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The Devil's Rejects (2005) · Beyond The Blood: A Horror Movie Commentary Podcast

• 0:01
  Speaker 1: You are now listening to the Someone's Favorite Productions Podcast Network.
• 0:12
  Speaker 2: Hello, Filthy movie lovers. My name is Gentry Austin, now
• 0:17
  Speaker 2: on Casey Scott and we're the hosts of the Sin
• 0:19
  Speaker 2: Syndicate Film Podcast. For Something Weirdos Anti Criterion Bros. And
• 0:26
  Speaker 2: Joseph Sarno of Ficionados join us semi weekly as we
• 0:30
  Speaker 2: peer into the adults only theaters in sticky floored cinemas
• 0:35
  Speaker 2: of the golden age of sexploitation, when the morals were loose,
• 0:39
  Speaker 2: the laws were murky, and the intercourse was all simulated.
• 0:44
  Speaker 2: Find us now on the Someone's Favorite Productions Podcast Network.
• 1:07
  Speaker 3: Anything for a good cause. I'm a security gone. I
• 1:12
  Speaker 3: kill people every fucking day.
• 1:14
  Speaker 2: That's right.
• 1:16
  Speaker 1: When I was growing up in Bakersfield, my favorite thing
• 1:18
  Speaker 1: in all the world was to go to the movies
• 1:20
  Speaker 1: on Saturday afternoons for the chapter plays.
• 1:23
  Speaker 4: I know that, mister man.
• 1:25
  Speaker 3: They also call them serials. I'm not stupid, you know.
• 1:29
  Speaker 3: I am the devil and I am here to do
• 1:31
  Speaker 3: the devil's work.
• 1:45
  Speaker 5: All right, Welcome back to the Beyond the Blood Podcast.
• 1:50
  Speaker 5: We're finally back with a commentary episode. I know it's
• 1:53
  Speaker 5: been a little bit this episode's coming out a little
• 1:56
  Speaker 5: later in September than we were originally planning, but we're
• 1:59
  Speaker 5: here and we're going Steve, how are you, man? I
• 2:03
  Speaker 5: know we've been busy with all these interviews. How are
• 2:05
  Speaker 5: you excited to cover another commentary again?
• 2:07
  Speaker 3: Oh?
• 2:07
  Speaker 4: Yeah, I'm excited, especially because I haven't revisited this movie
• 2:11
  Speaker 4: in a long time, and I felt like this was
• 2:14
  Speaker 4: the perfect opportunity to do so.
• 2:17
  Speaker 5: Yeah, yeah, I agree. And of course, just as a reminder,
• 2:20
  Speaker 5: clearly you already know, but we're covering Rob Zombies of
• 2:23
  Speaker 5: the Devil's Rejects. We're using the commentary track that came
• 2:27
  Speaker 5: with the unrated DVD release in two thousand and six,
• 2:32
  Speaker 5: and we couldn't think of a better guest to have
• 2:35
  Speaker 5: back with us. If you guys have been listening to
• 2:38
  Speaker 5: the show. Back in season one, we covered House of
• 2:41
  Speaker 5: a Thousand Corpses and it was to me, a revolutionary
• 2:46
  Speaker 5: episode for the show. I think at that point when
• 2:49
  Speaker 5: we recorded that episode, we were kind of going through
• 2:52
  Speaker 5: a little bit of figuring things out, and that was
• 2:56
  Speaker 5: an episode that still I'm incredibly proud of, and I
• 3:00
  Speaker 5: think a lot of that was because of our guest,
• 3:04
  Speaker 5: so Brian welcome back to Beyond the Blood Man.
• 3:08
  Speaker 6: How are you hey, I'm good. Thanks for bringing me back,
• 3:10
  Speaker 6: especially for this movie. I love talking Rob Zombie.
• 3:13
  Speaker 5: Yeah, I figured you were the man who wanted to
• 3:15
  Speaker 5: do it. Everybody else nobody answered.
• 3:17
  Speaker 4: Me, So Brian answered the call.
• 3:23
  Speaker 5: Is that the guy that remade Halloween? No way, dude, No,
• 3:29
  Speaker 5: But yeah, that the House of a Thousand Corpses episode.
• 3:31
  Speaker 5: I think we went on for what almost three and
• 3:33
  Speaker 5: a half hours on that epiod.
• 3:35
  Speaker 6: Yeah, that was a long one. That was That was
• 3:37
  Speaker 6: definitely a long one.
• 3:39
  Speaker 5: Yeah, that was such a when people ask me, because
• 3:42
  Speaker 5: people always ask, They'll be like, oh, when should I
• 3:44
  Speaker 5: go back? And like if I watch older episodes, where
• 3:47
  Speaker 5: should I start? And I'm always like, well, you can
• 3:49
  Speaker 5: started episode one. I'm like, if you want to hear
• 3:51
  Speaker 5: Steve for the first time, go back to my bloody Valentine.
• 3:55
  Speaker 3: Like.
• 3:55
  Speaker 5: But House of a Thousand Corpses I think was the
• 3:57
  Speaker 5: one that really it's set us off in a direction
• 4:01
  Speaker 5: that we were much more confident in and really kind
• 4:04
  Speaker 5: of like laid the path for how we approached the
• 4:06
  Speaker 5: rest of the show, especially now so we knew we
• 4:11
  Speaker 5: had to cover the sequel at some point. I doubt
• 4:14
  Speaker 5: we're ever going to cover the garbage bin fire that
• 4:18
  Speaker 5: is Three from Hell.
• 4:20
  Speaker 6: No, not especially not with me involved. Because I bought that.
• 4:25
  Speaker 6: I think I bought the four K or the Blu
• 4:26
  Speaker 6: Ray and I instantly sold it like the day I
• 4:29
  Speaker 6: got it. I still have the digital code, but that
• 4:31
  Speaker 6: movie does not exist.
• 4:32
  Speaker 4: To me, Steve, are you with Three from Hell fan,
• 4:36
  Speaker 4: I'll be honest with you. I haven't seen it, so
• 4:39
  Speaker 4: it maybe it maybe it's for the best for you, man.
• 4:44
  Speaker 5: I bought it at Walmart. The addition that I bought
• 4:47
  Speaker 5: came with a T shirt that didn't even fit me,
• 4:50
  Speaker 5: so I don't know what I did with it. It
• 4:55
  Speaker 5: was like, you know, it was one of those I
• 4:57
  Speaker 5: was like, oh cool, a deluxe edition, and it was
• 4:59
  Speaker 5: like one of those things where Walmart had put it
• 5:02
  Speaker 5: out like two nights earlier than they really I think
• 5:05
  Speaker 5: they put it out on Sunday and it was supposed
• 5:07
  Speaker 5: to come out on Tuesday, and I was like, oh,
• 5:10
  Speaker 5: hell yeah. And it was one of those flimsy ass
• 5:12
  Speaker 5: like outer boxes where the T shirt is shoved in
• 5:15
  Speaker 5: and then the Blu Ray cases kind of tucked it back,
• 5:19
  Speaker 5: and uh yeah, I pulled it out because it didn't
• 5:21
  Speaker 5: say what size of the shirt was. I was like,
• 5:23
  Speaker 5: oh it's a large that shit, ain't it a fit me?
• 5:25
  Speaker 5: And then I was so excited to watch The Three
• 5:27
  Speaker 5: from Hell and I got fifteen minutes in. I was like, oh,
• 5:30
  Speaker 5: this is not good.
• 5:32
  Speaker 3: No, that was kind of.
• 5:36
  Speaker 6: That was a little bit of the downfall for Rob
• 5:39
  Speaker 6: for me as a you know, with the filming.
• 5:41
  Speaker 5: Yeah, it was a I think it was like I
• 5:44
  Speaker 5: got pretty far in.
• 5:46
  Speaker 6: I watched the whole thing. I was determined to and
• 5:48
  Speaker 6: I hated my life for it.
• 5:50
  Speaker 5: I did. I watched the whole thing too, but I
• 5:52
  Speaker 5: remember there was a moment I think there was like
• 5:56
  Speaker 5: a little person with a bow and arrow.
• 5:58
  Speaker 3: And I was like, I don't even remember.
• 6:02
  Speaker 4: You guys aren't sawing me on this.
• 6:04
  Speaker 5: I was like, yeah, yeah, you don't need to. Man.
• 6:06
  Speaker 6: No, if I want to watch, you know, a little
• 6:09
  Speaker 6: person in a Rob zombie movie, I'll watch thirty one
• 6:11
  Speaker 6: with the little Spanish Nazi guy.
• 6:14
  Speaker 3: I love that guy.
• 6:15
  Speaker 4: Where you guys say at on that film. Not to
• 6:17
  Speaker 4: get sidetracked, but that's another one that I don't think
• 6:20
  Speaker 4: I've watched all the way through. I dig it.
• 6:22
  Speaker 6: I think it's got the best opening to a Rob
• 6:26
  Speaker 6: Zombie movie ever. I think the black and white monologue
• 6:30
  Speaker 6: is absolutely amazing, and I wished the whole movie with
• 6:33
  Speaker 6: him black and white and kept that tone. It's it's
• 6:39
  Speaker 6: performance peak performance from that actor and the way it
• 6:42
  Speaker 6: shot visually. But the film goes a little too indie
• 6:46
  Speaker 6: after that. But I mean, I dig it. I think
• 6:49
  Speaker 6: it's fun. It's a fun It's a movie you've seen
• 6:52
  Speaker 6: a hundred times, but I think it's fun.
• 6:54
  Speaker 5: Yeah, thirty one. I mean, Erica is the reason I
• 6:58
  Speaker 5: hated that movie, and then Erica Erica loved it so
• 7:02
  Speaker 5: she made me watch it over and over again. And
• 7:04
  Speaker 5: the opening scene with Doomhead giving that monologue is probably
• 7:09
  Speaker 5: the best thing Rob Zombie has ever done.
• 7:11
  Speaker 3: Yeah, it's so great.
• 7:14
  Speaker 5: I love and it's written really well, it doesn't it Actually,
• 7:18
  Speaker 5: that opening monologue feels like it wasn't written by Rob
• 7:20
  Speaker 5: Zombie very.
• 7:23
  Speaker 3: And he doesn't cut.
• 7:25
  Speaker 6: I think that's what I like about it is it's
• 7:27
  Speaker 6: like this very long it's probably like a three minute
• 7:30
  Speaker 6: three minutes in before we cut monologue.
• 7:36
  Speaker 3: But like, that's that's one I like.
• 7:40
  Speaker 6: I've always kind of liked that. I like the funness
• 7:42
  Speaker 6: of it. But lord, from Salem was one. I think
• 7:46
  Speaker 6: it's his.
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  Speaker 3: Best visually shot movie. But it's one of those movies.
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  Speaker 6: Where I have to watch a lot to like it,
• 7:56
  Speaker 6: and the more I watch it, the more I like it.
• 7:58
  Speaker 3: But it's in very small increment more than I like it,
• 8:02
  Speaker 3: but I like it.
• 8:03
  Speaker 4: It's just yeah, you know the film. The film is
• 8:07
  Speaker 4: very influenced I feel like by Ken Russell director. You
• 8:11
  Speaker 4: see a lot of like the visual aesthetic that he
• 8:15
  Speaker 4: goes for in his films with that one. I just
• 8:18
  Speaker 4: remember seeing that in theater and I was like, man,
• 8:21
  Speaker 4: this is like pretty like out there even for him,
• 8:27
  Speaker 4: especially with the ending to that film.
• 8:30
  Speaker 6: And I think that film was so he's I think
• 8:32
  Speaker 6: that was right after Halloween two, which was a big
• 8:37
  Speaker 6: budget movie for Rob and I want to say Lord
• 8:42
  Speaker 6: to Salem with only a million dollar movie.
• 8:43
  Speaker 3: It was a very low budget movie.
• 8:47
  Speaker 5: So that's that's what's funny, the Devil's Rejects just to
• 8:53
  Speaker 5: kind of swing it back around. I mean, Lords of
• 8:55
  Speaker 5: Salem is my favorite, like you said, Brian, visual of
• 8:59
  Speaker 5: his like visually, that movie's done really well, especially there's
• 9:02
  Speaker 5: a moment when Sherry Moon walks into a room and
• 9:05
  Speaker 5: there's like the Big Cross the Cross, which I feel
• 9:08
  Speaker 5: like became like every mainstreams artist album cover for a while,
• 9:14
  Speaker 5: like some sort of riff on that.
• 9:17
  Speaker 6: Well that was that was also if you don't remember,
• 9:19
  Speaker 6: that was Big Who did that? I don't want to
• 9:21
  Speaker 6: say he stole it from anybody, because that's been around
• 9:24
  Speaker 6: for a while. But Romeo and Juliet nineteen ninety with
• 9:27
  Speaker 6: A ninety six when they with all the neon churches
• 9:30
  Speaker 6: and the crosses, this one was just like this one
• 9:33
  Speaker 6: red cross in.
• 9:35
  Speaker 3: This dark room that was like so beautifully shot.
• 9:39
  Speaker 5: Yeah, yeah, you know. Devil's Rejects is kind of a
• 9:43
  Speaker 5: funny story because we had so much backstory on House
• 9:46
  Speaker 5: of a Thousand Corpses, with the situation he had with
• 9:49
  Speaker 5: Universal Universal saying, hey, this movie is unreleasable. It going
• 9:54
  Speaker 5: to MGM. Rob's talking to some reporter and says that
• 9:59
  Speaker 5: makes comment to MGM about how their degenerates were putting
• 10:02
  Speaker 5: this out, so they shelve it until he buys it
• 10:06
  Speaker 5: back and then lions Gate ends up, you know, picking
• 10:10
  Speaker 5: it up. And I was recently reading Clark Collis's Screaming
• 10:15
  Speaker 5: and Conjuring, and he covers a lot of the history
• 10:17
  Speaker 5: and kind of like the rise of lions Gate and
• 10:19
  Speaker 5: how much of a chance they took by picking up
• 10:22
  Speaker 5: this movie and our House of a Thousand Corpses, and
• 10:25
  Speaker 5: how much of a success it was, how well it
• 10:28
  Speaker 5: actually did, and it did well enough that they pretty
• 10:33
  Speaker 5: much went to Rob and was like, hey, we want
• 10:36
  Speaker 5: a sequel, and we're kind of just going to let
• 10:38
  Speaker 5: you do your thing with very little interference.
• 10:41
  Speaker 6: And I think at that time, now you can probably
• 10:44
  Speaker 6: you probably know more information on me, but I'm just
• 10:45
  Speaker 6: kind of piecing this now with we're talking about it.
• 10:48
  Speaker 6: Lions get at the time, because they got big off Saw,
• 10:53
  Speaker 6: really and that was a round when two thousand and four, Yeah,
• 10:57
  Speaker 6: three oh three, two thousand and four, so we're around
• 10:59
  Speaker 6: the same time a lions Gate with a company acquiring
• 11:02
  Speaker 6: movies that were already done. Saw was made independently, yeah,
• 11:05
  Speaker 6: and they were shopping it around. House of a Thousand
• 11:09
  Speaker 6: Corpses was made and with Shelter for three years, which
• 11:13
  Speaker 6: makes Devil's Rejects a little ironic because you know, the
• 11:16
  Speaker 6: movie was shot. House for a Thousand corps was shot
• 11:19
  Speaker 6: on like ninety nine, two thousand, and didn't come out
• 11:21
  Speaker 6: till two thousand and three, and then two thousand and
• 11:24
  Speaker 6: four they start production on you know, Devil's Rejects. That's
• 11:27
  Speaker 6: how big of a you know impact it made.
• 11:30
  Speaker 5: House. House was huge for lions Gate.
• 11:33
  Speaker 4: Oh huge.
• 11:33
  Speaker 5: Yeah, and they had that early run for lions Gate
• 11:37
  Speaker 5: is kind of legendary. The risk that they were taking
• 11:40
  Speaker 5: with Saul, because by the time Devil's Rejects come out,
• 11:42
  Speaker 5: you already have Saw two, Saw three, I think was
• 11:46
  Speaker 5: pretty much in production or probably around I get really
• 11:49
  Speaker 5: lost with the years of Saul because I feel like, yeah,
• 11:53
  Speaker 5: every year. But so lions Gate was huge and they
• 11:57
  Speaker 5: pretty much wrote they pretty much gave Zombie a blank
• 12:00
  Speaker 5: check and was like, here, like, make the movie you
• 12:03
  Speaker 5: want to make. We're not going to interfere. House did so, well,
• 12:08
  Speaker 5: here's what you get, and then you get the Devil's
• 12:10
  Speaker 5: reject So it has a much simpler kind of rise
• 12:15
  Speaker 5: to existence then House.
• 12:18
  Speaker 6: It's also a lot more grounded than House. It's extremely
• 12:22
  Speaker 6: more grounded in reality, so much so that it's like
• 12:27
  Speaker 6: you have, like in the commentary, just the opening scene.
• 12:30
  Speaker 6: So the way the movie opens up is the shootout.
• 12:34
  Speaker 6: But Rob Zombie specifically said he had a dialoc and
• 12:36
  Speaker 6: he didn't want people to feel like they had to
• 12:38
  Speaker 6: have seen the first movie to see this movie, which
• 12:43
  Speaker 6: I think is funny because it's like, if you don't
• 12:45
  Speaker 6: know the first one, I mean, I guess you don't
• 12:47
  Speaker 6: really need to really.
• 12:48
  Speaker 3: Know the story at the beginning.
• 12:50
  Speaker 6: It helps, it helps you with the characters, but the
• 12:53
  Speaker 6: whole scene, you know, where she you know, especially with
• 12:55
  Speaker 6: Sherry Moon Zombie, which she calls mother mom, you know, mama,
• 13:00
  Speaker 6: and she calls Captain Spaulding daddy.
• 13:03
  Speaker 5: Yeah. Yeah, Well, let me ask you guys before we
• 13:06
  Speaker 5: get too deep into it, and Brian, I guess I'll
• 13:09
  Speaker 5: start with you where you said. You said before we
• 13:13
  Speaker 5: went live that you saw Devil's Rejects pretty much opening
• 13:17
  Speaker 5: day in theaters. You were you surprised of the like
• 13:25
  Speaker 5: incredible difference between House and Devil's Rejects, both visually and
• 13:31
  Speaker 5: story wise. I mean, every character is pretty much different.
• 13:34
  Speaker 6: At that time, it was kind of like I remember,
• 13:37
  Speaker 6: there was a lot of characters I recognized, and I
• 13:39
  Speaker 6: was such a huge fan that I was just kind
• 13:42
  Speaker 6: of enthralled in the world. I remember saying, like I
• 13:47
  Speaker 6: was two thousand and four, I was like seventeen, So
• 13:49
  Speaker 6: I was able to get into a rated R movie
• 13:52
  Speaker 6: because I was telling you off air, like I saw
• 13:55
  Speaker 6: House of a Thousand Choruses for the first time. I
• 13:58
  Speaker 6: had to bootleg it through like LimeWire or bear share
• 14:00
  Speaker 6: because it might you know, it would have come to
• 14:02
  Speaker 6: theaters of my small town anyway. But I remember seeing
• 14:06
  Speaker 6: it at like Hollywood theaters. It was like a brand
• 14:09
  Speaker 6: new theater that had just opened. So at opening day
• 14:13
  Speaker 6: there's like three people in it, and I just I
• 14:15
  Speaker 6: remember loving it, especially the ending. We'll get to the ending,
• 14:20
  Speaker 6: but that ending is like one of the best. It's
• 14:24
  Speaker 6: so iconic. Yeah, and I yeah, you know.
• 14:27
  Speaker 5: And because this came out, not to interrupt, this came out, dude,
• 14:31
  Speaker 5: This came out the middle of summer July twenty second,
• 14:34
  Speaker 5: two and five. What a vibe.
• 14:38
  Speaker 6: And it came out so like I said, there was
• 14:40
  Speaker 6: similar like kind of similar characters, Like I think two
• 14:43
  Speaker 6: thousand and five was also the year Tony Scott's Domino
• 14:47
  Speaker 6: came out, which also had one of the bank robbers
• 14:52
  Speaker 6: was one of the victims, the male victim that at
• 14:56
  Speaker 6: the beginning part of the road show crew.
• 14:59
  Speaker 5: Oh okay, so.
• 15:01
  Speaker 6: It was like kind of tying in character that was
• 15:02
  Speaker 6: seeing that year in movies, you.
• 15:04
  Speaker 5: Know, yeah, two thousand and five for Domino.
• 15:06
  Speaker 4: Yep.
• 15:07
  Speaker 6: Yeah, and I'm not gonna lie. Captain Spalding's entrance scene
• 15:10
  Speaker 6: is so hilarious to me to this day.
• 15:16
  Speaker 5: Steve, what about you, man, What was your relationship like
• 15:19
  Speaker 5: to Devil's Rejects.
• 15:21
  Speaker 4: So I initially had seen House of a Thousand Corpses first.
• 15:26
  Speaker 4: Both of these films. I had seen them like just
• 15:30
  Speaker 4: checking them out at the video store, and I definitely
• 15:35
  Speaker 4: had a lot of love for both of these movies
• 15:38
  Speaker 4: growing up. I mean, these were very, very integral to
• 15:43
  Speaker 4: getting into more modern horror at the time. So like this,
• 15:49
  Speaker 4: you know, obviously we talked about Saw a Final Destination,
• 15:51
  Speaker 4: the Descent. Films like that were just really really important,
• 15:55
  Speaker 4: I think for solidifying my love for horror. And yeah,
• 16:00
  Speaker 4: I just remember watching this and it felt like it
• 16:03
  Speaker 4: was more of a polished version of House of a
• 16:07
  Speaker 4: Thousand Corpses. Now, funny enough, in hindsight, I almost prefer
• 16:11
  Speaker 4: House of a Thousand Corpses like a tad bit more.
• 16:14
  Speaker 4: But I love both of these movies so much.
• 16:19
  Speaker 6: Yeah, I think there's also a difference between and I
• 16:24
  Speaker 6: haven't heard Rob Zombie say this, but this is just
• 16:26
  Speaker 6: kind of a speculation. I feel like this is Rob
• 16:28
  Speaker 6: Zombie wanting to take himself a lot more seriously as
• 16:32
  Speaker 6: a filmmaker, because if you look at House of a
• 16:34
  Speaker 6: Thousand Corpses, it is very much like his music videos,
• 16:40
  Speaker 6: which Rob Zombie directed, So I feel like it was
• 16:43
  Speaker 6: a little bit more of a comfort zone for him
• 16:46
  Speaker 6: to do that weird editing, which is still in Devil's Rejects.
• 16:50
  Speaker 6: He didn't get rid of his style, but they're the
• 16:53
  Speaker 6: distinct different in you know, camera work and you know
• 16:58
  Speaker 6: editing and lighting to a just said you would see
• 17:01
  Speaker 6: in like a Dragula video or like any other Rob
• 17:04
  Speaker 6: Zombie band video, But you get to Devil's Rejects and
• 17:07
  Speaker 6: it feels like he wants to take himself more seriously
• 17:11
  Speaker 6: as a director with howich shot because most of its daytime,
• 17:15
  Speaker 6: like most of the movie's daytime, and all of House
• 17:18
  Speaker 6: of a Thousand Corpses this nighttime.
• 17:19
  Speaker 4: It's a stark contrast, very stark contrast. Yeah, And the
• 17:23
  Speaker 4: one thing that I just remember noticing about The Devil's
• 17:26
  Speaker 4: Rejects was it had that very rich grindhouse aesthetic to
• 17:30
  Speaker 4: it compared to House one thousand Corpses. Felt very like cartoony,
• 17:37
  Speaker 4: almost like surreal nightmarrorsh feel to it. I mean, this
• 17:40
  Speaker 4: is obviously a different type of nightmare. But yeah, there
• 17:45
  Speaker 4: are two very distinct visions that he had going for
• 17:48
  Speaker 4: both of these films.
• 17:49
  Speaker 5: For sure, I think to it's so dependent on who
• 17:52
  Speaker 5: you sed around yourself with. House of a Thousand Corpses
• 17:56
  Speaker 5: was you know, friends of his and you know, industry
• 17:59
  Speaker 5: professors that were not, like I would say, any more
• 18:03
  Speaker 5: accomplished than he was at that time. You know, working
• 18:07
  Speaker 5: on Devil's Rejects, he had access to a much more
• 18:10
  Speaker 5: experienced crew. I mean he had Wayne Toff doing you know,
• 18:14
  Speaker 5: the gore effects. He had Phil I think it's Phil
• 18:18
  Speaker 5: Parmitt doing yeah, with a cinematographer who brought a lot
• 18:22
  Speaker 5: of weight, you know. So I think he was able
• 18:24
  Speaker 5: to really surround himself with with really good help and
• 18:28
  Speaker 5: really good crew, and that added a lot. And this
• 18:32
  Speaker 5: is it's still really impressive to look at Devil's Rejects
• 18:34
  Speaker 5: as a sophomore effort and it doesn't feel it doesn't
• 18:41
  Speaker 5: feel like a sophomore effort. Mean, there's things that there's
• 18:45
  Speaker 5: things that you look at and you're like, okay, yeah,
• 18:48
  Speaker 5: that seems a little you know, amateurist whatever. But it doesn't.
• 18:52
  Speaker 5: It's much like I remember seeing this sort of first
• 18:54
  Speaker 5: time and and not never being bothered by the changes
• 18:59
  Speaker 5: in case characters, like, you know, I think the most
• 19:02
  Speaker 5: striking one is you know Bill Moseley's otis he's no longer. Yeah,
• 19:07
  Speaker 5: he's no longer like uh that that's that that stark
• 19:11
  Speaker 5: white color any wore, he's he's got the big beard.
• 19:16
  Speaker 3: Like.
• 19:17
  Speaker 5: It feels like a different character.
• 19:19
  Speaker 4: Felt more grounded. I felt like for all the characters.
• 19:22
  Speaker 5: Yeah, I was okay with it. It actually wasn't until
• 19:27
  Speaker 5: I don't know, maybe years later, until people were talking
• 19:29
  Speaker 5: about how different all the characters were that I was like, oh,
• 19:32
  Speaker 5: yeah they were. It didn't bother me because this doesn't
• 19:36
  Speaker 5: feel like and maybe I'm wrong for thinking this or
• 19:38
  Speaker 5: like feeling this way. Sequels always get caught up in
• 19:42
  Speaker 5: like the it has to be a direct thing. This
• 19:45
  Speaker 5: kind of feels like in the world of where like,
• 19:49
  Speaker 5: I can forgive you changing as much as he changed
• 19:53
  Speaker 5: to go into this, I didn't need them to be
• 19:56
  Speaker 5: those exact characters again, is the only one.
