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Memoirs of Tyler MacIntyre · Movie Meltdown

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  Speaker 1: This is Roger Corman and you're listening to Movie Meltdown.
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  Speaker 2: It's showtime. The following feature has been rated R by
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  Speaker 2: the Motion Picture Association of America.
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  Speaker 2: Our nuclear reactor pumping out one million kilowatts of power.
• 0:59
  Speaker 2: More cooling in the containment chamber.
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  Speaker 4: To your stations, we have a movie meltdown.
• 1:03
  Speaker 1: Nobody's going to miss him, right?
• 1:04
  Speaker 5: I mean, he's a drifter.
• 1:06
  Speaker 1: He's an invisible man.
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  Speaker 2: It's a perfect plan.
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  Speaker 6: What's up, and welcome to Movie Meltdown. I am Brian,
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  Speaker 6: and with me this week, special guest co-host.
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  Speaker 4: Tyler McIntyre.
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  Speaker 1: Hey, how's it going?
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  Speaker 6: How are you? So you were here, again, we're sort
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  Speaker 6: of in conjunction. We've done several episodes in conjunction with
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  Speaker 6: the Flyover Film Fest, so you were here to show
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  Speaker 6: your film, Tragedy Girls.
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  Speaker 1: That's correct, yeah. Yeah, we actually shot the film in Kentucky,
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  Speaker 1: so we're actually kind of a hometown screening for us,
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  Speaker 1: which we're excited about.
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  Speaker 6: Pulled in a lot of really good stuff, and they
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  Speaker 6: all kind of have connections. So, yeah, we've been discussing
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  Speaker 6: that in this ongoing thing of how, Much they're sort
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  Speaker 6: of pushing and trying to make this sort of a new...
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  Speaker 6: I don't know if we'll get to Atlanta level. Nobody
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  Speaker 6: can quite get to Atlanta level. They're rivaling Toronto at
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  Speaker 6: this point. But yeah, I think it's interesting how much we...
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  Speaker 6: really weren't that kind of town for years and years.
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  Speaker 6: Like we had very few, like I'm, I'm the one
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  Speaker 6: I was going stripes. They shot part of stripes right
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  Speaker 6: down over here. I can show you where the bridge is.
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  Speaker 1: They blow up this building for demolition, man.
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  Speaker 6: I swear it wasn't even in the movie. If I remember,
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  Speaker 6: they just did a promo afterwards. So yeah, I remember
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  Speaker 6: watching that on MTV actually. So yeah, there was a
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  Speaker 6: few tiny little tie-ins, but it's funny now just in
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  Speaker 6: these last four or five years, how that pushes change things.
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  Speaker 6: And it's, Rippled and quadrupled the stuff coming into the city.
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  Speaker 6: So it's kind of awesome.
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  Speaker 1: Yeah, definitely. I mean, like, it was kind of an
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  Speaker 1: interesting time a couple years ago because they were, like,
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  Speaker 1: Louisiana was kind of reforming their tax credit. They're still
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  Speaker 1: pushing really hard, too. Yeah, exactly. And I think that
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  Speaker 1: Kentucky made a pretty smart play to kind of pick
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  Speaker 1: up some of that business.
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  Speaker 6: So how did you find out? I guess because you're
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  Speaker 6: not from here originally. So how did you come in
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  Speaker 6: contact with the people that put.
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  Speaker 5: You in contact?
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  Speaker 6: Here eventually.
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  Speaker 1: Um, well, uh, I mean, it was actually really just
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  Speaker 1: a coincidence. Like I know, um, our, um, my EP, uh,
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  Speaker 1: or well, the two guys who, who, uh, were in
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  Speaker 1: the comeback kids, which is one of our production companies, uh,
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  Speaker 1: Carrie Rhodes and Anthony Holt both had both lived in
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  Speaker 1: Kentucky previously. Like, uh, um, Anthony was from Louisville and, and,
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  Speaker 1: you know, I think he played basketball here and, uh,
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  Speaker 1: in Kentucky, uh, sorry. And, um, I know that Carrie
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  Speaker 1: went to university here and played football. And so it was,
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  Speaker 1: they both, you know, always loved Kentucky and kind of,
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  Speaker 1: you know, once they heard that the incentive was coming up,
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  Speaker 1: I think they were at Sundance and one of our
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  Speaker 1: producers kind of connected them with the film commission and,
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  Speaker 1: you know, the rest was history.
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  Speaker 6: Yeah, because I think even the whole film society has
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  Speaker 6: been hitting some of the bigger conventions and festivals and
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  Speaker 6: stuff and just kind of let people know, hey, we're
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  Speaker 6: kind of doing this stuff now. We've got tax breaks
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  Speaker 6: and Definitely.
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  Speaker 1: And I'm from Canada, so it's like I'm used to
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  Speaker 1: people being like, you're Canadian. We can go there.
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  Speaker 6: What is wrong with you? Why aren't you in Canada
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  Speaker 6: right now?
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  Speaker 1: Why aren't we shooting in Canada right now? But they
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  Speaker 1: forget there's actually a lot of good state-based incentives.
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  Speaker 2: Yeah.
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  Speaker 6: So I guess to go all the way back, I
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  Speaker 6: usually start at the beginning. What was your initial entryway into,
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  Speaker 6: I guess– Fandom in general, but I'm assuming it very
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  Speaker 6: quickly led to film in specifics.
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  Speaker 1: Yeah, man. I mean, like I grew up in a
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  Speaker 1: town of like 5,000 people north of Calgary. So it was,
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  Speaker 1: you know, kind of very much prairie town, very rural.
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  Speaker 1: And really like we had, you know, just a lot
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  Speaker 1: of farming and like, you know, some– like a couple,
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  Speaker 1: a couple.
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  Speaker 6: Action packed town.
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  Speaker 1: Yeah. But we had a couple of video stores, which
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  Speaker 1: was key. Like one of them was in the back
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  Speaker 1: of a, of like a, like a hot tub place.
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  Speaker 1: And then, and they had like a, they had a
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  Speaker 1: really good horror section. And there, and then the Usher,
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  Speaker 1: the other actual.
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  Speaker 6: Seed was planted. Yeah.
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  Speaker 1: And so my brother was a couple years older than
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  Speaker 1: me and he really loved Stephen King. And, and so
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  Speaker 1: he was always watching like, or renting horror movies that
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  Speaker 1: I was probably too young to see. And so we
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  Speaker 1: gradually were kind of working our way through both stores
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  Speaker 1: to kind of see everything. So, That's when I saw
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  Speaker 1: The Howling and a lot of Friday the 13th and
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  Speaker 1: all the Nightmare on Elm Street and From Beyond and
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  Speaker 1: then kind of worked my way into Evil Dead 2
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  Speaker 1: and Re-Animator. And I like kind of that horror comedy
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  Speaker 1: space where it's– I remember seeing those movies and being
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  Speaker 1: like– Evil Dead specifically and being like, holy shit. Like
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  Speaker 1: this is– it's just so goofy and it's original and
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  Speaker 1: it's– I remember trying to tell people about it and
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  Speaker 1: trying to put it into words and just getting so
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  Speaker 1: like fired up.
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  Speaker 6: I love the first one. Like, everybody goes to the second,
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  Speaker 6: but I'm like, I think the balance is a little
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  Speaker 6: better in that first one, because it's still pretty terrifying. Like,
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  Speaker 6: I think the horror works better in that first one,
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  Speaker 6: where it gets so silly by the second one. I
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  Speaker 6: love the gimmicks and the gags in the second one,
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  Speaker 6: but I think the balance of horror and comedy works
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  Speaker 6: so much better in that first one.
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  Speaker 1: Yeah, and the first one's interesting, too, because, like, it's
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  Speaker 1: a great story, like, in terms of, like, like, the production,
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  Speaker 1: you know, like story of is like, you know, a
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  Speaker 1: bunch of kids who are, you know, like went to get,
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  Speaker 1: you know, out to Tennessee and shot a movie. And
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  Speaker 1: then the crew started to leave and winter was coming
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  Speaker 1: and they just, you know, kind of slowed down and
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  Speaker 1: kept shooting. And as a result, got like crazy shots
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  Speaker 1: that you were not seeing in any movies at the time. And, um, it's,
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  Speaker 1: you know, and it's a great, very inspiring kind of, uh,
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  Speaker 1: story for anyone kind of looking to get into horror.
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  Speaker 6: Especially independent end of it. Yeah.
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  Speaker 1: Oh, yeah, totally.
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  Speaker 6: They were so shoestring on that thing. And, like, it
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  Speaker 6: doesn't hurt it in any way, shape, or form. Like,
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  Speaker 6: it kind of helps sometimes.
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  Speaker 1: Yeah, I mean, and people always point to, like, Robert
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  Speaker 1: Rodriguez and, like, you know, El Mariachi and, like, you know,
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  Speaker 1: that is kind of like a, you know, very, like,
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  Speaker 1: indie spirit kind of thing. But I always think of, like,
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  Speaker 1: George Romero, who obviously just passed away, and then Sam
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  Speaker 1: Raimi and, you know, Toby Hooper, kind of like those
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  Speaker 1: kind of early genre movies is kind of really, you know,
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  Speaker 1: Doing the same thing, but years earlier.
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  Speaker 6: It's weird that, again, you just mentioned two of them
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  Speaker 6: because it was that weird period in film and I
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  Speaker 6: guess in the independent movement and sort of self-budgeting that
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  Speaker 6: you had two guys who made a movie. It made
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  Speaker 6: a little bit of money, so they turned around and
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  Speaker 6: remade their own movie. Because, I mean, Evil Dead 2
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  Speaker 6: is Evil Dead again with a bigger budget. El Mariachi
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  Speaker 6: is exactly Desperado, only with a real star all of
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  Speaker 6: a sudden.
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  Speaker 1: It's weird. I kind of get that, too. In terms
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  Speaker 1: of just trying to... I always feel like as you
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  Speaker 1: finish making a movie, especially if you don't have enough
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  Speaker 1: resources to do it, you kind of figure out, oh,
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  Speaker 1: that's the tone that I was going for. That's what
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  Speaker 1: I wanted. If someone's going to give you resources, you
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  Speaker 1: don't want to put yourself in a position where you
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  Speaker 1: don't need to dig too deep to find the quality.
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  Speaker 6: It's just funny, both around that same time period, and
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  Speaker 6: neither really officially explain it. They're almost like, well, it's
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  Speaker 6: kind of a sequel. Except it's exactly almost beat for
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  Speaker 6: beat the same story we just did. But it's a sequel,
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  Speaker 6: kind of. Just don't ask a lot of questions.
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  Speaker 4: Yeah, yeah.
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  Speaker 1: Well, exactly. I know they always, like, they talk about
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  Speaker 1: it in interviews sometimes. I think it's something along the
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  Speaker 1: lines of, like, oh, well, they couldn't get the footage
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  Speaker 1: or whatever. But it's, but yeah. But when you're watching
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  Speaker 1: it as a, you know, like, back in the, like,
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  Speaker 1: early 90s, I was just super confused.
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  Speaker 2: Like, didn't.
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  Speaker 6: Wait, especially, like, Evil Dead doesn't even match sometimes. I'm like,
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  Speaker 6: but now there's more people, or there's less, and the girlfriends, no,
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  Speaker 6: this makes no sense.
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  Speaker 1: Yeah, exactly, and they keep changing Lindas.
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  Speaker 6: Yeah, like, continually, even by the third one. I'm like, okay,
• 8:19
  Speaker 6: just because you can get Bridget Fonda now, like, you're
• 8:22
  Speaker 6: working her in here, like, it's very strange. But again,
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  Speaker 6: amazing nonetheless. So I guess, yeah, that was kind of
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  Speaker 6: for me, too. We had a lot, again, I was
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  Speaker 6: growing up here, and we had a lot more video stores,
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  Speaker 6: but When I think back now, I am oddly nostalgic
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  Speaker 6: for they were all mom and pop. Like it was
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  Speaker 6: well before Blockbuster moved in. And I think about how
• 8:45
  Speaker 6: weird they were. Like like there was one that was
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  Speaker 6: not far from my house that was in what I
• 8:50
  Speaker 6: think later would become like a dentist office. Like it
• 8:52
  Speaker 6: was just like it was a weird little office space.
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  Speaker 6: Like it wasn't a storefront. It was set up to
• 8:58
  Speaker 6: be something more like a real estate office or something.
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  Speaker 6: But they didn't care because video stores took off and
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  Speaker 6: you could start them for a minimal investment. So they
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  Speaker 6: just moved them into anything that was sitting still. It
• 9:09
  Speaker 6: was like, here, put some stuff on the wall. So
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  Speaker 6: I kind of missed that a little bit.
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  Speaker 2: Well, totally.
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  Speaker 1: And there was like– it was kind of a bit
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  Speaker 1: of a cash grab there for a long– I mean
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  Speaker 1: there was like a good portion where like you could
• 9:17
  Speaker 1: almost get anything on the shelf. They just needed content
• 9:20
  Speaker 1: because everyone was renting movies.
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  Speaker 6: And that's– I think that, again, that was sort of
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  Speaker 6: that big push. and affected all of us from that
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  Speaker 6: point on, especially growing up, and I think filmmakers at
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  Speaker 6: that point, because you saw people that were just letting
• 9:34
  Speaker 6: them make movies all of a sudden, where before it
• 9:36
  Speaker 6: was more of that 70s gatekeeper kind of thing, and
• 9:38
  Speaker 6: by the 80s, we just need content. Go make a movie.
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  Speaker 6: We don't care. Here's $ 4, but go make something to
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  Speaker 6: put on video.
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  Speaker 2: Yeah, yeah.
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  Speaker 1: I think it helped a little. It was kind of
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  Speaker 1: like the heyday for, like, especially low-budget genre stuff. I mean,
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  Speaker 1: it was like the Full Moon movies and a lot
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  Speaker 1: of those. You know, it's, I mean, and even, like,
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  Speaker 1: you know, Roger Corman was having his second wind.
• 9:57
  Speaker 6: His producer run.
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  Speaker 2: Yeah.
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  Speaker 6: I like him. director run, but his producer run gets
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  Speaker 6: a little more of a cash grab.
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  Speaker 1: Yeah, well, I mean, it's just the priorities change.
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  Speaker 4: Yeah.
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  Speaker 6: I mean, again, he's a smart businessman regardless. Definitely. But yeah,
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  Speaker 6: I think he had a nice eye back in the day.
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  Speaker 2: Yeah.
