Latest / Movie Meltdown / 290: The Macabre of the House of Usher

Transcript

290: The Macabre of the House of Usher · Movie Meltdown

• 0:09
  Speaker 1: Hello, creeps.
• 0:11
  Speaker 2: It's me, the Crypt Keeper.
• 0:13
  Speaker 3: And you're listening to Movie Meltdown, the greatest movie geek
• 0:17
  Speaker 3: show on Earth.
• 0:18
  Speaker 4: .
• 0:19
  Speaker 5: Good evening.
• 0:36
  Speaker 6: The following feature has been rated R by the Motion
• 0:39
  Speaker 6: Picture Association of America.
• 0:41
  Speaker 7: It is intended for mature audiences and parental discretion is advised.
• 0:46
  Speaker 8: Our nuclear reactor pumping out one million kilowatts of power.
• 1:16
  Speaker 9: And I had that house of your father bulldozed to
• 1:18
  Speaker 9: the ground.
• 1:42
  Speaker 10: Boys and girls of every age Wouldn't you like to
• 1:46
  Speaker 10: see something strange? Come with us.
• 1:49
  Speaker 2: And you will see This our town of Halloween.
• 1:54
  Speaker 11: This is Halloween, this is Halloween Won't you scream in
• 1:58
  Speaker 11: the dead of night?
• 2:00
  Speaker 12: This is Halloween, everybody may see Don't cheat, don't.
• 2:02
  Speaker 11: Hate, let's get a damn right This our town of.
• 2:05
  Speaker 3: Halloween This town of.
• 2:09
  Speaker 10: Halloween What's up and welcome to Movie Meltdown. I'm Brian
• 2:13
  Speaker 10: and we're coming to you live via digital recording from
• 2:16
  Speaker 10: Meltdown Macabre right here at Nancy's Bagel Grounds and it
• 2:19
  Speaker 10: is the second annual Halloween Horror Festival.
• 2:25
  Speaker 13: And it's kind of awesome.
• 2:26
  Speaker 9: The first one without Mama Dracula.
• 2:28
  Speaker 10: The first one where we've tried to make it through without.
• 2:31
  Speaker 13: Our Mama, Mama Dracula.
• 2:33
  Speaker 10: Alright, let's go torment Yoko.
• 2:44
  Speaker 13: All right, look who it is. It's Yoko.
• 2:47
  Speaker 3: Hey.
• 2:47
  Speaker 13: Hey.
• 2:48
  Speaker 12: I'm completely famished. Brian's been holding me captive here for
• 2:56
  Speaker 12: eight to nine hours. I've been chained to the wall.
• 2:58
  Speaker 12: He won't let me leave.
• 2:59
  Speaker 10: You're going to watch your movies, and you're going to
• 3:01
  Speaker 10: like it.
• 3:02
  Speaker 12: I need to eat. I especially love the cartoons, but
• 3:06
  Speaker 12: I've got to think for cartoons. I love, love, love
• 3:10
  Speaker 12: Max Fleischer. He's one of my favorite animators of all time.
• 3:13
  Speaker 10: There's some very strange cartoons in that mix. Yeah.
• 3:16
  Speaker 12: I love the simple character designs, and they're very dynamic.
• 3:21
  Speaker 12: I really liked the Felix the Cat cartoon a whole lot, too,
• 3:27
  Speaker 12: and they were all very cute characters. I really need water, Brian.
• 3:33
  Speaker 12: You have to start. I mean, can you just call
• 3:37
  Speaker 12: my mother and tell her that I'm okay?
• 3:39
  Speaker 13: Are you really, though? I think that's a questionable sort
• 3:41
  Speaker 13: of thing.
• 3:42
  Speaker 12: My wrists have been rubbed raw by the cuffs from
• 3:46
  Speaker 12: the wall.
• 3:46
  Speaker 10: Eventually you'll gnaw your way through your arm, I mean.
• 3:51
  Speaker 14: Yeah.
• 3:53
  Speaker 12: He won't let me leave, guys. He really won't. Where
• 3:57
  Speaker 12: did you find this film? This is a great film
• 4:00
  Speaker 12: that you showed.
• 4:01
  Speaker 15: It.
• 4:03
  Speaker 1: I don't know.
• 4:03
  Speaker 12: I like art films. I love the cinematography. I loved
• 4:08
  Speaker 12: everything except for you forcing me to be here. That's
• 4:12
  Speaker 12: the only thing.
• 4:13
  Speaker 10: I don't think I'm forcing you up until right now.
• 4:16
  Speaker 10: Before that, you were enthralled in the film and the music.
• 4:20
  Speaker 12: They call it Stockholm Syndrome.
• 4:22
  Speaker 13: And you love it. No, really, that's how it works.
• 4:27
  Speaker 12: And the score was beautiful. It was very ethereal and...
• 4:31
  Speaker 12: It was fitting and it worked and it was really rad.
• 4:34
  Speaker 12: Very cool. I'm not used to being in the presence
• 4:38
  Speaker 12: of real musicians.
• 4:41
  Speaker 10: You yourself are a mostly real musician.
• 4:44
  Speaker 2: Yeah.
• 4:45
  Speaker 12: I mean, it's art, so you can call it anything.
• 4:48
  Speaker 12: It's fun, right?
• 4:49
  Speaker 13: That's the best part about it.
• 4:50
  Speaker 14: Right.
• 4:51
  Speaker 10: People can't call you on that.
• 4:55
  Speaker 12: I liked everything. I like you, Brian. This was good.
• 4:57
  Speaker 12: This was.
• 4:59
  Speaker 10: I like to put weird things together and I continue
• 5:02
  Speaker 10: to do so. Whether anybody else wants to come, at
• 5:05
  Speaker 10: least you can.
• 5:06
  Speaker 12: What was your favorite cartoon that you showed?
• 5:08
  Speaker 10: I'm disturbed by most of them.
• 5:11
  Speaker 12: You're disturbed by them? You don't love them? I saw
• 5:13
  Speaker 12: that you had that claymation of that Mark Twain movie.
• 5:16
  Speaker 13: That thing is so weird.
• 5:17
  Speaker 12: That movie reminds me of having strep throat because I
• 5:23
  Speaker 12: watched it when I had strep throat as a little girl.
• 5:25
  Speaker 12: So whenever I watched that Halley's Comet, is it called
• 5:28
  Speaker 12: Halley's Comet?
• 5:30
  Speaker 10: It had a whole big long name and a subtitle.
• 5:32
  Speaker 10: It was like The Adventures of Mark Twain in Hell.
• 5:35
  Speaker 14: It's weird.
• 5:36
  Speaker 12: I really like that movie, though.
• 5:37
  Speaker 13: Here, Phillip, would you like to join in? Hi, everybody.
• 5:40
  Speaker 13: This is Phillip.
• 5:41
  Speaker 12: It's really good. Taylor, what did you think of the film?
• 5:44
  Speaker 12: Tell me what you thought about the film.
• 5:46
  Speaker 9: It was pretty good.
• 5:48
  Speaker 13: It was pretty good. It had a good score. A
• 5:52
  Speaker 13: good beat. You could dance to it.
• 5:53
  Speaker 12: I really want Usher's outfit. Not the popular late.
• 5:57
  Speaker 3: 90s R & B singer.
• 5:58
  Speaker 13: Or when he's dancing with that Honey Nut Cheerios bee.
• 6:01
  Speaker 12: No. That's what I want.
• 6:02
  Speaker 13: Actually, I want the bees outfit.
• 6:04
  Speaker 12: I liked his little bitty skinny trousers. He had great
• 6:07
  Speaker 12: legs for skinny pipe jeans. He should be in a
• 6:10
  Speaker 12: glam rock band. Did you see how little his legs were?
• 6:13
  Speaker 10: I believe at this point they refer to that as vintage.
• 6:16
  Speaker 10: Those clothes would probably be considered very vintage.
• 6:18
  Speaker 12: I really want that outfit, though. I would look really
• 6:20
  Speaker 12: bitchin' in a vampire outfit like that.
• 6:24
  Speaker 10: Are you saying Usher is a vampire? Is this what
• 6:26
  Speaker 10: your conclusion.
• 6:27
  Speaker 17: Is for the film?
• 6:28
  Speaker 12: I just want to go home, and you won't let me,
• 6:30
  Speaker 12: and I can't be held accountable for what I'm saying.
• 6:34
  Speaker 12: It's like you always get me in these altered states.
• 6:37
  Speaker 12: This time it's extreme duress. It's like the last time
• 6:42
  Speaker 12: it was mania, and before that it was drunkenness.
• 6:46
  Speaker 10: You notice you always have these states, though.
• 6:48
  Speaker 13: I don't have any of those states you mentioned.
• 6:50
  Speaker 10: I mean, a little mania, but... I like to keep
• 6:53
  Speaker 10: it under control and bury it under my house. Other
• 6:56
  Speaker 10: than that, I don't have these crazy states that you have.
• 7:02
  Speaker 12: Chicken and waffles.
• 7:02
  Speaker 10: I think that's what I had last time I left
• 7:06
  Speaker 10: one of these ships.
• 7:08
  Speaker 13: All right, Yoko, say goodbye.
• 7:10
  Speaker 12: Good night. Brian, thank you.
• 7:12
  Speaker 13: Thanks for coming out.
• 7:13
  Speaker 15: If you're touched by the words in this song Baby.
• 7:20
  Speaker 9: You got it, you got it bad.
• 7:23
  Speaker 13: And you're gonna feel.
• 7:25
  Speaker 18: Hanged up when you call right back.
• 7:28
  Speaker 15: Oh, you got it, you got it back.
• 7:30
  Speaker 19: And you miss a thing without a friend your whole
• 7:33
  Speaker 19: life's a drag.
• 7:38
  Speaker 9: Have you ever walked through a graveyard late at night
• 7:41
  Speaker 9: and seen a coffin open?
• 7:42
  Speaker 20: Have you ever thought what it would be like to
• 7:44
  Speaker 20: see a person's head amputated?
• 7:47
  Speaker 11: Think.
• 7:47
  Speaker 9: Think of things so horrible that the human mind cannot
• 7:50
  Speaker 9: imagine them.
• 7:50
  Speaker 11: See all this and more when you see on stage,
• 7:54
  Speaker 11: in person, that crazy mixed-up Dr.
• 7:56
  Speaker 9: Evil and his tears of the unknown.
• 7:58
  Speaker 11: Unlike anything that you've ever seen or heard.
• 8:00
  Speaker 9: Of in the past. Hideous creatures from beyond the grave
• 8:03
  Speaker 9: leave the stage and grab girls right out of their seats.
• 8:06
  Speaker 20: Girls, do not come alone. Bring your boyfriend to protect
• 8:09
  Speaker 20: you when the lights go out.
• 8:11
  Speaker 9: You may find a live snake or rat under your seat.
• 8:14
  Speaker 20: A real dead body is given away to some lucky
• 8:18
  Speaker 20: person at every performance.
• 8:20
  Speaker 9: Also in person.
• 8:21
  Speaker 11: The Mummy and King Kong, famous Halloween gorilla, real and alive.
• 8:25
  Speaker 9: Plus on the screen, two horrific motion pictures. Dr.
• 8:28
  Speaker 11: Evil and his tears of the unknown. Plus two horrific pictures.
• 8:32
  Speaker 12: Ah!
• 8:36
  Speaker 4: Hey guys, look what I've got.
• 8:38
  Speaker 10: Check out these awesome earbuds I'm using right now.
• 8:42
  Speaker 13: Look at that.
• 8:43
  Speaker 10: That's wood right there.
• 8:44
  Speaker 13: That's actual wood.
• 8:46
  Speaker 17: Why would you use wood to make technology?
• 8:48
  Speaker 4: Because they're... It's like.
• 8:51
  Speaker 10: They're steampunk.
• 8:52
  Speaker 13: Is steampunk really wood? I thought it was more of
• 8:55
  Speaker 13: a brass thing.
• 8:56
  Speaker 4: Well, you gotta work the wood in to hold the
• 8:57
  Speaker 4: brass together.
• 8:59
  Speaker 10: These are the fancy high-end steampunk versions with a mic
• 9:02
  Speaker 10: built in, mind you.
• 9:04
  Speaker 4: But yeah, where would I.
• 9:06
  Speaker 10: Get these you under tweaked audio.
• 9:11
  Speaker 9: Way to pitch.
• 9:13
  Speaker 13: You want to hear more? You say.
• 9:16
  Speaker 17: Tweaked audio.com.
• 9:18
  Speaker 10: Hey, they are available in three styles and seven colors
• 9:21
  Speaker 10: and they sound pretty damn good. I kind of forgot
• 9:23
  Speaker 10: cause I hadn't had my old pair in a while
• 9:26
  Speaker 10: and I was using the knockoff crappy ones I bought
• 9:28
  Speaker 10: at the store and I, I got these and put
• 9:31
  Speaker 10: them in.
• 9:31
  Speaker 13: I was like, Oh shit, that's right. These are actually
• 9:33
  Speaker 13: really good. So they are professional quality earbuds, mind you.
• 9:37
  Speaker 10: And noise reducing, compatible with your iPods and most phones,
• 9:43
  Speaker 10: unless you have a dumb phone.
• 9:44
  Speaker 13: You should really get a smartphone, not a dumb phone.
• 9:48
  Speaker 10: So anyway, the basic rundown here, if you need yourself
• 9:51
  Speaker 10: some earbuds, tweakedaudio.com. And if you go there, there's a deal.
• 9:56
  Speaker 10: There's a meltdown deal. If you go, there's a discount
• 9:59
  Speaker 10: code and you put in Meltdown, you get 33% off
• 10:02
  Speaker 10: and free shipping.
• 10:04
  Speaker 13: You guys are excited, right?
• 10:06
  Speaker 10: Yeah.
• 10:07
  Speaker 4: As well you should be. tweakedaudio.com Use the Meltdown code.
• 10:10
  Speaker 13: That's all I'm saying. house.
• 10:20
  Speaker 5: Enter at your own risk.
• 10:23
  Speaker 10: I made it for $ 30, 000 in two days and a night.
• 10:37
  Speaker 13: This is Roger Corman and you're listening to Movie Meltdown.
• 10:48
  Speaker 17: Want some music for your ears? Doo-Wop Shop makes it
• 10:50
  Speaker 17: easy to rent for any event, business meeting, or special occasion.
• 10:54
  Speaker 17: From PA systems to karaoke machines to just about anything
• 10:57
  Speaker 17: that makes noise, you can rent it from the Doo-Wop Shop.
