Latest / Beyond The Blood: A Horror Movie Commentary Podcast / The Texas Chain Saw Massacre (1974) Ft. The Movie Den & Dylan Anglin

Transcript

The Texas Chain Saw Massacre (1974) Ft. The Movie Den & Dylan Anglin · Beyond The Blood: A Horror Movie Commentary Podcast

• 0:01
  Speaker 1: You are now listening to the Someone's Favorite Productions podcast network.
• 0:08
  Speaker 2: If you're looking for more horror outside of the mainstream,
• 0:11
  Speaker 2: look no further than Unsung Horrors, a podcast about underseen
• 0:15
  Speaker 2: horror movies.
• 0:16
  Speaker 3: I'm Lance and I'm Erica.
• 0:19
  Speaker 4: Every other week we'll cover a horror movie with fewer
• 0:21
  Speaker 4: than one thousand views on Letterboxed. We'll even give you
• 0:24
  Speaker 4: double feature recommendations to pair with the movies we discuss.
• 0:28
  Speaker 2: From gothic to shot on video, from slashers to comedies,
• 0:31
  Speaker 2: from Giallo to jay horror. We'll cover all the subgenres.
• 0:35
  Speaker 2: So join us as we unearth these hidden gems of horror.
• 0:38
  Speaker 4: Follow us on Instagram, Twitter, and Facebook. All at Unsung Horrors,
• 0:43
  Speaker 4: available wherever you listen to podcasts and part of the
• 0:46
  Speaker 4: Someone's Favorite Productions podcast Network.
• 0:50
  Speaker 5: In nineteen seventy four, a rusty chainsaw rard to life
• 0:54
  Speaker 5: in this weltering Texas heat, and horror was never the
• 0:57
  Speaker 5: same again. Toby Hooper's The Texas Gensaw Masker wasn't just
• 1:01
  Speaker 5: a movie. It was an assault, blistering sun, bone filled rooms,
• 1:05
  Speaker 5: and a sickly stench of death. Tonight, we're heading straight
• 1:09
  Speaker 5: into the Sawyer family's world of slaughter and survival, digging
• 1:13
  Speaker 5: into the punishing production, the industrial nightmare soundscape, and a
• 1:16
  Speaker 5: twisted legacy of leather face. Was it the first real
• 1:20
  Speaker 5: slasher or something far, far darker? And after fifty years,
• 1:25
  Speaker 5: why does this still feel like a crime you weren't
• 1:27
  Speaker 5: supposed to witness? Strap in because this one's gonna be loud, sweaty,
• 1:31
  Speaker 5: and unforgettable. Joining us for this bloodsoak trip through Texas
• 1:35
  Speaker 5: are two guests who know their horror from the movie
• 1:39
  Speaker 5: Den We've got our friend Jordan and a special guest,
• 1:43
  Speaker 5: filmmaker Dylan Englin, who's a love for the macab runs deep. Together,
• 1:48
  Speaker 5: we're breaking down Hooper's masterpiece, from the first rev of
• 1:50
  Speaker 5: the Chainsaw to the haunting final frame. These two bring
• 1:54
  Speaker 5: the insight, the passion, and maybe just enough Gallows humor
• 1:57
  Speaker 5: to survive. Dinner with the Sawyers. My name is Chris
• 2:00
  Speaker 5: and I'm extremely excited to host this dinner for you
• 2:03
  Speaker 5: tonight and formally welcome you to the Beyond the Blood Podcast.
• 2:17
  Speaker 3: Anything for a good cause.
• 2:21
  Speaker 6: I'm a security guard.
• 2:22
  Speaker 2: I kill people every fucking day.
• 2:25
  Speaker 5: That's right.
• 2:26
  Speaker 1: When I was growing up in Bakersfield, my favorite thing
• 2:29
  Speaker 1: in all the world was to go to the movies
• 2:30
  Speaker 1: on Saturday afternoons for the chapter plays.
• 2:34
  Speaker 3: I know that, mister man, they also call them cereals.
• 2:37
  Speaker 7: I'm not stupid, you know.
• 2:40
  Speaker 8: I am the devil and I am here to do
• 2:42
  Speaker 8: the devil's work.
• 2:56
  Speaker 5: So guys, I have to kick this off by saying
• 2:57
  Speaker 5: that not only am I super stoked to we talked
• 3:01
  Speaker 5: about Texas Chancel masker because this episode has been on
• 3:05
  Speaker 5: the list since I think like day one we started
• 3:08
  Speaker 5: talking about doing this podcast. But I'm also super excited
• 3:12
  Speaker 5: about the two guests that we have joining us. Jordan,
• 3:18
  Speaker 5: this is your second time on the show, first time
• 3:23
  Speaker 5: on an actual like commentary episode.
• 3:27
  Speaker 7: We've been friends for a long time now.
• 3:29
  Speaker 5: You mean Steve doing incredible stuff over with YouTube channel
• 3:32
  Speaker 5: with the movie Den.
• 3:34
  Speaker 7: Give yourself a little introduction, man, talk yourself up a
• 3:36
  Speaker 7: little bit.
• 3:37
  Speaker 9: Yeah, well, as you said, this is my first commentary
• 3:41
  Speaker 9: track episode.
• 3:42
  Speaker 6: The one before it was a little.
• 3:43
  Speaker 9: Surprise episode for for Steve for his birthday. But yeah, anyways, yeah,
• 3:50
  Speaker 9: I run the channel of the movie Den and we
• 3:51
  Speaker 9: talk about physical media really and and it's it's catered
• 3:56
  Speaker 9: more toward the horror genre. But yeah, we do that
• 4:01
  Speaker 9: and talk about movies, live streams, try to do some
• 4:04
  Speaker 9: weekly hangouts and stuff like that, and over on Instagram,
• 4:09
  Speaker 9: always posting stuff and chatting with people and so it's.
• 4:12
  Speaker 6: A lot of fun.
• 4:13
  Speaker 7: Yeah, dude, you do incredible stuff over there, man. Yeah,
• 4:15
  Speaker 7: thank you your page.
• 4:17
  Speaker 5: Love what you do, Steve and I are very lucky
• 4:19
  Speaker 5: to be friends with you and beyond stuff.
• 4:21
  Speaker 7: All the time that you do. Oh yeah, So we
• 4:23
  Speaker 7: can't thank you enough.
• 4:24
  Speaker 9: Hit me right in the fields, guys, that's right, man,
• 4:26
  Speaker 9: we're trying to pick this off right in the heart, man,
• 4:28
  Speaker 9: you know what I mean.
• 4:30
  Speaker 5: But I also want to introduce somebody who's first time
• 4:33
  Speaker 5: on the show, somebody that I'm very stoked to have
• 4:36
  Speaker 5: on the show.
• 4:37
  Speaker 7: For those who don't know.
• 4:40
  Speaker 5: I did a little bit of kind of like I
• 4:43
  Speaker 5: was never asked to promote it, but I was promoting
• 4:44
  Speaker 5: a little movie a few months ago called Paceda. I
• 4:48
  Speaker 5: was talking about the Blu Ray release of it. And recently,
• 4:51
  Speaker 5: if you've been paying attention to my Instagram story and stuff,
• 4:53
  Speaker 5: I've been sharing a ton of stuff on a little
• 4:55
  Speaker 5: movie coming out called Wait, it's called Rocky.
• 4:58
  Speaker 7: Wave, right, Rocky Wave, Rocky Oh yeah, Rocky Way, Yeah,
• 5:01
  Speaker 7: I had a brain farm. I'm sorry, I'm gonna have that.
• 5:04
  Speaker 5: But we're honored today to be here with Dylan Anglin,
• 5:07
  Speaker 5: the director of those two films.
• 5:09
  Speaker 7: What's up man?
• 5:10
  Speaker 1: Hey, thanks for having me of.
• 5:12
  Speaker 7: Course, dude, thank you for doing this. I hope.
• 5:14
  Speaker 5: Uh I remember when I when we sent out the
• 5:18
  Speaker 5: the show list for season two, you jumped on this
• 5:22
  Speaker 5: episode right away, so you know, and we get a
• 5:26
  Speaker 5: lot of friends who want to jump on this stuff,
• 5:28
  Speaker 5: and clearly people I've already talked to a whole bunch,
• 5:31
  Speaker 5: But since that time, you and I have talked a
• 5:34
  Speaker 5: lot about a lot of different physical media stuff. Yeah,
• 5:37
  Speaker 5: just like I feel like every day you're one of
• 5:39
  Speaker 5: the people that I'm interacting with in some way on Instagram.
• 5:44
  Speaker 5: So talk about just just real quick talk about pac A,
• 5:48
  Speaker 5: d N and kind of what you got coming up.
• 5:50
  Speaker 7: Give yourself a little promotion to kick this off.
• 5:52
  Speaker 1: Uh yeah, I mean I So when it comes to
• 5:54
  Speaker 1: the physical media side of things, you know, like these
• 5:56
  Speaker 1: guys are the ones you want to watch out for
• 5:59
  Speaker 1: as you can tell their backdrops and stuff and your
• 6:03
  Speaker 1: post that you make like with the physical media and
• 6:06
  Speaker 1: such like, I don't know the way you frame it
• 6:08
  Speaker 1: the way that you take pictures of it. It's just
• 6:10
  Speaker 1: it's really cool and I wish I would start doing that,
• 6:13
  Speaker 1: but instead I just take my phone and I'm just like, Okay,
• 6:15
  Speaker 1: here's my polla movies click. So you guys do a
• 6:18
  Speaker 1: lot better of promoting physical media than I do. But
• 6:20
  Speaker 1: when it comes to like I'm you know, on social
• 6:23
  Speaker 1: media and stuff, I promote a lot of my filmmaking stuff.
• 6:26
  Speaker 1: You know, I'm a film director. Feel comfortable and confident
• 6:30
  Speaker 1: saying that now, But yeah, it's just kind of what
• 6:33
  Speaker 1: I do. And I made a feature film called Pasidia,
• 6:37
  Speaker 1: and people actually think that the film came out recently.
• 6:41
  Speaker 1: We actually started filming some of it in twenty twenty two,
• 6:45
  Speaker 1: and we wrapped up filming in twenty twenty three, and
• 6:48
  Speaker 1: we wrapped up editing in twenty twenty four, and it
• 6:51
  Speaker 1: didn't get distribution until the end of twenty twenty four
• 6:54
  Speaker 1: into twenty twenty five. Like, even when it got picked
• 6:56
  Speaker 1: up for distribution, it was still a six month wait.
• 7:00
  Speaker 1: So yeah, I mean we've been we've been at it
• 7:02
  Speaker 1: for a while, you know, And now Rocky Wake that's
• 7:06
  Speaker 1: my next big feature. And I'm sure you guys have
• 7:11
  Speaker 1: seen the teaser. I know, I know you have, and
• 7:14
  Speaker 1: that's I mean, it's my dream movie, you know, it's
• 7:16
  Speaker 1: the film that I've always wanted to make. I'm throwing
• 7:18
  Speaker 1: all my eggs in the basket to the point to
• 7:21
  Speaker 1: where I've actually purchased twenty seconds of a popular seventy
• 7:26
  Speaker 1: song for the film worldwide alrights lifetime with my own money.
• 7:30
  Speaker 1: So you know, I'm too deep in it to get out,
• 7:33
  Speaker 1: but I don't want to.
• 7:34
  Speaker 7: So it's so exciting, dude, that trailer was so good.
• 7:38
  Speaker 5: Well, we'll make sure that we have the trailer link
• 7:41
  Speaker 5: below and we'll update it. You know, of course if
• 7:43
  Speaker 5: more teasers come out or anything, we'll update it. But
• 7:45
  Speaker 5: make sure if you're listening, go check that out.
• 7:48
  Speaker 7: Dude. I love I talk about.
• 7:50
  Speaker 5: All the time how I'm a cinematography nerd, and well,
• 7:54
  Speaker 5: every every framing in that trailer is perfect. But those
• 7:57
  Speaker 5: shots that you got outside of the airplane, yeah.
• 8:01
  Speaker 7: Man, I was I was loving.
• 8:02
  Speaker 5: We watched it on like my four k l G TV,
• 8:05
  Speaker 5: you know what I mean, on YouTube.
• 8:06
  Speaker 7: I was like, I was like, man, this is good.
• 8:09
  Speaker 7: This is really good.
• 8:11
  Speaker 1: I won't go on about it, but so how that
• 8:13
  Speaker 1: ended up happening was when I had wrote the script.
• 8:17
  Speaker 1: I had this idea, because the film itself has a prelude.
• 8:21
  Speaker 1: It opens up with a prelude, and I had this
• 8:23
  Speaker 1: idea where I was like, Wow, that would be so
• 8:25
  Speaker 1: cool to actually go up in like a search plane
• 8:27
  Speaker 1: and just fly over this area, you know, and cut
• 8:30
  Speaker 1: back and forth between this and some other things. There's
• 8:33
  Speaker 1: some little goodies. I don't want to spoil it, but uh,
• 8:36
  Speaker 1: you know. And and I was filming at a comic
• 8:39
  Speaker 1: con that was near me. It was, you know, somebody
• 8:41
  Speaker 1: local hosted, and there's like a lot of you know,
• 8:43
  Speaker 1: famous WWE stars that come, comic book stars and such,
• 8:47
  Speaker 1: and I usually do the video for him. Well, there
• 8:49
  Speaker 1: was a guy that came up to me, and he
• 8:51
  Speaker 1: knows my father in law, and he was like, have
• 8:53
  Speaker 1: you ever been interested in filming in a plane? And
• 8:55
  Speaker 1: I'm like, yeah, that would be kind of cool, and
• 8:59
  Speaker 1: you know, so he was like, yeah, let me get
• 9:00
  Speaker 1: you in contact with my son. And I ended up
• 9:03
  Speaker 1: getting in contact with the Sun and I was like, oh, well,
• 9:05
  Speaker 1: it actually has to be you know, a nineteen seventies playing.
• 9:07
  Speaker 1: He's like, yeah, that's fine, it'll be a nineteen seventies
• 9:10
  Speaker 1: Cherokee Piper and I was like, oh, okay, well that's awesome.
• 9:14
  Speaker 1: So we actually went out during sunset. You know. I
• 9:17
  Speaker 1: took the Black Magic with me, took the fish Eye
• 9:20
  Speaker 1: with me, brought a twenty four with me, and we
• 9:24
  Speaker 1: just went up in the sky and it was very exhilarating.
• 9:28
  Speaker 1: And I'm scared of heights. I'm terrified of it, so
• 9:30
  Speaker 1: but it worked out.
• 9:31
  Speaker 3: It was perfect.
• 9:33
  Speaker 7: Damn dude. Well they it looks incredible.
• 9:35
  Speaker 5: Man, those shots that you got are stunning and I
• 9:38
  Speaker 5: can't wait to see it in the full context of
• 9:41
  Speaker 5: the movie.
• 9:43
  Speaker 7: For those listening, we're actually going to be giving away.
• 9:46
  Speaker 5: Three Blu Ray copies of Pacidia over on our Instagram,
• 9:51
  Speaker 5: courtesy of Dylan, So make sure you go on over
• 9:54
  Speaker 5: there see if that's still available by the time you're
• 9:57
  Speaker 5: listening to this. Hopefully it is. I'd love for you
• 9:59
  Speaker 5: to get a copy. If not, it's on Amazon. I
• 10:02
  Speaker 5: know it's always on there. So thank you for doing this, man.
• 10:06
  Speaker 1: We greatly appreciate it. Thanks for having me on. I
• 10:08
  Speaker 1: really appreciate it. I'm very excited.
• 10:10
  Speaker 7: Yeah, man, and Steve Dude, we season two. Man, it's it's.
• 10:14
  Speaker 10: Here kicking it off we're going to rural Texas for
• 10:17
  Speaker 10: this one.
• 10:18
  Speaker 5: Oh man, I gotta tell you guys, like I don't.
• 10:20
  Speaker 5: I know, Jordan, you listened to this commentary.
• 10:22
  Speaker 3: Right, I didn't.
• 10:23
  Speaker 7: Yeah, I did, Okay.
• 10:25
  Speaker 5: Oh, I just want to say that I think this
• 10:28
  Speaker 5: commentary was perfect, just gotta.
• 10:32
  Speaker 10: I would put this at the top of, like, out
• 10:34
  Speaker 10: of the ones that we've dissected, I feel like that
• 10:37
  Speaker 10: this is probably like top three, if not like probably
• 10:41
  Speaker 10: probably my favorite out of the bunch.
• 10:44
  Speaker 7: Yeah, it was really good, dude.
• 10:46
  Speaker 5: We and I know we were talking last night, Steve
• 10:50
  Speaker 5: and I and you had watched the other commentary with
• 10:53
  Speaker 5: Toby Hooper.
• 10:55
  Speaker 7: Man, Dylan just had to go and do that.
• 10:58
  Speaker 10: For those that can't see, Dylan, you have a one
• 11:01
  Speaker 10: sheet back there of Texas Shaans saw Massacre.
• 11:04
  Speaker 1: Yeah, I felt like it was appropriate. I have it
• 11:06
  Speaker 1: right there on my wall.
• 11:07
  Speaker 3: So I just figured on, oh my god, that's great.
• 11:11
  Speaker 5: So for everybody that maybe skip the intro of this
• 11:14
  Speaker 5: commentary track is with director Toby Hooper, we have cinematographer
• 11:19
  Speaker 5: Daniel Pearl, and then we have leather Face actor Gunner Hanson.
• 11:22
  Speaker 5: The commentary track in particular that we're covering was actually
• 11:25
  Speaker 5: recorded in nineteen ninety six. Now ready for this. It's
• 11:29
  Speaker 5: gonna for a laiser disc release. So yeah, when I
• 11:36
  Speaker 5: I thought like, oh, this commentary was, you know whatever,
• 11:40
  Speaker 5: relatively new, maybe DVD era.
• 11:42
  Speaker 7: No, this was for a laser disc.
• 11:44
  Speaker 10: This was and Chris, you were telling me, I know,
• 11:48
  Speaker 10: for the second Site release, that they have another one
• 11:51
  Speaker 10: that's on there. What did you say? I think it
• 11:53
  Speaker 10: was in twenty fourteen that Toby Hooper also recorded, and
• 11:59
  Speaker 10: just told it sounded so different compared to this one,
• 12:03
  Speaker 10: so like it was a little jarring because I tried
• 12:05
  Speaker 10: to listen to at least three of them in preparation
• 12:08
  Speaker 10: for this.
• 12:09
  Speaker 3: So I listened to.
• 12:09
  Speaker 10: That one, the one with Daniel Pearl, and then this one.
• 12:15
  Speaker 10: But I think that out of the bunch, this was
• 12:17
  Speaker 10: the most informative and I feel like the definitive audio
• 12:20
  Speaker 10: commentary from this release.
• 12:23
  Speaker 1: Yeah.
• 12:24
  Speaker 5: Yeah, there was another commentary track. It's actually available in
• 12:26
  Speaker 5: both the Second Site and the Dark Sky four K
• 12:30
  Speaker 5: release with just Toby Hooper, and that was actually moderated
• 12:33
  Speaker 5: by David Gregory of Severn And it was for the
• 12:37
  Speaker 5: release of the Shocking Truth documentary.
• 12:40
  Speaker 7: That David Gregory had directed for TCM.
• 12:43
  Speaker 5: And yet you know, at that point, I think we
• 12:46
  Speaker 5: were like two and a half years away from losing
• 12:49
  Speaker 5: Toby Hooper, and it's pretty shocking kind of hearing the
• 12:52
  Speaker 5: difference in his tonality and his speech and just how
• 12:55
  Speaker 5: he sounds. It's pretty like, especially when you like you
• 12:58
  Speaker 5: did it back to back, it's pretty jarring, you know,
• 13:01
  Speaker 5: for those tracks.
• 13:03
  Speaker 1: So he's.
• 13:06
  Speaker 5: Voice, Oh dude, you get It's funny too because during
• 13:11
  Speaker 5: this commentary track they were covering, you can hear him
• 13:14
  Speaker 5: blowing smoke all around the room.
• 13:16
  Speaker 1: Yeah. Yeah, I'd be worried if he wasn't.
• 13:19
  Speaker 5: Honestly, Yeah, yeah, it's it's always funny because like you
• 13:22
  Speaker 5: hear like a brief pause and you'll hear like the
• 13:24
  Speaker 5: you know, like the blowing. But no, this was an
• 13:30
  Speaker 5: incredible commentary track, and honestly, it just worked out so
• 13:32
  Speaker 5: well for us. It gave us a wealth of information
• 13:34
  Speaker 5: that we're about to talk about, and gave us a
• 13:37
  Speaker 5: ton to cover, and honestly gave me a lot of
• 13:40
  Speaker 5: insight that I didn't have before, you know, on the movie,
• 13:42
  Speaker 5: which is always what I want out of a commentary track.
• 13:46
  Speaker 5: But I do want to kick this off with with
• 13:48
  Speaker 5: kind of an opening discussion that I want to ask
• 13:50
  Speaker 5: you guys, and I'm gonna start with our guests, So Jordan,
• 13:53
  Speaker 5: I'll start with you.
• 13:54
  Speaker 1: Man.
• 13:55
  Speaker 5: Uh, clearly we all love the Texas Chainsaw. Maasker, right,
• 13:59
  Speaker 5: how has this movie influenced your place as a horror
• 14:03
  Speaker 5: fan today? Like what was it about this movie that
• 14:06
  Speaker 5: you held onto, you know, in even even today when
• 14:10
  Speaker 5: you're collecting and you're watching other movies, Like what was
• 14:13
  Speaker 5: so influential to you about TCM?
• 14:15
  Speaker 9: What I what I loved about TCM is a couple
• 14:18
  Speaker 9: of things, but the main one is just kind of
• 14:20
  Speaker 9: how raw movie is, how raw, visceral and just gritty,
• 14:24
  Speaker 9: and how it it messes with The movie messes with
• 14:30
  Speaker 9: your mind a little bit because very you know, it's
• 14:34
  Speaker 9: very well known the movie has no blood or very
• 14:37
  Speaker 9: very little infinny and you think about it and you
• 14:40
  Speaker 9: think it's the grossest thing you've ever seen. And it's
• 14:43
  Speaker 9: a mix of you know, how you know, how hot
• 14:46
  Speaker 9: it is there.
• 14:47
  Speaker 6: So they're very dirty, very sweaty the entire time.
• 14:50
  Speaker 9: The way that a lot of the shots are there
• 14:53
  Speaker 9: feel like they're in your space. They get invade your space,
• 14:56
  Speaker 9: Like the dinner scene I think is a prime example
• 14:58
  Speaker 9: of that getting the peel the POV shot down the
• 15:03
  Speaker 9: dinner table, And that's the one thing I've noticed for
• 15:06
  Speaker 9: me is, just like I said, how wrong gratty the
• 15:09
  Speaker 9: film really is, and how how almost kind of gross
• 15:13
  Speaker 9: it kind of makes you feel and uncomfortable. From that
• 15:16
  Speaker 9: scene of them finally capturing her to the very end
• 15:21
  Speaker 9: of her escaping, that whole sequence I think is for
• 15:26
  Speaker 9: me the most influential just kind of the impact it
• 15:29
  Speaker 9: had on me, just the feeling it gave me. I
• 15:32
  Speaker 9: remember from the first time seeing it, and even you know,
• 15:35
  Speaker 9: I finished the commentary track today and it still taps
• 15:39
  Speaker 9: into that same feeling I had when I first saw it.
• 15:42
  Speaker 10: It's very claustrophobic feeling, like, especially once they're in the house,
• 15:46
  Speaker 10: and it's just like the obscure shots that are presented
• 15:51
  Speaker 10: in various like scenes. It's just makes you feel like
• 15:53
  Speaker 10: very uneasy the entire time. You know, you're following you
• 15:57
  Speaker 10: know the family and and you know Sally and every
• 16:00
  Speaker 10: thing that's going on.
• 16:00
  Speaker 3: But yeah, that was really well said.
• 16:03
  Speaker 5: Yeah, yeah, yeah, it's interesting, and we'll get into that
• 16:06
  Speaker 5: third act later on because we have some we have
• 16:08
  Speaker 5: some great notes about it. But there's something too I
• 16:11
  Speaker 5: was telling my wife last night, I was like, no
• 16:13
  Speaker 5: matter how many times I've seen this movie, that third
• 16:16
  Speaker 5: act is just so brutal and relentless, and like it's
• 16:21
  Speaker 5: almost like I noticed that, Like I think my heart
• 16:23
  Speaker 5: rate goes up a little bit, and I'm just.
• 16:25
  Speaker 7: So almost like uh.
• 16:28
  Speaker 5: Like overstimulated, so much happening that like I'm getting worried.
• 16:33
  Speaker 7: You know what I mean, which.
• 16:34
  Speaker 1: Is it feels like even though you've seen it like
• 16:37
  Speaker 1: eighty times, she could still get caught.
• 16:39
  Speaker 7: Yeah, yeah, yeah.
• 16:42
  Speaker 5: And Dylan, I mean for you, man, you as a
• 16:44
  Speaker 5: as an independent filmmaker, clearly, I mean, I think the
• 16:48
  Speaker 5: the influence this movie must have must have had on
• 16:51
  Speaker 5: you was was substantial.
• 16:53
  Speaker 1: Man. If it wasn't for Texas Shanks on Mascar, I
• 16:56
  Speaker 1: wouldn't be into filmmaking. So I saw when I saw
• 17:00
  Speaker 1: the Texas Chainsaw Masker, I think I was around four
• 17:03
  Speaker 1: years old, five years old, and yeah, my aunt, yeah, no, no, yeah,
• 17:08
  Speaker 1: so it's actually so it's actually really funny. So my
• 17:11
  Speaker 1: aunt's girlfriend, she showed it to me whenever I was
• 17:14
  Speaker 1: that little. It was on the TV. I remember watching it.
• 17:16
  Speaker 1: I remember the part that I remember vividly was leatherface
• 17:19
  Speaker 1: chasing Pam out of the house and grabbing her. I
• 17:22
  Speaker 1: remember that, and it scared me so bad. I just
• 17:25
  Speaker 1: remember being terrified, and I still wanted to watch it.
• 17:28
  Speaker 1: So my mom got me a DVD player as a
• 17:30
  Speaker 1: DVD player VHS player together, and she got me the DVD,
• 17:34
  Speaker 1: which this was back when you could go to Walmart
• 17:35
  Speaker 1: and find any movie you wanted. She got the black
• 17:37
  Speaker 1: DVD with the chainsaw on it, and I was just
• 17:41
  Speaker 1: hooked ever since. And for the pace of EA premiere,
• 17:45
  Speaker 1: it was actually funny. I actually reunited with that woman
• 17:48
  Speaker 1: that showed me Texas chains On, and she came to
• 17:51
  Speaker 1: the premiere and I kind of told her. I was like, look,
• 17:53
  Speaker 1: if it wasn't for you showing me this movie, I
• 17:55
  Speaker 1: would not be here doing this right now, you know.
• 17:58
  Speaker 1: With you. And for the longest time, like Texas chains On, Masacer,
• 18:03
  Speaker 1: it was always my favorite horror movie, but it wasn't
• 18:05
  Speaker 1: really my favorite movie. You know. I'm like, I've kind
• 18:08
  Speaker 1: of got like pretentious tastes, you know. It's like I
• 18:10
  Speaker 1: really was a big fan of Barry Lyndon and Stalker,
• 18:13
  Speaker 1: you know, and and but Mark Kermode. I don't know
• 18:15
  Speaker 1: if you guys are familiar with Mark Kermode. He's a
• 18:17
  Speaker 1: film reviewer. He's my favorite film critic. He actually said
• 18:22
  Speaker 1: something in one of his videos about The Exorcist, and
• 18:26
  Speaker 1: it was he had seen The Exorcist over two hundred times,
• 18:30
  Speaker 1: and no matter how many times he watched it, it
• 18:32
  Speaker 1: was a different movie. And I started thinking about that,
• 18:35
  Speaker 1: and I was, you know, I came to my own
• 18:37
  Speaker 1: conclusion that every time I watched the Texas chains On Massacre,
• 18:40
  Speaker 1: it felt like a different movie because there's so many
• 18:42
  Speaker 1: themes that are going on in it, whether it be
• 18:45
  Speaker 1: you know, a commentary on being a vegetarian, a commentary
• 18:50
  Speaker 1: on the Vietnam War, a commentary on astrology. You know,
• 18:54
  Speaker 1: there's so many different things that you can take from
• 18:57
  Speaker 1: the movie. And if you watch the movie and say, okay,
• 19:00
  Speaker 1: I want to view this movie in terms of, you know,
• 19:03
  Speaker 1: how food is made from animals, you know, and how
• 19:06
  Speaker 1: we treat animals, you could watch it that way, or
• 19:09
  Speaker 1: maybe the next time you want to watch it, Okay,
• 19:11
  Speaker 1: I want to focus on this film is if astrology
• 19:13
  Speaker 1: is taking hold, and you know, there's some there's a
• 19:15
  Speaker 1: bigger picture where it's not just this crazy family in
• 19:18
  Speaker 1: Texas that's acting this way. There's something going on bigger
• 19:22
  Speaker 1: than this in the universe that's you know, bringing all
• 19:25
  Speaker 1: these people together for this specific moment. And there's so
• 19:28
  Speaker 1: many different ways that you can interpret this film. And
• 19:32
  Speaker 1: I think it's it's just it's phenomenal. I mean, it
• 19:34
  Speaker 1: really is. And I you know, not to keep going
• 19:38
  Speaker 1: on about it, but you know that, are we allowed
• 19:41
  Speaker 1: to get into spoilers for this? Yeah?
