Latest / Beyond The Blood: A Horror Movie Commentary Podcast / Halloween (1978)

Transcript

Halloween (1978) · Beyond The Blood: A Horror Movie Commentary Podcast

• 0:08
  Speaker 1: Greetings, welcome to Two in the Pinku podcast. Experience a
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  Speaker 1: deep dive into softcore Japanese sexploitation cinema from the 60s
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  Speaker 2: in the Pinku podcast. You are now listening to the
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  Speaker 2: Someone's Favorite Productions Podcast Network. Thank you.
• 1:36
  Speaker 1: Thank you.
• 1:56
  Speaker 2: I'm not responsible, Sam. Oh, no. I told them how
• 1:59
  Speaker 2: dangerous he was.
• 1:59
  Speaker 3: You couldn't have two roadblocks and an all-points bulletin wouldn't
• 2:02
  Speaker 3: stop a five-year-old.
• 2:03
  Speaker 2: Well, he was your patient, Doctor. If precautions weren't strong enough,
• 2:05
  Speaker 2: you should have told somebody. I told everybody. Nobody listened.
• 2:08
  Speaker 2: There's nothing else I can do. You can get back
• 2:10
  Speaker 2: in there and get back on that telephone, tell him
• 2:12
  Speaker 2: exactly who walked out of here last night, and tell
• 2:14
  Speaker 2: him exactly where he's going. Probably going. I'm wasting my time.
• 2:17
  Speaker 3: Sam Haddonfield is 150.
• 2:19
  Speaker 2: Miles away from here.
• 2:20
  Speaker 1: Now, for God's sakes, he can't drive a car.
• 2:21
  Speaker 2: He was doing very well last night. Maybe someone around
• 2:24
  Speaker 2: here gave him lessons. Happy Halloween, dear listeners, and welcome
• 2:57
  Speaker 2: back to the Beyond the Blood podcast. This is a
• 3:01
  Speaker 2: podcast where we have conversations about audio commentary tracks for
• 3:04
  Speaker 2: our favorite horror movies. And today is a very special
• 3:07
  Speaker 2: day because it's Halloween. And, you know, we couldn't think
• 3:12
  Speaker 2: of a better single movie to cover than John Carpenter's
• 3:16
  Speaker 2: own Halloween from 1978. But before we get into not one,
• 3:21
  Speaker 2: but two commentary tracks that we're going to be covering
• 3:24
  Speaker 2: in depth. My name is Chris Higgins, known as the
• 3:27
  Speaker 2: bearded film guy. And as always, I'm joined by my
• 3:30
  Speaker 2: best friend, Steve, from After Hours Video.
• 3:32
  Speaker 3: What's happening, man? We are here to cover the Immortal
• 3:35
  Speaker 3: Classic Halloween this evening. And I think timing-wise, this couldn't
• 3:40
  Speaker 3: be better. This is all treats, no tricks.
• 3:45
  Speaker 2: I'm enjoying your treat right now, man. I'm sipping on
• 3:47
  Speaker 2: a wild cherry Capri Sun.
• 3:51
  Speaker 3: I would expect nothing less.
• 3:54
  Speaker 2: We bought like the, what's it called? Tropical... Punch, I think,
• 3:57
  Speaker 2: last time we bought. It's the flavor with the guy
• 3:59
  Speaker 2: surfing on it. I think that's Tropical Punch, right?
• 4:04
  Speaker 3: I'm just going to agree with you on this one.
• 4:09
  Speaker 2: Listen, man, I love Halloween. We both love Halloween. Halloween
• 4:13
  Speaker 2: came way too fast this year. I don't know where
• 4:16
  Speaker 2: time has gone. Feels like we're going to be at
• 4:20
  Speaker 2: Thanksgiving before we know it.
• 4:23
  Speaker 3: Did you get to watch a lot of the movies
• 4:25
  Speaker 3: you were hoping to watch leading up to it?
• 4:27
  Speaker 2: Dude, I think this is the lowest month for watches
• 4:31
  Speaker 2: for me of the year.
• 4:34
  Speaker 3: Like this is adulting.
• 4:36
  Speaker 2: Yeah. I don't know what happened, man. Like, I feel like,
• 4:40
  Speaker 2: I feel like people like us who we watch horror
• 4:43
  Speaker 2: pretty much all year long. We don't really have like, uh,
• 4:48
  Speaker 2: like I'm a horror fan. Horror is my main genre,
• 4:51
  Speaker 2: but I, but I watch all kinds of movies. I
• 4:53
  Speaker 2: watch all kinds of genres. So I like by the
• 4:57
  Speaker 2: time October starts, I've already watched probably 180 plus horror
• 5:01
  Speaker 2: movies throughout the rest of the year. So I don't
• 5:03
  Speaker 2: really dedicate October to horror because I already dedicated the
• 5:06
  Speaker 2: previous nine months to it.
• 5:09
  Speaker 3: I feel like there's certain staples. I don't know about you,
• 5:13
  Speaker 3: but I always try to make sure that they somehow
• 5:16
  Speaker 3: end up in the rotation of, especially because they're more
• 5:18
  Speaker 3: geared towards Halloween specifically. Trick or Treat, Hack-O-Lantern, Jack-O, Halloween 3,
• 5:28
  Speaker 3: even the first two as well. Trying to knock those
• 5:32
  Speaker 3: ones out. Night of the Living Dead is, of course,
• 5:35
  Speaker 3: a staple. I know I was telling you about this.
• 5:38
  Speaker 3: I actually had a chance to see that in 16mm
• 5:41
  Speaker 3: a couple nights ago, so that was pretty special. I
• 5:46
  Speaker 3: actually had a chance to go catch the devil's 4k
• 5:49
  Speaker 3: restoration which i i know you said you had a
• 5:52
  Speaker 3: chance to see that as well right yeah man that's
• 5:54
  Speaker 3: a special.
• 5:56
  Speaker 2: The most like i don't care what anybody says i
• 5:58
  Speaker 2: think that's the most important piece of cinema to happen
• 6:02
  Speaker 2: this year oh yeah the fact that we got that
• 6:05
  Speaker 2: fully uncut for the first time in 55 years and
• 6:07
  Speaker 2: i can't wait to see what clockwork lines up for
• 6:11
  Speaker 2: a physical release of that and i'm really stoked i
• 6:14
  Speaker 2: need to and you know it's been extended now, I
• 6:17
  Speaker 2: think for two weeks, like it's running now. This is
• 6:19
  Speaker 2: the third week. It's still playing in my local theater
• 6:22
  Speaker 2: and you know, it's, it's going to do gangbusters on disc.
• 6:25
  Speaker 2: So they're going to give it a treatment, whether it's
• 6:27
  Speaker 2: through clockwork or it goes to like a criterion or
• 6:30
  Speaker 2: a label. I'm really excited to see what that does.
• 6:33
  Speaker 3: That's a day one purchase.
• 6:35
  Speaker 2: That's a, that's a day. That's a minute. One minute,
• 6:39
  Speaker 2: one pre-order.
• 6:41
  Speaker 3: And listen, I just want to say that I've also
• 6:44
  Speaker 3: got evil dead too. that I'm going to see, if
• 6:48
  Speaker 3: you guys are listening to this, it's Halloween now at
• 6:51
  Speaker 3: this point, but I'm going to see Evil Dead 2
• 6:54
  Speaker 3: on 35mm. Very exciting. I'm riding too high.
• 7:01
  Speaker 2: Yeah, dude. I wish there's nothing happening like that around me.
• 7:05
  Speaker 2: I think the most exciting thing that's been announced around
• 7:07
  Speaker 2: me is that the Philadelphia Film Society is doing a
• 7:10
  Speaker 2: 35mm run of Werewolf. Ooh. With modern movies, it's shot
• 7:16
  Speaker 2: on 35. I don't really want to put out the
• 7:19
  Speaker 2: extra money to see it in 35. If they say, hey,
• 7:23
  Speaker 2: we're going to do a 35mm of an older movie,
• 7:26
  Speaker 2: I'm down. But new movies, I.
• 7:31
  Speaker 3: Don't really... Well, they're actually playing it on 35mm over
• 7:38
  Speaker 3: at Redford Theatre. So if you guys are local in
• 7:41
  Speaker 3: the Metro Detroit area... It's actually the same theater where
• 7:44
  Speaker 3: the original Evil Dead premiered all those years ago. So
• 7:47
  Speaker 3: I got a chance to see that last year and
• 7:49
  Speaker 3: then Evil Dead 2 this year.
• 7:51
  Speaker 2: You also got a chance to meet Sam Raimi at Scarefest.
• 7:53
  Speaker 3: I did. And he was incredible. Very humble, very kind.
• 7:59
  Speaker 3: I know I was telling you guys about that. Probably
• 8:02
  Speaker 3: one of the best interactions I've had with a convention guest.
• 8:07
  Speaker 3: He was awesome. I had a chance to talk to
• 8:10
  Speaker 3: him about Michigan State. uh, growing up in the Royal
• 8:14
  Speaker 3: Oak area. Um, I mean, even screenings at Redford theater
• 8:20
  Speaker 3: because that's, you know, obviously it was a staple for
• 8:23
  Speaker 3: him growing up as well. So, uh, very, very cool experience.
• 8:27
  Speaker 2: That's awesome, man. You went to, you were at Scarefest
• 8:30
  Speaker 2: or yeah, Scarefest, right?
• 8:31
  Speaker 1: It's called. Yeah.
• 8:32
  Speaker 2: Yep. Uh, you were there for three days all in all.
• 8:36
  Speaker 2: I know you met a ton of people. You met
• 8:38
  Speaker 2: friends of the podcast.
• 8:40
  Speaker 3: Oh, yeah.
• 8:41
  Speaker 2: You did a lot in those three days. Just give
• 8:43
  Speaker 2: a summary of how the whole weekend was.
• 8:46
  Speaker 3: It was jam-packed. It feels like when you first get
• 8:51
  Speaker 3: there that you have all this time to be able
• 8:53
  Speaker 3: to connect with, whether it's guests or friends of yours
• 8:57
  Speaker 3: that are going to be there. I had a chance to...
• 9:00
  Speaker 3: I know you and I were talking about it. I
• 9:02
  Speaker 3: had a chance to see our friend Piz... his brother Jeremy,
• 9:07
  Speaker 3: Christian from Planet CHH, Nick from the Lost River Drive-In,
• 9:11
  Speaker 3: amongst others. So that part I felt like was really special.
• 9:17
  Speaker 3: And then, of course, like the roster that Scarefest has
• 9:20
  Speaker 3: every year, like for me, nothing comes close. It's what
• 9:24
  Speaker 3: I look forward to every year, and I've really enjoyed going. But, yeah,
• 9:28
  Speaker 3: I mean, Sam Raimi was definitely the highlight, you know,
• 9:32
  Speaker 3: and even– The Evil Dead and Evil Dead 2 cast
• 9:36
  Speaker 3: really showed out. You had the Halloween 2 cast that
• 9:39
  Speaker 3: was there as well. And one that I really wanted
• 9:42
  Speaker 3: to plug, because I feel like this is definitely relevant,
• 9:46
  Speaker 3: is Dean Cundy was actually there. I had a chance
• 9:50
  Speaker 3: to meet him.
• 9:51
  Speaker 2: Yeah. Guy has probably one of the best beards I've
• 9:56
  Speaker 2: ever seen in my life.
• 9:58
  Speaker 3: It checks out.
• 9:58
  Speaker 2: I've been watching a ton.
• 10:00
  Speaker 3: Confirm.
• 10:01
  Speaker 2: I was just watching a couple of the documentaries on
• 10:05
  Speaker 2: the Screen Factory release that he's in. The guy has
• 10:08
  Speaker 2: one of the most perfect beards I've ever seen in
• 10:12
  Speaker 2: my life. I don't get it. I don't know how
• 10:15
  Speaker 2: he does it.
• 10:17
  Speaker 3: I mean... When you're responsible for all those films, I
• 10:23
  Speaker 3: feel like it just enhances the strength of that beard.
• 10:26
  Speaker 3: It has to be.
• 10:28
  Speaker 2: Every piece of his filmography, it just got better and
• 10:30
  Speaker 2: better as he got older.
• 10:32
  Speaker 3: He hasn't even reached his final form yet.
• 10:35
  Speaker 2: Oh, my gosh. Well, we covered not one, but two
• 10:40
  Speaker 2: commentary tracks for this. Oh, yeah. I have to admit,
• 10:43
  Speaker 2: I was telling you before we recorded that I was
• 10:44
  Speaker 2: a little hesitant about doing Halloween on here because... It's
• 10:48
  Speaker 2: probably one of the most discussed horror films of all time.
• 10:52
  Speaker 2: And so many podcasts and platforms have done such extensive
• 10:59
  Speaker 2: discussion on the film. And at first I was like,
• 11:03
  Speaker 2: I don't know if we should, like maybe we should
• 11:05
  Speaker 2: do a Halloween sequel, but you know, I listen to
• 11:10
  Speaker 2: commentary tracks all year round, whether it's for this or
• 11:12
  Speaker 2: for other things, just for fun. And I had never
• 11:15
  Speaker 2: listened to either of these. So I thought I'll give
• 11:17
  Speaker 2: me a chance to listen to it. but also I
• 11:21
  Speaker 2: think we gathered a lot from these that I've only
• 11:26
  Speaker 2: heard very briefly in, in prior discussions or things that
• 11:29
  Speaker 2: I've never heard at all that were interesting. So going
• 11:33
  Speaker 2: into this, I actually feel much better about covering this
• 11:36
  Speaker 2: movie than I thought. And I don't want people to
• 11:39
  Speaker 2: think I only want to cover movies on here that
• 11:43
  Speaker 2: nobody else has ever talked about before because it's this
• 11:46
  Speaker 2: is a podcast whose first episode did the spider labyrinth
• 11:49
  Speaker 2: and who the hell knows the spider labyrinth besides the
• 11:53
  Speaker 2: couple thousand people that listened to that episode. Now we,
• 11:56
  Speaker 2: nobody knew about it before we did it. It was
• 11:57
  Speaker 2: very rare. I'm going to give ourselves all the credit there. Uh,
• 12:01
  Speaker 2: people knew about it. Um, so yeah, I, I, I just,
• 12:06
  Speaker 2: I got to a point where I was like, who cares, man?
• 12:08
  Speaker 2: I want to put our stamp on the history of
• 12:11
  Speaker 2: Halloween discussion and, And now we're here doing it and
• 12:14
  Speaker 2: looking over our notes from this, man, and going through
• 12:16
  Speaker 2: the experience of the commentary tracks. I'm very happy that
• 12:20
  Speaker 2: we did.
• 12:21
  Speaker 3: Absolutely. And especially for a film that I feel like
• 12:24
  Speaker 3: pioneered the slasher genre. But also I feel like for,
• 12:30
  Speaker 3: and I don't know about for you, at least I
• 12:31
  Speaker 3: can speak on my own behalf, is that, I mean,
• 12:33
  Speaker 3: this was just so crucial for my love of horror
• 12:38
  Speaker 3: so early on. This is a gateway film up there
• 12:42
  Speaker 3: for me with You know, Alien and Jaws, you know,
• 12:47
  Speaker 3: it's a yearly staple when it comes to, you know,
• 12:51
  Speaker 3: celebrating one of my favorite holidays. And, you know, it's
• 12:55
  Speaker 3: just I think that there's like a certain affinity that
• 12:57
  Speaker 3: I have for this. And so to be able to
• 12:59
  Speaker 3: look at it from this lens, I just think is,
• 13:01
  Speaker 3: you know, gives us a glimpse into the behind the
• 13:05
  Speaker 3: scenes aspect of it.
• 13:07
  Speaker 2: Yeah, and before we get into what we learned in
• 13:10
  Speaker 2: these commentary tracks, I watched this movie. So I just
• 13:13
  Speaker 2: got off of, like, my wife and I took, like,
• 13:16
  Speaker 2: a six-day, like, staycation. And that's when I really dove
• 13:19
  Speaker 2: into the research for this. And the past six days,
• 13:23
  Speaker 2: I've kind of been, like, neck deep in research for Halloween.
• 13:27
  Speaker 2: And then I've also been neck deep in a deep,
• 13:30
  Speaker 2: deep love for a Broadway show my wife and I
• 13:33
  Speaker 2: went and saw. We went and saw Rocky Horror.
• 13:35
  Speaker 3: Oh, what's that?
• 13:37
  Speaker 2: On Broadway, it was incredible. Just absolutely one of the
• 13:42
  Speaker 2: most phenomenal. I've never seen a show on Broadway, neither
• 13:45
  Speaker 2: has my wife. She got us tickets. It was at
• 13:48
  Speaker 2: Studio 54. This is the first Broadway run of Rocky
• 13:51
  Speaker 2: Horror in like 26 years. So it was stunning. Boy
• 13:57
  Speaker 2: Radio made his debut as Frankenfurter. Incredible.
• 14:01
  Speaker 3: Now, was this just a specific date or are they
• 14:05
  Speaker 3: on tour?
• 14:06
  Speaker 2: No, it's only at Studio 54 on Broadway.
• 14:09
  Speaker 3: That's it.
• 14:09
  Speaker 2: They just extended it through February.
• 14:12
  Speaker 3: Oh my gosh.
