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Other Pieces in the Filmmaking Puzzle · Movie Meltdown

• 0:06
  Speaker 1: This is Movie Meltdown with Jeffrey Reddick and the awesome Brian.
• 0:11
  Speaker 1: This is Jeffrey Reddick with Brian, and we are freaking
• 0:14
  Speaker 1: rocking it out in Louisville, Kentucky.
• 0:17
  Speaker 2: Fighting people off.
• 0:18
  Speaker 3: Yep, left and right.
• 0:19
  Speaker 2: We are so busy.
• 0:19
  Speaker 3: Swinging elbows and kicking crotches. Even lady crotches.
• 0:23
  Speaker 2: Well, that was last night.
• 0:24
  Speaker 3: That was at the after party.
• 0:25
  Speaker 2: Stuff at the hotel. Anyway, man.
• 0:27
  Speaker 4: Alrighty.
• 0:28
  Speaker 2: Me and the Russian hookers. It's showtime.
• 0:31
  Speaker 5: The following feature has been rated R by the Motion
• 0:34
  Speaker 5: Picture Association of America. It is intended for mature audiences
• 0:38
  Speaker 5: and parental discretion is advised. Our nuclear reactor.
• 0:42
  Speaker 6: Pumping out one million kilowatts of power.
• 1:11
  Speaker 5: Five more cooling in the containment chamber.
• 1:12
  Speaker 7: To your stations, we have a movie meltdown.
• 1:16
  Speaker 8: Hey, antsy! No running in the hallway.
• 1:20
  Speaker 9: What's up and welcome to Movie Meltdown.
• 1:27
  Speaker 10: I'm Brian.
• 1:28
  Speaker 11: I am Misty.
• 1:38
  Speaker 2: And we are coming to you live via digital recording
• 1:40
  Speaker 2: from here at Fright Night Film Fest in Louisville, Kentucky.
• 1:43
  Speaker 11: Hells yeah we are.
• 1:45
  Speaker 2: So this week we're going to be talking to a
• 1:46
  Speaker 2: couple of different people. And over the years we've talked
• 1:49
  Speaker 2: to a lot of different actors and directors. But I
• 1:51
  Speaker 2: was thinking there are a lot of other really interesting
• 1:54
  Speaker 2: and important people working behind the scenes that put these
• 1:57
  Speaker 2: movies together. So this week I thought we would talk
• 2:00
  Speaker 2: with two of those people who are coming from different
• 2:02
  Speaker 2: areas of the process but are essential pieces to the
• 2:05
  Speaker 2: filmmaking puzzle. One a successful writer working in Hollywood and
• 2:10
  Speaker 2: actually launched a very popular franchise.
• 2:12
  Speaker 5: No less.
• 2:13
  Speaker 2: And the other, well now technically Leslie Hoffman is an actress.
• 2:17
  Speaker 2: And if you know her on screen, it's possibly as
• 2:20
  Speaker 2: the infamous hall monitor in Wes Craven's A Nightmare on
• 2:23
  Speaker 2: Elm Street. But once you look a little deeper into
• 2:26
  Speaker 2: her career, you find out she worked for years as
• 2:29
  Speaker 2: a stuntwoman. And that I was fascinated with and I
• 2:32
  Speaker 2: wanted to learn a little bit more about that. So
• 2:34
  Speaker 2: now let's go talk with Leslie and find out more
• 2:37
  Speaker 2: about her life working in movies. All right, we're here
• 2:49
  Speaker 2: with Leslie Hoffman. I've talked to a lot of people
• 2:53
  Speaker 2: in film, but I haven't talked to many that have
• 2:55
  Speaker 2: done much in the stunt world. So I guess I
• 2:57
  Speaker 2: wanted to start off with, you know, what, How you
• 3:00
  Speaker 2: got into that, what was your beginnings getting into movies overall?
• 3:04
  Speaker 2: Was it in stunts to begin with?
• 3:07
  Speaker 12: Well, actually, I wanted to be an actress all of
• 3:12
  Speaker 12: my life. I can't remember a time that I didn't
• 3:15
  Speaker 12: want to be, I'll say, in the entertainment industry. But
• 3:19
  Speaker 12: then in 12th grade, I discovered stunt work. You could
• 3:24
  Speaker 12: get to act, but you got to roll on the
• 3:27
  Speaker 12: ground and fire the guns and all that kind of stuff.
• 3:30
  Speaker 2: Where were you based out of at that point? Was
• 3:32
  Speaker 2: it California?
• 3:33
  Speaker 12: I'm from Saranac Lake, New York, which is way upstate
• 3:37
  Speaker 12: New York. I mean, it's almost Canada.
• 3:40
  Speaker 2: So I guess what were those first, once you got
• 3:43
  Speaker 2: into it, was it independent productions or how did you
• 3:46
  Speaker 2: get into the stunt work? And then I guess how
• 3:48
  Speaker 2: did you then spiral that into getting some acting roles?
• 3:52
  Speaker 12: Actually, that's an interesting question. I was very, very lucky.
• 3:59
  Speaker 12: The first movie I did was Two Minute Warning, and
• 4:03
  Speaker 12: it was a SAG film. So I got into the
• 4:07
  Speaker 12: union immediately, and all my work has been union films
• 4:14
  Speaker 12: and television as well.
• 4:17
  Speaker 2: I mean, that's a big thing. part of it too
• 4:19
  Speaker 2: with any of the filmmaking is whether or not you
• 4:21
  Speaker 2: get into a union and how you go about all those.
• 4:23
  Speaker 2: So I guess that's a huge thing to figure out
• 4:25
  Speaker 2: once you're up and coming in that system. I think
• 4:30
  Speaker 2: early on I'd seen you were in the car. That
• 4:32
  Speaker 2: seems like a really... We just recently watched that on
• 4:36
  Speaker 2: the show.
• 4:36
  Speaker 12: You remember that I was.
• 4:37
  Speaker 2: In the car? And I was like, that seems like
• 4:40
  Speaker 2: you might have almost gotten killed. Those kids were out
• 4:43
  Speaker 2: there in the field with a car tearing around. I
• 4:46
  Speaker 2: was like, how close to getting run over were you?
• 4:48
  Speaker 12: Well, actually, it wasn't the car that almost got me.
• 4:51
  Speaker 12: It was the horses. That's true.
• 4:53
  Speaker 2: There were a lot of horses.
• 4:54
  Speaker 12: We were leading horses down the track. And they stampeded
• 5:00
  Speaker 12: the horses, and the saddle caught my elbow, and it
• 5:10
  Speaker 12: spun me around to the ground. I mean, it was
• 5:13
  Speaker 12: just dust everywhere. You couldn't see anything. And all I
• 5:18
  Speaker 12: could do was cover up my head and hope that
• 5:20
  Speaker 12: I didn't get trampled by a horse.
• 5:22
  Speaker 11: Good Lord.
• 5:23
  Speaker 2: So that... That's not good at all.
• 5:26
  Speaker 12: No, that wasn't good at all. Well, another stuntman, the
• 5:29
  Speaker 12: horse ran straight into his body. I mean, the horses
• 5:36
  Speaker 12: were more dangerous. They should have called it the horse,
• 5:38
  Speaker 12: not the car.
• 5:40
  Speaker 2: Horses, you don't mess around with.
• 5:41
  Speaker 12: But another funny story, because you've brought up the car,
• 5:45
  Speaker 12: is that I was brought in for an audition, and
• 5:50
  Speaker 12: it was really funny because There was a second stuntwoman
• 5:55
  Speaker 12: with me. And we're in our 20s by then. And
• 6:00
  Speaker 12: he looks to the assistant director and he says, Now,
• 6:07
  Speaker 12: do they look like high school students? I mean.
• 6:13
  Speaker 2: On TV and in movies, usually you're pushing 30 and
• 6:17
  Speaker 2: they still cast you in high schools.
• 6:18
  Speaker 9: Right.
• 6:19
  Speaker 2: You can get away with that.
• 6:20
  Speaker 11: Right, right.
• 6:21
  Speaker 12: But I just found it so funny to... Now, do
• 6:24
  Speaker 12: they look like high school students? Yeah, they have to ask. Well,
• 6:29
  Speaker 12: don't you know what high school students look like?
• 6:32
  Speaker 2: It's best not to ask at that point.
• 6:36
  Speaker 12: Well, I mean, he said yes, and we were both
• 6:40
  Speaker 12: hired for the job.
• 6:41
  Speaker 2: That's awesome. When you got in... pretty early on working
• 6:44
  Speaker 2: with Robert Zemeckis on some of his stuff, too. It's
• 6:47
  Speaker 2: like a Wendy Jo double.
• 6:48
  Speaker 12: Oh, his first.
• 6:51
  Speaker 2: He said, I want to hold your hand, or before that.
• 6:54
  Speaker 12: Boy, you know more than I do. Wait, here, let
• 6:58
  Speaker 12: me ask you. I haven't done anything. Robert Zemeckis, I believe,
• 7:04
  Speaker 12: wrote I Want to Hold Your Hand, and I stunt
• 7:08
  Speaker 12: double Wendy Jo Sperber jumping out of the car they're
• 7:14
  Speaker 12: having a contest on the radio, and she knows the answer,
• 7:18
  Speaker 12: and she's begging them to stop the car. And, you know,
• 7:21
  Speaker 12: if you don't stop the car, I'll jump.
• 7:23
  Speaker 2: And you jump.
• 7:25
  Speaker 12: Yeah, the car was going about 30, 35 miles an hour,
• 7:29
  Speaker 12: and I jumped out of the car and ran to
• 7:31
  Speaker 12: the phone booth. And then there was other.
• 7:35
  Speaker 11: I.
• 7:35
  Speaker 12: Didn't... double her but but they actually used me in
• 7:43
  Speaker 12: a couple different other scenes in the movie uh um
• 7:50
  Speaker 12: bobby duchico had a wig had a beatles wig and
• 7:55
  Speaker 12: they were in a limousine they were actually in a
• 7:56
  Speaker 12: hearse but you know a limousine it's still sort of
• 7:59
  Speaker 12: a limousine yeah and he waves the wig out the
• 8:02
  Speaker 12: window and he goes, yeah, yeah, yeah. I want to
• 8:04
  Speaker 12: hold your hand. And the crowd that's been held back
• 8:07
  Speaker 12: by the police just go nuts and they run and
• 8:10
  Speaker 12: they jump on the car and then the car takes off.
• 8:14
  Speaker 12: And I'm one of the people that fall off the car. Then, uh,
• 8:18
  Speaker 12: the last scene that I was in, um, was actually
• 8:22
  Speaker 12: at the Ed Sullivan show. And, uh, I fainted and
• 8:28
  Speaker 12: rolled down the stairs, but, uh, Yeah, yeah, I mean,
• 8:33
  Speaker 12: and interestingly enough, in the movie 1941... Early Spielberg there. Well,
• 8:42
  Speaker 12: it was Spielberg, but I did the motorcycle sidecar jump. And,
• 8:53
  Speaker 12: I don't know, Steven Spielberg was busy directing some other
• 8:57
  Speaker 12: part of the movie... And Robert Zemeckis was the director
• 9:01
  Speaker 12: that night. So, I mean, he directed the car jump
• 9:05
  Speaker 12: or the motorcycle side car jump.
• 9:08
  Speaker 2: Well, I guess you at this point get a lot
• 9:11
  Speaker 2: of notoriety for the Nightmare on Elm Street. How did
• 9:14
  Speaker 2: you get involved with Wes Craven?
• 9:16
  Speaker 12: I think he's one of the best directors I've ever
• 9:21
  Speaker 12: worked with. I mean, I've never... I worked with him
• 9:25
  Speaker 12: on three films. Nightmare on Elm Street Deadly Friend and
• 9:31
  Speaker 12: Scream 2. And he's the only director that comes up
• 9:36
  Speaker 12: to you afterwards and says, you did a really great job.
• 9:40
  Speaker 12: I really appreciate it. And I've never had any other
• 9:46
  Speaker 12: director that's done that.
• 9:49
  Speaker 2: And did you just get... You were already doing stunts,
• 9:51
  Speaker 2: so you got to be the hall monitor in Nightmare?
• 9:55
  Speaker 11: Well.
