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Event Horizon · Citizen Frame

• 0:00
  But this ship knew about it. It knows my fears. It knows my secrets.
• 0:06
  Gets inside your head and it shows you. I wasn't going to tell you this.
• 0:13
  I've been listening to the distress signal. And I, um...
• 0:20
  I think I made a mistake in the translation.
• 0:30
  Go on. I thought it said liberate me. Save me. But it's not me.
• 0:37
  It's liberate tutem me.
• 0:40
  Save yourself.
• 0:43
  And it gets worse.
• 0:45
  Liberate tutem me. Exit me. There.
• 0:50
  I think. That says ex. In feris.
• 0:58
  Save yourself.
• 1:02
  From hell. Everybody, welcome back to our sweet, sweet, sweet,
• 1:07
  sweet, sweet, sweet episode of Citizen Friend.
• 1:10
  No, this isn't Mission Impossible, but I promise you we are getting into that.
• 1:13
  It says for urgency with Mission Impossible because the new one's coming out.
• 1:17
  However, we can delay that a little bit as well because we found that new people,
• 1:22
  our listeners, don't really grab the new releases as fast as we thought just
• 1:27
  because they still want to see the film themselves.
• 1:28
  And as you know, we're in Sparlet Field and we don't give a fuck. So. Be war.
• 1:34
  Yeah. Yeah. So there'll probably be a delay in the mission of Possible anyway.
• 1:38
  And this month and next month or that month out there, we got sequels coming out that we got to get to.
• 1:44
  It's going to be busy, busy, busy. Final Destinations as well.
• 1:48
  Make Final Destinations.
• 1:49
  Yeah. We're going to do the retrospective of the Final Destinations. We got Meg 2 coming back.
• 1:53
  We got just a bunch of retrospectives coming out Meg too,
• 2:01
  oh Megan, sorry Megan too way to keep up there Bronco I thought you were talking
• 2:06
  about the Meg with Jason Statham I thought there was a third one coming out
• 2:10
  I wish we were getting a new Meg,
• 2:12
  Meg's a classics, fucking classics Jason Statham,
• 2:17
  alright, that was terrible Jesus Christ, that was terrible better than your
• 2:21
  Arnie impression That was the worst Jason Statham.
• 2:24
  I might have fucking nailed it last month.
• 2:28
  Fucking brilliant. Right there. I went, but wow, my God. He's back in the studio
• 2:33
  here at Citizen Frame. Yeah, right. Right next to Cleveland.
• 2:36
  I think you did the Cardly LAN as well the other day. Yep.
• 2:41
  Man of many talents. Man of many voices. Exactly. Master of none.
• 2:46
  By the time you recognize that.
• 2:50
  Yeah. It's too bad I wasn't on fucking Neighbours, though. Otherwise,
• 2:54
  I'd be a fucking genius. Or Home and Away, or Prisoner Cell Block H, or Doctor Who.
• 2:59
  Where to... This is my life, people. We were going to get to this one a long
• 3:03
  time ago. We just kept blowing it off and don't know why we have.
• 3:07
  And it is a little science fiction horror. Film that came out a few years back,
• 3:13
  I think 96, I want to say, 97.
• 3:15
  It was called The Event Horizon.
• 3:17
  I'm a big fan of this director, believe it or not, because he kind of knows
• 3:20
  who he is and where he wants to go.
• 3:22
  I thought he would have gone to a different direction when we were about to
• 3:27
  talk Event Horizon, maybe more darker stuff, but he never really did.
• 3:31
  He really likes his B-horror camp, which I respect.
• 3:35
  A lot of ways, Carpenter's like that, you know?
• 3:39
  And he keeps his budgets within reasonably, within a reasonable budget.
• 3:44
  He doesn't deal with these $300 million mega blockbusters and stuff.
• 3:47
  He keeps it kind of below average.
• 3:49
  He started out, he has Paul W.S. Anderson, not to be confused with Paul Anderson.
• 3:55
  A lot of people do get confused with names.
• 3:57
  But he is Paul W.S. Anderson. He started out, he did a film,
• 4:01
  I think with Jude Law, one of his first films called Shopping, which is quite good.
• 4:06
  You guys should check it out. But then he kind of catapulted when he was asked
• 4:11
  to direct this little bad boy, The Event Horizon.
• 4:14
  Now, the movie did Tank, and there's a funny story behind this one.
• 4:17
  It's kind of a reverse, you know, big brother, edit the film now kind of mentality.
• 4:23
  So what happened here is this film was 30 minutes longer than the one we see.
• 4:28
  The one we have was about an hour and a half, give or take, a few moments there.
• 4:32
  And he was asked to cut off 30 minutes from it, and that's a lot to cut from a film. Okay.
• 4:38
  And he agreed to do quite a bit of it. But to this day, he regrets cutting at least 10.
• 4:43
  He cut 10 minutes too much, he feels.
• 4:46
  Now, when you watch this film, knowing that now, we always talk about A to C.
• 4:53
  How do you get the A to C? What we want to see the B. This movie is missing quite a few Bs. Yes.
• 4:58
  And this is probably most likely the reason.
• 5:01
  But that being said, the film...
• 5:04
  Works phenomenally. Now, the movie
• 5:06
  cost $60 million, and back then it was quite a bit. It only made $25.
• 5:11
  But about a year or two later, Blu-ray and so forth, movie catapulted.
• 5:17
  It was really quick, became a really quick cult hit real fast. Yeah.
• 5:22
  And the head of production at the time for Paramount, who did the – he told
• 5:29
  him to do the cuts. His name was John Goldwyn.
• 5:31
  Goldwyn, sorry. John Goldwyn.
• 5:34
  He actually said that it was unfair what we did because the popularity of this
• 5:40
  film all of a sudden, he felt it deserves the director's cut and they can't find the footage.
• 5:45
  Rumor has it there's footage around. Rumor has it somebody has found the VHS
• 5:50
  shot of it that the studio had.
• 5:53
  And it's not like Paul Anderson doesn't want to do it. He says he does want
• 5:57
  to see the, you know, get the uncut stuff on here.
• 5:59
  But that's why there's been a delay trying to find a solid copy of it.
• 6:04
  You know, I never understand these studios who make the directors cut their
• 6:07
  films, and then the footage disappears.