• 14:14
  Speaker 2: We saw it on Saturday. This is a movie that
• 14:19
  Speaker 2: my wife has always loved Rocky Horror. My wife was
• 14:21
  Speaker 2: the one that actually showed me the movie. The Tim
• 14:23
  Speaker 2: Curry vehicle. She showed me Rocky Horror Picture Show. I
• 14:27
  Speaker 2: really enjoyed it. The chance to see it on Broadway
• 14:33
  Speaker 2: in its most traditional form with you know, such a
• 14:38
  Speaker 2: wonderful cast and crew who put this together. It was
• 14:41
  Speaker 2: stunning what was achieved in the show. And to be
• 14:44
  Speaker 2: able to be a part of, like, the history of
• 14:46
  Speaker 2: Rocky Horror, it's one of the longest-running theatrical films of
• 14:49
  Speaker 2: all time. But, you know, it was this revival of
• 14:54
  Speaker 2: it after 26 years to get a chance to be
• 14:57
  Speaker 2: there and be a part of it. And we got,
• 14:59
  Speaker 2: you know, we got a poster and some playbills and stuff,
• 15:02
  Speaker 2: you know, to keep. So it was it was incredible.
• 15:06
  Speaker 2: And I had watched Halloween. So I was I did
• 15:10
  Speaker 2: some some reorganizing in the movie room and I threw
• 15:13
  Speaker 2: it on. It was on like a plex. So I
• 15:15
  Speaker 2: threw it on and then I threw on the. So, OK,
• 15:21
  Speaker 2: the next day I watched the extended TV version. Oh, yeah.
• 15:25
  Speaker 3: Yep.
• 15:26
  Speaker 2: Was the one kind of in. prepped for Halloween 2
• 15:29
  Speaker 2: with the you know Loomis court scene and the sister
• 15:33
  Speaker 2: moment in Michael's destroyed room and various other inserts I
• 15:37
  Speaker 2: think it's like 10 minutes of additional footage.
• 15:40
  Speaker 3: Do you like the additional content before we get further
• 15:44
  Speaker 3: into this.
• 15:46
  Speaker 2: You know I didn't mind it I definitely like I'm
• 15:49
  Speaker 2: not the biggest fan of the Laurie being Michael's sister
• 15:56
  Speaker 2: plot And, uh, you know, like I don't mind the
• 16:01
  Speaker 2: Loomis scene of him being in front of, uh, not,
• 16:05
  Speaker 2: it's not court, but in front of the higher ups,
• 16:09
  Speaker 2: the panel. Yeah. I didn't mind that. I also don't
• 16:12
  Speaker 2: mind a moment when he goes into Mike's room and
• 16:14
  Speaker 2: tells him like, you didn't fool me. Like you have,
• 16:15
  Speaker 2: you might've fooled them, but you haven't fooled me. Um,
• 16:20
  Speaker 2: you know, when he goes to, uh, Michael's room and
• 16:23
  Speaker 2: it's destroyed and sisters written on the wall, I was like, okay,
• 16:26
  Speaker 2: that's a little, you know, not for me. Uh, it
• 16:30
  Speaker 2: wasn't really into that.
• 16:32
  Speaker 3: Yeah.
• 16:32
  Speaker 2: Tell them, but you know, uh, and then I watched, um,
• 16:37
  Speaker 2: that I throw on the, the screen factory 4k has
• 16:41
  Speaker 2: the TV censored cut in like the four ADP format, which.
• 16:46
  Speaker 3: Was cool to watch.
• 16:46
  Speaker 2: So I watched that. And then I obviously watched the 4k, which, uh,
• 16:50
  Speaker 2: the 4k on, on this release is stunning because it
• 16:52
  Speaker 2: has the new color timing. Um, I, I tell you what, man,
• 16:57
  Speaker 2: You know me, I'm not a 4K guy. I'll watch
• 17:00
  Speaker 2: DVD all day. The shot of Laurie in the classroom
• 17:06
  Speaker 2: when she looks outside and sees Michael outside the classroom,
• 17:08
  Speaker 2: that initial, there's like a panning shot where she's kind
• 17:14
  Speaker 2: of looking down at her work and the camera's panning
• 17:16
  Speaker 2: in and she looks up and I never noticed that
• 17:18
  Speaker 2: there's a light frame there where she's lit by the
• 17:21
  Speaker 2: light coming in and the rest of her is pretty dark.
• 17:25
  Speaker 2: And I paused and I'm like, this is Like, probably
• 17:28
  Speaker 2: one of the greatest 4K restorations I've ever seen in
• 17:31
  Speaker 2: my life. I was blown away.
• 17:33
  Speaker 3: I was going to ask you, because I feel like,
• 17:35
  Speaker 3: you know, when people describe, like, a reference disc, you know,
• 17:40
  Speaker 3: for 4K quality, do you feel like this one is
• 17:42
  Speaker 3: up there? Because I always find myself coming back to, like,
• 17:45
  Speaker 3: Suspiria for sure. But when I was going back and
• 17:49
  Speaker 3: watching this, I don't think this one's far off, if
• 17:53
  Speaker 3: I'm being honest.
• 17:55
  Speaker 2: I think Suspiria is a showcase. You're talking about the
• 17:57
  Speaker 2: Synapse Suspiria, right?
• 17:59
  Speaker 3: Yeah.
• 18:00
  Speaker 2: I think that's a showcase. That is like your, let me,
• 18:03
  Speaker 2: I'm going to show off the capabilities of 4K restoration.
• 18:08
  Speaker 2: Halloween has such a natural look to it. It adds,
• 18:13
  Speaker 2: the new color timing is great. The contrast and the
• 18:18
  Speaker 2: shadows and the blacks are super punchy. So it really,
• 18:22
  Speaker 2: really like, sends home the use of the shadows and
• 18:26
  Speaker 2: the darkness and obviously what makes michael the shape yeah
• 18:32
  Speaker 2: and it just has such a natural look to it
• 18:34
  Speaker 2: side by side with the blu-ray the original color timing
• 18:36
  Speaker 2: blu-ray looks like two different movies it's it's remarkable man.
• 18:41
  Speaker 3: Yeah there's a there's a very short scene where annie
• 18:46
  Speaker 3: and laurie are it's the shot is is basically taken
• 18:50
  Speaker 3: from the back seat but it's like when the sun's
• 18:53
  Speaker 3: beginning to set and it just, we're like, basically, I mean,
• 18:58
  Speaker 3: these are the last mere moments that we're getting before
• 19:00
  Speaker 3: the sun goes down. And basically, you know, I mean,
• 19:04
  Speaker 3: for most of you listening out there, we already know
• 19:08
  Speaker 3: how everything else plays out, but it's, it's like that
• 19:10
  Speaker 3: last moment of this very innocent interaction that the two
• 19:13
  Speaker 3: of them have together. It looks absolutely stunning. I would
• 19:17
  Speaker 3: love to compare it to the Blu-ray to see, you know,
• 19:19
  Speaker 3: how big of a difference, uh, makes, but, uh, that was,
• 19:22
  Speaker 3: that was definitely a standout for sure. Yeah.
• 19:24
  Speaker 2: Well, since we're getting into it, let's talk about the
• 19:28
  Speaker 2: commentaries that we watched here. So both of us own
• 19:31
  Speaker 2: the Scream Factory 4k, the collector's edition. Um, the first commentary,
• 19:38
  Speaker 2: the one that I listened to was with John Carpenter
• 19:41
  Speaker 2: and Jamie Lee Curtis. This was recorded in 2013. And
• 19:44
  Speaker 2: the commentary that you listened to had Dean Cundy, Nick Castle,
• 19:49
  Speaker 2: and Tommy Lee Wallace. That was recorded in 2014. So
• 19:52
  Speaker 2: very close to one another. There are a lot of
• 19:55
  Speaker 2: commentary tracks over the years, the many, many, many physical
• 19:59
  Speaker 2: releases of this movie. These are just the two that
• 20:01
  Speaker 2: are most accessible to us, but most accessible to other
• 20:04
  Speaker 2: people who have these releases. I do want to say
• 20:09
  Speaker 2: that as I was going through and organizing our notes, um,
• 20:13
  Speaker 2: there definitely will be some, it seems like some lapses
• 20:17
  Speaker 2: in memory between, you know, certain scenes that Dean Cundy
• 20:22
  Speaker 2: talks about and John Carpenter talks about. This movie was
• 20:24
  Speaker 2: made in 1978, shot the end of 77 into the
• 20:28
  Speaker 2: beginning of 78. Um, I'm sure that they have forgotten
• 20:32
  Speaker 2: some details. So if there is anything that kind of
• 20:36
  Speaker 2: counter what he calls the other, we're just taking what's
• 20:39
  Speaker 2: in the, in, in the commentaries. So please take that
• 20:42
  Speaker 2: with a grain of salt. Also comparing anything that's in
• 20:46
  Speaker 2: these notes, obviously 2013, 2014 to anything that was said
• 20:49
  Speaker 2: previously by any of them, please also take with a
• 20:52
  Speaker 2: grain of sand because of our grain of salt because of,
• 20:55
  Speaker 2: you know, the memory and recollection and all that. I
• 20:58
  Speaker 2: know we don't normally give this heads up with many
• 21:01
  Speaker 2: of our commentary ones, but with a movie that's so
• 21:03
  Speaker 2: discussed and so public and all of these figures have
• 21:06
  Speaker 2: done so many interviews and books and, and material about this.
• 21:10
  Speaker 2: I'm sure there are things that are in these commentary
• 21:13
  Speaker 2: tracks that are different than what they said in a
• 21:16
  Speaker 2: previous piece before.
• 21:20
  Speaker 3: Totally.
• 21:22
  Speaker 2: Ready to get into this?
• 21:23
  Speaker 3: Oh, yeah.
• 21:24
  Speaker 2: All right, man. Why don't you talk about the iconic
• 21:27
  Speaker 2: pumpkin intro?
• 21:29
  Speaker 3: So.
• 21:31
  Speaker 3: The guys break down that this pumpkin intro that we,
• 21:35
  Speaker 3: we get, it's very iconic and it's obviously a recurring, uh,
• 21:38
  Speaker 3: trope that's used in the sequels. Uh, but this was
• 21:42
  Speaker 3: actually filmed in a garage and Debra Hill was in
• 21:45
  Speaker 3: charge of that specific shoot. Um, and I thought it
• 21:51
  Speaker 3: was like pretty cool. Cause you know, given that, I mean,
• 21:55
  Speaker 3: you and I have both seen this countless times. I
• 21:57
  Speaker 3: figure that, um, there's probably a little bit more to
• 22:01
  Speaker 3: this but nope pretty straightforward so it was interesting to
• 22:05
  Speaker 3: get that little tidbit and uh we get the the
• 22:10
  Speaker 3: opening steadicam sequence at the very beginning of the film
• 22:15
  Speaker 3: uh when we get the flashback uh to a younger
• 22:18
  Speaker 3: michael myers the beginning is is to give more of
• 22:21
  Speaker 3: this floating sensation and at the time what i thought
• 22:24
  Speaker 3: was fascinating is it was actually considered the longest steadicam
• 22:27
  Speaker 3: shot at that time so yeah um what did you
• 22:31
  Speaker 3: think about like the way that this is set up?
• 22:34
  Speaker 3: I mean, did you feel like that this, this whole
• 22:37
  Speaker 3: sequence worked for you?
• 22:40
  Speaker 2: So I'm, I'm just going to say this upfront that way.
• 22:43
  Speaker 2: If I repeat myself later, you'll absolutely understand. I think
• 22:47
  Speaker 2: this movie is shot perfectly. There is not a single
• 22:54
  Speaker 2: choice in the direction of, in the cinematography and the
• 23:00
  Speaker 2: movement of the camera that I feel is wrong, or
• 23:02
  Speaker 2: I can be combative about in any way. I think
• 23:06
  Speaker 2: every choice for this movie is perfect. And especially the
• 23:10
  Speaker 2: establishing of this sort of floating style that we get
• 23:14
  Speaker 2: throughout the whole movie, because we, they, they use the
• 23:18
  Speaker 2: panic glide for everything pretty much in this movie, almost.
• 23:22
  Speaker 2: And they hold shots so well. And this is something
• 23:28
  Speaker 2: that John Carpenter and Jamie Lee Curtis bring up a
• 23:31
  Speaker 2: lot in this commentary track because Carpenter is giving good
• 23:39
  Speaker 2: technical bits throughout and Jamie Lee is more so like
• 23:41
  Speaker 2: pointing out what's happening in the movie and John's kind
• 23:44
  Speaker 2: of reacting to them. And in their commentary track, he
• 23:49
  Speaker 2: talks about how this is actually comprised of, he doesn't
• 23:53
  Speaker 2: remember for sure, but about four or five cuts. And
• 23:56
  Speaker 2: there's actually, it's like a fun game that they play
• 23:58
  Speaker 2: where they try to find the cuts. And there's some
• 24:01
  Speaker 2: obvious ones where, like when Michael puts on the mask,
• 24:05
  Speaker 2: you can clearly tell that there's a cut hidden in there.
• 24:08
  Speaker 2: There's another one where we kind of whip past a bush.
• 24:10
  Speaker 2: Anytime it gets like really dark for a brief moment
• 24:13
  Speaker 2: when they're passing by something dark, I usually think there's
• 24:15
  Speaker 2: a cut hidden in there. But it's a fun game
• 24:18
  Speaker 2: that they play. between each other to try to figure
• 24:21
  Speaker 2: out where the cuts are because carpenter doesn't remember and
• 24:23
  Speaker 2: jamie lee thinks she can find she that she can
• 24:28
  Speaker 2: um and i know we have some similar notes here
• 24:30
  Speaker 2: because of um dean cundy's but he he carpenter speaks
• 24:36
  Speaker 2: a little bit about just basically some of the trouble
• 24:39
  Speaker 2: with the panavision lenses on the panaglide And it's focus problems,
• 24:43
  Speaker 2: especially when Michael's hand grabs the knife from the drawer,
• 24:47
  Speaker 2: which fun tidbit. That's actually Deborah Hill's hand grabbing the
• 24:51
  Speaker 2: knife from the drawer, but it does get really soft.
• 24:54
  Speaker 2: And one thing that's funny here is Jamie Lee Curtis
• 24:56
  Speaker 2: mentions her time on set during this and how she
• 25:01
  Speaker 2: said it was like a, like a choreographed dance because
• 25:04
  Speaker 2: you have crew members that are lighting the scene as
• 25:08
  Speaker 2: the camera is going. So there's sort of ducking out
• 25:10
  Speaker 2: of frame and, putting a light here, having the duck
• 25:13
  Speaker 2: out of frame to, to, to not pop into it. And,
• 25:17
  Speaker 2: you know, they said it was, it was a, it
• 25:19
  Speaker 2: was a ton of fun to put together. It was
• 25:23
  Speaker 2: stressful hearing the two of them honestly just reflect on
• 25:26
  Speaker 2: this night. And like, they talk about how they had
• 25:30
  Speaker 2: to kind of like whitewash the house.
• 25:33
  Speaker 1: Oh yeah.
• 25:34
  Speaker 3: Yep.
• 25:34
  Speaker 2: You know, they had to paint the whole house and
• 25:36
  Speaker 2: dress the whole house because when we see it, in
• 25:39
  Speaker 2: the present time in 1978, that's what the house actually
• 25:43
  Speaker 2: looked like. And they had to dress it up for
• 25:45
  Speaker 2: these scenes to make the house look like it's being
• 25:48
  Speaker 2: lived in.
• 25:48
  Speaker 3: Yeah.
• 25:50
  Speaker 2: So it's a lot of fun, man. This is really
• 25:52
  Speaker 2: kind of like the heart and soul of, of this
• 25:54
  Speaker 2: commentary track. And I really, really adore it.
• 25:58
  Speaker 3: Yeah. I was going to say, I mean, you know,
• 26:01
  Speaker 3: going back to, you know, what you were alluding to
• 26:04
  Speaker 3: with Dean Cundy, you know, mentioned that specific moment where,
• 26:09
  Speaker 3: We see the camera going up the stairs. He said
• 26:12
  Speaker 3: it was really tough to be able to shoot that
• 26:14
  Speaker 3: sequence given that the stairway was so narrow. And actually
• 26:20
  Speaker 3: that whole stylized shot in the very beginning actually took
• 26:23
  Speaker 3: an entire day to film. But you could definitely tell
• 26:26
  Speaker 3: that the devil's in the details with how they filmed
• 26:29
  Speaker 3: that because it's so effective. I mean, we're getting, what
• 26:34
  Speaker 3: would you consider? I mean, it's a very early example
• 26:37
  Speaker 3: of like the POV perspective of the killer that we
• 26:40
  Speaker 3: would then get, you know, in countless other horror films.
• 26:45
  Speaker 2: Yeah. And I think it was, if I remember correctly, I,
• 26:49
  Speaker 2: is it, I think it's Argento's Tenebrae that did one
• 26:56
  Speaker 2: of the first ever like crane shots, the sequence in
• 27:03
  Speaker 2: the house when the camera comes out, it's in front
• 27:05
  Speaker 2: of the window and it goes over the roof.
• 27:07
  Speaker 3: Yep.
• 27:08
  Speaker 2: It cranes over the roof into the window on the
• 27:09
  Speaker 2: other side of the house to follow the other roommate.
• 27:13
  Speaker 2: And it's just really fun to listen to these commentaries
• 27:16
  Speaker 2: where this technology that we're so used to now or
• 27:20
  Speaker 2: could actually technically be outdated in the filmmaking community was
• 27:22
  Speaker 2: still new and being used. And filmmakers were learning how
• 27:28
  Speaker 2: to use it for storytelling sakes. And at this point,
• 27:32
  Speaker 2: you know, Halloween was, it's a low budget film. They
• 27:35
  Speaker 2: went to Mustafa Akkad for $ 300, 000 to get this film made.