• 9:56
  Speaker 12: The way you get stunt work is through a stunt coordinator.
• 10:00
  Speaker 12: And the stunt coordinator called me up and said, how
• 10:04
  Speaker 12: would you like, it was a low-budget film. He said,
• 10:07
  Speaker 12: you know, I have a day on this horror film.
• 10:13
  Speaker 12: Would you like to work? Oh, well, let me check
• 10:15
  Speaker 12: my calendar.
• 10:17
  Speaker 6: No.
• 10:18
  Speaker 12: Okay, I'll tell you. I'll think about it. No, of
• 10:24
  Speaker 12: course I said yes. And it was kind of interesting.
• 10:30
  Speaker 12: You go into this high school, and there's this slime
• 10:34
  Speaker 12: trail down the middle of the floor, and you're just
• 10:37
  Speaker 12: kind of going, okay, okay. Slime trail. I wonder what
• 10:43
  Speaker 12: this is supposed to be. I mean, but again, as
• 10:47
  Speaker 12: a stunt woman, you, you, you rarely get a script. So,
• 10:52
  Speaker 12: you know, uh, um, Wes came up to me and
• 10:57
  Speaker 12: he said, okay, she's Nancy or, or Heather's good around
• 11:02
  Speaker 12: the corner and bump into you and you fall to
• 11:06
  Speaker 12: the ground and you're supposed to say, where's your past? Um, Now,
• 11:12
  Speaker 12: I'm the one that goes, it was my own, where's
• 11:16
  Speaker 12: your pass? I mean, I don't know. That just came
• 11:20
  Speaker 12: out of my mouth that way. Screw your pass. And then,
• 11:25
  Speaker 12: so that was one scene. And now they're filming the
• 11:31
  Speaker 12: next scene, and I have the Freddy sweater and the claws.
• 11:39
  Speaker 12: And Wes comes up to me and he says, okay,
• 11:43
  Speaker 12: I'm letting you know right now, your voice isn't going
• 11:47
  Speaker 12: to be in the movie for this scene. Your voice
• 11:50
  Speaker 12: is not going to be in the movie. Robert Englund's voice,
• 11:54
  Speaker 12: he's going to dub over your voice. But I still
• 11:59
  Speaker 12: need you to say, hey, Nancy, no running in the hallway, he, he, he. So,
• 12:06
  Speaker 12: you know, I mean, if I just stood there with
• 12:09
  Speaker 12: my mouth closed, it'd be even stranger. But again, I
• 12:15
  Speaker 12: just stood there with that smile, and I said, hey, Nancy,
• 12:20
  Speaker 12: no running in the hallway, he.
• 12:23
  Speaker 11: He, he.
• 12:24
  Speaker 12: And actually, it.
• 12:27
  Speaker 12: Several conventions ago, Robert Englund, I don't know how the
• 12:33
  Speaker 12: question came up, but he didn't actually dub my voice
• 12:37
  Speaker 12: in until he was in New York City. So for
• 12:41
  Speaker 12: the first time, you know, he saw this scene, and
• 12:45
  Speaker 12: like I say, in a little whatever sound studio... He
• 12:53
  Speaker 12: said that line, and I'm told that it's just such
• 12:57
  Speaker 12: an iconic scene that it freaks out. When people see
• 13:02
  Speaker 12: that scene, it just freaks them out. And I don't know.
• 13:07
  Speaker 12: I guess I never thought about it.
• 13:09
  Speaker 2: That's one of the weird dream sequences. So, yeah, that
• 13:13
  Speaker 2: should do. Of the scenes that freak people out, you
• 13:16
  Speaker 2: worked on Deadly Friend. Were you there when they did
• 13:19
  Speaker 2: the basketball stunt? That was more effective than stunt, but
• 13:23
  Speaker 2: I didn't know if you saw that going on.
• 13:24
  Speaker 12: Yeah, that was a strange one. I mean, they had
• 13:27
  Speaker 12: me stunt double Annie Potts, but I mean, I'm not
• 13:31
  Speaker 12: going to stand there and let a basketball hit me
• 13:34
  Speaker 12: in the head. So, I mean, it was more that
• 13:39
  Speaker 12: I stood there and they started to throw the basketball
• 13:45
  Speaker 12: at me, but I ducked out of the way, but
• 13:48
  Speaker 12: then I... I mean, in all honesty, I'm not even
• 13:52
  Speaker 12: sure why they had me there. They could have just
• 13:55
  Speaker 12: had the dummy with the exploding head.
• 13:57
  Speaker 2: That's an amazing effect. I don't think I've recovered from
• 14:03
  Speaker 2: it since.
• 14:04
  Speaker 3: Yeah, yeah.
• 14:05
  Speaker 2: Well, and the only other one I was going to ask,
• 14:06
  Speaker 2: this is sort of a thing I try to ask everybody,
• 14:09
  Speaker 2: because filmmaking, you get yourself in such weird situations. I
• 14:12
  Speaker 2: would think doing stunts, you're probably getting even weirder. So,
• 14:15
  Speaker 2: I mean, what is one of the most.
• 14:18
  Speaker 2: Just like you're in the middle of it and be like,
• 14:19
  Speaker 2: how did I get myself into like dangerous or just
• 14:22
  Speaker 2: weird or like one of the weirdest stories of something
• 14:25
  Speaker 2: you ended up doing?
• 14:28
  Speaker 12: I'd rather say it this way is that, uh, the
• 14:33
  Speaker 12: most dangerous that there are two most dangerous stunts is
• 14:37
  Speaker 12: that I actually fell off the love boat and it
• 14:40
  Speaker 12: was 78 feet to water. Uh, I don't think I'm
• 14:45
  Speaker 12: going to do that ever again.
• 14:48
  Speaker 2: Was that a plan to stunt?
• 14:50
  Speaker 5: Yeah.
• 14:51
  Speaker 12: Well, what's interesting was the stunt coordinator, he looks over
• 14:55
  Speaker 12: the edge of the boat. You know, you believe the
• 14:58
  Speaker 12: stunt coordinator. He goes, oh, it's only 40 feet. After
• 15:02
  Speaker 12: I did the stunt, they measured it, and it was
• 15:07
  Speaker 12: 78 feet.
• 15:08
  Speaker 2: People probably fall off those boats all the time. That's
• 15:10
  Speaker 2: just drunken parties, though. You never see them again.
• 15:14
  Speaker 12: Right. The memory that I have of it, though, is
• 15:21
  Speaker 12: that this young actor came up to me afterwards and said,
• 15:25
  Speaker 12: that was a really great thing you did. And then
• 15:29
  Speaker 12: later that night I went home and this new show
• 15:32
  Speaker 12: called Three's Company is on.
• 15:34
  Speaker 13: And.
• 15:36
  Speaker 12: It was John Ritter that said, you know, you did
• 15:40
  Speaker 12: such a wonderful stunt. I had no idea who he was.
• 15:44
  Speaker 2: That's crazy.
• 15:46
  Speaker 12: So it's a fond memory. Yeah. The other, I'll call
• 15:51
  Speaker 12: it most dangerous stunt, was the motorcycle sidecar.
• 15:55
  Speaker 9: Yeah.
• 15:56
  Speaker 12: Because, well, I'll give it away right away. The mechanics
• 16:02
  Speaker 12: put the gas line... over the metal bar that had
• 16:08
  Speaker 12: the wooden seat on it. So every time we drove
• 16:11
  Speaker 12: up this ramp, we'd run out of gas. And no
• 16:14
  Speaker 12: one knew what... Yeah, they thought the engine was broken
• 16:18
  Speaker 12: or something. But then the stuntman would get out of
• 16:21
  Speaker 12: the seat and they'd push the sidecar back to the
• 16:24
  Speaker 12: beginning and it would start up. And we'd try again
• 16:29
  Speaker 12: and we'd run out of gas and, you know, we couldn't...
• 16:33
  Speaker 12: We couldn't hit the ramp. Finally, finally, I don't know,
• 16:37
  Speaker 12: maybe he just got disgusted. The stuntman just went for it,
• 16:42
  Speaker 12: and we ran out of gas on the ramp. We
• 16:46
  Speaker 12: went off the ramp, and we hit the back end
• 16:49
  Speaker 12: of the stake bed truck. Now, his car, now, I
• 16:55
  Speaker 12: don't know what they could have done for me, but
• 16:57
  Speaker 12: they had padding down below for the stuntman. The car
• 17:01
  Speaker 12: flipped over, and luckily, you know, he landed on the pad,
• 17:05
  Speaker 12: so he didn't hit his head on the street. But
• 17:11
  Speaker 12: just pure dumb luck. I slid onto the back of
• 17:15
  Speaker 12: the steak bed truck. Had we hit any lower, I
• 17:18
  Speaker 12: probably would have been decapitated. I mean, so again, that's
• 17:23
  Speaker 12: not a stunt I.
• 17:26
  Speaker 2: It's a dangerous job you have.
• 17:29
  Speaker 12: Yeah, because you never know. I mean, you sort of
• 17:32
  Speaker 12: know what your body can do when you're doing a stunt.
• 17:36
  Speaker 2: It's those outside, yeah.
• 17:39
  Speaker 12: Oh, I worked on Falcon Crest, and this beam was
• 17:44
  Speaker 12: supposed to fall down from the ceiling. And the first time.
• 17:48
  Speaker 14: I.
• 17:50
  Speaker 12: Don't remember if we were filming it or they were
• 17:52
  Speaker 12: practicing it, But the beam hits the floor and it
• 17:55
  Speaker 12: breaks in half, which it wasn't supposed to do. And
• 18:00
  Speaker 12: then the prop guys, you know, they, I don't know,
• 18:04
  Speaker 12: they glued or whatever extra pieces of wood to the
• 18:09
  Speaker 12: beam and they put it up and they said, oh,
• 18:11
  Speaker 12: you know, it's really strong now. It's not going to
• 18:14
  Speaker 12: break in half. Well, at this point, I don't trust anything.
• 18:20
  Speaker 12: And so I left. A little earlier than I would
• 18:26
  Speaker 12: have if I had trusted the beam. And by gum,
• 18:29
  Speaker 12: if that beam didn't break in half again. I mean,
• 18:33
  Speaker 12: so is it intuition? I mean, you just.
• 18:37
  Speaker 2: I think at that point it becomes experience of knowing
• 18:41
  Speaker 2: once you do enough of that, I would think you
• 18:42
  Speaker 2: know what not to trust or what to get. You
• 18:45
  Speaker 2: pick up some sort of level of knowing when this
• 18:48
  Speaker 2: doesn't seem right to me. It's a little bold, probably.
• 18:51
  Speaker 12: Right. I mean, I wasn't hurt, but the beam sure
• 18:58
  Speaker 12: didn't stay in one piece either.
• 19:02
  Speaker 2: Well, I think that was most of what we had.
• 19:03
  Speaker 2: Did you have anything else you... I don't know. Are
• 19:06
  Speaker 2: you still doing stunts at this point?
• 19:09
  Speaker 12: At this point, I'm retired out. My back is bad and...
• 19:14
  Speaker 12: I mean, I've never been taken off the set in
• 19:18
  Speaker 12: an ambulance or anything like that. But I guess... Well,
• 19:22
  Speaker 12: think of any athlete. I mean, you just have so
• 19:25
  Speaker 12: many years in a career and your neck or your
• 19:29
  Speaker 12: back or whatever start hurting and... I think.
• 19:32
  Speaker 2: This job takes a toll on you.
• 19:35
  Speaker 12: Right, right. But I'm glad I did it. I'm glad
• 19:40
  Speaker 12: I was a stuntwoman. I think the most amazing thing
• 19:43
  Speaker 12: is to be here and Nightmare on Elm Street is
• 19:48
  Speaker 12: a low-budget film. and yet it's probably one of the
• 19:54
  Speaker 12: most iconic movies that I did other than but there's
• 20:01
  Speaker 12: really I was in Naked Gun and I was Queen
• 20:04
  Speaker 12: Elizabeth going down the banquet table and You know, usually
• 20:09
  Speaker 12: people ask me, oh, have I seen you in anything?
• 20:12
  Speaker 12: And you start naming off shows, Fantasy Island, Love Boat, whatever,
• 20:18
  Speaker 12: Rockford Files. Well, I didn't really watch it, you know.
