Latest / Beyond The Blood: A Horror Movie Commentary Podcast / Faces of Death (1978) w/ Michael Rasco

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Faces of Death (1978) w/ Michael Rasco · Beyond The Blood: A Horror Movie Commentary Podcast

• 0:08
  Speaker 1: Greetings, Welcome to two in the pink Ou Podcast. Experience
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  Speaker 3: network PUP.
• 1:56
  Speaker 4: What is it the name? The waiter signal for the
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  Speaker 4: house back for these means it.
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  Speaker 4: As the monkey was brought down the hall and.
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• 2:18
  Speaker 4: Way he presented the men with their tools of destruction.
• 2:41
  Speaker 5: Welcome back to a brand new episode of Beyond the Blood,
• 2:44
  Speaker 5: the podcast dedicated to all things audio commentaries, and for
• 2:47
  Speaker 5: this episode, we're traveling into the macabre.
• 2:50
  Speaker 2: I don't know if that's the right world. I don't know.
• 2:53
  Speaker 5: Maybe that's stating loosely with nineteen seventy eight Faces of Death.
• 2:57
  Speaker 5: This audio commentary in discussion dates back to two thousand
• 3:01
  Speaker 5: and eight on the film's thirtieth anniversary DVD release, and
• 3:05
  Speaker 5: features the director Conan Leclaire and moderated by Red Shirt
• 3:09
  Speaker 5: Pictures founder and film historian Michael Felscher. As always, I'm
• 3:14
  Speaker 5: joined by my lovely beautiful his hair looks stunning today
• 3:17
  Speaker 5: co host Steve.
• 3:18
  Speaker 2: How are you man?
• 3:19
  Speaker 4: I'm doing wonderful, man, especially after that compliment You're yeah.
• 3:22
  Speaker 2: You're very welcome.
• 3:23
  Speaker 4: You are you doing.
• 3:25
  Speaker 5: I'm good, dude, I'm good. But we have a guest
• 3:27
  Speaker 5: today more beautiful than you. Sorry to say, uh.
• 3:31
  Speaker 4: That's it. I'm signing off.
• 3:34
  Speaker 2: Michael Rascoe, how are you man? Doing great?
• 3:37
  Speaker 6: Thank you guys for having me.
• 3:39
  Speaker 5: Of course, Man, what an episode for you to join.
• 3:41
  Speaker 5: Of all the movies we've covered and are planning to cover,
• 3:43
  Speaker 5: you jump on Facebook.
• 3:44
  Speaker 4: You picked a good one.
• 3:45
  Speaker 2: Yeah yeah. Did you pick up the Vinegar Syndrome four K?
• 3:50
  Speaker 6: I did not. I've been holding off on it, but
• 3:53
  Speaker 6: I had a chance to pick up the DVD collection
• 3:59
  Speaker 6: and had a local used DVD store here and when
• 4:03
  Speaker 6: I went there, they were gone.
• 4:05
  Speaker 5: Oh man, I missed out that that set was kind
• 4:11
  Speaker 5: of a bit of a like an anomaly. How that
• 4:15
  Speaker 5: showed up and just kind of never went anywhere. I know, Steve,
• 4:19
  Speaker 5: you have it as well.
• 4:20
  Speaker 4: Oh yeah, I remember I went to a number of
• 4:22
  Speaker 4: different walmarts and finally found it. And I'm not gonna
• 4:26
  Speaker 4: lie to you, that was the first time that I
• 4:28
  Speaker 4: had watched it since like the video store days for me,
• 4:32
  Speaker 4: and I remember the first one I threw on. Man,
• 4:35
  Speaker 4: I remember being so nervous to watch that because I
• 4:37
  Speaker 4: could not, for the life of me, remember if it
• 4:39
  Speaker 4: was going to hold up or not. It's definitely an experience,
• 4:44
  Speaker 4: that's for sure.
• 4:46
  Speaker 5: Well, there's a couple of times throughout I know my
• 4:50
  Speaker 5: notes on this episode where I talk about kind of
• 4:52
  Speaker 5: this this shared experience we all seem to have, and
• 4:55
  Speaker 5: Michael Felscher mentions it in the commentary a whole bunch
• 4:57
  Speaker 5: of times how we all kind of have very explicit
• 5:03
  Speaker 5: memory of discovering this movie. Like for me, it was
• 5:07
  Speaker 5: my friend, my one of my best friends growing up.
• 5:11
  Speaker 2: His dad's like office.
• 5:12
  Speaker 5: He had a it was almost like a clothing drawer
• 5:15
  Speaker 5: or a bureau, and the bottom was full of VHS
• 5:18
  Speaker 5: tapes and we would always go in there and you know,
• 5:20
  Speaker 5: pick whatever horror movie we can find, and this was
• 5:23
  Speaker 5: like one of the only tapes that didn't have a
• 5:24
  Speaker 5: sleep there was no cover on it. It was just
• 5:28
  Speaker 5: Faces of Death and we're like, all right, sweet, like
• 5:30
  Speaker 5: we're onto this one.
• 5:32
  Speaker 2: And I don't.
• 5:33
  Speaker 5: I don't think I slept for a few days after
• 5:36
  Speaker 5: watching this, and since then it's sort of lived as
• 5:41
  Speaker 5: this if like, if you had told me suddenly that
• 5:44
  Speaker 5: this movie was never real, I would probably believe you.
• 5:47
  Speaker 2: That's how you know, it felt felt like a dream.
• 5:52
  Speaker 4: Memory.
• 5:53
  Speaker 5: Yeah, it's weird, right, Like we're all we're all interconnected
• 5:55
  Speaker 5: with this Faces of Death memory.
• 5:57
  Speaker 2: Mike, what about you? How what was your first time
• 5:59
  Speaker 2: finding this?
• 6:00
  Speaker 6: Like I found out about Face of the Death throughout
• 6:05
  Speaker 6: the watch Mojo band films list, and so I was
• 6:11
  Speaker 6: probably like fourteen and barely like a freshman or sophomore
• 6:16
  Speaker 6: in high school, and I was trying to look into
• 6:20
  Speaker 6: the deep dive of band horror films because I was
• 6:24
  Speaker 6: really the angsty teenager of finding nich horror movies. And
• 6:29
  Speaker 6: instead of diving into Faces of Death, I dove into
• 6:32
  Speaker 6: all the other ones. But basically, death has always been
• 6:35
  Speaker 6: one that I've heard people talk about, that it's something
• 6:39
  Speaker 6: that they have very fond but yet gruesome memories of,
• 6:44
  Speaker 6: especially my wife, we've talked about it since we got together,
• 6:47
  Speaker 6: where she said that's one movie she cannot go back to.
• 6:50
  Speaker 6: And it's very fitting that I picked this episode to
• 6:54
  Speaker 6: come on because it was one that's been very highly
• 6:58
  Speaker 6: mentioned from my wife for quite some time.
• 7:01
  Speaker 5: Yeah, and we're in the middle of this like resurgence
• 7:04
  Speaker 5: of it because you had that DVD collection that came
• 7:06
  Speaker 5: out of Walmart. You had Dark Sky Films put out
• 7:09
  Speaker 5: of Steel Book. Nobody expected Vinegar Syndrome to do a
• 7:12
  Speaker 5: four K for this, No, not at all, you know
• 7:15
  Speaker 5: what I mean, Steve, what about you? What was your
• 7:17
  Speaker 5: first run in with Faces of Death?
• 7:19
  Speaker 4: Like, Man, I remember checking these movies out, you know,
• 7:25
  Speaker 4: these were in my mind, video store staples. Right, it
• 7:28
  Speaker 4: was a series of movies I felt like pushed the
• 7:32
  Speaker 4: boundaries when it came to like should I be watching this? Right?
• 7:37
  Speaker 4: And it feels like it's very much in the same
• 7:40
  Speaker 4: realm as something like Cannibal Holocaust or even at the time,
• 7:43
  Speaker 4: Texas Chainsaw. And I remember, you know, picking these up
• 7:48
  Speaker 4: and not having any clue really just what I was
• 7:52
  Speaker 4: in for. But I remember watching them met a friend's house.
• 7:56
  Speaker 4: It was down the basement, we had the lights off,
• 7:59
  Speaker 4: and you know, the time obviously didn't really have any
• 8:02
  Speaker 4: of the context that you were getting for these movies,
• 8:05
  Speaker 4: and I just remember it left such a lasting imprint
• 8:09
  Speaker 4: on me for years for any of them. And you know,
• 8:13
  Speaker 4: fast forward when that DVD collection came out, and again
• 8:15
  Speaker 4: it's just it's kind of so strange. I've never really
• 8:18
  Speaker 4: had a movie like that that really kind of impacted
• 8:21
  Speaker 4: me in that same way, you know, where I swear
• 8:24
  Speaker 4: like I was nervous to watch the first one, as
• 8:26
  Speaker 4: strange as that sounds, but again, it's like, you know
• 8:28
  Speaker 4: that was when I saw it on VHS. That was
• 8:31
  Speaker 4: the last time I watched it. I just remember just
• 8:33
  Speaker 4: being like it felt so wrong to be watching at
• 8:36
  Speaker 4: the time.
• 8:38
  Speaker 5: Yeah, And what's interesting is like growing up, like I
• 8:41
  Speaker 5: was born in ninety one, so growing up when I
• 8:44
  Speaker 5: was I remember being twelve thirteen years old, going on
• 8:46
  Speaker 5: a computer and like Rotten dot com or Cooper dot
• 8:49
  Speaker 5: com and like watching this footage play out real time,
• 8:52
  Speaker 5: especially post nine to eleven, you were getting all the
• 8:56
  Speaker 5: all of the footage coming from like Iraq and I
• 8:59
  Speaker 5: ran a you know, beheadings and executions and these crazy
• 9:03
  Speaker 5: like car crash aftermath videos and we'd watch these all
• 9:06
  Speaker 5: the time for seemingly for fun, and those it was
• 9:12
  Speaker 5: crazy fucking wild to say, but those don't even hold
• 9:17
  Speaker 5: the same impact that this movie did, and those to
• 9:20
  Speaker 5: me are like much more macap than the Faces of
• 9:26
  Speaker 5: Death was, so which just kind of like interesting how
• 9:30
  Speaker 5: our brain compartmentalizes this stuff into like a category of
• 9:33
  Speaker 5: like what are we going to hold on to? Most
• 9:35
  Speaker 5: cause I think Faces of Death was for myself and
• 9:38
  Speaker 5: a lot of people the first time you've ever seen
• 9:41
  Speaker 5: anything like that, And I think I want to say,
• 9:43
  Speaker 5: I want to say I was ten eleven. I want
• 9:49
  Speaker 5: to say, yeah, I want to say, this was two
• 9:52
  Speaker 5: thousand and one. So you know, seeing a movie like that,
• 9:57
  Speaker 5: and it wasn't even the gor stuf that stuck with me.
• 10:00
  Speaker 5: It was the shots of like the corpses and the moor.
• 10:04
  Speaker 2: Yeah, things like that. You start realizing like, oh, is
• 10:07
  Speaker 2: this what we're going to become one day? Like hopefully
• 10:10
  Speaker 2: if I get old enough. Is this like that? That
• 10:11
  Speaker 2: shit was haunting?
• 10:12
  Speaker 5: And now I watch it and you're kind of like,
• 10:15
  Speaker 5: I just saw this on ya on Instagram reels the
• 10:18
  Speaker 5: other day. I was flatly by I saw something worse
• 10:21
  Speaker 5: than this, So.
• 10:22
  Speaker 6: Yeah, I think I can reciprocate with all that where
• 10:26
  Speaker 6: I think I held off on watching it for so
• 10:29
  Speaker 6: long because of the fear in the back of my
• 10:31
  Speaker 6: mind of like what Steve said, am I supposed to
• 10:35
  Speaker 6: be watching this? Is this something that I need to
• 10:38
  Speaker 6: be viewing and ingesting and putting in my mind? But
• 10:41
  Speaker 6: then after my viewing of it, I'm glad I watched it.
• 10:45
  Speaker 6: It feels very insightful, even from the initial watch where
• 10:50
  Speaker 6: I kind of resent that I didn't watch it sooner,
• 10:53
  Speaker 6: but I'm so glad I did.
• 10:55
  Speaker 2: I think you're gonna see a lot of that now.
• 10:57
  Speaker 5: I think a lot of people are going to watch
• 10:58
  Speaker 5: this movie now with the with the four K, and
• 11:02
  Speaker 5: they're gonna they're gonna come out with a little bit
• 11:03
  Speaker 5: of a different a different view of it.
• 11:05
  Speaker 2: And there's a lot in this commentary track that.
• 11:08
  Speaker 5: I think if people had known sooner, maybe the movie
• 11:12
  Speaker 5: wouldn't still have the reputation that it does.
• 11:15
  Speaker 4: Chris, did you feel like with the commentary? I mean, obviously,
• 11:18
  Speaker 4: I think for the most part, I don't think you've
• 11:22
  Speaker 4: gone back and revisited this movie in years correct.
• 11:25
  Speaker 2: It's been a long time.
• 11:28
  Speaker 4: Did it feel like it almost stripped away a little
• 11:30
  Speaker 4: bit of the mystique that came with this film? Because
• 11:34
  Speaker 4: I'm not gonna lie. I mean again, it's the way
• 11:37
  Speaker 4: that they kind of broke it all down. It's not
• 11:41
  Speaker 4: definitely not what you thought you were watching on first view.
• 11:45
  Speaker 5: My wife was next to me on the couch and
• 11:48
  Speaker 5: she wasn't watching it. She was doing something on her
• 11:50
  Speaker 5: phone and I at one point I had paused, and
• 11:53
  Speaker 5: it was during the piranha scene. I paused, and I
• 11:56
  Speaker 5: looked at my wife and I was like, this commentary
• 11:57
  Speaker 5: is actually kind of like making this movie silly for me,
• 12:02
  Speaker 5: Like how they like, I don't have a note about this,
• 12:04
  Speaker 5: But there's a sequence where a pirana attacks a snake
• 12:06
  Speaker 5: and they're using the stock footage and yeah, the piranha
• 12:10
  Speaker 5: attacks a snake, and then you see a snake skeleton
• 12:14
  Speaker 5: flow down into the water as if the prana just
• 12:17
  Speaker 5: consumed every every bit of flesh on it, and you know,
• 12:21
  Speaker 5: the directors like, yeah, we just had like we made
• 12:23
  Speaker 5: it look like it got attacked and then the handler
• 12:25
  Speaker 5: just happened to have a snake skeleton, so he just
• 12:27
  Speaker 5: threw it into water and you know, made it look
• 12:29
  Speaker 5: like You're like, you're like, it's kind of like it
• 12:33
  Speaker 5: like takes it away. It's like kind of like makes
• 12:35
  Speaker 5: it silly in parts, you know, but in other parts it.
• 12:40
  Speaker 2: It made it.
• 12:41
  Speaker 5: Almost harder to watch knowing for a fact that this
• 12:45
  Speaker 5: was something that was real, or because there are bits
• 12:49
  Speaker 5: like just to kind of you know, clear it for
• 12:52
  Speaker 5: most people. About sixty percent of this movie's actual footage,
• 12:57
  Speaker 5: and of that sixty percent, I would argue that most
• 13:01
  Speaker 5: of that is of corpses.
• 13:04
  Speaker 2: There is there, there isn't much actual.
• 13:08
  Speaker 5: Like graphic gore happening that's real, most of its aftermath.
• 13:14
  Speaker 4: Or like splice footage together.
• 13:17
  Speaker 5: Yeah, yeah, like there is there is real you're seeing.
• 13:21
  Speaker 5: I think some some really grewsome real aftermath stuff in this,
• 13:24
  Speaker 5: but nothing that is live and happening in front of you.
• 13:29
  Speaker 5: And that really is I think what takes away from
• 13:33
  Speaker 5: what we've been told about this movie our whole lives.
• 13:35
  Speaker 5: It's just like, oh, this is a compilation of people
• 13:37
  Speaker 5: getting killed and in fact that that's actually not happening.
• 13:41
  Speaker 5: Even like we do have a note about this, but
• 13:44
  Speaker 5: even even you know, some of the most talked about
• 13:48
  Speaker 5: animal stuff wasn't real.
• 13:50
  Speaker 2: It was it was faked. So it's interesting when you
• 13:55
  Speaker 2: when you when the.
• 13:55
  Speaker 5: Curtain is pulled back and you revealed of all this
• 13:57
  Speaker 5: and you're like, oh, this isn't no longer. Am I
• 14:00
  Speaker 5: ashamed to say, like, hey, I actually kind of dig
• 14:02
  Speaker 5: Faces of Death. It's actually pretty interesting. But that's you know,
• 14:07
  Speaker 5: when when we had kind of pivoted because Mike just
• 14:10
  Speaker 5: some history for you. We originally were gonna we were
• 14:12
  Speaker 5: gonna cover another movie and we were in that research
• 14:15
  Speaker 5: phase and we realized that the commentaries really weren't just
• 14:18
  Speaker 5: giving us enough to do an episode on it, so
• 14:21
  Speaker 5: we had to quickly pivot.
• 14:22
  Speaker 2: And this was coming in. Steve already had it.
• 14:24
  Speaker 5: My copy was arriving and he had text me and
• 14:27
  Speaker 5: he's like, dude, this commentary is phenomenal.
• 14:30
  Speaker 4: I was like, Chris is really going to like this.
• 14:33
  Speaker 5: I had a moment where I was like, oh should
• 14:35
  Speaker 5: we you know, is this a movie we're going to cover?
• 14:38
  Speaker 5: Or like what is this right for us to do?
• 14:40
  Speaker 5: And I was like, fuck it, Yeah, let's just do it.
