“I’m Jordan Peele. I’m the writer, producer, and director of the movie “Us.’” “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, says “there’s a family in our driveway.” A line designed, giddily, to attempt to be an iconic line, like “they’re here” from the “Poltergeist” movie 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 like — probably 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 in “Halloween” 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.”