• 20:22
  Speaker 12: Or they might just ask, you know, what movies have
• 20:27
  Speaker 12: you been in? And I said, well, do you love
• 20:28
  Speaker 12: horror or do you love comedy? Because... You know, I've
• 20:34
  Speaker 12: also had that. Oh, I don't watch horror films. Or
• 20:37
  Speaker 12: I'm not into comedy. But the minute I get an answer,
• 20:41
  Speaker 12: then I'll say, well, did you see Naked Gun? Well,
• 20:44
  Speaker 12: I was Queen Elizabeth going down the banquet table, you know,
• 20:47
  Speaker 12: with the legs up in the air. And they remember that.
• 20:52
  Speaker 2: I would think first and foremost, everybody knows you from
• 20:54
  Speaker 2: the car. And then, you know, those other... The most popular,
• 20:58
  Speaker 2: the car.
• 20:58
  Speaker 11: Yeah.
• 21:00
  Speaker 2: Well, thank you for talking with us today. It's really
• 21:02
  Speaker 2: interesting to hear. Thank you.
• 21:04
  Speaker 7: Thank you.
• 21:05
  Speaker 2: Thank you.
• 21:23
  Speaker 10: I wanna hold your hand Oh please, say to me
• 21:30
  Speaker 10: Let me be your.
• 21:31
  Speaker 5: Man We have just seen rushes direct from Hollywood of
• 21:38
  Speaker 5: pictures being released in the coming weeks. And we are
• 21:41
  Speaker 5: proud to announce that this theater will soon bring you
• 21:44
  Speaker 5: the greatest array of pictures ever to reach our screen.
• 21:48
  Speaker 5: You will see the finest stars in exciting performances. We're
• 21:51
  Speaker 5: thrilled to the suspense.
• 21:54
  Speaker 2: Comedy.
• 21:55
  Speaker 5: Romance, and drama of world famous stories. Here's a glimpse
• 22:00
  Speaker 5: of a few of them coming to this theater soon.
• 22:03
  Speaker 4: If you enjoy being really scared, if you're not afraid
• 22:10
  Speaker 4: of the unknown, if you've found a friend in fear,
• 22:17
  Speaker 4: then we have a friend for you.
• 22:23
  Speaker 5: Hi.
• 22:23
  Speaker 9: Samantha The director who unleashed Freddy in Nightmare on Elm Street,
• 22:34
  Speaker 9: Wes Craven, now brings you his most frightening creation.
• 22:38
  Speaker 11: Get out of my house!
• 22:44
  Speaker 5: Hey, girl.
• 22:48
  Speaker 12: She's killing people.
• 22:53
  Speaker 11: Mom?
• 22:53
  Speaker 7: Sam?
• 22:53
  Speaker 9: Sam?
• 22:59
  Speaker 7: You're so cute.
• 23:02
  Speaker 4: Deadly friend. She can't live without you.
• 23:13
  Speaker 2: Hey, Misty, do you have your earbuds strapped in?
• 23:15
  Speaker 3: I do not.
• 23:16
  Speaker 2: Well, that's probably because you didn't go to tweakedaudio.com and
• 23:20
  Speaker 2: get your tweaked audio earbuds because they're awesome.
• 23:23
  Speaker 11: I don't like things in my ears.
• 23:25
  Speaker 2: You're the worst pitch person ever.
• 23:27
  Speaker 9: I am.
• 23:28
  Speaker 2: I have mine. They're awesome. They're the wood ones. They're deluxe.
• 23:32
  Speaker 2: Look at this shit. That's hardwood.
• 23:34
  Speaker 11: I guess if I were to shove any implement in
• 23:36
  Speaker 11: my ear, it would be those.
• 23:37
  Speaker 2: We don't recommend you shove anything else in your ear.
• 23:39
  Speaker 2: That's kind of why we were hooked up with Tweaked Audio.
• 23:42
  Speaker 2: It's the only thing we recommend you shove in your
• 23:43
  Speaker 2: ear for medical purposes, really. If you damage your eardrum,
• 23:47
  Speaker 2: you're doing it wrong, and we take no responsibility.
• 23:50
  Speaker 11: Stop when you hit pressure.
• 23:52
  Speaker 2: You should only use Tweaked Audio. And when you do,
• 23:54
  Speaker 2: you go to their website. You go to pay for it.
• 23:56
  Speaker 2: You put in your code MELTDOWN. You'll get a discount
• 24:00
  Speaker 2: and free shipping.
• 24:01
  Speaker 12: It's awesome.
• 24:02
  Speaker 11: Is it better than 5% discount?
• 24:03
  Speaker 2: Not that 5% discount that you were looking at in
• 24:05
  Speaker 2: that catalog.
• 24:06
  Speaker 11: No, the discount you will be getting from Tweaked Audio
• 24:08
  Speaker 11: will be a hell of a lot better than the 5%.
• 24:09
  Speaker 11: It's a third off. You get a third off. Holy shit,
• 24:12
  Speaker 11: if I had math, that would be awesome.
• 24:14
  Speaker 2: And free shipping.
• 24:16
  Speaker 12: Fuckin' A.
• 24:16
  Speaker 11: You can't beat that.
• 24:17
  Speaker 3: And they're super fast.
• 24:18
  Speaker 11: Not with a stick.
• 24:19
  Speaker 2: I just went and got me some more, and it
• 24:21
  Speaker 2: was like a day, and they were there.
• 24:22
  Speaker 3: They were like lightning fast.
• 24:24
  Speaker 2: Like the lightning on that girl's boobs over there.
• 24:26
  Speaker 11: Lightning move fast.
• 24:27
  Speaker 2: Lightning move fast. Lightning move fast. You're welcome, Tweaked Audio.
• 24:33
  Speaker 2: You can put that on your envelopes.
• 24:34
  Speaker 11: Lightning boob fit.
• 24:35
  Speaker 2: And you're welcome.
• 24:37
  Speaker 11: Faster than a geek size to lightning boobs.
• 24:40
  Speaker 2: You're welcome.
• 24:41
  Speaker 11: They're not going to like me promoting their item, are they?
• 24:43
  Speaker 2: Actually, they have a pretty good sense of humor. Tweaked
• 24:45
  Speaker 2: Audio is kind of awesome.
• 24:47
  Speaker 14: Just go to tweakedaudio.com.
• 24:48
  Speaker 7: When you check out, enter the discount code MELTDOWN. Then
• 24:51
  Speaker 7: you'll get 33% off and free shipping.
• 24:55
  Speaker 14: Tweaked Audio.
• 24:56
  Speaker 7: Sounds better.
• 24:58
  Speaker 8: Aren't you something to admire? Cause you're shining something like
• 25:03
  Speaker 8: a mirror.
• 25:04
  Speaker 12: And I can't help but.
• 25:05
  Speaker 8: Notice You reflect in this heart of mine If you
• 25:11
  Speaker 8: ever feel alone and The grand makes me hard to
• 25:15
  Speaker 8: find This world and I'm always There and now on
• 25:20
  Speaker 8: the other side Cause.
• 25:22
  Speaker 10: With your hand in my hand In a pocket full
• 25:25
  Speaker 10: of salt.
• 25:26
  Speaker 2: I can tell you there's no.
• 25:27
  Speaker 13: Place we couldn't go Just let your hand on the
• 25:30
  Speaker 13: past I'll.
• 25:31
  Speaker 8: Be trying to pull you through You just gotta.
• 25:33
  Speaker 2: Be strong Cause I.
• 25:35
  Speaker 13: Don't wanna lose you now I'm looking right at the
• 25:39
  Speaker 13: other half of me We finished watching movies at the drive-in.
• 26:02
  Speaker 2: And that's the thing. We didn't really go into the
• 26:05
  Speaker 2: final review because we were midway in last time we recorded.
• 26:08
  Speaker 2: So do you want to finalize the deal here?
• 26:11
  Speaker 11: Should we talk about the one that was a plan
• 26:13
  Speaker 11: when we started the show last time and how much
• 26:15
  Speaker 11: it sucked?
• 26:15
  Speaker 2: Well, I mean, you can hear us in the show
• 26:18
  Speaker 2: looking up going, what's going on in this?
• 26:20
  Speaker 11: It was an entire movie of what the hell is
• 26:21
  Speaker 11: going on and i don't think us missing the first
• 26:24
  Speaker 11: couple minutes made that much of.
• 26:25
  Speaker 2: A difference that was why i chose that one because
• 26:26
  Speaker 2: that was the one i didn't really i'd kind of
• 26:28
  Speaker 2: seen the dvd cover i knew what it looked like
• 26:31
  Speaker 2: but i didn't even know those people were in it truthfully.
• 26:34
  Speaker 11: As we sat there i didn't know olivia munn was
• 26:36
  Speaker 11: in it until i like five minutes before the movie
• 26:37
  Speaker 11: started i'm like what the hell is this movie what
• 26:39
  Speaker 11: is this and i looked it up and i'm like
• 26:41
  Speaker 11: holy shit olivia munn oh my god joe mchale See, what.
• 26:44
  Speaker 2: The hell was he doing in it? Like, every time
• 26:45
  Speaker 2: I'd look up and he'd have a baseball cap on
• 26:47
  Speaker 2: backwards and I'd just be like, who is this guy
• 26:49
  Speaker 2: in this movie?
• 26:49
  Speaker 11: And spoiler alert, he dies horribly. He is the worst
• 26:53
  Speaker 11: dying person I have ever seen. It's like one of
• 26:56
  Speaker 11: those exaggerated.
• 26:59
  Speaker 2: That's a spoiler even for me because I wasn't paying
• 27:01
  Speaker 2: attention enough to know he got killed.
• 27:02
  Speaker 11: Joel McHale died. He got killed by that one guy.
• 27:06
  Speaker 2: All I know is I... realized pretty early on I'd
• 27:09
  Speaker 2: made the right call as to which one we were
• 27:10
  Speaker 2: going to talk during.
• 27:11
  Speaker 11: Because that was a Deliver Us From Evil. I keep
• 27:14
  Speaker 11: wanting to call it Deliver Us From Ava, which is
• 27:16
  Speaker 11: a movie, like a really bad movie, with Leighton Gabriel
• 27:19
  Speaker 11: Union and LL Cool J in Deliver Us From Ava.
• 27:23
  Speaker 2: If you say so.
• 27:24
  Speaker 3: Or Eva.
• 27:25
  Speaker 11: Has nobody heard of this but me? Deliver Us From Ava.
• 27:28
  Speaker 11: I know it's a movie. Don't look at me like that.
• 27:30
  Speaker 2: So let's move on from the movie that we talked
• 27:33
  Speaker 2: through the whole time. And we spent most of the
• 27:34
  Speaker 2: time trying to figure out what the hell is Eric
• 27:36
  Speaker 2: Bana's actual voice? What is his actual accent?
• 27:41
  Speaker 11: Isn't he New Zealand-y? Or Australian?
• 27:43
  Speaker 2: He's Australian. We had to look it up in the
• 27:45
  Speaker 2: middle of the movie.
• 27:46
  Speaker 11: And what the hell accent was Olivia Munn trying to
• 27:48
  Speaker 11: pull off? Because his boyfriend's like, is she Puerto Rican?
• 27:51
  Speaker 2: I don't know. Because they're all in New York.
• 27:54
  Speaker 11: Because she's like, the whitest Asian person I've ever seen.
• 27:58
  Speaker 11: And yet, she was talking about this accent that was like,
• 28:01
  Speaker 11: bad New York Puerto Rican.
• 28:02
  Speaker 2: Well, and that was what, like the Eric Vanna one. Like,
• 28:05
  Speaker 2: first of all, I couldn't figure out what his real
• 28:06
  Speaker 2: accent is supposed to be. And then, he was doing
• 28:09
  Speaker 2: one that, I guess they're in Brooklyn, right? So, it
• 28:11
  Speaker 2: was supposed to be a New York accent. But I swear,
• 28:14
  Speaker 2: every once in a while, I'll be like, That was Boston.
• 28:16
  Speaker 2: That was a bastardized Boston word thrown in the middle
• 28:19
  Speaker 2: of a bad New York accent.
• 28:21
  Speaker 4: I'm like, what is he doing?
• 28:22
  Speaker 11: So confusing. That movie was horrible.
