Latest / All The Right Movies / The Texas Chain Saw Massacre (1974) | Ep. 5 - Part 1

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The Texas Chain Saw Massacre (1974) | Ep. 5 - Part 1 · All The Right Movies

• 0:06
  The film which you are about to see is an account of the tragedy
• 0:10
  which befell a group of five youths, in particular Sally
• 0:14
  Hardesty and her invalid brother Franklin.
• 0:17
  It is all the more tragic in that they were young, but had
• 0:21
  they lived very, very long lives, they could not have
• 0:25
  expected, nor would they have wished to see as much of the mad
• 0:29
  and macabre as they were to see that day.
• 0:32
  For them, an idyllic summer afternoon drive became a
• 0:35
  nightmare. The events of that day were to
• 0:38
  lead to the discovery of one of the most bizarre crimes in the
• 0:41
  annals of American history, the Texas Chainsaw Massacre.
• 0:47
  A group of friends visit their old family home in Texas amid a
• 0:50
  social and economic downturn. They stumble into a night of
• 0:53
  hell as they make acquaintance with the Sawyer family and the
• 0:56
  Chainsaw, Wheeled and Leatherface.
• 0:58
  Toby Hooper's Retina Scorch and Blast of Terror was hugely
• 1:01
  influential to the horror genre as it horrified movie goes, and
• 1:04
  gave us one of the most unique and iconic villains of all time.
• 1:07
  My name is Luke and in the camper van with me today are
• 1:10
  Westie. You, you can have dinner with
• 1:12
  us. You like head cheese, my brother
• 1:14
  Makes it real good. You like it?
• 1:18
  And Matt, look what your brother did to the door.
• 1:24
  In a behind the scenes tale almost as terrifying as the film
• 1:27
  itself, who will survive and what will be left of us as we go
• 1:30
  deep into the heart of The Texas Chainsaw Massacre?
• 1:53
  Hello and welcome to All the Right Movies, a BBQ roster and
• 1:56
  podcast on classic and hit films.
• 1:58
  Today we're talking about the bona fide, the horror classic,
• 2:01
  The Texas Chainsaw Massacre. Yeah, yeah, yeah.
• 2:06
  Before we do, just a note to say that we've got some excellent
• 2:08
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• 2:11
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  Right Movies fixed, then that's the place to go.
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• 2:22
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  Right Movies For more information and to sign up.
• 2:37
  Therefore, yeah, you won't be disappointed.
• 2:39
  Sound a bit more FFS in about it there Matt.
• 2:44
  You won't be disappointed. Maybe.
• 2:50
  Right. OK, let's tackle this, Matt.
• 2:53
  Texas Chainsaw Massacre. Why?
• 2:54
  So first time I saw this, I don't think that being a film,
• 2:58
  I've been like anticipating as much as this because obviously
• 3:01
  you're so hard to get hold of. And I just heard about it for so
• 3:04
  long and that poster and the tagline on the poster, I was
• 3:08
  like, this is going to be insane.
• 3:09
  It's going to be amazing. And I was underwhelmed on 1st
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  view and wow, because it wasn't the film I was expecting at the
• 3:17
  end. I was like, well, that didn't
• 3:19
  pan out how I thought it was going to pan out, but it was
• 3:22
  still kind of hanging around in me brain.
• 3:24
  And then eventually, I think to see a film isn't what you were
• 3:27
  expecting to be. I don't think that's really a
• 3:29
  valid criticism because that's on you.
• 3:31
  So the second time went watch because I didn't think it was
• 3:34
  terrible. I just, I've missed something.
• 3:36
  The second time I saw it, no one was going to be.
• 3:39
  That's when it just all clicked for me.
• 3:42
  And it just stands alone in the horror genre.
• 3:45
  There's been loads of films that have come after that have tried
• 3:48
  to copy it, but they don't have anything like the effect that
• 3:50
  this one does. I am, yes, it's rough around the
• 3:53
  edges, but that's what gives us its power.
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  And I'd much rather be talking about a film that does have have
• 3:59
  such a unique sensibility than something, you know, generic
• 4:02
  like Scream or The Conjuring. So yeah, it's a great one.
• 4:07
  OK, slammed scream in The Conjuring.
• 4:11
  It's all right, theater. Westie.
• 4:14
  Texas Chainsaw Massacre what your.
• 4:17
  Large nemesis. It's not though.
• 4:18
  Well, it was for so many years, but now it's not.
• 4:21
  I used to go over my cousin's house when I was like 8 years
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  old and he used to get Fangoria magazine, remember?
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  And and you had like posters, you had the Texas Chainsaw
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  Massacre poster and just them words.
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  The Texas Chainsaw Massacre is probably the the best collection
• 4:35
  of words for any film ever. It promises so much with the
• 4:39
  title that you have to see it. It's just immediately engaging.
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  And when I did see it, I think I was too young to watch it.
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  Got it on a pirate VHS copy which made it even worse because
• 4:49
  it's rough anyway and I love the the the 4K restoration just
• 4:53
  looks unbelievable now. But back then that just made it
• 4:56
  100 times worse because the volume was louder than it should
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  have been and the picture was the quality it shouldn't have
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  been. So everything was just
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  mismatched in the perfect way and I felt disgusted by it.
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  I felt physically I'll for about 7 to 8 years after I'd seen.
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  For the phases. Just remembering back certain
• 5:16
  bits. This is one of them films that
• 5:18
  even if you watch that like 10 minutes, that 10 minutes stays
• 5:21
  with you forever. It just burns itself into your
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  brain. It turns itself into your whole
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  feeling and your whole psyche and just questions like what do
• 5:30
  you believe is right and wrong and and your morals and
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  everything about it just makes you so uncomfortable to watch.
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  And I love it now for that reason.
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  I love delving into all of the facts and all of the backstories
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  and all of the making of us because there's so much to talk
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  about with this film. It's so important.
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  It's. I mean, you're in for a rough
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  ride because there's so much to talk about.
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  Here, but it is great. I mean the the everything that
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  came before it. And then this was just a punch
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  in the face. You know, you had Psycho, then
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  Night of the Living Dead, then Rosemary's Baby, then Last House
• 6:00
  on the Left, then The Exorcist, and then this just going this
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  is, it was stripping everything away.
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  You know, the gloss that was building.
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  Even The Exorcist has that little bit of a shield between
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  you and what's going on. This just strips that curtain
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  away and it just absolutely assaults you and it's wonderful.
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  Love it. Yes, I must have had a similar
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  experiences. Sounds the same as yours, Matt,
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  that it was in an elite group of films that I wanted to watch
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  when I was a teenager, but I couldn't because they were
• 6:28
  banned in the UK. So that was things like
• 6:30
  Clockwork Orange, The Exorcist, this was firmly in that group.
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  And it finally got released over here in 1999 and me and my
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  friends were like crazy excited about it.
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  And it was playing at a cinema about 20 miles from us and none
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  of us drove. So quite I have to admit this,
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  we inveigled somebody who we knew that drove to take us and
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  we tried to give it the hard sell about how awesome it was
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  going to be and it almost didn't pay off.
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  And. At the last minute, he folded
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  and we went. Unlike you, Matt, I was blown
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  away by it. I wasn't prepared for this at
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  all. And the guy that we went with,
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  he didn't like it. He didn't like it at.
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  All he charged you twice as much for petrol money.
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  Don't even think we'd pay petrol.
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  Money. Oh amazing.
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  It was much more intense than anything I'd seen before and
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  probably since really, I'm really excited to talk about
• 7:25
  this one because like you said, Westie, there's some absolutely
• 7:28
  outrageous behind the scenes tales to.
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  Tell yeah, amazing. And as it's coming up to
• 7:33
  Halloween, got to talk about a horror film.
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  Well, of course. And what better?
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  The Texas Chainsaw Massacre was produced by Toby Hooper,
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  distributed by Bryanston Distribution Company and
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  released on the 11th of October 1974.
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  Filmed in Central Texas, it was Co written by Toby Hooper and
• 7:50
  Kim Henkel with Hooper also picking up direct and Judy's.
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  It stars Marilyn Burns, Gunner Hanson, Edwin Neal, Jim Sidor
• 7:57
  and Paul Partain. Let's do it the beginning.
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  Straight in as the film starts, a voice over tells us of the
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  macabre tragedy that befell a group of five youths.
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  We then cut to a masterful combination of sound and image
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  as the tone of the film is set immediately Westie opening
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  titles and those images. Fantastic.
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  That opening, that opening narration is just amazing.
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  It's almost like a like a news reader.
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  John Laraquette read it and I do.
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  I've read read some kind of behind the scenes stuff in some
• 8:33
  interviews. He got paid with a joint.
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  Yeah, that was tiny budget. Yeah, the devil's letters
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  straight in there. And he was in Star Trek 3,
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  Search for Spock. I've had to say that because of
• 8:48
  John. He's also Captain Stillman in
• 8:51
  Stripes, if anyone is aware of who that is.
• 8:54
  Yeah, I'm I'm a fan of Lara Ketten.
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  That's because he's in blind Date with Bruce Willison
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  Basinger. He plays the mad ex-boyfriend of
• 9:02
  Basinger. He's hilarious and.
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  That but he's narration here. It's fantastic.
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  It's just automatically so unnerving.
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  Like I said, it's almost like a news reader.
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  It's so matter of fact. It's, it's so based in fact at
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  the end you're reading it and it's getting, you know,
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  delivered in that voice and then you start getting them shots and
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  it's that sound of that flash and that camera, which reminds
• 9:23
  me of kind of the autopsy seen in Silence of the Lambs.
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  It's a similar kind of shot, but you're actually.
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  A punctuating. Yeah, it's just that it's a
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  punch in the face every single time and you're just on edge.
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  So like I say, even if you watch the 1st 30 seconds of this film
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  and you get that first flash that's going to stay with you,
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  you still remember it, you know? And then it pulls back from
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  that. Amazing shot in the graveyard
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  with the corpses on top of the gravestone.
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  And if you see behind the scenes shots of that as well, like it
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  was built on set and Daniel Pearl made this like like a
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  wooden Dolly. But it looks like a old
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  catapult, like from old school, like from Ben Hare or something.
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  It's just really cobbled together with this tiny little
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  ball X16 millimetre on the end of it and this huge kind of
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  Dolly. But it looks amazing and you
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  know exactly what you're getting into.
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  It just pulls no punches from the from the opening sequence of
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  the film. You're just like, right, OK,
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  this is really uneasy. It's it just doesn't get any
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  easier after that. I think it's just it starts on
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  top and it doesn't dip at all. I think it's absolutely
• 10:26
  fantastic. It's a great, great opening to
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  the film. Yeah, and it's the sound of what
• 10:30
  seems like to me like razor blades going across metal wire.
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  Yeah, like, really short, sharp shocks.
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  And then that image of the rotten corpse as the radio tells
• 10:40
  the story of these horrific grave robberies.
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  And that camera pulls out to reveal another skull.
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  And then it completes the stark image of this, like, human
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  effigy, and it just hangs on it. Really, really unsettling.
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  Really unsettling and yellow credits as well, which I've got
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  to put. In, of course, you're over the
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  moon. Under the bank.
• 11:02
  Yeah, I I think what this opening does it it gives it an
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  edge of realism that you've just never seen in horror cinema
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  before. I mean, this is five years
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  before Cannibal Holocaust isn't. So it's not fan footage, but I
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  think it's trying to give it that edge of truth, that edge
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  reality that you're going to get later in horror cinema with the
• 11:19
  fine footage thing. And so, I mean, you've got Lara
• 11:21
  Cat doing that voice over. And I know Toby Huber wanted him
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  to sound like Arsen Weld when he did it, which which makes me
• 11:28
  think like, was he trying to like and to mimic the kind of
• 11:30
  War the Worlds broadcast that he did, which obviously sent
• 11:32
  certain amount of people in their panic because they thought
• 11:34
  that was real, of course. Yeah, yeah.
• 11:35
  Yeah, so you go from that and then you go into the dark and
• 11:38
  it's just those sounds of like digging and grunting.
• 11:41
  Awful. Yeah, it's pitch black, but
• 11:43
  pitch black here is a digging sound.
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  Yeah. So that's all you've got.
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  And then like the flare of that, those cameras like going off,
• 11:50
  which do they even sound like that in real life or was that
• 11:52
  like amped up? It's it sounds like a flash
• 11:55
  going off, but it's really amped up.
• 11:56
  Yes, that's really. It's.
• 11:58
  Massively exaggerated. Yeah, so there you go.
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  Another exaggeration just to put your breath on it and just those
• 12:02
  quick little glimpses of, like, rotten fingers and teeth and
• 12:06
  you're just sitting and watching this thing.
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  What the hell am I being put through here?
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  And then you get just that slow pullback that you guys have have
• 12:13
  talked about, blah, blah, scrolling with the wind behind
• 12:16
  it, picking up the dust blowing behind it.
• 12:19
  So it's like mist. It looks really like genuinely
• 12:21
  like apocalyptic, like this is the end of the world stuff we're
• 12:24
  watching. Here.
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  And underneath that you've got the news reports, which also
• 12:28
  reminds me of Night the Living Dead.
• 12:29
  You know how you've got the TV reports and that because again,
• 12:32
  I think Night the Living Dead, that was another film that tried
• 12:34
  to give it a real sense of realism.
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  So I think that really adds to it as well.
• 12:38
  And I love how that plays underneath the credits because
• 12:40
  if you're watching those credits and again, you think, what solar
• 12:43
  flares? Why am I looking at solar flares
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  now? But that that news credit, it's
• 12:47
  still going underneath. And then when you come back out
• 12:49
  of that and you get into the combine with the five kids like
• 12:52
  radio still playing and if you listen to all that news that's
• 12:54
  coming on, it's just horrible. It's like.
• 12:56
  Constantly horrific. And the buildings.
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  Collapse. There's bodies of women being
• 13:00
  found, there's a couple being arrested because they've got an
• 13:04
  18 month old child locked up in an attic.
• 13:06
  It's just this. Undercurrent of like violence
• 13:09
  and evil and destruction. It's just incredible.
• 13:12
  And then not short of the the armadillo, which I find quite
• 13:15
  interesting because the the art director is a guy called Rob but
• 13:18
  Burns. And he was responsible for doing
• 13:20
  all the the various artifacts in the film.
• 13:22
  Yeah. And to help him do that, he
• 13:23
  bought a book on DIY taxidermy because he thought that'd be
• 13:26
  useful. So that armadillo was his first
• 13:28
  attempt, but stuck in an animal he just left on the road.
• 13:31
  He thought a book on DIY taxidermy would be useful.
• 13:34
  I. Mean, that's exactly why this
• 13:37
  film. 'S going.
• 13:38
  I'll pick that up. But when they got on set as
• 13:41
  well, they were gifted because he was.
• 13:43
  He said that they were gifted when they first got on set
• 13:45
  because it was. It was supposed to be a dead dog
• 13:48
  that was then supposed to go into its eye, and then that was
• 13:50
  supposed to be kind of like the front light of the campervan.
• 13:52
  So it's supposed to be like this transition between this dead
• 13:55
  domestic animal and then going in to see the kids.
• 13:58
  But they got there and told me I thought that was just too much
• 14:00
  just to have a dead dog considering the rest of the
• 14:02
  film, right? So you say, oh, that's too much.
• 14:05
  Really. Well, that's too much.
• 14:06
  Yeah, that's. Kind of, but the got there on
• 14:08
  set and there was just a dead horse at the side of the road.
• 14:10
  And they said that would be amazing if we go from this, this
• 14:12
  decomposing horse with flies all over it.
• 14:15
  And then we would kind of crane up to the campervan and then the
• 14:17
  crew were like, now we're not shooting the horse.
• 14:19
  We're not going anywhere near it because it'll smell too bad.
• 14:21
  Then they were like, well, we'll just get this armadillo and
• 14:23
  we'll just run over it and smash its guts everywhere.
• 14:26
  And then he was like, you're not going to do that.
• 14:27
  That's my armadillo. Like I've made it was like, I
• 14:32
  never threatened to destroy your armadillo.
• 14:34
  Like it's fine. But that's how it ended up being
• 14:37
  an armadillo. They had all these different
• 14:38
  options and I think it's a really weird choice.
• 14:41
  It's a really weird choice. Well, that's one of the images
• 14:44
  that really stuck in my mind and there were a few on 1st watch,
• 14:47
  but I didn't quite know what it was in my 18 year old head.
• 14:51
  I think what is it? What the fuck is this?
• 14:53
  And that really just really freaked me out.
• 14:55
  Why is it so close to the the the screen?
• 14:58
  Why? Why is it like such big in the
• 15:00
  frame? Why?
• 15:01
  Yeah. Why am I still looking at it?
• 15:02
  It's why, yeah. Why is it still there?
• 15:06
  It's an 86 minute film. Stop wasting time on the
• 15:13
  narrations claim that it is or alludes to the fact that it's a
• 15:17
  true story. Not only did people buy that it
• 15:20
  was actually a true story, but people actually claimed that the
• 15:23
  new or new people who knew the chainsaw wheeled and madman
• 15:27
  himself. People came up to Gunner Hansen,
• 15:30
  who plays Leatherface and said things like I've met him or he's
• 15:34
  my friend's uncle or something like that.
• 15:35
  And when Hansen was saying no, no, it was fiction, it was
• 15:38
  made-up. They got really angry with him.
• 15:41
  People just need this to be a reality, don't they?
• 15:43
  Just kind of it addresses so many things and kind of
• 15:47
  reinforces so many fears that you almost want this to be true
• 15:50
  so that you can be have something to feel scared of
• 15:52
  that's justifiably scary. Yeah, I mean, it's like an urban
• 15:56
  legend come to life, isn't it? Exactly.
• 15:57
  We all had those growing up as kids, didn't we?
• 15:59
  We are not like or don't go to that house, the fellow.
• 16:02
  Yeah, the witch's house. Yeah, yeah, yeah.
• 16:05
  The truth being that it was based on a number of sources and
• 16:07
  we'll go through them as we go. But the most obvious one is
• 16:11
  serial killer and body snatcher Ed Gein, who inspired films like
• 16:14
  Psycho and The Silence of the Lambs.
• 16:17
  When searching Gein's house, police found things like masks
• 16:20
  made of human skin and furniture made of human remains, which he
• 16:23
  dug up from grave sites. Equine the scenes from the film.
• 16:26
  Terrifying stuff. Photographs from his house
• 16:29
  looked almost exactly like the house in the film.
• 16:31
  Total disarrayed, disgusting decay everywhere apart from his
• 16:34
  mother's room. His dead mother's room, which
• 16:36
  was in tip tock condition. Yeah, kept that sparkling.
• 16:39
  Yeah, weird. Yeah, Mommy's boy.
• 16:41
  Yeah. Did he still have his mother's
• 16:44
  corpse in the room though? Is that right?
• 16:45
  Yeah, that's right. The quote that he said that he
• 16:47
  literally wanted to slip inside her skin.
• 16:51
  Yeah, disgusting. Disgusting.
• 16:53
  But then that comes up in Psycho, doesn't it?
