But

0:27:32.680 --> 0:27:35.920
<v Speaker 1>it's cool, Grond, you're not scared of this man. You

0:27:35.960 --> 0:27:40.800
<v Speaker 1>can see no brother among you. Chris was just telling

0:27:40.840 --> 0:27:47.800
<v Speaker 1>me how he felt much more comfortable with my being Yo.

0:27:48.080 --> 0:27:58.200
<v Speaker 1>Sorry man, get out, Yo, it's a terrible things to me.

0:27:59.200 --> 0:28:01.360
<v Speaker 1>Welcome back everyone. I'm here with the writer and director

0:28:01.400 --> 0:28:03.720
<v Speaker 1>of Get Out. You know I'm from Matt d v

0:28:04.000 --> 0:28:06.800
<v Speaker 1>Ky and Peel Jordan Peel. Thanks for coming on the

0:28:06.800 --> 0:28:10.760
<v Speaker 1>show Man. Thanks you really having me. Uh, this movie

0:28:10.840 --> 0:28:14.119
<v Speaker 1>is messed up, which is the reaction you want? I

0:28:14.119 --> 0:28:17.080
<v Speaker 1>would imagine that's what That's what I'm looking for. We're

0:28:17.080 --> 0:28:19.600
<v Speaker 1>gonna talk about it deeply in a second, but before

0:28:19.640 --> 0:28:21.040
<v Speaker 1>I want to talk about Sundance, Because you went to

0:28:21.040 --> 0:28:22.679
<v Speaker 1>Sundance with this movie and had the big kind of

0:28:22.680 --> 0:28:24.600
<v Speaker 1>surprise unveiling and all of that. What was that like

0:28:24.680 --> 0:28:27.160
<v Speaker 1>for you? Oh? That was surreal. I mean it's such

0:28:27.200 --> 0:28:29.960
<v Speaker 1>an honor. You know, it's like, you know, I'm such

0:28:30.080 --> 0:28:34.280
<v Speaker 1>a film geek, such a movie buff, and you know

0:28:34.359 --> 0:28:36.920
<v Speaker 1>you said you can't really you know when when you

0:28:37.000 --> 0:28:40.280
<v Speaker 1>when you're dreaming of you know what it might be

0:28:40.320 --> 0:28:44.320
<v Speaker 1>like if you get to make a movie you don't include, Like, yeah,

0:28:44.360 --> 0:28:47.160
<v Speaker 1>you might get to go to Sundance. Um, it was cool.

0:28:47.200 --> 0:28:50.560
<v Speaker 1>It was a blizzard and it felt like that wasn't

0:28:50.600 --> 0:28:52.720
<v Speaker 1>up there, but I heard it. I felt like scat

0:28:52.760 --> 0:28:56.800
<v Speaker 1>Man Cruthers and the shining like trying to get to

0:28:56.920 --> 0:28:59.760
<v Speaker 1>little Danny Torrence. Um, he says that what he's wearing

0:28:59.760 --> 0:29:03.120
<v Speaker 1>an a look hotel. I'm I'm right now, and yeah,

0:29:03.160 --> 0:29:10.520
<v Speaker 1>I'm totally I'm totally encased in Uh the shining swag?

0:29:10.960 --> 0:29:13.040
<v Speaker 1>What was? What? Did you feel the love up there? Was?

0:29:13.280 --> 0:29:14.760
<v Speaker 1>Because I wish I could have been there when I

0:29:14.800 --> 0:29:17.640
<v Speaker 1>heard that it was gonna screen, but it had to

0:29:17.680 --> 0:29:19.560
<v Speaker 1>be a fun crowd for that. I did feel the love.

0:29:19.640 --> 0:29:22.880
<v Speaker 1>You know. I've seen the movie several times in different theaters,

0:29:23.040 --> 0:29:27.480
<v Speaker 1>and the most satisfying thing is like that, you know,

0:29:27.480 --> 0:29:32.280
<v Speaker 1>everybody's kind of united with their reactions. Um. I think

0:29:32.320 --> 0:29:36.720
<v Speaker 1>the scares get get jolts, the laughs get laughs, the

0:29:37.520 --> 0:29:43.040
<v Speaker 1>cheers get cheers um pretty consistently, and sun dance. You know,

0:29:43.120 --> 0:29:44.840
<v Speaker 1>you can just feel that excitement in the air that

0:29:44.880 --> 0:29:46.560
<v Speaker 1>they knew when they were the first to get to

0:29:46.560 --> 0:29:50.760
<v Speaker 1>see this movie. Uh. You know, I read something recently

0:29:50.920 --> 0:29:55.280
<v Speaker 1>somebody said that writing comedy and writing horror are not

0:29:55.360 --> 0:29:59.240
<v Speaker 1>too far afield because they exercise the same muscles, you know,

0:29:59.320 --> 0:30:01.560
<v Speaker 1>like fear and security aren't too far from each other.

0:30:01.640 --> 0:30:04.000
<v Speaker 1>It's kind of the point. I'm curious if if that's

0:30:04.000 --> 0:30:06.280
<v Speaker 1>how you found it. I mean, obviously this is a

0:30:06.280 --> 0:30:08.600
<v Speaker 1>a comedy horror film and in its way, but it's

0:30:08.360 --> 0:30:12.880
<v Speaker 1>it has you know, that's there's something too that I

0:30:12.920 --> 0:30:15.400
<v Speaker 1>feel like the exercising the same kind of muscles with

0:30:15.520 --> 0:30:19.560
<v Speaker 1>both forms. So it felt like the comedy education that

0:30:19.600 --> 0:30:22.440
<v Speaker 1>I got I've gotten the last you know, decade or

0:30:22.480 --> 0:30:27.440
<v Speaker 1>so worked perfectly in this film. Um. You know, I

0:30:27.480 --> 0:30:33.200
<v Speaker 1>feel that both horror and laughter are ways we we

0:30:33.320 --> 0:30:37.200
<v Speaker 1>face our demons, way ways that we deal with our

0:30:37.280 --> 0:30:42.880
<v Speaker 1>fears of death in a way, um, it's about tension, tension, tension,

0:30:43.400 --> 0:30:48.880
<v Speaker 1>and then release with a certain pinpoint precision and um,

0:30:49.800 --> 0:30:52.360
<v Speaker 1>you know in the in in a way, the tension, tension,

0:30:52.400 --> 0:30:56.440
<v Speaker 1>tension and release is kind of a a metaphor for

0:30:56.640 --> 0:30:59.400
<v Speaker 1>life and death in a way. You know, we spend

0:30:59.400 --> 0:31:04.040
<v Speaker 1>our whole lot ives fearing the ultimate absurdity, which is

0:31:04.160 --> 0:31:09.959
<v Speaker 1>that this is a temporary That's right, that's right, that's true. Uh.

