Latest / Houselights: A Film Director Podcast / Scream VI (2023) - Matt Bettinelli-Olpin & Tyler Gillett | Houselights #237: Wing of Ghostface

Transcript

Scream VI (2023) - Matt Bettinelli-Olpin & Tyler Gillett | Houselights #237: Wing of Ghostface · Houselights: A Film Director Podcast

• 0:03
  Speaker 1: Welcome to the ned Party. Welcome back to House Light.
• 0:21
  Speaker 1: It's our director discussion show here on the Nerd Party Network.
• 0:25
  Speaker 1: This week, we're concluding the wing of ghost Face with
• 0:28
  Speaker 1: Scream six from twenty twenty three, the sequel to the requel,
• 0:32
  Speaker 1: directed again by Matt and Tyler. The franchise moves to
• 0:36
  Speaker 1: New York and college. Could it be more cliche? I'm
• 0:40
  Speaker 1: Darren Fbi Moser, and I'm joined again by my friends
• 0:43
  Speaker 1: John Man, seeking roommate Mills, and the inventor of the
• 0:47
  Speaker 1: telescoping ladder, Tristan Riddell. All bets are off as we
• 0:52
  Speaker 1: talk about Scream six or Scream v I as it were.
• 0:58
  Speaker 2: Here, and I'm gonna throw are the flag here first? Okay, yeah, yeah,
• 1:01
  Speaker 2: blah blah, daring to me, this is our first time
• 1:04
  Speaker 2: watching and all that sort of thing. But they go
• 1:06
  Speaker 2: to the Trouble of five, and we had this whole
• 1:08
  Speaker 2: discussion last week of like, oh, well they drop the
• 1:11
  Speaker 2: fab because they didn't want people to feel like they
• 1:13
  Speaker 2: had to see the previous storm, and we're like, well
• 1:14
  Speaker 2: why would you name it screaming? And then for this
• 1:17
  Speaker 2: one they're like a screw it six is back on there. Well,
• 1:20
  Speaker 2: why did you skip what I understand, But the thing
• 1:25
  Speaker 2: is you re establish You're like, we're just calling the
• 1:28
  Speaker 2: fifth one scream so that we don't have numbers involved,
• 1:30
  Speaker 2: and then this one's screamed six. Well, then you just
• 1:33
  Speaker 2: completely negated the whole reason to drop the.
• 1:35
  Speaker 1: Five in the last one. Okay, this is made by
• 1:38
  Speaker 1: film people, and film people are also responsible for the
• 1:43
  Speaker 1: spines of DVD sets. Have you ever looked at a
• 1:47
  Speaker 1: series of you know, season one, season two, season but
• 1:51
  Speaker 1: you're not count you're not counting around. It moves around,
• 1:55
  Speaker 1: and I'm going to talk about it.
• 1:56
  Speaker 2: You're not countering my point. It's all the more reason just.
• 2:00
  Speaker 1: There's no reason less, there's no reason. Yeah, I I
• 2:04
  Speaker 1: I would rather it have been a six without the
• 2:05
  Speaker 1: Roman numeral as I hate Roman numerals. But I don't know,
• 2:09
  Speaker 1: I don't have a better title for it than Scream six.
• 2:11
  Speaker 1: So but yes, as you as you John scream loud,
• 2:15
  Speaker 1: Scream louder. Yeah, they needed to start doing the secondary titles.
• 2:19
  Speaker 1: It was for that.
• 2:20
  Speaker 2: If you look at.
• 2:21
  Speaker 3: Halloween, you know, like that's what they Yeah, that's what
• 2:23
  Speaker 3: did the Star Trek, That's what they did with Halloween.
• 2:25
  Speaker 3: It was like Halloween, and then it was like, okay,
• 2:26
  Speaker 3: so now we got to call it Halloween twenty eighteen,
• 2:29
  Speaker 3: then Halloween Kills and Halloween Ends. You know, if you're
• 2:32
  Speaker 3: going to do it from New York or something. Yes, Oh,
• 2:37
  Speaker 3: I freaking love that, Darren, you said I ironically, I
• 2:40
  Speaker 3: say it with conviction, this game.
• 2:42
  Speaker 1: Live from New York, right, but very very yeah.
• 2:47
  Speaker 2: But then I'll pile on with what you talked about there, Darren,
• 2:50
  Speaker 2: where it's they used just numbers previously and now they're
• 2:55
  Speaker 2: going ahead and now it's the v I And I'm like,
• 2:57
  Speaker 2: so you're numbering isn't even consistent.
• 3:00
  Speaker 1: Who the hell's running the.
• 3:00
  Speaker 2: Show over here? It does have a franchise by this point,
• 3:03
  Speaker 2: figure this out.
• 3:04
  Speaker 1: I don't know, but you know what, in this way,
• 3:06
  Speaker 1: it's just like a franchise, because franchises aren't consistent. So this,
• 3:12
  Speaker 1: like you said, John, this is our first time watching this.
• 3:15
  Speaker 1: Uh it's again. I told Tristen it felt weird talking
• 3:18
  Speaker 1: about a movie set only a matter of years ago.
• 3:22
  Speaker 1: Usually our things are well, checking the notes, they're from
• 3:25
  Speaker 1: the nineties. We podcast a lot from the nineties. I
• 3:30
  Speaker 1: have the sets to back that up. But so again,
• 3:35
  Speaker 1: was scream just not really something on your radar, John,
• 3:39
  Speaker 1: Was this not something you were It didn't have the
• 3:41
  Speaker 1: draw to pull you into theaters because I know you didn't,
• 3:44
  Speaker 1: because neither of us watched Scream twenty twenty two in theaters,
• 3:49
  Speaker 1: so I went on the docket.
• 3:51
  Speaker 2: I think it's just, you know, it was just consistency
• 3:54
  Speaker 2: for my sake, because before we started the series, I
• 3:56
  Speaker 2: had stopped it too. I hadn't moved past that. So
• 3:59
  Speaker 2: by the time they get to six, I'm definitely not
• 4:02
  Speaker 2: gonna bother with anything. I'm like, Yeah, no, I tapped
• 4:04
  Speaker 2: out a long time ago. Guys, I'm good and so
• 4:07
  Speaker 2: you know, I mean, it's fine that they kept going,
• 4:11
  Speaker 2: but I just I wasn't there. I didn't care, all right.
• 4:14
  Speaker 1: But on the other side, Tristan, you watched twenty two
• 4:17
  Speaker 1: in theaters? Was it getting you re rehyped for the
• 4:22
  Speaker 1: screen franchise? Were you looking forward to this March tenth
• 4:27
  Speaker 1: release day? Gosh, that's weird, but sure.
• 4:32
  Speaker 3: I can't remember if I saw. I don't think I
• 4:34
  Speaker 3: saw Scream twenty twenty two in theaters. Yeah, I honestly
• 4:40
  Speaker 3: have no memory of it. I don't know if I
• 4:43
  Speaker 3: saw it in theaters because like, as you guys know
• 4:45
  Speaker 3: and as the fans know, I'm a gigantic Scream fan.
• 4:47
  Speaker 2: But it just.
• 4:49
  Speaker 3: I'm one of those lazy people where it takes a
• 4:52
  Speaker 3: lot to get me to the theater. It takes a lot,
• 4:55
  Speaker 3: especially nowadays, And so I didn't see it like I
• 4:59
  Speaker 3: was excited for it, because you know, I liked Scream
• 5:02
  Speaker 3: twenty two. I liked it even if it has its flaws,
• 5:06
  Speaker 3: Like I was, you know, we talked about it last week,
• 5:08
  Speaker 3: you know, like it's I think it's good. It reinvigorates
• 5:10
  Speaker 3: the franchise, but it's really messy and has some things
• 5:14
  Speaker 3: against it. But at the same time, I was like,
• 5:16
  Speaker 3: I like this cast, like this is a good cast,
• 5:18
  Speaker 3: Like I was interested to see where it was moving forward.
• 5:21
  Speaker 3: And when I saw the trailer for this one, I
• 5:25
  Speaker 3: was like, yes, I'm I'm sold. I was immediately sold
• 5:29
  Speaker 3: with the trailer where it was on the subway and
• 5:32
  Speaker 3: it was during Halloween, and it was set in New
• 5:35
  Speaker 3: York and totally not Montreal at all.
• 5:40
  Speaker 4: New York, not rely, no, not even a little bit.
• 5:43
  Speaker 1: No, No, that's a good point. And I really did
• 5:46
  Speaker 1: like the subway scene. I think that's a quintessential New
• 5:50
  Speaker 1: York location. You know they hit that, they hit Central
• 5:54
  Speaker 1: Park a little bit, but yeah, it so yeah. So
• 5:58
  Speaker 1: going into this one for me not knowing anything about it,
• 6:01
  Speaker 1: new we had the Now we have a name for them,
• 6:04
  Speaker 1: which almost feels like a reason they should die. But
• 6:07
  Speaker 1: you know, we have what the Fab four, the Final
• 6:09
  Speaker 1: four and four four four, the Core four. That's it.
• 6:14
  Speaker 1: I know it rhymed somewhere, but the Core four and
• 6:18
  Speaker 1: they all survive. Spoilers alert, we don't say spoiler here
• 6:22
  Speaker 1: on House Slights because you really should have watched it
• 6:25
  Speaker 1: before listening to a podcast about a movie.
• 6:27
  Speaker 2: Right, Why would you be listening to us talk about
• 6:29
  Speaker 2: if you hadn't seen it. That's the that's the core
• 6:32
  Speaker 2: four question, right.
• 6:33
  Speaker 1: That is the core for that's going to become a
• 6:34
  Speaker 1: thing now watch. But I like the fact that the
• 6:37
  Speaker 1: Core four survived. I think that's a nice I mean,
• 6:41
  Speaker 1: you know, a lot of people survive stabbings a little
• 6:45
  Speaker 1: more than they should in general in these movies, like
• 6:49
  Speaker 1: a lot there'd be a little bit more bleeding out
• 6:52
  Speaker 1: in the real world. But hey, not not that too.
• 6:56
  Speaker 2: Bad at the very least. See, this is where I
• 6:59
  Speaker 2: will nitpick a little bit, is at the very least,
• 7:02
  Speaker 2: and it wasn't as pronounced after the second one, but
• 7:08
  Speaker 2: they at least gave Dewey sort of a lifelong condition
• 7:13
  Speaker 2: he had to deal with the nerve damage that was
• 7:15
  Speaker 2: introduced from being stabbed in the first one.
• 7:18
  Speaker 1: Stay.
• 7:20
  Speaker 2: Yeah, but I mean it's like it's one of those
• 7:22
  Speaker 2: things where it's like it stuck with him. And yet
• 7:26
  Speaker 2: I don't remember all of their names, but boy twin
• 7:30
  Speaker 2: he Cha has absolutely no lingering effects that are visible
• 7:35
  Speaker 2: from you know. I mean, he he suffered what should
• 7:39
  Speaker 2: have killed him, and it's great that he survived, obviously,
• 7:43
  Speaker 2: but not even a limp, not even a oh it's
• 7:47
  Speaker 2: gonna rain my knees acting up, nothing, not even anything.
• 7:51
  Speaker 3: Was the only thing that we got was in Tara's
• 7:56
  Speaker 3: scar on her hand. That's the only thing that we
• 7:59
  Speaker 3: saw that was kind of referencing the past injuries, and
• 8:03
  Speaker 3: once again in proper scream fashion, like when we see
• 8:06
  Speaker 3: Mendy show up at the very end. Okay, so like like, well, Chad,
• 8:11
  Speaker 3: Chad is Chad again should be dead?
• 8:14
  Speaker 1: Should not just should be dead? Yeah, but like Dewey.
• 8:17
  Speaker 4: Dead, Okay, he was ravaged and then he miraculously survives
• 8:22
  Speaker 4: and then Mindy who is stabbed and then twisted in
• 8:26
  Speaker 4: the gut, runs up to him at the end, like
• 8:29
  Speaker 4: she didn't even look like she has a bandage on
• 8:31
  Speaker 4: her that she was even at the hospital.
