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198: Asylum of Girdler · Movie Meltdown

• 0:15
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  Speaker 2: Good evening.
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  Speaker 3: The following feature has been rated R by the Motion
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  Speaker 3: and parental discretion is advised.
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  Speaker 2: Our nuclear reactor pumping out one million kilowatts of power.
• 1:44
  Speaker 2: What's up and welcome to Movie Meltdown.
• 1:45
  Speaker 4: I'm Brian.
• 1:46
  Speaker 5: I'm Marlena.
• 1:47
  Speaker 1: I'm Ben.
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  Speaker 4: I'm Fred.
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  Speaker 6: I'm Dave.
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  Speaker 2: And we are coming to you live. Is it okay
• 1:52
  Speaker 2: to use the term live here? I mean, we're surrounded
• 1:54
  Speaker 2: by a lot of non-live. We're coming to you live
• 1:57
  Speaker 2: from the graveyard, actually. In this, our spooky Halloween episode,
• 2:02
  Speaker 2: I thought it would be fitting to do it in
• 2:05
  Speaker 2: the graveyard. So, specifically, we came out here not just
• 2:09
  Speaker 2: to hang out in a graveyard. Not that that's not fun,
• 2:12
  Speaker 2: and I have done that on many occasions, but.
• 2:16
  Speaker 2: We thought while we were here, you know, we do
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  Speaker 2: have a specific movie-related person buried in our town in
• 2:25
  Speaker 2: a graveyard not too far from most of us. So
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  Speaker 2: we're actually standing right next to the grave of director
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  Speaker 2: William Girdler. Should we go into a little basics on
• 2:35
  Speaker 2: him here?
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  Speaker 5: Can I just say one thing?
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  Speaker 8: Yes.
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  Speaker 5: Irma Girdler. I just thought that up, and I had
• 2:42
  Speaker 5: to say it. That was for Misty and Lisa.
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  Speaker 6: I was going to say, I did not understand that reference.
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  Speaker 2: I'm sure he does not appreciate it.
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  Speaker 5: That was for Lisa and Misty, and maybe Randy.
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  Speaker 9: No, that's the one down on the end. The headstone
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  Speaker 9: there is Irma Girdler. That's his great-grandmother, I believe.
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  Speaker 2: William, we're sorry about this. If you listen to the
• 3:05
  Speaker 2: show up there, this is how it always is.
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  Speaker 4: I hate to tell you. I don't know.
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  Speaker 2: Do we want to give a little basics on him
• 3:12
  Speaker 2: while we're here?
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  Speaker 4: Let's hear about him. William Brent Girdler, Bill Girdler, exploitation
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  Speaker 4: filmmaker from the 70s here in Louisville. Buried at Cave
• 3:23
  Speaker 4: Hill Cemetery in the Johnson Settle plot, which I think
• 3:28
  Speaker 4: Nona and William were his grandparents. And I think that's
• 3:31
  Speaker 4: why he wanted to be buried here as opposed to
• 3:32
  Speaker 4: wherever the rest of the Girdlers are buried.
• 3:34
  Speaker 2: Yeah, I wondered why his name was different.
• 3:37
  Speaker 4: The Girdlers were a pretty wealthy... construction family here in town. And, uh,
• 3:43
  Speaker 4: he never was interested in the family business. So he
• 3:45
  Speaker 4: started to go off and make films when he was young, uh,
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  Speaker 4: much to their, uh, chagrin. And, um, the first film
• 3:53
  Speaker 4: he made, uh, was Asylum of Satan, uh, starring, uh,
• 3:57
  Speaker 4: we'll be talking about that, starring a local, another local legend,
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  Speaker 4: which is, uh, Charles Kissinger, who was the local horror
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  Speaker 4: host back in the seventies, the fear monger on Freight
• 4:05
  Speaker 4: Night on WDRB. So, um, I think Bill wanted to
• 4:10
  Speaker 4: be Alfred Hitchcock. I think that's kind of obvious when
• 4:13
  Speaker 4: you watch Asylum of Satan and Three on a Meat Hook.
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  Speaker 4: He really liked doing the twist endings with the bending
• 4:21
  Speaker 4: of sexual roles. Interesting stuff. Bill was really headed up.
• 4:26
  Speaker 4: He had done a lot of interesting movies. A lot
• 4:28
  Speaker 4: of really entertaining movies here in Lowell. And then moved
• 4:31
  Speaker 4: up to Hollywood and was on the way up to
• 4:34
  Speaker 4: doing some pretty big features when he was killed in
• 4:36
  Speaker 4: a helicopter accident in the Philippines. in the late seventies
• 4:39
  Speaker 4: while he was scouting locations. But, uh, I really, really
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  Speaker 4: enjoy the movies he made here. They're not great, but
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  Speaker 4: they're extremely entertaining.
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  Speaker 2: I give him credit for, for just ambition for, for
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  Speaker 2: even something as simple as the one we'll be talking
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  Speaker 2: about today. It's like he, he still goes above and
• 4:56
  Speaker 2: beyond most of those type of movies, even at that time,
• 5:00
  Speaker 2: even stuff they were shooting in Hollywood, I think is,
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  Speaker 2: is a very, uh, A grand scale of what he
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  Speaker 2: was going for. It's arguable whether he got it. But,
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  Speaker 2: you know, I have to give him points for doing it.
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  Speaker 2: Just some of the others. I mean, aside from, you know,
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  Speaker 2: something major like Grizzly. I mean, that was kind of huge.
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  Speaker 4: Grizzly was huge. I did Day of the Animals, you know,
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  Speaker 4: later for AIP. And then the biggest film he did
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  Speaker 4: was The Manitou, which was the last film he did.
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  Speaker 4: I think my favorite film of his is Abby, which
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  Speaker 4: was his blaxploitation ripoff of The Exorcist, which is probably
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  Speaker 4: the film he's best known for. And I think it's
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  Speaker 4: an incredibly entertaining, great movie, which got him sued pretty
• 5:38
  Speaker 4: quickly by Warner Brothers. As to how that actually worked out,
• 5:41
  Speaker 4: it's a matter of opinion. Some people say Warner actually
• 5:43
  Speaker 4: won the suit. Some people say they didn't. In any case,
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  Speaker 4: AIP kind of caved and destroyed supposedly all the 35mm prints.
• 5:51
  Speaker 4: There are 16mm prints floating around out there. We showed
• 5:54
  Speaker 4: one here about 10 years ago as part of our
• 5:55
  Speaker 4: little festival. And it has been out on DVD on
• 5:59
  Speaker 4: sort of a semi-legitimate market a couple of times. As
• 6:02
  Speaker 4: has Asylum of Satan. I think Something Weird. Did they
• 6:05
  Speaker 4: put that out?
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  Speaker 2: Yeah, Something Weird's got a split version, I think.
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  Speaker 4: And he did a film here which is hardly ever seen.
• 6:13
  Speaker 4: It's got a variety of titles. Panic City, a.k.a. Zebra Killer,
• 6:17
  Speaker 4: which was kind of like Dirty Harry in Louisville. And
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  Speaker 4: it was a pretty impressive little movie. Also, of course,
• 6:24
  Speaker 4: Sheba Baby with Pam Greer, which is another film, I guess.
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  Speaker 4: It's a well-known movie, but it's not well-known that Bill
• 6:29
  Speaker 4: did that.
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  Speaker 2: Zebra Killer was the star who I'm thinking it was
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  Speaker 2: in that one. That one, Leslie Nielsen.
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  Speaker 4: No, no, that's Project Kill.
• 6:38
  Speaker 2: Project Kill. I knew there was one he did.
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  Speaker 4: I've never seen Project Kill. That was shot in the Philippines.
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  Speaker 2: Okay.
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  Speaker 4: Zebra Killer, I think Austin Stoker is in that as well.
• 6:48
  Speaker 4: And a lot of his usual regulars. I mean, Charles
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  Speaker 4: Kissinger popped up in most movies, and he had some
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  Speaker 4: other folks that did.
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  Speaker 1: A lot of work.
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  Speaker 4: But yeah, he was.
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  Speaker 2: He was one of the ones that worked with Nielsen
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  Speaker 2: when he was still trying to be a straight actor,
• 7:01
  Speaker 2: which he did for years and years and years, and
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  Speaker 2: nobody remembers him for that.
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  Speaker 4: But those in particular, except the Louisville films, are the
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  Speaker 4: ones that have always appealed to me. Three on a
• 7:10
  Speaker 4: Meat Hook is a really, even compared to A Silence
• 7:14
  Speaker 4: of Satan, extremely low budget, because he made that when
• 7:17
  Speaker 4: he was forced to retreat after A Silence of Satan.
• 7:19
  Speaker 4: It was not well received. But then you had Three
• 7:21
  Speaker 4: on a Meat Hook, which hit the drive-in circuit and
• 7:23
  Speaker 4: did pretty well. And I haven't seen that in a
• 7:26
  Speaker 4: long time. Just literally the other day, like two days ago,
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  Speaker 4: I stumbled across it at a video.
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  Speaker 8: Store here locally on DVD.
• 7:33
  Speaker 4: But as it was $ 25, I just couldn't fork it out.
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  Speaker 4: So I'll think about it.
• 7:39
  Speaker 2: It's out there now.
• 7:40
  Speaker 4: We know.
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  Speaker 8: It's still out there.
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  Speaker 9: I think if you were going to do a blaxploitation
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  Speaker 9: ripoff of The Exorcist, it would be really hard to
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  Speaker 9: resist calling it The Blaxorcist.
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  Speaker 4: I think somebody did. I think there's another one.
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  Speaker 6: That had to have been on a short list.
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  Speaker 4: I know Mad Magazine probably did something like that. I
• 7:57
  Speaker 4: think there is a Black Surcist. That wouldn't surprise me. Yeah, Abby.
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  Speaker 4: Pretty much, not shot for shot, but very close. Blaxploitation
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  Speaker 4: version of The Exorcist. Like I said, just a very
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  Speaker 4: entertaining movie. It was made money.
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  Speaker 2: That's why they kept making it.
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  Speaker 4: It was made money. AIP made a ton of money
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  Speaker 4: for AIP. That was full swing at the time. A
• 8:18
  Speaker 4: few years ago, when we had our little Girdler Festival here,
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  Speaker 4: we were able to get Carol Speed, the star, of
• 8:23
  Speaker 4: Abby to come into town. I had a great time
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  Speaker 4: with her. Claude Fulkerson, who was another local actor, who's
• 8:27
  Speaker 4: in a lot of Bill's movies. I think he's one
• 8:32
  Speaker 4: of the evil attendants in Asylum of Satan. And then Abby,
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  Speaker 4: he's a guy she picks up in a bar and
• 8:38
  Speaker 4: kills in her car. But Bill's still around. And it
• 8:44
  Speaker 4: was kind of fun a few years ago. We took
• 8:46
  Speaker 4: around a little tour of Louisville. We went down to
• 8:47
  Speaker 4: the church in the West End where a lot of
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  Speaker 4: the action for Abby takes place. And they were having
• 8:52
  Speaker 4: a choir practice that day and walked in, and a
• 8:56
  Speaker 4: lot of the women who were in the choir, you know,
• 8:58
  Speaker 4: circa 1974, were still in the choir. And they remembered her,
• 9:03
  Speaker 4: and she remembered them, and they all started singing. It
• 9:05
  Speaker 4: was a pretty cool event. Choir for life.
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  Speaker 6: Yeah.
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  Speaker 2: Wow.
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  Speaker 4: A lot of fun. You know, there's just a lot
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  Speaker 4: of appeal there. And like I said, that's my favorite.
• 9:15
  Speaker 4: Get a kick out of Abby. And William Marshall, you know,
• 9:19
  Speaker 4: playing the exorcist. So it's a great film.
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  Speaker 2: He made some pretty big strides in a short amount
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  Speaker 2: of time. I mean, he only had a few years
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  Speaker 2: to make movies, made quite a few of them, and,
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  Speaker 2: you know, ended up making some fun stuff and working
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  Speaker 2: with some pretty big people.
• 9:34
  Speaker 5: Yeah.
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  Speaker 4: I mean, he worked. He continued to work. He would
• 9:37
  Speaker 4: get discouraged, but then he'd pick it all up again
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  Speaker 4: and shoot. And this is in an era where you're
• 9:42
  Speaker 4: still shooting film. This was expensive stuff. It's 35 millimeters.
• 9:46
  Speaker 4: And he'd find some investors or he'd get the family
• 9:49
  Speaker 4: behind it. His brother-in-law was his producer on most of
• 9:52
  Speaker 4: his local films. And he'd just keep working. And he
• 9:56
  Speaker 4: had a lot of gumption. And he got a lot
• 9:58
  Speaker 4: of local media coverage back then. And it was fun
• 10:02
  Speaker 4: to watch. I was a little kid, and I was
• 10:04
  Speaker 4: vaguely aware of what was going on. But then a
• 10:07
  Speaker 4: few years ago, when we'd do the articles in the festival,
• 10:10
  Speaker 4: I talked to his second wife, and she still had
• 10:12
  Speaker 4: a lot of his paperwork. She had his shooting script
• 10:14
  Speaker 4: for the Manitou and his scrapbooks. And it was fascinating
• 10:17
  Speaker 4: to look through all that stuff. and just see what
• 10:19
  Speaker 4: he had accomplished. There's always these rumors about what he
• 10:22
  Speaker 4: would have done. I don't know, a legendary rumor that
• 10:25
  Speaker 4: he was on the short list to shoot The Empire
• 10:29
  Speaker 4: Strikes Back, which is hard to believe.
• 10:32
  Speaker 2: I thought Jedi had that weird short list.
• 10:34
  Speaker 4: Yeah, it's just one of those things, but he was
• 10:38
  Speaker 4: definitely making strides. When the Manitou premiered, that's the one
• 10:43
  Speaker 4: that I was most conscious of. That was, I think,
• 10:46
  Speaker 4: 77 or 78. I think it actually premiered after his death.
• 10:50
  Speaker 4: Of course, that had Burgess Meredith and a lot of
• 10:52
  Speaker 4: other big people in it. It was a pretty good
• 10:54
  Speaker 4: supernatural thriller. It gets a little silly with the big
• 10:57
  Speaker 4: supernatural showdown part, but it's fun. Got a lot of press,
• 11:01
  Speaker 4: got a lot of release, based on a pretty fun book.
• 11:04
  Speaker 4: He was on the way, and things just went the
• 11:07
  Speaker 4: wrong way for him. They were shooting a lot of
• 11:10
  Speaker 4: stuff in the Philippines in the 70s.
• 11:13
  Speaker 2: Don't trust helicopter pilots in the Philippines is the moral
• 11:15
  Speaker 2: of this story.
• 11:16
  Speaker 4: This is right around the same era, I guess, when
• 11:17
  Speaker 4: they were shooting Apocalypse Now. So he was over there
• 11:19
  Speaker 4: to do something else. And, you know, Coppola tells a
• 11:22
  Speaker 4: story about how they'd have their helicopter pilots, you know,
• 11:25
  Speaker 4: shooting scenes, and then suddenly they'd all veer off and
• 11:27
  Speaker 4: go in another direction because they had to go fight
• 11:29
  Speaker 4: some insurgents.
• 11:29
  Speaker 8: Yeah.
• 11:30
  Speaker 4: So they were utilizing the real Air Force, but they
• 11:33
  Speaker 4: had to go do their job occasionally, and they didn't
• 11:34
  Speaker 4: know what was going on. It's kind of a dangerous job.
• 11:36
  Speaker 2: He probably wasn't using the real Air Force, and the
• 11:39
  Speaker 2: guy didn't know what he was doing.