• 16:54
  Which is a massive influence for that.
• 16:56
  Yeah, exactly. So although the actual events of
• 16:59
  the film aren't true, it has got its foundations in a kind of
• 17:02
  grim, gritty reality. Disgusting after the first few
• 17:06
  stark images that we see were introduced to the typical horror
• 17:09
  trope of five friends and a beetle bald scooby-doo van.
• 17:12
  But what follows is not typical at all.
• 17:15
  They visit their granddaddy's gravesite and are introduced to
• 17:17
  some unsettling locals before picking up what turns out to be
• 17:20
  a very, very unusual fellow by the side of the road.
• 17:23
  It's a nice picture. You can pay me now, Westie.
• 17:28
  Yeah, the hitchhiker pickup. The hitchhiker picked that shot,
• 17:31
  that wide shot of the van coming in.
• 17:34
  It's fantastic, superb. It's like shot in the Godfather
• 17:38
  with like the Statue of Liberty in the background.
• 17:40
  It's just, it's as iconic as that.
• 17:42
  But you've got the dead grass. It is.
• 17:44
  You've got nothing around them. Don't pick them up, for fuck's
• 17:47
  sake. Like every time I watch it now,
• 17:49
  like look at them flailing around like so excited to get in
• 17:52
  there. He's fucking horrible.
• 17:54
  Even miles away, the moon, he's always absolutely elated.
• 17:57
  But like you just think even when you're that far away, don't
• 18:01
  get us any closer to that situation please.
• 18:03
  So what do they do? They put you in the fucking van
• 18:05
  with like 5 people and it's so claustrophobic and everyone's
• 18:08
  sweating. And Edwin Neil's performance
• 18:11
  from the from the. Start.
• 18:14
  Jesus Christ. It's just like, well, it's like,
• 18:16
  it's lucky. It's like, oh, we're shooting
• 18:17
  the movie because we just picked this guy up and he's just
• 18:19
  absolutely nuts. Let's just rule the camera on
• 18:21
  him, you know? And he based his audition on his
• 18:24
  cousin, I think. Oh, it was a member of his
• 18:26
  family. And he just went in and acted
• 18:27
  like he's member of his family and got the part.
• 18:30
  Do you worry? Is he worried?
• 18:31
  Do you want to meet that guy? Definitely not.
• 18:33
  But again, I mean, as we're talking about the cast as it'll
• 18:36
  go on, I think I've discovered like from from Toby Hooper to
• 18:40
  Daniel Pearl to all of the cast members, everyone in this film
• 18:44
  in real life is a fucking sweetheart.
• 18:46
  Like lovely, lovely people. Out of control nice guys.
• 18:50
  Just coming together to make this, you know, and everyone's
• 18:53
  on the same page and everyone's going through hell, but
• 18:55
  everyone's just really, really lovely when they're being
• 18:57
  interviewed about it. And Edwin Neil especially, I
• 19:00
  mean, and he was decorated Bronze Star for valor in
• 19:02
  Vietnam. Oh wow.
• 19:04
  Amazing, you know, and, and my kind of guy, he once had the
• 19:07
  largest poster collection in the world with posters dating from
• 19:11
  the 1900s film poster. My kind of guy.
• 19:14
  I'll have a pipe with him. Anything.
• 19:16
  I'll have some head cheese or that guy.
• 19:17
  Anything. Absolutely amazing, Great, great
• 19:20
  guy. It it sets up the rest of the
• 19:22
  film. And I think the fact that you
• 19:24
  see the logos as well going back a little bit, the fact that you
• 19:26
  see them just so unhinged and everyone's, everyone's just
• 19:30
  crazy. It reminds me of like Wake and
• 19:33
  Fright. Have you seen that the
• 19:34
  Australian film? It reminds me of that kind of
• 19:38
  mentality where everyone's just given up.
• 19:40
  You feel on edge immediately. And I think a lot of that is
• 19:42
  down to Edwin Neil. Like he introduces this film, he
• 19:45
  introduces all of the characters.
• 19:47
  He makes you scared of Leatherface when he talks about
• 19:49
  his brother, you know, he makes you scared of the characters
• 19:52
  that you're going to encounter and it's all down to this
• 19:53
  performance. I think it's fantastic.
• 19:56
  Yeah, he's his best performance in it for me.
• 19:58
  I'm just watching him. I'm mesmerised.
• 20:00
  It's a really, really great performance.
• 20:02
  Totally, totally unnerving, unhinged.
• 20:05
  And the fact that he's got this kind of like facial
• 20:07
  disfigurement really just adds to the whole or the whole
• 20:10
  persona of. It and the other thing that
• 20:12
  really adds to it is how clean his teeth are Immaculate.
• 20:17
  It really it puts me right on edge that really really clean
• 20:21
  when you contrast that leather face where Ghana Hanson actually
• 20:23
  made got them prosthetics made by his dentist to make his teeth
• 20:27
  look disgusting. This guy pristine teeth
• 20:30
  everything else is fucked but he like but.
• 20:32
  He's got pearly white. He's got pearly whites and just
• 20:34
  thinks, well this guy likes eating things and it just puts
• 20:37
  you on edge. His teeth are massive and white
• 20:39
  and it's weird. It just it, there's this fucking
• 20:41
  dead animal around his neck in a, you know, a class camera.
• 20:44
  And it's just like, you know, I used to work there.
• 20:46
  And then you get this really great introduction and you get
• 20:50
  his whole back story. Actually, it's not necessarily
• 20:52
  an introduction to him. It's more like a history lesson
• 20:55
  where he's talking about this. Fantastic exposition.
• 20:58
  Yeah, the technology's coming in and putting everybody out of a
• 21:00
  job and you hit them with a sledgehammer and you do it old
• 21:03
  school and it's got all that appearance in the whole society.
• 21:06
  After the release of the film he will go around like drive in
• 21:09
  cinemas that will show on the film and wait for his needs to
• 21:11
  come on and then tap people on the shoulder and watch them
• 21:14
  freak out when they turn around. Brilliant, I would do that.
• 21:17
  What a bastard. Yeah, wouldn't you just keep
• 21:19
  taking photos of people when they come out and just set them
• 21:21
  on fire? Matt.
• 21:26
  I mean, I think there's some interesting stuff going on just
• 21:28
  before they pick them up. I mean, Wes, you mentioned the
• 21:30
  other people who come across and he said we can fight or I also
• 21:34
  get a big deliverance vibe from those locals.
• 21:37
  You know, you're just totally strained into this area where
• 21:39
  normal rules don't apply. And I think it's interesting
• 21:41
  where you've got pumps just talking about the Zodiac and
• 21:43
  talk about like Sutton's influence.
• 21:45
  Because I also think that kind of ties in with the solar flares
• 21:48
  and this general idea that, you know, there were forces out
• 21:50
  there, not necessarily paranormal, but there are forces
• 21:53
  out there that you just can't control and like your fear.
• 21:56
  It's like everybody say this is out your hands and what's going
• 21:58
  to happen to these kids? It was always going to happen to
• 22:00
  them. Doesn't matter what you saw.
• 22:02
  Sign says, yeah, when they pick this hitchhike up.
• 22:04
  I mean, he's an absolute health and safety nightmare, isn't he?
• 22:08
  You know, he's got a knife, he's got matches, he's in the
• 22:11
  confined space. What are you doing?
• 22:13
  Don't. Like you like.
• 22:16
  It it's a good night. It's a racer player.
• 22:19
  He's an idiot. How excited he's getting about
• 22:23
  like head cheese and what goes into it and how he was the
• 22:26
  killer and he can barely get his words out.
• 22:29
  And he invites all of them to the family home.
• 22:32
  I don't think he's even doing it with the intention to kill him.
• 22:35
  I think he saw out of it. He generally thinks that we'll
• 22:37
  have dinner with him. You know, these was new mates
• 22:40
  and they just got to hang out. He just because he just saw like
• 22:43
  removed from the plane of normality.
• 22:45
  You know, he's not even thinking about leather face back there
• 22:47
  who's going to like smash all heads in.
• 22:48
  I think he generally wants to hang out with him and have
• 22:50
  dinner. He's absolutely insane and like
• 22:53
  he thinks he's impressing them and he can't understand why
• 22:55
  they're not and why he's freaking them out.
• 22:57
  He completely out of control, isn't he?
• 22:59
  You know, when you're little and there was also that weird kid at
• 23:01
  school who your mum said you had to invite your birthday party
• 23:04
  even though you didn't want to, was he was just going to cause
• 23:06
  eruptions. He's going to like he's weird.
• 23:09
  He's going to dip the crisps in the cordial again and make us
• 23:11
  eat them. You know, like that's what the
• 23:15
  hitchhiker is. He says all sorts are wrong, but
• 23:17
  it's it's a brilliant introduction because you know
• 23:19
  there's going to be some batshit going to happen to these
• 23:22
  characters. I love it when they, when they
• 23:24
  finally kick him out, he's just kick in the van and he's just
• 23:26
  yeah, yeah, everything's just a game.
• 23:28
  Yeah, yeah, yeah. Ridiculous.
• 23:29
  When he does offer to have them round for dinner and they say
• 23:32
  no, we've got to be moving on His face, he looks genuinely
• 23:36
  heartbroken. Yeah.
• 23:37
  But then he kind of gets the idea.
• 23:39
  I know what I'll do. And then he cuts Franklin's arm.
• 23:42
  Yeah. And that effect of the blood
• 23:45
  bubbling up and that noise, Yeah, is horrendous.
• 23:48
  Disgusting. Franklin, I mean, he doesn't do
• 23:52
  himself any favours, does he? No, and he calls him Dracula.
• 23:55
  Doesn't he? He's annoying, Yeah.
• 23:56
  What? He calls him Dracula.
• 23:57
  He's. Probably a Dracula family.
• 23:59
  A Dracula, right? Well.
• 24:02
  And he's tail about how the cows are killed and that's combined
• 24:06
  with like close-ups of like drool and cows.
• 24:08
  Disgusting. But then he's doing the whole
• 24:11
  boom boom. What a Dick.
• 24:14
  He's an. Absolute prick.
• 24:18
  Based on that whole head cheese thing, that was actually the
• 24:21
  name of the film and that's what the name that we're going for
• 24:24
  until maybe a week before the film started.
• 24:27
  So we wouldn't be Saturday, you're talking about The Texas
• 24:30
  Chainsaw Massacre, We'll be Saturday, you're talking about
• 24:32
  head cheese, which means that we wouldn't be Saturn at all.
• 24:35
  No, no, definitely. Not mean, it just sounds as
• 24:37
  Kristen. So we're 15 minutes into the
• 24:39
  film, the tone is set for what's to come, but nothing can prepare
• 24:43
  us for what's to come. The director.
• 24:51
  I'm going to spend some time looking at the man responsible
• 24:53
  for the whole mess, and that is director Toby Hooper.
• 24:57
  So, Matt, what do you think of Toby Hooper's work on this film?
• 25:01
  I think whatever he put that cast and crew through and you
• 25:04
  know, we should say right now, he would not get away with it at
• 25:07
  all. Today.
• 25:08
  No. I mean, he'd be in prison.
• 25:10
  Yeah, you want to do what with a horse?
• 25:13
  Sorry, no, that's not happening. But whatever he did put them
• 25:17
  through those results were up on screen and you can't deny what
• 25:21
  he achieved with this. You know, we're not talking
• 25:22
  about, you know, the 1st Friday the 13th film, because that has,
• 25:26
  you know, some decent go to about nothing else to it.
• 25:29
  This has genuine like rawness and power to it and what hoop
• 25:33
  has done here. I think he's made a film and it
• 25:35
  literally feels ill. This is something like genuinely
• 25:39
  like sick about the film. Like, I could actually, like,
• 25:42
  reach through the the screen and touch it.
• 25:45
  It just feels like Soul lived in.
• 25:47
  And that's because of just the intensity in that, like, grim
• 25:50
  determination that Hoover had in his head with what he wanted to
• 25:53
  do. And, you know, we've mentioned
• 25:55
  Psycho already, and I think, yeah, he's massively influenced
• 25:58
  by that. But I think he wants to do is
• 25:59
  take Psycho Ampute by 1000 and then have an end.
• 26:03
  And that doesn't let the audience off the hook, like,
• 26:05
  like Psycho does, you know, let the audience kind of breathe and
• 26:08
  decompress. This doesn't do that.
• 26:09
  He just wants to put people through it from beginning to end
• 26:12
  and what it ends up feeling like.
• 26:14
  It feels like a piece of meat that's just been like left on
• 26:17
  the side of the road for days. Just like slowly cooking in the
• 26:20
  heat and going off and like something really ill and sick
• 26:24
  and violent and like being baked into it.
• 26:26
  It's just got such an atmosphere that that it's just really over
• 26:30
  powering and you can't get away from it.
• 26:32
  And he wants to show you stuff you've never seen before.
• 26:34
  He wants you to hate your stuff you've never seen before.
• 26:37
  And really he just wants you to feel this film.
• 26:40
  And that's why it's so memorable.
• 26:41
  And it's like, you know, when you go out in the sun and you've
• 26:44
  forgot your cab, you don't have any sunblock, you get too much
• 26:47
  sun and you come in and your head spinning and like, your
• 26:50
  skin feels like it's crawling, but you got chilled at the same
• 26:52
  time. That's what this film feels
• 26:54
  like. It's just so evocative, like
• 26:56
  when I'm finished watching this, I just want to sit quietly in a
• 26:59
  room by myself with a cool glass of water, just with silence for
• 27:02
  like half an hour. Just just, just just.
• 27:06
  Whimpering. Yeah, just bringing himself down
• 27:09
  to it. And how many horror films have
• 27:11
  that kind of physical effect on you?
• 27:12
  There's just not that many. And that all comes from this
• 27:15
  young, completely inexperienced filmmaker who'd had this one
• 27:18
  idea and this one idea if I was going to achieve it.
• 27:22
  I think you're right. I think very few horror films
• 27:25
  really have the power and impact that this film does.
• 27:29
  I think on a personal level, for me, it's Nightmare on Elm Street
• 27:31
  that that really impacts. But that's because I watched it
• 27:33
  when I was young, young, young. But this one, I can't really
• 27:36
  mention too many more that just put you on edge immediately and
• 27:40
  keep you there for the whole runtime and actually, and make
• 27:44
  things worse and just make things uncomfortable and
• 27:46
  uncompromised and put things in front of you that you don't want
• 27:49
  to see. Not violence, not gorge, just
• 27:53
  unsettling imagery. Yeah.
• 27:55
  Distorted edits. Yeah.
• 27:57
  Awful. Sounds really horrible.
• 28:00
  What about you, Westie? He wanted to do something to
• 28:02
  make an impact. This is not a film that's been
• 28:05
  constructed in somebody's head. This is a film that's been made
• 28:08
  with somebody's gut. This is just complete gut
• 28:11
  reactions to certain things. I mean, there's a great
• 28:13
  interview with Daniel Pearl on the ASC website, which you can
• 28:16
  still watch now. And the studio execs putting the
• 28:19
  money up, went to Toby Hooper and said, look, you need a short
• 28:21
  list. You need to plan this through.
• 28:22
  We need to know what you're shooting day by day so that you
• 28:25
  can get organized and figure it out.
• 28:26
  So he wrote a short list. Pearl went in, settled for the
• 28:29
  first shot. Toby Hooper came in and went,
• 28:31
  Nah, we're not doing that. Changed the whole thing.
• 28:33
  Came in the second day, set up for the shortlist till we went,
• 28:36
  we're not doing that again. Changed it third day when we
• 28:38
  said what we're doing this shortlist and I said I, I forgot
• 28:41
  to tell you, no, we're not sticking to the shortlist.
• 28:43
  I just wrote that down to shut them up because I don't know
• 28:46
  what I'm doing until I'm here with the actors on the set and I
• 28:49
  know where I'm going to put things and what I'm going to do.
• 28:51
  It's very instinctual. This film, it's very from the
• 28:54
  gut, and that's what unsettles you, because this is one
• 28:56
  person's complete view to hit something home, to shock it, to
• 29:01
  not care. And it's so rare in this world
• 29:03
  to have somebody who's just not influenced by anything else
• 29:06
  apart from his belief that he wants to make something.
• 29:09
  It's going to scare the shit out of people.
• 29:11
  You know that That was the intention.
• 29:13
  And it does, and it works and it's raw.
• 29:15
  This is his film. This is this is his legacy.
• 29:17
  He's done nothing that even touches this afterwards.
• 29:21
  No, nothing. Poltergeist.
• 29:23
  Yeah, it's all right. It's not a Toby Hooper film.
• 29:24
  No, this is Toby Hooper's film and he peaked the 23, you know,
• 29:28
  And if people just could plug in even 20% of that and put their
• 29:33
  absolute passion into something, I think cinema would be vastly
• 29:36
  improved these days. And Toby Hooper for me, based on
• 29:40
  this one film, is one of the greatest directors cinemas ever
• 29:43
  seen because of that reason. Well, big prayers, yeah.
• 29:46
  I mean, certainly in horror, history is up there with the big
• 29:49
  boys just for this film alone. Yeah, absolutely incredible.
• 29:52
  He's work ethic. I mean, he's got like the work
• 29:54
  ethic of Fincher. He's got the kind of the grit
• 29:56
  and the determination of Freakin.
• 29:58
  He's got the imagination of Craven and he's got like the
• 30:01
  originality of Hitchcock, you know, as in 23 years old.
• 30:04
  He's just all of them things in this film.
• 30:07
  Yeah, he knew what he was doing though, because I've got a quote
• 30:10
  from him and he says by the time I finished the film, I think
• 30:12
  everyone hated me. It took them years to kill off.
• 30:15
  And apparently the first time he saw Gunner Hanson after the film
• 30:18
  had come out, there were in some kind of Hollywood production
• 30:21
  meeting, he actually backed away from Hanson because he thought
• 30:23
  he was going to go for him. Then he put him through.
• 30:26
  But Hanson was actually, no, I really appreciate what what you
• 30:29
  did for us as an actor. You let me build this character
• 30:32
  and, you know, you really went for don't appreciate that.
• 30:34
  So one thing we should say, I don't think Hooper was a
• 30:36
  statistic guy in that sense, not at all.
• 30:39
  You know, I think he generally knew what he was putting people
• 30:41
  through and he was thankful for. And he was probably quite
• 30:43
  regretful, but he's still and what he wanted to achieve and he
• 30:47
  just went for it. Edmund Neil said he wanted to
• 30:49
  kill him on a daily basis. I wanted to kill every single
• 30:53
  day. And he said his experience on
• 30:55
  the set of The Texas Chainsaw Massacre was the worst
• 30:57
  experience of his life. And he said I've been in
• 30:59
  Vietnam. I think what Hoopla does
• 31:04
  amazingly well is make use of the whole frame of everything.
• 31:08
  Everything in there is absolutely vital to setting the
• 31:11
  tone for the entire film. Every single scene is
• 31:14
  unsettling, like the close up of the spider's nest of the family
• 31:17
  whore. Yeah, yeah, it's disgusting.
• 31:19
  I've never seen spiders like that in my life.
