Latest / Beyond The Blood: A Horror Movie Commentary Podcast / Poltergeist (1982) - Staff Picks

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Poltergeist (1982) - Staff Picks · Beyond The Blood: A Horror Movie Commentary Podcast

• 0:08
  Speaker 1: Ever have that one movie everyone assumes you've seen, but
• 0:11
  Speaker 1: you haven't. You know, the one, the classic, the cult favorite,
• 0:16
  Speaker 1: the how have.
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  Speaker 2: You not seen that movie?
• 0:19
  Speaker 1: Welcome to the Shameless Picture Show. Twice a month, I
• 0:23
  Speaker 1: sit down with the guests who finally cross one of
• 0:24
  Speaker 1: those films off our shame lists. Sometimes it's their first
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  Speaker 1: watch and sometimes it's mine, but sometimes.
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  Speaker 2: It's new for both of us.
• 0:34
  Speaker 3: Then we die the characters, the cultural.
• 0:37
  Speaker 1: Impact, and whether it actually lives up to the hype,
• 0:40
  Speaker 1: from legendary classics to cult oddities, to the films we
• 0:44
  Speaker 1: somehow missed along the way. Join us as we turn
• 0:48
  Speaker 1: movie shame into movie discussion. This is the Shameless Picture Show.
• 1:00
  Speaker 4: Now listening to the Someone's Favorite Productions podcast Network.
• 2:12
  Speaker 5: There is no death, It is only a transition to
• 2:18
  Speaker 5: a different sphere of consciousness. Caroline is not like those
• 2:24
  Speaker 5: she's with. She is a living presence in their spiritual
• 2:30
  Speaker 5: earth by plane. They're attracted to the one thing about
• 2:35
  Speaker 5: her that's different from themselves. Her life force.
• 2:41
  Speaker 6: It is very strong.
• 2:44
  Speaker 5: She gives off its own illumination. It is a life
• 2:49
  Speaker 5: that implies life. The memory of falls and home.
• 3:13
  Speaker 6: You're good tonight on staff picks we're talking Poultergeist, the
• 3:17
  Speaker 6: story of the Freeling family who is quiet suburban life
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  Speaker 6: it shattered when strange disturbances begin to take over their home.
• 3:24
  Speaker 6: Starts with unexplained noises and moving objects, soon turns into
• 3:29
  Speaker 6: something more sinister after their young daughter, Carol Anne, is
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  Speaker 6: pulled into a supernatural realm. As the family fights to
• 3:35
  Speaker 6: bring her back, they're forced to confront the terrifying force
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  Speaker 6: that's haunting their house. So, Chris, how do you feel
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  Speaker 6: about Poultergeist?
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  Speaker 3: What do you mean?
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  Speaker 2: Man?
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  Speaker 3: What kind of question is that?
• 3:48
  Speaker 2: I heard it was your first time watching this movie?
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  Speaker 3: Yeah? Yeah, this is when I was a kid, my
• 3:57
  Speaker 3: mom would always do before I knew what Poultergeist was
• 4:00
  Speaker 3: or i'd ever watched it, my mom there were two
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  Speaker 3: movies that my mom would always quote and it was
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  Speaker 3: one quote and for Poultergeist, it was the very you know,
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  Speaker 3: They're here and I never knew what it was. And
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  Speaker 3: the other one was Red Ram Red rom from the
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  Speaker 3: Shining And eventually, yeah, eventually, when I was when I
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  Speaker 3: was old, like eight, nine, ten, and my mom started
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  Speaker 3: showing me these movies, I was like, Oh, that's what
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  Speaker 3: you that's what you were talking about Yeah. I mean
• 4:31
  Speaker 3: when we were talking about what we're gonna do for
• 4:33
  Speaker 3: staff Picks, you were I think you went into the
• 4:38
  Speaker 3: group chat and you're like, oh, dude, I'm going to
• 4:40
  Speaker 3: watch polter Geist. So so you were so stoked to
• 4:43
  Speaker 3: watch polter geys again. And I think we immediately both
• 4:46
  Speaker 3: of us were like, we have to talk about this
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  Speaker 3: movie on the podcast. Like there's no commentary track, but
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  Speaker 3: we have to do it.
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  Speaker 6: This movie is perfect, and like, I know you and
• 4:56
  Speaker 6: I were talking about this, but it's perfect for were
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  Speaker 6: like ray on the edge of summer. It's it's like
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  Speaker 6: it definitely captures that almost that borderline summer aesthetic eighties suburbia.
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  Speaker 6: There's just so much to love about this movie. And
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  Speaker 6: I feel like the rewatchability to this is incredible. So
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  Speaker 6: you didn't have to twist my arm when it came
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  Speaker 6: to talk about Poltergeist tonight.
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  Speaker 3: I really wish there was a I wish there was
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  Speaker 3: a commentary trek for from somebody on this. But I
• 5:30
  Speaker 3: will say this was the first, no, maybe this second
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  Speaker 3: time I had watched the Winner Brothers four K disc
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  Speaker 3: and this movie looks fucking phenomenal.
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  Speaker 5: Man.
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  Speaker 2: Oh, it's incredible.
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  Speaker 3: Yeah, that's I.
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  Speaker 6: Can like definitely vouch for this one as being one
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  Speaker 6: of those must haves in the collection. I mean, there's
• 5:52
  Speaker 6: just moments in this that absolutely shine and it makes
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  Speaker 6: you truly appreciate how beautiful of a movie this is.
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  Speaker 3: So tell me your history, Like, clearly you have a long,
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  Speaker 3: long history with Poltergeist, hence why you love it so
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  Speaker 3: much now as do I. But where does it start
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  Speaker 3: for you? Why is this one?
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  Speaker 2: Well?
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  Speaker 6: I think first and foremost, you look at the VHS
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  Speaker 6: cover art and it's something. I mean, it's just like
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  Speaker 6: that that image is just so iconic, and I remember
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  Speaker 6: very early on. It was when I believe, like right
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  Speaker 6: around this time, that's initially when I was getting into
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  Speaker 6: like Jaws and Close Encounters of the Third kind, and
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  Speaker 6: you know, Poltergeist was another one that I remember. It
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  Speaker 6: was like starting to dip my toes into like the
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  Speaker 6: horror waters, kind of testing to see exactly what I
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  Speaker 6: you know, enjoyed. But this is one that I definitely
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  Speaker 6: saw very early on, and I feel like, in a
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  Speaker 6: lot of ways, really solidified my love of horror films.
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  Speaker 6: It really encouraged me to want to see, like what
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  Speaker 6: else is out there? So I have to give this
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  Speaker 6: film a lot of credit in that regards.
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  Speaker 2: What about for you?
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  Speaker 3: Yeah, you know, like when you're when you're a kid.
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  Speaker 3: It was probably I don't know, it was probably ten
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  Speaker 3: when I saw this, ten or eleven, and I remember
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  Speaker 3: being terrified by the clown doll, which is now infamous
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  Speaker 3: from this one. It's probably the most terrifying thing in
• 7:27
  Speaker 3: the movie, for being honest. So and that was that
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  Speaker 3: was so scary. And then at some point in what
• 7:37
  Speaker 3: seems like that some sequence of years, I had seen
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  Speaker 3: a scary movie too, which completely made it unscary again.
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  Speaker 2: Made it more approachable.
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  Speaker 3: Yeah, at some point, and I think I revisited this
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  Speaker 3: in like high school and loved it. It hasn't been
• 7:57
  Speaker 3: until the last probably five or six years of really
• 8:00
  Speaker 3: come around to really loving it, which I'm completely open with.
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  Speaker 3: There's so many movies that I revisit in my thirties
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  Speaker 3: that I remember like liking that now I love and
• 8:15
  Speaker 3: I kind of go through a thing where I don't
• 8:16
  Speaker 3: know if you do the same thing, where I'm like, man,
• 8:17
  Speaker 3: why haven't I loved this to this extent? Oh my
• 8:21
  Speaker 3: whole life? Yeah, but we say it all the time,
• 8:24
  Speaker 3: just the power of the rewatch. It's why we got
• 8:26
  Speaker 3: to go back and watch these movies again and revisit them.
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  Speaker 3: And you know now that the past couple of nights,
• 8:32
  Speaker 3: I've watched it twice and I'm like, this is the
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  Speaker 3: first time I've come to a conclusion that this is
• 8:37
  Speaker 3: a perfect movie from the back.
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  Speaker 6: And you even pointed this out earlier before we jumped
• 8:43
  Speaker 6: on here.
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  Speaker 2: You were talking about how.
• 8:45
  Speaker 6: It's like such an intimate film. We're not bouncing around
• 8:49
  Speaker 6: to a bunch of different settings. It's pretty controlled within
• 8:54
  Speaker 6: their home, and I think for that factor, it definitely
• 8:58
  Speaker 6: elevates just how captivating the story is, the characters, Like
• 9:04
  Speaker 6: you know, the pacing to this film just feels like
• 9:08
  Speaker 6: a lot of the fat has been trimmed, like it
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  Speaker 6: just glides right through and just I don't know, it's
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  Speaker 6: it's just a really special and enjoyable film to go
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  Speaker 6: back and rewatch and truly appreciate for what it is.
• 9:22
  Speaker 3: It's very patient. It's a very patient movie, and not
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  Speaker 3: in the way that means it's slow, that it's lacking
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  Speaker 3: and pacing, because it's not. And it's patient enough that
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  Speaker 3: it holds its main beat until the beginning of the
• 9:38
  Speaker 3: third act when we find out exactly why all of
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  Speaker 3: this is happening, when you have the beat that you
• 9:43
  Speaker 3: find out that it's been buried, that their their home,
• 9:47
  Speaker 3: their community has been built upon graves where the bodies
• 9:55
  Speaker 3: have not been moved, simply the headstones, and there is
• 9:59
  Speaker 3: no build up to this, like you do not expect
• 10:01
  Speaker 3: that this is the case until this exact moment, because
• 10:05
  Speaker 3: right before you find that out, they have a conversation
• 10:09
  Speaker 3: about which we'll get into as we go on. They
• 10:12
  Speaker 3: have a conversation about how they're going to do it again,
• 10:15
  Speaker 3: and then that third fib dude, that third act beat happens,
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  Speaker 3: and it all makes so much sense. And there is
• 10:23
  Speaker 3: no crazy backstory, there's no exposition dump that you have
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  Speaker 3: to go through. It's just classic storytelling that never overcomplicates
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  Speaker 3: and it works so well. I mean, the beginning of
• 10:42
  Speaker 3: the movie starts right away. I mean you're in it
• 10:47
  Speaker 3: right away. And I do want to say, before we
• 10:51
  Speaker 3: get into like the real kind of something that I
• 10:55
  Speaker 3: want to bring up. The one thing I've really come
• 11:01
  Speaker 3: to love about the movie is the opening scene. The
• 11:03
  Speaker 3: fact that we use the dog ebuz to introduce us
• 11:09
  Speaker 3: to all the characters in a single take. It's my
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  Speaker 3: favorite thing in this whole movie. I was like, how
• 11:14
  Speaker 3: great of a way to introduce all of our characters
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  Speaker 3: in a single sequence by just using the dog.
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  Speaker 6: There's just something so simple about it. Yes, it's organic
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  Speaker 6: that you know, we're We're like again, we're getting such
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  Speaker 6: a unique viewpoint of us being able to identify the family.
• 11:35
  Speaker 6: We're introduced to our main characters. And you know, it
• 11:39
  Speaker 6: kicks off with the star spangled banner is being played
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  Speaker 6: on the TV. The broadcast cuts off, and then you know,
• 11:47
  Speaker 6: this kind of sets the stage for a reoccurring theme
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  Speaker 6: with the post broadcast TV static that we're getting and
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  Speaker 6: Carol Anne at that point, you know, she goes downstairs
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  Speaker 6: and you know that's kind of initially how she's connecting,
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  Speaker 6: you know, with whatever's on the other side. But yeah,
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  Speaker 6: this movie definitely wastes no time. I think that that's
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  Speaker 6: really where you know this this film definitely shines and
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  Speaker 6: kind of sets the stage for everything that follows.
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  Speaker 3: And the reason I bring that up is because there's
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  Speaker 3: a long standing and probably forever standing controversy around this movie.
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  Speaker 3: Of course, we know, produced by a. Amblin, produced by
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  Speaker 3: Steven Spielberg, written by Steven Spielberg and Frank Marshall, directed
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  Speaker 3: by Toby Hooper. And this is Toby Hooper, very early
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  Speaker 3: on in his career. This is before this. He does
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  Speaker 3: Texas Chainsaw Masker in seventy four. Well, he does Eggshells first,
• 12:46
  Speaker 3: and then he does Texas Chainsaw Masker in seventy four,
• 12:49
  Speaker 3: he does Eating Alive in seventy six, fun House in
• 12:52
  Speaker 3: eighty one, and only a year later comes Poltergeist. And
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  Speaker 3: there's this kind of long history of who actually directed
• 13:03
  Speaker 3: this movie, because so much of this movie feels like
• 13:09
  Speaker 3: Spielberg and so much of it feels like Tobe Hooper,
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  Speaker 3: to the point where any research you find you sort
• 13:16
  Speaker 3: of get this perfect split down the middle of cast
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  Speaker 3: and crew that have come out and said over the
• 13:22
  Speaker 3: years in multiple articles that were in magazines or interviews
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  Speaker 3: have said, oh, yeah, Hooper, you know, he directed everything,
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  Speaker 3: and other people said, yeah, now, he just kind of
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  Speaker 3: satisfied while Spielberg did his thing, he directed this to
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  Speaker 3: set the stage. Spielberg was actively in pre production on
• 13:43
  Speaker 3: ET while Poltergeist, you know, was filming, so he was
• 13:48
  Speaker 3: contractually unable to direct another movie during that, but he
• 13:53
  Speaker 3: was heavily active on the set. He was there every
• 13:56
  Speaker 3: single day, incredibly influential to everything happening on the set.