• 11:39
  Speaker 4: So he had a private pilot. I think they got
• 11:41
  Speaker 4: entangled in some kind of power line and went down.
• 11:43
  Speaker 6: What was the film he was making?
• 11:47
  Speaker 4: I can't remember what the film he was scheduled for
• 11:50
  Speaker 4: in the Philippines was. I'd have to go back and
• 11:51
  Speaker 4: look it up. I know that it was slated. I
• 11:53
  Speaker 4: guess it was an AIP production, but I don't remember
• 11:56
  Speaker 4: the title on it.
• 11:57
  Speaker 2: Well, we thought, you know, it wouldn't be cool to
• 12:00
  Speaker 2: come hang out here with him and not bring him something.
• 12:02
  Speaker 2: So we did bring him some, I picked specifically a
• 12:04
  Speaker 2: bunch of blood red flowers. I thought William would appreciate that.
• 12:08
  Speaker 2: And rather than a cheesy vase, we went with a
• 12:12
  Speaker 2: black cup with bats on it. Again, I thought, you know,
• 12:16
  Speaker 2: William would definitely have a little more fun with that
• 12:18
  Speaker 2: than boring traditional flowers.
• 12:21
  Speaker 5: He seems like a man who would appreciate some camp.
• 12:23
  Speaker 4: I think so. All right.
• 12:26
  Speaker 2: Well, I guess, you know, it's It's actually not bad
• 12:28
  Speaker 2: out here. It was supposed to be, like, stormy and breezy,
• 12:31
  Speaker 2: and it actually was raining for a minute when we
• 12:33
  Speaker 2: got here, but now it's not too bad.
• 12:35
  Speaker 4: But I think, though, you know. Bill's son lives fairly
• 12:41
  Speaker 4: nearby here in the neighborhood, Branton. I think he lives
• 12:44
  Speaker 4: just right over here on Hilliard. Because he came to
• 12:46
  Speaker 4: the festival. He and his mother, Bill's first wife, actually came.
• 12:49
  Speaker 4: And they had a good time. They got a kick
• 12:50
  Speaker 4: out of it. They were happy to see that people
• 12:52
  Speaker 4: still remembered, you know, what he had done back in
• 12:54
  Speaker 4: the day. So the family still has a presence here. Curiously,
• 13:01
  Speaker 4: the person who did the most work on digging up
• 13:04
  Speaker 4: history on Gertler and his films was a girl named
• 13:06
  Speaker 4: Patty Breen, who was not from here. A friend of
• 13:10
  Speaker 4: mine stumbled across a website, williamgertler.com, which was beautiful and
• 13:15
  Speaker 4: highly detailed. We found out it's from this girl in Pennsylvania.
• 13:19
  Speaker 4: We're like, what's a girl in Pennsylvania doing getting obsessed
• 13:22
  Speaker 4: with William Gertler? Because it's such a local phenomenon. And
• 13:26
  Speaker 4: we started talking and hit it off with her really good,
• 13:29
  Speaker 4: and she was a big part of the festival a
• 13:30
  Speaker 4: few years ago. Was working on a book, had a
• 13:33
  Speaker 4: ton of interviews, a ton of great material, found photos
• 13:37
  Speaker 4: and all kinds of behind-the-scenes stuff. We had the Girdler Fest,
• 13:41
  Speaker 4: and then she vanished. I have not heard from her
• 13:45
  Speaker 4: or seen her since. She got married and went away.
• 13:47
  Speaker 2: If you're still out there, email us and let us know.
• 13:50
  Speaker 4: She's out there. I know she's out there, but she's
• 13:52
  Speaker 4: not responding. So maybe she found out something.
• 13:55
  Speaker 8: She shouldn't have.
• 13:56
  Speaker 10: Secret.
• 13:57
  Speaker 4: So she never published the book?
• 13:59
  Speaker 5: Interesting.
• 14:00
  Speaker 4: Nope. A ton of great material. We went to all
• 14:04
  Speaker 4: the Gertler filming sites, interviewed the family. You name it,
• 14:09
  Speaker 4: she's got it. But it all just kind of evaporated.
• 14:12
  Speaker 4: I don't know why.
• 14:15
  Speaker 2: Uncovered something she did. This sounds like the plot of
• 14:17
  Speaker 2: a good movie, actually.
• 14:18
  Speaker 4: Yeah, some dark secret from their past. I like it.
• 14:20
  Speaker 6: It's very meta.
• 14:21
  Speaker 11: Like, I feel like, you know, hire Wes Craven, you know,
• 14:24
  Speaker 11: about the life.
• 14:24
  Speaker 2: Yeah, we could actually make this work.
• 14:30
  Speaker 4: Patty, if you're out there, if you do hear this,
• 14:31
  Speaker 4: please get back in touch.
• 14:33
  Speaker 2: We should write this movie and then we'll make Bo
• 14:35
  Speaker 2: direct it.
• 14:37
  Speaker 1: That's not a bad idea.
• 14:38
  Speaker 8: Yeah.
• 14:39
  Speaker 2: Speaking of which, I think that's why we're going to
• 14:41
  Speaker 2: wander off. Bo's a big Girdler fan himself, and he's
• 14:44
  Speaker 2: not too far. So we think we're going to go
• 14:46
  Speaker 2: bother him at work right now. So we'll take a
• 14:48
  Speaker 2: break here, and when we come back, we'll go see
• 14:50
  Speaker 2: if we can sit down and discuss this week's movie.
• 14:54
  Speaker 2: When I live with snakes and.
• 14:58
  Speaker 12: Lizards and other things that go on in.
• 15:02
  Speaker 8: My life, it's me every day.
• 15:04
  Speaker 4: It's Halloween, I'm giving up.
• 15:51
  Speaker 6: Commission time.
• 16:17
  Speaker 3: If leaving, please replace your inner car speaker before releasing
• 16:21
  Speaker 3: brakes or starting motor. Do not back out. Drive to
• 16:26
  Speaker 3: the aisle in front of you and exit. And now,
• 16:30
  Speaker 3: for those remaining... I've got Abby!
• 16:33
  Speaker 9: What do you think of my powers now?
• 16:38
  Speaker 12: American International presents Abby, the story of a woman possessed. I.
• 16:46
  Speaker 12: She took the devil for a lover, and he possessed
• 16:49
  Speaker 12: her body and soul. Abby, a story of terror, lust,
• 16:58
  Speaker 12: and exorcism.
• 16:59
  Speaker 6: Grab her arms and hold her.
• 17:01
  Speaker 12: Abby, starring William Marshall as the exorcist.
• 17:04
  Speaker 8: I command you to vacate this body now.
• 17:07
  Speaker 12: And Carol Speed as Abby. Can anyone stop her? Can
• 17:13
  Speaker 12: anyone help her? Can anyone save her soul?
• 17:17
  Speaker 8: I've got Abby!
• 17:20
  Speaker 12: Abby, the story of a woman possessed. Rated R, under 17,
• 17:25
  Speaker 12: not admitted without parents.
• 17:27
  Speaker 13: Are you tired of film podcasts where the hosts exist
• 17:32
  Speaker 13: in a constant blissful state of agreement?
• 17:34
  Speaker 11: I mean, the main characters are two of the dullest
• 17:37
  Speaker 11: main characters I have ever encountered in any film.
• 17:40
  Speaker 8: Well, you're in luck.
• 17:41
  Speaker 13: Let me introduce you to Tune Stroker and Punter.
• 17:44
  Speaker 4: One is an ex-film.
• 17:45
  Speaker 13: Student with a penchant for David Lynch and art cinema.
• 17:48
  Speaker 14: The other is a man on the street.
• 17:50
  Speaker 13: Listen in perplexed and horrified terror as we tear apart
• 17:54
  Speaker 13: one film a week.
• 17:56
  Speaker 6: It just really isn't.
• 17:57
  Speaker 8: It's not visually striking?
• 17:59
  Speaker 10: No.
• 18:00
  Speaker 2: Just getting confirmation.
• 18:01
  Speaker 6: That's the third time, though. I mean, is this on?
• 18:04
  Speaker 13: You can find us at csvsp.libson.com.
• 18:08
  Speaker 1: So come and share the big truth.
• 18:10
  Speaker 5: If you could f * * * any man in film,
• 18:13
  Speaker 5: who would it be and why?
• 18:14
  Speaker 2: My answer is Lance Henriksen.
• 18:17
  Speaker 6: He wouldn't tell.
• 18:17
  Speaker 2: He looks like somebody.
• 18:20
  Speaker 6: He looks like somebody who can keep a secret.
• 18:33
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  Speaker 1: Movie Meltdown listeners. Just go to tweakedaudio.com, and when you
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• 19:15
  Speaker 4: I am Michael Berryman and you're listening to Michael Berryman
• 19:18
  Speaker 4: and I'm going to tell you about Movie Meltdown. It's
• 19:35
  Speaker 4: time for Sofa Theater.
• 19:40
  Speaker 7: On the inside filled with terror and evil beyond belief
• 19:45
  Speaker 7: a beautiful girl torn from the arms of love her
• 19:49
  Speaker 7: very life a nightmare in the house of hell with
• 19:53
  Speaker 7: no hope of escape or mercy.
• 20:01
  Speaker 2: What do you know about those people over there nothing
• 20:04
  Speaker 2: we don't ask It's simpler that way.
• 20:07
  Speaker 7: The doomed at their last meal with death as the
• 20:11
  Speaker 7: dinner guest.
• 20:12
  Speaker 5: If you don't mind, I didn't sleep very much last
• 20:15
  Speaker 5: night and I'm very tired.
• 20:16
  Speaker 8: Now the only thing I want to hear about or
• 20:18
  Speaker 8: discuss is my immediate release.
• 20:20
  Speaker 10: Sit down.
• 20:21
  Speaker 7: Awakened by a mutilated, crazed animal who seeks her beauty
• 20:27
  Speaker 7: to appease the bloodlust of a devil bridegroom. Pursued through
• 20:32
  Speaker 7: the canyons of hell to the edge of sanity by
• 20:35
  Speaker 7: the bestial craving of the prince of darkness. The asylum
• 20:44
  Speaker 7: of Satan. Beauty, tenderness destroyed as the lovers walk into
• 20:52
  Speaker 7: the path of hell. The venomous death of a lovely
• 20:56
  Speaker 7: innocent girl, murdered by reviling reptiles drenched in a pool
• 21:01
  Speaker 7: of her own blood. The pleading eyes beg for mercy.
• 21:08
  Speaker 7: The soundless voice cries silently as the fiery flames burn
• 21:14
  Speaker 7: into cremation.
• 21:16
  Speaker 9: And spill his ashes.
• 21:18
  Speaker 7: Inside the scorched walls of hell, carpeting the floor of
• 21:24
  Speaker 7: the damned. The Asylum of Satan. Death and murder at
• 21:38
  Speaker 7: its most hideous. transforming a lovely young girl into a
• 21:44
  Speaker 7: frightened animal before your very eyes. The devil beast roaming
• 21:49
  Speaker 7: the earth, searching always, seeking a bride for his twisted
• 21:53
  Speaker 7: paradise to reign forever beside the archdemon of hell.
• 22:00
  Speaker 9: The Asylum of Satan.
• 22:03
  Speaker 15: Never to be found around no more. Never find no more.
• 22:14
  Speaker 10: A little baby Once as fresh as a daisy A
• 22:21
  Speaker 10: lovely lady.
• 22:23
  Speaker 15: She's done and gone went crazy Maybe in a dream
• 22:29
  Speaker 15: she's seen A chauffeur driven limousine Taking her out of.
• 22:36
  Speaker 10: Town Now out of town My red light lady, I
• 22:48
  Speaker 10: look out for the night.
• 22:51
  Speaker 15: My red light lady, things just don't look right.
• 22:59
  Speaker 10: All right, so we are back, and we have now
• 23:02
  Speaker 10: relocated out of the spooky graveyard, and we are in
• 23:08
  Speaker 10: the spooky movie theater, which, once again, is very fitting
• 23:13
  Speaker 10: for this, um.
• 23:26
  Speaker 2: Do we want to plug the actual theater, or are
• 23:27
  Speaker 2: we just telling them we're at a movie theater?
• 23:30
  Speaker 6: I don't really care.
• 23:32
  Speaker 2: I figure we might not, just in case. Maybe they
• 23:34
  Speaker 2: don't want us here.
• 23:35
  Speaker 6: They don't know where we are.
• 23:36
  Speaker 8: They don't know where we are.
• 23:38
  Speaker 4: We're at the Baxter Avenue Theater, 1250 Bardstown Road, in.
• 23:43
  Speaker 8: The Mid-City Mall. On the backside.
• 23:48
  Speaker 4: As Brian likes to say in the recordings. Which, this
• 23:52
  Speaker 4: was an actual filming location for... Three on a meat hook.
• 23:57
  Speaker 8: Mid-City Mall was, yeah. Yeah, Mid-City Mall downstairs. There was
• 24:00
  Speaker 8: a bar and lounge and bowling alley.
• 24:02
  Speaker 6: You name it.
• 24:03
  Speaker 8: Roller skating rink would be there, too. And Girdler shot
• 24:08
  Speaker 8: his friends in a band.
• 24:10
  Speaker 14: Yeah, it's the scene where James Pickett, it's after... I
• 24:12
  Speaker 14: can't remember if it's right after he's killed a girl
• 24:14
  Speaker 14: or he's like... I think he's like scoping out, like
• 24:16
  Speaker 14: trying to pick.
• 24:16
  Speaker 6: Up another victim. He just goes to this bar where, yeah,
• 24:19
  Speaker 6: it was like a.
• 24:20
  Speaker 14: Local band that Girdler knew and they were performing there.
• 24:23
  Speaker 6: So it goes on.
• 24:25
  Speaker 14: very, very long because the movie's like 90 minutes. And
• 24:28
  Speaker 14: I want to say like this whole band set you
• 24:29
  Speaker 14: keep seeing is like 10 of the 90.
• 24:31
  Speaker 8: At least two or three numbers. Yeah. So the band
• 24:35
  Speaker 8: can play.
• 24:35
  Speaker 14: And it'll show the band and it shows him sitting
• 24:37
  Speaker 14: at the bar drinking.
• 24:38
  Speaker 6: It goes back to the band again.
• 24:42
  Speaker 2: Editing is what you're saying.
• 24:44
  Speaker 4: But, uh, 10 years ago, almost to the day, we
• 24:48
  Speaker 4: had the, uh, swinging 70s satan-a-thon here at the Baxter
• 24:52
  Speaker 4: Avenue Theater. We celebrated, uh, Bill's work, and we showed
• 24:56
  Speaker 4: Asylum of Satan on 35mm, really, really red-pink 35mm.
• 25:00
  Speaker 6: It's the actual... Bleed-O-Vision.
• 25:02
  Speaker 8: Bleed-O-Vision. It's the producer's copy.
• 25:05
  Speaker 4: It's Bill's ex-brother-in-law's print, which was a slightly different copy.
• 25:09
  Speaker 4: It has a couple of lectures. We showed that, and
• 25:12
  Speaker 4: we showed Abby on 16mm.
• 25:16
  Speaker 8: It had a good response, good crowd. It was a
• 25:17
  Speaker 8: lot of fun.
• 25:18
  Speaker 14: Carol Speed was here, and so was Claude Wayne Fulkerson
• 25:22
  Speaker 14: from Asylum of Satan. He's the fellow who plays the
• 25:24
  Speaker 14: head orderly. He actually still lives locally just right across
• 25:27
  Speaker 14: the river. I see him up here, I'd say, about
• 25:29
  Speaker 14: once every couple months.