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  Speaker 6: But I was also going to go and this is
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  Speaker 6: one that I always go back and forth with as
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  Speaker 6: far as and not just even filmmaking art in general
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  Speaker 6: is like training versus like just your own weird self-inspired
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  Speaker 6: movement that you do. And I've talked to a lot
• 10:29
  Speaker 6: of people and has been back and forth lately of
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  Speaker 6: like people that just I just decided to be a
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  Speaker 6: filmmaker and I went and got a camera. versus you've
• 10:37
  Speaker 6: done a lot of schooling. So did, I mean, was that,
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  Speaker 6: was that in the beginning, was that your plan is
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  Speaker 6: I want to, you know, go to school and train
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  Speaker 6: to be a filmmaker or did it just happen?
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  Speaker 1: Yes and no. I mean, like I did my, sorry,
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  Speaker 1: like I started making movies when I was probably 12
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  Speaker 1: or 13, you know, like literally just with VHS cameras
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  Speaker 1: and like editing and camera. And then, you know, was making,
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  Speaker 1: but it wasn't particularly organized about it until I got
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  Speaker 1: into high school. And then like, you know, like IMAX
• 11:05
  Speaker 1: came out where you could like, digitally import footage and
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  Speaker 1: edit it non-linearly and actually kind of go through essentially
• 11:11
  Speaker 1: the whole process. And then that kind of like really
• 11:13
  Speaker 1: sparked kind of just like that's all I did. But
• 11:16
  Speaker 1: at that point, like I'd already kind of committed to
• 11:17
  Speaker 1: going to college for psychology, which is a bit more
• 11:20
  Speaker 1: of like the family business. So I did my whole
• 11:22
  Speaker 1: undergrad in psychology but then was filling up my options
• 11:25
  Speaker 1: with like film studies courses. But again, it was like
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  Speaker 1: I was going to the University of Alberta and which
• 11:30
  Speaker 1: is known for like hard sciences. It's a good school
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  Speaker 1: in Canada, but they don't have like a film program necessarily.
• 11:35
  Speaker 1: They have like a film criticism, uh, you know, so
• 11:38
  Speaker 1: it's our film studies. And so it doesn't really, um,
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  Speaker 1: like it was cool cause you got to see, you know,
• 11:43
  Speaker 1: got access to some, some kind of, um, uh, interesting films.
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  Speaker 1: And then you got it kind of put in the
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  Speaker 1: framework of film history, but didn't tell you how to
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  Speaker 1: make movies really. Um, but I, so we started like this, uh, uh,
• 11:53
  Speaker 1: film society, uh, at our university where we just started
• 11:56
  Speaker 1: kind of pooling equipment and started kind of making more,
• 11:58
  Speaker 1: you know, short films and stuff like that. And then
• 12:00
  Speaker 1: I realized I'm like, oh, I should probably go to
• 12:01
  Speaker 1: grad school for this. And again, like, that's a very
• 12:03
  Speaker 1: Canadian thing. It's like, I should probably keep going to school.
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  Speaker 2: Yeah.
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  Speaker 1: Cause people, you know, cause then if I, you know,
• 12:09
  Speaker 1: have a degree in this, people will think that I
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  Speaker 1: can do it, you know? Um, and, uh, and whereas
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  Speaker 1: film is one of those things, it's a very level
• 12:14
  Speaker 1: playing field. Like no one like in the, you know,
• 12:16
  Speaker 1: to having worked in LA for eight years now, like,
• 12:19
  Speaker 1: No one ever asks where you went to school because
• 12:21
  Speaker 1: no one cares.
• 12:21
  Speaker 6: No one checks your credentials.
• 12:23
  Speaker 1: Well, yeah, but like– and that's– I think it's the
• 12:25
  Speaker 1: greatest thing in the world. But like as a– you know,
• 12:27
  Speaker 1: in terms of like it's a very level playing field.
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  Speaker 2: Yeah.
• 12:30
  Speaker 1: And it just becomes like what you bring to the table.
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  Speaker 1: But that said, like I also– you know, I went
• 12:35
  Speaker 1: to– I did a master's at Ryerson, which is one
• 12:38
  Speaker 1: of the good, you know, film and media programs. And
• 12:41
  Speaker 1: then I– but I just really didn't get what I
• 12:42
  Speaker 1: wanted out of that program and I mean, nothing against
• 12:44
  Speaker 1: the program. I was pretty young at the time. But
• 12:46
  Speaker 1: I decided to go to AFI and went there and
• 12:48
  Speaker 1: did my MFA. So, I mean, I went to grad
• 12:51
  Speaker 1: school twice for this.
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  Speaker 6: That's what I was saying. I was like, you're not
• 12:54
  Speaker 6: uneducated in this area.
• 12:56
  Speaker 5: Yeah.
• 12:57
  Speaker 1: But, like, I mean, like, the good thing about it is, like,
• 12:59
  Speaker 1: I don't think it necessarily tells you how to make movies. Like,
• 13:02
  Speaker 1: if you don't– like, all sorts of people who didn't
• 13:04
  Speaker 1: get anything out of those programs. But I think what
• 13:07
  Speaker 1: it does is it allows you to kind of take–
• 13:09
  Speaker 1: you know, two years off, and all you're doing is,
• 13:12
  Speaker 1: if you're not making movies, you're watching movies. If you're
• 13:14
  Speaker 1: not watching movies, you're talking to people about movies. And
• 13:17
  Speaker 1: it just really kind of accelerates that whole tortured artist
• 13:20
  Speaker 1: process where you figure out, like, who you are and
• 13:22
  Speaker 1: what you want to say.
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  Speaker 6: And it, like, puts you in, like, a hands-on position, too,
• 13:27
  Speaker 6: because you are physically, you know, and we'll get to,
• 13:31
  Speaker 6: I was going to say, you do a lot of editing.
• 13:33
  Speaker 6: So it's like that, I mean, once you're in that,
• 13:35
  Speaker 6: that's almost like a workman's kind of a thing. Like,
• 13:38
  Speaker 6: learning to edit is kind of different than I want
• 13:40
  Speaker 6: to write a screenplay. Editing is a little more like–
• 13:44
  Speaker 6: I mean, granted, it's equally as much storytelling, but it's
• 13:46
  Speaker 6: a lot more of a hands-on kind of process.
• 13:49
  Speaker 1: Well, I mean, sort of. I mean, like that's actually
• 13:51
  Speaker 1: kind of one of my pet peeves is like people
• 13:53
  Speaker 1: really undervalue writing in my opinion because there's this, I guess,
• 14:00
  Speaker 1: false perception that Anybody can do it because everyone went
• 14:02
  Speaker 1: to school. Everyone knows how to write a sentence.
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  Speaker 6: Definitely everybody can't write a good screen.
• 14:07
  Speaker 2: Exactly.
• 14:08
  Speaker 1: And that's the perception though is like they tend to
• 14:10
  Speaker 1: kind of like, well, you're just sitting in a laptop
• 14:12
  Speaker 1: and writing it, right?
• 14:12
  Speaker 2: Yeah.
• 14:12
  Speaker 1: You know, like it's just not that hard. Whereas editing
• 14:16
  Speaker 1: is like there's still a little bit of mystery to
• 14:17
  Speaker 1: it and usually they've already spent money by the time
• 14:19
  Speaker 1: they hire the editor.
• 14:20
  Speaker 3: Yeah.
• 14:21
  Speaker 1: So there's this idea that like, oh, well, we can't
• 14:23
  Speaker 1: not pay the editor, you know? Whereas they'll try and
• 14:26
  Speaker 1: like while you're getting a project going, they'll do anything
• 14:28
  Speaker 1: they can to avoid paying a writer. And even though
• 14:31
  Speaker 1: they have like, you know, like they have a lot–
• 14:34
  Speaker 1: I think the writer probably has more impact on it.
• 14:35
  Speaker 1: But they're both extremely important. But I think it's a
• 14:40
  Speaker 1: lot harder to undervalue editing because of like the technical component.
• 14:45
  Speaker 1: It's similar with cinematography.
• 14:46
  Speaker 2: Yeah.
• 14:47
  Speaker 1: Like because you need. like someone to physically, you know, like,
• 14:49
  Speaker 1: you know, like use the camera and do the, do
• 14:52
  Speaker 1: the math and, and, uh, and you know, they have
• 14:54
  Speaker 1: a lot of artistic input.
• 14:55
  Speaker 6: No one sees the writing part of it.
• 14:57
  Speaker 2: Yeah.
• 14:57
  Speaker 1: But they, but the technical part is extremely important. Whereas
• 15:00
  Speaker 1: the writing one, I think since the perception is that, uh,
• 15:03
  Speaker 1: anybody can master that, that, that they, they tend to
• 15:06
  Speaker 1: undervalue it and accept it like very high levels.
• 15:09
  Speaker 6: But that's, yeah, I was thinking that's, I mean, from
• 15:11
  Speaker 6: that schooling aspect, it's like that throws you into that
• 15:14
  Speaker 6: where you actually are working on projects, either yours or,
• 15:17
  Speaker 6: you come in as the editor for somebody else in
• 15:20
  Speaker 6: the program. So it's like, you're doing a lot of
• 15:22
  Speaker 6: it where you could almost just come out and actually
• 15:24
  Speaker 6: get into that and just be an editor, you know,
• 15:27
  Speaker 6: because you went to school for it and you can
• 15:28
  Speaker 6: get a job. Whereas a writer is more of a,
• 15:31
  Speaker 6: I hope I get, you know, I hope I sell
• 15:33
  Speaker 6: a screenplay.
• 15:34
  Speaker 1: Like all the writers I know that are, that are
• 15:35
  Speaker 1: kind of up and coming, like all have, all have
• 15:37
  Speaker 1: had day jobs or have day jobs. Um, whereas, uh,
• 15:40
  Speaker 1: like editors, you can, you can, there's all sorts of
• 15:42
  Speaker 1: small stuff that you can just kind of do. That's,
• 15:44
  Speaker 1: that's just to pay the bills, um, or at least
• 15:46
  Speaker 1: more opportunity for that. Um, But at the same time, like,
• 15:49
  Speaker 1: you can get really caught up in that. Like, I
• 15:50
  Speaker 1: know a lot of people who I went to school
• 15:52
  Speaker 1: with kind of end up in, like, reality TV or
• 15:54
  Speaker 1: areas that they didn't particularly want to.
• 15:55
  Speaker 6: Now it's all reality TV.
• 15:57
  Speaker 1: I mean, and reality TV, you know, can be very,
• 15:59
  Speaker 1: actually very creatively fulfilling, especially for an editor, because you
• 16:01
  Speaker 1: have a lot of control.
• 16:02
  Speaker 6: It's mostly in your hands, really.
• 16:03
  Speaker 1: Oh, yeah, totally.
• 16:04
  Speaker 6: We hear about them.
• 16:05
  Speaker 1: And, like, so nothing, like, not against, nothing against those guys, but, like,
• 16:08
  Speaker 1: for instance, like, coming out of film school, I really
• 16:10
  Speaker 1: knew I wanted to get into narrative. And so I'm, like,
• 16:12
  Speaker 1: I'm going to do small, like, genre movies essentially like
• 16:16
  Speaker 1: b movies you know more or less because then what
• 16:17
  Speaker 1: i can do is eventually the projects will become as
• 16:20
  Speaker 1: well as i can and then eventually they'll get bigger
• 16:22
  Speaker 1: and it's a lot easier to go from like a
• 16:24
  Speaker 1: key creative position like a editor or writer or director
• 16:27
  Speaker 1: on a small movie to being the editor writer director
• 16:29
  Speaker 1: on a big movie the only difference is whether or
• 16:31
  Speaker 1: not the success was there so um whereas if you
• 16:34
  Speaker 1: you know the other school thought is like you're going
• 16:36
  Speaker 1: to get a small job on a big production yeah
• 16:38
  Speaker 1: um and that's the way it is in canada a
• 16:40
  Speaker 1: lot of the times you get like you start as
• 16:41
  Speaker 1: a you know, PA or, or, or, you know, in
• 16:44
  Speaker 1: the office somewhere and, and you, you hopefully work your
• 16:47
  Speaker 1: way up through one track or another. Whereas I think
• 16:50
  Speaker 1: there's more opportunity to kind of enter in a position
• 16:52
  Speaker 1: where you're making creative decisions.
• 16:54
  Speaker 6: I guess either can get you there, but it's just
• 16:57
  Speaker 6: kind of an interesting take. Cause yeah.
• 16:59
  Speaker 1: I mean, it depends what, what skill set you want.
• 17:01
  Speaker 1: Cause a lot of people, I mean, like, I mean,
• 17:03
  Speaker 1: I just think I just had the skill set that
• 17:05
  Speaker 1: was because I'd been making a lot of films on
• 17:07
  Speaker 1: my own.
• 17:07
  Speaker 5: Yeah.
• 17:08
  Speaker 1: Kind of knew, like I had a good bird's eye
• 17:09
  Speaker 1: view of the process that I just, was able to
• 17:11
  Speaker 1: slip into those a little bit easier. Whereas I think,
• 17:14
  Speaker 1: you know, like, especially if you're, like, doing, like, all
• 17:18
  Speaker 1: people end up, like, as creative producers, I think, kind
• 17:21
  Speaker 1: of are more comfortable kind of going through, like, a
• 17:22
  Speaker 1: more traditional, like, you know, like, PA, production coordinator kind
• 17:26
  Speaker 1: of path.
• 17:27
  Speaker 6: Have you hit that plane where directing and writing and
• 17:31
  Speaker 6: your own storytelling is just the main thing you want
• 17:35
  Speaker 6: to focus on? Or somewhere down the line, are you
• 17:37
  Speaker 6: fine just editing somebody else's story?
• 17:39
  Speaker 1: Oh, yeah. I mean, I actually do that relatively frequently.
• 17:43
  Speaker 1: I cut a movie early last year after I directed
• 17:46
  Speaker 1: my first feature before I directed Tragedy Girls, which just
• 17:50
  Speaker 1: for my friend Mike McGuire, who is a producer I've
• 17:53
  Speaker 1: worked with for a long time, and he was directing
• 17:55
  Speaker 1: his first movie out in Wisconsin. So I went on
• 17:58
  Speaker 1: and then we worked with him as an editor. And
• 18:01
  Speaker 1: I love doing that because you're kind of helping somebody
• 18:04
  Speaker 1: else kind of who's really leading the creative charge and
• 18:08
  Speaker 1: trying to get them what they want. Focus their vision, yeah. Yeah,
• 18:11
  Speaker 1: and I mean, I like that process. I just love
• 18:13
  Speaker 1: editing and movie making, and I just get really excited
• 18:16
  Speaker 1: about somebody, you know.
