Latest / Beyond The Blood: A Horror Movie Commentary Podcast / Zombie (1979)

Transcript

Zombie (1979) · Beyond The Blood: A Horror Movie Commentary Podcast

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  Speaker 2: You are now listening to the Someone's Favorite Productions podcast network.
• 2:07
  Speaker 3: They are.
• 2:15
  Speaker 4: Yes, it's my father's boat, and how long since you
• 2:18
  Speaker 4: last spoke to him? Well, we have to go to
• 2:20
  Speaker 4: my tool. We're trying to locate Anne's father.
• 2:23
  Speaker 3: She hasn't heard from him.
• 2:24
  Speaker 4: Sometimes that's not a cool place to head. I'm going
• 2:27
  Speaker 4: to tell everyone that you're the one who's crazy invented rule?
• 2:31
  Speaker 1: Even?
• 2:33
  Speaker 5: What exactly did my father die?
• 2:36
  Speaker 4: And the boat's crew?
• 2:37
  Speaker 5: What happened to that?
• 2:38
  Speaker 3: What's your mother dead?
• 2:39
  Speaker 4: Coming back to life again and having to be killed
• 2:41
  Speaker 4: the second time? Pilots fantastic regilance.
• 2:46
  Speaker 5: Who do is Tonight We're diving into Luccio Folci's Zombie,
• 3:09
  Speaker 5: a story that begins with a mysterious abandoned boat drifting
• 3:13
  Speaker 5: into New York Harbor, setting off a chain of events
• 3:16
  Speaker 5: that leads straight to a remote Caribbean island hiding a
• 3:19
  Speaker 5: terrifying secret. As Anne and Peter search for Anne's missing father,
• 3:24
  Speaker 5: they uncover an outbreak where the dead arising and feeding
• 3:27
  Speaker 5: on the living. What follows is a fight for survival
• 3:30
  Speaker 5: as a group faces relentless attacks, isolated from the outside
• 3:34
  Speaker 5: world with nowhere to run welcome back to Beyond the Blood. So, Chris,
• 3:42
  Speaker 5: I have to ask you, donod the dead or zombie
• 3:48
  Speaker 5: Fogie lives? Baby? Well, it is his week after all.
• 3:57
  Speaker 4: I don't know what a tough question the post is
• 4:00
  Speaker 4: to me right at the start of this thing, Man,
• 4:02
  Speaker 4: I think I think I told you I think both.
• 4:06
  Speaker 4: Can I say both? Do I have to pick one?
• 4:12
  Speaker 2: Like?
• 4:13
  Speaker 4: Can I can I just can I do I have
• 4:15
  Speaker 4: can I? You have me last? You kind of have to, dude, Honestly,
• 4:20
  Speaker 4: I'm gonna I'm gonna go with Zombie. I mean, I
• 4:24
  Speaker 4: think there's two totally different movies, but I think I
• 4:27
  Speaker 4: think I fall much more in the vibe of Zombie,
• 4:30
  Speaker 4: though it does lack in overall Zombie mayhem compared the
• 4:35
  Speaker 4: Dawn the Dead.
• 4:36
  Speaker 5: But that's okay. It's okay. It makes up for it.
• 4:40
  Speaker 5: In Italian beauty.
• 4:43
  Speaker 4: This is coming out, that's true. This is coming out
• 4:46
  Speaker 4: the week after Folgie Lives after Fulgi Week, which celebrates
• 4:51
  Speaker 4: the birthday into films of Luccio Folgi. Fun fact, when
• 4:55
  Speaker 4: you're listening to this, I'm I'm on vacation. This was
• 4:59
  Speaker 4: kind of a do we got to put an episode
• 5:01
  Speaker 4: out while I'm away thing, and we thought, hey, what
• 5:04
  Speaker 4: better week than than Folci Week?
• 5:06
  Speaker 5: Man?
• 5:06
  Speaker 4: Have you been celebrating the birth and the life of
• 5:10
  Speaker 4: our Lord and savior Lucio Folci.
• 5:13
  Speaker 5: I do that three hundred and sixty five days a year.
• 5:15
  Speaker 5: I don't need a whole week for that, You know how,
• 5:17
  Speaker 5: You know how passionate I am when it comes to
• 5:19
  Speaker 5: Lucio Fulci. That's my guy.
• 5:23
  Speaker 4: Stoke to be doing this movie, Mats Stoke to finally
• 5:26
  Speaker 4: be doing Fulci. Yeah, and Beyond the Blood. It's about time.
• 5:30
  Speaker 5: I thought you're gonna be telling me that you were
• 5:32
  Speaker 5: going to a very remote island, a Caribbean island called Matool.
• 5:38
  Speaker 4: You're you're going to a Caribbean island. I am showering shower.
• 5:44
  Speaker 5: Yeah, there's gonna be. There's gonna be. I'm not gonna
• 5:48
  Speaker 5: be put mirrors around that image. I'm around merrors right, No, no, no, no, no, no,
• 5:53
  Speaker 5: I'm good. I'm okay.
• 5:54
  Speaker 4: It's almost like the same meer setup. Like I just
• 5:56
  Speaker 4: got a haircut the other day. It's the same mirror setup,
• 5:58
  Speaker 4: so I could see all angles of my hair, you
• 6:00
  Speaker 4: know what I mean.
• 6:02
  Speaker 5: I don't want to be a part of that. It's
• 6:06
  Speaker 5: not what Lucio Foltchi would want.
• 6:08
  Speaker 4: I'm sure this is all he wanted. I'm sure you
• 6:11
  Speaker 4: want to talk about though, Beyond.
• 6:14
  Speaker 5: Man for another episode.
• 6:18
  Speaker 4: We you and I we listened to two different commentary tracks.
• 6:23
  Speaker 5: We did. It wasn't intentional either, it was not.
• 6:26
  Speaker 4: It was completely on accident. But it's okay because you
• 6:30
  Speaker 4: watched the four K from Arrow and on that the
• 6:35
  Speaker 4: audio commentary track featuring Eugenia or Kolani, Troy Howarth and
• 6:39
  Speaker 4: Nathaneo Thompson Co. Which was recorded in twenty twenty five
• 6:43
  Speaker 4: for that Arrow UK. For these, I listened to the
• 6:48
  Speaker 4: twenty eighteen Blu Ray audio commentary with Troy Howorth solo,
• 6:55
  Speaker 4: which I think we kind of chatted it before we
• 6:58
  Speaker 4: went before we started recording this that I think we're
• 7:00
  Speaker 4: gonna have a lot of crossover between our notes. Yeah,
• 7:05
  Speaker 4: And I was gonna pass it back to you to
• 7:09
  Speaker 4: ask me that question, but I realized that that complicated
• 7:11
  Speaker 4: question you asked me was a doll on the dead
• 7:12
  Speaker 4: versus zombie. You sneaky son of a bitch. So I
• 7:22
  Speaker 4: want to ask you what did you think of what'd
• 7:26
  Speaker 4: you think of that commentary sreck.
• 7:29
  Speaker 5: I felt that it was very comprehensive. I thought that
• 7:35
  Speaker 5: it was a great way to get a complete overview
• 7:38
  Speaker 5: of a film that I have been watching for a
• 7:41
  Speaker 5: number of years, and it definitely gave me a different
• 7:45
  Speaker 5: level of appreciation for it. I just have to say,
• 7:50
  Speaker 5: and we were talking about this before we hit record,
• 7:55
  Speaker 5: just how stacked of a release Aarrow went on out
• 8:00
  Speaker 5: for this four KSE set and I was pleasantly surprised
• 8:05
  Speaker 5: with just how great of an audio commentary this was,
• 8:09
  Speaker 5: and it really just again, it gave me such a
• 8:11
  Speaker 5: deep appreciation for everything this film has to offer, and
• 8:15
  Speaker 5: just like what the vision was for Luccio Fulci.
• 8:18
  Speaker 4: Yeah, I agree, I think. And this is why I
• 8:22
  Speaker 4: wanted to ask you, this why I want to bring
• 8:23
  Speaker 4: this up, because I think the commentary track that I
• 8:26
  Speaker 4: listened to from Troy is brilliant. It's absolutely a brilliant
• 8:31
  Speaker 4: educational track. And for those who don't know, Troy Howarth
• 8:34
  Speaker 4: actually wrote the book on Luciofolgi. It's called Splintered Visions.
• 8:38
  Speaker 4: It's the most comprehensive dive into Fulgree's work available on
• 8:42
  Speaker 4: the market. This guy is quite literally the expert on Luciofolgie.
• 8:48
  Speaker 4: So the level of education and passion that exudes from
• 8:53
  Speaker 4: him in every minute of this commentary track. And I'm
• 8:56
  Speaker 4: sure the commentary track that you listened to that I
• 8:57
  Speaker 4: did not is phenomenal. But there's this recurring thing with
• 9:04
  Speaker 4: movies this, oh this is what nineteen seventy eight, nineteen
• 9:09
  Speaker 4: seventy nine, When was this seventy eight?
• 9:12
  Speaker 5: Uh?
• 9:14
  Speaker 4: You would think I knew this offhand? Uh?
• 9:18
  Speaker 5: I think it's seventy nine.
• 9:20
  Speaker 4: Okay, seventy I can remember seventy eight or seventy nine,
• 9:22
  Speaker 4: So nineteen seventy nine. Folgi is no longer around. A
• 9:28
  Speaker 4: lot of the crew from this movie is no longer around,
• 9:31
  Speaker 4: so we're not getting any fresh input about what it
• 9:36
  Speaker 4: was like working with Folcio on the set. We're left
• 9:38
  Speaker 4: with pretty much most of the history to get into,
• 9:41
  Speaker 4: and that's what he dives into, and that doesn't make
• 9:44
  Speaker 4: for the most comprehensive commentary as far as technical aspects go.
• 9:52
  Speaker 4: But what it does bring up and what Troy does
• 9:55
  Speaker 4: an incredible job at is talking about Folgi through the
• 10:01
  Speaker 4: movie and painting a picture of who Fulci was, and
• 10:05
  Speaker 4: who the cast was, and who the crew was and
• 10:07
  Speaker 4: the expertise around it and all around just exudes an
• 10:10
  Speaker 4: incredible love for this movie. I mean, he spends so
• 10:13
  Speaker 4: much time pointing out shots, sequences, every time there's somebody
• 10:18
  Speaker 4: naked he points.
• 10:19
  Speaker 5: In which I can appreciate.
• 10:22
  Speaker 4: Yes, Yes, So it's an incredible track, man, And I
• 10:26
  Speaker 4: want to ask you before we dive into our coverage
• 10:29
  Speaker 4: on these tracks, give me a little bit of your
• 10:32
  Speaker 4: history with Zombie. I know you're watching it right now
• 10:34
  Speaker 4: I constantly see your eyes flickering up to the VHS.
• 10:39
  Speaker 4: Give me some history on Zombie for you.
• 10:41
  Speaker 5: We were talking about this earlier. Just how I have
• 10:44
  Speaker 5: such a appreciation for all forms of physical media, everything
• 10:50
  Speaker 5: ranging from vhs all the way on up to four K.
• 10:55
  Speaker 5: But with that being said, my initial exposure to this
• 10:59
  Speaker 5: film was early high school and I had a friend
• 11:05
  Speaker 5: of mine. She knew that I was really into horror,
• 11:11
  Speaker 5: really diving into like some of the deeper cuts at
• 11:14
  Speaker 5: the time, and I remember her bringing up Zombie and
• 11:19
  Speaker 5: she had a Blue Underground DVD that she was nice
• 11:23
  Speaker 5: enough to hook me up with. And I remember, I remember,
• 11:27
  Speaker 5: you know, going home and watching it, and I just
• 11:29
  Speaker 5: heard all these great things about and you know, full disclaimer,
• 11:33
  Speaker 5: before even watching it, I heard about the zombie shark
• 11:35
  Speaker 5: scene yep, and I was like, okay, you know, I
• 11:39
  Speaker 5: kind of figured that it wouldn't live up to the hype,
• 11:41
  Speaker 5: and I remember, you know, obviously it's a little jarring.
