Latest / Beyond The Blood: A Horror Movie Commentary Podcast / Event Horizon (1997)

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Event Horizon (1997) · Beyond The Blood: A Horror Movie Commentary Podcast

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Speaker 1: Whoa, whoa, whoa, whoa.
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Speaker 2: Welcome to Split Your Head, a biweekly podcast hosted by
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Speaker 4: What happened to your eyes? God?
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Speaker 5: We won't need eyes to say, what are you talking about?
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Speaker 5: I created the Events Horizon to reach the stars, but
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Speaker 5: She's got much much.
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Speaker 4: Further than that.
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Speaker 5: She tore a hole in our universe. The gateway to
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Speaker 5: another dimension, the dimension of pure chaos, pure evil when
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Speaker 5: she crossed off insurance, just a shipping.
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Speaker 4: When she came back.
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Speaker 6: Tonight, Beyond the Blood, we're heading back to the late
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Speaker 6: nineties to talk about one of the decades's most memorable
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Speaker 6: sci fi horror films, Event Horizon. What begins as a
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Speaker 6: routine rescue mission to investigate a long missing experimental ship
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Speaker 6: quickly turns into something far more terrifying when the crew
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Speaker 6: discovers the vessel may have opened a gateway beyond a reality.
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Speaker 6: When the Event Horizon vanished during its first voyage, it
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Speaker 6: didn't just disappear. It may have traveled somewhere no human
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Speaker 6: was ever meant to go. As a crew boards the
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Speaker 6: abandoned ship near Neptune, disturbing visions and the brutal fait
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Speaker 6: of the original crew begins to emerge. Led by Captain
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Speaker 6: Millier played by Lawrence Fishburne, the team includes the ship's creator,
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Speaker 6: doctor Weir portrayed by Sam Neil, and the medical officer
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Speaker 6: Peters play by Kathleen Quinnlan soon realizes the Event Horizon
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Speaker 6: may have brought something back with it. Tonight, we're diving
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Speaker 6: into the film's cosmic horror, hellish imagery, and why this
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Speaker 6: dark nineties cult classic still unsettles audiences decades later.
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Speaker 1: Hello everybody, and welcome back to a brand new episode
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Speaker 1: of the Beyond the Blood podcast. We're finally back doing
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Speaker 1: a commentary episode. It feels like forever I've missed you, Steve.
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Speaker 1: Thanks for you know, coming back and being part of
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Speaker 1: your own podcast. Yet again, missed you too.
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Speaker 6: I'm over here, beyond excited to board the event Horizon
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Speaker 6: with my good friend Chris. Are you ready for this
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Speaker 6: or what.
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Speaker 1: Scared of heights? Man?
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Speaker 6: Well, we got a problem then.
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Speaker 1: I don't know how I feel about it, man. Yeah, yeah,
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Speaker 1: I'm excited. Man, this has been it's been it's been
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Speaker 1: a long you know, month of research and oh yeah.
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Speaker 1: Unfortunately this was intended to come out in February. But
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Speaker 1: I've just been telling myself we had to push it
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Speaker 1: back because our research was so extensive. And I think
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Speaker 1: that's I think that's true. I think during this conversation
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Speaker 1: a listener might be like, I see why they didn't
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Speaker 1: release this in February. They needed a few more days.
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Speaker 6: I think it's a valid reason. Yeah, at least between us.
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Speaker 1: Right right, Yeah, So today we're talking about nineteen ninety
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Speaker 1: seven's Event Horizon, directed by Paul W. S Anderson. Yes,
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Speaker 1: the guy who directed Mortal Kombat. Not Paul Thomas Anderson,
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Speaker 1: who's up for an Oscar this year for one battle
5:01
Speaker 1: after another. We're talking to Paul W. S Anderson, Yes,
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Speaker 1: the guy who made Resident Evil and the seven sequels.
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Speaker 6: Very different trajectory for their careers.
5:12
Speaker 1: At some point, I feel like they might merge, Like
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Speaker 1: there's got to be a point where they cross and
5:16
Speaker 1: maybe maybe you know, Pta makes a Resident Evil movie
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Speaker 1: and they never know when's an Oscar? Who knows?
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Speaker 4: Uh?
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Speaker 1: This is? This is a movie with a very troubled pass,
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Speaker 1: which we'll get into on a couple fronts, a very
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Speaker 1: rush production and infamous director's cut which we'll be talking about.
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Speaker 1: But this is also a movie that was estimated sixty
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Speaker 1: million dollar budget. Now, of course it's not perfect, only
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Speaker 1: brought in worldwide just under twenty seven million dollars at
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Speaker 1: the box office, but it found a home where it
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Speaker 1: can make some money on home media and there went
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Speaker 1: on to now become a cult classic to now where
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Speaker 1: we have a four K of it from Lionsgate Limited.
6:06
Speaker 1: And if you don't want a four K. Then there's
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Speaker 1: a screen factory Blu Ray, which I own, which I
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Speaker 1: love very very much. Steve, give me kind of like,
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Speaker 1: what's your history with Event Horizon? Man? What got you
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Speaker 1: to watch this one?
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Speaker 6: So? I actually discovered this one at the video store.
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Speaker 6: This was based on a very high recommendation from some
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Speaker 6: of my friends. They knew that I was a big
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Speaker 6: fan of the hell Raiser franchise at the time, and
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Speaker 6: they suggest, if you like hell Raiser, definitely recommend picking
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Speaker 6: up Event Horizon. I will say, I remember seeing this
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Speaker 6: at the video store and I was instantly sucked in
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Speaker 6: because of the cover art. And I feel like that
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Speaker 6: that's like a reoccurring theme as to how I discovered
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Speaker 6: a lot of these horror films way back when. I
6:50
Speaker 6: can't say it entirely delivered to the heights of hell Raiser,
6:58
Speaker 6: but it has a special place in my heart. What
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Speaker 6: about you, Chris?
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Speaker 1: Yeah, this was This was a video store one for me.
7:06
Speaker 1: I can't really recall like exactly when, Like I know
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Speaker 1: for a fact that I saw this. It's just not
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Speaker 1: as clear in my memory as other movies were at
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Speaker 1: that time. Maybe it's because the cover art looks in
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Speaker 1: nothing like a horror movie. So my brain that was
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Speaker 1: kind of looking for that wasn't being triggered enough here.
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Speaker 1: It just looked like a sci fi movie. But it's
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Speaker 1: one that I remember finding and liking and over the years,
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Speaker 1: and especially now when we were preparing to do this episode.
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Speaker 1: This is a movie that I've I've come to love,
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Speaker 1: like highly regard, like love this movie now.
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Speaker 6: So well, you and I were talking about this before
7:51
Speaker 6: we went live. How in the conversation for nineties horror,
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Speaker 6: I don't think this one still gets talked about enough.
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Speaker 1: Yeah, well, this is such a complicated time for horror, man.
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Speaker 1: I mean this is a year after Scream, which I
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Speaker 1: think you can see most of the influence of just
8:10
Speaker 1: on the poster you have the Sam neo Lawrence Fishmoorne's
8:13
Speaker 1: floating heads. But you know, and then this is still
8:18
Speaker 1: I feel like pre Dark Castle. This is pre thirteen
8:22
Speaker 1: Ghosts House on Haunted Hill, where you did have this
8:26
Speaker 1: ramp up of kind of like this gory stylized slasher
8:31
Speaker 1: before we start getting into the torture porn with Saul
8:34
Speaker 1: and hostile New French extremity coming in. Like this was
8:37
Speaker 1: at a really interesting point where I don't think Screams
8:42
Speaker 1: impact on the genre truly like held its place. Yet
8:47
Speaker 1: I feel like this was still coming out of it,
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Speaker 1: if you know what I mean.
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Speaker 6: Yeah, I know we were talking about like rate in
8:54
Speaker 6: this decade. I mean, you obviously had Candy Man earlier on.
8:58
Speaker 6: You know, that's definitely a high point. You have a Scream,
9:01
Speaker 6: I mean, that's such a huge milestone for the decade,
9:05
Speaker 6: and then we had shortly after the Blair Witch Project.
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Speaker 6: So you know, amidst all these iconic films, I feel
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Speaker 6: like Event Horizon definitely deserves a reckon a little bit
9:16
Speaker 6: more recognition in that regards.
9:18
Speaker 1: Yeah, you have, because I'm not mistaken. If I'm not mistaken,
9:22
Speaker 1: Scream two was fast tracked and Scream two was a
9:26
Speaker 1: nineteen ninety seven release day, right.
9:29
Speaker 6: Yeah, And even with a film like that, you know,
9:31
Speaker 6: it's it's so interesting because I think one thing that
9:34
Speaker 6: they both have in common is with that film, didn't
9:38
Speaker 6: that suffer from rewrites and them having to basically circumvent
9:44
Speaker 6: the I think it was the ending, right if I
9:45
Speaker 6: remember correctly, I think, well, yeah, that was leaked.
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Speaker 1: I think because it leaked, That's why August fifteenth, nineteen
9:53
Speaker 1: ninety seven was Event Horizon's release December seventeenth, nineteen ninety
9:58
Speaker 1: seven was Scream too. And yeah, Scream two was a
10:02
Speaker 1: victim of the internet, the early days of the internet,
10:06
Speaker 1: the script leaking out. But I don't really know when
10:12
Speaker 1: when you have the full you know, what is what
10:17
Speaker 1: else does the nineteen ninety seven bring out. Let's do
10:19
Speaker 1: some research live on the show. Let's see, so nineteen
10:22
Speaker 1: ninety seven we have wish Master mimic.
10:27
Speaker 6: I know what you did last summer.
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Speaker 1: Yeah, obviously Scream two, Spawn and a Conda. It's a
10:35
Speaker 1: mixed bag. Lost Highway David Lynch just Lost Highway comes out.
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Speaker 6: Well, that's I mean that one I would definitely put
10:41
Speaker 6: up there.
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Speaker 1: Oh for sure. Yeah, this is this is still a
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Speaker 1: rough time for horror man. Just looking at this list,
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Speaker 1: I didn't even know that they made a Bram Stokers
10:52
Speaker 1: Mummy movie. I just found that out looking at this.
10:54
Speaker 6: Now, just Chris, I'm like offended that you're overlooking.
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Speaker 1: Jack Frost, Oh yeah, saying Cube came out for sick
11:07
Speaker 1: people like me, Permudos came out, Alien Resurrection, you know,
11:12
Speaker 1: top three alien movie in your opinion?
11:15
Speaker 6: Huh No, No, I don't think so funny. Games. It's
11:19
Speaker 6: another one.
11:20
Speaker 1: Yeah, Funny Get Yeah, the remake. No, that was his
11:23
Speaker 1: original Funny Games. I'm sorry. The original original YEP came
11:26
Speaker 1: out in nineteen ninety seven, so rough time for her.
11:30
Speaker 1: I'm putting it lately. Not the greatest, but I think
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Speaker 1: a movie that really has been kind of refound thanks
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Speaker 1: to home video and over the years, people refinding it,
11:44
Speaker 1: rewatching it, rediscovering it, new conversations coming up about it
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Speaker 1: is really what's giving this, I think, a second life.
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Speaker 1: To the point now where in prep for this episode,
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Speaker 1: we've already announced that this is what we're covering, and
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Speaker 1: people have reached out to us and said, yep, love
12:00
Speaker 1: this movie. Can't wait to hear what you've got to say.
12:04
Speaker 6: I hope this puts more eyes on this movie, especially
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Speaker 6: with you know, the four K coming out not all
12:10
Speaker 6: that long ago. I think it's a movie that deserves
12:14
Speaker 6: a little bit more love and recognition, you know, especially
12:17
Speaker 6: from that decade. So yeah, I'm always happy to revisit
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Speaker 6: Event Horizon for sure.
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Speaker 1: Yeah. Yeah, Well, rumors are and I'm just saying rumors.
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Speaker 1: I have zero merit in this. I have no proof
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Speaker 1: of nothing, but rumors are, which I believe this rumor
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Speaker 1: has come out every year since nineteen ninety seven that
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Speaker 1: the director's cut footage has been found and is in
12:42
Speaker 1: the process of being remastered for release. Don't take that
12:47
Speaker 1: with anything, because we've heard this rumor for the past
12:51
Speaker 1: almost thirty years. This movie, like it's been all over
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Speaker 1: the place, just kind of something that's rolling around now.
13:02
Speaker 1: But the original cut of Event Horizon is approximately one
13:09
Speaker 1: hundred and thirty minutes along, give or take, and for
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Speaker 1: the theatrical release they cut it down to about ninety
13:17
Speaker 1: seven minutes.
13:20
Speaker 6: Which is a big difference thirty three.
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Speaker 1: Minutes of footage cutout. And when it comes to these
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Speaker 1: director's cuts, like I always try to think, maybe there's
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Speaker 1: some stuff that deserve to be cut. Yeah, maybe there's
13:32
Speaker 1: some stuff that I really want back from what I read.
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Speaker 1: It's we'll go into a couple that Paul ws Anderson
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Speaker 1: brings up in this commentary track, a couple of very
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Speaker 1: specific scenes and kind of what the alternative was or
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Speaker 1: what the impact was and why it was cut. Outside
13:47
Speaker 1: of that, we really don't know much about a lot
13:52
Speaker 1: of it. Besides, there is some footage online of some
13:54
Speaker 1: missing scenes and things, but nobody's ever been able to
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Speaker 1: get close to seeing kind of what the full director's
14:02
Speaker 1: cut is.
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Speaker 6: Do you imagine, in fact, if they're able to recover
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Speaker 6: this missing footage and put together a director's cut, do
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Speaker 6: you think, based on some of the information that we know,
14:17
Speaker 6: that that could end up raising the opinion of this
14:20
Speaker 6: movie over time?
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Speaker 1: So, just to take a note from later on in
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Speaker 1: this episode, the producer Jeremy Bolt has said that the
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Speaker 1: more quote unquote hardcore cut of the movie he thinks
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Speaker 1: would have made this a better movie. Okay, Now, this
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Speaker 1: audio commentary track that we're diving into today was recorded
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Speaker 1: in two thousand and six for the two disc collectors
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Speaker 1: Edition DVD that Paramount put out, So I wonder kind
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Speaker 1: of how he feels about that now if somebody was
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Speaker 1: to go to him and ask it's it's kind of
15:00
Speaker 1: interesting to hear because you think, well, if the producer
15:04
Speaker 1: is all for that hardcore cut, then why did all
15:07
Speaker 1: of this even happen in the first place. But there's
15:10
Speaker 1: so many hands at play, and there's so many things
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Speaker 1: happening that that we'll talk about as we go through
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Speaker 1: the commentary. I feel like there's there's just been a
15:18
Speaker 1: lot of kind of back and forth, even to the
15:22
Speaker 1: point where in Search of Darkness nineteen ninety five to
15:25
Speaker 1: nineteen ninety nine, which I had the pleasure of like
15:29
Speaker 1: doing a review for Put Up mist Anderson talks about
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Speaker 1: how the only missing footage is extended like space health Sequences,
15:38
Speaker 1: which were just much goorier, and that's all he says.
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Speaker 1: He doesn't talk about any of the other stuff that
15:44
Speaker 1: he talked about in this commentary twenty years ago.
15:47
Speaker 6: I almost worry that, you know, it's been talked about
15:50
Speaker 6: for so long, you know, kind of like to a
15:54
Speaker 6: lesser extent, because I don't think we'll ever see the footage,
15:57
Speaker 6: you know, for The Keep, for example, but for a
16:00
Speaker 6: movie like this. And we had a more recent situation
16:04
Speaker 6: come up with Neither Living Dead from Tom Savini, where
16:07
Speaker 6: we had been hearing about that for the longest time,
16:10
Speaker 6: and then the final products.
16:13
Speaker 1: Underwhelming.
16:14
Speaker 6: Yeah, a little underwhelming. I mean it's cool to you know,
16:18
Speaker 6: have that for the sake of like almost the film
16:22
Speaker 6: historian side of things, and we're seeing a different version
16:27
Speaker 6: of what we're used to, But I didn't think that
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Speaker 6: it was significantly enhanced because of the additional footage and
16:35
Speaker 6: the stylistic choices in the beginning.
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Speaker 1: No, and I think he said, I think so still
16:41
Speaker 1: the movie though, yeah, oh yeah, of course. I think
16:43
Speaker 1: he said what it was like eighty percent now. I
16:46
Speaker 1: think originally it was like thirty percent in his vision.
16:48
Speaker 1: He said, now it's like eighty percent in his vision.
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Speaker 1: So I guess he got it as close as he could,
16:55
Speaker 1: you know, technically. But this this is a movie that
17:00
Speaker 1: I think if, if, and when this happens, the conversation's
17:05
Speaker 1: gonna gonna propel for this movie. It's gonna it's gonna
17:08
Speaker 1: blow out the water. Everyone's gonna talk about it.
17:10
Speaker 4: Right.
17:10
Speaker 1: It's great for the movie. I just I don't think
17:14
Speaker 1: it's going to drastically change people's views of it. It
17:18
Speaker 1: might be a different experience, it's more impactful, and it's
17:22
Speaker 1: a it's crazier conversation to talk about a nineteen ninety
17:24
Speaker 1: seven movie that's as gory as this director's cut is
17:27
Speaker 1: supposed to be. But I think I'm just excited to
17:32
Speaker 1: get an original vision out, you know, if this is
17:37
Speaker 1: the director wanted this stuff in, I think it's important
17:40
Speaker 1: to have.
17:41
Speaker 6: Yeah, totally.
