♪ announcer: from our studios in new york city, this is "charlie rose." charlie: we begin this evening with a look at president trump's first trip abroad as president. he landed in israel this morning after two days in saudi arabia. this comes after the report last week that trump had revealed classified information to russian officials that israeli intelligence provided to the united states. trump appeared alongside trump appeared alongside benjamin netanyahu today, and responded to the allegation. president trump: i never mentioned the word or the name israel. never mentioned it during that conversation. you had another story wrong. never mentioned it.

charlie: tomorrow, he will meet with president mahmoud abbas. chief whiteabc news house correspondent jonathan karl has been traveling with the president. he joins me from jerusalem at a very late hour. thank you for joining us. i begin with this question. this seems like a remarkable trip so far because it is so different from the donald trump of the campaign. jonathan: it is an incredibly ambitious trip. the mere fact that he started it in saudi arabia, and not just starting it in saudi arabia the birthplace of islam, but at a conference where he was surrounded by the leaders of more than 50 muslim nations, and entirely different image for donald trump. i don't think any of us would have predicted that during the campaign when he was declaring that islam hates us. he was proposing a total and complete ban on all muslims coming to the united states, including, by the way, all of

the people who were at that event. it's a very different image of donald trump. the tone was different. he didn't utter those words, that he talked about and over again, radical islamic terrorism. he didn't say that. this was a message of cooperation. this was a message that the terrorists are not truly islamic. a message more like what we had heard from george w. bush after 9/11, or even in some ways, barack obama. charlie: what happened to change his mind? governing? jonathan: i think governing is the big thing. i think this trip, you see the mark of h.r. mcmaster, his national security adviser, who urged him to do away with that phrase, radical islamic terrorism. by the way, i wouldn't be surprised, he could change

quickly. jared kushner, obviously a big architect of this trip. i think what he saw was a moment here. the united states and israel share, and the arab neighbors, share an enemy. that is iran. a unique moment where the president found common cause with the leaders of saudi arabia and america's traditional gulf allies, who thought that under barack obama, the u.s. had turned too much towards iran, and saw a change in donald trump. for all the anti-muslim rhetoric, what they were hearing was rhetoric that was anti-iran, rhetoric that suggested the u.s. would steer in a different direction from obama. charlie: it looks to me sitting here in new york city that the president said to all of those

gulf allies, muslim countries primarily, he said to them, i need your help to fight terrorism, and you need to do this because it's in your not against your faith. and in order to give you that, i will do what i think you need to do, because you constantly are talking about iran as the ultimate enemy in the gulf. i will support your idea for isolating iran. a kind of bargain took place there. jonathan: i think that's exactly right. the image of that meeting in riyadh, the one with the president gave his big speech, this was 50 plus nations, basically the full islamic world, arab, african, asian, altogether, more than 50 nations invited and attending. the only two nations not invited

ally,ran and iran's syria. the message there, even before words were spoken, the message was one of isolating iran. a think to come in a sense, in the late donald trump with the -- donald trump would look at it, a deal there. i think israel is part of that as well. it was significant that air force one travel directly from riyadh to tel aviv. it's the first known flight that has done that. of course, there are no diplomatic relations whatsoever between saudi arabia and israel. in fact, the saudi's don't allow planes going to israel to fly over their airspace. i was on the press plane. i was not on air force one. we had to fly to cyprus and take a circuitous route to go to israel. that's the way it usually is. there was symbolic significance

of air force one being to go riyadh right over to tel aviv. you hear this, charlie. in talking to arab leaders here, they have no beef right now with israel. their concern is with iran, and to a lesser extent, also with isis and the radical extremism that isis represents. that is their concern. it is not israel. charlie: but is there hope also and this -- and we will talk about what happened since you got to jerusalem -- but if there is also a hope that he can get everyone on the same side, as if they can cooperate on finding some way to make progress in a possible agreement between israel and the palestinians? jonathan: that is explicitly the whole usually or when you