• 18:18
  Speaker 6: It's funny, because it is a handful of directors that still,
• 18:22
  Speaker 6: you see, Rodriguez, like, that was his thing. Like, he's like, yeah,
• 18:25
  Speaker 6: I'm shooting it, but I know how much work goes
• 18:27
  Speaker 6: into the editing and how much real crafting of the
• 18:30
  Speaker 6: story goes into editing. So it's weird when you see, like,
• 18:33
  Speaker 6: There's a handful that really still attach themselves to the
• 18:36
  Speaker 6: editing almost more than even the visual directing part.
• 18:40
  Speaker 1: For Tragedy Girls, this is the first time I've had
• 18:42
  Speaker 1: somebody cut something for me that I directed. Sorry, I
• 18:46
  Speaker 1: had a short film that was cut by another friend
• 18:49
  Speaker 1: of mine, but this was the first time I had
• 18:50
  Speaker 1: a feature cut by You know, so Martin Pensa, who
• 18:53
  Speaker 1: was great. I mean, he cut Dollar Spire's Club and was,
• 18:55
  Speaker 1: you know, really slumming it being on our movie. You know,
• 18:57
  Speaker 1: Academy Award nominated.
• 18:58
  Speaker 6: We'll take him on.
• 18:59
  Speaker 1: Martin Pensa. But yeah, no, great guy. You know, and
• 19:02
  Speaker 1: we clicked almost immediately. And I think it's because, you know,
• 19:05
  Speaker 1: like I'd worked as an editor. So like I wasn't making,
• 19:07
  Speaker 1: I wasn't forcing expectations on him that were, you know, unrealistic.
• 19:11
  Speaker 1: And then he also kind of knew how we would
• 19:13
  Speaker 1: compliment each other. And, you know, when I, you know,
• 19:16
  Speaker 1: he would trust me and I would trust him. And
• 19:17
  Speaker 1: it just worked out pretty well.
• 19:19
  Speaker 6: Is there still part of it that's hard to hand
• 19:21
  Speaker 6: it to anybody at this point because you've done so
• 19:23
  Speaker 6: much of it yourself over the years?
• 19:24
  Speaker 2: Yeah.
• 19:26
  Speaker 1: I mean there's always– I mean there's a little bit
• 19:27
  Speaker 1: of like hesitancy with letting somebody make any huge creative decisions.
• 19:34
  Speaker 1: But that just– I think it's just general apprehension. But
• 19:37
  Speaker 1: I think I'm getting better and better at just trying
• 19:39
  Speaker 1: to be like a creative leader that's kind of steering
• 19:41
  Speaker 1: other people to make decisions on your behalf when they should.
• 19:44
  Speaker 6: It's where you need to get. But yeah, it's hard
• 19:46
  Speaker 6: to do that as any creative person knows.
• 19:49
  Speaker 2: Deli.
• 19:50
  Speaker 6: Authority is it's trouble so yeah well then i mean
• 19:54
  Speaker 6: you mentioned i i guess either i mean you you
• 19:57
  Speaker 6: kind of mentioned the other feature patchwork looks amazing i
• 20:00
  Speaker 6: haven't seen it but just that trailer again being a
• 20:03
  Speaker 6: horror fan like that's an amazing idea so i don't
• 20:06
  Speaker 6: did that just How did that– and how long did
• 20:09
  Speaker 6: it take to get to that point?
• 20:11
  Speaker 1: Yeah. So Patchwork was like a very much– like a
• 20:16
  Speaker 1: movie I wanted to make as a first feature just
• 20:19
  Speaker 1: because I liked– I thought it kind of combined things
• 20:21
  Speaker 1: that I liked about movies in terms of like being
• 20:22
  Speaker 1: kind of a genre movie that had like something to
• 20:26
  Speaker 1: say and was kind of elevated content to a certain extent.
• 20:30
  Speaker 1: But at the same point, it was just kind of
• 20:32
  Speaker 1: a lot of fun. And so it's essentially, for those
• 20:34
  Speaker 1: of you who don't know, it's about three girls who
• 20:35
  Speaker 1: go partying one night and end up stitched together in
• 20:37
  Speaker 1: the same body, kind of like Frankenstein style. And they
• 20:40
  Speaker 1: go on this, like, revenge mission to try and find
• 20:43
  Speaker 1: who did this to them.
• 20:43
  Speaker 6: I kind of love this story.
• 20:45
  Speaker 2: Yeah.
• 20:45
  Speaker 1: So, I mean, it's a lot of fun. And we
• 20:48
  Speaker 1: knew we were going to do it for, like, a very,
• 20:49
  Speaker 1: you know, modest budget and shooting in L.A. with mostly, like,
• 20:51
  Speaker 1: you know, powered by favors and a lot of people
• 20:53
  Speaker 1: I'd worked with before. And we were very happy with
• 20:56
  Speaker 1: the results. Like, it ended up winning Screamfest and, like,
• 20:59
  Speaker 1: played a lot of– it did a really good run
• 21:01
  Speaker 1: at genre festivals, and it got picked up by The Orchard,
• 21:03
  Speaker 1: and it came out in June. And it'll actually come
• 21:05
  Speaker 1: out on Netflix on November 6th. Oh, sorry, September 6th.
• 21:09
  Speaker 1: If anybody wants to check it out. I know I am. Yeah,
• 21:12
  Speaker 1: and so it's been, you know, we're very proud of it.
• 21:15
  Speaker 1: We think it's a lot of fun. And it kind
• 21:17
  Speaker 1: of got, you know, our sensibilities out there a little bit,
• 21:20
  Speaker 1: and that's kind of led very directly into, like, the
• 21:22
  Speaker 1: first cut of that kind of really got us the
• 21:24
  Speaker 1: gig to write Tragedy Girls.
• 21:25
  Speaker 2: Yeah.
• 21:26
  Speaker 6: And then how, again, this... I've, I've seen a lot
• 21:29
  Speaker 6: of people's response to it. And again, it's, it's usually
• 21:33
  Speaker 6: referring to the tone and that it is sort of,
• 21:36
  Speaker 6: as you mentioned earlier, the horror comedy kind of thing.
• 21:38
  Speaker 6: So how much of that did you specifically want to do?
• 21:42
  Speaker 6: I mean, was that what you set out to do
• 21:43
  Speaker 6: was to get kind of that balance in there?
• 21:45
  Speaker 2: Yeah.
• 21:46
  Speaker 1: I mean, like I always wanted it to be, um,
• 21:47
  Speaker 1: you know, like rooted in, I mean, I know we
• 21:49
  Speaker 1: mentioned evil day two before, like reanimator, uh, like, you know,
• 21:52
  Speaker 1: to a certain extent, like my basket case more and
• 21:54
  Speaker 1: more like dead alive, like Peter Jackson's dead alive. like
• 21:57
  Speaker 1: those sort of splat stick kind of horror, like kind
• 21:59
  Speaker 1: of broad horror comedies of the, of the kind of
• 22:01
  Speaker 1: late eighties, early nineties. Um, just cause those were a
• 22:04
  Speaker 1: lot of fun when I was growing up and I
• 22:06
  Speaker 1: wanted to make something that was like that, but like more, um, uh, like,
• 22:10
  Speaker 1: like kind of female skewed. Um, and so once we
• 22:13
  Speaker 1: kind of came up with this story, um, uh, that
• 22:15
  Speaker 1: kind of, um, sort of allowed us to kind of, uh,
• 22:18
  Speaker 1: take these three sort of damaged characters and kind of
• 22:21
  Speaker 1: put them in, uh, together and have them sort of
• 22:23
  Speaker 1: work with one another to kind of overcome, um, their
• 22:27
  Speaker 1: differences and their own, you know, flaws and put it
• 22:31
  Speaker 1: in like kind of a high concept horror shell. It
• 22:34
  Speaker 1: sort of just started to work with itself. And I
• 22:37
  Speaker 1: really wanted to, you know, make a movie that was,
• 22:41
  Speaker 1: I mean, this is the goal as well with Tragic
• 22:43
  Speaker 1: Girls to a certain extent, but I like the idea
• 22:45
  Speaker 1: of making a gateway horror movie, like the idea of
• 22:47
  Speaker 1: making a horror movie that has elements in there that
• 22:49
  Speaker 1: are for like hardcore fans that they'll recognize and be like, oh, cool.
• 22:52
  Speaker 1: but it's really more about trying to get new people
• 22:54
  Speaker 1: excited about the genre. Like it's make something. And I
• 22:57
  Speaker 1: don't mean like, as in like a soft, you know,
• 22:59
  Speaker 1: like bullshit version of a horror movie. I mean, just
• 23:01
  Speaker 1: a movie that has fire dresses, fun over sphere. Yeah.
• 23:04
  Speaker 1: And that's just, uh, that's been always my thought about it.
• 23:07
  Speaker 1: And so, um, And as a result, like, we, you know,
• 23:09
  Speaker 1: I'd go to these, you know, midnight screenings of Patchwork
• 23:11
  Speaker 1: and have, you know, like, these really, like, hardcore, like,
• 23:14
  Speaker 1: horror dudes, like, you know, like, all decked out and,
• 23:16
  Speaker 1: you know, black and whatever. And they're like, yeah, it
• 23:20
  Speaker 1: was a cool movie, man. And then, like, their girlfriends
• 23:22
  Speaker 1: are like, I fucking loved it, you know.
• 23:24
  Speaker 6: You're bringing in, like, the 15-year-old girls that have never
• 23:27
  Speaker 6: really cared about horror.
• 23:28
  Speaker 1: Which, well, I mean.
• 23:29
  Speaker 6: That's a thing now, yeah.
• 23:30
  Speaker 1: Yeah, and I just, I mean, I just like the
• 23:32
  Speaker 1: idea of, like, you know, like, not everything should be
• 23:34
  Speaker 1: made for, like, the entrenched management of horror. You know,
• 23:38
  Speaker 1: in terms of like, you know, a lot of like
• 23:39
  Speaker 1: Generation X kind of like podcaster type people. I know.
• 23:43
  Speaker 6: No, I believe me.
• 23:44
  Speaker 1: I run into that type. I am that type. Well,
• 23:48
  Speaker 1: I mean, yeah, like guys like myself or maybe even
• 23:50
  Speaker 1: a little bit older who like grew up with horror
• 23:53
  Speaker 1: and very much internalize it as like part of their identity.
• 23:56
  Speaker 1: Like I'm trying to make movies that, you know, like
• 23:59
  Speaker 1: that they can enjoy but are really more meant to
• 24:01
  Speaker 1: bring in other people. like fresh ideas.
• 24:03
  Speaker 6: Yeah. Usually those people, myself included, but we get very
• 24:06
  Speaker 6: like insulated too. Like this is the old school horror
• 24:09
  Speaker 6: way and it's supposed to be like this. And I
• 24:11
  Speaker 6: think it's changed several times. Like I, even a lot
• 24:14
  Speaker 6: of times I see people referencing scream when talking about,
• 24:18
  Speaker 6: about tragedy girls. And I'm like, first of all, that's,
• 24:20
  Speaker 6: there's no downside to that. Cause scream was game changing.
• 24:24
  Speaker 1: Like, you know, watershed.
• 24:25
  Speaker 6: You can't. Yeah. But I mean that, that was kind
• 24:27
  Speaker 6: of that change. Again, you're talking about like the shifting
• 24:29
  Speaker 6: of things and like that was, like horror hit that
• 24:32
  Speaker 6: like drudge in the middle there where like slashers were
• 24:34
  Speaker 6: kind of gone and nobody knew what to do and
• 24:36
  Speaker 6: then scream came along it was like the door flung
• 24:39
  Speaker 6: open again totally and all these teenagers came back and
• 24:42
  Speaker 6: went oh yeah horror and like all these knockoff scream
• 24:44
  Speaker 6: movies came out and it got bad again so it's
• 24:46
  Speaker 6: like yeah i think these last five to eight years
• 24:49
  Speaker 6: here where we've got like all these new we've got
• 24:52
  Speaker 6: the babadook and we've got it it follows and like
• 24:54
  Speaker 6: we've got these new ones that We're kind of bringing
• 24:56
  Speaker 6: in people that, once again, they're like, now we've got
• 24:58
  Speaker 6: this new version where, you know, then it was still
• 25:01
  Speaker 6: kind of DVD renters finding stuff. But now we've got
• 25:04
  Speaker 6: people discovering things online and watching stuff on Netflix. And
• 25:07
  Speaker 6: I think we're bringing in this new bunch of kids
• 25:10
  Speaker 6: that didn't know anything about horror then, too.
• 25:12
  Speaker 1: Well, totally. And I think that, like, there's a difference between, like,
• 25:15
  Speaker 1: taking a movie and, like, putting, you know, like, referential
• 25:18
  Speaker 1: material in there that points people to something that's cool.
• 25:20
  Speaker 5: Yeah.
• 25:21
  Speaker 1: Like as in, you know, having a movie like Scream.
• 25:23
  Speaker 6: Scream very literally.
• 25:24
  Speaker 1: Yeah, it was literally like, no, no, no, go check
• 25:26
  Speaker 1: out Halloween. Go check out The Town That Dreaded the Sundown.
• 25:29
  Speaker 1: and like made the, went out of its way to
• 25:31
  Speaker 1: be like, no, no, like you don't understand, like there's
• 25:32
  Speaker 1: some gold, you know, in these hills, go check it out.
• 25:35
  Speaker 6: Just because they're old, I'm using quotes, they're teenagers back then,
• 25:37
  Speaker 6: you know.
• 25:38
  Speaker 4: Yeah.
• 25:38
  Speaker 6: Oh God, from the 70s.
• 25:40
  Speaker 2: Exactly.
• 25:40
  Speaker 1: And now that we're, you know, kind of in this position,
• 25:42
  Speaker 1: like nothing frustrates me more than like seeing reviews where
• 25:45
  Speaker 1: all people do is just kind of like, like say like, oh,
• 25:47
  Speaker 1: this movie is this meets this meets this.
• 25:49
  Speaker 5: Yeah.
