Latest / Beyond The Blood: A Horror Movie Commentary Podcast / Torso (1973) ft. Ryan Verrill (Discconnected / Antenna)

Transcript

Torso (1973) ft. Ryan Verrill (Discconnected / Antenna) · Beyond The Blood: A Horror Movie Commentary Podcast

• 0:01
  Speaker 1: You are now listening to the Someone's Favorite Productions podcast network.
• 1:14
  Speaker 2: A Whisper in the Woods, a body count Rising in Silence.
• 1:18
  Speaker 2: Season three up Beyond the Blood begins with a film
• 1:20
  Speaker 2: that smiles before it strikes. Sergio Martino's Torso turns beauty
• 1:24
  Speaker 2: into a trap. Desire becomes exposure, isolation becomes a sentence,
• 1:29
  Speaker 2: and the frame itself feels dangerous. Every cut sharpens attention,
• 1:34
  Speaker 2: every silence dares you to breathe. To open the season,
• 1:37
  Speaker 2: we're joined by special guests Ryan from The Disconnected to
• 1:40
  Speaker 2: dissect one of Martino's most infamous nightmares, where style seduces
• 1:44
  Speaker 2: silent stalks and survival is anything but guaranteed. No screams,
• 1:50
  Speaker 2: no Warning. Season three starts now on Beyond the Blood.
• 2:16
  Speaker 3: Hello everybody, and welcome back for season three of the
• 2:20
  Speaker 3: Beyond the Blood podcast. This is the podcast where we
• 2:22
  Speaker 3: celebrate and discuss our favorite genre films and their audio commentaries.
• 2:27
  Speaker 3: My name is Chris Higgins. I go by the Bearded
• 2:29
  Speaker 3: Film Guy online, and as always, I'm joined by my
• 2:32
  Speaker 3: beautiful co host Steve from After Hours Video.
• 2:35
  Speaker 4: I love on this intro.
• 2:37
  Speaker 3: I should keep going, My beautiful, my beautiful, whimsical Chris,
• 2:41
  Speaker 3: keep going, man, I gotta end this bit already. Here
• 2:45
  Speaker 3: we are, season three. How you feeling about it, Steve.
• 2:48
  Speaker 4: I'm stoked.
• 2:50
  Speaker 2: This is sure definitely one of my favorite subgenres of film,
• 2:53
  Speaker 2: so I am very excited to dive into this awesome movie.
• 2:57
  Speaker 3: Yeah. Well, I couldn't think of a better way to
• 3:00
  Speaker 3: kind of launch into a new year, but a new
• 3:02
  Speaker 3: season of the show without having this particular guest on.
• 3:08
  Speaker 3: Of course, he is goes by the Internet. Most of
• 3:11
  Speaker 3: the Internet knows by knows him by. Oh Jesus, I
• 3:14
  Speaker 3: got to learn how to talk this season. Goes by
• 3:18
  Speaker 3: the disc Connected. He is also the co founder of
• 3:22
  Speaker 3: Someone's Favorite Productions, a podcast network that we are a
• 3:24
  Speaker 3: part of, and a couple other things that we'll be
• 3:27
  Speaker 3: kind of getting into during this episode. Ryan, Welcome back
• 3:30
  Speaker 3: to Beyond the Blood.
• 3:32
  Speaker 5: Hi.
• 3:32
  Speaker 6: This is a very different show when we're doing commentaries now.
• 3:35
  Speaker 6: The last time I was on here for a commentary, man,
• 3:39
  Speaker 6: it was barely finding its feet. And now you guys
• 3:41
  Speaker 6: are the stars. People fucking love you.
• 3:43
  Speaker 5: Yeah.
• 3:44
  Speaker 3: Yeah, we we just wrapped up our red carpet premiere.
• 3:47
  Speaker 3: Walking into it was beautiful, you know, lots of photographers.
• 3:51
  Speaker 6: And genuinely like you guys have gotten a lot of
• 3:56
  Speaker 6: great feedback over the last seemingly what feels like three
• 3:59
  Speaker 6: and a half and it's really only been a year,
• 4:02
  Speaker 6: which is crazy.
• 4:04
  Speaker 3: Yeah, this time last year we were recording Spider Labyrinth
• 4:07
  Speaker 3: and it was like the we were down in the
• 4:10
  Speaker 3: dirt just trying to figure out exactly what this show is.
• 4:13
  Speaker 3: And it's it's come full circle enough that you're back
• 4:17
  Speaker 3: in a January episode.
• 4:19
  Speaker 5: Can't wait.
• 4:19
  Speaker 3: Show has changed so much. So thank you always for everything, Steve.
• 4:23
  Speaker 3: You weren't even here a year ago, man.
• 4:25
  Speaker 4: You wepe no, I was.
• 4:26
  Speaker 2: I was sidelined watching from just since.
• 4:30
  Speaker 5: You were.
• 4:30
  Speaker 3: You were like the you were the idea, sitting off
• 4:33
  Speaker 3: to decide, and we were just waiting to reach out
• 4:34
  Speaker 3: and grab.
• 4:35
  Speaker 4: And pull in you know exactly.
• 4:37
  Speaker 3: I wouldn't have it any other way though. I mean,
• 4:38
  Speaker 3: I wish we were here doing season three with Chuck.
• 4:42
  Speaker 3: You know, I always love that guy to death. I've
• 4:44
  Speaker 3: missed the hell out of him on the show. Chuck.
• 4:46
  Speaker 3: If your listening, which I know you are, we love you,
• 4:50
  Speaker 3: Thank you for doing this with me. But today we're here.
• 4:54
  Speaker 3: We wanted to kind of kick off season three in
• 4:57
  Speaker 3: an aggressive manner, and we wanted to talk about a
• 5:00
  Speaker 3: movie that's incredibly lighthearted, full of family fun. Of course,
• 5:05
  Speaker 3: I'm talking about nineteen ninety eight's air Bud.
• 5:10
  Speaker 5: Dagg It.
• 5:11
  Speaker 6: I listened to the one of the sequel, The Golden Receiver,
• 5:13
  Speaker 6: and we're just not going to sync up tonight.
• 5:15
  Speaker 3: There's like seven Airbud movies.
• 5:17
  Speaker 5: Yeah, it's crazy.
• 5:19
  Speaker 3: No, we're here tonight talk about nineteen seventy three's Tourso,
• 5:22
  Speaker 3: directed by Sergio Martino. But before we dive into all
• 5:26
  Speaker 3: of that, I just want to take a moment and
• 5:27
  Speaker 3: catch up, just kind of hang out with you guys
• 5:29
  Speaker 3: for a little bit, see what's going on. I want
• 5:33
  Speaker 3: to kick off because I'm selfish and I just want
• 5:35
  Speaker 3: to talk about something I did today. I went to
• 5:37
  Speaker 3: a movie theater for the first time in twenty twenty six,
• 5:40
  Speaker 3: and it was lovely. I thought I was the only
• 5:43
  Speaker 3: person in there until about three quarters away through the
• 5:45
  Speaker 3: movie when I got up to go to the bathroom,
• 5:47
  Speaker 3: and I found myself staring at somebody sitting in the
• 5:50
  Speaker 3: back of the theater, wondering how long he was there for.
• 5:55
  Speaker 3: I dude, halfway through this movie, I forgot that I
• 5:59
  Speaker 3: wasn't just at home, and I was like, kicked back lounging,
• 6:03
  Speaker 3: you couldn't see me. So it was what it was.
• 6:06
  Speaker 3: But I went and saw. One of my not resolutions
• 6:09
  Speaker 3: but goals for this year was to go to movie
• 6:11
  Speaker 3: theaters more and on weekdays when I'm off my wife works,
• 6:16
  Speaker 3: and I was like, this is a perfect time for
• 6:17
  Speaker 3: me to get out of the house and just get
• 6:20
  Speaker 3: into the theater more. Prices are a little bit cheaper
• 6:22
  Speaker 3: with the matine. So I went and I saw We
• 6:26
  Speaker 3: Bury the Dead, which is the new Daisy Ridley starring zombie.
• 6:33
  Speaker 3: I don't it's being it's not really a zombie movie.
• 6:36
  Speaker 3: It's you know, it's kind of all over the place
• 6:39
  Speaker 3: as far as what you want to call it. I
• 6:40
  Speaker 3: think for the most part it's being considered a zombie movie.
• 6:44
  Speaker 3: It's directed by I can't say his name because I'm
• 6:47
  Speaker 3: going to butcher it, but it's the same guy who
• 6:49
  Speaker 3: directed in nineteen twenty two the Stephen King adaptation for Netflix,
• 6:52
  Speaker 3: as well as a couple other films, and I really
• 6:57
  Speaker 3: enjoyed it. I first saw Umbrella talking about it because
• 7:01
  Speaker 3: it is in Australian production and Umbrella, I'm sure it
• 7:04
  Speaker 3: is going to be putting out a massive box set
• 7:08
  Speaker 3: for it in the in the near future on physical media.
• 7:11
  Speaker 3: But really enjoyed. Have you guys seen like a trailer
• 7:14
  Speaker 3: or heard anything about this movie.
• 7:18
  Speaker 2: I don't know much on it other than you hypeing
• 7:22
  Speaker 2: it up, but I'm all for a new movies, that's
• 7:26
  Speaker 2: for sure.
• 7:28
  Speaker 3: Well it's interesting, man. It's essentially about a the US
• 7:32
  Speaker 3: accidentally set off some sort of experimental pulse missile and
• 7:36
  Speaker 3: pretty much wipes out Okay, they completely wipe it out,
• 7:41
  Speaker 3: and the bomb pretty much kills people right where they stand.
• 7:46
  Speaker 3: Like there's it's pretty harrowing what happens. Daisy, really, our
• 7:49
  Speaker 3: main character gets joins a a team of volunteers that
• 7:57
  Speaker 3: it's like a body what's the word. Like they're they're
• 8:01
  Speaker 3: they're just out there to get to get bodies out
• 8:04
  Speaker 3: of houses and businesses and buildings and retrieve them and
• 8:09
  Speaker 3: not even a rescue team because there's practic there's no survivors. Oh,
• 8:13
  Speaker 3: so they're just being sent in to retrieve bodies. And
• 8:16
  Speaker 3: these bodies, yeah, that's that's a whole job. And these
• 8:20
  Speaker 3: bodies are slowly beginning to for some reason, come back,
• 8:26
  Speaker 3: and it's ranging from them being one hundred percent just
• 8:29
  Speaker 3: docile brainless to pretty aggressive depending on how long they've
• 8:37
  Speaker 3: been dead for. And she is on the hunt for
• 8:39
  Speaker 3: her husband who was at a work like a work retreat.
• 8:44
  Speaker 3: And it was good man, it was really interesting. I
• 8:46
  Speaker 3: can't really talk about my favorite parts of it without
• 8:49
  Speaker 3: spoiling it, but it's an incredibly interesting, very kind of
• 8:55
  Speaker 3: like very unique take on the zombie genre in a
• 9:01
  Speaker 3: way that I was very welcomed because I welcomed it
• 9:05
  Speaker 3: very much because I'm just so sick of seeing zombie
• 9:08
  Speaker 3: movies at this point in my life. So I liked
• 9:11
  Speaker 3: where it went. There was some really creepy stuff, some
• 9:14
  Speaker 3: really good direction. It has a pretty bad middle like
• 9:18
  Speaker 3: second act that kind of like pulled me out of
• 9:21
  Speaker 3: the story because the main story was so engrossing to me,
• 9:24
  Speaker 3: and then it kind of tackles the second story that
• 9:26
  Speaker 3: just was too much for me. But yeah, I ate
• 9:31
  Speaker 3: a medium popcorn and I drank a coke zero.
• 9:35
  Speaker 4: That's the real move.
• 9:36
  Speaker 3: And it was a good time man, Like I had
• 9:38
  Speaker 3: no there was nobody on their phone. No, it was
• 9:41
  Speaker 3: good man.
• 9:41
  Speaker 2: It was very that personal nice though I think it
• 9:44
  Speaker 2: forced it like forces you to sit down unplugged, just
• 9:48
  Speaker 2: enjoy the movie for what it is. I feel like
• 9:50
  Speaker 2: it's so easy at home to get distracted or you know,
• 9:53
  Speaker 2: to I don't know, it's just very easy to kind of,
• 9:57
  Speaker 2: I don't know, walk away from the movie or I
• 10:00
  Speaker 2: find a million reasons to pause it or whatever the
• 10:02
  Speaker 2: case is.
• 10:02
  Speaker 4: So I'm all for the movie theater, that's for sure.
• 10:06
  Speaker 6: I wish everybody felt the same way, and everybody felt
• 10:08
  Speaker 6: like it forced them to stay up their phone.
• 10:11
  Speaker 3: Right, Uh yeah, yeah, Well that's the problem is. I've
• 10:14
  Speaker 3: talked on the show before about how my wife and
• 10:16
  Speaker 3: I are magnets for just the worst crowd imaginable when
• 10:19
  Speaker 3: we go to new movies. So it was nice to
• 10:22
  Speaker 3: kind of just not deal with anybody except for the
• 10:25
  Speaker 3: one guy that was hiding in the back. But I
• 10:26
  Speaker 3: had no idea was there. But he wasn't a bother,
• 10:29
  Speaker 3: you know. And I actually kind of questioned if he
• 10:31
  Speaker 3: was ever there in the first place, because as soon
• 10:34
  Speaker 3: as the credits rolled, I left and he was not there.
• 10:38
  Speaker 3: So maybe it's all in my head. Maybe it's like
• 10:40
  Speaker 3: a Donnie Darko situation.
• 10:42
  Speaker 5: You know.
• 10:42
  Speaker 3: I got Frank in the back of the room waiting
• 10:45
  Speaker 3: to guide me and my weird bubble to you know,
• 10:49
  Speaker 3: to a dune fate in my room with an airplane engine.
• 10:53
  Speaker 4: Do you believe in time travel?
• 10:55
  Speaker 3: I do believe in Patrick sweezey.
• 10:58
  Speaker 4: Okay, I respect that.
• 11:00
  Speaker 2: I'm not gonna read that, Okay, Chris, I gotta be honest.
• 11:04
  Speaker 2: Do you think that it held a candle to Torso?
• 11:07
  Speaker 3: Absolutely not? And I watched Torso twice in the ten
• 11:14
  Speaker 3: hours leading up to me going and seeing this movie,
• 11:17
  Speaker 3: so you know, my brain was in a very peculiar places.
• 11:23
  Speaker 3: At a lot less violence, there was a lot less nudity,
• 11:28
  Speaker 3: at a lot Steve, what's been up with you?
• 11:34
  Speaker 5: Man?
• 11:34
  Speaker 3: What have you been up to?
• 11:36
  Speaker 2: Not a whole lot, honestly, just getting caught up on
• 11:39
  Speaker 2: a bunch of movies that I've been meaning to watch
• 11:41
  Speaker 2: for some time. Just had a chance to rewatch Short
• 11:45
  Speaker 2: Night of Glass Styles, which was excellent.
• 11:48
  Speaker 5: Good.
• 11:48
  Speaker 3: How was that second rewatch? Knowing the twist?
• 11:52
  Speaker 2: It's so crazy? Yeah, I mean that's definitely one of
• 11:56
  Speaker 2: the uh the giallows I could think of that has
• 11:58
  Speaker 2: like one of the more bat schick crazy endings. Definitely
• 12:02
  Speaker 2: love the transfer really had, Like I'm you know, second
• 12:07
  Speaker 2: viewing of this release really time to appreciate just how
• 12:11
  Speaker 2: nice it was. I feel like the level of care
• 12:14
  Speaker 2: and detail that went into this release from Celluloid Dreams.
• 12:17
  Speaker 2: And I actually just recently rewatched the case of the
• 12:22
  Speaker 2: Scorpion's Tale a couple of nights ago, kind of preparing
• 12:24
  Speaker 2: for this, so a little bit different in tone, but
• 12:31
  Speaker 2: I can appreciate. You know, obviously you know what he
• 12:34
  Speaker 2: did before, and then you know, obviously seeing everything up
• 12:37
  Speaker 2: until he did Torso as well, it's been very interesting,
• 12:41
  Speaker 2: a great way to contrast it.
• 12:44
  Speaker 3: Yeah, it's really difficult when it comes to directors like
• 12:46
  Speaker 3: Martinez because you're talking sixty seventy eighty films in some
• 12:51
  Speaker 3: cases that spanned such a wide range of genre, and
• 12:54
  Speaker 3: then you have such mixed availability, so you're sort of
• 12:57
  Speaker 3: just kind of dealing with what are the most recognized
• 12:59
  Speaker 3: titles that have been out and trying to track those down.
• 13:03
  Speaker 3: And I think in this case, if anybody's kind of
• 13:05
  Speaker 3: wanting to line up a double feature, I think Scorpion's
• 13:08
  Speaker 3: Tail and Torso were probably you know that, or like
• 13:11
  Speaker 3: even like even like, what's the one? Your vice is
• 13:16
  Speaker 3: a locked.
• 13:17
  Speaker 4: Room and only I have the key?
• 13:19
  Speaker 3: Yeah, Yeah, that's what it is.
• 13:20
  Speaker 5: Yep.
• 13:21
  Speaker 3: Some of these titles, man, are just a little fun
• 13:26
  Speaker 3: fact just for titles. There was there was once an
• 13:29
  Speaker 3: alternate title for this movie that was the Body Bears
• 13:32
  Speaker 3: No Traces of Carnal Violence.
• 13:34
  Speaker 2: Just like is that it?
• 13:37
  Speaker 3: There was there was multiple So there was the Body
• 13:39
  Speaker 3: Bears No Traces of Carnal Violence. That's directly from Sergio
• 13:42
  Speaker 3: Martino in the interview on this disc. And then there
• 13:45
  Speaker 3: was one that the producer suggested that was I think.
• 13:49
  Speaker 4: The Reddest Love, Blackest Hair.
• 13:51
  Speaker 5: Is that it?
• 13:52
  Speaker 3: Yeah, there was red well, red Light Terror, black like Death.
• 13:55
  Speaker 3: And then there was another one that the producer recommended.
• 13:58
  Speaker 3: It was called like the Body bears a little Trait
• 14:00
  Speaker 3: of Carnal Violence because he thought that was more appealing
• 14:04
  Speaker 3: to fans.
• 14:06
  Speaker 6: Listen, when you have seventeen words of the title, every
• 14:09
  Speaker 6: word needs to be scrutinized.
• 14:10
  Speaker 3: Yeah, I mean, now we just have torso, which is
• 14:14
  Speaker 3: good right, you know, or carnal violence, which is good
• 14:18
  Speaker 3: enough for me, you know.
• 14:19
  Speaker 6: Well, And I'd like to raise a little bit of
• 14:20
  Speaker 6: a point here because I'm still upset that when we
• 14:23
  Speaker 6: were talking about what you were going to do for
• 14:24
  Speaker 6: season three that you didn't follow through. We could have
• 14:27
  Speaker 6: easily played that game of is it a Yallow title
• 14:30
  Speaker 6: or a Nancy Drew mystery novel? And there are so
• 14:34
  Speaker 6: many of those that could have been genuinely puzzling for people,
• 14:37
  Speaker 6: But here we are talking about Torso.
• 14:40
  Speaker 3: Yeah, you know, man, I gotta keep the There are
• 14:43
  Speaker 3: word limits to the podcast titles, that's true. But yeah, man,
• 14:49
  Speaker 3: short Night of Glassalls is incredible. I'm so soaked that
• 14:52
  Speaker 3: you watch that again? Still had a good have either
• 14:55
  Speaker 3: of you guys picked up Hayena in the Safe? Which
• 14:57
  Speaker 3: is the latest?
• 14:59
  Speaker 5: Really?
• 15:00
  Speaker 4: Yes, sir, I would say it's more of like a
• 15:03
  Speaker 4: crime thriller.
• 15:05
  Speaker 5: It is.
• 15:05
  Speaker 3: Yeah, yeah, that's what I heard.
• 15:07
  Speaker 5: I don't.
• 15:07
  Speaker 3: I don't own it yet, but that's what I heard.
• 15:09
  Speaker 3: It's very very crime thrower.
• 15:11
  Speaker 5: Rhyan.
• 15:11
  Speaker 4: Didn't you like it?
• 15:12
  Speaker 6: I did, I'd say, compared to the other stuff, it's
• 15:15
  Speaker 6: a little more understated in an interesting way. But I
• 15:18
  Speaker 6: think the more compelling thing here is this is like
• 15:22
  Speaker 6: the first really good release of this film ever, and
• 15:25
  Speaker 6: specifically their first couple had had decent releases before, and
• 15:29
  Speaker 6: not to say that they did not do an incredible job,
• 15:32
  Speaker 6: but it's it's quite clear that when they put out
• 15:36
  Speaker 6: this first couple, it was like, let's do a definitive
• 15:38
  Speaker 6: version this one. It was like, let's just show the
• 15:40
  Speaker 6: world this incredible piece of work, And so I liked
• 15:44
  Speaker 6: that discovery.
• 15:45
  Speaker 5: Aspect perhaps a little bit more so. That was nice.
• 15:49
  Speaker 5: But yeah, good movie.
• 15:51
  Speaker 6: I think that it is probably gonna be something that
• 15:54
  Speaker 6: people discover that this next year, more so because I
• 15:57
  Speaker 6: think it flew under a lot of radars and we
• 16:00
  Speaker 6: had a very packed twenty twenty five.
• 16:02
  Speaker 5: Let's be honest, I.
• 16:03
  Speaker 2: Didn't feel like I heard as many people talking about
• 16:06
  Speaker 2: it the same way that I did, So I dreams
• 16:09
  Speaker 2: other two releases, but I agree, it just kind of
• 16:12
  Speaker 2: felt like it got announced that you just didn't hear
• 16:15
  Speaker 2: as much hype behind it. But I definitely think it's
• 16:17
  Speaker 2: worth checking out well.
• 16:19
  Speaker 3: I love the idea of give me the definitive versions
• 16:22
  Speaker 3: of the more well known or kind of like more
• 16:26
  Speaker 3: lucrative titles, like you know, give me the definitive one,
• 16:29
  Speaker 3: but then for something smaller that might not that might
• 16:32
  Speaker 3: not gain the same attention, give me still a good
• 16:36
  Speaker 3: enough release, like you know, it was a blue Rite
• 16:39
  Speaker 3: not a four K, which I'm okay with. Many people
• 16:41
  Speaker 3: are not okay with.