• 28:26
  Speaker 2: Well, that's the thing. I just kind of ignored it,
• 28:28
  Speaker 2: and we sat there and talked the whole rest of
• 28:29
  Speaker 2: the time after we finished recording it. We ignored the
• 28:32
  Speaker 2: whole rest of that movie. But moving on to the
• 28:36
  Speaker 2: feature number three, I did pay attention to for good reason.
• 28:40
  Speaker 11: It was awesome.
• 28:42
  Speaker 2: What's the title on this one?
• 28:43
  Speaker 11: Oculus.
• 28:44
  Speaker 2: Before I say it wrong. oculus i'm always like octopussy
• 28:48
  Speaker 2: it might have been octopussy i don't know.
• 28:50
  Speaker 11: It's oculus with the oh so adorable uh karen gillen
• 28:55
  Speaker 11: it's kind of adorable i'm still pretty sure her hair
• 28:58
  Speaker 11: was fake even though we proved that it probably wasn't
• 29:00
  Speaker 11: fake but it looks fake the way she swings that
• 29:02
  Speaker 11: damn ponytail was such sass sassy that's a sassy ass
• 29:06
  Speaker 11: ponytail it kind of was Super sassy.
• 29:09
  Speaker 2: That's the thing I even noticed. You're usually looking for
• 29:11
  Speaker 2: that thing. Hell yeah. I should have been noticing other things,
• 29:15
  Speaker 2: but I was noticing her sassy ponytail, so.
• 29:17
  Speaker 11: I don't know what that means.
• 29:19
  Speaker 2: She was pretty damn hot either way.
• 29:20
  Speaker 11: She was swinging that shit. She had some sass. That
• 29:24
  Speaker 11: was one mighty sassy ponytail. Good lord.
• 29:29
  Speaker 2: So, aside from the ponytail, what was your take on it?
• 29:32
  Speaker 11: See, I'm surprised that I like her because she is
• 29:34
  Speaker 11: a ginger and she is inherently soulless, but.
• 29:37
  Speaker 2: I don't know she makes it work she does Okay, whatever.
• 29:41
  Speaker 11: But I really like this movie. I mean, it's hard
• 29:44
  Speaker 11: for me to watch a movie and not be like, oh, well,
• 29:46
  Speaker 11: this is exactly how it's going to end. Let me
• 29:47
  Speaker 11: break it down for you.
• 29:48
  Speaker 2: Oh, this is what they're doing. I mean, you kind
• 29:50
  Speaker 2: of get that with most, especially horror, because it's such
• 29:53
  Speaker 2: a specific genre that like, everything's been done there have
• 29:57
  Speaker 2: become a lot of things that are just contrived now
• 29:59
  Speaker 2: and like everybody's just going for a thing that's popular
• 30:02
  Speaker 2: and like this it seems like it's got a few
• 30:04
  Speaker 2: ways it could be taking that and it doesn't like
• 30:07
  Speaker 2: it does its own thing and it's kind of a
• 30:09
  Speaker 2: different spin on all these you know there are you
• 30:12
  Speaker 2: know the setting up cameras thing could turn out being
• 30:14
  Speaker 2: like a cinema verite kind of thing or another paranormal
• 30:18
  Speaker 2: activity because those they do nothing but set up cameras
• 30:20
  Speaker 2: but like it doesn't go down that road it doesn't
• 30:23
  Speaker 2: go down the normal ghost movie road. To me, it
• 30:26
  Speaker 2: takes a very different path than I expected.
• 30:29
  Speaker 11: It's hard to surprise me in a movie. I've seen
• 30:32
  Speaker 11: so many things and it's hard to not know exactly
• 30:36
  Speaker 11: where it's going to end. It kept me guessing the
• 30:39
  Speaker 11: entire time. I'm like, alright, is she fucking nuts? Am
• 30:42
  Speaker 11: I nuts? I don't even know at this point.
• 30:44
  Speaker 2: I'm going with yes on that one.
• 30:46
  Speaker 11: But yeah, it's like, Even at the end, I'm still like, okay,
• 30:50
  Speaker 11: I'm still not entirely sure what the hell just happened,
• 30:52
  Speaker 11: but I kind of like it. It keeps you guessing.
• 30:55
  Speaker 11: It's like I didn't see the end coming, even though
• 30:57
  Speaker 11: I kind of knew.
• 30:57
  Speaker 2: I kind of knew it probably wouldn't go well for people,
• 31:02
  Speaker 2: but you didn't know who and where and exactly how
• 31:04
  Speaker 2: and the way that it does it. You're like, yep,
• 31:06
  Speaker 2: that's kind of a cool way to round things out
• 31:09
  Speaker 2: in this movie.
• 31:10
  Speaker 11: Yeah, I like that it kept me guessing and that
• 31:12
  Speaker 11: it wasn't so... predictable as all fucking horror movies are today.
• 31:17
  Speaker 11: You watch it and as soon as it starts, you're like, alright,
• 31:19
  Speaker 11: we know exactly who's going to die and who's going
• 31:22
  Speaker 11: to be the survivor and what's going to happen and
• 31:25
  Speaker 11: how it's all going to play out. You can pretty
• 31:26
  Speaker 11: much play it out in your head before it actually happens.
• 31:29
  Speaker 11: Whereas this one, you're like, oh, wait, hold on a second.
• 31:31
  Speaker 12: Nope.
• 31:33
  Speaker 2: And it takes a It doesn't take a traditional path
• 31:36
  Speaker 2: to it because it keeps jumping back and forth in time.
• 31:39
  Speaker 2: And it starts to do it almost more often as
• 31:42
  Speaker 2: you get closer to the end of the movie. So
• 31:43
  Speaker 2: it really does kind.
• 31:44
  Speaker 3: Of keep you on your toes.
• 31:45
  Speaker 11: Because they're reaching their point where they're not sure what's
• 31:47
  Speaker 11: going on.
• 31:48
  Speaker 2: Because he's, like, convinced himself of certain things. And she's
• 31:52
  Speaker 2: telling him he's wrong. And then by the end, she's, yeah.
• 31:55
  Speaker 11: I think of the basic premise of the movie. It's about,
• 31:57
  Speaker 11: you know. a boy and his sister and their flashbacks
• 32:02
  Speaker 11: say that a tragedy occurred in their past.
• 32:06
  Speaker 2: Someone dies.
• 32:07
  Speaker 11: A lot of people died. Several people died and it
• 32:11
  Speaker 11: involves this mirror. That's the most basic you can get.
• 32:15
  Speaker 11: This is like years later they've tracked the mirror down.
• 32:17
  Speaker 11: All the sister has because the brother's been in like
• 32:20
  Speaker 11: a crazy house or something.
• 32:21
  Speaker 2: Or a boarding school. You couldn't really tell. He just
• 32:24
  Speaker 2: went away and they did a lot of retraining his
• 32:27
  Speaker 2: brain kind of stuff yeah brainwashing.
• 32:30
  Speaker 11: Hell yeah but anyway so it's like it gets to
• 32:32
  Speaker 11: the point where you're because you know he spent his
• 32:34
  Speaker 11: entire life thinking that he made it up that he's
• 32:37
  Speaker 11: crazy you know and then you get to the sister
• 32:40
  Speaker 11: who's oh no it's really you're crazy now for thinking
• 32:44
  Speaker 11: that's crazy.
• 32:45
  Speaker 2: You know she's like they have brainwashed you and they
• 32:48
  Speaker 2: made you forget all the stuff that really happened and
• 32:50
  Speaker 2: then he's like no it never happened like that and
• 32:52
  Speaker 2: so yeah it It's an interesting little dynamic they have
• 32:55
  Speaker 2: going there because they still like normally if it was
• 32:57
  Speaker 2: any other relationship you know they were just some person
• 33:00
  Speaker 2: they didn't know they'd be like screw you I don't
• 33:02
  Speaker 2: have to listen to this and leave but they are
• 33:03
  Speaker 2: brother and sister and they do have this like bond
• 33:06
  Speaker 2: that like they're gonna be there for each other even
• 33:09
  Speaker 2: when they disagree with each other so it kind of
• 33:11
  Speaker 2: forces them to be jammed into that house and to
• 33:13
  Speaker 2: deal with all that stuff even when they don't want
• 33:15
  Speaker 2: to deal with it.
• 33:16
  Speaker 11: So yeah I like that I like that it it
• 33:18
  Speaker 11: was it was it seemed fresh to me the movie
• 33:21
  Speaker 11: that it wasn't so incredibly predictable, and that I spend
• 33:24
  Speaker 11: a lot of time not knowing what the hell's going on,
• 33:26
  Speaker 11: or who the hell's crazy, or if it is all
• 33:31
  Speaker 11: in her head, or is it not in her head?
• 33:33
  Speaker 2: Well, and I like that it sort of grounds it
• 33:36
  Speaker 2: in the real world for most of the movie, to
• 33:38
  Speaker 2: the point where, like, you start to see, like, okay, yeah,
• 33:42
  Speaker 2: it's this creepy thing going on, but there are also
• 33:44
  Speaker 2: these somewhat normal reasons. Like, you know, once they start
• 33:48
  Speaker 2: questioning what's going on with the father in the flashbacks,
• 33:50
  Speaker 2: They're like, well, yeah, in most of these situations, this
• 33:53
  Speaker 2: happens and this happens. So it's like, oh, well, maybe
• 33:55
  Speaker 2: this is just a normal family disturbance going on, and
• 33:59
  Speaker 2: it's not something paranormal or anything. But it gives it
• 34:03
  Speaker 2: just enough of a real-world spin that you're like, oh,
• 34:06
  Speaker 2: I guess this stuff could actually happen in the real world.
• 34:08
  Speaker 2: But now it's like, feel free. Fun.
• 34:14
  Speaker 11: People don't want to talk to us.
• 34:16
  Speaker 2: We were trying to flag down our neighbor, but she
• 34:18
  Speaker 2: wandered off.
• 34:20
  Speaker 11: She wouldn't have known of our shenanigans.
• 34:22
  Speaker 2: No one does, really.
• 34:23
  Speaker 5: I know.
• 34:24
  Speaker 2: But no, I kind of like that. I like any
• 34:25
  Speaker 2: time it makes you, like, once it's, like, you know,
• 34:28
  Speaker 2: the haunting and there's CGI ghosts in your face the
• 34:30
  Speaker 2: whole time, you know, it's like, you immediately kind of
• 34:33
  Speaker 2: write that off. But when it starts questioning that thing
• 34:36
  Speaker 2: you were saying, like, am I just crazy? You know,
• 34:39
  Speaker 2: it gives it just enough of a real-world feel as to, like,
• 34:41
  Speaker 2: a rational reason why maybe this happened in the backstory
• 34:45
  Speaker 2: or why this happened when... I don't know. I always
• 34:47
  Speaker 2: like that part when it gives you a little doubt
• 34:49
  Speaker 2: in your mind as to what could actually happen versus
• 34:52
  Speaker 2: weird paranormal things.
• 34:54
  Speaker 11: And I like that there wasn't any CG that I noticed.
• 34:57
  Speaker 11: I mean.
• 34:57
  Speaker 2: Not really.
• 34:58
  Speaker 11: It was all completely practical effects, it seemed like, to
• 35:01
  Speaker 11: me anyways. There wasn't a point where I'm like, oh,
• 35:02
  Speaker 11: what the hell is that? That's so fake looking, you know?
• 35:04
  Speaker 11: Because there's, you know, there's not goosy ghouls jumping out
• 35:08
  Speaker 11: at you or anything for the most part. For the
• 35:10
  Speaker 11: most part.
• 35:11
  Speaker 2: There's a little creepy glowing action. I really like the
• 35:14
  Speaker 2: glowing action. It was kind of creepy.
• 35:16
  Speaker 11: I remember the glowing eyes.
• 35:17
  Speaker 2: It's very brief, but when you meet the creepy characters,
• 35:20
  Speaker 2: there's a little glowing. It's kind of creepy.
• 35:24
  Speaker 11: I don't know that I remember.
• 35:25
  Speaker 12: The glowing eyes.
• 35:26
  Speaker 11: Oh, the glowing eyes.
• 35:27
  Speaker 12: Yeah.
