Latest / Beyond The Blood: A Horror Movie Commentary Podcast / My Bloody Valentine (1981) W/ Steve from After Hours Video!

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My Bloody Valentine (1981) W/ Steve from After Hours Video! · Beyond The Blood: A Horror Movie Commentary Podcast

• 0:27
  Speaker 1: Welcome back to be on the Blood, a horror commentary podcast.
• 0:32
  Speaker 1: This is the only podcast that uses audio commentaries to
• 0:35
  Speaker 1: guide conversations into our favorite horror movies. Today, we're talking
• 0:39
  Speaker 1: about my Bloody Valentine from nineteen eighty one, the classic
• 0:44
  Speaker 1: the Quintessential Valentine Day slasher, and our audio commentary that
• 0:49
  Speaker 1: we're going to be using is with director George mahalka
• 0:52
  Speaker 1: off of the Scream Factory Blu ray release we did
• 0:56
  Speaker 1: particularly for this one, the unrated cut. My name is
• 0:59
  Speaker 1: Chris As. I am one of your hosts. I'm known
• 1:01
  Speaker 1: on the internet as Bearded film Guy. But I am
• 1:04
  Speaker 1: not alone today and my journey into the Hannicker Minds,
• 1:07
  Speaker 1: I'm going to be accompanied by a couple of friends,
• 1:10
  Speaker 1: a couple of guests, my co host, so Chuck, how
• 1:13
  Speaker 1: you doing today, man?
• 1:15
  Speaker 2: I'm doing good, Man, Thank you for asking. How about yourself?
• 1:18
  Speaker 1: Good good. I'm a little nervous about this trip in
• 1:19
  Speaker 1: the minds. I'm a little claustrophobic.
• 1:22
  Speaker 2: Yeah, I don't blame you, and especially after hearing the
• 1:24
  Speaker 2: tales of Harry Warden, doesn't make it any less, you know, Gary, I.
• 1:29
  Speaker 1: Think I'm more scared of the bugs man.
• 1:32
  Speaker 2: Oh yeah, for sure.
• 1:34
  Speaker 1: But you know, I have a feeling that you and
• 1:36
  Speaker 1: I are not going to last long down here, so
• 1:38
  Speaker 1: I decided we need a third person to continue on
• 1:42
  Speaker 1: our legacy if something was to happen. Go ahead and
• 1:45
  Speaker 1: introduce yourself.
• 1:47
  Speaker 3: What's up, everyone, It's Stephen here from After Hours Video
• 1:50
  Speaker 3: and I'm excited to dive into one of my favorite
• 1:52
  Speaker 3: slashers from the eighties.
• 1:55
  Speaker 1: Yeah, so, just everybody knows for transparency, this is our
• 1:57
  Speaker 1: second go of this intro, and I was shocked to
• 2:01
  Speaker 1: hear of Steve's love for my buddy Valentine. So give
• 2:05
  Speaker 1: me this is one of your favorites? Why is this
• 2:08
  Speaker 1: one of your favorites?
• 2:09
  Speaker 3: Just out of curiosity, I would have to say the
• 2:14
  Speaker 3: lasting impact that this movie has had, not only for
• 2:18
  Speaker 3: slashers in general, but I think everything that it brings
• 2:22
  Speaker 3: to the table, between the story, the creative kills, the soundtrack,
• 2:28
  Speaker 3: It's a movie that I find myself coming back to
• 2:30
  Speaker 3: time and time again, especially this time of year.
• 2:32
  Speaker 1: Yeah, dude, I'm such a sucker for holiday theme slasher movies.
• 2:37
  Speaker 2: Oh yeah, just sucker for them.
• 2:39
  Speaker 1: Chuck, what about you? How does my bloody Valentine.
• 2:41
  Speaker 2: Hold up for you, Oh, it definitely holds up well.
• 2:45
  Speaker 2: I thought for the first time a couple of years
• 2:46
  Speaker 2: ago around Valentine's Day, of course, and just you know,
• 2:49
  Speaker 2: the movie stuck with me ever since then, and those
• 2:53
  Speaker 2: are great stories, fun and yeah, like you said, just
• 2:57
  Speaker 2: Stucker for holiday slashers as well.
• 3:00
  Speaker 1: Yeah, yeah, there's an authenticity of this movie that I
• 3:03
  Speaker 1: really like. For me. I saw the remake first. I
• 3:07
  Speaker 1: was like fifteen sixteen, I would say fifteen when that
• 3:11
  Speaker 1: came out. It was in three D. It was cool
• 3:14
  Speaker 1: saw that. You know, at the time I really liked it.
• 3:17
  Speaker 1: Not so much anymore, but at the time I really
• 3:19
  Speaker 1: really liked it. Had no idea it was a remake.
• 3:23
  Speaker 1: I remember hearing about it some way tracking down some
• 3:26
  Speaker 1: old DVD, but that was you know, the still the
• 3:29
  Speaker 1: rated cut, the theatrical cut, and the unrated cut. I
• 3:33
  Speaker 1: believe that Screen Factory put this out in twenty sixteen,
• 3:36
  Speaker 1: so this was like ten years after the remake came
• 3:40
  Speaker 1: and I remember seeking this out and the extra oomph
• 3:45
  Speaker 1: of the kills definitely helps the impact of this movie
• 3:49
  Speaker 1: a lot more. And we'll, you know, we'll get into
• 3:52
  Speaker 1: that as we dive into this and kind of talk
• 3:54
  Speaker 1: about what happened there with the cuts and stuff. You guys,
• 3:59
  Speaker 1: are you guys fan of the remake or no?
• 4:05
  Speaker 2: I personally have not seen the remake yet. It saw
• 4:07
  Speaker 2: my list to watch though, how about you, Stephen.
• 4:12
  Speaker 3: I remember watching that in theaters when initially came out,
• 4:15
  Speaker 3: and watching the original one before going to see that,
• 4:21
  Speaker 3: and I would say, it's a pretty stark difference. You know,
• 4:23
  Speaker 3: there's a lot of the key components that they carried
• 4:26
  Speaker 3: over into the remake. I think the original holds up
• 4:30
  Speaker 3: a lot better. It felt like with the remake, it's
• 4:34
  Speaker 3: very much of its time, and I don't know if
• 4:36
  Speaker 3: it's held up as well as when like revisiting it
• 4:39
  Speaker 3: if I felt like it held up as well.
• 4:41
  Speaker 1: So, yeah, I watched it today and it definitely felt
• 4:46
  Speaker 1: dumb down, like it just you could tell that there.
• 4:50
  Speaker 1: It wasn't you didn't have the same talent behind it,
• 4:53
  Speaker 1: like yeah, Patrick Lucier, you know he's an iconic director,
• 4:56
  Speaker 1: but I don't know. It all just felt like it
• 5:00
  Speaker 1: had the spirit just something. It felt like it knew
• 5:05
  Speaker 1: what it was doing and it didn't really try to
• 5:07
  Speaker 1: do anything different. And the original just works better for
• 5:10
  Speaker 1: me in this case. But still an iconic movie. I mean,
• 5:14
  Speaker 1: I think this is one of the most under talked
• 5:20
  Speaker 1: about early eighty slashers because I think it gets lumped
• 5:22
  Speaker 1: into the holiday slasher category. But in all reality, there's
• 5:28
  Speaker 1: more world building, there is better characters, there's more real
• 5:33
  Speaker 1: like it's more real, it's more authentic than most slashers
• 5:37
  Speaker 1: from this period. So it's kind of an interesting watch
• 5:40
  Speaker 1: under that kind of viewpoint for me. But yeah, this
• 5:45
  Speaker 1: is this movie's really cool because there's a lot of
• 5:50
  Speaker 1: a lot of talent behind this that we'll get into.
• 5:53
  Speaker 1: And this was very early on for a lot of
• 5:56
  Speaker 1: the talent that ended up working on this. This was
• 5:58
  Speaker 1: of course a Canadian product auction. This was a Canadian movie.
• 6:03
  Speaker 1: But let's just dive into the key players.
• 6:05
  Speaker 2: How does that sound sounds good?
• 6:08
  Speaker 1: All right? All right, So we have director George Mahawka.
• 6:11
  Speaker 1: Of course, this was the second movie of his career.
• 6:15
  Speaker 1: I wish the second of anything I did was as
• 6:17
  Speaker 1: good as as this outing was. And this is a
• 6:22
  Speaker 1: guy who has an incredibly long career in film and television.
• 6:27
  Speaker 1: He has been honored over fifty times, that's between nominations
• 6:31
  Speaker 1: and awards in Canada, and he received a lifetime Achievement
• 6:35
  Speaker 1: Award and a Distinguished Service Award from the Director's Guild
• 6:39
  Speaker 1: of Canada. And earlier, when I was watching the movie,
• 6:43
  Speaker 1: I told my wife, I'm like, can you imagine this
• 6:46
  Speaker 1: is the beginning of your career and going on to
• 6:48
  Speaker 1: do that kind of make that kind of impact, you
• 6:52
  Speaker 1: know what I mean? Yeah, yeah, this little slasher movie
• 6:58
  Speaker 1: kind of and he did. I don't his work is
• 7:01
  Speaker 1: much more expansive in television, but undoubtedly in Canada his
• 7:05
  Speaker 1: impact is remarkable. So and what was what I will
• 7:10
  Speaker 1: say now is that it was cool listening to this
• 7:13
  Speaker 1: commentary because you can tell he loves this movie and
• 7:15
  Speaker 1: he was very excited to see it in the way
• 7:17
  Speaker 1: it was so that kind of warmed up my heart
• 7:20
  Speaker 1: a little bit.
• 7:21
  Speaker 3: There was a lot of passion in the commentary.
• 7:23
  Speaker 1: Yeah, a whole lot of it.
• 7:25
  Speaker 3: Yeah.
• 7:27
  Speaker 1: And accompanying him we had writer John Beard. I'm gonna
• 7:32
  Speaker 1: say Beard, there's an eye in there, but that's how
• 7:34
  Speaker 1: I'm going to pronounce it. He was an uncredited writer
• 7:38
  Speaker 1: for A Happy Birthday to Me also in nineteen eighty one,
• 7:41
  Speaker 1: not really much else on his resume. Unfortunately, he left
• 7:45
  Speaker 1: us in nineteen ninety three, but throughout the commentary, George
• 7:49
  Speaker 1: talks very fondly of him with some script changes and
• 7:52
  Speaker 1: stuff like that, so that was nice to hear. This
• 7:55
  Speaker 1: movie was shot by Rodney Gibbons. I think this movie's
• 7:59
  Speaker 1: incredible well shot, so I'm very when I when I
• 8:03
  Speaker 1: was doing my research, I was shocked to see that
• 8:05
  Speaker 1: this guy didn't do more big name product like projects.
• 8:10
  Speaker 1: Most noticeably, he did Scanners two and Screamers. Are you
• 8:14
  Speaker 1: guys fans of any of those?
• 8:18
  Speaker 2: I've seen the first Scanners. I haven't seen the second
• 8:20
  Speaker 2: one yet. It's in the collection, but I haven't gotten
• 8:22
  Speaker 2: to and Screamers I have not checked out yet as well,
• 8:26
  Speaker 2: but I'll get to it. There's still a lot on
• 8:27
  Speaker 2: the list to get too.
• 8:30
  Speaker 1: Okay, Okay, So Scanner's two is good, Scanners three is better.
• 8:35
  Speaker 1: You know, how do you follow up Cronenberg? I don't know,
• 8:38
  Speaker 1: of course, Yeah I don't. I don't want that responsibility.
• 8:41
  Speaker 1: But the Fly two was good.
• 8:43
  Speaker 2: You know? Okay?
• 8:45
  Speaker 3: Yeah, Well you gotta be wanting to check out some
• 8:47
  Speaker 3: of these sequels.
• 8:48
  Speaker 1: Yeah, yeah, go into the sequel, uh you know, the
• 8:52
  Speaker 1: sequel hell whole yeah, as I like to call it.
• 8:56
  Speaker 1: So I'm typically not one to want to talk about producers,
• 8:59
  Speaker 1: but because I don't know, man, I feel like the
• 9:02
  Speaker 1: producers are kind of like useless, you know. I think
• 9:05
  Speaker 1: most of the changes that they apply are not beneficial
• 9:09
  Speaker 1: to the end. The end, you know what we get
• 9:11
  Speaker 1: at the end. But this was produced by a trio
• 9:14
  Speaker 1: John Dunning, Andre Link and Steven A. Miller. John and
• 9:18
  Speaker 1: Andre they're most noticeable from Meatballs fame, so they brought us.
• 9:23
  Speaker 1: They brought us meatballs. So a bit of an interesting
• 9:26
  Speaker 1: little filmography there. One of the one of like the
• 9:30
  Speaker 1: stars of this crew, Thomas R. Berman, he did he
• 9:33
  Speaker 1: was head of makeup effects for this movie. And I
• 9:36
  Speaker 1: have to take a deep breath to list off this
• 9:38
  Speaker 1: name of credits of his, and there was more. I
• 9:41
  Speaker 1: picked just what I thought would stand out the most.
• 9:46
  Speaker 1: Let's see Deep Breath, Prophecy, Altered States, The Beast Within
• 9:51
  Speaker 1: One Dark Night, The Rage, Carry Two Body, Double Halloween Three,
• 9:56
  Speaker 1: Phantom of the Paradise, Throw Mama from the Train, on
• 10:00
  Speaker 1: and on and on and clearly watching my buddy Valentine,
• 10:05
  Speaker 1: this guy's incredibly talented, has had a very long and
• 10:07
  Speaker 1: fruitful career. I'll go to Steve first on this one.
• 10:11
  Speaker 1: What do you think of his makeup effects in this movie.
• 10:15
  Speaker 3: I would say that they are a standout of this movie.
• 10:18
  Speaker 3: The effects in this especially seeing it in the uncut version,
• 10:23
  Speaker 3: are something that I always come back to. I would
• 10:27
  Speaker 3: say that those the effects are just there's just something
• 10:31
  Speaker 3: about that specific time and especially with this film, it
• 10:35
  Speaker 3: really seems like they went above and beyond make them
• 10:38
  Speaker 3: stand out.
• 10:40
  Speaker 1: Yeah yeah, Chuck, what about you? What did you think
• 10:41
  Speaker 1: of the effects in this one?
• 10:42
  Speaker 2: Yeah? I completely agree. They definitely stand out. They are
• 10:46
  Speaker 2: great for the time period that they were in. But dude,
• 10:50
  Speaker 2: just brutal gory and just yeah, it's sick.
• 10:56
  Speaker 1: Yeah, dude, every kill in this movie, and we'll get
• 10:58
  Speaker 1: into that, every kill has impact. Like there is no
• 11:02
  Speaker 1: just you know, on the side death in this movie.
• 11:04
  Speaker 1: I don't think even the one death in the movie
• 11:06
  Speaker 1: that is like bloodless still has a lot of impact,
• 11:09
  Speaker 1: enough impact that the MPAA had problems with it. So
• 11:13
  Speaker 1: some great work there. And then of course our composer
• 11:15
  Speaker 1: was Paul Zaza. He worked on a pretty eclectic bunch.
• 11:19
  Speaker 1: He did Porky's Curtains, prom Night two, prom Night three,
• 11:23
  Speaker 1: The Brain Popcorn from nineteen ninety one. He did the
• 11:26
  Speaker 1: Tommy Lee Jones action thriller Blown Away, and then he
• 11:30
  Speaker 1: worked with Bob Clark on a Christmas story. So yeah,
• 11:35
  Speaker 1: pretty pretty a.
• 11:36
  Speaker 3: Critic little, you know, very diverse resume.
• 11:40
  Speaker 1: Yeah, yeah, yeah, Chuck, I'll start with you. What do
• 11:42
  Speaker 1: you think of the music in this in My Bloody Valentine?
• 11:45
  Speaker 2: Oh, the music. The score is great. It's just every
• 11:49
  Speaker 2: every score for the scenes that the company would just
• 11:51
  Speaker 2: fit perfectly to build the tension. And yeah, it's awesome. Yeah,
• 11:57
  Speaker 2: awesome score.
• 11:58
  Speaker 1: Steve, you said you have the score.
• 12:00
  Speaker 3: I do. I have to give a shout out to
• 12:02
  Speaker 3: Waxwork Records for giving it the love that it deserves.
• 12:07
  Speaker 3: I have this on vinyl and I went back and
• 12:10
  Speaker 3: I was listening to it, and I just like the
• 12:13
  Speaker 3: stark contrast between how there's certain parts where it's very lush,
• 12:17
  Speaker 3: melodic initially and then it leads more into your sinister sound.
• 12:21
  Speaker 3: And Chris, what you were saying earlier is that it's seamlessly.
• 12:27
  Speaker 3: It seamlessly blends into the movie so well that you
• 12:30
  Speaker 3: don't notice it until there's like accents where it really
• 12:34
  Speaker 3: is featured a little bit more prominently. And I think it's,
• 12:37
  Speaker 3: you know, one of the standouts for this movie.
• 12:42
  Speaker 1: Yeah, I compare it to before when we were in
• 12:46
  Speaker 1: the lobby preparing to record this, I was talking about
• 12:49
  Speaker 1: how I'm very like I love scores, so I'm always
• 12:53
  Speaker 1: paying attention to them, and then with my buddy Valentine,
• 12:57
  Speaker 1: I didn't even notice it until the end of the movie,
• 13:00
  Speaker 1: which is to me, is a great thing because that
• 13:02
  Speaker 1: means it blended in and it very much reminded me
• 13:06
  Speaker 1: of We talked about Pino di Nagio and this very melodic,
• 13:09
  Speaker 1: beautiful score, especially at the end with like Harry Warden's
• 13:13
  Speaker 1: Ballad which just a side note, Paul's as I wrote
• 13:17
  Speaker 1: in one day because they felt like something was missing,
• 13:20
  Speaker 1: which is pretty crazy, but yeah, it's a it's a
• 13:23
  Speaker 1: beautiful score. And that vinyl is still available from from
• 13:26
  Speaker 1: Waxwork Records, so if anybody's interested, that's still up so
• 13:30
  Speaker 1: you can still buy that. Yeah, those are our key players.
• 13:34
  Speaker 1: We don't dive into the cast too much on here.
• 13:39
  Speaker 1: To me, the most interesting aspects of movies are obviously
• 13:42
  Speaker 1: the the you know, the acting is important. They're important,
• 13:46
  Speaker 1: but for me, I'm more of a crew guy, especially
• 13:49
  Speaker 1: when we're diving into the commentary. So any anything we
• 13:52
  Speaker 1: talk about with the cast will come up during our
• 13:55
  Speaker 1: our full breakdown. But you guys are ready to dive
• 13:59
  Speaker 1: into this thing. Like head first, I picture us in
• 14:03
  Speaker 1: the mines, right, and we're on that train, but it's
• 14:07
  Speaker 1: it's not the train from this movie. It's the train
• 14:09
  Speaker 1: from Temple of Doom. And we're like we're jumping tracks
• 14:14
  Speaker 1: and like hitting ramps. You know.
• 14:17
  Speaker 3: That's I don't know if I'm ready for this ride.
• 14:23
  Speaker 1: Yeah, there's no seatbelts on this train, unfortunately, but yeah,
• 14:29
  Speaker 1: I'm gonna pass it over. Chuck, you actually did this
• 14:32
  Speaker 1: full breakdown for us, man, So so take us into
• 14:35
  Speaker 1: the Hanniger mind. Let's dive into this thing.
• 14:38
  Speaker 2: All right. Let's get this started, all right. So the
• 14:40
  Speaker 2: movie opens up with two mine workers walking through some
• 14:45
  Speaker 2: mind shafts until they get to a a little clearing area.
• 14:50
  Speaker 2: We see one of the miners walking around, looking around
• 14:53
  Speaker 2: to see if anybody's around, because in the background we
• 14:57
  Speaker 2: see the other miner begin to get undressed. They start
• 15:01
  Speaker 2: to get a little and intimate with each other, excuse me,
• 15:04
  Speaker 2: and the woman begins to unzip the man's clothing and
• 15:09
  Speaker 2: kind of strokes the air hose from his gas mask
• 15:13
  Speaker 2: in a very sexual way. And this is where we
• 15:17
  Speaker 2: have our first commentary note.
• 15:19
  Speaker 1: Yeah, that's an interesting uh. I will say another note
• 15:23
  Speaker 1: that I didn't write down, but this is one of
• 15:25
  Speaker 1: the sets. So most of the movie was shot in
• 15:27
  Speaker 1: a real mind, this was a set that was built
• 15:31
  Speaker 1: on a sound stage, which was cool. But this opening scene.
• 15:35
  Speaker 1: George mentions in the commentary that this was actually inspired
• 15:38
  Speaker 1: by BDSM and his exact quote was that it was
• 15:42
  Speaker 1: not fashionable at the time, so he thought it would
• 15:44
  Speaker 1: be an interesting premise to open with. And that makes
• 15:46
  Speaker 1: me think that in a positive way. George Mahalka is
• 15:49
  Speaker 1: a bit of a freak. Yeah, like, you know, it's
• 15:56
  Speaker 1: kind of like the he's got like the Clive Barker
• 15:58
  Speaker 1: thing kind of happening earlier on in this just obsessed
• 16:01
  Speaker 1: with that that weird sexual fantasy, and it is a
• 16:04
  Speaker 1: little odd when she's stroke in that that.
• 16:07
  Speaker 3: Yeah, there's definitely sexual innertnes to it. I feel like
• 16:11
  Speaker 3: that how he filmed it, he was really trying to
• 16:14
  Speaker 3: push the envelope, especially with the opening scene.
• 16:17
  Speaker 1: Yeah, yeah, for sure. I just thought it was interesting
• 16:20
  Speaker 1: because you don't think, you know, it's kind of like
• 16:23
  Speaker 1: kicking off like a commentary note like this, this is
• 16:25
  Speaker 1: the stuff that I feel like I've never seen anybody
• 16:27
  Speaker 1: talk about with my buddy Valentine. It's like this BDSM
• 16:30
  Speaker 1: underlying note. And it's a small scene, but I still
• 16:34
  Speaker 1: think that's an important context the view that opening that
• 16:37
  Speaker 1: opening scene with.
• 16:38
  Speaker 2: So yeah, for sure. So then after that we get
• 16:44
  Speaker 2: a little close up shot of a heart tattoo that
• 16:47
  Speaker 2: is on her chest. And it's when you get this
• 16:50
  Speaker 2: close up shot when we start to hear the man
• 16:52
  Speaker 2: breathing very heavily, as if he's getting angry at the
• 16:55
  Speaker 2: sight of this tattoo. And I forgot to mention prior
• 16:59
  Speaker 2: to this, but for some reason, he placed his pick
• 17:01
  Speaker 2: ax in the wall directly behind her before they started
• 17:04
  Speaker 2: getting intimate with each other. And it's at this point
• 17:06
  Speaker 2: when he pushes her into that pick axe and which
• 17:09
  Speaker 2: pierces through her chest and actually goes through the heart
• 17:12
  Speaker 2: tet to itself. And as she's letting out a shriek,
• 17:16
  Speaker 2: we get a zoom in on her mouth and we
• 17:18
  Speaker 2: get our title card for the movie.
• 17:21
  Speaker 1: Dude, movies, movies don't do this. I mean, okay, I can't.
• 17:25
  Speaker 1: I can't lie this transition into the opening credits. I
• 17:28
  Speaker 1: feel like it's become a bit of a trend lately
• 17:32
  Speaker 1: to do these cool like freeze frame, quick zoom transition
• 17:36
  Speaker 1: into credits. But this opening scene is really awesome and
• 17:41
  Speaker 1: I really want that heart tattooed on me.
