Latest / The Kulturecast / Halloween (2007) — "Behind these eyes one finds only blackness, the absence of light. These are the eyes of a psychopath."

Transcript

Halloween (2007) — "Behind these eyes one finds only blackness, the absence of light. These are the eyes of a psychopath." · The Kulturecast

• 0:04
  Speaker 1: We're in Wayne Media.
• 0:46
  Speaker 2: Death has come to your little town. The story you
• 0:50
  Speaker 2: thought you knew will reveal secrets you can't imagine.
• 0:53
  Speaker 1: You haven't said a word for 15 years. And unleash
• 0:58
  Speaker 1: a twist.
• 0:59
  Speaker 2: Is he gone?
• 1:00
  Speaker 1: You'll never forget.
• 1:02
  Speaker 2: Michael, I failed you. On August 31st, experience a legendary
• 1:07
  Speaker 2: tale as it's never been told.
• 1:11
  Speaker 1: Halloween. Rated R.
• 1:13
  Speaker 2: In theaters everywhere August 31st. Hello, everyone, and welcome to
• 1:16
  Speaker 2: the CultureCast. I'm your host, Chris Stashew, and I'm joined
• 1:18
  Speaker 2: by my good friend, someone that you're going to get
• 1:21
  Speaker 2: to know a lot better, and hopefully by the end
• 1:23
  Speaker 2: of this show, you'll be listening to his show in
• 1:25
  Speaker 2: addition to mine. His name is Brian Renfro. He has
• 1:28
  Speaker 2: been hosting Movie Meltdown for a very long time, a
• 1:32
  Speaker 2: lot longer than I've been podcasting, longer than Mike's been podcasting,
• 1:36
  Speaker 2: which is to say... more than 12 years brian how
• 1:39
  Speaker 2: long have you been podcasting for.
• 1:40
  Speaker 1: Uh it's painful really um technically now i think we're
• 1:44
  Speaker 1: still on the 17th year but we're getting close and
• 1:48
  Speaker 1: as of december it will roll over to 18 years.
• 1:53
  Speaker 2: So when brian reached out to mike and i wanting
• 1:56
  Speaker 2: to see if he was uh a candidate for joining
• 1:59
  Speaker 2: Weirding Way Media, we jumped at the opportunity to have
• 2:02
  Speaker 2: Brian join us over at the network where we and
• 2:06
  Speaker 2: our friends get to put together audio diversions for you
• 2:09
  Speaker 2: to listen to, to take your mind off the world
• 2:11
  Speaker 2: surrounding you. And Brian has been doing that even longer
• 2:14
  Speaker 2: than I have, which is to say he's been fighting
• 2:17
  Speaker 2: the good fight longer than Well, most people who've been podcasting. Brian,
• 2:20
  Speaker 2: at one point, was having to explain to people what
• 2:22
  Speaker 2: podcasting was. I mean, I did too, but it seems
• 2:25
  Speaker 2: like you were probably doing it for much longer than
• 2:27
  Speaker 2: I was.
• 2:27
  Speaker 1: I mean, they just didn't have a clue. In fact,
• 2:31
  Speaker 1: after a while, I just realized they kind of didn't care.
• 2:34
  Speaker 1: So like I just abandoned halfway into the explanation. I'm like, well,
• 2:37
  Speaker 1: it's like a, it's like a radio show and it's
• 2:40
  Speaker 1: on the internet and it's like, and you'd go into
• 2:42
  Speaker 1: it and your, their eyes would glaze over and they'd
• 2:44
  Speaker 1: start looking around the room and you'd be like.
• 2:46
  Speaker 2: Oh, already checked out. Great.
• 2:47
  Speaker 1: Yeah. Yeah. So I'm like, don't worry about it. Just,
• 2:50
  Speaker 1: just say the things you need to say now. Just
• 2:53
  Speaker 1: so I would still record people, but they didn't know
• 2:55
  Speaker 1: where it was going.
• 2:56
  Speaker 2: Essentially. That's fair.
• 2:57
  Speaker 1: Yeah.
• 2:58
  Speaker 2: I remember, I remember back in the early days of
• 3:00
  Speaker 2: the show, we had a lot of, What is this for? Oh,
• 3:03
  Speaker 2: is this for for a podcast or radio show? And
• 3:06
  Speaker 2: I was like, yeah, it's fine. Whatever. Whatever you want
• 3:07
  Speaker 2: to call it. Whatever process is giving me. Yeah, that's
• 3:11
  Speaker 2: all I care about. Yeah.
• 3:13
  Speaker 1: And usually they don't care, especially if it's people that
• 3:15
  Speaker 1: do it regularly. They're just like, what's this for? And
• 3:17
  Speaker 1: then they'll be like, all right, whatever. Like they just
• 3:19
  Speaker 1: shrug it off and they roll along, which is really
• 3:21
  Speaker 1: that's all we want.
• 3:22
  Speaker 2: Anyway, we just want to talk. Well, that's the other
• 3:25
  Speaker 2: thing about kind of like you've alluded to already. The
• 3:27
  Speaker 2: world of podcasting has changed a fair amount, but in
• 3:30
  Speaker 2: a lot of ways, it's pretty much stayed the same.
• 3:32
  Speaker 2: A lot of people sit and talk in movies trying
• 3:34
  Speaker 2: to convince the people who make the movies to take
• 3:36
  Speaker 2: us seriously, to talk about the movies with us. And
• 3:39
  Speaker 2: that's still the that's still the kind of uphill battle
• 3:43
  Speaker 2: even now as someone who's been part of a podcast
• 3:46
  Speaker 2: network for decades. going on seven years now. Yeah.
• 3:50
  Speaker 1: I mean, I think I don't have as much issue
• 3:52
  Speaker 1: with the people making the movies as much as the
• 3:54
  Speaker 1: people in between there. The PR people, the press relations people,
• 4:01
  Speaker 1: the contacts along the way, they're the ones that are like, oh, yeah,
• 4:05
  Speaker 1: your people that you have to talk to in between
• 4:07
  Speaker 1: here and there are just like, oh, podcasts. So Getting
• 4:10
  Speaker 1: past them is your real hurdle. And then after that,
• 4:13
  Speaker 1: once you're talking to people, they're usually pretty cool.
• 4:15
  Speaker 2: It should not surprise anyone to learn that most PR
• 4:18
  Speaker 2: people are really only interested in doing something for their
• 4:22
  Speaker 2: client if there is money to be made. And for
• 4:25
  Speaker 2: the most part, you're not making money doing podcasts. We're
• 4:28
  Speaker 2: not making money doing podcasts. Yeah, really. There's the problem.
• 4:33
  Speaker 2: So Brian will be joining the network next Wednesday. His
• 4:37
  Speaker 2: show will be joining the network on the 16th. Movie
• 4:40
  Speaker 2: Meltdown will have all of its episodes available and any
• 4:42
  Speaker 2: new episode going forward available on weirdingwaymedia.com. Brian and I
• 4:47
  Speaker 2: are going to be working on a podcast in the
• 4:49
  Speaker 2: future together. We don't know what it is, but we
• 4:51
  Speaker 2: will be doing something in a more extended capacity but
• 4:54
  Speaker 2: i figured if uh you know if given the opportunity
• 4:57
  Speaker 2: to we'll talk about anything just the two of us
• 4:59
  Speaker 2: for this to be kind of your opportunity a guest
• 5:01
  Speaker 2: on my show uh which you know i've been doing
• 5:04
  Speaker 2: this for like i alluded to 12 years now since
• 5:08
  Speaker 2: 2014 I have seen a lot of movies, as have you.
• 5:12
  Speaker 2: I've talked about a lot of movies and I've watched
• 5:14
  Speaker 2: more movies than I probably haven't talked about. I watch
• 5:16
  Speaker 2: a lot of movies, so it's like I'm just watching
• 5:18
  Speaker 2: movies for the podcast. And we sat and kind of
• 5:21
  Speaker 2: racked our brains for a while about what it was
• 5:24
  Speaker 2: we could talk about for this episode and the next
• 5:26
  Speaker 2: episode to kind of tie them together. as a little
• 5:28
  Speaker 2: kind of one-two punch to open your show coming onto
• 5:31
  Speaker 2: the network. And for whatever reason, we landed on, and
• 5:36
  Speaker 2: by we, I mean, I think it was primarily myself.
• 5:39
  Speaker 2: I was like, get out what would be fun to
• 5:40
  Speaker 2: talk about. Yeah, fun in quotes.
• 5:44
  Speaker 1: I think it was mostly you, but I knew going in,
• 5:47
  Speaker 1: I'm like, well.
• 5:48
  Speaker 2: I mean, I know I'm going.
• 5:49
  Speaker 1: To have a lot to say. So what these movies
• 5:52
  Speaker 1: are before you watch them, they have a reputation. Rob
• 5:56
  Speaker 1: Zombie films have a reputation.
• 5:57
  Speaker 2: That they do. So yes, we landed on the original.
• 6:02
  Speaker 1: Rob Zombie Halloween. I have to put the Rob Zombie
• 6:05
  Speaker 1: in there, not the original Halloween. The original Rob Zombie
• 6:07
  Speaker 1: Halloween before we get back to part two, you know,
• 6:10
  Speaker 1: somewhere in the future there.
• 6:12
  Speaker 2: But... I feel like first.
• 6:14
  Speaker 1: Before we get into the movie as it is, I
• 6:18
  Speaker 1: should probably throw out a basic apology to Rob Zombie fans.
• 6:24
  Speaker 1: I've realized many times over the years now, and I've
• 6:27
  Speaker 1: said it, it's actually frustrating because... what I've said on
• 6:31
  Speaker 1: my show many times is it's a shame because I
• 6:34
  Speaker 1: think Rob and I have such similar tastes. Everything that
• 6:38
  Speaker 1: he likes, I like. So it's really difficult when he
• 6:42
  Speaker 1: like takes all his influence and creativity and put something together.
• 6:46
  Speaker 1: And it so rubs me the wrong way, which it
• 6:49
  Speaker 1: does more often than not. I've watched a lot of
• 6:53
  Speaker 1: his movies over the years and like Most of the time,
• 6:56
  Speaker 1: I feel like I end up having problems with them
• 6:58
  Speaker 1: and I don't want to.
• 6:59
  Speaker 2: So that's the thing. I'm trying to at least throw
• 7:01
  Speaker 2: it out there that I normally try to go into.
• 7:04
  Speaker 1: Most movies with an open mind. I try to just
• 7:07
  Speaker 1: assess it for what it is and not bring too much.
• 7:10
  Speaker 1: We all kind of bring baggage to the.
• 7:12
  Speaker 2: To the table when we get there.
• 7:14
  Speaker 1: But still, you're just trying to like, at least normally
• 7:17
  Speaker 1: for somebody like us, we're trying to come at it
• 7:20
  Speaker 1: with an open mind and trying to give a realistic
• 7:22
  Speaker 1: take of what it is we think of this movie.
• 7:25
  Speaker 1: And technically I've seen this one, but not since maybe
• 7:28
  Speaker 1: the theater, if not definitely right when it came out
• 7:31
  Speaker 1: on video after that. So I was also trying to
• 7:35
  Speaker 1: come at it with, you know, fresh eyes, a new opinion,
• 7:38
  Speaker 1: like just sort of come in open and let myself
• 7:40
  Speaker 1: experience it as it is now, because, you know, you
• 7:43
  Speaker 1: give it 10, 12.
• 7:44
  Speaker 2: Years, you're a whole new person, essentially. So you might
• 7:47
  Speaker 2: totally feel different about a movie.
• 7:48
  Speaker 1: So I'm just all of that throwing out there that
• 7:51
  Speaker 1: I'm trying to look at this as open minded as
• 7:54
  Speaker 1: I can. And I'm still going to have some problems
• 7:57
  Speaker 1: with it. But I'm just I'm not against Rob Zombie
• 8:00
  Speaker 1: per se. I just want him to make a good movie.
• 8:04
  Speaker 2: Jesus. There, that all having been said.
• 8:07
  Speaker 1: Right.
• 8:08
  Speaker 2: I I have talked about some Rob Zombie stuff before.
• 8:11
  Speaker 2: I want to say on Mark Begley's show, Wake Up Heavy,
• 8:14
  Speaker 2: which you can find on weirdingwaymedia.com. We talked about House
• 8:18
  Speaker 2: of a Thousand Corpses and Devil's Rejects. I want to say,
• 8:21
  Speaker 2: which I mean, again, talk about two films that like
• 8:24
  Speaker 2: you've already alluded to, exist to rub people the wrong way.
• 8:27
  Speaker 2: I think for me, the reason, you know, before we
• 8:29
  Speaker 2: kind of get into the movie proper, the reason I
• 8:31
  Speaker 2: wanted to talk about this movie is this is a
• 8:33
  Speaker 2: movie that the last couple of times I watched it,
• 8:35
  Speaker 2: I have not enjoyed it. I think you've already alluded
• 8:38
  Speaker 2: to the fact that like, oh, well, you know. Sorry
• 8:40
  Speaker 2: ahead of time to Rob Zombie fans. It's like, I
• 8:43
  Speaker 2: don't know if Rob Zombie fans care. I mean, I'm
• 8:46
  Speaker 2: not sure Rob Zombie cares that we don't like this
• 8:48
  Speaker 2: movie because at the end of the day, and this
• 8:50
  Speaker 2: is really kind of my kind of opening kind of
• 8:53
  Speaker 2: thesis for this movie. And I think for Rob Zombie
• 8:55
  Speaker 2: in general is exploitation films aren't meant to be for everyone.
• 8:59
  Speaker 2: And Rob Zombie's flavor of exploitation is. I see what
• 9:03
  Speaker 2: it is. I think you see what it is. And
• 9:05
  Speaker 2: I'm not saying I do or don't vibe with it.
• 9:08
  Speaker 2: It's just I this is not the flavor of ice
• 9:11
  Speaker 2: cream I go and eat all the time. And this
• 9:14
  Speaker 2: is the flavor of ice cream that some people eat
• 9:16
  Speaker 2: all the time without like with wanton abandon. Like they just,
• 9:19
  Speaker 2: this is all the, I mean, I know, you know,
• 9:21
  Speaker 2: people just like I do that are horror bros and
• 9:23
  Speaker 2: all they do is watch horror movies and that's it.
• 9:25
  Speaker 2: And they watch every single horror movie and you know, I'm,
• 9:27
  Speaker 2: you know, art, the clown is my favorite thing and
• 9:29
  Speaker 2: gore this and gore that I'm not saying there's anything
• 9:31
  Speaker 2: wrong with that, but those people don't care either. If
• 9:34
  Speaker 2: you don't vibe with those movies. And I think my
• 9:36
  Speaker 2: point is like, I think, you know, It's weird to
• 9:38
  Speaker 2: have a Halloween movie that's an exploitation version of Halloween.
• 9:42
  Speaker 2: But I think now in the day and age we
• 9:45
  Speaker 2: live in, and I think that this is hilarious in
• 9:48
  Speaker 2: a lot of ways, similar to the conversation you and
• 9:51
  Speaker 2: I had offline about the Star Wars prequels, at least
• 9:53
  Speaker 2: that these movies are different and that's why i liked
• 9:56
  Speaker 2: the the the third david gordon green movie is because
• 10:00
  Speaker 2: it is markedly different than those first two because those
• 10:02
  Speaker 2: first two are just remakes of the original halloween the
• 10:07
  Speaker 2: second one i don't know that the second one's much of.
• 10:09
  Speaker 1: Anything the second one is just the first one's a
• 10:12
  Speaker 1: remake The second one is without a doubt one of
• 10:16
  Speaker 1: the worst horror movies I've ever seen because it is
• 10:18
  Speaker 1: such a waste of time.
• 10:19
  Speaker 2: It's a waste of the audience's time. It's just dragging
• 10:22
  Speaker 2: its feet for like two hours. And then at the end,
• 10:23
  Speaker 2: they don't kill Michael. But why?
• 10:26
  Speaker 1: But they just let him walk away. The movie is insulting.
• 10:31
  Speaker 2: And again, it's one of those things where they announced
• 10:33
  Speaker 2: that a third one was coming out before the second
• 10:35
  Speaker 2: one was done. It's like, Okay, so you robbed any
• 10:37
  Speaker 2: stakes that this movie could have, period.
• 10:39
  Speaker 1: We know our main leads. We got at least two
• 10:43
  Speaker 1: leads that are going to be in the next movie.
• 10:45
  Speaker 1: It's like we know these two aren't going anywhere until
• 10:47
  Speaker 1: the finale.
• 10:48
  Speaker 2: Right. What can we do to kill time for.
• 10:50
  Speaker 1: This movie in the middle here is essentially what that
• 10:52
  Speaker 1: whole thing felt like. Or kill off two thirds of
• 10:55
  Speaker 1: the cast of the movie, but two thirds of the
• 10:56
  Speaker 1: cast that were introduced in the movie. So yeah, all
• 10:59
  Speaker 1: these people are introduced just to stranger things die in
• 11:02
  Speaker 1: the same movie.
• 11:03
  Speaker 2: Like it's, I don't know. I will say, like I said,
• 11:07
  Speaker 2: in terms of just this opening kind of, you know,
• 11:09
  Speaker 2: not apology, but in a way like opening preamble. Yeah.
• 11:13
  Speaker 2: I think that Rob Zombie as a director makes a
• 11:17
  Speaker 2: lot of interesting choices and I don't necessarily vibe with
• 11:20
  Speaker 2: all of them, but the ones that I do vibe with,
• 11:23
  Speaker 2: I'm a fan of. However, the ones that I don't
• 11:25
  Speaker 2: vibe with are, they're just missteps, but they're missteps that
• 11:28
  Speaker 2: are such specific choices that he's making that I'm just like, man,
• 11:32
  Speaker 2: I get it. Like it's a stylistic choice or it's
• 11:35
  Speaker 2: a specific choice that you're making, but I don't vibe
• 11:37
  Speaker 2: with it. So on that note, let's talk about 2007's Halloween.
• 11:41
  Speaker 2: So the film is written and directed by one Robert Zombie.
• 11:44
  Speaker 2: It's based on this other film called Halloween. I know,
• 11:47
  Speaker 2: the same title even. It's almost like we're going to
• 11:49
  Speaker 2: have to have another one of those come out. It's confusing.
• 11:52
  Speaker 2: I know, right? The film stars Malcolm McDowell, Sherry Moon Zombie,
• 11:56
  Speaker 2: Tyler Maine, Scout Taylor Compton, Brad Dorff, Daniel Harris, William Forsythe,
• 12:01
  Speaker 2: And Dag Ferk, otherwise known as Young Michael Myers, who
• 12:04
  Speaker 2: I think is given the unenviable task of playing another
• 12:09
  Speaker 2: child version of a murderer in the mid-2000s, a la,
• 12:14
  Speaker 2: speaking of Star Wars prequels. Yeah. But, you know, just
• 12:18
  Speaker 2: to speak to kind of why I wanted to talk
• 12:20
  Speaker 2: about this movie, it's because of the things that this
• 12:22
  Speaker 2: movie does that are so different from the other movies,
• 12:25
  Speaker 2: like actually giving Michael Myers a pretty sad backstory. Like, hey,
• 12:30
  Speaker 2: he was a kid who was abused and ignored and misunderstood.
• 12:34
  Speaker 2: And then he killed everybody. We don't know why, but
• 12:37
  Speaker 2: he did it. And it's like, well, that's a lot
• 12:40
  Speaker 2: more believable. And I think he was closer to like
• 12:44
  Speaker 2: real life than what we get in that original Halloween movie.
• 12:48
  Speaker 2: I think this movie, what makes this movie so interesting
• 12:50
  Speaker 2: is this movie is very uncomfortable, but I think on
• 12:54
  Speaker 2: this rewatch, it's the right kind of uncomfortable for me.
• 12:57
  Speaker 2: Maybe the first time I saw it, there were things
• 12:59
  Speaker 2: I didn't resonate with, but that this is like a
• 13:02
  Speaker 2: white trash kid from a poor upbringing who is is
• 13:06
  Speaker 2: his mom is a stripper. His stepdad is just the
• 13:11
  Speaker 2: most piece of shit. William Forsythe, you can think of.
• 13:15
  Speaker 1: And you've, yeah, like again, like I'm not saying to
• 13:17
  Speaker 1: say like you, you feel for this kid, but like
• 13:19
  Speaker 1: there is some empathy that Rob Zombie is able to,
• 13:23
  Speaker 1: get from the audience towards the young Michael Myers character.
• 13:26
  Speaker 2: And I don't think it's unearned. Like, I think it's
• 13:28
  Speaker 2: well-earned by Rob Zombie. It's just, that's an uncomfortable statement
• 13:31
  Speaker 2: that you're, you know, empathizing with a child who ends
• 13:34
  Speaker 2: up murdering everybody in the film. Like, literally. Other than, like,
• 13:37
  Speaker 2: maybe two people. Most everybody gets... the fucking shit knocked
• 13:41
  Speaker 2: out of them in this movie because it's a brutal
• 13:43
  Speaker 2: rob zombie thing so there's all this exploitation and over
• 13:47
  Speaker 2: the top gore and just it's it's it's gratuitous but
• 13:51
  Speaker 2: you know exploitation films are i think by definition gratuitous
• 13:55
  Speaker 2: so i'm gonna kick it to you brian i am
• 13:57
  Speaker 2: so curious this is your first uh episode of the
• 13:59
  Speaker 2: culture cast what did you think of rob zombies or
• 14:04
  Speaker 2: just Halloween, but we got to call it Rob Zombie's
• 14:06
  Speaker 2: Halloween because John Carpenter's Halloween is a thing and I
• 14:09
  Speaker 2: guess David Gordon Green's Halloween is a thing. So this
• 14:11
  Speaker 2: is Rob Zombie's Halloween.
• 14:12
  Speaker 1: You do have to specify.
• 14:14
  Speaker 2: All right, guys. I love the times we live in.
• 14:16
  Speaker 2: The most perfect of dystopian times.
• 14:18
  Speaker 1: Since I was thinking maybe this should be later, but
• 14:22
  Speaker 1: since you've already kind of thrown it out there, maybe
• 14:23
  Speaker 1: I'll start.
• 14:24
  Speaker 2: With the overall view of it here.
• 14:27
  Speaker 1: Because I'm kind of coming at it from an entirely
• 14:30
  Speaker 1: opposite direction of you.
• 14:32
  Speaker 2: That's perfectly fine. That's why we're here, man. Definitely. So,
• 14:35
  Speaker 2: but that's the thing.
• 14:36
  Speaker 1: Like I, I, I appreciate what he wanted to do
• 14:38
  Speaker 1: because I do feel like the second half of this
• 14:40
  Speaker 1: movie is just rehash.
• 14:42
  Speaker 2: Like it's just stuff we've seen with a.
• 14:45
  Speaker 1: Slightly different lens, but even that not much, like once
• 14:48
  Speaker 1: you get there, it's pretty close to the same type
• 14:50
  Speaker 1: of thing. Just a little more brutal here and there
• 14:53
  Speaker 1: a little more just horrendous in the dialogue, but we'll
• 14:56
  Speaker 1: get to that later. But I feel like the, the
• 14:58
  Speaker 1: overall issue I have with it is it, It is
• 15:01
  Speaker 1: trying to take that different examination or trying to re-examine
• 15:05
  Speaker 1: the whole idea of the killer at hand, more or less. So, like,
• 15:10
  Speaker 1: is it possible to do a more realistic examination of
• 15:13
  Speaker 1: why a kid goes from a seemingly normal person to
• 15:16
  Speaker 1: a horrible killer? Yeah, I think it is something you
• 15:19
  Speaker 1: can do.
• 15:20
  Speaker 2: But I don't know.
• 15:21
  Speaker 1: Number one, I don't know that Halloween... in the franchise
• 15:25
  Speaker 1: thereof is the place to do it. Really?
• 15:27
  Speaker 2: Like, I feel like it, Chris Nolan, right? It's like,
• 15:30
  Speaker 2: I'm going to do something. It's, it's not elevated horror,
• 15:34
  Speaker 2: but it's as much elevated as Rob zombie can get.
• 15:37
  Speaker 2: It's just hilarious because I don't think anyone would ever
• 15:40
  Speaker 2: say Rob zombies, elevated horror. But watch this movie and
• 15:44
  Speaker 2: tell me that that's not what this movie is going for. Like,
• 15:46
  Speaker 2: it's imminently apparent for the first half of this goddamn
• 15:49
  Speaker 2: movie what this movie is going for. Because, by the way,
• 15:52
  Speaker 2: this is a two hour long Halloween movie. Yeah. Two hours.
• 15:55
  Speaker 2: That's because the first half of the movie takes place
• 15:58
  Speaker 2: in Michael Myers is a child land. Like. Like literally
• 16:03
  Speaker 2: he shows up as an adult only 50 minutes into
• 16:05
  Speaker 2: the movie. And that's what that's what I think is
• 16:07
  Speaker 2: weird with this.
• 16:08
  Speaker 1: Yes, because we it would be different if I didn't
• 16:11
  Speaker 1: feel like it does it justice. And we just sort
• 16:13
  Speaker 1: of skip over that part. If we just see him
• 16:16
  Speaker 1: like murder his sister and then we jump to the
• 16:18
  Speaker 1: you know, he's in the asylum. He's a big dude.
• 16:20
  Speaker 1: But we spend a long time with Loomis and the
• 16:24
  Speaker 1: kids sitting there and talking. And we take all these
• 16:27
  Speaker 1: different like all these all these weird artsy shots of him,
• 16:31
  Speaker 1: like just black and white shots of the kid looking weird,
• 16:34
  Speaker 1: standing up against the wall and trying on different masks
• 16:37
  Speaker 1: and all these different like things to sort of try
• 16:39
  Speaker 1: to look like, oh, we're we're taking a look at
• 16:42
  Speaker 1: this kid and what's leading to this. But we don't
• 16:44
  Speaker 1: ever actually do that. So in the end, it's like
• 16:46
  Speaker 1: we spend all this time going through this process in quotes.
• 16:51
  Speaker 1: But in the end, like we also just still kind
• 16:53
  Speaker 1: of make that jump. It's still like he's he's a
• 16:56
  Speaker 1: normal kid who seems to be totally detached from the
• 16:58
  Speaker 1: fact that he murdered half the people in his life
• 17:01
  Speaker 1: and then like doesn't even seem to know what happened.
• 17:04
  Speaker 1: And then like he gets the point. He's getting less chatty.
• 17:07
  Speaker 1: And the next thing you know, he's just catatonic. So
• 17:09
  Speaker 1: it's like there's no progression. There's no figuring it out.
• 17:12
  Speaker 1: We get some weird, awkward voiceover from Malcolm McDowell that's
• 17:15
  Speaker 1: trying to be like, oh, with the mask, he's hiding
• 17:18
  Speaker 1: from himself.
• 17:19
  Speaker 2: And like we have these like.
• 17:20
  Speaker 1: Attempting to throw a little psychobabble in there to pretend
• 17:24
  Speaker 1: like we're getting somewhere but like we never really address
• 17:27
  Speaker 1: the why and how and what would lead you to
• 17:30
  Speaker 1: go from this you know yes you had a screwed
• 17:32
  Speaker 1: up childhood i'll give you that but like it doesn't
• 17:35
  Speaker 1: mean it's a pass to murder everyone in your vicinity
• 17:38
  Speaker 1: so like i don't know i if you were going
• 17:41
  Speaker 1: to dig into the psyche of this kid and really
• 17:44
  Speaker 1: try to address that go ahead and do it again
• 17:47
  Speaker 1: i don't know that this cheesy Halloween movie is the
• 17:49
  Speaker 1: place to do it, but you can certainly make the,
• 17:51
  Speaker 1: and there are like horror films, like weird indie films
• 17:54
  Speaker 1: out there that are taking more of a realistic look
• 17:57
  Speaker 1: at the how and the why of it all. But
• 17:59
  Speaker 1: it's weird that we devote as much time as we
• 18:01
  Speaker 1: do to that approach in this movie and then completely
• 18:05
  Speaker 1: don't do it.
• 18:06
  Speaker 2: We just jumped to the, the.
• 18:07
  Speaker 1: 15 years later, And then he's just catatonic dude going
• 18:12
  Speaker 1: around murdering everybody.
• 18:13
  Speaker 2: And like that, what do we accomplish?
• 18:15
  Speaker 1: How did we get here? And why did we get here?
• 18:18
  Speaker 1: And now I've already seen this movie in 1978.
• 18:20
  Speaker 2: So like, what are we doing?
• 18:22
  Speaker 1: Well, and so that's the thing that I would, you know,
• 18:25
  Speaker 1: kind of level a lot of my then criticism against
• 18:28
  Speaker 1: this movie is exactly what you have gotten at, which is,
• 18:31
  Speaker 1: you know, I can give the film praise for doing,
• 18:34
  Speaker 1: you know, oh, it's really kind of, you know, leaning
• 18:37
  Speaker 1: into Michael Myers is this fucked up kid and how
• 18:40
  Speaker 1: terrible is that? And all these things, but then it
• 18:43
  Speaker 1: abandons it once he becomes an adult, like completely. And
• 18:47
  Speaker 1: I don't understand why, because like you said, if you're
• 18:50
  Speaker 1: going to spend all this time setting it up, why
• 18:52
  Speaker 1: would you just reject it? Once we've spent literally 45
• 18:55
  Speaker 1: minutes giving the audience a reason to feel somewhat sympathetic for,
• 19:00
  Speaker 1: for Michael Myers. And, Again, it's hard to feel empathetic
• 19:04
  Speaker 1: for a character who murders people, but the film does
• 19:07
  Speaker 1: its darndest in the first 45 minutes to get us there,
• 19:09
  Speaker 1: and then it abandons it completely. There's definitely several moments
• 19:13
  Speaker 1: where it completely leans into it and is like, look,
• 19:18
  Speaker 1: you know, this kid's kind of a good kid in
• 19:20
  Speaker 1: this moment, in this one little moment, like he's got
• 19:22
  Speaker 1: redeemable value right here. And then you get to even...
• 19:26
  Speaker 1: point in the middle there where it's like, well, now
• 19:28
  Speaker 1: he's kind of inadvertently doing something good. Are we supposed
• 19:31
  Speaker 1: to be rooting for him now?
• 19:33
  Speaker 2: Like, so we can get to that later, too. That's traumatizing.
• 19:36
  Speaker 2: But I don't know.
• 19:38
  Speaker 1: Like, I feel like that's so much of the problem
• 19:40
  Speaker 1: is that and kind of my main issue with this
• 19:43
  Speaker 1: going in originally, like when I very first saw this
• 19:46
  Speaker 1: and I saw they're doing this crazy backstory and look,
• 19:49
  Speaker 1: we need to find out that he's a trashy kid
• 19:51
  Speaker 1: and he had a hard life and i'm like okay
• 19:52
  Speaker 1: but it's a very star wars fan to miss yeah
• 19:55
  Speaker 1: and and in a way and i don't i don't
• 19:57
  Speaker 1: normally have an issue with that like i'm fine with
• 20:00
  Speaker 1: you know character development and like writing an interesting backstory
• 20:04
  Speaker 1: with most movies that's What I want. But in specifically
• 20:07
  Speaker 1: in Halloween, the whole reason that I loved that so
• 20:11
  Speaker 1: much as a kid, the 78, the John Garberner version
• 20:15
  Speaker 1: is the fact that. We don't know anything like there
• 20:18
  Speaker 1: isn't anything because he is essentially the boogeyman. He represents
• 20:23
  Speaker 1: the boogeyman. He is almost just the entity of Halloween,
• 20:26
  Speaker 1: more or less, and is, you know, pure evil. If
• 20:29
  Speaker 1: you want to go by the Loomis quotes and.
• 20:31
  Speaker 2: Go with all that. But really, the mystery of it,
• 20:34
  Speaker 2: the not knowing what he is and not knowing is
• 20:36
  Speaker 2: he just.
• 20:37
  Speaker 1: A supernatural thing that shows up and just will murder
• 20:41
  Speaker 1: you on Halloween night because like there's a very sort of,
• 20:44
  Speaker 1: you know, October vibe that kicks in in that first movie.