• 20:01
  Speaker 6: Yeah, I was gonna say, Spalding's the only one who
• 20:03
  Speaker 6: feels the exact same minus the chicken.
• 20:08
  Speaker 5: You know, yeah, he feels more he it feels like
• 20:13
  Speaker 5: he dropped the act, you know, because we're not seeing
• 20:16
  Speaker 5: him in the character as much as he in the clown.
• 20:20
  Speaker 4: Suit, always sinister in this movie, I think, compared to
• 20:23
  Speaker 4: the first one, obviously he kind of had that undertone
• 20:26
  Speaker 4: of being like I mean, obviously like deep seated, like evil,
• 20:32
  Speaker 4: I think to a certain extent. But with this it's
• 20:35
  Speaker 4: less of like the facade that he had in the
• 20:38
  Speaker 4: first film where he always portraying himself out obviously out
• 20:41
  Speaker 4: to be like a clown. This, I mean, they're kind
• 20:45
  Speaker 4: of on the ropes essentially.
• 20:48
  Speaker 6: I think the only thing that throws people off is
• 20:50
  Speaker 6: this movie feels like it takes place five years later
• 20:55
  Speaker 6: instead of like the next day kind of a thing.
• 20:58
  Speaker 5: You know, well you have that, you know, Sorry not
• 21:02
  Speaker 5: to cut you off what I was saying. Like the
• 21:03
  Speaker 5: big thing is like the change in the house, you
• 21:06
  Speaker 5: know what I mean, Like there's so many aesthetic things
• 21:08
  Speaker 5: that drastically changed, you know what I mean, Like it's
• 21:13
  Speaker 5: it's kind of like when a movie starts, it's a
• 21:14
  Speaker 5: little bit like it's it's nice and familiar because you
• 21:17
  Speaker 5: see tiny and you're like okay, and then they pull
• 21:19
  Speaker 5: up to a house and you're like, where the fuck
• 21:21
  Speaker 5: did this come from? Like it doesn't have the same
• 21:24
  Speaker 5: and even hear the same appearance.
• 21:26
  Speaker 3: And even Mother Firefly changed.
• 21:28
  Speaker 4: Yep.
• 21:30
  Speaker 6: Yeah, I was reading up on that and apparently the
• 21:32
  Speaker 6: original actress just wanted more money in line.
• 21:34
  Speaker 5: Skate was like, nope, yeah, Karen Black, Yeah, it's uh,
• 21:38
  Speaker 5: there's a there's a quote in a book that I read,
• 21:42
  Speaker 5: and it was zombie pretty much like, Hey, we went
• 21:44
  Speaker 5: to a lot of the original crew and we were like,
• 21:47
  Speaker 5: you either come back or you don't. Like that was
• 21:50
  Speaker 5: pretty much how he was, and that led to, you know,
• 21:53
  Speaker 5: a couple of people not coming back for various reasons.
• 21:57
  Speaker 4: I I honestly, in hindsight, I like both of their
• 22:01
  Speaker 4: portrayals from Other Firefly. I felt like Leslie Easterbrook, I
• 22:06
  Speaker 4: don't know, there was just something about it where I
• 22:10
  Speaker 4: felt like she kind of took took initially what Karen
• 22:12
  Speaker 4: Black had done for House of a Thousand Corpses and
• 22:15
  Speaker 4: really just dialed it up a notch. Definitely worked for
• 22:20
  Speaker 4: this film.
• 22:21
  Speaker 5: Yeah, it does. There's a whole lot that works. And
• 22:24
  Speaker 5: before we get into diving, into this commentary track and
• 22:28
  Speaker 5: into the movie a little bit more. I want to
• 22:30
  Speaker 5: shout out a couple of sources that I used just
• 22:34
  Speaker 5: for like research purposes. You know. One thing that I
• 22:38
  Speaker 5: think we pride ourselves on heavy here is the amount
• 22:41
  Speaker 5: of research that we do and the amount of deep
• 22:42
  Speaker 5: diving you know, into the movie as much as we can.
• 22:46
  Speaker 5: And in that process, one thing that I like to
• 22:49
  Speaker 5: do is to listen to other podcasts that have covered
• 22:52
  Speaker 5: movies that were going to cover because a it helps
• 22:55
  Speaker 5: me become more familiar with the movie without having to
• 22:59
  Speaker 5: watch it, you know, four or five six times leading
• 23:01
  Speaker 5: up to an episode. But it also lets me fall
• 23:05
  Speaker 5: in love with other podcasts and get different viewpoints of things.
• 23:10
  Speaker 5: And it also kind of it makes me think about
• 23:13
  Speaker 5: kind of like what can we discuss that's been missed
• 23:16
  Speaker 5: or that that hasn't been touched on. So for research,
• 23:20
  Speaker 5: I want to point out a book House of Rejects
• 23:24
  Speaker 5: by Dustin McNeil from Harker Press. You would probably most
• 23:28
  Speaker 5: be familiar with Taking Shape. That's the same author. It's
• 23:31
  Speaker 5: Dustin McNeil coming from Harker Press. Probably one of the
• 23:34
  Speaker 5: best books ever written on the Halloween franchise. A couple
• 23:38
  Speaker 5: of years ago, they released House of Rejects. It's an
• 23:41
  Speaker 5: incredible read that covers through the entire trilogy. It just
• 23:46
  Speaker 5: an overload of information, absolutely out of control. I'm going
• 23:51
  Speaker 5: to have that linked in our bio. We're not affiliated
• 23:54
  Speaker 5: with them in any way. The biote is not or
• 23:57
  Speaker 5: the link in the bio doesn't get us any sort
• 23:59
  Speaker 5: of kickback. I just want people to support them, and
• 24:02
  Speaker 5: if you're a fan of this franchise and you want
• 24:04
  Speaker 5: to read and learn, I think that's the ultimate place
• 24:06
  Speaker 5: to go, aside from the House of a Thousand Courses
• 24:09
  Speaker 5: book that's coming out that I'm very excited for in October.
• 24:13
  Speaker 5: Very stoked for that, but also too, there were three
• 24:16
  Speaker 5: podcasts that I dove into that I really liked that
• 24:18
  Speaker 5: I just want to shout out. One of them was
• 24:22
  Speaker 5: Brothers in Blood, the other one was night Light Night
• 24:25
  Speaker 5: k n I g h T, and this spook House podcast.
• 24:29
  Speaker 5: All three of those podcasts that I found did an
• 24:31
  Speaker 5: incredible job covering this movie, had a lot of fun
• 24:34
  Speaker 5: with them. So if you're interested in hearing more on
• 24:36
  Speaker 5: Devil's Rejects, I would encourage you to check out check
• 24:39
  Speaker 5: out those three. They were incredible. So this commentary track,
• 24:46
  Speaker 5: I do want to say, was very production matter of fact.
• 24:54
  Speaker 3: I feel like that the most of you work.
• 24:56
  Speaker 6: Any Rob Zombie interview or anything, he's very like, he
• 25:01
  Speaker 6: doesn't care. He'll tell you how they did stuff and
• 25:03
  Speaker 6: what went wrong, and like, oh, yeah, we shot this here,
• 25:06
  Speaker 6: Oh that messed up, and we're going to do this,
• 25:08
  Speaker 6: and he's just very like, oh yeah. I find it
• 25:12
  Speaker 6: refreshing that he doesn't feel like he has to gloss
• 25:15
  Speaker 6: anything up. Literally, yeah, extremely candid.
• 25:19
  Speaker 5: It's very like it's like and uh, and this was
• 25:23
  Speaker 5: the interior and then then this was the exterior, and
• 25:26
  Speaker 5: this was on a different spot. And there's actually a
• 25:28
  Speaker 5: point I think it's like fifteen minutes. I know, it's
• 25:31
  Speaker 5: like ten minutes in during the shootout where he's like
• 25:33
  Speaker 5: things are happening too fast.
• 25:34
  Speaker 6: He's like behind yeah, yeah, because I remember watching him
• 25:38
  Speaker 6: being like, yeah that they're not in the house here,
• 25:40
  Speaker 6: they're just standing on a platform just trying to hold on.
• 25:42
  Speaker 6: I gotta run down the stairs, and it's like, you know,
• 25:46
  Speaker 6: I do like how he kept referencing Waco Oh for
• 25:51
  Speaker 6: the opening shoot and how he said he didn't want
• 25:53
  Speaker 6: to use the same shot twice in any thing. He
• 25:58
  Speaker 6: said he that felt two much like a movie where
• 26:00
  Speaker 6: they kept cutting back to the same shot, so it
• 26:03
  Speaker 6: was like different shots every time, which I never really
• 26:06
  Speaker 6: I guess caught on yeah to that until listening like, oh, yeah,
• 26:10
  Speaker 6: he's not cutting back to any wide shots or any
• 26:13
  Speaker 6: of these.
• 26:14
  Speaker 5: What a great way I want to say to introduce
• 26:18
  Speaker 5: the scenario though. So the movie starts with tiny dragging
• 26:22
  Speaker 5: a body, a naked body through the woods, which shout
• 26:26
  Speaker 5: out to that stunt woman who.
• 26:28
  Speaker 6: Not Yeah, he said he had trouble finding a woman
• 26:31
  Speaker 6: who would do that.
• 26:32
  Speaker 5: Yeah. So not only bared all to be literally dragged
• 26:36
  Speaker 5: through sticks and stones and everything else that was on
• 26:40
  Speaker 5: the ground, but Matthew McCrory had actually injured his ankle
• 26:45
  Speaker 5: before shooting this, and they had to find a seven
• 26:48
  Speaker 5: foot four stuntman and they did just like Yeah, I
• 27:00
  Speaker 5: also love and Brian, I hope you admired this as
• 27:02
  Speaker 5: much as I did the fact that they couldn't get
• 27:04
  Speaker 5: a crane to the location, so they literally had the
• 27:06
  Speaker 5: camera guy like hanging in trees by rope.
• 27:10
  Speaker 3: Which is iron you know, which is ironic as the way.
• 27:13
  Speaker 6: The film ends with the epic crane scenes which we'll
• 27:16
  Speaker 6: get too, but yeah, they couldn't get which, if you
• 27:19
  Speaker 6: think about it, I'm like, bro, that literally the way
• 27:22
  Speaker 6: it shot like that could have literally been somebody's backyard.
• 27:25
  Speaker 5: Oh yeah yeah. But what I think is genius is
• 27:28
  Speaker 5: the way they they start this movie with these like
• 27:33
  Speaker 5: pretty shocking shots of the naked woman being dragged, and
• 27:37
  Speaker 5: then the camera pans up and you see the police
• 27:40
  Speaker 5: rounding the corner clearly heading to the such a great way,
• 27:43
  Speaker 5: Like you could have started with the shot of the
• 27:46
  Speaker 5: you know, like the entrance gate and then the cops
• 27:49
  Speaker 5: coming in, but it was such a smart way to
• 27:51
  Speaker 5: kind of lead into it and kind of set up
• 27:53
  Speaker 5: what's happening.
• 27:54
  Speaker 6: And like all the us extremely haunting and like all
• 27:58
  Speaker 6: the news articles. He said he had to do himself,
• 28:01
  Speaker 6: like at home, because he wasn't happy with like what
• 28:03
  Speaker 6: what they shot on film.
• 28:05
  Speaker 3: So he like the scrap book, The scrap book.
• 28:07
  Speaker 5: Yeah, yeah, the scrap book, which is like, it's funny
• 28:10
  Speaker 5: now watching it because you can tell it's just like photoshop, photoshop.
• 28:14
  Speaker 6: The same image is just repeated, you know, but it
• 28:17
  Speaker 6: works if you don't you don't notice.
• 28:19
  Speaker 3: Those kind of things when you're watching it.
• 28:21
  Speaker 5: It's funny he brings up later on when and I
• 28:25
  Speaker 5: know I'm jumping, but he brings up later on when
• 28:28
  Speaker 5: I think there's a scene when when Mother Firefly shows,
• 28:33
  Speaker 5: you know, Whydell his brother's death photos and Rob Zombie's
• 28:36
  Speaker 5: like I literally just went on photoshop and like put
• 28:38
  Speaker 5: the actor's face on head body. But yeah, the opening
• 28:44
  Speaker 5: scene for this movie was always a favorite of mine.
• 28:48
  Speaker 5: It's so over the top, like with Whydell's speech, you know,
• 28:52
  Speaker 5: getting out of the car and the day of death
• 28:56
  Speaker 5: and all that. It's so over the top. And the
• 28:59
  Speaker 5: reinenterduction to the family is great, especially because I'm assuming
• 29:04
  Speaker 5: that Otis is waking up next to one of the cheerleaders.
• 29:07
  Speaker 6: Yeah, you see Otis waking up next to a dead
• 29:09
  Speaker 6: body neck dead girl. After you see Tiny dragging a
• 29:13
  Speaker 6: dead but like the one he just got done with, essentially,
• 29:17
  Speaker 6: or it's so sad, it's great.
• 29:22
  Speaker 5: Everything about these movies make me feel gross. You know,
• 29:24
  Speaker 5: I enjoy them, but I kind of need a shower
• 29:27
  Speaker 5: after I'm done hanging out with a double Reja. But
• 29:31
  Speaker 5: like you mentioned, man, this opening shootout scene is incredible,
• 29:35
  Speaker 5: And what's amazing to me is I wish I could
• 29:38
  Speaker 5: count the number of cuts and how none of those
• 29:40
  Speaker 5: angles are ever repeated. It's pretty incredible.
• 29:44
  Speaker 6: It's so many, I'm thinking, and they probably had like
• 29:47
  Speaker 6: one day to shoot that because it's it's thirty days.
• 29:50
  Speaker 6: They shot this in thirty days. That was probably all.
• 29:54
  Speaker 3: Done in one day.
• 29:55
  Speaker 6: Just get like five minutes here, change the camera, do
• 29:58
  Speaker 6: it again, change you know, it was like like no
• 30:02
  Speaker 6: repeat action, no take too.
• 30:04
  Speaker 3: It was changed to camera.
• 30:07
  Speaker 5: Well, and this is still the era of actual squibs,
• 30:11
  Speaker 5: not CG bullet hits.
• 30:14
  Speaker 3: Well, now we'll get to that at the end.
• 30:17
  Speaker 4: Yeah, speaking of like the look of the film, I
• 30:20
  Speaker 4: thought it was kind of wild though that he definitely
• 30:23
  Speaker 4: dialed in the budget for this film, But I felt
• 30:26
  Speaker 4: like the end result it ended up looking like I
• 30:29
  Speaker 4: talked about earlier. It felt like this movie looked a
• 30:33
  Speaker 4: lot more professional compared to House of a Thousand Corpses.
• 30:35
  Speaker 4: And it's crazy. It's like, you know, you can work
• 30:38
  Speaker 4: with less but be able to produce so much more
• 30:41
  Speaker 4: as a result of it. I thought that was that
• 30:43
  Speaker 4: was pretty fascinating.
• 30:45
  Speaker 5: Yeah, so this was made on a budget of seven
• 30:48
  Speaker 5: million dollars.
• 30:50
  Speaker 6: How much was to how much was a budget of
• 30:53
  Speaker 6: House of five thousand corpses, So that was way less.
• 30:55
  Speaker 3: That was like three million maybe or one million.
• 30:58
  Speaker 4: It was.
• 30:59
  Speaker 3: It was way less.
• 31:00
  Speaker 5: Yeah, so House of a thousand corpses. According now I'm
• 31:02
  Speaker 5: going off of IMDb is reporting estimated seven million dollars.
• 31:09
  Speaker 3: Interestingly enough, it wasn't made for seven million bucks.
• 31:13
  Speaker 5: So let's see. Let me see if I can.
• 31:16
  Speaker 6: IMDb is funny that way, they like it may have
• 31:19
  Speaker 6: been bought for seven million and they and they'll put.
• 31:23
  Speaker 3: That as the budget, but the budget will be made
• 31:25
  Speaker 3: for like way less.
• 31:27
  Speaker 5: Well, what I'm curious of would be what the budget
• 31:30
  Speaker 5: was before. Okay, so it was originally said to be
• 31:34
  Speaker 5: in the three to four million dollars scene.
• 31:35
  Speaker 4: That's that's why I saw.
• 31:37
  Speaker 5: Before Rob Zombie had like convinced them that he needed
• 31:43
  Speaker 5: to or remember we talked about how he made the
• 31:45
  Speaker 5: ending really bad on purpose that way he could be like,
• 31:48
  Speaker 5: hey could read. Yeah, so I guess they're they're predicting
• 31:54
  Speaker 5: that it ended around seven million dollars and the movie
• 32:01
  Speaker 5: ended up making about two and a half. Time it's
• 32:04
  Speaker 5: some times it's budget back. It was interesting. Everywhere you go,
• 32:09
  Speaker 5: it's it's different, I mean, morbidly beautiful as reporting that
• 32:14
  Speaker 5: the budget was between seven to fourteen million dollars, which
• 32:17
  Speaker 5: I can't really see a world where it's that expensive. Yeah,
• 32:23
  Speaker 5: I just think that there is a totally different Like
• 32:30
  Speaker 5: nothing about The Devil's Rejects screams big budget, you.
• 32:35
  Speaker 6: Know, at all, not until you get to the end.
• 32:38
  Speaker 6: I will say the ending is and it's a start contrast.
• 32:42
  Speaker 6: But I would say even Rob Zombie smart with how
• 32:47
  Speaker 6: he does things, cause if you think about it music
• 32:51
  Speaker 6: licensing or in how much and how much music he
• 32:56
  Speaker 6: used in this mood, like he talks about like they
• 33:00
  Speaker 6: in the commentary the opening scene, that opening credit song
• 33:03
  Speaker 6: they didn't have the rights to, but the movie was
• 33:05
  Speaker 6: picture locked before they secured the right, so they had
• 33:08
  Speaker 6: to get the money to secure the right that was
• 33:11
  Speaker 6: already picture locked.
• 33:13
  Speaker 5: Well, for anybody wondering, like wow, that sounds like a
• 33:15
  Speaker 5: good budget, sounds like, you know, everything was planned out
• 33:18
  Speaker 5: pretty well. One of my favorite bits from the commentary
• 33:21
  Speaker 5: in the opening is Rob talking about the cows and
• 33:25
  Speaker 5: how he said he thought it added production value, so
• 33:29
  Speaker 5: he added cows to the front of the Firefly residents.
• 33:34
  Speaker 4: Well, even like how they stumbled upon for like the
• 33:38
  Speaker 4: production side of things, wasn't like a certain portion of
• 33:43
  Speaker 4: like some of the scenes where it's like they had
• 33:45
  Speaker 4: the mummified chickens that were like in that enclosure like
• 33:50
  Speaker 4: further back in the property. I thought that was really
• 33:52
  Speaker 4: interesting because I mean, unless you do like a deep
• 33:55
  Speaker 4: dive into this, you would have had no clue that's
• 33:57
  Speaker 4: how they they came across it.
• 34:00
  Speaker 5: Yeah.
• 34:00
  Speaker 6: Well, I mean, did y'all watch the documentary Thirty Days
• 34:03
  Speaker 6: and Hell before this?
• 34:05
  Speaker 5: Uh, about a week and a half ago.
• 34:08
  Speaker 6: There's a there's a scene where they're they're talking about
• 34:12
  Speaker 6: the opening scene where Tiny's dragging the body, and one
• 34:15
  Speaker 6: of the props guys is just like I asked Wardrobe
• 34:18
  Speaker 6: how much those change costs, and they said five hundred
• 34:20
  Speaker 6: dollars for the for tinye like overall outfit.
• 34:24
  Speaker 3: I'm like, for how much?
• 34:26
  Speaker 6: For how much material and how much it costs to
• 34:28
  Speaker 6: stain and make it look that dirty.
• 34:30
  Speaker 3: He goes to, yeah, the other five hundred dollars overalls?
• 34:33
  Speaker 5: Ah, damn man? WHOA Like? I wish sometimes like we
• 34:41
  Speaker 5: could get public record of like what like you know,
• 34:45
  Speaker 5: all the little dollar costs that lead into the budget,
• 34:48
  Speaker 5: so I can see five hundred dollars pair of overalls
• 34:50
  Speaker 5: in there. Yeah. Yeah, it's it's crazy beautiful documentary, by
• 34:57
  Speaker 5: the way, one of the best I think ever.
• 35:00
  Speaker 3: I love it because it's it's very straight to the fact.
• 35:03
  Speaker 6: I mean it's really it's interviewing, but it's like, here's
• 35:07
  Speaker 6: what we did every day, Day one, day two, all
• 35:09
  Speaker 6: the way up to day thirty. This is what we
• 35:11
  Speaker 6: shot on this day. You can literally see how unchronological
• 35:15
  Speaker 6: they shot the movie.
• 35:17
  Speaker 5: And actually in House of Rejects the book, they two
• 35:21
  Speaker 5: pages are designated the shooting schedule and they built that
• 35:24
  Speaker 5: from the information from thirty Days in Hell. Oh nice,
• 35:28
  Speaker 5: which is really cool. I want to I want to
• 35:32
  Speaker 5: talk to you guys about something, because there's this great
• 35:36
  Speaker 5: moment in the beginning shootout when the initial shootout is
• 35:40
  Speaker 5: over and Wydell and his police squad enter the Firefly
• 35:45
  Speaker 5: house and they kick open the door, and all of
• 35:47
  Speaker 5: a sudden, there's a total shift to the feel of
• 35:50
  Speaker 5: the movie because they throw smoke in and I love
• 35:54
  Speaker 5: Rob Zombie saying that they gave it. They let the
• 35:59
  Speaker 5: one hop throw the smoke screen because some in this
• 36:03
  Speaker 5: world he might have been like a baseball player who
• 36:05
  Speaker 5: like got injured and couldn't play anymore. So they were like,
• 36:08
  Speaker 5: let him throw the smoke, so so weird, you know,
• 36:14
  Speaker 5: kick open the door, and all of a sudden, everything changes, right,
• 36:17
  Speaker 5: it's no longer bright, It's filled with smoke, and Rob
• 36:21
  Speaker 5: Zombie talks about how everything is slowed down, even the
• 36:25
  Speaker 5: police radios slowed down even slower than the actual actions
• 36:29
  Speaker 5: and they sort of drown out. And this is something
• 36:32
  Speaker 5: that happens a couple times in the movie, and I
• 36:34
  Speaker 5: think it's a really good creative choice. But one thing
• 36:37
  Speaker 5: that he mentions is how he wanted there to be
• 36:40
  Speaker 5: that shift because they're entering into their the Firefly world,
• 36:45
  Speaker 5: So they're coming out of reality into this world which
• 36:49
  Speaker 5: is incredibly surreal and gross, Like I don't even know
• 36:56
  Speaker 5: what words put together to describe, you know, what would
• 37:00
  Speaker 5: be like entering that. I feel like that is an
• 37:04
  Speaker 5: incredibly well thought out idea.
• 37:08
  Speaker 6: I think that whole statement could be said about the
• 37:10
  Speaker 6: whole movie, because the whole movie is like if you
• 37:14
  Speaker 6: look at the style of House of a Thousand Corpses
• 37:16
  Speaker 6: compared to this, and we were talking about the stark different.
• 37:18
  Speaker 6: In contrast, the Firefly family is coming out of their
• 37:23
  Speaker 6: element into the real world, into Sheriff Whydell's world into
• 37:28
  Speaker 6: the seventies Western style, you know world. I think that's
• 37:36
  Speaker 6: a good contrast for the whole movie.
• 37:39
  Speaker 4: I think it's it's interesting. I don't know if you
• 37:41
  Speaker 4: guys picked up on it. I definitely feel like between
• 37:44
  Speaker 4: both films, you could probably more often than not cite
• 37:48
  Speaker 4: Texas Chainsaw as an influence by also doing a little
• 37:52
  Speaker 4: bit of digging into it. Seems like Bonnie and Clyde
• 37:55
  Speaker 4: and like the Outlaw Road movies were a huge influence
• 37:58
  Speaker 4: on how they structured this film out which I thought
• 38:01
  Speaker 4: was like really really interesting. So you definitely feel like
• 38:05
  Speaker 4: you get that with it's like gritty, grounded tone that
• 38:08
  Speaker 4: they went for with The Devil's Rejects compared to a
• 38:11
  Speaker 4: House of one thousand Corpses.
• 38:13
  Speaker 5: Yeah. One thing that the cinematographer speaks about a lot
• 38:17
  Speaker 5: Rob Zombie mentions as well is how when they were
• 38:21
  Speaker 5: shooting the movie, they always wanted to be shooting through
• 38:23
  Speaker 5: something so you could see it a lot, and sometimes
• 38:26
  Speaker 5: it's actually kind of distracting. Like there's a moment when
• 38:31
  Speaker 5: Baby's talking to her mom and the camera's going through
• 38:34
  Speaker 5: like a jar with liquid in it, and mother fireflies
• 38:37
  Speaker 5: head gets like real elongated in the serious moment, and
• 38:40
  Speaker 5: then the camera kind of like shifts around it. It's
• 38:45
  Speaker 5: like there's times where it's very like I was like, okay,
• 38:49
  Speaker 5: but a lot of times like it was shooting just
• 38:52
  Speaker 5: really just putting something in the foreground to kind of
• 38:54
  Speaker 5: shoot pass to kind of make you feel like you're
• 38:55
  Speaker 5: a little bit more in the room with them, which
• 38:58
  Speaker 5: I like a lot. Yeah, and they talked about how Brian,
• 39:03
  Speaker 5: I'm pretty sure he said the entire shootout was handheld.
• 39:05
  Speaker 5: All those angles were handheld.
• 39:07
  Speaker 3: I think the whole movie's handheld outside of the crane,
• 39:12
  Speaker 3: outside the the ending thing, that the whole movie is handheld.