17:42
Speaker 1: I also think it's as important that it's going to
17:45
Speaker 1: kind of restart the conversation and more people are gonna
17:48
Speaker 1: discover this because this is finally out, you know what
17:51
Speaker 1: I mean. But we'll say we will see. So let's
17:56
Speaker 1: hop into as commentary. We got a lot to talk
17:58
Speaker 1: about here. Like I said, This commentary was recorded in
18:03
Speaker 1: twenty and six for the Paramount two disc Collectors Edition DVD.
18:07
Speaker 1: This commentary track feature director Paul Dubus Anderson and producer
18:11
Speaker 1: Jeremy Bolt in the recording. And we have a ton
18:15
Speaker 1: of notes. Dude. This was like a very This was
18:18
Speaker 1: a very fun commentary. I think it's gonna be a
18:22
Speaker 1: fun discussion too. Oh yeah, So there's a lot here. First,
18:26
Speaker 1: I want to here's my note, right, here's literally my
18:30
Speaker 1: first note. Actually tecnt me my second, but my first
18:33
Speaker 1: note here is ripping off of the text that occurs
18:37
Speaker 1: in the beginning of the movie, and it says twenty
18:40
Speaker 1: fifteen first permanent colony established on Moon, and then I
18:44
Speaker 1: added twenty twenty six, World War three, twenty thirty two,
18:50
Speaker 1: commercial mining begins on Mars twenty forty deep space research
18:54
Speaker 1: vessel Event Horizon launch to explore boundaries of the Solar System.
18:58
Speaker 1: Movie begins right off the rip. Paul ws Anderson starts
19:03
Speaker 1: to talk about kind of the script and how he
19:06
Speaker 1: felt like this was an excellent combination of Robert Wise's
19:09
Speaker 1: The Haunting from nineteen sixty three, Stanley Kubrick's The Shining.
19:14
Speaker 1: Most importantly, details don't want to Space Odyssey. I think
19:17
Speaker 1: there's a ton of influence here that we'll talk about
19:19
Speaker 1: from Ridley Scott's Alien James Kemprick Aliens, and he touchs
19:24
Speaker 1: about how he actually received the script after Mortal Kombat
19:28
Speaker 1: became a success in the United States, and that's kind
19:31
Speaker 1: of when the ball kind of started rolling here. What
19:35
Speaker 1: do you think is a better movie Man of Vent
19:36
Speaker 1: Horizon or Mortal Kombat.
19:39
Speaker 6: I gotta go with the Vent Horizon personally speaking. Yeah,
19:43
Speaker 6: I mean it's it's funny you say that. I don't
19:47
Speaker 6: think I have like a real strong attachment to moral combat.
19:50
Speaker 1: No, not like that.
19:52
Speaker 6: I really don't. Listen. I was more into Street Fighter
19:55
Speaker 6: growing up, So maybe that explains a little bit more.
19:58
Speaker 1: What do you like better Mortal Combat, Annihilation or the
20:00
Speaker 1: Street Fighter movie?
20:04
Speaker 6: I mean, I mean, listen, I really rock with street Fighters,
20:08
Speaker 6: So it's an unfair bias.
20:10
Speaker 1: Yeah, yeah, no, I get it. I get it. There's
20:15
Speaker 1: a lot of times throughout this commentary when Paul W.
20:17
Speaker 1: S Anderson talks about his influence and I feel like
20:21
Speaker 1: this movie and let me know what your thoughts on this.
20:23
Speaker 1: I feel like this movie is sort of the amalgamation
20:27
Speaker 1: of kind of science fiction and horror as a whole,
20:31
Speaker 1: smashing together. Everything is incredibly influenced or pulled from both
20:38
Speaker 1: visually and directly and also sort of indirectly and in
20:41
Speaker 1: its symbolism or maybe in a shot or in a style.
20:44
Speaker 1: Did you pick up on a lot of that there
20:46
Speaker 1: are any of these watches?
20:47
Speaker 6: I felt like Paul W. S Anderson was not afraid
20:52
Speaker 6: to wear his influences on his sleeves with this film.
20:56
Speaker 6: You know, I know you mentioned Alien, you know, definitely
21:00
Speaker 6: some hell rais or influenced the Shining. Those are all
21:03
Speaker 6: films I felt like I picked up on and even
21:06
Speaker 6: with you know, within the film, definitely some love Crafting
21:10
Speaker 6: influence on a circle level.
21:13
Speaker 1: Yeah, I thought it.
21:15
Speaker 6: Was fascinating with you know, the almost like the architecture
21:20
Speaker 6: of the ship taken from like Gothic cathedral style, you know, aspects.
21:29
Speaker 6: It's definitely a film that I feel like is very ambitious.
21:33
Speaker 6: I will always give it that.
21:35
Speaker 1: It's very ambitious. This was his second film, like it's
21:40
Speaker 1: a big jump. Yeah, Mortal Kombat was technically his first,
21:44
Speaker 1: and he goes to Event Horizon, which it's incredible to
21:48
Speaker 1: think about this movie from a production point of view,
21:53
Speaker 1: because from the moment this movie was greenlit to okay, technically,
22:01
Speaker 1: I just want to say, this is okay, technically his
22:03
Speaker 1: third movie, because he did direct a movie called Shopping
22:05
Speaker 1: in nineteen ninety four under Paul Anderson. Same with Mortal Kombat,
22:09
Speaker 1: So apologies, this is third movie. Event Horizon is from
22:16
Speaker 1: from greenlit, from the day that the studio was like, Okay,
22:19
Speaker 1: we're going to make this movie. You're going to make
22:21
Speaker 1: it to theatrical release ten months. This movie took to
22:26
Speaker 1: make wild when you look at what's involved in it
22:30
Speaker 1: kind of what we're going to get into from the
22:32
Speaker 1: production standpoint.
22:34
Speaker 6: Do you feel like that that almost impacted the final
22:40
Speaker 6: product in a lot of ways.
22:42
Speaker 1: Yes, yeah, And we'll talk about how because he mentions
22:46
Speaker 1: a lot with his producer about how much he would
22:50
Speaker 1: change if he had just been given a little bit
22:52
Speaker 1: more time. There's a lot. I think one thing that
22:56
Speaker 1: really did help him here though, is that he was
23:00
Speaker 1: surrounded by a lot of very well respected, kind of
23:05
Speaker 1: veteran people in the industry. One of them a lot
23:09
Speaker 1: of talent, a lot of it. One of them that
23:11
Speaker 1: sailed out the most to me, though, is cinematographer Adrian Kibble,
23:17
Speaker 1: who has shot movies like The Mummy and The Mummy Returns,
23:23
Speaker 1: most notably in context to Event Horizon. He was the
23:27
Speaker 1: DPA on Aliens, James Cameron's Aliens, which this movie pretty
23:33
Speaker 1: much shares a DNA with in a lot of ways.
23:36
Speaker 1: And the reason I bring this up now is because
23:39
Speaker 1: my favorite shot of this entire movie happens in the
23:43
Speaker 1: first two minutes and it became a poster at one point,
23:47
Speaker 1: I think unused poster and a lot of fan made
23:50
Speaker 1: concept posters. It is the shot of a body floating
23:56
Speaker 1: in front of a window in the Event Horizon that
23:59
Speaker 1: it's happens to be shaped like a cross. It's so creepy,
24:03
Speaker 1: it's so good man, because you barely see any detail.
24:06
Speaker 1: It's just just a silhouette. The body flips and he's
24:08
Speaker 1: dead in the middle of the cross before we finally
24:10
Speaker 1: get the zoom and kind of get to see this
24:13
Speaker 1: mangled body. You know. It's just shots like that are
24:16
Speaker 1: all over this movie. And I love them so much.
24:19
Speaker 1: I think they're incredible. I think this is an underrated
24:22
Speaker 1: movie when it comes to talking about visuals, especially.
24:25
Speaker 6: What's interesting you mentioned that because I specifically have a
24:29
Speaker 6: note in here that I feel like Cathallicism is like
24:33
Speaker 6: an overarching theme in the film and like the religious
24:38
Speaker 6: context that we pick up on throughout it. And we'll
24:42
Speaker 6: talk more about it a little bit later on. But yeah,
24:45
Speaker 6: it's definitely a very iconic shot.
24:48
Speaker 1: Yeah, that's it's awesome, and it looks so good, Like
24:52
Speaker 1: on the Blu Ray, I thought it looked fantastic. I
24:54
Speaker 1: don't own the four K. I can't imagine. It looked
24:57
Speaker 1: so much better than it looked on that Blu.
24:58
Speaker 6: Ray four K looked very very pristine.
25:01
Speaker 1: Did it? You make me want to buy it now?
25:05
Speaker 6: It's never too late, you know me. I'm not a
25:07
Speaker 6: good influence, oh man.
25:09
Speaker 1: But I think a lot of these notes from a
25:12
Speaker 1: production standpoint are incredibly interesting when you think about ten months.
25:17
Speaker 1: I want everybody to keep in mind ten months this
25:19
Speaker 1: movie not even ten months from pre production, ten months
25:22
Speaker 1: from greenlit. So Movies told, hey, we're going to make
25:25
Speaker 1: this ten months. Especially when you think about shots like
25:30
Speaker 1: what happens during the introductory scene of Billy played by
25:35
Speaker 1: Sam Neil. There's a camera shot that happens at a
25:39
Speaker 1: window where we see Sam Neil look outside and the
25:42
Speaker 1: camera pans out of the window straight back and the
25:45
Speaker 1: camera is flipping and we get to see the ship
25:48
Speaker 1: that he's in. And this is a very early VFX
25:52
Speaker 1: shot and this was actually sent back, according to Paul Anderson,
25:57
Speaker 1: sent back to the VFX team around twenty five five
26:00
Speaker 1: times until this was perfected. And basically what's happening is
26:05
Speaker 1: there's a blend between the real life plate of Sam
26:09
Speaker 1: Neil at a window and multiple miniature elements that kind
26:13
Speaker 1: of cause some hell with the visual effects team. I
26:16
Speaker 1: guess they just couldn't get it to Paul Anderson's vision.
26:19
Speaker 1: And this all led to the supervisor and the VFX
26:22
Speaker 1: team actually quitting visual effects work for a year after
26:27
Speaker 1: completing this shot because he went on record saying he
26:31
Speaker 1: just needed a goddamn break, like this drove him to
26:34
Speaker 1: the point where he's like, I gotta step away.
26:37
Speaker 6: He was probably so fed up he's like, just one
26:41
Speaker 6: more time, please, right.
26:44
Speaker 1: This is nineteen ninety seven. This is production started February
26:49
Speaker 1: of ninety seven. So the we're not it's not today's
26:55
Speaker 1: standard with CGI. There's a lot and there's a lot
26:58
Speaker 1: in this movie that's practical. There's a whole lot. And
27:02
Speaker 1: the VFX stuff in this movie is you know, doesn't
27:05
Speaker 1: age the greatest. Some does, some don't.
27:09
Speaker 6: There's a specific scene when you were talking about that
27:11
Speaker 6: that jumps out to me. It's early on in the
27:16
Speaker 6: like the very beginning of the film, but it's like
27:18
Speaker 6: the anti gravity. They're showing like the different objects floating
27:21
Speaker 6: around and in you know, the open space and bouncing
27:26
Speaker 6: around and it's like a man that has not held
27:29
Speaker 6: up all that well. I can appreciate it, but you know,
27:32
Speaker 6: there's you know, you can definitely see that it was
27:36
Speaker 6: very much of the time.
27:38
Speaker 1: Yeah it looks like a video game. Yeah, really rough.
27:43
Speaker 1: But there was a lot of practical stuff in this movie,
27:45
Speaker 1: I want to say a lot of it, especially when
27:48
Speaker 1: it comes to the two ships that the movie takes
27:51
Speaker 1: place in, one being the Lewis and Clark, which is
27:53
Speaker 1: the search and rescue team that Sam Neio goes right on,
27:57
Speaker 1: led by Lawrence Fishburne's character, and then the Event Horizon,
28:01
Speaker 1: And both of these were real massive sets that Paul
28:05
Speaker 1: Anderson talks about specifically designing practically with a lot of
28:11
Speaker 1: very like intricate detail because they wanted you to be
28:14
Speaker 1: able to see multiple parts of the set depending on
28:18
Speaker 1: where they're shooting, to give the illusion that this was
28:21
Speaker 1: real because it was. And one of my favorite little
28:24
Speaker 1: notes that he talks about is in the Lewis and
28:26
Speaker 1: Clark at the front of the ship in sort of
28:29
Speaker 1: like the cockpit area, Lawrence Fishbourne's character Miller, he has
28:33
Speaker 1: this really cool like floating chair that he like kind
28:37
Speaker 1: of like hovers around him when he's up here. And
28:40
Speaker 1: I guess the idea of this chair is that you know,
28:43
Speaker 1: when the when the if the ship is shaking, then
28:46
Speaker 1: his chair can kind of stay still because it's hanging
28:49
Speaker 1: as opposed to being attached. And they built this this
28:53
Speaker 1: set on hydraulics that way, during the scene where shaking,
28:58
Speaker 1: they can kind of have both just shaking the camera
29:00
Speaker 1: and they can actually rock the set. And ball i
29:04
Speaker 1: Er said it, and and Jeremy Bolt talked about how
29:07
Speaker 1: at one point the set was shaking and Lawrence Fishburn's
29:10
Speaker 1: in the chair and the chair is shaking like flinging
29:13
Speaker 1: up in here almost touching the ceiling and Lawrence Fishburn
29:16
Speaker 1: just doesn't break character, and he's in it as this
29:18
Speaker 1: chair is just wailing around the set.
29:21
Speaker 6: Us cracking up when they were explaining that.
29:24
Speaker 1: They said he was as cool as could be, as
29:26
Speaker 1: cool as could be. But back to Alien influence. Uh.
29:32
Speaker 1: He mentioned that the design of all of these ships,
29:36
Speaker 1: well mostly the Lewis and Clark, was from the Nostromo
29:40
Speaker 1: from Alien in the way that he wanted, Yeah, you
29:43
Speaker 1: get you can see it everywhere in the way, especially
29:46
Speaker 1: with the whites not being pure white. Everything's got like
29:51
Speaker 1: almost a layer of dirt on it. It's almost like
29:54
Speaker 1: it turned from white to cream in that way.
29:57
Speaker 6: You know, it feels worn.
30:00
Speaker 1: It does. It does. But I wanted to have a
30:04
Speaker 1: conversation with you because obviously Alien has so much influence
30:09
Speaker 1: on this. What I'm trying to think of how to
30:15
Speaker 1: word this question for you, because I feel like this
30:16
Speaker 1: is such a big question. Is every sci fi horror film,
30:20
Speaker 1: every space horror film from nineteen seventy nine forward, inspired
30:25
Speaker 1: by Alien in some way? It's gotta be right.
30:30
Speaker 6: Yeah, I would say, I would say, you know, there's
30:33
Speaker 6: there's a lot of films that I could think of off
30:37
Speaker 6: the top of my head that I immediately pinpoint Alien
30:41
Speaker 6: probably having the most influence on any of them.
30:44
Speaker 1: Yeah. I think it's it's a.
30:46
Speaker 6: Film that I felt like set the standard and the
30:50
Speaker 6: bar was so high with that movie that, you know,
30:54
Speaker 6: you see all these other horror films and they try
30:57
Speaker 6: to replicate that same experience, but nothing comes close.
31:01
Speaker 1: Yeah, it's really interesting how we have these landmark movies
31:04
Speaker 1: that just sort of show up. And I think, I
31:07
Speaker 1: think personally, Alien is a perfect movie.
31:10
Speaker 6: Oh.
31:14
Speaker 1: I'm not one of those people who think that Aliens
31:16
Speaker 1: is as good. I think Aliens is good, you know,
31:20
Speaker 1: but I think it. I know it's meant to be
31:21
Speaker 1: a different type of movie, but I guess Ridley Scott's
31:24
Speaker 1: style is just more my thing.
31:27
Speaker 6: I let me ask you this. Do you find that
31:31
Speaker 6: there's more replay value or not replay rewatch value with
31:36
Speaker 6: a film like Alien or Aliens?
31:39
Speaker 1: For me, it's gonna be Alien.
31:40
Speaker 6: Yeah.
31:41
Speaker 1: I think I think Ridley Scott is just a I
31:45
Speaker 1: don't want to say better. Maybe I want to say
31:48
Speaker 1: more my style director than James Cameron. I I appreciate
31:56
Speaker 1: what really Scott brings to it much more than I
31:58
Speaker 1: appreciate what James Cameron and brings to it from a
32:01
Speaker 1: directing standpoint.
32:04
Speaker 6: Yeah, because there's something about the first Alien that is
32:09
Speaker 6: so heavy on the atmosphere. The atmosphere. It's like you said,
32:14
Speaker 6: it's a perfect film, and it's a movie that I
32:18
Speaker 6: feel like I can come back to time and time
32:19
Speaker 6: again and still have that same level of enjoyment. I
32:23
Speaker 6: still love Aliens because I feel like that that's like
32:25
Speaker 6: the perfect complimentary film to go with it, you know,
32:31
Speaker 6: it feels like a natural extension of it. But any
32:36
Speaker 6: other space horror films I don't feel like ever come
32:39
Speaker 6: remotely close even to either of those movies.
32:42
Speaker 1: Yeah. I feel like to me, Alien is Alien is
32:49
Speaker 1: like fine dining. Aliens is fast food. Okay, wait wait
32:57
Speaker 1: wait hold on. Both are for both are fulfilling, and
33:01
Speaker 1: I crave both of them. It's the atmosphere, it's the
33:08
Speaker 1: really Scott's ability to be patient with Alien, there's so
33:13
Speaker 1: much payoff. It's it's the there's just so much about
33:19
Speaker 1: that first movie to me that's satisfying. And I also
33:22
Speaker 1: love the green, oh yeah, over the blue that Cameron
33:27
Speaker 1: brings into Aliens. So I don't know, it's not I
33:32
Speaker 1: don't want anybody think I hate Aliens because I don't.