• 25:31
  Speaker 4: He's kind of a local institution as far as voiceovers
• 25:34
  Speaker 4: and commercials. A lot like Charlie Kissinger. Played the villain
• 25:40
  Speaker 4: in Asylum of Satan. Did a lot of commercial work.
• 25:43
  Speaker 8: A lot of theater.
• 25:44
  Speaker 2: All right, so let's get into the movie. This week's
• 25:47
  Speaker 2: Sofa Theater feature is Asylum of Satan.
• 25:50
  Speaker 8: The year is 1972.
• 25:50
  Speaker 2: Director William Girdler... The plot, according to IMDb, and there's
• 25:56
  Speaker 2: sort of a spoiler already in here, but according to
• 25:59
  Speaker 2: the title, you ought to figure this out. A young
• 26:01
  Speaker 2: woman is brought to an asylum to receive special treatment
• 26:04
  Speaker 2: from a mysterious doctor.
• 26:06
  Speaker 5: Dr.
• 26:06
  Speaker 2: Spector does more than just run the hospital. He offers
• 26:09
  Speaker 2: his patients as sacrifices to Satan.
• 26:12
  Speaker 4: And obviously, spoiler alert, since that's.
• 26:14
  Speaker 2: Kind of the plot of the movie right there.
• 26:17
  Speaker 10: So, yeah.
• 26:19
  Speaker 2: Where would you like to begin with Asylum of Satan?
• 26:23
  Speaker 2: The cheesy opening song? What is that song?
• 26:27
  Speaker 9: I guess the first thing I would begin with is
• 26:30
  Speaker 9: the similarity. I couldn't get around the similarity of the
• 26:34
  Speaker 9: woman in the hospital to the church lady. As soon
• 26:41
  Speaker 9: as I saw her, I thought, it's the church lady.
• 26:44
  Speaker 9: And then, who could be running this place?
• 26:47
  Speaker 8: Satan?
• 26:47
  Speaker 5: Satan?
• 26:48
  Speaker 2: I think you're on to something here.
• 26:49
  Speaker 9: Yeah, and I asked my wife, because I have a
• 26:52
  Speaker 9: pretty good eye for this. I'm like, this woman here,
• 26:56
  Speaker 9: is that a woman?
• 26:57
  Speaker 8: She's like, no.
• 26:57
  Speaker 9: And I'm like, that's, yeah, that's my call. I think
• 27:01
  Speaker 9: it's Dana Carvey.
• 27:03
  Speaker 2: I think we need to get him on the phone.
• 27:04
  Speaker 8: It.
• 27:05
  Speaker 2: It. She really has the beauty of.
• 27:08
  Speaker 6: A pause to, you know, like, pass off as a woman.
• 27:10
  Speaker 14: As soon as you see, like, when we showed it here,
• 27:13
  Speaker 14: both as midnight and for the satanathon, like, the honey
• 27:16
  Speaker 14: just cracks up. As soon as Charlie Kissinger walks out
• 27:20
  Speaker 14: in drag and I really want to know if back
• 27:23
  Speaker 14: in 72 when Girdler screened it if the exact same
• 27:25
  Speaker 14: thing happened like he walks out and everyone just laughs he.
• 27:27
  Speaker 2: Has and she's dubbed too it's a woman's voice and
• 27:31
  Speaker 2: you can tell it's dubbed so it's like there's something
• 27:34
  Speaker 2: very very wrong especially towards the end of that first
• 27:38
  Speaker 2: scene where she's like reaching down and like those man
• 27:42
  Speaker 2: hands I'm just you can put fingernails on them and
• 27:45
  Speaker 2: you're what but those are man hands yeah I'm embarrassed
• 27:48
  Speaker 2: about my reaction.
• 27:49
  Speaker 5: In my defense, the copy that we were watching was
• 27:52
  Speaker 5: kind of grainy. I was like, I don't think that's
• 27:54
  Speaker 5: actually a woman. And then I was like, yeah, that's
• 27:56
  Speaker 5: definitely a man.
• 27:57
  Speaker 6: And Brian was like, do you think?
• 28:01
  Speaker 8: Yeah.
• 28:03
  Speaker 9: I used to work for this guy who would drive
• 28:05
  Speaker 9: around to kill time in the park over there. And
• 28:10
  Speaker 9: he would always, like, watch women jogging, but he had
• 28:13
  Speaker 9: a terrible eye for that sort of thing.
• 28:16
  Speaker 6: And he would be like, oh, what about her? Wow.
• 28:17
  Speaker 9: And I'm like, dude, that's another guy with a ponytail.
• 28:22
  Speaker 6: You gotta.
• 28:22
  Speaker 5: I hate how creepy people always, like, park their cars
• 28:26
  Speaker 5: around Seneca Park and just watch people jog.
• 28:28
  Speaker 6: That's so creepy.
• 28:29
  Speaker 2: Yeah, it's pretty creepy. I'm going to watch Hot Babes
• 28:31
  Speaker 2: jog today.
• 28:33
  Speaker 6: I'm going to look crazy. I had nothing else to do.
• 28:34
  Speaker 4: Exactly.
• 28:38
  Speaker 6: You mentioned the opening credit music. I like the music.
• 28:41
  Speaker 2: Both the opening credit and closing credit music.
• 28:43
  Speaker 8: And the theme.
• 28:44
  Speaker 2: Well, I like both of them, and he composed most
• 28:47
  Speaker 2: of the music in this thing, but what I don't
• 28:49
  Speaker 2: get is they don't match anything in the entire movie.
• 28:51
  Speaker 8: Neither of them.
• 28:53
  Speaker 14: The whole red light lady thing, I don't know the
• 28:55
  Speaker 14: lyrics and none of that really.
• 28:57
  Speaker 2: Sync for the movie.
• 28:59
  Speaker 10: No.
• 28:59
  Speaker 4: Bill hit something on the back burner. He was going
• 29:02
  Speaker 4: to be a singer-songwriter or something. Well, if movies don't work,
• 29:05
  Speaker 4: I'll sell tunes. Hey, I've already got my soundtrack here, so...
• 29:08
  Speaker 4: he's a John Carpenter too.
• 29:11
  Speaker 2: Oh yeah but John's always fit the movie as opposed
• 29:15
  Speaker 2: to these.
• 29:17
  Speaker 9: And what was that bootlegging movie we watched what was
• 29:19
  Speaker 9: the oh the what is that.
• 29:26
  Speaker 2: Why can't I think of it we're.
• 29:28
  Speaker 6: Waiting for the ghosts to respond.
• 29:30
  Speaker 2: Yeah ghosts tell us that Mitchum movie yeah.
• 29:33
  Speaker 9: The Mitchum movie with Oh, Thunder Road.
• 29:35
  Speaker 2: Thunder Road, there we go.
• 29:36
  Speaker 9: Well, in that case, the song at the beginning just
• 29:39
  Speaker 9: tells the whole story.
• 29:40
  Speaker 2: You don't need to watch the movie.
• 29:43
  Speaker 4: Thanks, Mitchum.
• 29:44
  Speaker 6: That's my favorite part of the movie.
• 29:46
  Speaker 4: The song, yeah.
• 29:48
  Speaker 9: It's a great song. The only thing the song doesn't
• 29:50
  Speaker 9: have in it is he knows what a mobile is.
• 29:54
  Speaker 2: There needs to be another verse. That's the second best
• 29:57
  Speaker 2: part of the movie is the mobile.
• 29:59
  Speaker 5: I thought he pronounced it mobile.
• 30:01
  Speaker 6: I know what a mobile is.
• 30:03
  Speaker 2: So this one I realized why hospitals have elevators is
• 30:08
  Speaker 2: they're hauling her body up a flight of stairs. Do
• 30:12
  Speaker 2: we know where that part was shot?
• 30:14
  Speaker 14: I thought it was the old Stewart's warehouse, wasn't it?
• 30:18
  Speaker 8: Or the elevator shaft?
• 30:19
  Speaker 2: Well, I guess that, too. But most of the bulk
• 30:22
  Speaker 2: of it's in that one building.
• 30:24
  Speaker 4: Well, the estate is a real mansion that used to
• 30:27
  Speaker 4: be out on River Road.
• 30:29
  Speaker 6: It's gone now.
• 30:30
  Speaker 4: It was a very well-to-do Louisville family who kind of deteriorated.
• 30:37
  Speaker 8: I can't remember specifically any names.
• 30:38
  Speaker 14: There was a woman who lived there with like 20
• 30:40
  Speaker 14: cats or something.
• 30:40
  Speaker 8: She had poodles.
• 30:42
  Speaker 6: She had all these poodles.
• 30:43
  Speaker 9: She dressed them as cats.
• 30:46
  Speaker 8: The whole house was full of animal crap.
• 30:49
  Speaker 4: And they were shooting in this decayed southern mansion full
• 30:53
  Speaker 4: of animal crap. And this is a family friend of
• 30:58
  Speaker 4: the Gardlers, I'm sure. And then the elevator shaft, though,
• 31:03
  Speaker 4: that was shot at the warehouse, Stewart's warehouse.
• 31:06
  Speaker 8: Off Broadway.
• 31:07
  Speaker 14: Because I remember Claude Wayne Fulkerson mentioning that. He was
• 31:10
  Speaker 14: telling this whole story. Originally, he wasn't even supposed to...
• 31:12
  Speaker 14: I can't remember if he was supposed to be the
• 31:14
  Speaker 14: one who got pushed down the elevator shaft or whether
• 31:16
  Speaker 14: he wasn't supposed to play that role at all, but
• 31:18
  Speaker 14: basically what they were going to do is when they
• 31:20
  Speaker 14: explained it to the original guy, which is why I
• 31:22
  Speaker 14: totally appreciate this, just the low budgetry of it. They're like, well, no,
• 31:26
  Speaker 14: what we're going to do is to make it look
• 31:27
  Speaker 14: like you're falling down this elevator shaft. We're going to
• 31:30
  Speaker 14: tie a rope around your waist and then you get
• 31:32
  Speaker 14: at the shaft and we're all going to run towards
• 31:35
  Speaker 14: the doorway. So that way you fall down, but we'll
• 31:38
  Speaker 14: stop before you hit the bottom. And then the, apparently
• 31:43
  Speaker 14: the person's like, fuck, no, I'm not doing that. And
• 31:45
  Speaker 14: he's like, Claude, when would you do it?
• 31:47
  Speaker 6: And he's like, I guess.
• 31:48
  Speaker 14: And apparently, like, when they were doing it, he said
• 31:51
  Speaker 14: they actually, like, slipped and tripped and lost grip briefly.
• 31:54
  Speaker 6: And they're just like, shit! Oh, my God.
• 31:57
  Speaker 2: There goes the movie. I mean, sorry.
• 32:00
  Speaker 8: Zoom. Yeah. Physically run towards him with a black note.
• 32:05
  Speaker 8: Physical filmmaking. He's got to go down that shaft.
• 32:08
  Speaker 2: They don't make stuff like that.
• 32:10
  Speaker 8: It's all CG. I don't know where the pool was shot.
• 32:15
  Speaker 14: I've heard where the pool was, and now I'm trying
• 32:17
  Speaker 14: to remember now.
• 32:17
  Speaker 6: It was some sort of place like the Y or
• 32:20
  Speaker 6: something downtown.
• 32:23
  Speaker 8: That he was obviously kind of going for his cat
• 32:25
  Speaker 8: people pastiche. I mean, Gertler, he knew his movies, and
• 32:30
  Speaker 8: he knew what he wanted to copy. He wasn't that original.
• 32:33
  Speaker 6: At the time.
• 32:33
  Speaker 8: Like I said earlier, he was very much a Hitchcock devotee.
• 32:37
  Speaker 2: There's a lot of Hitchcock.
• 32:39
  Speaker 6: In this one.
• 32:39
  Speaker 8: He had to have the cross-dressing villain.
• 32:44
  Speaker 2: That or even the whole main thing like as she
• 32:47
  Speaker 2: right as you get into the story with her I'm
• 32:49
  Speaker 2: like it's that whole wrong man accused kind of thing
• 32:52
  Speaker 2: where she's just I shouldn't be here I didn't do
• 32:54
  Speaker 2: anything like it's a different version of it but it's
• 32:57
  Speaker 2: that same feeling of the whole movie of like no
• 32:59
  Speaker 2: it's not me I swear I didn't do anything and
• 33:01
  Speaker 2: yeah so it's it's that idea and then you see
• 33:04
  Speaker 2: the eye looking through while she's getting undressed.
• 33:08
  Speaker 14: Which that's the whole thing anytime I show that movie
• 33:10
  Speaker 14: to people I mean I'll ask How many of you
• 33:13
  Speaker 14: all here.
• 33:13
  Speaker 6: Saw this for the first time? Me.
• 33:17
  Speaker 14: Why does that scene exist?
• 33:19
  Speaker 6: Did you pick up on that?
• 33:21
  Speaker 2: There's a lot of that stuff.
• 33:22
  Speaker 6: Okay, well that's the whole thing.
• 33:24
  Speaker 9: I didn't know why the hole was so roughly gouged out.
• 33:28
  Speaker 2: It makes drills and stuff.
• 33:29
  Speaker 14: All the different sacrifices. Satan needed the blind, the dumb,
• 33:36
  Speaker 14: the crippled, and a virgin. And that's why he bathes,
• 33:42
  Speaker 14: and that's why he's looking, pulsing with bathing and looking,
• 33:45
  Speaker 14: and somehow.
• 33:46
  Speaker 8: He's supposed to tell that she's a virgin. Yeah, I
• 33:48
  Speaker 8: can tell.
• 33:48
  Speaker 14: And then later on, when Satan's talking, and he's the
• 33:52
  Speaker 14: garbled Satan voice, it basically says, it's like.
• 33:56
  Speaker 6: You deceived me.
• 33:57
  Speaker 2: Basically, Satan thinks that Dr.
• 34:00
  Speaker 14: Spector tricked Satan by bringing him a girl that wasn't
• 34:02
  Speaker 14: a virgin when she was.
• 34:03
  Speaker 2: Yeah, and I was thinking Dr.
• 34:04
  Speaker 9: Spector's going to say, Satan, dude, you know I serve you,
• 34:09
  Speaker 9: but I can't tell what the fuck you're saying. I
• 34:12
  Speaker 9: just don't know.
• 34:13
  Speaker 4: What I want.
• 34:13
  Speaker 2: You have all the powers of darkness. Just clear your throat.
• 34:17
  Speaker 14: It's so vague the first time you watch it. It's
• 34:19
  Speaker 14: hard to pick up, and that's why they have the
• 34:21
  Speaker 14: whole really, really bad love scene flashback to tell you
• 34:26
  Speaker 14: that she's not a virgin when she is.
• 34:28
  Speaker 2: Also, it was the 70s, so.
• 34:34
  Speaker 5: What are you gonna do awesome outfits.
• 34:37
  Speaker 9: No that guy it reminded me of like uh what
• 34:40
  Speaker 9: the cabin in the woods it's like well we work
• 34:43
  Speaker 9: with what.
• 34:43
  Speaker 6: We have.
• 34:46
  Speaker 9: But i'm supposed to be the virgin uh we work
• 34:49
  Speaker 9: with what we have.
• 34:51
  Speaker 2: Well same thing with that one that's what you said
• 34:53
  Speaker 2: more later you're like well now we see why she
• 34:55
  Speaker 2: wants to hook up with this guy i mean look
• 34:57
  Speaker 2: at his cool outfits that Porsche with Porsche written down
• 35:00
  Speaker 2: the side. I mean, this guy is stylish.