• 8:33
  Speaker 2: She had a band She had a light bandage on
• 8:34
  Speaker 2: underneath her her belly shirt. And I was like, oh yeah,
• 8:38
  Speaker 2: I mean, yes, you can't help, but be like, well,
• 8:41
  Speaker 2: I mean, let's give them points that they bandaged her
• 8:44
  Speaker 2: instead of it being over the.
• 8:46
  Speaker 1: Clothing this time.
• 8:47
  Speaker 2: They love doing that. But additionally bandage. But additionally there's
• 8:52
  Speaker 2: you know, once again getting to how hospitals work. Oh,
• 8:55
  Speaker 2: I'm going to run out of the hospital. Oh no,
• 8:57
  Speaker 2: I'm sorry. There's a staff that will prevent you from
• 9:00
  Speaker 2: from leaving injury.
• 9:01
  Speaker 1: Like we said the line, no one could stop her.
• 9:04
  Speaker 1: So it's all good. She just shows up at the
• 9:07
  Speaker 1: last moment, right hospital staff, God turn onto a knife.
• 9:13
  Speaker 1: She got stabbed in the gut. Guts are serious, guys,
• 9:16
  Speaker 1: I don't think she.
• 9:16
  Speaker 3: Got stabbed in the gut and stabbed in the back,
• 9:19
  Speaker 3: stabbed in the gut, stamped in the back and acted
• 9:21
  Speaker 3: like they didn't happen. And then at the very end,
• 9:25
  Speaker 3: so you know, she walks off into the sunset.
• 9:28
  Speaker 2: The arm in the sling. That's right, the old movie Cheat.
• 9:32
  Speaker 3: And that was a thing though that I was so
• 9:34
  Speaker 3: surprised by. I was like, wait, she was stabbed in
• 9:36
  Speaker 3: the back and the gut, I.
• 9:37
  Speaker 1: Think, slink. They also cut her shoulder, I think, But
• 9:42
  Speaker 1: well she fell, she also fell oh okay, okay, yeah,
• 9:46
  Speaker 1: but they cut her because remember when they're well, one
• 9:48
  Speaker 1: of the times they're running, they go around the corner
• 9:51
  Speaker 1: and she runs into the far wall and she winces
• 9:54
  Speaker 1: because she hit the arm again that had been cut.
• 9:57
  Speaker 1: We did see the scar from the eye lady on
• 10:00
  Speaker 1: her gut, so that would be was still there. But yeah,
• 10:04
  Speaker 1: I mean, guys, we don't come to screen movies for
• 10:06
  Speaker 1: realism of stabbing wounds.
• 10:09
  Speaker 2: I I I understand, but it's cathartic to get it
• 10:12
  Speaker 2: out every so often because we.
• 10:14
  Speaker 3: Have we have to mention it, we have to talk
• 10:16
  Speaker 3: about it. But that's why we're talking about it at
• 10:17
  Speaker 3: the top of the show.
• 10:18
  Speaker 1: Yeah.
• 10:18
  Speaker 2: But but it's it's also like it's it's it's sort
• 10:22
  Speaker 2: of a pick a lane thing for me though, because
• 10:24
  Speaker 2: you're supposed to be this is a real world horror movie.
• 10:28
  Speaker 2: It's like, what are your You always love to say
• 10:31
  Speaker 2: this Darren, what are your rules? They're playing by action
• 10:34
  Speaker 2: movie rules, right, they're playing by stuff I saw. Yeah, yeah, and.
• 10:40
  Speaker 5: That's john he did. Yeah, we're gonna walk past it.
• 10:45
  Speaker 5: We're gonna walk fast it. Dude, he did survive. Okay,
• 10:48
  Speaker 5: that's he saw. We're gonna walk past that.
• 10:52
  Speaker 1: But Johnny Kane gets like run through the ringer and
• 10:55
  Speaker 1: the fact that he's still like McClain.
• 10:58
  Speaker 3: Cain is the is the politician well and Vietnam War
• 11:02
  Speaker 3: stand I told you Darren stands by it. It's true
• 11:09
  Speaker 3: either that is entirely accurate. Yes, yes, yes, that's sorry McLain.
• 11:15
  Speaker 3: I have to say it like a clan. She's the
• 11:19
  Speaker 3: most McLean of the moment.
• 11:22
  Speaker 1: But yes, action movie, action movie star. So with this movie,
• 11:29
  Speaker 1: you're they kind of from the beginning, they're throwing out
• 11:32
  Speaker 1: the rules. You know, anyone is a suspect. Although I
• 11:36
  Speaker 1: feel like this movie is the one where they act
• 11:40
  Speaker 1: the most smart, like literally trusting nobody. Like the fact
• 11:45
  Speaker 1: that the you know, hot hot shirtless guy whatever I
• 11:49
  Speaker 1: think that was his name, you know, it was sent
• 11:51
  Speaker 1: away at the end Bravo, Like that is a good idea.
• 11:55
  Speaker 1: Now granted, you you know, I think I like the
• 11:58
  Speaker 1: fact that you know, the FBI wasn't the bad guy
• 12:02
  Speaker 1: in the end, but they do lead you to believe
• 12:04
  Speaker 1: that for a moment, which is you know, true screen, which.
• 12:08
  Speaker 2: Is a red herring. I don't like the way that
• 12:10
  Speaker 2: they did. I would have preferred them to leave Dermott
• 12:13
  Speaker 2: mulrooney from instead of hearing him say in the police station,
• 12:18
  Speaker 2: look up the file on that FBI lady, that that
• 12:22
  Speaker 2: was intended to fool us. It was not intend right.
• 12:28
  Speaker 2: He shows up at the end and says, I did
• 12:30
  Speaker 2: my research and I found out she's fake. No, he's lying.
• 12:33
  Speaker 2: We're left just as in the dark as to who's
• 12:36
  Speaker 2: telling the truth on that one.
• 12:38
  Speaker 3: So that actually made me think that he wasn't lying.
• 12:42
  Speaker 3: The first time I watched the movie, I was like, oh,
• 12:45
  Speaker 3: maybe she I mean, like, maybe she is suspended plausible.
• 12:48
  Speaker 1: It became at least y, which was I think the
• 12:50
  Speaker 1: whole goal was to make it make you, as the viewer,
• 12:53
  Speaker 1: doubt for a moment of oh yeah, people who are
• 12:56
  Speaker 1: around this stuff do kind of crack up, so that's
• 13:00
  Speaker 1: not outside the realm of possibility.
• 13:02
  Speaker 3: I don't think I ever thought she was the killer,
• 13:04
  Speaker 3: even when he said that it was just like, oh
• 13:08
  Speaker 3: she is. Maybe she's a little unhinged, maybe she became
• 13:11
  Speaker 3: obsessed that kind of thing, But I never really thought
• 13:13
  Speaker 3: she was a killer.
• 13:15
  Speaker 2: Question. By the way, the movie, the old movie theater
• 13:19
  Speaker 2: that's turned into a scream shrine, I thought it was
• 13:21
  Speaker 2: a neat concept, that was a neat idea. But just
• 13:25
  Speaker 2: to make sure I'm tracking, so Richie had all that
• 13:28
  Speaker 2: stuff back at home and the dad transported it to
• 13:34
  Speaker 2: New York with him.
• 13:39
  Speaker 1: I think he had some sort of shrine, and I
• 13:41
  Speaker 1: think the dad like basically grew it to what it was,
• 13:45
  Speaker 1: because that would have been how they got access to,
• 13:49
  Speaker 1: you know, the screen masks, which, like they say, are evidence,
• 13:54
  Speaker 1: you know, those don't aren't just laying around. So yeah,
• 13:58
  Speaker 1: that part they kind of spoke really quickly about. But
• 14:01
  Speaker 1: my impression was that, yeah, he had started it, but
• 14:05
  Speaker 1: the dad and the siblings in their quote unquote grief,
• 14:10
  Speaker 1: you know, basically built it to what it should have been,
• 14:14
  Speaker 1: you know, right, but who knows. It was hard to
• 14:16
  Speaker 1: say it could have been all made by him, but
• 14:19
  Speaker 1: I don't know. That's yeah.
• 14:21
  Speaker 2: So you know what though, I mean, we're talking about
• 14:23
  Speaker 2: the killers, we're talking about the reveal and everything I'm
• 14:26
  Speaker 2: curious with you, guys, how effective did you find that
• 14:30
  Speaker 2: opening of the Blind Date who winds up being you know,
• 14:35
  Speaker 2: a killer and then the killer winds up being killed
• 14:37
  Speaker 2: by the real killer.
• 14:39
  Speaker 1: Like, I.
• 14:41
  Speaker 3: Loved it. I freaking loved it. I was sold immediately.
• 14:46
  Speaker 3: It was the moment when he because it's a very
• 14:50
  Speaker 3: classic intro, you know, like, oh, you know, like the
• 14:53
  Speaker 3: pretty young girl is is on her own and you
• 14:57
  Speaker 3: know she's going to die, and she does die, and
• 14:59
  Speaker 3: you're like, okay, you're following the formula. Then all of
• 15:01
  Speaker 3: a sudden, ghost Face takes off his mask. Yeah, you know,
• 15:04
  Speaker 3: you're you're you're blown away. You're just like, wait, why
• 15:06
  Speaker 3: is this weird? This doesn't happen. Why is this happening?
• 15:09
  Speaker 3: And it's kind of like that moment and force awakens
• 15:12
  Speaker 3: when Finn takes off his helmet. You're like, oh, we've
• 15:16
  Speaker 3: never seen that before. That's crazy, Like this is kind
• 15:18
  Speaker 3: of takes.
• 15:19
  Speaker 1: His helmet off and you're like, whoa, oh, we're doing
• 15:22
  Speaker 1: no helmets.
• 15:22
  Speaker 3: Okay, yeah, uh it's so And then to have it
• 15:27
  Speaker 3: revealed later on that like, oh, well, these are copycats
• 15:31
  Speaker 3: and a ghost face is preventing other ghost face from
• 15:36
  Speaker 3: doing what they want to do. It really makes sense
• 15:39
  Speaker 3: because every ghost face is a copycat. Every single ghost
• 15:42
  Speaker 3: face is a copycat. And so this kind of answers
• 15:46
  Speaker 3: the question of what if you know, multiple people had
• 15:50
  Speaker 3: the same idea, and this this answers.
• 15:53
  Speaker 1: That ghost face cells happening and one cell kills the
• 15:57
  Speaker 1: other cell, which is kind of cool.
• 16:00
  Speaker 2: Yeah, Okay, see I got the impression with the with
• 16:03
  Speaker 2: the resolution at the end that they all knew each other,
• 16:08
  Speaker 2: and it was basically just like it was doing away
• 16:11
  Speaker 2: with the idea that there was any honor among thieves,
• 16:14
  Speaker 2: basically that you don't.
• 16:16
  Speaker 1: Know each other because they yeah, they they weren't connected
• 16:20
  Speaker 1: at least a little bit. No, I think you're right now.
• 16:22
  Speaker 2: I know I could be wrong, but because the thing is,
• 16:25
  Speaker 2: I'm trying to remember the mechanics of it was there
• 16:27
  Speaker 2: was the shrine.
• 16:28
  Speaker 1: And connection was that they put it refrigerator body in
• 16:31
  Speaker 1: their names, and that's how put it in their names.
• 16:35
  Speaker 1: That doesn't nessily mean they knew about it.
• 16:37
  Speaker 2: True, I figured they knew each other in some way
• 16:40
  Speaker 2: about what message. Either way, I still think that it
• 16:44
  Speaker 2: does away with the idea of honor among thieves because
• 16:48
  Speaker 2: he's getting freaked out because he believes that the guy
• 16:51
  Speaker 2: that he does know has gone bad on him. And
• 16:54
  Speaker 2: I like that idea where he suddenly realizes, oh, this
• 16:58
  Speaker 2: was stupid to begin with, right you know that.