• 25:49
  Speaker 1: And then that's like, I figured it out, you know, like,
• 25:51
  Speaker 1: and that's, I think a very destructive way to think
• 25:53
  Speaker 1: about art as well as genre. And, and I think
• 25:56
  Speaker 1: that ultimately, you know, like a, We should be looking
• 26:00
  Speaker 1: back because there's a lot of great films, but at
• 26:02
  Speaker 1: the same time, I think we should be adjusting them
• 26:08
  Speaker 1: on their own terms to a certain extent.
• 26:09
  Speaker 6: Yeah, I think it became– that sort of came out
• 26:12
  Speaker 6: of that independent push for– and again, it was a
• 26:15
  Speaker 6: lot of bloggers and a lot of podcasts that were
• 26:17
  Speaker 6: just like, I'm going to try to find the shorthand
• 26:21
  Speaker 6: version to wrap this up, mostly so I can get
• 26:24
  Speaker 6: my clicks. And, you know, trash whatever I've decided to
• 26:27
  Speaker 6: trash this week. So some of it's that.
• 26:29
  Speaker 1: Yeah. And we got a bit of that with Patchwork, too. Like,
• 26:33
  Speaker 1: because people were like, oh, it's like Frankenhooker. And the
• 26:35
  Speaker 1: reason they're only saying that is because it's a female Frankenstein.
• 26:37
  Speaker 3: Yeah.
• 26:37
  Speaker 1: And that's really the only other one other than, I guess, May, maybe.
• 26:40
  Speaker 6: Lady Frankenstein. Yeah.
• 26:41
  Speaker 1: Oh, like Ride of Frankenstein?
• 26:42
  Speaker 2: Yeah.
• 26:43
  Speaker 1: Which is an excellent fucking movie.
• 26:44
  Speaker 6: Yes, definitely.
• 26:46
  Speaker 1: But it's, you know, but like that said, like, Frankenhooker, like,
• 26:49
  Speaker 1: is interested in very different things to Patchwork.
• 26:50
  Speaker 2: Yeah.
• 26:50
  Speaker 1: Like, you know. And I'd actually never seen it until
• 26:53
  Speaker 1: we were most of the way through shooting the movie.
• 26:55
  Speaker 6: It's its own special classic.
• 26:58
  Speaker 1: Yeah, but again, that's a pretty niche movie, too.
• 27:00
  Speaker 6: So again, to them, only the hardcore weird horror guys
• 27:05
  Speaker 6: are even going to reference that because normal people don't.
• 27:07
  Speaker 1: Know what that is. Oh, no, exactly. So why does
• 27:10
  Speaker 1: it have a place in describing the film? I don't know.
• 27:13
  Speaker 1: It's a very strange thing.
• 27:14
  Speaker 2: Yeah.
• 27:19
  Speaker 6: Shoulders, knees and toes, knees and toes Head, shoulders.
• 27:23
  Speaker 1: Knees and toes, knees and toes Eyes and ears and
• 27:27
  Speaker 1: mouth and.
• 27:27
  Speaker 6: Nose Head, shoulders, knees and toes, knees and toes.
• 27:48
  Speaker 2: It's coming.
• 27:51
  Speaker 4: Here it comes. It's intermission time.
• 27:56
  Speaker 2: Time to visit our concession stand. There's an enemy spy
• 28:02
  Speaker 2: at large, an invisible man.
• 28:03
  Speaker 4: It's amazing.
• 28:07
  Speaker 3: He will be of great help to us. Who is
• 28:11
  Speaker 3: this terrifying Phantom Commando? What is his amazing mission? See
• 28:16
  Speaker 3: The Invisible Agent, suggested by H.G. Wells' Invisible Man, starring
• 28:21
  Speaker 3: Ilona Massey and John Hall, with Peter Lorre, Sir Cedric Hardwick, J.
• 28:26
  Speaker 3: Edward Bromberg, Albert Bosserman, in the most amazing story of
• 28:30
  Speaker 3: our time.
• 28:38
  Speaker 6: So this is a great episode, right? Well, if you'd
• 28:41
  Speaker 6: like to keep more awesome discussions like this one coming
• 28:43
  Speaker 6: your way, you need to join the club over on
• 28:45
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• 28:48
  Speaker 6: just a couple of bucks, you can keep the show going.
• 28:52
  Speaker 6: With your contributions, we can continue to keep producing great episodes,
• 28:55
  Speaker 6: keep organizing these fun conversations about film, and keep booking
• 29:00
  Speaker 6: amazing guests. So just go to patreon.com slash moviemeltdown, or
• 29:04
  Speaker 6: go to moviemeltdown.com, and the link is right there at
• 29:06
  Speaker 6: the top of the page, and you can help keep
• 29:08
  Speaker 6: the show going. Plus, you get exclusive episodes every month,
• 29:12
  Speaker 6: just for club members. So go to our Patreon page,
• 29:15
  Speaker 6: join the Meltdown Club, become a Melketeer, get cool stuff,
• 29:19
  Speaker 6: and keep the Meltdown rolling. Damn the man, save the Meltdown.
• 29:28
  Speaker 2: Popcorn freshly popped and buttered. Look good? Sure, it looks
• 29:33
  Speaker 2: good and it tastes even better. Get some now.
• 29:36
  Speaker 5: Attention horror fans. Days of the Dead returns to Louisville
• 29:39
  Speaker 5: for three weeks. days of celebrity guests, film screenings, vendors,
• 29:42
  Speaker 5: special events, parties, a tattoo expo, and more. Special guests
• 29:46
  Speaker 5: include Linda Blair, Ernie Hudson with special Ghostbusters costume photo op,
• 29:51
  Speaker 5: Gary Busey, Kurt Angle, Tony Todd in a special Candyman
• 29:54
  Speaker 5: costume photo op, Sid Haig, Bill Moseley, Jerry the King Lawler,
• 29:59
  Speaker 5: Kane Hodder, Lar Park Lincoln, A Reunion of the Crow,
• 30:02
  Speaker 5: and much more. And most importantly, your friends from Movie
• 30:05
  Speaker 5: Meltdown will be there. And isn't that really what it's
• 30:08
  Speaker 5: all about? Regardless of your feelings on them, discount presale
• 30:12
  Speaker 5: tickets are on sale now, so go to daysofthedead.com for
• 30:15
  Speaker 5: more details.
• 30:21
  Speaker 6: Hi, you're listening to Movie Meltdown. This is Patty Mullen.
• 30:24
  Speaker 6: Want a date?
• 30:25
  Speaker 2: Going out?
• 30:27
  Speaker 6: Looking for some action? Need some company? Have fun.
• 30:32
  Speaker 7: It's time for Sofa Theater.
• 30:50
  Speaker 4: It all started on a Tuesday in March. If George
• 30:55
  Speaker 4: hadn't introduced me to Alice.
• 30:57
  Speaker 7: Let's not do anything cheap and meaningless.
• 30:59
  Speaker 5: Okay, what do I owe you?
• 31:01
  Speaker 3: If she hadn't been so spectacular, maybe I wouldn't have
• 31:04
  Speaker 3: gotten so loaded that night.
• 31:06
  Speaker 8: Ten minutes.
• 31:07
  Speaker 2: I'd be as good as new.
• 31:08
  Speaker 7: And none of this would have happened.
• 31:12
  Speaker 6: Something's happened at a magnoscopics facility in Santa Mira.
• 31:16
  Speaker 3: Next thing I knew, I went from high profile to
• 31:19
  Speaker 3: no profile.
• 31:20
  Speaker 2: What have they done to me? Wait a minute, who
• 31:23
  Speaker 2: are you guys?
• 31:24
  Speaker 1: Keep your mouths shut, all of you.
• 31:25
  Speaker 8: You're in a state of molecular flux.
• 31:28
  Speaker 5: You want to live?
• 31:29
  Speaker 1: You're going to have to trust us.
• 31:31
  Speaker 2: Where have you been? Everybody's looking for you. I'm here.
• 31:34
  Speaker 2: Sort of. My molecule's back!
• 31:38
  Speaker 5: Now there's a price on my head.
• 31:39
  Speaker 7: The single most exotic intelligence asset on the planet is ours.
• 31:44
  Speaker 5: I don't sleep well.
• 31:46
  Speaker 2: I can see through my eyelids. I can see through
• 31:48
  Speaker 2: the top of my head.
• 31:49
  Speaker 4: But I'll never sell out.
• 31:50
  Speaker 6: Think of the adventure we could have together.
• 31:52
  Speaker 4: Yeah, we could go to Frontierland. Don't be afraid. It's me, Nick.
• 31:57
  Speaker 4: You want to sit down?
• 31:59
  Speaker 7: If not for Alice.
• 32:00
  Speaker 3: We're the only people that can give you your life back.
• 32:02
  Speaker 1: I'd be lost forever.
• 32:04
  Speaker 8: You have a face again.
• 32:05
  Speaker 7: You don't have any body makeup, do you?
• 32:07
  Speaker 6: Dropped about 10 pounds.
• 32:09
  Speaker 1: But I'd look great naked.
• 32:10
  Speaker 2: Alice, run away!
• 32:13
  Speaker 4: She saw me through it all.
• 32:22
  Speaker 2: Chevy Chase. Morning. Morning.
• 32:24
  Speaker 7: Daryl Hannah.
• 32:25
  Speaker 5: Wait, how am I going to tell my mom about this?
• 32:27
  Speaker 5: Just tell her you met a guy.
• 32:29
  Speaker 7: Could be serious.
• 32:31
  Speaker 5: He's transparent.
• 32:33
  Speaker 4: Memoirs of an Invisible Man. A John Carpenter film.
• 32:38
  Speaker 7: And if you're feeling down, he'll pick you up.
• 32:43
  Speaker 8: He'll hold you close when you're making love.
• 32:49
  Speaker 2: He's everything.
• 32:53
  Speaker 6: Oh, baby.
• 32:55
  Speaker 7: I wish you'd look at me that way. Your beautiful
• 33:00
  Speaker 7: eyes looking deep into mine. Telling me more than any
• 33:08
  Speaker 7: words could say. But you don't even know I'm alive.
• 33:13
  Speaker 6: Oh, baby, to you, all I am is the environment.
• 33:30
  Speaker 6: So you mentioned a universal classic. Anyway, do we want
• 33:33
  Speaker 6: to delve into this week's movie?
• 33:35
  Speaker 1: Yeah, are these called specific things?
• 33:39
  Speaker 6: The ones that I end up going back and watching
• 33:42
  Speaker 6: at home, which I did re-watch this one, is Sofa Theater.
• 33:45
  Speaker 6: So these are our, as we go back and revisit
• 33:48
  Speaker 6: some of the ones that we've seen or not seen.
• 33:50
  Speaker 6: But yeah, I did, let's see, somewhere here I'll read
• 33:53
  Speaker 6: the little IMDb breakdown for us. This week's Sofa Theater
• 33:57
  Speaker 6: feature is Memoirs of an Invisible Man, the year is 1992,
• 34:01
  Speaker 6: director John Carpenter, which some people might not even realize,
• 34:05
  Speaker 6: and the plot. According to IMDb, it's always questionable. And
• 34:09
  Speaker 6: right off the bat, I'm going to question one of these.
• 34:12
  Speaker 6: After a freak accident, a yuppie turns invisible and runs
• 34:15
  Speaker 6: from a treacherous CIA official while trying to cope with
• 34:18
  Speaker 6: his new life. Spoiler alert, by the way. This is 1992.
• 34:23
  Speaker 6: Hopefully you watched it by now. yuppie i'm already gonna
• 34:27
  Speaker 6: argue first of all it's by the 90s that term
• 34:30
  Speaker 6: was out number two the first part of yuppie is
• 34:34
  Speaker 6: young i looked it up he was 49 when he
• 34:38
  Speaker 6: made this movie He doesn't look it, really, but he's
• 34:43
  Speaker 6: not a young urban professional.
• 34:46
  Speaker 1: Yeah, I mean, and that's a very, like, super early
• 34:49
  Speaker 1: 90s term.
• 34:49
  Speaker 6: Again, that's also a very backhanded, schlocky way to describe
• 34:53
  Speaker 6: this movie.
• 34:54
  Speaker 1: Oh, yeah, totally, yeah. Like, he's not, I mean, you know,
• 34:56
  Speaker 1: he's a little bit of a shyster, but I don't think, anyway.
• 34:58
  Speaker 6: He's really just a lazy, like, he's just kind of
• 35:01
  Speaker 6: a slacker. Which, again, he's the Gen X coming into
• 35:04
  Speaker 6: the 90s there. He's just like, I'm gonna make as
• 35:07
  Speaker 6: much money as I can without not really working hard
• 35:10
  Speaker 6: to do it so he's definitely the 90s era slacker
• 35:13
  Speaker 6: there is what he is so again this was this
• 35:17
  Speaker 6: was your suggestion i was like sitting down with people
• 35:20
  Speaker 6: and talking movies in general more so than just kind
• 35:22
  Speaker 6: of you know discussing your life but just how we
• 35:25
  Speaker 6: all kind of geek out on our movies so what
• 35:28
  Speaker 6: is it that made you pick this movie and i
• 35:30
  Speaker 6: guess you'd seen this originally Yeah.
• 35:33
  Speaker 1: So, I mean, this is definitely one of the VHS
• 35:36
  Speaker 1: hits that I watched when I was a kid. And
• 35:38
  Speaker 1: by hit, I mean, I use that in the least
• 35:39
  Speaker 1: possible term. I think this movie lost a lot of money.
• 35:41
  Speaker 6: I think I saw it in the theater when I
• 35:42
  Speaker 6: thought back about it. I think I remember going with
• 35:45
  Speaker 6: my friend David. I used to hit all of the
• 35:47
  Speaker 6: new movies, and I think this was one of the
• 35:48
  Speaker 6: ones we saw in the theater, if I'm remembering correctly.
• 35:52
  Speaker 1: Yeah. But, I mean, I've always thought that this was
• 35:54
  Speaker 1: a bit of an underrated classic, and I use classic
• 35:57
  Speaker 1: in the loosest possible term, but Like, I just think
• 36:00
  Speaker 1: it's a very well-funded movie and it has some amazing
• 36:03
  Speaker 1: special effects. And it's a John Carpenter movie, so it's
• 36:05
  Speaker 1: extremely well-crafted and very well-directed. And, like, nobody talks about
• 36:11
  Speaker 1: this movie. Like, they'll talk about John Carpenter and they'll mention, like,
• 36:13
  Speaker 1: The Thing, Halloween, you know, Escape from New York.
• 36:15
  Speaker 6: It is a lost Carpenter.
