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Chattering about The Mist... with Nicholas Vince · Movie Meltdown

• 0:09
  Speaker 1: Hi, this is Scott Wilson.
• 0:11
  Speaker 2: I played Herschel Green on The Walking Dead, and this
• 0:14
  Speaker 2: is Movie Meltdown.
• 0:17
  Speaker 1: Stay tuned.
• 0:23
  Speaker 2: The following feature has been rated R by the Motion
• 0:26
  Speaker 2: Picture Association of America.
• 0:27
  Speaker 1: It is intended for mature audiences and parental discretion is advised.
• 0:42
  Speaker 3: It's showtime, folks. Enjoy the show. our nuclear reactor, pumping
• 0:49
  Speaker 3: out one million kilowatts of power.
• 1:33
  Speaker 1: What's up and welcome to Movie Meltdown. I'm Brian and
• 1:36
  Speaker 1: this week we return to Days of the Dead Louisville
• 1:38
  Speaker 1: as we are joined by our special guest co-host Nicholas Vince.
• 1:42
  Speaker 1: Now horror fans will know him as the Chatterer from
• 1:44
  Speaker 1: the first couple of Hellraiser films and or maybe as
• 1:47
  Speaker 1: Kinski in Nightbreed. But much more than that, Nicholas is
• 1:50
  Speaker 1: a classically trained actor. He's a writer of his own books,
• 1:53
  Speaker 1: as well as several different series of comics over the years.
• 1:56
  Speaker 1: He's a playwright, and these days a director as well.
• 2:00
  Speaker 1: But today, we are glad to welcome him as co-host
• 2:03
  Speaker 1: of this episode of Movie Meltdown, where we will quickly
• 2:06
  Speaker 1: focus on this week's Sylphid Theatre feature, Frank Darabont's film
• 2:09
  Speaker 1: The Mist. So I say we get things rolling right
• 2:12
  Speaker 1: now as we welcome our special guest co-hosts. We're here
• 2:18
  Speaker 1: with Nicholas Vince. We talked to you, it's been quite
• 2:22
  Speaker 1: a few years ago now, and I think last time
• 2:24
  Speaker 1: we talked about comic books, which if you want to
• 2:28
  Speaker 1: tell that story, that was pretty funny, because as you
• 2:30
  Speaker 1: started saying, I was like, oh, I know why he's
• 2:33
  Speaker 1: bringing that up.
• 2:36
  Speaker 3: Remind me.
• 2:37
  Speaker 1: Well, no, just the story a few minutes ago.
• 2:39
  Speaker 3: Oh, the story about a few minutes ago. Yeah, that
• 2:41
  Speaker 3: was just really unfortunate. I feel very sorry, and I'm
• 2:44
  Speaker 3: not going to give any names, but I just thought
• 2:45
  Speaker 3: it was just the classic. line of, Nicholas, have you
• 2:49
  Speaker 3: seen this comic? It's got a Kinski background story in it,
• 2:53
  Speaker 3: a Nightbreed comic. Have you read it? And to be fair,
• 2:57
  Speaker 3: I saw the cover and I thought, I think, but
• 3:00
  Speaker 3: I had to check to make sure, yes, I'd actually
• 3:03
  Speaker 3: written the comic itself. So, you know, to be fair,
• 3:05
  Speaker 3: and he's very embarrassed and he's a lovely guy. so
• 3:09
  Speaker 3: yeah that was that was that was.
• 3:12
  Speaker 1: Funny I just heard that one line come out of
• 3:14
  Speaker 1: him and I was like then you started laughing I
• 3:15
  Speaker 1: was like oh wait I know why he's laughing because
• 3:18
  Speaker 1: I remember specifically talking because it was one of those
• 3:21
  Speaker 1: I had all of those comics it was like it
• 3:23
  Speaker 1: wasn't until I started and at least I checked beforehand
• 3:26
  Speaker 1: and I was like wait he wrote half of the
• 3:28
  Speaker 1: stuff so yeah I think I think we yeah we
• 3:31
  Speaker 1: discussed some of the comic books and some of the
• 3:33
  Speaker 1: movie stuff but yeah we had it's one of the
• 3:37
  Speaker 1: better times I think I've had at one of those
• 3:39
  Speaker 1: conventions was hanging out, talking with you. So as we
• 3:42
  Speaker 1: came back here, I was like, if you want to
• 3:44
  Speaker 1: pick a movie, I'd love to sit down and dissect
• 3:47
  Speaker 1: a movie. So I guess what led you to The Mist?
• 3:52
  Speaker 3: I'm just thinking I'd come across it in a list somewhere.
• 3:56
  Speaker 3: I'd seen it in IMDb or I'd rented it some
• 4:00
  Speaker 3: time ago when I went to see Back in Persia.
• 4:03
  Speaker 3: And it had just come up in a list. And
• 4:04
  Speaker 3: I thought, I've not watched this in a long time.
• 4:08
  Speaker 3: But what I do remember is just being profoundly moved
• 4:11
  Speaker 3: by it. Really deeply shocked. Deeply angered by it. Spoilers.
• 4:21
  Speaker 3: We're throwing it out there anyway.
• 4:23
  Speaker 1: This is going to be loaded with spoilers.
• 4:26
  Speaker 3: It's going to be loaded with spoilers.
• 4:28
  Speaker 4: Really.
• 4:28
  Speaker 3: And it is one of the most heart-rending finales of
• 4:32
  Speaker 3: any movie that I've ever seen. And I checked. I
• 4:36
  Speaker 3: was curious as to... Because it's not exactly an upbeat movie.
• 4:40
  Speaker 1: No.
• 4:40
  Speaker 3: But it did make its money back. It seems to
• 4:43
  Speaker 3: have made its money back.
• 4:44
  Speaker 1: And it feels like... I guess we can go ahead
• 4:46
  Speaker 1: and throw out the... It's time for Sofa Theater.
• 4:55
  Speaker 2: Whoa. Mom, Dad, you gotta come see.
• 4:58
  Speaker 5: The butthouse is all bashed.
• 4:59
  Speaker 1: You just gotta.
• 5:00
  Speaker 5: Come, come on.
• 5:02
  Speaker 6: Whoa.
• 5:03
  Speaker 3: Having spoken, the doomsayer departs.
• 5:06
  Speaker 1: Why don't you get Billy dressed? I'll take him into
• 5:10
  Speaker 1: town with him. Hit the store before it gets all
• 5:12
  Speaker 1: bought out.
• 5:13
  Speaker 3: How do you folks hold up in the store?
• 5:15
  Speaker 1: Big insurance day. Sorry to hear that. What's going on?
• 5:25
  Speaker 1: It's death. something in the mist shut the doors shut
• 5:38
  Speaker 1: the doors.
• 5:39
  Speaker 4: The only way we're going to help ourselves is to
• 5:44
  Speaker 4: seek rescue.
• 5:45
  Speaker 1: Tie this around your waist or four let us know
• 5:47
  Speaker 1: you got at least 300 feet there's nothing out there
• 5:50
  Speaker 1: nothing in the mist what if you're wrong then i guess.
• 5:56
  Speaker 3: That joke would be on me.
• 6:11
  Speaker 5: It is time to take sides.
• 6:13
  Speaker 1: Read the good book. It calls for blood.
• 6:17
  Speaker 3: Guys, I hear something. Are those bugs?
• 6:22
  Speaker 1: Not like any I've ever seen.
• 6:24
  Speaker 3: The entire front of this store is blank glass.
• 6:41
  Speaker 1: What were you guys messing with up there?
• 6:42
  Speaker 3: I thought that there were other dimensions. They wanted to
• 6:45
  Speaker 3: try and make a window.
• 6:46
  Speaker 5: Well, maybe your window turned out to be a door.
• 6:51
  Speaker 1: Who's she gonna sacrifice to make it all better? We
• 6:54
  Speaker 1: want the boy. You try it.
• 6:56
  Speaker 2: Kill him! Whispering your name and smiling And casting his
• 7:18
  Speaker 2: spell The fear and the desire I was on fire
• 7:24
  Speaker 2: The ground moved as we kissed We melted away and.
• 7:33
  Speaker 6: Spent all night and day in.
• 7:37
  Speaker 2: I wish I could stay.
• 7:41
  Speaker 1: In So this week's Swift with Theta feature is The Mist.
• 7:51
  Speaker 1: The year, and that was weird too. I feel like
• 7:53
  Speaker 1: it's almost, in my head, been around longer than that.
• 7:56
  Speaker 3: 2007.
• 7:56
  Speaker 1: Yeah. Seems like I've been talking about it longer than that.
• 8:01
  Speaker 1: The director is Frank Darabont, and the plot, according to IMDb,
• 8:05
  Speaker 1: a freak storm unleashes a species of bloodthirsty creatures on
• 8:09
  Speaker 1: a small town where a small band of citizens hole
• 8:12
  Speaker 1: up in a supermarket and fight for their lives. Oddly worded,
• 8:15
  Speaker 1: as the IMDb ones usually are.
• 8:17
  Speaker 3: Well, because it's a myth. There's no storm.
• 8:19
  Speaker 6: Oh, no.
• 8:20
  Speaker 3: Ah, no, you're absolutely right. Yes, of course.
• 8:22
  Speaker 1: The night before, there was a storm.
• 8:24
  Speaker 3: Yes, of course.
• 8:24
  Speaker 1: There was a storm. So, yeah, that was my thing.
• 8:27
  Speaker 1: I was like, I had seen this shortly after it
• 8:31
  Speaker 1: came out, but I do not remember it getting a
• 8:33
  Speaker 1: big push. Especially for, I mean, it's not a huge budget,
• 8:38
  Speaker 1: but Frank Darabont was a big name even at that point.
• 8:41
  Speaker 3: And it's an $ 80 million budget.
• 8:43
  Speaker 1: Yeah.
• 8:44
  Speaker 3: Estimated according to IMDb it is based on a Stephen
• 8:47
  Speaker 3: King novella that.
• 8:48
  Speaker 1: Yeah all of those things seem like it would get
• 8:50
  Speaker 1: a bigger push but I do not really remember hearing
• 8:53
  Speaker 1: anything about it theatrically I remember watching it I guess
• 8:57
  Speaker 1: on DVD originally and like that seems weird for being
• 9:01
  Speaker 1: Stephen King Frank Darabont coming off of Shawshank and Green
• 9:05
  Speaker 1: Mile and like pretty big recognizable especially Shawshank that's still
• 9:10
  Speaker 1: to this day considered by so many people as such
• 9:12
  Speaker 1: a huge movie that like it is weird that it
• 9:15
  Speaker 1: got no response. And even now I find people that
• 9:18
  Speaker 1: are like completely unaware. And I, there was someone that
• 9:22
  Speaker 1: I knew who, it is funny because she's a little
• 9:25
  Speaker 1: older than I am. She and her husband had not
• 9:28
  Speaker 1: seen it and they like horror. They like sci-fi kind
• 9:32
  Speaker 1: of stuff. But I knew like the end was gonna
• 9:35
  Speaker 1: just really just traumatize them. But I was like, it's
• 9:39
  Speaker 1: a good movie. You like Stephen, like we were talking
• 9:41
  Speaker 1: about Stephen King. I went for the DVD. I was like,
• 9:44
  Speaker 1: I'm going to do this and I may ruin your
• 9:47
  Speaker 1: life here. And like loved it and hated that all
• 9:51
  Speaker 1: together at the same time. So I keep finding people
• 9:54
  Speaker 1: that have no idea what it is. And yeah, so
• 9:57
  Speaker 1: it still kind of surprises me that it got out
• 9:59
  Speaker 1: of hand. there and didn't get much response one way
• 10:03
  Speaker 1: or the other, especially as we go into it, I
• 10:05
  Speaker 1: think it's pretty good.
• 10:07
  Speaker 3: It's beautifully shot. Yeah. It's beautiful. I mean, I love,
• 10:10
  Speaker 3: you know, when you get, I like the opening gags.
• 10:13
  Speaker 1: Yeah.
• 10:13
  Speaker 3: Yeah, because I lead, Thomas Jane plays the lead character.
• 10:16
  Speaker 5: Yeah.
• 10:16
  Speaker 3: And I like the opening gags that you've got. And
• 10:18
  Speaker 3: he's a poster painter. He paints posters for movies.
• 10:23
  Speaker 1: He's fictionally Drew Struzan?
• 10:24
  Speaker 3: Yes, absolutely.
• 10:26
  Speaker 1: Because two of the main posters.
• 10:29
  Speaker 3: He's working on a poster for what is obviously Stephen
• 10:32
  Speaker 3: King's The Dark Tower. And I like that. But immediately
• 10:38
  Speaker 3: it's that. He's obviously like... I just love Thomas Jane's
• 10:43
  Speaker 3: performances as well. He's a really good actor.
• 10:46
  Speaker 1: And not what you would expect coming from... Oh, here's
• 10:49
  Speaker 1: the Punisher. Precisely. And that's what I think he does
• 10:52
  Speaker 1: so well as we go on. He is a brute
• 10:55
  Speaker 1: of a guy. He is a big guy. So watching
• 10:58
  Speaker 1: William Sadler... bully him like in that and then in
• 11:02
  Speaker 1: that first scene when you're like he could pummel you
• 11:05
  Speaker 1: right now but he plays it so like low-key yeah
• 11:08
  Speaker 1: and like i'm just a dad i'm just an artist
• 11:10
  Speaker 1: like he he doesn't seem aware of the fact that
• 11:12
  Speaker 1: he's a giant dude yeah which is that's probably harder
• 11:16
  Speaker 1: to do at a performance like that when the rest
• 11:18
  Speaker 1: of your career you've been you know punching people in
• 11:20
  Speaker 1: the face now a few minutes later he punches him
• 11:22
  Speaker 1: in the face yeah but after he gets a kid
• 11:24
  Speaker 1: killed what are you gonna.