• 17:01
  Speaker 1: I mean, once they're on the other end, they're like, oh,
• 17:04
  Speaker 1: I regret this. Suddenly it's not fun anymore when you
• 17:08
  Speaker 1: don't have power, and that's you know, that's a good dynamic.
• 17:12
  Speaker 1: I will also give you know, Tony REVELRII a lot
• 17:16
  Speaker 1: of credit because I thought he was extremely effective in
• 17:18
  Speaker 1: that opening. I really liked the way he played the
• 17:22
  Speaker 1: character and the way you saw how it's just how
• 17:27
  Speaker 1: demented he was without being loopy about it, Like you
• 17:33
  Speaker 1: could see a sociopath which he is behaving fine in
• 17:38
  Speaker 1: public and just you know, he's just killed somebody. And
• 17:41
  Speaker 1: then he's talking with Terry and he's like, hey, what's up.
• 17:43
  Speaker 1: You know, hey, oh, try to get your sister out there.
• 17:46
  Speaker 1: You know, Like to him, there's no emotional backwash of
• 17:50
  Speaker 1: the fact that he just murdered somebody.
• 17:51
  Speaker 2: It's just there. He's a true sociopath.
• 17:54
  Speaker 1: And and in a way, that was what made that conversation.
• 17:58
  Speaker 1: It's the normal opening phone conversation, but instead one of
• 18:03
  Speaker 1: them is a ghost face copycat, which honestly something very
• 18:07
  Speaker 1: new that we had not seen and done very well.
• 18:10
  Speaker 1: I think, like you said, Tristan, it was a great hook,
• 18:13
  Speaker 1: like you know, like you're like, Okay, buckle up, this
• 18:17
  Speaker 1: one's going to be a little different. Obviously, there's still
• 18:19
  Speaker 1: the formula, but it is not nearly as as.
• 18:23
  Speaker 3: Bad it Darren. I want to ask you about the
• 18:26
  Speaker 3: formula because this is the sequel to the requel. So
• 18:30
  Speaker 3: this is kind of like, this is the Scream two
• 18:33
  Speaker 3: of the new ones, and it's takes place at a college,
• 18:38
  Speaker 3: and just like the second one did, and you have
• 18:42
  Speaker 3: a father, you have you have a parent who is
• 18:46
  Speaker 3: killing because of the death of a child, and you
• 18:49
  Speaker 3: have this core group of friends who went to college together,
• 18:52
  Speaker 3: some new some from Wardsborough. And but yet there's a
• 18:56
  Speaker 3: lot of things that are different. You know, there's like
• 18:59
  Speaker 3: some of the things that we've already mentioned. Did you
• 19:01
  Speaker 3: think it was too close to Scream two or did
• 19:05
  Speaker 3: you think it was just right or was it not?
• 19:09
  Speaker 3: Did it not pay homage enough? What did you think
• 19:11
  Speaker 3: about the similarities between Scream six and Scream two.
• 19:15
  Speaker 1: Yeah, no, that's a great question. I think overall, They
• 19:20
  Speaker 1: did a really good job of revisiting but doing it
• 19:24
  Speaker 1: in new enough way. I mean, sequels are in a
• 19:27
  Speaker 1: possible formula to get right to appease everybody, because you
• 19:32
  Speaker 1: have to really find that balance of oh, it's similar
• 19:35
  Speaker 1: enough to still feel like a Scream movie, but different
• 19:38
  Speaker 1: enough that give me something fresh and it's like, oh,
• 19:40
  Speaker 1: man walking that tightrope or ladder as it were. But
• 19:45
  Speaker 1: I think they did a good job. I think the
• 19:49
  Speaker 1: core four is the big difference, the fact that once
• 19:54
  Speaker 1: ghost Face was in their house, it's them for trying
• 19:58
  Speaker 1: to get through as their are peeling away all of
• 20:02
  Speaker 1: the new and ancillary characters from before, the girlfriends and
• 20:07
  Speaker 1: the roommates and the extras, and you know, they're the
• 20:10
  Speaker 1: ones that are dying, and you know it's not our heroes.
• 20:16
  Speaker 1: And that's different than the early screen movies where it
• 20:19
  Speaker 1: is all about Sydney. It's all about you know, the
• 20:24
  Speaker 1: very very small group. It's a bigger group, which I
• 20:27
  Speaker 1: think works.
• 20:29
  Speaker 2: Yeah, I mean, that's that's sort of the thing where
• 20:32
  Speaker 2: I will come at it again, same criticism I had
• 20:36
  Speaker 2: last time, of there's no this time. I won't lay
• 20:40
  Speaker 2: it solely on on Brera, but the script itself. There's
• 20:47
  Speaker 2: no focus character like Sydney, and I honestly think that, yes,
• 20:53
  Speaker 2: we're trying to do different things. This is a different era,
• 20:56
  Speaker 2: this is blah blah blah all that stuff. But even
• 20:59
  Speaker 2: The Avenger had Iron Man as their sort of core
• 21:02
  Speaker 2: character that everything else revolved around. And I don't get
• 21:08
  Speaker 2: a sense of anybody coalescing around anyone. I think there's
• 21:13
  Speaker 2: more coalescing around Sam this time than there was the
• 21:17
  Speaker 2: first time around. I will agree it definitely is more, Yeah,
• 21:20
  Speaker 2: but I don't think there's enough. There's not enough of
• 21:23
  Speaker 2: a gravitic pull toward that main character. And I'm not
• 21:27
  Speaker 2: going to blame her for it this time. I think
• 21:29
  Speaker 2: it's a lack of focus on the part of the script.
• 21:32
  Speaker 2: I think that there were certain opportunities they had to
• 21:34
  Speaker 2: narrow the focus, and for instance, her dealing with the
• 21:40
  Speaker 2: Mission Impossible Therapist as I'll call him, was. I thought
• 21:44
  Speaker 2: they were going to have more with that. It would
• 21:47
  Speaker 2: have been interesting to have her going through more with
• 21:52
  Speaker 2: him to do basically to keep it around there, to
• 21:57
  Speaker 2: reframe a couple of things. I think that there are
• 22:01
  Speaker 2: certain aspects that you know, you guys, feel free to
• 22:04
  Speaker 2: tell me. I'm completely wrong or whatever, But I honestly
• 22:08
  Speaker 2: think there are points where this movie can't get out
• 22:11
  Speaker 2: of its own way, a lot like other second movies
• 22:16
  Speaker 2: in a new trilogy. And I'll actually pick on the
• 22:19
  Speaker 2: Halloween New Trilogy this time, where when we got to
• 22:23
  Speaker 2: Halloween Kills, there were interesting things and neat ideas that
• 22:27
  Speaker 2: they had there, and then as it went on, you
• 22:31
  Speaker 2: just got this sense of they didn't quite know how
• 22:34
  Speaker 2: to write themselves out of certain corners, and so they
• 22:38
  Speaker 2: took the first available exit out of that corner. And
• 22:41
  Speaker 2: it's not necessarily a satisfying one. You know, am I
• 22:45
  Speaker 2: way off base? Did you guys get the same sense?
• 22:48
  Speaker 1: I think, you know, being a more modern movie and
• 22:54
  Speaker 1: being an ensemble movie, not so on a huge ensemble,
• 22:58
  Speaker 1: but it is written more for the group than for
• 23:02
  Speaker 1: the individual. So in a way, like I agree with
• 23:05
  Speaker 1: what you said where it felt it coalesced a little
• 23:08
  Speaker 1: more on Sam, but I didn't mind the level of
• 23:11
  Speaker 1: coalescing in general, because I'm like, that's just what this
• 23:15
  Speaker 1: These movies are the you know, the twenty twenty on,
• 23:18
  Speaker 1: It's going to be the group, and so I wasn't
• 23:21
  Speaker 1: looking for it to be the final girl, you know,
• 23:25
  Speaker 1: and all of that. So maybe I wasn't disappointed because
• 23:28
  Speaker 1: my expectations were met in.
• 23:31
  Speaker 2: What we got. Sure, I get that.
• 23:35
  Speaker 3: I think that. I mean, you're not wrong that there's
• 23:37
  Speaker 3: a definite lack of a Sydney. There's not a Sydney
• 23:40
  Speaker 3: replacement in here, because I think once again, you know,
• 23:44
  Speaker 3: they're trying to say it's Sam, but it's not, you know,
• 23:47
  Speaker 3: because we have Sam, we have we have Tarrow, we
• 23:50
  Speaker 3: have Gail, we have like they took all of you know,
• 23:55
  Speaker 3: Curry and spread her over multiple people. Yes they did,
• 23:59
  Speaker 3: because I think they wanted to get Nev Campbell to
• 24:02
  Speaker 3: come back for this one. They wanted her to be
• 24:04
  Speaker 3: a focus of this of this movie, but they wanted
• 24:06
  Speaker 3: her to take less money than she did in twenty
• 24:09
  Speaker 3: twenty two. And Nev Campbell's just like hah no, and
• 24:14
  Speaker 3: she so she didn't show up. I mean, and more
• 24:16
  Speaker 3: power to her. I mean, like I think, like Matthew
• 24:20
  Speaker 3: Lillard wrote on social saying, like, do you think Tom
• 24:23
  Speaker 3: Cruise would take less money for Maverick five?
• 24:28
  Speaker 2: Right, I'll go all the way back to the third
• 24:32
  Speaker 2: Godfather movie. Devaal was like, you should pay me as
• 24:35
  Speaker 2: much as Pacino and Keaton and Paramount was like, no,
• 24:38
  Speaker 2: we'll pay you half as much, and it was like, great,
• 24:41
  Speaker 2: have a fun time without me, guys. And that's the
• 24:43
  Speaker 2: reason we don't get Tom Hagen back in the third
• 24:46
  Speaker 2: Godfather film, because somebody made a bad financial decision.
• 24:51
  Speaker 3: And with the lack like you feel the lack of
• 24:55
  Speaker 3: Tom Hagen, oh my gosh, yes, immensely. And Godfather Part three,
• 24:59
  Speaker 3: I don't particul feel the lack of Sydney in this one.
• 25:02
  Speaker 1: I don't know where you would have put her.
• 25:04
  Speaker 2: I think I think they did a better job of
• 25:08
  Speaker 2: not having Sydney than the Third Godfather did of not
• 25:13
  Speaker 2: having Tom Hagen. I agree with you on that because
• 25:16
  Speaker 2: there's so much going on that I am willing to
• 25:24
  Speaker 2: I think you said it best, Aaron. Where was she
• 25:26
  Speaker 2: going to be? There was?
• 25:28
  Speaker 1: They nearly had room for Gail, and that was just
• 25:31
  Speaker 1: enough for me. I think it's like you passed the torch.
• 25:34
  Speaker 1: To have her come back would have been to hand
• 25:36
  Speaker 1: it back, and it's like, why do that keep moving forward?
• 25:39
  Speaker 3: I mean yeah, because they were all shoehorned in besides
• 25:42
  Speaker 3: Dewey in the last one, like Gail and Sidney were
• 25:45
  Speaker 3: very much shoehorned in. They did not need to be
• 25:47
  Speaker 3: in that one. And honestly, even though I think the
• 25:50
  Speaker 3: scene where Gail is attacked is a really good scene,
• 25:55
  Speaker 3: I feel like we didn't really need Gail in this
• 25:57
  Speaker 3: one either.
• 25:58
  Speaker 2: No, well, I agree three with you one hundred percent.
• 26:01
  Speaker 2: We did not need Gail. I think that having Gail
• 26:04
  Speaker 2: in it actually works against the movie because we would
• 26:08
  Speaker 2: have had more time with Kirby if Gail had not
• 26:11
  Speaker 2: been in there, and that would have been to the
• 26:13
  Speaker 2: benefit of the movie to have more time with Kirby.
• 26:16
  Speaker 3: And Kirby should have been the new legacy character.
• 26:19
  Speaker 2: Yes, like she should have been that.
