Latest / Houselights: A Film Director Podcast / Scream 3 (2000) - Wes Craven | Houselights #234

Transcript

Scream 3 (2000) - Wes Craven | Houselights #234 · Houselights: A Film Director Podcast

• 0:03
  Speaker 1: Welcome to the net Palty.
• 0:20
  Speaker 2: Welcome back to House Lights, the podcast where the body
• 0:23
  Speaker 2: count rises, the rules get thrown out, and the bangs
• 0:27
  Speaker 2: get traumatically uneven. I'm your host, Tristan Rudel, and yes,
• 0:31
  Speaker 2: I do keep a secret voice changer in my desk drawer,
• 0:33
  Speaker 2: but only for creative purposes. Joining me today from deep
• 0:37
  Speaker 2: within the back lot of Sunrise Studios is the man
• 0:40
  Speaker 2: who's rewritten more plot twist than Roman Bridger could ever
• 0:43
  Speaker 2: have dreamed of. He's the real director behind the Mayhem.
• 0:46
  Speaker 2: It's John Mills. And also with us is our resident parker,
• 0:50
  Speaker 2: posey enthusiast, a man who knows how to steal every scene,
• 0:55
  Speaker 2: chew the scenery and still ask if Craft Services has
• 0:58
  Speaker 2: oat milk. It's Darren Moser. That's right, we're talking. Scream
• 1:02
  Speaker 2: three Wes Craven's most polarizing entry the trilogy, Kapper that
• 1:07
  Speaker 2: dared to go full Scooby Doo and pre meta about
• 1:11
  Speaker 2: being meta, and where Carrie Fisher plays not Carrie Fisher.
• 1:15
  Speaker 2: So silence your cell phones, lock your trailers, and let's
• 1:19
  Speaker 2: follow the fax machine into the inferno.
• 1:21
  Speaker 1: Nice. I like how we were cast in this one.
• 1:24
  Speaker 1: I think it was.
• 1:25
  Speaker 3: More effort into that intro than we did, and we're
• 1:28
  Speaker 3: going to put into the whole rest of this podcast,
• 1:30
  Speaker 3: and I can guarantee.
• 1:32
  Speaker 1: I'd argue that more was put into that intro than
• 1:34
  Speaker 1: the effort that was put into the script for this movie.
• 1:36
  Speaker 1: But we'll get to that. Hey, Actually, you know what, we.
• 1:39
  Speaker 2: Could go straight into that, because so Kevin Williamson did
• 1:43
  Speaker 2: not write this movie, and boy does it show. It
• 1:47
  Speaker 2: shows it was unavailable to write it. So but he
• 1:51
  Speaker 2: did write a.
• 1:51
  Speaker 3: Did he not like money?
• 1:54
  Speaker 1: Yeah, he was.
• 1:54
  Speaker 2: He was busy with I think he was directing a movie,
• 1:57
  Speaker 2: he was producing another movie, and he was the showrunner
• 2:01
  Speaker 2: on Dawson's Creek, and so he just couldn't do it.
• 2:05
  Speaker 2: He just did not have the time. And it was
• 2:09
  Speaker 2: written by Aaron Kruger, who completely disregarded Kevin Williamson's outline
• 2:15
  Speaker 2: and basically wrote it, wrote a new page every day,
• 2:19
  Speaker 2: like as it was going as it was going on,
• 2:22
  Speaker 2: and Wes Craven was so upset with Krueger's characterizations that
• 2:28
  Speaker 2: he had to rewrite it on the day. And so
• 2:31
  Speaker 2: this movie was put together in pieces as it was
• 2:34
  Speaker 2: being made.
• 2:35
  Speaker 1: But let me ask this question, like very straightforward like,
• 2:38
  Speaker 1: I don't understand how Writers Guild of America rules work
• 2:41
  Speaker 1: or anything like that. But if you're on the set
• 2:44
  Speaker 1: and you've got this writer and the writer is not
• 2:46
  Speaker 1: doing what you want to the point where you have
• 2:48
  Speaker 1: to rewrite everything that he rewrites every day, So it's
• 2:50
  Speaker 1: basically like you're writing three drafts a day of every
• 2:53
  Speaker 1: single page on top of running this production. Why can't
• 2:57
  Speaker 1: Craven just be like, screw it, I need somebody else,
• 2:59
  Speaker 1: and you bring somebody else onto the set. You say,
• 3:01
  Speaker 1: mister Krueger, Great, you have your credit and we'll give
• 3:03
  Speaker 1: you like a producer credit. Just get the hell off
• 3:05
  Speaker 1: the set and bring somebody else in that knows what
• 3:07
  Speaker 1: they're doing. Like I don't. I don't understand. Are there
• 3:10
  Speaker 1: rules against that? Is there some reason they can't do that?
• 3:13
  Speaker 2: I think there is rules against that. Like I wish
• 3:15
  Speaker 2: I knew more about it, And I don't know how
• 3:19
  Speaker 2: much Wes Craven rewrote. You know, I have no idea
• 3:21
  Speaker 2: what quantity. If it was more or less than fifty percent,
• 3:25
  Speaker 2: I have no clue, but it's it was basically it's
• 3:28
  Speaker 2: just to illustrate that this was a this was a
• 3:31
  Speaker 2: good sign.
• 3:31
  Speaker 1: Scenes Yeah, but I will say, because it's easy to say, oh, well,
• 3:35
  Speaker 1: you know they were rewriting a every they were right
• 3:38
  Speaker 1: rewriting the pages. They were shooting every single day, and
• 3:40
  Speaker 1: that's a big mess behind the scenes. I will point
• 3:42
  Speaker 1: out that when the director and the writer are in sync,
• 3:47
  Speaker 1: such as in Edge of Tomorrow, like they were doing
• 3:51
  Speaker 1: according to Chris mcquarie, they were doing like daily. They
• 3:54
  Speaker 1: were it was like, okay, here's the new page. Okay,
• 3:56
  Speaker 1: here's the new page, and that worked out perfectly. But
• 3:59
  Speaker 1: I think that more to what you're saying, where it's
• 4:01
  Speaker 1: like Craven wasn't digging what Krueger was laying down.
• 4:03
  Speaker 3: Well, I mean, just looking at the film schedule, the
• 4:07
  Speaker 3: fact that it was recorded between July and September of
• 4:10
  Speaker 3: ninety nine, with the ending reshot in January of two
• 4:14
  Speaker 3: thousand oh.
• 4:16
  Speaker 1: And released and released in February of two thousand that's
• 4:20
  Speaker 1: that's the That's the damning part right there, That one
• 4:24
  Speaker 1: right there, that is that is rough by ending?
• 4:27
  Speaker 3: Do they mean the entire like house part?
• 4:30
  Speaker 2: Like no, I have to say, that was a huge scene.
• 4:34
  Speaker 2: There's no way they could have reshot that.
• 4:36
  Speaker 1: I mean, I could, I.
• 4:37
  Speaker 3: Mean, but how do you go back to that if
• 4:39
  Speaker 3: you want to change it, unless you you could.
• 4:41
  Speaker 1: Shoot inserts like you could go back to it and
• 4:44
  Speaker 1: like suddenly, you know, like the Patrick Timsey character, I
• 4:47
  Speaker 1: imagine probably got you that that smelled and felt like
• 4:50
  Speaker 1: a change. When he showed up at the end, I
• 4:52
  Speaker 1: was like, I feel like, this isn't how this went originally.
• 4:55
  Speaker 1: That's true, He's.
• 4:56
  Speaker 3: Actually only in a handful of scenes like he could
• 4:59
  Speaker 3: have very but why add a whole character like that
• 5:02
  Speaker 3: just to give the twist, because they honestly are getting
• 5:05
  Speaker 3: towards it looking like it's him.
• 5:07
  Speaker 1: No I'm saying that he I have no idea. Maybe
• 5:10
  Speaker 1: Tristan you know the behind the scenes details. But when
• 5:13
  Speaker 1: he showed up at the end, the way his character
• 5:15
  Speaker 1: interacted at the end felt to me while I was
• 5:18
  Speaker 1: watching it like that part got redone. That felt like
• 5:22
  Speaker 1: a part that was definitely redone. It felt like there
• 5:25
  Speaker 1: was something different about how he interacted with everything.
• 5:28
  Speaker 2: Which character are we talking about.
• 5:29
  Speaker 1: Here, Patrick Dempsey the Police?
• 5:31
  Speaker 2: I'm sorry, I thought we were talking about Milton for
• 5:33
  Speaker 2: some reason. Yeah, Patrick, Okay, so yes, you are correct
• 5:38
  Speaker 2: that Dempsey's part was like the basically where he showed
• 5:44
  Speaker 2: up in the third act was completely rewritten because when
• 5:48
  Speaker 2: he says goodbye to Sydney when she's in the police
• 5:51
  Speaker 2: station and he gets that really overly sexualized line he said,
• 5:58
  Speaker 2: he's like my entire life or something like that, and
• 6:01
  Speaker 2: then like walks away like he was written out of
• 6:03
  Speaker 2: the script after that, like he walks off into oblivion.
• 6:06
  Speaker 2: And Patrick Dempsey shows up because this is another thing.
• 6:11
  Speaker 2: Patrick Zimpsey was hired a day before principal photography began,
• 6:15
  Speaker 2: and so he had he had a night to you know,
• 6:18
  Speaker 2: memorize his lines before the next day, and then as
• 6:21
  Speaker 2: they were filming, he's like, where do I go in
• 6:23
  Speaker 2: the third act? And they're like, oh, nowhere. He's like,
• 6:25
  Speaker 2: that's absurd. He's like, my character is meaningless throughout the
• 6:29
  Speaker 2: entire movie if he has nothing to do in the
• 6:31
  Speaker 2: third act. He's the cop, you know, he's the investigator.