• 11:45
  Speaker 5: You know, for those of you guys aren't as familiar
• 11:48
  Speaker 5: with the Italian horror film sometimes like the dubbing can
• 11:52
  Speaker 5: be a little off on some of them, or you know,
• 11:55
  Speaker 5: it's I think part of the charm that you have
• 11:58
  Speaker 5: with a lot of these films. But once I was
• 12:01
  Speaker 5: able to get past, you know, certain trademark aspects of
• 12:06
  Speaker 5: Italian horror films, I just was like so excited and
• 12:12
  Speaker 5: wrapped up in this movie because it's like, you know
• 12:14
  Speaker 5: how it is like when you find something that you
• 12:18
  Speaker 5: you just kind of fall in love with very quickly.
• 12:21
  Speaker 5: This is one of those films, and it completely blew
• 12:25
  Speaker 5: me away and really was my first exposure to Italian horror.
• 12:30
  Speaker 5: And the reason why I bring up that friend of mine,
• 12:32
  Speaker 5: she actually passed away a number of years ago. So
• 12:34
  Speaker 5: I just feel like, you know, having that connection, that
• 12:37
  Speaker 5: association with this specific movie is pretty cool. Well what
• 12:42
  Speaker 5: about for you? When did you first have a chance
• 12:44
  Speaker 5: to watch this movie?
• 12:46
  Speaker 4: Dude? This poster always that one sheet I call it
• 12:50
  Speaker 4: the worm Zombie. I don't know what the technical name is,
• 12:52
  Speaker 4: but that one sheet always always got to me in
• 12:55
  Speaker 4: the video store and I we used to go to
• 12:59
  Speaker 4: this little video store were in Clayton, New Jersey. My
• 13:01
  Speaker 4: dad lived there for a little while, and they had
• 13:05
  Speaker 4: this one sheet hanging on the wall. I remember in
• 13:08
  Speaker 4: the horror section, I'd be like, Oh, whatever, that movie
• 13:10
  Speaker 4: that is? I did see Down of the Dead long
• 13:13
  Speaker 4: before this. Same Down the Dead I had on DVD maybe,
• 13:20
  Speaker 4: and I watched that over and over and over again. Eventually,
• 13:24
  Speaker 4: probably like you, probably early high school, I finally saw
• 13:28
  Speaker 4: this and I believe I downloaded it off of like
• 13:32
  Speaker 4: LimeWire or one of them. Man, somehow I downloaded it.
• 13:37
  Speaker 4: Oh no, oh my god. I got this through Netflix
• 13:42
  Speaker 4: when they were the disc delivery. That's what I did.
• 13:47
  Speaker 4: It's really you know, it's really weird. For some reason,
• 13:49
  Speaker 4: I remember getting remember there was like different plans where
• 13:53
  Speaker 4: you could get multiple discs.
• 13:56
  Speaker 5: That was very early on.
• 13:58
  Speaker 4: I got this with know why I got this with
• 14:01
  Speaker 4: The Born Supremacy. I don't know what.
• 14:06
  Speaker 5: I was the perfect double feature really if you think
• 14:08
  Speaker 5: about it, of course.
• 14:09
  Speaker 4: Yeah, yeah, yeah, yeah. I don't know why I remember
• 14:13
  Speaker 4: that so specifically. I remember the they would have the
• 14:16
  Speaker 4: description on the white sleeve is a Zombie nineteen seventy eight,
• 14:21
  Speaker 4: gave a little description, you know, the running time, all
• 14:23
  Speaker 4: that stuff, and yeah, I gotta be honest, though, I
• 14:29
  Speaker 4: didn't really learn to appreciate this movie until having it
• 14:33
  Speaker 4: on an updated format. It wasn't until I got The
• 14:36
  Speaker 4: Blue Underground Blu ray and I watched it when fun fact,
• 14:41
  Speaker 4: I was a third member on a podcast long before
• 14:45
  Speaker 4: Beyond the Blood called the tape Head Masacre Podcast, and
• 14:49
  Speaker 4: Zombie was I believe the first episode that I was
• 14:54
  Speaker 4: officially a part of the podcast on. And that's when
• 14:58
  Speaker 4: I that's that's that's when I learned to love this one.
• 15:03
  Speaker 5: Where does this rank for you out of Faultcy's films?
• 15:06
  Speaker 5: Before we have a chance to dive in further.
• 15:10
  Speaker 4: Stop three mm hmm stop three. Yeah, this is his
• 15:15
  Speaker 4: first foray into horror film full on horror. But you know,
• 15:20
  Speaker 4: to be honest with you, the the the best of
• 15:23
  Speaker 4: Folgy is is sort of a an ever rotating list.
• 15:27
  Speaker 4: There's a couple of foulci that I think are bottom
• 15:29
  Speaker 4: tier fulci for me as far as most noticeable. Like
• 15:32
  Speaker 4: I'm not the biggest fan of Demonia. I can give
• 15:36
  Speaker 4: or take, you know, Enigma. Demonia is probably my lowest low.
• 15:43
  Speaker 4: I just don't not the biggest fan of that one.
• 15:46
  Speaker 4: And that's when I don't see many people talking about
• 15:48
  Speaker 4: I don't think that one has as much an impact
• 15:50
  Speaker 4: as as as a lot of his other stuff.
• 15:53
  Speaker 5: Didn't Erro do that one as well? From Blue Ray?
• 15:56
  Speaker 4: They did? Yeah, they did. I did have it on
• 15:59
  Speaker 4: Blu Ray. I had a region be and then I
• 16:00
  Speaker 4: have a Severn did ad a Blue Gray. I believe
• 16:04
  Speaker 4: Arrow did it in the UK. Seven did a US
• 16:06
  Speaker 4: one and I remember picking it up and seven also
• 16:09
  Speaker 4: did Enigma as well.
• 16:13
  Speaker 5: Yeah, it's another one. I don't feel like it's talked
• 16:15
  Speaker 5: about enough. I didn't mind that one. I mean it's
• 16:17
  Speaker 5: definitely not you know, top tier folchi. I always felt
• 16:22
  Speaker 5: like kind of the fall off is like right around,
• 16:25
  Speaker 5: like Murder Rock give her take.
• 16:28
  Speaker 4: Yeah, I'm I'm really excited to see As of recording this,
• 16:32
  Speaker 4: Today Severn announced The Black Cat Oh Yeah, which was
• 16:38
  Speaker 4: previously only available in an Arrow Edgar Allen Poe double
• 16:42
  Speaker 4: feature with Sergio Martino's Uh You're I always read the
• 16:48
  Speaker 4: title of that movie. What's that one? Your vice is
• 16:55
  Speaker 4: a locked room and only I have the key? Yes,
• 16:57
  Speaker 4: did that one, which is like another very loose translation
• 17:00
  Speaker 4: of the remake of retelling of edgrolland those Black Cat.
• 17:05
  Speaker 4: So I'm very excited to see that, and I hope
• 17:07
  Speaker 4: that re starts the conversation around the Black Cat, because
• 17:10
  Speaker 4: that's a favorite fold piece of mind that not a
• 17:12
  Speaker 4: lot of people talk about.
• 17:14
  Speaker 5: No, I mean, I feel like, immediately when his name
• 17:18
  Speaker 5: gets brought up, it's either the case of Hell Trilogy
• 17:21
  Speaker 5: or Zombie.
• 17:23
  Speaker 4: Yeah.
• 17:23
  Speaker 5: But then I feel like you get a little bit
• 17:25
  Speaker 5: further into his filmography, it's like he definitely has some
• 17:29
  Speaker 5: lesser known gems. I feel like, I, you know, it,
• 17:31
  Speaker 5: can definitely appreciate. I mean, I know before we've talked
• 17:36
  Speaker 5: about like I know I mentioned Murder Rock earlier. I
• 17:39
  Speaker 5: can appreciate that The Devil's Honey is another really good one.
• 17:42
  Speaker 5: The Psychic, The Psychic, yep, the Psychic. I mean, I
• 17:48
  Speaker 5: have a sauce spot for Manhattan Baby, like it's it's
• 17:52
  Speaker 5: not perfect by any means, but it's at least, you know,
• 17:54
  Speaker 5: you're still getting a lot of that signature sauce from
• 17:58
  Speaker 5: Luccio Fulci.
• 18:00
  Speaker 4: Yeah, I mean New York Ripper is top tier. H
• 18:04
  Speaker 4: Are you a fan of Cat and a Brain?
• 18:07
  Speaker 5: I haven't watched it in some time, but from what
• 18:13
  Speaker 5: I recall, I probably need to rewatch of it. From
• 18:16
  Speaker 5: what I recall, I still really enjoyed it. I wouldn't
• 18:18
  Speaker 5: put it like top tier, you know, compared to some
• 18:20
  Speaker 5: of his other films, but.
• 18:21
  Speaker 4: It's an oddball one. Yeah, that's that's probably like the
• 18:26
  Speaker 4: deepest folk Chye cut outside of anything that he did.
• 18:29
  Speaker 4: We know back in the comedy western days of his
• 18:33
  Speaker 4: early career. But not many people know cat In to
• 18:35
  Speaker 4: Brain And it's not a great movie, but it's definitely wonky.
• 18:40
  Speaker 5: Oh totally very zany. Yeah, but I mean I think
• 18:45
  Speaker 5: across the board, I mean he I would say, you know,
• 18:49
  Speaker 5: his run of like I would say, going from I'm
• 18:55
  Speaker 5: going back as far as like so from probably from
• 18:57
  Speaker 5: seventy nine about over a little like slightly about a
• 19:02
  Speaker 5: decade or so. I mean, he's got a lot of bangers.
• 19:06
  Speaker 5: I can definitely say that, more so with him as
• 19:08
  Speaker 5: a director compared to a lot of others. I mean,
• 19:11
  Speaker 5: I don't think that Lumbert to Lenzi or Joe Diamatto
• 19:16
  Speaker 5: or anyone like that, I don't think that they have
• 19:18
  Speaker 5: quite that same level as success.
• 19:21
  Speaker 4: Yeah, a true master of horror, like a true and
• 19:24
  Speaker 4: one who visually is still one of my favorites. I
• 19:28
  Speaker 4: think I love and Zombie, as we'll get into here
• 19:31
  Speaker 4: in a moment, is a perfect example of that. I
• 19:35
  Speaker 4: think this movie is shot incredibly well, and what's really
• 19:37
  Speaker 4: funny about it is that for being a movie taking
• 19:40
  Speaker 4: place on an exotic island. It doesn't feel touristy. No,
• 19:45
  Speaker 4: it feels like it pretty much stays off the beaten
• 19:47
  Speaker 4: path and isn't trying to just sell a potential trip
• 19:52
  Speaker 4: to an island like a lot of these movies do this.
• 19:55
  Speaker 4: This feels like it's very genuine and it's of setting.
• 20:02
  Speaker 5: Straight up this is an island I would not want
• 20:04
  Speaker 5: to be on or book a trip to. You know what.
• 20:09
  Speaker 3: I do appreciate very much so the the return to
• 20:16
  Speaker 3: the voodoo style of zombie.
• 20:21
  Speaker 5: Yeah, I mean it's it's a much different take than
• 20:24
  Speaker 5: I think a lot of what we were getting at
• 20:26
  Speaker 5: the time. I mean, you know, more popular would be.
• 20:29
  Speaker 5: You know, we had kind of the groundbreaking film with
• 20:32
  Speaker 5: Neither the Living Dead, and then obviously we get Down
• 20:34
  Speaker 5: of the Dead. I like this interpretation of the zombie
• 20:41
  Speaker 5: lore and it's I mean it's it's definitely a pretty
• 20:46
  Speaker 5: bleak movie, that's for sure.
• 20:48
  Speaker 4: Very bleak, very bleak. So let's dive into these commentary tracks.
• 20:54
  Speaker 5: Now.
• 20:54
  Speaker 4: We have not shared notes, so we're simply going to
• 20:58
  Speaker 4: be going back and forth on these commentary tracks. I
• 21:01
  Speaker 4: think there's gonna be a lot of crossover, but we'll
• 21:03
  Speaker 4: see what I want to bring off, to kick it,
• 21:07
  Speaker 4: to keep this whole thing off, and I want to
• 21:09
  Speaker 4: have this obviously, this discussion with you is one of
• 21:14
  Speaker 4: Troy's opening remarks is on his commentary track. Is this
• 21:18
  Speaker 4: pushback against the movie simply being written off as a
• 21:21
  Speaker 4: Romero cash We all know that, well, I don't, I
• 21:25
  Speaker 4: say we all know, But our gento was responsible for
• 21:28
  Speaker 4: releasing DAWNA the Dead in Italy. It was very heavily
• 21:33
  Speaker 4: cut down, different music cues, different music amost all together.