• 14:04
  Speaker 3: And I feel like there's a perfect fifty to fifty
• 14:07
  Speaker 3: here between Schulberg and Hooper. That's a really interesting kind
• 14:13
  Speaker 3: of view, like lens to see this movie through.
• 14:17
  Speaker 6: The Other thing I thought was very fascinating was finding
• 14:21
  Speaker 6: out that initially was conceived as a horror sequel to
• 14:26
  Speaker 6: Close Encounters of the Third kind as traced to the
• 14:33
  Speaker 6: I guess the concept of night skies right, and they
• 14:39
  Speaker 6: ended up using a lot of these ideas. Night Skies
• 14:43
  Speaker 6: obviously never got made, but a lot of the ideas
• 14:45
  Speaker 6: ended up getting you know, put into et Poltergeist and Gremlins,
• 14:49
  Speaker 6: which I thought was like that was something I didn't
• 14:51
  Speaker 6: really know, So just very very interesting antidote about what
• 14:57
  Speaker 6: could have been.
• 15:00
  Speaker 3: Yeah, and and you know, to be honest, man, I
• 15:03
  Speaker 3: think we've we before we went live, we had a
• 15:06
  Speaker 3: long discussion about Spielberg. We talked about Spielberg for like
• 15:08
  Speaker 3: forty five minutes before even clicking live on this. Spielberg
• 15:13
  Speaker 3: has numerous visual traits and styles that that are here
• 15:22
  Speaker 3: that Hooper doesn't really have established because he doesn't have
• 15:29
  Speaker 3: the the the Unfortunately, the length of consistent filmography that
• 15:35
  Speaker 3: Spielberg does that we've been able to go back and
• 15:37
  Speaker 3: actually see like, oh, this is a Spielberg trait. Yeah,
• 15:40
  Speaker 3: Hooper has directed you know, Life Force in Vaders, from
• 15:43
  Speaker 3: Mars Texis Chances of Masker to the Mangler Crocodile, He
• 15:46
  Speaker 3: did the Toolbox Murders remake Mortuary. But there really isn't
• 15:51
  Speaker 3: a consistent style across the border. I mean, even look
• 15:55
  Speaker 3: at Texas Chains some Masker to Texas Chances of Masker too.
• 15:58
  Speaker 3: You if you had no knowledge, you know, beyond the
• 16:02
  Speaker 3: fact that these were sequels to one another, you would
• 16:04
  Speaker 3: have never guessed these were directed by the same person
• 16:07
  Speaker 3: at all. Exactly. Yeah, Like it's actually I think it's
• 16:10
  Speaker 3: more shocking for people to find out that TCM two
• 16:13
  Speaker 3: was directed by the same guy who made the first one.
• 16:15
  Speaker 3: It's so completely different.
• 16:18
  Speaker 6: It's very jarring if you if you aren't expecting that
• 16:21
  Speaker 6: is a very jarring experience on first.
• 16:23
  Speaker 3: Watch, exactly. And so there there are numerous moments in
• 16:32
  Speaker 3: the opening scene following around EBAs is one of the
• 16:34
  Speaker 3: moments that I bring up as like, it feels like
• 16:37
  Speaker 3: a Spielberg style. It feels like a Spielberg trait to
• 16:42
  Speaker 3: do something like this. There is another moment, Well, there's
• 16:47
  Speaker 3: a lot of moments. If I'm being honest, I feel
• 16:49
  Speaker 3: like Spielberg. But there there's numerous moments of these, How
• 16:59
  Speaker 3: do I put this? Because there's no term for it.
• 17:01
  Speaker 3: Spielberg is a master of blocking. He always has been.
• 17:06
  Speaker 3: Right to me, that's one of his strongest traits as
• 17:07
  Speaker 3: a director. He's a master of blocking. He knows where
• 17:10
  Speaker 3: to put characters and how to move the camera to
• 17:13
  Speaker 3: create numerous compositions without having to cut. He's a genius
• 17:16
  Speaker 3: at it. He always has been. And nobody can redo,
• 17:20
  Speaker 3: nobody can copy it. There are people who have tried,
• 17:22
  Speaker 3: JJ Abrams, I'm looking at you. People have tried. They
• 17:26
  Speaker 3: can't do it because it comes from a place of
• 17:28
  Speaker 3: trying to copy, not from genuine creativity or a storytelling ability.
• 17:32
  Speaker 3: But I wander it happens a lot in this movie.
• 17:38
  Speaker 3: I did a reel that I put on Instagram this
• 17:40
  Speaker 3: morning breaking down the hallway sequence in the third act
• 17:45
  Speaker 3: when they're calling out the Carol Anne while Zelda Rubinstein
• 17:48
  Speaker 3: is there before they enter the room, and it's the
• 17:51
  Speaker 3: single take that gets broken down into four different compositions.
• 17:57
  Speaker 3: It happens again the second occurrence of Carolin and talking
• 18:00
  Speaker 3: to the static and the TV when the during the storm,
• 18:04
  Speaker 3: when the parents have both young children sleeping into bed
• 18:08
  Speaker 3: with them, the camera starts with a medium on the bed.
• 18:12
  Speaker 3: It kind of dollies out and up and then it
• 18:14
  Speaker 3: kind of dollies back. It all feels so Spielberg, m hm.
• 18:21
  Speaker 3: But on the other end, there are some fucking horrifying
• 18:27
  Speaker 3: moments in this movie that are pure Hooper to the bone. Dude,
• 18:34
  Speaker 3: It's pretty impressive so to see.
• 18:37
  Speaker 6: Which So, are there certain moments like I know you
• 18:40
  Speaker 6: were talking about Toby Hooper, Are there certain moments that
• 18:43
  Speaker 6: stand out to you as more of like his signature
• 18:46
  Speaker 6: mark on the film versus I know, I feel like
• 18:48
  Speaker 6: Steven Spielberg's are a little bit more on the nose.
• 18:51
  Speaker 2: But which one stood out to you for Toby Hooper?
• 18:55
  Speaker 3: I think you can kind of do like a perfect
• 18:58
  Speaker 3: light and dark thing. Everything in the movie that feels
• 19:01
  Speaker 3: a light is almost feels like Spielberg. And then so, okay,
• 19:08
  Speaker 3: the whole sequence with Marty who's one of the assistants
• 19:12
  Speaker 3: there with doctor Lesh. Yeah, the thing you know, with
• 19:15
  Speaker 3: the steak coming the light, like the steak creeping down
• 19:18
  Speaker 3: the counter and kind of being pushed from the inside
• 19:24
  Speaker 3: out on the counter. That feels like Hooper Marty ripping
• 19:28
  Speaker 3: his face off in the mirror.
• 19:33
  Speaker 2: Terrifying.
• 19:35
  Speaker 3: So good, dude, But I think undeniably it's it's when
• 19:41
  Speaker 3: her name is always Diane, the mom falls into the
• 19:45
  Speaker 3: swimming pool at the end, and the skeletons are coming out. Dude,
• 19:49
  Speaker 3: it looks like the skeletons look right off the set
• 19:52
  Speaker 3: of Texas chanslawm Asker.
• 19:56
  Speaker 2: Very organic looking skeletons.
• 20:00
  Speaker 3: And apparently they were organic. Yeah, what about you? Were
• 20:04
  Speaker 3: there any moments I didn't mention that feel like straight
• 20:06
  Speaker 3: up Hooper? Do you or Spielberg?
• 20:09
  Speaker 6: I mean, so I can definitely point out the Spielberg
• 20:15
  Speaker 6: ones that come to mind, because I think you knocked
• 20:17
  Speaker 6: out a lot of the the Toby Hooper ones. But
• 20:20
  Speaker 6: there's there's a lot of moments, especially I always look
• 20:24
  Speaker 6: at it like Spielberg magic, right, So you get a
• 20:26
  Speaker 6: lot of those close up shots of characters that capture
• 20:29
  Speaker 6: like it's almost like moments of awe, wonder terror. I
• 20:35
  Speaker 6: feel like you have the suburban lens. You know, we
• 20:39
  Speaker 6: were talking about that earlier It's a theme that is
• 20:43
  Speaker 6: you know, examined in like e T close encounters you know,
• 20:48
  Speaker 6: in this film. I mean, it feels like in certain
• 20:54
  Speaker 6: moments there's like that childlike perspective that we get from
• 20:58
  Speaker 6: Carol Anne even you know with Robbie. Yeah, as another example,
• 21:05
  Speaker 6: you know, we're we're basically seeing things through his lens.
• 21:09
  Speaker 6: I feel like it kind of harkens back to when
• 21:11
  Speaker 6: you are a kid you're checking under your bed, you know,
• 21:14
  Speaker 6: moments like that or uh, you know, when the storm's
• 21:17
  Speaker 6: rolling in, he sees like, you know, the he's like,
• 21:21
  Speaker 6: I think he's like trying what is he trying?
• 21:22
  Speaker 2: I think he's trying to like count down if I
• 21:24
  Speaker 2: recall correctly.
• 21:25
  Speaker 3: Yeah, the father teaches him to count the seconds between
• 21:30
  Speaker 3: the thunder and the lightning because the longer the time gets,
• 21:35
  Speaker 3: the storm is moving away. Whether it's moving away.
• 21:38
  Speaker 6: And it's it's a I feel like it's a moment
• 21:41
  Speaker 6: that we've all been in as a kid where you
• 21:44
  Speaker 6: know you're terrified of like whether it's a storm going
• 21:47
  Speaker 6: on or you hear something outside your window. And horses
• 21:50
  Speaker 6: definitely dials it up quite a bit because you know,
• 21:53
  Speaker 6: it definitely escalates.
• 21:56
  Speaker 3: Or it might be wrong. I think it's just the
• 21:57
  Speaker 3: seconds between the thunder.
• 22:00
  Speaker 2: I think you're right.
• 22:01
  Speaker 3: I'm blinking. Yeah, I'm blinking. But I want, dude, I
• 22:03
  Speaker 3: want people to know before I say what I'm going
• 22:06
  Speaker 3: to say next, that you and I did not swap notes.
• 22:11
  Speaker 2: No, not for this one.
• 22:12
  Speaker 3: Staff picks are purely like, we take our own notes
• 22:15
  Speaker 3: and we have this conversation. This isn't like, you know,
• 22:17
  Speaker 3: we had no commentary to go off of. And I'm
• 22:21
  Speaker 3: already getting the vibe that we're pretty much aligned in
• 22:24
  Speaker 3: a lot of our takeaways from this movie. Again, how yeah, yeah,
• 22:30
  Speaker 3: because I have a note that was the next note
• 22:33
  Speaker 3: I was going to bring up, which is this childlike
• 22:40
  Speaker 3: wonder this entire movie has but really channeling what we
• 22:46
  Speaker 3: fear as children. Tree, the tree outside of Robbie's window.
• 22:53
  Speaker 3: I had a tree outside of my window as a
• 22:55
  Speaker 3: kid that I hated and at night, the shadows that
• 22:59
  Speaker 3: it cast my window onto my wall. Terrified. He scared
• 23:03
  Speaker 3: the ship out of me, right it did not.
• 23:07
  Speaker 2: Unfortunately, Okay, that's good.
• 23:10
  Speaker 3: But that you know, the the tree, the thunder like
• 23:16
  Speaker 3: utilizing these as weapons, it's great, man, And and instantly
• 23:24
  Speaker 3: I go back to being a kid watching it, I'm like,
• 23:28
  Speaker 3: I remember, that's yeah, that scared the ship dude I hated.
• 23:31
  Speaker 3: I love I love storms now. I I wish every
• 23:34
  Speaker 3: day was was a severe thunderstorm. I love them. As
• 23:37
  Speaker 3: a kid, that dude hated trees, that was terrified. Do
• 23:42
  Speaker 3: you think, yeah, I don't know if Poltergeist, you know,
• 23:47
  Speaker 3: scared me, morbid trees or Jurassic Park, you know, when
• 23:53
  Speaker 3: it gets stuck in the tree.
• 23:54
  Speaker 6: Oh, hopefully that doesn't happen all that often to you, Like,
• 24:01
  Speaker 6: I mean, that's a pretty pretty extreme situation, you know,
• 24:04
  Speaker 6: I would have to say Poultrygeist is a little bit
• 24:06
  Speaker 6: more grounded and to what could actually happen. Maybe not
• 24:09
  Speaker 6: the tree branch crashing through and grabbing you but then
• 24:12
  Speaker 6: eating Yeah, I mean but it could definitely, you know,
• 24:15
  Speaker 6: it could bust up the window, you know.
• 24:20
  Speaker 3: But no, I just think, you know, Spielberg has a
• 24:24
  Speaker 3: way of tapping into these these you know, childlike wonders
• 24:31
  Speaker 3: and in a way that that as adults kind of
• 24:33
  Speaker 3: brings us back and is still familiar to us. It's
• 24:36
  Speaker 3: almost like it's almost like his ability as an adult
• 24:39
  Speaker 3: to reconnect with these things. They're kind of like these
• 24:44
  Speaker 3: dormant feelings that we haven't forgotten, but we just haven't
• 24:47
  Speaker 3: thought of for a long time, and then you watch
• 24:49
  Speaker 3: a Spielberg film and you're like, oh yeah, I felt that.