• 19:43
  Speaker 7: Yeah, yeah, okay.
• 19:44
  Speaker 1: I was about to say, I feel like everybody's seen
• 19:46
  Speaker 1: this movie, you know, so, But the final shot with
• 19:49
  Speaker 1: the chainsaw dance and the saw, like going up to
• 19:52
  Speaker 1: the camera in the middle of the dance, you know,
• 19:53
  Speaker 1: where it kind of like where he not the saw
• 19:55
  Speaker 1: in particularly, but when he's dancing and then he turns
• 19:58
  Speaker 1: and it cuts to black. Should not in there? It
• 20:01
  Speaker 1: really shouldn't. There should still be more, but it doesn't
• 20:03
  Speaker 1: need to be, and it just shows that, like it's
• 20:06
  Speaker 1: a powerful movie, man, Like it's just there's something about
• 20:09
  Speaker 1: it where it's you know, some people might think of
• 20:12
  Speaker 1: it as like a typical horror movie, a typical horror
• 20:14
  Speaker 1: slasher or what have you, But honestly, I think it's
• 20:17
  Speaker 1: probably one of the most complex and intellectual not only
• 20:21
  Speaker 1: horror films of all time, but films ever made.
• 20:25
  Speaker 7: Yeah, yeah, I completely agree. It's kind of like.
• 20:31
  Speaker 5: It's one of those movies that when people ask me, hey,
• 20:34
  Speaker 5: what are some of your favorite horror movies? I think
• 20:36
  Speaker 5: it's like non horror people, you kind of get like
• 20:38
  Speaker 5: a little bit of judgment from them because this movie
• 20:40
  Speaker 5: has such a reputation with it for people who've never
• 20:42
  Speaker 5: seen it, you know, and we'll get into more about
• 20:46
  Speaker 5: kind of the the misinterpretation of this movie if you've
• 20:50
  Speaker 5: never actually seen it and you only know the reputation
• 20:52
  Speaker 5: it has.
• 20:54
  Speaker 7: But Steve, what about.
• 20:55
  Speaker 3: You, man?
• 20:57
  Speaker 10: I just remember this from like the videos days, and
• 21:01
  Speaker 10: it was that movie for me that I felt like,
• 21:04
  Speaker 10: you're not supposed to see this. I was slowly working
• 21:08
  Speaker 10: my way through like Friday the Thirteenth and Halloween and
• 21:12
  Speaker 10: Nightmare Elm Street, but this was always the one that
• 21:16
  Speaker 10: just because of the reputation it did have prior to
• 21:18
  Speaker 10: seeing it, I'm not gonna lie, I was a little
• 21:21
  Speaker 10: apprehensive to check it out. But the lasting impact this
• 21:26
  Speaker 10: movie has had on me, I mean, you know, this is,
• 21:29
  Speaker 10: in my mind, I mean, a top three horror movie
• 21:34
  Speaker 10: just with how effective it is and just there's so
• 21:39
  Speaker 10: many things that this movie does, right, I don't know,
• 21:44
  Speaker 10: it's such a perfect movie in my eyes, honestly.
• 21:47
  Speaker 5: Yeah, yeah, I mean for me, when I was a
• 21:50
  Speaker 5: kid man, I remember finding this VHS tape and it
• 21:53
  Speaker 5: was just the name, Like, how often did you come
• 21:55
  Speaker 5: across something so perfectly titled? You know, when you're a
• 22:00
  Speaker 5: kid and you're looking for something that's that's forbidden, something
• 22:04
  Speaker 5: that's macab You know, at this point in my life,
• 22:05
  Speaker 5: we had already found Faces of Death. You're like, how
• 22:08
  Speaker 5: do you up that? And you you pull out this
• 22:10
  Speaker 5: VAHS tapes called the Texas Chainsaw Masker. You're like, oh, well, here,
• 22:14
  Speaker 5: here we go.
• 22:15
  Speaker 7: This is the krem you know what I mean.
• 22:18
  Speaker 5: And you know, much like seemingly everybody else on the planet,
• 22:22
  Speaker 5: to me, this movie was over the top, violent, incredibly excessive,
• 22:29
  Speaker 5: almost the complete opposite the experience today with it is
• 22:33
  Speaker 5: knowing as much as we know about it and watching it, you.
• 22:35
  Speaker 7: Know, really seeing things.
• 22:39
  Speaker 5: But it was almost like a It wasn't the same
• 22:42
  Speaker 5: experience with the Extiosist. The Exorcists scared the hell out
• 22:44
  Speaker 5: of me, you know, Blair Witch just made me afraid
• 22:47
  Speaker 5: of the woods.
• 22:48
  Speaker 7: Faces of death was like.
• 22:50
  Speaker 5: Oh, oh man, they eat monkey brains somewhere, you know, yeah, Texas.
• 22:56
  Speaker 5: Shetsaw masker like got it got in, like just something
• 23:00
  Speaker 5: primal to me. And I remember it's it's Franklin's death
• 23:03
  Speaker 5: scene in the woods.
• 23:05
  Speaker 3: Oh it's terrifying, dude.
• 23:07
  Speaker 7: I remember stopping it and I had to come back
• 23:09
  Speaker 7: to it as a kid.
• 23:10
  Speaker 1: You know.
• 23:11
  Speaker 5: We rewound the VHS a little bit and uh, you know,
• 23:14
  Speaker 5: watch it again, and then from that moment on, it's
• 23:18
  Speaker 5: it's relentless, man, and to the point where it is
• 23:21
  Speaker 5: even for the lack of violence, it is very arresting
• 23:26
  Speaker 5: and very traumatizing. And you know, I feel like there's
• 23:29
  Speaker 5: such a different experience now when when you have a
• 23:32
  Speaker 5: four K with you know, audio tracks that have been
• 23:35
  Speaker 5: worked and separated and pulled, it kind of loses some
• 23:38
  Speaker 5: of that primal nature that I had on VHS. When
• 23:43
  Speaker 5: I think the last third of this movie on VHS
• 23:46
  Speaker 5: was just noise. Like I don't even know if they
• 23:48
  Speaker 5: if I picked up on some of the dialogue, you
• 23:50
  Speaker 5: know what I mean, it's just sound like it's so
• 23:54
  Speaker 5: it's so crazy, dude. And you know, for a movie
• 23:59
  Speaker 5: that has been talked about so much for its lack
• 24:02
  Speaker 5: of budget, for its lack of professionalism, and its production.
• 24:07
  Speaker 5: I would argue that this movie's shot better than a
• 24:11
  Speaker 5: lot of what came out of the seventies that had
• 24:13
  Speaker 5: more money.
• 24:14
  Speaker 1: Yeah, although sunset shots are phenomenal.
• 24:17
  Speaker 5: Yeah dude, this movie is beautiful. I mean even the
• 24:20
  Speaker 5: opening credits with the sunflares is gorgeous.
• 24:23
  Speaker 7: Yeah, dude, it's beautiful, man.
• 24:25
  Speaker 5: And you know it's one of the reasons that I
• 24:27
  Speaker 5: knew coming into season one of the show we had
• 24:30
  Speaker 5: to cover this, and we had to cover it in
• 24:32
  Speaker 5: August for the early.
• 24:33
  Speaker 3: The sweltering heat.
• 24:35
  Speaker 5: Yeah yeah, I mean the events of this movie on
• 24:37
  Speaker 5: August eighteenth. You know, from this point, we're only eight
• 24:39
  Speaker 5: days away from that. It will be in theaters. It's
• 24:41
  Speaker 5: gonna be returning via Fathom for a day.
• 24:45
  Speaker 1: You know.
• 24:45
  Speaker 5: This is just that time of year when I want
• 24:47
  Speaker 5: to revisit this always. But yeah, let's let's start chatting
• 24:51
  Speaker 5: about this, man, because there's so much good stuff to
• 24:55
  Speaker 5: talk about here.
• 24:56
  Speaker 7: I'm actually scrolling through the notes.
• 24:58
  Speaker 5: And it's just this endless, endless stroll of love, man like,
• 25:02
  Speaker 5: of just shit that I can't wait to talk to
• 25:04
  Speaker 5: you guys about it.
• 25:05
  Speaker 3: Just show.
• 25:05
  Speaker 10: It just goes to show how deeply we appreciate this movie.
• 25:09
  Speaker 7: Yeah.
• 25:10
  Speaker 5: Yeah, So Steve, let's talk about because your stuff's kind
• 25:14
  Speaker 5: of broken up in categories, and I think I have
• 25:15
  Speaker 5: some stuff that can kind of partner.
• 25:17
  Speaker 7: Up with yours.
• 25:17
  Speaker 5: Here, let's talk about what you have under a budget
• 25:21
  Speaker 5: limitations and just kind of talk about some of the
• 25:23
  Speaker 5: some of the conditions of this movie and and some
• 25:27
  Speaker 5: stuff early on in it.
• 25:29
  Speaker 10: Well, we know that obviously, you know, this was a
• 25:32
  Speaker 10: tighter budget that they had for the Texas chainsaw So
• 25:37
  Speaker 10: film was actually made for roughly one hundred and forty
• 25:39
  Speaker 10: k and it was such a low budget that the
• 25:43
  Speaker 10: crew actually had to use real animal bones and decay
• 25:47
  Speaker 10: meet as set dressing because they couldn't afford props.
• 25:51
  Speaker 3: And I remember at.
• 25:52
  Speaker 10: One point, I believe they mentioned in the commentary that
• 25:56
  Speaker 10: the skeletons that they used, I believe that those actual
• 26:00
  Speaker 10: skeletons from India. Correct, Yeah, yeah, they Yeah, which is
• 26:04
  Speaker 10: a wild I'm like, why do they have the surplus
• 26:08
  Speaker 10: of h extra skeletons? You know, they're really cheap too, right, Yeah, Mike,
• 26:13
  Speaker 10: that's kind of a weird way to, uh to talk
• 26:15
  Speaker 10: on that.
• 26:16
  Speaker 5: I think Toby Hooper said the Indian skeletons were cheaper
• 26:19
  Speaker 5: than plastic skeletons.
• 26:21
  Speaker 3: Yep.
• 26:22
  Speaker 1: Yeah, I want to know who has that connection, because
• 26:24
  Speaker 1: there's no Internet or anything to look it up. So
• 26:26
  Speaker 1: it's like, yeah, dude, I know this dude that can
• 26:28
  Speaker 1: get skulls from India? Thank God.
• 26:32
  Speaker 5: Yeah you know where they got it from. Man, you
• 26:34
  Speaker 5: need a medical supply, you know. Oh yeah, idea, Yeah,
• 26:41
  Speaker 5: you need a medical supply from Return of Living Dead.
• 26:43
  Speaker 7: They got, they got you.
• 26:45
  Speaker 3: You got, you got the hook up.
• 26:47
  Speaker 7: Now there you go, Man, call them up.
• 26:50
  Speaker 10: So obviously this lack of money unintentionally gave the film
• 26:54
  Speaker 10: it's disturbing realism almost in a lot of ways, it
• 26:58
  Speaker 10: makes the film look like a documentary. The budget forced resourcefulness,
• 27:04
  Speaker 10: leading to handheld shots, long takes in a gritty texture
• 27:08
  Speaker 10: that no amount of Hollywood polish could replicate. And I
• 27:11
  Speaker 10: think that that's you know, I don't know about you guys,
• 27:14
  Speaker 10: but I think that that's something that really elevates this
• 27:17
  Speaker 10: film in a lot of ways, where you know, maybe
• 27:20
  Speaker 10: for one movie, maybe this could be a disadvantage. In
• 27:22
  Speaker 10: a lot of ways, I think this did work to
• 27:25
  Speaker 10: their advantage. For Toby Hooper and the rest of the crew.
• 27:30
  Speaker 5: Yeah, well, I mean, do you do you have the
• 27:32
  Speaker 5: same movie if you double the budget, Like, do we
• 27:35
  Speaker 5: still end up with the same texture, chancel mask or
• 27:37
  Speaker 5: if they had one hundred and forty thousand more.
• 27:39
  Speaker 3: I don't think so.
• 27:42
  Speaker 1: It depends what they really know that extra money is.
• 27:44
  Speaker 1: You know, I'm pretty sure there's a bunch of Stoners
• 27:46
  Speaker 1: working on the movie, so like, you never know, they
• 27:47
  Speaker 1: could have spent that other white places and it's like,
• 27:50
  Speaker 1: oh dud, we got one hundred and forty thousand dollars
• 27:52
  Speaker 1: to make this movie. They gave us another one hundred
• 27:54
  Speaker 1: forty thousand. We'll take this one hundred forty thousand boy
• 27:56
  Speaker 1: some like, you know whatever, and then we'll film the movie.
• 28:00
  Speaker 7: It's just double the amount of skeletons.
• 28:03
  Speaker 5: They just doubled too now for everyone. Now, Yeah, the
• 28:08
  Speaker 5: conditions this movie was made in was absolutely terrible. They
• 28:14
  Speaker 5: were like at one point, I remember Toby Hooper talking
• 28:17
  Speaker 5: about how they had all these you know, animal carcasses
• 28:20
  Speaker 5: that that they had received from a local I don't
• 28:24
  Speaker 5: remember if it was a shelter or something, and so
• 28:27
  Speaker 5: was clinic.
• 28:30
  Speaker 6: Yeah, I think that's what a Veary.
• 28:31
  Speaker 7: School oh, it might have been a vetinary school.
• 28:34
  Speaker 5: It might have been, but somebody had actually taken them
• 28:38
  Speaker 5: out back and dumped gasoline on them and burned them.
• 28:44
  Speaker 5: And next thing, you know, all the smoke is filling
• 28:46
  Speaker 5: the set. And they didn't like run this by anybody.
• 28:49
  Speaker 5: This person just took it upon themselves to do it.
• 28:51
  Speaker 5: And it didn't even create a resolution because once the
• 28:54
  Speaker 5: gas burned off, you know, the fire went out, and
• 28:58
  Speaker 5: then they were just left with a bunch of animal
• 29:00
  Speaker 5: carcasses that just had no fur because the fur burned off.
• 29:04
  Speaker 3: I can't imagine what that smelled like.
• 29:06
  Speaker 7: Yeah, what's that like?
• 29:08
  Speaker 3: Rancid?
• 29:09
  Speaker 7: Damn?
• 29:10
  Speaker 3: But the heat.
• 29:12
  Speaker 5: There was still a lot about this movie though, that
• 29:15
  Speaker 5: that was kind of typical production stuff. And one thing
• 29:19
  Speaker 5: that I didn't know that Tobey Hooper talks about is
• 29:21
  Speaker 5: the opening of the film at the graveyard with the
• 29:24
  Speaker 5: stacked bodies. That was actually a reshoot that was not
• 29:28
  Speaker 5: in the original script. The what was originally the script
• 29:33
  Speaker 5: wasn't mentioned, so I don't know what was supposed to
• 29:35
  Speaker 5: be in its place or whatever. But the our gang
• 29:39
  Speaker 5: of survivors were actually that was they were just supposed
• 29:43
  Speaker 5: to show up to the cemetery as was, and they
• 29:45
  Speaker 5: decided to add this after the movie was done. Its
• 29:49
  Speaker 5: principal photography, which is crazy because like when you guys
• 29:53
  Speaker 5: think of horror movies, where does this sit for you
• 29:56
  Speaker 5: as far as iconic openings.
• 29:57
  Speaker 7: I mean, it's got to be one of the top, right,
• 29:59
  Speaker 7: Oh easily?
• 30:00
  Speaker 1: Yeah, well, I mean it's it's a it's a prelude
• 30:03
  Speaker 1: in itself, really, you know, I mean that's it's it's
• 30:06
  Speaker 1: very much it's it's a tone setter for sure. And
• 30:09
  Speaker 1: I mean for a film that's what's the runtime. It's
• 30:11
  Speaker 1: like eighty three minutes, right, yeah, eighty three eighty four
• 30:14
  Speaker 1: It's yeah, it's very short. And for an eighty three
• 30:16
  Speaker 1: minute long film to have like this, like you know,
• 30:19
  Speaker 1: four to five minute long opening which is titles and
• 30:22
  Speaker 1: like pulling back on this, you know, the the skeletons
• 30:25
  Speaker 1: on the tombstone and stuff. You know, I mean it's
• 30:28
  Speaker 1: quote unquote risk a but I mean it really does
• 30:31
  Speaker 1: set the tone for the rest of the film. I
• 30:33
  Speaker 1: mean it seriously does. It's very smart too, the way
• 30:35
  Speaker 1: that they handled it.
• 30:38
  Speaker 3: Yeah.
• 30:38
  Speaker 5: Yeah, and it's such ay, like, uh, it's an image
• 30:42
  Speaker 5: you'll never forget, you know, if you've seen Texas chance
• 30:44
  Speaker 5: to ask her you know what they look like? You
• 30:45
  Speaker 5: know what that opening scene looks like. I mean, it's
• 30:48
  Speaker 5: drenched in like that orange colored palette. It's incredibly haunting,
• 30:53
  Speaker 5: especially when the camera pulls back and reveals the full
• 30:57
  Speaker 5: the full position that they're sitting in, which one is like,
• 30:59
  Speaker 5: how do that?
• 31:01
  Speaker 1: But it's kind of beautiful, you know.
• 31:04
  Speaker 7: It is, No, it is.
• 31:05
  Speaker 5: Yeah, it's very dude, it's very artsy. But to me,
• 31:08
  Speaker 5: it's just as iconic as one because you have that shot, right,
• 31:12
  Speaker 5: you have that moment, you have your opening credits, and
• 31:14
  Speaker 5: then we cut to the dead armadillo in the street,
• 31:18
  Speaker 5: which is I mean, for me, is an animal lover,
• 31:21
  Speaker 5: just as stark an image to kick this movie off with.
• 31:24
  Speaker 7: So we already kicked off.
• 31:26
  Speaker 5: Once with this prelude of two decomposing bodies stacked on
• 31:29
  Speaker 5: top of each other on a graveyard.
• 31:30
  Speaker 7: You're like, oh, what the fuck?
• 31:33
  Speaker 5: And then the Wayne Bell music kind of kicks in
• 31:36
  Speaker 5: and you have everything else going on, and then you're
• 31:38
  Speaker 5: treated to a shot of a dead armadillo in a
• 31:40
  Speaker 5: side of the room, like it's.
• 31:42
  Speaker 10: A precursor for what I feel like You're you're obviously
• 31:46
  Speaker 10: on this ride. But I feel like it's just setting
• 31:49
  Speaker 10: you up as the viewer for everything that's about to
• 31:52
  Speaker 10: come and just how bizarre and just unsettling. You know,
• 31:56
  Speaker 10: the rest of the experience is going to be. So
• 31:58
  Speaker 10: I think like adding that shot in definitely enhances like
• 32:02
  Speaker 10: the direction of where things are going to be going forward.
• 32:06
  Speaker 5: Yeah, And it's perfect storytelling because you're already giving the audience.
• 32:09
  Speaker 5: You know, this is before the boom of you know,
• 32:12
  Speaker 5: based on a true story in horror, so you're already
• 32:14
  Speaker 5: giving the audience the expectation with the opening narration that
• 32:18
  Speaker 5: this is based on a true story. It's very haunting.
• 32:22
  Speaker 5: So you're just hit back to back to back with
• 32:25
  Speaker 5: these kind of wild introductions because there's like three, it
• 32:30
  Speaker 5: feels like three introductions to the movie. You know, you
• 32:33
  Speaker 5: have the narrative, you have that, and then you have
• 32:35
  Speaker 5: the dead armadillo before you even introduced to any characters anything,
• 32:39
  Speaker 5: which is pretty well.
• 32:40
  Speaker 10: The the intro I mean, even with the scrolling texts
• 32:44
  Speaker 10: is iconic. It's just it's so like you feel so
• 32:49
  Speaker 10: uneasy as he's explained like the events and everything that
• 32:53
  Speaker 10: is about to unfold, and I don't know, like I
• 32:57
  Speaker 10: even with all the memorable points throughout this movie, I
• 33:01
  Speaker 10: always kind of come back to, like that opening credits
• 33:04
  Speaker 10: or the dialogue, the narration that that's being said, you know,
• 33:09
  Speaker 10: setting us up for what's to come.
• 33:12
  Speaker 7: Yeah.
• 33:12
  Speaker 5: Yeah, Well I want to talk about this next point
• 33:15
  Speaker 5: that Toby Hooper talks about. But do you do you
• 33:18
  Speaker 5: guys have the same memory that this movie was much
• 33:20
  Speaker 5: more violent when you were younger than it is. Yeah,
• 33:22
  Speaker 5: oh yeah, yep, okay, because I okay, I will say
• 33:27
  Speaker 5: the the movie is more violent than I thought watching
• 33:30
  Speaker 5: it in four K, Like, I noticed some more this
• 33:33
  Speaker 5: time around, but it's nowhere near what I thought when
• 33:36
  Speaker 5: I was a kid. I could have sworn when Franklin
• 33:38
  Speaker 5: was getting cut up there was like guts flying, all
• 33:41
  Speaker 5: kinds of stuff going on.
• 33:43
  Speaker 7: And none of that.
• 33:43
  Speaker 1: Yeah, but.
• 33:47
  Speaker 7: Yeah, yeah, absolutely, man.
• 33:50
  Speaker 5: But what's interesting here is that Toby Hooper talks about
• 33:52
  Speaker 5: in the commentary how at that time there was G
• 33:55
  Speaker 5: there was PG and then there was R. And Toby
• 33:58
  Speaker 5: Hooper talks about how he really wanted to get a
• 34:00
  Speaker 5: PG rating, so he went to the MPAA and was like, hey,
• 34:03
  Speaker 5: how do I achieve that? And they're like, no bloodshed
• 34:07
  Speaker 5: and he was like okay, cool, like, no worries, and
• 34:10
  Speaker 5: to his recollection, he swears that only two ounces of
• 34:14
  Speaker 5: blood was made for this movie and most of it
• 34:18
  Speaker 5: was used to like splatter on the wall, excuse me
• 34:22
  Speaker 5: behind the hook and stuff. But watching it at four K,
• 34:26
  Speaker 5: I think it was I think it was more because
• 34:28
  Speaker 5: there are certain scenes.
• 34:29
  Speaker 7: Where there was more blood than I than I remembered,
• 34:31
  Speaker 7: Oh for sure.
• 34:33
  Speaker 5: But what was really fun here is that Gunnar Hanson
• 34:35
  Speaker 5: immediately kind of checked in and he said that he
• 34:38
  Speaker 5: went to a he was at a convention and a
• 34:41
  Speaker 5: guy had approached him at the table and said, man, Texas,
• 34:44
  Speaker 5: Shane Smasker has the best special.
• 34:46
  Speaker 7: Effects I've ever seen in my life.
• 34:47
  Speaker 5: And his reply is that's awesome because there is none. Yeah,
• 34:54
  Speaker 5: it's all yeah, And the guy like continued to swear
• 34:57
  Speaker 5: that there was, that there was more gore, and then
• 35:00
  Speaker 5: him and the guy kind of not started arguing, but
• 35:03
  Speaker 5: kind of started, you know, going back and forth on it,
• 35:06
  Speaker 5: which is really interesting because Yeah, it's just so funny
• 35:11
  Speaker 5: to me that we all live in this world where
• 35:12
  Speaker 5: this movie was once way more violent than it actually is,
• 35:14
  Speaker 5: and nobody I've never talked to a single person who
• 35:18
  Speaker 5: was like Oh yeah, I remember watching that when I
• 35:19
  Speaker 5: was a kid and not seeing much.
• 35:22
  Speaker 1: Yeah.
• 35:23
  Speaker 10: No, it's it's like we all have the same shared
• 35:25
  Speaker 10: experience with this movie.
• 35:27
  Speaker 7: Oh yeah, absolutely.
• 35:28
  Speaker 1: Man, it never got THEGT It never got it.
• 35:35
  Speaker 10: But wasn't it threatened with an X rating at one point,
• 35:38
  Speaker 10: like Toby Hooper had to cut back on some scenes
• 35:42
  Speaker 10: in order to be able to keep it, you know,
• 35:45
  Speaker 10: with within the radio that they were trying to achieve.
• 35:49
  Speaker 5: Yeah, I know, well it was part of the video
• 35:53
  Speaker 5: nasties in the UK. You know, this was impossible to
• 35:56
  Speaker 5: find and I don't know if it was for when
• 35:59
  Speaker 5: you get into the video naw sees, you know, you
• 36:01
  Speaker 5: get some stuff that you watch in today's standards are
• 36:04
  Speaker 5: like nothing, you know, even to like eighty standards, they
• 36:07
  Speaker 5: were nothing. But just the overall experience of the movie
• 36:10
  Speaker 5: was too much for people. So it definitely could have been.
• 36:15
  Speaker 5: Like it's it's a combination of both what's on screen
• 36:19
  Speaker 5: and just the sheer amount of terror involved with the
• 36:22
  Speaker 5: whole movie that kind of contributed to the rating. But yeah,
• 36:26
  Speaker 5: this movie's out of control, dude. And my favorite thing
• 36:30
  Speaker 5: about watching this now being older, being more like I
• 36:36
  Speaker 5: guess more of a student of film than simply a
• 36:40
  Speaker 5: viewer's paying attention to a lot of I think the
• 36:43
  Speaker 5: technical like incredible, like incredible technical qualities. I was trying
• 36:52
  Speaker 5: to figure out how to get that out, like over
• 36:56
  Speaker 5: here struggling with my words. Uh, just how well this
• 37:00
  Speaker 5: movie's made as far as sound design and cinematography. Daniel
• 37:06
  Speaker 5: Pearl obviously, he returned to the franchise in two thousand
• 37:09
  Speaker 5: and three with Marcus Nispell, and he shot and colored
• 37:13
  Speaker 5: the remake, which I've always said that would he looked
• 37:15
  Speaker 5: incredible and was dumb enough to never look at who
• 37:19
  Speaker 5: shot it until one day I was like, oh fuck.
• 37:21
  Speaker 3: It's a very stark contrast.
• 37:23
  Speaker 10: I mean, if you really put them side by side,
• 37:26
  Speaker 10: and that's coming from the same cinematographer, but I think
• 37:28
  Speaker 10: it's that's so interesting that you went within a completely
• 37:32
  Speaker 10: different direction for that film, obviously, you know, compared to
• 37:36
  Speaker 10: how iconic the original was.
• 37:40
  Speaker 7: Well, I think, what did Daniel Pearl say?
• 37:42
  Speaker 5: He said, I think there's an interview with him on
• 37:44
  Speaker 5: the on the bonus features for Texas O three and
• 37:48
  Speaker 5: he said, yeah, I was able to do a lot
• 37:49
  Speaker 5: of stuff that I wasn't able to on the original,
• 37:54
  Speaker 5: and I was kind of offended.
• 37:55
  Speaker 7: I was like, no, dude, you did everything perfect.
• 37:56
  Speaker 6: On that one.
• 37:57
  Speaker 5: Dude, Yeah, you'd I have to do nothing different. Bro,
• 37:59
  Speaker 5: you're good like you don't. Don't feel that way. But
• 38:03
  Speaker 5: one thing I do want to point out, and Steve,
• 38:05
  Speaker 5: I'm going to pass it to you to kind of
• 38:06
  Speaker 5: talk about this a little bit is Waxwork Records this
• 38:09
  Speaker 5: past year did an incredible job and Andy they linked
• 38:13
  Speaker 5: back up with Wayne Bell, who was, for lack of
• 38:16
  Speaker 5: a better words, the composer for this movie or I
• 38:19
  Speaker 5: guess the sound designer, however you want to put it,
• 38:22
  Speaker 5: and Waxwork with Wayne Bell actually completely remastered the score
• 38:28
  Speaker 5: for this movie.
