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105: Un Certain Regard of The Texas Chainsaw Massacre · Movie Meltdown

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  Speaker 1: The following feature has been rated R by the Motion
• 0:04
  Speaker 1: Picture Association of America. It is intended for mature audiences
• 0:09
  Speaker 1: and parental discretion is advised.
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  Speaker 2: Our nuclear reactor pumping out one million kilowatts of power.
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  Speaker 3: What's up and welcome to Movie Meltdown.
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  Speaker 4: Once again, I am Brian and with me this week
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  Speaker 4: I have a very special guest, a co-host if you will,
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  Speaker 4: ladies and.
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  Speaker 5: Gentlemen, Mr.
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  Speaker 3: Joe Bob Briggs.
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  Speaker 6: Thanks.
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  Speaker 4: Not only have you kind of You know, inspired me
• 1:09
  Speaker 4: with the movie reviews over the years. I was watching
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  Speaker 4: all the way back with the old movie channel show.
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  Speaker 3: Wow.
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  Speaker 7: Yeah.
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  Speaker 8: There weren't that many people who watched the movie channel
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  Speaker 8: show because not that many people had the movie channel.
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  Speaker 3: I was one of the lucky ones. Somewhere, I actually
• 1:26
  Speaker 3: had it hanging up for a while.
• 1:27
  Speaker 4: I still had my Joe Bob for President bumper sticker.
• 1:30
  Speaker 3: Oh, wow. That had the movie channel logo on it.
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  Speaker 9: You're embarrassing me now.
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  Speaker 3: When is that going to kick in, by the way?
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  Speaker 9: I don't know.
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  Speaker 8: I always said, you know, if nominated, I will not run.
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  Speaker 8: If elected, I will not serve. If you give me $ 100,
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  Speaker 8: I'll do anything.
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  Speaker 3: Just like most politicians.
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  Speaker 4: Aside from that, we sort of worked together, or at
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  Speaker 4: least in conjunction years ago. I was on the Joe
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  Speaker 4: Bob's Board of Drive-In Experts.
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  Speaker 9: Yes, the Board of Drive-In Experts.
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  Speaker 8: Now, those of you who are familiar with the zagat
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  Speaker 8: restaurant guide which however you say it zagat zagat but
• 2:14
  Speaker 8: you know they invented this way of reviewing restaurants where
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  Speaker 8: people so pretty gourmands you know experts and not just
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  Speaker 8: run-of-the-mill people but you know people who sort of go
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  Speaker 8: to a lot of restaurants they go to the restaurant
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  Speaker 8: and they send in their reviews but because most people
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  Speaker 8: are not any good at writing they just take little
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  Speaker 8: phrases they take different phrases from each person, and they
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  Speaker 8: do a composite review and give the restaurant a composite score.
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  Speaker 8: So I applied the same idea to movies. When I
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  Speaker 8: had my We Are the Weird fanzine newsletter, and we
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  Speaker 8: had different genre boards of reviewers.
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  Speaker 9: I can't remember which one you were on, Brian.
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  Speaker 3: I don't know why you wouldn't.
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  Speaker 4: I was on the Sci-Fi Fantasy, unfortunately.
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  Speaker 9: Okay, the Sci-Fi.
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  Speaker 8: That was one of our most popular boards, so there
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  Speaker 8: was intense competition to get on there.
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  Speaker 4: But that's the harsh one, because you can do a
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  Speaker 4: cheap horror movie, and it might look okay, but it's
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  Speaker 4: hard to do a cheap Sci-Fi movie.
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  Speaker 8: Well, you know, Roger Corman did a lot of cheap Sci-Fi.
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  Speaker 8: Roger Corman loves Sci-Fi, and he did things like The
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  Speaker 8: Beast Within. That's a very cheap. sci-fi movie, yet I
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  Speaker 8: think it's a very entertaining movie. In fact, in the
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  Speaker 8: heyday of... I'm going to assume that your audience is
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  Speaker 8: really up on their B-movies, so I'm not going to
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  Speaker 8: explain all this stuff, but Roger Corman is the king
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  Speaker 8: of the B-movies, and he had.
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  Speaker 3: A.
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  Speaker 8: You could only charitably call it a studio in Venice, California.
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  Speaker 8: It was actually a lumberyard that he converted into a studio,
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  Speaker 8: and he actually built an interior of a of a
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  Speaker 8: spaceship which doubled as a genetic DNA mutant lab.
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  Speaker 4: Whatever they needed that week, basically.
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  Speaker 8: And he shot movie after movie. It was a science
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  Speaker 8: fiction base, and I thought he did a pretty good job.
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  Speaker 8: But then once special effects get to a certain level,
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  Speaker 8: then the audience wants more and more and more and more.
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  Speaker 8: But there was this whole type of movie in the
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  Speaker 8: 80s the genetic DNA mutant and, um, slime glopola. I
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  Speaker 8: called it slime glopola. You know, it's like you get
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  Speaker 8: the virus. It was, it was, it was, you know,
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  Speaker 8: sometimes you can't tell what causes a horror trend.
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  Speaker 3: Okay.
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  Speaker 9: AIDS caused this horror trend. You do know what caused
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  Speaker 9: this horror trend.
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  Speaker 8: There was all this paranoia about what things getting into
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  Speaker 8: your body and killing you. And so there was this
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  Speaker 8: whole series of movies about mutant viruses that would, um,
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  Speaker 8: that would grow very fast in your body and then
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  Speaker 8: explode your head or whatever.
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  Speaker 9: You know, different rules for different viruses. But those were great.
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  Speaker 8: And they were usually set in outer space or they
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  Speaker 8: came from outer space or whatever. The virus came from
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  Speaker 8: outer space or whatever. But there was always a sci-fi element.
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  Speaker 8: So you can do low-budget sci-fi. It's just, you know,
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  Speaker 8: you better really know your stuff if you do.
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  Speaker 3: I think I saw some of those exploding head ones
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  Speaker 3: on our.
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  Speaker 4: I was thinking earlier today, that's the part that's really
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  Speaker 4: funny when I think about it now. And it's sad
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  Speaker 4: that it hasn't been that long ago, but if you
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  Speaker 4: explain what the system was to kids today, they'd.
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  Speaker 3: Think you were just making it up. It involved videotapes
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  Speaker 3: and the postal service.
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  Speaker 8: Right, yeah, we had to actually, in order to send
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  Speaker 8: the movies to our board of drive-in experts, we had
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  Speaker 8: to actually mail the videotape from person to person to
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  Speaker 8: person until all, you know, there were about eight people
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  Speaker 8: on each board. until they'd all seen the same movie
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  Speaker 8: and turned in their evaluation of it, and then we
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  Speaker 8: would do the sort of composite review.
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  Speaker 9: And I thought it was a pretty good... It was
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  Speaker 9: actually pretty accurate.
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  Speaker 8: Yeah, it's... People tended to trust the conclusions of those committees,
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  Speaker 8: and I liked the system. Of course, it was a
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  Speaker 8: nightmare to administer because, you know, somebody... somebody's getting a divorce,
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  Speaker 8: and suddenly they have 30 tapes in their house, and
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  Speaker 8: the next person says, hey, why am I not getting
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  Speaker 8: tapes anymore?
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  Speaker 3: I remember a few of those.
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  Speaker 4: Sometimes it was one a week, sometimes six would show
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  Speaker 4: up on the porch.
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  Speaker 9: Right, so today you could do it much easier.
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  Speaker 3: Yeah, that's what I was thinking.
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  Speaker 4: I was like, in this day and age of every
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  Speaker 4: movie being digital, having the Internet being able to send
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  Speaker 4: things in a minute, it's amazing how just a short
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  Speaker 4: time ago, what a... Dinosaur of a system we were
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  Speaker 4: working under.
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  Speaker 8: Well, not only that, you know, I write books about
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  Speaker 8: old movies, and I know people who wrote books about
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  Speaker 8: movies prior to the VHS.
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  Speaker 9: Yeah. Prior to the video cassette recorder. Well, you had
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  Speaker 9: to actually... find the movie in a theater.
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  Speaker 8: I mean, sometimes guys would wait years for a movie
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  Speaker 8: to show up. They would do searches at the Library
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  Speaker 8: of Congress and try to find universities that had saved
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  Speaker 8: a print of some movie.
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  Speaker 9: I mean, you just really couldn't find these movies.
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  Speaker 8: It's really bizarre sometimes to talk to young people who
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  Speaker 8: write on the web about their love of B-movies, they
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  Speaker 8: have an encyclopedic knowledge of some general area of B-movies,
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  Speaker 8: but it's relatively recently that you could just access all those.
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  Speaker 8: I used to be the world's expert on B-movies. But
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  Speaker 8: there's so many guys who never leave their apartment.
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  Speaker 3: Yeah. I don't know if that should be your goal.
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  Speaker 9: I can't keep up. I can't keep up.
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  Speaker 3: I'd just let it go.
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  Speaker 9: I can't watch that many.
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  Speaker 3: It's not worth being that guy.
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  Speaker 4: Right.
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  Speaker 3: I'm trying not to be that guy.
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  Speaker 4: But I have to say, it is as much trouble
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  Speaker 4: as it was getting the tapes back and forth.
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  Speaker 3: I think it was a good system in the end.
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  Speaker 3: And I will freely admit.
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  Speaker 4: I think it was what planted the seed on the
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  Speaker 4: show that I have now. I think it was probably
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  Speaker 4: the first time it gave me that idea of a
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  Speaker 4: group of people sitting around talking about a movie. I mean,
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  Speaker 4: even though we were all across the country and it
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  Speaker 4: took a couple months to compile it all, but it
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  Speaker 4: was still getting all these different people's impression. And I
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  Speaker 4: think it took years before it came about and a
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  Speaker 4: new version of technology came about that we could actually
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  Speaker 4: make use of that. But I think up until that point,
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  Speaker 4: I think there were no message boards. There was no
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  Speaker 4: way to just randomly talk to other people across.