• 14:43
  Speaker 5: And I actually think through the lens of what our
• 14:48
  Speaker 5: show is supposed to be, which is educating people based
• 14:52
  Speaker 5: on a bonus feature that very few people watch. This
• 14:56
  Speaker 5: This movie is sort of like why we created this
• 14:59
  Speaker 5: show because of the amount people can learn and like
• 15:02
  Speaker 5: this commentary can actually change your entire viewpoint on this movie,
• 15:06
  Speaker 5: because I would argue most people have seen a movie
• 15:10
  Speaker 5: I don't have any idea what we're going to be
• 15:13
  Speaker 5: talking about here. They just are convinced it's real. Even
• 15:17
  Speaker 5: people who have never seen the movie have this grand
• 15:19
  Speaker 5: idea of what this movie is. So it's interesting. I'm
• 15:23
  Speaker 5: excited to kind of get into this and see, you know,
• 15:26
  Speaker 5: what we pulled out of it.
• 15:28
  Speaker 6: So yeah, when I was watching it, I had that
• 15:33
  Speaker 6: perceived notion of almost everything about this is real, and
• 15:38
  Speaker 6: I couldn't decipher from what was fake and what was
• 15:41
  Speaker 6: reality with it, especially a lot of the animal scenes.
• 15:45
  Speaker 6: Those were the main scenes for me that I found
• 15:48
  Speaker 6: hardest to stomach because of how graphic they got. There
• 15:51
  Speaker 6: wasn't a lot of gore besides that in this film,
• 15:55
  Speaker 6: so I was expecting, like everyone has said throughout the years,
• 15:58
  Speaker 6: was it's just a They were almost like a snuff film,
• 16:01
  Speaker 6: and to me, I didn't get that. It felt very
• 16:04
  Speaker 6: educational in a very fake sense, because we're watching something
• 16:09
  Speaker 6: that is has a message in a story behind all
• 16:14
  Speaker 6: the death in it. And I just felt very sick
• 16:17
  Speaker 6: almost the entire time through all the animal scenes. But
• 16:20
  Speaker 6: also walked away with a very different takeaway from my
• 16:25
  Speaker 6: initial perception of the film.
• 16:28
  Speaker 5: Yeah, you know, the animal stuff was hard, and even
• 16:33
  Speaker 5: last night there was stuff I fast forwarded through and
• 16:37
  Speaker 5: you know, we'll talk about it, but you know, I
• 16:41
  Speaker 5: get that there, especially for the seventies. You know, they're
• 16:46
  Speaker 5: showcasing things that are happening in everyday life. So to
• 16:50
  Speaker 5: us who are not involved in you know, actually killing
• 16:55
  Speaker 5: and the process of getting the food that we can zoom,
• 16:57
  Speaker 5: the meat that we can zume, it's very eye opening
• 17:00
  Speaker 5: and it's very uh it does kind of make you
• 17:04
  Speaker 5: wanna want to, you know, maybe make some dietary changes.
• 17:07
  Speaker 5: And then I think, like right when the movie was over,
• 17:10
  Speaker 5: I was like, just without even thinking about it, I
• 17:12
  Speaker 5: was like, damn, man, i'ven't had five guys in a while.
• 17:14
  Speaker 4: I should probably damn Christian part of the problem.
• 17:18
  Speaker 5: I mean, whatever, man, Uh, you know, no stab at
• 17:21
  Speaker 5: at at at vegans or vegetarians, but like ninety percent
• 17:25
  Speaker 5: of my diet for my whole life has been me.
• 17:27
  Speaker 5: I knew the process of which we have to get that,
• 17:30
  Speaker 5: but it's not until you see something like this you're like, oh,
• 17:33
  Speaker 5: it's a little rough, especially.
• 17:36
  Speaker 4: Christie Vernet tell us that you're down seal clubbing either.
• 17:39
  Speaker 2: I am not.
• 17:42
  Speaker 5: It's where my line is drawn, all right, as Steve
• 17:45
  Speaker 5: goes into darkness for trying to take stabs at me.
• 17:49
  Speaker 2: All right, so let's let's uh, well.
• 17:52
  Speaker 5: Okay, before we get into the commentary notes, I want
• 17:55
  Speaker 5: to I want to ask you guys a question, and
• 17:57
  Speaker 5: we don't got to go too deep into it. I
• 18:00
  Speaker 5: had posted this that I got this in on a
• 18:04
  Speaker 5: physical media Facebook group and had gotten a comment on that.
• 18:08
  Speaker 5: On that post that pretty much somebody saying, you know, hey,
• 18:13
  Speaker 5: I'd never understood why people like this movie, which I get,
• 18:17
  Speaker 5: and then he went on to like call me a Sico,
• 18:22
  Speaker 5: and that kind of stirred up most of Like I
• 18:25
  Speaker 5: didn't really lean into it much, but some other people
• 18:27
  Speaker 5: got involved in the comments, and I was like, Wow,
• 18:31
  Speaker 5: that's a It's a pretty bold thing to say to somebody,
• 18:34
  Speaker 5: because I can tell you probably hundreds of movies that
• 18:39
  Speaker 5: have come out on physical media over the last five
• 18:42
  Speaker 5: years that I think are actually more deserving of the
• 18:46
  Speaker 5: SICKO watch list than this does.
• 18:51
  Speaker 2: Do you guys?
• 18:53
  Speaker 5: Do you guys foresee pretty much forever this movie kind
• 18:57
  Speaker 5: of being labeled as the worst of the worst, or
• 19:01
  Speaker 5: do you see this kind of turning around at some
• 19:04
  Speaker 5: point and people looking at this.
• 19:07
  Speaker 2: Through a different through a different light.
• 19:11
  Speaker 4: I mean, I feel like, especially with the new film
• 19:16
  Speaker 4: coming out, it feels like now is going to be
• 19:19
  Speaker 4: the time that this uh, you know, group of films
• 19:23
  Speaker 4: is going to be reassessed. Maybe not as something that
• 19:26
  Speaker 4: says macab as you know, some of the other films
• 19:29
  Speaker 4: that you're you know, referring to Chris, but I definitely
• 19:33
  Speaker 4: think that it's going to be more in the I
• 19:37
  Speaker 4: don't know if I would say educational sense, but I
• 19:40
  Speaker 4: think we're going to view it through a different lens
• 19:42
  Speaker 4: going forward compared to you know, how it lived in
• 19:44
  Speaker 4: infamy back when you can only find it at like
• 19:48
  Speaker 4: a local video store.
• 19:52
  Speaker 2: Mike, what do you think.
• 19:53
  Speaker 6: I think that people are going to have their own
• 19:57
  Speaker 6: perceived notion of the movie because of word of mouth
• 20:02
  Speaker 6: with people on it, and that's how it's been through
• 20:05
  Speaker 6: decades now. But I feel especially like this how we're
• 20:10
  Speaker 6: talking about it and trying to educate people on this film,
• 20:13
  Speaker 6: that unless you do your education on it and fact
• 20:17
  Speaker 6: check everything, people are going to go in and see
• 20:20
  Speaker 6: this movie as just being a very vulgar, grotesque thing
• 20:24
  Speaker 6: and not really assess what was fake. And even though
• 20:28
  Speaker 6: there is some stuff that is faking it, they're going
• 20:31
  Speaker 6: to be too hooked on what was real. And I
• 20:34
  Speaker 6: feel like that's going to make it the movie that
• 20:37
  Speaker 6: it still is a very vulgar movie that they're not
• 20:40
  Speaker 6: going to want to watch just because there is slight
• 20:43
  Speaker 6: realism to it.
• 20:45
  Speaker 5: Yeah, I think I would love for there to be
• 20:49
  Speaker 5: a broader conversation about the technical mastery of this movie.
• 20:55
  Speaker 5: Like if you're looking at this through the lens of
• 21:00
  Speaker 5: like an understanding of filmmaking or an understanding of the magic,
• 21:04
  Speaker 5: it's actually pretty incredible.
• 21:05
  Speaker 2: What's what's pulled off here technically?
• 21:08
  Speaker 5: Like the for decades now, people have been sold that
• 21:12
  Speaker 5: one hundred percent simulated gore effects were real.
• 21:16
  Speaker 2: That's you know, nobody. I don't, I don't.
• 21:19
  Speaker 5: I don't see many people, you know, complimenting Savini's work as.
• 21:23
  Speaker 2: Like, oh wow, I thought that was real.
• 21:25
  Speaker 5: You know, the whole time, most people understand it's fake.
• 21:28
  Speaker 5: Faces of Death.
• 21:29
  Speaker 2: There are.
• 21:31
  Speaker 5: Full on, you know, makeup effects that have been believed
• 21:35
  Speaker 5: to be true by most people for decades, And that's
• 21:40
  Speaker 5: a pretty astounding compliment.
• 21:43
  Speaker 4: Were there certain scenes for you guys that you were
• 21:46
  Speaker 4: kind of surprised, I guess once you found out weren't
• 21:50
  Speaker 4: real compared to like the first time you watched that.
• 21:55
  Speaker 5: I mean footage like the the police shootout, like that
• 22:03
  Speaker 5: was pretty you know.
• 22:05
  Speaker 2: I didn't really.
• 22:07
  Speaker 5: I remember thinking like it looked real enough, you know,
• 22:11
  Speaker 5: to be convincing. Even now when when I when I
• 22:15
  Speaker 5: did learn that it was one hundred percent simulated, It's
• 22:19
  Speaker 5: it's pretty astounding how realistic it is. But this time around, though,
• 22:24
  Speaker 5: you start to see like the magic of the editing.
• 22:27
  Speaker 4: You know.
• 22:27
  Speaker 5: It's like when the when the animal control offster gets
• 22:29
  Speaker 5: attacked by the gator. Yeah, and you just don't see
• 22:32
  Speaker 5: anything at all, you know, and it's like the way
• 22:35
  Speaker 5: it's cut kind of makes.
• 22:36
  Speaker 4: You the shaking camera.
• 22:39
  Speaker 5: Yeah, it kind of like like we know, we understand,
• 22:43
  Speaker 5: like if you're cutting around a lot, then you're trying
• 22:45
  Speaker 5: to hide or showcase or show certain things, and you know,
• 22:48
  Speaker 5: so footage like that. But there was actually some stuff
• 22:51
  Speaker 5: on the opposite end where I thought were fake but
• 22:55
  Speaker 5: was real. So, Mike, what about you anything that uh.
• 23:00
  Speaker 6: I think that beheading scene that that one like sticks
• 23:03
  Speaker 6: with me a lot and that one because I again,
• 23:06
  Speaker 6: I grew up in the Reddit fifty to fifty challenge,
• 23:09
  Speaker 6: so seeing real life beheadings and so seeing something like that,
• 23:12
  Speaker 6: it's like, wow, I've seen a real one that kind
• 23:14
  Speaker 6: of looks real, and then you find out that it's not,
• 23:17
  Speaker 6: and it's just they do so good with it.
• 23:20
  Speaker 5: Yeah, it's pretty it's pretty phenomenal. I actually think sometimes,
• 23:25
  Speaker 5: and this is this is a note that I'll bring
• 23:26
  Speaker 5: up later, but I actually think that the clarity of
• 23:28
  Speaker 5: the four K actually kind of ruins some of the
• 23:32
  Speaker 5: magic here because at a point, like people were watching
• 23:35
  Speaker 5: this movie was like a copy of a copy of
• 23:37
  Speaker 5: a copy and you couldn't see anything, and that almost
• 23:39
  Speaker 5: made it worse, like it like sold the impact because
• 23:42
  Speaker 5: you couldn't see detail. You watch the be heading scene
• 23:46
  Speaker 5: in four K and you can see like the bulk
• 23:49
  Speaker 5: of the top of the body that it's kind of
• 23:50
  Speaker 5: built out that way, and you can kind of, you know,
• 23:53
  Speaker 5: you begin to see kind of some of the some
• 23:57
  Speaker 5: of the tricks hiding some things, you know.
• 24:00
  Speaker 4: I almost feel like that this is a film that,
• 24:03
  Speaker 4: as much as I appreciate the four K, I feel
• 24:06
  Speaker 4: like it's best suited in VHS format. Oh yeah, I
• 24:11
  Speaker 4: feel like you know, Texas Chainsaw is another one that
• 24:14
  Speaker 4: I feel like is kind of in that same realm
• 24:16
  Speaker 4: where it adds to the grittiness and the depravity that
• 24:19
  Speaker 4: comes with either of those films. But yeah, this this
• 24:24
  Speaker 4: commentary was fantastic though definitely very insightful.
• 24:28
  Speaker 5: This is the perfect example of like a must listen
• 24:31
  Speaker 5: to commentary track. It's essentially broken up as a conversation
• 24:35
  Speaker 5: and Michael Felcher this is the second commentary I've listened
• 24:39
  Speaker 5: to him as a moderator, and not only does he
• 24:43
  Speaker 5: do a great job asking like the questions that I
• 24:45
  Speaker 5: would ask in the moment.
• 24:48
  Speaker 6: But.
• 24:49
  Speaker 5: Conan's ability to just be so open and he says
• 24:53
  Speaker 5: pretty much right in the beginning of it, like, Okay,
• 24:55
  Speaker 5: we're going to ruin a lot of people's you know,
• 24:57
  Speaker 5: views on this movie, like we're about the pool, you know,
• 24:59
  Speaker 5: the out and kind of showcase that. And I thought,
• 25:03
  Speaker 5: I thought that was that was perfect.
• 25:04
  Speaker 4: Man.
• 25:04
  Speaker 5: There's there's nothing more that I could ask for, Like,
• 25:06
  Speaker 5: I don't need another This is the penultimate commentary track
• 25:10
  Speaker 5: to me of education.
• 25:12
  Speaker 2: It was entertaining.
• 25:13
  Speaker 5: The behind the scenes bits were really insightful, and it
• 25:16
  Speaker 5: was it was fun. You can kind of you know,
• 25:19
  Speaker 5: there's a lot of moments of him talking about kind
• 25:21
  Speaker 5: of a He's in the movie so many times, which
• 25:25
  Speaker 5: is so funny to think that there's numerous times a
• 25:27
  Speaker 5: director isn't it.
• 25:30
  Speaker 2: But it was just.
• 25:31
  Speaker 5: Incredibly educational, And I can't push people enough to actually
• 25:35
  Speaker 5: we always say, you know, no matter what you learn
• 25:37
  Speaker 5: in this, go watch it because there's there's so much
• 25:39
  Speaker 5: more that we don't take notes on, and you know,
• 25:41
  Speaker 5: you're just kind of through us getting the uh, you know,
• 25:44
  Speaker 5: the cliff notes versions. But you know this is on
• 25:48
  Speaker 5: the new four K. That's how I watched it. So this,
• 25:52
  Speaker 5: this commentary is around and it's accessible. So let's get
• 25:58
  Speaker 5: into this commentary track. So for people who have maybe
• 26:02
  Speaker 5: never listened to the show before, this isn't meant to
• 26:04
  Speaker 5: be like a play by play, a scene by scene.
• 26:06
  Speaker 5: We are going to be jumping around a whole lot
• 26:08
  Speaker 5: talking about individual scenes. Clearly spoilers. All that good stuff
• 26:12
  Speaker 5: is in here. This is just stuff that we felt
• 26:15
  Speaker 5: like we learned that if you're not interested in never
• 26:17
  Speaker 5: listening to a commentary track, I think we can give
• 26:20
  Speaker 5: you a pretty good bulk of the most interesting info
• 26:22
  Speaker 5: and that's gonna.
• 26:24
  Speaker 2: Push your education of the movie forward.
• 26:26
  Speaker 5: But also, you know, if you've never listened to a
• 26:28
  Speaker 5: commentary track, hopefully this will kind of interest you to.
• 26:32
  Speaker 2: Throw it on.
• 26:33
  Speaker 5: It's my favorite bonus feature. We started a whole podcast
• 26:36
  Speaker 5: about it, so obviously we love it. So you guys
• 26:39
  Speaker 5: ready to get into this?
• 26:40
  Speaker 4: Oh yeah, yeah, all.
• 26:42
  Speaker 2: Right, I'm going to kick this off. What do you
• 26:43
  Speaker 2: guys think about heart surgery thoughts?
• 26:46
  Speaker 4: I have seen it up close. It's pretty brutal.
• 26:50
  Speaker 2: Wait have you seen it in real life?
• 26:52
  Speaker 4: Yeah? Yep, I was.
• 26:54
  Speaker 2: Was it your own?
• 26:56
  Speaker 4: No, it was. We had an opportunity during my internship
• 27:01
  Speaker 4: to check out open heart surgery and they allowed us
• 27:06
  Speaker 4: to obviously be in the room, and then there was
• 27:08
  Speaker 4: at a certain point where the surgeon allowed for us to, like,
• 27:12
  Speaker 4: you know, while somebody's chest cavity is opened up completely,
• 27:17
  Speaker 4: allow you to like basically be very very close, almost
• 27:19
  Speaker 4: like uncomfortably close to the patient. So seeing this kind
• 27:24
  Speaker 4: of gave me flashbacks to that.
• 27:27
  Speaker 2: So is that sanitary?
• 27:29
  Speaker 4: Like were you Oh, you're you're like you're I mean,
• 27:32
  Speaker 4: you're all like gloved up and masked up and all that.
• 27:35
  Speaker 4: But yeah, it's uh, it's pretty intense. I'm not gonna lie.
• 27:40
  Speaker 2: Yeah, Mike, have you seen heart surgery in person before?
• 27:42
  Speaker 6: So I haven't seen heart surgery in person. So he
• 27:45
  Speaker 6: got me beat on that one. But I have a
• 27:48
  Speaker 6: very personal history with it because I was born a
• 27:51
  Speaker 6: premi and it was with a whole in my heart. Okay,
• 27:55
  Speaker 6: So when I was born, they wanted to do open
• 27:58
  Speaker 6: heart surgery on me as an infant, and that was
• 28:02
  Speaker 6: the likelihood of I would have just not made it
• 28:04
  Speaker 6: from that because I was already born. Two pounds went out,
• 28:07
  Speaker 6: so there was almost no way I was going to
• 28:09
  Speaker 6: make it after that. So my parents opted out of that.