• 11:00
  Speaker 17: In Louisville, find them either at their Highland Store at
• 11:02
  Speaker 17: 1587 Bardstown Road or in the East End at 2915
• 11:06
  Speaker 17: South Hurstburn Parkway. And look for them online at DooWopShop.com.
• 11:11
  Speaker 17: Doo-Wop Shop. We're serious about music. Your mission, should you
• 11:18
  Speaker 17: choose to accept it, is Project Poe.
• 11:22
  Speaker 5: And at those mere points of time where the confines
• 11:26
  Speaker 5: of the waking world blend with the world of dreams.
• 11:32
  Speaker 5: And so I captured this fancy where all that we
• 11:37
  Speaker 5: see or seem is but a dream within a dream.
• 11:57
  Speaker 21: From childhood's eye, I have not been as others were.
• 12:02
  Speaker 21: I have not seen as others saw.
• 12:08
  Speaker 13: I had walled the monster.
• 12:11
  Speaker 9: Up within half.
• 12:17
  Speaker 19: A tomb.
• 12:22
  Speaker 21: It was many and many a year ago, in a
• 12:25
  Speaker 21: kingdom by the sea, that a maiden there lived whom
• 12:29
  Speaker 21: you may know by the name of Annabel Lee. And
• 12:33
  Speaker 21: this maiden, she lived with no other thought than to
• 12:37
  Speaker 21: love and be loved.
• 12:42
  Speaker 7: By me.
• 12:46
  Speaker 2: That motley drama, I'll be sure it shall not be forgot,
• 12:50
  Speaker 2: with its phantom chased forevermore by a crowd that sees
• 12:56
  Speaker 2: it not. through a circle that ever returneth in to
• 12:59
  Speaker 2: the selfsame spot, much of madness, more of sin, and horror,
• 13:09
  Speaker 2: the soul of.
• 13:14
  Speaker 21: The plot.
• 13:22
  Speaker 22: Once, Upon a midnight dreary, while I pondered weak and eerie,
• 13:27
  Speaker 22: over many a quaint and curious volume of forgotten lore.
• 13:32
  Speaker 22: While I nodded, nearly napping, suddenly there came a tapping,
• 13:37
  Speaker 22: as of someone gently rapping, rapping at my chamber door.
• 13:42
  Speaker 22: To some visitor I muttered, tapping at my chamber door.
• 13:47
  Speaker 17: Only this, nothing more.
• 13:49
  Speaker 23: On the raven!
• 14:02
  Speaker 11: Leave my loneliness unbroken.
• 14:03
  Speaker 13: Put the bust above my door.
• 14:05
  Speaker 9: Take thy beat from out my heart. And take thy
• 14:08
  Speaker 9: form from off my door, quoth the raven.
• 14:12
  Speaker 1: No more.
• 14:12
  Speaker 24: And the raven, ever free, still is sitting, still is
• 14:19
  Speaker 24: sitting on the pallid bust of the palace just above
• 14:22
  Speaker 24: my chamber door.
• 14:24
  Speaker 7: His eyes have all the seeming of the demons that
• 14:27
  Speaker 7: he's dreamin'. A lamplight toward him streaming throws his shadow
• 14:32
  Speaker 7: on the floor, and my soul, from.
• 14:35
  Speaker 22: Out that shadow that lies floating on the floor, shall
• 14:38
  Speaker 22: be lifted.
• 14:41
  Speaker 9: Nevermore.
• 14:46
  Speaker 13: Hi, I'm Philip.
• 14:51
  Speaker 3: I'm Jeff.
• 14:52
  Speaker 9: I'm Sterling.
• 14:54
  Speaker 10: All right, so to get into the movie information here
• 14:56
  Speaker 10: for our Project Poe, Our ongoing series of Edgar Allan
• 15:00
  Speaker 10: Poe films, which it's been a long time since we've
• 15:03
  Speaker 10: done one.
• 15:04
  Speaker 13: So that was another reason I was glad this one
• 15:05
  Speaker 13: was picked. The Fall of the House of Usher.
• 15:09
  Speaker 10: The year is 1928.
• 15:11
  Speaker 17: Let's see where.
• 15:14
  Speaker 10: Would you like to give us the proper pronunciation on
• 15:17
  Speaker 10: the director? Because I'm going to say it all American-like.
• 15:21
  Speaker 12: I probably... Jean Epstein? Epstein?
• 15:24
  Speaker 4: Jane Epstein.
• 15:26
  Speaker 22: Jane Epstein.
• 15:26
  Speaker 13: Epstein.
• 15:28
  Speaker 9: I think that'll work.
• 15:30
  Speaker 25: On the film it says Jean Epstein like in the title.
• 15:33
  Speaker 6: Jean Epstein.
• 15:35
  Speaker 10: More Frenchy.
• 15:36
  Speaker 13: Come on.
• 15:37
  Speaker 23: Jean Epstein.
• 15:38
  Speaker 15: Nice.
• 15:39
  Speaker 9: No, I think my favorite was Jean Epstein.
• 15:41
  Speaker 10: Jean Epstein.
• 15:43
  Speaker 6: So my German popped in there for a sec.
• 15:44
  Speaker 13: It's like twangs up all of a sudden.
• 15:48
  Speaker 10: And usually I'll try to do the IMDb plot summary
• 15:52
  Speaker 10: but they just kind of start like it's just rambling
• 15:55
  Speaker 10: about the movie so I don't know.
• 15:57
  Speaker 13: It's an adaptation of the Edgar Allen Poe story. There
• 15:59
  Speaker 13: you go.
• 16:01
  Speaker 10: You can start with that. All right, so tell the
• 16:06
  Speaker 10: people your names and this rocking band that you're in.
• 16:10
  Speaker 12: I'm Jacqueline.
• 16:11
  Speaker 9: And I'm Nick.
• 16:12
  Speaker 12: And we make up Bermudan.
• 16:15
  Speaker 10: Yes.
• 16:16
  Speaker 6: Which is an experimental, partially metal-y band.
• 16:20
  Speaker 10: There's metal in there.
• 16:22
  Speaker 15: Yeah.
• 16:24
  Speaker 26: So is it just the two of you, or are
• 16:25
  Speaker 26: there more.
• 16:27
  Speaker 25: It's currently just us two. We are in the process
• 16:31
  Speaker 25: of recording a little demo album.
• 16:34
  Speaker 13: It's just us.
• 16:36
  Speaker 25: She plays cello, keys, bass, and does vocals. I do
• 16:43
  Speaker 25: guitar and keys and vocals. We're just looking for a
• 16:47
  Speaker 25: drummer right now that can do a bunch of different
• 16:50
  Speaker 25: kinds of stuff.
• 16:51
  Speaker 9: We shall talk after.
• 16:53
  Speaker 13: Hint, hint. he's a really good drummer.
• 16:57
  Speaker 6: There are like no drummers, no available drummers in Louisville.
• 17:00
  Speaker 13: And I'm just like, no, I'm, I'm pimping you out.
• 17:04
  Speaker 9: I appreciate that.
• 17:06
  Speaker 5: That means a lot.
• 17:06
  Speaker 10: But I mean, you were like strapping cymbals to your
• 17:09
  Speaker 10: knees there while you were trying to play. So I
• 17:11
  Speaker 10: think you guys got it covered if you wanted to,
• 17:13
  Speaker 10: but you.
• 17:13
  Speaker 13: Know, that's, you can expand.
• 17:15
  Speaker 15: Yeah.
• 17:15
  Speaker 23: In all honesty, I didn't mind your sound without drums.
• 17:18
  Speaker 23: I mean, maybe it was just the confined space that
• 17:20
  Speaker 23: we were in while watching.
• 17:21
  Speaker 6: It would have been a little much.
• 17:22
  Speaker 23: But at the same time, uh, you know, having, having
• 17:26
  Speaker 23: the sound and having the sound fade in and out
• 17:30
  Speaker 23: and having the tempo be able to change so subtly
• 17:32
  Speaker 23: in the middle was a real, was a real advantage.
• 17:35
  Speaker 23: I thought, you know, um, your choices consistently were surprising
• 17:39
  Speaker 23: and interesting. And that's one of the things that I
• 17:41
  Speaker 23: enjoyed so much because this film is consistently surprising and
• 17:44
  Speaker 23: interesting on a visual level. Um, speaking of which I
• 17:47
  Speaker 23: also want to say that, yeah, the, the film has
• 17:50
  Speaker 23: a kind of, it's got a hazy quality. It feels,
• 17:52
  Speaker 23: it feels like it was filmed, like half of it
• 17:54
  Speaker 23: was filmed in smoke or fog.
• 17:56
  Speaker 15: Right.
• 17:56
  Speaker 23: But with that said, it's just France, but it may, yeah,
• 17:59
  Speaker 23: that's just the way France looks, but, uh, collects all
• 18:02
  Speaker 23: the fog from Germany.
• 18:04
  Speaker 13: Um, but, uh, as the, um, but as the, uh, the,
• 18:07
  Speaker 13: the images.
• 18:08
  Speaker 23: Emerged, you know, as you see like the image of
• 18:09
  Speaker 23: the castle or the people, you know, they sort of
• 18:12
  Speaker 23: gradually became more definite and your music had the same
• 18:15
  Speaker 23: quality during the show itself. Um, you know, we heard
• 18:18
  Speaker 23: melodies emerge sort of seemingly spontaneously. But I was like, oh, wait,
• 18:21
  Speaker 23: but I was hearing that earlier, too. So, you know,
• 18:24
  Speaker 23: it was a really fantastic accompaniment. So I want to
• 18:27
  Speaker 23: thank you guys both for your accomplishment there.
• 18:29
  Speaker 6: Thank you very much. We chose it because a lot
• 18:33
  Speaker 6: of the other silent films from the period didn't have
• 18:37
  Speaker 6: that kind of imagery. They just were people piddling around,
• 18:42
  Speaker 6: shuffling around really quickly. They were shuffling, yeah. And just
• 18:45
  Speaker 6: talking to each other and not doing much. And then
• 18:47
  Speaker 6: this film had, like, the layers of things and, like,
• 18:52
  Speaker 6: cutting to, like, an ocean and some trees and some, like,
• 18:55
  Speaker 6: close-ups of his, like, really desolate face, which was much
• 19:00
  Speaker 6: more inspiring to write music to than some of these
• 19:02
  Speaker 6: other films.
• 19:04
  Speaker 13: In their defense, people did a lot of shuffling in
• 19:05
  Speaker 13: the 20s.
• 19:06
  Speaker 15: Yeah.
• 19:07
  Speaker 14: Yeah.
• 19:09
  Speaker 23: Yeah, I know, and it's interesting that there were a
• 19:11
  Speaker 23: lot of moments in the film where I felt like
• 19:15
  Speaker 23: the film itself wanted to suggest the kind of sounds
• 19:17
  Speaker 23: that you were to hear. For instance, in the section
• 19:20
  Speaker 23: where you're playing guitar and you see flashes of the lake,
• 19:25
  Speaker 23: of the ocean, of the trees.
• 19:27
  Speaker 13: Waving in the wind.
• 19:28
  Speaker 23: In other words, it almost keyed you as to what
• 19:30
  Speaker 23: kind of sound you should expect.
• 19:34
  Speaker 13: Yeah, yeah.
• 19:36
  Speaker 25: One of the reasons we chose this movie is because
• 19:38
  Speaker 25: the imagery was so evocative, and it was just really
• 19:42
  Speaker 25: easier to write things to accompany it. That's kind of why,
• 19:46
  Speaker 25: also you mentioned the haziness, the kind of abstractness, that's
• 19:50
  Speaker 25: why we, why I, I guess, kind of use some
• 19:54
  Speaker 25: guitar effects and things like that to kind of create layers,
• 19:57
  Speaker 25: especially when we did these loops, kind of create these
• 20:00
  Speaker 25: almost like Robert Fripp earlier, his tape loops.
• 20:05
  Speaker 13: That was kind of an inspiration.
• 20:06
  Speaker 4: Definitely some no-pussy footing somewhere.
• 20:09
  Speaker 24: Yeah, yeah.
• 20:11
  Speaker 18: Roderick, you must not always be gone. I will read
• 20:19
  Speaker 18: to you, and you will listen.
• 20:32
  Speaker 3: The accompaniment to the movie was actually extremely effective.
• 20:35
  Speaker 8: Yeah.
• 20:36
  Speaker 13: I thought so.
• 20:38
  Speaker 11: Well, the camera work was just really ahead of its time.
• 20:41
  Speaker 3: Yeah, I was sort of surprised when they did, like,
• 20:44
  Speaker 3: some of it looked like in slow motion.
• 20:46
  Speaker 15: Right.
• 20:46
  Speaker 1: And I was like, I didn't think they could do
• 20:48
  Speaker 1: that back then.
• 20:49
  Speaker 10: It was like, that's one of the things I was
• 20:51
  Speaker 10: going to talk about. It's like super effective, too, because
• 20:54
  Speaker 10: I feel like a lot of times, especially even now
• 20:57
  Speaker 10: when they use slow motion, it feels like it's out
• 20:59
  Speaker 10: of place or they're Using it where it doesn't need
• 21:01
  Speaker 10: to be, or they're just.
• 21:03
  Speaker 13: Using it over... I don't know.
• 21:05
  Speaker 10: Something about that one was really, really effective. It all
• 21:10
  Speaker 10: just worked so well with the mood of that scene,
• 21:13
  Speaker 10: and then just the whole detail of it.
• 21:16
  Speaker 13: It worked really well. You had some story issues with it?
• 21:21
  Speaker 6: Oh, it was just creepy.
• 21:22
  Speaker 15: That.
• 21:23
  Speaker 10: It's supposed to be creepy, but I think you were
• 21:26
  Speaker 10: saying an extra level.
• 21:27
  Speaker 23: Some horror movie fans would regard that as an advantage
• 21:29
  Speaker 23: of the film.
• 21:30
  Speaker 14: Yeah.
• 21:30
  Speaker 13: That's true.
• 21:31
  Speaker 6: In Edgar Allan Poe's story, Roderick and his sister live
• 21:36
  Speaker 6: in the house of Usher, and he calls the doctor
• 21:39
  Speaker 6: to help his sister, not his wife. And in the movie,
• 21:43
  Speaker 6: it's his wife, and I'm just like, uh.
• 21:45
  Speaker 13: I don't see the difference.
• 21:48
  Speaker 12: Yeah. And it totally could be. I mean, it was, what, 1700?
• 21:51
  Speaker 6: 1700. in the movie or something like that, it doesn't
• 21:53
  Speaker 6: surprise me.
• 21:54
  Speaker 23: It's the nondescript Edgar Allan Poe in times past when
• 21:58
  Speaker 23: people had names like Roderick and lived in castles.