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  Speaker 3: The country about movies.
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  Speaker 4: So I think it was the first time I had
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  Speaker 4: that concept come into my head.
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  Speaker 8: Well, and you know, I'm sure your listeners are familiar
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  Speaker 8: with Horror Hound magazine. And Horror Hound magazine has been
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  Speaker 8: very successful with the concept of taking a random old
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  Speaker 8: movie that everyone knows and then just being so detailed,
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  Speaker 8: writing the ultimate encyclopedic article about every detail of that
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  Speaker 8: movie and um that's actually something that you couldn't have
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  Speaker 8: done um years ago but it's similar to what you're
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  Speaker 8: talking about it's like let's not only watch this movie
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  Speaker 8: again let's totally pick it apart until there's nothing left
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  Speaker 8: of it i.
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  Speaker 4: Like that it's usually what i try to do to
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  Speaker 4: the point that people are like okay now you've gone
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  Speaker 4: too far just stop Oh, but yeah, I think, I
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  Speaker 4: just thought that was an interesting idea, and when one
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  Speaker 4: of the first times, you know, you only had maybe
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  Speaker 4: Siskel and Ebert back at that point, but, you know,
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  Speaker 4: that was two guys, but I just liked the idea
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  Speaker 4: of getting a group of people together and discussing a
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  Speaker 4: movie at great length, ad nauseum at times, but.
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  Speaker 3: But, yeah, with that, I guess.
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  Speaker 4: We'll take a break here, and we'll be back with
• 10:05
  Speaker 4: this week's Sofa Theater Feature.
• 10:07
  Speaker 10: Sofa Theater Feature Texas J's are my secret. They take
• 10:22
  Speaker 10: my baby away from me.
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  Speaker 11: But you'll never get that tonight. You'll never get that tonight.
• 10:29
  Speaker 11: Texas J's are my secret. They take my baby away
• 10:33
  Speaker 11: from me. But you'll never get that tonight.
• 10:37
  Speaker 7: You'll never get that tonight.
• 10:41
  Speaker 2: Drive away your worries and cares at this drive-in theater,
• 10:46
  Speaker 2: where you will see the finest motion pictures of all
• 10:48
  Speaker 2: time soon to be released. Drama, comedy, adventure, excitement, something
• 10:56
  Speaker 2: for everyone. Here's a brief glimpse of some of the
• 10:59
  Speaker 2: truly fine pictures we've scheduled in the near future.
• 11:02
  Speaker 12: Warning.
• 11:04
  Speaker 13: This preview cannot show all of the terrifying and grotesque
• 11:07
  Speaker 13: transformation sequences from the last 30 minutes of.
• 11:11
  Speaker 12: The Beast Within.
• 11:12
  Speaker 13: The filmmakers strongly suggest that those who may be shocked
• 11:15
  Speaker 13: by this unique, horrifying movie use caution when seeing the film.
• 11:24
  Speaker 12: There's something inside of Michael. I've never seen anything like
• 11:28
  Speaker 12: it before. Something that's been waiting, watching, and growing.
• 11:33
  Speaker 3: Michael?
• 11:34
  Speaker 12: Something evil. I know you're in here. And whatever it is...
• 11:40
  Speaker 12: It is ready to be released. I came back for them.
• 11:48
  Speaker 2: All of them.
• 11:49
  Speaker 12: And now no one, no one is safe. You have
• 11:54
  Speaker 12: been warned.
• 11:55
  Speaker 13: You are dared to remain calm during the horrifying final
• 11:59
  Speaker 13: 30 minutes of The Beast Within.
• 12:03
  Speaker 12: Even you may not survive. You have been warned.
• 12:14
  Speaker 7: Falling program is a proud member of the palaver family
• 12:17
  Speaker 7: of podcasts check out all the shows over at palaver.com
• 12:20
  Speaker 7: that's p-a-l-a-v-e-r.com.
• 12:24
  Speaker 14: Uh anna maria see have you seen the movie um
• 12:28
  Speaker 14: texas chainsaw massacre no it is good oh i gotta
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  Speaker 14: tell you i love this film It had passion and
• 12:38
  Speaker 14: a plucky spirit. And the characters had integrity. Like when
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  Speaker 14: Leatherface went on that strict diet of human flesh, he
• 12:44
  Speaker 14: had to cut out chicken and fish completely.
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  Speaker 3: Dave, I agree with you.
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  Speaker 7: I'll go a step further.
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  Speaker 14: Sure, Leatherface, he wore a mask made out of human
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  Speaker 14: skin and he hung people on meat hooks.
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  Speaker 7: But hey, we've all got quirks.
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  Speaker 3: I've got them.
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  Speaker 7: You've got them, Dave. That's what makes this character so,
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  Speaker 7: so compelling. Thumbs up from me.
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  Speaker 2: Same here.
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  Speaker 3: To sum it up, I'm Chainsaw. I'm Dave. We'll see
• 13:04
  Speaker 3: you at the movies.
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  Speaker 7: This is Dean Cameron, also known as Chainsaw, and you're
• 13:13
  Speaker 7: listening to Movie Meltdown.
• 13:27
  Speaker 12: It's time for Sofa Theater.
• 13:30
  Speaker 7: Hey, you know where the old Franklin place is?
• 13:39
  Speaker 6: The old Franklin place?
• 13:41
  Speaker 12: Yeah, it's an old two-story rock house, and it's sitting
• 13:43
  Speaker 12: up on a hill.
• 13:44
  Speaker 7: I think you have to turn on that road back there,
• 13:46
  Speaker 7: but I'm not real sure.
• 13:49
  Speaker 6: Yeah, maybe I've seen something like that up that way. Well, now, look,
• 13:55
  Speaker 6: you boys don't want to go mess around an old house.
• 13:59
  Speaker 6: Those things is dangerous. You're liable to get hurt.
• 14:02
  Speaker 12: We'll be careful.
• 14:04
  Speaker 6: You don't want to go fooling around other folks' property.
• 14:08
  Speaker 6: Some folks don't like it, and they don't mind us
• 14:10
  Speaker 6: showing you.
• 14:11
  Speaker 7: Oh, my father owns it.
• 14:12
  Speaker 2: That's your daddy's place, huh?
• 14:14
  Speaker 15: Yeah.
• 14:15
  Speaker 6: Look, I got some good barbecue here. Why don't you
• 14:19
  Speaker 6: fellas stick around here a while? The transport will be
• 14:22
  Speaker 6: by in a little while.
• 14:39
  Speaker 15: Beware of the night's hallucination power.
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  Speaker 7: Penetrate this inner mind.
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  Speaker 15: We'll nail the face inside and slash you up here.
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  Speaker 15: Eat your heart wide from this chainsaw.
• 14:53
  Speaker 7: Take this chainsaw massacre. Burn it through your sleepy death.
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  Speaker 11: Welcome back to Movie Meltdown Sofa Theater. Once again, this
• 15:11
  Speaker 11: week's Sofa Theater feature is Texas Chainsaw Massacre.
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  Speaker 7: The year is 1974.
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  Speaker 15: Director Toby Hooper and.
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  Speaker 3: Spoiler alert, I guess?
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  Speaker 4: I mean, at this point, if you haven't seen, especially
• 15:38
  Speaker 4: if you're listening to our show and you haven't seen
• 15:40
  Speaker 4: the original Texas Chainsaw Massacre, it's kind of your own fault.
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  Speaker 3: So, you've been warned.
• 15:45
  Speaker 4: So, I was going to start off with, I guess,
• 15:47
  Speaker 4: what was the, because I'm sure you have a very
• 15:49
  Speaker 4: different take on it than most people, certainly myself.
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  Speaker 3: How was it you were first exposed to this movie?
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  Speaker 8: I was actually exposed to Texas Chainsaw Massacre not at
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  Speaker 8: the drive-in, oddly enough, but at a midnight show. They
• 16:02
  Speaker 8: had a lot of midnight shows of Texas Chainsaw Massacre from, well,
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  Speaker 8: almost from the time it was released. It became a
• 16:12
  Speaker 8: midnight movie after its first run. It became a midnight
• 16:15
  Speaker 8: movie almost immediately and ran as a midnight movie.
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  Speaker 9: All through the 80s and 90s.
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  Speaker 8: You know, it benefited from the fact that it was
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  Speaker 8: banned on cable.
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  Speaker 13: Yeah.
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  Speaker 8: There was a very short, even premium cable, even Showtime, HBO,
• 16:31
  Speaker 8: those networks.
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  Speaker 3: Back when they only had 10 movies anyway.
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  Speaker 6: Right.
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  Speaker 8: Well, you know, you could show almost anything on, for example,
• 16:40
  Speaker 8: Cinemax or the movie channel, but you could not show
• 16:43
  Speaker 8: the Texas Chainsaw Massacre. It was considered beyond the pale,
• 16:46
  Speaker 8: and people don't realize it now because of the remakes,
• 16:50
  Speaker 8: but originally it was the... For 25 years, it was
• 16:55
  Speaker 8: the example that politicians used when they wanted to talk
• 16:58
  Speaker 8: about the decline of America. And especially the decline of
• 17:02
  Speaker 8: American youth. They would say, movies like Texas Chainsaw Massacre.
• 17:08
  Speaker 8: And that would mean, you know, just the most scum,
• 17:12
  Speaker 8: the scummiest, only the scummiest people in the world would
• 17:16
  Speaker 8: watch that.
• 17:17
  Speaker 9: And it had that reputation. It really hurt the cast.
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  Speaker 8: Because, you know, normally if you have a big hit
• 17:24
  Speaker 8: like that, like Blair Witch Project or something, you get
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  Speaker 8: a lot of work from that.
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  Speaker 5: Yeah.