• 36:18
  Speaker 1: They'll mention, like, eight or nine movies and never mention
• 36:21
  Speaker 1: this one. Like, it's kind of crazy because, like, I
• 36:24
  Speaker 1: think that this movie actually has a lot going for it.
• 36:26
  Speaker 2: Yeah.
• 36:27
  Speaker 1: Like Chevy Chase has never been more charming. Daryl Hannah's
• 36:30
  Speaker 1: amazing with the effects that ILM did were awesome. Like,
• 36:33
  Speaker 1: like I think it's gripping. I think Sam Neill's a
• 36:35
  Speaker 1: fucking great villain. Like, like there, it's, it's like a
• 36:39
  Speaker 1: very good example of like, you know, like I would
• 36:41
  Speaker 1: put it in line with something like Groundhog Day as like,
• 36:44
  Speaker 1: like really good 90s studio filmmaking of like that light comedy,
• 36:48
  Speaker 1: you know? And, and I just think it's one of
• 36:50
  Speaker 1: those things that no one ever mentions it and no
• 36:54
  Speaker 1: one ever watches it. And, and, And, you know, even
• 36:57
  Speaker 1: the people who were involved with it seemed to kind of, like,
• 36:59
  Speaker 1: not really like it, and I just think it's brilliant.
• 37:02
  Speaker 6: Well, it is, I mean, it's one of those, I mean,
• 37:04
  Speaker 6: Carpenters made a lot of movies over the years, but
• 37:06
  Speaker 6: it is funny how much we just referenced the maybe five, like,
• 37:10
  Speaker 6: all of a sudden, these last few years, there's a
• 37:12
  Speaker 6: whole lot of love for Big Trouble in Little China,
• 37:14
  Speaker 6: which I loved at the time, and nobody cared about. Like,
• 37:17
  Speaker 6: it was just one of those, luckily, it played on
• 37:19
  Speaker 6: cable every 15 minutes or so, and I saw it
• 37:21
  Speaker 6: a million times back in the day, but it's just
• 37:24
  Speaker 6: now like in these last 10 years that there's this
• 37:27
  Speaker 6: weird resurgence and all this merchandise coming out for it.
• 37:30
  Speaker 6: So that's one of those that like didn't fit his
• 37:33
  Speaker 6: thing anyway, if you just go with like your, your
• 37:35
  Speaker 6: Halloween fans or your thing fans, but like, so there's
• 37:38
  Speaker 6: already the weird, you know, kind of offshoot things that
• 37:40
  Speaker 6: he was doing. This is really kind of a strange
• 37:43
  Speaker 6: move for a couple of reasons. And I think there
• 37:47
  Speaker 6: is a, I think there is a part where it,
• 37:50
  Speaker 6: It doesn't like it kind of misses its mark, but
• 37:53
  Speaker 6: it hits so many things along the way that are good.
• 37:55
  Speaker 6: Like it is a balance for me. I think my
• 37:59
  Speaker 6: big because again, I more than anything, and I think
• 38:01
  Speaker 6: the only thing it probably got noticed for the time
• 38:03
  Speaker 6: was the effects, because this is kind of that. Right
• 38:07
  Speaker 6: at that moment when we just started to see, oh,
• 38:09
  Speaker 6: this really is what you can do. Like, you know,
• 38:11
  Speaker 6: you go back to Willow, it looks pretty shoddy. But
• 38:14
  Speaker 6: by the time you hit this, it's getting pretty solid.
• 38:16
  Speaker 1: Yeah, this was, like, early 92. But, like, you know,
• 38:18
  Speaker 1: it was a big watershed moment when Jurassic Park came out.
• 38:20
  Speaker 1: But this is, like, after Terminator 2. Yeah.
• 38:23
  Speaker 6: So we hit those couple that, yeah, you start seeing
• 38:25
  Speaker 6: this digital effects. There's something there. So you can see...
• 38:30
  Speaker 6: There's times when I see it and I'm like, this
• 38:32
  Speaker 6: still looks good now. Like, I can't imagine them doing
• 38:35
  Speaker 6: much better even now with all the improvements in digital
• 38:38
  Speaker 6: since then. I'm like, for what they were trying to do,
• 38:41
  Speaker 6: it's pretty solid effects-wise.
• 38:43
  Speaker 2: Yeah.
• 38:43
  Speaker 1: Well, I mean, like, to be honest, this is my
• 38:45
  Speaker 1: favorite Invisible Person movie. Like, fuck Hollow Man, you know? Like,
• 38:49
  Speaker 1: I mean, Hollow Man's fine, but it's very, like... It's
• 38:52
  Speaker 1: similar to the first Invisible Man movie, like the James
• 38:55
  Speaker 1: Whale movie. Where it's much more just like, I went
• 38:59
  Speaker 1: invisible and went insane.
• 39:02
  Speaker 6: Most of them end up focusing way more on the
• 39:04
  Speaker 6: crazy part of it.
• 39:05
  Speaker 1: Yeah, it's like they'll go invisible and rob a bank.
• 39:08
  Speaker 1: It's like the most pedestrian bullshit you could possibly do.
• 39:10
  Speaker 6: I mean, that's the thing. Hollow Man is just like,
• 39:12
  Speaker 6: it may be a little too real. Because it's like...
• 39:16
  Speaker 6: Once I become invisible, I'm going to delve into the
• 39:18
  Speaker 6: worst possible part of humanity. So he's just invisible rapist
• 39:22
  Speaker 6: at that point.
• 39:22
  Speaker 1: I'm like, exactly and that's horrible yeah like it's it's
• 39:25
  Speaker 1: it's you know i don't know there's the i i
• 39:28
  Speaker 1: hate that and i like that that this movie kind
• 39:29
  Speaker 1: of it makes it more about like he's a guy
• 39:32
  Speaker 1: who wasn't who was it was not really trying at
• 39:34
  Speaker 1: life and and was kind of alienated in the big
• 39:37
  Speaker 1: city kind of thing and then like it's more about
• 39:39
  Speaker 1: a metaphor for loneliness which i think the carpet even talks.
• 39:42
  Speaker 6: About yeah they even mention yeah i kind of forgot
• 39:44
  Speaker 6: that point but the fact that i think it's Was
• 39:47
  Speaker 6: it Sam Neill? One of the guys that he's talking to,
• 39:49
  Speaker 6: he's like, he was invisible before the accident ever happened.
• 39:51
  Speaker 1: Well, exactly, yeah. And that's the best thing about it,
• 39:53
  Speaker 1: is the fact that the monster, being an invisible person,
• 39:58
  Speaker 1: is very related to the character, and I think that's
• 40:00
  Speaker 1: what gives it such a strength. And I don't think
• 40:03
  Speaker 1: the other invisible people movies really do that to the
• 40:07
  Speaker 1: same extent. And even, I don't know, the scripts, I
• 40:12
  Speaker 1: think the shooting draft was done by William Goldman, who's
• 40:15
  Speaker 1: a great And there's a lot of great people who
• 40:18
  Speaker 1: worked on this. But it got written off as this
• 40:22
  Speaker 1: Chevy Chase vanity project. And I think there's actually a
• 40:24
  Speaker 1: lot more to it.
• 40:26
  Speaker 6: I think that becomes its downfall. I think maybe at
• 40:29
  Speaker 6: the time and even in retrospect for people. And even
• 40:33
  Speaker 6: for me, I think that's the part that doesn't land
• 40:35
  Speaker 6: exactly right. And it was kind of that same time.
• 40:37
  Speaker 6: It was the same thing. It's people trying to branch out.
• 40:41
  Speaker 6: And do something else. And like the audience is like, no,
• 40:44
  Speaker 6: that's not what you do.
• 40:44
  Speaker 2: No, no.
• 40:45
  Speaker 1: Totally.
• 40:45
  Speaker 2: Exactly.
• 40:46
  Speaker 1: Like people are like, you know, like, oh, well, wait
• 40:48
  Speaker 1: a second. It's a lighter thriller.
• 40:50
  Speaker 6: It's a silly comedy.
• 40:51
  Speaker 2: Yeah.
• 40:52
  Speaker 1: Why is John Carpenter doing it?
• 40:53
  Speaker 6: Yeah.
• 40:53
  Speaker 1: Like, oh, it's kind of dramatic. Why is Chevy chasing it?
• 40:55
  Speaker 2: Yeah.
• 40:55
  Speaker 1: It's all of the above. It's an example of people
• 40:57
  Speaker 1: trying to pigeonhole, like audiences, critics, the studio, like trying
• 41:01
  Speaker 1: to pigeonhole like these people into doing a certain thing.
• 41:05
  Speaker 1: And then when they do something, I think successfully– They
• 41:08
  Speaker 1: still won't let it be a success.
• 41:09
  Speaker 6: Because it's around that same time, and a perfect counterpoint
• 41:13
  Speaker 6: to it is Vampire in Brooklyn.
• 41:15
  Speaker 2: Yeah.
• 41:16
  Speaker 6: It's like, it's another one trying to be horror, but
• 41:18
  Speaker 6: then you've got a comedic lead, and like... Because that's.
• 41:22
  Speaker 5: Landis, isn't it?
• 41:23
  Speaker 6: Wasn't that John Landis?
• 41:24
  Speaker 1: No, that's Wes Craven.
• 41:25
  Speaker 6: Was that Craven?
• 41:25
  Speaker 2: Okay, yeah.
• 41:26
  Speaker 1: Vampire in Brooklyn, yeah.
• 41:27
  Speaker 6: Because that's what it was. It was like, it's Wes
• 41:29
  Speaker 6: Craven trying to do a comedy, and it's... Eddie Murphy
• 41:33
  Speaker 6: trying to do a drama, or at least a dramatic horror,
• 41:36
  Speaker 6: and they both kind of don't cross in the right place,
• 41:40
  Speaker 6: and nobody knew what.
• 41:41
  Speaker 1: To do with it.
• 41:41
  Speaker 6: I think this kind of falls in that same category,
• 41:44
  Speaker 6: because it's Carpenter trying to push that envelope of telling
• 41:47
  Speaker 6: this bigger story about more of the... Again, what I
• 41:50
  Speaker 6: respond to more in this one is the mechanics of it.
• 41:54
  Speaker 6: The fact that it is this guy... how do you
• 41:56
  Speaker 6: deal with a life where you are invisible? Where we
• 41:59
  Speaker 6: don't really see even in like, yeah, the original universal
• 42:02
  Speaker 6: invisible man. It's more of, haha, I'm crazy now. But like,
• 42:05
  Speaker 6: we don't see... how do I eat?
• 42:08
  Speaker 1: Yeah, exactly.
• 42:08
  Speaker 6: So much of this movie is how do I eat
• 42:11
  Speaker 6: and not get busted?
• 42:12
  Speaker 1: Yeah, and I love that bit about like, you know,
• 42:13
  Speaker 1: it's like, oh, I can't sleep because I can see
• 42:15
  Speaker 1: through my eyelids. I can see through my eyelids.
• 42:16
  Speaker 6: All the technical stuff.
• 42:18
  Speaker 1: Yeah, and that's like, I think a lot of fun. And,
• 42:21
  Speaker 1: you know, and this movie had a comparatively like, I
• 42:23
  Speaker 1: think it was a $ 40 million budget in the 90s,
• 42:25
  Speaker 1: which was a lot of money.
• 42:26
  Speaker 6: A hundred some odd.
• 42:27
  Speaker 1: Yeah, probably, yeah, like 80 or 100 today. And that's like,
• 42:31
  Speaker 1: So there's money to be spent, and the set pieces
• 42:35
  Speaker 1: feel big, and I think a lot of the gags work.
• 42:37
  Speaker 1: Like I said, I think Cherry Chase is very charming,
• 42:40
  Speaker 1: and I think Daryl Hannah and him are great together
• 42:42
  Speaker 1: in this.
• 42:43
  Speaker 6: She's good. Again, it's one of those, she kept kind
• 42:46
  Speaker 6: of falling into things, and once again, nobody knew what
• 42:48
  Speaker 6: to do with her. There's all these movies where I'm like, huh,
• 42:52
  Speaker 6: Daryl Hannah's in that, isn't she? It's like, I go
• 42:54
  Speaker 6: back and see, well, like Wall Street, I'm like, oh yeah,
• 42:56
  Speaker 6: Daryl Hannah's in that, isn't she? There's all those weird
• 42:59
  Speaker 6: roles that she just kind of ended like she never
• 43:01
  Speaker 6: really found her place as a leading woman like it
• 43:04
  Speaker 6: was splash and then she's in a lot of other.
• 43:06
  Speaker 1: Like until she comes back like yeah.
• 43:09
  Speaker 6: But even then she was sort of like she's like
• 43:11
  Speaker 6: it's only in retrospect we went hey look that's daryl
• 43:13
  Speaker 6: hannah like that splash made it for and then like
• 43:17
  Speaker 6: for me not until she came back and kill bill.
• 43:20
  Speaker 1: And i'm like oh no she owns that role no
• 43:22
  Speaker 1: totally but like i don't know i don't think there's
• 43:24
  Speaker 1: anything wrong with like all her her A material is
• 43:27
  Speaker 1: the stuff when she's in a weird genre movie. Yeah,
• 43:29
  Speaker 1: it is. Like Splash is a weird genre movie.
• 43:32
  Speaker 6: It is.
• 43:32
  Speaker 1: Like this is a weird genre movie. Blade Runner is
• 43:35
  Speaker 1: definitely a weird genre movie. And Kill Bill is the definition.
• 43:39
  Speaker 6: But it does make me– because I think that's the thing.
• 43:41
  Speaker 6: I think I get more sidetracked on the Chevy Chase
• 43:43
  Speaker 6: part of it. And it's funny because I grew up
• 43:45
  Speaker 6: loving Chevy Chase comedies. And maybe that's because– because it
• 43:49
  Speaker 6: made me wonder– Because he's obviously trying to branch out
• 43:52
  Speaker 6: a little bit here because it's not overly comedic. But
• 43:56
  Speaker 6: there's almost moments where it gets a little too, like
• 43:59
  Speaker 6: him running into the door. There's moments where I'm like,
• 44:01
  Speaker 6: you're kind of falling back on what you know best.
• 44:04
  Speaker 1: Yeah, definitely. It feels like, I think he was kind
• 44:07
  Speaker 1: of at the height of his studio power when this
• 44:09
  Speaker 1: was made. So I think he was trying to get
• 44:11
  Speaker 1: into more legit dramatic stuff.
• 44:13
  Speaker 2: Yeah.
• 44:14
  Speaker 6: But that makes me wonder.