• 39:17
  Speaker 4: Well, they they leaned heavily on that plus natural lighting
• 39:21
  Speaker 4: to give it almost like a kind of like a
• 39:23
  Speaker 4: documentary type feel to it, which I thought was a
• 39:27
  Speaker 4: really smart creative choice. And I didn't realize that, speaking
• 39:31
  Speaker 4: of the cinematographer, he had actually come back for Halloween
• 39:34
  Speaker 4: a couple years later, which I thought was pretty cool.
• 39:37
  Speaker 5: Well, I think that's part of the consistency we now
• 39:40
  Speaker 5: know with Rob Zombie. He has these people that he
• 39:43
  Speaker 5: has now become like regulars with him. It's kind of
• 39:46
  Speaker 5: like it's like when when has a Michael Bay movie
• 39:49
  Speaker 5: ever not looked like a Michael Bay movie? You know, I
• 39:51
  Speaker 5: mean he works with the same the same crew, and
• 39:55
  Speaker 5: you know.
• 39:55
  Speaker 6: Yeah that that's funny. You say that because they are
• 39:58
  Speaker 6: directors who are very like. They work with the same DP.
• 40:02
  Speaker 6: Like they're like Spielberg has worked with the same DP
• 40:05
  Speaker 6: for like his last thirty movies or something, Johann Jensen
• 40:09
  Speaker 6: or Johansson the blown out highlights, the Yeah, it's like
• 40:15
  Speaker 6: some directors just you know, uh, Wally Fisher and Christopher
• 40:19
  Speaker 6: Nolan and now it's you know, Christopher Nolan and I forgot.
• 40:23
  Speaker 3: His dp's name, the I forgot his name. But Rob
• 40:30
  Speaker 3: Michael Bay has different dps for every movie, but his
• 40:34
  Speaker 3: movies all look the same.
• 40:35
  Speaker 6: Yeah, he had a different DP for every movie. Same
• 40:38
  Speaker 6: with Style, same with Tony Scott. Tony Scott had a
• 40:41
  Speaker 6: had a few had a few times where he worked
• 40:43
  Speaker 6: with the same DP a few times. But Michael Bay
• 40:46
  Speaker 6: different DP every movie, but they look the exact same.
• 40:50
  Speaker 6: I could have tested that to Rob Zombie too, you
• 40:53
  Speaker 6: know though, I think I think his DP just worked
• 40:58
  Speaker 6: on Halloween.
• 40:59
  Speaker 3: I don't know.
• 40:59
  Speaker 6: I didn't see any other movies he worked on for Rob.
• 41:02
  Speaker 6: I think he had a different one for Lord of
• 41:06
  Speaker 6: Salem because he went digital with Lord the Salem.
• 41:10
  Speaker 5: Yeah, yeah, you're right. So Halloween he also did. She
• 41:16
  Speaker 5: did Devil's Rejects, but Phil Parmett also shot because that
• 41:18
  Speaker 5: has a very similar looky shot Grindhouse.
• 41:21
  Speaker 6: Yeah, I was looking at that Grindhouse yepol which funny
• 41:26
  Speaker 6: and because you know, Rob Zombie did a commercial for that,
• 41:29
  Speaker 6: the the Werewolf.
• 41:33
  Speaker 3: The yep and there was a scene.
• 41:36
  Speaker 6: So this is something I found really interesting, which ties
• 41:42
  Speaker 6: into that it was a cut scene because we were
• 41:45
  Speaker 6: talking about the grounded in realism. So if you if
• 41:48
  Speaker 6: you notice he took out Doctor Satan in this movie,
• 41:52
  Speaker 6: well he did shoot a scene with Doctor Satan and
• 41:54
  Speaker 6: he shot it with Rosario Dawson is in you play
• 42:00
  Speaker 6: the nurse in this movie, but they completely cut it
• 42:04
  Speaker 6: for some reason, which I found hugely fascinating that they
• 42:08
  Speaker 6: tried to make doctor Satan more natural looking in a
• 42:12
  Speaker 6: real world, like how would he look like more real
• 42:15
  Speaker 6: and which I think you could have just just don't
• 42:17
  Speaker 6: take his mask off because then the behind the scenes,
• 42:19
  Speaker 6: you know, he's got the medical thing over his face,
• 42:23
  Speaker 6: so you can't really see his messed up teeth and
• 42:26
  Speaker 6: he still just looks.
• 42:26
  Speaker 3: Like an old man.
• 42:28
  Speaker 6: But Rosario had like a really cool death scene that
• 42:31
  Speaker 6: I wish was I wish made the movie.
• 42:33
  Speaker 3: I think that would have made it cool.
• 42:34
  Speaker 5: But it's funny because he mentions how in the background
• 42:37
  Speaker 5: of the news footage, like you see a body on
• 42:39
  Speaker 5: a gurney being loaded into an ambulance and that was
• 42:42
  Speaker 5: doctor set. And then later on when mother fireflys in
• 42:45
  Speaker 5: the interrogation room, one of the one of the police
• 42:51
  Speaker 5: that follow Wydell in are carrying like bloody. He's all
• 42:54
  Speaker 5: bloody from the aftermath because he was there during the
• 42:58
  Speaker 5: attack at the hospital.
• 43:00
  Speaker 3: Oh I never put that together, okay, and he just.
• 43:03
  Speaker 5: Never like he said, you know, people just assume that
• 43:06
  Speaker 5: he was coming to the need of an officer who
• 43:08
  Speaker 5: got shot during the shootout, so nobody ever questioned any
• 43:12
  Speaker 5: of it.
• 43:13
  Speaker 6: I feel like there was a lot of stuff fixed
• 43:15
  Speaker 6: in post with this movie, or that he changed in post,
• 43:18
  Speaker 6: because even the ending there was there's no dialogue.
• 43:22
  Speaker 3: It's all music.
• 43:22
  Speaker 6: But apparently he had like a whole they were talking
• 43:25
  Speaker 6: there with a whole.
• 43:26
  Speaker 3: Script they had.
• 43:27
  Speaker 6: He had him act everything out, But you don't see
• 43:30
  Speaker 6: any of that it's just music and gunfire.
• 43:33
  Speaker 4: Do you do you guys think that kind of going
• 43:36
  Speaker 4: back to with like film Parmet, do you feel like
• 43:39
  Speaker 4: his creative choice to do like the washed out tones
• 43:42
  Speaker 4: or like the saturated colors for this do you feel
• 43:45
  Speaker 4: like it works specifically for the setting, like with what
• 43:48
  Speaker 4: he was trying to do.
• 43:50
  Speaker 5: I think that's it's kind of the feel of this
• 43:54
  Speaker 5: movie is what I remember most from the movie.
• 43:57
  Speaker 4: This movie is very hot.
• 43:58
  Speaker 5: It's very like mid August, you know what I mean.
• 44:02
  Speaker 5: There's something there's something to this movie that just is
• 44:06
  Speaker 5: sweaty and gross. And I always feel like, I think
• 44:13
  Speaker 5: of parts of the Caribbean. I think it was part
• 44:15
  Speaker 5: parts of the Caribbean. Three when when when Jackets stuck
• 44:20
  Speaker 5: on that like desert and it's all like washed out,
• 44:23
  Speaker 5: but it's like white, it's all like desaturated and washed out,
• 44:27
  Speaker 5: and you you kind of don't know. When I watched it,
• 44:30
  Speaker 5: I was like, I don't know if it's hot there
• 44:32
  Speaker 5: or if it's like I never got like that feeling.
• 44:34
  Speaker 5: Devil's Rejects just feels disgustingly hot.
• 44:38
  Speaker 4: Yeah.
• 44:38
  Speaker 5: Every single scene.
• 44:40
  Speaker 6: Especially the motel scene. The motel scene, especially like that
• 44:43
  Speaker 6: room you can just feel there's no ac in that room.
• 44:46
  Speaker 4: I thought it was so funny when he was talking
• 44:49
  Speaker 4: about how they were trying to set up certain shots
• 44:52
  Speaker 4: and you had the semis that were just blowing past him.
• 44:55
  Speaker 4: It almost felt like they were trying to time it
• 44:57
  Speaker 4: out to get the shots correct. I was like, dude,
• 45:00
  Speaker 4: I can only imagine how wild it has to be.
• 45:03
  Speaker 4: You know, obviously you have like large stretches of road
• 45:07
  Speaker 4: where you probably if you're not paying attention, it's got
• 45:09
  Speaker 4: to be kind of startling, like when you're trying to shoot.
• 45:12
  Speaker 3: Yeah, no, I have experience with that.
• 45:15
  Speaker 6: My first movie, Hell of a Night, was literally shot
• 45:18
  Speaker 6: on a road which was literally like right off the
• 45:21
  Speaker 6: main highway to where we just said screw it and
• 45:25
  Speaker 6: we just redid all the audio because we didn't have
• 45:27
  Speaker 6: time to keep waiting for the semis. It was ridiculous
• 45:31
  Speaker 6: and ironically, which is a weird just off subject, but
• 45:35
  Speaker 6: like even in my film, there was so many semi
• 45:37
  Speaker 6: that was like I changed my ending to be like
• 45:39
  Speaker 6: an homage to the Descent where she's sitting on the
• 45:42
  Speaker 6: side of the road and she's breaking down the car
• 45:44
  Speaker 6: and then a semi drives by and kind of that
• 45:47
  Speaker 6: jump scar and it kind of wakes her up. Could
• 45:50
  Speaker 6: not get a semi truck that day to save our life.
• 45:53
  Speaker 3: It literally took hours to shoot that. But yeah, no
• 45:56
  Speaker 3: shooting with like sim.
• 45:57
  Speaker 6: Especially where they were because you look at some shots
• 46:01
  Speaker 6: like you can still like that. If you watch a documentary,
• 46:04
  Speaker 6: it feels like, oh yeah, just normal people driving by,
• 46:07
  Speaker 6: Like when they're prepping the shootout for the ending, you're like,
• 46:09
  Speaker 6: are there people just driving by while they're like rehearsing this,
• 46:14
  Speaker 6: Like they didn't block the like they blocked the road,
• 46:16
  Speaker 6: but not for long enough.
• 46:18
  Speaker 5: I thought of for some reason, I just thought of
• 46:19
  Speaker 5: like they're shooting at the motel and all these at
• 46:22
  Speaker 5: wheelers are like blasting by, and there's some old native
• 46:26
  Speaker 5: that's like it's some old local guy that's like, you know,
• 46:29
  Speaker 5: one hundred years old, just just like you don't want
• 46:31
  Speaker 5: to go near to that road. That's a road Judd crandall.
• 46:35
  Speaker 6: You know, well, some of that, I think the whole
• 46:39
  Speaker 6: interior that with a set, because he talks about when
• 46:41
  Speaker 6: the maid walks in how they got away with it
• 46:44
  Speaker 6: because the windows are so blown out that you can't
• 46:47
  Speaker 6: see what's outside, so they would just blast light through
• 46:49
  Speaker 6: the windows and that made it easier for continuity.
• 46:53
  Speaker 5: Well, it's funny because I was going to bring up
• 46:55
  Speaker 5: at this point in the movie were introduced to Charlie,
• 47:00
  Speaker 5: who owns the most bizarre place I've ever seen in
• 47:05
  Speaker 5: my life. And this is kind of like where I
• 47:09
  Speaker 5: feel like they you know, they pull they pull the
• 47:11
  Speaker 5: firefly out of their home into the real world. And
• 47:15
  Speaker 5: then this is sort of glimpses back into their world
• 47:17
  Speaker 5: because he's like them but not you know, direct, But
• 47:22
  Speaker 5: it's so odd. You have you know, Michael Berryman talking
• 47:26
  Speaker 5: about Star Wars, and you have e. G. Shelley who
• 47:29
  Speaker 5: plays you know, Tommy Pickles talking about hand jobs, and
• 47:35
  Speaker 5: Michael Berryman's just vacuuming one part of the carpet. It's
• 47:38
  Speaker 5: like real, you know, like it's such a weird like ranch,
• 47:43
  Speaker 5: you know what I mean. Like, what's he say? He says?
• 47:48
  Speaker 5: Ken Foray has a line in this movie where he
• 47:52
  Speaker 5: dead serious says, you gotta hustle that pussy and it's great,
• 47:59
  Speaker 5: and then he's what is he say when they bring
• 48:00
  Speaker 5: up the Star Wars? He's like, you start doing stuff
• 48:02
  Speaker 5: like that, you start bringing out some real sickos.
• 48:05
  Speaker 6: And the guy I forgot the guy from the Hills
• 48:08
  Speaker 6: have eyes. He called them robots and goes, no, they're droids.
• 48:12
  Speaker 4: Whenever.
• 48:16
  Speaker 5: It's so strange, man, it is so strange. But at
• 48:20
  Speaker 5: one point, one thing I really liked about the commentary
• 48:24
  Speaker 5: was him bringing was rob Zombie bringing up his love
• 48:28
  Speaker 5: for the close ups on everybody in this movie, because
• 48:32
  Speaker 5: it's one thing that's there's tons of these really tight
• 48:37
  Speaker 5: handheld shots just on faces, and it's great. It adds
• 48:41
  Speaker 5: a really cool just like visual consistency throughout the movie,
• 48:46
  Speaker 5: especially with like the grainy appearance of the film, and
• 48:50
  Speaker 5: it's almost like what we talked about. You could see
• 48:52
  Speaker 5: the sweat and the bugs like landing on people's faces.
• 48:56
  Speaker 5: It was something I really liked.
• 48:57
  Speaker 6: I also love and this is a style that was
• 49:00
  Speaker 6: really it was big back then. Robin he did it
• 49:03
  Speaker 6: in the first movie, and it's kind of a style
• 49:06
  Speaker 6: that's gone out in filmmaking, but I really appreciate it.
• 49:08
  Speaker 6: It's the freeze frame of random just it doesn't even
• 49:12
  Speaker 6: have to be like they're like if they're running, they're
• 49:16
  Speaker 6: like out of focus or they're you know, not in
• 49:20
  Speaker 6: an ideal position, and it would just freeze and then
• 49:23
  Speaker 6: zoom in like I love that style that I wish
• 49:26
  Speaker 6: people still did.
• 49:28
  Speaker 5: Yeah, all those moments when you're in the aftermath of
• 49:31
  Speaker 5: the shootout Otis and baby escape, when the credits kick in,
• 49:36
  Speaker 5: all those are so good, Like when he's dragging out
• 49:38
  Speaker 5: Motherfirefly and it cutstead of his frame and you have
• 49:42
  Speaker 5: the title cards or the you know, the character cards
• 49:44
  Speaker 5: coming up. So it's great. But we have to talk
• 49:48
  Speaker 5: about the reintroduction of sid Hague.
• 49:52
  Speaker 6: One of the best, one of the best, which I
• 49:55
  Speaker 6: think is funny. So the so the movie, like it
• 50:00
  Speaker 6: opened up with sid Hey having sex with ginger Lin right,
• 50:05
  Speaker 6: which ginger linn tore her a had acl surgery like.
• 50:09
  Speaker 3: Ten days before this. Yeah, and she is just going
• 50:13
  Speaker 3: ham on him.
• 50:15
  Speaker 5: She is HIGs balls.
• 50:17
  Speaker 6: Yes, you too, at least in the underrated version. I
• 50:20
  Speaker 6: don't know if you see it in the rate in
• 50:21
  Speaker 6: the theatrical version, but in the underrated version you definitely
• 50:25
  Speaker 6: see his.
• 50:27
  Speaker 3: Which I think is funny as shit. And then the
• 50:30
  Speaker 3: punchline is so funny.
• 50:33
  Speaker 6: And he wakes up next to like the four hundred
• 50:35
  Speaker 6: pound fat chick who calls him Poppy every like five seconds,
• 50:39
  Speaker 6: which apparently wasn't in the script. Apparently she just called
• 50:41
  Speaker 6: him poppy once in the script, but she just kept
• 50:43
  Speaker 6: doing it.
• 50:44
  Speaker 5: Well, it's great. Is this is that consistency from House
• 50:47
  Speaker 5: of a Thousand Corpses because he mentions in House like
• 50:51
  Speaker 5: big girl, more put more cushion for the pushion.
• 50:53
  Speaker 4: Yep.
• 50:54
  Speaker 5: But can we also admire the great jump cut of
• 50:59
  Speaker 5: him going to the toy and cutting to the coffee
• 51:01
  Speaker 5: pouring in that.
• 51:02
  Speaker 6: Oh yeah, yeah, yeah, that's a great That is a
• 51:05
  Speaker 6: great transition. It's also kind of a consistency with Rob
• 51:09
  Speaker 6: Zombie's work because.
• 51:10
  Speaker 3: What was it? It was? Was it thirty one?
• 51:13
  Speaker 6: I think it was thirty one when they're driving in
• 51:15
  Speaker 6: the in the Winnebago and they go to the back
• 51:18
  Speaker 6: and the one character is having sex with the really
• 51:20
  Speaker 6: big girl in the back. Is it I think it's
• 51:25
  Speaker 6: thirty one.
• 51:27
  Speaker 5: I don't know. I haven't seen that one enough.
• 51:31
  Speaker 6: Yeah, there's the scene where one of the characters is
• 51:33
  Speaker 6: having sex with the bigger not Nero's big assist girl.
• 51:38
  Speaker 6: But and I love how the chicks like he was like, damn,
• 51:41
  Speaker 6: didn't you get enough dick last night or something?
• 51:44
  Speaker 3: And she's like, no, A.
• 51:46
  Speaker 5: Good Rob Zombie writing, you know that. I love when
• 51:50
  Speaker 5: he watches the commercial and he gets cut off.
• 51:52
  Speaker 3: He gets so mad, he goes, I pay good money
• 51:54
  Speaker 3: for Yeah.
• 51:56
  Speaker 4: I thought it was cool though, because it sounded like
• 51:58
  Speaker 4: Rob Zombie encouraged a lot of the like improv with
• 52:02
  Speaker 4: the dialogue. So you know, a lot of the characters
• 52:05
  Speaker 4: just seemed like really kind of riffing on the energy,
• 52:08
  Speaker 4: and it seemed like the cast like more of your
• 52:11
  Speaker 4: core cast. I mean, they'd obviously worked with one another
• 52:13
  Speaker 4: for House of a Thousand Corpses, so they already had
• 52:17
  Speaker 4: that chemistry that had already been developed and just felt
• 52:21
  Speaker 4: very natural, especially with those three, like said, hey, Bill
• 52:25
  Speaker 4: Moseley and Sherry Moon.
• 52:26
  Speaker 6: Zombie he talks about that too, because he talks about
• 52:30
  Speaker 6: how when you know, they all met during the first movie,
• 52:33
  Speaker 6: and they with that gap of like four years, and
• 52:38
  Speaker 6: in that time they had enough time to know each
• 52:40
  Speaker 6: other and hang out to where by the time they
• 52:43
  Speaker 6: got to this movie, they they had a rapport.
• 52:48
  Speaker 4: What I thought was it was kind of wild. Was
• 52:51
  Speaker 4: Bill Moseley makes the comment of obviously he goes to
• 52:55
  Speaker 4: some dark places in certain scenes that they're filming, it's
• 52:58
  Speaker 4: obviously pretty graphic or violent. And then when you kind
• 53:02
  Speaker 4: of see him stepping away from after like they get
• 53:05
  Speaker 4: the shot or you know, they're filming that scene. He
• 53:08
  Speaker 4: definitely seems like he's not as comfortable with shooting that
• 53:12
  Speaker 4: type of content, which I thought was kind of wild
• 53:15
  Speaker 4: to me for somebody that's so iconic and horror you know, well,
• 53:20
  Speaker 4: when is he ever?
• 53:22
  Speaker 5: I mean, you know, if you think about some of
• 53:25
  Speaker 5: the big Bill Moseley rolls, especially like Let's Go like
• 53:29
  Speaker 5: Chop Top Text Chains Maascer two, there is nothing in
• 53:31
  Speaker 5: that movie that comes remotely close to what happens in
• 53:36
  Speaker 5: Devil's Rejects, you know, like when we get to that,
• 53:41
  Speaker 5: when we get to that, that's That's something that was
• 53:44
  Speaker 5: I was really shocked to hear about because Bill Mosley
• 53:47
  Speaker 5: was recently on not recently, it might have been about
• 53:51
  Speaker 5: a year ago. He was on the Talks from the
• 53:52
  Speaker 5: Crypt podcast. Oh yeah, and he talks about how uncomfortable
• 53:56
  Speaker 5: he's been shooting certain scenes in certain movies in his past.
• 54:02
  Speaker 6: So and and that scene specifically is really like a
• 54:07
  Speaker 6: personal kind of like there's no.
• 54:13
  Speaker 3: I don't know the words to put it. It's it's pretty,
• 54:17
  Speaker 3: it's brutal and not in a in not in a
• 54:20
  Speaker 3: violent way.
• 54:22
  Speaker 5: While we're leading up to that What did you guys
• 54:24
  Speaker 5: think of the reveal of information that Captain Spaulding is
• 54:31
  Speaker 5: baby's father because she calls him from you know, a
• 54:34
  Speaker 5: roadside phone to let him know that they're gonna be
• 54:37
  Speaker 5: coming after and she says, Daddy.
• 54:40
  Speaker 3: I'll be completely honest, it felt shoehorned in, you think so.
• 54:45
  Speaker 3: I think so.
• 54:45
  Speaker 6: But it makes sense because I mean, if you think
• 54:47
  Speaker 6: about it, at the end, he comes to the rescue
• 54:50
  Speaker 6: at the end of half of a thousand corpses, so
• 54:52
  Speaker 6: you know, he knows who they are. Otis is in
• 54:55
  Speaker 6: the back of the car. I mean, I could see
• 54:58
  Speaker 6: him being the dad. I really could see him being
• 55:00
  Speaker 6: the dad. He just it felt a little like, Okay,
• 55:06
  Speaker 6: the characters are gone, Like you know, Sherry Moon Zombie
• 55:09
  Speaker 6: in the first one, who's like playing this super you know,
• 55:15
  Speaker 6: she's playing a character, even a character within a character,
• 55:19
  Speaker 6: and then it's almost like shit gets real and she's like, Daddy,
• 55:23
  Speaker 6: I need help, m M.
• 55:25
  Speaker 3: Kind kind of a thing.
• 55:27
  Speaker 5: Yeah, I think it was a good way to I mean,
• 55:31
  Speaker 5: I can definitely see feeling how was shoe horned in,
• 55:34
  Speaker 5: But I feel like it was a great way to
• 55:36
  Speaker 5: just keep bring him back and keep him relevant.
• 55:40
  Speaker 4: Also, it kind of ties together the family element of it,
• 55:44
  Speaker 4: and it's at least how I remember when I first
• 55:46
  Speaker 4: watched it, and I'm like, okay, it kind of makes makes
• 55:48
  Speaker 4: a little bit more sense, you know, yeah, to bring
• 55:51
  Speaker 4: him into the mix.
• 55:52
  Speaker 6: Yeah, I say shoe horned in just because and I've
• 55:55
  Speaker 6: never really thought that way until I watch the director's
• 55:58
  Speaker 6: commentary and he specifically said Rob Zombie said he had
• 56:03
  Speaker 6: her call mother Firefly mom mama so the audience would
• 56:08
  Speaker 6: connect it, so they didn't have to watch the first one.
• 56:11
  Speaker 6: So that's why I say shoehorning. You know, it felt
• 56:14
  Speaker 6: like you got to connect the dots a little bit
• 56:16
  Speaker 6: for the people who may not have seen House of
• 56:18
  Speaker 6: a Thousand.
• 56:18
  Speaker 3: Corpses, because she does call Otis her brother.
• 56:22
  Speaker 5: Yeah, which is It's funny. One of the podcasts I
• 56:25
  Speaker 5: was listening to, and I feel so bad forgetting which
• 56:28
  Speaker 5: one Specifically, they had found this internet lure around the movies,
• 56:35
  Speaker 5: and you know, they had mentioned like, we don't know
• 56:38
  Speaker 5: if this is true or where people got this from,
• 56:40
  Speaker 5: but supposedly Otis was Otis Drift would have literally like
• 56:46
  Speaker 5: drifted into the family. He wasn't related at all. He
• 56:49
  Speaker 5: was just sort of like at some point picked up
• 56:52
  Speaker 5: and kind of just became like an honorary.
• 56:55
  Speaker 4: Kind of brought in.
• 56:56
  Speaker 5: Yeah, yeah, so I could see that.
• 56:58
  Speaker 6: I can see that for the whole a very Texas
• 57:01
  Speaker 6: chainsaw mat Like it's very Texas changed where they feel like,
• 57:04
  Speaker 6: you know, they they find these children or something, or
• 57:08
  Speaker 6: they're victims and they just raise them as their own
• 57:10
  Speaker 6: or something like like Sherry Moon Zombie, I could see
• 57:12
  Speaker 6: it's that kind of character. Not really fire you know,
• 57:16
  Speaker 6: mother Firefly's daughter, not really Captain Spaldings like blood daughter,
• 57:21
  Speaker 6: but raised by them.
• 57:23
  Speaker 4: Well, they're they're unreliable narrators. I mean for any of them.
• 57:27
  Speaker 4: You're seeing it through Like I mean, the whole family
• 57:30
  Speaker 4: unit is like a twisted reflection of like what would
• 57:34
  Speaker 4: be your standard family. And you know they obviously in
• 57:39
  Speaker 4: their mind it works for you know, how they operate.
• 57:43
  Speaker 5: Well, let me ask you guys. I know, you know
• 57:45
  Speaker 5: we're all big music people, are you guys fans of
• 57:48
  Speaker 5: Banjo and Sullivan because us such a great again Rob
• 57:57
  Speaker 5: Zombie in his typical writing, you know, we're introduced to
• 58:01
  Speaker 5: Benjamin Sullivan and their significant others and and you got
• 58:06
  Speaker 5: talked about the bull riding one titty going this way,
• 58:09
  Speaker 5: one going that way. You know, it feels very I
• 58:13
  Speaker 5: was going to try to segue this in with with
• 58:16
  Speaker 5: when we were talking about how Rob Zombie kind of
• 58:18
  Speaker 5: let them have free reign. But this is when we
• 58:21
  Speaker 5: when we're introduced these characters. This is one of the ways,
• 58:23
  Speaker 5: one of the things that really screamed to be like
• 58:25
  Speaker 5: just let them do their thing, let them go yeah
• 58:28
  Speaker 5: and no kind of build these characters as they go,
• 58:32
  Speaker 5: which is great. So we have Jeffrey Lewis who playing
• 58:35
  Speaker 5: Roy Sullivan, his wife Gloria played by Priscilla Barnes, Lou
• 58:40
  Speaker 5: Temple plays Adam Banjo, his wife Kate Norby plays Wendy Banjo.