• 24:52
  Speaker 2: They're very human moments.
• 24:54
  Speaker 6: Like, you know, towards the beginning of the film, you
• 24:58
  Speaker 6: have the football game that's on, and you know, the
• 25:02
  Speaker 6: remote switching back and forth between you know, the neighbor
• 25:05
  Speaker 6: and their TV set and it's just the guys are
• 25:09
  Speaker 6: all huddled around, you know, the TV watching the game.
• 25:12
  Speaker 6: Or another one that I had a note on was
• 25:15
  Speaker 6: like the closet light scene. I feel like, as kids,
• 25:19
  Speaker 6: it's like, you know, to be submerging complete darkness in
• 25:23
  Speaker 6: your room is very you know, scary, right, and Carol
• 25:27
  Speaker 6: Anne definitely makes it a point to make sure that
• 25:29
  Speaker 6: the light and the closet's left on the food fight
• 25:33
  Speaker 6: at breakfast, you know, these are very human, organic moments
• 25:37
  Speaker 6: that feel very grounded.
• 25:39
  Speaker 2: They feel very real.
• 25:40
  Speaker 6: It feels like we're almost like during the course of
• 25:43
  Speaker 6: this film, it's like, I feel like we're almost a
• 25:45
  Speaker 6: part of this family and you know, kind of along
• 25:47
  Speaker 6: for the ride for what they're going through.
• 25:50
  Speaker 3: I even love the two random kids on the street
• 25:53
  Speaker 3: who use the toy cars to knock the friend off
• 25:55
  Speaker 3: his bike and punch the hole in the beer that
• 25:58
  Speaker 3: sprays all through the house, which I would have fucking
• 26:02
  Speaker 3: killed my friends.
• 26:02
  Speaker 6: And he kept going. He went inside the house with that. Yeah,
• 26:06
  Speaker 6: it's like, are you gonna shotgun you know that beer
• 26:09
  Speaker 6: or no.
• 26:10
  Speaker 3: But the moments when the movie turns into a horror
• 26:14
  Speaker 3: movie are really really, really really scary. You know, it's
• 26:20
  Speaker 3: scary enough to One thing I love is that the parents.
• 26:26
  Speaker 3: So you have Dianae of Steven or Steve. Steve obviously
• 26:30
  Speaker 3: played by Craig T. Nelson. Diane played by Joe Beth Williams.
• 26:33
  Speaker 3: A huge CRAIGT. Nelson fan always have been shout out
• 26:37
  Speaker 3: Parenthood the show that Uh I love that show. I've
• 26:40
  Speaker 3: watched it like five times.
• 26:43
  Speaker 2: Craig D.
• 26:43
  Speaker 3: Nelson is a grandfather. He's fantastic. I love how even
• 26:49
  Speaker 3: human they feel. Where the opening scene he's drunk passed
• 26:53
  Speaker 3: out on a chair. Yeah, you know, and not in
• 26:55
  Speaker 3: a way that's like neglectful to his children. He obviously
• 26:59
  Speaker 3: just stayed up late watching TV and had a few drinks.
• 27:02
  Speaker 3: But then moments later we see the mom and dad
• 27:05
  Speaker 3: in bed smoking weed. Oh, after the kids go to bed.
• 27:08
  Speaker 2: It never gets old that scene.
• 27:10
  Speaker 6: I don't know, it's it's like and I feel like
• 27:14
  Speaker 6: a scene like that snuck in base I'm not snuck in,
• 27:19
  Speaker 6: but it feels like very casually inserted into a film
• 27:23
  Speaker 6: that I believe it's PG right, yeah, wild.
• 27:28
  Speaker 3: But it's not like I feel like, I feel like
• 27:30
  Speaker 3: nowadays it would be so we would have so much
• 27:34
  Speaker 3: attention to the detail that the mom is getting high
• 27:37
  Speaker 3: at night before going to bed, and it's not it's
• 27:40
  Speaker 3: just what she's doing, and we never hyper focus on it.
• 27:44
  Speaker 3: It's never brought up. It's just a very natural character thing.
• 27:49
  Speaker 2: They feel very real.
• 27:51
  Speaker 3: Yeah, it doesn't feel like the only reason I catch
• 27:55
  Speaker 3: any attention to it is because I feel like, especially
• 27:57
  Speaker 3: for nineteen eighty two, this would have been so rare
• 28:00
  Speaker 3: to see m hm, you know it being you know,
• 28:03
  Speaker 3: the obviously they're in the house with their kids, the
• 28:05
  Speaker 3: kids have gone to bed, but this kind of I
• 28:08
  Speaker 3: remember as a kid having the realization that that like,
• 28:13
  Speaker 3: my parents are people too, like yeah, and we go
• 28:17
  Speaker 3: to bed, they have their own life, you know what
• 28:18
  Speaker 3: I mean. And this is it just feels so natural
• 28:22
  Speaker 3: and it helps sell the characters moving the step and
• 28:27
  Speaker 3: Diane moving forward. It makes this this little detail helps
• 28:31
  Speaker 3: sell the what we feel with the characters for the
• 28:35
  Speaker 3: rest of the movie, because they feel real, they're human.
• 28:39
  Speaker 6: One thing that I really wanted to emphasize was just
• 28:45
  Speaker 6: how elevated of an experience each time I watch this film.
• 28:50
  Speaker 6: It is because of the Jerry Goldsmith's score. It's so good,
• 28:56
  Speaker 6: so good, definitely captures like the the awe and wonder
• 29:02
  Speaker 6: that we see in certain moments throughout the film, almost
• 29:06
  Speaker 6: like the childlike innocence, and then you know, you get
• 29:09
  Speaker 6: that contrast, you know, between that and like the darker
• 29:13
  Speaker 6: you know, more turbulent times as we're trying to figure
• 29:16
  Speaker 6: out exactly what's going on in the movie. But I
• 29:19
  Speaker 6: was going back and listening to that before we started recording,
• 29:22
  Speaker 6: and it's like, just I feel like, you don't really
• 29:26
  Speaker 6: get composers like this. And you know, he's obviously I
• 29:31
  Speaker 6: always think of Aliens as another one that's he's done
• 29:35
  Speaker 6: in the past, but he's responsible for like Basic Instinct, Chinatown, Gremlins,
• 29:43
  Speaker 6: amongst others.
• 29:44
  Speaker 2: But yeah, it's very memorable, for sure.
• 29:50
  Speaker 3: It is, and it feels so there's moments where I
• 29:57
  Speaker 3: remember thinking the music should be scarier, and it wasn't.
• 30:02
  Speaker 3: There's these beautiful little melodies that kind of come in
• 30:05
  Speaker 3: and very I'm thinking specifically when when we see kind
• 30:08
  Speaker 3: of like one of the big staple moments of the movie,
• 30:10
  Speaker 3: when the apparition comes down the stairs, and it's a
• 30:14
  Speaker 3: scene that I feel like, in other hands would be
• 30:17
  Speaker 3: treated as a as a horror sequence. Instead it's a
• 30:23
  Speaker 3: it's a beautiful scene. I mean, it's the music is gorgeous.
• 30:29
  Speaker 3: It's not it doesn't have a haunting tone. You sell
• 30:33
  Speaker 3: the fear in some of the character's reactions, and you
• 30:36
  Speaker 3: sell the awe and the kind of amazement in other reactions,
• 30:40
  Speaker 3: and I have some notes about that, but it doesn't
• 30:45
  Speaker 3: come off as like, a, Hey, this is supposed to
• 30:48
  Speaker 3: be a scary scene, so let's play. Let's tell people
• 30:51
  Speaker 3: how to feel that this should be scary.
• 30:54
  Speaker 6: Well, especially because look at the way that that scene
• 30:57
  Speaker 6: plays out. You start by getting you know, the lights
• 31:02
  Speaker 6: and the fog or smoke that's rolling out of the upstairs,
• 31:07
  Speaker 6: and then it continues to build and build, and it
• 31:10
  Speaker 6: with suspense and you're trying to figure out what's going on,
• 31:13
  Speaker 6: and one of the paranormal investigators, you know, catches a
• 31:17
  Speaker 6: glimpse at it, and then collectively everyone's like trying to
• 31:20
  Speaker 6: figure out what's going on.
• 31:21
  Speaker 2: But it's a It.
• 31:24
  Speaker 6: Starts at very small scale and builds its way up.
• 31:28
  Speaker 6: And that's what I love about this movie. It's it
• 31:30
  Speaker 6: definitely knows how to pace things correctly and kind of
• 31:37
  Speaker 6: kind of leaves us wondering, like, you know, what could
• 31:39
  Speaker 6: happen next, or you know, trying to understand the gravity
• 31:43
  Speaker 6: of this situation just how bad it actually is.
• 31:46
  Speaker 3: Well, funny you mentioned gravity. The kitchen scene, Oh yeah,
• 31:50
  Speaker 3: with the stacking of the chairs on the table is incredible.
• 31:54
  Speaker 3: I have in love when Steve gets home, the father
• 31:57
  Speaker 3: gets home, and the mom has like this whole she's
• 32:00
  Speaker 3: got like dropped like arrows on the floor where okay
• 32:03
  Speaker 3: if I put And I love that Caroline has the
• 32:05
  Speaker 3: helmet on on the ground as she's slid. Yeah, it's
• 32:11
  Speaker 3: so and it's treated very very whimsical, and it's like
• 32:15
  Speaker 3: there is a concerning sense to it, which is like
• 32:18
  Speaker 3: why is this happening? And I love that the father's like,
• 32:20
  Speaker 3: are we like on like a fault line? There must
• 32:22
  Speaker 3: be some sort of gravitational thing here. But shit really
• 32:26
  Speaker 3: goes crazy on the Night of I call it the
• 32:30
  Speaker 3: diversion scenes when the tree busts through Robbie's window and
• 32:35
  Speaker 3: literally takes him to get the parents outside. They're so
• 32:39
  Speaker 3: focused on their son being eaten by a goddamn tree
• 32:43
  Speaker 3: that this entity can finally get Carol Anne. And the
• 32:49
  Speaker 3: the chaos between Robbie being eaten by a tree Caroline
• 32:54
  Speaker 3: being sucked into the closet, it's straight insanity. In my
• 33:00
  Speaker 3: favorite moment, and it actually think it's like one of
• 33:02
  Speaker 3: the creepiest moments of the movie is when they get
• 33:06
  Speaker 3: Robbie out of the or Robbie gets out of the tree,
• 33:10
  Speaker 3: Carol Anne is officially pulled into the closet, so she's
• 33:12
  Speaker 3: now the only way they can communicate with her is
• 33:14
  Speaker 3: through the TV. And that moment of realization is there's
• 33:17
  Speaker 3: this really interesting shot of Robbie walking into the living
• 33:22
  Speaker 3: room and he's caked in mud.
• 33:24
  Speaker 2: Oh yeah, and here terror dude.
• 33:27
  Speaker 3: He walks in and hears Carolyne talking through the TV,
• 33:31
  Speaker 3: and he looks at the TV and realizes, and there's
• 33:34
  Speaker 3: something about that that whole shot of it being a
• 33:42
  Speaker 3: kid in what he just went through and the parents
• 33:47
  Speaker 3: and now Carolyne is gone and she's communicating through the
• 33:50
  Speaker 3: static and the TV. That shot of him caked in
• 33:54
  Speaker 3: mud realizing that she's speaking through the TV for some
• 33:57
  Speaker 3: reason scared the hell out of me on this, dude,
• 34:00
  Speaker 3: I don't know what. I don't know what why.
• 34:02
  Speaker 6: It's creepy, and it just again it continues to kind
• 34:08
  Speaker 6: of reinforce just how bad things are. And I think
• 34:13
  Speaker 6: he gives like such a genuine reaction. I think anyone
• 34:17
  Speaker 6: at that age would just be like out of their
• 34:20
  Speaker 6: mind trying to figure out, like what exactly is going
• 34:23
  Speaker 6: on and where the hell is my sister?
• 34:25
  Speaker 3: Yeah? Yeah, Two Spielberg staples that happened around this time
• 34:32
  Speaker 3: in the movie, about the halfway point that I want
• 34:34
  Speaker 3: to mention. One of them is a very strange coincidence.
• 34:40
  Speaker 3: Before I put on Poltergeist for the first rewatch during
• 34:44
  Speaker 3: prep for this, I came across an Instagram reel and
• 34:48
  Speaker 3: I'll have to find the creator and share it. I
• 34:51
  Speaker 3: might have shared it then, but I'll have to do
• 34:53
  Speaker 3: it again. Who brought up this excellent Steven Spielberg shot
• 35:02
  Speaker 3: in his movies that he does over and over and
• 35:04
  Speaker 3: over again, where he has two characters facing each other.
• 35:08
  Speaker 3: One character is on the left side of the frame.
• 35:10
  Speaker 3: One characters on the right, and they turn and they're
• 35:12
  Speaker 3: facing each other, almost like a kissing scene would be shot,
• 35:16
  Speaker 3: except it's usually involves two characters talking or seeing each
• 35:20
  Speaker 3: other or coming to a discovery. And in this reel
• 35:24
  Speaker 3: that this creator had done, it shows in every single
• 35:27
  Speaker 3: movie Spielberg has ever made. This staple shot. This is
• 35:29
  Speaker 3: a Spielberg consistent watching Poltergeist. It's the it's in Poltergeist.