• 20:47
  Speaker 1: And a lot of it just brings the mystery of
• 20:49
  Speaker 1: who and what this killer is with it. And like
• 20:52
  Speaker 1: you're just letting go of all of that when you
• 20:55
  Speaker 1: start pinning down these specifics and giving him a backstory
• 20:57
  Speaker 1: and making him a character, not just an ideal character. Of,
• 21:02
  Speaker 1: you know, the evil that takes place at Halloween. Would
• 21:04
  Speaker 1: you say evil dies tonight? I would in a couple
• 21:08
  Speaker 1: of movies from now. And I would say it over
• 21:10
  Speaker 1: and over and over and over. And then, by the way,
• 21:13
  Speaker 1: it doesn't. Everyone else in the cast dies that night.
• 21:17
  Speaker 1: Evil goes on just fine and goes.
• 21:18
  Speaker 2: To live in a sewer. I know, which... And, you know,
• 21:21
  Speaker 2: that's the funny thing, like, you know, not to ruin
• 21:23
  Speaker 2: those movies, because, again, like I think that those movies
• 21:26
  Speaker 2: have their own problems. But these movies do have that
• 21:29
  Speaker 2: same issue that I had with that first David Gordon
• 21:32
  Speaker 2: Green movie, because, you know, we are going to talk
• 21:34
  Speaker 2: about the second one of these, which is markedly different
• 21:36
  Speaker 2: from any of these. Very different.
• 21:39
  Speaker 1: And I feel like I as I remember it, I
• 21:41
  Speaker 1: purposely haven't rewatched it yet. But I'm like, as we
• 21:44
  Speaker 1: revisit it, I want to see how I feel, because
• 21:46
  Speaker 1: I remember at the time feeling like. very different about
• 21:49
  Speaker 1: the second one than I did this first one. So
• 21:52
  Speaker 1: I'm kind of curious to see what revisiting that one
• 21:54
  Speaker 1: will bring. Well, and that's the thing. I've seen the
• 21:56
  Speaker 1: second one more than I've seen the first one. So
• 21:58
  Speaker 1: this is the one of the two that I have
• 22:00
  Speaker 1: not seen that much. So it was the one that
• 22:02
  Speaker 1: I was having to revisit because I liked the second
• 22:04
  Speaker 1: one a fair amount other than a couple things that
• 22:06
  Speaker 1: we'll talk about I kind of landed on that too,
• 22:09
  Speaker 1: as I originally saw it. So again, I'm interested to
• 22:12
  Speaker 1: see what.
• 22:13
  Speaker 2: My problem with this one is the problem that I
• 22:14
  Speaker 2: think I have with that same Halloween David Gordon Green movie,
• 22:18
  Speaker 2: which is I don't care about the Laurie Strode character.
• 22:21
  Speaker 2: And I never really have. To your point about what
• 22:25
  Speaker 2: Michael Myers was supposed to be, Michael Myers was supposed
• 22:28
  Speaker 2: to be, and just the film series alone was supposed
• 22:31
  Speaker 2: to be an anthology series. Yeah.
• 22:33
  Speaker 1: Yeah.
• 22:34
  Speaker 2: It was not supposed to be like every movie is
• 22:36
  Speaker 2: Michael Myers. And yet, obviously, you know, money wills out
• 22:39
  Speaker 2: in the end. Stranger Things got a season two. True
• 22:42
  Speaker 2: Detective got a season two and three. All these things
• 22:45
  Speaker 2: exist because money is very easy to make when there's
• 22:48
  Speaker 2: an IP connected. And so I understand why we get
• 22:51
  Speaker 2: this movie as a direct remake of the 1978 film.
• 22:57
  Speaker 2: But I really wish, and this is going to sound
• 23:00
  Speaker 2: even crazier, I wish Rob Zombie had just done something
• 23:02
  Speaker 2: else with Michael Myers, even more different than this. Yeah,
• 23:05
  Speaker 2: that's what I would like, really.
• 23:06
  Speaker 1: And to your Laurie thing, that's again, going back to
• 23:10
  Speaker 1: the carpenter version.
• 23:11
  Speaker 2: I think it's the same thing.
• 23:12
  Speaker 1: It's not like you were supposed to be like so
• 23:15
  Speaker 1: committed to this Laurie character. I think once again, she's
• 23:18
  Speaker 1: an ideal. She just represents she's the innocent one, even
• 23:21
  Speaker 1: of the bunch of girls. And she is meant to
• 23:24
  Speaker 1: be the final girl, even if we weren't using that
• 23:26
  Speaker 1: terminology yet. Like she was meant to be the opposite
• 23:29
  Speaker 1: of the evil that is Michael Myers but she wasn't
• 23:32
  Speaker 1: like a super deep character she really didn't have she
• 23:35
  Speaker 1: she fought a little more than the others she lasted
• 23:37
  Speaker 1: longer than the others and that's why we as horror
• 23:40
  Speaker 1: fans were like yeah I like her but like you
• 23:42
  Speaker 1: weren't attached to her personality she didn't have that much
• 23:45
  Speaker 1: personality in the first movie don't get me wrong I
• 23:47
  Speaker 1: think she does a terrific performance acting.
• 23:49
  Speaker 2: Wise, but she's no Nancy from, but.
• 23:52
  Speaker 1: She's not, I mean, she's not even, she's not, she's
• 23:54
  Speaker 1: not even Sydney Prescott. You know, it's like Sydney has
• 23:57
  Speaker 1: a lot more character to her than the original.
• 24:00
  Speaker 2: Yeah.
• 24:00
  Speaker 1: It's like then the original version of, of what Laurie
• 24:03
  Speaker 1: Strode has. Like she's just a high school kid. Like
• 24:06
  Speaker 1: she's just meant to be an innocent high school kid
• 24:08
  Speaker 1: that gets caught up in this. And like, She wasn't
• 24:10
  Speaker 1: meant to be a family member or even no matter
• 24:14
  Speaker 1: what they tell you, like she wasn't meant to be
• 24:16
  Speaker 1: tied to this crazy ongoing.
• 24:18
  Speaker 2: Saga for the rest of her life as she lives
• 24:21
  Speaker 2: in a bunker 30, 40 years down the road.
• 24:23
  Speaker 1: Like.
• 24:26
  Speaker 2: She just she was just a girl.
• 24:28
  Speaker 1: This is he randomly came across her, whether that happens
• 24:32
  Speaker 1: in this movie or not. And then he just killed
• 24:35
  Speaker 1: all her friends. And like, this is what happened on
• 24:37
  Speaker 1: Halloween night. And now she's got a horrible story to
• 24:39
  Speaker 1: tell later. So that's pretty much all she was supposed
• 24:41
  Speaker 1: to be.
• 24:42
  Speaker 2: And that brings me to my first question about this
• 24:45
  Speaker 2: with the kind of changing of the backstory. How do
• 24:47
  Speaker 2: you feel about them embracing what would later be rejected
• 24:51
  Speaker 2: by the kind of the next Halloween remake, which is
• 24:54
  Speaker 2: Laurie and Michael are not related? I mean, this movie
• 24:57
  Speaker 2: leans into it like hard. It's it's it is a
• 24:59
  Speaker 2: plot point through this film and the next film. It's
• 25:02
  Speaker 2: kind of like a mist. I mean, I would say
• 25:04
  Speaker 2: it's like a mystery, but a mystery in the sense
• 25:06
  Speaker 2: of like they show you Chekhov's baby in the first
• 25:09
  Speaker 2: 10 minutes of this movie. Like, who could that be? Like,
• 25:12
  Speaker 2: I wonder. I really don't wonder. There's like there's no one.
• 25:15
  Speaker 2: I kind of forgot about that part, too.
• 25:17
  Speaker 1: Like they're sitting there like, oh, look, he's got another kid.
• 25:20
  Speaker 1: kid or some other random sibling i totally into that
• 25:23
  Speaker 1: i forgot about it all yeah because it got it
• 25:26
  Speaker 1: got so removed and i haven't watched this in so
• 25:29
  Speaker 1: long i was just like oh look another kid and
• 25:31
  Speaker 1: it's like he usually doesn't murder babies so that kid's
• 25:34
  Speaker 1: probably okay right like it really was later in the
• 25:37
  Speaker 1: movie was like oh yeah i forgot that's the whole
• 25:39
  Speaker 1: thing i'd put that out of my mind probably on
• 25:42
  Speaker 1: purpose but.
• 25:43
  Speaker 2: Yeah i mean that's that's the thing is they couldn't
• 25:46
  Speaker 2: even make up their mind. Like, it constantly went back
• 25:49
  Speaker 2: and forth.
• 25:49
  Speaker 1: It just ping-ponged as to, like, by the first movie,
• 25:53
  Speaker 1: they have nothing to do with each other. By the
• 25:55
  Speaker 1: second movie, because Carpenter just was grasping at straws and like,
• 25:58
  Speaker 1: I don't know, I gotta come up with some reason
• 25:59
  Speaker 1: he keeps following this stupid girl around.
• 26:01
  Speaker 2: Those are literally his words as to writing the second movie.
• 26:04
  Speaker 1: He's just like, I don't really care, like, whatever. I'm
• 26:07
  Speaker 1: not holding a cigarette right now. But otherwise, it's pretty
• 26:10
  Speaker 1: accurate to what he was thinking.
• 26:11
  Speaker 2: So... Right.
• 26:12
  Speaker 1: He, yeah, I mean, he just sort of threw that
• 26:14
  Speaker 1: in there because he needed to come up with some
• 26:16
  Speaker 1: other part of a plot for a movie he didn't
• 26:18
  Speaker 1: even want to direct by then. So then we know
• 26:20
  Speaker 1: three is its own weird thing. By four, they're changing
• 26:23
  Speaker 1: their mind. They come back later. I don't even, where
• 26:26
  Speaker 1: did they land on H2O?
• 26:27
  Speaker 2: I don't even remember. Yeah, I think they're related. I
• 26:30
  Speaker 2: think they're related still. They don't retcon it until, they
• 26:33
  Speaker 2: don't retcon it until the David Gordon Green movies where
• 26:36
  Speaker 2: they retcon it immediately and they even have like a,
• 26:39
  Speaker 2: I thought they were brother and sister. No, that's just
• 26:41
  Speaker 2: what someone on the internet said. They literally have one
• 26:44
  Speaker 2: of those like Ghostbusters 2016. They blame us. Yeah, Ghostbusters
• 26:48
  Speaker 2: 2016 lines where it's like, get it? It's the nerds
• 26:50
  Speaker 2: who are the problem. And it's like, We're the ones
• 26:53
  Speaker 2: sitting here giving you... It's you! You people are the
• 26:58
  Speaker 2: ones that came up with that dumb story. It's not
• 27:00
  Speaker 2: our fault.
• 27:01
  Speaker 1: You guys wrote that shit in the fucking second Halloween movie.
• 27:05
  Speaker 1: That's on you guys, 100%. That's on John Carpenter, just
• 27:08
  Speaker 1: not caring. It makes for a great visual, right? The.
• 27:12
  Speaker 2: the, the tombstone of Judith Myers in the bed and
• 27:15
  Speaker 2: makes her a.
• 27:16
  Speaker 1: Great visual, but that's about it. And it still works
• 27:18
  Speaker 1: in the first movie. It's just, it's his family name.
• 27:21
  Speaker 2: It's Myers. It's his, you know, he killed his sister.
• 27:24
  Speaker 2: She's a Myers.
• 27:25
  Speaker 1: Like all of the Myers stuff still works. It doesn't
• 27:27
  Speaker 1: have to have anything to do with Lori also being
• 27:30
  Speaker 1: a Myers. So like, It just needs to be Luke
• 27:33
  Speaker 1: Skywalker or Harry Potter or all these people.
• 27:37
  Speaker 2: She's the chosen one. I know. It's so obnoxious.
• 27:40
  Speaker 1: Only Laurie can save the universe with her magical final
• 27:44
  Speaker 1: girl powers.
• 27:45
  Speaker 2: I know. It doesn't work. It doesn't work here in
• 27:47
  Speaker 2: this movie. It doesn't work in the rebooted Halloween either
• 27:52
  Speaker 2: with Jamie Lee Curtis because the final girl should be
• 27:54
  Speaker 2: allowed to die or walk away. It doesn't have to
• 27:57
  Speaker 2: be this like, We're going to go around in circles
• 28:00
  Speaker 2: in perpetuity. Then she's not the final girl. She's like
• 28:03
  Speaker 2: the always girl. And that's a completely different girl.
• 28:06
  Speaker 1: Yeah.
• 28:07
  Speaker 2: That's a, that's a completely different thing. And that's why, like,
• 28:09
  Speaker 2: I'm so irritated with the Halloween kind of franchise getting
• 28:12
  Speaker 2: hung up on Laurie Strode. Like I've, I know that
• 28:15
  Speaker 2: they've talked about this to like, Oh, we're bringing Halloween back.
• 28:18
  Speaker 2: It's like, well, duh, we know like, but it's not
• 28:20
  Speaker 2: going to have Laurie. Hopefully, hopefully it'll just be rebooted completely.
• 28:24
  Speaker 2: Just do something with Michael Myers and a completely other setup.
• 28:28
  Speaker 2: You know what? Make it so that you don't know
• 28:30
  Speaker 2: it's Michael Myers and that's who the killer is until
• 28:33
  Speaker 2: the end of the movie. Kind of like Split, where
• 28:35
  Speaker 2: it's just a complete blind side at the end of
• 28:38
  Speaker 2: the movie. I mean, I don't know. At this point,
• 28:41
  Speaker 2: Michael Myers is similarly to Spider-Man. I don't need to
• 28:44
  Speaker 2: see a Michael Myers origin story.
• 28:46
  Speaker 1: Yeah, we don't need the second half of this movie.
• 28:49
  Speaker 2: Right, yeah. Or to be what I was going to say.
• 28:51
  Speaker 2: Or the first half of it. I was saying like.
• 28:53
  Speaker 1: An origin story in the first or second half of
• 28:55
  Speaker 1: this movie, because I think either, I think either parts
• 28:58
  Speaker 1: of these movies could be classified as an origin story
• 29:01
  Speaker 1: because the original movie has an origin story. It's just
• 29:05
  Speaker 1: very abbreviated. I mean, it's what, like two or three
• 29:08
  Speaker 1: minutes at the beginning of that movie and that's it.
• 29:10
  Speaker 2: And that's why that works so well to me.
• 29:11
  Speaker 1: Cause I was like, we, we get all of this
• 29:14
  Speaker 1: nonsense going on through this entire movie and, Just especially
• 29:18
  Speaker 1: like that whole intro. It's like we're an hour in
• 29:20
  Speaker 1: before we kick into the reboot part of it for
• 29:23
  Speaker 1: the remaking of the thing we've already seen.
• 29:25
  Speaker 2: But I'm like it.
• 29:26
  Speaker 1: We still aren't anywhere different than where we are in
• 29:29
  Speaker 1: the first three minutes of, you know, watching him POV
• 29:32
  Speaker 1: through a mask and stabbed his sister. And we land
• 29:35
  Speaker 1: at that same spot almost like before the credits hit.
• 29:38
  Speaker 1: We've already gotten the backstory that we. killed an hour
• 29:41
  Speaker 1: in this movie doing the exact same thing because we
• 29:43
  Speaker 1: don't end up anywhere any different.
• 29:45
  Speaker 2: So I do because you brought up. Go for it.
• 29:47
  Speaker 2: Go for it. Go for it. Go for it.
• 29:48
  Speaker 1: Well, I was just because you brought up the Laurie
• 29:50
  Speaker 1: part of it. I did want to address what I
• 29:52
  Speaker 1: think is maybe the weirdest part of this movie that
• 29:55
  Speaker 1: I kind of totally forgot about until the rewatch was
• 29:58
  Speaker 1: how does he know she's his sister?
• 30:00
  Speaker 2: Boy, I don't, I have no earthly idea.
• 30:04
  Speaker 1: I feel like they've backwards shoved in excuses for others.
• 30:08
  Speaker 1: Like we've sort of in the second one, give a
• 30:11
  Speaker 1: dumb reason. I feel like in the new last trilogy,
• 30:14
  Speaker 1: they came up with a weird retcon kind of a reason,
• 30:17
  Speaker 1: but it's.
• 30:17
  Speaker 2: Like here, they don't even bother to give you a
• 30:20
  Speaker 2: stupid answer. And I looked My.
• 30:23
  Speaker 1: Favorite was, and I know you like some AI, so
• 30:26
  Speaker 1: I just asked the Googles. I was like, I asked
• 30:28
  Speaker 1: them that question. I like the answer I got because
• 30:31
  Speaker 1: it's as ridiculous as the actual movie. So, according to
• 30:35
  Speaker 1: what it says, Michael recognized her by some innate family
• 30:39
  Speaker 1: instinct rather than a logical or explained plot deduction.
• 30:43
  Speaker 2: Oh, cool. So it's literally Rob Zombie just going, he
• 30:48
  Speaker 2: consents her because he's his sister. Like, she's his sister.
• 30:52
  Speaker 1: But yeah, another part says, because they share a deep
• 30:55
  Speaker 1: bonded childhood past before he was institutionalized. I was like,
• 31:00
  Speaker 1: more realistic.
• 31:00
  Speaker 2: They don't even. Yeah.
• 31:02
  Speaker 1: I was like, the more realistic one I thought of,
• 31:05
  Speaker 1: because I was like, well, he's very animal-like.
• 31:07
  Speaker 2: Maybe he can just smell it. He can just sense
• 31:10
  Speaker 2: his kind. A pheromone or something. Yeah, the smell. And
• 31:13
  Speaker 2: then I went back and watched.
• 31:14
  Speaker 1: I was like, he smells the envelope when she shoves
• 31:17
  Speaker 1: it through the stupid mail slot.
• 31:20
  Speaker 2: I was like, are they really... They don't hit you
• 31:22
  Speaker 2: over the head with it, but is that literally the
• 31:25
  Speaker 2: way that he does? I mean, I would be okay
• 31:27
  Speaker 2: with that being the answer. I mean, it's better than
• 31:29
  Speaker 2: the just.
• 31:30
  Speaker 1: Magical radar he has that he's like, I'm pretty sure
• 31:33
  Speaker 1: my sister's around here somewhere. So.
• 31:35
  Speaker 2: Out there with Skylar Gazondo, a very young Skylar Gazondo,
• 31:40
  Speaker 2: by the way. Who is actually good in this movie.
• 31:41
  Speaker 2: That's one of the few things. I was like, you know,
• 31:43
  Speaker 2: for kid actor, this kid's pretty entertaining, I gotta say.
• 31:47
  Speaker 2: Some kids are just annoying. Was he playing the role
• 31:49
  Speaker 2: that Paul Rudd would end up playing?
• 31:50
  Speaker 1: Paul Rudd and Anthony Michael Hall, and take your pick,
• 31:54
  Speaker 1: everybody wants to be Tommy.
• 31:55
  Speaker 2: Wasn't he the one that was supposed to be Paul
• 31:57
  Speaker 2: Rudd in the David Gordon Green sequel, and then Anthony
• 31:59
  Speaker 2: Michael Hall took over.
• 32:00
  Speaker 1: And he just gets murdered. Yeah, a weird handoff of
• 32:04
  Speaker 1: that baton to Legan. or anthony michael hall something like
• 32:07
  Speaker 1: that whatever like he's recognizable too good enough i.
• 32:11
  Speaker 2: Guess i well it's a shame because again it's hard
• 32:13
  Speaker 2: to not talk about all the other halloween movies when
• 32:15
  Speaker 2: you talk about halloween because there's so many of these
• 32:19
  Speaker 2: movies at this point but i'm just so shocked at
• 32:22
  Speaker 2: i guess at this point halloween is the franchise that
• 32:26
  Speaker 2: has willed out over all the other ones in terms
• 32:29
  Speaker 2: of like like the ability to reboot itself be successful
• 32:32
  Speaker 2: and make money nightmare on elm street couldn't still waiting
• 32:35
  Speaker 2: for that nightmare on elm street reboot friday the 13th
• 32:38
  Speaker 2: same thing well that's.
• 32:40
  Speaker 1: The thing this one is the most convoluted like this
• 32:43
  Speaker 1: is the one literally like go online and do that
• 32:45
  Speaker 1: like red yarn theory of how the timelines work because
• 32:49
  Speaker 1: it's insane where at least the other ones are just
• 32:51
  Speaker 1: sequel sequel sequel attempt at a reboot didn't work but
• 32:54
  Speaker 1: like this like this one has like One and two
• 32:57
  Speaker 1: go together. Three's in its own crazy ass universe. Four
• 33:01
  Speaker 1: and five are kind of their own weird thing. Sometimes
• 33:03
  Speaker 1: they're part of the timeline. Sometimes they're not. Depends on
• 33:05
  Speaker 1: which timeline you're talking about. Then we already get an
• 33:07
  Speaker 1: attempt at a reboot. We bring Lori back. Then we
• 33:10
  Speaker 1: kill her off again in the next one. Then we
• 33:12
  Speaker 1: pretend like that didn't happen and we come back for
• 33:14
  Speaker 1: another weird offshoot thing that didn't work.
• 33:16
  Speaker 2: Then we reboot with these, which is its own crazy world.
• 33:20
  Speaker 2: Then these didn't work out that well. And to clarify,
• 33:22
  Speaker 2: there was supposed to be a third one of these.
• 33:24
  Speaker 2: So we are only getting to talk about two, not
• 33:26
  Speaker 2: because there were only supposed to be two. There was
• 33:29
  Speaker 2: supposed to be a third. That third movie is the
• 33:31
  Speaker 2: David Gordon Green reboot. Well, did you hear how and
• 33:35
  Speaker 2: why he got out of doing a third movie? Go
• 33:38
  Speaker 2: ahead and tell our lovely audience.
• 33:39
  Speaker 1: Because the real person we have to blame for this
• 33:43
  Speaker 1: insanity isn't even Rob Zombie.
• 33:45
  Speaker 2: It's Bob Weinstein. Boy, everybody's favorite. I love when that
• 33:50
  Speaker 2: name gets thrown in. Yeah. When that rolled up at
• 33:52
  Speaker 2: the end, I was like, oh, and who do we
• 33:54
  Speaker 2: really have to blame? Are those the wine? Oh God.
• 33:57
  Speaker 2: And I was like, yes, the Weinstein brothers. One is bad.
• 34:01
  Speaker 2: And the other one is.
• 34:02
  Speaker 1: Yeah.
• 34:02
  Speaker 2: One is an enabler. A atrocity.
• 34:06
  Speaker 1: So yes, supposedly Bob approached him with the idea to
• 34:10
  Speaker 1: begin with, but like as much as again, as much
• 34:13
  Speaker 1: as I usually get Rob zombie shit, like, It also
• 34:16
  Speaker 1: sounds like he had the worst time in the world
• 34:18
  Speaker 1: dealing with Bob because Bob's a horrible human being. And
• 34:22
  Speaker 1: then on top of that, he was signed to a
• 34:24
  Speaker 1: three picture deal with the Weinsteins. He made this first
• 34:27
  Speaker 1: when he had such a horrible experience, he put it
• 34:30
  Speaker 1: off and like didn't want to do the second one
• 34:32
  Speaker 1: right away. So he pushed off the doing anything with
• 34:34
  Speaker 1: them for as long as he could. They already tried
• 34:36
  Speaker 1: to bring in other directors and fired like 12 different
• 34:40
  Speaker 1: directors trying to make two and And threw it out
• 34:42
  Speaker 1: there to him again. And he was like, OK, OK,
• 34:44
  Speaker 1: I'll come back and make two if you let me
• 34:47
  Speaker 1: out of the three picture deal. So we got the
• 34:49
  Speaker 1: second one just so he could escape from making a
• 34:52
  Speaker 1: third movie with the Weinstein.
• 34:53
  Speaker 2: That's a shame. I mean, that's the one thing I'll
• 34:56
  Speaker 2: give Rob Zombie credit for. I'm like, good for you, man.
• 34:59
  Speaker 2: Way to get away from that. I mean, that is
• 35:01
  Speaker 2: a very funny way of doing it. Yes. I will
• 35:03
  Speaker 2: cut off my nose to spite my face. All right,
• 35:06
  Speaker 2: Rob Zombie, you do that. I will make.
• 35:08
  Speaker 1: Another okay movie to get away from these horrible people
• 35:12
  Speaker 1: to have to make a third probably terrible movie.
• 35:14
  Speaker 2: So let me ask you something in terms of because
• 35:16
  Speaker 2: we've kind of already talked about there's a very clear
• 35:18
  Speaker 2: delineation in this movie between the first half and the
• 35:20
  Speaker 2: second half. The first half is first three minutes of Halloween.
• 35:24
  Speaker 2: The second half is the remaining part of Halloween. the
• 35:27
  Speaker 2: lori strode of it all and an additional moments but
• 35:31
  Speaker 2: my question to you is which half of the movie
• 35:34
  Speaker 2: is more successful if one is more successful than the
• 35:36
  Speaker 2: other or are they kind of on even footy because
• 35:39
  Speaker 2: you know this is this for me is like a
• 35:41
  Speaker 2: die another day situation where it's like i think half
• 35:43
  Speaker 2: of this movie is pretty good and the other half
• 35:46
  Speaker 2: i kind of don't care.
• 35:47
  Speaker 1: About see they're To me, they're both equally unsuccessful.
• 35:52
  Speaker 2: I mean, they're not successful. I'm not saying they're successful.
• 35:56
  Speaker 2: Don't get me wrong. There's no success here, but I
• 35:58
  Speaker 2: do think one part is more successful than the other.
• 36:00
  Speaker 2: I have issues with both of them, but for entirely
• 36:03
  Speaker 2: different reasons. See, I think you're saying you don't care
• 36:06
  Speaker 2: about the second half because you've already seen it. I'm
• 36:08
  Speaker 2: saying I don't care about the first half because it
• 36:10
  Speaker 2: doesn't need to be there. I don't need it where
• 36:13
  Speaker 2: at least the second half is an interesting bunch of
• 36:16
  Speaker 2: scenes that.
• 36:17
  Speaker 1: You know, work better in the first one, if you
• 36:19
  Speaker 1: ask me. But, you know, he still does. Like I said,
• 36:21
  Speaker 1: he does such a close version that I'm like, if
• 36:24
  Speaker 1: I didn't know that the original Carpenter movie existed, this
• 36:28
  Speaker 1: last half would still be pretty entertaining. And I don't
• 36:31
  Speaker 1: necessarily have to have that whole first half backstory nonsense.
• 36:35
  Speaker 1: it would be more of a kind of a creepy,
• 36:37
  Speaker 1: you know, what Michael Myers originally was supposed to be
• 36:41
  Speaker 1: that form that just appears and murders people.
• 36:44
  Speaker 2: And we don't know who he is. We don't know
• 36:45
  Speaker 2: why he does this.
• 36:46
  Speaker 1: He just disappears into the night and he'll be back
• 36:49
  Speaker 1: next year to do it again. Like he's so, yeah,
• 36:52
  Speaker 1: I don't know. I think I'm more entertained by the
• 36:54
  Speaker 1: idea of the second half, but I've already seen it.
• 36:57
  Speaker 1: So it's a lesser version of a thing I've already seen,
• 37:00
  Speaker 1: but I feel like I'm more frustrated by the first
• 37:02
  Speaker 1: half because it's, A lot of the horrible ugliness that
• 37:05
  Speaker 1: Rob Zombie loves so much is.
• 37:08
  Speaker 2: In that first half. More so.
• 37:09
  Speaker 1: It's more concentrated in that first half of the movie.
• 37:12
  Speaker 2: I would say you somewhat got it right in terms
• 37:15
  Speaker 2: of where I'm coming at this. Yes, I find the
• 37:18
  Speaker 2: second half of the film to be lesser than the
• 37:20
  Speaker 2: first half. But I think that what the first half
• 37:22
  Speaker 2: does is it answers a question that no one had
• 37:26
  Speaker 2: been asking the answer to, which is how did Michael
• 37:28
  Speaker 2: Myers end up this way? Because the original doesn't really
• 37:31
  Speaker 2: answer that question. And I wasn't asking that. You weren't
• 37:33
  Speaker 2: asking that. I definitely wasn't. Other people were, just like
• 37:36
  Speaker 2: other people were asking, like, why was Darth Vader this way?
• 37:39
  Speaker 2: Why was Hannibal Lecter this way? You know... they can
• 37:43
  Speaker 2: you know and this is the reality of like serial
• 37:45
  Speaker 2: killers and other kind of people like this they are
• 37:47
  Speaker 2: the most unreliable narrators possible and so the fact that
• 37:50
  Speaker 2: we have this like oh well this is the story
• 37:52
  Speaker 2: of of whomever and you know his Anakin this is
• 37:55
  Speaker 2: how Anakin became a bad guy like great this is why.
• 37:58
  Speaker 1: He turned this one day in the freaking desert and
• 38:01
  Speaker 1: it all went wrong from there like that's not how
• 38:04
  Speaker 1: this works but I appreciate that the films are kind
• 38:06
  Speaker 1: of like boiling it down to this because that's how
• 38:09
  Speaker 1: we can see it in filmic form. But I never asked, like,
• 38:12
  Speaker 1: why is Michael Myers this way? I think to your point,
• 38:15
  Speaker 1: it's always been more interesting for him to just be
• 38:17
  Speaker 1: and just exist and murder and kill.
• 38:20
  Speaker 2: And that's just baked into the premise. And there are
• 38:23
  Speaker 2: things you can do with that. They just, again, they
• 38:26
  Speaker 2: don't really seem interested in doing that with these Rob
• 38:29
  Speaker 2: Zombie films. And I, to your point, do like the
• 38:32
  Speaker 2: first half a little bit more because it is kind
• 38:34
  Speaker 2: of answering a question that I wasn't really interested interested
• 38:37
  Speaker 2: in getting the answer to and didn't have any interest
• 38:40
  Speaker 2: in but I will say yeah the second half of
• 38:43
  Speaker 2: the movie doesn't answer the question as to why he
• 38:45
  Speaker 2: is the way that he is and the first half
• 38:47
  Speaker 2: kind of does I mean if you if you say
• 38:50
  Speaker 2: the first half of the movie shows us why Michael
• 38:52
  Speaker 2: Myers is the way he is the second half essentially
• 38:55
  Speaker 2: says there's no changing there's no like so what's the
• 38:59
  Speaker 2: point there's yeah right like there's you know I I
• 39:02
  Speaker 2: don't think that the movie isn't going there intentionally I
• 39:05
  Speaker 2: mean I would say that there's bits and pieces of
• 39:07
  Speaker 2: that throughout even the original Halloween to go to like
• 39:11
  Speaker 2: back to what you were talking about the kind of
• 39:12
  Speaker 2: the the nihilism of all this like why does he
• 39:15
  Speaker 2: do this just because like he just kills just because
• 39:18
  Speaker 2: like that's Michael Myers he just kills just because that's
• 39:21
  Speaker 2: understood and I guess for me it's like maybe Rob
• 39:25
  Speaker 2: Zombie should have beaten the point home that it wasn't
• 39:28
  Speaker 2: just why does this keep happening. Well, there's no real
• 39:31
  Speaker 2: reason it keeps happening. It just keeps happening. And this
• 39:35
  Speaker 2: kid just lost his shit one day just because no
• 39:38
  Speaker 2: real rhyme or reason isn't that horrifying that in a
• 39:40
  Speaker 2: world a civil world people can still be pushed to
• 39:43
  Speaker 2: that like that should have been where he came into
• 39:46
  Speaker 2: this because that's kind of where David Gordon Green comes
• 39:48
  Speaker 2: into it and I think if he had done it
• 39:50
  Speaker 2: here that would have probably pressed David Gordon Green to
• 39:52
  Speaker 2: do something different in his movie because that was one
• 39:54
  Speaker 2: of my issues with those movies like he took the
• 39:56
  Speaker 2: easy way out it's like There is no explanation. It's like,
• 39:59
  Speaker 2: that's fine. But like, you could add a little bit
• 40:02
  Speaker 2: more than that. If you're going to mention it at all,
• 40:05
  Speaker 2: you should probably like add a little bit more to it.