• 22:01
  Speaker 13: I totally want to get a castle.
• 22:03
  Speaker 23: There is the Edgar Allan Poe age that existed somewhere
• 22:06
  Speaker 23: between the years of 1850 and 1650. He kind of
• 22:11
  Speaker 23: invented everything in literature, so we'll let him have his
• 22:14
  Speaker 23: own world.
• 22:14
  Speaker 13: It's okay.
• 22:16
  Speaker 6: There was another discrepancy too, which if they were trying
• 22:19
  Speaker 6: to make it a horror movie, I don't know why
• 22:20
  Speaker 6: they would leave this part out. In the story, at
• 22:23
  Speaker 6: the very end, when Madeline reappears all ghostly and stuff,
• 22:30
  Speaker 6: she falls on top of Roderick. The doctor escapes, or
• 22:34
  Speaker 6: his friend escapes, everybody else escapes, but they just burn
• 22:37
  Speaker 6: alive as the House of Usher just falls apart and burns.
• 22:42
  Speaker 10: That's pretty creepy.
• 22:43
  Speaker 6: Yeah, but in the film, they escape, and everybody's happy,
• 22:47
  Speaker 6: and they.
• 22:48
  Speaker 23: It's the first example of studio tampering. They're just like, okay,
• 22:52
  Speaker 23: that ending ad is just too dark. We're going to
• 22:54
  Speaker 23: have to rewrite it.
• 22:55
  Speaker 13: It's a downer. It's just not testing good.
• 22:57
  Speaker 4: Come on, we've got to change it.
• 22:59
  Speaker 13: It'll never sell if everyone dies.
• 23:00
  Speaker 1: The test audience didn't approve of it.
• 23:02
  Speaker 13: Yeah, right. They're filling out little cards in 1928.
• 23:06
  Speaker 26: That's what confused me because all of a sudden she's
• 23:11
  Speaker 26: alive and the movie ends and nobody questions, oh.
• 23:14
  Speaker 13: Hey, she's back.
• 23:16
  Speaker 6: Oh, I can address that. she didn't ever actually die.
• 23:20
  Speaker 6: She had an illness where she just kind of lays
• 23:22
  Speaker 6: there motionless and appears dead, but her heart is still beating,
• 23:25
  Speaker 6: so they buried her alive.
• 23:27
  Speaker 9: Right.
• 23:27
  Speaker 6: And so she just kind of came back like.
• 23:28
  Speaker 16: What the fuck, guys?
• 23:31
  Speaker 26: Well, thank you for clearing that up for me, because.
• 23:33
  Speaker 13: Otherwise I'm like... Sorry, my narration didn't do a very
• 23:35
  Speaker 13: good job of clearing that up.
• 23:36
  Speaker 4: Yeah, that French Sterling guy, he didn't tell us that
• 23:38
  Speaker 4: at all.
• 23:39
  Speaker 13: It's true.
• 23:40
  Speaker 6: It's like you didn't have any practice or anything.
• 23:42
  Speaker 23: And I was talking out during a crescendo of the music.
• 23:45
  Speaker 13: You showed up drunk.
• 23:46
  Speaker 6: You were just.
• 23:47
  Speaker 12: That's at.
• 23:48
  Speaker 13: Least partially true.
• 23:49
  Speaker 23: I was going to be on Brian's podcast tonight, so
• 23:51
  Speaker 23: I had to, you know.
• 23:54
  Speaker 6: We pre-gamed over at Hilltop before we came.
• 23:56
  Speaker 23: Well, naturally, Hilltop is the place to be if you're
• 23:59
  Speaker 23: in Louisville, Kentucky. Send your checks over now, Hilltop. But, no, yeah.
• 24:06
  Speaker 23: It was actually kind of unusual in that way. Afterwards,
• 24:10
  Speaker 23: I kind of wondered what I was... I mean, it's...
• 24:14
  Speaker 23: This isn't a jump out and scare you movie. Obviously,
• 24:16
  Speaker 23: they didn't really make those back then. It's an experience.
• 24:19
  Speaker 23: It's a, I'm going to suspend you upside down in
• 24:21
  Speaker 23: this really unusual world for a while until you sort
• 24:24
  Speaker 23: of lose your sense of perspective. And that gradually makes
• 24:27
  Speaker 23: you a little crazy while you're watching the movie. But
• 24:31
  Speaker 23: even then, even taking that into account, I was still
• 24:34
  Speaker 23: kind of left at a loss. I agree with you
• 24:36
  Speaker 23: that at the end, like, okay, they're out and the
• 24:38
  Speaker 23: House of Usher has fallen and Well, what now? Like,
• 24:42
  Speaker 23: I mean, it's not exactly a tragedy. Like, it didn't, like, nothing, like,
• 24:47
  Speaker 23: everything kind of fell apart, but they're okay now?
• 24:50
  Speaker 6: Mentally ill, severely, but okay.
• 24:53
  Speaker 13: Yeah, I know, but.
• 24:54
  Speaker 25: She survived getting serpent in the rainbowed.
• 24:56
  Speaker 9: Right. So you're never the same after that.
• 24:59
  Speaker 1: Well, yeah, they made a big deal.
• 25:00
  Speaker 3: About there were to be no nails in the coffin,
• 25:04
  Speaker 3: and then you see the doctor stereotypically nail her in
• 25:08
  Speaker 3: the coffin, but then... She gets out and there's.
• 25:12
  Speaker 1: No question about, how did you get out of the
• 25:15
  Speaker 1: coffin that was nailed shut?
• 25:16
  Speaker 10: I had it put in my will that, like, buried
• 25:20
  Speaker 10: with a crowbar. I mean, I hope everybody puts that in.
• 25:23
  Speaker 10: Because we all saw that Ryan Reynolds masterpiece buried.
• 25:25
  Speaker 3: Or sort of a breakaway coffin with a side hatch.
• 25:31
  Speaker 23: I think that's how all magicians are buried, like, as
• 25:34
  Speaker 23: part of their professional, like, if I die on the job,
• 25:36
  Speaker 23: you have to bury me in a coffin with, like,
• 25:39
  Speaker 23: one side loose, you know?
• 25:40
  Speaker 12: I can verify that.
• 25:41
  Speaker 13: I think it was Grady from The Shining. He let
• 25:43
  Speaker 13: her out of the coffin.
• 25:45
  Speaker 10: I thought it was Grady from Sanford. It's just because
• 25:50
  Speaker 10: I like Grady.
• 25:51
  Speaker 13: It's a great name.
• 25:53
  Speaker 3: Well, there's one moment where when you first meet Roderick
• 25:57
  Speaker 3: and you are just lots of dissonance.
• 26:02
  Speaker 1: And it really sort of made me think, this man
• 26:04
  Speaker 1: is insane. He has lost all grip.
• 26:07
  Speaker 13: It wasn't the eyebrows?
• 26:08
  Speaker 3: Well, and then it just sort of stops. Like, this
• 26:13
  Speaker 3: is the world from his perspective, and then it stops.
• 26:17
  Speaker 1: And the world's actually normal, but.
• 26:18
  Speaker 3: To him, the world is just this crazy place filled
• 26:21
  Speaker 3: with noise, and he can't deal with it.
• 26:25
  Speaker 6: Yeah, in the story, and I guess the film, he
• 26:28
  Speaker 6: actually has this relatively common mental disorder where... senses are
• 26:35
  Speaker 6: very overwhelming and he's very in tune like he can
• 26:38
  Speaker 6: hear things that his friend can't.
• 26:40
  Speaker 13: That's called the Edgar Allan Poe disease.
• 26:43
  Speaker 6: Yeah no they actually like they they gave a word
• 26:46
  Speaker 6: for it on the.
• 26:46
  Speaker 23: Wikipedia early no it's a superhero no but I yeah
• 26:49
  Speaker 23: yeah it's it's true it's and there's some hypothesis that
• 26:53
  Speaker 23: Edgar Allan Poe might have suffered from something similar because
• 26:55
  Speaker 23: you see that in all of his in all of
• 26:57
  Speaker 23: his stories like there's almost inevitably one character that like
• 27:00
  Speaker 23: in telltale heart, which we saw before, who suffers from
• 27:04
  Speaker 23: some kind of like, Oh my God, I can hear
• 27:06
  Speaker 23: this thing. Why can't anyone else hear it? And it's
• 27:08
  Speaker 23: driving him crazy.
• 27:09
  Speaker 3: It might've been called schizophrenia in today's terms.
• 27:14
  Speaker 13: Well, that is needed more medication.
• 27:16
  Speaker 23: Well, that is a part of schizophrenia actually. Well, and
• 27:20
  Speaker 23: you're also, your brain certain sort of can't, uh, can't
• 27:23
  Speaker 23: separate certain things. Um, for instance, uh, They did a
• 27:26
  Speaker 23: study one time where they did basically a flashing strobe
• 27:29
  Speaker 23: light at people and measured their reaction as the strobe
• 27:32
  Speaker 23: light got faster and faster to see where they couldn't
• 27:35
  Speaker 23: tell that it was strobing anymore. And they discovered that
• 27:38
  Speaker 23: schizophrenics can discern the strobe effect much, much further into
• 27:46
  Speaker 23: the cycle than anybody else can. So their brains are
• 27:50
  Speaker 23: much more hyper-aware.
• 27:52
  Speaker 6: I think it's called hypersynesthesia or something like that.
• 27:54
  Speaker 23: Something like that. Hypersynesthesia sounds good.
• 27:56
  Speaker 6: Yeah, that sounds pretty good.
• 27:57
  Speaker 13: Yeah, let's stand it.
• 27:59
  Speaker 14: Yep, boom.
• 28:00
  Speaker 13: Name of my next zine.
• 28:01
  Speaker 1: They talk about.
• 28:04
  Speaker 3: The voices they hear, like the input of the sound
• 28:08
  Speaker 3: and their brain's ability to process the sound. There's a
• 28:12
  Speaker 3: huge delay and sometimes a variable delay. So they may
• 28:16
  Speaker 3: actually be hearing things that someone said to them hours, minutes,
• 28:21
  Speaker 3: days before, before it actually makes it into their brain.
• 28:24
  Speaker 1: And that's the voices in their head.
• 28:27
  Speaker 23: It's true that I don't remember whole conversations sometimes until
• 28:30
  Speaker 23: the next day, much to my chagrin.
• 28:32
  Speaker 3: Well, but you don't experience it as someone's in the
• 28:34
  Speaker 3: room talking to you.
• 28:36
  Speaker 13: How do you know?
• 28:37
  Speaker 1: Well, that's true.
• 28:38
  Speaker 3: Jeez.
• 28:39
  Speaker 9: I can attest to that.
• 28:40
  Speaker 13: Let's make a trip to the room.
• 28:42
  Speaker 9: Schizophrenic.
• 28:43
  Speaker 26: And she will answer questions from, like, days, sometimes years before.
• 28:48
  Speaker 13: And everybody's like, what, huh?
• 28:50
  Speaker 24: Yeah.
• 28:51
  Speaker 10: What is interesting that some of that then plays into,
• 28:54
  Speaker 10: like there's almost a medical or scientific fact involved in
• 28:58
  Speaker 10: what some people have with almost like a paranoia or
• 29:02
  Speaker 10: a paranormal reasoning, like you're hearing ghosts, but like, no,
• 29:05
  Speaker 10: it's actually something that someone literally said to you, but
• 29:08
  Speaker 10: it might've been yesterday. You know, it's like, it is
• 29:10
  Speaker 10: a weird, you know, almost we're tracking down the reasons
• 29:14
  Speaker 10: things are like that, that at this point when they
• 29:16
  Speaker 10: made this film, probably they just would have, Not only
• 29:19
  Speaker 10: attested to craziness, but maybe some other level of paranormal goings-on.
• 29:26
  Speaker 23: Possibly, but I don't know. Edgar Allan Poe was obviously
• 29:29
  Speaker 23: concerned with things like those kinds of diagnoses of problems.
• 29:33
  Speaker 23: I mean, he was obviously concerned, I think, on some
• 29:37
  Speaker 23: level with the scientific basis, quote-unquote, of... of some of
• 29:41
  Speaker 23: the horror stories he wrote. But I feel like when
• 29:44
  Speaker 23: we look at stories like this and we're trying to
• 29:46
  Speaker 23: track down a scientific explanation for what's going on, we
• 29:49
  Speaker 23: always wind up kind of missing what the stories communicate.
• 29:54
  Speaker 23: And I'm not, by the way, arguing that anyone at
• 29:56
  Speaker 23: this table is trying to do that. But for instance, Poe,
• 30:00
  Speaker 23: who seemed to, for instance, know about things like hypersensitivity
• 30:04
  Speaker 23: and certain mental illnesses and what they can do. He
• 30:07
  Speaker 23: was obviously less concerned with, well, yeah, yeah, yeah, that's
• 30:10
  Speaker 23: a reason why this is happening, but really what I
• 30:12
  Speaker 23: want to talk about is the guy who can hear
• 30:13
  Speaker 23: the thumping heart underneath the floorboards. Like, that's what's interesting
• 30:17
  Speaker 23: to me. And that sort of head space that you
• 30:20
  Speaker 23: wind up being put into.
• 30:22
  Speaker 3: Well, and I think that once you know the science
• 30:25
  Speaker 3: behind it, the horror of the experience or having that
• 30:29
  Speaker 3: happen to you goes away.
• 30:32
  Speaker 1: You know, it's not nearly as unexplainable.
• 30:34
  Speaker 3: If you just hear or see stuff as a go, yeah,
• 30:38
  Speaker 3: I suffer from hypersysthesia.
• 30:40
  Speaker 6: And I think Poe was kind of playing around with
• 30:43
  Speaker 6: is it an endless or is it paranormal in this movie?
• 30:46
  Speaker 6: Because at the beginning, he's all crazy-eyed and he's hearing
• 30:50
  Speaker 6: stuff and he's all temperamental and lashing out at people.
• 30:53
  Speaker 6: So you're like, this dude's nuts.
• 30:55
  Speaker 12: But at the end.
• 30:56
  Speaker 6: he proves to be correct. Like the house is falling apart.
• 31:00
  Speaker 6: His friend, he goes, can you hear it now?
• 31:04
  Speaker 13: And he says, yeah. And he says at one point,
• 31:05
  Speaker 13: my wife isn't dead.
• 31:07
  Speaker 15: Yeah.
• 31:07
  Speaker 23: You know, uh, I mean, uh, I think to my mind, uh,
• 31:11
  Speaker 23: in this story, at least all those explanations that we
• 31:13
  Speaker 23: can come up with for mental illness and stuff, all
• 31:15
  Speaker 23: it does is muddy the waters. It makes it harder.