• 38:29
  Speaker 7: I picked it up on CD.
• 38:31
  Speaker 3: I love that release. I got it on vinyl.
• 38:33
  Speaker 7: Dude, So Jordan, did you get it? No?
• 38:39
  Speaker 6: No, I I want to.
• 38:40
  Speaker 9: I just you know what, other stuff has come up since,
• 38:44
  Speaker 9: and it's kind of just passed me by. But I'm
• 38:47
  Speaker 9: not lying if I said I wasn't looking at it
• 38:49
  Speaker 9: right now, are you.
• 38:52
  Speaker 1: Right? The I also have the vinyl of the Texas
• 38:56
  Speaker 1: Chainsaw Maaster video game soundtrack, which is also.
• 39:00
  Speaker 3: Really right too.
• 39:01
  Speaker 1: Yeah, it's it's really good. I mean it kept the
• 39:04
  Speaker 1: tone of it for sure, but I'll let you talk
• 39:06
  Speaker 1: about it. It's it's a good soundtrack. Well, like you
• 39:09
  Speaker 1: were saying.
• 39:10
  Speaker 5: Sound track whatever it is for, Yeah, Yeah, I guess soundtrack.
• 39:14
  Speaker 5: I mean in the in the credits, it's just music
• 39:17
  Speaker 5: by Wayne Bell and Toby Hooper, so I guess we
• 39:20
  Speaker 5: can label it.
• 39:22
  Speaker 10: It feels very like industrial sounding, like just in the
• 39:25
  Speaker 10: way that it's not. It's obviously not structured like traditional
• 39:29
  Speaker 10: style scores that we would normally get for just horror movies,
• 39:32
  Speaker 10: but especially like movies that were coming out around this time.
• 39:37
  Speaker 5: Yeah, and I love this note that you put about
• 39:39
  Speaker 5: sound design, man, so go into.
• 39:40
  Speaker 6: That a little bit.
• 39:41
  Speaker 3: Yeah.
• 39:41
  Speaker 10: So obviously, unlike other horror films of the era that
• 39:44
  Speaker 10: relied on like your more traditional scores, Toby Hooper and
• 39:48
  Speaker 10: sound designer Wayne Bell used unsettling industrial noises like metal clanks,
• 39:54
  Speaker 10: animal squeals, and mechanical hums to efolk discomfort.
• 39:59
  Speaker 3: So it's less.
• 40:00
  Speaker 10: About melody and more about the raw sensory assault, mirroring
• 40:04
  Speaker 10: the slaughterhouse world.
• 40:06
  Speaker 5: And I'll tell you, guys, I threw one at CD
• 40:08
  Speaker 5: when it came in and I was I was here
• 40:11
  Speaker 5: in this office working and it was at night, and
• 40:13
  Speaker 5: it freaked me the fuck out, Chris.
• 40:17
  Speaker 1: I just imagine your neighbor's just looking at you like
• 40:19
  Speaker 1: they just say, you're silhouette in the window with that
• 40:21
  Speaker 1: music playing.
• 40:22
  Speaker 3: You're just working.
• 40:23
  Speaker 5: Yeah, honestly, bro, it's like an early nine inch Nails record,
• 40:26
  Speaker 5: but the vocals never kick in.
• 40:27
  Speaker 3: Oh yeah, yeah, you know. Help, You're like.
• 40:31
  Speaker 7: Waiting to hear trend resnor popping.
• 40:33
  Speaker 1: It's gonna that's what Tools music is going to sound
• 40:35
  Speaker 1: like in like fifteen years when they get older.
• 40:38
  Speaker 9: Yeah.
• 40:38
  Speaker 1: Yeah.
• 40:39
  Speaker 5: I was like, I don't know if I'm listening to
• 40:40
  Speaker 5: Wayne Bell's TCM soundtrack or I'm listening to a Tool
• 40:43
  Speaker 5: intro track for forty minutes.
• 40:44
  Speaker 7: I don't know what's happening here.
• 40:46
  Speaker 10: Well, I thought kind of touching on this is I
• 40:49
  Speaker 10: thought it was interesting how Toby Hooper eventually broke down
• 40:54
  Speaker 10: how those iconic Texas chainsaw sounds were actually made. And
• 40:58
  Speaker 10: I guess my understanding is on analog tape in order
• 41:01
  Speaker 10: to achieve the sound, so this was used through like
• 41:06
  Speaker 10: a large tuning fork, and he would strike it on
• 41:09
  Speaker 10: his knee and hold it by the base and then
• 41:12
  Speaker 10: lowering it onto a string of a broken instrument. He
• 41:15
  Speaker 10: would then use a contact mic and I believe three
• 41:18
  Speaker 10: Sony tape recorders with reverb. He would adjust the volume,
• 41:22
  Speaker 10: speeding it up and slowing it down with various instruments. So,
• 41:28
  Speaker 10: I mean, when I think of Texas Chainsaw, I feel
• 41:31
  Speaker 10: like it's almost synonymous with those like very bizarre, weird
• 41:35
  Speaker 10: sounds from the movie, and this being one of them.
• 41:39
  Speaker 5: Well, I don't know about you guys, but I've never
• 41:42
  Speaker 5: before the soundtrack release, I never separated the music from
• 41:46
  Speaker 5: the from the movie. I always thought like it was
• 41:50
  Speaker 5: so well integrated that I just thought those noises were happening,
• 41:54
  Speaker 5: Like I thought that was just general sound design. But
• 41:58
  Speaker 5: hearing the score and I was able to actually be like, oh, yeah,
• 42:01
  Speaker 5: this is that moment.
• 42:02
  Speaker 7: Okay, this is that moment.
• 42:03
  Speaker 5: It like I said, man, it's really it's really eerie,
• 42:07
  Speaker 5: Like it's it's interesting, how ya I feel like, especially nowadays,
• 42:14
  Speaker 5: nobody talks about music like they used to, you know
• 42:16
  Speaker 5: what I mean, Like Zach Kreiger, I haven't seen weapons yet,
• 42:19
  Speaker 5: but I listened to the score.
• 42:20
  Speaker 1: The score is incredible. Yeah.
• 42:23
  Speaker 5: Even let's talk about another just major Hollywood picture, Draft
• 42:26
  Speaker 5: World Rebirth. This is the first score that they actually
• 42:29
  Speaker 5: brought back the original John Williams themes and stuff like that.
• 42:33
  Speaker 5: So I feel like we're heading back in the direction
• 42:35
  Speaker 5: where we're gonna start getting more of the composed kind
• 42:39
  Speaker 5: of like themic grand.
• 42:43
  Speaker 7: Music.
• 42:43
  Speaker 5: But at this time, I mean, this is before John
• 42:46
  Speaker 5: Williams was, you know who he was, and before a
• 42:50
  Speaker 5: ton So to sit down and figure out how to
• 42:53
  Speaker 5: make these noises is so incredible to me, and how
• 42:55
  Speaker 5: it worked so well. It's almost like fucked up noises
• 42:58
  Speaker 5: for your fucked up movie, you know what I mean.
• 43:02
  Speaker 3: It just it's like droning ambience.
• 43:04
  Speaker 10: I feel like, like with the different type of sound
• 43:08
  Speaker 10: effects that's used for this, I thought it was interesting.
• 43:12
  Speaker 10: He described it as musical saws amplified air and the
• 43:14
  Speaker 10: sound of an old furnace.
• 43:21
  Speaker 1: Yeah. Have you guys heard the Brutalist soundtrack.
• 43:26
  Speaker 3: Ahead?
• 43:27
  Speaker 6: I haven't.
• 43:27
  Speaker 5: I did when it came out, I think when the
• 43:29
  Speaker 5: composer put it on Spotify.
• 43:31
  Speaker 7: I checked it out, but I can't remember anything about it.
• 43:33
  Speaker 1: The Brutalist the Uh yeah, the soundtrack for it was phenomenal.
• 43:37
  Speaker 1: It won Best Score at the Oscars. But I was
• 43:41
  Speaker 1: watching the behind the scenes for that movie, and oddly
• 43:45
  Speaker 1: enough so the score actually I think. Don't quote me
• 43:49
  Speaker 1: on it, but I think there's a specific part where
• 43:51
  Speaker 1: they're going up to the mansion and it's actually inspired
• 43:53
  Speaker 1: by Texas Chainsaw Master's score because it sounds very similar.
• 43:56
  Speaker 1: When I was in the theater listening to that, I
• 43:58
  Speaker 1: was like, Wow, this is this sounds straight out of
• 44:00
  Speaker 1: the Texas chainsaw massacre and just to make those sounds
• 44:04
  Speaker 1: and such. When I was watching the behind the scenes,
• 44:07
  Speaker 1: I literally I think that it's the composer. They were
• 44:09
  Speaker 1: in like the middle of a quarry and he just
• 44:10
  Speaker 1: had a pistol when he was shooting it in the air,
• 44:12
  Speaker 1: and he's like, all right, we got some sounds. It's
• 44:14
  Speaker 1: just so cool what you can use with that, you know,
• 44:17
  Speaker 1: Oh my god.
• 44:18
  Speaker 5: It's kind of like I remember watching a featurette about
• 44:21
  Speaker 5: the sound design for Oppenheimer the same thing. They're like, yeah,
• 44:25
  Speaker 5: we took like a metal ball and like bounced it,
• 44:28
  Speaker 5: like spun it in a metal tube. And they're like,
• 44:32
  Speaker 5: and then then we distorted that and we got this
• 44:34
  Speaker 5: whole sound. You're like, okay, all right, can't figure that
• 44:37
  Speaker 5: shit out for the life of me, but all right,
• 44:39
  Speaker 5: cool you did that. It's like it's like if you
• 44:42
  Speaker 5: ever watch the guys on TikTok who do like the
• 44:45
  Speaker 5: sound design that'll do like the uh sound of walking
• 44:49
  Speaker 5: on grap oh, yeah, the sound of opening a car door,
• 44:52
  Speaker 5: like all these pick up sounds. And they're standing there
• 44:55
  Speaker 5: with like broken everyday objects and they just make it work,
• 45:00
  Speaker 5: you know what I mean.
• 45:00
  Speaker 1: It's pretty You're opening a card door where they got
• 45:02
  Speaker 1: a fucking banana and like a twizzler.
• 45:04
  Speaker 7: You know, we can make this happen. I think there
• 45:08
  Speaker 7: was there was one thing I saw it.
• 45:10
  Speaker 5: It was like a balloon and like a like a
• 45:13
  Speaker 5: violin wire and they rubbed it together and it was
• 45:15
  Speaker 5: like the sound of like somebody taking something.
• 45:17
  Speaker 3: Off a wall.
• 45:18
  Speaker 7: I was like, what the hell, how did you do that?
• 45:20
  Speaker 1: Yeah?
• 45:20
  Speaker 9: Those folly artists, they're they're they're pretty crazy then creative.
• 45:24
  Speaker 6: There was one when I went to I was going
• 45:26
  Speaker 6: to school for that.
• 45:28
  Speaker 9: We we watched the thing about I Seen Cloudy, The
• 45:31
  Speaker 9: Chance of Meatballs, the whole thing with the burgers, cheeseburgers.
• 45:34
  Speaker 9: It's they took like the wet just wet rags very
• 45:39
  Speaker 9: like clumped them and just would drop them on the floor.
• 45:41
  Speaker 9: And that's what they used to record for the cheeseburgers
• 45:44
  Speaker 9: hit the ground.
• 45:45
  Speaker 6: It's like little stuff like that.
• 45:47
  Speaker 7: Yeah, that's that's wild man. Yeah.
• 45:49
  Speaker 5: The please you know, if you're a fan of TCM,
• 45:53
  Speaker 5: go to Waxwork Records pick up, because they actually went
• 45:56
  Speaker 5: all the way back and remastered this like from the
• 45:59
  Speaker 5: original wor it's like in cooperation with Wayne Bell.
• 46:03
  Speaker 7: So it was an incredible project.
• 46:07
  Speaker 3: Yeah.
• 46:07
  Speaker 10: Well, and I just remember like how anticipate this release was,
• 46:11
  Speaker 10: Like this had been talked about for a long time,
• 46:13
  Speaker 10: and just the mere fact that they were able to
• 46:16
  Speaker 10: get it together and probably the best form possible.
• 46:19
  Speaker 3: I mean, very very fortunate that we have that. Yeah.
• 46:23
  Speaker 5: Yeah, I've just laughed because I was thinking of Toby Hooper.
• 46:31
  Speaker 5: I feel like at this point, you know, nineteen ninety
• 46:33
  Speaker 5: six year, twenty two years out from from this movie,
• 46:36
  Speaker 5: you can kind of say whatever, but him just ragging
• 46:39
  Speaker 5: on paul a party and is Franklin. Oh yeah, what
• 46:42
  Speaker 5: annoying he was because he stayed in character as Franklin
• 46:47
  Speaker 5: the entire shooting time in the wheelchair, out of control man.
• 46:51
  Speaker 7: That's that's method acting.
• 46:53
  Speaker 10: But I mean I can only imagine what that would
• 46:55
  Speaker 10: be like to deal with him in one hundred degree heat.
• 46:58
  Speaker 10: And no way that word like you're just sweating through
• 47:01
  Speaker 10: your clothes and you got to deal with this annoying
• 47:02
  Speaker 10: dude in the wheelchair.
• 47:04
  Speaker 9: Oh my god, dude, Well what did he say about
• 47:06
  Speaker 9: when he started spitting?
• 47:10
  Speaker 6: I forget what he called it. He said something was
• 47:13
  Speaker 6: pretty funny.
• 47:14
  Speaker 5: Gross man. It seems like such a gross person to
• 47:18
  Speaker 5: be around. And actually, uh he talks various points in
• 47:22
  Speaker 5: the commerce Tait. He talks about how Marilyn Burns and
• 47:24
  Speaker 5: Paul didn't get along, so like there's some bickering in
• 47:27
  Speaker 5: these scenes where it's it's authentic because you're just so
• 47:30
  Speaker 5: I mean, imagine being in these conditions and then dealing
• 47:32
  Speaker 5: with somebody like that.
• 47:34
  Speaker 1: It worked for the brother Sister dynamic, honestly, you know,
• 47:37
  Speaker 1: I mean I would agree. What one thing that I
• 47:40
  Speaker 1: wanted to say earlier when you were talking about the
• 47:42
  Speaker 1: wheelchair scene and like how messed up you you know
• 47:45
  Speaker 1: it was when you watched it, Like that's a mean
• 47:48
  Speaker 1: death scene, man, like that. It feels so mean and
• 47:52
  Speaker 1: I don't I can't. I don't understand why, but there wasn't.
• 47:56
  Speaker 1: I don't know. Maybe it's because toe Hooper didn't like
• 47:58
  Speaker 1: him or something, and he like had some way to
• 48:01
  Speaker 1: make it mean. But so I actually listened to I
• 48:04
  Speaker 1: don't know if this is on your notes or not,
• 48:05
  Speaker 1: but I listened to an interesting thing. The way that
• 48:07
  Speaker 1: they edited the film. They would film it where a
• 48:11
  Speaker 1: character would be on like the right side, but they
• 48:13
  Speaker 1: would have leather Face come in on the left side,
• 48:16
  Speaker 1: and they would edit it together. Because your mind is
• 48:18
  Speaker 1: playing tricks on you where you expect him to come
• 48:20
  Speaker 1: from one place and he comes from the other place.
• 48:24
  Speaker 5: Yeah, well that's what he did. I actually have a
• 48:25
  Speaker 5: note about this, and I labeled it as extra in
• 48:28
  Speaker 5: our notes. But during that scene, Toby Hooper talks about
• 48:32
  Speaker 5: how he purposely removed four frames from the flashlight shot,
• 48:37
  Speaker 5: and I was watching it. I think my wife was
• 48:40
  Speaker 5: like standing in the room, and you know he's talking
• 48:43
  Speaker 5: about that. So then it gets to the flashlight shot
• 48:45
  Speaker 5: and it cuts so fast to the leather face reveal
• 48:49
  Speaker 5: that I actually like, I didn't jump, but I was
• 48:51
  Speaker 5: shocked at how quick. I couldn't remember how quick that happens.
• 48:55
  Speaker 5: But it does such a good job because your mind
• 48:58
  Speaker 5: is smart enough to piece to get other like rhythm
• 49:00
  Speaker 5: of cutting right, which is why editing is so important.
• 49:03
  Speaker 5: So we recognize that if an edit speeds up, then
• 49:06
  Speaker 5: we're building to something or it's just bad editing, which
• 49:09
  Speaker 5: looking at every action movie for the last before john Wick.
• 49:15
  Speaker 5: But you know those shots, you have the Dolly, you
• 49:18
  Speaker 5: have the Dolly shots. Uh, you know when she's pushing
• 49:20
  Speaker 5: Franklin through the woods. So there's not a lot of
• 49:23
  Speaker 5: rapid cutting in this scene, even when they get you know,
• 49:26
  Speaker 5: caught up and you cut to that flash like you're
• 49:29
  Speaker 5: not expecting that that quick of a transition to the
• 49:32
  Speaker 5: leather face reveal, and it's almost off guard.
• 49:35
  Speaker 7: You're like, whoa, to the point where it shocked me.
• 49:38
  Speaker 5: I thought that was I thought that was such an
• 49:40
  Speaker 5: interesting thing, like how how much editing? And you got
• 49:45
  Speaker 5: to think four frames affects the experience of an action
• 49:49
  Speaker 5: in a movie.
• 49:50
  Speaker 1: Yeah, it really does. Yeah. There was another thing I
• 49:53
  Speaker 1: appreciate about the cinematography techniques that they like they did
• 49:57
  Speaker 1: was the focus breathing in the film, like they would
• 50:00
  Speaker 1: do like the end, and it's very harsh focus breathing.
• 50:03
  Speaker 1: And I'm somebody like even with the stuff that I do,
• 50:06
  Speaker 1: I love focus breathing. And in film school you'll get
• 50:09
  Speaker 1: in trouble for that, you know what I mean like
• 50:11
  Speaker 1: and it's but but I I personally like it because
• 50:13
  Speaker 1: it almost feels like, you know, in a way, the
• 50:17
  Speaker 1: camera is almost a character too, Like whenever she opens
• 50:20
  Speaker 1: up her eyes and then it's like on the dinner
• 50:22
  Speaker 1: table and it's like focusing it in on like you know,
• 50:24
  Speaker 1: the skeleton and then like I don't know what they had,
• 50:27
  Speaker 1: what was it like a like a crow's skull and
• 50:29
  Speaker 1: then they had like a sausage in its mouth or something.
• 50:32
  Speaker 1: It's you know, and it's just like you're looking around
• 50:34
  Speaker 1: and you're seeing these things the first time as she
• 50:37
  Speaker 1: sees them, and it's just like I can just see
• 50:39
  Speaker 1: the cinematographer. They're just like you know, yeah, like focusing.
• 50:46
  Speaker 3: Yeah, well, next week the shot, right, you.
• 50:49
  Speaker 5: Know, next month we're gonna be talking about Rob Zombie
• 50:51
  Speaker 5: with the Devil's Rejects, and that's a guy who clearly
• 50:53
  Speaker 5: took that style.
• 50:54
  Speaker 7: All yeah, from this, you know what I mean.
• 50:58
  Speaker 5: And I want to lead into because I want Steve
• 51:00
  Speaker 5: to talk about his cinematography point that he has in here,
• 51:02
  Speaker 5: but I also want you guys to know that I
• 51:06
  Speaker 5: have a note that is just as organizes all the rest.
• 51:10
  Speaker 5: But the note just says the swing Dolly shot is
• 51:12
  Speaker 5: so fucking good man. That's all the notes. That's all
• 51:15
  Speaker 5: the note says, I want to use that as we
• 51:18
  Speaker 5: introduction to Steve. You want to talk about some of
• 51:20
  Speaker 5: the notes that you have for cinematography, Oh.
• 51:23
  Speaker 3: For sure.
• 51:23
  Speaker 10: So Daniel Pearl's cinematography is striking for its use of
• 51:28
  Speaker 10: natural light, especially during the early scenes, and its low
• 51:31
  Speaker 10: creeping camera angles that make the.
• 51:33
  Speaker 3: World feel claustrophobic.
• 51:35
  Speaker 10: So the infamous track and shot of Pam walking to
• 51:37
  Speaker 10: the house with the camera passing under a swing obviously
• 51:41
  Speaker 10: is now iconic. The mix of almost documentary realism and
• 51:45
  Speaker 10: surreal framing keeps the viewer unsteady.
• 51:48
  Speaker 5: Yeah, it's really and I don't know if you guys
• 51:50
  Speaker 5: know this, but that Dolly shot underneath the swing actually
• 51:54
  Speaker 5: wasn't in the original production schedule. Toby Hooper talks about
• 51:58
  Speaker 5: how they had shot that scene per the storyboard, in
• 52:03
  Speaker 5: per the shot list, and then thought of the idea
• 52:06
  Speaker 5: like him and Daniel Pearl. Daniel pearls like, oh, I
• 52:08
  Speaker 5: could probably do something under the swing, and they they
• 52:12
  Speaker 5: only had forty feet of Dolly track for the whole production.
• 52:15
  Speaker 5: So every Dolly shot is using this forty feet and
• 52:18
  Speaker 5: this maximized it. But he talks about how it actually
• 52:21
  Speaker 5: led to a massive fight with with with the producer
• 52:25
  Speaker 5: Kim Henkel, because this was this more time, I guess,
• 52:31
  Speaker 5: and he said it turned into like a Texas standoff
• 52:34
  Speaker 5: where either they were going to get fired or they
• 52:36
  Speaker 5: were going to quit if they couldn't do this shot.
• 52:39
  Speaker 5: And look at it now, it's the most iconic shot
• 52:41
  Speaker 5: from the movie.
• 52:42
  Speaker 3: Oh, it definitely is, dude.
• 52:44
  Speaker 5: It's I want to talk about this real quick, because
• 52:46
  Speaker 5: we meant I mentioned earlier how how well this movie
• 52:49
  Speaker 5: is shot, and nobody talks about how well this movie
• 52:53
  Speaker 5: is shot, right, because most people probably don't look at
• 52:56
  Speaker 5: movies the way that well. I mean, everybody looks at
• 52:58
  Speaker 5: it different, but Dylan, you probably look at things more
• 53:00
  Speaker 5: technical than others. You know, I might see certain things.
• 53:04
  Speaker 5: But there's a couple really great Dolly shots in this
• 53:08
  Speaker 5: movie that I feel like I had to point out clearly.
• 53:11
  Speaker 5: The swing shot beautiful, The shots when when Sally is
• 53:16
  Speaker 5: pushing Franklin in the woods, those are those are great, right,
• 53:20
  Speaker 5: There's are awesome shots. But there's another one at the
• 53:23
  Speaker 5: gas station. There's actually a shot that a Dolly shot
• 53:26
  Speaker 5: that goes behind the girls at the Coca Cola machine.
• 53:28
  Speaker 5: It kind of like swings from left to right of
• 53:31
  Speaker 5: them behind them to introduce a character walking into the
• 53:35
  Speaker 5: door of the gas station. And then there's also another
• 53:38
  Speaker 5: great one when they're leaving the when the van is
• 53:42
  Speaker 5: pulling out the gas station, the camera kind of dollies
• 53:45
  Speaker 5: out from under I think it's like just under the
• 53:49
  Speaker 5: cannopy and kind of swings out as a van is leaving.
• 53:51
  Speaker 5: And it's just these little these little movements that to
• 53:55
  Speaker 5: me enhance not just a production value, but it's it's
• 53:58
  Speaker 5: it's just a more creative way and just getting like
• 54:01
  Speaker 5: a like a still establishing shot.
• 54:05
  Speaker 1: Well, yeah, I mean when you this might be a
• 54:07
  Speaker 1: very bizarre comparison, but no, I agree with you completely because,
• 54:11
  Speaker 1: for instance, like Stanley Kubrick, if you if you look
• 54:14
  Speaker 1: at his filmography, you'll have people say that he utilizes
• 54:18
  Speaker 1: the one point perspective a lot. Everything is completely symmetrical
• 54:22
  Speaker 1: with you know, everything that he does, and he was
• 54:24
  Speaker 1: a quote unquote perfectionist, which he definitely was, But if
• 54:27
  Speaker 1: you listen to him talk about, you know, the way
• 54:30
  Speaker 1: that he shot films, and then like his cinematographer for
• 54:33
  Speaker 1: a lot of his films, John Alcott, he actually if
• 54:36
  Speaker 1: you watch it, he's not scared to go to handheld
• 54:38
  Speaker 1: just like that, you know, he's not scared to go
• 54:41
  Speaker 1: to a dolly. He's not scared to you know, go
• 54:43
  Speaker 1: to a wide fish eye. And it's the same as
• 54:46
  Speaker 1: like all these other films that you look at that
• 54:48
  Speaker 1: that have terrific cinematography. Like you think of something like
• 54:51
  Speaker 1: Raging Bull, where yes, it's a black and white film,
• 54:54
  Speaker 1: you know, and I mean you would think it doesn't
• 54:56
  Speaker 1: do anything technically different than other films that came out,
• 54:59
  Speaker 1: like you know in the forties and fifties, you know,
• 55:01
  Speaker 1: those new or type films, but in reality when they
• 55:03
  Speaker 1: got in the middle of the ring and you get
• 55:05
  Speaker 1: to see them fight. The best cinematography, in my opinion,
• 55:09
  Speaker 1: doesn't come from like you know, good lighting or you
• 55:12
  Speaker 1: know the way that it's framed. I think it's motivated
• 55:14
  Speaker 1: camera movements. Because if you you know, stick to standard coverage,
• 55:18
  Speaker 1: which there's nothing wrong with that. I mean, majority of
• 55:20
  Speaker 1: films that come out do stick to standard coverage. Any
• 55:23
  Speaker 1: TV show you watch sticks to standard coverage. But there's
• 55:25
  Speaker 1: something about those films that break all those rules, and
• 55:29
  Speaker 1: like you were saying, you know, like a door opens,
• 55:31
  Speaker 1: maybe the camera moves with it, a character walks, maybe
• 55:34
  Speaker 1: you're following them handheld with you know, watching their feet
• 55:37
  Speaker 1: at that point, I don't think lighting, focus, breathing, or
• 55:41
  Speaker 1: anything like that matters in that moment because you've got
• 55:44
  Speaker 1: this just beautiful, motivated camera movement where you're actually being
• 55:47
  Speaker 1: put in the scenario. And I think that that's something
• 55:50
  Speaker 1: that's very impressive with Tob Hooper because like I was
• 55:53
  Speaker 1: bringing up Kubrick and like, you know how he was
• 55:55
  Speaker 1: a very motivated director when it came to camera movements.
• 55:58
  Speaker 1: This was TOBD. Hooper's quote unquote second film. You know,
• 56:01
  Speaker 1: he did that one. What was it called Eggshells or something. Yeah,
• 56:04
  Speaker 1: but like to come out the gate with Texas chains
• 56:08
  Speaker 1: on masker, with like all of this. You know, these
• 56:11
  Speaker 1: just beautiful shots. And I mean, just like this experimental
• 56:15
  Speaker 1: approach just for your second film now didn't really retain
• 56:19
  Speaker 1: later in his career. You know, that's debatable, you know,
• 56:22
  Speaker 1: but I mean he was He's one of those people
• 56:24
  Speaker 1: that like he peeked as soon as he started, and
• 56:27
  Speaker 1: you know, I mean you can say what you will
• 56:29
  Speaker 1: about the dude. Like in his later works, But I mean,
• 56:32
  Speaker 1: goll Lee, I mean, I wonder how many films actually
• 56:35
  Speaker 1: looks at the Texas chains On a master, like all
• 56:37
  Speaker 1: these films that you see that like win Cinematography for Oscars,
• 56:40
  Speaker 1: you know, like like or what wins Oscars for cinematography
• 56:43
  Speaker 1: and stuff like you look at Emmanuel Lebeski, Roger Deakins,
• 56:47
  Speaker 1: Lowell Frowley. I mean, you look at these guys. How
• 56:50
  Speaker 1: many people actually took from Texas chains On? Asker? I
• 56:52
  Speaker 1: bet they did, you know.