• 40:08
  Speaker 2: And I mean, I just don't think you mentioned it. Like,
• 40:10
  Speaker 2: it doesn't matter where he came from. He's coming to
• 40:13
  Speaker 2: kill you in that moment. You don't have to. Mr.
• 40:16
  Speaker 2: Michael Myers, where are you from? Like, they don't have
• 40:17
  Speaker 2: that opportunity. Yeah. And with this fucking Michael Myers, there's
• 40:21
  Speaker 2: like this is for the David Gordon Green movie to
• 40:24
  Speaker 2: be as like he's so brutal and he just he
• 40:26
  Speaker 2: kills a kid in that first movie. Yo, this Michael
• 40:29
  Speaker 2: Myers does not play. And this Michael Myers for me
• 40:31
  Speaker 2: is the one that is similarly to the Andrew Byrnarski Leatherface.
• 40:37
  Speaker 2: And what was it? The, the, the what's the Derek,
• 40:41
  Speaker 2: Derek Myers, Derek Mears, Derek Mears, the guy who does
• 40:45
  Speaker 2: Jason in the reboot. Those three dudes are in a
• 40:48
  Speaker 2: class of their own as like giant human beings playing
• 40:53
  Speaker 2: these characters, which I think, yes, there is a kind
• 40:56
  Speaker 2: of a fear to the ghost face character because it's
• 40:59
  Speaker 2: effectively a dude or a woman in an outfit. So
• 41:02
  Speaker 2: they're like effectively always somewhere in the ballpark of like
• 41:04
  Speaker 2: six feet tall guys. or smaller. And they never mentioned
• 41:07
  Speaker 2: that in any of the scream movies, but it would
• 41:09
  Speaker 2: be very obvious if it's like a very short person
• 41:11
  Speaker 2: chasing after you in the ghost face outfit, like literally.
• 41:14
  Speaker 1: Be like, Oh look, that person's five foot two. Do
• 41:16
  Speaker 1: we know anyone that's five foot two?
• 41:18
  Speaker 2: Like specifically, if you watch that last one spoilers, but, uh,
• 41:23
  Speaker 2: It should be real obvious who at least one of
• 41:26
  Speaker 2: the ghost faces is. One of the three ghost faces.
• 41:29
  Speaker 2: One of the many, many ghost faces. Oh, no, wait.
• 41:31
  Speaker 2: Are you talking about seven?
• 41:32
  Speaker 1: Yeah, the one that just came out this last year.
• 41:35
  Speaker 2: Oh, my Jesus. One of them is a very small person.
• 41:38
  Speaker 2: Let's put it that way. Yeah, and- And you should
• 41:40
  Speaker 2: have noticed that when they were running around.
• 41:42
  Speaker 1: Yeah.
• 41:43
  Speaker 2: I think for me, the thing about this kind of
• 41:46
  Speaker 2: like this version of, of Michael Myers is I like that.
• 41:50
  Speaker 2: We have a Michael Myers that makes sense within the
• 41:54
  Speaker 2: scope of Rob zombie movie. He's brutal. He just like
• 41:56
  Speaker 2: murders people with one wanted abandoned. He is very gratuitous.
• 42:01
  Speaker 2: Like he, he utilizes that knife really well in a
• 42:04
  Speaker 2: way that's like really uncomfortable and like, you know, he
• 42:06
  Speaker 2: just kills people. I mean, he kills D Wallace, just
• 42:09
  Speaker 2: like cracks her neck, whatever. Like he's, he kills so
• 42:12
  Speaker 2: many people in this movie and just, and I mean
• 42:15
  Speaker 2: like literally just kills them and that's it. Like, and it's,
• 42:18
  Speaker 2: it's worse because he's huge. Like the, the size disparity
• 42:21
  Speaker 2: between him and most of the people is awful. And
• 42:25
  Speaker 2: that's what makes him so scary. Tyler Maine is a
• 42:27
  Speaker 2: huge guy. He's huge. Yeah. He's a, he's a big dude.
• 42:31
  Speaker 1: And it, seems even bigger as he's sitting in that
• 42:34
  Speaker 1: cell like he just seems huge which again is is
• 42:38
  Speaker 1: kind of part of the as i think as you
• 42:40
  Speaker 1: said it it's it's so fitting for the rob zombie
• 42:43
  Speaker 1: of it all like i i feel like once again
• 42:45
  Speaker 1: if it's just the he's the boogeyman he could be
• 42:48
  Speaker 1: anybody of the old one it works better if he's
• 42:50
  Speaker 1: a World Wrestling Federation nests to Rob Zombie and his
• 42:57
  Speaker 1: upbringing and his fun and everything's supposed to be like
• 43:00
  Speaker 1: trashy and over the top and crazy that, yeah, you
• 43:03
  Speaker 1: need it to be a giant dude that looks like
• 43:05
  Speaker 1: a wrestler. You know, it's like that's, That's what Rob
• 43:08
  Speaker 1: Zombie wants. And that's what we get.
• 43:09
  Speaker 2: Tyler Maine is huge. And like, so from that angle,
• 43:12
  Speaker 2: and it is brutal. Like he, he really doesn't even
• 43:15
  Speaker 2: need the knife. And so many times we watch him
• 43:17
  Speaker 2: just smash someone's head into a wall. I'm like, well,
• 43:20
  Speaker 2: they're done.
• 43:20
  Speaker 1: You don't need your trademark butcher knife anymore because. this
• 43:24
  Speaker 1: dude can just crush you. He doesn't need the knife anymore.
• 43:28
  Speaker 2: So again, he doesn't use the knife on Dee Wallace.
• 43:30
  Speaker 2: He breaks her neck. Like he just breaks her neck backwards. It's,
• 43:34
  Speaker 2: it's awful. And it's again, like you've said, like it,
• 43:38
  Speaker 2: it is a very, like Tyler Maine played saber tooth
• 43:41
  Speaker 2: in the X-Men movies. And that was because he's a
• 43:44
  Speaker 2: giant dude compared to Hugh Jackman. And they're trafficking in
• 43:47
  Speaker 2: that same thing here. We, a long time ago, got
• 43:50
  Speaker 2: to talk to Tyler Maine about, um, a Western that
• 43:53
  Speaker 2: he was in. He's a, he has, I think male
• 43:55
  Speaker 2: breast cancer, which is crazy. Yeah. That's the latest I heard.
• 43:59
  Speaker 1: And that's really sad. I, right. I, I watched a
• 44:02
  Speaker 1: short film with him at a convention one time. He
• 44:04
  Speaker 1: seems like a nice dude.
• 44:06
  Speaker 2: Yeah, he's from everything I remember, a very nice guy,
• 44:09
  Speaker 2: and wish him the best in recovery. But he works
• 44:13
  Speaker 2: as Michael Myers here, like I said, because of the
• 44:15
  Speaker 2: same reason that those other actors in those reboots work,
• 44:19
  Speaker 2: which is they wanted to lean into, we have a
• 44:23
  Speaker 2: giant actor here who can be physically intimidating already. is
• 44:27
  Speaker 2: baked into it and look like we've already alluded to
• 44:30
  Speaker 2: most of the people that these characters are chasing after
• 44:32
  Speaker 2: are women and most women are shorter especially like you
• 44:35
  Speaker 2: know if you're casting these kinds of movies you can
• 44:37
  Speaker 2: lean into it and cast short women and a lot
• 44:41
  Speaker 2: of these women in this film.
• 44:42
  Speaker 1: Are they did like definitely are are three girls like
• 44:45
  Speaker 1: two out of three are very short girls yeah which
• 44:49
  Speaker 1: and it's very funny you know we we didn't talk
• 44:51
  Speaker 1: about the daniel harris of it all Talk about a
• 44:53
  Speaker 1: weird addition to this movie, but already having been in
• 44:56
  Speaker 1: Halloween and technically also played Michael Myers, sort of. That's
• 45:00
  Speaker 1: kind of my favorite aspect of this when it originally
• 45:03
  Speaker 1: came out. Like, I saw that cast and I was like, okay,
• 45:06
  Speaker 1: number one, that's awesome. Like, that's a great tie-in to
• 45:09
  Speaker 1: the Halloween universe of it all. At the same time,
• 45:12
  Speaker 1: I was also like, and super awesome for Daniel Harris because...
• 45:16
  Speaker 1: she was not a high schooler and yet she kind
• 45:19
  Speaker 1: of convincingly pulled off the fact that she was a
• 45:21
  Speaker 1: high schooler because she was well older than that, but
• 45:24
  Speaker 1: she just didn't age. So like she, she convincingly came
• 45:28
  Speaker 1: in to take on that role. And yeah, I, I
• 45:30
  Speaker 1: really liked Daniel Harris pretty much in everything. So I
• 45:34
  Speaker 1: think she's a big addition to this and kind of
• 45:36
  Speaker 1: even more so in the next movie coming up and,
• 45:39
  Speaker 1: And I.
• 45:39
  Speaker 2: Was 30 at the time they filmed.
• 45:41
  Speaker 1: Yeah, that's what I was like. There's no one else
• 45:43
  Speaker 1: could pull that off. Like you would look at him
• 45:45
  Speaker 1: and be like, yeah, right. But again, she just didn't age.
• 45:49
  Speaker 1: So the fact that she came in that far into
• 45:51
  Speaker 1: her career and was still able to come back and
• 45:53
  Speaker 1: be the high school girl in the reboot, you know,
• 45:56
  Speaker 1: I was like, that's amazing that. that she's able to
• 45:58
  Speaker 1: pull that off. And I really like Christina Klee. I
• 46:00
  Speaker 1: think she, as an actress, I've seen her in other things.
• 46:03
  Speaker 1: She's really good. I think those two bring a lot
• 46:06
  Speaker 1: to what is, again, not the best written characters, but
• 46:10
  Speaker 1: they have such great personality that comes through in their
• 46:12
  Speaker 1: performances that they're really good. And they make you care
• 46:16
  Speaker 1: about these characters probably more than you should. I, of all,
• 46:19
  Speaker 1: I never really got the scout thing. I thought it
• 46:21
  Speaker 1: was weird casting from the get-go. And I'm just like, really?
• 46:24
  Speaker 2: This is where?
• 46:25
  Speaker 1: And then once you get in there and I'm like,
• 46:26
  Speaker 1: I mean, fine. She's serviceable doing what she needs to do.
• 46:30
  Speaker 2: Link of the three.
• 46:31
  Speaker 1: Yeah.
• 46:32
  Speaker 2: Yeah. I think the other two are so good. You
• 46:35
  Speaker 2: could have cast, look, maybe it would have been more
• 46:37
  Speaker 2: distracting or just having Daniel Harris in this movie is
• 46:40
  Speaker 2: distracting as it isn't as close as the Annie Brackett
• 46:43
  Speaker 2: character is to Laurie Strode. But yeah, Why not just
• 46:45
  Speaker 2: cast Danielle Harris as Laurie Strode? I don't understand. If
• 46:48
  Speaker 2: you're going to have it be that close anyways, why
• 46:50
  Speaker 2: not just go whole hog? I don't know. Look, if
• 46:54
  Speaker 2: you were already going to cast her and have it
• 46:56
  Speaker 2: be distracting to a certain subsection of fans or then
• 46:59
  Speaker 2: be excited, like you said, for her to be in
• 47:02
  Speaker 2: this movie. why not just have her be Laurie? She's
• 47:04
  Speaker 2: so much more charismatic than Scout Taylor Compton. Scout Taylor Compton,
• 47:08
  Speaker 2: for me, is the weakest part of this film. Most definitely.
• 47:12
  Speaker 2: And that's shocking because she needs to be the one
• 47:15
  Speaker 2: who's the least weak. The Sherry Moon Zombie of it all,
• 47:19
  Speaker 2: to have watched the second one already, Sherry Moon Zombie
• 47:21
  Speaker 2: is used about as well as you're going to get
• 47:23
  Speaker 2: between these two movies. Yeah, I mean... It's just enough.
• 47:27
  Speaker 2: The second movie, I don't know why. I mean, that's
• 47:29
  Speaker 2: the thing for so many people, myself included. That is
• 47:32
  Speaker 2: the like Rob Zombie stumbling block. Number one is, look,
• 47:36
  Speaker 2: I appreciate this guy thinks the world of his wife.
• 47:38
  Speaker 2: And I'm not saying don't think the world of the
• 47:40
  Speaker 2: people you're with. But Sherry Moon Zombie doesn't need to
• 47:43
  Speaker 2: be in everything.
• 47:43
  Speaker 1: And she doesn't she doesn't do herself any favors because
• 47:47
  Speaker 1: I know so many people just like that.
• 47:48
  Speaker 2: Tom Holland thing where it's like, you know what? Except
• 47:51
  Speaker 2: she's massively talented.
• 47:53
  Speaker 1: That's my boy like they're both but like it's not
• 47:55
  Speaker 1: like that because i've seen people being like was zendaya
• 47:58
  Speaker 1: just getting jobs because she's married to tom holland it's
• 48:00
  Speaker 1: like no she's kind of the other way i think
• 48:02
  Speaker 1: yeah yeah yeah i mean what i will say like
• 48:05
  Speaker 1: in terms of the upside but sherry moon zombie has
• 48:07
  Speaker 1: only been.
• 48:08
  Speaker 2: Employed by her husband more or less.
• 48:11
  Speaker 1: And that's i know people just like to hate on
• 48:13
  Speaker 1: her on the internet and i get it because she
• 48:15
  Speaker 1: comes off grating in so many she's maybe the best
• 48:19
  Speaker 1: in this movie like she's at least you feel sorry
• 48:21
  Speaker 1: for her i.
• 48:22
  Speaker 2: Think she's the best in that monsters movie.
• 48:24
  Speaker 1: Yeah she's she's all right there again i don't know
• 48:27
  Speaker 1: that she had to be cast there but i knew
• 48:29
  Speaker 1: she was gonna be because i knew who was i
• 48:31
  Speaker 1: knew who was making the movie she had to be
• 48:33
  Speaker 1: cast in any of these movies brian no i think
• 48:37
  Speaker 1: i think i've always and again we're just sort of
• 48:39
  Speaker 1: jumping past the original but i i like House of
• 48:42
  Speaker 1: a Thousand Corpses. I think it's maybe the least original
• 48:46
  Speaker 1: concept he's come up with outside of the last half
• 48:48
  Speaker 1: of this movie. But I really like what he does
• 48:51
  Speaker 1: as a director. I like the characters he brings into it.
• 48:54
  Speaker 1: She's a little obnoxious, but they're all kind of obnoxious
• 48:57
  Speaker 1: in the household. So like I get it. And she
• 49:00
  Speaker 1: almost works it as like she's luring them in and
• 49:03
  Speaker 1: it should be the reason you run away, but you don't.
• 49:05
  Speaker 2: And that's how these guys get killed.
• 49:07
  Speaker 1: So it's like she starts out OK, but by like
• 49:09
  Speaker 1: Devil's Reject, she's already just so grating and like so
• 49:14
  Speaker 1: like her constant laughing and like this bickering with the
• 49:18
  Speaker 1: other two actors all the time and it's like she's
• 49:21
  Speaker 1: just like almost purposely trying to make the audience hate
• 49:24
  Speaker 1: her and I'm like You'd think at some point she
• 49:26
  Speaker 1: would step in and be like, Rob, Rob, seriously, can
• 49:28
  Speaker 1: we not make me a horrible character.
• 49:31
  Speaker 2: This time around?
• 49:33
  Speaker 1: Can we at least make me have some redeemable quality
• 49:36
  Speaker 1: that people won't want.
• 49:37
  Speaker 2: Me to get murdered within the first scene of this movie? No.
• 49:40
  Speaker 2: She doesn't, though. Unfortunately, she does. No, she does not.
• 49:43
  Speaker 2: And then Three from Hell, which I genuinely forgot, came out,
• 49:47
  Speaker 2: and I know I've seen it. Yeah, yeah. Woof. She's fine. Well,
• 49:53
  Speaker 2: you say that now. Have you seen what she's doing lately? Again,
• 49:58
  Speaker 2: I don't want to hate on her. I wish her
• 50:00
  Speaker 2: the best.
• 50:01
  Speaker 1: She seems like a lovely woman, but she makes questionable
• 50:04
  Speaker 1: decisions in her artistic endeavors. Um, she's decided to go
• 50:08
  Speaker 1: into music now.
• 50:11
  Speaker 2: And I'm like, why now?
• 50:12
  Speaker 1: Like you've, you've been connected to like one of the
• 50:14
  Speaker 1: biggest names in music and producing into things for years
• 50:18
  Speaker 1: and years and years. But now you want to put
• 50:21
  Speaker 1: out a song and if you've listened to it, you.
• 50:24
  Speaker 2: You know, it's, it's not good. It's not. I don't
• 50:27
  Speaker 2: need to hear it to know that. You really don't.
• 50:31
  Speaker 1: I made one of my co-hosts listen to it this
• 50:33
  Speaker 1: past weekend, and she's still mad at me. And we
• 50:36
  Speaker 1: only got halfway through. She's like, no, no, we need
• 50:38
  Speaker 1: to stop. I've had enough.
• 50:39
  Speaker 2: So.
• 50:41
  Speaker 1: yeah it's not good and that's what and once again
• 50:44
  Speaker 1: you'd almost think eventually rob would also kind of step
• 50:46
  Speaker 1: in and be like you know again let's do you
• 50:48
  Speaker 1: a favor and like not put something out here that's
• 50:51
  Speaker 1: gonna piss everybody off and make them dislike you even
• 50:54
  Speaker 1: more but like he just i don't know if he
• 50:56
  Speaker 1: has he's just blind to everything about that when it
• 51:00
  Speaker 1: comes to her but like you'd think one or the
• 51:02
  Speaker 1: other of them would put up some sort of barricade
• 51:06
  Speaker 1: and be like no.
• 51:06
  Speaker 2: No no no let's just How about we just stop
• 51:08
  Speaker 2: putting you in things? One, two, let's do that. Just
• 51:10
  Speaker 2: for your own sake. I guess he's already directing the movie,
• 51:13
  Speaker 2: so it's just nice to have her there and she's
• 51:15
  Speaker 2: going to be there, I guess, put her in the movie.
• 51:18
  Speaker 2: It's just second paycheck, you know, whatever. She's fine in
• 51:21
  Speaker 2: this movie. She is, again, like stereotypically a sad, sad mom. Yeah.
• 51:26
  Speaker 2: And then all of her kids die and then she
• 51:29
  Speaker 2: kills herself. Like, okay. Like, you're not really saying anything.
• 51:32
  Speaker 2: It's a little.
• 51:33
  Speaker 1: Heavy handed at that point of like, Aaron, of course,
• 51:36
  Speaker 1: she's going to shoot herself. And I was like, and
• 51:39
  Speaker 1: once again, proving you're just a terrible mom because you
• 51:42
  Speaker 1: still have another child that needs to be taken care of. Like,
• 51:45
  Speaker 1: I know you're sad. I know two of your kids
• 51:47
  Speaker 1: are dead or one of them's an asylum and the
• 51:50
  Speaker 1: other got murdered in your house. And you're horrible, horrible,
• 51:54
  Speaker 1: sort of a stepfather to that guy.
• 51:57
  Speaker 2: We won't even go there. He deserved it, I think
• 51:59
  Speaker 2: is what you're trying to say. Yeah. But once again,
• 52:03
  Speaker 2: love William Forsythe. I think he's amazing.
• 52:04
  Speaker 1: And if anybody could pull off like such a convincing
• 52:08
  Speaker 1: version of that guy, I'm like, oh, you hired the right,
• 52:10
  Speaker 1: you hired the right dude. But yeah, I mean, you've
• 52:12
  Speaker 1: got another kid. Like you give up that right to
• 52:15
  Speaker 1: be selfish and take yourself out when you're a mother. Like,
• 52:18
  Speaker 1: I know it's not fair, but you're supposed to not
• 52:22
  Speaker 1: murder your children.
• 52:23
  Speaker 2: I'm just dipping into the news there.
• 52:25
  Speaker 1: And then you're supposed to not murder yourself and go
• 52:28
  Speaker 1: off and leave them to fend for themselves when they're
• 52:30
  Speaker 1: a baby. So again, it doesn't do her any favors
• 52:33
  Speaker 1: as a character as much as this is, like I said,
• 52:35
  Speaker 1: one of her more endearing performances that doesn't.
• 52:38
  Speaker 2: Say much in her career. And I think what's interesting
• 52:42
  Speaker 2: is for all the kind of things that they do
• 52:45
  Speaker 2: that are different or things that they do that are
• 52:47
  Speaker 2: the same, they do so much that is the same
• 52:50
  Speaker 2: in terms of the second half of the movie more
• 52:52
  Speaker 2: or less feeling identical to Halloween. I'm surprised that Cherry
• 52:58
  Speaker 2: Moon Zombie isn't in it all the way to the end.
• 53:01
  Speaker 2: I'm surprised that Cherry Moon Zombie... is not a target
• 53:05
  Speaker 2: of Michael for some reason. X, Y, Z, one, two, three,
• 53:08
  Speaker 2: like there's none of that. It is very rote by
• 53:12
  Speaker 2: the end of the film. Like by the end of
• 53:14
  Speaker 2: the second, like the second half of the film is
• 53:15
  Speaker 2: just by the numbers Halloween with a little bit more kill.
• 53:19
  Speaker 2: Almost shot for shot. Not quite.
• 53:21
  Speaker 1: It mixes it up enough, but it's pretty damn close.
• 53:25
  Speaker 1: At least beat for beat, it's the same thing. Not
• 53:27
  Speaker 1: shot for shot, but it definitely hits all the beat.
• 53:30
  Speaker 2: Other than some characters surviving that shouldn't. Annie Brackett, don't
• 53:34
  Speaker 2: understand why Daniel Harris' character survives.
• 53:36
  Speaker 1: And again, I feel like they left all of that
• 53:39
  Speaker 1: as a gray area that could have been changed in
• 53:41
  Speaker 1: the edit. Because by the end of the first one,
• 53:44
  Speaker 1: the first time I saw it, I was like, didn't
• 53:45
  Speaker 1: she die?
• 53:46
  Speaker 2: I mean, it's very Ian Malcolm.
• 53:49
  Speaker 1: Like you could have like we're still alive like well
• 53:52
  Speaker 1: it's it's it's kirby it's like we just never came
• 53:54
  Speaker 1: back is she dead is she alive i don't know
• 53:56
  Speaker 1: she probably bled out and if you said she bled
• 53:58
  Speaker 1: out in the next movie she did and if you
• 54:00
  Speaker 1: decide you want to use her you bring her back
• 54:02
  Speaker 1: so you leave that door open but like same thing
• 54:04
  Speaker 1: with like loomis it seemed like he crushed his head
• 54:07
  Speaker 1: like he shoves his fingers through his eye holes and
• 54:10
  Speaker 1: then like he's back later you know it's like everybody
• 54:13
  Speaker 1: you Depending on how you pull that edit off could
• 54:16
  Speaker 1: have been dead by the end of this movie if
• 54:18
  Speaker 1: they were just like nope one and done we're out
• 54:20
  Speaker 1: let's just call it like but they leave the door
• 54:23
  Speaker 1: open for so many of them that you're like well
• 54:25
  Speaker 1: I mean we got to have somebody in the sequel
• 54:27
  Speaker 1: I guess.
• 54:28
  Speaker 2: And you know speaking of things that they had to
• 54:30
  Speaker 2: have in the sequel or I guess in this movie
• 54:32
  Speaker 2: at all talk about the. ham-fisted way they introduce the mask.
• 54:37
  Speaker 2: It's very like, well, you don't have anyone with you,
• 54:39
  Speaker 2: so we're gonna call you Solo. Like, what the fuck?
• 54:42
  Speaker 2: Where the fuck did that come from? What stage right
• 54:46
  Speaker 2: post-it note did you throw into my hands like a
• 54:48
  Speaker 2: fucking paper airplane for me to go, McClunky? Like, what
• 54:52
  Speaker 2: the hell? I genuinely don't understand Solo. some of the
• 54:55
  Speaker 2: choices this movie it's it is befuddling to me why
• 54:59
  Speaker 2: it does some of the things that it does uh
• 55:01
  Speaker 2: and and so much of this film is just unsuccessful
• 55:04
  Speaker 2: choice after unsuccessful choice but for me most of that
• 55:08
  Speaker 2: is the second half of the movie because it's like
• 55:09
  Speaker 2: you know what rob zombie you have the opportunity to
• 55:11
  Speaker 2: do your own thing john carpenter even said to do
• 55:14
  Speaker 2: your own thing and you didn't he said i will
• 55:16
  Speaker 2: did for half the movie Yeah, but you did sort
• 55:19
  Speaker 2: of though, because again, like he makes choices in the
• 55:21
  Speaker 2: second half of the movie that are very different. He
• 55:23
  Speaker 2: knows how to do different things, but then he just
• 55:25
  Speaker 2: is like, well, but Laurie's going to like baby around
• 55:28
  Speaker 2: the fucking kids for 10 minutes. You know what the
• 55:30
  Speaker 2: least exciting part of Halloween has always been? Laurie's interaction
• 55:33
  Speaker 2: with the kids she's babysitting every time.
• 55:36
  Speaker 1: I mean, this was the most entertaining because that little
• 55:38
  Speaker 1: exchange with both of the kids, again, these are maybe
• 55:41
  Speaker 1: the least annoying versions of the kids.
• 55:43
  Speaker 2: Like I was just like, these are kind of fun.
• 55:45
  Speaker 2: I like these two.
• 55:46
  Speaker 1: I wish we'd like get a little more going with them.
• 55:47
  Speaker 1: And Quit wasting our time with Lori.
• 55:51
  Speaker 2: No, she and Lori is just such a flat character.
• 55:54
  Speaker 2: She reminds me a lot of Luke Skywalker in A
• 55:55
  Speaker 2: New Hope. She's meant to be just like the fated
• 55:58
  Speaker 2: savior of the film who you know because she's michael
• 56:01
  Speaker 2: myers sister she's going to be the one who ends
• 56:03
  Speaker 2: up killing him in the end and that is exactly
• 56:05
  Speaker 2: where the film goes it doesn't do anything different and
• 56:09
  Speaker 2: again this is a rob zombie movie for it you
• 56:11
  Speaker 2: know for it being a rob zombie movie it is
• 56:13
  Speaker 2: shockingly safe it really is the kills and the gratuity
• 56:17
  Speaker 2: and all the other over the top stuff is there
• 56:20
  Speaker 2: and he's shoving that in your face the whole time
• 56:22
  Speaker 2: But when it comes to story arc and changing anything important, no,
• 56:27
  Speaker 2: it's exactly like I said, it's beat for beat. Let's
• 56:29
  Speaker 2: stick to the thing that works because that made us
• 56:31
  Speaker 2: money for all these other movies. And that's what he does.
• 56:34
  Speaker 2: So let me ask then question in terms of making
• 56:38
  Speaker 2: choices and decisions that are different. Does this does the
• 56:41
  Speaker 2: second half of this movie? Is it a more or
• 56:44
  Speaker 2: less successful remake of the first film than the David
• 56:47
  Speaker 2: Gordon Green one is? It's a more accurate reading. Like,
• 56:51
  Speaker 2: I feel like it's so close.
• 56:52
  Speaker 1: Well, like I said, you could if you didn't know
• 56:55
  Speaker 1: the first one existed, you could watch this and you'd
• 56:57
  Speaker 1: get the exact same thing out of it, where I
• 56:59
  Speaker 1: feel like David Gordon Green does enough weird different stuff
• 57:03
  Speaker 1: along the way that like it feels like a different movie,
• 57:06
  Speaker 1: at least where this just feels like a rewarmed version
• 57:09
  Speaker 1: of the movie you already saw just done half as long.
• 57:12
  Speaker 1: It's like it just speeds up that last half and
• 57:15
  Speaker 1: crams it into an hour. And then like we get
• 57:17
  Speaker 1: pretty much the same thing we've already seen. So at
• 57:20
  Speaker 1: least the David Gordon Green stuff is written to be
• 57:23
  Speaker 1: a different movie. Essentially, it's still got to hit, you know,
• 57:26
  Speaker 1: your basic horror movie beats, but it doesn't have to
• 57:28
  Speaker 1: hit the exact Halloween beats.
• 57:30
  Speaker 2: Of the 78 movie. Well, and again, like I was
• 57:33
  Speaker 2: mentioning with Carpenter, Carpenter said, don't remake my movie. Do
• 57:36
  Speaker 2: something different.
• 57:37
  Speaker 1: Yeah.
• 57:37
  Speaker 2: It's Rob Zombie who made this choice of like, well,
• 57:39
  Speaker 2: I'm just going to give them what they've already seen.
• 57:41
  Speaker 2: And that, you know, to go back to that Friday
• 57:44
  Speaker 2: the 13th Nightmare on Elm Street and Texas Chainsaw Massacre,
• 57:48
  Speaker 2: Of those three, because those are the three big reboots
• 57:51
  Speaker 2: that I think this one is kind of in the
• 57:52
  Speaker 2: same league with, the ones that do things that are
• 57:55
  Speaker 2: markedly different are Friday the 13th, which is a completely
• 57:59
  Speaker 2: different movie than the original. Yeah. And Texas Chainsaw, I
• 58:04
  Speaker 2: would say Texas Chainsaw works because it is just updating
• 58:08
  Speaker 2: of the original movie.
• 58:09
  Speaker 1: Yeah, I was going to say that one was sort
• 58:11
  Speaker 1: of the first, because I was thinking that. I was like, well,
• 58:13
  Speaker 1: when we did this, it was before those other two.
• 58:15
  Speaker 1: So this was kind of like.
• 58:16
  Speaker 2: Early on in the remake. Texas Chainsaw was the original one.
• 58:19
  Speaker 1: Well, I was going to say, this, I was thinking,
• 58:21
  Speaker 1: was the first of the Between Friday the 13th and
• 58:24
  Speaker 1: Nightmare on Elm Street. But then I was like, no,
• 58:26
  Speaker 1: Texas Chainsaw remake was well before this one came along.
• 58:29
  Speaker 1: But this was in between. But this was in between.
• 58:31
  Speaker 1: So yeah, this is in the middle of the run,
• 58:33
  Speaker 1: and it's them just... It's definitely, I feel like, the most...
• 58:36
  Speaker 1: different in approach in like stylistically approach like it's got
• 58:41
  Speaker 1: that big rob zombie stamp on it so like the
• 58:43
  Speaker 1: look of it and the attitude that it has i
• 58:46
  Speaker 1: think is maybe the most different of those four but
• 58:49
  Speaker 1: does it do anything original story-wise not not at all
• 58:53
  Speaker 1: really but i feel like the other ones maybe yeah
• 58:56
  Speaker 1: it's hit and miss they're all so different and they
• 58:58
  Speaker 1: all attempt to Again, Texas Chainsaw is the one that
• 59:01
  Speaker 1: really doesn't do anything that different. It really does just
• 59:04
  Speaker 1: like instead of having really, you know, old 70s grainy footage,
• 59:07
  Speaker 1: we're just going to shoot this and it's going to
• 59:09
  Speaker 1: be you know, a decent looking print and we're going
• 59:11
  Speaker 1: to get actors you might have seen.
• 59:12
  Speaker 2: In something before. And that's about it. So I don't know.
• 59:15
  Speaker 1: That maybe is the more successful of the four. It's
• 59:18
  Speaker 1: just an updated version that looks better.
• 59:20
  Speaker 2: And I am someone who's been a fan of and
• 59:23
  Speaker 2: goes to bat for that Texas Chainsaw Massacre remake often
• 59:27
  Speaker 2: because I like that a lot. And there are, what,
• 59:29
  Speaker 2: like five sequels that came off of that movie or something?
• 59:32
  Speaker 2: I don't even know how many. They just kept rebooting
• 59:35
  Speaker 2: it or prequeling it. That, though. That, not anything else.
• 59:39
  Speaker 2: It was wild. That became the original Texas Chainsaw Massacre.
• 59:44
  Speaker 1: I don't get it.