0:31:10.360 --> 0:31:12.600
<v Speaker 1>I went to the You had the kind of premiere

0:31:13.120 --> 0:31:15.960
<v Speaker 1>in L A l A live screening your head that

0:31:16.040 --> 0:31:19.280
<v Speaker 1>last week, and you said beforehand that for you, uh,

0:31:19.760 --> 0:31:22.480
<v Speaker 1>growing up race was like a nightmare. That was how

0:31:22.480 --> 0:31:24.560
<v Speaker 1>you put it, and you wanted to put this nightmare

0:31:24.560 --> 0:31:27.880
<v Speaker 1>on the screen. What it got me thinking was what

0:31:27.920 --> 0:31:30.200
<v Speaker 1>was the chicken and the egg? Like, did you want

0:31:30.240 --> 0:31:33.680
<v Speaker 1>to make a movie with those themes in mind? And

0:31:33.680 --> 0:31:35.880
<v Speaker 1>then you kind of gravitated into a horror film or

0:31:35.880 --> 0:31:38.920
<v Speaker 1>did you want to make a horror film? And these

0:31:38.920 --> 0:31:40.320
<v Speaker 1>are the themes that came up that you wanted to

0:31:40.360 --> 0:31:43.000
<v Speaker 1>explore within that I wanted to make a horror film. Yeah,

0:31:43.240 --> 0:31:46.120
<v Speaker 1>I just you know, I've I've I've I've had the

0:31:46.920 --> 0:31:49.400
<v Speaker 1>dream of being a director since I was since I

0:31:49.440 --> 0:31:53.960
<v Speaker 1>was younger, being specifically a horror director. And um, you know,

0:31:54.040 --> 0:31:57.480
<v Speaker 1>part of the process of figuring out what I could

0:31:57.600 --> 0:32:00.920
<v Speaker 1>bring to the genre that would be of any worth

0:32:01.240 --> 0:32:05.280
<v Speaker 1>or anything I would be proud of. Um, you know,

0:32:05.320 --> 0:32:08.360
<v Speaker 1>I I realized that I've sort of done enough thinking

0:32:08.400 --> 0:32:11.560
<v Speaker 1>about race, enough work in the comedy space about you know,

0:32:11.960 --> 0:32:14.280
<v Speaker 1>walking that line how to deal with race and art,

0:32:14.600 --> 0:32:19.400
<v Speaker 1>that I was kind of uniquely equipped to deal with it. Um,

0:32:19.440 --> 0:32:22.400
<v Speaker 1>you know, I think, you know, yeah, not only is

0:32:22.480 --> 0:32:24.160
<v Speaker 1>race a nightmare for me, you know, I think that

0:32:24.240 --> 0:32:28.000
<v Speaker 1>the greater point is that, um, you know, race in

0:32:28.080 --> 0:32:30.880
<v Speaker 1>this country is is a and in the world is

0:32:30.960 --> 0:32:36.560
<v Speaker 1>this human demon. It is a monster that we is

0:32:36.560 --> 0:32:39.640
<v Speaker 1>in our d n A. And so I just felt

0:32:39.680 --> 0:32:43.720
<v Speaker 1>like race was I realized it's if anyone was going

0:32:43.720 --> 0:32:47.120
<v Speaker 1>to make a modern move horror movie about race, it

0:32:47.160 --> 0:32:51.160
<v Speaker 1>should be me. Did you figure feel yourself like, were

0:32:51.160 --> 0:32:53.200
<v Speaker 1>your self governing it all? Like, oh that's too far,

0:32:53.320 --> 0:32:54.800
<v Speaker 1>I need to pull back on that. Or did you

0:32:54.800 --> 0:32:56.680
<v Speaker 1>just kind of let yourself go as far as you

0:32:56.720 --> 0:32:58.680
<v Speaker 1>felt like you wanted to go. It's it's yeah, it's

0:32:58.720 --> 0:33:02.960
<v Speaker 1>all self governed. Really, you know, it's you ask yourself,

0:33:04.800 --> 0:33:10.000
<v Speaker 1>you know a lot of questions. But ultimately, um, you know,

0:33:10.040 --> 0:33:13.440
<v Speaker 1>you sort of realize that you can't write a movie

0:33:14.320 --> 0:33:19.120
<v Speaker 1>with the um taking into too far into consideration how

0:33:19.160 --> 0:33:21.719
<v Speaker 1>how the people will react to it, whether or not

0:33:21.800 --> 0:33:24.600
<v Speaker 1>you can sell this movie. Um, I really wrote this

0:33:24.720 --> 0:33:27.560
<v Speaker 1>movie for myself. UM, to say, look, this is gonna

0:33:27.560 --> 0:33:32.080
<v Speaker 1>be a fun project to write. It is Um if

0:33:32.120 --> 0:33:35.120
<v Speaker 1>I was right, a movie, my favorite movie that doesn't

0:33:35.160 --> 0:33:38.720
<v Speaker 1>exist yet? What is that movie? And I just followed

0:33:38.760 --> 0:33:42.400
<v Speaker 1>that um fun Um. You know it's kind of you know,