• 58:44
  Speaker 5: And then of course we have Brian Postine playing Jimmy,
• 58:47
  Speaker 5: who is.
• 58:48
  Speaker 6: The his unforgettable. He is so bland and he cracks
• 58:54
  Speaker 6: me up. I'm like, I know they did this on purpose,
• 58:56
  Speaker 6: Like the way he goes, I think that's maybe like
• 59:00
  Speaker 6: it was like it was so bland and it's like okay,
• 59:04
  Speaker 6: but it was almost like okay bye, you know, it
• 59:07
  Speaker 6: was so it's almost like I can see Rob z
• 59:10
  Speaker 6: on me, like that's hilarious. Just do it, just do
• 59:12
  Speaker 6: it your way, you know.
• 59:13
  Speaker 5: Well, Zombie talks about in the commentary how we thought
• 59:15
  Speaker 5: it was so funny that the slowest guy in the
• 59:18
  Speaker 5: world is talking about wanting to become a radio or
• 59:21
  Speaker 5: a rodeo clown.
• 59:26
  Speaker 3: I love that, like the most cringe dialog. That cracks
• 59:28
  Speaker 3: me up.
• 59:29
  Speaker 6: But it's so funny is when he goes, you know,
• 59:31
  Speaker 6: when they just stopped the scene and he goes, you know,
• 59:33
  Speaker 6: I could have been on that line in North Carolina
• 59:36
  Speaker 6: or something, and the older in the father figure just
• 59:39
  Speaker 6: looks and he goes, yeah, I would.
• 59:41
  Speaker 5: Yeah.
• 59:41
  Speaker 3: It's just like I wish you were kind of.
• 59:45
  Speaker 5: Well. One thing that Zombie does in the commentary is
• 59:49
  Speaker 5: he really really gushes over Phills cinematography in this scene
• 59:54
  Speaker 5: between Roy and Baby in the ice box, and he
• 59:57
  Speaker 5: talks about the little camera they used to get this
• 59:59
  Speaker 5: sh from inside the ice box. He's like, we never
• 1:00:02
  Speaker 5: used it again. That was the one time. Look, here's
• 1:00:08
  Speaker 5: the thing I don't I'm not the biggest fan of
• 1:00:12
  Speaker 5: Sherry Moon. I don't think she's like. I'm not an actor.
• 1:00:17
  Speaker 5: I don't know how to act. I'm not a critic,
• 1:00:20
  Speaker 5: so I don't want to commentate on how people act.
• 1:00:23
  Speaker 5: I just know that I want to be sold that
• 1:00:25
  Speaker 5: you're performing a character, and she never really gives me
• 1:00:29
  Speaker 5: much to fall on. So, like a lot of these
• 1:00:31
  Speaker 5: scenes with her I kind of giggle at now because
• 1:00:34
  Speaker 5: I'm like, yeah, it just sounds so it sounds acted.
• 1:00:41
  Speaker 5: Does that make sense?
• 1:00:42
  Speaker 6: Like yeah, I feel like her peak was her debut.
• 1:00:49
  Speaker 6: I think her as in the first movie playing a character,
• 1:00:53
  Speaker 6: I g.
• 1:00:53
  Speaker 3: A psychopath to the top. Over the top is like very.
• 1:00:59
  Speaker 6: Harley Quinn on acid kind of you know, yeah, a
• 1:01:03
  Speaker 6: way to put a She tones it down a lot.
• 1:01:07
  Speaker 6: The tone is much more they're on the run, they're
• 1:01:09
  Speaker 6: in the real world. You know, it's very tone down,
• 1:01:14
  Speaker 6: which she has to actually act in this.
• 1:01:18
  Speaker 5: Yeah, I don't know. I just I just struggle with her.
• 1:01:22
  Speaker 4: It's hit or miss. I don't know if I mean,
• 1:01:23
  Speaker 4: you guys have seen a number of Rob Zombie's films,
• 1:01:27
  Speaker 4: like than everyone I know, but there's some that I
• 1:01:31
  Speaker 4: can get by on and then there's others where it
• 1:01:34
  Speaker 4: just I don't know what it is. It just kind
• 1:01:36
  Speaker 4: of falls flat for me. I mean even I mean,
• 1:01:39
  Speaker 4: I like his Halloween films, but even then, it just
• 1:01:44
  Speaker 4: feels like, I don't know, was she really the best
• 1:01:47
  Speaker 4: choice to play in this role.
• 1:01:48
  Speaker 5: I mean, well, that's what I wonder, like maybe she's
• 1:01:51
  Speaker 5: just stuck giving roles that don't fit her. Like I
• 1:01:55
  Speaker 5: think her best role is in Lords of Zalom. I
• 1:01:59
  Speaker 5: would agree, you know, like it's really and I even
• 1:02:02
  Speaker 5: liked they're in the Monsters, you know, I feel like
• 1:02:03
  Speaker 5: she was used.
• 1:02:05
  Speaker 6: Yeah, she was playing a character in the Monsters. The
• 1:02:08
  Speaker 6: big fault of the Monsters was herman to.
• 1:02:10
  Speaker 5: Me, yeah, yeah, yeah. But one thing that I really
• 1:02:16
  Speaker 5: one thing that I really loved was we just talked
• 1:02:19
  Speaker 5: about Texas Chainsaw Masker for August, and we talked about
• 1:02:22
  Speaker 5: the shooting environment, especially in the last act of that
• 1:02:27
  Speaker 5: movie in the house, and how they shot all of
• 1:02:30
  Speaker 5: that over twenty seven hours. It was one hundred degrees outside.
• 1:02:35
  Speaker 5: They're using very slow films, so they're using heavy wattage lighting,
• 1:02:40
  Speaker 5: which is just increasing the heat and house. And it
• 1:02:41
  Speaker 5: got to a point where the cast and a crew
• 1:02:45
  Speaker 5: was like almost actually going mad because of the scenario
• 1:02:49
  Speaker 5: they were in. And I find it funny that here
• 1:02:51
  Speaker 5: we are a month later covering the next movie and
• 1:02:54
  Speaker 5: Rob Zombie talks about how the interior set for the
• 1:02:58
  Speaker 5: hotel room was so small and it's so claustrophobic that
• 1:03:03
  Speaker 5: it actually started to wear down on the cast. And
• 1:03:08
  Speaker 5: he mentions how all he kept all the outside crew
• 1:03:11
  Speaker 5: out because there was this vibe to everybody and that
• 1:03:15
  Speaker 5: was stuck inside this room performing that he didn't want
• 1:03:18
  Speaker 5: outside influence kind of pulling them out of and Sherry
• 1:03:23
  Speaker 5: Moon and Bill Moseley took what happens in this hotel
• 1:03:26
  Speaker 5: room incredibly heavy and was found it all very upsetting
• 1:03:31
  Speaker 5: getting to the scene we were talking about earlier, which
• 1:03:34
  Speaker 5: is the assault scene on Priscilla Barnes' character.
• 1:03:38
  Speaker 4: But I think kind of going off what you're saying
• 1:03:42
  Speaker 4: is that they obviously had this very claustrophobic environment they're
• 1:03:46
  Speaker 4: taking this energy from. You know, obviously they're obviously shooting
• 1:03:51
  Speaker 4: a very heavy scene. You know, it's dealing with like
• 1:03:54
  Speaker 4: some very dark subject matter. But I think the film
• 1:03:57
  Speaker 4: is better off for it because of this. I mean,
• 1:03:59
  Speaker 4: it seems like he kind of played that to his advantage,
• 1:04:03
  Speaker 4: and I think the film is better off, you know,
• 1:04:05
  Speaker 4: with I don't know, like the final product that we
• 1:04:08
  Speaker 4: get is it's dark, but it works, you know.
• 1:04:14
  Speaker 5: Well, this is where that shift is. First of all,
• 1:04:16
  Speaker 5: I want to talk about Banjo straight up giving his
• 1:04:20
  Speaker 5: wife away in the shower, like just like, oh, that's
• 1:04:23
  Speaker 5: my wife, goes you guys there, and then he becomes
• 1:04:27
  Speaker 5: the biggest pussy of the bunch. He like tumbles like
• 1:04:32
  Speaker 5: laying in her lap, sobbing. After he's acting like a
• 1:04:36
  Speaker 5: big tough guy. Watching the television footage of them, Well.
• 1:04:40
  Speaker 3: Did he do that?
• 1:04:41
  Speaker 6: I mean he did that, But I remember what I
• 1:04:43
  Speaker 6: remember from the movie was when they spotted his wife,
• 1:04:49
  Speaker 6: he got really defensive and he's like, that's my wife,
• 1:04:51
  Speaker 6: and he got up and they basically pushed him down
• 1:04:54
  Speaker 6: and told him to you know, truth briefly, and then
• 1:04:58
  Speaker 6: as soon as she came out, it was hide behind
• 1:05:01
  Speaker 6: what I.
• 1:05:03
  Speaker 5: Love, dude, there's nothing. Everything goes up and watching me.
• 1:05:07
  Speaker 5: When Jimmy shows back because he otis, asks is there
• 1:05:11
  Speaker 5: anybody else? And Roy goes no, just doesn't and then
• 1:05:15
  Speaker 5: there's a knock of the door, and it's like, oh, Jimmy.
• 1:05:18
  Speaker 6: Question Jimmy. He's like I forgot about him. He's like,
• 1:05:20
  Speaker 6: I know I can't trust you now.
• 1:05:22
  Speaker 5: Yeah, yeah, why no, I can't trust you now and
• 1:05:24
  Speaker 5: they drag him in and then just blow they execute him.
• 1:05:28
  Speaker 4: Right from what does he say to Sherry Moon zombie.
• 1:05:30
  Speaker 4: He's like, he's like he has to double take for
• 1:05:33
  Speaker 4: a sec. He's like, what does he say? Is Roy here?
• 1:05:36
  Speaker 4: And then she basically lures him in and it's just
• 1:05:39
  Speaker 4: it's so sudden how he just gets shot execution style,
• 1:05:44
  Speaker 4: and that's when it just feels like everything goes off
• 1:05:47
  Speaker 4: the rails, like you're basically the audience is basically trapped
• 1:05:51
  Speaker 4: in this room with them, and you feel like you're
• 1:05:54
  Speaker 4: in a way like you feel like you're being held hostage.
• 1:05:57
  Speaker 5: Dude, it's really this is kind of like this. It
• 1:06:00
  Speaker 5: becomes like a like almost kind of over stimulating, like
• 1:06:05
  Speaker 5: we talk about Texas chainsmask or the sensory because you
• 1:06:08
  Speaker 5: have and this is where I love little tiny things
• 1:06:11
  Speaker 5: about movies, Like when that gunshot goes off, there is
• 1:06:14
  Speaker 5: a loud to pitch, you know, like you hear kind
• 1:06:17
  Speaker 5: of like the like the sound of your ear, like
• 1:06:20
  Speaker 5: when a gunshot near goes off. That happens and it's
• 1:06:23
  Speaker 5: so hectic and everybody's screaming. It gets really crazy, and
• 1:06:27
  Speaker 5: then you have the kind of the massive change of
• 1:06:32
  Speaker 5: pace that is this very how do I I have
• 1:06:39
  Speaker 5: a last house on the left poster on my wall.
• 1:06:43
  Speaker 5: I love I spit on your grave. You know, Cannibal
• 1:06:46
  Speaker 5: Holocaust is one of my favorite movies of all time.
• 1:06:48
  Speaker 5: These are movies that have very scarring assault scenes, right,
• 1:06:55
  Speaker 5: and that go much further as far as where it
• 1:07:01
  Speaker 5: takes the limit than The Devil's Rejects does with this
• 1:07:03
  Speaker 5: assault scene. But there's something that is just so like
• 1:07:12
  Speaker 5: despairing and gross about this scene. And I don't know
• 1:07:16
  Speaker 5: if it's because it's so suddenly dark or what it is,
• 1:07:22
  Speaker 5: but it's brutal.
• 1:07:25
  Speaker 6: All those think about it this way, This is made
• 1:07:27
  Speaker 6: me not a way you want to think about it.
• 1:07:29
  Speaker 6: But all those movies you named are young, pretty teenagers,
• 1:07:33
  Speaker 6: and this is somebody who a normal, everyday woman who
• 1:07:35
  Speaker 6: could be your mom, but who.
• 1:07:37
  Speaker 5: Is more beautiful than most of the girls.
• 1:07:39
  Speaker 6: In Yeah, it's a more vulnerable. She's more vulnerable because
• 1:07:48
  Speaker 6: it's that could be your aunt, your mom.
• 1:07:51
  Speaker 4: You know.
• 1:07:52
  Speaker 6: It's not just they didn't just take the pretty girl
• 1:07:55
  Speaker 6: who's already naked, the younger girl at the shower. It's like, no,
• 1:08:00
  Speaker 6: we're gonna take you know, the mom figure of the
• 1:08:02
  Speaker 6: group and do this. I'm going to stick a gun
• 1:08:06
  Speaker 6: in her, you know, pant front of everybody. And it's Yeah,
• 1:08:10
  Speaker 6: it's disturbing.
• 1:08:12
  Speaker 4: It's very degrading. It's like humiliation. Then you have the
• 1:08:18
  Speaker 4: assault that happens. I mean, it's it's so like Chris
• 1:08:22
  Speaker 4: was saying earlier, it's very like sensory overload with such
• 1:08:27
  Speaker 4: difficult things that are happening to these characters. And I mean,
• 1:08:30
  Speaker 4: you're you're going through like a barrage of terrible things
• 1:08:34
  Speaker 4: that are happening all the way up, you know, until
• 1:08:37
  Speaker 4: like obviously we'll get to a little bit later on
• 1:08:39
  Speaker 4: when Wendy runs out of the motel room. But it
• 1:08:43
  Speaker 4: I don't know it. I remember first watch it was
• 1:08:46
  Speaker 4: very tough to sit through. It's not an easy to
• 1:08:49
  Speaker 4: digest even after watching it.
• 1:08:51
  Speaker 5: And to me, if I remove House of a Thousand Corpses,
• 1:08:56
  Speaker 5: I know these characters are bad. This is the moment
• 1:08:59
  Speaker 5: where they become evil. Yes, Like this is where the
• 1:09:04
  Speaker 5: title The Devil's Rejects feels appropriate because this scene is
• 1:09:10
  Speaker 5: it's it's it's it's just a verbal assault. Like there, yeah,
• 1:09:15
  Speaker 5: there is physical elements to it, but he's just verbally
• 1:09:18
  Speaker 5: abusing her to a point. It just goes on and on,
• 1:09:24
  Speaker 5: and it's it's a really hard scene to sit through.
• 1:09:28
  Speaker 6: It's also the only scene where we that kind of
• 1:09:32
  Speaker 6: ties back to the first one though, because the first
• 1:09:34
  Speaker 6: one they're torturing people.
• 1:09:36
  Speaker 3: Yeah, this movie, they're on the run the whole time.
• 1:09:39
  Speaker 6: So this scene brings it back to Oh, yeah, you
• 1:09:43
  Speaker 6: almost forget.
• 1:09:44
  Speaker 5: Is worse than anything in House of a Thousand Corpses though,
• 1:09:47
  Speaker 5: and the scene is only like three minutes alone.
• 1:09:49
  Speaker 6: Yeah, because House of a Dozen Corpse it's like, Oh,
• 1:09:51
  Speaker 6: we're gonna turn this guy into a fish, Like that's ridiculous,
• 1:09:55
  Speaker 6: it's weird. It's like, Eh, we're gonna rip this guy's
• 1:09:58
  Speaker 6: scalp off. That's h But this is like, oh, this
• 1:10:01
  Speaker 6: could really happen. This is like a real world scenario.
• 1:10:05
  Speaker 6: This is somebody breaking into your house. We all stayed
• 1:10:08
  Speaker 6: in those shitty motel rooms. We all have seen those
• 1:10:10
  Speaker 6: shitty characters. We get in, we locked the door, like
• 1:10:13
  Speaker 6: they're these major grounded realism to it that it's not
• 1:10:19
  Speaker 6: as violent, but it's worse.
• 1:10:21
  Speaker 4: You Know, what I noticed watching this scene is it
• 1:10:24
  Speaker 4: doesn't feel that far removed from something you would see
• 1:10:27
  Speaker 4: in like Henry Portrait of a serial Killer, where it's
• 1:10:30
  Speaker 4: like instead of it taking place, and I believe it's
• 1:10:33
  Speaker 4: in Chicago for that. You know, we're in you know,
• 1:10:37
  Speaker 4: deep South in Texas in this CDs motel room and
• 1:10:42
  Speaker 4: this assault's taking place. I mean, these characters are just
• 1:10:46
  Speaker 4: so depraved, and going back to what Chris was saying earlier,
• 1:10:49
  Speaker 4: it's like this is really the defining moment where it
• 1:10:52
  Speaker 4: tips them over the edge. And I would say even
• 1:10:56
  Speaker 4: Otis's infamous quote about you know what, does he say,
• 1:11:01
  Speaker 4: I am the devil and I'm here to do the
• 1:11:02
  Speaker 4: devil's work like that, That's another one where it's like,
• 1:11:07
  Speaker 4: but they actually back it up in the statistic actions
• 1:11:11
  Speaker 4: that they perform on these people or these unfortunate victims.
• 1:11:14
  Speaker 6: It makes the ending like we'll get to the ending,
• 1:11:19
  Speaker 6: but it makes the ending like, Okay, it can't end
• 1:11:22
  Speaker 6: any other way.
• 1:11:25
  Speaker 5: Yeah, yeah, it's It's a tough it's a tough scene, man.
• 1:11:30
  Speaker 5: I mean, and I'm not clearly the movies I mentioned
• 1:11:36
  Speaker 5: like I think, you know, in it's film and we
• 1:11:38
  Speaker 5: can separate, you know, reality from it. And clearly everybody
• 1:11:42
  Speaker 5: involved in the scene was consented to it, and they
• 1:11:45
  Speaker 5: did it for a reason, and it plays for impact,
• 1:11:49
  Speaker 5: it sticks with you. This is one of those scenes
• 1:11:51
  Speaker 5: of this movie that just really I feel like you
• 1:11:54
  Speaker 5: walked out of the experience with and it's very important
• 1:11:59
  Speaker 5: to them because it from this point on, this is
• 1:12:01
  Speaker 5: almost a totally different movie. Like it really changes from here,
• 1:12:06
  Speaker 5: including the appearance of PJ. Souls as the poor woman
• 1:12:11
  Speaker 5: who heard her kid get their car stolen. Oh yeah,
• 1:12:15
  Speaker 5: after his truck breaks down, as we all, are we
• 1:12:21
  Speaker 5: fucking funny?
• 1:12:23
  Speaker 3: Do you like clowns? No?
• 1:12:27
  Speaker 5: What's the matter? Kid? So good man, it's so good.
• 1:12:32
  Speaker 5: But I have to bring up my favorite scene of
• 1:12:36
  Speaker 5: this movie, which is when Otis decides to take Banjo
• 1:12:41
  Speaker 5: and Sullivan, you know, for a ride, and they're in
• 1:12:44
  Speaker 5: the very Texas chainsaw masker. They're in the van very
• 1:12:47
  Speaker 5: much when they're driving and they arrive to this location
• 1:12:52
  Speaker 5: that was found I think it was was it behind
• 1:12:56
  Speaker 5: the house they used for the set of Captain Spaulding?
• 1:13:00
  Speaker 4: Right?
• 1:13:00
  Speaker 5: I think wasn't it right behind it?
• 1:13:03
  Speaker 4: I believe so.
• 1:13:04
  Speaker 5: These like abandoned chicken coops that had mummified chickens in them,
• 1:13:08
  Speaker 5: and so they were like, hey, we have to shoot here,
• 1:13:11
  Speaker 5: and I have to say it's become it's We just
• 1:13:15
  Speaker 5: talked about how fucked up the assault scene is, but
• 1:13:17
  Speaker 5: even worse is when Bill Moseley or Otis is following
• 1:13:22
  Speaker 5: Banjamin Sullivan, and Otis sniffs the barrel of his gun
• 1:13:27
  Speaker 5: and says, man, I think I still smell some of
• 1:13:29
  Speaker 5: your wife's juice on my bear on the barrel.
• 1:13:32
  Speaker 4: Yes, it's so mean spirited.
• 1:13:35
  Speaker 5: It's like a dude, it's but like I had to
• 1:13:41
  Speaker 5: laugh at it. I was like, oh, what a fuck
• 1:13:42
  Speaker 5: up thing to say. Man, what And I just love
• 1:13:47
  Speaker 5: how they're like, I think it's is it Banjo that
• 1:13:50
  Speaker 5: goes where are we going? And he goes, oh, yeah,
• 1:13:51
  Speaker 5: just just right up here. Yeah, just keep going. We're
• 1:13:53
  Speaker 5: just going right up here. And you have this fight
• 1:13:57
  Speaker 5: scene which Rob Zombie talks about a little bit. He
• 1:14:00
  Speaker 5: talks about how unless like he kind of mentions like,
• 1:14:04
  Speaker 5: I don't know how many people hear it. But during
• 1:14:07
  Speaker 5: this fight scene between him and Banjo and Sullivan, this
• 1:14:09
  Speaker 5: sound actually slowly drains from the scene, so all of
• 1:14:14
  Speaker 5: the background noise, all of that kind of slowly begins
• 1:14:18
  Speaker 5: to drain out, especially as he gets the upper hand
• 1:14:21
  Speaker 5: on them. You know, Banjo gets shot in the neck
• 1:14:25
  Speaker 5: and the side of the neck. You have the whole
• 1:14:27
  Speaker 5: scene where I love the oh lord, like strike me down,
• 1:14:31
  Speaker 5: like I feel it. I feel it, you know. And
• 1:14:36
  Speaker 5: then the infamous I am the Devil and I'm here
• 1:14:41
  Speaker 5: to do the Devil's work, which by the way, is
• 1:14:43
  Speaker 5: the best, in my opinion shot of the entire movie,
• 1:14:48
  Speaker 5: that upwards angle and him just like pushing the hair
• 1:14:52
  Speaker 5: out of his face and saying that and not cutting
• 1:14:55
  Speaker 5: from it the entire time that he speaks that line.
• 1:14:58
  Speaker 4: Very powerful, it.
• 1:15:00
  Speaker 5: Is, man, that's a brutal scene. And then he just
• 1:15:03
  Speaker 5: beats the hell out of Sullivan right there on the ground.
• 1:15:08
  Speaker 4: It's mean, man, well, it just it's like the POV
• 1:15:12
  Speaker 4: of the victim. I mean you basically there's no escape
• 1:15:15
  Speaker 4: in this you know, this wrong place, wrong time scenario
• 1:15:21
  Speaker 4: has just gone south like so quickly, and this is
• 1:15:25
  Speaker 4: unfortunately the outcome, and these are just you know again,
• 1:15:28
  Speaker 4: it's like in a lot of ways, it reminds me
• 1:15:31
  Speaker 4: of like the Manson family. I mean, you're just I
• 1:15:35
  Speaker 4: don't know, like I said, wrong place, wrong time.
• 1:15:38
  Speaker 5: Yeah, yeah, what do you guys think about the Uh,
• 1:15:43
  Speaker 5: maybe it didn't stand out as much, but there's something
• 1:15:45
  Speaker 5: about the little bit of CGI that's in this movie
• 1:15:48
  Speaker 5: that really stands out to me. And I'm specifically talking
• 1:15:51
  Speaker 5: about the knife throw that happens back at the hotel room.
• 1:15:55
  Speaker 6: Uh, it didn't stand out that much to me. It's
• 1:15:58
  Speaker 6: probably the most obvious one. There's a lot, I mean,
• 1:16:01
  Speaker 6: there's a lot of CGI in here that I didn't
• 1:16:02
  Speaker 6: know was in here. The knife throw, because he kept
• 1:16:07
  Speaker 6: it all in one shot, I think it's a little
• 1:16:09
  Speaker 6: bit more evident.
• 1:16:11
  Speaker 5: Does it do the whip? Is it a whippan like
• 1:16:13
  Speaker 5: over or.
• 1:16:13
  Speaker 6: No, it's just he just he just throws it and
• 1:16:16
  Speaker 6: then we see it in her and then when we
• 1:16:18
  Speaker 6: cut to the close up, it cuts to the real knife.
• 1:16:21
  Speaker 6: But is it the are you talking about when he
• 1:16:24
  Speaker 6: pulls it out like she pulls.
• 1:16:26
  Speaker 5: It yeah, yeah in the hotel room. Yeah, when she
• 1:16:29
  Speaker 5: you know, goes behind her back.
• 1:16:31
  Speaker 6: Pool, Yeah that Yeah, when she pulls it out, it's
• 1:16:34
  Speaker 6: a little bit more obvious.
• 1:16:36
  Speaker 3: But this is also two thousand and five.
• 1:16:39
  Speaker 5: Yeah, yeah, no, I know. Yeah, It's just one of
• 1:16:41
  Speaker 5: those things where I was like, for some reason, it
• 1:16:43
  Speaker 5: really stood out to me this time, which is funny
• 1:16:46
  Speaker 5: because it didn't stand out as much when Zombie points
• 1:16:50
  Speaker 5: out the CGI with the truck, you know, in a
• 1:16:53
  Speaker 5: couple minutes later run over by the semi Yeah.
• 1:16:56
  Speaker 6: That yeah, that that part I was thinking with a
• 1:16:59
  Speaker 6: little bit more obvious because it's just a wide shot
• 1:17:02
  Speaker 6: and then boom. It's like it's one of those things
• 1:17:03
  Speaker 6: where everybody a five year old knows how to do
• 1:17:06
  Speaker 6: that kind of shot.
• 1:17:07
  Speaker 5: You know. Well, Final Destination does that shot the best?
• 1:17:11
  Speaker 5: And it's not a wide you know, it's like a medium.