• 35:02
  Speaker 8: That was Gertler's car.
• 35:04
  Speaker 4: Oh, nice.
• 35:05
  Speaker 2: Because I sat there the whole time going, why did that?
• 35:08
  Speaker 2: You ended up having to sell it to make later stuff,
• 35:10
  Speaker 2: didn't you?
• 35:10
  Speaker 8: Of course, it was the cheap Porsche, the 914.
• 35:13
  Speaker 2: Well, I mean, Porsches are nice anyway. You don't need
• 35:16
  Speaker 2: to spell it out on the side.
• 35:17
  Speaker 6: Well, they were actually marked that way. Oh, I remember.
• 35:19
  Speaker 2: I've seen them, but I always think those are the
• 35:21
  Speaker 2: ones that look so tacky.
• 35:22
  Speaker 6: They're being a little ostentatious.
• 35:23
  Speaker 8: The average guy could afford because it was like a
• 35:25
  Speaker 8: VW engine.
• 35:27
  Speaker 2: Yeah.
• 35:27
  Speaker 15: Yeah.
• 35:28
  Speaker 8: But, yeah, he worked with what he had.
• 35:32
  Speaker 2: Yeah, that's what you do.
• 35:34
  Speaker 8: Although Nick Jolly, no one can really explain that guy.
• 35:38
  Speaker 2: Where did he come from?
• 35:40
  Speaker 8: Because he's a mystery to me.
• 35:42
  Speaker 14: Carla Borelli, she was like on As the World Turns
• 35:45
  Speaker 14: or some other sitcom.
• 35:47
  Speaker 8: She was on Soap, and I had seen her do commercials.
• 35:50
  Speaker 14: Yeah, she was like a C-grade actress that he managed
• 35:53
  Speaker 14: to latch on to.
• 35:53
  Speaker 8: Yeah.
• 35:54
  Speaker 14: Nick Jolly, I don't know what his backstory was, like
• 35:57
  Speaker 14: where the hell Girdley found him.
• 35:59
  Speaker 6: To me, he's so.
• 36:00
  Speaker 8: Humble, he has to be local. It's like, I'll do it.
• 36:04
  Speaker 8: If they just let him be the studly star, he's not.
• 36:07
  Speaker 14: Because I do know at least the police detective, I
• 36:10
  Speaker 14: knew he was local.
• 36:12
  Speaker 8: Yeah, the police detective is actually.
• 36:14
  Speaker 2: Or no, not the police, God, who am I thinking of?
• 36:18
  Speaker 6: No, but continue.
• 36:20
  Speaker 4: That's Queenie B's dad. Uh, of course, Queenie B runs
• 36:24
  Speaker 4: the big, uh, advertising agency.
• 36:27
  Speaker 10: Hmm.
• 36:27
  Speaker 6: Huh.
• 36:28
  Speaker 8: Carol Bandy Hellidge.
• 36:29
  Speaker 2: So he wasn't an actor by trade, right?
• 36:32
  Speaker 8: Lou Bandy was an actor.
• 36:34
  Speaker 12: Yeah.
• 36:34
  Speaker 8: But mostly TV spots and stuff.
• 36:36
  Speaker 6: And, uh, that was Lou. And then, uh.
• 36:38
  Speaker 2: He's a little harsh in his, uh, delivery.
• 36:41
  Speaker 8: His daughter became Queenie B before she got into advertising.
• 36:44
  Speaker 6: Nice.
• 36:44
  Speaker 8: But, uh, yeah, I'd forgotten about that, that family connection. Hmm.
• 36:49
  Speaker 4: Uh, Yeah, and Charlie Kissinger was pretty much a local institution.
• 36:55
  Speaker 4: I mean, he had done lots of television and lots
• 36:57
  Speaker 4: of advertising. He was the fearmonger, and that was pretty
• 36:59
  Speaker 4: much at the height of his fame as the fearmonger.
• 37:03
  Speaker 4: And I think he just felt like, well, I can
• 37:04
  Speaker 4: expand working with this director.
• 37:08
  Speaker 6: And he's shown his job.
• 37:09
  Speaker 14: It's like he's the satanic priest, and he's in drag,
• 37:13
  Speaker 14: and he even does that whole thing where it's like
• 37:15
  Speaker 14: he's the caretaker.
• 37:17
  Speaker 6: When they show up.
• 37:18
  Speaker 14: And it's like he's channeling Dennis Weaver from Touch of
• 37:21
  Speaker 14: Evil there.
• 37:23
  Speaker 8: So it was a good chance for Charlie.
• 37:25
  Speaker 14: You know, the fact that Charlie would go on to
• 37:28
  Speaker 14: do Three on a Meat Hook with him too, which
• 37:31
  Speaker 14: he's actually, I like him a lot in that film.
• 37:33
  Speaker 14: He's very good as the overbearing father.
• 37:35
  Speaker 8: Yeah, Charlie's good.
• 37:37
  Speaker 2: I mean, his performance is, again, you just see sort
• 37:40
  Speaker 2: of the budget involved. Because then he keeps, when he
• 37:43
  Speaker 2: has to keep changing characters, obviously they had to just
• 37:45
  Speaker 2: keep throwing on these So even when he's the evil doctor,
• 37:49
  Speaker 2: you can almost smell the spirit gum on that beard.
• 37:55
  Speaker 6: When did he die?
• 37:55
  Speaker 8: Charlie died.
• 37:58
  Speaker 8: I never met him.
• 38:02
  Speaker 6: Well, he died after Girdler, correct?
• 38:04
  Speaker 10: Oh, yeah.
• 38:05
  Speaker 4: Charlie died in the 90s. Early 90s, I think.
• 38:09
  Speaker 14: Was he in all of Girdler's local Louisville films? I'm
• 38:12
  Speaker 14: trying to remember.
• 38:12
  Speaker 4: Yeah, he was even in Grizzly.
• 38:14
  Speaker 8: He's got a little bit rolling in Grizzly.
• 38:16
  Speaker 6: I need to go back and re-watch Grizzly.
• 38:18
  Speaker 4: I had been trying to find out who the fear
• 38:21
  Speaker 4: monger was. He was a character from my youth. I
• 38:25
  Speaker 4: had asked around.
• 38:25
  Speaker 8: Nobody seemed to be able to tell me. I actually
• 38:27
  Speaker 8: wrote Inman.
• 38:30
  Speaker 2: When there was a need for Inman?
• 38:31
  Speaker 8: He never answered. I said, listen, I know you're local.
• 38:34
  Speaker 8: You don't need to publish this letter.
• 38:35
  Speaker 6: Just tell me.
• 38:36
  Speaker 4: He never answered. Within like three months, I saw Kissinger's Hobbit. Well, damn,
• 38:42
  Speaker 4: I missed my chance. But it turned out a lot
• 38:44
  Speaker 4: of people I knew knew him. Jim Petersmith knew him,
• 38:49
  Speaker 4: and some of the guys that were in the local
• 38:53
  Speaker 4: acting scene knew him. I eventually ended up getting an
• 38:54
  Speaker 4: autograph the guy had for him. But yeah, he kind
• 38:58
  Speaker 4: of passed on before there was an appreciation of that
• 39:01
  Speaker 4: whole era coming back. His agent's still around, and his
• 39:06
  Speaker 4: family are still around. They provided some neat biomaterial and everything.
• 39:12
  Speaker 9: I would hate to be outlived by my age. I
• 39:16
  Speaker 9: would just want to ride in a claw.
• 39:17
  Speaker 2: That's the curse of Hollywood.
• 39:19
  Speaker 6: They get buried with me. It's like the ancient Egyptian pharaohs.
• 39:24
  Speaker 14: Actually, I think my favorite Kissinger would probably be on
• 39:27
  Speaker 14: Zebra Killer.
• 39:28
  Speaker 6: I like him a lot.
• 39:29
  Speaker 4: Yeah.
• 39:30
  Speaker 6: That's a fun girl.
• 39:31
  Speaker 16: I was telling him about it. It's a Zebra Killer
• 39:33
  Speaker 16: movie a lot of people haven't seen. It's like Dirty
• 39:36
  Speaker 16: Harry movie. James Pickett is actually a lot of fun
• 39:40
  Speaker 16: as the main villain. I've got to see that.
• 39:42
  Speaker 6: Dirty Harry. He's singing at the locations.
• 39:46
  Speaker 14: Pickett, yeah, he would just The character, basically, he would
• 39:49
  Speaker 14: dress in blackface, wore an afro, and he.
• 39:51
  Speaker 4: Was trying to start basically a race war by pretending
• 39:54
  Speaker 4: to be a black man killing white people. He was
• 39:59
  Speaker 4: like the version of the psycho in Dirty Harry.
• 40:03
  Speaker 8: But it was a pretty good film.
• 40:04
  Speaker 4: The weird thing about that is I'd seen ads for it,
• 40:09
  Speaker 4: and I'd seen posters for it, and then I'd seen
• 40:11
  Speaker 4: a bootleg video of it, and when I was talking
• 40:12
  Speaker 4: to Girdler's brother-in-law, who was a producer on most of
• 40:15
  Speaker 4: his pictures, He had zero recollection of that movie.
• 40:19
  Speaker 2: It ends with a boat chase on the Ohio River,
• 40:21
  Speaker 2: of all things.
• 40:22
  Speaker 8: Well, that's Sheba. Oh, no, Sheba, baby.
• 40:26
  Speaker 6: I'm confused.
• 40:27
  Speaker 14: No, Zebra Killer does end up on the Ohio at
• 40:30
  Speaker 14: some point, doesn't it?
• 40:31
  Speaker 8: I'm pretty sure it does. But his brother-in-law was like, oh,
• 40:34
  Speaker 8: I don't think we ever made that.
• 40:37
  Speaker 2: I have a copy of it at home.
• 40:38
  Speaker 4: It went around through different titles, like Panic City and
• 40:42
  Speaker 4: other things.
• 40:42
  Speaker 6: But I've seen the movie.
• 40:43
  Speaker 8: He's like, well, I don't know anything about that. Okay,
• 40:47
  Speaker 8: it was your brother.
• 40:49
  Speaker 2: Very odd.
• 40:50
  Speaker 14: The baby's going off the chase through the Kentucky State Fair.
• 40:53
  Speaker 4: The State Fair chase. The first use of a jet
• 40:59
  Speaker 4: ski in a movie.
• 41:01
  Speaker 8: With, you know, hey, we're here. That's history. That's all
• 41:04
  Speaker 8: you need. It's a really fun picture.
• 41:08
  Speaker 4: And that's one that I have a good time with
• 41:12
  Speaker 4: that one, too.
• 41:13
  Speaker 8: Gertler, you know, gratuitously shows off Louisville.
• 41:16
  Speaker 6: Down in the Belvedere.
• 41:18
  Speaker 8: It was first built, so they're down in the Belvedere.
• 41:21
  Speaker 8: They close up a business on Main Street.
• 41:25
  Speaker 2: Didn't get approval. Just blew it up.
• 41:26
  Speaker 6: Just blew it up a little.
• 41:28
  Speaker 8: There's a scene in the car wash on Broadway.
• 41:30
  Speaker 6: I remember that.
• 41:33
  Speaker 8: There's a lot of local locations. He was always good
• 41:35
  Speaker 8: about showing off his hometown.
• 41:37
  Speaker 14: Yeah, Abbey has a fair amount of that, too. Just
• 41:41
  Speaker 14: over in the West End, you know. Abby, I mean,
• 41:44
  Speaker 14: Abby is just so much fun.
• 41:45
  Speaker 6: I've seen my niece in Louisville, Kentucky.
• 41:46
  Speaker 2: Yeah. Plug.
• 41:51
  Speaker 4: We were talking about Abby earlier. That's my favorite of
• 41:54
  Speaker 4: his films. It's the most fun, I think. But got
• 41:57
  Speaker 4: him in the most trouble. Made a lot of money.
• 42:00
  Speaker 14: I was going to say, I think my top three
• 42:03
  Speaker 14: would probably be Abby and A Sign of Satan, Day
• 42:05
  Speaker 14: of the Animals.
• 42:06
  Speaker 6: I like Day of the Animals as a whole.
• 42:07
  Speaker 14: Out of all of his major Hollywood ones, that's my favorite.
• 42:10
  Speaker 8: Yeah.
• 42:10
  Speaker 6: It's the ultimate animal attack movie. It is.
• 42:13
  Speaker 8: All of nature turns against you.
• 42:15
  Speaker 6: It's like, no, no, we're not just going to have
• 42:17
  Speaker 6: a shark, we're not going to have a bear.
• 42:18
  Speaker 8: Every goddamn thing is going crazy.
• 42:21
  Speaker 14: Even Leslie Nielsen gets made crazy by it, and so
• 42:25
  Speaker 14: he starts attacking. And it's just really funny. It's like
• 42:28
  Speaker 14: you've seen Leslie Nielsen playing a complete asshole. Because he's
• 42:33
  Speaker 14: up there, there's like this mother with her daughter that
• 42:35
  Speaker 14: are on a hiking trip. And basically the whole plot
• 42:38
  Speaker 14: of it is Back when all of a sudden it
• 42:40
  Speaker 14: was discovered, the concept of the ozone layer. In fact,
• 42:42
  Speaker 14: the ozone layer had a hole developing in it. The
• 42:45
  Speaker 14: premise of the movie is, well, since the rays of
• 42:47
  Speaker 14: the sun are being filtered differently, if you're high enough
• 42:53
  Speaker 14: in altitude, it makes you go crazy. And it makes
• 42:56
  Speaker 14: all the animals go crazy. And it just sparks this
• 42:59
  Speaker 14: bloodlust within you. And so Leslie Nielsen is the first
• 43:03
  Speaker 14: one to have, like, the bloodlust go.
• 43:04
  Speaker 6: And so he just, well, that makes sense.
• 43:06
  Speaker 14: At one point in time, he just points at the,
• 43:09
  Speaker 14: he's like, I'll take whatever I want.
• 43:12
  Speaker 8: Right now I want her.
• 43:14
  Speaker 2: And so it's like he's playing essentially a rapist. It's
• 43:17
  Speaker 2: very weird.
• 43:18
  Speaker 14: And there's a climax to where in the middle of, like,
• 43:21
  Speaker 14: this thunder and lightning rainstorm, he's fighting a bear.
• 43:24
  Speaker 2: On the top of the mountain.
• 43:26
  Speaker 5: Yeah.
• 43:30
  Speaker 11: I can only picture him just slipping on a gopher
• 43:33
  Speaker 11: and just hitting his head and just being a klutz.
• 43:36
  Speaker 6: That's all I can picture Leslie Neeson doing.
• 43:38
  Speaker 14: The filtering on it was just really kind of, I
• 43:40
  Speaker 14: always thought it was kind of cool how he shot
• 43:41
  Speaker 14: it because he makes it all look overexposed. Like the
• 43:44
  Speaker 14: concept of more sunlight is coming in and this area
• 43:46
  Speaker 14: is just going.
• 43:47
  Speaker 6: To look like bled out. It just felt sort of
• 43:50
  Speaker 6: dirty like that.
• 43:51
  Speaker 2: Kind of crafty for having no money, you know.
• 43:54
  Speaker 6: Yeah, it's pretty good.
• 43:54
  Speaker 4: By that time, it was AIP, so, you know, it
• 43:57
  Speaker 4: was like AIP was kind of having a, kind of
• 43:59
  Speaker 4: a second renaissance, you know.
• 44:01
  Speaker 6: Was Abby his first AIP?
• 44:03
  Speaker 4: I believe so, because it made so much money, it
• 44:05
  Speaker 4: put him instantly, you know, in their sights.