-- hope you hear when you talk to white house officials about this. they say their hope is this provides momentum to the israeli palestinian peace process. they seem more hope now then you have ever seen before, because israel's arab neighbors do not see it as the enemy right now. they see it as the ally in this larger battle with iran for influence in the region. that may be wishful thinking. all the same issues exist. all the same difficult to solve issues between the israelis and the palestinians. none of those go away as a result of this. what white house officials believe and what they had hoped is that you now have more support from israel's arab neighbors for this process than ever before. that will provide more impetus for the palestinians to make a deal. the president has been very careful on this trip. this was a president who campaigned about immediately moving the u.s. embassy to

-- from tel aviv to jerusalem, which is something the palestinians adamantly opposed. he has not mention that once. we asked officials about it publicly and privately. it is not something they are pushing. they are not looking to push anything that will antagonize the palestinians. charlie: what about the idea that the president, in his meeting with the russian foreign minister and the russian ambassador, offered up classified information that had come from the israelis? jonathan: it's an incredible story. it is something that overshadowed this trip that you cite come up when benjamin netanyahu and donald trump met today. beforesked about it reporters were shouting questions, and he said they have a great intelligence relationship with the united states. as reporters were ushered out of

the room, it was remarkable to hear donald trump say, wait, i have something to say. basically telling the is to stop leaving and saying that he never told the russians that the information came from israel. of course, that's not what the story was. the story was never that trump told the russians that the information came from israel. the information came from israel, but it provided more fuel for the story. but did it do any damage? i don't know. there's no obvious damage that was done to the israeli u.s. -- is really/u.s. -- israeli/u.s. relationship. the public statements coming out of the israelis are that the relationship is as strong as ever, but they did not want the information to be handled as loosely as it was. charlie: the president has a lot on this trip.

he has a lot of problems at home. they have not changed. mueller is looking at a lot of things, getting ready for his investigation. all of that is there when he comes back. can you look at the trip so far and say it has been well prepared, the president made a 's speech that was welcomed by the saudi's, he has good conversations with the prime minister, he goes now to rome to the g-7 meeting where he will complete the nine days. but so far, the president is doing as they hoped he would do. jonathan: actually i think the trip so far has been one of the high points of the trump presidency so far. that speech was well received. not universally well-received, but well-received by our arab and gulf neighbors, and well-received by the israeli. he has been on the world stage. it is a trip that has been well conceived. there is a strategy behind the

trip. a larger foreign policy and national security objectives. but he goes back right before memorial day. we will see what happens, but james comey has agreed to testify before the senate intelligence committee. after memorial day. we will see if that takes place now with mueller's investigation. there's a possibility mueller may not want him to appear in public. as soon as he gets back, all those problems await. there is still a long way to go on this trip. charlie: and who will he see at the g7? jonathan: before the g7, he goes to nato in brussels. the nato meeting, then is a chance for him to walk back some of his campaign rhetoric, which was nato is obsolete, nato it -- nato doesn't do enough to pull its share. he has changed that rhetoric already.

and g7 is in sicily, he will be meeting, dealing with some of the trade issues which were kind of the bread and butter of this administration. charlie: jonathan karl, i know it is late over there in jerusalem. thank you very much. always good to have you here. safe travels. jonathan: thank you, charlie. charlie: we will be right back. stay with us. ♪

charlie: jordan peele is here. his work on the comedy central sketch series and him a peabody and emmy award. earlier this year he made his directorial debut with the horror film "get out." it involves an african-american man who visits his right -- e girlfriend's parents, and uncovers a conspiracy. it is called one of the most satisfying thrillers in years. it has grossed over 38 times its budget, for a domestic box office total of $175 million. the film will be released on blu-ray and dvd on may 23. here's a look at the trailer. >> did you pack your toothbrush? do you have deodorant? >> yes. >> do you have your cozy clothes customer. >> do they know i'm black? >> mom and dad, my black boyfriend will be coming over. just don't want you to be

shot that he is a black man. [laughter] >> i've never seen you like this. you come back and you have your pants up to your stomach. >> so you guys coming up from the city? >> just heading up for the weekend. >> can i see your license please? >> he wasn't driving. was driving, i have to see his id. >> how long has this been going on? this thing? [laughter] >> we hired georgina and walter to help care for my parents. when they died, i couldn't bear to let them go. >> do you smoke in front of my daughter? >> i'm going to quit. >> she could take care of that for you. >>? -- how?