• 1:17:14
  Speaker 5: But that that that shot in Final Destination when she
• 1:17:16
  Speaker 5: gets hit by that bus, I still I can never
• 1:17:19
  Speaker 5: find the point of real actress and dummy, Yeah, I
• 1:17:24
  Speaker 5: can't do it.
• 1:17:25
  Speaker 4: It's it's wild seeing how they were setting up that shot,
• 1:17:28
  Speaker 4: just because it's it's obviously very graphic, but when they
• 1:17:32
  Speaker 4: were like initially trying to like I don't know if
• 1:17:35
  Speaker 4: they were just trying to address like different areas of
• 1:17:37
  Speaker 4: blood that were on the road, but it's it's kind
• 1:17:40
  Speaker 4: of crazy to see the behind the scenes side of
• 1:17:43
  Speaker 4: it compared to like what you see in the finished product.
• 1:17:45
  Speaker 5: Yeah yeah, well him coming back with I love her
• 1:17:51
  Speaker 5: escaping and then running into smaulding and then this is
• 1:17:55
  Speaker 5: one of the worst lines from Sherry Moon, which you
• 1:17:58
  Speaker 5: s like, get that bitch daddy something, you know, crazy
• 1:18:03
  Speaker 5: like that she says. But one thing that Rob Zombie
• 1:18:06
  Speaker 5: talked about in the commentary is that I never really
• 1:18:09
  Speaker 5: noticed until he pointed out is the power dynamic between
• 1:18:13
  Speaker 5: Otis and Spaulding that's sort of endlessly happening from this
• 1:18:17
  Speaker 5: point on now that they're together, and they do yeah,
• 1:18:21
  Speaker 5: because they're constantly trying to be the one in charge.
• 1:18:25
  Speaker 5: And he talks about how you know, he comes in
• 1:18:27
  Speaker 5: with the face and Spaulding says like, oh, just just
• 1:18:32
  Speaker 5: leave her for the maid to clean up. And Otis goes, no,
• 1:18:36
  Speaker 5: I have a better idea and puts Banjo's face honor.
• 1:18:41
  Speaker 5: But then they still end up leaving her for the
• 1:18:43
  Speaker 5: maid to find anyway. It's kind of like who won.
• 1:18:47
  Speaker 5: And they get in that little that that little you
• 1:18:49
  Speaker 5: know tussle with each other where they're arguing and he
• 1:18:52
  Speaker 5: calls them an old man, and you know, it's a
• 1:18:55
  Speaker 5: great little dynamic between the two of them.
• 1:18:56
  Speaker 4: And it's a going back and forth.
• 1:18:59
  Speaker 5: Yeah, it's cool seeing you know, Bill Moseley and Sid
• 1:19:02
  Speaker 5: Hague in that kind of a role, you know, especially
• 1:19:05
  Speaker 5: now that Sid Haigue is gone. You know, it's cool
• 1:19:08
  Speaker 5: seeing just two legends like that, you know, neck to neck,
• 1:19:14
  Speaker 5: the skin face uh.
• 1:19:17
  Speaker 4: So gross, gnar really looking.
• 1:19:21
  Speaker 5: It's so nasty man. What do you guys think.
• 1:19:25
  Speaker 3: Of She didn't even try to take it off. She
• 1:19:28
  Speaker 3: was just running.
• 1:19:29
  Speaker 5: Oh my god, would she? So this is one thing
• 1:19:32
  Speaker 5: I did here in many other when I was listening
• 1:19:34
  Speaker 5: to some other podcasts, was and I was looking for it.
• 1:19:39
  Speaker 5: The maid comes in, Otis and Keptain, Spaulding and baby
• 1:19:43
  Speaker 5: are gone. The maid comes in. You have the disgusting
• 1:19:46
  Speaker 5: find in the bathroom where it says the Devil's rejects,
• 1:19:50
  Speaker 5: And it was actually in the there's a quick shot
• 1:19:53
  Speaker 5: where you see a reflection in the mirror and actually
• 1:19:56
  Speaker 5: fuck white l but they don't you don't see it fully,
• 1:20:00
  Speaker 5: which I thought was just a funny little you know,
• 1:20:02
  Speaker 5: stab at him. But she's tied to the back of
• 1:20:07
  Speaker 5: the door. And something else that was listening to and
• 1:20:13
  Speaker 5: it might not have been I don't think it was
• 1:20:15
  Speaker 5: one of the three that I mentioned earlier. It was
• 1:20:17
  Speaker 5: something else I was listening to. They were like, if
• 1:20:20
  Speaker 5: she was able to get off, why didn't she take
• 1:20:22
  Speaker 5: the mask off and all beforehand? Why did she wait?
• 1:20:24
  Speaker 5: But in the movie you can actually see that she's
• 1:20:27
  Speaker 5: tied up there and the tide becomes loose and she
• 1:20:30
  Speaker 5: kind of like falls off of the door onto the maid,
• 1:20:35
  Speaker 5: and I'm sure she's she's like she just watched you know,
• 1:20:38
  Speaker 5: her husband or you know, she she's wearing her fucking
• 1:20:41
  Speaker 5: husband's face. You know she's been through.
• 1:20:43
  Speaker 3: Yeah, but she doesn't really know that.
• 1:20:44
  Speaker 6: She probably is just like trying to get out of there,
• 1:20:47
  Speaker 6: doesn't even it's not even thinking about it.
• 1:20:51
  Speaker 4: Too deep in shock.
• 1:20:52
  Speaker 3: Too deep and shock.
• 1:20:53
  Speaker 6: I do love the contrast though, of when she's running
• 1:20:57
  Speaker 6: through through the desert and it's like super handheld, super shaky.
• 1:21:03
  Speaker 6: They're running with it, and then just cut tripodshot boom,
• 1:21:06
  Speaker 6: she gets hid.
• 1:21:08
  Speaker 4: Very chaotic, very yeah.
• 1:21:10
  Speaker 5: Yeah, it is very her getting hit by that truck.
• 1:21:12
  Speaker 5: That was always I always felt, all right, let me
• 1:21:17
  Speaker 5: know if you guys were as sick as we were
• 1:21:18
  Speaker 5: as kids, did you guys ever have the phase when
• 1:21:21
  Speaker 5: we were younger of like the you know, like watching
• 1:21:25
  Speaker 5: the Faces of Death or like the Rotten dot com
• 1:21:27
  Speaker 5: and all that stuff, did you suh?
• 1:21:31
  Speaker 3: I remember Rotten dot Com?
• 1:21:33
  Speaker 4: I never.
• 1:21:34
  Speaker 3: I didn't even know about Faces of Death until recently.
• 1:21:36
  Speaker 5: Okay, okay, you know when when we were kids, and
• 1:21:41
  Speaker 5: like there was another website called like best Score, you know,
• 1:21:44
  Speaker 5: we would find these websites and it's depraved, you know,
• 1:21:48
  Speaker 5: thinking back on it now, But like when your kids,
• 1:21:50
  Speaker 5: you don't know, you know.
• 1:21:51
  Speaker 3: You're more curious. You're you're more curious for sure.
• 1:21:55
  Speaker 5: Yeah. And I remember seeing all these pictures from like,
• 1:21:58
  Speaker 5: you know, other countries of after math of car crashes,
• 1:22:02
  Speaker 5: and you're like, how the hell does a body do this?
• 1:22:04
  Speaker 5: And I always felt like the aftermath of her getting
• 1:22:08
  Speaker 5: hit by the truck felt so incredibly realistic. And Zombie
• 1:22:14
  Speaker 5: talks about how Wayne Toff actually looked up and did
• 1:22:18
  Speaker 5: research on pictures of what bodies look like after getting
• 1:22:23
  Speaker 5: hit by cars and.
• 1:22:24
  Speaker 4: I can't imagine that.
• 1:22:26
  Speaker 5: And no, it's really gross, especially because it's like it's
• 1:22:32
  Speaker 5: just it's just nasty, man like, it looks real. It's
• 1:22:35
  Speaker 5: really like, it's just and it's not over the top,
• 1:22:38
  Speaker 5: which is one thing he mentions, not wanting to go
• 1:22:40
  Speaker 5: over the top with the gore. What do you guys
• 1:22:45
  Speaker 5: think of Dandy, Treyho and Diamond Dallas Page.
• 1:22:49
  Speaker 3: I always forget Trey how I always forget Trey Ho's
• 1:22:52
  Speaker 3: in this do you yeah?
• 1:22:54
  Speaker 4: Same?
• 1:22:55
  Speaker 3: And Diamonds Dallas Page. It's always like every time I
• 1:22:58
  Speaker 3: see him because he look he's so like not his
• 1:23:01
  Speaker 3: wrestling persona in this and I'm always thinking what wrestler
• 1:23:05
  Speaker 3: is that I always kind of have to remind myself
• 1:23:08
  Speaker 3: that that's Diamond Dallas Page.
• 1:23:10
  Speaker 5: Does he have like facial prosthetics song?
• 1:23:13
  Speaker 3: Because he looks he looks kind of rough.
• 1:23:15
  Speaker 6: He looks very rough in Danny Treyhoe is just Danny
• 1:23:21
  Speaker 6: Trey How I believe it in Three from Hell too
• 1:23:23
  Speaker 6: because they go to Mexico.
• 1:23:24
  Speaker 5: Yeah, I think he is pretty confident. He is is
• 1:23:27
  Speaker 5: the one thing I remember from that movie outside of
• 1:23:29
  Speaker 5: the little person with a with a bow and arrow. Yeah,
• 1:23:36
  Speaker 5: this is I thought it was cool that you know,
• 1:23:39
  Speaker 5: they're the bounty hunters. And then there's a great moment
• 1:23:41
  Speaker 5: later on where Danny Trey Hooe kind of threatens white
• 1:23:44
  Speaker 5: All and he's like, hey, you bought the best money
• 1:23:45
  Speaker 5: could buy. Meanwhile, they're like grilling outside of their camper.
• 1:23:51
  Speaker 5: It's the best money could buy. Through all of this,
• 1:23:55
  Speaker 5: one thing we didn't talk about is the inner cutting
• 1:23:57
  Speaker 5: of the interrogation scene with Mother Firefly. Leslie used to
• 1:24:02
  Speaker 5: book and that scene. Really funny story that was brought
• 1:24:06
  Speaker 5: up that was actually this setting that they shot in
• 1:24:10
  Speaker 5: this interrogate, this room was under It was like the
• 1:24:14
  Speaker 5: basement of the hospital that they shot the hospital scene
• 1:24:18
  Speaker 5: in that was cut that we talked about. And ironically enough,
• 1:24:23
  Speaker 5: when right before they started shooting in this location that
• 1:24:27
  Speaker 5: they had a porn movie was just finished in that location,
• 1:24:31
  Speaker 5: which is.
• 1:24:32
  Speaker 4: Why does that not surprise me?
• 1:24:34
  Speaker 5: Yeah, he said it happened on House of a Thousand
• 1:24:36
  Speaker 5: Corpses too, he said, So there's some odd connection with
• 1:24:39
  Speaker 5: him and that, and he's like, he talks about how
• 1:24:42
  Speaker 5: gross that basement was was. So he's like, I don't
• 1:24:44
  Speaker 5: even know what kind they shot down here, Like this
• 1:24:46
  Speaker 5: place was so gross. But Leslie Easterbrook's performance as Mother
• 1:24:53
  Speaker 5: Firefly is probably one of my favorite in the entire movie.
• 1:24:56
  Speaker 5: She's sick, dude, she's twisted.
• 1:24:58
  Speaker 3: Yeah, she's very twist Yeah yeah yeah.
• 1:25:00
  Speaker 5: And he rob talks about how he told her kept
• 1:25:05
  Speaker 5: pulling her aside and saying, hey, no matter what William
• 1:25:08
  Speaker 5: Forsythe does to you, no matter what he says, like,
• 1:25:10
  Speaker 5: just keep flirting, just keep doing it. So it created
• 1:25:14
  Speaker 5: this really interesting dynamic between the two of them, you know,
• 1:25:18
  Speaker 5: that plays out in kind of an odd way. That's
• 1:25:22
  Speaker 5: another brutal scene though, man, when he goes off on her.
• 1:25:26
  Speaker 4: That's that's what I was going to say that scene.
• 1:25:29
  Speaker 4: And there's a couple other instances where it feels like
• 1:25:32
  Speaker 4: the line between I guess who would be considered the
• 1:25:36
  Speaker 4: good guys and then the bad guys is just like
• 1:25:39
  Speaker 4: it's such a gray area as the film goes on,
• 1:25:42
  Speaker 4: and I feel like that this is another shining example
• 1:25:45
  Speaker 4: of what Rob Zombie incorporated into this movie. But that
• 1:25:50
  Speaker 4: scene is definitely very effective.
• 1:25:54
  Speaker 5: Yeah it is. Her performance is great.
• 1:25:57
  Speaker 6: You also gotta think, like nineteen seventies Texas law man
• 1:26:01
  Speaker 6: like out for revenge, Like he doesn't care, like his
• 1:26:06
  Speaker 6: brother just died and she's showing him the pictures yea
• 1:26:10
  Speaker 6: in everything because he didn't really know, you know, that
• 1:26:13
  Speaker 6: it was her or something or what she did to him,
• 1:26:16
  Speaker 6: and it was just he's just out for revenge.
• 1:26:20
  Speaker 5: This is a different world, man, Like, you know, I
• 1:26:25
  Speaker 5: feel like the seventies is it feels like it was
• 1:26:29
  Speaker 5: never real, you know. And I feel like when I
• 1:26:32
  Speaker 5: when I obviously I was born in fucking nineteen ninety one,
• 1:26:36
  Speaker 5: I was very far, you know, detached from the seventies.
• 1:26:39
  Speaker 5: But like there's even times where like I will talk
• 1:26:42
  Speaker 5: to somebody who was you know, twenty years old in
• 1:26:44
  Speaker 5: the seventies or you know, growing up in it, and
• 1:26:47
  Speaker 5: they're like, man, it was unreal, And I'm like, I
• 1:26:49
  Speaker 5: believe you just for some reason, Like you could tell
• 1:26:52
  Speaker 5: me anything that happened to seventies, I'd be like, yeah, probably, yep,
• 1:26:55
  Speaker 5: that's what it was.
• 1:26:56
  Speaker 3: Like.
• 1:26:56
  Speaker 5: That's so it doesn't take much to convince me that
• 1:27:00
  Speaker 5: there would be a law man out here doing exactly this.
• 1:27:05
  Speaker 6: One of my favorite scenes in the movie is the
• 1:27:08
  Speaker 6: Whole Groucho Marx. Oh yeah, when they brought that guy in.
• 1:27:13
  Speaker 6: And one of the reasons I love Rob Zombie said
• 1:27:15
  Speaker 6: he casted this specific actor was because he knew what
• 1:27:18
  Speaker 6: he was talking about. He was like he could add
• 1:27:20
  Speaker 6: a lib and know what he was talking about. He
• 1:27:23
  Speaker 6: wasn't just felt like he was just reading these facts
• 1:27:26
  Speaker 6: and everything. And I love how enthusiastic Rob Zombie was,
• 1:27:29
  Speaker 6: literally like, this is him. We just put a mustache
• 1:27:32
  Speaker 6: on him, but that's who he is.
• 1:27:35
  Speaker 5: The exact thing he said was the fakest part of
• 1:27:37
  Speaker 5: his performances.
• 1:27:39
  Speaker 6: Must Yeah, and and how like the whole like the
• 1:27:44
  Speaker 6: whole Groucho and Elvis dynamic, Like that makes so much
• 1:27:49
  Speaker 6: sense where he would be like Whydell would be like
• 1:27:52
  Speaker 6: the Elvis guy and he would be like, don't you
• 1:27:54
  Speaker 6: speak about the King?
• 1:27:55
  Speaker 5: You know, it cuts it out extreme close up on
• 1:27:59
  Speaker 5: him and he threatens.
• 1:28:00
  Speaker 6: And you see like the guy's eyes like about the
• 1:28:03
  Speaker 6: pop out of his head.
• 1:28:04
  Speaker 3: He's so scared.
• 1:28:05
  Speaker 5: That scene is so rob zombie. I don't know why.
• 1:28:07
  Speaker 5: That just feels like.
• 1:28:09
  Speaker 4: He his films have that carnival energy to them. Yeah,
• 1:28:14
  Speaker 4: I don't know how else to describe it. It's like
• 1:28:16
  Speaker 4: the carnival energy with a lot of his films, but
• 1:28:19
  Speaker 4: this one specifically has like that very very heavy outlaw
• 1:28:24
  Speaker 4: influence on it. And you know, all throughout this, I
• 1:28:28
  Speaker 4: mean you can clearly see that the it's it's like
• 1:28:32
  Speaker 4: a love letter to seventies exploitation cinema, and it just
• 1:28:37
  Speaker 4: works so well.
• 1:28:38
  Speaker 6: I feel like there's so much love letters to seventies,
• 1:28:41
  Speaker 6: I mean in just horror in general. Because you have
• 1:28:44
  Speaker 6: I mean, you have Fid Haig, you have I forgot
• 1:28:47
  Speaker 6: the black dude's name, Knfrey.
• 1:28:50
  Speaker 3: He's a he was a big actor in the seventies.
• 1:28:55
  Speaker 6: Everything you you you have the guy who within the
• 1:28:59
  Speaker 6: Hill have eyes Michael Michael Berriman, Michael Berryman.
• 1:29:03
  Speaker 3: I mean you have a lot of other horror inspired souls. Souls.
• 1:29:07
  Speaker 6: You have Kane Hotter, who was the stunt coordinator on
• 1:29:12
  Speaker 6: this and was in a few scenes he's in the
• 1:29:15
  Speaker 6: gas mask and he's in the gas mask and uh,
• 1:29:18
  Speaker 6: just being a stunt coordinator on the set.
• 1:29:20
  Speaker 5: You know, the one who almost misses her when she
• 1:29:23
  Speaker 5: runs when.
• 1:29:24
  Speaker 3: She drives, Yeah, when when he drives the other car.
• 1:29:26
  Speaker 4: Yeah, go ahead.
• 1:29:30
  Speaker 6: Now, I was gonna say, like, there's so much set
• 1:29:32
  Speaker 6: like it felt more of a love letter seventies, even
• 1:29:35
  Speaker 6: the whole like what we were talking about with the
• 1:29:37
  Speaker 6: torture scene in the hotel room and Chris, you were
• 1:29:40
  Speaker 6: talking about, you know, the hills have eyes and not
• 1:29:43
  Speaker 6: hills have eyes, like the whole assault left last House
• 1:29:47
  Speaker 6: on the Left, those which were very big in the seventies.
• 1:29:51
  Speaker 4: But even even the hills have eyes. I mean there's
• 1:29:54
  Speaker 4: like that one scene that takes place in the camper
• 1:29:58
  Speaker 4: that kind of you know, tiptoe is that fine line
• 1:30:02
  Speaker 4: between what happened in this obviously not to this extent,
• 1:30:05
  Speaker 4: but I mean that's another movie that you could you
• 1:30:09
  Speaker 4: could kind of throw into the mix with what Chris
• 1:30:11
  Speaker 4: mentioned earlier.
• 1:30:13
  Speaker 5: Yeah, Yeah, and I.
• 1:30:14
  Speaker 4: Thought it was I thought it was just interesting because
• 1:30:16
  Speaker 4: you also get Tyler Main in here, which is a
• 1:30:18
  Speaker 4: precursor to him eventually become Michael Myers for the next
• 1:30:21
  Speaker 4: you know, two Halloween films a Rob Zombie did or
• 1:30:24
  Speaker 4: Rob Zombie did.
• 1:30:26
  Speaker 5: I think the seventies always ends up being the the
• 1:30:32
  Speaker 5: like time to shine light on because for the slasher
• 1:30:37
  Speaker 5: boom of the eighties, I think compared to the seventies,
• 1:30:40
  Speaker 5: eighties was very safe, like just kind of a lot
• 1:30:44
  Speaker 5: of eighties was like it was creative and it was fun,
• 1:30:47
  Speaker 5: and you had the you know, the strong rise of
• 1:30:50
  Speaker 5: practical effects, but it was a lot of just copying
• 1:30:53
  Speaker 5: each other, and horror had almost, I don't want to
• 1:30:58
  Speaker 5: say lost its edge, but the the sharpness kind of
• 1:31:01
  Speaker 5: dulled a little bit in the eighties. The seventies was
• 1:31:07
  Speaker 5: out of control, man. I mean, if you want to
• 1:31:09
  Speaker 5: get into go beyond what what was being put out
• 1:31:13
  Speaker 5: in the US, because what was being put out in
• 1:31:15
  Speaker 5: the US in the seventies was anything that was extreme,
• 1:31:19
  Speaker 5: was was being was being inspired by what was happening
• 1:31:24
  Speaker 5: in other countries, Italy and stuff like that. It was
• 1:31:29
  Speaker 5: a very interesting time because you had this rise in
• 1:31:34
  Speaker 5: almost like a what's the word that I want to
• 1:31:38
  Speaker 5: use without sounding to it was very rebellious and you
• 1:31:42
  Speaker 5: had a lot of creative people who are moving away
• 1:31:45
  Speaker 5: from the traditional Hollywood studio system.
• 1:31:48
  Speaker 4: And we're doing there in the boundaries.
• 1:31:50
  Speaker 5: Yeah, you had a lot of that, and there was
• 1:31:52
  Speaker 5: so much influence, I mean from everywhere. You know, every
• 1:31:56
  Speaker 5: country had that guy that was pushing the limit. I mean,
• 1:31:59
  Speaker 5: you know Spain had some guys pushed in a limit.
• 1:32:02
  Speaker 5: Out of Brazil, you had Coffin Joe just hugely influential
• 1:32:05
  Speaker 5: in the late sixties or I would kind of say
• 1:32:09
  Speaker 5: mid seventies. Yeah, late sixties to like all tour artists
• 1:32:15
  Speaker 5: like Genre loon out of you know, out of France,
• 1:32:19
  Speaker 5: and like there's so much interesting, like all tour work happening,
• 1:32:24
  Speaker 5: and it's exposing film to things they've never seen before.
• 1:32:28
  Speaker 5: You have like the rise in a little bit more
• 1:32:29
  Speaker 5: of like the art house movement, and when you get
• 1:32:32
  Speaker 5: to the eighties, it bleeds in, but then it kind
• 1:32:37
  Speaker 5: of eventually fades out and there's this huge chunk right
• 1:32:39
  Speaker 5: in the middle of the eighties where like classics did
• 1:32:42
  Speaker 5: come out that we love and know, but it's nowhere
• 1:32:44
  Speaker 5: near as daring as the seventies were or as explorative
• 1:32:47
  Speaker 5: as the seventies were, so hearkening back, Yeah, I think
• 1:32:53
  Speaker 5: the seventies would be the time to to harken back to.
• 1:32:57
  Speaker 5: If you're going to make something that's dirty and splative
• 1:33:00
  Speaker 5: and all that, that's gonna be the era, I think.
• 1:33:04
  Speaker 6: And it feels like he really wanted to make a
• 1:33:06
  Speaker 6: seventies movie because House of a Thousand Corpses takes place
• 1:33:10
  Speaker 6: in the seventies, but you don't really get that seventies vibe.
• 1:33:14
  Speaker 6: It's colorful, it's almost like it could be an eighties movie.
• 1:33:17
  Speaker 6: It felt like it was made in the late nineties
• 1:33:20
  Speaker 6: with everything how it's done. But this was like, no,
• 1:33:23
  Speaker 6: we're gonna go seventies, We're gonna go Western, We're gonna
• 1:33:27
  Speaker 6: go We're going to go back to all these old
• 1:33:29
  Speaker 6: school horror films.
• 1:33:31
  Speaker 5: Yeah.
• 1:33:31
  Speaker 4: Well, he even cited I know I mentioned earlier the
• 1:33:34
  Speaker 4: Texas Chainsaw Massacre and Bonnie and Clyde, but he also
• 1:33:37
  Speaker 4: mentioned like The Wild Bunch and bad Lands, which you
• 1:33:40
  Speaker 4: know came out late sixties early seventies, as other, yeah,
• 1:33:44
  Speaker 4: other influences on this film. And I think it's, uh,
• 1:33:48
  Speaker 4: you know, definitely you have the the like the core
• 1:33:53
  Speaker 4: elements obviously are very horror driven in exploitation, but it's
• 1:33:57
  Speaker 4: cool to see that there's some of like the West
• 1:34:00
  Speaker 4: influences that are rolled into this as well.
• 1:34:02
  Speaker 5: And bad Lands. You know what Terrence Malick did with
• 1:34:05
  Speaker 5: that was the same thing where he really blurred the
• 1:34:08
  Speaker 5: line between good and bad and bad Lands is this
• 1:34:12
  Speaker 5: movie where the character is awful, but we sort of
• 1:34:17
  Speaker 5: sympathize with his situation and why he's doing and then
• 1:34:20
  Speaker 5: at the end of the movie he's being like not
• 1:34:25
  Speaker 5: praised for what he's doing, but the way that the
• 1:34:27
  Speaker 5: public and the police are responding after he gets caught
• 1:34:31
  Speaker 5: is so weird. It doesn't feel normal. So then you
• 1:34:33
  Speaker 5: start kind of questioning do I like this guy? Like
• 1:34:36
  Speaker 5: with why am I siding with this? Why? So that's
• 1:34:39
  Speaker 5: a movie that that really toes that line. I could
• 1:34:41
  Speaker 5: see that influence heavy on on The Devil's Rejects, especially
• 1:34:46
  Speaker 5: like with this scene where they go back and we
• 1:34:51
  Speaker 5: find out that that Charlie is ken Frey or this
• 1:34:55
  Speaker 5: Captain Spalding's brother, you know.
• 1:34:57
  Speaker 3: Which I love it's brother from another It's it's so good.
• 1:35:02
  Speaker 5: The only thing I don't get is like, if you
• 1:35:04
  Speaker 5: were on the run from the police even like to
• 1:35:08
  Speaker 5: this level, to where like your face is being stamped
• 1:35:11
  Speaker 5: all over national television. Would you go and party this
• 1:35:16
  Speaker 5: heavy somewhere that you go. I mean, I don't know.
• 1:35:21
  Speaker 5: I wouldn't. Maybe I'm thinking too much.
• 1:35:22
  Speaker 6: I think they feel really safe. I think they feel
• 1:35:24
  Speaker 6: really safe there.