• 21:38
  Speaker 4: And at this time we saw Italy doing this a lot,
• 21:42
  Speaker 4: doing sequels to big successful movies that were unofficial and
• 21:47
  Speaker 4: giving them the same name or putting two and it
• 21:49
  Speaker 4: had nothing to do with it, and that was kind
• 21:53
  Speaker 4: of what the studio wanted Volti to do here. So
• 21:56
  Speaker 4: over the years this has simply been just a a
• 22:00
  Speaker 4: cash in on Romero's Donna the Dead that doesn't share
• 22:03
  Speaker 4: any aesthetic similarity outside the fact that there's undead, and
• 22:09
  Speaker 4: Troy Howard says that while indebted to Romero heavily, Zombie
• 22:13
  Speaker 4: stands on its own two feet, and I couldn't agree anymore.
• 22:18
  Speaker 5: I share that sentiment.
• 22:20
  Speaker 4: Yeah, I think these are two I mean, if you
• 22:24
  Speaker 4: had watched On the Dead and then you watched Zombie
• 22:27
  Speaker 4: right after, would you think there was any shared DNA
• 22:29
  Speaker 4: besides the zombies.
• 22:32
  Speaker 5: Not at all, location just the overall like themes. I
• 22:39
  Speaker 5: feel like that they're they're you know, covering in these films,
• 22:42
  Speaker 5: whether it's like intention or not. I mean, I think
• 22:47
  Speaker 5: Donna the Dead is a little bit more like you
• 22:50
  Speaker 5: can kind of read into it and understand the message
• 22:52
  Speaker 5: that Romero was trying to get across with something like this.
• 22:55
  Speaker 5: You know, it's it's almost like like a acalyptic vision
• 23:02
  Speaker 5: of like what could happen if you had some sort
• 23:04
  Speaker 5: of an outbreak like this and it Yeah, I mean
• 23:07
  Speaker 5: there's Like I said, it's very a very bleak film.
• 23:11
  Speaker 4: It is. It is, and I wish that the conversation
• 23:15
  Speaker 4: around that would change. I hope that it has. I
• 23:17
  Speaker 4: think for the most part it has. This movie's kind
• 23:19
  Speaker 4: of found its own fan base, but I still do.
• 23:22
  Speaker 4: I mean, I can go on YouTube and of ten
• 23:26
  Speaker 4: videos that I watch on Zombie, probably half of them
• 23:28
  Speaker 4: will mention how this is a ripoff of Don the
• 23:30
  Speaker 4: Dead or a you know, a cash in on Don
• 23:35
  Speaker 4: the Dead, when simply maybe that was the studio's intention,
• 23:39
  Speaker 4: but Folci went all in on just making a full
• 23:41
  Speaker 4: chi zombie movie here.
• 23:43
  Speaker 5: Well, I feel like we've gotten I mean, we've had
• 23:46
  Speaker 5: other I know you were mentioned in that earlier is
• 23:49
  Speaker 5: that we've had, you know, some films that have rode
• 23:54
  Speaker 5: the success of an American horror film. I mean, I
• 23:56
  Speaker 5: believe wasn't Nike Keller, Texas, Chainsaw Esacer three.
• 24:01
  Speaker 4: There was Cruel Jawls. Was Jalls five? Uh?
• 24:07
  Speaker 5: I think it was? I can't remember. It was an
• 24:09
  Speaker 5: Evil Dead sequel, But wasn't it Beyond the Darkness?
• 24:12
  Speaker 4: It was beyond I believe it was beyond the darkness.
• 24:15
  Speaker 4: I think it was. It was like Evil Dead five
• 24:19
  Speaker 4: wasn't listed as I think, so let's see, I'm gonna
• 24:25
  Speaker 4: find ye it was beyond Darkness. Yeah, that's incredible. Somebody
• 24:33
  Speaker 4: said it feels more like a bad Ambneyville sequel than
• 24:35
  Speaker 4: any relation to Evil Dead. Very good. Yeah, it's it's
• 24:42
  Speaker 4: so much fun when you really dive in. And the
• 24:44
  Speaker 4: zombie movies continued. I mean you there was there was
• 24:47
  Speaker 4: Zombie three, which I believe was Killing Birds, which which
• 24:54
  Speaker 4: is the best of the further sequels, and then there
• 24:56
  Speaker 4: was Zombie four. After death, these kept going and they
• 25:01
  Speaker 4: had nothing to do with each other.
• 25:03
  Speaker 5: No, not at all. I think I made a mistake earlier.
• 25:05
  Speaker 5: I just needed to correct it was Beyond Darkness? Was
• 25:09
  Speaker 5: Evil Dead five? Not Beyond the Darkness?
• 25:11
  Speaker 4: Yeah? Beyond Darkness? Yeah. So it's a fun, uh, a
• 25:16
  Speaker 4: very fun world to dive into if you want to
• 25:18
  Speaker 4: take the plunge into castions from the Italian market.
• 25:23
  Speaker 5: Are you trying to tell me that you don't feel
• 25:25
  Speaker 5: like Jaws five? Ak cruel? Jaws is a true Jaws sequel?
• 25:32
  Speaker 4: I think I think Jaws five is actually a very
• 25:35
  Speaker 4: small segment of this movie.
• 25:39
  Speaker 5: So there's there's crossovers.
• 25:40
  Speaker 4: What you're telling the true Jaws five is here? Man,
• 25:44
  Speaker 4: There probably is somewhere in this movie. On Michael keane appearance,
• 25:47
  Speaker 4: I just don't know where it's at. I haven't found
• 25:48
  Speaker 4: it yet.
• 25:49
  Speaker 5: I don't think he can tell you. He just he
• 25:52
  Speaker 5: just knows the paycheck that was associated with it.
• 25:56
  Speaker 4: On your commentary track, did Troy talk about how all
• 26:00
  Speaker 4: of the shots of the quote unquote abandoned ship setting
• 26:05
  Speaker 4: the scene that were in New York it was all
• 26:07
  Speaker 4: stolen without permission from the city to shoot any of this.
• 26:11
  Speaker 5: Yeah, it's it seemed very strange. And then he was
• 26:15
  Speaker 5: also discussing like there was some debate or there's some
• 26:19
  Speaker 5: debate on whether or not the both of those cops
• 26:23
  Speaker 5: that initially pull up, if they were genuine cops.
• 26:29
  Speaker 4: Yeah, because they're they're uncredited. Nobody can find who these
• 26:33
  Speaker 4: people were. And one of them returns as a well,
• 26:36
  Speaker 4: it is briefly shown as a zombie. So he was like,
• 26:40
  Speaker 4: I'm doubtful that that was a real off duty cop.
• 26:42
  Speaker 4: Might have just been an actor they brought from from
• 26:44
  Speaker 4: Italy or whatever. But it's interesting.
• 26:47
  Speaker 5: I think that's like the one thing that I can
• 26:49
  Speaker 5: appreciate about these, you know, Italian horror films that I
• 26:53
  Speaker 5: feel like there's there's a lot, a lot of gray
• 26:55
  Speaker 5: area when it comes to what they can and can't
• 26:59
  Speaker 5: be doing. I think that that's why, you know, I
• 27:01
  Speaker 5: really rock with them like that.
• 27:03
  Speaker 4: But yeah, I mean quite literally, they're in New York,
• 27:08
  Speaker 4: they have no permits to shoot any of this, and
• 27:10
  Speaker 4: I mean they're straight up shots of the boat going
• 27:11
  Speaker 4: by the Statue of Liberty.
• 27:14
  Speaker 5: It looks cool, it looks so cool.
• 27:16
  Speaker 4: And then there's actually like, as he's saying this, we're
• 27:18
  Speaker 4: cutting to a helicopter shot and I'm like, what do
• 27:22
  Speaker 4: you mean to have permission? Shoot, he isn't a fucking helicopter. Well,
• 27:24
  Speaker 4: apparently the cinematographer, Sergio Savetti went and paid a few
• 27:30
  Speaker 4: bucks for a helicopter ride and then just shot that
• 27:32
  Speaker 4: footage while Folgi was on the boat underneath shooting some
• 27:36
  Speaker 4: of the movie. All of this without any permits, any
• 27:39
  Speaker 4: of this without permission, So it is all considered.
• 27:41
  Speaker 5: Stolen, you know whatever.
• 27:46
  Speaker 4: Oh my god, it's so it's so good. And also
• 27:49
  Speaker 4: the bridge shot at the end was also stolen. That
• 27:51
  Speaker 4: was done without permission as well.
• 27:54
  Speaker 5: Fun fact, So I'm just taking a look into it
• 27:59
  Speaker 5: just as a refresher. So Sergio Salvadi, he was also
• 28:03
  Speaker 5: the cinematographer on looks like Sadi of the Living Dead,
• 28:10
  Speaker 5: the Black Cat that we were talking about earlier, that
• 28:12
  Speaker 5: beyond House by the Cemetery. So, I mean, it seems
• 28:16
  Speaker 5: like Lucio Folci definitely sticks with a lot of like
• 28:21
  Speaker 5: his core casts.
• 28:24
  Speaker 4: Yeah, I think he said they shot they shot a
• 28:27
  Speaker 4: total of ten films together. I believe, I believe about right.
• 28:33
  Speaker 5: Yep.
• 28:34
  Speaker 4: One interesting thing that Troy Howarth talks about on here,
• 28:38
  Speaker 4: which is pretty nerdy, but I'm gonna bring it up anyway,
• 28:42
  Speaker 4: is Folgie's use of the two thirty five wide screen.
• 28:46
  Speaker 4: And the reason that this really stood out to me
• 28:49
  Speaker 4: was because not too long ago I had watched The
• 28:52
  Speaker 4: Black Cat, and when I was watching The Black Cat,
• 28:57
  Speaker 4: I just remember thinking, like, his use of white screen
• 29:00
  Speaker 4: is phenomenal. Full Gi a visual genius, and he always
• 29:06
  Speaker 4: used both sides of the screen very well. There's a
• 29:10
  Speaker 4: lot of great even framing. He really likes to play
• 29:13
  Speaker 4: with kind of off centering things and letting them walk
• 29:17
  Speaker 4: into frame and stuff. It's very consistent with that, also
• 29:20
  Speaker 4: his use of zoom and things like that. But on
• 29:23
  Speaker 4: the AER release of The Black Cat, there's a conversation
• 29:27
  Speaker 4: with author Stephen Thrower, who wrote I Believe he wrote
• 29:31
  Speaker 4: a Nightmare USA, and he talks about how when he
• 29:34
  Speaker 4: was young and he saw the movie, it was on
• 29:36
  Speaker 4: a pan and scanned VHS, so a lot of these
• 29:39
  Speaker 4: shots that he now watched in the remastered version, or
• 29:42
  Speaker 4: at that time, the most recent remaster, were brand new
• 29:45
  Speaker 4: to him because Folgi used the wide screen so well
• 29:49
  Speaker 4: that when they then compressed it to fit it on
• 29:51
  Speaker 4: the VHS, is it completely lost it's visual language. And
• 29:59
  Speaker 4: I thought that was so interesting because it stands out
• 30:01
  Speaker 4: a lot here just his great use of the entire frame.
• 30:06
  Speaker 5: Yeah, definitely a master of his craft and I feel
• 30:11
  Speaker 5: like that that's on full display with this film. And
• 30:15
  Speaker 5: I have to say, like one one thing that I
• 30:17
  Speaker 5: really appreciate is Fabio Fritzy the score that we get
• 30:22
  Speaker 5: throughout this entire film. And I know that based on
• 30:26
  Speaker 5: the commentary they made mention that they felt like this
• 30:29
  Speaker 5: one was a little bit more rushed compared to some
• 30:32
  Speaker 5: of his other works. I would have had no clue,
• 30:36
  Speaker 5: to be honest, because I think that it certainly fits
• 30:38
  Speaker 5: with the aesthetic and just Fabio Fritzi. I feel like
• 30:43
  Speaker 5: he just doesn't get talked about enough with just how
• 30:46
  Speaker 5: impactful his scores have been accountless films.