33:34
Speaker 1: I just don't like it as much. It's like a
33:36
Speaker 1: mood thing. It's like, yeah, I'm in the mood, I'll
33:39
Speaker 1: watch Aliens most of the time. I'm in the mood
33:41
Speaker 1: to watch.
33:42
Speaker 6: Alien absolutely, yeah, just different.
33:46
Speaker 1: But Event Horizon is is kind of the perfect example
33:50
Speaker 1: of how what's this almost twenty years removed from Alien
33:58
Speaker 1: and it's still pulling from it, still using it as
34:01
Speaker 1: heavy inspiration, which, of course Paul W. S Anderson was
34:04
Speaker 1: probably raised on that movie. So it's interesting. I think
34:09
Speaker 1: we're still trying to I think we don't get a
34:11
Speaker 1: lot of space Harder nowadays, but we're still getting Alien
34:14
Speaker 1: sequels and Alien Romulus tried to kind of be both
34:19
Speaker 1: Alien and Aliens at the same time.
34:21
Speaker 6: I mean, would you even agree that even Ridley Scott
34:25
Speaker 6: tried to go back and mind that same first film
34:32
Speaker 6: to a lesser degree, you know, As far as what
34:34
Speaker 6: you guys have finished product, I think that they're fine
34:37
Speaker 6: for what they are. You know, between Prometheus and Covenant,
34:42
Speaker 6: I don't think that they hold a candle to the
34:45
Speaker 6: original by any means. They feel so far removed at
34:48
Speaker 6: this point.
34:49
Speaker 1: Really, Scott's been milking the Alien tip for a long
34:52
Speaker 1: time brother. This guy. Come on, he went back to
34:56
Speaker 1: the mind to do Gladiator two. He's he's just waiting
34:59
Speaker 1: for the chance to do another alien, do you.
35:02
Speaker 6: I don't know what it is, because you know that
35:04
Speaker 6: the talents there, and he created arguably two of the
35:12
Speaker 6: most important sci fi films, one having horror influence, and
35:17
Speaker 6: I would say the other is like a straight up
35:20
Speaker 6: sci fi film with Blade Runner m M. But for
35:23
Speaker 6: every one of those that he has, I can't say
35:26
Speaker 6: that across the board that I love his filmography. I
35:29
Speaker 6: think he definitely has some misses in there, like probably, yeah,
35:33
Speaker 6: is it bad? I think it's like sometimes I look
35:35
Speaker 6: at it's like probably more misses and hits.
35:38
Speaker 1: I appreciate his scale, like he makes big he makes
35:42
Speaker 1: big movies, doesn't mean they're great. I think probably Gladiator
35:49
Speaker 1: would be up there with me with Blade Runner an Alien.
35:53
Speaker 1: But yeah, a lot of misses, a lot not even
35:56
Speaker 1: misses like he You know, they're they're all like six
36:00
Speaker 1: out of ten, you know what I mean. You feel
36:02
Speaker 1: like they're all like they're good. You have to admire them,
36:06
Speaker 1: you know, because they're just nobody does it like Ridley Scott,
36:08
Speaker 1: even Glad Eater too, for as many weaknesses are in there.
36:11
Speaker 1: I remember finishing that and I was like, it's not bad.
36:14
Speaker 1: It's nothing compared to the original, but it's not bad.
36:19
Speaker 1: So I don't know.
36:20
Speaker 6: Do you consider this the high point for Paul W.
36:24
Speaker 6: S Anderson in his career? Ud? I said, wife saying, yeah,
36:29
Speaker 6: I can't say that he's, you know, ever hit quite
36:32
Speaker 6: the same highs as Ridley Scott.
36:34
Speaker 1: But yeah, I said to my wife today, I said,
36:36
Speaker 1: I think this doesn't even feel like it was directed
36:38
Speaker 1: by him. This feels because you look at you look
36:40
Speaker 1: at Mortal Kombat, and you look at Resident Evil. This
36:42
Speaker 1: doesn't feel like any of them. If my wife goes,
36:47
Speaker 1: but she loves Mortal Kombat, she loves the first Resident
36:50
Speaker 1: Evil movie, and she's like, that's a trifecta. He made
36:52
Speaker 1: Mortal Kombat even Horizon.
36:55
Speaker 6: And what more do you need?
36:56
Speaker 1: What more do you need? Dude? He connected it all
36:58
Speaker 1: right there? Uh Back in this commentary, we'll just go
37:01
Speaker 1: up on another tangent. Let's get back and do uh.
37:05
Speaker 1: Into this commentary, he talks about how this film was
37:09
Speaker 1: tested three different times to varying results, which we'll talk
37:13
Speaker 1: about a little bit more as we go on. One
37:16
Speaker 1: thing I do want to talk about with you with
37:18
Speaker 1: this movie is Sam Neil. Oh, Sam Neil, dude, come on,
37:26
Speaker 1: I want to talk by like this guy's just this
37:29
Speaker 1: guy's just running ship bro Like he there, Okay. Laurence
37:34
Speaker 1: Fishbourn is great in this movie. I love him, especially
37:38
Speaker 1: contrasting Sam Neil. I think Lawrence Fishbourne does an incredible job,
37:42
Speaker 1: as you know, a commander leading his ship. He has
37:48
Speaker 1: he he has a very just firm, very commanding presence.
37:54
Speaker 1: He's caring, but he also knows that there's work that's
37:57
Speaker 1: got to get done, and he gets shipped done right.
38:01
Speaker 1: Sam Neil is like he just brings a level of
38:04
Speaker 1: gravitas here that stands out above everybody so much more.
38:09
Speaker 1: And I think everybody in this movie is fantastic. Just
38:13
Speaker 1: something about Sam Neil that really stands above for me.
38:19
Speaker 1: What are your thoughts on on that?
38:21
Speaker 4: Oh?
38:21
Speaker 6: I think he's excellent.
38:22
Speaker 1: He's incredible man.
38:24
Speaker 6: Especially more recently. You know the four K for in
38:29
Speaker 6: the Mouth of Madness and you go back and you
38:31
Speaker 6: watch that after you know sometime, and we had recently
38:37
Speaker 6: also gotten a four K for Possession. You know, both
38:39
Speaker 6: of those films. It just goes to show where he
38:42
Speaker 6: really excels is in horror, and you know, to a
38:45
Speaker 6: certain extent. Obviously it's rask Park, but yeah, talk about
38:50
Speaker 6: an actor that just I feel like needs to get
38:53
Speaker 6: a little bit more recognition in my eyes. Yeah, well,
38:56
Speaker 6: especially within the horror you know landscape.
39:00
Speaker 1: I mean you you want to see a young young
39:03
Speaker 1: Sam Neil go back to Possession, very young Sam Neil
39:08
Speaker 1: was that sixteen years before Event Horizon, and this is
39:12
Speaker 1: coming four years after Jurassic Park. This is coming what
39:17
Speaker 1: thirteen years no, eleven years after the omen four.
39:23
Speaker 6: Three three. That was a personal favorite crush.
39:30
Speaker 1: That's what I said. I think I said that when
39:32
Speaker 1: I was drunk one night. We were talking about that. He's
39:36
Speaker 1: just incredible here, man. He he's like a magnet for me. Man,
39:41
Speaker 1: every single time he's on the screen. All the moments
39:44
Speaker 1: with him are stand out for me. I love just
39:47
Speaker 1: how much he's able to convey. He never feels he
39:51
Speaker 1: never feels like he's pushing it too far. He always
39:54
Speaker 1: just kind of is perfectly in the scene. It's almost
39:57
Speaker 1: like it's almost like he and he's definitely the oldest
40:03
Speaker 1: actor here, he's the more veteran. I don't know that
40:07
Speaker 1: for a fact. There could be somebody right there with him,
40:10
Speaker 1: somebody else. But I think he is kind of like
40:12
Speaker 1: the veteran performer here. He's just fantastic. Man.
40:16
Speaker 6: Do you consider this his most unhinged performance?
40:19
Speaker 1: Oh fuck you dude?
40:20
Speaker 6: This, Yeah, I was gonna say, I mean, some of
40:25
Speaker 6: the other films that we were talking about, he definitely
40:28
Speaker 6: dials it up, I would say, in the mouth of
40:29
Speaker 6: madness or possession. But this I think is probably the
40:34
Speaker 6: one film that it's like, probably pushed him, you know,
40:36
Speaker 6: to fully commit it is.
40:40
Speaker 1: Yeah, But even in moments where I feel like there
40:43
Speaker 1: are moments when when like one liners where actors are
40:47
Speaker 1: really hamming it up, it doesn't feel hammed from Sam Neil.
40:50
Speaker 1: I think specifically in the moment when kind of going
40:53
Speaker 1: into the third act, when we're shifting and we're kind
40:57
Speaker 1: of realizing his motivations being here, there's a moment where
41:01
Speaker 1: he sneaks away from Lawrence Fishburne and he says we're
41:04
Speaker 1: going home, and he says, I am home, And it
41:07
Speaker 1: could be very hammed up in a movie like this,
41:09
Speaker 1: but with Sam Neil, he just sells it. I don't
41:12
Speaker 1: even think he makes it work. Yeah, it just makes
41:14
Speaker 1: it work. So I just wanted to shout him out.
41:17
Speaker 1: And again, also Laurence Fishbourne, I mean, incredible actor. I
41:21
Speaker 1: think you know, this is two years before The Matrix,
41:26
Speaker 1: so he's really kind of right there at the break
41:29
Speaker 1: point where he's really going to be taking off. But
41:32
Speaker 1: I think he does excellently. Like I said, he's got this, this, this,
41:35
Speaker 1: this fantastic. What's the word I'm trying to trying to
41:38
Speaker 1: build for him, just like a you believe yeah, you
41:44
Speaker 1: believe him as the leader of this crew. Oh yeah,
41:48
Speaker 1: just in the way he talks. It's almost like when
41:49
Speaker 1: you see you know, r Ley Ermi in full Metal
41:51
Speaker 1: Jacket and you're like, oh, this guy does this. Not
41:54
Speaker 1: to say that he's like ur Ley Ermi in in
41:57
Speaker 1: full metal jacket, but you just believe that Lawrence Fishburn
42:00
Speaker 1: running this team of people, and he's very passionate and
42:03
Speaker 1: he's here to get shit done. So shout out those two.
42:06
Speaker 1: But excellent performances all around in this movie. It's a very, very,
42:10
Speaker 1: very good movie. The secondary characters, you could say to
42:15
Speaker 1: our human characters are the ships, the Lewis and Clark,
42:19
Speaker 1: and the vent I would agree with that. Those are
42:22
Speaker 1: both characters. And there's a lot of kind of really
42:26
Speaker 1: cool visual elements in these one of them being this
42:30
Speaker 1: central car door where they enter the ship. This is
42:33
Speaker 1: the hallway where you mentioned the terrible visual effect, the
42:36
Speaker 1: terrible cgi of the floating bottle and the floating rung.
42:39
Speaker 6: I said what I said, I stand by.
42:41
Speaker 1: It, man. It looks pretty, it looks pretty rough. But
42:45
Speaker 1: when we're talking about practicality, this was a real set,
42:48
Speaker 1: and it's it was technically a giant illusion because while
42:52
Speaker 1: this was a big enough set that you could have
42:55
Speaker 1: Laurence Fishbourne running down it for a certain period of time,
43:00
Speaker 1: it was actually a big illusion where they had mirrors
43:04
Speaker 1: that the imported from France, these large French mirrors on
43:09
Speaker 1: either side of the set to reflect off and give
43:12
Speaker 1: the illusion that this hallway was huge. I think it's
43:16
Speaker 1: just like really cool, you know, stuff like, yeah, it's
43:21
Speaker 1: movie magic, but it's also a movie magic on a
43:23
Speaker 1: rushed budget, you know, rush production. How do you save
43:28
Speaker 1: money where you can. We're going to put up two
43:30
Speaker 1: mirrors and we just have to be careful with how
43:31
Speaker 1: we put the camera. That way we don't catch a reflection.
43:34
Speaker 6: It's like making the most out of what you had.
43:36
Speaker 6: Obviously you're on a very limited timeframe to be able
43:40
Speaker 6: to get this film completed. But I have to say,
43:45
Speaker 6: I think that there's certain sequences where you can see
43:47
Speaker 6: where the film really shines, especially with the cinematography.
43:51
Speaker 1: Oh yeah, it shot so well, especially the rotating hallway
43:55
Speaker 1: as well, which is the bridge leading into the gravity
43:59
Speaker 1: dr room. It's this I used to It's a funny story.
44:04
Speaker 1: I used to work in a haunted house in high school.
44:07
Speaker 6: Oh no, way, I didn't know that.
44:08
Speaker 1: Yeah. I worked for three years in a haunted house.
44:10
Speaker 1: It was called cream Akers in Malica Hill, New Jersey,
44:13
Speaker 1: and I worked there because I attended high school in
44:15
Speaker 1: that area. And I worked in this this section called
44:19
Speaker 1: like the fog House, and it was right off of
44:22
Speaker 1: one of these spinning hallways where you would walk on
44:24
Speaker 1: a bridge and the tunnel around you was spinning and
44:27
Speaker 1: people all day longer here people go, Oh, I spent
44:32
Speaker 1: a lot of time in that trying to go back
44:34
Speaker 1: and forth, you know, for work reasons. But that's essentially
44:38
Speaker 1: what they build here. But it's got these really cool
44:40
Speaker 1: like cuts and slits in it. It's just a very
44:42
Speaker 1: cool like visual piece for the movie. That I think
44:46
Speaker 1: again just upgrades the visual aesthetic tenfold, you know. Oh yeah,
44:54
Speaker 1: And that room leads into what is the power source
44:58
Speaker 1: of the entire event horizon, a device called the gravity drive,
45:01
Speaker 1: which is this large sphere surrounded by two other pieces
45:07
Speaker 1: that kind of wrap around the sphere. And this was
45:10
Speaker 1: one hundred percent practical. This entire room crazy and for
45:17
Speaker 1: people listening to this obviously, I hope you've seen the movie,
45:20
Speaker 1: this room is gigantic and according to Paul ws Anderson,
45:23
Speaker 1: it was freezing because the room had no like insulation.
45:30
Speaker 1: The studio that they built in and had no insulation
45:33
Speaker 1: so cold in fact that later on in the movie
45:35
Speaker 1: when there's fire in that room, they had to postpone
45:39
Speaker 1: doing the fire stunts because the crew in to extinguish
45:45
Speaker 1: that fire, their hoses were freezing, so they couldn't put
45:49
Speaker 1: out the fire, so they didn't do the fire stunt,
45:51
Speaker 1: right like, That's that's how cold this room was. But
45:54
Speaker 1: this set is fucking massive, dude, And the the gravity
45:59
Speaker 1: drives spinning was all real. That was There's nothing in
46:03
Speaker 1: that that was cgi and that's insane to me.
46:07
Speaker 6: I just had a note in regards to where the
46:10
Speaker 6: filming took place, So it was actually in pine Wood
46:12
Speaker 6: Studios in England and that's where they had the visual
46:17
Speaker 6: effects obviously were provided by It looks like a cinesite
46:21
Speaker 6: in Computer Computer Film Company, and it sounds like the
46:27
Speaker 6: Event Horizon ship was actually modeled after the Notre Dame Cathedral,
46:31
Speaker 6: which I thought was fascinating.
46:33
Speaker 1: Yeah, he talked about how they actually took photos of
46:36
Speaker 1: the cathedral and then broke them down I'm listen to
46:38
Speaker 1: like a mood board, and then used those pieces to
46:41
Speaker 1: actually build the ship. So there's actual I guess if
46:46
Speaker 1: you look close enough, or if you're able to enhance
46:48
Speaker 1: the image, I guess you could actually see some architectural
46:51
Speaker 1: similarities between the cathedral and the ship, which I think
46:54
Speaker 1: is really cool. But here, so in this gravity drive,
47:02
Speaker 1: this is where the portal is opening. So essentially, let's
47:06
Speaker 1: try to explain this to people because there's a lot
47:08
Speaker 1: of science mumbo jumbo in this movie. Samuel's character is
47:13
Speaker 1: a scientist who creates the Event Horizon, and the Event
47:16
Speaker 1: Horizon was meant to be a ship that could travel
47:21
Speaker 1: faster and further than any ship before, and the way
47:25
Speaker 1: it did that was instead of flying somewhere through space,
47:30
Speaker 1: and normally it could actually this gravity drive could actually
47:34
Speaker 1: fold space and sort of cut through those two folds
47:39
Speaker 1: to travel very far, very fast. How do you think
47:44
Speaker 1: that sounds? Does that sound pretty on point?
47:46
Speaker 4: Oh?
47:46
Speaker 6: It's accurate. Yeah, yeah, I don't think I could have
47:50
Speaker 6: set it any better myself.
47:51
Speaker 1: So it folds, and essentially what happens is when space folds,
47:58
Speaker 1: there's space in the middle that it has to pass
48:00
Speaker 1: through in this portal, and when it passed through that
48:04
Speaker 1: it entered a dimension not of our own, which is
48:10
Speaker 1: where space Hell comes from, which is essentially where the
48:13
Speaker 1: event horizon has gone. And in this gravity drive, this
48:17
Speaker 1: portal opens for the first time with Justin, who is
48:26
Speaker 1: sent into the event horizon. He's the first one sent in.
48:28
Speaker 1: He's on a wire, he's floating through. He goes into
48:33
Speaker 1: the gravity drive. The drive lines up, which opens the
48:37
Speaker 1: portal and there's like it looks like this guey substance
48:41
Speaker 1: in it, and he gets sucked in and it's when
48:46
Speaker 1: he's sent back out. He's essentially in a comotose state.