• 6:34
  Speaker 2: What's going on here? And so they're like, oh crap.
• 6:36
  Speaker 3: It's like doing not being in the third act of Scream.
• 6:38
  Speaker 3: He's like, he's the cop. Yeah, and it's like, oh, yeah,
• 6:41
  Speaker 3: he just is not at the house during the end finale.
• 6:44
  Speaker 3: It's like, why would he not be there?
• 6:46
  Speaker 2: Yeah, And so Dempsey said He's like, you got to
• 6:48
  Speaker 2: write me in here, and so they did. And so yeah,
• 6:50
  Speaker 2: that's why it feels clunky. That's why everything in the
• 6:52
  Speaker 2: movie feels.
• 6:53
  Speaker 1: Clunky, A man everything. But see, I came into this
• 6:56
  Speaker 1: one and the part I had seen before this I
• 7:00
  Speaker 1: had I was scanning through maybe it was on two
• 7:03
  Speaker 1: B or something like that, and it was the opening
• 7:05
  Speaker 1: of this, and I actually liked the opening. I was like, oh,
• 7:09
  Speaker 1: I like what they did with this. Because Cotton got
• 7:12
  Speaker 1: his fame, he was still kind of a douchebag. He
• 7:16
  Speaker 1: had his fame and his money and everything like that,
• 7:18
  Speaker 1: and he's an even worse person because he starts flirting
• 7:21
  Speaker 1: with this fictitious woman on the phone after hanging up
• 7:24
  Speaker 1: with his girlfriend, and then you know, the twist happens.
• 7:27
  Speaker 1: And I actually thought it was kind of interesting the
• 7:29
  Speaker 1: way that it set everything up in the beginning. And
• 7:33
  Speaker 1: even though it telegraphs, of course, you know, Cotton being
• 7:35
  Speaker 1: dressed all in white, it's sort of like the end
• 7:37
  Speaker 1: of Boogie Nights where it's like, oh, I know, there's
• 7:40
  Speaker 1: gonna be blood everywhere here. Okay, I got it, got it,
• 7:43
  Speaker 1: you know, But.
• 7:44
  Speaker 2: It's apparently leav Shreiver insisted that he takes take his
• 7:48
  Speaker 2: jacket off in the opening scene because he's been working.
• 7:51
  Speaker 2: He was working out like crazy, and he wanted to
• 7:53
  Speaker 2: show people that he has been working out. He's really
• 7:56
  Speaker 2: filling that sweater. I respect that. I respect that. I
• 7:59
  Speaker 2: advocate for yourself, sir, advocate for yourself. But yeah, I
• 8:02
  Speaker 2: thought the opening was I was looking forward to seeing
• 8:05
  Speaker 2: this because I had seen that opening and I was like, Okay,
• 8:07
  Speaker 2: well maybe it is pretty good.
• 8:09
  Speaker 3: So no, yeah, I mean I texted you guys, or
• 8:12
  Speaker 3: I think I did when I was watching it and
• 8:15
  Speaker 3: I was about halfway and I positive, I'm like, surely
• 8:18
  Speaker 3: we must be about to the very end of the Nope, nope, no,
• 8:23
  Speaker 3: we are like square in the middle of this movie.
• 8:25
  Speaker 3: We have a long way to go.
• 8:29
  Speaker 2: And yeah, I was actually when you texted me that,
• 8:32
  Speaker 2: I was sitting next to my wife and I commented
• 8:35
  Speaker 2: that you said that, and I said, I was like,
• 8:37
  Speaker 2: Darren never tells us what he thinks about the movie
• 8:41
  Speaker 2: before the podcast, and for him to be so frustrated
• 8:45
  Speaker 2: that he had to reach out on.
• 8:47
  Speaker 3: Our that's not a good sign.
• 8:48
  Speaker 2: That's not a good sign.
• 8:50
  Speaker 1: It wasn't a positive, It wasn't a positive.
• 8:52
  Speaker 2: Net nag so arguably, Darren, where when did you first
• 8:54
  Speaker 2: see this movie?
• 8:55
  Speaker 3: This was the first time seeing this. I had not
• 8:57
  Speaker 3: never seen this movie before, and it wasn't even like
• 9:01
  Speaker 3: one of those oh yeah, now that I watch it,
• 9:04
  Speaker 3: it comes back like No, no, I had never seen
• 9:07
  Speaker 3: this movie, so I had no idea what was going on.
• 9:10
  Speaker 3: I don't think anyone knew it.
• 9:11
  Speaker 1: No no.
• 9:12
  Speaker 3: I mean it's interesting watching this movie after watching New Nightmare,
• 9:19
  Speaker 3: because New Nightmare kind of I mean, yes, we're talking
• 9:23
  Speaker 3: about making a movie and the metanists like this kind of.
• 9:28
  Speaker 1: I don't know.
• 9:28
  Speaker 3: It was really odd because it was like taking it
• 9:31
  Speaker 3: another degree, like Okay, we're on the soundstage and there's
• 9:35
  Speaker 3: the house, and I feel like when movies are kind
• 9:40
  Speaker 3: of all over the place, I default back to what
• 9:44
  Speaker 3: am I supposed to be feeling about these characters? What
• 9:48
  Speaker 3: is the director? What is the writer trying to convey
• 9:52
  Speaker 3: in these moments? Am I supposed to feel sympathy? Am
• 9:54
  Speaker 3: I supposed to feel fear? Things like that? And for
• 9:59
  Speaker 3: most of this movie, I just was like, I have
• 10:02
  Speaker 3: no idea how I'm supposed to feel. I have no
• 10:04
  Speaker 3: idea it is. It was just bouncing off the walls.
• 10:07
  Speaker 3: So yeah, I had no idea going in and I
• 10:10
  Speaker 3: still have no idea going out of this movie.
• 10:13
  Speaker 2: Kind of jumping off of what Darren is talking about, John,
• 10:15
  Speaker 2: I have a frank question for you, and I expect
• 10:18
  Speaker 2: a frank answer. Is this movie a horror movie?
• 10:22
  Speaker 1: That is uh okay frank answer, No, it's not this movie.
• 10:26
  Speaker 1: And I think that gets to the core of my
• 10:28
  Speaker 1: biggest complaint with it is that the movie is bound
• 10:34
  Speaker 1: up by these quote unquote trilogy rules. And I really
• 10:37
  Speaker 1: think that if you're going to extend the this is
• 10:41
  Speaker 1: meta horror. It's not valid. Like horror trilogies don't exist,
• 10:45
  Speaker 1: they just do not exist. And if you're making fun
• 10:47
  Speaker 1: of the slasher genre in specific, A more apt thing
• 10:52
  Speaker 1: to call out is, you know you have the Randy
• 10:54
  Speaker 1: Meeks thing come in is for him to say, you're
• 10:57
  Speaker 1: gonna feel like this is the last thing, but guess what,
• 11:00
  Speaker 1: it's not really going to be over after this, but
• 11:01
  Speaker 1: I'm going to get you through this one. Nobody knows
• 11:04
  Speaker 1: what's going to happen. They could do a reboot like
• 11:05
  Speaker 1: Friday the Thirteenth, Part five in the next one, they
• 11:08
  Speaker 1: could do this, They could do that, but they'll always
• 11:10
  Speaker 1: come back, and they'll always keep going so long as
• 11:12
  Speaker 1: it's interesting to blah blah blah blah. You could go
• 11:14
  Speaker 1: off all of that type of stuff. So I think
• 11:16
  Speaker 1: that going into the trilogy, navel Gazing is a Kevin
• 11:20
  Speaker 1: Smith esque Star Wars reference more than anything else Star
• 11:24
  Speaker 1: Wars or Back to the Future or what have you.
• 11:26
  Speaker 1: And of course Jay and Silent Bober in the movie
• 11:29
  Speaker 1: for some reason, but whatever, and you can have. Basically,
• 11:33
  Speaker 1: I think that the lack of Williamson is why things
• 11:39
  Speaker 1: sort of break down on that level, is it moves
• 11:42
  Speaker 1: away from the horror and strangely goes more toward an
• 11:45
  Speaker 1: action y type of thing, which is I think very
• 11:49
  Speaker 1: much in keeping with the fact. Because I was reading
• 11:51
  Speaker 1: that when Krueger was developing it and Craven quote unquote
• 11:55
  Speaker 1: course corrected him. He had Sydney going more Linda Hamilton
• 11:59
  Speaker 1: into Erminator two, like she becomes a buff ass kicker.
• 12:03
  Speaker 1: I read that, and I'm like, oh, I can kind
• 12:06
  Speaker 1: of see those fingerprints on this script. I can see
• 12:09
  Speaker 1: where he was going with that, and instead they tone
• 12:11
  Speaker 1: it back and she's meekly living in the woods somewhere,
• 12:14
  Speaker 1: and it's like, honestly, it would have been more interesting
• 12:17
  Speaker 1: to see her like on a compound constantly training, which
• 12:21
  Speaker 1: is actually an impulse that they followed when they had
• 12:24
  Speaker 1: Halloween twenty eighteen, was showing up.
• 12:27
  Speaker 2: Yeah, just about to say that, that is absolutely the
• 12:30
  Speaker 2: direction that they went with the Halloween reboot at the
• 12:34
  Speaker 2: second Halloween reboot. Yeah, so one thing that really the
• 12:38
  Speaker 2: lack of Kevin Williamson all the craziness in production. Also,
• 12:43
  Speaker 2: Columbine happened on April twentieth, nineteen ninety nine. This started
• 12:47
  Speaker 2: shooting in June July. This started shooting in July of
• 12:51
  Speaker 2: that year. Because of Columbine. The studio told them to
• 12:55
  Speaker 2: tone down the violence and up the humor, and that's
• 12:58
  Speaker 2: exactly what we got. There's even a meta reference inside
• 13:01
  Speaker 2: of it. Yeah there was humors.