• 44:07
  Speaker 8: It's like, well, we'll let this guy do some more stuff. So,
• 44:10
  Speaker 8: you know, Day of the Animals. I don't think Sheba,
• 44:14
  Speaker 8: that wasn't really AIP, was it?
• 44:15
  Speaker 4: I know the.
• 44:18
  Speaker 8: I think the DVD is out.
• 44:20
  Speaker 6: Under a more... MGM.
• 44:22
  Speaker 8: That's AIP, but I thought it was a different... I
• 44:24
  Speaker 8: think it was a Warner, but it couldn't have been. Grizzly,
• 44:28
  Speaker 8: was that also AIP? I think they ended up releasing it.
• 44:32
  Speaker 8: I don't know if they financed it. Because that was
• 44:34
  Speaker 8: a big deal. It was the land-locked version of Jaws.
• 44:38
  Speaker 8: And I remember it got lots of local advertising.
• 44:40
  Speaker 6: It was like that Edward L.
• 44:41
  Speaker 14: Montoro, whatever his name is.
• 44:43
  Speaker 2: I remember.
• 44:45
  Speaker 8: The advertising for it was everywhere.
• 44:46
  Speaker 6: I was a kid.
• 44:47
  Speaker 4: I remember walking into, like, a Super X drugstore. And,
• 44:51
  Speaker 4: you know, the gumball machines had always been around. And
• 44:53
  Speaker 4: the big ones always took a quarter to get a
• 44:55
  Speaker 4: toy or whatever.
• 44:55
  Speaker 8: I remember there was a Grizzly Puffy sticker.
• 44:59
  Speaker 2: Oh, that's awesome.
• 45:00
  Speaker 4: With the poster art. And we were getting one for
• 45:03
  Speaker 4: a quarter. I was like, cool, it's a Grizzly sticker
• 45:04
  Speaker 4: where he's looming over the girl. I'm sure that only
• 45:06
  Speaker 4: happened in Louisville.
• 45:08
  Speaker 2: Yeah.
• 45:08
  Speaker 8: That kind of promotion went on.
• 45:09
  Speaker 2: Do you have the Puffy sticker?
• 45:11
  Speaker 10: I do not.
• 45:11
  Speaker 4: Oh, my God.
• 45:12
  Speaker 8: I really do not.
• 45:13
  Speaker 6: That's so sad.
• 45:14
  Speaker 8: Huh?
• 45:15
  Speaker 6: I probably wore something, actually. Oh, yeah.
• 45:18
  Speaker 8: Grizzly has a weird, strong following. A lot of our friends,
• 45:21
  Speaker 8: you know, Frank Dietz and all those guys, all love Grizzly.
• 45:24
  Speaker 2: They have Grizzly parties, yeah. That was a Grizzly party. Which,
• 45:29
  Speaker 2: to me, I mean, it's fun, but it's.
• 45:32
  Speaker 6: Not my favorite Girdler.
• 45:34
  Speaker 2: It kind of falls in the.
• 45:35
  Speaker 14: Middle of the road for me because he is just
• 45:37
  Speaker 14: trying to make something that is more a Hollywood movie
• 45:39
  Speaker 14: that's going to make money and doesn't have, like, the
• 45:41
  Speaker 14: weird tongue-in-cheekness that a lot of his local stuff would have.
• 45:43
  Speaker 5: Yeah.
• 45:44
  Speaker 2: Well, this one, I was like the... Again, it's so
• 45:48
  Speaker 2: 70s because 70s movies became so obsessed with cult because
• 45:53
  Speaker 2: it had everything that was about a cult. It had
• 45:55
  Speaker 2: its little thing, and they were pushing it and making
• 45:58
  Speaker 2: money off of it. So this one, definitely, you're a
• 46:00
  Speaker 2: few minutes in, and you've got everybody wearing hooded robes,
• 46:03
  Speaker 2: and it already is sort of leading you down that path.
• 46:05
  Speaker 6: And he even pimped it at the time as to how.
• 46:08
  Speaker 14: someone had been sent by Anton LaVey from the Church
• 46:10
  Speaker 14: of Satan to come and supervise the ritual at.
• 46:13
  Speaker 6: The end to make sure it was all correct. Of course.
• 46:17
  Speaker 6: Make sure. It's not a rectangle.
• 46:19
  Speaker 2: You stand in a circle.
• 46:20
  Speaker 6: The guy's probably sitting there like, no, that's how Satan talks.
• 46:28
  Speaker 2: No, everyone's going to think you're screwing up.
• 46:29
  Speaker 6: On the film, but no, that's how Satan talks.
• 46:30
  Speaker 2: Totally how he talks.
• 46:32
  Speaker 9: In the filming of that scene where she's tied down
• 46:35
  Speaker 9: as a sacrifice and there are all the hooded figures
• 46:38
  Speaker 9: holding candles, the first shot you see in the distance,
• 46:43
  Speaker 9: it's like, is that somebody dressed as a hamster? And
• 46:48
  Speaker 9: it's actually the circles in the two stars on the wall,
• 46:53
  Speaker 9: but they just happen to be right behind the head.
• 46:57
  Speaker 9: And so the first thing is like this sort of
• 47:00
  Speaker 9: Mickey Mouse-ier.
• 47:02
  Speaker 2: Thing standing over there.
• 47:03
  Speaker 6: Not Satan.
• 47:04
  Speaker 7: Yeah.
• 47:04
  Speaker 2: I've always suspected.
• 47:05
  Speaker 6: Mickey Mouse, yeah.
• 47:06
  Speaker 8: I'm trying to tell us.
• 47:07
  Speaker 6: It's like the weird pulsating that the face makes.
• 47:09
  Speaker 4: Oh, yeah.
• 47:10
  Speaker 6: Well, yeah.
• 47:11
  Speaker 4: There's the big claim that that mask was actually used in...
• 47:15
  Speaker 4: Rosemary's Baby.
• 47:16
  Speaker 6: But it was too terrifying to show in Rosemary's Baby.
• 47:18
  Speaker 8: It was too awful to show. And I've watched Rosemary's
• 47:23
  Speaker 8: Baby and I'm like, I don't really.
• 47:26
  Speaker 9: That macrame pillow on the couch was too horrible to
• 47:30
  Speaker 9: show in Rosemary's Baby.
• 47:31
  Speaker 6: Now it's supposedly just a bodysuit.
• 47:34
  Speaker 14: Was the same bodysuit that he wears?
• 47:36
  Speaker 8: It's like a gorilla suit.
• 47:38
  Speaker 2: It kind of is. What was your description of the mask, Marlena?
• 47:43
  Speaker 5: It looked like it was made of food.
• 47:46
  Speaker 4: It did. It really did.
• 47:47
  Speaker 6: The eyes were Cheerios.
• 47:49
  Speaker 2: Yeah, and the ears were carrots.
• 47:51
  Speaker 6: Or the horns were carrots. It looked like it was
• 47:54
  Speaker 6: something made.
• 47:55
  Speaker 9: It was made from the craft table.
• 47:57
  Speaker 6: We need a monster quick. Here.
• 48:01
  Speaker 9: Guacamole.
• 48:02
  Speaker 8: They'll never notice.
• 48:03
  Speaker 6: Looks delicious.
• 48:04
  Speaker 2: Well, again, Satan is all about indulgence, so, you know,
• 48:07
  Speaker 2: it just seems about right.
• 48:08
  Speaker 5: But he looked like he was made of vegetables.
• 48:10
  Speaker 6: I mean, I would think, like.
• 48:11
  Speaker 2: Well, when I eat vegetables, I think, oh, Satan. Tastes
• 48:14
  Speaker 2: like hell to me. Tastes like despair. At least rocks.
• 48:19
  Speaker 6: Asparagus. Oh, God.
• 48:22
  Speaker 5: At least rocks don't taste like despair.
• 48:25
  Speaker 14: I mean, the only drawback to Silent Satan is I
• 48:29
  Speaker 14: feel like it does linger and just kind of fart
• 48:32
  Speaker 14: around too much.
• 48:32
  Speaker 6: Oh, I'm still stuck here.
• 48:35
  Speaker 8: He's really stretching it to feature length.
• 48:38
  Speaker 4: He's dooming himself by doing that.
• 48:42
  Speaker 6: I do have a copy of that script, I think.
• 48:45
  Speaker 6: Do you have a copy? I think I have a
• 48:47
  Speaker 6: copy of the first, because.
• 48:49
  Speaker 8: I think it was usually called The Asylum of Dr.
• 48:51
  Speaker 8: Specter or something like that.
• 48:52
  Speaker 6: Yeah, I knew it had that title or something.
• 48:54
  Speaker 8: I have a copy at home. I have to dig up.
• 48:56
  Speaker 8: It's a thin script.
• 48:58
  Speaker 2: He did a lot of stretching.
• 48:59
  Speaker 8: Yeah, it kind of feels like it. I know he
• 49:01
  Speaker 8: just wanted to get his run.
• 49:02
  Speaker 6: Time in, because... Maybe now it's barely at 80 minutes.
• 49:07
  Speaker 4: Yeah, it was kind of amateurish thinking, thinking, well, I've
• 49:09
  Speaker 4: got to make a feature. I'll do this, and He'd
• 49:13
  Speaker 4: use family money, and he had local investors, and premiered
• 49:17
  Speaker 4: it at the Vogue out in St.
• 49:18
  Speaker 6: Matthews with family.
• 49:21
  Speaker 8: They were all pretty much aghast.
• 49:25
  Speaker 2: What exactly, I mean, I'm assuming they had issues with
• 49:29
  Speaker 2: somebody being in drag, probably, but aside from that, was
• 49:32
  Speaker 2: it violence? You know, because it's a tame movie.
• 49:35
  Speaker 6: Yeah, in its way.
• 49:36
  Speaker 4: It's kind of charming about Gertler's films at that period
• 49:39
  Speaker 4: is They tackle, you know, odd subject matter, but they're
• 49:43
  Speaker 4: pretty tame, especially asylum.
• 49:46
  Speaker 8: I don't know, just the fact of it, but they
• 49:47
  Speaker 8: just thought it was tasteless.
• 49:49
  Speaker 2: Which is why we like it.
• 49:50
  Speaker 6: Yeah.
• 49:52
  Speaker 4: I know, you know, yeah, there wasn't a lot of
• 49:56
  Speaker 4: acceptance of some of the ideas that are in that.
• 49:59
  Speaker 4: Charlie Kissinger was gay, and his family still won't acknowledge
• 50:03
  Speaker 4: that fact to this day.
• 50:04
  Speaker 8: Oh, he was a great guy. I'm sure he was
• 50:06
  Speaker 8: a great guy. They just won't go there.
• 50:09
  Speaker 4: You'd see that Charlie looked at this as an opportunity
• 50:11
  Speaker 4: to do something fairly outrageous and have fun.
• 50:13
  Speaker 2: And at that time, you couldn't do, yeah. No. Stop it.
• 50:17
  Speaker 4: And, you know, a lot of, you know, odd social
• 50:23
  Speaker 4: taboos back then in Louisville.
• 50:25
  Speaker 2: Certainly.
• 50:26
  Speaker 4: So, yeah, I just think the fact that it was
• 50:28
  Speaker 4: a horror film, the fact that it was sort of
• 50:30
  Speaker 4: an exploitation movie, the fact that Satan was involved, it's
• 50:34
  Speaker 4: a cross-stressing craze.
• 50:36
  Speaker 2: I think Satan has been following me I always wonder
• 50:39
  Speaker 2: with the investors, is nobody paying attention along the way
• 50:43
  Speaker 2: when you're investing?
• 50:45
  Speaker 8: It's the thing that still goes on. It's like, we're
• 50:47
  Speaker 8: making a movie.
• 50:48
  Speaker 6: It's great, we're making a movie.
• 50:49
  Speaker 2: It's that scene out of Ed Wood where he's scamming
• 50:52
  Speaker 2: people into paying.
• 50:52
  Speaker 6: For his movie.
• 50:53
  Speaker 4: It goes on to this day. They get starry-eyed over
• 50:56
  Speaker 4: it and they don't really see what's really being made.
• 50:58
  Speaker 6: And it still happens locally, too.
• 51:00
  Speaker 9: Actually, I know of a school that produces plays and
• 51:07
  Speaker 9: They approve them. They have the script. They've done them
• 51:09
  Speaker 9: before in the past. It's been going on for decades.
• 51:13
  Speaker 9: And then after it goes up, they'll go, there was
• 51:15
  Speaker 9: drinking in Maine.
• 51:18
  Speaker 6: You knew that.
• 51:21
  Speaker 9: But it's a process they go through of producing something
• 51:25
  Speaker 9: that they know what it is, and then they're aghast
• 51:27
  Speaker 9: at it.
• 51:27
  Speaker 2: There's a nude scene in here?
• 51:29
  Speaker 8: Wait a minute. One person complains that they have a line.
• 51:33
  Speaker 9: I saw hair at actors, and my wife and I
• 51:35
  Speaker 9: turned to each other and almost like simultaneously said, they
• 51:38
  Speaker 9: really went out on the nudity, didn't they?
• 51:41
  Speaker 14: I keep trying to convince at my school, because I'm
• 51:43
  Speaker 14: friends with the drama teacher, I'm like, just do some
• 51:46
  Speaker 14: Samuel Beckett on Bullet County.
• 51:48
  Speaker 8: I want that to happen.
• 51:50
  Speaker 4: I do too.
• 51:50
  Speaker 6: No one will get it.
• 51:51
  Speaker 2: I'll just find it funny.
• 51:52
  Speaker 6: I want to do their performance.
• 51:55
  Speaker 5: I was watching this show in class the other day,
• 51:58
  Speaker 5: and they interviewed Jack McNaughton, who did Henry. And he
• 52:01
  Speaker 5: was saying, you know, everything, when you're watching it in
• 52:04
  Speaker 5: a theater at home, seems so incredibly gruesome. When you're
• 52:07
  Speaker 5: shooting it, it's ridiculous. You know, like, you can see
• 52:10
  Speaker 5: everything that's going on, and it just seems so silly,
• 52:12
  Speaker 5: but then you watch it, and it's almost shocking how
• 52:14
  Speaker 5: disturbing it is after the fact that it's all, like,
• 52:16
  Speaker 5: put together.
• 52:17
  Speaker 6: Yeah. I mean, the film is made in editing, yeah.
• 52:21
  Speaker 5: Mm-hmm.
• 52:22
  Speaker 4: So, you know, after Asylum of Satan, you know, kind
• 52:25
  Speaker 4: of put William in the basement as.
• 52:27
  Speaker 8: Far as his financing and his reputation... He stayed there,
• 52:30
  Speaker 8: you know, for quite a while. I can't remember when
• 52:34
  Speaker 8: Meathook was made.
• 52:36
  Speaker 6: Meathook was the year after. Was it a year?
• 52:37
  Speaker 4: I'm saying it was 72 and Meathook was 73. Because
• 52:41
  Speaker 4: I know he literally had to go out to, like,
• 52:43
  Speaker 4: LaGrange and then found somebody who would be willing to
• 52:47
  Speaker 4: let him use the property. I think it was literally
• 52:49
  Speaker 4: him and Pat, his brother-in-law. That was it.
• 52:50
  Speaker 8: They were the only people with money into it. The
• 52:53
  Speaker 8: irony on that was that's the one that got picked up.
• 52:56
  Speaker 8: That's the one that got distributed.
• 52:57
  Speaker 2: The drive-in circuit.
• 52:59
  Speaker 8: Which, you know, clever title.
• 53:01
  Speaker 14: Not only that, but at that time there were so
• 53:04
  Speaker 14: many other Ed Gein-inspired movies just popping up.