• 17:43
  Speaker 2: Yeah, it definitely gets to the point, you know, you
• 17:47
  Speaker 2: get it. I see what she did there.
• 17:50
  Speaker 1: What do you guys think of the pickaxe as a weapon?
• 17:53
  Speaker 1: Would you guys go with that?
• 17:57
  Speaker 2: It's definitely unique, but I don't think be very practical
• 18:01
  Speaker 2: with how heavy they are.
• 18:02
  Speaker 1: I thought, yeah, they are heavy, but I thought, like,
• 18:05
  Speaker 1: you know, that'd be pretty cool, like if I got
• 18:07
  Speaker 1: if I got somebody I'm trying to kill in front
• 18:08
  Speaker 1: of me and then somebody you know, in support of
• 18:11
  Speaker 1: that person is behind me, I could hit the person
• 18:12
  Speaker 1: in front of me and then just jump backwards and
• 18:14
  Speaker 1: hit the person behind me too. So you know, I
• 18:17
  Speaker 1: think there's some some use there with the double sided pickaxe.
• 18:20
  Speaker 2: You know, I didn't even think of that, And that's
• 18:22
  Speaker 2: actually pretty that's a good point.
• 18:24
  Speaker 3: There had to have been like some sheer force for
• 18:26
  Speaker 3: him to push her right on the pick axe for
• 18:29
  Speaker 3: that literally to go all the way through her, But yeah,
• 18:32
  Speaker 3: it does. It does highlight the effects so that you know,
• 18:34
  Speaker 3: leading into the title card. It's just kind of setting
• 18:38
  Speaker 3: us up for the rest of the movie.
• 18:40
  Speaker 1: Yeah. I also noticed too. I think it was like
• 18:42
  Speaker 1: the third time I watched the movie, I was like,
• 18:43
  Speaker 1: the angle of the handle of the axe wouldn't allow
• 18:47
  Speaker 1: her to pierce through that way. It was like, you know,
• 18:49
  Speaker 1: one of those stupid thoughts were you're thinking way too
• 18:51
  Speaker 1: much into it.
• 18:52
  Speaker 2: Yeah, but yeah, he just does it with such ease too,
• 18:56
  Speaker 2: Like which will we'll get to, uh like the root
• 19:00
  Speaker 2: strength that this guy has later on with a certain kill.
• 19:03
  Speaker 1: Dude, the miners are strong man yest mess.
• 19:07
  Speaker 2: Absolutely And speaking of the miners, we move into our
• 19:12
  Speaker 2: next shot where we see a mind cart making its
• 19:15
  Speaker 2: way up out of the tunnels. We hear a conversation
• 19:20
  Speaker 2: going on with the I guess you could say the
• 19:22
  Speaker 2: head miner asking where the apprentices are in which the
• 19:28
  Speaker 2: guys joke around and say, well, they got to learn
• 19:30
  Speaker 2: sometime they have to find their way out of the
• 19:31
  Speaker 2: tunnels themselves. Yeah it is. Then we also hear yeah, terrible,
• 19:40
  Speaker 2: especially if their headlamps go out, be awfood walking around
• 19:44
  Speaker 2: in the dark down there with nothing to guide you through.
• 19:47
  Speaker 2: But we kind of get a bit of a little
• 19:50
  Speaker 2: bit of foreshadowing for a story that we're going to
• 19:52
  Speaker 2: be hearing soon, as one of the people says that,
• 19:56
  Speaker 2: you know, it's they didn't check the methane levels, but
• 20:00
  Speaker 2: it should be safe as long as they don't go
• 20:02
  Speaker 2: light in any matches, and then we hear another person
• 20:05
  Speaker 2: make a joke about the methane will blow up the
• 20:07
  Speaker 2: mines one day, you know, just as it casually like, nah,
• 20:11
  Speaker 2: no big deal, whatever.
• 20:12
  Speaker 1: Wait did we check that before we came down here? Right?
• 20:19
  Speaker 2: So then after this we go to a scene where
• 20:21
  Speaker 2: they are actually in their locker room slash shower room,
• 20:25
  Speaker 2: and here's where we have another commentary note.
• 20:29
  Speaker 1: Yeah, so this was actually shot in a real mining plant.
• 20:34
  Speaker 1: Everything that we see from the elevators in this case,
• 20:37
  Speaker 1: we see how they would hang their clothing from the ceiling,
• 20:41
  Speaker 1: the locker rooms of showers, these were all one hundred
• 20:44
  Speaker 1: percent reel. This was shot in a real mine. And
• 20:48
  Speaker 1: it was interesting because there's a lot of scenes in
• 20:50
  Speaker 1: this movie that were originally written but not in the
• 20:53
  Speaker 1: way that they came out. Because once George got the
• 20:56
  Speaker 1: location and kind of started scouting it and seeing all
• 20:58
  Speaker 1: of this, that's when he was like, oh, shit, this
• 21:02
  Speaker 1: is really cool. We can just shoot in hear and
• 21:05
  Speaker 1: everything that you see from the mind train to the
• 21:09
  Speaker 1: elevators are what they used to get equipment in. And
• 21:14
  Speaker 1: just a little like side fact, they could not keep
• 21:17
  Speaker 1: any equipment down in the mines, so every single day
• 21:22
  Speaker 1: they had to spend an hour hauling all the equipment down,
• 21:25
  Speaker 1: the entire crew and cast. At the end of the
• 21:28
  Speaker 1: shooting day they had to bring it back up because
• 21:32
  Speaker 1: they were never sure of the methane levels the next
• 21:34
  Speaker 1: day and if they would even be able to get
• 21:36
  Speaker 1: down to get their equipment or to film the next day,
• 21:40
  Speaker 1: they never knew. So it's really cool. Because we talk
• 21:43
  Speaker 1: about the authenticity of this movie, this is part of that.
• 21:47
  Speaker 1: It feels real. This feels like a real place that
• 21:49
  Speaker 1: we're in at all times.
• 21:51
  Speaker 3: You know, wasn't it filmed? I believe it was in
• 21:55
  Speaker 3: the Sydney mines out in Nova Scotia.
• 21:57
  Speaker 1: Yep, yep, that's exactly where they filmed it.
• 22:00
  Speaker 3: And then I think I believe I remember in the
• 22:03
  Speaker 3: commentary the mention or the director mentioning that there was
• 22:08
  Speaker 3: only I think a couple scenes that weren't filmed in
• 22:11
  Speaker 3: the mind correct.
• 22:13
  Speaker 1: Yeah, so we had the opening scene. I remember the
• 22:19
  Speaker 1: let me think the ending was on a set. Oh
• 22:23
  Speaker 1: and then the flashback where we see the explosion clearly
• 22:26
  Speaker 1: was not that was that was done on a on
• 22:29
  Speaker 1: a sound stage. Same with the moment where he's breaking
• 22:32
  Speaker 1: the light bulbs, because they couldn't do that down there, clearly.
• 22:37
  Speaker 1: But I will say, at no point did I ever
• 22:40
  Speaker 1: think or did I ever notice the difference between a
• 22:43
  Speaker 1: set and the real minds. They did a really Yeah,
• 22:46
  Speaker 1: they did a really good job at that, and there's
• 22:48
  Speaker 1: some little details that will go in as we go
• 22:50
  Speaker 1: on that really helped sell the fact that you never,
• 22:56
  Speaker 1: you can't tell ever the difference between a set and
• 22:59
  Speaker 1: the real mind So it was really really, really interesting.
• 23:04
  Speaker 3: Yeah, for sure.
• 23:06
  Speaker 2: But uh, it's in this shower scene where we kind
• 23:09
  Speaker 2: of learned some of the characters' names. We got tj
• 23:11
  Speaker 2: axel Plis, Mike Stavinski, Don and Dave Believe all in
• 23:19
  Speaker 2: this scene and you know, they're just doing a little
• 23:22
  Speaker 2: bit of banter talking about the upcoming Valentine's Day dance,
• 23:26
  Speaker 2: and we have Howard who turns around and we find
• 23:31
  Speaker 2: out later on that he's you know, the big jokester,
• 23:34
  Speaker 2: and he makes a little gesture about how he's going
• 23:36
  Speaker 2: to give his crust the Valentine that she'll never forget,
• 23:40
  Speaker 2: which all the guys laugh at. And then we also
• 23:43
  Speaker 2: find out that Axel is now dating TJ's ex girlfriend
• 23:48
  Speaker 2: since he moved away, which stirs up a bit of
• 23:51
  Speaker 2: trouble later on in the film. And uh, but yeah,
• 23:55
  Speaker 2: they'll just bantern And next thing, you know, they decide
• 23:58
  Speaker 2: that they're going to race in the town and the
• 23:59
  Speaker 2: la person there has to buy the bruise for everybody.
• 24:04
  Speaker 1: Yeah, I'm not I'm not fronting that, Bill bro No,
• 24:07
  Speaker 1: not at all. I'm racing, man, I am not. I'm
• 24:10
  Speaker 1: not waiting. There's no way I would run somebody over
• 24:13
  Speaker 1: into parking lot.
• 24:15
  Speaker 2: Straight up. Yet a bunch of miners getting off a
• 24:18
  Speaker 2: long shift and wanting to go out for beers and
• 24:20
  Speaker 2: you know that tab's going to be big.
• 24:23
  Speaker 1: Oh yeah, yeah, for sure. And this was cool too, because,
• 24:27
  Speaker 1: like Steve said, this was a real mind these were
• 24:30
  Speaker 1: the Sydney mines. But one thing that was funny, and
• 24:33
  Speaker 1: one thing that actually didn't help the budget too much
• 24:35
  Speaker 1: was when I guess everything was approved they were gonna
• 24:38
  Speaker 1: shoot at the Sydney Mines. The owners of the Mind.
• 24:42
  Speaker 1: Took it upon themselves to make the place look nice,
• 24:44
  Speaker 1: and they actually repainted the whole entire exterior of the
• 24:49
  Speaker 1: Mind to make it look nice. And when they got
• 24:52
  Speaker 1: there to film, they were like, oh, yeah, we need
• 24:55
  Speaker 1: this little dirty and like old and in use. So
• 24:59
  Speaker 1: the crew actually had to repaint the whole thing to
• 25:01
  Speaker 1: kind of de age it again. So I think I'm
• 25:05
  Speaker 1: pretty sure he said a number in the commentary. I
• 25:08
  Speaker 1: think he said it took up another another couple chunks
• 25:12
  Speaker 1: of the budget, but that was okay. It looks good though,
• 25:17
  Speaker 1: it's a great that's a that's a fantastic place to film.
• 25:19
  Speaker 1: I mean, it looks incredible on screen.
• 25:22
  Speaker 2: Yeah, it looks really nice, really cool set piece.
• 25:25
  Speaker 3: It gives a very authentic feel just as a whole
• 25:28
  Speaker 3: and almost claustrophobic when when they go back and forth
• 25:32
  Speaker 3: between those scenes. For sure.
• 25:37
  Speaker 2: Yes. Anyway, so they're racing into town, which we find
• 25:39
  Speaker 2: out the town is called Valentine Bluffs and guys, they
• 25:44
  Speaker 2: eventually go to the town hall where the girlfriends are
• 25:47
  Speaker 2: setting up for this Valentine's dance, currently decorating, and it's
• 25:53
  Speaker 2: here where we are introduced to Mabel and Mayor Hanniger,
• 25:58
  Speaker 2: and Howard decides to be the prankster who he is,
• 26:01
  Speaker 2: and Mabel and the mayor as they're coming up the
• 26:04
  Speaker 2: steps by coming out of the door with red paint
• 26:06
  Speaker 2: skewing off of his head and just acting like he
• 26:09
  Speaker 2: just got killed. Yeah, and poor old Mabel drops, you know,
• 26:14
  Speaker 2: all the supplies that she's carrying in.
• 26:18
  Speaker 1: It's a good prank.
• 26:19
  Speaker 2: It is a good prank.
• 26:21
  Speaker 1: It's a good prank. They do say in the commentary
• 26:23
  Speaker 1: how they purposely kind of made the paint a little
• 26:26
  Speaker 1: like a brighter for the distinguish between that and of
• 26:29
  Speaker 1: real blood. They didn't want it to look real. Yeah,
• 26:32
  Speaker 1: And I will say here, since we're talking about the
• 26:34
  Speaker 1: town there, there is like an incredible realness to this
• 26:39
  Speaker 1: town thanks to the production designer. You know, we get
• 26:44
  Speaker 1: that wide shot of them coming into town, and you
• 26:46
  Speaker 1: can see in that wide shot the amount of pink
• 26:48
  Speaker 1: hearts and ribbons, like this place is dressed to the
• 26:52
  Speaker 1: nines ready for Valentine's Day.
• 26:56
  Speaker 2: Oh yeah, the whole town, Yeah, dude, in so many.
• 27:00
  Speaker 1: Cool details that add to We're gonna keep saying authenticity,
• 27:04
  Speaker 1: but add to that realness, like the logo on the
• 27:07
  Speaker 1: sheriff's truck.
• 27:09
  Speaker 3: You know, being like it.
• 27:12
  Speaker 1: It's so cool, man, and this town feels very very
• 27:16
  Speaker 1: lived in, and so does everybody in it, which you
• 27:19
  Speaker 1: see in these shots when we get to this moment.
• 27:22
  Speaker 1: It's a really cool touch. And the director kind of
• 27:24
  Speaker 1: says it might have been overdone, but I don't think so.
• 27:27
  Speaker 1: I mean, I see, I live in a small town
• 27:29
  Speaker 1: like this, and they go all out for these holidays,
• 27:34
  Speaker 1: and to me, I would much rather be overdone and
• 27:37
  Speaker 1: really sell the fact to me that this town is,
• 27:41
  Speaker 1: you know, in love with this holiday and this is
• 27:43
  Speaker 1: the first time they're celebrating this holiday in a long time,
• 27:46
  Speaker 1: so you know, it's it's really cool and it really
• 27:49
  Speaker 1: adds to that that that realness.
• 27:52
  Speaker 3: What I did notice about the actors and actresses that
• 27:57
  Speaker 3: they used in this slasher versus others that everyone in
• 28:02
  Speaker 3: it is blue collar, like the working class versus you
• 28:05
  Speaker 3: know in most slasher movies. I feel like it's either
• 28:07
  Speaker 3: teen or like teenagers or college students. So I thought
• 28:11
  Speaker 3: that that was kind of an interesting angle to the film.
• 28:15
  Speaker 1: Yeah, and he talks about how they really tried to
• 28:18
  Speaker 1: which this sounds a little weird surface level, but it's true.
• 28:22
  Speaker 1: For the time. He really tried to make sure that
• 28:25
  Speaker 1: not everybody was pretty, you know, like they did a
• 28:27
  Speaker 1: good job of to me, Like, one of my favorite
• 28:30
  Speaker 1: characters is Hollis, who is sort of the typical big
• 28:32
  Speaker 1: guy of the group, and he's not the comedian. Usually
• 28:36
  Speaker 1: the big guys are reserved and you know, they're funny.
• 28:38
  Speaker 1: And George actually says that he has the hottest girlfriend
• 28:41
  Speaker 1: with Sally, and you know, with all respect to my wife,
• 28:45
  Speaker 1: I would say that he's got the best of the bunch.
• 28:47
  Speaker 1: So you know, everybody, nobody here is too too pretty.
• 28:51
  Speaker 1: You know, nobody here feels like an actor or an actress.
• 28:55
  Speaker 3: Well, he was. He was considered the leader, like the
• 28:57
  Speaker 3: voice of reason compared to to most films, I feel
• 29:01
  Speaker 3: like that that's hugely the opposite or you know, the
• 29:04
  Speaker 3: butt of the joke.
• 29:05
  Speaker 1: Yeah, yeah, so that's that's those little things that really
• 29:09
  Speaker 1: sell you know, realism in your movies that are clearly
• 29:12
  Speaker 1: not real, and a genre that is not infatuated with
• 29:16
  Speaker 1: being real or believable.
• 29:18
  Speaker 2: These little things help a lot, definitely, Chris.
• 29:23
  Speaker 3: I know, I know we were talking about this earlier,
• 29:25
  Speaker 3: how we had we I think we've all kind of
• 29:28
  Speaker 3: you know, seen the remake versus this one, and did
• 29:33
  Speaker 3: you get the sense that Harry Warren is more of
• 29:35
  Speaker 3: an urban legend in the original versus the remake, Like
• 29:39
  Speaker 3: there was more and more I felt like behind his character.
• 29:45
  Speaker 1: I mean, there's there's always a little bit of you know,
• 29:49
  Speaker 1: as as years go on with events like this, I
• 29:53
  Speaker 1: think that they become more urban legend because every single story,
• 29:58
  Speaker 1: every single person who tells the story all towards it
• 30:00
  Speaker 1: in some way, and then typically by the time you
• 30:03
  Speaker 1: get to at the present in this case, you know,
• 30:06
  Speaker 1: nineteen eighty one, the story has been fabricated and stuff.
• 30:09
  Speaker 1: So I like to think that, yeah, he was real,
• 30:14
  Speaker 1: and it's it's kind of it's kind of funny because
• 30:19
  Speaker 1: it's like, you know, he got stuck down in the minds.
• 30:23
  Speaker 1: You know, he survived by eating his fellow miners who
• 30:27
  Speaker 1: were stuck down there, which really isn't like I would
• 30:30
  Speaker 1: do that, you know, But then he you know, he
• 30:35
  Speaker 1: killed two people, he killed the two supervisors. That's really
• 30:38
  Speaker 1: not like I feel like people commit worse that we
• 30:42
  Speaker 1: don't talk about years later, you know what I mean.
• 30:45
  Speaker 1: But it is kind of weird. In the town named
• 30:49
  Speaker 1: Valentine Bluffs that all this year, all these years, they
• 30:51
  Speaker 1: kind of live off of this legend of like, oh,
• 30:53
  Speaker 1: if you celebrate Valentine's Day, you know you're gonna get killed.
• 30:57
  Speaker 1: That's a little weird for a town based around Valentines.
• 31:00
  Speaker 3: I think, Yeah, note to self, never get stuck in
• 31:04
  Speaker 3: a mind with Chris.
• 31:06
  Speaker 1: Bro I will listen. Yeah, I'll go right for the
• 31:09
  Speaker 1: thigh Brook. Y'all would eat if I died. If I
• 31:14
  Speaker 1: died down here, y'all would eat me eventually. All right,
• 31:18
  Speaker 1: just just saying, let's think somehow, all right, Chuck, let's
• 31:26
  Speaker 1: move on.
• 31:27
  Speaker 3: All right.
• 31:28
  Speaker 2: And we're also introduced to another character, he Chief Jake Newby.
• 31:34
  Speaker 2: We see him coming in as a TJ who we
• 31:36
  Speaker 2: find out is the mayor's son on top of everything.
• 31:40
  Speaker 2: As he's leaving and now Chief meets up with everybody.
• 31:44
  Speaker 2: They have a little conversation and they decide to head out.
• 31:47
  Speaker 2: But as they're leaving, Howard remembers that there is a
• 31:51
  Speaker 2: box of Valentine's candy that was left for the mayor,
• 31:54
  Speaker 2: so he runs that out to him, and you know,
• 31:57
  Speaker 2: he's looking around at Mabel and he ends up eyeing
• 31:59
  Speaker 2: up the Chief to see if maybe one of them
• 32:01
  Speaker 2: left it for him, and uh, so they leave. They're
• 32:06
  Speaker 2: in the truck Mayor's with the chief and they're driving
• 32:09
  Speaker 2: and he decides that now's the time to open up
• 32:12
  Speaker 2: this box of candy. But first he reads a note.
• 32:15
  Speaker 2: And this note reads from the heart comes of warning,
• 32:19
  Speaker 2: filled with bloody good cheer. Remember what happened as the
• 32:21
  Speaker 2: fourteenth draws near? And then a panic something clicks in
• 32:26
  Speaker 2: his brain and a panicky lifts up the sheet and
• 32:29
  Speaker 2: as we see a bloodied heart inside of this candy box.
• 32:34
  Speaker 1: All right, so on that note. What's your when you
• 32:36
  Speaker 1: guys get these boxes of chocolates? What's your favorite chocolate
• 32:39
  Speaker 1: in there?
• 32:40
  Speaker 3: Oh?
• 32:41
  Speaker 2: Definitely the one with the caramel in the middle. Loved
• 32:44
  Speaker 2: the caramel chocolates.
• 32:47
  Speaker 3: Yeah about you, Steve, I like milk chocolate.
• 32:52
  Speaker 1: Okay. My other question is how often are these candy
• 32:56
  Speaker 1: boxes ever thick enough? The whole of human heart?
• 33:00
  Speaker 2: Never never, which I felt pretty uh you know, comical. Yeah, yeah,
• 33:09
  Speaker 2: it's like human heart is big and these boxes are
• 33:13
  Speaker 2: super thin.
• 33:15
  Speaker 1: Well, this was before I feel like capitalism got to
• 33:17
  Speaker 1: the chocolate industry, so there might have been some extra
• 33:20
  Speaker 1: extra plastic, you know, in the making of these boxes
• 33:24
  Speaker 1: compared to nowadays.
• 33:25
  Speaker 2: Yeah, maybe this was one of those ones that were
• 33:27
  Speaker 2: like double or even triple layered with the chocolates in
• 33:29
  Speaker 2: the plastic sheets.
• 33:31
  Speaker 1: Yeah. Yeah, And what's up with you know, they don't
• 33:33
  Speaker 1: include the little guides anymore to tell you what chocolates
• 33:35
  Speaker 1: are where you're kind of like, no, right, that's annoying.
• 33:38
  Speaker 2: And if they do do it, they put it on
• 33:39
  Speaker 2: the back of the box. It's like, well, how am
• 33:41
  Speaker 2: I supposed to look at the back while I'm looking
• 33:43
  Speaker 2: at the chocolates? They're going to fall out?
• 33:45
  Speaker 3: Yeah, over candy going everywhere?
• 33:47
  Speaker 2: Yeah, and then everything gets mixed up in the chart
• 33:50
  Speaker 2: pretty much pointless at that point.
• 33:52
  Speaker 1: Yeah. Yeah, welcome to Beyond the Blood. This is where
• 33:54
  Speaker 1: the podcast where we talk about the most important issues
• 33:57
  Speaker 1: in Valentine's a candy. All right, Let's let's see what
• 34:04
  Speaker 1: happens next, all right.
• 34:06
  Speaker 2: So they end up speeding off and then we get
• 34:08
  Speaker 2: to a scene which takes place at the local bar
• 34:12
  Speaker 2: and we see Axel and Hollis playing the knife game,
• 34:14
  Speaker 2: you know, that little game where they're taking the knives
• 34:16
  Speaker 2: and putting it through their fingers to see who can
• 34:18
  Speaker 2: go the fastest, and Axel loses of course, it's a
• 34:22
  Speaker 2: nice little chunk taking out of his finger.
• 34:26
  Speaker 1: Yeah, I can't play that game. You know. My mom
• 34:28
  Speaker 1: can weird enough.
• 34:30
  Speaker 2: Yeah, I wouldn't even I wouldn't even attempt that.
• 34:32
  Speaker 1: I don't know what like before me, but my mom
• 34:35
  Speaker 1: is scary, you know. But yeah, a little commentary, no
• 34:41
  Speaker 1: on this bar. So the bar is called the Cage.