• 6:10
  Why can't we just keep a little archive somewhere, uncut stuff?
• 6:13
  Can't be that hard, especially in this day and age with, you know,
• 6:16
  everything stored on USB sticks as fuck's sake.
• 6:19
  That we can't just have it hidden there if we ever decide.
• 6:23
  If something like this happens again with Paramount head John Goldwyn could
• 6:28
  just go into the archives and go, here's the lost footage.
• 6:31
  Why don't you go ahead and recut it? sometimes they destroy the
• 6:35
  footage on purpose because they they dislike it
• 6:38
  so much back in the 60s now
• 6:40
  this is a serious doctor who reference and there was
• 6:43
  there have been multiple episodes of doctor
• 6:46
  who which were wiped by the bbc and
• 6:49
  no longer exist so sometimes this does
• 6:52
  happen apparently the footage here in event horizon which was
• 6:56
  cut consists mainly of you know
• 6:58
  the recordings of of the original
• 7:02
  crew of the event horizon and apparently they
• 7:05
  are extremely gory people like Jason Isaacs
• 7:08
  has said because what they did was they hired porn actors
• 7:11
  and some of the stuff is apparently you know
• 7:14
  they're depicting hell and apparently they didn't hold back and apparently it's
• 7:19
  proper crazy stuff according to the likes of Jason Isaacs and stuff he said
• 7:23
  a lot of it was probably illegal as well so yeah it sounds pretty nuts but I
• 7:28
  do know there have been calls for many years for a director's cut.
• 7:33
  Well, let's piggyback on the talk two thing. I can respect the BBC.
• 7:38
  I knew you were going to say that. So let's get that out of the way right now. Thank you, BBC.
• 7:45
  I knew you were going to say that, but yeah, total morons. You should always
• 7:48
  sort of back these things up.
• 7:50
  Like you said, at today's age, you know, even back then, in the 60s,
• 7:55
  70s, 80s, 90s, yeah. I mean, it's such a shame.
• 8:00
  Well, you could have back then, even in the 80s, and maybe even the 90s.
• 8:03
  That could be misspoken with the digital age because you've got to realize everything
• 8:07
  was kept on film and film is very dangerous to keep around. Yeah,
• 8:10
  in terms of temperature.
• 8:12
  Yeah, so the reason most of the stuff wasn't because of ego.
• 8:16
  Well, I'm not saying it's not all ego, but it was because it's too dangerous to keep.
• 8:21
  So that's why a lot of directors... With the BBC and Doctor Who,
• 8:25
  it was a cost-cutting exercise, I believe, because those early episodes were recorded on videotape.
• 8:30
  So they basically taped over them, essentially.
• 8:33
  Yeah, total stupidity in retrospect.
• 8:37
  It wasn't just Dr. Hoobie, the way it was a lot of other series.
• 8:40
  Well, I'm sure that's the way it was generally all over whatever country.
• 8:45
  I'm sure it happens in the US as well. And apparently Paul W.
• 8:49
  Anderson has actually literally travelled about the world looking for lost footage of this.
• 8:55
  But yes, as you were saying as well. Well, I'll tell you what though.
• 8:59
  I mean, I was more, well, we'll dive into it more
• 9:02
  what i think's cut but it was more about the big hell orgy scene
• 9:05
  i don't care i wanted to see more
• 9:07
  of the characters more of before the shit went down story or something like
• 9:13
  that backstory uh yeah more of the story and and and the actors that are focused
• 9:18
  on in this film because i do think characters like stark and and uh cooper kind
• 9:24
  of lost so but well let's let's Let's jump into it.
• 9:28
  Well, I would just like to jump in as well and say what you were saying earlier on about it tanking.
• 9:33
  This actually replaced Titanic because it was held up.
• 9:37
  And yes, it did tank. But apparently Kurt Russell saw it and said to Paul W.
• 9:41
  Anderson, you know, yeah, okay.
• 9:44
  It might do well straight away, but don't worry about it. This will grow.
• 9:47
  In 15 years' time, this will be a cult classic. And he was right.
• 9:52
  Yeah, he showed it to Kurt Russell Because he wanted Kurt Russell for his next
• 9:56
  film Which is called Soldier.
• 9:59
  And that's how Kurt Russell got to see it,
• 10:03
  And got Kurt Russell to do Soldier Which is, I think, another underrated Little
• 10:07
  film Apparently Clive Barker was also an advisor In pre-production as well No surprise You know Yeah,
• 10:17
  it's just a lot of Hellraiser in this That's for sure but yeah Paul Anderson
• 10:21
  God that was a long intro but you know I want to give you guys some shout outs
• 10:24
  because I like his stuff I just watched his new one yesterday in the land of
• 10:28
  gods or something like that it was,
• 10:30
  kind of forgetful, be honest with you. But he's really hit or miss director. Yeah.
• 10:34
  Yeah. I mean, the guy seems to be kind of bullied a bit with the editing from the higher ups.
• 10:39
  And when he did Alien versus Predator, which I give it a pass,
• 10:42
  I really enjoy that film. It's full of mazes and cool monsters.
• 10:46
  And the only problem is I wanted an R-rated version. And there was definitely
• 10:50
  a cut out there that we all deserve to see.
• 10:52
  Because to me, Alien or Predator movies should be R. Yeah. Agreed. Or Hard 18.
• 10:58
  Yeah. So that's, And so, but again, even without that, I really enjoyed that film.
• 11:04
  And then in case, he's mainly known for the entire Resident Evil series with
• 11:08
  his wife, Mila Jovovich.
• 11:09
  Again, a wonderful franchise. He did a nice job. He didn't direct one of them,
• 11:13
  but otherwise he pretty much did all of them.
• 11:16
  He did the original Mortal Kombat, which everyone seems to really like.
• 11:19
  I remembered at the time. He did Death Race.
• 11:21
  Yeah. He did Death Race with Jason Statham. He did Monster Hunter,
• 11:26
  which I actually really enjoy on the Radio Little Gem.
• 11:29
  We can skip Pompeii that was terrible but you know what I mean you get my point
• 11:35
  where he does like B-slock fun and yeah I've certainly nothing against him and
• 11:39
  certainly the ones I've seen the likes of Mortal Kombat even Alien vs.
