FMC 013: Get Out Directed and Written by Jordan Peele

Full Episode Transcript
This episode of Filmmaker Commentary Jordan Peele's "Get Out," exploring its production, themes, visual storytelling, and the unique business model of Blumhouse Productions, alongside personal insights and filmmaking lessons.

Opening Discussion & Film Overview
Reginald Titus Jr.: Filmmaker Commentary, episode 13. Welcome to Filmmaker Commentary, where we give you insights from our favorite filmmaking commentaries. These commentaries can be heard on your DVD and Blu-rays of your favorite movies. We'll show you how you can use these commentaries and apply them to improve your video production and filmmaking techniques. All of this here on Filmmaker Commentary. I'm your host, Reginald Titus Jr.
Welcome to Filmmaker Commentary. I'm your host, Reginald Titus Jr. I'm here. I'm joined with...
Casey G. Smith: Casey G. Smith, good to be back.
Reginald Titus Jr.: Welcome, sir.
Casey G. Smith: Thank you, sir.
Reginald Titus Jr.: This podcast is dedicated to help you, the audience, become better media people, filmmakers, video producers, film producers. And we do that by breaking down and listening to commentaries that's on our DVDs, Blu-rays, and special features. Today, we're going to be speaking about the movie, Get Out. Get Out, it was released February 24th, 2017. It was on a budget of 4.5 million, and at the box office is 255 million.
Casey G. Smith: Winning.
Reginald Titus Jr.: Absolutely winning.

Jordan Peele's Vision & Initial Reactions
Reginald Titus Jr.: Jordan Peele in his commentary, this movie, awesome. I really did enjoy the commentary. I was like, hey man, if we meet this guy in the future, it's definitely going to be a friend, because he took the time out to give a gift to people that listen to these commentaries. So the nerds out there that like this stuff, it was a gift from another nerd.
Casey G. Smith: He even says as much towards the towards the end of it. And he said, I kind of had two ways I could have gone. I could have, you know, maybe done like Kubrick and let people wonder, you know, for the ages to come about the mythology and things of of Get Out. Or I could kind of just nerd out and and and give what I would want to receive when I listen to a commentary. And he hats off to you, Mr. Peele. You did a bang-up job.
Reginald Titus Jr.: Indeed. Trailer reaction. The trailer, I believe it was on YouTube in October of 2016. And this trailer at the time, it was everywhere. It almost seems ages ago, but this trailer was everywhere. And I remember them just creating this demand with this movie, when this trailer dropped, I was like, a black person made this. Like... And there's a line in the trailer when the protagonist is saying, I get nervous when I see too many white people. My wife saw it, she started laughing because that's her. That's, she gets nervous for real. So we both kind of started laughing. I was like, okay, we're going to go, we're going to make sure that we watch this movie. And sure enough, at the end of the trailer, they say Jordan Peele. I was like, huh, no, well, all right.
Casey G. Smith: I think everybody had that reaction like, wait a minute, the comedy dude? Jordan Peele? A horror movie? First time directing? Jordan Peele? A horror movie? Like you couldn't help but be at the minimum, curious.

The Versatility of Comedians in Filmmaking
Reginald Titus Jr.: And I think we're at that time now, like, of course we have those reactions, but when you have people kind of breaking through like Donald Glover, who'll rap one minute, who's writing sitcoms, who's acting, who's singing. So like, what? Okay, you know, we can't just, you know, we can't just put black folks in different boxes, you know, we're more, we're multi-faceted.
Casey G. Smith: Very true. Very, very true. And even beyond racial within the entertainment industry, like when we see somebody cross over, and we really shouldn't be surprised because when we look back to the stars of yesteryear, you know, back in the day, you had to you had to be a triple threat. Be able to to sing, to dance, to act. That was, you know, a lot of these people came from Broadway where that was just the norm. And there's still I think a a handful of those kinds of talents that are around today. Um, and then and those who may not do maybe all of that, they probably have some kind of inkling to to write, or direct, or or produce, and especially if you're a comedian, you're probably spending time already writing your your material and pulling from different experiences in life and and constantly observing like a Dave Chappelle or obviously a Key and Peele. And so he, yeah, and what I also find with comedians, they also tend to have this dark side to them.
Reginald Titus Jr.: Completely dark. I listen to a lot of Joe Rogan stuff and he has a lot of comedian friends, and it's almost like they live a dark lifestyle just to have stories to say. Like dealing with like drugs, like hard drugs and then the fast women, the type of women they deal with when they're single and even being married and just like hearing these conversations like, these guys are super interesting, but they have to they have to put themselves in weird situations to have these stories.
Casey G. Smith.: You know who, um, a wonderful series, I know it's Filmmaker Commentary, but if you ever get a chance to watch it, uh, Jerry Seinfeld had a series he did of comedians in cars getting coffee.
Reginald Titus Jr.: Uh, is that pretty good? I saw it on Netflix, right?
Casey G. Smith.: Oh man. Yeah, I it's it's older. I didn't realize it. It was a couple years old. Within within the Obama era of of presidency, I don't know which term, but he did these series of interviews, and he, I mean, everybody from Jay Leno to Chris Rock, um, I can't remember if if if if Dave is on one, but he just, man, just interviewed so many different comedians. And you talk about, you know, some who who who are, you know, dark, but you you get a nice range. Male, female, all kinds of ethnicities, and it is it's just fascinating to listen to comedians talk with each other and talk about their craft. Uh, yeah, it's I I I highly recommend that.