• 34:45
  Speaker 1: This is an actual location. This is a real bar
• 34:47
  Speaker 1: that they just changed the name of. And then the
• 34:50
  Speaker 1: production actually worked with Moosehead Beer, and they pretty much
• 34:55
  Speaker 1: said like, hey, we'll show off your beer in our
• 34:57
  Speaker 1: movie and we'll always have our characters drinking it if
• 34:59
  Speaker 1: you supply the beer for cast and crew for when
• 35:02
  Speaker 1: we're not shooting. So every scene of somebody drinking, we
• 35:05
  Speaker 1: see Moosehead. In the back of this bar, they hung
• 35:07
  Speaker 1: up a giant led Moosehead, like a distractingly big led
• 35:12
  Speaker 1: moosehead behind happy the bartender. Just a cool little note.
• 35:17
  Speaker 1: I mean, you definitely can't get away with that anymore
• 35:19
  Speaker 1: on productions. But he George said, how Moosehead now is
• 35:23
  Speaker 1: a big is a really well known, really well known beer.
• 35:29
  Speaker 1: But I guess that has to be in Canada, right,
• 35:31
  Speaker 1: I've never heard of that before.
• 35:34
  Speaker 2: Yeah, I don't believe I've ever heard of it either.
• 35:37
  Speaker 1: It's like the Canadian bud light, right.
• 35:45
  Speaker 3: I felt like that little touch added to the small
• 35:47
  Speaker 3: town feel, especially like within the bar. Again, it comes
• 35:51
  Speaker 3: back to that's like the setting being very, very inviting.
• 35:56
  Speaker 3: It feels like you're just hanging out with some friends
• 35:58
  Speaker 3: kind of shooting the shit, And I think they did
• 36:01
  Speaker 3: a really nice job of being able to capture that.
• 36:04
  Speaker 1: Yeah, everybody everybody's smoking, like like you just know that
• 36:08
  Speaker 1: these are blue collar people. Literally everybody is smoking, everybody's drinking.
• 36:13
  Speaker 1: This place has a haze over it like I've never
• 36:16
  Speaker 1: seen before because the bar is small. You know, this
• 36:18
  Speaker 1: isn't a big this isn't a big place. We don't
• 36:22
  Speaker 1: have like an official note on this, but he did
• 36:24
  Speaker 1: talk about how all of the clothes he never wanted
• 36:27
  Speaker 1: any of the clothes to be new. He wanted everything
• 36:30
  Speaker 1: to be lived in, so all of the outfits were
• 36:33
  Speaker 1: thrifted and the actors could actually choose their own outfits.
• 36:37
  Speaker 1: So it kind of brought again a little bit more
• 36:39
  Speaker 1: of that that realistic side to the characters, that they
• 36:43
  Speaker 1: were able to pick their clothing, make them look real,
• 36:45
  Speaker 1: make them look lived in. Much like this this town does.
• 36:50
  Speaker 2: Yeah, And it's from here that we get a shot
• 36:53
  Speaker 2: of the bartender talking to a couple of the guys
• 36:56
  Speaker 2: and he goes on to tell them the legend of
• 37:00
  Speaker 2: Harry Warden. So the story goes that two supervisors, who
• 37:05
  Speaker 2: were very anxious to get to the Valentine's Bluffs Valentine's
• 37:08
  Speaker 2: Day party, left without waiting for the rest of the
• 37:12
  Speaker 2: crew to come out of the tunnels. And they also
• 37:14
  Speaker 2: failed to check the methane gas levels. So I'll say
• 37:17
  Speaker 2: that's a big no no, especially if you're a supervisor. Yeah,
• 37:22
  Speaker 2: and unfortunately, an explosion happens because somebody is walking around
• 37:26
  Speaker 2: with a one of those flamelet no little uh, I guess,
• 37:33
  Speaker 2: I don't know how to describe it, but it's one
• 37:35
  Speaker 2: of those flamelet like torches kind of things, yes, like
• 37:39
  Speaker 2: a lantern lantern, Yeah, yeah, sorry, But unfortunately he lights
• 37:44
  Speaker 2: that and causes the tunnels to explode, which five of
• 37:48
  Speaker 2: the miners end up getting trapped and for I believe
• 37:51
  Speaker 2: they said six weeks while the search party was trying
• 37:54
  Speaker 2: to dig them out, and only one of those guys survived,
• 37:56
  Speaker 2: and that was Harry Warden. And we as Chris mentioned earlier,
• 38:00
  Speaker 2: he ended up surviving because he resorted to cannibalism. So
• 38:05
  Speaker 2: when they find Harry, you know, he's he just looks disgusted.
• 38:08
  Speaker 2: He's got the blood coming out, looks like he's got
• 38:10
  Speaker 2: blood come out of his eyes. He's just dirty. And
• 38:13
  Speaker 2: he lets out this yell, his blood curdle and yell.
• 38:16
  Speaker 2: That just shivers down my spine. And he did it.
• 38:18
  Speaker 2: He just looks so crazy.
• 38:21
  Speaker 1: Yeah, I mean imagine, like, I don't know, I don't
• 38:25
  Speaker 1: even want to be one of the guys of the
• 38:27
  Speaker 1: search party that found him like that.
• 38:29
  Speaker 3: No, no, not at all.
• 38:31
  Speaker 1: Yeah, that's a crazy sight. And the way that they
• 38:33
  Speaker 1: the makeup they put on him to make him look
• 38:35
  Speaker 1: like tired and like malnutrition, like, he just looks terrifying.
• 38:42
  Speaker 1: There's like a blackness around his eyes. It just looks
• 38:44
  Speaker 1: you know, that's a that's a very scary moment.
• 38:48
  Speaker 2: It is a nice little dump scared there, yeah, to
• 38:51
  Speaker 2: say the least. But after this incident, he ends up
• 38:54
  Speaker 2: going to the state mental hospital for a year, and
• 38:58
  Speaker 2: after his released, he ends up hunting down these two
• 39:01
  Speaker 2: supervisors from that day and he kills them with his
• 39:05
  Speaker 2: pickaxe and he cuts out their hearts and puts them
• 39:10
  Speaker 2: into candy heart shaped candy boxes and ends up leaving
• 39:14
  Speaker 2: it at the Valentine's Day dance and writes a note
• 39:17
  Speaker 2: on the box, one't in the town that never have
• 39:19
  Speaker 2: the Valentine's Day dance again, or else he'll start killing.
• 39:23
  Speaker 2: And now as after he tells the story, the guy's
• 39:26
  Speaker 2: kind of just shrug it off. They're like, whatever, it's
• 39:28
  Speaker 2: a legend, We're still going to have the dance. We
• 39:30
  Speaker 2: don't care. And then we cut to a scene at
• 39:36
  Speaker 2: the police station with the mayor and the chief as
• 39:39
  Speaker 2: they are kind of trying to contact the mental institution
• 39:42
  Speaker 2: where Harry was placed back into after filling the supervisors,
• 39:47
  Speaker 2: which they somehow didn't have any documentation for him.
• 39:53
  Speaker 1: The woman's basically like, I don't fucking know.
• 39:57
  Speaker 3: Yeah, she just.
• 39:57
  Speaker 2: Doesn't seem the care and the chief's come but state
• 40:01
  Speaker 2: mandated or like court mandated, you should have the notes
• 40:04
  Speaker 2: or documents about him, like he was put in there.
• 40:08
  Speaker 1: Yeah, they just had no She's like, yeah, he's either
• 40:12
  Speaker 1: dead or or I don't know.
• 40:14
  Speaker 2: She's like, yeah, he's either dead or released and whatever.
• 40:19
  Speaker 2: You have nothing on him.
• 40:21
  Speaker 1: Thank you, thank you for the help.
• 40:23
  Speaker 2: Yeah, So you get that nice little scene there, and
• 40:26
  Speaker 2: then we get to let's see here with my notes.
• 40:32
  Speaker 3: Uh.
• 40:32
  Speaker 2: We get a shot of a minor walking around at
• 40:36
  Speaker 2: night outside of a building which is a Mabel's laundromat,
• 40:40
  Speaker 2: we come to find out, and she's going around doing
• 40:44
  Speaker 2: her work. She ends up going into the back room. Uh.
• 40:47
  Speaker 2: This first person perspective, we see going into the building
• 40:52
  Speaker 2: and leaving a box of candy. Running theme for this
• 40:58
  Speaker 2: and uh then kind of backs off a bit and
• 41:01
  Speaker 2: we see me able to come back into the room,
• 41:03
  Speaker 2: sees the candy box and she has a little smile
• 41:06
  Speaker 2: on her face. She's excited she got a valentine. And
• 41:10
  Speaker 2: then she reads the note which reads Roses are red,
• 41:15
  Speaker 2: Violets are blue. One is dead and so are you.
• 41:19
  Speaker 2: And as she reads that last word, the light shut
• 41:22
  Speaker 2: off and we get this awesome shot of Harry Warden
• 41:27
  Speaker 2: coming out of the back room with his head torch
• 41:29
  Speaker 2: just blareing right into the camera. And it's at this
• 41:33
  Speaker 2: point that Mabel starts to freak out and trying to escape. Unfortunately,
• 41:37
  Speaker 2: she trips, you know, a nice little slasher trope, trips
• 41:41
  Speaker 2: and falls, tries to crawl away, and Harry brings down
• 41:44
  Speaker 2: the pickaxe on her, but Unfortunately, we don't see the
• 41:48
  Speaker 2: kill happen. When you see the pickaxe come down, we
• 41:50
  Speaker 2: hear the blood. That's to the next day, yeah, or
• 41:55
  Speaker 2: not the next day, the next scene.
• 41:57
  Speaker 1: Yeah. A couple of notes on this that I want
• 41:59
  Speaker 1: to bring up, One being George talked about kind of
• 42:04
  Speaker 1: his callback to Bob Clark and Black Christmas with the POV.
• 42:11
  Speaker 1: You know, I think that this was pretty much cemented
• 42:14
  Speaker 1: with Halloween because John Carpenter was essentially making a pseudo
• 42:18
  Speaker 1: sequel to Black Christmas anyway, so he followed by doing
• 42:21
  Speaker 1: the POV. The couple of times that they do it
• 42:24
  Speaker 1: in here. It's really well done. I think it is
• 42:27
  Speaker 1: a nice touch that really that works in this case especially.
• 42:31
  Speaker 1: But I want to ask you guys, what do you
• 42:32
  Speaker 1: guys think of the the minor look like this outfit
• 42:39
  Speaker 1: as a as a serial killer, because as a killer,
• 42:41
  Speaker 1: because it's it scares the shit out of me.
• 42:43
  Speaker 3: Honestly, it's very intimidating.
• 42:47
  Speaker 2: Yeah, definitely terrifying, especially when you know, like I said,
• 42:50
  Speaker 2: in the last scene, it went into night out and
• 42:52
  Speaker 2: you just see that light coming towards you and that
• 42:54
  Speaker 2: big old pick axe in hand. Definitely terrifying.
• 42:58
  Speaker 3: This is one of my favorite scenes in the most
• 43:00
  Speaker 3: be I like Chris you were talking about it being
• 43:02
  Speaker 3: an homage to Black Christmas. What I liked, or what
• 43:07
  Speaker 3: I specifically noted during this scene is the editing is fantastic.
• 43:13
  Speaker 3: The way that they her getting the box of chocolates,
• 43:17
  Speaker 3: She looks at it, reads it, her reaction instantly, the
• 43:21
  Speaker 3: minor it cuts away to the miner basically attacking her.
• 43:25
  Speaker 3: Everything happens in very very fast paced, frantic and there's
• 43:34
  Speaker 3: just something about that that just I think amplifies just
• 43:37
  Speaker 3: how terrifying something like that would be. You know, we've
• 43:40
  Speaker 3: all we've all worked late at night, you know, by ourselves.
• 43:43
  Speaker 3: I can only imagine how how intense that would be
• 43:45
  Speaker 3: if that actually happened in real life.
• 43:47
  Speaker 1: Yeah. Yeah, And there's a couple of little things too. Obviously,
• 43:51
  Speaker 1: we have her and the chief clearly have a thing
• 43:54
  Speaker 1: for each other, which we see on multiple occasions, and
• 43:57
  Speaker 1: that's a very very like we see her kind of
• 44:01
  Speaker 1: She looks at the box of chocolates and you can
• 44:03
  Speaker 1: tell she's hoping who it's from. She you know, she's
• 44:07
  Speaker 1: hoping that this is coming from her, her unrequitded lover,
• 44:11
  Speaker 1: and maybel such a sweet kind person in a little
• 44:15
  Speaker 1: bit that we've seen her. You know, we're really rooting
• 44:18
  Speaker 1: that that she would survive this, which, of course, you know,
• 44:20
  Speaker 1: we know she doesn't unfortunately. And another mcguffin that was
• 44:25
  Speaker 1: brought up was earlier at the town hall scene, we
• 44:28
  Speaker 1: see two characters in the background actually flipping these cutout
• 44:32
  Speaker 1: hearts upside down on the wall and at the top
• 44:36
  Speaker 1: of the laundromat, above every dryer and on the actual
• 44:41
  Speaker 1: fronts of the washer. We have these cutout hearts, but
• 44:43
  Speaker 1: they're facing upwards, so they're all normal. But those will
• 44:48
  Speaker 1: kind of come into play when we come back to
• 44:51
  Speaker 1: this scene from a from a commentary point of view,
• 44:55
  Speaker 1: this is when George really talks about our our killer
• 44:59
  Speaker 1: who's in the suit, and this was somebody a stuntman
• 45:02
  Speaker 1: named Peter Kalper. He was a dancer and a stuntman.
• 45:04
  Speaker 1: They really wanted someone to have a certain control to
• 45:08
  Speaker 1: the walk and in my opinion, that's the most intimidating
• 45:13
  Speaker 1: part of Harry Warden in this I'm gonna say Harry
• 45:16
  Speaker 1: Warden with air quotes. He has this thing that he
• 45:19
  Speaker 1: does where he kind of like pumps out his arms
• 45:23
  Speaker 1: a little bit and it makes him look wider, and
• 45:25
  Speaker 1: he's very tall, he's very slender, so he has a
• 45:27
  Speaker 1: very intimidating experience, like a very intimidating look to him,
• 45:32
  Speaker 1: especially in his movement, which is the most iconic to me.
• 45:37
  Speaker 1: And he describes Peter as a guy who was able
• 45:39
  Speaker 1: to make the light pick axe feel heavy and the
• 45:42
  Speaker 1: heavy pick axe, the real pick axe that was used,
• 45:45
  Speaker 1: feel very light. So this was a very strong individual
• 45:49
  Speaker 1: that was actually in this costume.
• 45:51
  Speaker 2: So yeah, definitely. But then from this scene we end
• 45:58
  Speaker 2: up at a junk yard. We see Hollis, Howard and
• 46:01
  Speaker 2: Stevinsky hooking their food on top of a car engine,
• 46:07
  Speaker 2: which I found very odd. I've never heard of that before.
• 46:09
  Speaker 2: Have you guys looking food on a car engine?
• 46:14
  Speaker 1: Hey? I mean, I guess you gotta do what you
• 46:17
  Speaker 1: gotta do, right.
• 46:18
  Speaker 3: Yeah, I feel like that food's gotta be fire.
• 46:22
  Speaker 2: Yeah, yeah, I know.
• 46:25
  Speaker 1: I think they're making what are they making on steak?
• 46:27
  Speaker 2: I think they say, yeah, I think what I think
• 46:30
  Speaker 2: Hollis had turkey. But oh, okay, but TJ won at
• 46:34
  Speaker 2: steak or axel one at steak. One of them when
• 46:35
  Speaker 2: at steak and got upset because he did turkey instead.
• 46:42
  Speaker 1: Oh, that's a that's a that's a unique one. But
• 46:44
  Speaker 1: it's actually it's actually true. I know that at some
• 46:48
  Speaker 1: point in this there is a commentary note, but just
• 46:50
  Speaker 1: since we're on the topic, this was this full scene
• 46:53
  Speaker 1: actually originally lived in the script, but it was rewritten
• 46:56
  Speaker 1: to take place in the junk yard because they spoke
• 46:59
  Speaker 1: the real miners and they said that's what they would
• 47:01
  Speaker 1: do after their shift. They would go to the junkyard
• 47:04
  Speaker 1: at night drink and they would actually cook their food
• 47:08
  Speaker 1: on car engines. So they would find in a mobile
• 47:12
  Speaker 1: car that would have run, they would fire it up
• 47:14
  Speaker 1: and step on the gas pedal to heat up the
• 47:16
  Speaker 1: motor real quick, and then they would place tinfoil on
• 47:19
  Speaker 1: the motor with the food and actually, uh and actually cook.
• 47:24
  Speaker 1: And George actually says that one of the miners who
• 47:27
  Speaker 1: told him about this said that it was nice because
• 47:29
  Speaker 1: the engine was hot enough to cook the food and
• 47:31
  Speaker 1: it was cold enough outside to keep the beer cold.
• 47:35
  Speaker 3: I love that detail. It's I think it between that
• 47:38
  Speaker 3: and like a few other other small details, really add
• 47:43
  Speaker 3: to the charm of the overall movie. But yeah, that's
• 47:48
  Speaker 3: that's definitely uh. It feels like very true to form.
• 47:51
  Speaker 1: Yeah, I mean, what would you cook like if you
• 47:53
  Speaker 1: guys all right, let's say we're in a junkyard. We're
• 47:56
  Speaker 1: about to cook some food. What what do you think
• 47:57
  Speaker 1: would cook best on a on a car engine?
• 48:01
  Speaker 3: Oh? Man, I throw some smash burgers down there.
• 48:04
  Speaker 2: Yeah, I was gonna say definitely burgers. I think they
• 48:06
  Speaker 2: do probably the easiest thing to cook on there, safest.
• 48:10
  Speaker 2: I'm not doing chicken on that, no, definitely not no.
• 48:13
  Speaker 1: But yeah, smash burger where you can really just press
• 48:15
  Speaker 1: it down and cook it like quickly, Yeah for sure.
• 48:18
  Speaker 3: Yeah. Absolutely, knockback some moosehead bears not a spot.
• 48:23
  Speaker 2: Yeah, But then we're kind of brought back. It seems
• 48:28
  Speaker 2: like it's a first person's perspective shot again of somebody
• 48:31
  Speaker 2: walking through the junkyard and they kind of have their
• 48:34
  Speaker 2: eyes on the guys cooking the food, like peering in
• 48:38
  Speaker 2: between the car windows and all that stuff like that.
• 48:40
  Speaker 2: But we find out it's just TJ who ends up
• 48:42
  Speaker 2: startling Axle while he's sitting in an abandoned car playing
• 48:47
  Speaker 2: his harmonica, and uh yeah, they share the bottle of alcohol.
• 48:52
  Speaker 2: They have a little harmonica duet, and then they start
• 48:55
  Speaker 2: talking about Sarah being with Axel. Now in which they
• 49:00
  Speaker 2: start to get into a little bit of an argument,
• 49:02
  Speaker 2: which de escalates pretty quickly, and we kind of move
• 49:06
  Speaker 2: on from it for a little bit.
• 49:09
  Speaker 3: Though.
• 49:09
  Speaker 2: After this scene we are back with the Chief who
• 49:13
  Speaker 2: is on the phone with the mental institution, and we
• 49:19
  Speaker 2: find out that this is where we find out that
• 49:21
  Speaker 2: there are no records for Harry Warden, and the quick
• 49:25
  Speaker 2: little scene there, and then we TRANSI into a shot
• 49:28
  Speaker 2: of two of the girlfriends, Sarah and Patty, as they're
• 49:31
  Speaker 2: walking through town talking about the dance that's coming up,
• 49:35
  Speaker 2: and Patty decides to ask Sarah if she's going to
• 49:38
  Speaker 2: choose between TJ or Exel, kind of stirring the pot
• 49:42
  Speaker 2: up a little bit here. He says, I don't know,
• 49:44
  Speaker 2: maybe I'll just not go with either of them. I
• 49:46
  Speaker 2: kind of don't want to go to the dance now.
• 49:50
  Speaker 2: But they get to their job. Nice little scene of
• 49:53
  Speaker 2: there again, and then we go back to the Chief,
• 49:57
  Speaker 2: who is now arriving at Mabel's launch and he goes in.
• 50:03
  Speaker 2: He's calling out for her, doesn't get any responses, but
• 50:06
  Speaker 2: you see him start to smell the air as if
• 50:08
  Speaker 2: he's smelling something disgusting, and he's going around and he
• 50:12
  Speaker 2: notices that the Valentine's decorations that are around the laundromat
• 50:16
  Speaker 2: are now flipped upside down, and he starts peeling them
• 50:19
  Speaker 2: off of the walls and still walking around, nose up
• 50:22
  Speaker 2: in the air, Brian to see where this smell is
• 50:24
  Speaker 2: coming from. Eventually comes to one of the dryers and
• 50:28
  Speaker 2: opens it up, pulls out the clothes, thinking maybe he's
• 50:30
  Speaker 2: smelling the clothes burning. But we find out now after
• 50:34
  Speaker 2: her body flops out of the dryer that's directly next
• 50:38
  Speaker 2: to it, where I don't know how he missed that
• 50:39
  Speaker 2: because you can obviously see the blood on the outside
• 50:43
  Speaker 2: of the dryer.
• 50:45
  Speaker 3: But it's like a whole blood splatter up up the
• 50:47
  Speaker 3: uh the dryer door.
• 50:50
  Speaker 2: Yeah, and he just doesn't notice that even on the
• 50:52
  Speaker 2: first walk through around. But unfortunately we see Mabel's dead
• 50:57
  Speaker 2: body flop out and it is a disgusting site. Her
• 51:00
  Speaker 2: flesh is burnt, boils all over. You see the smoke
• 51:05
  Speaker 2: coming off of her. And this is what we find
• 51:07
  Speaker 2: out what he was smelling. He was smelling the burntin
• 51:10
  Speaker 2: of poor Mabel, which.
• 51:12
  Speaker 1: I would think so bad. But this is a good
• 51:17
  Speaker 1: time to kind of talk about what happened to this
• 51:21
  Speaker 1: movie in post production with the NPAA. So for those
• 51:25
  Speaker 1: who don't know, Michael dy Valentine is notorious for being
• 51:29
  Speaker 1: absolutely butchered by the NPAA, like probably one of the
• 51:34
  Speaker 1: prime examples out of the eighties of a movie that
• 51:38
  Speaker 1: was completely obliterated by them. By the time this movie
• 51:42
  Speaker 1: came out theatrically, there had been nine minutes cut from
• 51:46
  Speaker 1: this movie. The director said that six minutes of that
• 51:49
  Speaker 1: was exposition that he felt like, you know, we didn't
• 51:52
  Speaker 1: need to have, But the remaining three minutes was Gore
• 51:57
  Speaker 1: basically added back in for the most part, and none
• 52:02
  Speaker 1: of that footage was available until this Screen Factory Blu
• 52:06
  Speaker 1: ray release, which now there's a four K but this
• 52:10
  Speaker 1: was the first time we had gotten all this back.
• 52:13
  Speaker 1: So this commentary track is a lot of fun because
• 52:16
  Speaker 1: the director is seeing this this this replaced footage for
• 52:20
  Speaker 1: the first time since post production on this on this movie,
• 52:25
  Speaker 1: So every moment of Gore, there is audible excitement from
• 52:29
  Speaker 1: the director of just like cheer of like, oh good,
• 52:33
  Speaker 1: this is back. And it's so funny to contrast it
• 52:36
  Speaker 1: with the with Thomas Berman's effects. But this scene, especially
• 52:40
  Speaker 1: because as soon as Mabel's body flops out of the dryer,
• 52:44
  Speaker 1: which I'm gonna it's very gross, Like, yeah, it's very nasty.