• 11:25
  Speaker 3: Do yeah yeah i think this is the thing is
• 11:28
  Speaker 3: the let's let's talk about you know we start with
• 11:31
  Speaker 3: that and then.
• 11:33
  Speaker 1: They changed did you know that i just found that
• 11:36
  Speaker 1: out in doing research for this there was originally the
• 11:38
  Speaker 1: way darabond wrote it all very because he liked the
• 11:42
  Speaker 1: kind of like outer limits sort of feeling he was
• 11:44
  Speaker 1: doing a cheesy you know 60s kind of thing with
• 11:46
  Speaker 1: his sci-fi so he started with a big cheesy opening
• 11:50
  Speaker 1: with title sequence and it was going to have an
• 11:53
  Speaker 1: accident in the base and you were actually going to
• 11:55
  Speaker 1: see all that happen. And then the, actually it was, um,
• 12:01
  Speaker 1: Andre Brower was sat down to have dinner with him
• 12:04
  Speaker 1: and he went, do you really need that opening? And
• 12:07
  Speaker 1: he went, wait, maybe you don't. And like the more
• 12:09
  Speaker 1: they worked on it, they were like, okay, it will
• 12:13
  Speaker 1: be a lot better overall. If the people have no
• 12:17
  Speaker 1: idea what's going on and you, the viewer have no
• 12:19
  Speaker 1: idea what's going on. And like, I think it works
• 12:22
  Speaker 1: so much better because of that, because you go in
• 12:24
  Speaker 1: like completely blindsided by what's about to happen. The characters
• 12:30
  Speaker 1: are equally as clueless.
• 12:32
  Speaker 3: And I think that this is one of the things
• 12:33
  Speaker 3: I really love about as well is the way that
• 12:35
  Speaker 3: you are generally gently introduced to the idea. There is
• 12:39
  Speaker 3: something wrong.
• 12:40
  Speaker 1: Yeah. It eases its way in there.
• 12:43
  Speaker 3: You start with this domestic dispute over the, um, The
• 12:48
  Speaker 3: tree and the history and the fact that he lives
• 12:54
  Speaker 3: next door to a litigious lawyer. And so they're like, okay,
• 12:59
  Speaker 3: we'll go into town. We'll leave the mother at home.
• 13:02
  Speaker 3: I'll take the boy with me and my young son.
• 13:04
  Speaker 3: I just have to say a huge shout out to
• 13:07
  Speaker 3: the actor who plays Billy the young son. And I've
• 13:10
  Speaker 3: got the name in front of me here. Nathan. Nathan Gamble.
• 13:14
  Speaker 1: Impressive for as.
• 13:16
  Speaker 3: Young as he is he really i i don't know
• 13:18
  Speaker 3: what they did to that kid during that because the
• 13:21
  Speaker 3: scenes because the kid you know starts a very normal
• 13:25
  Speaker 3: fun kid but emotionally what that kid is going through
• 13:29
  Speaker 3: in terms of you know the sheer terror and yeah
• 13:32
  Speaker 3: you really feel that this is what the kid is doing.
• 13:36
  Speaker 1: He really does seem like he goes through those stages
• 13:39
  Speaker 1: of like he's sort of traumatized at one point. Like
• 13:42
  Speaker 1: he's going into shock almost. Like all I want is
• 13:45
  Speaker 1: my dad to not leave me. Like you get all
• 13:47
  Speaker 1: these moments of different responses to how much it's progressing
• 13:51
  Speaker 1: and just getting worse.
• 13:52
  Speaker 3: And worse and worse.
• 13:53
  Speaker 1: Yeah.
• 13:53
  Speaker 3: But also, I mean, the great thing is, you know,
• 13:55
  Speaker 3: and you've given us the plot is the fact, you know,
• 13:58
  Speaker 3: they end up in the supermarket. And again, the first
• 14:01
  Speaker 3: clue that something is wrong, they happen to see a
• 14:02
  Speaker 3: whole slew of army trucks and so on heading against them.
• 14:07
  Speaker 3: That's unusual. It all happens very quickly. You see the
• 14:15
  Speaker 3: mist come. You hear the sound of the siren. The
• 14:19
  Speaker 3: mist comes in and then you just get the actor
• 14:22
  Speaker 3: running in with blood on his face saying there is
• 14:24
  Speaker 3: something in the mist. There is something in the mist.
• 14:29
  Speaker 3: Something in the mist took John Lee. I could hear
• 14:31
  Speaker 3: him screaming. I just think At this stage, the most
• 14:35
  Speaker 3: frightening thing you have actually seen or heard is you've
• 14:38
  Speaker 3: got the siren, which is an amazing sound. Everybody's blood chills. No,
• 14:43
  Speaker 3: I don't know. It's interesting. I guess for you guys
• 14:48
  Speaker 3: in America, this is the sound of a nuclear siren?
• 14:52
  Speaker 1: Pretty much. I know because I have one that runs
• 14:55
  Speaker 1: at the beginning of the show. So I actually went
• 14:57
  Speaker 1: and listened to and I was trying to decide. I
• 14:59
  Speaker 1: was going with a cheesy meltdown theme. So I went
• 15:02
  Speaker 1: and there are Again, the internet has everything. And real
• 15:06
  Speaker 1: world versions. There was people on YouTube that just are
• 15:09
  Speaker 1: near a nuclear plant. And when the siren went off,
• 15:12
  Speaker 1: they put their video camera up. So you can hear.
• 15:15
  Speaker 1: And there's two or three different ones, sadly.
• 15:18
  Speaker 3: I kept finding other ones.
• 15:20
  Speaker 1: And it's pretty much the same siren. It's the standard issue,
• 15:23
  Speaker 1: I guess.
• 15:24
  Speaker 6: Yeah.
• 15:25
  Speaker 1: Military something's going horribly wrong siren yeah so yeah it is.
• 15:31
  Speaker 3: In the UK from my background my parents this is
• 15:33
  Speaker 3: the sound of air rates yeah in the second world
• 15:35
  Speaker 3: war yeah so it's absolute and I grew up in
• 15:40
  Speaker 3: a place called Horsham in West Sussex And the town
• 15:43
  Speaker 3: siren was still there way into the 1990s, something like that.
• 15:48
  Speaker 3: A little disturbing. The fact that you knew what it was.
• 15:53
  Speaker 3: And the siren, I love the fact that a siren
• 15:56
  Speaker 3: is a mythical woman who lures sailors to their death.
• 15:59
  Speaker 3: So we name a thing that warns ships of danger ahead.
• 16:04
  Speaker 3: And we call the alluring creature a siren. So, yeah,
• 16:10
  Speaker 3: I love that thing. And immediately we're now into that
• 16:13
  Speaker 3: let's put everybody in a hot box.
• 16:15
  Speaker 1: Well, and that you get that shot of the mist
• 16:18
  Speaker 1: pouring across the parking lot. Yeah. And I think that's
• 16:22
  Speaker 1: one of the few that's CG. Yeah. But there's so
• 16:25
  Speaker 1: much of what comes later that is all practical, I
• 16:27
  Speaker 1: found out. Again, I thought a lot of that, they
• 16:30
  Speaker 1: had actually, once you get past that shot, I think
• 16:32
  Speaker 1: that's amazing. That's one of those moments when it does
• 16:35
  Speaker 1: feel very 60s-y. Like when you see some of those
• 16:37
  Speaker 1: shots where the people running, I get.
• 16:39
  Speaker 3: A very blob feeling.
• 16:40
  Speaker 1: It really feels like the whole town's like it's a
• 16:43
  Speaker 1: small town.
• 16:43
  Speaker 3: It's all going to go to hell.
• 16:44
  Speaker 1: That's the blob. So I get kind of that little
• 16:47
  Speaker 1: vibe from it. But at the same time, I feel
• 16:49
  Speaker 1: like once you get past that, you get those shots
• 16:52
  Speaker 1: of just like them stuck.
• 16:54
  Speaker 3: In there.
• 16:55
  Speaker 1: A lot of what they did, they put just a
• 16:56
  Speaker 1: huge piece of plastic that was in a giant studio.
• 16:59
  Speaker 1: So the other half was nothing but mist and And
• 17:03
  Speaker 1: once you got inside, you couldn't see the plastic. You
• 17:05
  Speaker 1: were just looking at the windows. They literally were sitting
• 17:07
  Speaker 1: in a room filled with mist. So that's cool. But yeah,
• 17:11
  Speaker 1: that is one of those things I was going to mention.
• 17:12
  Speaker 1: I think that's one of the other reasons I was
• 17:15
  Speaker 1: so drawn to this movie is anything that's just a
• 17:17
  Speaker 1: contained story. And it's one of those that's always been
• 17:22
  Speaker 1: from Lifeboat. If you go back far enough to Night
• 17:25
  Speaker 1: of the Living Dead becomes the cookie-cutter version that every
• 17:29
  Speaker 1: zombie movie and then monster movie and everything... kind of
• 17:33
  Speaker 1: knocks off and yeah better oh some thanks to because
• 17:37
  Speaker 1: it set up the perfect scenario of that and you
• 17:39
  Speaker 1: get to even carpenter doing assault on precinct 13 like
• 17:42
  Speaker 1: you know again going back to the alamo so it's
• 17:44
  Speaker 1: like they all kind of come from the same idea
• 17:47
  Speaker 1: of like let's take a bunch of people cram them
• 17:50
  Speaker 1: somewhere where they cannot escape and then see what happens
• 17:53
  Speaker 1: yeah and then you get to what really is cause yeah,
• 17:57
  Speaker 1: this is a monster movie, but it's the same thing
• 18:00
  Speaker 1: we learned in all of these movies that that's not
• 18:02
  Speaker 1: really what you need to be afraid of. The people
• 18:05
  Speaker 1: around you are what is going to destroy everything.
• 18:08
  Speaker 6: Yeah.
• 18:09
  Speaker 1: And what's going to cause the breakdown of everything. Isn't
• 18:12
  Speaker 1: going to be what's outside. It's going to be what's
• 18:13
  Speaker 1: you're trapped in there with. Yeah.
• 18:15
  Speaker 5: Yeah.
• 18:15
  Speaker 3: And, and it's so beautifully done. You've got some really
• 18:19
  Speaker 3: talented actors in there. Um, and as either the lady
• 18:22
  Speaker 3: behind it or as far as Mrs. Carmody. Oh my God. Um,
• 18:26
  Speaker 3: And I'm sorry, America, this is your politics, but Mrs. Carmody,
• 18:31
  Speaker 3: in my mind, otherwise known as Donald Trump. And that
• 18:35
  Speaker 3: is absolutely what it is.
• 18:36
  Speaker 1: Well, now, to me, she's the staple of Stephen King.
• 18:39
  Speaker 1: She is the overbearing, very religious woman that comes in
• 18:44
  Speaker 1: that is kind of the villain. It's like we get
• 18:46
  Speaker 1: that from Carrie. King kind of returns that of like,
• 18:51
  Speaker 1: I need a very religious woman to shut all this
• 18:53
  Speaker 1: down and make everything difficult for our main characters. And
• 18:56
  Speaker 1: she fills in, like, again, I knew who she was before,
• 19:00
  Speaker 1: but if this doesn't give you a whole new plateau
• 19:02
  Speaker 1: for Marcia Gay Harden, like, she's phenomenal in this. It is.
• 19:07
  Speaker 3: And I think this is what it's done, is because
• 19:09
  Speaker 3: it's people in a pressure cooker.
• 19:13
  Speaker 5: Yeah.
• 19:13
  Speaker 3: So everything, and immediately what comes to the fore is prejudice,
• 19:17
  Speaker 3: because when people are scared, you get prejudiced.
• 19:20
  Speaker 1: On different levels. The Andre Brower brings that in a
• 19:24
  Speaker 1: little bit, which I think wasn't in the script. I
• 19:25
  Speaker 1: think he added, but you also get them on the
• 19:28
  Speaker 1: loading dock where he's like, look, rich boy. It's like,
• 19:32
  Speaker 1: you went to college, doesn't make you better than me.
• 19:34
  Speaker 1: So even in something as like the townie guys versus
• 19:38
  Speaker 1: the man that's making money now, there's all this weird
• 19:41
  Speaker 1: different levels of classism and prejudice. So all of that
• 19:47
  Speaker 1: starts to come out. And then once you throw a
• 19:50
  Speaker 1: religion in the middle of it, God help us.
• 19:52
  Speaker 3: Well, and I think this is part of the genius
• 19:54
  Speaker 3: of the original story, as you say, because it's that
• 19:57
  Speaker 3: thing of like, which is what I was saying, if
• 19:59
  Speaker 3: you make people scared, The first thing that comes out
• 20:02
  Speaker 3: is prejudice. All those things that people let... And this
• 20:05
  Speaker 3: is the story of Yugoslavia. It was absolutely fine until
• 20:10
  Speaker 3: the dictator was killed. And then suddenly all the Christian,
• 20:16
  Speaker 3: Mohammedan prejudices start coming to the fore and people die.
• 20:21
  Speaker 1: I mean, that's what I love about this, about what
• 20:25
  Speaker 1: the show is starting to do. I've said that forever
• 20:27
  Speaker 1: and it's like... I could care less about talking about
• 20:30
  Speaker 1: most things in the world. But when I filter it
• 20:33
  Speaker 1: through a movie, like it is this way to examine
• 20:37
  Speaker 1: the outside world through art.
• 20:39
  Speaker 3: Yeah.