48:51
Speaker 1: And this is when everything kind of starts going to
48:54
Speaker 1: hell because the original crew has disappeared, and that's what
48:57
Speaker 1: our characters are here to do, find the ship, see
49:01
Speaker 1: what's the status of the crew is, and essentially come home.
49:08
Speaker 1: Does all that makes sense? Do you think I explained that? Okay?
49:10
Speaker 1: Oh yeah, okay, yeah, all right. Cool.
49:13
Speaker 6: So it's it's very ambitious with and they explain it
49:18
Speaker 6: in the film as well, just exactly how capable the
49:22
Speaker 6: ship is, you know, with how it's able to travel
49:25
Speaker 6: and get around and yeah, but I think that that's
49:29
Speaker 6: on point.
49:31
Speaker 1: Yeah, yeah, I think so it folds. It goes through
49:34
Speaker 1: at some point in between it's two, it goes into
49:37
Speaker 1: a dimension not our own, which is described as essentially
49:41
Speaker 1: space Hell. Character goes into it, gets sent out. When
49:45
Speaker 1: he gets sent out, there is almost like this blast
49:49
Speaker 1: that occurs that highly damages to Lewis and Clark. So
49:52
Speaker 1: our rescue crew and Sam Neil have to go into
49:56
Speaker 1: the event horizon until the repairs on the Lewis and
50:00
Speaker 1: Clark can can be touched up and up until this
50:03
Speaker 1: point in the movie. Now they have justin in the
50:07
Speaker 1: medical ward because he's in a comatose state after being
50:11
Speaker 1: sucked into very briefly only for a few minutes, being
50:16
Speaker 1: sucked into this other dimension, this portal, I guess I
50:22
Speaker 1: could say and now we're sort of the ship is
50:27
Speaker 1: good being Lewis and Clark is being repaired, and this
50:30
Speaker 1: is where kind of supernatural elements kind of begin to happen.
50:33
Speaker 1: And one of those, one of my favorite pieces of
50:38
Speaker 1: this whole entire scene coming into the second act when
50:40
Speaker 1: things are really picking up, is because I just fucking
50:43
Speaker 1: love the practicality of nineties movies. I love that they
50:45
Speaker 1: did a ship for real, and I love the moment
50:48
Speaker 1: when the so Laurence Fishburn is in the medical room,
50:53
Speaker 1: still exploring the ship before everybody has to come over
50:55
Speaker 1: to it, and they turn out the gravity and the
50:58
Speaker 1: explosion blows off the door to the medical room. It's
51:02
Speaker 1: this big, heavy metal door and it just flies through
51:06
Speaker 1: the room, shattering through glass. Lawrence Fishbourne is like thrown
51:11
Speaker 1: through the air, smashing into the wall. It is so
51:15
Speaker 1: cool looking and it just practical doesn't touch CGI. Man,
51:20
Speaker 1: I'm sorry we need to go back to this type
51:22
Speaker 1: of filmmaking well because.
51:24
Speaker 6: They I mean, and you even see it in this film.
51:27
Speaker 6: I feel like the practical effects will forever hold up
51:29
Speaker 6: so much more like efficiently as opposed to what we
51:34
Speaker 6: get with CGI. I mean, CGI definitely feels like it
51:37
Speaker 6: ages or it feels like a very much like a
51:40
Speaker 6: time capsule to when this film came out. Yeah, CGI,
51:45
Speaker 6: I feel like as ageless in a lot of ways.
51:48
Speaker 1: There's a weight to it that you can feel when
51:50
Speaker 1: that door gets blown off the hinges and is flying
51:53
Speaker 1: through this room shattering tables and glass, you can feel
51:57
Speaker 1: it like it's like, oh, that shit's dangerous. Last it
52:01
Speaker 1: sells it in a way that CGI just has a
52:04
Speaker 1: hard time doing so one of those reasons why I
52:08
Speaker 1: just love nineties. And to go back to what we
52:10
Speaker 1: talked about in the beginning with the floating corpse in
52:14
Speaker 1: front of the cross shaped window. The second act is
52:17
Speaker 1: kicked off with what Paul ws Interson calls the corpsicle,
52:22
Speaker 1: which is when the gravity is turned back on in
52:26
Speaker 1: the event horizon, that body drops and just shatters into
52:29
Speaker 1: a million tiny pieces. Bloody throws pieces.
52:32
Speaker 6: That's pretty nearly It's really It's such a cool.
52:35
Speaker 1: Way though, to like signal that things are like shit's
52:38
Speaker 1: kicking off. It has nothing to do with what's happening.
52:42
Speaker 1: It's just a really great like visual oh that things
52:45
Speaker 1: are better again.
52:46
Speaker 6: There's a lot of attention to detail.
52:49
Speaker 1: Yeah, there's a lot there's a lot. It's at this
52:52
Speaker 1: point in the movie where all of our characters are
52:56
Speaker 1: being separated in some way, and we start to kind
52:59
Speaker 1: of see what the ship is doing to everybody, which
53:03
Speaker 1: is causing hallucinations and hallucinations that are incredibly personal, so
53:09
Speaker 1: personal in fact, that sometimes they're based around things that
53:13
Speaker 1: they've never told anybody before. One of those scenes is
53:20
Speaker 1: in the movie, but it was much stronger in their
53:22
Speaker 1: vitual cut of the movie. So in the theatrical version,
53:27
Speaker 1: when Peter's played by Catherine Quinlan is in the medical
53:32
Speaker 1: room with Justin and she's watching footage from the crew
53:36
Speaker 1: of the event Horizon, she hears a noise. She goes
53:40
Speaker 1: behind her. There is it looks like some sort of
53:43
Speaker 1: crate under a sheet, and something is under the sheet.
53:47
Speaker 1: She pulls the sheet off and she sees her dead
53:49
Speaker 1: son and he's sitting in the box, and we get
53:52
Speaker 1: this quick shot of his legs which look completely ravaged.
53:56
Speaker 1: I don't know what kind of wounds they are, but
53:59
Speaker 1: they're pretty intent. In the original cut of the movie,
54:05
Speaker 1: everything plays out the same. She pulls the sheet off,
54:08
Speaker 1: but the camera lingers on the leg wounds much longer,
54:12
Speaker 1: which I don't really know why they would need to
54:15
Speaker 1: and this is all according to Paul W. S Anderson.
54:18
Speaker 1: Then it cuts back to Peters, and when it cuts
54:22
Speaker 1: again to the legs, the wounds are covered in maggots.
54:26
Speaker 1: Gross and yeah, it's pretty gross, especially considering it's a kid.
54:31
Speaker 1: But according to Paudy bus Anderson and Jeremy Bolt in
54:36
Speaker 1: test screenings, the audience was just over disgusted by it.
54:43
Speaker 1: And according to him, as soon as they saw the maggots,
54:47
Speaker 1: they kind of became disengaged with the movie and from
54:51
Speaker 1: that point on they just kind of didn't feel the
54:53
Speaker 1: same attachment. It took them out for some reason.
54:58
Speaker 6: It's just so interesting because you know, we see this
55:01
Speaker 6: in a number of the different characters that we're following.
55:05
Speaker 6: So you have doctor Weir, Captain Miller, Peters, all of
55:10
Speaker 6: which and even the rest of the crew to a
55:13
Speaker 6: certain extent, there's this theme or like a core concept
55:18
Speaker 6: of guilt you see brought up in various forms. And
55:22
Speaker 6: you know, like you're mentioning with Peters, it's the abandonment
55:27
Speaker 6: of her sick child, and I think that that only
55:33
Speaker 6: amplifies it in a lot of ways. You know, just
55:36
Speaker 6: kind of that remorse you know, we're basically seeing event
55:41
Speaker 6: horizon channel this this inner trauma that everyone is dealing
55:46
Speaker 6: with in various ways, and you know, keeping the chaos
55:50
Speaker 6: amongst the entire crew.
55:52
Speaker 1: In your opinion, and you know, this isn't based in
55:55
Speaker 1: any sort of you know, production note or anything like that.
55:59
Speaker 1: Do you think this is purely accidental that the crew
56:05
Speaker 1: ends up here because not everybody dies at the hands
56:08
Speaker 1: of the effects of the hell, you know, I mean
56:12
Speaker 1: causing like, not everybody deals with the hallucinations. Some people
56:15
Speaker 1: actually aren't even on the event horizon all that much,
56:17
Speaker 1: and they die in you know, repercussions of what the
56:22
Speaker 1: ship causes. So do you think this was something where
56:27
Speaker 1: this crew just happened to be tasked with this job
56:29
Speaker 1: and some of them hold this incredible guilt and this
56:33
Speaker 1: hell just happens to be able to pull that out
56:35
Speaker 1: of them and use it against them, or do you
56:37
Speaker 1: think there might be some sort of fate at play
56:40
Speaker 1: here that they were meant to be tasked with this assignment,
56:43
Speaker 1: They were meant to be there because of the guilt
56:45
Speaker 1: they carry. Is that making sense? Is my question? Making sense?
56:49
Speaker 6: Yeah?
56:49
Speaker 1: Okay, yeah? Now do you think I.
56:52
Speaker 6: Think it's you know, they obviously responded to the distress signal.
56:57
Speaker 6: You know, they're probing the ship, and obviously a thing
57:01
Speaker 6: spiral out of control. I don't know if it was Yeah,
57:06
Speaker 6: I can't say it was maybe fate that brought him there,
57:08
Speaker 6: but I do think that this ship is I mean,
57:13
Speaker 6: it's like their own private hell for each of them.
57:16
Speaker 6: And the only character that we ever see that's able
57:21
Speaker 6: to overcome the darkness would have to be Captain Miller.
57:27
Speaker 6: He's the only one out of the entire crew that's
57:30
Speaker 6: able to confess that guilt and allow him to be
57:34
Speaker 6: able to you know, spoil alert. But say the remaining
57:37
Speaker 6: crew members versus everyone else, it's like they usuccumb to
57:42
Speaker 6: the darkness and obviously you know, met their tragic fate.
57:47
Speaker 1: Well, even people like Justin who's sort of treated as
57:50
Speaker 1: a like a messenger. You know, he's brought into the
57:55
Speaker 1: port and he sent out, and he's essentially used as
58:01
Speaker 1: a warning to them of what he's seen. And then
58:06
Speaker 1: he's he locks himself in the air the airlock, and
58:12
Speaker 1: right when it seems like he's he's essentially not himself,
58:17
Speaker 1: and right when he seconds away from death, he suddenly
58:21
Speaker 1: snaps back into it. And he's himself and he's asking
58:25
Speaker 1: for help, and he wants to be helped, and so
58:28
Speaker 1: it's just interesting that there are these elements kind of
58:31
Speaker 1: being played that are very like he's kind of sent
58:35
Speaker 1: as like a prophet and saying, hey, shit's bad. But
58:38
Speaker 1: they have no choice. They can't get out of there.
58:40
Speaker 1: They can't he can't say that, and they're like, all right, cool,
58:42
Speaker 1: let's let's scoot boogie. They're stuck.
58:44
Speaker 6: How do you view it? Do you think there was
58:47
Speaker 6: faith that brought them there or do you think that
58:49
Speaker 6: it was just a series of unfortunate circumstances. They're basically
58:55
Speaker 6: were exploited by the ship.
58:58
Speaker 1: I think everybody carries I think no matter who you are,
59:00
Speaker 1: what kind of person you try to be, we all
59:02
Speaker 1: carry guilt. The guilt of the characters that are exploited
59:06
Speaker 1: in Event Horizon are is heavy. It's like life and
59:09
Speaker 1: death guilt, you know. I mean, it's it's this isn't
59:13
Speaker 1: like your run of the mill like guilt that I feel.
59:16
Speaker 1: This is amplified, and I think it's amplified even more
59:22
Speaker 1: by the circumstance that they're in. Obviously they're stuck on
59:26
Speaker 1: the ship with you know, the crew has disappeared, they
59:29
Speaker 1: have no idea what's happening. The circumstances around while they're
59:33
Speaker 1: there are very unsettling. Things are kind of amplified, and
59:36
Speaker 1: then now you have this thing you don't understand showing
59:41
Speaker 1: you visions of the thing that you're trying the hardest
59:43
Speaker 1: to forget. So I like to think that maybe there
59:48
Speaker 1: was a little bit of fate at play. So I
59:52
Speaker 1: don't know, it's interesting. I'd have to try to watch
59:55
Speaker 1: the movie again with one point of view over another
59:58
Speaker 1: and see if I can pick up on some of
1:00:00
Speaker 1: additional pieces of it. I think it's definitely worth a examination,
1:00:06
Speaker 1: you know, depending on your view of guilt and your
1:00:09
Speaker 1: view of kind of you know, I guess the afterlife
1:00:16
Speaker 1: or hell and kind of paying for those paying for
1:00:19
Speaker 1: your mistakes. And even you said, you know, the one
1:00:23
Speaker 1: character who is able to kind of come face to
1:00:25
Speaker 1: face with his guilt and accept his guilt is the
1:00:27
Speaker 1: one who essentially does survive until it gets sucked into
1:00:32
Speaker 1: a black hole with the rest of the ship.
1:00:34
Speaker 6: But you know, another interesting aspect, because I mean, obviously
1:00:40
Speaker 6: it's terrifying when you see it, but we see this
1:00:42
Speaker 6: as a recurring theme is with the missing eyes, right, Yeah,
1:00:46
Speaker 6: it's something that we see throughout the entire film, and
1:00:50
Speaker 6: I feel like that that's also kind of symbolic in
1:00:54
Speaker 6: a lot of ways, you know, hearkening back to like
1:00:56
Speaker 6: the religious undertones. I feel like this film has.
1:01:02
Speaker 1: Yeah, you have the eyelet, Claire has the missing eyes,
1:01:05
Speaker 1: which is sam Neil's character's dead wife. When sam Neil
1:01:11
Speaker 1: gets kind of fully taken over, he actually he has
1:01:16
Speaker 1: his his eyes are gone, but then he actually sows
1:01:19
Speaker 1: them shut afterwards, which we see at the end of
1:01:22
Speaker 1: We see him in two different forms. You actually see
1:01:26
Speaker 1: it when which is interesting. Oh no, I don't think
1:01:30
Speaker 1: that has anything to do with it. When Justin is
1:01:32
Speaker 1: in an air lock and the pressure is building, he
1:01:34
Speaker 1: puts his hands over his eyes and his eyeballs I
1:01:36
Speaker 1: think essentially like almost explode or he's just bleeding out
1:01:39
Speaker 1: of his eyes. So it's interesting.
1:01:42
Speaker 6: It feels like, you know, by that point, once that happens,
1:01:47
Speaker 6: especially with We're you know, you're basically seeing like damnation
1:01:54
Speaker 6: in a lot of ways, or self punishment. You know,
1:01:56
Speaker 6: it's it's basically abandoning any like human perception that you
1:02:00
Speaker 6: would have and in humanity, once you've you've experienced this
1:02:05
Speaker 6: hell dimension that they start going through. But I think
1:02:10
Speaker 6: I think that that part is so fascinating if you
1:02:12
Speaker 6: get past like the creepiness of it. It's a very
1:02:16
Speaker 6: very subtle detail that they added in there.
1:02:19
Speaker 1: Yeah, and they talk multiple times about how this was
1:02:23
Speaker 1: essentially meant to be like a haunted house movie in space,
1:02:27
Speaker 1: and that's that's a recurring theme in haunted houses are
1:02:30
Speaker 1: the fact that they're able to that there's a higher
1:02:35
Speaker 1: there's a higher power at work that is able to
1:02:37
Speaker 1: kind of get into you, into your psyche and pull
1:02:41
Speaker 1: from your deepest, the deepest parts of your brain to
1:02:45
Speaker 1: use against you. That's a very common theme in haunted
1:02:48
Speaker 1: house horror, whether or not, whether it's from the goofiest,
1:02:51
Speaker 1: you know, area of horror, or it's from a dark
1:02:54
Speaker 1: part of horror. That's something that we see constantly. So
1:02:57
Speaker 1: it's not out of place here, but it is. I
1:02:59
Speaker 1: still think it's an interesting conversation that should be had
1:03:02
Speaker 1: around the movie. Absolutely, there is another cut scene which
1:03:09
Speaker 1: is Swiss to be playing around this part, and to
1:03:13
Speaker 1: kind of give some context. They're able to pull up
1:03:16
Speaker 1: video that was shot from the original crew that takes
1:03:20
Speaker 1: place right before they made their jump into right before
1:03:25
Speaker 1: they folded space and go in and we see some
1:03:29
Speaker 1: of this where you kind of get a visual of
1:03:31
Speaker 1: the crew and then we see a little bit of
1:03:35
Speaker 1: what happens after the jump, and we don't see too
1:03:38
Speaker 1: much of it. We get it in like little bits.
1:03:40
Speaker 1: But this was another scene that was cut tremendously and
1:03:43
Speaker 1: it's what he called the Orgy of Death, which is
1:03:47
Speaker 1: essentially that after the jump they kind of all began,
1:03:53
Speaker 1: you know, kind of like an orgy, and that orgy
1:03:56
Speaker 1: turned into self mutilation and murder and like really intense,
1:04:03
Speaker 1: like one character actually reaches into his own mouth and
1:04:06
Speaker 1: begins to pull out his own entrails. Cannibal Yeah, cannibalism.
1:04:11
Speaker 1: It gets really, really, really nasty. And this was a
1:04:15
Speaker 1: whole scene that was shot and it began with an
1:04:18
Speaker 1: orgy and went into them tearing each other apart, and
1:04:23
Speaker 1: Jeremy Bolt the producer, and Paul wis Anderson just said, hey,
1:04:26
Speaker 1: it went too far, and they removed it, both due
1:04:29
Speaker 1: to pressure from audience testing but also from the studio
1:04:32
Speaker 1: who Paramount at this time Star Trek was their thing.