• 35:37
  Speaker 3: It's there, and it's when the parents are in front
• 35:42
  Speaker 3: of the TV and hear Carol Anne and they turn
• 35:44
  Speaker 3: and look at each other and the mom is on
• 35:45
  Speaker 3: the left, the dad is on the right, and they
• 35:47
  Speaker 3: look at each other and they're almost like silhouettes because
• 35:49
  Speaker 3: the brightness from the TV. Yeah, And it was like, fuck,
• 35:53
  Speaker 3: there's that's literally a Spielberg staple shot that I just learned. Like,
• 35:59
  Speaker 3: there's no way he didn't have a hand in this.
• 36:03
  Speaker 6: Isn't there a moment. I know it's setting a little
• 36:05
  Speaker 6: far ahead, but before they have like the rope and
• 36:10
  Speaker 6: they're going through that portal, I'm pretty sure that they
• 36:12
  Speaker 6: have like there's like a shot of them like it's
• 36:14
  Speaker 6: in front of the light where there's like the two
• 36:17
  Speaker 6: silhouettes and they kiss before she goes in to go
• 36:19
  Speaker 6: retrieve Carol Anne.
• 36:21
  Speaker 3: Very similar. Okay, yes, very very similar. I don't know
• 36:24
  Speaker 3: if it technically can get categorized as the same shot,
• 36:27
  Speaker 3: because they I believe this creator was saying that these
• 36:31
  Speaker 3: He uses this not in a kissing sequence where it
• 36:34
  Speaker 3: would typically be used. It's in other contexts usually. But
• 36:38
  Speaker 3: I want to bring up the other one because I
• 36:41
  Speaker 3: want to know if you've got the same feeling I did.
• 36:44
  Speaker 3: The doctor Lesh monologue that she gives about what spirits
• 36:50
  Speaker 3: are when she is having a conversation with Robbie. There's
• 36:55
  Speaker 3: she goes on a monologue about her feelings on the spirits,
• 37:00
  Speaker 3: and for the most part, is a static shot on
• 37:03
  Speaker 3: her face. It's very softly lit. It's a gorgeous shot,
• 37:10
  Speaker 3: very reminiscent of Quinn's monologue in Jaws that they can't definitely.
• 37:15
  Speaker 3: It just sits there. It just sits there, and it
• 37:19
  Speaker 3: just lets her go. And it's not as intense a monologue,
• 37:22
  Speaker 3: and I don't think it's as memorable as a monologue
• 37:23
  Speaker 3: as Quince, you know, in Jaws, but it's the same
• 37:28
  Speaker 3: style and it's something that Spielberg doesn't do anymore. It's
• 37:32
  Speaker 3: something that at a point he stopped doing. But this
• 37:34
  Speaker 3: is still early enough Spielberg that this could be considered
• 37:38
  Speaker 3: I think, a example of his influence on set.
• 37:44
  Speaker 6: Well, it's it's masterful storytelling that we get even you know,
• 37:51
  Speaker 6: and it happens obviously after her character's appearance, but when
• 37:55
  Speaker 6: Zelda Rubens scene is explaining to the parents just exactly
• 38:00
  Speaker 6: what is going on on the other side with their
• 38:02
  Speaker 6: daughter and the beast and just kind of like the
• 38:06
  Speaker 6: circumstances of what all these spirits are dealing with. When
• 38:12
  Speaker 6: she's explaining it to Diane, and you see this kind
• 38:16
  Speaker 6: of close up shot of it, you know, continuing to
• 38:19
  Speaker 6: pan closer to her expression as she's hearing it. I mean,
• 38:23
  Speaker 6: it's almost horrifying when you really think about it. It's like,
• 38:27
  Speaker 6: you know, that's that's your child and they're basically being
• 38:32
  Speaker 6: like manipulated in a way by something that's just so malevolent,
• 38:38
  Speaker 6: and you just see this moment of like where Diane.
• 38:41
  Speaker 2: Basically just.
• 38:44
  Speaker 6: I feel like she's just like like a moment of devastation,
• 38:48
  Speaker 6: and you know at that point it's like, Okay, well
• 38:51
  Speaker 6: you gotta go get your kid.
• 38:53
  Speaker 2: Yeah, it's not good.
• 38:55
  Speaker 3: There's a couple like great and I rewounded. I watched
• 38:59
  Speaker 3: the scene three time the first night that I watched
• 39:01
  Speaker 3: it because there was this couple of little things I
• 39:04
  Speaker 3: kept picking up on. One is I love the moment
• 39:06
  Speaker 3: when Robbie says, you know, well, if I die, then
• 39:11
  Speaker 3: I can go and find her and I can get
• 39:14
  Speaker 3: her and you can pull her out. And it cuts
• 39:16
  Speaker 3: to a shot of the dad just watching because you know,
• 39:20
  Speaker 3: can you imagine hearing your son saying, you know, if
• 39:23
  Speaker 3: I die, I can help, like I can say if
• 39:25
  Speaker 3: that has to be so hard to hear, And you
• 39:28
  Speaker 3: can see the dad really kind of get a little
• 39:30
  Speaker 3: uncomfortable at the thought, a little emotional at the thought.
• 39:33
  Speaker 3: And I love that they show that. But also I
• 39:36
  Speaker 3: love the explanation that she gives about the different kinds
• 39:41
  Speaker 3: of spirits that could be left behind. It's something I've
• 39:45
  Speaker 3: never heard broken down in such an intelligent, real way
• 39:53
  Speaker 3: to break it down and kind of explain like, hey,
• 39:56
  Speaker 3: some of them are you know, they get lost on
• 40:00
  Speaker 3: the way that a light and there they you know,
• 40:03
  Speaker 3: some choose to stay and they watch their friends and
• 40:07
  Speaker 3: their family grow, and they get angry because they can't
• 40:11
  Speaker 3: do anything about it and their loss, and then you know,
• 40:14
  Speaker 3: then there's others who are just genuinely lost and they
• 40:16
  Speaker 3: need help, they need they need guide instead of light,
• 40:18
  Speaker 3: and that's what we're here to do. And it was
• 40:21
  Speaker 3: such a it's such a great moment because it's it's
• 40:27
  Speaker 3: a great explanation to a kid, you know, because it's
• 40:31
  Speaker 3: not too scary. It's it's very easy for you to
• 40:34
  Speaker 3: wrap your head around, and it does make what's happening
• 40:38
  Speaker 3: less scary mm hmm, at least to me if I
• 40:43
  Speaker 3: was a kid, that would kind of frame it in
• 40:44
  Speaker 3: a way that's not as scary.
• 40:47
  Speaker 6: Yeah, I mean, it's it's one aspect of life that
• 40:53
  Speaker 6: none of us have any concept of. I mean, yeah,
• 40:56
  Speaker 6: I think that that's probably the most ground did breakdown
• 41:01
  Speaker 6: of exactly like what goes on on the other side. Obviously,
• 41:05
  Speaker 6: you know, to some extent they have some knowledge of it,
• 41:08
  Speaker 6: but you know, a lot of it is just kind
• 41:10
  Speaker 6: of speculation.
• 41:11
  Speaker 2: We really don't know.
• 41:12
  Speaker 6: And you know, I can't imagine, like you know, she's
• 41:16
  Speaker 6: describing some of these spirits and just you know, these
• 41:21
  Speaker 6: multitudes of like challenges are facing get to the other side.
• 41:26
  Speaker 6: I mean, it's kind of kind of scary if you
• 41:28
  Speaker 6: think about it, you know, after you pass on.
• 41:31
  Speaker 3: It is it is. And it's such a tough act
• 41:35
  Speaker 3: to follow to try to discuss this with a kid,
• 41:39
  Speaker 3: you know what I mean. But I will say all credit,
• 41:41
  Speaker 3: this is a much better explanation of death to a
• 41:45
  Speaker 3: child than Lewis trying to explain it to his daughter
• 41:49
  Speaker 3: in pet cemetery. This is a much better way to
• 41:53
  Speaker 3: do it. I think you should stick with it.
• 41:54
  Speaker 2: I think I appreciate the poulter Geist approach a little more.
• 41:59
  Speaker 3: I have a note here that says the Marty Facetair
• 42:01
  Speaker 3: sequence is fucked.
• 42:02
  Speaker 2: Up, Oh easily easily.
• 42:07
  Speaker 6: I feel like that there needs to be some sort
• 42:09
  Speaker 6: of like disclaimer because as as a kid seeing this
• 42:13
  Speaker 6: for the first time, I'm over here thinking like, is
• 42:16
  Speaker 6: this what ghosts are all about?
• 42:18
  Speaker 2: Like face melting? And you know, like just basically my
• 42:23
  Speaker 2: face is gonna fall apart.
• 42:25
  Speaker 3: You cut from such this kind, this kind gentle explanation
• 42:29
  Speaker 3: of the afterlife to a child, and such an innocent,
• 42:32
  Speaker 3: beautiful moment to the most hungry man I've ever seen
• 42:36
  Speaker 3: in a movie who just can't catch a break as
• 42:40
  Speaker 3: he's trying to cook a steak and goes into a
• 42:43
  Speaker 3: bathroom and proceeds to have a vision of him tearing
• 42:47
  Speaker 3: his face off to the literal skull and it dripping
• 42:51
  Speaker 3: into the sink.
• 42:54
  Speaker 6: The thought crossed my mind. I couldn't help but wonder
• 42:57
  Speaker 6: if he got into the parent's weed and that's why
• 42:59
  Speaker 6: he was that way. I mean, it's just it's just
• 43:02
  Speaker 6: speculation on my part, but.
• 43:04
  Speaker 3: Yeah, yeah, Well, Craig reared In was the practical the
• 43:06
  Speaker 3: head of practical effects here in the movie. Uh, and
• 43:10
  Speaker 3: there's a charm to practical effects that if you're not
• 43:14
  Speaker 3: into this era of film you just can't understand. And
• 43:21
  Speaker 3: the fact that it cuts to the dummy head that's
• 43:23
  Speaker 3: clearly a dummy headed. You can almost tell that, Like
• 43:26
  Speaker 3: the angle of the hand is off, like it it
• 43:29
  Speaker 3: kind of feels like it comes up in a weird
• 43:31
  Speaker 3: angle and it begins tearing off the flesh. It's so
• 43:35
  Speaker 3: it's it's so, uh, what's the word I'm looking for?
• 43:40
  Speaker 3: Like charming? I guess is the word of even though
• 43:42
  Speaker 3: it's terrifying.
• 43:43
  Speaker 6: Those are supposed to be Steven Spielberg's hands, are they
• 43:47
  Speaker 6: for that scene?
• 43:48
  Speaker 2: Yeah?
• 43:49
  Speaker 3: Man, that's that's that's him ripping to dedication that's it's
• 43:55
  Speaker 3: it's that you know what, man, It's very similar to
• 43:57
  Speaker 3: thom Savini's hands at the end to Fry the Thirteenth,
• 44:00
  Speaker 3: when Yeah, missus Voy's head gets cut off and is
• 44:03
  Speaker 3: Harry Palms come up trying to find the head dedication dedication. Yeah,
• 44:12
  Speaker 3: I I love it so much, man, It's it's really
• 44:14
  Speaker 3: gross and it's incredibly technically well done. The flash transition
• 44:20
  Speaker 3: from the skull head back to Marty's reel head when
• 44:23
  Speaker 3: we realized that it was just a it was just
• 44:26
  Speaker 3: a vision is flawless, dude. I couldn't find the transition
• 44:29
  Speaker 3: point in there anywhere, and I I went frame by frame.
• 44:33
  Speaker 6: I'm over here, like my notes just there's like a
• 44:37
  Speaker 6: small note in here that says the mere scene is
• 44:39
  Speaker 6: absolute nightmare fuel.
• 44:44
  Speaker 3: It's better. I mean, that's more appropriate than my note was.
• 44:49
  Speaker 2: It never gets old. I will say that much.
• 44:51
  Speaker 3: It's for me. It's it's the dripping of the flesh
• 44:54
  Speaker 3: into the sink, just like it almost feels like that's
• 44:58
  Speaker 3: what takes it.
• 44:59
  Speaker 2: Too far of skin, they're just going down the drain.
• 45:04
  Speaker 3: We did mention it already, but I have a note
• 45:06
  Speaker 3: in here about the staircase apparition scene. It's really beautiful
• 45:12
  Speaker 3: and I love the equal parts all on some people's
• 45:16
  Speaker 3: face and then the fear on others. And there's a
• 45:19
  Speaker 3: moment that I really liked here, and it's a little detail,
• 45:22
  Speaker 3: and I'm sure that this is not an intentional thing.
• 45:26
  Speaker 3: I'm sure this is just me picking up on something
• 45:29
  Speaker 3: that nobody intended. When they're watching the playback, when they
• 45:34
  Speaker 3: wonder out that we catch it on film, and they're
• 45:37
  Speaker 3: going back and they're watching it. The scene starts with Robbie.
• 45:42
  Speaker 3: We see Robbie watching the footage and Marty's or and
• 45:47
  Speaker 3: oh my god, where's my notes? Here? Marty is crouched
• 45:51
  Speaker 3: down watching the footage, kind of like at Robbie's level,
• 45:55
  Speaker 3: and you could tell that Marty is terrified. He's so scared.