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  Speaker 8: Not the Texas Chainsaw Massacre cast. There was really no
• 17:35
  Speaker 8: benefits from being in that movie. They were actually, some
• 17:41
  Speaker 8: of them took it off their resume.
• 17:43
  Speaker 3: Yeah.
• 17:45
  Speaker 8: Terry McMinn didn't like... Terry McMinn plays Pam.
• 17:48
  Speaker 9: In the movie. She's the one on the meat hook.
• 17:50
  Speaker 3: Yeah. And she's Bill, the girl on the meat hook.
• 17:55
  Speaker 8: And she was always embarrassed to have been a part
• 17:59
  Speaker 8: of it and was trying to be a serious actress.
• 18:02
  Speaker 8: And even Marilyn Burns, the female star of the movie,
• 18:08
  Speaker 8: she did have one major role after that.
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  Speaker 9: She played... one of the Manson girls in the Charles
• 18:19
  Speaker 9: Manson TV movie, the main one, I forget her name.
• 18:24
  Speaker 3: Squeaky?
• 18:25
  Speaker 9: Did she play Squeaky? I can't remember.
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  Speaker 3: That's the only one I remember because she's Squeaky Fromm.
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  Speaker 8: Yeah, well, but other than that, you know, Marilyn didn't really,
• 18:35
  Speaker 8: wasn't really able to capitalize on one of the great,
• 18:38
  Speaker 8: I think most people agree, one of the greatest, Final
• 18:42
  Speaker 8: girl roles, greatest scream queen roles, whatever you want to
• 18:46
  Speaker 8: call it.
• 18:46
  Speaker 3: Certainly one of the most influential, yeah.
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  Speaker 8: And it really didn't lead anywhere as it led somewhere
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  Speaker 8: for later girls like Jamie Lee Curtis. So it was
• 19:00
  Speaker 8: always interesting to me that it could be so hated.
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  Speaker 9: And it's partly because of the title. Just the title.
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  Speaker 9: But what makes the title....
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  Speaker 8: Scary to people is not the word chainsaw and not
• 19:16
  Speaker 8: the word massacre it's the word texas you know if
• 19:21
  Speaker 8: it was the missouri chainsaw massacre would not be the
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  Speaker 8: same probably now maybe the mississippi chainsaw massacre would be
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  Speaker 8: that bad you.
• 19:28
  Speaker 16: Know mississippi could possibly or arkansas possibly but you know
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  Speaker 16: something about the word texas especially in the early 70s
• 19:37
  Speaker 16: yeah made people think The most horrible things could have
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  Speaker 16: happened there and never been known.
• 19:43
  Speaker 8: I mean, to this day, there are people who say
• 19:47
  Speaker 8: to me, I grew up in a town.
• 19:50
  Speaker 9: Where that happened and and it's all different towns it's
• 19:54
  Speaker 9: all over urban legend and some.
• 19:56
  Speaker 8: Of them are tech in texas and some of them
• 19:57
  Speaker 8: are not some of them are not even in texas
• 20:00
  Speaker 8: and in fact i know the screenwriter and the director
• 20:04
  Speaker 8: and um It was not based on anything in Texas
• 20:07
  Speaker 8: at all.
• 20:08
  Speaker 9: It was based on the Ed Gein story, which happened
• 20:11
  Speaker 9: in Wisconsin.
• 20:12
  Speaker 3: Far away from Texas.
• 20:14
  Speaker 9: And it has a little bit of influence from a
• 20:17
  Speaker 9: serial killer named Elmer Wayne Henley, who was in the
• 20:22
  Speaker 9: news shortly before the making of the movie. They sort
• 20:28
  Speaker 9: of incorporated some of the character of the cook into...
• 20:33
  Speaker 9: That was Elmer Wayne Henley, the proud serial killer. So
• 20:38
  Speaker 9: it's an interesting movie because it was just so despised.
• 20:41
  Speaker 9: I don't know of any other R-rated movie ever that
• 20:45
  Speaker 9: was despised as much as The Texas Chainsaw Massacre.
• 20:47
  Speaker 3: Well, it's interesting. He was even trying to go for
• 20:50
  Speaker 3: a PG. Oh, yeah.
• 20:53
  Speaker 4: Yeah, I just found that out. And then I started looking,
• 20:55
  Speaker 4: and I'm like, there's so little gore on screen.
• 20:58
  Speaker 3: It's all tone. It's all creative cutting.
• 21:01
  Speaker 8: I mean, there's... It's Hitchcockian in its fast cutting. It
• 21:07
  Speaker 8: doesn't show as much as people think it shows. Toby Hooper,
• 21:13
  Speaker 8: who made it, who was, Toby Hooper was the original
• 21:19
  Speaker 8: film student at the University of Texas at Austin.
• 21:23
  Speaker 3: The only.
• 21:26
  Speaker 9: The year he graduated, I think was, I can't remember, 62, 63,
• 21:29
  Speaker 9: something like that. He was the only.
• 21:32
  Speaker 8: Film student in the United States. This was before there
• 21:35
  Speaker 8: were film schools there. And he had tried many ways
• 21:40
  Speaker 8: to become a filmmaker. He made documentaries for PBS. He
• 21:47
  Speaker 8: made a famous documentary about Peter, Paul, and Mary. He
• 21:51
  Speaker 8: followed Peter, Paul, and Mary all over the country. And
• 21:54
  Speaker 8: they thought he was a narc because he was the
• 21:57
  Speaker 8: guy with the.
• 21:57
  Speaker 9: Camera, you know.
• 21:58
  Speaker 14: And.
• 22:00
  Speaker 8: He had made a psychedelic film called Eggshells that was
• 22:05
  Speaker 8: kind of a hippie psychedelic film that was a complete
• 22:08
  Speaker 8: flop that people would only watch it when they were
• 22:13
  Speaker 8: doped up. And then he turned to horror sort of
• 22:17
  Speaker 8: as a last gasp. I want to do something commercial.
• 22:20
  Speaker 8: I want to stay in this business.
• 22:22
  Speaker 9: And he just did.
• 22:29
  Speaker 9: An excellent job.
• 22:30
  Speaker 8: And people thought that the movie was so violent, but
• 22:38
  Speaker 8: it was.
• 22:39
  Speaker 8: You know, people don't understand that in that era of
• 22:45
  Speaker 8: the 70s, the 70s were one of the most creative
• 22:49
  Speaker 8: eras in film history. And when you would go to
• 22:51
  Speaker 8: the drive-in or the grindhouse or wherever you went, first
• 22:53
  Speaker 8: of all, there were hundreds and hundreds and hundreds of movies.
• 22:56
  Speaker 9: And so.
• 22:57
  Speaker 8: You would go see films just based on the title.
• 23:00
  Speaker 8: You didn't know who made it. You didn't know where
• 23:02
  Speaker 8: it came from. And you would watch some of these
• 23:04
  Speaker 8: horror films, and you would think, maybe a maniac actually
• 23:07
  Speaker 8: made this.
• 23:09
  Speaker 9: Yeah.
• 23:10
  Speaker 8: You know, it's kind of grainy. And Chainsaw Massacre is
• 23:14
  Speaker 8: like that. It's kind of grainy. He didn't pretty it up.
• 23:18
  Speaker 8: It has a documentary feel. The voiceover at the beginning
• 23:22
  Speaker 8: makes you think, maybe it is a documentary.
• 23:25
  Speaker 9: And so.
• 23:27
  Speaker 8: even though I don't think, I'm amazed that anyone could
• 23:31
  Speaker 8: watch it past about the 30 minute mark and still
• 23:35
  Speaker 8: think it's a documentary. It's obviously actors. But there were
• 23:39
  Speaker 8: people who thought it was a documentary. People were easily
• 23:42
  Speaker 8: duped at that point.
• 23:43
  Speaker 9: Well, people were a little bit more.
• 23:45
  Speaker 3: Naive.
• 23:45
  Speaker 8: Well, they weren't as knowledgeable about how films are made
• 23:48
  Speaker 8: as part of it. But it was interesting to me
• 23:53
  Speaker 8: for that reason. And then my whole point about The
• 23:56
  Speaker 8: grisliest title ever made, or the most notorious title ever,
• 24:01
  Speaker 8: The Texas Chainsaw Massacre, that was not the title that
• 24:05
  Speaker 8: the film was.
• 24:08
  Speaker 9: Made under.
• 24:11
  Speaker 8: The title they were filming it under was Head Cheese.
• 24:15
  Speaker 8: The suggestion to change the title was made by the
• 24:19
  Speaker 8: head of the texas film commission and uh he later
• 24:25
  Speaker 8: became a participant uh in the uh he he had
• 24:29
  Speaker 8: a share of the film at some point which seems
• 24:31
  Speaker 8: a little unethical but anyway he did and um uh
• 24:36
  Speaker 8: and actually he he later went on to screenwriting fame
• 24:39
  Speaker 8: as as the uh as the uh writer of um
• 24:43
  Speaker 8: top gun but but uh uh it was um It
• 24:50
  Speaker 8: was financed by Texas politicians.
• 24:54
  Speaker 3: Wow. Ironic. They used it for the next 25 years.
• 24:57
  Speaker 9: Yeah, and it was distributed by the mafia.
• 25:01
  Speaker 7: Nice.
• 25:04
  Speaker 3: A company called.
• 25:04
  Speaker 8: Bryanston Pictures that was totally mafia-owned. And that's why nobody
• 25:11
  Speaker 8: ultimately got paid for about 10 or 15 years.
• 25:13
  Speaker 9: They get paid today, but they probably lost millions and
• 25:17
  Speaker 9: millions and millions of dollars because the mafia... You.
• 25:20
  Speaker 4: Would think if anybody had power to get it on cable,
• 25:22
  Speaker 4: it would be to have the mafia behind you.
• 25:26
  Speaker 8: When the remake came out, when the first Texas Chainsaw
• 25:29
  Speaker 8: Massacre remake came out, suddenly it was okay to show it.