• 30:50
  Speaker 4: On your track did Troy talk about how well one
• 30:53
  Speaker 4: he had interviewed Fabio for the book? But then Fabio
• 30:56
  Speaker 4: Fritzy did a concert in Philadelphia that Troy attended and
• 30:59
  Speaker 4: he just did it back and stuff, Man, it's so cool.
• 31:03
  Speaker 5: Yeah, he was. I had a chance to so a
• 31:07
  Speaker 5: little bit more of a personal connection to this film.
• 31:10
  Speaker 5: I had a chance to see him live. Was it
• 31:14
  Speaker 5: last I think it was last year, last week. I
• 31:16
  Speaker 5: think it was and had a chance to meet Fabio
• 31:19
  Speaker 5: Fritzy and they did a screening of Zombie that was
• 31:24
  Speaker 5: actually being played by Fabio Fritzy and his band, So
• 31:28
  Speaker 5: it's like a live performance kind of synced up to
• 31:31
  Speaker 5: the movie. Just incredible. I think it just gives you
• 31:37
  Speaker 5: a whole new appreciation for just I don't know just
• 31:41
  Speaker 5: how important this music is and just how it enhances
• 31:44
  Speaker 5: your overall viewing of it. So if you guys ever
• 31:47
  Speaker 5: get a chance to see him, if he comes through
• 31:49
  Speaker 5: to your city, I definitely recommend that.
• 31:52
  Speaker 4: Of course. Yeah, what's your thoughts on just this entire
• 31:58
  Speaker 4: opening sequence in the city, because there's a lot that
• 32:00
  Speaker 4: gets established the whole beginning of this movie, right. We
• 32:05
  Speaker 4: have we have all these wonderful shots of the boat
• 32:09
  Speaker 4: in the city. We have the first zombie, which Troy
• 32:12
  Speaker 4: calls like the fattest zombie ever.
• 32:15
  Speaker 5: Yeah.
• 32:15
  Speaker 4: On screen, we are also introduced to Ann and Peter,
• 32:21
  Speaker 4: who are two main characters. Peter west Is works for
• 32:25
  Speaker 4: a newspaper and he actually has a brief moment where
• 32:28
  Speaker 4: he speaks with with Lucio Folci himself, ye plays I
• 32:31
  Speaker 4: guess one of the editors of the newspaper, and then
• 32:35
  Speaker 4: we're also introduced to Anne Bowles, who's played by Tisa Farro,
• 32:39
  Speaker 4: which is is it Mia Farrow? Yeah, Mia Farrow's younger sister,
• 32:43
  Speaker 4: obviously Mia Farrow of Rosmary's Baby Fame.
• 32:47
  Speaker 5: Yeah, I mean it's it, you know, first and foremost,
• 32:52
  Speaker 5: I don't want to gloss over that that opening scene
• 32:55
  Speaker 5: where you know, you get the the bag corpse that's
• 32:59
  Speaker 5: rising up and you see the shadowed figure that aims
• 33:03
  Speaker 5: a gun at its head and shoots its square in
• 33:05
  Speaker 5: the head, and it's like boom credits and it's like
• 33:10
  Speaker 5: hits that iconic theme, and it just throws us right
• 33:14
  Speaker 5: into kind of like the confusion we're trying to we're
• 33:18
  Speaker 5: trying to piece to like not only just witnessing what
• 33:20
  Speaker 5: we just watched, but on top of that, it's like, Okay,
• 33:22
  Speaker 5: we're in a much different setting clearly and trying to
• 33:25
  Speaker 5: piece everything together the same way that I feel like
• 33:27
  Speaker 5: Ann and Peter are. But yeah, I mean it's it's
• 33:33
  Speaker 5: it's definitely a very stark contrast. I know, we were
• 33:35
  Speaker 5: talking about Donna the Dead. I mean we're getting a
• 33:38
  Speaker 5: much different setting and you know, for basically like a
• 33:43
  Speaker 5: low key zombie attack to happen on a boat is
• 33:47
  Speaker 5: pretty creepy. Not gonna lie.
• 33:49
  Speaker 4: Also, I mean, listen the line the boat can leave
• 33:52
  Speaker 4: now tell the crew goes hard as fuck. Oh yeah,
• 33:55
  Speaker 4: Why you shoot a zombie in the head and you
• 33:57
  Speaker 4: say that that's that's hard.
• 33:59
  Speaker 5: Listen as somebody like myself that was very entrenched in
• 34:04
  Speaker 5: like the metal scene. Was that not used as a
• 34:06
  Speaker 5: sample on some song? I swear it had. If not,
• 34:11
  Speaker 5: then it's a missed opportunity.
• 34:13
  Speaker 4: Probably was. Now I'm gonna have to go neurotic when
• 34:16
  Speaker 4: we're done with putting this in mind. Yeah, it's funny
• 34:21
  Speaker 4: how that happens sometimes, man. I remember a couple of
• 34:24
  Speaker 4: years ago, I was listening to Doctor Akila, Remember that band,
• 34:27
  Speaker 4: Oh yeah, oh yeah. I was listening to them, and
• 34:29
  Speaker 4: they had a Friday the thirteenth, Part four uh sample
• 34:34
  Speaker 4: and I was like, oh shit, my whole life, I
• 34:36
  Speaker 4: didn't know that.
• 34:38
  Speaker 5: I know now that you're you're just like so knowledgeable
• 34:41
  Speaker 5: when it comes to film and uh quotes from the movies.
• 34:46
  Speaker 5: I feel like that that definitely definitely helps us out
• 34:49
  Speaker 5: that way.
• 34:50
  Speaker 4: Yeah, yeah, it's it's awesome. Yeah. I mean this whole
• 34:54
  Speaker 4: opening sequence in the city is incredible. I love so
• 34:59
  Speaker 4: Troy talks about how Tisa Farrow here is not as strong,
• 35:03
  Speaker 4: you know, as an actress. I think she just kind
• 35:05
  Speaker 4: of phones it in for the most part. I mean,
• 35:08
  Speaker 4: it's gotta be tough, you know, the sister of Mia Farrow,
• 35:11
  Speaker 4: but talks about that. I love that they Originally Ian
• 35:17
  Speaker 4: McCulloch was was gonna put on an English accent excuse me,
• 35:21
  Speaker 4: an English accent, and he just found it too tough
• 35:24
  Speaker 4: to do and was afraid it wasn't gonna come across
• 35:26
  Speaker 4: as authentic. So they just threw in a line about
• 35:30
  Speaker 4: him being British and working for the news. I think
• 35:33
  Speaker 4: it was like his father's or something, which I thought
• 35:36
  Speaker 4: was a great way to just you know, not let
• 35:38
  Speaker 4: him put on an accent, and it was just throw
• 35:41
  Speaker 4: it in because it really makes no sense.
• 35:44
  Speaker 5: No, not at all. And I find it just so
• 35:51
  Speaker 5: interesting though that, you know, obviously this has become such
• 35:56
  Speaker 5: a staple in Faultchi's film Agera, but I mean he
• 36:02
  Speaker 5: had been directing for I believe twenty years based off
• 36:06
  Speaker 5: what the commentary was mentioning up until this point, so
• 36:09
  Speaker 5: this was the film that really put him on the map.
• 36:11
  Speaker 5: And even with you what you were mentioning earlier. This
• 36:15
  Speaker 5: cast really it's not like a really large cast. It's
• 36:18
  Speaker 5: kind of nice. It's like more of an intimate setting
• 36:22
  Speaker 5: it is.
• 36:22
  Speaker 4: And it's also easy to track and follow these characters
• 36:27
  Speaker 4: because we have very clear character motivations and it doesn't
• 36:32
  Speaker 4: get overrun with side characters who aren't going to play
• 36:35
  Speaker 4: a role. This isn't This isn't like a gallo where
• 36:38
  Speaker 4: we're going to be introduced to eight characters. For them,
• 36:41
  Speaker 4: we're gonna be main characters for them, We're gonna be
• 36:43
  Speaker 4: red herrings, and we're never going to get anything more
• 36:45
  Speaker 4: from them. This is not that movie. So it makes
• 36:48
  Speaker 4: it very easy to discuss, but also just very easy
• 36:51
  Speaker 4: to track and stay along with everybody.
• 36:54
  Speaker 5: Yeah, I mean, I'm just going through the cast. I mean,
• 36:58
  Speaker 5: we really have six core care characters in this film.
• 37:01
  Speaker 5: I mean, I think at least, you know, it really
• 37:05
  Speaker 5: allows us to just latch onto these characters, follow them
• 37:08
  Speaker 5: along as they're basically, you know, just descending into hell essentially. Yeah.
• 37:13
  Speaker 4: Yeah, there was one thing I really loved here, and
• 37:17
  Speaker 4: there's there's a little bit of a bit here when
• 37:22
  Speaker 4: Peter and Anne are heading to the island to Mattool
• 37:30
  Speaker 4: and Troy really fills this space of the commentary with
• 37:35
  Speaker 4: expertly discussing the brief history of the zombie subgenre, and
• 37:41
  Speaker 4: he does this phenomenally, going through like the val Luton
• 37:45
  Speaker 4: I walked with a zombie era to how it all
• 37:48
  Speaker 4: changed in nineteen sixty eight with Knight of Living Dead
• 37:51
  Speaker 4: and that going into Dawn of the Dead and going
• 37:53
  Speaker 4: into Zombie and it's really an expert way to structure
• 37:58
  Speaker 4: and fill the time into commentary that's still educational. And
• 38:01
  Speaker 4: I actually think I would argue that this little gap,
• 38:04
  Speaker 4: this little run of time, which is maybe ten minutes
• 38:08
  Speaker 4: of the commentary track, gives one of the most concise
• 38:13
  Speaker 4: and expert breakdowns of the of the of the zombie genre,
• 38:18
  Speaker 4: more than any YouTube video is going to give you.
• 38:21
  Speaker 4: It's so well done.
• 38:23
  Speaker 5: No, what I just loved about this was just it's
• 38:27
  Speaker 5: it's very they know their stuff, right. I think that
• 38:31
  Speaker 5: that's like, you know, that's clear as can be. But
• 38:35
  Speaker 5: I mean, you're really getting as close as you possibly
• 38:38
  Speaker 5: can to first hand accounts as I think it's feasible,
• 38:44
  Speaker 5: you know, given that a lot of the cast members
• 38:46
  Speaker 5: are no longer here or those that are associated with
• 38:49
  Speaker 5: the film. I mean obviously even the director as well.
• 38:52
  Speaker 5: But yeah, I I I have nothing but high praise
• 38:58
  Speaker 5: to give give this audio commentary.
• 39:00
  Speaker 4: This is my favorite structure of a commentary track though, because,
• 39:05
  Speaker 4: and I say this time and time again, I want
• 39:07
  Speaker 4: to feel like I'm watching the movie with you. If
• 39:09
  Speaker 4: you're gonna be my commentary guide, I want to feel
• 39:13
  Speaker 4: like I'm there with you. And he does that. He
• 39:15
  Speaker 4: stops multiple times to talk about how much he loves
• 39:17
  Speaker 4: a shot or framing or the lighting or the music,
• 39:21
  Speaker 4: which makes me feel almost as if I'm sitting there
• 39:23
  Speaker 4: with him watching it, because I feel engaged in that
• 39:26
  Speaker 4: moment and he's bringing my attention to certain things, and
• 39:29
  Speaker 4: I really love that. But I also want to be taught.
• 39:31
  Speaker 4: I want to be educated. And him speaking on specifically
• 39:35
  Speaker 4: zombie's location within the kind of ever evolving zombie genre,
• 39:43
  Speaker 4: which is really refreshing and so well done. I think
• 39:47
  Speaker 4: a lot of people could learn just from this very
• 39:48
  Speaker 4: small run of the track.
• 39:50
  Speaker 5: Oh yeah, yeah, absolutely.
• 39:54
  Speaker 4: Let's see here. So do you want to underwater scenes?
• 40:04
  Speaker 4: Do they talk about in your track how fol she
• 40:06
  Speaker 4: wanted to get all this removed?