• 20:40
  Speaker 1: And I love that because I do find a way
• 20:42
  Speaker 1: to then go, oh, well, that's why. This is a
• 20:44
  Speaker 1: good way that's a window into this part of the
• 20:46
  Speaker 1: world that you might not understand. But you take this
• 20:48
  Speaker 1: little allegory and like, oh, no. It makes it very relatable,
• 20:52
  Speaker 1: doesn't it?
• 20:52
  Speaker 3: It is. And I think the real thing is, as
• 20:54
  Speaker 3: human beings, as I've said in some of my writings,
• 20:57
  Speaker 3: we do not like uncertainty. We crave certainty. And the
• 21:03
  Speaker 3: reason why the Mrs. Carbody and her, you know, it's death.
• 21:07
  Speaker 3: That opening line is, it's death. What's in the mess?
• 21:12
  Speaker 3: It's death.
• 21:12
  Speaker 1: It's the end of days.
• 21:14
  Speaker 3: It's the end of days. It is like. We've no
• 21:16
  Speaker 3: idea what's coming on, but let's face it, we've all
• 21:19
  Speaker 3: grown up with these stories where there's some part of
• 21:21
  Speaker 3: our mind that expects the end of the world. And
• 21:26
  Speaker 3: we are, you know, finding somebody to blame, finding the
• 21:29
  Speaker 3: scapegoat is where we go. And as I say, in
• 21:33
  Speaker 3: my mind, comedy, Trump, and in my country, we just
• 21:38
  Speaker 3: have this Brexit campaign. It's about Europeans. We've got Farage, Johnson.
• 21:45
  Speaker 3: We've got a whole slew of them in my country
• 21:47
  Speaker 3: as well. And because people are scared. And therefore they
• 21:52
  Speaker 3: start reacting and saying, okay, well, they're to blame. I'm
• 21:55
  Speaker 3: all right. My family's all right. My friends are all right.
• 21:58
  Speaker 3: But they, always they, they are to blame.
• 22:01
  Speaker 1: And then on that note, it is funny. That's one
• 22:04
  Speaker 1: of my favorite little things as you watch the story
• 22:06
  Speaker 1: develop is they immediately start breaking off in little groups
• 22:10
  Speaker 1: and you'll look down the aisle and here's these 10
• 22:12
  Speaker 1: people over there whispering. And then we're over here with
• 22:14
  Speaker 1: our six other people whispering. Like, so isn't that the world?
• 22:17
  Speaker 1: We always break up in our groups and I'm like, well,
• 22:18
  Speaker 1: here's the problem. Them. Look at them.
• 22:20
  Speaker 3: They're holding us back.
• 22:22
  Speaker 6: Yes. Yeah.
• 22:22
  Speaker 1: It's what we do as human beings. And like, it isn't.
• 22:26
  Speaker 1: And then it like eventually becomes, it's not racial. It's
• 22:29
  Speaker 1: just like, we find whatever you can. It's not class.
• 22:32
  Speaker 1: It's whatever. It's like, Who is on my side? Who
• 22:34
  Speaker 1: is on whatever I'm thinking right now? I'm going to
• 22:37
  Speaker 1: group with you and we're probably going to attack the
• 22:39
  Speaker 1: other people. Like that's what we do.
• 22:42
  Speaker 3: Yeah, because that's what we do. But also I think
• 22:45
  Speaker 3: the other examination is of leadership. It's like the person,
• 22:51
  Speaker 3: if you are in a situation, you're uncertain. You look
• 22:53
  Speaker 3: for the person who is certain. You look for the
• 22:56
  Speaker 3: person who's able to make decisions. You're looking for the
• 22:58
  Speaker 3: person who will get you out of this mess. Therefore, Mrs.
• 23:02
  Speaker 3: Carmody says, I know the reason. It's these people and hell,
• 23:07
  Speaker 3: I've got God on my side. There's an amazing line
• 23:12
  Speaker 3: when she says, by this evening, you'll be kneeling down
• 23:14
  Speaker 3: and praying to Mother Carla. Because I am the voice
• 23:17
  Speaker 3: of God. I am, you know, it's like... And therefore...
• 23:23
  Speaker 3: I do find that. And then at the same time,
• 23:24
  Speaker 3: you've got the reasonable man, you've got the.
• 23:27
  Speaker 1: Which you'll notice that's why nobody wants to follow him. Yeah.
• 23:29
  Speaker 1: He's uncertain. He's just worried about his boy.
• 23:33
  Speaker 3: He's worried about.
• 23:34
  Speaker 1: He's trying to be civil still.
• 23:35
  Speaker 3: Yeah, absolutely.
• 23:36
  Speaker 1: All of the good things that you would want in somebody,
• 23:38
  Speaker 1: which is why we're, you know, we come in on
• 23:40
  Speaker 1: his character. We're on his side. But from the other... Yeah,
• 23:43
  Speaker 1: everybody else in the... He doesn't know what he's doing.
• 23:45
  Speaker 1: Look at this guy, you know.
• 23:46
  Speaker 3: And this is the really sad thing about the politics
• 23:49
  Speaker 3: in your country and my country is that the fact that.
• 23:53
  Speaker 3: I was watching it on YouTube and asking Trump supporters,
• 23:58
  Speaker 3: what are his policies? We don't know. We don't care.
• 24:03
  Speaker 3: We don't know. We don't care. We're sure he'll come
• 24:06
  Speaker 3: up with something.
• 24:06
  Speaker 1: I'm just siding with him on general.
• 24:09
  Speaker 3: Emotional.
• 24:11
  Speaker 1: And it is.
• 24:11
  Speaker 3: It's emotional grounds because he says we're not great because
• 24:16
  Speaker 3: we need to be made great again. He says that
• 24:18
  Speaker 3: we're being threatened by all these people, by all the
• 24:20
  Speaker 3: Muslims and the Mexicans, and therefore they... Other than.
• 24:24
  Speaker 1: Those other people on the other aisle over there.
• 24:26
  Speaker 3: Yeah, and we're going to build, you know, a big.
• 24:27
  Speaker 1: We're going to build a wall on the other aisle.
• 24:29
  Speaker 3: Yeah, we're going to build, yeah.
• 24:29
  Speaker 1: You guys, you stay away from the seven items or
• 24:32
  Speaker 1: less area over here.
• 24:33
  Speaker 3: Yeah, yeah. No, and I... Watching it again, I just thought,
• 24:37
  Speaker 3: oh my God, this is just... And again, I'm using Trump,
• 24:41
  Speaker 3: but I can as easily use, because this is exactly
• 24:44
  Speaker 3: what happened in my country, where we voted to leave.
• 24:47
  Speaker 3: When I say we, not me.
• 24:49
  Speaker 1: We're blaming you personally.
• 24:51
  Speaker 3: Less than a quarter of the population voted to leave. Yeah,
• 24:55
  Speaker 3: because obviously you can take our little island and move
• 24:59
  Speaker 3: it into the middle of the Atlantic Ocean because we
• 25:01
  Speaker 3: have no trading relationships with that. It's easy for politicians
• 25:07
  Speaker 3: with the eye for the prize of power That's what
• 25:11
  Speaker 3: they're interested in. They're not, this is the problem with leaders,
• 25:15
  Speaker 3: leaders who care about people who actually want the best
• 25:18
  Speaker 3: for their people. They have a really, really tough time
• 25:22
  Speaker 3: because as you say, they're reasonable. They'll listen to argument.
• 25:25
  Speaker 3: They'll listen, you know, they'll listen, but people who are
• 25:29
  Speaker 3: fascists like, like comedy, uh, Mrs. Comedy in this, because
• 25:33
  Speaker 3: by which I mean a person who has so totally
• 25:36
  Speaker 3: convinced that their own points of view, um, they're very charismatic.
• 25:42
  Speaker 3: They're very attractive.
• 25:43
  Speaker 1: And they, they're extreme to the extent, like, you know
• 25:47
  Speaker 1: what they stand for almost immediately. So you don't have to,
• 25:50
  Speaker 1: even if you don't know the specifics, you're just like, Oh.
• 25:51
  Speaker 3: Well that, I'm on board with that.
• 25:53
  Speaker 1: Whatever it is, I'm on board with that.
• 25:55
  Speaker 3: I mean, the subtlety of the way that it builds
• 25:59
  Speaker 3: up and you know that she's eventually going to call
• 26:01
  Speaker 3: for the death of the child. That's so crazy. It's,
• 26:06
  Speaker 3: and it's like the way that people are, um, standing
• 26:11
  Speaker 3: behind her praying with her hands in the air as
• 26:15
  Speaker 3: you've seen on so many churches like yeah we'll fall
• 26:18
  Speaker 3: back and we're going to go behind this lady and
• 26:21
  Speaker 3: i think you know that's what i find so terrifying
• 26:23
  Speaker 3: about the movie then on top of that they leave
• 26:26
  Speaker 3: them and then you get the real monstrous thing you
• 26:28
  Speaker 3: realize just how bad the you know hell we've got
• 26:31
  Speaker 3: these human beings they're bad you know we may be
• 26:34
  Speaker 3: able to get medical save this guy hell i think
• 26:37
  Speaker 3: it's probably a good idea if we can get out
• 26:38
  Speaker 3: of here we can i've And again, he will leave
• 26:41
  Speaker 3: his son because he knows it's the right thing to
• 26:43
  Speaker 3: do to try and get the medication. So they go
• 26:46
  Speaker 3: to the chemist next door.
• 26:47
  Speaker 1: Again, always being the good caring guy.
• 26:49
  Speaker 3: Yeah, being the good caring guy. He's the stand-up guy,
• 26:53
  Speaker 3: the one who's civilized.
• 26:54
  Speaker 1: Trying to help everyone around him.
• 26:56
  Speaker 3: Trying to help everybody and trying to solve the situation.
• 26:59
  Speaker 1: No wonder nobody wants to get behind his leader.
• 27:01
  Speaker 3: No, no, no. Except for that small.
• 27:04
  Speaker 1: Group of people. That little group of his friends.
• 27:05
  Speaker 5: Yeah.
• 27:07
  Speaker 3: It's not just that. It's the... love the moment where
• 27:11
  Speaker 3: um the teacher stones comedy throws the can of peas
• 27:16
  Speaker 3: at her head to get her to shut up you
• 27:18
  Speaker 3: just think because you've been wanting to do this throughout
• 27:21
  Speaker 3: the entire you know every moment the moment the character
• 27:23
  Speaker 3: gets introduced you want to see um comedy get a
• 27:27
  Speaker 3: come up and as she does eventually.
• 27:29
  Speaker 1: As time goes on though this is the part that
• 27:32
  Speaker 1: is probably the most frightening that only occurred to me
• 27:35
  Speaker 1: watching at this time because you go through and you
• 27:37
  Speaker 1: watch this build and you watch her and like, I
• 27:40
  Speaker 1: think why the performance is so amazing is because she's so,
• 27:46
  Speaker 1: some of it is charismatic, but at the same time,
• 27:49
  Speaker 1: she's also not like wing nut. Like by the beginning,
• 27:53
  Speaker 1: she's just, she's very set in her ways, but she
• 27:57
  Speaker 1: doesn't really like this. She's, she doesn't really decide to
• 28:01
  Speaker 1: get like, she doesn't go off the deep end immediately. She,
• 28:05
  Speaker 1: she builds and builds and like, it's only that last
• 28:08
  Speaker 1: scene where you're like, okay, now it's a little above
• 28:10
  Speaker 1: and beyond. But before that, everything she is doing is
• 28:13
  Speaker 1: just based on, this is what I believe, uh, have faith.
• 28:17
  Speaker 5: Yeah.
• 28:17
  Speaker 1: It's all these other that are, again, I think she's
• 28:21
  Speaker 1: kind of crazy, but there's a lot of people out there,
• 28:23
  Speaker 1: a lot of people that would totally be on her side.
• 28:26
  Speaker 3: Yeah, no, absolutely. Yeah. There is a scene where she
• 28:29
  Speaker 3: knows fairly early on when she's realizing that they really
• 28:33
  Speaker 3: have no idea what's going on, that people have already died.
• 28:36
  Speaker 3: She's saying, you know, make me an instrument of thy will.
• 28:39
  Speaker 3: And therefore, this is why I find religion so difficult. Because, again,
• 28:46
  Speaker 3: it is literally... that we want certainty. There's a lovely
• 28:51
  Speaker 3: line of Mervyn Peake, which I used in one of
• 28:53
  Speaker 3: my comics, one of the Hellraiser comics that I wrote,
• 28:57
  Speaker 3: that we live in crazy balance. And again, talking about
• 29:03
  Speaker 3: the certainty, the only time I've actually got a fan letter,
• 29:07
  Speaker 3: weirdly enough, it was a fan letter, not written to
• 29:09
  Speaker 3: the Hellraiser comic, but written to another comic called Cerebus,
• 29:15
  Speaker 3: Cerebus the Aardvark, Done by Dave Sim, 300 issues only.
• 29:20
  Speaker 3: But somebody had written and then quoted that. And he said,
• 29:23
  Speaker 3: this describes my job. He says, as a black police
• 29:27
  Speaker 3: officer during the original L.A. riots. And I just remember going, wow. that's, yeah,
• 29:34
  Speaker 3: this is, yeah, yeah. There's no good.
• 29:38
  Speaker 1: Way to deal with anything going on in your life.
• 29:42
  Speaker 3: No, no, absolutely. And I think this is what the
• 29:45
  Speaker 3: genius of the film is and the performance and the
• 29:47
  Speaker 3: writing of it is exactly as you say, Brian. We
• 29:51
  Speaker 3: go from somebody who is convinced, but she gets the
• 29:55
  Speaker 3: scent of blood in her nostrils. She really does. She
• 29:59
  Speaker 3: realizes that I am the person who everyone laughs at.
• 30:03
  Speaker 3: I'm the person who everyone ignores. I'm the everyone who's crazy.