• 13:03
  Speaker 3: Okay, yes, there is.
• 13:04
  Speaker 2: Yeah, come on, come on, I didn't say that. There's
• 13:06
  Speaker 2: always lands.
• 13:08
  Speaker 3: Okay, there you go. Well, and it's I think if
• 13:12
  Speaker 3: they're if they're gonna be shooting another STAB movie, I
• 13:15
  Speaker 3: think it would have been funnier to have it be
• 13:18
  Speaker 3: like Stab five and they're commenting on the fact that
• 13:21
  Speaker 3: they're cranking these out so fast, like take that angle
• 13:25
  Speaker 3: instead of the third one, like we're shooting the third
• 13:28
  Speaker 3: one like, we're in the third one like, and then
• 13:30
  Speaker 3: it doesn't even matter what you're getting.
• 13:32
  Speaker 2: But there's so much there was so much ambiguity to
• 13:36
  Speaker 2: Stab three, where like, okay, let me rephrase this. So
• 13:42
  Speaker 2: in Scream there is no there is no STAB movie.
• 13:45
  Speaker 2: In Scream two, there is a STAB movie. That's when
• 13:49
  Speaker 2: we first get it, and so it's a recreation of
• 13:51
  Speaker 2: the first one of the of the scream that came
• 13:54
  Speaker 2: out in ninety six. We don't do a Screams two
• 13:57
  Speaker 2: seql in Scream three. We jump ahead and do Stab three.
• 14:00
  Speaker 2: But the thing is is that there's so much emphasis
• 14:03
  Speaker 2: put on the movie itself. The movie is about the
• 14:06
  Speaker 2: making of the movie, but yet we have no idea
• 14:09
  Speaker 2: what the movie is about. And also they make it
• 14:12
  Speaker 2: look like they're reproducing Stab one or Scream of ninety
• 14:16
  Speaker 2: six with all the sets and the kapoo looks like
• 14:20
  Speaker 2: Dewey and his uniform and everything like that, So you
• 14:23
  Speaker 2: have no idea what's going on. You have no connection
• 14:25
  Speaker 2: with it. It's just an excuse to get Sydney to
• 14:28
  Speaker 2: walk around the set of original screen.
• 14:31
  Speaker 3: Oh it felt like it like that time when she's
• 14:33
  Speaker 3: actually on the set and she's reacting to it. You know,
• 14:37
  Speaker 3: like eighty percent of this movie has been set up
• 14:39
  Speaker 3: for that shot, Like, yes, how do we get her
• 14:41
  Speaker 3: from compound in the woods to standing watching her relive
• 14:47
  Speaker 3: that night? Which you can do in other ways besides
• 14:50
  Speaker 3: making an entire movie about it. But I mean, here
• 14:52
  Speaker 3: we are. But yeah, it felt like that. And then again,
• 14:57
  Speaker 3: you know, we're introduced all not only do we have
• 14:59
  Speaker 3: our main carearacters, but we have all of their you know,
• 15:02
  Speaker 3: quote unquote stunt doubles to borrow from Spaceballs, you know,
• 15:06
  Speaker 3: the actors playing them. We also are kind of caring
• 15:10
  Speaker 3: about kind of not like there's a bunch of Hollywood
• 15:14
  Speaker 3: stuff thrown in and it's just and then on top
• 15:19
  Speaker 3: of that, at the very end again and this is
• 15:22
  Speaker 3: where I really wonder if this part was in the
• 15:24
  Speaker 3: in the pitch or the main story, or if it
• 15:26
  Speaker 3: came later. Does it all have to be tied up
• 15:30
  Speaker 3: in a bow? Can it not just be a copycat?
• 15:32
  Speaker 3: Like everything has to be like, oh, it has to
• 15:36
  Speaker 3: be like this is the person that created the person
• 15:39
  Speaker 3: that started like it. It almost felt too connected back
• 15:43
  Speaker 3: to the to the scream, you know, to the ghost face,
• 15:46
  Speaker 3: just a little bit.
• 15:47
  Speaker 2: I think it's kind of a victim of what John
• 15:50
  Speaker 2: was talking about, where, Darren, what you're describing is is
• 15:54
  Speaker 2: a normal drama trilogy or a sci fi trilogy or
• 15:58
  Speaker 2: something like that where everything goes back to the original
• 16:01
  Speaker 2: because the rules that Randy is talking about are trilogy rules.
• 16:05
  Speaker 2: But John, you're talking about how horror trilogies don't exist.
• 16:08
  Speaker 2: It's just continuation. It's compilations. And so we are in
• 16:11
  Speaker 2: the mindset of watching you know, the Halloween films and
• 16:14
  Speaker 2: the front of the Thirteenth films, and I can go
• 16:17
  Speaker 2: on and on and.
• 16:18
  Speaker 1: On, Nightmare on Elm Street, My Blade, Valentine's sleep Away Camp,
• 16:24
  Speaker 1: you know, Sally go on.
• 16:25
  Speaker 2: I don't think courage all those, you know, like we
• 16:27
  Speaker 2: can go on and on and say like when they're
• 16:29
  Speaker 2: the third one is never right there, continuing trilogy. It's
• 16:32
  Speaker 2: just a continuation. And so our brain is set in
• 16:35
  Speaker 2: the horror universe. But yet we're trying to wrap it
• 16:38
  Speaker 2: around trilogy rules which don't exist, and so that in
• 16:41
  Speaker 2: itself is a confusing, a confusing thing to wrap your
• 16:47
  Speaker 2: mind around.
• 16:48
  Speaker 1: It is. The thing is there are elements of this
• 16:52
  Speaker 1: that I think are are interesting. I just think that
• 16:55
  Speaker 1: it's the connective tissue that that hurts it. It's the
• 16:59
  Speaker 1: fact that they're rewriting and everything. There's such a first
• 17:03
  Speaker 1: draft feel to this movie. What it feels like you
• 17:07
  Speaker 1: have an idea of the scenes you want, but you
• 17:10
  Speaker 1: don't know how you're going to tie them together. Right,
• 17:13
  Speaker 1: we're throwing shade a minute ago on everything's constructed around
• 17:17
  Speaker 1: having her in the set for the house. Yes, you're right,
• 17:20
  Speaker 1: it is. That's still an interesting scene. The way that
• 17:24
  Speaker 1: it's constructed and played out. There's a logical thing that
• 17:27
  Speaker 1: doesn't really work with it, but that's okay, right, It's
• 17:30
  Speaker 1: still interesting to see the unreality of it all folded
• 17:35
  Speaker 1: in on itself. That's cool. I like that there's an
• 17:39
  Speaker 1: interesting aspect to them being in the house and then
• 17:43
  Speaker 1: you know, having that paralysis moment of wait, we should
• 17:47
  Speaker 1: go out of the house. No, he's telling us to
• 17:49
  Speaker 1: go out of the house. We should stay in the house. No,
• 17:51
  Speaker 1: but that's exactly what he thinks. Like, that's actually a
• 17:54
  Speaker 1: part where the humor does land interest and to your point,
• 17:57
  Speaker 1: like some of the humor does land, that's one of
• 17:59
  Speaker 1: those moments where the human lands because it gets to
• 18:02
  Speaker 1: that meta idea of everybody loves to sit there and say, oh,
• 18:06
  Speaker 1: I know what I do in that situation when they're
• 18:08
  Speaker 1: watching a horror movie. But you have that scene right
• 18:10
  Speaker 1: there where it's like, would you really or would you
• 18:12
  Speaker 1: overthink it the way that they're doing, We're like, no, wait,
• 18:15
  Speaker 1: that's what they expect, and you just keep going around
• 18:17
  Speaker 1: in circles.
• 18:18
  Speaker 2: And then you know, like we have the idiot character
• 18:21
  Speaker 2: who lights a match to use it as a light source,
• 18:26
  Speaker 2: which only happens in movies. At no point in my
• 18:29
  Speaker 2: life have I ever thought like, man, it's really dark
• 18:31
  Speaker 2: in here, I need to go get a lighter, Like, no,
• 18:34
  Speaker 2: I find a flashflight.
• 18:36
  Speaker 1: Well, the thing is, you know, the characters already established
• 18:39
  Speaker 1: as a smoker, isn't he? But but the thing is
• 18:43
  Speaker 1: that right there, what you're talking about, like that's still
• 18:47
  Speaker 1: such a stretch, because I'll do a quick poll for you.
• 18:51
  Speaker 1: Do you know where matches or lighter are in your
• 18:53
  Speaker 1: house right now? Right the second? If you have to
• 18:55
  Speaker 1: go run and get one, Yeah, they're in the kitchen
• 18:57
  Speaker 1: if you do. Yeah, surprising. I figure I figured you wouldn't.
• 19:00
  Speaker 1: I figured you guys would be like, no, I just
• 19:02
  Speaker 1: used my iPhone or something like that, you know, like.
• 19:05
  Speaker 3: When you need matches, you need to like candles, when
• 19:07
  Speaker 3: you need a light source user.
• 19:08
  Speaker 1: Oh, look at you set in the mood like I got.
• 19:10
  Speaker 2: I got one of those one of those done things,
• 19:13
  Speaker 2: like with the extension that you can Yeah.
• 19:15
  Speaker 1: Is it one of the bendable extensions.