• 28:12
  Speaker 6: So my entire life, I went from taking medicine to
• 28:16
  Speaker 6: heal that part of my heart and I fixed a
• 28:18
  Speaker 6: hole and then I had a valve go out on
• 28:20
  Speaker 6: me and so I had to get surgery. Thank god,
• 28:25
  Speaker 6: it was not another open heart surgery. They just went
• 28:28
  Speaker 6: through my leg and went up and blowed up the
• 28:31
  Speaker 6: valve with a balloon to fix that valve. So it's
• 28:35
  Speaker 6: been about fifteen years since that happened. But yeah, heart
• 28:39
  Speaker 6: surgery is a very sensitive topic for me.
• 28:42
  Speaker 2: Man. Well, this opening scene kicking off the movie.
• 28:45
  Speaker 5: With the heart surgery is a hell of a way
• 28:48
  Speaker 5: to start a documentary, you know, expressing many forms of death.
• 28:54
  Speaker 5: What I thought was most interesting is how, you know,
• 28:56
  Speaker 5: for a movie that's designed to be like a documentary,
• 28:59
  Speaker 5: we do have a main character, we have we have
• 29:01
  Speaker 5: a narrator, and this is sort of the intro, not
• 29:05
  Speaker 5: not the introduction of him. But this was such a
• 29:07
  Speaker 5: smart way to kick off the movie and then kind
• 29:10
  Speaker 5: of lead into the introduction of our main character, UH,
• 29:14
  Speaker 5: doctor Gross played by Michael Carr.
• 29:16
  Speaker 2: I just thought it was.
• 29:16
  Speaker 5: Cool and it's this is real footage that was shown.
• 29:19
  Speaker 5: And I remember I turned because my wife, My wife
• 29:22
  Speaker 5: went to UH school for some medical stuff. So I
• 29:25
  Speaker 5: turned to her and I was like, have you ever
• 29:26
  Speaker 5: seen you know, one of these in person like this
• 29:29
  Speaker 5: in an autopsy? And She's like, now, this looks pretty
• 29:33
  Speaker 5: It's pretty intense.
• 29:34
  Speaker 2: Uh.
• 29:36
  Speaker 5: But one thing that I took from here is uh
• 29:40
  Speaker 5: Michael asked Conan what the inspiration for the movie was, right,
• 29:43
  Speaker 5: and this is incredibly interesting. So Conan did a lot
• 29:47
  Speaker 5: of work with a company that compiled nature footage, and
• 29:52
  Speaker 5: after the success of an Italian film that was released
• 29:54
  Speaker 5: in Japan that was called The Great Hunt, which he
• 29:58
  Speaker 5: described as basically animal was getting slaughtered, so nothing I
• 30:03
  Speaker 5: would ever watch in my life. But he was approached
• 30:08
  Speaker 5: about possibly doing a film similar to this just because
• 30:12
  Speaker 5: of his connections with I guess the Nature documentary company,
• 30:16
  Speaker 5: and his disinterest in showing animals being slaughtered pretty much
• 30:20
  Speaker 5: led him to a different idea, which was sort of
• 30:24
  Speaker 5: that same vein, but doing it with humans and more
• 30:27
  Speaker 5: of a kind of a humanity approach to it, you know.
• 30:31
  Speaker 5: And that's what eventually led to Faces of Death. And
• 30:36
  Speaker 5: they came to him and asked for him to do
• 30:38
  Speaker 5: a test pilot, which he shot some autopsy footage for
• 30:43
  Speaker 5: and that's kind of what he presented to them, is
• 30:45
  Speaker 5: like a, hey, here's a loose idea of some of
• 30:47
  Speaker 5: the footage that we can attain and we can get
• 30:49
  Speaker 5: to make this. And that's actually the footage that we
• 30:52
  Speaker 5: see at the end of the opening credit sequence when
• 30:54
  Speaker 5: we see a full autopsy pretty much happening right in
• 30:57
  Speaker 5: front of us.
• 30:57
  Speaker 2: That was all test pilot footage.
• 31:00
  Speaker 5: And I also want to side note here that the
• 31:02
  Speaker 5: four K transfer here from Vinegar Syndrome.
• 31:04
  Speaker 2: Is fucking stunning.
• 31:06
  Speaker 4: Mm hmm.
• 31:07
  Speaker 5: This movie has no right to look this good. I
• 31:09
  Speaker 5: mean Steve, what did you think about the restoration?
• 31:12
  Speaker 4: Oh, it's exceptional. I feel like, between this, the commentary,
• 31:20
  Speaker 4: just the entire release as a whole, I was pleasantly surprised.
• 31:25
  Speaker 4: I know you and I were talking about beforehand if
• 31:28
  Speaker 4: this was a film that truly needed a four K,
• 31:30
  Speaker 4: but with the amount of attention to detail and everything
• 31:34
  Speaker 4: that it included and how great the transfer was, I
• 31:37
  Speaker 4: definitely felt like this deserved to spot my shelf.
• 31:43
  Speaker 5: When the end credits come to close, we go to
• 31:46
  Speaker 5: this dolly shot in a hallway that's introducing the physical
• 31:50
  Speaker 5: character of doctor Gross and it's this kind of long
• 31:53
  Speaker 5: dolly shot down at this hallway that was shot in
• 31:56
  Speaker 5: an actual doctor's office, and it was stunning, Like there's
• 31:59
  Speaker 5: like the color of the walls incredibly ugly. It's like
• 32:02
  Speaker 5: this greenish yellow thing. But as soon as that shot started,
• 32:07
  Speaker 5: I was like, holy shit, looks incredible, especially compared to
• 32:12
  Speaker 5: what the VHS I watched it on twenty plus years ago,
• 32:18
  Speaker 5: you know what I mean. And one thing that I
• 32:21
  Speaker 5: love here is Michael Felsher does a great job of
• 32:25
  Speaker 5: kind of moderating this conversation to really kind of dive
• 32:30
  Speaker 5: into addressing a lot of the controversy that the movie
• 32:33
  Speaker 5: has long held on to. So as we go into
• 32:37
  Speaker 5: this dream sequence where doctor Gross is narrating about his
• 32:42
  Speaker 5: journey to studying death, one thing the director mentions is
• 32:46
  Speaker 5: that there's actually a disclaimer in the end credits that
• 32:48
  Speaker 5: states that many of the sequences in the film are
• 32:51
  Speaker 5: stylized or recreations. Which is crazy to me that all
• 32:54
  Speaker 5: of us, somehow, across the many decades, have just fucking
• 32:58
  Speaker 5: missed that. Nobody made it that far to see the
• 33:05
  Speaker 5: disclaimer at the end, or maybe just didn't.
• 33:07
  Speaker 6: Believe it until the Marvel movies that come out to
• 33:10
  Speaker 6: get us to sit to the end credits.
• 33:14
  Speaker 5: Maybe half our copies probably didn't even have end credits,
• 33:17
  Speaker 5: to be honest, they probably that was probably cut out
• 33:19
  Speaker 5: at some point, but I just kind of paused and
• 33:22
  Speaker 5: I laughed. I'm like, nobody found that.
• 33:24
  Speaker 6: At no point watching bootleg copies anyways.
• 33:28
  Speaker 5: Right, yeah, right at that point. I remember my dad
• 33:32
  Speaker 5: and I used to just laugh at names and end credits.
• 33:34
  Speaker 5: We never really paid attention to them, And now now
• 33:37
  Speaker 5: I watch them and I'm like, oh, I know that
• 33:38
  Speaker 5: there's that guy he worked on Project X, and there's
• 33:41
  Speaker 5: that guy who worked on Project y and it's the
• 33:44
  Speaker 5: evolution of becoming a nerd. Speaking of speaking of nerds,
• 33:49
  Speaker 5: the version of this movie that that that's on this
• 33:52
  Speaker 5: four K was actually intended for a Japanese theatrical release.
• 33:56
  Speaker 5: Hence why the entire opening credits sequence when we're seeing
• 34:00
  Speaker 5: all of the bodies leading into the autopsy sequence. That's
• 34:02
  Speaker 5: why there's no genitalia because in Japan you could show
• 34:06
  Speaker 5: a dead body, but when it came the nudity and genitalia,
• 34:09
  Speaker 5: they were.
• 34:09
  Speaker 2: Not not playing. No, they're not.
• 34:13
  Speaker 5: And if you're you know, if you ever got into
• 34:16
  Speaker 5: or experimented into like the pink genre or any of
• 34:20
  Speaker 5: like the softcore entries out of Japan, there was actual
• 34:22
  Speaker 5: like blurring like this kind of like soft blurring that
• 34:26
  Speaker 5: would occur during these sequences because they took that so seriously,
• 34:32
  Speaker 5: which I don't know, Mike, if you ever watched any
• 34:33
  Speaker 5: pink u films, But the contrast between watching, you know,
• 34:38
  Speaker 5: a nude woman rip somebody's head off and then use
• 34:41
  Speaker 5: it to masturbate one hundred percent on screen is fine,
• 34:45
  Speaker 5: But you can't show any genitalia in a softcore scene.
• 34:48
  Speaker 6: Yeah. I don't have any history with that.
• 34:52
  Speaker 5: But I I like, I'll give you some titles to
• 34:57
  Speaker 5: look into a right, follow up, we'll follow up, follow up.
• 35:00
  Speaker 5: Uh So, I'm a dog lover. I know I have
• 35:05
  Speaker 5: I have dogs. I've always had dog Steve, you have dogs, Mike,
• 35:07
  Speaker 5: you have dogs?
• 35:08
  Speaker 6: Cats?
• 35:09
  Speaker 2: You have cats? Yeah, I'm a cat guy as well.
• 35:13
  Speaker 5: We come across the one of the most notorious moments
• 35:16
  Speaker 5: of the film, which is actually a dog fight, and
• 35:18
  Speaker 5: it's between two pi bulls.
• 35:19
  Speaker 2: I've always had pipules, So.
• 35:22
  Speaker 5: When it started, I was a little bit like, is
• 35:25
  Speaker 5: this the point where I'm going to turn off.
• 35:26
  Speaker 4: The movie, you know, start the same thing.
• 35:29
  Speaker 5: Yeah, dude, the moment it starts, it's you know, but
• 35:34
  Speaker 5: this footage is not at all what people think it is.
• 35:38
  Speaker 5: So what appears to be fighting, and this is all
• 35:40
  Speaker 5: coming from the director, is actually a mating ritual between
• 35:45
  Speaker 5: the two dogs, and very very very rarely business ritual
• 35:51
  Speaker 5: actually hurt another dog so much so that, like when
• 35:54
  Speaker 5: you were done filming this, they actually had to separate
• 35:56
  Speaker 5: the dogs because they were kind of enjoying this, you know,
• 36:00
  Speaker 5: processing uge and as as it's going, they're there as
• 36:08
  Speaker 5: we cut, they're getting more and more covered in blood,
• 36:10
  Speaker 5: and there's blood kind of on the fence around them
• 36:12
  Speaker 5: and stuff. But it's actually just the crew kind of
• 36:14
  Speaker 5: standing off to the side and spraying blood onto them,
• 36:17
  Speaker 5: or throwing a handful of blood onto them, and it
• 36:20
  Speaker 5: keeps cutting and it gets, you know, more graphic and
• 36:22
  Speaker 5: more graphic. But this was one hundred percent shot with
• 36:27
  Speaker 5: proper dog handlers, proper crew like safety crews on site.
• 36:32
  Speaker 5: And the ending of the dog seemingly dead, which is
• 36:36
  Speaker 5: a freeze frame they cut to, is actually just an
• 36:39
  Speaker 5: exhausted puppy laying down. They just had to cut They
• 36:43
  Speaker 5: had a freeze frame it to make it look like
• 36:44
  Speaker 5: it was dead because it's you know, panting and its
• 36:47
  Speaker 5: tongue is hanging.
• 36:47
  Speaker 4: Out all.
• 36:54
  Speaker 5: And just through strictly the editing and adding a really
• 36:58
  Speaker 5: aggressive dog sounds and post production, it really sold the effect.
• 37:04
  Speaker 5: And I thought that was interesting because so many people
• 37:06
  Speaker 5: cite this as a specific moment as to why they
• 37:09
  Speaker 5: don't watch this movie or why this movie is cruel,
• 37:13
  Speaker 5: and according to the director and according to research, this
• 37:17
  Speaker 5: is following all of the same precautions that a Hollywood
• 37:20
  Speaker 5: production would as far as handling a sequence like this,
• 37:23
  Speaker 5: whereas now.
• 37:23
  Speaker 2: Would be CGI.
• 37:24
  Speaker 5: But if you go back to the eighties and nineties,
• 37:26
  Speaker 5: you know, so it's interesting. I mean this time around,
• 37:29
  Speaker 5: did you guys, you know, how did this scene work
• 37:33
  Speaker 5: for you? Did you still think it was real or
• 37:35
  Speaker 5: did you kind of notice, you know, something with it
• 37:38
  Speaker 5: that possibly make you think it was faked.
• 37:43
  Speaker 6: I skipped it. I couldn't watch it. I don't a
• 37:47
  Speaker 6: lot of the animal scenes specifically, I kind of like
• 37:50
  Speaker 6: just skimmed through, but that one, specifically, I did not
• 37:52
  Speaker 6: watch at all. I didn't I didn't even put in
• 37:55
  Speaker 6: my mind that it was fake, just because it always
• 37:58
  Speaker 6: has felt real. I don want to try to remotely
• 38:01
  Speaker 6: watch it.
• 38:04
  Speaker 5: I think that's such an interesting And Steve, you give
• 38:06
  Speaker 5: me some input on this, because he technically considers this
• 38:11
  Speaker 5: film a shockumentary yep. And the splicing of real and
• 38:16
  Speaker 5: simulated footage is really like selling the authenticity right, And
• 38:26
  Speaker 5: it's funny. How good I doubt now you knowing that
• 38:31
  Speaker 5: it was fake, you're still I don't think you're still
• 38:33
  Speaker 5: gonna be able to watch this because it's still a
• 38:34
  Speaker 5: hard scene to watch under the context of the rest
• 38:37
  Speaker 5: of the film. But it's interesting how the you know,
• 38:40
  Speaker 5: one hundred minutes surrounding that shapes your experience with that,
• 38:45
  Speaker 5: and Steve, do you think that's why this has always
• 38:47
  Speaker 5: been such an effective such an effective movie because of that.
• 38:52
  Speaker 4: Yeah, I mean, especially with this scene, at least from
• 38:56
  Speaker 4: what I recall, you know, on first watch, For the
• 38:58
  Speaker 4: longest time, I thought that a lot of that was
• 39:01
  Speaker 4: you know, a real dog fight, right. I'm sure that
• 39:06
  Speaker 4: the you know, the added grain and you know the
• 39:09
  Speaker 4: storted you know, VHS tape that I was watching it
• 39:12
  Speaker 4: on added to that kind of added to that effect.
• 39:18
  Speaker 4: But now going back and watching it in four K
• 39:21
  Speaker 4: kind of reminded me of like when you know, watching
• 39:23
  Speaker 4: frid the thirteenth and you see the scene with Kevin Bacon.
• 39:27
  Speaker 4: You know, you can clearly see kind of where Savini's
• 39:30
  Speaker 4: you know, effects definitely shine. I just feel like, you know,
• 39:34
  Speaker 4: also kind of you know, I wouldn't say to a fault,
• 39:37
  Speaker 4: but it's a little bit more noticeable, you know, kind
• 39:39
  Speaker 4: of the illusion is kind of fading away.
• 39:42
  Speaker 5: Yeah, thirteenth you can actually see like the partition in
• 39:46
  Speaker 5: between the chest cavity and his actual you know, the coloring,
• 39:50
  Speaker 5: and you can kind of see that the necklace is
• 39:52
  Speaker 5: hiding something, so it reveals, you know, some of those
• 39:55
  Speaker 5: secrets but the rest of the movie, like you go
• 39:59
  Speaker 5: for this to you know the seal, the seal clubbing sequence,
• 40:04
  Speaker 5: which is one hundred percent reel, and that was kind
• 40:07
  Speaker 5: of when I started skipping not a fan. There is
• 40:11
  Speaker 5: this sequence in the middle though, which I think I
• 40:14
  Speaker 5: put it here in the notes because this is really
• 40:17
  Speaker 5: a perfect example of the manipulation. There's this scene with
• 40:21
  Speaker 5: this with an indigenous tribe ritual and it begins with
• 40:25
  Speaker 5: the you know, them using a blow dart to shoot
• 40:27
  Speaker 5: a monkey.
• 40:28
  Speaker 2: Out of a tree that they're gonna they're gonna eat.
• 40:31
  Speaker 5: And what was so interesting about this is that all
• 40:34
  Speaker 5: of this footage is coming from stock footage and recently
• 40:39
  Speaker 5: shot footage, but like half of the footage is coming
• 40:41
  Speaker 5: from like the late fifties shot on like you know,
• 40:46
  Speaker 5: like coda chrome, and then the the other parts of
• 40:50
  Speaker 5: the footage were shot in the seventies and they were
• 40:53
  Speaker 5: spliced together to make it all look like it was
• 40:56
  Speaker 5: shot at the same time. And what's really funny is
• 41:02
  Speaker 5: they said all of this was was it was It
• 41:06
  Speaker 5: was two I think, if I remember correctly, it was
• 41:09
  Speaker 5: two different trips to three different reservations that allowed them
• 41:13
  Speaker 5: to put together this whole sequence, which when you watch
• 41:15
  Speaker 5: it in a movie you think is just one visit,
• 41:17
  Speaker 5: this is just what all the footage you're getting there.
• 41:20
  Speaker 5: And I thought it was really funny that Conan makes
• 41:22
  Speaker 5: a comment about how it's not too different than what
• 41:24
  Speaker 5: sixty minutes.