1:04:37
Speaker 1: This is complete counter programming.
1:04:40
Speaker 6: Star Trek, not even in the same space.
1:04:45
Speaker 1: So that that that was all removed and what nasty stuff. Man,
1:04:50
Speaker 1: that's such a and you get a you get a
1:04:51
Speaker 1: glimpse of it. There's these quick flashes of it and
1:04:55
Speaker 1: those let me ask you, I actually still think that
1:05:00
Speaker 1: the what's the left of the scene in the movie
1:05:02
Speaker 1: is effective because it's so quick and it's oh yeah,
1:05:06
Speaker 1: there's this really gross sound design and it is very
1:05:09
Speaker 1: horrifying imagery to see, and it's so fast that it
1:05:13
Speaker 1: almost feels like it's scarier that way than if I
1:05:15
Speaker 1: was able to see it all.
1:05:17
Speaker 6: Well, it leaves a lot of it up to our imagination.
1:05:21
Speaker 6: I mean we obviously you get like a sample of
1:05:25
Speaker 6: what might have been going on, But if this is
1:05:29
Speaker 6: any indication, you know, I have a note on here
1:05:32
Speaker 6: with like the hell vision sequences that we got originally
1:05:36
Speaker 6: were much longer, more explicit, so you had, you know,
1:05:39
Speaker 6: crewmembers gouging out eyes, cannibalism, people being torn apart, our
1:05:44
Speaker 6: graphic self mutilational ritualistic violence, and torture. You know, I
1:05:53
Speaker 6: don't know, I mean you could almost envision that some
1:05:56
Speaker 6: of the stuff just based on that that small sample
1:05:58
Speaker 6: size most likely was going on. And you don't really
1:06:01
Speaker 6: need to see it play out before you.
1:06:04
Speaker 1: Yeah, they talk about at the end of the commentary
1:06:07
Speaker 1: track how they do think there might have been a
1:06:10
Speaker 1: world where, had they had more time in post production,
1:06:12
Speaker 1: they could have included more but refined it. So maybe
1:06:16
Speaker 1: you've shown a little bit more that could have increased
1:06:19
Speaker 1: the effectiveness of it, you know, through editing or through
1:06:23
Speaker 1: just if they had a little bit more time to
1:06:24
Speaker 1: play with it, but unfortunately they weren't able to. So
1:06:27
Speaker 1: I do think there is a good and Paul de
1:06:29
Speaker 1: bs Anderson says this, there is a good middle ground
1:06:31
Speaker 1: there where you don't see everything, but you kind of
1:06:34
Speaker 1: go in and show more and piece it together that way. Interesting.
1:06:41
Speaker 1: I don't know. Yeah, but our three characters that are
1:06:45
Speaker 1: really seeing most of the visions are Miller played by
1:06:50
Speaker 1: Laurence Fishburne, who sees a burning body standing in front
1:06:54
Speaker 1: of him. You have Weird who was seeing and hearing
1:06:56
Speaker 1: his deceased wife, and then you have Peters who seeing
1:07:00
Speaker 1: her deceased her son. Yeah, in visions as well. And
1:07:07
Speaker 1: there's a scene after everything that we've talked about where
1:07:12
Speaker 1: the crew that's on the event Horizon kind of all
1:07:14
Speaker 1: meet in one room and Miller is asking if anybody
1:07:18
Speaker 1: has seen anything strange or anything at all. And one
1:07:22
Speaker 1: thing that I thought was funny about the commentary here
1:07:23
Speaker 1: is that they talk about how originally they had two
1:07:26
Speaker 1: days to shoot this scene, and essentially the schedule got cut,
1:07:30
Speaker 1: that they had half a day to get this scene shot. Right.
1:07:34
Speaker 1: But let me tell you about this, because I think
1:07:36
Speaker 1: what ended up happening is actually better. So what Anderson
1:07:39
Speaker 1: decided to do was, why don't we just put the
1:07:42
Speaker 1: camera on a round track because the characters are sitting
1:07:45
Speaker 1: They're sitting at like this control center that is round anyway,
1:07:49
Speaker 1: And he thought, we'll just put the camera on a
1:07:50
Speaker 1: track and we'll spin it around them and they'll all
1:07:54
Speaker 1: deliver their lines of dialogue, and we'll do that over
1:07:57
Speaker 1: and over again at different zoom lengths with different lenses,
1:08:01
Speaker 1: and we'll just cut in between. So that whole scene,
1:08:04
Speaker 1: the camera never stops moving. It's always rotating in some way.
1:08:09
Speaker 1: If you watch, it's always panning and shifting around because
1:08:11
Speaker 1: it was on one track. They were just changing out
1:08:14
Speaker 1: the lens. I actually think that it brought a lot
1:08:18
Speaker 1: of energy to the scene, and I think it's a
1:08:20
Speaker 1: cool visual choice that had they been given two days
1:08:23
Speaker 1: to shoot it. I don't think it would be be
1:08:27
Speaker 1: as fun to watch.
1:08:29
Speaker 6: No, And I think that it enhances a lot of
1:08:33
Speaker 6: the chaos that you're clearly feeling by that point in
1:08:36
Speaker 6: the film. Man, it's so I think that there's all
1:08:43
Speaker 6: this additional content that we get as far as like
1:08:46
Speaker 6: the backstory behind the production. I think it makes me
1:08:48
Speaker 6: appreciate this movie a little bit more because it had
1:08:51
Speaker 6: such an uphill battle to get the finished product.
1:08:54
Speaker 1: Yeah, yeah, absolutely. I do have a note here that
1:08:58
Speaker 1: just as the Dutch angle on Sam Neil during the
1:09:01
Speaker 1: scene where the banging on the doors happening are so dope,
1:09:04
Speaker 1: When he's sitting in the captain's chair and it's like
1:09:07
Speaker 1: boom and it's a Dutch angle and boom it's a
1:09:08
Speaker 1: Dutch angle. Boom, it's a Dutch angle. He's just dude,
1:09:12
Speaker 1: is so cool looking, and to see him shot that
1:09:13
Speaker 1: way is super cool. I just thought that was dope.
1:09:19
Speaker 1: There's a lot of conversation in the commentary about the
1:09:22
Speaker 1: strobe like images of Hell, which is something that's probably
1:09:31
Speaker 1: the most extended in the director's cut, is these very
1:09:35
Speaker 1: quick shots of what's happening in Hell, in the space
1:09:38
Speaker 1: Hell where we kind of get to see mutilated bodies
1:09:40
Speaker 1: and people being tortured in various ways and just really
1:09:43
Speaker 1: gross imagery, which was actually all shot on a weekend
1:09:47
Speaker 1: by Paul W. S Anderson. He said it took a
1:09:50
Speaker 1: long ass time because there was a ton of different
1:09:52
Speaker 1: effects happening, and basically what he did was he shot
1:09:57
Speaker 1: all of them multiple times at different frame rates to
1:09:59
Speaker 1: give different visual aesthetics. But he also shot a lot
1:10:02
Speaker 1: of them through my lar mirrors that could be bent,
1:10:05
Speaker 1: so essentially he could shoot through the mirror and bend
1:10:08
Speaker 1: the mirror and it would distort the image, so there
1:10:11
Speaker 1: was no post production effects needed. He was able to
1:10:14
Speaker 1: do it all in camera, but so little of that
1:10:18
Speaker 1: remains in the movie.
1:10:21
Speaker 6: Yeah, it makes me wonder, you know, in the event
1:10:24
Speaker 6: that they're able to put out more of a what
1:10:29
Speaker 6: would you say, more of a completed vision of what
1:10:31
Speaker 6: this film should have looked like with some of the
1:10:35
Speaker 6: missing content. I wonder if some of this will be
1:10:38
Speaker 6: a little bit more fleshed out with some of these
1:10:40
Speaker 6: concepts or ideas.
1:10:43
Speaker 1: This is specifically what he talks about in the Insert
1:10:45
Speaker 1: of Darkness documentary, how this scene was a lot, a
1:10:50
Speaker 1: lot more extended in the director's cut, it was a
1:10:52
Speaker 1: lot gorrier. There's a lot more of it, which even
1:10:56
Speaker 1: when you're hearing him talk about it in this commentary,
1:10:59
Speaker 1: there's a lot that he mentions technically that he was
1:11:01
Speaker 1: doing that you don't see in the total of what
1:11:05
Speaker 1: like four seconds. You get to see this in this
1:11:07
Speaker 1: final cut. So I think that's the bulk of the
1:11:11
Speaker 1: kind of gore he talks about being left on the
1:11:14
Speaker 1: on the tables from this scene, because every time I
1:11:17
Speaker 1: read about Event Horizon, I read about the space Hell
1:11:20
Speaker 1: scene and then you realize that in the movie it's like,
1:11:23
Speaker 1: like I said, four maybe five seconds long.
1:11:26
Speaker 6: Yeah, it's very quick, Yeah, very short.
1:11:28
Speaker 1: But very impactful. People remember that shit, I do, at
1:11:32
Speaker 1: least I do.
1:11:34
Speaker 6: Oh, trust me, I remember. You know. We were talking
1:11:37
Speaker 6: about our early experiences watching this, like you know this
1:11:40
Speaker 6: movie way back when. Yeah, that's definitely a standout, you know, Yeah,
1:11:44
Speaker 6: bringing that up.
1:11:46
Speaker 1: It's gross And I love it too because it's so
1:11:47
Speaker 1: late nineties with like the quick flash cuts and everything's
1:11:51
Speaker 1: so fast and style like overstylized.
1:11:54
Speaker 6: The stylistic choices from back then, you can distinctly tell
1:11:58
Speaker 6: that they're from that decade.
1:11:59
Speaker 1: Yeah, it's like you would have these quick cuts that
1:12:02
Speaker 1: they'd have like a knife effect over it, so it
1:12:04
Speaker 1: sounds like its forgetting. It was an interesting time. Man,
1:12:07
Speaker 1: we were trying way too hard. I was a kid.
1:12:09
Speaker 1: I wasn't adults were. One thing I did write down
1:12:15
Speaker 1: here was that I really love the use of color
1:12:19
Speaker 1: in this movie. And of course you're going back to
1:12:21
Speaker 1: Adrian Bibble, the cinematographer. The the movie kind of does
1:12:26
Speaker 1: have a desaturated look, mostly in the like setting. I
1:12:32
Speaker 1: think every other use of color in this movie is
1:12:34
Speaker 1: pretty beautiful. I directly wanted to, like mentioned in my
1:12:38
Speaker 1: notes that the like the sleep chambers in the Lewis
1:12:44
Speaker 1: and Clark are like the water is blue or the
1:12:46
Speaker 1: light is blue, which looks very nice in the in
1:12:50
Speaker 1: the room, the kind of like incubation chambers that Justin
1:12:54
Speaker 1: has put in in the Event Horizon are green, which
1:12:59
Speaker 1: look really great. Anytime color is used, whether it's between
1:13:03
Speaker 1: the lightning boxes for flash effects, or even in the
1:13:06
Speaker 1: kind of command the main pilot center for the Event Horizon,
1:13:10
Speaker 1: all the computers kind of radiate this red light. It
1:13:13
Speaker 1: all looks really good.
1:13:17
Speaker 6: I noticed what the ship's design and some of the
1:13:20
Speaker 6: color choices. It definitely has this very cold industrial feel
1:13:24
Speaker 6: to it, despite like however, however they were choosing to
1:13:27
Speaker 6: shoot it. It's beautiful looking, but you can almost immerse
1:13:31
Speaker 6: yourself in that ship, you know, the way that they portrayed.
1:13:36
Speaker 6: I thought that Paul W. S Anderson did a very
1:13:39
Speaker 6: nice job with that.
1:13:40
Speaker 1: Yeah, there's this. There's there's a scene actually I'm about
1:13:43
Speaker 1: to talk about. There is. There is some like confusing
1:13:47
Speaker 1: bits on the geography because after the so after the
1:13:54
Speaker 1: incident with Justin where he puts himself in the chamber,
1:13:56
Speaker 1: he's rescued by Lawrence Fishbourne in this like awesome base
1:14:00
Speaker 1: scene where he catches him as he's flying out of
1:14:02
Speaker 1: the air chamber.
1:14:04
Speaker 6: He is I was watching that before we hopped on
1:14:07
Speaker 6: here to record this because it's such It's definitely one
1:14:10
Speaker 6: of those scenes that sticks out to you.
1:14:12
Speaker 1: Oh it's fucking cool. There's like this wide shot and
1:14:16
Speaker 1: Justin's curled up as he exits the chamber and Lawrence
1:14:18
Speaker 1: Fishburn's in this big space suit kind of flying at him.
1:14:22
Speaker 6: Blood spewing everywhere. I'm like, man, you better hold onto
1:14:24
Speaker 6: those those eyes. Man.
1:14:26
Speaker 1: Yeah, man, it's cool. They put him in essentially what
1:14:30
Speaker 1: is like an incubation chamber. I guess it's like a
1:14:32
Speaker 1: comatose chamber and or it puts them to sleep. It's
1:14:35
Speaker 1: and it's it's green. And the room that they're in
1:14:38
Speaker 1: there's kind of like I think four or five of
1:14:39
Speaker 1: these on each side that are curved that are green,
1:14:42
Speaker 1: and then in the middle there's a big tank that's
1:14:44
Speaker 1: also green and they they when when Justin's put in it,
1:14:50
Speaker 1: he's on the left side of the frame, and there's
1:14:53
Speaker 1: this shot with all the crew and Lawrence Fishmann's standing
1:14:55
Speaker 1: in the middle up against a wall. And then when
1:14:59
Speaker 1: we cut back to the setting, we're on the other
1:15:02
Speaker 1: side because Justin is now on the right side of
1:15:06
Speaker 1: the frame, and the center wall where Laurence Fishbourne is
1:15:09
Speaker 1: now standing it was standing, is now replaced with a
1:15:13
Speaker 1: clear glass where you can see the green liquid on
1:15:16
Speaker 1: the inside. And I actually told my wife, I was like, wait,
1:15:19
Speaker 1: wasn't he on the left? Like why is he now
1:15:21
Speaker 1: on the right? So there's this kind of some geography
1:15:24
Speaker 1: things that get thrown off. It kind of like I
1:15:26
Speaker 1: lose my sense of where I'm at in the scene
1:15:29
Speaker 1: because it's not established that's the other side. You kind
1:15:33
Speaker 1: of have to put that together, but it was a
1:15:34
Speaker 1: little jarring for.
1:15:35
Speaker 6: Me, which no can I also add that throughout the
1:15:40
Speaker 6: entire movie, the score from Michael Kaman, I feel like,
1:15:45
Speaker 6: definitely elevates it up a notch. Incredible excuse or like, yeah,
1:15:52
Speaker 6: it's really the sound effects. The sound effects are very distinct.
1:15:56
Speaker 6: I know you and I were talking about it earlier.
1:15:57
Speaker 6: It kind of hearkens back to always reminds me Doom.
1:16:01
Speaker 1: Yeah, it's very uh, it's very atmosphere driven and it's simple.
1:16:06
Speaker 1: There are times when the score shows up, but it
1:16:10
Speaker 1: really stood out to me just in those brief moments
1:16:13
Speaker 1: of like a kind of melodic not even like a heartbeat.
1:16:17
Speaker 1: It's like a low base tone almost that hits and
1:16:21
Speaker 1: it's very good. It helps a lot when it comes
1:16:24
Speaker 1: to like the total experience of watching a scene. Oh yeah,
1:16:27
Speaker 1: this location that I was just talking about with the
1:16:30
Speaker 1: with the color green, there's an excellent scene here where
1:16:35
Speaker 1: Miller sits down with Jason Isaac's character and tells him
1:16:39
Speaker 1: about a crew member he used to work with that
1:16:43
Speaker 1: due to unfortunate circumstance, he had to leave behind who
1:16:46
Speaker 1: burned death yep, and Fishburne gives an incredible monologue in
1:16:54
Speaker 1: this scene about what happened, he kind of recaps the
1:16:57
Speaker 1: story of of what happened because of the visions that
1:17:01
Speaker 1: are that he's now you know happening. And in the
1:17:04
Speaker 1: original script they were supposed to shoot those those flashback
1:17:09
Speaker 1: scenes and show them, but Fishburne's performance was so impactful
1:17:14
Speaker 1: to Paul Debius Anderson, they didn't even do that, And
1:17:18
Speaker 1: it's an incredible little character scene. And I think in
1:17:22
Speaker 1: the legacy, when we look back on Fishbourne's career, I
1:17:25
Speaker 1: think that's one we're going to go back to because
1:17:27
Speaker 1: it's it's wonderfully done. And there's especially a moment when
1:17:32
Speaker 1: when Jay when he tells the story and Jason Isaac
1:17:35
Speaker 1: says to him, you know, I've been working for you
1:17:38
Speaker 1: for a long time and you've never told me that,
1:17:40
Speaker 1: And Laurence Fishburne says, that's the thing. I've never told anyone.
1:17:43
Speaker 1: The ship just knew. I closed the lifeboat hatch and
1:17:49
Speaker 1: I left him behind.
1:17:55
Speaker 4: I swear I'd never lose another man.
1:17:59
Speaker 6: I've known you o time.
1:18:01
Speaker 4: You never told me that.
1:18:02
Speaker 1: That's just it, DJ, I never told anybody, But this
1:18:08
Speaker 1: ship knew about it.
1:18:10
Speaker 4: It knows my fears.
1:18:12
Speaker 1: It knows my secrets, and it really it hit me.