• 19:16
  Speaker 2: Yeah, the bendik Those are kind of cool, like those. Well,
• 19:20
  Speaker 2: the reason why I brought it up is because it's
• 19:21
  Speaker 2: so trophy that it belongs in this film. Yeah, you know,
• 19:25
  Speaker 2: it's one of those things that you only see in movies,
• 19:27
  Speaker 2: and so you're like, oh, okay, Like I have such
• 19:29
  Speaker 2: a love hate relationship with this movie because you know, Darren,
• 19:32
  Speaker 2: you and I were even talking beforehand where I talked
• 19:35
  Speaker 2: about how, you know, like season three is definitely the
• 19:37
  Speaker 2: red headed stepchild of this trilogy, but yet both you
• 19:41
  Speaker 2: and I were like, yeah, but it's still fun, it's
• 19:42
  Speaker 2: still interesting, it's still intriguing. And as I was watching
• 19:46
  Speaker 2: it this time, I did not have have the algic
• 19:49
  Speaker 2: goggles on it that I normally do because I rewatched
• 19:52
  Speaker 2: this series a lot, like I rewatched the Screen franchise
• 19:56
  Speaker 2: a lot, and I never skip three. I always watch three,
• 19:59
  Speaker 2: and I have a good time watching it, but for
• 20:00
  Speaker 2: some reason this time I watched it, like, you know,
• 20:03
  Speaker 2: when you know, Jane Silent Bob show up, I'm like,
• 20:05
  Speaker 2: what what are we doing here, folks? What is going on?
• 20:09
  Speaker 2: But then I laugh when Parker Posey jumps into Patrick
• 20:13
  Speaker 2: Warburton's arms, you know, like it like those kind of
• 20:15
  Speaker 2: little moments of levity I enjoy, but like when Jane
• 20:19
  Speaker 2: Silent Bob come in, it completely takes me out. And
• 20:23
  Speaker 2: it's just I think that's kind of the back and
• 20:25
  Speaker 2: forth of the movie, where like one moment is endearing
• 20:28
  Speaker 2: and charming, and then another moment you're like, what is
• 20:31
  Speaker 2: going on? But it's like that back and forth, back
• 20:33
  Speaker 2: and forth.
• 20:34
  Speaker 1: I just want to take a special moment because that's
• 20:36
  Speaker 1: the second reference to it. I'll make the third because
• 20:37
  Speaker 1: it's a trilogy. But the appearance of Jane Silent Bob
• 20:41
  Speaker 1: actually made me really irritated in this movie. I think
• 20:46
  Speaker 1: for two reasons. One, I think it's such a lazy joke,
• 20:50
  Speaker 1: super outdated by this point. But additionally, I can project
• 20:54
  Speaker 1: myself back in time and it would have irritated the
• 20:57
  Speaker 1: hell out of me because of the fact that it
• 21:00
  Speaker 1: layers on the fake reality of it all collapses in
• 21:07
  Speaker 1: moments like that where you have people playing a character
• 21:10
  Speaker 1: from a different franchise in this franchise, like it breaks
• 21:14
  Speaker 1: all of these rules where it's like, I'm I'm already
• 21:17
  Speaker 1: suspending enough disbelief pretending that Courtney Cox isn't Courtney Cox
• 21:21
  Speaker 1: while we're making reference to other people and the Jane
• 21:24
  Speaker 1: Silent Bob thing irritates me, and I'll go ahead and
• 21:27
  Speaker 1: say it. The Carrie Fisher thing drove me nuts too.
• 21:29
  Speaker 1: I thought that was such a lazy joke.
• 21:32
  Speaker 3: It felt like Blues Brothers, like something you throw in
• 21:36
  Speaker 3: as like this tiny cameo and then you move on
• 21:39
  Speaker 3: and you're.
• 21:39
  Speaker 1: Like, what was that? But the thing is in Blues Brothers,
• 21:42
  Speaker 1: she's at least playing a character. She's not playing a
• 21:44
  Speaker 1: character that's a specifically a specific call out to how
• 21:47
  Speaker 1: she looks like herself. You know what it Yeah, Because
• 21:51
  Speaker 1: it's my first time watching it all the way through,
• 21:52
  Speaker 1: it reminded me of Oceans twelve, which drove me up
• 21:55
  Speaker 1: a wall when they had that Julia Roberts nonsense in it,
• 21:58
  Speaker 1: Like that is the moment where Ocean's Well became a
• 22:00
  Speaker 1: hated movie. On night part I was like, oh, you
• 22:02
  Speaker 1: didn't just do.
• 22:03
  Speaker 3: Yeah, I've I've held out watching Oceans twelve, so don't
• 22:07
  Speaker 3: I'm good that?
• 22:08
  Speaker 1: No?
• 22:08
  Speaker 2: Okay, Julia Roberts and Ocean twelve is this amped up
• 22:12
  Speaker 2: to eleven? I can forgive the Carry Fisher thing. I
• 22:14
  Speaker 2: can't forgive Julia Roberts. Now, Carrie Fisher was originally supposed.
• 22:20
  Speaker 1: To be Jamie Lee. Oh huh, yeah, okay. That would
• 22:23
  Speaker 1: have worked. Yeah, right, would have worked.
• 22:25
  Speaker 2: Because if you see Jamie Lee, you're like, oh, it's
• 22:28
  Speaker 2: a screen queen. Yeah, she's it's a meta cameo with
• 22:31
  Speaker 2: Carry Fisher, You're like, what the hell is carry Fisher
• 22:33
  Speaker 2: doing in here?
• 22:34
  Speaker 1: Yeah?
• 22:34
  Speaker 3: I see? Then yeah, then the joke lands. But you
• 22:37
  Speaker 3: can't just substitute another actress and expect it to land.
• 22:40
  Speaker 2: Right, But see, Carry Fisher is an icon, but yet
• 22:43
  Speaker 2: she a horror icon.
• 22:44
  Speaker 1: But if if you really wanted to go deep dive
• 22:47
  Speaker 1: horror callback icon would have been to grab Patricia Arquette
• 22:53
  Speaker 1: and have her in that scene because she, like one
• 22:57
  Speaker 1: of her breakthrough roles was in Nightmare on Elm Street
• 23:00
  Speaker 1: Part three, and it's like that would have been like,
• 23:03
  Speaker 1: if you can't get Jamie Lee, the next person on
• 23:05
  Speaker 1: my call list would have been Patricia Arquette, especially because
• 23:08
  Speaker 1: that's a Wes Craven callback in and of itself, even
• 23:11
  Speaker 1: though we didn't direct three. But like, like that, that
• 23:14
  Speaker 1: super layers on the meta thing, especially if this is
• 23:16
  Speaker 1: supposed to be the last screen movie.
• 23:18
  Speaker 3: No and I but I see what you're saying, Tristan,
• 23:21
  Speaker 3: because I feel like two handled it just enough, like
• 23:25
  Speaker 3: they handled it well where they showed like, oh, these
• 23:28
  Speaker 3: are the real actors that played them in the movie.
• 23:31
  Speaker 3: It's like, Okay, that's funny, like and they're real names
• 23:34
  Speaker 3: and they're real people that we know as actors. Now
• 23:36
  Speaker 3: in this one we have other actors playing no name
• 23:40
  Speaker 3: actors who are meant to be these characters played by
• 23:43
  Speaker 3: real actors, and it's like it's a bridge too far,
• 23:46
  Speaker 3: like like you said, John, like yeah, because Courtney Cox
• 23:49
  Speaker 3: is totally a reporter and not super megastar.
• 23:52
  Speaker 2: Courtney Cox in this would would you would would you
• 23:55
  Speaker 2: have liked it if Parker Posey played Parker Posey? Would
• 23:58
  Speaker 2: that be funny to you? Would it be distract acting?
• 24:00
  Speaker 2: Like both of you? What would you guys think of that?
• 24:02
  Speaker 3: I think it would have been funnier if the actors
• 24:05
  Speaker 3: playing them in the Stab movie. Were Now, I see
• 24:09
  Speaker 3: what you're saying. That's what you're asking. It's like, are
• 24:11
  Speaker 3: they playing themselves? I don't know.
• 24:13
  Speaker 1: It's no to have Parker playing Parker Posey playing a
• 24:17
  Speaker 1: character that's played by Courtney Cox. No, I don't have
• 24:23
  Speaker 1: I like, I don't I don't hate it.
• 24:24
  Speaker 2: I don't love it. I think it would have been
• 24:26
  Speaker 2: interesting to see these people die. Like if, like Parker
• 24:29
  Speaker 2: Posey dies in this movie as Parker Posey, I think
• 24:32
  Speaker 2: that's funny.
• 24:33
  Speaker 1: I having but the thing is having her so close
• 24:37
  Speaker 1: to the others. I don't know that it would have
• 24:40
  Speaker 1: worked for me. I'm not saying it's a deal breaker
• 24:42
  Speaker 1: sort of thing, but I don't know that it would
• 24:44
  Speaker 1: have worked for me, because then you're saying it's like, oh, well,
• 24:46
  Speaker 1: Jenny McCarthy is playing Jenny McCarthy, and I'm like, like,
• 24:51
  Speaker 1: it's just I don't know that it would make me
• 24:53
  Speaker 1: dislike the movie more. I don't know that it would
• 24:56
  Speaker 1: make me like the movie more.
• 24:57
  Speaker 2: Yeah, it's a toss up for me. It was just
• 25:00
  Speaker 2: it was just something that came to my brain. Darren,
• 25:03
  Speaker 2: I do have a question for you, Like you're very
• 25:05
  Speaker 2: much the technical guy, out of the three of us, Like,
• 25:08
  Speaker 2: you build your own stuff. You're very creative, and you're
• 25:11
  Speaker 2: very handy, very mechanical.