• 41:25
  Speaker 2: Does to their footage. I thought that was a good
• 41:27
  Speaker 2: you know little.
• 41:29
  Speaker 4: I felt like this scene paralleled a little bit further
• 41:33
  Speaker 4: into the film where we see the suicide scene with
• 41:36
  Speaker 4: the woman falling out of the window, It's like that
• 41:39
  Speaker 4: portion of it was real, but everything else was basically dramatized,
• 41:47
  Speaker 4: you know, for the sake of enhancing that specific scene,
• 41:50
  Speaker 4: which I think it's so interesting because directing, editing definitely
• 41:54
  Speaker 4: shining in these specific moments.
• 41:56
  Speaker 5: Yeah, that suicide scene, they said you had like two
• 42:00
  Speaker 5: minutes of footage and it was just the actual like
• 42:04
  Speaker 5: her up on the building and then she jumps and
• 42:06
  Speaker 5: hits the ground.
• 42:07
  Speaker 2: That's real.
• 42:07
  Speaker 5: But the aftermath, the firefighters running up the steps, was
• 42:11
  Speaker 5: all shot and then manipulated to make it look like.
• 42:14
  Speaker 2: It matches that style of footage, which is.
• 42:19
  Speaker 6: I think it It looks so good on a format
• 42:24
  Speaker 6: because we were breaking that elusiveness with the four K,
• 42:28
  Speaker 6: but with the same retrospect. The four K is giving
• 42:31
  Speaker 6: us a whole new insight to love this film. And
• 42:34
  Speaker 6: that's why I think this four K and the commentary
• 42:36
  Speaker 6: tract really shines a new light. And we might not
• 42:41
  Speaker 6: like that we're breaking the fourth wall a little bit
• 42:43
  Speaker 6: of hey, this stuff's not real, this is real, or
• 42:46
  Speaker 6: this is fake, but being able to now pinpoint certain
• 42:50
  Speaker 6: scenes like that, Wow, that was fake or hey, that
• 42:52
  Speaker 6: was real, and then seeing what they did with it
• 42:55
  Speaker 6: is really really beautiful.
• 42:57
  Speaker 5: Yeah, and it's again, this movie is kind of something
• 43:02
  Speaker 5: that I feel like we should talk about from a
• 43:04
  Speaker 5: technical point of view of working like a master at work.
• 43:07
  Speaker 5: It's pretty incredible how they were able to do this
• 43:09
  Speaker 5: and not to bring politics into it. But I've always
• 43:13
  Speaker 5: when it comes to news, I've always kind of been
• 43:16
  Speaker 5: of the mindset of like, hey man, they can kind
• 43:18
  Speaker 5: of show you whatever they want, like especially as technology
• 43:21
  Speaker 5: got better, And I've always told people, I'm like, yeah,
• 43:25
  Speaker 5: I don't tend to believe everything I see on the
• 43:27
  Speaker 5: news because it's so easy to manipulate footage.
• 43:29
  Speaker 2: And here's a movie that.
• 43:31
  Speaker 5: You know is from nineteen seventy eight doing that exact thing,
• 43:35
  Speaker 5: and it's had this long legacy of convincing people that
• 43:38
  Speaker 5: what they saw was real when in fact most of
• 43:42
  Speaker 5: it was not.
• 43:42
  Speaker 2: And if they were.
• 43:43
  Speaker 5: Doing it to this you know effect, then imagine what
• 43:48
  Speaker 5: you can do now, which we're seeing with AI and
• 43:52
  Speaker 5: you know, all kinds of other stuff. So I actually
• 43:54
  Speaker 5: think if there's any time for this conversation to pick
• 43:58
  Speaker 5: up about this movie, it's now.
• 44:01
  Speaker 4: Oh yeah. I mean there's there's one specific scene speaking
• 44:05
  Speaker 4: of like highlights throughout the film, the scene where there's
• 44:11
  Speaker 4: like the casket that's being lowered into the gravesite and
• 44:15
  Speaker 4: the director, I believe he was the one filming from
• 44:18
  Speaker 4: the hole and when they were tossing dirt on it,
• 44:22
  Speaker 4: I guess he had gotten like clipped by the dirt
• 44:24
  Speaker 4: while he was trying to film under there. I don't know.
• 44:27
  Speaker 4: I mean that definitely takes some stones to be able
• 44:30
  Speaker 4: to film it that way, but I definitely felt he.
• 44:34
  Speaker 5: Had glass above it that's like a glass plate, and
• 44:37
  Speaker 5: when the when the dirt hit it, it pushed the
• 44:39
  Speaker 5: glass plate like didn't hold it so it fell onto him.
• 44:42
  Speaker 4: And terrifying and watching that, especially in four K, it
• 44:46
  Speaker 4: felt like a straight up dream sequence that we were getting.
• 44:50
  Speaker 4: I don't know, the way that it was shot was
• 44:52
  Speaker 4: just it was like almost like phantasm asque.
• 44:54
  Speaker 5: It was, yeah, and that was the intention was to
• 44:57
  Speaker 5: give you know, give some levity to doctor Roast and
• 45:00
  Speaker 5: kind of, you know, get some insight as to why
• 45:02
  Speaker 5: he's begun this journey into exploring death because of, you know,
• 45:06
  Speaker 5: his own personal experience of loss.
• 45:08
  Speaker 2: And there's a great there's a great.
• 45:10
  Speaker 5: Line of dialogue he says where in his life he
• 45:13
  Speaker 5: only remembers two faces, and both of them were women
• 45:15
  Speaker 5: that he.
• 45:15
  Speaker 2: Loved, you know what I mean.
• 45:17
  Speaker 5: And it's it's pretty interesting, like it's actually kind of
• 45:20
  Speaker 5: like it feels almost like too good to be in
• 45:23
  Speaker 5: this movie. Feels like there could have been a great
• 45:25
  Speaker 5: other movie here. But you know, then you have moments
• 45:30
  Speaker 5: like the rooster sequence on the farm and the reason
• 45:36
  Speaker 5: I bring this up and I hated, hated watching this,
• 45:40
  Speaker 5: but there's a scene where we see a farmer she
• 45:44
  Speaker 5: has essentially like a large blade and she takes a rooster.
• 45:47
  Speaker 5: It cuts the rooster's head off, and for like a minute,
• 45:50
  Speaker 5: we watch this rooster's body, you know, kind of bounce
• 45:52
  Speaker 5: around in the yard.
• 45:53
  Speaker 2: It's really hard to watch.
• 45:54
  Speaker 5: But the conversation here between Conan and Michael is incredibly
• 46:00
  Speaker 5: interesting because they talk about how there was not a
• 46:03
  Speaker 5: single animal killed for this movie. Right, this movie's notorious
• 46:08
  Speaker 5: for showing this animal footage and if you want to
• 46:11
  Speaker 5: contrast it with the Italian Cannibal film where animals were
• 46:15
  Speaker 5: killed forst sake of impact in film, none were killed
• 46:19
  Speaker 5: for this movie. In fact, they just documented what's happening
• 46:23
  Speaker 5: on real farms every single day at this time. Nothing
• 46:28
  Speaker 5: was you know, enhanced or added or changed to sell
• 46:31
  Speaker 5: the effect. They just kind of went and showed what
• 46:34
  Speaker 5: was happening in farms and that that that changes the
• 46:38
  Speaker 5: narrative of this movie a lot in its legacy.
• 46:41
  Speaker 4: Even with the Seal clubbings scene. I believe the context
• 46:46
  Speaker 4: is that if they don't do this, then they're going
• 46:49
  Speaker 4: to overpopulate, was what I was understanding. Yeah, or they
• 46:53
  Speaker 4: would up starving. I think as a result there's too many, Yeah,
• 46:56
  Speaker 4: they would starve.
• 46:56
  Speaker 5: It's it's the same like people have no idea. Here
• 46:59
  Speaker 5: in Jersey, we have a we have a big problem
• 47:01
  Speaker 5: with bears, especially up in North Jersey, and there are
• 47:04
  Speaker 5: times of year, there are certain times of the year
• 47:07
  Speaker 5: when they actually have to people have to hunt the
• 47:10
  Speaker 5: bears because it's population control, and it's really cruel in
• 47:14
  Speaker 5: the sense of like, hey, there are people going out
• 47:16
  Speaker 5: and killing these bears, but they're they're whether or not
• 47:20
  Speaker 5: you you you know, want to that gives you any
• 47:25
  Speaker 5: sort of levity as to why they're doing it.
• 47:27
  Speaker 2: There is a purpose behind it.
• 47:29
  Speaker 5: And he actually doctor Gross says during the seal sequence,
• 47:34
  Speaker 5: like this is not the most humane way to do this,
• 47:37
  Speaker 5: and he acknowledges like this is not how it should
• 47:41
  Speaker 5: be done. But this is real and this is happening
• 47:44
  Speaker 5: every single day.
• 47:46
  Speaker 6: Yeah. Again, it gives another light and reiterates the fact
• 47:51
  Speaker 6: of how educational this film was even before the commentary track,
• 47:56
  Speaker 6: where it's showing us that no matter what, death is
• 47:59
  Speaker 6: an ever and if we're not holding this, if we're
• 48:04
  Speaker 6: not doing it, someone else is going to end up
• 48:07
  Speaker 6: killing the seals. Someone else is going to be population
• 48:10
  Speaker 6: control and like you said, they're doing with bears. There
• 48:13
  Speaker 6: someone has to do it, and it's the sad reality
• 48:16
  Speaker 6: we live in.
• 48:17
  Speaker 5: Well, I think what's even more interesting is that, like
• 48:20
  Speaker 5: you know, some of the a lot of the animal
• 48:22
  Speaker 5: footage in this movie is you can find the same
• 48:26
  Speaker 5: stuff on the Discovery Channel or on Nature documentaries. On
• 48:29
  Speaker 5: Disney Plus like, but nobody bats an eye towards that.
• 48:32
  Speaker 5: But because of the the context of the rest of
• 48:35
  Speaker 5: Faces of Death, it gets really really really highlighted here specifically,
• 48:39
  Speaker 5: it gets almost like a spotlight on it. So just
• 48:42
  Speaker 5: it's just interesting, man. And you know, I guess same
• 48:45
  Speaker 5: could be said for the monkey brain sequence, which I
• 48:49
  Speaker 5: would bet ninety eight percent of people that are outwardly
• 48:54
  Speaker 5: against this movie have no idea that this sequence is
• 48:56
  Speaker 5: one hundred percent simulated one hundred percent. There was a
• 49:01
  Speaker 5: trained monkey on set with a monkey handler, and all
• 49:05
  Speaker 5: you're seeing in the sequence is masterful editing and great
• 49:10
  Speaker 5: practical effects.
• 49:11
  Speaker 4: This was one of the ones I remember on first
• 49:14
  Speaker 4: watch stood out to me definitively. So to have this basically,
• 49:20
  Speaker 4: you know, the curtain pulled back on how they actually
• 49:23
  Speaker 4: achieved this scene. I thought this was fascinating.
• 49:26
  Speaker 5: Yeah, yeah, they had, like I said, a trained monkey.
• 49:29
  Speaker 5: There was a false table that was built to house
• 49:32
  Speaker 5: a false monkey head to sell the sequence. And I
• 49:36
  Speaker 5: have a note here just about Alan Capone and his
• 49:38
  Speaker 5: team's effects throughout this movie. There they're pretty incredible, and
• 49:41
  Speaker 5: Conan goes into great detail as to how they you know,
• 49:45
  Speaker 5: they had they actually did put this monkey like in
• 49:47
  Speaker 5: this device that was in the table to hold it,
• 49:49
  Speaker 5: but it was not harmed, it was not under distress.
• 49:52
  Speaker 5: They had rubber mallets that actually weren't even making contact
• 49:55
  Speaker 5: with the monkey, and if you watch, you can see
• 49:57
  Speaker 5: that they're not even hitting him. They're just kind of
• 49:59
  Speaker 5: pretending to. And then quick cut, and now you have
• 50:04
  Speaker 5: a false monkey head on the table, which, to be
• 50:07
  Speaker 5: one hundred percent of real with you, looks fake as
• 50:10
  Speaker 5: hell like when it cuts to it, you're like, oh,
• 50:12
  Speaker 5: that's not How did we ever think that was that
• 50:15
  Speaker 5: was real? To be honest with you, the actual like
• 50:18
  Speaker 5: head looks more realistic in Temple of Doom if you
• 50:23
  Speaker 5: watch the monkey brain sequence in Spielberg's second Indiana Jones film.
• 50:28
  Speaker 5: So it's really it's interesting, man, It's how how this
• 50:32
  Speaker 5: has become kind of one of the most notorious, you know,
• 50:34
  Speaker 5: one most talked about sequences of this film.
• 50:36
  Speaker 6: Yeah, I might just be too fallible because I feel
• 50:39
  Speaker 6: like I felt for it really well when I was watching, Man,
• 50:43
  Speaker 6: this this monkey is dead right.
• 50:44
  Speaker 4: In front of me.
• 50:45
  Speaker 6: I just watch a live execution of a monkey.
• 50:48
  Speaker 5: We all did, and they show this sequence in the remake,
• 50:50
  Speaker 5: and I had My wife hadn't seen Faces of Death yet,
• 50:53
  Speaker 5: and I looked over at her and I'm like, don't worry,
• 50:54
  Speaker 5: it's fake, like it's you know, and so it's it's funny.
• 50:59
  Speaker 5: Did you guys know, though, that this movie was actually
• 51:04
  Speaker 5: released in Japan, in Japan under the title Junk.
• 51:11
  Speaker 2: Yeah, not, yep, it was.
• 51:13
  Speaker 5: It was released in Japan under the title Junk, and
• 51:15
  Speaker 5: it did gangbusters at the box office, made so much money.
• 51:21
  Speaker 5: Uh fun fact, this movie was never made for the
• 51:23
  Speaker 5: US market. It was never intended to come out in
• 51:25
  Speaker 5: the US market. The fact that it did is just
• 51:28
  Speaker 5: kind of an anomaly. It was never meant to be
• 51:30
  Speaker 5: shown here. There was no plans of distributing it here.
• 51:34
  Speaker 2: Nothing.
• 51:34
  Speaker 4: Chris. That's that's because it was banned in forty six countries.
• 51:37
  Speaker 2: Man, that's right, you're right.
• 51:38
  Speaker 5: How can I forget dude, how I'm sorry, I'm sorry. Well, listen,
• 51:43
  Speaker 5: As a consequence, I'll tell you about this alligator sequence,
• 51:47
  Speaker 5: which is another great example of kind of the manipulation
• 51:50
  Speaker 5: happening here. This entire alligator scene is one hundred re enacted. Like,
• 51:57
  Speaker 5: you know, you have this woman who for some reason
• 51:59
  Speaker 5: owns like a whole fucking pond. They try to claim
• 52:02
  Speaker 5: that this woman owns this giant that of water that
• 52:07
  Speaker 5: should be open to the public. But and it's in Florida,
• 52:10
  Speaker 5: where all of the craziest shit exists anyway, and they
• 52:14
  Speaker 5: went so far to reenact the sequence, even having like
• 52:18
  Speaker 5: another camera on set to be like the news crew
• 52:22
  Speaker 5: that's there so we.
• 52:23
  Speaker 2: See that.
• 52:25
  Speaker 5: When the animal control officer actually like arrives on set,
• 52:28
  Speaker 5: it's the woman's husband.
• 52:30
  Speaker 2: So the woman who he's.
• 52:31
  Speaker 5: Talking to who found the gator, their husband and wife.
• 52:35
  Speaker 5: And then the husband is actually the herbologist who supplied
• 52:39
  Speaker 5: and took care of the gator, and then you know,
• 52:42
  Speaker 5: became the one that pretended to be eaten by the alligator.
• 52:45
  Speaker 5: And I don't know, did you guys ever think in
• 52:48
  Speaker 5: your memory that this scene was real in the first place,
• 52:50
  Speaker 5: because this is probably the most outwardly fake sequence.
• 52:53
  Speaker 2: Of the whole movie.
• 52:54
  Speaker 6: Yeah, I knew this was so goofy from the first
• 52:58
  Speaker 6: time I watched it. Flies into that water, I'm like, yeah,
• 53:01
  Speaker 6: it's not real.
• 53:06
  Speaker 4: The floating hat in the water.
• 53:08
  Speaker 5: Oh my god, dude, he leaps into the water. You
• 53:11
  Speaker 5: would have thought he willingly jumped in. How far he
• 53:14
  Speaker 5: jumps in?
• 53:15
  Speaker 6: He gave a straight macho man elbow drop.
• 53:20
  Speaker 2: It's a it's a great scene, man.
• 53:21
  Speaker 5: And then for this to be it's a little bit
• 53:24
  Speaker 5: of a goofy run in the middle of this movie
• 53:26
  Speaker 5: because then you cut to this whole sequence with the
• 53:29
  Speaker 5: French assassin just like, who, by the way is that's
• 53:34
  Speaker 5: that's the director and the guy driving the guy driving
• 53:37
  Speaker 5: the limo that he pulls up in is the director's.
• 53:40
  Speaker 4: Father, I'll tell you what. He was definitely selling it,
• 53:44
  Speaker 4: that's for sure.
• 53:45
  Speaker 1: Yeah.
• 53:46
  Speaker 5: But like I was, I was laughing last night watching
• 53:49
  Speaker 5: it and hearing the director talk about it, I'm like,
• 53:51
  Speaker 5: why did we ever think this was real? Like why
• 53:55
  Speaker 5: why would they be talking to him? But you know
• 53:58
  Speaker 5: what it reminds me of. It reminds me of uh
• 54:02
  Speaker 5: like a you know nowadays we get those Vice documentaries
• 54:05
  Speaker 5: where they have a camera crew like in the middle
• 54:08
  Speaker 5: of of like live crimes happening, and everyone just has
• 54:11
  Speaker 5: their faces covered and they're like, yeah, sure you can
• 54:14
  Speaker 5: come watch us step by step how we how we
• 54:17
  Speaker 5: how we steal people's credit cards?