• 16:44
  Speaker 6: The sad thing is that might be why Steve didn't
• 16:46
  Speaker 6: hear so much about it. I think there's a lot
• 16:47
  Speaker 6: of people that are getting picky about things that you have.
• 16:50
  Speaker 6: I mean, not not to impose my own views on you,
• 16:53
  Speaker 6: but for you to be picky over certain disc formats,
• 16:57
  Speaker 6: it's a it's a losing argument for everybody in that came.
• 17:01
  Speaker 5: Yeah.
• 17:01
  Speaker 3: I saw somebody earlier on a Facebook group comment on
• 17:04
  Speaker 3: somebody picking up Shelby Oaks and their comment was EW DVD.
• 17:08
  Speaker 3: And I'm like, man, with that mindset, you're really limiting yourself.
• 17:12
  Speaker 3: You know. I still collect DVDs. Both of you guys
• 17:16
  Speaker 3: still have DVDs, you know. And not to say that
• 17:20
  Speaker 3: I want to buy a new release on DVD, but
• 17:22
  Speaker 3: if Cellularly Dreams said hey, this is the best we
• 17:25
  Speaker 3: can do and it's a good price and it's something
• 17:28
  Speaker 3: that we've you've never had access to before, I'll still
• 17:30
  Speaker 3: buy it.
• 17:31
  Speaker 5: It is the hard part they won't because nobody else will.
• 17:34
  Speaker 3: Yeah, yeah, make it a point you know that. I
• 17:39
  Speaker 3: do think I heard a little bit of attention, but
• 17:41
  Speaker 3: even from Cellular Dreams, it kind of fell a little
• 17:44
  Speaker 3: bit less marketed, you know. It kind of like the
• 17:46
  Speaker 3: announcement came out, and then I didn't really I kind
• 17:49
  Speaker 3: of forgot about it until it got closer to announcement.
• 17:53
  Speaker 3: But still, I mean, I'm very excited. We're still waiting
• 17:55
  Speaker 3: on Black Belly the Tarantula from Them, which I think
• 17:57
  Speaker 3: is gonna be the next.
• 17:57
  Speaker 6: Big very excited on that one. Don't do that to me, Chris,
• 18:00
  Speaker 6: It's already announced.
• 18:01
  Speaker 5: It is coming.
• 18:02
  Speaker 2: I know, I know, I know, I know. I'm like,
• 18:04
  Speaker 2: I've been on the edge of my seat all of
• 18:05
  Speaker 2: last year, so I know, trust me, Chris and I
• 18:09
  Speaker 2: have talked about this before. That's definitely top of the
• 18:11
  Speaker 2: list for twenty twenty six.
• 18:13
  Speaker 5: Nice.
• 18:14
  Speaker 3: Yeah, and this year, I mean this season of the podcast,
• 18:16
  Speaker 3: we're gonna be talking a lot about Cellular Dreams because
• 18:18
  Speaker 3: we're going to be doing full episodes on both The
• 18:21
  Speaker 3: Short Night of Glass Dolls and Case of the Bloody Iris.
• 18:24
  Speaker 3: So they're gonna be very prevalent this season. Very nice.
• 18:29
  Speaker 3: But Ryan, time to find out what's going on from you, man,
• 18:33
  Speaker 3: I mean, Disconnected is posting more I think than ever before.
• 18:39
  Speaker 3: Reconnected is bigger than I've ever seen. I mean, your
• 18:43
  Speaker 3: upcoming stream you have you know, the since indicate podcasts on,
• 18:48
  Speaker 3: which is one of my favorites on our network. Yep,
• 18:50
  Speaker 3: you had Howard as Berger on not too long.
• 18:53
  Speaker 5: Ago, like a Christmas present that was wonderful.
• 18:56
  Speaker 3: Yeah, man, Yeah, doing incredible things. But there's something bigger
• 19:00
  Speaker 3: that was just announced yesterday. At the time that people
• 19:03
  Speaker 3: were listening to this, I want to ask you to
• 19:05
  Speaker 3: kind of give us some info.
• 19:07
  Speaker 6: Sure, hopefully by now most people listening to this have
• 19:10
  Speaker 6: seen that there is an announcement for a new film
• 19:13
  Speaker 6: distribution called Antenna. Antenna Releasing is a company that I
• 19:18
  Speaker 6: founded over the last couple of years with my partners
• 19:20
  Speaker 6: in Cry and Billy Ray Bruton, who is film a
• 19:24
  Speaker 6: festival founder. He is a film programmer, a curator and
• 19:28
  Speaker 6: been doing stuff for the just the longest time. He's
• 19:30
  Speaker 6: incredible and then maybe the most surprising to some people,
• 19:35
  Speaker 6: as our third partner in this venture is Francis Gloopi,
• 19:38
  Speaker 6: the director of the twenty twenty seven Evil Dead film
• 19:40
  Speaker 6: that's coming out. And you know, I had him on
• 19:43
  Speaker 6: my channel back in twenty twenty four and during our
• 19:46
  Speaker 6: interview we were geeking out over things like you guys
• 19:49
  Speaker 6: do audio commentaries, physical releases, and he just casually dropped
• 19:53
  Speaker 6: like haha, should we start our own Blu ray company?
• 19:55
  Speaker 6: And I was like, haha, but really should we? And
• 19:58
  Speaker 6: then after we got done, we talked and I was like,
• 20:01
  Speaker 6: is this something? Like we should bat some ideas around
• 20:04
  Speaker 6: And I think he thought I was just some kid
• 20:07
  Speaker 6: in Missouri that was kidding. And then literally like three
• 20:10
  Speaker 6: and a half months later, I showed up at his
• 20:11
  Speaker 6: house and I pitched him some things. I'm not kidding either,
• 20:15
  Speaker 6: Like he knew I was coming, but I showed up
• 20:16
  Speaker 6: at his house, brought a portfolio and I was like, dude,
• 20:20
  Speaker 6: let's do this, and he was all in. And so
• 20:24
  Speaker 6: Francis Gloopi is a member of this and already hooking
• 20:27
  Speaker 6: me up with contacts that I couldn't and he's so
• 20:30
  Speaker 6: passionate about like the art that we're working on on
• 20:32
  Speaker 6: some of this, and it's just gonna be crazy. So
• 20:35
  Speaker 6: Antenna is a full scale distribution company that is taking
• 20:38
  Speaker 6: films through theatrical releases, VOD streaming, and then in late
• 20:43
  Speaker 6: twenty twenty six where we're putting out our first releases
• 20:45
  Speaker 6: on physical media. We've already got a lot of stuff
• 20:48
  Speaker 6: lined up, stuff signed. As you'll see in our press release.
• 20:51
  Speaker 6: We've got Our first film that we're talking about is
• 20:53
  Speaker 6: a film called Stolen Kingdom. It is a modern documentary
• 20:57
  Speaker 6: that I just fell in love with when I first
• 21:00
  Speaker 6: saw it. So it is essentially a story about urban
• 21:03
  Speaker 6: explorers that love Disney World and they go and get
• 21:06
  Speaker 6: off the rides at Disney World and go into restricted areas.
• 21:09
  Speaker 5: And they were kind.
• 21:10
  Speaker 6: Of big in like the blog era, like where Tumblr
• 21:12
  Speaker 6: was big and when people were like, come check out
• 21:15
  Speaker 6: my blog spot, and some of these blogs were getting
• 21:17
  Speaker 6: like ten thousand views a day literally because they had
• 21:19
  Speaker 6: so many people following them. And one of these Disney
• 21:22
  Speaker 6: bloggers that was an urban explorer went into Epcot at
• 21:25
  Speaker 6: Disney World and stole an animatronic called Buzzy.
• 21:29
  Speaker 5: And what's crazy is.
• 21:30
  Speaker 6: This documentary perfectly combines like Disney fans urban explorer fans,
• 21:36
  Speaker 6: which I don't know about you, Like I love like
• 21:37
  Speaker 6: going into abandoned buildings. When I was young, I lived
• 21:40
  Speaker 6: near a mining town. We used to go discover like
• 21:42
  Speaker 6: things in the silver mines where I grew up. But
• 21:45
  Speaker 6: then the third part of this documentary turns into a
• 21:48
  Speaker 6: literal true crime documentary, like there's there's CCTV footage from
• 21:52
  Speaker 6: inside a police station and all kinds like. It is
• 21:56
  Speaker 6: genuinely a perfect mishmash of fandoms and people are gonna
• 22:01
  Speaker 6: love what we're doing on physical media. It is incredible
• 22:03
  Speaker 6: to see it in a theater. I I just can't
• 22:05
  Speaker 6: wait for people to be able to see this because
• 22:07
  Speaker 6: this documentary is incredible.
• 22:10
  Speaker 3: It's amazing that I feel like it's taken you this
• 22:14
  Speaker 3: long to like, did.
• 22:17
  Speaker 5: You just call me lazy?
• 22:18
  Speaker 3: No, not at all. I would think of anybody I
• 22:23
  Speaker 3: knew you would have already been you know. I mean
• 22:26
  Speaker 3: you mentioned how this has been years in the making,
• 22:29
  Speaker 3: but it's it's one of those it was one of
• 22:31
  Speaker 3: those announcements when we first talked about it that I
• 22:33
  Speaker 3: was like, wait, you haven't been doing this already.
• 22:36
  Speaker 5: Hold on, Yeah, you know I understand that.
• 22:40
  Speaker 3: Yeah, it's exciting, man, It's it's incredibly exciting, especially especially
• 22:45
  Speaker 3: coming from somebody who like lives and breathes physical media.
• 22:50
  Speaker 3: You know, you're not some You're not some person who
• 22:53
  Speaker 3: has never done this before. That's like, oh, you know,
• 22:56
  Speaker 3: this is a venture to make some money, you know,
• 22:57
  Speaker 3: these these releases and these kind of like I almost like,
• 23:02
  Speaker 3: I know, I think you kind of mentioned like touring
• 23:05
  Speaker 3: like roadshow style kind of touring the movie around, like
• 23:07
  Speaker 3: this is coming from a place of passion from somebody
• 23:11
  Speaker 3: who you've dedicated to your life this So to see
• 23:15
  Speaker 3: this come to fruition myself and everybody's gonna know it's
• 23:19
  Speaker 3: coming from a true place of passion, dedication, and heart
• 23:23
  Speaker 3: and that's what's most exciting.
• 23:25
  Speaker 6: Not from a place if I want to make money.
• 23:28
  Speaker 6: In fact, most people probably call me an idiot because
• 23:30
  Speaker 6: a big part of what we're doing is putting the
• 23:33
  Speaker 6: filmmaker's interest first. We're doing what we can to make
• 23:36
  Speaker 6: sure that there's this investment from the distribution company that
• 23:41
  Speaker 6: is assisting the filmmaker because there's so many situations that
• 23:45
  Speaker 6: general movie fans don't really know that it is happening,
• 23:48
  Speaker 6: especially with modern films where and obviously we're not talking
• 23:51
  Speaker 6: about studio films that's a completely different thing. Like Ryan
• 23:55
  Speaker 6: Coogler's films is never gonna have the problem on to
• 23:57
  Speaker 6: talk about. But many of these films that you know
• 24:00
  Speaker 6: it's somebody's first film, they've been working on the idea
• 24:03
  Speaker 6: behind this for literally like ten years of their life.
• 24:06
  Speaker 6: They raise money through friends and family and working their
• 24:09
  Speaker 6: first five jobs and squirreling away every penny that they could.
• 24:12
  Speaker 6: Somehow they worked the will away to get like four
• 24:15
  Speaker 6: hundred and fifty thousand dollars and say, listen, I can
• 24:17
  Speaker 6: afford to make the movie that I dreamed about. Finally,
• 24:20
  Speaker 6: let's go do it. And they make it and it's
• 24:22
  Speaker 6: great and it's incredible, and they want to show everybody.
• 24:25
  Speaker 6: The hard part is getting your film in front of people.
• 24:27
  Speaker 6: And so a lot of these people are desperate to
• 24:29
  Speaker 6: go with any distributor because they need that help. And
• 24:33
  Speaker 6: so many of these distributors out there right now are
• 24:35
  Speaker 6: predatory in some of the craziest ways. So they get
• 24:38
  Speaker 6: them into a contract and they'll guarantee them. Hey, you
• 24:42
  Speaker 6: sign with us, we'll give you fifteen thousand dollars. And
• 24:45
  Speaker 6: we're talking about a film that cost them like almost
• 24:47
  Speaker 6: a half a million dollars and hearing fifteen thousand, and
• 24:49
  Speaker 6: we're like, that's so dumb, Like why would anybody do
• 24:51
  Speaker 6: that for that amount of money. No, it gets worse.
• 24:54
  Speaker 6: So fifteen thousand dollars is one of the more generous
• 24:56
  Speaker 6: offers that people are getting nowadays, and then one step further,
• 25:00
  Speaker 6: it gets worse because buried in that contract you'll find
• 25:04
  Speaker 6: things where like the filmmakers are charged marketing costs upwards
• 25:07
  Speaker 6: of like sixty thousand dollars, so when they were given
• 25:10
  Speaker 6: fifteen thousand dollars, you're already in the hole another forty
• 25:14
  Speaker 6: five grand on top of that, and turns out the
• 25:16
  Speaker 6: marketing that you're going to get is like an internal
• 25:20
  Speaker 6: artist who's not very good at this making a poster,
• 25:22
  Speaker 6: somebody shoddily putting together a trailer and them sending a
• 25:26
  Speaker 6: couple of emails and calling it a day. And you're
• 25:29
  Speaker 6: making money for people that don't deserve the money because
• 25:32
  Speaker 6: they're not even you know, invested in your work. And
• 25:35
  Speaker 6: we're trying to reverse that. We're trying to do something
• 25:37
  Speaker 6: to get people where it's an equal footing. We're all
• 25:39
  Speaker 6: in this together. We raise you know, the whole arising
• 25:43
  Speaker 6: tide raises all ships. We're really trying to be that
• 25:46
  Speaker 6: tight for so many people at once instead of just
• 25:48
  Speaker 6: enriching us.
• 25:50
  Speaker 3: Yeah, I think people people see situations like Chris Stockman
• 25:56
  Speaker 3: with Shelby Oaks, where Neon gets involved, Mike Flynn gets
• 26:00
  Speaker 3: involved in this little movie and it becomes the story
• 26:05
  Speaker 3: of a YouTube critic who triumphs this little movie into
• 26:09
  Speaker 3: this big thing. But that's like one percent of you know,
• 26:14
  Speaker 3: what could happen to little projects and little movies, And
• 26:18
  Speaker 3: there's a really dark underbelly to it all. Yeah, And
• 26:21
  Speaker 3: like you said, trying to come in and change that
• 26:25
  Speaker 3: is so important. And then even on the physical media side,
• 26:28
  Speaker 3: like who a movie like Stolen Kingdon which I haven't
• 26:33
  Speaker 3: seen just based off your plot synopsis of it, Like,
• 26:37
  Speaker 3: I can't even think of a label offhand that would
• 26:40
  Speaker 3: distribute that on physical media. And even if they did,
• 26:43
  Speaker 3: you're probably not going to get bonus features. You're probably
• 26:46
  Speaker 3: not going to get anything additional besides just the documentary
• 26:50
  Speaker 3: on a disc, you know.
• 26:52
  Speaker 6: Yeah, And not only that, one of the big things
• 26:55
  Speaker 6: that we're doing that's setting ourselves apart is the filmmaker
• 26:57
  Speaker 6: has buy in on everything. So if they want to
• 26:59
  Speaker 6: be in the cover art, I've already had hours long
• 27:04
  Speaker 6: conversation with filmmakers discussing what kind of art they want
• 27:07
  Speaker 6: to see, what kind of what kind of emotions they
• 27:10
  Speaker 6: want people to feel when they see ar theatrical poster.
• 27:12
  Speaker 6: What message do we want to send through the trailer
• 27:15
  Speaker 6: that doesn't just not give the film away but sends
• 27:18
  Speaker 6: people wanting not just to see the film, but to
• 27:21
  Speaker 6: feel something when they see the trailer. And so many
• 27:24
  Speaker 6: of these distribution companies they don't care. They literally won't
• 27:27
  Speaker 6: even ask. They just do their own thing and call
• 27:29
  Speaker 6: it a day and we're done.
• 27:32
  Speaker 3: It's wild to think about that that's happening the way
• 27:35
  Speaker 3: it is. But you know, I think I love the
• 27:38
  Speaker 3: name Antenna well the way I love that. I think
• 27:41
  Speaker 3: that's incredible. Very excited to see what you do, man.
• 27:44
  Speaker 3: I think anybody listening should also be very excited. You
• 27:46
  Speaker 3: have a whole community backing you in all of this, man.
• 27:50
  Speaker 3: So I'm incredibly excited to see where this goes and
• 27:54
  Speaker 3: to you know, shut it off on my own personal pages.
• 27:57
  Speaker 4: You know, absolutely very exciting, appreciate it, I hope.
• 28:00
  Speaker 6: So It's one of those things where this is certainly
• 28:04
  Speaker 6: not a guarantee, and a lot of it is absolutely
• 28:07
  Speaker 6: a risk, but I certainly want people to understand that.
• 28:11
  Speaker 6: I mean, this is literally like two years in the
• 28:13
  Speaker 6: making and things that I've been working on behind the
• 28:16
  Speaker 6: scenes for months. I mean I've been signing films for
• 28:19
  Speaker 6: a while now, and people, you know, I've had to
• 28:22
  Speaker 6: like grin and bear it, and people are like, so,
• 28:24
  Speaker 6: what's going on. It's been kind of quiet on certain things.
• 28:27
  Speaker 6: I'm like, well, yeah, you'll find out someday it's coming.
• 28:30
  Speaker 5: And then this whole last year has just been.
• 28:34
  Speaker 6: I mean, just to be perfectly blunt, like so much
• 28:38
  Speaker 6: shit happening that I've responded by doing it in a
• 28:41
  Speaker 6: way that could make everything as positive for me as
• 28:43
  Speaker 6: I could, which was to get this done. And so
• 28:46
  Speaker 6: I could have worked on perfecting this for the next
• 28:48
  Speaker 6: four years and just waited, you know, like crazy couples
• 28:51
  Speaker 6: that are having their first baby. You hear that they're
• 28:53
  Speaker 6: going to wait until they're exactly financially ready. I'm never
• 28:56
  Speaker 6: gonna be there, so I may as well just work
• 28:57
  Speaker 6: my ass off and get this to the point where
• 28:59
  Speaker 6: it can't go public. And so I've been I've been
• 29:01
  Speaker 6: itching to tell everybody about this thing for months, and
• 29:03
  Speaker 6: now that it's out there, oh man, I feel like
• 29:05
  Speaker 6: things are are never going to slow down again.
• 29:09
  Speaker 3: Now. I feel bad when I come to you with
• 29:10
  Speaker 3: such a minor issue, like hey man, I have writer's
• 29:13
  Speaker 3: block on my podcast project man, and you're like, You're like, dude,
• 29:18
  Speaker 3: I'm trying. I'm trying tour this movie around the world.
• 29:20
  Speaker 3: Put out a physical media release signed new movies like
• 29:23
  Speaker 3: please come to me.
• 29:24
  Speaker 5: That's what I do, right, It's like, get a ticket,
• 29:29
  Speaker 5: take a number, I'll call you.
• 29:30
  Speaker 3: That's a Now that's part of the credit.
• 29:32
  Speaker 5: Man.
• 29:32
  Speaker 3: You I've never seen somebody who is so generous with
• 29:35
  Speaker 3: your time. And I mean we just talked for two
• 29:37
  Speaker 3: hours a couple of nights ago, and the whole time
• 29:39
  Speaker 3: I remember at the end of that ques two hours. It
• 29:41
  Speaker 3: was almost two hours. Yeah, I maybe I might be
• 29:43
  Speaker 3: doubling the time, but it felt like two hours.
• 29:47
  Speaker 5: So now now I feel like I take a lot
• 29:48
  Speaker 5: more of your time.
• 29:49
  Speaker 3: No, no, no, never never remember I called you?
• 29:53
  Speaker 5: Yeah, sure, but maybe I was boring.
• 29:54
  Speaker 3: Yeah no, no, no, not at all. You know, we kind
• 29:58
  Speaker 3: of talked about a few things, and at the end,
• 29:59
  Speaker 3: I'm like, I'm like, man, when I'm working on something,
• 30:02
  Speaker 3: I can't even like give five minutes to answer I
• 30:04
  Speaker 3: text about it. I'm like, this guy's got four million
• 30:06
  Speaker 3: projects going on and he's still just dedicated an hour
• 30:09
  Speaker 3: of his time.
• 30:11
  Speaker 5: It's true.
• 30:13
  Speaker 3: Well incredible man, very excited for it, happy to have
• 30:16
  Speaker 3: you on the show, and kind of talking about this.
• 30:18
  Speaker 3: The day after the formal announcement, goes out. Yeah, so
• 30:22
  Speaker 3: very honored, man, very very honored, But I don't think
• 30:25
  Speaker 3: many people are gonna be honored at the fact that
• 30:28
  Speaker 3: we're diving into probably one of the sileasiest Jalie's ever made.
• 30:35
  Speaker 3: Of course, back to the topic of the show we're
• 30:38
  Speaker 3: talking about. In nineteen seventy threes Torso Again, directed by
• 30:42
  Speaker 3: Sergio Martino. The commentary track that we listened to in
• 30:47
  Speaker 3: preparation for this was from the Arrow four K release
• 30:50
  Speaker 3: done by Kat Ellinger, And I just want to get
• 30:54
  Speaker 3: your guys' thoughts on because I have some thoughts on
• 30:58
  Speaker 3: the commentary track itself, how effective it was for you
• 31:02
  Speaker 3: an any any If you don't have any thoughts, okay,
• 31:05
  Speaker 3: but any thoughts are welcome in this.
• 31:06
  Speaker 5: Time, go ahead.