• 45:59
  Speaker 3: And as Marty begins to stand up, Diane, Robbie's mom,
• 46:03
  Speaker 3: begins to crouch down and she is the complete opposite.
• 46:07
  Speaker 3: She has her expression is very much in awe. It's
• 46:11
  Speaker 3: like a wonder. It's almost like I just saw the
• 46:14
  Speaker 3: most beautiful thing I've ever seen in my life. And
• 46:16
  Speaker 3: I just love that he stands up as she comes down,
• 46:20
  Speaker 3: and it's the complete opposite reaction. Yeah, it's a moment.
• 46:26
  Speaker 3: I was like, it's actually a kind of cool little
• 46:28
  Speaker 3: I never picked up on that.
• 46:32
  Speaker 6: There's a lot of rewatch value, I feel like with
• 46:34
  Speaker 6: this film, like little details that you most likely wouldn't
• 46:37
  Speaker 6: pick up on the first watch.
• 46:40
  Speaker 2: But that's what I appreciate about this movie so much.
• 46:42
  Speaker 6: It's just like there's always something new that you could
• 46:44
  Speaker 6: discover about it, even moments like that.
• 46:48
  Speaker 3: Do you think, in your professional opinion, you're listen man,
• 46:51
  Speaker 3: You're you're a horror guy, you know what I mean?
• 46:53
  Speaker 3: You you co host a horror podcast.
• 46:57
  Speaker 2: Do you think I've heard something about this?
• 47:01
  Speaker 3: Do you think after this whole incident, mister Tigue retired
• 47:05
  Speaker 3: and went to go work for You Need a Medical
• 47:06
  Speaker 3: supply under this guise of Frank.
• 47:14
  Speaker 6: I just don't think he would have a career to
• 47:18
  Speaker 6: come back to after this film in real estate. So
• 47:21
  Speaker 6: I think that that seems like the most logical step
• 47:24
  Speaker 6: would be to maneuver into chemical warfare.
• 47:28
  Speaker 2: I guess.
• 47:32
  Speaker 3: It took me a moment. I didn't realize that that
• 47:34
  Speaker 3: was James Karen.
• 47:36
  Speaker 6: It's the voice, the voice that you know. It's very distinct,
• 47:40
  Speaker 6: and it's just a.
• 47:44
  Speaker 2: Very goofy character in here.
• 47:47
  Speaker 3: Yeah, it's also like the kind of frantic he's very
• 47:51
  Speaker 3: good at, like almost like somebody just drank too much
• 47:54
  Speaker 3: coffee and are a little bit paranoid.
• 47:57
  Speaker 2: So me, you're very trug.
• 48:00
  Speaker 3: You were nowhere near James karen level of frantic after coffee.
• 48:06
  Speaker 2: Okay, I had two cups before we recorded this.
• 48:10
  Speaker 6: I don't feel like I come close to how like,
• 48:12
  Speaker 6: whatever he's on, it's gotta be something else.
• 48:15
  Speaker 3: Yeah, I don't see you pulling out a handkerchief and
• 48:17
  Speaker 3: dabbing sweat off your head. You know what I mean,
• 48:19
  Speaker 3: when every every other character around you was perfectly fine.
• 48:22
  Speaker 3: You know. The cemetery scene is the next note that
• 48:28
  Speaker 3: I have. Mister T comes to this is Robbie, So
• 48:34
  Speaker 3: you to explain just where we're at. The father Steve
• 48:39
  Speaker 3: he is he works for the development company that's been
• 48:46
  Speaker 3: developing these communities, and he's one of the realtors who
• 48:51
  Speaker 3: works for Him's actually number one. He's responsible for I
• 48:54
  Speaker 3: believe he said, what of all the sales, it's like
• 48:58
  Speaker 3: seventy million hours in in in sales or something like that.
• 49:04
  Speaker 2: This guy is over here making bank, dude.
• 49:08
  Speaker 3: He's he's crushing man he's absolutely crushing and he I
• 49:12
  Speaker 3: love that mister t comes over because he's called out
• 49:15
  Speaker 3: of work, you know, with everything going on, obviously, I
• 49:17
  Speaker 3: think Steve's taking a few days off work. He looks
• 49:19
  Speaker 3: like total ship.
• 49:21
  Speaker 2: Shovel Ye, he's just shoveled.
• 49:24
  Speaker 3: Like it's funny how Diane looks beautiful. She she looks
• 49:28
  Speaker 3: so put together through everything. And he he just looks
• 49:32
  Speaker 3: like Craig T. Nelson just looks like complete shit. He's
• 49:36
  Speaker 3: got like the biggest, darkest bags under his eyes.
• 49:41
  Speaker 2: He's down bad, he's not doing well.
• 49:43
  Speaker 3: He's struggling man. And uh, mister Tige comes over, you know,
• 49:48
  Speaker 3: out of concern, and he thinks that you know, he
• 49:51
  Speaker 3: might be looking for a way out to go work
• 49:53
  Speaker 3: for somebody else. And you know, he makes way too
• 49:55
  Speaker 3: much money for mister Tigue, so he doesn't want to
• 49:56
  Speaker 3: lose him. And they go for a ride. Even though
• 50:00
  Speaker 3: Craig T. Nelson is like, I have the flu, mister
• 50:03
  Speaker 3: t let's go for a ride. Come on, we would
• 50:05
  Speaker 3: take you somewhere.
• 50:07
  Speaker 2: You don't care.
• 50:08
  Speaker 3: No, He takes him up onto this valley and pitches like, oh,
• 50:11
  Speaker 3: you know, picture this as like your living room and
• 50:14
  Speaker 3: you're looking out among you know, would you like that?
• 50:17
  Speaker 3: And the reveal of this massive fucking cemetery, it's really creepy.
• 50:25
  Speaker 3: It's so creepy, man, And it's the cemetery is obnoxiously huge.
• 50:31
  Speaker 3: It is like.
• 50:33
  Speaker 6: It almost has like it feels like almost like an
• 50:37
  Speaker 6: uncanny valley look to it, Like it looks like like
• 50:42
  Speaker 6: it looks way too large to be like a standard cemetery.
• 50:45
  Speaker 6: I mean, it definitely feels like there's like been some
• 50:48
  Speaker 6: shit going on around that part of town.
• 50:50
  Speaker 3: Yeah, the realization though, of and you know, he Steve
• 50:58
  Speaker 3: asks him, like, what are you gonna do? Like, you know,
• 51:02
  Speaker 3: we already we already started working on the purchase of
• 51:04
  Speaker 3: the land. You know we're going to after we of
• 51:07
  Speaker 3: course move the bodies and move the headstones, And you
• 51:12
  Speaker 3: could tell that Jesus is kind of like, I don't know, man,
• 51:14
  Speaker 3: this feels not sacrilegious. Exact quote that he says. And
• 51:22
  Speaker 3: then there's a beat when mister Tee says we've done
• 51:27
  Speaker 3: it before, and the music kicks in and you realize
• 51:33
  Speaker 3: exactly what's happening, and we're already at this point three
• 51:36
  Speaker 3: quarters of the way through the movie. That explains what's happening,
• 51:41
  Speaker 3: and he says, you move the headstones, but you've left
• 51:45
  Speaker 3: the bodies. That is terrifying to think of it.
• 51:51
  Speaker 6: It doesn't seem like completely out of the realm of
• 51:57
  Speaker 6: possibility that like a new construction developer would do something
• 52:04
  Speaker 6: like that.
• 52:04
  Speaker 2: I think that.
• 52:05
  Speaker 6: There's like a shred of believability to what exactly happened
• 52:10
  Speaker 6: with that.
• 52:11
  Speaker 3: And uh.
• 52:14
  Speaker 6: Yeah, I mean you just start piecing everything together and
• 52:17
  Speaker 6: then you're you're thinking, like, well, shit, yeah, this is
• 52:21
  Speaker 6: not good for him, his entire family, like, and things
• 52:28
  Speaker 6: start to make a lot more sense to that point.
• 52:31
  Speaker 3: Yeah, it's honestly, looking back at at the storytelling style
• 52:38
  Speaker 3: of the eighties, it's genius to leave this reveal for
• 52:41
  Speaker 3: the beginning of the third act, before the movie is
• 52:43
  Speaker 3: gonna get it's most intense. You have the reveal of
• 52:48
  Speaker 3: why this is happening, because up until then there's no
• 52:50
  Speaker 3: explanation of anything, right, this stuff is just happening. Then
• 52:54
  Speaker 3: you find out now you're dealing with vengeful spirits who
• 52:59
  Speaker 3: are very angry, and they're just it's just an example
• 53:06
  Speaker 3: of like like there's no specific reason to like, you know,
• 53:13
  Speaker 3: target they target Carol Anne for a specific reason, but
• 53:16
  Speaker 3: like you're just you're in the wrong house at the
• 53:19
  Speaker 3: wrong place, and you're going to be the victims of this.
• 53:25
  Speaker 3: That's that's as scary as it gets, I think.
• 53:29
  Speaker 6: Well, and and you definitely know at that point then
• 53:33
  Speaker 6: you know these spirits are going to be you know,
• 53:35
  Speaker 6: they're definitely gonna be vengeful wrong for you know essentially
• 53:41
  Speaker 6: what's happened and transpired within that neighborhood, and that starts
• 53:46
  Speaker 6: to set everything up for kind of like just how
• 53:50
  Speaker 6: bad things begin to get after that point.
• 53:53
  Speaker 3: And which genius, too, is they foreshadow this in the
• 53:56
  Speaker 3: smallest way possible because at the beginning of the movie,
• 54:00
  Speaker 3: Carol Ann's uh, what animal does she have? I'm forgetting At.
• 54:04
  Speaker 2: The very beginning of the movie her h uh bird?
• 54:07
  Speaker 3: Oh yeah, her bird dies and they put the bird
• 54:10
  Speaker 3: in a box with a bunch of food and a
• 54:12
  Speaker 3: blanket in case it gets cold, and they they put
• 54:17
  Speaker 3: her in a cigar box and they bury the bird
• 54:20
  Speaker 3: in the yard. And then when the yard begins getting
• 54:23
  Speaker 3: dug up for the construction of their pool, there's a
• 54:27
  Speaker 3: close up shot of the box being dug up and
• 54:30
  Speaker 3: flung on top of the dirt. It never picked up
• 54:34
  Speaker 3: on until just now, so we're just having this conversation
• 54:37
  Speaker 3: that they did kind of foreshadow that general idea with
• 54:41
  Speaker 3: that little moment.
• 54:42
  Speaker 6: It's fascinating though, because by the end of it, you
• 54:46
  Speaker 6: literally have caskets coming out of the.
• 54:49
  Speaker 3: Ground, literally rising out of thee.
• 54:53
  Speaker 6: Wasn't there was a couple, weren't they in the kitchen.
• 54:58
  Speaker 6: It's somewhere in the house, isn't it.
• 55:00
  Speaker 3: It's in the.
• 55:01
  Speaker 2: Pool, not in the pool.
• 55:03
  Speaker 6: There's like actual caskets that that uh not Well, yeah,
• 55:07
  Speaker 6: in the pool for sure, But I thought that there
• 55:09
  Speaker 6: was like caskets that popped up throughout the house.
• 55:12
  Speaker 3: Because in the pool you have the cast, the big
• 55:15
  Speaker 3: casket that comes up and then it opens and the
• 55:18
  Speaker 3: the skeleton falls out of it as well as the
• 55:20
  Speaker 3: skeleton's rising up like in the mud.
• 55:23
  Speaker 2: That's what I'm thinking of. I don't know either way,
• 55:24
  Speaker 2: it's not good.
• 55:25
  Speaker 3: Yeah, that's I mean, listen, bro, if you're swimming and
• 55:29
  Speaker 3: might want to call, I'm gonna get out of there
• 55:31
  Speaker 3: and get out. I I have a note here that
• 55:37
  Speaker 3: just says Stephn trying to telepathically tell Tang you know
• 55:41
  Speaker 3: what's in the room. Is the funniest part of this movie.
• 55:45
  Speaker 6: It's little moments like that. You know, it's like less
• 55:49
  Speaker 6: is more, the little like goofy jokes that they have.
• 55:53
  Speaker 6: It's it's just it's like just very grounded and genuine.
• 55:58
  Speaker 6: That's why what I absolutely love about this movie.
• 56:00
  Speaker 3: It is but it's so funny that like everything you've
• 56:03
  Speaker 3: seen up until this point and you're still skeptical. And
• 56:06
  Speaker 3: I think it's more skeptical of the human aspect of it,
• 56:10
  Speaker 3: which is like, yeah, I mean, look, Zelda Reubenstein shows
• 56:15
  Speaker 3: up and she's a lot like she showed it to
• 56:18
  Speaker 3: my place. I would probably be the same way, kind
• 56:20
  Speaker 3: of like what is what is going on here? And
• 56:22
  Speaker 3: we learned pretty quickly like she means business. She's very
• 56:26
  Speaker 3: she commands a room, she does, and when he she
• 56:31
  Speaker 3: goes up the stairs and asks what rub it is
• 56:37
  Speaker 3: and you just see him put his fingers up to
• 56:39
  Speaker 3: his temples and close his eyes and the mom's like,
• 56:42
  Speaker 3: would you tell her? I am. It's so good man.
• 56:49
  Speaker 3: It's such a great little humor bit.
• 56:53
  Speaker 6: I feel like, uh zel the yeah, Sela Rubens seen.
• 56:57
  Speaker 6: Her performance in this is is like the highlight easily.