• 25:32
  Speaker 8: And so the original started turning up on cable. But
• 25:36
  Speaker 8: that's a very recent thing.
• 25:38
  Speaker 4: And on the title, I still think it's funny, just
• 25:40
  Speaker 4: going back and watching it this week, that there's one
• 25:43
  Speaker 4: chainsaw killer.
• 25:45
  Speaker 3: It might as well have been the hammer massacre, because.
• 25:47
  Speaker 9: There is one chainsaw through the stomach, right? And you
• 25:50
  Speaker 9: don't really see that.
• 25:51
  Speaker 3: The wheelchair kill.
• 25:52
  Speaker 9: Right, and you don't really see it.
• 25:54
  Speaker 4: The other two are just bludgeonings, and hit by a truck, and,
• 25:57
  Speaker 4: you know, he terrorizes her with the chainsaw. I mean,
• 26:00
  Speaker 4: it is the most iconic, but it is funny that
• 26:03
  Speaker 4: the massacre part of it is mostly.
• 26:05
  Speaker 3: Done with a hammer, really. A hammer and a meat hook. But, yeah,
• 26:10
  Speaker 3: I thought that was interesting. Um.
• 26:13
  Speaker 4: I was going to ask you, it's funny now how
• 26:16
  Speaker 4: much this scenario that's come into filmmaking, if you want
• 26:20
  Speaker 4: to call that, because they.
• 26:21
  Speaker 3: Get worse and worse as time goes on, but the.
• 26:23
  Speaker 4: Scary family in the woods, was this the first that
• 26:26
  Speaker 4: you can think of? I'm assuming you have way more
• 26:30
  Speaker 4: knowledge on that.
• 26:32
  Speaker 9: This was not the first scary family in the woods,
• 26:35
  Speaker 9: but this was the first sort of confirmation of the
• 26:39
  Speaker 9: hippie idea of.
• 26:43
  Speaker 8: Nobody over 30 is to be trusted. So you have
• 26:46
  Speaker 8: all these young people in a van, you know, and
• 26:51
  Speaker 8: they're going into, you know, for much of American history,
• 26:57
  Speaker 8: the country, the countryside, was the good place, the innocent place.
• 27:02
  Speaker 9: The city was evil.
• 27:04
  Speaker 3: Yeah, the safe place.
• 27:05
  Speaker 8: Yeah, now for the first time, these are city kids
• 27:08
  Speaker 8: in a van.
• 27:09
  Speaker 9: They're going into the country, and the farther they go
• 27:12
  Speaker 9: into the country.
• 27:13
  Speaker 8: The more they see these people that they can't understand
• 27:17
  Speaker 8: what these people are doing out there. And the very
• 27:20
  Speaker 8: first thing that happens to them is the hitchhiker. They
• 27:25
  Speaker 8: pick up the hitchhiker.
• 27:26
  Speaker 14: I think we just picked up Dracula.
• 27:27
  Speaker 3: Where are you headed, man?
• 27:31
  Speaker 7: South.
• 27:31
  Speaker 3: You work at that place?
• 27:34
  Speaker 9: Oh, no.
• 27:34
  Speaker 3: How did you get stuck way out here? I was
• 27:39
  Speaker 3: at the slaughterhouse.
• 27:40
  Speaker 12: I got an uncle that works at a slaughterhouse.
• 27:42
  Speaker 3: Hey, my brother worked there.
• 27:44
  Speaker 2: My grandfather, too.
• 27:47
  Speaker 3: My family's always.
• 27:48
  Speaker 9: Been in me. The whole family attracted us.
• 27:52
  Speaker 8: And the hitchhiker doesn't do anything to them. In fact,
• 27:57
  Speaker 8: he does something to himself. He cuts his own hand.
• 28:00
  Speaker 8: But he's just so creepy that they're totally freaked out.
• 28:06
  Speaker 8: They're going through this area of the slaughterhouses in some
• 28:11
  Speaker 8: undefined part of Texas, and suddenly they're out of touch
• 28:19
  Speaker 8: with any form of civilization. So it was the first
• 28:23
  Speaker 8: movie like that where, you know, you might watch it today,
• 28:26
  Speaker 8: and if you don't know film history, you might think
• 28:29
  Speaker 8: it's a cliche, but it was the first movie where
• 28:34
  Speaker 8: young against older people city people against country people. And
• 28:40
  Speaker 8: it's where the whole tide turned, where the country, and
• 28:43
  Speaker 8: especially the South, the country in the South, became the
• 28:48
  Speaker 8: most hostile place in the world.
• 28:50
  Speaker 9: And that exists until today.
• 28:52
  Speaker 8: The only ethnic group you really can't get in trouble
• 28:55
  Speaker 8: for making fun of is the rural Southern guy.
• 28:59
  Speaker 9: Pretty much, yeah. And, you know, it was.
• 29:03
  Speaker 9: Actually, you can't say... They did it first because.
• 29:08
  Speaker 8: In 1973, Ned Beatty was raped in the woods in Deliverance.
• 29:12
  Speaker 3: I was just thinking that when you were talking.
• 29:14
  Speaker 4: Deliverance really put that scary Blackwoods fear in you.
• 29:18
  Speaker 9: And so I think they were probably influenced by that.
• 29:21
  Speaker 3: But the family was a different thing.
• 29:25
  Speaker 9: That's North Georgia.
• 29:26
  Speaker 8: And I can't remember the name of the actor who
• 29:28
  Speaker 8: rapes Ned Beatty. I always thought he should have gotten...
• 29:30
  Speaker 8: He's a great actor. He's from Pasadena Playhouse. Everyone knows him.
• 29:34
  Speaker 8: I always thought he should have got credit more than
• 29:38
  Speaker 8: Ned Beatty. He made that scene more than Ned Beatty. Anyway,
• 29:42
  Speaker 8: he was a Chattanooga boy.
• 29:46
  Speaker 3: I saw him.
• 29:47
  Speaker 8: Interviewed one time where he said, I knew them North
• 29:51
  Speaker 8: Alabama boys.
• 29:52
  Speaker 9: I knew exactly what they were like.
• 29:55
  Speaker 3: Drawing on a little too close to home. His reference
• 29:58
  Speaker 3: is there.
• 29:59
  Speaker 17: Yeah.
• 30:00
  Speaker 8: So, um, but, but, uh, yeah, that was the beginning of, of, um,
• 30:05
  Speaker 8: you know, deliverance type plots and subplots, um, in which, um,
• 30:11
  Speaker 8: you know, you, you had had, um, uh, you know,
• 30:15
  Speaker 8: I tell you what's ridiculous is, is Holly, when Hollywood
• 30:19
  Speaker 8: started trying to do it, when, when mainstream Hollywood started
• 30:23
  Speaker 8: trying to, so you have ridiculous movies like A Time
• 30:26
  Speaker 8: to Kill and, 1999, where there's the Klan.
• 30:29
  Speaker 9: The modern Klan.
• 30:31
  Speaker 8: We're going to get the Klan together again.
• 30:34
  Speaker 9: They can't even do it right.
• 30:37
  Speaker 8: That's one of the most ridiculous movies ever made. Mississippi
• 30:42
  Speaker 8: should have boycotted every future Hollywood movie.
• 30:45
  Speaker 3: John Grisham wouldn't write a silly plot. I don't know what.
• 30:48
  Speaker 9: You're talking about. Actually, the Grisham novel was okay.
• 30:52
  Speaker 8: They totally distorted the The thing to make a time
• 30:56
  Speaker 8: to kill. I'm all for southern gothic plots, but that
• 31:03
  Speaker 8: one was absurd. One of the greatest city people go
• 31:09
  Speaker 8: into the woods and don't come out movies is I
• 31:14
  Speaker 8: Spit on Your Grave. It's the same kind of rednecks,
• 31:18
  Speaker 8: but they're Connecticut rednecks.
• 31:19
  Speaker 3: Well, that makes it okay.
• 31:22
  Speaker 8: They're Northwest Connecticut rednecks. Which I had never seen before until.
• 31:29
  Speaker 9: That movie.
• 31:30
  Speaker 8: Now, they don't say exactly where they're going, but it
• 31:33
  Speaker 8: was filmed in Connecticut, and she's obviously driving out of
• 31:36
  Speaker 8: New York City as she goes into the country. And
• 31:40
  Speaker 8: it's obviously this famous river in Connecticut.
• 31:43
  Speaker 9: But I thought that was funny.
• 31:45
  Speaker 8: We don't really have time to go to Georgia anymore.
• 31:48
  Speaker 9: We'll just do it up here.
• 31:50
  Speaker 3: Connecticut Red.
• 31:51
  Speaker 4: Well, I've got a theory at this point after seeing
• 31:53
  Speaker 4: more and more people in the world.
• 31:55
  Speaker 3: I think no matter where you go in the world,
• 31:57
  Speaker 3: there's a redneck.
• 31:58
  Speaker 4: Probably off in the woods of France somewhere, there's some
• 32:01
  Speaker 4: redneck that's.
• 32:02
  Speaker 3: Equally as scary as guys in Georgia. Yeah, well, it's true.
• 32:06
  Speaker 9: I mean, if you ask the guys who track Al-Qaeda,
• 32:09
  Speaker 9: what do they always say about where.
• 32:11
  Speaker 8: Where is Bin Laden hiding out? He's with those rednecks
• 32:15
  Speaker 8: in northwest Pakistan, right? Somewhere in a cave with those rednecks.
• 32:19
  Speaker 2: Yeah.
• 32:20
  Speaker 9: Oh, no, those rednecks will protect him forever. They don't care.
• 32:23
  Speaker 3: Yes. But, yeah, there's rednecks everywhere. You've got to watch
• 32:28
  Speaker 3: your back. Oh, no.
• 32:29
  Speaker 7: No, now, you're all right. You're okay. Okay. Oh, now,
• 32:35
  Speaker 7: take it easy. He might come.