• 53:07
  Speaker 8: People dug that stuff. And there was a market.
• 53:11
  Speaker 4: There were regional filmmakers all around. There were guys who
• 53:14
  Speaker 4: were doing that kind of work in smaller cities. And
• 53:19
  Speaker 4: they knew that they could do it because there would
• 53:21
  Speaker 4: always be a circuit to promote.
• 53:23
  Speaker 6: That's all gone.
• 53:25
  Speaker 2: Yeah, it's such a different system now.
• 53:26
  Speaker 4: Video came and kind of expanded on that to where
• 53:28
  Speaker 4: you could make something and get it distributed on VHS
• 53:31
  Speaker 4: in the 80s and actually do well.
• 53:34
  Speaker 8: But now there's no market like that, so these kind
• 53:37
  Speaker 8: of guys.
• 53:38
  Speaker 14: Well, it's three on a meter because the silliest of
• 53:40
  Speaker 14: all his deaths by far to where it's like out
• 53:43
  Speaker 14: in the barn, this axe comes swinging and cuts a
• 53:46
  Speaker 14: girl's head off. But the way he did the cutting
• 53:49
  Speaker 14: the head off is... they like cut a hole in
• 53:52
  Speaker 14: the side of the barn and had her stick her
• 53:55
  Speaker 14: head through and they put the axe like in the
• 53:57
  Speaker 14: wall underneath her so she rested her head on top
• 53:59
  Speaker 14: of the axe and they got a fake body and
• 54:01
  Speaker 14: just started filming and they just.
• 54:03
  Speaker 8: Like drop it and let it fall away.
• 54:05
  Speaker 11: Yeah, her head's still on the axe. That takes some
• 54:10
  Speaker 11: precision with the axe to get to do that trick.
• 54:14
  Speaker 8: Quick shot. And it's got the Hitchcockian surprise ending to it.
• 54:18
  Speaker 15: Yeah.
• 54:20
  Speaker 4: Of course, it's not the guy you think is the killer.
• 54:22
  Speaker 4: It's his dad, but he's actually killing for the mother
• 54:26
  Speaker 4: that he thought was dead.
• 54:26
  Speaker 8: Who's a cannibal.
• 54:28
  Speaker 2: This is not complicated at all.
• 54:30
  Speaker 8: It's a double whammy Hitchcock there.
• 54:34
  Speaker 2: Oh, man.
• 54:34
  Speaker 6: Well, I don't know.
• 54:35
  Speaker 2: This one doesn't have that ending exactly. It's got another
• 54:41
  Speaker 2: one of those 70s clichés of just weird, throw-it-at-you kind
• 54:44
  Speaker 2: of ending. There's that extra little... you think something else
• 54:49
  Speaker 2: is going on. You've got to have that with most movies,
• 54:51
  Speaker 2: but I don't know. That whole final scene with Satan,
• 54:57
  Speaker 2: I guess we'll pretend like he is. Yeah, I don't know.
• 55:01
  Speaker 2: What was your take on the whole wrap-up there?
• 55:04
  Speaker 5: Oh.
• 55:05
  Speaker 2: Yeah. it's just there yeah because I'm like was that
• 55:11
  Speaker 2: was that really what he was going for because it
• 55:13
  Speaker 2: just seems sort of thrown in especially that last part
• 55:16
  Speaker 2: where they just come in and it's just sort of
• 55:18
  Speaker 2: over and I don't know it just seems like they
• 55:21
  Speaker 2: didn't know what else to do with it.
• 55:22
  Speaker 4: At that point I think so I think it they
• 55:24
  Speaker 4: can look good on paper yeah you know and I
• 55:26
  Speaker 4: think I think it.
• 55:27
  Speaker 8: Ends the same way in the script I have but
• 55:29
  Speaker 8: it's yeah it's just like.
• 55:31
  Speaker 4: That's where the the inability to construct a logical narrative
• 55:36
  Speaker 4: takes over It's like, well, we shot all.
• 55:39
  Speaker 8: This, but there's no material.
• 55:42
  Speaker 6: We don't have coverage.
• 55:44
  Speaker 2: And even then, it's like.
• 55:46
  Speaker 8: That's where it ends, the end.
• 55:48
  Speaker 2: And you don't even get the beginning. Like, do we
• 55:49
  Speaker 2: ever find out what happened? Like, why she ended up there?
• 55:52
  Speaker 2: I mean, it was all part of his plan, but
• 55:54
  Speaker 2: at the same time, it's like, what happened to her
• 55:56
  Speaker 2: that she ended up there?
• 55:58
  Speaker 12: Exactly.
• 55:58
  Speaker 2: Yeah, all that's just sort of glossed over.
• 56:00
  Speaker 4: It's all.
• 56:02
  Speaker 9: And then there's one of the cops is just standing
• 56:04
  Speaker 9: there in the scene, and he kind of looks toward
• 56:06
  Speaker 9: the camera at it, for a minute, like, is this
• 56:09
  Speaker 9: all I'm gonna do?
• 56:11
  Speaker 6: Is this all I get to do here?
• 56:13
  Speaker 2: Well, that's the other thing, like, that scene, well, there's
• 56:16
  Speaker 2: a couple of times they go to, I guess that's
• 56:17
  Speaker 2: the police station that they're yelling at each other at
• 56:20
  Speaker 2: when the boyfriend's there. And.
• 56:23
  Speaker 2: Is it just me? I know that second time they
• 56:25
  Speaker 2: were in there all by themselves. Granted, I'm basing all
• 56:28
  Speaker 2: my police station experience with movies and TV, but there's
• 56:32
  Speaker 2: always like 400 people.
• 56:34
  Speaker 8: There's noise.
• 56:35
  Speaker 2: Yeah, there's phones ringing.
• 56:37
  Speaker 8: It's the cliche stuff.
• 56:38
  Speaker 2: In this one, it's like they've got the building that
• 56:39
  Speaker 2: kind of looks like your standard cop office, but it's
• 56:42
  Speaker 2: just dead.
• 56:43
  Speaker 8: I don't know.
• 56:44
  Speaker 4: I think that was probably shot at one of his
• 56:46
  Speaker 4: dad's offices.
• 56:47
  Speaker 7: Yeah.
• 56:48
  Speaker 2: And it doesn't look bad. It's just, it's funny that
• 56:50
  Speaker 2: there was just nobody around.
• 56:52
  Speaker 8: You know, LPD establishing exterior.
• 56:54
  Speaker 2: Yeah.
• 56:56
  Speaker 8: Cut to this blank looking office.
• 56:57
  Speaker 9: For some reason, those scenes really made me miss Toma.
• 57:02
  Speaker 9: It was one of my favorite shows when I was
• 57:04
  Speaker 9: a kid. I loved Toma. Oh, especially like when he
• 57:08
  Speaker 9: lost his gun and he had to go in and
• 57:10
  Speaker 9: tell his boss.
• 57:11
  Speaker 8: He was just like, oh.
• 57:13
  Speaker 6: Yeah, I lost my peace.
• 57:14
  Speaker 2: What?
• 57:14
  Speaker 6: I love Toma. That was a great show.
• 57:19
  Speaker 4: Well, the whole 70s genre of cop shows and cop movies.
• 57:24
  Speaker 4: I think Gertler was really enamored with that stuff. That's
• 57:27
  Speaker 4: why he ended up doing Zebra Killer.
• 57:29
  Speaker 6: He always had cops in his movies.
• 57:31
  Speaker 8: He always had these guys.
• 57:33
  Speaker 2: Yeah, this one's just a dick. There's never a moment
• 57:37
  Speaker 2: when you're not like, Dude, calm down. What the hell?
• 57:41
  Speaker 8: It says cynical in my character. And that's the way
• 57:44
  Speaker 8: I'm going to be.
• 57:45
  Speaker 2: Whether you like it or not.
• 57:46
  Speaker 6: Playing an adjective.
• 57:49
  Speaker 9: Don't have much of a script, but we've got an adjective.
• 57:52
  Speaker 6: Cynical, cynical. How am I going to go there? Let's
• 57:56
  Speaker 6: go with cynical.
• 57:57
  Speaker 8: Yeah, it's all very, you know.
• 57:59
  Speaker 4: In your face cardboard stuff going on that's part of
• 58:02
  Speaker 4: the charm but it's also part of why the movie.
• 58:05
  Speaker 9: Just any movie from the 70s brings back so much
• 58:10
  Speaker 9: oh yeah that was the 70s like the exorcist itself
• 58:15
  Speaker 9: when i saw that again i couldn't believe all the
• 58:18
  Speaker 9: stuff i'd forgotten like uh When the doctor prescribed... No,
• 58:23
  Speaker 9: when she goes to see the doctor first, he's like, cigarette?
• 58:25
  Speaker 10: Smoking.
• 58:26
  Speaker 2: The smoking doctor.
• 58:27
  Speaker 6: Cigarette.
• 58:28
  Speaker 2: And then he prescribes Ritalin. Oh, yeah.
• 58:32
  Speaker 9: Ritalin, which was pretty new at the time, but your
• 58:34
  Speaker 9: child is possessed by Satan. We've got Ritalin. That'll take
• 58:38
  Speaker 9: care of it. And then, like, the party where the
• 58:40
  Speaker 9: guy's just falling down drunk, and they're like, you're.
• 58:43
  Speaker 6: So drunk, go home. Here are your keys. Here are
• 58:46
  Speaker 6: your keys.
• 58:47
  Speaker 2: Get out of here.
• 58:48
  Speaker 6: And then the.
• 58:49
  Speaker 2: Next day, everybody's shocked.
• 58:50
  Speaker 12: He's dead?
• 58:51
  Speaker 2: What could have happened?
• 58:53
  Speaker 6: Stop to think.
• 58:53
  Speaker 2: What could have happened?
• 58:55
  Speaker 9: We just saw him drunk last night.
• 58:58
  Speaker 10: Driving.
• 58:59
  Speaker 2: Driving home. I don't know.
• 59:00
  Speaker 6: It was a simpler time. Yeah, it was. I mean,
• 59:04
  Speaker 6: I have.
• 59:05
  Speaker 5: Friends whose dads were cops in the 70s and they
• 59:08
  Speaker 5: said it wasn't uncommon for like... them to hang out
• 59:10
  Speaker 5: at a bar all day and then be like, all right,
• 59:12
  Speaker 5: let's get in our cars and drive around and pull
• 59:14
  Speaker 5: people over. It's just the way things worked.
• 59:16
  Speaker 4: Over the past 30 years, entertainment has sanitized a lot.
• 59:22
  Speaker 8: Nobody's smoking. Nobody's behaving irresponsibly.
• 59:27
  Speaker 9: Nobody's masturbating with a crucifix yeah.
• 59:32
  Speaker 17: It's all the specifics even the shots are unconventional now
• 59:36
  Speaker 17: it was a pretty unconventional shock for any era but
• 59:39
  Speaker 17: yeah it's just they were more reflective of real life
• 59:43
  Speaker 17: and now movies.
• 59:43
  Speaker 4: In general aren't or are which is scary to the
• 59:48
  Speaker 4: point it's weird sometimes how unlike that they are I'll
• 59:52
  Speaker 4: watch even from the 80s and you'll see somebody light
• 59:55
  Speaker 4: one up yeah It's like, oh, it wouldn't do that
• 59:57
  Speaker 4: in that at all.
• 59:58
  Speaker 2: Well, I went on, and I remember calling out the, like,
• 1:00:03
  Speaker 2: especially the new run of horror movies. Like, I specifically cited,
• 1:00:07
  Speaker 2: in a previous episode, the new Nightmare on Elm Street, like,
• 1:00:10
  Speaker 2: where none of the kids have sex. Like, they show
• 1:00:14
  Speaker 2: no affection towards each other. Like, it's the most, like, TV, like,
• 1:00:19
  Speaker 2: not even like normal Gossip Girl kind of TV show.
• 1:00:21
  Speaker 2: They show plenty of that. It's like an 8 o'clock
• 1:00:25
  Speaker 2: squeaky clean world where, like, nothing goes on. And I'm like,
• 1:00:28
  Speaker 2: that is weird. And I'm like, I don't even know,
• 1:00:31
  Speaker 2: it's rated R. Like, I don't even know what you're
• 1:00:32
  Speaker 2: presenting with that.
• 1:00:33
  Speaker 6: Well, it's like, they're getting away with a lot there.
• 1:00:35
  Speaker 12: Yeah.
• 1:00:36
  Speaker 6: Well, it's like the new generation's idea of what a
• 1:00:38
  Speaker 6: horror movie should be.
• 1:00:39
  Speaker 11: It's like, it should hit these points, it's like, then
• 1:00:41
  Speaker 11: this person dies, and it's like all logical, and the
• 1:00:43
  Speaker 11: people don't interact like real people, and it's just odd seeing, like,
• 1:00:47
  Speaker 11: these remakes where there's... It is.
• 1:00:49
  Speaker 8: Reflective of, you know, culture to a great extent.
• 1:00:51
  Speaker 10: Yeah.
• 1:00:52
  Speaker 8: I mean, I went to this, you know, this Nick
• 1:00:54
  Speaker 8: Cave show down in Nashville last year.
• 1:00:56
  Speaker 6: Oh, that sounds awesome.
• 1:00:57
  Speaker 4: And, you know, it was with the Grinderman, and, I mean,
• 1:01:01
  Speaker 4: it's one of the loudest, rockiest shows I've ever been at.
• 1:01:05
  Speaker 4: But this young couple standing in front of me, and
• 1:01:08
  Speaker 4: they're not moving. They're like 19, 20, 21 maybe. I
• 1:01:13
  Speaker 4: guess it was 21. They're just staring at me. Because
• 1:01:16
  Speaker 4: it's not what they listen to. So therefore they could
• 1:01:19
  Speaker 4: not process the rock. And all the 50-year-olds are getting,
• 1:01:23
  Speaker 4: you know, it's great. And they were there, and they
• 1:01:26
  Speaker 4: were just staring. And finally, like, right towards the end,
• 1:01:29
  Speaker 4: the one guy started kind of bobbing his head a little.
• 1:01:31
  Speaker 4: And I just kept staring like this.
• 1:01:36
  Speaker 6: And then the band goes off.
• 1:01:37
  Speaker 9: Oh, it's like Back to the Future, where he starts
• 1:01:40
  Speaker 9: doing handwrites.
• 1:01:41
  Speaker 6: Yeah, exactly.
• 1:01:43
  Speaker 4: But then the band goes off, you know. It's like,
• 1:01:45
  Speaker 4: good night, folks.
• 1:01:46
  Speaker 8: Well, you know, they're going to come back for an encore,
• 1:01:47
  Speaker 8: but they left.
• 1:01:49
  Speaker 2: They've never been to a show.
• 1:01:50
  Speaker 6: That was too much.
• 1:01:51
  Speaker 8: They were just like, oh, I guess it's over.
• 1:01:52
  Speaker 2: Maybe they've just never been to a show.
• 1:01:54
  Speaker 5: I've been to a lot of shows recently where there's
• 1:01:58
  Speaker 5: younger people who are misinterpreting the music.
• 1:02:01
  Speaker 6: Like, it was.
• 1:02:04
  Speaker 5: close to st patrick's day and the fogues were playing
• 1:02:06
  Speaker 5: at knock bar and this this like young couple they
• 1:02:10
  Speaker 5: start playing like a pair of brown eyes and this
• 1:02:13
  Speaker 5: young couple they're like dancing like slow dance i'm like
• 1:02:15
  Speaker 5: this is not a romantic.
• 1:02:16
  Speaker 6: Song yeah this is like a this.