Reginald Titus Jr.: Put that on the checklist.

Blumhouse Productions' Filmmaking Strategy
Reginald Titus Jr.: So the commentary, how did you watch the commentary?
Casey G. Smith.: So since I had I had recently rewatched Get Out streaming on on HBO within the last month, it was fresh in my mind. So I just jumped into it. Fired it up. I I looked around at the options that were on the the DVD and then I said, all right, I'm ready for the commentary and just just jumped in. How about you?
Reginald Titus Jr.: I wanted to experience it again. It's been a while since I've actually seen it. We uh, when we initially watched the film, we uh, went to the theater to watch it. And it was packed, man. It was everybody was was wanting to see. It was a it was at a quote-unquote black theater. So...
Casey G. Smith.: What's a black theater?
Reginald Titus Jr.: Well, if you don't know, well, never mind.
Casey G. Smith.: Google it.
Reginald Titus Jr.: Right? Google it. Maybe not. So, yeah, we went to the theater to watch it and uh, man, we were we were uh impressed. But, uh, we wanted to watch it watch it again. So since we, you know, had this commentary coming up, I was like, okay, let's let's experience it again. So we watched it again, and then she went to sleep and I just like, hey, let me go ahead and turn this commentary on. So I just watched the commentary. So I just did it back to back.
Casey G. Smith.: Oh, nice. How did you feel about it watching it the second time around? Just watching it the second time around, obviously, before commentary. Were there new things that that that stood out to you?
Reginald Titus Jr.: After we watched the first film, the first time, it took us down a rabbit hole, because everybody on the internet was typing in YouTube like the conspiracy theories associated with the movie.
Casey G. Smith.: Okay, like what kind of?
Reginald Titus Jr.: Uh, conspiracy theories? Like, one of the big memes was like, is Kanye West in the sunken place? You remember when he like had his rant and then he like did his, you know, did his hair blonde? He like just disappeared. Like he disappeared for almost a year. And so people were like, is he in the sunken place? Like, what's going on with the Kim Kardashian family? And like, every black person they get involved with, it's like, turns out to be like weird. Remember having Odom, you know, Lamar Odom, he was on drugs and like, you know, and then, you know, all these different athletes and stuff like that. So, you know, there was like these conspiracy theories that were kind of going around associated with that and, you know, is there a governmental agency that wants to do something to black people? Like it was just a lot of crazy conspiracy theories going on at the time when this movie came out. And people were kind of looking deeper into it like, did Jordan Peele really mean this? Or did he really mean this? Oh, he put the deer in there because, like, they just started coming up with all kinds of interesting conspiracy theories. So, yeah, so we kind of milked it the first time around.
Casey G. Smith.: Gotcha.
Reginald Titus Jr.: So, the only thing that I probably noticed this time was uh Roro, who was uh who was her uh the character?
Casey G. Smith.: Uh, Rose.
Reginald Titus Jr.: Rose. Like the sweater she was wearing, I was like, is that a Freddy Krueger sweater? Like, the with the red stripes, is this like a homage?
Casey G. Smith.: Or red and green?
Reginald Titus Jr.: It wasn't red and green. It was red and white, but it reminded me of the Freddy Krueger sweater in a way.
Casey G. Smith.: Oh, wow.
Reginald Titus Jr.: That would have been too on top of the head if it was um if it was green, but yeah, it had the red and white stripes. I'm like. This movie is produced by Blumhouse. Distributed by Universal. So with Blumhouse, they like to make high concept films, usually horror films, like Insidious. What are some other films like the Purge? They produced the Purge, didn't they? The whole Purge series.
Casey G. Smith.: Uh, Paranormal Activity.
Reginald Titus Jr.: Mm-hm.
Casey G. Smith.: I mean, there's I mean, so almost I mean, almost any kind of indie horror film, chances are Blumhouse is behind it. They have been just crushing it.
Reginald Titus Jr.: I like their business model. So what they do, um, I I can't think of the CEO's name, but he likes to catch directors on their way up, and he or he'll catch a director on his way down and get him onto one of their projects.
Casey G. Smith.: Jason Blum?
Reginald Titus Jr.: Yeah, he's the producer. Yeah, he's one of the producers on the project. So I'm I'm assuming that's the same the same gentleman.
Casey G. Smith.: Yes.
Reginald Titus Jr.: So he likes to, yeah, get those directors on the way up, some on the way down, and so so he'll get the ones that are hungry, so in this case it was Jordan Peele, or he'll get some that are not necessarily in favor or hot anymore, but they have the skill set to to crush a any film. And so that allows him to still have like a low budget, but still have like a high concept film that looks quality. It doesn't look low budget.
Casey G. Smith.: Right, right.
Reginald Titus Jr.: Because this film is basically one location. It's a monster in the house movie.
Casey G. Smith.: Yeah, the majority is in Alabama.
Reginald Titus Jr.: Alabama. So yeah, so I I like what uh what Blumhouse is doing um with their with their business model. And I I think they're just I think they're just producing films and then just selling it off to a distributor. That's what I'm thinking they're doing with their business model.
Casey G. Smith.: Yeah, since they I guess they don't really distribute, so yeah, I think they're getting that set up and as I said, staying within their their budgetary parameters. Yeah, they they have the formula down. They they really do.
Reginald Titus Jr.: I'm going to cut to an interview with Jason Blumhouse speaking specifically about their business model.