• 59:46
  Speaker 2: It's crazy because no other franchise has had a reboot
• 59:50
  Speaker 2: supplant the original as the film that's now being prequelized
• 59:54
  Speaker 2: and sequelized. That's kind of an insane thing. That's a
• 59:58
  Speaker 2: Texas Chainsaw thing that hasn't happened with any of these
• 1:00:00
  Speaker 2: other ones. This... is the closest we get, because this
• 1:00:03
  Speaker 2: gets one sequel. But that Texas Chainsaw gets all these
• 1:00:06
  Speaker 2: weird prequels, like two prequels, and then at least one sequel.
• 1:00:10
  Speaker 2: It's fucking insanity. I don't even remember how many. There
• 1:00:14
  Speaker 2: are at least two movies, two prequels, right?
• 1:00:16
  Speaker 1: That's because I think that just didn't have the original
• 1:00:20
  Speaker 1: viewers that this did. That's what I was thinking, too,
• 1:00:23
  Speaker 1: in the comparing of all the reboots. Like, or at
• 1:00:26
  Speaker 1: least attempt to start a whole new series again. It's
• 1:00:29
  Speaker 1: like the difference, like Texas Chainsaw, it's super low budget.
• 1:00:35
  Speaker 2: It's schlocky.
• 1:00:37
  Speaker 1: It looks like half the time you're watching a scuffed
• 1:00:40
  Speaker 1: up print that has been around the block. So none
• 1:00:43
  Speaker 1: of that really made its way over into mainstream audiences.
• 1:00:47
  Speaker 1: Whereas Halloween not only was successful in its own theatrical run,
• 1:00:52
  Speaker 1: but I mean, it was so mainstream, they shot extra
• 1:00:54
  Speaker 1: footage to put it on network television. That's how many
• 1:00:59
  Speaker 1: people out in the regular world saw Halloween. So Halloween
• 1:01:03
  Speaker 1: was just like it was the go to every regular
• 1:01:06
  Speaker 1: person who kind of wanted to watch something scary had
• 1:01:09
  Speaker 1: seen Halloween. So I think it had the potential. to
• 1:01:12
  Speaker 1: bring in a much bigger audience, but also like people
• 1:01:15
  Speaker 1: had seen the original Carpenter version a lot more, then
• 1:01:18
  Speaker 1: I think outside of horror fans, you would be hard
• 1:01:20
  Speaker 1: pressed to find regular people who'd seen that original Texas
• 1:01:24
  Speaker 1: Chainsaw Massacre before or since. I mean, even now, I
• 1:01:27
  Speaker 1: feel like most people, unless they're a horror fan, they
• 1:01:30
  Speaker 1: haven't watched it.
• 1:01:30
  Speaker 2: Well, and I think that the comparative that I'll use
• 1:01:33
  Speaker 2: in terms of something that's another form of media, if
• 1:01:36
  Speaker 2: we look at what they've done with Resident Evil 2
• 1:01:39
  Speaker 2: or 3 or 4 in the last decade, where they've
• 1:01:42
  Speaker 2: remade them but they haven't rebooted them they've remade them
• 1:01:47
  Speaker 2: they've gone back and upgraded the graphics and added more
• 1:01:50
  Speaker 2: content because you can't you can't just remake a game
• 1:01:53
  Speaker 2: from 20 years ago with that amount of content in
• 1:01:55
  Speaker 2: this day and age and think that that's okay like
• 1:01:57
  Speaker 2: i don't think anyone's gonna stand for that and if
• 1:01:59
  Speaker 2: you're gonna remake the game you're already dealing with the
• 1:02:01
  Speaker 2: assets so put some more stuff in there I would
• 1:02:04
  Speaker 2: say that that Texas Chainsaw Massacre film is more akin
• 1:02:08
  Speaker 2: to what they did with like Metal Gear Solid 3
• 1:02:10
  Speaker 2: or Resident Evil 4 or 2 or 3, where it's like,
• 1:02:13
  Speaker 2: we're just going back in and taking something that didn't
• 1:02:16
  Speaker 2: have the best graphics and upgrading. We're not gonna do
• 1:02:18
  Speaker 2: much to the story. We might build it out a
• 1:02:20
  Speaker 2: little bit more, But the bones are already there, like,
• 1:02:23
  Speaker 2: well enough that we don't have to. This movie is
• 1:02:26
  Speaker 2: a reboot. Like, it's not a remake. Like, that David
• 1:02:29
  Speaker 2: Gordon Green movie, it's not really a remake either. It's,
• 1:02:34
  Speaker 2: I don't know, it's more of a reboot, I guess.
• 1:02:37
  Speaker 2: But again, it's more of a gray area than this film.
• 1:02:40
  Speaker 2: This is a reboot. Well, it's a recall.
• 1:02:41
  Speaker 1: Yeah. Yeah, because it is a sequel to the original movie,
• 1:02:46
  Speaker 1: but it's also in the process remaking the same original movie.
• 1:02:49
  Speaker 2: Well, rebooting the original movie, right? Like, I don't know
• 1:02:52
  Speaker 2: if it's making it. This is remaking. This is the
• 1:02:55
  Speaker 2: first and only time we ever get a proper remake
• 1:02:59
  Speaker 2: of like, this is the only time Laurie Strode is
• 1:03:01
  Speaker 2: ever recast. This is the only time we get this. Like,
• 1:03:04
  Speaker 2: this is the only time we get a remake or
• 1:03:06
  Speaker 2: a reboot, excuse me, of Halloween. I think that, I
• 1:03:10
  Speaker 2: think that the, like, like you said, the one, the
• 1:03:13
  Speaker 2: David Gordon green one is a requel. It's like, it's not,
• 1:03:16
  Speaker 2: this is the, this is full on reboot. They recast Dr. Loomis.
• 1:03:20
  Speaker 2: They recast Lori, like those two things alone. It's like that.
• 1:03:24
  Speaker 2: It's like the nightmare on Elm street movie. Like that's
• 1:03:26
  Speaker 2: a reboot with the one with Rooney Mara.
• 1:03:28
  Speaker 1: And yeah, it's, It's and it's trying to do something different.
• 1:03:32
  Speaker 1: It is not successful, but.
• 1:03:34
  Speaker 2: It is trying to bring its own vibe to it.
• 1:03:38
  Speaker 1: Yeah, it just the only reason the original one worked
• 1:03:42
  Speaker 1: is because it It was creepy, but it didn't lean
• 1:03:45
  Speaker 1: into the creepy the way that the reboot does.
• 1:03:48
  Speaker 2: The reboot feels.
• 1:03:49
  Speaker 1: Creepy, but in a way that's legitimately creepy. And I'm like, oh,
• 1:03:52
  Speaker 1: nobody wants to watch you mess with these kids.
• 1:03:54
  Speaker 2: Like, stop that.
• 1:03:55
  Speaker 1: Like, no, go back to just murdering children. People thought
• 1:03:57
  Speaker 1: that was fun. Just go back to murdering them.
• 1:04:01
  Speaker 2: Well, and that's, I think the thing that like you
• 1:04:03
  Speaker 2: alluded to is kind of lost with this movie is
• 1:04:05
  Speaker 2: this movie is not fun. Yeah, it's really not like it's,
• 1:04:08
  Speaker 2: it's abusive. Like it's so assaulting on your senses.
• 1:04:13
  Speaker 1: It is. And some people come to him for that.
• 1:04:16
  Speaker 1: And I understand they like him because he's extreme, but like,
• 1:04:20
  Speaker 1: there's gotta be like some finesse to it.
• 1:04:23
  Speaker 2: Like, that's what I get.
• 1:04:24
  Speaker 1: Like from the get go, like the opening of this movie,
• 1:04:26
  Speaker 1: the first thing we see is, It's just these characters
• 1:04:30
  Speaker 1: just screaming.
• 1:04:31
  Speaker 2: At each other. And the worst, most obnoxious dialogue. And
• 1:04:35
  Speaker 2: just gross for the sake of gross. Just like everything
• 1:04:39
  Speaker 2: about it is just assaultive. And I'm just like, I'm already.
• 1:04:43
  Speaker 1: Not having fun. Like, I want to enjoy this movie.
• 1:04:47
  Speaker 2: I'm trying.
• 1:04:47
  Speaker 1: Again, I'm trying to go in open-minded. And like, immediately,
• 1:04:50
  Speaker 1: it's just a punch in the face. It's just like, oh,
• 1:04:52
  Speaker 1: here's the family he's part of.
• 1:04:55
  Speaker 2: Enjoy this movie.
• 1:04:56
  Speaker 1: Wonderful home life like i know you're trying to prove
• 1:04:58
  Speaker 1: a point but you're also doing it with no real
• 1:05:02
  Speaker 1: style it's just like you've got your crazy visual style
• 1:05:06
  Speaker 1: and it's a totally different vibe i get that but
• 1:05:08
  Speaker 1: like as far as just putting it out there in
• 1:05:10
  Speaker 1: a way that makes you want to watch and be
• 1:05:12
  Speaker 1: part of this movie like immediately i was just turned
• 1:05:15
  Speaker 1: off i'm just like uh This family is so not
• 1:05:18
  Speaker 1: what I want to see for two hours now.
• 1:05:20
  Speaker 2: Well, and that's I think that that for me is
• 1:05:22
  Speaker 2: the part that I I don't say like I don't
• 1:05:25
  Speaker 2: vibe with it, but it's definitely the part where I'm like, OK,
• 1:05:28
  Speaker 2: like you really are doing something else here. You're doing
• 1:05:31
  Speaker 2: something weird. You're injecting like that 70s exploitation into the film.
• 1:05:35
  Speaker 2: I think the problem that I really have with this movie,
• 1:05:37
  Speaker 2: and you're going to laugh, the problem that I have
• 1:05:39
  Speaker 2: with this movie is, why wasn't this movie just set
• 1:05:42
  Speaker 2: in the 70s?
• 1:05:43
  Speaker 1: I mean, everything Rob Zombie does in his mind is
• 1:05:46
  Speaker 1: kind of in the 70s.
• 1:05:47
  Speaker 2: I know, but why not just set it in the 70s?
• 1:05:49
  Speaker 2: Because this ends up being... Like, oh, 1990. It doesn't
• 1:05:54
  Speaker 2: even feel like 1990 when we cut to the Laurie
• 1:05:56
  Speaker 2: Strode part of it. And I know it's supposed to be.
• 1:06:00
  Speaker 2: But it is supposed to be 1990. And then in
• 1:06:03
  Speaker 2: the next film, that I don't even... They're just like,
• 1:06:06
  Speaker 2: we don't give a shit. Like, it doesn't even... They're
• 1:06:09
  Speaker 2: out of time. It's just off in the woods somewhere.
• 1:06:11
  Speaker 2: We don't know where and when. They're playing a lot
• 1:06:13
  Speaker 2: of 70s music, but it's supposed to be 1990. Like, this...
• 1:06:17
  Speaker 2: This movie, like for me, the time in this movie
• 1:06:20
  Speaker 2: makes no sense. This should be set in the 70s.
• 1:06:24
  Speaker 2: They should have leaned harder into the exploitation of it all.
• 1:06:27
  Speaker 2: And it really should have been this like just slasher
• 1:06:31
  Speaker 2: adjacent to Last House on the Left or I Spit
• 1:06:35
  Speaker 2: on Your Grave, like something like that. And you know what?
• 1:06:37
  Speaker 2: I think you and I and most people who are
• 1:06:41
  Speaker 2: not just Rob Zombie fans would have gone into this going, okay,
• 1:06:44
  Speaker 2: I get what this is now. And the fact that
• 1:06:47
  Speaker 2: I'm having to do some of the heavy lifting for
• 1:06:48
  Speaker 2: Rob Zombie to get it close to that is the
• 1:06:51
  Speaker 2: problem because he was given an opportunity that you and
• 1:06:54
  Speaker 2: I will never have, which is, hey, you can take
• 1:06:56
  Speaker 2: a franchise that is known internationally, that has branded products
• 1:07:01
  Speaker 2: out the fucking wazoo, And you can do something with it.
• 1:07:04
  Speaker 2: And you can do whatever you want. Carte Blanche. You
• 1:07:08
  Speaker 2: are the Cain Parsons and Curry Barker of your day
• 1:07:10
  Speaker 2: and age in the mid-2000s. Like, literally. Yeah, pretty much.
• 1:07:13
  Speaker 1: I mean, he was the biggest name in the world.
• 1:07:15
  Speaker 1: So much so, he didn't even make movies. And they went, here,
• 1:07:18
  Speaker 1: make movies. Like, that's not even your job.
• 1:07:20
  Speaker 2: Please, for the love of God, make a movie. Shit.
• 1:07:22
  Speaker 1: Make movies like, yeah.
• 1:07:24
  Speaker 2: It's crazy. And he makes this movie like for me,
• 1:07:26
  Speaker 2: this movie is him phoning it in. And I'm not
• 1:07:30
  Speaker 2: sure anyone would ever level that criticism against this movie.
• 1:07:33
  Speaker 2: But for me, this movie doesn't go far enough. It
• 1:07:35
  Speaker 2: doesn't do enough. It doesn't retain. The sense of ickiness
• 1:07:41
  Speaker 2: and grossness that it should have had throughout that the
• 1:07:44
  Speaker 2: first half of the movie does so well, where we
• 1:07:46
  Speaker 2: just have this like dead eyed child actor who, again,
• 1:07:50
  Speaker 2: like perfect casting of like a young Michael Pitt. Like,
• 1:07:54
  Speaker 2: I don't know how else you describe him, but he's
• 1:07:56
  Speaker 2: like Michael Pitt, like adjacent. and you have him just
• 1:07:59
  Speaker 2: murdering adults and other kids. You know what? I enjoyed
• 1:08:04
  Speaker 2: that part of the movie so much because it is
• 1:08:08
  Speaker 2: different and not what we've seen before, but it's not
• 1:08:10
  Speaker 2: different enough. It again leans into things that you've seen
• 1:08:13
  Speaker 2: before and seen elsewhere that are done... better elsewhere because
• 1:08:17
  Speaker 2: they're not having to, for whatever reason, be Halloween. That's
• 1:08:21
  Speaker 2: the thing that's maybe the worst thing about this movie
• 1:08:23
  Speaker 2: is that it's a Halloween movie that forces it to
• 1:08:25
  Speaker 2: do certain things. Even though John Carpenter was like, do
• 1:08:28
  Speaker 2: your own thing, man. If you're recasting Laurie and Dr. Loomis,
• 1:08:33
  Speaker 2: you've already done too much. Do less than that. And
• 1:08:36
  Speaker 2: that's the problem with this movie and all the other
• 1:08:38
  Speaker 2: Halloween movies is they end up just recasting Laurie and Dr.
• 1:08:42
  Speaker 2: Loomis over and over again. Because even the David Gordon
• 1:08:45
  Speaker 2: Green movies, the first one at least does that. The
• 1:08:48
  Speaker 2: most successful of the three in terms of financials. Yeah,
• 1:08:51
  Speaker 2: that's what I was thinking.
• 1:08:53
  Speaker 1: I think that's part of my issue with that That
• 1:08:56
  Speaker 1: first half is there, like I said, is because it's.
• 1:08:59
  Speaker 1: trying to do this reassessment of, you know, the, the
• 1:09:03
  Speaker 1: murderous character in the middle of a Halloween movie where
• 1:09:06
  Speaker 1: it doesn't belong. Like, and I was, I was trying
• 1:09:08
  Speaker 1: to think, and this maybe does not even belong in
• 1:09:10
  Speaker 1: this entire episode because this is a very different movie.
• 1:09:13
  Speaker 1: But as you were describing earlier of like how a
• 1:09:16
  Speaker 1: kid becomes this, you know, it's like, and a way
• 1:09:19
  Speaker 1: to look at it in an interesting way. That's not
• 1:09:22
  Speaker 1: just your like half-ass version of it.
• 1:09:24
  Speaker 2: And then he just flips the switch and murders everybody.
• 1:09:27
  Speaker 1: But I was thinking I saw years ago when it
• 1:09:29
  Speaker 1: first came out, there's a movie called And Then I Go.
• 1:09:32
  Speaker 1: And it was 2017. And it's a very different. Is
• 1:09:35
  Speaker 1: it indie drama kind of a movie?
• 1:09:37
  Speaker 2: It does not.
• 1:09:37
  Speaker 1: Most people that like horror are not going to care
• 1:09:39
  Speaker 1: about this movie. But my point was, I remember in
• 1:09:42
  Speaker 1: watching that the thing that it did that was amazing
• 1:09:45
  Speaker 1: is it's about this kid at school and he's really unhappy.
• 1:09:49
  Speaker 1: And he's like, he's kind of got one friend and
• 1:09:51
  Speaker 1: everybody else, you know, picks on him and treats him
• 1:09:53
  Speaker 1: like shit. And we get a lot of these same
• 1:09:55
  Speaker 1: beats as the Michael story. But it's done realistically and
• 1:09:58
  Speaker 1: it's done without all the god awful dialogue that we
• 1:10:01
  Speaker 1: have here. But it also feels real that this kid
• 1:10:04
  Speaker 1: feels like he's actually in this school. And the thing
• 1:10:07
  Speaker 1: that's the most amazing is it takes these little moments
• 1:10:11
  Speaker 1: and these little baby steps of because by the end
• 1:10:14
  Speaker 1: of it. trigger warning for anybody that does want to
• 1:10:17
  Speaker 1: watch it. It eventually becomes about a school shooting. And
• 1:10:20
  Speaker 1: what it does is like it introduces these moments that
• 1:10:23
  Speaker 1: like this kid is just generally unhappy. But at the
• 1:10:26
  Speaker 1: same time, he's going through his normal day to day life.
• 1:10:29
  Speaker 1: So it's like on the one hand, he and his
• 1:10:31
  Speaker 1: friend are deciding what day they're gonna shoot up the
• 1:10:34
  Speaker 1: school and then he goes home and has dinner with
• 1:10:36
  Speaker 1: his mom and dad and it's just like hey you
• 1:10:38
  Speaker 1: want to go on vacation next week all right cool
• 1:10:40
  Speaker 1: where do you want to go like he's of two
• 1:10:42
  Speaker 1: different minds and like as a kid he doesn't realize
• 1:10:46
  Speaker 1: that you know these consequences are going to lead to
• 1:10:49
  Speaker 1: this horrible end like it is these weird little baby
• 1:10:52
  Speaker 1: steps that make it a realistic portrait of that and
• 1:10:56
  Speaker 1: a believable version of how someone can end up in
• 1:10:59
  Speaker 1: this place and not even fully understand how they got there.
• 1:11:02
  Speaker 2: And that's not what we get here.
• 1:11:03
  Speaker 1: So I know it's a very different type of movie,
• 1:11:05
  Speaker 1: but that's what I'm saying. There is a way to
• 1:11:07
  Speaker 1: do that. I don't think it belongs in a slasher movie.
• 1:11:11
  Speaker 1: I don't think it belongs in the Halloween franchise. And
• 1:11:13
  Speaker 1: I don't know that Rob Zombie is the.
• 1:11:15
  Speaker 2: One to do it.
• 1:11:16
  Speaker 1: So.
• 1:11:16
  Speaker 2: But there is a way to do something like that.
• 1:11:18
  Speaker 2: And it's just weird that he tries to cram that
• 1:11:21
  Speaker 2: in here and still put his weird over the top
• 1:11:24
  Speaker 2: spin on it.
• 1:11:25
  Speaker 1: But at the same time, not just not deliver what
• 1:11:29
  Speaker 1: we need from from that story. If you're going to
• 1:11:31
  Speaker 1: do that story, you should do that story.
• 1:11:32
  Speaker 2: When I sat down to watch Halloween, I wasn't like,
• 1:11:35
  Speaker 2: oh yeah, by the way, I need my friend Dahmer
• 1:11:37
  Speaker 2: in this movie. Well, that's the thing. Which I don't
• 1:11:41
  Speaker 2: hate that movie.
• 1:11:42
  Speaker 1: I'm not saying anything about that movie in particular. It's
• 1:11:45
  Speaker 1: just the same idea. It gives you a little look
• 1:11:50
  Speaker 1: into this guy and yeah, by the end you're like,
• 1:11:52
  Speaker 1: I don't know that I'm supposed to feel sorry for him.
• 1:11:54
  Speaker 1: But at the same time, you see these little steps
• 1:11:57
  Speaker 1: along the way that like, you know, if somebody would
• 1:12:00
  Speaker 1: have been... a nice person to this kid instead of
• 1:12:03
  Speaker 1: just being an asshole, none of this.
• 1:12:05
  Speaker 2: Would have happened.
• 1:12:06
  Speaker 1: So like, I feel like that movie at least throws
• 1:12:08
  Speaker 1: it back at people in general and be like, you know,
• 1:12:11
  Speaker 1: we do this to people.
• 1:12:13
  Speaker 2: Like we treat each other like shit. And then we
• 1:12:15
  Speaker 2: wonder why people end up murdering each other. It's like
• 1:12:18
  Speaker 2: the world is terrible because we create it. And here
• 1:12:21
  Speaker 2: it is.
• 1:12:22
  Speaker 1: So it's like, again, I don't know that we can
• 1:12:24
  Speaker 1: address that in a schlocky Rob Zombie movie, but like
• 1:12:27
  Speaker 1: there are movies out there that do that kind of
• 1:12:29
  Speaker 1: stuff and whether or not they're successful is, you know,
• 1:12:31
  Speaker 1: a case by case basis, but. Yeah, I think it's
• 1:12:34
  Speaker 1: that same type of thing that you can do in
• 1:12:36
  Speaker 1: a movie.
• 1:12:37
  Speaker 2: Just not this movie. Well, and that's, I think, you know,
• 1:12:39
  Speaker 2: I appreciate that Rob Zombie was trying to do that
• 1:12:42
  Speaker 2: with this. I just don't, I guess I don't understand why.
• 1:12:45
  Speaker 2: If that's what you're trying to inject as your kind of, well,
• 1:12:47
  Speaker 2: that's my thing. It's like, Rob Zombie, since when are
• 1:12:51
  Speaker 2: you trying to, like, I'm taking a look at childhood
• 1:12:53
  Speaker 2: violence and what turns someone like Michael Myers from a
• 1:12:57
  Speaker 2: child into a murderer. It's like... All of a sudden,
• 1:13:00
  Speaker 2: this is like your raison d'etre. Like, what? Where is it?
• 1:13:03
  Speaker 2: Where is this coming from? I guess is my whole thing.
• 1:13:06
  Speaker 2: And it's very weird to me because it doesn't like
• 1:13:08
  Speaker 2: you said, it doesn't have a place in a hour
• 1:13:12
  Speaker 2: and a half, two hour long slasher film. That's not
• 1:13:15
  Speaker 2: why people are here to see slasher films. If you
• 1:13:16
  Speaker 2: want to do that, do it in a TV show. Like,
• 1:13:19
  Speaker 2: you know what? You know what was a great TV show? Hannibal.
• 1:13:22
  Speaker 2: It shouldn't have worked at all. But yet it did. Why?
• 1:13:26
  Speaker 2: Because they understood that like the interesting parts can be
• 1:13:30
  Speaker 2: kind of metered out slowly if we do something different
• 1:13:33
  Speaker 2: and entertaining that they've literally never seen before or has
• 1:13:37
  Speaker 2: been alluded to otherwise. But we can give them the
• 1:13:39
  Speaker 2: notes that they've heard. It doesn't have to be immediate,
• 1:13:42
  Speaker 2: but like we'll get to them eventually or maybe not ever.
• 1:13:45
  Speaker 1: Well, and it's stylish and it's like it's got style
• 1:13:48
  Speaker 1: the way it presents it and it does it in
• 1:13:50
  Speaker 1: a way that's like respectful to the audience. Like, yeah,
• 1:13:53
  Speaker 1: we're still going to get to some really gross stuff
• 1:13:56
  Speaker 1: down the line that Hannibal the Cannibal is going to do.
• 1:13:59
  Speaker 1: It's not like the gore is missing from that original
• 1:14:02
  Speaker 1: movie or well, the second version of that movie.
• 1:14:05
  Speaker 2: Definitely.
• 1:14:05
  Speaker 1: There's a lot of gore in that thing. and a
• 1:14:08
  Speaker 1: crazy character at the center of it. But there's still
• 1:14:11
  Speaker 1: a way to tell even that story that gives you
• 1:14:14
  Speaker 1: the grossness that you kind of want as a horror fan,
• 1:14:16
  Speaker 1: but gives you some character development and gives you like
• 1:14:19
  Speaker 1: a reason to be invested in this person. You don't
• 1:14:22
  Speaker 1: even have to like him. You don't have to feel
• 1:14:23
  Speaker 1: sorry for him. You don't have to play that card.
• 1:14:26
  Speaker 1: But you can expand on it and you can try
• 1:14:29
  Speaker 1: to examine why he's like that without necessarily being on
• 1:14:32
  Speaker 1: his side.
• 1:14:33
  Speaker 2: Yeah, and in this film, not that the film needs
• 1:14:36
  Speaker 2: to get me to Michael Myers' side, but it does
• 1:14:39
  Speaker 2: feel like it spends the first half of the movie
• 1:14:41
  Speaker 2: attempting to do that. Well, it goes back and forth. Yeah,
• 1:14:44
  Speaker 2: and then it abandons it completely in the second half
• 1:14:46
  Speaker 2: because there's no... The characterization I get from Michael in
• 1:14:49
  Speaker 2: the second half of the movie is there is no characterization.
• 1:14:51
  Speaker 2: He just walks around... he can get shot yeah he
• 1:14:55
  Speaker 2: can get shot he can shake it off he and
• 1:14:57
  Speaker 2: he he's you know again like you alluded to he's
• 1:15:00
  Speaker 2: murdering men women children animals with with no with no
• 1:15:05
  Speaker 2: fucks given i mean he kills kills a lot of
• 1:15:08
  Speaker 2: people but he doesn't.
• 1:15:09
  Speaker 1: Even seem like he's aware of it it's just like
• 1:15:11
  Speaker 1: which again like later in the embodiment of evil like
• 1:15:14
  Speaker 1: i get that like if that's all he's supposed to
• 1:15:16
  Speaker 1: be then yeah he doesn't care it's just what he
• 1:15:19
  Speaker 1: does he's not a character enough to care but here
• 1:15:22
  Speaker 1: we're trying like we ping pong back and forth in
• 1:15:24
  Speaker 1: this first half of the movie of like well now
• 1:15:26
  Speaker 1: he's a nice kid now he seems like he's okay
• 1:15:29
  Speaker 1: so like you gotta make up your mind are we
• 1:15:31
  Speaker 1: supposed to care about him as a character or is
• 1:15:33
  Speaker 1: he just evil and we just watch him you know
• 1:15:36
  Speaker 1: murder people like it you kind of have to pick
• 1:15:38
  Speaker 1: a lane and I don't feel like Rob Zombie ever
• 1:15:41
  Speaker 1: does that.
• 1:15:42
  Speaker 2: Which is wild to me because that's not what I
• 1:15:44
  Speaker 2: thought I would walk away from this watch of the
• 1:15:47
  Speaker 2: film being like Rob Zombie didn't go far enough like
• 1:15:49
  Speaker 2: has anyone ever said that about Rob Zombie well But
• 1:15:52
  Speaker 2: he does what he always does.
• 1:15:53
  Speaker 1: And that's the problem is like he will take and
• 1:15:56
  Speaker 1: sometimes it's more successful than others. But I ended up
• 1:15:59
  Speaker 1: coming back to one of my least favorite.
• 1:16:01
  Speaker 2: One of the few times I've.
• 1:16:02
  Speaker 1: Ever really ranted about a Rob Zombie movie. That El
• 1:16:05
  Speaker 1: Superbisto thing that he did. I mean, the thing that
• 1:16:09
  Speaker 1: annoyed me the most is he just pissed away some
• 1:16:12
  Speaker 1: of the coolest opportunities. Like you were saying earlier, you
• 1:16:15
  Speaker 1: were given just carte blanche.
• 1:16:17
  Speaker 2: Just go to town.
• 1:16:18
  Speaker 1: You are the biggest name in the world right now.
• 1:16:20
  Speaker 1: You can do whatever you want. Here's your favorite franchise
• 1:16:23
  Speaker 1: from when you were a kid.
• 1:16:24
  Speaker 2: Go to town.
• 1:16:25
  Speaker 1: And like, instead, this just comes off kind of like
• 1:16:28
  Speaker 1: a big self-indulgent fan film at times. Like there's still
• 1:16:31
  Speaker 1: moments when you can see Rob being the dumb 13
• 1:16:33
  Speaker 1: year old kid going, wouldn't it be cool?
• 1:16:36
  Speaker 2: Like Michael Marsh is like murdered the hell out of
• 1:16:39
  Speaker 2: a bunch of people. Like he just smashes this dude
• 1:16:41
  Speaker 2: into the wall. Cause he's like a big, huge guy.
• 1:16:44
  Speaker 1: And like, he just, you just see the dumb 13
• 1:16:46
  Speaker 1: year old boy coming out in so many of these
• 1:16:48
  Speaker 1: scenes when it's just so gratuitous and over the top.
• 1:16:51
  Speaker 1: And I'm like, There's a place for that in schlocky movies,
• 1:16:54
  Speaker 1: but again, I feel like it's just so mishandled in
• 1:16:57
  Speaker 1: the hands of Rob Zombie most of the time.
• 1:17:00
  Speaker 2: It's like when you got those toys as a kid
• 1:17:02
  Speaker 2: and you just smashed them together. Yeah. I'm playing with them.
• 1:17:05
  Speaker 2: I mean, I guess in the literal sense you are,
• 1:17:08
  Speaker 2: but technically, yeah, not. You're breaking your shit. Yeah. It's
• 1:17:14
  Speaker 2: such a shame because I feel like that Nightmare on
• 1:17:16
  Speaker 2: Elm Street movie, one of the criticisms that I level
• 1:17:19
  Speaker 2: against it is there's a moment in that movie where
• 1:17:22
  Speaker 2: you have these characters and they're going to pull the
• 1:17:23
  Speaker 2: curtain back and it's like, this is where Freddy's like,
• 1:17:25
  Speaker 2: like rape room is child rape room and i thought
• 1:17:30
  Speaker 2: that it would have been such a good twist if
• 1:17:32
  Speaker 2: they had pulled that back and there was nothing there
• 1:17:34
  Speaker 2: and they had killed an innocent person and for the
• 1:17:36
  Speaker 2: first time you're like oh shit like freddy krueger is
• 1:17:39
  Speaker 2: just like pissed off rightfully so that he was killed
• 1:17:41
  Speaker 2: by like town justice that was misdirected at somebody and
• 1:17:45
  Speaker 2: should have been directed at somebody else wouldn't that have
• 1:17:47
  Speaker 2: made that movie infinitely more interesting i mean maybe definitely
• 1:17:51
  Speaker 2: more interesting but not any more successful, but it would
• 1:17:53
  Speaker 2: have made it more interesting. And yet they just did
• 1:17:55
  Speaker 2: the most fucking obvious thing. It's like, no, we're just
• 1:17:58
  Speaker 2: doing what we've already done. And I have a real
• 1:18:01
  Speaker 2: big problem with that because again, why are you doing
• 1:18:04
  Speaker 2: what's already been done other than because you don't feel
• 1:18:06
  Speaker 2: like working on something or putting in the effort, I guess,
• 1:18:10
  Speaker 2: because your assumption is, well, it's worked and made money before.
• 1:18:13
  Speaker 2: So people will resonate with it again the same way.
• 1:18:16
  Speaker 2: And yes, I guess that is the case sometimes. But
• 1:18:20
  Speaker 2: go look at a franchise like Star Wars, which again,
• 1:18:22
  Speaker 2: might not sound like a comparative to Halloween. But in
• 1:18:25
  Speaker 2: terms of the amount of money that it's made, Halloween
• 1:18:28
  Speaker 2: is kind of the Star Wars. It's kind of the
• 1:18:31
  Speaker 2: film for its genre that I would say is like,
• 1:18:34
  Speaker 2: close in parallel to Star Wars. It's made a ton
• 1:18:38
  Speaker 2: of money, relatively cheap movie, technically more or less what
• 1:18:42
  Speaker 2: we would consider an indie film that has had its
• 1:18:45
  Speaker 2: fair share of issues, but has ultimately made tons of
• 1:18:48
  Speaker 2: money for the people that have been making it.