• 26:21
  Speaker 3: Middle of the road. And I say that not as
• 26:23
  Speaker 3: a knock, but like she she joined in in the
• 26:26
  Speaker 3: middle of the franchise. I know it's not the exact middle,
• 26:29
  Speaker 3: but you know what I'm saying, yep, And continues on
• 26:32
  Speaker 3: where Gail and Dewey and Sydney are like they two
• 26:38
  Speaker 3: of them get their happy ending.
• 26:40
  Speaker 2: I will also go ahead and throw out there that
• 26:43
  Speaker 2: they're completely wrong that the best Knight Marrion elm Street
• 26:46
  Speaker 2: movie is actually Night Maaron elm Street three Dream Warriors.
• 26:50
  Speaker 1: But that's just me. So I was just say. That
• 26:53
  Speaker 1: scene cracked me up because as they're doing it, I'm like,
• 26:56
  Speaker 1: I feel like this is so predictable what they're gonna say.
• 26:59
  Speaker 1: I bet you she's gonna say game recognizes game. And
• 27:01
  Speaker 1: then she said, and like, oh my gosh.
• 27:05
  Speaker 3: That see that scene was a little iroll.
• 27:06
  Speaker 1: It was a little iroll, But yes, Kristin, I wanted
• 27:10
  Speaker 1: to ask you, so the Killers, there's three Killers guys
• 27:15
  Speaker 1: or something shaking it up, But how do you feel
• 27:19
  Speaker 1: in this movie as far as the choices of the
• 27:23
  Speaker 1: Killers make to maneuver our heroes into that final kill box?
• 27:29
  Speaker 1: Do you think did they make smart decisions or where
• 27:33
  Speaker 1: they're glaring plot holes? I have my opinion, but I'm
• 27:37
  Speaker 1: curious yours. Do you feel like it made sense? How
• 27:42
  Speaker 1: because obviously they're pulling the strings a lot in this
• 27:46
  Speaker 1: did that make sense?
• 27:48
  Speaker 3: I really liked the Quinn take back. I think it
• 27:53
  Speaker 3: was it made sense because of mulroney's character being in
• 27:56
  Speaker 3: law enforcement, like he was able to kind of manipulate
• 27:59
  Speaker 3: things in order to make that plausible. I think it
• 28:03
  Speaker 3: was like the The Billy reveal amped up to eleven,
• 28:08
  Speaker 3: which I really appreciate. I think that, uh, the the
• 28:12
  Speaker 3: Ethan thing was fine, you know, like I I didn't
• 28:16
  Speaker 3: really feel one way or the other about it. Where
• 28:19
  Speaker 3: it was cool that Mindy didn't trust Ethan because I
• 28:23
  Speaker 3: really liked where she's just when she like did that
• 28:25
  Speaker 3: gesture where she's she you know, two fingers and say
• 28:29
  Speaker 3: like I'm looking at you, you know, like I see you,
• 28:31
  Speaker 3: I see you, Villain, I see you, and then she's
• 28:34
  Speaker 3: just like crap, I'm always wrong, and then she's revealed
• 28:36
  Speaker 3: to be to be right. I I liked that, So
• 28:39
  Speaker 3: I liked that aspect of it. Where it was it
• 28:41
  Speaker 3: was a lot of misdirection. There was a lot of
• 28:43
  Speaker 3: really well done misdirection. The It's it's hard because this
• 28:50
  Speaker 3: type of reveal where an entire family isn't on it,
• 28:54
  Speaker 3: Like this has to be the most messed up biological
• 28:59
  Speaker 3: family where you can convince that you're a father and
• 29:04
  Speaker 3: can convince your kids to be psychos too, or they're
• 29:08
  Speaker 3: all psychos.
• 29:09
  Speaker 2: You know.
• 29:09
  Speaker 3: It's one of those things that's hard. I'm not saying
• 29:10
  Speaker 3: it's bad, but it's hard to do that at the
• 29:15
  Speaker 3: very last ten minutes of a movie when that story
• 29:20
  Speaker 3: probably needs about thirty minutes.
• 29:24
  Speaker 2: It's very Texas Chainsaw Massacre in terms of like the
• 29:27
  Speaker 2: whole family is in on the bit.
• 29:31
  Speaker 3: But you're in the element, yeah, of the Texas Chainsaw,
• 29:34
  Speaker 3: You're in your basis element.
• 29:36
  Speaker 2: You're absolutely right. I'm not discounting what you're saying, but
• 29:39
  Speaker 2: I'm saying, like the whole family thing, I'm like, I
• 29:41
  Speaker 2: get what they're going for, and that's my that's what
• 29:46
  Speaker 2: I'm getting at. What I'm saying, the movie can't get
• 29:47
  Speaker 2: out of its own way is just like all of
• 29:52
  Speaker 2: these other middle in the New Trilogy movies. They overthink
• 29:56
  Speaker 2: so much and as a result, things get flunky, things
• 30:00
  Speaker 2: get jammed together, and that reveal at the end instead
• 30:04
  Speaker 2: of me going oh wow, I sat there and I
• 30:08
  Speaker 2: saw the reveal and I was like, oh okay, like
• 30:10
  Speaker 2: it was. And then when they threw on top of
• 30:13
  Speaker 2: their oh no, a graeving father can get away with
• 30:16
  Speaker 2: swapping out the cadaver of what is supposedly dead, I'm like, Okay,
• 30:21
  Speaker 2: we're going like we're going like full on insane. Okay,
• 30:26
  Speaker 2: so we're not obeying any rules of reality at all here.
• 30:30
  Speaker 2: I get that, all right, fine, but then it just
• 30:34
  Speaker 2: the payoff of the sequence at the end is not
• 30:37
  Speaker 2: worth that big reveal, Like they're there. There there's no suspense,
• 30:43
  Speaker 2: there's no shock, it's just oh, that's okay, like shrug.
• 30:49
  Speaker 2: I didn't I didn't feel any like impact from that reveal.
• 30:53
  Speaker 2: It was more of a oh, all right. It just
• 30:56
  Speaker 2: didn't land with me at all.
• 30:58
  Speaker 1: And in a way, we also kind of should have
• 31:00
  Speaker 1: seen it coming, because if this is the spiritual successor
• 31:03
  Speaker 1: to Screen two, which famously has you know Billy's mom,
• 31:09
  Speaker 1: you know where he's yelling it, this is literally like
• 31:12
  Speaker 1: Ritchie's dead, Like there's basically that same vibe is what
• 31:17
  Speaker 1: they're going for. But the problem is you're in the
• 31:20
  Speaker 1: sixth movie, not the second movie. And so it's just
• 31:26
  Speaker 1: I mean, I don't envy having to write another screen
• 31:28
  Speaker 1: movie and trying to recapture that magic again and again
• 31:32
  Speaker 1: and again, and you're not gonna always bat a thousand
• 31:35
  Speaker 1: and so that I see it that way, I think.
• 31:38
  Speaker 3: For me, I think the best thing about the reveal
• 31:40
  Speaker 3: for me personally, and I felt it was like I
• 31:43
  Speaker 3: mentioned before the Quinn reveal, like bringing her back. I
• 31:46
  Speaker 3: was like, oh, that's cool, and just seeing two ghost
• 31:49
  Speaker 3: faces ghost faces ghost yasi, I don't ghost faces. Seeing
• 31:55
  Speaker 3: two ghost faces on the screen at the same time,
• 31:59
  Speaker 3: you know, just blew my little mind because we'd never
• 32:01
  Speaker 3: seen that before and I know that's really simple, but
• 32:04
  Speaker 3: yet it was effective. But then also saying that there
• 32:07
  Speaker 3: was three killers instead, and that's the only way it
• 32:10
  Speaker 3: would have worked. It's the only way that this much
• 32:13
  Speaker 3: of misdirection would have worked, as if there was three
• 32:15
  Speaker 3: of them, not two of them. And it's you know,
• 32:19
  Speaker 3: when you go back and rewatch it, it's really fun,
• 32:22
  Speaker 3: you know, just like with the fourth one and the
• 32:24
  Speaker 3: third one, not the third one, but like just like
• 32:26
  Speaker 3: with the fourth one and the last one, going back
• 32:30
  Speaker 3: and trying to figure out, you know, who was who
• 32:32
  Speaker 3: and which one is which, but this one's even more
• 32:34
  Speaker 3: convoluted in trying to figure that out.
• 32:37
  Speaker 1: But yeah, right, because like Gail Weathers, I mean, yeah,
• 32:40
  Speaker 1: because the dad is at the park and the brother
• 32:44
  Speaker 1: is in the van, so it has to be the
• 32:46
  Speaker 1: daughter because there's no one else that could be across
• 32:49
  Speaker 1: town at that moment. So yeah, that is one of
• 32:52
  Speaker 1: the fun aspects of the screen movies, is the rewatch
• 32:56
  Speaker 1: where you can try to because they never cheatd there.
• 32:59
  Speaker 1: I mean, if there's two or three, like, there's always
• 33:01
  Speaker 1: one of them is doing it and it's never like
• 33:04
  Speaker 1: it's impossible that there's a ghost face there because both
• 33:06
  Speaker 1: are on the screen. So what do you think of that? John?
• 33:10
  Speaker 1: I just.
• 33:13
  Speaker 2: I was just frustrated by the movie honestly by that
• 33:18
  Speaker 2: point because I didn't I didn't I didn't wind up
• 33:25
  Speaker 2: again invested. I don't want to restate like how it
• 33:27
  Speaker 2: didn't really have an impact for me, But it was
• 33:29
  Speaker 2: more one of those things where when the dad is revealed,
• 33:33
  Speaker 2: I sort of you know, you go back to the beginning,
• 33:36
  Speaker 2: and my reaction was Okay, well, he's probably involved in
• 33:41
  Speaker 2: some way, but I just didn't know that he was
• 33:44
  Speaker 2: going to be Richie's dad sort of thing. And then
• 33:46
  Speaker 2: when they're they're trying to throw the Red Herring Wars like, hey,
• 33:49
  Speaker 2: look up the FBI person, my reaction wasn't oh, it
• 33:52
  Speaker 2: could be Kirby. It was Okay, what was the angle here?
• 33:57
  Speaker 2: And I think that gets to what you're saying Darren,
• 33:59
  Speaker 2: where it's like, oh, I don't envy writing a screen movie,
• 34:02
  Speaker 2: because by this point in the franchise, it's like what
• 34:05
  Speaker 2: are you going to throw at me? Where I'm not
• 34:06
  Speaker 2: going to look at it skeptically and say yeah, okay whatever, Sure, yeah, like,
• 34:11
  Speaker 2: that's why I.
• 34:12
  Speaker 1: Being suspicious of the characters as they are of each other,
• 34:15
  Speaker 1: because literally, anybody I'm not.
• 34:17
  Speaker 2: Being but I'm not being suspicious of the character so
• 34:21
  Speaker 2: much as not trusting the screenwriters or the directors. At
• 34:24
  Speaker 2: this point, I feel like they're just lying to me
• 34:27
  Speaker 2: and lying to me badly in such way where it's like,
• 34:31
  Speaker 2: I don't feel like you're you're lying, You're the magician's trick.
• 34:35
  Speaker 2: Isn't playing for me the same way. That's one reason
• 34:38
  Speaker 2: why I love the opening of it so much, is
• 34:42
  Speaker 2: it was what you were saying earlier, Tristan. He pulls
• 34:46
  Speaker 2: off the mask in the beginning, I'm like, oh, oh cool, okay,
• 34:49
  Speaker 2: this is completely wild movie, right, and his friend, his
• 34:54
  Speaker 2: friend calls and he's like his friend is screwing with him,
• 34:57
  Speaker 2: and I'm like, oh wow, his friend is going to
• 35:00
  Speaker 2: betray him. Oh wait, it's not the front. Oh that's cool.
• 35:03
  Speaker 2: You know, like this whole layered thing. I just don't
• 35:07
  Speaker 2: think it ever delivers on that promise.
• 35:09
  Speaker 1: And I think he does all that up in the
• 35:10
  Speaker 1: first ten minutes and then yes, it was a normal
• 35:13
  Speaker 1: screen movie after that.