Jason Blumhouse (interview): Yes, so the formula in broad strokes is we only make low-budget movies. We get paid nothing, the directors get paid as little as we're allowed, which is scale, the actors get paid as little as they're allowed, which is scale. And the pitch to the filmmaker coming in, my my greatest successes or our greatest success have been with filmmakers who've kind of had a hit and then kind of gone off a little bit. So James Wan did Saw, and then he did two movies for Universal you've never heard of, and he came into my office and he is pissed. They're in movie jail. He they're in movie jail. They're pissed at the system. And one of the biggest reasons they're pissed or we get mad at the system is, we go to work for a studio, the studio tells us what to do, the movie bombs, we get blamed. So we, being the filmmakers, get blamed. So that is a very powerful tool that our company uses, and we say to James or whoever it may be, can't promise you a hit, but I'm going to give you final cut, and I promise the movie will be your own. So you're going to live or die on your own work. And I I kind of make a joke, although it's not really a joke, that it's auteur filmmaking, it's the kind of French style of filmmaking, but it's for commercial movies. And that's a very powerful message to a man or hopefully woman who has kind of been burned a little bit by the system. So it's not first-time filmmakers necessarily. We don't, the big difference between us and Roger Corman, we're we're compared a lot to Roger Corman, who I love and is terrific, but totally different system. Roger Corman was first-time, do everything it's cheap. If you're not an old person, Roger Corman was '60s, '70s exploitation film. Famous, yeah, did famously gave everyone their start. Famously gave Jack Nicholson and and uh, and so a gazillion people their start. Um, uh, but his whole thing was super, super cheap from beginning to end. Mine, I don't want a first-time film, I want a filmmaker who's who's kind of been through the system and and has something to prove. Scott Derrickson did Exorcism Emily Rose, which was a kind of a big hit, and then he did his movie uh, this Keanu Reeves movie for Fox, which didn't work at all, and he was in my office and ready to make Sinister. And um, and we've done it time and time again, and it's been it's a very effective tool. And when the director doesn't make money unless the movie makes money, guess what? More often than not, when it's a choice about what's going to make the movie more commercial, the argument is a lot smaller, because our our interests are aligned with the director, as opposed to paying him a big fee up front. When then, he just wants good reviews because he's been paid already. And the studio hasn't.
Interviewer: So the economics of it are are you've you've got some actual sort of it's it's a formula, right? Like up to five million for the first movie?
Jason Blumhouse (interview): Yeah, five, yeah. Well, we we the reason that we get to our number is actually it's it's totally reverse engineered. So the number used to be three million, four million, now it's five million. And and besides the fact besides inflation, um, which obviously isn't that big a percentage that I just mentioned. Uh, we get to the number by worst-case scenario where we're going to lose. And it's very Studios do low, mid, high-ranging cases, but they're low the movie can come in below their low case, like it often does. We can't get worse than our low case. So in a a worst-case scenario, the movie is upside down and backwards, I can get two million dollars out of the United States and two million dollars out of the international. No one comes to see this movie.
Interviewer: Oh, it's not in theaters.
Jason Blumhouse (interview): You right, but so you've you've you've you've got a version of this you don't theaters. You don't even put it out. It's not a version, it's a pillar to our strategy, which is I say to the directors, no distribution, guaranteed. You look at it. We don't decide. You test it. We test it a million times, and we don't decide how the movie is going to be distributed until it is finished. And I can, I say to the directors, I guarantee your movie will be seen, but I'm not guaranteeing how it will be seen. So it might just be seen on iTunes, or it might be in 3,000 theaters, and we make that decision after the fact.

Visuals and Sound Design
Reginald Titus Jr.: All right, so let's talk about the look of the film. The cinematography is beautiful. I like the different shades of like the blue and amber, just great work by the DP. What, how did the the look of the film, how did it make you feel when you look at it visually?
Casey G. Smith.: Visually, it sometimes feels claustrophobic, you know, there's a lot of tight shots within. There's a lot of close-up of people's faces. Yeah, it feels it feels it it feels like, you know, like you'd almost want to escape and and and get away.
Reginald Titus Jr.: I thought it was beautiful. I like the way, you know, when he first comes in, you talking about the handheld shots and I just I thought it was beautiful like when it when it starts out, it's it feels more um optimistic, outside of the of course the the the first killing. The kidnapping yeah. Take that part out and then uh but even then there was like a lot of space. It was spacious, you know, they're using wide angles, it's a wide angle one-shot lens. You see the the car come into the shot. Um, then you you're also with the character, you're following him. If you look in the shadows, you actually see the camera people with the camera. Right. When he turns around from the car uh trying to get away. Me as a black man, like, run! Run! You know, seeing that scene. But the look, um, I like the way that he used wide-angle lenses and then, um, it looked more optimistic when he was, when they were on the road and getting ready to, you know, going to meet her parents. But then, um, it switched to like this blue, blue, kind of amber, uh tone. I like that, but then it's already getting dark and like you were saying, claustrophobia, it's started to kind of closing in a little bit. So I like how they use lighting to uh make you feel different. The music.
Casey G. Smith.: Yes.
Reginald Titus Jr.: So, Peele mentioned that when he worked with his composer, uh Michael Ables, who is is trained in various areas of of music. Uh, classically trained and in all kinds of areas. But what he wanted was something that had black voices um within it, so as with the kind of the Get Out score. He wanted something with with black voices that that wasn't voodoo.
Casey G. Smith.: And what they say.
Reginald Titus Jr.: Right.