0:33:42.400 --> 0:33:45.920
<v Speaker 1>it's how I imagine um Tarantino works. It was one

0:33:45.920 --> 0:33:48.760
<v Speaker 1>of the great like you know, you can just tell

0:33:48.880 --> 0:33:51.240
<v Speaker 1>he's not making a movie for anyone else. He's making

0:33:51.240 --> 0:33:56.200
<v Speaker 1>the movie he wishes. Um someone wants. Yeah. Uh, you

0:33:56.240 --> 0:33:58.400
<v Speaker 1>mentioned you were you were a horror from fan to

0:33:58.440 --> 0:34:01.360
<v Speaker 1>begin with, you know, beyond obviously shining I imagine, what

0:34:01.600 --> 0:34:04.960
<v Speaker 1>are some of your favorites. Uh, so you know, talking

0:34:05.000 --> 0:34:07.160
<v Speaker 1>about him a lot, but Rosemary's Baby and The Stepford

0:34:07.160 --> 0:34:11.280
<v Speaker 1>Wives are just you know, total classics and and um

0:34:11.560 --> 0:34:14.839
<v Speaker 1>thrillers that are in a model that doesn't often get

0:34:15.360 --> 0:34:19.319
<v Speaker 1>UM visited because I think it's it's it's tough to

0:34:19.400 --> 0:34:23.080
<v Speaker 1>write movies like that. Um. I love Candy Man, I

0:34:23.120 --> 0:34:28.239
<v Speaker 1>love Nightmare eld Street. Yeah. Also like another one of

0:34:28.239 --> 0:34:32.680
<v Speaker 1>the rare movies that yeah, horrifying and and and it

0:34:33.160 --> 0:34:35.719
<v Speaker 1>you know, based on this amazing UM short story by

0:34:35.719 --> 0:34:39.319
<v Speaker 1>Clive Barker. Of course, um the film version touched on

0:34:39.440 --> 0:34:43.080
<v Speaker 1>race in a way that was pretty novel to me. Um.

0:34:43.360 --> 0:34:47.279
<v Speaker 1>We were in this era for a while where the

0:34:48.520 --> 0:34:51.799
<v Speaker 1>monsters and horror movies where the main characters. Right, we

0:34:51.800 --> 0:34:55.600
<v Speaker 1>were in this like Freddie Jason, Mike Myers, this sequel thing,

0:34:55.800 --> 0:34:59.160
<v Speaker 1>and so you know, the opportunity to have a black

0:34:59.520 --> 0:35:03.080
<v Speaker 1>monster or was a pretty revolutionary and it still is.

0:35:03.320 --> 0:35:06.040
<v Speaker 1>Tony Todd, right, Tony Todd. And then I remember like

0:35:06.080 --> 0:35:09.480
<v Speaker 1>a few years later there was this movie Wishmaster, and

0:35:09.480 --> 0:35:11.120
<v Speaker 1>like didn't that have like all of them, Like Tony

0:35:11.160 --> 0:35:13.719
<v Speaker 1>Todd was in it, and h the guy that played

0:35:13.800 --> 0:35:15.759
<v Speaker 1>Jason I think was in it. It was just this

0:35:15.840 --> 0:35:18.000
<v Speaker 1>weird I think it was that movie we had a

0:35:18.040 --> 0:35:21.040
<v Speaker 1>bunch of I saw that one in the theater. Um,

0:35:21.160 --> 0:35:25.000
<v Speaker 1>it was no candy Man, let's say the least about

0:35:25.040 --> 0:35:31.399
<v Speaker 1>leprecaon Jennifer Aniston, you know Anniston's first film. Um. You know, yeah,

0:35:31.600 --> 0:35:35.600
<v Speaker 1>it was weird. It was a weird zone for horror.

0:35:35.719 --> 0:35:38.600
<v Speaker 1>And you know, I think sort of opened up by

0:35:38.920 --> 0:35:43.040
<v Speaker 1>you know, well, first Psycho, but then you know, the

0:35:43.040 --> 0:35:46.680
<v Speaker 1>the Stalker films of the late seventies and early eighties

0:35:46.800 --> 0:35:50.200
<v Speaker 1>opened up this idea that we as the audience could

0:35:50.239 --> 0:35:54.200
<v Speaker 1>relate to the killer in this weird way, and and

0:35:54.360 --> 0:35:57.160
<v Speaker 1>that we we sort of cheer the you know, sort

0:35:57.200 --> 0:36:03.239
<v Speaker 1>of hate the victims and very very kind of alarming,

0:36:04.880 --> 0:36:08.080
<v Speaker 1>uh climate for horror for for a kid to grow

0:36:08.160 --> 0:36:14.200
<v Speaker 1>up in, especially um and and very interesting that we

0:36:14.200 --> 0:36:16.799
<v Speaker 1>we sort of as a you know, you know when

0:36:16.840 --> 0:36:19.840
<v Speaker 1>you see when you see the trends of horror movies

0:36:19.880 --> 0:36:23.839
<v Speaker 1>take off or or connect, um, it is because there's

0:36:23.880 --> 0:36:27.440
<v Speaker 1>something in the zeitgeist that is is propelling that that

0:36:27.560 --> 0:36:32.160
<v Speaker 1>need you know that that the the that that that

0:36:32.280 --> 0:36:35.879
<v Speaker 1>demon is something that we have to deal with. So yeah,

0:36:36.000 --> 0:36:42.440
<v Speaker 1>very very interesting that that era of horror exists. Uh.

0:36:42.520 --> 0:36:44.200
<v Speaker 1>I wonder if you could kind of throw out like

0:36:44.320 --> 0:36:46.200
<v Speaker 1>the log line here, I'm I'm scared too. I don't

0:36:46.200 --> 0:36:49.200
<v Speaker 1>want to like it's a very spoilable movie, very so.