• 27:40
  Speaker 2: And the fact that they were able to put the
• 27:42
  Speaker 2: camera on a pantoglide and just move the camera around
• 27:46
  Speaker 2: was barely a stylistic choice and more a choice of
• 27:50
  Speaker 2: efficiency and coverage and able to move quickly and get
• 27:54
  Speaker 2: stuff done. And I guess what they weren't expecting was
• 27:57
  Speaker 2: for it to really become a a stylistic choice that
• 28:03
  Speaker 2: the film is now known for. It's just awesome to
• 28:07
  Speaker 2: hear them like reflect on this.
• 28:10
  Speaker 3: Oh yeah. Yeah. I mean, you, you can, if there's,
• 28:16
  Speaker 3: there's one aspect about this film that I feel like
• 28:18
  Speaker 3: has aged really well, it's a lot of the cinematography and,
• 28:21
  Speaker 3: you know, props to Dean Cundy for, you know, capturing
• 28:26
  Speaker 3: this so efficiently, you know?
• 28:28
  Speaker 1: Yeah.
• 28:28
  Speaker 2: Yeah. Well, speaking of the cutting to put this whole
• 28:32
  Speaker 2: opening scene together, I was back and forth on if
• 28:37
  Speaker 2: this was appropriate to put in here, but I figured
• 28:40
  Speaker 2: it said so. John jokes about that they had done
• 28:44
  Speaker 2: multiple takes of the mask being put over the camera.
• 28:49
  Speaker 2: And I think he was joking. I don't know. I
• 28:52
  Speaker 2: can never tell what John Carpenter, what's a joke or not.
• 28:56
  Speaker 2: But he talks about how this specific cut was used
• 28:59
  Speaker 2: because it had a better view of Judith's breast. And
• 29:03
  Speaker 2: that's what he said. So, you know, that's yeah.
• 29:07
  Speaker 3: I respect that.
• 29:09
  Speaker 2: Look, credit where credit's due. He does. He does, you know,
• 29:12
  Speaker 2: say that Sandy Johnson was an absolute trooper for willing
• 29:17
  Speaker 2: to do the very brief nudity and willing to do
• 29:19
  Speaker 2: the multiple takes. And they chose the best take. I
• 29:24
  Speaker 2: respect the hustle. I respect the transparency. I don't think
• 29:27
  Speaker 2: John Carpenter really cares to put that out there. It's
• 29:31
  Speaker 2: also not set in bad taste. He's being honest. Hey,
• 29:33
  Speaker 2: there were multiple takes. We picked the one that looked
• 29:35
  Speaker 2: the best.
• 29:37
  Speaker 3: No, and I mean, she's, you know, she comes from
• 29:40
  Speaker 3: the Playboy background. So, you know, she's definitely, even though
• 29:46
  Speaker 3: it's used in a very small portion of the film,
• 29:48
  Speaker 3: she's definitely in her element for sure.
• 29:50
  Speaker 2: Yeah. Oh, yeah, of course. Well, this is, I have some,
• 29:53
  Speaker 2: I have a question for you because this is where
• 29:56
  Speaker 2: we get into, this is actually kind of the one
• 29:59
  Speaker 2: the one thing between the two commentaries. They talk about
• 30:04
  Speaker 2: the dolly zoom on the pumpkin in the John Carpenter commentary.
• 30:11
  Speaker 2: But they also mention that the dialogue scene between Loomis
• 30:15
  Speaker 2: and Marion were also shot in the same garage. But
• 30:20
  Speaker 2: then Cundy, on your commentary, mentions how it was filmed
• 30:23
  Speaker 2: in the Hollywood Reservoir.
• 30:26
  Speaker 3: Yeah. Cause I, I was going back and forth, you know,
• 30:29
  Speaker 3: cause obviously we've only listened to, you know, each of
• 30:32
  Speaker 3: these tracks, uh, respectively. And maybe there's some variation as
• 30:37
  Speaker 3: far as, you know, recalling when this was filmed. Um,
• 30:42
  Speaker 3: I do know, however, that any of the rain that
• 30:45
  Speaker 3: was used in that specific sequence was fake. Yeah. And, uh,
• 30:49
  Speaker 3: I love, cause you, you mentioned this earlier, how Deborah
• 30:53
  Speaker 3: Hill's hand was used for, uh, young Michael reaching for
• 30:57
  Speaker 3: the knife, correct?
• 30:58
  Speaker 1: Yeah.
• 30:59
  Speaker 3: Yeah. Okay. And I think it's funny that Tommy Lee Wallace, uh,
• 31:04
  Speaker 3: you know, obviously he's got a lot of ties, you know,
• 31:06
  Speaker 3: within the Halloween franchise, uh, specifically Halloween three. And he's
• 31:12
  Speaker 3: the hand that goes after, uh, uh, oh my gosh.
• 31:19
  Speaker 2: Uh, nurse Marion.
• 31:21
  Speaker 3: Yes. Thank you. Uh, and so he's the hand that, that, uh,
• 31:25
  Speaker 3: goes and tries to like grab at her.
• 31:27
  Speaker 1: Yeah.
• 31:28
  Speaker 3: They mentioned that a wrench was actually hidden in hand
• 31:31
  Speaker 3: to break the car window, uh, because someone's hand just
• 31:35
  Speaker 3: on its own would not, it wouldn't be enough force
• 31:37
  Speaker 3: to be able to break the window for that scene.
• 31:39
  Speaker 3: So I thought that that part of it was really interesting.
• 31:43
  Speaker 2: That is still, first of all, I, I always laugh at, at,
• 31:47
  Speaker 2: at nurse Marion throwing out the one cigarette and immediately
• 31:49
  Speaker 2: lighting another. I always find that so funny. And Loomis
• 31:53
  Speaker 2: just watching her, looking like he's going to have a conniption.
• 32:00
  Speaker 2: But I do love, I'm a huge fan of Halloween 2018,
• 32:03
  Speaker 2: the David Gordon Green film. And I love the consistency
• 32:09
  Speaker 2: between these two films with the moment when they pull
• 32:13
  Speaker 2: up and all of the patients are loose. And in
• 32:18
  Speaker 2: obviously this one, the patients are out about just in
• 32:20
  Speaker 2: the rain. And then I love after the bus crash
• 32:22
  Speaker 2: in Halloween, 2018, it's like the foggy road and they
• 32:25
  Speaker 2: pull up and the patients are just kind of wandering.
• 32:27
  Speaker 2: I find something so scary about that. And nobody ever
• 32:30
  Speaker 2: talks about that as a scary moment of this movie,
• 32:34
  Speaker 2: but over the last couple of times I've watched it,
• 32:36
  Speaker 2: it's probably become one of the moments that freaked me
• 32:38
  Speaker 2: out the most.
• 32:39
  Speaker 3: No, it's, it's definitely really eerie. And I, I feel
• 32:41
  Speaker 3: like for each one, like the, the scene where we get, uh,
• 32:45
  Speaker 3: the shape that's attacking nurse Marion, um, um that is
• 32:50
  Speaker 3: i mean that's scary on its own but i agree
• 32:55
  Speaker 3: with you the the uh sequence like the the different
• 32:59
  Speaker 3: take on on that uh in the 2018 is very
• 33:04
  Speaker 3: eerie in its.
• 33:05
  Speaker 2: Own way it is it's like the fog and it's
• 33:08
  Speaker 2: there's something to just what can be seen in headlights
• 33:12
  Speaker 2: that always freaks me out because like i'm driving home
• 33:14
  Speaker 2: at night and all that's really in view or what's
• 33:18
  Speaker 2: in the direction of your headlights. And it is scary
• 33:20
  Speaker 2: to think of being limited to view as to what's
• 33:23
  Speaker 2: in that, that space.
• 33:26
  Speaker 3: Yeah. Brightest.
• 33:27
  Speaker 2: And that's really freaky. I also love that Marianne goes,
• 33:31
  Speaker 2: since when did they let them roam around? This is
• 33:34
  Speaker 2: when they let them out in Rome. It's like, never.
• 33:38
  Speaker 2: That's wrong.
• 33:39
  Speaker 3: They're free range prisoners.
• 33:40
  Speaker 2: Yeah. It's, it's a better for their mental health.
• 33:43
  Speaker 3: Yeah.
• 33:45
  Speaker 2: But yeah, I just thought it was funny. Carpenter mentioned
• 33:47
  Speaker 2: that it was shot in the, in the same garage
• 33:49
  Speaker 2: and they use, you know, a rain machine, whatever that means.
• 33:53
  Speaker 2: And then kind of remembers it different either way. It, it,
• 33:57
  Speaker 2: I love how I prefer shooting. I seen like this
• 34:03
  Speaker 2: in a car way more than I prefer like modern
• 34:06
  Speaker 2: movies that just put like the CG background in the car.
• 34:11
  Speaker 3: It doesn't have the same effect.
• 34:12
  Speaker 2: It doesn't. It doesn't, man. It doesn't.
• 34:15
  Speaker 3: Well, and, you know, I mean, obviously both of us
• 34:18
  Speaker 3: huge fans of John Carpenter's films. But there's just there's
• 34:22
  Speaker 3: a certain way that he goes about filming them. These
• 34:25
  Speaker 3: sequences that take place in a car. I just watched
• 34:27
  Speaker 3: Christine last week. And that's another great example of how
• 34:32
  Speaker 3: the way that he films it is just it's. very
• 34:37
  Speaker 3: uneasy yet. It's, these are intimate conversations and it's just
• 34:42
  Speaker 3: very stylized that way. I feel like when we see
• 34:44
  Speaker 3: more modern films, it's just not, I don't feel like
• 34:49
  Speaker 3: it has that same, uh, effective quality to it.
• 34:54
  Speaker 2: Yeah. And I don't need all of this, like the
• 34:57
  Speaker 2: background information. I don't need the car to look like
• 35:00
  Speaker 2: it's driving down a road. I don't need to see, uh,
• 35:04
  Speaker 2: streetlights passing, uh, Just give me some rain and some
• 35:08
  Speaker 2: darkness and I'm not going to question it. I'm good.
• 35:11
  Speaker 3: Exactly.
• 35:11
  Speaker 2: You know, um, now I want you to talk about
• 35:15
  Speaker 2: this next note because I've mentioned before on a different
• 35:18
  Speaker 2: episode that I actually, my wife and I live next
• 35:23
  Speaker 2: to Haddonfield, New Jersey, which is where Deborah Hill is from,
• 35:26
  Speaker 2: which is the town that inspired the look of Haddonfield, Illinois.
• 35:35
  Speaker 3: It's funny because the guys talk about how there's been
• 35:39
  Speaker 3: a number of other cities that claim that this is
• 35:44
  Speaker 3: the area that it's based on. I believe some of
• 35:47
  Speaker 3: which are in Illinois. But yeah, this is technically pulling
• 35:54
  Speaker 3: from the city that's closest to you. And these shots,
• 35:59
  Speaker 3: any of the shots that we get in Haddonfield within
• 36:02
  Speaker 3: the film... were actually shot in South Pasadena. So obviously
• 36:09
  Speaker 3: they had a very limited budget. There was not a
• 36:13
  Speaker 3: lot of money that was utilized to be able to
• 36:17
  Speaker 3: really enhance the fall aesthetics. So the bags of leaves
• 36:21
  Speaker 3: that they had were actually used to capture the fall setting,
• 36:25
  Speaker 3: so they would have to reuse them for multiple scenes,
• 36:28
  Speaker 3: which I thought was fucking hilarious.
• 36:32
  Speaker 2: Yeah, they were like painted. I think. And then it's like,
• 36:35
  Speaker 2: everybody knows like the moment when, when Jamie's waiting to
• 36:38
  Speaker 2: get picked up by Annie and she's sitting on the
• 36:42
  Speaker 2: corner of her property and it shows people trick or
• 36:44
  Speaker 2: treating and there's not a single leaf anywhere, but only
• 36:47
  Speaker 2: when we see Laurie, is there tons of leaves blowing
• 36:50
  Speaker 2: around her?
• 36:50
  Speaker 3: And, and yet for some reason, despite all this, I mean,
• 36:54
  Speaker 3: even if I didn't know this, it still works. It's
• 36:57
  Speaker 3: like enough to, to, uh, like for us as a
• 37:01
  Speaker 3: viewer to find this believable, uh, Yeah. That it could
• 37:04
  Speaker 3: still be fall. And the Coupe de Ville that was
• 37:10
  Speaker 3: in the Strode driveway was actually John Carpenter's personal car,
• 37:15
  Speaker 3: which I thought was really cool. And what I wanted
• 37:18
  Speaker 3: to ask you about was the guys mentioned that there
• 37:22
  Speaker 3: was an inflation of violence from Halloween, the original, to
• 37:27
  Speaker 3: Halloween 2. If you had to put your finger on it,
• 37:32
  Speaker 3: what exactly... trigger this response?
• 37:36
  Speaker 2: I actually think, if I remember correctly, I think it
• 37:38
  Speaker 2: was John Carpenter that's responsible for that because Carpenter went
• 37:43
  Speaker 2: in and actually filmed the violent inserts in Halloween 2
• 37:49
  Speaker 2: because he believed that audiences needed more violence. They demanded
• 37:55
  Speaker 2: more violence and he thought it would help, which is
• 37:57
  Speaker 2: ironic because he wrote the Halloween 2 script drunk so
• 38:00
  Speaker 2: he didn't really care too much about that, but then
• 38:04
  Speaker 2: he went in and added these more violent inserts. And
• 38:07
  Speaker 2: I actually think... I'm coming around to it, but I
• 38:10
  Speaker 2: vocally haven't been the biggest fan of Halloween 2.
• 38:13
  Speaker 3: Oh, no way. Okay.
• 38:15
  Speaker 2: Yeah, I just... I think if I watch it detached
• 38:20
  Speaker 2: from the first Halloween, I like it more than if
• 38:23
  Speaker 2: I watch it back-to-back. Dean Conti did a great job
• 38:27
  Speaker 2: at recapturing the... the style of the movie. I think
• 38:35
  Speaker 2: it's a really poor idea to basically incapacitate Laurie for
• 38:39
  Speaker 2: most of the movie and have her drugged. I think
• 38:41
  Speaker 2: that's a bit of a, like a cop out to,
• 38:44
  Speaker 2: to create, you know, this scenario. I also think the
• 38:47
  Speaker 2: more violent, the more violence kind of, I don't know,
• 38:53
  Speaker 2: detracts from it, even though I enjoy it, but it
• 38:56
  Speaker 2: just doesn't like, it feels so like loosely, it's like
• 39:01
  Speaker 2: a stepbrother. instead of a brother, which is ironic because,
• 39:05
  Speaker 2: and brother, I don't mean, you know, brother of Laurie Strode,
• 39:09
  Speaker 2: Michael Myers, which is the big plot point that Halloween
• 39:12
  Speaker 2: 2 brings up, which is not good.
• 39:15
  Speaker 3: Well, I was going to say also, you know, within
• 39:18
  Speaker 3: this time, we get the first Friday the 13th, and
• 39:21
  Speaker 3: I'd always wondered if that was in part like response
• 39:24
  Speaker 3: to the violence that we get in that. You know,
• 39:27
  Speaker 3: obviously that's... tom savini master class and he definitely doesn't
• 39:32
  Speaker 3: skimp on the gore so um i always kind of
• 39:36
  Speaker 3: felt like that that was you know in part due
• 39:39
  Speaker 3: to things trending in that direction within yeah horror films
• 39:43
  Speaker 3: but um yeah it's uh They were under the impression
• 39:49
  Speaker 3: that this would just be a one-done film and not
• 39:52
  Speaker 3: realize that there was going to be all these sequels
• 39:53
  Speaker 3: that would follow after the first.
• 39:56
  Speaker 2: I mean, look, I kind of wish we lived in
• 39:58
  Speaker 2: a world where they went the anthology direction. Same. Even
• 40:03
  Speaker 2: though I don't want to live in that world, I
• 40:05
  Speaker 2: kind of wish I would love to see kind of
• 40:06
  Speaker 2: what that variant looks like. What if we don't have
• 40:11
  Speaker 2: all these sequels? Michael Myers driven Halloween films. We just
• 40:14
  Speaker 2: had a bunch of anthologies. One of them being Tommy
• 40:16
  Speaker 2: Lee Wallace's season of the witch, which is my favorite
• 40:19
  Speaker 2: Halloween film in the entire franchise. So, you know, uh,
• 40:24
  Speaker 2: I'm sure the audiences are tearing me down as we speak,
• 40:28
  Speaker 2: you know, man, there's.
• 40:30
  Speaker 3: There's, uh, Halloween three is not a film that you
• 40:34
  Speaker 3: have to apologize for.
• 40:36
  Speaker 2: No, thank you.
• 40:37
  Speaker 3: I feel like, uh, you're in a safe space here.
• 40:42
  Speaker 2: I do want to mention a brief piece that Jamie
• 40:45
  Speaker 2: Lee mentions, specifically during the conversation between Loomis and Dr.
• 40:50
  Speaker 2: Wynn outside of the hospital. The sequence is done in
• 40:53
  Speaker 2: one take from when they walk out in their conversation.
• 40:55
  Speaker 2: It's one take that backs all the way up to
• 40:58
  Speaker 2: when Loomis gets in the car and he makes a
• 41:01
  Speaker 2: suggestion that somebody taught Michael Myers how to drive. And
• 41:05
  Speaker 2: she points out specifically how the visual language of the
• 41:09
  Speaker 2: film through these single takes is And she brings this
• 41:13
  Speaker 2: up multiple times, especially when her, Annie, and Linda are walking.