• 30:06
  Speaker 3: But hell, I'm right. I predict that somebody's going to die.
• 30:11
  Speaker 3: This is the end of days. I've got this book
• 30:13
  Speaker 3: in my hand. It's a little comeuppance.
• 30:15
  Speaker 1: It's like, finally, you're not laughing at me. I've been proven.
• 30:20
  Speaker 1: You see a little of that her entire life. She's
• 30:24
  Speaker 1: been fighting against this. And finally... People are on her side.
• 30:27
  Speaker 3: Yeah, yeah, yeah.
• 30:28
  Speaker 1: That power obviously goes to her head.
• 30:30
  Speaker 3: Yeah, yeah, yeah, yeah.
• 30:31
  Speaker 1: What I was saying earlier, though, the part that I
• 30:33
  Speaker 1: find the most frightening is by the time you get
• 30:36
  Speaker 1: to the end of this, you're like, oh, God, is
• 30:38
  Speaker 1: she right? Because we never really get an answer. And
• 30:42
  Speaker 1: so is it the end of days?
• 30:44
  Speaker 3: Yeah.
• 30:45
  Speaker 1: Is it because we are, as we see in this
• 30:47
  Speaker 1: little microcosm, we're so horrible as human beings that– We
• 30:51
  Speaker 1: don't deserve to live. So the powers that be sent
• 30:55
  Speaker 1: this through to be like, you know what? Clean up
• 30:57
  Speaker 1: down there. We need to take.
• 30:59
  Speaker 3: Care of these people. And I think this is the
• 31:02
  Speaker 3: fascinating thing. When the soldier gets killed, the lynching of
• 31:06
  Speaker 3: the soldier is completely and utterly logical. And terrifying. Absolutely terrifying.
• 31:14
  Speaker 1: And kind of believable. As the frenzy works up, I'm like, yeah,
• 31:19
  Speaker 1: I can see this happening.
• 31:21
  Speaker 3: I don't know. Have you ever been on protest march?
• 31:24
  Speaker 1: No.
• 31:25
  Speaker 3: Okay. I grew up in gay man, 1980s, when they
• 31:29
  Speaker 3: tried to, in the Great Britain, under that bitch Margaret Thatcher.
• 31:34
  Speaker 1: I don't hear a lot of popular things.
• 31:37
  Speaker 3: No, no.
• 31:37
  Speaker 1: There's no positive take on her. No, no.
• 31:39
  Speaker 3: But you'd be surprised the number of Americans who believe
• 31:41
  Speaker 3: that she was a great thing in the same way
• 31:43
  Speaker 3: that Ronald Reagan was. But sorry, that bitch Margaret Thatcher
• 31:47
  Speaker 3: tried to make being gay illegal and tried to, you know,
• 31:51
  Speaker 3: and made the teaching of gay, that being gay was
• 31:54
  Speaker 3: okay in our schools completely illegal. It's called Clause 28.
• 31:56
  Speaker 3: So I went to a lot of protest marches about this.
• 32:00
  Speaker 3: And one of the most recent, the last ones that
• 32:03
  Speaker 3: I did was much smaller, actually. It was a smaller march.
• 32:07
  Speaker 3: And I'd say, rather than being amongst thousands, I was
• 32:10
  Speaker 3: amongst 30, 40 people.
• 32:14
  Speaker 1: That changes the game a little. It changes.
• 32:17
  Speaker 3: And what you get is mob mentality. And the mob
• 32:21
  Speaker 3: is terrifying because we were coming towards 10 Downing Street
• 32:25
  Speaker 3: and It's, we're here, we're queer, and we're not going shopping,
• 32:28
  Speaker 3: I remember was the chant. But actually, it became terrifying.
• 32:34
  Speaker 3: In that group of people, I suddenly thought, these guys
• 32:38
  Speaker 3: are really winding themselves up now.
• 32:41
  Speaker 1: You're talking within your own group.
• 32:43
  Speaker 3: Yeah, yeah, absolutely.
• 32:44
  Speaker 1: Because obviously the outside is going to be frightening.
• 32:46
  Speaker 3: Yeah, but literally with that.
• 32:48
  Speaker 1: In your group, I start to feel that.
• 32:50
  Speaker 3: That's scary. Yeah, it was really, I never... I've heard
• 32:53
  Speaker 3: of mob mentality before. In my country, in Georgian times,
• 33:00
  Speaker 3: the mob was a force on the street and the
• 33:03
  Speaker 3: mob was a thing that the politicians were terrified of
• 33:06
  Speaker 3: because the mob could be whipped up by people publishing pamphlets, etc. Religious, political,
• 33:12
  Speaker 3: it really didn't matter. And again, it's that thing of
• 33:15
  Speaker 3: we're suffering, what's the answer? It's them.
• 33:18
  Speaker 1: Let's go lynch someone.
• 33:19
  Speaker 3: Let's go lynch someone. That's the answer for all of us.
• 33:22
  Speaker 3: We're going to take somebody's head for this. And so
• 33:26
  Speaker 3: I think this is– I was looking at this film
• 33:28
  Speaker 3: and just thinking it really should be required viewing at
• 33:31
  Speaker 3: the moment. Not that it's going to– to be honest,
• 33:35
  Speaker 3: only to make people who are in my mind reasonable
• 33:43
  Speaker 3: scared– to wake people up from any complacency they might have.
• 33:48
  Speaker 3: You're not going to convince anybody. It's not going to
• 33:50
  Speaker 3: change anybody's mind. Yeah.
• 33:54
  Speaker 1: It's one of those, I'm like, I feel like the
• 33:55
  Speaker 1: people who get it are probably already going to know.
• 33:58
  Speaker 5: Yeah.
• 33:59
  Speaker 1: And the people who don't are going to be like,
• 34:00
  Speaker 1: I like that monster with the tentacles. Yeah. So you're
• 34:03
  Speaker 1: not really going to even occur to some of them.
• 34:05
  Speaker 3: Or you say it's karma, you know, karma is right.
• 34:06
  Speaker 1: Yeah.
• 34:07
  Speaker 3: And that's part of the, that is part of it. It's... just, yeah,
• 34:15
  Speaker 3: it's modern mentality. Refresh yourself.
• 34:49
  Speaker 1: It's intermission time.
• 34:50
  Speaker 7: The concession stand is open and ready to serve you.
• 34:53
  Speaker 1: Come now and explore the possibility of the impossible. Centronics
• 35:00
  Speaker 1: International presents a terrifying journey into the supernatural, narrated by
• 35:05
  Speaker 1: the master of slithering evil, Rod Serling.
• 35:08
  Speaker 7: It is tradition that ghosts and ghouls and various other
• 35:11
  Speaker 7: citizens of the grotesque wrap themselves in malevolent mists.
• 35:15
  Speaker 1: And deep darkness, disguised as all manner of things. This
• 35:19
  Speaker 1: is a terrifying encounter with the unknown.
• 35:22
  Speaker 5: Whoa!
• 35:28
  Speaker 3: A tale spun by devils.
• 35:30
  Speaker 1: Encounter with the unknown. So I just wanted to say,
• 35:38
  Speaker 1: as a tie-in to both our guest this week and
• 35:40
  Speaker 1: our sponsor, I was there at Days of the Dead Louisville,
• 35:44
  Speaker 1: and I was, as usual, buying more stuff, like I do.
• 35:47
  Speaker 1: And as I got my wallet out to pay, it
• 35:50
  Speaker 1: immediately caught Nicholas's eye, and he asked, is that what
• 35:53
  Speaker 1: I think it is? In reference to my handmade leather
• 35:56
  Speaker 1: Admiral Ackbar wallet. He asked to look at it and
• 35:59
  Speaker 1: was astounded by not just my geekiness for having that wallet,
• 36:03
  Speaker 1: but also at the craftsmanship of the piece. He liked
• 36:06
  Speaker 1: it so much he specifically made me take it and
• 36:08
  Speaker 1: show it to Barbie Wilde, who again you horror fans
• 36:11
  Speaker 1: will know as the female Cenobite, who loved it and
• 36:14
  Speaker 1: had a friend who had played one of the Mon Calamari,
• 36:16
  Speaker 1: and then she asked if she could take a picture
• 36:18
  Speaker 1: of the artwork on the wallet to show to her friend.
• 36:21
  Speaker 1: So I thought all of that was pretty fun, and
• 36:22
  Speaker 1: it all came about because I'm carrying a wallet I
• 36:25
  Speaker 1: got from World of Leathercraft. So don't you wait till
• 36:27
  Speaker 1: the legions of hell are upon you. Go get yourself
• 36:30
  Speaker 1: something awesome from World of Leathercraft right now.
• 36:32
  Speaker 4: So to find World of Leathercraft, go to etsy.com slash
• 36:36
  Speaker 4: shop slash World of Leathercraft. Or just go to moviemeltdown.com
• 36:40
  Speaker 4: and click on the World of Leathercraft banner at the
• 36:42
  Speaker 4: bottom of the page. And since you're a Movie Meltdown listener,
• 36:45
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• 36:49
  Speaker 4: at checkout and get 25% off all orders over $ 50.
• 36:53
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• 37:03
  Speaker 3: Hey guys, it's Greg Nicotero from The Walking Dead.
• 37:06
  Speaker 1: This is Movie Meltdown.
• 37:12
  Speaker 5: It's part of your problem, you know.
• 37:15
  Speaker 3: You haven't seen enough movies.
• 37:16
  Speaker 6: All of life's riddles are answered in the movies.
• 37:19
  Speaker 3: And now, on.
• 37:20
  Speaker 1: With the show.
• 37:41
  Speaker 3: What other notes did you have? I've got a couple
• 37:42
  Speaker 3: more to think about.
• 37:43
  Speaker 6: Oh, let's see.
• 37:44
  Speaker 3: That I just really thought were absolutely amazing.
• 37:46
  Speaker 1: I even thought, again, going back to what you said
• 37:48
  Speaker 1: at the very beginning there, this is another one that
• 37:51
  Speaker 1: didn't occur to me until watching it this time. from
• 37:55
  Speaker 1: the very beginning, like some of the stuff is so
• 37:57
  Speaker 1: mapped out or maybe even telegraphed. I don't even know,
• 38:01
  Speaker 1: but it's like at the very beginning, this thing is
• 38:04
  Speaker 1: about interpersonal relationships. Like as soon as he comes outside
• 38:08
  Speaker 1: into the yard, he's like, Oh, I gotta go talk
• 38:10
  Speaker 1: to that guy. And like you watch just between these
• 38:13
  Speaker 1: two people, there's already like friction and there's already like,
• 38:17
  Speaker 1: awkwardness and like it's it's already just like nothing's even
• 38:20
  Speaker 1: gone wrong yet and you're watching gotta talk to this
• 38:23
  Speaker 1: guy so from the very first step we get into
• 38:27
  Speaker 1: everything is about how we deal with each other as
• 38:30
  Speaker 1: people yeah yeah and then what happens when you're stuck
• 38:32
  Speaker 1: in a place and what happens when things are going
• 38:34
  Speaker 1: wrong and like then you just watch it just domino
• 38:37
  Speaker 1: effect and like how many things go wrong on that
• 38:40
  Speaker 1: same principle that we introduced the very first Timey goes
• 38:43
  Speaker 1: out into the world.
• 38:44
  Speaker 3: But also when you're in there and later, you know,
• 38:47
  Speaker 3: you're dealing with themes of euthanasia, a theme of suicide.
• 38:53
  Speaker 3: You know, it touches on all the, you know, what
• 38:55
  Speaker 3: do you do in this most appalling. But actually just wondering,
• 38:59
  Speaker 3: there's one thing I was like, one of my favorite
• 39:01
  Speaker 3: sequences as well is at the very beginning when the
• 39:03
  Speaker 3: mist goes in, comes in. There's a woman there. She's saying,
• 39:08
  Speaker 3: and they're locking the door. She's like, I've got to
• 39:09
  Speaker 3: go home.
• 39:10
  Speaker 1: Maybe the best scene in the movie. It's death out there.
• 39:14
  Speaker 1: It's the end of days. Stop it.
• 39:15
  Speaker 5: Okay?
• 39:17
  Speaker 4: Stop it.
• 39:17
  Speaker 3: Please, everybody. Everybody just relax. Okay?
• 39:20
  Speaker 1: He's right.
• 39:20
  Speaker 3: Let's just stay cool. Let's just try to figure out
• 39:23
  Speaker 3: what happened.
• 39:23
  Speaker 6: I'm sorry.
• 39:24
  Speaker 1: I can't just stay here. I have to get home
• 39:27
  Speaker 1: to my kids.
• 39:28
  Speaker 7: Ma'am, no.
• 39:28
  Speaker 3: You can't go out there. Could be a poisonous gas cloud.
• 39:31
  Speaker 3: Can you hear that man screaming? I agree.
• 39:33
  Speaker 1: Let's stay here until we figure it out.
• 39:36
  Speaker 3: You're not listening.
• 39:37
  Speaker 1: I can't stay here. Wanda's looking after little Victor. She's
• 39:43
  Speaker 1: only eight.
• 39:44
  Speaker 5: Sometimes she forgets she's supposed to be watching him, you know?
• 39:52
  Speaker 3: I told them I'd only be gone a few minutes.
• 39:56
  Speaker 1: She's only eight.
• 39:59
  Speaker 3: For their sakes, don't. Oh, is anybody going to help me?
• 40:09
  Speaker 1: Won't somebody here see a lady home? I watched it
• 40:18
  Speaker 1: again this morning, and I was like, this is heartbreaking.
• 40:21
  Speaker 3: I mean, she.
• 40:22
  Speaker 1: I mean, you know who that is now, right? Nobody
• 40:25
  Speaker 1: did at the time.
