With the release of his latest movie, noJordan Peele has firmly established himself as not only a talented filmmaker, but has a unique and disturbing approach to the horror genre. Both previous films Get out And the we Disturbing in a way that not only provokes fear but also makes the viewer think well the way nightmares work, Nope prepares to do the same. Now, Bell explains to ComicBook.com About the nightmares that inspire, in part, his films as he takes the “intersecting” elements of his psyche and turns them into a story.
“Nightmares have this uncanny valley,” Bell said. “They have this surreal, borderline space that I just love.” “I love when something is so scary in a way that you don’t even know why, but it is. And so, you know, when I have a really modern nightmare, it’s in that tone. And that’s what it is. That’s what I do. I take some of the way in which some of these things intersect in me in a very dark way, trying to turn it into a story.”
no Bell reunited with Academy Award winner Daniel Kaluuya (Get outAnd the Judas and the Black Christ), who was joined by Keke Palmer (crooksAnd the AliceOscar nominee Stephen YeonMinaryAnd the Okja) as residents of a lone gulch in inner California who bear witness to a supernatural and frightening discovery. While Peele was inspired by his nightmares, Peele also spoke of his desire to explore his “scene addiction.”
Bell previously said, “I started wanting to make a movie that would put the audience into the immersive experience of being in the presence of a UFO.” empire. “I wanted to make a scene, something that would promote my favorite art form and my favorite way of viewing that art form: the theatrical experience. When I started writing screenplay, I started researching the nature of the scene, our addiction to the scene, and the pernicious nature of attention. That’s what it’s about. .and it pertains to brother and sister and the healing of their relationship.”
nowhich at the time of writing has a rating of 82 percent on Rotten Tomatoes, opens in theaters July 22.
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