• 41:18
  Speaker 2: This is something that she constantly brings up. But it's
• 41:21
  Speaker 2: just somebody who is so visual when it comes to film. Like,
• 41:26
  Speaker 2: I pay extra attention. I'm a photographer. I come from
• 41:29
  Speaker 2: a visual background. You know, it's moments like this. She
• 41:34
  Speaker 2: makes a comment again when Michael is following Tommy outside
• 41:37
  Speaker 2: of school after his pumpkin is smashed. And Michael... you know,
• 41:43
  Speaker 2: stops the kid and then watches and then gets in
• 41:46
  Speaker 2: the car and kind of follows him around the corner.
• 41:50
  Speaker 2: And she talks about how, you know, modern day horror
• 41:53
  Speaker 2: movies would never do this. Like they would cut three, four, five,
• 41:56
  Speaker 2: six times to keep some sort of pace going. And,
• 42:01
  Speaker 2: you know, her and Carpenter have a brief moment where
• 42:03
  Speaker 2: they discuss that, you know, with these low budgets, like
• 42:05
  Speaker 2: you have to be efficient. And yep. 1978, you're shooting
• 42:10
  Speaker 2: on film. You couldn't do many takes, especially if you
• 42:13
  Speaker 2: were shooting on a lower budget. You just didn't have
• 42:15
  Speaker 2: the money to waste film. And the best way to
• 42:19
  Speaker 2: do it was to get as much coverage as you
• 42:21
  Speaker 2: can as quickly as possible. And it's something that I
• 42:25
  Speaker 2: still wish modern-day filmmakers would remember, that we don't need
• 42:30
  Speaker 2: to be constantly chopping up all the action. You can
• 42:35
  Speaker 2: tell a story through a single take. And have it
• 42:39
  Speaker 2: be very effective. And I don't know why we.
• 42:43
  Speaker 2: This still isn't a language used as much today in film.
• 42:48
  Speaker 3: I would also have to add, too, that just because
• 42:51
  Speaker 3: a horror film... Or just films in general have a
• 42:54
  Speaker 3: large budget doesn't necessarily mean it's going to translate to
• 42:56
  Speaker 3: a quality film. Oh, yeah.
• 42:58
  Speaker 2: No way. No.
• 42:59
  Speaker 3: You know?
• 43:00
  Speaker 2: Absolutely not. But I think... And, you know, this is 2013. So,
• 43:04
  Speaker 2: you know, still... a long time ago, 13 years ago,
• 43:10
  Speaker 2: this was recorded. And there's a lot of conversation going
• 43:13
  Speaker 2: on now about certain editing choices being done in films
• 43:17
  Speaker 2: to appeal to much more of like a TikTok generation
• 43:20
  Speaker 2: pace where you constantly have to keep people interested by
• 43:23
  Speaker 2: changing up the framing and by editing at a frantic rate.
• 43:27
  Speaker 2: And I think that like that stuff is just such
• 43:29
  Speaker 2: a disservice, I think, to the people watching the film,
• 43:33
  Speaker 2: but also to filmmakers. Like you don't have to You know,
• 43:39
  Speaker 2: you don't have to visually compromise to, you know, try
• 43:44
  Speaker 2: to attach a certain audience to it or to have
• 43:47
  Speaker 2: them maintain a certain level of attention, especially in a
• 43:51
  Speaker 2: movie theater where there shouldn't be any cell phones anyway.
• 43:54
  Speaker 1: No.
• 43:55
  Speaker 2: So I hate that we're doing this. And, you know,
• 43:57
  Speaker 2: when you watch Halloween and you watch how just calm
• 44:01
  Speaker 2: the camera is and how deliberate all the movements are
• 44:04
  Speaker 2: and how much time we spend on moments that aren't
• 44:08
  Speaker 2: beats there's nothing happening that is advancing anything it's just
• 44:13
  Speaker 2: part of what makes the movie so memorable.
• 44:19
  Speaker 3: It's funny you say that that you know with filmmaking
• 44:23
  Speaker 3: style you know choices that's leaning more into like the
• 44:27
  Speaker 3: TikTok side of things a very short attention span it's
• 44:30
  Speaker 3: like as you were saying that I'm over here thinking
• 44:33
  Speaker 3: like give me a good fellas or casino length film
• 44:37
  Speaker 3: any day of the week I would gladly take that
• 44:39
  Speaker 3: over something that's just very erratic and fast-paced. It's like,
• 44:46
  Speaker 3: I don't need that. These opportunities, we get to go
• 44:48
  Speaker 3: see films, and obviously Halloween is an experience in itself,
• 44:55
  Speaker 3: but give me that any day of the week where
• 44:58
  Speaker 3: I can just let it gradually build, even if it's
• 45:01
  Speaker 3: a longer film.
• 45:02
  Speaker 2: And there's also a big difference between editing to.
• 45:07
  Speaker 2: Fit your story and to fit your style versus editing
• 45:10
  Speaker 2: to appeal to an audience. You, we, we as audience, we,
• 45:15
  Speaker 2: we know the difference. We know when you're trying to
• 45:20
  Speaker 2: cater and we know when you're doing something to fit,
• 45:24
  Speaker 2: you know, your story. There are movies that are frantic
• 45:26
  Speaker 2: that are edited Frank or frantically. These words are really
• 45:30
  Speaker 2: tough to put together. We, there are movies where the
• 45:34
  Speaker 2: editing pace is frantic, but, it's still done in a
• 45:37
  Speaker 2: way that that doesn't allow you to lose track of
• 45:40
  Speaker 2: what's happening to lose the action or it's just, you know,
• 45:45
  Speaker 2: it matches the music and it works. And then there's
• 45:48
  Speaker 2: times when it's almost like two people, our age that
• 45:52
  Speaker 2: are used to that are not tick tock generation where
• 45:56
  Speaker 2: it's more just kind of like, it's, it's too much.
• 45:59
  Speaker 2: It's like, there's no reason for us to be doing
• 46:01
  Speaker 2: this right now. Why did we just cut five, six times?
• 46:04
  Speaker 2: What are we doing?
• 46:08
  Speaker 3: You mentioned this very briefly, but one thing I did
• 46:12
  Speaker 3: want to point out, and I'm sure most people can
• 46:16
  Speaker 3: have at least an appreciation for the theme itself, but
• 46:20
  Speaker 3: the score that Carpenter does for this film, it transcends
• 46:26
  Speaker 3: this film through and through. I feel like John Carpenter
• 46:33
  Speaker 3: has always, for any of his films, has done just
• 46:35
  Speaker 3: an outstanding job adding a whole new layer to it.
• 46:40
  Speaker 3: And I feel like this is, you know, it's one
• 46:42
  Speaker 3: that's iconic for a reason, you know?
• 46:45
  Speaker 2: Yeah, his work with Alan Howarth is legendary. And when
• 46:50
  Speaker 2: you hear him talk about when he was approached by
• 46:55
  Speaker 2: Erwin Yablums to do this film, part of the reason
• 47:00
  Speaker 2: to keep the budget so low was that he was
• 47:01
  Speaker 2: able to compose the music for it. He's like, Hey,
• 47:04
  Speaker 2: I can shoot this in X amount of days. I
• 47:06
  Speaker 2: can keep it under this and I can do the music.
• 47:08
  Speaker 2: So I don't have to hire somebody else to do it.
• 47:11
  Speaker 2: And that's really part of the charm. And what is
• 47:13
  Speaker 2: Halloween without the iconic theme, you know, and the music just,
• 47:18
  Speaker 2: whether it's Laurie's theme or it's the, you know, the iconic,
• 47:22
  Speaker 2: like the, like the stalking music or like the attack music,
• 47:27
  Speaker 2: It's a marriage that is so specifically important to this film.
• 47:35
  Speaker 2: I can't watch this movie and think of anything else
• 47:37
  Speaker 2: in its place. And I think, truthfully, the only alternate
• 47:43
  Speaker 2: way that I could watch this movie would be no
• 47:46
  Speaker 2: music at all. I couldn't put another music track over
• 47:52
  Speaker 2: the movie. I feel like it's either this score... or
• 47:55
  Speaker 2: it's nothing at all. Those are the only two ways
• 47:57
  Speaker 2: it would possibly work.
• 48:00
  Speaker 3: Yeah. I don't think I could picture it with anyone
• 48:02
  Speaker 3: else composing it, but this, I mean, you know, obviously
• 48:07
  Speaker 3: the theme, it's just, you know, that as soon as
• 48:10
  Speaker 3: you hear it and it's so synonymous with this film,
• 48:12
  Speaker 3: but I mean, it goes further than that. You know,
• 48:15
  Speaker 3: the rest of the songs on the soundtrack, it's, it's incredible,
• 48:20
  Speaker 3: you know, just, uh, really adds to the, the, the atmosphere, uh,
• 48:25
  Speaker 3: in this film.
• 48:26
  Speaker 2: Yeah. Yeah. Well, another piece that adds heavily to this
• 48:28
  Speaker 2: atmosphere is the mask of Michael Myers and the fact
• 48:32
  Speaker 2: that Halloween has very little blood. And I think you
• 48:35
  Speaker 2: have a note here from that commentary track you listened
• 48:38
  Speaker 2: to about the two of those.
• 48:40
  Speaker 3: Yeah. So there was a deliberate attempt to not show
• 48:44
  Speaker 3: Michael Myers mask or have any blood throughout the film.
• 48:48
  Speaker 3: So we get very select moments where there's, you know,
• 48:53
  Speaker 3: and we'll get, we'll touch on a little bit further into, uh,
• 48:57
  Speaker 3: our discussion, but yeah, I mean, it's, it's very selective, uh,
• 49:01
  Speaker 3: when they choose to incorporate blood and obviously that changes
• 49:04
  Speaker 3: up once we get to Halloween too. Um, and again,
• 49:10
  Speaker 3: this is just another masterclass in filming, but the sequence
• 49:15
  Speaker 3: that we get that interaction, uh, between Dr. Loomis and um,
• 49:22
  Speaker 3: the caretaker at the graveyard, uh, that whole sequence with
• 49:26
  Speaker 3: the missing headstone was all one shot with the steady cam.
• 49:30
  Speaker 2: Oh, it's, it's gorgeous. Yeah.
• 49:31
  Speaker 3: Incredible. And I always, I have to laugh. Uh, When
• 49:37
  Speaker 3: the caretaker, he's explaining what exactly had happened during that incident.
• 49:42
  Speaker 3: And Dr. Loomis wastes no time. He cuts him off.
• 49:45
  Speaker 3: He doesn't give a shit. That conversation abruptly ends so
• 49:49
  Speaker 3: fast because he wants answers.
• 49:52
  Speaker 2: Yeah.
• 49:53
  Speaker 3: Yeah.
• 49:54
  Speaker 2: There's a couple moments where the Steadicam, I think, really
• 49:56
  Speaker 2: shines that nobody really talks about. This is one of them.
• 49:59
  Speaker 2: This shot from the car all the way up to
• 50:01
  Speaker 2: the headstone. Also, when... Loomis is on his way to
• 50:07
  Speaker 2: Haddonfield and he stops off to make a phone call.
• 50:09
  Speaker 2: There's a great shot that it kind of establishes that
• 50:12
  Speaker 2: they're pretty much in the middle of nowhere. That's a
• 50:14
  Speaker 2: long take that is him in the phone, in the
• 50:18
  Speaker 2: phone booth. He ends the phone conversation and then he
• 50:20
  Speaker 2: begins to walk down the path to where the abandoned
• 50:23
  Speaker 2: truck is. And there's a long take and Carpenter mentioned
• 50:27
  Speaker 2: how like he was trying to kind of like drag
• 50:30
  Speaker 2: it out so that way the train would go by.
• 50:33
  Speaker 2: But then there's also another great, shot when Loomis gets
• 50:37
  Speaker 2: down to the truck and he's looking at the Michael's
• 50:41
  Speaker 2: outfit from the asylum and then he begins to walk
• 50:45
  Speaker 2: back up to his car and then the camera pans
• 50:47
  Speaker 2: over to reveal the body of the mechanic who was
• 50:49
  Speaker 2: driving the truck. There's so many great single takes in this. Dude,
• 50:56
  Speaker 2: it's awesome, man. It's one of those things where it's
• 50:59
  Speaker 2: like Carpenter's never really specific in this track about like
• 51:03
  Speaker 2: what was intentional, what wasn't, this could all just be
• 51:05
  Speaker 2: for sake of like, it was quicker and it was easier.
• 51:09
  Speaker 2: And now we just look at it as the, you know,
• 51:12
  Speaker 2: visual language of Halloween. Um, so it's hard to say like,
• 51:17
  Speaker 2: was this a choice or was this just how it
• 51:18
  Speaker 2: happened to turn out? But one thing that wasn't a
• 51:22
  Speaker 2: choice is actually making our final girl, Laurie Schroed, like a,
• 51:28
  Speaker 2: like a virgin or a virginal character. Um, Jamie Lee
• 51:33
  Speaker 2: asked him straight up, like, Hey, you know, you're pretty
• 51:36
  Speaker 2: much given all the credit for the final girl being,
• 51:41
  Speaker 2: you know, the good girl of the group, the Virgin, which,
• 51:43
  Speaker 2: you know, Jamie or not Jamie Laurie is, I'm, I'm
• 51:47
  Speaker 2: in a different Halloween movie. Laurie is, you know, the
• 51:52
  Speaker 2: good girl.
• 51:52
  Speaker 3: I know, right.
• 51:54
  Speaker 2: I'm jumping ahead. I'm thinking about Daniel Harris making that
• 51:56
  Speaker 2: goddamn documentary about herself. Um, um, And she asked, she's like,
• 52:05
  Speaker 2: I'm just going to ask you straight up, John. Like,
• 52:06
  Speaker 2: did you, was that intentional? And he's like, no. Which
• 52:12
  Speaker 2: is great. I love hearing him just be like, no,
• 52:15
  Speaker 2: that was not, that was not it. A couple other
• 52:20
  Speaker 2: things I want to bring up real quick, not about
• 52:22
  Speaker 2: the commentary, but about, but about, you know, some scenes here.
• 52:27
  Speaker 2: Annie and Laurie in the car. How did Annie's dad,
• 52:31
  Speaker 2: who's a sheriff, not smell the weed they were smoking
• 52:34
  Speaker 2: as they actively were smoking weed as they pulled up
• 52:37
  Speaker 2: to him in front of the hardware store?
• 52:39
  Speaker 3: I always wonder that.
• 52:41
  Speaker 2: He never brings it up. It's just never. And it's
• 52:43
  Speaker 2: her mom's car, which is crazy.
• 52:47
  Speaker 3: They're going to have to let that thing air out
• 52:49
  Speaker 3: for sure.
• 52:50
  Speaker 2: Yeah, yeah. This is also one of my favorite dialogue moments, too,
• 52:56
  Speaker 2: where she's going, huh? because the alarm is going off
• 53:00
  Speaker 2: and he speaks louder and then he's shouting because of
• 53:04
  Speaker 2: the alarm. And then she, and the alarm shuts off
• 53:06
  Speaker 2: and she goes and he shouts too. It's like such,
• 53:11
  Speaker 2: such perfectly written natural dialogue.
• 53:14
  Speaker 3: It's, it's very natural. It feels very organic. It's, it's
• 53:17
  Speaker 3: like that father daughter banter, um, that we get. And it, yeah,
• 53:23
  Speaker 3: it just, like you said, it feels very natural.
• 53:27
  Speaker 2: It does, and this is leading into a moment that
• 53:30
  Speaker 2: both you and I love, which one, I'm going to
• 53:33
  Speaker 2: steal one of your notes, which is my favorite thing
• 53:36
  Speaker 2: to look at in the background is Michael Myers in
• 53:39
  Speaker 2: the station wagon looking left and right before making the
• 53:42
  Speaker 2: turn past Brackett at the hardware store.
• 53:45
  Speaker 3: He's very considerate.
• 53:46
  Speaker 2: Very considerate driver. You don't want to get killed in
• 53:50
  Speaker 2: a car accident before you get to kill babysitters.
• 53:53
  Speaker 3: Do you think he has auto insurance?
• 53:56
  Speaker 2: I don't even think they do notice how to drive.
• 53:59
  Speaker 2: somebody taught him according to loomis somebody at the hospital
• 54:02
  Speaker 2: taught him um but they one thing that carpenter talks
• 54:07
  Speaker 2: about is how they they needed a moment to to
• 54:14
  Speaker 2: sort of transition the story from day to night because
• 54:19
  Speaker 2: all of this sequence of annie and laurie in the
• 54:21
  Speaker 2: car it's a daylight and they didn't just want to
• 54:24
  Speaker 2: like punch cut tonight they wanted a transition So they
• 54:28
  Speaker 2: had shot some additional stuff in the car at like
• 54:34
  Speaker 2: the golden hour, as golden hour as it gets of sunset.
• 54:38
  Speaker 2: And he decides to shoot it from the backseat. And
• 54:41
  Speaker 2: it is one of the most beautiful moments from this movie.
• 54:46
  Speaker 2: And I know you love this too.
• 54:48
  Speaker 3: I do. Um, there's, and there's it, this is a
• 54:52
  Speaker 3: great example of not only just the stylistic choices that were,
• 55:00
  Speaker 3: that were used for this film, but also, you know,
• 55:04
  Speaker 3: us discussing the 4k from screen factory. This, I feel
• 55:06
  Speaker 3: like that this is where it really excels. Um, but yeah, it,
• 55:10
  Speaker 3: it's just, it's just very natural conversation that Annie and, uh,
• 55:16
  Speaker 3: Lori are having with one another. And it's just the
• 55:19
  Speaker 3: way that the sun, you know, it's setting establishes the
• 55:23
  Speaker 3: time of day and just kind of like catches both
• 55:26
  Speaker 3: of them. as they're having this conversation, but beautiful shot.