• 31:18
  Speaker 23: In fact, for us, it doesn't make it everything clean
• 31:20
  Speaker 23: and simple. Oh yes, this guy is crazy and things
• 31:23
  Speaker 23: are done. But yeah, uh, he suddenly, suddenly the fact
• 31:26
  Speaker 23: that we have an explanation makes the stuff that we don't,
• 31:29
  Speaker 23: we can't explain all that more palpable to us.
• 31:32
  Speaker 10: Well, I think that also plays in really well in
• 31:35
  Speaker 10: addition to like the things going on in his head
• 31:38
  Speaker 10: and hearing things into like the situation with her too,
• 31:41
  Speaker 10: because again, you're watching it like, okay, so she's a
• 31:44
  Speaker 10: zombie now.
• 31:44
  Speaker 5: Right.
• 31:45
  Speaker 10: But like, there's a scientific reason, like now we can
• 31:48
  Speaker 10: piece together, Oh, well she suffers from this illness and like,
• 31:50
  Speaker 10: that's why this happened. But like, if you don't know
• 31:53
  Speaker 10: any better or at the time, if they didn't medically
• 31:55
  Speaker 10: figure that out yet, that it just looks like she's
• 31:58
  Speaker 10: rising from the dead.
• 31:59
  Speaker 6: So it's kind of acting like she was rising from
• 32:01
  Speaker 6: the dead too.
• 32:01
  Speaker 13: She's pretty creepy. Like those are some good scenes.
• 32:03
  Speaker 23: I want to, I want to throw out, I want
• 32:05
  Speaker 23: to throw out the third, the third option there and say, well,
• 32:08
  Speaker 23: let's say that she is rising from the dead. Then
• 32:11
  Speaker 23: doesn't the, then, then doesn't the fact that we know like, okay,
• 32:15
  Speaker 23: he has synesthesia or something. Somehow that information now becomes,
• 32:18
  Speaker 23: I just called it synesthesia. He tastes, he tasted purple. Uh, yeah, but,
• 32:23
  Speaker 23: but now suddenly like his issue has, uh, so you
• 32:26
  Speaker 23: pat him on the back. Do you suffer from synesthesia? Uh,
• 32:29
  Speaker 23: is that how you recognize your scales?
• 32:30
  Speaker 12: Uh, suffering.
• 32:31
  Speaker 13: Yeah.
• 32:33
  Speaker 17: Yeah.
• 32:33
  Speaker 23: Is it, is it, uh, like, do you recognize your
• 32:35
  Speaker 23: scales in terms of colors going up and down?
• 32:37
  Speaker 25: Um, it's just sounds, sounds have certain colors and it's
• 32:42
  Speaker 25: pretty much, or like with this movie, you just, I
• 32:45
  Speaker 25: just watched it, um, with the sound off and then
• 32:48
  Speaker 25: I was like, and it's kind of like you hear something, um,
• 32:51
  Speaker 25: like in another room, that's kind of what it sounds like,
• 32:53
  Speaker 25: and then you kind of have to dust it off
• 32:56
  Speaker 25: and do a little bit of exploration to find it.
• 32:59
  Speaker 13: But, I mean, it's fair.
• 33:01
  Speaker 4: If Poe were around, he might be writing a story.
• 33:03
  Speaker 14: About you, right?
• 33:05
  Speaker 23: No, that's fantastic. By the way, you're the first person
• 33:09
  Speaker 23: with synesthesia that I've ever actually met. It's a pleasure
• 33:11
  Speaker 23: to meet you, sir. Don't mind me singling you out
• 33:16
  Speaker 23: here in a group.
• 33:17
  Speaker 15: Yeah.
• 33:18
  Speaker 13: We're going to make you do tricks later.
• 33:19
  Speaker 10: Yeah.
• 33:20
  Speaker 13: Find the green.
• 33:21
  Speaker 9: Go.
• 33:24
  Speaker 23: No, but the fact that we know that he has, say,
• 33:27
  Speaker 23: hypersensitivity or whatever we diagnose him with, somehow that information
• 33:30
  Speaker 23: now makes more helpless at the end.
• 33:33
  Speaker 13: It's like, oh, he.
• 33:34
  Speaker 23: Suffered from mental illness. Don't worry about him. And his
• 33:37
  Speaker 23: wife is now rising from the dead.
• 33:38
  Speaker 13: Well, damn it.
• 33:40
  Speaker 6: And his house is gone.
• 33:42
  Speaker 13: And we're back to square one. His guitar is broken.
• 33:47
  Speaker 23: That was the real tragedy here. I love that sequence, actually,
• 33:50
  Speaker 23: where you can see as he's wandering around, and your music, again,
• 33:54
  Speaker 23: kind of perfectly accompanied this, because we have the not-quite-so-slow
• 33:59
  Speaker 23: buildup of noise going on during that entire phase, and
• 34:04
  Speaker 23: you see him strolling around, and his eyes are getting
• 34:07
  Speaker 23: bigger and bigger, and meanwhile, you see the guitar strings
• 34:09
  Speaker 23: tightening and tightening and breaking and still tightening, and, oh,
• 34:14
  Speaker 23: it was wonderful.
• 34:15
  Speaker 3: Yeah.
• 34:15
  Speaker 10: And again, that like, sometimes I want to give them
• 34:18
  Speaker 10: credit for the direction and like just the filmmaking in general.
• 34:22
  Speaker 10: Cause like, can you imagine like how much they wanted
• 34:24
  Speaker 10: to convey that message and not having sound to do
• 34:28
  Speaker 10: like being like completely confined to the technology at the
• 34:31
  Speaker 10: time and be like, okay, I have to make them breaking.
• 34:34
  Speaker 10: I have to visually show you how much I want
• 34:37
  Speaker 10: the sound to be going on in your head. So, Yeah,
• 34:40
  Speaker 10: I give them credit for a lot of the stuff
• 34:41
  Speaker 10: that they did.
• 34:41
  Speaker 12: Tie a little fishing line.
• 34:42
  Speaker 13: Come on, come on. Well, I don't know.
• 34:45
  Speaker 23: And yet they still managed to make a masterpiece, whereas
• 34:47
  Speaker 23: Ed Wood, somehow with all the technology at his disposal,
• 34:52
  Speaker 23: that's also a masterpiece. Different kind of masterpiece. Hey, you're
• 34:55
  Speaker 23: talking to a guy who played Ed Wood, okay? I
• 34:57
  Speaker 23: know he's a genius. You look pretty good in Angora.
• 35:01
  Speaker 13: I've seen into his mind.
• 35:03
  Speaker 9: Fun place.
• 35:04
  Speaker 13: And panties, but whatever.
• 35:07
  Speaker 3: You make an interesting point that some directors given a
• 35:11
  Speaker 3: large tool set still can't make something that's effective, whereas
• 35:15
  Speaker 3: some people can have an even smaller skill set and
• 35:18
  Speaker 3: come out with something that still manages to convey the
• 35:21
  Speaker 3: full range of experiences that you could get if you
• 35:25
  Speaker 3: could show them or do everything.
• 35:28
  Speaker 13: Yeah, absolutely.
• 35:28
  Speaker 23: And some could argue that... And some have argued. I
• 35:32
  Speaker 23: remember a photography professor once said that every great photograph
• 35:36
  Speaker 23: ever taken that you will find in a history book
• 35:39
  Speaker 23: somewhere has been taken with technology less sophisticated than what
• 35:42
  Speaker 23: you have available to you. Just remember that when you
• 35:45
  Speaker 23: go shopping for toys.
• 35:46
  Speaker 10: That will always be true for me. We're constantly coming
• 35:49
  Speaker 10: up with better technology, but nobody really does anything.
• 35:53
  Speaker 13: More impressive. Not normally, anyway.
• 35:54
  Speaker 23: Well, but that's sort of the stereotype, is that, well,
• 35:57
  Speaker 23: in the past, they had these limitations. They didn't have CGI,
• 36:00
  Speaker 23: et cetera. So, obviously, when they made, you know, Phenomenon
• 36:04
  Speaker 23: or whatever, they were like, well, they really have to
• 36:06
  Speaker 23: care about what they're doing and really work to make
• 36:08
  Speaker 23: a masterpiece. That's not always true. But, yeah, I find
• 36:11
  Speaker 23: that that limitation, at least for me creatively, often helps me.
• 36:14
  Speaker 23: You know, you have to, in a weird way, the
• 36:16
  Speaker 23: smaller your box is, the more you have to think
• 36:18
  Speaker 23: outside of it to get what you want.
• 36:20
  Speaker 3: Well, it's sort of like you're not as distracted with
• 36:23
  Speaker 3: everything as you are if you have a very smaller
• 36:26
  Speaker 3: set of things to focus on.
• 36:27
  Speaker 13: Potentially, yeah.
• 36:31
  Speaker 3: And then ultimately, I mean, an artist is an artist
• 36:33
  Speaker 3: regardless of the amount of tools that they have.
• 36:37
  Speaker 1: And they're going to come up with art no matter.
• 36:39
  Speaker 13: How much they have to play with.
• 36:42
  Speaker 23: I was definitely always one of the people attracted to
• 36:44
  Speaker 23: minimal tech, both because of my poverty and because of my,
• 36:47
  Speaker 23: I don't know, I read an interview with Ian McKay
• 36:50
  Speaker 23: from Fugazi a while back, and he was like, yeah, no,
• 36:52
  Speaker 23: I never use any pedals. Well, just my noise pedal
• 36:56
  Speaker 23: or whatever. Because if I have more than two in
• 36:59
  Speaker 23: front of me, then I just get confused. And I
• 37:01
  Speaker 23: was like, well, he's like the greatest punk rocker alive.
• 37:04
  Speaker 13: I can't not do what Ian McKay does.
• 37:08
  Speaker 23: But just that attitude of want to make it as
• 37:11
  Speaker 23: simple as possible, which is not always the best thing.
• 37:17
  Speaker 23: For instance, your music was very complex tonight.
• 37:19
  Speaker 6: All of it is like that.
• 37:21
  Speaker 14: Yeah.
• 37:21
  Speaker 6: All of our music is weirdo stuff.
• 37:24
  Speaker 13: And it sounds fantastic.
• 37:27
  Speaker 10: I will give you credit for just planning logistics and
• 37:31
  Speaker 10: planning it out because you very impressively timed it so
• 37:35
  Speaker 10: that when you had to switch instruments, he would be
• 37:38
  Speaker 10: working what he needed to do separately and didn't have
• 37:41
  Speaker 10: to have.
• 37:41
  Speaker 4: You there while you were grabbing the, let's see, what
• 37:45
  Speaker 4: random instruments.
• 37:45
  Speaker 1: Yeah.
• 37:46
  Speaker 6: Yeah, whatever one.
• 37:48
  Speaker 12: All three of them.
• 37:50
  Speaker 13: At the same time.
• 37:51
  Speaker 12: I can juggle.
• 37:53
  Speaker 9: Oh, man.
• 37:53
  Speaker 13: Weren't those cartoons fantastic?
• 37:55
  Speaker 12: Yeah, they were.
• 37:57
  Speaker 23: Yeah, no, we're going to make the audience hopefully be like, damn,
• 38:00
  Speaker 23: I really wish I had heard this thing and go
• 38:01
  Speaker 23: out and seek out your band and be like, all right,
• 38:03
  Speaker 23: we need to know what they're talking about.
• 38:05
  Speaker 10: One more reason to come to all of these.
• 38:06
  Speaker 13: It's not going to be the same.
• 38:08
  Speaker 14: Yeah.
• 38:08
  Speaker 6: Because our band camp is like, chug, chug, chug, stuff.
• 38:12
  Speaker 13: Oh, you have a band camp, you say?
• 38:14
  Speaker 7: Oh, yes.
• 38:14
  Speaker 9: Plug, plug.
• 38:15
  Speaker 13: Go ahead.
• 38:16
  Speaker 6: Awesome.
• 38:16
  Speaker 13: Plug your bandcamp.
• 38:18
  Speaker 6: Bermudan.bandcamp.com.
• 38:20
  Speaker 23: Well, luckily I have my bandcamp app here, so I'm
• 38:22
  Speaker 23: going to geek.
• 38:23
  Speaker 13: Look, you guys.
• 38:24
  Speaker 23: Well, I happen to know where the hottest independent music
• 38:27
  Speaker 23: can be found on the internet.
• 38:30
  Speaker 10: We have them right here.
• 38:30
  Speaker 13: What more do you want? Well, I've never actually met them.
• 38:33
  Speaker 13: I'm so nervous.
• 38:36
  Speaker 19: Yes.
• 38:52
  Speaker 25: Well, we can also talk about the fact that this
• 38:57
  Speaker 25: is doing things.
• 39:22
  Speaker 10: Again, years and years beforehand, Philip, you were talking about
• 39:24
  Speaker 10: the shots and the stuff that seemed very reminiscent of
• 39:28
  Speaker 10: something that didn't come along.
• 39:29
  Speaker 13: Until the 80s so.
• 39:31
  Speaker 26: Yeah there were shots in there that for today's movies
• 39:34
  Speaker 26: would seem commonplace and not that big of a deal
• 39:37
  Speaker 26: but for I guess 90 years ago that was really
• 39:42
  Speaker 26: just advanced.
• 39:44
  Speaker 10: Stuff specifically kind of Evil Dead like kind of yeah
• 39:48
  Speaker 10: you could say that yeah.
• 39:49
  Speaker 3: Well, you know, you mentioned that. So there was a
• 39:51
  Speaker 3: part where he was going through the castle at the end,
• 39:54
  Speaker 3: and you had all the sort of, not so much dissonance,
• 39:59
  Speaker 3: but music. And it distinctly reminded me of the end
• 40:05
  Speaker 3: of the movie The Keep, where you've got this wall
• 40:09
  Speaker 3: of sound, great movie.
• 40:12
  Speaker 13: Maybe.
• 40:14
  Speaker 5: I love it.
• 40:14
  Speaker 3: But this wall of sound and then, so the, but
• 40:17
  Speaker 3: there's no ambient noise of the person walking and you
• 40:20
  Speaker 3: just got, it's sort of in slow motion and you
• 40:22
  Speaker 3: sort of got mist and wind and he's walking and
• 40:25
  Speaker 3: you just got this, this sound there and I'm like,
• 40:30
  Speaker 3: that's the key.
• 40:31
  Speaker 4: And you're also going, does anybody else hear that sound?
• 40:34
  Speaker 9: Don't you hear that sound?