1:18:18
Speaker 1: I was like, oh, this is good man, this is
1:18:20
Speaker 1: a master at work.
1:18:23
Speaker 6: Yeah, Because I mean, like we were talking about earlier,
1:18:25
Speaker 6: it's you know, the ship is diving into their own
1:18:29
Speaker 6: personal trauma, and you know everyone obviously handles it in
1:18:33
Speaker 6: a much different way. But I mean, he's definitely one
1:18:36
Speaker 6: of the shining shining spots out of that entire crew
1:18:42
Speaker 6: who was able to overcome that.
1:18:44
Speaker 1: So is Jason Isaacs too. Like when he is standing
1:18:48
Speaker 1: there with him and the replaying the audio on the
1:18:52
Speaker 1: tape recorder that they have, when he's trying to to
1:18:56
Speaker 1: interpret the Latin that's being spoken, he is terrified and
1:19:02
Speaker 1: it begins to scare me when he's going on how
1:19:05
Speaker 1: it makes me feel scared that he is so scared.
1:19:12
Speaker 1: I have another well, actually, okay, I have a great
1:19:14
Speaker 1: note here about how annoying the producer Jeremy Bill is
1:19:18
Speaker 1: in this commentary. This is I have a note that
1:19:21
Speaker 1: just says, uh, producer's insight in this movie is so annoying.
1:19:25
Speaker 6: You definitely didn't hold back.
1:19:27
Speaker 1: Come on, dude, he there's some comments he makes. I'm like,
1:19:30
Speaker 1: shut up.
1:19:31
Speaker 6: Dude, let's just say you know again, we've we've definitely
1:19:36
Speaker 6: uh listened to our fair share of commentaries. Some excel
1:19:39
Speaker 6: more than others. But I think for this there was
1:19:42
Speaker 6: a lot of great information that I'll say was only
1:19:44
Speaker 6: coming from one party and not both. Yeah, yeah, yeah,
1:19:48
Speaker 6: I'm not gonna name names.
1:19:51
Speaker 1: I will if you're Jeremy Bill. If you're listening, shut up.
1:20:00
Speaker 1: So at this point in the movie, we're pretty much
1:20:04
Speaker 1: the crew is trying to get the hell out of here.
1:20:06
Speaker 1: Their ship is repaired or right at the midst of
1:20:08
Speaker 1: being repaired, and there's a great moment we're right after
1:20:12
Speaker 1: the orgy scene where Laurence Fishbourne's character watches it and
1:20:17
Speaker 1: just goes, we're getting out of here. We're leaving. I
1:20:19
Speaker 1: think he says, we're leaving. It's like we're done. It's it,
1:20:24
Speaker 1: game over. We're leaving. That's all I need to say.
1:20:29
Speaker 1: And basically everybody is trying to collect everything to get
1:20:33
Speaker 1: out of here, and Peter Peter's death is she goes
1:20:40
Speaker 1: to collect the CO two tanks and as she's making
1:20:44
Speaker 1: her way out, she sees essentially her son run by
1:20:48
Speaker 1: back in the gravity driver room where she just left
1:20:51
Speaker 1: from collecting the CEO tanks. So she goes back in
1:20:54
Speaker 1: and follows him into this kind of corridor off of
1:20:59
Speaker 1: the gravity drive, which is conveniently shaped like a coffin,
1:21:02
Speaker 1: if anybody wants to go back and pick up on
1:21:04
Speaker 1: that little detail that the hallway is shaped like that.
1:21:07
Speaker 1: And this is one of my favorite visual moments of
1:21:10
Speaker 1: the movie because it's shot so well. There's this great
1:21:13
Speaker 1: wide shot when she's climbing the ladder and she kind
1:21:16
Speaker 1: of the ladder crosses through a corridor and it looks
1:21:19
Speaker 1: so good. And when she gets to the top where
1:21:22
Speaker 1: she's at, she's walking towards and her son is just
1:21:25
Speaker 1: standing there and he's a silhouette, and there's this beautiful shot.
1:21:30
Speaker 1: Mind you, when all this is happening, the lightning boxes
1:21:32
Speaker 1: are going off, so there's these blue flashes of light
1:21:35
Speaker 1: every couple seconds. Stroke warning for those who epilepsy.
1:21:41
Speaker 6: You're so kind, cross, thank you.
1:21:44
Speaker 1: There's this great moment where she kind of walks through
1:21:47
Speaker 1: some smoke and is kind of walking and thinking she's gonna,
1:21:51
Speaker 1: you know, be with her son, and this leads to
1:21:54
Speaker 1: one of the most insane death scenes of the movie,
1:21:56
Speaker 1: where she just fucking falls down a hole.
1:22:00
Speaker 6: That's an understatement.
1:22:03
Speaker 1: She falls down this hole and hits every protruding piece
1:22:07
Speaker 1: from the wall on the way down. It's a great
1:22:09
Speaker 1: dummy effect, and then falls I don't even know how
1:22:13
Speaker 1: many huge straight onto her back into the water that
1:22:19
Speaker 1: surrounds the gravity drive and it is fucking.
1:22:22
Speaker 6: Brutal, terrible way to go out. Ah Where okay, as
1:22:27
Speaker 6: far as a dummy drop like this, where does the
1:22:29
Speaker 6: stack up compared to some of the shiallow films that
1:22:32
Speaker 6: you've seen, because I know that they're notorious for I
1:22:35
Speaker 6: would say, I would say a different type of dummy
1:22:38
Speaker 6: drop still effective. Nonetheless, So this, this, this.
1:22:42
Speaker 1: To me is is opening of the psychic when when
1:22:47
Speaker 1: we have the dummy head smashing into or grazing against
1:22:51
Speaker 1: the rocks, when the mother jumps off the cliff, just brutal. No,
1:22:55
Speaker 1: it's it's it's it's only like you could tell it's
1:22:58
Speaker 1: a dummy because it's bouncing off of things, but it's
1:23:00
Speaker 1: not so apparent that it takes you out of it.
1:23:03
Speaker 1: You know, it does not lessen the effect of the
1:23:07
Speaker 1: death at all. And actually there was supposed to be
1:23:09
Speaker 1: more to this. It was originally written that her legs
1:23:12
Speaker 1: were going to be destroyed with bones protruding out and
1:23:15
Speaker 1: they decided just to never even shoot that because it's
1:23:18
Speaker 1: going to be too much. You know, it's so gross.
1:23:23
Speaker 1: But one of my coolest, one of the coolest insights
1:23:25
Speaker 1: I think I learned about this movie is right here,
1:23:27
Speaker 1: and that's when we are Sam Nil's character comes walking
1:23:31
Speaker 1: into Gravity Drive and he finds Peter's body and he's like, oh,
1:23:36
Speaker 1: I love that movie. He's like, oh, no, Peters. He goes,
1:23:42
Speaker 1: he goes over to her and he begins to hear
1:23:45
Speaker 1: Claire's voice say his name. And there is a transition
1:23:50
Speaker 1: shot here when he stands up from standing next to it.
1:23:56
Speaker 1: He's like kneeling next to Peters in the water, and
1:23:58
Speaker 1: he ends up and the camera pans across his jacket
1:24:03
Speaker 1: and now he's like in his living space. And to me,
1:24:10
Speaker 1: I thought, oh, it's like a white wipe transition, right,
1:24:13
Speaker 1: they went into his jacket and wiped and now we're
1:24:14
Speaker 1: in a new set. No. One hundred percent practical, And
1:24:19
Speaker 1: I know you know the shot that I'm talking about. Oh, yeah,
1:24:22
Speaker 1: one hundred percent practical. They cut a piece of the
1:24:25
Speaker 1: Gravity Drive set and just attach it to this set
1:24:28
Speaker 1: so they can do this in camera. So they didn't
1:24:29
Speaker 1: have to do any post production on it.
1:24:33
Speaker 6: Very smartly done.
1:24:34
Speaker 1: It's fucking cool, dude. And I think I would bet
1:24:37
Speaker 1: that most people listening to this who watch movies from
1:24:40
Speaker 1: a technical you know, I would think that this was
1:24:44
Speaker 1: an editing trick, because in my twenty years of video
1:24:49
Speaker 1: and photo editing, that's a very easy trick. We do
1:24:51
Speaker 1: it all the time. You probably see it on social
1:24:53
Speaker 1: media one hundred times a day and you don't even
1:24:56
Speaker 1: pick up on it because it's done so well. This
1:24:58
Speaker 1: is one hundred percent real, which is just super cool.
1:25:01
Speaker 1: I thought I had to talk about that. I just
1:25:04
Speaker 1: had to the explosion of the Lewis and Clark. So
1:25:10
Speaker 1: after sam Neil goes and sees Claire and we see
1:25:16
Speaker 1: Claire in the bathtub, we see that she committed suicide
1:25:20
Speaker 1: in the tub. She you know, stands over sam Neil.
1:25:25
Speaker 1: You get a little bit of like tit action, and
1:25:28
Speaker 1: then you know, he's like pressing his head against her
1:25:31
Speaker 1: stomach and then she rips his eyeballs out. And this
1:25:35
Speaker 1: is now phase two of sam Neil, which is.
1:25:41
Speaker 6: Really cool, progressively getting crazier and more insane. Yeah.
1:25:46
Speaker 1: Absolutely, And the Lewis and Clark at this point in
1:25:50
Speaker 1: the movie is just finished, like they just literally bolted
1:25:54
Speaker 1: together the final piece of the ship that they can leave,
1:25:58
Speaker 1: and they see we're in the Lewis and Clark and
1:26:04
Speaker 1: he is leaving and they're like, why was he just
1:26:08
Speaker 1: in here? And it turns out because he took one
1:26:10
Speaker 1: of the explosives and put it in the Lewis and Clark.
1:26:17
Speaker 1: It's like one of my favorite scenes of the movie
1:26:20
Speaker 1: because he says Smith is on a like a video
1:26:26
Speaker 1: transmission to Miller and who's on the other ship And
1:26:31
Speaker 1: he says, oh, so weird, weird was just on the
1:26:33
Speaker 1: ship and he left and he walked off, and Miller's like,
1:26:39
Speaker 1: hold on because he notices that one of the explosives
1:26:42
Speaker 1: are missing off of the corridor, like the kind of
1:26:45
Speaker 1: what are they Like, it's like a fail safe explosive,
1:26:48
Speaker 1: right if there was an issue, they can blow the
1:26:50
Speaker 1: ship in half. He notices one is missing, and he
1:26:53
Speaker 1: runs back to the transmission and he's like, he's like,
1:26:56
Speaker 1: get off the ship. We're brought one of the explosives
1:26:59
Speaker 1: on the dish and Smith is like, no, no, no,
1:27:01
Speaker 1: we just fixed it, Like we're going to go, and
1:27:04
Speaker 1: instead of leaving, he begins to search for wherever the
1:27:09
Speaker 1: explosive is on this ship, and he finds it and
1:27:13
Speaker 1: just explodes because he had to find it. I don't
1:27:16
Speaker 1: know what finding it did except just giving him a
1:27:19
Speaker 1: brief moment of acceptance. You know.
1:27:22
Speaker 6: It's unfortunately across the board.
1:27:24
Speaker 1: Would you have done that? Would you have tried to
1:27:26
Speaker 1: find it? Or would you have left?
1:27:30
Speaker 6: I would have left, he would have left.
1:27:31
Speaker 1: Okay, yeah, all right, we too. Everybody comment down below
1:27:37
Speaker 1: in Spotify comments, let me go to a left or
1:27:39
Speaker 1: you would have found it? But this was super cool.
1:27:45
Speaker 1: They talk about how the explosion of Lewis and Clark
1:27:48
Speaker 1: was done with a mixture of a ton of different effects.
1:27:53
Speaker 1: For the bulk of it, they ad miniatures, and these
1:27:56
Speaker 1: miniatures are huge. The Lewis and Clark was twenty five
1:28:00
Speaker 1: feet long, while the event horizon was seventy five feet long.
1:28:04
Speaker 6: I love finding out these little details about how they
1:28:07
Speaker 6: were able to, you know, really put all this together
1:28:12
Speaker 6: to give us essentially what we ended up getting visually.
1:28:15
Speaker 1: Yeah. Yeah, So you have the miniatures for the some
1:28:19
Speaker 1: of the exterior shots of the exploding ship, and then
1:28:23
Speaker 1: for the interior which looked great. They look phenomenal. Those
1:28:28
Speaker 1: were miniature explosions. They even had like little CGI people
1:28:33
Speaker 1: in place of some of the crew on some of
1:28:35
Speaker 1: the far shots, just to kind of show you that
1:28:37
Speaker 1: somebody was there. But my favorite little piece was that
1:28:40
Speaker 1: there's actually a shot outside with Cooper who was just
1:28:42
Speaker 1: finished repairing the ship Cooper played by Richard T. Jones,
1:28:46
Speaker 1: where he's standing there and there's a large explosion in
1:28:49
Speaker 1: front of him and he kind of gets thrown from
1:28:51
Speaker 1: the explosion. And that was practical. That was a stuntman
1:28:55
Speaker 1: with a real explosion in front of him, and they
1:28:58
Speaker 1: added that in and it sells everything incredibly well.
1:29:01
Speaker 6: I respect it.
1:29:02
Speaker 1: It's cool, man, It's fine. I want to blow up
1:29:04
Speaker 1: some miniature ship. It's after this that we get the
1:29:10
Speaker 1: reveal of Sam Neil's I guess you want to say
1:29:15
Speaker 1: final form.
1:29:17
Speaker 6: He's like a centemite at this point.
1:29:18
Speaker 1: He is, dude, this is what okay do you think?
1:29:21
Speaker 1: Do you think Weir's character in this, in his final form,
1:29:24
Speaker 1: is more Hell Raiser three or hell Raiser four.
1:29:30
Speaker 6: I'm gonn getting some Hell Raiser three vibes me too.
1:29:33
Speaker 1: It's like from it his head are hanging out in space.
1:29:37
Speaker 6: Yeah, I mean he's got all the markings.
1:29:42
Speaker 1: His body is covered in these deep gashes.
1:29:46
Speaker 6: Yeah. I mean he's not too far removed from someone
1:29:48
Speaker 6: that would be rolling with Pinhead.
1:29:50
Speaker 2: Yeah.
1:29:50
Speaker 1: Yeah, the Best Buds, Best Buds and Hellraiser.
1:29:55
Speaker 6: Equally as insane.
1:29:57
Speaker 1: Yeah, it's it's a it's a really cool look. It's
1:30:00
Speaker 1: very effective. Every single moment with him from this moment
1:30:04
Speaker 1: on is to remember.
1:30:06
Speaker 6: It's like nightmare fuel.
1:30:07
Speaker 1: Yeah, dude, And especially this scene that we're gonna talk
1:30:11
Speaker 1: about because we're getting to DJ, who is played by
1:30:14
Speaker 1: Jason Isaac's death scene where he is in the kind
1:30:20
Speaker 1: of medical wing that we were in before with Peters
1:30:23
Speaker 1: and he's kind of gathering stuff to transport justin from
1:30:27
Speaker 1: the event horizon back to the Lewis and Clark and
1:30:32
Speaker 1: we see that somebody has come in and grabbed him
1:30:36
Speaker 1: and threw him down onto a table and cut him open.
1:30:40
Speaker 1: We don't see a whole lot of it, you know.
1:30:42
Speaker 1: We see some blood shooting out of his mouth, We
1:30:43
Speaker 1: see the big scar on his chest that was there
1:30:45
Speaker 1: previous to this attack. And what we get in the
1:30:49
Speaker 1: movie is this incredible shot of Miller coming across his body.
1:30:57
Speaker 1: Is it Miller that comes across it, right, Miller that
1:30:59
Speaker 1: finds him? I believe it is.
1:31:02
Speaker 6: Yeah, I believe so.
1:31:03
Speaker 1: Where Miller comes into the medical wing and DJ is
1:31:11
Speaker 1: hung with hooks facing down, so his body is kind
1:31:17
Speaker 1: of flayed up hanging from hooks on the table in
1:31:22
Speaker 1: front of him. It's just a whole bunch of entrails
1:31:24
Speaker 1: and you can just tell that he's been gutted and
1:31:27
Speaker 1: then hung from these hooks, and it's a crazy image.
1:31:30
Speaker 1: Like that wide shot of him hanging there, to me
1:31:34
Speaker 1: is on the same level as the security guard reveal
1:31:37
Speaker 1: from Sounds of the Lambs. Very reminiscent, very memorable too,
1:31:45
Speaker 1: very memorable. This is where we talked earlier about like
1:31:48
Speaker 1: how much outside influencer was in this film. I definitely
1:31:51
Speaker 1: think this was like a oh that moment in Sounds
1:31:53
Speaker 1: of the Lambs because it's established the same exact way.
1:31:57
Speaker 6: It's but it works, you know what I mean, Like
1:32:00
Speaker 6: like there's certain scenes that even if it's pulled from,
1:32:05
Speaker 6: you know, another horror film, I think in the context
1:32:07
Speaker 6: of this movie, like we were saying earlier, I definitely
1:32:10
Speaker 6: feel like Paul W. S Anderson wears some of these
1:32:13
Speaker 6: influences on his sleeve. In this case, I feel like
1:32:17
Speaker 6: it's to the film's benefit. A little clever nod.
1:32:20
Speaker 1: Yeah, I mean imitation is the sincerest form of flattery.
1:32:23
Speaker 1: Like this is, you know, it's you can say it
1:32:27
Speaker 1: takes inspiration from because it's not directly copying, it's actually
1:32:30
Speaker 1: building upon and amplifying it. This is more disturbing, I think, well, okay,
1:32:36
Speaker 1: when directly compared to the Sons of a Lamb scene.