• 32:36
  Speaker 17: He might come.
• 32:38
  Speaker 7: He might come.
• 32:41
  Speaker 6: Take it easy.
• 32:42
  Speaker 7: I don't know.
• 32:45
  Speaker 10: Call the police.
• 32:48
  Speaker 18: Jerry.
• 32:49
  Speaker 15: I don't know what happened to the others.
• 32:52
  Speaker 7: There's nobody out there now.
• 32:54
  Speaker 3: Go on, take it easy.
• 32:57
  Speaker 12: Go on, take it easy.
• 32:59
  Speaker 3: What happened?
• 33:00
  Speaker 4: It also had that same run into that, but it introduced,
• 33:05
  Speaker 4: I was thinking, possibly that same plot point where... you
• 33:08
  Speaker 4: run to somebody for help and they lure you in
• 33:10
  Speaker 4: and they're like, okay, okay, we'll take care of it
• 33:12
  Speaker 4: and then they're involved in it. It seems like in
• 33:15
  Speaker 4: all these Southern movies, we just had somebody bring that
• 33:17
  Speaker 4: up on the show, all these movies, especially when it's
• 33:19
  Speaker 4: in the scary Southern, you know, these crazy backwoods people,
• 33:22
  Speaker 4: there's always somebody you run to and they're like, oh yeah,
• 33:24
  Speaker 4: we'll help you and then they turn out to be
• 33:26
  Speaker 4: involved with the family or the town or whatever this
• 33:28
  Speaker 4: group of people are.
• 33:30
  Speaker 3: It's one I was thinking seemed like about one of
• 33:32
  Speaker 3: the earliest.
• 33:32
  Speaker 9: It's always a maze.
• 33:33
  Speaker 3: Yeah.
• 33:34
  Speaker 9: That's just good plotting.
• 33:35
  Speaker 2: Yeah.
• 33:35
  Speaker 8: Um, The writer of The Texas Chainsaw Massacre was a
• 33:38
  Speaker 8: guy named Kim Hinkle, who also wrote one of the
• 33:43
  Speaker 8: greatest independent films ever made, certainly ever made in the
• 33:47
  Speaker 8: state of Texas, but really one of the greatest independent
• 33:50
  Speaker 8: films back in the days when independent films were shot
• 33:53
  Speaker 8: on film.
• 33:54
  Speaker 9: Can you do that?
• 33:56
  Speaker 8: A film called Last Night at the Alamo in 1982,
• 33:57
  Speaker 8: but He wrote the Texas Chainsaw Massacre. It's his script.
• 34:03
  Speaker 8: He collaborated with Toby Hooper, but it's basically his script.
• 34:06
  Speaker 8: And his plotting was based on Hansel and Gretel.
• 34:13
  Speaker 9: Yeah, it is.
• 34:14
  Speaker 8: Hansel and Gretel are lured, and then all of the
• 34:16
  Speaker 8: perils are sort of parallel to Hansel and Gretel.
• 34:20
  Speaker 9: And he's asked, what.
• 34:31
  Speaker 8: Murder did you base this on? And he tells him
• 34:33
  Speaker 8: he based it on Hansel and Gretel and people don't
• 34:34
  Speaker 8: believe him. But he's being serious. He's not being facetious.
• 34:38
  Speaker 8: He really did base the plot on Hansel and Gretel.
• 34:40
  Speaker 3: Those are very basic stories.
• 34:42
  Speaker 4: I think people have kind of been stealing from those
• 34:44
  Speaker 4: stories for decades now.
• 34:47
  Speaker 9: Oh, man.
• 34:48
  Speaker 3: I think, and you were saying as far.
• 34:50
  Speaker 4: As the feel of it and having that weird almost
• 34:54
  Speaker 4: documentary feel, I think what if not makes it feel
• 34:58
  Speaker 4: that way, at least makes it feel strange, especially watching
• 35:01
  Speaker 4: it now with these super plotted out, especially Hollywood movies,
• 35:04
  Speaker 4: is the fact.
• 35:05
  Speaker 3: There's no backstory. There's no explanation, really.
• 35:09
  Speaker 4: You're just thrown into this situation like the characters are,
• 35:13
  Speaker 4: and you have no idea what you're getting yourself into
• 35:15
  Speaker 4: or why these characters are the way they.
• 35:17
  Speaker 3: Are, doing the things they're doing. That's true. It's interesting.
• 35:21
  Speaker 8: But you feel like from the very first, you know,
• 35:27
  Speaker 8: Toby Hooper was a hippie.
• 35:30
  Speaker 9: You know, he did a lot... Well, I won't say
• 35:35
  Speaker 9: what he did a lot of. But he.
• 35:40
  Speaker 8: And he had been trying to make counterculture movies. But
• 35:42
  Speaker 8: he was thinking, I'm going to make counterculture movies like
• 35:46
  Speaker 8: Truffaut and the French New Wave and things like... And
• 35:50
  Speaker 8: I'm going to make, you know, strange Fellini-esque type movies.
• 35:55
  Speaker 8: And finally he says, you know, I'm losing my shirt
• 35:58
  Speaker 8: on these. I can't do this. And he decides, I'm
• 36:01
  Speaker 8: going to go horror because horror is a way for
• 36:03
  Speaker 8: an independent filmmaker to make some money. And he makes
• 36:07
  Speaker 8: this horror film. But what it is really is a
• 36:10
  Speaker 8: counterculture film. It's totally a hippie film. And you know
• 36:14
  Speaker 8: from the first moment that you see those five people
• 36:18
  Speaker 8: in the van that they are.
• 36:24
  Speaker 8: Not your parents. They are a little bit freer. They
• 36:30
  Speaker 8: have a little bit freer lifestyle.
• 36:32
  Speaker 3: Yeah.
• 36:33
  Speaker 8: And so, and they're being, and what oppresses them? The
• 36:38
  Speaker 8: old America.
• 36:42
  Speaker 3: Yeah, the old ways.
• 36:43
  Speaker 9: That they don't understand.
• 36:47
  Speaker 8: And so it's like the ultimate hippie movie all those
• 36:52
  Speaker 8: real hippie movies that were made from 1968 to 1970, um, failed.
• 37:00
  Speaker 8: And the ones that, the ones that succeeded are the
• 37:03
  Speaker 8: ones that had a strong hippie subplot, namely Easy Rider. And, um,
• 37:09
  Speaker 8: you know, there was a whole lot of biker movies
• 37:11
  Speaker 8: that were sort of right wing, but the one that
• 37:13
  Speaker 8: succeeded was the left.
• 37:14
  Speaker 9: Wing one, Easy Rider. And then, and then, uh, same
• 37:18
  Speaker 9: thing with, uh, Texas Chainsaw Massacre.
• 37:20
  Speaker 4: Um, It definitely does that generational thing, especially with the
• 37:25
  Speaker 4: old version of the family when you look at the
• 37:28
  Speaker 4: dinner scene at the end.
• 37:29
  Speaker 3: That's like the ultimate sort of.
• 37:31
  Speaker 8: The ultimate perversion of Thanksgiving dinner is the dinner scene.
• 37:35
  Speaker 8: It's also one of the funniest scenes ever shot.
• 37:38
  Speaker 3: It's like horrifying and funny simultaneously.
• 37:40
  Speaker 9: Horrifying and funny.
• 37:42
  Speaker 8: And I always say, you know, when you get to
• 37:46
  Speaker 8: that scene, how can you any longer think that... That
• 37:51
  Speaker 8: the movie is too intense. I never know how to
• 37:55
  Speaker 8: say this word, but it's grand guignol. You know, it's
• 37:58
  Speaker 8: that grand guignol, like the bloody theaters of France. It
• 38:05
  Speaker 8: has that feeling to it where it's such pure theater
• 38:07
  Speaker 8: that that's what makes it enjoyable. But people are terrified
• 38:13
  Speaker 8: by that scene, even though they keep putting the hammer
• 38:16
  Speaker 8: back in Grandpa's hands because he keeps dropping it.
• 38:19
  Speaker 9: They want him to kill the girl, you know?
• 38:22
  Speaker 4: It's still just kind of disturbing until you get to
• 38:24
  Speaker 4: the grandpa with the hammer, and then it's just flat-out funny,
• 38:27
  Speaker 4: and you can't not laugh at that. But it was
• 38:31
  Speaker 4: funny that it's, you know, like generations of kids growing
• 38:34
  Speaker 4: up on those 50s and 60s sitcoms of, like, the
• 38:36
  Speaker 4: cleavers sitting around the table, and this is, like, the
• 38:38
  Speaker 4: ultimate perversion.
• 38:40
  Speaker 9: Right.
• 38:42
  Speaker 8: And, you know, it's the relations among the members of
• 38:46
  Speaker 8: the family.
• 38:48
  Speaker 9: Are a little bit vague.
• 38:49
  Speaker 8: You know, Jim Cedow, who plays the, he's just called
• 38:54
  Speaker 8: the cook in the credits.
• 38:56
  Speaker 9: You assume he's the father.
• 38:57
  Speaker 3: He becomes the dad in the scenario.
• 38:59
  Speaker 8: You assume he's the father of the hitchhiker and of Leatherface,
• 39:03
  Speaker 8: but he might be just a very older brother or
• 39:09
  Speaker 8: an uncle or something.
• 39:10
  Speaker 9: You don't really know.
• 39:11
  Speaker 8: You figure that whatever the family arrangement is, it's really
• 39:14
  Speaker 8: screwed up.
• 39:15
  Speaker 3: Yeah. Lord knows what he could be, really. Right.
• 39:20
  Speaker 4: But, yeah, he definitely becomes the dad of the little
• 39:24
  Speaker 4: unit there.
• 39:25
  Speaker 3: You've got the teenagers, the hitchhiker.