• 35:14
  Speaker 2: And again I'll go back and I'll throw this at
• 35:18
  Speaker 2: Halloween kills, same sort of thing where they suddenly found
• 35:22
  Speaker 2: a way after the last movie. You know, at the
• 35:26
  Speaker 2: end of Halloween twenty eighteen, it felt like a finish
• 35:30
  Speaker 2: where you said, oh wow, okay, they came back and
• 35:34
  Speaker 2: they made a real Halloween two or three, depending on
• 35:38
  Speaker 2: your point of view at this time, and they actually
• 35:40
  Speaker 2: close the deal. There's no way he's getting out of this.
• 35:44
  Speaker 2: I'm happy, it's great. And then they really cleverly find
• 35:47
  Speaker 2: a way to get Michael Myers out. I'm sorry, the
• 35:49
  Speaker 2: shape when he's wearing mask. They get the shape out
• 35:53
  Speaker 2: at the end, and then he goes on this killing
• 35:54
  Speaker 2: spree that's stretched. It's not as well done as the
• 35:58
  Speaker 2: opening of this movie. And then it just that Goodwill
• 36:01
  Speaker 2: just starts getting eroded quicker and quicker through the movie,
• 36:04
  Speaker 2: until at the end, I'm sitting there saying, can we
• 36:08
  Speaker 2: just wrap this up? Guys, like I just it's just
• 36:13
  Speaker 2: this one's a tough one for me because I want
• 36:16
  Speaker 2: to be forgiving for it, because I think that some
• 36:18
  Speaker 2: of the stuff I talked about last time, where I
• 36:21
  Speaker 2: thought that the direction was weird in terms of, you know,
• 36:24
  Speaker 2: it felt handheld and then locked off, and it didn't
• 36:27
  Speaker 2: feel like it had chosen a clear visual style in
• 36:31
  Speaker 2: terms of how it was shot. This one, I think
• 36:33
  Speaker 2: looks beautiful. I think this looks gorgeous.
• 36:37
  Speaker 3: I was going to ask you about that, John, because
• 36:39
  Speaker 3: so this is the last two films were shot digitally
• 36:44
  Speaker 3: and because the previous four were shot on film. But
• 36:49
  Speaker 3: the main difference between the two that were shot digitally
• 36:52
  Speaker 3: is this one is the first scream film to be
• 36:54
  Speaker 3: shot on spherical lenses. They did not use an anamorphic lens, okay,
• 36:59
  Speaker 3: And so it kind of gives you know, like when
• 37:02
  Speaker 3: we when you see an anamorphic lens, you very much
• 37:05
  Speaker 3: you feel the texture of it, the feeling the look
• 37:08
  Speaker 3: is very cinematic, and with shooting digitally and on spherical
• 37:13
  Speaker 3: it makes things look a little bit closer to the eye,
• 37:18
  Speaker 3: like like colors are represented a little bit better, like
• 37:21
  Speaker 3: shapes and textures are are a little bit more lifelike.
• 37:25
  Speaker 3: What did you did you notice that? Did you guess
• 37:27
  Speaker 3: whether it was subconscious or consciously? What did you think
• 37:30
  Speaker 3: about that difference?
• 37:31
  Speaker 2: No, I mean I immediately, if I were to compare
• 37:34
  Speaker 2: the two, I thought that I thought everything looked richer.
• 37:37
  Speaker 2: I thought everything looked just it felt more real. I
• 37:42
  Speaker 2: guess you could say it felt I felt like I
• 37:44
  Speaker 2: was alive in there with them. The last one, the
• 37:49
  Speaker 2: lighting felt like a movie. It looked like a movie.
• 37:52
  Speaker 2: And then the way that they shot different stuff, I
• 37:56
  Speaker 2: was like, Okay, it didn't really decide on what it's
• 38:01
  Speaker 2: you know, it's photographic approach really was. That was one
• 38:04
  Speaker 2: of my gripes with it. With this one, I thought
• 38:06
  Speaker 2: it looked gorgeous. I absolutely loved it. And again it
• 38:10
  Speaker 2: goes back again to Halloween Kills, which I thought was
• 38:14
  Speaker 2: shot beautifully and I hated the movie. Not saying I
• 38:18
  Speaker 2: hated this one, but I hated Halloween Kills, and I
• 38:22
  Speaker 2: think that it was unfortunate because I felt I felt
• 38:27
  Speaker 2: actually kind of sad at the end because I was like, oh,
• 38:30
  Speaker 2: this was so gorgeous. I wish I loved this. And
• 38:33
  Speaker 2: with this one, I thought especially you know what I
• 38:37
  Speaker 2: was actually thinking of you, Darren. I mean, I thought
• 38:40
  Speaker 2: the night scenes looked great. You know, the way that
• 38:43
  Speaker 2: I thought everything was very clear.
• 38:45
  Speaker 1: I'm not the only person out there who doesn't like
• 38:47
  Speaker 1: muddy dark. You can't see it night shots, but I
• 38:51
  Speaker 1: get it.
• 38:51
  Speaker 2: I get it.
• 38:52
  Speaker 1: No, No, I it's funny because it. This one's an
• 38:55
  Speaker 1: interesting one to talk about because it is so close
• 38:58
  Speaker 1: to the previous it's by the same director. It's kind
• 39:01
  Speaker 1: of like that second try of not try. I'm not
• 39:05
  Speaker 1: demeaning it, but like that second round at the you know,
• 39:09
  Speaker 1: at the movies, getting to revisit characters, getting to revisiting
• 39:13
  Speaker 1: new location. You're moving a little bit out of the mold,
• 39:16
  Speaker 1: which is nice. But I mean we kind of picked
• 39:20
  Speaker 1: up at the twenty twenty two to one about you know,
• 39:24
  Speaker 1: moving around the kitchen and every time the frame was
• 39:28
  Speaker 1: filled with the door, and you're like, is he gonna
• 39:30
  Speaker 1: be behind it? Like there was none of that, Like
• 39:31
  Speaker 1: a lot of the cheap didn't work stuff did not
• 39:35
  Speaker 1: happen here. I mean the even just the whole subway
• 39:38
  Speaker 1: scene beautifully, you know, and it's a long scene to
• 39:43
  Speaker 1: keep that suspense going, but it does. It's fresh enough
• 39:48
  Speaker 1: and angled enough where you know, you're stuck in a
• 39:53
  Speaker 1: small room with a bunch of ghost faces and one
• 39:55
  Speaker 1: of them's looking right at you. But but yeah, but
• 39:58
  Speaker 1: Tristan on the directing aspect, does this feel like a
• 40:04
  Speaker 1: director who is getting to continue in the playground he created,
• 40:09
  Speaker 1: you know, with these new characters. New location, you know,
• 40:13
  Speaker 1: the core four. Does it feel like they're they're getting
• 40:17
  Speaker 1: to expand or is it still finding his footing in
• 40:21
  Speaker 1: this franchise or do you think he's off to the
• 40:23
  Speaker 1: races both of them.
• 40:25
  Speaker 3: Well, I think I think the first one twenty two
• 40:30
  Speaker 3: definitely was that. I think it was a really fresh take.
• 40:33
  Speaker 3: It was a lot of fun. There was a lot
• 40:37
  Speaker 3: of missteps, as we talked about, but at the same time,
• 40:40
  Speaker 3: this one felt like solid footing. Like this one felt
• 40:44
  Speaker 3: like you're in there's a new world that they created,
• 40:48
  Speaker 3: like the sandbox. Like you said, they're playing in it
• 40:51
  Speaker 3: and they know what they're doing now, they know how
• 40:53
  Speaker 3: to This definitely feels like directors who are more confident
• 40:57
  Speaker 3: with the source material. You definitely felt the love. You
• 41:00
  Speaker 3: definitely felt a love in twenty two, but this one
• 41:04
  Speaker 3: you feel the confidence a bit more and that I
• 41:06
  Speaker 3: think that goes with the the cinematography, the acting. I
• 41:10
  Speaker 3: think Sam, not Sam, but Melissa Brera's acting is much better.
• 41:17
  Speaker 3: And I think it's because they they knew how to
• 41:20
  Speaker 3: work with her this time. I think they knew what
• 41:23
  Speaker 3: she could do, what she couldn't do, like her strengths,
• 41:25
  Speaker 3: her weaknesses, how much screen time. She should be allotted,
• 41:29
  Speaker 3: you know, things like that. I think they I feel
• 41:33
  Speaker 3: not to overstate it, but like I just feel like
• 41:35
  Speaker 3: they felt like they knew what they were doing this time.
• 41:38
  Speaker 3: They're like this is ours now, like this is our time.
• 41:42
  Speaker 3: You know.
• 41:42
  Speaker 2: I want to follow up on that because this movie
• 41:46
  Speaker 2: feels less. It's weird to say this was something that
• 41:50
  Speaker 2: is so squarely in the horror franchise category, but it
• 41:56
  Speaker 2: felt less fun. Screen movies are always supposed well. Screen
• 42:00
  Speaker 2: movies are always supposed to be marked by the fact
• 42:03
  Speaker 2: that it's meta, but it's that fun sense of meta
• 42:07
  Speaker 2: where it's almost like a Theater of the absurd sort
• 42:11
  Speaker 2: of thing, whereas this the meta part of it, like
• 42:15
  Speaker 2: calling out the rules. I mean, the rules are nonsense
• 42:18
  Speaker 2: with requal sequels whatever. You know, I'm not going to
• 42:22
  Speaker 2: rehash that, right, and especially when they're like subverting expectations.
• 42:27
  Speaker 2: I'm like, if I hear that phrase one more time
• 42:28
  Speaker 2: and I'm not the one saying it just to get
• 42:30
  Speaker 2: a Darren's headshake at me when I say it, like
• 42:34
  Speaker 2: I just I don't want to hear it anymore. But
• 42:37
  Speaker 2: like this, this feels not like a screen movie. And
• 42:41
  Speaker 2: what I mean by that is it feels more like
• 42:44
  Speaker 2: just a straight horror movie. It feels more like just
• 42:48
  Speaker 2: horror without the humor. And if I go back and
• 42:53
  Speaker 2: I replay in my brain the screen movies that I
• 42:56
  Speaker 2: liked up to this point, there's more fun, there's more
• 43:00
  Speaker 2: humor in them. And I don't want to throw it
• 43:05
  Speaker 2: out there that it's because we don't have a Dewey character,
• 43:09
  Speaker 2: but it feels like it's because we don't have a
• 43:10
  Speaker 2: Dewey character. It really feels like we don't have that
• 43:16
  Speaker 2: pure of heart, goofy sidekick kind of guy going around there.
• 43:21
  Speaker 2: And I miss.
• 43:22
  Speaker 1: Kind of with Chad, but I guess, but not nearly.
• 43:26
  Speaker 1: I'm not saying no, not in.
• 43:28
  Speaker 2: The Dewey sense, and I really miss that. And that's
• 43:31
  Speaker 2: what makes it feel weird to me. I don't have
• 43:34
  Speaker 2: a Dewey here.
• 43:35
  Speaker 1: It's it's interesting because as great as the opening was,
• 43:40
  Speaker 1: you know when he when ghost Face turns and is
• 43:43
  Speaker 1: literally like forget the movies, like you know, forget movies,
• 43:46
  Speaker 1: Like we're moving on from that. I mean that's true
• 43:49
  Speaker 1: in a way, they're really downplaying as much as we
• 43:53
  Speaker 1: ie roll on the whole, like let's talk about the rules,
• 43:57
  Speaker 1: like literally in the movie about the movie. But yeah,
• 44:01
  Speaker 1: that a lot of that heart of what makes a
• 44:04
  Speaker 1: screen movie was kind of stripped away formulaically, very much
• 44:09
  Speaker 1: a screen movie ghost phase. You got the family connection
• 44:12
  Speaker 1: you have, Like I'm not saying any of those things
• 44:14
  Speaker 1: are bad, and it fires on all cylinders in that aspect.