• 35:29
  Speaker 11: But it still wasn't... It wasn't distracting.
• 35:31
  Speaker 2: But it wasn't ridiculous. It was just, whoa, what was that?
• 35:33
  Speaker 2: And then usually it moves on.
• 35:35
  Speaker 11: It didn't take you out of it where you're like, oh,
• 35:36
  Speaker 11: wait a second.
• 35:37
  Speaker 3: Hold on now.
• 35:38
  Speaker 11: That's just not right.
• 35:39
  Speaker 2: It's just creepy. They're convincingly creepy when they work all
• 35:42
  Speaker 2: that stuff in.
• 35:43
  Speaker 5: I liked it.
• 35:44
  Speaker 11: And I was like, trying to figure out who everybody was.
• 35:47
  Speaker 11: Because I'm like, hey, it's that one guy from that.
• 35:49
  Speaker 11: Or hey, it's that one guy from One Tree Hill.
• 35:51
  Speaker 2: See, I immediately knew he was from One Tree Hill.
• 35:53
  Speaker 2: I don't know if I should admit that out loud.
• 35:55
  Speaker 2: I did too, but I wanted to double check. The
• 35:57
  Speaker 2: first half of that series is pretty entertaining.
• 35:59
  Speaker 11: Until I got too soap opera-y.
• 36:00
  Speaker 2: Until there wasn't enough Hillary in it. There should be
• 36:03
  Speaker 2: way more Hillary. She married that dude.
• 36:05
  Speaker 3: Yeah, she had his baby, didn't she?
• 36:09
  Speaker 11: What's his name? Jeffrey Dean Morgan.
• 36:11
  Speaker 2: There you go, that guy.
• 36:14
  Speaker 11: The Winchester dad.
• 36:18
  Speaker 2: Odd couples. What are you going to do? I don't
• 36:19
  Speaker 2: get it.
• 36:20
  Speaker 6: Whatever.
• 36:21
  Speaker 11: I don't know where we're going. I really liked Oculus.
• 36:24
  Speaker 11: I would definitely recommend it.
• 36:25
  Speaker 3: Two thumbs up.
• 36:26
  Speaker 2: That's what I'm saying. So there's our horror movie recommendation
• 36:30
  Speaker 2: for the episode. Hell yeah.
• 36:33
  Speaker 13: I couldn't get any bigger. Want some music for your ears?
• 36:46
  Speaker 13: Doo-Wop Shop makes.
• 36:50
  Speaker 6: It easy to rent for any.
• 36:53
  Speaker 13: Event, business meeting, or special occasion.
• 37:10
  Speaker 7: From PA systems to karaoke machines to just about anything
• 37:13
  Speaker 7: that makes noise, you can rent it from the Doo-Wop Shop.
• 37:16
  Speaker 7: In Louisville, find them either at their Highland store at
• 37:18
  Speaker 7: 1587 Bardstown Road or in the East End at 2915
• 37:22
  Speaker 7: South Hurstburn Parkway. And look for them online at DooWopShop.com.
• 37:27
  Speaker 7: Doo-Wop Shop.
• 37:27
  Speaker 14: We're serious about music.
• 37:31
  Speaker 5: Hey guys, it's the repeater from Tower of Technobabble and
• 37:36
  Speaker 5: we're getting ready to do our next show and I
• 37:38
  Speaker 5: thought it might be cool for you to look behind
• 37:41
  Speaker 5: the scenes.
• 37:41
  Speaker 10: And see how the magic happens.
• 37:43
  Speaker 4: In fact, Conduit is getting Towerbot ready right now as
• 37:47
  Speaker 4: we speak.
• 37:47
  Speaker 11: Approaching Singularity.
• 37:48
  Speaker 5: Avengers. Bacon.
• 37:50
  Speaker 2: Batman.
• 37:51
  Speaker 7: Bigfoot.
• 37:52
  Speaker 5: Cartoons.
• 37:53
  Speaker 11: Catwoman.
• 37:54
  Speaker 3: Comics.
• 37:54
  Speaker 5: Conspiracies.
• 37:55
  Speaker 7: Doctor Who.
• 37:56
  Speaker 3: Green Lantern.
• 37:57
  Speaker 7: Hoaxes.
• 37:58
  Speaker 4: Mars.
• 37:59
  Speaker 5: Monkeys.
• 38:00
  Speaker 7: Movie Reviews.
• 38:01
  Speaker 13: Myths.
• 38:02
  Speaker 2: NASA.
• 38:03
  Speaker 11: Oceanography.
• 38:04
  Speaker 2: Politics.
• 38:04
  Speaker 5: That. Religions. Need it. Science. Got it.
• 38:07
  Speaker 4: Sci-fi.
• 38:07
  Speaker 7: Do you mean sci-fi?
• 38:08
  Speaker 5: Space probes. Got it. Sports.
• 38:10
  Speaker 2: Screw that.
• 38:10
  Speaker 5: Star Wars.
• 38:11
  Speaker 3: Got it.
• 38:11
  Speaker 11: Star Wars prequels.
• 38:12
  Speaker 5: Oh, God, no.
• 38:13
  Speaker 11: Superman.
• 38:13
  Speaker 5: Got it. Transformers. Got it.
• 38:15
  Speaker 3: Troll Hunter.
• 38:15
  Speaker 5: Got it.
• 38:15
  Speaker 4: Twilight.
• 38:16
  Speaker 14: That.
• 38:17
  Speaker 5: UFOs.
• 38:17
  Speaker 7: Got it.
• 38:18
  Speaker 12: Urban legends.
• 38:18
  Speaker 7: That's weird tales.
• 38:19
  Speaker 5: Got it.
• 38:20
  Speaker 9: Weirdos.
• 38:20
  Speaker 5: Got it.
• 38:21
  Speaker 4: Tune in at www.toweroftechnobattle.com and see what happens.
• 38:40
  Speaker 5: Hi, everybody. I'm Tony Todd.
• 38:42
  Speaker 7: You're listening to Movie Meltdown.
• 38:43
  Speaker 6: Pay attention and enjoy the conversations, the unique conversations.
• 38:59
  Speaker 5: It's part of your problem, you know.
• 39:00
  Speaker 12: You haven't seen enough movies.
• 39:02
  Speaker 2: All of life's riddles are answered in the movies.
• 39:04
  Speaker 5: And now, on with the show.
• 39:30
  Speaker 6: Down in the graveyard, we'll have that frisk.
• 39:34
  Speaker 10: The Esme's sweet, the Esme's sick.
• 39:38
  Speaker 6: He never smiles, his mouth merely twists.
• 39:43
  Speaker 11: The breath in my lungs.
• 39:45
  Speaker 12: Feels clanging and thick.
• 39:47
  Speaker 6: But I know his name is called Mr.
• 39:51
  Speaker 9: Big. And one of the things he's gonna.
• 39:55
  Speaker 12: Say to you.
• 40:26
  Speaker 3: It is Jeffrey Reddick.
• 40:29
  Speaker 2: So, okay. I try to talk to people and get
• 40:31
  Speaker 2: like the inside track as to how, you know, you
• 40:34
  Speaker 2: get into the business. I would say rule one, don't
• 40:37
  Speaker 2: be from Kentucky.
• 40:39
  Speaker 3: But I'm from Kentucky. But you're from Kentucky. I'm from
• 40:41
  Speaker 3: East and Kentucky. That's the question.
• 40:44
  Speaker 2: How do you get out of the boonies of Kentucky
• 40:46
  Speaker 2: and actually make it into the film industry?
• 40:49
  Speaker 1: Well, there's one simple answer. No, there's not a simple
• 40:53
  Speaker 1: answer actually. Um, There are probably a couple things I
• 40:57
  Speaker 1: would say. One, stay in school. Get an education. I mean,
• 41:00
  Speaker 1: I went to Berea College in Kentucky, majored in theater.
• 41:04
  Speaker 1: I have a friend there right now. It's a great college.
• 41:06
  Speaker 3: It really is.
• 41:08
  Speaker 2: There's nothing around it from what I hear.
• 41:10
  Speaker 3: Richmond.
• 41:11
  Speaker 2: She comes back home, she's just like, oh my God,
• 41:12
  Speaker 2: there's nothing to do.
• 41:13
  Speaker 3: Yeah, you can make crafts. Lots of crafts. But it's
• 41:16
  Speaker 3: a really, they're actually a really great college.
• 41:19
  Speaker 1: And I used, you know, I was a sophomore there
• 41:21
  Speaker 1: and I went to New York for a summer internship
• 41:24
  Speaker 1: studying acting. And I got an internship at New Line
• 41:27
  Speaker 1: Cinema and ended up staying in New York. But I
• 41:30
  Speaker 1: wouldn't have had that opportunity if I hadn't gone on
• 41:33
  Speaker 1: to college. So I always tell people, A, because I
• 41:35
  Speaker 1: talk to so many people who just want to kind
• 41:36
  Speaker 1: of get from point zero to 100 in like a
• 41:40
  Speaker 1: year or two.
• 41:41
  Speaker 3: And it's like, no, you've got to.
• 41:43
  Speaker 2: Occasionally that happens. Not very often.
• 41:46
  Speaker 1: But it's such the rare exception that you should plan
• 41:49
  Speaker 1: that it's not going to happen.
• 41:51
  Speaker 14: So.
• 41:52
  Speaker 2: Starting out, did you plan on getting into writing?
• 41:54
  Speaker 1: I actually wanted to act. That was my first dream.
• 41:58
  Speaker 1: So I studied theater at Berea, moved to New York,
• 42:01
  Speaker 1: lucked into getting an agent pretty much two weeks into
• 42:05
  Speaker 1: being there. But this was back in the early 90s,
• 42:07
  Speaker 1: and they didn't know what to do with me because
• 42:08
  Speaker 1: I'm biracial. And the woman was like, well, you're kind
• 42:12
  Speaker 1: of like an ethnic Michael J.
• 42:13
  Speaker 5: Fox.
• 42:15
  Speaker 3: And I don't know how.
• 42:16
  Speaker 2: Weirdest thing ever.
• 42:17
  Speaker 5: Yeah.
• 42:18
  Speaker 2: Michael j fox is cool but but then she's like
• 42:21
  Speaker 2: but you know if you rap or play basketball i
• 42:23
  Speaker 2: could cast you but i just don't know what to
• 42:25
  Speaker 2: do with you weren't you practicing those i know i
• 42:27
  Speaker 2: don't know writing and learning things.
• 42:30
  Speaker 1: And then the cosby show went off the air and
• 42:32
  Speaker 1: i was like well there was my only shot at
• 42:34
  Speaker 1: acting so so i so i decided to get into
• 42:38
  Speaker 1: writing after that um so you know i knew i
• 42:42
  Speaker 1: always knew i wanted to be in the entertainment industry
• 42:43
  Speaker 1: but That's one of the lessons you learn as you're
• 42:46
  Speaker 1: muddling your way through life is you've got to roll
• 42:49
  Speaker 1: with the punches.
• 42:50
  Speaker 2: Is it something that you've actually found suited you better
• 42:54
  Speaker 2: in the long run anyway? I think sometimes people get
• 42:56
  Speaker 2: into that and they have one thing in mind and
• 42:58
  Speaker 2: then they get in there and go, oh, I don't
• 42:59
  Speaker 2: really want to be a director. I want to be
• 43:00
  Speaker 2: a cinematographer. And they realize they're really... They're taken more
• 43:05
  Speaker 2: with that thing once they get in the middle of
• 43:06
  Speaker 2: it and realize, oh, directing's a lot of trouble over here.
• 43:09
  Speaker 2: I want to do this.
• 43:10
  Speaker 5: Yeah.
• 43:11
  Speaker 3: You know what I know?
• 43:11
  Speaker 1: I still have the acting bug. I think it's something
• 43:14
  Speaker 1: you probably have the itch for or you don't. You've
• 43:17
  Speaker 1: turned up in several of your movies. Yeah.
• 43:20
  Speaker 3: And I want to do that more.
• 43:21
  Speaker 1: But I just directed my first short, and now I
• 43:24
  Speaker 1: want to direct.
• 43:24
  Speaker 3: And that stems from a lot of people butchering my...
• 43:27
  Speaker 3: Not a lot.