• 57:02
  Speaker 3: It's so good. I love that. I love that it
• 57:07
  Speaker 3: feels like there are brief moments where you kind of
• 57:10
  Speaker 3: question what she's trying to do. Here there's the whole
• 57:15
  Speaker 3: like tell her to go into the light, and then
• 57:17
  Speaker 3: tell her not to go into the light, and then
• 57:20
  Speaker 3: you know, go to the light. There's almost like these
• 57:23
  Speaker 3: like obviously she's trying to help, but it is kind
• 57:25
  Speaker 3: of like there are little moments where I'm like, is
• 57:27
  Speaker 3: this lady doing the right thing?
• 57:31
  Speaker 2: I think by that point it's too late, you.
• 57:35
  Speaker 3: Know, probably, Yeah, that's probably a hundred center.
• 57:38
  Speaker 6: I remember when I was younger, I was always a
• 57:41
  Speaker 6: little like confused because you have the parapsychologists, you know,
• 57:48
  Speaker 6: the whole team that comes there, right, And I could
• 57:51
  Speaker 6: never figure out when I was younger what the difference
• 57:54
  Speaker 6: was between Zelda Rubinstein and that group.
• 58:00
  Speaker 3: H yeah, doctor Lesh's group.
• 58:02
  Speaker 6: Yeah, yep, I mean she basically, I mean one basically
• 58:10
  Speaker 6: is it like the team is there to just basically
• 58:12
  Speaker 6: observe and get readings and to try to like understand
• 58:17
  Speaker 6: more of the field work. And then it isn't until
• 58:20
  Speaker 6: his elth Rubinstein gets there and she's able to actually
• 58:22
  Speaker 6: communicate with the other side. Yeah, as a kid, that's
• 58:27
  Speaker 6: very hard to understand.
• 58:30
  Speaker 3: It is. I feel like I feel like, you know,
• 58:35
  Speaker 3: I feel like doctor Lesh's character is a great a
• 58:40
  Speaker 3: great like a very like relatable, grounded character for us
• 58:48
  Speaker 3: to attach to, kind of somewhere in between the reality
• 58:52
  Speaker 3: and the paranormal. You know, like her insights are very real.
• 58:56
  Speaker 3: You kind of can tell that that she's supportive of
• 59:00
  Speaker 3: like she still feels incredibly grounded. Zelda Rubinstein's character is
• 59:04
  Speaker 3: almost like, you know, and even in the very little
• 59:08
  Speaker 3: bit that I know about this stuff in real life,
• 59:10
  Speaker 3: like there are people who are just born with these
• 59:13
  Speaker 3: abilities to connect with things that you know, you and
• 59:18
  Speaker 3: I will never understand or never be able to connect with.
• 59:20
  Speaker 3: They're just kind of on a different wavelength due to
• 59:23
  Speaker 3: whatever is causing it for them. And you know, psychology
• 59:27
  Speaker 3: isn't an external study of something, right, so you're creating
• 59:35
  Speaker 3: like reasonings or examinations. And whereas Zelda Rubinstein feels like
• 59:40
  Speaker 3: this is like she feels this stuff whether she wants
• 59:43
  Speaker 3: to or not, and she's just able to command it
• 59:45
  Speaker 3: and it feels like something she's been able to do
• 59:47
  Speaker 3: since day one, and she really comes in and it
• 59:53
  Speaker 3: takes the action.
• 59:55
  Speaker 6: She seems very experienced. Oh, just how she's able to
• 59:59
  Speaker 6: navigate you know, and.
• 1:00:00
  Speaker 3: Come on, man, I mean I think every single time
• 1:00:02
  Speaker 3: I've cleaned anything in my life since then, I have
• 1:00:05
  Speaker 3: said this house is clean.
• 1:00:11
  Speaker 6: It's like her mic drop moment, but then it turns
• 1:00:13
  Speaker 6: out to not actually be the case.
• 1:00:15
  Speaker 3: Yeah, yeah, yeah, yeah. I want to talk about real quick,
• 1:00:19
  Speaker 3: the monster that comes out of the closet during this
• 1:00:21
  Speaker 3: rope sequence when they send the mom in to get
• 1:00:24
  Speaker 3: Carol Anne. It's a big practical monster that comes out
• 1:00:27
  Speaker 3: of the closet. Dude, let's go back to that, give
• 1:00:29
  Speaker 3: her to CGI, Let's bring this back.
• 1:00:31
  Speaker 2: It's alarming.
• 1:00:32
  Speaker 6: I feel like that could happen at any moment within
• 1:00:35
  Speaker 6: my own home.
• 1:00:36
  Speaker 2: Do you think so? You think, like I listen, I'm
• 1:00:38
  Speaker 2: not rolling anything out.
• 1:00:39
  Speaker 6: I have watched this movie two times in the last
• 1:00:42
  Speaker 6: couple of days, so anything's possible.
• 1:00:44
  Speaker 3: It's just such a great effect. It's so cool looking
• 1:00:48
  Speaker 3: and it holds up so well. You know, it reminds
• 1:00:51
  Speaker 3: me of just for the listeners, my wife and I
• 1:00:54
  Speaker 3: were a week away from going to Disney. It feels
• 1:00:56
  Speaker 3: like this feels like something that would happen in a Disney,
• 1:01:00
  Speaker 3: like a door would open and this big practical school
• 1:01:02
  Speaker 3: would come out, or like when you're on a haunted
• 1:01:04
  Speaker 3: hay ride and you enter one of those sections, and
• 1:01:07
  Speaker 3: you know, the big practical monster comes out it. I
• 1:01:11
  Speaker 3: don't understand at what point we moved away from from
• 1:01:15
  Speaker 3: this artistry, because I know it's a very complicated effect.
• 1:01:19
  Speaker 3: It's like a lot of people to build it. It's
• 1:01:21
  Speaker 3: very big. I'm sure there was a lot of a
• 1:01:24
  Speaker 3: lot of work between the lighting team and Hooper and
• 1:01:27
  Speaker 3: Spielberg and everybody to make it look the way it
• 1:01:29
  Speaker 3: is right, hours and hours and hours, days and days
• 1:01:32
  Speaker 3: and days, months and months of work right for three
• 1:01:35
  Speaker 3: seconds of three four seconds of film. But it works
• 1:01:38
  Speaker 3: so much better than any CGI would in this case.
• 1:01:41
  Speaker 2: And it holds up years later, holds.
• 1:01:45
  Speaker 3: Up decades, decades later, it still holds up.
• 1:01:47
  Speaker 6: Man, give me the face melting scene and the janky
• 1:01:51
  Speaker 6: effects that come with that over anything that we get nowadays.
• 1:01:54
  Speaker 3: Please, I would what do I have to sacrifice? One
• 1:02:02
  Speaker 3: of the genius parts of this movie is that when
• 1:02:06
  Speaker 3: caroly Ane is collected from this other world, the mom
• 1:02:13
  Speaker 3: falls out of the ceiling, out of the other world.
• 1:02:16
  Speaker 2: And beautiful moment it is.
• 1:02:18
  Speaker 3: Yeah, it's it's beautiful. I mean, I don't like the
• 1:02:20
  Speaker 3: fact that they're covered in goopy, sticky material.
• 1:02:23
  Speaker 6: But you know, besides the point making out a little bit,
• 1:02:27
  Speaker 6: I'm like, ugh, I'm gonna shower.
• 1:02:30
  Speaker 2: She's yea some kind of hose.
• 1:02:37
  Speaker 3: This leads into the last like fifteen minutes of the movie,
• 1:02:39
  Speaker 3: where we think everything's done right, and like now we
• 1:02:43
  Speaker 3: have the ability to hit a button on our remote
• 1:02:46
  Speaker 3: and see where we're at in a movie, we can say, hey, weird,
• 1:02:49
  Speaker 3: is still fifteen minutes left? Something else must be happening.
• 1:02:52
  Speaker 3: Whereas then you might think the movie's over. Little do
• 1:02:55
  Speaker 3: you know that the most horrifying bits of the movie
• 1:02:58
  Speaker 3: are still yet to come, As the next night, the
• 1:03:04
  Speaker 3: Spirits returned with total vengeance.
• 1:03:09
  Speaker 2: You're not happy.
• 1:03:10
  Speaker 3: My note here just says fuck the clown. That's all
• 1:03:15
  Speaker 3: it says.
• 1:03:16
  Speaker 2: Man, fuck that clown.
• 1:03:18
  Speaker 3: It's scary as hell, dude, It's so like, first of all,
• 1:03:22
  Speaker 3: I don't know why he Why is it even if
• 1:03:24
  Speaker 3: he's so scared, Why is he even there?
• 1:03:25
  Speaker 5: Why?
• 1:03:25
  Speaker 3: Why why is it in a chair facing him in
• 1:03:27
  Speaker 3: bed that he has to cover it?
• 1:03:29
  Speaker 6: Who would have that to begin with? That's what I
• 1:03:32
  Speaker 6: want to know. I think haunted or not haunted, it's terrifying.
• 1:03:36
  Speaker 3: I think Steve brought that home.
• 1:03:39
  Speaker 2: The dad.
• 1:03:40
  Speaker 3: Yeah you think that was a Spielberg thing or a
• 1:03:48
  Speaker 3: Hooper thing.
• 1:03:50
  Speaker 2: I think Hooper.
• 1:03:51
  Speaker 6: Yeah, definitely, Yeah, that's that definitely kind of feeds into
• 1:03:56
  Speaker 6: people's fears, for sure.
• 1:03:57
  Speaker 2: I definitely don't think it helped.
• 1:03:59
  Speaker 3: Well, it's a great Really, It's funny how when you
• 1:04:01
  Speaker 3: watch modern horror movies, you can kind of watch you
• 1:04:04
  Speaker 3: can see moments in older movies that you can tell
• 1:04:06
  Speaker 3: inspire newer filmmakers or you know, the last however many
• 1:04:12
  Speaker 3: years where jump scares have become a staple of modern
• 1:04:15
  Speaker 3: day horror movies. The when he the clown is missing,
• 1:04:20
  Speaker 3: he Robbie looks over the side of the bed and
• 1:04:25
  Speaker 3: pulls up, and you think he's gonna be under the
• 1:04:27
  Speaker 3: bed and he's not. And then he comes up and
• 1:04:30
  Speaker 3: the camera pans up with him and the clown is
• 1:04:31
  Speaker 3: behind him.
• 1:04:33
  Speaker 2: I'm literally looking at us, still off it right now. Scary,
• 1:04:39
  Speaker 2: even like.
• 1:04:42
  Speaker 6: Even towards the end where everything starts going crazy and
• 1:04:49
  Speaker 6: he's got this menacing look on his face. He goes
• 1:04:51
  Speaker 6: from being like kind of like the goofy looking clown
• 1:04:54
  Speaker 6: to like the straight up like sinister scary, Like, hey,
• 1:04:57
  Speaker 6: this is a clown.
• 1:04:58
  Speaker 2: I wouldn't fuck with.
• 1:05:00
  Speaker 3: There's there's one other jump scare in this movie that
• 1:05:03
  Speaker 3: I think is really effective, and it's earlier on when
• 1:05:07
  Speaker 3: the mom is upstairs in the hallway and she opens
• 1:05:13
  Speaker 3: Caroline's She opens Caroline's door, and it's like the high
• 1:05:17
  Speaker 3: pitch like scream that comes out of it, as she
• 1:05:19
  Speaker 3: should because it's so quiet before she does it. They
• 1:05:22
  Speaker 3: just the jump scares work better in the eighties than
• 1:05:24
  Speaker 3: they do now.
• 1:05:26
  Speaker 2: Would you board up that room at that point, I.
• 1:05:29
  Speaker 3: Would blow up the fucking house.
• 1:05:31
  Speaker 2: Bro, just tear it down, give it back, give it
• 1:05:35
  Speaker 2: back to the ghouls.
• 1:05:36
  Speaker 3: I don't understand why they don't leave after after they
• 1:05:39
  Speaker 3: get Caroline, but I would have been out of there.
• 1:05:41
  Speaker 2: Man, they thought the house was clean.
• 1:05:44
  Speaker 3: Listen, dude, it don't matter. You can't listen, man. You
• 1:05:47
  Speaker 3: can only clean so much mess off a carpet before
• 1:05:49
  Speaker 3: you got to get rid of the carpet. These are deep,
• 1:05:53
  Speaker 3: These are deep in the fabric stains that that that
• 1:05:56
  Speaker 3: make me. I will move out, I will be going.
• 1:05:58
  Speaker 3: You can have everything you think that.
• 1:06:00
  Speaker 6: Like pink goop is like easy to get out of carpet.
• 1:06:03
  Speaker 6: I don't think so, No.
• 1:06:05
  Speaker 3: Do you think that the the bolter guys, uh, you know,
• 1:06:09
  Speaker 3: stain is forever going to be on your kitchen chairs.
• 1:06:12
  Speaker 3: Do you think you can bring those to a new
• 1:06:14
  Speaker 3: a new place and not to feel like what do
• 1:06:17
  Speaker 3: you like?
• 1:06:19
  Speaker 7: Yeah?
• 1:06:23
  Speaker 3: Everything is? Everything is. I would have throw out the
• 1:06:26
  Speaker 3: pants at Caroline was wearing when she slid across the pokata.