• 44:15
  Speaker 1: Which I don't think worked for him.
• 44:16
  Speaker 6: Yeah, I was like, could he have had a different career? Like,
• 44:19
  Speaker 6: if it took a little, you know, offshoot kind of
• 44:22
  Speaker 6: a thing, and he had a big successful drama or
• 44:26
  Speaker 6: romantic comedy that wasn't all-out comedy, a little more of
• 44:29
  Speaker 6: just generic romantic comedy kind of stuff, like, could he
• 44:32
  Speaker 6: have been a Tom Hanks and, like, become a serious actor?
• 44:35
  Speaker 6: Because Tom Hanks is in equally as silly stuff as
• 44:38
  Speaker 6: him in the early days of his career, and he just...
• 44:42
  Speaker 6: Pulled himself out of that, and he's like, now I
• 44:44
  Speaker 6: can do comedy if I want, but I'm known still more,
• 44:48
  Speaker 6: at this point, as a dramatic actor.
• 44:49
  Speaker 1: Yeah, I think he was trying to do, like, you know,
• 44:51
  Speaker 1: a Robin Williams, like, get into more dramatic territory kind
• 44:53
  Speaker 1: of thing, you know?
• 44:54
  Speaker 6: It doesn't really work for him, I feel like. I
• 44:56
  Speaker 6: don't know.
• 44:57
  Speaker 1: I mean, I think it could have, but, like, that said, like,
• 44:59
  Speaker 1: I also, I mean, actually, this is kind of funny
• 45:01
  Speaker 1: to mention, but do you ever see Modern Problems?
• 45:03
  Speaker 2: Oh, yeah.
• 45:04
  Speaker 6: Again that was one of those like at the time there's.
• 45:06
  Speaker 1: A lot in common with this movie like they go
• 45:08
  Speaker 1: to the beach house with like Brian Brian Doyle it's
• 45:10
  Speaker 1: been a long time it's like I mean for those
• 45:12
  Speaker 1: of you who don't know Martin Problems is like it's
• 45:14
  Speaker 1: a weird movie yeah it's it's bonkers it's like Chevy
• 45:18
  Speaker 1: Chase like is like an air traffic controller who like
• 45:21
  Speaker 1: gets like toxic waste spilled on him and then he
• 45:23
  Speaker 1: gets telekinetic powers it's just and it's it's out of
• 45:26
  Speaker 1: control but like it's not a very good movie but
• 45:28
  Speaker 1: it made a ton of money like kind of early
• 45:30
  Speaker 1: in his.
• 45:30
  Speaker 6: Career it's post zap when we all wanted telekinetic powers
• 45:33
  Speaker 6: to do the dumbest things with. So yeah, I don't know.
• 45:38
  Speaker 6: I was like, I think that that became most of
• 45:40
  Speaker 6: my issue with it. Even rewatching. I'm like, it makes
• 45:43
  Speaker 6: me wonder if it ended up with a different lead,
• 45:46
  Speaker 6: would it have been more successful if, if they would
• 45:48
  Speaker 6: have picked somebody that was kind of well known for
• 45:51
  Speaker 6: more of the genre type of stuff. Cause I feel
• 45:54
  Speaker 6: like John Carpenter's did that before and almost right before this.
• 45:58
  Speaker 6: Cause I know it's sort of blasphemous among geeks in
• 46:01
  Speaker 6: the world and, I think They Live is a great
• 46:04
  Speaker 6: movie that kind of gets taken down by Roddy Piper.
• 46:07
  Speaker 6: And no offense, rest in peace, he seemed like a
• 46:09
  Speaker 6: very nice man, but he's not an actor. Like, if
• 46:13
  Speaker 6: you were to put a really good dramatic or just
• 46:16
  Speaker 6: a beloved, because to me, They Live, I feel like
• 46:19
  Speaker 6: it's written for Kurt Russell. He'd just done two in
• 46:22
  Speaker 6: a row with Kurt Russell. Roddy Piper looks like he's
• 46:25
  Speaker 6: got the hairstyle of that 80s Kurt Russell. He's wearing
• 46:28
  Speaker 6: the outfit that you would see him wear in, you know,
• 46:30
  Speaker 6: every other movie at that time. So it's like, I
• 46:33
  Speaker 6: feel like midway in, he's like, oh, shit, we can't
• 46:35
  Speaker 6: afford Kurt Russell anymore. He's become a big movie star. So, like,
• 46:39
  Speaker 6: I feel like it's that kind of thing. He just
• 46:40
  Speaker 6: sort of went the wrong direction with the lead. And
• 46:43
  Speaker 6: once again, that's another one of those. they live was
• 46:45
  Speaker 6: under the radar like nobody saw it at the time
• 46:47
  Speaker 6: except weird horror fans and now among those horror fans
• 46:51
  Speaker 6: it's like a classic and everybody loves it and they
• 46:53
  Speaker 6: wear the t-shirts but i'm like again i think the
• 46:56
  Speaker 6: story there is genius and it gets taken down by
• 46:59
  Speaker 6: some of the silly wrestling crossover stuff so i don't
• 47:03
  Speaker 6: know i think it's that same thing i think sometimes
• 47:05
  Speaker 6: carpenter was making this weird call on casting and i'm
• 47:08
  Speaker 6: like they probably could have worked better if it had
• 47:10
  Speaker 6: a more fitting.
• 47:11
  Speaker 1: Lead Yeah, I mean, like, I mean, this movie in
• 47:14
  Speaker 1: particular I don't think would have gotten made without Chevy
• 47:15
  Speaker 1: Chase because I think he was a big champion of it. Like,
• 47:17
  Speaker 1: I don't think John Carpenter was the guy, you know,
• 47:19
  Speaker 1: leading the charge.
• 47:20
  Speaker 6: Probably.
• 47:21
  Speaker 1: But, like, I mean, it's interesting about They Live, yeah,
• 47:23
  Speaker 1: like the– just because– The lead really does color things,
• 47:29
  Speaker 1: but then at the same time, they found a lot
• 47:30
  Speaker 1: of genius moments in the movie, like that big fight.
• 47:33
  Speaker 1: What that movie's known for, I don't think would have
• 47:35
  Speaker 1: been the same with Kurt Russell.
• 47:36
  Speaker 6: Kurt Russell wouldn't have a 12-minute fight scene in an
• 47:39
  Speaker 6: alley where nothing really happens. They just keep hitting each.
• 47:42
  Speaker 1: Other over and over again because it's wrestling. It's so funny.
• 47:47
  Speaker 6: So again, I love it for its ridiculous, crazy things,
• 47:49
  Speaker 6: but at the same time, I'm like, I think it
• 47:51
  Speaker 6: would probably be a better movie without all the silliness. Because, again,
• 47:55
  Speaker 6: there's a great story there. And kind of the same
• 47:58
  Speaker 6: thing with this one. The Invisible Man story and the
• 48:00
  Speaker 6: stuff that he's focusing on is actually kind of silly.
• 48:04
  Speaker 6: I do like that aspect, the fact that he has
• 48:06
  Speaker 6: no family. He doesn't really have a girlfriend. He really does.
• 48:11
  Speaker 6: He is so disconnected from society that you do start
• 48:14
  Speaker 6: to see midway in when he's like, You know, you
• 48:17
  Speaker 6: start to miss being seen. And when people don't acknowledge you,
• 48:21
  Speaker 6: you start to wonder if even you are there. Like,
• 48:23
  Speaker 6: it really does. You start to see a little of
• 48:25
  Speaker 6: that insanity kick in of, like, if no one acknowledges
• 48:28
  Speaker 6: that you're there, do you really exist kind of a thing?
• 48:31
  Speaker 6: And I'm like, that's a cool, interesting little story aspect
• 48:34
  Speaker 6: that I think sort of gets undercut because there's still,
• 48:37
  Speaker 6: I don't know, some of it I feel like they
• 48:40
  Speaker 6: still feel like they have to work in Chevy Chase signature,
• 48:43
  Speaker 6: at the time at least, signature stuff. So he still,
• 48:46
  Speaker 6: in the beginning, seems a little sillier than need be.
• 48:48
  Speaker 6: But there's moments when I feel like he is trying
• 48:51
  Speaker 6: to pull it off. Like the dinner scene and him
• 48:53
  Speaker 6: sort of romancing Daryl Hannah. It's kind of legit. I
• 48:57
  Speaker 6: can almost see another actor pulling it off.
• 48:58
  Speaker 1: I think that's the heart of it, yeah. But I
• 49:01
  Speaker 1: also think that a lot of the action stuff, like
• 49:03
  Speaker 1: when that scene on the trains, I think a lot
• 49:04
  Speaker 1: of fun. I think a lot of the gags work.
• 49:07
  Speaker 1: And I don't mean gags as in the comedy gags.
• 49:09
  Speaker 6: As in the... Him running away stripping is amazing. Yeah, yeah.
• 49:14
  Speaker 2: Well, no, totally.
• 49:15
  Speaker 1: But he also, like, he, like, I think a lot
• 49:16
  Speaker 1: of the, like, ways out of scenes are very clever
• 49:18
  Speaker 1: like on the page as well as like the execution
• 49:20
  Speaker 1: of them and I think that's that's tough to do you.
• 49:23
  Speaker 6: Know one of my favorite parts is right there at
• 49:26
  Speaker 6: the beginning the half a building again like that's something
• 49:30
  Speaker 6: we have never seen before in any sort of invisible
• 49:34
  Speaker 6: like it's still again very shoddy reasoning behind it Because, like,
• 49:41
  Speaker 6: first of all, why would you spill coffee on a
• 49:42
  Speaker 6: keyboard and it start a fire? Whatever. And, like, it
• 49:46
  Speaker 6: doesn't get super technical, and it's, like, reasoning behind any
• 49:50
  Speaker 6: of what happens. It's just sort of like, let's get
• 49:52
  Speaker 6: to the part where he becomes invisible. Let's not worry
• 49:54
  Speaker 6: about the science. Yeah, yeah. So it kind of jumps
• 49:57
  Speaker 6: over that. But, yeah, once the cup of coffee starts
• 50:00
  Speaker 6: a fire, when we skip ahead to the building that's
• 50:03
  Speaker 6: half invisible, like, that's one of the great gags of
• 50:05
  Speaker 6: the movie, I think, is that he's looking up and
• 50:07
  Speaker 6: he's like, am I in a dream? Like there's this
• 50:10
  Speaker 6: surreal world of like half a room and you can
• 50:13
  Speaker 6: see outside, but people can't hear you because it's still
• 50:15
  Speaker 6: a wall. And like that whole scene is kind of amazing.
• 50:19
  Speaker 5: I think.
• 50:19
  Speaker 6: So I think that's one of the better things that
• 50:21
  Speaker 6: just visually is really well. And again, well thought out beforehand.
• 50:25
  Speaker 1: Yeah, no, I mean, and like, I just think it's
• 50:27
  Speaker 1: rich with like a, like a bunch of like cool
• 50:29
  Speaker 1: visual ideas and like a lot of like really cool
• 50:31
  Speaker 1: progressing action. And they have the resources to pull it off.
• 50:34
  Speaker 1: And it's a lot of people who are kind of
• 50:35
  Speaker 1: at the top of their game, even though they're doing
• 50:36
  Speaker 1: something a little different.
• 50:37
  Speaker 3: Yeah.
• 50:38
  Speaker 6: Just trying to think some of the other, well, you
• 50:40
  Speaker 6: mentioned it earlier. I mean, as much as I potentially
• 50:44
  Speaker 6: have issues with him as the lead, I don't know
• 50:46
  Speaker 6: that you could get better casting on Sam Neill. Like
• 50:50
  Speaker 6: he's like, it's almost a weird thing that he made
• 50:53
  Speaker 6: Jurassic Park work because he's so like light and likable
• 50:56
  Speaker 6: in Jurassic Park. And like he can play dark and
• 50:59
  Speaker 6: kind of does in most of the rest of his career. Like, yeah,
• 51:02
  Speaker 6: he's almost always kind of the heavy character. So, He's
• 51:06
  Speaker 6: very good at just being, he doesn't really get super
• 51:09
  Speaker 6: over the top. He's just kind of no nonsense and
• 51:13
  Speaker 6: willing to do whatever it takes to get what needs
• 51:16
  Speaker 6: to be done, done. Like he's a very good government
• 51:18
  Speaker 6: agent that I will stop at nothing to take care
• 51:20
  Speaker 6: of my interests. So yeah, I thought that was just
• 51:24
  Speaker 6: sort of perfect casting on his part.
• 51:26
  Speaker 1: I'll kill him. I swear to God.
• 51:30
  Speaker 2: Back off. Do what he says. Move it.
• 51:41
  Speaker 7: Nick.
• 51:47
  Speaker 6: Contrary to what you might think, I am not without feelings.
• 51:57
  Speaker 5: Did you see where I missed the cannon, Nick?
• 51:58
  Speaker 2: You and I.
• 51:59
  Speaker 4: We're not that terribly different.
• 52:00
  Speaker 6: We're iconoclasts.
• 52:04
  Speaker 1: Think of the adventure we could have together. Yeah, we
• 52:07
  Speaker 1: could go to Frontierland.
• 52:09
  Speaker 6: I just noticed in the background of when they're playing
• 52:13
  Speaker 6: the VCR, it's the Goldbergs VCR. You ever watch the Goldbergs?
• 52:17
  Speaker 6: The big bright colored buttons that the Goldbergs have? It's
• 52:21
  Speaker 6: in the background of that room. I'm like, hey, I
• 52:24
  Speaker 6: don't remember a ton of those in the 80s, but
• 52:26
  Speaker 6: obviously there was several left over because now it's the
• 52:29
  Speaker 6: one they reference in the Goldbergs all the time, but
• 52:31
  Speaker 6: it's in the background of this movie as well.
• 52:34
  Speaker 5: Oh, what else?
• 52:36
  Speaker 6: Richard is a silly, almost cliche. Again, it was one
• 52:40
  Speaker 6: of those, like, it was kind of felt like a
• 52:42
  Speaker 6: leftover of the 80s snobs versus the slobs kind of. Oh, well,
• 52:47
  Speaker 6: of course I'm going. Like, he's got the weird accent
• 52:50
  Speaker 6: and the sweater drape. Like, he's of yuppie leftovers.
• 52:54
  Speaker 1: Oh, yeah, no, definitely. He's definitely a takedown.
• 52:56
  Speaker 6: A little cliche kind of a thing. But it is
• 52:59
  Speaker 6: funny watching him, you know, kind of get his... From
• 53:03
  Speaker 6: The Invisible Man.