0:36:49.400 --> 0:36:51.799
<v Speaker 1>So I'm sure you've perfected it by now. But let

0:36:51.800 --> 0:36:53.919
<v Speaker 1>the people know what what the movie is about. Well,

0:36:54.000 --> 0:36:56.080
<v Speaker 1>you know in space it's it's it's the horror version

0:36:56.120 --> 0:36:58.239
<v Speaker 1>of guests Who's coming to Dinner. It's a simple way

0:36:58.280 --> 0:37:01.200
<v Speaker 1>to look at it. It UM. It is about an

0:37:01.200 --> 0:37:05.719
<v Speaker 1>interracial couple that goes to meet um, the white girlfriend's

0:37:05.840 --> 0:37:09.960
<v Speaker 1>parents house, and and it explores this sort of feeling

0:37:10.080 --> 0:37:16.080
<v Speaker 1>of the alienation that the that Chris the lead, feels

0:37:16.640 --> 0:37:20.520
<v Speaker 1>of being the other. And uh, as the movie goes on,

0:37:20.920 --> 0:37:27.120
<v Speaker 1>it inches towards this inevitable UM finale that is darker

0:37:27.600 --> 0:37:30.920
<v Speaker 1>than UM anyone could have predicted. Which is why I said,

0:37:30.960 --> 0:37:35.040
<v Speaker 1>has messed up in a good way. I'm curious. You know,

0:37:35.160 --> 0:37:37.680
<v Speaker 1>we talked about these movies that you loved. How did

0:37:37.719 --> 0:37:40.560
<v Speaker 1>they inspire you? Especially visually when you have visual ideas

0:37:40.600 --> 0:37:42.760
<v Speaker 1>for the movie, when you're working with your DP Toby Oliver,

0:37:42.880 --> 0:37:45.120
<v Speaker 1>and you're you're kind of coming up with ways to

0:37:46.120 --> 0:37:48.800
<v Speaker 1>inform the visual storytelling, like what what what did you

0:37:48.840 --> 0:37:51.560
<v Speaker 1>guys look at if anything? Like talk to me about that.

0:37:51.800 --> 0:37:55.360
<v Speaker 1>Several things. I mean, certainly we looked at the idyllic

0:37:56.040 --> 0:38:00.000
<v Speaker 1>nature of Stepford Wives and the beauty of the Overload

0:38:00.480 --> 0:38:04.480
<v Speaker 1>Hotel and Shining Um, we looked at uh, you know,

0:38:04.640 --> 0:38:09.600
<v Speaker 1>Polanski's use of shadow and Rosemary's Baby. Um. You know. Also,

0:38:09.680 --> 0:38:12.759
<v Speaker 1>something that was very important to me and I think

0:38:12.800 --> 0:38:15.120
<v Speaker 1>we will continue to be in cinema is the idea

0:38:15.160 --> 0:38:19.239
<v Speaker 1>of depth. Um. It's one of the great illusions that

0:38:19.320 --> 0:38:22.160
<v Speaker 1>a film can make is that you know, there's there's

0:38:22.280 --> 0:38:25.759
<v Speaker 1>depth to this screen. So you know, there's a scene

0:38:25.760 --> 0:38:29.520
<v Speaker 1>where Walter's running at Chris in the middle of the night,

0:38:29.600 --> 0:38:33.120
<v Speaker 1>and there's a very visceral sort of reaction that the

0:38:33.160 --> 0:38:35.960
<v Speaker 1>audience I think has you sort of sinking your seat

0:38:36.280 --> 0:38:39.880
<v Speaker 1>at this guy coming towards you. And that's you know,

0:38:39.960 --> 0:38:42.839
<v Speaker 1>that's of course, like you know, what what what what?

0:38:42.840 --> 0:38:44.719
<v Speaker 1>What was it where they had the train, you know,

0:38:44.760 --> 0:38:48.160
<v Speaker 1>one of the first great train robbery, Like they thought

0:38:48.160 --> 0:38:50.520
<v Speaker 1>it was coming through the screen. It's a visceral thing. Also,

0:38:50.600 --> 0:38:56.320
<v Speaker 1>you know the planes in the plane in north By Northwest, Um,

0:38:56.640 --> 0:38:59.600
<v Speaker 1>you know. I I think it's important to take advantage

0:38:59.600 --> 0:39:03.359
<v Speaker 1>of the the depth and how how how deep, how

0:39:03.640 --> 0:39:09.640
<v Speaker 1>the illusion of seeing something far away in a movie. Uh.

0:39:09.880 --> 0:39:12.040
<v Speaker 1>Was there ever a moment where you thought about playing

0:39:12.080 --> 0:39:14.120
<v Speaker 1>the lead or was it always something you wanted to direct?

0:39:15.280 --> 0:39:17.520
<v Speaker 1>You know, the people brought it up to me from

0:39:17.560 --> 0:39:19.600
<v Speaker 1>time to time. It was it was always something I

0:39:19.840 --> 0:39:23.239
<v Speaker 1>an idea. I rejected, um, first of all, because you know,

0:39:23.280 --> 0:39:26.920
<v Speaker 1>I don't I just don't think I'm right for the movie. Uh.

0:39:26.960 --> 0:39:30.759
<v Speaker 1>I have too much of a comedic connotation first of all.

0:39:30.800 --> 0:39:33.520
<v Speaker 1>But I'm also I'm too old and I'm not good

0:39:33.640 --> 0:39:37.920
<v Speaker 1>enough as an acts. This guy well you know, hey,

0:39:37.960 --> 0:39:40.759
<v Speaker 1>it's if I could do what Daniel Kluya does in

0:39:40.800 --> 0:39:44.040
<v Speaker 1>this film, I would be doing it. He's fantastic. What

0:39:44.080 --> 0:39:46.839
<v Speaker 1>brought you to him? Was he uh high on the list?