• 1:18:50
  Speaker 1: It or involved keeps coming back and every time the
• 1:18:53
  Speaker 1: fans still get upset and they still just come back
• 1:18:56
  Speaker 1: and like okay okay we'll try to fix those things
• 1:18:58
  Speaker 1: you complain about and then they come back and do
• 1:18:59
  Speaker 1: it all wrong again let's just piss people off to
• 1:19:02
  Speaker 1: no end but they keep cranking them out anyway so
• 1:19:05
  Speaker 1: it's like well we can't let this franchise die we
• 1:19:07
  Speaker 1: got to do something and I don't know.
• 1:19:09
  Speaker 2: You guys figure it out. Well, and that's, you know, my,
• 1:19:13
  Speaker 2: my point is like, when we talk about where Halloween
• 1:19:15
  Speaker 2: goes from like where it is now, they're going to
• 1:19:18
  Speaker 2: reboot it. I hope. And I hope that they reboot it.
• 1:19:20
  Speaker 2: And it has nothing to do with Lori, because while
• 1:19:23
  Speaker 2: I appreciate that, this movie is trying to get us
• 1:19:25
  Speaker 2: to be like, Oh my God, like Lori is, Had
• 1:19:27
  Speaker 2: to murder her brother who took care of her and
• 1:19:30
  Speaker 2: was probably the only one that loved her other than
• 1:19:33
  Speaker 2: her mom. And oh, isn't it awful that she's sitting
• 1:19:35
  Speaker 2: there and having to click that gun at the end
• 1:19:37
  Speaker 2: of the film to murder her brother? And yes, although
• 1:19:40
  Speaker 2: those all of those things are awful, but because there's
• 1:19:42
  Speaker 2: no emotional stakes to the Scout Taylor Compton version of Laurie,
• 1:19:47
  Speaker 2: it that it doesn't really matter. None of what happens
• 1:19:50
  Speaker 2: in this movie matters, and it's such a shame. There's
• 1:19:51
  Speaker 2: no connection between the characters. She doesn't know who he is. Like,
• 1:19:56
  Speaker 2: she doesn't know his name's.
• 1:19:57
  Speaker 1: Michael until that very last scene, right before he's dead,
• 1:20:01
  Speaker 1: in theory, sort of.
• 1:20:02
  Speaker 2: Maybe, not not.
• 1:20:03
  Speaker 1: When Loomis, not really, but within the context of this movie,
• 1:20:07
  Speaker 1: it seems like he's dead. So within the last few seconds,
• 1:20:10
  Speaker 1: Loomis says his name, and then she's.
• 1:20:12
  Speaker 2: Like, yeah, Michael, let me go. Like, because... She didn't
• 1:20:16
  Speaker 2: know who this guy was.
• 1:20:17
  Speaker 1: He's once again, he's supposed to be the boogeyman. He's
• 1:20:20
  Speaker 1: supposed to not have an identity. But then all of
• 1:20:22
  Speaker 1: a sudden, the next scene over, we're supposed to care because, oh, well,
• 1:20:24
  Speaker 1: now it's my brother and I want to save you
• 1:20:27
  Speaker 1: or shoot you in the face, whatever.
• 1:20:29
  Speaker 2: Like, I don't know.
• 1:20:30
  Speaker 1: It just it can't ever seem to make up its
• 1:20:32
  Speaker 1: mind what it is it's trying to do, even from
• 1:20:34
  Speaker 1: one scene to the next sometimes.
• 1:20:36
  Speaker 2: Well, and that's, I think for me, the biggest problem
• 1:20:38
  Speaker 2: with this movie is that tonal inconsistency when you as
• 1:20:42
  Speaker 2: Rob Zombie should have just made like the ultimate exploitation,
• 1:20:47
  Speaker 2: like love letter to slasher films. And I look like
• 1:20:50
  Speaker 2: slasher films and exploitation, you know, I mean, again, there
• 1:20:54
  Speaker 2: are plenty of exploitation films that are slasher films, but
• 1:20:57
  Speaker 2: I don't consider as someone who watched a lot of
• 1:20:59
  Speaker 2: slasher films, I don't really consider exploitation and slasher to
• 1:21:02
  Speaker 2: be like in that same like Like they, they exist.
• 1:21:06
  Speaker 2: Like there are some exploitation films that are slasher films.
• 1:21:08
  Speaker 2: Most slasher films are just doing their own thing. And
• 1:21:10
  Speaker 2: they're not necessarily like involved with setting an exploitation. Yeah.
• 1:21:15
  Speaker 1: They're not trying to prove a point either. They're just like,
• 1:21:18
  Speaker 1: here's the story we're making.
• 1:21:20
  Speaker 2: We got a little bit of money. We got we
• 1:21:22
  Speaker 2: want to do.
• 1:21:23
  Speaker 1: Some cool kills like they're just they're in the moment
• 1:21:25
  Speaker 1: wanting to do something cool for the audience. And like
• 1:21:28
  Speaker 1: maybe we'll make a little money along the way. But
• 1:21:30
  Speaker 1: like nobody has any big plan half the time, especially
• 1:21:34
  Speaker 1: in the older ones anyway. Now, sometimes you get some
• 1:21:36
  Speaker 1: smarter slashers, maybe kind of, but.
• 1:21:39
  Speaker 2: For the most part, the old, you.
• 1:21:40
  Speaker 1: Know, classic ones were just sort of like throwing it
• 1:21:43
  Speaker 1: out there and be like, hey, let's put this guy
• 1:21:45
  Speaker 1: in a mask and he's got a knife and he's
• 1:21:46
  Speaker 1: trying to kill these girls. And like, that's the most
• 1:21:49
  Speaker 1: thought that was put in a lot of them. But
• 1:21:51
  Speaker 1: at the same time, it did it stylistically. It did
• 1:21:54
  Speaker 1: it with a fun attitude that made you like even
• 1:21:57
  Speaker 1: if these kids were dumb you're just like hey it's
• 1:22:00
  Speaker 1: fine they're gonna get murdered in a minute who cares
• 1:22:02
  Speaker 1: like you didn't immerse yourself in this horrible dialogue and
• 1:22:05
  Speaker 1: try to build up these characters into something bigger or
• 1:22:08
  Speaker 1: some story arc that's supposed to lead somewhere because they're
• 1:22:11
  Speaker 1: all gonna be dead in an hour and a half
• 1:22:13
  Speaker 1: so like it didn't matter like you were just there
• 1:22:15
  Speaker 1: to have fun and it felt like the people making
• 1:22:17
  Speaker 1: the movie were having as much fun as the audience
• 1:22:20
  Speaker 1: half the time and i don't feel like either of
• 1:22:22
  Speaker 1: the people are having fun in this movie I feel
• 1:22:25
  Speaker 1: like even Rob Zombie was tortured by the producers. So
• 1:22:28
  Speaker 1: like he's in a bad situation, putting it together and
• 1:22:30
  Speaker 1: we're in a bad situation sitting out in the audience.
• 1:22:33
  Speaker 2: Well, and I also think what's interesting in terms of like,
• 1:22:35
  Speaker 2: what was Rob Zombie trying to achieve here and what
• 1:22:38
  Speaker 2: does he achieve? I don't know if he was trying
• 1:22:41
  Speaker 2: to achieve this kind of, I don't know. Like, again,
• 1:22:44
  Speaker 2: like you said, like slashers are kind of a flight
• 1:22:46
  Speaker 2: of fancy genre that have been given weight and meaning
• 1:22:50
  Speaker 2: in the post, not in retrospect. Yeah. Like the, Michael
• 1:22:54
  Speaker 2: Myers' mask was literally just well that's the mask that
• 1:22:57
  Speaker 2: they bought it was a Captain Kirk mask so they
• 1:22:59
  Speaker 2: had to make it like not look like Captain Kirk
• 1:23:01
  Speaker 2: that's it.
• 1:23:01
  Speaker 1: And even in the Carpenter movie yeah it had no
• 1:23:05
  Speaker 1: he stole a mask any mask didn't matter it was
• 1:23:08
  Speaker 1: the one sitting on the shelf It didn't have magical
• 1:23:11
  Speaker 1: powers that we had to, like, return to the mask
• 1:23:14
  Speaker 1: that he originally killed his sister in.
• 1:23:17
  Speaker 2: And we have to smash through.
• 1:23:18
  Speaker 1: The floor to find it 15 years later because it's
• 1:23:22
  Speaker 1: so important that he's wearing this mask.
• 1:23:25
  Speaker 2: It's the reverence given to these things by the fans
• 1:23:27
  Speaker 2: afterwards that I really have a problem with not. And that,
• 1:23:30
  Speaker 2: and that creators lean into it because like, Oh look,
• 1:23:33
  Speaker 2: it's the Michael Myers mask and here's the knife. And
• 1:23:36
  Speaker 2: it's like, it's like those shots in ghostbusters afterlife where they,
• 1:23:39
  Speaker 2: they linger on the Ecto one or they linger on
• 1:23:42
  Speaker 2: the proton pack.
• 1:23:43
  Speaker 1: It's like, look, look at, look at how great this
• 1:23:45
  Speaker 1: is now that we're finally seeing this in They're so.
• 1:23:48
  Speaker 2: Reverent about those. They love those things.
• 1:23:50
  Speaker 1: But that's the same, like, even with this is, like,
• 1:23:52
  Speaker 1: still pretty reverent.
• 1:23:53
  Speaker 2: It doesn't stray too far.
• 1:23:55
  Speaker 1: The most ridiculous one is when they worked it into
• 1:23:59
  Speaker 1: the dialogue, and you've got this voiceover of Loomis, and
• 1:24:03
  Speaker 1: he has become... a mere shape of a human bead.
• 1:24:06
  Speaker 2: I was like, ah, wink, wink, nudge, nudge. You know
• 1:24:08
  Speaker 2: what I mean? See what I did there? See how
• 1:24:10
  Speaker 2: I worked at it? I'm like, yeah, we get it. Like, hey,
• 1:24:12
  Speaker 2: that's the name of the movie. You and your ham-fisted,
• 1:24:15
  Speaker 2: you know, references. Good going. We get it, Rob.
• 1:24:18
  Speaker 1: So it's like the fact that they went so far
• 1:24:20
  Speaker 1: as to like, make sure that phrase ended up in
• 1:24:23
  Speaker 1: there because that's what the fans have been calling them
• 1:24:25
  Speaker 1: all these years.
• 1:24:26
  Speaker 2: I'm like, yeah, we get it.
• 1:24:28
  Speaker 1: Like, it's just, it's so hammy when you have to,
• 1:24:32
  Speaker 1: we have to see all the pieces coming together. It's like,
• 1:24:35
  Speaker 1: why do we have to kill Grizzly? Because we need
• 1:24:37
  Speaker 1: a cast member that's big enough to wear a jumpsuit
• 1:24:40
  Speaker 1: that Tyler Maine might possibly be able to fit in.
• 1:24:42
  Speaker 1: Not really, but at least you would kind of believe
• 1:24:44
  Speaker 1: that versus Every other member of the cast. So it's like, well,
• 1:24:48
  Speaker 1: we got to get this guy because we like him.
• 1:24:50
  Speaker 1: He's in other horror movies and he's kind of the
• 1:24:52
  Speaker 1: tall guy. So it might work that he gets his
• 1:24:54
  Speaker 1: trademark jumpsuit because we have to have his trademark jumpsuit
• 1:24:58
  Speaker 1: so he can wear it with his trademark mask and.
• 1:25:01
  Speaker 1: We'll issue him a special Halloween edition knife to go
• 1:25:04
  Speaker 1: stab people with that he bought at the Hot Topic.
• 1:25:06
  Speaker 2: Or Spirit down the street.
• 1:25:09
  Speaker 1: Yeah, it's like everything is so branded at this point
• 1:25:12
  Speaker 1: in the franchise that you can't escape that. You've got
• 1:25:15
  Speaker 1: to line it up and be like, here it comes.
• 1:25:17
  Speaker 1: He's going to get the jumpsuit. It's like, so you're
• 1:25:19
  Speaker 1: waiting as a fan. We're supposed to be waiting for
• 1:25:22
  Speaker 1: all these moments. And I'm like.
• 1:25:24
  Speaker 2: We didn't have that in the first movie. That's why
• 1:25:26
  Speaker 2: we liked it so much.
• 1:25:27
  Speaker 1: It was this cool new original thing that, you know,
• 1:25:29
  Speaker 1: for the most part we hadn't seen before. But yeah,
• 1:25:31
  Speaker 1: you don't get that in these reboots and reattempts and
• 1:25:34
  Speaker 1: recalls and like because it's you've got to put all
• 1:25:37
  Speaker 1: the pieces together that people want or the fans.
• 1:25:39
  Speaker 2: Get upset about it.
• 1:25:40
  Speaker 1: But then you've got other fans like ourselves that are
• 1:25:42
  Speaker 1: just like, why are you doing the same crap over.
• 1:25:44
  Speaker 2: And over again? Well, that's the question that I think
• 1:25:47
  Speaker 2: then comes to the film like this one and so
• 1:25:51
  Speaker 2: many of these other reboots and requels. What is the
• 1:25:54
  Speaker 2: best option? Because in my mind, the best option is
• 1:25:57
  Speaker 2: a mix of the two, but a healthy dose of
• 1:26:00
  Speaker 2: doing something different with both either way. You can... be
• 1:26:04
  Speaker 2: as reverential and self-referential as you want, but don't just
• 1:26:08
  Speaker 2: reference it and be like, hey, memba this, memba that,
• 1:26:11
  Speaker 2: because South Park already did memba berries, and I think
• 1:26:14
  Speaker 2: that they did a pretty good job of sending up
• 1:26:16
  Speaker 2: people that are like that, because people are like that,
• 1:26:19
  Speaker 2: and the people that are like that are the people
• 1:26:20
  Speaker 2: that make the content for us. And then expect that
• 1:26:23
  Speaker 2: that's good enough. And the reason that it is received
• 1:26:26
  Speaker 2: the way that it is, is because people do allow
• 1:26:28
  Speaker 2: themselves to be nostalgic for things. And I'm not saying
• 1:26:31
  Speaker 2: don't be nostalgic, but know that your nostalgia is being
• 1:26:33
  Speaker 2: trafficked in. That's why they're doing it.
• 1:26:36
  Speaker 1: I'm plenty nostalgic, but I'm nostalgic for things that are
• 1:26:40
  Speaker 1: the original. Like I will go buy whatever crap you
• 1:26:43
  Speaker 1: put out there that has Michael Myers on it that
• 1:26:45
  Speaker 1: is just referencing the first movie. I don't need you
• 1:26:48
  Speaker 1: to rebrand it on a new thing and make a
• 1:26:50
  Speaker 1: whole new movie just to sell me this garbage. Like,
• 1:26:53
  Speaker 1: you can just slap the Carpenter name on it. I'll
• 1:26:55
  Speaker 1: still buy it. Like, I'm equally, if not more so,
• 1:26:58
  Speaker 1: guilty of being super nostalgic and floating up to buy,
• 1:27:02
  Speaker 1: you know, more merchandise of these things that I've been
• 1:27:05
  Speaker 1: watching for years and years. But I don't need you
• 1:27:07
  Speaker 1: to remake the same thing just to sell me more stuff.
• 1:27:10
  Speaker 1: I'll buy a popcorn bucket if I want one. I
• 1:27:12
  Speaker 1: don't have to buy it at the theater watching a
• 1:27:14
  Speaker 1: movie that I've already seen done better before.
• 1:27:17
  Speaker 2: Well, that's the thing that's funny is, and I was,
• 1:27:19
  Speaker 2: I was talking about this over the weekend with, uh,
• 1:27:22
  Speaker 2: with someone where it's like, they don't know anymore how
• 1:27:25
  Speaker 2: to make money. So they're just attempting at every possibility
• 1:27:28
  Speaker 2: and avenue to make money and see what works. And, uh,
• 1:27:32
  Speaker 2: Some of those things are showing a movie again and
• 1:27:35
  Speaker 2: having a popcorn bucket come out with it, as opposed
• 1:27:37
  Speaker 2: to remaking a film. You're still spending money either way. Hell,
• 1:27:41
  Speaker 2: you might even be spending as much money. I don't
• 1:27:44
  Speaker 2: know anymore. Probably. You can make a film for a
• 1:27:47
  Speaker 2: pretty cheap budget. Nobody seems to do it other than
• 1:27:50
  Speaker 2: YouTubers who have been doing that this whole time. But it's,
• 1:27:54
  Speaker 2: you know, to come to this movie, which has a
• 1:27:57
  Speaker 2: budget of 15 million dollars in 2007, makes 80 million dollars.
• 1:28:02
  Speaker 2: That's a successful movie. Yeah.
• 1:28:04
  Speaker 1: And again, they from the studio end of it, from
• 1:28:08
  Speaker 1: the producer end of it, it did what it was
• 1:28:10
  Speaker 1: supposed to do. It did it the right way in
• 1:28:13
  Speaker 1: their mind.
• 1:28:14
  Speaker 2: Again, not for me.
• 1:28:15
  Speaker 1: But like it put it out there as a, such
• 1:28:18
  Speaker 1: a novelty that it was just, and I think this
• 1:28:20
  Speaker 1: one more than those other remakes, I think because of
• 1:28:22
  Speaker 1: the Rob Zombie name, he's so pre-established and pre-established in
• 1:28:26
  Speaker 1: a very specific vibe, especially by this, he'd already done
• 1:28:30
  Speaker 1: several of his signature early movies. So people knew visually
• 1:28:34
  Speaker 1: type of stuff he did and definitely his taste. So like,
• 1:28:37
  Speaker 1: we're gonna get this totally different Rob Zombie spin on
• 1:28:40
  Speaker 1: it and the thing I think that's maybe the most
• 1:28:43
  Speaker 1: notable and this this baby hit me more this time
• 1:28:47
  Speaker 1: is like this, people like to call out Tarantino for
• 1:28:50
  Speaker 1: casting his favorite old timey people. This doesn't have, this
• 1:28:54
  Speaker 1: doesn't have anybody in it that's not already a pre-established
• 1:28:58
  Speaker 1: person from another horror movie.
• 1:28:59
  Speaker 2: Like they're just the entire cast. Or something. Or something.
• 1:29:02
  Speaker 2: Or occasionally, yeah.
• 1:29:04
  Speaker 1: Occasionally just a pop culture figure, one of which is
• 1:29:06
  Speaker 1: actually the better.
• 1:29:07
  Speaker 2: Mickey Dolenz. That's what I was going to say. The
• 1:29:08
  Speaker 2: best one. I was like, this is at least a
• 1:29:11
  Speaker 2: fun cameo.
• 1:29:12
  Speaker 1: I don't understand why other than you're a music dork
• 1:29:15
  Speaker 1: and you like the monkeys because the monkeys are awesome.
• 1:29:17
  Speaker 1: So like, I'll watch Mickey Dolenz do whatever, but it's
• 1:29:20
  Speaker 1: just every way. Like it's a checklist of like, you know,
• 1:29:24
  Speaker 1: every few minutes you're Leo looking at the screen point.
• 1:29:28
  Speaker 2: Richard Lynch. I know that guy. I know that guy
• 1:29:30
  Speaker 2: from the other thing. And like, it's just nonstop every time. Like, ah,
• 1:29:34
  Speaker 2: Sid Hank, look at Sid Hank. Like, It's so nonstop.
• 1:29:37
  Speaker 1: You almost can't focus on the movie. It's one thing
• 1:29:40
  Speaker 1: if it's a couple of cool cameos along the way.
• 1:29:43
  Speaker 1: Or you give somebody that's been out of the limelight
• 1:29:46
  Speaker 1: a chance to have a cool leading role that they
• 1:29:48
  Speaker 1: wouldn't have gotten otherwise. But this one is just nothing
• 1:29:52
  Speaker 1: but cameos crammed together to make a movie essentially and
• 1:29:56
  Speaker 1: I'm like I appreciate it and I'll get to that
• 1:29:59
  Speaker 1: point in a minute of what it actually did but
• 1:30:01
  Speaker 1: at the same time like as a movie and just
• 1:30:03
  Speaker 1: as a viewer I think it's distracting like I think
• 1:30:06
  Speaker 1: it takes away from the story you're trying to tell
• 1:30:09
  Speaker 1: because the whole thing is just like oh look at
• 1:30:11
  Speaker 1: that look at that Isn't that the kid from Spy Kids?
• 1:30:13
  Speaker 2: Yeah, it is. It's like the whole time. Isn't that
• 1:30:15
  Speaker 2: Daniel Roebuck? Isn't that Clint Howard and Udo Kier and
• 1:30:19
  Speaker 2: Bill Moseley and Ken Ferre? Take your pick. It's everybody.
• 1:30:23
  Speaker 1: Yeah.
• 1:30:24
  Speaker 2: Adrian barbeau is in this goddamn movie for fuck's sake
• 1:30:27
  Speaker 2: like this and and i think for me the probably
• 1:30:29
  Speaker 2: most distracting of all of them and you're gonna laugh
• 1:30:31
  Speaker 2: was sid haig i was just like is that sid
• 1:30:33
  Speaker 2: haig he's huge i love sid he's massive though like
• 1:30:37
  Speaker 2: compared to malcolm mcdowell he's massive i love sid.
• 1:30:42
  Speaker 1: But um but okay that's the one thing i'm gonna
• 1:30:44
  Speaker 1: give rob zombie credit for and it's weird because it
• 1:30:47
  Speaker 1: has nothing to do with The movie scene, it has
• 1:30:50
  Speaker 1: nothing to do with music, although I don't think he's
• 1:30:52
  Speaker 1: terrible at music.
• 1:30:52
  Speaker 2: I actually like his music more than his movies.
• 1:30:55
  Speaker 1: But the one thing I will give him credit that
• 1:30:57
  Speaker 1: he did, and it was sort of inadvertently, by making
• 1:31:00
  Speaker 1: this questionable decision in this movie, but this movie may
• 1:31:04
  Speaker 1: be more than even the ones before it, this guy.
• 1:31:06
  Speaker 2: Like, saved the....
• 1:31:09
  Speaker 1: Able to live careers of so many working actors out.
• 1:31:13
  Speaker 2: Yeah.
• 1:31:13
  Speaker 1: With this movie, like he started in his first couple,
• 1:31:16
  Speaker 1: like he, he pulled bill Mosley out and was like, dude,
• 1:31:19
  Speaker 1: you've been in these great movies. I want you to
• 1:31:20
  Speaker 1: be in this.
• 1:31:20
  Speaker 2: He pulled sin.
• 1:31:21
  Speaker 1: Hey, could spend his entire life making these awesome movies.
• 1:31:25
  Speaker 1: And we're like, I'm putting you in this. You're going
• 1:31:26
  Speaker 1: to be, you're going to be a superstar in horror
• 1:31:29
  Speaker 1: from here on out. Like he was, never a recognizable
• 1:31:32
  Speaker 1: name before house of a thousand corpses, like only super
• 1:31:35
  Speaker 1: geeks that knew him from every character role that he.
• 1:31:38
  Speaker 2: Did knew who he was.
• 1:31:39
  Speaker 1: And then he came along and gave him captain Spalding
• 1:31:42
  Speaker 1: was like, Oh my God, you've made my career. Like you've,
• 1:31:44
  Speaker 1: you've made it. So I don't have to go get
• 1:31:46
  Speaker 1: a regular job now. And then by the time we
• 1:31:49
  Speaker 1: got to this movie and I can say this because
• 1:31:51
  Speaker 1: I was I was there like we were already we'd
• 1:31:53
  Speaker 1: been covering conventions before we were doing a show like
• 1:31:56
  Speaker 1: we were hanging out at conventions just as geeks back
• 1:31:59
  Speaker 1: in the day. And then right as we started doing
• 1:32:01
  Speaker 1: the show is when the convention scene kicked in and
• 1:32:05
  Speaker 1: it became a scene.
• 1:32:07
  Speaker 2: And this movie was coming out right around that time.
• 1:32:10
  Speaker 2: And every time.
• 1:32:11
  Speaker 1: Table was another person from this movie and they were
• 1:32:14
  Speaker 1: all built they'd get a new banner that was like
• 1:32:17
  Speaker 1: from halloween rob zombies halloween and like each of these
• 1:32:20
  Speaker 1: people d wallace is out there signing a million new
• 1:32:23
  Speaker 1: autographs because now all of a sudden these kids that
• 1:32:26
  Speaker 1: didn't they're too young to even remember et but they
• 1:32:29
  Speaker 1: saw this last weekend and now they want to go
• 1:32:31
  Speaker 1: get her signature and like all of these people like
• 1:32:34
  Speaker 1: had an entire new convention career that came from near
• 1:32:39
  Speaker 1: this movie if not all of the rob zombie movies
• 1:32:42
  Speaker 1: but this one in particular just was focused on cramming
• 1:32:45
  Speaker 1: so many like specific recognizable horror movies but only if
• 1:32:49
  Speaker 1: you're a horror movie fan and and cramming all these
• 1:32:52
  Speaker 1: actors in and working them into this plot and again
• 1:32:55
  Speaker 1: i think it's to the detriment of the movie but
• 1:32:58
  Speaker 1: real world like he pulled so many of these actors
• 1:33:01
  Speaker 1: out of obscurity and gave them a way to make
• 1:33:04
  Speaker 1: a living by hitting conventions every weekend.
• 1:33:07
  Speaker 2: And I mean, that's amazing.
• 1:33:09
  Speaker 1: Like meeting a lot of these people over the years
• 1:33:11
  Speaker 1: and like, this is what saved them from having to
• 1:33:13
  Speaker 1: go work at Walmart. You know, it's like, this is
• 1:33:16
  Speaker 1: what saved them so that they could have, you know,
• 1:33:19
  Speaker 1: half of them are older now.
• 1:33:20
  Speaker 2: They can't get a regular job more than likely.
• 1:33:23
  Speaker 1: So this gave them a way to survive. And like,
• 1:33:25
  Speaker 1: That's the one thing I will give Rob Zombie credit for,
• 1:33:28
  Speaker 1: and he didn't do it purposely, but he ended up
• 1:33:30
  Speaker 1: inadvertently giving all these people a way to make a
• 1:33:34
  Speaker 1: living after this movie.
• 1:33:35
  Speaker 2: No, and I totally agree. I agree on both accounts,
• 1:33:39
  Speaker 2: both the giving them the opportunity to have a longer
• 1:33:42
  Speaker 2: tail to their career than so many other contemporaries, but also...
• 1:33:46
  Speaker 2: It's a real distracting. It is. To have Sid Egg
• 1:33:50
  Speaker 2: and Udo Kier and Ken Ferre and Danny Trejo. Some
• 1:33:54
  Speaker 2: of them are more extended than others. I will say
• 1:33:56
  Speaker 2: like Bill Moseley or Clint Howard at least are in
• 1:34:00
  Speaker 2: like a scene, extended scene. But like some of these
• 1:34:04
  Speaker 2: are just like, yeah, you mentioned some of them work
• 1:34:07
  Speaker 2: like Danny Lynch. He's just like in the movie for
• 1:34:10
  Speaker 2: like two lines.
• 1:34:11
  Speaker 1: But like Danny Trejo is a character and like you
• 1:34:14
  Speaker 1: feel for him and like and that's one of those
• 1:34:16
  Speaker 1: ones where it ping pongs.
• 1:34:17
  Speaker 2: Back and forth.
• 1:34:18
  Speaker 1: It's like we've just seen, you know. several times when
• 1:34:21
  Speaker 1: he's a kid and he does something nice. And you're like, oh,
• 1:34:23
  Speaker 1: he's a good guy. See, I want to feel bad
• 1:34:25
  Speaker 1: for this kid.
• 1:34:26
  Speaker 2: And then you.
• 1:34:26
  Speaker 1: Watch him murdering Danny Trejo, who as he's doing is saying,
• 1:34:30
  Speaker 1: I've never been anything but nice to you. Like, I've
• 1:34:33
  Speaker 1: never done anything but take care of you for 15
• 1:34:35
  Speaker 1: years of your life, kid. And he just murders him
• 1:34:38
  Speaker 1: and doesn't care because he's already catatonic. So I'm just like, well,
• 1:34:41
  Speaker 1: once again, how are we supposed to feel? Like, why
• 1:34:43
  Speaker 1: bring this lovable person like Danny Trejo.
• 1:34:46
  Speaker 2: In only to watch him get murdered?
• 1:34:48
  Speaker 1: And for no reason, like it's not even like, you know,
• 1:34:51
  Speaker 1: you get to like the Courtney Gaines of it all.
• 1:34:53
  Speaker 1: And I'm like, no, these two rapists that he murders.
• 1:34:55
  Speaker 1: I'm like, yeah, that's when it's like now all of
• 1:34:57
  Speaker 1: a sudden Rob or Michael Myers is an avenging angel
• 1:35:01
  Speaker 1: and he's out there like saving this poor girl, although
• 1:35:04
  Speaker 1: he's not. In reality, the only reason he attacks him
• 1:35:06
  Speaker 1: is because they mess with his mask like he could
• 1:35:09
  Speaker 1: care less about this girl because, again, he's catatonic.
• 1:35:12
  Speaker 2: He doesn't pay attention to anything going on. Except when
• 1:35:14
  Speaker 2: you mess with the stuff.
• 1:35:16
  Speaker 1: And so that's one of those moments when I'm just like,
• 1:35:19
  Speaker 1: what what is the point of this? And why are
• 1:35:21
  Speaker 1: we working in these horrible characters like those two that
• 1:35:24
  Speaker 1: show up in a cell? And you and you've got, again,
• 1:35:27
  Speaker 1: two different cameos. You've got Lou Temple. You've got Courtney Gaines.
• 1:35:30
  Speaker 1: It's like those are great if you know who the
• 1:35:32
  Speaker 1: horror actors are, but you just crammed them in there.
• 1:35:35
  Speaker 1: In a god awful scene. Like we don't need that.
• 1:35:39
  Speaker 1: That's the one thing that's added from the other one.
• 1:35:41
  Speaker 1: We didn't have a horrible rape scene. Thanks Rob Zombie.
• 1:35:44
  Speaker 1: That's what we needed in our Halloween movie. So we
• 1:35:47
  Speaker 1: work that in. Almost just to get some extra cameo
• 1:35:50
  Speaker 1: time in. But I'm like for what. Like the original
• 1:35:53
  Speaker 1: theatrical cut doesn't have that scene. Like and it's a
• 1:35:56
  Speaker 1: better scene. escape it's like he murders more people and
• 1:35:59
  Speaker 1: it's a more of it shows what a big physical
• 1:36:02
  Speaker 1: presence he is as he just overpowers all of these
• 1:36:05
  Speaker 1: like law enforcement people and just escapes from the asylum
• 1:36:08
  Speaker 1: versus this god awful rape scene that we have instead
• 1:36:11
  Speaker 1: so Again, like it's just the inconsistency of the character
• 1:36:16
  Speaker 1: himself as Michael Myers and the filmmaking of like, what
• 1:36:19
  Speaker 1: are we supposed to be doing with this? How are
• 1:36:22
  Speaker 1: we supposed to feel about this movie, about this character?
• 1:36:24
  Speaker 1: Like all of that's so inconsistent from one scene to
• 1:36:27
  Speaker 1: the next.
• 1:36:27
  Speaker 2: And it really, I think, needed to not be inconsistent,
• 1:36:31
  Speaker 2: especially when, and I think for me, and I'm curious
• 1:36:34
  Speaker 2: because we haven't really talked about it, but it's something
• 1:36:37
  Speaker 2: that I think was maybe an inroad as to why
• 1:36:38
  Speaker 2: we ended up talking about this movie. What do you
• 1:36:41
  Speaker 2: think of Malcolm McDowell as Samuel? Because I think he's
• 1:36:43
  Speaker 2: probably the best part of this movie.