• 1:02:19
  Speaker 5: Sounds romantic maybe but it's not like a loving pair
• 1:02:23
  Speaker 5: of brown eyes it's not what they're talking about you're
• 1:02:25
  Speaker 5: not paying attention.
• 1:02:27
  Speaker 4: You know, if their frame of reference is Bieber or something,
• 1:02:30
  Speaker 4: it's like, well, I guess they don't know what this is.
• 1:02:32
  Speaker 11: Slow dancing to anything by Ian McShane is just odd.
• 1:02:35
  Speaker 6: No roads, no roads. It doesn't work.
• 1:02:40
  Speaker 8: Well, yeah, it's where culture's gone. At least in the
• 1:02:43
  Speaker 8: 70s and 80s, early 80s, people were real. People were
• 1:02:47
  Speaker 8: getting fucked up and going to bed. And it was
• 1:02:50
  Speaker 8: just like, I don't know.
• 1:02:51
  Speaker 9: Yeah, I remember seeing some movies, and I remember seeing the.
• 1:02:54
  Speaker 6: Movie in the theater... when I was a kid in.
• 1:02:57
  Speaker 9: The 70s, and seeing the same movie in a theater
• 1:03:01
  Speaker 9: with an audience decades later, and everything's different.
• 1:03:05
  Speaker 8: People respond.
• 1:03:06
  Speaker 9: I remember seeing, what was it, Uma Guma, the.
• 1:03:10
  Speaker 6: Pink Floyd movie?
• 1:03:11
  Speaker 9: And there was just a scene where David Gilmour says
• 1:03:16
  Speaker 9: something like, well, people think we do drugs, and we
• 1:03:20
  Speaker 9: don't do drugs.
• 1:03:22
  Speaker 6: You can trust us.
• 1:03:24
  Speaker 8: And then his.
• 1:03:26
  Speaker 9: Tongue is hanging out of his lip for a second.
• 1:03:31
  Speaker 9: And when the tongue disappeared, it's like, oh, excuse me.
• 1:03:35
  Speaker 9: Everybody laughed. Everybody thought it was so funny.
• 1:03:38
  Speaker 6: And then I saw it.
• 1:03:40
  Speaker 9: Decades later, and the audience was like, they don't do drugs.
• 1:03:45
  Speaker 6: That's good. He seems like a good role model for kids.
• 1:03:53
  Speaker 2: Well, I mean, that's something, watching Asylum of Satan, I
• 1:03:56
  Speaker 2: think that's one of the things I respond to, because
• 1:03:59
  Speaker 2: if you look at the basics of it, it's pretty cheesy,
• 1:04:02
  Speaker 2: and it seems like it would be something to just
• 1:04:04
  Speaker 2: laugh at, but I think it's... Again, I come back
• 1:04:07
  Speaker 2: to that 70s tone, especially in horror movies, but even
• 1:04:11
  Speaker 2: the action movies kind of have their own grimy tone,
• 1:04:14
  Speaker 2: but the horror movies specifically have such a thing. If
• 1:04:18
  Speaker 2: you just like that tone, and you like that type
• 1:04:21
  Speaker 2: of movie... There's like a whole bunch of them out there,
• 1:04:23
  Speaker 2: and this one fits it perfectly. It's just those creepy scenes,
• 1:04:27
  Speaker 2: some of which I don't even know why they're there.
• 1:04:29
  Speaker 2: What's the one-eyed werewolf for? I'm not really sure, but
• 1:04:33
  Speaker 2: it's kind of awesome.
• 1:04:36
  Speaker 9: There's also something, too, just about the fashion.
• 1:04:39
  Speaker 6: That works with horror.
• 1:04:41
  Speaker 9: It's horror alright to me that guy's plaid jacket foreshadows
• 1:04:47
  Speaker 9: the beast at the end I.
• 1:04:49
  Speaker 2: Don't know that's rivaling the checkered pants because the checkered.
• 1:04:53
  Speaker 9: Pants oh the pants too yeah they just just the
• 1:04:56
  Speaker 9: whole thing it tells you that something horrible is happening
• 1:05:00
  Speaker 9: in this world it was.
• 1:05:01
  Speaker 8: Everywhere though yeah it was everywhere TV.
• 1:05:04
  Speaker 4: The Sears catalog everywhere And, you know, it was that
• 1:05:07
  Speaker 4: whole weird homogenization of the 60s that was taking place
• 1:05:11
  Speaker 4: in the 70s.
• 1:05:11
  Speaker 8: In the 60s, people dressed wild if they were counterculture.
• 1:05:14
  Speaker 8: Now it gets assimilated.
• 1:05:15
  Speaker 2: This is the series catalog version of the 60s.
• 1:05:19
  Speaker 9: What they called the plastic people who would dress up
• 1:05:23
  Speaker 9: as hippies on weekends.
• 1:05:25
  Speaker 6: It's there.
• 1:05:27
  Speaker 8: It's very evident.
• 1:05:28
  Speaker 7: Yeah.
• 1:05:29
  Speaker 8: You know, I had some of those pants as a kid.
• 1:05:31
  Speaker 2: That's the thing. I look back at my pictures and
• 1:05:33
  Speaker 2: I'm like, what did you dress me in? And lately,
• 1:05:36
  Speaker 2: it's funny, I always blame my parents. Lately, my mom
• 1:05:40
  Speaker 2: came out and was like, your grandmother made those.
• 1:05:43
  Speaker 8: She made you.
• 1:05:44
  Speaker 2: We had to put you in them.
• 1:05:46
  Speaker 8: She was so proud of those pants.
• 1:05:47
  Speaker 2: So she was always there on the photo occasions, obviously,
• 1:05:50
  Speaker 2: because there's so many pictures of me wearing horrible, horrible clothes.
• 1:05:53
  Speaker 8: Oh, yeah, I had some red, white, and blue check pants.
• 1:05:55
  Speaker 4: Yep.
• 1:05:57
  Speaker 6: I wouldn't know anything about it, though.
• 1:05:59
  Speaker 8: Everybody was dressed in ridiculous clown line.
• 1:06:01
  Speaker 2: Somewhere there's a burnt orange turtleneck.
• 1:06:04
  Speaker 6: I had a lot of those.
• 1:06:05
  Speaker 2: Yeah, and I'm like, I couldn't tell you. That was
• 1:06:08
  Speaker 2: probably the last time I wore a turtleneck. But this
• 1:06:10
  Speaker 2: guy in the movie, every scene, he's got another turtleneck on.
• 1:06:13
  Speaker 2: I'm just like, those are weird. Nobody wears those now.
• 1:06:16
  Speaker 5: You know, it's interesting that you would take such time
• 1:06:19
  Speaker 5: into cultivating such a manly mane of chest hair only
• 1:06:23
  Speaker 5: to cover it up with a turtleneck. Is it like
• 1:06:24
  Speaker 5: a surprise for the ladies?
• 1:06:26
  Speaker 2: Well, it's actually.
• 1:06:28
  Speaker 9: I happen to know you don't really have to cultivate
• 1:06:31
  Speaker 9: the chest hair. You don't have to, like, put in
• 1:06:34
  Speaker 9: rows and, like, water it or anything.
• 1:06:37
  Speaker 2: It just happens.
• 1:06:39
  Speaker 5: There's no, like, manscaping whatsoever.
• 1:06:41
  Speaker 6: I mean, it's, like, so.
• 1:06:43
  Speaker 8: Again, now I'm sure there is.
• 1:06:45
  Speaker 5: Not like it is today.
• 1:06:47
  Speaker 8: Now we've got that weird era of, you know, manscaping.
• 1:06:51
  Speaker 8: It's very strange to me.
• 1:06:52
  Speaker 9: Oh, the kid from Rushmore said for that part, They actually.
• 1:07:00
  Speaker 6: Waxed his chest.
• 1:07:03
  Speaker 2: And he kept it.
• 1:07:04
  Speaker 9: It's just like, when are you going to do that?
• 1:07:08
  Speaker 9: Just this chest plate they tore off his hair.
• 1:07:11
  Speaker 2: Nice.
• 1:07:14
  Speaker 9: God, that had to be excruciating.
• 1:07:19
  Speaker 8: It is reflective of that. I was a kid then.
• 1:07:22
  Speaker 4: Yeah. So it was not a world I was privy to,
• 1:07:26
  Speaker 4: going downtown to the Grime Houses and seeing all those movies.
• 1:07:29
  Speaker 8: But I saw it in the paper.
• 1:07:31
  Speaker 2: I remember the advertising and stuff.
• 1:07:34
  Speaker 4: And I read the Monster Magazine and I saw all
• 1:07:36
  Speaker 4: this really gnarly horror that was being promoted. I wanted
• 1:07:41
  Speaker 4: very badly to be a part of it. And so
• 1:07:43
  Speaker 4: when I was able to finally see it a decade later,
• 1:07:47
  Speaker 4: it made sense.
• 1:07:47
  Speaker 2: It was the same thing. I think I remember bits
• 1:07:49
  Speaker 2: and pieces, but it was when it hit that 80s
• 1:07:52
  Speaker 2: wave of cable TV. I was, again, every weekend watching
• 1:07:56
  Speaker 2: Joe Bob's Drive-In Theater, and he's running these movies. It
• 1:08:01
  Speaker 2: took a long time, but I feel like I still
• 1:08:03
  Speaker 2: sort of had that experience. It just came later in
• 1:08:05
  Speaker 2: my life, but it's that same appreciation for this.
• 1:08:09
  Speaker 9: It's funny, I grew up in a smaller town that
• 1:08:12
  Speaker 9: didn't really have that. But I was aware of it
• 1:08:15
  Speaker 9: because I had the magazines and stuff. And so I
• 1:08:20
  Speaker 9: would just sneak out and ride my bike around the town.
• 1:08:23
  Speaker 9: I felt like there was something out there, but it
• 1:08:27
  Speaker 9: actually wasn't there in my town.
• 1:08:29
  Speaker 8: It was just... It was out there.
• 1:08:31
  Speaker 2: It was just a little further out there.
• 1:08:33
  Speaker 9: Yeah, you don't know where it is.
• 1:08:34
  Speaker 8: It was here on 4th and on Market.
• 1:08:36
  Speaker 6: But we didn't come downtown.
• 1:08:38
  Speaker 1: Yeah, I didn't.
• 1:08:40
  Speaker 2: I loitered around and showcased.
• 1:08:41
  Speaker 8: We stayed in the suburbs.
• 1:08:43
  Speaker 9: I lived at Showcase.
• 1:08:46
  Speaker 8: Showcase was as far in as I got.
• 1:08:47
  Speaker 4: It was still there to a degree in the late
• 1:08:53
  Speaker 4: 70s and right up until the very early 80s. My
• 1:08:55
  Speaker 4: dad is a hoarder. but one of the great benefits
• 1:09:01
  Speaker 4: of my dad being a hoarder is I got a
• 1:09:03
  Speaker 4: bunch of old newspapers from the 70s. Got all these
• 1:09:07
  Speaker 4: entertainment sections from back in that era. You opened those
• 1:09:09
  Speaker 4: papers up, man. Movie ads were wall to wall. It
• 1:09:13
  Speaker 4: was like picking up the Village Voice. Full pages, full pages,
• 1:09:17
  Speaker 4: full pages. And it's all this great grindhouse stuff because
• 1:09:21
  Speaker 4: you had drive-ins running everything. You had all the downtown
• 1:09:23
  Speaker 4: theaters running everything. And you had all the porno theaters
• 1:09:26
  Speaker 4: running everything. And there was an era there in the
• 1:09:28
  Speaker 4: mid-70s where everybody was running porno because it made money.
• 1:09:32
  Speaker 9: Actually, I'm pretty sure I remember seeing a movie that
• 1:09:36
  Speaker 9: was very similar to this one, except the woman was naked.
• 1:09:41
  Speaker 9: And I specifically remember a scene where she was eating
• 1:09:47
  Speaker 9: at a dining table And.
• 1:09:49
  Speaker 8: She was naked.
• 1:09:50
  Speaker 2: And it was just an odd scene.
• 1:09:52
  Speaker 8: I think, yeah.
• 1:09:53
  Speaker 6: Is it, was it Tonight I'll Possess Your Corpse?
• 1:09:57
  Speaker 10: I don't know.
• 1:09:58
  Speaker 6: It's like a Spanish, it's like this crazy war movies
• 1:10:00
  Speaker 6: I made in the 60s.
• 1:10:01
  Speaker 8: Yeah, it's Coffin Joe.
• 1:10:03
  Speaker 6: Yeah, oh.
• 1:10:05
  Speaker 11: Yeah, it's like black and white for like the first
• 1:10:08
  Speaker 11: section and then like she goes to hell and it
• 1:10:09
  Speaker 11: becomes color.
• 1:10:10
  Speaker 8: And it gets all fucked up and it's like, I
• 1:10:12
  Speaker 8: love this stuff. But yeah, there were a lot of
• 1:10:14
  Speaker 8: those satanic pictures back then.
• 1:10:16
  Speaker 2: Yeah.
• 1:10:16
  Speaker 4: Queen of the Witches, Simon King of the Witches and
• 1:10:18
  Speaker 4: all this stuff. They would throw in nudity and whatever
• 1:10:21
  Speaker 4: they could.
• 1:10:21
  Speaker 2: And all the Wicker Man stuff. Once that hit, yeah,
• 1:10:24
  Speaker 2: it's bringing it in from England.
• 1:10:26
  Speaker 4: By the time Hollywood picked up on it, which is
• 1:10:29
  Speaker 4: like The Omen, it got boring to me.
• 1:10:32
  Speaker 2: It's pretty watered down at that point.
• 1:10:33
  Speaker 8: It's all a part of the counterculture stuff. Bill was
• 1:10:38
  Speaker 8: trying to.
• 1:10:38
  Speaker 4: Tap into that to a degree with Asylum, and then
• 1:10:41
  Speaker 4: still not upset Mom and Dad too much. I've seen
• 1:10:44
  Speaker 4: that in action with filmmakers before, too. I... did make
• 1:10:49
  Speaker 4: up for nominally a movie that was shot across the
• 1:10:53
  Speaker 4: river by a guy, I won't mention any names, but
• 1:10:58
  Speaker 4: his parents are wealthy and they were indulging his hobby.
• 1:11:01
  Speaker 4: In the film, he wanted to have the villain cut
• 1:11:06
  Speaker 4: in half from head to crotch.
• 1:11:10
  Speaker 8: Just with a samurai sword.
• 1:11:12
  Speaker 4: He wanted me to engineer this and as usual, he
• 1:11:16
  Speaker 4: wanted it done yesterday and he had the money.
• 1:11:18
  Speaker 6: Nice.
• 1:11:19
  Speaker 4: And so I said, well, we can do it the
• 1:11:20
  Speaker 4: proper way and build sets with false floors and do
• 1:11:23
  Speaker 4: all this stuff with umatics.
• 1:11:24
  Speaker 8: And I got a dummy. I got a store window dummy.
• 1:11:29
  Speaker 4: I said, okay, well, we'll have to shoot it from behind,
• 1:11:31
  Speaker 4: and we'll have to hinge it, and we'll put guts
• 1:11:33
  Speaker 4: and stuff in there. And then we go down and
• 1:11:36
  Speaker 4: shoot it, and it's shooting at his parents' house, naturally.
• 1:11:40
  Speaker 4: Very nice place. I said, so, I said, well, what
• 1:11:43
  Speaker 4: about blood?
• 1:11:44
  Speaker 6: You want to?
• 1:11:45
  Speaker 8: Obviously, a man's being cleaved.