• 31:09
  Speaker 2: Steve, I would have to say, I mean, overall, you know,
• 31:13
  Speaker 2: seeing it from not only watching the film one time
• 31:17
  Speaker 2: without the audio commentary, but then going back and rewatching
• 31:22
  Speaker 2: it including her commentary on the film, I thought it
• 31:26
  Speaker 2: was very informative, a lot of connecting of the dots
• 31:30
  Speaker 2: of certain aspects of production that just wasn't really aware of,
• 31:35
  Speaker 2: you know. I mean, Sergio Martino definitely was putting out
• 31:39
  Speaker 2: a number of films of what feels like a pretty
• 31:41
  Speaker 2: short amount of time, so to see where it all
• 31:44
  Speaker 2: culminated with Torso, I thought it was fascinating and just.
• 31:48
  Speaker 4: Exactly how he got this project off.
• 31:50
  Speaker 2: The ground and the connections that he was making along
• 31:54
  Speaker 2: the way. But I think it was very helpful as
• 31:59
  Speaker 2: far as understanding, like I would say, more like the
• 32:03
  Speaker 2: production side of things. If there was one takeaway I
• 32:06
  Speaker 2: had from the commentary, it felt like it was a
• 32:10
  Speaker 2: little bit leaning more towards stuff in the background.
• 32:13
  Speaker 4: What about you guys, there was a lot.
• 32:17
  Speaker 3: I mean, I think Ryan, you and I are pretty
• 32:19
  Speaker 3: much from the same same page. These movies are already
• 32:25
  Speaker 3: tough to kind of discuss at length because of availability
• 32:30
  Speaker 3: of information and everything's it's very rare that new information
• 32:35
  Speaker 3: is going to come about from my commentaries. I do
• 32:39
  Speaker 3: prefer I don't need like a play by play of
• 32:44
  Speaker 3: where actors have been and why this setting was chosen
• 32:48
  Speaker 3: and know, hey, we're back in this setting, and the
• 32:51
  Speaker 3: stuff that's very easy for me to kind of hit
• 32:53
  Speaker 3: the IMDb page about is not what I'm looking for
• 32:57
  Speaker 3: in a commentary track. I'm looking for that to an extent,
• 33:01
  Speaker 3: but also like unique observations maybe you know, some takes,
• 33:05
  Speaker 3: some new discoveries, maybe some point outs in what's happening, Hey,
• 33:09
  Speaker 3: cool little details. Maybe that's my preference, but this just
• 33:15
  Speaker 3: felt like an overload of information that was very difficult
• 33:20
  Speaker 3: to take any key points away from.
• 33:25
  Speaker 6: I would mostly agree with that. I would say that
• 33:28
  Speaker 6: in this track there are plenty of nuggets of information
• 33:32
  Speaker 6: that are genuinely great that should be shared. And Kat
• 33:36
  Speaker 6: Ellinger literally wrote the book on SURGERI Martine like, I'm
• 33:39
  Speaker 6: not taking that away from her. She absolutely is the
• 33:41
  Speaker 6: expert that should be used on this track. That being
• 33:45
  Speaker 6: said in twenty twenty six, if I'm watching Ursa Terso,
• 33:48
  Speaker 6: if I'm watching Torso with this commentary, You're right, I
• 33:52
  Speaker 6: don't want to feel like I'm reading a Wikipedia article
• 33:56
  Speaker 6: about Torso. I want to feel like the individual speaking
• 34:01
  Speaker 6: on it is giving some analysis and researching aspects of
• 34:05
  Speaker 6: the film that are not go to trivia bits or
• 34:11
  Speaker 6: you know, I've used the term before, like chain links
• 34:14
  Speaker 6: in the commentary. We don't need to hear this guy
• 34:17
  Speaker 6: I worked with this guy and that guy was married
• 34:19
  Speaker 6: to this person and that's how they did this, and
• 34:21
  Speaker 6: like that sort of thing is is very useful if
• 34:24
  Speaker 6: it's a you know, first time release in the English
• 34:28
  Speaker 6: language for a film that has never had widespread recognition, and.
• 34:32
  Speaker 5: It's been very obscure.
• 34:33
  Speaker 6: But if it's Sergio Martino, like we've been talking about
• 34:36
  Speaker 6: Sergio Martino every year for decades at this point, and
• 34:39
  Speaker 6: it's it's not like he's a major world cinema star necessarily,
• 34:45
  Speaker 6: but he is somebody that's been widely covered, and so
• 34:49
  Speaker 6: I really would have loved a little bit more dive
• 34:52
  Speaker 6: into sleeves or Giallo or you know, there was some
• 34:57
  Speaker 6: dipping of the toes into Italy in the mid seventies,
• 35:01
  Speaker 6: but the years of lead could have been covered so
• 35:03
  Speaker 6: much deeper here instead of how much time was spent
• 35:06
  Speaker 6: on like the producer, And not that that doesn't have
• 35:10
  Speaker 6: a major impact on this, but it's certainly a commentary
• 35:13
  Speaker 6: that I feel like this was a little bit more
• 35:17
  Speaker 6: of a h I feel like the knowledge presented is
• 35:21
  Speaker 6: geared more towards the novice, But then the delivery method
• 35:25
  Speaker 6: was not geared towards the novice, because if you were
• 35:27
  Speaker 6: truly a first time Hiallo watcher and you heard all
• 35:31
  Speaker 6: of this, it was delivered at such a shotgun pace
• 35:35
  Speaker 6: that you couldn't keep up with like what you were
• 35:37
  Speaker 6: trying to glean from it, which is just a little
• 35:40
  Speaker 6: overwhelming in that regard. So I would say, like, choose
• 35:43
  Speaker 6: what the audience is going to be and then fully
• 35:46
  Speaker 6: lean into that in every aspect of it.
• 35:49
  Speaker 3: Yeah, And I mean not everybody is as even when
• 35:54
  Speaker 3: we were not doing a podcast episode. I'm a research
• 35:56
  Speaker 3: freak in general, and I'm going to read it right
• 35:58
  Speaker 3: as extensively as I can. When you go into a
• 36:01
  Speaker 3: commentary on a movie like Torso, you go, people like
• 36:04
  Speaker 3: me go in with already a set level of knowledge
• 36:08
  Speaker 3: and when and I don't want to take away at all.
• 36:11
  Speaker 3: I don't want anybody to think that I'm taking away
• 36:12
  Speaker 3: from Calendar at all. I think if you are getting
• 36:15
  Speaker 3: into Shallow and you're getting familiar with things like I
• 36:18
  Speaker 3: think you can learn a whole lot from a commentary
• 36:21
  Speaker 3: like this as long as you kind of give it
• 36:22
  Speaker 3: a couple listens and pace yourself. And that's what I
• 36:26
  Speaker 3: was going to say.
• 36:27
  Speaker 2: I feel like it requires like multiple listens to really
• 36:30
  Speaker 2: catch everything ran what you were saying shotgum pace. It
• 36:34
  Speaker 2: is hard to observe try to absorb that much content
• 36:38
  Speaker 2: very quickly, but Yeah, I agree with what you're saying, Chris.
• 36:43
  Speaker 3: Well, especially when I think we can point to tons
• 36:46
  Speaker 3: of examples of audio commentary tracks done by experts on
• 36:50
  Speaker 3: a filmmaker or a subject that are much easier to
• 36:55
  Speaker 3: listen to, much more analytical that you can take away
• 36:58
  Speaker 3: from when I I posted about Torso on my Instagram
• 37:03
  Speaker 3: earlier today, and one thing I talked about is like,
• 37:08
  Speaker 3: I want like analytical input, and I want a commentary
• 37:12
  Speaker 3: to be able to kind of impact how I saw
• 37:15
  Speaker 3: the film in some ways. I want to be able
• 37:17
  Speaker 3: to go back to the movie and remember something from
• 37:18
  Speaker 3: the commentary at it and I never heard before. Okay,
• 37:22
  Speaker 3: let me look at it this way, shape my viewing.
• 37:25
  Speaker 3: Let me reframe this for me, which just happened in
• 37:28
  Speaker 3: a lot of the commentaries that we've listened to over
• 37:31
  Speaker 3: the last two seasons of this show. And this is
• 37:35
  Speaker 3: just kind of an information dumb that I was, like, Okay,
• 37:39
  Speaker 3: learned a whole lot about how the movie was made,
• 37:43
  Speaker 3: but not much else was really pulling me in, if
• 37:46
  Speaker 3: that makes sense, you know. So I wanted to gear
• 37:49
  Speaker 3: this discussion really around some observations and kind of some
• 37:54
  Speaker 3: things about the movie. Obviously talk about the movie as
• 37:57
  Speaker 3: in depth as we can. But there was a lot
• 37:58
  Speaker 3: when I was kind of building my notes that I
• 38:01
  Speaker 3: picked up on and some stuff that I wanted to
• 38:03
  Speaker 3: dive a little bit more into that was brought up
• 38:05
  Speaker 3: into commentary, But I thought we could probably expand on
• 38:09
  Speaker 3: it a little bit more and if anything, kind of
• 38:12
  Speaker 3: be a companion piece to a commentary like this that's like,
• 38:16
  Speaker 3: you know, a little bit more like, Okay, let's slow
• 38:19
  Speaker 3: it down, create a more discussion style, but still get
• 38:23
  Speaker 3: into the really important fun bits about Torso, because there's
• 38:26
  Speaker 3: a lot of fun to be had with this movie,
• 38:29
  Speaker 3: especially when the beginning of your movie is a semi
• 38:34
  Speaker 3: out of print or out of focus threesome.
• 38:38
  Speaker 2: You right off the rim, you're already getting a heavy
• 38:43
  Speaker 2: dose of sleeves.
• 38:45
  Speaker 3: You watch this movie with the family, right, I mean,
• 38:47
  Speaker 3: just get to gather get into it. Yeah, man good.
• 38:55
  Speaker 2: I just had a quick question before we get started
• 38:57
  Speaker 2: on this. Was this the first Surge Martino film that
• 39:01
  Speaker 2: you guys both were exposed to then, or where did
• 39:05
  Speaker 2: you guys first get into him as a director?
• 39:08
  Speaker 3: Oh? This was go ahead, Chris, same brain, same brain.
• 39:18
  Speaker 5: No.
• 39:18
  Speaker 3: Torso was a good starting point for me. I think
• 39:21
  Speaker 3: Scorpion's Tail was the first I ever saw. Torso was
• 39:26
  Speaker 3: later on. But Torso to me is sort of like
• 39:31
  Speaker 3: my key Sergio Martino experience, Like when I hear the
• 39:36
  Speaker 3: word Sergio Martino, I'm instantly thinking of Torso for whatever
• 39:40
  Speaker 3: sleazy reason I'm doing that.
• 39:42
  Speaker 6: You know, I have been kind of lucky to be
• 39:49
  Speaker 6: keeping up with Arrowback through a lot of their Blu
• 39:51
  Speaker 6: ray releases of the Sergerio Martino thing. So looking through
• 39:54
  Speaker 6: a list right now, I can't even remember which one
• 39:57
  Speaker 6: was first. Gosh, it might have been, And honestly, a
• 40:02
  Speaker 6: couple of these they're not even Arrow releases, but other
• 40:05
  Speaker 6: boutiques that did them too, Like it might have been
• 40:06
  Speaker 6: All the Colors of the Dark. It might have been
• 40:09
  Speaker 6: the Strange Vice of Missus Ward or your Vice is
• 40:11
  Speaker 6: a Locked Room. But now that I'm thinking about it,
• 40:14
  Speaker 6: it might actually funny enough. It might not even be
• 40:17
  Speaker 6: a Yallo. It might be The Violent Professionals. It's been
• 40:20
  Speaker 6: released a couple of times, and I love him as
• 40:23
  Speaker 6: a Policio Teshi director, right I feel like he's and
• 40:26
  Speaker 6: not that I don't love him as a shallow director.
• 40:28
  Speaker 6: I just I feel like his his mindset is a
• 40:31
  Speaker 6: little more invested in Policioteschi.
• 40:35
  Speaker 5: Than it is in Hiallo.
• 40:37
  Speaker 6: Like Chris, we were talking about one of the things
• 40:39
  Speaker 6: that he was stating that, like this genre has to
• 40:42
  Speaker 6: have this. I was told that I had to include
• 40:44
  Speaker 6: these things and policy Atesci. He's just like, fuck, wouldn't
• 40:47
  Speaker 6: it be cool if we just did this? And like
• 40:49
  Speaker 6: he's doing something great like police cars jumping each other
• 40:52
  Speaker 6: or something, and it's just I don't know, it is great.
• 40:54
  Speaker 6: I feel like he's more eager to see himself succeed
• 40:59
  Speaker 6: in that arena than in Shallows.
• 41:02
  Speaker 3: Yeah, well there, and it's gonna come up a little
• 41:04
  Speaker 3: bit later, but you kind of get some policiotecci. Is
• 41:09
  Speaker 3: it policio teschi? Is that how you technically say it?
• 41:14
  Speaker 5: I think it's policia tecci something like that.
• 41:18
  Speaker 3: We'll be talking about that a little bit later because
• 41:19
  Speaker 3: there's some bleed through in some conversation here with the
• 41:22
  Speaker 3: police and kind of some some influence that we'll get
• 41:24
  Speaker 3: into later with that. And in the interview on this
• 41:27
  Speaker 3: disc with Sergio Martino, he's very, very very focused on entertaining.
• 41:32
  Speaker 3: That's what he wants to do, is like, is it
• 41:34
  Speaker 3: going to be entertaining is it going to make the
• 41:36
  Speaker 3: money back. That's what he's worried about doing, and he's
• 41:39
  Speaker 3: appeasing his his producers, and it's it's so interesting, man,
• 41:45
  Speaker 3: because Torso is incredibly entertaining on every single level. It
• 41:53
  Speaker 3: hits every marker you can imagine it. It's really creepy
• 41:58
  Speaker 3: at times, it's reddibly gory, insanely sleazy. There's some really
• 42:04
  Speaker 3: weird humor, there's some like gross out moments. It hits
• 42:08
  Speaker 3: on every category. When you kind of build a film
• 42:10
  Speaker 3: like this and you're like, okay, am I going to
• 42:12
  Speaker 3: entertain an audience of varied views, You're gonna hit all
• 42:17
  Speaker 3: of it in this movie, and you're also going for
• 42:19
  Speaker 3: as much as you're gonna entertain, you're gonna piss people
• 42:22
  Speaker 3: off as well.
• 42:23
  Speaker 2: There's even I would even say, I mean, there's there's
• 42:26
  Speaker 2: some even some dream like almost like borderline dream.
• 42:29
  Speaker 4: Sequences that oh yeah, which is just.
• 42:33
  Speaker 2: What did she consider avant garde as far as like
• 42:36
  Speaker 2: that that style of filming, But I thought that was
• 42:40
  Speaker 2: fascinating at least on first watch, to you know, see
• 42:43
  Speaker 2: certain sequences where it's like it looks beautiful but it's
• 42:47
  Speaker 2: very like cynical, mean spirited with like what's about to
• 42:50
  Speaker 2: take place like during those those scenes.
• 42:52
  Speaker 4: So it's a very interesting contrast.
• 42:56
  Speaker 3: It is, and I think jallow as a genre kind
• 42:58
  Speaker 3: of lives in a dream like state. Camera always seems
• 43:03
  Speaker 3: to be floating, things are exaggerated and very strange, very
• 43:06
  Speaker 3: strange ways, depending on the director. You're looking at towards,
• 43:10
  Speaker 3: you know, the end of kind of the shallow run,
• 43:12
  Speaker 3: you're getting into the supernatural, and that's when you kind
• 43:15
  Speaker 3: of start entering different realms that have never been seen before,
• 43:17
  Speaker 3: kind of wrapped around the mystery. And I think looking back,
• 43:23
  Speaker 3: because there's a scene in this movie in a I
• 43:27
  Speaker 3: guess I'm going to consider it a swamp that is
• 43:29
  Speaker 3: almost like right out of never ending story. You know,
• 43:32
  Speaker 3: it's it's and it comes out of nowhere. There's never
• 43:34
  Speaker 3: another another setting like that, So it feels very much
• 43:39
  Speaker 3: like that character could have died and then they pulled
• 43:42
  Speaker 3: the rug and she was dreaming and she woke up,
• 43:44
  Speaker 3: because it just has that sense. But no, it exists
• 43:47
  Speaker 3: in the real world and it fits in the movie
• 43:50
  Speaker 3: despite nothing else being that way because the whole experience
• 43:54
  Speaker 3: is kind of dreamlike, which will you know, as we go,
• 43:57
  Speaker 3: we'll talk about some bits that are incredibly important to
• 44:01
  Speaker 3: kind of, you know, reaffirm the whole dream like nature
• 44:05
  Speaker 3: of the entire movie. But one of the things I
• 44:07
  Speaker 3: want to talk about is the settings for this film,
• 44:14
  Speaker 3: because the movie opens with this dream this very dreamlike,
• 44:18
  Speaker 3: very strange threesome scene, which is incredible because most of
• 44:24
  Speaker 3: it is out of focus and we're seeing a camera
• 44:28
  Speaker 3: take photos of the actions and there's a doll present
• 44:30
  Speaker 3: as the main credits are kind of playing. But then
• 44:34
  Speaker 3: we cut to the university where our characters are taking place,
• 44:39
  Speaker 3: and the first thing is like, I want to go
• 44:43
  Speaker 3: to wherever this art class was being taught at, because
• 44:46
  Speaker 3: it is it's beautiful, and this was all shot in
• 44:50
  Speaker 3: I believe you say, Perugia in Italy, and it's gorgeous.
• 44:55
  Speaker 3: From this incredibly artistic, like just work of art classroom
• 45:02
  Speaker 3: to the courtyard, the kind of main assembly area where
• 45:05
  Speaker 3: all the students are being released, to even up to
• 45:07
  Speaker 3: the villa where we get to eventually in the third
• 45:10
  Speaker 3: act of the movie. Everywhere in this movie is stunning.
• 45:14
  Speaker 3: Even the swamp that you see a little bit later
• 45:16
  Speaker 3: on has a an ethereal beauty to it, you know
• 45:21
  Speaker 3: that contrasts pretty heavily, but it's heavily but it's still beautiful.
• 45:25
  Speaker 3: And it's my favorite thing about Italian cinema. Man, just
• 45:28
  Speaker 3: how how gorgeous it is.
• 45:30
  Speaker 2: Agreed, Well, I think what was like fascinating is like
• 45:33
  Speaker 2: right from the get go. I mean it's it's introduced
• 45:35
  Speaker 2: in those POV shots, say you're getting from the killer's perspective.
• 45:40
  Speaker 2: I mean you're basically setting like that that type of
• 45:42
  Speaker 2: like murder template essentially with kind of like you know,
• 45:46
  Speaker 2: you got beautiful women that they're showcasing throughout, and then
• 45:49
  Speaker 2: it kind of shifts into you know, the university's setting,
• 45:52
  Speaker 2: and it just kind of you know, sets up the
• 45:54
  Speaker 2: framework for what would be the rest of the film.
• 45:56
  Speaker 2: But yeah, he definitely wastes no time, you know, getting
• 46:01
  Speaker 2: to some of the more violent aspects of the film.
• 46:04
  Speaker 3: Well, in this kind of opening, there's a whole bunch
• 46:06
  Speaker 3: of really cool visual stuff happening. I love the camera
• 46:09
  Speaker 3: panning through the classroom all the students, and only our
• 46:13
  Speaker 3: characters are being pulled into focus right at the beginning.
• 46:16
  Speaker 3: So it's panning through these lines of students and our
• 46:19
  Speaker 3: characters are coming into focus at various points, which is
• 46:22
  Speaker 3: very cool and then when the class is dismissed and
• 46:25
  Speaker 3: they're all being let out in the courtyard, you have
• 46:27
  Speaker 3: a ton of zooms and these kind of like Dolly
• 46:30
  Speaker 3: follows that are really kind of building and bringing all
• 46:33
  Speaker 3: of our characters together in what is a very hectic scenario.
• 46:37
  Speaker 3: There's cars driving through here, there's people crossing the road,
• 46:39
  Speaker 3: there's people on motorcycles. Everyone's everywhere, and yet it's still
• 46:43
  Speaker 3: very well established that these are the characters that we're
• 46:46
  Speaker 3: going to follow. You have some characters that you're seeing,
• 46:49
  Speaker 3: you know, going off, and then you have other characters
• 46:52
  Speaker 3: that are just kind of being established and Okay, this
• 46:54
  Speaker 3: is this is who this is. They're friends with this person,
• 46:57
  Speaker 3: and it's very well done. But not five minutes in
• 47:01
  Speaker 3: this movie do we get to one of my favorite settings,
• 47:04
  Speaker 3: which is the under what I call the underbridge a
• 47:07
  Speaker 3: tax scene. And I'm not sure if this is actually
• 47:09
  Speaker 3: under a bridge or just a roadway or whatever it is.
• 47:14
  Speaker 3: But five minutes in this movie we have our second
• 47:18
  Speaker 3: sex scene already in the smallest car I've ever seen
• 47:22
  Speaker 3: in my life.
• 47:23
  Speaker 5: I just want to checking off those boxes.
• 47:26
  Speaker 3: The sex part or the smallest car I've ever seen
• 47:28
  Speaker 3: in my life.
• 47:28
  Speaker 6: Star it's an Italian film, so the answer is yes, yeah.
• 47:33
  Speaker 3: This car is so little, and somehow these two go
• 47:37
  Speaker 3: to the most abandoned location I've ever seen in my life.
• 47:40
  Speaker 3: There's nothing around. I have no idea how they got here.
• 47:45
  Speaker 3: But kind of right away we're getting into the midst
• 47:47
  Speaker 3: of things as we lead to this first death scene.
• 47:52
  Speaker 3: But one thing I want to talk about is the
• 47:55
  Speaker 3: discussions around Torso being kind of what some people call
• 48:01
  Speaker 3: the first slasher, which is wrong. There are earlier examples
• 48:05
  Speaker 3: of the slasher genre, but many of the hallmarks that
• 48:09
  Speaker 3: we know of the slasher are here. And they're here
• 48:12
  Speaker 3: five years before John Carpenter does Halloween. They're here seven
• 48:16
  Speaker 3: years before Sean Cunningham puts out Friday the thirteenth. You
• 48:19
  Speaker 3: have the POV which the first time you see it
• 48:23
  Speaker 3: is in this shot. You have the floating camera POV shot.
• 48:27
  Speaker 3: You have the killer misdirections. She gets out of the
• 48:31
  Speaker 3: car after Sean chases somebody off. The headlights are on.