• 54:19
  Speaker 2: You know what I mean?
• 54:19
  Speaker 6: And that reminds me of.
• 54:23
  Speaker 5: Yeah, yeah, it's and that comes up later. Don't worry
• 54:26
  Speaker 5: there's some there's some nightcrawler reality here that we'll that
• 54:29
  Speaker 5: we'll talk about. But getting back to the the house
• 54:36
  Speaker 5: shooting sequence that we talked about earlier, this was believed
• 54:41
  Speaker 5: by many critics to be real at the time. This
• 54:43
  Speaker 5: is the police showing up to a man barred in
• 54:45
  Speaker 5: his house. He's shooting out the police. The police are
• 54:47
  Speaker 5: shooting at him, and uh Cony talks about how over
• 54:52
  Speaker 5: a thousand rounds of ammunition were used in the shooting
• 54:56
  Speaker 5: of this sequence, which he is in, by the way,
• 54:57
  Speaker 5: you see him multiple times as one of the police,
• 55:01
  Speaker 5: and I couldn't help but feel that the scene had
• 55:05
  Speaker 5: to inspire the opening shootout the Devil's Rejects day at
• 55:09
  Speaker 5: the Firefly House.
• 55:10
  Speaker 6: Yeah, I can see that.
• 55:13
  Speaker 2: It feels the same.
• 55:14
  Speaker 5: It's like shot the same way, it's shot with the
• 55:16
  Speaker 5: same kinetic energy. It's I was getting kind of thrown
• 55:20
  Speaker 5: off by how how easy it was to compare the
• 55:23
  Speaker 5: two scenes.
• 55:24
  Speaker 4: Yeah, he was.
• 55:26
  Speaker 6: The way they were surrounding felt very accurate to the
• 55:28
  Speaker 6: same way they did. And the Devil's Rejects, Yeah, see
• 55:33
  Speaker 6: what were you saying?
• 55:34
  Speaker 4: It definitely had like that gorilla style filmmaking, you know,
• 55:39
  Speaker 4: when they were shooting this sequence, which I could definitely
• 55:42
  Speaker 4: see that as being, you know, maybe a possible influence
• 55:44
  Speaker 4: on on the film.
• 55:46
  Speaker 5: Yeah, this was This was one that I always believed
• 55:49
  Speaker 5: was real. You know, when he runs out of the
• 55:50
  Speaker 5: house and gets lit up, you know, when you unfortunately,
• 55:56
  Speaker 5: in growing up in a you know, the Internet generation,
• 56:00
  Speaker 5: I think we've all seen, you know, some real footage
• 56:03
  Speaker 5: of you know, people losing their life, and I think
• 56:06
  Speaker 5: we all pretty much know that that it's never what
• 56:09
  Speaker 5: it's like in the movies, you know, And this is
• 56:12
  Speaker 5: very much that.
• 56:13
  Speaker 2: This is not showy at all. It's very quick.
• 56:17
  Speaker 5: And there was some interesting stuff here he talked about
• 56:19
  Speaker 5: because right before this scene starts, we see some footage
• 56:23
  Speaker 5: in a house with some like it was like a
• 56:26
  Speaker 5: crime scene footage. It's very brief, but that was one
• 56:29
  Speaker 5: hundred percent real footage. And then this reenactment from beginning
• 56:33
  Speaker 5: to end, even when we see the bodies in the house,
• 56:36
  Speaker 5: it was one hundred percent just fake.
• 56:37
  Speaker 2: They just reenacted it all.
• 56:39
  Speaker 5: So splicing that stuff, you know, together again, I did
• 56:44
  Speaker 5: like this little bit that Coning throw in. For this
• 56:48
  Speaker 5: entire sequence that happens at the La Morgue, this was
• 56:51
  Speaker 5: all one hundred percent real, and the director's mother was
• 56:56
  Speaker 5: actually at the time actively dying of cancer, and there
• 57:01
  Speaker 5: were there were times when he was at this Morgue
• 57:04
  Speaker 5: shooting till two am and kind of dealing with this
• 57:08
  Speaker 5: this terrible I guess kind of juxtaposition of essentially being
• 57:15
  Speaker 5: where his mother's going to end up.
• 57:18
  Speaker 4: You know, I felt like it demystified the idea of death,
• 57:23
  Speaker 4: which I thought was very introspective.
• 57:28
  Speaker 2: Well, I asked my wife.
• 57:29
  Speaker 5: I'm like, I was like, I don't like, this is
• 57:32
  Speaker 5: the seventies and there's just corpses everywhere, Like it looks
• 57:36
  Speaker 5: like there's no organization.
• 57:37
  Speaker 2: You see a hallway, and it actually.
• 57:39
  Speaker 5: Made me think of when we were doing our re
• 57:40
  Speaker 5: Animator episode start, Stuart Gordon got a chance to go
• 57:44
  Speaker 5: into like the La Morgue and actually see it, and
• 57:47
  Speaker 5: he talks about how it's it's nothing like you expect,
• 57:51
  Speaker 5: and he kind of molded the Morgue sequences and Reanimator
• 57:54
  Speaker 5: after that.
• 57:56
  Speaker 4: Which they were in the black bags.
• 57:58
  Speaker 5: Yeah, yeah, they're just in black bag and and it's
• 58:02
  Speaker 5: really interesting because there's multiple times in this movie where
• 58:04
  Speaker 5: they kind of bring up this stone cold fact that
• 58:09
  Speaker 5: I guess one thing that that he.
• 58:11
  Speaker 2: Talks about is how.
• 58:14
  Speaker 5: He realized that as humans, like in our physical self,
• 58:18
  Speaker 5: we're pretty much just like lumps of flesh.
• 58:20
  Speaker 3: Right.
• 58:22
  Speaker 2: This sort of gave.
• 58:23
  Speaker 5: Him, I guess, some some hope or further belief in
• 58:27
  Speaker 5: something bigger than that, that that that that there are
• 58:29
  Speaker 5: souls and there's something more. Because when you're surrounded by
• 58:33
  Speaker 5: this and you're seeing just what people become, it's pretty.
• 58:38
  Speaker 2: Eye opening.
• 58:39
  Speaker 5: It really can change your view on life as a whole.
• 58:44
  Speaker 4: You know, Well, didn't he mention that, you know, especially
• 58:49
  Speaker 4: in the States, just how taboo the concept of death is.
• 58:53
  Speaker 4: Where I think outside of the States it's a little
• 58:56
  Speaker 4: bit more widely accepted and I guess more understood.
• 59:02
  Speaker 2: He does, Yeah, he mentions.
• 59:05
  Speaker 5: I don't think he says anything specifically, but he talks
• 59:08
  Speaker 5: about how kind of welcomed death is in in other
• 59:12
  Speaker 5: areas of the world, And you know, I I think
• 59:18
  Speaker 5: there's a lot of stuff growing up in in in
• 59:21
  Speaker 5: the US that is sort of like I do feel
• 59:27
  Speaker 5: like to a point, and maybe this is off topic,
• 59:29
  Speaker 5: but I do feel like to a point, like we
• 59:31
  Speaker 5: there are certain things that we've just kind of been
• 59:35
  Speaker 5: barraged with our whole life, whether it's you know, religious
• 59:38
  Speaker 5: beliefs or you know, anything that that that continue to
• 59:42
  Speaker 5: shape these these narratives that I wish would would change
• 59:45
  Speaker 5: in a sense, like I wish we would look at
• 59:46
  Speaker 5: these things a little bit different or at least be
• 59:48
  Speaker 5: open to a conversation about things being not what we
• 59:51
  Speaker 5: what what we've been taught our whole lives that they are,
• 59:54
  Speaker 5: because it seems like, especially in this country, there's there's
• 59:56
  Speaker 5: rarely ever an evolution of belief. It just sort of
• 59:59
  Speaker 5: keeps going to the point where it's like, you know,
• 1:00:03
  Speaker 5: there's still people in the world with these extreme views
• 1:00:06
  Speaker 5: on things that are much more widely accepted, and you
• 1:00:09
  Speaker 5: kind of look at them like, how are you still
• 1:00:11
  Speaker 5: living in this bubble? Like how can you still believe
• 1:00:16
  Speaker 5: these things? It really kind of like this is the
• 1:00:22
  Speaker 5: point of the movie where I truly believe there's much
• 1:00:27
  Speaker 5: deeper meaning here than just a compilation.
• 1:00:30
  Speaker 2: Of death footage, you know what I mean.
• 1:00:34
  Speaker 6: Yeah, I think it really shined a light on culture
• 1:00:39
  Speaker 6: where we got to take away the different ways people
• 1:00:44
  Speaker 6: either grief with death or how they handle death, or
• 1:00:46
  Speaker 6: how they have a spiritual connection to it, or they
• 1:00:49
  Speaker 6: just do some sort of ritual with it where we
• 1:00:53
  Speaker 6: can take a step back and again we grew up
• 1:00:55
  Speaker 6: in the US we are known to just be super
• 1:00:58
  Speaker 6: mournful and it's a very sad, depressing thing, where in
• 1:01:02
  Speaker 6: other countries we see it as some spiritual gateway to
• 1:01:07
  Speaker 6: their heaven or something that is beyond us from our
• 1:01:12
  Speaker 6: ability to even comprehend it. So having the insight of
• 1:01:16
  Speaker 6: knowing different cultures and just a two hour film just
• 1:01:21
  Speaker 6: shines so much light on how close minded we are
• 1:01:25
  Speaker 6: as people when it comes to death.
• 1:01:27
  Speaker 5: I think, especially in the seventies, the late seventies, you know,
• 1:01:31
  Speaker 5: this is you're only a few years away from the
• 1:01:34
  Speaker 5: rise of Satanic panic. And you know, even in like
• 1:01:37
  Speaker 5: if you look at things like you know, the video
• 1:01:39
  Speaker 5: Nasties period in the UK, like that was all started
• 1:01:42
  Speaker 5: up by these like extreme religious beliefs that where people
• 1:01:46
  Speaker 5: believed that this stuff was you know, the the exposure
• 1:01:49
  Speaker 5: to this footage or any kind of like gore at
• 1:01:53
  Speaker 5: all in movies, no matter how fake it was, was
• 1:01:56
  Speaker 5: you know, the worst thing imaginable, to the point where
• 1:01:59
  Speaker 5: they had to start censoring movies and banning them.
• 1:02:01
  Speaker 2: And it was a legal to rent and it was
• 1:02:02
  Speaker 2: a legal to.
• 1:02:03
  Speaker 5: Own, and next thing you know, you got police, you know,
• 1:02:06
  Speaker 5: invading these mom and.
• 1:02:07
  Speaker 2: Pop stores that could barely afford to.
• 1:02:09
  Speaker 5: Stay open as is, and you know they're going to
• 1:02:12
  Speaker 5: jail because they're selling a copy of fucking Anthropophagus, you
• 1:02:15
  Speaker 5: know what I mean. Like, just like love that movie
• 1:02:18
  Speaker 5: to death, but I can't imagine losing my business over it.
• 1:02:21
  Speaker 6: Yeah.
• 1:02:22
  Speaker 5: Yeah, So it's interesting, man, And I do think that
• 1:02:25
  Speaker 5: this is kind of where I think, if anybody's gonna
• 1:02:28
  Speaker 5: have new conversations about the movie, this is really where
• 1:02:30
  Speaker 5: we should.
• 1:02:31
  Speaker 2: Be kind of discussing it. You know.
• 1:02:33
  Speaker 5: That's why I wanted to bring it up, because I
• 1:02:36
  Speaker 5: think there are there clearly are based on this conversation,
• 1:02:40
  Speaker 5: people who have perceived the film this way and have
• 1:02:43
  Speaker 5: brought up these these conversation points, but I've never heard
• 1:02:47
  Speaker 5: them outside of outside of this. This is the first
• 1:02:50
  Speaker 5: time I'm ever hearing somebody bring it up in a
• 1:02:52
  Speaker 5: way that's much more in depth than just, oh, look,
• 1:02:55
  Speaker 5: they're showing us footage of death and there's animal stuff.
• 1:02:58
  Speaker 2: Let's hide this movie forever, you know.
• 1:03:00
  Speaker 6: So yeah, And one of my favorite things about the
• 1:03:04
  Speaker 6: movie is the way you get to visually see the
• 1:03:09
  Speaker 6: different aspects of the movie. For when it goes through
• 1:03:13
  Speaker 6: all the way to the Holocaust, or it goes through
• 1:03:15
  Speaker 6: different cultures. Just seeing how unique death is was very
• 1:03:22
  Speaker 6: interesting because you don't think about rituals or how animals
• 1:03:27
  Speaker 6: die all the time, where people are so against seeing
• 1:03:30
  Speaker 6: animals die that they don't understand the different types of
• 1:03:32
  Speaker 6: ways they'll die, or the different types of ways people
• 1:03:35
  Speaker 6: will die in different cultures, or if we go back
• 1:03:38
  Speaker 6: and see how people died in the Holocaust, it's such
• 1:03:41
  Speaker 6: a sad and depressing thing, or like I said, in
• 1:03:45
  Speaker 6: other cultures, it could be just such a sacred thing.
• 1:03:47
  Speaker 6: So just getting to see throughout the whole duration of
• 1:03:50
  Speaker 6: the film how unique death really is throughout the film
• 1:03:53
  Speaker 6: is very interesting.
• 1:03:54
  Speaker 5: Yeah, I one percent agree, Steve. Any input before I
• 1:03:59
  Speaker 5: tell you how long it's to make.
• 1:04:00
  Speaker 4: This movie, No, I think I think you guys, I mean,
• 1:04:06
  Speaker 4: you guys really hit the nail on the head. I
• 1:04:07
  Speaker 4: think that this just gives like a very all encompassing
• 1:04:12
  Speaker 4: look at death and by the end of it, you know,
• 1:04:19
  Speaker 4: the start of life, right, so everything comes full circle
• 1:04:22
  Speaker 4: by the end. It definitely gives little glimpses as to
• 1:04:29
  Speaker 4: how death impacts whether it's you know, humans, animals, you know, whatever,
• 1:04:35
  Speaker 4: whatever the cases, you know, whether it's like old age
• 1:04:38
  Speaker 4: or you know, accidents. I think that this one, especially
• 1:04:43
  Speaker 4: out of all the films, definitely gives like the best
• 1:04:46
  Speaker 4: representation of that because full disclaimer, Like I mentioned to you, Chris,
• 1:04:51
  Speaker 4: I watched four Faces of Death before I went to
• 1:04:55
  Speaker 4: see the new one, so you guys didn't have to.
• 1:04:58
  Speaker 4: And uh, I can't say that any of the sequels
• 1:05:02
  Speaker 4: really quite live up to how well of a film,
• 1:05:05
  Speaker 4: Uh this turned out to be.
• 1:05:08
  Speaker 5: I feel like they're they're The problem with with with
• 1:05:11
  Speaker 5: sequels is now your intense your intentions change, right like
• 1:05:15
  Speaker 5: you've already you go into this, this one movie with
• 1:05:19
  Speaker 5: with the idea of doing this one thing, and then
• 1:05:21
  Speaker 5: now you have to expand upon it and do it more.
• 1:05:24
  Speaker 5: And how do you build upon it? And how do
• 1:05:26
  Speaker 5: you how do you I don't know, up it or
• 1:05:28
  Speaker 5: how do you do more? And we we've heard through
• 1:05:30
  Speaker 5: this commentary how the director who directed all four of
• 1:05:36
  Speaker 5: the main Face of Death films, how Face of Death
• 1:05:40
  Speaker 5: two was mostly stock footage and he doesn't like that
• 1:05:42
  Speaker 5: one as much, and Faces of Death four is actually
• 1:05:45
  Speaker 5: his favorite because that kind of goes back to the
• 1:05:48
  Speaker 5: simulated you know, mixed with real footage, and so I
• 1:05:53
  Speaker 5: do feel like, you know, you go into a movie
• 1:05:55
  Speaker 5: like this, and you know, you go in intending to
• 1:05:58
  Speaker 5: do one thing, and then when you're expanding upon it
• 1:06:00
  Speaker 5: and having to make more of those intentions change. Whether
• 1:06:03
  Speaker 5: it's pressure from uh, you know, studio or producers or whomever,
• 1:06:08
  Speaker 5: you know, whether you're just most of the time, I
• 1:06:10
  Speaker 5: don't even feel like they realize that they're that they're
• 1:06:12
  Speaker 5: departing from the original intent. They're just so caught up
• 1:06:15
  Speaker 5: and trying to make more and more, you know.
• 1:06:17
  Speaker 4: So definitely felt by four that was more of a
• 1:06:20
  Speaker 4: return to form, But I agree like two and three,
• 1:06:24
  Speaker 4: those ones I just felt like, you know, it was
• 1:06:27
  Speaker 4: a little bit I would say it was. It was
• 1:06:31
  Speaker 4: definitely less well filmed. I guess like the way that
• 1:06:38
  Speaker 4: you know, it felt very seamless with this one, with
• 1:06:41
  Speaker 4: you know, the combination of stock footage and you know
• 1:06:46
  Speaker 4: kind of like they're added effects that they kind of
• 1:06:48
  Speaker 4: spliced in there together. But yeah, the sequels, I don't
• 1:06:53
  Speaker 4: know if those those of age as well.
• 1:06:55
  Speaker 5: Do you think they're all going to get like a
• 1:06:57
  Speaker 5: fancy four K treatment from vinegar syndrome? At this point,
• 1:07:00
  Speaker 5: I mean, if they own one, they probably own off
• 1:07:03
  Speaker 5: all five technically, right.
• 1:07:06
  Speaker 4: I say that I don't need it.
• 1:07:08
  Speaker 2: Oh you'll, I'll fucking buy it. Let's go.
• 1:07:12
  Speaker 4: No, maybe we're part of the problem.