• 40:10
  Speaker 5: Yeah? I mean my understanding was that just based on
• 40:15
  Speaker 5: like doing a little bit of digging into this too,
• 40:18
  Speaker 5: is that a lot of this stuff wasn't this not
• 40:21
  Speaker 5: with his approval?
• 40:23
  Speaker 4: Yeah, so, according to Troy that he fo she tried
• 40:29
  Speaker 4: to get this whole entire underwater sequence removed from the jump.
• 40:33
  Speaker 4: He thought it was ridiculous. It was exact word that
• 40:36
  Speaker 4: he used. It's ridiculous.
• 40:39
  Speaker 5: And ironically probably the most notorious scene that you have
• 40:45
  Speaker 5: in this film outside of the eyeball scene. Yeah.
• 40:47
  Speaker 4: Yeah, well, let's we have to put this into two
• 40:50
  Speaker 4: because fol she was okay with the initial diving sequence
• 40:54
  Speaker 4: which he was on set to shoot. And there's there's
• 40:58
  Speaker 4: another note that I have about that that we'll get
• 40:59
  Speaker 4: to later. But then it evolves into the discovery of
• 41:04
  Speaker 4: a zombie underwater who then begins to attack a shark,
• 41:08
  Speaker 4: probably the most iconic moment of the movie and the
• 41:11
  Speaker 4: most badass fucking moment of this entire movie, which, by
• 41:15
  Speaker 4: the way, I watched this on Blu ray and I
• 41:17
  Speaker 4: was like, this looks so fucking good. I can't imagine
• 41:21
  Speaker 4: what it looked like on your four K.
• 41:23
  Speaker 5: I have to say, because I have to at least
• 41:26
  Speaker 5: give credit where credits due. The first time I did
• 41:29
  Speaker 5: see this on four K, was through Blue Underground, and
• 41:33
  Speaker 5: I always said that that is probably like a top
• 41:37
  Speaker 5: five four K for me. So I feel like, I mean, obviously,
• 41:41
  Speaker 5: you know, with that already being the standard that set,
• 41:44
  Speaker 5: the Aero four K looked incredible. I mean, yeah, I
• 41:47
  Speaker 5: don't know how much better it can look.
• 41:50
  Speaker 4: Yeah, I was blown away with how good this looked.
• 41:52
  Speaker 4: And I'm watching a Blu ray on a on an
• 41:54
  Speaker 4: O lead and it looked just absolutely incredible. But the
• 42:00
  Speaker 4: producers liked this whole sequence, this whole idea. They wanted
• 42:03
  Speaker 4: to run with it, so they hired uh ramon Bravo
• 42:08
  Speaker 4: and I could be pronouncing that name wrong if so,
• 42:10
  Speaker 4: I'm sorry to shoot these sequence and provide oversight on
• 42:14
  Speaker 4: the shark training. He was a diver and a shark trainer,
• 42:17
  Speaker 4: which I didn't even know you could train sharks. Yeah,
• 42:22
  Speaker 4: learn something new every day. And he Troy talks about
• 42:25
  Speaker 4: how there's some controversy because clearly you could tell that
• 42:28
  Speaker 4: the shark is drugged. He's just not moving as fast,
• 42:31
  Speaker 4: he's not as alert and attentive, and that's fucked up.
• 42:34
  Speaker 4: Don't do that, please, let's let's I'm glad this is
• 42:37
  Speaker 4: a practice that that stopped in Hollywood, but he was
• 42:43
  Speaker 4: hired to shoot all these sequences, and all without full
• 42:48
  Speaker 4: cheese permission. These sequences are shot really well, Like the
• 42:55
  Speaker 4: the all the moments with the shark underwater look incredible.
• 42:59
  Speaker 5: Oh my gosh, it's to see that for the first time.
• 43:03
  Speaker 5: I still like, I still can't get over just I mean,
• 43:08
  Speaker 5: I mean, it's like you're seeing something just so absurd
• 43:12
  Speaker 5: and incredible for the first time. I mean, there's nothing
• 43:17
  Speaker 5: like it. But yeah, I mean it's across the board.
• 43:20
  Speaker 5: It's the fact that you're getting this fight to begin with,
• 43:23
  Speaker 5: let alone with the effects on the zombie as well.
• 43:26
  Speaker 5: I Mean, what I commend about this film is it
• 43:31
  Speaker 5: it's not trying to obviously replicate what's come before it.
• 43:35
  Speaker 5: You're getting zombies that almost feel like they're they're like
• 43:38
  Speaker 5: straight from the earth. And there's like scenes later in
• 43:41
  Speaker 5: the film that I feel like it really highlights this.
• 43:45
  Speaker 5: But this is a much different style of zombie compared
• 43:49
  Speaker 5: to what we've gotten and you know, some of the
• 43:51
  Speaker 5: other films that came before it.
• 43:53
  Speaker 4: I also like that the sequence is not played for
• 43:57
  Speaker 4: laughs or to be silly. Oh no, it's very serious.
• 44:01
  Speaker 4: It's very straightforward. It doesn't feel like, how do we
• 44:05
  Speaker 4: one up what's been done before? It feels so organic
• 44:08
  Speaker 4: and it's I think it's one of the I know
• 44:11
  Speaker 4: there's a lot of really gross effects in this movie,
• 44:13
  Speaker 4: but for some reason, the sequence of the shark ripping
• 44:17
  Speaker 4: off the zombie arm bothers me so much because it
• 44:20
  Speaker 4: looks so real and so like you could see like
• 44:26
  Speaker 4: the muscle and the arm and the it's really crazy looking.
• 44:30
  Speaker 4: And I think it's the Jawls is the movie that
• 44:34
  Speaker 4: kind of really you know, made me scared of the
• 44:38
  Speaker 4: contrast of red blood in the blue water. Absolutely, and
• 44:43
  Speaker 4: the blood of the zombie isn't even red. It's like murky.
• 44:46
  Speaker 4: It's like mud, Like it's just dried, you know. Its
• 44:49
  Speaker 4: veins are full of dried like muck blood. It's really yeah, really.
• 44:56
  Speaker 5: Uh it's and it's it's just uh, I can't even
• 45:00
  Speaker 5: imagine like what was involved to try to capture that scene.
• 45:05
  Speaker 5: I don't care if the shark's drugged or not. I
• 45:07
  Speaker 5: mean that definitely is really ballsy to put yourself out
• 45:11
  Speaker 5: there for a sound like that.
• 45:13
  Speaker 4: Yeah, it's a crazy sequence, man. And to kind of
• 45:17
  Speaker 4: go into another note with something else he Troy talks
• 45:23
  Speaker 4: a lot about faulty's temper. How he did not get
• 45:28
  Speaker 4: along with a number of people on various sets in
• 45:32
  Speaker 4: his career, and he was known to have victims of
• 45:36
  Speaker 4: his anger on set, but usually to a good reason,
• 45:40
  Speaker 4: like there was some reason why. It wasn't just a
• 45:43
  Speaker 4: you know, as simple I don't like you. And in
• 45:46
  Speaker 4: this case, we're talking about alretta gay who plays Susan,
• 45:50
  Speaker 4: who is our diver. And according to Troy, she was
• 45:58
  Speaker 4: hired on the basis that she was a good swimmer.
• 46:02
  Speaker 4: Oh right, yeah, and she lied, she lied, and even
• 46:10
  Speaker 4: after training with a producer in his pool, nearly drowned
• 46:16
  Speaker 4: at the beginning of shooting the sequence and literally needing
• 46:19
  Speaker 4: the crew to rescue and to help her. And in
• 46:22
  Speaker 4: response to this, Fulci is sitting by watching this in
• 46:26
  Speaker 4: disappointment and anger, and at one point even curled over
• 46:29
  Speaker 4: onto grass, onto a patch of grass somewhere around shooting this,
• 46:35
  Speaker 4: and at a pure anger said I eat the grass,
• 46:38
  Speaker 4: so I don't eat you.
• 46:42
  Speaker 5: Yeah, this is why he's one of my favorite directors.
• 46:45
  Speaker 4: I mean, i'd be pissed off too. Though I hired
• 46:48
  Speaker 4: you because you could swim, turns out you can't swim.
• 46:51
  Speaker 5: Well, I think It's just so wild to me that
• 46:55
  Speaker 5: she she got that far along in the process and
• 46:59
  Speaker 5: basically almost around I mean, you know, thank god nothing happened.
• 47:03
  Speaker 4: But yeah. Also, the swimming topless, do you think that
• 47:07
  Speaker 4: gave her like an aerodynamic advantage or do you think it?
• 47:10
  Speaker 5: Oh? For sure, Okay, for sure.
• 47:12
  Speaker 4: You know, I just wanted to.
• 47:14
  Speaker 5: I could tell her her form a lot better as
• 47:17
  Speaker 5: a result of it, more aerodynamic in the.
• 47:22
  Speaker 4: SA much faster I have to take it. I don't know.
• 47:25
  Speaker 4: I don't know what that is. Uh. Was there any
• 47:32
  Speaker 4: other kind of leading into the island and leading into
• 47:36
  Speaker 4: the introduction of doctor Benard played by the incredible Richard Johnson,
• 47:40
  Speaker 4: who Troy Howard speaks a lot on. Also leading into
• 47:45
  Speaker 4: the introduction of a couple key characters, one of them
• 47:48
  Speaker 4: being Nurse Clara, one of them being missus Bernard, obviously
• 47:54
  Speaker 4: doctor Bernard's wife. We also have Lucas who shows up
• 48:00
  Speaker 4: on the island as well. As we're getting into this,
• 48:03
  Speaker 4: we we get our true original introduction or not true,
• 48:07
  Speaker 4: but the authentic introduction of doctor Menard and his wife
• 48:12
  Speaker 4: in the sequence at the house. Was there any other
• 48:14
  Speaker 4: because there wasn't a lot of notes in this little
• 48:17
  Speaker 4: run of the movie leading up to her shower sequence
• 48:19
  Speaker 4: that I thought were worth chatting about. Uh.
• 48:22
  Speaker 5: The only the only one that I can recall, which
• 48:25
  Speaker 5: I thought was was pretty cool, was with them recounting
• 48:31
  Speaker 5: how Luccio fold She initially got attached to this project.
• 48:34
  Speaker 5: So it looks like at one point initially and so Castellari. Uh,
• 48:41
  Speaker 5: he's the director who did the last Shark Ak Great White,
• 48:46
  Speaker 5: another another shark exploitation film. He was initially attached to it.
• 48:53
  Speaker 5: And then they also mentioned which I had no clue
• 48:57
  Speaker 5: that I believe if I was understanding it correctly, Umbertel
• 49:00
  Speaker 5: Lendsay was attached to this project for a few days,
• 49:02
  Speaker 5: which I thought was kind of strange, but ultimately the
• 49:07
  Speaker 5: job went to Lucio Fulci. And I think that the
• 49:10
  Speaker 5: world is better off for it.
• 49:12
  Speaker 4: Oh, I completely agree. I mean, look, I love Roberto Lenzi,
• 49:16
  Speaker 4: but this is not this is not a new Berto
• 49:18
  Speaker 4: Lenzi film. No, I'm sorry, no offense. I hope he
• 49:22
  Speaker 4: takes no offense to that statement.
• 49:24
  Speaker 5: No, but he I feel like him as a director.
• 49:26
  Speaker 5: He's definitely carved. He definitely carved out his own path.
• 49:29
  Speaker 4: I would say, yeah, there'd be a lot more just
• 49:33
  Speaker 4: human cannibalism. Yeah, going on here, I think.
• 49:39
  Speaker 5: I definitely see that.
• 49:40
  Speaker 4: Do you want to you want to talk more about
• 49:43
  Speaker 4: the shower scene or the eyeball sequence, You.
• 49:48
  Speaker 5: Dude, don't do this to me. This might be a
• 49:50
  Speaker 5: tougher question. This might be a tougher question than the
• 49:53
  Speaker 5: Dawn of the Dead versus zombie debate earlier.
• 49:56
  Speaker 4: I just love I just love the fact that the shower,
• 50:00
  Speaker 4: seeing that there's like three mirrors, so we get like
• 50:03
  Speaker 4: a full three sixty view. I'm telling about Italian Carlados.
• 50:09
  Speaker 4: Here is missus Minarda.
• 50:11
  Speaker 5: Italian directors don't care like they throw caution into the wind.