>> i go do my research. apparently a whole bunch of brothers have been missing in that suburb. how are you not scared of this? >> good to see another brother around here. >> chris was telling me how he felt much more comfortable. that's comfortable with my being here. >> sorry. >> get out! >> we have to go. >> is everything ok? >> rose, give me the keys. rose! >> sink into the floor. >> a mind is a terrible thing to waste. >> if there are too many white people i get nervous. >> no. no, no, no.

>> a mind is a terrible thing to waste. charlie: i am pleased to have jordan peele back at the table. welcome. you call this a social thriller. jordan: yes. there needed to be a new word for this. it is weird, it is not full-on horror. a lot of people that see it -- charlie: it looks pretty hard to me. jordan: the trailer definitely looks like that. i hear a lot that people are not a fan of horror movies, but this one i like. this when i could deal with. i think there is something about the thriller genre that has a little bit more of an intellectual connotation. i do like a social thriller. but at my core, i am a horror fan. i'm torn. charlie: you decided to take a look at racism and put it within a horror genre, and bring the two together. it becomes a social thriller.

jordan: in the comes social thriller. i very much patterned this movie after movies like "the stepford wives," and "rosemary's baby," which dealt with gender in a very unique way. it's sort of hit those social issues right on the head. both stories are about men making decisions for women's bodies. charlie: if you can do this with gender, you can do this with race. jordan: that's right. when hillary clinton and barack obama were competing for the democratic nomination in 2008, i remember gender and race were sort of being seen in context with one another for the first time in a long time. charlie: it was almost like in 2006, what is going to be history's first? the first woman or the first black man? jordan: it on most felt like the two identities were pinned against each other.

which was more deserving, in a weird way? what it did for me was show that there are civil rights fights that although they have different paths, it's the same thing. charlie: how do african-americans view this differently than white americans? jordan: it's a good question. one that i thought about a lot creating it. i definitely knew i wanted to make a movie that would serve the very loyal black horror thriller fan base who comes out time and time again. we see horror movies. we identify with that world, but we are not represented there. not only is our skin not represented in the protagonist role, but our identity is not presented.

our awareness of being out of danger. this goes back to the eddie murphy routine, black people in a horror movie would make a short horror movie. that's part of where the title "get out," came from. is you did this amity bill bid of get out, too bad we can't stay, bb. i was definitely making a movie for black people, but i didn't want to exclude anybody. charlie: have you always wanted to be a filmmaker? jordan: ever since i was about 13. i wanted to be a director. i was just so transported by my favorite movies. movies like "alien," and "edward scissorhands," or spielberg movies. i was just so passionate, and it hurt. it hurt so bad that it scared me away from that for a while. charlie: into comedy. jordan: into comedy.

but it was a good thing. it is what i needed to get my full training. charlie: when you thought about being a director, did you think about wanting to direct a horror film? jordan: i did. i basically love all the fun genres, i would say. action, sci-fi, horror. i think the title of a horror auteur would be the coolest for me. charlie: how did you get to hear? you went the comedy route. which may have been a good reparation to being a direct or. -- director. jordan: comedy is an art form that forces you to study and be aware of the audience. especially when you get live comedy training, which the first section of my career was live improv and sketch, and you get

this idea of what the audience is going to respond to. you train yourself to be able to sort of pinpoint what the audience is thinking and what they are feeling. when i made this movie, it was that same sort of attention to the audience. there is no way you can sort of disregard what you are hoping the audience can get out of it. charlie: and there's also timing. jordan: and timing. it's a real link between horror and comedy, actually. both require a certain precision with timing, because if you are going to scare an audience, you need to get the scare at the same time. if you are getting a laugh, you want the whole audience to laugh at the same time. it's about tension and release. charlie: did the whole idea of making this about race come after the 2008 election, or had

it always been in there somewhere? jordan: the first notion i knew i wanted to make a horror movie about was the idea of unwanted attention. the idea that -- this very visceral feeling. you always hear the fear of public speaking is the worst. this idea, these certain of images of people all of a sudden turning to look at you, i thought was very universal. i started with that. pretty soon, i realized i wanted to make a movie about race, which was very terrifying, but i sort of said, you know what, let's make this movie for me, let's write this movie for me. who cares if no one ever makes it? charlie: did you show it to friends once you've had a rough cut, or did you simply work within your own script? jordan: i did show people.