• 52:49
  Speaker 1: George actually starts laughing because he says, quote unquote, it's
• 52:52
  Speaker 1: a little longer. He says, uh, and then he follows
• 52:57
  Speaker 1: it up with a quote where he said, uh, it
• 52:59
  Speaker 1: almost is what it was in the original cut. I
• 53:03
  Speaker 1: can't imagine how much longer that could have gone on for.
• 53:09
  Speaker 1: But this is a great example of Thomas Burman's effects
• 53:12
  Speaker 1: because we don't just see like the head burnt, we
• 53:16
  Speaker 1: see full chest piece.
• 53:18
  Speaker 2: Yeah, it's it's.
• 53:19
  Speaker 1: Really really gross. Man, Like, I paused on this and
• 53:23
  Speaker 1: just kind of took a second, and I was kind
• 53:25
  Speaker 1: of like concerned because my windows, my blinds were open,
• 53:27
  Speaker 1: and I'm like people were probably like, what the hell,
• 53:30
  Speaker 1: But dude, it's really gross and and I it still
• 53:34
  Speaker 1: is like incredibly confusing to me that he passes this
• 53:39
  Speaker 1: on the way to the dryer that's just drying clothes. Yeah,
• 53:43
  Speaker 1: because I feel like this would stink so bad you
• 53:45
  Speaker 1: couldn't be in the laundromat like you would have to.
• 53:49
  Speaker 1: You would walk in and be like, Okay, something's wrong.
• 53:53
  Speaker 3: How long was the dryer cycle on for? I mean,
• 53:56
  Speaker 3: that was that had have been overnight.
• 53:58
  Speaker 2: Yeah, yeah, yeah, because that thing was still spinning when
• 54:03
  Speaker 2: he opened that up.
• 54:05
  Speaker 1: Yeah, very dry.
• 54:07
  Speaker 3: Uh.
• 54:07
  Speaker 1: He obviously did not have it on. Oh my god,
• 54:10
  Speaker 1: what is that setting that you put like you put
• 54:13
  Speaker 1: like expensive stuff on.
• 54:14
  Speaker 2: It's like the soft is it like tumble tumble dryer
• 54:18
  Speaker 2: or something like that.
• 54:19
  Speaker 1: I don't know, but it is. It is funny to
• 54:21
  Speaker 1: me to think that that he hung out in the
• 54:24
  Speaker 1: laundromat overnight and just kept restarting it like.
• 54:28
  Speaker 3: Yeah, just loading up with quarters, yeah or whatever.
• 54:32
  Speaker 2: Let's put like ten dollars worth, maybe that'll be enough.
• 54:34
  Speaker 1: Yeah.
• 54:36
  Speaker 2: And it's also like that's being also makes it a
• 54:39
  Speaker 2: little bit more disturbing because she's still rotating around in
• 54:42
  Speaker 2: this dryer as she flops out, and she's just spinning
• 54:44
  Speaker 2: around as like yeah.
• 54:47
  Speaker 1: Yeah, that's really That's one of the things where like
• 54:49
  Speaker 1: I would love to see the body that they made
• 54:54
  Speaker 1: for because I wonder if it was fully detailed, like
• 54:56
  Speaker 1: if it went so far down or whatever. Also, you know,
• 55:00
  Speaker 1: Mabel is a very small person, so it is very
• 55:03
  Speaker 1: believable that he did this to her, that he stuck
• 55:05
  Speaker 1: her in the dryer. Yeah, because she was very small,
• 55:08
  Speaker 1: very thin, but that's a gross way to go for sure.
• 55:12
  Speaker 3: I think it's a hot It feels like a highlight
• 55:14
  Speaker 3: when when we were talking about special effects and how
• 55:17
  Speaker 3: their stand out throughout the movie, I feel like this
• 55:21
  Speaker 3: is another instance where that really exemplified that.
• 55:25
  Speaker 1: Yeah, I mean I let out an audible like oh
• 55:28
  Speaker 1: when the moment she flops out, and you know, I
• 55:31
  Speaker 1: watched some pretty crazy shit, so it's rare that I
• 55:33
  Speaker 1: get that reaction.
• 55:34
  Speaker 3: You know.
• 55:38
  Speaker 2: Yeah, for sure, it's gross. So we now end up
• 55:43
  Speaker 2: back at the mine in sight, where they're now down
• 55:46
  Speaker 2: in the shafts, and of course, once again Axel and
• 55:49
  Speaker 2: TJ get into it about Sarah, and it is de
• 55:53
  Speaker 2: escalated quickly once more as the headminor breaks them apart
• 55:58
  Speaker 2: and sends TJ on his way, and then come back
• 56:03
  Speaker 2: to the laundromat. These scenes go by quick, but we're
• 56:08
  Speaker 2: back at the laundromat again, where the mayor has now
• 56:12
  Speaker 2: arrived and there's police everywhere looking all over and they're
• 56:19
  Speaker 2: talking about what happened twenty years ago with Harry Warden
• 56:22
  Speaker 2: and supervisor killings and the boxes of chocolate. But the
• 56:30
  Speaker 2: chief ends up wanting to cover of Babel's body by
• 56:32
  Speaker 2: saying that she just died from a heart attack because
• 56:34
  Speaker 2: they don't want to shut down the Valentine's Day dance.
• 56:36
  Speaker 2: They don't want to cause mass hysteria and make people
• 56:39
  Speaker 2: think that Harry Warden is back in town. And we
• 56:43
  Speaker 2: find a note in Mabel's chest, where her heart is
• 56:47
  Speaker 2: no longer there. This note reads, it happened once, It
• 56:52
  Speaker 2: happened twice. Cancel the dance, or it'll happen thrice. And
• 56:57
  Speaker 2: it's at this point where the mayor goes, you know what, No,
• 56:59
  Speaker 2: we're not even gonna risk it. Take the decorations down
• 57:02
  Speaker 2: from around town. Dance is canceled down, Time's Day is canceled.
• 57:06
  Speaker 2: We're not going to go through this again.
• 57:09
  Speaker 1: Yeah they're quick. Never, Oh, go ahead, now say they're quick.
• 57:12
  Speaker 1: The cave, that's all, you know.
• 57:19
  Speaker 2: We are now back at the hall where the chief
• 57:21
  Speaker 2: is locking up the door, and a group of the
• 57:25
  Speaker 2: you know, the workers and their girlfriends show up and
• 57:29
  Speaker 2: they find out that the dance is canceled due to
• 57:30
  Speaker 2: Mabel's death. They try to overturn it, but it's it's
• 57:35
  Speaker 2: not gonna They're not gonna let it slide. You're saying, no,
• 57:38
  Speaker 2: it's done. We see TJ getting ready to leave the
• 57:42
  Speaker 2: Minds and Acts will come up from the shift and
• 57:44
  Speaker 2: try to confront them once more, but he speeds off
• 57:48
  Speaker 2: in his car and we find out that he is
• 57:50
  Speaker 2: going to pick Sarah up, who seems a little bit
• 57:55
  Speaker 2: hesitant to go with him when they meet up, but
• 57:58
  Speaker 2: you know, she goes with the many way and from
• 58:01
  Speaker 2: here they end up going to a shoreline where they're
• 58:04
  Speaker 2: just walking around and talking about their past relationship and
• 58:07
  Speaker 2: out CJ left for the West. So since he left her,
• 58:11
  Speaker 2: she ended up being with Axel.
• 58:15
  Speaker 3: Did shooting the shot.
• 58:16
  Speaker 2: Yeah, he's trying to get her back, man, dude.
• 58:19
  Speaker 1: I mean that's a nice place to nice place to
• 58:22
  Speaker 1: take her to try. I mean the shots here are beautiful,
• 58:27
  Speaker 1: and you know, one of the things that in the
• 58:29
  Speaker 1: commentary this is still for all of the accolades that
• 58:33
  Speaker 1: George Mahalka has as a director and clearly as experienced
• 58:36
  Speaker 1: as he is, this is the fastest he's ever shot
• 58:39
  Speaker 1: a scene. It took forty five minutes to shoot this
• 58:41
  Speaker 1: sequence and they did it at I believe it was dawn.
• 58:45
  Speaker 1: They did it. They had a very small period and
• 58:47
  Speaker 1: he actually kind of like points out the difference in
• 58:50
  Speaker 1: the lighting from the wide shots to the close ups
• 58:53
  Speaker 1: and how much brighter it is, and how they tried
• 58:55
  Speaker 1: to through color grading like try to hide that. I
• 58:58
  Speaker 1: just thought that was a fun little, you know, fun
• 59:00
  Speaker 1: little insight.
• 59:02
  Speaker 3: There's some beautiful shots in this movie, that being one
• 59:05
  Speaker 3: of them, but some of the like the at dusk
• 59:11
  Speaker 3: or at dawn, those shots, especially in four K, looked incredible.
• 59:17
  Speaker 1: Yeah. Yeah, he talked about how that was all Unit
• 59:20
  Speaker 1: B and how back then he was still he was
• 59:24
  Speaker 1: still like in a phase where like he thought he
• 59:27
  Speaker 1: needed to get everything he wanted, so all of the
• 59:29
  Speaker 1: shots that he wanted, so he would send out B
• 59:31
  Speaker 1: unit to go get those sunset shots where you see
• 59:34
  Speaker 1: the Sydney mines and all of that stuff. So I
• 59:39
  Speaker 1: think it adds, you know, it adds that character, and
• 59:42
  Speaker 1: they're they're beautiful shots. I don't have the four K
• 59:45
  Speaker 1: of this, I just held onto my Blu ray, but
• 59:48
  Speaker 1: that restoration it still looks fantastic. Mm hmm.
• 59:54
  Speaker 2: So from here, we get a quick scene at the
• 59:57
  Speaker 2: bar where once again Axel and tj Or talking and
• 1:00:02
  Speaker 2: actually ask TJ if he's seen Sarah, which he gives
• 1:00:05
  Speaker 2: a kind of snarky reply by saying that's it's not
• 1:00:07
  Speaker 2: my turn to watch after her.
• 1:00:10
  Speaker 1: Yeah, that's snarky.
• 1:00:11
  Speaker 2: Yeah, it's a little snarky remark there. And then uh,
• 1:00:16
  Speaker 2: you know, a quick little interaction there. But we can
• 1:00:18
  Speaker 2: cut to a shot of Sarah walking around at nighttime,
• 1:00:22
  Speaker 2: and while she's walking, she's like looking around all nervous,
• 1:00:27
  Speaker 2: she's hearing some noises around her, and then we get
• 1:00:30
  Speaker 2: a quick shot of what looks like to be a headlamp.
• 1:00:34
  Speaker 2: I thought she was about to get killed at this scene,
• 1:00:36
  Speaker 2: but it turns out just to be the chief.
• 1:00:39
  Speaker 1: Yeah, yeah, and his big ass flashlight, big.
• 1:00:42
  Speaker 2: Flashlight which for some reason he's like holding above his head.
• 1:00:46
  Speaker 3: Like. Yeah. I thought it was a clever shot too,
• 1:00:50
  Speaker 3: because it makes you second guess if it could be
• 1:00:52
  Speaker 3: Harry Warden.
• 1:00:54
  Speaker 2: Yes, especially yeah, especially after that scene with Mabel.
• 1:00:59
  Speaker 3: Yeah go ahead, man, Oh no, I was just gonna say,
• 1:01:02
  Speaker 3: did you guys notice over the course of the movie,
• 1:01:04
  Speaker 3: whether it was like first time or repeat viewings, there's
• 1:01:07
  Speaker 3: a lot of like misdirection with the way that they
• 1:01:11
  Speaker 3: make you think that one person might be Harry Warden
• 1:01:14
  Speaker 3: or the I guess the minor, but as you guess
• 1:01:19
  Speaker 3: in the whole movie until you see the ending, but
• 1:01:22
  Speaker 3: I thought it did a really incredible job at keeping
• 1:01:25
  Speaker 3: you kind of in your toes.
• 1:01:26
  Speaker 1: Absolutely, And one thing that he talked about was how
• 1:01:29
  Speaker 1: which I think has become a trope, which at that
• 1:01:32
  Speaker 1: time it wasn't. But the Chief is always being called
• 1:01:36
  Speaker 1: away for something. So he's always like right about to
• 1:01:39
  Speaker 1: be involved, like he's about to run smack into the
• 1:01:42
  Speaker 1: main event, and he's always getting pulled away in some
• 1:01:45
  Speaker 1: on something always, and that's a constant theme throughout the
• 1:01:48
  Speaker 1: whole movie. He's always right there, something happens, it pulls
• 1:01:52
  Speaker 1: him away, so he's always like just seconds away from
• 1:01:56
  Speaker 1: being able to save the day. And that kind of
• 1:01:58
  Speaker 1: builds like a nice tension because every single time we
• 1:02:01
  Speaker 1: see him. Uh Like there's a moment later on when
• 1:02:04
  Speaker 1: he goes to check on the lock at the mines
• 1:02:07
  Speaker 1: and I remember thinking to myself like, oh, like this
• 1:02:09
  Speaker 1: art he's here, like we're gonna get he's gonna find this,
• 1:02:12
  Speaker 1: and then he gets called away and I'm like, damn it,
• 1:02:15
  Speaker 1: you're right there, dude, don't take that call.
• 1:02:19
  Speaker 2: Always getting called away by dispatch, m all right, So
• 1:02:26
  Speaker 2: uh we get that little interaction and uh, you know,
• 1:02:31
  Speaker 2: Sarah kind of questions him. She's like, oh, what are
• 1:02:32
  Speaker 2: you doing around here this late at night, in which
• 1:02:35
  Speaker 2: he just replies that he's on light patrol and Sarah
• 1:02:39
  Speaker 2: heads inside. We're back at the bar where the bartender,
• 1:02:43
  Speaker 2: which we find out his name, is Happy. He's not
• 1:02:47
  Speaker 2: a very happy person. He's kind of grumpy. But sure,
• 1:02:50
  Speaker 2: we'll go with that nickname.
• 1:02:52
  Speaker 3: But uh.
• 1:02:53
  Speaker 2: He asked TJ if he heard about Mabel's death and
• 1:02:56
  Speaker 2: expresses that he doesn't believe that it was due to
• 1:02:58
  Speaker 2: a heart attack.
• 1:03:01
  Speaker 1: But I feel like he's kind of like the town conspirator.
• 1:03:04
  Speaker 3: Yeah, he does drama.
• 1:03:06
  Speaker 2: Yeah, the crazy old guy in the small town. Yeah.
• 1:03:10
  Speaker 1: It turns out he's the only one who actually had
• 1:03:12
  Speaker 1: any sort of realistic insight into this. You know, he's
• 1:03:16
  Speaker 1: the only one who was, you know, in tune with
• 1:03:19
  Speaker 1: what was happening.
• 1:03:19
  Speaker 2: So yeah, but we find out that the group is
• 1:03:24
  Speaker 2: discussing that, you know what, Mayor and the Chief they
• 1:03:28
  Speaker 2: can call off the Valentine's Day dance whatever, We're still
• 1:03:31
  Speaker 2: going to party, so we're going to have it at
• 1:03:33
  Speaker 2: the mine itself. Do they start playing and all that out.
• 1:03:39
  Speaker 2: We then get back to a shot of the mine
• 1:03:41
  Speaker 2: where I believe it was happy that we come across
• 1:03:45
  Speaker 2: and he breaks a padlock into a building where he
• 1:03:47
  Speaker 2: decides that he's going to make a makeshift dummy of
• 1:03:51
  Speaker 2: the miner after overhearing the group saying they were going
• 1:03:54
  Speaker 2: to have party there, because he wants to play a
• 1:03:55
  Speaker 2: little trick on them to scare them, make them actually
• 1:03:58
  Speaker 2: believe the legend of Harry Warden.
• 1:04:03
  Speaker 1: Yeah, I mean that's a pretty complicated little like rig
• 1:04:07
  Speaker 1: that he builds too.
• 1:04:08
  Speaker 2: There's a lot of detail in that, definitely, especially with
• 1:04:11
  Speaker 2: the mechanic of raising the pickat cup as soon as
• 1:04:14
  Speaker 2: he opens up the door and all that. But uh,
• 1:04:18
  Speaker 2: it's it's with this mechanic where he keeps open and
• 1:04:20
  Speaker 2: closing the door just to make sure it works. And
• 1:04:22
  Speaker 2: he gets ready to walk away and goes, you know what,
• 1:04:24
  Speaker 2: I'm gonna check this one more time, turns back to
• 1:04:27
  Speaker 2: the door, and as soon as he opens it, he's
• 1:04:30
  Speaker 2: greeted by none other than quote unquote Harry Warden, who
• 1:04:34
  Speaker 2: impales the pick axe underneath his jaw, which then comes
• 1:04:38
  Speaker 2: out of his eye socket. And it is very good makeup. Yes,
• 1:04:44
  Speaker 2: you just get that eyeball just dangling out of the socket. O.
• 1:04:48
  Speaker 2: Super it's brutal.
• 1:04:51
  Speaker 1: Yeah. And one little piece on this that George brought
• 1:04:54
  Speaker 1: up was that every character, every death is one decision
• 1:04:59
  Speaker 1: away from not being killed. Like they purposely did that
• 1:05:02
  Speaker 1: with every single character. Where he checks that door three
• 1:05:05
  Speaker 1: times and does that cackle of his you know, and
• 1:05:09
  Speaker 1: then he starts to walk away, and then he's like,
• 1:05:10
  Speaker 1: I'm gonna do it one more time. And if he
• 1:05:12
  Speaker 1: had just walked away, he would have been fine, you know.
• 1:05:16
  Speaker 1: So listening to his commentary at this time is really
• 1:05:19
  Speaker 1: interesting because I kind of was learning like behind the
• 1:05:22
  Speaker 1: scenes of where these tropes came from. And you know,
• 1:05:25
  Speaker 1: when you watch a slasher movie, we all do the
• 1:05:28
  Speaker 1: don't go back to the door, don't do this, don't
• 1:05:31
  Speaker 1: do that. And it's interesting to hear a director doing
• 1:05:35
  Speaker 1: this when it was still new and that didn't become
• 1:05:39
  Speaker 1: the thing quite yet. It was just an interesting because
• 1:05:44
  Speaker 1: I was watching and I was like, oh, yeah, dude,
• 1:05:46
  Speaker 1: if you had just kept going and not tried to
• 1:05:49
  Speaker 1: cackle one more time, you would have been you would
• 1:05:51
  Speaker 1: have been perfectly good. But this is a gross scene.
• 1:05:56
  Speaker 1: And this is again an example of where the NPA
• 1:05:58
  Speaker 1: went crazy, because originally we were actually supposed to see
• 1:06:05
  Speaker 1: the eyeball lift out of the socket in a single shot.
• 1:06:07
  Speaker 1: So there was a rig that was built and it
• 1:06:10
  Speaker 1: was supposed to be one continuous shot where you would
• 1:06:12
  Speaker 1: see the pick axe would enter and then you would
• 1:06:15
  Speaker 1: actually see the pick axe enter the ice or exit
• 1:06:18
  Speaker 1: the eye socket with the eyeball and yeah like that.
• 1:06:22
  Speaker 1: But they had to cut it. So it works well
• 1:06:25
  Speaker 1: because it's cut. The editing is very very good here
• 1:06:28
  Speaker 1: where you know, you see the impalement and then it
• 1:06:32
  Speaker 1: cuts to the eye already out, So I don't think
• 1:06:34
  Speaker 1: this lessens the impact, but we were supposed to see
• 1:06:38
  Speaker 1: it in one fluid shot, which is an example of
• 1:06:43
  Speaker 1: how complicated these effects were as well. That's pretty like,
• 1:06:46
  Speaker 1: that's Tom Savini level stuff right there. But then also
• 1:06:52
  Speaker 1: during the shot of which I'm a second ahead, the
• 1:06:56
  Speaker 1: shot of Happy being dragged away by the minor. Yeah,
• 1:06:59
  Speaker 1: the supposed to be a profile shot which is now
• 1:07:03
  Speaker 1: lost unfortunately, where we were supposed to see the eyeball
• 1:07:06
  Speaker 1: bouncing off the ground of the rocks when he was
• 1:07:10
  Speaker 1: being dragged away. So it's a pretty nasty little little scene.
• 1:07:16
  Speaker 3: I think it's kind of haunting to see him being
• 1:07:19
  Speaker 3: dragged by Harry Warden. It's just the way that the
• 1:07:23
  Speaker 3: shots set up. But yeah, that whole scene is very effective.
• 1:07:28
  Speaker 1: Yeah, and that's a good like you talked about, Steve,
• 1:07:30
  Speaker 1: the editing. The editing is so good here, like the
• 1:07:35
  Speaker 1: cutting back, because we cut from him opening the door
• 1:07:38
  Speaker 1: and then we're inside the door, and then we cut
• 1:07:40
  Speaker 1: back out and we cut back in and then we
• 1:07:43
  Speaker 1: have this great shot when he turns around and he
• 1:07:46
  Speaker 1: decides to go back. He turns, we have that shot
• 1:07:50
  Speaker 1: of him he comes back, and then he opens that
• 1:07:52
  Speaker 1: door and the miner is standing right where the fake
• 1:07:56
  Speaker 1: one was. And for them to be able to kind
• 1:07:59
  Speaker 1: of save this effect with editing and cutting those two
• 1:08:02
  Speaker 1: frames together perfectly, it's just a testament to how how
• 1:08:06
  Speaker 1: well treated this movie was in post production.
• 1:08:08
  Speaker 3: By the crew. When he opens the door, that the
• 1:08:11
  Speaker 3: first time I saw that, I'll never forget that Legit
• 1:08:13
  Speaker 3: startled me. So it's just it's cool to see a movie,
• 1:08:17
  Speaker 3: you know, even though it's x maney years old, but
• 1:08:21
  Speaker 3: that you know it still holds up even to today.
• 1:08:24
  Speaker 1: Yeah, and how many times, I mean, you know, you
• 1:08:26
  Speaker 1: expect that first time he opens the door, it could
• 1:08:28
  Speaker 1: have happened, because you know something's gonna happen and there's
• 1:08:30
  Speaker 1: no music, so we have no audio build up to
• 1:08:34
  Speaker 1: signal less that anything is happening. So he opens the
• 1:08:36
  Speaker 1: door once you see the joke. He opens it again.
• 1:08:40
  Speaker 1: You see the joke. He opens it again, you see
• 1:08:43
  Speaker 1: the joke, and you're like, Okay, nothing's happening, and then
• 1:08:47
  Speaker 1: he starts to step away and then turns back and
• 1:08:49
  Speaker 1: you're like, there's still not there's no signaling, like, there's
• 1:08:53
  Speaker 1: no signifying factors that something's gonna happen. So when he
• 1:08:56
  Speaker 1: opens that door for the fourth time and he's there,
• 1:08:59
  Speaker 1: it is it's startling, just.
• 1:09:02
  Speaker 3: Like, go back to the bar, man, Le's go back
• 1:09:06
  Speaker 3: to the bar.
• 1:09:08
  Speaker 2: And I could be misremembering this scene, But doesn't the
• 1:09:11
  Speaker 2: chief show up to check the padlock at this point
• 1:09:13
  Speaker 2: as well? I might be misremembering that, but anyway.
• 1:09:20
  Speaker 1: Trying to remember the order, Yeah, I think he does.