• 50:14
  Speaker 4: This movie shot incredibly well. Just yeah, in the eyeball sequence,
• 50:22
  Speaker 4: is this one of the greatest sequences in Italian horror history?
• 50:26
  Speaker 4: I must ask you.
• 50:28
  Speaker 5: I'd have to say so. I mean, it's definitely a
• 50:30
  Speaker 5: top three moment. It's okay. Here's what I love about
• 50:35
  Speaker 5: it is that it doesn't it doesn't just it's bad enough. Obviously,
• 50:41
  Speaker 5: she's getting, you know, dragged forward basically towards like the.
• 50:47
  Speaker 4: Piece of broken wood of broken wood.
• 50:49
  Speaker 5: Yeah, yeah, okay, so she's getting pulled in and we
• 50:53
  Speaker 5: already know what's going to happen obviously, and you know
• 50:56
  Speaker 5: you you're seeing like the close up shots that the
• 50:59
  Speaker 5: eye coming into near contact with it and then it pierces,
• 51:06
  Speaker 5: and if that's not bad enough, it's piercing and then
• 51:10
  Speaker 5: the piece snaps off in the eye. So it's like
• 51:16
  Speaker 5: I it goes from bad to worse.
• 51:19
  Speaker 4: It's it's really something, man, it's so incredibly gross. And
• 51:24
  Speaker 4: I love that profile shot of her just getting closer
• 51:28
  Speaker 4: and closer and the transition from her real eye to
• 51:33
  Speaker 4: the fake eye. The fake appliance is excellent.
• 51:38
  Speaker 5: Seamless, it's so great.
• 51:40
  Speaker 4: It's very very good, and the breakoff is just the
• 51:47
  Speaker 4: icing on top. It's so gross, man. I mean, this
• 51:50
  Speaker 4: is this has gotta be one of the most notorious
• 51:54
  Speaker 4: sequences of all time.
• 51:56
  Speaker 5: When I remember this was another scene that I feel
• 52:00
  Speaker 5: like I had seen online around this time, not having
• 52:04
  Speaker 5: any context to it, but I remember seeing something like
• 52:07
  Speaker 5: this and kind of like you were talking about, like
• 52:11
  Speaker 5: I don't remember it was either on YouTube or you know,
• 52:14
  Speaker 5: other like forums online where they would highlight certain gore moments. Yeah,
• 52:19
  Speaker 5: and that was definitely one of them. But yeah, it
• 52:22
  Speaker 5: it delivers on all fronts. You definitely get what you're
• 52:27
  Speaker 5: signing up for I guess with like an eye gouge
• 52:29
  Speaker 5: and scene.
• 52:31
  Speaker 4: Yeah, it's really it's one of those scenes. And what
• 52:34
  Speaker 4: I thought was so funny is that when this movie
• 52:38
  Speaker 4: was playing in Italian theaters, they would have intermissions where
• 52:46
  Speaker 4: you know, people can go outside and have a cigarette
• 52:47
  Speaker 4: or go get you know, I mean go get popcorn
• 52:49
  Speaker 4: and go to the bathroom. And right when this sequence
• 52:52
  Speaker 4: was over, that's where the intermission took place. How many
• 52:58
  Speaker 4: people don't come back? How many people were like, I'm done?
• 53:03
  Speaker 5: Not me, I wouldn't be leaving.
• 53:05
  Speaker 4: Oh my god. Well, can we talk about for a second,
• 53:10
  Speaker 4: because Troy Hawer spends a lot of time talking about it,
• 53:13
  Speaker 4: and I agree. Richard Johnson's performance is doctor Minard just
• 53:16
  Speaker 4: being fucking universe is better than anybody else in this movie.
• 53:22
  Speaker 5: Oh, he's definitely one of the highlights.
• 53:24
  Speaker 4: Oh he is so good, so good.
• 53:28
  Speaker 5: It's I mean, correct me if I'm wrong, But all
• 53:33
  Speaker 5: across the board, I mean, it's not like the characters.
• 53:39
  Speaker 5: I don't feel like you really attach yourself to one
• 53:42
  Speaker 5: or the other really like that. I wouldn't say that
• 53:45
  Speaker 5: there is compelling as maybe some other horror films that
• 53:48
  Speaker 5: we've covered or you know, even zombie films for that matter.
• 53:52
  Speaker 5: But I think that his performance shines through and through.
• 53:56
  Speaker 5: I mean, he definitely elevates the material.
• 53:59
  Speaker 4: He does, and he takes it very serious. This isn't
• 54:03
  Speaker 4: just this wasn't just a gimmick role for him. It
• 54:05
  Speaker 4: wasn't just, oh, I'm gonna go do this Italian horror
• 54:08
  Speaker 4: movie and I can just kind of make my way
• 54:09
  Speaker 4: through it. No, he took it very serious. And he
• 54:12
  Speaker 4: was a huge fan of kind of ad libbing and
• 54:16
  Speaker 4: changing around the material to make it sound better. He
• 54:18
  Speaker 4: always did it for the positive, so now the material
• 54:21
  Speaker 4: always ended up better. And I think what I love
• 54:24
  Speaker 4: most about his character is that he is not some
• 54:27
  Speaker 4: mad scientists who's off trying to get some you know,
• 54:32
  Speaker 4: redemptive arc by having a breakthrough in science. He simply
• 54:36
  Speaker 4: comes to the island to try to help people and
• 54:39
  Speaker 4: to try to cure this this plague that's occurring on
• 54:42
  Speaker 4: the island, and unfortunately he just cannot do that. And
• 54:48
  Speaker 4: what I really loved here, and I'm going to tie
• 54:50
  Speaker 4: this into another note that I had because with talking
• 54:56
  Speaker 4: about the character of Peter West, who's one of our heroes,
• 55:00
  Speaker 4: Trey Howard brings up how most male leads in Folgie's
• 55:03
  Speaker 4: films are pretty useless. We don't really have a whole
• 55:07
  Speaker 4: lot of like male heroes in Fulgy films, and that's
• 55:12
  Speaker 4: because Folgi at heart was a fatalist and he believed
• 55:15
  Speaker 4: that there was no outrunning your fate. So lots of
• 55:18
  Speaker 4: characters in his movies are trying to fight back against
• 55:21
  Speaker 4: their fate, which pretty much holds an unbeaten record, right,
• 55:25
  Speaker 4: and doctor Manard is one of them. Just no matter
• 55:27
  Speaker 4: how hard he tries to help and how much he's
• 55:29
  Speaker 4: trying to cure and stop this from spreading, his fate
• 55:35
  Speaker 4: is that he cannot do it and it will not
• 55:37
  Speaker 4: be achievable. And that's really sad.
• 55:40
  Speaker 5: Yeah, it's like inevitable.
• 55:42
  Speaker 4: Yeah, it's like no matter. He doesn't know that obviously,
• 55:44
  Speaker 4: because it's fate, right, we don't know what's going to happen.
• 55:47
  Speaker 4: But he goes through. He's just trying to help and
• 55:50
  Speaker 4: nothing is working, and the movie is just once we
• 55:53
  Speaker 4: get to the island, it is just slowly this outbreak
• 55:58
  Speaker 4: is coming closer and closer and clos sure and closer,
• 56:01
  Speaker 4: and eventually he's going to be his fate, which is
• 56:03
  Speaker 4: death at the death at the hands of the very
• 56:06
  Speaker 4: disease he's trying to cure.
• 56:10
  Speaker 5: Yeah, it's almost poetic in a way. Yeah, you know, yeah,
• 56:15
  Speaker 5: I agree.
• 56:17
  Speaker 4: But it's interesting rewatching full g stuff kind of understanding
• 56:21
  Speaker 4: his fatalist attitude. And for those who don't understand exactly
• 56:24
  Speaker 4: what I mean by a fatalist, it just means that
• 56:27
  Speaker 4: he believed that that where we all have a destiny,
• 56:29
  Speaker 4: we'll have a fate, and that we will never break
• 56:31
  Speaker 4: off of that road. There's no change. Again, what happens
• 56:33
  Speaker 4: to us is designed to happen, and there's zero possibility
• 56:37
  Speaker 4: that we could change that outcome. So characters in his movie,
• 56:42
  Speaker 4: particularly male characters, because they always seem to end up
• 56:45
  Speaker 4: with the worst fate anyway, are trying to achieve something
• 56:51
  Speaker 4: that is or is not going to happen definitively. And
• 56:56
  Speaker 4: that's pretty fascinating to go into his movies understanding that
• 57:01
  Speaker 4: what's going to happen is going to happen, and nothing
• 57:04
  Speaker 4: they do, no matter how much control they think they're
• 57:06
  Speaker 4: in there not. They're simply a puppet on a string
• 57:14
  Speaker 4: and they're gonna end up wherever they're led. I think
• 57:15
  Speaker 4: that's fascinating and I.
• 57:18
  Speaker 5: Think I mean it's almost like a reoccurring theme through
• 57:22
  Speaker 5: Zombie and really his whole Gates of Hell trilogy. I mean,
• 57:28
  Speaker 5: none of those films have like none of them are
• 57:32
  Speaker 5: like heartwarming outcomes. I mean it's it's pretty like grim fates,
• 57:37
  Speaker 5: you know, or like kind of like open ended, like
• 57:42
  Speaker 5: with with what the outcome would have been. I mean,
• 57:44
  Speaker 5: the first thought that came to mind was the beyond,
• 57:48
  Speaker 5: and the beyond is just like absolutely terrifying to think
• 57:52
  Speaker 5: that you know what their fate was. But I agree,
• 57:56
  Speaker 5: it's it's He's definitely more nihilistic when it comes to
• 58:00
  Speaker 5: how a lot of these films end, and I certainly
• 58:04
  Speaker 5: can appreciate that.
• 58:05
  Speaker 4: Yeah, yeah, I can as well. Let's talk about the
• 58:12
  Speaker 4: infamous Rising Dead sequence. This is when our characters, when
• 58:19
  Speaker 4: Peter and Brian Susan wind up in what seems like
• 58:24
  Speaker 4: a brief patch in a field or they're in the
• 58:27
  Speaker 4: middle of the woods, turns out to be a cemetery,
• 58:28
  Speaker 4: and we have the rise of some of the most
• 58:31
  Speaker 4: notorious zombies in zombie film history, including the worm Eye Zombie.
• 58:40
  Speaker 5: Dude.
• 58:41
  Speaker 4: And what I love so much about this is Troy
• 58:43
  Speaker 4: talking about how Genota de Rossi, who was the makeup
• 58:46
  Speaker 4: effects designer was asked by the studio to make the
• 58:49
  Speaker 4: zombies look like Savini's working Dawn the Dead, but he
• 58:52
  Speaker 4: wasn't fond of the blue tint and instead just made
• 58:54
  Speaker 4: them downright dirty and nasty and all for the better.
• 58:57
  Speaker 4: These zombies.
• 59:01
  Speaker 5: I think that these might like as far as designs go,
• 59:05
  Speaker 5: I think of this film and I think of Day
• 59:08
  Speaker 5: of the Dead when I'm thinking of like more true,
• 59:13
  Speaker 5: authentic zombies. But I would have to say, I mean,
• 59:18
  Speaker 5: for as gory as this film is, I always come
• 59:22
  Speaker 5: back to these ones probably be my favorite.
• 59:26
  Speaker 4: Yeah, because they mentioned doctor Butcher mdaka Zombie Holocaust, and
• 59:32
  Speaker 4: I think that has a very similar look with the
• 59:35
  Speaker 4: zombies that this does. I also want to say, and
• 59:39
  Speaker 4: I don't know if this is true, but I feel
• 59:42
  Speaker 4: like Savigni took some notes when going in a Day
• 59:46
  Speaker 4: of the Dead to just make it a little bit gnarlier,
• 59:49
  Speaker 4: because it definitely seems like there's a little bit of
• 59:52
  Speaker 4: a pissing contest between the Dawn of the Dead zombies
• 59:57
  Speaker 4: and zombie coming out in After the Dead, and then
• 1:00:01
  Speaker 4: Day of the Dead.
• 1:00:02
  Speaker 5: Coming horrifect him where his vocal chords gets severed and.
• 1:00:09
  Speaker 4: Can you actually hear his voice change.