• 48:35
  Speaker 3: She walks away from the car. The killer goes in
• 48:37
  Speaker 3: and turns off the headlights, forcing her to turn around.
• 48:40
  Speaker 3: She's suspicious of two of the thinnest trees I've ever
• 48:43
  Speaker 3: seen in my life because they're moving in the wind,
• 48:49
  Speaker 3: Sean running off, forcing her to be alone. All these
• 48:51
  Speaker 3: hallmarks that we've come to know and love, as well
• 48:54
  Speaker 3: as the already established masked killer who was creeping in
• 48:57
  Speaker 3: on the very underwhelming sex scene in the very small car.
• 49:02
  Speaker 2: Well, it's I mean, you have you touched on this, Chris,
• 49:05
  Speaker 2: that you have like the isolation that's obviously happening where
• 49:08
  Speaker 2: this takes place, and then the methodical killings and almost
• 49:12
  Speaker 2: like the sexualized violence that comes with it in a
• 49:14
  Speaker 2: lot of ways. I think that that's interesting that throughout
• 49:18
  Speaker 2: all of Torso, I mean, that's definitely a reoccurring theme.
• 49:22
  Speaker 3: Yeah, yeah, I mean I don't I want to say
• 49:25
  Speaker 3: that this is an important piece in the legacy of
• 49:30
  Speaker 3: the slasher film because of these and I mean, I
• 49:32
  Speaker 3: don't think any of this at this point is new.
• 49:35
  Speaker 3: I think there had to be a film out there
• 49:38
  Speaker 3: that obviously, well Peeping Tom, we know, really did the
• 49:41
  Speaker 3: POV thing first, but.
• 49:44
  Speaker 5: It may be even that technically wasn't first.
• 49:46
  Speaker 3: Yeah, still not first, but we've never seen it all
• 49:50
  Speaker 3: come together in this way, right. One movie really nails
• 49:53
  Speaker 3: the misdirection. One movie really nails the POV This is
• 49:56
  Speaker 3: putting it all together and establishing the set up kind
• 50:00
  Speaker 3: of for the perfect kill a in a slasher film.
• 50:04
  Speaker 3: And the location is incredible. She's gorgeous. This kill is
• 50:11
  Speaker 3: brutal as all hell. I love her being slammed onto
• 50:14
  Speaker 3: the windshield very gently, I may say slammed very gently,
• 50:19
  Speaker 3: and you have you know, of course, she falls down.
• 50:24
  Speaker 3: Her top opens after she's killed, and you get a
• 50:27
  Speaker 3: little bit of that weird kind of predator nature of
• 50:29
  Speaker 3: the killer as he kind of gives a quick feel.
• 50:33
  Speaker 3: My favorite part of this scene, though, is I love
• 50:38
  Speaker 3: establishing an understanding of setting in a movie that's done subtly.
• 50:44
  Speaker 3: And there is a jump cut to Sean's body that
• 50:47
  Speaker 3: is at the top of what seems to be a
• 50:49
  Speaker 3: ridge where the camera zooms out and it perfectly shows
• 50:53
  Speaker 3: you the landscape where all of this just happened, and
• 50:56
  Speaker 3: it makes it all makes sense so wonderfully. You see
• 50:59
  Speaker 3: the are down under the bridge, you see the roadway
• 51:03
  Speaker 3: that leads under, you see where Sean went off to
• 51:06
  Speaker 3: and the direction makes sense, and it jump cuts to
• 51:09
  Speaker 3: that and it zooms out to see the police conducting
• 51:11
  Speaker 3: their investigation, and I just love that that sense of detail.
• 51:16
  Speaker 2: Well I would argue that even like the setting is
• 51:19
  Speaker 2: its own character. I mean, even kat Ellinger mentioned that
• 51:23
  Speaker 2: in the commentary that it's I mean, it's a theme
• 51:27
  Speaker 2: that Sergio Martine definitely focuses on for each one of
• 51:30
  Speaker 2: his films. Like the setting is like its own own
• 51:33
  Speaker 2: character essentially, you know.
• 51:36
  Speaker 3: Yeah, and it's incredibly important because we as an audience,
• 51:40
  Speaker 3: whether you pay attention to it or not, we track
• 51:42
  Speaker 3: that stuff and it has to make sense for us
• 51:44
  Speaker 3: or we kind of get pulled out, you know, don't
• 51:47
  Speaker 3: you guys ever experience that where sometimes things just get
• 51:49
  Speaker 3: a little too wild with location in a movie and
• 51:51
  Speaker 3: you're like, okay, wait, hold on, let me figure out
• 51:53
  Speaker 3: where we're at now.
• 51:55
  Speaker 6: Well, and it depends, I think, because there are certain movies,
• 51:58
  Speaker 6: like I was just talking about this my show, I
• 52:00
  Speaker 6: feel like a lot of European films they kind of
• 52:04
  Speaker 6: have it easy because Europe is just so rich in history,
• 52:08
  Speaker 6: and so if you're if you're making a Spanish film
• 52:11
  Speaker 6: in nineteen sixty eight, like you could be in your mind,
• 52:15
  Speaker 6: you're just shooting on like the corner of the cross
• 52:18
  Speaker 6: street closest to your house, but there's a fucking like
• 52:21
  Speaker 6: six hundred year old cathedral across the street and you
• 52:23
  Speaker 6: have the best backdrop imaginable. And so with with Jolly's like,
• 52:29
  Speaker 6: I don't know, it's it's meant to be a little wild,
• 52:32
  Speaker 6: it's meant to be extra vibrant, it's meant to be
• 52:35
  Speaker 6: a little weird, and so yeah, it with stuff like this,
• 52:38
  Speaker 6: I don't really batten. I but if we're doing like
• 52:40
  Speaker 6: a serious noir film that was meant to be low key, yeah,
• 52:45
  Speaker 6: I'm probably gonna be a little taken now.
• 52:47
  Speaker 3: Yeah, it kind of like U remember remember in the
• 52:51
  Speaker 3: early two thousands, kind of like the postborne identity thing
• 52:54
  Speaker 3: with the spy thriller, all of a sudden became like
• 52:56
  Speaker 3: globe trotting, and it was like every scene you were
• 52:59
  Speaker 3: in a differ country or like you're in a totally
• 53:02
  Speaker 3: different part of the world, and you're like, where the
• 53:03
  Speaker 3: hell am I actually felt the same way during Drassic
• 53:06
  Speaker 3: World Dominion. Where are we? Where are the dinosaurs? Why
• 53:13
  Speaker 3: are we not on an island? What are we doing? Yeah? Anyway,
• 53:17
  Speaker 3: Dassic World Dominion introduced in a Torso episode Way to Go.
• 53:22
  Speaker 5: So now let's cover the commentary for Drassic World Dominion.
• 53:24
  Speaker 3: Yeah, yeah, let's let's let's transition now suddenly into that.
• 53:29
  Speaker 3: I will say Susie Susie Kendall, who plays Jane. Sergio
• 53:33
  Speaker 3: Martine talks about in the interview how she appeared to
• 53:36
  Speaker 3: be maybe a little too old to play a university student,
• 53:40
  Speaker 3: which I did have some thoughts of during a couple
• 53:42
  Speaker 3: of watches, and it makes the relationship between her and
• 53:46
  Speaker 3: Professor Franz a little less weird because of that. Because
• 53:52
  Speaker 3: of that age gap, to me, she appears older. Therefore,
• 53:55
  Speaker 3: I think she's just an older university student, and it's
• 53:57
  Speaker 3: okay that she's gonna go to, you know, the theater
• 54:02
  Speaker 3: with this professor. You know you're an adult, is what
• 54:04
  Speaker 3: it is. I will say. There is a shot though,
• 54:08
  Speaker 3: at this point in the movie when the professor and
• 54:11
  Speaker 3: Jane split ways and the professor begins to walk towards
• 54:14
  Speaker 3: the camera and the camera Dolly's right over a ledge
• 54:20
  Speaker 3: to then follow Jane walking down the path. And it's
• 54:24
  Speaker 3: a little visual bits like that that I just love.
• 54:26
  Speaker 6: Yeah, so wonderful choice. And it's the funny thing. It
• 54:30
  Speaker 6: doesn't do anything for the story. It's just like a
• 54:33
  Speaker 6: little bit of flourish. It makes it interesting.
• 54:35
  Speaker 3: Yeah, it's style, it's understanding the setting a little bit
• 54:39
  Speaker 3: more too, because you know, she comes down and you
• 54:41
  Speaker 3: have the discovery of her friend, and you know, but
• 54:46
  Speaker 3: I want to talk about kind of one of the
• 54:49
  Speaker 3: next key scenes, because you have this interesting movement in
• 54:57
  Speaker 3: the early seventies where the hippies are sort of making
• 54:59
  Speaker 3: their way into Europe, and this is kind of coming
• 55:04
  Speaker 3: towards the end of the main hippie movement anyway, because
• 55:07
  Speaker 3: that kind of faded out in the mid seventies. Around
• 55:11
  Speaker 3: we see one of our characters be picked up by
• 55:16
  Speaker 3: two guys on dirt bikes essentially, and they go to
• 55:22
  Speaker 3: this warehouse that is I don't even know. I don't
• 55:25
  Speaker 3: even know how to describe what's happening in his warehouse.
• 55:27
  Speaker 3: Everybody's stoned. People are having sex in the background, and
• 55:35
  Speaker 3: our character is so stoned that she's just letting these
• 55:38
  Speaker 3: two guys kind of grop her up and take her
• 55:42
  Speaker 3: shirt off. And it's so strange, and you have another
• 55:46
  Speaker 3: hippie dancing with her shirt open.
• 55:49
  Speaker 2: I mean, it's I've never got that stone in my life.
• 55:56
  Speaker 3: You've never been so stoned you ended up in a
• 55:58
  Speaker 3: hippie warehouse. It's dude, it's such an odd it's it's
• 56:06
  Speaker 3: such an odd scene. And there's something here that I
• 56:09
  Speaker 3: wanted to bring up to you guys, which is this
• 56:13
  Speaker 3: This and I did. This is nothing I learned in
• 56:16
  Speaker 3: the commentary. This was something I just picked up on
• 56:17
  Speaker 3: my own watching, which is the constant idea of voyeurism
• 56:23
  Speaker 3: in this movie that I never alreadys saw before, and
• 56:26
  Speaker 3: not in the traditional sense, more of Martinez always focusing
• 56:31
  Speaker 3: on people just watching events happen. Many times in this movie,
• 56:37
  Speaker 3: including this scene, are we just cutting the people just
• 56:40
  Speaker 3: observing what's happening? Right in this warehouse scene, we have
• 56:44
  Speaker 3: multiple cuts where people are just standing on one side
• 56:47
  Speaker 3: of the room just watching. We don't know what they're watching,
• 56:50
  Speaker 3: they're just watching. And we see this endlessly. We see
• 56:54
  Speaker 3: this when they arrive to the villa and they're in
• 56:57
  Speaker 3: town waiting to be picked up, when they're just watching
• 56:59
  Speaker 3: the carecter sitting on the car. We see this through
• 57:02
  Speaker 3: the POV shots. We kind of see this endlessly throughout
• 57:08
  Speaker 3: the whole entire movie, the Killer watching flow Inch on
• 57:12
  Speaker 3: the car. It's incredibly interesting because voyeurism is a kind
• 57:18
  Speaker 3: of consistent trait of Shallow anyway, but this watch was
• 57:24
  Speaker 3: the first time I noticed it, and it kind of
• 57:26
  Speaker 3: brought a different, I don't know, a different I guess
• 57:32
  Speaker 3: observational movie than ever before. Did you guys notice that
• 57:34
  Speaker 3: on this watch?
• 57:36
  Speaker 2: I mean a lot of times I just think it's uncomfortable.
• 57:41
  Speaker 3: What they're like, what they're watching.
• 57:44
  Speaker 2: Well, I think in outside of the warehouse scene, but yeah,
• 57:48
  Speaker 2: I mean most of the time, it's you're looking at
• 57:51
  Speaker 2: things that you're not really supposed to be looking at,
• 57:53
  Speaker 2: you know, the voyeuristic view that, like you guys were
• 57:55
  Speaker 2: talking about earlier, the keeping Tom esque angle to it.
• 57:59
  Speaker 2: It's is very uncomfortable, like they're usually you know, promiscuously
• 58:04
  Speaker 2: looking at women that are undressed or whatever the cases.
• 58:07
  Speaker 2: And you know, the POV shots definitely bratchet up the
• 58:12
  Speaker 2: tension every time that you're seeing those views.
• 58:16
  Speaker 3: Yeah, yeah, Ryan, what about you? Have you ever noticed
• 58:17
  Speaker 3: that in Torso?
• 58:19
  Speaker 6: I mean there's a lot that you could say here,
• 58:20
  Speaker 6: and you and I have kind of talked about this before.
• 58:23
  Speaker 6: There's so many of these scenes that you could break
• 58:25
  Speaker 6: down and apply the meaning of, like, well, in a way,
• 58:29
  Speaker 6: you're kind of holding the mirror up to yourself because
• 58:31
  Speaker 6: you're uncomfortable watching all the sleeves in this and that
• 58:34
  Speaker 6: sometimes it's just like that sells. It's not necessarily in
• 58:39
  Speaker 6: the film to have a deeper meaning. But yeah, I
• 58:41
  Speaker 6: mean there's a lot of very voyeuristic things in this
• 58:45
  Speaker 6: movie for you to look at, and that they're framing
• 58:48
  Speaker 6: in a way that is clearly other voyeurism happening, which
• 58:52
  Speaker 6: is a unique way to make the film. And I
• 58:54
  Speaker 6: think even at like the central aspects of this film
• 58:58
  Speaker 6: that rings true for a few reasons. That's, you know,
• 59:00
  Speaker 6: the isolation that you can feel in this movie. Is
• 59:02
  Speaker 6: there the final house? You know, I'm sure we're going
• 59:05
  Speaker 6: to talk about that, but being mentioned three times, how
• 59:08
  Speaker 6: hard it is to get to that place is a
• 59:11
  Speaker 6: unique thing. And obviously it's a little bit more of
• 59:14
  Speaker 6: like a like Chekhov's gun situation where we have to
• 59:17
  Speaker 6: mention it because it's going to be a plot point.
• 59:19
  Speaker 5: But at the same time we're.
• 59:21
  Speaker 6: Driving home how unique it is to be vulnerable and
• 59:26
  Speaker 6: bear and not able to scream for help or not
• 59:28
  Speaker 6: able to have help get to you quickly, and with voyeurism,
• 59:32
  Speaker 6: a lot of that plays into that aspect too.
• 59:35
  Speaker 3: I want to say just first off, I've never been
• 59:37
  Speaker 3: uncomfortable watching any of this leaves in this movie. I
• 59:39
  Speaker 3: love it. I embraced it. Sometimes I was like, why
• 59:45
  Speaker 3: are we stopping? Then, I'm just kidding. It's very very
• 59:49
  Speaker 3: very uncomfortable, especially to the untrained Jallow audience really really
• 59:54
  Speaker 3: goes there. And it seems like this when Carol is
• 59:58
  Speaker 3: just trying to enjoy her blunt and she's got guys
• 1:00:02
  Speaker 3: ripping off her shirts, and the best part about.
• 1:00:05
  Speaker 4: This is there was a little bit more than that.
• 1:00:07
  Speaker 3: Well, the best part about this is her going, you know, well,
• 1:00:11
  Speaker 3: how about you guys get naked first, and just kind
• 1:00:14
  Speaker 3: of like eventually batting back at it a little bit
• 1:00:17
  Speaker 3: before she eventually just gets up and leaves. Anyway, And
• 1:00:21
  Speaker 3: I do want to say that our two characters doing
• 1:00:24
  Speaker 3: this to Carol are just simply titled Motorcycle Guy one
• 1:00:27
  Speaker 3: and Motorcycle Guy two. That's it.
• 1:00:30
  Speaker 5: They fought hard in their career for those titles.
• 1:00:32
  Speaker 3: They did, and they do in fact have motorcycles, so
• 1:00:36
  Speaker 3: very very important. But this is the scene we were
• 1:00:39
  Speaker 3: talking about earlier. So Carol gets up and sort of
• 1:00:42
  Speaker 3: in her high days, goes walking out of the warehouse
• 1:00:47
  Speaker 3: barefoot into the woods. And this is such an integral
• 1:00:55
  Speaker 3: scene for this movie because it's so unique, as we
• 1:00:57
  Speaker 3: already mentioned, and this has one of the creepiest shots
• 1:01:04
  Speaker 3: in this movie, which is this wide shot of our
• 1:01:10
  Speaker 3: mass killer just standing at the edge of the woods
• 1:01:14
  Speaker 3: staring at them, either staring at her not at them,
• 1:01:17
  Speaker 3: and it's so creepy, man. Just the gray mask, the
• 1:01:22
  Speaker 3: simplicity of kind of like the pullover. I don't know
• 1:01:26
  Speaker 3: what would that be, like fabric mask. That's sort of
• 1:01:28
  Speaker 3: just yeah, you know, they're that wide shot through the
• 1:01:32
  Speaker 3: fog of him just standing there is so incredibly creepy. Man.
• 1:01:36
  Speaker 3: That's that is pure slasher if I've ever seen it.
• 1:01:41
  Speaker 6: Before, Yeah, it is. This is like putting all my
• 1:01:46
  Speaker 6: cards on the table. This is I think the scene
• 1:01:49
  Speaker 6: from the film. I love everything about this. I've seen
• 1:01:52
  Speaker 6: this scene so many times and that sounds creepy, but genuinely,
• 1:01:57
  Speaker 6: this scene specifically has so many, so many things that
• 1:02:00
  Speaker 6: are like rewatchable just as a scene. So the first
• 1:02:04
  Speaker 6: time I saw this movie again very confused how it
• 1:02:07
  Speaker 6: feels like all of a sudden you are following out,
• 1:02:12
  Speaker 6: following out, falling out of the real world and into
• 1:02:15
  Speaker 6: a dreamlike state. But I feel like they clear that
• 1:02:19
  Speaker 6: up pretty quickly because oh my god, the mud. There
• 1:02:22
  Speaker 6: is so much that happens here that is you know,
• 1:02:25
  Speaker 6: it feels very innocent to begin with, and they there's
• 1:02:28
  Speaker 6: nothing innocent left at the end of the scene. Love
• 1:02:31
  Speaker 6: the way it's framed. Love the way that the villain
• 1:02:34
  Speaker 6: killer individual here is despicable. They don't hold back on anything. Yeah,
• 1:02:41
  Speaker 6: I adore this scene.
• 1:02:43
  Speaker 3: Yeah, it's incredible.
• 1:02:44
  Speaker 5: Man.
• 1:02:44
  Speaker 3: There's even like a POV shot from her where the
• 1:02:48
  Speaker 3: camera's just kind of floating along and it pans up
• 1:02:50
  Speaker 3: and it's such a unique environment, just a gapping of
• 1:02:54
  Speaker 3: the trees. And the sound design, especially on this transfer,
• 1:02:59
  Speaker 3: is the mud is so loud and like, yeah, gloopy
• 1:03:03
  Speaker 3: in a way, it's so gloopy. Uh, it's very ASMR
• 1:03:08
  Speaker 3: like salime style sound as her of her wading through
• 1:03:11
  Speaker 3: the mud. Yeah, it's it's the fog obviously is beautiful,
• 1:03:18
  Speaker 3: the way it moves, it's it's such a such a
• 1:03:22
  Speaker 3: wild scene. And there's a shot that I love so much,
• 1:03:26
  Speaker 3: right after the wide shot where we see the killer
• 1:03:28
  Speaker 3: at the edge of the woods, which is like a
• 1:03:31
  Speaker 3: medium and he does this a couple of times in
• 1:03:33
  Speaker 3: this movie. It's like a medium on Carrol and it
• 1:03:36
  Speaker 3: kind of slowly pans left like around a tree, and
• 1:03:40
  Speaker 3: that's when the music kicks on. And it's such a
• 1:03:42
  Speaker 3: great anytime you can go from a wide shot to
• 1:03:46
  Speaker 3: establish a terror and then punch into a medium, it
• 1:03:49
  Speaker 3: just amplifies that suspense a little bit more in that
• 1:03:52
  Speaker 3: music kicking in and just the camera kind of like
• 1:03:55
  Speaker 3: it all of a sudden, makes this this very wide open,
• 1:03:58
  Speaker 3: beautiful environment feels so small and tense. With his introduction.
• 1:04:02
  Speaker 5: Alone, there's a lot of dread there.
• 1:04:05
  Speaker 3: There's so much dread man. And of course she gets
• 1:04:08
  Speaker 3: killed in the mud. She gets choked out with the scarf,
• 1:04:13
  Speaker 3: face buried into mud, flipped around, and then just gets
• 1:04:17
  Speaker 3: her chest mutilated open with a blade in what is
• 1:04:21
  Speaker 3: still incredibly corny but beautiful practical effect worked here. It's true, Steve,
• 1:04:28
  Speaker 3: what's your take on the never ending story? Our characters,
• 1:04:31
  Speaker 3: a tray, you drowning in the mud scene.
• 1:04:35
  Speaker 4: I mean everything.
• 1:04:36
  Speaker 2: This is probably one of my favorite shots in the
• 1:04:39
  Speaker 2: entire film. The only thing is is that, obviously, I mean,
• 1:04:44
  Speaker 2: it ends in a terrible outcome for her, but just
• 1:04:48
  Speaker 2: as a whole, it's just it feels so creepy, you know,
• 1:04:52
  Speaker 2: It's just the settings very bizarre, like the way that
• 1:04:56
  Speaker 2: it's filmed. You know, you're being this very like eh,
• 1:05:01
  Speaker 2: real dreams like dreamlike sequence, but then it's like contrasted
• 1:05:06
  Speaker 2: with so much violence in it, and the killer is
• 1:05:10
  Speaker 2: just unnerving. I think, you know, just at least that's
• 1:05:15
  Speaker 2: how I've always seen it, no matter how many times
• 1:05:16
  Speaker 2: I've viewed this movie. But very uncomfortable.
• 1:05:20
  Speaker 3: It's the simplicity of his look. For me, it's just
• 1:05:22
  Speaker 3: a fabric mask, like a robber mask, you know, like
• 1:05:27
  Speaker 3: you've seen this so many times across so many genres,
• 1:05:31
  Speaker 3: yet it's so memorable.