• 43:27
  Speaker 1: I shouldn't say a lot of people. That's a horrible
• 43:29
  Speaker 1: thing to say. But a lot of my scripts not
• 43:31
  Speaker 1: turning out how I'd written them. And so the only
• 43:34
  Speaker 1: way to really control that is to direct your own stuff,
• 43:37
  Speaker 1: which at this.
• 43:38
  Speaker 2: Point we're getting to that. We're getting back to almost
• 43:40
  Speaker 2: an artist feeling with film because everything can be done.
• 43:44
  Speaker 2: So single, like once you go shoot the footage, everything
• 43:47
  Speaker 2: from there on, you can do on your laptop at
• 43:49
  Speaker 2: this point, including distribution to some extent.
• 43:52
  Speaker 3: So it's, It's changed the rules. It's changed the rules
• 43:54
  Speaker 3: a lot. But it's also cluttered the market a lot, too.
• 43:57
  Speaker 2: Massively.
• 43:58
  Speaker 3: Because everybody thinks they can make a movie. And they can.
• 44:01
  Speaker 2: And everybody can.
• 44:02
  Speaker 3: Whether or not it's watchable is a different story. That's
• 44:06
  Speaker 3: the case. Yeah, definitely.
• 44:08
  Speaker 2: Well, as you get into writing, because this is when
• 44:11
  Speaker 2: I hear a lot of people working in the industry,
• 44:14
  Speaker 2: and it's funny, people on the outside probably think they
• 44:17
  Speaker 2: have some sort of feeling. But I think it's very
• 44:19
  Speaker 2: different once you're on that side. So I'll ask you, like,
• 44:22
  Speaker 2: what is... the process you go through as far as
• 44:25
  Speaker 2: like actually making a living writing for film because i'm
• 44:28
  Speaker 2: sure it's different than even writing for any other situation
• 44:31
  Speaker 2: well it is because um you just never know what's
• 44:34
  Speaker 2: going to happen with a project and you know you
• 44:36
  Speaker 2: end up selling the copyright to your your work away
• 44:40
  Speaker 2: so you don't have any ownership after after the first
• 44:42
  Speaker 2: movie gets done so you know i've been fortunate enough
• 44:45
  Speaker 2: to at least sell things you know and i've had
• 44:48
  Speaker 2: you know a few things produced and thankfully they keep
• 44:50
  Speaker 2: making final destination sequels so i Thank you, thank you.
• 44:53
  Speaker 3: Thank you, thank you. Make more. But, you know, you
• 44:59
  Speaker 3: just have to keep working. You just have to keep working.
• 45:02
  Speaker 2: My question is almost more the process itself. Are you constantly, like,
• 45:05
  Speaker 2: selling treatments or doing rewrites? Or is it all of
• 45:08
  Speaker 2: these things? It's kind of all of the above. I mean,
• 45:10
  Speaker 2: I'm constantly, like, working on new projects. I'm trying to
• 45:12
  Speaker 2: move projects forward.
• 45:15
  Speaker 1: You know, I have, like, probably four scripts right now
• 45:17
  Speaker 1: that people have that they say they're going to finance
• 45:20
  Speaker 1: and get off the ground.
• 45:21
  Speaker 3: We'll see.
• 45:22
  Speaker 5: Hollywood.
• 45:22
  Speaker 1: You know, I'm doing a project now with some great
• 45:25
  Speaker 1: people out of Jamaica. And we just announced that. So
• 45:29
  Speaker 1: that's kind of moving forward. And, you know, I just
• 45:32
  Speaker 1: turned one of my scripts, did a novelization on one
• 45:34
  Speaker 1: of my scripts. So I'm trying to just always keep
• 45:36
  Speaker 1: myself busy.
• 45:38
  Speaker 2: And that's what I think people don't realize is how
• 45:40
  Speaker 2: many balls are in the air while you're doing this
• 45:42
  Speaker 2: kind of a job.
• 45:42
  Speaker 1: The really bad joke is I've got like 20 balls
• 45:45
  Speaker 1: in the air. I'm just waiting for a couple of
• 45:46
  Speaker 1: them to land on my face is what I say.
• 45:48
  Speaker 2: That can be taken so many ways.
• 45:49
  Speaker 3: So many ways, I know.
• 45:50
  Speaker 1: But you don't forget it, though. You remember that phrase now.
• 45:53
  Speaker 2: But it's, yeah, it's true. I mean, how many things you,
• 45:55
  Speaker 2: because that's what I was going to say. What's the
• 45:57
  Speaker 2: average of how many things you have in process at
• 46:00
  Speaker 2: that point? Four, five, at any given moment? For me,
• 46:02
  Speaker 2: it's like five or six, usually. That's crazy.
• 46:05
  Speaker 1: And a lot of them will never see the light
• 46:06
  Speaker 1: of day. And a lot of it's doing work to
• 46:09
  Speaker 1: get work. And, you know, it's, you know, because people
• 46:13
  Speaker 1: do kind of have this ideal. I mean, when I
• 46:15
  Speaker 1: was little, I used to think, oh. If you write
• 46:16
  Speaker 1: a good movie, somebody just comes in and buys it,
• 46:18
  Speaker 1: and you become rich, and then they go shoot it,
• 46:21
  Speaker 1: and then it comes out a year later, and then
• 46:22
  Speaker 1: you get more rich, and then you just keep doing more.
• 46:24
  Speaker 2: How's that working out? Yeah, that's not how it happens. Yeah,
• 46:28
  Speaker 2: and that's when I'll hear writers talking. They're somewhat successful writers.
• 46:32
  Speaker 2: They're like, I've written 25 scripts. They've made two movies,
• 46:35
  Speaker 2: but I've sold 25 scripts, most of which nobody ever touched,
• 46:39
  Speaker 2: or they just got shelved, or whatever. So it's funny
• 46:41
  Speaker 2: that they're still making a living and writing what were
• 46:44
  Speaker 2: great ideas to them and nobody will ever see them.
• 46:47
  Speaker 1: And a lot of it's like if you sell something
• 46:50
  Speaker 1: to a studio and they change regimes, then the new
• 46:53
  Speaker 1: people don't want to do anything that the old people
• 46:54
  Speaker 1: were working on.
• 46:55
  Speaker 3: So they'll put all those projects on the shelf. It
• 46:57
  Speaker 3: becomes an ego thing.
• 46:58
  Speaker 2: I didn't find this, so I don't want anybody else
• 47:00
  Speaker 2: getting credit for it.
• 47:02
  Speaker 1: So I'm not doing it. It's frustrating when there are
• 47:06
  Speaker 1: good projects that are sitting on shelves. If they're bad projects,
• 47:09
  Speaker 1: let them sit. Let them collect some dust.
• 47:12
  Speaker 2: Well, then I guess from what I hear, Final Destination
• 47:14
  Speaker 2: came based out of this wonderful state of ours that
• 47:18
  Speaker 2: you were leaving here or going here?
• 47:20
  Speaker 1: Oh, I was coming here and I read an article. Actually,
• 47:22
  Speaker 1: Final Destination 2 is another Kentucky story, which is odd,
• 47:25
  Speaker 1: but not odd, but awesome.
• 47:27
  Speaker 3: Death all revolves around Kentucky. No, I was coming home.
• 47:31
  Speaker 1: I was flying home and I read an article about
• 47:33
  Speaker 1: a woman on a plane who was on vacation in
• 47:35
  Speaker 1: Hawaii and her mom called her and said, don't take
• 47:37
  Speaker 1: that flight you're on tomorrow.
• 47:38
  Speaker 3: I have a bad feeling about it.
• 47:39
  Speaker 10: And so.
• 47:40
  Speaker 3: As I'm on a plane.
• 47:40
  Speaker 5: On a plane.
• 47:41
  Speaker 3: Yeah, I read it on a plane.
• 47:43
  Speaker 1: And so that's where the, you know, and the plane
• 47:45
  Speaker 1: she was supposed to be on crashed. So that kind
• 47:47
  Speaker 1: of planted the seed. But it was probably five years
• 47:50
  Speaker 1: later before I actually wrote Final Destination. I just thought
• 47:52
  Speaker 1: that was kind of an interesting thing. But, you know,
• 47:53
  Speaker 1: for the second one, you know, I wrote the story
• 47:56
  Speaker 1: for the second one and we were, originally the opening
• 47:59
  Speaker 1: was a hotel fire. And, you know, the producer was
• 48:01
  Speaker 1: kind of like, eh, I don't know, it's just not
• 48:03
  Speaker 1: very exciting. And I'm like, yeah, I'll think of something.
• 48:05
  Speaker 1: I was coming home for Thanksgiving and I got behind
• 48:07
  Speaker 1: one of those log trucks.
• 48:08
  Speaker 3: I was like, Holy crap! And I pulled over to
• 48:12
  Speaker 3: the side of the road. I called Bruce. I'm like,
• 48:13
  Speaker 3: what about a log truck on a freeway? And he's like,
• 48:14
  Speaker 3: that's awesome. I'm like, yes.
• 48:17
  Speaker 2: One of the most memorable scenes of any film.
• 48:19
  Speaker 1: Of any film ever, I think. In my heart of hearts,
• 48:25
  Speaker 1: I actually love the second movie more than the first one.
• 48:30
  Speaker 3: For me, it did what I think a good sequel
• 48:34
  Speaker 3: should do. It kind of upped the ante, but it also....
• 48:37
  Speaker 1: Was a continuation of the first story. It brought character
• 48:39
  Speaker 1: back from the first one. It tied into the first one,
• 48:41
  Speaker 1: but kind of took the desk design out further.
• 48:45
  Speaker 9: Yeah.
• 48:45
  Speaker 2: In those series of films, it is funny. Like that
• 48:48
  Speaker 2: second one, a lot of times will be the best.
• 48:51
  Speaker 2: And a lot, I feel like it's because you're getting
• 48:52
  Speaker 2: the basics of the story mechanics out of the way
• 48:54
  Speaker 2: that first time. And then you can just build on it.
• 48:57
  Speaker 2: And if you write a good script, yeah, then you can,
• 48:59
  Speaker 2: on top of that, put this great movie together.
• 49:01
  Speaker 5: Yeah.
• 49:02
  Speaker 2: So, I mean, I guess that first time out though,
• 49:05
  Speaker 2: how easy was it selling a, a, What at that
• 49:07
  Speaker 2: point was still kind of floating around in the slasher
• 49:10
  Speaker 2: world with a slasher that you can't see.
• 49:12
  Speaker 3: No, it was really hard.
• 49:13
  Speaker 1: And I worked at New Line and I had producers,
• 49:15
  Speaker 1: uh warren zeid and craig perry um who were had
• 49:19
  Speaker 1: done america done american pie and and had a deal
• 49:22
  Speaker 1: at new line and i had them attached and we
• 49:25
  Speaker 1: you know everybody's like i don't get it how can
• 49:27
  Speaker 1: you can't fight death you can't see it doesn't make
• 49:29
  Speaker 1: any sense does not compute um so it was really
• 49:32
  Speaker 1: they didn't talk like that but almost they kind of
• 49:35
  Speaker 1: some of them did but most of them yeah but
• 49:38
  Speaker 1: they couldn't get their minds around it. And at one
• 49:39
  Speaker 1: point they actually had me show it in the very end,
• 49:43
  Speaker 1: like at the very end, like this kind of figure
• 49:45
  Speaker 1: shows up and like, it was an angel of death, angel,
• 49:48
  Speaker 1: angel of death. But, um, but it wasn't until the
• 49:51
  Speaker 1: producers finally are like, we're going to take this to Miramax.
• 49:54
  Speaker 1: If you guys don't buy it.
• 49:55
  Speaker 2: Nice.
• 49:56
  Speaker 3: And, um, mail magically, they bought it. That's what you need. Magically.
• 50:00
  Speaker 1: They bought it right away after that, but they still
• 50:01
  Speaker 1: had a hard time with, you know, and it wasn't
• 50:03
  Speaker 1: until the movie came out. And then of course it's like, Hey, it's,
• 50:06
  Speaker 1: That's the genius of it, is you never see it,
• 50:08
  Speaker 1: and then everybody's like, yeah, that's what we loved about
• 50:10
  Speaker 1: it all along.
• 50:11
  Speaker 2: If you're going to cast it, though, William Sadler's the
• 50:14
  Speaker 2: only way to go.