• 1:06:28
  Speaker 6: I was just gonna say that. I was like, man,
• 1:06:30
  Speaker 6: the floors are ruined. Oh wait, There's one thing that
• 1:06:37
  Speaker 6: I just want to point out because I noticed this
• 1:06:40
  Speaker 6: on first watch, and I know this is backtracking a
• 1:06:44
  Speaker 6: little bit, but there's that moment way back at the
• 1:06:47
  Speaker 6: beginning when there's there's that construction scene where they're in
• 1:06:50
  Speaker 6: the backyard, and is it Dana is getting ready to
• 1:06:54
  Speaker 6: go to school at that point? Yeah, she steps out
• 1:06:56
  Speaker 6: of the house. Okay, I know this movie came out
• 1:07:01
  Speaker 6: a long time ago. I'm not saying this is okay whatsoever,
• 1:07:06
  Speaker 6: but it kind of gave me a little bit of
• 1:07:08
  Speaker 6: the ick when I'm watching this because it's like, dude,
• 1:07:11
  Speaker 6: how old is she?
• 1:07:11
  Speaker 2: Maybe like maybe.
• 1:07:13
  Speaker 3: Fifteen fifteen if that? And they and the grown adult
• 1:07:16
  Speaker 3: men are.
• 1:07:17
  Speaker 6: These guys are gooning over her. I'm like, yo, you
• 1:07:21
  Speaker 6: guys were a chill man. You guys are about to
• 1:07:23
  Speaker 6: catch a case. It's really like, I'm like, whose idea
• 1:07:28
  Speaker 6: was this, Hooper or Spielberg.
• 1:07:30
  Speaker 3: It's it's it's super innocent, like when he's when he's
• 1:07:34
  Speaker 3: leaning in through the window and eating the food off
• 1:07:36
  Speaker 3: the count. Yes, I like the care abut but and
• 1:07:39
  Speaker 3: then what's funny to me is the reaction of the
• 1:07:42
  Speaker 3: mom just kind of like laughing at because she you know,
• 1:07:46
  Speaker 3: flips them off using a different finger. But you know,
• 1:07:50
  Speaker 3: the mom kind of laughing because, oh yeah, look out tough.
• 1:07:53
  Speaker 3: My daughter is that Dude's like, those guys are like thirty. Well,
• 1:07:56
  Speaker 3: I don't know, man, people age different. Those guys might
• 1:07:58
  Speaker 3: have been twenty one. They just look much old.
• 1:08:02
  Speaker 6: Nowadays everyone drinks a lot more water. I feel like
• 1:08:04
  Speaker 6: that that's why, like people age better back then.
• 1:08:07
  Speaker 3: Because of more water.
• 1:08:09
  Speaker 2: Yeah, could be.
• 1:08:11
  Speaker 3: I mean, I don't really know. I was on the
• 1:08:16
  Speaker 3: Dread broadcast the other night talking about the burning, and
• 1:08:21
  Speaker 3: I was talking about how right before I got on
• 1:08:24
  Speaker 3: to do that episode with them, we were watching the
• 1:08:27
  Speaker 3: bird Cage my wife and I and Robin Williams makes
• 1:08:31
  Speaker 3: it comment about how his son is twenty and I
• 1:08:35
  Speaker 3: was like that guy's like thirty eight years old. Guy
• 1:08:37
  Speaker 3: look like that at twenty years old. I'm like, there's
• 1:08:39
  Speaker 3: no way, dude. Like it's like when you look at
• 1:08:41
  Speaker 3: Bruce Willis in die Hard and he's like two years
• 1:08:45
  Speaker 3: older than me. Now, yeah, like the hell, I don't
• 1:08:49
  Speaker 3: look like that?
• 1:08:50
  Speaker 2: Why do you look like?
• 1:08:52
  Speaker 3: It's different?
• 1:08:53
  Speaker 2: I know, I know it's crazy.
• 1:08:56
  Speaker 3: It's weird. It's very weird. But yeah, that's a weird.
• 1:08:59
  Speaker 3: That's a weird moment. I mean it's it doesn't even
• 1:09:04
  Speaker 3: do anything though, it's just like it's just it's like.
• 1:09:07
  Speaker 6: I don't want I don't want to know. I don't
• 1:09:09
  Speaker 6: want to know what their intentions were, Like.
• 1:09:14
  Speaker 3: I don't know.
• 1:09:14
  Speaker 5: Man.
• 1:09:15
  Speaker 3: It's like that's more bothersome than than the clown.
• 1:09:18
  Speaker 2: This is worse than the vengeful Spirits.
• 1:09:24
  Speaker 3: I just have a knowe here that says that I
• 1:09:26
  Speaker 3: love the zero to one hundred pace that the end
• 1:09:29
  Speaker 3: of this movie takes on, Like you could see what. Yeah, man,
• 1:09:33
  Speaker 3: when the mom falls into the pool and it's just
• 1:09:38
  Speaker 3: the scale, Oh my god, dude, it's really scary.
• 1:09:42
  Speaker 6: Well, you you had the moment where where obviously the
• 1:09:48
  Speaker 6: clown attacks Robbie closet door starts lighting up, Diana's getting
• 1:09:55
  Speaker 6: dragged up the wall.
• 1:09:57
  Speaker 3: Oh dude, that effect is so oh good. Mm hmm
• 1:10:02
  Speaker 3: like it and I get it. It's it's the same
• 1:10:05
  Speaker 3: effect pretty much that Wes Craven did in in in
• 1:10:09
  Speaker 3: Nightmare elm Street.
• 1:10:10
  Speaker 7: But the the the there's something to the detail in
• 1:10:15
  Speaker 7: the room, like there's a lot there seems to be
• 1:10:17
  Speaker 7: a lot more detail that really sells the effect.
• 1:10:23
  Speaker 6: It's a very interesting contrast because I remember a Nightmare
• 1:10:27
  Speaker 6: in Elma Street very dark room kind of fits like
• 1:10:30
  Speaker 6: the aesthetic, whereas like our guards at this point should
• 1:10:34
  Speaker 6: be down, you know, every the as you said, the
• 1:10:38
  Speaker 6: house is clean, right, the house is it's but it's
• 1:10:42
  Speaker 6: definitely not. And she's over here just trying to relax.
• 1:10:47
  Speaker 6: There's like a little bit warmer lighting, and then all
• 1:10:50
  Speaker 6: of a sudden, like everything just starts going sideways. She's
• 1:10:54
  Speaker 6: getting like assaulted by ghosts and pulled up the wall.
• 1:10:57
  Speaker 2: And yeah, it's it's uh.
• 1:11:02
  Speaker 6: Another effect that I feel like really just kind of
• 1:11:05
  Speaker 6: was ahead of its time for sure.
• 1:11:08
  Speaker 3: Yeah, it looks really cool, and I love how calm
• 1:11:11
  Speaker 3: she is the whole Like she's clearly freaking out and
• 1:11:14
  Speaker 3: scared and she rolls around the ceiling. But it's very
• 1:11:17
  Speaker 3: I don't know. Her reaction is funny to me, but yeah,
• 1:11:20
  Speaker 3: I mean even the pool. I think the pool sequence
• 1:11:22
  Speaker 3: is the most iconic from the movie. Those skeletons popping up,
• 1:11:26
  Speaker 3: Oh yeah, look, you are worth supposedly real. I don't know, Cursett,
• 1:11:32
  Speaker 3: Toby Hooper, who knows. I'm sure that was Hooper. I'm
• 1:11:36
  Speaker 3: sure Spielberg wasn't the one recommending they use real skeletons
• 1:11:40
  Speaker 3: in the scene.
• 1:11:40
  Speaker 2: But let it be.
• 1:11:43
  Speaker 3: Yeah, I'll let it slide, you know, for now. Yeah,
• 1:11:48
  Speaker 3: just this whole the whole moment is great, man. The
• 1:11:50
  Speaker 3: house falling into itself and it's great.
• 1:11:54
  Speaker 5: Man.
• 1:11:55
  Speaker 6: Can I point out one moment please that reminded me
• 1:11:59
  Speaker 6: of another Yielberg film is when Dana comes back from
• 1:12:06
  Speaker 6: wherever she's been, she gets out, she sees what's going
• 1:12:09
  Speaker 6: on with the house, and she just lets out this
• 1:12:12
  Speaker 6: terrified scream.
• 1:12:15
  Speaker 2: I don't know what it was.
• 1:12:17
  Speaker 6: It reminded me of the moment in Jurassic Park when
• 1:12:23
  Speaker 6: I believe.
• 1:12:24
  Speaker 3: Lex when she gets out of the jeep and sees this.
• 1:12:27
  Speaker 6: Yes, yes, and obviously very very different contexts, but I
• 1:12:33
  Speaker 6: don't know, maybe that wasn't even intentional or you know whatever,
• 1:12:37
  Speaker 6: but it felt very reminiscent at that moment in Jurassic Park.
• 1:12:42
  Speaker 3: My favorite part of that moment is just Alan Grant
• 1:12:44
  Speaker 3: slapping her face like making her stop screaming, covers up
• 1:12:48
  Speaker 3: her mouth real quick. Yeah, so aggressive. Yeah, that you're right.
• 1:12:53
  Speaker 3: I never thought about that. That's a good that's a
• 1:12:55
  Speaker 3: good comparison, very good comparison Jurassic Park.
• 1:12:58
  Speaker 6: That definitely has to be. Uh, that's coming up on
• 1:13:01
  Speaker 6: the watch list for sure.
• 1:13:03
  Speaker 3: Have we got to do a five hour episode on No,
• 1:13:07
  Speaker 3: I don't. I don't know if Spielberg's ever done an
• 1:13:09
  Speaker 3: audio commentary, so we might just have to take on
• 1:13:11
  Speaker 3: the filmography. It's solely in staff picks.
• 1:13:15
  Speaker 6: We'll do it for him in memory of we still
• 1:13:22
  Speaker 6: this one. This one will do it for Toby Hooper.
• 1:13:25
  Speaker 3: Yes, yeah, this one I do love. I was reading
• 1:13:28
  Speaker 3: during research Mick Garris putting out a statement about his
• 1:13:33
  Speaker 3: dear friend Toby Hooper, and you know kind of the power,
• 1:13:36
  Speaker 3: how powerful of a director he was, and how he
• 1:13:38
  Speaker 3: fully believes that this is through and through a Toby
• 1:13:41
  Speaker 3: Hooper film. I actually want to find. I'm going to
• 1:13:44
  Speaker 3: find that quote for you real quick, because I really
• 1:13:47
  Speaker 3: liked it and I'm a big are you a are
• 1:13:49
  Speaker 3: you a Mic Garris mc garris fan? Not Mick Jagger
• 1:13:54
  Speaker 3: mc gerris.
• 1:13:56
  Speaker 2: Yeah, I would say to a certain extent. I mean.
• 1:14:00
  Speaker 6: You brought up Toby Hooper. Obviously, I know he you know,
• 1:14:04
  Speaker 6: we talked about his more iconic films, but I definitely
• 1:14:06
  Speaker 6: feel like that that's a director that I don't think
• 1:14:08
  Speaker 6: it's still gets his news.
• 1:14:11
  Speaker 2: Is that fair to say? Yeah?
• 1:14:12
  Speaker 5: Yeah?
• 1:14:13
  Speaker 2: Yeah?
• 1:14:13
  Speaker 3: So here he After Toby Hooper died in twenty seventeen,
• 1:14:19
  Speaker 3: Mick Gerris on the post Mortem podcast said, and I
• 1:14:22
  Speaker 3: quote Toby was always calling action and cut. Toby have
• 1:14:26
  Speaker 3: been deeply involved in all the pre production and everything.
• 1:14:29
  Speaker 3: But Steven is a guy who will come in and
• 1:14:30
  Speaker 3: call the shots. And so you're on your first studio film,
• 1:14:34
  Speaker 3: hired by Steven Spielberg, who is enthusiastically involved in this movie.
• 1:14:38
  Speaker 3: Are you gonna say stop that, let me do this?
• 1:14:41
  Speaker 3: Which Toby did. He was a terrific filmmaker. And I
• 1:14:45
  Speaker 3: don't think that's that it was Steven Spielberg controlling. I
• 1:14:48
  Speaker 3: think that Stephen was just enthusiastic and nobody was there
• 1:14:50
  Speaker 3: to protect Toby, but all of the pre production was
• 1:14:53
  Speaker 3: done by Hooper. He was there throughout. His vision is
• 1:14:56
  Speaker 3: very much realized, and Toby got the credit because he
• 1:14:58
  Speaker 3: deserved the credit. Including Steven Spielberg said that I think
• 1:15:03
  Speaker 3: that that's an interesting you know, I think that's pretty
• 1:15:09
  Speaker 3: I don't know if it's like a bias, because that's
• 1:15:11
  Speaker 3: his that's his friend. I do know that Blum or
• 1:15:13
  Speaker 3: that that mcgerrison was a publicist on the movie, so
• 1:15:17
  Speaker 3: he was on set a lot. I just think that
• 1:15:21
  Speaker 3: that it's kind of the most recent like public discussion
• 1:15:28
  Speaker 3: of it. And you know, at the end of the day,
• 1:15:31
  Speaker 3: I like to think that that Hooper had as much
• 1:15:34
  Speaker 3: control on and you know, deserve this this directing credit.
• 1:15:37
  Speaker 3: If not, you know, maybe was influenced very heavily by
• 1:15:41
  Speaker 3: Spielberg being there in his presence, and so, you know,
• 1:15:45
  Speaker 3: I thought kind of wrapping, wrapping this back around, kind
• 1:15:48
  Speaker 3: of bringing this up again with that quote, was you know,
• 1:15:51
  Speaker 3: just a good way to kind of continue that.