• 53:04
  Speaker 1: Yeah, no, and that's, like, again, like, that old set piece,
• 53:08
  Speaker 1: I think, is stolen straight from Modern Problems.
• 53:11
  Speaker 6: Yeah, once again.
• 53:13
  Speaker 1: Well, I mean, what do you guys usually talk about? Like,
• 53:16
  Speaker 1: what are some previous titles you guys have done? Everything.
• 53:19
  Speaker 6: It's been a lot over the years.
• 53:21
  Speaker 1: Like, is there, like, a method to the madness? Like,
• 53:23
  Speaker 1: I was just trying to think of something that people
• 53:25
  Speaker 1: don't usually talk about.
• 53:26
  Speaker 6: Well, again, I was just thinking more of the... some
• 53:29
  Speaker 6: of the gimmicks, as you said, like the, you can
• 53:32
  Speaker 6: see so much of them almost kind of showing off
• 53:34
  Speaker 6: what they can do as far as the technical, like the, again, that,
• 53:38
  Speaker 6: that scene of him running away, like the pants running
• 53:40
  Speaker 6: by themselves is kind of impressive that they can make
• 53:43
  Speaker 6: that work because these are things like you look back at, at,
• 53:46
  Speaker 6: you know, the Claude Rains and like, they do some
• 53:49
  Speaker 6: pretty good tricks for that time period too. Like it's
• 53:51
  Speaker 6: surprising how well that kind of holds up from the
• 53:53
  Speaker 6: technical standpoint, but, There's so many things that they're like, okay,
• 53:57
  Speaker 6: we're in a different world now. Let's see what we
• 53:58
  Speaker 6: can do.
• 53:59
  Speaker 1: Yeah, that movie's like 70 minutes long or less. Like
• 54:02
  Speaker 1: it's 65 or something.
• 54:03
  Speaker 6: Yeah, a lot of those old Universal are super quick. Yeah,
• 54:05
  Speaker 6: so it's like this one you see them kind of
• 54:07
  Speaker 6: push that envelope of like, okay, let's see what we
• 54:09
  Speaker 6: can do. Let's see, can we make him like, you know,
• 54:12
  Speaker 6: start out in broad daylight running around and you can
• 54:16
  Speaker 6: see the clothes moving, but you don't see him anymore.
• 54:19
  Speaker 6: So I think that trick works really well. Then they
• 54:22
  Speaker 6: get later on when you do the floating face thing.
• 54:24
  Speaker 6: With the makeup, which again becomes kind of silly.
• 54:27
  Speaker 1: I mean, I like that rain scene.
• 54:29
  Speaker 5: Yeah.
• 54:30
  Speaker 6: I think, again, that rain effect is you can see
• 54:33
  Speaker 6: that just them kind of like, let's see what we
• 54:35
  Speaker 6: can play with in this digital realm. And it's them
• 54:38
  Speaker 6: kind of working with this new technology. And it's still, yeah,
• 54:41
  Speaker 6: for that, it kind of holds up still. It works
• 54:43
  Speaker 6: in that scenario. So I think that's pretty cool. I
• 54:46
  Speaker 6: do still like so much of him, again, just trying
• 54:50
  Speaker 6: to figure out a way to do it. Even if
• 54:52
  Speaker 6: it's just... where do i go and hide like it's
• 54:55
  Speaker 6: the logistics of like when i can't go home and
• 54:58
  Speaker 6: you know i don't know anybody i don't really have
• 55:00
  Speaker 6: any friends like where do you go in the world
• 55:02
  Speaker 6: so him ending up at his club and like him
• 55:05
  Speaker 6: then yeah so he's kind of hiding there for a
• 55:07
  Speaker 6: good amount of you know the story there and then
• 55:10
  Speaker 6: when he goes to the the house upstate or whatever
• 55:12
  Speaker 6: like he all of these things of like just trying
• 55:15
  Speaker 6: to figure out a way to survive when you again
• 55:18
  Speaker 6: it would just be even if you weren't invisible if
• 55:20
  Speaker 6: you were just on the run like it's kind of
• 55:22
  Speaker 6: that same game so I kind of like the structuring
• 55:25
  Speaker 6: of the rest of it, of him like having to,
• 55:26
  Speaker 6: you know, obviously I can't get on a plane, so
• 55:29
  Speaker 6: we'll take a train because anybody can kind of walk
• 55:31
  Speaker 6: onto a train. So it's sort of them planning out the, like,
• 55:33
  Speaker 6: how do we make this plot work with, you know,
• 55:36
  Speaker 6: him still dealing.
• 55:37
  Speaker 5: With the invisibility part of it.
• 55:39
  Speaker 6: And I think that stuff's pretty cool.
• 55:41
  Speaker 3: Yeah.
• 55:41
  Speaker 1: And I liked that, uh, that like he, he has
• 55:43
  Speaker 1: the challenge of like, if he eats stuff, he has
• 55:44
  Speaker 1: to wait until it's digested in order to like, you know,
• 55:46
  Speaker 1: or also just floats around in.
• 55:47
  Speaker 6: The, it looks really disgusting.
• 55:50
  Speaker 2: Yeah.
• 55:50
  Speaker 6: Which again, you never think about that kind of stuff or, Or, again,
• 55:54
  Speaker 6: another big gimmick, more or less, is the smoking. Watching
• 55:59
  Speaker 6: the smoke go into his lungs is kind of a
• 56:01
  Speaker 6: cool little trick that, like, you never thought of that
• 56:03
  Speaker 6: when Claude Rains is smoking. But, like, this is, yeah,
• 56:06
  Speaker 6: it's kind of a way more dialed up to 11
• 56:09
  Speaker 6: version of, here's the way that it would, I guess, look.
• 56:12
  Speaker 6: It's them kind of trying to figure out what all
• 56:14
  Speaker 6: this stuff would physically manifest itself like if it had
• 56:17
  Speaker 6: to happen in front of you. So, yeah, the stomach,
• 56:21
  Speaker 6: the weird stomach thing is very strange. But yeah, there's...
• 56:24
  Speaker 6: I don't know. There are moments when I think it
• 56:27
  Speaker 6: is like it falls back on the Chevy thing. Like
• 56:29
  Speaker 6: him in the cab with the guy and he's moving
• 56:33
  Speaker 6: his lips for him so it looks like he's talking.
• 56:35
  Speaker 1: Yeah, I guess a little weekend at Bernie's at certain moments.
• 56:37
  Speaker 6: Pretending to throw up. Yeah, it's like he's... It seems... Again,
• 56:41
  Speaker 6: I think there are times when it just leans heavy
• 56:43
  Speaker 6: on the... Well, Chevy's here. It's okay. People will go
• 56:45
  Speaker 6: with this where if it were a more dramatic lead,
• 56:48
  Speaker 6: I don't know that they'd be able to coast on that.
• 56:51
  Speaker 5: I don't know.
• 56:51
  Speaker 6: Again, I think that's somehow where it's... does it mesh
• 56:54
  Speaker 6: exactly right? But there's still so many good things along
• 56:57
  Speaker 6: the way that I really like.
• 56:58
  Speaker 2: I don't know.
• 56:59
  Speaker 6: The one thing I was going to say, though, mostly
• 57:02
  Speaker 6: because I just also rewatched this, somebody suggested it earlier
• 57:06
  Speaker 6: this past year, was Fletch.
• 57:08
  Speaker 2: Oh, yeah.
• 57:08
  Speaker 6: It's very Fletch-like because of the voiceover.
• 57:11
  Speaker 1: Yeah, it has a lot of Fletch in it.
• 57:12
  Speaker 6: Like, I didn't really think about it, but I was like, oh, yeah,
• 57:14
  Speaker 6: they both have that really heavy voiceover.
• 57:16
  Speaker 1: They're both noirs.
• 57:17
  Speaker 6: Yeah, yeah, and trying to figure out this mystery, more
• 57:21
  Speaker 6: or less, and on the run, and like it, It
• 57:23
  Speaker 6: is kind of interesting how that sort of was becoming
• 57:26
  Speaker 6: his thing. It didn't work, though. He didn't come back
• 57:31
  Speaker 6: to Fletch after Fletch lives. You'd think he would have
• 57:33
  Speaker 6: tried to kind of make that work and found a
• 57:35
  Speaker 6: property to stick with.
• 57:36
  Speaker 5: But, yeah, I don't know.
• 57:38
  Speaker 6: It's like he didn't stick that same thing and kind
• 57:41
  Speaker 6: of make that his running thing. Because I can't think
• 57:43
  Speaker 6: of another one that's as similar in that style to
• 57:46
  Speaker 6: that than this one is. But this one feels very Fletch-like.
• 57:50
  Speaker 3: Totally.
• 57:50
  Speaker 2: Yeah.
• 57:52
  Speaker 6: So I don't know. What was it that– what was
• 57:55
  Speaker 6: your take on it initially and now revisiting it over
• 57:58
  Speaker 6: the years? Has it changed any in your view?
• 58:01
  Speaker 1: No, I like it even more actually. Like I said,
• 58:04
  Speaker 1: I'm a bit of a– I'm a guy who likes
• 58:06
  Speaker 1: to mix genres a little bit. So like for me,
• 58:09
  Speaker 1: something like the idea of doing like a– action thriller, noir,
• 58:12
  Speaker 1: sci-fi movie with Chevy Chase directed by John Carpenter to
• 58:16
  Speaker 1: me sounds great. And I think it works well and
• 58:20
  Speaker 1: I think there's a lot of quality in it that
• 58:23
  Speaker 1: often just gets undersold. So like I– this is one
• 58:27
  Speaker 1: of my handful of movies from the 90s that I
• 58:28
  Speaker 1: always think to get its first shake. So anytime I
• 58:32
  Speaker 1: can have a platform to try and get it out there,
• 58:34
  Speaker 1: I try.
• 58:34
  Speaker 2: Yeah.
• 58:35
  Speaker 6: Does it feel Carpenter-like? I was watching it trying to
• 58:39
  Speaker 6: keep reminding myself this is Carpenter, and I'm wondering if
• 58:43
  Speaker 6: because it's so effects-heavy.
• 58:45
  Speaker 1: I think it's Studio Carpenter.
• 58:46
  Speaker 6: Yeah, maybe so.
• 58:48
  Speaker 1: It's a little cleaner than normal, but he also is
• 58:50
  Speaker 1: a bit more of a chameleon than some people think
• 58:52
  Speaker 1: he is. That's true. I often actually don't think Vampires
• 58:56
  Speaker 1: feels like a Carpenter movie, but a lot of people do.
• 58:58
  Speaker 6: That was another one that nobody knew what to do.
• 59:01
  Speaker 1: But also, I'm sure there's a reason that it doesn't
• 59:05
  Speaker 1: say John Carpenter's Memoirs of an Invisible Man, which is
• 59:09
  Speaker 1: one of the only movies that.
• 59:09
  Speaker 6: Doesn't have that. I was starting to say, which is unusual,
• 59:11
  Speaker 6: because almost everything, even vampires, they all kind of lean
• 59:14
  Speaker 6: on that. But yeah, I was thinking it doesn't have
• 59:17
  Speaker 6: a ton of, it's very solid. Again, it works and
• 59:21
  Speaker 6: it's very polished, but it doesn't have a lot of
• 59:24
  Speaker 6: visual style outside of setting up the gags. So I wonder, yeah,
• 59:27
  Speaker 6: if it was just At that point, the forefront of
• 59:30
  Speaker 6: it all was like, how do we make these gags
• 59:32
  Speaker 6: look as good as they can? And then because of that,
• 59:35
  Speaker 6: you're focusing more on, well, I have to frame it
• 59:37
  Speaker 6: so that the body ends up here where it needs
• 59:40
  Speaker 6: to be. So it takes away a little bit from
• 59:43
  Speaker 6: the artistic style.
• 59:44
  Speaker 5: I don't know.
• 59:45
  Speaker 1: Yeah, I mean, to be honest, I assume they probably
• 59:47
  Speaker 1: thought this movie was going to be a hit. Like,
• 59:49
  Speaker 1: you know, on all cylinders, like, four quadrants, like, you know, effects,
• 59:52
  Speaker 1: summer movie. I'm sure.
• 59:54
  Speaker 6: At the time, yeah.
• 59:55
  Speaker 1: But, like, you know, effects movie.
• 59:55
  Speaker 3: Yeah.
• 59:56
  Speaker 1: But then– I mean to me I was like I
• 59:59
  Speaker 1: don't know really why it doesn't work because for me
• 1:00:02
  Speaker 1: there's so much to like about it. But with that said,
• 1:00:06
  Speaker 1: my tastes are a little off. I think maybe just
• 1:00:08
  Speaker 1: be– it might like– I heard somebody once say that
• 1:00:12
  Speaker 1: it's like with genre, you want to be 20% original.
• 1:00:16
  Speaker 1: Like where you want to– so you want to like
• 1:00:18
  Speaker 1: give like four-fifths of its like stuff that you've seen before.
• 1:00:24
  Speaker 1: that you can feel really well-rooted and people kind of
• 1:00:26
  Speaker 1: get comfortable. And then you want to show them 20% originality,
• 1:00:30
  Speaker 1: whereas you show them any less and they say it's predictable.
• 1:00:31
  Speaker 1: If you show them any more, they say it's too weird.
• 1:00:33
  Speaker 1: And I think this one is maybe a little weird.
• 1:00:36
  Speaker 1: Just because it's borrowing from so much different stuff.
• 1:00:38
  Speaker 6: Yeah, it's different genres, kind of.
• 1:00:40
  Speaker 1: But that's it. It was a book beforehand that was
• 1:00:42
  Speaker 1: very successful, so they know what they're getting.
• 1:00:45
  Speaker 6: I think that's it. It's not... it's not leaning very
• 1:00:49
  Speaker 6: much on the horror end of it, except the horror
• 1:00:51
  Speaker 6: of him kind of dealing.
• 1:00:52
  Speaker 1: With this situation. I mean, I haven't read the book, so, like,
• 1:00:54
  Speaker 1: I mean, maybe the book doesn't have as much comedy
• 1:00:56
  Speaker 1: in it.
• 1:00:56
  Speaker 3: Yeah.
• 1:00:56
  Speaker 6: Because to me, it almost is more of, like, on
• 1:00:59
  Speaker 6: the thriller aspect or the, you know, man on the
• 1:01:01
  Speaker 6: run kind of aspect.