• 44:19
  Speaker 1: But we are definitely not in the nineties, you know,
• 44:23
  Speaker 1: in the early two thousands of just how movies told
• 44:27
  Speaker 1: their stories, you know, for a comparison to twenty two,
• 44:32
  Speaker 1: I mean I almost feel like you can only compare
• 44:34
  Speaker 1: it to twenty two, like there's nothing to really look
• 44:38
  Speaker 1: at the previous ones. And I don't know if this
• 44:42
  Speaker 1: analogy will break down. But in a way, and I
• 44:46
  Speaker 1: mainly mean this for legacy characters, I'll preface that, but
• 44:50
  Speaker 1: in a way, you know, when you were interested, when
• 44:52
  Speaker 1: you were talking about the director and playing in the sandbox,
• 44:55
  Speaker 1: this felt like first contact to generations where generations held
• 45:02
  Speaker 1: on to well, we have to keep kirking it, but
• 45:05
  Speaker 1: the torch has already been passed. Why are we bringing
• 45:08
  Speaker 1: back these characters? So in that aspect, I feel like
• 45:11
  Speaker 1: twenty two, you know, having Sydney having Gail, like trying
• 45:16
  Speaker 1: to build its own thing, but still keeping one foot
• 45:19
  Speaker 1: in the past, whereas this one is like, no, we
• 45:21
  Speaker 1: got a new city, we got a new ship, you know,
• 45:24
  Speaker 1: where it's the same old villain's coming back, you know,
• 45:27
  Speaker 1: and you feel that severing of the past, which is
• 45:32
  Speaker 1: weird for I say ghostce movies for screen movies, because
• 45:36
  Speaker 1: it works. They are inherently about the past. Like I
• 45:40
  Speaker 1: don't think I've watched a franchise that is so ingrained
• 45:44
  Speaker 1: in the lore of itself. It is a key feature
• 45:48
  Speaker 1: of these movies. If they never reverenced the past, it
• 45:51
  Speaker 1: wouldn't be a screen movie. You have to have that
• 45:53
  Speaker 1: at least some some bits.
• 45:56
  Speaker 3: That's very accurate. And John, see this analogy would work
• 46:00
  Speaker 3: if you were a normal human being and recognize that
• 46:02
  Speaker 3: First Contact is a fantastic movie and better than generations.
• 46:06
  Speaker 2: Ah, let's not let's not go down this road, gentlemen.
• 46:10
  Speaker 2: Let's let's not do this. Let's or why would we
• 46:14
  Speaker 2: pick a fight about something that was a TV movie
• 46:16
  Speaker 2: that got released theatrically.
• 46:17
  Speaker 1: It's okay, it's okay, it's okay.
• 46:19
  Speaker 2: I you know, I think that I get the point
• 46:22
  Speaker 2: you're going for, Darren. At that point, my question becomes
• 46:27
  Speaker 2: what's the point of making this a screen movie. And
• 46:30
  Speaker 2: I'm not saying that dismissively. I'm not saying that to
• 46:33
  Speaker 2: stomp on it. But it seems to go down that
• 46:36
  Speaker 2: road of well, we're totally gonna do something that's not
• 46:40
  Speaker 2: a scream movie, but it's a scream movie because it's
• 46:42
  Speaker 2: in the franchise. And at that point, I like, to me,
• 46:46
  Speaker 2: that feels like the ultimate Hollywood cheat of oh, well,
• 46:52
  Speaker 2: we're just gonna repurpose this thing because it'll get the
• 46:56
  Speaker 2: old time fans in the theater.
• 47:00
  Speaker 3: Really, no, I'm calling I'm calling a flag on that.
• 47:03
  Speaker 3: You're taking it away too far.
• 47:04
  Speaker 1: It's no, no, no, no.
• 47:06
  Speaker 2: So I wasn't even finished with my point. You can
• 47:08
  Speaker 2: you can throw whatever flags you want to. I will
• 47:11
  Speaker 2: pick that flag up and I will wipe my butt
• 47:13
  Speaker 2: with it.
• 47:13
  Speaker 3: This is this there's no, this is no way just
• 47:17
  Speaker 3: like a generic horror movie with a ghost face face
• 47:22
  Speaker 3: on it, Like there's just there's just because that's what
• 47:24
  Speaker 3: you're describing. That is not the case here whatsoever.
• 47:28
  Speaker 2: Not it's a yes and no because no, no, it's
• 47:31
  Speaker 2: a straight no. It's what I'm saying is why retrofit
• 47:38
  Speaker 2: anything into it? Why not just make this movie without
• 47:42
  Speaker 2: it being a ghost face movie, because I think it's
• 47:46
  Speaker 2: on better footing if it doesn't have that legacy behind it.
• 47:51
  Speaker 2: I think it actually would have been a better movie
• 47:54
  Speaker 2: if they hadn't made it a ghost face movie. I
• 47:57
  Speaker 2: feel if anything that holds it back from everything it
• 48:00
  Speaker 2: could become. And that's that's that's a compliment. You can
• 48:04
  Speaker 2: take it as a backhanded compliment if you want to.
• 48:07
  Speaker 2: But I look at this movie from beginning to finish,
• 48:09
  Speaker 2: and I say, oh, it's actually kind of a shame
• 48:12
  Speaker 2: it's a screen movie because there's so much non screen
• 48:16
  Speaker 2: stuff happening here that I would have liked to see
• 48:19
  Speaker 2: this not be restrained by being a screen movie. I
• 48:24
  Speaker 2: know that makes sense to somebody out there here in.
• 48:26
  Speaker 1: Outside of my head. I get what you're saying, John,
• 48:28
  Speaker 1: It's a it's a hard formula because in a way,
• 48:31
  Speaker 1: you can't have it both ways. Like there's intrinsic things
• 48:35
  Speaker 1: about this being a screen movie that make it good.
• 48:38
  Speaker 1: But I mean, I think the short answer is sequels
• 48:43
  Speaker 1: and franchises are way more guaranteed at the box office.
• 48:47
  Speaker 1: So yeah, that's oh, I know, I know, And that's
• 48:49
  Speaker 1: what I'm saying going to cast these actors at a
• 48:51
  Speaker 1: brand new horror franchise. No, it's got to be a
• 48:54
  Speaker 1: Scream five and six. Well I meant the same time.
• 48:58
  Speaker 1: You know, it's like Darren, like you said, you know,
• 49:01
  Speaker 1: it's not the nineties anymore. Would we really like if
• 49:05
  Speaker 1: you're going to do a requel and a sequel to
• 49:07
  Speaker 1: a requel whatever. I hate saying that out loud, but
• 49:10
  Speaker 1: if you're going to do these things, like if you're
• 49:12
  Speaker 1: going to do a soft reboot of the franchise, you know,
• 49:16
  Speaker 1: like do you want to go the Force Awakens route
• 49:18
  Speaker 1: and just make the same movie doing the same things,
• 49:22
  Speaker 1: because that's you know, you'd get people who would complain
• 49:25
  Speaker 1: about that where it's just like, oh, this is just
• 49:27
  Speaker 1: a rehash, you know, like like like yeah, but like
• 49:30
  Speaker 1: you know, like John, you're talking about how you know,
• 49:33
  Speaker 1: like it's the you have a movie that breaks the
• 49:36
  Speaker 1: formula but yet has homages to the past, and you're
• 49:40
  Speaker 1: saying like, oh, it'd be a better movie without those homages.
• 49:43
  Speaker 1: But that's what makes this movie possible. And I'm not
• 49:47
  Speaker 1: talking about from a production standpoint or from a theatrical standpoint.
• 49:50
  Speaker 1: It's so ingrained with the characters and with the plot
• 49:54
  Speaker 1: itself that I don't think it's possible to remove the
• 49:58
  Speaker 1: scream element, the Woodsboro element, the ghost face element. I
• 50:02
  Speaker 1: don't think it's possible to have this plot exist. You'd
• 50:06
  Speaker 1: have to it just you you could have the I
• 50:08
  Speaker 1: guess you could have the same scenes and the same
• 50:12
  Speaker 1: as actual the end. Yeah, no, it would be a
• 50:16
  Speaker 1: completely different movie, just with the same action. You know,
• 50:19
  Speaker 1: it's like, oh, well, Diehard's a great movie, but did
• 50:21
  Speaker 1: they really have to have it in a tower? Yeah?
• 50:25
  Speaker 2: I now, I stand by what I'm saying here. Where
• 50:31
  Speaker 2: like I just I see so many things that are
• 50:34
  Speaker 2: are good, but it feels like it's restrained in a
• 50:38
  Speaker 2: strange way because it's some great ideas that could have
• 50:45
  Speaker 2: been even better if it's not coming in from the
• 50:50
  Speaker 2: franchise point of view. Again, I'm if anything that's highly
• 50:55
  Speaker 2: complementary of this of the ideas here, you're saying this
• 50:59
  Speaker 2: movie could have been its own movie, its own kickoff,
• 51:02
  Speaker 2: and still have been just as good. And I mean again,
• 51:05
  Speaker 2: it's like I said, it's a hard catch twenty two.
• 51:09
  Speaker 1: Like you, you know, it's good in its core because
• 51:12
  Speaker 1: it's a screen movie. But I get your compliment like
• 51:16
  Speaker 1: that that I do see it through you know, through
• 51:19
  Speaker 1: the tattered.
• 51:20
  Speaker 2: I mean movie. My My question is is a different
• 51:23
  Speaker 2: editor this time? And you know, Tristan, I love to
• 51:27
  Speaker 2: to pick on you and and playfully ask this question
• 51:32
  Speaker 2: every time, but do you see different result with a
• 51:37
  Speaker 2: different editor this time? Do you think that this flows
• 51:39
  Speaker 2: better on both a macro and a micro level.
• 51:42
  Speaker 3: I do, I do. I do think it flows better.
• 51:44
  Speaker 3: I think that there were there were times in the
• 51:48
  Speaker 3: first one in twenty two where I was like, is
• 51:51
  Speaker 3: that really the best take? Like or there was a
• 51:54
  Speaker 3: few times when I'm like, are we still here? Okay?
• 51:57
  Speaker 3: I didn't feel that hardly at all with this one.
• 52:00
  Speaker 3: I felt it a little bit. During the subway scene,
• 52:02
  Speaker 3: even though I was enjoying myself, I was a little
• 52:05
  Speaker 3: surprised that we were still I was like, wow, this
• 52:06
  Speaker 3: is quite long, like but I shouldn't be thinking about
• 52:10
  Speaker 3: how long this is. But at the same time, it's
• 52:12
  Speaker 3: still a great scene. I think that was the only
• 52:15
  Speaker 3: time that I felt like, Wow, this is this is
• 52:17
  Speaker 3: this is kind of slow, but I thought the pacing
• 52:20
  Speaker 3: the location changes.
• 52:23
  Speaker 1: No.
• 52:23
  Speaker 3: From a macro and micro level, I was really impressed
• 52:27
  Speaker 3: because there was a lot of time like with this
• 52:30
  Speaker 3: being a new age movie, you know, like clearly not
• 52:33
  Speaker 3: in the nineties, clearly not in the early two thousands. Like,
• 52:36
  Speaker 3: I felt that they did a really good job of
• 52:38
  Speaker 3: resisting the urge of doing crazy editing where everything's fast
• 52:44
  Speaker 3: and you can't tell what's going on. It restrained itself.
• 52:48
  Speaker 3: And I'm not saying they did that last time, but
• 52:51
  Speaker 3: it would have been easy to with a different editor,
• 52:53
  Speaker 3: to kind of completely change the language of the film.
• 52:56
  Speaker 3: And I felt like it didn't change the language of
• 52:59
  Speaker 3: the film, but it did improve it.