Casey G. Smith.: Yeah, what they ended up coming up with with what you hear with the, you know, and and the words that they're speaking, it's actually uh Swahili. Uh, and it's something to the effect of trust your ancestors and and I think maybe then literally it may be trust your ancestors and run away.
Reginald Titus Jr.: I remember that there's a song that plays, it's called Redbone uh by Donald Glover. That song, I remember when that came out, like, it was weeks. And we were jamming that song like weeks before this movie came out. And Ashanti she really loved, that's my wife, she she really loved that song and was just playing it over and over and didn't know that it was him for a while.
Casey G. Smith.: Yeah, neither did I. I would hear it everywhere. I'm like, wait a minute, that's that's Donald Glover? What?
Reginald Titus Jr.: I didn't know he can hit that falsetto, you know? I didn't know that was him hitting that. So I knew he could sing, but I didn't know he can go that high with it. And so that was a trip. I thought it was like Erykah Badu, you know, switching her voice up or something like that. But that was that was pretty cool to see him do that. But we were playing, you know, that song, and then to watch the movie in the theater, and then to hear that song drop, I was like, this guy is perfect. Like this director is he's got it. He's, you know, out of all the songs, this is like the song that's popping right now, you know, talking about stay, you know, stay woke. We're going to cut to uh an interview of him talking about that.
Jordan Peele (interview): Well, first of all, you know, I love, you know, the, you know, stay woke. I, you know, that's what this movie's about. I wanted to make sure that this movie satisfied the black horror movie audience need for characters to be smart and do do things that, um, intelligent, observant people would do. So, I wanted to make sure we had the that our lead, uh, Chris, played by Daniel Kaluuya, was a guy that we believed in, and believed he would make the right decisions. Believed that he is woke, and and um, and then, um, you know, obviously, when I when I when I, I'm a huge uh, uh Childish Gambino fan, huge huge fan of Donald, I I had him in to see the movie. I put the the song in there and I was like looking at him like, um, and and he and he loved it, and he um, I I was just very, very honored by his reaction. And it's it's a perfect it's a little haunting too, and a little bit of a throwback as well, like this film is. So, it's a perfect mix, mess.

Exploring Racial Themes and Personal Experiences
Reginald Titus Jr.: Okay, um, outside of just the soundtrack, like you were saying, with the score, that I found that to be like real haunting because you have the Redbone song playing in the background while they're about to go on the trip and they're getting ready. But then you cut to the actual score, then it's like, okay, we're in a horror film. This ain't just party time. This is a a horror movie and the score kind of brings you back, kind of grounds you again. So, yeah, it and you can tell there're black voices in the background, but yeah, you don't know what they're saying. But it it kind of reminds me of uh Stanley Kubrick with the Eyes Wide Shut, you know, just having like a haunting kind of voice kind of playing ominous music. So, yeah, it was a job well done. It was very creepy.
Casey G. Smith.: Again, a new age of very, you know, Afrocentric kind of Kubric kind of voice that you, you know, normally hadn't heard, so.
Reginald Titus Jr.: So, with this movie, of course, we've already started talking about race a little bit, you know, being African-American, you know, this can this brings up just a lot of things in me, just being a black male in America. Um, what about for you? Did it bring, what did it bring up for you from this racial standpoint? Uh, did it open up conversations with people that aren't black? You know, what did it do for you?
Casey G. Smith.: This film was was such a a a breath of of fresh air and and Peele says in the commentary that one of the reasons why he made the film is that a lot of times in horror movies, black people, while we're often huge supporters from an audience standpoint, that a lot of times, just like some of the themes in the movie, we're often marginalized as far as representation in black films. You know, for the longest we had the the that old trope of, oh, you know, the black guy dies first.
Reginald Titus Jr.: True.
Casey G. Smith.: Which is number one annoying, number two offensive, number three, it goes against instincts of a black man. Like let's be real. Um, if if if something seems fishy or or or funny, kind of like the guy did at the very beginning of the film, that car was like following him, he was like, nope, not today. You know, he he turned around, and I think in a lot of cases that's what a brother would do. Like, mm, nope, this doesn't seem right. I'm going the other way. And to see those those natural instincts be put on display, and it's like, okay, yes, all right, this this guy is smart, like, he he knows. Um, for me that was again, representation. It's always good to see someone that looks like you or maybe potentially has similar experiences to you. Um, the experience of a black man and in even, you know, the scene with with once they hit the deer, and they pull over on the side of the road, and the officer asked to see see his Chris's license. And she's like, you know, he wasn't even driving, you know? And, you know, I can relate to the the potential concern of being pulled over, especially in the woods. I've I've had that happen before, and in my mind, you know, your mind sometimes goes all kinds of places, and I was dressed in a suit and and and, you know, I respect, you know, officers of the law and all that, but even with all that being said, it provokes certain thoughts, you know, and fears and concerns. So, this this film just left me with a big smile on my face, knowing that it was directed by by a black man, you know, obviously starring, you know, a black man as well, and and dealing head-on with these issues, it there's this sense of of of pride. And even, you know, the interracial dating thing, like what that looks like. You know, I've I've dated women of of all kinds of, you know, colors, creeds, and and and backgrounds. And what is it like going to to meet the parents? And does when any interracial relationship, especially, you know, when one is dating a black man, does does she understand what this might look like when you bring it to your parents if you haven't told them yet? Does she understand what the ramifications might be? And will she really have your back when the chips are down? And within this film, up until a certain point, you're really like, man, Rose is down, man. She's down with the swirl. She's got his back. Rose is right. Rose is right. And then we found out, nah, Rose is not right. She's twisted. She's Roro.