• 1:11:47
  Speaker 2: There's going to be a little bit of blood.
• 1:11:48
  Speaker 8: There's going to be some blood here.
• 1:11:49
  Speaker 4: And I said, you need to put down the drop
• 1:11:52
  Speaker 4: claws and stuff like that. He's like, well, I really
• 1:11:55
  Speaker 4: don't want to get any blood on my dad's carpet.
• 1:11:59
  Speaker 8: So we don't really need any.
• 1:12:01
  Speaker 2: Oh, okay.
• 1:12:02
  Speaker 4: I was like, wow.
• 1:12:04
  Speaker 8: But they had hired him a real production unit out
• 1:12:05
  Speaker 8: of L.A.
• 1:12:06
  Speaker 4: To shoot this.
• 1:12:06
  Speaker 8: And they were all just like, it's been this way all.
• 1:12:10
  Speaker 2: Week.
• 1:12:11
  Speaker 8: So I think Bill was in that position. It was like,
• 1:12:12
  Speaker 8: mom and dad have money, but they don't want, you know.
• 1:12:15
  Speaker 8: Things to get too messy.
• 1:12:17
  Speaker 2: But this one still, like, watching it, it's like it's got,
• 1:12:20
  Speaker 2: and again, some of it may just be that weird
• 1:12:21
  Speaker 2: 70s thing in the air, but like those shots of the...
• 1:12:25
  Speaker 2: people in the hoods out on the lawn in wheelchairs
• 1:12:29
  Speaker 2: is just creepy and them sitting there with eggs in
• 1:12:32
  Speaker 2: front of them is like.
• 1:12:33
  Speaker 4: It's just weird the egg yeah he would slip on
• 1:12:36
  Speaker 4: things like.
• 1:12:37
  Speaker 2: That there were just weird shots in there that I'm
• 1:12:39
  Speaker 2: like visually it's like he definitely had style and it's
• 1:12:43
  Speaker 2: like you can see him sort of capturing these weird
• 1:12:46
  Speaker 2: creepy moments even in a movie that by the end
• 1:12:48
  Speaker 2: of it doesn't have a ton of stuff but it's
• 1:12:50
  Speaker 2: got those moments that are still really creepy.
• 1:12:53
  Speaker 4: Yeah I think enthusiasm comes through not coherence, you know.
• 1:12:59
  Speaker 9: All that series of shots of her in the window,
• 1:13:02
  Speaker 9: he kept going back to that as like a little motif.
• 1:13:07
  Speaker 2: Help me, help me. Why can't they hear me? Because
• 1:13:10
  Speaker 2: you're kind of whispering. There's moments when you kind of
• 1:13:17
  Speaker 2: want to answer them. Because there's the other one where
• 1:13:19
  Speaker 2: they go, they're like, don't you know Dr. Spector? And
• 1:13:22
  Speaker 2: I'm like, Yeah, isn't he the villain on The Venture Brothers?
• 1:13:26
  Speaker 2: That's exactly who he sounds like to me.
• 1:13:28
  Speaker 4: There was a comic book back then. I think it
• 1:13:30
  Speaker 4: was a gold key, and it was like Dr. Spector's
• 1:13:33
  Speaker 4: Tales of.
• 1:13:34
  Speaker 8: That's the thing. Even the name was not that original.
• 1:13:37
  Speaker 2: When I heard the name, I was like, isn't there
• 1:13:39
  Speaker 2: already a Dr. Spector? So yeah, I just thought that
• 1:13:42
  Speaker 2: was funny. It's exactly what he sounds like to me.
• 1:13:45
  Speaker 2: I think he was thrilled because he had Charlie. He's like, well,
• 1:13:47
  Speaker 2: I've got the local horror mansion. Even though he's not
• 1:13:50
  Speaker 2: a legend yet, I've got him. He's enthusiastic that And
• 1:13:53
  Speaker 2: he wants to be in all my pictures. So he
• 1:13:55
  Speaker 2: was happy to have that. He was happy to have people.
• 1:13:58
  Speaker 8: Come in. And he had enough money to bring in
• 1:14:00
  Speaker 8: an actress who was at least recognizable. It was enthusiastic.
• 1:14:06
  Speaker 6: But like.
• 1:14:08
  Speaker 8: I said, not well received.
• 1:14:11
  Speaker 4: Everything was done locally. I have one of the only
• 1:14:14
  Speaker 4: one sheets. It's over at Bo's right now. It was
• 1:14:18
  Speaker 4: locally printed. It's a full 27 by 41 sheet, but
• 1:14:21
  Speaker 4: they did it with a local printer. Just did enough
• 1:14:24
  Speaker 4: to put up, I guess, at the Vogue because it
• 1:14:26
  Speaker 4: got no distribution beyond that.
• 1:14:28
  Speaker 8: They did an ad tear sheet.
• 1:14:30
  Speaker 7: I've got a.
• 1:14:30
  Speaker 8: Press book for it.
• 1:14:32
  Speaker 4: And they did go through all the motions of proper distribution.
• 1:14:35
  Speaker 2: But it was just in this area.
• 1:14:36
  Speaker 6: It was playing.
• 1:14:37
  Speaker 4: It was playing.
• 1:14:38
  Speaker 8: I often accuse little filmmakers.
• 1:14:39
  Speaker 2: We're just playing.
• 1:14:41
  Speaker 6: It was kind of like that.
• 1:14:42
  Speaker 8: Nice. But, you know, even though I think it was
• 1:14:45
  Speaker 8: Studio 35, that's how they call themselves.
• 1:14:48
  Speaker 4: So, you know.
• 1:14:50
  Speaker 8: But, you know, he had enough energy that it kept going. Sorry,
• 1:14:54
  Speaker 8: I had to go do work.
• 1:14:55
  Speaker 4: Oh, work.
• 1:14:55
  Speaker 6: Press some buttons.
• 1:14:58
  Speaker 4: Well, I think we're rounding it out.
• 1:15:01
  Speaker 2: Do you have any last minutes?
• 1:15:02
  Speaker 15: He's back.
• 1:15:04
  Speaker 2: Do you have any last words?
• 1:15:05
  Speaker 4: What 70s culture was like. Asylum was kind of reflective
• 1:15:09
  Speaker 4: of that.
• 1:15:10
  Speaker 2: Any wrap-up for Asylum of Satan?
• 1:15:13
  Speaker 14: I'm going to say if Girdler was around in the 80s,
• 1:15:14
  Speaker 14: he definitely would have been big in the VHS realm.
• 1:15:16
  Speaker 2: Oh, yeah.
• 1:15:17
  Speaker 6: There's no doubt there. Well, he kind of was.
• 1:15:20
  Speaker 4: I mean, he was three on a meat hook. He
• 1:15:22
  Speaker 4: kind of vanished into public domain, and boy, that tape
• 1:15:24
  Speaker 4: was everywhere.
• 1:15:25
  Speaker 8: And I'm sure it made somebody a.
• 1:15:27
  Speaker 6: Lot of money. Well, didn't Abby end up in public domain, too?
• 1:15:30
  Speaker 6: Never legitimately.
• 1:15:33
  Speaker 4: Because of the lawsuit, because it was technically AIP, I
• 1:15:37
  Speaker 4: don't think I can remember seeing a legitimate Abby VHS.
• 1:15:41
  Speaker 9: I read somewhere that Grizzly made more in rentals than Blackula.
• 1:15:47
  Speaker 8: Wow.
• 1:15:47
  Speaker 14: Well, apparently Grizzly did gross more that year than Monty
• 1:15:51
  Speaker 14: Python and the Holy Grail.
• 1:15:52
  Speaker 6: Yeah.
• 1:15:52
  Speaker 13: Yeah.
• 1:15:52
  Speaker 2: It would have made a huge amount of money.
• 1:15:55
  Speaker 4: It's like four-walling, you know, rural distribution made a lot
• 1:15:58
  Speaker 4: of money showing that movie.
• 1:16:01
  Speaker 14: And he was hot on the heels of Jaws. I mean,
• 1:16:04
  Speaker 14: were they, it was less than a year later, wasn't it?
• 1:16:07
  Speaker 6: It was like quick. It was really quick.
• 1:16:09
  Speaker 8: And that's what they did back then is they were
• 1:16:10
  Speaker 8: good at it.
• 1:16:11
  Speaker 13: Yeah.
• 1:16:12
  Speaker 8: Exploitation was on its toes. They would get something out.
• 1:16:15
  Speaker 6: Pretty quick.
• 1:16:16
  Speaker 8: You know, they were still doing that in the 80s.
• 1:16:19
  Speaker 4: Yeah.
• 1:16:19
  Speaker 8: Or sort of the Sorcerer came out like the week
• 1:16:21
  Speaker 8: before Conan.
• 1:16:23
  Speaker 6: They were on top.
• 1:16:24
  Speaker 5: Oh.
• 1:16:25
  Speaker 6: We were first.
• 1:16:26
  Speaker 2: You ripped us off.
• 1:16:27
  Speaker 6: Yeah.
• 1:16:27
  Speaker 8: So they could do stuff like that.
• 1:16:30
  Speaker 2: Well, once again, we've had fun with the movie and
• 1:16:33
  Speaker 2: thank you to William. We went to see him today. So, yeah,
• 1:16:37
  Speaker 2: it's just sort of appreciating him and sort of appreciating
• 1:16:41
  Speaker 2: the fact that he was from here and is now
• 1:16:43
  Speaker 2: buried here. So we Yeah, I thought it was kind
• 1:16:46
  Speaker 2: of a fun tie-in to go over and visit him
• 1:16:47
  Speaker 2: for the intro there. But yeah, he's done some fun movies.
• 1:16:53
  Speaker 14: If anything, he's deserving of one of the Louisville's William banner.
• 1:16:57
  Speaker 14: Because you have all the Louisville's so-and-so, all the banners
• 1:17:00
  Speaker 14: around town. It's like, he deserves one.
• 1:17:02
  Speaker 2: Yeah, they do these huge banners that are on the
• 1:17:04
  Speaker 2: side of buildings. And they claim the people that we have,
• 1:17:07
  Speaker 2: which it's not a huge list, but we've got a
• 1:17:09
  Speaker 2: few impressive people. But yeah, I.
• 1:17:12
  Speaker 8: Think he should be there.
• 1:17:13
  Speaker 6: There'll be a lot of scratching of.
• 1:17:14
  Speaker 10: Heads, I think.
• 1:17:17
  Speaker 14: There's some scratching of heads by me when I'm like,
• 1:17:19
  Speaker 14: I don't know who this person is supposed to be.
• 1:17:20
  Speaker 2: Well, is there a Todd Brown in one?
• 1:17:23
  Speaker 6: No.
• 1:17:23
  Speaker 2: That's the thing. I was like, how can you have
• 1:17:26
  Speaker 2: any of these without him? Because that's one of the
• 1:17:28
  Speaker 2: most impressive people we've had. All the ones that are
• 1:17:29
  Speaker 2: up are all like, you know.
• 1:17:31
  Speaker 6: Freaks is too on PC. Yeah.
• 1:17:34
  Speaker 10: Screw them.
• 1:17:34
  Speaker 6: It's not Bob.
• 1:17:35
  Speaker 2: Dracula's huge.
• 1:17:36
  Speaker 6: Yeah.
• 1:17:37
  Speaker 8: They only go back, you know, once a game, you know,
• 1:17:39
  Speaker 8: sports figures. Yeah.
• 1:17:40
  Speaker 6: Sports figures.
• 1:17:41
  Speaker 2: Like Paul Marnigan.
• 1:17:42
  Speaker 6: Muhammad Ali.
• 1:17:43
  Speaker 2: Yeah, of course, Muhammad Ali.
• 1:17:46
  Speaker 8: Todd Browning would be great.
• 1:17:47
  Speaker 2: Todd Browning's up there.
• 1:17:48
  Speaker 8: And Gerdler.
• 1:17:51
  Speaker 2: That's even more reason to put him up there.
• 1:17:55
  Speaker 8: He ran away as quick as he could.
• 1:17:56
  Speaker 7: Oh, yeah.
• 1:17:57
  Speaker 2: We all try to, but somehow we end up.
• 1:17:58
  Speaker 8: It's impossible. I've been trying.
• 1:18:00
  Speaker 2: There's no escape. Gerdler loves this town.
• 1:18:02
  Speaker 6: It's obvious in the movies and locally.
• 1:18:05
  Speaker 2: He's one of the exceptions to that rule. But, yep,
• 1:18:09
  Speaker 2: I think it He's definitely worth looking into if you
• 1:18:12
  Speaker 2: haven't seen him.
• 1:18:12
  Speaker 14: It'll work well, at least they have the William Girdler section,
• 1:18:16
  Speaker 14: probably the only video store in the U.S.
• 1:18:17
  Speaker 8: That does.
• 1:18:18
  Speaker 2: I don't know. The hardcore ones that are still out
• 1:18:21
  Speaker 2: there might have it. There's only a handful, but yeah,
• 1:18:25
  Speaker 2: go look for it. Does anybody have a good closing song?
• 1:18:29
  Speaker 8: Song?
• 1:18:30
  Speaker 2: A song to go with Satan or an asylum or.
• 1:18:34
  Speaker 8: If not.
• 1:18:35
  Speaker 2: Well, I was throwing that in earlier, I think. But then,
• 1:18:40
  Speaker 2: I don't know. The only other one I found... You
• 1:18:41
  Speaker 2: should just end with Red Light Lady then. Oh, God.
• 1:18:44
  Speaker 6: Just make people listen to that.
• 1:18:46
  Speaker 9: There's that Satan song in the original score of Hair.
• 1:18:51
  Speaker 9: Elevator going down.
• 1:18:52
  Speaker 6: What is it?
• 1:18:55
  Speaker 9: Oh, this day have I been expelled from high school heaven. Yeah,
• 1:18:59
  Speaker 9: that's the weirdest song. That's a great song, though. And
• 1:19:04
  Speaker 9: there's Satan's in it somewhere.
• 1:19:06
  Speaker 4: Yeah.
• 1:19:07
  Speaker 2: Or I've got, you know, I found the Rondells do
• 1:19:10
  Speaker 2: a song called Satan's Theme.
• 1:19:12
  Speaker 8: Cool.
• 1:19:12
  Speaker 2: It's just an instrumental. I think, yeah.
• 1:19:15
  Speaker 8: They used to have the A.I.P. Abbey record that had
• 1:19:18
  Speaker 8: the radio spots and stuff.
• 1:19:20
  Speaker 10: Nice.
• 1:19:20
  Speaker 2: So we'll end on Satan's Theme and leave it with that.
• 1:19:24
  Speaker 6: Otherwise, I guess that about does it.
• 1:19:26
  Speaker 2: We will return next week. Same gig time, same gig feed.
• 1:19:28
  Speaker 2: Thanks for listening. I would love to be part of
• 1:21:23
  Speaker 2: that that's almost like some of them there's some The
• 1:21:26
  Speaker 2: Exorcist and then all the copies yeah well that's yeah
• 1:21:29
  Speaker 2: that's kind of it's own series and.
• 1:21:30
  Speaker 18: There's tons of stories in the production of that just
• 1:21:32
  Speaker 18: like the angel who fell banished forever to hell today
• 1:21:37
  Speaker 18: have I been expelled from high school heaven that's the song.
• 1:21:42
  Speaker 9: From the original there you go yeah that's a great song.
• 1:21:46
  Speaker 1: This episode is a production of Movie Meltdown produced and
• 1:21:49
  Speaker 1: edited by The Oddity Studios with opening music performed by
• 1:21:52
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• 1:21:55
  Speaker 1: the show, email producer at moviemeltdown.com.