• 50:16
  Speaker 3: That's what.
• 50:16
  Speaker 2: Can we get a super cut out there of somebody
• 50:18
  Speaker 2: that you piece in William Sadler as death, killing off
• 50:22
  Speaker 2: these kids? Because I kind of would be okay. That's
• 50:24
  Speaker 2: the only way I could see a person in there.
• 50:26
  Speaker 1: Maybe we'll do a six one where, yeah, it's just
• 50:29
  Speaker 1: all scenes from the original, all the other movies, but
• 50:32
  Speaker 1: we just have William Sadler in there actually.
• 50:35
  Speaker 3: He'd be on board with it. CGI him.
• 50:37
  Speaker 2: I saw him a couple weeks ago, one of these.
• 50:39
  Speaker 2: He's probably okay with that.
• 50:40
  Speaker 3: He'll probably do that.
• 50:42
  Speaker 2: Well, then I was going to ask, again, getting more
• 50:45
  Speaker 2: into the way that the story world works, because yours
• 50:48
  Speaker 2: changes as you go. It's like screenplay by, and then
• 50:52
  Speaker 2: story by, and characters by. As the series goes on,
• 50:55
  Speaker 2: it sort of waters itself down.
• 50:57
  Speaker 1: Yeah, well, basically, because I created the original, I wrote
• 51:01
  Speaker 1: the original script for the first movie, Um, the WGA
• 51:04
  Speaker 1: has an arbitration process where they can, you know, determine who, who,
• 51:09
  Speaker 1: who contributed what to what on the.
• 51:10
  Speaker 3: Final shooting script.
• 51:11
  Speaker 2: From what I hear, very thorough too.
• 51:13
  Speaker 1: Yeah, no, they're very, no, it's great though because it's
• 51:15
  Speaker 1: really great to protect writers when douchebag people come in
• 51:19
  Speaker 1: and want to take your credit away from your property.
• 51:21
  Speaker 5: Yeah.
• 51:22
  Speaker 1: So, um, so no, so I got sole story credit
• 51:25
  Speaker 1: on the first one so that I'm technically the creator
• 51:27
  Speaker 1: of it. So they always have to give me a
• 51:28
  Speaker 1: credit on further ones, but I actually did write this story.
• 51:31
  Speaker 1: You know, they bought my story for the second one. Um,
• 51:34
  Speaker 1: and then also, you know, they brought in these great screenwriters,
• 51:37
  Speaker 1: Eric Bress and Jay Mackey Gruber to, who did the
• 51:39
  Speaker 1: butterfly effect that they actually did the screenplay and, uh,
• 51:42
  Speaker 1: did a wonderful job with it.
• 51:43
  Speaker 2: You know, I thought, I just think it's a lot
• 51:44
  Speaker 2: of fun, but. Do you take it personally when other
• 51:47
  Speaker 2: people take your stories and redo it?
• 51:50
  Speaker 3: No, no, no.
• 51:50
  Speaker 5: It's okay.
• 51:51
  Speaker 1: You know, I, that's, I think a good thing to
• 51:53
  Speaker 1: be starting at the studio when I was 19 is
• 51:55
  Speaker 1: I saw, I saw how the business were, you know,
• 51:57
  Speaker 1: my illusions of how the movie industry worked were, were
• 51:59
  Speaker 1: crushed very early. just because I realized a lot of
• 52:02
  Speaker 1: it was business and it's not personal. A great script
• 52:05
  Speaker 1: would come in that got great coverage and everybody wanted
• 52:08
  Speaker 1: to make it, but there was nobody attached to it.
• 52:10
  Speaker 1: And then a really crappy script would come in. I
• 52:12
  Speaker 1: keep not cursing because I don't know who your audience is.
• 52:14
  Speaker 1: I encourage people to curse. I don't usually curse a lot,
• 52:17
  Speaker 1: but usually there would be a shit flying by now.
• 52:19
  Speaker 1: There you go.
• 52:20
  Speaker 2: Go to town.
• 52:21
  Speaker 1: I keep saying crap because I'm like, I think I
• 52:24
  Speaker 1: did that one time. I did that once and somebody
• 52:25
  Speaker 1: was like, we have a family audience. And I was like,
• 52:28
  Speaker 1: dag nabbit.
• 52:29
  Speaker 2: Our fan base is entirely six-year-olds.
• 52:32
  Speaker 3: We're piped directly into a preschool.
• 52:36
  Speaker 1: So I don't take it personally because we'd get a
• 52:38
  Speaker 1: really shitty script in that had Jim Carrey attached. And
• 52:41
  Speaker 1: it's like, guess what script's going to get made? The
• 52:43
  Speaker 1: one with Jim Carrey attached. So I learned very early.
• 52:45
  Speaker 1: And I'm very collaborative, too. There's too many egos. I mean,
• 52:49
  Speaker 1: you really have to let go of your ego if
• 52:50
  Speaker 1: you're going to work in this business. Or you're going
• 52:52
  Speaker 1: to be miserable because people are going to rewrite your stuff.
• 52:55
  Speaker 1: You're going to get a director on who's going to
• 52:56
  Speaker 1: want to rewrite your stuff. You're going to get actors on.
• 52:59
  Speaker 1: You know, you're going to want to rewrite your stuff and,
• 53:01
  Speaker 1: you know, you got to suck it up if you're
• 53:03
  Speaker 1: a writer. Like if you try to, you know, I've
• 53:05
  Speaker 1: got friends that try to, you know, buck the system
• 53:07
  Speaker 1: and it's like, well, you're going to have to go
• 53:08
  Speaker 1: out and make your own movies.
• 53:10
  Speaker 3: Like you're not going to be able to sell your
• 53:11
  Speaker 3: scripts to anybody else.
• 53:12
  Speaker 2: You can do that, but it's definitely going to be,
• 53:13
  Speaker 2: you know, you're not going to get the budget thrown
• 53:15
  Speaker 2: at you. You're not going to get the lead roles
• 53:17
  Speaker 2: you want. So it's a surprise.
• 53:19
  Speaker 1: A lot of it's like, you know, I'm working with these, again,
• 53:21
  Speaker 1: these people out of Jamaica and we're doing a big
• 53:23
  Speaker 1: franchise that we're really excited about based on a, White
• 53:26
  Speaker 1: Witch Rose Hall which is a legend out there but
• 53:29
  Speaker 1: you know you know we were talking about different deals
• 53:32
  Speaker 1: and stuff like that and sometimes when you do an
• 53:34
  Speaker 1: initial deal with a company and not on this project
• 53:36
  Speaker 1: but on other things you know we've had to like
• 53:38
  Speaker 1: you know take something like take a kind of a
• 53:40
  Speaker 1: bad deal to kind of get in bed with these
• 53:42
  Speaker 1: people you know.
• 53:43
  Speaker 2: And then from there adjust things a little.
• 53:46
  Speaker 1: Bit yeah so you're you know you're not gonna I
• 53:48
  Speaker 1: have you know friends that I try to mentor and
• 53:51
  Speaker 1: are younger people that I try to mentor and I
• 53:53
  Speaker 1: talk to them you know they're like well am I
• 53:55
  Speaker 1: gonna get like a $ 100, 000.
• 53:56
  Speaker 3: For my first script?
• 53:58
  Speaker 14: No.
• 53:58
  Speaker 2: Good luck with that.
• 53:59
  Speaker 3: I'm going to be on set, right?
• 54:00
  Speaker 5: No.
• 54:01
  Speaker 3: Can I be in the lottery too? Yeah.
• 54:05
  Speaker 2: Well then, I guess getting into around that same time frame,
• 54:09
  Speaker 2: it came out of that run with after the push
• 54:13
  Speaker 2: of Scream and then I Know What You Did Last Summer.
• 54:15
  Speaker 2: I Know What You Did Last Summer is already getting
• 54:16
  Speaker 2: a reboot. Do you think they're going to carry on
• 54:19
  Speaker 2: with Final Destination or has it come to the point
• 54:21
  Speaker 2: where they feel like they have to reboot now? You
• 54:24
  Speaker 2: know what?
• 54:24
  Speaker 1: I'm Craig Perry I still talk to a lot. He's
• 54:27
  Speaker 1: a producer and a great, wonderful guy. Personally, I think
• 54:32
  Speaker 1: it's time to reboot. Technically, spoiler alert, they kind of
• 54:36
  Speaker 1: closed the circle. It would be an interesting way to
• 54:40
  Speaker 1: now turn around and do something else. It would be
• 54:42
  Speaker 1: the perfect timing. It's like, had a really good run.
• 54:47
  Speaker 1: Let's do something a little different.
• 54:49
  Speaker 3: But I don't know.
• 54:50
  Speaker 1: People are very adverse to risk, so... I don't know
• 54:54
  Speaker 1: if they're going to do that or not. Studios in particular.
• 54:56
  Speaker 1: Safe is what sold before.
• 55:02
  Speaker 3: Again, they're rebooting movies that are like five years old now.
• 55:05
  Speaker 1: It's crazy. My thing is it's Death. Death has a
• 55:10
  Speaker 1: new design. It's a tagline. You just have a different
• 55:13
  Speaker 1: kind of movie with the same basic premise.
• 55:16
  Speaker 2: I think definitely taking it. That was what I faulted
• 55:19
  Speaker 2: mostly on the screen coming back a decade later and
• 55:22
  Speaker 2: trying to not do things differently. I feel like they
• 55:25
  Speaker 2: fell right into doing that same pattern again, which it
• 55:27
  Speaker 2: felt just like 2 and 3. And I'm like, it
• 55:29
  Speaker 2: just feels like another sequel when they kept trying to
• 55:32
  Speaker 2: pretend like they were taking it in a new direction,
• 55:34
  Speaker 2: but they didn't really want to because they knew what
• 55:35
  Speaker 2: was going to sell.
• 55:36
  Speaker 11: Right, right.
• 55:36
  Speaker 1: I think it's the same situation. But I still like it.
• 55:39
  Speaker 1: I thought the motivation was kind of weak.
• 55:40
  Speaker 2: I mean, it's got really good stuff in there, but
• 55:43
  Speaker 2: I feel like they had potential to just really go
• 55:45
  Speaker 2: somewhere else with it, and they kind of played it safe.
• 55:47
  Speaker 3: Yeah. In most places do that.
• 55:49
  Speaker 2: Yeah. I was going to say new stuff coming up.
• 55:52
  Speaker 2: I know you said you want to get into directing.
• 55:54
  Speaker 2: Is that more of a focus? Yeah, no, I just
• 55:57
  Speaker 2: finished a short of mine called Good Samaritan. Look it
• 56:00
  Speaker 2: up online. It's on Facebook and Twitter. It's got its
• 56:02
  Speaker 2: own Twitter account. This internet, I tell you, it's catching on.
• 56:05
  Speaker 1: It's catching on, but no, we're doing the festival run
• 56:08
  Speaker 1: right now. We actually showed here at Fright Night in Louisville,
• 56:12
  Speaker 1: and that was a Kentucky debut of it, and we
• 56:14
  Speaker 1: premiered in Fantasia.
• 56:15
  Speaker 9: Cool.
• 56:17
  Speaker 1: Yeah, Rainn Wilson's in it, Toby Hemingway, who's in The Covenant,
• 56:20
  Speaker 1: and Black Swan's in it. I have a cameo from
• 56:22
  Speaker 1: Jane Badler, who was the original Diana in V, the miniseries.
• 56:26
  Speaker 3: Nice.
• 56:27
  Speaker 2: My V days.
• 56:28
  Speaker 3: Oh, my God.
• 56:29
  Speaker 1: I freaking geeked out when I met her. Literally got starstruck.
• 56:32
  Speaker 1: I've met Morgan Friedman and Brad... I've met all these...
• 56:35
  Speaker 1: I didn't care.
• 56:36
  Speaker 2: Big deal. Were you still a little bit afraid there
• 56:39
  Speaker 2: was a lizard underneath there? No, I was just like...
• 56:42
  Speaker 2: I couldn't talk. I went to lunch with her, and
• 56:45
  Speaker 2: I was just sitting there like.
• 56:48
  Speaker 1: And then finally, I'm just like, I have to apologize.