• 25:14
  Speaker 3: What did am I going to face?
• 25:16
  Speaker 1: Yes, what did you.
• 25:19
  Speaker 2: Think of the voice changer emulating realistic voices?
• 25:24
  Speaker 3: I mean in a way so they can't even do
• 25:26
  Speaker 3: that now, I know, I know in a way. I
• 25:28
  Speaker 3: like the fact that they kind of don't explain it.
• 25:30
  Speaker 3: They don't show how he gets the voice patterns, how
• 25:33
  Speaker 3: he like. It just is a It's a mcguffin. It's
• 25:36
  Speaker 3: like the purest form of mcguffin that just pushes the
• 25:39
  Speaker 3: plot along. I did like because you have to do
• 25:42
  Speaker 3: something to up the stakes. I get that, like in
• 25:45
  Speaker 3: the third one. And I did like the voice changer
• 25:49
  Speaker 3: aspect because in the second it's always been a thing
• 25:52
  Speaker 3: about scream where the voice changer is hiding that there's
• 25:55
  Speaker 3: multiple ghost faces because anybody could be ghosts, and that's
• 25:58
  Speaker 3: very clever, And so I did.
• 26:01
  Speaker 1: I did.
• 26:02
  Speaker 3: Maybe like is too farward, but I honored what they
• 26:06
  Speaker 3: were trying to go for with the voice changer in
• 26:08
  Speaker 3: this one, taking it to that next level of now
• 26:11
  Speaker 3: you can't trust anyone that you hear on the phone,
• 26:15
  Speaker 3: And that was very interesting, and they played that very well.
• 26:17
  Speaker 3: Like that, I think as its core, that was a
• 26:20
  Speaker 3: good concept and I don't even think it was poorly executed.
• 26:25
  Speaker 3: I think it worked where you don't realize that. I mean,
• 26:29
  Speaker 3: we're not gonna talk about the length of this movie,
• 26:30
  Speaker 3: but as the movie's going, you don't realize that too early.
• 26:34
  Speaker 3: Where if you realize that too early, now every single
• 26:37
  Speaker 3: phone call is suspect. It's late enough in the picture,
• 26:41
  Speaker 3: at least for me when I figured out the oh
• 26:44
  Speaker 3: he has some sort of recording and way of talking
• 26:47
  Speaker 3: about each person that it worked. But yeah, I'll just
• 26:51
  Speaker 3: say that it's a mcguffin device, that it serves the
• 26:54
  Speaker 3: plot and it works, but it is right on the
• 26:57
  Speaker 3: edge of fantastical. You're talking about it as a mcguffin.
• 27:02
  Speaker 3: You know, when I was looking at this movie and
• 27:05
  Speaker 3: trying to break it down in my mind, you know,
• 27:07
  Speaker 3: I went back to, you know, not not Darren's principles
• 27:11
  Speaker 3: of filmmaking, but principles of filmmaking in general, where, especially
• 27:15
  Speaker 3: with horror, which we were already kind of saying, this
• 27:17
  Speaker 3: might not be a horror you have to have your rules,
• 27:20
  Speaker 3: you have to have you know the fact that you know,
• 27:24
  Speaker 3: people can't teleport. You can't have ghost Face instantly be
• 27:28
  Speaker 3: across campus, you know, without you know there being a
• 27:30
  Speaker 3: reason for it.
• 27:31
  Speaker 1: You can. So all that to.
• 27:32
  Speaker 3: Say, I feel like this movie because of the scripting issues,
• 27:36
  Speaker 3: because of the jumbling, because of the pages. With a
• 27:39
  Speaker 3: movie like this, and especially a horror movie, you need
• 27:42
  Speaker 3: to have your ending and your rules locked in from
• 27:48
  Speaker 3: the get go, and if you don't, you're gonna get this.
• 27:51
  Speaker 1: You know. You mentioned you mentioned the length of the movie,
• 27:53
  Speaker 1: and I do remember watching it, and I'm like, man,
• 27:56
  Speaker 1: this movie, like it felt like a longer screen movie,
• 28:00
  Speaker 1: and then checking the time, it was like one hundred
• 28:02
  Speaker 1: eleven minutes for the first one, one hundred and twenty
• 28:05
  Speaker 1: minutes for the second one, one hundred and seventeen minutes
• 28:08
  Speaker 1: for this one. But this one feels like it's longer
• 28:11
  Speaker 1: than either of the other two. And I think that
• 28:14
  Speaker 1: gets to your point where it's like there are just
• 28:15
  Speaker 1: certain points where you're just like, oh can we just
• 28:18
  Speaker 1: it's because what's on screen is not pulling you in.
• 28:21
  Speaker 1: You're much more aware of the time, and it.
• 28:25
  Speaker 3: Even takes too long to tell, like there's only this
• 28:28
  Speaker 3: much story. I'm just during a small amount and they're
• 28:30
  Speaker 3: trying to tell it in a larger span of time.
• 28:34
  Speaker 3: Like it's like when you see a really good story
• 28:36
  Speaker 3: and you're like, oh, yeah, that works as a thirty
• 28:39
  Speaker 3: minute television show. I could not stretch that into a
• 28:43
  Speaker 3: ninety minute you know, like, or you shouldn't without heavily
• 28:46
  Speaker 3: rechanging it. So the I think overall, the length of
• 28:50
  Speaker 3: this movie does not fit the size of the story
• 28:52
  Speaker 3: it's telling or how it's telling it.
• 28:54
  Speaker 1: And the unfortunate thing about that is that I think
• 28:57
  Speaker 1: that one of the things that one of the roads
• 29:02
  Speaker 1: it goes down I'm very conflicted about because it feels
• 29:07
  Speaker 1: in a sense cheap to have the story of Sydney's
• 29:11
  Speaker 1: mother laid out the way that it is. It feels
• 29:15
  Speaker 1: like it's just not put together the right way. What
• 29:20
  Speaker 1: is the right way? I don't know. It just never
• 29:22
  Speaker 1: clicked for me. I was like, oh, well, it felt
• 29:25
  Speaker 1: it felt weird to bring that element in. Now, given
• 29:29
  Speaker 1: who produced the film, it's somewhat ironic. I guess that
• 29:33
  Speaker 1: that it went that way, But I mean, am I
• 29:36
  Speaker 1: alone in that like the story of like tying it
• 29:39
  Speaker 1: to Sid's mom and having the killer spoilers be her.
• 29:44
  Speaker 1: He was her half brother, half brother, half brother, half brother,
• 29:48
  Speaker 1: like that that was like, that was that whole thing
• 29:50
  Speaker 1: was Like that just really feels like incredibly unnecessary to
• 29:54
  Speaker 1: sort of to serve this sort of thing.
• 29:56
  Speaker 3: On practically the second cousin, former roommate, Like, it's just
• 30:01
  Speaker 3: it's just it's out of nowhere at the at the
• 30:03
  Speaker 3: eleventh hour, and I what did you think, Tristan?
• 30:07
  Speaker 1: Yeah? Is it?
• 30:08
  Speaker 3: Because there were times with the whole mother part, especially
• 30:11
  Speaker 3: when she's seeing her envisions, and I'm like, is that real?
• 30:13
  Speaker 3: Is that someone else under the sheet? Like I don't know,
• 30:16
  Speaker 3: because this movie's playing fast with loose with reality.
• 30:20
  Speaker 2: And that's the thing is Yeah, I feel like, John,
• 30:24
  Speaker 2: I feel like you probably would have accepted this is
• 30:27
  Speaker 2: a wild guess and I'm mainly talking about myself, but like,
• 30:30
  Speaker 2: I feel like the ending would have been the ending
• 30:32
  Speaker 2: motivation would have been better accepted if we didn't have
• 30:35
  Speaker 2: that bs with the Maureen Prescott ghost because there's so
• 30:40
  Speaker 2: many times where, like Darren said, like is it real?
• 30:42
  Speaker 1: Is it not?
• 30:43
  Speaker 2: And then at the very end we have Scott Foley's
• 30:47
  Speaker 2: ghost face all of a sudden know that Sydney is
• 30:51
  Speaker 2: hallucinating about her mother, yeah, that's right, Like, yeah, how
• 30:55
  Speaker 2: does he know that? How does he know to play
• 30:57
  Speaker 2: on her hallucinations and her fears and visions and nightmares
• 31:02
  Speaker 2: and things like that. How does he know to do that?
• 31:04
  Speaker 2: It's a cinematic shorthand that doesn't make sense, and it's
• 31:09
  Speaker 2: it's was completely unnecessary. They only had twenty one days
• 31:13
  Speaker 2: to use Nev Campbell because she was filming a movie
• 31:17
  Speaker 2: at the time as well as a TV show, and
• 31:19
  Speaker 2: so she's like, listen, I want to do this, but
• 31:22
  Speaker 2: you got me for twenty one days. Use it however
• 31:24
  Speaker 2: you want. And so they did. And I feel like,
• 31:28
  Speaker 2: I feel like they're coming up with ways to think
• 31:31
  Speaker 2: about it, They're coming up with excuses to use Nev Campbell,
• 31:35
  Speaker 2: and they wasted her. They completely wasted her with those
• 31:39
  Speaker 2: Maureen Prescott ghosts. And so I say all of that
• 31:43
  Speaker 2: to mean, if we didn't have the Morning Prescott ghost
• 31:46
  Speaker 2: and Scott Foley's ghost face was just a half brother
• 31:50
  Speaker 2: who was pissed that he didn't get the life that
• 31:53
  Speaker 2: he wanted, but wasn't the motivation behind Billy. I think
• 31:57
  Speaker 2: that would have landed better.