• 1:05:32
  Speaker 2: It feels grounded, like grounded to something that could most
• 1:05:36
  Speaker 2: likely happen in real life. I think that that's what's
• 1:05:38
  Speaker 2: so unnerving about it.
• 1:05:40
  Speaker 3: Yeah. Yeah, it's an incredible scene. Man. I think for
• 1:05:46
  Speaker 3: anybody talking about Torso is going to talk about the
• 1:05:48
  Speaker 3: effect that the scene had, and I think in the
• 1:05:52
  Speaker 3: general slasher conversation, this is one of the finest examples
• 1:05:57
  Speaker 3: of where you can really get visually creative with your
• 1:06:01
  Speaker 3: work and do something that's out of the box and
• 1:06:03
  Speaker 3: unlike anything else in the movie. But it still doesn't
• 1:06:05
  Speaker 3: feel like it's from a separate movie. It still feels
• 1:06:08
  Speaker 3: in that world, you know of course, this is the
• 1:06:12
  Speaker 3: second death of the movie, which is building a pattern
• 1:06:15
  Speaker 3: which the police are like, hey, somebody's being killed here,
• 1:06:19
  Speaker 3: and they're wearing a red and black or black and
• 1:06:22
  Speaker 3: red scarf. And following this scene, there's a really interesting
• 1:06:28
  Speaker 3: scene where the police are making a statement to the
• 1:06:32
  Speaker 3: students of the university. And the first time I watched this,
• 1:06:36
  Speaker 3: I was just like, Okay, yeah, typical, you know, letting
• 1:06:38
  Speaker 3: them know, hey, here's the warning, watch out for things,
• 1:06:40
  Speaker 3: contact us. But there's a couple of things I picked
• 1:06:44
  Speaker 3: up this time that Inspector Martine makes a couple of
• 1:06:48
  Speaker 3: remarks about and one of them is he constantly talks
• 1:06:51
  Speaker 3: about the police and the students working together. He also
• 1:06:58
  Speaker 3: encourages students to see the police as your vigilant defense.
• 1:07:03
  Speaker 3: And then he makes a comment at the end of
• 1:07:05
  Speaker 3: this that once the killer is caught and you're safe,
• 1:07:07
  Speaker 3: you can go back to trying to dismantle the government,
• 1:07:10
  Speaker 3: which I thought was which I thought was kind of
• 1:07:13
  Speaker 3: like an interesting little thing to just toss into this
• 1:07:18
  Speaker 3: Shallo film. So I kind of started some research and
• 1:07:23
  Speaker 3: nineteen seventy three were dead smack in the middle of
• 1:07:26
  Speaker 3: the years of Lead, which we brought up earlier. The
• 1:07:30
  Speaker 3: years of Lead saw widespread political terrorism from both far
• 1:07:35
  Speaker 3: left and far right, and during this period extreme distrust
• 1:07:40
  Speaker 3: in the citizen's view of the role of police and
• 1:07:43
  Speaker 3: the loyalty. They did not feel the police were there
• 1:07:47
  Speaker 3: to protect them, they did not feel they were there
• 1:07:49
  Speaker 3: to serve them. And amidst all of the terroristic, you know,
• 1:07:56
  Speaker 3: threats and attacks happening in Italy at the time, there
• 1:07:59
  Speaker 3: was a lot of turmoil. In seventy three falls right
• 1:08:02
  Speaker 3: in the middle of that, which led to the rise
• 1:08:07
  Speaker 3: of the I'm gonna mess up how to say it
• 1:08:10
  Speaker 3: again Polizio Tessi period, Policio, the rise of the Polizio Tessie.
• 1:08:18
  Speaker 5: Genre, Can We Get five? Or takes Please No.
• 1:08:22
  Speaker 3: Which was mostly the Sun which that genre. That subgenre
• 1:08:30
  Speaker 3: hit its peak between nineteen seventy and nineteen seventy two,
• 1:08:32
  Speaker 3: right before Torso comes out, but obviously still prevalent enough
• 1:08:37
  Speaker 3: that Sergio Martino felt to kind of put it in here,
• 1:08:41
  Speaker 3: especially he directed plenty of films in the genre. It's
• 1:08:46
  Speaker 3: something that he brings up in the interview with him
• 1:08:48
  Speaker 3: where he thought maybe he was being a little too
• 1:08:49
  Speaker 3: heavy handed having this in like maybe it was detracting
• 1:08:53
  Speaker 3: too far from the plot of the film, But I
• 1:08:57
  Speaker 3: don't think it does. I think it's it's incredibly current
• 1:09:01
  Speaker 3: for the time this movie came out and kind of
• 1:09:04
  Speaker 3: raises the the stakes of at this time, these university
• 1:09:11
  Speaker 3: students need the protection of the police because there's a
• 1:09:14
  Speaker 3: killer and they don't trust them, and it's all happening
• 1:09:19
  Speaker 3: in this little slasher film. So I thought it was
• 1:09:21
  Speaker 3: like kind of a cool little little thing that he
• 1:09:24
  Speaker 3: put in there, you know.
• 1:09:25
  Speaker 2: Like social commentary, but also absolutely it just gives you
• 1:09:29
  Speaker 2: like a snapshot as to the political climate that was
• 1:09:32
  Speaker 2: going on at that specific moment in time.
• 1:09:35
  Speaker 3: But not even like to the extent where I feel
• 1:09:38
  Speaker 3: like a movie made like this today this would be
• 1:09:40
  Speaker 3: a full blown subplot that would you know, detract from
• 1:09:44
  Speaker 3: the movie. This is just like if you know, you know,
• 1:09:48
  Speaker 3: or if you were keen enough to pick up on it,
• 1:09:50
  Speaker 3: and you know, when on Google you could you could learn.
• 1:09:54
  Speaker 3: It's just subtle enough that a keen ear can pick
• 1:09:59
  Speaker 3: up on it and learn and investigate, and it kind
• 1:10:03
  Speaker 3: of brings an interesting perspective on kind of the entire
• 1:10:10
  Speaker 3: state of Italy at this time, which you know, Ryan,
• 1:10:14
  Speaker 3: I know you are very familiar with the subgenre of polio.
• 1:10:20
  Speaker 3: Let's you tashi no, I'm irish, damn.
• 1:10:28
  Speaker 6: Well, so by I won't say that I'm very familiar.
• 1:10:32
  Speaker 6: I would say that it's something I'm a fan of.
• 1:10:33
  Speaker 6: But my my big thing here too is more leaning
• 1:10:36
  Speaker 6: on the word social commentary. Like Steve said, the big
• 1:10:39
  Speaker 6: thing is there are so many films made period. I
• 1:10:45
  Speaker 6: was about to say like in this era, but literally
• 1:10:48
  Speaker 6: just period that are in a way protest films, and
• 1:10:52
  Speaker 6: whether you wanted to say something in a raucous overt way,
• 1:10:58
  Speaker 6: sometimes that could lead to imprisonment or worse. And so
• 1:11:02
  Speaker 6: in quite a few cases we'll get certain like what
• 1:11:05
  Speaker 6: feels like throwaway lines, but in the reality, it's a
• 1:11:08
  Speaker 6: very subversive moment in a film, and with something as
• 1:11:11
  Speaker 6: sleazy as this, and with something as mindful as Martinez
• 1:11:14
  Speaker 6: known to be, it wouldn't surprise me if it was
• 1:11:16
  Speaker 6: meant there to be like a like a like a
• 1:11:18
  Speaker 6: fist of solidarity in the air at the moment, because
• 1:11:21
  Speaker 6: there's a lot of reasons to stand up against things.
• 1:11:23
  Speaker 6: I mean, look at I'm very excited to see the
• 1:11:26
  Speaker 6: era of art that is going to come out of
• 1:11:28
  Speaker 6: the fascism that we're seeing in twenty twenty six.
• 1:11:31
  Speaker 3: Yeah, it's so funny, man. I was just having this
• 1:11:33
  Speaker 3: conversation believe it or not, with somebody at a bank
• 1:11:37
  Speaker 3: that I was at that knows I do a horror podcast,
• 1:11:40
  Speaker 3: and you know, likes to kind of bring up horror
• 1:11:42
  Speaker 3: stuff when I'm there doing stuff for work, and we
• 1:11:46
  Speaker 3: were kind of talking about how horror is sort of
• 1:11:50
  Speaker 3: leading the box office lately. It seems like horror is
• 1:11:53
  Speaker 3: like the only true dependent because of the lower You're
• 1:11:57
  Speaker 3: able to kind of achieve much more at a lower budget,
• 1:12:00
  Speaker 3: but horror fans show up and show out very heavy
• 1:12:02
  Speaker 3: mass appeal. But we were talking about how horror is
• 1:12:06
  Speaker 3: also so specific to the era, such as the rise
• 1:12:10
  Speaker 3: of the torture porn after nine to eleven, and you
• 1:12:14
  Speaker 3: can track trends in horror based on real life incidents.
• 1:12:20
  Speaker 3: You know, you have torture allegations coming out about the
• 1:12:24
  Speaker 3: military after nine to eleven, and in response to that,
• 1:12:27
  Speaker 3: the US is releasing tons of movies about torture, and
• 1:12:31
  Speaker 3: specifically in foreign countries, you have many horror movies kind
• 1:12:36
  Speaker 3: of pointing a very negative light at organized like organizations
• 1:12:42
  Speaker 3: and the impact that they have on the little people,
• 1:12:45
  Speaker 3: and it's very telling. You can you can really see
• 1:12:50
  Speaker 3: the real life trends matching up with what's happening in
• 1:12:53
  Speaker 3: horror at a specific time. And I think it's important
• 1:12:55
  Speaker 3: that they that they bleed into each other, whether we
• 1:12:59
  Speaker 3: understand it or not. Meaning Like I obviously was not
• 1:13:02
  Speaker 3: alive in nineteen seventy three. It took me having to
• 1:13:05
  Speaker 3: go on Google and type in political state of Italy
• 1:13:07
  Speaker 3: in nineteen seventy three to learn what the years of
• 1:13:11
  Speaker 3: lead even were, right, But now knowing that hearing these
• 1:13:16
  Speaker 3: lines in Torso have emphasis, they have meaning that to
• 1:13:20
  Speaker 3: me impacts the entire film. So I think this stuff
• 1:13:24
  Speaker 3: is important. I agree, very very important. Also, I mean
• 1:13:31
  Speaker 3: I do want to talk about the state of the
• 1:13:35
  Speaker 3: Jalla genre in nineteen seventy three as well, because we're
• 1:13:39
  Speaker 3: sort of coming to an end with with Jali.
• 1:13:44
  Speaker 6: Well let's say the end of the popularity. Technically they're
• 1:13:47
  Speaker 6: still Jali being made for yeah, decades.
• 1:13:51
  Speaker 3: There is there is, this is the this is the peak, right,
• 1:13:54
  Speaker 3: this is where we're coming down from the peak now
• 1:13:58
  Speaker 3: essentially at this era after nineteen seventy three, there's such
• 1:14:01
  Speaker 3: a demand for the genre that you have tons of
• 1:14:03
  Speaker 3: filmmakers making them. Quality is diminishing because like all great things,
• 1:14:09
  Speaker 3: they want to make more for less money. So you
• 1:14:12
  Speaker 3: have less all tours, less visionaries, more people just doing
• 1:14:15
  Speaker 3: it for the mass appeal of making a Shalli film.
• 1:14:18
  Speaker 3: You also have the introduction of many more supernatural elements
• 1:14:21
  Speaker 3: that are kind of I think most people saw like
• 1:14:23
  Speaker 3: poisoning the waters of the traditional Shallo at this time
• 1:14:27
  Speaker 3: as well. So you have this this, this slope that's happening,
• 1:14:35
  Speaker 3: and Torso falls kind of right as almost a couple
• 1:14:41
  Speaker 3: like things that I've read in kind of interpretive people
• 1:14:43
  Speaker 3: kind of see Torso as like the last great Shallow
• 1:14:49
  Speaker 3: And I don't know how you guys feel or stand
• 1:14:50
  Speaker 3: on now, or if you know of any movie that
• 1:14:52
  Speaker 3: came out post nineteen seventy three that you might have thought,
• 1:14:54
  Speaker 3: you know, had as big an impact as Torso did
• 1:14:57
  Speaker 3: at this time.
• 1:15:00
  Speaker 6: I mean, as far as big impact, I think there's
• 1:15:02
  Speaker 6: still a few that come out after this. But the
• 1:15:05
  Speaker 6: hardest part is that, I mean, depending on who you ask.
• 1:15:09
  Speaker 6: The first of all, the rules are murky on what
• 1:15:12
  Speaker 6: exactly is a Shallow film, And I mean this being
• 1:15:14
  Speaker 6: the first episode in your season, then we're covering shallow
• 1:15:18
  Speaker 6: all season. I'm kind of surprised we haven't dove into
• 1:15:20
  Speaker 6: that yet.
• 1:15:21
  Speaker 5: Specifically.
• 1:15:24
  Speaker 3: It's one of those things that I would love to
• 1:15:27
  Speaker 3: dive into, But I also feel like it I don't
• 1:15:30
  Speaker 3: think I could come to a concrete decision on what
• 1:15:35
  Speaker 3: is truly as yallow, or what is truly a slash,
• 1:15:39
  Speaker 3: or what is truly any genre. I feel like there
• 1:15:41
  Speaker 3: has to be meddling in many other kind of subgenres
• 1:15:47
  Speaker 3: or ideas to finalize it. I mean, traditional sense is
• 1:15:53
  Speaker 3: murder mystery, black glove killer attacking beautiful women. There has
• 1:15:59
  Speaker 3: to be a there has to be red herrings that
• 1:16:05
  Speaker 3: lead you to not knowing who the killer is, and
• 1:16:08
  Speaker 3: then you have to have the mass reveal. Right, those
• 1:16:10
  Speaker 3: are kind of your trademark, right, you know, shallow stuff,
• 1:16:15
  Speaker 3: And there's so many movies that stick to that to
• 1:16:17
  Speaker 3: a t. But there's also so many movies that we
• 1:16:19
  Speaker 3: still talk about today that warp those a little bit
• 1:16:22
  Speaker 3: and change those around and play with it. So do
• 1:16:27
  Speaker 3: I want to I don't want to say shallow to me?
• 1:16:30
  Speaker 3: Is this because some of my favorite shallows are not
• 1:16:33
  Speaker 3: in the traditional right explanation of what the genre is
• 1:16:38
  Speaker 3: supposed to be, So I don't know if I even
• 1:16:42
  Speaker 3: want to really have that conversation to that extent. If
• 1:16:45
  Speaker 3: that makes.
• 1:16:45
  Speaker 6: Sense, As long as we all understand that Suspiria is
• 1:16:49
  Speaker 6: clearly not as yallow, than we're good.
• 1:16:52
  Speaker 3: Yeah, I mean, Steve, where do you fall on Suspiria
• 1:16:54
  Speaker 3: being as general?
• 1:16:55
  Speaker 2: I don't think it is. It has, it has some
• 1:16:58
  Speaker 2: giallow elements, but I don't can consider that in the traditional.
• 1:17:01
  Speaker 5: Sense, not at all. Yeah, it's a witch movie.
• 1:17:04
  Speaker 3: Yeah, yeah, I mean Argento, Argento very quickly, I think
• 1:17:08
  Speaker 3: got out of the tradition.
• 1:17:09
  Speaker 6: Well technically he's got even after this one, he's got
• 1:17:14
  Speaker 6: ghollow films after this one that are still like top tier,
• 1:17:17
  Speaker 6: great one. And that's what I'm saying, That's what I
• 1:17:18
  Speaker 6: was about to get at, is there's no way in
• 1:17:21
  Speaker 6: any definition of the word, that this is the last
• 1:17:23
  Speaker 6: of the great Jollie there. I mean Deep Red Houseman,
• 1:17:27
  Speaker 6: Laughing Windows. There's multiple films that came out at it
• 1:17:31
  Speaker 6: and Tenebrate. You know, people have called an edge case
• 1:17:33
  Speaker 6: many times, but I still call that one as yallow.
• 1:17:36
  Speaker 6: But there's there's a lot closer things like The Psychic
• 1:17:39
  Speaker 6: you could argue is not and that's after but I
• 1:17:41
  Speaker 6: mean that's a huge one huge name strip. Nude for
• 1:17:44
  Speaker 6: your Killer is like very obviously as yallow and that's
• 1:17:47
  Speaker 6: after this one. So yeah, I don't think this is
• 1:17:49
  Speaker 6: anywhere near the last of the great Jolly Dude.
• 1:17:51
  Speaker 3: We need to talk about the psychic that's nobody talks
• 1:17:55
  Speaker 3: about the psychic man. In my opinion, man.
• 1:18:01
  Speaker 4: I'll be there to argue that I thought you were
• 1:18:04
  Speaker 4: more of a murder rock kind of guy.
• 1:18:05
  Speaker 3: It's my opinion, all right, leave me alone, man, all right,
• 1:18:12
  Speaker 3: geez god, Season three is off to a bad start.
• 1:18:17
  Speaker 3: Oh yeah, I didn't really want to. I don't know.
• 1:18:20
  Speaker 3: It's it's hard because, like to me, I've even had
• 1:18:24
  Speaker 3: arguments online where I've said that, to me, Italian horror
• 1:18:28
  Speaker 3: is mostly shallow anyway. I mean, Jallo was Italian horror
• 1:18:32
  Speaker 3: for the longest period. That's when when you talked about
• 1:18:35
  Speaker 3: Italian horror, they were shallows. That's that's what was around.
• 1:18:39
  Speaker 3: So to me, Italian horror for a certain period was
• 1:18:43
  Speaker 3: just shallow. It's like, that's what it was, and very
• 1:18:46
  Speaker 3: little kind of spread out, kind of did something different
• 1:18:50
  Speaker 3: beyond that, because this is what was making money. This
• 1:18:52
  Speaker 3: is what audience has wanted, so true, So I definitely
• 1:18:57
  Speaker 3: don't consider this the last great jallo. I think it's
• 1:19:00
  Speaker 3: a shining star kind of in the beginning of the
• 1:19:04
  Speaker 3: end of the popularity of the genre, and of course
• 1:19:07
  Speaker 3: many other great ones have come since then, and I
• 1:19:09
  Speaker 3: still think now. I think within the last fifteen years,
• 1:19:12
  Speaker 3: we've had some films that have done a great job
• 1:19:14
  Speaker 3: kind of recapturing that vibe and bringing back the spirit
• 1:19:18
  Speaker 3: of the gallo. I mean we've even seen it. Ty West,
• 1:19:21
  Speaker 3: you know, went really heavy on the shallow feels and Maxine,
• 1:19:24
  Speaker 3: especially with the killing scene in the Video Store, which
• 1:19:28
  Speaker 3: was a beautiful callback to the genre, even down to
• 1:19:33
  Speaker 3: the practical effects in the color of the blood and
• 1:19:35
  Speaker 3: the black gloves. So this is a genre that's still
• 1:19:39
  Speaker 3: so impactful to modern day heart in modern day directors
• 1:19:43
  Speaker 3: that they're calling back to it in very obvious senses.
• 1:19:46
  Speaker 2: I mean, even is it knife plus Heart, Yes, it
• 1:19:52
  Speaker 2: was a one malignant no. No matter how over the
• 1:19:56
  Speaker 2: top it is, it definitely hones in like the b
• 1:20:00
  Speaker 2: horror campy feel, but it definitely has some some shiallow
• 1:20:04
  Speaker 2: elements throughout.
• 1:20:07
  Speaker 3: What's that one that Terrivision the last screening that terror
• 1:20:11
  Speaker 3: Vision has put her based on there and a Shallo
• 1:20:15
  Speaker 3: and a shallow line of films that they're going to
• 1:20:18
  Speaker 3: be putting out, And that was twenty thirteen. I think
• 1:20:21
  Speaker 3: that movie was released somewhere around then. And I remember
• 1:20:28
  Speaker 3: I I just watched a movie not too long ago
• 1:20:30
  Speaker 3: put out by god I Forget the company called Francesca,
• 1:20:35
  Speaker 3: that was sort of a very independent take on horror,
• 1:20:38
  Speaker 3: even to the point where they they were kind of
• 1:20:42
  Speaker 3: destroying their camera to try to get as close a
• 1:20:44
  Speaker 3: feel to the era as possible. Still very prevalent today, man,
• 1:20:49
  Speaker 3: And I think, I think, I think, I know, like
• 1:20:52
  Speaker 3: Eli Roth is still trying to produce modern days shallows
• 1:20:55
  Speaker 3: very heavily. There's some stuff coming out that looks like
• 1:20:57
  Speaker 3: it's kind of channeling back, but I don't think it'll
• 1:21:00
  Speaker 3: ever be anywhere near what it was in this era.
• 1:21:04
  Speaker 4: Man.
• 1:21:04
  Speaker 3: There's just there's a charms. All these that are is
• 1:21:08
  Speaker 3: kind of you can never replicate, no never.
• 1:21:12
  Speaker 2: Not, I not, I think to the same extent that
• 1:21:15
  Speaker 2: it was during their like high points.
• 1:21:17
  Speaker 4: I mean, some of these movies.
• 1:21:18
  Speaker 2: I know that the quality varies a little bit, but
• 1:21:22
  Speaker 2: I agree with Chris, like there is a certain type
• 1:21:24
  Speaker 2: of charm or a certain type of aesthetic that these
• 1:21:26
  Speaker 2: directors when they were putting these movies out at the time,
• 1:21:28
  Speaker 2: it just felt like they were kind of all in
• 1:21:32
  Speaker 2: the same wavelength. And then I would argue, probably towards
• 1:21:36
  Speaker 2: like the late eighties to early nineties is kind of
• 1:21:39
  Speaker 2: when things started to teeter off. I mean, Trauma from
• 1:21:44
  Speaker 2: Daria Argento is probably one of the last ones I
• 1:21:47
  Speaker 2: can think of, and I wouldn't even consider that like
• 1:21:50
  Speaker 2: a high point necessarily.
• 1:21:51
  Speaker 5: Not at all.
• 1:21:53
  Speaker 3: I mean, Depama was out here doing some of the
• 1:21:56
  Speaker 3: coolest modern jealous stuff, you know. I mean, look at
• 1:21:59
  Speaker 3: Dressed to Kill. I think it's a perfect example of
• 1:22:02
  Speaker 3: the elevator scene, and that is is probably the legendary
• 1:22:06
  Speaker 3: you know, Yeah, the closest thing to Jallo ever put
• 1:22:10
  Speaker 3: on film after Yallo really petered out and was gone.