Reginald Titus Jr.: What what did it bring out for you, Reginald?
Reginald Titus Jr.: For me, um, I don't know if you've been in the situation, but I've been in kind of similar situations where it's socially awkward, especially when you're dating somebody from the opposite race, and a white lady, you know, and kind of being the guy that's, okay, who's going to be the first one to say something dumb today? You know, like, you just have people coming up to you, so, uh, do all black people eat chicken? You know, or, you know, just saying just random semi-racist stuff.
Casey G. Smith.: You have to be the sounding board in that moment, and the representative of the whole black race. Exactly. And if you if you're nice enough, and if you are polished enough, then people will feel comfortable enough. Yes. Just to to either ask you something crazy or, you know, maybe see if they can get away, I don't know if you experienced this, maybe try to see if they can get away with like saying the N-word, to see if they're cool enough to say it, and it's like. It's a lot of stuff to deal with. And you got to represent your whole race. He's like, dude, I just want to come to this party and drink with everybody else. Right. I'm American. You know, like. Yes, yes, yes. And I'm not saying I'm not black, I'm happy to be black, but when I when I hang out with my friends of other races, I don't I don't I'm not the one who brings up their race. Right. You know, but for whatever reason, like, they seem like they'll they'll somehow want to bring up the fact that I'm black in in some kind of way, you know. Yeah. Uh, and I'm like, that's not necessary. Now, I'm down to talk about racial issues. I'm I'm I'm I'm down to go, you know, in deep conversations. Right. But in terms of just like hanging out day to day, like, I don't I don't need you to to bring up the fact that I'm black. I'm well aware of that, you know. But if we're just boys hanging out, then let's just be boys hanging out in this moment.
Reginald Titus Jr.: Right. Yeah, it's always been awkward. And then kind of being there and then you can kind of see, you know, I was dating this girl in in high school, she was white, too, fly, too. Um, but just kind of seeing how That was my requirements in high school. You just had to be pretty. It didn't matter what race. I dated Asian, Hispanic, black, whatever, just you were fly.
Casey G. Smith.: Taste the rainbow.
Reginald Titus Jr.: I was very superficial in high school. Uh.
Casey G. Smith.: We all have our times.
Reginald Titus Jr.: Yeah, man. Um, but you kind of I I saw how people reacted because I was black, but at the time, I wasn't necessarily quote unquote woke, you know, I was in the system of, yeah, I'm black, but, you know, I'm not looking at the world that way because in the system that I grew up in, it was a little bit more diverse, but, you know, a lot of times I wouldn't been like, maybe one to five black kids in the in the uh classroom and but I still didn't look at the world that way. Um, I looked at, hey, that's Jim, that's that's Rachel, that's so and so. I didn't look at it like, that's white so and so and she's white. That's Jim and he's white. You know, that's so and so and he's black. I didn't look at it like that. It was based on personality, who you were, do we get along, are we friends, whatever. And um.
Casey G. Smith.: Did you ever feel uh because you were one of the few black people in your in your uh in your circle or in your in the system in your school. Did you feel that did you feel that you were treated, I mean different, but maybe like kind of uh looked at kind of sometimes in a special way because you're black? Oh, you know, oh, you're like automatically cool just because you're black or anything anything like that?
Reginald Titus Jr.: Probably. Uh I probably didn't catch on to that until like high school. But also, I was like in probably one of the most diverse area codes. Uh in Irving, Texas, South Irving, where even though I might have been one of the few black guys in the room, you know, we also had Indians. We also had Asians. Who else who else am I missing? Uh Hispanic. Yeah, So, we had everything. Now it's more kind of lean more towards Hispanic now in the area code. But at the time, it it, you know, there was other minorities too, that were the only one in the classroom. So, and there were stereotypes stereotypes as well with that. So, um, but I did notice where if it was me and like two other black guys in the in the room, we were all be cool or try to be. Um, the teacher would try to separate us. If we kind of got together and we were having a good time. I noticed that, but didn't understand why. So, it was like, and then as I got older, you know, dating, um, some of the uh some of the females from the classroom, going over to her parent, to their parents' house, stuff like that. You start noticing the racial stuff is coming from the adults. It's not coming from the kids. Right. So, like.
Casey G. Smith.: It's often a learned thing.
Reginald Titus Jr.: Yeah. So, in our world, everything's cool. But when you start going out, you know, you're thinking that, you know, you can go into the world and be who you want to be and. Then you actually go and meet these people and you're just like, you're black. Like, that's what you're stuck on? Like, you know? That's what that's what you're about? You know, nothing nothing about my character or. Anything. So I was like, wow, this is strange because, you know, in school we're learning this one thing, but in actuality, in the real world, they're putting you in a box once you get out of there. And so that was kind of a wake-up call.