• 31:58
  Speaker 1: I agree, I agree. I don't think I could say
• 32:01
  Speaker 1: better myself but to tack on to what you're saying, yes,
• 32:05
  Speaker 1: the way that they used Nev Campbell the whole time
• 32:08
  Speaker 1: felt like a we've only got twenty one days. I
• 32:12
  Speaker 1: don't know what to do, So Okay, she's off in
• 32:14
  Speaker 1: a ranch somewhere, let's film. We'll figure out how to
• 32:16
  Speaker 1: work this in. She's anonymized this way, and she's living
• 32:19
  Speaker 1: in the middle of nowhere, and we're just we're gonna
• 32:21
  Speaker 1: leave her up there. Although you know, and that's still
• 32:23
  Speaker 1: obviously a vestige of there had to be a version
• 32:25
  Speaker 1: where she it was a compound and she was training
• 32:28
  Speaker 1: and for the fight and stuff like that. But even
• 32:30
  Speaker 1: that is even that if they leaned into that, I'm
• 32:34
  Speaker 1: not saying it would have worked or I would have
• 32:36
  Speaker 1: liked it, but that's an interesting thought to pursue. That
• 32:39
  Speaker 1: Sydney's out there training fighting her demons, you know, by
• 32:43
  Speaker 1: taking it out on the woods and stuff like that.
• 32:46
  Speaker 1: And at the end she shows up and she's just
• 32:48
  Speaker 1: an absolute like action heroin sort of thing and comes
• 32:52
  Speaker 1: in and like there's three ghost faces, but she just
• 32:54
  Speaker 1: handily just defeats all of them because she's like, I'm
• 32:57
  Speaker 1: ready for this, and just knocks the snot out of all.
• 33:00
  Speaker 2: So I looked it up and apparently the ending the
• 33:04
  Speaker 2: what was reshot was the final fight, not the entire
• 33:08
  Speaker 2: mansion scene, but the final fight between Sydney and the
• 33:13
  Speaker 2: director where apparently she And what made me think of
• 33:16
  Speaker 2: it was what you just said is like, apparently she
• 33:18
  Speaker 2: took him out too easily, where they were just like, wait, no,
• 33:21
  Speaker 2: this has got to be a fight or die situation,
• 33:23
  Speaker 2: Like we got to believe that Sydney could die in
• 33:26
  Speaker 2: this trilogy, and that's why it takes longer to fight.
• 33:29
  Speaker 2: That's why he shoots her. And then we have the
• 33:33
  Speaker 2: vest reveal, which makes me laugh so much because bulletproof
• 33:37
  Speaker 2: vefs are so bulky and so obvious, and yet when
• 33:41
  Speaker 2: she walks into the mansion, she is clearly not wearing one.
• 33:44
  Speaker 2: And also, this is one of those things I just have.
• 33:46
  Speaker 3: No metal because she runs the metal wand over herself.
• 33:51
  Speaker 1: No, no, you're thinking of like plating. It doesn't necessarily
• 33:54
  Speaker 1: have platings.
• 33:55
  Speaker 2: Sometimes it can have armored plating. That okay, since we're
• 33:59
  Speaker 2: talking about it, like this is another thing where I'm
• 34:02
  Speaker 2: just like, okay, it's a scream. Three is dealing with
• 34:04
  Speaker 2: movie tropes on purpose. But at the same time it
• 34:07
  Speaker 2: bugs the crap out of me when movies make bulletproof
• 34:10
  Speaker 2: vests an infencibility shield where yes, you know, like the
• 34:15
  Speaker 2: bridger is shot like what four or five times in
• 34:18
  Speaker 2: the chest and he just walks away. He would have
• 34:21
  Speaker 2: had broken ribs. He would have been.
• 34:23
  Speaker 1: Broken broken rib to breathe, a potential heart attack caused
• 34:27
  Speaker 1: by it, because there's so much trauma to the body.
• 34:31
  Speaker 1: To your point, Tristan, he'd have gotten up and he'd
• 34:33
  Speaker 1: be like, see I giy just once, say just hold on,
• 34:38
  Speaker 1: you know, yeah, it would have been it was, Yes,
• 34:41
  Speaker 1: it would have been a substantial amount of pain involved
• 34:45
  Speaker 1: in that. Like it it saves your life, but it
• 34:49
  Speaker 1: doesn't turn the bullet into a tickle, you know, if
• 34:53
  Speaker 1: you're got a terminator.
• 34:54
  Speaker 3: And it's also assuming that every single shot happens to
• 34:56
  Speaker 3: hit you exactly in the torso when your arms on
• 35:00
  Speaker 3: in front of you, Like it's actually a very small
• 35:02
  Speaker 3: area if you think about that, Like, so none of
• 35:05
  Speaker 3: those bullets like hit your leg or anything.
• 35:08
  Speaker 1: Arm. Well, well, I guess it's center mass.
• 35:10
  Speaker 2: Was like it's covering center mass.
• 35:13
  Speaker 1: Yeah, center mass. But I'll give a push on that
• 35:16
  Speaker 1: one because I guess Sydney's a you know, we know
• 35:19
  Speaker 1: that she's a good shot. I guess because she has
• 35:22
  Speaker 1: guns in the house. So it's like, okay, well, you know,
• 35:24
  Speaker 1: and that's a And.
• 35:25
  Speaker 2: That's another thing though, is that like they have to
• 35:27
  Speaker 2: go like because they went the bullet proof vest angle,
• 35:31
  Speaker 2: no one gets shot in the head or extremities. And
• 35:33
  Speaker 2: Sydney has shot all the ghost faces in the head previously.
• 35:38
  Speaker 1: She shot but Billy was already laying down when she
• 35:41
  Speaker 1: shot him in the head.
• 35:42
  Speaker 2: Yes, that was yeah, yeah, as was Billy's mom.
• 35:46
  Speaker 1: Head is head is an incredibly difficult shot. That's the
• 35:49
  Speaker 1: whole reason you go for center mass, because it's the
• 35:51
  Speaker 1: most body that you can you can hit. Although her
• 35:54
  Speaker 1: groping her well, I mean her groom, her grouping was
• 35:58
  Speaker 1: very loose there. I would have expect to the tighter grouping.
• 36:01
  Speaker 2: But come on, Sydney, come on, come on, Sydney.
• 36:03
  Speaker 1: Okay.
• 36:03
  Speaker 2: So apparently before we kind of head on over to
• 36:07
  Speaker 2: maybe things, we did like the original. So Matthew Lillard
• 36:12
  Speaker 2: said in a two thousand and nine interview, so this
• 36:14
  Speaker 2: was nine years after the movie was released, that a
• 36:18
  Speaker 2: one original script was having Stu Macher survive the events
• 36:23
  Speaker 2: of the original Scream, and he's in prison and he's
• 36:26
  Speaker 2: orchestrating these ghost face attacks from prison against high school
• 36:32
  Speaker 2: students and ultimately targeting Sydney at the end. And because
• 36:36
  Speaker 2: of Columbine, that was thrown out immediately.
• 36:40
  Speaker 3: I was gonna say, that sounds like an interesting.
• 36:42
  Speaker 1: Story, right, doesn't it. That does sound like a very
• 36:45
  Speaker 1: interesting story, because.
• 36:47
  Speaker 2: That's mob stuff right there, you know, like organizing hits
• 36:50
  Speaker 2: from prison.
• 36:51
  Speaker 1: Yeah. I would I would have actually, And the thing is,
• 36:54
  Speaker 1: you could have said, well, he was a celebrity when
• 36:56
  Speaker 1: he got to prison, so people treated him better because
• 36:59
  Speaker 1: blah blah blah blah bla, you know, X, Y and
• 37:01
  Speaker 1: Z and everything like that. You could have constructed a
• 37:03
  Speaker 1: reasoning I is.
• 37:05
  Speaker 3: One of his yeh, or as one of Sydney's friends,
• 37:09
  Speaker 3: the girl that falls for the guy in prison, and
• 37:11
  Speaker 3: is like, you know, been the connection, you know, like
• 37:14
  Speaker 3: it writes itself.
• 37:15
  Speaker 2: Oh my gosh, it does write. I was like, I'm
• 37:16
  Speaker 2: nodding along, like, yeah, when you get my notepad out.
• 37:20
  Speaker 3: She did Columbine and oh.
• 37:22
  Speaker 1: Yeah, oh oh no, okay, yeah, yeah. Well mean the
• 37:25
  Speaker 1: thing is, it's you know, speaking of Columbine. That was
• 37:28
  Speaker 1: actually you know, right before the first Star Wars celebration
• 37:33
  Speaker 1: out in Denver in ninety nine, it was like eight
• 37:35
  Speaker 1: days beforehand, and so it actually was a topic on
• 37:39
  Speaker 1: like sixty minutes and everything like that, and in the
• 37:42
  Speaker 1: in the lead up to Phantom Mess even coming out,
• 37:45
  Speaker 1: just to give an example of exactly how much sort
• 37:48
  Speaker 1: of impact that had was people even started looking at
• 37:51
  Speaker 1: Star Wars as like, oh, well, gosh, this movie has
• 37:54
  Speaker 1: violence in it. And it was like, well, oh wait,
• 37:57
  Speaker 1: pump the brakes on that one, guys.
• 37:58
  Speaker 2: But yeah, kids today have no idea how impactful that
• 38:03
  Speaker 2: event was, not just in the tragedy of the event,
• 38:06
  Speaker 2: and I'm not making light of it, but just the
• 38:09
  Speaker 2: just how it affected the zeitgeist, inner conversation, in our
• 38:12
  Speaker 2: daily lives, of our conversation and in pop culture and
• 38:15
  Speaker 2: media and books and television. There was there was just
• 38:18
  Speaker 2: a nationwide reevaluation of violence in our lives.