• 31:21
  Before it's awful. And that animal carcass on the
• 31:25
  front porch that Franklin finds. Yeah, yeah.
• 31:27
  I don't even know what that carcass is.
• 31:29
  No, yeah. I don't want to know.
• 31:31
  No, it's awful. It's awful.
• 31:33
  I think the genius about Hooper and this film is it's an
• 31:35
  absolute master class in subliminal imagery.
• 31:38
  It's not what you see, it's what you do you see.
• 31:40
  And he does that to such a level in this.
• 31:43
  Like you just think, I've seen everybody die, everyone dies by
• 31:46
  chainsaw. Everyone's just absolutely
• 31:48
  hacked to pieces and there's shit flying everywhere.
• 31:50
  There's not there's not a thing in this.
• 31:52
  It's so clever. The thing I've always find
• 31:55
  absolutely hilarious is that he wanted to make this a PG You.
• 31:58
  Know, I know. How can I make it a PG but don't
• 32:01
  make it? Can you imagine?
• 32:08
  I'm off to the cinema with the kids and the wife of the
• 32:10
  weekend. Oh, lovely.
• 32:11
  What you're going to see. It's a film called The Texas
• 32:13
  Chainsaw Massacre. Oh.
• 32:14
  Well, that all seems in order then.
• 32:16
  Yeah. Yeah, it's ridiculous.
• 32:20
  As well as the exploits of Ed Gay and Toby Hooper drew on some
• 32:23
  personal experience for The Texas Chainsaw Massacre.
• 32:26
  The inspiration for the iconic chainsaw came to him at a local
• 32:29
  shopping mall. He was doing a spot at Christmas
• 32:31
  shopping in 1972 and said there were these big Christmas crowds.
• 32:35
  I was frustrated. I found my suddenly a rack of
• 32:38
  chainsaws and I just kind of zoned in.
• 32:41
  I thought I know a way I could get through this crowd really
• 32:44
  quickly. We've all been there, to be
• 32:45
  fair. Like Christmas is a nightmare.
• 32:49
  He said that I went home, sat down, and all the channels tuned
• 32:53
  in. The zeitgeist blew through.
• 32:55
  The whole damn story came to me in what seemed like 30 seconds.
• 32:58
  The hitchhiker, the girl escaping twice, the dinner
• 33:00
  sequence, people out in the country out of gas, it all came
• 33:03
  through in that what seemed like 30 seconds.
• 33:06
  Amazing. And a much more serious
• 33:08
  inspiration came to Hooper from another personal experience of
• 33:11
  his really quite grim There was a horrendous mass shooting, one
• 33:14
  of the worst in history, at the University of Texas in 1966.
• 33:18
  And Hooper was actually there when it happened.
• 33:22
  And apparently a policeman came up to him and told him to get
• 33:24
  the fuck out of there because there was somebody shooting from
• 33:27
  the tower. And as the policeman said this,
• 33:29
  he was shot before Pooper's very eyes.
• 33:31
  Wow. Jesus.
• 33:32
  Yeah, Hooper scuttled to the shelter, and he said that this
• 33:35
  was a sign of darkness in the world and a darkness that he
• 33:37
  would channel into the film, which he does.
• 33:40
  Yeah. Yeah.
• 33:41
  Miserable. I mentioned Patreon at the
• 33:43
  start, and as we've mentioned in previous episodes, one of the
• 33:46
  benefits of that is that you can be part of the show.
• 33:48
  You can come and ask us questions.
• 33:50
  So from Jamie Russell on Patreon, he said that he
• 33:53
  remembers James Furman, who was the BBFC chairman, like mid to
• 33:57
  the late 90s. He said that he had a huge
• 34:00
  influence in the censoring of horror films.
• 34:02
  And I do remember James Herman, because I was thinking he was
• 34:04
  Public Enemy #1 because he wouldn't pass The Exorcist.
• 34:07
  I remember that name very, very, very vividly.
• 34:10
  He said that I've also read about viewers who've come away
• 34:13
  from watching the film claiming that it was bloody violent when
• 34:15
  it almost certainly has got no violence whatsoever, or very,
• 34:18
  very little. So he asks, why do you think
• 34:21
  this film so often has such a profound impact on those who
• 34:24
  watch it, despite having very little violence?
• 34:27
  Because the level of realism that's applied to it, that
• 34:30
  everything's made, you know, nothing feels like exaggerated.
• 34:35
  It just feels like this could happen, that you know, that it's
• 34:37
  possible. And I think that's why it
• 34:39
  resonates with people. You know, lack of any morality
• 34:42
  in this film and this landscape that shocks people.
• 34:44
  That's what really upsets people and really scares people, You
• 34:47
  know, the people. If somebody has a complete
• 34:49
  disregard for human life, no matter how that life ends, if
• 34:52
  it's violent or if it's not or if it's quiet, it's still
• 34:55
  terrifying. So I think that's the whole
• 34:57
  point. I think the point of this film
• 34:58
  is to unsettle. Yeah, I think like all the
• 35:01
  greats, some of which we've talked about, like 7 Silenced
• 35:04
  the Lambs, it's about what you don't see that makes the biggest
• 35:07
  impact because it's left up to your imagination.
• 35:10
  And I think that tone is set immediately with shrouds, the
• 35:12
  whole feeling of the film itself, that it's set with the
• 35:16
  opening crawl and then there was opening photographs.
• 35:19
  And then it it ramps up, it leaves a residual film across
• 35:22
  the whole rest of the picture from those opening shots.
• 35:26
  So you've got that and you're thinking about that already on
• 35:28
  top of everything else that you're trying to process as
• 35:30
  well. Yeah, it's the sound as well.
• 35:32
  I mean, the sound is just such such an impact on what you see.
• 35:37
  It's when the chainsaw strikes or when Edwin Neil's blade
• 35:41
  strikes on Franklin. It's the sound that's really
• 35:44
  horrifying. It's not the visuals.
• 35:46
  Yeah. Yeah, when it comes to the sound
• 35:48
  design, it's in this whole film. It's like it's like a
• 35:50
  slaughterhouse. It's like an abattoir.
• 35:52
  We know these places exist. We know that that exists, but
• 35:57
  you can imagine what it sounds like and you can imagine what it
• 35:59
  looks like. It's based in reality, but know
• 36:01
  that this exists. I mean, literally, it's based on
• 36:04
  that noises from slaughterhouses picked up and used in the sound
• 36:07
  design and it's like off key musical chords and symbols being
• 36:11
  hit just randomly, really disoriented.
• 36:15
  Yeah. Yeah.
• 36:16
  I mean, I think it's a combination of things.
• 36:18
  I think the fact it just skips like any conventional narrative
• 36:22
  set up at all. You can't pick anyone and say,
• 36:25
  Oh yeah, that person's going to be their hero because none of
• 36:27
  them are set up like that. You know, even you know the
• 36:30
  driver, you you find out nothing about him.
• 36:32
  Kirk, you know nothing about any hardly gets any lines, you know,
• 36:35
  and then you've got Franklin, you've got Sally Pab, just no
• 36:37
  one stands out. So right from the sighting,
• 36:39
  well, who am I with here? They just feel like, you know,
• 36:42
  we've talked about the slaughter house thing, but they all feel
• 36:44
  right from beginning like cattle going to the slaughter.
• 36:47
  They're just a herd. The fact there's nothing like
• 36:49
  really individual about them. So that puts you off all these
• 36:51
  things we've talked about give it this sense of almost like a
• 36:55
  documentary, that sense of realism.
• 36:57
  You've just never seen that before.
• 36:59
  And not to the the level in the intensity that Hooper gives it
• 37:03
  to you here. I mean, the whole film with four
• 37:05
  sounds, that soundtrack, the use of editing, it's just a whole
• 37:08
  assault on your senses and it's just coming at you from all
• 37:11
  angles. And, and there's no point in the
• 37:13
  film that gives you an out. There's no point in the film
• 37:15
  where you can relax because even just fairly ordinary scenes of
• 37:19
  them going to that first house. I see you've got that thing
• 37:22
  about the spiders, you've got the sounds underneath, and
• 37:26
  because you're on edge right from the start and it's creeping
• 37:29
  you out on a on a level that you probably can't explain, I think
• 37:32
  your brain starts to fill in the details for you.
• 37:35
  I mean, the editing in this film is.
• 37:37
  Are these are loosely supreme? Because the editing and the
• 37:41
  sound tells you what's going on even though you don't see it.
• 37:44
  Yeah, because you don't see it. Your brain starts to tell you
• 37:46
  no, actually, you did. You did see, you know, good
• 37:48
  spine across the screen. You did see, you know, that hook
• 37:51
  go right into Palm's back? You didn't.
• 37:53
  But your brain's telling you you did.
• 37:55
  I mean, this film like technically it may look rough,
• 37:58
  but it actually it's a technical marvel it.
• 38:01
  Is once you peel back the layers of the brutality of it, you
• 38:05
  really get to see the in depth detail and what went into the
• 38:09
  film, the technical detail that to the level of technical skill
• 38:13
  on show is is mesmerizing. Yeah.
• 38:15
  Well, Hooper edited this in his own house, didn't he?
• 38:17
  Because he came forward. So you know that he's just
• 38:20
  bringing it into his own house. He's living with this film.
• 38:23
  He's either on set or he's bringing it home with him.
• 38:25
  And that's why I feel so personal and that's why it
• 38:28
  resonates, because he couldn't escape from it, so why should
• 38:31
  you? Yeah.
• 38:32
  And he had all these really weird instruments in the next
• 38:35
  room. So he had it all set up with a
• 38:36
  mic. And he said he found this one
• 38:39
  from a marketplace, which was just a bit of wood with strings
• 38:42
  pulled over it with, like, little symbols on it.
• 38:45
  And then he had the idea just to drag a knife across it and just
• 38:47
  record that as just this real kind of pull.
• 38:50
  And I think that's what you get from the flashes at the start of
• 38:52
  the film. Yeah.
• 38:53
  Yeah. I mean to be favorite ever Final
• 38:56
  cut the black in cinema history, I think.
• 38:57
  It's marvelous because there's so much noise and sound and
• 39:02
  screaming and whirring chainsaws going on and then bang, yeah,
• 39:06
  stop black. You know, it's almost like it
• 39:08
  plants the seed and then you have to then watch that
• 39:11
  disgusting cactus grow in your head, you know, for the rest of
• 39:14
  your life. It's amazing for the.
• 39:16
  Rest of your life. Try and get rid of it.
• 39:20
  Try and get rid of it. So if you are listening and you
• 39:23
  haven't seen The Texas Chainsaw Massacre, that's what you'll
• 39:26
  have to put up with. If you do, go and watch it.
• 39:28
  A cactus that lives in your brain and you'll have to deal
• 39:30
  with for the rest of your life. Yeah, sounds good, doesn't it?
• 39:34
  Nobody's watching that. Nobody's going near this film
• 39:37
  now. You realize how good your life
• 39:40
  used to be once you've seen this.
• 39:44
  Production started on the film in 1973 as a result of a $60,000
• 39:49
  budget for the film put forward by a fellow by the name of Bill
• 39:51
  Parsley. He was a member of the Texas
• 39:54
  legislator who wanted to get in the movies.
• 39:56
  Production was fraught with tension, danger, outrageous film
• 40:00
  and conditions. It was a two week filming
• 40:03
  schedule that eventually doubled to four weeks in what Hooper
• 40:06
  described as an interest in summer.
• 40:08
  That's a mild way of putting this.
• 40:10
  Yeah, it's like 12 to 16 hour days for 32 days.
• 40:13
  Yeah. Like one after the other.
• 40:15
  Brutal. As fuck.
• 40:16
  Interesting, and in that time the heat swell to 100 to 115°F.
• 40:23
  So that's around 37 to 46 Celsius for people in the UK.
• 40:27
  Pretty bloody hot. There was one usable bathroom
• 40:31
  being used by all the cast and crew, and the wardrobe
• 40:34
  department was a little thin on the ground as well.
• 40:36
  So every cast member had only one costume, and worse still,
• 40:40
  they couldn't wash their clothes because it would create like,
• 40:42
  continuity errors all over the shop.
• 40:45
  So that's four weeks in the Melton Texan sun, running around
• 40:48
  in dirty clothes that are getting dirtier and using a
• 40:51
  bathroom that thirty other people have used before you.
• 40:54
  But that smell pretty. Brutal.
• 40:57
  Brutal. Not helping Matt, As was the set
• 40:59
  design as well, which consisted of actual carcasses of varying
• 41:02
  states of decay from cattle lying around the surrounding
• 41:05
  areas. Blood from the local abattoir
• 41:07
  was splashed all over the walls and real animal meat was rotten
• 41:11
  in the heat in the house. Yeah.
• 41:14
  I know they had to like between takes, some of the crew and the
• 41:16
  cast would take turns, turn to window, open it, vomit, and then
• 41:20
  go back and let someone else go vomit.
• 41:22
  No different share and then back to it.
• 41:24
  Yeah, disgusting. The sound guy said he had it
• 41:28
  worse because he was up with the boom mic, and he said, well,
• 41:30
  heat rises and so does the smell.
• 41:32
  Yeah, he said he was over the top of everyone, like over the
• 41:35
  top of Gunner Hanson. He was massive guy sweating like
• 41:38
  a pig, absolutely disgusting. But you can tell.
• 41:41
  Like there's that chicken thing on the table that started to
• 41:43
  decompose. I mean it looks great, but it's
• 41:45
  not possibly necessary. But you can tell like if the
• 41:48
  film this in a cooled set and everything was fine and it's not
• 41:52
  like potpourri but you wouldn't get this.
• 41:54
  It's to say with the Exorcist when they were fucking freezing.
• 41:57
  Yeah -50 that. Comes up.
• 41:59
  This is the opposite. It's just the the other end of
• 42:01
  the spectrum, but that's why it works.
• 42:03
  Hooper said. By the time I finished the film,
• 42:05
  I think everybody hated me, but I knew what I wanted and I knew
• 42:08
  how to get it. Kind of echoes what you fellows
• 42:10
  have been saying. Add an insult to literal injury
• 42:13
  and we'll get to that later. The cast took profit shares in
• 42:16
  the film as opposed to an actual salary, but their profit shares
• 42:20
  were in a company called Vortex, which was set up by Hooper and
• 42:23
  Co writer Kim Henkel. And Vortex only owned 50% of the
• 42:26
  film and the other half was owned by Bill Parsley, the
• 42:29
  financier that I mentioned a bit ago.
• 42:31
  This meant that the cast saw virtually no payment for their
• 42:34
  efforts. And then Neil said three months,
• 42:36
  no check, six months, no check, nine months a check for $28.45.
• 42:42
  We were angry. No shit.
• 42:46
  And then the final Neil in the coffin.
• 42:48
  Bryanston Distributors acquired the film for around $225,000 in
• 42:53
  1974 and it made 1,000,000 millions in its first year, but
• 42:57
  they only declared that it made around about $1,000,000.
• 43:01
  And the reason for that is that Bryanston turned out to be a
• 43:04
  front for the mob owned by Jew and Lou, Perennial of the
• 43:07
  Colombo crime family. They used the film to launder
• 43:10
  the mega profits that they made from the film Deep Throat.
• 43:14
  And then when all this came out, they were arrested on obscenity
• 43:16
  charges. The cast and crew sued, and they
• 43:18
  were rewarded about $25,000 apiece.
• 43:21
  But I mean Mafia connections, terrible conditions, no pay.
• 43:27
  Deep Throat in there. 16 hour days, insane just wouldn't
• 43:30
  happen. You could make a great comedy to
• 43:34
  be fouled with the making of this, because it's farcical.
• 43:36
  Some of the stuff isn't. It.
• 43:38
  What the mafia were fronting the money for this?
• 43:40
  What? I know, and then you've got
• 43:43
  Leatherface who's wearing 3 inch heels because he wanted them to
• 43:47
  be taller, so he's hitting his head off off the windows and off
• 43:49
  the door frames all the time. Oh fucking hell, Netflix, are
• 43:55
  you listening? Get the Farley brothers back.
• 44:01
  This was Toby Hooper's second feature after the 1969's Egg
• 44:04
  Shells. He did direct Poltergeist like
• 44:06
  Westie mentioned in 1982, another classic, but films like
• 44:10
  Eaten Alive, The Fun House, Texas Chainsaw Massacre Part 2,
• 44:13
  and Life Force in particular were spectacular missteps.
• 44:17
  But with The Texas Chainsaw Massacre, Hooper was a maverick
• 44:19
  director who etched his name into the annals of the great of
• 44:22
  the genre. Sure did.
• 44:30
  The main cast on Texas Chainsaw Massacre, we've got two that
• 44:32
  we're going to focus on. We'll get to Gunna Hansen,
• 44:35
  There's Leatherface in a moment, but firstly, the final girl,
• 44:40
  Sally Hardesty, played by Marilyn Burns.
• 44:42
  Matt, thoughts on this performance?
• 44:45
  Yeah. I mean, obviously Hooper didn't
• 44:47
  have the money, did he to go on cast top of the line actors for
• 44:50
  this. So I think you've got to bear
• 44:52
  that in mind, like with her performance, it's never going to
• 44:55
  be one that going to be held up in drama school on acting
• 44:58
  classes. You know, this is, you know, a
• 45:00
  great performance. She's not Sally Field, is that
• 45:03
  that's what you're saying? Yeah, basically, yeah.
• 45:04
  Yeah, Sally, but she's not Sally Field.
• 45:07
  You know, there's a few kind of like little wooden line readings
• 45:10
  in there here and there, but it's still an incredibly iconic
• 45:14
  performance. Because if you think of great
• 45:15
  like horror performances, she is at the top of the list because
• 45:19
  that final descent into mania, insanity, whatever you want to
• 45:24
  call it, it's just so incredibly convincing.
• 45:27
  Probably because Super Hot pushed her there like he was
• 45:29
  pushing everyone. So you've got to give her credit
• 45:32
  to that. I mean, just the final image of
• 45:34
  her with her eyesight just bulging out of her head, just
• 45:37
  looking like going to pop, basically driving away a scream.
• 45:41
  And you look at her as a cow. Do you think?
• 45:43
  You know what? She's not going to calm down
• 45:45
  when she gets like a Dino. Christ.
• 45:47
  As a coffee, you know she's gone.
• 45:49
  Mentally she's broken and and you have to give Marilyn Burns
• 45:52
  credit for that, that that is coming out of her.
• 45:55
  You know, however she got to that pitch of insanity, you
• 45:58
  know, whether she enjoyed getting there or not, I would
• 46:00
  think not. Probably a bit like what we
• 46:02
  talked about with Shirley Deval in the Shiner, you know, the
• 46:05
  treatment of how she got there. The proof is on screen.
• 46:07
  So like I say, in terms of performance as a whole, can't
• 46:10
  really see like it's brilliant in general, but by the end, you
• 46:14
  know, you're entirely sympathetic to it and just that
• 46:17
  level that she's hitting by the end, you know, once you've seen
• 46:20
  that, you know, never want to forget it.