• 1:07:15
  Speaker 5: Maybe we are do Look I'm a completionist. Like look,
• 1:07:18
  Speaker 5: all three of us are physical media collectors. We own
• 1:07:21
  Speaker 5: franchises where majority of the franchises are not good, or
• 1:07:25
  Speaker 5: a majority of the films and that frages are not good.
• 1:07:28
  Speaker 2: We own all of them.
• 1:07:30
  Speaker 5: So this is kind of the same. Yeah, the other
• 1:07:34
  Speaker 5: day I watched Wrong Turn five. Why I have no idea?
• 1:07:39
  Speaker 5: Did I Did I pull it out of the collection
• 1:07:40
  Speaker 5: when I was done? No, way, It's not good. I'm
• 1:07:43
  Speaker 5: probably never gonna watch it again. It's it's gonna live
• 1:07:45
  Speaker 5: on that shelf until the day this collection gets broken
• 1:07:47
  Speaker 5: up in salt.
• 1:07:49
  Speaker 6: That's the that's the reason why these sequels were made,
• 1:07:54
  Speaker 6: or for people like us who want to buy and
• 1:07:56
  Speaker 6: collect those types of things, because we need the rest
• 1:07:59
  Speaker 6: of those films, even though they're terrible. We are the
• 1:08:03
  Speaker 6: consumers that they're targeting, and we want them in the
• 1:08:06
  Speaker 6: collection even if they're bad.
• 1:08:09
  Speaker 5: Well, you know, I always say like collecting is also curating,
• 1:08:14
  Speaker 5: and I actually just saw when I was when I
• 1:08:16
  Speaker 5: was kind of when I was sitting here getting set up,
• 1:08:19
  Speaker 5: I was watching a reel and uh, I was watching
• 1:08:21
  Speaker 5: reels on Instagram, and a reel came up with a
• 1:08:23
  Speaker 5: quote from Gieramel del Toro that talked about how important
• 1:08:25
  Speaker 5: physical media collectors are because we're preserving this stuff for
• 1:08:29
  Speaker 5: future generations, you know. And as corny as that may
• 1:08:32
  Speaker 5: sound to somebody who is who's not involved in what
• 1:08:34
  Speaker 5: we do, there is a a pride aspect to this
• 1:08:38
  Speaker 5: that there are movies here in this wall behind me,
• 1:08:41
  Speaker 5: and in this wall are on the walls behind you,
• 1:08:44
  Speaker 5: guys that I don't love. But to me there it's
• 1:08:48
  Speaker 5: it's history, and it's you know, it's controversy, and as
• 1:08:52
  Speaker 5: long as it sits on this shelf, it's untouched, it's unchanged, unaltered.
• 1:08:56
  Speaker 5: Nobody can walk in and take it away from me
• 1:08:59
  Speaker 5: like it's it's it's a historical artifact. It's the same
• 1:09:01
  Speaker 5: reason why why you know, people preserve whatever it might
• 1:09:07
  Speaker 5: be historical artifacts or stones or you know, anything like that.
• 1:09:10
  Speaker 5: It's the same exact idea. And if vinegar syndrome is
• 1:09:14
  Speaker 5: gonna go through the trouble to do all five of
• 1:09:17
  Speaker 5: these movies in this way, I'm gonna own them.
• 1:09:19
  Speaker 2: I mean, I'm like, I'm not gonna lie.
• 1:09:22
  Speaker 4: Is it bad that I'd rather get one of my
• 1:09:24
  Speaker 4: my grails that I want my VHS collection? Is that
• 1:09:28
  Speaker 4: five VHS box set from Gorgon? If anyone has it?
• 1:09:34
  Speaker 4: Hit me up?
• 1:09:35
  Speaker 5: Is it bad if you own both? Are you saying
• 1:09:39
  Speaker 5: like multiple formats?
• 1:09:41
  Speaker 4: No?
• 1:09:42
  Speaker 2: Oh, no, I was gonna say.
• 1:09:43
  Speaker 4: But that would be like way up here. I don't
• 1:09:46
  Speaker 4: know if I necessarily need all the sequels in four
• 1:09:48
  Speaker 4: K as much as I welcome the the original.
• 1:09:53
  Speaker 2: And when those announcements come out, you're gonna be you
• 1:09:56
  Speaker 2: know you're gonna be.
• 1:09:59
  Speaker 4: What kind of sicko? Do you thin? I think I am, Chris.
• 1:10:01
  Speaker 6: They were in the cart before they even got announced, right, all.
• 1:10:06
  Speaker 4: Right, I'm manifesting them, all right?
• 1:10:08
  Speaker 2: Come on? Did you guys know that this was shot
• 1:10:09
  Speaker 2: from sixty to ninety days? Do you guys know that? Okay,
• 1:10:14
  Speaker 2: I don't know why. I don't know why I changed
• 1:10:16
  Speaker 2: like that.
• 1:10:17
  Speaker 4: It doesn't surprise me. And then just an added note,
• 1:10:22
  Speaker 4: the whole film was entirely filmed almost in sixty millimeter
• 1:10:26
  Speaker 4: correct and then there was an opening scene with doctor
• 1:10:30
  Speaker 4: Gross that was the only scene that was in thirty
• 1:10:32
  Speaker 4: five milimeters correct.
• 1:10:34
  Speaker 5: I believe so, But also I think it was depending.
• 1:10:37
  Speaker 5: I think it was dependent on kind of where the
• 1:10:39
  Speaker 5: stock footage was coming from and the source of the
• 1:10:41
  Speaker 5: stock footage, because you can see during the aforementioned tribe
• 1:10:45
  Speaker 5: sequence they were shot on like there was some shot
• 1:10:47
  Speaker 5: on eight milimeter, there was codo chrome and spliced with
• 1:10:50
  Speaker 5: sixteen milimeter, and so it just depends on what the
• 1:10:54
  Speaker 5: source material they were using to shoot around it would effect.
• 1:10:57
  Speaker 5: But I do believe the doctor Grosse Sequin says were
• 1:11:00
  Speaker 5: the only one shot on true thirty five millimeter, which
• 1:11:04
  Speaker 5: look incredible than in this restoration.
• 1:11:08
  Speaker 4: I feel like the other scene that just has forever
• 1:11:11
  Speaker 4: burned into my brain is the electrocution scene. How'd you
• 1:11:14
  Speaker 4: guys feel about that? On rewatch?
• 1:11:17
  Speaker 5: Well, let's let's let's talk about that real quick, because
• 1:11:19
  Speaker 5: I was going to briefly mention how Conan talks about
• 1:11:24
  Speaker 5: how this film got to the US was as as
• 1:11:28
  Speaker 5: we might think, somebody got a copy of it and
• 1:11:31
  Speaker 5: they started touring this movie around the college towns, showing
• 1:11:34
  Speaker 5: it at midnight screenings, and that's how it kind of
• 1:11:39
  Speaker 5: littered the US eventually, I said earlier, this was only
• 1:11:43
  Speaker 5: meant to be in Japan, but we also know nothing
• 1:11:45
  Speaker 5: stays there.
• 1:11:46
  Speaker 2: You know, it all gets here eventually. Right.
• 1:11:48
  Speaker 5: If you were in college in the early eighties, would
• 1:11:51
  Speaker 5: you go to a midnight showing of a movie called
• 1:11:53
  Speaker 5: The Faces.
• 1:11:53
  Speaker 2: Of Death one?
• 1:11:55
  Speaker 4: Are you serious? Ye?
• 1:11:57
  Speaker 2: I don't even know why. I asked. What if it
• 1:12:00
  Speaker 2: was junk.
• 1:12:03
  Speaker 4: I don't know if that would have been as appealing,
• 1:12:05
  Speaker 4: But Chris, you know me Faces of Death screening, I
• 1:12:09
  Speaker 4: know nothing about it. I'm there.
• 1:12:11
  Speaker 2: I would go see yesterday.
• 1:12:13
  Speaker 6: Yeah, if it was junk, I don't know. I don't
• 1:12:14
  Speaker 6: know if i'd give it the attention. But Faces of
• 1:12:17
  Speaker 6: Death is It's always still appealing to this day, even
• 1:12:20
  Speaker 6: if I didn't already watch it.
• 1:12:22
  Speaker 5: Great title, fantastic title. Let's get back to your electricution sequence.
• 1:12:27
  Speaker 5: Though I would also bet, as I did earlier, that
• 1:12:30
  Speaker 5: most people don't know it's one hundred percent fake.
• 1:12:34
  Speaker 4: I did not know that the first time I watched it,
• 1:12:36
  Speaker 4: and really, yeah, I just I just remember feeling so
• 1:12:40
  Speaker 4: grimy watching it. Just I'd never seen anything like that,
• 1:12:45
  Speaker 4: and it's definitely you know, in hindsight, I mean, it's
• 1:12:50
  Speaker 4: definitely very well acted to simulate, you know, I guess,
• 1:12:55
  Speaker 4: the similar effects of somebody dealing with something like that.
• 1:12:58
  Speaker 4: But we see blood from the eyes your nation. I
• 1:13:03
  Speaker 4: guess based on what the director was saying, a lot
• 1:13:05
  Speaker 4: of that is is influenced by, you know, real life incidents.
• 1:13:10
  Speaker 2: Yeah. Yeah, he talks about how he had actually let
• 1:13:17
  Speaker 2: me find it hear. Oh, yeah, there was, That's what
• 1:13:18
  Speaker 2: it was.
• 1:13:19
  Speaker 5: So during research for this sequence, they found an article
• 1:13:23
  Speaker 5: in of all places, Hustler Magazine that deeply explored much
• 1:13:31
  Speaker 5: like Faces of Death, there's there's much more depth to uh, Hustler.
• 1:13:34
  Speaker 2: Magazine and Playboy than than just naked ladies.
• 1:13:39
  Speaker 5: This article had deeply explored execution methods, and it had
• 1:13:44
  Speaker 5: included some information about bleeding from the eyes and the
• 1:13:47
  Speaker 5: victim peeing their pants, which all kind of inspired the
• 1:13:51
  Speaker 5: what we visually see here in this recreation. But the
• 1:13:56
  Speaker 5: scene was so effective that after the release of the movie,
• 1:13:58
  Speaker 5: he would actually get requests from advocators against the death
• 1:14:01
  Speaker 5: penalty asking to use the footage as proof of how
• 1:14:05
  Speaker 5: horrible and inhumane it is, and he would have to
• 1:14:07
  Speaker 5: reply with it's very terrible, but everything here is fake soul.
• 1:14:12
  Speaker 4: Would you guys consider that the Ultimate crossover Hustler Magazine
• 1:14:15
  Speaker 4: and Faces of Death like one in.
• 1:14:18
  Speaker 2: The same right.
• 1:14:19
  Speaker 4: I mean.
• 1:14:21
  Speaker 6: We can have the same conversation.
• 1:14:22
  Speaker 4: I I'm here for it, Okay.
• 1:14:27
  Speaker 5: I will admit there was a point where I remember
• 1:14:30
  Speaker 5: I don't know if I've ever told the story before,
• 1:14:31
  Speaker 5: but I remember when I was when I was young,
• 1:14:34
  Speaker 5: like finding my first Playboy and you're like, oh my god.
• 1:14:37
  Speaker 5: And then as an adult, I would find them in
• 1:14:39
  Speaker 5: thrift stores and I would be looking for the articles
• 1:14:41
  Speaker 5: because there were so many interesting like write ups on
• 1:14:44
  Speaker 5: random things. And it's like I went from skipping through
• 1:14:48
  Speaker 5: the writing to find the boobs, and then I started
• 1:14:51
  Speaker 5: as I got older, skipping the boobs and looking for
• 1:14:53
  Speaker 5: the writing.
• 1:14:54
  Speaker 4: Yeah.
• 1:14:55
  Speaker 6: So you know, when I think I've had something similar,
• 1:14:58
  Speaker 6: I'm not not going to go to I think I
• 1:15:01
  Speaker 6: was trying to start it up, and then for some
• 1:15:04
  Speaker 6: reason they got caught on a movie at about something.
• 1:15:07
  Speaker 6: I'm just started reading something and I'm like, hey, I
• 1:15:10
  Speaker 6: had something else planned to hear.
• 1:15:11
  Speaker 4: Not that it's a.
• 1:15:13
  Speaker 5: Great time to announce Steve and Ives's spinoff show Beyond
• 1:15:16
  Speaker 5: the Boobs, where we dissect the articles written in Playboy Magazine.
• 1:15:20
  Speaker 4: I am so down for this, So I thought you
• 1:15:27
  Speaker 4: were going to say we had a new sponsor.
• 1:15:30
  Speaker 6: The new premise of the show is retrieving old movie
• 1:15:33
  Speaker 6: placements in these Playboy magazines.
• 1:15:36
  Speaker 2: Yeah, exactly. Yep.
• 1:15:41
  Speaker 5: Really interesting and really cool input here from Conan about
• 1:15:47
  Speaker 5: how he was actually contacted by Joe Dante, who was
• 1:15:51
  Speaker 5: seeking out information for how we did the Piranha sequence
• 1:15:53
  Speaker 5: because he was actively in production on the Roger Corman
• 1:15:57
  Speaker 5: produced Piranha film, which also came out in nineteen seven.
• 1:16:01
  Speaker 5: So I thought that was really funny. But then also
• 1:16:03
  Speaker 5: he was contacted by somebody in Steven Spielberg's camp some
• 1:16:07
  Speaker 5: years later who was preparing the Monkey Brain sequence for
• 1:16:10
  Speaker 5: Temple of Doom and was kind of looking for advice
• 1:16:12
  Speaker 5: on how he did that sequence.
• 1:16:15
  Speaker 2: I thought that was really interesting.
• 1:16:18
  Speaker 4: I feel like Faces of Death has had an influence
• 1:16:21
  Speaker 4: in like a multitude of ways, whether it was intentional
• 1:16:24
  Speaker 4: or not, which I think hearing that was really fascinating that,
• 1:16:28
  Speaker 4: you know, a movie that was never intended to make
• 1:16:30
  Speaker 4: it to the States had the notoriety to somehow, you know,
• 1:16:36
  Speaker 4: get contact with Steven Spielberg's seen or don't take for
• 1:16:39
  Speaker 4: that matter.
• 1:16:40
  Speaker 5: What a perfect segue because he tells a story about
• 1:16:44
  Speaker 5: the death cult sequence, which was one hundred percent fake.
• 1:16:50
  Speaker 5: Years and years and years later he cited as ten
• 1:16:54
  Speaker 5: years ago from this point, So, let's say nineteen ninety eight,
• 1:16:58
  Speaker 5: he was on his couch watching it documentary on He
• 1:17:01
  Speaker 5: couldn't remember if it was Discovery or the History Channel,
• 1:17:04
  Speaker 5: but he came across the footage of the death cult
• 1:17:07
  Speaker 5: sequence from Faces of Death in this documentary and an
• 1:17:14
  Speaker 5: actual FBI agent discussing this death Colt sequence as if
• 1:17:18
  Speaker 5: it was real, and he's like, wait, they're using the
• 1:17:21
  Speaker 5: footage from my movie to do this, and he's like,
• 1:17:25
  Speaker 5: it's pretty good that we fake this at a level
• 1:17:26
  Speaker 5: that this FBI agent believes also this was real and
• 1:17:29
  Speaker 5: that this was prominent to the history of death cults.
• 1:17:33
  Speaker 2: And that was on the Discovery Channel.
• 1:17:35
  Speaker 6: It shows how impactful this movie really was, where you
• 1:17:42
  Speaker 6: feel like people cannot be that easily swayed into believing
• 1:17:46
  Speaker 6: most of this movie was real, but it has that
• 1:17:48
  Speaker 6: mystique about it where it's inspired people like Steven Spielberg's camp,
• 1:17:53
  Speaker 6: it's inspired FBI agents to use it as social material.
• 1:17:57
  Speaker 6: It just shows how well rounded this movie he really
• 1:18:00
  Speaker 6: was to be as impowerful as it was, and it
• 1:18:02
  Speaker 6: wasn't even supposed.
• 1:18:03
  Speaker 4: To be here even uh wasn't. Faces of Death also
• 1:18:09
  Speaker 4: shown to police officers and firefighters as well well.
• 1:18:12
  Speaker 5: He said, it gets passed around in uh, in the
• 1:18:15
  Speaker 5: in the academies. Yeah, I guess there are some senior
• 1:18:20
  Speaker 5: officers see it and they go, hey, you know, if
• 1:18:22
  Speaker 5: you want to be prepared, watch this and then let's.
• 1:18:25
  Speaker 4: Just a nice starter hit.
• 1:18:28
  Speaker 2: It's actually like, uh, I don't know if you guys
• 1:18:29
  Speaker 2: know this.
• 1:18:30
  Speaker 5: This is a fact that when you join the FBI,
• 1:18:33
  Speaker 5: they force you to sit in a room clockwork orange
• 1:18:36
  Speaker 5: style and to watch Michael Man's Heat on repeat so
• 1:18:38
  Speaker 5: you can understand the master.
• 1:18:40
  Speaker 2: You can understand the mind.
• 1:18:41
  Speaker 4: Of a true Sign me up.
• 1:18:45
  Speaker 2: Yeah, yeah, I'll do that willingly tonight. Probably.
• 1:18:47
  Speaker 6: I guess that we could all become cops soon exactly.
• 1:18:52
  Speaker 2: Yeah.
• 1:18:52
  Speaker 5: Yeah, listen, man, I've seen lethal weapon, I know how
• 1:18:55
  Speaker 5: to I can be a cop.
• 1:18:57
  Speaker 6: I got you see in black, I can deal with people.