• 55:32
  Speaker 2: Yeah, and I love there's a moment where the sunset
• 55:34
  Speaker 2: really punches the lens and throws a huge flare across it,
• 55:39
  Speaker 2: and it really darkens Annie and Laurie because of that
• 55:44
  Speaker 2: punch of the light. And it's gorgeous, man. And Carpenter
• 55:47
  Speaker 2: talks specifically about how nobody at the time in any movies,
• 55:51
  Speaker 2: which I'm sure they were, but not a lot of
• 55:53
  Speaker 2: people were shooting from the backseat. for moments like these.
• 55:56
  Speaker 2: And he did that specifically because of how that light
• 56:00
  Speaker 2: was coming in. And then another thing he talks about
• 56:03
  Speaker 2: that I didn't even notice was how when we cut
• 56:06
  Speaker 2: out of the car to the shot of them driving away,
• 56:09
  Speaker 2: they actually in post-production begin to fade out very slowly
• 56:13
  Speaker 2: that shot as if it's actively getting darker because then
• 56:17
  Speaker 2: we punch right away to Michael's POV in the car
• 56:22
  Speaker 2: following them. to the Wallace and the Doyle home. It's
• 56:28
  Speaker 2: just something I never noticed before. Yeah. This, this, this,
• 56:31
  Speaker 2: this screen factory 4k fucking rocks, man.
• 56:34
  Speaker 3: Yeah. This is definitely, I feel like out of all
• 56:38
  Speaker 3: the releases, definitely one of the high points. And what I,
• 56:42
  Speaker 3: you know, if there's one thing I really appreciate about
• 56:45
  Speaker 3: John Carpenter outside of, you know, just, I mean, I
• 56:50
  Speaker 3: feel like both of us could go on and on
• 56:51
  Speaker 3: about him, but, he definitely knows his film, right? He
• 56:55
  Speaker 3: has certain movies that were influential on him, and I
• 57:00
  Speaker 3: like that there's some subtle nods to films like Chinatown, Psycho.
• 57:07
  Speaker 3: I know that there was a couple other instances where
• 57:11
  Speaker 3: we get foreshadowing of certain events. We'll talk about that
• 57:16
  Speaker 3: a little bit later on. But again, incorporating certain films
• 57:20
  Speaker 3: into this or nods to the films that, you know,
• 57:22
  Speaker 3: he obviously has an affinity for. Yeah.
• 57:25
  Speaker 2: And John Carpenter is a great storyteller. Have you heard
• 57:27
  Speaker 2: the story about his first lunch with Donald Pleasance?
• 57:32
  Speaker 3: No, I thought you were going to talk about his
• 57:34
  Speaker 3: disdain for Rob Zombie.
• 57:36
  Speaker 2: Oh, no, no, no, not that. Should have. I forgot. Yeah. No,
• 57:43
  Speaker 2: he talks about, and you know what's funny is I
• 57:45
  Speaker 2: wrote this note and I took it from exactly how
• 57:48
  Speaker 2: he says it in the commentary. And then I was
• 57:50
  Speaker 2: watching the Halloween Unmasked documentary that's on this release. And
• 57:54
  Speaker 2: then he tells a story different. And I was like, ah, shit,
• 57:57
  Speaker 2: how should I put this in here? And I just
• 57:59
  Speaker 2: kept it how I did. But during the scene at
• 58:03
  Speaker 2: the Myers house with Brackett and Loomis, Carpenter talks about
• 58:07
  Speaker 2: that first lunch. And he says that Donald Pleasance sat
• 58:10
  Speaker 2: down and said, I don't know what I'm doing here.
• 58:13
  Speaker 2: I don't understand my character. I don't understand the motivations.
• 58:17
  Speaker 2: The only reason I'm here is because my daughter is
• 58:19
  Speaker 2: in a rock and roll band in England, and she
• 58:21
  Speaker 2: loved the music that you did for Assault on Precinct 13.
• 58:27
  Speaker 3: I mean, and ironically enough, I mean, Daniel Pleasance, he's
• 58:34
  Speaker 3: like the heart and soul.
• 58:37
  Speaker 2: Dude, he, I, my favorite moment of Loomis of this
• 58:42
  Speaker 2: whole movie is is when he's watching over the Myers house,
• 58:46
  Speaker 2: and the kids go up, and he just does a
• 58:48
  Speaker 2: lot of.
• 58:48
  Speaker 3: Lonnie.
• 58:48
  Speaker 2: Dress away from there. Then he turns around and kind of, like,
• 58:51
  Speaker 2: you know, he gives a little giggle and a little smile,
• 58:54
  Speaker 2: like he's having fun.
• 58:55
  Speaker 3: It's very, like, childlike innocence that we catch. And he
• 59:00
  Speaker 3: has some moments in the sequels where... I remember, is
• 59:05
  Speaker 3: it in Halloween 4 that he's with that crazy guy
• 59:08
  Speaker 3: in the truck? Yeah. and he, they're like drinking together.
• 59:12
  Speaker 3: And he has like that same type of smirk or,
• 59:15
  Speaker 3: you know, he's, he, he progressively gets a little bit
• 59:19
  Speaker 3: crazier and crazier as the sequels go on. But in
• 59:23
  Speaker 3: that moment, I'm like, man, this is why I rock
• 59:25
  Speaker 3: with Dr. Loomis.
• 59:27
  Speaker 2: Is it Halloween season?
• 59:29
  Speaker 3: Is it five? I can't remember.
• 59:30
  Speaker 2: I can never remember if it's four or five. When
• 59:34
  Speaker 2: Loomis asked, he's like, who was the, who was the
• 59:36
  Speaker 2: guard watching him? And the guard goes, all that was Charlie.
• 59:40
  Speaker 2: And Loomis just goes, Charlie, Charlie, Charlie, Charlie. That guy's
• 59:47
  Speaker 2: all sauced up for sure. It's funny how much I've
• 59:56
  Speaker 2: how much Donald Pleasence I've seen in movies lately. There's
• 1:00:00
  Speaker 2: been a couple movies I've thrown on that I didn't
• 1:00:02
  Speaker 2: even know he was in that he popped up in.
• 1:00:04
  Speaker 3: It's crazy. He's like he kind of in a way
• 1:00:10
  Speaker 3: reminds me a little bit of John Saxon where it's like, yeah,
• 1:00:13
  Speaker 3: they just they just pop up in everything. Like the
• 1:00:16
  Speaker 3: more that you I mean, you know, horror like that.
• 1:00:19
  Speaker 2: Dude, I threw on, I watched Sergio Martino's American Rickshaw
• 1:00:23
  Speaker 2: for the other day and Donald Pleasance is in that.
• 1:00:25
  Speaker 2: And I was like, what the fuck is Donald Pleasance doing?
• 1:00:27
  Speaker 2: And he just shows up as like a priest. I
• 1:00:30
  Speaker 2: was like, the fuck is that?
• 1:00:31
  Speaker 1: What are we doing?
• 1:00:31
  Speaker 3: Or phenomena.
• 1:00:33
  Speaker 2: Well, phenomena is great. I mean, you know, phenomena or
• 1:00:38
  Speaker 2: like him in Prince of Darkness.
• 1:00:44
  Speaker 3: Oh, it's so good.
• 1:00:45
  Speaker 2: You know, but like when he shows up in like
• 1:00:46
  Speaker 2: American Rickshaw. You're like, what the hell? That's like the
• 1:00:49
  Speaker 2: John Saxon side of him. You know, it's like when
• 1:00:52
  Speaker 2: I threw on... I remember the first time I watched Cannibal...
• 1:00:56
  Speaker 2: What the hell is that movie called?
• 1:00:58
  Speaker 3: Apocalypse? Yeah.
• 1:01:00
  Speaker 2: And like John Saxon. I'm like, what the hell? John Saxon,
• 1:01:02
  Speaker 2: what are you doing here, dude?
• 1:01:06
  Speaker 3: His character's a little out there.
• 1:01:07
  Speaker 2: In that movie. He's everywhere, man. But Carpenter... he throws
• 1:01:14
  Speaker 2: a lot of references into his stuff, man. And I
• 1:01:16
  Speaker 2: think you noted, I know, I think you voted, uh,
• 1:01:19
  Speaker 2: noted a few of them, right? Yeah. Yeah.
• 1:01:21
  Speaker 3: Yeah. So, uh, like I mentioned, Chinatown for sure. Psycho. Uh,
• 1:01:26
  Speaker 3: there's a moment that we'll, we'll kind of harken back
• 1:01:29
  Speaker 3: to that and, uh, a little bit of foreshadowing a
• 1:01:32
  Speaker 3: little bit later on with, uh, uh, Lindsay Wallace watching
• 1:01:37
  Speaker 3: the thing from another world. And as we know, you know,
• 1:01:41
  Speaker 3: carpenter would go on to direct the, masterpiece.
• 1:01:44
  Speaker 2: Thing have you ever seen the thing from another world.
• 1:01:49
  Speaker 3: I did or i did sorry i got so excited
• 1:01:52
  Speaker 3: talking about it uh i did in a film study
• 1:01:56
  Speaker 3: class nice and it's it's you know it's i i
• 1:02:00
  Speaker 3: definitely appreciate it you know for what it is uh
• 1:02:05
  Speaker 3: i don't know if it holds quite the same candle
• 1:02:07
  Speaker 3: to carpenters the thing for myself my own taste but
• 1:02:11
  Speaker 3: i i appreciate I appreciate its significance.
• 1:02:18
  Speaker 2: It has one of the craziest fire stunts I've ever
• 1:02:20
  Speaker 2: seen in my life. In the sequence where they're just
• 1:02:22
  Speaker 2: throwing the fire at him. And the whole room is
• 1:02:27
  Speaker 2: becoming ablaze. It scares the hell out of me from
• 1:02:31
  Speaker 2: a sense of like, I hope everyone's okay. That looks
• 1:02:34
  Speaker 2: so dangerous. And it probably was incredibly dangerous at the time.
• 1:02:38
  Speaker 2: Who the hell knows? But to all you people out there, who,
• 1:02:44
  Speaker 2: if you're listening to this and you're like this, I
• 1:02:45
  Speaker 2: don't even know why you're listening anyway, but to all
• 1:02:47
  Speaker 2: you physical media naysayers, John Carpenter claims that this exact
• 1:02:55
  Speaker 2: scene was a copy of the thing from Another World
• 1:02:59
  Speaker 2: from his personal physical media collection, which I'm assuming has
• 1:03:05
  Speaker 2: to be a Betamax because I... According to research that
• 1:03:09
  Speaker 2: I did, the thing from Another World didn't end up
• 1:03:11
  Speaker 2: on physical media until the 80s.
• 1:03:14
  Speaker 3: That's a deep cut, man.
• 1:03:18
  Speaker 2: Carpenter claims that this was his personal copy that he
• 1:03:21
  Speaker 2: set up and played. He mentions the size of it.
• 1:03:25
  Speaker 2: He's like, yeah, it was a big old thing, so
• 1:03:27
  Speaker 2: I thought, oh, maybe it's a Laserdisc, but the Laserdisc
• 1:03:29
  Speaker 2: didn't come out until like 85 for the thing from
• 1:03:32
  Speaker 2: Another World. I'm not sure if he's remembering this well,
• 1:03:36
  Speaker 2: but John Carpenter's got a physical media collection, man. He
• 1:03:40
  Speaker 2: was collecting physical media before physical media was even physical media.
• 1:03:45
  Speaker 3: I think if there's one person out there, that's a
• 1:03:48
  Speaker 3: physical media collector, John Carpenter watches his movies for sure.
• 1:03:55
  Speaker 2: I think John Carpenter would only, he seems like the
• 1:03:57
  Speaker 2: kind of guy to only collect his movies on physical media.
• 1:04:03
  Speaker 3: And I can only imagine his, uh, his video game collection.
• 1:04:08
  Speaker 2: Oh, well he has video game collection. Yeah. It's gotta be,
• 1:04:12
  Speaker 2: it's gotta be stunning. It has to be.
• 1:04:14
  Speaker 3: He just wants to get paid on the Halloween sequels and.
• 1:04:18
  Speaker 2: Yeah.
• 1:04:18
  Speaker 3: Play video games all day.
• 1:04:20
  Speaker 2: Well, I have a question about you. I have a
• 1:04:22
  Speaker 2: question for you because I think, I think, I think
• 1:04:24
  Speaker 2: I know one of your favorite characters in this movie. Um,
• 1:04:28
  Speaker 2: and I, I think I, I'm pretty sure it's sheriff
• 1:04:30
  Speaker 2: brackets daughter and, um, Because you have a note here
• 1:04:35
  Speaker 2: that specifically says, and I'm going to read this quote-unquote,
• 1:04:39
  Speaker 2: holy hell, she is beautiful. That's not what it says.
• 1:04:43
  Speaker 2: That's not what it says.
• 1:04:45
  Speaker 3: That's very close.
• 1:04:46
  Speaker 2: You do have a note about Annie here.
• 1:04:51
  Speaker 3: You know what? Nancy Loomis, wherever you are, I was
• 1:04:56
  Speaker 3: talking about how nice of a shot this was with
• 1:04:59
  Speaker 3: you in it. In the kitchen?
• 1:05:00
  Speaker 2: Yes.
• 1:05:02
  Speaker 3: Yes. Yes. There's, so it's, it's not only that, I
• 1:05:07
  Speaker 3: believe this is also, is it when she's in the
• 1:05:13
  Speaker 3: laundry room as well?
• 1:05:14
  Speaker 2: Ah, see, I was going to say that your favorite
• 1:05:16
  Speaker 2: shot is when, is, is when the camera pans around
• 1:05:20
  Speaker 2: and she's stuck in the window.
• 1:05:27
  Speaker 3: We need a, we need a follow-up episode to clear
• 1:05:29
  Speaker 3: my name.
• 1:05:30
  Speaker 2: We, Well, listen, I'll go with you, man. All these
• 1:05:39
  Speaker 2: shots of her in the kitchen are beautifully.
• 1:05:41
  Speaker 3: Lit, man.
• 1:05:41
  Speaker 2: I love it.
• 1:05:43
  Speaker 3: Yes. I know that there's some moments that I was
• 1:05:46
  Speaker 3: calling back to with this note, talking about how the
• 1:05:53
  Speaker 3: use of light and shadows, whether it's with her or
• 1:05:57
  Speaker 3: the shape, in certain moments... it's, it's one of the
• 1:06:01
  Speaker 3: main standout moments for me when I, when I go
• 1:06:04
  Speaker 3: back to what I love about this film and just
• 1:06:07
  Speaker 3: how effective it is. And, you know, for, I mean,
• 1:06:12
  Speaker 3: the 4k just enhances us on so many levels to like,
• 1:06:16
  Speaker 3: make it more noticeable than it already was. Um, but
• 1:06:21
  Speaker 3: we get the, the, you know, short sequence where Annie's
• 1:06:25
  Speaker 3: on the phone, she's pacing back and forth and it's,
• 1:06:29
  Speaker 3: and it, we get the moment where she goes over, there's,
• 1:06:32
  Speaker 3: there's nothing there. And then as she, she comes back
• 1:06:34
  Speaker 3: on the phone, we see Michael Myers in the, in
• 1:06:39
  Speaker 3: far distance. And it is just, that's the essence of
• 1:06:46
  Speaker 3: that character.
• 1:06:48
  Speaker 2: Yeah.
• 1:06:48
  Speaker 3: That I feel like as we got some of the sequels,
• 1:06:52
  Speaker 3: it just became kind of lost. I felt like, you know, with,
• 1:06:56
  Speaker 3: with translating this character to film, And oh, my gosh,
• 1:07:01
  Speaker 3: it's just it just as quickly as we see him
• 1:07:04
  Speaker 3: in the background. He's gone.
• 1:07:06
  Speaker 2: I like to think that when he's watching her from
• 1:07:09
  Speaker 2: outside and the pot, the planter pot drops. I always
• 1:07:13
  Speaker 2: think of him just going like, fuck. It just drops
• 1:07:18
  Speaker 2: and he just quickly moves out of the way. But
• 1:07:21
  Speaker 2: I swear.
• 1:07:21
  Speaker 3: Listen, nobody's perfect.
• 1:07:23
  Speaker 2: Dude, I've seen this movie hundreds of times. I swear
• 1:07:26
  Speaker 2: every time I rewatch it, I find Michael somewhere else
• 1:07:28
  Speaker 2: I didn't notice him before. Every time.
• 1:07:31
  Speaker 3: It's incredible.
• 1:07:32
  Speaker 2: This time it was... Because quite literally in the laundry room,
• 1:07:35
  Speaker 2: once Annie's in the laundry room, he... I think pretty
• 1:07:39
  Speaker 2: much shows up in every possible background moment. Like every
• 1:07:43
  Speaker 2: window he shows up in, in some way there, there's
• 1:07:46
  Speaker 2: a moment last night. So creepy where he pops up,
• 1:07:48
  Speaker 2: where he's all the way in the back and he's
• 1:07:50
  Speaker 2: just standing back there. And I had never seen that before.
• 1:07:53
  Speaker 2: I thought it was just a one time when he's
• 1:07:55
  Speaker 2: like the front door of the laundry room. Um, and I,
• 1:08:00
  Speaker 2: I'm like, how have I seen this so many times?