Casey G. Smith.: And see, I had I had a a pretty unique experience in high school. My high school was was pretty diverse. You know, mainly black, white, and Hispanic. Um, in my school, I went to in San Antonio. You know, I went to I had an experience summer of my junior year, going into my senior year, where I went to an actual diversity camp where like all like the different stereotypes that I had about either myself, my race, other races, like all that was confronted directly. And so, my outview coming into my senior of high school, into college, was like, I'm down for diversity, you know, I'm I'm down for, you know, equality. Again, I again, always always aware of my culture, my heritage, always proud of that. But I was a guy who would if I heard somebody make a a racial comment, I was like, hey, man, that's not cool. All right, we need we need we need we need to respect each other. That was like, you know, Captain America, you know, like a black Captain America out out in the streets and just, you know, you know, promoting respect from all this different stuff. And I'm grateful for that experience, but at the same time, as I've progressed through life and Right. Sometimes been in other inter-relationships, man, I've I've I've come head-on into, man, like straight up, just straight up racial issues. There was one girl that I was, uh, kind of starting a relationship with, Right. And not to mention the whole section about about relationships, but we started to go out, and then I found out from a friend who had kind of connected us that her mother had told had told had told him, look, we can we can work with them. We can work with them, but we we can't date them. Wow. And and then he relayed that back to me, and I was like, what? Now, again, the girl didn't feel that way, and I actually ran into her mother, you know, at some kind of function or whatever, and she was very cordial. Yeah. But so, you know, nowadays things aren't so much overt in terms of racism, but they're it's under the current. Yes. Uh, and and behind the back. And I was like, dude. And yeah, I've I've had a couple situations like that. So, it's you want to believe the best and and believe in the in the prosperity and the moving forward. And again, I think amongst our generation, yeah, that there's that there's been progress. Um, but man, the the days and things of the past, the poison of the past is is still there.
Reginald Titus Jr.: True, true to that. Um, I remember, um, my parents like growing up, cuz I have all kind of people in my family. You got like in my direct bloodline, Hispanic, Indian, you know, and then different shades of black. So, from very light skin to very dark, and then there's a whole colorism thing just with that alone, you know, there's politics within the constraint of color, the different shades you are. Um, but, uh, my mom, she was more like, hey, you know, whoever you date, it's fine. It's not a big deal. My dad was like, you know, just be careful. You know, I didn't really. And at of all he's, you know, basically like, I'd rather, you know, if a girl's white or whatever, I'd rather you be in a car and get pulled over with some white girl than in in a car with three Negros.
Casey G. Smith.: Did he actually say Negros?
Reginald Titus Jr.: No, he didn't. But just kind of to put that, just because of how things may look. You know, us being kids, we don't know that, hey, I'm just hanging out with my guys. Right. But to adults, these are four black guys that may be trying to terrorize somebody.
Casey G. Smith.: It's a pack of Negros.
Reginald Titus Jr.: It's a pack. It's a and you just don't know that. You don't know that adults are thinking this.
Casey G. Smith.: Yeah, man, oh, man, yeah. The the differences of of of how how you grow up. Oh, man, on the difference of how you can grow up in terms of being black. This the fact that conversations like that happen. Uh, and that sometimes even in thinking about just just driving somewhere, and maybe having to have a a prep talk from your parents in terms of how you should interact with if you get pulled over by a police officer, like how to act, how not to act. I've I've hung around some some of my Caucasian friends and and heard about their stories when they get pulled over and they're cursing out the cop and just don't care about being respectful at all. For me, I'm like, yes, sir. Yes, officer. No, officer. I'm like, I got my hands 10 and 20. I'm just like, I'm trying to be as non-threatening as possible, as compliant as possible. Like, I don't want any problems at all. At the end, I'm like, God bless you, officer, and God bless America. You know, I sound like a politician. But I've heard my other friends, like, oh, why are you wasting your time pulling me over? I'm just like, you're you're you're crazy. Like, no, and that's where you you you can see those some of those differences. And like, dude.
Reginald Titus Jr.: So, yeah, so that's kind of Clearly this movie brought out a lot. A lot of thoughts about race. I'm trying to see if there's anything else before we move on. Uh, let's talk.
Casey G. Smith.: You want me to mention that part about growing up or is that later on?
Reginald Titus Jr.: Yeah, go ahead, yeah. I think it's a perfect part.
Casey G. Smith.: Okay. Growing up, uh my pops was in the Air Force. I I I spent a large portion of my life in Grand Forks, North Dakota, uh on an Air Force base. You can imagine in Grand Forks, it's not the most diverse place in the world. But the older I get, the more I think back to my childhood, and I was grew up with friends from all kinds of of of races, creeds and colors. I'm I'm grateful for that. And even now, I I have friends from all kinds of backgrounds and walks of life. But my parents, I didn't realize at the time, but I look back now, and I realize they always made a conscious effort to make sure that kind of our core group of friends, family friends, people we hung out with for Christmas and Thanksgiving, that we had a core group of of of black friends and and and families that we hung out with. Even our our next-door neighbors were were black, and they happened to have the same last name as us, Smith, and they they would watch us and and babysit us when my parents were working. We would see people sometimes just at random, you know, downtown Grand Forks, at Columbia Mall, and my parents would see some other black people, and they would just say hi. And as a kid, I'm like, do you know them? And they're like, no. I'm like, hmm. But I I I knew, instantly at that moment, I knew. It was just like, it's like this, you know, like this respecting like, hey, what's up, brother. Yeah, yeah. We're here too. Um, but growing up, I realized that my parents, just within our home, they had all kinds of educational and like pro-black things. My dad had art and sculptures from Africa. Uh when he when he went TDY to Egypt, he he brought back this, you know, awesome Egyptian manuscripts and all kinds of stuff. He had posters in his his his room where he always would play music that had, you know, the the Budweiser like great black kings. And that was I I wish I'd gotten a hold of those afterwards. But, you know, I saw Roots when I was like in third grade. Oh, yeah. And I I did that. Yeah. Man, I went to school the next day with a chip on my shoulder. I I remember my my third-grade teacher, Mrs. Kwamin. You know, she got mad at the class because we were being kind of loud and and and rowdy. And she she told everybody to kind of put their heads down. And I'm I'm I was at the back of the class at the time. And in my mind, and I was always a good kid. I'm not never a troublemaker. But I remember at that time, in my mind, thinking, I'm not putting my head down for this white lady. I was I was feeling militant because I had just seen Roots. And I'm like.