• 56:54
  Speaker 5: Oh yeah, I mean even real quick Steve, even just
• 56:58
  Speaker 5: the shot it was Toby Hooper's for the wide shot
• 57:01
  Speaker 5: when the hitchhiker is chasing the van and it cuts
• 57:03
  Speaker 5: to that extremely wide shot with the vands at the
• 57:06
  Speaker 5: bottom of the frame and you see Edwin Neil like
• 57:09
  Speaker 5: chasing as they pulled over. That wasn't Daniel Pearl, that
• 57:12
  Speaker 5: was Tobe Hooper. So he had his eye on visuals
• 57:15
  Speaker 5: from the geckut.
• 57:17
  Speaker 3: Well.
• 57:18
  Speaker 10: And the other thing I wanted to shine a light
• 57:20
  Speaker 10: on was this film was edited by J. Larry Carrol
• 57:24
  Speaker 10: and Sally Richardson, and I feel like a lot of
• 57:26
  Speaker 10: that plays the part into how they were like able
• 57:31
  Speaker 10: to tighten the pacing the maximize tension. The two of
• 57:35
  Speaker 10: them handled the bulk of the cutting, and Carol actually
• 57:39
  Speaker 10: was particularly known for shaping the film's raw, almost documentary
• 57:42
  Speaker 10: like style intensity, which I thought was fascinating, just because
• 57:47
  Speaker 10: there's a lot of like kind of like moving pieces
• 57:50
  Speaker 10: here to you know, kind of ultimately create such such
• 57:53
  Speaker 10: a perfect horror movie.
• 57:55
  Speaker 5: Yeah, well, it moves brisk. I mean the hitchhiker scene
• 57:59
  Speaker 5: comes fast. You know, we're establishing some character with characters
• 58:05
  Speaker 5: with the gas station scene, but then we have the
• 58:06
  Speaker 5: hitch hiker scene, which is, you know, we're moving. And
• 58:10
  Speaker 5: then by the time the hitch hiker scene is done
• 58:12
  Speaker 5: and you're moving into you know, them coming across the
• 58:16
  Speaker 5: I don't know if it's a I just call it
• 58:17
  Speaker 5: the abandoned property that's across the street from the Leather
• 58:21
  Speaker 5: Face home. It goes so fast, dude, like you blink
• 58:25
  Speaker 5: and you're already into the movie.
• 58:28
  Speaker 7: You know what I mean?
• 58:30
  Speaker 5: How did you guys always feel about the hitchhiker scene.
• 58:33
  Speaker 5: I mean Edwin Neil's performance as a hitchhiker. The guy
• 58:35
  Speaker 5: is still going to conventions and signed up as a hitchhiker.
• 58:41
  Speaker 7: You know, what's your guys' thoughts on the scene.
• 58:43
  Speaker 1: All these years later, when I was little, I actually
• 58:47
  Speaker 1: tried to recreate what he did with the aluminum foil
• 58:50
  Speaker 1: with a picture. So I like, I burn a picture
• 58:53
  Speaker 1: like in aluminum foil, just because I just wanted to
• 58:55
  Speaker 1: see how it worked, because I saw sparks fly out
• 58:57
  Speaker 1: and stuff, and like nothing happened, you know, Like I'm
• 59:00
  Speaker 1: pretty sure he had like the powder that he put
• 59:03
  Speaker 1: on it was like, uh, was it gunpowder or something?
• 59:05
  Speaker 7: It looks like gunpowder, think it.
• 59:08
  Speaker 1: Was, yeah, which is such an odd thing. Like I
• 59:10
  Speaker 1: just like toe Hooper just being like, dude, So I
• 59:13
  Speaker 1: need you to like put this aluminum foil out right
• 59:16
  Speaker 1: and then put a picture in there, and then also
• 59:18
  Speaker 1: put gunpowder on it. And then I want you to
• 59:21
  Speaker 1: like cut your hand, and then I want you to
• 59:23
  Speaker 1: light it and let it burn, and then I want
• 59:25
  Speaker 1: you to fold the aluminum foil up and put it
• 59:27
  Speaker 1: back in like your raccoon ass, you know, like pous
• 59:31
  Speaker 1: or whatever. And yeah, Like and the hitchhiking scene it's
• 59:36
  Speaker 1: actually long you were talking about, like the pacing and stuff.
• 59:38
  Speaker 1: It's actually a lot longer than people think it is.
• 59:40
  Speaker 1: I think it's like what six minutes seven minutes long,
• 59:43
  Speaker 1: and it feels like it's like two minutes, and it's
• 59:45
  Speaker 1: just like the film is so briskly paced, but yet
• 59:47
  Speaker 1: we don't see leather Face for like forty minutes.
• 59:51
  Speaker 5: Yeah, yeah, I mean Jordan, what about you, man, what
• 59:53
  Speaker 5: are your thoughts on the Hitchhiger scene.
• 59:55
  Speaker 9: Yeah, I mean, well, that's surprising. You know, I was
• 59:58
  Speaker 9: always under the impression it didn't move pretty fast, and
• 1:00:01
  Speaker 9: it does. The pacing does feel that way, but it's
• 1:00:03
  Speaker 9: a very unsettling scene. You know, he his his acting
• 1:00:07
  Speaker 9: and kind of the direction that Toby who told him to,
• 1:00:09
  Speaker 9: you know, like you said, with the with the aluminum
• 1:00:12
  Speaker 9: foil and the photo and stuff.
• 1:00:14
  Speaker 6: It's so.
• 1:00:16
  Speaker 9: You're someone that you can't really predict on what's gonna
• 1:00:19
  Speaker 9: happen next. So you're really on the edge of your
• 1:00:21
  Speaker 9: seat the whole time, just unsure of the whole interaction
• 1:00:26
  Speaker 9: between him and the rest of the teenagers or the
• 1:00:28
  Speaker 9: rest of the you know crew in the in the van.
• 1:00:31
  Speaker 10: Well he's he's showing them pictures of animal carcasses and
• 1:00:36
  Speaker 10: talk about slaughterhouses, and he's over here cutting himself and
• 1:00:40
  Speaker 10: you know, slashes Franklin's arm, you know, with the with
• 1:00:43
  Speaker 10: the razor before they kick him out. But it's just, yeah,
• 1:00:47
  Speaker 10: he's like this this, I'm very unpredictable with what he's
• 1:00:53
  Speaker 10: gonna do. Like I I can't imagine if if we're
• 1:00:55
  Speaker 10: putting ourselves in this van and you pick up someone
• 1:00:57
  Speaker 10: like that, you know, I mean I'd be I'd be
• 1:01:01
  Speaker 10: like concerned, like, you know what, what is he actually
• 1:01:04
  Speaker 10: gonna end up doing next?
• 1:01:05
  Speaker 3: You know?
• 1:01:05
  Speaker 9: Right, And that's what I was. You know, you just
• 1:01:08
  Speaker 9: you you don't know, there's nothing you can prepare for.
• 1:01:11
  Speaker 5: Yeah, someone like that, well compared to you know, there's
• 1:01:14
  Speaker 5: a lot of talk about the remake now because of
• 1:01:16
  Speaker 5: the Arrow four K coming out, but I know that
• 1:01:21
  Speaker 5: clearly when approaching to remake this, you don't want to
• 1:01:23
  Speaker 5: copy the scene. But they really failed to capture that
• 1:01:28
  Speaker 5: same vibe with the female hitchhiker because she has no
• 1:01:33
  Speaker 5: she has no threat, right, there's nothing about her that's
• 1:01:36
  Speaker 5: intimidating or like, you know, she's it's so it's so like.
• 1:01:42
  Speaker 10: Like she's more tragic, I feel like compared to this,
• 1:01:45
  Speaker 10: because like you just feel feel bad for her that
• 1:01:48
  Speaker 10: you know, we don't know what's going on, but obviously
• 1:01:51
  Speaker 10: the outcome and that very iconic shot from that scene
• 1:01:56
  Speaker 10: are really the things that we're left with, not where
• 1:01:59
  Speaker 10: you're getting some hitchhiker that's completely you know, off the
• 1:02:02
  Speaker 10: rails and unpredictable and erratic.
• 1:02:05
  Speaker 3: It's a very different tone.
• 1:02:07
  Speaker 7: Well that's the thing.
• 1:02:07
  Speaker 5: Yeah, when in the remake, when you come across the hitchhiker,
• 1:02:10
  Speaker 5: we already have pre established feelings of how she is.
• 1:02:13
  Speaker 5: You know, she's slowly moping down the road. You know
• 1:02:17
  Speaker 5: the way she's talking. You already you already know. You're like, Okay,
• 1:02:20
  Speaker 5: something bad happened. She's in a weird state of mind.
• 1:02:23
  Speaker 5: The hitchhiker, you don't know. Man, he's erratic, Like he's.
• 1:02:26
  Speaker 1: Kind of the hitchhiker from the original one stopped them
• 1:02:29
  Speaker 1: in the two thousand three remake, they stopped her.
• 1:02:32
  Speaker 5: Yeah, yeah, and he's so erratic and just like Jordan said,
• 1:02:35
  Speaker 5: like unpredictable and he's kind of like I know, I
• 1:02:39
  Speaker 5: remember like there was a couple moments where I kind
• 1:02:40
  Speaker 5: of was like I kind of like chuckolt at him,
• 1:02:42
  Speaker 5: and then I'm.
• 1:02:42
  Speaker 7: Like, oh, right back.
• 1:02:43
  Speaker 5: So when he pulls the knife or when he grabs
• 1:02:46
  Speaker 5: Franklin's knife, that's the first momentere you're like, oh, and
• 1:02:48
  Speaker 5: then he cuts his hand and then he gives the
• 1:02:50
  Speaker 5: knife back and you're like, oh, like, what's.
• 1:02:53
  Speaker 7: What's going on?
• 1:02:53
  Speaker 5: And then he pulls out his own blade and you're
• 1:02:55
  Speaker 5: like whoa, whoa hold on, like and I have to say,
• 1:02:59
  Speaker 5: listen the I think it was Joe Dante who talked
• 1:03:03
  Speaker 5: about this before in the Monsters of Visual Effects book,
• 1:03:07
  Speaker 5: but the cut on Franklin's arm hurts so much more
• 1:03:11
  Speaker 5: to me than every other bit of violence in this
• 1:03:14
  Speaker 5: movie because it's relatable, Like everybody has cut themselves on
• 1:03:17
  Speaker 5: their arm, you know what I mean. So it's almost
• 1:03:20
  Speaker 5: like when people in movies get like a you know,
• 1:03:22
  Speaker 5: like a like a splinter and you're like, ah, and
• 1:03:25
  Speaker 5: then somebody gets cut in half You're like.
• 1:03:26
  Speaker 1: Oh, yeah, I don't really yeah, yeah, we.
• 1:03:28
  Speaker 7: Don't know what that's like.
• 1:03:30
  Speaker 5: Yeah, but at being you know, thirty four years old,
• 1:03:34
  Speaker 5: my brain was also like, oh god, that was probably
• 1:03:36
  Speaker 5: a dirty knife, man. You better go get a Tetnis shot.
• 1:03:42
  Speaker 7: This is the things I'm worried about, man.
• 1:03:44
  Speaker 5: But yeah, at this point, you know, there was there
• 1:03:47
  Speaker 5: was a couple of really interesting things that were brought
• 1:03:49
  Speaker 5: up because when Kirk and Pam, who were two of
• 1:03:53
  Speaker 5: the people in the van when they walk over to
• 1:03:58
  Speaker 5: the leather Face house.
• 1:04:00
  Speaker 1: Uh.
• 1:04:00
  Speaker 5: There was a couple of interesting things that they that
• 1:04:02
  Speaker 5: they talked about, one being a slight change in Uh.
• 1:04:04
  Speaker 5: They were supposed to go in the woods and they
• 1:04:06
  Speaker 5: were supposed to come across a tattered tent it was
• 1:04:10
  Speaker 5: almost like a campground, and they were gonna find the
• 1:04:13
  Speaker 5: watch with the nail in it.
• 1:04:15
  Speaker 7: They ended up.
• 1:04:17
  Speaker 5: Yeah, yeah, they ended up having to change it because
• 1:04:19
  Speaker 5: for some reason, it just didn't work. And that's Toby
• 1:04:21
  Speaker 5: Hooper's exact words.
• 1:04:22
  Speaker 7: It just did not work.
• 1:04:24
  Speaker 5: So that's why they ended up just draping the tent
• 1:04:27
  Speaker 5: on the tree and then having the watch with the
• 1:04:29
  Speaker 5: nail on the tree. And then they they had a
• 1:04:31
  Speaker 5: pick up shot of Kirk and Pam kind of going
• 1:04:33
  Speaker 5: by in the background to connect the two shots, which
• 1:04:37
  Speaker 5: I thought was which I thought was pretty genius, you know,
• 1:04:39
  Speaker 5: as far as like, oh, how do we how do
• 1:04:41
  Speaker 5: we fix this? But another thing that's interesting is when
• 1:04:45
  Speaker 5: we see the all the abandoned cars that in the
• 1:04:48
  Speaker 5: final movie are just behind a fence. They were supposed
• 1:04:51
  Speaker 5: to be buried, they were supposed to be all under dirt,
• 1:04:55
  Speaker 5: and then the only thing you were supposed to see
• 1:04:57
  Speaker 5: is radio antenna's poking out of the ground, which when
• 1:05:01
  Speaker 5: he said that, the only thing I could think about
• 1:05:03
  Speaker 5: was Motel Health.
• 1:05:06
  Speaker 1: I mean, it would you know, it would be an
• 1:05:08
  Speaker 1: iconic shot for sure. I mean I'm kind of thinking
• 1:05:10
  Speaker 1: of it right now, you know, just that Texas sun
• 1:05:13
  Speaker 1: and those antenna's coming up. I mean, there's no doubt
• 1:05:15
  Speaker 1: about it that it would be, you know, iconic. But
• 1:05:17
  Speaker 1: I mean it's just everything just seems so urgent where
• 1:05:21
  Speaker 1: the way that they had it, Like you see all
• 1:05:22
  Speaker 1: those cars and then you realize, oh, our group of
• 1:05:26
  Speaker 1: characters is one of those cars.
• 1:05:28
  Speaker 5: Now yeah, yeah, Like the van's gonna be in there
• 1:05:30
  Speaker 5: event you know it's going to be in there. It's
• 1:05:33
  Speaker 5: just so interesting to me because I SeeMe as you,
• 1:05:35
  Speaker 5: I could see that shot with all the radio antennas
• 1:05:38
  Speaker 5: poking out. I could even see like them walking up
• 1:05:41
  Speaker 5: and kind of like kicking one and it being like
• 1:05:42
  Speaker 5: doing you know, like.
• 1:05:44
  Speaker 1: Do we need another reason to love this movie? Thank
• 1:05:47
  Speaker 1: God they didn't put it in there, because like it
• 1:05:49
  Speaker 1: would be everybody's favorite movie at that point.
• 1:05:52
  Speaker 5: I feel like, though, couldn't they have just taken a
• 1:05:54
  Speaker 5: bunch of radio antennas and just stuck them in the
• 1:05:56
  Speaker 5: ground and probably sold that effect.
• 1:05:57
  Speaker 3: On something it would have achieved the same effect.
• 1:06:01
  Speaker 1: It doesn't work that way. Man. You've got to get pretentious.
• 1:06:04
  Speaker 7: With it, you got it.
• 1:06:06
  Speaker 1: You've got to have something to put on the IMDb
• 1:06:07
  Speaker 1: trivia brother, like you gotta do it for the IMDb
• 1:06:10
  Speaker 1: trivia listen, bro.
• 1:06:12
  Speaker 5: Just for somebody to go on and and and put
• 1:06:13
  Speaker 5: like the dislike button, the down button on it that
• 1:06:16
  Speaker 5: nobody cares about it.
• 1:06:19
  Speaker 10: Well, Chris, I know you were mentioning like as far
• 1:06:22
  Speaker 10: as uh like the rusty cars, And what I thought
• 1:06:25
  Speaker 10: was interesting is like I mean, if we're looking at
• 1:06:27
  Speaker 10: it more from like symbolism or themes that I feel
• 1:06:30
  Speaker 10: like are presented in this film. You know, obviously it's
• 1:06:33
  Speaker 10: set in rural texts at a time when there was
• 1:06:36
  Speaker 10: an economic decline, so this is obviously kind of extending
• 1:06:40
  Speaker 10: out to like farming and industrial towns.
• 1:06:42
  Speaker 3: I feel like the movie.
• 1:06:43
  Speaker 10: Did a really good job at depicting, you know, obviously
• 1:06:46
  Speaker 10: the landscape of the rusty cars being there, collapsing houses
• 1:06:49
  Speaker 10: and desolation. You know, I think in a lot of ways,
• 1:06:54
  Speaker 10: like the Sawyer family can be seen as a product
• 1:06:56
  Speaker 10: of this like the decay and left behind by progress,
• 1:07:00
  Speaker 10: and obviously they turned to violence in cannibalism to be
• 1:07:04
  Speaker 10: able to survive.
• 1:07:06
  Speaker 5: Yeah, I mean, I think that's one of the there's
• 1:07:08
  Speaker 5: so many theories about this movie. And it's actually funny
• 1:07:11
  Speaker 5: because in the commentary they kind of poke at that.
• 1:07:14
  Speaker 5: Gunnar Hanson actually says at some point, I forget when,
• 1:07:17
  Speaker 5: but Gunner Hanson actually says to Toby Hooper, oh, this
• 1:07:20
  Speaker 5: is when you intentionally meant to show that the family
• 1:07:23
  Speaker 5: is a is a byproduct of like economic recession, right,
• 1:07:27
  Speaker 5: and Toby Hooper kind of laughs.
• 1:07:30
  Speaker 10: It's probably not that deep, but I think it's just
• 1:07:33
  Speaker 10: obviously with the film, I mean, it's hard not to
• 1:07:36
  Speaker 10: dissect it and you know, really try to take it
• 1:07:39
  Speaker 10: like a step.
• 1:07:40
  Speaker 3: Further, you know, with the themes that are present.
• 1:07:43
  Speaker 5: No, I mean, I think I actually kind of thought
• 1:07:46
  Speaker 5: that that that remark was kind of shocking because I'm like,
• 1:07:50
  Speaker 5: clearly the world is changing around this family and they're
• 1:07:54
  Speaker 5: just not whether you know, they're not able to keep
• 1:07:56
  Speaker 5: up financially or they're not willing to keep up.
• 1:07:58
  Speaker 7: You know, we all know somebody who still lives in like, you.
• 1:08:01
  Speaker 5: Know, the eighties or the nineties and their opinions and
• 1:08:06
  Speaker 5: their their stand on things is very outdated.
• 1:08:09
  Speaker 1: You know.
• 1:08:09
  Speaker 7: I think we can all see that on Facebook daily
• 1:08:13
  Speaker 7: in the comment.
• 1:08:16
  Speaker 1: Well, you're talking about the themes and such, you know,
• 1:08:19
  Speaker 1: and one of the themes that actually I kind of
• 1:08:21
  Speaker 1: like thought, I mean, and it's not something that I've
• 1:08:23
  Speaker 1: thought too deeply about, but it was something that kind
• 1:08:25
  Speaker 1: of crossed my mind is you know, it's very clear
• 1:08:28
  Speaker 1: in the film that Leatherface has a mental disorder. I mean,
• 1:08:31
  Speaker 1: Gunnar Hansen even went you know and studied that. He
• 1:08:34
  Speaker 1: even stayed in a what was it like a where
• 1:08:38
  Speaker 1: did he stay at? It was like a word or something.
• 1:08:39
  Speaker 1: He actually like sat with patients to try to understand them. Well,
• 1:08:44
  Speaker 1: one thing that I actually kind of picked up on,
• 1:08:47
  Speaker 1: and I know I'm looking way too deep in it,
• 1:08:49
  Speaker 1: but again, it's just kind of like the beauty of
• 1:08:51
  Speaker 1: this film is leather Face is kind of the center
• 1:08:53
  Speaker 1: of this family, but well, you know, not the center.
• 1:08:55
  Speaker 1: Grandpa would probably be technically to them, but he's got
• 1:08:59
  Speaker 1: you know, this mental discs, and it's very clear that
• 1:09:01
  Speaker 1: he does have that. And then everybody around him quote unquote,
• 1:09:04
  Speaker 1: you know, they know that they're more quote unquote normal
• 1:09:07
  Speaker 1: than he is. But yet they're more unhinged than he
• 1:09:10
  Speaker 1: is because they're the ones actually leaving the house. Leather
• 1:09:13
  Speaker 1: Face probably wouldn't even do anything to anybody if it
• 1:09:16
  Speaker 1: wasn't you know, for them bringing him to the house.
• 1:09:18
  Speaker 1: And it's kind of like one of those very interesting
• 1:09:22
  Speaker 1: elements of you know, mental health and people like that,
• 1:09:24
  Speaker 1: where you're kind of based on your surroundings. It's like, Okay, yeah,
• 1:09:27
  Speaker 1: sure this person has a mental disability. Doesn't necessarily mean
• 1:09:30
  Speaker 1: he's crazy, doesn't necessarily mean there's something wrong with him.
• 1:09:33
  Speaker 1: He's a byproduct of what he's surrounded by. And I
• 1:09:39
  Speaker 1: do think that to an extent. I mean, this film
• 1:09:42
  Speaker 1: does touch on mental health just because of the way
• 1:09:44
  Speaker 1: that leather Face, you know, is presented in the film,
• 1:09:47
  Speaker 1: because that was a conscious decision by the filmmakers to say, hey,
• 1:09:50
  Speaker 1: he can't speak, he acts like this, he's got multiple
• 1:09:54
  Speaker 1: personality disorders, which I thought was actually like, is screwed
• 1:09:59
  Speaker 1: up up? Is? You know, it's as screwed up as
• 1:10:02
  Speaker 1: it sounds. When Leatherface is in the kitchen or whatever,
• 1:10:05
  Speaker 1: like you know, when you kind of hear him make
• 1:10:07
  Speaker 1: that weird noise or whatever, like a grandma or whatever,
• 1:10:10
  Speaker 1: Like I'm low key really just want to like give
• 1:10:12
  Speaker 1: him a hug and just wait at the table up
• 1:10:14
  Speaker 1: and makes something because I don't know, he's kind of precious.
• 1:10:19
  Speaker 3: He's like the protector of the home.
• 1:10:21
  Speaker 10: Yeah, a lot of ways, you know, and he obviously
• 1:10:24
  Speaker 10: takes on like a number of different roles. So obviously
• 1:10:27
  Speaker 10: he has the killing mask, everything ranging from that to
• 1:10:31
  Speaker 10: you know, the pretty woman dinner mask. And I think
• 1:10:34
  Speaker 10: it's just it's very interesting because I think leather Face
• 1:10:37
  Speaker 10: compared to maybe some of the other horror icons, uh,
• 1:10:40
  Speaker 10: definitely more unpredictable.
• 1:10:42
  Speaker 3: And he has.
• 1:10:43
  Speaker 10: Like that childlike menace to his presence.
• 1:10:47
  Speaker 5: Well do you could sorry, drum go ahead, man, No,
• 1:10:50
  Speaker 5: I'll say.
• 1:10:50
  Speaker 9: I mean, they even I mean, I know we're talking
• 1:10:52
  Speaker 9: about the first one, but even in the second one,
• 1:10:53
  Speaker 9: they even drive that.
• 1:10:54
  Speaker 6: Point a little further for him.
• 1:10:57
  Speaker 9: You know, she's trying to convince him, hey, let's get
• 1:10:59
  Speaker 9: out of here. You know, you don't have to listen
• 1:11:01
  Speaker 9: to them. Basically, you're better than this, and he's like
• 1:11:05
  Speaker 9: a child, He's okay, he's listening to her and gonna
• 1:11:07
  Speaker 9: go with her.
• 1:11:08
  Speaker 1: So yeah, yeah, they add a sexual element to it.
• 1:11:12
  Speaker 7: Yeah, yeah, yeah, well.
• 1:11:15
  Speaker 5: Yeah to kind of like add what to kind of
• 1:11:19
  Speaker 5: like build off what Dylan and you said, Steve, where
• 1:11:22
  Speaker 5: you know they he's kind of like the protector of
• 1:11:24
  Speaker 5: the home. I look at it more as almost like
• 1:11:27
  Speaker 5: he's sort of like the like an unwilling participant. He's
• 1:11:31
  Speaker 5: not an intelligence enough to make decisions on his own right,
• 1:11:34
  Speaker 5: so he's only his only motive are the people around him,
• 1:11:38
  Speaker 5: which is his family, quote unquote. And it's kind of
• 1:11:42
  Speaker 5: like this family is not a big family, even a hitchhiker.
• 1:11:46
  Speaker 5: They're small, like everyone everyone else in his family is
• 1:11:48
  Speaker 5: really small. And then you have Leatherface, who's massive. He's
• 1:11:51
  Speaker 5: a gargantuan right, and he clearly has a mental disability,
• 1:11:55
  Speaker 5: and the family knows they can use that. They know,
• 1:11:59
  Speaker 5: oh somebody can get loose in the house, and yeah,
• 1:12:02
  Speaker 5: lother face willet him.
• 1:12:03
  Speaker 7: He'll he'll, he'll get him, because.
• 1:12:04
  Speaker 5: He's just like he's like a he's like a trained dog,
• 1:12:07
  Speaker 5: you know what I mean. Some people have some people
• 1:12:10
  Speaker 5: have dogs that are that are specifically read to protect
• 1:12:15
  Speaker 5: and to defend, and they're not shown affection, they're not
• 1:12:18
  Speaker 5: used for other purposes. And that's kind of what he
• 1:12:22
  Speaker 5: is he's been trained and bred to be this way.
• 1:12:26
  Speaker 1: It's like that scene where he chases Sally up the
• 1:12:28
  Speaker 1: stairs and when she screams, he pulls back with his
• 1:12:31
  Speaker 1: chainsaw because he's scared too.
• 1:12:34
  Speaker 7: Yeah, yeah, he gets scared.
• 1:12:36
  Speaker 3: I thought the just kind of touching on that.
• 1:12:39
  Speaker 10: I thought it was really interesting because you know, obviously
• 1:12:42
  Speaker 10: he has multiple masks for different moods or roles, so
• 1:12:46
  Speaker 10: like the killing masks, the old Lady mask, and the
• 1:12:48
  Speaker 10: pretty woman mask. But Toby Hooper said that he observed
• 1:12:53
  Speaker 10: that some people put on a face to present themselves
• 1:12:55
  Speaker 10: differently in certain situations and then like, lo, their face
• 1:12:59
  Speaker 10: obviously literally does that with the skin masks, you know,
• 1:13:02
  Speaker 10: taking a step further. But I thought that part of
• 1:13:05
  Speaker 10: it was kind of interesting, you know, like designing the character.
• 1:13:08
  Speaker 5: I thought it was funny how Gunnar Hansen said when
• 1:13:10
  Speaker 5: you first see him in the Grandma mask, he has
• 1:13:12
  Speaker 5: an apron and a spoon.
• 1:13:14
  Speaker 6: Yeah, he's.
• 1:13:16
  Speaker 7: En roll, you know what I mean, He's like, all right,
• 1:13:18
  Speaker 7: you're right now, I'm Grandma. All right.
• 1:13:22
  Speaker 5: But just to just to kind of backtrack a little
• 1:13:24
  Speaker 5: bit in the movie, you know, talking about I would
• 1:13:30
  Speaker 5: which I would clearly say is the most iconic moment
• 1:13:32
  Speaker 5: when Kirk enters the house for the first time and
• 1:13:36
  Speaker 5: you know he's looking around and you have the the
• 1:13:39
  Speaker 5: reveal of leatherface, right obviously, the iconic door, the metal door, uh,
• 1:13:45
  Speaker 5: the throwing it open. I mean just that zoom shot
• 1:13:49
  Speaker 5: of him raising the mallet, you know what I mean?
• 1:13:51
  Speaker 7: Bam h Kirk upside the head.
• 1:13:54
  Speaker 5: And one thing they talk about in the commentary was
• 1:13:57
  Speaker 5: the addition of like the convulsions that Kirk into onto
• 1:14:00
  Speaker 5: the ground, but like because I think Toby Hooper said,
• 1:14:04
  Speaker 5: there's like a fragment the skull that breaks off and
• 1:14:06
  Speaker 5: the way it penetrates the brain, it caused a rapid
• 1:14:10
  Speaker 5: nerve reaction.
• 1:14:11
  Speaker 1: He knows way too much about this shit, dude.