• 1:22:12
  Speaker 3: You know, he does incredible work in that.
• 1:22:15
  Speaker 4: And I just watched bodied U Hole.
• 1:22:16
  Speaker 3: Yeah's talk about voyeurism.
• 1:22:19
  Speaker 6: Yeah, well, and the big thing for me, you know
• 1:22:22
  Speaker 6: how we're talking about it loses its charm that way.
• 1:22:25
  Speaker 6: I kind of think that it's the same like definition
• 1:22:28
  Speaker 6: that we can use for kind of every like micro
• 1:22:31
  Speaker 6: genre in cinema. If you're trying to make a be
• 1:22:35
  Speaker 6: a classic cult film, then it's not gonna have that
• 1:22:38
  Speaker 6: same charm. If you're trying to make a B movie,
• 1:22:40
  Speaker 6: it's not gonna have that same charm. If you're trying
• 1:22:42
  Speaker 6: to make a campy musical, it's not gonna have that charm.
• 1:22:46
  Speaker 6: You really have to set out to try your earnest
• 1:22:48
  Speaker 6: at something and kind of fail and do it in
• 1:22:52
  Speaker 6: a way that's stylish and fun and successful in a
• 1:22:55
  Speaker 6: way that people can grab onto. Now, obviously that doesn't
• 1:22:58
  Speaker 6: mean bad, just means that it's not what you originally
• 1:23:03
  Speaker 6: had for the vision. And if somebody is in twenty
• 1:23:06
  Speaker 6: eighteen trying to come out and their log line says
• 1:23:10
  Speaker 6: we are going to emulate a nineteen seventy eight Jallo film,
• 1:23:13
  Speaker 6: it's probably gonna fall.
• 1:23:15
  Speaker 5: Very short of that.
• 1:23:17
  Speaker 3: Yeah, that's the thing, is, like you, this is just
• 1:23:22
  Speaker 3: kind of what the style was. This is just what
• 1:23:25
  Speaker 3: people were doing, so it's naturally going to be this way.
• 1:23:30
  Speaker 3: They're not trying to be anything outside. I mean, they're
• 1:23:33
  Speaker 3: trying to add more duty or trying to add more violence,
• 1:23:35
  Speaker 3: but the aesthetics of the Gallo are just what filmmakers
• 1:23:40
  Speaker 3: were doing at that time. It just was naturally happening
• 1:23:43
  Speaker 3: and you go back and you try to emulate that.
• 1:23:46
  Speaker 3: Now you're trying to copy something, and it's okay, like
• 1:23:52
  Speaker 3: you can and but I feel like then we can
• 1:23:56
  Speaker 3: see through the effort and you're not as focused on
• 1:24:00
  Speaker 3: just trying to make an entertaining movie. You're trying to
• 1:24:03
  Speaker 3: copy the genre, and that's where I see through it.
• 1:24:09
  Speaker 2: I noticed that similarly you guys were talking about subgenres.
• 1:24:14
  Speaker 2: I remember being, I mean, even up until now, really
• 1:24:18
  Speaker 2: interested in the erotic thrillers of like the eighties and nineties,
• 1:24:21
  Speaker 2: and I mean there's a number of iconic films from
• 1:24:25
  Speaker 2: that time. But then it's like, more recently, I watched
• 1:24:28
  Speaker 2: the movie Baby Girl with Nicole Kidman, and it felt
• 1:24:32
  Speaker 2: like they were trying to go for that that same
• 1:24:36
  Speaker 2: type of vibe with that film, and it just felt
• 1:24:39
  Speaker 2: like they kind of like partly committed to it. It
• 1:24:43
  Speaker 2: didn't push the boundaries the same way that those films did.
• 1:24:46
  Speaker 2: And I feel like, even to a certain extent, you
• 1:24:48
  Speaker 2: almost get that with the films that try to replicate
• 1:24:51
  Speaker 2: like the giallo feel of the seventies and eighties, I
• 1:24:55
  Speaker 2: think you can attempt to come close to it, but
• 1:24:57
  Speaker 2: I don't think it connects that same way.
• 1:25:00
  Speaker 3: I mean, it's so hard, man, because audiences change so
• 1:25:05
  Speaker 3: much in a ten year period, not let alone a
• 1:25:08
  Speaker 3: twenty year period, let alone a thirty year period. And
• 1:25:13
  Speaker 3: I'm also a huge fan of the erotic thriller. I mean,
• 1:25:17
  Speaker 3: even down to just plane like you know, Last Tango
• 1:25:20
  Speaker 3: in Paris, more of like those erotic kind of drama
• 1:25:23
  Speaker 3: romance films, going into things like Body Heat, which is
• 1:25:27
  Speaker 3: a very early example of the erotic thriller. Basic Instinct
• 1:25:30
  Speaker 3: is one of my favorite movies of all time, where
• 1:25:34
  Speaker 3: the whole movie is just charged in a set in
• 1:25:38
  Speaker 3: a way that you can't even really describe, like from
• 1:25:41
  Speaker 3: the first frame of the movie, and audiences wanted that
• 1:25:47
  Speaker 3: the hyper sexualization of our characters was not being analyzed
• 1:25:54
  Speaker 3: through any other lens other than this is what our
• 1:25:57
  Speaker 3: audience wants to see, and this is what they're going
• 1:25:59
  Speaker 3: to show up for. And it's so different now, and
• 1:26:03
  Speaker 3: I feel like we are kind of moving back into
• 1:26:08
  Speaker 3: that in a in an interesting way. Like Baby Girl
• 1:26:12
  Speaker 3: is a movie I enjoyed, but it felt very it's
• 1:26:17
  Speaker 3: like held back. It felt like it felt like, Okay,
• 1:26:21
  Speaker 3: we're gonna go there, but like we're kind of gonna
• 1:26:24
  Speaker 3: pull back at a point. I haven't seen it yet,
• 1:26:28
  Speaker 3: but even what's the movie that just came out with
• 1:26:30
  Speaker 3: Sidney Sweeney The Housemaid A Housemaid? Yeah, that you even
• 1:26:35
  Speaker 3: have now with Sidney Sweeney, The Rise of the hyper attractive,
• 1:26:41
  Speaker 3: over sexualized female star again, you know, like who your
• 1:26:45
  Speaker 3: Sharon Stone was when Basic Instinct came out. Even if
• 1:26:49
  Speaker 3: you go back and look at movies like Unfaithful and
• 1:26:52
  Speaker 3: over sexualization of Diana Lane in that film, you know
• 1:26:56
  Speaker 3: you will never see Diana Lane in the same light
• 1:26:59
  Speaker 3: after you movie like Unfaithful or Angelina Jolie in Original Sin.
• 1:27:04
  Speaker 3: You know, these are these are very very well known,
• 1:27:07
  Speaker 3: very reputable actors who had this kind of one push
• 1:27:12
  Speaker 3: into the little bit more Uh what's the word. I'm
• 1:27:18
  Speaker 3: looking for a little bit more of a I don't know,
• 1:27:22
  Speaker 3: I don't know what the word is. I'm looking for
• 1:27:24
  Speaker 3: a little more taboo. Yeah, yeah, yeah, you have you
• 1:27:29
  Speaker 3: know Demi Moore and Indecent Proposal, which is kind of
• 1:27:32
  Speaker 3: painting Demi Moore in a way we had never really
• 1:27:34
  Speaker 3: truly seen before. And I think Nicole Kidman has been
• 1:27:38
  Speaker 3: there and done that. I mean Eyes Wide Shut, just
• 1:27:41
  Speaker 3: just watch Eyes Wide Shut and compared to Baby Girl.
• 1:27:44
  Speaker 3: She's very familiar with, you know that that genre. So
• 1:27:51
  Speaker 3: so it's interesting and this actually brings up a good
• 1:27:52
  Speaker 3: point that's part of our notes for today, which is
• 1:27:55
  Speaker 3: I want to ask you, guys, do you think that
• 1:27:57
  Speaker 3: jallo in general is over sexualized. I mean, a key
• 1:28:02
  Speaker 3: component to a shallow film is beautiful women for the
• 1:28:08
  Speaker 3: most part, nude being killed. That's a trademark of the genre. Guys,
• 1:28:14
  Speaker 3: do you, guys ever, like, look at the abundant nudity
• 1:28:18
  Speaker 3: and the abundant sexuality as a general trope in jallo
• 1:28:23
  Speaker 3: or do you think that just comes with the territory.
• 1:28:27
  Speaker 6: I mean, I won't say it just comes with the territory,
• 1:28:30
  Speaker 6: but I think the big thing is it sails.
• 1:28:33
  Speaker 5: It sells.
• 1:28:34
  Speaker 6: It's meant to be titillating. It's meant to be something
• 1:28:36
  Speaker 6: that gets buds and seats. It's meant to be pushing boundaries.
• 1:28:39
  Speaker 6: It's meant to be something that gets attention. We see
• 1:28:43
  Speaker 6: that across a wide variety of erotic subgenres like pink
• 1:28:47
  Speaker 6: films or sexploitation, like genuine sexploitation. We see that through
• 1:28:54
  Speaker 6: things like the Ruffies.
• 1:28:55
  Speaker 5: We see that in.
• 1:28:56
  Speaker 6: Every one of these you know, eras of film that
• 1:29:01
  Speaker 6: embrace it in a way that's not I don't know,
• 1:29:05
  Speaker 6: it's not like unsimulated sex even I mean, you know,
• 1:29:08
  Speaker 6: we were just talking about erotic thrillers. Look at the eighties,
• 1:29:10
  Speaker 6: look at stuff like body Heat, which is meant to
• 1:29:13
  Speaker 6: be sleazy, meant to be sexualized, meant to be something
• 1:29:16
  Speaker 6: that is real. And I think that last word is
• 1:29:20
  Speaker 6: the heart of this is this is authentic. People are
• 1:29:22
  Speaker 6: sexual beings, and there's no there's no sense in hiding
• 1:29:26
  Speaker 6: from that. There's no sense in understanding that there are
• 1:29:30
  Speaker 6: crazy people out there that are willing to be uncivilized
• 1:29:34
  Speaker 6: and take what's not theirs and forget that consent exists,
• 1:29:39
  Speaker 6: and make it a point to torture people with sex
• 1:29:42
  Speaker 6: as like the final act that they're reaching for, and
• 1:29:46
  Speaker 6: based on that, it's going to be a sensitive subject.
• 1:29:48
  Speaker 6: But that doesn't make it unrealistic or wrong to portray
• 1:29:52
  Speaker 6: in any way.
• 1:29:54
  Speaker 3: Yeah, yeah, I mean I've never I think I think
• 1:29:59
  Speaker 3: in last you know, twenty years, we've as society reanalyzed
• 1:30:03
  Speaker 3: all this stuff and suddenly started painting them in the
• 1:30:05
  Speaker 3: wrong colors and picking out you know everything. I mean,
• 1:30:09
  Speaker 3: you know, movies like Torso everything is done with consent,
• 1:30:12
  Speaker 3: and a lot of actresses from this time really owned
• 1:30:16
  Speaker 3: those kinds of roles. I mean in the US, like
• 1:30:20
  Speaker 3: likeally Neia Quigley, who was like still to this day,
• 1:30:22
  Speaker 3: like oh yeah, hell yeah, I was naked in every
• 1:30:24
  Speaker 3: movie I was in. I love that. Like, some people
• 1:30:28
  Speaker 3: just owned it, and there are others who do not
• 1:30:30
  Speaker 3: have as glorious stories, you know, in it and have
• 1:30:34
  Speaker 3: been exploited. And that's it's incredibly sad. It's it's a terrible,
• 1:30:39
  Speaker 3: terrible thing. It's it's it's awful, you know. But the
• 1:30:45
  Speaker 3: seventies you have so much of it, and especially in
• 1:30:48
  Speaker 3: foreign cinema because sections look at different nudities looked at
• 1:30:52
  Speaker 3: differently than it is here in the US. You know,
• 1:30:55
  Speaker 3: you have the French extremity movement in the two thousands
• 1:30:58
  Speaker 3: where all exandro Aga comes out with high tension and says, hey, look,
• 1:31:02
  Speaker 3: we were allowed to have nudity on TV in France,
• 1:31:06
  Speaker 3: we weren't allowed, or we weren't allowed to have violence.
• 1:31:09
  Speaker 3: In the US we're allowed. They were allowed to have violence,
• 1:31:11
  Speaker 3: but they're not allowed to have sex. Let's just combine
• 1:31:13
  Speaker 3: the two of those, yea, and you get the French
• 1:31:17
  Speaker 3: extremity movement, which is extreme on both ends of the spectrum,
• 1:31:20
  Speaker 3: and pretty much every example, especially you know, Anatomy of
• 1:31:25
  Speaker 3: Hell I think is a perfectly adequate example of combining
• 1:31:30
  Speaker 3: sex and violence in an incredibly effective way. But it's
• 1:31:36
  Speaker 3: just interesting to me because looking at a lot of
• 1:31:39
  Speaker 3: the male characters in this movie are terrible towards women,
• 1:31:44
  Speaker 3: Like even there there's even brief moments in the third
• 1:31:48
  Speaker 3: act where a group of characters are just walking through
• 1:31:51
  Speaker 3: the town circle or like the town kind of common area,
• 1:31:54
  Speaker 3: discussing what they would do to these women that they
• 1:31:58
  Speaker 3: saw going up to the villa if they had an
• 1:31:59
  Speaker 3: opportunity with them, and it's just absolutely like despicable. Again,
• 1:32:04
  Speaker 3: we go back to the scene when they arrive in
• 1:32:08
  Speaker 3: town waiting for their their ride up to the villa,
• 1:32:10
  Speaker 3: and all of the male all of the men standing
• 1:32:13
  Speaker 3: around this town circle are just gawking at the women.
• 1:32:18
  Speaker 3: And then you have like the Milk and Bread guy
• 1:32:21
  Speaker 3: who shows up and three of our characters are sun
• 1:32:24
  Speaker 3: tanning nude, and he's just standing there gawking, you know,
• 1:32:28
  Speaker 3: and it's pretty like there there's not many respectable male
• 1:32:33
  Speaker 3: characters in this movie. They're all pretty pretty gross outside
• 1:32:37
  Speaker 3: of Franz for the most part. If you know spoiler
• 1:32:43
  Speaker 3: that he is the killer and the doctor, you know,
• 1:32:46
  Speaker 3: the doctor is not the doctors. And I don't don't
• 1:32:48
  Speaker 3: even care when he gets smashed into by a truck
• 1:32:51
  Speaker 3: on a windy road. Guy. But in this in the
• 1:32:58
  Speaker 3: arrow four K that I watch this on the interview
• 1:33:01
  Speaker 3: with Sergio Martino, he actually kind of looks back on
• 1:33:05
  Speaker 3: some of these elements not so fondly, and he actually says,
• 1:33:09
  Speaker 3: quote unquote, the film sticks to certain mechanisms, some nudism,
• 1:33:13
  Speaker 3: gratuitous morbidities, and the distribution forced you to adhere these dogmas.
• 1:33:19
  Speaker 3: So the producers wanted this and they pretty much were
• 1:33:24
  Speaker 3: as part of their you know, hey, if we're gonna
• 1:33:27
  Speaker 3: put money into this, you need to have sex and
• 1:33:31
  Speaker 3: nudity and violence. That's what sells, that's what's entertaining. Make that.
• 1:33:37
  Speaker 3: So then when he looks back, he talks about how
• 1:33:39
  Speaker 3: he's like, these don't these scenes don't drive the movie
• 1:33:42
  Speaker 3: forward in any way. They do nothing right, like absolutely nothing.
• 1:33:48
  Speaker 3: They're just they're they're not driving plot, they're not driving character.
• 1:33:53
  Speaker 3: They're just there to be there. And it's interesting hearing
• 1:33:57
  Speaker 3: him kind of look back and and dissect his movie
• 1:34:00
  Speaker 3: in that way. But I don't know if you guys
• 1:34:05
  Speaker 3: have any opinion on that before I move.
• 1:34:06
  Speaker 6: On, or I'm kind of curious for more of these
• 1:34:09
  Speaker 6: filmmakers if there's a genuine regret or looking back on these,
• 1:34:13
  Speaker 6: if it's more of like a I mean, that wasn't necessary,
• 1:34:16
  Speaker 6: but hey, I don't mind it.
• 1:34:17
  Speaker 3: Uh.
• 1:34:18
  Speaker 5: We don't really get a lot of breakdown like that.
• 1:34:21
  Speaker 3: Yeah, I think it's cool, especially coming directly from Martin,
• 1:34:24
  Speaker 3: to kind of hear that. I mean, anytime I listen
• 1:34:28
  Speaker 3: to any interview, I sort of like I wonder, like,
• 1:34:31
  Speaker 3: what are people saying just to kind of play like
• 1:34:34
  Speaker 3: the good guy part and just say that, you know
• 1:34:36
  Speaker 3: what I mean? Or how much of it is just
• 1:34:39
  Speaker 3: whatever they're trying to come off as. But I do
• 1:34:41
  Speaker 3: think that he is right. They don't do They don't
• 1:34:46
  Speaker 3: serve the story in any way. They're just serving the
• 1:34:48
  Speaker 3: satisfaction of you seeing nude characters, you know. So it's interesting, man.
• 1:34:55
  Speaker 3: I thought that was really important, And this is why
• 1:34:57
  Speaker 3: I talked earlier on the Instagram post about why it's
• 1:35:00
  Speaker 3: important to good to watch these interviews and watch these
• 1:35:02
  Speaker 3: bonus features because you learn these things and you just
• 1:35:05
  Speaker 3: kind of get insight you're not going to get anywhere else,
• 1:35:08
  Speaker 3: you know. Hearing Martino talk about that is incredible. That's
• 1:35:12
  Speaker 3: that's so cool, And people are going to miss out
• 1:35:15
  Speaker 3: on that because they just don't want to sit there
• 1:35:16
  Speaker 3: and listen to a director talk about it for thirty minutes.
• 1:35:19
  Speaker 6: So or challenge themselves at all and push their own
• 1:35:22
  Speaker 6: boundaries for sure.
• 1:35:23
  Speaker 3: Exactly, exactly. Yeah. One thing I do want to talk about,
• 1:35:28
  Speaker 3: which is my favorite conversation piece around Torso, so I'm
• 1:35:32
  Speaker 3: going to get excited, is how quickly this movie changes
• 1:35:36
  Speaker 3: in the third act. Because the first two thirds of
• 1:35:40
  Speaker 3: this movie are bouncing around and it's really creepy and
• 1:35:47
  Speaker 3: it's gross and it's zany. There's so much happening. And
• 1:35:49
  Speaker 3: then the third act comes around and you have four
• 1:35:53
  Speaker 3: of our characters up at the villa and they're going
• 1:35:57
  Speaker 3: there just to kind of get away from things. And
• 1:36:01
  Speaker 3: this is where we get into the isolation. The seclusion
• 1:36:07
  Speaker 3: another big slasher trope, because the villa is at the
• 1:36:09
  Speaker 3: top of this ridge or cliff side, and multiple times
• 1:36:16
  Speaker 3: at this villa do people mention how hard it is
• 1:36:19
  Speaker 3: to access you have the mechanic who says, I got
• 1:36:23
  Speaker 3: to fix the spring in your car. You know we're
• 1:36:25
  Speaker 3: gonna have to walk up. It's very difficult to walk up.
• 1:36:28
  Speaker 3: You have the doctor who mentions, oh man, you really
• 1:36:31
  Speaker 3: got to get the driveway. Look at getting up here
• 1:36:33
  Speaker 3: as hell, you know, Martine, and a writer really wants
• 1:36:37
  Speaker 3: you to know that if something happens, there's not a
• 1:36:40
  Speaker 3: lot of access here. There's not a lot of help
• 1:36:42
  Speaker 3: coming this way, right. And you have the moment when
• 1:36:47
  Speaker 3: the milkman sees all of them tanning outside. Everybody's naked,
• 1:36:52
  Speaker 3: you know, as you do, as happens in a Jelley film.
• 1:36:58
  Speaker 3: And then you have another very important of the slasher,
• 1:37:01
  Speaker 3: which is I guess the the I don't know if
• 1:37:07
  Speaker 3: I don't know what the word. The term I'm looking
• 1:37:09
  Speaker 3: for is the disabling of a character when Jane trips
• 1:37:13
  Speaker 3: down the steps and injures her ankle, which forces her
• 1:37:17
  Speaker 3: to be kind of bedridden for a day and really
• 1:37:23
  Speaker 3: slows her down. Which, by the way, I'd be pissed
• 1:37:26
  Speaker 3: off that her falling down the steps hurts more than
• 1:37:29
  Speaker 3: any of the actual murders in this movie do. For me,
• 1:37:33
  Speaker 3: that's very painful. I've been there I've been. It's like
• 1:37:37
  Speaker 3: when it's like when somebody's movie gets a paper cut
• 1:37:39
  Speaker 3: and you're like, oh, but like somebody gets gutted, You're like,
• 1:37:41
  Speaker 3: hell yeah, I don't feel that at all. So essentially
• 1:37:47
  Speaker 3: what happens at this villa is Jane is restricted to
• 1:37:51
  Speaker 3: her bed, she's given medication a knockout for the night,
• 1:37:55
  Speaker 3: and in the middle of the night, our killer arrives
• 1:37:58
  Speaker 3: and proceeds to kill three of our characters in a
• 1:38:03
  Speaker 3: very sudden reveal that shows that Stefano is dead, who
• 1:38:07
  Speaker 3: we thought was the killer, even to the point where
• 1:38:10
  Speaker 3: he was seen a few minutes earlier, or we thought
• 1:38:12
  Speaker 3: we saw him a few minutes earlier, spying on the
• 1:38:15
  Speaker 3: girls at the I don't know if it's a quarry
• 1:38:18
  Speaker 3: or at the water at the waterfall, where Daniella actually
• 1:38:22
  Speaker 3: calls out, like Stefano, Stefano, we're leading to that this
• 1:38:26
  Speaker 3: is Stefano. The doorbell rings, Stefano's there, but he's dead
• 1:38:31
  Speaker 3: and he gets pushed over, and we jump cut to
• 1:38:35
  Speaker 3: the next day where Jane wakes up. She limps around
• 1:38:41
  Speaker 3: her room, opens the door, and it's very loud about
• 1:38:43
  Speaker 3: wanting breakfast because it's like two o'clock in the afternoon
• 1:38:46
  Speaker 3: or something like that, she says, And we have this
• 1:38:52
  Speaker 3: reveal that everyone's dead besides her. Yeah, and this leads
• 1:38:59
  Speaker 3: to one of the most tense moment, one of the
• 1:39:03
  Speaker 3: most like just suffocatingly terrifying third acts I think I've
• 1:39:09
  Speaker 3: ever seen, which is Jane walking downstairs seeing all of
• 1:39:13
  Speaker 3: her friends dead. Suddenly the door opens and she kind
• 1:39:17
  Speaker 3: of hides behind a chair and she has a little
• 1:39:21
  Speaker 3: slit that she can see through, and she proceeds to
• 1:39:24
  Speaker 3: watch the killer begin to saw her friends into little
• 1:39:28
  Speaker 3: pieces and she just has to watch. She has nowhere
• 1:39:32
  Speaker 3: to go.