0:39:46.880 --> 0:39:49.400
<v Speaker 1>I guess yeah he was? He was. He was. He

0:39:49.520 --> 0:39:51.480
<v Speaker 1>was the highest on the list from the beginning, and

0:39:51.520 --> 0:39:55.480
<v Speaker 1>he was you know, his Black Mirror episode was um,

0:39:55.719 --> 0:39:59.759
<v Speaker 1>uh just amazing performance. And then seeing him in Sicario

0:39:59.880 --> 0:40:03.919
<v Speaker 1>was great. Uh. You know, the search for for who

0:40:04.000 --> 0:40:07.600
<v Speaker 1>Chris was I think began with a skype with him.

0:40:07.719 --> 0:40:11.240
<v Speaker 1>Um and um, you know, my only My only doubt

0:40:11.239 --> 0:40:14.240
<v Speaker 1>about casting him was that he was He's British American

0:40:14.320 --> 0:40:17.439
<v Speaker 1>and you know, did feel important to me to um,

0:40:17.640 --> 0:40:22.399
<v Speaker 1>you know, represent a distinctly African American point of view.

0:40:22.760 --> 0:40:26.840
<v Speaker 1>But after talking to him, UM, you know, he's opened

0:40:26.880 --> 0:40:29.319
<v Speaker 1>my mind a little bit on how, yes, we have

0:40:29.400 --> 0:40:32.919
<v Speaker 1>a you know, somewhat of a unique relationship to race

0:40:32.960 --> 0:40:36.680
<v Speaker 1>in this country, but UM that the idea of race,

0:40:36.760 --> 0:40:40.839
<v Speaker 1>the idea of the other, um is a really universally

0:40:41.120 --> 0:40:44.840
<v Speaker 1>human thing. And they have you know, very you know

0:40:45.239 --> 0:40:51.080
<v Speaker 1>parallel stories UM civil rights uh questions UM in England

0:40:51.120 --> 0:40:54.399
<v Speaker 1>as well. UM. And you know what's great about him too,

0:40:54.440 --> 0:40:59.040
<v Speaker 1>is he's he's a great like reactor, like you know,

0:41:00.160 --> 0:41:02.839
<v Speaker 1>just how he'll give a look or like absorbment from

0:41:02.840 --> 0:41:05.200
<v Speaker 1>me when you're watching him absorb something that's going on

0:41:05.239 --> 0:41:07.160
<v Speaker 1>around him. Like he's really good at that, I find.

0:41:07.840 --> 0:41:10.360
<v Speaker 1>And that's that's crucial in this movie. Obviously so crucial

0:41:10.480 --> 0:41:12.840
<v Speaker 1>because you know when he you know, we get we

0:41:12.880 --> 0:41:15.960
<v Speaker 1>get on the set and we're sort of realizing, you know, Daniel,

0:41:16.480 --> 0:41:19.759
<v Speaker 1>his character that doesn't have as many lines as you

0:41:19.760 --> 0:41:23.520
<v Speaker 1>would expect a lead of a movie to to have.

0:41:24.000 --> 0:41:28.239
<v Speaker 1>He's you know, he's put in this awkward position where, um,

0:41:28.280 --> 0:41:32.880
<v Speaker 1>you know, he's he's at his possibly his future in laws,

0:41:33.239 --> 0:41:37.719
<v Speaker 1>um house, and so you know, everything that goes on

0:41:37.800 --> 0:41:41.760
<v Speaker 1>in his mind has to sort of happen internally, and um,

0:41:41.760 --> 0:41:43.800
<v Speaker 1>and it does. He's so good at being in the moment,

0:41:43.840 --> 0:41:47.880
<v Speaker 1>and we can sort of read, um, read his face

0:41:48.880 --> 0:41:51.200
<v Speaker 1>in a way that allows each and every member of

0:41:51.239 --> 0:41:54.560
<v Speaker 1>the audience to feel aligned with what's going what what

0:41:54.600 --> 0:41:58.360
<v Speaker 1>he's dealing with. Uh. I understand your mom saw the movie.

0:41:59.080 --> 0:42:01.440
<v Speaker 1>And I asked, because by racial your mom's white, So

0:42:01.480 --> 0:42:04.000
<v Speaker 1>I'm very curious what she thought of the film. Um.

0:42:04.080 --> 0:42:06.960
<v Speaker 1>She she loved it. She um, you know, she she

0:42:08.160 --> 0:42:12.200
<v Speaker 1>you know gets it. And obviously I'm proud that everybody

0:42:12.320 --> 0:42:15.680
<v Speaker 1>so far who's seen the movie seems to get it. Um.

0:42:15.719 --> 0:42:18.440
<v Speaker 1>But you know, it's you know, my mother, Um, you know,

0:42:18.520 --> 0:42:22.239
<v Speaker 1>she's she's my number one fan. Um. It's like like

0:42:22.320 --> 0:42:26.280
<v Speaker 1>Cathy Bates and misery. Like sometimes I'm literally not allowed

0:42:26.360 --> 0:42:31.600
<v Speaker 1>to leave the house now. Um, yeah, she totally if

0:42:31.840 --> 0:42:37.319
<v Speaker 1>she's a mommy dearist, she she ate it up. She

0:42:37.320 --> 0:42:40.480
<v Speaker 1>she introduced me to horror to an extent, and she

0:42:40.560 --> 0:42:44.000
<v Speaker 1>was one of the first people who, you know, I

0:42:44.000 --> 0:42:48.040
<v Speaker 1>think when telling me about Rosemary's Baby, um younger as

0:42:48.080 --> 0:42:51.080
<v Speaker 1>in it was a you know phenomenon. It was a

0:42:51.120 --> 0:42:56.440
<v Speaker 1>book phenomenon um as a novel before it was a

0:42:58.160 --> 0:43:01.480
<v Speaker 1>a film and uh, you know she was telling me,

0:43:01.800 --> 0:43:06.200
<v Speaker 1>you know it has it captures some quality that she

0:43:06.320 --> 0:43:08.640
<v Speaker 1>related to about, you know, when she was pregnant with me,

0:43:08.960 --> 0:43:14.800
<v Speaker 1>where there are these feelings of UM insecurity, UM paranoia,