• 11:44
  Predator you know Resident Evil they are what they are and they're enjoyable
• 11:49
  sort of genre B-movie type films so I've certainly nothing against him you know
• 11:56
  and I certainly have enjoyed some of his work especially this one.
• 12:00
  Yeah, there's no ego of him. That's what I could tell you about. No.
• 12:04
  There's no ego. And he keeps his budgets minimal so studios don't really hound him for editing.
• 12:10
  That could be another reason.
• 12:13
  But now, let's jump into it. Finally, we're jumping into it after 12 minutes.
• 12:17
  Here we are. The Event Horizon, Lawrence Freshburn, Sam Neill,
• 12:22
  Catherine Quinlan, Jolie Richardson, Richard T.
• 12:23
  Jones, Jack Noseworthy, Jason Isaacson, always nice to see. John Pertwee,
• 12:28
  we've got Miller, Weir, Peter Stark, Cooper, Justin, DJ, and Smith.
• 12:32
  Minimal cast, which I always like. I love the opening score of this.
• 12:37
  I've always did. I love when the Paramount logo gets involved in the credits.
• 12:40
  And the Paramount mountain, it pans up and now we're in space.
• 12:43
  Great opening score. It's Michael Kamen, but he used the band called Orbital
• 12:47
  to do some of the score work.
• 12:49
  They are a British, certainly at the time, they were a British dance rave group.
• 12:56
  So very, very good. Yeah, I've always liked Orbital, even, you know, aside from this.
• 13:01
  Yeah, in the mid-90s, you had these bands like Gravity Kills and Front 242 and
• 13:06
  Orbital, this new age techno thingy.
• 13:09
  Yes, the rave scene. It's got kind of cool stuff. Yeah. Yeah, the rave. Yeah.
• 13:14
  A bunch of cool stuff. Yeah.
• 13:17
  So, we got 2015, we colonized the moon. Nope, we haven't.
• 13:20
  In 2032, commercial mining on Mars.
• 13:24
  And in 2040, a deep space vessel, Event Horizon, was built to explore boundaries of the solar system.
• 13:33
  It disappeared around Neptune. Yep. Now it's seven years later.
• 13:37
  Seven years later, they get a distress call from the old Event Horizon.
• 13:43
  And that's where our story takes off.
• 13:45
  Boom. the Lewis and Clark is set to go,
• 13:51
  investigate there you go you got Sam
• 13:53
  Neill I like my Sam Neill oh yeah I mean I've always liked Sam
• 13:56
  Neill from my first song actually as the Antichrist Damien in the third Omen
• 14:02
  film The Final Conflict yeah he's actually originally from Northern Ireland
• 14:07
  as well but then I think when he was very young his family moved to New Zealand
• 14:11
  but yeah I've always liked him you know yeah it's nice to see him,
• 14:16
  and you know what's funny, we talk Sam Neill and I'm watching this film for
• 14:21
  the first time but when we do this podcast, we talk a lot of films, clearly. Yes.
• 14:25
  And there's a couple of moments when he's becoming possessed,
• 14:28
  he's becoming the bad dude. Yeah.
• 14:30
  And he's all cut up, he looks like a pinless pinhead. Yes, totally.
• 14:36
  And he's doing his thing and I'm looking at this and I'm like,
• 14:41
  you know what this reminds me of?
• 14:42
  It reminds me of his performance And I promise you, he carried this performance
• 14:47
  over from the movie we just talked about, what we talked about a couple of years
• 14:50
  ago called In the Mouth of Madness.
• 14:52
  He even has the insane laugh and the sort of scream, you know,
• 14:58
  the whoa, that he does. Yeah.
• 15:02
  Whenever he's probably losing the plot in both films. So yes,
• 15:06
  there's definitely a bit of In the Mouth of Madness here with his performance.
• 15:10
  This film was pretty much an homage to
• 15:14
  to carpenter to ridley scott etc
• 15:17
  etc there's a lot of this opening sequence where
• 15:19
  we meet the whole crew even it's kind of reversed instead of meeting them after
• 15:25
  cryosleep we meet them before they go into cryosleep but this whole introduction
• 15:29
  scenario even the holes and the lunch the eating area it looked like a it looked
• 15:37
  like a nod to Oh, definitely.
• 15:40
  And, you know, even the fact that the crew are very, you know,
• 15:45
  sort of working class, just there for it to do a job, you know, that sort of thing.
• 15:49
  The look of the ship, you know, it's very grimy.
• 15:52
  It's, you know, haunted house in space. So yeah, definitely.
• 15:55
  I mean, this film has often been sort of called by myself included,
• 16:01
  you know, alien meets Hellraiser. And I think that's totally intentional.
• 16:06
  Oh yeah, there's no way it's not. He's a fanboy. And you can tell by a lot of
• 16:10
  his work, especially when he ended up doing Alien vs. Predator. Yeah.
• 16:14
  But I do like the intro where you quickly meet all the characters and you kind
• 16:20
  of know exactly what they do and who does what. Yeah, the snobbing.
• 16:22
  And yeah, quick five-minute intro, we're done. Get him into hyperspace.
• 16:29
  And I do like the data dump where Weir explains to them,
• 16:36
  he tries to explain to him it's not really it's not hyperspace is what the Event
• 16:42
  Horizon is built for hyperspace is impossible.
• 16:48
  Any of you Star Wars fans must be pissed no no he basically does it with the
• 16:53
  basically the model the piece of paper with the sort of like page 3 type model
• 16:59
  on it and yeah apparently that's been sorry go ahead but he says hyperspace
• 17:06
  But he says hyperspace is based on speed.
• 17:08
  He says that's not what, that's impossible. It just wouldn't work.
• 17:13
  So what they do is he talks about this gravity drive he built,
• 17:17
  which folds space, you know, what's he saying? It's basically folding.
• 17:22
  What's the closest route between two points?
• 17:26
  Yeah. You know, straight line, or you fold it until they merge into one, you know.
• 17:31
  It's basically folding space to take a shortcut from two distances in space,
• 17:38
  and it's also powered by a black hole, which is antimatter, essentially.
• 17:44
  But it is a really good way of making it clear to the audience without firstly
• 17:50
  condescending them, but also overloading them with mumbo-jumbo pseudoscience.
• 17:55
  That's the funny thing you bring that up, because they kind of plant that.