• 1:09:23
  Speaker 1: He does show up to check the padlock. And what
• 1:09:26
  Speaker 1: confuses me is like, how did they get in to
• 1:09:30
  Speaker 1: do this party?
• 1:09:32
  Speaker 2: Yeah? And uh, after this scene, we cut to the
• 1:09:39
  Speaker 2: next day. It is now Valentine's Day. You know, get
• 1:09:46
  Speaker 2: a short little shot of the mayor in chief at
• 1:09:48
  Speaker 2: the administrative office, but nothing really who crazy happens during that.
• 1:09:53
  Speaker 2: So then we cut back to the group at nighttime,
• 1:09:57
  Speaker 2: who are now preparing for the party, and I.
• 1:09:59
  Speaker 1: Just want to I just want to fix what I said.
• 1:10:01
  Speaker 1: I forgot that there was a next day, so clearly
• 1:10:04
  Speaker 1: they went back and you know, that's all right. I
• 1:10:08
  Speaker 1: am misremembering exactly how these scenes timed up. But I
• 1:10:14
  Speaker 1: believe he checks the padlock the night of the party.
• 1:10:17
  Speaker 2: Oh that's what it was, Okay, Yeah, I.
• 1:10:19
  Speaker 1: Believe it's it's he checks the padlock, and then we
• 1:10:22
  Speaker 1: see the beginning of the party.
• 1:10:27
  Speaker 3: Would you guys have a party? In the mind it's
• 1:10:30
  Speaker 3: kind of ballsy? No, I I I'm good.
• 1:10:35
  Speaker 2: No, absolutely not.
• 1:10:36
  Speaker 1: But again, like the chief is, you know, because there's
• 1:10:40
  Speaker 1: always like I get it, you want to keep it quiet,
• 1:10:41
  Speaker 1: but you're doing you know, you have a you have
• 1:10:44
  Speaker 1: a town full of blue collar people who want to party.
• 1:10:49
  Speaker 1: It's sort of a disservice to lie to them and
• 1:10:52
  Speaker 1: not let them know that there was a very credible
• 1:10:55
  Speaker 1: threat on the lives of anybody who was going to
• 1:10:58
  Speaker 1: throw a party. So the chief just kind of like
• 1:11:03
  Speaker 1: they were like he didn't help them in any way.
• 1:11:06
  Speaker 1: They're just bait.
• 1:11:08
  Speaker 3: It kind of reminded me of Jaws a little bit,
• 1:11:10
  Speaker 3: how they're keeping everything hush hush within the town because
• 1:11:13
  Speaker 3: you know, I'm I'm sure it would have, you know,
• 1:11:16
  Speaker 3: different types of impact on the town as a whole.
• 1:11:18
  Speaker 3: But that was like kind of the first thing I
• 1:11:20
  Speaker 3: thought of that when they bring that up.
• 1:11:22
  Speaker 1: Yeah, yeah, me too. And it's it sucks because at
• 1:11:25
  Speaker 1: the end of the day, it's like, if the chief
• 1:11:27
  Speaker 1: had just said, hey, look, something's going on, we haven't
• 1:11:30
  Speaker 1: the threat of anybody. If there was a party, all
• 1:11:32
  Speaker 1: of this could have been avoided and we wouldn't have
• 1:11:33
  Speaker 1: a movie anyway. So I don't know what I'm you know,
• 1:11:36
  Speaker 1: getting into at this.
• 1:11:37
  Speaker 2: Yeah, so we see them getting ready for the party
• 1:11:43
  Speaker 2: and uh. We end up back at the police station
• 1:11:46
  Speaker 2: where Chief Newby finds a part shaped candy box. But
• 1:11:51
  Speaker 2: it turns out that this one was just from Mabel.
• 1:11:54
  Speaker 2: Oh do you want to.
• 1:11:56
  Speaker 1: Dude, it's so like it's tragic exactly, it's so sad
• 1:12:02
  Speaker 1: man and and his performance, his little smile, his expression
• 1:12:06
  Speaker 1: because it cuts it at close up of his face
• 1:12:08
  Speaker 1: when we find out it's from Mabel. It's such a
• 1:12:11
  Speaker 1: sweet little moment, and you know, it's one of those
• 1:12:13
  Speaker 1: ones's kind of like it's so sad, and like you said,
• 1:12:16
  Speaker 1: tragic is kind of the perfect word.
• 1:12:19
  Speaker 2: Yeah, we get that little scene and then we cut
• 1:12:24
  Speaker 2: back to the mind where the party is now in
• 1:12:26
  Speaker 2: full motion. Everyone's drinking, having good time, and this is
• 1:12:30
  Speaker 2: when our character Dave decides that he's hungry, so he
• 1:12:35
  Speaker 2: wants to go into the kitchen.
• 1:12:39
  Speaker 1: Are you all hot dog people?
• 1:12:41
  Speaker 2: I am.
• 1:12:44
  Speaker 3: I can get down on them. Okay, it depends. It's
• 1:12:47
  Speaker 3: gotta be. It's gotta be the like the like the
• 1:12:49
  Speaker 3: right event.
• 1:12:51
  Speaker 1: But I just wanted to check because not everybody, like,
• 1:12:56
  Speaker 1: I'm not a hot dog connoisseur, but like every couple
• 1:13:00
  Speaker 1: of months, a good uh, depending on where where you're
• 1:13:03
  Speaker 1: at regionally in the US, a good wah wah hot
• 1:13:05
  Speaker 1: dog kind of hits the spot.
• 1:13:08
  Speaker 3: You know.
• 1:13:09
  Speaker 2: I don't think I've ever had a wow waw hot dog.
• 1:13:11
  Speaker 3: What I have either, I like it. I like the
• 1:13:13
  Speaker 3: like the Italian sausage with like peppers and onions on it.
• 1:13:17
  Speaker 3: That's that's more of like, yeah, I feel like it's
• 1:13:19
  Speaker 3: like the real deal. But yeah, like I can get
• 1:13:21
  Speaker 3: down of like hot dogs at like a baseball game
• 1:13:23
  Speaker 3: or something.
• 1:13:24
  Speaker 1: Yeah, definitely, Like we go We try to go to
• 1:13:27
  Speaker 1: a Phillies game a year because we're right outside of
• 1:13:29
  Speaker 1: uh we're right outside of the city. And every single
• 1:13:32
  Speaker 1: time I go, I have to have the chickens and
• 1:13:35
  Speaker 1: PiZZ seasoned crab fries and a hot dog at some point.
• 1:13:39
  Speaker 1: And believe it or not, this might make me people
• 1:13:42
  Speaker 1: might judge me on my choice, But when I go
• 1:13:43
  Speaker 1: to a baseball games, I want a butt light lime.
• 1:13:48
  Speaker 2: You know, sure I respect that it's no moosehead, but
• 1:13:50
  Speaker 2: you know it's sweet, it tastes good, yeah, you know.
• 1:13:54
  Speaker 1: And then and then that order right there, the hot dog,
• 1:13:57
  Speaker 1: the fries, and the beer. That's about one hundred dollars.
• 1:13:59
  Speaker 3: So it'll financially cripple you. Just just to get some
• 1:14:04
  Speaker 3: food and a drink.
• 1:14:05
  Speaker 1: Dude, The tickets, the tickets to see the Phillies in
• 1:14:08
  Speaker 1: the in the middle of regular season is cheaper than
• 1:14:10
  Speaker 1: eating at the Phillies game.
• 1:14:14
  Speaker 3: Can I just go out on a limb and say
• 1:14:15
  Speaker 3: that I would not. I don't think I'd be touching
• 1:14:18
  Speaker 3: any of these chocolate boxes and Valentine bluffs whatsoever. You're
• 1:14:24
  Speaker 3: just you're just inviting problems.
• 1:14:26
  Speaker 1: Yeah, this this town is like single handedly ruining chocolates.
• 1:14:32
  Speaker 1: It like, like there's no chocolate market for Valentine's Day
• 1:14:36
  Speaker 1: candy in this town. I wouldn't There's no way I
• 1:14:39
  Speaker 1: would go near. I wouldn't trust buying it from a store.
• 1:14:41
  Speaker 1: I feel like I would pick it up and there
• 1:14:43
  Speaker 1: would be a heart in there, and I would have
• 1:14:45
  Speaker 1: just paid two ninety nine for human heart and I
• 1:14:47
  Speaker 1: would have had no idea. But also too, the miner
• 1:14:50
  Speaker 1: goes out of his way to like reseal the boxes
• 1:14:54
  Speaker 1: with the plastic. You know, it's not like the boxes
• 1:14:57
  Speaker 1: are like here's a box, you just open it like
• 1:14:59
  Speaker 1: they're sealed.
• 1:15:00
  Speaker 3: Yeah, there was some thought. There was a thought that
• 1:15:02
  Speaker 3: was put into it.
• 1:15:04
  Speaker 1: Yeah, Like I just picture him at home with the
• 1:15:06
  Speaker 1: heart and like the heat gun sealing the edges of
• 1:15:08
  Speaker 1: the plastic, you know, like I.
• 1:15:10
  Speaker 2: Got to make it look perfect.
• 1:15:12
  Speaker 3: Yeah, it needs to seem normal handwritten cards this tangent.
• 1:15:17
  Speaker 1: We've covered four food topics in the last five minutes.
• 1:15:20
  Speaker 1: Welcome to Beyond the Blood Place really talk about them
• 1:15:23
  Speaker 1: as serious of movie topics.
• 1:15:25
  Speaker 2: A food podcast, a food commentary podcast.
• 1:15:30
  Speaker 1: Yeah.
• 1:15:33
  Speaker 2: Oh, Dave goes into the catching to get himself a
• 1:15:36
  Speaker 2: hot dog, and as he is putting the tongs in
• 1:15:39
  Speaker 2: to puld this hot dog out here comes Harry and
• 1:15:44
  Speaker 2: sticks his face full force into this boiling water, this
• 1:15:49
  Speaker 2: hot dog water, and basically drowns him to death as
• 1:15:55
  Speaker 2: we see shots of his skin starting to peel off
• 1:15:58
  Speaker 2: of them, and you know, it's another burst, like, oh, dude.
• 1:16:03
  Speaker 1: Well believe it or not. So according to George, this
• 1:16:09
  Speaker 1: the shot in the water when Dave's face hits the
• 1:16:12
  Speaker 1: water was supposed to be twenty five seconds long, and
• 1:16:16
  Speaker 1: it was supposed to when his face enters the water,
• 1:16:20
  Speaker 1: it was supposed to be like a gradual burning off
• 1:16:23
  Speaker 1: of the skin, and it was gonna be a twenty
• 1:16:25
  Speaker 1: five second long shot. And apparently they did it, and
• 1:16:31
  Speaker 1: it just got it got cut. So all we get is,
• 1:16:33
  Speaker 1: you know, the shot of his already burned face. But
• 1:16:37
  Speaker 1: twenty five seconds, Oh my god, it doesn't sound long.
• 1:16:43
  Speaker 1: That's a long early. Yeah. I don't even think when
• 1:16:48
  Speaker 1: I think of this kind of kill, I don't even think.
• 1:16:50
  Speaker 1: The frozen face scene in Jason X is twenty five
• 1:16:53
  Speaker 1: seconds total.
• 1:16:54
  Speaker 2: Yeah.
• 1:16:55
  Speaker 3: I was thinking of in Halloween two, in the in
• 1:16:59
  Speaker 3: the hot where he takes it takes her, it takes
• 1:17:02
  Speaker 3: the nurse's face in the hot water.
• 1:17:06
  Speaker 1: Yeah, that's I think that's like the closest comparison.
• 1:17:09
  Speaker 3: Yeah, the few and far between kills like that. Yeah.
• 1:17:13
  Speaker 1: Yeah, Well, despite it not being twenty five seconds long,
• 1:17:17
  Speaker 1: the final shot, which we do get, George was very
• 1:17:20
  Speaker 1: happy to have back because it was not in the
• 1:17:21
  Speaker 1: theatrical cut.
• 1:17:25
  Speaker 2: Excuse me. So, after Dave's death, we got to the
• 1:17:30
  Speaker 2: police station where Chief Newby. Besides, he wants to go
• 1:17:34
  Speaker 2: and check on the mine. As he steps outside, he
• 1:17:38
  Speaker 2: sees dogs hovered around this art shaped candy box and
• 1:17:45
  Speaker 2: just go into town on it as we see blood
• 1:17:48
  Speaker 2: just pouring out. And he doesn't notice this at first
• 1:17:50
  Speaker 2: until after he chases him away and picks it up.
• 1:17:54
  Speaker 2: But you know what's inside this box this time hits
• 1:17:57
  Speaker 2: a heart and we have a note that just reads
• 1:18:00
  Speaker 2: you didn't stop the party.
• 1:18:04
  Speaker 1: That's a great Those notes are such a great addition
• 1:18:08
  Speaker 1: to moving the story ahead and kind of like revealing
• 1:18:11
  Speaker 1: to the chief kind of the unfolding of events. It does.
• 1:18:17
  Speaker 1: There's such a great little piece that I think the
• 1:18:20
  Speaker 1: movie could have done with, like it could have worked without,
• 1:18:23
  Speaker 1: but it just it adds to the storytelling very well.
• 1:18:29
  Speaker 3: I feel like it allows foreshadowing to take place between
• 1:18:33
  Speaker 3: that and then the upside down hearts like you guys
• 1:18:36
  Speaker 3: were talking about earlier. You can buy both of those,
• 1:18:39
  Speaker 3: and it kind of, you know, alludes to what's going
• 1:18:41
  Speaker 3: to be happening later on in the movie.
• 1:18:43
  Speaker 1: Yeah. And what's interesting too is that you would think,
• 1:18:46
  Speaker 1: you know, the killer typically wants to keep somebody like
• 1:18:50
  Speaker 1: the Chief one step behind. This is letting the Chief
• 1:18:53
  Speaker 1: in on what's happening. So it's and while it's not
• 1:18:57
  Speaker 1: exactly telling him where or anything like that, he is
• 1:19:01
  Speaker 1: kind of keeping him in touch with what's happening, you
• 1:19:04
  Speaker 1: know what I mean. So it's an interesting little motive
• 1:19:07
  Speaker 1: piece for.
• 1:19:09
  Speaker 3: For our minor character, almost like a cat mouse game
• 1:19:12
  Speaker 3: between the two of them.
• 1:19:14
  Speaker 1: Yeah, there's almost like a it's almost like our character
• 1:19:17
  Speaker 1: of the miner, he kind of wants to get caught,
• 1:19:19
  Speaker 1: you know, he kind of wants there to be He
• 1:19:22
  Speaker 1: wants to be chased, like you said that cat and Mouse,
• 1:19:24
  Speaker 1: he wants to be in pursuit. But also it is
• 1:19:26
  Speaker 1: it is vague enough that he still is playing games
• 1:19:30
  Speaker 1: with the Chief, you know, and keeping the Chief guessing
• 1:19:33
  Speaker 1: you could check anywhere, you know, he doesn't know exactly
• 1:19:35
  Speaker 1: where to go yet. He just knows something's going on,
• 1:19:38
  Speaker 1: and that's that's just as scary.
• 1:19:44
  Speaker 2: After this scene, we cut back to the party where
• 1:19:46
  Speaker 2: Axel and TJ are once again getting into it over Sarah,
• 1:19:51
  Speaker 2: but this time they get into it because TJ tells Axel,
• 1:19:54
  Speaker 2: you know what, she wants to get back with me,
• 1:19:56
  Speaker 2: So they get into a little scuff and after that
• 1:20:00
  Speaker 2: all breaks up. We come to these characters John and
• 1:20:03
  Speaker 2: Sylvia who decide that they want to leave the main
• 1:20:05
  Speaker 2: party and get some alone time together, so they end
• 1:20:09
  Speaker 2: up making their way into the changing rooms, where we
• 1:20:12
  Speaker 2: see all the minor outfits just hanging from above. And
• 1:20:16
  Speaker 2: it's just creepy to see those things just hanging out
• 1:20:18
  Speaker 2: up there.
• 1:20:21
  Speaker 1: Yeah, it is. And this is another one of those scenes.
• 1:20:24
  Speaker 1: This was not an original script. This idea was of
• 1:20:27
  Speaker 1: them sneaking off, but once George had toured this mine
• 1:20:33
  Speaker 1: and saw this just to kind of give an image,
• 1:20:35
  Speaker 1: like Chuck said that all of the clothing are hanging
• 1:20:39
  Speaker 1: from these hooks and they're probably twelve fourteen feet in
• 1:20:43
  Speaker 1: the air, and there's seemingly hundreds of these and it
• 1:20:47
  Speaker 1: is a very very creepy atmosphere to it, to the
• 1:20:53
  Speaker 1: point where George actually said when he toured this mind
• 1:20:57
  Speaker 1: and it was one of the creepiest things he had
• 1:20:58
  Speaker 1: ever seen. So I thought that was an interesting note
• 1:21:02
  Speaker 1: from him. But another thing that I want to bring
• 1:21:03
  Speaker 1: up about this is the George says during the commentary
• 1:21:09
  Speaker 1: that this entire sequence that we're getting into he would
• 1:21:12
  Speaker 1: actually cut and put into his his his like his
• 1:21:17
  Speaker 1: director's real. And I'll commentate on that when we get
• 1:21:21
  Speaker 1: just a couple of minutes ahead, if you want to keep.
• 1:21:24
  Speaker 2: Going on, Chuck, Yeah, for sure. So they're in there,
• 1:21:30
  Speaker 2: they're having a little bit of intimate moment, and this
• 1:21:36
  Speaker 2: is when Sylvia decides that she wants some more beers.
• 1:21:42
  Speaker 2: John gets up, goes to the kitchen the grab beer,
• 1:21:44
  Speaker 2: and it's during this scene where we see Gretchen adding
• 1:21:49
  Speaker 2: more water to the hot dog pot and as she's
• 1:21:51
  Speaker 2: staring at around, she ends up pulling out a heart,
• 1:21:55
  Speaker 2: just the boiled heart that was in the pot, in
• 1:21:58
  Speaker 2: which John makes a remark that it was probably just
• 1:22:01
  Speaker 2: Howard playing a joke. You know, he's the little prankster
• 1:22:04
  Speaker 2: of the group.
• 1:22:05
  Speaker 1: Wow, it's really gross.
• 1:22:07
  Speaker 3: Yeah, hot dog for a while.
• 1:22:10
  Speaker 2: Yeah, but it's funny because as he is, you know,
• 1:22:15
  Speaker 2: chatting with Gretchen. He has this fridge open to get
• 1:22:19
  Speaker 2: the beer out, and we see Dave's dead body just
• 1:22:23
  Speaker 2: in the fridge and he doesn't even notice it. Yeah,
• 1:22:27
  Speaker 2: just as he's talking.
• 1:22:28
  Speaker 1: And Thomas Berman's effects you are great because it does
• 1:22:32
  Speaker 1: look it doesn't it's like a unique burn. But I
• 1:22:36
  Speaker 1: noticed on on my Most Racer rewatch the movie that
• 1:22:39
  Speaker 1: you can actually see the skin that's sort of melted
• 1:22:43
  Speaker 1: and it's kind of hanging off and he's really gross,
• 1:22:45
  Speaker 1: like gloops in that quick shot that we get of it,
• 1:22:48
  Speaker 1: which is a really it looks really nasty, and then
• 1:22:51
  Speaker 1: I guess when it went into the fridge, you know,
• 1:22:53
  Speaker 1: it has cooled and it gives this kind of unique
• 1:22:56
  Speaker 1: gross look to his face.
• 1:23:02
  Speaker 2: Though as all this is going on, Sylvia back at
• 1:23:05
  Speaker 2: the changing rooms and shower rooms, notices that the outfits
• 1:23:09
  Speaker 2: that are hanging above her start to just move around
• 1:23:12
  Speaker 2: on their own.
• 1:23:13
  Speaker 1: So before we get into this, this is what I
• 1:23:16
  Speaker 1: want to talk about because there's two shots in particular,
• 1:23:20
  Speaker 1: and Steve, I know you're very visual like I am,
• 1:23:23
  Speaker 1: so you probably picked up onto two. But there is
• 1:23:25
  Speaker 1: a we get back to the sequence, there's a dolly
• 1:23:28
  Speaker 1: shot that picks up above Sylvia and it cuts to
• 1:23:32
  Speaker 1: a shot. We're to the right of Sylvia and as
• 1:23:35
  Speaker 1: she looks around, the camera pans right to left with her,
• 1:23:41
  Speaker 1: and it to me it screamed like Italian influence because
• 1:23:46
  Speaker 1: we haven't seen the camera move that way yet. And
• 1:23:50
  Speaker 1: she looks to her right very slow, and the camera
• 1:23:53
  Speaker 1: trails behind her eyesight very slightly, and it does feel
• 1:23:57
  Speaker 1: a little out of place because we hadn't seen.
• 1:24:02
  Speaker 3: It's very jarring, yeah, it is.
• 1:24:04
  Speaker 1: And the camera moves to the point and then we
• 1:24:06
  Speaker 1: see the shower turn on in the background, so there
• 1:24:10
  Speaker 1: is some very deliberate camera stuff happening here. That was really, like,
• 1:24:15
  Speaker 1: really impressive, to the point where I was like, wow,
• 1:24:18
  Speaker 1: that's a great shot.
• 1:24:20
  Speaker 3: I feel like we're almost trying to catch up the
• 1:24:22
  Speaker 3: same way that she is, and it's almost very disorienting.
• 1:24:26
  Speaker 3: You're trying to figure out what's going on. But yeah,
• 1:24:29
  Speaker 3: that's that's definitely one of those shots that definitely stands out.
• 1:24:33
  Speaker 1: Yeah, yeah, it's very In my opinion, I think that's
• 1:24:36
  Speaker 1: my favorite shot of the movie, just that simple pan
• 1:24:39
  Speaker 1: from from right to left. It's also jarring to me
• 1:24:42
  Speaker 1: that they that they rented a dolly just to do
• 1:24:45
  Speaker 1: that little that little raising shot above her because it
• 1:24:49
  Speaker 1: doesn't move very far, so it's a little weird. You're like, oh,
• 1:24:52
  Speaker 1: you bought a whole dolly to do that, but you know,
• 1:24:56
  Speaker 1: is what it is.
• 1:25:00
  Speaker 2: Though, as she notices the shower turn on, she begins
• 1:25:03
  Speaker 2: to call out, thinking that it's John, so she starts
• 1:25:07
  Speaker 2: making her way over there. But this is when the
• 1:25:09
  Speaker 2: outfits start to drop from the ceiling start just scattered,
• 1:25:13
  Speaker 2: like just falling all around her, and now she's beginning
• 1:25:16
  Speaker 2: to panic and just run around. She eventually has one
• 1:25:23
  Speaker 2: drop in front of her, and inside the outfit is
• 1:25:27
  Speaker 2: the dead body of Happy lets out a shriek, and
• 1:25:33
  Speaker 2: at this point he comes face to face with Harry,
• 1:25:36
  Speaker 2: who does off his brength by picking her up with
• 1:25:40
  Speaker 2: his hands by the head and just yep, just lifts
• 1:25:44
  Speaker 2: her up like it's nothing by the head, brings her
• 1:25:48
  Speaker 2: into the shower room, where he impales the back of
• 1:25:53
  Speaker 2: her head into one of the shower pipes.
• 1:25:58
  Speaker 1: Yeah, little detail stuff here. Those showers are singed pipes,
• 1:26:04
  Speaker 1: so they have very sharp edges where the water comes out,
• 1:26:08
  Speaker 1: and that's what he impales her on. But there's a
• 1:26:11
  Speaker 1: couple other like really cool little notes here. One being
• 1:26:14
  Speaker 1: another mcguffin of how she's picked up by the head,
• 1:26:16
  Speaker 1: which is how Dave picks her up at the beginning
• 1:26:20
  Speaker 1: of the movie when he goes into the town hall.