• 1:14:13
  Speaker 5: Right experience, bro, He's like, I remember when I hit
• 1:14:17
  Speaker 5: that guy. What was this scene like for you guys
• 1:14:23
  Speaker 5: to see again? Because still to this day, I think
• 1:14:25
  Speaker 5: that this kill and just the way it's shot and
• 1:14:28
  Speaker 5: the way it's presented with the convulsions and all that,
• 1:14:31
  Speaker 5: it's still as impactful to me today, to the point
• 1:14:34
  Speaker 5: where I remember seeing Rob Zombie's Halloween when Little Michael
• 1:14:39
  Speaker 5: hits the his sister's boyfriend over the head with the
• 1:14:41
  Speaker 5: bat and he goes into the convulsions. Uh, and that
• 1:14:45
  Speaker 5: just kind of like stuck with me in a weird
• 1:14:46
  Speaker 5: way because of that addition. What was it like for
• 1:14:49
  Speaker 5: you guys seeing that today in four k's it's still
• 1:14:52
  Speaker 5: as impactful.
• 1:14:54
  Speaker 1: Oh yeah, especially in theaters one, because you know, they've
• 1:15:00
  Speaker 1: actually done a really good job showing the movie in
• 1:15:02
  Speaker 1: theaters for the last you know, a couple of years.
• 1:15:05
  Speaker 1: And when I went to it was a showing two
• 1:15:07
  Speaker 1: years ago they did for its anniversary, And when that
• 1:15:10
  Speaker 1: scene happened in the theater, there was actually a few
• 1:15:12
  Speaker 1: people that jump, which led me to believe that, like
• 1:15:15
  Speaker 1: there were people in that film or in that theater
• 1:15:17
  Speaker 1: that had never seen that film before. So the fact
• 1:15:20
  Speaker 1: that like something made them jump from like the seventies,
• 1:15:23
  Speaker 1: you know, a film like that made them jump, because
• 1:15:25
  Speaker 1: I never see anybody jump in films anymore. I mean
• 1:15:27
  Speaker 1: I can go see the newest conjuring film where I
• 1:15:29
  Speaker 1: can go see like, for instance, weapons, and you know,
• 1:15:32
  Speaker 1: like the theaters they're just kind of all dull and
• 1:15:34
  Speaker 1: everybody just sits there. But to see people actually jump
• 1:15:37
  Speaker 1: from a film that came out like fifty years ago,
• 1:15:40
  Speaker 1: Oh yeah, it's it's I don't know, it's it's so
• 1:15:43
  Speaker 1: ahead of its time really.
• 1:15:45
  Speaker 5: Yeah, yeah, well it's kind of back to back, like
• 1:15:48
  Speaker 5: between Pam and Kirk. You have you know, you have
• 1:15:51
  Speaker 5: Kirk's death, the door slams, Pam hears it outside. We
• 1:15:55
  Speaker 5: have the Dolly shot where she gets up and approaches
• 1:15:57
  Speaker 5: the house, she comes into the house. You have Leather
• 1:16:00
  Speaker 5: who erupts out again, and then just another iconic moment,
• 1:16:04
  Speaker 5: which is her being lifted up outside by by leather face.
• 1:16:09
  Speaker 5: Just as terrifying in my opinion, because you know, I
• 1:16:12
  Speaker 5: know that you get to see him in scale because
• 1:16:14
  Speaker 5: of the door, the doorway, the red background, the red
• 1:16:18
  Speaker 5: wall behind him, you know, so you get to see
• 1:16:20
  Speaker 5: his his scale in his side, especially compared to Kirk,
• 1:16:22
  Speaker 5: who we assume is bigger than Pam is. But when
• 1:16:26
  Speaker 5: he runs outside and picks up Pam like nothing.
• 1:16:29
  Speaker 3: Oh, it's terrifying.
• 1:16:31
  Speaker 7: It's just as scary, dude, Just I think it's scary.
• 1:16:34
  Speaker 10: I think it does a great way of conveying.
• 1:16:37
  Speaker 7: Just there it is.
• 1:16:37
  Speaker 10: Oh yeah yeah, just how like physically, you know, imposing
• 1:16:43
  Speaker 10: he is. And it doesn't matter if it's Kirk or Pam,
• 1:16:47
  Speaker 10: like he's still able to in a lot of ways.
• 1:16:51
  Speaker 10: I feel like he's able to like overpower them completely,
• 1:16:54
  Speaker 10: you know. And the part that you were talking about
• 1:16:57
  Speaker 10: with the Kirk is I think something that it's just
• 1:17:00
  Speaker 10: so haunting about it is the fact of, like it
• 1:17:03
  Speaker 10: seems like if somebody actually did get hit like that,
• 1:17:07
  Speaker 10: the way that their body reacts to it felt very
• 1:17:09
  Speaker 10: in line with like what actually would occur.
• 1:17:12
  Speaker 3: Yeah.
• 1:17:13
  Speaker 6: Yeah, that's what was for me.
• 1:17:14
  Speaker 9: Is it feel It's just it's so real, Like you said,
• 1:17:17
  Speaker 9: it's something that you would see on the street, someone
• 1:17:20
  Speaker 9: get hit hard enough in the head, that's gonna happen.
• 1:17:23
  Speaker 6: Is there gonna convulse and start, you know?
• 1:17:25
  Speaker 9: And then then with leather phase, Yeah, his his pure strength.
• 1:17:28
  Speaker 6: I mean he lifted Pama like nothing to put her
• 1:17:31
  Speaker 6: on the meat hook.
• 1:17:33
  Speaker 1: Yeah.
• 1:17:33
  Speaker 6: I mean it was just very very easy.
• 1:17:36
  Speaker 5: Talk about the uh what we remember versus what we don't. Man,
• 1:17:41
  Speaker 5: I swore as a kid, we saw her get put
• 1:17:43
  Speaker 5: on the meat hook, and you you don't.
• 1:17:45
  Speaker 7: I also saw the hook through. Yeah.
• 1:17:47
  Speaker 5: I also swore that, like we saw Kurt get cut
• 1:17:50
  Speaker 5: up by the chainsaw, and yet you don't.
• 1:17:51
  Speaker 7: You don't see any of it.
• 1:17:53
  Speaker 5: Yeah, but like, holy fuck, dude, being put on a
• 1:17:56
  Speaker 5: meat hook, like what and just the way, like the
• 1:18:00
  Speaker 5: way it shot, how how we're presented with the hook
• 1:18:04
  Speaker 5: and we know because we just see the lift and
• 1:18:07
  Speaker 5: then the drop and you don't actually have to see
• 1:18:10
  Speaker 5: the physical impalement and then it.
• 1:18:14
  Speaker 1: Goes from that bucket up to her feet. It's oh,
• 1:18:18
  Speaker 1: it's so good, man, It's so good.
• 1:18:20
  Speaker 10: It's less is more because I think that if they
• 1:18:24
  Speaker 10: had shown too much with any of those scenes that
• 1:18:26
  Speaker 10: you guys are, like the kill sequences that you guys
• 1:18:29
  Speaker 10: were talking about, I think that it would take away
• 1:18:32
  Speaker 10: from that. It's almost like scarier to build it up
• 1:18:34
  Speaker 10: in your mind, like you know, if that was to
• 1:18:37
  Speaker 10: happen to someone or you're like witnessing this firsthand.
• 1:18:40
  Speaker 3: I mean I would be like freaking out, you know,
• 1:18:43
  Speaker 3: oh yeah, truly scary.
• 1:18:45
  Speaker 7: Yeah.
• 1:18:46
  Speaker 5: And then even to have like Kirked body kind of
• 1:18:48
  Speaker 5: like bent over on the table, because you have that
• 1:18:51
  Speaker 5: shot where you see Pam on the meat hook and
• 1:18:54
  Speaker 5: you see Kirk's body. Let the face gets this all
• 1:18:56
  Speaker 5: and we can clearly tell he's cutting through something like
• 1:18:59
  Speaker 5: just positioning so that we don't have to see it,
• 1:19:01
  Speaker 5: but we know exactly what's happening. Is a perfect understanding
• 1:19:05
  Speaker 5: of the visual medium. We don't have to show this
• 1:19:08
  Speaker 5: to give it the effect that we know that right
• 1:19:11
  Speaker 5: now somebody's hanging on a meat hooking right in front
• 1:19:13
  Speaker 5: of them. Somebody's getting cut up with a fucking chainsaw.
• 1:19:16
  Speaker 5: We don't have to show that. It's like, these are
• 1:19:18
  Speaker 5: the things that like when you look at the the
• 1:19:21
  Speaker 5: the the difference in direction between this and the remake
• 1:19:24
  Speaker 5: to where it's like the remake goes where we have
• 1:19:27
  Speaker 5: to show everything for maximum effect, and it's nowhere near
• 1:19:31
  Speaker 5: as impactful as you know, the stuff we don't see
• 1:19:34
  Speaker 5: in the original. And of course this all leads up
• 1:19:39
  Speaker 5: to Franklin's death. And Franklin's death was bloodier than I remember.
• 1:19:43
  Speaker 5: I don't remember seeing like the So we were talked
• 1:19:47
  Speaker 5: about how you know, they put blood on their fingertips
• 1:19:50
  Speaker 5: and they were kind of like throwing it up, and
• 1:19:52
  Speaker 5: then eventually it got to the point where he just
• 1:19:53
  Speaker 5: took the whole cup and just kind of like full.
• 1:19:56
  Speaker 1: Well, they put it in their mouth. They were actually
• 1:19:58
  Speaker 1: spitting it out of their mouth too. Yeah, one of
• 1:20:01
  Speaker 1: them was, yeah that he said that there was I
• 1:20:02
  Speaker 1: don't know, I don't know who it was, but he
• 1:20:04
  Speaker 1: said there was somebody also with a bunch of blood
• 1:20:06
  Speaker 1: in their mouth, spitting it at its will.
• 1:20:11
  Speaker 5: Yeah, that's that's so wild. But I want to I
• 1:20:13
  Speaker 5: want to talk from here about Well, first of all,
• 1:20:17
  Speaker 5: it's great when Franklin gets killed. I'm like, fuck, yeah,
• 1:20:19
  Speaker 5: I get this guy out of this guy's annoying ship.
• 1:20:22
  Speaker 10: Well, the I think one part I just want to
• 1:20:26
  Speaker 10: touch on before before we got to that is, uh,
• 1:20:29
  Speaker 10: what happens with Jerry. He goes looking for like the
• 1:20:32
  Speaker 10: missing couple, and then he hears these faint noises coming
• 1:20:35
  Speaker 10: from inside the house. So then he finds Pam in
• 1:20:38
  Speaker 10: the freezer, barely alive. Oh yeah, yeah, before he can
• 1:20:42
  Speaker 10: even react, like, leather Face gets him too. And it's
• 1:20:45
  Speaker 10: so not to get off topic with it, but it's
• 1:20:49
  Speaker 10: it's so perplexing just with leather Face's reaction. He gets
• 1:20:54
  Speaker 10: like anxious, like he almost feels guilty for what he did,
• 1:20:58
  Speaker 10: and he's peering out the like the windows as if
• 1:21:00
  Speaker 10: he's expecting, you know, more intruders or people to continue
• 1:21:04
  Speaker 10: to keep coming towards the house.
• 1:21:06
  Speaker 1: Yeah.
• 1:21:07
  Speaker 5: When he does like the running to the window and
• 1:21:10
  Speaker 5: frantic yeah and looking outside, it is very like almost
• 1:21:13
  Speaker 5: like oh, wait, wait, wait, what's happening? Like it's yeah,
• 1:21:17
  Speaker 5: who else is coming in? Like what's going on?
• 1:21:19
  Speaker 10: And that's just like one of many things that I
• 1:21:22
  Speaker 10: just truly appreciate what Gunner Hanson did in his portrayal
• 1:21:26
  Speaker 10: of Other Face, just because there's just so many layers
• 1:21:29
  Speaker 10: to this character and just you know what he brings
• 1:21:31
  Speaker 10: to the table.
• 1:21:33
  Speaker 7: Yeah, his performance is out of control. Man.
• 1:21:36
  Speaker 5: I'm so sad that we've lost him only a couple
• 1:21:39
  Speaker 5: of years ago at this point, you know what I mean.
• 1:21:42
  Speaker 5: But his performance is incredible, man, which is wild because
• 1:21:45
  Speaker 5: there's no dialogue, well no dialogue that we understand there
• 1:21:48
  Speaker 5: there is dialogue, but we don't know what he's saying.
• 1:21:51
  Speaker 5: But the guy just portrayed so much, you know what
• 1:21:53
  Speaker 5: I mean. Even in you know, there's a the Chainsaw
• 1:21:58
  Speaker 5: Dance I'll call it at the end of the movie
• 1:21:59
  Speaker 5: that actually supposed to happen. That was supposed to be
• 1:22:01
  Speaker 5: the second time it was supposed to happen again when
• 1:22:04
  Speaker 5: Sally reaches the gas station after being chased.
• 1:22:07
  Speaker 7: There was actually supposed to be.
• 1:22:09
  Speaker 5: He was supposed to get mad because she goes into
• 1:22:11
  Speaker 5: the gas station and he couldn't get her, so he
• 1:22:14
  Speaker 5: freaks out and he does the chainsaw dance thing, but they.
• 1:22:17
  Speaker 7: Cut it because it was.
• 1:22:19
  Speaker 5: More tense to kind of for us to wonder if
• 1:22:22
  Speaker 5: he was still out there.
• 1:22:23
  Speaker 3: Yeah.
• 1:22:24
  Speaker 10: Oh, it's very creepy because I remember the first watch
• 1:22:27
  Speaker 10: day of this movie. I just remember the like he
• 1:22:30
  Speaker 10: might still be out there, like you know, I mean
• 1:22:34
  Speaker 10: why you know, it's just why is she like taking
• 1:22:37
  Speaker 10: the moment to like collect herself.
• 1:22:39
  Speaker 3: I mean he literally could be outside that door.
• 1:22:41
  Speaker 5: Oh yeah, yeah, and he They talk a lot about
• 1:22:43
  Speaker 5: Gunnar Hands that talks so much about how Marilyn Burns
• 1:22:46
  Speaker 5: was such a slow runner. He actually had to like
• 1:22:49
  Speaker 5: pretend to be doing things to slow down, like pretend
• 1:22:52
  Speaker 5: to cut a branch out of the way.
• 1:22:54
  Speaker 1: And have you have you guys heard of the broom
• 1:22:57
  Speaker 1: at it? No, what's a So actually go back and
• 1:23:02
  Speaker 1: watch that scene. It's kind of hilarious. So there's a
• 1:23:05
  Speaker 1: broom that's right next to the door when she runs
• 1:23:07
  Speaker 1: in there, and it actually changes positions like five times
• 1:23:12
  Speaker 1: throughout the entire scene, so it's like boom boom, boom boom.
• 1:23:16
  Speaker 1: But to kind of touch on the you know, the
• 1:23:20
  Speaker 1: chainsaw dance and them cutting that out, it's actually kind
• 1:23:24
  Speaker 1: of genius in a way, because you know, it kind
• 1:23:28
  Speaker 1: of puts into perspective like when you're watching it for
• 1:23:30
  Speaker 1: the first time. When you're watching it for the first time,
• 1:23:32
  Speaker 1: you're like, oh my gosh, he's still out there, So
• 1:23:34
  Speaker 1: that means he's playing a game of like cat and mouse,
• 1:23:36
  Speaker 1: you know, like he's stalking them, he's just waiting. He's
• 1:23:38
  Speaker 1: going to kill this old man too. But then whenever
• 1:23:41
  Speaker 1: you get to see things with the context and then
• 1:23:43
  Speaker 1: you watch it the second time, it just shows like
• 1:23:46
  Speaker 1: Leatherface isn't the real threat here, you know, Like I
• 1:23:49
  Speaker 1: mean he is, but like I mean the person that's
• 1:23:51
  Speaker 1: inside that gas station, that fragile old man, you know,
• 1:23:55
  Speaker 1: he is more He is more dangerous than this big
• 1:23:59
  Speaker 1: dude with the ainsol, you know. And I don't know,
• 1:24:03
  Speaker 1: it's just it's one of those It's very interesting because
• 1:24:05
  Speaker 1: I wish I could feel that way watching it for
• 1:24:07
  Speaker 1: the first time, but you can't because it'll ruin the
• 1:24:09
  Speaker 1: surprise of like, you know, hey, he's not because it
• 1:24:12
  Speaker 1: could go both ways. She runs in there, and you
• 1:24:15
  Speaker 1: know it's like, oh my god, he's out there walking
• 1:24:17
  Speaker 1: around the gas station. But then also it's like, oh wow,
• 1:24:19
  Speaker 1: we've met somebody that's more dangerous than leather Face. I
• 1:24:22
  Speaker 1: don't know, it's kind of a weird perspective that's in
• 1:24:24
  Speaker 1: my head. But again, it's just there's so many different
• 1:24:26
  Speaker 1: layers to it. It's I don't know. You have to think,
• 1:24:29
  Speaker 1: did toab Hooper and Tarkowsky have like a meeting before this.
• 1:24:32
  Speaker 5: Movie, like, yeah, what it's funny because you brought up
• 1:24:37
  Speaker 5: broom and I started laughing just when he starts beating
• 1:24:39
  Speaker 5: her with the broom.
• 1:24:40
  Speaker 10: Oh, it's like low key funny as fuck. When he's
• 1:24:43
  Speaker 10: like smacking her, he's like, just come on, now, just
• 1:24:46
  Speaker 10: settle down.
• 1:24:47
  Speaker 1: Yeah, I'm not gonna hurt you.
• 1:24:50
  Speaker 10: Yeah, and his expressions when he's hitting her, I'm like,
• 1:24:55
  Speaker 10: poor Marilyn Burns man, she's just getting lit up with
• 1:24:58
  Speaker 10: the broom.
• 1:25:00
  Speaker 5: Yeah, Jim Jim Saido's performance in this movie is is incredible,
• 1:25:04
  Speaker 5: probably my favorite one of the whole entire movies. But
• 1:25:07
  Speaker 5: before we get to the gas station, I think we
• 1:25:10
  Speaker 5: kind of have to mention a lot of the production
• 1:25:13
  Speaker 5: design which earlier, slightly earlier in the movie, we had
• 1:25:16
  Speaker 5: Jerry where we kind of saw some of the inside
• 1:25:17
  Speaker 5: of the house. Obviously, when Marilyn Burns enters the house.
• 1:25:21
  Speaker 5: We have the iconic reveal of the Grandmama, grandpap upstairs
• 1:25:27
  Speaker 5: in the attic, which is terrifying, by the way, if
• 1:25:31
  Speaker 5: I was to come across that, and it's so like
• 1:25:34
  Speaker 5: this is when the sound design and the music just
• 1:25:36
  Speaker 5: really like you know, grabs you and pulls you in.
• 1:25:40
  Speaker 5: It just adds so much to that scene. But I
• 1:25:44
  Speaker 5: thought this was a really fun funny thing that they
• 1:25:46
  Speaker 5: mentioned when when Sally jumps out of the window, which
• 1:25:52
  Speaker 5: by the way, is the most realistic response ever. Wehlreways
• 1:25:56
  Speaker 5: see these movies where like they run up to the
• 1:25:59
  Speaker 5: window and they try to pull it open and it's
• 1:26:00
  Speaker 5: not open and and whatever, you know, but she just
• 1:26:04
  Speaker 5: straight goes for it, leaps out the window through right
• 1:26:08
  Speaker 5: through the glass falls down.
• 1:26:10
  Speaker 7: Uh.
• 1:26:10
  Speaker 5: They actually had a stunt woman who performed a jump
• 1:26:15
  Speaker 5: out of a window and it was a two foot
• 1:26:17
  Speaker 5: fall onto a pad. Right, So stunt woman goes through
• 1:26:22
  Speaker 5: a window, two foot fall into a pad. Then they
• 1:26:25
  Speaker 5: get Marylynd Burns to climb onto the roof and jump
• 1:26:30
  Speaker 5: off in no padding.
• 1:26:32
  Speaker 1: That's toe hooper logic. We don't want to hurt the
• 1:26:35
  Speaker 1: stunt woman.
• 1:26:38
  Speaker 7: We only got one stunt woman. We can't afford to
• 1:26:40
  Speaker 7: lose her.
• 1:26:41
  Speaker 5: We gotta so yeah, when she well, the first window,
• 1:26:45
  Speaker 5: I should say for clear she jumps out of two
• 1:26:47
  Speaker 5: windows in this movie. But yeah, the first window. So
• 1:26:50
  Speaker 5: stunt woman two football Marylynd burns a full story leap
• 1:26:55
  Speaker 5: off of a roof onto the ground. It's pretty insane,
• 1:26:57
  Speaker 5: pretty crazy.
• 1:27:00
  Speaker 7: Yeah, her getting to getting to the gas station.
• 1:27:06
  Speaker 5: Uh, kind of like the reintroduction of of Oh my God,
• 1:27:11
  Speaker 5: where are my at heir the old man who's just
• 1:27:13
  Speaker 5: titled old Man Jim's Sido. It's such a crazy performance
• 1:27:19
  Speaker 5: on his end, like we said, beating her with the
• 1:27:22
  Speaker 5: with the broom and saying, oh, I'm not.
• 1:27:23
  Speaker 7: Gonna hurt you. Uh, but I will say too.
• 1:27:26
  Speaker 5: We talked about the deleted scene or the scene that
• 1:27:29
  Speaker 5: yeah they cut out with leather face.
• 1:27:31
  Speaker 7: It's really haunting. First of all, that fall through the
• 1:27:34
  Speaker 7: door that she does.
• 1:27:35
  Speaker 5: She did it seventeen times, so all the blood on
• 1:27:39
  Speaker 5: her knees was real because she did that and there
• 1:27:44
  Speaker 5: was no padding.
• 1:27:44
  Speaker 7: They said they didn't have the budget for it.
• 1:27:46
  Speaker 1: Oh thank god they save money.
• 1:27:48
  Speaker 7: Yeah, yeah, yeah.
• 1:27:51
  Speaker 1: About that.
• 1:27:53
  Speaker 5: What's really haunting to me that I noticed this go
• 1:27:55
  Speaker 5: around is as much as I would have loved to
• 1:27:58
  Speaker 5: have seen the first chainsaw. Damn, it's the fact that
• 1:28:01
  Speaker 5: we cut from the excruciating sound of that chainsaw chasing her.
• 1:28:06
  Speaker 5: So when she goes through that door, dead silence, almost
• 1:28:10
  Speaker 5: as if he was never there.
• 1:28:11
  Speaker 1: Oh yeah, yeah.
• 1:28:13
  Speaker 7: It's so good.
• 1:28:14
  Speaker 5: It's like, I mean, you can say, people can say, oh, well,
• 1:28:17
  Speaker 5: it's a continuation error, because you still would have heard
• 1:28:20
  Speaker 5: the chainsaw.
• 1:28:22
  Speaker 1: No.
• 1:28:22
  Speaker 5: He probably he knows that her getting out of his
• 1:28:25
  Speaker 5: grasp into the hands of old man is bad for him. Right,
• 1:28:28
  Speaker 5: he's supposed to catch He's supposed to catch her. Now
• 1:28:31
  Speaker 5: now great, now I'm gonna get caught. I didn't do
• 1:28:32
  Speaker 5: what I gotta do. So he cuts that chainsaw off quick,
• 1:28:35
  Speaker 5: maybe hoping that you know, maybe maybe he thinks, you know,
• 1:28:39
  Speaker 5: Leatherface was never chasing her in the first place or whatever.
• 1:28:43
  Speaker 10: Well, but Chris, I think that's interesting you bring that up,
• 1:28:46
  Speaker 10: because I one thing that I noticed.
• 1:28:48
  Speaker 3: When we were, like, you know, we're doing the rewatch
• 1:28:51
  Speaker 3: for this is Leather's faces.
• 1:28:53
  Speaker 10: Chainsaw like when it revs, acts like an alarm bell
• 1:28:57
  Speaker 10: in a lot of ways. So like once you hear it,
• 1:28:59
  Speaker 10: obviously you know whoever he's chasing, they're no longer safe.
• 1:29:03
  Speaker 10: When you compare this to you know, those long stretches
• 1:29:07
  Speaker 10: with when you don't hear anything like that eerie silence,
• 1:29:11
  Speaker 10: all you hear is like cookadas or the creak of wood,
• 1:29:14
  Speaker 10: making the sudden noise even more jarring. When he does
• 1:29:16
  Speaker 10: rub up the chainsaw.
• 1:29:18
  Speaker 5: Oh, it's like nails on a chalkboard, man, I mean,
• 1:29:20
  Speaker 5: it's that's kind of sinisor the way you bring that
• 1:29:22
  Speaker 5: up like an alarm bill, you know, I've never thought
• 1:29:24
  Speaker 5: of it that way.
• 1:29:26
  Speaker 3: It's scary.
• 1:29:27
  Speaker 5: Yeah, it's really scary, and it's purely like just you know,
• 1:29:32
  Speaker 5: getting getting the recording of a chainsaw, and with seventies technology,
• 1:29:37
  Speaker 5: you know, it comes out sounding that way. It's much
• 1:29:40
  Speaker 5: more threatening than any chainsaw you're getting in modern day
• 1:29:44
  Speaker 5: sound design, you know what I mean?
• 1:29:46
  Speaker 7: Much more threatening.
• 1:29:49
  Speaker 1: Can we talk about that deleted scene, the you know,
• 1:29:52
  Speaker 1: the deleted scene with the makeup where he puts the
• 1:29:55
  Speaker 1: makeup on his mask.
• 1:29:57
  Speaker 7: Yeah, I've heard I've heard that. Yeah, I've heard of that.
• 1:30:00
  Speaker 1: Yeah that you can watch it on YouTube, and I
• 1:30:02
  Speaker 1: think depending on what version you have, I think it's
• 1:30:06
  Speaker 1: in the special features. I didn't know if you guys
• 1:30:08
  Speaker 1: had a chance to see it or not. But it's
• 1:30:10
  Speaker 1: it's very short, like it only lasts like thirty seconds,
• 1:30:14
  Speaker 1: And I honestly like, I kind of wish they didn't
• 1:30:17
  Speaker 1: take it out of the movie because it's very sinister.
• 1:30:19
  Speaker 1: It's very creepy, and you know, I can't imagine them
• 1:30:22
  Speaker 1: just sitting there like, oh, we're at eighty three minutes,
• 1:30:24
  Speaker 1: you know, we gotta we gotta cut that part out.
• 1:30:26
  Speaker 1: You know, It's it's very I don't know, if you
• 1:30:28
  Speaker 1: guys have a chance to see Have you guys seen it?
• 1:30:30
  Speaker 1: Has anybody else seen it? The No?
• 1:30:32
  Speaker 9: Is that that part of the dinner seeing say No?
• 1:30:35
  Speaker 9: In the commentary they kind of mentioned something about that.
• 1:30:37
  Speaker 1: Yeah, it's he goes into the kitchen and he has
• 1:30:40
  Speaker 1: the mask on the the the you know, the female mask,
• 1:30:44
  Speaker 1: but he takes some makeup powder and he dulls it up.
• 1:30:47
  Speaker 1: And I don't know, I think if I remember correctly,
• 1:30:50
  Speaker 1: I think somebody said it made him like less threatening
• 1:30:53
  Speaker 1: or something doing that, but in reality, I think it
• 1:30:55
  Speaker 1: just makes him more sinister. I mean, it's just it's
• 1:31:00
  Speaker 1: it's very interesting the things that they trimmed out of it,
• 1:31:02
  Speaker 1: and the things they felt like they needed to trim
• 1:31:04
  Speaker 1: out of it. And don't get me wrong, it's still
• 1:31:06
  Speaker 1: a perfect movie. I mean, it's still the way that
• 1:31:08
  Speaker 1: it is is perfect. But there's so many it's just
• 1:31:10
  Speaker 1: a testament to their filmmaking and their ideas that they had,
• 1:31:13
  Speaker 1: you know, just so many great ideas across the board.
• 1:31:16
  Speaker 5: Well, I think people, I think people really connect the
• 1:31:21
  Speaker 5: the gender dynamics to leather Face. When you get to
• 1:31:24
  Speaker 5: Texas chains All three, that's really when I think that's
• 1:31:29
  Speaker 5: when most people begin to talk about how there was
• 1:31:30
  Speaker 5: a focus on it, and that conversation would be so
• 1:31:33
  Speaker 5: different if more people knew about that that deleted scene
• 1:31:36
  Speaker 5: or had seen that in the in the in the
• 1:31:38
  Speaker 5: original cut.
• 1:31:39
  Speaker 7: You know what I mean.