• 46:21
  Yeah, I think she perfectly encapsulates the answer to the
• 46:25
  tagline, which is who will survive and what will be what
• 46:28
  will be left of them. That final scene that you said,
• 46:31
  Matt, that she's gone, she's an absolute goner.
• 46:35
  But I think she's very similar to what you were seeing, Matt.
• 46:38
  She's pretty anonymous, kind of, until Franklin and her go to
• 46:42
  search for the others, and then you start to understand her as a
• 46:46
  character a bit more, and I believe it when she starts to
• 46:49
  break down and Franklin's not helping matters at all with her.
• 46:53
  There's a shock. I think the fact that we don't
• 46:58
  know who the last person standing will be the the classic
• 47:01
  final girl trope. I think that's really effective
• 47:04
  and it only becomes more evident as the film goes on.
• 47:08
  In terms of kind of classic final girls.
• 47:11
  I think like you said, Matt, I absolutely agree.
• 47:14
  She's up there with some of the best.
• 47:16
  I think the performance is better than Jamie Lee Curtis in
• 47:19
  Halloween. Right.
• 47:21
  I think the performance possibly rivals Nancy in A Nightmare on
• 47:25
  Elm Street as well at the luncheon camp.
• 47:28
  I think it's absolutely believable.
• 47:30
  There may be a couple of wooden lines, Mark, but I can't quite
• 47:34
  identify them. I can't quite think of them
• 47:36
  think than here and now, whereas there are Lords in Halloween.
• 47:40
  Oh yeah. Yeah.
• 47:42
  And yeah, do many. It's this performance and this
• 47:45
  absolute dissent where it's just her running around screaming.
• 47:49
  And that sounds pretty easy. I mean, all three of us could do
• 47:52
  that. And so we could do it in our
• 47:53
  sleep. But it's so effective.
• 47:55
  Yeah. Yeah, absolutely.
• 47:57
  Amazing the physicality of it, like how many times she would
• 47:59
  have had to do it. 100% yeah, yeah, yeah.
• 48:02
  That's four weeks, 12 to 16 hour days doing just running around.
• 48:08
  Stinking clothes, yeah. Yeah.
• 48:11
  Yeah, I mean, she did say like on that.
• 48:13
  Like I take my pants off at the end of the day and they'd walk
• 48:15
  away on their own. Awful, yeah.
• 48:21
  Well, she was. Kicked in so much blood, like
• 48:23
  stage blood, right at the end that she said it was almost like
• 48:27
  cement all over our body. Yeah, Jesus, Westy.
• 48:31
  Yeah. I mean, pretty much what you
• 48:33
  guys have said. But I do feel that she is the
• 48:36
  blueprint for the final girl, which she is.
• 48:38
  And I think she is the look and I think the way that she acts I
• 48:41
  think has been emulated and has been studied and I think
• 48:45
  deserves a lot more credit than yeah, it's not a theater actress
• 48:48
  performance. It's not hasn't got that, you
• 48:50
  know, real unwritten emotional depth that is just made with a
• 48:54
  glance to one side. You know, I mean, like it's all
• 48:56
  in our eyes and it's not. But to do this with such
• 48:59
  conviction that is that makes it so believable.
• 49:02
  I think it doesn't feel like a performance.
• 49:04
  It just feels like an experience, like the whole film.
• 49:07
  And I think she's perfect for it.
• 49:08
  I think she was fantastic in it. And you know, that that final
• 49:11
  scene that that you guys have spoke about that she got a call
• 49:14
  after she'd finished that scene from Toby Hooper and said gonna
• 49:18
  have to go again. We didn't get it.
• 49:19
  It's not how I wanted her to look.
• 49:21
  So then she had to go back and do it again.
• 49:22
  And she said me screaming in the back of that truck was not
• 49:25
  acting. That was me with the absolute
• 49:28
  Glee and relief that I don't ever have to do this again and
• 49:32
  that that is an act. And that's just the result of
• 49:35
  everything that was put into this film.
• 49:36
  And I think she's absolutely part of it.
• 49:38
  I think for me, she is a stand out.
• 49:39
  I think she's a bit. She's a bit better than Pam.
• 49:42
  Like Luke was saying, you don't. She's not really there until she
• 49:45
  goes off with Franklin and then, like Luke said, and then you
• 49:48
  start to go all right, Well, yeah, I didn't even realise she
• 49:50
  was in the film, you know? Exactly because Franklin's front
• 49:52
  and centre really, you only recognise him as a character.
• 49:55
  And then she feels like she's just part of that.
• 49:58
  And she's obviously pushing Franklin through the film
• 50:00
  physically. And then when he's out of there,
• 50:02
  you just think, well, Jesus Christ.
• 50:03
  Well, she's definitely done for them because she hasn't done any
• 50:06
  real back story or any way. You didn't even know she was
• 50:08
  there, which adds to the rest of the film.
• 50:10
  It adds to that tension. I mean, you talk about the
• 50:12
  physicality of it. She jumps out with more windows
• 50:15
  in this film than people die of chainsaws in the Texas
• 50:21
  Chainsaws, the Texas window escape.
• 50:25
  No, there's not. It's not a massacre, is it?
• 50:30
  But we will come back to Marilyn Burns as Sally as we go on in
• 50:34
  the conversation. But we're going to hand over now
• 50:36
  to Gunna Hansen as iconic villain, super villain
• 50:40
  Leatherface Westie. Love him.
• 50:42
  Greatly love him. Yeah.
• 50:44
  What a what a what a lovely little unusual.
• 50:46
  I know Gunna Hansen put so much into this.
• 50:48
  And you can see when he got interviewed, even just before
• 50:51
  his death, when he's talking about this character, I think it
• 50:53
  means a lot to him to portray this and get it right.
• 50:56
  He stayed at a school for special needs kids just to kind
• 50:59
  of get that movement and just to see how they would react to
• 51:02
  things. And he does feel like a massive
• 51:04
  child in this to me. He feels like he feels like a
• 51:06
  victim. You know, if you see it from his
• 51:08
  point of view, it's he's being attacked.
• 51:10
  He doesn't know where these people are coming from.
• 51:12
  He's defending himself more or less.
• 51:13
  But he is a really tortured soul and a really tortured character
• 51:17
  when he's sitting in that front room and his head's in his hands
• 51:19
  and he's just like, doesn't know what he's doing.
• 51:21
  And he's just scared. He's terrified.
• 51:22
  But it's just his appearance and everything that comes with that,
• 51:26
  that makes him such an iconic character.
• 51:28
  Just that whole look, the way he runs, the way he use it, he
• 51:32
  moves with that chain. So all of these moves,
• 51:34
  everything about him, even when he's just, his eyes are moving
• 51:36
  out the window and he's just, you've got them prosthetics in
• 51:39
  his mouth and he's just kind of licking the teeth and it's just
• 51:41
  all of these little bits. It could very well have just
• 51:44
  been very threatening and it is threatening, but it has got this
• 51:49
  naivety to it, It has got this. Layers.
• 51:51
  There are layers there. Yeah, he's like, he's like a big
• 51:53
  baby with a sledgehammer and a chainsaw.
• 51:55
  It's just absolutely. Terrifying.
• 51:56
  The worst kind of big baby. Imagine.
• 52:05
  Terrifying. I'm having nightmares tonight.
• 52:07
  Yeah, a big baby with a man's face, like, over his own, made
• 52:10
  from human skin, just trying to please everyone.
• 52:13
  And like, in the Dinner City, like, plays mom and he's got the
• 52:15
  apron on. He's got, like, the makeup on
• 52:17
  his face. And he's just all these
• 52:18
  personalities are just changed with what he wears.
• 52:20
  And it's such a confused and, again, really terrifying
• 52:24
  character because you can't relate to that whatsoever.
• 52:28
  This is an absolutely lost human being.
• 52:31
  Yeah, it's quite the performance considering he's got no dialogue
• 52:34
  whatsoever and he's just whimpers and babbling noises and
• 52:37
  we can't see his face either. So not unlike Sally, it's all in
• 52:42
  his physicality, the way he shuffles his body around,
• 52:45
  particularly in that moment when he gets real, when he ices
• 52:47
  jury's third victim. Like you were saying, Westie,
• 52:51
  he's frantically rushing around the house looking to see if
• 52:53
  there's anybody else. And then he looks out the window
• 52:56
  and then sits there with his head in his hands, thinking,
• 52:58
  what the fuck is happening here? Where are these people coming
• 53:00
  from? Yeah.
• 53:01
  Yeah. So he is just trying to defend
• 53:03
  himself. But, I mean, obviously, he takes
• 53:04
  it a step too far. Yeah.
• 53:07
  Just one step, he fucking triple jumps.
• 53:13
  It he's just the one step. I'm stepping a jump.
• 53:18
  Matt, what do you think about Gonna Hanson his Leatherface?
• 53:21
  Yeah, you know what, it would be really easy to say you just need
• 53:24
  to be kind of suit, that's all you needed.
• 53:26
  But you know, we're talking about Gonna Hanson.
• 53:28
  I couldn't even tell you who plays Leatherface in the 2003
• 53:32
  remake. Don't have a clue because
• 53:33
  whoever was just doesn't bring anything like what Gonna Hanson
• 53:36
  brings a year. And it's what you guys said.
• 53:39
  It's those little flickers of humanity there when he's got
• 53:41
  like 3 new corpses in the house and he's like what the fuck?
• 53:44
  Just like 5 minutes ago I was on the final the chainsaw.
• 53:48
  Now there's three dead bodies around the place.
• 53:50
  What do we do? Because, you know, on repeat
• 53:52
  viewings, he's not probably thinking what's going to happen
• 53:54
  when the cook and the hitchhiker come home.
• 53:56
  How's he going to explain it to them?
• 53:58
  You know, that's probably what he's freaking out about.
• 54:01
  And that's all down to Hansen. And he and he did do the
• 54:03
  research and by all counts, he was an absolute gentle giant.
• 54:07
  Like everyone, he ended up stinking, but he stunk so bad
• 54:10
  that people stopped eating the food around him.
• 54:13
  And, like, so I'm just feel really sorry for him.
• 54:16
  No one could, like, eat around him by the end.
• 54:19
  And yeah, he used to really put himself into it.
• 54:22
  When he kills Jerry, Apparently that scream was genuine because
• 54:25
  it was the first time he saw him in the costume.
• 54:26
  And obviously he jumps out at him, which, you know, if that's
• 54:30
  true, I think that's amazing. Yeah.
• 54:31
  I mean, if you go back and revisit that scene, it's a
• 54:34
  shriek. It is.
• 54:35
  It's early shriek like, isn't it?
• 54:37
  Yeah. They were avoiding him because
• 54:38
  he stunk, strung the players out, but also because they were
• 54:42
  doing a little bit of method act and they didn't want to hang
• 54:44
  around with the person who was going to kill them, right?
• 54:47
  So that's the first time that Jerry saw him all done.
• 54:50
  Look like a kipper, right? It's a really great story
• 54:54
  because Jerry's in that kitchen, palms just come out of the
• 54:57
  freezer and that's a jump scare. And he said they had one of the
• 55:01
  one of the prop guys had a hold of the actor's belt in the back
• 55:04
  of his pants on his jeans. And what was going to happen is
• 55:07
  going to answer was going to come in, swing the hammer at
• 55:09
  him. But because the hammer was real,
• 55:10
  obviously that he needed to kind of react in a certain way.
• 55:13
  So he comes in, swings the hammer at him.
• 55:15
  And then the guy playing Jerry just punches the guy out the
• 55:18
  way, get rid of the hand on his belt and just legs it out the
• 55:20
  room. Just absolutely shitting
• 55:24
  himself. He was supposed to get pulled
• 55:26
  down on the floor with a hammerhead.
• 55:28
  He just saw him come through the door.
• 55:29
  He's like fuck he just legged it, which you would amazing.
• 55:36
  Of course, before deciding on the character of Leatherface and
• 55:40
  the Chainsaw, the story had trolls underneath the bridge as
• 55:43
  the main antagonists. Well, not as scary.
• 55:46
  No Billy goats Grove shit. This all changed when Toby
• 55:53
  Hooper was told a story by a doctor that he knew.
• 55:56
  And this doctor was a student and his class was studying dead
• 55:59
  bodies and they visited a morgue.
• 56:01
  And while this doctor was there at the morgue, for some reason,
• 56:03
  he decided to skin the dead body that was there and make a
• 56:06
  Halloween mask out of him. And Hooper heard this story and
• 56:10
  thought, you're weird. But that's perfect for this
• 56:13
  horror film. Pretty sure doctors aren't
• 56:15
  allowed to do that. No, no, no, that goes against
• 56:18
  the Hippocratic. Odd, doesn't it?
• 56:19
  I. Think he's one?
• 56:20
  Wouldn't think so. The 70s.
• 56:25
  So who decided that Leatherface would have different masks for
• 56:27
  different occasions? Which is why you see the plain
• 56:29
  mask at the start and then grandma mask when he's preparing
• 56:32
  dinner. That's to show his domestic
• 56:34
  side. And then he's all caked in
• 56:36
  makeup, all done up like a dog's dinner.
• 56:38
  When they sit down. He can scrub up well, he's got a
• 56:40
  full suit on. Yeah, yeah, lovely.
• 56:42
  Snappy dress on. Cooper saw the film as an
• 56:48
  opportunity to go against typical genre conventions of the
• 56:50
  day. He noted a lack of
• 56:52
  sentimentality and the brutality of things in newspaper reports
• 56:55
  that confirmed to him that man was the real monster, just
• 56:58
  wearing a different face. And you know, he had this kind
• 57:02
  of Grimm's fairy tale archetype that runs through the film as
• 57:05
  well. But he said that the monster is
• 57:07
  man, and you can relate to that more than a monster.
• 57:10
  Finally, he said, my memory of shooting this film was that it
• 57:13
  was miserable, hot and very, very hard work.
• 57:16
  Yeah. Peers off though, right?
• 57:18
  Not really for him. What did you get, $800?
• 57:23
  The Texas Chainsaw Massacre was the first creditor role for both
• 57:25
  Burns and Hanson. Burns would later appear in some
• 57:28
  of the Chainsaw sequels and Hanson would go on to appear in
• 57:31
  films with similar titles. Some highlights include
• 57:34
  Hollywood Chainsaw, Hookers Chainsaw Sally, Brutal Massacre
• 57:38
  and Reykjavik Whale Watching massacre.
• 57:41
  Wheel watching massacre. That sounds very.
• 57:44
  Classic for some reason. Yeah.
• 57:45
  It's very fucking specific. Despite those classics, Burns,
• 57:52
  and in particular Hanson, will always be known for their film
• 57:54
  debuts. Absolutely.
• 57:56
  Yep. The Middle Moving into the
• 58:03
  middle segment of the film, our friends stop for a fill up at a
• 58:07
  local gas station and a warned by the owner to not mess around
• 58:10
  in them old houses. He offers them some questionable
• 58:12
  looking BBQ as well. They make it to the old family
• 58:17
  homestead and Kirk and Pam go out to search for the lake and
• 58:20
  we're tracking them as they find out the Lakers run dry before
• 58:23
  they go to a house nearby for some gas.
• 58:25
  Matt. Terrifying.
• 58:28
  I mean just a bit. I mean, you talk about great,
• 58:31
  what the fuck moments in cinema this.
• 58:33
  I mean, it's got to be up there, hasn't it?
• 58:35
  In terms of horror cinema, just as one small individual scene,
• 58:40
  it's arguably the best because it's just so out of nowhere and
• 58:46
  it's so out of anyone's like conception of what reality is.
• 58:50
  Just the fact that when Kirk was announced and Leatherface is
• 58:54
  obviously off screen and you don't know he's coming but he's
• 58:56
  making the pig noises. Is that him or is that an actual
• 58:59
  pig that he's slaughtering? Because when he when he goes to
• 59:01
  hit him, it's it's a pig scream as he like.
• 59:04
  Raising. Yeah, yeah, yeah, it is.
• 59:06
  It sounds like a pig. Yeah.
• 59:08
  We like a big boy. Yeah, exactly.
• 59:10
  So why is he just making those noises to himself anyway?
• 59:12
  But awful. I mean, we've talked about the
• 59:15
  edit and bathing. This is a great example because
• 59:17
  this sequence is so brilliantly done.
• 59:19
  I love that little stumble that Curtis as you.
• 59:22
  Know that? Yeah, that's perfect.
• 59:24
  It is because that just throws you because you just expect a
• 59:27
  normal walk. So the fact that he stumbles,
• 59:30
  that kind of just throws you off a little bit already.
• 59:32
  So then went left face just pops out and the camera tilts up to
• 59:35
  his face. But all this is like really
• 59:37
  quick cuts. So you're like, what the fuck is
• 59:39
  that? But then it goes away from his
• 59:40
  face and it's just that hammer blow and then his legs kicking
• 59:43
  and then the second hammer blow and then slam that steel door
• 59:46
  shut. And then the sign up just goes
• 59:52
  you're like what the fuck have I just seen?
• 59:57
  It's amazing. That's that door that you didn't
• 59:59
  know was a door. Yeah, I'm sure.
• 1:00:01
  Bang. Yeah.
• 1:00:02
  Holy shit. Yeah, amazing.
• 1:00:04
  Lovely use of words there as well, Matt, when Leatherface
• 1:00:07
  pops out. Hello, hi, hello.
• 1:00:12
  I'm Leatherface. I would say when.
• 1:00:15
  He said around the corner, yeah, when he.
• 1:00:17
  Brutally emerges. Gotta go put the kettle on.
• 1:00:24
  Well, Kirk gives Pam that rotten tooth as a keepsake, which, I
• 1:00:28
  mean, you know, that's nice of him.
• 1:00:29
  A. Romantic guy.
• 1:00:30
  I mean, that drops from nowhere and that's a sign of things to
• 1:00:33
  come. That's a big red flag for Kirk
• 1:00:37
  to get out of there and he shouldn't follow up on this
• 1:00:40
  impulse. Some things are more important
• 1:00:43
  than getting gas. Nothing could prepare for that.
• 1:00:46
  1015 seconds. Yeah, incredible.
• 1:00:49
  What about USD? Yeah, it's be it's be favorite
• 1:00:51
  scene in the whole film. I love the fact that this is
• 1:00:53
  broad daylight as well. It's terrifying.
• 1:00:56
  You don't really expect it, but when you're in that house, it
• 1:00:58
  feels like midnight like this just it's just timeless.
• 1:01:01
  It's just constantly locked in that horrible.
• 1:01:03
  Even if it's night or day, you just you know for a fact that
• 1:01:05
  there's no pleasure in there whatsoever.
• 1:01:07
  There's just no joy in that house whatsoever.
• 1:01:09
  It's completely sadistic. Just get the fuck out.
• 1:01:12
  There's a ramp going up the skulls on a red wall.
• 1:01:15
  That's that's a bad sign. Course, it is a match of that,
• 1:01:20
  but like, and he still goes ahead with it.
• 1:01:22
  And then Gunhansen said that everything that he uses in this
• 1:01:25
  film is like real. That's a real chainsaw.