• 17:58
  They actually do that when Lawrence Frisburne,
• 18:01
  the captain says in layman's terms can you explain this to us and he tries to
• 18:05
  explain it but it's it's not it's in jibber jabber so miller says please again
• 18:10
  layman's terms and that's where he folds the piece of paper yeah miller's basically
• 18:15
  speaking for the audience yeah.
• 18:18
  Even the characters don't want to do this mission because they're about to go
• 18:21
  back home. Well, they're on leave. They're on like a holiday.
• 18:24
  And they were taken out of it. Same concept, what happened to the alien.
• 18:29
  When they got a distress signal from the Nostromo, and they have to go a little
• 18:37
  overtime here to go see what's going on on this alien planet.
• 18:41
  Same concept with this one. As you speak about the film, I can certainly see
• 18:47
  why alien enthusiasts love this film.
• 18:49
  Kathleen Quinlan's character, she is missing her son's birthday and stuff like that.
• 18:55
  Yeah, and that's where I kind of have a problem with some of it because she,
• 19:00
  so you got Peter, she's Quinlan, you got Weir, and you got Miller.
• 19:05
  And those are the guys who get kind of, and Justin.
• 19:09
  So you kind of got those guys you kind of have their stories there but I do think Smith,
• 19:16
  DJ Cooper and Stark are kind of left in the that's why I'm thinking editing
• 19:20
  thing possibly yeah but Cooper has a bit
• 19:24
  more to do you know although he is more of a sort of comedy sort of sidekick
• 19:29
  you know with like it's almost like the comedy black guy you know with the quirky
• 19:32
  sort of personality and I do like I do like Richard T. Jones, who plays the part.
• 19:40
  However, I think he's done a misjustice in the part because of the fact,
• 19:44
  really getting nothing to do, but especially the scene where he,
• 19:47
  well, we'll get to it, which kind of, it's not needed in this kind of film.
• 19:51
  I would have liked his role to have been written more straight and serious.
• 19:56
  It should have been, period. I can see a smartass like Hudson's character in
• 20:02
  Aliens, and bring some comic relief in that way.
• 20:07
  But the whole thing where he gets jettisoned into space really is like,
• 20:11
  this is not suited for the event horizon.
• 20:14
  Way out of place. But I do like how the ship, when they finally get there and
• 20:20
  they almost crash into it because it's all cloudy and stormy and crap.
• 20:24
  Again, the 90s was an age where you had...
• 20:28
  The blending of practical still with some CGI.
• 20:32
  Now, believe it or not, there's very little CGI in this besides the floating
• 20:35
  crap and stuff like that and some of the makeup.
• 20:38
  But it's that transition phase where the studios, we're testing it together.
• 20:43
  And I'll tell you what, the practical effects, especially with the two ships
• 20:47
  and the design of the Event Horizon, it's just great. Great model work.
• 20:50
  And then when they pop, when they finally clear the clouds and there's the Event
• 20:56
  Horizon right in front of them,
• 20:57
  the storm clouds and there's lightning and and
• 21:00
  uh this is beautiful yeah really nicely shot and
• 21:03
  even by today's standards i still take this
• 21:06
  kind of blend of practical
• 21:10
  a little bit of cgi to to introduce us
• 21:13
  to this environment rather than all in cgi i
• 21:17
  just i just i just it takes me in yeah totally um
• 21:20
  because you know it's i think it's because you
• 21:23
  i don't know because maybe because i was raised on yeah i'm
• 21:26
  not and the spoiled generation hopefully sees
• 21:29
  this stuff and appreciates it which i think they do events rising is
• 21:32
  quite popular but i would say that as well that obviously cgi was in its infancy
• 21:38
  you know at this point in time so the the cgi actually does distract a little
• 21:44
  at times from the brilliant practical and model effects it doesn't you know distract too much,
• 21:52
  but it does niggle a slight bit looking at it, you know, in 2025.
• 21:57
  You see that a bit, quite a bit with some of your reviews here,
• 22:01
  and I completely, I'm the opposite.
• 22:04
  I can understand when it was filmed, how it was filmed, and I'm not going to
• 22:09
  judge it based on this new technology that's out now.
• 22:12
  No, get it? That's not fair to the artists, and it doesn't take me out.
• 22:16
  But see, that's different.
• 22:18
  It doesn't take me out because I get it. It doesn't take me out of the story.
• 22:22
  You're just a spoiled prick. Bullshit. It doesn't take me out of the story,
• 22:27
  but it is noticeable, you know, I would say, but not in a way that it's going
• 22:31
  to ruin it for me. It's not.
• 22:34
  When Anderson talked about adding 10 minutes, this is the 10 minutes I was talking
• 22:37
  about because they attach themselves to the ship.
• 22:42
  And then the quick discussion, there's the hull of a ship.
• 22:45
  And then you've got the main engine of the driving force of the ship in the
• 22:53
  front. And then you got the cabin's quarters in the back, which acts as an escape pod if need be.
• 22:59
  So then he quickly cut to over, over here and they're over here and they're
• 23:02
  over here. I'm like, where the, what the fuck? You do have to pay attention.
• 23:05
  There's a lot of that. That is quite. Yeah.
• 23:07
  I would say as well that the engine of the, you know, the heart of the event
• 23:12
  horizon looks absolutely gorgeous, you know, great, obviously all practical
• 23:16
  as well, you know, with that big orb, you know, spinning around and stuff.
• 23:21
  I mean, it looks sinister.
• 23:23
  Yeah, you're talking about the core of the gravity drive. Yes, the black hole.
• 23:28
  Or as I like to call it, the Lament configuration kickoff.
• 23:32
  100%. And apparently they wanted to go even further as a reference to make it
• 23:37
  even more similar to the Lament configuration, but budget didn't allow it. So they had to cut back.
• 23:44
  I'm glad they did it. I like what they've got here. It's all practical besides
• 23:48
  the goo, the water that Justin gets sucked into.
• 23:53
  But I like the set. I like, there's a great, there's a, there's a great shot
• 23:58
  where Justin is why I believe it's Justin.
• 24:01
  Yeah. He's, he's going to the core. He's by himself. He's going to the,
• 24:05
  the, the gravity drive. Cause he's the engineer. Yeah.
• 24:08
  And he's heading in there. And I do like how everyone, you know,
• 24:10
  exactly what everyone does.
