Get Out Trailer

Lil Rel Howery is great in the movie, and you guys have such a good relationship in the film, even though we only really see you two talking on the phone. Would you two ever be on set with each other those days?

Some days I’d be on set, some days Jordan would be him, and that was really funny as well, so it was just kind of like, I mean, he gets it man. He’s just cool and he’s open. That’s the thing about every performer in this film. Everyone was just open and present. It makes it easy, you know, you don’t have to…no one’s in each other’s way. No one has a prepared performance, everyone’s just doing what feels real. And then, his last scene, he was just incredible. He would just do shit to make you crack, you know? He’d be going out there. And then, you have to stay in your space, and then, again, that’s a testament to Jordan and the writing, and the fact that he set the dynamic and the casting the way that just feels natural, you know?

It’s not forced. You don’t have to go out of your way in order to make that because the writing speaks for itself and the dynamic and the kind of person those two characters are. And you know that relationship, you know that guy is gonna clown. He’s saying actually real stuff, but he says it in a very comedic manner. He doesn’t mean to be comedic, that’s just how he sees the world. So that really rang true with me, because I’ve got loads of friends like that.

As you said, Jordan knows the genre well. Were there any horror movies you two discussed that inspired Get Out?

There were shows that he liked, like Rosemary’s Baby, The Stepford Wives, that he was talking about, and there was a show I talked about called Psychoville, which is a great series back home, written by Steve Pemberton and Reece Shearsmith, which I was in. It’s kind of like a horror comedy series and that really resonated me when I read this. It was the closest thing I read to Get Out.

But, obviously, this is talking about race instead of just weird and random stuff that’s in Psychoville. So that’s what it was, that’s what really helped it. Also, for me, you just gotta root for Chris and Rose, in order for the film to pay off. And it was about me finding the humanity within it, and finding the real guy within it. Because that’s what it is. This guy’s a real guy, that just happens to fall in love with this girl and then this is what happens when he’s vulnerable.

He’s very vulnerable during the sunken place sequences. How was it shooting those scenes? What did they mean to you? 

Just feeling, that’s how being black sometimes feels like. You can’t actually say what you want to say because you may lose your job and you’re paralyzed in your life. You know? You’re paralyzed in your life, you want to express an emotion, and then it comes out in rage elsewhere, because you internalized it, because you can’t live your truth, and that’s what I’m trying to say is so amazing.

Yourself is being controlled and being managed, by someone who doesn’t have your best interests at heart, AKA, your cinematic version of yourself in terms of a black psyche, you know? And that’s what really rang true with me. Well, you paralyzed me, and if he expresses emotion it comes out like this, and he’s upset about not being able to move, you know? Because a lot of people out here in the streets can’t move, you know? They can’t do anything, they can’t even feed their kids, man. They can’t even afford to heal them. You can be paralyzed all day and you can’t…there’s nothing worse than that. And that’s what black people are going through every day. Now. And so, that’s what really was important to me, to express that.


Get Out is in theaters today.

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