• 1:39:33
  Speaker 4: Horrific.
• 1:39:34
  Speaker 3: It's so it's so terrifying. Man, she has nowhere to
• 1:39:36
  Speaker 3: go or he's gonna find her. She's obviously found a
• 1:39:39
  Speaker 3: good spot to hide. He can't see right. But then
• 1:39:43
  Speaker 3: what also happens here, which is the the the incredible
• 1:39:46
  Speaker 3: writing and build up of suspense, is that there continues
• 1:39:49
  Speaker 3: to be more delay. So he begins salling apart one
• 1:39:54
  Speaker 3: of the one of our characters, and the doorbell rings,
• 1:39:59
  Speaker 3: and it's the Milk and Bread guy and he's not
• 1:40:02
  Speaker 3: just dropping off, but he needs to retrieve the empty
• 1:40:04
  Speaker 3: bottles back. So he's looking around and it's a moment
• 1:40:08
  Speaker 3: for you to be like, oh, okay, cool, like help
• 1:40:10
  Speaker 3: is here, and then he just goes away, right okay,
• 1:40:14
  Speaker 3: the help is gone. And then it happens again when
• 1:40:16
  Speaker 3: the mechanic brings the car up. The doorbell rings again
• 1:40:21
  Speaker 3: and the mechanic is there trying to drop off the
• 1:40:23
  Speaker 3: car and he can't get to anybody, so he leaves.
• 1:40:27
  Speaker 3: So we keep getting these moments of possible help and
• 1:40:29
  Speaker 3: levity and it's not happening, and our character eventually just
• 1:40:33
  Speaker 3: goes back up the stairs. Of course, knocks over the chair,
• 1:40:38
  Speaker 3: but she quickly opens up the shutters and hides so
• 1:40:40
  Speaker 3: that way, when the killer comes up, it's the shut
• 1:40:42
  Speaker 3: He's like, Oh, it's just the shutter is blowing in
• 1:40:44
  Speaker 3: the wind that I heard, you know, no big deal whatever,
• 1:40:48
  Speaker 3: And god man, it's just so tense all of this.
• 1:40:51
  Speaker 3: Any any thoughts that I missed during this whole love
• 1:40:55
  Speaker 3: for the scene.
• 1:41:02
  Speaker 4: I was living everyone in suspense. What do you think, Ryan?
• 1:41:08
  Speaker 6: I mean overall, I don't think anything specific missed. I
• 1:41:11
  Speaker 6: just think this is a really great cap of this film.
• 1:41:13
  Speaker 6: That's really all I throw on, right. I feel like
• 1:41:15
  Speaker 6: this is a wonderful setting for an already interesting movie
• 1:41:19
  Speaker 6: that and I think we mentioned this at the beginning,
• 1:41:21
  Speaker 6: or maybe it was before we re recording, but there's
• 1:41:23
  Speaker 6: nothing slow about this movie. So this being the end
• 1:41:26
  Speaker 6: point of this is a really great way to tight
• 1:41:29
  Speaker 6: it all together.
• 1:41:31
  Speaker 3: Yeah, it felt like.
• 1:41:34
  Speaker 2: As the movie goes on, it's like the tension tightens,
• 1:41:38
  Speaker 2: like you're you're obviously you're introduced to all these characters
• 1:41:42
  Speaker 2: and they're picked off, you know, one by one as
• 1:41:46
  Speaker 2: the film goes on. But by the end, it's like
• 1:41:48
  Speaker 2: you're almost like white knuckled, especially when you're getting to
• 1:41:51
  Speaker 2: this scene where it's just like, how do you get
• 1:41:55
  Speaker 2: out from underneath?
• 1:41:57
  Speaker 5: Right?
• 1:41:57
  Speaker 2: Such a terrible sequence of events? All your friends are dead?
• 1:42:01
  Speaker 2: So where does it go from here?
• 1:42:03
  Speaker 5: Yeah? I don't know.
• 1:42:04
  Speaker 2: Martino did a masterful job getting into this point then
• 1:42:08
  Speaker 2: obviously with you know what we'll discuss here shortly.
• 1:42:11
  Speaker 3: But well, it's excruciating to think that you're in this situation.
• 1:42:15
  Speaker 3: You're Jane, you hide, and the one place you hide
• 1:42:18
  Speaker 3: is forcing you to watch this killer saw your friend
• 1:42:21
  Speaker 3: into pieces. She has nowhere to go. She has to
• 1:42:24
  Speaker 3: wait until he literally fills his bag with her friend's
• 1:42:28
  Speaker 3: body parts to then go outside to give her a
• 1:42:30
  Speaker 3: second to get back up the stairs, like she has
• 1:42:33
  Speaker 3: to watch. I mean, she can look away, but she's
• 1:42:36
  Speaker 3: also watching the killer to make sure that he's not
• 1:42:39
  Speaker 3: going to begin moving her way or anything. So she's
• 1:42:41
  Speaker 3: stuck watching this excruciatingly painful act that's occurring to somebody
• 1:42:49
  Speaker 3: that she loves, and it's really terrifying. And to make
• 1:42:54
  Speaker 3: it even to make it even crazier, she goes up
• 1:42:58
  Speaker 3: the stairs, and we mentioned she knocks over the chair
• 1:43:02
  Speaker 3: and he comes up, and when he comes up, he
• 1:43:03
  Speaker 3: actually removes the key from the inside of the door
• 1:43:07
  Speaker 3: and locks the door from the outside and leaves the
• 1:43:10
  Speaker 3: key in. So she's now locked in this room with
• 1:43:13
  Speaker 3: barred windows, mind you, And he finishes up the whole job.
• 1:43:19
  Speaker 3: The sun is going down, he cleans up, and he leaves,
• 1:43:24
  Speaker 3: and Jane is stuck up in this room. But in
• 1:43:28
  Speaker 3: such like fantastic writing, we then see this group of
• 1:43:34
  Speaker 3: random guys that are down in the square again the
• 1:43:37
  Speaker 3: community circle, except the Bread and Milk guys there with them,
• 1:43:41
  Speaker 3: and they're talking about the women up at the villa
• 1:43:44
  Speaker 3: and he's saying that he saw four of them, not three,
• 1:43:49
  Speaker 3: and there's the killer standing there overhearing this conversation, realizing
• 1:43:55
  Speaker 3: somebody's still up there.
• 1:43:56
  Speaker 5: Somebody's there, he just he just kills.
• 1:44:00
  Speaker 3: Cut up and buried three people, cleaned up the whole
• 1:44:03
  Speaker 3: scene made it look like nothing ever happened, and he
• 1:44:05
  Speaker 3: just found out that there was somebody else there. So
• 1:44:09
  Speaker 3: he quickly turns around and goes back up. At the
• 1:44:12
  Speaker 3: same time, you have the doctor after going to the mechanic,
• 1:44:15
  Speaker 3: and a mechanic says, yeah, I tried to bring the
• 1:44:16
  Speaker 3: car back up, but nobody was there. Nobody answered, He's
• 1:44:20
  Speaker 3: on his way up there. And one of the best
• 1:44:24
  Speaker 3: moments in the entire movie where she Jane needs to
• 1:44:30
  Speaker 3: get out of the room, so she takes a newspaper,
• 1:44:33
  Speaker 3: slides it under the door, and puts a hairpin in
• 1:44:37
  Speaker 3: the lock to knock the key out of the outside
• 1:44:39
  Speaker 3: of the door perfect, which is so smart. She pushes
• 1:44:43
  Speaker 3: the key out and we as the viewer, see that
• 1:44:46
  Speaker 3: the key bounces off the newspaper onto the floor. She
• 1:44:49
  Speaker 3: begins to pull the newspaper back under, and we're shown
• 1:44:54
  Speaker 3: a black gloved hand picked the key up and put
• 1:44:57
  Speaker 3: it onto the newspaper. She pulls under, thinking, oh that okay,
• 1:45:02
  Speaker 3: I got it, and landed on there. We as the
• 1:45:05
  Speaker 3: audience know she should not go out there. She has
• 1:45:10
  Speaker 3: no idea, and this is the quintessential don't go out
• 1:45:14
  Speaker 3: there moment in the theater, right as if they can
• 1:45:17
  Speaker 3: hear you, like, this is that moment, and it is
• 1:45:22
  Speaker 3: so good, just how it shot, how it's put together.
• 1:45:26
  Speaker 3: We don't ever see him arrive. It's just this exact
• 1:45:31
  Speaker 3: moment he picks up the key and at that moment
• 1:45:33
  Speaker 3: you're like, oh my god, he's there, He's back. It's
• 1:45:37
  Speaker 3: so goddamn good. Dude, This to me is like one
• 1:45:40
  Speaker 3: of my favorite Jala moments outside of the I don't
• 1:45:44
  Speaker 3: even know if you will consider it as shallow the
• 1:45:46
  Speaker 3: you know, the keyhole scene in Opera, which is like
• 1:45:50
  Speaker 3: just one of the best. It's so good, incredible, like
• 1:45:54
  Speaker 3: just incredible filmmaking. What's your guys thoughts on on this
• 1:45:59
  Speaker 3: key scene? This, this this reveal that the killer.
• 1:46:01
  Speaker 2: Is back, Well, it's just scamping up the tension even
• 1:46:05
  Speaker 2: that much further. I mean, she she's not safe anymore.
• 1:46:09
  Speaker 2: You know, she's she's isolated, she's trapped, you know, away
• 1:46:13
  Speaker 2: from everybody. I don't know, like the idea of it
• 1:46:18
  Speaker 2: is fucking terrifying.
• 1:46:20
  Speaker 6: Yeah, my favorite thing is just it's smart. But it's
• 1:46:24
  Speaker 6: smart for the character, it's smart for the filmmaker. It's
• 1:46:27
  Speaker 6: a it's a very interesting way to show that you
• 1:46:30
  Speaker 6: have a like mastery of the setting that you're in
• 1:46:34
  Speaker 6: and understanding of what will ratchet up that tension, which
• 1:46:38
  Speaker 6: for a lot of these movies they kind of whimper
• 1:46:40
  Speaker 6: to a close because by a certain point you know
• 1:46:43
  Speaker 6: who the killer is and it's a lot of that
• 1:46:45
  Speaker 6: tension gets pulled out from under you slightly early because
• 1:46:47
  Speaker 6: it's not like a big reveal or anything. But this
• 1:46:50
  Speaker 6: is is just a genuinely like man, this is a
• 1:46:54
  Speaker 6: well written scene. And obviously Martine has got a history
• 1:46:57
  Speaker 6: with like keyholes and imagery and as movies, and it's
• 1:47:01
  Speaker 6: it adds to that in such the perfect way.
• 1:47:04
  Speaker 3: Yeah, it's so smart, and you never question, like if
• 1:47:07
  Speaker 3: you overthink it, you can kind of question how did
• 1:47:08
  Speaker 3: he get back up there so fast? You know, like
• 1:47:11
  Speaker 3: all these little things that you can kind of go
• 1:47:13
  Speaker 3: into and and and bring up if you want to
• 1:47:15
  Speaker 3: be not fun about it, you don't think about any
• 1:47:18
  Speaker 3: of that. You're just you're so absorbed into this moment
• 1:47:23
  Speaker 3: and all that that reveal, and then you have the
• 1:47:26
  Speaker 3: reveal that it's you know, Franz is the killer, the
• 1:47:29
  Speaker 3: professor of the art teacher is the killer. The doctor arrives,
• 1:47:33
  Speaker 3: you have this awesome fight that breaks out. We have
• 1:47:37
  Speaker 3: a little bit more on the history of kind of
• 1:47:40
  Speaker 3: the motivation behind the killer. We have kind of the
• 1:47:46
  Speaker 3: closing remarks of the doll, which we've barely brought up
• 1:47:50
  Speaker 3: because honestly, it's not really brought up that much in
• 1:47:54
  Speaker 3: the movie. It's brought up in the beginning and it's
• 1:47:56
  Speaker 3: brought up in the end.
• 1:47:58
  Speaker 2: So I think it's clever because it basically around around
• 1:48:00
  Speaker 2: from the beginning to the end or vice versa.
• 1:48:03
  Speaker 3: Yeah, and it's it's not something that felt out of
• 1:48:06
  Speaker 3: right field. You've seen the doll before, and you see
• 1:48:08
  Speaker 3: the doll in quick flashes throughout the movie. So it
• 1:48:12
  Speaker 3: was enough And I love I love throwing that flashback,
• 1:48:15
  Speaker 3: just the the dummy being thrown off the side of
• 1:48:18
  Speaker 3: the cliff. Oh yeah. So it reminds me of it
• 1:48:23
  Speaker 3: reminds me of like, is it, my god, what Folci movie?
• 1:48:29
  Speaker 5: Is it?
• 1:48:29
  Speaker 3: The beginning, it was a psychic no. At the beginning
• 1:48:32
  Speaker 3: of the when when the girl jumps off the cliff
• 1:48:35
  Speaker 3: the mom and he cut the dummy like praising its
• 1:48:38
  Speaker 3: head against the side of the cliff on the way down.
• 1:48:41
  Speaker 3: It's so charming, man, it's great. Yeah, you have the
• 1:48:45
  Speaker 3: dummy being thrown out, which is the brother, and you
• 1:48:49
  Speaker 3: know now he's losing his mind. And there's a great
• 1:48:52
  Speaker 3: kind of last minute kind of suspense moment where the
• 1:48:57
  Speaker 3: fight between the doctor and the teacher ends up on
• 1:49:01
  Speaker 3: the cliff side where the villas at and somebody gets
• 1:49:04
  Speaker 3: thrown off, and we're seeing this point of view from Jane,
• 1:49:07
  Speaker 3: who is kind of standing back in the barn, so
• 1:49:10
  Speaker 3: she's just far enough away to see it. And you
• 1:49:13
  Speaker 3: hear somebody being thrown off. We see somebody get thrown off.
• 1:49:17
  Speaker 3: Then one of the characters begins to walk back towards her,
• 1:49:20
  Speaker 3: and genuinely I paused. I could not tell who it
• 1:49:25
  Speaker 3: was because it's kind of a silhouette coming into the light,
• 1:49:30
  Speaker 3: and it cuts back to Jane, and then it cuts
• 1:49:33
  Speaker 3: back and you see that it's a doctor. And I
• 1:49:35
  Speaker 3: swear to God, i'd have no proof of this. I'm
• 1:49:38
  Speaker 3: pretty sure that they did it once with the art
• 1:49:40
  Speaker 3: teacher and then once with the most likely you know,
• 1:49:44
  Speaker 3: because I swore it was the art teacher walking back
• 1:49:47
  Speaker 3: in that for a shot, and then all of a sudden, boom,
• 1:49:49
  Speaker 3: it's the doctor.
• 1:49:51
  Speaker 6: My new favorite thing is all of these wonderful restorations
• 1:49:54
  Speaker 6: that are happening, and how many of these, specifically the
• 1:49:57
  Speaker 6: Yallow films are I won't say the ruined, but like
• 1:50:00
  Speaker 6: the twist is clearly ruined because you can see who
• 1:50:03
  Speaker 6: the killer is like seventy five minutes before you're supposed to.
• 1:50:07
  Speaker 6: It's so many of these movies.
• 1:50:09
  Speaker 3: Yeah, but I love that. That that Uh when I
• 1:50:13
  Speaker 3: saw A Case of the Bloody Iris for the first time, Uh,
• 1:50:16
  Speaker 3: that was one of the first movies where the killer
• 1:50:18
  Speaker 3: was revealed and I was like, who spoiler.
• 1:50:25
  Speaker 5: You're like, it's genuinely surprised.
• 1:50:26
  Speaker 3: It's the neighbor we only saw once.
• 1:50:29
  Speaker 6: Like, there's no red herring there, it's just yeah, Jim,
• 1:50:36
  Speaker 6: why are you here?
• 1:50:38
  Speaker 3: Like, oh my god, it was my neighbor. The whole
• 1:50:40
  Speaker 3: time You're like, who the fuck's your neighbor? Right, and
• 1:50:45
  Speaker 3: then Torso wraps up and it's it's a great ending, man,
• 1:50:47
  Speaker 3: And I just love this movie so much.
• 1:50:51
  Speaker 5: Oh yeah, like a great one.
• 1:50:54
  Speaker 3: What a time to be alive? Man, Just I don't
• 1:50:57
  Speaker 3: know what did I want? Actually, I feel is a
• 1:51:01
  Speaker 3: meaner shallow than Torso. Have either of you guys ever
• 1:51:05
  Speaker 3: seen five Women for the Killer?
• 1:51:08
  Speaker 5: I don't think so.
• 1:51:10
  Speaker 3: Yeah, that was put out in let me do some
• 1:51:12
  Speaker 3: research here. I have it from Vinegar Syndrome out put
• 1:51:16
  Speaker 3: it out on Blu Ray. But it is from nineteen
• 1:51:20
  Speaker 3: seventy four, so the year after. Yeah, and it's a
• 1:51:25
  Speaker 3: gallo about a killer targeting just pregnant women and it's
• 1:51:28
  Speaker 3: so mean. It's another one where every female character is
• 1:51:32
  Speaker 3: naked in some capacity in some way, but it just
• 1:51:36
  Speaker 3: has such a mean spirit to it, and it's very
• 1:51:39
  Speaker 3: much I feel like in the vein of Torso, trying
• 1:51:46
  Speaker 3: to see kind of what else was kind of post
• 1:51:53
  Speaker 3: or like. Eyeball is another one that I consider a
• 1:51:56
  Speaker 3: very mean, very nasty. Oh for sure, Yallo film.
• 1:52:03
  Speaker 5: I ball it was great though.
• 1:52:05
  Speaker 4: That's a good one.
• 1:52:06
  Speaker 3: Eyeball is so good. Another favorite of mine, not as mean,
• 1:52:09
  Speaker 3: but the Killer Reserve nine seats is a favorite of
• 1:52:12
  Speaker 3: mine that was a jallow essentials find one that I
• 1:52:15
  Speaker 3: genuinely loved. Yeah, and everything comes to a close and
• 1:52:22
  Speaker 3: Torso is over, and so is our discussion on it. Already.
• 1:52:27
  Speaker 3: Ah it comes to I mean, we can keep talking
• 1:52:29
  Speaker 3: about it. Man, what do you want to tell you about.
• 1:52:31
  Speaker 5: I don't know how you doing.
• 1:52:35
  Speaker 6: I got nothing. Yeah, we've obviously said a lot. I
• 1:52:38
  Speaker 6: like this movie so much.
• 1:52:40
  Speaker 3: Yeah, this one. You were really fast to jump on this. Man.
• 1:52:42
  Speaker 3: We didn't even reach out for guests. You were like,
• 1:52:43
  Speaker 3: can I use.
• 1:52:44
  Speaker 6: Your so I raised my hand and you weren't even
• 1:52:47
  Speaker 6: asking for hands and I felt bad. But yet, uh,
• 1:52:49
  Speaker 6: Torso's one I watched for the first time probably like
• 1:52:52
  Speaker 6: ten years ago now and genuinely jumped out as like
• 1:52:55
  Speaker 6: a man, this one needs people to pay attention to it.
• 1:52:59
  Speaker 6: And then oh man, or people paying attention to it nowadays.
• 1:53:03
  Speaker 3: Yeah, well, what do you guys think of the restoration
• 1:53:06
  Speaker 3: for this that arrow did? The four K came out.
• 1:53:09
  Speaker 5: Last year, I think so.
• 1:53:12
  Speaker 3: I think's was it two years ago? I don't know,
• 1:53:16
  Speaker 3: I don't know time.
• 1:53:17
  Speaker 6: Well, well, now being twenty twenty six, I was going
• 1:53:20
  Speaker 6: towards twenty twenty four. Yeah, okay, I still don't feel
• 1:53:22
  Speaker 6: like it's twenty twenty six yet.
• 1:53:24
  Speaker 3: Well, I never I had it as part of the
• 1:53:27
  Speaker 3: Shallow Essentials, which I think it was the twenty eighteen
• 1:53:32
  Speaker 3: release it was in jellow Essentrals. I think the Yellow
• 1:53:36
  Speaker 3: for Sure release.
• 1:53:38
  Speaker 6: It was the Yellow Box and the four K came
• 1:53:40
  Speaker 6: out in September of twenty four.
• 1:53:42
  Speaker 3: Okay, okay, that feels like yesterday.
• 1:53:46
  Speaker 5: It does, It truly does.
• 1:53:49
  Speaker 3: But I didn't really take notice of how good the
• 1:53:52
  Speaker 3: restoration was until I was watching the interviews on the
• 1:53:55
  Speaker 3: disc that were done in twenty eighteen and had footage
• 1:53:57
  Speaker 3: of the movie of its restoration on Blu Ray twenty eighteen.
• 1:54:01
  Speaker 3: And it's a pretty dramatic, pretty dramatic difference. I mean,
• 1:54:06
  Speaker 3: much higher contrast, the blacks are much deeper. The film
• 1:54:09
  Speaker 3: just looks richer, way better, just like texture and detail.
• 1:54:15
  Speaker 3: It was kind of a big jump, and I was
• 1:54:17
  Speaker 3: shocked when those first clips jumped up during the interview.
• 1:54:19
  Speaker 3: I was like, wait, that doesn't look like the movie.