• 40:36
  Speaker 23: Well, it's interesting that the film in this time was
• 40:39
  Speaker 23: also coming about at the same time that A lot
• 40:41
  Speaker 23: of what we consider very important modern art movements were
• 40:44
  Speaker 23: coming out. You had all the messing with perspective going
• 40:49
  Speaker 23: on in cubism and various kinds of abstraction. And then,
• 40:53
  Speaker 23: most importantly, you had the surrealists running around who were
• 40:56
  Speaker 23: really interested in all these new technologies and things that
• 40:59
  Speaker 23: were going. It's not surprising at all that a little
• 41:01
  Speaker 23: bit of that weird disjointed, like we're going to show
• 41:04
  Speaker 23: this from multiple perspectives and show it in unconventional ways
• 41:07
  Speaker 23: kind of found its way into this film.
• 41:08
  Speaker 13: What, what I was really impressed by was.
• 41:10
  Speaker 23: That the film had this, it was really ballsy about
• 41:14
  Speaker 23: putting things in extreme areas of the screen. So they didn't,
• 41:18
  Speaker 23: so like there's that great shot of like the wall
• 41:21
  Speaker 23: with the two windows and you see her face like
• 41:23
  Speaker 23: pop up in the extreme bottom right-hand corner and then
• 41:27
  Speaker 23: vanishes and then pop up in the extreme left-hand corner,
• 41:30
  Speaker 23: you know, like, that was happening all over the place. Like,
• 41:32
  Speaker 23: you know, they would constantly be using all the areas
• 41:35
  Speaker 23: of the screen they could and they would not just be,
• 41:37
  Speaker 23: you know, they wouldn't just be close up or, you know,
• 41:41
  Speaker 23: putting everything in the middle. They put everything all over
• 41:43
  Speaker 23: the place.
• 41:44
  Speaker 10: I think they also, and I don't know if this
• 41:47
  Speaker 10: is just because they were super artistic or if it
• 41:50
  Speaker 10: was also maybe because it's such a new technology, there
• 41:53
  Speaker 10: hadn't been these like standards and set ways that everybody
• 41:56
  Speaker 10: does everything. But I was so impressed with how many
• 41:59
  Speaker 10: times they would be like, almost walking into the camera,
• 42:02
  Speaker 10: like to the point it would be uncomfortable. You'd be like,
• 42:05
  Speaker 10: now it suddenly feels like a weird home movie that
• 42:07
  Speaker 10: like your dad's got the camera in your face. And
• 42:09
  Speaker 10: you're like, it had almost a realistic feel to it
• 42:13
  Speaker 10: that didn't feel like a weird horror movie. You know,
• 42:16
  Speaker 10: it did feel like you're almost just watching regular footage.
• 42:19
  Speaker 10: I think it's because it's shot in that weird unconventional
• 42:21
  Speaker 10: way that again, maybe just because the conventions weren't there yet.
• 42:27
  Speaker 23: Well, And they definitely made some other choices that were
• 42:31
  Speaker 23: very interesting and made you like... Again, the word thing
• 42:35
  Speaker 23: just comes to mind. It's like they really had some
• 42:38
  Speaker 23: courage in doing some of these shots. One thing that
• 42:40
  Speaker 23: really struck me was how they, when they buried the body,
• 42:43
  Speaker 23: put the body in the coffin, they let the enormous
• 42:46
  Speaker 23: train of the funeral gown... just linger out of the coffin.
• 42:51
  Speaker 23: And it dragged through the next like 15 minutes of scenes.
• 42:54
  Speaker 23: You see them like walk through the woods and there's
• 42:56
  Speaker 23: the white trail of the, the gown. Just like, it's like,
• 42:58
  Speaker 23: anyone going to pick this up? And then very in
• 43:00
  Speaker 23: the end, like right when they're putting her in the tomb,
• 43:02
  Speaker 23: they stuff in like the tattered remains of like what's
• 43:05
  Speaker 23: left of the train.
• 43:06
  Speaker 13: And it was just like.
• 43:07
  Speaker 6: Part of the veil, like swirled and fell into the ocean.
• 43:10
  Speaker 14: Yeah.
• 43:11
  Speaker 23: It, it, There were just so many strange moments like that,
• 43:14
  Speaker 23: and it added to that dreamlike quality. The film itself
• 43:19
  Speaker 23: had a very dreamlike quality to it.
• 43:21
  Speaker 6: Yeah, I think that Louis Bunuel, is that his name?
• 43:25
  Speaker 13: Yes, yeah, yeah.
• 43:26
  Speaker 6: He collaborated with Salvador Dali, didn't he?
• 43:28
  Speaker 13: Yeah, he definitely did.
• 43:30
  Speaker 6: Surrealism did not surprise me. And I was very attracted
• 43:34
  Speaker 6: to it when trying to find a movie I wanted
• 43:36
  Speaker 6: to play music to.
• 43:37
  Speaker 10: He gets even more surreal. If you go even a
• 43:40
  Speaker 10: couple of years later when he actually does, he co-directs.
• 43:43
  Speaker 13: The movie about the donkey. Yeah, he co-directs that.
• 43:45
  Speaker 23: The movie about the guy sitting on the pillar and
• 43:48
  Speaker 23: seeing Satan as a beautiful woman and then his mother. Like, yeah,
• 43:54
  Speaker 23: there's some weird stuff.
• 43:55
  Speaker 10: Yeah, if you want to co-direct a movie with Salvador Dali,
• 43:58
  Speaker 10: you know you're a messed up dude.
• 43:59
  Speaker 14: Yeah.
• 44:00
  Speaker 10: I think there's still, like, So much of it, I think,
• 44:03
  Speaker 10: was impressive just, again, because of the way it's set
• 44:07
  Speaker 10: up and the way that it's shot.
• 44:08
  Speaker 13: It's just some of the camera movements.
• 44:12
  Speaker 10: Like, again, the one towards the end where the camera's
• 44:15
  Speaker 10: moving on the castle floor and there's leaves blowing around.
• 44:18
  Speaker 10: And it's like, you don't see that kind of camera movement.
• 44:20
  Speaker 13: Now, let alone in the late 20s. I don't know.
• 44:24
  Speaker 10: Just some of it was just so artistically done, especially
• 44:28
  Speaker 10: to be that.
• 44:28
  Speaker 13: Ahead of the curve. European films, man. They're easy French people.
• 44:32
  Speaker 13: They're deep.
• 44:34
  Speaker 6: Some of the other films that I was looking at,
• 44:36
  Speaker 6: just because I went through like 20 of them trying
• 44:38
  Speaker 6: to find one that I wanted to write music to,
• 44:41
  Speaker 6: they were, yeah, the camera work was all really bland.
• 44:43
  Speaker 6: It was all just like third person. There's just like,
• 44:46
  Speaker 6: you see the whole room, you see everybody in it,
• 44:49
  Speaker 6: and they're all just walking around. It doesn't really change
• 44:50
  Speaker 6: a whole lot. It like might shift to just two
• 44:54
  Speaker 6: people talking or just whatever, but it wasn't like these
• 44:57
  Speaker 6: angled things when... after Madeline quote unquote died and Roderick's
• 45:03
  Speaker 6: like kneeling in front of Madeline's portrait and it's angled
• 45:08
  Speaker 6: down on him like he's worshiping it and he gets
• 45:11
  Speaker 6: that like super duper weird euphoric look on his face
• 45:17
  Speaker 6: with giant eyes.
• 45:19
  Speaker 10: Yeah, I think that's them not even, like most people,
• 45:21
  Speaker 10: not even understanding the technology.
• 45:23
  Speaker 13: So you've got.
• 45:24
  Speaker 10: Directors that are just like, I don't know, point it
• 45:26
  Speaker 10: over there. Get the whole room in. We don't want
• 45:27
  Speaker 10: to miss anybody.
• 45:28
  Speaker 4: So it's like they're just slapping on a tripod.
• 45:30
  Speaker 23: See, I'm not sure I'd go with the don't understand
• 45:34
  Speaker 23: technology angle as much. I would say, for me, what
• 45:38
  Speaker 23: I saw in it was it was very much set
• 45:41
  Speaker 23: up like a series of still shots. What they didn't
• 45:45
  Speaker 23: really know that well, and what was interesting, and I
• 45:48
  Speaker 23: completely agree with you on this for its forward-thinkingness, was
• 45:50
  Speaker 23: that when they did do moving shots, like the panning
• 45:54
  Speaker 23: shots or the shots of the camera in motion, those
• 45:57
  Speaker 23: were quite sophisticated. Like you said, it was interesting to
• 45:59
  Speaker 23: see how they passed in front and past the camera.
• 46:02
  Speaker 23: But most of the film was set up like a
• 46:05
  Speaker 23: series of shots where people happened to be moving. It
• 46:09
  Speaker 23: was still very much camera movement, or sorry, cinematography derived
• 46:14
  Speaker 23: from photography style. It's just that they happen to be
• 46:18
  Speaker 23: deriving it from all the photographers who were nuts and
• 46:21
  Speaker 23: were like.
• 46:22
  Speaker 13: Why do you need most of the photo to be lit?
• 46:23
  Speaker 13: You don't need light.
• 46:25
  Speaker 23: All you need is like a shadow and a beam
• 46:26
  Speaker 23: to hit their eyes, you know, and then everyone's going
• 46:29
  Speaker 23: to get the idea.
• 46:30
  Speaker 10: Yeah, I was just referencing all the other stuff, like
• 46:33
  Speaker 10: the stuff you were passing by. I was just like
• 46:35
  Speaker 10: that they probably just figured out the camera enough to
• 46:39
  Speaker 10: be like, we want to make sure everybody's in the frame.
• 46:41
  Speaker 10: We want to point it towards the room and go
• 46:42
  Speaker 10: and just say your lines. We're like this movie. They're
• 46:45
  Speaker 10: not doing that. It is artists at work. And they're
• 46:48
  Speaker 10: just like, well, how do I shoot this and make
• 46:49
  Speaker 10: it interesting and make it different?
• 46:51
  Speaker 13: And again, that's, I think they, okay.
• 46:53
  Speaker 15: Yeah.
• 46:54
  Speaker 4: Comprehending the, the artistry involved.
• 46:56
  Speaker 23: And I will give them, I will give them credit for, uh,
• 46:58
  Speaker 23: speaking of which, uh, the model of the castle.
• 47:02
  Speaker 13: Um, I really love that.
• 47:03
  Speaker 15: Yeah.
• 47:03
  Speaker 23: I don't want to, I don't want to, I don't
• 47:04
  Speaker 23: want to spoil it for anybody, but yeah, that castle
• 47:06
  Speaker 23: is a model.
• 47:06
  Speaker 13: It's not real. Hell, you say.
• 47:09
  Speaker 23: It was impressively done for its time. When it was
• 47:13
  Speaker 23: crumbling and falling apart at the end, and the fog
• 47:17
  Speaker 23: and everything was blowing, and it was, I gotta say,
• 47:20
  Speaker 23: it would take until at least Hammer Horror Films to
• 47:23
  Speaker 23: make models of gothic castles as convincing.
• 47:26
  Speaker 26: What I really liked about the model was, I mean,
• 47:29
  Speaker 26: the model itself was pretty spectacular for something from that
• 47:32
  Speaker 26: time period, but it was behind the castle.
• 47:35
  Speaker 9: The way they had the, you know, they were actually,
• 47:38
  Speaker 9: you know, lights meant.
• 47:41
  Speaker 26: To look like stars. But there's just something beautiful about
• 47:44
  Speaker 26: the way that they did it.
• 47:45
  Speaker 3: So was, so we, like when I think of silent movies,
• 47:51
  Speaker 3: I think of, you know, the someone talks, the placard,
• 47:55
  Speaker 3: someone talks, placard.
• 47:56
  Speaker 1: And again, there's sort of this sped up look to it.
• 47:59
  Speaker 9: So did movies.
• 48:02
  Speaker 3: Was this the first of the movies to do these
• 48:06
  Speaker 3: kinds of things?
• 48:07
  Speaker 23: What do you mean, these kinds of things?
• 48:09
  Speaker 1: Well, the tracking shots.
• 48:11
  Speaker 3: Or was this just sort of this isolated incident of
• 48:16
  Speaker 3: this person going someplace no one else had gone?
• 48:19
  Speaker 26: I think a lot of it was European cinemas. I
• 48:24
  Speaker 26: think they were just way more advanced than we were.
• 48:27
  Speaker 1: So were there other films?
• 48:29
  Speaker 13: Nosferatu's around this time, too.
• 48:31
  Speaker 26: If you watch a lot of the German films from
• 48:33
  Speaker 26: the same time period, I don't want to say the
• 48:36
  Speaker 26: camera shots are the same, but they're still going, they're
• 48:39
  Speaker 26: pushing forward at a much higher rate than what the Americans.
• 48:42
  Speaker 23: Well, that's not entirely true, however. There's, I mean, one
• 48:46
  Speaker 23: very notable example needs to be brought up, which is D.W.
• 48:48
  Speaker 17: Griffith's.
• 48:49
  Speaker 23: Who was one of the early geniuses of cinema, 100%, uh,
• 48:52
  Speaker 23: grade a American. Uh, but no, he was the first
• 48:56
  Speaker 23: one to actually pan a camera in film. Uh, he, and,
• 49:00
  Speaker 23: and the story goes is that when that shot happened,
• 49:03
  Speaker 23: when people were watching it in theaters, I believe it's in, uh,
• 49:06
  Speaker 23: I believe it's in Birth of a Nation where, yeah,
• 49:10
  Speaker 23: it's like suddenly the camera moved and everyone in the
• 49:12
  Speaker 23: audience went.
• 49:14
  Speaker 13: Like, holy crap, what the hell was that? Like, the
• 49:17
  Speaker 13: camera just moved. It's alive.
• 49:18
  Speaker 23: And later on you see in like intolerance and some
• 49:21
  Speaker 23: of his other movies he actually got kind of got
• 49:22
  Speaker 23: really happy with that technology and was like look i'm
• 49:25
  Speaker 23: gonna look over here i'm gonna look over here and
• 49:27
  Speaker 23: all this stuff but yeah no a lot of those
• 49:28
  Speaker 23: uh but what the but yeah so a lot of
• 49:31
  Speaker 23: those techniques like were done by him and a lot
• 49:32
  Speaker 23: of the european masters of cinema would later on say
• 49:36
  Speaker 23: oh no dw griffiths like blew me away like U.S.A.