• 24:11
  I like the fact, you know, who's the engineer. I like, you know,
• 24:14
  who the doctor is. I like, you know, who's in charge. I like that. And it's. Yeah.
• 24:18
  It's not muddled. No, no. And I don't. But anyway.
• 24:21
  Yeah. Yeah, and they call him Baby Bear because he's the youngest of the team. He's a kid, yeah.
• 24:27
  But I liked his, he's walking and there's this tunnel and it's going in circles
• 24:33
  and it's got these little triangular and there's lights coming out of these
• 24:39
  triangular holes and spinning.
• 24:41
  It's something like you see at a fun house or a carnival. Apparently,
• 24:44
  in real life, whenever they were filming this, apparently it was an absolute
• 24:48
  nightmare to walk through. in reality so they adjust it you know,
• 24:55
  Look, that's what I'm saying. It mind fucks you. And seeing this on the big
• 24:57
  screen would probably still do it too. Yeah.
• 24:59
  You know? But I do like that whole, and then obviously he gets sucked in.
• 25:04
  What an idiot. Who would touch that?
• 25:06
  They do this in all films, don't they? They go, oh, what's this for?
• 25:09
  I'm going to put my hand in it. They have to form a plot.
• 25:11
  So, yeah, you might as well get the biggest shit of the crew,
• 25:15
  the young, naive one, to get him to do it.
• 25:18
  Well, maybe that explains it. He's the young, naive one. Yeah,
• 25:22
  exactly. You know? Mm-hmm.
• 25:25
  But this is when the ship starts taking over, but the gateway opens up.
• 25:31
  And then when they pull him out, everything goes to shit at this point.
• 25:37
  Because the gateway, when it's liquefied, when the thing stops spinning and
• 25:43
  it's liquefied, that's the black hole. Yeah.
• 25:46
  That's open. That gateway is open now. Yes.
• 25:48
  And that black hole takes you to somewhere you don't want to go, clearly.
• 25:53
  Yeah pretty much to hell yep and and
• 25:58
  at this point i like this part where he gets sucked in
• 26:01
  the event horizon pretty much knocks out
• 26:04
  everything on the lewis and clark forcing the entire crew onto the event horizon
• 26:10
  so i like i like that correct them where that bridge how do you get the entire
• 26:15
  crew onto the ship so we can take them all out and that's what happens the ship
• 26:19
  pretty much cripples the Lewis and Clark of oxygen, I believe.
• 26:25
  Yeah. And then they all have to come on and sort of, but yet Sean Partway is
• 26:29
  working to try and get the Lewis and Clark, you know, back up and running sort of thing.
• 26:33
  Yeah. That's him and Cooper's job. Yes. Yes.
• 26:37
  They're like the- Engineers. Engineer guys, fix your upper guy. Yeah.
• 26:44
  And Sean Partway is great in these types of roles as, you know,
• 26:47
  the sort of, you know, the, the, the cocky sort of, you know,
• 26:51
  techno shit, you know, blue collar type guy, you know?
• 26:56
  Well, he's the key, he's the Hudson of the group. Yes. He'll bitch and moan
• 26:59
  about it, but he'll do his job and he'll do it well. But take,
• 27:01
  but he'll take no shit at the same time.
• 27:04
  You know, Dog Soldiers is a perfect example. Now, when you dissect the film
• 27:10
  a bit, it's funny because you've got Peters, who's your boy,
• 27:14
  is in a wheelchair, as we're introduced in the footage.
• 27:18
  But that's why she keeps playing with her, seeing a boy with damaged legs. It's her son. Yep.
• 27:25
  And this will be her untimely death by following her son. And then you've got
• 27:29
  Justin, who is, a lot reminds me of the Kane character from Alien. Yep.
• 27:36
  So, because he's the one, he's pretty much the bait. Mm-hmm.
• 27:40
  And then you see this video. This is the video you're probably talking about
• 27:44
  where there's a lot more director's cut.
• 27:46
  And it's very well cut because you can see gore, but you know there's some orgy
• 27:51
  fucking and some cannibalizing going on here. Oh, yeah, totally.
• 27:55
  It is, I mean, even for what you do see, it's disturbing. I don't know if I
• 27:59
  could watch 20 more minutes of it.
• 28:01
  Apparently, yeah. According to Jason Isaacs, yeah, a lot of it was...
• 28:07
  Basically, it was hardcore and it was performed mostly by porn actors that they hired for it.
• 28:14
  There you go. Sorry, man. It's too bad you didn't get your big break was on
• 28:18
  the other evening floor, Trevor.
• 28:23
  Too bad you didn't get your, you know, dicks and assholes.
• 28:27
  I knew it was coming I knew it was coming yeah but you know what I mean sadly
• 28:31
  it was all chopped the pieces but yeah I mean even what you do glimpse at and
• 28:35
  I think it's in many ways you think it's better that way in many ways yeah it's
• 28:40
  not gratuitous and it's sort of you know,
• 28:44
  it's left open to interpretation you know in your imagination you know based
• 28:48
  on these glimpses that we do get which are pretty shocking even though they're
• 28:52
  very brief but you just know that something real nasty has went on here. It's enough.
• 29:00
  Yeah, I know it is. Maybe that's why there's not a sense of urgency to find
• 29:04
  it, because maybe people are content for what we got.
• 29:07
  But I am curious. Don't get me wrong. Yes. Well, then it's done its job and
• 29:12
  it's done it well, because I think with it being cut like that,
• 29:15
  I know there was other reasons for it being cut, possibly.
• 29:19
  I mean, obviously, I don't know why it wasn't there, but what we do get does
• 29:23
  leave you wanting more. and make it curious.
• 29:26
  So it works very well in that respect.
• 29:29
  So you have Miller who's seeing things too, his soldier buddy.
• 29:34
  You've got burned alive slowly.
• 29:36
  Sounds terrible. That he's haunted by. And then you've, so you've got Justin
• 29:40
  who's pretty much in comatose. You've got Miller seeing his dead buddy.
• 29:44
  You've got Weir seeing his dead wife, who we find out commits suicide,
• 29:48
  tried to commit suicide.
• 29:49
  She did commit suicide? Before the trip.
• 29:52
  No, she didn't. She tried to. No, she's dead through suicide. But. No, she's not.
• 29:59
  No. Well, then how did she die? When she, no, she dies on the ship in the hell party.