• 38:23
  Speaker 1: Well, I mean, the same sort of thing happened after
• 38:25
  Speaker 1: you know, an eleven, because I remember with that there
• 38:28
  Speaker 1: was like a there was a hijacking and a plane
• 38:31
  Speaker 1: explosion in the first episode of twenty four and it
• 38:34
  Speaker 1: was already in the can and then like nine to
• 38:35
  Speaker 1: eleven happened, and like if you go back and you
• 38:37
  Speaker 1: watch that pilot episode, they like kept the scene, but
• 38:40
  Speaker 1: you can see everywhere where they sort of like did
• 38:43
  Speaker 1: a like a zoom and pan to like keep things
• 38:46
  Speaker 1: out of frame. Suddenly every so often.
• 38:50
  Speaker 3: Ending of Lelo and Stitch, the Red spaceship that's very
• 38:55
  Speaker 3: plain like initially was flying was commandeered and flying through
• 39:01
  Speaker 3: a city in Honolulu, and so they changed it to
• 39:04
  Speaker 3: be a They drew over it and made it an
• 39:07
  Speaker 3: alien spaceship flying through mountains in the country of in
• 39:10
  Speaker 3: the countryside of Hawaii.
• 39:13
  Speaker 2: So it really is fascinating, you know, to look at.
• 39:18
  Speaker 2: I mean makes a Spider Man trailer. And there was
• 39:22
  Speaker 2: an episode of The Lone Gunman, the spinoff of X Files,
• 39:26
  Speaker 2: where in the pilot episode they are on a hijacked
• 39:31
  Speaker 2: plane going towards the two towers and they actually got
• 39:35
  Speaker 2: and like this aired around the same time, like it
• 39:37
  Speaker 2: aired before it or something like that, or maybe it.
• 39:39
  Speaker 1: Can come ends something like that.
• 39:41
  Speaker 2: And I remember hearing in an interview that the producers
• 39:45
  Speaker 2: got a call saying why did you write that. They're like,
• 39:48
  Speaker 2: it was totally just an idea we had, but yeah,
• 39:52
  Speaker 2: the screen three is a is a consequence of that,
• 39:56
  Speaker 2: is of that of the country reevaluate what we put
• 40:01
  Speaker 2: in our pop culture. I don't feel like we really
• 40:03
  Speaker 2: do it that much anymore because we're so inundated with it.
• 40:05
  Speaker 2: But this is it's a felscinating.
• 40:07
  Speaker 1: There's so much Yeah, I mean back then there's not
• 40:10
  Speaker 1: as much content, and now there's such a lot.
• 40:13
  Speaker 3: Of content held by the companies, meaning like they need
• 40:17
  Speaker 3: to make a profit. Now anyone can make content. So
• 40:20
  Speaker 3: it's like it's like how do you.
• 40:23
  Speaker 2: And we're also so much more interconnected than we were
• 40:26
  Speaker 2: twenty five years ago, you know, like something I'm not again,
• 40:29
  Speaker 2: I'm not making light of it, but something god awful
• 40:32
  Speaker 2: happens every single day because we know of everything that's
• 40:35
  Speaker 2: going on in the news. But yeah, like I was saying,
• 40:38
  Speaker 2: it's just like it's a it's a fascinating thing to
• 40:40
  Speaker 2: talk about and with like Scream three is no different.
• 40:44
  Speaker 2: And so before we before we kind of give our
• 40:47
  Speaker 2: final thoughts and our ratings, I do want to say, like, like,
• 40:49
  Speaker 2: what what did you enjoy about this movie? Because this
• 40:52
  Speaker 2: movie's not it's not garbage, Like it's not hot garbage,
• 40:57
  Speaker 2: Like it's not where you're just like, oh my god,
• 40:59
  Speaker 2: I can't even get through through this.
• 41:00
  Speaker 3: Like it above a one.
• 41:03
  Speaker 2: Yeah you know, it's because I'm not wrong here, come on,
• 41:07
  Speaker 2: it's it's not that, it's just like it's such a
• 41:08
  Speaker 2: it's such a misfire compared to the previous two. And
• 41:11
  Speaker 2: so I would like to, you know, like John, reach
• 41:15
  Speaker 2: into the depths of your soul and revive that black
• 41:17
  Speaker 2: heart that you have and try to figure out what
• 41:20
  Speaker 2: was enjoyable to you in this movie.
• 41:21
  Speaker 1: Well, I'm always a fan of Emily Mortimer. This was
• 41:26
  Speaker 1: American debuts very much. Yep, she I think she's great.
• 41:30
  Speaker 1: Patrick Warburton, you put him in a movie and I
• 41:32
  Speaker 1: will pay money just on principle for that guy I
• 41:35
  Speaker 1: love because I love Patrick Warburton. Yeah you know, and
• 41:40
  Speaker 1: yeah have me guy can talk about a guy who
• 41:42
  Speaker 1: just knows why he's being cast in something and it's
• 41:45
  Speaker 1: like it's a paycheck, sure thing, you got it. I
• 41:48
  Speaker 1: thought that Actually, David Arquette got a bit of a
• 41:51
  Speaker 1: chance to shine in this one. I liked do we
• 41:53
  Speaker 1: felt a little bit more like a human being in
• 41:55
  Speaker 1: this maybe than in the previous role. In the end, well,
• 42:00
  Speaker 1: I just I like the I like the where the
• 42:03
  Speaker 1: character goes. In this one, again, I thought the the
• 42:06
  Speaker 1: action in the house, the house set was cleverly done.
• 42:11
  Speaker 1: I like that. I thought that was well done. You
• 42:14
  Speaker 1: can't have too much Lince Hendrickson in a movie. In fact,
• 42:16
  Speaker 1: I wish there had been more because I just like
• 42:19
  Speaker 1: Lince Handrickson a whole lot. And uh, it eventually ended,
• 42:25
  Speaker 1: so you know there you go.
• 42:28
  Speaker 2: Yeah, do you have anything to add that you that
• 42:29
  Speaker 2: you liked?
• 42:30
  Speaker 3: No, yeah, I think that was great. Like listen off
• 42:33
  Speaker 3: every time someone like that showed up, like yeah, like
• 42:35
  Speaker 3: Lanceard' is like, oh hey, Like I feel like I'd
• 42:37
  Speaker 3: never see him in anything, you know, except for the
• 42:40
  Speaker 3: things he's most popular for, like you know, aliens like.
• 42:43
  Speaker 2: Alien Versus Predator.
• 42:44
  Speaker 1: You know, yeah, was that a movie?
• 42:47
  Speaker 3: Uh, but we'd yeah, No, I think, like you said, Tristan,
• 42:52
  Speaker 3: you know there there's I really liked how they handled
• 42:57
  Speaker 3: Sydney as far as it's for the beginning, like I
• 43:00
  Speaker 3: totally bought. Oh yeah, she sets up her space, she's
• 43:03
  Speaker 3: out in the country. She she's trying to give back
• 43:06
  Speaker 3: and kind of like basically do everything butt Sy a
• 43:09
  Speaker 3: therapist you know of seeing you know, doing the crisis
• 43:13
  Speaker 3: line and things like that. So I buy that. I
• 43:16
  Speaker 3: totally buy, just like in the second one where she
• 43:18
  Speaker 3: got the caller ID and how she handled that, Like, yeah,
• 43:22
  Speaker 3: that was very plausible, and I liked that grounding of
• 43:26
  Speaker 3: the character. It's like, oh, yeah, I can totally believe
• 43:28
  Speaker 3: that she would do that. But then she just shows
• 43:30
  Speaker 3: up on set and it's like, oh, okay, I guess
• 43:33
  Speaker 3: she looked at page forty two and it said arrive soundstage,
• 43:38
  Speaker 3: Sydney and the Thus it must be so uh yeah,
• 43:43
  Speaker 3: And I think, you know, I think the fight, my
• 43:45
  Speaker 3: favorite fight was inside the set house. You know, it's
• 43:49
  Speaker 3: really clever as you know, you're kind of you're inside
• 43:52
  Speaker 3: of a house and your mind tells you you're inside,
• 43:54
  Speaker 3: but then all of a sudden, you're like, but that
• 43:56
  Speaker 3: wall is not there and that door leads to nowhere,
• 43:59
  Speaker 3: and you know, do I go upstairs? And do I
• 44:01
  Speaker 3: go downstairs? And I thought that fight was my favorite
• 44:04
  Speaker 3: of the all the different ones.
• 44:06
  Speaker 2: And she uses it like she you know, she waits
• 44:09
  Speaker 2: outside and then pulls them through. I thought that was
• 44:10
  Speaker 2: a really smart thing to do, and that's a very
• 44:12
  Speaker 2: Sydney thing to do.
• 44:13
  Speaker 1: Yeah.
• 44:13
  Speaker 3: Yeah, she's the smartest person in this whole group.
• 44:17
  Speaker 1: So it's it's no.
• 44:18
  Speaker 3: Wonder she survives. Yeah, and I tried to give it
• 44:21
  Speaker 3: a little bit of a not a pass, but the
• 44:24
  Speaker 3: fact that watching it so back to back with two,
• 44:27
  Speaker 3: which I think did so many things, well, like I
• 44:29
  Speaker 3: knew as this was ass three was dragging on.
• 44:32
  Speaker 1: I'm like, oh, yeah.
• 44:33
  Speaker 3: This there's It's not the rose colored glasses. It's the comparison.