• 49:40
  Speaker 23: It's weird how many great filmmakers who made this wonderfully brilliant,
• 49:45
  Speaker 23: dare I say, progressive cinema later on referencing, you know,
• 49:48
  Speaker 23: Birth of a Nation as being one of their big
• 49:50
  Speaker 23: inspirations for movies. But yeah, no, a lot of, there
• 49:53
  Speaker 23: were a lot of great German cinematographers who took that
• 49:56
  Speaker 23: same technology and you see it in pictures by guys
• 49:59
  Speaker 23: like Carl Theodor Dreyer and F. Debbie Murnau where they will, say,
• 50:03
  Speaker 23: hang the camera from a ceiling and then like swing
• 50:06
  Speaker 23: it to the other side so you get that effect
• 50:09
  Speaker 23: of passing under it and the camera still follows them
• 50:12
  Speaker 23: or you know something like that so the more extreme
• 50:15
  Speaker 23: examples of it started to be experimented on once they
• 50:17
  Speaker 23: realized holy crap i can swing my giant film camera
• 50:21
  Speaker 23: around and it won't break on me okay that's.
• 50:23
  Speaker 3: What i always found very interesting um the things that
• 50:27
  Speaker 3: we today sort of take um for granted um and
• 50:32
  Speaker 3: and the track in history where those things first happened
• 50:36
  Speaker 3: you know sort of like you know everyone talks about
• 50:38
  Speaker 3: um shoot, what was it, Orson.
• 50:40
  Speaker 2: Welles, what was his big.
• 50:41
  Speaker 13: Citizen Kane.
• 50:42
  Speaker 1: You know, as a great movie.
• 50:44
  Speaker 3: And they're like, story-wise, it's not that great of a movie,
• 50:48
  Speaker 3: but he did things in that movie that no one
• 50:51
  Speaker 3: had done before.
• 50:52
  Speaker 1: You know, the sort of in-focused, side-by-side shot.
• 50:56
  Speaker 23: He invented the technology to do it. The deep-focus shot, yeah.
• 51:01
  Speaker 23: Which has so many great things. And by the way,
• 51:03
  Speaker 23: Don't ever tell me that Citizen Kane is a poor story.
• 51:06
  Speaker 23: You shut your whore mouth.
• 51:07
  Speaker 4: Well, I mean, he ripped it off from real life,
• 51:09
  Speaker 4: but he perfected it.
• 51:10
  Speaker 1: Well, but it's one of those things where, you know.
• 51:13
  Speaker 13: No, but I get what you're saying.
• 51:14
  Speaker 3: It's one of those things where, if you look at
• 51:17
  Speaker 3: it from a Ted Ingo standpoint, it is leaps and
• 51:20
  Speaker 3: bounds above anything that was done at the time. But
• 51:23
  Speaker 3: from a movie standpoint, eh, this is an okay movie.
• 51:28
  Speaker 3: And especially from a layman standpoint of, your average filmgoer
• 51:33
  Speaker 3: is not going to be impressed by some of the
• 51:36
  Speaker 3: technical things he did, but other people go, oh my God,
• 51:39
  Speaker 3: how did he pull that off?
• 51:43
  Speaker 23: But I think that one thing that we can say
• 51:45
  Speaker 23: is that for us coming to see these movies later
• 51:48
  Speaker 23: on is the artistry of the use of these techniques, though,
• 51:52
  Speaker 23: is still pretty plainly apparent. That's one of the things
• 51:54
  Speaker 23: to me about, like, for instance, when I show Citizen
• 51:56
  Speaker 23: Kane to people for the first time and they're like,
• 51:59
  Speaker 23: my God, that was beautiful. It's like, yeah, it might
• 52:00
  Speaker 23: be a technique that's available to people today, but you
• 52:02
  Speaker 23: don't see, for instance, deep focus, especially, you know, you
• 52:05
  Speaker 23: don't see a lot of shots where people are going
• 52:07
  Speaker 23: to walk all the way down a long hallway and
• 52:10
  Speaker 23: come all the way back in the middle of a
• 52:12
  Speaker 23: single scene, you know, and it's still pretty remarkable to
• 52:15
  Speaker 23: see today. But I actually have a question for our musicians.
• 52:20
  Speaker 23: You mentioned having watched numerous, I wish I had a
• 52:22
  Speaker 23: picture of this. You mentioned having watched about a couple
• 52:28
  Speaker 23: dozen films. At least scanning through them. Yeah, scanning through them.
• 52:33
  Speaker 23: Could you name some of the other frontrunners? Like, you know,
• 52:35
  Speaker 23: when you made the initial cut, like, what were your, like,
• 52:38
  Speaker 23: top four or five that you were like, oh, man,
• 52:41
  Speaker 23: these are all pretty in the running? Or was this one?
• 52:44
  Speaker 6: Oh, this one, House of Usher, is, like, far and
• 52:47
  Speaker 6: beyond the favorite choice.
• 52:48
  Speaker 12: But Cat and the Canary.
• 52:50
  Speaker 13: Dare Golem.
• 52:52
  Speaker 6: Yeah, Dare Golem.
• 52:53
  Speaker 13: Oh, Golem, yeah. It's a neat one.
• 52:55
  Speaker 6: There was Jekyll and Hyde.
• 53:01
  Speaker 1: Frankenstein. Edison's Frankenstein.
• 53:04
  Speaker 13: Sorry, does he electrocute an elephant in his Frankenstein? I
• 53:08
  Speaker 13: had to ask.
• 53:11
  Speaker 10: And how many things did he steal from Tesla, basically?
• 53:15
  Speaker 6: The cabinet of Dr. Caligari was another one.
• 53:17
  Speaker 13: Okay, good. I was going to ask.
• 53:19
  Speaker 6: Yeah, that was another one where there's too much shuffling.
• 53:22
  Speaker 11: Really?
• 53:23
  Speaker 13: You thought there was too much shuffling in cabinets?
• 53:25
  Speaker 9: Lots.
• 53:26
  Speaker 6: At least the first. Everything seemed almost like it was
• 53:31
  Speaker 6: moving in fast motion.
• 53:32
  Speaker 13: Yeah, and it had ragtime piano in the whole film.
• 53:36
  Speaker 13: Which you could have done.
• 53:37
  Speaker 23: Or we could have just grabbed some cheapo video editing
• 53:39
  Speaker 23: software and just slowed it down to about two-thirds speed.
• 53:44
  Speaker 13: Make it avant. Really avant.
• 53:48
  Speaker 4: We would talk about how much Cabinet is overdone at
• 53:50
  Speaker 4: this point.
• 53:51
  Speaker 13: And Nosferatu's been done a billion times. Which sucks because
• 53:54
  Speaker 13: I love them. I love every chance I get to
• 53:56
  Speaker 13: see them.
• 53:56
  Speaker 10: I think you guys picked a really good one because
• 53:59
  Speaker 10: I hadn't seen it before and it gives so many
• 54:01
  Speaker 10: other options to add music to.
• 54:03
  Speaker 6: And I'm just curious, why are the other ones so
• 54:07
  Speaker 6: famous and so done? How did this one fall by
• 54:09
  Speaker 6: the wayside? It's a little gem.
• 54:11
  Speaker 12: It's a little diamond in the rough.
• 54:14
  Speaker 10: There's a lot of because again, I was just kind
• 54:16
  Speaker 10: of looking through a bunch of them lately. It's funny
• 54:18
  Speaker 10: how many there are that like some of which you
• 54:21
  Speaker 10: haven't even heard of, but are even done by really
• 54:23
  Speaker 10: big people. And I think the one I just saw
• 54:26
  Speaker 10: a couple of years ago that I didn't, I really
• 54:28
  Speaker 10: didn't even know by title, like the, the unholy, well, no.
• 54:34
  Speaker 13: The unholy three. It's, it's amazing.
• 54:37
  Speaker 4: And like is Todd Browning and is Lon Chaney senior.
• 54:41
  Speaker 4: And it's, yeah, it's like Dick Cheney.
• 54:45
  Speaker 13: If they would have.
• 54:46
  Speaker 10: Cut his arms off, I think people would be okay
• 54:48
  Speaker 10: with that. But yeah, stuff like that, I'm like, how
• 54:52
  Speaker 10: have I made it this far and not come in
• 54:54
  Speaker 10: contact with this movie? So I think it is one
• 54:56
  Speaker 10: of those you just kind of have to go seek
• 54:58
  Speaker 10: out cool movies because they're out there and you can
• 55:01
  Speaker 10: go back as far as you want and they're still
• 55:03
  Speaker 10: awesome stuff.
• 55:04
  Speaker 6: I mean, I didn't find it on lists. I didn't
• 55:07
  Speaker 6: find it on any kind of Netflix or anything, categories.
• 55:11
  Speaker 12: Of silent movies. I seriously.
• 55:13
  Speaker 6: I specifically searched for, I was Googling silent films, like artsy, slow.
• 55:24
  Speaker 25: Question mark at the end.
• 55:25
  Speaker 12: Question marks.
• 55:27
  Speaker 6: And had to scroll through several pages, and then there
• 55:30
  Speaker 6: was just a blurb on somebody's blog. And I was like, okay.
• 55:34
  Speaker 6: And it was on 2+, because otherwise I won't. I mean,
• 55:37
  Speaker 6: I think there's a couple versions on YouTube, but that's
• 55:41
  Speaker 6: how I found it. I had to seriously look for it.
• 55:43
  Speaker 25: Yeah, and we saw it for maybe like 15 seconds.
• 55:46
  Speaker 12: And we were like, yep, that one's good.
• 55:48
  Speaker 13: This one's got style. I like this one.
• 55:51
  Speaker 12: It's got attitude.
• 55:52
  Speaker 13: Moxie.
• 55:52
  Speaker 10: You got Moxie, kid.
• 55:54
  Speaker 13: That's it. We're going to make you a picture.
• 55:55
  Speaker 8: Stop.
• 55:58
  Speaker 13: So I don't know.
• 56:01
  Speaker 10: Is there anything else you were trying to bring to it?
• 56:05
  Speaker 13: Anything else to?
• 56:06
  Speaker 6: I mean, it really, we shaped our music to fit
• 56:10
  Speaker 6: the film. The film did most of the legwork for
• 56:13
  Speaker 6: providing like what kind of sound should go with that scene.
• 56:18
  Speaker 6: And we just tried to match it as well as
• 56:20
  Speaker 6: we could.
• 56:20
  Speaker 10: Yeah.
• 56:21
  Speaker 15: Yeah.
• 56:21
  Speaker 25: And the performances were really well done, too.
• 56:25
  Speaker 12: Oh, I know.
• 56:26
  Speaker 13: Roderick. Crazy man.
• 56:28
  Speaker 6: What a wonderful acting job by him.
• 56:31
  Speaker 13: He looks like my dad. Actually.
• 56:34
  Speaker 9: A little bit, yeah.
• 56:35
  Speaker 23: He made me think, along with.
• 56:38
  Speaker 13: What's.
• 56:38
  Speaker 9: His name from The Cabinet of Dr.
• 56:39
  Speaker 23: Caligari? He's another one of those weirdly beautiful and creepy-looking
• 56:45
  Speaker 23: silent movie actors who has... His hair is perfect, and
• 56:49
  Speaker 23: his eyes are enormous.
• 56:51
  Speaker 9: I don't know. He looks like a comic book character.
• 56:55
  Speaker 13: He looks very unreal.
• 56:57
  Speaker 26: He brought up Roderick looking so perfect.
• 56:59
  Speaker 13: I know it's the only thing.
• 57:01
  Speaker 26: that was never in focus on him were his eyes.
• 57:04
  Speaker 26: And I don't know if that was something that they
• 57:06
  Speaker 26: did on purpose or just some weird thing that came out,
• 57:09
  Speaker 26: but he had, like you said, he had this nicely, almost, yeah,
• 57:13
  Speaker 26: almost chiseled face, and then he's got these weird, like,
• 57:16
  Speaker 26: fuzzy eyeballs.
• 57:17
  Speaker 9: It almost looked.
• 57:19
  Speaker 12: Like he had cataracts.
• 57:20
  Speaker 13: Yeah, yeah, almost. That's where the fog comes in.
• 57:24
  Speaker 26: And it helped with that kind of, you know, the
• 57:28
  Speaker 26: feel of uneasiness, kind of.
• 57:30
  Speaker 13: It makes you feel a little crazy. Like, he's a
• 57:32
  Speaker 13: little crazy.
• 57:33
  Speaker 23: It's because there was so much fog while they were
• 57:35
  Speaker 23: shooting this and smoke they had to put into every
• 57:37
  Speaker 23: scene that, you know, his eyes were watery the entire
• 57:40
  Speaker 23: way through.
• 57:43
  Speaker 9: Especially keeping them open that long.
• 57:45
  Speaker 14: Yeah.
• 57:46
  Speaker 6: Like, when did he blink?
• 57:47
  Speaker 12: Did he blink ever?
• 57:48
  Speaker 13: Just when they cut.
• 57:49
  Speaker 4: All cut.
• 57:51
  Speaker 17: He just, oh, God. Someone came up, Roderick, blink now.
• 57:55
  Speaker 13: Eye drops immediately.
• 57:58
  Speaker 3: Or I'd like to think that there was no way
• 58:00
  Speaker 3: that film could capture the true reality of his crazy eyes.
• 58:06
  Speaker 10: Actually, maybe they didn't even do anything to it. It
• 58:07
  Speaker 10: just physically can't capture it.
• 58:10
  Speaker 6: That's the whole reason he got cast.
• 58:11
  Speaker 9: His eyes are hyper-dimensional.
• 58:13
  Speaker 13: That's what's going on. He sees into another world.
• 58:16
  Speaker 10: It's like when you point the camera at the TV
• 58:18
  Speaker 10: when you've got it hooked up and you enter into
• 58:20
  Speaker 10: another universe of looping upon itself.
• 58:22
  Speaker 13: Those are his eyes.
• 58:24
  Speaker 25: And from beyond, he just sees that whole world.
• 58:27
  Speaker 13: He doesn't need his... Pineal gland stimulated. That's what he lives. Wow.
• 58:35
  Speaker 1: Way to bring up one of my favorite movies.
• 58:41
  Speaker 23: I like any reference to the pineal gland when discussing cinema.
• 58:44
  Speaker 13: Often underlooked gland. This is one of our favorite times
• 58:52
  Speaker 13: of year.
• 58:52
  Speaker 10: We're constantly doing our Halloween episodes and cramming as many
• 58:55
  Speaker 10: into October as we can. Do we have any, while
• 58:57
  Speaker 10: we're doing that, any horror movies that you like to
• 59:00
  Speaker 10: work in every October? Any fun, maybe forgotten or overlooked
• 59:05
  Speaker 10: movies that everybody should check out?
• 59:07
  Speaker 26: I like all the old universal horror. films, you know, Frankenstein, Dracula.
