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  • “I'm Jordan Peele.

  • I'm the writer, producer, and director of the movieUs.'”

  • There's a family in our driveway.”

  • So here we have the scene where the tethered family

  • arrives at the Wilson house for the first time.

  • Jason, of course, saysthere's a family

  • in our driveway.”

  • A line designed, giddily, to attempt

  • to be an iconic line, likethey're

  • herefrom thePoltergeistmovie and sort of help

  • congeal this sense of an Amblin-esque predicament

  • with a black family in the center of it.”

  • - [heavy breathing]

  • What?”

  • Zora, give me your phone.”

  • “I'm not on it.”

  • Zora!”

  • This is the point in the movie where

  • I want the terror to really kick

  • into a new gear for the audience.

  • One of the techniques that I utilized to get that terror

  • was that all of a sudden we go into real time.

  • The movie before this has been going from some time dashes

  • here and there.

  • When we get into this moment where the four family

  • members are standing holding hands outside,

  • then we go into this sort of fluid

  • we use a lot of the Steadicam with very few edits.

  • Really trying to subliminally signal to the audience

  • that this sort of relentless, real time event has begun

  • and is taking place.”

  • Wait, wait, wait, just one sec

  • Gabe.”

  • So we see Gabe leave.

  • He goes out.

  • He's the dad, he's got to deal with it.

  • This is kind of likeprobably

  • pulled from my own anxieties of being

  • a father and realizing, yeah, you got to man up sometimes.”

  • Hi.

  • Can I help you?”

  • One of the things in this scene

  • that really inspired me was the scene inHalloween

  • where Michael Myers has the ghost sheet over him.

  • And no matter how many questions he's asked,

  • he just doesn't respond.

  • The less response you get, the more impending and physical,

  • I think, the threat gets.

  • Probably after the second time someone doesn't respond,

  • you know one of you's got to go down.

  • [laughing]

  • “A'ight, I asked you nice.

  • Now I need y'all to get off my property.”

  • One of the pieces of this scene that works really

  • well is we've got Winston to this spot where

  • he's code switching.

  • You know, he goes back to some of his roots,

  • as it were, to try and intimidate

  • this mysterious family out there.

  • That maybe if sort of reasoning with them

  • doesn't work, a good old fashioned low

  • register, throwing some bass into his voice,

  • coming out with a little swagger and a bat

  • might work.”

  • “O.K., let's call the cops.”

  • Winston is just remarkable in this scene,

  • and the audience really I think

  • is in this tug of war between feeling the tension

  • ratcheting up and the fear of what's to come

  • and the little bit of a comic relief of watching

  • this kind of goofy dad who's in over his head.”

  • Gabe.”

  • No, no, no, no, no, no, no, no, no.

  • All right.”

  • Gabe!”

  • “I got this.”

“I'm Jordan Peele.

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喬丹-皮爾如何在《我們》中建立懸念? (How Jordan Peele Builds Suspense in ‘Us’ | Anatomy of a Scene)

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    林宜悉 發佈於 2021 年 01 月 14 日
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