• 40:25
  Speaker 3: Yeah.
• 40:26
  Speaker 1: And they said she– that's the thing. I was like, well,
• 40:28
  Speaker 1: maybe she was just kind of– they referred to her–
• 40:31
  Speaker 1: I was watching a documentary that they made then. So
• 40:33
  Speaker 1: she wasn't anybody then. They referred to her as a local.
• 40:36
  Speaker 3: Right.
• 40:37
  Speaker 1: And she wasn't like from Louisiana or wherever they shot it.
• 40:41
  Speaker 1: It was like Dallas that she was from. But because
• 40:43
  Speaker 1: she was not in L.A., she wasn't transported in by them.
• 40:46
  Speaker 1: She was a local.
• 40:47
  Speaker 2: Right.
• 40:47
  Speaker 1: And they just did some auditions. And she showed up
• 40:51
  Speaker 1: for them. And, like, they, like, the cast, you know,
• 40:56
  Speaker 1: Dara Bond was just flabbergasted by how good that, I mean,
• 41:01
  Speaker 1: she has, like, two minutes. Yep. And Melissa McBride is
• 41:04
  Speaker 1: her name. And you know her now.
• 41:06
  Speaker 4: Right.
• 41:06
  Speaker 1: But, like, at the time, she just delivers this most
• 41:10
  Speaker 1: heartbreaking little speech. Yeah. And again, we also get that
• 41:14
  Speaker 1: little interpersonal thing of looking at everybody, looking at the soldier,
• 41:19
  Speaker 1: the dad. No matter who it is, she looks at
• 41:23
  Speaker 1: it and they just look away from her.
• 41:24
  Speaker 3: And it's her reason for being homeless because she's eight
• 41:28
  Speaker 3: years old and she's looking after the baby. And sometimes
• 41:30
  Speaker 3: she forgets.
• 41:31
  Speaker 1: She's supposed to be watching him.
• 41:33
  Speaker 3: God, it's so hard. It's so hard. I think for
• 41:38
  Speaker 3: any parent who's been in that situation, you just know.
• 41:41
  Speaker 3: It's my baby. It's my child. And then we, ah,
• 41:44
  Speaker 3: it's absolutely extraordinary. And that's at the beginning of the movie.
• 41:47
  Speaker 3: That's within, it's about 15, 20 minutes into the movie.
• 41:50
  Speaker 3: And already, as I'm talking to you now, I'm still
• 41:53
  Speaker 3: getting goosebumps whenever he's like, I said to you before,
• 41:56
  Speaker 3: I had to watch this on the plane. I had
• 41:58
  Speaker 3: to stop eventually because it's just too, I was jumping
• 42:00
  Speaker 3: in my seat. It is overwhelming. It is overwhelming. It
• 42:04
  Speaker 3: is an overwhelming movie. And I can remember before I
• 42:07
  Speaker 3: ever watched the movie, we have to, as anybody who
• 42:10
  Speaker 3: knows me well, has watched my show or anything and
• 42:13
  Speaker 3: knows I am a scaredy cat. I am not good
• 42:15
  Speaker 3: with horror movies. I'm a Gemini, so I can both
• 42:19
  Speaker 3: love and be terrified by horror movies.
• 42:21
  Speaker 1: Once again, you picked this one, not me.
• 42:23
  Speaker 3: I didn't force you to watch it. And I'm really
• 42:27
  Speaker 3: pleased I made you suffer. But it is just a
• 42:33
  Speaker 3: terribly difficult watch. I find it absolutely stunning. I was
• 42:38
  Speaker 3: at a London Horror... a thing called Fright Fest, a
• 42:43
  Speaker 3: five-day horror festival.
• 42:45
  Speaker 1: It's got a really good reputation. I've heard a lot
• 42:47
  Speaker 1: about it.
• 42:48
  Speaker 3: There's a film that's premiered there called Cruel Summer, which
• 42:53
  Speaker 3: is about three teenagers who take it, who, through a lie,
• 42:58
  Speaker 3: start bullying and taking it to the worst possible conclusion.
• 43:03
  Speaker 3: And Cruel Summer, it's like I watched this, I'd interviewed
• 43:07
  Speaker 3: them on my show, on my YouTube show, the writers
• 43:10
  Speaker 3: and the directors knew all the story about how it
• 43:12
  Speaker 3: had been filmed and so on saw the trailer and
• 43:14
  Speaker 3: I thought I think this is going to be a
• 43:16
  Speaker 3: tough watch I was absolutely right and I was completely
• 43:19
  Speaker 3: sucker punched by this and it's the same thing because
• 43:22
  Speaker 3: it's got they were showing it at a horror festival
• 43:26
  Speaker 3: and somebody in the audience in the Q & A
• 43:28
  Speaker 3: afterwards said this isn't horror, I'm surprised, because I think
• 43:33
  Speaker 3: of horror as blood and guts and having the fun
• 43:35
  Speaker 3: of people.
• 43:36
  Speaker 1: Or it's a lot of different things.
• 43:38
  Speaker 3: Well, precisely. Ian, who is one of the festival directors, said,
• 43:43
  Speaker 3: you know, we are a broad church. And that movie
• 43:46
  Speaker 3: is terrifying.
• 43:47
  Speaker 1: Yeah.
• 43:47
  Speaker 3: Because you know what's going to happen. You know where
• 43:52
  Speaker 3: it's going. And still you're just thinking, no, it's going
• 43:55
  Speaker 3: to stop. Somebody's going to step in. Somebody is going
• 43:57
  Speaker 3: to Save the day and so on. And I think that's,
• 44:02
  Speaker 3: you know, as we move towards the end of my notes,
• 44:06
  Speaker 3: I think you want to go to Child Scared. Actually,
• 44:10
  Speaker 3: I thought it was CG. I thought the monsters, let's
• 44:12
  Speaker 3: talk about the monsters. I mean, some of those must be.
• 44:15
  Speaker 3: I mean, the huge, great big ones must be.
• 44:17
  Speaker 1: Yeah, most of that part. That's the thing, though. I
• 44:19
  Speaker 1: remembered watching it the first time thinking there was a
• 44:22
  Speaker 1: lot of CG stuff in it. Now, going back, it is...
• 44:26
  Speaker 1: a mixture and the tentacles are the part that's a
• 44:28
  Speaker 1: little iffy for me they'll look very cg yeah it's
• 44:31
  Speaker 1: a good scene.
• 44:32
  Speaker 3: It works really well oh yeah yeah that's.
• 44:34
  Speaker 1: The part where you're like obviously that's cg and because
• 44:36
  Speaker 1: they couldn't do it yeah yeah but there are moments
• 44:38
  Speaker 1: when even that is a mixture because greg nicotero did
• 44:41
  Speaker 1: the effects yeah he built a real tentacle so when
• 44:45
  Speaker 1: they chop one off that yeah like there is one
• 44:48
  Speaker 1: that the kids like fighting with at some point like
• 44:50
  Speaker 1: So all of it is sort of a mixture of,
• 44:53
  Speaker 1: and some of it is 2007. It's weird that just
• 44:56
  Speaker 1: that short amount of time, how different CG is. Like
• 45:00
  Speaker 1: you can watch, you know, those early stuff they did
• 45:03
  Speaker 1: even like, again, even early 2000s versus the stuff they're
• 45:07
  Speaker 1: doing in that last Planet of the Apes movie.
• 45:10
  Speaker 3: Yeah.
• 45:10
  Speaker 1: Is amazing.
• 45:11
  Speaker 3: Yeah, yeah. I haven't seen it, but yeah.
• 45:13
  Speaker 1: I mean, you barely can tell the difference and like
• 45:16
  Speaker 1: that it can get that real. is amazing to me.
• 45:20
  Speaker 1: So even that jump to 2007, you're like, well, I
• 45:23
  Speaker 1: kind of have to give it a little pass because
• 45:25
  Speaker 1: they're still figuring out CG even at that point in time.
• 45:28
  Speaker 3: I mean, I was watching on my laptop, so I
• 45:29
  Speaker 3: suppose I wasn't watching on a big screen, but to
• 45:31
  Speaker 3: me it stood up perfectly well.
• 45:33
  Speaker 1: Yeah.
• 45:34
  Speaker 3: And those flying insects and they.
• 45:36
  Speaker 1: A lot of that stuff was CG and looks pretty good,
• 45:40
  Speaker 1: I think. Oh, yeah. Even the ones that you get
• 45:43
  Speaker 1: kind of close-ups on look pretty solid. Oh, yeah. I
• 45:46
  Speaker 1: have to give them... Again, that's... That's a mixture I
• 45:49
  Speaker 1: think I was going through. I think Cafe FX does
• 45:51
  Speaker 1: a lot of the CG stuff, and then K & B,
• 45:54
  Speaker 1: with mostly Greg Nicotero, because I saw all these shots
• 45:57
  Speaker 1: of him on set doing stuff, and he's doing a
• 46:00
  Speaker 1: lot of the practical stuff. So it's funny that that
• 46:03
  Speaker 1: was going to be one of my points, is that's
• 46:05
  Speaker 1: what happens later. What I usually reference now is the
• 46:08
  Speaker 1: perfect mixture of those two things that we see all
• 46:11
  Speaker 1: the time now is The Walking Dead.
• 46:13
  Speaker 5: Yeah.
• 46:14
  Speaker 1: They constantly do practical effects, practical makeup, blood splatter that
• 46:19
  Speaker 1: looks pretty good now. That used to be the worst
• 46:21
  Speaker 1: thing was bad CG blood.
• 46:23
  Speaker 3: Well, the trouble is with CGI and you see it
• 46:25
  Speaker 3: so much is like you get so many guns that
• 46:27
  Speaker 3: have no recoil.
• 46:28
  Speaker 5: Oh, yeah.
• 46:29
  Speaker 3: Because they just add a flash.
• 46:29
  Speaker 1: And this weird glowing flash that happens.
• 46:32
  Speaker 3: Yeah, yeah, yeah, yeah. But I mean, the other thing
• 46:34
  Speaker 3: that I really wanted to talk about that just sounds
• 46:36
  Speaker 3: so effective, particularly in the last 15 minutes of this movie, which,
• 46:40
  Speaker 3: funnily enough, the chapter on the is called Hopelessness. You
• 46:46
  Speaker 3: have escaped from the supermarket, and the last chapter is Hopelessness.
• 46:51
  Speaker 1: It should be called Dead Can Dance.
• 46:53
  Speaker 3: When I first watched this movie, I had no idea.
• 46:56
  Speaker 3: I had no idea what was coming. And the thing
• 47:00
  Speaker 3: that really sells it for me as well is the
• 47:02
  Speaker 3: theme music. It's the music.
• 47:05
  Speaker 1: Dead Can Dance. I did not know that's... It's one
• 47:08
  Speaker 1: of those, again, I started a spin-off music show, and
• 47:11
  Speaker 1: I'm like... that to me is one of the, cause I,
• 47:13
  Speaker 1: there are so many scenes to me that don't work
• 47:16
  Speaker 1: without the music. And like, I love finding that balance
• 47:18
  Speaker 1: of like a great scene that only works because they
• 47:22
  Speaker 1: found the perfect song. And like, I can't imagine those
• 47:25
  Speaker 1: last like 10 minutes without that music. Like how weird,
• 47:28
  Speaker 1: if it was just dead silent, it would be weird.
• 47:31
  Speaker 1: If it had even just a score, it wouldn't quite
• 47:34
  Speaker 1: have the power that that does.
• 47:35
  Speaker 3: Because it's, it's that woman screaming, screaming, you know, It
• 47:40
  Speaker 3: is a mournful sound.
• 47:42
  Speaker 4: It is.
• 47:42
  Speaker 3: And it's... It's the way.
• 47:44
  Speaker 1: It's also kind of epic. Yes. And you're watching that
• 47:47
  Speaker 1: preacher and you're just like, oh, God. Like, this isn't
• 47:51
  Speaker 1: just a weird tentacle thing over there.
• 47:53
  Speaker 5: Yeah.
• 47:53
  Speaker 1: This is a huge ordeal that we're dealing with. This
• 47:56
  Speaker 1: isn't just this grocery store. Yeah. This is everywhere.
• 48:00
  Speaker 3: And again, it's the thing at the very end as
• 48:02
  Speaker 3: well is that it's the kid. It's Nathan. The look
• 48:07
  Speaker 3: as he wakes up.
• 48:08
  Speaker 1: Mm-hmm.
• 48:10
  Speaker 3: And looks at his father. You don't see Jane. The
• 48:13
  Speaker 3: decision's been made as to what's going to happen in
• 48:15
  Speaker 3: the car. And what you see is the look on
• 48:18
  Speaker 3: the kid's face as he realizes he needs to be scared.
• 48:21
  Speaker 3: He doesn't know why he's scared. You don't see Jane's face.
• 48:25
  Speaker 3: You don't see any of the adults' faces. It just
• 48:30
  Speaker 3: got written. And, of course, wait a minute.
• 48:34
  Speaker 1: So are you... Well, again, you didn't know what was
• 48:38
  Speaker 1: coming within the movie. Are you familiar with the short story?
• 48:42
  Speaker 3: No, the novella.
• 48:44
  Speaker 1: Well, that's one of the things I was going to
• 48:45
  Speaker 1: go back to. I knew of this well before the movie,
• 48:48
  Speaker 1: and not even from the novella. I will give a plug.
• 48:51
  Speaker 1: It's probably on YouTube, like everything else. They put out,
• 48:54
  Speaker 1: and this is how far back it goes, I had
• 48:56
  Speaker 1: it on cassette tape. Ask your parents about that, kids.
• 48:59
  Speaker 1: It was a... It was not a reading of it.