1:32:38
Speaker 1: I think the Sons of a Lamb scene is disturbing
1:32:42
Speaker 1: because it's played a little bit more real, you know,
1:32:45
Speaker 1: whereas this is in the sci fi room, but it's
1:32:47
Speaker 1: still an incredibly disturbing shot. In the original idea for
1:32:54
Speaker 1: the death scene, it's much worse. Man listen to this,
1:32:58
Speaker 1: So the same the same structure of the scene. He
1:33:04
Speaker 1: is hanging from the hooks, but in the original idea
1:33:07
Speaker 1: his entrails are on the table in front of him,
1:33:10
Speaker 1: but they're still connected to him. So he's been gutted,
1:33:14
Speaker 1: but they haven't been cut out of him. They were
1:33:16
Speaker 1: just pulled from him and then put on the table.
1:33:20
Speaker 1: And when Miller gets to him, there was going to
1:33:24
Speaker 1: be a shot of DJ's head whipping up and looking
1:33:29
Speaker 1: at him to show that he was still alive, whereas
1:33:33
Speaker 1: in this where we assume that he's dead because there's
1:33:36
Speaker 1: all kinds of organs on the table in the theatrical cut.
1:33:39
Speaker 6: That's pretty brutal, terrifying.
1:33:41
Speaker 1: Yeah, but so we would see his eyes moving and
1:33:45
Speaker 1: him breathing, and this would this scene would actually go
1:33:48
Speaker 1: on to show Laurence Fishbourne putting him out of his
1:33:50
Speaker 1: misery by shooting him in the head.
1:33:54
Speaker 4: Wild.
1:33:54
Speaker 6: Do you think that that would have benefited the movie?
1:33:59
Speaker 1: No, I don't think so.
1:34:01
Speaker 6: It just feels like I think it's it's borderline cruel
1:34:04
Speaker 6: at that point.
1:34:05
Speaker 1: Gross for the sake of being gross is like this
1:34:09
Speaker 1: is I feel like the most the best comparison that
1:34:13
Speaker 1: you can make would be like forty or six years later,
1:34:17
Speaker 1: when Marcus the Spell does Texas Chancelasker three, when Jessica
1:34:22
Speaker 1: Bill stabs Scott Vogel's character, remember when he's hanging in
1:34:26
Speaker 1: from the hook with the leg Oh yeah, yep, yep,
1:34:28
Speaker 1: And she puts him out of his misery because this
1:34:30
Speaker 1: one foot keeps hitting the piano and she's tired of
1:34:32
Speaker 1: hearing the piano. Notes. This gross for the sake of
1:34:39
Speaker 1: being gross, you know, And I think it would have
1:34:41
Speaker 1: been memorable because it would be it would be like, Oh,
1:34:44
Speaker 1: that's really nasty. But I don't think that would make
1:34:47
Speaker 1: this a better movie.
1:34:49
Speaker 6: Honestly, No, I don't know if, especially when you were
1:34:54
Speaker 6: talking about, you know, putting him out of his misery, yeah,
1:34:58
Speaker 6: would have a really enhance the experience. I mean maybe
1:35:00
Speaker 6: the entrails more so for the gore factor. I would
1:35:04
Speaker 6: appreciate that, but.
1:35:06
Speaker 1: I think it would have been I think it would
1:35:07
Speaker 1: have been effective if if his head shot up like
1:35:09
Speaker 1: he was alive, but then he died immediately, like just
1:35:12
Speaker 1: on his own, you know, and you just sell it
1:35:15
Speaker 1: that he was alive during all of this. I think
1:35:18
Speaker 1: the putting him out of his misery is like you know,
1:35:21
Speaker 1: means cold man. Yeah, it just to be mean. And also,
1:35:26
Speaker 1: like Laurence Fishburne, I don't know if his character would
1:35:30
Speaker 1: really have much of an emotional response to it. I
1:35:34
Speaker 1: feel like he'd be pretty cold about you know, you're
1:35:36
Speaker 1: my friend and I'm gonna take you out and then
1:35:39
Speaker 1: I got to move on, you know what I mean?
1:35:41
Speaker 1: But who knows. In the commentary, this actually leads to
1:35:46
Speaker 1: a brief conversation about how, like I mentioned earlier, quote
1:35:49
Speaker 1: unquote hardcore, the original cut of the movie was and
1:35:53
Speaker 1: Anderson goes on to talk about pressure from the studio
1:35:56
Speaker 1: and the test audiences about the level of gore. In
1:36:00
Speaker 1: your opinion, looking at late nineties horror, if this original
1:36:05
Speaker 1: cut had come out, knowing what we know about it,
1:36:08
Speaker 1: do you think this would have been probably one of
1:36:12
Speaker 1: the most extreme examples of violence and horror, at least
1:36:19
Speaker 1: in the mainstream at this time.
1:36:23
Speaker 6: If they had kept in all the like basically as
1:36:26
Speaker 6: a director's cut or the theatrical cut.
1:36:29
Speaker 1: If everything was in that we know was cut out
1:36:31
Speaker 1: from the director's cut, oh, without a doubt. Yeah, I mean,
1:36:35
Speaker 1: it's already labeled pretty extreme for this era, even with
1:36:39
Speaker 1: the theatrical cut.
1:36:41
Speaker 6: So yeah, I think, without a doubt, this would have
1:36:43
Speaker 6: been easily probably one of the more notable graphic horror
1:36:49
Speaker 6: films that we got at that decade. Yeah, I mean,
1:36:53
Speaker 6: is there anything that comes close to it that you
1:36:54
Speaker 6: can think of?
1:36:57
Speaker 1: I mean, not from not from mainstream horror. I mean,
1:37:01
Speaker 1: I'm sure there was some underground horror that I mean, well,
1:37:04
Speaker 1: this year, there definitely was, because nineteen ninety seven brought
1:37:07
Speaker 1: us permudos out of Germany, which is an incredibly violent movie,
1:37:12
Speaker 1: But that was not you know, that was a shot
1:37:14
Speaker 1: on video movie, so it was there, it just wasn't
1:37:17
Speaker 1: in the theaters per se. This would have been the
1:37:23
Speaker 1: most violent I think mainstream released movie.
1:37:26
Speaker 6: You would have been pushed in the boundaries forel like
1:37:28
Speaker 6: very much of the time.
1:37:30
Speaker 1: Yeah, for sure. I think this is the sort of
1:37:32
Speaker 1: like I feel like this is still you know, what
1:37:35
Speaker 1: Saw comes out in two thousand and one, so this
1:37:37
Speaker 1: is still like four or five years ahead of its time.
1:37:41
Speaker 6: That's a good point because you I mean, you would
1:37:43
Speaker 6: have had that coming down the pipeline. Maybe this would
1:37:46
Speaker 6: have kickstarted that a little bit earlier.
1:37:48
Speaker 1: Yeah, Kausaul comes out two thousand and one, you have
1:37:54
Speaker 1: the high tension, you know, one of the kind of
1:37:58
Speaker 1: like Landmark films or the new French extremity movie comes
1:38:01
Speaker 1: down tw thousand and three, Hostile comes out two thousand
1:38:03
Speaker 1: and four, anything that's kind of in like the post
1:38:07
Speaker 1: A nine to eleven wave under the torture porn banner
1:38:13
Speaker 1: is you know, I think where I don't think Event
1:38:15
Speaker 1: Horizon fits as torture porn, but I think the level
1:38:17
Speaker 1: of violence would have been much more accepted from the
1:38:21
Speaker 1: genre at that point. You know, Yeah, I could definitely
1:38:25
Speaker 1: say that, but this producer Jeremy Bolt does make up
1:38:30
Speaker 1: for his previous seventy minutes of idiocracy, though of idiocy,
1:38:36
Speaker 1: by saying that he actually prefers he actually looks back
1:38:40
Speaker 1: and prefers the extreme cut of the movie because he
1:38:42
Speaker 1: thinks it was better. So good guy kind of makes
1:38:46
Speaker 1: up for himself there. I don't know. I think it's
1:38:51
Speaker 1: I think it's interesting. I think I think this is
1:38:55
Speaker 1: kind of where they talk about the refining of the violence,
1:38:58
Speaker 1: that they could have found a way to maybe include
1:39:01
Speaker 1: a little bit more without going overboard, and that could
1:39:03
Speaker 1: have enhanced the movie. But I guess we'll never really
1:39:05
Speaker 1: know unless we get that director's cut.
1:39:08
Speaker 6: I'm holding out hope.
1:39:10
Speaker 1: Yeah right, yep. This is leading us to probably the
1:39:16
Speaker 1: most well known scene of the movie, and this is
1:39:20
Speaker 1: when we see the final final form well actually, okay, no,
1:39:24
Speaker 1: the secondary final form of weir of Sam Neil when
1:39:28
Speaker 1: he's in the captain ship or the captain's chair and
1:39:32
Speaker 1: we see that now his eyes are sown shut, and
1:39:35
Speaker 1: this is a scene that delivers the infamous line where
1:39:38
Speaker 1: we're going, we don't need eyes to see love it.
1:39:44
Speaker 1: It's it's great.
1:39:45
Speaker 6: I need to find some way to incorporate that into
1:39:49
Speaker 6: my daily life.
1:39:50
Speaker 1: Yeah, yeah, right, every day. Right, that's what you need
1:39:53
Speaker 1: to say when you're when you're when you're showing a client,
1:39:55
Speaker 1: like a dark closet, Yeah.
1:39:58
Speaker 6: Yeah, just picture it really and if you look in
1:40:02
Speaker 6: this closet where we're going, we don't need eyes to.
1:40:04
Speaker 1: Stay because it like.
1:40:09
Speaker 6: Whatever it takes man.
1:40:12
Speaker 1: So little context. Uh. Cooper has survived the explosion by
1:40:19
Speaker 1: being on the outside of the ship and began to
1:40:21
Speaker 1: float off on a piece of debris a little bit
1:40:23
Speaker 1: earlier in the movie, and he jumps off and in
1:40:27
Speaker 1: this scene where we see this form and the discussion
1:40:31
Speaker 1: between Weir and Miller, probably the most infamous visuals from
1:40:38
Speaker 1: the movie is Sam Neil sitting in the chair and
1:40:42
Speaker 1: in front of him.
1:40:42
Speaker 6: Is that siconic?
1:40:43
Speaker 1: It's so good, dude, It's so and it's a lit
1:40:46
Speaker 1: so well, it shows just enough. It's very creepy. Cooper
1:40:53
Speaker 1: finds himself floating towards the event horizon and when he
1:40:58
Speaker 1: this is this kind of reminds of Deep Lucy. When
1:41:01
Speaker 1: he when he bumps into the window in front of Weir,
1:41:07
Speaker 1: Weir shoots the window out, which causes a giant you know,
1:41:11
Speaker 1: like what's that called a vacuum leak? Is that like
1:41:14
Speaker 1: what it would be called or like, Yeah, basically it's
1:41:16
Speaker 1: like a vacuum leak where weird goes flying out the
1:41:21
Speaker 1: window into space. And both Stark, who we haven't even
1:41:26
Speaker 1: really talked about yet played by Jolie Richardson and Miller
1:41:31
Speaker 1: are in here and all the air is being sucked
1:41:33
Speaker 1: out of the room. They're trying their best to crawl
1:41:36
Speaker 1: out to the door. The producer Jeremy Bolt is giving
1:41:39
Speaker 1: me dumb insight, like, oh, the metal floor that they're
1:41:43
Speaker 1: holding onto is made out of rubber. Thanks Jeremy.
1:41:48
Speaker 6: I'll never look at it the same again.
1:41:50
Speaker 1: Right, And this is a good this is a good
1:41:53
Speaker 1: little scene. But my favorite part of this commentary is
1:41:56
Speaker 1: the fact that Anderson says that he just never quite
1:41:59
Speaker 1: got this scene right, Like they went and shot a
1:42:02
Speaker 1: whole bunch of pickup stuff after the movie was done,
1:42:05
Speaker 1: because they like the kind of tool that was put
1:42:09
Speaker 1: in the door to prevent the door from closing was
1:42:12
Speaker 1: added in during pickups, and he just felt like the
1:42:15
Speaker 1: scene was never as exciting as he wanted it to
1:42:18
Speaker 1: be because you have Miller kind of blocking the door
1:42:22
Speaker 1: and then going out the door and putting out his
1:42:24
Speaker 1: hand to save Stark and pull her through before the
1:42:26
Speaker 1: door shuts. He rated it a six out of ten.
1:42:31
Speaker 6: It's like, I appreciate the honesty at least.
1:42:34
Speaker 1: Yep. Yep. So now we have this plan that they're
1:42:39
Speaker 1: going to They have to get to one side of
1:42:42
Speaker 1: the event horizon and blow the explosives on the bridge
1:42:46
Speaker 1: that way they can leave. And there's a moment here
1:42:52
Speaker 1: when our character Stark is in the room with those
1:42:58
Speaker 1: kind of like sleep pods the green that we talked
1:43:00
Speaker 1: about earlier, where Justin is in and there's this incredible
1:43:05
Speaker 1: moment which is, let me know, let me know what
1:43:08
Speaker 1: movie you think this takes inspiration from where all of
1:43:11
Speaker 1: the liquid inside of the main pod fills with blood
1:43:15
Speaker 1: and then explodes and spills thousands of gallons of blood
1:43:20
Speaker 1: onto the floor.
1:43:23
Speaker 6: Is it having a correlation to The Shining?
1:43:25
Speaker 1: It? Actually, I think it's a direct reference to Ready
1:43:27
Speaker 1: Player one when they go into the Shining movie scene.
1:43:31
Speaker 1: That would be the Shining You're right, yeah.
1:43:34
Speaker 6: Yes, I'm thinking to myself, I'm like, what else could
1:43:37
Speaker 6: it be?
1:43:38
Speaker 1: Yeah, Ready Player one when they go into the Shining
1:43:40
Speaker 1: to try to find the key or like the hint whatever,
1:43:44
Speaker 1: and then they do they redo the elevator scene in
1:43:47
Speaker 1: the Fieldburg Ready player one. Sorry I was too much
1:43:51
Speaker 1: of a deep cut. I'm sorry, but uh so it's
1:43:55
Speaker 1: her and Cooper and the This was a real practical effect.
1:43:59
Speaker 1: They had thousands of gallons of water explode out of
1:44:03
Speaker 1: a tank with a stunt woman who gets hit by
1:44:06
Speaker 1: the water and she gets thrown down. So Cooper is
1:44:12
Speaker 1: one level below and there's a ladder in between the
1:44:16
Speaker 1: two levels. Even your dog's upset about this man, I
1:44:20
Speaker 1: completely get it.
1:44:22
Speaker 6: Event Horizon's gotten him.
1:44:23
Speaker 1: Yeah, he's in space Hill watch out. But she gets
1:44:30
Speaker 1: the blood pool I guess you know, comes down this
1:44:35
Speaker 1: chute down the ladder and she falls down the ladder
1:44:37
Speaker 1: where Cooper is able to get her. But there's a
1:44:40
Speaker 1: really cool deleted scene here. Let me know if you've
1:44:42
Speaker 1: ever seen this, where the shot when Stark falls down
1:44:46
Speaker 1: and she gets picked up, you actually see Sam Neil
1:44:52
Speaker 1: naked climbing down the ladder, but he's upside down, so
1:44:57
Speaker 1: he's not coming down the ladder legs first. He's upside down,
1:45:01
Speaker 1: going head first down facing the wall.
1:45:05
Speaker 6: I don't think I've seen this.
1:45:06
Speaker 1: It's it's it's unsettling.
1:45:08
Speaker 2: Man.
1:45:08
Speaker 1: I wish they came in the movie because he I
1:45:12
Speaker 1: guess their concern was it didn't make sense because he
1:45:14
Speaker 1: had just flown out. Yeah, but clearly he didn't. We
1:45:17
Speaker 1: know he didn't, and.
1:45:19
Speaker 6: At that point would even matter. I mean, he's just
1:45:21
Speaker 6: so unhinged, you know. I think it would have been
1:45:24
Speaker 6: plausible he's home.
1:45:26
Speaker 1: I mean, as he says, yeah, he's home, but yeah,
1:45:28
Speaker 1: he crawls down the ladder, upside down and backwards. It's
1:45:32
Speaker 1: very weird. It's very reminiscent of like the you know,
1:45:35
Speaker 1: the spider Walk from the.
1:45:36
Speaker 6: Extra Oh yeah, yep.
1:45:38
Speaker 1: But there's no jump scare at the end. You just
1:45:39
Speaker 1: kind of see him coming down. And I wish they
1:45:42
Speaker 1: kept it because it was super cool. He doesn't talk
1:45:44
Speaker 1: about why they didn't keep it. He just mentions that
1:45:46
Speaker 1: that they cut it out. Doesn't say anything. I know, Yeah,
1:45:51
Speaker 1: it sucks. But when we see Miller in the large corridor,
1:45:59
Speaker 1: and one thing I love about this is every time
1:46:01
Speaker 1: Miller comes running down the corridor, Paul ws Anderson is like,
1:46:05
Speaker 1: and now he's just running back towards the camera to
1:46:07
Speaker 1: make it look like he's still running and he's gonna
1:46:09
Speaker 1: run into the mirror like every single time. He's like,
1:46:12
Speaker 1: and here we go. He's just running this direction down
1:46:14
Speaker 1: the corridor. When he's in the corridor and he sees
1:46:22
Speaker 1: the burning man again, and the burning man lets out
1:46:27
Speaker 1: this large ball of fire that chases Miller down the hallway,
1:46:33
Speaker 1: through the rotating hallway into the gravity drive room. But
1:46:38
Speaker 1: listen to this shit, right, So this was all practical,
1:46:44
Speaker 1: this fire effect, which is huge. So the the you know,
1:46:50
Speaker 1: the the expert that that that devised this whole scene
1:46:54
Speaker 1: of how to do this practically brings in this giant
1:46:58
Speaker 1: flame thrower essentially to do this scene for real, obviously
1:47:02
Speaker 1: Lawrence Fishburn's not there, but to get these shots of
1:47:05
Speaker 1: the fire coming down the hallway and they're on a
1:47:09
Speaker 1: stage that's where this set is built. And the force
1:47:16
Speaker 1: from this giant flamethrower caused it to fall backwards and
1:47:23
Speaker 1: it began shooting fire into the ceiling, which was only
1:47:27
Speaker 1: made of wood. So Paul W. Sanderson says that he
1:47:32
Speaker 1: says to the guy who's supposed to be running this flamethrower, like,
1:47:36
Speaker 1: just go and shut it off, and he says, I can't.