0:43:15.680 --> 0:43:22.239
<v Speaker 1>UM or perceived paranoia or doubt UM. So uh, you know,

0:43:22.280 --> 0:43:27.200
<v Speaker 1>I don't know I that that that meant something very power,

0:43:27.320 --> 0:43:30.359
<v Speaker 1>something I just remember as a kid that you can

0:43:30.400 --> 0:43:35.320
<v Speaker 1>capture um A, you can capture a feeling, you can

0:43:35.080 --> 0:43:44.080
<v Speaker 1>capture uh an identity and a uh a person's true

0:43:44.280 --> 0:43:48.359
<v Speaker 1>fears that they feel like maybe only they have UM

0:43:48.400 --> 0:43:52.120
<v Speaker 1>with A with a film. Yeah, definitely. I had kennethna

0:43:52.160 --> 0:43:53.879
<v Speaker 1>get in here last week on the show talking about

0:43:53.880 --> 0:43:57.439
<v Speaker 1>Manchester by the Sea, and that explains why you're not

0:43:57.640 --> 0:44:00.680
<v Speaker 1>phased by my celebrity at all. You're as very cool

0:44:00.719 --> 0:44:07.239
<v Speaker 1>as a cucumber. You're dealing with dealing with here, he's amazing. Yeah.

0:44:07.640 --> 0:44:09.720
<v Speaker 1>Well he was telling me that, you know, he wrote

0:44:09.719 --> 0:44:13.520
<v Speaker 1>Manchester not expecting to direct it. Uh, and then over

0:44:13.560 --> 0:44:15.880
<v Speaker 1>time he came to be the director. So he found

0:44:15.880 --> 0:44:18.920
<v Speaker 1>that he had written himself into a number of corners

0:44:19.640 --> 0:44:22.440
<v Speaker 1>as a director. Uh, now he had to solve problems

0:44:22.440 --> 0:44:24.360
<v Speaker 1>that he didn't expect to have to solve. I'm just

0:44:24.400 --> 0:44:27.480
<v Speaker 1>curious if if you discovered that kind of a thing,

0:44:27.560 --> 0:44:30.960
<v Speaker 1>like when you wrote the script, did you find that

0:44:30.960 --> 0:44:33.840
<v Speaker 1>you had written yourself into like some tricky scenarios that

0:44:34.640 --> 0:44:36.400
<v Speaker 1>you suddenly had to figure out as a director on

0:44:36.440 --> 0:44:40.400
<v Speaker 1>the set, and you think come to mind like that, Yeah, maybe, uh,

0:44:40.920 --> 0:44:43.680
<v Speaker 1>maybe slightly. You know, I did have a similar experience

0:44:43.680 --> 0:44:45.400
<v Speaker 1>where I wrote the movie. I didn't think anyone was

0:44:45.400 --> 0:44:49.000
<v Speaker 1>going to make the movie. Um, and then when it

0:44:49.200 --> 0:44:52.400
<v Speaker 1>was when when it was begune when I when I

0:44:52.719 --> 0:44:54.600
<v Speaker 1>or I had come up with the idea, and then

0:44:55.160 --> 0:44:57.800
<v Speaker 1>you know it was it was bought off of a pitch.

0:44:57.880 --> 0:45:00.600
<v Speaker 1>I started writing it halfway through the script realized that

0:45:00.719 --> 0:45:03.840
<v Speaker 1>was the guy who needed to direct this movie. Um.

0:45:03.960 --> 0:45:07.439
<v Speaker 1>By the time we shot, you know, I I had

0:45:07.440 --> 0:45:11.760
<v Speaker 1>it pretty worked out. But it's it is a movie

0:45:11.960 --> 0:45:20.360
<v Speaker 1>that really anywhere, any wrong choice, any wrong um piece

0:45:20.360 --> 0:45:26.160
<v Speaker 1>of the narrative risks either giving something away or frustrating

0:45:26.200 --> 0:45:31.480
<v Speaker 1>the audience because because of the the you know, we

0:45:31.480 --> 0:45:34.600
<v Speaker 1>we want the lead character to be as smart and

0:45:34.880 --> 0:45:38.480
<v Speaker 1>observant as we feel like we we would be in

0:45:38.520 --> 0:45:42.920
<v Speaker 1>this situation. So a lot of the cleanup work was

0:45:43.640 --> 0:45:47.080
<v Speaker 1>based on, Okay, how do I how do I keep

0:45:47.400 --> 0:45:52.720
<v Speaker 1>us trusting that we're in good hands with this protagonist? Um?

0:45:52.760 --> 0:45:56.400
<v Speaker 1>And that that that um, you know that that contained

0:45:56.400 --> 0:45:59.280
<v Speaker 1>a little tweaking on, you know, of of all the characters,

0:45:59.360 --> 0:46:03.080
<v Speaker 1>occasionally constantly having my mind on that. And I'm sure

0:46:03.120 --> 0:46:05.799
<v Speaker 1>the answer to this question is numerous things. But is

0:46:05.840 --> 0:46:08.840
<v Speaker 1>there anything specific that stands out that you learned on

0:46:08.920 --> 0:46:12.080
<v Speaker 1>this first go edit that you know you're gonna cling

0:46:12.160 --> 0:46:17.120
<v Speaker 1>to going forward with future projects. Yeah, I mean there's

0:46:17.120 --> 0:46:21.880
<v Speaker 1>a ton. I learned so much. I learned that, Um,

0:46:21.920 --> 0:46:25.160
<v Speaker 1>any any problem that arises is an opportunity to make

0:46:25.200 --> 0:46:30.600
<v Speaker 1>a really great decision. Um So when when when? When? When?