Reginald Titus Jr.: The power of TV.
Casey G. Smith.: Oh, man. It had me feeling militant. But, um, I almost I look back now, and I'm grateful to my mom and dad for making me always feel proud to to be black. And yeah, I I'm I'm proud of that. And I'm grateful to my mom and dad for laying that foundation for me and my sister growing up. From the music we listen to, and we listen to a wide variety of music. Don't don't, you know, don't get it twisted. But, uh, being able to appreciate those things and and the the accomplishments of of black people and, um, yeah, I'm just I'm I'm grateful for that. Especially growing up in a in an area where it could have been easy, maybe, to to not know, or or not connect, or not recognize the the heritage and just, you know, see myself as just a a a another kid. But I knew I was black, and I'm happy to be black. And and I I I love diversity, and I think it should be celebrated. We can celebrate our differences and come together on our commonalities. That's kind of the the the the heart of it for me.
Reginald Titus Jr.: That was kind of cool like you say you see somebody downtown like, hey, brother. And that's kind of like in the movie, right? When he saw the other brother at the uh, he's like, oh, hey, he got he had to go up to him, right?
Casey G. Smith.: Right?
Reginald Titus Jr.: Everybody knows that. He's like, he's not one of us.
Casey G. Smith.: Mm-hm. Um, but uh, me growing up, kind of the same thing where uh my parents, um, made sure that, you know, we're watching like certain things like we're watch like The Fresh Prince of Bel-Air, we'll watch, um, what was it? Family Matters or we'll watch, uh, what's the A Different World. Oh, yeah. Watching A Different World, I wanted to go to a black, you know, university. And that's exactly what I did when I left. I'm like, I'm going somewhere black. I don't know where. Nice. You know, so like those influences and my dad making me read uh Ben Carson, The Gifted Hands book when I was 10. Oh, wow. Ben Carson is a little different character now, but at the time, you know, awesome awesome accomplishments. So, yeah, just kind of instilling that stuff in it, you know, being young, like, I want to read this book, you know, and but it was important, you know, cuz, you know, that's still in my mind like, hey, we can we can do these things too. Don't let somebody else say that you can or cannot do anything just because of, you know, the color of your skin. Exactly. Exactly. Um, okay, so moving right along. That was a little tangent, you know. Hey, we got to get it off our chest every now and then. It's not often you get to talk about this.
Casey G. Smith.: Hey, this is the power of representation. The power of seeing people that that look like you, that that come from your your your culture, your heritage. For some, who might be listening to this, and if you if you've watched films and and movies with people that look like you all the time, then it's it's it's normal. Right. And you may not even think about it. You may even take it for granted. But when you haven't had that, and you see somebody that does does look like you, it evokes all kinds of feelings, like Black Panther, uh, did that for so many people. Right. Get Out is doing that. And he's like, that's the pre- the precursor to that. Yeah. But even like, you know, you mentioned some of the old TV shows, you know, The Cosby Show. Man, like, when I would. Oh, yeah. I forgot about that. Yeah, when I would watch The Cosby Show, when I would see Theo on The Cosby Show, Right. That like, I just I instantly looked up to him because, you know, even though I only had a twin sister, but just to see another black son on television. Hey, I'm a black son. And there's not a lot of black sons, you know, where I live. So, seeing one on TV was like, that just that was true. I was like, hey, this guy's cool. And smart. Yeah. You know, I'm like. It just that always stood out. I always look forward to seeing the scenes with Theo. Because I'm like, hey, he's a black son. I'm a black son. That may sound like maybe shallow, superficial, but there is a a power within that when it's so rare. Where else could I turn the channels and see another, you know, positive black male. Yeah, you know. So, that ain't talking that jive talk. Sucker. What did that guy say on the Superman movie? Nice threads, man. That's a bad outfit, Jack. Whoa. Like, really?