• 30:06
  That's, no, no, because she, when, remember in the opening scene where he gets
• 30:12
  up clear and he's shaving and he looks at the bathtub and he can only look at it for so long?
• 30:18
  Because he found her in the bathtub. But she tried to commit suicide years before this happened. Yeah.
• 30:24
  And now he's lost her again through the Event Horizon. Right.
• 30:27
  My understanding was that, yes, obviously she is dead, but that she actually
• 30:32
  died through suicide, you know, possibly on the Event Horizon.
• 30:36
  No, because how would he? No.
• 30:37
  No, that's how he knows. That's how he looks at the bathtub and everything.
• 30:41
  Because she tried that once before.
• 30:43
  And so she went on this trip.
• 30:46
  I think there's more dialogue we're missing. but my theory is that she went
• 30:50
  on his trip to kind of clear her head but obviously clearly it didn't work but
• 30:57
  that's why he has that guilt yeah,
• 30:59
  I mean the entity that has become the Event Horizon is playing on all of their
• 31:06
  sort of past demons well yeah that's my point so yeah so she's,
• 31:13
  although with I was always onto the impression that with his wife,
• 31:17
  she had committed suicide and he blamed himself?
• 31:20
  No, he does blame himself for her attempting to commit suicide.
• 31:24
  But he caught her in time not to do it. That's what I believe happened.
• 31:29
  But you know what? Yeah, you're right. Tweets from home, maybe.
• 31:32
  Best scene in the film is with Justin.
• 31:35
  It's very good, very intense. I know what Wondra Conrad was about to say,
• 31:39
  and it really freaks me out.
• 31:42
  You know, the way, what he goes through.
• 31:45
  So when Justin goes in the airlock and he hits the, you know,
• 31:52
  no escape clause and he's about to be sucked out, it's the way they do it where
• 31:58
  when the noise goes on, he's still hypnotized at this point, doesn't give a fuck.
• 32:03
  He hits the airlock button, no suits on.
• 32:06
  And then once the noise, the alarm goes off, he wakes up out of his shock,
• 32:11
  his coma, whatever it was. and he realizes what he's done and he can't reverse it.
• 32:16
  That to me is the most terrifying part because here's this guy,
• 32:19
  if they still kept him under hypnosis, he was like, oh, poor bastard.
• 32:23
  But once you take him out of hypnosis and he realizes what he's done, it's awful.
• 32:28
  You see the blood coming down his eyes and his veins are about to pop and stuff.
• 32:35
  And then you got Miller who's on this fucking thing.
• 32:38
  He's trying to zoom over there as fast as he can. And I'm not no fucking,
• 32:43
  you know, spaceman guy, but I always wonder if this would work.
• 32:48
  He tells him to fetal position and breathe out.
• 32:52
  Out of your lungs when that door opens. I don't know. And they show it's a great
• 32:56
  scene. I think once that door opens, you'd be dead.
• 33:00
  Yeah, I mean, obviously with films, they do, in general, they do play a bit
• 33:05
  of, you know, they do play loose and fast, a fair bit with actual science whenever it's in space.
• 33:11
  For example, you wouldn't get an explosion in space you know,
• 33:15
  just due to the way that, you know, space is a vacuum.
• 33:18
  Apparently according to the real scientists, but I'm not a scientist and I I
• 33:22
  do know that the films in general play loose and fast with the science of space.
• 33:27
  But you know what? It still works dramatically, 100%. It is.
• 33:32
  Yeah, exactly. Even if law of physics don't apply, it's still a great scene, and it works.
• 33:36
  I heard you freeze right away. Yeah. I would imagine so.
• 33:42
  I mean, again, I'm no scientist. It's the temperature that gets you first.
• 33:47
  No, actually, it's the temperature that gets you. Yeah.
• 33:50
  But with the music and him, Miller's skedaddling to get to in time.
• 33:55
  It's really, it's the best scene in the film. 100%. Yeah.
• 34:00
  Now, Peters is gone. Now they're done. Miller's is asking anybody.
• 34:04
  You guys, I like it. It's quick. It's quick and fast.
• 34:07
  Anybody see anything, right? All right. Well, I am.
• 34:10
  Peters is, you know, and look what happened to Justin. So we got to figure this
• 34:13
  thing out. Peters, go look at these tapes, see what we're missing. Yeah.
• 34:17
  There's a good conversation with Miller and when he confronts Weir.
• 34:21
  Yeah. And he finally says, I've had enough. You fucking asshole.
• 34:25
  We need answers. What the hell is going on? And don't be a cocky prick.
• 34:29
  I need to know what's going on. I love that Weir is sort of,
• 34:33
  it's basically Ash and aliens.
• 34:35
  You know, the William Yutani guy, you know, with the secret.
• 34:38
  Yes, it's a bit of a thrill. That's exactly what I was going to say.
• 34:41
  You got Kane and Ash in this film pretty much. Yes.
• 34:43
  And, um, Lawrence Feisberg and Sam Neal are both, well, you know what I mean?
• 34:48
  They're the two leads, and they're both very, very strong, especially when they
• 34:52
  go up against each other.
• 34:54
  I would have liked to have seen more deaths. Like I mentioned,
• 34:58
  you had a couple survivors, but I was kind of nice to see Justin kind of make
• 35:04
  it. I was looking for Justin.
• 35:07
  But, yeah, but Cooper and Starks had nothing really to offer,
• 35:11
  I think. and I'd rather have seen like Miller or not Miller I like Miller's
• 35:18
  self-sacrifice that's an art for him but I like,
• 35:22
  I like DJ or somebody else's survive. No, no, I agree.
• 35:25
  Because you have these two extra characters who kind of didn't really contribute
• 35:29
  much and they survive. Well, they should have been cannon fodder.
• 35:34
  No, no, I know what you mean.
• 35:35
  I would have liked Seymour Killian. In terms of, I know because you're a sick bastard,
• 35:39
  but no, no, in terms of the drama and creating tension and the threat,
• 35:44
  it definitely would have helped, you know, and it would have helped us take
• 35:48
  this threat, which we're already taken serious from this entity,
• 35:52
  from hell on the ship would have, you know, taken it a lot more seriously.
• 35:56
  You know, it still works what we do get but I think that would have made it
• 36:00
  even better with maybe a couple more bumped off.