that's generally how i work. i'm very collaborative. i'm very into anybody's opinion. like i said, there are some filmmakers, and many that i respect, that may have an attitude, i'm going to make this film for me, if no one likes it, too bad. it's my movie. i'm not that guy. i want to make every person in the audience enjoy the movie. charlie: you have never had the thought we are in a post-racial era? jordan: no. no, no, no. the idea that we ever were in a post-racial america, which, of course, is the sentiment when barack obama was elected. and this idea that we have a black president now. charlie: and the president did not seem to want to make his blackness and issue. jordan: that's right. and in "key & peele," we did the

obama anger translator, luther. the whole sketch was about this idea that he was rising above race, which was good, and we understood that he could get pigeonholed if he showed anger. he didn't clap back at donald trump, when donald trump accused him of not being from the country. long story short, the post-racial lie is a huge part of why we are where we are right now. charlie: because we denied it by accepting the hope that the post-racial era was here, and it was counterproductive to finding common ground? jordan: i think so. i think the notion that we are post race is a way to suppress talking about it.

if we called out trump for being racist in that birther nonsense, the vibe that i felt was, "who cares? we have a black president! this is a reality show." that is what i felt. there was an acceptance of racism as unimportant now because we have obama. i felt like anytime communication and dialogue is suppressed like that, bad things fester and it gets out of control. charlie: black lives matter, was that an influence? jordan: the black lives matter movement began far into the process of making this movie. i had already written a movie. actually, i had come up with the movie. by that time i put pen to paper was three years ago. it was beginning around there.

there was a convergence with the movement and this movie. charlie: what about the instances of police shooting, and some being acquitted? jordan: yeah, this was a tremendously horrific and painful realization that we came to. i think the cell phones and the black lives matter movement are reasons we were able to come out of the post-racial lie, as i call it. the interesting thing is as i was making this movie, as the culture was developing. by the time the first round of shooting was done, we were in a very different america than when i started the movie. charlie: did you change the movie at all?

jordan: it did. on the dvd blu-ray, there's a commentary that i talk about it. there it is. charlie: directors notes. jordan: the original ending that we shot was a downer. it was meant to be a gut punch. charlie: the original? jordan: the original ending. he ended up in jail. it was meant to be a sort of wake-up call. by the time we had shot the movie, the wake-up call had kind of happened. it was quite clear that audiences needed an escape. they needed a happy ending. charlie: they needed a happy ending. not comedy, a happy ending. somebody who had gone through all this experience. he needs to come out of that. jordan: that's right. he needs to come out. we needed a hero. especially the movie coming out

after trump was elected as well, there's even more of a feeling of justice, some escape. the ability to look at the issue of racism in a way that doesn't seem to drain everything we have left. you can actually think up you can actually have a dialogue about race while seeing if one, irreverent movie. charlie: here is a scene in which chris meets the parents for the first time. here it is. >> how long has this been going on? >> four months. >> four months. >> she's right.