• 44:38
  Speaker 3: And often, you know, we not that we don't compare it.
• 44:40
  Speaker 3: This whole podcast is about comparing you know, the movies,
• 44:44
  Speaker 3: but not holding it hostage too. When people saw this movie,
• 44:48
  Speaker 3: they probably hadn't seen Scream or Scream two in like
• 44:52
  Speaker 3: a year or so, like or maybe they rendered it
• 44:54
  Speaker 3: or something like that. So I tried to recontextualize it,
• 44:58
  Speaker 3: you know, not like dare watch kill Bill Volume one
• 45:02
  Speaker 3: and then drive to the movie theater watch volume two.
• 45:06
  Speaker 3: Not everyone is that crazy.
• 45:07
  Speaker 2: So yeah, to me, it was you know, I like
• 45:10
  Speaker 2: everything that you guys have said. I can't really add
• 45:13
  Speaker 2: anything to it. One thing I didn't really like was
• 45:18
  Speaker 2: Wes Craven has felt very inconsistent between one, two and three,
• 45:22
  Speaker 2: where I, you know, this is director of focused podcast,
• 45:25
  Speaker 2: but yet we were you know, crapping on the writing,
• 45:27
  Speaker 2: I think for the most part, but it's it just
• 45:30
  Speaker 2: felt like when you when you look at Craven from
• 45:32
  Speaker 2: Nightmare and then to Scream, to Scream two, to Scream three,
• 45:36
  Speaker 2: you know, you're just kind of like, where is he?
• 45:38
  Speaker 2: You know, like if you said, like, oh, Wes Craven
• 45:39
  Speaker 2: didn't direct this one, I'd be like, oh, okay, yeah,
• 45:42
  Speaker 2: that makes sense.
• 45:42
  Speaker 1: You know.
• 45:42
  Speaker 2: I don't see a cohesive style. I feel like it
• 45:45
  Speaker 2: changes from one bit to the next, and not in
• 45:48
  Speaker 2: a positive way, or at least not in an obvious
• 45:51
  Speaker 2: way like with the Harry Potter films where you're like, oh, yeah,
• 45:54
  Speaker 2: this is totally the Alfonso Koron one, where with this one,
• 45:57
  Speaker 2: it's like it could have been a like a journey,
• 46:00
  Speaker 2: you know, like it could have been you know.
• 46:01
  Speaker 1: Like everybody gun.
• 46:03
  Speaker 2: Yeah, And I feel like that's a definite failing with Craven.
• 46:07
  Speaker 2: But with all the craziness behind the scenes, with the
• 46:10
  Speaker 2: writing and the studio intervention and the MPa and everything
• 46:13
  Speaker 2: like that, I kind of don't blame them. But then again,
• 46:16
  Speaker 2: you know, that's what that's a director's job is to
• 46:18
  Speaker 2: is to fight through the adversity of making movies anyway, John,
• 46:22
  Speaker 2: I want you to give your rating real quick. I
• 46:24
  Speaker 2: want you to to kind of ground this movie for us.
• 46:27
  Speaker 1: I want to ask you because in my formerly nicotine
• 46:32
  Speaker 1: stained fingers, I have the original review from Joey of
• 46:36
  Speaker 1: Scream three. Do you guys have any interest in hearing
• 46:38
  Speaker 1: a small, small, tiny bit bit of it? Not the
• 46:41
  Speaker 1: whole thing. It's it's it's a tome, yeah, but dialous like, yeah,
• 46:45
  Speaker 1: give us a little I'll give I'll give you a
• 46:47
  Speaker 1: little little taste. This is direct from Joey what he
• 46:51
  Speaker 1: wrote back in two thousand, because I do my research
• 46:53
  Speaker 1: for you guys. Okay, so watching Scream things like being
• 46:57
  Speaker 1: told the same joke fifty times, you've allay he heard
• 47:00
  Speaker 1: it and it stopped being funny a long time ago. Yes,
• 47:03
  Speaker 1: Wes Craven is back, and this time without that idiot
• 47:05
  Speaker 1: Kevin Williamson. Although nothing's changed. It's the same old BS.
• 47:10
  Speaker 1: But he didn't say, BS, welcome to the final act.
• 47:13
  Speaker 1: Huh my ass? I mean, who do they think they
• 47:15
  Speaker 1: are kidding? With the way these franchises are milked, especially
• 47:18
  Speaker 1: in this genre, There's no way this is it. Nev
• 47:20
  Speaker 1: Campbell will be stalked until she's fifty wait and see.
• 47:24
  Speaker 1: That was the opening paragraph from Joey's review, and it
• 47:27
  Speaker 1: got worse from there. He really, really, really disliked Scream three.
• 47:32
  Speaker 1: Did I feel the same way? Well, not that bad,
• 47:36
  Speaker 1: it's I just think it's a dud. It just doesn't
• 47:38
  Speaker 1: come together. But there's nothing in it that makes me
• 47:41
  Speaker 1: like at the end of it wasn't I wasn't like, oh,
• 47:44
  Speaker 1: screw this movie, this is terrible. I was like, Eh,
• 47:47
  Speaker 1: you know, it's there. So I'm going to give this
• 47:50
  Speaker 1: a two because honestly, so far it's been the law
• 47:54
  Speaker 1: of diminishing returns with the Scream series. The first one
• 47:58
  Speaker 1: was the best one so far, and then second one,
• 48:01
  Speaker 1: you know, and then no, Darren, it wasn't five. But
• 48:06
  Speaker 1: then this one, like it just seems to slide as
• 48:08
  Speaker 1: it goes forward. So it'll be really interesting to talk
• 48:11
  Speaker 1: next week in light of that. So that's a two
• 48:13
  Speaker 1: for me, Darren.
• 48:14
  Speaker 2: What about you?
• 48:15
  Speaker 3: Yeah, I mean I think they were just really shooting
• 48:18
  Speaker 3: themselves in the foot, not having a locked in story
• 48:22
  Speaker 3: or concept or whatever. How it came when you're talking
• 48:25
  Speaker 3: about writing pages day of in this kind of a story. Yeah,
• 48:29
  Speaker 3: sometimes you can get magic in a bottle. More often
• 48:33
  Speaker 3: than not, this is what's gonna happen. That's why when
• 48:35
  Speaker 3: you learn filmmaking, they're like, don't do this, like unless
• 48:38
  Speaker 3: you absolutely have to. It's not a good idea. And
• 48:42
  Speaker 3: where you know, Scream two expanded it. You know, they
• 48:45
  Speaker 3: are a college, like, there's a there's a specific location.
• 48:48
  Speaker 3: You had your boundaries. This one, I think they should
• 48:52
  Speaker 3: have gone smaller, like go back to basics, go back
• 48:56
  Speaker 3: to the city, or something like, to just keep it
• 49:00
  Speaker 3: a smaller story. There's too many characters, there's too many
• 49:03
  Speaker 3: plotlines and threads, and then they don't go anywhere with
• 49:06
  Speaker 3: any of them. Like even like Patrick Simley, we're saying
• 49:09
  Speaker 3: he's like, I'm not even the third act. Like that's
• 49:11
  Speaker 3: a tell, you know, when the cop is not even
• 49:14
  Speaker 3: at the end. So yeah, I'm giving this a two
• 49:19
  Speaker 3: as well. It I will probably never watch this movie
• 49:22
  Speaker 3: again and just enjoy the first and the second one.
• 49:25
  Speaker 2: I always I enjoy this movie because it's a part
• 49:30
  Speaker 2: of the Scream franchise, and I think that's probably it's
• 49:33
  Speaker 2: like my Into Darkness, Like I will still watch Into
• 49:37
  Speaker 2: Darkness even though it's not a good movie at all,
• 49:40
  Speaker 2: just because I love the characters, and I love the
• 49:42
  Speaker 2: world Scream three. Originally I was just like, oh, it's stupid,
• 49:47
  Speaker 2: it's fun, it's fine. But now I'm just kind of like,
• 49:52
  Speaker 2: this is more of a mess than I remember, or
• 49:54
  Speaker 2: at least more of a mess than I'd like to
• 49:56
  Speaker 2: admit to myself. And so originally I this was a
• 49:59
  Speaker 2: three our film for me. I think I'm knocking it
• 50:01
  Speaker 2: down to two and a half from this viewing, and
• 50:05
  Speaker 2: so to me out go, yeah, it goes down to
• 50:07
  Speaker 2: two and.
• 50:07
  Speaker 1: A half for me.
• 50:09
  Speaker 2: And actually with that in mind, like because I've seen
• 50:12
  Speaker 2: all the Scream films, that actually changes my rating a
• 50:15
  Speaker 2: little bit, going from a three down to two and
• 50:17
  Speaker 2: a half, which maybe we'll discuss later.
• 50:19
  Speaker 1: Interesting, so we all slide down YouTube most substantially between
• 50:24
  Speaker 1: Scream two and Scream three. Interesting.
• 50:27
  Speaker 3: Interesting, Well I felt I've left between two and three.
• 50:29
  Speaker 1: You sure did? You sure did?
• 50:32
  Speaker 2: I've only seen the next one once, and so I'm
• 50:36
  Speaker 2: looking forward to reevaluating the next one. And speaking of which, Darren,
• 50:40
  Speaker 2: what are we doing next week? It's a huge surprise.
• 50:43
  Speaker 3: Oh yes, well, you know, no surprise that the franchise
• 50:47
  Speaker 3: went on pause for eleven years. As we jumped to
• 50:50
  Speaker 3: twenty eleven, covering scream four As we end the House
• 50:55
  Speaker 3: of Craven. Here on house lights join the revolution, joint
• 51:00
  Speaker 3: the NED Party