• 1:26:23
  Speaker 1: He literally grabs her by the head and she grabs
• 1:26:25
  Speaker 1: his arms and lifts her up so he could kiss her.
• 1:26:29
  Speaker 1: So I thought that was a good little detail of
• 1:26:31
  Speaker 1: kind of giving us some clues as to who this
• 1:26:34
  Speaker 1: might be. But there was a lot of cool stuff
• 1:26:37
  Speaker 1: in here that the director pointed out, one being that
• 1:26:40
  Speaker 1: the Harry's body coming from the ceiling was not an
• 1:26:43
  Speaker 1: a theatrical cut, so that was brand new. He was
• 1:26:46
  Speaker 1: very excited to see that moment as soon as because
• 1:26:48
  Speaker 1: it's a very effective The editing here is very good
• 1:26:52
  Speaker 1: and it's a very jarring moment, and we see it
• 1:26:54
  Speaker 1: very quick, like if you blink, you're you're gonna miss it.
• 1:26:59
  Speaker 1: There is also still a shot missing, which we do
• 1:27:04
  Speaker 1: see this shot later, but it was supposed to be earlier.
• 1:27:07
  Speaker 1: But after he impales her head onto the singed shower pipe,
• 1:27:13
  Speaker 1: there was supposed to be a shot of the because
• 1:27:15
  Speaker 1: he we see her get impaled, we see blood come out,
• 1:27:18
  Speaker 1: and then he turns the water on. There was supposed
• 1:27:21
  Speaker 1: to be a shot of the water shooting out of
• 1:27:23
  Speaker 1: her mouth because that's where the pipe impaled. That was
• 1:27:28
  Speaker 1: cut out because there was an initial one. But George
• 1:27:31
  Speaker 1: said that this entire scene in general is much much
• 1:27:34
  Speaker 1: closer than to being as complete as it was. There's
• 1:27:40
  Speaker 1: still some stuff missing, but he was very audibly excited
• 1:27:43
  Speaker 1: about how much closer this was to what it was
• 1:27:46
  Speaker 1: supposed to be.
• 1:27:48
  Speaker 3: Would you guys say that compared to a lot of
• 1:27:51
  Speaker 3: the other slashers that were coming out during this time,
• 1:27:54
  Speaker 3: that this I feel like this is probably one of
• 1:27:57
  Speaker 3: the more glorier slashes I could think of during that decade,
• 1:28:01
  Speaker 3: especially with like the the uncut footage that was released.
• 1:28:05
  Speaker 1: Yeah, I think there's a very the slasher genre took
• 1:28:13
  Speaker 1: major leaps very quickly. Like when you look at look
• 1:28:16
  Speaker 1: at the difference between Friday thirteenth Friday Thirteenth Part two.
• 1:28:20
  Speaker 1: I don't necessarily know if they're gorrier, but they're a
• 1:28:24
  Speaker 1: little meaner because look at everything in the first Friday
• 1:28:28
  Speaker 1: the thirteenth and compare it to I Forget his Name,
• 1:28:32
  Speaker 1: the wheelchair death and Friday thirteenth Part two. Yeah, and
• 1:28:36
  Speaker 1: that death is not necessarily gorrier, but it's the it's
• 1:28:40
  Speaker 1: the whack of the of the the blade in the head,
• 1:28:44
  Speaker 1: in the face, it's the roll backwards down the steps
• 1:28:47
  Speaker 1: and then down the main stairs. So there's like a
• 1:28:49
  Speaker 1: bit of like a mean streak to it, which I
• 1:28:53
  Speaker 1: think this movie is like, these these kills are very personal,
• 1:29:00
  Speaker 1: Like there is no just like, oh, I'm gonna slit
• 1:29:04
  Speaker 1: your throat because it's easiest. Everything has this extreme intent
• 1:29:08
  Speaker 1: behind it. But yeah, there is a little bit of
• 1:29:12
  Speaker 1: that that like meanness to it. You know, like every
• 1:29:17
  Speaker 1: it just has such a visceral impact, Like you could
• 1:29:21
  Speaker 1: you could have just had Happy's death. You could have
• 1:29:23
  Speaker 1: just had to pickaxe go up into the mouth like
• 1:29:24
  Speaker 1: we get in the remake. That would have been fine,
• 1:29:27
  Speaker 1: but no, it's got to go through the eye socket.
• 1:29:29
  Speaker 1: You know, you can stab Sylvia on a on a
• 1:29:31
  Speaker 1: cinched pipe, but no, we gotta have the water running
• 1:29:34
  Speaker 1: out of it. It's like these extra little you know,
• 1:29:37
  Speaker 1: things that added on that that just excel it to
• 1:29:39
  Speaker 1: the next level. But what do you guys think?
• 1:29:42
  Speaker 3: I think it's pushing the envelope with how much George
• 1:29:45
  Speaker 3: can do. And it's just interesting to see how much
• 1:29:51
  Speaker 3: of it ended up getting edited out. Versus the Young
• 1:29:55
  Speaker 3: Caught version, where you know they were able to get
• 1:29:57
  Speaker 3: a majority of that footage back. But yeah, definitely, definitely,
• 1:30:02
  Speaker 3: I think the kills that take place in this movie
• 1:30:05
  Speaker 3: are very, very effective and purposeful.
• 1:30:08
  Speaker 1: Yeah. And one of the things he talks about too,
• 1:30:10
  Speaker 1: is this movie might not have been cut as much
• 1:30:13
  Speaker 1: had it been an American production. At this time, films
• 1:30:18
  Speaker 1: from Canada were trying to get into Hollywood, and Canada
• 1:30:21
  Speaker 1: was very tough. So he describes most of what the
• 1:30:25
  Speaker 1: MPAAAA did as death by a thousand cuts, because in
• 1:30:29
  Speaker 1: this time, you know they're cutting a negative. So they
• 1:30:32
  Speaker 1: would submit to the NPA for a scene and they
• 1:30:34
  Speaker 1: would say, hey, cut thirty frames out, and then they're
• 1:30:38
  Speaker 1: physically cutting thirty frames out putting the film back together,
• 1:30:43
  Speaker 1: and then the the MPAA would say, cut out seven
• 1:30:46
  Speaker 1: more frames, and they would just do that over and
• 1:30:49
  Speaker 1: over again. It's no wonder that bits of this film
• 1:30:52
  Speaker 1: are literally lost because you just cut it up so much.
• 1:30:56
  Speaker 1: You have to you have to like hold on to
• 1:31:01
  Speaker 1: that and be able to put it back together. And
• 1:31:03
  Speaker 1: I just I don't think it was possible because they
• 1:31:05
  Speaker 1: were just butchering this.
• 1:31:09
  Speaker 2: But yeah, this scene, it's definitely brutal, especially because after
• 1:31:14
  Speaker 2: you see her head getting impaled and the water be
• 1:31:17
  Speaker 2: starting to pour out, but we also get a shot
• 1:31:19
  Speaker 2: of her legs. It's violently shaken until they just eventually stop.
• 1:31:25
  Speaker 2: And yeah, yeah, it's just it's a brutal death.
• 1:31:30
  Speaker 1: Yeah, very very brutal, and especially what's coming to.
• 1:31:35
  Speaker 2: Yes because now John returns with the beer and begins
• 1:31:39
  Speaker 2: to call out for Sylvia. He's looking around for her
• 1:31:42
  Speaker 2: and notices that the showers turned on, so he thinks
• 1:31:45
  Speaker 2: he's going to get lucky. Now he believes that she's
• 1:31:48
  Speaker 2: in there getting showered and waiting for him, and that's
• 1:31:52
  Speaker 2: when he walks into the shower room and sees Sylvia
• 1:31:55
  Speaker 2: hanging with the water just flowing.
• 1:31:59
  Speaker 1: Yeah, and there was a shot. So in the theatrical
• 1:32:03
  Speaker 1: there is a shot which which is framed sort of
• 1:32:06
  Speaker 1: behind Sylvia's body and it hands around and you see
• 1:32:10
  Speaker 1: John's reaction. That was an the original cut. What's restored
• 1:32:14
  Speaker 1: in unrated cut is when we when we go to
• 1:32:16
  Speaker 1: actually seeing the water coming out of her, coming out
• 1:32:21
  Speaker 1: of her mouth from the from the shower. This was
• 1:32:25
  Speaker 1: done in multiple takes to capture Day's reaction. But one
• 1:32:29
  Speaker 1: thing they brought up that was funny is that she's
• 1:32:30
  Speaker 1: wearing a cashmere a cashmere sweater, and cashmere liquid doesn't
• 1:32:35
  Speaker 1: stick to it, kind of beads up and drops off,
• 1:32:37
  Speaker 1: and they talk about how they had to actually like
• 1:32:39
  Speaker 1: sandpaper the chest of the sweater because Dave's reaction, everybody's
• 1:32:44
  Speaker 1: reaction in this is very authentic, I think throughout the
• 1:32:46
  Speaker 1: whole movie. But he was having a hard time capturing
• 1:32:50
  Speaker 1: a reaction to this macab scene because there wasn't enough blood.
• 1:32:52
  Speaker 1: It was all washed off. So they had to do
• 1:32:56
  Speaker 1: it over and over again and actually stand it to
• 1:32:58
  Speaker 1: get blood to stick to it. And that helped that actor,
• 1:33:01
  Speaker 1: you know, really get that read that proper reaction down.
• 1:33:07
  Speaker 2: So after he discovers her body, be cut to a
• 1:33:10
  Speaker 2: shot of Chief Nuby, who has now approached the Minds
• 1:33:14
  Speaker 2: and as he's getting ready to walk in, he gets
• 1:33:17
  Speaker 2: called away from a dispatch to go help somewhere else.
• 1:33:22
  Speaker 2: And then it's at this point.
• 1:33:24
  Speaker 1: I think, isn't this when he gets called away because
• 1:33:28
  Speaker 1: the the we call it calls right the uh the
• 1:33:31
  Speaker 1: sanitarium or whatever it is, the mental home, I believe,
• 1:33:35
  Speaker 1: so yes, yeah, so they call and say that hey,
• 1:33:37
  Speaker 1: they called he needs to get back and call them.
• 1:33:41
  Speaker 2: Yeah. And from here we meet up with Alice, Mike Howard, Sarah, Patty,
• 1:33:48
  Speaker 2: and Harriet, who all decide that they want to go
• 1:33:50
  Speaker 2: into the actual minds themselves. PJ confronts him about going
• 1:33:57
  Speaker 2: down there. He doesn't want them going down there. It's
• 1:33:58
  Speaker 2: too dangerous. But eventually you just know this does whatever,
• 1:34:03
  Speaker 2: do what you want. They're not going to listen to them,
• 1:34:07
  Speaker 2: so they take the mind cards down and as they
• 1:34:10
  Speaker 2: reach the bottom, the girls ask for a tour of
• 1:34:14
  Speaker 2: the mines and they start to make their way through.
• 1:34:18
  Speaker 1: Yeah, this is interesting because I don't know about you guys.
• 1:34:22
  Speaker 1: Would you assume that mines are very dark?
• 1:34:25
  Speaker 2: I would assume so, yes, right, Like, we're.
• 1:34:29
  Speaker 1: Down in the Hanniger Minds right now and it's pretty dark.
• 1:34:33
  Speaker 1: But one interesting point that he brought up is at
• 1:34:35
  Speaker 1: minds are actually very light because the walls are painted white.
• 1:34:42
  Speaker 1: And they do this with a calcium paint because it
• 1:34:45
  Speaker 1: prevents sparks if metal was a come in contact with
• 1:34:48
  Speaker 1: the wall. And we talked earlier about how good they
• 1:34:55
  Speaker 1: hide from set to real mind and I think that's
• 1:34:58
  Speaker 1: a small detail of keeping that color palette because when
• 1:35:02
  Speaker 1: we go down there you can see. I wouldn't say
• 1:35:04
  Speaker 1: it's not like a stark white, it's like a gray almost.
• 1:35:07
  Speaker 1: But I thought that was interesting because I didn't know.
• 1:35:10
  Speaker 1: I never thought about that. I knew you couldn't, you know,
• 1:35:13
  Speaker 1: do sparks down there, calls sparks down there, But I
• 1:35:15
  Speaker 1: didn't know they painted them white. I thought that was
• 1:35:17
  Speaker 1: just an interesting little fact.
• 1:35:19
  Speaker 2: Yeah, it is cool fact, especially you know, lugging the
• 1:35:21
  Speaker 2: pickaxe around. God forbid, they like you said, strike the
• 1:35:24
  Speaker 2: wall and there's a spark. Yeah, Mehane levels are loud.
• 1:35:27
  Speaker 2: I So at this point, you know, they're doing their tour,
• 1:35:35
  Speaker 2: and Mike and Harriet decide that they want to break
• 1:35:37
  Speaker 2: off from the group again because they want to have
• 1:35:41
  Speaker 2: some alone time where they find a little side room
• 1:35:47
  Speaker 2: and excuse me. And from here we cut back to
• 1:35:51
  Speaker 2: the hall where Gretchen comes running out of the kitchen
• 1:35:54
  Speaker 2: screaming because she has just discovered the body of Dave
• 1:35:57
  Speaker 2: in the fridge. And then we also have John running
• 1:36:03
  Speaker 2: through the front door discreaming he killed her, he killed her,
• 1:36:08
  Speaker 2: and uh, this is when everything just goes to hell.
• 1:36:12
  Speaker 2: Everybody just goes into a panic. TJ and Axel tells
• 1:36:15
  Speaker 2: everybody all right, you know what, it's time to go.
• 1:36:18
  Speaker 2: Everyone get out of here. And this is when TJ
• 1:36:22
  Speaker 2: tells Axel that the group went down to the mind shaft.
• 1:36:26
  Speaker 2: So they're the ones that are gonna stay back and
• 1:36:29
  Speaker 2: go look for them while everybody else leaves. They try
• 1:36:31
  Speaker 2: to call the police, but here the phone lines are down.
• 1:36:35
  Speaker 2: You find out the phone lines are down. Of course, yeah,
• 1:36:38
  Speaker 2: why wouldn't they be?
• 1:36:39
  Speaker 1: Yeah, right, But this is a really cool part because
• 1:36:44
  Speaker 1: Neil Affleck, who plays Axel in the movie spoiler. If
• 1:36:48
  Speaker 1: you're listening to this, I would hope you've already seen
• 1:36:50
  Speaker 1: the movie, he is the killer. So he is the
• 1:36:53
  Speaker 1: one in the minor uh. And I bring this up
• 1:36:55
  Speaker 1: now because they shot all of the scenes in the
• 1:36:58
  Speaker 1: Mind at the end of production, and the whole entire time,
• 1:37:02
  Speaker 1: including this scene, he had no idea that he was
• 1:37:05
  Speaker 1: the killer. They never told him.
• 1:37:08
  Speaker 3: I thought that was so smart too, to keep like
• 1:37:11
  Speaker 3: their reactions genuine and keep everyone guessing. I think it
• 1:37:16
  Speaker 3: almost puts us in very similar positions. You know, we're
• 1:37:19
  Speaker 3: trying to figure out who the killer is. Kind of
• 1:37:22
  Speaker 3: by the end, no, somewhat, but I think that that
• 1:37:26
  Speaker 3: was a really nice touch on the director's part.
• 1:37:29
  Speaker 1: Yeah, because everything that he does feels authentic. Like in
• 1:37:32
  Speaker 1: this scene, I remember like, obviously I knew who he was,
• 1:37:37
  Speaker 1: but I remember being like, man, he's playing this off
• 1:37:39
  Speaker 1: really well. So when I listened to the commentary and
• 1:37:42
  Speaker 1: I found that out, I was like, oh, well that
• 1:37:44
  Speaker 1: makes sense. The actor was playing the serious because George
• 1:37:47
  Speaker 1: says that the entire time Neil thought I'm going to
• 1:37:50
  Speaker 1: be the hero, like, yeah, this is it. So he
• 1:37:53
  Speaker 1: played it like he was going to be the hero,
• 1:37:55
  Speaker 1: and it wasn't until the final two days are shooting
• 1:37:57
  Speaker 1: they're like, well, you're the killer. And it's just a
• 1:38:00
  Speaker 1: really cool little like insight as to how they were
• 1:38:05
  Speaker 1: able to get this performance. And it's cool because it
• 1:38:09
  Speaker 1: again it adds to that authenticity I think in a
• 1:38:12
  Speaker 1: very good way.
• 1:38:14
  Speaker 2: Yeah, it was really cool they did that. But we
• 1:38:18
  Speaker 2: cut back to Hollis, Darrah and Patty as he is
• 1:38:23
  Speaker 2: continuing the tour for them, and this is when he
• 1:38:26
  Speaker 2: starts telling the tale of Harry Warden And as they're
• 1:38:30
  Speaker 2: getting ready to walk up this ramp like thing, Howard
• 1:38:34
  Speaker 2: decides to play yet again another prank by dropping down
• 1:38:38
  Speaker 2: from the ceiling and scaring the shit out of the group.
• 1:38:42
  Speaker 1: It's a good little it's a good little gag. I mean,
• 1:38:44
  Speaker 1: I'd be mad as.
• 1:38:45
  Speaker 2: Hell, but yeah, and he sure had a lot of
• 1:38:48
  Speaker 2: trouble getting out from that afterwards.
• 1:38:51
  Speaker 1: Yeah, yeah, yeah he did. Yeah, he did. Were Holliss
• 1:38:53
  Speaker 1: actually had to like pick him up and pull him
• 1:38:55
  Speaker 1: out of there.
• 1:38:56
  Speaker 3: Yeah.
• 1:38:57
  Speaker 2: So as they walk away, we get a the first
• 1:39:00
  Speaker 2: person's perspective shot of the group walking away and we
• 1:39:04
  Speaker 2: hear that heavy breathing going on. So they continue to
• 1:39:13
  Speaker 2: walk through and they start hearing stuff breaking, like like
• 1:39:20
  Speaker 2: the lanterns on the walls. They hear them smashing, and
• 1:39:25
  Speaker 2: we cut to a shot of Harry walking down the
• 1:39:27
  Speaker 2: mind shaft just breaking these things with his pick axe,
• 1:39:31
  Speaker 2: just continueing they break them and break them.
• 1:39:33
  Speaker 1: It's such a good shot. It's so cool, like how
• 1:39:37
  Speaker 1: he carries himself, like I said, he always makes himself wider,
• 1:39:40
  Speaker 1: and him just taking that pick axe and smashing the bulbs,
• 1:39:44
  Speaker 1: which by the way, was done on a set because
• 1:39:46
  Speaker 1: you can't break bulbs like that in the real mind. Yeah,
• 1:39:52
  Speaker 1: but it's such a cool visual that I think the
• 1:39:55
  Speaker 1: remake failed to get. They do that scene again and
• 1:39:58
  Speaker 1: it just doesn't have the same impact. But that's up
• 1:40:01
  Speaker 1: there with one of my favorite moments in this whole
• 1:40:02
  Speaker 1: entire movie.
• 1:40:04
  Speaker 3: It definitely does an effective job of building tension. But
• 1:40:07
  Speaker 3: I would agree with you, that's that's definitely one of
• 1:40:09
  Speaker 3: my favorite shots.
• 1:40:10
  Speaker 2: Yeah, yeah, definitely very intimidating walk that he's doing. But
• 1:40:16
  Speaker 2: for some reason they kind of just disregard it and
• 1:40:19
  Speaker 2: go on their way.
• 1:40:20
  Speaker 3: Yeah.
• 1:40:21
  Speaker 2: Whatever, it's just noises coming from down there. It could
• 1:40:24
  Speaker 2: just be rats or something, you know.
• 1:40:26
  Speaker 1: Yeah, there's giant rats breaking light bulbs again.
• 1:40:29
  Speaker 2: Yeah, and no need to be worried. It's from here
• 1:40:35
  Speaker 2: that TJ ends up running into the group and notifies
• 1:40:39
  Speaker 2: them about the deaths of Dave and Sylvia and tells them, look,
• 1:40:47
  Speaker 2: we gotta go, you gotta get out of here. But
• 1:40:49
  Speaker 2: he informs them about how Mike and Harriet had broken
• 1:40:54
  Speaker 2: off from the group to go do their own things.
• 1:40:56
  Speaker 2: So again, here we go, the group's getting split up
• 1:40:59
  Speaker 2: because they have to go find people.
• 1:41:02
  Speaker 1: Yeah, and this is you know, when Hollis goes to
• 1:41:05
  Speaker 1: look for them. This is the scene that was cut
• 1:41:08
  Speaker 1: the most, and unfortunately this has gone forever so we'll
• 1:41:11
  Speaker 1: never see it. But the director actually makes a comment
• 1:41:15
  Speaker 1: that these are the two virgins of the group. So
• 1:41:19
  Speaker 1: this kill scene was much longer because as we see
• 1:41:21
  Speaker 1: when Hollis discovers the body, they have a giant drill
• 1:41:24
  Speaker 1: bit through both of them. So this scene originally we
• 1:41:30
  Speaker 1: were supposed to see them in the act, so they
• 1:41:34
  Speaker 1: were hooking up, you know, doing what you do when
• 1:41:37
  Speaker 1: you're having very safe sexual activity, and there's supposed to
• 1:41:44
  Speaker 1: be a shot when Selene has her eyes closed and
• 1:41:48
  Speaker 1: we see the drill bit get stabbed into Frank and
• 1:41:51
  Speaker 1: he kind of starts like writhing around because he's got
• 1:41:56
  Speaker 1: a drill bit in and she interprets it as he
• 1:41:58
  Speaker 1: just discovered a new move, so she's getting pleasure from
• 1:42:01
  Speaker 1: this until he opens his mouth and bleeds into her mouth.
• 1:42:07
  Speaker 1: And this was all supposed to be seen, so there
• 1:42:10
  Speaker 1: was a tight shot of that.
• 1:42:12
  Speaker 3: This is one of the scenes I wish they would
• 1:42:14
  Speaker 3: have been able to recover some of that footage from,
• 1:42:17
  Speaker 3: just because it's very abrupt when they go back and
• 1:42:21
  Speaker 3: you see the aftermath of everything that happened. But yeah,
• 1:42:26
  Speaker 3: it kind of bummer that they couldn't have at least
• 1:42:28
  Speaker 3: scotten some of that footage. Yeah.
• 1:42:30
  Speaker 1: Yeah, And what's cool about this, I think is the
• 1:42:33
  Speaker 1: fact that he gets stabbed first. So we've seen this
• 1:42:36
  Speaker 1: kill before, you know, we've seen this a couple of
• 1:42:39
  Speaker 1: times in movies, and it's always like one clean stab
• 1:42:43
  Speaker 1: through both of them.
• 1:42:45
  Speaker 3: In this.