you're wrong. >> at a boy. better get used to saying that. >> i want to give you a tour. >> do you want to unpack? charley: what do you want us to think about the parents at this stage? >> it occurred to me at some point in the writing stage that it would be to easy to go back more typically -- the people more typically accused of being racist. the liberal elite, the type of parents that i would really be hitting the sort of -ness, in other words, to people who present that they are not racist the most. i want the audience to be -- they know it is a horror movie,

so they know it is going somewhere dark, but we also know -- they are probably about the best aversion of these mystery parents you could meet, so it is about as comforting as it gets. even though they have these little moments that fall into the micro-aggression category, i want to like them, but most of all, i want the audience to be word. attention to every charlie cole in my opinion is there is something off about them, something there that is a little bit dangerous. jordan: good. good, good, good. i love subverting -- charlie: they are laughing at themselves. jordan: they know something. charlie: that most of us don't know and we are a little bit nervous about it. jordan: we are a little bit nervous, and that's one of the fun things about horror movies is that we know it's a horror movie. we can sort of see the future a little bit. charlie: the victims don't. jordan: but the victims don't.

charlie: or the intended victims. jordan: that's right. in this case, part of the reason the movie resonates and feels satisfying is because the black experience has a lot of horror to it. there's a little bit more readiness, little more suspiciousness with the main character of the movie then there would be another horror movie. charlie: do you need comedic relief in the movie? jordan: yes, we really do. it is a big ask to ask an audience to sit through uncomfortableness. there were moments in the movie i know you were squirming. there's also a good deal of patience i'm asking from the audience. we have rod, the tsa guy, he became the release valve.

anytime he's on the screen, very important to me that he's realistic. he doesn't just come and tell jokes. charlie: he's not a fool. jordan: he's not a fool. he is actually more right and realistic than most characters in a horror movie in a way, because he's saying what we want someone to say. charlie: and does the comedic timing you had give you the internal sense of when you need comic relief? jordan: it does. with this movie, it was very clear. we don't really have a whole lot of levity except for this character.

this whole movie was a tonal balance. that's the whole idea. i pitched the plot to the producers who ended up making the movie. you have to sort of follow it up and say, i know the tone is the thing. if it is too silly or funny, it feels -- charlie: it takes away from the core. jordan: yes, the subject matter is not being done justice. if it is too horrific and depressing, it is just that. it is not fun to watch. we don't want to watch racial violence. you have to find a level where it's fun and serious. charlie: have you sat in the back of the theater and watched audiences watching the film? jordan: oh, yeah. charlie: what have you learned? jordan: the biggest and most pleasant surprise -- i had a similar question going into the release of the film, how are black people versus white people going to view the film? there are neighborhoods that you go, they get really into the movie and they are standing and cheering. the thing i was the most proud

of was in a mixed audience, there was a familiar vibe. -- familial vibe. black people recognize certain things in a different way than white people recognized certain things. by the end of the movie, everyone is cheering at the same part. i like to think that the movie sort of brought audiences together more than split them apart. ♪

charlie: the success of the film is extraordinary. you made it for $4 million. it is over $150 million. jordan: $175 million domestic, and some change international. it's crazy. charlie: why is it, other than simply good storytelling, the directing, good acting? what else? is there something about the timing? jordan: it's a perfect storm. it really is. an amazing cast, crew, all the talent that came together really believed in it. it's a topic that i think challenges people. when you hear it works, you have to see it. i think there's a freshness to seeing a black face in a movie like this.

i think everybody wants new things right now. but most important me, it has reveals. it's a type of movie that if you see it multiple times, it changes. that's big. charlie: you have executed the horror genre well, but it is the subject matter that makes it so interesting. jordan: i think that anything that we suppress, in this situation, it is a certain amount of looking at ourselves, a certain amount of talking about race. when you have that suppression, there is a need for escape. to get out. no pun intended. charlie: the movie title. jordan: right. i think what happens with the horror genre, there is this understanding that you might step over the boundary.

you might be irreverent. there is this unspoken contract with you in the audience. it relieves some of the difficulty of going there and talking about race, because i think the way we talk about race is kind of broken. charlie: and this gives you a totally different way to see it. not just talk about it, but you feel it. that's what's interesting. beyond the idea of timing and knowing the audience, what are the other things that horror and comedy have in common? jordan: i think they are both ways in that we deal with the fear of death, strangely. and fears in general. this might be going a couple levels deep -- charlie: we like that. [laughter] jordan: ok. cool.