• 1:01:27
  This is a real hammer. So he's swinging at him and he
• 1:01:29
  actually hits him at one point and then he starts doing like
• 1:01:32
  all the leg kicks, which that always or just puts me on edge
• 1:01:36
  because it is it's like, and it's like was alluded to in the
• 1:01:39
  car with the hitchhiker when he says, you know, that's the best
• 1:01:41
  way to kill him is with a hammer.
• 1:01:42
  And it's he's kicking almost like like an animal would be
• 1:01:46
  reacting to it. You know, all the school
• 1:01:48
  fragments has entered his brain and he's just flipping out the
• 1:01:51
  whip. It drags Kirk and throws and
• 1:01:52
  slams the door. And then Gonna Hansen just
• 1:01:54
  turned around immediately and was like, are you all right,
• 1:01:56
  miss? I think I hit you there with a
• 1:01:59
  hammer a little bit. You're all right.
• 1:02:04
  It's one of my favorite ever cuts as well.
• 1:02:05
  It goes from that door slamming to her on that bench.
• 1:02:09
  Yeah, yeah, just that back shot. And this is one of my favorite
• 1:02:13
  shots. Well, it's my favorite shot in
• 1:02:14
  the whole film, but it's one of my favorite shots ever, which
• 1:02:17
  was done when Daniel Pearl was out of a great idea for a shot.
• 1:02:21
  We've got this raised track and it was on skateboard wheels and
• 1:02:25
  they didn't have anything to hold the camera on.
• 1:02:26
  So he's lying on this skateboard, more or less.
• 1:02:29
  And he said I think I can fit underneath the swing and then
• 1:02:32
  it's going to be on a wide lens as it gets closer at the house,
• 1:02:34
  the house is going to engulf the whole.
• 1:02:36
  Frame and just get bigger and bigger.
• 1:02:38
  And just engulfs her and it's such a smooth shot from him.
• 1:02:40
  You hold it on a skateboard handheld.
• 1:02:43
  And to get that spot on, it reminds me of Michael Chapman's
• 1:02:45
  technique and Taxi Driver when he's getting the shot from the
• 1:02:47
  top that's handheld and it's kind of like A1 take thing.
• 1:02:50
  And he nailed it first take. And he said that was one of
• 1:02:53
  these proudest moments was to fight for that shot.
• 1:02:55
  And he told Toby Hooper about it.
• 1:02:56
  He's like, we are fucking doing that with set.
• 1:02:59
  So it took them a while to get that set up and the nailed it
• 1:03:01
  made one of the finest shots. And Daniel Pearl said he he met
• 1:03:05
  Steven Spielberg when he was shooting 1941 and he said
• 1:03:08
  Spielberg, he was like, yo-yo, you shot Texas Chainsaw Massacre
• 1:03:11
  and the people around. He said he just put his arm
• 1:03:13
  around him and just walked him away and just said, tell us
• 1:03:15
  about that shot. Another swing.
• 1:03:18
  That's Spielberg. You know what, they made that
• 1:03:20
  kind of impact on it. When Pam does go into the house
• 1:03:24
  and the scene that is the most like noisier inducing scene I've
• 1:03:29
  I've ever seen in film, she follows them in and she kind of
• 1:03:33
  trips into the living room and surrounded by this pile of
• 1:03:36
  feathers, a huge Turkey in a tiny bird cage.
• 1:03:40
  All this really fucking weird imagery, bones and teeth strewn
• 1:03:44
  around the floor and like A2 seater chair made of people's
• 1:03:47
  bones, hands and skulls that are hanging from the ceiling.
• 1:03:51
  What? What the Hell's going on here?
• 1:03:53
  And then the camera attracts all of this mayhem with
• 1:03:56
  uncomfortable zooms and loads of flash cuts and she's screaming
• 1:03:59
  as as Leatherface comes out. It's so prolonged, that scene of
• 1:04:03
  tracking all of this carnage in this.
• 1:04:05
  And then I can, and you said it on the seven episode Westie, but
• 1:04:10
  I can smell that room. I can feel the feathers in the
• 1:04:13
  back of me throat. Yeah, it's her reaction as well.
• 1:04:15
  Coughing and gagging to it. Yeah.
• 1:04:17
  Oh, it's just so well done. And yeah, you can totally,
• 1:04:20
  totally feel the atmosphere of that room.
• 1:04:23
  And when she gets put on that hook, there's no real sound
• 1:04:26
  effect. There's no real impact.
• 1:04:27
  It's just you can just, you feel it going in.
• 1:04:30
  And she stops screaming. Yeah, I think the original plan
• 1:04:32
  was to have the hook come out the front and spurt blood,
• 1:04:36
  right? But they just said, well, no,
• 1:04:37
  but don't need to do that. Honestly, just put her up there
• 1:04:39
  and it's going to be 10 times worse and it really.
• 1:04:41
  Is not get APG rating if we do that?
• 1:04:45
  That's a step too far. And the fact that she is alive,
• 1:04:50
  but she's looking at her boyfriend being chopped off.
• 1:04:53
  Yeah, I mean, it's just nightmare stuff.
• 1:04:55
  There's a proper nightmare. Like when you have one and you
• 1:04:58
  can't wake up out of it. That's what that scene feels
• 1:05:00
  like to me. You know, we were talking just
• 1:05:03
  before about Leatherface going one step too far.
• 1:05:06
  Just one step, yeah. Yeah, yeah.
• 1:05:08
  Well, the whole events of the film could conceivably not be a
• 1:05:10
  crime at all. The Texan Penal Code of 1974
• 1:05:14
  states that in the event of trespass, deadly forces even
• 1:05:17
  justified when reasonably believed to be immediately
• 1:05:20
  necessary to preserve the other's life in an emergency,
• 1:05:23
  Leatherface could argue that he was acting in self defence.
• 1:05:27
  Yeah, yeah, luckily. Imagine him on the stand just
• 1:05:28
  screaming like a pig. It'll be done up though, you'll
• 1:05:33
  have a. Different.
• 1:05:34
  You'll have to save it on, don't worry.
• 1:05:36
  You'll draw some eyebrows on it and attach.
• 1:05:40
  What have you got to say for yourself?
• 1:05:43
  Not guilty. Not guilty.
• 1:05:45
  Not guilty. He's fine.
• 1:05:47
  Exhibit A hammer. Exhibit B.
• 1:05:49
  Chainsaw. As time goes on, Jerry goes out
• 1:05:54
  to look for Pam and Kirk before it gets dark and suffers a
• 1:05:57
  similar fate at the hands of Leather Face.
• 1:05:59
  When he finds Pam in the deep freeze, it's now dark.
• 1:06:03
  Sally and Franklin decide to go looking for the missing three
• 1:06:05
  friends, and this is the scene that we're looking at as
• 1:06:08
  Leatherface appears out of nowhere with his signature
• 1:06:11
  chainsaw. Sally, I'll hear something.
• 1:06:13
  Stop. Stop.
• 1:06:15
  Matt. I mean, I just love that shot
• 1:06:17
  you get of Leatherface as he just raised up and he's only lit
• 1:06:20
  by that torch. That, of course.
• 1:06:21
  Yeah. And again, it's another example.
• 1:06:23
  It's a really quick scene. It doesn't need to be any longer
• 1:06:25
  than it is, doesn't dwell on it. And it's a fantastic example of
• 1:06:28
  how good the editing is here because you are convinced, you
• 1:06:32
  know, Franklin gets the chainsaw right in the cuts.
• 1:06:35
  Finally, you do get someone killed by the chainsaw.
• 1:06:38
  Yeah, you do. At last, yeah, And it's the
• 1:06:40
  right person. It is, yes.
• 1:06:42
  It's what we've been waiting for.
• 1:06:43
  But you are convinced you see more than you do and you don't.
• 1:06:47
  I think you maybe see like a little spray of blood go up on
• 1:06:49
  the line of face, but that's it. You don't see it go into
• 1:06:51
  Franklin. You don't see any actual injury
• 1:06:54
  on him. But the evidence so good that it
• 1:06:56
  is completely convinced to you otherwise.
• 1:06:59
  And I think it's also quite big that you've had this character
• 1:07:01
  in a wheelchair throughout the film, just killed off in this
• 1:07:04
  incredibly brutal way. It's like by now, if you're not
• 1:07:07
  already convinced that all bets are off in this film, this is
• 1:07:11
  the final proof you need. You know, doesn't matter.
• 1:07:13
  This characters in wheelchair still going to eviscerate and
• 1:07:16
  basically, Yeah. So that's great.
• 1:07:18
  So. That's great.
• 1:07:20
  So that's great. Well, you know, not the most
• 1:07:23
  likeable guy, was he? He wasn't.
• 1:07:26
  It's really, really a nightmarish, but I do think
• 1:07:29
  there is something that's almost a little comical about it
• 1:07:31
  because he is permanently like three or four feet behind her.
• 1:07:34
  He never seems to gain an inch. And I do a lot when she gets to
• 1:07:38
  the house, realizes, Oh, no, I don't want to be in this house,
• 1:07:41
  you know, when she finds the two corpses upstairs.
• 1:07:43
  Yeah, what else she finds is a skeleton of a cat with another
• 1:07:48
  cat's fur on top of it. Which is hilarious.
• 1:07:53
  Hilarious. I mean, if you desensitize
• 1:07:55
  yourself to it and you watch it maybe five or six times.
• 1:07:57
  I was howling watching that part.
• 1:08:00
  Why have they got into that much trouble?
• 1:08:02
  Yeah, yeah, why stick the original can.
• 1:08:05
  But I do find, like I've said this before, that all moms are
• 1:08:08
  genuine humour in this. And I do think this is wrong,
• 1:08:10
  because it's almost farcical how long that chase sequence takes
• 1:08:13
  when she runs back to the gas station.
• 1:08:16
  Wesley, what about you? Yeah, I love this scene.
• 1:08:18
  Like, you know, Franklin's fucked immediately.
• 1:08:19
  Like they're going into like the woodland.
• 1:08:21
  He's in a wheelchair. It doesn't really board.
• 1:08:23
  Well, you've seen what's happened to the other guys.
• 1:08:25
  You know, there's this really great full moon imagery.
• 1:08:27
  I love the fact it holds on the moon until you see all of it,
• 1:08:30
  the clouds clear, which then goes into the headlights of the
• 1:08:33
  van, which then goes into the torch.
• 1:08:34
  You've got this real full moon for board and imagery that
• 1:08:38
  you're going to see something that you don't really want to
• 1:08:40
  do. But I think they played out just
• 1:08:42
  right. There's just enough time because
• 1:08:44
  you hear like this like a generator, which you think is
• 1:08:47
  the chainsaw just in the background.
• 1:08:49
  And as they get closer and closer, the house that gets
• 1:08:50
  slightly louder and slightly louder.
• 1:08:53
  And you think over that. That must be the chainsaw.
• 1:08:54
  He's he's not that close yet. It's something else.
• 1:08:57
  And that throws you off with the sound design.
• 1:08:59
  They start getting a little bit more comfortable when they see
• 1:09:02
  the house or there's a house they are right.
• 1:09:03
  And then he's I hear something. I hear something and he says it
• 1:09:06
  a couple of times. And then because the character
• 1:09:08
  of the way is the way he is because he's such a whiny
• 1:09:10
  bastard. You kind of shut off from him,
• 1:09:13
  and when he starts repeating himself, you just ignore it.
• 1:09:16
  And then his last thing is I can hear something, and then
• 1:09:19
  Leatherface comes out. So you've almost ignored
• 1:09:21
  Franklin as an audience member. You kind of dismissed him and
• 1:09:25
  don't listen to what he's saying.
• 1:09:26
  And then you suffer for that the same as everybody else does.
• 1:09:29
  It's a fantastic jump scares. Probably one of the scariest bit
• 1:09:32
  in the film for me. Yeah, he's out there.
• 1:09:33
  You just think, oh, fuck, here now and then.
• 1:09:36
  She does wait quite a bit watching France.
• 1:09:38
  She do a carved up. She's there a while.
• 1:09:39
  I mean, that could be. There a while just screaming.
• 1:09:41
  Yeah, it's just I What the fuck? It's, I think the tensions build
• 1:09:45
  up when she's really kind of caught into the brambles and she
• 1:09:48
  can't get out and leather Face just saw on his way through.
• 1:09:51
  But I just think the dread of the situation has built.
• 1:09:55
  Her three friends have gone missing.
• 1:09:56
  One of them's a boyfriend, so she's obviously a little bit on
• 1:10:00
  age and she's really pissed off with Franklin, right?
• 1:10:03
  Super pissed off as we all are, but then what's going through
• 1:10:07
  her head when she sees this image tearing her brother apart?
• 1:10:12
  I like the fact that it is almost pitch blackness and you
• 1:10:15
  can't see too much of of what's going on.
• 1:10:18
  Which makes that torch on Leatherfaces Leatherface really
• 1:10:23
  much more impactful. Yeah, definitely.
• 1:10:25
  So on Franklin, we've talked to him about him a little bit, but
• 1:10:28
  have you got any thoughts about the man that is Franklin paid by
• 1:10:32
  Paul Partain? I think he's in the wrong place
• 1:10:35
  at the wrong time. This trip's not for him, but he
• 1:10:37
  kind of acts like he knows. It's not for anyone.
• 1:10:41
  No, it's not. But, you know, a road trip.
• 1:10:45
  No one enjoys it. No, not in the end they don't.
• 1:10:47
  But it starts fairly nice, you know, in the van with the lads
• 1:10:51
  and it's just like across country, you know, let's say
• 1:10:54
  some scenery. This is all great and it just
• 1:10:56
  goes a big tits up. But I think he's just completely
• 1:10:58
  not suited to be there. I think, you know for a fact
• 1:11:01
  that he thinks it's just he's good.
• 1:11:02
  He's got control of the whole thing.
• 1:11:04
  Like it gives the same advice all the time.
• 1:11:06
  Oh, there's a there's a path between them trees down there.
• 1:11:09
  Oh, where, where you going? There's a path between them,
• 1:11:11
  them trees down there. And I always find it really,
• 1:11:13
  really cringy when I get it while he's done it.
• 1:11:16
  But when he goes in, he rolls in and they're upstairs, they're
• 1:11:19
  having a good time and he just blows raspberries over and over
• 1:11:21
  and over again. That's.
• 1:11:22
  Really annoying. It's really, really annoying.
• 1:11:25
  It's followed by him Wheeling his way through that room into
• 1:11:28
  another room, and then he hits his arm on the door.
• 1:11:31
  Yeah. So that's obviously intentional.
• 1:11:33
  Yeah. The audience has been wound up
• 1:11:34
  massively by the string of raspberries.
• 1:11:37
  So. And then he hits his arm.
• 1:11:38
  Well, that's what you get. That's a hilarious that bit.
• 1:11:41
  That bit makes me really, really laugh because it's just the fact
• 1:11:45
  he's just sort of sobbing himself.
• 1:11:47
  He's really hurting. Himself.
• 1:11:49
  He's been such a Dick. I just find it really, really
• 1:11:51
  comical because we've all done it, though.
• 1:11:53
  We've all kicked off at some point about something and then
• 1:11:56
  when to walk out and just stubbed that tone on the way
• 1:11:59
  out. Made ourselves look a right
• 1:12:01
  prick. Yeah, yeah.
• 1:12:04
  You think, you know, you've got the moral right or whatever.
• 1:12:06
  Oh, fuck. Couldn't even walk out the door.
• 1:12:09
  Brilliant. I love it.
• 1:12:10
  Really makes me laugh. With a true De Niro style Paul
• 1:12:13
  Partin stating character is the most annoying Raspberry blowing
• 1:12:18
  Dick head in the world. So he and Marilyn Burns fell
• 1:12:23
  out, and Hansen said that he was the only character that he was
• 1:12:25
  happy to kill. It wasn't until a couple of
• 1:12:29
  years later that the two met up and Hansen realised that part
• 1:12:32
  time was in character during filming and they became the best
• 1:12:35
  of friends. Yeah, lovely.
• 1:12:36
  The one thing about Franklin that's really straight, another
• 1:12:39
  one scene for me is where they get to the house and he's got
• 1:12:43
  what looks like the most disgusting barbecue in the world
• 1:12:46
  in his mouth. Yeah, it looks like King Kong's
• 1:12:49
  finger. It looks disgusting.
• 1:12:52
  What is it? I don't know.
• 1:12:55
  Why would he say, yeah, yeah, that looks good.
• 1:12:57
  I'll have that. It looks disgusting.
• 1:12:58
  I don't know what it is. And he asks one of them whether
• 1:13:02
  they think the hitchhiker will come back.
• 1:13:03
  They'll try and follow him. And the camera tracks into his
• 1:13:06
  face as he's mulling that potential scenario over.
• 1:13:09
  And he kind of does a few little spits, like, spits out some
• 1:13:12
  food. Yeah, what worries me is what is
• 1:13:15
  he spitting out there? Well, it's the cook, isn't it,
• 1:13:17
  from the gas station. That's where he's bought that
• 1:13:18
  from. You see the body parts in the
• 1:13:20
  fire, so it's obviously like a finger or something.
• 1:13:23
  I'll be diplomatic as say. So leave it and leave it.
• 1:13:28
  Leave it to your own interpretation of what that is,
• 1:13:31
  but I do believe it's a body part of some kind.
• 1:13:34
  Upon repeat viewing, that really, really makes an impact
• 1:13:37
  that's. Like when he's kind of rolling
• 1:13:38
  towards the front of the van as well.
• 1:13:39
  He's pushing himself. He's just, it's in his mouth
• 1:13:41
  like a cigar. Just kind of like a cigar.
• 1:13:43
  Yeah. Horrible meat cigar.
• 1:13:49
  This scene where Leatherface is chasing Sally.
• 1:13:52
  The chainsaw itself was a working chainsaw, but it had
• 1:13:55
  most of its teeth removed for most of the scenes.
• 1:13:58
  And in the sequence where he's chasing a Hanson slipped and
• 1:14:00
  fell to the ground with a chainsaw being flipped up in the
• 1:14:03
  air so it was pitch black. And because he was wearing
• 1:14:05
  someone else's face as a mask, he couldn't see anything at all.
• 1:14:09
  He just covered his head and hoped for the best, and the soul
• 1:14:11
  landed about two inches from his Jesus Christ.
• 1:14:17
  Do it again. Really.
• 1:14:18
  Dangerous. Really dangerous.
• 1:14:23
  So with Franklin out of the pitcher and Sally running for a
• 1:14:25
  life, it's four down, one to go. The crew.
• 1:14:34
  There was a limited crew on The Texas Chainsaw Massacre.
• 1:14:36
  We're starting with Toby Hooper and Kim Henkel, who were the
• 1:14:39
  writers Westy screenplay for Texas Chainsaw.
• 1:14:42
  I think the screenplay is amazing.
• 1:14:44
  I think it does everything it needs to do.
• 1:14:45
  I think there was stuff in the screenplay that that they
• 1:14:48
  couldn't film or realize. I think a lot of the screenplay,
• 1:14:52
  if it was read, would be a lot more arty.