• 1:42:47
  Speaker 1: Frank gets stabbed, it goes through him. She interprets the
• 1:42:50
  Speaker 1: sex move. He opens his mouth, bleeds into hers, and
• 1:42:52
  Speaker 1: then she opens her eyes and sees what's happening. And
• 1:42:55
  Speaker 1: then the miner throws his weight onto the drill, which
• 1:42:59
  Speaker 1: canntinues its way through Frank into her, so pinning them
• 1:43:03
  Speaker 1: together with the drill. Unfortunately, like we said, this is
• 1:43:08
  Speaker 1: completely lost, and this is a scene where the MPAA
• 1:43:12
  Speaker 1: was constantly every single time they submitted it, they were like,
• 1:43:14
  Speaker 1: remove seven more frames, remove seven more frames, and it
• 1:43:18
  Speaker 1: got to a point where the footage was just so
• 1:43:21
  Speaker 1: destroyed there was no way to redeem it. So they
• 1:43:26
  Speaker 1: ended up just going this route with the discovery of
• 1:43:28
  Speaker 1: their bodies. But like you said, Steve, if there's any
• 1:43:31
  Speaker 1: scene that I would love to see, it would have
• 1:43:33
  Speaker 1: been it would have been this.
• 1:43:34
  Speaker 3: One for sure.
• 1:43:36
  Speaker 2: Yeah, definitely would have been cool to see the full
• 1:43:38
  Speaker 2: scene happened.
• 1:43:40
  Speaker 1: That's gross. That that's again, that's that's there's like a
• 1:43:43
  Speaker 1: mean spirit to that you know, because I think of
• 1:43:47
  Speaker 1: are you guys fans of the Hatchet movies? Yeah, guess
• 1:43:51
  Speaker 1: is it Hatchet two or three? When the two are
• 1:43:54
  Speaker 1: having sex in the woods and he gets cut in
• 1:43:55
  Speaker 1: half and his body continues to like jut around and
• 1:43:59
  Speaker 1: she's still getting pleasure from it. I think of you know,
• 1:44:02
  Speaker 1: I think of that, but like having the little details,
• 1:44:05
  Speaker 1: like her eyes are closed so she doesn't know what's happening.
• 1:44:08
  Speaker 1: She's in the moment, and then he literally bleeds into
• 1:44:11
  Speaker 1: her mouth. It's it's like little details. It add so
• 1:44:15
  Speaker 1: much to the impact of the of the kill, you.
• 1:44:18
  Speaker 2: Know, definitely. So after discovering the bodies, Alice ends up
• 1:44:28
  Speaker 2: coming face to face with Harry, who takes a nail gun,
• 1:44:32
  Speaker 2: puts it straight up to his temple and just due
• 1:44:35
  Speaker 2: to nail right in to him. Yeah, and he's a
• 1:44:39
  Speaker 2: little dazed and he's trying to get away, but he
• 1:44:42
  Speaker 2: gets shot once more in the forehead with a nail
• 1:44:45
  Speaker 2: gun somehow still standing, prisingly crazy, and he manages to
• 1:44:51
  Speaker 2: get away and ends up meeting up with the rest
• 1:44:55
  Speaker 2: of the group, and unfortunately, when he finally arrives to
• 1:45:01
  Speaker 2: the group, he passes away.
• 1:45:04
  Speaker 1: Yeah, that's a mean that's a mean little bit.
• 1:45:12
  Speaker 3: Yeah, it's it's very drawn out. I felt like it's
• 1:45:16
  Speaker 3: a very drawn out kill, and I almost sympathize with
• 1:45:20
  Speaker 3: him because I think he I would, I'd probably consider
• 1:45:22
  Speaker 3: him one of my favorite characters in the movie. And
• 1:45:26
  Speaker 3: kind of what you were saying, Chris is, it's such
• 1:45:28
  Speaker 3: a mean spirited kill to do to someone.
• 1:45:32
  Speaker 1: But yeah, and especially him, like I would hope if
• 1:45:35
  Speaker 1: anybody got a fast death. And I just want to say, Chuck,
• 1:45:38
  Speaker 1: I hope you're still able to hear us because we
• 1:45:40
  Speaker 1: we kept on because you froze.
• 1:45:42
  Speaker 2: So yeah, I can, I can hear you. Yeah, I said,
• 1:45:44
  Speaker 2: I lost connection, but we're good.
• 1:45:45
  Speaker 1: Okay, all right, cool, all right. But yeah, that's that's
• 1:45:48
  Speaker 1: a mean that's a mean, a.
• 1:45:50
  Speaker 2: Very mean little bit there, Yeah for sure. And uh yeah,
• 1:45:54
  Speaker 2: like you said, Hollis was definitely one of my favorite characters.
• 1:45:56
  Speaker 2: So seeing him die stuped.
• 1:45:58
  Speaker 3: Yeah.
• 1:46:04
  Speaker 2: So at this point, uh, we start to see Harry
• 1:46:07
  Speaker 2: make his way towards the group, and that's when they
• 1:46:10
  Speaker 2: know shit's serious and they got to get the hell
• 1:46:12
  Speaker 2: out of there. As Axel ends up finding the girls
• 1:46:18
  Speaker 2: and begins to lead them out of the mine, they
• 1:46:21
  Speaker 2: end up running into TJ, and Axel ends up hitting
• 1:46:26
  Speaker 2: him in the stomach with a log because he thought
• 1:46:27
  Speaker 2: it was Harry coming around the corner.
• 1:46:30
  Speaker 1: If my wife, my wife saw that, and she's like,
• 1:46:32
  Speaker 1: that would break all his ribs, right, he hit them hard?
• 1:46:37
  Speaker 3: Uh and uh all right.
• 1:46:42
  Speaker 2: So Chief Newby eventually arrives to the mines and he
• 1:46:46
  Speaker 2: notices that the elevator is not working, so how's he
• 1:46:51
  Speaker 2: going to get down now? And this is also when
• 1:46:53
  Speaker 2: TJ discovers that the control panel has been destroyed. So
• 1:46:58
  Speaker 2: in order to get out of the mines now they
• 1:47:00
  Speaker 2: have to climb up this ladder, this very large ladder,
• 1:47:04
  Speaker 2: and it was probably a pain in the ass because
• 1:47:07
  Speaker 2: you know, the ladder looked very slippery with all that
• 1:47:09
  Speaker 2: water running on it.
• 1:47:11
  Speaker 1: Yeah, and they talk about how this was This was
• 1:47:13
  Speaker 1: obviously a set just for camera angle reasons. But another
• 1:47:17
  Speaker 1: thing that the moderator on the commentary mentioned was the
• 1:47:21
  Speaker 1: choice to have Sally still in her high heels, and
• 1:47:24
  Speaker 1: he said that was strictly visual. He's like, but in reality,
• 1:47:28
  Speaker 1: this ladder is a mile tall. So he said, like,
• 1:47:31
  Speaker 1: I would rather climb this ladder with heels on than
• 1:47:34
  Speaker 1: bare feet, because my feet would be shredded up.
• 1:47:36
  Speaker 2: Yeah, for sure.
• 1:47:39
  Speaker 3: I like that once they're down in the mine, or
• 1:47:41
  Speaker 3: even when they're climbing up the ladder, it's a very
• 1:47:43
  Speaker 3: claustrophobic feel, and I think that only adds more tension
• 1:47:48
  Speaker 3: to the movie. The mine itself almost feels like a
• 1:47:51
  Speaker 3: kind of like a character in itself. Really.
• 1:47:54
  Speaker 1: Yeah, And there's a cool visual choice here because when
• 1:47:57
  Speaker 1: we see we see when they get to the panel,
• 1:48:00
  Speaker 1: we can see that whole, we can see the elevator,
• 1:48:02
  Speaker 1: we can see the wall around the elevator, and we
• 1:48:04
  Speaker 1: can see the ladder. But when they're coming up the ladder,
• 1:48:06
  Speaker 1: because they were shooting on a set, they blacked out,
• 1:48:09
  Speaker 1: you can only see the characters and the ladder. So
• 1:48:13
  Speaker 1: it was a cool visual choice to make it feel
• 1:48:15
  Speaker 1: more enclosed, as they were sort of like leaving the
• 1:48:18
  Speaker 1: light so it looks like because in reality, he said,
• 1:48:21
  Speaker 1: this ladder was only twenty five foot, so they had
• 1:48:23
  Speaker 1: to keep going up and down it over and over
• 1:48:25
  Speaker 1: again to make it seem like they were climbing a
• 1:48:27
  Speaker 1: really tall ladder. But the facts who light it the
• 1:48:30
  Speaker 1: way they did it made it feel much much much
• 1:48:33
  Speaker 1: more claustrophobic. Definitely, And I failed to mention earlier that
• 1:48:40
  Speaker 1: Howard was in charge of watching the girls and he
• 1:48:42
  Speaker 1: ends up just ditching them. Good old prank.
• 1:48:46
  Speaker 2: Yeah, cool buddy, and he went off on his own.
• 1:48:51
  Speaker 2: And I bring that up because as we were climbing
• 1:48:54
  Speaker 2: up this ladder, I believe it's Axel who slips and
• 1:48:58
  Speaker 2: as he's lip and he goes to reach up to
• 1:49:02
  Speaker 2: catch his balance and grabs onto a rope, and attached
• 1:49:06
  Speaker 2: to that rope is the body of Howard, who has
• 1:49:09
  Speaker 2: the rope tied around his neck. And as his body falls,
• 1:49:14
  Speaker 2: his head becomes detached from his body. Oh it's brutal,
• 1:49:19
  Speaker 2: and he just blood everywhere.
• 1:49:22
  Speaker 1: Yeah, And what's what's so cool about this is that
• 1:49:24
  Speaker 1: everything that we see as as part of Howard's I guess,
• 1:49:28
  Speaker 1: not death, but his body discovery, it's all new to
• 1:49:31
  Speaker 1: this cut. So the neck snap that was not in
• 1:49:35
  Speaker 1: the theatrical the blood splatter onto Patty's face that was
• 1:49:39
  Speaker 1: not in the theatrical cut, when the body breaks and
• 1:49:42
  Speaker 1: we just see his head and like neck, upper chest
• 1:49:46
  Speaker 1: hanging like just dangling on the rope that was not
• 1:49:50
  Speaker 1: in the cut. That was all restored. And George said
• 1:49:54
  Speaker 1: that this is the most complete where we're going to
• 1:49:55
  Speaker 1: see it. The only thing I don't know. I don't
• 1:49:58
  Speaker 1: because I haven't seen it. The I don't know if
• 1:50:00
  Speaker 1: we get the body slamming into the ground at the
• 1:50:03
  Speaker 1: bottom of the of the ladder. He didn't mention that
• 1:50:06
  Speaker 1: if that was into the theatrical, but I imagine it
• 1:50:08
  Speaker 1: was in some way to sell this scene. But I
• 1:50:12
  Speaker 1: don't know. Still, that's a crazy it's a crazy reveal.
• 1:50:16
  Speaker 3: That kill is very over the top, yeah, dude, And
• 1:50:20
  Speaker 3: you want to.
• 1:50:21
  Speaker 1: Like we keep talking about the mean spirit, every kill
• 1:50:24
  Speaker 1: has like something that takes it a little bit. And
• 1:50:25
  Speaker 1: it's the blood splattering onto Patty's face. That's like the
• 1:50:28
  Speaker 1: extra almost like fuck you to the kill, you know. Yeah,
• 1:50:34
  Speaker 1: So yeah, that's a that's a cool one though, to
• 1:50:37
  Speaker 1: finally get it all back and it's and it's gory glory.
• 1:50:42
  Speaker 2: For sure, dude. It's it's gross. It's at this point
• 1:50:48
  Speaker 2: where they decided, you know what this could mean that
• 1:50:53
  Speaker 2: Harry is now topside though, let's climb back down the ladder.
• 1:50:58
  Speaker 2: So the climb back down the ladder and they begin
• 1:51:00
  Speaker 2: making their way through the mind shafts again. That's it.
• 1:51:04
  Speaker 2: And it's at this point where Axel and the two
• 1:51:06
  Speaker 2: girls got ahead a little bit and as they around
• 1:51:10
  Speaker 2: a corner, we hear something snap and break and the
• 1:51:14
  Speaker 2: sound of water splashing up. So they run back, thinking
• 1:51:19
  Speaker 2: something happened with Axel. So they get they around the corner,
• 1:51:22
  Speaker 2: they find out that the wooden rail that they were
• 1:51:25
  Speaker 2: using to support themselves snapped, and they looked down into
• 1:51:28
  Speaker 2: the water and see the headlamp that Axel was wearing.
• 1:51:32
  Speaker 2: I'm just sinking down into the depths, in which they
• 1:51:36
  Speaker 2: asked TJ. He's got to do something. He's like, I can't.
• 1:51:40
  Speaker 2: This is sixty feet deep, so there's really nothing I
• 1:51:43
  Speaker 2: can do. We just have to go on without him.
• 1:51:45
  Speaker 1: And this is the point where my wife was like, well,
• 1:51:48
  Speaker 1: clearly it's Axel, Like how the hell did this? I
• 1:51:52
  Speaker 1: don't even know how the hell he did this. Like
• 1:51:54
  Speaker 1: he just lean on it, because it's a very small area,
• 1:51:57
  Speaker 1: He just like put some weight on it and just
• 1:51:59
  Speaker 1: whoop right there. It's a very silly little moment, you know.
• 1:52:04
  Speaker 2: And it was just like he just came up with it,
• 1:52:05
  Speaker 2: like on the fly to like that quickly, like you
• 1:52:07
  Speaker 2: know what, I'm just gonna break this, throw my helmet
• 1:52:09
  Speaker 2: in there, and then just book it so they can't
• 1:52:11
  Speaker 2: see it. Yeah, so where we at here, you tell.
• 1:52:20
  Speaker 2: TJ ends up telling the girls that they should probably
• 1:52:22
  Speaker 2: go ahead of him, and we hear what sounds like
• 1:52:26
  Speaker 2: the tunnel collapse in where TJ was at. So the
• 1:52:29
  Speaker 2: girls are calling out to him. They're not hearing any responses.
• 1:52:33
  Speaker 2: They're like, all right, you know what, we gotta go.
• 1:52:35
  Speaker 2: We're being hunted down. There's nothing we can do. As
• 1:52:42
  Speaker 2: they're about to round the corner, quote unquote, Harry appears
• 1:52:46
  Speaker 2: and drives his pick axe right into the stomach of Patty,
• 1:52:51
  Speaker 2: and this is where we lose her.
• 1:52:53
  Speaker 1: Yeah, and it's weird because this is a bloodless death.
• 1:52:57
  Speaker 1: There's no no gore here. But the NPA cut this
• 1:53:03
  Speaker 1: and all George said was I can't figure out their logic.
• 1:53:08
  Speaker 3: So that kill seemed like the most tame out of
• 1:53:11
  Speaker 3: any of them.
• 1:53:13
  Speaker 1: Yeah, it does, And I don't know, I guess it
• 1:53:22
  Speaker 1: feels a little out of place because everything has been
• 1:53:25
  Speaker 1: so mean and this is just sort of like, Okay,
• 1:53:28
  Speaker 1: she gets to have in the stomach.
• 1:53:30
  Speaker 2: Yeah, everything up to this point has been over the
• 1:53:32
  Speaker 2: top until we get to this kill.
• 1:53:34
  Speaker 1: It's almost though, like now that we're kind of you know,
• 1:53:37
  Speaker 1: we realize it's Axle. It's almost like he you can
• 1:53:40
  Speaker 1: kind of tell the ranking of who he liked most,
• 1:53:43
  Speaker 1: you know, it's kind of like he couldn't stand Howard,
• 1:53:45
  Speaker 1: so he did that to you know, like but like Hollis,
• 1:53:49
  Speaker 1: you know, Hollis had a pretty that was a lighter
• 1:53:52
  Speaker 1: way to go out compared to everybody else. Yeah, so
• 1:53:56
  Speaker 1: it's just funny, and I think it's a good death
• 1:53:58
  Speaker 1: for Patty because it is sad, you know, to see
• 1:54:02
  Speaker 1: that happen to her, but it is it is very
• 1:54:05
  Speaker 1: light compared to the rest.
• 1:54:06
  Speaker 2: Of how the outings. So yeah, so we get a
• 1:54:12
  Speaker 2: shot that you know, the police backup has finally arrived,
• 1:54:16
  Speaker 2: and we cut to Sarah who is on the run
• 1:54:21
  Speaker 2: from Harry after this happens, and she runs into TJ.
• 1:54:27
  Speaker 2: So they start making their way back through the mine
• 1:54:30
  Speaker 2: and they decide they're going to take the mine carts up.
• 1:54:33
  Speaker 2: But at this point, this is when Harry has called
• 1:54:36
  Speaker 2: up and as they're bored in this mine cart, it
• 1:54:39
  Speaker 2: begins going and there's like a little chase sequence on this.
• 1:54:43
  Speaker 2: As they're making their way from art the cart, Harry's
• 1:54:46
  Speaker 2: swinging his pickaxe down at TJ.
• 1:54:50
  Speaker 1: Yeah, and George talks about how this was inspired by
• 1:54:53
  Speaker 1: like the old Western like train heist sequences, and I
• 1:54:58
  Speaker 1: thought that was a pretty cool little, you know, a
• 1:55:00
  Speaker 1: little nod to that.
• 1:55:02
  Speaker 2: Yeah, it definitely felt like that.
• 1:55:03
  Speaker 3: Yeah, did you guys up until this point did you
• 1:55:06
  Speaker 3: have any idea first watch? Did you know who the
• 1:55:10
  Speaker 3: miner was?
• 1:55:13
  Speaker 1: I know, I knew it was some toss up between
• 1:55:15
  Speaker 1: Axel and TJ because of their disappearing, their sort of
• 1:55:18
  Speaker 1: like in and out this whole entire end sequence.
• 1:55:21
  Speaker 2: But I didn't. Yeah, up to this point, I thought
• 1:55:24
  Speaker 2: it was TJ the whole time, until you know, we
• 1:55:26
  Speaker 2: got we got to this scene and I was like,
• 1:55:28
  Speaker 2: oh shit, who could it be?
• 1:55:29
  Speaker 3: Then?
• 1:55:30
  Speaker 1: But do you think that was influence? Oh wait, you
• 1:55:32
  Speaker 1: hadn't seen the remake? I was gonna say, because if
• 1:55:33
  Speaker 1: you if you see the remake, it's TJ's character. Who
• 1:55:37
  Speaker 1: is the killer?
• 1:55:39
  Speaker 2: Really it is?
• 1:55:41
  Speaker 1: Yeah, So it's just interesting.
• 1:55:44
  Speaker 3: I like that they did that. So it wasn't verbat
• 1:55:48
  Speaker 3: the same plot as the original like the remake kind
• 1:55:52
  Speaker 3: of did. It had its own take on it. But yeah,
• 1:55:57
  Speaker 3: that part's kind of cool.
• 1:55:58
  Speaker 1: Yeah. Yeah, so I had no idea know up until
• 1:56:00
  Speaker 1: this point. And I mean I'm talking. We're going back
• 1:56:03
  Speaker 1: almost ten years when I watched this, you know, for
• 1:56:06
  Speaker 1: the first time, or no longer than that, because I
• 1:56:09
  Speaker 1: watched the theatrical and I remember being let down that
• 1:56:13
  Speaker 1: it was Axel and not TJ, because the whole time
• 1:56:16
  Speaker 1: I was like so confident that it was TJ.
• 1:56:19
  Speaker 2: Yeah, I mean, he's the one that had like reason
• 1:56:21
  Speaker 2: to do it, because you know, he moved away, came
• 1:56:23
  Speaker 2: back and found out his girlfriend's or ex girlfriend is
• 1:56:26
  Speaker 2: with one of his best friends.
• 1:56:28
  Speaker 1: Yeah, it's a good we talk about the storytelling though,
• 1:56:31
  Speaker 1: it's a good it's a good little misdirection to to
• 1:56:35
  Speaker 1: make you know, Axel our killer.
• 1:56:38
  Speaker 2: Yeah. That and then the scene from earlier in the
• 1:56:40
  Speaker 2: junk yard where we kind of had that first person's
• 1:56:43
  Speaker 2: perspective of you know, being the sight of the guys
• 1:56:46
  Speaker 2: through the cars and it ended up just being TJ.
• 1:56:50
  Speaker 2: That kind of maybe think that it was him as well,
• 1:56:52
  Speaker 2: because that's the only first person perspective shot quote unquote
• 1:56:56
  Speaker 2: that we get that's not from the minor.
• 1:56:58
  Speaker 1: Yeah, yep, yep.
• 1:57:03
  Speaker 2: So yet that whole sequence goes on and as they're
• 1:57:08
  Speaker 2: waking their way up, they end up quote unquote Harry
• 1:57:13
  Speaker 2: and TJ fall off the mind carts and at this
• 1:57:19
  Speaker 2: point Backup is running down as they see the mind
• 1:57:22
  Speaker 2: cart coming up, which is completely empty, so they know
• 1:57:25
  Speaker 2: somebody's down there. And it's at this point where DJ
• 1:57:31
  Speaker 2: is getting ready to be stabbed, so Sarah decides to
• 1:57:37
  Speaker 2: step in and she pulls the mask off of quote
• 1:57:40
  Speaker 2: unquote Harry, and this is where we get the reveal
• 1:57:42
  Speaker 2: that it's actually Axel. And it's at this point where
• 1:57:46
  Speaker 2: they're like wondering why, and we get a flashback of
• 1:57:52
  Speaker 2: and TJ's not TJM sorry Axel's perspective, because we find
• 1:57:56
  Speaker 2: out that one of the supervisors that Harry killed was
• 1:57:59
  Speaker 2: his and he watched this whole thing happen from he
• 1:58:04
  Speaker 2: was hiding under the bed and watched this whole thing happened.
• 1:58:07
  Speaker 3: I like how they leave that detail out the first
• 1:58:10
  Speaker 3: time that they call back to that that's you don't
• 1:58:14
  Speaker 3: know anything about him being underneath the bed. They don't
• 1:58:16
  Speaker 3: mention that there's any relation between his father being the
• 1:58:20
  Speaker 3: mind manager and Axel. I thought it was a really
• 1:58:23
  Speaker 3: nice touch and kind of brought the story full circle
• 1:58:28
  Speaker 3: at the end of Once once he's revealed to be
• 1:58:30
  Speaker 3: the miner.
• 1:58:32
  Speaker 1: Yeah, yeah, and it makes sense because you know, you purposely,
• 1:58:36
  Speaker 1: they're not showing you that purposely to drive the ending home.
• 1:58:40
  Speaker 1: And this scene was supposed to be a lot more brutal,
• 1:58:44
  Speaker 1: this flashback scene, because there was supposed to be a
• 1:58:49
  Speaker 1: moment when Harry Warden removes the father's beating heart and
• 1:58:53
  Speaker 1: actually holds it up almost like a prize possession and
• 1:58:57
  Speaker 1: it's still beating in his hands and little axles under
• 1:59:01
  Speaker 1: the bed watching and that's gone forever. But at least
• 1:59:05
  Speaker 1: we get the blood splatter onto.
• 1:59:07
  Speaker 3: They would have kept that scene because that when he
• 1:59:09
  Speaker 3: was when the director was talking about that, I was like,
• 1:59:12
  Speaker 3: I'm not gonna lie that. That would have been pretty
• 1:59:14
  Speaker 3: pretty badass if you you had left that in too
• 1:59:17
  Speaker 3: the movie, or at least we got, you know, restored
• 1:59:19
  Speaker 3: footage to include that in.
• 1:59:22
  Speaker 1: Yeah, that's a brutal It's a brutal little moment, you know.
• 1:59:26
  Speaker 1: And I get why it's you know, I get why
• 1:59:28
  Speaker 1: it was cut, especially because it involves a kid, you know,
• 1:59:32
  Speaker 1: watching it, so I could see where the NPA had
• 1:59:34
  Speaker 1: a problem. But that's it's so cool because we know
• 1:59:38
  Speaker 1: that this is Harry committing those those murders, and it's
• 1:59:42
  Speaker 1: so personal for him, and it's just that I think
• 1:59:45
  Speaker 1: that really sells the evil of Harry Warden getting his
• 1:59:50
  Speaker 1: revenge if we had kept that in. But that's unfortunately
• 1:59:54
  Speaker 1: it's gone forever.