• 1:08:01
  Speaker 2: I've never noticed him back there. It's perfect. Yeah.
• 1:08:05
  Speaker 3: Yeah, it's a very minimalist approach. Yeah. Very sparse where
• 1:08:11
  Speaker 3: he's showing up. It's almost like... I mean, they're not
• 1:08:16
  Speaker 3: specifically drawing your attention to it, but if you're paying
• 1:08:18
  Speaker 3: attention in the background, there's certain spaces where he's hiding. Yeah, but... Listen, for.
• 1:08:32
  Speaker 3: Your commentary i know that there's uh jamie lee curtis
• 1:08:35
  Speaker 3: made mention about um what her experience was like as
• 1:08:39
  Speaker 3: as a child actor and and maybe her auditions that
• 1:08:43
  Speaker 3: maybe did or didn't happen i don't know if you
• 1:08:45
  Speaker 3: want to expand on that well.
• 1:08:47
  Speaker 2: She mentions how like she doesn't have the most positive
• 1:08:51
  Speaker 2: views on on hollywood really leveraging child actors um you
• 1:08:56
  Speaker 2: know she does find that there's a little bit of
• 1:08:58
  Speaker 2: an exploitation there, almost like adults making money off of kids,
• 1:09:03
  Speaker 2: which I think is a little extreme of a view
• 1:09:07
  Speaker 2: on it. But then when you kind of understand that
• 1:09:12
  Speaker 2: she is the daughter of two actors, one of them
• 1:09:16
  Speaker 2: being Janet Leigh, um you know she had a very
• 1:09:23
  Speaker 2: uh like protected upbringing for somebody who would become a
• 1:09:29
  Speaker 2: young actor i mean she started acting when she was
• 1:09:31
  Speaker 2: 18 and this was very much you know guided by
• 1:09:34
  Speaker 2: her mom who wanted her to be an adult before
• 1:09:37
  Speaker 2: she got into acting and one thing she talks about
• 1:09:41
  Speaker 2: is how her mom actually received the phone call when
• 1:09:43
  Speaker 2: Jamie Lee was 12 years old and asking if she
• 1:09:45
  Speaker 2: would audition for the exorcist. And her mom told them, no, which,
• 1:09:51
  Speaker 2: you know, I, I don't want to be like, Oh, Hey,
• 1:09:54
  Speaker 2: Jamie Lee in the role instead of Linda Blair, because
• 1:09:57
  Speaker 2: who can imagine the exorcist without Linda Blair, but also the, we,
• 1:10:02
  Speaker 2: we would never know the effect that freaking had as
• 1:10:05
  Speaker 2: a very extreme thing. director on jamie lee and where
• 1:10:12
  Speaker 2: her career would have went had she taken that role
• 1:10:14
  Speaker 2: instead of linda blair it's interesting to to hear that
• 1:10:18
  Speaker 2: because you know jamie lee curtis is kind of like
• 1:10:22
  Speaker 2: one of the few real success stories of of kind
• 1:10:27
  Speaker 2: of like a bit of like a nepo baby having
• 1:10:31
  Speaker 2: you know parents who were very influential and and very
• 1:10:35
  Speaker 2: important to the genre and Hearing Jamie Lee, through her
• 1:10:39
  Speaker 2: interviews and through this commentary, talk about her kind of
• 1:10:43
  Speaker 2: ability to get in and out of horror and not
• 1:10:46
  Speaker 2: be stuck into these stereotype roles. She's really masterfully handled
• 1:10:54
  Speaker 2: her career in a way that's very commendable.
• 1:10:58
  Speaker 3: Definitely. I mean, she obviously got really big off the
• 1:11:02
  Speaker 3: Halloween films, but also had her mark on prom night
• 1:11:07
  Speaker 3: and terror train, and then, you know, doing everything all
• 1:11:10
  Speaker 3: the way up to, you know, true lies where, I mean,
• 1:11:13
  Speaker 3: I feel like she's a standout in that film.
• 1:11:16
  Speaker 2: Well, I got a little offended because she talks about
• 1:11:18
  Speaker 2: how Halloween was her best role until true lies. And
• 1:11:23
  Speaker 2: I was like, what.
• 1:11:23
  Speaker 3: About road games?
• 1:11:25
  Speaker 2: What about, we don't talk about road games around here.
• 1:11:28
  Speaker 2: We forgot about that.
• 1:11:28
  Speaker 3: It's probably going to be more in the conversation with
• 1:11:32
  Speaker 3: the 4k. Yeah, man, she got us all wrong.
• 1:11:34
  Speaker 2: She got it.
• 1:11:35
  Speaker 3: Yes.
• 1:11:35
  Speaker 2: Which I'm very excited about, but she has to talk
• 1:11:37
  Speaker 2: about it more.
• 1:11:38
  Speaker 3: Come on, man. Come on.
• 1:11:41
  Speaker 2: Um, but listen, like, like all good things, you know,
• 1:11:44
  Speaker 2: you had to say goodbye to Annie about 50 minutes
• 1:11:48
  Speaker 2: into the movie. I think you have a couple of
• 1:11:51
  Speaker 2: notes about this, which I want to say is one
• 1:11:56
  Speaker 2: of the smartest kill scenes. I think in horror movie history,
• 1:12:03
  Speaker 2: The fact that she goes to the car door, it's locked,
• 1:12:07
  Speaker 2: so she goes into the house, gets the keys, comes back,
• 1:12:10
  Speaker 2: and then opens the car door without the keys and
• 1:12:12
  Speaker 2: then gets in, realizes that she just got in without
• 1:12:15
  Speaker 2: the keys, and then touches the condensation on the thing.
• 1:12:20
  Speaker 2: I've never seen a character be so in tune with
• 1:12:25
  Speaker 2: how rapidly the situation has changed, but also was so
• 1:12:28
  Speaker 2: distracted that she didn't pick up on it until a
• 1:12:32
  Speaker 2: second sooner. I love it.
• 1:12:35
  Speaker 3: Yeah. I mean, and, you know, again, just touching on
• 1:12:39
  Speaker 3: this is that, you know, these select moments that we
• 1:12:43
  Speaker 3: get and, you know, during the kill scene that happens
• 1:12:49
  Speaker 3: with Annie, you know, I think the, the mere fact
• 1:12:55
  Speaker 3: that 50 minutes into the film, we haven't gotten a
• 1:12:58
  Speaker 3: kill other than, you know, him killing his sister in
• 1:13:01
  Speaker 3: the very beginning with Judith. And, and, it's like this
• 1:13:10
  Speaker 3: is a horror film that all the fat's been trimmed
• 1:13:13
  Speaker 3: on it. Those first 50 minutes, I don't know if
• 1:13:19
  Speaker 3: it's like this for you, but I watch this and
• 1:13:22
  Speaker 3: I'm invested in the characters and this town and the
• 1:13:29
  Speaker 3: details and just everything leading up to it that I
• 1:13:32
  Speaker 3: don't find myself like, you know, wondering like, when's that
• 1:13:37
  Speaker 3: first kill going to happen until it's too late.
• 1:13:41
  Speaker 2: Yeah. It's not, it's not a movie that I ever
• 1:13:44
  Speaker 2: found myself. Like there, there are some horror movies where I, I,
• 1:13:50
  Speaker 2: I like slasher films in particular where I find myself like, okay,
• 1:13:53
  Speaker 2: when is it coming? I never questioned that with Halloween.
• 1:13:58
  Speaker 2: I'm just so engrossed. No.
• 1:14:00
  Speaker 3: And, and you know, this is another film almost akin to,
• 1:14:05
  Speaker 3: the Texas Chainsaw Massacre, where I think a lot of times...
• 1:14:09
  Speaker 3: I remember even revisiting this when I was younger, after
• 1:14:12
  Speaker 3: seeing it at a very young age. And I go
• 1:14:16
  Speaker 3: back on rewatch, and you think that this film is
• 1:14:19
  Speaker 3: a lot gorier, or there's more blood in it than
• 1:14:22
  Speaker 3: there actually is. And we only, in this moment, we
• 1:14:26
  Speaker 3: only see a faint amount of blood on the knife
• 1:14:28
  Speaker 3: when he attacks Annie. And I just feel like overall...
• 1:14:33
  Speaker 3: This is like the perfect amount of not only buildup,
• 1:14:36
  Speaker 3: but suspense to make this kill so effective.
• 1:14:39
  Speaker 2: Also, the direction of my favorite detail, which is how
• 1:14:42
  Speaker 2: long we stay on Annie through the window as she dies.
• 1:14:47
  Speaker 3: It's the eye roll.
• 1:14:48
  Speaker 2: Did it. Oh, my God. It's really you don't need
• 1:14:53
  Speaker 2: as much as I love gore being sprayed all around
• 1:14:56
  Speaker 2: my movies. This is a case of this is proof
• 1:14:59
  Speaker 2: that you don't need it. If you can just direct
• 1:15:01
  Speaker 2: it well, you can sell it. And it's, you know,
• 1:15:06
  Speaker 2: really a testament to even the death of Bob. The
• 1:15:10
  Speaker 2: fact that they just put the knife on the wall
• 1:15:12
  Speaker 2: next to him, which is an old school, you know,
• 1:15:15
  Speaker 2: Halloween trick. Old school. Hey, I'm going to stab my friend.
• 1:15:18
  Speaker 2: I'll stab you at the side and you grab it
• 1:15:20
  Speaker 2: with your elbow. Make it look like I stabbed you.
• 1:15:23
  Speaker 2: It's all sold so well here, man. And so believable.
• 1:15:26
  Speaker 2: And yeah, more violent than than I remember it being.
• 1:15:31
  Speaker 2: as a kid, it's kind of like the same thing
• 1:15:33
  Speaker 2: with like, this whole movie is kind of like the,
• 1:15:36
  Speaker 2: the Franklin thing in Texas Chainsaw Massacre, where you think
• 1:15:38
  Speaker 2: you saw him getting gutted by the chainsaw and you
• 1:15:41
  Speaker 2: never see any, you see a little bit of blood
• 1:15:44
  Speaker 2: in the 4k, but, um, you know, you don't, you
• 1:15:47
  Speaker 2: don't see much at all. Yeah.
• 1:15:50
  Speaker 3: And, and I mean, I think that this is a
• 1:15:52
  Speaker 3: good time to touch on what was your overall impression
• 1:15:56
  Speaker 3: so far? I mean, we obviously listened to two very
• 1:15:59
  Speaker 3: different perspectives and, on like a retrospective of the film
• 1:16:04
  Speaker 3: with these commentaries. What did you think overall about yours?
• 1:16:08
  Speaker 2: I think it's great. I mean, it's a lot of,
• 1:16:10
  Speaker 2: it's a lot of, it's fun and you're, you're getting,
• 1:16:15
  Speaker 2: you know, like interesting tidbits about the movie as you're
• 1:16:18
  Speaker 2: going hearing Jamie Lee's excitement. And I did say to
• 1:16:22
  Speaker 2: my wife at one point that I actually felt that
• 1:16:24
  Speaker 2: Jamie Lee was a tad bit annoying in the commentary track.
• 1:16:29
  Speaker 2: because she spends the whole time basically saying like, Oh,
• 1:16:32
  Speaker 2: look how good this looks or like, look how you
• 1:16:35
  Speaker 2: do this. And it took my wife telling me like, Hey, look,
• 1:16:38
  Speaker 2: she's passionate for me to kind of reframe that in
• 1:16:41
  Speaker 2: my mind while watching it, because she's probably like 80%
• 1:16:44
  Speaker 2: of the commentary. And even John Carpenter messes with her
• 1:16:48
  Speaker 2: and says like, are you just going to spend the
• 1:16:49
  Speaker 2: whole time pointing what's happening in a movie out to,
• 1:16:53
  Speaker 2: to those listening? Like there is some fun back and
• 1:16:56
  Speaker 2: forth between them, but, I want to give credit to
• 1:17:01
  Speaker 2: whoever edited this commentary, whoever worked on the actual control
• 1:17:08
  Speaker 2: of volume between the commentary and the volume of the film,
• 1:17:14
  Speaker 2: because there are some really fun play and dialogue moments
• 1:17:18
  Speaker 2: that I love. And the one I want to point out,
• 1:17:20
  Speaker 2: I know we're beyond it, but I'm going to go
• 1:17:21
  Speaker 2: back is the speed kills moment. Hmm. as we're leading
• 1:17:28
  Speaker 2: up to that, when the car comes around the corner,
• 1:17:30
  Speaker 2: Jamie Lee Curtis begins saying how like, Oh my God,
• 1:17:34
  Speaker 2: this moment. And it's, she, her audio drops off and
• 1:17:38
  Speaker 2: the full volume from the movie returns when the girl goes, when, um,
• 1:17:42
  Speaker 2: Andy goes, Hey jerk or no. Uh, yeah, she goes,
• 1:17:45
  Speaker 2: Hey jerk speed kills. And then the audio drops back
• 1:17:49
  Speaker 2: to Jamie Lee Curtis. And she's like, Oh my God,
• 1:17:52
  Speaker 2: that's so scary. And then it kind of goes back.
• 1:17:55
  Speaker 2: Like they play, with the commentary track in the actual
• 1:18:00
  Speaker 2: movie in moments that they're specifically referencing dialogue. So Jamie
• 1:18:06
  Speaker 2: Lee Curtis will be like, oh, this line delivery, and
• 1:18:08
  Speaker 2: then the volume will return for that line delivery, and
• 1:18:10
  Speaker 2: then it'll go right back down to the audio commentary track.
• 1:18:13
  Speaker 3: There's one thing I forgot to note. It wasn't in
• 1:18:15
  Speaker 3: the commentary that they made mention of it. I always
• 1:18:20
  Speaker 3: crack up at the moment where I think Lori mentions
• 1:18:25
  Speaker 3: that she has to go back and grab one of
• 1:18:27
  Speaker 3: her school books.
• 1:18:28
  Speaker 2: I always forget my science book and my English book
• 1:18:33
  Speaker 2: and all my books.
• 1:18:35
  Speaker 3: And then you hear the volume toned down just slightly
• 1:18:38
  Speaker 3: as the attention shifts to Michael Myers driving by. And
• 1:18:46
  Speaker 3: you hear her continuing to rattle off all the books
• 1:18:48
  Speaker 3: that she like just doesn't give a shit about I
• 1:18:51
  Speaker 3: no matter how many times I watch that it's still
• 1:18:53
  Speaker 3: fucking funny.
• 1:18:55
  Speaker 2: I love the I love the uh when uh when
• 1:18:59
  Speaker 2: Annie's going or no when uh I think it's Linda
• 1:19:02
  Speaker 2: who's going uh yeah so that way she has a
• 1:19:04
  Speaker 2: place to and Laurie goes shit and Annie goes I
• 1:19:06
  Speaker 2: have a place for that.
• 1:19:08
  Speaker 3: Laughing It's like it's like and I don't know if
• 1:19:12
  Speaker 3: it's like carpenters, you know, I feel like you get
• 1:19:16
  Speaker 3: little moments that his style of humor shines. And some
• 1:19:22
  Speaker 3: of these are just like they're charming. It's just it's
• 1:19:25
  Speaker 3: it's just. his charm and his style of humor that
• 1:19:29
  Speaker 3: shines through.
• 1:19:30
  Speaker 2: I think a lot of that was actually Debra Hill
• 1:19:32
  Speaker 2: because Debra Hill was responsible for a lot of the
• 1:19:36
  Speaker 2: dialogue between our three female leads because she was a babysitter.
• 1:19:41
  Speaker 2: So she was able to really kind of go in
• 1:19:43
  Speaker 2: and refine this dialogue. Okay. And he talks about that
• 1:19:48
  Speaker 2: a lot in like the moment when, when Laurie goes,
• 1:19:52
  Speaker 2: the only time we see Laurie at her, at her
• 1:19:53
  Speaker 2: house is, when she goes upstairs and she sees Michael
• 1:19:56
  Speaker 2: out in the laundry and the sheets and the phone rings.
• 1:19:58
  Speaker 3: It's another great scene.
• 1:20:00
  Speaker 2: And nobody's there. She gets scared and then hangs up
• 1:20:02
  Speaker 2: and it rings again. And she picks up and it's Annie.
• 1:20:04
  Speaker 2: And Annie goes, why'd you hang up on me? Like what?
• 1:20:09
  Speaker 2: There's a lot of great dialogue here and it feels
• 1:20:12
  Speaker 2: so natural.
• 1:20:14
  Speaker 3: It does.
• 1:20:14
  Speaker 2: It feels very natural.
• 1:20:16
  Speaker 3: You know, one thing that I can, and I'm sure
• 1:20:18
  Speaker 3: you can as well appreciate is that, you know, you
• 1:20:21
  Speaker 3: go back and you, you, watch these horror films from
• 1:20:24
  Speaker 3: the 70s and 80s even the 90s and I don't
• 1:20:29
  Speaker 3: feel like that there's over exposition like unnecessary exposition just
• 1:20:35
  Speaker 3: force fed to us and you know with this I
• 1:20:37
  Speaker 3: mean we get enough you know context so you know
• 1:20:42
  Speaker 3: with what's going on and that's it and let the
• 1:20:45
  Speaker 3: audience figure out the rest.
• 1:20:47
  Speaker 2: Yeah I mean the context is there's somebody escaped that
• 1:20:53
  Speaker 2: somebody escaped whose doctor thinks he's capable of extreme harm.
• 1:20:58
  Speaker 2: And he chooses these characters as his victims. That's it.