• 53:02
  Speaker 2: I think that from my perspective, I think that it
• 53:06
  Speaker 2: does flow well overall. I think that there are moments
• 53:13
  Speaker 2: where it's difficult, because I think that the editing does
• 53:17
  Speaker 2: a great job with what is put together and what
• 53:23
  Speaker 2: is there at its core, and I think, if anything,
• 53:26
  Speaker 2: the editor I can't pronounce Jay's last name, pri Chidney,
• 53:31
  Speaker 2: p Kidney, it's one of those two molds something that's
• 53:35
  Speaker 2: very cohesive and flows very well. I think that there
• 53:39
  Speaker 2: are also micro moments where, you know, the the apartment
• 53:44
  Speaker 2: attack scene where they're going across the ladder really well done,
• 53:49
  Speaker 2: really really well done, but exposes how some of the
• 53:55
  Speaker 2: shortcomings of the script undo it undo the movie in
• 53:59
  Speaker 2: a sense because you have the quote unquote love interest
• 54:03
  Speaker 2: who falls to her death. And all it did for
• 54:07
  Speaker 2: me was just look at it as this is sort
• 54:11
  Speaker 2: of like a throwaway from my.
• 54:14
  Speaker 1: Body count somehow right to it. If you're not killing
• 54:18
  Speaker 1: any of the core four, you have to kill everybody
• 54:21
  Speaker 1: around them, basically.
• 54:22
  Speaker 2: And and it was it was just weird because of
• 54:27
  Speaker 2: the fact that I think that the they shot what
• 54:30
  Speaker 2: they wrote, and the editor made what they shot flow
• 54:35
  Speaker 2: as well as anything was ever going to. But some
• 54:38
  Speaker 2: of the stuff exposed things I would have advocated for
• 54:43
  Speaker 2: removing or changing at the script level, if that makes sense.
• 54:47
  Speaker 1: Quite so. Quite so. Yeah, and we'll you know, it'd
• 54:50
  Speaker 1: be interesting to pick this one back up when Scream
• 54:52
  Speaker 1: seven comes out sometime next year.
• 54:55
  Speaker 3: I want to know what you guys want from Scream seven.
• 55:00
  Speaker 3: I have had firm opinions on what I want. Are
• 55:04
  Speaker 3: we Are we being influenced at all by the casting
• 55:06
  Speaker 3: news we know of or are we just I think
• 55:09
  Speaker 3: so exlating it because it seems like we're going back
• 55:12
  Speaker 3: to basics with the vast majority of the Wisborough clan
• 55:16
  Speaker 3: coming back. Uh, It's it's hard to Yeah, like what
• 55:22
  Speaker 3: I want Okay, I'll say this, and this is something
• 55:27
  Speaker 3: that I think would be interesting, and they kind of
• 55:30
  Speaker 3: dabbled in it.
• 55:31
  Speaker 1: With the the cells of ghost faces in the very beginning.
• 55:37
  Speaker 1: I want to see where Yeah, I want to see
• 55:42
  Speaker 1: ghost more ghost face turning on ghost faces where they're
• 55:45
  Speaker 1: not all on the same team, where they're all where
• 55:47
  Speaker 1: they have conflicting goals, and that could be a way
• 55:51
  Speaker 1: to throw it where you're like, oh, but I thought
• 55:53
  Speaker 1: the goal was to you know, target you know, Sidney,
• 55:56
  Speaker 1: It's like, nope, this their goal is to target this
• 55:58
  Speaker 1: other group because of some other reason, and because the
• 56:02
  Speaker 1: that's something where all of the ghost faces have always
• 56:07
  Speaker 1: been like either family or friends or like they're on
• 56:10
  Speaker 1: the same page, all both of them, because there's always
• 56:14
  Speaker 1: you know, two. I also thought that was maybe another
• 56:16
  Speaker 1: direction they were maybe gonna take it. When they went
• 56:18
  Speaker 1: around the room and they listed all the ghost faces
• 56:21
  Speaker 1: and one of them was a single, I was like,
• 56:23
  Speaker 1: maybe they were going to find the lost pair, you know,
• 56:26
  Speaker 1: that wasn't revealed in that in that one. But I
• 56:29
  Speaker 1: want to see ghost war. That's what I want to see.
• 56:31
  Speaker 1: Ghost face war.
• 56:33
  Speaker 2: Oh wow, just like a throwdown of just ghostface killers
• 56:38
  Speaker 2: going after each other. Yeah, and then there's like one
• 56:41
  Speaker 2: on this idea.
• 56:42
  Speaker 1: Where like they're both going after someone and they look
• 56:44
  Speaker 1: at each other and you realize, oh, all right, they're
• 56:46
  Speaker 1: not on the same page.
• 56:48
  Speaker 2: No, no, we're rainstorming here. It all winds up being
• 56:51
  Speaker 2: Sydney has engineered something where it's like an arena battle
• 56:56
  Speaker 2: like The Running Man, and it's nothing but ghostfaces fighting
• 56:59
  Speaker 2: each other. She's sitting up like, yeah, she's like sitting
• 57:03
  Speaker 2: up on a throne watching this, this maze of ghost
• 57:06
  Speaker 2: faces going out. You know what I think we I
• 57:09
  Speaker 2: think we we got a winner right there. Let's let's
• 57:11
  Speaker 2: take ghost Face into the realm of sci fi. I
• 57:14
  Speaker 2: love this. I love No, please don't. Yes, yes, yes
• 57:20
  Speaker 2: we should. You know what I love. I wasn't think
• 57:23
  Speaker 2: but that's where we go with that. For no reason,
• 57:25
  Speaker 2: even though it's a seven cream next with the X
• 57:28
  Speaker 2: is just bigger than the ANY and the T.
• 57:30
  Speaker 3: I have a little bit more ground to take.
• 57:33
  Speaker 1: I wasn't that ungrouded.
• 57:35
  Speaker 3: No, I'm talking about then, taking space is what I
• 57:40
  Speaker 3: was saying. Knowing that nev Campbell is coming back, and
• 57:44
  Speaker 3: knowing that uh Ortega and Burra are out, what I
• 57:49
  Speaker 3: have preferred to have one more with this cast, yes,
• 57:52
  Speaker 3: but at the same time, it's done, like their story
• 57:56
  Speaker 3: is done, like unless they pulled a rabbit out of
• 57:59
  Speaker 3: their hat and pull to Scream three, where you're just
• 58:02
  Speaker 3: like really like we're having one more to say, Like
• 58:08
  Speaker 3: is what else is there to say? Even though I
• 58:09
  Speaker 3: like the cast and I would have liked to have
• 58:11
  Speaker 3: had this be a trilogy, like a new trilogy, I'm
• 58:14
  Speaker 3: fine with it. I'm fine with just having this cast
• 58:16
  Speaker 3: for two movies because I think it's good, it's entertaining,
• 58:18
  Speaker 3: it makes a great double bill. Knowing that Nev Campbell's
• 58:22
  Speaker 3: coming back and it's going to be focused on Sydney,
• 58:24
  Speaker 3: that it's going to be Sydney's movie, I'm like, Okay,
• 58:27
  Speaker 3: show me a Sydney that is happy, that is healthy
• 58:31
  Speaker 3: and is like Linda Hamilton or Jamie Lee Curtis, like
• 58:36
  Speaker 3: like Linda Hamilton and Terminator two or Lourie Strode in
• 58:40
  Speaker 3: Halloween twenty eighteen, but happy and healthy where she is
• 58:44
  Speaker 3: ready like the ghost like have like you have to
• 58:48
  Speaker 3: have multiples. I think all of our brains are going
• 58:50
  Speaker 3: towards that, like have multiple ghost faces descend upon her
• 58:53
  Speaker 3: home and she is freakin ready, it's a fortress. There's
• 58:59
  Speaker 3: guns make it.
• 59:02
  Speaker 1: During the movie.
• 59:04
  Speaker 2: Yes, exactly.
• 59:05
  Speaker 3: I want to see that, and I want to see
• 59:07
  Speaker 3: it all orchestrated by Stu Macher. As was, Oh, I
• 59:10
  Speaker 3: agree all throughout. I agree with the Stumcher thing. I
• 59:14
  Speaker 3: want to see him come back.
• 59:15
  Speaker 1: Isn't where they said maybe he's not dead in this one? Yes,
• 59:19
  Speaker 1: it was like a throwaway line, but I was like,
• 59:21
  Speaker 1: why did you say that?
• 59:23
  Speaker 3: And and this is being directed by Kevin Williamson.
• 59:26
  Speaker 2: Right, I would love Stumacher to come back and to
• 59:30
  Speaker 2: have him just sort of like throw you know, fake
• 59:34
  Speaker 2: ghost face after fake ghost face and then it's it's
• 59:37
  Speaker 2: just we're going to have our final battle here because
• 59:40
  Speaker 2: I got cheated and if I had been in charge,
• 59:43
  Speaker 2: Billy Billy should have been the second. I should have
• 59:46
  Speaker 2: been in charge, because I would have done this right.
• 59:49
  Speaker 2: I love that like wrath of wrath of Stu Macher,
• 59:53
  Speaker 2: scream the wrath of Stumacher, the wrath of Mocker. There
• 59:57
  Speaker 2: we go, Okay, we got to win right there, shop
• 59:58
  Speaker 2: at the title, don't don't worry. Well, we'll get there.
• 1:00:01
  Speaker 2: We'll get there.
• 1:00:01
  Speaker 3: We'll get there, We'll get there.
• 1:00:02
  Speaker 2: The bone but there I agree with you, Tristan. At
• 1:00:07
  Speaker 2: the end of this, it very much felt like what
• 1:00:11
  Speaker 2: else is there to do? She throws the mask on
• 1:00:13
  Speaker 2: the ground, it closes on the last shot. It felt
• 1:00:16
  Speaker 2: like this was the wrap up, This is done, and
• 1:00:18
  Speaker 2: she had kept there to come. There's a sliver of
• 1:00:20
  Speaker 2: a plot, but she did no. She she drops it
• 1:00:24
  Speaker 2: on the ground and that's that's the end of it.
• 1:00:26
  Speaker 2: And I'm like, okay, I mean, there was no promised
• 1:00:29
  Speaker 2: new trilogy, so like, there's no there's no sort of
• 1:00:34
  Speaker 2: you know that the whole sequel with with the Halloween
• 1:00:37
  Speaker 2: trilogy quote unquote that was come out, or the Star
• 1:00:40
  Speaker 2: Wars sequel trilogy when the second one ends, where you're like, well,
• 1:00:44
  Speaker 2: what the hell, what's happening after this one? What's going
• 1:00:47
  Speaker 2: Although with Halloween Kills it's even worse little but there's.
• 1:00:51
  Speaker 1: You keep bringing it up.
• 1:00:53
  Speaker 2: You don't have to, No, I don't have to, but
• 1:00:57
  Speaker 2: it's just to delineate the fact that with like with
• 1:01:00
  Speaker 2: the Last Jedi, there's very much a sense of like, well,
• 1:01:02
  Speaker 2: where are we going from here? And then with Halloween Kills,
• 1:01:06
  Speaker 2: you know that there has to be another one, but
• 1:01:09
  Speaker 2: you're like, wait, wait, this is how you're ending this.
• 1:01:12
  Speaker 2: Like there's a very separate, sort of weird reaction to
• 1:01:17
  Speaker 2: both of those because you know there's a third one coming,
• 1:01:21
  Speaker 2: and the way that they end is different but similar
• 1:01:24
  Speaker 2: in the sense of like where you're just like, where
• 1:01:26
  Speaker 2: could we possibly go from here?
• 1:01:28
  Speaker 1: Guys? But I.
• 1:01:32
  Speaker 2: Can honestly say I don't know what the hell I
• 1:01:34
  Speaker 2: want them to do in the next one, because it
• 1:01:36
  Speaker 2: can't be a continuation of this. This plot thread is over,
• 1:01:41
  Speaker 2: and if you're going to bring Sydney back, then you
• 1:01:44
  Speaker 2: got to commit to it. You can't do a Rise
• 1:01:46
  Speaker 2: of Skywalker and try to be like, oh, well, no,
• 1:01:49
  Speaker 2: we didn't really mean this in the last one. No no, no,
• 1:01:51
  Speaker 2: let this one die, Let this one be done. Don't
• 1:01:54
  Speaker 2: touch it. This is a separate thread. Come back to Sydney.
• 1:02:00
  Speaker 1: Cool.