• 1:36:45
  Speaker 1: That's what I was going to say. I've liked a
• 1:36:48
  Speaker 1: lot of Malcolm McDowell movies. acted over the years again
• 1:36:51
  Speaker 1: sometimes he makes some really weird decisions on his projects
• 1:36:54
  Speaker 1: but this was one that i'm like you know it's
• 1:36:57
  Speaker 1: gonna be hard to replace donald pleasance like that's one
• 1:37:00
  Speaker 1: of those like what do you do like if i
• 1:37:02
  Speaker 1: if i'm in the rob zombie city i'm like god
• 1:37:04
  Speaker 1: you can't like you can't recast that like it's so
• 1:37:07
  Speaker 1: iconic he hung around for so many movies even when
• 1:37:10
  Speaker 1: it kept changing hands the one through line kept being
• 1:37:13
  Speaker 1: loomis until that poor guy died like So like they
• 1:37:16
  Speaker 1: kept working Loomis in.
• 1:37:18
  Speaker 2: He was such a big part of that. They put
• 1:37:19
  Speaker 2: him in the video game that just came out. They
• 1:37:21
  Speaker 2: were like, here's a digital Donald Pleasence. I mean, they
• 1:37:24
  Speaker 2: worked him into.
• 1:37:25
  Speaker 1: That last movie after he died. Like they found extra
• 1:37:28
  Speaker 1: footage and then they created a mask and had someone
• 1:37:32
  Speaker 1: else wear it so that they could reshoot stuff like.
• 1:37:35
  Speaker 2: Off in the background.
• 1:37:35
  Speaker 1: So you don't notice he's wearing a mask just to
• 1:37:37
  Speaker 1: be able to work in an extra little bit of
• 1:37:40
  Speaker 1: Loomis because we can't have a movie without Loomis as
• 1:37:42
  Speaker 1: a character.
• 1:37:43
  Speaker 2: So again, lightsabers and Star Wars, Jedi and Star Wars.
• 1:37:46
  Speaker 1: We can't have a Star Wars movie without lightsabers. It's
• 1:37:49
  Speaker 1: like a sin. They beat that Loomis character to death.
• 1:37:53
  Speaker 1: No offense, but they kind of did. Until he was gone,
• 1:37:56
  Speaker 1: they kept putting him in stuff. So then you get
• 1:37:58
  Speaker 1: to this point and it's like, yeah, how do you
• 1:38:00
  Speaker 1: recast that iconic role? Malcolm McDowell's probably as good as
• 1:38:04
  Speaker 1: you're going to get. And I think he does a
• 1:38:07
  Speaker 1: good job of... And I noticed that too. They were
• 1:38:10
  Speaker 1: doing comparisons of what was in the... theatrical cut versus
• 1:38:14
  Speaker 1: this director's cut, which is 90% of the time what
• 1:38:17
  Speaker 1: you find out there now. And they do add extra
• 1:38:20
  Speaker 1: little moments with him in the director's cut. Like surprisingly,
• 1:38:23
  Speaker 1: that's the part that makes him look like a better character.
• 1:38:27
  Speaker 1: It's it's chopped down a little bit in theatrical cut
• 1:38:29
  Speaker 1: so that like he just seems like he doesn't really
• 1:38:32
  Speaker 1: care about it michael and then he wants to sell
• 1:38:34
  Speaker 1: his stupid book but like there's extra little beats added
• 1:38:37
  Speaker 1: in where he does genuinely seem like he cares about
• 1:38:40
  Speaker 1: michael when he's younger And then by the end, he
• 1:38:42
  Speaker 1: just kind of has to go through the running around
• 1:38:44
  Speaker 1: trying to chase him down. I got to go buy
• 1:38:46
  Speaker 1: a gun so I can shoot him in the last
• 1:38:47
  Speaker 1: scene because that's what happens in the last scene. Like,
• 1:38:49
  Speaker 1: so again, it's following the connecting the dots essentially by
• 1:38:53
  Speaker 1: the end of the movie. But the first half, I
• 1:38:56
  Speaker 1: think that's maybe the most interesting and functional part of
• 1:38:59
  Speaker 1: that part of the story is. That Loomis is actually
• 1:39:02
  Speaker 1: there and like trying to make a difference.
• 1:39:04
  Speaker 2: And I don't think he really does.
• 1:39:06
  Speaker 1: But again, we don't address why he's not like he
• 1:39:09
  Speaker 1: even tells him at that point. Like, I feel like
• 1:39:11
  Speaker 1: I'm I'm a failure. Like, I feel like I just
• 1:39:13
  Speaker 1: can't reach you. And we never answer the question, well, why?
• 1:39:17
  Speaker 1: Or like, what's the problem here? Or like, if he's
• 1:39:20
  Speaker 1: just evil, let's pin that down and figure out what's
• 1:39:22
  Speaker 1: going on. But like, we never even get that really.
• 1:39:24
  Speaker 1: We're just like, we've got Malcolm McDowell delivering a good performance.
• 1:39:28
  Speaker 2: But like it's to no avail.
• 1:39:30
  Speaker 1: It doesn't really give us anything by the end as
• 1:39:33
  Speaker 1: far as that character development between the two of them.
• 1:39:36
  Speaker 2: No, and that's, again, I think that's the ultimate problem
• 1:39:40
  Speaker 2: with this movie is you have a pretty good performance
• 1:39:43
  Speaker 2: from Malcolm McDowell as Loomis. I think you're right. It's
• 1:39:45
  Speaker 2: hard to fill the shoes of Donald Pleasance. I think
• 1:39:47
  Speaker 2: Malcolm McDowell is a good enough actor to try. I
• 1:39:51
  Speaker 2: think he does a good enough job. I think he
• 1:39:53
  Speaker 2: does a better job than the actor does as fake
• 1:39:55
  Speaker 2: Loomis in the Gordon Green movie. Yeah, I don't know
• 1:39:58
  Speaker 2: what that.
• 1:39:59
  Speaker 1: That seemed like they just slapped it in there because
• 1:40:01
  Speaker 1: you're supposed to have a Loomis character.
• 1:40:03
  Speaker 2: I guess. We got to have him like fill the shoes. Yeah.
• 1:40:08
  Speaker 1: It's like you, you want somebody doing that. And I'm like,
• 1:40:12
  Speaker 1: I'm sitting in the audience going, do we? Like, I
• 1:40:14
  Speaker 1: really don't know that we do. You thought we did,
• 1:40:17
  Speaker 1: but I don't think we have to.
• 1:40:18
  Speaker 2: Have a Loomis every time. What if we had a Loomis,
• 1:40:21
  Speaker 2: but he goes crazy and he actually helps Michael Myers out.
• 1:40:24
  Speaker 2: Wouldn't that be awesome? It's like, not really. Wouldn't that
• 1:40:27
  Speaker 2: be great? Or how about just, write a new character
• 1:40:30
  Speaker 2: that does something useful and interesting about that. Well, and that's,
• 1:40:34
  Speaker 2: I mean, that's the issue with the, the sequel, the
• 1:40:37
  Speaker 2: Gordon green sequel or recall as well. Like it's, it's
• 1:40:39
  Speaker 2: similar to this movie's problems. Like, I don't know why
• 1:40:42
  Speaker 2: the events of this movie are like gospel text, or
• 1:40:45
  Speaker 2: I guess the, the, the, the original movies goings on
• 1:40:49
  Speaker 2: our gospel texts that have to be followed to like,
• 1:40:52
  Speaker 2: I think that that kind of sentiment is gone now
• 1:40:56
  Speaker 2: as film goers. I mean, there are things where people
• 1:40:58
  Speaker 2: still want, like, well, I still want my Avengers Doomsday
• 1:41:02
  Speaker 2: to be similar to Secret Wars, I guess. But I
• 1:41:05
  Speaker 2: don't even know. Like, you can go and watch and
• 1:41:07
  Speaker 2: read those original things. I don't understand.
• 1:41:09
  Speaker 1: Why does something else have to be that other thing
• 1:41:12
  Speaker 1: that already exists?
• 1:41:14
  Speaker 2: Like it already exists. You can go engage with it still.
• 1:41:17
  Speaker 2: That new thing existing doesn't negate the old things existence.
• 1:41:20
  Speaker 2: I've said that for years.
• 1:41:22
  Speaker 1: Yeah.
• 1:41:22
  Speaker 2: I'm like, I don't understand why you need that.
• 1:41:24
  Speaker 1: Yeah.
• 1:41:25
  Speaker 2: Yeah. It doesn't make any sense to me. Cause like,
• 1:41:27
  Speaker 2: I appreciate that. Like, well, it worked before it's going
• 1:41:29
  Speaker 2: to work again. That is not how that works. Like
• 1:41:32
  Speaker 2: that is the, like, that is, that is a childish
• 1:41:35
  Speaker 2: and frankly, like idiotic way of thinking that I can't
• 1:41:38
  Speaker 2: believe is what more or less like was the judgment
• 1:41:41
  Speaker 2: calls that people were making. Like, well work before it'll
• 1:41:44
  Speaker 2: work again. That doesn't work in a lot of industries.
• 1:41:46
  Speaker 2: And this industry should not be one of them. Like,
• 1:41:49
  Speaker 2: you know, the corporatization and like, I guess like formulaic
• 1:41:53
  Speaker 2: creation of like, well, this thing can fit into a box. Like, no,
• 1:41:57
  Speaker 2: it shouldn't, it shouldn't be that. Like it should never
• 1:41:59
  Speaker 2: have been that the fact that that's what this is,
• 1:42:02
  Speaker 2: is so irritating for me as someone who wants something
• 1:42:06
  Speaker 2: different now. And all anyone ever does is like, again,
• 1:42:10
  Speaker 2: like for the last 10 plus years, it's been stuff
• 1:42:12
  Speaker 2: like this, where it's just more of the same of
• 1:42:15
  Speaker 2: what we've gotten before, but a little different. just different
• 1:42:18
  Speaker 2: enough where it won't offend people. And it's like, yeah, no,
• 1:42:21
  Speaker 2: like I don't even, I don't want the next Halloween
• 1:42:24
  Speaker 2: movie to even like having Michael Myers might be too much, frankly,
• 1:42:27
  Speaker 2: like I'm not even sure I want him in it.
• 1:42:29
  Speaker 2: And then it's not even Halloween. Then it's just something else.
• 1:42:31
  Speaker 2: I just don't want any more of this. Cause I
• 1:42:33
  Speaker 2: don't care. They've already done this so many times. Yeah. Yeah.
• 1:42:37
  Speaker 1: It's like if you don't have a read. Well, now
• 1:42:40
  Speaker 1: it becomes such licensing, too. It's like, well, we have
• 1:42:42
  Speaker 1: to hold on to the property. But I'm like, if
• 1:42:45
  Speaker 1: you take that out of the equation, which I know
• 1:42:47
  Speaker 1: sometimes they don't get to on the studio end of it.
• 1:42:49
  Speaker 1: But I'm just like, if you don't have a good
• 1:42:52
  Speaker 1: reason to make another one of these, just don't don't
• 1:42:55
  Speaker 1: keep cranking them out for the sake of saying you
• 1:42:58
  Speaker 1: made another one.
• 1:42:58
  Speaker 2: Like if you don't have a good idea. then it's
• 1:43:01
  Speaker 2: not time to make one of them.
• 1:43:02
  Speaker 1: If you give it another 10, 15 years and somebody
• 1:43:04
  Speaker 1: comes up with some original way to do it or
• 1:43:06
  Speaker 1: some different spin on it, that's actually good. Then like, okay,
• 1:43:10
  Speaker 1: maybe that's reason enough to, but you don't, have to
• 1:43:13
  Speaker 1: keep doing it just for the sake. Well, it's been
• 1:43:14
  Speaker 1: five years. We've got to have another one. Like let's,
• 1:43:16
  Speaker 1: let's keep cranking them out.
• 1:43:17
  Speaker 2: The new one and put a popcorn bucket with it
• 1:43:19
  Speaker 2: or something. You can, now you can stay part of
• 1:43:22
  Speaker 2: the pop culture conversation so much easier than you used
• 1:43:24
  Speaker 2: to be able to, because you can reach people so
• 1:43:27
  Speaker 2: much easier now. Like I know that there's so much
• 1:43:29
  Speaker 2: more things to watch, which makes it harder to get
• 1:43:32
  Speaker 2: people's attention, but people's attention can still be gotten the
• 1:43:35
  Speaker 2: same way it used to. It's still the same. Like
• 1:43:37
  Speaker 2: people are still wanting the same things. People want to
• 1:43:39
  Speaker 2: be entertained. People don't want to feel like they're wasting
• 1:43:41
  Speaker 2: their time. which I believe is why like the short
• 1:43:45
  Speaker 2: form content thing is such a thing. People don't want
• 1:43:47
  Speaker 2: to feel like their time is being wasted. And one
• 1:43:49
  Speaker 2: of the ways to do that is have everything be
• 1:43:51
  Speaker 2: short form. So you're not investing that much time. So
• 1:43:54
  Speaker 2: you're not losing that much time. If something's not interesting. Yeah.
• 1:43:56
  Speaker 1: I'm not that angry. I only gave this four minutes
• 1:43:59
  Speaker 1: of my life. So it's great.
• 1:44:00
  Speaker 2: As opposed to an hour and a half. Cause I
• 1:44:02
  Speaker 2: know people get angry. If a movie has like a
• 1:44:05
  Speaker 2: bad ending, they're like, well, that ruined the entire movie.
• 1:44:07
  Speaker 2: And it's like, well, not really. I can see where
• 1:44:10
  Speaker 2: you're coming from. I get it in a way, But
• 1:44:12
  Speaker 2: at the same time, like it's not that art should
• 1:44:15
  Speaker 2: not be that binary. I guess the only time art
• 1:44:17
  Speaker 2: should be that binary is if it's a corporate product
• 1:44:20
  Speaker 2: being made in a corporate studio system and it is
• 1:44:24
  Speaker 2: existing solely, like you said, to keep the license.
• 1:44:27
  Speaker 1: And unfortunately, that keeps happening a lot of the time.
• 1:44:30
  Speaker 2: That Fantastic Four movie, the original one, the Corman one,
• 1:44:33
  Speaker 2: was being made for that singular reason, was so they
• 1:44:37
  Speaker 2: could keep the rights. And Avi Arad said, let me
• 1:44:40
  Speaker 2: buy you out, as opposed to letting that movie exist.
• 1:44:43
  Speaker 1: That's why I love Corman, because he went, okay. He
• 1:44:46
  Speaker 1: didn't even question it. He was just like, well, normal
• 1:44:49
  Speaker 1: people would be so invested. No, I put my heart
• 1:44:52
  Speaker 1: and soul in this movie. I wouldn't sell it out.
• 1:44:54
  Speaker 2: He was like, how much? all right, cool. I'm going
• 1:44:58
  Speaker 2: to make five more movies. I don't care. Everybody in
• 1:45:00
  Speaker 2: the entertainment industry likes to think that there's something other
• 1:45:03
  Speaker 2: than like carny folk, but I think we're all carny
• 1:45:06
  Speaker 2: folk in a way, just like trying to figure out
• 1:45:07
  Speaker 2: a way to put out our shingle, make a dime
• 1:45:10
  Speaker 2: or two and do it in a way that feels
• 1:45:12
  Speaker 2: less like selling out to the man than the next person.
• 1:45:16
  Speaker 2: But like, for God's sake, like I, Yeah. Like Roger Corman,
• 1:45:19
  Speaker 2: like that is the most like absurd thing to me.
• 1:45:22
  Speaker 2: Like that's the most carny thing possible. Like I'll never
• 1:45:24
  Speaker 2: sell out, sells out and made you like, but at
• 1:45:27
  Speaker 2: the same time, like I promised that.
• 1:45:28
  Speaker 1: Yeah.
• 1:45:29
  Speaker 2: Right. Like, well, that's what I mean. I think, I
• 1:45:31
  Speaker 2: think there's that expectation. If you make art that you're
• 1:45:33
  Speaker 2: never going to sell out. And like, I don't prescribe
• 1:45:36
  Speaker 2: to that theory. I'm not saying like if someone offered
• 1:45:38
  Speaker 2: me a million dollars tomorrow for weirding way media, I
• 1:45:41
  Speaker 2: would say no. But but at the same time, my
• 1:45:43
  Speaker 2: point is like it's it's hard to say no to money.
• 1:45:47
  Speaker 2: And Rob Zombie is no different than most of us
• 1:45:50
  Speaker 2: in terms of like someone back to Brink's truck full
• 1:45:52
  Speaker 2: of money up to his house and said, hey, make
• 1:45:54
  Speaker 2: this Halloween movie. And he did. And again, if somebody
• 1:45:57
  Speaker 2: did that for me. Certainly myself.
• 1:46:00
  Speaker 1: I'm assuming you as well, if they were like, hey,
• 1:46:02
  Speaker 1: you get to make the next one. We're going to
• 1:46:04
  Speaker 1: start a whole new chain here. You're in charge of
• 1:46:07
  Speaker 1: the reboot.
• 1:46:07
  Speaker 2: Here's this money.
• 1:46:08
  Speaker 1: Here's unlimited power to do whatever you want.
• 1:46:11
  Speaker 2: And like, yeah, hell yeah, I would. Is it going
• 1:46:14
  Speaker 2: to go horribly wrong? Probably. It might not. I understand
• 1:46:18
  Speaker 2: why he's like, yeah, I want to do that.
• 1:46:20
  Speaker 1: I love this franchise when I was a kid. Sure,
• 1:46:22
  Speaker 1: I want to take my shot at it. Again, I
• 1:46:24
  Speaker 1: wish you'd put a little more effort into the specifics
• 1:46:27
  Speaker 1: of what you did, but I understand why. I would
• 1:46:30
  Speaker 1: do the exact same thing. I would just hopefully try
• 1:46:33
  Speaker 1: to find a better way to go about it. The
• 1:46:35
  Speaker 1: other thing I was going to say about the continuing
• 1:46:38
  Speaker 1: to just keep making this stuff and feeling like we
• 1:46:41
  Speaker 1: have to, we're also getting further and further away.
• 1:46:44
  Speaker 2: From these old And I'm using that. That's a very
• 1:46:47
  Speaker 2: relative term.
• 1:46:48
  Speaker 1: But, you know, you look at something like the the
• 1:46:51
  Speaker 1: original Carpenter Halloween.
• 1:46:53
  Speaker 2: If you were around when that first came out, you're
• 1:46:56
  Speaker 2: getting old.
• 1:46:57
  Speaker 1: So it's like we're getting to a point where we're
• 1:47:00
  Speaker 1: just making it for either these leftover old people that
• 1:47:03
  Speaker 1: still want to complain when you make a new one
• 1:47:05
  Speaker 1: of these.
• 1:47:06
  Speaker 2: Are you talking about yourself?
• 1:47:08
  Speaker 1: Yeah, yeah. But I at least try to be open-minded
• 1:47:11
  Speaker 1: about it, and I try to enjoy new things. But
• 1:47:13
  Speaker 1: a lot of other people, they just want to complain
• 1:47:16
  Speaker 1: when a new thing comes out because.
• 1:47:17
  Speaker 2: It's not the old thing. I just want to see
• 1:47:18
  Speaker 2: Halloween again. That's all I want to see. I want
• 1:47:20
  Speaker 2: to see the same thing that I watched in 78,
• 1:47:23
  Speaker 2: but I want it to be on a theater screen
• 1:47:25
  Speaker 2: and I can buy a popcorn bucket that looks like
• 1:47:27
  Speaker 2: Michael Myers' head.
• 1:47:28
  Speaker 1: So that's fine. I understand that. Again, I am that person.
• 1:47:31
  Speaker 1: But I'm I am looking ahead and I'm like, OK,
• 1:47:34
  Speaker 1: so we're we're going to kick off eventually. So like
• 1:47:36
  Speaker 1: as we're losing these generations and like we're aging out
• 1:47:40
  Speaker 1: of like the people who cared about the originals, like
• 1:47:42
  Speaker 1: what's coming? Are we are we leaving? Like is the
• 1:47:46
  Speaker 1: is the handful of dorks that were little little kids
• 1:47:48
  Speaker 1: when they saw the Rob Zombie Halloween?
• 1:47:50
  Speaker 2: Are they taking over?
• 1:47:51
  Speaker 1: Are they going to be like, no, don't you touch
• 1:47:53
  Speaker 1: my Rob Zombie Halloween? Like, is that going to be
• 1:47:56
  Speaker 1: the new old school movie? And like. The carpenter when
• 1:48:00
  Speaker 1: I don't think ever really gets forgotten. But do we
• 1:48:03
  Speaker 1: lose that connection when we lose the people that were
• 1:48:06
  Speaker 1: around for it when they were younger? And like when
• 1:48:08
  Speaker 1: we look ahead, like at these kids coming up now,
• 1:48:11
  Speaker 1: because that's the thing. A lot of people like to
• 1:48:13
  Speaker 1: complain about the up and coming generation. I think these
• 1:48:16
  Speaker 1: kids are smart and like they they're experiencing things well.
• 1:48:20
  Speaker 1: different than I ever did. So I think they're coming
• 1:48:22
  Speaker 1: at it from a different angle that I don't even understand.
• 1:48:25
  Speaker 1: But what are they going to be looking at? Are
• 1:48:28
  Speaker 1: they going to care about any of these Halloweens. You know,
• 1:48:31
  Speaker 1: it's like if you take all the old people that
• 1:48:33
  Speaker 1: are the ones complaining on the internet all the time
• 1:48:36
  Speaker 1: out of the mix, do the new kids even care?
• 1:48:38
  Speaker 1: Do they care that you're making another Halloween? Are they
• 1:48:40
  Speaker 1: going to go see another Halloween? I don't know that
• 1:48:43
  Speaker 1: they are. Like if you brand it right and maybe
• 1:48:46
  Speaker 1: make the right kind of four minute video that sucks
• 1:48:49
  Speaker 1: men like maybe they'll go see it but like i
• 1:48:52
  Speaker 1: don't know that they care about these properties with the
• 1:48:54
  Speaker 1: the death grip that the older generation does about the
• 1:48:58
  Speaker 1: stuff that they grew up caring about.
• 1:48:59
  Speaker 2: And what's funny is i i will i will uh
• 1:49:01
  Speaker 2: i will i will share a story with you that
• 1:49:03
  Speaker 2: i feel like i don't have the prop with me
• 1:49:05
  Speaker 2: but the prop would have been for your benefit and
• 1:49:07
  Speaker 2: no one else's i went yesterday with my girlfriend to
• 1:49:09
  Speaker 2: five below the like millennial dollar tree essentially Yeah, it's
• 1:49:14
  Speaker 2: it's the cool version. Right. As if ever there was
• 1:49:17
  Speaker 2: a thing, a cool discount store. But this one has toys.
• 1:49:21
  Speaker 1: So obviously this is the important that's the only people
• 1:49:24
  Speaker 1: I know that go to five below. They go to
• 1:49:26
  Speaker 1: get toys because they have specific runs of toys. I
• 1:49:29
  Speaker 1: don't understand it because anytime I go there, I'm like,
• 1:49:31
  Speaker 1: these aren't any cheaper.
• 1:49:32
  Speaker 2: It's the same toys. No, it's not. You can spend
• 1:49:35
  Speaker 2: $ 70 at Five Below very easily on effectively garbage. It's
• 1:49:39
  Speaker 2: the same crap at Target. It's volume buying at Five Below.
• 1:49:42
  Speaker 2: That's all it is. So I was at Five Below
• 1:49:45
  Speaker 2: yesterday and they have branded rubber ducks and they have
• 1:49:49
  Speaker 2: these really small ones and they were in this box
• 1:49:51
  Speaker 2: and they were on the Halloween aisle. And brother, you
• 1:49:54
  Speaker 2: would believe it or not, they had a Rob Zombie's
• 1:49:57
  Speaker 2: Halloween box Michael Myers, rubber duck branded to the Rob
• 1:50:01
  Speaker 2: zombie Halloween, which I think answers somewhat your question of,
• 1:50:05
  Speaker 2: I think that this movie for a certain group of
• 1:50:07
  Speaker 2: people is their Halloween. It is for some. We're not,
• 1:50:10
  Speaker 2: we're not in that group because I think we still
• 1:50:12
  Speaker 2: resonate with the original one, but I don't think that
• 1:50:15
  Speaker 2: this movie is as kind of like shunned to the
• 1:50:18
  Speaker 2: back of the box as you or I might think
• 1:50:21
  Speaker 2: it is. I think this is more well received now
• 1:50:25
  Speaker 2: than I feel like at the time. Yeah.
• 1:50:27
  Speaker 1: Everybody because it had like a horrible like I went
• 1:50:30
  Speaker 1: back and looked like the Rotten Tomato was like terrible
• 1:50:33
  Speaker 1: like people hated it when it came out it's divisive
• 1:50:36
  Speaker 1: intentionally like you know but I feel like since then
• 1:50:39
  Speaker 1: there's a whole new bunch of kids that have come
• 1:50:41
  Speaker 1: along well again not even kids but like the middle
• 1:50:43
  Speaker 1: run of the millennials grew up with that my age
• 1:50:46
  Speaker 1: like that were just like this was my movie I
• 1:50:48
  Speaker 1: saw this in the theater it was awesome there was
• 1:50:50
  Speaker 1: all kinds of murder and blood and that kid was
• 1:50:53
  Speaker 1: crazy and like they just take from it what they
• 1:50:55
  Speaker 1: want and they enjoy it and that's That's fine. I
• 1:50:57
  Speaker 1: wish them the best. I don't want people to not
• 1:51:00
  Speaker 1: like what they like. I like what I like and
• 1:51:02
  Speaker 1: I could give a rat's ass. Who has problems with that?
• 1:51:04
  Speaker 1: But at the same time, that's what I'm looking at
• 1:51:07
  Speaker 1: with these new generations, though, is they don't even have
• 1:51:09
  Speaker 1: that connection. So you look at the kids coming up now.
• 1:51:12
  Speaker 1: And the reason that they know who Michael Myers is,
• 1:51:15
  Speaker 1: is the spirit storm.
• 1:51:16
  Speaker 2: They're not watching. Half of them have probably never even.
• 1:51:18
  Speaker 1: Watched one of those movies, but they know they have
• 1:51:21
  Speaker 1: light up yard stakes that have Rob's their Michael Myers.
• 1:51:24
  Speaker 2: Head on it. Like, so they know the mask. They
• 1:51:28
  Speaker 2: know the image. They know, Oh, he's the, again, it's
• 1:51:31
  Speaker 2: almost come full circle. He's the boogeyman. Oh, he's the
• 1:51:34
  Speaker 2: guy that kills you at Halloween.
• 1:51:35
  Speaker 1: Like that's where it's become the, Is like it's just
• 1:51:38
  Speaker 1: a brand that comes out at Halloween times and it's
• 1:51:42
  Speaker 1: a mask that you can buy that could just be
• 1:51:44
  Speaker 1: like Dracula when we were little kids which again still
• 1:51:47
  Speaker 1: became a movie property but like it was just a
• 1:51:50
  Speaker 1: public domain entity that like they slapped out a ton
• 1:51:53
  Speaker 1: of like here's a Frankenstein that doesn't look anything like
• 1:51:55
  Speaker 1: a licensed Frankenstein. Thank God it didn't look like Boris
• 1:51:58
  Speaker 1: Korolev before we get sued. So this one looks nothing
• 1:52:01
  Speaker 1: like that. So kids have fun. And we did back
• 1:52:04
  Speaker 1: in the day.
• 1:52:04
  Speaker 2: And that's Michael Myers now. It's like, here's the knockoff
• 1:52:07
  Speaker 2: Michael Myers mask that didn't pay for licensing. Have fun kids.
• 1:52:11
  Speaker 2: And they do.
• 1:52:12
  Speaker 1: And he's a killer. And like, it's the, the hockey
• 1:52:15
  Speaker 1: mask is just as identifiable. Now it's, it's a murder mask.
• 1:52:18
  Speaker 1: It has nothing to do with those movies that those
• 1:52:20
  Speaker 1: kids haven't watched. It's what you put on when you
• 1:52:23
  Speaker 1: go get candy every October. Like, so yeah, I think
• 1:52:26
  Speaker 1: that connection is still there through the branding, through the
• 1:52:29
  Speaker 1: marketing now. And I don't know that the movies have
• 1:52:32
  Speaker 1: that much to do with it with the up and
• 1:52:34
  Speaker 1: coming kids. Like it could if they attach themselves to
• 1:52:38
  Speaker 1: the David Gordon Greenwin or whatever is next, like they
• 1:52:41
  Speaker 1: could have a connection to the movies. But I think
• 1:52:43
  Speaker 1: it's just become so synonymous with Halloween, regardless of the
• 1:52:47
  Speaker 1: movie part of it, that it's just it is its
• 1:52:50
  Speaker 1: own entity now. He is the Halloween boogeyman. whether he
• 1:52:53
  Speaker 1: ever intended to be for real or not.
• 1:52:55
  Speaker 2: Well, and I think to your point, you know, I've,
• 1:52:57
  Speaker 2: I mentioned early on in this episode, like there's this
• 1:53:00
  Speaker 2: kind of modern day mythology or, you know, like religious
• 1:53:04
  Speaker 2: texts of some of this and not everything gets to
• 1:53:07
  Speaker 2: that point. Like Star Wars has, Marvel has, DC has,
• 1:53:11
  Speaker 2: Dune has, like there's a lot of properties that do
• 1:53:13
  Speaker 2: and there's a lot of properties that don't. And I
• 1:53:15
  Speaker 2: think Halloween is one of those properties that has, it's
• 1:53:17
  Speaker 2: kind of transcended everything else for the most part, other
• 1:53:20
  Speaker 2: than a small, like, list of other things that I
• 1:53:24
  Speaker 2: would consider to be its contemporaries, and those things are
• 1:53:28
  Speaker 2: going to probably still exist in some capacity from here
• 1:53:30
  Speaker 2: until eternity, just like Frankenstein, just like Dracula, but just
• 1:53:35
  Speaker 2: in a lessened capacity moving forward because I think there
• 1:53:38
  Speaker 2: will be more of... Look, how many fucking Terrifier movies
• 1:53:42
  Speaker 2: have we gotten? How many more are we going to get?
• 1:53:44
  Speaker 2: Art the Clown is a modern-day Freddy Krueger, I would say,
• 1:53:48
  Speaker 2: by his best comparative. Like, is there... Is there a
• 1:53:51
  Speaker 2: great comparative for Michael Myers? Is there a great comparative
• 1:53:54
  Speaker 2: for Leatherface? I don't know. I honestly don't, I think
• 1:53:58
  Speaker 2: in a lot of ways, like the new horror movies
• 1:54:00
  Speaker 2: that come out don't rely on those kinds of things anymore.
• 1:54:03
  Speaker 2: You know, Thanksgiving, that Eli Roth movie had the killer
• 1:54:06
  Speaker 2: pilgrim was still waiting for the second one of his movie.
• 1:54:08
  Speaker 2: He made a movie that came out that everybody roasted
• 1:54:10
  Speaker 2: because it was a AI generative mess, I guess. I
• 1:54:13
  Speaker 2: don't know.
• 1:54:13
  Speaker 1: I don't like Eli Roth, so it's a hard sell
• 1:54:15
  Speaker 1: as it is to get me to go watch his movies.
• 1:54:17
  Speaker 1: He's an uphill battle that everything about him, like, Again,
• 1:54:21
  Speaker 1: I want to kind of support what he does, but
• 1:54:23
  Speaker 1: at the same time, sometimes he does a lot of
• 1:54:25
  Speaker 1: stuff I don't like. So I'm like, dude, come on,
• 1:54:27
  Speaker 1: like make better movies.
• 1:54:28
  Speaker 2: That's my issue. Well, and I think Rob Zombie makes
• 1:54:31
  Speaker 2: better movies than Eli Roth does. Like in terms of
• 1:54:34
  Speaker 2: just like, I don't know what I vibe with more
• 1:54:36
  Speaker 2: of the movies. Like Eli Roth's just kind of very
• 1:54:39
  Speaker 2: much like Max Landis, like one of those types where
• 1:54:42
  Speaker 2: it's like, I'm very important. Take me seriously. And it's like,
• 1:54:45
  Speaker 2: I decided I'm very important from day one. So yeah,
• 1:54:49
  Speaker 2: you have to put- And nobody is going to disagree. Yeah, nobody. Well,
• 1:54:52
  Speaker 2: and he did.