• 1:21:03
  Speaker 2: It's that simple. Like that's the plot of Halloween. There
• 1:21:06
  Speaker 2: is no, it's not until you get to Halloween two,
• 1:21:09
  Speaker 2: does it really begin to get complicated? But this first
• 1:21:12
  Speaker 2: one is so simple and it's, it's perfect. It's, it's, it's,
• 1:21:17
  Speaker 2: I said that a couple of times already, man. It's just,
• 1:21:18
  Speaker 2: it's just perfect. But speaking of perfection, the whole sequence
• 1:21:23
  Speaker 2: after Annie's death leading up to Linda's death, where her
• 1:21:28
  Speaker 2: and Bob go to, um, the, uh, Wallace house for,
• 1:21:34
  Speaker 2: for some fun. You have a little collection of notes here.
• 1:21:37
  Speaker 2: You want to touch on some of this stuff that
• 1:21:38
  Speaker 2: you learned in, uh, in that commentary track?
• 1:21:41
  Speaker 3: Yeah. So, uh, so Dean Cundy was saying, you know,
• 1:21:47
  Speaker 3: just due to the, they had very limited time, right? So, um,
• 1:21:52
  Speaker 3: He just further hammers home that, you know, if you
• 1:21:56
  Speaker 3: film simple, like, it goes a long ways. Yeah. And
• 1:22:01
  Speaker 3: there's a lot of behind-the-scenes dialogue, and I didn't know this.
• 1:22:06
  Speaker 3: There's a lot of behind-the-scenes dialogue that they discussed about
• 1:22:10
  Speaker 3: how much of PJ Souls was going to be shown
• 1:22:13
  Speaker 3: during the bedroom sequence.
• 1:22:15
  Speaker 2: Mm-hmm.
• 1:22:16
  Speaker 3: Carpenter didn't want like obviously i mean it's it's a
• 1:22:19
  Speaker 3: rated r film so you know you have the flexibility
• 1:22:23
  Speaker 3: to uh you know show you know to to whatever
• 1:22:29
  Speaker 3: extent but he didn't want it to be to a
• 1:22:31
  Speaker 3: point where it became exploitative yeah and uh i thought
• 1:22:35
  Speaker 3: that that was that was interesting because you know as
• 1:22:38
  Speaker 3: slashers were continuing to come out past that point i
• 1:22:41
  Speaker 3: feel like the you know the bar became higher and
• 1:22:43
  Speaker 3: higher for how much nudity we would see in these And, um.
• 1:22:47
  Speaker 2: It's, it's, it's much more like, um, it, it feels in,
• 1:22:53
  Speaker 2: in Halloween, like much more, it sounds weird to say,
• 1:22:58
  Speaker 2: cause we're talking about nudity. The nudity feels much more, um, selective. It's,
• 1:23:04
  Speaker 2: it's not even selective. Cause it's not even, it's not even, um, like,
• 1:23:08
  Speaker 2: like it's not even exploited really. It's just naturally there.
• 1:23:12
  Speaker 2: It's not like in our face or thrown in our face,
• 1:23:14
  Speaker 2: like other movies, you know, it's like, the difference between
• 1:23:17
  Speaker 2: the nudity and this and nudity and Friday, the 13th film,
• 1:23:21
  Speaker 2: where it's like, we have a closeup on a, on,
• 1:23:23
  Speaker 2: on a chest as a shirt is being removed, you know,
• 1:23:26
  Speaker 2: in here it's like, it's there, but it's done very subtle.
• 1:23:32
  Speaker 2: And I really admire that. It's like the difference between
• 1:23:35
  Speaker 2: all the nudity and Halloween and the, the, the one
• 1:23:39
  Speaker 2: scene of nudity and Halloween too, feels like two totally
• 1:23:42
  Speaker 2: different approaches to shooting nudity. Halloween 2 feels like we
• 1:23:49
  Speaker 2: need excessive nudity. We have the ability to be excessive
• 1:23:52
  Speaker 2: and we're going to. Halloween feels like it's just here
• 1:23:55
  Speaker 2: because this is what's happening in the story.
• 1:23:59
  Speaker 3: Yeah, it feels very natural. It doesn't feel forced for
• 1:24:02
  Speaker 3: the sake of pushing the R rating. The one thing
• 1:24:11
  Speaker 3: I did want to point out is... You know, I
• 1:24:14
  Speaker 3: thought it was interesting that John Carpenter mentioned to Nick
• 1:24:18
  Speaker 3: Castle during this moment, which is excellent, by the way,
• 1:24:22
  Speaker 3: because we get a couple of fake outs when Bob
• 1:24:24
  Speaker 3: goes down to the kitchen. And we think that the
• 1:24:28
  Speaker 3: shape is going to appear one moment and in another.
• 1:24:34
  Speaker 3: And it just continues to build up the anticipation. And
• 1:24:38
  Speaker 3: then it finally delivers probably one of the more memorable kills.
• 1:24:44
  Speaker 3: in the first one by far. Um, but Carpenter mentioned
• 1:24:49
  Speaker 3: he wanted Nick Castle to lift Bob up as high
• 1:24:52
  Speaker 3: as he could. And we get a couple of fake
• 1:24:57
  Speaker 3: out moments. Obviously it culminates with Bob getting killed. Uh,
• 1:25:01
  Speaker 3: and the one thing that John Carpenter gave direction to
• 1:25:04
  Speaker 3: Nick Castle over was to do the head tilt that
• 1:25:09
  Speaker 3: the shape has some, interest in, in what exactly just transpired, um,
• 1:25:16
  Speaker 3: you know, uh, between him and Bob.
• 1:25:19
  Speaker 2: And it's interesting because we have a slight callback to
• 1:25:21
  Speaker 2: this a little bit later when Laurie goes over to
• 1:25:23
  Speaker 2: the Wallace house and she comes in through that back door,
• 1:25:29
  Speaker 2: this right where the Bob death happened and Bob's body
• 1:25:32
  Speaker 2: isn't there. And she goes over to that closet door
• 1:25:36
  Speaker 2: that he comes out of and she goes for the handle,
• 1:25:39
  Speaker 2: but then stops and, And I just love that slight
• 1:25:42
  Speaker 2: callback because we're expecting him to be there again because
• 1:25:46
  Speaker 2: we've already seen him there once. But I do want
• 1:25:49
  Speaker 2: to tell people, if you want to complain about how
• 1:25:52
  Speaker 2: trailers today show too much of the movie, go watch
• 1:25:56
  Speaker 2: the original theatrical trailer for this because it spoils this
• 1:26:01
  Speaker 2: whole entire scene in the trailer.
• 1:26:07
  Speaker 3: Yeah, that's... For something like that, it's like less is more.
• 1:26:12
  Speaker 3: Especially if you've never seen it before.
• 1:26:14
  Speaker 2: The trailer ruins the whole thing. This whole scare, it
• 1:26:18
  Speaker 2: gives away. Including a few others, too. Speaking of.
• 1:26:24
  Speaker 3: And I have to say, this is not ruined. This
• 1:26:26
  Speaker 3: is something I appreciate. The shape has a sense of humor.
• 1:26:32
  Speaker 2: He does.
• 1:26:33
  Speaker 3: With putting the sheet over himself and the glasses... Now,
• 1:26:39
  Speaker 3: one thing that I was so captivated by was, you know,
• 1:26:46
  Speaker 3: we see, obviously, you know, within the horror community, we
• 1:26:49
  Speaker 3: get a lot of, I don't know, I would say
• 1:26:52
  Speaker 3: anywhere from like collectors to, you know, just casual fans
• 1:26:58
  Speaker 3: that may dress up for Michael Myers or want to
• 1:27:00
  Speaker 3: go the extra mile with trying to replicate the mask itself. And,
• 1:27:07
  Speaker 3: I believe it was Dean Cundy mentioned in the commentary
• 1:27:11
  Speaker 3: that he gets asked about this quite a bit with
• 1:27:15
  Speaker 3: what type of shading is used for the mask. And actually,
• 1:27:19
  Speaker 3: at least in the first film, the mask actually wasn't
• 1:27:22
  Speaker 3: shaded at all. It was specifically the type of lighting
• 1:27:25
  Speaker 3: that Dean Cundy used to give that effect. Yeah.
• 1:27:30
  Speaker 2: If you look at the mask, it's pure white. There's
• 1:27:34
  Speaker 2: no contouring.
• 1:27:37
  Speaker 3: No but then but i think that there's my interpretation
• 1:27:42
  Speaker 3: by that comment was that you know then we get
• 1:27:45
  Speaker 3: a very different tone to the mask in halloween too
• 1:27:48
  Speaker 3: yeah and maybe that's maybe that's you know what he
• 1:27:53
  Speaker 3: was alluding to with that comment but i thought that
• 1:27:55
  Speaker 3: that was interesting.
• 1:27:57
  Speaker 2: Yeah, I love, I mean, I think the mask looks
• 1:28:00
  Speaker 2: best in the closet moment, the most iconic moment of
• 1:28:03
  Speaker 2: the movie, where Dean Cundey literally had a flashlight that
• 1:28:06
  Speaker 2: he just, or a light that he just slowly dimmed
• 1:28:09
  Speaker 2: up to reveal Michael being in the closet. I think
• 1:28:12
  Speaker 2: that's when the mask looks the best. But this moment,
• 1:28:17
  Speaker 2: when he comes upstairs with the sheet on and bobbed glasses,
• 1:28:20
  Speaker 2: John Carpenter gives all that credit to Deborah Hill for
• 1:28:23
  Speaker 2: this idea. And he says how Debra actually wrote a
• 1:28:28
  Speaker 2: first draft while he was off shooting a TV movie.
• 1:28:33
  Speaker 2: So he went shot a TV movie when he returned.
• 1:28:36
  Speaker 2: He kind of rewrote that that initial draft that Debra shot.
• 1:28:40
  Speaker 2: had written and this is uh one of the scenes
• 1:28:43
  Speaker 2: that's completely untouched from her original first draft which it
• 1:28:49
  Speaker 2: you can hear a little bit of like sentimentality in
• 1:28:51
  Speaker 2: his voice because from this point 2013 we were eight
• 1:28:54
  Speaker 2: years removed from deborah hill's passing and there's numerous times
• 1:29:01
  Speaker 2: that she gets brought up a lot and, you know,
• 1:29:03
  Speaker 2: Laurie brings her up frequently. I think she was very
• 1:29:06
  Speaker 2: close friends with Laurie, obviously her prior relationship with John Carpenter. Um,
• 1:29:11
  Speaker 2: you know, I think you can really feel Jamie Lee
• 1:29:13
  Speaker 2: Curtis or yeah. Yeah.
• 1:29:15
  Speaker 3: Okay.
• 1:29:16
  Speaker 2: Yeah. Sorry. Um, uh, like you can really feel the, the,
• 1:29:24
  Speaker 2: the love and admiration for, for the collaborative process with
• 1:29:29
  Speaker 2: Deborah Hill. Yeah.
• 1:29:31
  Speaker 3: Cause I mean, she was involved with Halloween, the fog
• 1:29:36
  Speaker 3: escape from New York, uh, Halloween two and three, the
• 1:29:41
  Speaker 3: dead zone, uh, the David Cronenberg films. So, I mean, it's,
• 1:29:46
  Speaker 3: you know, I, I think she, she's one that doesn't
• 1:29:49
  Speaker 3: get enough credit, you know, for her involvement in any
• 1:29:53
  Speaker 3: of these films, but you know, you can, You can
• 1:29:56
  Speaker 3: definitely feel that, you know, her presence is definitely missed. Yeah.
• 1:30:03
  Speaker 2: Yeah. I do want to jump forward just a little
• 1:30:06
  Speaker 2: bit to Laurie entering the Wallace's house when she walks
• 1:30:12
  Speaker 2: across the street, which, by the way, the moment of
• 1:30:14
  Speaker 2: her walking across the street is one of the best
• 1:30:16
  Speaker 2: of the whole movie. Love that. But she's Jimmy Lee
• 1:30:23
  Speaker 2: Curtis is recalling a direction. from Carpenter that she received
• 1:30:27
  Speaker 2: when she walks into the Wallace house and she's kind
• 1:30:29
  Speaker 2: of walking around downstairs. And she specifically recalls a moment
• 1:30:35
  Speaker 2: when she's kind of like walking around the living room
• 1:30:41
  Speaker 2: and just kind of looking around. And John told her,
• 1:30:45
  Speaker 2: I want you to kind of just back into this
• 1:30:48
  Speaker 2: corner over here. And I have no idea what's driving
• 1:30:53
  Speaker 2: you there. Jamie asking what, why am I backing into
• 1:30:57
  Speaker 2: the corner? And he said, just fear, pure fear is
• 1:31:04
  Speaker 2: just guiding your movements. And she says how impactful that
• 1:31:09
  Speaker 2: was for not just creating a sense of geography for
• 1:31:13
  Speaker 2: an actor, meaning like the establishment of, of the location
• 1:31:19
  Speaker 2: and how to use the location. Um, but yeah, needing
• 1:31:24
  Speaker 2: to get from point A to point B and not
• 1:31:26
  Speaker 2: having a specific guiding purpose to get you there. You know,
• 1:31:31
  Speaker 2: she's terrified. She has no idea what's going on. She's
• 1:31:36
  Speaker 2: walking around the Wallace house. The power is out. Something's
• 1:31:40
  Speaker 2: potentially going on. And the only thing driving her movements
• 1:31:43
  Speaker 2: are just that she's here and she's afraid. And it's
• 1:31:47
  Speaker 2: that simple of a note that she said completely changed
• 1:31:52
  Speaker 2: how she approached the the entire last act of the movie.
• 1:31:56
  Speaker 2: And I just love hearing that.
• 1:31:58
  Speaker 3: And you can feel it. I mean, the way that
• 1:32:00
  Speaker 3: she carries herself in that last fourth of the film,
• 1:32:05
  Speaker 3: I mean, it's, it's like, uh, the, the tension, the suspense,
• 1:32:10
  Speaker 3: the fear is, is heightened to a new level. Now that,
• 1:32:14
  Speaker 3: you know, it's basically, it's like her against, you know,
• 1:32:18
  Speaker 3: Michael Myers. Um, and it's, they're just like, I mean,
• 1:32:23
  Speaker 3: we're obviously getting towards like the, the end of the
• 1:32:26
  Speaker 3: film and there's, I mean, there's some, uh, there's a
• 1:32:29
  Speaker 3: wide frame shot with the composition that creates visual tension
• 1:32:33
  Speaker 3: between Laurie and Michael. So we get that iconic shot
• 1:32:38
  Speaker 3: where his appearance out of the darkness, it's, it's like,
• 1:32:42
  Speaker 3: I mean, there's multiple moments in this film that are
• 1:32:44
  Speaker 3: very unsettling, but this is like, I guess it's a
• 1:32:48
  Speaker 3: standout moment or, or the moment where he, you know,
• 1:32:51
  Speaker 3: is basically incapacitated. He's on the floor and then rises
• 1:32:55
  Speaker 3: back up. You know, the, the, you know, when, when
• 1:33:00
  Speaker 3: they're upstairs and, and he just starts like just a
• 1:33:04
  Speaker 3: soulless look on his face and he's just coming towards her.
• 1:33:09
  Speaker 3: It's creepy.
• 1:33:10
  Speaker 2: Yeah.
• 1:33:10
  Speaker 3: And, and I feel like we, you know, we've all
• 1:33:12
  Speaker 3: been in this position where, you know, we've been at
• 1:33:15
  Speaker 3: home by ourselves or, maybe with siblings. And I just
• 1:33:20
  Speaker 3: remember watching this at such an early age and it
• 1:33:22
  Speaker 3: scared the hell out of me, you know? And it's
• 1:33:24
  Speaker 3: still like on a rewatch all these years later, there's a,
• 1:33:27
  Speaker 3: there's a part of me that just is like, man,
• 1:33:29
  Speaker 3: if this was to go down to real life, I mean,
• 1:33:32
  Speaker 3: if you just base it solely off that first film,
• 1:33:35
  Speaker 3: it's pretty grounded to like what could actually happen in
• 1:33:38
  Speaker 3: real life.
• 1:33:39
  Speaker 2: It is.
• 1:33:40
  Speaker 1: Yeah.
• 1:33:40
  Speaker 2: And I think it's that again, it's that simplicity. Like it,
• 1:33:43
  Speaker 2: sometimes things are just this simple. There's, somebody there who's
• 1:33:47
  Speaker 2: going to hurt you. And that's it. And I think
• 1:33:50
  Speaker 2: the whole final act, the moment that Laurie comes across, um,
• 1:33:56
  Speaker 2: you know, Linda's body in the bed with the tombstone,
• 1:34:01
  Speaker 2: with the Judith Myers tombstone from this moment on, this
• 1:34:04
  Speaker 2: movie moves at a hundred miles an hour for his
• 1:34:07
  Speaker 2: whole attack scene. And the rising up, like you mentioned,
• 1:34:10
  Speaker 2: the scene out of the closet, even the like tenacity
• 1:34:13
  Speaker 2: he has as he tears through the closet door, trying
• 1:34:17
  Speaker 2: to get the Laurie as she's hiding. It's like a
• 1:34:19
  Speaker 2: vicious animal he turns into man. And it, it's so scary.