• 36:03
  I think you could argue that there's maybe too many in the crew,
• 36:06
  which you've sort of just suggested. So, yeah.
• 36:10
  More deaths, essentially, would have helped it. I do like the scene where DJ, the medical officer.
• 36:19
  He's listening to the distress call and he sits down
• 36:22
  with miller it's a quiet little scene he goes i have to talk to
• 36:25
  you about something it's latin and he goes i
• 36:28
  might have miscommunicated you last time yeah i don't think
• 36:31
  he's saying uh liberate may save me
• 36:34
  but it's not may he says i think they're saying liberate to the may which is
• 36:40
  save yourself but then he goes but if you listen to it closely there's also
• 36:45
  a line which is actually various x and virus i believe that's what he says which
• 36:49
  he's pretty much saying it's save your health Save yourself. Yeah. Yeah.
• 36:54
  Now here's the funny thing is, I know, okay, I get to nitpick once.
• 36:57
  I'm going to nitpick this part. I love it. I love the scene.
• 37:00
  I have nothing to do with the scene.
• 37:02
  But you got, you got all these experts listening to this tape for fucking seven years. Yep.
• 37:07
  Or this, whatever it is. Nobody could have figured that out.
• 37:10
  No one's, could have, well that's Latin.
• 37:12
  But this one guy. Well no, no. This is the first time that they,
• 37:17
  that anyone has had access to these tapes or even the Event Horizon itself because it was missing.
• 37:24
  No, no, no, because this is the distress signal that was sent to the NSA. Was it?
• 37:30
  Yes. Right. Well, then it should have been worked out well before. Exactly.
• 37:36
  Okay, I'll move on. Okay. Yeah, again, I got the impression that these guys,
• 37:41
  that nobody had actually got the distress signal.
• 37:45
  Well, certainly not this one. And it just went missing without explanation.
• 37:48
  Yeah. No, because.
• 37:52
  Because Weir brings it on board and goes, here's the signal.
• 37:55
  Here's the message we got. Yeah.
• 37:57
  And he mentions it was NSA, you got it. Yeah, that should have been worked out
• 38:01
  well before. No big deal.
• 38:03
  I think Weir would have known. Well, maybe we can sort of explain it away in
• 38:07
  our heads by, yes, Weir concealed it from the authorities, you know,
• 38:12
  because he knows. So he does. Yeah.
• 38:16
  Yeah, but he wouldn't have played for it then. I don't know. Either way, no big deal.
• 38:21
  I just thought I have to hit it on something. Yeah.
• 38:24
  So we got the Clark up and running again after the two engineers fix it all out and patch it all out.
• 38:30
  This is where we see the big cannibal love orgy scene. Yes.
• 38:33
  And then Miller. Then we cut to, after we see the cannibal orgy scene and people
• 38:38
  eating each other and fucking and doing whatever, you cut to Miller going,
• 38:41
  okay, we're leaving. Let's go.
• 38:43
  And then there's Weir, kind of like our boy Bishop, or Night Bishop, more like Ash.
• 38:49
  We can't leave, guys. We're not leaving. This is a one-way trip.
• 38:54
  And then this is where Peter's- My favorite death, sad death, but it's Peter's.
• 38:59
  I didn't see it coming because she's following what you think is her boy,
• 39:03
  and her instinct is to go follow him.
• 39:05
  But the ghost child, whatever, makes her follow her down.
• 39:09
  And then you see her plummet, man. That's a pretty good death.
• 39:12
  It's well realized so it is and you do feel for her so you do yeah I do think that she was a bit.
• 39:19
  Unlike the sort of young naive guy she should have known better that this wasn't
• 39:24
  really her son no but I'll be,
• 39:26
  I thought that too, but they're smart enough because they planted that seed quite a few times.
• 39:31
  The first time when she gets up, before she gets up and she's looking at the
• 39:35
  video of her boy celebrating her birthday, and then Miller approaches her,
• 39:39
  I tried to get you off this for your son, but I couldn't get it replaced with boy in time.
• 39:44
  So they planted that seed, and she's got a lot of guilt.
• 39:47
  No, no, I get it, and it is set up well, but I just thought she's a woman maybe
• 39:52
  in her possibly 40s. I just think maybe she should have known a bit better that
• 39:57
  it wasn't really her son.
• 39:58
  But yes, no, it is sort of set up earlier on with the video of her son and stuff,
• 40:04
  you know, missing the birthday.
• 40:05
  They all suffer from guilt here in some shape or form. You know,
• 40:08
  well, the main characters anyway, you know?
• 40:11
  Yeah, the main ones we care about. That's why the other ones should have been cannon fodder.
• 40:15
  But anyways, Smith dies here. Smith gets it. It's unfortunate.
• 40:19
  But that's because we already set the explosive on one of those mini explosives
• 40:23
  onto the Lewis and Clark.
• 40:26
  And that's a nice little scene too because Miller's looking around.
• 40:29
  He figures out, Jesus, he's removed one of the explosives and he tells Smith,
• 40:33
  get out of there, get out of there now. But Smith's got, he's looking for it instead.
• 40:36
  And when he finally does find it, it's like five seconds left.
• 40:39
  And he's like, ah, fucked.
• 40:41
  Now, what a really fun scene and intense scene.
• 40:45
  It's just kind of piggybacking on what we talked about with Justin in the airlock.
• 40:49
  I really liked those two scenes. but again you kind
• 40:52
  of put me out of it when Cooper gets blown off the ship and
• 40:55
  he's on a piece of the wing and he's floating
• 40:58
  off into space and he's like oh crap oh crap I
• 41:02
  was like this doesn't belong yeah it ruins the intense tone well for all of
• 41:07
  the rest of it somewhat it doesn't ruin it completely but it does definitely
• 41:11
  feel out of place where he's making like quirky one liners he's like you know
• 41:15
  like flying through space like something from a Marvel film going,
• 41:19
  Motherfucker Or you know Stuff like that You know With quirky one liners Yeah Yeah,
• 41:24
  Yeah. No, you're exactly right. And that's my point. It's like,
• 41:27
  here you got this ass clown going, ooh, ooh, blah, blah, blah.
• 41:31
  And then we cut to one of my favorite characters, DJ, getting gutted alive and
• 41:37
  put up like Hannibal Lecter did this in the garden.