• 39:27
  Speaker 8: Now, I thought that uh it was really it was
• 39:30
  Speaker 8: also really strange when the movie came out it was
• 39:32
  Speaker 8: attacked by feminists it was attacked by um it was
• 39:37
  Speaker 8: it was attacked by a lot of intellectuals they called
• 39:39
  Speaker 8: it the pornography of violence there was a lot of
• 39:42
  Speaker 8: articles there were articles in like major journals and major
• 39:45
  Speaker 8: publications saying this is the pornography of violence and But
• 39:50
  Speaker 8: especially feminist critics.
• 39:53
  Speaker 9: Went after it.
• 39:54
  Speaker 8: Now, I never understood that because Marilyn Burns is the
• 39:57
  Speaker 8: one person you identify with. The one good person in
• 40:01
  Speaker 8: the film is Marilyn Burns. And the family is all male.
• 40:06
  Speaker 8: So if you were going to show the patriarchy being.
• 40:11
  Speaker 8: If you wanted to demonize the patriarchy, what better movie
• 40:15
  Speaker 8: could you have And, you know, they were implying that
• 40:19
  Speaker 8: somehow there were audience members taking joy in the abuse
• 40:23
  Speaker 8: of Marilyn Burns or whatever.
• 40:25
  Speaker 3: I'm sure there were. But, yeah, you can definitely go
• 40:29
  Speaker 3: the other way with the structure of the whole movie. Yeah.
• 40:34
  Speaker 8: But the Bryanston Pictures, which distributed it, were geniuses at marketing.
• 40:41
  Speaker 9: And they.
• 40:45
  Speaker 8: Gave a copy of it to the museum of modern
• 40:47
  Speaker 8: art now anybody can give a movie to the museum
• 40:51
  Speaker 8: of modern art they don't yeah choose what movies they
• 40:53
  Speaker 8: have they'll they'll take any movie you know they they
• 40:56
  Speaker 8: they collect 35 millimeter prints but they just gave it
• 40:59
  Speaker 8: to the museum of modern art so they so they
• 41:02
  Speaker 8: could put in their ads part of the permanent collection
• 41:04
  Speaker 8: of the museum of modern art and then the museum
• 41:07
  Speaker 8: of modern art patrons would call up and.
• 41:09
  Speaker 9: Say is this true Is this true.
• 41:11
  Speaker 8: That the Museum of Modern Art... Well, yes, because we
• 41:15
  Speaker 8: have any movie that anybody gives us because we're trying
• 41:18
  Speaker 8: to collect every movie ever made. And they were like, well,
• 41:21
  Speaker 8: we don't think you should have this movie.
• 41:23
  Speaker 13: And they.
• 41:25
  Speaker 8: Got more mileage out of that, and they showed it
• 41:30
  Speaker 8: at the Cannes Film Festival. The Cannes Film Festival has...
• 41:34
  Speaker 8: People don't know this, but there's a... a secondary festival
• 41:39
  Speaker 8: that's part of the official festival called Un Certain Regard.
• 41:43
  Speaker 8: I think I said that right. A Certain Regard. And
• 41:49
  Speaker 8: what it means is weird films.
• 41:53
  Speaker 9: It means weird films. And for two weeks they have this.
• 41:58
  Speaker 8: Sub-festival of the main festival and it's at the same
• 42:03
  Speaker 8: time as the main festival.
• 42:05
  Speaker 9: Well, they'll take.
• 42:07
  Speaker 8: That includes films from Cameroon about female circumcision and every
• 42:13
  Speaker 8: kind of film you can imagine, but just the French
• 42:17
  Speaker 8: like the weird things. And so they encourage weird films.
• 42:24
  Speaker 8: So Bryanston is smart enough to get this accepted. so
• 42:30
  Speaker 8: that they can stay forever in their ads. Proudly presented
• 42:34
  Speaker 8: at the Cannes Film Festival.
• 42:36
  Speaker 9: They're still using that strategy on posters today.
• 42:42
  Speaker 8: So everything about it was just a very interesting story.
• 42:48
  Speaker 4: I didn't know, what were your thoughts on Toby as
• 42:51
  Speaker 4: a director as time went on?
• 42:53
  Speaker 3: I mean, it definitely works.
• 42:54
  Speaker 4: In this one, but I wasn't sure if he just
• 42:57
  Speaker 4: kind of got, you know, Lucky piecing this one together
• 43:00
  Speaker 4: or what your thoughts were on him as a director?
• 43:04
  Speaker 9: Toby Hooper is a very inventive director and can be
• 43:09
  Speaker 9: brilliant and can be confusing.
• 43:13
  Speaker 3: Yeah.
• 43:14
  Speaker 9: He almost alternates movies.
• 43:16
  Speaker 8: He'll have a great movie and then he'll have a
• 43:19
  Speaker 8: very disappointing movie. The movie Mortuary in 2006 is just
• 43:25
  Speaker 8: a big mess.
• 43:25
  Speaker 9: Yeah. But it has scenes in it that I have
• 43:31
  Speaker 9: actually excerpted and used when I make speeches that are
• 43:34
  Speaker 9: just the funniest, most interesting. And the scene will be good,
• 43:39
  Speaker 9: but the movie won't make a lick of sense. And
• 43:43
  Speaker 9: I thought Funhouse was sort of that way. But there
• 43:50
  Speaker 9: are certain of his films like Life Force I really like.
• 43:53
  Speaker 3: Yeah.
• 43:55
  Speaker 9: Probably not a financial success, but.
• 43:59
  Speaker 8: I do like it. He's a very interesting director. I
• 44:04
  Speaker 8: think he always wanted to be more than a horror director.
• 44:08
  Speaker 8: He always wanted to make other types of films, and
• 44:13
  Speaker 8: he got pigeonholed by Chainsaw, and he was never able
• 44:19
  Speaker 8: to break out of that.
• 44:20
  Speaker 9: That's probably his biggest regret as a director. Probably.
• 44:24
  Speaker 8: But he's a little agonizingly uneven.
• 44:30
  Speaker 3: Frustrating. Yeah.
• 44:32
  Speaker 4: Well, I was almost giving him more credit because I
• 44:35
  Speaker 4: remember for years, like the first time I watched this,
• 44:38
  Speaker 4: like immediately I saw this shot and I was like,
• 44:42
  Speaker 4: that's amazing. And it's the under the swing, up to
• 44:45
  Speaker 4: the house shot, that shot that zooms in on her
• 44:48
  Speaker 4: as she's walking up to the house.
• 44:50
  Speaker 9: That follows Terry McMinn's butt, right?
• 44:52
  Speaker 4: Yeah, which aside from the fact, and I'm not going
• 44:54
  Speaker 4: to complain about that either, but it's just an amazing shot.
• 44:58
  Speaker 4: Just starting out behind that swing, going underneath the swing,
• 45:01
  Speaker 4: and the house just begins to loom into the frame
• 45:04
  Speaker 4: and becomes.
• 45:04
  Speaker 3: Even bigger and creepier, and you get a butt shot.
• 45:07
  Speaker 3: But it's just an amazing shot.
• 45:09
  Speaker 4: And I was like, for years, I've been like, you know,
• 45:11
  Speaker 4: that's up there, you know, of my favorite shots in
• 45:14
  Speaker 4: cinema history.
• 45:15
  Speaker 7: That's one of them.
• 45:16
  Speaker 4: And I was giving him credit, and this week, re-watching it,
• 45:19
  Speaker 4: that was Daniel Pearl's idea, the cinematographer. So I was
• 45:24
  Speaker 4: almost giving Hooper credit for that shot.
• 45:29
  Speaker 8: Well, I think you have to give Toby credit for
• 45:31
  Speaker 8: almost anything that happened on the set of Texas Chainsaw Massacre,
• 45:36
  Speaker 8: even though there were many people contributing to it. By
• 45:40
  Speaker 8: the way, the line producer on that movie was Ron Bozeman.
• 45:44
  Speaker 8: who later produced the other greatest cannibal classic in American history,
• 45:49
  Speaker 8: Silence of the Lambs. Ron Boseman, same guy. So he
• 45:53
  Speaker 8: worked on the two great cannibal movies. There is a
• 45:58
  Speaker 8: title for it.
• 45:59
  Speaker 9: He can never top that.
• 46:01
  Speaker 8: But I think that Toby is good about taking the
• 46:10
  Speaker 8: good advice and rejecting the bad advice and And getting
• 46:14
  Speaker 8: the picture he wants. And he's great in the editing room.
• 46:20
  Speaker 8: And he was working under intense pressure. He didn't have
• 46:23
  Speaker 8: enough money to finish the film. He knew he didn't
• 46:24
  Speaker 8: have enough money. He was telling everybody he did have
• 46:27
  Speaker 8: enough money to finish the film. He didn't know how
• 46:29
  Speaker 8: he was going to finish the film. So, you know,
• 46:31
  Speaker 8: from day to day it was a mess.
• 46:32
  Speaker 3: And shooting in the middle of summer.
• 46:34
  Speaker 8: He was shooting in 110 degree weather in the summer
• 46:37
  Speaker 8: in Texas with no air conditioning.
• 46:40
  Speaker 9: You know, in a.
• 46:43
  Speaker 8: In a location that was less than ideal. Yeah, there
• 46:50
  Speaker 8: were so many reasons. People thought every day that either
• 46:57
  Speaker 8: a key cast member or a key crew member would
• 46:59
  Speaker 8: quit and never come back.
• 47:01
  Speaker 3: So the fact.
• 47:03
  Speaker 9: That they finished the movie is amazing.
• 47:06
  Speaker 4: That's the yeah that's the thing i will give him
• 47:07
  Speaker 4: credit for i mean i still i that shot is
• 47:09
  Speaker 4: amazing if you go back and watch it because yeah
• 47:11
  Speaker 4: so i will give daniel bro credit he does.
• 47:14
  Speaker 3: Do a good job as cinematographer regardless.