Reginald Titus Jr.: That's. That's. It was hilarious. And just stomped him out. Just stomping him out. Basically, what uh our character Chris does, you know, when he leaves the house, he's like stomping him out. Same situation. So, this movie that that scene reminded me of that scene. There there, oh man, there's something that Peele said specifically when Rose's brother comes back, two steps ahead. Right. Like, so you think that that um I mostly forgot the character's name. Uh Jeremy. Yeah. So, you think that Jeremy is is dead from the Bocci ball. Right. But as Chris is on his way out the door, literally Jeremy grabs him from behind and kind of puts a a choke hold on him. He's trying to choke him out. And and he and he mentions something about being two steps ahead of him. And that that may have been mentioned earlier in the film. And so Chris still has a letter opener in his hand, and obviously every time he tries to open the door, Jeremy's using his foot to close the door. And so Chris goes for the door again, Jeremy raises his foot to close it, and then he, ah, stabs him in the in the leg with the with the letter opener. And then Peele talks about, you know, Chris now having to be two steps ahead of of um of Jeremy. And but when he when he's saying that in the commentary, at the same time, literally Chris stomps takes two steps on the head of Jeremy. Ah, two steps ahead. Yeah. And I was like, I was like, okay, did he mean that or or am I just drawing a a weird correlation? But I was like, because I think he was talking about being two steps ahead by by, you know, stabbing the the kneecap and kind of suckering him in. But then he was like, you know, yeah, he was two steps ahead in that in that scene. I was like, hmm. But anyway, I don't know, I maybe drawing something that's not there. But maybe it's the way it was said, when it was said, just stood out. That is funny. The uh, that is ironic. How about that? Haha. Used in a funny way. So because at the dinner table, there are talking about the difference between jujitsu and judo. And then one of those art forms you have to be two steps ahead of your opponent. And so that's where the two steps ahead comes from. So, very nice, very nice. That's pretty cool. So he set him up basically because when you're in a choke hold like that, you got about 20 seconds before you're done. Yeah. But that's also where you can see, you know, throughout the whole film, Chris is very tempered. You know, very much so in control, and a lot of times the things that as as as black men in a lot of scenarios you feel you have to be tempered, you know, like, okay. I can't come across like an angry black man. You know, that we if we get mad in a scenario that we might be, you know, pegged or labeled. Oh, yeah. Um, but in this moment, it's black rage. Like, and you, you know, as a black man, I'm like, yeah, get him, you know. He's like, they they're going to kill this dude. It's miserable. And enslave they were going to enslave this man in his own mind. And not just enslaved in a in a uh just in your mind in like your worst fear. Yeah. That's what makes it even more terrible. Like, in the worst in a living hell, basically. You they're going to put him in a living hell and let somebody else use his body. But yeah, he just able to let go and just rage out, which leads him to the scene with with the mother and and how that is handled. And Peele actually says that you have to kind of be real careful, even even at this age in having a young black man kill an older, attractive white woman on camera. Yes. And even the way that scene is cut, you know, you you don't you don't see the expression of of of Missy, uh, or or Mrs. uh Armitage, Armitage. You don't see her actual expression when when she dies. You just know that, you know, he has his hands around around her throat, and, uh, yeah, I feel like, that was kind of a cop-out in a way because I didn't think about it, but I was just like, he knocks the cup out of the way. All right, it's a showdown. He should attack right away, you know, because you don't know what kind of tricks she has. If she can hypnotize him with something else, we don't know. You got to get rid of this woman. She she set you up to die, to not to die, but to be enslaved. And so even Jordan Peele was saying like, even the film Black Panther can't, you know, kill the old white woman unless it's self-defense. So, I found that very interesting. Right. It had to be self-defense. She had to have the knife, and then stabbed him, went through the arm, he through his hand, he allows that to happen like, what is going on? And then, you know, he stabs her with it, but it's off screen, you know. We don't We don't see it graphically. Yeah. And she doesn't yell or anything like, she just took it like a G. Just I hypnotized myself to handle the pain of my eventual death. She's like, that's what we should have heard. But no. Yeah, you're right. You're right. It it it it makes you Jordan. Come on, Jordan. It it it makes you wonder about about about that, like, showing images like that, like how would people respond to it? I often I often have wondered, I don't know if this is kind of film would ever be made. What if there is a just again, literally a film where where like white people are like enslaved, black people are treating white people the way that slaves were were treated. Like, would that kind of film ever be made? How would people react to that? Could people handle that? Could society handle that? Would would any production company ever even make that? I don't know that it's necessary, but just just from a the flip of the script visually, Like, that film, would that kind of film ever be made? How would people react to that? Could people handle that? Could society handle that? Would would any production company ever even make that? I don't know that it's necessary, but just just from a the flip of the script visually, that that's been not necessarily slavery, but it's been touched on a little bit. There is um a series by Irv Gotti that recently came out called Tales. And so, basically, he takes a um a a famous hip-hop song and turns it into like a short film or like a 45-minute movie. Um, one of it is, uh one was called F the Police. And so, in this world, everything's turned around. White kids are being harassed by the black police. And and the black police are killing the white kids and things like that. And the response that he gave people was like, this will never happen. This is. People were dismissive. Yeah. Very much so. This will never happen. This is. Lupe Fiasco has a song on his album Lasers. It's called, that's called, Black Something. But in the way that he's rapping, it's like he's like in an alternate universe where all the white people are black, and then the black people are white. It's it was, I don't know, it's fascinating. Like, the the rat pack, you know, all black guys. And it's just it was just it was just very interesting, interesting song that I that I think that planted the seed in my mind of that like, man, what would that look like? How would that even be possible and how would that imagery be seen or or anything like that. But. I think there was a movie um John Travolta was in. I think it was a white man's burden or he was in a movie kind of sort of similar to that. I didn't see the whole thing, but that was like kind of like the theme like if things were like flipped around. But not slavery. That that that'll be memorable. Uh tip number 12, uh give the audience a little bit of notice before you hit 'em with something. Yes. And one example was the doctor that's doing the surgery on all these people. He knows something's wrong. So he's looking for his son because his son was supposed to come back with Chris, that's the new brain that's being replaced. He's like, where is he at? So he's looking out in the hallway. He looks one way, and then we hear footsteps, like three or four footsteps. And then he turns around, bam, then he gets stabbed by the the buck in his throat. Digital horns. Yes. Digital antlers, I should say. So the reason for this is says it it distracts them, it it distracts us as the audience right before the scare. I think also it enhances the payoff a little bit too. Because later on, at the very end of the film, when the when the when he is has his hands around Roro's throat, and then we begin to see the blue and red siren lights. You know, for a black man, you're like, ah, man, come on. Come on, man. It was like, ah. Like, you you thought it was over. But then, as you get the close up of the police car and the door opens, and you can see in the door, it says TSA. 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