• 59:12
  Speaker 13: You kind of can't go wrong with those.
• 59:13
  Speaker 3: Wolfman.
• 59:15
  Speaker 13: And again... That's my go-to every fall.
• 59:16
  Speaker 10: Directors that we're kind of honing that, you know, this
• 59:20
  Speaker 10: is just a few years after, but yeah, you see
• 59:22
  Speaker 10: them start to get really artistic in Hollywood and as
• 59:25
  Speaker 10: close as we're going to get in Hollywood anyway.
• 59:27
  Speaker 13: Hour of the Wolf.
• 59:28
  Speaker 3: I know.
• 59:28
  Speaker 5: Thank you.
• 59:29
  Speaker 9: I have mixed feelings about that.
• 59:31
  Speaker 23: A greatly underrated Ingmar Bergman masterpiece, that one.
• 59:34
  Speaker 13: What year-ish?
• 59:36
  Speaker 10: What time period?
• 59:41
  Speaker 13: 1966, 65. He actually made it.
• 59:42
  Speaker 23: He was working on Hour of the Wolf, and then
• 59:47
  Speaker 23: they ran out of funding or something, which is almost
• 59:49
  Speaker 23: impossible to believe when you're watching that movie, because it's
• 59:51
  Speaker 23: literally Max von Sydow on a rocky beach and then
• 59:54
  Speaker 23: in a house.
• 59:55
  Speaker 13: It's whatever.
• 59:56
  Speaker 23: But they ran out of funding on that movie, so
• 59:58
  Speaker 23: he's like, well, damn it. So he ran off, made Persona,
• 1:00:01
  Speaker 23: sold that, and went back and continued working on Hour
• 1:00:04
  Speaker 23: of the Wolf. So they were made at about the
• 1:00:05
  Speaker 23: same time. And they both have that same sort of.
• 1:00:10
  Speaker 23: Persona is psychologically creepy on so many levels, but Hour
• 1:00:15
  Speaker 23: of the Wolf really externalizes that and turns it into
• 1:00:17
  Speaker 23: this very weird horror movie. But what do you love
• 1:00:21
  Speaker 23: about it?
• 1:00:23
  Speaker 9: Just.
• 1:00:25
  Speaker 6: I don't know just how creepy it is. It's just,
• 1:00:27
  Speaker 6: I'm not scared ever, but I just feel unsettled for
• 1:00:30
  Speaker 6: the next six days.
• 1:00:32
  Speaker 13: Nice. That's a, they need to put that on the box.
• 1:00:36
  Speaker 13: That's awesome.
• 1:00:38
  Speaker 14: Anyone else?
• 1:00:39
  Speaker 13: Um, yeah, for me, uh, it's, it's weird.
• 1:00:42
  Speaker 23: Cause when you're a, uh, an obscure film fan, like
• 1:00:45
  Speaker 23: all of us are obviously, um, it, you wind up
• 1:00:49
  Speaker 23: coming into a lot of movies that are, that are
• 1:00:51
  Speaker 23: unusual and, and, you occasionally come across these diamonds in
• 1:00:55
  Speaker 23: the rough that you're like, every time you show it
• 1:00:56
  Speaker 23: to someone, you get that little thrill from like, yeah,
• 1:00:58
  Speaker 23: I know, no one's heard of this, and it's awesome,
• 1:01:00
  Speaker 23: and yeah, I'm really happy to show it to you.
• 1:01:02
  Speaker 23: But you get a lot of those movies, a backlog
• 1:01:04
  Speaker 23: of those movies that, you know, you really can't necessarily
• 1:01:08
  Speaker 23: recommend to a whole lot of people, but you really
• 1:01:09
  Speaker 23: love them, like for some reason. They really get to you.
• 1:01:13
  Speaker 23: And for me, I think one of those movies is
• 1:01:15
  Speaker 23: definitely something I've mentioned on this show before, at least once,
• 1:01:18
  Speaker 23: which is Blood on Satan's Claw.
• 1:01:21
  Speaker 4: I believe you have brought that one up.
• 1:01:22
  Speaker 23: Yeah, it's a film that takes place in the 1600s,
• 1:01:26
  Speaker 23: English countryside. A farmer finds a skull in the woods
• 1:01:30
  Speaker 23: with fangs and fur growing on it.
• 1:01:32
  Speaker 13: Like you do.
• 1:01:34
  Speaker 23: Witchcraft and demons ensue. It's a very strange movie made
• 1:01:38
  Speaker 23: in the late 60s, and I gotta say, I love it.
• 1:01:41
  Speaker 13: I think it's wonderful, that one.
• 1:01:42
  Speaker 23: And another movie which is probably not a masterpiece by
• 1:01:48
  Speaker 23: any stretch, but it's called Don't Be Afraid of the Dark.
• 1:01:51
  Speaker 23: either the 1970s version from TV or honestly the movie
• 1:01:56
  Speaker 23: version from a few years ago was also pretty good.
• 1:01:58
  Speaker 13: I didn't hate that one.
• 1:01:59
  Speaker 10: Most people did.
• 1:02:00
  Speaker 23: Oh yeah, no, it's, uh, they name check one of
• 1:02:02
  Speaker 23: my favorite horror writers. They name check Arthur Mackin, uh, uh,
• 1:02:06
  Speaker 23: Welsh writer of stories about the, the, the fairies coming
• 1:02:10
  Speaker 23: to get you at night. Um, and anyway, yeah, both
• 1:02:12
  Speaker 23: of those are a lot of fun. Can't recommend them
• 1:02:14
  Speaker 23: to a whole lot of people, but, but I love
• 1:02:16
  Speaker 23: to watch them come Halloween.
• 1:02:17
  Speaker 3: Well, and that's so, um, I'd seen Don't Be Afraid
• 1:02:21
  Speaker 3: of the Dark as a kid, and all I could
• 1:02:23
  Speaker 3: remember was dragging her through the vents to hell. And
• 1:02:28
  Speaker 3: it literally took me, like, in my head, I have
• 1:02:31
  Speaker 3: a list of ten things I remember seeing as a kid.
• 1:02:36
  Speaker 1: And I'm like, I'm going to find all these things.
• 1:02:40
  Speaker 1: And that was one of them.
• 1:02:42
  Speaker 3: And you can't believe how difficult it is to construct
• 1:02:46
  Speaker 3: a Google search. LAUGHTER Woman drug through vent to hell,
• 1:02:51
  Speaker 3: tiny people.
• 1:02:52
  Speaker 13: Oh, I've seen that one.
• 1:02:55
  Speaker 9: There's one.
• 1:02:56
  Speaker 10: I can send you some links for special sites for you.
• 1:03:00
  Speaker 1: Woman drug through vent by tiny people?
• 1:03:04
  Speaker 9: Oh, God.
• 1:03:06
  Speaker 3: And what I found interesting about the reboot, besides Del Toro,
• 1:03:10
  Speaker 3: which I'll always support anything he ever does, just because
• 1:03:13
  Speaker 3: I eventually want my At the Mountains of Madness.
• 1:03:16
  Speaker 14: Yes.
• 1:03:17
  Speaker 8: Yes.
• 1:03:19
  Speaker 3: It is, again, the way he turned it into fairies,
• 1:03:22
  Speaker 3: because there's the whole thing about fairy circles, and once
• 1:03:25
  Speaker 3: you walk in a fairy circle, you belong to the fairies,
• 1:03:28
  Speaker 3: and the little girl walks in the fairy circle, and
• 1:03:31
  Speaker 3: just fantastic way of sort of turning the existing mythology
• 1:03:36
  Speaker 3: into a film that didn't have it in its original version.
• 1:03:40
  Speaker 15: Yeah.
• 1:03:40
  Speaker 23: And they mentioned that with, with reference to, uh, they
• 1:03:43
  Speaker 23: mentioned that with reference to Arthur Mack and again, who
• 1:03:45
  Speaker 23: was really into the theory that there really were like
• 1:03:48
  Speaker 23: small humans at some point in our history, which actually
• 1:03:51
  Speaker 23: we have discovered recently on an Island.
• 1:03:53
  Speaker 13: Apparently there were. Yes.
• 1:03:54
  Speaker 23: Uh, and, uh, who apparently they did in fact exist,
• 1:04:00
  Speaker 23: and the legends surrounding them were that they didn't know
• 1:04:02
  Speaker 23: how to cook food.
• 1:04:04
  Speaker 13: That will kill you off. Yeah, no, no, no.
• 1:04:06
  Speaker 23: They were constantly apparently attempting to steal children from the
• 1:04:09
  Speaker 23: neighboring tribes and get them to teach them how to
• 1:04:12
  Speaker 23: cook food, and the children would outwit them and run away.
• 1:04:15
  Speaker 6: Anthropology nerd.
• 1:04:15
  Speaker 13: That's the most adorable thing I've ever heard. I know,
• 1:04:18
  Speaker 13: but it's like of all the scary legends to be told.
• 1:04:21
  Speaker 17: Right.
• 1:04:22
  Speaker 13: I'm going the other way. You know the neighborhood kids
• 1:04:24
  Speaker 13: were just making fun of him all day. Well, naturally.
• 1:04:26
  Speaker 10: They're flicking a big ass.
• 1:04:27
  Speaker 13: Well, naturally.
• 1:04:28
  Speaker 23: But no, yeah, so yeah, that notion that, yeah, taking
• 1:04:32
  Speaker 23: the fairies and turning them into a horror story. Del
• 1:04:34
  Speaker 23: Toro's obviously read a lot of that. I'm really looking
• 1:04:36
  Speaker 23: forward to the At the Mountains of Madness update.
• 1:04:38
  Speaker 13: Yes, my heart quivers for that.
• 1:04:40
  Speaker 23: Although, I hear an interesting story about that that might
• 1:04:43
  Speaker 23: be apocryphal, but I love it because it raises the
• 1:04:46
  Speaker 23: category of my.
• 1:04:49
  Speaker 23: Raises one of the films I really love and everyone
• 1:04:52
  Speaker 23: else really hates up a category, which is Prometheus. Which
• 1:04:57
  Speaker 23: one of my favorite movies about Lovecraft that isn't explicitly
• 1:05:01
  Speaker 23: about Lovecraft. But anyway, apparently Del Toro went out, saw
• 1:05:05
  Speaker 23: that movie, and was like, you know what?
• 1:05:07
  Speaker 13: Forget it. They just made Mountains of Madness. I don't
• 1:05:09
  Speaker 13: need to.
• 1:05:10
  Speaker 1: That's what he said.
• 1:05:12
  Speaker 3: I no longer can make this movie because it has
• 1:05:15
  Speaker 3: been someone has already come in and checked off all
• 1:05:19
  Speaker 3: the points for Mountains of Madness and I can't tell
• 1:05:22
  Speaker 3: that story anymore.
• 1:05:23
  Speaker 13: Right, yeah.
• 1:05:24
  Speaker 1: Which is a shame because, man, I want that movie.
• 1:05:28
  Speaker 11: No, no, no.
• 1:05:28
  Speaker 1: I want that movie so bad.
• 1:05:30
  Speaker 14: Yeah.
• 1:05:31
  Speaker 3: And he is the only one, I think, that currently
• 1:05:34
  Speaker 3: makes movies that could make that movie the way I
• 1:05:37
  Speaker 3: want that movie to be made.
• 1:05:39
  Speaker 15: Yeah.
• 1:05:41
  Speaker 23: So do you have any films that are near and
• 1:05:43
  Speaker 23: dear to your heart this season?
• 1:05:45
  Speaker 25: Uh, horror movie season. Um, like I mentioned, uh, from beyond,
• 1:05:51
  Speaker 25: that's kind of a, just a, it gives me just
• 1:05:54
  Speaker 25: a nice warm feeling.
• 1:05:56
  Speaker 23: Like all, like all of our favorite horror movies do.
• 1:05:59
  Speaker 23: You remember them with a mixture of warmth and dread.
• 1:06:02
  Speaker 14: Yeah.
• 1:06:03
  Speaker 25: Um, I'll probably watch, I usually watch the exorcist once
• 1:06:06
  Speaker 25: a year around this time, even though it's kind of,
• 1:06:08
  Speaker 25: you know, might be considered hack, but.
• 1:06:11
  Speaker 17: It's, it's, it's important.
• 1:06:12
  Speaker 13: Brilliant film, too. I mean, it really is good.
• 1:06:15
  Speaker 25: And, yeah, I'm really just kind of actually looking for
• 1:06:18
  Speaker 25: something now to watch Halloween time that's not all about
• 1:06:25
  Speaker 25: jump out scares.
• 1:06:26
  Speaker 13: It's more about what you're talking about, where.
• 1:06:27
  Speaker 25: You feel just very terrible for six days.
• 1:06:30
  Speaker 10: I got you.
• 1:06:32
  Speaker 9: Oh, you got me?
• 1:06:32
  Speaker 3: Okay, good.
• 1:06:33
  Speaker 13: Hour of the Wolf, man. It will keep you up.
• 1:06:35
  Speaker 23: And, actually, I might have a suggestion for both of
• 1:06:37
  Speaker 23: you for your next project.
• 1:06:40
  Speaker 13: Have you seen.
• 1:06:41
  Speaker 23: We talked about the dreamlike quality of this film and
• 1:06:43
  Speaker 23: Hour of the Wolf. There's one film that actually checks
• 1:06:47
  Speaker 23: off both of those boxes from my mind as well.
• 1:06:49
  Speaker 23: It's a silent film. It's called Vampyr and it's by
• 1:06:52
  Speaker 23: Carl Dreyer. Have you taken a look at that one?
• 1:06:54
  Speaker 13: I've not seen that. Okay.
• 1:06:56
  Speaker 23: It is a film that normally, like all these films,
• 1:06:58
  Speaker 23: it comes with sort of a cheesy soundtrack like baked
• 1:07:00
  Speaker 23: into it even in the Criterion edition.
• 1:07:02
  Speaker 13: You should have heard the fall of the House of Usher.
• 1:07:05
  Speaker 14: Yeah.
• 1:07:05
  Speaker 23: It was really bad. But yeah, no, Vampyr, I have
• 1:07:10
  Speaker 23: seen this movie at least half a dozen times, right?
• 1:07:13
  Speaker 23: It's another one of those short, like, hour and 20-minute films.
• 1:07:17
  Speaker 23: To this day, about 45 minutes in, I have no
• 1:07:21
  Speaker 23: idea what's happening after that point, because I just kind
• 1:07:24
  Speaker 23: of get locked into that dream logic that it possesses,
• 1:07:27
  Speaker 23: and I'm watching it, but I don't really comprehend how
• 1:07:30
  Speaker 23: the one thing led to another. It is creepy and
• 1:07:32
  Speaker 23: terrifying and really unusual, somehow about a vampire.