• 47:16
  Speaker 4: But um as far as looking at him he's as
• 47:18
  Speaker 4: early in his career as it was and and his
• 47:21
  Speaker 4: you know he was still kind of learning the ways
• 47:24
  Speaker 4: of a movie this big budgeted and this many people
• 47:27
  Speaker 4: so it I think it holds together really well, and
• 47:30
  Speaker 4: I think just re-watching it this week, I think I
• 47:33
  Speaker 4: took a little more of that. I think for a
• 47:36
  Speaker 4: while there, and it probably helps that they cleaned it
• 47:38
  Speaker 4: up a little, because I watched it on DVD this time.
• 47:40
  Speaker 4: Because I remember when I watched it back on VHS,
• 47:42
  Speaker 4: there were scenes that were so dark you almost couldn't
• 47:44
  Speaker 4: see what was going on.
• 47:45
  Speaker 3: And I was almost blaming it on the.
• 47:48
  Speaker 4: Original shoot, which, granted, they probably didn't have the best
• 47:50
  Speaker 4: circumstances anyway. But it does, it comes off a little
• 47:54
  Speaker 4: better now. Granted, you don't want it too pretty. I
• 47:56
  Speaker 4: don't know if we want the Blu-ray version of Texas
• 47:58
  Speaker 4: Chainsaw Massacre.
• 47:59
  Speaker 3: Right.
• 48:00
  Speaker 4: But I think the DVD that came out a couple
• 48:02
  Speaker 4: years ago, I think it hits kind of in the middle.
• 48:04
  Speaker 4: It makes it a little easier to watch and cleaned
• 48:07
  Speaker 4: it up enough that you can kind of see what's
• 48:10
  Speaker 4: going on in some of these scenes.
• 48:11
  Speaker 3: Well, you have to.
• 48:12
  Speaker 8: Remember, I'm sure a lot of your listeners are filmmakers and...
• 48:16
  Speaker 8: They sort of know, they're young, and they sort of
• 48:19
  Speaker 8: know intellectually that films were shot on 35mm with these
• 48:23
  Speaker 8: huge cameras and these huge setups that you.
• 48:26
  Speaker 9: Had to do.
• 48:27
  Speaker 8: And they just don't have any idea of how little
• 48:32
  Speaker 8: film you could shoot at a time, how massively complicated
• 48:37
  Speaker 8: it was to move the camera or to set up
• 48:40
  Speaker 8: any shot. And he was doing this... with no money
• 48:47
  Speaker 8: and so he was having to do all the things
• 48:49
  Speaker 8: that a fully financed Hollywood production does which you no
• 48:53
  Speaker 8: longer have to do if you're an independent filmmaker today
• 48:56
  Speaker 8: you can buy equipment so called prosumer equipment that allows
• 49:02
  Speaker 8: you to take all kinds of shortcuts that weren't available
• 49:06
  Speaker 8: to him so a lot of these things where you
• 49:10
  Speaker 8: have less than perfect lighting Where you probably needed a
• 49:16
  Speaker 8: longer shot, but he didn't have the film to put
• 49:19
  Speaker 8: it together It's still an amazing accomplishment. He did workarounds
• 49:29
  Speaker 8: on all those problems.
• 49:32
  Speaker 9: When you finished a shoot in those days, it was done.
• 49:36
  Speaker 9: There was no going back.
• 49:37
  Speaker 3: No.
• 49:38
  Speaker 8: Whatever film was in the can, that's the film you
• 49:40
  Speaker 8: had to work with. You were never getting a single
• 49:42
  Speaker 8: additional frame ever.
• 49:44
  Speaker 3: And you're not going to fix it on your computer later.
• 49:47
  Speaker 8: Today you would say, well, maybe we'll do another day
• 49:50
  Speaker 8: because it doesn't cost that much.
• 49:52
  Speaker 4: Yeah, you can shoot forever now, especially once you're digital.
• 49:56
  Speaker 3: You can just shoot. So yeah, footage doesn't really come
• 50:00
  Speaker 3: into play like it used to.
• 50:03
  Speaker 4: Oh, the only thing I noticed this time out, and
• 50:05
  Speaker 4: it's funny, this was more of a cultural change, a
• 50:08
  Speaker 4: shift since then, but they build up so much with
• 50:12
  Speaker 4: the bones and the bones everywhere, and that was really,
• 50:17
  Speaker 4: I'm assuming, really creeped people out at that point, and
• 50:20
  Speaker 4: that was the defining way that you knew these guys
• 50:23
  Speaker 4: were evil and they were sinister, and they were definitely
• 50:25
  Speaker 4: up to no good because their entire house was coated
• 50:27
  Speaker 4: in bones.
• 50:28
  Speaker 6: Right.
• 50:29
  Speaker 3: It's become so commonplace.
• 50:31
  Speaker 4: I mean, I, and maybe it's just weirdos that I know,
• 50:33
  Speaker 4: but I can name like three or four people that
• 50:35
  Speaker 4: continually have collected and just have ongoing collections of bones.
• 50:42
  Speaker 4: And I was like, I really, a lot of them
• 50:44
  Speaker 4: are like weird artists and they use it in there,
• 50:45
  Speaker 4: but it's so funny how much that to me didn't
• 50:48
  Speaker 4: bother me anymore.
• 50:49
  Speaker 3: I was like, I don't know. I know several people
• 50:50
  Speaker 3: that have most of what's in this room right now.
• 50:53
  Speaker 13: Right.
• 50:53
  Speaker 4: So it's funny just what a weird shift the culture,
• 50:56
  Speaker 4: and that's probably more of a knock on our society than,
• 50:59
  Speaker 4: than the people at the time, because it's funny how
• 51:02
  Speaker 4: commonplace that has become in certain circles.
• 51:05
  Speaker 8: Well, yeah, one of the sets was called The Bone Room,
• 51:09
  Speaker 8: and it wasn't so much that there were so many bones,
• 51:14
  Speaker 8: but if you remember, they were... arranged in Ed Gein-type ways.
• 51:18
  Speaker 9: Yeah, furniture.
• 51:19
  Speaker 8: Yeah, furniture was created out of the bones. There was
• 51:22
  Speaker 8: a birdcage of some sort.
• 51:24
  Speaker 3: Yeah, the chicken hanging.
• 51:26
  Speaker 9: It sounded like it.
• 51:28
  Speaker 3: Was laughing at her. Maybe that was part of the
• 51:31
  Speaker 3: trippy part of it. Maybe you had to be on
• 51:33
  Speaker 3: drugs to really experience that room.
• 51:34
  Speaker 13: Right.
• 51:37
  Speaker 3: But yeah, that was a good portion. I was just
• 51:41
  Speaker 3: going to see how.
• 51:41
  Speaker 4: You know, I guess we'd wrap up on what you
• 51:45
  Speaker 4: think the impact was on the.
• 51:47
  Speaker 3: Film world as a whole or specifically horror.
• 51:51
  Speaker 8: The strange thing about the Texas Chainsaw Massacre, even though
• 51:54
  Speaker 8: I think it was the best horror film of the
• 51:56
  Speaker 8: 70s and early 80s, It was the least influential. Halloween
• 52:02
  Speaker 8: was probably the most influential. Friday the 13th was probably
• 52:06
  Speaker 8: the second most influential. Both of those films were derivative
• 52:09
  Speaker 8: of the Texas Chainsaw Massacre.
• 52:11
  Speaker 3: He was the original slasher.
• 52:13
  Speaker 9: He was the original guy. But because it was sold
• 52:16
  Speaker 9: to the Mafia and because it was involved in litigation
• 52:19
  Speaker 9: for years, the sequel never appeared until I think 1985, 1986,
• 52:23
  Speaker 9: something like that.
• 52:24
  Speaker 3: The first sequel.
• 52:29
  Speaker 9: It was 12 years later, so you lost the momentum.
• 52:34
  Speaker 3: Yeah, your hardcore audience had moved on.
• 52:36
  Speaker 9: And, of course, it wasn't the age of sequels.
• 52:41
  Speaker 14: No.
• 52:41
  Speaker 8: But it didn't have that much influence until the Texas
• 52:48
  Speaker 8: Chainsaw Massacre remake. You know, you had the Texas Chainsaw
• 52:52
  Speaker 8: Massacre 2, which... I'm in, by the way, in some
• 52:56
  Speaker 8: versions of it.
• 52:57
  Speaker 3: That's true.
• 52:59
  Speaker 8: And the Texas Chainsaw Massacre 3, which was the worst sequel,
• 53:05
  Speaker 8: shot in California. You know, it doesn't even look like Texas.
• 53:09
  Speaker 8: And then there was one directed by Kim Hinkle called
• 53:14
  Speaker 8: Return to Texas Chainsaw Massacre or Texas Chainsaw Massacre Next Generation.
• 53:19
  Speaker 8: which had Matthew McConaughey and Renee Zellweger in it.
• 53:22
  Speaker 3: I actually like that. I do like it. People love
• 53:25
  Speaker 3: to hate that movie.
• 53:26
  Speaker 9: People hate it, but I love it.
• 53:29
  Speaker 8: I love Matthew McConaughey's performance especially. That one was buried
• 53:35
  Speaker 8: by the Creative Artists Agency, which represented Matthew McConaughey at
• 53:39
  Speaker 8: the time and didn't want Columbia to do it.
• 53:41
  Speaker 3: It was like two or three years later before it
• 53:43
  Speaker 3: saw the light.
• 53:44
  Speaker 8: They buried it because in the time between making it
• 53:48
  Speaker 8: and and it coming out, Renée Zellweger and Matthew McConaughey
• 53:51
  Speaker 8: had both become big stars. And so now they didn't
• 53:54
  Speaker 8: want their Chainsaw movie to be their next movie.
• 53:58
  Speaker 12: I don't know why.