• 1:54:53
  Speaker 1: He came out of nowhere and made himself a name
• 1:54:55
  Speaker 1: almost immediately. But that's the thing I will say. I
• 1:54:57
  Speaker 1: will give credit to, I've always said this from the
• 1:55:00
  Speaker 1: beginning too. what little I have, you know, just good
• 1:55:04
  Speaker 1: to say about Rob Zombie. I will say, I think
• 1:55:06
  Speaker 1: visually he is an amazing director. Like I think, do
• 1:55:10
  Speaker 1: not give him a screenplay. Like for God's sake, I've
• 1:55:12
  Speaker 1: said this for years, pair him up with a writer,
• 1:55:15
  Speaker 1: like get him a writer that can be his leg,
• 1:55:19
  Speaker 1: just the right hand man to everything he's doing and
• 1:55:22
  Speaker 1: get somebody talented to take over the writing on all
• 1:55:25
  Speaker 1: of his movies and and give him a good DP
• 1:55:28
  Speaker 1: and let him, because he can visually, and we'll get
• 1:55:31
  Speaker 1: into it next time, but I think next movie has
• 1:55:33
  Speaker 1: some amazing shots and some great visual concepts that are
• 1:55:38
  Speaker 1: all straight out of Rob Zombie's head. And even going back,
• 1:55:41
  Speaker 1: House of a Thousand Corpses, that's why I like that
• 1:55:43
  Speaker 1: one so much. There are some really creative shots. There are, again,
• 1:55:47
  Speaker 1: the whole plot is just stolen from basically one other movie.
• 1:55:51
  Speaker 1: But like it's the least original idea. But the way
• 1:55:54
  Speaker 1: he does it is really interesting. And he has all
• 1:55:57
  Speaker 1: these interesting visuals and some very creative shots. And like
• 1:56:00
  Speaker 1: so I think as a filmmaker, as a functional director,
• 1:56:04
  Speaker 1: he's got talent. I just hate what he does with
• 1:56:07
  Speaker 1: a lot of the storytelling part of it. So just
• 1:56:09
  Speaker 1: for God's sakes, give him a writer and let him
• 1:56:12
  Speaker 1: step away from that area. He won't do it, I'm sure,
• 1:56:15
  Speaker 1: because he likes it being Rob Zombie's. with an apostrophe
• 1:56:18
  Speaker 1: there and like being the sole creator of all these things.
• 1:56:22
  Speaker 1: But I'm like, yeah, but you need to learn your
• 1:56:24
  Speaker 1: strengths and your weaknesses. And like the storytelling ain't it, man?
• 1:56:28
  Speaker 2: Like just go shoot some really cool scenes because you
• 1:56:30
  Speaker 2: can do that. No, I totally agree. I think it's
• 1:56:33
  Speaker 2: like Tarantino in editing. It's like you need someone who's
• 1:56:36
  Speaker 2: able to say no to you, tell you no and
• 1:56:40
  Speaker 2: make that decision and know that they're making the right
• 1:56:42
  Speaker 2: decision regardless of how grand and great your geniuses you
• 1:56:46
  Speaker 2: know in tarantino's case i mean that's i i can't
• 1:56:49
  Speaker 2: imagine what it's like to interact with someone like that
• 1:56:51
  Speaker 2: where you have to push back as hard as you
• 1:56:53
  Speaker 2: do and again you're pushing back on someone who you
• 1:56:56
  Speaker 2: know you go to a common film person and they'll
• 1:56:58
  Speaker 2: sing the praises of quentin tarantino until they're blue in
• 1:57:00
  Speaker 2: the face like he's someone who is widely beloved by
• 1:57:03
  Speaker 2: a lot of people you know like rob zombie maybe
• 1:57:05
  Speaker 2: not so much but the people that love rob zombie
• 1:57:06
  Speaker 2: love rob zombie and they love oh they do for
• 1:57:09
  Speaker 2: the reason that you just said, he'll never not be
• 1:57:12
  Speaker 2: the one doing his own thing is because he has
• 1:57:14
  Speaker 2: a unique voice that is his own, that he, I
• 1:57:17
  Speaker 2: don't know if he's the only one that can do
• 1:57:19
  Speaker 2: it because other movies exist like his, because his movies
• 1:57:22
  Speaker 2: are a, an amalgamation, a simulacrum as it were of
• 1:57:26
  Speaker 2: other things, just like Tarantino, like an exploitation film was
• 1:57:29
  Speaker 2: not created by Rob Zombie.
• 1:57:31
  Speaker 1: I mean, it's most of those filmmakers of that generation.
• 1:57:34
  Speaker 1: Like it's that post nineties version of like everybody that
• 1:57:37
  Speaker 1: did that. was just cobbling movies together from other things
• 1:57:41
  Speaker 1: they'd seen before. If it wasn't Tarantino, kind of Rodriguez,
• 1:57:44
  Speaker 1: and even more so as he went on and just
• 1:57:46
  Speaker 1: made kids movies, but like even your Kevin Smith and
• 1:57:50
  Speaker 1: your Rob Zombie, like all of these guys that came
• 1:57:52
  Speaker 1: up at that point, it's just references of old movies
• 1:57:55
  Speaker 1: worked in some to varying degrees.
• 1:57:58
  Speaker 2: Some of them work better at writing.
• 1:57:59
  Speaker 1: Someone worked better at filmmaking and visuals, but like they
• 1:58:02
  Speaker 1: were all, it's just what came of that generation. Like it,
• 1:58:05
  Speaker 1: It's a different beat than like the, the seventies. It's
• 1:58:09
  Speaker 1: different than your, your Spielberg and your Lucas and your Coppola's.
• 1:58:13
  Speaker 1: And like, you know, you, they had a different vibe
• 1:58:15
  Speaker 1: from that group. And then you get to this is
• 1:58:17
  Speaker 1: sort of like passing the torch to this next generation.
• 1:58:20
  Speaker 1: And it's all just a cobbled together thing of like
• 1:58:23
  Speaker 1: pop culture that we grew up with. And it's something
• 1:58:26
  Speaker 1: about that generation because we sat in front of the
• 1:58:28
  Speaker 1: TV from the time we were old enough to, and
• 1:58:31
  Speaker 1: we watched every episode of Gilligan's Island and, And we
• 1:58:33
  Speaker 1: knew every song that came on MTV. And like it
• 1:58:36
  Speaker 1: just we were immersed in pop culture from the time
• 1:58:39
  Speaker 1: we were sat in front of that television and it
• 1:58:42
  Speaker 1: never went away. And so we're we became those filmmakers.
• 1:58:46
  Speaker 1: And then as the older fans, we're also the ones
• 1:58:48
  Speaker 1: that have that same death grip on like.
• 1:58:50
  Speaker 2: No, these are my things. I have to have these
• 1:58:52
  Speaker 2: things and all my references to the things that came
• 1:58:54
  Speaker 2: from that thing when I saw it when I was
• 1:58:56
  Speaker 2: a kid and. I don't know.
• 1:58:57
  Speaker 1: It's as one of those people, again, I love my nostalgia,
• 1:59:01
  Speaker 1: but I also feel like when you've gone too far in,
• 1:59:04
  Speaker 1: it becomes a bad thing. It starts to take away
• 1:59:08
  Speaker 1: from the overall artistic value of what you're doing.
• 1:59:10
  Speaker 2: No, and I completely agree. I feel like as someone
• 1:59:14
  Speaker 2: who engages with a lot of film, the last thing
• 1:59:17
  Speaker 2: I want is to watch something that's just a poor
• 1:59:20
  Speaker 2: facsimile of something I've already seen and that's you know
• 1:59:24
  Speaker 2: for me I think that's why this Rob Zombie movie
• 1:59:27
  Speaker 2: is the least interesting of the two and possibly the
• 1:59:30
  Speaker 2: most the most uninteresting film that he ever did is
• 1:59:34
  Speaker 2: this film because in so many ways like it is
• 1:59:36
  Speaker 2: just a remake of a better a reboot I guess
• 1:59:41
  Speaker 2: yeah yeah this really is just a reboot of a
• 1:59:44
  Speaker 2: much better movie it's like you know you're not you're
• 1:59:46
  Speaker 2: not going to succeed when you're rebooting one of the
• 1:59:49
  Speaker 2: most well regarded slasher films of all time even now
• 1:59:52
  Speaker 2: Halloween is a film that's been aped since the day
• 1:59:54
  Speaker 2: it came out. And you have the unenviable task, which
• 1:59:57
  Speaker 2: is why John Carpenter said, don't remake it, make your
• 2:00:00
  Speaker 2: own thing, of making a film that shares the title
• 2:00:04
  Speaker 2: of that film. And I think that's where David Gordon
• 2:00:06
  Speaker 2: Green maybe got it a little bit more... kind of
• 2:00:09
  Speaker 2: on the nail on the head than Rob Zombie did,
• 2:00:11
  Speaker 2: which is you can call your movie Halloween. You should
• 2:00:14
  Speaker 2: just do something different, though, if you're going to call
• 2:00:16
  Speaker 2: it that. And it's the only one of these to
• 2:00:18
  Speaker 2: call itself Halloween other than this one. And I think
• 2:00:21
  Speaker 2: that this one is saddled with the, you know, the
• 2:00:23
  Speaker 2: name Halloween more so than that David Gordon Green one
• 2:00:26
  Speaker 2: is because Rob Zombie, I guess, really felt the need
• 2:00:29
  Speaker 2: to re-litigate old news. Like, we know already. Like, unless
• 2:00:34
  Speaker 2: you're doing something with it that we haven't seen... Don't
• 2:00:37
  Speaker 2: relitigate the past. It's not going to benefit anybody. It's
• 2:00:41
  Speaker 2: really not. You're telling part of the story we haven't seen.
• 2:00:43
  Speaker 2: That's fine. But don't relitigate the parts we've already seen
• 2:00:46
  Speaker 2: because unless you really think you can do a better job,
• 2:00:49
  Speaker 2: I doubt that you can, especially with a movie of
• 2:00:52
  Speaker 2: the high profile that is the original Halloween.
• 2:00:55
  Speaker 1: Well, and David Gordon Green falls in the same category
• 2:00:58
  Speaker 1: as their J.J.
• 2:00:59
  Speaker 2: Abrams.
• 2:00:59
  Speaker 1: Like he does the exact same thing with the Star
• 2:01:02
  Speaker 1: Wars reboot. You know, you can call it in quotation.
• 2:01:05
  Speaker 1: You can call it a sequel and you can work
• 2:01:08
  Speaker 1: in your old guy character to make it a sequel.
• 2:01:10
  Speaker 1: But at the same time, it hits the beats of
• 2:01:13
  Speaker 1: that first Star Wars movie. when it needs to like
• 2:01:16
  Speaker 1: to to perfection so much so that it's kind of
• 2:01:19
  Speaker 1: a successful version but it's so unoriginal in so many
• 2:01:23
  Speaker 1: ways that I'm just like I I respect you for
• 2:01:26
  Speaker 1: knowing how to make that well but again you don't
• 2:01:28
  Speaker 1: really get points for originality because you stole everything from
• 2:01:32
  Speaker 1: this movie in 77 you know it's like you don't
• 2:01:35
  Speaker 1: you don't really get points for doing anything different but
• 2:01:38
  Speaker 1: but you found a really good way to repackage it
• 2:01:41
  Speaker 1: and put your own little flair on it and call
• 2:01:43
  Speaker 1: it a new movie. And it worked. They made a
• 2:01:47
  Speaker 1: ton of money off of it. And that's essentially the
• 2:01:50
  Speaker 1: horror version of what David Gordon Green did.
• 2:01:52
  Speaker 2: And I guess that's what Rob Zombie was trying to do.
• 2:01:55
  Speaker 2: I don't know. That's the thing, I think, for me
• 2:01:58
  Speaker 2: that I did struggle with as we kind of bring
• 2:02:00
  Speaker 2: this episode to a close. I struggled with whether or
• 2:02:03
  Speaker 2: not Rob Zombie actually wanted to do something different or
• 2:02:06
  Speaker 2: if he was just like, I'm doing this thing. I'm
• 2:02:09
  Speaker 2: doing it my own way, but I'm doing the thing
• 2:02:12
  Speaker 2: that someone else has done. I'm just going to add
• 2:02:14
  Speaker 2: some more kind of fluff and nonsense to it, but
• 2:02:16
  Speaker 2: I'm not really doing anything different. I wonder if he
• 2:02:20
  Speaker 2: thinks he did something different enough here. To warrant the
• 2:02:23
  Speaker 2: kind of success that David Gordon Green got, because I
• 2:02:25
  Speaker 2: will say David Gordon Green did do something different enough
• 2:02:29
  Speaker 2: where I could be like, it's if this is a reboot,
• 2:02:32
  Speaker 2: I'm not going to say that that movie is a reboot.
• 2:02:35
  Speaker 2: It's a requel because I think it shares more in
• 2:02:38
  Speaker 2: line with a sequel. then it does a reboot but
• 2:02:41
  Speaker 2: it doesn't throw out what's come before it completely it
• 2:02:43
  Speaker 2: throws out about a half of what's come before it
• 2:02:46
  Speaker 2: which is fine like but it doesn't throw everything out
• 2:02:48
  Speaker 2: this movie throws everything out like literally that is the
• 2:02:51
  Speaker 2: entire point and if this had been successful enough we
• 2:02:54
  Speaker 2: would have seen halloween three four five six seven eight
• 2:02:57
  Speaker 2: that weren't rob zombies.
• 2:02:59
  Speaker 1: Yeah that's what i was gonna say even without rob
• 2:03:00
  Speaker 1: zombie because he won it out by two enough to
• 2:03:03
  Speaker 1: stop screw himself out of an extra movie paycheck. But
• 2:03:06
  Speaker 1: he was like, I don't care. I want away from
• 2:03:07
  Speaker 1: these guys.
• 2:03:08
  Speaker 2: I want to get out of here.
• 2:03:09
  Speaker 1: But if it, yeah, if it was worth the effort
• 2:03:12
  Speaker 1: and made enough money on that second movie, then yeah,
• 2:03:15
  Speaker 1: they would have easily handed this. I mean, they tried
• 2:03:17
  Speaker 1: to on the second one and they just, no one
• 2:03:19
  Speaker 1: could work with the Weinsteins. But like if, if they
• 2:03:23
  Speaker 1: had the chance, you know, they would have been, they
• 2:03:25
  Speaker 1: would have just slapped some other new director's name over
• 2:03:27
  Speaker 1: the title and been like, here's part three, let's keep
• 2:03:30
  Speaker 1: this money train rolling. But yeah, it didn't deliver on
• 2:03:34
  Speaker 1: that second one enough to make this work. I think
• 2:03:36
  Speaker 1: the first one had potential. It could have kept rolling
• 2:03:40
  Speaker 1: if the second one had been as successful as the
• 2:03:42
  Speaker 1: first or more so, they definitely would have kept going.
• 2:03:45
  Speaker 1: But it was enough that it killed it and then like, well,
• 2:03:48
  Speaker 1: we just need a couple more years and we can
• 2:03:50
  Speaker 1: reboot this thing again.
• 2:03:51
  Speaker 2: Right. Which which I guess horror is the genre where
• 2:03:54
  Speaker 2: you can get away with that the most. Or if
• 2:03:56
  Speaker 2: you're rebooting Star Wars or not Star Wars, Spider-Man. Excuse me.
• 2:04:00
  Speaker 2: I guess it's really Spider-Man. He's like the only superhero
• 2:04:02
  Speaker 2: where it's like every two years we can reboot him.
• 2:04:05
  Speaker 2: Batman and everything else takes a while. Like we technically
• 2:04:08
  Speaker 2: don't have a rebooted Batman yet. Like we have Robert Pattinson.
• 2:04:11
  Speaker 2: They kept doing it, though. If I watch somebody shoot
• 2:04:16
  Speaker 2: his parents in an alley one more damn time. I know.
• 2:04:19
  Speaker 2: That's the thing. I don't need any more of those
• 2:04:22
  Speaker 2: origin stories from anybody anymore. Spider-Man. We all get it. Batman.
• 2:04:26
  Speaker 2: We all know him. It's fine. Fucking Freddy Krueger or
• 2:04:29
  Speaker 2: Michael Myers or even... fucking you know what even Pennywise
• 2:04:33
  Speaker 2: at this point like you know I'll give that TV
• 2:04:36
  Speaker 2: show credit for being something weird and different but the
• 2:04:39
  Speaker 2: only reason I kind of vibe with it is because
• 2:04:41
  Speaker 2: it's weird and different and not just those movies again
• 2:04:45
  Speaker 2: like yeah it's covering stuff that has not been covered
• 2:04:48
  Speaker 2: anywhere else But I don't need to see things again
• 2:04:50
  Speaker 2: that I've already seen before, because unless you are going
• 2:04:53
  Speaker 2: to somehow reinvent the goddamn wheel, which good luck if
• 2:04:57
  Speaker 2: you want to be a competitor to Walmart or Target
• 2:05:00
  Speaker 2: or Amazon at this point in your lifetime of doing things,
• 2:05:04
  Speaker 2: it's just an uphill battle I don't think is worth taking. Yeah.
• 2:05:08
  Speaker 2: I mean, I don't know if there's enough that you
• 2:05:10
  Speaker 2: can do that's going to make it different in any
• 2:05:13
  Speaker 2: way without just getting grouped in with the rest of
• 2:05:16
  Speaker 2: the reboot rebranding.
• 2:05:18
  Speaker 1: Like it has to be like a radically different thing,
• 2:05:21
  Speaker 1: which again is what I would expect someone like Rob
• 2:05:24
  Speaker 1: Zombie to do.
• 2:05:24
  Speaker 2: And then he totally ended up not at all. Like,
• 2:05:27
  Speaker 2: so unless you're.
• 2:05:28
  Speaker 1: Going to go a weird direction with it, which I, again, that,
• 2:05:33
  Speaker 1: that worries me as well because people.
• 2:05:35
  Speaker 2: Go an entire wrong direction sometimes.
• 2:05:37
  Speaker 1: So it's, it's such a tightrope walk of like, where
• 2:05:41
  Speaker 1: do I go with this?
• 2:05:42
  Speaker 2: Who do we give it to? Like, what what are
• 2:05:45
  Speaker 2: they going to do with it?
• 2:05:46
  Speaker 1: And then how do we fix it when they go
• 2:05:48
  Speaker 1: horribly wrong and tear up our franchise and then we
• 2:05:51
  Speaker 1: have to rebuild it again?
• 2:05:52
  Speaker 2: Just to hand it to somebody else after that. That's
• 2:05:54
  Speaker 2: how you get Star Wars Rises of Skywalker. Mm-hmm. Yeah.
• 2:05:59
  Speaker 1: You just, well, you have to, everything is just backpedaling.
• 2:06:02
  Speaker 1: Like once you, one, that's also a huge problem, I think,
• 2:06:06
  Speaker 1: with films made now, specifically studio films, franchise films. is
• 2:06:10
  Speaker 1: we're listening to the audience and shut up.
• 2:06:13
  Speaker 2: Like I'm, that's me. I understand.
• 2:06:15
  Speaker 1: But at the same time, I don't expect like Rob
• 2:06:18
  Speaker 1: Zombie to change the next thing he makes because I'm
• 2:06:20
  Speaker 1: bitching about it.
• 2:06:21
  Speaker 2: You know, it's just like, I, I'm just giving.
• 2:06:23
  Speaker 1: My opinion and I have issues with some of the
• 2:06:26
  Speaker 1: things he does, but I don't assume that what I say.
• 2:06:29
  Speaker 1: should change the specifics of a franchise unless you're going
• 2:06:32
  Speaker 1: to hand it to me, which again, back that truck
• 2:06:34
  Speaker 1: up here.
• 2:06:34
  Speaker 2: I'll, I'll give it a shot. It ain't going to
• 2:06:36
  Speaker 2: be better, but I'll give it a shot.
• 2:06:37
  Speaker 1: But yeah, you, you see, that's what kept happening with
• 2:06:41
  Speaker 1: all of these movies. I mean, Star Wars was the
• 2:06:44
  Speaker 1: worst of those, like every movie they would.
• 2:06:46
  Speaker 2: I mean, even when Lucas was involved, he would change
• 2:06:48
  Speaker 2: his mind because of what people were bitching about on
• 2:06:50
  Speaker 2: the internet. He's like, Oh, okay, I'll get rid of this.
• 2:06:52
  Speaker 2: I'll change this.
• 2:06:53
  Speaker 1: And like, Then he handed it off to Disney. Disney's
• 2:06:55
  Speaker 1: equally as bad about it. And they're just like, oh,
• 2:06:57
  Speaker 1: you guys don't like this?
• 2:06:58
  Speaker 2: Okay, we won't do this. Change the director midway into
• 2:07:00
  Speaker 2: the shoot? Okay, we'll do that. Screw it. We don't care.
• 2:07:02
  Speaker 1: Like, they're just scrambling to please everybody.
• 2:07:06
  Speaker 2: And I'm like, that's not how art works. Like.
• 2:07:09
  Speaker 1: if you're the artist and specifically you're the person slapping
• 2:07:12
  Speaker 1: your name above the title in these movies, John Carpenter,
• 2:07:15
  Speaker 1: that like you should come at it with your concept
• 2:07:19
  Speaker 1: and what you want to do. And ideally you don't
• 2:07:22
  Speaker 1: have producers and studios that are trying to beat the
• 2:07:24
  Speaker 1: life out of you and take all that away from you.
• 2:07:26
  Speaker 2: Usually that's how it goes.
• 2:07:27
  Speaker 1: But ideally you don't have that and you deliver your
• 2:07:31
  Speaker 1: like focused version of what artistically you want to say
• 2:07:35
  Speaker 1: with this movie again this is all very idealized because
• 2:07:38
  Speaker 1: that almost never happens but that ideally that's how you
• 2:07:42
  Speaker 1: want art to work is like you want to come
• 2:07:44
  Speaker 1: at it with an opinion and with a your own
• 2:07:47
  Speaker 1: artistic take and you want to follow through with that
• 2:07:49
  Speaker 1: and deliver that to people and you know you go
• 2:07:51
  Speaker 1: to a little gallery show and you see somebody hang
• 2:07:54
  Speaker 1: their painting up there and there's plenty of people that
• 2:07:57
  Speaker 1: are going to look at me like, oh, that's terrible.
• 2:07:59
  Speaker 1: And if they're a, you know, a seasoned artist, they're like, well, good,
• 2:08:03
  Speaker 1: move along. I don't care what you think. So like
• 2:08:05
  Speaker 1: you can do that on a smaller scale. It's so
• 2:08:07
  Speaker 1: much harder to do that when you've got these hundreds
• 2:08:09
  Speaker 1: of millions of dollars behind this franchise.
• 2:08:12
  Speaker 2: But again, artistically, ideally, that's what we want to do.
• 2:08:15
  Speaker 1: It's like we want to have someone who With a
• 2:08:17
  Speaker 1: vision and they come together and they make the thing
• 2:08:20
  Speaker 1: they want to make. And then if you don't like it, well,
• 2:08:22
  Speaker 1: go find another movie.
• 2:08:23
  Speaker 2: Who cares? Like it's it's it's how it should be.
• 2:08:25
  Speaker 2: But that's not how I do. Well, and I think it's,
• 2:08:28
  Speaker 2: you know, to go back to something I talked about
• 2:08:30
  Speaker 2: earlier this year, The Bride. I don't know why they
• 2:08:33
  Speaker 2: spent all that money on that movie when they knew
• 2:08:35
  Speaker 2: they were going to make any of that money back.
• 2:08:37
  Speaker 2: And that's and that's to go to something like this.
• 2:08:39
  Speaker 2: I looked at this film and, you know, the budget
• 2:08:41
  Speaker 2: on this film is a normal number. It's not even
• 2:08:45
  Speaker 2: for that time. It's not even high for the time.
• 2:08:48
  Speaker 2: It's like I expected more. Yeah, right. And yet this
• 2:08:51
  Speaker 2: movie made, you know, for almost almost five exits budget,
• 2:08:55
  Speaker 2: which is great, especially for a horror movie. Yeah. And
• 2:08:58
  Speaker 2: that I think I think it speaks volumes, I think,
• 2:09:01
  Speaker 2: in the long run to something like this is. staying
• 2:09:04
  Speaker 2: power as its own thing within pop culture that i
• 2:09:07
  Speaker 2: think the success of the movie and the kind of
• 2:09:10
  Speaker 2: i wouldn't say singularness and what it is but because
• 2:09:14
  Speaker 2: there's no other thing with this this is it like
• 2:09:17
  Speaker 2: there's only these two so if you want to watch
• 2:09:19
  Speaker 2: these two there is nothing else like and frankly like
• 2:09:21
  Speaker 2: the the other one halloween 2 is so unlike this
• 2:09:25
  Speaker 2: one that you could just watch this one. And if
• 2:09:27
  Speaker 2: you just want to watch this one and you just
• 2:09:29
  Speaker 2: vibe with this one, I actually kind of get it.
• 2:09:32
  Speaker 2: It's not for me. But if this is the version
• 2:09:35
  Speaker 2: of Halloween you grew up on, you could do worse.
• 2:09:38
  Speaker 2: You could do the David Gordon Green one, which I
• 2:09:40
  Speaker 2: think is just it's just it's lazy. This movie is,
• 2:09:43
  Speaker 2: you know, as problematic as some of the things are
• 2:09:46
  Speaker 2: with this movie and the problems I do have with
• 2:09:48
  Speaker 2: this movie we've now talked about. I think this movie
• 2:09:50
  Speaker 2: is less lazy than the David Gordon Green one, because
• 2:09:52
  Speaker 2: the David Gordon Green one is exactly what J.J. Abrams
• 2:09:55
  Speaker 2: did with Star Wars, which is just it's been gone
• 2:09:57
  Speaker 2: for so long now. And kind of the the public
• 2:10:01
  Speaker 2: sentiment is so, I guess, ready and willing to reengage
• 2:10:05
  Speaker 2: with it that whatever you put out, as long as
• 2:10:07
  Speaker 2: it was like not completely a pain in terms of
• 2:10:11
  Speaker 2: enjoying it, like you're not putting out something that has
• 2:10:13
  Speaker 2: to be enjoyed in a way that's like you know,
• 2:10:15
  Speaker 2: it'll only on IMAX or someone, some fucking streaming platform.
• 2:10:18
  Speaker 2: Like this is a movie made for the masses. When
• 2:10:21
  Speaker 2: that Halloween movie came out, the David Gordon green, what
• 2:10:23
  Speaker 2: that movie made like, Oh my God, so much money.
• 2:10:26
  Speaker 1: Yeah.
• 2:10:27
  Speaker 2: It made a lot. It was like hand over fist, right? It,
• 2:10:30
  Speaker 2: it made, it was on a budget of $ 10 million
• 2:10:32
  Speaker 2: less than this film and made $ 260 million. And that's
• 2:10:38
  Speaker 2: why these keep getting me. Right.
• 2:10:40
  Speaker 1: But my point is like, people were ready for another
• 2:10:43
  Speaker 1: Michael Myers movie. It had been, you know, like, let's
• 2:10:45
  Speaker 1: call it 10 years since a Michael Myers film had
• 2:10:48
  Speaker 1: come out. Because, hey, Halloween 2 comes out in 2009. Halloween,
• 2:10:52
  Speaker 1: the David Gordon Green film, comes out in 2018. So, that's,
• 2:10:56
  Speaker 1: it's nine years. I think that's, like, close to, if
• 2:10:58
  Speaker 1: not the longest time between films. I mean, definitely of
• 2:11:02
  Speaker 1: that original run, they were every couple of years.
• 2:11:05
  Speaker 2: Right. And so, like, the public was ready. Like, I
• 2:11:07
  Speaker 2: don't foresee... if nightmare on elm street does in fact
• 2:11:11
  Speaker 2: come out and is rebooted that movie will probably make
• 2:11:13
  Speaker 2: money whether or not it's very good it'll probably still
• 2:11:16
  Speaker 2: make some semblance of money and if it's made for
• 2:11:19
  Speaker 2: the right budget and cheap enough it will undoubtedly make
• 2:11:22
  Speaker 2: money if you make a film for 300 million dollars
• 2:11:24
  Speaker 2: and are surprised when it a niche art house film
• 2:11:27
  Speaker 2: starring christian bale and jesse buckley is that her name
• 2:11:31
  Speaker 2: that's right um the two of them as i love
• 2:11:34
  Speaker 2: her as an actress but like the bride of frankenstein
• 2:11:37
  Speaker 2: fucking really like And then to be like, well, we
• 2:11:39
  Speaker 2: don't understand why this movie didn't make any money. Like, no,
• 2:11:41
  Speaker 2: you did. You threw someone in the pool and tied
• 2:11:43
  Speaker 2: their hands and feet together and said, I don't understand
• 2:11:45
  Speaker 2: why they can't swim. Like, me either. It would not
• 2:11:48
  Speaker 2: have anything to do with the fact that you tied
• 2:11:50
  Speaker 2: their hands and feet together. And giving these directors massive
• 2:11:54
  Speaker 2: budgets to just go apeshit with is not helping anyone.
• 2:11:57
  Speaker 2: And it's definitely not helping the creativity. Because creativity comes
• 2:12:00
  Speaker 2: from a non... financially motivated place. Often creativity is from
• 2:12:04
  Speaker 2: the opposite of financially motivated things. So many decisions made
• 2:12:08
  Speaker 2: about films that end up being the right choice are
• 2:12:12
  Speaker 2: not the creative choice at the time that people wanted
• 2:12:14
  Speaker 2: to make, and especially not the financially creative choice. Al
• 2:12:17
  Speaker 2: Pacino was not originally supposed to be in The Godfather
• 2:12:20
  Speaker 2: because he was not the popular, financially viable choice. And
• 2:12:23
  Speaker 2: yet he's intrinsically linked now with The Godfather. And he
• 2:12:27
  Speaker 2: is someone who has made a career off of playing
• 2:12:30
  Speaker 2: a role that's as well known and kind of pop
• 2:12:32
  Speaker 2: culture period as Michael Corleone is, but he was not
• 2:12:35
  Speaker 2: the popular choice at the time. So like so much
• 2:12:37
  Speaker 2: of that is baked into this. That's just hard to
• 2:12:40
  Speaker 2: navigate because again, like there are people that grew up
• 2:12:42
  Speaker 2: with David Gordon Green's Halloween and that's their Halloween that
• 2:12:45
  Speaker 2: they saw. And that's same with this movie. I just
• 2:12:48
  Speaker 2: think that ultimately, if we're talking about a product that
• 2:12:51
  Speaker 2: is meant to be enjoyed, that has a more interesting role,
• 2:12:54
  Speaker 2: long-term value to it this i think is at least
• 2:12:57
  Speaker 2: doing something marginally more different than we're just going to
• 2:13:01
  Speaker 2: ignore half of the halloween movies and do our own
• 2:13:04
  Speaker 2: thing sort of but not really but not really because
• 2:13:07
  Speaker 2: again if you even look at it you can't even
• 2:13:09
  Speaker 2: look at it in a vacuum all of a sudden
• 2:13:11
  Speaker 2: michael myers is so brutal and over the top what
• 2:13:14
  Speaker 2: is the reason behind that other than the rob zombie
• 2:13:16
  Speaker 2: movie being successful and you guys are aping that Right.
• 2:13:19
  Speaker 1: That's what I yeah, we did a whole episode on
• 2:13:22
  Speaker 1: that when it came out. And I was like, that's
• 2:13:23
  Speaker 1: my issue with this weird thing is like you that
• 2:13:27
  Speaker 1: David Gordon Greenwood, you pretend like all the others don't exist.
• 2:13:30
  Speaker 1: But if you go back, that's also what's weird about
• 2:13:32
  Speaker 1: this one, too, is like within the first 15 minutes,
• 2:13:35
  Speaker 1: we've already killed more people than in that first movie.