• 1:54:21
  Speaker 3: I just looked like and I just watched, and then
• 1:54:23
  Speaker 3: when it ended and they were all trademark twenty eighteen,
• 1:54:26
  Speaker 3: I'm like, oh, okay, that makes that makes sense. You know,
• 1:54:29
  Speaker 3: that makes a whole lot of sense. Who else has
• 1:54:32
  Speaker 3: put out Torso on physical media over the years?
• 1:54:36
  Speaker 4: Blue Underground at one point, oh.
• 1:54:38
  Speaker 3: They did, did Shameless Entertainment ever put.
• 1:54:41
  Speaker 6: Out they did. Yeah, they put it out on Blue ray, right.
• 1:54:44
  Speaker 6: I think they used the Arrow twenty the restoration from
• 1:54:48
  Speaker 6: the other Blu ray because they they released it in
• 1:54:51
  Speaker 6: like twenty seventeen.
• 1:54:52
  Speaker 3: Okay, okay, Yeah, it's an incredible release. I've already talked
• 1:54:56
  Speaker 3: many times about the Sergio Martino interview, the interview with
• 1:54:59
  Speaker 3: his daughter, that's incredible. Of course, the commentary by Kat Ellinger,
• 1:55:06
  Speaker 3: it's a very stacking. There's also a Sergio Martino live
• 1:55:10
  Speaker 3: bit in there that's just sort of like a live
• 1:55:11
  Speaker 3: Q and A with him. That's very very good. Definitely
• 1:55:15
  Speaker 3: dive into those bonus features of your Torso fan, because
• 1:55:18
  Speaker 3: I think there's a lot to enjoy and love there.
• 1:55:20
  Speaker 3: And one thing that we didn't talk about that was
• 1:55:22
  Speaker 3: in my notes that somehow I just skipped over, was
• 1:55:26
  Speaker 3: I know in my research, I watched the ninety four
• 1:55:29
  Speaker 3: minute English Italian like hybrid cut, which was English dub.
• 1:55:36
  Speaker 3: Some bits were not English dub. It turned into Italian.
• 1:55:39
  Speaker 3: But it's actually I think three minutes longer than the
• 1:55:43
  Speaker 3: or no, five minutes longer than the international cut. But
• 1:55:49
  Speaker 3: I don't really know offhand what was cut. It was
• 1:55:53
  Speaker 3: probably just honestly, probably just sex stuff.
• 1:55:59
  Speaker 4: I think I just see all Italian cut.
• 1:56:01
  Speaker 3: Which would be in the ninth too, which, yeah, that's
• 1:56:05
  Speaker 3: the ninety four minute cut that you guys watched. So
• 1:56:08
  Speaker 3: the UK cinema version released in nineteen seventy five was
• 1:56:11
  Speaker 3: cut by the BBFC and that was a runtime of
• 1:56:13
  Speaker 3: eighty nine minutes.
• 1:56:16
  Speaker 4: When released.
• 1:56:17
  Speaker 5: Plenty to cut in this movie, that's.
• 1:56:18
  Speaker 3: Very yeah, And then it was actually further cut when
• 1:56:23
  Speaker 3: it was released on video in ninety three. It was
• 1:56:25
  Speaker 3: cut by an additional fifty seconds and all of those
• 1:56:30
  Speaker 3: cuts were waved in twos and seven when the film
• 1:56:32
  Speaker 3: was released on DVD. Plenty of stuff to cut here, man,
• 1:56:36
  Speaker 3: there's a lot to trim down if you really, if
• 1:56:40
  Speaker 3: you really wanted to here. So any final thoughts on
• 1:56:45
  Speaker 3: on Torso.
• 1:56:47
  Speaker 6: Watch it, Watch Torso, and more so like dive deep
• 1:56:50
  Speaker 6: into Sergio Martino even if this is one that, after
• 1:56:54
  Speaker 6: what we've talked about, is not something that's appealing to you.
• 1:56:56
  Speaker 6: He is not a one trick pony of a director.
• 1:56:59
  Speaker 6: He's many trick pony. Is that the opposite?
• 1:57:03
  Speaker 5: I don't know.
• 1:57:04
  Speaker 6: He's made so many great movies in a multitude of
• 1:57:07
  Speaker 6: genres and he's got It's not like a tourist theory argument.
• 1:57:12
  Speaker 6: But he's got some trademarks that he does very well.
• 1:57:14
  Speaker 6: He's got a great eye, he's got a good sense
• 1:57:18
  Speaker 6: of blocking, he's got some really great lighting choices. He
• 1:57:22
  Speaker 6: knows how to shoot action well, and this movie, as
• 1:57:25
  Speaker 6: a Gallo film, captures a lot of that. But he's
• 1:57:28
  Speaker 6: a he's all over the place. Go go watch more
• 1:57:30
  Speaker 6: Martino film Martino Films.
• 1:57:33
  Speaker 3: Yeah, I mean, just going off of, you know, quick recommendations,
• 1:57:37
  Speaker 3: I would definitely say check out Strange Vice of Missus Ward,
• 1:57:41
  Speaker 3: Case of the Scorpion's Tail. We talked about your vice
• 1:57:44
  Speaker 3: is a locked room and only I have the key
• 1:57:47
  Speaker 3: violent professionals you brought up Ryan.
• 1:57:50
  Speaker 5: Yeah, Colors of the Dark, Ye, yeah, all.
• 1:57:52
  Speaker 3: The Colors of the Dark. Suspicious Death of a Minor
• 1:57:56
  Speaker 3: is another great one great Alligator which seven put out
• 1:58:00
  Speaker 3: a couple of years ago on four K. That's a
• 1:58:02
  Speaker 3: fun I say fun, you know, carefully because it's not
• 1:58:07
  Speaker 3: that great, but it's a good enough alligator movie. Scorpion
• 1:58:12
  Speaker 3: with two tails. I mean, you could just keep going.
• 1:58:14
  Speaker 3: This guy has sixty eight directing credits on IMDb, and
• 1:58:20
  Speaker 3: one of them that I didn't know is that he
• 1:58:23
  Speaker 3: directed an episode of Private Crimes, which seven put out
• 1:58:28
  Speaker 3: a few years ago that I picked up, which I
• 1:58:31
  Speaker 3: was a little mini series who else kind of directed
• 1:58:35
  Speaker 3: in this. I'm gonna go really really crazy with this
• 1:58:40
  Speaker 3: as I as I looked down before, were probably like
• 1:58:42
  Speaker 3: checking out by now and it's okay bye. But yeah,
• 1:58:47
  Speaker 3: I did not know that he was a director on this.
• 1:58:49
  Speaker 3: That was that's awesome to see. I also did not
• 1:58:52
  Speaker 3: know that I'm gonna butcher her name. Man, how do
• 1:58:54
  Speaker 3: you say? Is it? How do you say it? Edwi, Fennitt, Edwich,
• 1:59:00
  Speaker 3: Edward Fenneck. Okay, I was so close, so clo so close.
• 1:59:05
  Speaker 3: That was the best I've been so far, I think.
• 1:59:09
  Speaker 3: Which she was in Case of the Bloody Iris, so
• 1:59:11
  Speaker 3: she's stunning in that. But also worked with Sergio Martino
• 1:59:14
  Speaker 3: before on Your Vice as a locker room and only
• 1:59:16
  Speaker 3: I have the key, So that's a fun one. Private Crimes. Yeah,
• 1:59:21
  Speaker 3: let's think here. Closing remarks, Season three is here. If
• 1:59:24
  Speaker 3: you've made it through this whole entire episode, Congratulations, welcome
• 1:59:27
  Speaker 3: to season three of Beyond the Blood. It's crazy Steve
• 1:59:30
  Speaker 3: that we're even here and saying that this is kind
• 1:59:34
  Speaker 3: of the one year anniversary for us. We released our
• 1:59:37
  Speaker 3: first episode January of twenty twenty five. I consider it
• 1:59:42
  Speaker 3: a major accomplishment that we've made it a year and
• 1:59:46
  Speaker 3: the show is still going and in my opinion, getting
• 1:59:49
  Speaker 3: better episode by episode.
• 1:59:51
  Speaker 4: It's a big milestone.
• 1:59:53
  Speaker 3: Yeah, very very exciting. I think it was Ryan. When
• 1:59:56
  Speaker 3: did we join Someone's favorite? Do you remember?
• 1:59:58
  Speaker 4: Was that?
• 1:59:58
  Speaker 3: Like May or June?
• 2:00:00
  Speaker 5: It was? It was right after the first season ended.
• 2:00:04
  Speaker 3: Yeah, so it was in the summer. Yeah, yeah, which
• 2:00:06
  Speaker 3: was I still love so much. That's my favorite thing
• 2:00:09
  Speaker 3: to brag about, that we're part of the network accompanied
• 2:00:13
  Speaker 3: by some incredible shows doing incredible work.
• 2:00:17
  Speaker 5: And growing more.
• 2:00:18
  Speaker 3: This month, I will tease whoa.
• 2:00:21
  Speaker 6: We have I believe four shows joining the network in
• 2:00:26
  Speaker 6: the next thirty to sixty days.
• 2:00:28
  Speaker 3: Very exciting, man, it's so cool. I already have so
• 2:00:32
  Speaker 3: much to listen to. Man, I feel I feel slightly overwhelmed.
• 2:00:35
  Speaker 6: Well, and at least one of them I know that
• 2:00:37
  Speaker 6: you already know about, and I think you know about
• 2:00:40
  Speaker 6: one of the other ones, so we should be good.
• 2:00:42
  Speaker 3: Probably, yeah, probably do.
• 2:00:45
  Speaker 5: Yeah.
• 2:00:46
  Speaker 3: We are kind of approaching things a little different this
• 2:00:49
  Speaker 3: season than we did before we did release kind of
• 2:00:52
  Speaker 3: the schedule. We're sticking to what we did before, which
• 2:00:55
  Speaker 3: is well. In January, we released our recap and kind
• 2:00:58
  Speaker 3: of our favorite physical media releases from twenty twenty five,
• 2:01:02
  Speaker 3: which you should go back and check out. And of
• 2:01:05
  Speaker 3: course this episode comes out today, and then on the
• 2:01:07
  Speaker 3: twenty eighth, we are releasing our first episode of the
• 2:01:09
  Speaker 3: year of After Hours, which is our kind of physical
• 2:01:12
  Speaker 3: media show for the month, what we've been watching, just
• 2:01:14
  Speaker 3: things we want to talk about. Those episodes are sponsored
• 2:01:19
  Speaker 3: by the Movie Room, who we work very closely with,
• 2:01:22
  Speaker 3: so I can't wait to talk about some stuff on there.
• 2:01:25
  Speaker 3: One thing we're doing different this season that we didn't
• 2:01:27
  Speaker 3: do last year or that we did last year, is
• 2:01:30
  Speaker 3: that we're not announcing the full season in advanced We're
• 2:01:35
  Speaker 3: kind of keeping it a little bit closer to our
• 2:01:39
  Speaker 3: chest and kind of announcing things as they get closer.
• 2:01:42
  Speaker 3: And it's kind of just something we want to have
• 2:01:43
  Speaker 3: a little bit more fun with and we think will
• 2:01:45
  Speaker 3: kind of allow us to keep an easier structure with,
• 2:01:48
  Speaker 3: you know, just behind the scenes tidbits that you know
• 2:01:50
  Speaker 3: nobody cares about. Yeah, I think that's Oh my god.
• 2:01:55
  Speaker 3: The end of season three, episode one, how do you
• 2:01:59
  Speaker 3: guys feel about it? Excited, Nervous, scared tired.
• 2:02:03
  Speaker 5: I'm happy for you. This is awesome. You guys have
• 2:02:05
  Speaker 5: been killing it.
• 2:02:07
  Speaker 3: Thank you as always, Ryan, Thanks thank you for joining.
• 2:02:10
  Speaker 3: Let people know man plug whatever you need. Where can
• 2:02:13
  Speaker 3: people like I know, you know the the antenna announcement, like,
• 2:02:17
  Speaker 3: where do you want people to go after this episode
• 2:02:19
  Speaker 3: of the check out what you do?
• 2:02:21
  Speaker 5: Uh?
• 2:02:21
  Speaker 6: The biggest thing I mean uh for for physical media
• 2:02:24
  Speaker 6: stuff that's not related to intenna check out the disconnected
• 2:02:27
  Speaker 6: on all of your social media networks pretty much everywhere,
• 2:02:30
  Speaker 6: and then YouTube of course. But yeah for INTENDA, go
• 2:02:33
  Speaker 6: to Antenna Releasing dot com sign up for the newsletter.
• 2:02:36
  Speaker 6: I mean genuinely, we are a theatrical releasing company. We're streaming,
• 2:02:40
  Speaker 6: VOD and physical media, so no matter where you are,
• 2:02:42
  Speaker 6: you'll get a chance to see some of these films,
• 2:02:44
  Speaker 6: whether it be streaming or on disc later this year,
• 2:02:47
  Speaker 6: but hopefully we get some films in a theater close
• 2:02:49
  Speaker 6: to you, and I'm about to support We got some
• 2:02:51
  Speaker 6: cool ideas in store for that and can't wait for
• 2:02:54
  Speaker 6: you to see them.
• 2:02:55
  Speaker 3: And don't forget about we We're only with This is
• 2:02:59
  Speaker 3: the thirteenth, right around the corner from shelf Shock rewind.
• 2:03:02
  Speaker 6: Oh yeah, I do that too. We do too much.
• 2:03:05
  Speaker 6: Chris and I are both hosting the fourth annual Shelf
• 2:03:08
  Speaker 6: Shock Rewind Award show that is coming on February fifteenth
• 2:03:11
  Speaker 6: of this year. Will be on at seven pm Eastern.
• 2:03:14
  Speaker 6: It is always the Sunday after Super Bowl Sunday, so
• 2:03:17
  Speaker 6: most of you don't have an excuse because you got
• 2:03:19
  Speaker 6: to watch the game or anything, So come hang out.
• 2:03:22
  Speaker 6: We'll be live for at least a couple hours. It
• 2:03:24
  Speaker 6: will be wild sharing like twenty seven to twenty eight
• 2:03:28
  Speaker 6: Awards that night with all of the big vote getters
• 2:03:31
  Speaker 6: across the world. We're gonna have lots of people here
• 2:03:33
  Speaker 6: to present awards, labels here to accept their prize and
• 2:03:37
  Speaker 6: do what we can to make it bigger than ever before.
• 2:03:39
  Speaker 6: Which is kind of hard to live up to expectations
• 2:03:42
  Speaker 6: when we've already had Sean fucking Baker and Joe Lynch
• 2:03:45
  Speaker 6: and then the big coup is I planted Francis Galopi
• 2:03:48
  Speaker 6: in the video of the Shelf Shock Rewind Awards last year.
• 2:03:51
  Speaker 6: Nobody knew that we were already working on a label together,
• 2:03:53
  Speaker 6: so it's so cool.
• 2:03:54
  Speaker 5: Yeah, I'm excited.
• 2:03:56
  Speaker 3: Yeah, very excited.
• 2:03:57
  Speaker 1: Man.
• 2:03:57
  Speaker 3: I still can't believe you asked me to do that.
• 2:03:59
  Speaker 3: I'm still gushing over it, so thank you.
• 2:04:01
  Speaker 5: I had to.
• 2:04:02
  Speaker 6: I mean, first off, I've had a rotating co host
• 2:04:06
  Speaker 6: every year and it's I mean, you're perfect for it.
• 2:04:09
  Speaker 5: Everybody loves you.
• 2:04:10
  Speaker 3: Thank you man. I don't think they do, but I'll
• 2:04:12
  Speaker 3: take it.
• 2:04:12
  Speaker 5: With they will by the end of this.
• 2:04:14
  Speaker 3: God damn it, Steve Man. Where can people find you
• 2:04:18
  Speaker 3: outside of here?
• 2:04:20
  Speaker 2: You guys can find me at After Hours Video. I'm
• 2:04:22
  Speaker 2: on social media all over the place, just watching movies.
• 2:04:27
  Speaker 3: Just just go type in After Hours Video. You're back
• 2:04:29
  Speaker 3: to posting frequently again, after.
• 2:04:32
  Speaker 4: A little bit of a pride to it's a resurgence.
• 2:04:35
  Speaker 3: Yeah back. This is V two of After Hours upgraded
• 2:04:40
  Speaker 3: And as always, you can find me on Instagram underbearded
• 2:04:44
  Speaker 3: film guy. Always on there talking about physical media, just
• 2:04:48
  Speaker 3: kind of posting, you know, cool photos that I think
• 2:04:51
  Speaker 3: are a little bit artistic and stuff. So always on there.
• 2:04:54
  Speaker 3: Make sure you catch if you're listening to this on
• 2:04:56
  Speaker 3: the thirteenth, in two days, catch us on shelf shock rewind.
• 2:04:59
  Speaker 3: I'll be dressing my probably exactly what I'm wearing right now.
• 2:05:02
  Speaker 5: I'll be wearing a lot less.
• 2:05:04
  Speaker 3: Oh I'm actually wearing nothing.
• 2:05:08
  Speaker 6: Sorry, I was still thinking about the words after hours
• 2:05:09
  Speaker 6: video different context. The first year I did the shelf
• 2:05:15
  Speaker 6: Shock for You One Awards, I wore a suit, and
• 2:05:17
  Speaker 6: by the end of it, which it went like two
• 2:05:19
  Speaker 6: and a half hours that first year, by the end,
• 2:05:21
  Speaker 6: I was sopping wet with sweat. I was like, this
• 2:05:23
  Speaker 6: is the worst decision ever to host like a major
• 2:05:26
  Speaker 6: production and wear a giant suit. This is so dumb.
• 2:05:29
  Speaker 6: Never again, Never again.
• 2:05:30
  Speaker 3: I think we should like, at the beginning, we should
• 2:05:33
  Speaker 3: be wearing the most amount of clothes, and every time
• 2:05:35
  Speaker 3: it cuts away, we should be wearing less.
• 2:05:39
  Speaker 6: Well, god dag, like we have to do some sort
• 2:05:41
  Speaker 6: of bit with our clothing, because it's true. That would
• 2:05:43
  Speaker 6: be very, very funny, honestly, if we could somehow get
• 2:05:47
  Speaker 6: like forty wardrobe changes ready, and every time we cut
• 2:05:50
  Speaker 6: away from us, we put on a different shirt and
• 2:05:52
  Speaker 6: just wait until people are like, what are they wearing now?
• 2:05:54
  Speaker 6: It would genuinely be hilarious. And I've lost so much
• 2:05:57
  Speaker 6: weight this last year, it's a lot easier to change now.
• 2:06:00
  Speaker 5: Easier, dude.
• 2:06:02
  Speaker 3: That would be great if it was so subtle to
• 2:06:04
  Speaker 3: like every other outfit change we put on the one
• 2:06:07
  Speaker 3: that was before that change, So like we keep bouncing
• 2:06:11
  Speaker 3: back to different ways.
• 2:06:13
  Speaker 6: Wait, wait, even better, how many shirts do we both have?
• 2:06:16
  Speaker 6: And we could just go back and forth between them
• 2:06:18
  Speaker 6: between it and they're like, wait, wasn't he just worried
• 2:06:20
  Speaker 6: that sh And isn't he six hundred miles away? How
• 2:06:23
  Speaker 6: is this happening?
• 2:06:24
  Speaker 3: Oh my god? Going out with a bang the shelf
• 2:06:28
  Speaker 3: Shock rewind Awards. All right, let me bring this to
• 2:06:32
  Speaker 3: a close. Thank you guys for hanging out for all
• 2:06:34
  Speaker 3: two hours what we discussed nineteen seventy three's release of Torso.
• 2:06:38
  Speaker 3: Please make sure to support Errow Video, whether it's picking
• 2:06:42
  Speaker 3: up the Shallow Essentials Yellow set which contains Torso, which
• 2:06:45
  Speaker 3: the standard edition is still available. You can still get
• 2:06:48
  Speaker 3: that those sets are incredible. Torso was released on four
• 2:06:52
  Speaker 3: K by Aero Video in twenty twenty four. Especially right
• 2:06:56
  Speaker 3: now if you're listening to this, I believe the Arrow
• 2:06:59
  Speaker 3: Barnes and Nobles will still be on the half off sale.
• 2:07:02
  Speaker 3: I know I was in my recent Barnes and Noble
• 2:07:04
  Speaker 3: a couple of days ago and they still had a
• 2:07:06
  Speaker 3: bunch of copies of Torso on the shelves, So please
• 2:07:09
  Speaker 3: pick that up. Make sure you listen to the commentary,
• 2:07:12
  Speaker 3: take the time to listen to the interviews, dive into
• 2:07:15
  Speaker 3: bonus features. Remember, physical media is education. Take the time
• 2:07:19
  Speaker 3: to learn about the movies you love and support the
• 2:07:22
  Speaker 3: work that these labels and the individuals producing these releases
• 2:07:26
  Speaker 3: are putting in. So please make sure that we support
• 2:07:28
  Speaker 3: that and just continue learning about what we love. We'll
• 2:07:32
  Speaker 3: see you guys next time on Beyond the Blood.
• 2:07:41
  Speaker 1: Thank you for listening to hear more shows from the
• 2:07:44
  Speaker 1: Someone's Favorite Productions podcast network. Please select the link in
• 2:07:48
  Speaker 1: the description.
• 2:07:54
  Speaker 7: Hi, there are movie lovers, here's an invite to the
• 2:07:56
  Speaker 7: Conversation with KB Loves Movies. The podcast for a film
• 2:08:00
  Speaker 7: isn't just entertainment, it's personal. In every episode, KB sits
• 2:08:05
  Speaker 7: down with collectors, critics, and movie lovers in general to
• 2:08:08
  Speaker 7: chat about the stories that stick with us, from cult
• 2:08:11
  Speaker 7: classics to indie darlings and everything in between. And just
• 2:08:16
  Speaker 7: when you think the credits are about to roll, there's
• 2:08:19
  Speaker 7: the five Takes, five fun revealing questions every guest answers
• 2:08:24
  Speaker 7: before they go. If you don't just watch movies but
• 2:08:27
  Speaker 7: love talking about them, you're in the right place. Check
• 2:08:31
  Speaker 7: out the Conversation with KB Loves movies a part of
• 2:08:34
  Speaker 7: someone's favorite productions.
• 2:08:35
  Speaker 1: Podcast network nailed it.