• 1:31:40
  Speaker 1: Well, I mean even back in the day, you know,
• 1:31:42
  Speaker 1: like and I don't and I don't mean this as
• 1:31:44
  Speaker 1: a diss to people that were around back in the day,
• 1:31:46
  Speaker 1: but people were more ignorant of stuff like that back
• 1:31:48
  Speaker 1: in the day than they are now. So when people
• 1:31:50
  Speaker 1: watch Texas Chainsaw Master, back then, they were just thinking,
• 1:31:53
  Speaker 1: oh my gosh, a bunch of kids are getting killed
• 1:31:55
  Speaker 1: by this dude with a chainsaw and a hammer and stuff.
• 1:31:58
  Speaker 1: But you know, in reality, you know, the filmmakers kind
• 1:32:01
  Speaker 1: of had the upper hand because they were thinking psychological
• 1:32:03
  Speaker 1: from it. You know. It kind of like brings back
• 1:32:05
  Speaker 1: the whole the Silence of the Lambs with Buffalo Bill.
• 1:32:09
  Speaker 1: That was the first time that you know, somebody that
• 1:32:12
  Speaker 1: was quote unquote transgender or somewhere along those lines. It
• 1:32:18
  Speaker 1: was very controversial back in the nineties, but that's when
• 1:32:20
  Speaker 1: people started to think about it more. Back in the seventies,
• 1:32:23
  Speaker 1: something like that was not even on anybody's mind, you know,
• 1:32:26
  Speaker 1: like that the fact that oh, this big killer, you know,
• 1:32:29
  Speaker 1: could you know, have an identity, you know, with that
• 1:32:32
  Speaker 1: could align with a female, a male, an older woman.
• 1:32:36
  Speaker 1: You know. It's just it's it's so bizarre to think
• 1:32:38
  Speaker 1: of it that way that most people that watched it
• 1:32:40
  Speaker 1: back in the day, they didn't view it like that,
• 1:32:42
  Speaker 1: And it just proves how timeless the film actually is.
• 1:32:45
  Speaker 1: I mean, I wonder what people are going to gather
• 1:32:47
  Speaker 1: from it now, want I mean, are there things that
• 1:32:49
  Speaker 1: we haven't noticed yet? You know?
• 1:32:51
  Speaker 10: Yeah, Well it's it's interesting because there's almost a little
• 1:32:55
  Speaker 10: bit of like overlap with like the two concepts of
• 1:32:57
  Speaker 10: two concepts of like obviously, you know, mental health and
• 1:33:00
  Speaker 10: then on the flip side of it, like gender identity,
• 1:33:04
  Speaker 10: which I think is just fascinating. He's a very complex character.
• 1:33:07
  Speaker 10: I mean, maybe not necessarily a face value, but you know,
• 1:33:09
  Speaker 10: when you dissect and you really, you know, do a
• 1:33:11
  Speaker 10: deep dive on the film and gun her hands, this
• 1:33:15
  Speaker 10: portrayal very interesting.
• 1:33:17
  Speaker 7: Yeah, yeah, it is.
• 1:33:19
  Speaker 5: I always wonder that, like when I watch when I
• 1:33:22
  Speaker 5: watch movies, I'm always like, you know, I've seen this movie.
• 1:33:25
  Speaker 5: This movie's been living with me for twenty seven years.
• 1:33:28
  Speaker 5: But I'm when you had mentioned how people were jumping
• 1:33:32
  Speaker 5: in the theater, Dylan and they're watching it for the
• 1:33:34
  Speaker 5: first time, I kind of had a moment of like
• 1:33:36
  Speaker 5: envy where I was like, man, I wish, like I
• 1:33:39
  Speaker 5: wish I could experience this for the first time again
• 1:33:42
  Speaker 5: and have that feeling. You know, it's so interesting how
• 1:33:46
  Speaker 5: we do that, how we kind of like miss that.
• 1:33:50
  Speaker 1: Well, look, we could all go to the Las Vegas
• 1:33:52
  Speaker 1: sphere together. They've used AI so you can actually like,
• 1:33:55
  Speaker 1: I don't know if you've seen it or not, but
• 1:33:56
  Speaker 1: they have the shot of Pam the dolly shot following
• 1:33:59
  Speaker 1: her to the house, so they actually took AI and
• 1:34:01
  Speaker 1: they extended it so it shows the whole dome. It's
• 1:34:05
  Speaker 1: actually it's it's actually really fucking ugly, but you know.
• 1:34:11
  Speaker 3: In a different direction with it.
• 1:34:12
  Speaker 1: No, No, they did it with the The Wizard of
• 1:34:15
  Speaker 1: Oz too, So yeah, let's just all get some tickets
• 1:34:18
  Speaker 1: and go see it at the sphere. Maybe we'll get it.
• 1:34:22
  Speaker 10: I swear, like one one experience I really want to
• 1:34:25
  Speaker 10: be able to eventually have as being able to see
• 1:34:28
  Speaker 10: it at a driving Yeah you know, I just feel
• 1:34:31
  Speaker 10: like that that this is like the type movie that's
• 1:34:33
  Speaker 10: like meant for their seeing it in that format.
• 1:34:36
  Speaker 5: Yeah, yeah, I agree, dude, that would be the sphear
• 1:34:40
  Speaker 5: thing though using AI to extend it out.
• 1:34:43
  Speaker 1: Just dude, it's so stupid man like, like I can't
• 1:34:48
  Speaker 1: imagine the people that were putting that together. Like, dude,
• 1:34:52
  Speaker 1: we got it. Like I just like I just don't
• 1:34:55
  Speaker 1: see it.
• 1:34:58
  Speaker 7: Oh my god. Well I don't.
• 1:35:00
  Speaker 5: I don't know if I'm if I'm down to see
• 1:35:02
  Speaker 5: it at the sphere, but I'm down to meet up
• 1:35:04
  Speaker 5: at a drive in somewhere we can experience it.
• 1:35:07
  Speaker 1: Right, Okay, good? We I just saved two thousand bucks.
• 1:35:11
  Speaker 5: Yeah yeah, right, I don't think we I don't think
• 1:35:13
  Speaker 5: I can afford the spear right now. Man, I got
• 1:35:15
  Speaker 5: multiple lambrod Obaba box sets on the way with pretty Strap.
• 1:35:21
  Speaker 1: Have you guys, has anybody here ever been to Texas?
• 1:35:25
  Speaker 7: I have twice.
• 1:35:27
  Speaker 1: Yeah. I think people people underestimate Texas. Like I drove
• 1:35:31
  Speaker 1: Route sixty six just the top of Texas and it's
• 1:35:34
  Speaker 1: a very like desolate place, like I think people that's
• 1:35:37
  Speaker 1: actually been in that climate in that area. I think
• 1:35:40
  Speaker 1: that there's another way that you can view the film
• 1:35:42
  Speaker 1: as well, because I think people underestimate, for one, how
• 1:35:46
  Speaker 1: big Texas is. But also you know, there's really like
• 1:35:50
  Speaker 1: there's nothing around at all. And when you were talking
• 1:35:53
  Speaker 1: about the house, so the house, you the house looks
• 1:36:00
  Speaker 1: like a pretty modest home when you're viewing it from
• 1:36:02
  Speaker 1: certain angles, but it's that scene where Jerry is walking
• 1:36:05
  Speaker 1: by the house you get to see how massive it
• 1:36:08
  Speaker 1: actually is. And then how massive that house actually is.
• 1:36:12
  Speaker 1: Odds are there's probably nothing around these people for like
• 1:36:15
  Speaker 1: another fifty miles or so. Like when she gets in
• 1:36:18
  Speaker 1: that truck at the end and they drive off, they
• 1:36:20
  Speaker 1: probably had to drive a pretty long freaking way. There's
• 1:36:23
  Speaker 1: a chance they could have stopped at another house just
• 1:36:25
  Speaker 1: like that.
• 1:36:27
  Speaker 5: You know, yeah, well, what do you think about this
• 1:36:30
  Speaker 5: house versus the house they the fucking White House mansion
• 1:36:33
  Speaker 5: they use in the three remake.
• 1:36:35
  Speaker 1: I mean, oh, I think I think the house in
• 1:36:39
  Speaker 1: the seventies version works a lot better because it feels
• 1:36:43
  Speaker 1: more like a family home the one in like two
• 1:36:44
  Speaker 1: thousand and three. Dude, Nobody, nobody lives in a house
• 1:36:48
  Speaker 1: like that, like a compound. Yeah, Like who lives in
• 1:36:51
  Speaker 1: a house like that? Like who sees that house? Like,
• 1:36:53
  Speaker 1: oh damn, we gotta move in, you know, Like it's
• 1:36:56
  Speaker 1: just like, you know, how much molds probably growing in
• 1:36:59
  Speaker 1: that place. There's there's no way that that family can
• 1:37:01
  Speaker 1: like upkeep every single freaking room, dude, Like it looks
• 1:37:05
  Speaker 1: like it's.
• 1:37:05
  Speaker 7: Just planted there.
• 1:37:06
  Speaker 5: Like it looks like it was like the Sims and
• 1:37:08
  Speaker 5: it was just like, all right, you can't tell me.
• 1:37:10
  Speaker 1: The state is allowing a small family like that to
• 1:37:13
  Speaker 1: live in a big house like that. The state would
• 1:37:14
  Speaker 1: have already came in and bought that ship from him.
• 1:37:16
  Speaker 10: Like it's it's so hard because I think that those
• 1:37:20
  Speaker 10: each of those homes is like they're so iconic in
• 1:37:23
  Speaker 10: their own way, you know, And I think that you know,
• 1:37:27
  Speaker 10: despite like you know, if you do or don't care
• 1:37:29
  Speaker 10: for the three remake. The one thing that I think
• 1:37:32
  Speaker 10: they do a really great job at is just creating
• 1:37:34
  Speaker 10: like that terrifying environment, you know that the scope of
• 1:37:38
  Speaker 10: the home, the property, you know, how how remote you
• 1:37:43
  Speaker 10: are from from the rest of society.
• 1:37:46
  Speaker 3: You know, I think it works in its own right
• 1:37:48
  Speaker 3: for sure.
• 1:37:49
  Speaker 1: Well, I remember a good job of that with the Slaughterhouse,
• 1:37:51
  Speaker 1: like how everything is so interconnected, you know, it's it's
• 1:37:54
  Speaker 1: it's actually really well done. Really yeah.
• 1:37:57
  Speaker 5: I remember watching the this the the seventy four Texas
• 1:38:01
  Speaker 5: Chainsaw Masacer after the three to one years ago, and
• 1:38:04
  Speaker 5: I remember the first shot of the house. I was like, oh,
• 1:38:06
  Speaker 5: that's it, Like, oh, that's okay, because the three remake
• 1:38:09
  Speaker 5: is so big, the house is, yeah, gigantic.
• 1:38:13
  Speaker 7: But I want to talk for a little bit.
• 1:38:14
  Speaker 5: Uh. Only a couple more actual commentary points here, one
• 1:38:19
  Speaker 5: big one being about the dinner scene, which this entire
• 1:38:23
  Speaker 5: third act. Well, I do want to say, first of all,
• 1:38:25
  Speaker 5: because I have another note here that just says that
• 1:38:28
  Speaker 5: the headlight shots are fucking incredible.
• 1:38:30
  Speaker 7: That's it my notegeous. It's number three C.
• 1:38:33
  Speaker 5: And I'm talking specifically the shot when old Man pulls
• 1:38:38
  Speaker 5: up and finds hitchhiker and he gets out and they're
• 1:38:41
  Speaker 5: in front of the headlights and it's gorgeous.
• 1:38:45
  Speaker 3: Dude, Like, can I say what?
• 1:38:48
  Speaker 10: Like one thing that I noticed while watch in this again,
• 1:38:51
  Speaker 10: you know, preparing for this episode, was that Tye West
• 1:38:55
  Speaker 10: for X. There's definitely a lot of parallels, like a
• 1:38:58
  Speaker 10: lot of homage that I feel like he took from
• 1:39:02
  Speaker 10: this film and applied it for X.
• 1:39:06
  Speaker 7: Yeah.
• 1:39:06
  Speaker 10: I don't know about you, guys, but it was just
• 1:39:08
  Speaker 10: one thing I couldn't help but notice.
• 1:39:10
  Speaker 1: Oh yeah, oh yeah.
• 1:39:12
  Speaker 5: I think even the opening shot of X, you know,
• 1:39:14
  Speaker 5: coming out of the barn is like quintessential TCM. The
• 1:39:18
  Speaker 5: headlight kill is pretty much like almost this, you know,
• 1:39:22
  Speaker 5: but this there's layers of this shot because you have
• 1:39:25
  Speaker 5: the dust kind of being kicked up and the chaos
• 1:39:28
  Speaker 5: of the old man and a hitchhiker kind of going
• 1:39:30
  Speaker 5: back and forth. It's really it's really nuts. But this
• 1:39:34
  Speaker 5: all leads into you know, the house, which is our
• 1:39:38
  Speaker 5: final act, and this is this. They shot this entire
• 1:39:44
  Speaker 5: sequence over the course of twenty seven hours straight. And
• 1:39:50
  Speaker 5: this was the point where Gunnar Hansen said he wasn't
• 1:39:53
  Speaker 5: allowed to like eat with anybody else because he's stunk
• 1:39:56
  Speaker 5: so bad and nobody had outfit changes. It was terrible,
• 1:40:01
  Speaker 5: And I want to bring up in particular when leather
• 1:40:04
  Speaker 5: Face cuts open Sally's finger to give it to Grandpa.
• 1:40:09
  Speaker 1: That's another hard scene. I can't it's it's actually hard
• 1:40:12
  Speaker 1: to watch.
• 1:40:12
  Speaker 7: Well, dude, listen to this.
• 1:40:14
  Speaker 5: I don't know if you know this, but they put
• 1:40:15
  Speaker 5: scotch tape over the blade of the knife. It was
• 1:40:17
  Speaker 5: a real knife, but they put scotch tape over to
• 1:40:19
  Speaker 5: dolit and then they had a tube kind of running
• 1:40:22
  Speaker 5: up Gunner's arm that way when he cuts, the blood
• 1:40:25
  Speaker 5: would spill out and it looked, you know, looks real,
• 1:40:28
  Speaker 5: but it they were in such a state of mental
• 1:40:32
  Speaker 5: manic like hours and hours and hours that Gunner Hansen
• 1:40:37
  Speaker 5: actually turned around, removed the scotch tape from the knife
• 1:40:41
  Speaker 5: and then actually just seliced her finger open to get
• 1:40:46
  Speaker 5: this shit fucking done.
• 1:40:47
  Speaker 1: That's why it's so hard to watch, man, because it's
• 1:40:49
  Speaker 1: it's it's real, and it's like what you were saying earlier.
• 1:40:52
  Speaker 1: You can see somebody get split in half and you
• 1:40:54
  Speaker 1: don't really care, but then it's just something like a
• 1:40:56
  Speaker 1: little cut on the finger, or have you guys seen.
• 1:41:00
  Speaker 7: Weapons shit, I have not no, I've seen it.
• 1:41:03
  Speaker 1: I won't spoil anything, but you know the element that
• 1:41:06
  Speaker 1: they you know, the I wouldn't say it without but
• 1:41:10
  Speaker 1: they do something, you know what I mean. I had
• 1:41:13
  Speaker 1: to turn away every time they did it because I
• 1:41:15
  Speaker 1: could think myself in that position the thorn.
• 1:41:18
  Speaker 6: Yeah.
• 1:41:19
  Speaker 1: Oh dude, it's so hard to watch, man. I hate it. Dude,
• 1:41:22
  Speaker 1: I hate it, dude.
• 1:41:23
  Speaker 5: It's yeah this And what's so funny about this is Gunner.
• 1:41:27
  Speaker 5: You could tell when Gunner's talking about it in the
• 1:41:28
  Speaker 5: commentary he's not happy about it, you know, because but
• 1:41:32
  Speaker 5: to be honest, man, I mean, twenty seven hours straight.
• 1:41:35
  Speaker 5: They they had you know, blackout not black out currents,
• 1:41:38
  Speaker 5: but they had stuff blocking the light because obviously they
• 1:41:40
  Speaker 5: shot over the course of the day, you know, to
• 1:41:42
  Speaker 5: continue to look night. And he one thing that he
• 1:41:45
  Speaker 5: talks about is how they would do like five minute breaks,
• 1:41:48
  Speaker 5: and they said he couldn't remove the mask unless he
• 1:41:51
  Speaker 5: was breaking for fifteen minutes. But there was no time
• 1:41:54
  Speaker 5: for fifteen minute breaks, So they would do like five
• 1:41:57
  Speaker 5: minute breaks and everybody would step outside for fresh air.
• 1:42:00
  Speaker 5: He wouldn't he wasn't able to take off the mask,
• 1:42:02
  Speaker 5: so he would walk outside and just be breathing in
• 1:42:05
  Speaker 5: the same air in his mask.
• 1:42:07
  Speaker 6: Well, didn't he say?
• 1:42:09
  Speaker 9: They they those five minute breaks would actually end up
• 1:42:12
  Speaker 9: being a lot longer, but he'd si had to sit
• 1:42:13
  Speaker 9: there with the mask on, Yeah, longer than the five minutes.
• 1:42:17
  Speaker 10: Well, and I think, like you also have to factor
• 1:42:20
  Speaker 10: in like the oppressive Texas summer heat, Like you know,
• 1:42:23
  Speaker 10: it's over one hundred you know, degrees on set, they
• 1:42:26
  Speaker 10: have no air condition, actors wearing the same unwashed clothes
• 1:42:31
  Speaker 10: for continuity, you have like obviously the rancids smell from
• 1:42:36
  Speaker 10: you know, rotting meat and bones.
• 1:42:38
  Speaker 3: And then on top of that, you.
• 1:42:39
  Speaker 10: Know this I think kind of between frustration, discomfort, and
• 1:42:44
  Speaker 10: exhaustion bled into their performances, especially you know, noted at
• 1:42:49
  Speaker 10: the dinner scene.
• 1:42:50
  Speaker 9: Well, to add to the heat they were talking about
• 1:42:53
  Speaker 9: and I'm sure Dylan could you know, talk more about this,
• 1:42:55
  Speaker 9: But the kind of film stock they used was required
• 1:42:59
  Speaker 9: more light and so it was very not only was
• 1:43:01
  Speaker 9: it hot, but they had all these lot of lights
• 1:43:04
  Speaker 9: going on because the way it was shot, and that
• 1:43:06
  Speaker 9: just added more to it.
• 1:43:08
  Speaker 5: Yeah, they said it was such a fine film grain
• 1:43:10
  Speaker 5: that everything had to be exposed for x brighter than
• 1:43:14
  Speaker 5: standard film stock, so they had like cheap homes.
• 1:43:19
  Speaker 7: Yeah, yeah, it was.
• 1:43:20
  Speaker 1: It was a cheaper sixteen millimeter film stock, you know,
• 1:43:22
  Speaker 1: because I mean, I mean, like you look at other
• 1:43:25
  Speaker 1: popular films in the seventies, you know, it wasn't uncommon
• 1:43:28
  Speaker 1: for bigger budget productions to use sixteen milimeter. I mean it,
• 1:43:32
  Speaker 1: you know, it was a very common film stock to
• 1:43:34
  Speaker 1: be used. But I mean they had like they had
• 1:43:37
  Speaker 1: like that indie film stock, you know what I mean,
• 1:43:38
  Speaker 1: Like you you start looking at like like the Cannon
• 1:43:41
  Speaker 1: five D or something compared to like an Alexa or
• 1:43:44
  Speaker 1: something like that. Like just to put it in perspective
• 1:43:46
  Speaker 1: with like digital cameras, they had like the bottom of
• 1:43:48
  Speaker 1: the barrel film stock, you know, to use. But I
• 1:43:52
  Speaker 1: think it's kind of to their advantage as well, because,
• 1:43:54
  Speaker 1: you know, watching the film like like you were saying,
• 1:43:57
  Speaker 1: in a drive in or like watching it on VHS.
• 1:44:00
  Speaker 1: They didn't know at the time that we were going
• 1:44:02
  Speaker 1: to be able to watch it in four K. And
• 1:44:05
  Speaker 1: I think, you know, like I think, you know, honestly,
• 1:44:09
  Speaker 1: if I was to rewatch the film again, I would
• 1:44:11
  Speaker 1: probably want to watch it on something like an old
• 1:44:13
  Speaker 1: DVD or you know, like a VHS, because that's really
• 1:44:17
  Speaker 1: the magic of it. You know. There we go, I'm
• 1:44:19
  Speaker 1: so listener.
• 1:44:20
  Speaker 7: Steve is holding up a VHS of Texas Chaince. I'm masker.
• 1:44:24
  Speaker 10: Let's say, I love my second Site four K, but
• 1:44:27
  Speaker 10: there's just something really special about the VHS format for it.
• 1:44:32
  Speaker 7: Yeah.
• 1:44:32
  Speaker 5: Well, I say that all the time when people ask
• 1:44:34
  Speaker 5: for certain things on four K. I'm like, yeah, But
• 1:44:35
  Speaker 5: it was like blair Witch. When people were complaining that
• 1:44:37
  Speaker 5: Second Site was putting out blair Witch on Blu Ray,
• 1:44:40
  Speaker 5: I'm like, dude, what do you mean that movie's best
• 1:44:41
  Speaker 5: viewed on like a CRT TV on VHS.
• 1:44:46
  Speaker 1: That one looks good too. The second side of that
• 1:44:48
  Speaker 1: looks really good. Technically speaking, the Blu Ray and the DVD,
• 1:44:53
  Speaker 1: there's not really that big of a difference. Honestly, there's
• 1:44:56
  Speaker 1: really not.
• 1:44:57
  Speaker 7: Yeah, I completely agree.
• 1:45:00
  Speaker 5: You know, the ending of this movie, We've talked about
• 1:45:02
  Speaker 5: it before, is so incredibly manic.
• 1:45:05
  Speaker 7: I love all the I noticed this this watch.
• 1:45:10
  Speaker 5: He's kind of like a distraction, the face lamp cover
• 1:45:14
  Speaker 5: that's over the dinner table. Oh yeah, it kept like
• 1:45:17
  Speaker 5: I kept looking at it because they kept using it
• 1:45:20
  Speaker 5: as as almost like a foreground object that a lot
• 1:45:23
  Speaker 5: of the shots that just kept like peering over to it, like,
• 1:45:27
  Speaker 5: oh god, what's that.
• 1:45:28
  Speaker 7: It made me think of the.
• 1:45:29
  Speaker 5: Cable guy, you know when you go to medieval times
• 1:45:31
  Speaker 5: and he puts the meat on his face and he does,
• 1:45:35
  Speaker 5: you know, but it's so manic.
• 1:45:38
  Speaker 7: But dude, this is my favorite.
• 1:45:40
  Speaker 5: My favorite shots of this movie are the macro shots
• 1:45:45
  Speaker 5: on Marilyn Burn's eye.
• 1:45:47
  Speaker 10: Oh yeah, Chris and I were talking about this last night,
• 1:45:50
  Speaker 10: just how much we love this whole sequence, dude.
• 1:45:52
  Speaker 5: And it gets more and more. It starts like fairly wide. Yeah,
• 1:45:57
  Speaker 5: it starts fairly wide on her eye, and then you
• 1:46:00
  Speaker 5: know she's looking around and it's cutting and it's building
• 1:46:03
  Speaker 5: like it's very manic. And then it's a little bit closer,
• 1:46:06
  Speaker 5: and it's a little bit closer, and then there's one
• 1:46:09
  Speaker 5: macro shot that's just on like the veins by the eye,
• 1:46:14
  Speaker 5: where you actually kind of see them moving while she
• 1:46:17
  Speaker 5: Oh my god, dude, it's I was really surprised that
• 1:46:20
  Speaker 5: Daniel Pearl didn't say anything specifically about getting those shots
• 1:46:23
  Speaker 5: because they're incredible, and the four K transfer just blew
• 1:46:28
  Speaker 5: me away.
• 1:46:28
  Speaker 7: How good it looks.
• 1:46:29
  Speaker 8: Man.
• 1:46:30
  Speaker 3: Oh yeah, dude, it's well.
• 1:46:32
  Speaker 10: Oh I will say, I know, Chris and I were
• 1:46:35
  Speaker 10: talking about this last night. Is that whole sequence, the
• 1:46:39
  Speaker 10: way that it plays out, especially like the frantic, unsettling
• 1:46:44
  Speaker 10: nature of like her looking around, just becoming manic.
• 1:46:49
  Speaker 3: She's looking at the hitch.
• 1:46:50
  Speaker 10: Hiker, the old man, and leather Face, and then you know,
• 1:46:55
  Speaker 10: leather Face starts to lean in. I don't know, there's
• 1:46:58
  Speaker 10: just something about like when he's leaning in, I'm like,
• 1:47:02
  Speaker 10: she's fox, you know, like she can't go anywhere. This
• 1:47:05
  Speaker 10: is the dinner that she never wanted to be a
• 1:47:08
  Speaker 10: part of.
• 1:47:08
  Speaker 9: Well, yeah, I mean Gunnar Hanson talked about how, I mean,
• 1:47:11
  Speaker 9: because of that long shoot, they were starting to lose
• 1:47:13
  Speaker 9: their minds and he was starting to get the mentality
• 1:47:15
  Speaker 9: that that's the reason they were there was to kill her.
• 1:47:19
  Speaker 9: And so the scene where they said go get her,
• 1:47:21
  Speaker 9: he actually kind of lunged at her as if.
• 1:47:23
  Speaker 6: He were to really do it.
• 1:47:25
  Speaker 5: Yeah, he had to like hold himself back. He's like,
• 1:47:27
  Speaker 5: oh wait, yeah, I'm acting. I mean, yeah, it's like
• 1:47:32
  Speaker 5: so crazy to think of like leaning her down and
• 1:47:34
  Speaker 5: putting the hammer in Grandpap's hand, which by the way,
• 1:47:37
  Speaker 5: was played by a nineteen year old and like.
• 1:47:40
  Speaker 7: It's so nuts. It's fucking out of control, dude, I
• 1:47:44
  Speaker 7: think for that.
• 1:47:45
  Speaker 10: Yeah, the sequence, the actor I'm blanking on his name.
• 1:47:52
  Speaker 10: I don't have it in front of me.
• 1:47:53
  Speaker 7: But the actor John Dugan who played a grandfather, Yes.
• 1:47:56
  Speaker 3: Thank you.
• 1:47:57
  Speaker 10: So he played grandpa and was a he in the
• 1:48:01
  Speaker 10: the prosthetics for the full twenty seven hours, if I recall.
• 1:48:04
  Speaker 7: I think so, because it was a ten hour makeup job.
• 1:48:07
  Speaker 3: Yeah.
• 1:48:08
  Speaker 10: And it's it's interesting because obviously, like I think, surface level,
• 1:48:13
  Speaker 10: we associate, you know, with you know, the horror aspect
• 1:48:17
  Speaker 10: of this being associated with leather Face, but I also
• 1:48:19
  Speaker 10: think it's like collectively it's from the entire Sawyer family,
• 1:48:23
  Speaker 10: So you have everyone ranging from you know, the hitch
• 1:48:27
  Speaker 10: the hitch hiker, you know, you have leather face role
• 1:48:31
  Speaker 10: and then obviously you know the old man being manipulative.
• 1:48:36
  Speaker 10: But the whole unit works together as like a parody
• 1:48:41
  Speaker 10: in a lot of ways of a traditional family, you know,
• 1:48:44
  Speaker 10: dinner table or like how people would interact.
• 1:48:48
  Speaker 5: Yeah, it's it's very it's incredibly unsettling, like it's texting
• 1:48:58
  Speaker 5: my wife to tell her to let the cat in.
• 1:49:01
  Speaker 5: It's so it's honestly too much like every time I
• 1:49:06
  Speaker 5: watch it, it's almost like I want to shut it off,
• 1:49:09
  Speaker 5: want I want it to stop, like.
• 1:49:11
  Speaker 7: And it just keeps going.
• 1:49:13
  Speaker 5: And every time, like you know, you get to a
• 1:49:15
  Speaker 5: point where you know these movies so well, you've seen
• 1:49:18
  Speaker 5: them over and over and over again, and you know
• 1:49:20
  Speaker 5: what's going to happen. Yet for some reason, I still
• 1:49:22
  Speaker 5: feel so unprepared for what's gonna happen.
• 1:49:26
  Speaker 1: What about Jim Sido's character, Like when they're sitting at
• 1:49:29
  Speaker 1: the dinner table. This is something that's always stuck out
• 1:49:31
  Speaker 1: to me, is you know, he'll kind of like look
• 1:49:33
  Speaker 1: around and stuff, and he's like smiling at her all creepy,
• 1:49:35
  Speaker 1: and you know, they're calling her like a like a
• 1:49:38
  Speaker 1: bitch hog or whatever. And then all of a sudden,
• 1:49:40
  Speaker 1: you know, he's like, I won't have no part of this,
• 1:49:43
  Speaker 1: and you know, and it's just like I don't understand.