the rhythm of both is to set up a pattern for the audience to suspect and expect a pattern, and then you break it in a strategic way. when you break it, that's when you get your scare or your laugh. i don't think it's a coincidence that is a mini allegory for life and death. it is part of the absurdity of existence. we are here, we have consciousness. then there's going to be this break in the pattern. to me, they are royalty amongst genres. charlie: between the idea of writer, director, comedian, of those three, would you define yourself most importantly as writer? jordan: you know, i've always wanted to be a director.

that's the one i have to go with. i think that the reason this movie worked was in the writing phase. charlie: but you wrote screenplays before? jordan: i have. i wrote "keanu," a movie i'm very proud of, a movie that was fun. the horror genre, i think i had even more to give. charlie: was there anything in your life that make you like the horror genre? jordan: you know, i think there is a connection with the feeling of being an outsider with horror, typically, as well as science fiction. charlie: so growing up you felt an outsider because of race, or because of something else? jordan: a little bit race. being mixed brings a feeling like you are accepted by both

sides -- black father, white mother. you have acceptance from both sides, but you don't quite fit in perfectly. i have a wonderful family that raised me and everything, but i think that's part of it. another part of it is good old-fashioned, some of us are outsiders. by nature. charlie: was it the power of the script that got you the opportunity to direct this film? jordan: the power of the story. i had the story ready. i had not even written the script before i sold it. i sold it off the pitch. charlie: what was the pitch like? jordan: i said, here's a movie that no one's ever going to make. it gives you an idea of how twisted my brain is. i said it is a horror version of

"guess who's coming to dinner?" i took them seem to seeing, i told him the story. by the end of the pitch, they wanted to make it. charlie: they said nothing about budget? jordan: we might have discussed it would be under $5 million. charlie: they didn't ask if you have made a film before? jordan: [laughter] this is the crazy thing. i have so much respect for filmmakers, i didn't even presume i could directed at that point. charlie: it was an idea you were selling. jordan: yes, it was an idea. i thought no one was going to make the movie. it was too dangerous. it was going to scare too many people. charlie: you haven't thought

about yourself, or you thought you didn't want to get and the way of making this good idea, so let's get the film sold and then we will decide? jordan: that's pretty much it. i think a big part of the doubt was feeling like i can't possibly direct something as good as my favorite movies. and no one would let me. you don't let a first-time director handle something like this. i think part of it is because there is a lack of black voices in the industry, and only a few role models for us. spike lee, john singleton, and recently eva do vernay -- ava duvernay. eventually i felt i was the only one to write this.

charlie: what did that feel like? jordan: it was a scene where chris is at the party. he's at a party with a bunch of white people, the friends of rose's grandfather, and he is the center of attention in a weird way. they come up to him and say, "i love tiger." [laughter] it's a piece of the african-american experience. charlie: "i love michael." jordan: "i would have voted for obama third time, if i could." [laughter] it's a part of the minority experience, the experience of anyone who feels like the other or the outsider in a situation. i realized i had not seen that yet. i remember feeling like if someone gets this wrong, the whole movie falls apart. charlie: i don't want to trust my movie. jordan: i don't want to trust my movie with someone else. i have to take the reins.

charlie: so did you go in and say, i'm going to direct it? pretty much like that? jordan: pretty much. to my happiness, there was no debate. charlie: there is this also in terms of people who make movies and have a great movie the first time out. it turns out they had been a student of movies, and they know exactly what directing is about, having not done it. there's a lot more to learn. i'm sure you could fill volumes. there's a lot more to learn about being a director. are you one of those? jordan: yes. i'm a real student. i'm encouraged by someone like quentin tarantino. he has no real formal training.

charlie: and working in a video store. jordan: i had 300 or 400 vhs's in high school. charlie: in high school? jordan: i was a big film geek. i knew i had the same pedigree as someone like tarantino, who is quoted about saying, i don't know anything about making movies, but i do know movies. i know what i like to watch. the whole idea of make the best movie that i could ever see for me, that's what my guiding principle was. charlie: was the decision to make a movie was what split up you and keegan michael key? jordan: no, we both had things we wanted to do. but i had this thing brewing.