• 1:14:55
  If you could film everything that's in the screenplay, then
• 1:14:58
  films would just be a lot more elaborate.
• 1:14:59
  You've kind of got to take about 2030% off the screenplay and
• 1:15:03
  that's what the films like. So I think to still have this
• 1:15:07
  much in it and to still be sore to the point I don't feel any of
• 1:15:09
  the dialogue is, you know, unbelievable.
• 1:15:12
  I don't really feel any of the settings are are necessary.
• 1:15:15
  I think all of the ideas are there.
• 1:15:16
  And I think it's probably going to be just as terrifying to read
• 1:15:19
  as it is to watch. I think it's really, really
• 1:15:21
  good. But I think Kim Henkel, who
• 1:15:23
  wrote this with Hooper, I think he's really underappreciated.
• 1:15:26
  I think he had a lot to do with this and his his premise was
• 1:15:30
  just, you know, I'm going to make something that scares the
• 1:15:32
  shit out of people and we're going to write something that
• 1:15:33
  scares the shit out of people. And he directed the return of
• 1:15:37
  Texas Chainsaw Massacre, didn't he?
• 1:15:38
  The fourth one, yeah, the 4th 1. So it's kind of generation.
• 1:15:41
  It's, it's a lot of it is his idea.
• 1:15:44
  I think you can see that it's it's ingrained in him and a lot
• 1:15:46
  of this comes down to his his experiences as well as hoopers
• 1:15:49
  and what scares him. Yeah, well, he drew inspiration
• 1:15:52
  from Elma Wayne Henley, who is another serial killer.
• 1:15:55
  Yeah, he said that he was struck by his reaction when he got
• 1:15:58
  caught. He said, I did these crimes and
• 1:16:01
  I'm going to stand up and take it like a man.
• 1:16:03
  And Henkel said, well, that really struck me as interesting.
• 1:16:05
  He had this conventional morality at this point.
• 1:16:08
  He wanted to know that now that he was caught, he would do the
• 1:16:11
  right thing. So this kind of moral
• 1:16:13
  schizophrenia is something that I tried to build into these
• 1:16:15
  characters, which I think you can see echoed in the likes of
• 1:16:19
  Leatherface and in the likes of the Cook Who doesn't want to but
• 1:16:24
  really does and really loves it, but then doesn't like to get his
• 1:16:28
  hands dirty. And he's kind of like escaping
• 1:16:31
  from the dinner scene into the living room, but then trying to
• 1:16:34
  keep a sneaky look and jumping up and down.
• 1:16:36
  So there's that kind of like double side to a lot of the
• 1:16:39
  characters. Matt, what do you think of the
• 1:16:41
  screenplay? I think it's a screenplay of IDs
• 1:16:45
  more than anything, isn't it? Definitely.
• 1:16:47
  In a weird way, it takes me back to when we talked about The
• 1:16:50
  Shining and we talked about The Shining screenplay is, if
• 1:16:53
  anything, like a framework that Cubic as a director could then
• 1:16:56
  just go wild in. You know, there were things we
• 1:16:58
  said on in the Shining screenplay, like all the stuff
• 1:17:01
  about the the layout of the hotel chain and things like
• 1:17:04
  that. But the screenplay gave Cubic
• 1:17:06
  the space to do that. My thing is does very similar
• 1:17:10
  thing for Hooper. I think he knows he doesn't need
• 1:17:12
  to over elaborate it. He doesn't particularly feel the
• 1:17:15
  need to go into any detail on these characters, their
• 1:17:18
  backstories, because it's not needed.
• 1:17:20
  What he's done is set up the framework and then he's just
• 1:17:23
  letting himself loosen it as a director because it's all about
• 1:17:26
  the atmosphere, what that screenplay's got to do.
• 1:17:28
  It's got to make it seem inevitable where they get to.
• 1:17:31
  I think that's the strength of the screenplay, is to just set
• 1:17:34
  those characters on the path. And everything else that Hooper
• 1:17:37
  brings into it are these kind of almost abstract IDs of things
• 1:17:40
  that that are bothering them in society, and he's going to boil
• 1:17:43
  it down to this incredibly fucked up family that they're
• 1:17:46
  running into. So yeah, it's a screenplay of
• 1:17:48
  ideas, but very disturbing ideas.
• 1:17:51
  It's yeah, I mean, it's a super lean screenplay, and there's not
• 1:17:54
  much in the way of exposition either.
• 1:17:56
  It's kind of the stuff that the hitchhiker sees in the van.
• 1:18:00
  And then basically we're told things by the radio.
• 1:18:03
  And that imposes this feeling, this atmosphere on you, but not
• 1:18:08
  much else. And really, I'm amazed that you
• 1:18:11
  picked up quotes for the start because there's not much in the
• 1:18:14
  way of, like, iconic dialogue. I think you picked the best two
• 1:18:17
  actually. It was either that or blonde
• 1:18:20
  Raspberry's for 5 minutes. One of you might.
• 1:18:23
  Do that screaming for 10 minutes and then he borrowed.
• 1:18:29
  A pig. Toby Hooper said that changes in
• 1:18:35
  the cultural and political landscape influenced the tone of
• 1:18:38
  the film and intentionally used the line.
• 1:18:40
  The film you're about to see is true, blah blah, blah.
• 1:18:43
  He said that this was a response to being lied to by the
• 1:18:46
  government about things that were going on all over the
• 1:18:48
  world, things like Watergate, the atrocities in Vietnam.
• 1:18:51
  He used the film as kind of like an allegory for that, with the
• 1:18:55
  building blocks all in place that we've talked about and draw
• 1:18:57
  an inspiration from Mavericks of the genre like Romero and Night
• 1:19:01
  of the Living Dead, Craven, Last House on the Left.
• 1:19:04
  The script of the film was written within weeks.
• 1:19:06
  It maintained that title Head Cheese until the week before
• 1:19:09
  shooting started, when the head of the Texan Film Commission
• 1:19:12
  suggested The Texas Chainsaw Massacre.
• 1:19:14
  And I mean, what a title. It is truly shocking.
• 1:19:17
  That's the kind of title that makes me think I need to watch
• 1:19:20
  that film. Yeah, exactly.
• 1:19:21
  Absolutely. But in that case, then the
• 1:19:24
  opening narration that was written by them, was that
• 1:19:26
  actually in the in the screenplay at the start?
• 1:19:28
  Because the last words of that narration are the title of the
• 1:19:31
  film. So you know the film you're
• 1:19:33
  about to say this is about the. Head cheese we wouldn't.
• 1:19:38
  Quite have that. No head cheese.
• 1:19:44
  I'm terrified. Much like most of the cast and
• 1:19:48
  crew, this is Kim Henkel's career peak.
• 1:19:50
  You mentioned at Westie. He did write and direct the 4th
• 1:19:53
  in the series Texas Chainsaw Massacre, the next generation
• 1:19:56
  tragedy, that one tragedy. And he has been involved in
• 1:20:00
  other sequels in a producing capacity as well.
• 1:20:03
  He said he's named to all of them.
• 1:20:04
  Basically move on. Finally, the.
• 1:20:09
  The last man on the crew list is Daniel Pearl who did the
• 1:20:12
  cinematography maths. What do you think of the the
• 1:20:14
  look and how Daniel Pearl adds to the feel of the film with his
• 1:20:18
  camera? I think he's the unsung hero of
• 1:20:21
  the film, really, because I think so much of this film is
• 1:20:23
  grim and vile and horrible. Like you don't automatically
• 1:20:27
  think, Oh yeah. Cinematography was great though.
• 1:20:30
  But there is. It truly is fantastic.
• 1:20:34
  It looks amazing from first fame to the last, and there's some
• 1:20:37
  genuinely like beautiful images of you as well.
• 1:20:40
  I love that shot where Kirk and Palm have gone off to find the
• 1:20:42
  pool and the cameras underneath them looking up at them and the
• 1:20:45
  sun's like really high in the sky.
• 1:20:47
  That looks amazing. And the other one I really love,
• 1:20:50
  it's when Jerry goes to find Kirk and Palm and at sunset and
• 1:20:53
  he's walking off and the sun's really low because it's in front
• 1:20:56
  of him. He's in silhouette.
• 1:20:57
  I was like something from Terrence Malick on that.
• 1:20:59
  That's. An incredible shot.
• 1:21:02
  It's really, really beautiful. So yeah, he probably doesn't get
• 1:21:04
  enough credit for what he's done here.
• 1:21:06
  But then he does balance it with the really grim aspects, like
• 1:21:09
  when you've topped out the ballroom that Pam falls into,
• 1:21:12
  you know, that's like something from just almost feels like that
• 1:21:14
  could be from, like, a snuff film, you know, it looks so
• 1:21:17
  realistic. And in this choice of close-ups,
• 1:21:20
  how close he gets to some of these decorations and ornaments
• 1:21:23
  and eyes and things, that's what's so unsettling.
• 1:21:27
  So yeah, I think he does some absolutely fantastic work here.
• 1:21:30
  Yeah, I think what's amazing is that it is beautiful.
• 1:21:33
  The cinematography is and it doesn't get the credit it
• 1:21:36
  deserves, but the whole feel of the film isn't.
• 1:21:39
  Yeah, Yeah, yeah, yeah to. Strike that kind of a balance
• 1:21:42
  between the two. I think is is a masterstroke.
• 1:21:45
  Yeah, I think it's it's what he's shooting as well.
• 1:21:47
  I don't think he's given anything beautiful.
• 1:21:49
  I think he's got to try and make the horrific look palpable.
• 1:21:52
  And that in turn makes it look beautiful because everything
• 1:21:55
  else is so horrendous. And then when you see something
• 1:21:57
  that's actually quite all right to look at, you know, there's
• 1:21:59
  the sun going down. He gives Hooper everything he
• 1:22:02
  needs to create these really unsettling things in the edit.
• 1:22:05
  I mean, you imagine how long he's holding on that chicken
• 1:22:08
  for. And he's like, why don't you get
• 1:22:09
  the close up of that? And the only use snippets of
• 1:22:11
  these. But he's got to get them.
• 1:22:12
  And every single one of them has got to resonate and make an
• 1:22:14
  impact. He's got to focus on the right
• 1:22:16
  points. And I've never seen, I've never
• 1:22:18
  heard of him sense of what you've done.
• 1:22:21
  And then I've looked into, do you know what he did after this?
• 1:22:23
  He's done like a billion music videos, yeah.
• 1:22:26
  Absolutely loads of music videos, but what he did was
• 1:22:29
  revolutionize the music video. I mean, there's so many people
• 1:22:33
  who've done it, but there's the look.
• 1:22:34
  I mean, if you think of any really big video like in the 80s
• 1:22:37
  or the 90s, he did Every Breath You Take by the Police and then,
• 1:22:41
  which is a really iconic video. And he did Better Days by
• 1:22:45
  Springsteen. He did November Rain by Guns and
• 1:22:47
  Roses. You did I'll do Anything for
• 1:22:49
  Love, but I won't do That by Meatloaf.
• 1:22:51
  He did like Miami by Will Smith. He did Man, I Feel Like a Woman
• 1:22:54
  by Shania Twain. You know all of these, but all
• 1:22:56
  of these. You saved the best to last
• 1:22:59
  there, but. The iconic, that's the point.
• 1:23:01
  He creates iconic imagery and he's he's got that vibe and I
• 1:23:04
  think he's got this energy that's gone through his whole
• 1:23:06
  career. He's fantastic.
• 1:23:08
  His work, and this especially, is really, really inspiring.
• 1:23:11
  Yeah, I really like what feels like the juxtaposition between
• 1:23:15
  like really up close, really handheld, jerky in your face,
• 1:23:20
  immediacy of the action, and then you've got some of the most
• 1:23:24
  beautiful shots I've ever seen. I was purring when I was
• 1:23:26
  watching this. How live in purring?
• 1:23:33
  There's a few, like when Jerry goes into the gas station to
• 1:23:37
  find out if there's another gas station around in the girls or
• 1:23:39
  the cork machine. It tracks from left to right and
• 1:23:43
  goes past the girls as he goes into the gas station.
• 1:23:46
  Just looks fucking brilliant. And there's a shot where it's
• 1:23:49
  kind of lurking in the grass. When they finally get to the
• 1:23:52
  house, they're getting out of the van and you think that
• 1:23:55
  that's kind of could be somebody lurking, stalking them, and it
• 1:23:59
  just looks fantastic. So it's the beauty in those
• 1:24:02
  shots right next to the like horrors captured right in your
• 1:24:07
  face. I think it's, it's just, it's so
• 1:24:09
  disoriented. It's that final shot of
• 1:24:11
  Leatherface with that sun coming up is, yeah, absolutely fucking
• 1:24:15
  amazing. It's just that's a career high
• 1:24:17
  for anybody. It's how it's captured just
• 1:24:20
  before that shot when Leatherface is kind of stabbing
• 1:24:23
  away at the camera when Sally's in the back of the truck and
• 1:24:27
  it's just pure menace on his face.
• 1:24:29
  I love that shot. This is his first film as well.
• 1:24:31
  Yeah, I think it was like 23 just out of college.
• 1:24:34
  That's ridiculous man. You think you'd get from like a
• 1:24:37
  seasoned professional? Incredible.
• 1:24:39
  So a super lean script and an inventive approach to
• 1:24:42
  cinematography, not forgetting masterful editing as well, and
• 1:24:45
  production design off the scale all combined to help The Texas
• 1:24:49
  Chainsaw Massacre achieve the legendary state as it now holds.
• 1:24:52
  Yeah, everyone at the top of the game when they didn't even know
• 1:24:54
  what the game was. Amazing.
• 1:24:56
  Oh lovely, put that on the poster.
• 1:24:59
  Sold into the last sequences of the film, Sally makes it out of
• 1:25:10
  the house by jumping through the upstairs window with Leatherface
• 1:25:13
  and Hot Pursuit. She makes it to the gas station
• 1:25:15
  she visited earlier and into the arms of the owner and seemingly
• 1:25:18
  relative safety Westie. Gas station, false sense of
• 1:25:22
  security, isn't it? But you don't trust this guy
• 1:25:24
  immediately. I think he plays it so well, Jim
• 1:25:28
  said. I wasn't at the opera he plays.
• 1:25:30
  He's really, he's a nice guy. And at the start of it, when he
• 1:25:33
  gets around, he looks out. He plays the part, he kind of
• 1:25:37
  acts it all out exactly as you want to do.
• 1:25:39
  And you kind of take a breath and you're like, right, well, I
• 1:25:41
  don't like him, but at least he's not Leatherface at the
• 1:25:44
  minute. I'm in relics This, this, this
• 1:25:47
  is. But it's still bad apples.
• 1:25:48
  But it's not as bad as it was. Like I don't still don't want to
• 1:25:51
  be here, but I don't want to be there either.
• 1:25:52
  So you do feel at ease a little bit more.
• 1:25:54
  It's a bit, it's a bit well lit. There's a fire there.
• 1:25:56
  She starts figuring out certain parts, certain elements, and you
• 1:26:00
  see that all the the meat in the fire and it starts and then you
• 1:26:05
  see him just turn, not in an obvious way, not in a really
• 1:26:08
  sadistic way. He just gets more excited than
• 1:26:10
  he does anything else. Yeah, it is all.
• 1:26:13
  It's horrible. It's so harrowing that you
• 1:26:15
  would. It bleeds into the believability
• 1:26:17
  of this. Like he almost can't believe
• 1:26:19
  he's look, but you know, it's, you know for a fact he's not
• 1:26:21
  strong enough to go through with everything.
• 1:26:23
  It's all very kind of happenstance.
• 1:26:25
  And then when that goes overhead, he's hit now with the
• 1:26:27
  broom. That whole serious nature of
• 1:26:30
  this scene is really, really unsettling because you just
• 1:26:33
  think, well, it can't really get much worse than this.
• 1:26:35
  And then it gets 100 times worse than this.
• 1:26:37
  So this really, once you've seen the film, this is that little
• 1:26:40
  bit of light relief in the middle where you can kind of
• 1:26:42
  catch your breath for about 30-40 seconds, and then then it
• 1:26:46
  spins you back out, you know? And I love, love, love that he
• 1:26:49
  goes back in to turn the light off and lock the door.
• 1:26:51
  And he's like, yeah, you know, got a bit of bills around here.
• 1:26:55
  It's just like, you're comfortable down there.
• 1:26:56
  He's horrible. What a bastard.
• 1:26:58
  Yeah, he said that he was struggling to get into it, and
• 1:27:01
  he was. And she said, just hit me, just
• 1:27:04
  do it. And he said that I got into it,
• 1:27:06
  I got into that frame of mind and I began to enjoy it.
• 1:27:09
  And that poor girl took a real beating.
• 1:27:12
  Jesus. Awful, awful.
• 1:27:14
  Obviously we don't condone that. That's definitely horrendous.
• 1:27:17
  That is horrendous. And the horrible thing is you
• 1:27:19
  can kind of, you can kind of see that on the screen.
• 1:27:21
  You can see this excitement within him, but he's not playing
• 1:27:25
  the part anymore. He's just becoming the part.
• 1:27:27
  Yeah, it unsettles you immediately and you just think,
• 1:27:30
  oh God, I don't want to. How can this get any worse?
• 1:27:32
  Yeah, well, we'll tell you in a few minutes time.
• 1:27:36
  Certainly will. When she's she's putting up a
• 1:27:39
  fight and there's one brother that gives her with the stick
• 1:27:42
  and she stops screaming and that's a really shocking moment.
• 1:27:44
  That's a good punch for the audience because oh God, she
• 1:27:49
  she's giving up the fight and we know how this is going to end.
• 1:27:53
  That's truly awful. And the moment when he's in the
• 1:27:55
  car and he's being all nicey, nicey, he says.
• 1:27:58
  I hope you're not too uncomfortable down there.
• 1:28:01
  And then he starts jabbing out with a stick.
• 1:28:03
  There's something awfully, perversely funny about his face
• 1:28:07
  when he's gone. Obviously it's awful, but I do
• 1:28:13
  get a right smile out of. It I'm going to say it.
• 1:28:16
  There it is. Well, don't condone that either.
• 1:28:20
  Obviously, obviously not. It's just that the way he plays
• 1:28:22
  it. Is I know what you mean.
• 1:28:23
  Yeah. Like the look on his face is
• 1:28:26
  kind of like there's this Glee and he's just.
• 1:28:29
  He goes, he goes a little bit mental.
• 1:28:31
  He just goes a little bit really sadistically that you can't
• 1:28:34
  help. But, you know, maybe you laugh
• 1:28:35
  at it because you're so uncomfortable.
• 1:28:38
  You get to that point where it's not even humor.
• 1:28:40
  It's just like, yeah, OK. But I'll agree with you.
• 1:28:42
  Yeah. Well.
• 1:28:42
  I don't know how to process this.
• 1:28:44
  Yeah, exactly. Yeah, Well, I think you're
• 1:28:46
  absolutely rightly, because it's almost farcical by this point
• 1:28:50
  how much Sally's gone through. And I think that that's what
• 1:28:53
  kind of gets that nervous laugh out of you because like, she's,
• 1:28:55
  what else is she going to have to put up with?