• 1:49:45
  Speaker 1: Is he bipolar?
• 1:49:46
  Speaker 10: Like is he Well, he's really out of the family.
• 1:49:50
  Speaker 10: I mean, he's the only one that bridges the gap
• 1:49:53
  Speaker 10: between the cannibalistic family and society. You know, so he's
• 1:49:59
  Speaker 10: probably I mean, if I had to assume, you know,
• 1:50:03
  Speaker 10: probably be you know, somewhat conflicted.
• 1:50:05
  Speaker 5: Well, yeah, I mean I can imagine that you know,
• 1:50:08
  Speaker 5: he's like, oh great, I gotta help out. Let me
• 1:50:09
  Speaker 5: start beating her with the broom. I mean, you could
• 1:50:11
  Speaker 5: tell he doesn't do this a whole lot when he's yea.
• 1:50:14
  Speaker 1: He even shuts the lights off inside of god electricity,
• 1:50:16
  Speaker 1: you know.
• 1:50:20
  Speaker 5: So like, I don't think he's as as connected to
• 1:50:23
  Speaker 5: the actual process of of what this family goes through,
• 1:50:26
  Speaker 5: you know what, I mean, to get their victims. So
• 1:50:28
  Speaker 5: I definitely think like there might have been a moment
• 1:50:31
  Speaker 5: where he's like, oh shit, like this is this is
• 1:50:33
  Speaker 5: getting too real, Like this is whay you you know.
• 1:50:38
  Speaker 5: You know a lot of times like there are people
• 1:50:40
  Speaker 5: who are associated with with people who are out of
• 1:50:44
  Speaker 5: their mind and until you actually see, you might you
• 1:50:47
  Speaker 5: might be I mean, how many times do we see
• 1:50:50
  Speaker 5: like in serial killer documentaries, they'll be like, oh, yeah,
• 1:50:54
  Speaker 5: you know, you know, I knew my friend was doing
• 1:50:56
  Speaker 5: this stuff, and you know, blah blah blah. He's like,
• 1:50:59
  Speaker 5: but then I saw and I realized, oh my god,
• 1:51:01
  Speaker 5: now I need to contact the police, Like, oh now
• 1:51:03
  Speaker 5: I need to you know, I mean, there's a point
• 1:51:05
  Speaker 5: where you start realizing what's happening.
• 1:51:07
  Speaker 1: Yeah, it's even at the beginning of the film he says,
• 1:51:09
  Speaker 1: y'all don't want to go messing around no old house.
• 1:51:11
  Speaker 1: You know, he's basically telling him, like, don't go there.
• 1:51:14
  Speaker 10: Well, and I think that that's interesting because I think
• 1:51:17
  Speaker 10: it's almost like, you know, heed his warning.
• 1:51:20
  Speaker 3: Basically.
• 1:51:21
  Speaker 10: I think that the film does a really great job
• 1:51:23
  Speaker 10: at tapping into, you know, maybe someone that's coming from
• 1:51:26
  Speaker 10: the city, you know, the fear of the remote, isolated communities.
• 1:51:31
  Speaker 10: You know, where teenagers from the city they're vulnerable and
• 1:51:36
  Speaker 10: those rules don't apply. I mean, they're so far away
• 1:51:40
  Speaker 10: from the city at this point where you know, obviously
• 1:51:43
  Speaker 10: the Sawyer family's home, it's filled with these strange, like
• 1:51:48
  Speaker 10: you know, unfamiliar customs, these grotesque decorations like the lamp
• 1:51:54
  Speaker 10: and you know, the furniture and things like that. So
• 1:51:58
  Speaker 10: it amplifies like that feeling of like you guys don't
• 1:52:00
  Speaker 10: belong here in a lot of ways.
• 1:52:02
  Speaker 5: And this is the beginning for the genre, the beginning
• 1:52:06
  Speaker 5: of the conversation of kind of like the city kids
• 1:52:10
  Speaker 5: coming into the rural folks. You know, a lot of
• 1:52:13
  Speaker 5: that most of it was kind of stuck on like
• 1:52:15
  Speaker 5: southern prejudices of you know, uh, they kind of live
• 1:52:21
  Speaker 5: off the map. They're not they're not to our same
• 1:52:23
  Speaker 5: values and a lot of that, you know, four years
• 1:52:25
  Speaker 5: of Texas Chainsaw masker. I think a shining example of
• 1:52:28
  Speaker 5: this is, uh, I spit on your grave, you know,
• 1:52:31
  Speaker 5: with Wes Craven and that's pinnacle example, you know what
• 1:52:34
  Speaker 5: I mean, they're the the or not.
• 1:52:37
  Speaker 7: I wouldn't say no, yeah, yeah it was I spit
• 1:52:39
  Speaker 7: on was it? Yeah? Yeah it was. I spit on
• 1:52:42
  Speaker 7: your grave.
• 1:52:42
  Speaker 5: When she pulls up to when Camille Keaton pulls up
• 1:52:45
  Speaker 5: to the gas station, and you know, she's now confronted
• 1:52:49
  Speaker 5: by these southern wackos. You know that she's kind of
• 1:52:52
  Speaker 5: like scared of a little bit. And then these are
• 1:52:54
  Speaker 5: the guys who end up following her. You know, she's
• 1:52:57
  Speaker 5: in their territory now, and they take shared bantage of
• 1:53:00
  Speaker 5: the fact that she's alone. She's not a customed that
• 1:53:02
  Speaker 5: here standards, She's not going to be as she doesn't
• 1:53:06
  Speaker 5: know what they're going to do. And that's when we
• 1:53:08
  Speaker 5: start to kind of see this, you know, because there's
• 1:53:10
  Speaker 5: two sides of it, right there's the there's this side
• 1:53:12
  Speaker 5: of it, and then there's the purpose, like the wrong
• 1:53:16
  Speaker 5: turn or the hills have eyes where people are purposely
• 1:53:19
  Speaker 5: sending people into doom. You know, they're kind of like
• 1:53:22
  Speaker 5: the guidance of our Yeah, go take this shortcut down
• 1:53:25
  Speaker 5: there and barb wire.
• 1:53:28
  Speaker 1: Yeah. And I think the reason why it works so
• 1:53:30
  Speaker 1: like I think the reason why, you know, film hasn't
• 1:53:33
  Speaker 1: replicated it since the Texas Chainsaw Masker because like you
• 1:53:36
  Speaker 1: were saying, like I mean, the Hills have Eyes. I
• 1:53:39
  Speaker 1: mean really, there's so many films that are inspired by
• 1:53:41
  Speaker 1: the Texas Chainsaw Maskers because when you're making a film
• 1:53:44
  Speaker 1: trying to do that, you're aware of it. So you're
• 1:53:46
  Speaker 1: aware of Okay, this is what I'm trying to do
• 1:53:48
  Speaker 1: with this. I'm trying to bring these outsiders into this
• 1:53:50
  Speaker 1: area that they're not familiar with. But with the Texas
• 1:53:53
  Speaker 1: Chainsaw mask that wasn't you know, like they just made
• 1:53:56
  Speaker 1: that naturally, you know, like that, you know, they weren't
• 1:53:59
  Speaker 1: trying to go out of their way to make the
• 1:54:00
  Speaker 1: Texas Chainsaw Master. They made the Texas Chainsaw Masker. If
• 1:54:03
  Speaker 1: that makes sense.
• 1:54:04
  Speaker 7: Yeah, no, yeah, it makes perfect sense.
• 1:54:08
  Speaker 10: The one thing I did note on here is like,
• 1:54:11
  Speaker 10: you know, obviously we know that the Sawyer family, you know,
• 1:54:15
  Speaker 10: they obviously are you know, cannibals, right. So I noted
• 1:54:19
  Speaker 10: this as like being almost in a lot of ways,
• 1:54:21
  Speaker 10: like an extreme metaphor for let's just say, desperation or
• 1:54:25
  Speaker 10: moral collapse in the face of scarcity. So you know
• 1:54:28
  Speaker 10: it plays into you know, the horror of consumption, right.
• 1:54:32
  Speaker 10: I mean, these these you know, teenagers are probably realizing
• 1:54:36
  Speaker 10: that they're you know, too far gone at that point.
• 1:54:38
  Speaker 10: But in a lot of ways, it's how, you know,
• 1:54:40
  Speaker 10: we feed off each other, you know, emotionally, socially, and
• 1:54:44
  Speaker 10: in this movie literally m.
• 1:54:46
  Speaker 5: H yeah, it's it's a lot, man, and it makes
• 1:54:51
  Speaker 5: it's funny because I remember pausing at some point the commentary,
• 1:54:55
  Speaker 5: right right when Sally's about to escape, and I was like,
• 1:54:59
  Speaker 5: oh shit, there's only three minutes of this movie left,
• 1:55:02
  Speaker 5: Like it moves so fast and you get into again.
• 1:55:08
  Speaker 7: I keep using the word iconic.
• 1:55:09
  Speaker 5: Another iconic moment, which is her escape out the window
• 1:55:14
  Speaker 5: and you have you know, leather face chasing her. They
• 1:55:18
  Speaker 5: and I love the scene because they said Tobe Hooper
• 1:55:21
  Speaker 5: mentioned how and Daniel Pearl mentioned how they had to
• 1:55:23
  Speaker 5: get lucky and they had to wait for like a
• 1:55:24
  Speaker 5: really overcast dating Oh yeah, as a sunrise.
• 1:55:29
  Speaker 10: I can't imagine how tedious that would be just waiting
• 1:55:32
  Speaker 10: for like the overcast clouds to just come in, you know.
• 1:55:37
  Speaker 5: Yeah, and it's the ending of this is so awesome, dude.
• 1:55:40
  Speaker 5: I mean even when you know hitchhiker chases out into
• 1:55:42
  Speaker 5: the road and they do the great reverse trick where
• 1:55:45
  Speaker 5: they they filmed the truck backing up and then flip
• 1:55:49
  Speaker 5: the camera and didn't reverse it look like the truck
• 1:55:51
  Speaker 5: is coming at him.
• 1:55:52
  Speaker 7: And then obviously they had the dummy getting run over.
• 1:55:56
  Speaker 5: My wife says, the of the mac truck, is it black, Maria?
• 1:56:03
  Speaker 7: Is that what it is?
• 1:56:04
  Speaker 6: Yeah?
• 1:56:04
  Speaker 5: Yeah, even she said, like poor truck driver because he
• 1:56:08
  Speaker 5: runs off and we don't even know where he.
• 1:56:11
  Speaker 3: Well, in he was smart, he took off.
• 1:56:14
  Speaker 1: He's in the twenty thirteen movie on the Table. So
• 1:56:19
  Speaker 1: if that movie, the twenty thirteen the Texas Chainsaw three D,
• 1:56:24
  Speaker 1: I was actually gonna I was gonna bring that up because, look,
• 1:56:28
  Speaker 1: I know people have their opinions on that film. I
• 1:56:30
  Speaker 1: get it. But that montage at the very beginning of
• 1:56:32
  Speaker 1: it where it's showing the flashes of the first movie,
• 1:56:34
  Speaker 1: when we were talking about how it gets really close
• 1:56:36
  Speaker 1: to her eye, well, they do something really cool where
• 1:56:39
  Speaker 1: it's really close to her eye, but they show Leatherface's
• 1:56:41
  Speaker 1: reflection in her eye, and for some reason, I keep
• 1:56:44
  Speaker 1: thinking it's in the original film.
• 1:56:46
  Speaker 7: But it's not.
• 1:56:47
  Speaker 1: It's not. It couldn't be because that's just like it's
• 1:56:50
  Speaker 1: really impressive.
• 1:56:51
  Speaker 7: Yeah, this is the sequels, man, There's there's some magic
• 1:56:54
  Speaker 7: in no sequels.
• 1:56:55
  Speaker 1: The second one is good. I love the second I love.
• 1:56:59
  Speaker 5: Yeah, and then of course you know clearly the ending
• 1:57:03
  Speaker 5: it's I love Daniel Pearl and to be Hooper kind
• 1:57:06
  Speaker 5: of arguing whether or not it was it was a
• 1:57:08
  Speaker 5: sunset or sunrise when they filmed, you know, his his
• 1:57:12
  Speaker 5: Dan scene. I also love Daniel Pearl saying how he
• 1:57:14
  Speaker 5: almost got hit by the chainsaw, like and he also Dylan,
• 1:57:19
  Speaker 5: you'll love this. There's a little bit where Daniel Pearl
• 1:57:21
  Speaker 5: talks about during the credits where he the the camera
• 1:57:27
  Speaker 5: the assistant camera operator that he was given was brand new,
• 1:57:30
  Speaker 5: and he said, at one point the assistant camera operator
• 1:57:34
  Speaker 5: put the lens on and then kind of tilted the
• 1:57:37
  Speaker 5: camera and luckily Daniel Pearl had his hands out and
• 1:57:40
  Speaker 5: the lens just fell out into his hands, and he
• 1:57:42
  Speaker 5: was like, great, this is what I gotta fucking deal with.
• 1:57:45
  Speaker 8: This is what.
• 1:57:48
  Speaker 9: Well, not only that, it was until the very end.
• 1:57:50
  Speaker 9: I mean, imagine getting all that done filming and then
• 1:57:53
  Speaker 9: the state trooper pulls up and tries to get you
• 1:57:55
  Speaker 9: guys to leave the premises and said, oh, you shouldn't
• 1:57:57
  Speaker 9: be here.
• 1:57:58
  Speaker 6: I have a situation.
• 1:58:00
  Speaker 7: Yeah, oh yeah, they blocked the road for it.
• 1:58:03
  Speaker 1: Yeah.
• 1:58:03
  Speaker 7: The state trooper rolls up. Who'd you what do you say?
• 1:58:06
  Speaker 7: Who who'd you get permission from?
• 1:58:07
  Speaker 5: And they're like all the state and oh no it
• 1:58:11
  Speaker 5: was I think they got permission for the state troopers.
• 1:58:13
  Speaker 5: And it was a local cop and a low cops.
• 1:58:15
  Speaker 5: This is my town, this is my Jesus Christ.
• 1:58:22
  Speaker 7: So that's all.
• 1:58:23
  Speaker 5: I think that's pretty much covers all the notes that
• 1:58:25
  Speaker 5: we had from the actual commentary.
• 1:58:29
  Speaker 7: In under two hours. Or do you still that song?
• 1:58:32
  Speaker 10: Well, I was just gonna say, I mean, you know,
• 1:58:34
  Speaker 10: the ending. Obviously, it's very iconic when other faces doing
• 1:58:38
  Speaker 10: the dance, and you know Sally, I mean, she, you know,
• 1:58:42
  Speaker 10: is able to get away in the truck. But I
• 1:58:44
  Speaker 10: think in a lot of ways it's like, Okay, well
• 1:58:46
  Speaker 10: she's survived, but at what costs? I mean she's you know,
• 1:58:51
  Speaker 10: I mean she's just survived essentially, like all of her
• 1:58:53
  Speaker 10: friends being butchered, you know, the torture and psychological breakdown
• 1:58:57
  Speaker 10: at the Sawyer dinner table, and obviously being sell the
• 1:59:00
  Speaker 10: woods by leather Face. But it's it's just is there
• 1:59:05
  Speaker 10: any sanity left for her after that? I mean you
• 1:59:08
  Speaker 10: have to kind of question, like, what would someone you
• 1:59:12
  Speaker 10: know who has just dealt with this traumatic series of events,
• 1:59:16
  Speaker 10: would they be the same you know once once they're
• 1:59:19
  Speaker 10: obviously leaving the home.
• 1:59:21
  Speaker 3: I don't know.
• 1:59:22
  Speaker 1: I the something interesting that I wanted to talk about is,
• 1:59:27
  Speaker 1: you know, when she's reading, when Pam's reading the book
• 1:59:30
  Speaker 1: talking about Saturn being in retrograde at the beginning of
• 1:59:33
  Speaker 1: the film. You know, so when you watch a film,
• 1:59:36
  Speaker 1: and I mean this can be any film, you can
• 1:59:38
  Speaker 1: almost sort of imagine like, oh, what what did characters
• 1:59:41
  Speaker 1: do before this? What did characters do after this? You know,
• 1:59:43
  Speaker 1: these characters have day to day lives. But the weird
• 1:59:45
  Speaker 1: thing about the Texas Chainsaw Massacre is I really can't
• 1:59:48
  Speaker 1: imagine what these characters did before what these characters are
• 1:59:52
  Speaker 1: doing after. Like the film itself just feels almost very cosmic.
• 1:59:57
  Speaker 1: It feels like it's the most like this might sound
• 2:00:00
  Speaker 1: very stupid, but it feels like it's the most important
• 2:00:03
  Speaker 1: moment of all time, and you're just watching it like
• 2:00:06
  Speaker 1: it just feels like nothing else exists besides what's going
• 2:00:09
  Speaker 1: on right now. And like what I was saying about
• 2:00:12
  Speaker 1: the ending of the film when it just abruptly cuts
• 2:00:15
  Speaker 1: the black, is there really anything else after that? I
• 2:00:18
  Speaker 1: don't know. It feels so powerful, like just this moment
• 2:00:22
  Speaker 1: that you're watching these characters in and then the whole
• 2:00:25
  Speaker 1: like debating on whether you know it's sunrise or sunset
• 2:00:28
  Speaker 1: when they filmed it, because the film is paced so
• 2:00:32
  Speaker 1: strangely where you have the first four minutes of it
• 2:00:34
  Speaker 1: where we're watching the opening title and it's almost like
• 2:00:37
  Speaker 1: somebody's telling this story in a way, like they're kind
• 2:00:40
  Speaker 1: of narrating it, and it's almost like this event and
• 2:00:43
  Speaker 1: this story just exists within itself, as opposed to it
• 2:00:47
  Speaker 1: actually being a real, lived in world. I don't know,
• 2:00:50
  Speaker 1: it might sound strange saying it that way, but I
• 2:00:53
  Speaker 1: just it just feels like an isolated event and nothing
• 2:00:57
  Speaker 1: else matters. But what's going on in the film.
• 2:01:00
  Speaker 7: Well, you know, I love you talking about that, because.
• 2:01:05
  Speaker 5: Even like the the the sun flares and the opening credits,
• 2:01:12
  Speaker 5: it doesn't belong to anything else.
• 2:01:15
  Speaker 7: There's no other.
• 2:01:18
  Speaker 5: Like reason, it's it's there, right, and it could just
• 2:01:20
  Speaker 5: be like you can say, hey, it's a cool visual,
• 2:01:23
  Speaker 5: you know for opening credits, but like so would have
• 2:01:25
  Speaker 5: been a million other things. So you know, and I'm
• 2:01:30
  Speaker 5: not really like two into astronomy, you know, as much,
• 2:01:33
  Speaker 5: but I do know that there are things, like you know,
• 2:01:38
  Speaker 5: you can look into like the butterfly effect, you know,
• 2:01:41
  Speaker 5: one change of the wings and you have a whole
• 2:01:43
  Speaker 5: new world, or like solar flares you know, causing these
• 2:01:48
  Speaker 5: and like you mentioned, like these extreme cosmic reactions.
• 2:01:52
  Speaker 7: It does almost.
• 2:01:53
  Speaker 5: Feel now that you bring it up like that, like
• 2:01:58
  Speaker 5: this is sort of I don't know how to even.
• 2:02:03
  Speaker 7: It's one off.
• 2:02:05
  Speaker 5: It's almost like it's so immediate and it's so it's
• 2:02:10
  Speaker 5: it's like believable. You know, you believe this could happen,
• 2:02:13
  Speaker 5: but also like you can't so you can't even wrap
• 2:02:16
  Speaker 5: your head around the fact that this could actually happen.
• 2:02:19
  Speaker 5: There is up until you know, until the end of
• 2:02:22
  Speaker 5: the movie, nobody else exists. You know, there's no they
• 2:02:25
  Speaker 5: don't you don't see other people there. It's like nothing
• 2:02:29
  Speaker 5: else is real. You're just in this moment of time
• 2:02:34
  Speaker 5: and that's it.
• 2:02:35
  Speaker 1: You know.
• 2:02:35
  Speaker 5: It's almost like I always joke because like as I
• 2:02:39
  Speaker 5: get older, I kind of I like to say and
• 2:02:42
  Speaker 5: believe more and more that like we're surrounded by NPCs
• 2:02:44
  Speaker 5: where like people feel, you know there, and this almost
• 2:02:47
  Speaker 5: feels like like a cut scene from like a video
• 2:02:50
  Speaker 5: game where you're like, Okay, yeah, here's here's something that
• 2:02:52
  Speaker 5: some NPCs went through and it has no effect on
• 2:02:55
  Speaker 5: you know, nothing here it is.
• 2:02:57
  Speaker 1: Yeah.
• 2:02:57
  Speaker 10: Well, and like the the to close out the film,
• 2:03:02
  Speaker 10: you know, the the leather or well leather Faces dance
• 2:03:05
  Speaker 10: in the sunrise. I think it's just there's something just
• 2:03:07
  Speaker 10: so beautiful yet terrifying about it. It's like this violence
• 2:03:12
  Speaker 10: that's just been committed is almost like a you know,
• 2:03:15
  Speaker 10: it's turned into a ritual in a lot of ways.
• 2:03:18
  Speaker 10: For for leather Face, and you know, she obviously gets away,
• 2:03:24
  Speaker 10: but you just have this sinking feeling by the time
• 2:03:28
  Speaker 10: the credit or the credits role that you know, this
• 2:03:31
  Speaker 10: cycle of violence is going to continue, you know, even
• 2:03:33
  Speaker 10: if it's even.
• 2:03:34
  Speaker 3: If we don't see it.
• 2:03:35
  Speaker 10: You know, what this this family you know represents and
• 2:03:38
  Speaker 10: what they're capable of is terrifying, and uh, I think
• 2:03:42
  Speaker 10: it's just interesting you get that abrupt cut to black
• 2:03:45
  Speaker 10: with the chainsaw, or you know, it's leaving us as
• 2:03:49
  Speaker 10: a viewer, you know, just hanging there. And a lot
• 2:03:52
  Speaker 10: of ways it feels like the you know, the camera
• 2:03:56
  Speaker 10: that's being used for kind of like kind of a
• 2:03:59
  Speaker 10: documentary type film. It's like the film just ran out,
• 2:04:05
  Speaker 10: like that's it, that's all.
• 2:04:06
  Speaker 3: That's all.
• 2:04:06
  Speaker 7: We get it, you know, it almost feels like it.
• 2:04:10
  Speaker 5: And I don't know if what I'm about to say
• 2:04:12
  Speaker 5: is like total bullshit or not, but like it almost
• 2:04:14
  Speaker 5: feels like, three years later, if Toby Hooper, Daniel Pearl
• 2:04:19
  Speaker 5: and all them shot another movie of another isolated incident
• 2:04:24
  Speaker 5: in rural Texas, it could have almost been like an
• 2:04:26
  Speaker 5: anthology like what John Carpenter was originally playing about Halloween.
• 2:04:30
  Speaker 5: It almost feels like you could just have another isolated,
• 2:04:36
  Speaker 5: terrible incident that occurs somewhere, you know what I mean.
• 2:04:38
  Speaker 5: Like it almost feels like fifty miles down the road,
• 2:04:42
  Speaker 5: there's another deranged family and another fucked up situation that
• 2:04:46
  Speaker 5: somebody could fall into. It almost like it's almost like
• 2:04:49
  Speaker 5: you could place it on a map, like Okay, this
• 2:04:51
  Speaker 5: was here, and then like this could happen here, This
• 2:04:52
  Speaker 5: could happen anywhere and we can just keep It's odd.
• 2:04:56
  Speaker 1: That with eight and Alive a little bit with the
• 2:04:59
  Speaker 1: what so it's been forever since I've seen that movie,
• 2:05:02
  Speaker 1: because that was the follow up to Texas Chainsaw, but
• 2:05:04
  Speaker 1: doesn't eat in Alive sort of carry on a lot
• 2:05:07
  Speaker 1: of the same beats that Texas Chainsaw did with like
• 2:05:10
  Speaker 1: the hotel and like somebody stopping there.
• 2:05:12
  Speaker 5: Yeah, yeah, yeah, it's it's interesting, man. Actually, for some reason,
• 2:05:17
  Speaker 5: because I looked at Jordan briefly and I thought of
• 2:05:19
  Speaker 5: Cemetery Man. At the end of Cemetery Man when it
• 2:05:21
  Speaker 5: cuts out there in a snow globe, it almost feels
• 2:05:23
  Speaker 5: like this was an isolated incident.
• 2:05:25
  Speaker 1: Yeah, you know, yes, exactly, Yes it does. It does.
• 2:05:29
  Speaker 9: Almost a story is being told from a tale.
• 2:05:34
  Speaker 7: You could have had a pet close and that would
• 2:05:36
  Speaker 7: have been.
• 2:05:36
  Speaker 1: Yeah.
• 2:05:37
  Speaker 5: It's interesting, man, it's it's it's really I wasn't expecting
• 2:05:41
  Speaker 5: to talk about any of that in this.
• 2:05:43
  Speaker 10: Or like a found tape. You could also consider it
• 2:05:45
  Speaker 10: like a found tape, you know, like you weren't supposed
• 2:05:47
  Speaker 10: to see this us as a viewer. Now, what I
• 2:05:51
  Speaker 10: wanted to ask you guys is, you know, obviously we're
• 2:05:54
  Speaker 10: following Marilyn Burn's character Sally throughout the entire duration of
• 2:05:58
  Speaker 10: this film, Do you guys consider her like one of
• 2:06:01
  Speaker 10: the earlier examples of like a final girl in a
• 2:06:04
  Speaker 10: horror movie?
• 2:06:07
  Speaker 9: Uh?
• 2:06:09
  Speaker 1: Yeah, I mean yeah. The the interesting thing about uh,
• 2:06:14
  Speaker 1: I think Texas Chainsaw maasker, you're bringing up NPCs earlier.
• 2:06:18
  Speaker 1: These characters, like the people in the Green Van, they
• 2:06:21
  Speaker 1: almost feel like NPC's in a way, you know, Like,
• 2:06:24
  Speaker 1: I mean, if you look at any of your other
• 2:06:25
  Speaker 1: typical Final Girls from something like Friday the Thirteenth or
• 2:06:28
  Speaker 1: Halloween or something, you know, like Jamie Lee Curtis, she's
• 2:06:31
  Speaker 1: so iconic because we follow her throughout the whole entire film.
• 2:06:34
  Speaker 1: But with Sally, she almost just feels very pedestrian. She
• 2:06:39
  Speaker 1: feels extremely pedestrian. But in La actually they all do. Yeah, yeah,
• 2:06:43
  Speaker 1: so yeah, I mean I do think that she could,
• 2:06:47
  Speaker 1: you know, potentially be, you know, the one of the
• 2:06:49
  Speaker 1: first Final Girls, but I think she's kind of in
• 2:06:51
  Speaker 1: a way more complex than that in some odd way.
• 2:06:56
  Speaker 7: Well, I guess.
• 2:06:57
  Speaker 5: Again, to compare it to the three remake, the remake
• 2:07:01
  Speaker 5: establishes a lot more of the common personality character traits
• 2:07:05
  Speaker 5: of Slashers you know, by making you know, you have
• 2:07:08
  Speaker 5: the one girl who's a little bit more slutty. You
• 2:07:10
  Speaker 5: have you know, the potheads, you know, I mean you
• 2:07:13
  Speaker 5: have like they they established them, not as much, you know,
• 2:07:17
  Speaker 5: they don't do as much as like Pride at thirteenth,
• 2:07:18
  Speaker 5: but they do.
• 2:07:20
  Speaker 7: None of those characters do any of this.
• 2:07:22
  Speaker 5: There's not like there is no uh, you know, unsafe
• 2:07:27
  Speaker 5: sex leads to you getting killed, or you smoking pot
• 2:07:29
  Speaker 5: leads you getting killed. These are just like as normal
• 2:07:33
  Speaker 5: people as they come, you know what I mean.
• 2:07:35
  Speaker 7: They don't do any road.
• 2:07:38
  Speaker 3: Yeah, it's like, you know.