• 2:13:38
  Speaker 1: Like they're at least the people out on the Halloween
• 2:13:42
  Speaker 1: streets that night. I mean, he only kills three people
• 2:13:44
  Speaker 1: out there. You can count the guy with the jumpsuit
• 2:13:46
  Speaker 1: or whatever, maybe. But I mean, little kid version of
• 2:13:49
  Speaker 1: him has already knocked out three people in the first
• 2:13:52
  Speaker 1: 15 minutes before he finishes murdering the rest of his family.
• 2:13:55
  Speaker 1: So like the kill count is already huge, but it
• 2:13:57
  Speaker 1: also like takes into account all of those other Michael
• 2:14:00
  Speaker 1: Myers movies where he continued to get more brutal than
• 2:14:03
  Speaker 1: The kill count got bigger and bigger in every sequel.
• 2:14:07
  Speaker 1: And so you look at, okay, well now we're going
• 2:14:09
  Speaker 1: to pull all that middle part out.
• 2:14:10
  Speaker 2: That didn't count. It's just that dude from the first movie.
• 2:14:13
  Speaker 2: And then now, and I'm like, well now.
• 2:14:15
  Speaker 1: Okay, now all you have is a guy who killed
• 2:14:18
  Speaker 1: three or four people one night.
• 2:14:20
  Speaker 2: He had a bad night and killed a few people.
• 2:14:22
  Speaker 2: And now he's like 60. So he's done nothing through
• 2:14:26
  Speaker 2: all these years.
• 2:14:27
  Speaker 1: But now all of a sudden he's super brutal and
• 2:14:30
  Speaker 1: is just walking around just smashing people's heads and slicing
• 2:14:33
  Speaker 1: them open.
• 2:14:33
  Speaker 2: I'm like, why?
• 2:14:34
  Speaker 1: Why all of a sudden did this old man who's
• 2:14:37
  Speaker 1: been sitting in a home essentially for the last several
• 2:14:40
  Speaker 1: decades just decide to go off one night and murder
• 2:14:45
  Speaker 1: way more people than he ever did in that first movie?
• 2:14:48
  Speaker 2: Like, it makes no sense.
• 2:14:50
  Speaker 1: It's just like, You're building on the legend of Michael
• 2:14:53
  Speaker 1: Myers that happened in all of those sequels.
• 2:14:56
  Speaker 2: That's where we built up this. He's a killing machine.
• 2:14:59
  Speaker 2: He's evil. He can't be stopped. He's supernatural.
• 2:15:02
  Speaker 1: Like all those things came from the sequel. None of
• 2:15:05
  Speaker 1: that's in that first movie. He's a real guy and
• 2:15:07
  Speaker 1: he kills a couple of people. And there you go.
• 2:15:09
  Speaker 1: I think that's all that happened.
• 2:15:11
  Speaker 2: In that Carpenter movie.
• 2:15:12
  Speaker 1: All of the other stuff that we built the legend
• 2:15:15
  Speaker 1: around came through the bad sequels and the Michael Myers
• 2:15:18
  Speaker 1: that happens in this.
• 2:15:19
  Speaker 2: Movie and like all of the stuff that you see
• 2:15:22
  Speaker 2: in the spirit story.
• 2:15:23
  Speaker 1: You know, it's like we created the legend of Michael
• 2:15:26
  Speaker 1: Myers and all of that stuff.
• 2:15:27
  Speaker 2: So trying to pick up where you left.
• 2:15:29
  Speaker 1: Off in the David Gordon Green movie makes absolutely no
• 2:15:32
  Speaker 1: sense because that's not the same character.
• 2:15:34
  Speaker 2: It can't be the same character. No, because that same
• 2:15:37
  Speaker 2: character would not have been entertaining. And the way that
• 2:15:39
  Speaker 2: they opened that second movie is straight out of these
• 2:15:42
  Speaker 2: Rob Zombie. Where he's just murdering these firefighters, cutting their
• 2:15:45
  Speaker 2: heads off and cutting their hands off and jamming saws
• 2:15:48
  Speaker 2: into their faces. Rob Zombie is creaming himself at how
• 2:15:52
  Speaker 2: violent and brutal they were allowing him to be. Because
• 2:15:56
  Speaker 2: these movies comparatively don't even... There are some kills in
• 2:15:59
  Speaker 2: these movies that get close, but those David Gordon Green
• 2:16:02
  Speaker 2: movies are even more brutal than these movies. Which again
• 2:16:04
  Speaker 2: makes no sense because he's an old man.
• 2:16:07
  Speaker 1: He should go to grab one of them and be like, oh,
• 2:16:09
  Speaker 1: I'm a hip.
• 2:16:10
  Speaker 2: Hold on now. I get it here. He's the old man.
• 2:16:14
  Speaker 2: I understand here. It makes perfect sense here. The thing
• 2:16:18
  Speaker 2: I will give this entire two film kind of, series
• 2:16:22
  Speaker 2: is at least i understand why michael is doing what
• 2:16:25
  Speaker 2: he's doing and they don't try to redeem him as
• 2:16:27
  Speaker 2: a character but he's brutal and i get.
• 2:16:30
  Speaker 1: It they don't really answer the question why but at
• 2:16:33
  Speaker 1: least at least we're given like at least yeah it's
• 2:16:37
  Speaker 1: like well yeah he had this horrible life up till
• 2:16:40
  Speaker 1: now so i guess this is where it leads you
• 2:16:42
  Speaker 1: the why and whatever you just shrug that off Is
• 2:16:45
  Speaker 1: there a good answer?
• 2:16:46
  Speaker 2: I guess that's the question. Like, not really. So the
• 2:16:49
  Speaker 2: answer doesn't matter. So don't ask the question.
• 2:16:51
  Speaker 1: I mean, in the real world, we've spent how many
• 2:16:54
  Speaker 1: years trying to figure out all these real world serial
• 2:16:57
  Speaker 1: killers and you've got an entire industry of of there's
• 2:17:00
  Speaker 1: some of these weirdos out here that have podcasts. I
• 2:17:02
  Speaker 1: don't know if you've heard about them, but the true
• 2:17:05
  Speaker 1: crime podcast is its own crazy world. And all that
• 2:17:09
  Speaker 1: does is retell these stories. Has it ever figured out
• 2:17:12
  Speaker 1: why in a way that's actually like satisfying? Like it'll
• 2:17:17
  Speaker 1: tell you why in the like, here's the police report.
• 2:17:20
  Speaker 2: Here's the like, they're having an affair. They wanted money.
• 2:17:22
  Speaker 2: Like there's a reason sometimes.
• 2:17:24
  Speaker 1: But like not the internal in your mind, let's figure
• 2:17:28
  Speaker 1: out the reason evil exists kind of a thing.
• 2:17:30
  Speaker 2: And you're not going to really. So you have to
• 2:17:33
  Speaker 2: figure out what it.
• 2:17:34
  Speaker 1: Is you're trying to do in your movie, in your podcast,
• 2:17:37
  Speaker 1: in your TV show. Like what is it you're trying
• 2:17:39
  Speaker 1: to figure out when you start trying to tackle.
• 2:17:41
  Speaker 2: A serial killer?
• 2:17:42
  Speaker 1: Because like I don't know that you're going to get
• 2:17:43
  Speaker 1: to an answer that is satisfying for anybody really.
• 2:17:47
  Speaker 2: Does Clockwork Orange get to an answer? The other four.
• 2:17:50
  Speaker 2: that this one is kind of also aping. It's like,
• 2:17:52
  Speaker 2: what is evil? Like, it doesn't it doesn't it ultimately
• 2:17:55
  Speaker 2: the people that are the ones that are telling these
• 2:17:57
  Speaker 2: stories are unreliable narrators and they can't be believed. If
• 2:18:00
  Speaker 2: you are a prisoner on death row, I feel like
• 2:18:03
  Speaker 2: like believing you like, yes, OK, maybe. But like, also, why?
• 2:18:07
  Speaker 1: Like, as long as it's got Malcolm McDowell in it.
• 2:18:09
  Speaker 1: And you can watch lots of TV. I really just
• 2:18:11
  Speaker 1: want to watch lots of TV all day long. Can
• 2:18:14
  Speaker 1: you get me one of them chairs? I like that chair.
• 2:18:16
  Speaker 1: Maybe we're taking the wrong message from this movie.
• 2:18:19
  Speaker 2: He's got a cool recliner. He's got a multi channels,
• 2:18:22
  Speaker 2: picture and picture options here, man. I like this. I
• 2:18:25
  Speaker 2: just want to go to prison and be like Michael Myers,
• 2:18:27
  Speaker 2: I guess. That's it. You know, and that's the thing.
• 2:18:29
  Speaker 2: Like you, you mentioned already, like the whole, like true
• 2:18:32
  Speaker 2: crime podcaster angle. And, and, That Gordon Green movie does
• 2:18:36
  Speaker 2: that and it's whatever. It's not very well done. No,
• 2:18:39
  Speaker 2: it makes no sense. It's an afterthought. It's a complete afterthought.
• 2:18:43
  Speaker 2: I saw the trailer and went, of course there's podcasters.
• 2:18:46
  Speaker 2: It makes sense for when it came out and what
• 2:18:49
  Speaker 2: it is. I was right at the part where podcasts
• 2:18:53
  Speaker 2: were going to get to their zenith in the next
• 2:18:54
  Speaker 2: three years after that movie comes out, but they don't
• 2:18:57
  Speaker 2: do anything with it. It's like this movie in a way.
• 2:19:00
  Speaker 2: There are some great ideas and some of the ideas
• 2:19:02
  Speaker 2: are expounded upon But I think it's one of those
• 2:19:04
  Speaker 2: things where you need to cut some of the ideas out,
• 2:19:07
  Speaker 2: streamline the movie and expand upon the things you have
• 2:19:09
  Speaker 2: already expanded on a little further. Don't just keep introducing
• 2:19:13
  Speaker 2: things and then not going anywhere with them. That's a problem.
• 2:19:16
  Speaker 1: And they can't even pin down the basics sometimes. And
• 2:19:19
  Speaker 1: this is more of just like your basic screenwriter. Like
• 2:19:22
  Speaker 1: you guys need to like give this another pass because...
• 2:19:25
  Speaker 1: That was some of the issue with this one, but
• 2:19:27
  Speaker 1: I had way more issues with that David Gordon Green.
• 2:19:29
  Speaker 1: That first one where it's like everything happens just by happenstance. Just,
• 2:19:35
  Speaker 1: you know, he.
• 2:19:36
  Speaker 2: how did he happen to get to the same gas
• 2:19:39
  Speaker 2: station where the same podcasters that we just met were like,
• 2:19:44
  Speaker 2: it's all convenient for the person sitting in the audience.
• 2:19:46
  Speaker 1: Like, oh yeah, I know that person. And he just
• 2:19:48
  Speaker 1: got out of there and I want to see him
• 2:19:50
  Speaker 1: murder somebody. Hey, he can murder them. Like it all
• 2:19:52
  Speaker 1: makes sense as an audience. I want to see these
• 2:19:54
  Speaker 1: things happen. But from a storytelling standpoint is like, how
• 2:19:58
  Speaker 1: did he get there? And why of all people would
• 2:20:00
  Speaker 1: he end up killing this person who was just interviewing
• 2:20:02
  Speaker 1: him a little while ago when they just drove how far?
• 2:20:05
  Speaker 1: And like, and then he gets to the neighborhood and
• 2:20:07
  Speaker 1: I'm like, he's just wandering around the neighborhood. He could
• 2:20:09
  Speaker 1: be anywhere in the neighborhood. So how did he meet
• 2:20:11
  Speaker 1: this guy who was just hitting on Laurie Strode? And like,
• 2:20:14
  Speaker 1: it's just convenient for the sake of convenient. And it's like,
• 2:20:17
  Speaker 1: we have a little of that with this one, but
• 2:20:19
  Speaker 1: I feel like that movie is like even worse about that.
• 2:20:22
  Speaker 1: So all of these, just like you guys, once again,
• 2:20:24
  Speaker 1: even if you don't want to do it, Give it
• 2:20:26
  Speaker 1: to somebody else.
• 2:20:27
  Speaker 2: Give them another pass to be like, are there logic problems? Like,
• 2:20:30
  Speaker 2: how does Michael Myers know to find his sister?
• 2:20:33
  Speaker 1: Like, that's a basic one that I feel like if
• 2:20:35
  Speaker 1: you gave it to somebody else, somebody should have been like, yeah,
• 2:20:37
  Speaker 1: I don't understand this part. Can you, is it sense
• 2:20:40
  Speaker 1: of smell? Is that what we're going by here? Because
• 2:20:42
  Speaker 1: that's all I got.
• 2:20:42
  Speaker 2: In this movie. So like, it's just basic logic issues
• 2:20:45
  Speaker 2: that I'm like, they really have to address if they're
• 2:20:48
  Speaker 2: going to put this much time and energy and money
• 2:20:51
  Speaker 2: into making these things. Well, and that's why I, again,
• 2:20:53
  Speaker 2: we go back to the, just in for me, just
• 2:20:57
  Speaker 2: do something different. Just do something else. Just make it,
• 2:20:59
  Speaker 2: make it its own thing. Make it something that is
• 2:21:02
  Speaker 2: not what you would expect going into a Halloween movie.
• 2:21:06
  Speaker 2: And I think that that would have been a much
• 2:21:08
  Speaker 2: more success. I mean, again, like you might've had a
• 2:21:09
  Speaker 2: more successful movie. I don't know if it would have
• 2:21:12
  Speaker 2: made any more money. But I think the critics would
• 2:21:15
  Speaker 2: have had a different feel and time with the movie.
• 2:21:17
  Speaker 2: And I don't think the critics are ever going to
• 2:21:18
  Speaker 2: have a good time with a Rob Zombie movie. I
• 2:21:21
  Speaker 2: don't think he cares. Yeah, it's not made for them.
• 2:21:24
  Speaker 2: I applaud him for that. And the film's not even
• 2:21:26
  Speaker 2: made for people like us because it's clear to me
• 2:21:28
  Speaker 2: that the two of us are not necessarily... the typical
• 2:21:31
  Speaker 2: Rob Zombie fans. I, like yourself, like his music a
• 2:21:34
  Speaker 2: lot more than I like his movies. And the only
• 2:21:37
  Speaker 2: movie of his that I really like is that Munsters movie,
• 2:21:39
  Speaker 2: and that's the one I've seen the most. And it's
• 2:21:41
  Speaker 2: very funny to me because it's the one that people
• 2:21:43
  Speaker 2: were like, doesn't that look like a piece of shit?
• 2:21:45
  Speaker 2: And I was like, I mean, I guess, but I'll
• 2:21:47
  Speaker 2: watch it. It's a Rob Zombie movie. I have low expectations. Shocking,
• 2:21:52
  Speaker 2: I know.
• 2:21:52
  Speaker 1: I saw it and went, man, that looks like something
• 2:21:55
  Speaker 1: Rob Zombie would love.
• 2:21:56
  Speaker 2: Yeah. Like, it's right up his alley. And you know what?
• 2:21:59
  Speaker 2: The production on it's great. The casting, Cherry Moon Zombies,
• 2:22:02
  Speaker 2: actually not terrible. It's fine. It's way better than anyone
• 2:22:07
  Speaker 2: would give it credit for. And it's not nearly the
• 2:22:09
  Speaker 2: kind of like, oh, my God, this is an affront
• 2:22:11
  Speaker 2: to cinema. Like, this ruined my childhood.
• 2:22:14
  Speaker 1: I'm like, if you were watching this as a child,
• 2:22:15
  Speaker 1: you're probably dead now.
• 2:22:17
  Speaker 2: So it's 80s. It's reruns at best. And then you
• 2:22:21
  Speaker 2: were watching them on Nick at night. So shut up.
• 2:22:23
  Speaker 2: This isn't your property either. Like you. This is just
• 2:22:26
  Speaker 2: pop culture. And he was more attached to it than
• 2:22:29
  Speaker 2: you are, probably.
• 2:22:30
  Speaker 1: So, yeah, I don't know. People got really upset about that.
• 2:22:32
  Speaker 1: And I was like, I don't know. I wasn't in
• 2:22:34
  Speaker 1: a big rush to see it, but I saw it eventually.
• 2:22:36
  Speaker 1: And I was like, yes, it's just like I wasn't
• 2:22:39
  Speaker 1: excited about it, but it was I wasn't offended by
• 2:22:42
  Speaker 1: it either.
• 2:22:42
  Speaker 2: I'm like, it's fine. I like Daniel Roebuck. He's awesome.
• 2:22:45
  Speaker 1: He did a great job of casting that role. He's
• 2:22:48
  Speaker 1: so good at that. To me, I don't love either
• 2:22:52
  Speaker 1: of the other two in those roles. But the Daniel
• 2:22:54
  Speaker 1: Roebuck of it is so good at being grandpa that
• 2:22:57
  Speaker 1: I'm like, he makes up for all of it.
• 2:22:58
  Speaker 2: I'm like, he's so good at that. And you can
• 2:23:01
  Speaker 2: tell he loves doing that.
• 2:23:03
  Speaker 1: And that's the same thing with Rob Zombie. That's the
• 2:23:05
  Speaker 1: one thing that comes through in that movie. I feel
• 2:23:07
  Speaker 1: like he genuinely loves that property. More so than this.
• 2:23:10
  Speaker 1: I feel like this, he's trying... He's he's trying to
• 2:23:13
  Speaker 1: make it work. And I think he did love Halloween,
• 2:23:16
  Speaker 1: but like, it still doesn't feel like he's at home
• 2:23:18
  Speaker 1: or maybe he's just a little more schooled. He's made
• 2:23:20
  Speaker 1: several more movies since then. So like maybe now he's
• 2:23:23
  Speaker 1: just more comfortable with it and just leaned into what
• 2:23:25
  Speaker 1: he loved. And like, that's why that monsters one is
• 2:23:28
  Speaker 1: a watchable thing. At least.
• 2:23:29
  Speaker 2: Yeah. For me, Halloween reminds me of David Fincher getting
• 2:23:32
  Speaker 2: involved with alien three. It's like, you know, this, this
• 2:23:35
  Speaker 2: guy is being hired because of what he does. Not
• 2:23:38
  Speaker 2: anything else. Like they, he's the hot commodity at the time.
• 2:23:42
  Speaker 2: I wouldn't be surprised if Curry Barker, Kane Parsons is
• 2:23:45
  Speaker 2: given something similar to this.
• 2:23:47
  Speaker 1: It's like, you can do whatever you want. I guess
• 2:23:49
  Speaker 1: one of them's making a Texas Chainsaw Massacre movie, right?
• 2:23:52
  Speaker 1: I was going to say, the Zack Greger of it all.
• 2:23:54
  Speaker 1: I mean, we watched that. He makes a couple of independent,
• 2:23:58
  Speaker 1: super original movies. What's the next thing they hand him?
• 2:24:01
  Speaker 1: here's a huge franchise based on a video game.
• 2:24:03
  Speaker 2: Go to town. And see how the public has been
• 2:24:06
  Speaker 2: reacting to that. Roasting him into the ground. And I
• 2:24:10
  Speaker 2: don't even know, you know, you and I, uh, to
• 2:24:12
  Speaker 2: spill the beans are going to be covering that movie.
• 2:24:14
  Speaker 2: And it's funny that it's funny that there's kind of
• 2:24:16
  Speaker 2: a weird through line between this movie, the next movie
• 2:24:18
  Speaker 2: in that movie. Cause Zach, Zach Krieger is a great
• 2:24:21
  Speaker 2: example of someone who, yeah, made his bones doing something.
• 2:24:24
  Speaker 2: And they're just like, well, wait, You know what's successful?
• 2:24:27
  Speaker 2: Something entirely different. Something that's been pre-branded that you have
• 2:24:31
  Speaker 2: nothing to do with. We'll make your prequel to Weapons?
• 2:24:36
  Speaker 2: But please make this Resident Evil movie for us. We've
• 2:24:38
  Speaker 2: been looking for a director for it for years. And
• 2:24:40
  Speaker 2: it's like, okay, whatever, fine. And that's that.
• 2:24:43
  Speaker 1: Same lesson of like, so you're going to give me
• 2:24:46
  Speaker 1: all this money to make a thing that I want
• 2:24:48
  Speaker 1: to kind of make anyway.
• 2:24:50
  Speaker 2: Okay. I can't blame him.
• 2:24:51
  Speaker 1: Like, I thought it was a weird fit when they
• 2:24:53
  Speaker 1: announced it, but I was like, do I want to
• 2:24:55
  Speaker 1: watch it?
• 2:24:56
  Speaker 2: Yeah, I kind of do actually. I still think it's
• 2:24:58
  Speaker 2: a weird fit. Me personally. I saw the trailer.
• 2:25:01
  Speaker 1: It looks well made. So I'm like, it looks promising,
• 2:25:04
  Speaker 1: but do I know it's going to hit? Like, not necessarily.
• 2:25:07
  Speaker 1: I think it's got more promise because I have more
• 2:25:10
  Speaker 1: respect for him as a.
• 2:25:10
  Speaker 2: Filmmaker, but... That doesn't mean anything. I've watched some great
• 2:25:15
  Speaker 2: filmmakers fumble movies like you wouldn't believe. So who knows?
• 2:25:19
  Speaker 2: It's like you got to wait till you get in
• 2:25:21
  Speaker 2: the theater and see what's there. Well, I mean, that's
• 2:25:24
  Speaker 2: the thing. You go into a Rob Zombie Halloween movie,
• 2:25:27
  Speaker 2: and I think it comes... Its reputation precedes it. It
• 2:25:29
  Speaker 2: comes with certain baggage. And I think that that baggage
• 2:25:32
  Speaker 2: is well-deserved. Like I said, I don't think Rob Zombie
• 2:25:35
  Speaker 2: wants you to feel any other way about his films than, oh,
• 2:25:39
  Speaker 2: this is my thing. Like you said, Rob Zombie's Halloween.
• 2:25:42
  Speaker 2: That's my thing. I'm not saying he's possessive, but he
• 2:25:46
  Speaker 2: wants you to know it is his thing, and it
• 2:25:48
  Speaker 2: is undoubtedly his thing. Just like Kevin Smith and Quentin Tarantino.
• 2:25:52
  Speaker 2: Like what they make is so intrinsically them that it's
• 2:25:55
  Speaker 2: hard to divorce the two things.
• 2:25:57
  Speaker 1: Which is funny because they're just made up of other
• 2:25:59
  Speaker 1: things that happened before that they cobbled together.
• 2:26:02
  Speaker 2: But they all want it to be them.
• 2:26:04
  Speaker 1: Yeah.
• 2:26:05
  Speaker 2: That's it. They all want to be so stamped with
• 2:26:08
  Speaker 2: their name and their identity and their shared universe of
• 2:26:12
  Speaker 2: their own movies. And like, at the same time, it's,
• 2:26:14
  Speaker 2: it's the least original concept a lot of the time.
• 2:26:17
  Speaker 1: But, but again, I, I like a lot of the
• 2:26:20
  Speaker 1: films that they've made. So it's like it's hit and miss.
• 2:26:23
  Speaker 1: You just got to have faith that they do a
• 2:26:25
  Speaker 1: good job. And occasionally they do.
• 2:26:27
  Speaker 2: And that's, you know, that's the thing. Rob Zombie hasn't
• 2:26:29
  Speaker 2: made nearly as many movies as either one of them has. And,
• 2:26:32
  Speaker 2: you know, the lack of movies that he's made, I think,
• 2:26:36
  Speaker 2: makes this and the next film that we're talking about
• 2:26:38
  Speaker 2: stand out so much more because he doesn't have that
• 2:26:40
  Speaker 2: big of a sample size. It's a rather small body
• 2:26:43
  Speaker 2: of work still. And, you know, I'm glad that there
• 2:26:45
  Speaker 2: are a group of people that resonate with this movie
• 2:26:48
  Speaker 2: as hard as they do and that this is their Halloween. Because,
• 2:26:51
  Speaker 2: you know, so many of those other Halloween movies are
• 2:26:53
  Speaker 2: just sequels to the original movie. This is the first
• 2:26:55
  Speaker 2: time where they were like, let's do something again that
• 2:26:58
  Speaker 2: is its own thing and see if we can make
• 2:27:00
  Speaker 2: something of that. And I applaud them for that. I
• 2:27:03
  Speaker 2: don't think they went far enough. And I think that's
• 2:27:05
  Speaker 2: kind of our big one of our big takeaways here,
• 2:27:08
  Speaker 2: I think, which is, again, a weird thing to level
• 2:27:10
  Speaker 2: against a Rob Zombie movie. But. my hope is on
• 2:27:13
  Speaker 2: the next episode where you and I come back to
• 2:27:15
  Speaker 2: talk about Halloween 2 technically a remake of the original
• 2:27:18
  Speaker 2: but not in any capacity not at all like it
• 2:27:21
  Speaker 2: takes place in a hospital for like a little bit
• 2:27:23
  Speaker 2: of it and that's about it maybe we'll get to
• 2:27:26
  Speaker 2: talk then and I know we will about creative decision
• 2:27:29
  Speaker 2: making and what that looks like in terms of comparatively
• 2:27:32
  Speaker 2: because this movie yeah just doesn't go far enough which
• 2:27:35
  Speaker 2: is a weird thing to level against a Rob Zombie film.
• 2:27:38
  Speaker 1: I think you actually did a great lead in to
• 2:27:41
  Speaker 1: next movie when you were describing this movie of what
• 2:27:44
  Speaker 1: it should have been. And you were given the breakdown
• 2:27:47
  Speaker 1: of what was missing from this movie and how it
• 2:27:49
  Speaker 1: needed to just throw all that out the window and
• 2:27:51
  Speaker 1: do its own thing and create what he wanted to
• 2:27:54
  Speaker 1: create and, you know, just be something interesting all on
• 2:27:57
  Speaker 1: its own. And realistically, again, what I remember of part two,
• 2:28:01
  Speaker 1: that's what it does. So I do want to come
• 2:28:03
  Speaker 1: back next time and dig into that because I feel
• 2:28:05
  Speaker 1: like I feel like he's way more successful when he
• 2:28:09
  Speaker 1: goes off the tracks and does whatever the hell he wants.
• 2:28:11
  Speaker 2: That still it still has his spin.
• 2:28:13
  Speaker 1: It still has all the pieces of stuff, you know,
• 2:28:16
  Speaker 1: all these weird little things that he's into. You see
• 2:28:19
  Speaker 1: like the music that's in this when it's coming up
• 2:28:21
  Speaker 1: and like the It definitely has this vibe of all
• 2:28:24
  Speaker 1: the stuff that Rob Zombie's into, but it doesn't feel
• 2:28:26
  Speaker 1: so hacky. It doesn't feel like reheated version of a
• 2:28:30
  Speaker 1: thing we've already seen. It goes off the rails and
• 2:28:33
  Speaker 1: does its own weird thing. And like that's that's kind
• 2:28:35
  Speaker 1: of what I want to revisit when we get to
• 2:28:36
  Speaker 1: the next movie.
• 2:28:37
  Speaker 2: So until that episode, which is coming to you next week,
• 2:28:40
  Speaker 2: which is when Brian's show is launching over at weirdingwaymedia.com.
• 2:28:45
  Speaker 2: where can people find you and your show, Brian?
• 2:28:48
  Speaker 1: Um, if you're not just hitting up the, the whole
• 2:28:51
  Speaker 1: weirding way rundown, uh, I guess the other home base, uh, we,
• 2:28:55
  Speaker 1: we do have our own basic website. So movie meltdown.com.
• 2:28:59
  Speaker 1: It's not overly fancy because I'm the one putting it
• 2:29:02
  Speaker 1: together and, I have to kind of redesign it to
• 2:29:05
  Speaker 1: go with this. So it's still, you know, clunky at times.
• 2:29:09
  Speaker 1: But it does give you the links to everything you
• 2:29:11
  Speaker 1: need and some little window into the stuff that we've
• 2:29:15
  Speaker 1: done over the years. We've done a lot of different
• 2:29:16
  Speaker 1: stuff and different types of episodes. I will say that
• 2:29:20
  Speaker 1: as you dig into it, you may have to hit
• 2:29:22
  Speaker 1: a couple of them to start to pick up a theme.
• 2:29:25
  Speaker 1: Because depending on, I sort of rotate out the cast
• 2:29:28
  Speaker 1: and we have different people that show up for different
• 2:29:30
  Speaker 1: types of episodes.
• 2:29:31
  Speaker 2: And we do.
• 2:29:32
  Speaker 1: since we're talking about Halloween, we do have a running
• 2:29:34
  Speaker 1: theme that is a horror club, more or less, that
• 2:29:37
  Speaker 1: we get together and we talk about horror movies every time.
• 2:29:40
  Speaker 1: But those are not every episode. So like you got
• 2:29:43
  Speaker 1: to kind of rotate out a few times and get
• 2:29:45
  Speaker 1: to one of those and then you'll see how that works.
• 2:29:47
  Speaker 2: And then there's other ones.
• 2:29:48
  Speaker 1: We just went to one where we actually went to
• 2:29:50
  Speaker 1: a convention. And like, so it's us just sort of
• 2:29:52
  Speaker 1: hanging out after the convention. It's the most unstructured of
• 2:29:55
  Speaker 1: any of our episodes. So they all kind of have
• 2:29:58
  Speaker 1: a different vibe. And there's the new one that I
• 2:30:00
  Speaker 1: just came up with that's just talking with guests. And like,
• 2:30:03
  Speaker 1: we've had some really interesting guests on there that are
• 2:30:07
  Speaker 1: involved in the film industry. So it's like, that's, that's
• 2:30:10
  Speaker 1: kind of a different spin I've put on it just
• 2:30:12
  Speaker 1: this past year and creating that new sort of spinoff
• 2:30:15
  Speaker 1: show that's in there. And that's all just kind of
• 2:30:17
  Speaker 1: in the mix. So you kind of have to hit
• 2:30:19
  Speaker 1: a few of them and get the vibe for each
• 2:30:21
  Speaker 1: one and see what each one has to offer.
• 2:30:24
  Speaker 2: But yeah, there's a lot there. Well, and like Brian mentioned,
• 2:30:28
  Speaker 2: you should check his show out. It is the kind
• 2:30:30
  Speaker 2: of latest show that we are bringing into the Weirding
• 2:30:33
  Speaker 2: Way family, and it is launching on our Spreaker page
• 2:30:37
  Speaker 2: and feed on September 16th, so a week from today.
• 2:30:41
  Speaker 2: So you should definitely save that on however you save
• 2:30:44
  Speaker 2: things and make sure to like, rate follow his show
• 2:30:48
  Speaker 2: movie meltdown this show the culture cast and all weirding
• 2:30:51
  Speaker 2: way media shows on iTunes then Spotify in that order
• 2:30:54
  Speaker 2: because that's how it helps us out the most and
• 2:30:56
  Speaker 2: then patreon.com slash culture cast patreon.com slash projection booth patreon.com
• 2:31:02
  Speaker 2: slash Richard Haddam all those are places you can go
• 2:31:04
  Speaker 2: to interact with the respective patrons of the people that
• 2:31:07
  Speaker 2: work on this show or guest on this show Brian
• 2:31:10
  Speaker 2: thank you so much for joining me and being amenable
• 2:31:13
  Speaker 2: to the idea of revisiting a Rob Zombie film As
• 2:31:16
  Speaker 2: I said, I knew I would have some issues, but
• 2:31:18
  Speaker 2: I knew I'd have a lot to say. And I'd
• 2:31:20
  Speaker 2: say at this point, yes, we've had a lot to say. Yeah,
• 2:31:24
  Speaker 2: more than the runtime of the film, which is surprising
• 2:31:26
  Speaker 2: given the film's two hours long. Not the first time
• 2:31:29
  Speaker 2: I have done that, let me tell you.
• 2:31:31
  Speaker 1: No, same, but not with this movie I would have
• 2:31:33
  Speaker 1: ever thought. No, I kind of figured that's where we
• 2:31:36
  Speaker 1: were going. Well, maybe we'll have more to say on
• 2:31:38
  Speaker 1: the next episode when we both come back to talk
• 2:31:41
  Speaker 1: about Rob Zombie's Halloween 2.
• 2:31:43
  Speaker 2: We'll catch you on that episode.