Magazine article Variety

Peele's Crew Creates Creepy Credibility

Magazine article Variety

Peele's Crew Creates Creepy Credibility

Article excerpt

ANATOMY OF A SCENE

"Get Out" (Universal-Blumhouse)

the Universal-Blumhouse film "Get Out" has been winning awards for first-time feature writer-director Jordan Peele, but he's quick to salute his behind-the-camera colleagues. "They trusted me with a crazy premise and I owe them a great deal," Peele told Variety. He spoke about his collaborators on the envelope-pushing movie that was filmed in Alabama. tim gray

Rusty Smith

PRODUCTION DESIGNER

"I wanted everything about the house to be comforting, so we could subvert that comfort. For the other locations, there weren't sets built, but there was a complex where we co-opted spaces to create a few sets, like the detective office, the operating room. The creepy rec room was originally a judge's chambers. In the script, it was called the games room, and it could have gone many different ways. I wanted an evil feng shui, but with was a curious warmth. I almost wanted a sense that you could have fun in the room - partly for the audience's sanity, but also because of that paradox. With the operating room, I wanted it to feel mysterious, pristine, but not over the top. To Rusty's credit, he really pulled it off, and with almost no budget - and it feels more expensive than it is. Rusty and his brilliant team really executed my vision perfectly."

Toby Oliver

CINEMATOGRAPHER

"When Chris arrives at the front door, it's all shown in long shot. I wanted a sense that the house itself and therefore, the situation, is the monster. [Oliver] has a long list of credits, especially in Australia, where he was used to working for pennies and dimes. He was a dream cinematographer for a first-time director. Many photographers don't have experience lighting black skin, which gets even trickier in dark spaces. But he did that beautifully; he's a consummate professional. I had a clear idea of what equipment I wanted to use and how the camera would move, and he worked miracles with basically no time. On top of that, if we had an extra camera or an extra 20 minutes, he would find some beautiful and unexpected shots. There's nothing more you can ask for: a cinematographer who can execute your vision and who can then take an extra 20 minutes and turn it into practical cinema."

Gregory Plotkin

EDITOR

"Greg has a knack for smoothness and seamlessness. I have more outof-the-box ideas. Between the two of us, we were able to craft a film that flows. It doesn't feel edited. And with some scenes you might not notice the editing, but he pulled off miracles, like the sequence where the family is outside having iced tea. …

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