• 1:00:10
  Speaker 5: Oh oh, that's another one maybe in the near future
• 1:00:15
  Speaker 5: where we'll have to cover.
• 1:00:17
  Speaker 4: I don't want anyone to think that any of this
• 1:00:19
  Speaker 4: is discrediting Savini's working on the dead, because he says
• 1:00:22
  Speaker 4: straight up it is not. It's just different.
• 1:00:25
  Speaker 5: Mm hm, just different.
• 1:00:28
  Speaker 4: But yeah, this scene I love do the rise of
• 1:00:30
  Speaker 4: the worm eye zombie. I love the way it's shot
• 1:00:34
  Speaker 4: because Susan is so terrified at the zombie, which is
• 1:00:37
  Speaker 4: coming up so slow. By the way, you could have
• 1:00:39
  Speaker 4: punched in the face. This thing was coming up so slow.
• 1:00:43
  Speaker 4: But I love that we cut to a shot of
• 1:00:46
  Speaker 4: it rising and then we cut to a POV of
• 1:00:48
  Speaker 4: it rising and we see Susan coming in the frame.
• 1:00:51
  Speaker 4: It's it's fantastic, It's so cool.
• 1:00:54
  Speaker 5: I love this. Oh man, there's so many scenes in
• 1:00:57
  Speaker 5: this film where it's so hard to pick a favorite.
• 1:01:03
  Speaker 5: I don't know, man, I don't know. That might be
• 1:01:06
  Speaker 5: my favorite out of the entire film. Like there's just
• 1:01:08
  Speaker 5: something so sinister about it. You can't escape them, like
• 1:01:13
  Speaker 5: you're you're kind of fucked, you know. Yeah. I just
• 1:01:19
  Speaker 5: the whole the whole sequence, the way that it's filmed,
• 1:01:25
  Speaker 5: gives it more I think, more depth, and you're just
• 1:01:28
  Speaker 5: seeing it from a multitude of ways, just like how
• 1:01:31
  Speaker 5: gnarly it would be if if you were I don't know.
• 1:01:33
  Speaker 5: I mean hopefully it never comes down to that. But
• 1:01:35
  Speaker 5: a victim of a zombie attack.
• 1:01:37
  Speaker 4: I love this just so slow, and I love that
• 1:01:41
  Speaker 4: it's so well done because it's so slow, and you know,
• 1:01:45
  Speaker 4: people could react faster, but they don't need to.
• 1:01:49
  Speaker 5: Is so the fear, the fear gets.
• 1:01:50
  Speaker 4: Some What would you do may you start seeing a
• 1:01:53
  Speaker 4: worm eye socket zombie coming out of the ground. I'm
• 1:01:55
  Speaker 4: not running away immediately. I'm watching.
• 1:01:59
  Speaker 5: It's like what we were saying earlier. I'm just accepting
• 1:02:01
  Speaker 5: my fate. Yeah, at that point, that's what Luccio Fulci
• 1:02:04
  Speaker 5: would want, Yea believed.
• 1:02:13
  Speaker 4: Yeah, so you have the notorious rising zombie scene, and
• 1:02:16
  Speaker 4: to be honest, I don't have and I don't know
• 1:02:18
  Speaker 4: about you. I don't have any notes beyond this point.
• 1:02:23
  Speaker 5: No, it was I mean they were really at this
• 1:02:26
  Speaker 5: point that they were just really covering like it was
• 1:02:29
  Speaker 5: more surface level details I felt like, and kind of uh,
• 1:02:33
  Speaker 5: enhancing the remaining viewing experience that we were getting. But
• 1:02:38
  Speaker 5: I mean, how do you Okay, So for the duration
• 1:02:42
  Speaker 5: of the rest of the film, how do you feel like,
• 1:02:48
  Speaker 5: I guess probably the last third of the film, how
• 1:02:50
  Speaker 5: do you feel about the direction of where that goes?
• 1:02:53
  Speaker 5: Or there's certain things, you know, stand out moments for
• 1:02:55
  Speaker 5: you as we start kind of heading towards the uh
• 1:02:59
  Speaker 5: the icon of ending.
• 1:03:01
  Speaker 4: Yeah, yeah, I love there's some there's some stuff here
• 1:03:05
  Speaker 4: I really love. And some of it are are these
• 1:03:07
  Speaker 4: shots of kind of the zombies making their way through
• 1:03:10
  Speaker 4: the town or I don't even know if you can
• 1:03:12
  Speaker 4: call it a town, but there's these great shots on
• 1:03:14
  Speaker 4: a road where you have a zombie two kind of
• 1:03:17
  Speaker 4: heading down. I also love this ending action sequence that
• 1:03:21
  Speaker 4: takes place in one of the I guess it's like Ticlarly,
• 1:03:25
  Speaker 4: like one of the hospital areas. Yeah, no character is
• 1:03:29
  Speaker 4: safe and you have doctor Minard gets taken out, Lucas
• 1:03:34
  Speaker 4: gets taken out. Who else gets taken out in this sequence?
• 1:03:38
  Speaker 4: The nerd nurse Clara gets taken out in this scene
• 1:03:41
  Speaker 4: as well. Uh, And I love and I've probably said
• 1:03:45
  Speaker 4: this before, Man, I wish we would bring back like
• 1:03:47
  Speaker 4: actual squibs in movies where gunshots, oh yeah, they're so
• 1:03:52
  Speaker 4: ewey and gooey. And crunchy, and they look like they
• 1:03:56
  Speaker 4: hurt the stuntmen. Yeah, it looks like there's real impact.
• 1:03:59
  Speaker 4: But my favorite moment is there's there's a there's a
• 1:04:05
  Speaker 4: very brief moment when Brian has the shotgun and it
• 1:04:11
  Speaker 4: looks like one of the zombies is like climbing through
• 1:04:14
  Speaker 4: a window yep, yep, and the shotgun comes up and
• 1:04:19
  Speaker 4: just blows him away out of the window. And then
• 1:04:23
  Speaker 4: there's an incredible shot. This is like something out of
• 1:04:25
  Speaker 4: John Wick. Dude, an incredible shot where he turns the
• 1:04:30
  Speaker 4: shotgun and the camera follows it. It's great, dude, I
• 1:04:35
  Speaker 4: love this whole this whole scene.
• 1:04:38
  Speaker 5: There's little things that you pick up every time you
• 1:04:41
  Speaker 5: rewatch this movie. That's why, Like, to me, I feel
• 1:04:46
  Speaker 5: like that this is like a comfort Italian horror film
• 1:04:49
  Speaker 5: from or just just a horror film in general. I
• 1:04:54
  Speaker 5: never get tired of it. I mean, really, for that matter,
• 1:04:57
  Speaker 5: anything in the Gates of Hell trilogy I just have
• 1:04:59
  Speaker 5: such a soft spot for. But yeah, man, it's I mean,
• 1:05:04
  Speaker 5: they're basically going all out at the very end. This
• 1:05:08
  Speaker 5: is like the climax of everything that's been happening up
• 1:05:12
  Speaker 5: until this point. And I definitely feel like it delivers.
• 1:05:18
  Speaker 5: I mean, the whole building is on fire. You know,
• 1:05:21
  Speaker 5: they're they're shooting at the zombies. People are getting bitten.
• 1:05:25
  Speaker 4: That's my favorite. My favorite part is the is the
• 1:05:28
  Speaker 4: endless throwing of the Molotov cocktails. It's just like the
• 1:05:31
  Speaker 4: same shot over and over again, the Molotov cocktail being thrown.
• 1:05:35
  Speaker 4: But the burning zombies are a They're really nasty. They
• 1:05:40
  Speaker 4: look really nasty. And my personal favorite zombie dispatch in this,
• 1:05:44
  Speaker 4: in this moment with the Molotov cocktails is the poor
• 1:05:47
  Speaker 4: zombie that just firewood falls on top of as he's
• 1:05:50
  Speaker 4: trying to get up.
• 1:05:53
  Speaker 5: Poor guy.
• 1:05:53
  Speaker 4: You see him lean up and then all of a sudden,
• 1:05:55
  Speaker 4: a slab of wood on fire just falls on them,
• 1:05:58
  Speaker 4: collapses on them.
• 1:06:00
  Speaker 5: Uh, it's great. So toward I mean, we're getting obviously
• 1:06:03
  Speaker 5: towards the end, and we get bowls Hall and West
• 1:06:08
  Speaker 5: that are able to escape on the boat. They obviously
• 1:06:11
  Speaker 5: leave the island at this point. You know, Hall unfortunately
• 1:06:18
  Speaker 5: dies due to his infection that he has now and
• 1:06:22
  Speaker 5: they put his body or they lock it up in
• 1:06:25
  Speaker 5: the cabin to be used essentially as evidence for what
• 1:06:29
  Speaker 5: went down. And how do you feel about how zombie ends.
• 1:06:37
  Speaker 4: I mean, it's it's remarkable.
• 1:06:41
  Speaker 5: Man.
• 1:06:41
  Speaker 4: We cut to a shot. What bridge is that? I
• 1:06:45
  Speaker 4: don't even know what bridge that is?
• 1:06:48
  Speaker 5: Uh? Hold on, I know it's for sure in New York.
• 1:06:52
  Speaker 4: Yeah, I don't even know. I'm from New Jersey. I
• 1:06:55
  Speaker 4: don't know. I'm in Michigan.
• 1:06:59
  Speaker 5: Man, I I'm not I'm not not the right guy
• 1:07:01
  Speaker 5: to be asking about this. Let's see. So it was
• 1:07:05
  Speaker 5: on the Brooklyn Bridge.
• 1:07:06
  Speaker 4: Brooklyn Bridge, Okay, Brooklyn. There's so many bridges in New
• 1:07:10
  Speaker 4: York City.
• 1:07:12
  Speaker 5: I didn't I didn't want to wrongly identify it. I
• 1:07:16
  Speaker 5: thought that that's what it looked like when it just
• 1:07:20
  Speaker 5: wrapped up when I was well, we were recording.
• 1:07:22
  Speaker 4: But they will cancel us.
• 1:07:24
  Speaker 5: They will listen.
• 1:07:26
  Speaker 4: I think the shot, dude, it's a single static shot
• 1:07:30
  Speaker 4: where zombies are just walking into New York over the
• 1:07:33
  Speaker 4: Brooklyn Bridge.
• 1:07:34
  Speaker 5: And the radio broke. The radio. I can't talk radio broadcasts. Yeah,
• 1:07:39
  Speaker 5: just is like the icing on the cake when it
• 1:07:43
  Speaker 5: comes to that's all we get. Yep, we don't. We
• 1:07:48
  Speaker 5: don't know what the outcome is. It's not good, but
• 1:07:52
  Speaker 5: the infection has spread and you can't stop it.
• 1:07:56
  Speaker 4: Listen, man, tune in next time for Zombie three Killing
• 1:07:59
  Speaker 4: Birds find out nothing about what happens at the end
• 1:08:02
  Speaker 4: of Oh three.
• 1:08:09
  Speaker 5: I can't say it carries the same type of weight
• 1:08:12
  Speaker 5: as uh the movie we covered, but I guess that's
• 1:08:16
  Speaker 5: a conversation for another day.
• 1:08:17
  Speaker 4: Doesn't carry the same way as Texas chains on mask
• 1:08:20
  Speaker 4: at three Night Killer coming soon to be on the
• 1:08:23
  Speaker 4: Blood podcast.
• 1:08:25
  Speaker 5: That's a conversation I'm willing to have.
• 1:08:30
  Speaker 4: Yeah, listen, as always listen to these commentary tracks that
• 1:08:37
  Speaker 4: we cover in full. I mean, the the one percent
• 1:08:40
  Speaker 4: of info that we've given you from these tracks is
• 1:08:44
  Speaker 4: not enough, you know, go back and listen to these tracks.
• 1:08:48
  Speaker 4: Wealth of knowledge, Like I mean I'm talking about, like
• 1:08:51
  Speaker 4: there is something to be learned every minute that Troy
• 1:08:54
  Speaker 4: Howarth is speaking on this track. It's pretty remarkable. And
• 1:08:57
  Speaker 4: the track that you listen to has two more experts
• 1:09:01
  Speaker 4: on the panel, which I'm sure was incredibly overwhelming.