• 41:42
  And then he's hanging out with his guts and he's pretty much been sacrificed.
• 41:46
  And then he cut to, ooh, my God, ooh, ooh, ooh, folks. It's like,
• 41:50
  what the fuck? It's out of place. So it is.
• 41:53
  Miller is dealing with the burning man at the same time that's been haunting
• 41:57
  him as he's trying to plant the detonators this is where we meet you know pinhead
• 42:02
  without the pins yeah makeup I would say as well.
• 42:07
  Yeah very good makeup it's really hard to do that kind of makeup without the
• 42:12
  actress face looking fatter because it's all latex so to be able to do that
• 42:17
  and pull it out all the slices and sort of lacerations and stuff it's all you
• 42:21
  know very well done And Sam Neill He,
• 42:26
  Maybe he can be a little Pantomime villain in these roles But he's great to watch You know,
• 42:33
  Well, what he pulls out, what Sam Neill does, he doesn't overact.
• 42:38
  No, he just about gets it, right? So he, yeah, and he did that with the Mouth of Madness.
• 42:43
  When I saw him with all the cuts in his face, it reminded me when he had all
• 42:46
  those crosses on his face. Yeah, yes. In the Mouth of Madness.
• 42:50
  But again, Miller self-sacrifices himself because that's his personal art journey.
• 42:55
  Because A, he's taking care of the crew, but also to make amends for leaving
• 42:59
  his buddy behind. Yeah, and it's really Blake Anden for Miller.
• 43:03
  And, you know, you feel for him with this.
• 43:06
  Not only is it a self-sacrifice, he's going to hell.
• 43:09
  You know what I mean? He goes into the black hole and it's pretty,
• 43:14
  yeah, it's quite harrowing when you really think about it. You know?
• 43:17
  You know, it sucks because if I was him, if I was him, I would have ran into
• 43:22
  the corridor and then hit the button. Yeah.
• 43:26
  Because that way, you know, you just blow up. You won't be going to hell.
• 43:29
  Well, this is it, exactly. You know what I mean?
• 43:31
  It's lesser of two evils. And apparently there has been talk over the years
• 43:36
  of there being an Event Horizon TV series where they would have followed up
• 43:41
  on the Miller character and what actually happened to him.
• 43:44
  And Lawrence Fishburne said that he was up for it, but it's never happened.
• 43:48
  But I think it's better, maybe just left as it is, because, yes,
• 43:53
  it's a self-sacrifice arc.
• 43:56
  And, yeah, while it is pretty bleak and harrowing, it's fitting for the character.
• 44:01
  You know what I mean? It's heroic.
• 44:05
  Yeah i i don't think going back to or try to save him whatever would make sense
• 44:09
  because he's in hell he's fucked bring him back as a villain you're not you're
• 44:12
  not gonna have like you're not gonna yeah yeah you're not gonna squarshank coming
• 44:15
  oh we'll get him back and he'll be running through you know tunnels yeah he
• 44:20
  was just hanging off the edge of uh you know like the pit you know
• 44:24
  you know but no no at the the only way if they did do a series or whatever and
• 44:29
  they did bring him back, we're going to have him as the weird character who was the villain,
• 44:34
  But, uh, yeah, there you go. All the ones who had their demons besides Smith
• 44:41
  and DJ, they got their comeuppance. Yeah.
• 44:45
  Stark, Cooper, and Justin survive.
• 44:48
  And, uh. Yeah. That's it for the event horizon.
• 44:51
  I mean, I remember first watching this whenever it was originally released on
• 44:56
  video and like it would have been 97,
• 44:58
  98 and not expecting too much, but really being blown away and really enjoying
• 45:05
  it and loving it and that hasn't changed over the years I still really like this film,
• 45:10
  yeah it's a good film it doesn't overstay it's welcome so and that's what's
• 45:15
  good about it and you still liked all the characters I would like to have seen
• 45:18
  more of the people who did survive given more to it than just surviving I felt the people who died.
• 45:27
  I just felt everyone should have again we don't know what happened with the
• 45:33
  editing but Jolie Richardson and Richard T.
• 45:39
  Jones deserved a little more better or kill him right away in the beginning
• 45:43
  and have just Justin Simons.
• 45:45
  I mean I would like to see a two hour version of this.
• 45:50
  What we'll get is like an hour in 35 minutes or something.
• 45:53
  I would like maybe a two hour version but not even so much for the you know
• 45:57
  the hell sex orgy stuff for actual character development and setting up the
• 46:02
  characters, because I do think a lot of that is lost with, you know,
• 46:06
  what edits were made. Yeah.
• 46:08
  Besides Justin, you should have went, at least Stark made it. Yes.
• 46:14
  Because, but I didn't care if she made it or not. I'd rather care if Miller
• 46:17
  made it. You weren't divested enough. You know?
• 46:20
  Yeah, the people who died, you were like, aw, damn, that sucks.
• 46:24
  The people who made it, you're like... Yeah.
• 46:26
  Well, maybe that was the point. Maybe he was trying to turn things on its head. Who knows?
• 46:30
  Yeah, what are you going to do? Yeah. All right, guys. Thanks for joining us
• 46:33
  here on The Adventure Horizon. We are back with the Mission of Possible. I promise.
• 46:39
  And we got busy, busy, busy, busy, busy time coming. A lot of stuff coming out.
• 46:44
  And it's going to be fun, fun, fun summer. So listen, guys. Thanks for giving us a listen.
• 46:49
  Give us a shout if you're interested in wanting us to do something else.
• 46:53
  Or give us your thoughts of our little podcast here.
• 46:57
  Give a shout at citizenframe underscore podcast and Instagram and of course Facebook,
• 47:03
  the new issue of Phantasm Gloria is out now available Amazon worldwide and of
• 47:08
  course locally a forbidden planet here in Belfast and locally and other stores peppered around the US,
• 47:15
  and so I've got Kurt we're gonna end this one,
• 47:19
  okay good ending there Trevor right wow wow the one time he doesn't he fucking
• 47:26
  shuts up The one time he shuts out.
• 47:30
  I'm a very, generally a very quiet and sort of softly spoken person,
• 47:34
  you know? Oh, fuck me. Or unreserved.
• 47:40
  All right, guys, take care of yourselves.
• 47:42
  Music.