0:46:32.000 --> 0:46:36.719
<v Speaker 1>When those problems arise, cherished them, worshiped them. You know,

0:46:37.280 --> 0:46:40.399
<v Speaker 1>look at what Spielberg did with Jaws, right, the shark

0:46:40.480 --> 0:46:44.839
<v Speaker 1>didn't work and so he ended up making the best

0:46:44.840 --> 0:46:49.480
<v Speaker 1>movie of all time because of that. UM. Uh So

0:46:49.600 --> 0:46:55.360
<v Speaker 1>there's that um and uh yeah, just a general sense

0:46:55.640 --> 0:46:59.839
<v Speaker 1>of it's it's at the end of the day, it's

0:46:59.840 --> 0:47:03.439
<v Speaker 1>like it's a collaborative process, but it's got to rise

0:47:03.480 --> 0:47:07.640
<v Speaker 1>and fall on your vision and um, you can't you

0:47:07.719 --> 0:47:12.000
<v Speaker 1>can't make any sort of conceit that you'll regret for

0:47:12.040 --> 0:47:14.560
<v Speaker 1>the rest of your life. And a big part of

0:47:14.560 --> 0:47:17.040
<v Speaker 1>this equation obviously is the bloom House and those guys

0:47:17.040 --> 0:47:21.360
<v Speaker 1>have figured something out because they're they're crushing it. Uh absolutely,

0:47:21.400 --> 0:47:23.680
<v Speaker 1>what were they like as partners on this and and

0:47:23.840 --> 0:47:27.760
<v Speaker 1>uh you know it was there was was did Jason,

0:47:27.800 --> 0:47:30.200
<v Speaker 1>you know, did did they teach you something? As well

0:47:30.600 --> 0:47:36.080
<v Speaker 1>as throughout the whole Yeah, I mean was a perfect

0:47:36.560 --> 0:47:41.280
<v Speaker 1>um producer for this movie for many reasons. First and foremost, Um,

0:47:41.440 --> 0:47:44.759
<v Speaker 1>you know, they've created a model that allows you know,

0:47:44.840 --> 0:47:49.960
<v Speaker 1>untapped voices and perspectives like myself to make the movie

0:47:50.040 --> 0:47:56.200
<v Speaker 1>we want to make um. And so you know within that,

0:47:56.520 --> 0:48:02.120
<v Speaker 1>you know there's a there's a protection there, um because

0:48:02.280 --> 0:48:05.399
<v Speaker 1>it is you know, that's that's just that's just how

0:48:05.440 --> 0:48:09.400
<v Speaker 1>they work. And then um, you know, there's also just

0:48:09.440 --> 0:48:11.879
<v Speaker 1>a great advantage to having someone like Jason in your

0:48:11.880 --> 0:48:15.879
<v Speaker 1>corner because he is he's a character, he has an

0:48:15.880 --> 0:48:21.200
<v Speaker 1>infectious energy said, I's got a lot of energy. Yeah, yeah,

0:48:21.239 --> 0:48:23.200
<v Speaker 1>it's And if you meet him. It's it's no secret

0:48:23.200 --> 0:48:27.239
<v Speaker 1>why he's it's it's no secret, no mistake why he

0:48:27.400 --> 0:48:34.920
<v Speaker 1>has created this absolutely massively successful empire, because, um, he's

0:48:34.960 --> 0:48:37.799
<v Speaker 1>a he's just a force of nature. He's a he's

0:48:37.800 --> 0:48:43.200
<v Speaker 1>a moving train, and um, he's he's one that it's

0:48:42.800 --> 0:48:47.680
<v Speaker 1>it's good to be in the caboose of That doesn't

0:48:47.760 --> 0:48:50.880
<v Speaker 1>sound that's an interesting way to write it when I

0:48:51.040 --> 0:48:53.080
<v Speaker 1>frame it, phrase it like that, but you know, and

0:48:53.480 --> 0:48:57.040
<v Speaker 1>metaphorically I get it. I get it. Good to be

0:48:57.080 --> 0:49:02.239
<v Speaker 1>in Jayson Bloom's caboose. Don't paraphrase. We'll just well, well

0:49:03.400 --> 0:49:09.400
<v Speaker 1>you can delete stuff from this, right, but I'm keeping that. Uh,

0:49:09.600 --> 0:49:11.360
<v Speaker 1>what do you want to do going forward as a director?

0:49:11.360 --> 0:49:12.920
<v Speaker 1>Do you do you want to stay in the genre?

0:49:13.000 --> 0:49:15.200
<v Speaker 1>Do you want to move out? Do other things? Like

0:49:15.239 --> 0:49:16.840
<v Speaker 1>what what kind of stuff do you have on deck?

0:49:17.040 --> 0:49:20.520
<v Speaker 1>I want to stay in the genre. Nice, I've got um.

0:49:20.560 --> 0:49:22.520
<v Speaker 1>You know, while I was developing this movie, I was

0:49:22.600 --> 0:49:31.000
<v Speaker 1>also simultaneously developing four other projects that I call social thrillers. Um.

0:49:31.000 --> 0:49:37.000
<v Speaker 1>Each one is meant to deal with a different human demon,

0:49:38.000 --> 0:49:43.200
<v Speaker 1>a different uh monster that sort of works underneath the

0:49:43.280 --> 0:49:49.600
<v Speaker 1>way we interact with one another as human beings. So um, yeah,

0:49:49.680 --> 0:49:54.160
<v Speaker 1>so I hope to uh soon direct another one of

0:49:54.200 --> 0:49:56.680
<v Speaker 1>the social thrillers. It's not going to be about race.

0:49:56.760 --> 0:50:00.440
<v Speaker 1>It will be about something else, but um, it's gonna

0:50:00.440 --> 0:50:04.160
<v Speaker 1>be very cinematic and fun. Cool. Socio political stuff though

0:50:04.280 --> 0:50:06.000
<v Speaker 1>is kind of top of mind those It's kind of

0:50:06.120 --> 0:50:10.040
<v Speaker 1>just feel like the you know, you to come up

0:50:10.080 --> 0:50:15.040
<v Speaker 1>with the perfect monster for a horror movie, Um, we

0:50:15.120 --> 0:50:18.920
<v Speaker 1>really need to look no further than the monster that

0:50:19.080 --> 0:50:22.279
<v Speaker 1>is all of us. Um, you know, not not so

0:50:22.400 --> 0:50:28.120
<v Speaker 1>much an individual psycho killer, but um, the the humanity

0:50:28.200 --> 0:50:32.840
<v Speaker 1>that gets lost between us, which makes me this my

0:50:32.920 --> 0:50:35.319
<v Speaker 1>last question, uh, you know, kind of going back to

0:50:35.360 --> 0:50:37.600
<v Speaker 1>the theme of race, but you know broader as well.