• 1:07:35
  Speaker 8: Yeah.
• 1:07:37
  Speaker 13: But yeah, I highly.
• 1:07:38
  Speaker 23: Recommend that to you guys to check out. Sorry, I'm
• 1:07:41
  Speaker 23: not trying to pitch you guys like, hey, do this
• 1:07:43
  Speaker 23: as your next thing necessarily.
• 1:07:44
  Speaker 22: We'll show it at the Alley Theater.
• 1:07:46
  Speaker 23: Well, if you should wish to, give you part of
• 1:07:50
  Speaker 23: the door. But seriously though, check that out. It's really
• 1:07:54
  Speaker 23: creepy and it might fit your boat.
• 1:07:56
  Speaker 25: Thanks.
• 1:07:58
  Speaker 10: Since I name checked it earlier, that's kind of just
• 1:08:01
  Speaker 10: to give people the... Because I wanted to double check
• 1:08:02
  Speaker 10: because I also ran across an Unholy 3 recently. and
• 1:08:07
  Speaker 10: it wasn't the one I knew. So I kind of
• 1:08:09
  Speaker 10: wanted to make sure people got the one I was
• 1:08:11
  Speaker 10: talking about. The one is from 1925 that is the
• 1:08:15
  Speaker 10: Todd Browning one, and it is, that's what's really weird.
• 1:08:18
  Speaker 10: It's only 1930 when that other one comes out, which
• 1:08:21
  Speaker 10: also has.
• 1:08:23
  Speaker 13: Lon Chaney in it.
• 1:08:24
  Speaker 10: Like, why would you title it the same? But it's like,
• 1:08:27
  Speaker 10: I don't know if it's an unofficial sequel. It doesn't
• 1:08:29
  Speaker 10: seem like that's possible with the way the story goes
• 1:08:31
  Speaker 10: in the first one. But, because they also are like,
• 1:08:34
  Speaker 10: Unholy 3 and 25 is circus performer's In 30, their
• 1:08:38
  Speaker 10: former circus, so maybe it's some alternate universe sequel.
• 1:08:41
  Speaker 14: I don't know.
• 1:08:41
  Speaker 10: But the one from 25 is, again, I don't know
• 1:08:44
  Speaker 10: if you'd call it normal horror, but anything directed by
• 1:08:47
  Speaker 10: Todd Browning becomes horror. And to me, it's also like
• 1:08:51
  Speaker 10: the early stages of body horror. Everybody wants to give
• 1:08:55
  Speaker 10: Cronenberg that one, but I'm like, Todd Browning, like, I mean,
• 1:08:59
  Speaker 10: this one is... a it doesn't start off that way
• 1:09:02
  Speaker 10: but by the end you're like oh oh god.
• 1:09:05
  Speaker 23: Watching a guy with no arms and legs light a
• 1:09:07
  Speaker 23: cigarette for himself is.
• 1:09:11
  Speaker 13: Yeah no cronenberg can't make up that shit you know.
• 1:09:15
  Speaker 4: And that's not even that movie, but he did that
• 1:09:17
  Speaker 4: right around the same time.
• 1:09:18
  Speaker 9: Yeah, and they did that so smoothly, too.
• 1:09:19
  Speaker 26: Like, if you're not paying attention, you don't notice what
• 1:09:22
  Speaker 26: he's doing.
• 1:09:22
  Speaker 15: Yeah.
• 1:09:23
  Speaker 10: But yeah, this one also involves someone, you know, who...
• 1:09:28
  Speaker 10: It's a circus performer. They may or may not be
• 1:09:30
  Speaker 10: missing limbs. So from there, I say go check that
• 1:09:32
  Speaker 10: one out.
• 1:09:33
  Speaker 26: And you get to see Lon Chaney in a dress, which.
• 1:09:35
  Speaker 9: Is always, you know... Sold. Wait, which one are you
• 1:09:38
  Speaker 9: talking about?
• 1:09:38
  Speaker 13: You might be talking about the other one.
• 1:09:40
  Speaker 9: Are they doing a jewel heist?
• 1:09:43
  Speaker 4: That's the 1930.
• 1:09:44
  Speaker 10: Yep, see, that's the 1930 one, which I need to
• 1:09:48
  Speaker 10: watch that one because I've heard that was pretty decent,
• 1:09:50
  Speaker 10: but no, the one in 25 is he's an armless
• 1:09:54
  Speaker 10: knife thrower.
• 1:09:57
  Speaker 13: Not kidding. That right there should sell you, so go
• 1:10:01
  Speaker 13: see it.
• 1:10:02
  Speaker 9: I would go look for that right now.
• 1:10:04
  Speaker 10: Otherwise, one more plug for the old band camp.
• 1:10:08
  Speaker 16: Www.bermudan.bandcamp That's B-E-R-M-U-D-A-N.
• 1:10:19
  Speaker 13: You don't have to say the W-W-N.
• 1:10:21
  Speaker 12: H-T-T-P.
• 1:10:23
  Speaker 6: Colon backslash backslash.
• 1:10:25
  Speaker 13: Hook up your modem.
• 1:10:27
  Speaker 23: In the words of Joe Bob Briggs, man, you guys
• 1:10:30
  Speaker 23: got some dot com talk.
• 1:10:32
  Speaker 13: Some dot com.
• 1:10:34
  Speaker 25: Only accessible through the Tor browser.
• 1:10:39
  Speaker 23: All you hipsters out there really concerned about your security.
• 1:10:43
  Speaker 23: Your Linux systems.
• 1:10:46
  Speaker 17: And your Tor browsers.
• 1:10:48
  Speaker 6: But once you download a Tor browser, you're on a list.
• 1:10:51
  Speaker 12: Let's not go there.
• 1:10:53
  Speaker 13: They know what you're up to.
• 1:10:56
  Speaker 23: And also they post the list of how they redirect
• 1:10:58
  Speaker 23: the sites, so it's not exactly like.
• 1:11:03
  Speaker 17: It baffled me. I tried to use it for a
• 1:11:05
  Speaker 17: little while, but it was frustrating.
• 1:11:06
  Speaker 24: Yeah, that's just it.
• 1:11:08
  Speaker 9: Use DuckDuckGo instead.
• 1:11:10
  Speaker 17: It's your safe search alternative to Google. They don't care
• 1:11:12
  Speaker 17: what you're looking for.
• 1:11:13
  Speaker 9: They don't keep records.
• 1:11:14
  Speaker 18: All right.
• 1:11:15
  Speaker 25: Want to keep your sources confidential?
• 1:11:17
  Speaker 17: DuckDuckGo.
• 1:11:18
  Speaker 18: DuckDuckGo.
• 1:11:21
  Speaker 1: So my search for woman being drugged through beds by
• 1:11:26
  Speaker 1: tiny people.
• 1:11:28
  Speaker 4: You got red flagged a long time ago.
• 1:11:31
  Speaker 23: There's an episode of South Park where Cartman tries to
• 1:11:35
  Speaker 23: infiltrate the NSA to find out what they're saying about him.
• 1:11:38
  Speaker 23: And it turns out no one gives a damn what
• 1:11:40
  Speaker 23: he's doing. He was very, very upset. Did you give
• 1:11:47
  Speaker 23: a movie for your Halloween movie?
• 1:11:49
  Speaker 13: I don't think you did. The Keep.
• 1:11:52
  Speaker 3: No, see, when I think of a movie I want
• 1:11:56
  Speaker 3: to watch around Halloween, it sort of has got to
• 1:11:58
  Speaker 3: encapsulate the season. And this is going to sound kind
• 1:12:03
  Speaker 3: of lame, but John Carpenter's original Halloween captures the fall season.
• 1:12:10
  Speaker 3: There's a scene where the girls are walking down the
• 1:12:14
  Speaker 3: street and it's fall and there's leaves and he's way down.
• 1:12:18
  Speaker 3: To me, that makes me feel like This is something
• 1:12:21
  Speaker 3: that could happen today if I walked out my front door.
• 1:12:27
  Speaker 10: I was just going over that yesterday, actually, because I'm like,
• 1:12:29
  Speaker 10: that's why I discount the Rob Zombie version. Because in
• 1:12:34
  Speaker 10: his weird backstory, he wanted to trash it up so
• 1:12:36
  Speaker 10: much that it's nothing but trailer park stories. And I'm like,
• 1:12:39
  Speaker 10: that was what was so awesome about Carpenter's version is
• 1:12:42
  Speaker 10: because it's so middle America. It's so any town USA
• 1:12:46
  Speaker 10: in the.
• 1:12:48
  Speaker 10: That he is the boogeyman. He's not a backstory. He's
• 1:12:51
  Speaker 10: any boogeyman.
• 1:12:52
  Speaker 3: And then at some point it reminds, that makes me
• 1:12:55
  Speaker 3: feel like my childhood. So I am, I'm watching a
• 1:12:58
  Speaker 3: horror story set in my childhood because I, that could
• 1:13:02
  Speaker 3: have been the neighborhood I grew up in. And that, so,
• 1:13:07
  Speaker 3: so of all the horror movies out there, that one
• 1:13:09
  Speaker 3: evokes a time and a place and a feeling and
• 1:13:12
  Speaker 3: a sense of season.
• 1:13:13
  Speaker 17: That I like.
• 1:13:14
  Speaker 13: It's pretty amazing.
• 1:13:16
  Speaker 14: Yeah.
• 1:13:16
  Speaker 10: And it's one of those, like it, it doesn't really
• 1:13:18
  Speaker 10: become that kind of horror movie till two thirds of
• 1:13:21
  Speaker 10: the way in. But that first part is equally as
• 1:13:24
  Speaker 10: effective as being a representation of fall and Halloween and
• 1:13:28
  Speaker 10: your childhood. And like all the rest of that stuff
• 1:13:30
  Speaker 10: is so well done in the first part that like,
• 1:13:32
  Speaker 10: that's why I think delivers so much when it kicks
• 1:13:35
  Speaker 10: into the horror mode.
• 1:13:37
  Speaker 1: And it doesn't help. I've been on a John Carpenter
• 1:13:39
  Speaker 1: kick for a while.
• 1:13:39
  Speaker 13: So, you know, she's got a few classics. Otherwise, that
• 1:13:46
  Speaker 13: about does it. We will return next time. Same geek feed.
• 1:13:49
  Speaker 13: Thanks for listening.
• 1:13:57
  Speaker 8: The busher was doomed to fall, and for it.
• 1:14:03
  Speaker 14: Hung a deadly pall. The dreary winter night I came
• 1:14:11
  Speaker 14: to call.
• 1:14:17
  Speaker 8: In melancholy and bleak decay, its crumbling walls of lead
• 1:14:26
  Speaker 8: and gray were groaning in the throes of giving way.
• 1:14:38
  Speaker 19: My young friend Usher was wild of eye His sister Madeline.
• 1:14:46
  Speaker 8: Had just died And seeing her laid out made my
• 1:14:53
  Speaker 8: heart cry We placed the coffin in vaults so deep
• 1:15:03
  Speaker 8: It once had served as dungeon keep And left the
• 1:15:10
  Speaker 8: lady there for her long sleep A raging tempest blew
• 1:15:22
  Speaker 8: that night and bathed the house in ghostly light as
• 1:15:29
  Speaker 8: ashes trembling mean right. I heard a muffled sound, and
• 1:15:41
  Speaker 8: sick with dread I turned around.
• 1:15:46
  Speaker 19: My eyes could not believe the sight they found.
• 1:15:58
  Speaker 14: In bloody shroud, dead white of face, but walking.
• 1:16:05
  Speaker 8: Proud, she clasped her brother's form.
• 1:16:10
  Speaker 13: And shrieked aloud.
• 1:16:16
  Speaker 15: As both fell lifeless upon the floor, And I fled
• 1:16:22
  Speaker 15: screaming through the door, The.
• 1:16:26
  Speaker 19: House of Usher fell and was.
• 1:16:39
  Speaker 13: No more. I would love to know if the.
• 1:16:43
  Speaker 23: The settings filmed if they used, like, if there was
• 1:16:46
  Speaker 23: one palace that they used or something like that, if
• 1:16:48
  Speaker 23: there was, if they actually had to construct sets or
• 1:16:51
  Speaker 23: what they did. Because one of the things I found
• 1:16:53
  Speaker 23: interesting also was how disjointed the experience of walking through
• 1:16:58
  Speaker 23: the place was and the fact that they had thrown
• 1:17:01
  Speaker 23: drapes on virtually everything so that it really could have been, like,
• 1:17:04
  Speaker 23: it could have been a palace where everything's covered with
• 1:17:06
  Speaker 23: drapes and that's just the way they contracted to use it.
• 1:17:09
  Speaker 23: They said, okay, you can use it, but all the
• 1:17:10
  Speaker 23: statues have to stay covered and, you know, you can't
• 1:17:12
  Speaker 23: touch them and so on. or it could have just
• 1:17:15
  Speaker 23: been that they built it on a back lot somewhere
• 1:17:17
  Speaker 23: in France, and that was the easiest way to conceal everything.
• 1:17:21
  Speaker 23: But either way, the place had a kind of grandeur
• 1:17:26
  Speaker 23: to it, and at the same time was very gloomy
• 1:17:28
  Speaker 23: and dark and spooky, and I'd just love to know
• 1:17:31
  Speaker 23: where that was.
• 1:17:34
  Speaker 25: Bunuel's Loft?
• 1:17:37
  Speaker 10: In France.
• 1:17:38
  Speaker 11: Yeah.
• 1:17:41
  Speaker 13: It's obviously a question for all of you guys.
• 1:17:42
  Speaker 17: I must. Quoting Conehead.
• 1:17:45
  Speaker 13: Let's put answers in a hat.
• 1:17:46
  Speaker 9: You have IMDB right there.
• 1:17:49
  Speaker 13: You have it too? It belongs to the world.
• 1:17:53
  Speaker 9: Doesn't it belong to all of us?
• 1:17:55
  Speaker 13: That'll give you guys some homework to do at home.
• 1:18:00
  Speaker 13: I hope you haven't taken my stories too seriously.
• 1:18:09
  Speaker 17: This episode is a production of Movie Meltdown, produced and
• 1:18:12
  Speaker 17: edited by The Oddity Studios, with the opening music performed
• 1:18:15
  Speaker 17: by The Empires. For more on how to sponsor or
• 1:18:18
  Speaker 17: support the show, email producer at moviemeltdown.com.
• 1:18:24
  Speaker 14: Talk hard!