• 49:02
  Speaker 1: It was a... basically a radio production. It was top quality, performances,
• 49:08
  Speaker 1: everyone just doing the lines, sound effects, and it was
• 49:11
  Speaker 1: presented in, at the time I think they called it
• 49:13
  Speaker 1: like 4D sound, and it was specifically made to be
• 49:17
  Speaker 1: this weird immersive surround sound kind of experience about The
• 49:22
  Speaker 1: Mist and I listened to that like again this was
• 49:26
  Speaker 1: like early 90s maybe maybe late 80s like it's a
• 49:30
  Speaker 1: long time ago and I remember that was one of
• 49:33
  Speaker 1: the best things I'd ever heard like quality wise the
• 49:36
  Speaker 1: sound is amazing but the story is terrific At the
• 49:40
  Speaker 1: end of that story, and in the novel, they're sitting there,
• 49:44
  Speaker 1: I think they found an abandoned diner or something, but
• 49:46
  Speaker 1: for the most part, how it ends is they're sitting
• 49:48
  Speaker 1: around a table going, what do we do now? And
• 49:51
  Speaker 1: I guess we'll drive until the gas runs out. And
• 49:54
  Speaker 1: that's how the story ends. There is no final scene
• 49:58
  Speaker 1: like that. And Darabond came in and went, we need an, even,
• 50:02
  Speaker 1: he said, once he got the okay from King, King goes,
• 50:04
  Speaker 1: you're gonna need an ending. And he's like, yeah, I know,
• 50:06
  Speaker 1: I think I've got one worked out, but He wrote it. Basically,
• 50:10
  Speaker 1: he brought it to King and went, here. And King's like, ah, shit.
• 50:14
  Speaker 1: I wish I would have thought of that. He was
• 50:17
  Speaker 1: so impressed with Darabont's ending. He's like, if I would
• 50:20
  Speaker 1: have thought of it, I would have ended the story
• 50:21
  Speaker 1: that way. He does make a comment in the novella
• 50:26
  Speaker 1: that he says something that's that same line. He's like,
• 50:29
  Speaker 1: something to the effect of, because I think there were
• 50:31
  Speaker 1: only four people. He's like, there's four people in the
• 50:32
  Speaker 1: car and three bullets. If it comes down to it,
• 50:35
  Speaker 1: I'll take care of things. And that's an offhand little
• 50:38
  Speaker 1: comment he makes in the novel. And that's what Darabond
• 50:41
  Speaker 1: went with and went, well, what if we saw that through?
• 50:45
  Speaker 1: And then what if there are one bullet short? So yeah,
• 50:49
  Speaker 1: that last scene is an add-on that Darabond did. I mean,
• 50:54
  Speaker 1: to me, that makes or breaks the movie for you.
• 50:57
  Speaker 1: It's just kind of a fun monster movie if that's
• 50:59
  Speaker 1: all you want it to be up until that last scene.
• 51:01
  Speaker 1: You can't escape that last scene.
• 51:04
  Speaker 3: And the genius of it is Jane's performance. It's that
• 51:08
  Speaker 3: howl he gives when he realizes what's going on. It's
• 51:14
  Speaker 3: the fact that the soldiers mostly ignore him. Oh, yeah.
• 51:17
  Speaker 3: And their masks and the tank goes rolling by. And
• 51:21
  Speaker 3: it's just Jane's performance.
• 51:27
  Speaker 1: I mean, it is those moments of being overwhelmed by...
• 51:32
  Speaker 1: horror and you know grief and like because it's that
• 51:34
  Speaker 1: same thing he kind of does when he when the
• 51:36
  Speaker 1: kid gets sucked out into the the yeah and he
• 51:39
  Speaker 1: just is like winded by grief he's just like yeah
• 51:42
  Speaker 1: this kid just died in front of me and like
• 51:44
  Speaker 1: he he that performance again is something i did not
• 51:47
  Speaker 1: see coming out of thomas jane before that movie and
• 51:49
  Speaker 1: i went wow so when you get to him like
• 51:52
  Speaker 1: up a hundred notches after having to just kill everyone
• 51:56
  Speaker 1: in the car including his son That's one of those,
• 52:00
  Speaker 1: I mean, the performance is amazing, but that's one of
• 52:03
  Speaker 1: the things I wanted to talk about was what is
• 52:04
  Speaker 1: your take on that as a whole? Because I feel
• 52:07
  Speaker 1: like even hearing Darabont talk about it, he doesn't give
• 52:10
  Speaker 1: it any more weight. It's very matter of fact when
• 52:13
  Speaker 1: he talks about, so that's the way I ended the story.
• 52:16
  Speaker 1: To me, it's like, what does that ending represent, really?
• 52:20
  Speaker 1: Especially in the story. Because I have heard people say
• 52:23
  Speaker 1: that it's almost like a lack of faith Because he
• 52:29
  Speaker 1: gave up, he's punished. Because she actually says someone has
• 52:35
  Speaker 1: to pay. Like crazy, what's her face?
• 52:39
  Speaker 3: She specifically says someone has to pay.
• 52:43
  Speaker 1: The bill is due, someone has to pay. So by
• 52:45
  Speaker 1: the end, we're like, he loses faith. He's like, truthfully,
• 52:49
  Speaker 1: he would have hung on forever. two more minutes, everyone
• 52:52
  Speaker 1: would have been essentially rescued.
• 52:54
  Speaker 3: And you appear to see people from the supermarket passing
• 52:57
  Speaker 3: them chugs.
• 52:58
  Speaker 1: Well, you do, because you see her. You see Melissa
• 53:00
  Speaker 1: McBride come through.
• 53:01
  Speaker 5: Yeah, yeah.
• 53:02
  Speaker 3: I think the, what I, Buddhism has a very interesting
• 53:09
  Speaker 3: take on this. You know, it's not about reality. It's
• 53:11
  Speaker 3: about your attitude to reality. It dictates whether, you know,
• 53:15
  Speaker 3: your happiness and so on. Yeah, you can You can
• 53:18
  Speaker 3: put a religious, and I watched it for the first time.
• 53:21
  Speaker 3: I think, actually, that's really true. Comedy is proof right
• 53:23
  Speaker 3: a lot of the time.
• 53:24
  Speaker 1: Yeah.
• 53:24
  Speaker 3: If he'd had more faith, then, you know, if he
• 53:26
  Speaker 3: had actually had faith, if he hadn't tried to be reasonable.
• 53:32
  Speaker 3: But actually, it's kind of too pat.
• 53:34
  Speaker 1: I know.
• 53:35
  Speaker 3: I was watching it again this morning. I was thinking, yeah, God,
• 53:38
  Speaker 3: the lawsuits after this. It's like, you know, please, dear God, that,
• 53:42
  Speaker 3: you know, there is just a complete amnesty for everything
• 53:45
  Speaker 3: that happened in the mist.
• 53:47
  Speaker 1: I'm just trying to figure out, like, trying to call
• 53:49
  Speaker 1: your insurance agent.
• 53:50
  Speaker 3: Yeah.
• 53:50
  Speaker 1: My car got stepped on by a giant tentacle monster.
• 53:53
  Speaker 3: Yeah.
• 53:54
  Speaker 1: How do I claim this?
• 53:55
  Speaker 3: Yeah, that's true. That's true.
• 53:57
  Speaker 1: There's a lot of real world things you don't want
• 54:00
  Speaker 1: to think about.
• 54:00
  Speaker 3: You can't sue the army. You can't sue the government.
• 54:03
  Speaker 3: You can't sue the mad scientists.
• 54:05
  Speaker 1: They like it that way.
• 54:07
  Speaker 3: It's the power. I think it's a really, really interesting question, Brian.
• 54:10
  Speaker 3: I think it's a fascinating question because, yeah, part of
• 54:12
  Speaker 3: it is to do with faith. But I think that's
• 54:15
  Speaker 3: the problem we have as human beings. We want to
• 54:18
  Speaker 3: believe there's a higher power in charge because that is
• 54:22
  Speaker 3: an abrogation of responsibility. That means it's not our fault.
• 54:26
  Speaker 3: We're just the puppets. And Thomas Jane, the character, I
• 54:31
  Speaker 3: can't remember the character's name, but the actor, Thomas Jane,
• 54:34
  Speaker 3: is basically, he's punished for trying to be reasonable. Yeah.
• 54:38
  Speaker 3: Trying to be scientific.
• 54:39
  Speaker 1: Once again, he's trying to do the best thing for everybody.
• 54:42
  Speaker 1: Even to the point of sacrificing himself by not saying,
• 54:45
  Speaker 1: he's like, everyone else will be put out of their misery.
• 54:48
  Speaker 1: I'm going to deal with whatever horror is about to happen.
• 54:52
  Speaker 1: I'm going to be torn apart by a monster.
• 54:53
  Speaker 4: Yeah.
• 54:54
  Speaker 1: I will face it because I'm going to step up
• 54:56
  Speaker 1: and I'm going to do what's good for everybody. And like,
• 54:58
  Speaker 1: once again, it comes back to just bite him in
• 55:00
  Speaker 1: the ass.
• 55:00
  Speaker 3: Yeah, yeah, no, the hero story. Yeah, it really is just, yeah,
• 55:04
  Speaker 3: it's extraordinary.
• 55:06
  Speaker 1: Again, the more I thought about it today, if we
• 55:08
  Speaker 1: want to continue the faith thing, it is a very
• 55:11
  Speaker 1: biblical ending. It is a fire and brimstone.
• 55:14
  Speaker 3: Oh, God, yeah.
• 55:15
  Speaker 1: To the point of, Abraham, I'm going to ask you
• 55:18
  Speaker 1: to sacrifice your son.
• 55:20
  Speaker 4: Yep.
• 55:20
  Speaker 1: And he does.
• 55:22
  Speaker 3: And she refers to it earlier on comedy. It says,
• 55:24
  Speaker 3: you know, it talks about Abraham and his son and
• 55:26
  Speaker 3: giving up.
• 55:27
  Speaker 1: Again, so I'm like, is all of that, because again,
• 55:30
  Speaker 1: was that line in the novel? Because that ending wasn't there.
• 55:33
  Speaker 1: So how mapped out was this beforehand?
• 55:35
  Speaker 3: Yeah, yeah, yeah. And who's to say that God didn't
• 55:39
  Speaker 3: decide to create monsters from another dimension to bring through,
• 55:42
  Speaker 3: you know, and that's what's being predicted.
• 55:44
  Speaker 1: That's the scary part for me. I don't want her
• 55:46
  Speaker 1: to be right. Well, precisely, you don't.
• 55:48
  Speaker 3: Want her to be right because we don't want Again,
• 55:52
  Speaker 3: it comes back to what we were saying, the thing,
• 55:55
  Speaker 3: people cannot stand uncertainty. They will do everything in their
• 56:01
  Speaker 3: power to mitigate uncertainty. They want to be certain. It's
• 56:05
  Speaker 3: so much more, it doesn't matter if you're wrong, you
• 56:08
  Speaker 3: just need to be certain about stuff. And that's all
• 56:11
  Speaker 3: the ways human beings tend to crave is certainty and understanding.
• 56:14
  Speaker 3: It takes a huge heart to be able to deal
• 56:17
  Speaker 3: with crazy balance. And the original line from Mervyn Peake is,
• 56:20
  Speaker 3: we live in crazy balance at the edge of time.
• 56:25
  Speaker 3: And it's in Gordon McGuff's, I think it's actually in
• 56:27
  Speaker 3: one of his poems. And I've always thought, yeah, that
• 56:31
  Speaker 3: is really the truth about our lives, that we don't
• 56:35
  Speaker 3: know what's happening tomorrow. I'm really hoping I'm going to
• 56:38
  Speaker 3: get my flights home tomorrow, and that's what I'm banking on.
• 56:42
  Speaker 3: But I have to accept the fact that it may
• 56:44
  Speaker 3: not happen. Therefore, I have to accept the fact that
• 56:46
  Speaker 3: either I'm going to suffer worrying about whether or not
• 56:49
  Speaker 3: it's going to happen, or can I deal with it?
• 56:53
  Speaker 3: What's it going to be? And again, a lot of
• 56:56
  Speaker 3: it is just to do with the fact that we've
• 56:58
  Speaker 3: got stuff to lose, we've got relations to lose, we've
• 57:02
  Speaker 3: got jobs to lose, we've got income to lose, and
• 57:04
  Speaker 3: so I don't negate by any sense the struggles that
• 57:09
  Speaker 3: us little ant-like human beings on this very small blue
• 57:12
  Speaker 3: planet face. in the very uninteresting arm of the galaxy
• 57:17
  Speaker 3: go through.
• 57:19
  Speaker 1: That reminds me, again, I've recently had a discussion with Misty,
• 57:23
  Speaker 1: you met earlier, who's a co-host on this show. And
• 57:25
  Speaker 1: we were talking about, because she knows a lot of
• 57:28
  Speaker 1: people now who are becoming very survival-y, the survivalist mentality.
• 57:35
  Speaker 1: And I'm like, there's a point where I'm like, I
• 57:37
  Speaker 1: understand if you want to, you know, learn some sort
• 57:40
  Speaker 1: of self-defense to protect your family. If you want to
• 57:42
  Speaker 1: have your weapon to do that, that's your call to make.
• 57:45
  Speaker 1: But when it gets to the point of planning, like
• 57:48
  Speaker 1: to the point where I'm planning for the inevitable of
• 57:51
  Speaker 1: what's going to go wrong, I feel like there's a
• 57:55
  Speaker 1: problem there on the one hand because you're not even
• 57:58
  Speaker 1: enjoying now. You're just waiting for the sort of Damocles
• 58:01
  Speaker 1: to fall on your head. But on top of that,
• 58:04
  Speaker 1: there's also this part of it that's like you can
• 58:07
  Speaker 1: plan all you want, but you don't know what's going
• 58:10
  Speaker 1: to happen when that really goes down. And this is
• 58:14
  Speaker 1: one of those, like this was one of those perfect little,
• 58:15
  Speaker 1: you get that little tiny microcosm and like, you don't
• 58:18
  Speaker 1: know who's going to step. You would assume like the,
• 58:21
  Speaker 1: the William Sadler's Mr. Tough guy before anything happens.