0:50:38.440 --> 0:50:41.040
<v Speaker 1>Not to be labor this particular point, but we have

0:50:41.920 --> 0:50:46.160
<v Speaker 1>I think, an objectively bigoted chief executive right now. So

0:50:46.719 --> 0:50:49.600
<v Speaker 1>just curious, like, what do you think the role of

0:50:50.160 --> 0:50:52.480
<v Speaker 1>I was gonna say comedy, because you know, I came

0:50:52.520 --> 0:50:54.360
<v Speaker 1>to comedy. I came to key imp Peel late in

0:50:54.400 --> 0:50:57.120
<v Speaker 1>the game, Like I think I started watching it a

0:50:57.120 --> 0:50:58.680
<v Speaker 1>couple of months before you announced that it was going

0:50:58.719 --> 0:51:02.760
<v Speaker 1>to be finished, which was a bomber man. But you know,

0:51:02.600 --> 0:51:05.320
<v Speaker 1>you guys did some important stuff in the socio political

0:51:05.360 --> 0:51:07.000
<v Speaker 1>realm with that show. So what do you think the

0:51:07.040 --> 0:51:09.600
<v Speaker 1>importance of art of comedy, of you know, what you

0:51:09.760 --> 0:51:15.480
<v Speaker 1>what you do is going to be underneath this particular regime,

0:51:15.600 --> 0:51:18.160
<v Speaker 1>if you will, Well, I think it's extremely important. I

0:51:18.160 --> 0:51:23.200
<v Speaker 1>think I think um art, I feel like comedy, horror, um,

0:51:23.280 --> 0:51:31.200
<v Speaker 1>the art of storytelling, Uh, really are such key pieces

0:51:31.440 --> 0:51:37.200
<v Speaker 1>of the conversation. And you know, the conversation as a

0:51:37.200 --> 0:51:41.719
<v Speaker 1>as an as a concept is is really it's all

0:51:41.760 --> 0:51:48.200
<v Speaker 1>we have to combat the real life horrors of violence

0:51:48.680 --> 0:51:52.239
<v Speaker 1>and of um neglect and how we treat each other.

0:51:52.680 --> 0:51:57.160
<v Speaker 1>So I just think that you can't you can't um

0:51:57.520 --> 0:52:05.359
<v Speaker 1>overstate um, how how important comedy and story and horror are.

0:52:06.360 --> 0:52:09.400
<v Speaker 1>Do you miss Kim Peele? Yeah? I miss Key and Peele.

0:52:09.640 --> 0:52:13.399
<v Speaker 1>I missed playing Obama. Well now I'll whip that out

0:52:13.680 --> 0:52:17.520
<v Speaker 1>in the time someone asked for it. So no, clearly

0:52:18.000 --> 0:52:21.400
<v Speaker 1>I'm shameless. Um, I miss I miss Obama in the

0:52:21.440 --> 0:52:25.080
<v Speaker 1>White House. Um. But yeah, you know Key, you know

0:52:25.160 --> 0:52:28.120
<v Speaker 1>Keegan and I we we we were bicoastal right now,

0:52:28.200 --> 0:52:29.960
<v Speaker 1>so you know, I feel like I got my brother

0:52:30.000 --> 0:52:32.720
<v Speaker 1>in New York and I'm here in l A. We

0:52:32.719 --> 0:52:35.600
<v Speaker 1>we will connect again. Awesome we'll look forward to that

0:52:36.400 --> 0:52:38.480
<v Speaker 1>and uh, maybe you could do like a funnier die

0:52:38.520 --> 0:52:40.560
<v Speaker 1>thing with Obama on vacation when all this ship has

0:52:40.560 --> 0:52:42.600
<v Speaker 1>been going on. You know, let me let me tell

0:52:42.600 --> 0:52:47.680
<v Speaker 1>you something about Obama on vacation. UM. I need to

0:52:47.680 --> 0:52:51.160
<v Speaker 1>get away from this mess. All right, y'all, y'all done

0:52:51.200 --> 0:52:55.200
<v Speaker 1>messed up. I'm gonna go Parasalem. I'm gonna get on

0:52:55.239 --> 0:52:58.000
<v Speaker 1>a jet ski and just go to the Bermuda Triangle,

0:52:58.640 --> 0:53:04.920
<v Speaker 1>hopefully end up finding a stargate, end up on another planet.

0:53:05.520 --> 0:53:08.120
<v Speaker 1>Is this y'all? Y'all, don't messed up. I don't think

0:53:08.160 --> 0:53:11.120
<v Speaker 1>anybody blames him me there. Well, movies, get out, go

0:53:11.280 --> 0:53:13.719
<v Speaker 1>see it comes out tomorrow. It's a nice uh you

0:53:13.760 --> 0:53:18.239
<v Speaker 1>know two weeks later Valentine's Yeah. If you forgot to

0:53:18.280 --> 0:53:22.719
<v Speaker 1>take your take your significant another out, check out Jordan's movie. Jordan,

0:53:22.800 --> 0:53:24.839
<v Speaker 1>thanks for coming on the show man. I really appreciate it. Right,

0:53:34.560 --> 0:53:37.000
<v Speaker 1>Thanks for listening everyone, Remember to subscribe and check back

0:53:37.040 --> 0:53:40.040
<v Speaker 1>next week when I'll be talking to Logan director James Mangold.

0:53:40.480 --> 0:53:52.880
<v Speaker 1>You've been listening to playback at Variety