• 1:28:58
  Because you think when she gets the gases, it's like you get a
• 1:29:00
  big, it's like you just inhale deeply and just calm down for a
• 1:29:04
  little bit because leather face is gone.
• 1:29:06
  But it's only like on repeat view and say, I think, well,
• 1:29:08
  hang on, why hasn't leather face just burst straight in through
• 1:29:10
  the door? Whitey knock on the gas station.
• 1:29:13
  That in itself. Because he was right behind it,
• 1:29:15
  yeah. Exactly that in itself that's
• 1:29:17
  not a good sign. And then and then just to get
• 1:29:19
  beaten with the broom. I mean, Jesus, like what else
• 1:29:23
  does she have to put up with? Because we mentioned there there
• 1:29:24
  was like like a fairy tale aspect to the beginnings of this
• 1:29:28
  film, like what he was inspired by.
• 1:29:29
  And that's kind of like a fairy tale thing, isn't when does it
• 1:29:32
  Cinderella or someone gets beaten by the broom by the
• 1:29:34
  wicked stepmother and things like that.
• 1:29:36
  Yeah, it's very Hansel and Gretel as well in there.
• 1:29:38
  Yeah, like the fire there and you know, yeah, push the witch
• 1:29:41
  in the fire and it's all open. And yeah, it's got that five do.
• 1:29:44
  It's horrible. Yeah, and the radio comes back
• 1:29:46
  and hear as well, doesn't it? Because that's when she starts
• 1:29:50
  to trigger. Hang on.
• 1:29:51
  Because it's it's still reports of like great Robin going on.
• 1:29:54
  So you think actually she is nowhere near anywhere safe.
• 1:29:58
  And the line that really sticks out to me is when he goes
• 1:30:02
  through it, you just cooperate, young lady, and will have no
• 1:30:04
  trouble. I mean, how big of them?
• 1:30:08
  Yeah. Exactly, I'm sorry, Sir, hoping
• 1:30:12
  Chase by chance I will brother or whatever he is to you.
• 1:30:15
  So he's he's a horrible piece work.
• 1:30:17
  But it is funny because it's the juxtaposition of how horrible
• 1:30:21
  this scenario is and how like in then his comments are like when
• 1:30:25
  he is talking about the cost of electricity is enough to drive a
• 1:30:28
  man out of business. Is he saying that too?
• 1:30:31
  Does he think she cares about that at that point?
• 1:30:34
  Just that nervous laughter just continues as he drives home and
• 1:30:37
  he sees the hitchhiker and he, I do laugh how we just sort of
• 1:30:40
  berating him straight just because, you know, that's fair
• 1:30:43
  enough. It's the hitchhiker.
• 1:30:45
  I don't mind him getting the shit kicked out.
• 1:30:47
  So that's funny. And then obviously you get like
• 1:30:49
  my favorite line in the film, which I did the beginning where
• 1:30:51
  he sees what Leatherface has done at the door that oh, I
• 1:30:55
  mean, come on, that's just one of the funniest lines in any
• 1:30:59
  room. It's just in this now like
• 1:31:01
  fucked off He is that it? The rest of the house is an
• 1:31:06
  absolute shit. Hole he's.
• 1:31:09
  Upset about the door? But it's absolute carnage
• 1:31:12
  because he's he's everything's in total disarray and he's
• 1:31:15
  beaten Leatherface, he's beaten the hitchhiker, he's worried
• 1:31:18
  about the door. Bad day at the office for that.
• 1:31:23
  Terrible. Have you noticed when he's
• 1:31:25
  chasing around Leatherface in like, the kitchen?
• 1:31:27
  Yeah. Where Pam gets put on the hook?
• 1:31:29
  I don't know if that's the kitchen, it might be, I've got
• 1:31:31
  no clue. But there's a wheelchair in the
• 1:31:34
  corner, so they've obviously taken Franklin's wheelchair and
• 1:31:37
  thought we'll use that later then.
• 1:31:41
  I've never noticed that, no. Yeah, it's in there.
• 1:31:44
  Well I just want decorated reports and shit, aren't they?
• 1:31:46
  Yeah, stick grinder in it. The gas station from the film is
• 1:31:57
  still in the same place. It's in a place called Bastrop
• 1:32:00
  in Texas, and it's now a bed and breakfast hotel.
• 1:32:02
  It's called the Last Chance Gas Station.
• 1:32:04
  Yeah. And the sign outside still reads
• 1:32:07
  as it does in the film We Slaughter BBQ.
• 1:32:11
  Amazing I'm. Fucking good.
• 1:32:18
  Sally is taken back to the house with a hitchhiker in attendance
• 1:32:21
  and all hell breaks loose. In a final scene of all final
• 1:32:24
  scenes, they sit around the dinner table for a nice family
• 1:32:28
  meal with Sally being served up as the delicious main course.
• 1:32:31
  I thought. You was in a hurry.
• 1:32:35
  Matt Yeah, dinner with the Sawyers.
• 1:32:38
  Well, I turned on the invitation.
• 1:32:40
  I don't know about you. I don't think you get the choice
• 1:32:43
  to mate. I think that's the point.
• 1:32:45
  That's true. Jesus Christ, You can tell by
• 1:32:48
  now everyone in this crew, in this cast is just on the edge.
• 1:32:52
  There must be at this point is tipping over into proper
• 1:32:55
  insanity because that's the only reason you can have the edge
• 1:32:59
  that you do get in this scene. And there's been countless films
• 1:33:02
  after this that have tried to do similar, you know, the Sony like
• 1:33:06
  torture porn films out there that try to just match this in
• 1:33:11
  terms of intensity and in terms of getting under your skin.
• 1:33:15
  And none of them come close. And I do think it is because
• 1:33:17
  what everyone's going through to get this thing done.
• 1:33:20
  You know what the the long deers, the heat, the
• 1:33:23
  claustrophobia, the stench, it just all comes like pull Satan
• 1:33:27
  out of the screen. You know, I've never ever, ever
• 1:33:30
  Satvu was saying like this and just felt so uncomfortable.
• 1:33:34
  But then I just, it might be on a technical level, so much the
• 1:33:38
  editing is just incredible. The way it cuts, it's absolutely
• 1:33:43
  brutal. And then that close up of
• 1:33:45
  Sally's eye. It's one of the worst things
• 1:33:48
  I've ever seen in my life. If there's one thing that freaks
• 1:33:51
  me out, it's a close up of the naked eye, and this is the
• 1:33:55
  perfect example of it. It's absolutely horrendous with
• 1:33:59
  her eyes darting around. Yeah, quick cuts, snapping away
• 1:34:02
  and then shrieks in the sound design.
• 1:34:04
  Yeah, because because it's sort of vulnerable as well,
• 1:34:06
  obviously. Yeah.
• 1:34:06
  Your eye, especially when it's open and the camera is so close,
• 1:34:09
  you think about, fucking hell, how close were they to her eye
• 1:34:12
  actually blinding her? I think that's what gives it
• 1:34:14
  that edge and the noises mean the way that the mix up like
• 1:34:17
  animal noises in that soundtrack.
• 1:34:19
  Just the the sound design is crazy.
• 1:34:21
  And when they bring grandpa down, oh, and he starts suckling
• 1:34:24
  on her finger. Oh, it's the sound.
• 1:34:27
  It's like, like so much of this film, it's the sound of it.
• 1:34:30
  Yeah, well that part, Matt, is absolutely horrendous.
• 1:34:34
  They achieved that by putting tape around an an actual knife
• 1:34:38
  to dull the blade. And this we should say, is in
• 1:34:42
  the middle of a 27 hour non-stop filming schedule.
• 1:34:46
  And the reason that it's 27 hours non-stop is because the
• 1:34:49
  person who was playing Grandpa John Duggan went through 10
• 1:34:53
  hours of make. We said, I'm not doing that
• 1:34:54
  again. So you're going to have to do
• 1:34:56
  everything from this point onwards with my face in.
• 1:34:59
  So that's why it's 27 hours. So everybody was fraught with
• 1:35:01
  tension, lack of sleep, horrendous conditions.
• 1:35:05
  And we're trying and trying and trying this scene, and they had
• 1:35:08
  a tube with staged blood, and they're squeezing and squeezing
• 1:35:11
  and it just wouldn't work. They've got clogged up.
• 1:35:13
  Gunner Hanson took the tape from the edge of the knife and sliced
• 1:35:17
  Marilyn Burns his fingers. And that's actually the scene
• 1:35:20
  that we see. That's real blood, which makes
• 1:35:23
  such an impact when you look at it, Hanson said.
• 1:35:25
  At this point, I was so crazy, I just wanted to get the film over
• 1:35:28
  with. And Burns didn't actually
• 1:35:31
  realize that this had happened because she was in such a state,
• 1:35:33
  and neither did John Duggan, who plays Grandpa, Duggan said.
• 1:35:38
  I didn't find out till years later that I was actually
• 1:35:40
  sucking on her blood, which is kind of erotic really.
• 1:35:45
  Is it? No.
• 1:35:47
  No, that's not what I would call erotic at all.
• 1:35:50
  Outrageous, that isn't. I mean, being a family on the
• 1:35:52
  wall on that set when all of this carnage is happening, Yeah,
• 1:35:57
  You wouldn't be able to Unsee it.
• 1:35:59
  Just like the film had been a million times worse.
• 1:36:01
  Yeah, disgusting. That's what it is on screen.
• 1:36:03
  It's genuine insanity. It's genuine people off the edge
• 1:36:07
  and just the endless shriek and the do with each other and how
• 1:36:10
  the shriek and gets the cook giggling like he's he's trying
• 1:36:13
  to like he's almost trying to keep it sane, but he just can't
• 1:36:17
  help himself. And he goes over the edge and Oh
• 1:36:19
  my word, this is nothing else like it.
• 1:36:21
  Nothing else like it at all. Westy, what's your take on this?
• 1:36:24
  This is what I would imagine hell is like.
• 1:36:27
  This is just absolutely fucking atrocious.
• 1:36:31
  It's disgusting to the point where if I didn't love the film
• 1:36:34
  so much, I would say that this is beyond reproach.
• 1:36:37
  It's fucking. It's difficult to watch.
• 1:36:40
  It's horrible, horrible, horrible.
• 1:36:42
  It's so oppressive. Yeah.
• 1:36:44
  Everything that's happening, the noises, the taunts, the kind of
• 1:36:47
  like when the Hitchhikers feigning that he's crying.
• 1:36:50
  Yeah. When Sally's screaming.
• 1:36:52
  Jesus. It's just the thing that strikes
• 1:36:54
  me is the formality of it. There's nothing worse than if
• 1:36:56
  you're, if you're in a formal setting that you don't want to
• 1:36:58
  be in, like if you go to a dinner party or if you go to
• 1:37:00
  someone's house and you're just kind of getting to know them and
• 1:37:02
  you're sitting around the table and you've got that formality to
• 1:37:05
  it and you're just stuck there. You know, you're stuck there
• 1:37:07
  because that's that situation that you can't just it's nothing
• 1:37:10
  breezy about it. There's nothing.
• 1:37:12
  Everything's got to be done. And you've got to get through
• 1:37:14
  that dinner that if you sat down, you sat down, you can't
• 1:37:16
  just excuse yourself for fuck off.
• 1:37:18
  You know, that's where you are. And that for me, it's, that's
• 1:37:20
  what freaks me out is that she is stuck there and so are you.
• 1:37:24
  And this whole sequence that like you're both touched on, I
• 1:37:29
  mean the set design, this is just incredible.
• 1:37:31
  Out of control, isn't it? It's amazing level of details
• 1:37:35
  and attention to. Detail, you could put the camera
• 1:37:37
  anywhere and you would be shocked by what you saw, you
• 1:37:40
  know, and the fact that you, when you realise that granted's
• 1:37:42
  alive, you know, I was played by John Duggan, who was 20 years
• 1:37:45
  old at the time. By the way.
• 1:37:47
  And the glued that onto his fucking face. 27 hours and he's
• 1:37:51
  got like scars and stuff on his face because of the glue that
• 1:37:54
  was stuck for that long. And you just there's a bit with
• 1:37:58
  the putter over the tub and he's trying to hit her with a hammer
• 1:38:00
  and you just go, that's awful. It makes us feel this once
• 1:38:05
  terrified, so furious and sick to me stomach at the same time
• 1:38:10
  when he keeps dropping that hammer.
• 1:38:11
  It's it's like, right, I've had enough.
• 1:38:13
  I've had enough now, like I want to go in there and just start
• 1:38:15
  swinging at them and just be like you're taking the piss like
• 1:38:18
  this is too far and it just get it really fucking rangles me up.
• 1:38:21
  But it's so well done to create those emotions and those
• 1:38:26
  feelings. Like I don't just feel like, no,
• 1:38:28
  yeah, it's, it's difficult to watch.
• 1:38:30
  It's it's it's almost impossible to watch.
• 1:38:32
  It's. Unbearable.
• 1:38:33
  You know, I get it. I get a bit pissed off of them.
• 1:38:35
  I don't. I get furious with them.
• 1:38:37
  You can smell this atmosphere. You are in that environment.
• 1:38:40
  The camera placement puts you at that table with them staring at
• 1:38:44
  you. Every single minute of it is so
• 1:38:46
  repellent. But it needs to be, because when
• 1:38:49
  she gets away, then you get away.
• 1:38:51
  Almost. I think that the most truly
• 1:38:54
  terrifying thing about it is it's being built up all the way
• 1:38:57
  through the film. It's clear that there's
• 1:38:58
  absolutely no reasoning with this family.
• 1:39:02
  There's no way you can get out. There's nothing you can see that
• 1:39:05
  you will be able to talk your way out of it or somebody's
• 1:39:07
  going to come to your rescue. She's done four.
• 1:39:10
  Yeah. The only thing that she can do
• 1:39:12
  is jump out of the window. Yeah.
• 1:39:13
  This is their normality though. That's the point.
• 1:39:15
  You've got no argument because whatever you say, they just will
• 1:39:17
  not understand it. Yeah, they're not going to say
• 1:39:19
  Oh well, let you're off. This is like a Wednesday at
• 1:39:21
  night or something. Do you know what I mean?
• 1:39:22
  It's they're having, they're having a fucking great time on a
• 1:39:25
  Wednesday because there's some fresh meat to eat.
• 1:39:27
  And so get back in there on the stove, you know, get granda
• 1:39:30
  down. You fuck the door up and it's
• 1:39:32
  just this, it's so disgusting and you're just thrown in the
• 1:39:35
  middle of it. It's amazing, but it's not.
• 1:39:43
  When Sally makes it out of there and leather faces chasing after
• 1:39:46
  her, that's a really iconic image, but it's the way the
• 1:39:49
  hitchhiker is slashing at her as he makes it onto the road and
• 1:39:54
  the truck wiping him out is the most satisfying death I've ever
• 1:39:57
  seen in my entire life. Superb.
• 1:40:01
  Oh God, what do you think of that guy who's in the Black
• 1:40:04
  Maria truck who throws the the wrench wrench off his face?
• 1:40:07
  He's. Just he's he's how I would have
• 1:40:09
  reacted at the start of the film.
• 1:40:11
  I would have thrown a wrench at the first person I saw and just
• 1:40:14
  ran away. Because he doesn't go back to
• 1:40:18
  his truck, he doesn't get his back of the trip pickle.
• 1:40:20
  Yeah, he just keep. Fucking legs.
• 1:40:24
  You would. Can you imagine being you're
• 1:40:26
  just, you're in your truck and you're just driving down your
• 1:40:28
  street and everything is fine. And then all of a sudden you're
• 1:40:31
  faced with this absolute carnage, madness, and there's a
• 1:40:34
  guy with a face and a chainsaw it.
• 1:40:37
  What on earth must that guy be thinking?
• 1:40:39
  Yeah. Here, it's like you are the
• 1:40:41
  truck driver, and it's like you've just wandered into the
• 1:40:44
  scene of utter, utter carnage you like.
• 1:40:47
  What the? Fuck is going on here?
• 1:40:49
  Yeah. Like, and it just balances so
• 1:40:52
  perfect because on the one hand, there's some proper slapstick in
• 1:40:55
  here. Just the way that driver runs is
• 1:40:57
  funny. He's got a real comical run.
• 1:41:00
  And yeah, exactly. You know, he's a guy who doesn't
• 1:41:03
  do running on a normal basis. He can.
• 1:41:05
  Tell that. And then just throwing that
• 1:41:07
  wrench and just hitting it square off the leather faces,
• 1:41:09
  forehead, that's like he's dropping the chainsaw on on the
• 1:41:12
  legs. You're just laughing nervously,
• 1:41:15
  but it is funny. I love when he injuries himself.
• 1:41:17
  I love the fact that the only violence that you see in this
• 1:41:20
  film is when the bad guys either get injured or killed because
• 1:41:23
  that violence, when he gets hit by that truck, you see
• 1:41:25
  everything you see. It doesn't cut.
• 1:41:28
  It's not subliminal at all. When that chainsaw hits leather
• 1:41:31
  faces leg like you see. There's obviously a prosthetic
• 1:41:36
  in there which you had to squeeze to get the blood to come
• 1:41:39
  out because he squeezes the leg. Yeah.
• 1:41:41
  Yeah. Some of the images, well, all
• 1:41:43
  the way through the film. But some of the images in the
• 1:41:45
  last, say, 5 minutes, yeah, are scorched in my brain.
• 1:41:49
  Yeah, absolutely. I'll never get rid of them.
• 1:41:51
  Absolutely. I love this final sequence.
• 1:41:53
  I love the fact that that didn't quite know what to do with
• 1:41:57
  Leatherface when they were getting away and two of you was
• 1:41:59
  like just you just don't just do something with the chainsaw.
• 1:42:01
  He just came up with all that swinging it.
• 1:42:03
  The cameraman didn't know what was happening.
• 1:42:05
  It's a real chainsaw getting swung.
• 1:42:06
  It's really close to him. It's really a rabbit.
• 1:42:09
  The sun's coming up behind him. There's that sound.
• 1:42:12
  It's just this horrible, horrible nightmare.
• 1:42:15
  And then it's just. Bang.
• 1:42:17
  Black reception and awards.
• 1:42:38
  We mentioned it before, but The Texas Chainsaw Massacre was a
• 1:42:41
  huge roller in success. On a final budget of between 80
• 1:42:45
  and $140,000. In total, it returned $30
• 1:42:48
  million in the box office, one of the most profitable films
• 1:42:52
  ever. In today's money, that would be
• 1:42:54
  $158 million. I mean, I can't see a film like
• 1:42:58
  this being that successful now. No, not, not from, not from the
• 1:43:01
  budget that it was made on and not because it they're not this,
• 1:43:03
  this subject matter. Now this subject matter normal.
• 1:43:06
  Way. So that's millions of pounds in
• 1:43:08
  the mob pocket, really. Heartbreak.
• 1:43:11
  Heartbreak. There was some backlash to the
• 1:43:15
  film, though. There were reports of mass walk
• 1:43:17
  outs at some cinemas, and two theatres in Ottawa were
• 1:43:19
  threatened with morality charges if they didn't withdraw the
• 1:43:22
  film. I mean, I can see why.