• 53:59
  Speaker 3: It's better than most of the stuff they're in.
• 54:01
  Speaker 4: I agree.
• 54:01
  Speaker 9: And their agents worked on that.
• 54:04
  Speaker 3: Yeah, I believe you.
• 54:06
  Speaker 4: But yeah, I think within the fan base, it's found
• 54:09
  Speaker 4: a pretty good influential moment. But it is funny how
• 54:12
  Speaker 4: much the system, the movie-making system, it didn't really seem
• 54:16
  Speaker 4: to affect... Pretty much ever until, yeah, the last, you know, 10,
• 54:20
  Speaker 4: 15 years or so.
• 54:22
  Speaker 3: Right. Well, I think that pretty much wraps it up.
• 54:32
  Speaker 3: Good Lord.
• 54:34
  Speaker 12: What are you watching?
• 54:34
  Speaker 7: Do the dance for me, baby.
• 54:36
  Speaker 3: New film from the district. Safe use of power tools.
• 54:43
  Speaker 3: What do you think of that, Anna Maria?
• 54:46
  Speaker 7: God, it was really American. American, yes.
• 54:50
  Speaker 3: It's an American masterpiece. Talk about gutsy endings.
• 54:55
  Speaker 9: The girl.
• 54:56
  Speaker 1: The girl gets away and our hero Leatherface, he chainsaws
• 54:58
  Speaker 1: his own legs.
• 54:59
  Speaker 3: Two thumbs up.
• 55:00
  Speaker 14: Make that four for Gore.
• 55:02
  Speaker 1: If leaving, please replace your inner car speaker before releasing
• 55:07
  Speaker 1: brakes or starting motor. Do not back out. Drive to
• 55:11
  Speaker 1: the aisle in front of you and exit. And now,
• 55:15
  Speaker 1: for those remaining....
• 55:24
  Speaker 5: Don't be shy. We'd like to hear from you. So
• 55:27
  Speaker 5: give us a call at 502-365-5565. Or you can email
• 55:31
  Speaker 5: us at geeksatmoviemeltdown.com. And just stop by the website for
• 55:35
  Speaker 5: our frequent updates. That's moviemeltdown.com.
• 55:39
  Speaker 7: On by, on by, on by, on by.
• 55:45
  Speaker 4: I did want to go ahead and have you tell
• 55:47
  Speaker 4: people where they can find your work and what all
• 55:49
  Speaker 4: you've been up to lately.
• 55:52
  Speaker 9: Well, I don't have any new books out at the time.
• 55:55
  Speaker 8: My last book was called Profoundly Erotic, Sexy Movies That
• 55:58
  Speaker 8: Changed History. And the book before that was Profoundly Disturbing,
• 56:02
  Speaker 8: Shocking Movies That Changed History. And I've been doing a
• 56:07
  Speaker 8: lot of conventions and film festivals and um uh next
• 56:11
  Speaker 8: year i'll be producing some uh some uh horror films
• 56:15
  Speaker 8: um but um i'm just you know my original career
• 56:19
  Speaker 8: was as a writer and then i segued into uh
• 56:23
  Speaker 8: tv for a while uh but primarily i'm a i'm
• 56:26
  Speaker 8: a writer so i get up every day and do
• 56:29
  Speaker 8: the most boring job in the world which is you
• 56:32
  Speaker 8: know looking at a blank screen.
• 56:36
  Speaker 3: Any other book projects on the horizon.
• 56:39
  Speaker 8: I don't i don't have any any uh.
• 56:44
  Speaker 9: Any any book projects of the type we're talking about
• 56:46
  Speaker 9: here my alter ego has a book you know i
• 56:49
  Speaker 9: have an alter ego who has a journalism career you
• 56:52
  Speaker 9: know and so he has a book but uh um.
• 56:57
  Speaker 8: But for right now, I don't have anything coming out.
• 57:00
  Speaker 8: I've been asked to do a book about the 80s.
• 57:03
  Speaker 3: Yeah.
• 57:04
  Speaker 9: Because of 80s nostalgia, which I don't, it's like, I'm
• 57:08
  Speaker 9: sort of too old.
• 57:10
  Speaker 8: To appreciate the 80s because I experienced the 80s so vividly.
• 57:15
  Speaker 3: Yeah.
• 57:15
  Speaker 9: And many of.
• 57:19
  Speaker 8: The movie works that are revered by young people in
• 57:22
  Speaker 8: the 80s, I think are crap. I mean, there was
• 57:25
  Speaker 8: a lot of crap in the 80s, that now is
• 57:28
  Speaker 8: held in sentimental esteem.
• 57:31
  Speaker 9: And I'm not sure why.
• 57:33
  Speaker 3: You could get yourself in trouble potentially.
• 57:36
  Speaker 8: But there's a big, you get a big boost in
• 57:41
  Speaker 8: affection just by being.
• 57:44
  Speaker 9: In the 80s.
• 57:45
  Speaker 3: And mentioning things from the 80s.
• 57:47
  Speaker 8: And I'm not sure why, but I was asked to
• 57:51
  Speaker 8: do a book about 80s films. And, you know, especially
• 57:56
  Speaker 8: 80s direct-to-video films and especially the 80s direct-to-video films that
• 58:01
  Speaker 8: created the legendary Scream Queens and that were done by
• 58:07
  Speaker 8: people like Fred Olin Ray and Jim Wynorski and the
• 58:11
  Speaker 8: various Roger Corman directors.
• 58:13
  Speaker 9: And I may do that someday.
• 58:15
  Speaker 3: That's more fitting, yeah. Half of that stuff ended up
• 58:17
  Speaker 3: on your show at that point anyway.
• 58:18
  Speaker 9: That's true. Yeah.
• 58:20
  Speaker 8: And, of course, you had a parallel movement in Italy
• 58:25
  Speaker 8: with Lucio Fulci and those guys creating a lot of
• 58:31
  Speaker 8: very good horror and genre films.
• 58:37
  Speaker 9: And so if I write it, it'll be sort of
• 58:40
  Speaker 9: a looking back.
• 58:44
  Speaker 9: Commemorative.
• 58:46
  Speaker 3: I think that's the way to go, the weird direct-to-video.
• 58:48
  Speaker 9: To me, it's sort of like one of those eras
• 58:50
  Speaker 9: where you say, well, this will never happen again. I
• 58:52
  Speaker 9: don't know.
• 58:54
  Speaker 4: There's a lot of direct-to-DVD stuff out there now. It's
• 58:58
  Speaker 4: equally as scary sometimes. And then did you want to
• 59:02
  Speaker 4: tell people to go to your website?
• 59:04
  Speaker 9: Yeah, joebobbriggs.com anytime or Facebook, Joe Bob Briggs, yeah.
• 59:10
  Speaker 14: Right.
• 59:10
  Speaker 3: That sounds good. All right.
• 59:13
  Speaker 4: Well, otherwise, I wanted to thank you for being on
• 59:15
  Speaker 4: the show this week and definitely sitting in and filling
• 59:19
  Speaker 4: us in on your take on the Texas Chainsaw Massacre
• 59:23
  Speaker 4: and your.
• 59:24
  Speaker 3: I guess the Texas perspective.
• 59:26
  Speaker 4: Actually, once we got the new program here, it broke
• 59:29
  Speaker 4: it down demographic-wise where, and we have a huge following
• 59:32
  Speaker 4: in Texas for some reason. So I'm not sure what
• 59:35
  Speaker 4: tipped them off, but, yeah, it's good to know that,
• 59:37
  Speaker 4: you know, a good portion of our listeners are in Texas.
• 59:40
  Speaker 3: Wow, okay.
• 59:41
  Speaker 9: Well, that makes sense to me.
• 59:43
  Speaker 3: Yeah, yeah.
• 59:43
  Speaker 4: I don't know if it's like the draft house crowd
• 59:46
  Speaker 4: or what it.
• 59:47
  Speaker 12: Is, but, yeah.
• 59:48
  Speaker 8: And all your listeners in Texas say, I'm from that
• 59:51
  Speaker 8: town where Texas Chainsaw Massacre happened.
• 59:53
  Speaker 9: Where the real one happened.
• 59:54
  Speaker 3: Every one of them says that. But otherwise, that about
• 59:59
  Speaker 3: does it. We will return next week. Same geek time,
• 1:00:01
  Speaker 3: same geek feed. Thanks for listening.
• 1:00:21
  Speaker 15: The sound of the butcher's hole, the town, the innocent place.
• 1:00:29
  Speaker 7: Walking to Texas, kids are.
• 1:00:33
  Speaker 15: Massacred, no mother left, left.
• 1:00:52
  Speaker 7: Time for your life.
• 1:00:53
  Speaker 3: Go sleep.
• 1:00:56
  Speaker 7: Won't let you go. You know. The connected man. I've
• 1:01:04
  Speaker 7: arranged for a dinner plan. I'll cheat.
• 1:01:09
  Speaker 18: It's on the menu. I'll be cannibalized.
• 1:01:42
  Speaker 17: I'll be cannibalized. Welcome to Texas. Kids are a mess
• 1:01:44
  Speaker 17: of good. Home of the bad men. So tell the slobberer.
• 1:01:46
  Speaker 17: I don't know where. Nobody knows the game. We'll have
• 1:01:47
  Speaker 17: to burn to bed for themselves. Welcome to Texas.
• 1:02:01
  Speaker 7: Kids are a mess of good. If I have any
• 1:02:45
  Speaker 7: more fun today, I don't think I'm going to be
• 1:02:47
  Speaker 7: able to take it.
• 1:02:49
  Speaker 5: This show is a production of Movie Meltdown, produced and
• 1:02:51
  Speaker 5: edited by Brian Renfro, with opening music performed by The Empires.
• 1:02:55
  Speaker 5: To help support the show, email producer at moviemeltdown.com for
• 1:02:59
  Speaker 5: ways that you can contribute or advertise with us.