• 1:35:26
  Speaker 5: Yeah they do. Let me ask you guys real quick.
• 1:35:29
  Speaker 5: This is dead serious. Okay, what do you what do
• 1:35:31
  Speaker 5: you guys think about having sex with chickens?
• 1:35:34
  Speaker 3: I was literally about to say.
• 1:35:35
  Speaker 6: I was like, when we're gonna talk about my favorite scene,
• 1:35:38
  Speaker 6: the chicken fucking Yeah, I love that.
• 1:35:41
  Speaker 3: See, so.
• 1:35:44
  Speaker 4: I never thought on a Friday night I would be
• 1:35:46
  Speaker 4: asked that question, but I guess here we are.
• 1:35:48
  Speaker 5: Here you go, man, welcome to twenty twenty five.
• 1:35:50
  Speaker 3: I love how you go.
• 1:35:51
  Speaker 6: And he just looks and he's like, you know, they're
• 1:35:53
  Speaker 6: going to buy chicken, and this is random. Guy's like,
• 1:35:56
  Speaker 6: I'm not going to fuck these chickens.
• 1:35:58
  Speaker 5: Sorry, I love He's like, yeah, he does that. He
• 1:36:00
  Speaker 5: brings his arms down. He's like he's like, now, I
• 1:36:03
  Speaker 5: ain't saying you cut the head off.
• 1:36:08
  Speaker 4: But that's that's like rob Zombie humor through and through,
• 1:36:12
  Speaker 4: Like that's that's what I love about this movie is
• 1:36:15
  Speaker 4: like as absurd as it is, it works within the setting.
• 1:36:20
  Speaker 5: It fits.
• 1:36:21
  Speaker 3: It fits it totally. It totally fits.
• 1:36:23
  Speaker 6: It's that this is the red hot Pussy Lake or
• 1:36:26
  Speaker 6: scene of the movie kind of in a way, you know,
• 1:36:31
  Speaker 6: and how he's just demoralizing the tall guy I don't
• 1:36:36
  Speaker 6: know his name from. Yeah, Michael Barrett, Yeah, Michael Baron.
• 1:36:39
  Speaker 3: He's just like you know, and he gets so offended.
• 1:36:42
  Speaker 3: He goes, I'm not a chicken fucker. He's a chicken fucker,
• 1:36:44
  Speaker 3: you know.
• 1:36:45
  Speaker 6: He gets so mad and he goes, do you fuck chickens? Well,
• 1:36:50
  Speaker 6: and he starts thinking about it. He goes, I haven't,
• 1:36:53
  Speaker 6: but if I did. You know, he's very descriptive with
• 1:36:58
  Speaker 6: the cutting the head off and watching their wings go crazy,
• 1:37:01
  Speaker 6: and you're like.
• 1:37:02
  Speaker 4: You know what it kind of it kind of reminded
• 1:37:05
  Speaker 4: me of that scene in Halloween two where they're they're
• 1:37:08
  Speaker 4: in the van and the two corners are going back
• 1:37:11
  Speaker 4: before it above the dead body, yeah, or in the ambulance.
• 1:37:15
  Speaker 4: And that's it's funny you say that when when you
• 1:37:18
  Speaker 4: were talking about it. That's like a scene that kind
• 1:37:21
  Speaker 4: of almost like a mirror image of the type of
• 1:37:24
  Speaker 4: subject matter they're talking about.
• 1:37:25
  Speaker 5: Yeah, but that scene in Halloween two feels like really gross,
• 1:37:31
  Speaker 5: gross and out of place. It doesn't feel like it
• 1:37:35
  Speaker 5: belongs in in that movie. This feels like it fits
• 1:37:39
  Speaker 5: right in. Like when it starts happening, it's silly and
• 1:37:42
  Speaker 5: it kind of takes you back, but you're like, yeah,
• 1:37:45
  Speaker 5: this whole movie, this is the vibe, Like this is
• 1:37:48
  Speaker 5: kind of what I in Halloween two. It's just like
• 1:37:51
  Speaker 5: gross because it's like such like coming out of Halloween
• 1:37:56
  Speaker 5: and beginning of that movie, there's no humor, and then
• 1:37:58
  Speaker 5: all of a sudden, there's this really he grows conversation
• 1:38:01
  Speaker 5: about sex with a corpse. You're like, oh, hold.
• 1:38:03
  Speaker 4: On, Rob Zombie's signature humor.
• 1:38:06
  Speaker 5: Except the mood first, you know what I mean, Like
• 1:38:08
  Speaker 5: what this movie is before we get into you know
• 1:38:11
  Speaker 5: this level.
• 1:38:13
  Speaker 6: And I love how when they drive off, it just
• 1:38:15
  Speaker 6: cuts back to the chicken guy and it's just looking disgusted,
• 1:38:18
  Speaker 6: like those guys are going to fuck the chickens.
• 1:38:23
  Speaker 5: And of course this is when unfortunately Whydell gets his way,
• 1:38:30
  Speaker 5: he finds out where they are. He shows up to
• 1:38:37
  Speaker 5: to uh, I always can't I keep forgetting the name.
• 1:38:39
  Speaker 6: I just call it a brothel because I don't know
• 1:38:41
  Speaker 6: what it's called the ranch.
• 1:38:44
  Speaker 5: Yeah, he shows up. I love sid Haig, just like
• 1:38:47
  Speaker 5: bake this hell getting up and looking at Whydell and laughing,
• 1:38:52
  Speaker 5: giggling at him. It's like the Rob Zombie described. It's like,
• 1:38:55
  Speaker 5: that's like the Western showdown. Bill Moseley gets or Otis.
• 1:39:00
  Speaker 5: It's thrown out the window in slow motion. Uh, Tommy
• 1:39:06
  Speaker 5: Pickles get shot. You know, there's so much that happens
• 1:39:09
  Speaker 5: in this scene. Tommy, she has a name, Daily gets
• 1:39:17
  Speaker 5: shot Daily Yep, yep. She gets shot in the head.
• 1:39:21
  Speaker 5: And I remember feeling some sort of way that Charlie
• 1:39:24
  Speaker 5: ratted him out.
• 1:39:26
  Speaker 6: You know, uh yeah, yeah, I kind of feel that
• 1:39:30
  Speaker 6: way too. I'm also I kept thinking, I was like,
• 1:39:33
  Speaker 6: how did Otis afford this hooker? They had this whole
• 1:39:36
  Speaker 6: conversation about how much money that she wasn't bringing in
• 1:39:40
  Speaker 6: the night before, and I'm like, I can totally well
• 1:39:44
  Speaker 6: they didn't finish. I can totally see her being if
• 1:39:46
  Speaker 6: they did finish and the scene played out, well, that'll
• 1:39:49
  Speaker 6: be this much.
• 1:39:49
  Speaker 3: And I'm like, I ain't got no money, honey.
• 1:39:52
  Speaker 5: It should have been like the opposite of the Captain's
• 1:39:54
  Speaker 5: Spaulding introduction.
• 1:39:56
  Speaker 3: I want to I still want to know how they
• 1:39:58
  Speaker 3: paid for ice cream.
• 1:40:00
  Speaker 5: I I wish there was like a short film made
• 1:40:03
  Speaker 5: with that showed the scene when he actually bought the
• 1:40:05
  Speaker 5: ice cream.
• 1:40:06
  Speaker 3: The two d fucking fruity Yeah, I love it. There's
• 1:40:12
  Speaker 3: no ice cream in your there's no ice cream in
• 1:40:14
  Speaker 3: your fucking future or something. And then it cuts to
• 1:40:18
  Speaker 3: them eating ice cream and it's like, this is actually
• 1:40:20
  Speaker 3: really good, you like, very wholesome. She's like, do you
• 1:40:22
  Speaker 3: want some? He's like, get that shit away from me.
• 1:40:25
  Speaker 5: Rob Zombie says, he's like the hardest part about the
• 1:40:27
  Speaker 5: scene is that the ice cream cut melting. He's like,
• 1:40:30
  Speaker 5: he keeps.
• 1:40:31
  Speaker 6: He talks about how there's like twenty guys in the
• 1:40:33
  Speaker 6: back of the van trying to shoot this scene. They're
• 1:40:37
  Speaker 6: all like crammed in there, like they're about to like
• 1:40:40
  Speaker 6: smuggle across the border or something like.
• 1:40:42
  Speaker 5: There's also love that he points out ken Frey's wireless
• 1:40:45
  Speaker 5: microphone when he gets out of the car to talk
• 1:40:46
  Speaker 5: to White l Oh does he part when when ken
• 1:40:51
  Speaker 5: Frey gets out, it's sort of like a profile shot
• 1:40:53
  Speaker 5: of him getting out and I was like, what was
• 1:40:55
  Speaker 5: that hanging from? And Rob Zombi goes, yeah, I don't
• 1:40:57
  Speaker 5: mind the wireless microphone uit hanging from him. He's like,
• 1:41:01
  Speaker 5: we just we didn't see that.
• 1:41:04
  Speaker 6: I love seeing stuff like that where you don't even
• 1:41:06
  Speaker 6: see the mic but you see like a pack in
• 1:41:09
  Speaker 6: their back and it's like the square and it's like, oh,
• 1:41:11
  Speaker 6: that's the audio pack in the back.
• 1:41:13
  Speaker 5: Yep, yep. What do you guys think about the This
• 1:41:19
  Speaker 5: isn't the climax. We're getting into the climax of the movie,
• 1:41:22
  Speaker 5: but Whydell has gone full blown.
• 1:41:24
  Speaker 3: He's crazy at this point.
• 1:41:26
  Speaker 5: Yeah, just as evil as as the Firefly. Well maybe
• 1:41:30
  Speaker 5: not just as but he's pretty much there, completely unhinged.
• 1:41:35
  Speaker 5: Otis gets the bolt, I think the most, the bulk
• 1:41:39
  Speaker 5: of the torture, you know, he gets the nail and
• 1:41:41
  Speaker 5: the hand and all that stuff. One podcast did bring up,
• 1:41:47
  Speaker 5: I think it was Nightlight podcast brought up when he
• 1:41:50
  Speaker 5: lets baby go to do like the hide and seek thing,
• 1:41:53
  Speaker 5: whether her to go find her, and they were like,
• 1:41:56
  Speaker 5: they brought up a good question. They were like, if
• 1:41:59
  Speaker 5: you we're in this situation, would you really let her
• 1:42:03
  Speaker 5: go on her own property that she knows like the
• 1:42:06
  Speaker 5: back of her hand, Like it's not like she's in
• 1:42:10
  Speaker 5: a strange place she's never been. You let her go
• 1:42:13
  Speaker 5: where she lives on her home turf, and.
• 1:42:16
  Speaker 6: We know there's traps everywhere, like there's like underground layers
• 1:42:20
  Speaker 6: and there's all kind of shit.
• 1:42:22
  Speaker 5: Yeah, and then you know everything breaks out. They're like
• 1:42:26
  Speaker 5: already everyone's already like half dead, everyone's been tortured. Charlie
• 1:42:32
  Speaker 5: shows back up to kind of redeem himself. You know,
• 1:42:36
  Speaker 5: could see you rat them out, put them in a
• 1:42:38
  Speaker 5: situation in the first place. I My favorite part of
• 1:42:42
  Speaker 5: this whole kind of climactic moment is Tiny showing back
• 1:42:46
  Speaker 5: up to save the day.
• 1:42:48
  Speaker 4: The unsung hero.
• 1:42:50
  Speaker 5: Yeah, young sung hero. What's your guy's interpretation of him
• 1:42:55
  Speaker 5: walking back into the fire? You kind of like there's
• 1:42:59
  Speaker 5: no reason he does it.
• 1:43:02
  Speaker 3: Probably the only home he knows.
• 1:43:05
  Speaker 5: Yeah, that's probably that's probably good. Yeah, that's good man,
• 1:43:07
  Speaker 5: that's a good one.
• 1:43:09
  Speaker 3: Yeah.
• 1:43:11
  Speaker 6: I mean, I don't know, what you just said reminded
• 1:43:14
  Speaker 6: me of Star Wars. They had that whole Star Wars
• 1:43:16
  Speaker 6: conversation earlier, and then everything you described and was like
• 1:43:20
  Speaker 6: you basically just described uh Orlando with the whole like
• 1:43:25
  Speaker 6: he has to portray him this invader and go.
• 1:43:27
  Speaker 3: They didn't have a choice.
• 1:43:28
  Speaker 4: You know.
• 1:43:29
  Speaker 5: Yeah, uh, it's such a good send off for I
• 1:43:33
  Speaker 5: think Tiny's character.
• 1:43:34
  Speaker 3: Yeah, that guy.
• 1:43:36
  Speaker 5: Look the moment in House a Thousand Corpses when he's
• 1:43:38
  Speaker 5: downstairs eating the cereal, that's the best I love in
• 1:43:41
  Speaker 5: the House of a Thousand Corpses. We talked about it
• 1:43:43
  Speaker 5: when she leaves and he.
• 1:43:44
  Speaker 3: Just waves like he just waves.
• 1:43:45
  Speaker 4: Yeah.
• 1:43:46
  Speaker 3: I love that he's so innocent in that.
• 1:43:50
  Speaker 5: Yeah. Yeah, he probably didn't.
• 1:43:51
  Speaker 6: Even realize what he's dragging that dead body, and it's
• 1:43:54
  Speaker 6: just like he doesn't really know.
• 1:43:56
  Speaker 3: You know.
• 1:43:57
  Speaker 5: Are you guys fans of the Tim Burton movie Big Fish.
• 1:44:00
  Speaker 3: I've never seen it, Steve, you ever say.
• 1:44:03
  Speaker 5: M dude, so big Fish it he co stars Matthew
• 1:44:07
  Speaker 5: McCrory and oh, okay, beautiful, beautiful movie. Like I highly
• 1:44:12
  Speaker 5: encourage you to check it out. But it's my favorite
• 1:44:15
  Speaker 5: Matthew McCrory performance.
• 1:44:16
  Speaker 4: The guy.
• 1:44:16
  Speaker 5: He wasn't in a lot, but you know, one of
• 1:44:19
  Speaker 5: my favorites from him.
• 1:44:20
  Speaker 3: Did Tim Burton also do a movie called Big Eyes?
• 1:44:24
  Speaker 5: I think he did a short called Big Eyes.
• 1:44:28
  Speaker 3: I thought he did a movie called Big Eyes with like.
• 1:44:30
  Speaker 5: Maybe he produced that. I don't know, man, but I
• 1:44:34
  Speaker 5: did find out in the last two years of my
• 1:44:37
  Speaker 5: life that he directed a Pewee's Great Adventure. I didn't
• 1:44:39
  Speaker 5: know that big event.
• 1:44:40
  Speaker 6: Yeah, yeah, yeah, that was a weird Yeah, that's an
• 1:44:43
  Speaker 6: odd one, but.
• 1:44:44
  Speaker 5: I didn't know.
• 1:44:44
  Speaker 4: I think what what I noticed with because I was
• 1:44:46
  Speaker 4: trying to gather my thoughts on on I guess why
• 1:44:50
  Speaker 4: Tiny decided to stay there. But I felt like it
• 1:44:52
  Speaker 4: was almost like he was accepting his fate. And I
• 1:44:55
  Speaker 4: think it's in a lot of ways. I think it's
• 1:44:58
  Speaker 4: almost a very powerful moment because it's it a stark
• 1:45:02
  Speaker 4: contrast compared to obviously how the rest of the Firefly
• 1:45:05
  Speaker 4: family goes out. There's almost like something that's kind of
• 1:45:09
  Speaker 4: like haunting about the way that he dies, And I
• 1:45:13
  Speaker 4: don't know, it's it's kind of a scene that lingers
• 1:45:16
  Speaker 4: with you.
• 1:45:16
  Speaker 6: I mean, he's burned all over. He almost looks like
• 1:45:20
  Speaker 6: he almost looks like Freddy's you know.
• 1:45:24
  Speaker 5: Much taller.
• 1:45:25
  Speaker 6: I don't want to say the R word, but you know,
• 1:45:29
  Speaker 6: you know down you know, slower brother.
• 1:45:32
  Speaker 5: Yeah, somebody I remember hearing some sort of interpretation that
• 1:45:36
  Speaker 5: he felt fulfilled, like he had he had accomplished what
• 1:45:41
  Speaker 5: he could. You know, he saved his family and really
• 1:45:45
  Speaker 5: outside of that like that's what he felt like he
• 1:45:46
  Speaker 5: lived for.
• 1:45:48
  Speaker 4: So he just feels like a guardian spirit for the family.
• 1:45:50
  Speaker 5: Yeah, yeah, it does. He kind of doesn't feel I mean,
• 1:45:55
  Speaker 5: clearly he's real, but it doesn't feel like it feels
• 1:45:58
  Speaker 5: like this is what he was meant to do, you
• 1:46:01
  Speaker 5: know what I mean. And it was a good send
• 1:46:02
  Speaker 5: off for him. It was a good way. He's only
• 1:46:04
  Speaker 5: in two scenes, he's in the beginning, he's in the end,
• 1:46:08
  Speaker 5: So it felt it was a great way to bring
• 1:46:09
  Speaker 5: him back. And I was happy that they did, you know,
• 1:46:11
  Speaker 5: because just like everybody else, they could have easily just
• 1:46:14
  Speaker 5: discarded this character and never brought him up again. And
• 1:46:16
  Speaker 5: I'm sure he really would have questioned it, you know,
• 1:46:19
  Speaker 5: probably would have just assumed, like Grandpa, that he just
• 1:46:23
  Speaker 5: died at some point, you know what I mean, and
• 1:46:25
  Speaker 5: we moved past him.
• 1:46:26
  Speaker 4: He's going down with the ship essentially with the house.
• 1:46:29
  Speaker 5: I mean, it's yeah, you know, yeah, it's like he
• 1:46:33
  Speaker 5: went down with the ship, and so did this franchise,
• 1:46:36
  Speaker 5: you know what I mean. You know, three from Hell.
• 1:46:39
  Speaker 5: When you guys, when you guys are getting your car,
• 1:46:42
  Speaker 5: you know, in the morning to go to work and
• 1:46:44
  Speaker 5: Free Bird comes on do you think of Double's jacts
• 1:46:47
  Speaker 5: every single time.
• 1:46:48
  Speaker 3: Dude, this I didn't even know that.
• 1:46:50
  Speaker 6: This was like the first time this song has like
• 1:46:53
  Speaker 6: been used in a movie. But I was like, it's
• 1:46:55
  Speaker 6: so icon the scene is so iconic, and in more
• 1:46:59
  Speaker 6: ways in just a song. The song is absolutely perfect.
• 1:47:03
  Speaker 6: It is perfect music. It is like the style changes.
• 1:47:08
  Speaker 6: It goes from this super handheld you know, on the
• 1:47:15
  Speaker 6: run horror film to this super stylized music video scene
• 1:47:20
  Speaker 6: with this epic some of the most beautiful crane shots
• 1:47:23
  Speaker 6: you've ever seen in a movie, the helicopter shots. Like
• 1:47:29
  Speaker 6: you were saying your favorite shot was that low angle
• 1:47:32
  Speaker 6: shot with the sun and mine is that whit like
• 1:47:35
  Speaker 6: that super wide angle and shot where the car pulled
• 1:47:37
  Speaker 6: up and then it goes up and then over the top.
• 1:47:40
  Speaker 6: I'm like, that's my favorite shot in the whole movie.
• 1:47:42
  Speaker 6: And you know, I didn't even know and it's still seamless.
• 1:47:47
  Speaker 6: Like Rob Zomy talks about all the CGI they had
• 1:47:51
  Speaker 6: to do because they had like a gun problem or
• 1:47:54
  Speaker 6: something so they couldn't actually, you know, fire the gun.
• 1:47:57
  Speaker 6: So like all the hits are CGI, all the debris
• 1:48:02
  Speaker 6: is CGI. And if you watch a documentary, they show
• 1:48:05
  Speaker 6: the before VFX and after VFX almost side by side
• 1:48:10
  Speaker 6: to show you what it looks like. And it's so
• 1:48:13
  Speaker 6: like he called it CGI. I don't think a lot
• 1:48:17
  Speaker 6: of that is CGI. It might be, but it's two
• 1:48:20
  Speaker 6: thousand and five. I think a lot of that is
• 1:48:22
  Speaker 6: just elements comped in.
• 1:48:24
  Speaker 5: Well, you can see that there. It's very like.
• 1:48:28
  Speaker 3: The bullet holes would be CGI. But that's about it.
• 1:48:33
  Speaker 5: So the visual effects at this time feel very or
• 1:48:38
  Speaker 5: computer generated effects at this time feel very like almost
• 1:48:42
  Speaker 5: like stickers, you know.
• 1:48:44
  Speaker 4: What I mean, like very raw looking.
• 1:48:46
  Speaker 5: Yeah it is. It's it's got an interesting look to it,
• 1:48:49
  Speaker 5: you know, looking back now obviously where we're at now
• 1:48:52
  Speaker 5: with computer generator effects. I did want to say, Brian,
• 1:48:57
  Speaker 5: if you ever get the inkling to like, you know,
• 1:49:00
  Speaker 5: you really want Freebird to play like an important role
• 1:49:03
  Speaker 5: in your movie, make sure you watch Joe Dirt too,
• 1:49:08
  Speaker 5: when he goes back in time and actually helps Leonard
• 1:49:10
  Speaker 5: Skinnard write Free Bird.
• 1:49:12
  Speaker 3: I don't think i've I don't think i've ever seen
• 1:49:15
  Speaker 3: the second one.
• 1:49:16
  Speaker 5: Yeah, he dead ass goes back in time and he
• 1:49:19
  Speaker 5: he helps Leonard Skinnard write Free Bird.
• 1:49:22
  Speaker 4: So can I highlight how important I feel like Joe
• 1:49:26
  Speaker 4: is yes you can no, no, no, it's all wrong.
• 1:49:31
  Speaker 4: But the music for this film.
• 1:49:33
  Speaker 3: I was gonna say that too. I feel like this.
• 1:49:35
  Speaker 6: It it feels very Tarantino in the way that this
• 1:49:40
  Speaker 6: doesn't feel like a music supervisor just picked a bunch
• 1:49:43
  Speaker 6: of popular seventy songs. These feel like Rob Zombie's personal
• 1:49:47
  Speaker 6: like playlist.
• 1:49:48
  Speaker 4: Like very carefully selected.
• 1:49:50
  Speaker 3: Very carefully selected.
• 1:49:52
  Speaker 6: And that's what I love about it, Like the fact
• 1:49:53
  Speaker 6: that he even said, like, wait, nobody's used free Bird,
• 1:49:57
  Speaker 6: and I don't know how many times it's been used since,
• 1:50:00
  Speaker 6: but I mean it's one of those songs you just
• 1:50:02
  Speaker 6: know growing up, Like I was born in eighty seven,
• 1:50:05
  Speaker 6: so like you just know that song growing up.
• 1:50:07
  Speaker 3: I don't know where I know.
• 1:50:08
  Speaker 4: The song, but but you've heard it.
• 1:50:10
  Speaker 3: But but you've heard it.
• 1:50:11
  Speaker 4: You know.
• 1:50:12
  Speaker 6: It's like when you hear it and it's like this
• 1:50:15
  Speaker 6: is so it's so perfect. When you've got the car,
• 1:50:19
  Speaker 6: the convertible, with the helicopter shots, the crane shots, the
• 1:50:24
  Speaker 6: blaze of glory ending Like a lot of people go to.
• 1:50:29
  Speaker 3: Bonnie and Clyde. I go a lot to like Delman
• 1:50:33
  Speaker 3: and Luise. You know, it's very much I love the
• 1:50:36
  Speaker 3: blaze of glory ending.
• 1:50:37
  Speaker 6: I think that's why I don't like Three from Hell
• 1:50:40
  Speaker 6: at all, because it basically erasist the ending.
• 1:50:43
  Speaker 5: And this became a little bit of a motif for
• 1:50:46
  Speaker 5: Zombie because thirty one has the great ending sequence with
• 1:50:51
  Speaker 5: Aerosmith's dream On dream That's a great yeah, yeah, Coron's Doomhead,
• 1:50:55
  Speaker 5: and you have almost kind of the same sequence. And
• 1:50:57
  Speaker 5: now dream On to Me has become it's anonymous with
• 1:51:01
  Speaker 5: thirty one. Every time I hear it, I think of
• 1:51:03
  Speaker 5: that scene now every time. Now, you know, Free Bird.
• 1:51:07
  Speaker 6: With Streamont was Dreamond also, and I get confused because
• 1:51:12
  Speaker 6: Arasmiths was huge and days and Confused with Streamond and
• 1:51:16
  Speaker 6: dayst and Confused.
• 1:51:17
  Speaker 5: I'm not so familiar with Days and Confewsed.
• 1:51:19
  Speaker 6: Anytime I hear Arasmith, I go straight to dayst and
• 1:51:22
  Speaker 6: Confused or some reading. But I could be thinking of
• 1:51:24
  Speaker 6: I think I might be thinking of Sweet Emotion, might
• 1:51:27
  Speaker 6: be thinking of that.
• 1:51:28
  Speaker 5: I feel like sweet Emotion was in Days and Confewsed.
• 1:51:31
  Speaker 4: Yeah, I think that. I think the creative choices for
• 1:51:34
  Speaker 4: you know, picking you know, various bands and artists like
• 1:51:37
  Speaker 4: Leonard skinnerd and Allman Brothers and Terry Reid. I felt
• 1:51:41
  Speaker 4: like it really really dialed in that seventies southern rock
• 1:51:46
  Speaker 4: outlaw feel to the movie, and it almost feels like
• 1:51:52
  Speaker 4: it's it's just such a crucial part of this film
• 1:51:55
  Speaker 4: to really kind of elevate it that much more.
• 1:51:59
  Speaker 6: And I feel like that's a huge strength with Rob
• 1:52:01
  Speaker 6: Zombie too. I don't know if he probably uses this
• 1:52:04
  Speaker 6: to his benefit, but being a rock legend himself, he's
• 1:52:08
  Speaker 6: got these connections. I'm sure like what another Hollywood movie
• 1:52:13
  Speaker 6: would get charged for the licensing rights for Freebird or
• 1:52:16
  Speaker 6: any of these other songs dream On in thirty one.