• 1:02:00
  Speaker 2: That's where we'll be with it. We'll basically do a
• 1:02:03
  Speaker 2: direct sequel to four, and we'll do it in such
• 1:02:05
  Speaker 2: a way that five and six, if you like them,
• 1:02:08
  Speaker 2: you can keep them in your head canon. If you
• 1:02:11
  Speaker 2: don't like them, you jump from four to seven and
• 1:02:13
  Speaker 2: you're happy. Just like the Star Trek six thing or
• 1:02:16
  Speaker 2: the Star Trek two thing, we keep bringing up Star Trek,
• 1:02:19
  Speaker 2: but that's because that series had its own troubles. But yeah,
• 1:02:23
  Speaker 2: that's where I am.
• 1:02:24
  Speaker 1: Yeah. I do think that Chad and Mindy are coming
• 1:02:28
  Speaker 1: back as well, but I don't know how big of
• 1:02:30
  Speaker 1: a role that is. It could be a you know,
• 1:02:32
  Speaker 1: a scene.
• 1:02:34
  Speaker 2: Kill them in the opening sequence, wrap it up that way,
• 1:02:37
  Speaker 2: that's the way you gotta do it.
• 1:02:38
  Speaker 1: Maybe I like that, all right? Scream three h two
• 1:02:42
  Speaker 1: ohs coming back? No, So this was a good discussion.
• 1:02:47
  Speaker 1: This was an interesting movie, and again only being a
• 1:02:51
  Speaker 1: year apart, we haven't had that since the nineties for
• 1:02:54
  Speaker 1: this franchise, so it was fun closing out the wing
• 1:02:57
  Speaker 1: of ghost Face. John. Last week you gave Scream twenty
• 1:03:02
  Speaker 1: twenty two A two. It was not high on your
• 1:03:06
  Speaker 1: rating list, the lowest of the screen so far. Did
• 1:03:09
  Speaker 1: this improve any final thoughts that you haven't shared?
• 1:03:14
  Speaker 2: Honestly, I'm pinned here and this is going to be
• 1:03:18
  Speaker 2: my rating in the moment, but it could change in
• 1:03:21
  Speaker 2: the future. I don't know. I think that it is
• 1:03:24
  Speaker 2: crafted incredibly well. I think that the editing is great.
• 1:03:28
  Speaker 2: I think that the photography is great. I think it's
• 1:03:32
  Speaker 2: so much better technically than the last one that I
• 1:03:37
  Speaker 2: want to give it a better rating than I'm going to.
• 1:03:42
  Speaker 2: But I think after a very strong opening, it wore
• 1:03:47
  Speaker 2: down on me a little bit, and then when it
• 1:03:49
  Speaker 2: got to the final reveal, the final reveal, my reaction
• 1:03:53
  Speaker 2: wasn't oh wow, it was oh really, And so I'm
• 1:03:58
  Speaker 2: going to wind up giving it a two and it's
• 1:04:02
  Speaker 2: you know what, let me revise that in the moment.
• 1:04:05
  Speaker 2: I'll give it a two and a half. Jeff, are
• 1:04:09
  Speaker 2: you just throwing No, I'll give it a two and
• 1:04:12
  Speaker 2: a half. But it's one of those ones where in
• 1:04:15
  Speaker 2: the because in the back of my brain like a two,
• 1:04:18
  Speaker 2: I'm not going to come back to it. I'm not
• 1:04:19
  Speaker 2: going to come back to Scream five. I could care
• 1:04:22
  Speaker 2: less Scream six. I could see myself coming back to
• 1:04:26
  Speaker 2: give it another shot. So I'll go ahead and give
• 1:04:29
  Speaker 2: it a two and a half.
• 1:04:30
  Speaker 1: That's where I land. All right, What about you, Tristan.
• 1:04:34
  Speaker 1: I know you love your half points, your quarter points,
• 1:04:37
  Speaker 1: all the points you gave Scream twenty twenty two a three,
• 1:04:41
  Speaker 1: which is a pretty decent middle of the road. Are
• 1:04:44
  Speaker 1: you revisiting Scream six with Roman Num Worlds?
• 1:04:48
  Speaker 3: Well, Scream VII. The first time I saw it, I
• 1:04:51
  Speaker 3: really liked it, I was like, Wow, this is even
• 1:04:53
  Speaker 3: better than Scream twenty twenty two, and I walked out
• 1:04:58
  Speaker 3: of I don't even know if I wouldn't the theater,
• 1:05:00
  Speaker 3: but I walked out of the proverbial theater, giving it
• 1:05:03
  Speaker 3: three and a half stars. But after watching it again,
• 1:05:06
  Speaker 3: I am like, you know what, I enjoy this even
• 1:05:09
  Speaker 3: more than I did the first time I saw it
• 1:05:11
  Speaker 3: or the second time. And I think there's so many
• 1:05:14
  Speaker 3: things that work so well. There are things that don't work.
• 1:05:19
  Speaker 3: There are things that are weird or things that could
• 1:05:21
  Speaker 3: have been done better. But as we say, a lot
• 1:05:24
  Speaker 3: if it's if the great stuff is truly great, it
• 1:05:28
  Speaker 3: can make up for a lot of misgivings. And I
• 1:05:30
  Speaker 3: think this is one of those movies. And so I'm
• 1:05:32
  Speaker 3: giving this a solid four. I think this is a
• 1:05:35
  Speaker 3: great film. I think it's a lot of fun. I
• 1:05:38
  Speaker 3: think this is a great entry into the Scream franchise.
• 1:05:42
  Speaker 3: And for me, it goes Scream, Scream to this movie,
• 1:05:48
  Speaker 3: then Scream twenty two, then three, then four.
• 1:05:51
  Speaker 1: All right, yeah for this one first time watching it. Yeah,
• 1:05:57
  Speaker 1: Like we've said, I think it improved on a lot
• 1:05:59
  Speaker 1: of things from last week from Screen twenty two, which
• 1:06:04
  Speaker 1: I really enjoyed and I think, you know, more of
• 1:06:06
  Speaker 1: the same characters, fun sandbox. I kind of liked it
• 1:06:10
  Speaker 1: being in the New York like a different It wasn't
• 1:06:12
  Speaker 1: in Woodsboro anymore. And you know, there were less Actually,
• 1:06:16
  Speaker 1: I don't think there were any car chases in this.
• 1:06:19
  Speaker 1: They were like driving places, but there was. You know,
• 1:06:22
  Speaker 1: it's not that kind of city, and I guess we
• 1:06:25
  Speaker 1: made up for it in the subway. But I'm also
• 1:06:28
  Speaker 1: going to give this a solid four. I mean, I
• 1:06:31
  Speaker 1: think I like it better than Scream twenty two, but
• 1:06:36
  Speaker 1: not enough to make it a five. Like that's a
• 1:06:39
  Speaker 1: bit of a jump for me in my mind. But
• 1:06:41
  Speaker 1: I could see me watching Scream one and Scream two
• 1:06:45
  Speaker 1: and the New Scream you know saga as it were
• 1:06:49
  Speaker 1: with twenty two and twenty three. Often. I want to
• 1:06:52
  Speaker 1: go back and watch this one again. I want to.
• 1:06:56
  Speaker 1: It did give me not the family vibe. The family
• 1:07:00
  Speaker 1: if I twist at the end was like, oh, look
• 1:07:02
  Speaker 1: a Scream family. I mean that that is. But the
• 1:07:05
  Speaker 1: three the three ghost Faces was a surprise, and that
• 1:07:09
  Speaker 1: was like, Okay, here's something new. It was a great
• 1:07:12
  Speaker 1: bookend to the It would hit to ghost Face taking
• 1:07:15
  Speaker 1: off his mask, in the beginning. I think that is
• 1:07:17
  Speaker 1: probably the best moment where we were all like what what, like,
• 1:07:21
  Speaker 1: what's going on? And then he's like, oh, you have
• 1:07:23
  Speaker 1: to die because you can't be the ghost face, or
• 1:07:26
  Speaker 1: maybe we're gonna follow you along and it's gonna be
• 1:07:29
  Speaker 1: a weird mystery where we know who the ghost face
• 1:07:32
  Speaker 1: is the entire time. Wouldn't that be a trip?
• 1:07:35
  Speaker 3: I probably would have liked that better, honestly, So, Darren,
• 1:07:39
  Speaker 3: what's your ranking? Since you have you have said movies?
• 1:07:42
  Speaker 1: I said four? Oh in order you mean, yeah, so
• 1:07:46
  Speaker 1: mine is ah man, I loved me a Scream two
• 1:07:50
  Speaker 1: Electric Boogoloo, so I gave that five and then equally tied.
• 1:07:55
  Speaker 1: I have screamed the original screen.
• 1:07:57
  Speaker 3: No, no, no, you know you cannot, you cannot have a HI.
• 1:08:00
  Speaker 3: You gotta you gotta put it in a ranking.
• 1:08:03
  Speaker 1: And you're making me want to have like half points. Okay,
• 1:08:05
  Speaker 1: I don't have to do that. Uh yeah, I'd say
• 1:08:08
  Speaker 1: scream two, Scream one, Scream six, Scream five, then four,
• 1:08:15
  Speaker 1: then three. Okay.
• 1:08:17
  Speaker 3: So you're putting twenty two above twenty three.
• 1:08:20
  Speaker 1: This putting twenty three above twenty two.
• 1:08:23
  Speaker 2: Oh okay, Yeah, this is how I know Tristan is
• 1:08:26
  Speaker 2: mad at me for my ratings. He didn't ask me
• 1:08:28
  Speaker 2: to rank the movies. That's the little tell right.
• 1:08:31
  Speaker 3: There, because it doesn't matter.
• 1:08:33
  Speaker 2: Oh it doesn't matter. Oh I don't matter. Okay.
• 1:08:37
  Speaker 1: See the thing is John's I would like to know
• 1:08:39
  Speaker 1: how you are rating the Scream movie.
• 1:08:41
  Speaker 2: It's too late, Darren. At this point, I'm buying a
• 1:08:44
  Speaker 2: ghost mask and I'm gonna go out. I'm gonna burn
• 1:08:46
  Speaker 2: Tristan's car.
• 1:08:47
  Speaker 3: Let me let me say it, John, let me say
• 1:08:49
  Speaker 3: it for you. Scream one, Scream four, Scream then Scream two. Uh,
• 1:08:56
  Speaker 3: Scream twenty three, and then Scream twenty two and then
• 1:09:00
  Speaker 3: Scream three.
• 1:09:01
  Speaker 2: You're just going by my ratings?
• 1:09:05
  Speaker 3: Nope, Nope. There's there was some hard calls in there,
• 1:09:07
  Speaker 3: and I made them correctly, didn't I didn't.
• 1:09:09
  Speaker 2: I no, no, not at all. I did no because
• 1:09:12
  Speaker 2: he didn't.
• 1:09:12
  Speaker 1: No, he didn't, he didn't.
• 1:09:14
  Speaker 2: You can Scream two is actually the bottom of the list,
• 1:09:17
  Speaker 2: even though it got a three.
• 1:09:19
  Speaker 1: On the Amazing We are done.
• 1:09:22
  Speaker 2: It works that way completely. And you know what, young man,
• 1:09:24
  Speaker 2: don't you make me come through there?
• 1:09:27
  Speaker 1: I need a mute switch. So we're ending the wing
• 1:09:30
  Speaker 1: of ghost Face. It was really fun going through the
• 1:09:33
  Speaker 1: wing of ghost Face, finishing off Wes Craven's character. And
• 1:09:38
  Speaker 1: I'm sure we'll pick it up again next year as
• 1:09:40
  Speaker 1: we do a pickup as we often do. But what
• 1:09:43
  Speaker 1: you listeners want to know is what are we talking
• 1:09:46
  Speaker 1: about Next week? We're starting a new house here. It's
• 1:09:50
  Speaker 1: going to be the House of Spike Jones. Here on
• 1:09:54
  Speaker 1: House Slights, Join the Revolution, Join the net Party.