• 1:09:05
  Speaker 5: Yeah, it's I definitely, Like I said, I mean, there's
• 1:09:09
  Speaker 5: there's a lot to take away from it, and I
• 1:09:12
  Speaker 5: encourage anyone who is, even if you're a casual fan
• 1:09:15
  Speaker 5: of Italian horror films or Lucio Foulci or just this
• 1:09:18
  Speaker 5: movie in general. Definitely, I always feel like it's well
• 1:09:23
  Speaker 5: worth the listen. Give it a listen. I feel like
• 1:09:27
  Speaker 5: it's really going to enhance your overall appreciation for this
• 1:09:29
  Speaker 5: film and just you know, the viewing it in general.
• 1:09:33
  Speaker 4: And I think too, there's this track, the track that
• 1:09:36
  Speaker 4: I listened to specifically, has such a great energy. It
• 1:09:39
  Speaker 4: flows so well. There's not a lot of pauses and breaks,
• 1:09:43
  Speaker 4: no at all, jam packed wall to wall full of information.
• 1:09:47
  Speaker 4: And if you want to go even further, then be
• 1:09:50
  Speaker 4: sure to pick up the book Splintered Visions, read all
• 1:09:52
  Speaker 4: about Fulgi's career in his films, coming directly from the
• 1:09:56
  Speaker 4: expert himself, who's on both of these tracks. I mean,
• 1:10:00
  Speaker 4: come come on. This guy was did a solo commentary
• 1:10:03
  Speaker 4: that was brought back seven years later due to another
• 1:10:06
  Speaker 4: commentary track for the same movie, this time teamed up
• 1:10:09
  Speaker 4: with two other experts.
• 1:10:11
  Speaker 5: In this pretty Troy Troy Howarth is very much in
• 1:10:16
  Speaker 5: the know.
• 1:10:17
  Speaker 4: Oh yeah, the guy's so smart. Any closing notes on
• 1:10:22
  Speaker 4: on on lu Zambi.
• 1:10:26
  Speaker 5: No, I just I really encourage anyone to go pick
• 1:10:29
  Speaker 5: this up, you know, especially with this this four K
• 1:10:34
  Speaker 5: release from Aero. I mean, I feel like that this
• 1:10:37
  Speaker 5: is going to be the definitive way to view this
• 1:10:39
  Speaker 5: movie going forward, and yeah, get out there, pick it up,
• 1:10:46
  Speaker 5: you know, give give this audio commentary a listen. There's
• 1:10:49
  Speaker 5: a few others on this release as well, so be
• 1:10:51
  Speaker 5: sure to check those out.
• 1:10:53
  Speaker 4: Listen. Man, I'm gonna start a gofund me. I need
• 1:10:55
  Speaker 4: help trying to get this this four k arrow edition.
• 1:10:58
  Speaker 4: It's currently going for you gu bucks on eBay.
• 1:11:01
  Speaker 5: For some reason, us as a physical media community, we
• 1:11:04
  Speaker 5: have to come together to make this goal happen. The dream,
• 1:11:07
  Speaker 5: I should say, or nightmare if you're Lucia Faulcy.
• 1:11:10
  Speaker 4: Yeah, the nightmare of the well. Some can say, if
• 1:11:13
  Speaker 4: Folchi was here, he would tell me that it was
• 1:11:14
  Speaker 4: not in my fate to have it.
• 1:11:16
  Speaker 5: Yeah right, yeah, yeah.
• 1:11:21
  Speaker 4: As always, check out this track, listen to the other
• 1:11:25
  Speaker 4: audio commentaries on it. I know on the Blue Underground
• 1:11:27
  Speaker 4: there is another audio commentary track with I Believe a
• 1:11:31
  Speaker 4: select member of the cast and select member of the crew.
• 1:11:33
  Speaker 4: There's also like four other commentary tracks on your release
• 1:11:37
  Speaker 4: that you own, which is crazy, but hell yeah, the
• 1:11:40
  Speaker 4: more commentary tracks the better. Oh yeah, I always say. Yeah.
• 1:11:46
  Speaker 4: Zombie man Fulgi officially enters a Beyond the Blood catalog.
• 1:11:51
  Speaker 5: This was overdue. I'm so happy timing wise, we were
• 1:11:55
  Speaker 5: able to cover this film for Faulchi Week and and
• 1:12:01
  Speaker 5: Faulty Lips Fulty Lips.
• 1:12:04
  Speaker 4: So moving forward, if you made it to the end
• 1:12:07
  Speaker 4: of the episode, you get to hear about what's coming
• 1:12:09
  Speaker 4: on beyond the Blood. And we need you to know
• 1:12:11
  Speaker 4: that that we're not just horror fans here, right. We
• 1:12:13
  Speaker 4: consider ourselves masters of cinema in all languages and styles.
• 1:12:18
  Speaker 4: Would you say, would you say, would you agree with that?
• 1:12:20
  Speaker 5: Oh?
• 1:12:20
  Speaker 4: Absolutely, okay? And I also know I also know our
• 1:12:25
  Speaker 4: love for another genre of film, which some call the
• 1:12:30
  Speaker 4: sweatiest genre of the mom speaking on the erotic thrillers,
• 1:12:34
  Speaker 4: I think you're a fan of some of these.
• 1:12:37
  Speaker 5: That would be an understatement.
• 1:12:41
  Speaker 4: Your poster collection says otherwise.
• 1:12:43
  Speaker 5: Yeah, I was gonna say, if there's anything that I love,
• 1:12:47
  Speaker 5: maybe up there with Italian horror, it's definitely erotic thrillers.
• 1:12:51
  Speaker 4: I mean, best of both worlds, right, I can't. Yeah,
• 1:12:53
  Speaker 4: that sounds perfect. We're gonna have some fun this summer because,
• 1:12:59
  Speaker 4: as I mentioned before, if you're currently listening to this,
• 1:13:01
  Speaker 4: I am in Disney with my family. So we have
• 1:13:04
  Speaker 4: an after hours episode that is recorded that will go
• 1:13:07
  Speaker 4: Live one week after this is posted. That'll be with
• 1:13:09
  Speaker 4: Jordan from our friend Jordan from the movie Den also
• 1:13:11
  Speaker 4: from the Fireside Collection podcast. So we hope you enjoy that.
• 1:13:15
  Speaker 4: But then we're gonna be returning the week after with
• 1:13:17
  Speaker 4: the staff picks. And this is a staff picks that
• 1:13:21
  Speaker 4: I think is going to throw a lot of people
• 1:13:23
  Speaker 4: off because it's a film that's that's very erotic, not
• 1:13:27
  Speaker 4: very thrilling, but one that I threw in the hat
• 1:13:31
  Speaker 4: to discuss. Uh, Steve, were you excited to talk about
• 1:13:34
  Speaker 4: Indecent Proposals starring Woody Harrelson Robert Redford? And Uh? Why
• 1:13:40
  Speaker 4: am i? Demi Moore? Okay?
• 1:13:43
  Speaker 5: Are you serious when you said listen when when when
• 1:13:47
  Speaker 5: you propose that we were going to be going in
• 1:13:49
  Speaker 5: the surrection.
• 1:13:52
  Speaker 4: You would say and indecent proposally?
• 1:13:54
  Speaker 5: Yeah, it was I was seduced. Uh No, I I
• 1:13:59
  Speaker 5: I think that this is the perfect way for us
• 1:14:02
  Speaker 5: to kick off what's gonna be coming down the pipeline.
• 1:14:08
  Speaker 5: And I'm very excited to have a chance to talk
• 1:14:11
  Speaker 5: about something that is obviously very near and dear to us,
• 1:14:15
  Speaker 5: a subgenre that we really appreciate, and it'll be cool.
• 1:14:19
  Speaker 5: I'm very excited to see where the direction of where
• 1:14:21
  Speaker 5: this goes and what we're able to work on together.
• 1:14:25
  Speaker 4: Yeah. I mean at the beginning of the podcast, I
• 1:14:27
  Speaker 4: think we were very explicit about being a horror podcast,
• 1:14:30
  Speaker 4: but as the time has gone on, I feel like
• 1:14:32
  Speaker 4: we have kind of moved away from the word horror
• 1:14:35
  Speaker 4: and more so spoke on it as a genre podcast,
• 1:14:39
  Speaker 4: which allows us to break out, and I do want
• 1:14:41
  Speaker 4: to break out more. I'm curious to see kind of
• 1:14:43
  Speaker 4: how this goes, because when Staff Picks is over and
• 1:14:48
  Speaker 4: a week later we come at you with a full
• 1:14:51
  Speaker 4: commentary episode covering Paul Verhoven's Basic Instinct, I think it's
• 1:14:55
  Speaker 4: going to be a fascinating conversation. A fascinating conversation.
• 1:14:58
  Speaker 5: I think in Decent propos that was always a good
• 1:15:00
  Speaker 5: way to segue her way into that kind of bridge
• 1:15:04
  Speaker 5: bridge that, you know, between some of the films that
• 1:15:07
  Speaker 5: we're covering and when we get ready to eventually do
• 1:15:10
  Speaker 5: Basic Instinct.
• 1:15:12
  Speaker 4: Yeah, the only sweating Dennis Drie and Indecent Proposal is
• 1:15:16
  Speaker 4: me on my couch watching a decent proposal.
• 1:15:23
  Speaker 5: Take it easy, man, that's not very family friendly for
• 1:15:26
  Speaker 5: Disney World.
• 1:15:29
  Speaker 4: Oh my god. Well, Steve has always let people know
• 1:15:33
  Speaker 4: where they can find you outside of here.
• 1:15:35
  Speaker 5: You guys can find me after hours video. I am
• 1:15:39
  Speaker 5: all over social media and you guys can catch me
• 1:15:42
  Speaker 5: watching Italian horror all week in honor of Lucio Fulci.
• 1:15:47
  Speaker 4: Oh my God. And I am sweaty Dennis Eddrie. You
• 1:15:50
  Speaker 4: can now. I'm Bearded film Guy. Always on Instagram at
• 1:15:57
  Speaker 4: Bearded film Guy and always here I'm beyond the Blood.
• 1:16:00
  Speaker 4: Do us a favor. Go to the link or go
• 1:16:02
  Speaker 4: to the bio down below and check out. Our partner
• 1:16:05
  Speaker 4: podcasts also teamed up on the Someone's Favorite Productions Podcast Network. Really, honestly,
• 1:16:11
  Speaker 4: it's truly an honor to be a part of this network.
• 1:16:14
  Speaker 4: There's some incredible shows that we're lucky enough to be
• 1:16:16
  Speaker 4: partnered with and we get to listen to and talk about.
• 1:16:20
  Speaker 4: You know, I know, I spend plenty of time on
• 1:16:22
  Speaker 4: my page on the podcast page, sharing our our our
• 1:16:28
  Speaker 4: fellow partner podcast. Everybody does incredible work, and everybody's on
• 1:16:33
  Speaker 4: the same you know message, which is film is education
• 1:16:36
  Speaker 4: and more importantly, physical media is education.
• 1:16:39
  Speaker 5: Absolutely, as a.
• 1:16:40
  Speaker 4: Collective, this entire little niche world that we're a part of,
• 1:16:46
  Speaker 4: you know, we're trying our best to make sure that
• 1:16:48
  Speaker 4: that that audio commentaries and bonus features and stuff are
• 1:16:52
  Speaker 4: being watched and viewed, and that we're learning about the
• 1:16:54
  Speaker 4: movies that we love.
• 1:16:55
  Speaker 5: So yeah, I agree.
• 1:16:58
  Speaker 4: We will see you next week for after Hours on
• 1:17:02
  Speaker 4: Beyond the Blood. Have a have a good night. Watch
• 1:17:05
  Speaker 4: out for abandoned boats, watch out for for for worms,
• 1:17:14
  Speaker 4: and most importantly, count how many mirrors are around your.
• 1:17:18
  Speaker 5: Shower, and watch where you lay down.
• 1:17:22
  Speaker 4: Watch out for wood shards. They're pretty scared.
• 1:17:26
  Speaker 5: See you, guys, see you.
• 1:17:35
  Speaker 2: Thank you for listening to hear more shows from the
• 1:17:38
  Speaker 2: Someone's Favorite Productions podcast network. Please select the link in
• 1:17:41
  Speaker 2: the description.