Jordan Peele Quotes
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I think the majority of police are really good people and really good at their jobs, but that doesn't change the fact that with any interaction I have with them, I'm viewed as a potential threat.
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As a black man, sometimes you can't tell if what you're seeing has underlying bigotry, or it's a normal conversation and you're being paranoid. That dynamic in itself is unsettling. I admit sometimes I see race and racism when its not there.
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When you start making a movie, people want to know: Who's the star power? And very early, I realized there's not a lot of 26-year-old black actors who have been given the opportunity to be the lead of a film. It's, like, Michael B. Jordan, and then we're done.
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Nobody wants to see sketch comedy that's the same sketch they've seen time and time again, or that's just a rehash of that thing.
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I'll say this: The scariest monster in the world is human beings and what we are capable of, especially when we get together.
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It was definitely during the Obama administration that talking about racism, or calling it out, suddenly seemed taboo. It seemed like talking about race was somehow summoning the evil of racism.
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African-American music tends to have, at the very least, a glimmer of hope to it - sometimes full-fledged hope.
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Part of the desire to live in a post-racial world includes the desire not to have to talk about racism, which includes a false perception that if you are talking about race, then you're perpetuating the notion of race. I reject that.
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Obama was the best thing for black nerds everywhere. Finally we had a role model. Before Obama, we basically had Urkel.
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The power of story and the power of a well-crafted film or television show is really all you need to speak to people. I think Hollywood is sort of catching up to that.
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Each one of my movies is going to be about one of these different social demons. The first one, being 'Get Out,' is about race and neglect and marginalization.
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We go to the theater to be entertained, but if what is left after you watch the movie is a sort of eye-opening perspective on some social issues, then it can be a really powerful piece of art.
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Any time I claimed to be white, that would be unacceptable. It just doesn't make sense in people's minds. If I'm white, how can I walk through a department store and still have people scared that I'm going to rob them? Which, that can still happen.
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As kids, there's somehow the fear that these bullies can end your life if they want to. Everything is blown up, and occasionally that kind of awful thing does happen.
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There's something kind of horrific about milk. Think about it! Think about what we're doing. Milk is kind of gross.
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You boil down your influences to a soup, and it all informs you.
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I wanted to be Steven Spielberg, Tim Burton, Stanley Kubrick, David Cronenberg, Ridley Scott, James Cameron, and Hitchcock. I'd wanted to be a director since 13, and horror and the suspense thriller were the most powerful genres to me.
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In the Trump era, it's way more obvious extreme racism exists. But there are still a lot of people who think, 'We don't have a racist bone in our bodies.' We have to face the racism in ourselves.
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When I talk about movies like 'Rosemary's Baby' and 'Stepford Wives,' I really noticed that these movies were able to address fears surround the women's lib movement in a way that was engaging, not preachy, but fun.
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I love biting off more than I can chew and figuring it out.
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I love getting cheers. I love giving scares. Anything that really works with the audience makes me happy.
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'Thelma and Louise' was a pretty important film for me and still is. It's a social film about many things - gender, freedom - and it puts someone like me into the place of these protagonists. Watching that movie, you are living through the eyes of these women.
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New York is about as cosmopolitan as it gets. It's a fairly mixed and woke town, so there weren't a lot of situations growing up where I felt like the outsider or the alien.
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I'm obsessed with giving the audience something they don't see coming.