• 58:24
  Speaker 5: Yeah.
• 58:25
  Speaker 1: He falls by the, I mean, he is completely inactive
• 58:28
  Speaker 1: once there's something going on where people need help.
• 58:30
  Speaker 4: Yeah.
• 58:30
  Speaker 1: But, Ollie, the dorky guy that works at the, through
• 58:34
  Speaker 1: the whole movie is the most solid guy. Like he's
• 58:38
  Speaker 1: the one that is always there when Thomas J needs somebody,
• 58:40
  Speaker 1: somebody needs to take hold of the gun and put
• 58:42
  Speaker 1: things to rest. Literally sometimes.
• 58:46
  Speaker 4: Yep.
• 58:47
  Speaker 1: Ollie is there. Like you, like, would you ever expect
• 58:49
  Speaker 1: that guy to be the one to step up? But
• 58:52
  Speaker 1: you don't know until everything goes horribly wrong. You don't
• 58:55
  Speaker 1: even know. Maybe you planned your whole life to be
• 58:57
  Speaker 1: the superhero and you're going to be crying on the
• 58:59
  Speaker 1: floor over there. And this nerd, who works at the
• 59:02
  Speaker 1: grocery store is gonna step up and just lay everybody
• 59:04
  Speaker 1: down and get things together and lead people out and
• 59:07
  Speaker 1: like all of that like that was one of those
• 59:09
  Speaker 1: scenarios that I'm like it really shows like you don't
• 59:13
  Speaker 1: know who's going to be the leader when this happens
• 59:15
  Speaker 1: like it shouldn't be Thomas Jane he's not that kind
• 59:19
  Speaker 1: of guy but it becomes him because he needs to
• 59:22
  Speaker 1: take that role you know.
• 59:23
  Speaker 3: There's a very interesting analysis of groups which I studied
• 59:26
  Speaker 3: when I was a youth worker youth drama teacher and
• 59:29
  Speaker 3: so on And you have leaders and experts. You have
• 59:33
  Speaker 3: leaders who are charismatic, who can make instant decisions. You
• 59:37
  Speaker 3: have experts who know how to get things done. They
• 59:41
  Speaker 3: will be able to say, you know, so the leader
• 59:42
  Speaker 3: has the vision to achieve. It's the expert that will
• 59:46
  Speaker 3: actually be able to do the nuts and bolts and say, okay, well,
• 59:48
  Speaker 3: if that's your vision, this is what you need to
• 59:50
  Speaker 3: go to. And I think he's that classic person. And again,
• 59:53
  Speaker 3: another stunning performance. by Mr. Toby Jones, who is just,
• 59:56
  Speaker 3: you know. He's great. Yeah, that man, everything, you know,
• 1:00:01
  Speaker 3: every part he does, you just think, yeah, you're just amazing.
• 1:00:04
  Speaker 3: You're absolutely stunning.
• 1:00:06
  Speaker 1: But that is, yeah, that's one of those watching this, and, like, that's, again,
• 1:00:09
  Speaker 1: what works so well about this is it has this little,
• 1:00:12
  Speaker 1: from the filmmaking standpoint, like, it has this little Norman
• 1:00:15
  Speaker 1: Rockwell's town, and it has the little, everybody, like, again,
• 1:00:19
  Speaker 1: those two guys that work at the gas station are,
• 1:00:21
  Speaker 1: Are in every town that you drive through in this country.
• 1:00:24
  Speaker 1: You might have them too.
• 1:00:26
  Speaker 3: I'm sure you do.
• 1:00:26
  Speaker 1: I'm sure you do. I'm like that representation of the
• 1:00:30
  Speaker 1: same thing with the little old lady that's what, Frances Sternig,
• 1:00:35
  Speaker 1: who is amazing in this. But is she not the
• 1:00:38
  Speaker 1: most perfect cookie cutter version of a crazy old lady
• 1:00:40
  Speaker 1: that's going to throw a can at your head if
• 1:00:42
  Speaker 1: you don't go along with, listen to me, I'm right.
• 1:00:46
  Speaker 3: I mean, she's the teacher.
• 1:00:48
  Speaker 4: Yeah.
• 1:00:49
  Speaker 3: She's like, yeah, you're in my school, underachiever. You're coming
• 1:00:51
  Speaker 3: with me. Again, she's so perfect. You're coming with me
• 1:00:53
  Speaker 3: to face the monsters. Yeah.
• 1:00:56
  Speaker 1: All of these people, I mean, just everybody, those little,
• 1:00:59
  Speaker 1: even like, what, Jeffrey DeMunn, who's like the Dan that
• 1:01:02
  Speaker 1: comes running in, like, that guy. Like, you need that
• 1:01:05
  Speaker 1: guy in every story, so much so that Darabond took
• 1:01:08
  Speaker 1: him again, more or less. That's the other thing I
• 1:01:11
  Speaker 1: was going to say. This is such, looking at it
• 1:01:13
  Speaker 1: from today, this is so the blueprint of The Walking Dead. Yeah.
• 1:01:17
  Speaker 1: Because he had all his parts there. I mean, it's
• 1:01:20
  Speaker 1: funny that he created the most successful franchise now and
• 1:01:23
  Speaker 1: left it. I mean, he hasn't been there since the
• 1:01:25
  Speaker 1: beginning of season two.
• 1:01:26
  Speaker 3: Right, right.
• 1:01:27
  Speaker 1: But he created it, and he brought all those actors in.
• 1:01:30
  Speaker 1: So three of our main characters there are all huge
• 1:01:34
  Speaker 1: parts of The Walking Dead.
• 1:01:36
  Speaker 3: Well, it's interesting because The Walking Dead is based on
• 1:01:38
  Speaker 3: a comic that was written by.
• 1:01:40
  Speaker 1: It's someone else, but you see the Darabont thing. He
• 1:01:43
  Speaker 1: comes in and goes, okay, I want that guy, I
• 1:01:45
  Speaker 1: want that guy. You see all these people get attached,
• 1:01:50
  Speaker 1: even when they're not in the comic. Some of them
• 1:01:52
  Speaker 1: aren't even characters in the comic that he brought in.
• 1:01:54
  Speaker 1: So you do see all of these bits and pieces
• 1:01:57
  Speaker 1: of what would become this juggernaut that.
• 1:02:00
  Speaker 3: Is The Walking Dead and this is.
• 1:02:02
  Speaker 1: Like this is in its infancy you see so many
• 1:02:05
  Speaker 1: of the main pieces come to including Nicotero doing the
• 1:02:08
  Speaker 1: practical effects and all of that so you do kind
• 1:02:10
  Speaker 1: of see like what's going to be and that really
• 1:02:13
  Speaker 1: is he didn't do anything from there Darabont as far
• 1:02:16
  Speaker 1: as directing didn't do anything between this and The Walking
• 1:02:19
  Speaker 1: Dead pilot And then quickly left there, so I don't
• 1:02:23
  Speaker 1: know what his plan, I kind of, because looking back,
• 1:02:26
  Speaker 1: he talks about being such a sci-fi fan and loving
• 1:02:29
  Speaker 1: Outer Limits and Twilight Zone, and this is a very
• 1:02:31
  Speaker 1: Twilight Zone ending, he said, is how he referred to that.
• 1:02:34
  Speaker 1: I'm like, yeah, that is kind of that Rod Serling
• 1:02:37
  Speaker 1: twist of the knife at the end there, but you
• 1:02:39
  Speaker 1: do see all this that he's a big fan of
• 1:02:42
  Speaker 1: in his work, but he really hadn't done anything up
• 1:02:44
  Speaker 1: until that point. So these last two, like The Mist
• 1:02:46
  Speaker 1: and Walking Dead, you see him really kind of embracing
• 1:02:49
  Speaker 1: this horror and sci-fi and all these very genre things.
• 1:02:52
  Speaker 3: And the film is a very confidently directed movie. It's
• 1:02:56
  Speaker 3: beautifully edited and it's incredibly well directed.
• 1:02:59
  Speaker 1: And being shot in a style that's not him. If
• 1:03:02
  Speaker 1: you watch The Majestic, it's not at all like this.
• 1:03:06
  Speaker 1: But in between him directing The Majestic, he shot an
• 1:03:10
  Speaker 1: episode of The Shield.
• 1:03:11
  Speaker 3: Right, right.
• 1:03:12
  Speaker 1: And that's what he cites. He stole half the guys
• 1:03:15
  Speaker 1: from it. The camera operator, the cinematographer, two or three
• 1:03:20
  Speaker 1: other people. I think even one of the guys helped
• 1:03:22
  Speaker 1: do the story from The Shield. He took them from
• 1:03:24
  Speaker 1: The Shield and went, I love what you're doing. I
• 1:03:27
  Speaker 1: love this very fly by the seat of your pants
• 1:03:29
  Speaker 1: style that he'd never done before. So you get, and
• 1:03:32
  Speaker 1: that's what I was going to go into is just
• 1:03:34
  Speaker 1: like the shots where you will get these weird revolving
• 1:03:37
  Speaker 1: shots that just kind of pick up because half of
• 1:03:40
  Speaker 1: it's lit by flashlight anyway. So you have no traditional lighting.
• 1:03:44
  Speaker 1: You have this camera that will start on one character
• 1:03:46
  Speaker 1: and kind of zoom around the room slowly and then
• 1:03:49
  Speaker 1: end up on somebody else.
• 1:03:50
  Speaker 3: There's a moment where all the faces turn from one
• 1:03:52
  Speaker 3: person to another.
• 1:03:54
  Speaker 1: And the camera's like catching up. Because that to me
• 1:03:58
  Speaker 1: works so well with that being along for the ride
• 1:04:00
  Speaker 1: approach that this does. The characters don't know what's going on.
• 1:04:03
  Speaker 1: So they don't know where to look next. The camera's
• 1:04:05
  Speaker 1: just sort of cruising through the room like we are.
• 1:04:08
  Speaker 1: So we don't know where to turn next either. I
• 1:04:10
  Speaker 1: think that's such a great style. And like, it's interesting
• 1:04:13
  Speaker 1: that that far in his career, he embraced something that
• 1:04:16
  Speaker 1: different and was just like, I've never done a, you know,
• 1:04:19
  Speaker 1: walk around with a camera. Don't know. Cause he said,
• 1:04:21
  Speaker 1: even the extras had no idea if they were going
• 1:04:23
  Speaker 1: to be in the shot. They had to be on
• 1:04:25
  Speaker 1: every shoot, every, every time they have action, they have
• 1:04:28
  Speaker 1: to be fully committed because they might be in the
• 1:04:31
  Speaker 1: shot in the foreground the whole time. And they don't know. So,
• 1:04:35
  Speaker 1: it's a totally different approach to something. I guess I
• 1:04:38
  Speaker 1: was going to ask you as a performer, like, I
• 1:04:41
  Speaker 1: don't know, how would you take being thrown into something
• 1:04:44
  Speaker 1: like that, going back to more acting end of it?
• 1:04:47
  Speaker 3: I mean, I'd love it. It depends on the role.
• 1:04:51
  Speaker 3: If I'm going to be doing extra stuff or whether
• 1:04:53
  Speaker 3: I'm not going to be, you know, going to be that,
• 1:04:55
  Speaker 3: sheer intensity.
• 1:04:57
  Speaker 1: You're obviously Thomas Jane. The build alone, you're Thomas Jane,
• 1:05:02
  Speaker 1: we know. You guys know.
• 1:05:04
  Speaker 3: This is what happened to Thomas Jane afterwards. You know,
• 1:05:07
  Speaker 3: 20 years after that movie, that's what I am now.
• 1:05:11
  Speaker 3: Living in with remorse of 20 years and guilt.
• 1:05:14
  Speaker 1: Of every day. That's what happens, kids. Don't shoot everybody
• 1:05:16
  Speaker 1: in the car.
• 1:05:16
  Speaker 3: Don't shoot everybody in the car. No, I think, you know,
• 1:05:20
  Speaker 3: it's amazing performances. Going out now, Mrs.
• 1:05:24
  Speaker 5: Carmody.
• 1:05:27
  Speaker 1: Please stand aside.
• 1:05:29
  Speaker 5: You can't go out.
• 1:05:30
  Speaker 8: I won't allow it. Won't allow it? It's against God's will.
• 1:05:36
  Speaker 8: Don't you know that by now? Haven't I proven myself
• 1:05:40
  Speaker 8: again and again and again? Haven't I shown that I
• 1:05:45
  Speaker 8: am his vessel? What's the matter with you? Don't you
• 1:05:57
  Speaker 8: believe in God?
• 1:05:59
  Speaker 3: No one's interfered with you.
• 1:06:02
  Speaker 1: All we're asking for is the same privilege.
• 1:06:04
  Speaker 3: You heard him.
• 1:06:07
  Speaker 6: It is these people who brought this upon us.
• 1:06:12
  Speaker 5: They, people who refuse to bend to the will of
• 1:06:16
  Speaker 5: God and claim it privileged. Sinners in pride. Yes, haughty, privileged.
• 1:06:27
  Speaker 5: They mock us, they mock our God, our faith, our values,
• 1:06:32
  Speaker 5: our very lifestyle. They mock our humility and our piousness.
• 1:06:39
  Speaker 5: They piss on us and laugh.
• 1:06:45
  Speaker 8: It's from them the blood of human sacrifice must come.