• 1:59:56
  Speaker 2: Yeah, that's where we find out the motivation and for
• 2:00:01
  Speaker 2: by Axel decided to do this. And at this point
• 2:00:04
  Speaker 2: there they begin to fight again. And it's at this
• 2:00:08
  Speaker 2: point where TJ hits Axel in the head with a rock,
• 2:00:11
  Speaker 2: which causes him to fall into a support beam and
• 2:00:15
  Speaker 2: causes a collapse in the tunnel. Yeah, which separates J
• 2:00:21
  Speaker 2: and Sarah from Axel. Excuse me, and I love too.
• 2:00:26
  Speaker 1: I love in this fight how every single time Axel
• 2:00:30
  Speaker 1: misses he hits a support beam, Like, yeah, it's like
• 2:00:32
  Speaker 1: he hits like the rocks and he swings again he
• 2:00:35
  Speaker 1: hits another support beam, so like leading up to him
• 2:00:38
  Speaker 1: hitting the support beam, he's destroying. Yeah, And this was
• 2:00:43
  Speaker 1: the set. This is what I talked about. This is
• 2:00:44
  Speaker 1: another scene that this is a set that was built.
• 2:00:47
  Speaker 1: Obviously they couldn't do this in the in the real mind,
• 2:00:49
  Speaker 1: but it feels very claustrophobic. It feels like we're still
• 2:00:52
  Speaker 1: in the real mind.
• 2:00:54
  Speaker 2: Yeah, And it's at this point where the chief mayor,
• 2:00:57
  Speaker 2: and the backup reached TJ and Sarah, and this is
• 2:01:01
  Speaker 2: where the chief reveals that he knows it wasn't Harry
• 2:01:04
  Speaker 2: because he finds out that Harry passed away five years ago.
• 2:01:09
  Speaker 2: And that's when TJ turns around and goes, yeah, we
• 2:01:11
  Speaker 2: know it's not him. It was actually Axel committing these murders.
• 2:01:15
  Speaker 3: The sheriff was always like two steps behind the entire movie.
• 2:01:19
  Speaker 2: Yeah, yeah, yeah, and uh. But after this, we see
• 2:01:25
  Speaker 2: the rubble starting to move around and we see Axel's
• 2:01:28
  Speaker 2: hand actually come out, and at this point, Sarah decides, oh,
• 2:01:33
  Speaker 2: let me go walk up and just grab his hand
• 2:01:36
  Speaker 2: and hold on to it, which Axel latches onto, and
• 2:01:41
  Speaker 2: then we get this disturbing shot of Axel. This sall
• 2:01:46
  Speaker 2: in his own arm off.
• 2:01:48
  Speaker 1: Ah, dude, this is like, first of all, they're so
• 2:01:52
  Speaker 1: fast to try to find his body, Like the crew
• 2:01:55
  Speaker 1: immediately begins removing rubble from this pile. And I think
• 2:02:01
  Speaker 1: it's a nice moment when when she sees his arm
• 2:02:03
  Speaker 1: and obviously we know that they're romantic at you attachment,
• 2:02:08
  Speaker 1: and when the arm grabs I'm like, okay, this is
• 2:02:12
  Speaker 1: this is awesome. But then the shot on the inside
• 2:02:15
  Speaker 1: of him sawing off his arm that was restored for
• 2:02:19
  Speaker 1: the unrated cut. But what I love about it is
• 2:02:21
  Speaker 1: there's such a sense of urgency and like savagery behind it,
• 2:02:26
  Speaker 1: where like you actually hear axel like like as he's
• 2:02:30
  Speaker 1: sawing off his arm to the point where because he
• 2:02:34
  Speaker 1: latched onto Sarah's arm and she is pulling because it
• 2:02:38
  Speaker 1: grab and it pulls the arm like remaining the arm
• 2:02:41
  Speaker 1: off of where he was cutting it. Yeah, it's so gross, man,
• 2:02:46
  Speaker 1: It's really like, to me, that's the one hundred and
• 2:02:49
  Speaker 1: twenty seven hours inspiration.
• 2:02:51
  Speaker 3: I as much that it's like he goes in a
• 2:02:53
  Speaker 3: full blown survivalist mode and just takes off down the mine.
• 2:02:59
  Speaker 3: That that closing scene is so creepy because you he
• 2:03:05
  Speaker 3: just he just goes full blown like psychotic, and you
• 2:03:10
  Speaker 3: just hear him like laughing and kind of talking to
• 2:03:16
  Speaker 3: himself as he's going down the mine, very open ended.
• 2:03:20
  Speaker 2: Yeah, and the way he changes his voice to to
• 2:03:22
  Speaker 2: like make him just sound crazy. Yeah, you sounds psychotic
• 2:03:25
  Speaker 2: and pretty much like taunting Sarah and going Sarah, will
• 2:03:29
  Speaker 2: you be my bloody valentine? And then did he start
• 2:03:33
  Speaker 2: like singing some song who as he's running down the
• 2:03:37
  Speaker 2: mind shift. He goes he goes nuts, and.
• 2:03:42
  Speaker 1: It's really cool because the camera just stays in the rubble,
• 2:03:45
  Speaker 1: so we don't follow him. We just see him like
• 2:03:47
  Speaker 1: hobbling and he's holding his arm. And it's at that
• 2:03:51
  Speaker 1: point where where it really sells that he was just
• 2:03:53
  Speaker 1: full blown, like his whole performance, the whole movie was
• 2:03:56
  Speaker 1: just that. It was a performance like he was putting
• 2:03:58
  Speaker 1: on an active peer normal. Clearly something is very wrong
• 2:04:03
  Speaker 1: with him. And that ending is the creepiest part of
• 2:04:07
  Speaker 1: the movie.
• 2:04:08
  Speaker 2: Yep, Yeah, for sure, it's it's so it's so creepy.
• 2:04:13
  Speaker 1: But a really cool little note here that again, when
• 2:04:16
  Speaker 1: when we cut to right before they start doing the rubble,
• 2:04:19
  Speaker 1: we hear the Harry Warden ballad that we talked about
• 2:04:24
  Speaker 1: before we went live Steve the music. They had finished
• 2:04:28
  Speaker 1: the movie, they cut the movie. The movie was done
• 2:04:30
  Speaker 1: like ready to go, and the director was like, hey,
• 2:04:33
  Speaker 1: we need something, something's missing. So Paul Zaza, the composer,
• 2:04:36
  Speaker 1: wrote that ballad in a day and they were able
• 2:04:39
  Speaker 1: to add it into the movie.
• 2:04:41
  Speaker 3: Another nice touch.
• 2:04:43
  Speaker 1: Yep, Yep, it just sells it. And then the last
• 2:04:46
  Speaker 1: commentary note that I have actually happens throwing the credits,
• 2:04:49
  Speaker 1: which this was the most surprising note to me. Our
• 2:04:52
  Speaker 1: moderator says, ask George, like, if you could come back
• 2:04:57
  Speaker 1: and do a sequel, would you, And George very excitedly
• 2:05:01
  Speaker 1: says yes, he would like if he got the opportunity
• 2:05:04
  Speaker 1: to do a sequel and follow these characters again, this
• 2:05:09
  Speaker 1: long after the events. He well, that was recorded in
• 2:05:11
  Speaker 1: like twenty sixteen, so at that time he was He said,
• 2:05:15
  Speaker 1: if somebody would give us the money and let me
• 2:05:16
  Speaker 1: do it, I would. And I think, you know, on
• 2:05:20
  Speaker 1: one hand, I'm happy there's not On the other hand,
• 2:05:24
  Speaker 1: I'm kind of like, how he's still alive. We leave
• 2:05:29
  Speaker 1: open ended, and I don't know, would you guys be
• 2:05:33
  Speaker 1: interested in a legacy sequel to.
• 2:05:36
  Speaker 2: This or no.
• 2:05:37
  Speaker 3: I'm surprised we never received any sequels to begin with.
• 2:05:42
  Speaker 3: But I think that for the longest time, I don't
• 2:05:45
  Speaker 3: remember this movie getting as much recognition as it did.
• 2:05:50
  Speaker 3: I felt like it eventually started developing a cult following.
• 2:05:53
  Speaker 3: It was almost the same way with Black Christmas too,
• 2:05:56
  Speaker 3: that wasn't one. I mean, at least when I was
• 2:05:59
  Speaker 3: growing up, I didn't hear about it as frequently as
• 2:06:01
  Speaker 3: compared to something like Halloween, and I think there was
• 2:06:04
  Speaker 3: a lot of revisionist viewings to like really appreciate it.
• 2:06:09
  Speaker 3: And you know, physical media I think has definitely helped
• 2:06:12
  Speaker 3: both of these movies really find find you know, the
• 2:06:14
  Speaker 3: right audience.
• 2:06:17
  Speaker 1: Yeah, this is you know, for as much you know,
• 2:06:21
  Speaker 1: we champion movies on here and talking about movies and
• 2:06:24
  Speaker 1: breaking down movies. We do this hand in hand with
• 2:06:28
  Speaker 1: physical media. We can only get audio commentaries aside from
• 2:06:31
  Speaker 1: the few digital ones as a bonus feature on physical
• 2:06:35
  Speaker 1: so you know, we champion just as much. You know, Steve,
• 2:06:38
  Speaker 1: your Instagram page is all about physical media and movies.
• 2:06:43
  Speaker 1: Mine is all about physical media and movies. Chuck physical
• 2:06:46
  Speaker 1: media and movies. So there's you know, hand in hand,
• 2:06:49
  Speaker 1: and physical media gives new life to these movies. The fact,
• 2:06:56
  Speaker 1: you know, it might not be as important as somebody
• 2:06:58
  Speaker 1: else that this movie is restored and this footage is back,
• 2:07:03
  Speaker 1: but you can tell in this commentary track how happy
• 2:07:07
  Speaker 1: the director George Mahka is to have this footage back,
• 2:07:09
  Speaker 1: Like he is very excited to see this and it
• 2:07:13
  Speaker 1: must be very what's the word very awarding? Twenty or
• 2:07:22
  Speaker 1: how many years have been twenty four years later to
• 2:07:25
  Speaker 1: see wait more than that, twenty forty years. Yeah, forty
• 2:07:31
  Speaker 1: four years later to see that footage back, you know
• 2:07:35
  Speaker 1: what I mean. Yeah, all that hard work, everybody who
• 2:07:38
  Speaker 1: was involved, it must be so incredibly you know, overwhelming
• 2:07:44
  Speaker 1: for him to see that and for the fans to
• 2:07:47
  Speaker 1: embrace it like they have. I still can't believe I
• 2:07:50
  Speaker 1: said twenty years. I still think it's like two thousand
• 2:07:52
  Speaker 1: and one right, time is flying. But yeah, that's that's
• 2:07:59
  Speaker 1: my book, Valentine. That's yeah, dude, no good, great, great movie.
• 2:08:07
  Speaker 1: And this is the case where I think we kind
• 2:08:09
  Speaker 1: of talked about it before, where this footage that was
• 2:08:12
  Speaker 1: cut out might seem minimal, but it makes a huge
• 2:08:14
  Speaker 1: impact on the viewing experience, you know. So we talked about,
• 2:08:21
  Speaker 1: you know, kind of scenes that we love at the
• 2:08:23
  Speaker 1: end of the day, knowing that we just deep dived
• 2:08:26
  Speaker 1: into this movie for you guys. And I'll start with Steve,
• 2:08:30
  Speaker 1: what is your what what would you champion as your
• 2:08:33
  Speaker 1: favorite scene from My Body, Valentine.
• 2:08:37
  Speaker 3: I would have to say the scene in the mine
• 2:08:41
  Speaker 3: where the miner is smashing the lights, spilling the tension.
• 2:08:47
  Speaker 3: I would say that that's one of the standout scenes
• 2:08:49
  Speaker 3: for me. And then I know we had talked about
• 2:08:53
  Speaker 3: it earlier, the scene with Mabel, the Black Christmas homage,
• 2:08:57
  Speaker 3: the point of view of the kill her, you know,
• 2:09:00
  Speaker 3: watching her while while she's in the laundromat, everything that
• 2:09:07
  Speaker 3: follows after that, that sequence, I always come back to it,
• 2:09:13
  Speaker 3: and I just enjoyed as much as I did the
• 2:09:16
  Speaker 3: first time I watched it, So it's it's been cool
• 2:09:19
  Speaker 3: to go back and revisit and see it from a
• 2:09:21
  Speaker 3: different lens.
• 2:09:23
  Speaker 1: Mm hmm, yeah, Chuck, what about you, man?
• 2:09:25
  Speaker 2: Yeah, So the scene that's going to be sticking with
• 2:09:27
  Speaker 2: me for a while is definitely that shower scene with
• 2:09:32
  Speaker 2: you know, just getting her head and paled onto that
• 2:09:35
  Speaker 2: pipe and watching the water come out of her mouth
• 2:09:38
  Speaker 2: and the violence shaking of the legs until she eventually passes.
• 2:09:42
  Speaker 2: It's just it's creepy, man. You just you see the
• 2:09:45
  Speaker 2: strength of Axel we just picking her up by her
• 2:09:50
  Speaker 2: head and yeah, that whole and the whole sequence leading
• 2:09:53
  Speaker 2: up to that too, with the the outfits just dropping
• 2:09:56
  Speaker 2: add to that factor.
• 2:09:58
  Speaker 1: Yeah, that would be mine too. That would be mine too.
• 2:10:02
  Speaker 1: And I do think at the end of this, you know,
• 2:10:05
  Speaker 1: at the end of every episode, trying to champion people
• 2:10:08
  Speaker 1: to give audio commentaries a chance, who might not, you know,
• 2:10:11
  Speaker 1: who might not see the value in watching movies with
• 2:10:16
  Speaker 1: audio commentaries and stuff, But in this case, this is
• 2:10:19
  Speaker 1: one that I would highly recommend. Because this is our
• 2:10:22
  Speaker 1: second episode. We're we're covering a movie, right, So this
• 2:10:24
  Speaker 1: is episode three that includes an introduction episode. The first
• 2:10:28
  Speaker 1: with Spider Labyrinth, we didn't have filmmakers on that. We
• 2:10:31
  Speaker 1: had analysts.
• 2:10:32
  Speaker 3: We had.
• 2:10:34
  Speaker 1: Will Dotson and Ryan who were giving analytical commentary on
• 2:10:39
  Speaker 1: the movie, so there wasn't a lot of research out.
• 2:10:42
  Speaker 1: This time around, we have the director and he gave
• 2:10:46
  Speaker 1: tons of great info and this commentary has helped me
• 2:10:52
  Speaker 1: grow a certain level of new appreciation for the movie,
• 2:10:54
  Speaker 1: a new insight that I'm very happy to know, and
• 2:10:58
  Speaker 1: to a point where my confidence in speaking about this
• 2:11:03
  Speaker 1: movie has grown, you know, like I kind of consider
• 2:11:08
  Speaker 1: myself like a pseudo, my bloody Valentine expert after this
• 2:11:12
  Speaker 1: commentary track. You know, it's very informative, and it's gotta
• 2:11:16
  Speaker 1: be tough because that commentary track was recorded, you know,
• 2:11:19
  Speaker 1: thirty six years after the movie was filmed, and we
• 2:11:22
  Speaker 1: have a moderator on there that is keeping that conversation going.
• 2:11:26
  Speaker 1: But I'm happy to have it. You know, I am happy.
• 2:11:29
  Speaker 1: You guys watch it with the commentary track, What did
• 2:11:31
  Speaker 1: you guys think of the info from George on this track?
• 2:11:38
  Speaker 3: I thought it was really insightful. I mean, just as
• 2:11:43
  Speaker 3: surprised as I was during some of those scenes to
• 2:11:47
  Speaker 3: see some of this footage that was restored, like the
• 2:11:49
  Speaker 3: first time I saw it on four K and when
• 2:11:53
  Speaker 3: he was doing that commentary track, for the director to
• 2:11:56
  Speaker 3: be just as excited about some of this restored footage,
• 2:11:59
  Speaker 3: I think that that's something that I feel like is
• 2:12:01
  Speaker 3: like really special, just you know, we're preserving this content,
• 2:12:06
  Speaker 3: you know, for future releases, and it's closer to the
• 2:12:11
  Speaker 3: vision that the director had to begin with. And I
• 2:12:13
  Speaker 3: think that that there was just something to be said about,
• 2:12:15
  Speaker 3: you know, restoring the director's original vision.
• 2:12:19
  Speaker 1: Yeah, and Chuck, what about you man?
• 2:12:22
  Speaker 2: Yeah, it was definitely cool hearing the excitement and his
• 2:12:24
  Speaker 2: voice after seeing the clips that were initially cut out
• 2:12:28
  Speaker 2: being returned to the film, and yeah, it just all
• 2:12:31
  Speaker 2: the other insights that he was given about you. Oh,
• 2:12:36
  Speaker 2: they had to repaint the mind because the mining company
• 2:12:39
  Speaker 2: that they were shooting at decided, hey, you know what,
• 2:12:42
  Speaker 2: let's make it look nice for them the film and ye,
• 2:12:45
  Speaker 2: but now it was cool hearing the excitement and his
• 2:12:48
  Speaker 2: voice talking about this movie, because it definitely seems like
• 2:12:50
  Speaker 2: he loves it.
• 2:12:51
  Speaker 1: Yeah, yeah, I think it was great. So just for
• 2:12:54
  Speaker 1: everybody out there, if you're curious of checking out this
• 2:12:56
  Speaker 1: audio commentary. It is available on two different releases, both
• 2:13:00
  Speaker 1: put up by Screen Factory. There is the original Blu
• 2:13:03
  Speaker 1: ray release which contains the theatrical and the unrated cut.
• 2:13:06
  Speaker 1: The commentary track is on both of those cuts, but
• 2:13:09
  Speaker 1: I would tell you to burn the theatrical cut, don't
• 2:13:12
  Speaker 1: ever watch or support what the NPA did to that movie.
• 2:13:17
  Speaker 1: Watch the unrated cut. But it is also available on
• 2:13:20
  Speaker 1: four K. Screen Factory has been doing brand new or not.
• 2:13:25
  Speaker 1: I don't know if they're brand new restorations, but they've
• 2:13:26
  Speaker 1: been doing new restorations to some of their older releases.
• 2:13:30
  Speaker 1: So there is a four K available for My Bloody Valentine,
• 2:13:32
  Speaker 1: and that commentary track is on the four K release,
• 2:13:36
  Speaker 1: So make sure you if you're if you don't already
• 2:13:39
  Speaker 1: own this movie, get it check out this commentary track.
• 2:13:43
  Speaker 1: It's well worth a listen, as you've heard from me
• 2:13:47
  Speaker 1: and Chuck and Steve. So we're moving on from this though.
• 2:13:52
  Speaker 1: We're gonna be moving into Rob Zombie territory. For the
• 2:13:56
  Speaker 1: next episode, we're gonna be talking about how of a
• 2:14:00
  Speaker 1: thousand corpses for March, which is I'm nervous because Rob
• 2:14:07
  Speaker 1: Zombie talks a lot, and uh, I'm curious of how
• 2:14:10
  Speaker 1: we're gonna be able to to break that one down.
• 2:14:14
  Speaker 1: But I do want to say, if you've made it
• 2:14:17
  Speaker 1: to the end of this, thank you so much for
• 2:14:20
  Speaker 1: the love on that first episode. I know that these
• 2:14:22
  Speaker 1: are long winded, but we really try to get as
• 2:14:25
  Speaker 1: down and dirty with this info as possible, and you know,
• 2:14:28
  Speaker 1: make sure that if you're not gonna listen to the
• 2:14:31
  Speaker 1: commentary tracks, you get all that info here. We're able
• 2:14:33
  Speaker 1: to sum it up nice for you. And hopefully at
• 2:14:36
  Speaker 1: the end of these episodes two plus hour long episodes, uh,
• 2:14:40
  Speaker 1: you know, you you learn a thing or two and
• 2:14:43
  Speaker 1: you you know, maybe we'll revisit these movies.
• 2:14:46
  Speaker 2: I know.
• 2:14:46
  Speaker 1: I had a ton of people messaging me that they
• 2:14:48
  Speaker 1: picked up Spider Labyrinth from Severn after our episode. It
• 2:14:53
  Speaker 1: was really cool because we said in that comment we
• 2:14:55
  Speaker 1: said in that episode, how we were starting with a
• 2:14:58
  Speaker 1: movie that nobody was gonna watch, so we we're expecting
• 2:15:01
  Speaker 1: minuscule listen to that episode, and believe it or not,
• 2:15:05
  Speaker 1: we've had over fifty full plays on that episode. So
• 2:15:10
  Speaker 1: it was very cool to see people buying it, supporting Severn,
• 2:15:15
  Speaker 1: supporting that movie, supporting Ryan and Will who were on
• 2:15:17
  Speaker 1: that commentary track, and of course letting us ramble on
• 2:15:21
  Speaker 1: and on and on like we do. It's all in
• 2:15:24
  Speaker 1: good fun. I know we love this shit. So I
• 2:15:27
  Speaker 1: want to thank you Steve again. Let people know where
• 2:15:29
  Speaker 1: they can find you.
• 2:15:31
  Speaker 3: You guys can find me after hours video on Instagram,
• 2:15:35
  Speaker 3: and I guess can always keep what I'm what I'm
• 2:15:38
  Speaker 3: watching on the daily.
• 2:15:41
  Speaker 1: Yeah, dude, the best captions on Instagram.
• 2:15:44
  Speaker 3: Oh, thank you, thank you. I appreciate you guys having
• 2:15:46
  Speaker 3: me on Yeah, of course.
• 2:15:47
  Speaker 1: Man, I'll make sure to link that in the show notes. Chuck.
• 2:15:50
  Speaker 2: Let people know where they can find you, all right,
• 2:15:52
  Speaker 2: you can find me on Instagram at Chuck Underscore, Savage
• 2:15:55
  Speaker 2: and I don't really post on their a whole lot,
• 2:15:58
  Speaker 2: but I'm going to start doing more posting soon. The
• 2:16:00
  Speaker 2: show off my collection a bit more.
• 2:16:02
  Speaker 1: Yeah, dude, you need to start posting more of it.
• 2:16:05
  Speaker 2: I post like one picture a month.
• 2:16:08
  Speaker 1: Yeah, yeah, you need you need to start posting more
• 2:16:11
  Speaker 1: and you guys can find me if you don't already know,
• 2:16:13
  Speaker 1: if you don't already follow me. Uh, it is bearded
• 2:16:16
  Speaker 1: film guy. I'll make sure to leave that under both
• 2:16:19
  Speaker 1: of these guys links in the show notes. Boys, it
• 2:16:22
  Speaker 1: was a pleasure. I think we survived the Hanniger minds.
• 2:16:25
  Speaker 1: We're making our way out the elevator works. We survive.
• 2:16:29
  Speaker 1: We're covered in in soot and dirt, but we made it. Yeah, well,
• 2:16:34
  Speaker 1: yeah we got. We got blood on us, we have mud, sot,
• 2:16:38
  Speaker 1: the methane levels are getting out of control. We got
• 2:16:41
  Speaker 1: we gotta get the hell out of here. Man, We
• 2:16:43
  Speaker 1: gotta go quick. We'll see you guys on the next episode.
• 2:16:47
  Speaker 3: Peace by