• 1:52:21
  Speaker 6: Rob Zombi can just literally call up these bands who
• 1:52:24
  Speaker 6: probably respect the shit out of him as a musician
• 1:52:27
  Speaker 6: and will give him some kind of hookup or something.
• 1:52:30
  Speaker 4: But look at how both of the Halloween movies, like
• 1:52:33
  Speaker 4: those song choices are not I mean it's not. They're
• 1:52:39
  Speaker 4: definitely songs I feel like benefit whatever scene that they're
• 1:52:42
  Speaker 4: being put in, like a Kisses God of Thunder or
• 1:52:46
  Speaker 4: the movie Blues Knight in White, White Satin or you
• 1:52:50
  Speaker 4: know Russia's Tom Sawyer, Like they definitely work for White.
• 1:52:54
  Speaker 4: I guess the the aesthetic that he's going for with
• 1:52:58
  Speaker 4: each key scene that he's using it for so and
• 1:53:01
  Speaker 4: this movie's different.
• 1:53:03
  Speaker 5: The Brothers song in the beginning is yeah, you know,
• 1:53:07
  Speaker 5: I mean yeah.
• 1:53:08
  Speaker 6: And they don't just feel like needle drops either, like
• 1:53:12
  Speaker 6: you get some movies that's like, oh, needle drop, and
• 1:53:14
  Speaker 6: it's like these feel organic, but in the best way,
• 1:53:21
  Speaker 6: like very Tarantino, Like when Tarantino needle drops, it's done.
• 1:53:26
  Speaker 3: In a very organic way.
• 1:53:29
  Speaker 6: Yeah, you know, I mean he putant change, but Tarantino
• 1:53:33
  Speaker 6: put fucking Rick Ross in Jango Unchained, you know, and
• 1:53:37
  Speaker 6: it worked, you know, and you didn't really question it.
• 1:53:40
  Speaker 6: And you know, it's like Rob the way Rob Zombie
• 1:53:43
  Speaker 6: does his music, especially in this movie. The soundtrack is just.
• 1:53:48
  Speaker 3: So good. Even the music, like when they're at the
• 1:53:52
  Speaker 3: ranch and they get caught, that's I don't know what
• 1:53:56
  Speaker 3: song that is, but.
• 1:53:57
  Speaker 5: Well it's funny because I in my head that I
• 1:54:03
  Speaker 5: was playing free Bird on Guitar Hero three before Devil's
• 1:54:08
  Speaker 5: Rejects that come out, But Guitaro three didn't even hit
• 1:54:10
  Speaker 5: market till two thousand and seven, So I wonder if
• 1:54:13
  Speaker 5: Devil's Rejects robs up me kind of opened the door
• 1:54:15
  Speaker 5: for free Bird licensing a little bit more.
• 1:54:17
  Speaker 4: It was like a resurgence.
• 1:54:18
  Speaker 3: It probably was it. Probably.
• 1:54:20
  Speaker 6: You know, there are some songs that just won't get
• 1:54:23
  Speaker 6: out there. A famous one is I don't remember. I
• 1:54:27
  Speaker 6: think with the Leonard Skinner song from the thor Leven
• 1:54:29
  Speaker 6: Thunder trailer, they were not licensed that song for the
• 1:54:33
  Speaker 6: longest time to anybody.
• 1:54:36
  Speaker 5: Yeah, you know, man's that's that stuff is so hard,
• 1:54:41
  Speaker 5: Like I can't imagine trying to nail down especially like
• 1:54:45
  Speaker 5: these these songs become like you just talk about what
• 1:54:48
  Speaker 5: Quentin Tarantino's it's like in the DNA of the movie,
• 1:54:51
  Speaker 5: to the point where you don't even realize that you're
• 1:54:53
  Speaker 5: like you hear the song and you're listening to it,
• 1:54:55
  Speaker 5: but it doesn't separate from the movie because it just
• 1:54:58
  Speaker 5: fits so well, you know what I mean, It's like
• 1:55:01
  Speaker 5: it belongs you know, well.
• 1:55:03
  Speaker 4: It becomes synonymous with one another. I mean, you know,
• 1:55:06
  Speaker 4: like Journeys Don't Stop Believing with the sopranos like that ending.
• 1:55:11
  Speaker 4: Oh yeah, I can't think of one without the other, now,
• 1:55:15
  Speaker 4: you know.
• 1:55:16
  Speaker 5: Yeah, there's a lot Man and Rob Zombie, I mean
• 1:55:19
  Speaker 5: clearly knows the guy knows how to fit music to
• 1:55:24
  Speaker 5: a scene and create that that I hate using the word,
• 1:55:27
  Speaker 5: but like that vibe you know what I mean, it's
• 1:55:30
  Speaker 5: works in this ending scene. I think what's most haunting
• 1:55:34
  Speaker 5: about the ending scene is how we cut the black
• 1:55:36
  Speaker 5: and you just continue to hear I love that.
• 1:55:40
  Speaker 3: Yeah, I like.
• 1:55:41
  Speaker 6: The freeze frames, the sound design of it. The song
• 1:55:45
  Speaker 6: literally just stops and you just continue to hear everything,
• 1:55:49
  Speaker 6: and then the song after Like the actual end credit
• 1:55:51
  Speaker 6: scenes where Oh it Is is just a shot of
• 1:55:53
  Speaker 6: them driving showing the road and whatever song they used
• 1:55:56
  Speaker 6: after Freebird, there's still a banger.
• 1:55:58
  Speaker 3: It doesn't go to.
• 1:55:59
  Speaker 6: Like a tip like okay credits, Like I want to
• 1:56:02
  Speaker 6: stay and listen to that song. And I don't like
• 1:56:04
  Speaker 6: seventies music at all, Like seventies is my least favorite
• 1:56:07
  Speaker 6: time period in cinema, and nineteen hunt or two thousand,
• 1:56:13
  Speaker 6: you know, twentieth century. I don't like the seventies. They
• 1:56:17
  Speaker 6: got a lot of good songs, but this one, like
• 1:56:21
  Speaker 6: the way he selected them, I feel like was top
• 1:56:25
  Speaker 6: of his game when it comes to music in any
• 1:56:27
  Speaker 6: of his movies, because I can't really think of any
• 1:56:30
  Speaker 6: after where the music felt like it stood out.
• 1:56:35
  Speaker 5: I mean, I feel like there's always time. Well, I
• 1:56:39
  Speaker 5: think most recently because I just watched it, is like
• 1:56:43
  Speaker 5: there's a couple of songs from Nicholas Winding Refence Drive
• 1:56:47
  Speaker 5: that are like, oh, yeah, you know what I mean.
• 1:56:50
  Speaker 5: It's yeah, real hero, I forget with the other. But
• 1:56:54
  Speaker 5: like every time I hear those songs, I can't to me.
• 1:56:57
  Speaker 5: I'm just like, oh, this is a song from Drive.
• 1:57:01
  Speaker 6: It's funny you mentioned Nicholas Winding Reference because I was
• 1:57:05
  Speaker 6: literally thinking that when I was when we first started
• 1:57:07
  Speaker 6: talking about the ending to this and how like the
• 1:57:11
  Speaker 6: ending of Neon Demon it cuts to that SiO song
• 1:57:14
  Speaker 6: and it's like that Perfume commercial and it's so beautifully shot,
• 1:57:18
  Speaker 6: and I'm like, it reminds me of that, like that
• 1:57:21
  Speaker 6: same style where it just cuts the freebird and you're like,
• 1:57:25
  Speaker 6: are we watching a commercial? Like this is like really cinematic.
• 1:57:29
  Speaker 6: This is like different and it's like and rob Abi
• 1:57:33
  Speaker 6: made a point to be like, no, they're the actors
• 1:57:35
  Speaker 6: in the car, like look, you can see them even
• 1:57:37
  Speaker 6: in the white shots.
• 1:57:38
  Speaker 3: And I think it's funny how they talked about cause
• 1:57:41
  Speaker 3: they shot this, they shot the helicopter stuff last that
• 1:57:44
  Speaker 3: was like day three, day thirty or something, but they
• 1:57:48
  Speaker 3: shot the actual shootout all the close ups like day
• 1:57:50
  Speaker 3: six or something, so they had to figure out early
• 1:57:54
  Speaker 3: on in the movie what all the blood was. He
• 1:57:57
  Speaker 3: said that was one of the toughest things for him,
• 1:57:59
  Speaker 3: was where was the blood gonna be? Like how much
• 1:58:03
  Speaker 3: like they hadn't done the nail and enhancing it, because
• 1:58:05
  Speaker 3: you know, things can change when you shoot, and then
• 1:58:08
  Speaker 3: you've got to remind oh, well we already shot the
• 1:58:10
  Speaker 3: ending and they're like.
• 1:58:11
  Speaker 5: This, well that's where you're I don't know what the
• 1:58:15
  Speaker 5: actual I forget what the actual name is, supervisor or
• 1:58:18
  Speaker 5: like your consistency department, what's that department? Dead?
• 1:58:20
  Speaker 4: Uh?
• 1:58:21
  Speaker 3: Script? Supervisor is in charge of continuity.
• 1:58:24
  Speaker 5: Continuity. Yeah, that's what it is. Yeah, it's funny, man,
• 1:58:28
  Speaker 5: I wish kind of thinking and this might sound fucking ridiculous, whatever,
• 1:58:33
  Speaker 5: I'm gonna ride with him. Man, how it almost feels
• 1:58:38
  Speaker 5: like if somebody had said to me, if somebody came
• 1:58:42
  Speaker 5: to me and they were like, yo, the Devil's Rejects.
• 1:58:45
  Speaker 5: When it cuts to them in the car and Freebird
• 1:58:48
  Speaker 5: is playing, they're already dead and this is just like
• 1:58:54
  Speaker 5: an like the beginning of suffering. Is they have to
• 1:58:58
  Speaker 5: go through this, you know, like this is almost like
• 1:59:01
  Speaker 5: their right of passage, like they died at some point
• 1:59:05
  Speaker 5: after leaving the house and we're seeing the journey into
• 1:59:10
  Speaker 5: the afterlife and like into the torture of hell as
• 1:59:14
  Speaker 5: the Devil's rejects. I would consider that because it's it.
• 1:59:19
  Speaker 6: It's a valid art, it's a valid argument. I think
• 1:59:21
  Speaker 6: you're reaching, but it is a very valid It makes
• 1:59:27
  Speaker 6: sense if you think about it, if you actually stop,
• 1:59:29
  Speaker 6: you like, the tone of the movie changes, the style
• 1:59:32
  Speaker 6: of the cinematography changes. Yeah, it actually makes a lot
• 1:59:38
  Speaker 6: of sense. But I also think you're reaching a little bit.
• 1:59:41
  Speaker 5: But I'm channeling my inner letterbox right now.
• 1:59:46
  Speaker 4: Well, I think I think that that closing sequence allows
• 1:59:50
  Speaker 4: us as a viewer to really sit with, you know,
• 1:59:54
  Speaker 4: just how impactful this shootout was, and you know, the
• 2:00:00
  Speaker 4: effects of like the stylized violence that we're seeing in
• 2:00:03
  Speaker 4: that scene is just so excessive that I don't know,
• 2:00:06
  Speaker 4: I feel like it gives us that time to really, like,
• 2:00:09
  Speaker 4: let's sit with us, and I don't know, just kind
• 2:00:12
  Speaker 4: of interpret it how we want to really at that point,
• 2:00:15
  Speaker 4: you know.
• 2:00:15
  Speaker 5: Well, I don't think I don't think my my, you know,
• 2:00:21
  Speaker 5: random interpretation of his ending is as far fetched as
• 2:00:26
  Speaker 5: Rob Zombie going, uh, yeah, we did three from Hell,
• 2:00:29
  Speaker 5: because you know, they survived because they literally dug their
• 2:00:33
  Speaker 5: way out of the depths of Hell and that's why
• 2:00:36
  Speaker 5: they're still here, which is his argument for Three from Hell.
• 2:00:40
  Speaker 5: He's like, yeah, they they survived by digging their way
• 2:00:42
  Speaker 5: out of hell. And do you they dug their way
• 2:00:45
  Speaker 5: out of Hell? And then Captain's Baulding died of cancer,
• 2:00:48
  Speaker 5: so you'd like, yeah, do.
• 2:00:51
  Speaker 4: You guys think that if they had done a third film,
• 2:00:56
  Speaker 4: that that window of opportunity was a little bit missed
• 2:01:00
  Speaker 4: because of how much time was in between it, between
• 2:01:03
  Speaker 4: The Devil's Rejects and then.
• 2:01:05
  Speaker 6: I don't think he ever planned to do a third film.
• 2:01:07
  Speaker 6: I don't think that was everything. I don't know if
• 2:01:09
  Speaker 6: he planned on the second film. I think the I
• 2:01:12
  Speaker 6: think House of a Thousand Corpses was so successful out
• 2:01:16
  Speaker 6: of nowhere that Lionskate was like, we want another one
• 2:01:19
  Speaker 6: right now, because the movie came out in two thousand
• 2:01:23
  Speaker 6: and three. Rob Zombie had been done with the movie
• 2:01:26
  Speaker 6: for three years, and it was they started filming in
• 2:01:30
  Speaker 6: two thousand and four, Like, maybe he already had an idea,
• 2:01:34
  Speaker 6: maybe he already had a script. But I think lions
• 2:01:38
  Speaker 6: Gate really pushed that sequel, and then you know, he
• 2:01:42
  Speaker 6: jumped straight from that to Halloween, and he was the
• 2:01:45
  Speaker 6: big horror director at the time.
• 2:01:49
  Speaker 5: He is quoted in saying that one of the reasons
• 2:01:53
  Speaker 5: The Devil's Rejects feels so different than House of a
• 2:01:56
  Speaker 5: Thousand Corpses is because he does not like sequels, so
• 2:02:01
  Speaker 5: he had to make it so different to kind of
• 2:02:04
  Speaker 5: convince and justify to himself to do it.
• 2:02:07
  Speaker 6: Same with same with Halloween too. Halloween two is very
• 2:02:10
  Speaker 6: different than Halloween.
• 2:02:12
  Speaker 5: Well, Halloween was such a fucking nightmare for Rob Zombie
• 2:02:15
  Speaker 5: because of the studio and everything else, that his drive
• 2:02:18
  Speaker 5: to make Halloween two was just because he could make
• 2:02:20
  Speaker 5: his movie this time, So there was a different momentum
• 2:02:25
  Speaker 5: behind him going into it.
• 2:02:27
  Speaker 6: Yeah, And I feel like maybe even this one, like
• 2:02:29
  Speaker 6: maybe he didn't really want to make it. Maybe it
• 2:02:31
  Speaker 6: was like, Okay, that's why it looks so different. Maybe
• 2:02:34
  Speaker 6: I look at it as this is an opportunity for
• 2:02:37
  Speaker 6: me to do something different as a director and not
• 2:02:40
  Speaker 6: just repeat myself with the House of a Thousand Corpses.
• 2:02:45
  Speaker 6: I think maybe he just didn't want to make Three
• 2:02:47
  Speaker 6: from Hell until it got to a point where it's like.
• 2:02:50
  Speaker 3: You know what, let's just make this movie. It'll be fun.
• 2:02:52
  Speaker 6: Let's just he kind of got to the point where
• 2:02:54
  Speaker 6: he's just making movies with his French at this point,
• 2:02:56
  Speaker 6: you know, which I respect. It's very much a Kevin
• 2:02:59
  Speaker 6: Smith style of making movies, because, like thirty one is,
• 2:03:06
  Speaker 6: he's just calling all his friends. Malcolm McDowell, you know
• 2:03:08
  Speaker 6: a few people that you know that he met before
• 2:03:13
  Speaker 6: or in that movie. Most of them are no name actors.
• 2:03:18
  Speaker 3: Same with.
• 2:03:21
  Speaker 6: Lord just Salem, Like the only people really known in
• 2:03:24
  Speaker 6: that movie are like the uh like d Wallace, are
• 2:03:28
  Speaker 6: like the older women who are more like homages to
• 2:03:32
  Speaker 6: like horror films back in the day. And then you
• 2:03:36
  Speaker 6: get like you get Three from Hell, which and then
• 2:03:39
  Speaker 6: here's I'll say this has nothing to do with Devil's Rejects,
• 2:03:42
  Speaker 6: but I respect what he did with the Monsters, even
• 2:03:46
  Speaker 6: though I think The Monsters is a total garbage fire
• 2:03:50
  Speaker 6: of a movie. I respect he had the ball to
• 2:03:54
  Speaker 6: just do what he wanted to do even though it
• 2:03:57
  Speaker 6: wasn't what people wanted. Like you hear Rob's He's doing
• 2:04:00
  Speaker 6: the Monsters, and it's like, oh yeah, and then you're like, no,
• 2:04:04
  Speaker 6: Rob Domy's doing a kid's movie, m for like kids.
• 2:04:09
  Speaker 5: He literally did a PG.
• 2:04:10
  Speaker 3: He did a.
• 2:04:11
  Speaker 6: PG movie because that's what he remembered, you know, And
• 2:04:16
  Speaker 6: even if I don't like it, I still want to
• 2:04:18
  Speaker 6: Here's the thing. I want to buy the Blu ray
• 2:04:21
  Speaker 6: just so I can watch the one hour making of
• 2:04:23
  Speaker 6: documentary or behind the scenes for that movie. That's really
• 2:04:26
  Speaker 6: all I want to do. I don't even want to
• 2:04:28
  Speaker 6: watch the movie again. I just want to watch the
• 2:04:30
  Speaker 6: making of Do.
• 2:04:31
  Speaker 4: You guys think out of all his films that he
• 2:04:35
  Speaker 4: got the most creative input on this film above all
• 2:04:40
  Speaker 4: his other ones? What do you feel like that there's
• 2:04:43
  Speaker 4: other examples, like I guess the least amount of studio interviews.
• 2:04:50
  Speaker 6: I feel like maybe Halloween too, we had the most freedom,
• 2:04:52
  Speaker 6: just because he went through so much hell with Halloween
• 2:04:55
  Speaker 6: and it was so successful for him that studios were like,
• 2:04:59
  Speaker 6: but you I could say the same about this one,
• 2:05:01
  Speaker 6: because studios didn't want to release House of fIF Thousand
• 2:05:04
  Speaker 6: Corpses it was so successful. By the time this came around.
• 2:05:07
  Speaker 3: They were probably like, do whatever the fuck you want,
• 2:05:10
  Speaker 3: you know.
• 2:05:12
  Speaker 4: I also think about Lords of Salem. That's another one
• 2:05:15
  Speaker 4: where it's just so out there and I felt like
• 2:05:21
  Speaker 4: he was able to really kind of channel like a
• 2:05:25
  Speaker 4: lot of like Kubrick.
• 2:05:27
  Speaker 6: Oh, it's very Kubrick. I think that's what I love
• 2:05:30
  Speaker 6: about it. It's very Kubrick and it was I believe
• 2:05:34
  Speaker 6: it was only made for a million dollars, so it's
• 2:05:36
  Speaker 6: probably the lowest budget movie.
• 2:05:39
  Speaker 4: I'll never forget going to see that movie, and I
• 2:05:41
  Speaker 4: actively had to seek out finding theaters in the area
• 2:05:44
  Speaker 4: that we're playing it, and I just remember, like that
• 2:05:48
  Speaker 4: movie was not at all what I was I was
• 2:05:50
  Speaker 4: anticipating was. But as someone that's a big fan of
• 2:05:54
  Speaker 4: those directors, like you know, Ken Russell and Stanley Kubrick
• 2:05:58
  Speaker 4: and to a certain and obviously Roman Polanski's very controversial,
• 2:06:03
  Speaker 4: but you know it, you can definitely see where he
• 2:06:06
  Speaker 4: was paying homage or channeling that influence.
• 2:06:09
  Speaker 5: I would probably say he got his most creative freedom
• 2:06:13
  Speaker 5: on The Haunted World of l Superbisto, the animated movie.
• 2:06:18
  Speaker 4: I have seen that.
• 2:06:19
  Speaker 5: So so before we before we kind of head into
• 2:06:22
  Speaker 5: the final part here, I do want to bring up
• 2:06:24
  Speaker 5: a couple of things that I I'm reading here on
• 2:06:28
  Speaker 5: Letterbox that was perusing the letterbox the amazing world of Letterbox.
• 2:06:33
  Speaker 4: Reviews, and Christy gotta be careful with that.
• 2:06:35
  Speaker 5: I felt like there was a couple great things in here.
• 2:06:38
  Speaker 5: I wanted to let you guys know of somebody said
• 2:06:42
  Speaker 5: that that this is a Southern fried junk yard carnival
• 2:06:46
  Speaker 5: of relentless bedlam, bloodsoak, violence, and wild eyed revenge. I
• 2:06:49
  Speaker 5: like that.
• 2:06:50
  Speaker 3: Wow, that is a tongue. That's really good.
• 2:06:54
  Speaker 5: This next review is even better. This next person gave
• 2:06:58
  Speaker 5: this movie five stars and said I like this because
• 2:07:00
  Speaker 5: it reminds me of my dad. What And then the
• 2:07:07
  Speaker 5: review right after that, so next in the list was
• 2:07:09
  Speaker 5: three and a half stars and said, this isn't even
• 2:07:11
  Speaker 5: a horror movie. Southern people just be like that.
• 2:07:17
  Speaker 6: That's what I think about the chicken scene. I'm like,
• 2:07:20
  Speaker 6: that's just a Southern thing. I feel like, not the
• 2:07:23
  Speaker 6: fucking the chickens, but running into just like crazy, like
• 2:07:27
  Speaker 6: I don't know, Like, yeah, it's a Southern movie, which
• 2:07:31
  Speaker 6: is ironic because he's from Massachusetts, isn't he?
• 2:07:35
  Speaker 3: Or he's from up north. He's from up north, I thought.
• 2:07:39
  Speaker 5: Let's here, I'm so laughing.
• 2:07:43
  Speaker 4: Yeah, he's from Haverhill, Massachusetts, Massachusetts.
• 2:07:49
  Speaker 5: I do want to have five star another five star
• 2:07:52
  Speaker 5: review here said one of the great works of contemporary
• 2:07:55
  Speaker 5: Southern literature. Four star review just as what happened to doctor,
• 2:07:59
  Speaker 5: saying after raid, I hope he is okay, Yeah, Yeah,
• 2:08:05
  Speaker 5: it's it's interesting on here man, especially you gotta five
• 2:08:10
  Speaker 5: Bonnie and Clyde. Somebody said, that's literally the that's literally
• 2:08:13
  Speaker 5: the review. That's all we said. Yeah, The Devil's reject
• 2:08:17
  Speaker 5: I feel like this is one of those movies that
• 2:08:19
  Speaker 5: you either you either love or or just can't stand.
• 2:08:24
  Speaker 4: It's divisive. Yeah, and would you guys consider this like
• 2:08:29
  Speaker 4: one of the pivotal horror movies from the two thousands.
• 2:08:36
  Speaker 5: For me, Like, you know, you guys talked about it
• 2:08:40
  Speaker 5: in the beginning, but this is this is a movie
• 2:08:45
  Speaker 5: that was one of the first DVDs I ever, Like,
• 2:08:53
  Speaker 5: how do I put this? This is kind of the
• 2:08:57
  Speaker 5: start of me. Without this DVD release, I don't think
• 2:09:04
  Speaker 5: this podcast would exist in a way that it exists
• 2:09:07
  Speaker 5: because there were certain DVDs and certain bonus features that
• 2:09:11
  Speaker 5: were the catalysts of me getting into movies like I
• 2:09:15
  Speaker 5: am now. Thirty Days in Hell was a documentary that
• 2:09:19
  Speaker 5: I became obsessed with. I probably watched Thirty Days in
• 2:09:23
  Speaker 5: Hell more than I watched The Devil's Rejects because I
• 2:09:27
  Speaker 5: was at a phase in my life where I was.
• 2:09:29
  Speaker 5: I just wanted to learn, and I just wanted to watch,
• 2:09:31
  Speaker 5: and I wanted to see how it was made. And
• 2:09:34
  Speaker 5: when I would go out with my parents or I
• 2:09:37
  Speaker 5: was buying DVDs or whatever, you know. When this came
• 2:09:39
  Speaker 5: out in two to six, I was fifteen, and I
• 2:09:43
  Speaker 5: remember I would I used to love finding like the
• 2:09:47
  Speaker 5: two disc deluxe editions, yea of the bonus, you know.
• 2:09:52
  Speaker 5: So the fact that this had its own disc with
• 2:09:56
  Speaker 5: how long is the Making of Brian? How long is
• 2:09:58
  Speaker 5: thirty Days?
• 2:10:00
  Speaker 6: It's one hundred and forty four minutes.
• 2:10:04
  Speaker 5: Yeah, that was a dream come true for me at
• 2:10:07
  Speaker 5: that at that point in my life. And I had
• 2:10:10
  Speaker 5: listened to this commentary back then on the DVD like
• 2:10:15
  Speaker 5: this I became obsessed with and the movie was almost
• 2:10:20
  Speaker 5: less important than the effect that the making of had
• 2:10:23
  Speaker 5: on me, you know what I mean, Like I watched
• 2:10:25
  Speaker 5: I still have that. I have the Thirty Days in
• 2:10:27
  Speaker 5: Hell DVD in my Rob Zombie Trilogy three pack. It's
• 2:10:30
  Speaker 5: just kind of sitting on top of one of the
• 2:10:32
  Speaker 5: trays and it somehow stays in place.
• 2:10:35
  Speaker 4: It's a fascinating look into his creative process. I thought,
• 2:10:39
  Speaker 4: I think that that's one of the things that all
• 2:10:41
  Speaker 4: these like all these years later, it definitely stands out
• 2:10:45
  Speaker 4: and it makes me really appreciate, you know, what he
• 2:10:47
  Speaker 4: did with this film above all else. I mean, I
• 2:10:51
  Speaker 4: don't know's it's like a snapshot into a very specific
• 2:10:55
  Speaker 4: point in time.
• 2:10:56
  Speaker 5: Well when when did you ever get this insight? Like
• 2:10:59
  Speaker 5: I feel like mos of the time behind the scenes
• 2:11:01
  Speaker 5: documentaries are incredibly underwhelming. Well, now we live in a
• 2:11:05
  Speaker 5: world where the documentaries are separate. They're being released you know,
• 2:11:09
  Speaker 5: years later in a retrospective style, you know, thanks to interest.