• 1:19:03
  Speaker 5: There's also some input here from during this Death Cult
• 1:19:07
  Speaker 5: sequence from Michael Felscher how he talks about his experience
• 1:19:10
  Speaker 5: watching this movie for the first time. He said he
• 1:19:12
  Speaker 5: was in junior high and he said that he again
• 1:19:17
  Speaker 5: saw what was a copy of a copy that was
• 1:19:19
  Speaker 5: such terrible quality. He couldn't make out any real detail
• 1:19:23
  Speaker 5: in this cold sequence, or in fact from many sequences
• 1:19:27
  Speaker 5: of the movie. And I just thought it was funny because,
• 1:19:31
  Speaker 5: like we mentioned earlier, that seems to be a shared
• 1:19:33
  Speaker 5: experience among most of us. You know, the beheading sequence
• 1:19:38
  Speaker 5: is one that people talk about a lot that you
• 1:19:40
  Speaker 5: brought up, Mike, So it's funny how we all kind
• 1:19:43
  Speaker 5: of share the.
• 1:19:45
  Speaker 2: Same, you know, experience with this.
• 1:19:47
  Speaker 4: Movie in a weird way. I feel very fortunate that
• 1:19:51
  Speaker 4: I was exposed to this movie and you know, Cannibell
• 1:19:53
  Speaker 4: Holocaust and Texas Chainsaw when it was because it's it's
• 1:19:58
  Speaker 4: I don't think you can replicate that. It's long. Are
• 1:20:02
  Speaker 4: the you know video story days you wouldn't be able
• 1:20:05
  Speaker 4: to have like this, Uh, you know these films that
• 1:20:10
  Speaker 4: are you know, hidden on the shelves or you have
• 1:20:12
  Speaker 4: to you know, get him from behind the counter. It's
• 1:20:15
  Speaker 4: just now everything's readily available. It doesn't really quite have
• 1:20:18
  Speaker 4: the same thrills that you would get, you know, discovering
• 1:20:21
  Speaker 4: something like this.
• 1:20:23
  Speaker 5: Yeah, I mean I did have a kid message me
• 1:20:25
  Speaker 5: the other day who told me that that he was
• 1:20:28
  Speaker 5: heavily impacted and scarred forever from his first watch of Texas.
• 1:20:31
  Speaker 2: Chainsaw three D, written by Adam Marcus, and it.
• 1:20:35
  Speaker 4: Scarred friend of the podcast.
• 1:20:37
  Speaker 5: Scarred him, scarred him for life. He was never gonna
• 1:20:39
  Speaker 5: watch horror movies again.
• 1:20:40
  Speaker 4: So was it the get him cuz line?
• 1:20:44
  Speaker 5: He actually didn't even make it that far, he said,
• 1:20:46
  Speaker 5: he shut off that way. Did you guys know that
• 1:20:54
  Speaker 5: the body on the beach sequence was was real?
• 1:20:58
  Speaker 2: Did you guys know about the story behind this scene?
• 1:21:01
  Speaker 2: It's so bizarre, So I'm like, listen to this.
• 1:21:05
  Speaker 5: It imagine you're making a movie called Faces of Death,
• 1:21:09
  Speaker 5: and you have a beach behind your house and your
• 1:21:13
  Speaker 5: body surfing with your friends who happened to be crew
• 1:21:16
  Speaker 5: of Faces of Death. And while you're body surfing, a
• 1:21:20
  Speaker 5: real body.
• 1:21:23
  Speaker 2: Washed it up on the beach.
• 1:21:25
  Speaker 6: Perfect timing.
• 1:21:28
  Speaker 2: That's exactly what happened here.
• 1:21:31
  Speaker 5: There was a beach in front of Conan's house, and
• 1:21:32
  Speaker 5: him and a bunch of his friends who were crew
• 1:21:35
  Speaker 5: on Faces of Death, were out bodysurfing, and one of
• 1:21:38
  Speaker 5: the crew members actually literally bumped into this body as
• 1:21:41
  Speaker 5: it washed up onto the shore. So they just quickly
• 1:21:45
  Speaker 5: ran and got their cameras and began filming this actual
• 1:21:48
  Speaker 5: body that washed up on the shore that they were
• 1:21:50
  Speaker 5: on not even filming for this movie.
• 1:21:53
  Speaker 6: That's such a bizarre coincidence that that was one of
• 1:21:57
  Speaker 6: those scenes that I couldn't decipher it was real or not,
• 1:22:01
  Speaker 6: just because I've never seen a washed up, on short
• 1:22:04
  Speaker 6: dead body before, so I couldn't really tell if that
• 1:22:08
  Speaker 6: was fake or not. But to me, it looked fake.
• 1:22:10
  Speaker 6: So knowing that it was real is that value from
• 1:22:14
  Speaker 6: this movie? That's that big takeaway where you really still
• 1:22:17
  Speaker 6: can't decipher what's real and fake with the movie.
• 1:22:19
  Speaker 5: Yeah, I mean they when the police showed up, they
• 1:22:23
  Speaker 5: had actually made a comment, have they've never seen a
• 1:22:25
  Speaker 5: news crew arrive so fast to a crime scene?
• 1:22:28
  Speaker 2: And they were like, no.
• 1:22:29
  Speaker 5: We we found this body, like we called you like
• 1:22:33
  Speaker 5: we So it's really interesting and that scene has actually
• 1:22:36
  Speaker 5: kind of become the the most bothersome to me, just
• 1:22:42
  Speaker 5: because of that context of knowing.
• 1:22:44
  Speaker 2: Like, what are the odds that this that this happens.
• 1:22:48
  Speaker 5: And he didn't go into like where they found anything
• 1:22:51
  Speaker 5: out about the body where it came from. But yeah,
• 1:22:53
  Speaker 5: just so happened to be making a movie about death
• 1:22:55
  Speaker 5: and real death kind of comes across them on a beach. Yeah,
• 1:23:00
  Speaker 5: a little timing, Yeah, very very strange. It's at this
• 1:23:05
  Speaker 5: point of the movie though, where we get into some
• 1:23:09
  Speaker 5: a lot of disaster footage, a lot of weather phenomenon.
• 1:23:13
  Speaker 5: This is all library archives stock footage that was used.
• 1:23:17
  Speaker 5: And it's it's funny because I told my wife at
• 1:23:20
  Speaker 5: this moment, I was like, of everything in this movie
• 1:23:22
  Speaker 5: that could possibly scare me, the thing that I'm holding
• 1:23:25
  Speaker 5: on to most is the brief discussion on pollution, you
• 1:23:30
  Speaker 5: know what I mean, Like that's that this conversation is
• 1:23:34
  Speaker 5: still going on today as relevant as it was in
• 1:23:36
  Speaker 5: the seventies about the impact of pollution on the environment
• 1:23:39
  Speaker 5: in the world. And this is where this movie really
• 1:23:43
  Speaker 5: taps into realism because it's it's it's putting it in
• 1:23:47
  Speaker 5: the same camp as executions, as you know, you know,
• 1:23:54
  Speaker 5: animals that slaughterhouses, as airplane crashes, and you know, we
• 1:24:00
  Speaker 5: don't think of it in the same context because it
• 1:24:02
  Speaker 5: doesn't have as much as a you know, a relevant
• 1:24:06
  Speaker 5: impact in our mind, but it's just as important in
• 1:24:09
  Speaker 5: the general discussion of death and of bodily harm.
• 1:24:13
  Speaker 4: You know.
• 1:24:14
  Speaker 6: Yeah, I think it's the depiction of gore and death
• 1:24:19
  Speaker 6: that really traumatizes people, and when they hear something that
• 1:24:24
  Speaker 6: has to do with global warming or pollution, that they
• 1:24:30
  Speaker 6: put that in such a political climate instead of a
• 1:24:33
  Speaker 6: real plausible cause for us to being really endangering us.
• 1:24:39
  Speaker 6: Where again, we've grown up with that being something that
• 1:24:43
  Speaker 6: we've been dealing with for so long that people don't
• 1:24:46
  Speaker 6: really consider that something that's killing us. They just think
• 1:24:51
  Speaker 6: it's something that's affecting the earth or killing the earth,
• 1:24:53
  Speaker 6: and so they don't really consider the long term effects
• 1:24:56
  Speaker 6: of what pollution as doing, so they don't really coin
• 1:25:00
  Speaker 6: side with that being a face of death. And the
• 1:25:02
  Speaker 6: movie really does describe how crucial it is of how
• 1:25:06
  Speaker 6: it could really affect us in a long term.
• 1:25:08
  Speaker 5: Yeah, yeah, it's pretty incredible. Any Steve, what's your thoughts
• 1:25:12
  Speaker 5: on pollution?
• 1:25:17
  Speaker 4: I mean, it definitely definitely has a place in the
• 1:25:23
  Speaker 4: overall theme that this film presents. It's almost like slow
• 1:25:27
  Speaker 4: decay or like a slow death, I think for just
• 1:25:31
  Speaker 4: the world in a lot of ways. But I agree,
• 1:25:34
  Speaker 4: I think that I think that especially for the time,
• 1:25:37
  Speaker 4: it's important to shed some light on, you know, even
• 1:25:40
  Speaker 4: a current issue that we're you know, still facing, uh
• 1:25:44
  Speaker 4: all the way up until today and Uh, I don't
• 1:25:48
  Speaker 4: know if this really holds a candle to like the
• 1:25:50
  Speaker 4: eighteen wheelers scene.
• 1:25:53
  Speaker 2: Okay, yeah, yeah, you're I I think you're right. I
• 1:25:58
  Speaker 2: think you're right. What would you So.
• 1:26:02
  Speaker 5: Let me ask you though, if if you were watching
• 1:26:04
  Speaker 5: Faces of Death right They talked about pollution, and then
• 1:26:08
  Speaker 5: it cut to the sequence of Melvin being thrown out
• 1:26:12
  Speaker 5: of the window into a vat of toxic waste from
• 1:26:14
  Speaker 5: the Toxic Avenger.
• 1:26:16
  Speaker 2: You know, would you have would you have believed that
• 1:26:18
  Speaker 2: this was all the same movie?
• 1:26:21
  Speaker 5: Yes, yeah, I don't know why I thought about that, like,
• 1:26:25
  Speaker 5: because there's no like effects of pollution on here. It's
• 1:26:29
  Speaker 5: like toxic Avenger would be the perfect yeah, perfect plaice point.
• 1:26:33
  Speaker 4: But another great crossover they.
• 1:26:36
  Speaker 5: Cut to like news footage from the you know, the
• 1:26:39
  Speaker 5: restaurant sequence when he he stops the robbery. This is perfect,
• 1:26:44
  Speaker 5: man perfect, But yeah, I thought all this was the scariest.
• 1:26:48
  Speaker 5: Same with the the stuntman gone wrong sequence.
• 1:26:52
  Speaker 2: That was another recreation for the film, which was very
• 1:26:57
  Speaker 2: very very.
• 1:26:57
  Speaker 5: Uh what's the word I'm looking for, very convincing. But
• 1:27:06
  Speaker 5: speaking of Nightcrawler. You mentioned Nightcrawler earlier, Mike. The video
• 1:27:10
  Speaker 5: footage of the small plane crash that happens towards the
• 1:27:16
  Speaker 5: end of this was one hundred percent real.
• 1:27:18
  Speaker 6: Wow.
• 1:27:19
  Speaker 5: So everything you see with this sequence is one hundred
• 1:27:22
  Speaker 5: percent reel, and it was was all purchased from an
• 1:27:26
  Speaker 5: archive shot by a stringer news reporter. So a stringer
• 1:27:31
  Speaker 5: is somebody who basically sits by, you know, a police
• 1:27:36
  Speaker 5: radio and will run out to capture footage of the
• 1:27:38
  Speaker 5: incident to then sell to a news company so they
• 1:27:42
  Speaker 5: can use the footage. Which is crazy because this footage
• 1:27:47
  Speaker 5: is devastating.
• 1:27:49
  Speaker 2: It's like you have the.
• 1:27:50
  Speaker 5: Eighteen wheeler footage of you know, the brother being run
• 1:27:53
  Speaker 5: over or the sister. I think they said it was
• 1:27:57
  Speaker 5: right to this small plane footage to an even bigger
• 1:28:00
  Speaker 5: plane wreck. This, this end portion of this movie, this
• 1:28:04
  Speaker 5: end run is in my opinion, the most brutal of
• 1:28:07
  Speaker 5: the post animal run of the movie.
• 1:28:09
  Speaker 4: You know, the plane crash. I mean, I already don't
• 1:28:13
  Speaker 4: like flying, so to see like random body parts all
• 1:28:18
  Speaker 4: over the you know that small town, I'm good for
• 1:28:22
  Speaker 4: a while.
• 1:28:23
  Speaker 2: Yeah.
• 1:28:23
  Speaker 5: That and and that's actually kind of my last note
• 1:28:27
  Speaker 5: that I had taken from it, because he talks about
• 1:28:31
  Speaker 5: getting the footage from this this train wreck or a
• 1:28:34
  Speaker 5: train oh my god, this plane wreck. He went down
• 1:28:37
  Speaker 5: to the archives to get it, and this plane crash
• 1:28:39
  Speaker 5: was in a residential area and was described as just
• 1:28:43
  Speaker 5: absolutely like unexplainable. Like there's a brief moment of the
• 1:28:49
  Speaker 5: real footage that shows a window where the window frame
• 1:28:53
  Speaker 5: is covered in blood because a body crashed through somebody's
• 1:28:56
  Speaker 5: window of their house. Like there was just bodies everywhere.
• 1:29:00
  Speaker 5: It looks like it's to create like imagine the plane
• 1:29:05
  Speaker 5: crash sequence from War the World's Steevens. Bilberg wore the
• 1:29:09
  Speaker 5: World's film, but like make it the most grotesque thing
• 1:29:13
  Speaker 5: you've ever seen in your life.
• 1:29:15
  Speaker 4: It was almost like haunting. Yeah it is, you know, yeah,
• 1:29:19
  Speaker 4: and you're correlating, you know, hundreds of people being on
• 1:29:26
  Speaker 4: a plane and something so tragic like that happening, and
• 1:29:30
  Speaker 4: you know it's unfortunately well oddly enough, when he was
• 1:29:34
  Speaker 4: in the archives and speaking to the woman who I
• 1:29:39
  Speaker 4: guess was managing the archives, she had pointed him to
• 1:29:43
  Speaker 4: a box of footage that was just labeled body parts,
• 1:29:48
  Speaker 4: and it was just reels of footage.
• 1:29:51
  Speaker 5: Of the aftermath of the bodies from this plane wreck.
• 1:29:55
  Speaker 5: It's kind of scattered all over this small town, which is.
• 1:30:01
  Speaker 6: Actually It's probably the hardest one to really talk about
• 1:30:07
  Speaker 6: and really explain how devastating it is to watch that
• 1:30:11
  Speaker 6: scene and how it just makes you feel, because there's
• 1:30:14
  Speaker 6: no real way that you can sit there and be
• 1:30:17
  Speaker 6: comfortable with that scene at all.
• 1:30:19
  Speaker 5: It's really I mean, it feels like the movie takes
• 1:30:23
  Speaker 5: a really crazy turn at this this run of footage.
• 1:30:26
  Speaker 5: It really kind of And what's wild is I actually
• 1:30:29
  Speaker 5: had to rewind and re listen to the commentary track
• 1:30:32
  Speaker 5: because I got so just taken in by what I
• 1:30:36
  Speaker 5: was seeing that I had that I almost like stopped
• 1:30:38
  Speaker 5: listening to the commentary track and I had the subtitles
• 1:30:40
  Speaker 5: on from the narration, so I was able to read
• 1:30:44
  Speaker 5: the narration and I kind of got pulled in and
• 1:30:47
  Speaker 5: I was like, whoa. I was like, I got to
• 1:30:49
  Speaker 5: rewind and re listen to this because I just got
• 1:30:51
  Speaker 5: so overtaken by the extent of this footage. It's so unbelievable,
• 1:30:56
  Speaker 5: Like you would almost think it's fake. It's so it's
• 1:31:00
  Speaker 5: so crazy and so grotesque.
• 1:31:04
  Speaker 6: And I think it's real to have it documented that
• 1:31:06
  Speaker 6: That is also the most mind blowing part about it,
• 1:31:11
  Speaker 6: just being able to know that you have that visually
• 1:31:13
  Speaker 6: there is insane.
• 1:31:16
  Speaker 2: Yeah, and it's in a bin just labeled body parts. Yeah,
• 1:31:20
  Speaker 2: in an archive or in a library somewhere, which.
• 1:31:23
  Speaker 6: Is for something not to really take that and either
• 1:31:28
  Speaker 6: destroyed or put it somewhere in a better place, because
• 1:31:32
  Speaker 6: it is in the long term of things that are
• 1:31:34
  Speaker 6: people that died in a very graphic and bad way
• 1:31:40
  Speaker 6: where I feel like that should have been catered to
• 1:31:43
  Speaker 6: and possibly not even put in the movie, just because
• 1:31:45
  Speaker 6: of how damaging that is.
• 1:31:48
  Speaker 2: Yeah, I mean, it's it's incredible.
• 1:31:50
  Speaker 5: You're talking about the peak of sensitivity, right, But and
• 1:31:55
  Speaker 5: he doesn't really go into much about kind of like
• 1:32:01
  Speaker 5: Michael asked him at one point in the commentary, like,
• 1:32:03
  Speaker 5: was there any footage you came across that you felt
• 1:32:06
  Speaker 5: was too.
• 1:32:07
  Speaker 2: Much to put into the movie? And he said no, And.
• 1:32:11
  Speaker 5: You know, it's so hard to say, man, because it's
• 1:32:15
  Speaker 5: like we live in a world where, like we all
• 1:32:18
  Speaker 5: three of us here pretty much watched you know, nine
• 1:32:21
  Speaker 5: to eleven happen in front of our eyes and we
• 1:32:23
  Speaker 5: were children, you know, and that footage is we saw
• 1:32:30
  Speaker 5: in real time is just as grotesque as some of
• 1:32:34
  Speaker 5: the footage in Faces of Death, you know what I mean, Like.
• 1:32:40
  Speaker 2: It's really it's really wild.