i also felt like we completely agreed, "key & peele," it was a dream project, but we didn't know if we would be taking a step up with the next season. we were sort of feeling like we are saying what we want to say, and we suspected the next season would be about as good as the current season. that's the time to step down. charlie: what's next? i read somewhere you have four social thrillers in mind. jordan: when i started writing this movie, i started with a bunch of different ideas. the whole idea is as soon as something gets boring or you get writer's block, you have to move to something else and have fun. i do. i have some other projects. i haven't written the script for, but i have been writing the plot. charlie: so not only would you direct, but would you also act in? jordan: no. i'm not into acting anymore.

i had so much fun writing and directing this movie, and acting is less fun for me. charlie: what is it about this that made it so fun, other than it is something you always wanted to do and you had translatable skills? jordan: i don't know. for me, it is an adventure. to be able to feel the trust of the people around you -- for me, i always picture it like you get to be the pirate captain for a couple months. you get to wield the talents of this amazing crew, who are depending on you for the vision of this direction. it's a terrifying adventure. charlie: what part of it is the most exciting for you? the execution of the idea, the idea, or the editing?

jordan: each phase is fantastic in its own way. charlie: and each one builds on to whatever you had in mind. you present different options. in executing the idea, you see different ways when you came up with the idea. jordan: that's right. writing is an exercise in ultimate control. you are planning this web. you can be as intricate as you want. when you direct it, grabbed a hold of the reins. when you are editing, it is an exercise in meticulousness, but all of a sudden you have these images that almost feel like they magically come together. you just picture six months ago, this was on a page, now i see it.

charlie: and with your hands, you can put it here or there. it's like painting on canvas. jordan: it is so fun. you can realize you can do anything in editing. you can make a movie anything. charlie: and you can also add music. what is the significance of music in social thrillers or horror films? jordan: so important. it is pace, it's the tone and the beauty. i always say about music and score, when you go experience a movie, the sound is 50% of the experience. you experienced the movie with your eyes and your ears.

all the attention that goes into the visual has to go into the sound as well. i have this amazing composer who created a very original sound for this movie. his name is michael ables. the sound he made and that i based the entire score on is a new sound. i said i wanted something that sounded like a sinister or demonic negro spiritual. charlie: wow. [laughter] jordan: demonic negro spiritual, or where they are giving a warning to the lead character. i knew that whatever combination of that he comes up with will fit that the movie is supposed to be a new thing. charlie: and all those have beginnings and ends, rising action and falling action. those kind of spirituals. jordan: that's right.

i think what i wanted to take away from -- we see a lot of black music has hope in it. what i wanted to do was, what does it sound like? what does a decidedly black sound sound like when you take the hope away, and make a horror movie? charlie: what did you find out? jordan: the track, when the credits play -- charlie: just taking hope and almost like pulling a rug out from under you. jordan: yes. it's like a sound that feels unnatural to us. it feels different and unsettling, but it is beautiful. it has these very african sounding harmonies to it. score is just about everything. charlie: is this film everything you wanted it to be? jordan: yeah, it really is. it is such a dream process. i really have to say the thing

that makes it all come together is getting this group of people who trust you. like i said, the talent i was able to get together on this movie, so much of this movie is the acting. we don't get that in thrillers and horror movies. we don't always get great performers. charlie: but here you think you've achieved that, that the acting delivers for you? jordan: the amazing casting department -- we put together a cast that, that i'm so proud i was able to work with any one of these people. i feel like every role was just knocked out of the park. i'm very humbled. charlie: you should be proud. jordan: i am, thank you.

charlie: thank you for coming. thank you for joining us. see you next time. ♪

alisa: i'm alisa parenti from washington and you are watching "bloomberg technology." let's start with a check of your first word news. british prime minister theresa may has raised the nation's threat level saying another attack may be imminent after the suicide bombing last night in manchester. may spoke today in downing street. the terror level was raised from severe to critical. manchester residents held a vigil today for victims of the attack. authorities also identified a 22-year-old local resident as the suspect. 22 people died with more than 50 wounded. islamic state claimed