• 1:34:25
  Speaker 3: And it, it kind of reminded, and you obviously, I
• 1:34:28
  Speaker 3: know you're a big fan of jaws, but in a
• 1:34:30
  Speaker 3: lot of ways, it just feels like in, in some
• 1:34:33
  Speaker 3: ways it's just locked in, you know, jaws is locked
• 1:34:39
  Speaker 3: in on, you know, uh, the crew and, and same
• 1:34:43
  Speaker 3: deal with this. It's, it's this unstoppable force, uh, That's
• 1:34:47
  Speaker 3: that's coming at, you know, like in Halloween, Laurie, you know?
• 1:34:51
  Speaker 2: Yeah. Yeah. And I love this final note that I
• 1:34:56
  Speaker 2: took from the commentary track. This is probably my favorite
• 1:35:00
  Speaker 2: moment of this entire commentary. And there's this running theme
• 1:35:07
  Speaker 2: throughout it where Jamie Lee Curtis talks about how she
• 1:35:10
  Speaker 2: doesn't watch modern horror movies because she doesn't like being scared.
• 1:35:14
  Speaker 2: And she's not a fan of horror movies. Ironic, but
• 1:35:17
  Speaker 2: we'll go with it.
• 1:35:18
  Speaker 3: I was just about to say that.
• 1:35:19
  Speaker 2: Yeah. One of the most iconic scream queens of all time.
• 1:35:24
  Speaker 2: But when Brackett approaches Loomis in the street, right before
• 1:35:29
  Speaker 2: Loomis runs over to the Wallace house, there's a moment
• 1:35:35
  Speaker 2: where she's complimenting John's direction. And John Carpenter says, this
• 1:35:44
  Speaker 2: is why you need to watch more modern horror movies.
• 1:35:47
  Speaker 2: And Jamie Lee Curtis goes and says exactly like this.
• 1:35:50
  Speaker 2: She goes, no, I don't, John. Thank you. And then
• 1:35:53
  Speaker 2: just continues on her note that she was interrupted in.
• 1:35:58
  Speaker 2: And I just love that. that's Jamie Lee Curtis to me.
• 1:36:02
  Speaker 2: Just know I don't jump. Thank you.
• 1:36:03
  Speaker 3: Very genuine.
• 1:36:04
  Speaker 2: Yeah. Just continues. It's like, you can feel that these,
• 1:36:08
  Speaker 2: that these two have had such an incredible working relationship
• 1:36:11
  Speaker 2: and are just responsible for so much of each other's
• 1:36:14
  Speaker 2: trajectory through their careers. And the bond here is, is,
• 1:36:20
  Speaker 2: is so rare. And so it transcends. Yeah.
• 1:36:26
  Speaker 3: Yeah.
• 1:36:27
  Speaker 2: It's, it's lovely, man.
• 1:36:30
  Speaker 3: And, I think the aspect obviously on rewatch that I
• 1:36:36
  Speaker 3: have such a deep appreciation for and especially in a
• 1:36:40
  Speaker 3: time that now everything feels like it's setting up for
• 1:36:43
  Speaker 3: a sequel but really the way that this concludes is
• 1:36:47
  Speaker 3: we have that final confrontation between Michael and Dr. Loomis
• 1:36:53
  Speaker 3: and Dr. Loomis steps in shoots Michael he falls off
• 1:36:58
  Speaker 3: the the balcony basically, and falls to the ground. And
• 1:37:03
  Speaker 3: then we get a glance again and he's gone just
• 1:37:06
  Speaker 3: as quickly. And, you know, it's like you could stop
• 1:37:12
  Speaker 3: at this film and in itself, this is a perfect
• 1:37:16
  Speaker 3: horror film or, or a slasher for that matter. Yeah. Um,
• 1:37:20
  Speaker 3: and I, I just love the touch that they, they
• 1:37:22
  Speaker 3: added in editing were those last couple of shots of
• 1:37:25
  Speaker 3: various areas throughout the neighborhood and It allows it like
• 1:37:30
  Speaker 3: lets down the audience basically at that point. And we're
• 1:37:34
  Speaker 3: coming off the high. That was this, this climax, the
• 1:37:37
  Speaker 3: confrontation between Lori and Michael, and then Dr. Loomis and Michael.
• 1:37:43
  Speaker 3: And it, it leaves us wondering where the shape could be.
• 1:37:46
  Speaker 3: And I think that that's just the, the, the magic
• 1:37:49
  Speaker 3: of filmmaking, let alone a masterpiece like Halloween that, you know, it, it,
• 1:37:57
  Speaker 3: it's a perfect film. Like there's no better way I
• 1:38:01
  Speaker 3: could think of ending a movie like this. It doesn't
• 1:38:04
  Speaker 3: feel gratuitous or, or that, you know, it needs to
• 1:38:06
  Speaker 3: set anything else up for some cinematic universe or anything
• 1:38:11
  Speaker 3: like that. It works on its own. It stands on
• 1:38:14
  Speaker 3: its own. It's transcended time to be as enduring of a,
• 1:38:18
  Speaker 3: of a horror film as it has been all these
• 1:38:20
  Speaker 3: years later.
• 1:38:21
  Speaker 2: Well, I think the final, this little montage of these
• 1:38:24
  Speaker 2: final shots to me, is like, it's almost like Michael's
• 1:38:32
  Speaker 2: been shot. He's fallen. He's up. And you could take
• 1:38:35
  Speaker 2: it as like, it's reshowing these places as like, he
• 1:38:39
  Speaker 2: could be here right now, but it's more of almost like, it's,
• 1:38:44
  Speaker 2: it's almost like a, like, it's like a response to
• 1:38:48
  Speaker 2: see these, these, these places again. And, and you almost
• 1:38:53
  Speaker 2: get afraid because he's been there once. And it's like,
• 1:38:57
  Speaker 2: you know, when you have a, you know, obviously you
• 1:38:59
  Speaker 2: have a traumatic experience somewhere. You, you, it's very rare
• 1:39:01
  Speaker 2: that you can go into that setting again and seeing
• 1:39:05
  Speaker 2: all of these places in the montage again, where moments
• 1:39:07
  Speaker 2: have happened in the movie, even like when it shows
• 1:39:10
  Speaker 2: the Wallace living room and the knife is still on
• 1:39:12
  Speaker 2: the ground that Laurie dropped.
• 1:39:13
  Speaker 3: Yeah.
• 1:39:14
  Speaker 2: It's haunting. And it's, it's very effective and it's such
• 1:39:18
  Speaker 2: a calm way. to end the movie but a way
• 1:39:22
  Speaker 2: that leaves you like i can imagine in 1978 leaving
• 1:39:26
  Speaker 2: the theater and going home with this montage stuck in
• 1:39:30
  Speaker 2: my head of these ordinary places that this terror has
• 1:39:35
  Speaker 2: now changed forever and kind of wondering is he in
• 1:39:40
  Speaker 2: my closet.
• 1:39:42
  Speaker 3: Yeah i mean even seeing this you know i saw
• 1:39:45
  Speaker 3: this now a couple of years ago at the drive-in
• 1:39:50
  Speaker 3: and seen this and, and, you know, I've seen this
• 1:39:53
  Speaker 3: like numerous times, right. You know, obviously I feel like
• 1:39:57
  Speaker 3: this is like a yearly watch or you get in
• 1:39:59
  Speaker 3: the mood to watch all the films in the franchise,
• 1:40:02
  Speaker 3: but there's something about coming home and you're by yourself
• 1:40:06
  Speaker 3: and And I already know that this is just a
• 1:40:10
  Speaker 3: horror film, but it stays with you. That's the creepy
• 1:40:14
  Speaker 3: part about it. With any of these films, I just
• 1:40:17
  Speaker 3: feel like that's something that's kind of lacking from modern
• 1:40:20
  Speaker 3: horror and why this is a mortal classic as we
• 1:40:28
  Speaker 3: initially kicked off this episode. But it is. Not many
• 1:40:34
  Speaker 3: horror films can come close to this.
• 1:40:36
  Speaker 2: I couldn't agree more, man. What's your thoughts on that
• 1:40:40
  Speaker 2: commentary track that you listened to as a whole? Do
• 1:40:42
  Speaker 2: you recommend people go and give that a listen?
• 1:40:44
  Speaker 3: Oh yeah. And now being that, you know, a lot
• 1:40:49
  Speaker 3: of the content that you were discussing has me wanting
• 1:40:53
  Speaker 3: to go back and especially to check out the banter
• 1:40:58
  Speaker 3: and that dynamic between Jamie Lee Curtis and John Carpenter.
• 1:41:01
  Speaker 3: It's like, to hear from both of them, like it
• 1:41:04
  Speaker 3: makes me excited to revisit this and, and, you know,
• 1:41:07
  Speaker 3: I'll be able to wrap this up on, on this
• 1:41:09
  Speaker 3: year's Halloween.
• 1:41:10
  Speaker 2: Well, it was funny because you had texted me like, Oh,
• 1:41:13
  Speaker 2: when we're done recording, I'm going to have to re
• 1:41:14
  Speaker 2: I'm going to have to watch that commentary. And I
• 1:41:16
  Speaker 2: was actually thinking like, Oh, when we're done recording, I
• 1:41:18
  Speaker 2: should watch his comment. Cause normally when we're covering two,
• 1:41:21
  Speaker 2: we both will listen to each one.
• 1:41:23
  Speaker 3: Yeah.
• 1:41:23
  Speaker 2: And this time we just listened to one of it.
• 1:41:25
  Speaker 2: I was like, Oh, I should probably listen to that
• 1:41:27
  Speaker 2: one now. So it's even in the days after this,
• 1:41:29
  Speaker 2: I'm going to go back and listen to the track
• 1:41:31
  Speaker 2: that you covered.
• 1:41:32
  Speaker 3: I think that there's been a little bit of like, uh,
• 1:41:35
  Speaker 3: emphasis on, you know, trying to really like hone in, especially,
• 1:41:40
  Speaker 3: I mean, obviously with all of these, you know, we
• 1:41:42
  Speaker 3: get very dialed in, but after coming back from scare
• 1:41:46
  Speaker 3: fest and me and Dean Cundy, I'm like, man, I really, like,
• 1:41:48
  Speaker 3: I really want to, you know, step it up and
• 1:41:51
  Speaker 3: make sure that, uh, you know, I have a really, uh,
• 1:41:54
  Speaker 3: very thorough chance to dive into this commentary.
• 1:41:56
  Speaker 2: Yeah, absolutely. Yeah. Make sure you go and check out
• 1:41:59
  Speaker 2: both of these commentary tracks as always. Go give these
• 1:42:03
  Speaker 2: a listen for yourself. We cover a lot of them,
• 1:42:05
  Speaker 2: but there's so much fun to be had with these
• 1:42:09
  Speaker 2: commentary tracks and so many little details that we don't
• 1:42:12
  Speaker 2: specifically cover. We specifically leave room for you to go
• 1:42:17
  Speaker 2: and listen to the track of your own and still
• 1:42:19
  Speaker 2: take a lot from it. So please, if you own
• 1:42:22
  Speaker 2: the Screen Factory releases, go back, give these commentaries a listen.
• 1:42:26
  Speaker 2: Let us know what you think. if you give them
• 1:42:28
  Speaker 2: a listen, if you've never listened to a commentary track before, well,
• 1:42:31
  Speaker 2: it's a great time to change it. This is, I
• 1:42:33
  Speaker 2: think mine, especially being the one I listened to, I
• 1:42:37
  Speaker 2: think it's such an easy track for somebody who's never
• 1:42:40
  Speaker 2: listened to a commentary before, because it's just fun. And
• 1:42:43
  Speaker 2: then if you enjoy that, go and listen to the
• 1:42:46
  Speaker 2: one with Dean Cundy or Dean Cundy, Tommy Lee Wallace
• 1:42:48
  Speaker 2: and Nick Castle and start, sinking your teeth into it
• 1:42:52
  Speaker 2: a little bit more and a little bit more. And eventually, look,
• 1:42:54
  Speaker 2: you're going to be just like a sick in the
• 1:42:55
  Speaker 2: head and listening to many commentary tracks.
• 1:43:01
  Speaker 3: Before we close out this episode, I figured that there's
• 1:43:04
  Speaker 3: no better way than to wrap it up by Chris.
• 1:43:08
  Speaker 3: I got to ask, what's your favorite type of candy
• 1:43:11
  Speaker 3: on Halloween?
• 1:43:11
  Speaker 2: Shit, dude, I was going to ask you. I was
• 1:43:13
  Speaker 2: literally just thinking I was going to ask you that. Uh, okay. So, um,
• 1:43:20
  Speaker 2: I like Reese's.
• 1:43:21
  Speaker 3: Okay, good choice.
• 1:43:23
  Speaker 2: I'm a big peanut butter guy, but my thing is
• 1:43:25
  Speaker 2: I like the seasonal Reese's more than traditional Reese's.
• 1:43:31
  Speaker 3: Okay.
• 1:43:31
  Speaker 2: So, big Reese's pumpkin guy. Also, a rare lover of
• 1:43:37
  Speaker 2: candy corn. So, how about yourself?
• 1:43:41
  Speaker 3: Man, I would have to say top three in no order. Twix, Skittles... Reese's. Twix.
• 1:43:51
  Speaker 2: Very good choice. Left or right?
• 1:43:55
  Speaker 3: What?
• 1:43:56
  Speaker 2: Left or right Twix? All of them. Okay. All right.
• 1:44:01
  Speaker 2: I just want to make sure.
• 1:44:03
  Speaker 3: I don't think that's why I was taking it back.
• 1:44:05
  Speaker 3: I don't think that that's ever an option.
• 1:44:07
  Speaker 2: Okay. Well, it says on the wrapper which one is
• 1:44:10
  Speaker 2: left or right. It says it on there.
• 1:44:14
  Speaker 3: I don't have time for that. Listen, I will say, though, just...
• 1:44:18
  Speaker 3: For all of you guys celebrating Halloween out there, make
• 1:44:20
  Speaker 3: sure you check Candy.
• 1:44:21
  Speaker 2: Yes, please do.
• 1:44:22
  Speaker 3: Listen to your audio commentaries for any of your favorite releases,
• 1:44:25
  Speaker 3: and make sure you watch our movies.
• 1:44:27
  Speaker 2: Well, listen, man, before we go, let the people know
• 1:44:30
  Speaker 2: what's coming next week. We're heading into November with some
• 1:44:34
  Speaker 2: heat on our tails. Can you please let the people
• 1:44:37
  Speaker 2: know what movie we're covering next?
• 1:44:42
  Speaker 3: This is definitely going to warm things up post-Halloween. I am.
• 1:44:48
  Speaker 3: It just as you are beyond thrilled to announce that
• 1:44:52
  Speaker 3: we are going to be covering David Cronenberg's crash. Yeah.
• 1:44:56
  Speaker 2: That's that one's going to get the explicit stamp. As
• 1:45:01
  Speaker 2: we talk about the leg of a job, pushing the envelope. Yeah. Well, listen, man,
• 1:45:06
  Speaker 2: let people know where they can find you.
• 1:45:08
  Speaker 3: You guys can find me at after hours video on YouTube,
• 1:45:11
  Speaker 3: tick tock, Instagram, you name it. And as always, Living
• 1:45:17
  Speaker 3: it up with my co-host, Chris, on Beyond the Blood Podcast.
• 1:45:20
  Speaker 3: What about you, Chris?
• 1:45:21
  Speaker 2: Always at beardedfilmguy on Instagram. Always here on Beyond the Blood.
• 1:45:26
  Speaker 2: As always, I want to remind you guys, please go
• 1:45:29
  Speaker 2: check out the roster of shows on someone's favorite production's
• 1:45:32
  Speaker 2: podcast network, the network that we're honored to be a
• 1:45:35
  Speaker 2: part of. Today I was listening to the histories of
• 1:45:38
  Speaker 2: cinema podcast. The other day I was listening to the
• 1:45:42
  Speaker 2: director's iPod as they're wrapping up. They're getting close to
• 1:45:45
  Speaker 2: wrapping up their season on James Cameron, as well as
• 1:45:48
  Speaker 2: a ton of other incredible shows that we're very lucky
• 1:45:52
  Speaker 2: to be partnered with. Absolutely. Also want to remind everybody
• 1:45:56
  Speaker 2: that the Halloween issue for physical media advocate is now
• 1:46:00
  Speaker 2: available at select retailers, as well as on Amazon and, Um,
• 1:46:05
  Speaker 2: the newest, uh, entry in, in, in my commentary column
• 1:46:09
  Speaker 2: is in there. Uh, it's a cool listen as well
• 1:46:12
  Speaker 2: as a ton of other great write-ups. So if you
• 1:46:13
  Speaker 2: want to support physical media and support a physical media magazine,
• 1:46:16
  Speaker 2: that's written by people in our community, uh, please go
• 1:46:19
  Speaker 2: check that out. Um, trying to think of anything else
• 1:46:24
  Speaker 2: is going on. We're right around the corner from the
• 1:46:25
  Speaker 2: shelf shock rewind awards. Um, voting is going to be
• 1:46:30
  Speaker 2: coming up for that soon. There's so much happening, man.
• 1:46:33
  Speaker 2: So much happening. But yeah, we will see you guys
• 1:46:36
  Speaker 2: next week as we dive into David Cronenberg's sexual car
• 1:46:43
  Speaker 2: thriller crash. Can't wait for that one.
• 1:46:48
  Speaker 3: I'm getting sweaty thinking about it.
• 1:46:51
  Speaker 2: We'll see you guys next week.
• 1:46:53
  Speaker 3: See you guys. Happy Halloween.
• 1:47:01
  Speaker 1: Thank you for listening.
• 1:47:03
  Speaker 2: To hear more shows from the Someone's Favorite Productions podcast network,
• 1:47:07
  Speaker 2: please select the link in the description.