• 1:01:01
  Speaker 1: Yeah, yeah. I think it's more of like horror.
• 1:01:03
  Speaker 2: Yeah.
• 1:01:04
  Speaker 6: But the one you were talking about referencing old stuff,
• 1:01:07
  Speaker 6: that is kind of like being the old school movie
• 1:01:09
  Speaker 6: geek I am when she walks in the room and
• 1:01:11
  Speaker 6: he's in the old outfit. He's in the original goggles
• 1:01:14
  Speaker 6: and smoking jacket and, like, wrapped in ace bandit i'm
• 1:01:18
  Speaker 6: like oh well i mean you gotta love that but
• 1:01:20
  Speaker 6: again you can see carpenter there because that's carpenter's horror
• 1:01:23
  Speaker 6: roots it's just like at some point i have to
• 1:01:26
  Speaker 6: have him wear the outfit i mean that's the cliche
• 1:01:28
  Speaker 6: invisible man outfit and so again just as a horror
• 1:01:31
  Speaker 6: geek i'm like okay you get points for that because
• 1:01:33
  Speaker 6: that's pretty damn cool they work that in there but
• 1:01:36
  Speaker 6: so i don't know i i was i was kind
• 1:01:38
  Speaker 6: of wondering just in general as as horror fans what
• 1:01:42
  Speaker 6: do you think draws us to that anyway Because I
• 1:01:46
  Speaker 6: was just trying to think back. I've always loved horror.
• 1:01:49
  Speaker 6: And it's such an all or nothing thing. There's so
• 1:01:52
  Speaker 6: many people I meet that are just like, oh, I
• 1:01:54
  Speaker 6: don't like scary movies. They're so biased towards it almost.
• 1:01:57
  Speaker 6: And then the people that love it, love it.
• 1:02:00
  Speaker 1: Yeah. Well, I mean, I think it's ultimately just about
• 1:02:06
  Speaker 1: conquering your fears. For me, when I was a kid,
• 1:02:08
  Speaker 1: it was about.
• 1:02:13
  Speaker 1: Kind of wanting something you're not supposed to have like
• 1:02:14
  Speaker 1: there's a bit of a taboo element to it you
• 1:02:16
  Speaker 1: know like as in like oh i'm i'm going you
• 1:02:18
  Speaker 1: know i want to i want to be an adult
• 1:02:19
  Speaker 1: i want to get i want to be able to
• 1:02:21
  Speaker 1: experience like a story that's supposed to be serious it's
• 1:02:22
  Speaker 1: supposed to be too much for me you know and
• 1:02:24
  Speaker 1: you want to grow up you know um and that's
• 1:02:26
  Speaker 1: kind of what you want and uh and so horror
• 1:02:29
  Speaker 1: you know has that to it it has it looks
• 1:02:31
  Speaker 1: like it's serious and it's you know it's emotional and
• 1:02:33
  Speaker 1: it's uh primal and um uh whereas like once you're
• 1:02:37
  Speaker 1: once you're you know, become like an adult and you're
• 1:02:40
  Speaker 1: like trying to over-intellectualize everything, then it becomes like, oh,
• 1:02:43
  Speaker 1: horror is just kind of trashy. Yeah. You know, and
• 1:02:45
  Speaker 1: there's like this kind of rebellion the other way where
• 1:02:47
  Speaker 1: people kind of look down on genre.
• 1:02:49
  Speaker 7: Oh, yeah.
• 1:02:49
  Speaker 1: And I always think that it's like it doesn't necessarily
• 1:02:52
  Speaker 1: need to be, you know, one or the other. And
• 1:02:54
  Speaker 1: I think there's a lot of very sophisticated horror films
• 1:02:57
  Speaker 1: and it often, you know, they go without credit because–
• 1:03:00
  Speaker 1: or they go– people don't watch because they think that
• 1:03:03
  Speaker 1: they're– that it's, you know– I mean, I feel like...
• 1:03:06
  Speaker 1: Somehow less quality.
• 1:03:07
  Speaker 6: Yeah, I feel like genre is almost sometimes more sophisticated
• 1:03:11
  Speaker 6: than traditional and run-of-the-mill drama kind of stuff. Because it's
• 1:03:15
  Speaker 6: usually telling, and it leans on its horror or genre
• 1:03:19
  Speaker 6: or whatever extreme kind of things it knows will bring
• 1:03:22
  Speaker 6: in the viewers. But at the same time, it's usually
• 1:03:25
  Speaker 6: telling a bigger story. It's usually telling... some sort of
• 1:03:29
  Speaker 6: underlying message or moral or something else that like your
• 1:03:32
  Speaker 6: generic run-of-the-mill studio drama probably doesn't care about and doesn't
• 1:03:36
  Speaker 6: spend time on. But you look at a lot of
• 1:03:38
  Speaker 6: those old classic horror movies and there's sort of a
• 1:03:40
  Speaker 6: weird message in them that they bury inside of this
• 1:03:44
  Speaker 6: very extreme story of whatever genre, whatever schlocky thing they're
• 1:03:48
  Speaker 6: trying to put out there to people. And I think it's,
• 1:03:50
  Speaker 6: I think it is sort of one of those that
• 1:03:53
  Speaker 6: There's almost more going on in horror and genre than
• 1:03:56
  Speaker 6: you get in your standard movies. I don't know. I
• 1:03:58
  Speaker 6: think it's not– it's kind of the opposite of like
• 1:04:00
  Speaker 6: it's not lower. It's a little elevated in the way
• 1:04:03
  Speaker 6: that it's telling the story usually. Yeah.
• 1:04:06
  Speaker 1: I mean like– I mean just as a horror filmmaker,
• 1:04:10
  Speaker 1: like the type of things I like– like I like
• 1:04:12
  Speaker 1: to try and take expectations that you know people have
• 1:04:15
  Speaker 1: because like right now there's no– lay audience, it's only
• 1:04:19
  Speaker 1: people who've seen films before. It's only a savvy movie
• 1:04:22
  Speaker 1: going on in a crowd. Everyone likes to think they're
• 1:04:25
  Speaker 1: smarter than the films a lot of the time. I
• 1:04:28
  Speaker 1: like the idea of using that against them. The idea
• 1:04:30
  Speaker 1: of trying to understand that your audience is going in
• 1:04:34
  Speaker 1: with a certain set of expectations that you can either
• 1:04:37
  Speaker 1: meet or break. Depending on how you do that, you
• 1:04:40
  Speaker 1: have the opportunity to take them somewhere they've never been before.
• 1:04:43
  Speaker 6: I think horror has a little... Because I've noticed that
• 1:04:47
  Speaker 6: so much in me and film in general. But the
• 1:04:49
  Speaker 6: genre stuff gets more and more of like, you can
• 1:04:52
  Speaker 6: delve into it and it's kind of its own little world.
• 1:04:54
  Speaker 6: So once you're one of those people, and again, we
• 1:04:57
  Speaker 6: find each other. Like we go to conventions, we go
• 1:05:00
  Speaker 6: to film festivals, and we find people that speak the
• 1:05:02
  Speaker 6: same language as us.
• 1:05:04
  Speaker 1: And it may be old movie references. Yeah, and horror
• 1:05:07
  Speaker 1: fans especially are a very welcoming kind of crowd.
• 1:05:10
  Speaker 6: Maybe more than any. Sci-fi is kind of that same level.
• 1:05:13
  Speaker 1: Yeah, I mean, there's a lot of overlap. But at
• 1:05:16
  Speaker 1: Comic-Con and a lot of horror conventions and things like that,
• 1:05:19
  Speaker 1: there's a lot of... Genre fans are generally pretty open-minded,
• 1:05:25
  Speaker 1: and they're actually quite supportive.
• 1:05:26
  Speaker 3: Yeah.
• 1:05:27
  Speaker 1: You know, as long as they feel.
• 1:05:27
  Speaker 6: Surprisingly, because as negative as, like, the internet community has become,
• 1:05:31
  Speaker 6: when you go to these conventions and stuff, everybody's pretty,
• 1:05:34
  Speaker 6: they get along pretty well.
• 1:05:35
  Speaker 1: Yeah, I think as long as they feel like you're
• 1:05:37
  Speaker 1: kind of, you know, part of the group. Like, you know, like,
• 1:05:40
  Speaker 1: there's a pretty positive vibe a lot of the time, so.
• 1:05:44
  Speaker 6: I think that is pretty strong, too, because I think
• 1:05:47
  Speaker 6: we've seen the comic book world and the, like, superheroes
• 1:05:50
  Speaker 6: and all that became so mainstream that that, like, you see, like,
• 1:05:55
  Speaker 6: hardcore horror and genre people, like, kind of hate that stuff. Like,
• 1:05:58
  Speaker 6: I think that's, like, the biggest pet peeve of anyone
• 1:06:00
  Speaker 6: now is, like, The Walking Dead becoming popular because it
• 1:06:03
  Speaker 6: drug regular people into our world. They're like, you don't
• 1:06:06
  Speaker 6: belong here. You're not one of us. So, they do
• 1:06:08
  Speaker 6: get a little, like, protective of their own little world. But, yeah,
• 1:06:12
  Speaker 6: I think if you're, as long as they feel like
• 1:06:13
  Speaker 6: you're genuine, it is something that, like, it is a
• 1:06:16
  Speaker 6: little family that it creates. So, I guess, just to
• 1:06:20
  Speaker 6: round it out here, what's the what's the plan for
• 1:06:24
  Speaker 6: tragedy girls and then what's the best way for people
• 1:06:27
  Speaker 6: to learn more about it or, or find where to
• 1:06:29
  Speaker 6: see it somewhere down the line?
• 1:06:30
  Speaker 2: Um, yeah.
• 1:06:31
  Speaker 1: Uh, so, um, it looks like there's going to be,
• 1:06:33
  Speaker 1: we're going to have a theatrical release in October. Um,
• 1:06:36
  Speaker 1: and so I believe it's October 20th. Um, and so
• 1:06:39
  Speaker 1: there'll be the announcement about that in the next week
• 1:06:41
  Speaker 1: or so, but probably already actually happened if you just
• 1:06:44
  Speaker 1: literally Google tragedy girls. Um, uh, then, uh, yeah. So, uh,
• 1:06:48
  Speaker 1: so there's going to be, it's going to come out
• 1:06:49
  Speaker 1: in theaters October. Um, and, uh, I'm very excited about that. And, uh,
• 1:06:52
  Speaker 1: As I mentioned, you can catch Patchwork, if you're interested
• 1:06:55
  Speaker 1: in that, on September 6th on Netflix. Or on VOD
• 1:06:57
  Speaker 1: right now.
• 1:06:58
  Speaker 6: Both of those, go and check out. And, yeah, so
• 1:07:01
  Speaker 6: thank you to Louisville Film Society for putting this on
• 1:07:04
  Speaker 6: and bringing you here to town. And, yeah, thanks for
• 1:07:07
  Speaker 6: coming here and being on the show.
• 1:07:08
  Speaker 2: Awesome. Cool.
• 1:07:09
  Speaker 1: Thank you so much, Brad.
• 1:07:10
  Speaker 6: Otherwise, that about does it. We will return next time.
• 1:07:12
  Speaker 6: Same geek feed. Thanks for listening.
• 1:07:18
  Speaker 8: Incredible how you can.
• 1:07:21
  Speaker 7: See right.
• 1:07:25
  Speaker 6: Through me When you hear.
• 1:07:32
  Speaker 7: A sound That you just can't place Feel.
• 1:07:36
  Speaker 8: Something move That you just can't place And something sits
• 1:07:42
  Speaker 8: In your head.
• 1:07:44
  Speaker 2: Don't turn around When you hear me dread.
• 1:07:59
  Speaker 7: It's criminal how I can. See right through you.
• 1:08:08
  Speaker 2: I'm in your room.
• 1:08:10
  Speaker 1: I'm in your bed.
• 1:08:12
  Speaker 6: And I'm in your life.
• 1:08:13
  Speaker 7: And I'm in your head.
• 1:08:23
  Speaker 8: I'm the invisible man. I'm the invisible man.
• 1:08:30
  Speaker 1: Incredible how you can.
• 1:08:33
  Speaker 7: See right into me.
• 1:08:38
  Speaker 2: I'm the invisible man.
• 1:08:40
  Speaker 8: I'm the invisible man.
• 1:08:42
  Speaker 7: It's criminal how I can. See right into me.
• 1:08:48
  Speaker 2: Hello. Hello. Okay.
• 1:08:54
  Speaker 7: Hello, hello, hello, hello. Never had a real good friend,
• 1:08:53
  Speaker 7: not a boy.
• 1:08:55
  Speaker 8: Or a girl No one knows what I've been.
• 1:09:00
  Speaker 6: Through, let my fat arms fall.
• 1:09:48
  Speaker 2: And I'm in your mind.
• 1:09:50
  Speaker 8: And I'm on your back.
• 1:09:52
  Speaker 2: Don't look back.
• 1:09:53
  Speaker 6: I'm a meanest thought.
• 1:09:56
  Speaker 2: I'm your darkest fear.
• 1:09:58
  Speaker 7: But I'll never let go.
• 1:10:00
  Speaker 8: Shake me, shake me dear. I'm the invisible man. I'm
• 1:10:04
  Speaker 8: the invisible man. Incredible how you can. See right through me.
• 1:10:12
  Speaker 6: I'm the invisible man.
• 1:10:14
  Speaker 8: I'm the invisible man.
• 1:10:16
  Speaker 6: It's trivial how I can.
• 1:10:22
  Speaker 2: We'll be right back.
• 1:11:01
  Speaker 1: Do you want to go to Germany for a month?
• 1:11:03
  Speaker 1: And I'm like, what? Right now?
• 1:11:05
  Speaker 2: I'm kind of.
• 1:11:05
  Speaker 1: I'm in the middle of a podcast. I have to
• 1:11:07
  Speaker 1: show my movie.
• 1:11:09
  Speaker 6: I have to go eat lunch first.
• 1:11:11
  Speaker 2: Wait a minute.
• 1:11:11
  Speaker 4: This episode is a production of Movie Meltdown, produced and
• 1:11:14
  Speaker 4: edited by the Auditude Studios, with opening music performed by
• 1:11:17
  Speaker 4: the Empires. For more on how to sponsor or support
• 1:11:20
  Speaker 4: the show, email producer at moviemeltdown.com.
• 1:11:23
  Speaker 2: Talk hard!
• 1:11:30
  Speaker 6: This program is a proud member of the battleship pretension fleet.