• 1:43:24
  Yeah, Yeah, I can understand it, especially in the mid 70s.
• 1:43:27
  Yeah. I'm sure that's what Hoopa was
• 1:43:29
  hoping for, to be honest. Yeah, of course Hoop is hoping
• 1:43:31
  for that. Yeah, there were release issues
• 1:43:41
  outside of the US It was pretty much permanently banned in the
• 1:43:44
  UK, like we've talked about until 1999.
• 1:43:47
  And the main problem was that the film contained the word
• 1:43:49
  chainsaw. The main problem?
• 1:43:51
  Not massacre. That was what the hell could be
• 1:43:58
  called like the Texas Chainsaw fairy tale.
• 1:44:02
  That's the problem. It was banned in other countries
• 1:44:07
  like Finland, Germany, Brazil, Chile, France, Ireland, to name
• 1:44:10
  but a few. That didn't stop it becoming
• 1:44:12
  part of the Museum of Modern Art in 1981, which is unusual for a
• 1:44:17
  film. At the time.
• 1:44:19
  Reviews were a mixed bag. The Cincinnati Enquirer said
• 1:44:22
  Marilyn Burns as Sally deserves a special Academy Award for one
• 1:44:25
  of the most sustained and believable acting achievements
• 1:44:28
  in movie history. No, I don't believe that.
• 1:44:32
  I don't if. You take the word acting out of
• 1:44:34
  it. I agree.
• 1:44:38
  Yeah, Roger Ebert, He said it was as violent and gruesome and
• 1:44:41
  blood soaked as the title promises.
• 1:44:44
  No, it wasn't. No, not at all.
• 1:44:46
  Not at all. And Harper's Magazine, they said
• 1:44:51
  the Texas Chainsaw Massacre is a vile little piece of sick crap.
• 1:44:54
  Not. A fan.
• 1:44:59
  Not a fan at all. Despite the negatives, the film
• 1:45:03
  now has a 89% Rotten Tomatoes rating and a score of 7.5 out of
• 1:45:07
  10 on IMDb. Doing all right for a film with
• 1:45:10
  a cast and crew of nobody's, a shoestring budget, and some of
• 1:45:13
  the worst filming conditions in history?
• 1:45:15
  Yeah. Yeah, sequels and influence.
• 1:45:23
  The impact of The Texas Chainsaw Massacre runs deep and wide.
• 1:45:26
  It had a huge influence on shape and the genre in the years and
• 1:45:29
  decades to come, leaving the blueprint for what was to be
• 1:45:31
  known as the slasher sub genre in its wake.
• 1:45:34
  Ridley Scott called it one of the few really, really great
• 1:45:37
  movies, and Wes Craven said it was in his top five films of all
• 1:45:41
  time. Lovely Craven Raven about it.
• 1:45:44
  That makes sense. Messing with the big boys With
• 1:45:49
  so much success and a claim, a sequel was inevitable, but
• 1:45:52
  audiences had to wait a full 12 years and overall there have
• 1:45:55
  been an additional 7. Texas Chainsaw films.
• 1:45:58
  Wow, count them up 7. Brilliant.
• 1:46:01
  Seven too many. It's a lot to ignore, isn't it?
• 1:46:05
  But you've managed it. I have yet.
• 1:46:09
  First off, we had The Texas Chainsaw Massacre Part 2 in 1986
• 1:46:12
  that was directed again by Toby Hooper and starred Dennis
• 1:46:16
  Hopper. Very strange.
• 1:46:17
  Yeah, I've seen that one. Yeah.
• 1:46:19
  Then in 1990 that saw the release of Leatherface, The
• 1:46:23
  Texas Chainsaw Massacre, Three Star and Viggo Mortensen.
• 1:46:26
  In 1995, we've got The Texas Chainsaw Massacre The Next
• 1:46:29
  Generation Star in Matthew McConaughey and Renee Zellweger.
• 1:46:32
  That one was written and directed by Kim Hengel as well.
• 1:46:36
  Really good casts, these two if like, if you read these to me,
• 1:46:38
  it would be like, oh, check out the remix, I'll check out the
• 1:46:41
  sequels. We've got Dennis Hopper in
• 1:46:42
  there, we've got McConaughey, we've got to do the.
• 1:46:43
  Most I'll. Be like I'm involved.
• 1:46:46
  Let's check it out. Didn't know Mortensen was in one
• 1:46:48
  of them. Yeah, well, this was Hopper off
• 1:46:51
  the boil, and also Mortensen, Zellweger and McConaughey before
• 1:46:55
  they were famous. They would do any old shit.
• 1:46:57
  Fair enough. And they did.
• 1:47:02
  Then a remake came in 2003, which tried to recreate the feel
• 1:47:05
  of the original by recruiting many of its cast and crew.
• 1:47:08
  It failed. It did Then a prequel to the
• 1:47:11
  remake in 2006. That was The Texas Chainsaw
• 1:47:14
  Massacre, the beginning going back to the original series, but
• 1:47:17
  retcon in the timeline all over the place.
• 1:47:19
  Texas Chainsaw 3D came out in 2013.
• 1:47:23
  And finally we've got Leatherface 2017.
• 1:47:25
  Surely not the last entry in the Canon, I'm guessing, but one of
• 1:47:29
  the worst. Yeah, he's slowly started losing
• 1:47:32
  any kind of energy towards the end of that.
• 1:47:36
  You can't. Yes, there another one for fuck
• 1:47:38
  sake. Have you seen any of those then,
• 1:47:43
  fellas? I've seen the 2003 remake, can't
• 1:47:47
  remember anything about it, and I don't really feel the need to
• 1:47:50
  rectify that. Yes, Sam, I've seen that one.
• 1:47:53
  I know Daniel Pearl came back and shot that one.
• 1:47:54
  So I was intrigued to watch it again because I saw it when it
• 1:47:58
  came out and I wasn't impressed then.
• 1:48:00
  And I thought, well, I've just seen Texas Chainsaw for this.
• 1:48:02
  So I'll give that one a go because it seemed like the most
• 1:48:05
  honest kind of reimagining of it or the revisiting to it with,
• 1:48:08
  you know, the similar people in it and Castle.
• 1:48:10
  And it's just now it's it misses on every single level.
• 1:48:14
  I've seen Part 2 and not the Part 2 to the remake.
• 1:48:18
  Part 2 with Dennis Hopper and it's so disappointing.
• 1:48:21
  The tones like slapstick comedy mixed with gross out go.
• 1:48:24
  I've seen that one as well, and I saw that the poster was
• 1:48:27
  mimicked off The Breakfast Club. I was like.
• 1:48:29
  That's right, Yeah, it's probably the best thing about.
• 1:48:31
  It it is the best thing about it.
• 1:48:32
  That's why I watched it and I thought, well, that I'm so
• 1:48:34
  disappointed. Is that the one that's playing
• 1:48:37
  on the telly and the burbs and Tom Hanks is watching it?
• 1:48:40
  Yeah, yeah, when the printer comes through the wall and kind
• 1:48:43
  of puts in half. Because he has the name about
• 1:48:45
  it. Yeah, yeah, yeah.
• 1:48:45
  Oh, that's just Part 2, is it? Right.
• 1:48:47
  That's what I've seen off of them and I don't think I'll need
• 1:48:50
  to see anymore. Yeah, it's one.
• 1:48:51
  I think it's one of the worst films I've seen.
• 1:48:54
  Right. Yeah, it's a Canon film as well.
• 1:48:56
  Wouldn't. It it is a Canon film.
• 1:48:58
  Yeah, yeah, a lot a. Lot of issues in there.
• 1:49:01
  Yeah, my Lords, it's probably best to avoid all the sequels
• 1:49:05
  and remakes considering our comments there.
• 1:49:07
  None of them have got a good reputation.
• 1:49:09
  But if you can't resist, you could try Part 2 and you could
• 1:49:12
  try the remake, but the rest just give them a wide berth.
• 1:49:16
  Waste of time. Next Generations got the lowest
• 1:49:18
  box office receipts taken just $185,000.
• 1:49:23
  Very disappointing. Very disappointing.
• 1:49:27
  And Texas Chainsaw the Beginning that has the lowest rating on
• 1:49:30
  Rotten Tomatoes, 13%. So it's the worst of a bad
• 1:49:33
  bunch. Though all of the sequels are
• 1:49:35
  below 50% so it's in good company or bad company.
• 1:49:39
  Yeah, well, it's a big avoid from us, but up the.
• 1:49:42
  Big avoid 7 avoids. As is generally the case, the
• 1:49:45
  original is the best, but unlike most horror franchises, the
• 1:49:49
  various sequels and remakes haven't sullied The Texas
• 1:49:51
  Chainsaw massacres Visceral power.
• 1:49:56
  All the ranking will be the ranking.
• 1:49:59
  Now we're going to settle down for the final course of the
• 1:50:01
  short. Matt, could you service up your
• 1:50:04
  summary in school for the Texas Chainsaw Massacre Police?
• 1:50:07
  I don't think there's any other film I've done such a 180 on
• 1:50:09
  with this one. I said at the the top of this
• 1:50:12
  episode, I was wondering, well done first viewing.
• 1:50:14
  But in respect, that's because I was young, I was naive, I was
• 1:50:17
  stupid, I was shallow. I wanted blood and guts like
• 1:50:21
  flung across the screen. I wanted to see chainsaws going
• 1:50:24
  into people's heads. And obviously that's not what
• 1:50:25
  this film is, but obviously as I've grown and I've matured a
• 1:50:29
  little bit, not massively, but a little.
• 1:50:31
  Bit I was going to say I was this and I was that.
• 1:50:35
  You know, now I'm just old and stupid and shallow, etcetera.
• 1:50:40
  But now I appreciate it for what it is, which is just a film that
• 1:50:44
  stands alone in its genre. And countless, countless
• 1:50:47
  imitators have followed sequels or not, but not one of them has
• 1:50:50
  got the intensity of this because of the way this was
• 1:50:53
  shot, the way that it was just full on, no holds barred, full
• 1:50:57
  on determination by Hooper. Yeah, I would never say this is
• 1:51:00
  one of me all time favourites and I've watched it about three
• 1:51:04
  times in the last week as well in preparation for this.
• 1:51:06
  And I think I'm good with it for a while.
• 1:51:08
  It'll only be a good while if I put it on again.
• 1:51:11
  But I'm just in awe of it when I think how young they all were,
• 1:51:15
  how inexperienced the word, the conditions, who made this in.
• 1:51:19
  And they didn't kill anyone. So.
• 1:51:22
  And when I think about the sequels, they just don't have
• 1:51:25
  the creativity in the artistry that went into this, which we've
• 1:51:27
  discussed this incredible work here in the cinematography and
• 1:51:31
  the sound design, in the editing.
• 1:51:34
  And when I just think about what they've come out with in the way
• 1:51:36
  that it puts you, the viewer through it, this can't be
• 1:51:39
  anything other than a 10 for me. Wow.
• 1:51:42
  Boom. Really.
• 1:51:44
  Is. That's a big one.
• 1:51:46
  And Westy. I'm going to just mirror what
• 1:51:48
  I've said all the way through. I know that we'll get to these
• 1:51:50
  summaries, and I always feel like I'm just repeating what
• 1:51:52
  I've said for like the last hour and a half or two hours or
• 1:51:55
  whatever, and that it is a piece of work that I admire immensely.
• 1:52:00
  It divides people. You love it or you hate it
• 1:52:03
  because it's a work of conviction.
• 1:52:05
  It's a work of confidence. It's just a work of pure energy
• 1:52:09
  and opinion from one guy who had a vision, who got together with
• 1:52:13
  another guy who wrote a screenplay, who got a crew
• 1:52:16
  together who understood what he was going to do, and then got
• 1:52:18
  actors together who put themselves to absolute hell to
• 1:52:21
  make it work. And every single person really
• 1:52:24
  suffered to make this work and really suffered to make this
• 1:52:27
  exist in this world. And it should exist because it's
• 1:52:30
  still relevant now it's a heightened version.
• 1:52:32
  Like I've said, it's repellent in places, it's disgusted in
• 1:52:35
  places. It makes you feel absolutely
• 1:52:37
  worthless at times. Horrible, sickened, disgusted.
• 1:52:41
  But you walk away from it, think and hold on a second, it's not
• 1:52:45
  that bad out there. Maybe it's going to be all
• 1:52:46
  right. Maybe this version of what I've
• 1:52:48
  seen has made us feel that way. I don't ever want to feel that
• 1:52:51
  way again. So you live your life a little
• 1:52:52
  bit better. It kind of makes you a better
• 1:52:54
  person. So whether you walk away
• 1:52:56
  sickened or you walk away enlightened, either way it
• 1:52:59
  exists for that reason. So it cannot be denied its place
• 1:53:03
  in the history of horror and it cannot be denied its place in
• 1:53:06
  the history of cinema for what it is.
• 1:53:08
  It is a masterpiece. Whether you love it or you hate
• 1:53:11
  it, you can't deny that this is a masterpiece of cinema and it's
• 1:53:13
  a temp. Jesus Christ, blown my hair
• 1:53:17
  right back with that one. Both of you 2 not expecting.
• 1:53:20
  Beauty in the darkness there, Wesley.
• 1:53:22
  Very nice. Always do.
• 1:53:25
  I've got no choice. Wow, It's a film for me that
• 1:53:31
  I've always been aware of since in my younger years and I've
• 1:53:34
  always been a little apprehensive of even after
• 1:53:37
  watching this, thinking it's a it's a challenge to watch this
• 1:53:40
  and it's an ordeal. If I'm going to put it on, I
• 1:53:42
  have to be in the right frame of mind.
• 1:53:44
  The uncompromised and subject matter doesn't necessarily
• 1:53:46
  encourage repeat viewings, but it's power to shock and strike.
• 1:53:50
  Fear hasn't dulled that all, even on the numerous RE watches
• 1:53:53
  that I've given it over the past few weeks.
• 1:53:55
  Technically, I really don't think it does any missteps
• 1:53:58
  whatsoever. It's it's perfect.
• 1:54:00
  It's just the fact that whether you buy into this subject matter
• 1:54:03
  or not, and that's I think where people either love it or hate
• 1:54:07
  it. I think the performances are
• 1:54:09
  better than most in this genre, but it's never been in my
• 1:54:12
  favorite horrors, and that is still the case.
• 1:54:14
  It's not in there with, say, The Exorcist.
• 1:54:17
  Right. Really.
• 1:54:18
  It's not far off though, right? So I'm looking at it from a
• 1:54:21
  comparative point of view and I'm going to go with a nine out
• 1:54:23
  of 10. All right, fine, fine.
• 1:54:38
  Not a problem. No worries.
• 1:54:39
  I'll have we'll be later about it.
• 1:54:40
  So it's it's not it's. There is no definition of how we
• 1:54:43
  score things, Westie. It's it's personal breath.
• 1:54:45
  Of course it is and it's it's fine, you know, I'm fine with
• 1:54:48
  it. Is it fine?
• 1:54:50
  Oh yeah, absolutely fine with. It lovely bombshell at the end
• 1:54:52
  there. I've given something a nine out
• 1:54:56
  of 10 getting berated for. Us.
• 1:54:59
  I'm not berating, you know, I'm just saying that's fine.
• 1:55:02
  I honestly thought my score would be the highest out of all
• 1:55:04
  three. Really.
• 1:55:05
  I'm amazed that you've both given it a 10.
• 1:55:07
  Yeah. On Twitter, our followers have
• 1:55:10
  been voting on The Texas Chainsaw Massacre as well, and
• 1:55:12
  we've got a few comments before we give you the score.
• 1:55:14
  All right, pal? At Dyslexic Turtle, three said
• 1:55:18
  seven or lower when compared to the original Halloween or Friday
• 1:55:22
  the 13th. OK.
• 1:55:25
  Not for me, but OK. Yeah.
• 1:55:26
  Not for me, no. Not no Halloween.
• 1:55:28
  Fair enough. Yeah, it's a different beast.
• 1:55:31
  No, no, really. It is.
• 1:55:33
  It is, Christopher Bratton at Chris D Bratton said.
• 1:55:36
  One of the best horror films, and I'm using the word horror in
• 1:55:39
  its literal meaning. Just the right amount of
• 1:55:42
  weirdness and artistry to really get under your skin and stay
• 1:55:45
  there. Agree.
• 1:55:46
  Yeah, that's more like it. Yeah, that's more like it.
• 1:55:48
  And. That's in Chris, more of that.
• 1:55:52
  Darren Hines at Heinz D20 Four said 12 out of 10.
• 1:55:56
  That's it. There we go.
• 1:55:59
  Very optimistic. There you go.
• 1:56:01
  Between us we have 21 out of 10. And with all the votes in
• 1:56:08
  combined from Twitter, Texas Chainsaw got a score of.
• 1:56:13
  I hate to say it but I think it's going to be like an 8.
• 1:56:15
  Yes, it's very divisive. 8 out of 10.
• 1:56:18
  You're absolutely right, yeah. That's fair enough.
• 1:56:21
  I can understand why. Yeah, there's amount of people I
• 1:56:23
  speak to when I said like, this is one of my favorite films in
• 1:56:25
  the gore. You're just feeling weird.
• 1:56:27
  Oh, is it? I don't want to speak to you
• 1:56:30
  anymore. You know what I mean?
• 1:56:33
  I'm quite. I'd rather if this is a friend
• 1:56:34
  than them people. I'll be perfectly honest with
• 1:56:36
  you. At least I know it's fucking
• 1:56:39
  motives. Guaranteed a good male.
• 1:56:43
  Exactly That means with all of our votes and the votes from
• 1:56:49
  Twitter combined, The Texas Chainsaw Masker has an overall
• 1:56:52
  score of 37 out of 40. Go to
• 1:56:55
  alltherightmovies.com/leaderboard to check out the score of all
• 1:56:58
  the other films that we've covered and see how The Texas
• 1:57:00
  Chainsaw Massacre shapes up. As ever, you can sign up to us
• 1:57:03
  on Patreon. That is www.patreon.com/all the
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• 1:57:10
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  And a shout out to the great guys and our directors Chair
• 1:57:17
  tier of patrons. They are Adam Cowie, Adam Yates,
• 1:57:20
  Damian Lennox, Anna Randall, Andrea Barker, Saeed Matlum,
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  Jamie Russell, Robert Shearer, Mike Riley, George Anderson and
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  Paul Devine. A great gang of gang.
• 1:57:35
  Of Sawyers, We'll serve you some head cheese later.
• 1:57:40
  You love it. We can't promise that.
• 1:57:43
  And fix your front door as well. Next to your front door, Jesus.
• 1:57:56
  That is a wrap. We're going to go to the
• 1:57:58
  neighbour's house for some gas. For all show notes, credits and
• 1:58:01
  references that we use in the production of the podcast, you
• 1:58:04
  can visit alltherightmovies.com/the hyphen
• 1:58:07
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• 1:58:11
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• 1:58:27
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• 1:58:57
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• 1:59:06
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