• 1:06:50
  Speaker 5: From them the blood of expiation.
• 1:06:56
  Speaker 6: You try it.
• 1:06:58
  Speaker 1: Fucking try it.
• 1:06:59
  Speaker 3: Come on.
• 1:07:01
  Speaker 5: We want the boy.
• 1:07:03
  Speaker 7: We want the boy.
• 1:07:04
  Speaker 1: You get back.
• 1:07:05
  Speaker 5: You get back.
• 1:07:07
  Speaker 7: Come on, get up.
• 1:07:09
  Speaker 3: Grab that door. Grab it. Yeah, I think, and finally,
• 1:07:12
  Speaker 3: what I just want to say, I just urge everybody
• 1:07:14
  Speaker 3: to watch it.
• 1:07:15
  Speaker 5: Yeah.
• 1:07:15
  Speaker 3: You know, it is the most, I know, sorry, we
• 1:07:18
  Speaker 3: spoiled it, if you haven't watched it before.
• 1:07:20
  Speaker 1: I always throw out the spoiler alert at the beginning,
• 1:07:22
  Speaker 1: so you guys should have already seen it.
• 1:07:24
  Speaker 3: Yeah, yeah, go, and, And if you haven't watched it recently,
• 1:07:28
  Speaker 3: watch it.
• 1:07:28
  Speaker 1: Yeah, again.
• 1:07:29
  Speaker 3: Just for that stuff. I mean, if you're a filmmaker,
• 1:07:31
  Speaker 3: watch it.
• 1:07:32
  Speaker 1: For that weird shooting.
• 1:07:34
  Speaker 3: For the weird shooting stuff. How to shoot within one location.
• 1:07:39
  Speaker 3: Handle a lot of people within one location. Because most
• 1:07:43
  Speaker 3: of it is in, well, there's two parts of the store.
• 1:07:46
  Speaker 1: And like some of them they didn't even finish. That
• 1:07:48
  Speaker 1: pharmacy set, which by the way, the spiders may be
• 1:07:51
  Speaker 1: the coolest thing in the whole movie. Oh, yeah, yeah, yeah. God,
• 1:07:52
  Speaker 1: those spiders are cool. But that pharmacy set, like, didn't
• 1:07:56
  Speaker 1: even have a final wall. They just put enough mist
• 1:07:59
  Speaker 1: in that you can't see the other side.
• 1:08:01
  Speaker 3: Yeah, yeah.
• 1:08:01
  Speaker 1: And so it's like, it's just like a white backdrop
• 1:08:03
  Speaker 1: and a lot of mist. If they got rid of
• 1:08:06
  Speaker 1: the mist, you'd see a stagehand having a sandwich over there. Like,
• 1:08:09
  Speaker 1: the fact that they were that clever, and again, they
• 1:08:11
  Speaker 1: had really limited budget, so they were just like, well,
• 1:08:13
  Speaker 1: let's just not finish the set and put enough mist in. Yeah, yeah, yeah.
• 1:08:16
  Speaker 1: It makes it creepy, and it does.
• 1:08:18
  Speaker 3: Yeah, in Hellraiser, we just filled stuff with blood. Well,
• 1:08:21
  Speaker 3: there you go.
• 1:08:21
  Speaker 1: See? Yeah, yeah. Well, that's the way to go, guys. Economy.
• 1:08:25
  Speaker 3: Well, this has been fascinating.
• 1:08:26
  Speaker 1: Thank you for choosing this movie and for sitting in.
• 1:08:32
  Speaker 1: As you mentioned earlier, you've got a show. You're writing.
• 1:08:35
  Speaker 2: I've got a show.
• 1:08:35
  Speaker 3: I'm writing.
• 1:08:35
  Speaker 1: Tell people where to find you.
• 1:08:36
  Speaker 3: Yeah, okay. Well, you can find me at www.NicholasVince.com. That's
• 1:08:42
  Speaker 3: a really good place to start. You can find me
• 1:08:44
  Speaker 3: on Facebook. I vary occasionally on Twitter. But yeah, Facebook.com.
• 1:08:52
  Speaker 3: Check out Chattering with Nicholas Vince.
• 1:08:55
  Speaker 1: Could there be a better name for the show?
• 1:08:57
  Speaker 3: How grateful was I when I got... the name of
• 1:09:01
  Speaker 3: the show? Yeah, it's got to be that.
• 1:09:04
  Speaker 1: Who came up with that? Was it not you?
• 1:09:07
  Speaker 3: That was me.
• 1:09:08
  Speaker 1: I was hoping. They handed you that. You have to
• 1:09:13
  Speaker 1: use it.
• 1:09:13
  Speaker 3: I had no choice whatsoever on that one. And thank you.
• 1:09:17
  Speaker 3: Thank you so much. for that one. Yeah, chattering with
• 1:09:20
  Speaker 3: Nicholas Vince. Got some really interesting guests coming up soon, including,
• 1:09:25
  Speaker 3: I can announce, I think we haven't set a date yet,
• 1:09:28
  Speaker 3: Doug Bradley. I've heard of that guy. I've heard of
• 1:09:30
  Speaker 3: that guy as well. I'm so pleased. We're never quite around.
• 1:09:35
  Speaker 3: I'm really looking forward to talking to, catching up with
• 1:09:37
  Speaker 3: Doug on a whole load of stuff.
• 1:09:39
  Speaker 1: Having done it, he's a pretty interesting guy. Yeah, yeah.
• 1:09:42
  Speaker 3: No, absolutely. My first short film as writer and director,
• 1:09:46
  Speaker 3: The Night Whispered, is being, has been submitted to festivals.
• 1:09:50
  Speaker 3: I am waiting with bated breath to see if it's
• 1:09:54
  Speaker 3: going to be, if it's actually going to screen anywhere else.
• 1:09:57
  Speaker 3: I should know that in the next three weeks. I'm currently,
• 1:09:59
  Speaker 3: I've just finished the first draft and my next, well
• 1:10:02
  Speaker 3: actually probably will be the second short, next short film.
• 1:10:06
  Speaker 3: I'm then going to go back and I'm going to
• 1:10:07
  Speaker 3: do a smaller one first. I learned a lot by
• 1:10:10
  Speaker 3: writing and directing a short movie.
• 1:10:13
  Speaker 1: Is directing what you wanted to do a long time now?
• 1:10:16
  Speaker 3: Yeah. I always wanted to be a theater director.
• 1:10:19
  Speaker 1: Everyone wants to be a director.
• 1:10:20
  Speaker 3: Well, I always realized the reason I went to drama
• 1:10:23
  Speaker 3: school is because if I'm directing actors, I want to
• 1:10:25
  Speaker 3: make sure I understand what it is to be an actor.
• 1:10:27
  Speaker 4: Yeah.
• 1:10:27
  Speaker 3: I want to understand how actors work. And that was
• 1:10:30
  Speaker 3: one of the reasons for doing The Night Whisperer was
• 1:10:32
  Speaker 3: to really work with actors and so on.
• 1:10:35
  Speaker 1: Feel like stage is a totally different style because then
• 1:10:38
  Speaker 1: you kind of have to hand everything over to them
• 1:10:40
  Speaker 1: once the curtain goes up yeah absolutely you get to
• 1:10:43
  Speaker 1: be the crazy maniacal.
• 1:10:46
  Speaker 3: You can edit it up to the very last second
• 1:10:49
  Speaker 3: you know you can't and and actually that's a bad
• 1:10:52
  Speaker 3: i think that's a bad idea you know you because
• 1:10:55
  Speaker 3: you're actually dealing with human beings rather than puppets and
• 1:10:58
  Speaker 3: what you want them to do is to be human
• 1:11:00
  Speaker 3: beings and not puppets So are.
• 1:11:02
  Speaker 1: You taking a more theatrical approach to filmmaking?
• 1:11:06
  Speaker 3: It's interesting. Theater is something with a light. I've written
• 1:11:10
  Speaker 3: for the stage. I dramatized two of my short stories
• 1:11:14
  Speaker 3: from the book What Monsters Do for the London Horror
• 1:11:18
  Speaker 3: Festival a few years ago. That was a brilliant experience,
• 1:11:21
  Speaker 3: and I would love to do more. I've got ideas
• 1:11:24
  Speaker 3: for more theater shows, which I'd really like to do.
• 1:11:27
  Speaker 3: But I'm concentrating on the filming at the moment and writing.
• 1:11:31
  Speaker 3: A lot because through the show I've met a lot
• 1:11:33
  Speaker 3: of really talented, fascinating, independent filmmakers who I just really
• 1:11:39
  Speaker 3: want to work with. I really, really want to work
• 1:11:42
  Speaker 3: with them and just see where we can go with that.
• 1:11:47
  Speaker 3: So that's what I'm hoping is that you should see
• 1:11:50
  Speaker 3: some more short films from me next year with the
• 1:11:53
  Speaker 3: hope and obviously the grand prize of doing a feature
• 1:11:55
  Speaker 3: film at some point when somebody... Either I win the
• 1:11:58
  Speaker 3: lottery or somebody decides to give.
• 1:12:00
  Speaker 4: Me some money.
• 1:12:00
  Speaker 1: Someone hands you millions.
• 1:12:01
  Speaker 3: Of dollars so that we can actually go do this.
• 1:12:04
  Speaker 1: Please go make a movie with this.
• 1:12:05
  Speaker 3: Yeah, yeah.
• 1:12:06
  Speaker 1: And then you just retire to an island and you
• 1:12:08
  Speaker 1: never appear again. You're like, yeah, I'll make that movie.
• 1:12:12
  Speaker 3: Yeah, yeah, yeah.
• 1:12:13
  Speaker 1: Never heard from again.
• 1:12:16
  Speaker 3: Brian, this has been fun.
• 1:12:17
  Speaker 1: This has been great. Thank you for being here.
• 1:12:19
  Speaker 3: That's my pleasure.
• 1:12:20
  Speaker 1: Cool. Yes, thank you once again to Nicholas Vince for
• 1:12:34
  Speaker 1: sitting in with us this week. He's great to talk
• 1:12:36
  Speaker 1: movies with, and he's welcome back anytime. We'd also like
• 1:12:40
  Speaker 1: to say a big thank you to Days of the
• 1:12:41
  Speaker 1: Dead for not only bringing their event to Louisville, but
• 1:12:44
  Speaker 1: even more for letting us be a part of it. Again,
• 1:12:47
  Speaker 1: there are four more of their shows coming up in
• 1:12:49
  Speaker 1: different cities before it comes back around here next year.
• 1:12:52
  Speaker 1: So to find out which cities they'll be in, go
• 1:12:54
  Speaker 1: to daysofthedead.net and plan to come check out the next convention.
• 1:12:59
  Speaker 1: So lately I've been trying to give you a heads
• 1:13:01
  Speaker 1: up when I know ahead of time a specific movie
• 1:13:03
  Speaker 1: we're going to be discussing. It's not always an option,
• 1:13:06
  Speaker 1: but when it is, I like to get it out
• 1:13:07
  Speaker 1: there to you so you can watch along at home
• 1:13:09
  Speaker 1: if you want. So, with that in mind... Okay, kids,
• 1:13:15
  Speaker 1: get out your decoder pins. Dun-dun-dun-dun-dun-dun-dun-dun-dun.
• 1:13:19
  Speaker 3: Set your pins to B2. Here is the message.
• 1:13:22
  Speaker 1: Coming in the near future, we will be discussing the
• 1:13:25
  Speaker 1: 1955 classic The Night of the Hunters. We will once
• 1:13:29
  Speaker 1: again have another special guest sitting in for that episode.
• 1:13:32
  Speaker 1: And we may just stumble upon a whole new secondary
• 1:13:35
  Speaker 1: theme going on in that movie that we've never noticed before.
• 1:13:39
  Speaker 1: So maybe you should watch it and see if you
• 1:13:41
  Speaker 1: discover anything along the way as well. So, go watch
• 1:13:44
  Speaker 1: it now for spoiler-free listening. Otherwise, that about does it.
• 1:13:47
  Speaker 1: We will return next time, same geek feed. Thanks for listening.
• 1:14:09
  Speaker 6: Look, just look at me. I'm as helpless. As a
• 1:14:32
  Speaker 6: kitten of a tree I feel like I'm clinging to
• 1:14:39
  Speaker 6: clouds I can't understand Why I get.
• 1:14:47
  Speaker 2: Misty Holding your hand.
• 1:14:56
  Speaker 6: You walk my way And a thousand violins begin.
• 1:15:13
  Speaker 1: To play.
• 1:15:15
  Speaker 6: Or is it the sound of your hello, dear That
• 1:15:21
  Speaker 6: music I hear I get misty whenever you're near You
• 1:15:35
  Speaker 6: can say that.
• 1:15:37
  Speaker 2: You're leading me on But it's just, just what I.
• 1:15:49
  Speaker 4: Want you to do.
• 1:15:55
  Speaker 6: Can I help it?
• 1:15:57
  Speaker 2: How hopelessly I'm lost That's why I'm following you And
• 1:16:16
  Speaker 2: on my own Say on my very own Ooh I
• 1:16:26
  Speaker 2: wander through this great big.
• 1:16:28
  Speaker 6: Wide world all alone.
• 1:16:32
  Speaker 7: Never knowing my right hand from my left My head
• 1:16:39
  Speaker 7: from my glove I'm too mystic Too much in.
• 1:16:51
  Speaker 2: Love I say I'm too mystic.
• 1:17:03
  Speaker 1: Very, very, very much In love.
• 1:17:21
  Speaker 3: In love.
• 1:17:40
  Speaker 4: For more on how to sponsor or support the show,
• 1:17:42
  Speaker 4: email producer at moviemeltdown.com.
• 1:17:45
  Speaker 2: Talk hard!