• 56:50
  Speaker 1: I'm just, I said, I've never known what being starstruck
• 56:52
  Speaker 1: is like now, and I'm starstruck, and I just need
• 56:55
  Speaker 1: a moment.
• 56:56
  Speaker 2: I contained myself when I sat there with Leah Thompson,
• 56:58
  Speaker 2: and I'm really not sure how I did it. Teenage
• 57:02
  Speaker 2: me would have died at that point. I composed myself.
• 57:06
  Speaker 3: Yes, you did better than I did, because I was like.
• 57:09
  Speaker 2: Well, I blurted out and told her that I was
• 57:11
  Speaker 2: desperately in love with her. Was that not cool? I
• 57:13
  Speaker 2: was like, damn it. I thought I was playing it
• 57:16
  Speaker 2: so cool.
• 57:18
  Speaker 1: So yeah, directing, that's definitely something I'm looking to get
• 57:21
  Speaker 1: more into. And, you know, we're working on a project
• 57:24
  Speaker 1: called Superstition. It's going to be like a franchise based
• 57:26
  Speaker 1: around superstitions and hoping to direct the first one out
• 57:31
  Speaker 1: of the gate on that one. So we're closing the
• 57:32
  Speaker 1: deal on that and doing a book adaptation with this guy,
• 57:35
  Speaker 1: Andrew Vandenhouten. He runs a company called Modern Cine. They
• 57:38
  Speaker 1: do a lot of great independent horror films, like a
• 57:40
  Speaker 1: lot of Jack Ketchum stuff, like The Girl Next Door.
• 57:43
  Speaker 1: We're doing a franchise based off a book, young adult
• 57:46
  Speaker 1: book called The Undertaker. So, Again, a lot of balls
• 57:49
  Speaker 1: in the air, so we'll see.
• 57:50
  Speaker 2: I was going to ask, is Tent Square still something
• 57:52
  Speaker 2: you're focusing on?
• 57:53
  Speaker 1: Yeah, and I'll be writing the feature for that, and
• 57:55
  Speaker 1: that's going to start at some point next year, early
• 58:01
  Speaker 1: next year, but they just finished the short. The director
• 58:04
  Speaker 1: and the cinematographer and the cast were all winners of
• 58:07
  Speaker 1: the competition, and some of the people who filled out
• 58:10
  Speaker 1: the smaller roles were people that were part of Tent
• 58:12
  Speaker 1: Square but didn't win. So it's www.tentsquare.com and it's like
• 58:17
  Speaker 1: a social site where you can upload a profile. And
• 58:21
  Speaker 1: we have a competition where we're basically making movies and
• 58:23
  Speaker 1: picking the people that work on them from our membership.
• 58:25
  Speaker 3: So it's a great networking place.
• 58:28
  Speaker 2: It's really amazing when people can kind of come. Again,
• 58:30
  Speaker 2: as much useless stuff as on the internet. I may
• 58:33
  Speaker 2: be including myself on that. But there's like so much
• 58:36
  Speaker 2: out there that's just a mess. And then occasionally you
• 58:38
  Speaker 2: will see people who really make the most of what
• 58:40
  Speaker 2: you can do by like taking this Not even national.
• 58:43
  Speaker 2: This global scale and being like, okay, let's find these
• 58:46
  Speaker 2: people that want to work together. Kind of like the
• 58:49
  Speaker 2: Hit Record was doing similar. Have you ever seen that one?
• 58:53
  Speaker 2: Joseph Gordon-Levitt does one. He has people send in ideas.
• 58:58
  Speaker 2: He puts together people. If it's an animated project, he'll
• 59:02
  Speaker 2: find the animators. They'll do voice auditions and bring in
• 59:05
  Speaker 2: and have people. By the end, they put together this
• 59:08
  Speaker 2: final project. Oh, that's awesome. all just completely just people
• 59:11
  Speaker 2: that want to be involved in something so it's yeah
• 59:13
  Speaker 2: it sounds like this is along those lines and i
• 59:15
  Speaker 2: think all of it's really impressive it's great.
• 59:18
  Speaker 1: Because like i look at it like american idol you
• 59:20
  Speaker 1: know yeah you know in a way where it gives
• 59:22
  Speaker 1: people that normally wouldn't have an opportunity a chance and
• 59:25
  Speaker 1: That was very important to Andrew when he came up
• 59:28
  Speaker 1: with the idea for this because he's always been very
• 59:31
  Speaker 1: fiercely independent and very filmmaker championing. He definitely champions the
• 59:37
  Speaker 1: filmmaker over the money side of things, even though he
• 59:40
  Speaker 1: ends up making his filmmakers money. But if it comes
• 59:43
  Speaker 1: down to I have to screw the filmmaker over to
• 59:45
  Speaker 1: get more money, he will not do that. So he's
• 59:48
  Speaker 1: a cool guy and really excited to work on that.
• 59:51
  Speaker 2: Well, do you want to have people find you out
• 59:53
  Speaker 2: in the internets? Is there ways that they should come
• 59:55
  Speaker 2: track you down? Yeah, if you're going to stalk me,
• 59:57
  Speaker 2: I guess it's probably best. First, loiter at your table
• 1:00:01
  Speaker 2: over there.
• 1:00:01
  Speaker 3: Yeah, loiter at my table if you see me at
• 1:00:03
  Speaker 3: a convention. It's so funny.
• 1:00:04
  Speaker 1: I have to open my Twitter right now to Twitter. No,
• 1:00:08
  Speaker 1: because my Facebook, not to sound like a total douchebag,
• 1:00:10
  Speaker 1: but I just hit my 5,000 person limit.
• 1:00:14
  Speaker 3: I don't have time for you people. No, no, but
• 1:00:17
  Speaker 3: it's pretty funny.
• 1:00:18
  Speaker 1: But you can still look me up because I'm going
• 1:00:19
  Speaker 1: through and I'm trying to delete, like, Well, there's so
• 1:00:21
  Speaker 1: many fake ones.
• 1:00:22
  Speaker 3: Yeah, and like these.
• 1:00:24
  Speaker 1: Russian hookers and things like that.
• 1:00:27
  Speaker 2: No, I added all my Russian. Oh, wait, never mind.
• 1:00:30
  Speaker 3: You're like, I'm totally friends with them. And you're marrying
• 1:00:33
  Speaker 3: a couple of them, I'm sure.
• 1:00:34
  Speaker 2: I mean, once I can afford to bring them in.
• 1:00:35
  Speaker 2: I've got to send them a big check. I'm not
• 1:00:37
  Speaker 2: sure what that goes towards. Who knows?
• 1:00:39
  Speaker 1: No, but it's Jeffrey A. Reddick is my Twitter thing.
• 1:00:45
  Speaker 1: But actually, look for me on Facebook, too. That's probably
• 1:00:47
  Speaker 1: the best at this point. You need a fan page.
• 1:00:49
  Speaker 1: You know, somebody made one for me, but apparently if
• 1:00:53
  Speaker 1: you migrate all your fan pages over, then you lose
• 1:00:55
  Speaker 1: all your.
• 1:00:55
  Speaker 2: It doesn't work.
• 1:00:56
  Speaker 3: It's not helping me.
• 1:00:57
  Speaker 2: Again, I make use of Facebook a lot, but it's
• 1:00:59
  Speaker 2: got a lot of issues.
• 1:01:01
  Speaker 3: Yeah, I like... And I like Facebook more than Twitter,
• 1:01:03
  Speaker 3: just because.
• 1:01:04
  Speaker 2: I can't contain things in 140 characters.
• 1:01:07
  Speaker 11: Yeah.
• 1:01:07
  Speaker 3: I'm too wordy. I guess you have that problem, too.
• 1:01:09
  Speaker 14: Yeah.
• 1:01:09
  Speaker 3: Wait, what are you saying? I talk too much?
• 1:01:11
  Speaker 5: Writers.
• 1:01:12
  Speaker 3: Oh, yeah.
• 1:01:13
  Speaker 2: Writers and words. It's got to be all fancy. Yeah,
• 1:01:17
  Speaker 2: so feel free to... Feel free to stalk me. I'm
• 1:01:19
  Speaker 2: very stalkable and, um, and, um, thanks for, thanks for
• 1:01:24
  Speaker 2: having me. Thanks for coming on. So thanks once again
• 1:01:34
  Speaker 2: to Jeff and Leslie for sitting in on this week's episode.
• 1:01:37
  Speaker 2: They were both really great to talk with and gave
• 1:01:39
  Speaker 2: us some new and different perspectives on the film world
• 1:01:42
  Speaker 2: as it were. And I want to say thanks once
• 1:01:44
  Speaker 2: again to everyone here at Fright Night Film Fest for
• 1:01:46
  Speaker 2: letting us be part of the show and, For more
• 1:01:48
  Speaker 2: on what they have in the works, go to FrightNightFilmFest.com.
• 1:01:51
  Speaker 2: All right, so with that, I think we're going to
• 1:01:52
  Speaker 2: wrap things up, and we're going to go out Final
• 1:01:55
  Speaker 2: Destination style here with Joe90 as we try to figure
• 1:01:58
  Speaker 2: out what to do as we die. Otherwise, that about
• 1:02:01
  Speaker 2: does it. We will return next time, same geek feed.
• 1:02:03
  Speaker 2: Thanks for listening.
• 1:02:24
  Speaker 10: I'm not scared of dying And I don't really care
• 1:02:28
  Speaker 10: If it's peace you find in dying With the time
• 1:02:32
  Speaker 10: being near If it's peace you find in dying When
• 1:02:36
  Speaker 10: the dying time is here Then bundle up my coffin
• 1:02:41
  Speaker 10: Cause it's cold down there Yeah, it's cold down there Yeah,
• 1:02:46
  Speaker 10: it's crazy cold down there And when I die And
• 1:02:54
  Speaker 10: when I'm gone, there'll be one child born In the
• 1:02:58
  Speaker 10: world to.
• 1:02:59
  Speaker 5: Carry on, to carry on.
• 1:03:11
  Speaker 10: My troubles are many They're as deep as a well
• 1:03:15
  Speaker 10: I swear there ain't no heaven.
• 1:03:17
  Speaker 6: And I pray there ain't no hell I.
• 1:03:20
  Speaker 10: Swear there ain't no heaven And I pray there ain't
• 1:03:27
  Speaker 10: no hell But I never know my living Only.
• 1:03:32
  Speaker 6: My dying will tell Only my dying will tell Yeah
• 1:03:37
  Speaker 6: Only my dying will.
• 1:03:39
  Speaker 2: Tell And when I die.
• 1:03:42
  Speaker 10: When I'm gone There'll be one child born In the
• 1:03:45
  Speaker 10: world to carry on To carry on
• 1:04:04
  Speaker 10: .
• 1:04:08
  Speaker 6: .
• 1:04:22
  Speaker 10: the world to carry on carry on.
• 1:04:31
  Speaker 2: To carry on.
• 1:04:46
  Speaker 6: .
• 1:04:48
  Speaker 10: .
• 1:04:56
  Speaker 6: .
• 1:05:07
  Speaker 10: .
• 1:05:24
  Speaker 11: She took her shoes off.
• 1:05:30
  Speaker 2: Oh, now she's just a normal person. Now I barely
• 1:05:35
  Speaker 2: want to go shove her over. I mean, I still
• 1:05:37
  Speaker 2: kind of want to.
• 1:05:38
  Speaker 11: A little bit, yeah.
• 1:05:39
  Speaker 2: A little bit.
• 1:05:40
  Speaker 11: I want to make her run just because I'm betting
• 1:05:42
  Speaker 11: she can't run in that dress.
• 1:05:44
  Speaker 2: Go scare her.
• 1:05:47
  Speaker 11: I picture flailing happening if that was to occur.
• 1:05:50
  Speaker 2: And her wig falling off.
• 1:05:52
  Speaker 11: I'm going to knock a damn wig right off her head.
• 1:05:53
  Speaker 14: This episode is a production of Movie Meltdown, produced and
• 1:05:56
  Speaker 14: edited by The Oddity Studios, with opening music performed by
• 1:06:00
  Speaker 14: The Empires. For more on how to sponsor or support
• 1:06:02
  Speaker 14: the show, email producer at moviemeltdown.com.
• 1:06:05
  Speaker 5: Talk hard!