• 1:32:43
  Speaker 5: And it's it's not here in a sense of like
• 1:32:48
  Speaker 5: because the movie doesn't use footage that's like so evidently
• 1:32:54
  Speaker 5: like oh, look at this dead body, you know. I mean,
• 1:32:56
  Speaker 5: it's just showcasing, like look like you do see various
• 1:33:01
  Speaker 5: dead bodies. And there's actually a moment of this commentary
• 1:33:04
  Speaker 5: I don't like. And it's a moment when Michael Felcher
• 1:33:08
  Speaker 5: kind of like drops all sensitivity when they show one
• 1:33:11
  Speaker 5: of the bodies and he's like, ooh, that guy's not
• 1:33:12
  Speaker 5: having a good day. And I was kind of like, okay, man,
• 1:33:15
  Speaker 5: that's a little you know. But it it delivered exactly
• 1:33:24
  Speaker 5: the impact on myself that I think it was intending to,
• 1:33:26
  Speaker 5: which is like, holy shit, this is real.
• 1:33:30
  Speaker 2: This is reality, Like this is what what what happens? Unfortunately,
• 1:33:35
  Speaker 2: you know what I mean?
• 1:33:36
  Speaker 6: It lived up to the documentary for sure.
• 1:33:40
  Speaker 4: Yeah.
• 1:33:40
  Speaker 5: And I don't know, Steve, are you really like overly
• 1:33:44
  Speaker 5: familiar with the spin off franchise, The Traces of Death?
• 1:33:49
  Speaker 4: So I'm familiar with them. I never really got into
• 1:33:52
  Speaker 4: him like that. I know that those are supposed to
• 1:33:54
  Speaker 4: be a little bit more.
• 1:33:55
  Speaker 6: Uh.
• 1:33:57
  Speaker 4: I believe all of them are real.
• 1:34:00
  Speaker 5: That's what I was Yeah, that's what I was gonna
• 1:34:01
  Speaker 5: ask you, right, are they They're supposed to be like
• 1:34:04
  Speaker 5: truly full on, like exploitative documentaries, right, Yeah.
• 1:34:11
  Speaker 4: And to be honest with you, I think, you know,
• 1:34:14
  Speaker 4: getting further and further into collecting. I mean, you obviously know,
• 1:34:18
  Speaker 4: like I have a number of like VHS tapes. I
• 1:34:20
  Speaker 4: don't know if I feel very compelled to pick up
• 1:34:23
  Speaker 4: something like that. I mean, I've had opportunities to get
• 1:34:25
  Speaker 4: some of the tapes before, and I don't know, it's
• 1:34:29
  Speaker 4: not something that would actively find myself going back to.
• 1:34:32
  Speaker 2: Yeah, yeah, I don't know, man. I mean the ending
• 1:34:36
  Speaker 2: of this.
• 1:34:37
  Speaker 5: Movie is pretty you know, you go through, you have
• 1:34:40
  Speaker 5: the full circle moment where it kind of explores life
• 1:34:43
  Speaker 5: and you see, you know, the birth of life, and
• 1:34:48
  Speaker 5: it's it's really funny to me that the end credits
• 1:34:50
  Speaker 5: are actually just over beautiful shots of flowers, you know
• 1:34:53
  Speaker 5: what I mean, of landscape and stuff.
• 1:34:54
  Speaker 2: It's it's really interesting.
• 1:34:56
  Speaker 5: But this, this common military track, is really kind of
• 1:35:03
  Speaker 5: all I could ever ask for for a movie like this, you.
• 1:35:06
  Speaker 4: Know, so far, I feel like during the time that
• 1:35:11
  Speaker 4: we've covered commentaries, you know, for our mainstay episodes, I
• 1:35:17
  Speaker 4: hold this one probably in the highest regards, the case
• 1:35:21
  Speaker 4: of the Bloody Iris being another one that I really
• 1:35:23
  Speaker 4: appreciated a lot, but this one, I think just having
• 1:35:27
  Speaker 4: that nostalgic ties to it made this commentary a little
• 1:35:32
  Speaker 4: bit more special for me, and it was informative.
• 1:35:36
  Speaker 5: Yeah, And what's what's crazy is like, you know, this podcast,
• 1:35:43
  Speaker 5: it's the actual like us listenership is only like fifty
• 1:35:49
  Speaker 5: percent of our total like global listening. So a lot
• 1:35:54
  Speaker 5: of people who are going to listen to this, No,
• 1:35:57
  Speaker 5: maybe not to the extent that we go into what
• 1:35:59
  Speaker 5: we and the commentary, but know that a lot of
• 1:36:01
  Speaker 5: the footage is fake, but there are gonna be people
• 1:36:04
  Speaker 5: coming across this and listening to this who don't know.
• 1:36:07
  Speaker 5: And I hope what we cover in the minimum that
• 1:36:12
  Speaker 5: we did allows people to maybe look at the movie
• 1:36:18
  Speaker 5: a little bit differently, not so much from a point
• 1:36:22
  Speaker 5: of view of where you're gonna go on Facebook and
• 1:36:24
  Speaker 5: call somebody a sicko for owning this. You know, I
• 1:36:30
  Speaker 5: definitely came out of this commentary feeling better about owning
• 1:36:34
  Speaker 5: it than I did before. But I kind of was
• 1:36:37
  Speaker 5: hoping that that's what would happen as I as I
• 1:36:39
  Speaker 5: learned and kind of grow and continue to educate myself
• 1:36:43
  Speaker 5: on these films. So I'm curious to see kind of
• 1:36:48
  Speaker 5: the reaction to just the education around this film in general.
• 1:36:53
  Speaker 5: But hopefully there's something here that that sparks off a
• 1:36:57
  Speaker 5: very small conversation that is different than what this movie's
• 1:37:01
  Speaker 5: dealt with for you know, nearly fifty years.
• 1:37:04
  Speaker 6: You know, Yeah, I think everyone should at least watch
• 1:37:09
  Speaker 6: it once. I know there's a lot of scenes that
• 1:37:11
  Speaker 6: people have to stomach or just totally skip in general,
• 1:37:17
  Speaker 6: but this is definitely something that is very informal and
• 1:37:22
  Speaker 6: should be seen as more than just a horror movie
• 1:37:27
  Speaker 6: or more than just gore. It's very factual, very informative,
• 1:37:32
  Speaker 6: and people really need to digest this film. And just
• 1:37:35
  Speaker 6: like you guys did listening to the commentary track, I
• 1:37:38
  Speaker 6: feel like that should be something that is studied more
• 1:37:41
  Speaker 6: than probably the film itself, where if you just listen
• 1:37:44
  Speaker 6: to the commentary track, it might give more people a
• 1:37:47
  Speaker 6: better sense of self by either owning it or even
• 1:37:50
  Speaker 6: going in and watching it and not seeing it in
• 1:37:52
  Speaker 6: such a bad light.
• 1:37:54
  Speaker 5: Yeah, well, forever the conversation is, you know, one person
• 1:37:58
  Speaker 5: telling another person how horrible it is, and then that
• 1:38:00
  Speaker 5: person's like another person, how horrible, And maybe there's a
• 1:38:03
  Speaker 5: point where somebody goes to tell some and they go, hey, yeah,
• 1:38:07
  Speaker 5: it's you know, there's some pretty shocking stuff, but like
• 1:38:10
  Speaker 5: it's actually incredibly interesting, and then that leads to somebody
• 1:38:12
  Speaker 5: else saying, hey, I actually heard it's incredibly interesting, and
• 1:38:15
  Speaker 5: you know what I mean, Maybe that narrative shifts and changes,
• 1:38:18
  Speaker 5: and this commentary has been out for you know, nearly
• 1:38:22
  Speaker 5: twenty years now, and it doesn't seem like on its
• 1:38:25
  Speaker 5: own it's it's done anything like that. There's been a few,
• 1:38:28
  Speaker 5: like I did, read a few letterbox reviews where people
• 1:38:30
  Speaker 5: were like, hey man, this commentary track is fucking great
• 1:38:33
  Speaker 5: for anybody who hasn't found it. But commentaries are arguably
• 1:38:38
  Speaker 5: probably one of the least viewed bonus features on discs.
• 1:38:42
  Speaker 5: So if you're going as far as to put an
• 1:38:44
  Speaker 5: episode like this on a show dedicated to those, I
• 1:38:47
  Speaker 5: hope you're willing.
• 1:38:48
  Speaker 2: To check it out for yourself.
• 1:38:50
  Speaker 5: And then next time somebody brings up faces of say,
• 1:38:52
  Speaker 5: hey man, look, I urge you to give it another shock,
• 1:38:55
  Speaker 5: you know, because here's what I've learned, And maybe that
• 1:38:57
  Speaker 5: that begins a string of people kind of changing the.
• 1:39:00
  Speaker 2: Narrative of it. You know, No, I don't know. It's interesting, man.
• 1:39:04
  Speaker 5: I mean, I'm not gonna in no way am I
• 1:39:07
  Speaker 5: like saying I'm going to start throwing this movie on
• 1:39:09
  Speaker 5: weekly and giving this you know, but you know, the
• 1:39:14
  Speaker 5: the feeling of owning it now to me is actually
• 1:39:17
  Speaker 5: much more important than it was before we started research
• 1:39:20
  Speaker 5: on this project, which I think is kind of the
• 1:39:22
  Speaker 5: perfect path to go through when when when constructing one
• 1:39:27
  Speaker 5: of these episodes, what do you think.
• 1:39:29
  Speaker 4: Steve, I mean, just so overall, it was really cool
• 1:39:35
  Speaker 4: to have a chance to I think, look at this
• 1:39:37
  Speaker 4: film in a different lens, not only just based on
• 1:39:43
  Speaker 4: like the shock value that you get out of this,
• 1:39:45
  Speaker 4: but more from like the context when this was released,
• 1:39:49
  Speaker 4: the impact that it had, and we're able to look
• 1:39:52
  Speaker 4: at it with maybe a different sense of appreciation what
• 1:39:55
  Speaker 4: this film has to offer. And hopefully, you know, anyone
• 1:39:58
  Speaker 4: picking up this four K, you know, they're people to
• 1:40:01
  Speaker 4: really just appreciate how this commentary was able to shine
• 1:40:06
  Speaker 4: a light on a lot of details. I don't think
• 1:40:08
  Speaker 4: we would have known otherwise, or you know, maybe there
• 1:40:11
  Speaker 4: would have been some discrepancy that way.
• 1:40:13
  Speaker 5: Yeah, yeah, I completely agree, and please go listen to
• 1:40:17
  Speaker 5: the full commentary track. There was so much more that
• 1:40:19
  Speaker 5: we did not touch on. Don't ever listen to one
• 1:40:23
  Speaker 5: of our episodes as a replacement to doing that. Please
• 1:40:26
  Speaker 5: go ahead and check out the full commentary track down
• 1:40:29
  Speaker 5: in the description below.
• 1:40:31
  Speaker 2: I'll have links to.
• 1:40:33
  Speaker 5: This from Vinegar Syndrome. I don't know at this point
• 1:40:36
  Speaker 5: of recording if the Deluxe is still available, if it's
• 1:40:39
  Speaker 5: the standard, but I'll have it linked down below. And
• 1:40:41
  Speaker 5: then also i'll link down below the Dark Sky Blu
• 1:40:44
  Speaker 5: ray as well. That's available because it does contain this
• 1:40:47
  Speaker 5: commentary track, So you don't got to go all out
• 1:40:49
  Speaker 5: for the four K. If you don't want to, you
• 1:40:51
  Speaker 5: can grab that Dark Sky Blu Ray and get it
• 1:40:52
  Speaker 5: in a nice steel book.
• 1:40:53
  Speaker 2: I know, I know people out there love their steel books,
• 1:40:56
  Speaker 2: so we'll have that down below for people.
• 1:41:00
  Speaker 4: Looks like the the four K is still in stock
• 1:41:05
  Speaker 4: Syndromes website.
• 1:41:06
  Speaker 5: Sweet Sweet, so I'll have that link link down below
• 1:41:08
  Speaker 5: for everybody. If you know, for some reason you decide
• 1:41:12
  Speaker 5: now is the perfect time to go and own this movie,
• 1:41:16
  Speaker 5: which I hope you know. Hey, if somebody says, hey, man,
• 1:41:18
  Speaker 5: this episode was informative enough to make me set aside
• 1:41:22
  Speaker 5: all preconceived notions I had of this movie and buy it.
• 1:41:26
  Speaker 2: It's a fucking achievement on our end, right.
• 1:41:29
  Speaker 5: So outside of that, I mean, I think that's that's
• 1:41:34
  Speaker 5: pretty much pretty much wraps up Faces of Death, man.
• 1:41:38
  Speaker 5: I mean, I don't know what else too. I've already
• 1:41:41
  Speaker 5: been living in in this movie for the past three days.
• 1:41:44
  Speaker 5: I feel like I need some some levity.
• 1:41:46
  Speaker 2: You know what I mean.
• 1:41:47
  Speaker 4: Man, you need to a palate cleanser.
• 1:41:49
  Speaker 2: Yeah, I need to go.
• 1:41:50
  Speaker 5: I need to go watch something like uh, I don't know,
• 1:41:55
  Speaker 5: maybe I'll watch Body Heat. I mean, it's just re reset.
• 1:42:00
  Speaker 5: Watch the Last Tang Go in Paris, switch Up.
• 1:42:02
  Speaker 2: You know what I mean.
• 1:42:04
  Speaker 6: Watch Calling Hoover adaptations.
• 1:42:07
  Speaker 2: Nice, very good, very good. Mike, Thank you for coming on.
• 1:42:13
  Speaker 5: Let people know thank you where they can find you
• 1:42:16
  Speaker 5: at Man on Socials or anything you got going on.
• 1:42:19
  Speaker 4: Yeah.
• 1:42:19
  Speaker 6: I am on Instagram at Son of Haven ninety eight.
• 1:42:23
  Speaker 6: I do also have TikTok under the same name as well,
• 1:42:28
  Speaker 6: and thanks to these two fine gentlemen, it has inspired
• 1:42:31
  Speaker 6: me to start my own podcast, so that will be
• 1:42:34
  Speaker 6: coming soon. So check out my Instagram for more info.
• 1:42:37
  Speaker 5: Hell yeah, hell yeah, that is awesome. Dude, I can't
• 1:42:40
  Speaker 5: wait to see what you're doing with that. See where
• 1:42:44
  Speaker 5: can people find you?
• 1:42:44
  Speaker 4: Eman? You guys can find me after hours video ours
• 1:42:48
  Speaker 4: is abbreviated I'm on TikTok, YouTube, Instagram, you name it,
• 1:42:52
  Speaker 4: and I'll be eagerly awaiting that sponsorship from Hustlet magazine.
• 1:42:58
  Speaker 2: Yeah, yeah, I think you're all So. You're also one
• 1:43:01
  Speaker 2: of the people very upset.
• 1:43:02
  Speaker 5: About the the description of OnlyFans in Euphoria the latest episode, right,
• 1:43:08
  Speaker 5: because I think that's affecting your your personal OnlyFans.
• 1:43:14
  Speaker 4: It's a conversation for another day that a different I.
• 1:43:17
  Speaker 2: Think I'm confusing you with somebody else.
• 1:43:20
  Speaker 5: You guys can always find me a bearded film guy
• 1:43:22
  Speaker 5: over on Instagram, always over there screaming get people to
• 1:43:26
  Speaker 5: watch their bonus features and preaching the physical media's education.
• 1:43:30
  Speaker 5: I've never done this before, but please, if you've gotten
• 1:43:32
  Speaker 5: as far, do us a favor and drop us a
• 1:43:35
  Speaker 5: rating on whatever podcast platform you're listening on. We're available
• 1:43:38
  Speaker 5: pretty much everywhere. It really helps shows like ours kind
• 1:43:42
  Speaker 5: of get out into the algorithm a little bit more.
• 1:43:43
  Speaker 5: And we've had some peaks and valleys with that, and
• 1:43:46
  Speaker 5: I think some of these algorithms are are switching much
• 1:43:49
  Speaker 5: more to a like a results.
• 1:43:50
  Speaker 2: Basis, so that helps us out a lot.
• 1:43:52
  Speaker 5: If you just drop a rating, I'm not asking for
• 1:43:54
  Speaker 5: a review or anything like that. Just drop some stars
• 1:43:57
  Speaker 5: down below wherever you're at. If you have the ability
• 1:43:59
  Speaker 5: to on your platform. Other than that, please go down
• 1:44:01
  Speaker 5: to bio. Make sure you check out the other shows
• 1:44:03
  Speaker 5: on our network, someone's favorite productions, some incredible shows on there.
• 1:44:09
  Speaker 5: A lot of amazing people were associated with down there.
• 1:44:11
  Speaker 5: I would urge you to check that out. Please also
• 1:44:14
  Speaker 5: make sure check out the social platforms of all three
• 1:44:16
  Speaker 5: of us down there, and as well as support companies
• 1:44:19
  Speaker 5: like Vinegar Syndrome for their incredible restoration efforts this phenomenal release,
• 1:44:23
  Speaker 5: companies like Dark Skuy who have also put out a
• 1:44:26
  Speaker 5: great Blu ray release of this movie.
• 1:44:27
  Speaker 2: If so, you know, if you feel the need to
• 1:44:30
  Speaker 2: own both.
• 1:44:31
  Speaker 5: Of them, very little judgment, but that's fine too. You
• 1:44:34
  Speaker 5: can click on both those links. We're not affiliated with those.
• 1:44:36
  Speaker 5: Those are just strictly the links to get their releases. So,
• 1:44:41
  Speaker 5: as always, physical media is education and we'll see you
• 1:44:44
  Speaker 5: guys on the next episode.
• 1:44:53
  Speaker 3: Thank you for listening to hear more shows from the
• 1:44:56
  Speaker 3: someone's favorite productions podcast network. Please select the link in
• 1:44:59
  Speaker 3: the description