• 2:07:39
  Speaker 5: It's so it's so strange, like how normal they are
• 2:07:42
  Speaker 5: looking back at what we know now, what we expect
• 2:07:46
  Speaker 5: now from our horror movie teenage groups. And and I
• 2:07:49
  Speaker 5: think Toby Hooper brought it up, how like these aren't
• 2:07:51
  Speaker 5: even technally like teenagers. They're like mid twenties, you know
• 2:07:54
  Speaker 5: what I mean, Like they're adults. So it's interesting, man,
• 2:07:59
  Speaker 5: it's really funny. And it's I feel like this is
• 2:08:00
  Speaker 5: a movie that's going to continuously. I know, I was
• 2:08:03
  Speaker 5: talking to Steve and I was like, I actually think
• 2:08:05
  Speaker 5: we could do a whole other episode in the future.
• 2:08:07
  Speaker 5: On another commentary and still have two hours worth of
• 2:08:11
  Speaker 5: great conversation and never double back on anything that we
• 2:08:14
  Speaker 5: covered here. You can do that over and over and
• 2:08:16
  Speaker 5: over again, I think to an extent.
• 2:08:19
  Speaker 10: I mean, do you guys feel that this film, all
• 2:08:21
  Speaker 10: these years later still holds up?
• 2:08:23
  Speaker 1: Oh yeah, yeah, yeah. I watch it as many times
• 2:08:28
  Speaker 1: as I can. I've I've actually and I am not
• 2:08:31
  Speaker 1: ashamed of it. I've actually watched it three times in
• 2:08:33
  Speaker 1: one day. And it was before the new one came
• 2:08:36
  Speaker 1: out on Netflix. I ended up playing it in the
• 2:08:39
  Speaker 1: morning because you know, I just i'd woken up and
• 2:08:41
  Speaker 1: I was like, all right, I'm gonna throw on Texas
• 2:08:42
  Speaker 1: Chainsaw Masker. And then I had like a couple of
• 2:08:45
  Speaker 1: drinks and my my in laws they lived right down
• 2:08:48
  Speaker 1: the road at the time, and my wife, you know,
• 2:08:50
  Speaker 1: she went down there and I was like, you know what,
• 2:08:52
  Speaker 1: I want to watch Texas Chainsaw Masker. So I watched
• 2:08:54
  Speaker 1: it again before I went there, and then I ended
• 2:08:56
  Speaker 1: up going there and I had some drinks with the
• 2:08:58
  Speaker 1: in laws and my father in law was like, Hey,
• 2:09:00
  Speaker 1: do you want to watch a movie? And I was
• 2:09:03
  Speaker 1: like yeah, and he was like He's like, what do
• 2:09:05
  Speaker 1: you want to watch? He's like I'll let you pick
• 2:09:07
  Speaker 1: it out, and I was like, have you seen the
• 2:09:08
  Speaker 1: Texas chains on masker? He's like, man, it's been a
• 2:09:10
  Speaker 1: long time. So I ran to the house and grabbed
• 2:09:12
  Speaker 1: it and we watched it again that night, and it's
• 2:09:15
  Speaker 1: just I love the Texas Chainsaw Massacre like it is
• 2:09:19
  Speaker 1: just it's always going to hold up for me. And
• 2:09:22
  Speaker 1: I might be a little bit biased, but for me,
• 2:09:25
  Speaker 1: I mean, it is a timeless film. It truly is.
• 2:09:29
  Speaker 9: Yeah, a little about you, Jordan, Well, I mean, of course
• 2:09:32
  Speaker 9: we're sitting here talking about it today for a reason.
• 2:09:35
  Speaker 6: You know, I think Dylan said it best.
• 2:09:38
  Speaker 9: You know, people are getting things out of this movie
• 2:09:42
  Speaker 9: as years go by, and yeah, you wonder what is
• 2:09:45
  Speaker 9: going to be said about this film or what's going
• 2:09:47
  Speaker 9: to be discovered about this film ten twenty.
• 2:09:49
  Speaker 6: Years from now.
• 2:09:50
  Speaker 9: You know, where are we at going to be at
• 2:09:52
  Speaker 9: as a society as it as it pertains to the
• 2:09:55
  Speaker 9: Texas Chainsaw Massacre?
• 2:09:57
  Speaker 6: What else are we going to be able to uncover.
• 2:10:00
  Speaker 9: Or element's themes from this movie?
• 2:10:03
  Speaker 6: And that's why I think it just it stands the
• 2:10:05
  Speaker 6: test of time.
• 2:10:07
  Speaker 5: Yeah, I mean there's a reason I think Steve we
• 2:10:10
  Speaker 5: picked it for the show outside of just the August
• 2:10:13
  Speaker 5: you know of it all. I actually, like, I hate
• 2:10:17
  Speaker 5: to be a broken record, but I think these movies
• 2:10:20
  Speaker 5: hold up.
• 2:10:21
  Speaker 7: I think Texas.
• 2:10:23
  Speaker 5: Chainsaw Maskert at seventy eighty years old is gonna hold
• 2:10:28
  Speaker 5: up better than most of these new movies at thirty
• 2:10:30
  Speaker 5: years old.
• 2:10:31
  Speaker 7: Yeah, you know, like.
• 2:10:33
  Speaker 5: It's and I think it's kind of easy to see
• 2:10:39
  Speaker 5: that because everything in some ways stealing from this movie.
• 2:10:42
  Speaker 5: I mean, Eli Roth said on his podcast that he
• 2:10:45
  Speaker 5: didn't even realize when he was making Cavin Feaver how
• 2:10:48
  Speaker 5: much he was ripping off Texas Chainsaw Masaker. Remember that
• 2:10:51
  Speaker 5: just so ingrained, you know, and it's there. You're never ever.
• 2:10:57
  Speaker 5: I don't care how many Tye West you have, I
• 2:11:00
  Speaker 5: don't care who what old soul filmmakers are out there.
• 2:11:04
  Speaker 5: You're never going to be able to recapture this again
• 2:11:06
  Speaker 5: because every time movies try to feel like Texas Chance
• 2:11:10
  Speaker 5: On Masker, it feels like an imitator.
• 2:11:13
  Speaker 7: This movie's not imitating anything.
• 2:11:16
  Speaker 5: It's everything is as authentic as possible, and it's it's
• 2:11:21
  Speaker 5: a pretty incredible experience. Like how even this you know,
• 2:11:26
  Speaker 5: I watched this movie four times leading up to this episode.
• 2:11:29
  Speaker 5: In the last two weeks alone, and I never got
• 2:11:33
  Speaker 5: to a point where I was like, oh, I gotta
• 2:11:35
  Speaker 5: watch Texas.
• 2:11:35
  Speaker 7: Chance On Masker again.
• 2:11:37
  Speaker 10: It's a timeless horror film, you know, and I don't know,
• 2:11:41
  Speaker 10: it's just amazing to see that all these years later,
• 2:11:44
  Speaker 10: you know, this is still the subject of countless conversations
• 2:11:48
  Speaker 10: and rankings and you know, dissections, and I don't know,
• 2:11:52
  Speaker 10: it's it's just such a special horror movie.
• 2:11:54
  Speaker 3: In my eyes.
• 2:11:54
  Speaker 1: It was like the story goes with you know, apparently
• 2:11:59
  Speaker 1: Ridly Skull, Stanley Kubrick, Francis Ford Coppola, they all had
• 2:12:04
  Speaker 1: a print of the film that they kick and Stanley
• 2:12:08
  Speaker 1: Kubrick was actually editing The Shining and you know, like
• 2:12:11
  Speaker 1: he really, you know, he was the type of guy
• 2:12:13
  Speaker 1: he didn't really care to talk or you know, meet
• 2:12:15
  Speaker 1: people like that. You know, he's just busy editing the Shining.
• 2:12:17
  Speaker 1: And then you know, somebody came in and was like hey,
• 2:12:19
  Speaker 1: Toe Hooper's here, and he's like, oh who, And then
• 2:12:23
  Speaker 1: they're like, oh, the dude that directed Texas Chainsaw Masker.
• 2:12:26
  Speaker 1: And Kubrick was like, you know and ran out because
• 2:12:29
  Speaker 1: he I mean, that film, even though it came from
• 2:12:33
  Speaker 1: a newer filmmaker. Not only has it impacted us now,
• 2:12:37
  Speaker 1: but I mean it even impacted the people that we
• 2:12:39
  Speaker 1: look up to.
• 2:12:40
  Speaker 3: M M.
• 2:12:41
  Speaker 5: Yeah, it's it's pretty incredible, man. And you know, I
• 2:12:44
  Speaker 5: can't thank you guys enough for doing this conversation.
• 2:12:48
  Speaker 7: Yeah, thank you, guys, thank you.
• 2:12:51
  Speaker 5: You know, before we before we round out, Steve, I
• 2:12:54
  Speaker 5: just wanted to double check with you if there was
• 2:12:55
  Speaker 5: anything else you wanted to bring up, anything you were
• 2:12:57
  Speaker 5: thinking or anybody at all.
• 2:12:59
  Speaker 7: Is there any that you guys wanted to chat about.
• 2:13:03
  Speaker 10: I want to ask you guys a question. Who do
• 2:13:08
  Speaker 10: you think is scarier in this film? The Sawyer family
• 2:13:13
  Speaker 10: or leather Face.
• 2:13:16
  Speaker 7: The Sun. I'm irish, bro. I guess.
• 2:13:25
  Speaker 5: It's like this movie and the Fast and the Furious,
• 2:13:28
  Speaker 5: like scare the hell out of me just because of
• 2:13:29
  Speaker 5: the Texas weather.
• 2:13:31
  Speaker 3: Is the real villain for me?
• 2:13:33
  Speaker 6: It's the Hitchhiker, Okay, he just it's there's.
• 2:13:38
  Speaker 9: Something about him.
• 2:13:41
  Speaker 6: I guess.
• 2:13:41
  Speaker 9: I guess Trance would be the Sawyer family.
• 2:13:44
  Speaker 10: I mean you could say that the hitch Hiker, you know,
• 2:13:48
  Speaker 10: marks them for death with the blood smears fan you
• 2:13:52
  Speaker 10: know that's that's like, you know, it's it's like a
• 2:13:56
  Speaker 10: surefire away for the old man to know that they're
• 2:13:59
  Speaker 10: going to you know that they're going to be coming,
• 2:14:01
  Speaker 10: you know, close to the home or or who to
• 2:14:03
  Speaker 10: look for, so I could see that for sure.
• 2:14:07
  Speaker 1: I don't mean to get metaphorical with it at all,
• 2:14:10
  Speaker 1: I really don't, but I think it's I would say
• 2:14:14
  Speaker 1: leather face. And it's just because of the context of him,
• 2:14:17
  Speaker 1: you know, just like you not not even necessarily looking
• 2:14:21
  Speaker 1: at him like like this. I mean, he's terrifying, don't
• 2:14:23
  Speaker 1: get me wrong, but it's just like he's terrifying, but
• 2:14:27
  Speaker 1: he has his own thoughts, you know, Like I really
• 2:14:31
  Speaker 1: just can't explain it. I would say leather face. I
• 2:14:33
  Speaker 1: wouldn't even disagree with the saw of your family, but
• 2:14:35
  Speaker 1: just with for me personally, it's leather face. You know.
• 2:14:38
  Speaker 9: I just thought of something you were saying about being
• 2:14:41
  Speaker 9: marked for death, and it's interesting, just something else. The
• 2:14:44
  Speaker 9: hitchhiker he takes the photo of them, does that little
• 2:14:46
  Speaker 9: ritual mighty' on fire with the gunpowder. That could be
• 2:14:50
  Speaker 9: a symbolism of you know, him them taking them in
• 2:14:54
  Speaker 9: you know where you are being marked for death, that's
• 2:14:57
  Speaker 9: what that is. And you know Sally's the one who
• 2:14:59
  Speaker 9: actually was able to escape death.
• 2:15:01
  Speaker 7: M Yeah, that's interesting.
• 2:15:04
  Speaker 1: Yeah, imagine imagine if you were to find his uh,
• 2:15:07
  Speaker 1: his little I don't know raccoon asked satchel or whatever
• 2:15:10
  Speaker 1: it is. Like, Imagine if you were to find that
• 2:15:12
  Speaker 1: and say, for instance, you were to unravel that photo
• 2:15:15
  Speaker 1: and everybody else was burnt except for Sally.
• 2:15:18
  Speaker 6: She's only one left on the picture, you know.
• 2:15:20
  Speaker 3: Yeah, all right, Dylan might be on to something.
• 2:15:23
  Speaker 7: That's the start of the Texas Chance to ask her
• 2:15:25
  Speaker 7: two point one.
• 2:15:26
  Speaker 1: Dude, we gotta pitch this. We gotta pitch this the
• 2:15:28
  Speaker 1: next studio.
• 2:15:32
  Speaker 7: Man, dude, what what an episode?
• 2:15:34
  Speaker 1: Man?
• 2:15:35
  Speaker 5: I'm I'm this actually makes me want to watch the
• 2:15:38
  Speaker 5: movie again. Yeah. Uh, before we kind of say our
• 2:15:44
  Speaker 5: goodbyes and stuff, Steve, we have a lot of cool
• 2:15:48
  Speaker 5: stuff coming to the show, so much stuff that we
• 2:15:51
  Speaker 5: don't even want to but I think we have a
• 2:15:55
  Speaker 5: pretty good grasp of August. So as of as of
• 2:15:59
  Speaker 5: you listening, if you're listening to this, it's gonna be
• 2:16:02
  Speaker 5: out tomorrow, like meaning from us recording, it's gonna be
• 2:16:05
  Speaker 5: out tomorrow. We're gonna be doing a Texas chains on
• 2:16:10
  Speaker 5: mascer ranking to kind of round out the TCM coverage.
• 2:16:15
  Speaker 5: I Oh, dude, it's gonna be it's gonna be awesome,
• 2:16:19
  Speaker 5: especially with there's Arrow four k's.
• 2:16:21
  Speaker 7: I'm hoping that they come in.
• 2:16:22
  Speaker 3: I know, I might please ship mine soon.
• 2:16:25
  Speaker 5: Yeah, but I want to encourage everybody to go back
• 2:16:29
  Speaker 5: an episode and listen to our interview with Philip Escott
• 2:16:33
  Speaker 5: from Second Site Films. We talked a ton about his
• 2:16:37
  Speaker 5: documentary The Legacy of the Texas Chains On Masker, which
• 2:16:40
  Speaker 5: is a bonus feature on the Dark Sky, and the
• 2:16:45
  Speaker 5: Second Site four K release he directed debt documentary.
• 2:16:48
  Speaker 7: It's incredible. It's an awesome companion piece to the movie.
• 2:16:52
  Speaker 3: Such a nice guy.
• 2:16:53
  Speaker 7: Very informative, Yeah, very informative.
• 2:16:55
  Speaker 5: We spoke a ton about physical media, about bonus feature production,
• 2:16:58
  Speaker 5: We talked about his other movie, The Found Footage Phenomenon.
• 2:17:02
  Speaker 5: We talked about a lot he was he was.
• 2:17:04
  Speaker 3: Incredible love of Italian horror.
• 2:17:07
  Speaker 5: Yeah, dude, it was such a good conversation. I really
• 2:17:10
  Speaker 5: hope everyone goes back and listens to that. So we're
• 2:17:13
  Speaker 5: gonna be doing a Texas Chance on Ascar ranking episode
• 2:17:16
  Speaker 5: just to kind of end out our coverage on TCM.
• 2:17:19
  Speaker 7: But next month is September already, dude, what the fuck?
• 2:17:23
  Speaker 5: Is time, Like, I don't know what's going on, sum crazy,
• 2:17:29
  Speaker 5: but it's an extra special month for for beyond the
• 2:17:32
  Speaker 5: Blood fans because you're gonna be getting two commentary episodes.
• 2:17:37
  Speaker 5: Our main episode for the month we're gonna be We're
• 2:17:39
  Speaker 5: gonna have Brian from the Last Movie Standing. If you've
• 2:17:42
  Speaker 5: been listening to the podcast for a long time, he
• 2:17:44
  Speaker 5: was on our House of a Thousand Corpses episode very
• 2:17:47
  Speaker 5: early on in the year. It feels like we've been
• 2:17:50
  Speaker 5: doing the show so long and it hasn't even been
• 2:17:52
  Speaker 5: a year yet.
• 2:17:53
  Speaker 3: Just I'm bummed.
• 2:17:55
  Speaker 10: I wish I could have been on that episode with
• 2:17:56
  Speaker 10: you guys, because I love that movie so good.
• 2:17:58
  Speaker 5: Dude, He's coming back to chat about the Devil's Rejects
• 2:18:02
  Speaker 5: with us, And then we're gonna be doing a very
• 2:18:05
  Speaker 5: special episode with my wife where we talk about nineteen
• 2:18:08
  Speaker 5: ninety one's Popcorn, which is one of her favorite movies.
• 2:18:12
  Speaker 5: So we're gonna be chatting about the commentary track on that.
• 2:18:16
  Speaker 5: We have so much in in in like the as
• 2:18:23
  Speaker 5: far as interviews go, we have so much coming up.
• 2:18:27
  Speaker 5: I don't want to spoil it for everybody, but we
• 2:18:30
  Speaker 5: are gonna be Can I just mention some of the
• 2:18:34
  Speaker 5: movies of like maybe, all right, I'm gonna say, if
• 2:18:38
  Speaker 5: you're a fan of the WNUF Halloween specials, if you're
• 2:18:42
  Speaker 5: a fan of frog Man, if you're a fan of
• 2:18:44
  Speaker 5: The Mutilator, you're gonna be super stoked about a bunch
• 2:18:47
  Speaker 5: of episodes that we have coming. If I just spoil
• 2:18:50
  Speaker 5: it at all and you're in on it, keep it
• 2:18:53
  Speaker 5: to yourself. We don't need all ten people who listen
• 2:18:56
  Speaker 5: to this show. I'm just gonna it's been really good.
• 2:18:59
  Speaker 5: Thank you to everybody who's been listening. It's actually been
• 2:19:02
  Speaker 5: kind of crazy.
• 2:19:03
  Speaker 2: Well.
• 2:19:04
  Speaker 7: Yeah, we just have so much coming.
• 2:19:05
  Speaker 5: I wish I could just spill it all out for everybody,
• 2:19:08
  Speaker 5: but I can't. We got to keep a little bit secret,
• 2:19:10
  Speaker 5: you know. Thank you guys for doing this. Jordan, please
• 2:19:15
  Speaker 5: take a minute shout yourself out. Where can people find you?
• 2:19:19
  Speaker 5: What do you got coming up? Give us anything?
• 2:19:21
  Speaker 6: Yeah?
• 2:19:22
  Speaker 9: Man, So you can find me on YouTube, the movie DN, Instagram,
• 2:19:25
  Speaker 9: the movie Den, Twitter, the movie you know, find me
• 2:19:29
  Speaker 9: everywhere the movie Din.
• 2:19:31
  Speaker 3: Yeah.
• 2:19:32
  Speaker 9: Just trying, you know, doing daily videos here and there.
• 2:19:35
  Speaker 9: Got a few big reviews coming up coming up. On
• 2:19:39
  Speaker 9: the twenty first, We're doing nineteen seventy nine for our
• 2:19:43
  Speaker 9: fear By Year with Chris and Steven covering all the
• 2:19:46
  Speaker 9: iconic horror movies.
• 2:19:48
  Speaker 6: For the from the year nineteen seventy nine.
• 2:19:49
  Speaker 9: We're going to have our buddy Garrett from Born to
• 2:19:52
  Speaker 9: b Rad is going to be on that episode with us.
• 2:19:55
  Speaker 6: We're going to be talking about all that and then that.
• 2:19:57
  Speaker 9: Actually, each episode is now being convert after those live
• 2:20:01
  Speaker 9: videos into a podcast form, so after those lives they
• 2:20:05
  Speaker 9: will be up on Spotify, Apple Podcast, which just the
• 2:20:09
  Speaker 9: other day upload in nineteen seventy eight episode, so you
• 2:20:13
  Speaker 9: can check that out. And yeah, I think that's pretty
• 2:20:18
  Speaker 9: much all I got right now, that's going on.
• 2:20:20
  Speaker 3: Well, we'll get Cinema Rewind tomorrow too.
• 2:20:23
  Speaker 9: Yes, that's right, Yep, we've got that. We're gonna be
• 2:20:27
  Speaker 9: talking about sleep Boy Camp.
• 2:20:30
  Speaker 3: Hell yeah, talk about that movie.
• 2:20:31
  Speaker 6: So lots of fun there.
• 2:20:33
  Speaker 5: Well, I'll make sure I think fear By Year the
• 2:20:36
  Speaker 5: Spotify and Apple podcast link down below.
• 2:20:38
  Speaker 7: Please go check that out.
• 2:20:40
  Speaker 5: It's such a cool series and it just gives us
• 2:20:42
  Speaker 5: a great excuse to go back and watch, you know, ind,
• 2:20:45
  Speaker 5: so many movies like I can't wait to talk about Alien.
• 2:20:48
  Speaker 7: You know what I mean.
• 2:20:49
  Speaker 5: I'm so excited for that. It's yeah, so I'll make
• 2:20:53
  Speaker 5: sure that all of that is link below.
• 2:20:55
  Speaker 7: Dylan, do it again.
• 2:20:57
  Speaker 5: Let people know where they can find you. What's going on,
• 2:21:00
  Speaker 5: what do you want to bring attention to.
• 2:21:02
  Speaker 7: Let's talk about it first.
• 2:21:04
  Speaker 1: Just you know, thank you guys for having me on here.
• 2:21:07
  Speaker 1: You know, I mean, I don't do podcasts or anything.
• 2:21:09
  Speaker 1: I have a YouTube channel Dylan England, and I you know,
• 2:21:12
  Speaker 1: do film discussions and such. But but this was this
• 2:21:16
  Speaker 1: was truly an amazing time. You know, most of the
• 2:21:19
  Speaker 1: time I usually around my close circle, we talk more
• 2:21:22
  Speaker 1: so about filmmaking, you know, because we're always making projects
• 2:21:25
  Speaker 1: and stuff. So it's always nice to sit down and
• 2:21:27
  Speaker 1: actually talk with you know, other movie lovers and do
• 2:21:30
  Speaker 1: deep dives on films and such.
• 2:21:32
  Speaker 3: You know.
• 2:21:32
  Speaker 1: In a weird way, this kind of felt like going
• 2:21:35
  Speaker 1: to the movie theater and sitting out in the parking
• 2:21:38
  Speaker 1: lot talking about the film. You know. It was it
• 2:21:40
  Speaker 1: was a lot of fun. So thank you guys for that.
• 2:21:42
  Speaker 1: And also just on Instagram, my name's Dylan England Underscore.
• 2:21:47
  Speaker 1: You know, I post a lot of the filmmaking stuff
• 2:21:49
  Speaker 1: that I'm doing, you know, my feature film Rocky Week.
• 2:21:52
  Speaker 1: If you guys, want to check that out. You know,
• 2:21:54
  Speaker 1: we're we're really truly doing exciting things with it. I
• 2:21:57
  Speaker 1: think if you see the teaser trailer you'll kind of understand.
• 2:22:00
  Speaker 1: And but uh, but yeah, I don't want to like
• 2:22:02
  Speaker 1: give myself a plug or anything, you know, for for
• 2:22:04
  Speaker 1: Rocky Weight, but uh, but yeah, definitely check it out
• 2:22:07
  Speaker 1: if you want to, you know, help support the film
• 2:22:09
  Speaker 1: or follow us, you know, it just it helps us
• 2:22:10
  Speaker 1: out so much. Filmmaking is a really really hard journey,
• 2:22:14
  Speaker 1: as you can tell by us talking about Texas Chainsaw
• 2:22:17
  Speaker 1: Master and stuff. You know, it's you know, even besides
• 2:22:20
  Speaker 1: Texas Chainsaw Master. I'm sure there's even crazier stories out there,
• 2:22:24
  Speaker 1: you know, and it's a it's a hard job, you know.
• 2:22:27
  Speaker 1: But but you know, stuff like this us talking about
• 2:22:30
  Speaker 1: the Texas Chainsaw Master and stuff that means I think
• 2:22:33
  Speaker 1: the most to filmmakers more than anything, you know.
• 2:22:36
  Speaker 5: Yeah, Well, first of all, we will have the Rocky
• 2:22:39
  Speaker 5: weeight teaser down below. We'll also have a link to
• 2:22:42
  Speaker 5: grab pace Ada. But don't forget if you're still listening
• 2:22:46
  Speaker 5: to head over to Instagram get a chance to win
• 2:22:48
  Speaker 5: a copy. We have three copies. We're going to be
• 2:22:50
  Speaker 5: given away. Thank you so much to Dylan for.
• 2:22:53
  Speaker 7: That as we can't wait to do that. We loved
• 2:22:56
  Speaker 7: having you on man, Thank you for taking the time.
• 2:22:58
  Speaker 1: To do this. Thank you Steve.
• 2:23:01
  Speaker 5: As always man, where can people find you at?
• 2:23:04
  Speaker 10: You guys can find me after ours video. I'm on Instagram, TikTok, YouTube,
• 2:23:10
  Speaker 10: x you name it, and above all alts. I just
• 2:23:14
  Speaker 10: really want to plug obviously. Tonight we were covering the
• 2:23:18
  Speaker 10: second site release for the Texas Chainsaw massacre. So encourage
• 2:23:22
  Speaker 10: all of you guys to go out there pick it up.
• 2:23:23
  Speaker 10: If you can add that to your collection. Just go
• 2:23:26
  Speaker 10: out there and make sure you support physical media.
• 2:23:29
  Speaker 7: Read your booklets.
• 2:23:30
  Speaker 5: God damn it, I'm tired telling you all people a
• 2:23:36
  Speaker 5: right read.
• 2:23:36
  Speaker 3: This is going to be Chris's villain origin story.
• 2:23:39
  Speaker 1: If you don't, well, the Second Side has a whole
• 2:23:41
  Speaker 1: freaking book. Yeah you read your book man.
• 2:23:47
  Speaker 7: Yeah.
• 2:23:47
  Speaker 5: So, as always, you guys can find me over on
• 2:23:51
  Speaker 5: Instagram or on YouTube at a Bearded film guy, as
• 2:23:57
  Speaker 5: well as on here the Beyond the Blood podcast. Do
• 2:23:59
  Speaker 5: us a favor, go ahead and on Instagram give us
• 2:24:02
  Speaker 5: a follow on the Beyond the Blood pod page. We
• 2:24:04
  Speaker 5: don't really post unique content on there. We just kind
• 2:24:07
  Speaker 5: of share.
• 2:24:09
  Speaker 3: Announcements.
• 2:24:10
  Speaker 7: Yeah, yeah, we share.
• 2:24:11
  Speaker 5: What we post on our personals over there, and it's
• 2:24:13
  Speaker 5: just kind of a good go to page to kind
• 2:24:15
  Speaker 5: of get a tracking of all the episodes. And again,
• 2:24:18
  Speaker 5: I just want to say thank you to everybody who's
• 2:24:20
  Speaker 5: been listening. You know, this journey, this journey since we've
• 2:24:24
  Speaker 5: joined someone's favorite productions, it's been life changing for this show.
• 2:24:28
  Speaker 5: And you know, the the endless feedback that we get, uh,
• 2:24:32
  Speaker 5: the stats they're going up with every single episode. You know,
• 2:24:36
  Speaker 5: the stats on podcasts are really tough to track, but
• 2:24:39
  Speaker 5: every episode we put up ends up at the top
• 2:24:41
  Speaker 5: of the chart and we just keep kind of it
• 2:24:44
  Speaker 5: keeps like shooting up and then shooting up and shooting up.
• 2:24:46
  Speaker 5: So we can't thank everybody enough for kind of finding
• 2:24:48
  Speaker 5: the show, giving us a chance, you know, following, following
• 2:24:52
  Speaker 5: us over on Instagram, whatever, you know. Our whole goal
• 2:24:55
  Speaker 5: here is to just talk about movies. So if you're
• 2:24:57
  Speaker 5: ever interested in joining to shoot one of us a
• 2:24:59
  Speaker 5: mess on Instagram, will be sure to get you on
• 2:25:01
  Speaker 5: a future episode to come hang out. And other than that,
• 2:25:05
  Speaker 5: thank you guys so much. This was an absolute blast.
• 2:25:09
  Speaker 5: I loved every single second of it. You guys are incredible,
• 2:25:12
  Speaker 5: so thank you.
• 2:25:13
  Speaker 3: Thanks again, guys, thank you, thanks, thank you for listening.
• 2:25:23
  Speaker 1: To hear more shows from the Someone's Favorite Productions podcast network.
• 2:25:27
  Speaker 7: Please select the link in the description