• 2:11:14
  Speaker 5: But this was like a day by day replace.
• 2:11:19
  Speaker 4: Yeah.
• 2:11:20
  Speaker 6: Yeah, there weren't many like feature linked ones like this,
• 2:11:23
  Speaker 6: Like when I think of thirty days in Hell, I
• 2:11:26
  Speaker 6: think of Dangerous Days, but later in er I think
• 2:11:28
  Speaker 6: of Hearts of Darkness with Apocalypse now or even you know,
• 2:11:35
  Speaker 6: with another one, Like there's so many great ones, Like
• 2:11:39
  Speaker 6: I just bought the Alien. I know, I rebought Prometheus,
• 2:11:44
  Speaker 6: but instead of upgrading to the four K, I just
• 2:11:48
  Speaker 6: bought the Blu ray again because it came with a
• 2:11:51
  Speaker 6: four hour documentary of the making of it.
• 2:11:53
  Speaker 5: M hm.
• 2:11:54
  Speaker 6: You know, but back in these days, like behind the scenes,
• 2:11:57
  Speaker 6: like that's with a huge selling point for DVD. This
• 2:11:59
  Speaker 6: was peak DVDs, so you had to have a selling point.
• 2:12:02
  Speaker 6: I think it's crazy that the documentary hasn't kept going,
• 2:12:06
  Speaker 6: you know, like you told, I don't have the Blu ray,
• 2:12:09
  Speaker 6: but apparently didn't come with the Blu ray.
• 2:12:13
  Speaker 3: It's coming with the four K. I guess what do you?
• 2:12:17
  Speaker 6: What do y'all start on the four K being just
• 2:12:21
  Speaker 6: theatrical me personally, I saw this in theaters and I
• 2:12:24
  Speaker 6: fell in love with it in theaters. And the only
• 2:12:27
  Speaker 6: thing less graph you know, different is just a less graphic.
• 2:12:32
  Speaker 3: I don't see Sid Higgs.
• 2:12:33
  Speaker 6: Ball in four K, and you know the torture scene,
• 2:12:38
  Speaker 6: which is really hard to watch, it's just a little
• 2:12:40
  Speaker 6: bit shorter, which.
• 2:12:41
  Speaker 3: I'm not going to argue. You know.
• 2:12:43
  Speaker 5: Well, I want to say, first of all, real quick,
• 2:12:45
  Speaker 5: I could see thirty Days in Hell getting an independent
• 2:12:49
  Speaker 5: release from a company like Vinegar Syndrome like they just did.
• 2:12:52
  Speaker 6: You're so cool, Brewster, Yeah, well, which already comes with
• 2:12:56
  Speaker 6: the four K.
• 2:12:57
  Speaker 3: If you get it, you know you can get them.
• 2:12:59
  Speaker 5: You know.
• 2:12:59
  Speaker 6: I think that it's becoming something that Vinegar Syndromes doing
• 2:13:03
  Speaker 6: with documentaries. It's just releasing the documentary separate.
• 2:13:06
  Speaker 5: It's good or you get.
• 2:13:09
  Speaker 3: Some that you you.
• 2:13:11
  Speaker 6: I just noticed this recently with the never Ending Story
• 2:13:17
  Speaker 6: so Imprint when they released a never Ending Story on
• 2:13:19
  Speaker 6: four K, it was that big, that big book, the
• 2:13:22
  Speaker 6: five disc case right, and it came with the documentary
• 2:13:25
  Speaker 6: Life After never Ending Story. But they released two other
• 2:13:29
  Speaker 6: standalone versions since at different price ranges. Neither one have
• 2:13:33
  Speaker 6: come with the documentary. Same with Sorry That the Keep.
• 2:13:41
  Speaker 6: The Keep has this brand new, apparently big documentary, but
• 2:13:44
  Speaker 6: you can only get it in that big two hundred
• 2:13:47
  Speaker 6: dollars box set or some ship.
• 2:13:50
  Speaker 5: See I will you before before I give my response?
• 2:13:54
  Speaker 5: Are you going to upgrade Devil's Rejects to four K?
• 2:14:00
  Speaker 4: I most likely will, I think just for the just
• 2:14:05
  Speaker 4: being a completionist, you know, because I already have the
• 2:14:09
  Speaker 4: House of a Thousand Corpses box set and it's just
• 2:14:15
  Speaker 4: a movie that I don't know how much it's really
• 2:14:18
  Speaker 4: going to enhance the experience. But I do want to
• 2:14:21
  Speaker 4: end the collection personally, but I could see a case
• 2:14:24
  Speaker 4: being made for why someone wouldn't want it necessarily.
• 2:14:28
  Speaker 5: Now listen, if you anybody listening follows me, you know
• 2:14:32
  Speaker 5: my love for steel books. You can call me.
• 2:14:35
  Speaker 4: It runs deep.
• 2:14:36
  Speaker 5: You can call me steel Book obsessed. I'm not Jake,
• 2:14:39
  Speaker 5: and I'm not as cool as Jake. I love you, man. No,
• 2:14:44
  Speaker 5: I'm not a steel Book fan. If if this was
• 2:14:46
  Speaker 5: coming out in like a standard slipcover, you would probably
• 2:14:49
  Speaker 5: get me more likely than you are releasing this in
• 2:14:53
  Speaker 5: a steel Book. I So, when it comes to the
• 2:15:00
  Speaker 5: unrated versus rated thing, yeah, the unrated isn't making I
• 2:15:05
  Speaker 5: don't think any difference in how you watch this movie,
• 2:15:08
  Speaker 5: how you affect this movie. My thing is if this
• 2:15:13
  Speaker 5: is Rob Zombie's preferred cut, that's what makes it important.
• 2:15:18
  Speaker 5: Mm hm, you know what I mean. And I get
• 2:15:21
  Speaker 5: when companies source out, like when Keno Lorber does a
• 2:15:25
  Speaker 5: movie and the unrated his own Blu ray the theatricals on
• 2:15:29
  Speaker 5: four K, because there's rights issues there to where like
• 2:15:32
  Speaker 5: they might a company might give four K or unrated
• 2:15:37
  Speaker 5: rights to one company and they might give theatrical rights
• 2:15:40
  Speaker 5: to another. And you know, it gets a little crazy.
• 2:15:43
  Speaker 5: But Lionsgate owns this movie, this is their movie, and
• 2:15:48
  Speaker 5: they're releasing it on physical. I just find it's so
• 2:15:52
  Speaker 5: weird that they wouldn't do that. They wouldn't put out
• 2:15:58
  Speaker 5: it unrated or maybe it will be and it'll be
• 2:16:00
  Speaker 5: like the Saw situation, where like it goes up for
• 2:16:03
  Speaker 5: sale and all of a sudden, this is unedited. You
• 2:16:05
  Speaker 5: know what I mean?
• 2:16:06
  Speaker 6: Well, I think Saw change Saw still doing theatrical only
• 2:16:11
  Speaker 6: for four K, but they're adding the underrated Blu ray
• 2:16:13
  Speaker 6: and that's they weren't doing that before it was theatrical.
• 2:16:17
  Speaker 6: There's no word yet if if Devil's Rejects is going
• 2:16:21
  Speaker 6: to have the unrated Blu ray, yeah, which is my
• 2:16:25
  Speaker 6: only concern.
• 2:16:27
  Speaker 3: I have it pre ordered.
• 2:16:29
  Speaker 6: After watching this on DVD, I was thinking the same thing, like,
• 2:16:33
  Speaker 6: doesn't need it. Half this movie is like looks like
• 2:16:37
  Speaker 6: it shot through a television with the old news clips
• 2:16:39
  Speaker 6: and you know why dell on TV.
• 2:16:41
  Speaker 3: The first half of this movie is like, Yeah.
• 2:16:44
  Speaker 4: I thought it was ironic because when Chris was talking
• 2:16:47
  Speaker 4: about this earlier, and I distinctly remember getting this film
• 2:16:52
  Speaker 4: on DVD and the documentary like all those years back.
• 2:16:56
  Speaker 4: But the only other release I feel like I can
• 2:16:59
  Speaker 4: recall that was as impactful was the Texas Chainsaw Steel Book. Chris,
• 2:17:06
  Speaker 4: and You're gonna hate this, but it's the one with
• 2:17:10
  Speaker 4: the ye No, it's the one with leather face on it.
• 2:17:15
  Speaker 4: It's like the it's like a stilled image from like
• 2:17:18
  Speaker 4: The Chainsaw Dance, but on that it had I believe
• 2:17:23
  Speaker 4: it was Texas Chainsaw Massacre, The Shocking Truth.
• 2:17:25
  Speaker 5: Yeah, that's the one directed by Severn co founder David Gregory.
• 2:17:29
  Speaker 4: Yep. And then Flesh Wounds was on it as well
• 2:17:32
  Speaker 4: as there was like a number of other special features.
• 2:17:34
  Speaker 4: But I when you brought that up earlier, I was like,
• 2:17:37
  Speaker 4: that's kind of ironic, given that these movies are pretty
• 2:17:41
  Speaker 4: you know, like influential or one was influential on the other.
• 2:17:45
  Speaker 5: So yeah, you know, I think every movie that we
• 2:17:50
  Speaker 5: cover on the show is going to be important to
• 2:17:52
  Speaker 5: us in some way. And I don't love The Devil's
• 2:17:55
  Speaker 5: Rejects as much as I did. It's one point in
• 2:17:57
  Speaker 5: my life as a movie lover, but I can't. I
• 2:18:03
  Speaker 5: can't turn away the impact it had on me at
• 2:18:08
  Speaker 5: that time. You know, it was just the right movie
• 2:18:12
  Speaker 5: at the right release at the right time. I mean,
• 2:18:15
  Speaker 5: you know, I was a kid playing what was the
• 2:18:18
  Speaker 5: snowmobile racing game that Dragula was on. I forget it
• 2:18:21
  Speaker 5: was on like PlayStation one or something.
• 2:18:24
  Speaker 3: And I know what you're I know what you're talking about.
• 2:18:27
  Speaker 5: But yeah, yeah, I were hearing Dragula over and over
• 2:18:30
  Speaker 5: and over again, and then you know, Living Dead Girl
• 2:18:34
  Speaker 5: was on I think one of the head Bangers Ball
• 2:18:37
  Speaker 5: CDs that I had, you know, and the fact that this,
• 2:18:43
  Speaker 5: this rebellious artist is going to be putting out a movie.
• 2:18:47
  Speaker 5: And I saw Devil's Rejects before I saw House of
• 2:18:49
  Speaker 5: a Thousand Corpses. But at the time, this movie was
• 2:18:52
  Speaker 5: just the right thing, at the right place, at the
• 2:18:55
  Speaker 5: right time for me.
• 2:18:56
  Speaker 3: So did it make sense for you? I did you?
• 2:18:58
  Speaker 3: Were you still able to follow everything?
• 2:19:00
  Speaker 4: You know?
• 2:19:00
  Speaker 6: You hadn't seen a House of a Thousand Corpses yet?
• 2:19:03
  Speaker 6: Or did it feel or did you know you were
• 2:19:05
  Speaker 6: walking into a sequel?
• 2:19:07
  Speaker 3: No?
• 2:19:07
  Speaker 5: I don't, I don't I saw this. I can't even
• 2:19:10
  Speaker 5: remember how the first time I saw this was. I
• 2:19:14
  Speaker 5: wish I could remember. Okay, well, I remember watching House
• 2:19:19
  Speaker 5: of a Thousand Corpses and being like, wait, these aren't
• 2:19:23
  Speaker 5: the same characters from Devil's Rejects. It was like the opposite. Yeah, yeah,
• 2:19:28
  Speaker 5: because I think I saw a House of a Thousand
• 2:19:29
  Speaker 5: Corpses like a while later, a while after. Yeah, it
• 2:19:34
  Speaker 5: was something I could have the order mixed up. But
• 2:19:37
  Speaker 5: I remember I think watching House of a Thousand Corpses
• 2:19:39
  Speaker 5: being like, wait, these are the same characters from Devil's Rejects.
• 2:19:42
  Speaker 5: Like that's weird.
• 2:19:44
  Speaker 3: It wasn't like a shock, like, oh this is like
• 2:19:46
  Speaker 3: the movie before this is is this a sequel?
• 2:19:49
  Speaker 4: Is this? You know?
• 2:19:50
  Speaker 5: I think I preferred the versions of all the characters
• 2:19:53
  Speaker 5: in Devil's Rejects or were a House of a Thousand Corpses,
• 2:19:56
  Speaker 5: you know what I mean.
• 2:19:57
  Speaker 3: At the time.
• 2:19:59
  Speaker 5: Yeah, Now I think now, like I like, I like both.
• 2:20:07
  Speaker 5: Now I feel like I've become so into certain types
• 2:20:11
  Speaker 5: of horror movies that I kind of prefer the hammier
• 2:20:14
  Speaker 5: characters in House of a Thousand Corpses because they're so
• 2:20:17
  Speaker 5: over the top, yeah, you know, and then Devil's Rejects.
• 2:20:22
  Speaker 5: Like I feel like at that time my life, when
• 2:20:24
  Speaker 5: I was younger, I was like, oh, I like the
• 2:20:25
  Speaker 5: more real, the more grounded stuff. Now I'm like, yeah,
• 2:20:29
  Speaker 5: give me that fantastic give you know what I mean, Like,
• 2:20:32
  Speaker 5: let's get weird with it. But it's funny, man, and uh,
• 2:20:36
  Speaker 5: you know, happy to be covering this movie, and you know,
• 2:20:39
  Speaker 5: I think this is probably the last time we're going
• 2:20:43
  Speaker 5: to be talking about the Firefly family on the show.
• 2:20:46
  Speaker 5: Because we're definitely not covering Free from Help unless somebody
• 2:20:51
  Speaker 5: wants to cough up like a whole bunch of money
• 2:20:53
  Speaker 5: for us to go. I don't even know if there's
• 2:20:55
  Speaker 5: a commentary. I can't imagine. I was I'll be sitting
• 2:20:57
  Speaker 5: down and being like, let me record a commentary three
• 2:21:01
  Speaker 5: from Hell. But yeah, it's a good, good commentary track. Uh.
• 2:21:07
  Speaker 5: You know, I think more importantly than thirty Days in
• 2:21:10
  Speaker 5: Hell is what's worth.
• 2:21:14
  Speaker 4: Yeah.
• 2:21:14
  Speaker 6: I feel like for people who don't have the Blu
• 2:21:19
  Speaker 6: Ray or who don't have the DVD who just got
• 2:21:22
  Speaker 6: the Blu Ray, well, I mean, here's the thing. The
• 2:21:26
  Speaker 6: documentary is basically shot on video, so even though it's
• 2:21:30
  Speaker 6: on Blu Ray, it's gonna look like.
• 2:21:31
  Speaker 3: DVD quality anyway.
• 2:21:34
  Speaker 5: Yeah.
• 2:21:34
  Speaker 6: So I mean I could say just buy the buy
• 2:21:36
  Speaker 6: the DVD, but I'm interested to see how it's gonna look.
• 2:21:41
  Speaker 6: I've kind of been in a space lately where upgrading
• 2:21:45
  Speaker 6: hasn't been as fun to me because it's like.
• 2:21:49
  Speaker 3: It's it's just a stigma pulling at your DVD knowing
• 2:21:52
  Speaker 3: it's a DVD, and it's like it's nothing wrong with that. Like,
• 2:21:56
  Speaker 3: watching this today, I was like, do I need to
• 2:21:58
  Speaker 3: upgrade this.
• 2:22:00
  Speaker 6: Yeah, it kind of the shittier quality gives it more
• 2:22:04
  Speaker 6: aestheticness to what the movie is.
• 2:22:07
  Speaker 5: Well, everybody who was mad that the Blair Rich Project's
• 2:22:10
  Speaker 5: not on four K would argue with you, so.
• 2:22:16
  Speaker 3: Oh oh, they'll be back when twenty eight Days Later
• 2:22:18
  Speaker 3: comes out on four K.
• 2:22:19
  Speaker 5: O Jesus Christ, and it looks like.
• 2:22:24
  Speaker 3: You've never seen it before. Yeah, because of all the
• 2:22:27
  Speaker 3: AI upscaling they did with it to fix it.
• 2:22:31
  Speaker 5: Thirty Days in Hell also, too, I think, is a
• 2:22:33
  Speaker 5: big testament. It has its own letterbox tether really yeah,
• 2:22:37
  Speaker 5: Like if you type in Devil's Rejects, you can rate
• 2:22:39
  Speaker 5: the Devil's Rejects and you can rate and watch the
• 2:22:42
  Speaker 5: just the Thirty Days in Hell documentary.
• 2:22:45
  Speaker 3: It should. I mean it's two and a half hours long.
• 2:22:47
  Speaker 5: It's good.
• 2:22:48
  Speaker 6: It's longer than the movie, Like Hold On. The documentary
• 2:22:51
  Speaker 6: is an hour and forty four minutes. This movie an
• 2:22:53
  Speaker 6: hour and nine minutes unrated.
• 2:22:56
  Speaker 5: Yeah yea, so it's.
• 2:22:57
  Speaker 3: Literally over thirty minutes longer than the movie.
• 2:23:02
  Speaker 5: Man, such a great documentary, and the Halloween one's even
• 2:23:07
  Speaker 5: better and.
• 2:23:08
  Speaker 6: All hit Like I feel like to watch the Rob
• 2:23:10
  Speaker 6: Zombie and Michael Bay both have amazing behind the scenes,
• 2:23:14
  Speaker 6: even though none of the Michael Bay movies have like
• 2:23:16
  Speaker 6: their own standalone like if you ever watch a Transformer,
• 2:23:20
  Speaker 6: it's like five hours of like behind the scenes.
• 2:23:23
  Speaker 5: I will also add Peter Jackson Peter Oh.
• 2:23:27
  Speaker 6: I won't own I will not get Lord of the
• 2:23:30
  Speaker 6: Rings on four K because they don't come with the
• 2:23:32
  Speaker 6: where's the appendices?
• 2:23:34
  Speaker 4: Dude?
• 2:23:35
  Speaker 5: I literally still have and it returned. The King took
• 2:23:38
  Speaker 5: me so long to find, but I have the three
• 2:23:40
  Speaker 5: five discs edition five disc editions which have the three
• 2:23:44
  Speaker 5: DVDs that make up the appendixes. It's at see with
• 2:23:47
  Speaker 5: King Kong. King Kong has like a ten hour fucking
• 2:23:50
  Speaker 5: making of with it.
• 2:23:51
  Speaker 6: I want to see the King I really want to
• 2:23:53
  Speaker 6: see the King Kong one. I haven't watched the King
• 2:23:55
  Speaker 6: Kong one yet, but I want to. I just have
• 2:23:59
  Speaker 6: the Hobbits on Blu Ray. I have I think a
• 2:24:02
  Speaker 6: few of the Lord of the Rings but on DVD,
• 2:24:05
  Speaker 6: but I don't have the appendices ones. Yeah, but I
• 2:24:09
  Speaker 6: remember with the Hobbit I bought them specifically.
• 2:24:11
  Speaker 3: I bought these specific editions because they came with the
• 2:24:14
  Speaker 3: appendentcy centem.
• 2:24:15
  Speaker 5: Are those ones that had like the sideloads with the
• 2:24:18
  Speaker 5: window yep front.
• 2:24:20
  Speaker 6: Yeah, I remember I was very specific on I wanted
• 2:24:24
  Speaker 6: these three, and I think I got them all in
• 2:24:26
  Speaker 6: one day. It was like a bye two get one
• 2:24:27
  Speaker 6: free sale. So it was like they were like fifteen
• 2:24:31
  Speaker 6: bucks each. So I just bought all three. But it
• 2:24:33
  Speaker 6: was hard because I had did I have to go
• 2:24:36
  Speaker 6: to three different stores? It was it was insane to
• 2:24:38
  Speaker 6: get all three. But yeah, I haven't found that with
• 2:24:41
  Speaker 6: Lord of the Rings yet, but like behind the scene,
• 2:24:43
  Speaker 6: and I feel like that's lost, Like me and you
• 2:24:45
  Speaker 6: chause we could have a whole conversation about that recently,
• 2:24:48
  Speaker 6: you know, or something, because I've been wanting to make
• 2:24:51
  Speaker 6: a YouTube video on the.
• 2:24:53
  Speaker 3: Modern state of behind the scenes. I was watching, especially
• 2:24:58
  Speaker 3: with Warner Brothers. Warner is getting really bad at it.
• 2:25:01
  Speaker 3: I was watching, and it's been to a bunch where
• 2:25:05
  Speaker 3: in post production they just post them on YouTube. But
• 2:25:07
  Speaker 3: they'll put them on the blu rays too, they dreads,
• 2:25:11
  Speaker 3: but they will gray out the blue screen. Yeah, they
• 2:25:14
  Speaker 3: act like the blue screen, doesn't it just even though
• 2:25:16
  Speaker 3: oh it's a blue screen, here are the dots, they'll
• 2:25:19
  Speaker 3: gray it out where it just looks like a gray
• 2:25:21
  Speaker 3: screen because they're trying to hide the fact that of
• 2:25:25
  Speaker 3: how it was made because it's not practice that it's
• 2:25:29
  Speaker 3: we're in this whole practical VERSEGI battle right now and
• 2:25:34
  Speaker 3: they're graying it out, which I feel like in the
• 2:25:36
  Speaker 3: disservice to actual filmmakers who want to learn.
• 2:25:41
  Speaker 5: Yeah, it's sad man, and you know it's I feel
• 2:25:46
  Speaker 5: like it. I feel like we're in a world where
• 2:25:50
  Speaker 5: certain movies really could you know, benefit from great great documentaries,
• 2:25:58
  Speaker 5: you know what I mean. But we'll have I really
• 2:26:02
  Speaker 5: want to have a like a state of physical media.
• 2:26:05
  Speaker 5: Bonus features episode of the podcast sometime soon. But let's
• 2:26:10
  Speaker 5: let's round this out. Great great commentary track. Very happy
• 2:26:15
  Speaker 5: to be wrapping up, you know, with the Firefly family.
• 2:26:19
  Speaker 5: Thank you everybody for hanging out with us yet again.
• 2:26:23
  Speaker 5: Talking about this is a dirty Yeah. I feel like
• 2:26:26
  Speaker 5: I need a shower alrighty again.
• 2:26:28
  Speaker 4: I was just about to say, yeah, yup.
• 2:26:30
  Speaker 5: I hope everyone's excited for kind of what we have coming.
• 2:26:33
  Speaker 5: We've been announcing a whole bunch of stuff. If you're
• 2:26:35
  Speaker 5: listening this today. Just a couple of days ago, we
• 2:26:38
  Speaker 5: posted our interview with Lauren Marie Taylor played Vicki and
• 2:26:41
  Speaker 5: f thirteenth Part two. We're very excited, dude. She was incredible,
• 2:26:47
  Speaker 5: very excited to get that out to everybody. September, along
• 2:26:53
  Speaker 5: with Devil's Rejects, we have another commentary episode coming out.
• 2:26:56
  Speaker 5: We're gonna talk about nineteen ninety one's Popcorn before we
• 2:27:00
  Speaker 5: head into sleep Away Camp to kick off October. There's
• 2:27:04
  Speaker 5: so much happening. It's very busy, a lot going on
• 2:27:09
  Speaker 5: right now, so I'm so excited to be keep showing
• 2:27:13
  Speaker 5: everybody kind of what we have coming down the pipeline, Brian,
• 2:27:17
  Speaker 5: before we head out, anything that you want to promote
• 2:27:20
  Speaker 5: and round it out with with where people can find
• 2:27:23
  Speaker 5: you on the socials and stuff.
• 2:27:25
  Speaker 4: On the show.
• 2:27:25
  Speaker 6: I always got to look that up because I never
• 2:27:27
  Speaker 6: remember exactly what the thing's call. But Last Movie Standing
• 2:27:32
  Speaker 6: on on Instagram, Last Movie Standing on YouTube, where I'm
• 2:27:36
  Speaker 6: primarily active, it's I think it's is it.
• 2:27:38
  Speaker 3: The Last Movie Standing? On YouTube?
• 2:27:40
  Speaker 6: I always yeah, the last it's technically the because the
• 2:27:45
  Speaker 6: Last Movie Standing was taken. But yeah, Last Movie Standing
• 2:27:48
  Speaker 6: on basically all platforms. I'm mostly just on YouTube and
• 2:27:53
  Speaker 6: Instagram right now.
• 2:27:55
  Speaker 5: Nice, Yeah, Steve, what about you, man?
• 2:27:58
  Speaker 4: Well, you guys can as all please find me at
• 2:28:01
  Speaker 4: after Hours video. I'm on Instagram YouTube, I'm all over
• 2:28:05
  Speaker 4: the place.
• 2:28:07
  Speaker 5: Yeah yeah, dude, you're growing rapidly.
• 2:28:10
  Speaker 3: Yeah, yeah, you are. Man, it's awesome to see.
• 2:28:13
  Speaker 4: Yeah. Thanks guys.
• 2:28:14
  Speaker 5: Yeah, of course man. And as always, you guys can
• 2:28:17
  Speaker 5: find me over on Instagram Bearded film Guy over here
• 2:28:21
  Speaker 5: Beyond the Blood Podcast. If you want to watch some
• 2:28:23
  Speaker 5: old YouTube videos, it's Bearded film Guy over there until
• 2:28:29
  Speaker 5: later this month. Keep watching your bonus features, listen to
• 2:28:31
  Speaker 5: some audio commentaries, bullshit with your friends about movies, and
• 2:28:35
  Speaker 5: have fun doing it all.
• 2:28:37
  Speaker 4: Support physical media.
• 2:28:38
  Speaker 6: Yeah, thanks for having me back, guys. This is really fun.
• 2:28:41
  Speaker 4: Of course, dude, it was a good time.
• 2:28:43
  Speaker 5: Thank you.
• 2:28:43
  Speaker 4: Thanks for joining us.
• 2:28:45
  Speaker 3: Absolutely.
• 2:28:46
  Speaker 5: We'll see you guys next time.
• 2:28:48
  Speaker 4: Catch on the next one.
• 2:28:56
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