1:47:38
Speaker 1: The button is on the side where the flames are
1:47:40
Speaker 1: coming out. So to make matters worse, this giant flamethrower
1:47:50
Speaker 1: then falls over and begins shooting flames into the ground
1:47:57
Speaker 1: below the set. And right where the flames are hitting
1:48:02
Speaker 1: underneath of that is where all the gas is being
1:48:06
Speaker 1: held that's fueling this flamethrower.
1:48:09
Speaker 6: Fuck that.
1:48:11
Speaker 1: Yeah, So essentially the set was nearly completely burned down.
1:48:18
Speaker 1: There was a lot of damage. The set was nearly
1:48:22
Speaker 1: burned down and was hastily evacuated due to fear of
1:48:25
Speaker 1: an explosion because.
1:48:28
Speaker 6: Yeah, no, I would have gotten out of there.
1:48:30
Speaker 1: As Yeah, it's pretty insane, man when you think about it, like,
1:48:35
Speaker 1: holy shit, I just thought that was a fun little,
1:48:40
Speaker 1: you know, insight. And actually only have one more note
1:48:44
Speaker 1: for the rest of the movie essentially because from here
1:48:48
Speaker 1: we get into the fight scene between final final form.
1:48:52
Speaker 1: We're and Miller in the drive room. And one thing
1:48:59
Speaker 1: that I know here, and I don't know if you
1:49:01
Speaker 1: picked up on this, but most of the shots of
1:49:03
Speaker 1: Sam Neil during this final fight between them are these
1:49:10
Speaker 1: extreme close ups on his eyes. It like every single
1:49:17
Speaker 1: shot of him is these really tight shots like on
1:49:20
Speaker 1: his eye, and I really like it. It's intense and
1:49:24
Speaker 1: its effective. It like sells you know how far gone
1:49:29
Speaker 1: he is and how evil he is at this point.
1:49:32
Speaker 6: Well he's been completely consumed by the ship. Ye by
1:49:35
Speaker 6: that point.
1:49:36
Speaker 1: It's really good because they've never like I mean, obviously
1:49:39
Speaker 1: you had close ups of sam Neil throughout the movie,
1:49:41
Speaker 1: but never to this point where these are like incredibly
1:49:44
Speaker 1: close and these weren't there to hide any effects because
1:49:48
Speaker 1: he's wearing almost a full body prosthetic covered in these
1:49:51
Speaker 1: cuts that looks phenomenal. They show it multiple times, so
1:49:55
Speaker 1: this wasn't a hiding thing. This is just purely a
1:49:57
Speaker 1: visual choice of how to shoot it, and it's incredibly effective,
1:50:04
Speaker 1: very effective. This is also that scene where there was
1:50:09
Speaker 1: some fire stuff that they had to delay because the
1:50:12
Speaker 1: room where the Great Drive was was so cold it
1:50:14
Speaker 1: was freezing the pipes, and your poor Sam Neil was
1:50:18
Speaker 1: practically nude. He was wearing an inch thick suit covered
1:50:23
Speaker 1: in scars that he couldn't even get too close to
1:50:26
Speaker 1: the fire anyway out of fear of it burning his suit.
1:50:31
Speaker 1: So a lot of a lot of crazy stuff here.
1:50:33
Speaker 6: We're thankful for his sacrifices.
1:50:35
Speaker 1: Thank you, Sam Neil. And then yeah, Miller is able
1:50:41
Speaker 1: to hit the button set off the explosives, Miller and
1:50:45
Speaker 1: Sam Neil go into a black hole and Cooper and
1:50:48
Speaker 1: Stark survive and I know what costs and retreated to
1:50:54
Speaker 1: a great and scare. When a crew finds the ship,
1:50:58
Speaker 1: they're in the chambers, you know, dead asleep, and they're
1:51:01
Speaker 1: led out and uh, Stark falls to the ground and
1:51:05
Speaker 1: looks up and the whoever is rescuing them flips open
1:51:11
Speaker 1: their helmet and it's weird in his fully form, it's
1:51:15
Speaker 1: fully cut.
1:51:16
Speaker 4: Up for him.
1:51:18
Speaker 6: And so do you think that the presence of whatever
1:51:22
Speaker 6: was on the ship followed the surviving crew members or
1:51:26
Speaker 6: do you think that they're left basically insane?
1:51:29
Speaker 3: Uh?
1:51:30
Speaker 1: In the commentary, Paul ws Anderson says that essentially what
1:51:34
Speaker 1: they were going for is that like this, this evil
1:51:36
Speaker 1: is stuck with her and that she's pretty much gone insane.
1:51:40
Speaker 1: You know, she's always going to she's always going to
1:51:42
Speaker 1: live with this, which yet again I think Marcus Nispel
1:51:46
Speaker 1: took for his two thousand and three remake of Texas
1:51:48
Speaker 1: Chainsaw Masker in the alternative ending where Jessica Bial lives
1:51:51
Speaker 1: in a and in Signing asylum. So lots of similarities
1:51:54
Speaker 1: here between yeah, oh three Texas chains.
1:51:57
Speaker 6: On it one inspired the other, maybe exactly.
1:52:00
Speaker 1: Exactly, but yeah, those were all my commentary notes for
1:52:04
Speaker 1: for Event Horizon.
1:52:07
Speaker 6: That was it. This is the most fun that I've
1:52:11
Speaker 6: had diving into a movie in some time. Like obviously
1:52:14
Speaker 6: with any of these we obviously have you know, a
1:52:16
Speaker 6: blast doing them, but to really learn so much more
1:52:20
Speaker 6: about this movie that has so much mystique behind it,
1:52:23
Speaker 6: it's a I wouldn't say it's a perfect film by
1:52:26
Speaker 6: any means. It's it has its flaws, but it makes
1:52:30
Speaker 6: you wonder what could have been, you know, if the
1:52:34
Speaker 6: director's cut had come into fruition.
1:52:37
Speaker 1: Yeah, it's I want the director's cut. I want to
1:52:40
Speaker 1: see it. I don't really know how I'm going to feel,
1:52:43
Speaker 1: as if it's going to really make the experience much
1:52:48
Speaker 1: better or not. I've grown, I've grown to throughout this
1:52:51
Speaker 1: research phase, really love this movie and it's become a
1:52:57
Speaker 1: favorite of mine for late nineties. It has become a
1:52:59
Speaker 1: favorite mind just in sci fi horror genre, you know,
1:53:02
Speaker 1: as a whole, and I think there are some glaring issues,
1:53:08
Speaker 1: but with this insight and kind of knowing what they
1:53:12
Speaker 1: went through, it makes it easier for me to ignore
1:53:16
Speaker 1: and to just enjoy the movie for what it is.
1:53:18
Speaker 1: You know, in ten months this movie was made.
1:53:21
Speaker 6: It's just a fun nineties through a ride.
1:53:25
Speaker 1: But there's genuine, just genuinely a lot of talent here,
1:53:28
Speaker 1: and the movie.
1:53:29
Speaker 6: Is shot incredibly well.
1:53:31
Speaker 1: It looks phenomenal, it's well acted. There's some really effective scares.
1:53:37
Speaker 1: I think there's a really cool idea in the middle
1:53:39
Speaker 1: of it. And if you know, the only thing left
1:53:43
Speaker 1: for us to see is additional gore or extended gore sequences,
1:53:49
Speaker 1: that's pretty good. You know at the end of the
1:53:51
Speaker 1: day that that's really all that was cut. I mean,
1:53:54
Speaker 1: I did read that there was maybe some character development
1:53:56
Speaker 1: that was cut, but you know, which they're It could
1:54:00
Speaker 1: be a little bit more with some of it, because
1:54:02
Speaker 1: it feels like we really focus on only a certain
1:54:05
Speaker 1: percentage of our crew and the rest of them are
1:54:08
Speaker 1: sort of like kind of expendable, and you know, while
1:54:11
Speaker 1: they have character traits that make them stand out, they're
1:54:14
Speaker 1: just not as fully fleshed out as somebody else. But
1:54:16
Speaker 1: I don't need every character fully fleshed out, you know.
1:54:19
Speaker 6: I think the one aspect about what had been reduced
1:54:23
Speaker 6: was the cosmic horror aspect of it. You know, like
1:54:26
Speaker 6: we were talking about earlier, the love Crafting influence. You
1:54:30
Speaker 6: obviously see that it's there, but anytime if you can,
1:54:32
Speaker 6: if you can find other ways to be able to
1:54:34
Speaker 6: enhance that, maybe even outside of the extended gore sequences.
1:54:38
Speaker 6: I love that type of stuff. It definitely creates the
1:54:41
Speaker 6: lore and the mythology behind you know, what's exactly going on.
1:54:45
Speaker 6: So yeah, but outside of that, I mean, you know,
1:54:48
Speaker 6: it just makes you wonder exactly even if you get
1:54:52
Speaker 6: some of the additional content is going to make this
1:54:54
Speaker 6: huge difference to the movie remains to be seen.
1:54:58
Speaker 1: I mean, I hope we get it, just just to
1:54:59
Speaker 1: have you know. I don't think anything should ever be
1:55:02
Speaker 1: left on the table. And you know, there are director's
1:55:04
Speaker 1: cuts that are less preferred over theatrical ones for whatever reason,
1:55:09
Speaker 1: and that's okay too. I just think the footage should
1:55:12
Speaker 1: be out and it should be up to you which
1:55:14
Speaker 1: version of it you like to see. So hopefully, you know,
1:55:17
Speaker 1: these rumors come true or we'll be talking about how
1:55:20
Speaker 1: these rumors are come alive again in another couple of years,
1:55:23
Speaker 1: like the Yeah, yeah, e vent Horizon's awesome, man, And
1:55:26
Speaker 1: I think you know, our goal with these episodes are
1:55:29
Speaker 1: always or the goal of the show is always to
1:55:32
Speaker 1: use these commentaries to create these discussions and talk about
1:55:35
Speaker 1: what we learned. But as always we try to say
1:55:38
Speaker 1: in every episode, anybody who's listening to this that's not
1:55:41
Speaker 1: into commentaries, I still would tell you, if you're a
1:55:44
Speaker 1: fan of Event Horizon, to go back and listen to
1:55:46
Speaker 1: this commentary because there was so much more insight than
1:55:50
Speaker 1: we even gave here. You know, like we were picking
1:55:54
Speaker 1: and choosing what we're discussing, and when you're doing a
1:55:58
Speaker 1: movie like this that has a fantastic commentary track from
1:56:01
Speaker 1: the director himself, there's a lot of incredible insight that
1:56:05
Speaker 1: you can learn beyond what we talked about.
1:56:07
Speaker 6: I think this audio commentary is worth going out of
1:56:10
Speaker 6: your way for. I mean, I would say that for
1:56:13
Speaker 6: the most part, with any of the other ones that
1:56:15
Speaker 6: we you know, have reviewed and and you know, dove into,
1:56:18
Speaker 6: but this one especially, you get a lot of great
1:56:21
Speaker 6: insight into what was going on during production.
1:56:24
Speaker 1: Of course, yeah, it was a whole lot of fun,
1:56:26
Speaker 1: and we took that from the I know I watched
1:56:28
Speaker 1: it on the Screen Factory Blu ray release. Which release
1:56:31
Speaker 1: did you watch it on?
1:56:34
Speaker 6: I believe mine was the line Skate release.
1:56:37
Speaker 1: Okay, that was Lion Skate Limited, right.
1:56:41
Speaker 6: I don't know if it was Lion Skate Limited.
1:56:43
Speaker 1: Hold on, it wasn't. It was a general Lion Skates
1:56:47
Speaker 1: steel book. It had the clearer slip with the hands
1:56:51
Speaker 1: right or the arms.
1:56:53
Speaker 6: Now, hold on, I think it was was a sheut fact.
1:57:01
Speaker 1: I was there a multiple steel books. Steve's gonna go
1:57:05
Speaker 1: grab it. For those who can't see well, for those
1:57:09
Speaker 1: listening on audio, there is a giant wall of movies
1:57:12
Speaker 1: behind Steve that is beautiful, and he's trying to peruse
1:57:15
Speaker 1: it for his four K copy of Event Horizon. If
1:57:18
Speaker 1: only he was a little bit more organized with his collection,
1:57:21
Speaker 1: we would be a nam.
1:57:22
Speaker 6: Hey, now, not in alphabetical order. I'm an idiot. It's upstairs.
1:57:33
Speaker 6: I apologize.
1:57:35
Speaker 1: I saw you perusing through the restaurant line. I was
1:57:39
Speaker 1: getting desperate Lions gates around here somewhere.
1:57:42
Speaker 6: I'm like, I know, I'm not that disorganized.
1:57:45
Speaker 1: No worries at all. I'm pretty sure you can find
1:57:48
Speaker 1: this on every release, even if you own the two
1:57:51
Speaker 1: thousand and what was that two thousand and six double
1:57:55
Speaker 1: disc DVD? I think this was recorded for I'm pretty sure. Yeah,
1:58:00
Speaker 1: that and sick. So even if you own that, you'll
1:58:01
Speaker 1: be able to find this commentary track highly highly recommended.
1:58:06
Speaker 1: Before we head out of here, man, any last words
1:58:08
Speaker 1: on Event Horizon.
1:58:11
Speaker 6: No, this was a lot of fun. I'm so happy
1:58:14
Speaker 6: that we covered this movie, and I encourage everyone to
1:58:17
Speaker 6: go back. Whether it's on the Blu Ray release or
1:58:19
Speaker 6: four ke release, go check it out. Check out this
1:58:22
Speaker 6: audio commentary. Very insightful and I hope it gives you
1:58:28
Speaker 6: guys a reason to give this movie a rewatch. Definitely
1:58:32
Speaker 6: deserving of it.
1:58:33
Speaker 1: And as always, remember what we preach here physical media
1:58:36
Speaker 1: is education. Please take the time to learn about the
1:58:40
Speaker 1: movies that you love. Watch the audio commentaries, look at
1:58:43
Speaker 1: the visual essays, read your booklets. I think that's my
1:58:46
Speaker 1: most important one that I always preach. The Screen Factory
1:58:49
Speaker 1: release for this that I watch it on is packed
1:58:52
Speaker 1: full of interviews, deleted scenes. I think there's a visual
1:58:57
Speaker 1: essay all produced by Justin Biem who always did incredible
1:59:01
Speaker 1: work and still does with Stream and Shell Factory. So
1:59:03
Speaker 1: I would encourage you to dive into all of those
1:59:07
Speaker 1: and keep in your to the ground. We'll see what
1:59:08
Speaker 1: happens with this rumored once again director's cut, possibly hitting
1:59:13
Speaker 1: physical media sometime soon, So Steve, let people know, let
1:59:19
Speaker 1: people know where they can find you on social media,
1:59:21
Speaker 1: but give people some insight, possibly as to what our
1:59:24
Speaker 1: next commentary episode.
1:59:26
Speaker 6: Is going to be. Yes, so you guys can find
1:59:28
Speaker 6: me at After Hours Video Ours is abbreviated. I'm on
1:59:33
Speaker 6: social media all over the place, definitely staying up to date,
1:59:37
Speaker 6: watching movies and having a chance to discuss some of
1:59:42
Speaker 6: my recent favorites. We actually are going to be for
1:59:47
Speaker 6: our next episode. Very excited for this one. We're going
1:59:50
Speaker 6: to be doing a deep dive into the case of
1:59:52
Speaker 6: the Bloody Iris. This is going to be a four
1:59:55
Speaker 6: K release that was put out by Sellu Loyd Dreams.
1:59:59
Speaker 6: Very excited to covered this. This is definitely up there
2:00:03
Speaker 6: for me as far as yellows go. Chris, what about you?
2:00:06
Speaker 1: I love that movie Love That's all Your Late Dreams
2:00:09
Speaker 1: release is perfect and I'm so excited to talk about it.
2:00:13
Speaker 6: So what can everyone find you at? Chris?
2:00:16
Speaker 1: I'm at Bearded film Guy on Instagram, always here on
2:00:19
Speaker 1: the Beyond of Blood podcasts and uh yeah, I guess
2:00:23
Speaker 1: we'll see you guys on the next one. Remember what
2:00:26
Speaker 1: we always preach here, don't go to space and definitely
2:00:31
Speaker 1: stay away from ships at full space to travel faster, right,
2:00:36
Speaker 1: take your time, do this speed limit.
2:00:39
Speaker 6: I thought it was where we're going. We don't need
2:00:41
Speaker 6: eyes to see.
2:00:43
Speaker 1: Well, where we're going. We do need eyes to see
2:00:47
Speaker 1: because we have to watch movies.
2:00:49
Speaker 6: Yeah, that's true.
2:00:51
Speaker 1: All right, until the next one. We'll see you guys soon.
2:00:54
Speaker 6: Catch guys the next one.
2:01:01
Speaker 3: Thank you for listening to hear more shows from the
2:01:04
Speaker 3: Someone's Favorite Productions podcast network. Please select the link in
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