• 1:15:53
  Speaker 6: It's the best of both worlds, right, I mean, yeah,
• 1:15:57
  Speaker 6: two directors that excel to the full and what they're
• 1:16:01
  Speaker 6: known for. I would say, you know, Spielberg more like
• 1:16:04
  Speaker 6: the blockbuster films like Spectacles and then Hooper is you know,
• 1:16:10
  Speaker 6: deeply entrenched in the horror genre. The the ending to
• 1:16:18
  Speaker 6: this film, I think it's just I get like a
• 1:16:22
  Speaker 6: chuckle out of it every time it gets to this
• 1:16:24
  Speaker 6: point where they get to the holiday inn.
• 1:16:28
  Speaker 3: Rolling the TV out.
• 1:16:30
  Speaker 2: Yeah, it's just like that's it.
• 1:16:35
  Speaker 6: That's all you need, you know, It's it's nothing, nothing
• 1:16:38
  Speaker 6: over the top, you know, It's just it wraps everything
• 1:16:43
  Speaker 6: up neatly and that's it.
• 1:16:45
  Speaker 2: You have a like like a perfect horror film.
• 1:16:50
  Speaker 3: Do you think the Freeling family would grow to be
• 1:16:53
  Speaker 3: physical media collectors or do you think they would never
• 1:16:55
  Speaker 3: watch TV again?
• 1:16:56
  Speaker 2: Oh? They're never watched TV again.
• 1:16:58
  Speaker 3: It was like, dude, can you imagine being the Freezing
• 1:17:01
  Speaker 3: family when TV went to twenty four hour broadcast and
• 1:17:04
  Speaker 3: you're like, oh, thank fuck, I could finally watch TV
• 1:17:07
  Speaker 3: again without.
• 1:17:10
  Speaker 6: Hopefully no issues going forward.
• 1:17:12
  Speaker 3: Feel like, like, god forbid, we lose Gable and the static,
• 1:17:16
  Speaker 3: so don't flip the channel too.
• 1:17:20
  Speaker 2: I have to say that this movie.
• 1:17:27
  Speaker 6: Again, it's a film that I come back to time
• 1:17:31
  Speaker 6: and time again, especially once summer starts rolling around. And
• 1:17:37
  Speaker 6: as much as I adore this film, I don't feel
• 1:17:40
  Speaker 6: like I.
• 1:17:40
  Speaker 2: Like Poultergeist too.
• 1:17:42
  Speaker 6: I don't feel like they, you know, even two or
• 1:17:45
  Speaker 6: three come close to just how captivating the first one.
• 1:17:50
  Speaker 2: Is, what do you think?
• 1:17:52
  Speaker 3: Yeah, no, I mean polter guyst two has has moments,
• 1:17:56
  Speaker 3: you know, Reverend Kane is terrifying. Mm hmm. Poltic Geist
• 1:18:01
  Speaker 3: three is like the Demons two of the Polticgeist franchise
• 1:18:06
  Speaker 3: in a high rise and there's a There is a
• 1:18:08
  Speaker 3: lot of cool stuff in that movie with mirrors and windows.
• 1:18:12
  Speaker 2: That's true.
• 1:18:13
  Speaker 3: There is, you know, some some visual merit. But I
• 1:18:18
  Speaker 3: don't ever. I don't even my wife and I we
• 1:18:20
  Speaker 3: don't even own two in three just because I've never
• 1:18:24
  Speaker 3: heard two. You have, like the screen give the old
• 1:18:26
  Speaker 3: Screen Factory.
• 1:18:27
  Speaker 2: Release, the four K that they put out.
• 1:18:32
  Speaker 3: Oh they did do, Yeah, they did four K. I
• 1:18:36
  Speaker 3: don't have there was an original Blu Ray release, right,
• 1:18:39
  Speaker 3: I think I see the art in my head. I
• 1:18:41
  Speaker 3: had like Reverend Cane on the front, and I think
• 1:18:45
  Speaker 3: there was a original Blu Ray Boulter guys too.
• 1:18:53
  Speaker 2: Oh yeah, ye.
• 1:18:56
  Speaker 1: See that?
• 1:18:57
  Speaker 3: Oh yeah, that's it. Yeah, very scary.
• 1:19:02
  Speaker 6: Can I point out that? And this is completely unrelated,
• 1:19:08
  Speaker 6: but the Screen Factory Blu Ray artwork is significantly better
• 1:19:15
  Speaker 6: than anything that we've gotten for any of the four case.
• 1:19:20
  Speaker 6: It was like just so it's so oh my gosh,
• 1:19:24
  Speaker 6: It's like I I would go back to pick some
• 1:19:27
  Speaker 6: of those up just for the artwork.
• 1:19:31
  Speaker 3: I think the last time I felt like they were
• 1:19:37
  Speaker 3: up on their arts when they did the alternative slips
• 1:19:40
  Speaker 3: for the Child's Play franchise.
• 1:19:45
  Speaker 2: Because but that you had to buy a whole bundle
• 1:19:47
  Speaker 2: for right.
• 1:19:48
  Speaker 3: Yeah, but that that art style very because I think
• 1:19:52
  Speaker 3: it was that all done by Devin Drawls. I think
• 1:19:55
  Speaker 3: that's why I believe so well. Now it's funny because
• 1:19:58
  Speaker 3: like some of these old screen factory commissioned arts are
• 1:20:02
  Speaker 3: like Cavity colors and fright rag shirts. Now like the art,
• 1:20:06
  Speaker 3: like the ownership on the art has moved on to
• 1:20:08
  Speaker 3: other companies to use. I think.
• 1:20:12
  Speaker 6: I mean, there was just some love that went into
• 1:20:14
  Speaker 6: you know, the the cover art to us.
• 1:20:17
  Speaker 3: Listen, dude, screen the man. They're too busy to triple
• 1:20:21
  Speaker 3: releasing things on steel books to do cool slip covers anymore.
• 1:20:24
  Speaker 6: Man, it's business, all right, don't get me started. But
• 1:20:27
  Speaker 6: I will say I have to give credit where credit's due.
• 1:20:32
  Speaker 6: The four K for Poultargeist too looks really nice.
• 1:20:36
  Speaker 2: Fine, I can't.
• 1:20:37
  Speaker 6: I cannot knock their four K transfers. I just don't
• 1:20:40
  Speaker 6: always agree with their artistic choices.
• 1:20:44
  Speaker 3: Yeah, there's no way in hell I'm buying Poltic Gust
• 1:20:47
  Speaker 3: three on four K though there you're not even gonna
• 1:20:48
  Speaker 3: give you to buy it on Blue ray? Ake, Sure,
• 1:20:51
  Speaker 3: I'll pick up a DVD. Okay, what do you think
• 1:20:54
  Speaker 3: about that?
• 1:20:56
  Speaker 6: I think that that's I wouldn't go out your way
• 1:20:59
  Speaker 6: for that one.
• 1:21:04
  Speaker 3: Any last notes on Poldergeist before we wrap up.
• 1:21:07
  Speaker 6: Here, No, nothing that hasn't already been said. I just
• 1:21:14
  Speaker 6: I hope everyone has a chance to get out there
• 1:21:17
  Speaker 6: pick up the four K. It's definitely a really memorable experience.
• 1:21:25
  Speaker 6: I'm happy we had a chance to do a deep
• 1:21:26
  Speaker 6: dive on this one.
• 1:21:28
  Speaker 3: Yeah. Yeah, I love this movie, man. I think I've
• 1:21:30
  Speaker 3: said it on most of our episodes. You know, my
• 1:21:32
  Speaker 3: favorite thing about doing this with you is that I
• 1:21:34
  Speaker 3: get to revisit these movies and sit down and watch them,
• 1:21:37
  Speaker 3: like really watch, you know, with intent, knowing that we
• 1:21:41
  Speaker 3: have to speak on them, and you know, nine times
• 1:21:44
  Speaker 3: out of ten, I come out loving the movie way
• 1:21:47
  Speaker 3: much more than I. Oh yeah, with a new found
• 1:21:50
  Speaker 3: love for it than I did before, and I think
• 1:21:54
  Speaker 3: this is almost I don't want to say that this
• 1:21:58
  Speaker 3: is a good entry level horror because I think when
• 1:22:01
  Speaker 3: this movie gets scary, it gets really really scary. But
• 1:22:07
  Speaker 3: I really hope that there are parents out there who
• 1:22:10
  Speaker 3: make the decision around ten, eleven, twelve years old to
• 1:22:13
  Speaker 3: show their kids Boltergeist because it's to your rules, man,
• 1:22:17
  Speaker 3: and it's perfect. It's such a great This is an
• 1:22:20
  Speaker 3: ambulance movie through and through perfect example man the bus well, Steve,
• 1:22:28
  Speaker 3: let people know before we get out of here, what
• 1:22:33
  Speaker 3: I need you to do is put on a helmet
• 1:22:35
  Speaker 3: and get in the circle that I've drawn on the floor,
• 1:22:39
  Speaker 3: and as you are passed from one side of the
• 1:22:41
  Speaker 3: kitchen together, let people know you know where they can
• 1:22:44
  Speaker 3: find you.
• 1:22:46
  Speaker 6: You guys can find me after hours video. I am
• 1:22:49
  Speaker 6: all over social media and you can definitely keep up
• 1:22:53
  Speaker 6: with me as I am checking out all the movies Chris,
• 1:22:57
  Speaker 6: what about.
• 1:22:58
  Speaker 3: You film guy over on Instagram. Please do us a
• 1:23:05
  Speaker 3: favor and go check out all of our other partner
• 1:23:07
  Speaker 3: podcasts on Someone's favorite Productions podcast network. Just I've really
• 1:23:14
  Speaker 3: been spending at the ending of every single one of
• 1:23:17
  Speaker 3: our episodes, you know, shouting out everybody who we have
• 1:23:20
  Speaker 3: the pleasure of working with and sharing this relationship with.
• 1:23:25
  Speaker 3: If you're passionate about movies, There's so much to learn
• 1:23:29
  Speaker 3: out there, and I think that we're lucky enough to
• 1:23:32
  Speaker 3: be on a network of some of the best shows
• 1:23:34
  Speaker 3: I've ever heard that I consistently go back and listen
• 1:23:36
  Speaker 3: to a time and time again. So please go check though,
• 1:23:40
  Speaker 3: Please go check that out. I also going to have
• 1:23:43
  Speaker 3: a link below to the June the Pride issue of
• 1:23:45
  Speaker 3: Physical Media Advocate magazine over on Amazon. If you're lucky
• 1:23:50
  Speaker 3: enough to live near a Scarecrow Video or a few
• 1:23:52
  Speaker 3: other smaller physical media retailers who carried it in store,
• 1:23:57
  Speaker 3: I highly urge you to go pick it up there,
• 1:23:58
  Speaker 3: but I'll leave the Amazon link below in a description
• 1:24:01
  Speaker 3: for you to pick that up. And uh, let's see
• 1:24:05
  Speaker 3: we have another episode of record pretty soon, man, because
• 1:24:08
  Speaker 3: I'm gonna be gone for a week and uh, I'm excited.
• 1:24:12
  Speaker 4: Man.
• 1:24:13
  Speaker 3: I'm gonna go to Disney and I'm gonna ride. Uh
• 1:24:15
  Speaker 3: my wife and I are gonna get on some rides.
• 1:24:17
  Speaker 3: We're gonna eat some food, and uh, I don't know,
• 1:24:21
  Speaker 3: I'm trying to think of what d oh dude, it's
• 1:24:24
  Speaker 3: so my I spoke to spoke to one of my
• 1:24:29
  Speaker 3: upper management at work today and she's like, you sound
• 1:24:31
  Speaker 3: like you need a break. I was like, thank you,
• 1:24:34
  Speaker 3: Like thanks, I appreciate that. It's always like, you know,
• 1:24:40
  Speaker 3: when you're counting down to vacation, you're like, Okay, sixty
• 1:24:43
  Speaker 3: days out. Oh, it's gonna take forever, and then you know,
• 1:24:46
  Speaker 3: you blink and it's ten days out. But the ten
• 1:24:48
  Speaker 3: days feel like longer than the six to fifty days
• 1:24:51
  Speaker 3: before that felt.
• 1:24:52
  Speaker 6: You know, listen, if you just watch Poultergeist two tonight,
• 1:24:57
  Speaker 6: Poultergeist three tomorrow, it'll be here before you know it.
• 1:25:01
  Speaker 3: Really, Yeah, so nine days left. That means I can
• 1:25:06
  Speaker 3: I can three times run through up Polt Guys if
• 1:25:09
  Speaker 3: I and I'll get on the plane right as I
• 1:25:13
  Speaker 3: end Polt Guys three, So you know, always good times.
• 1:25:19
  Speaker 2: I like that move, honestly good watched.
• 1:25:21
  Speaker 3: Polt Guys three and then go on a plane. Yeah,
• 1:25:26
  Speaker 3: it sounds like bad luck if I'm being honest with you.
• 1:25:30
  Speaker 3: All right, everyone, thanks for hanging out. We'll see you
• 1:25:33
  Speaker 3: guys on the next one.
• 1:25:41
  Speaker 4: Thank you for listening to hear more shows from the
• 1:25:44
  Speaker 4: Someone's Favorite Productions, Podcast Network. Please select the link in
• 1:25:48
  Speaker 4: the description