Latest / Beyond The Blood: A Horror Movie Commentary Podcast / Re-Animator (1985) ft. Garrett of Born2BeRad

Transcript

Re-Animator (1985) ft. Garrett of Born2BeRad · Beyond The Blood: A Horror Movie Commentary Podcast

• 0:01
  Speaker 1: You are now listening to the Someone's Favorite Productions Podcast Network.
• 0:10
  Speaker 2: Hello Filthy movie lovers. My name is Gentry Austin, now
• 0:15
  Speaker 2: in Casey Scott, and we're the hosts of the Sin
• 0:18
  Speaker 2: Syndicate Film podcast. For Something weirdos Anti Criterion Bros. And
• 0:24
  Speaker 2: Joseph Sarno of Ficionados join us semi weekly as we
• 0:29
  Speaker 2: peer into the adults only theaters in sticky floored cinemas
• 0:33
  Speaker 2: of the golden age of sexploitation, when the morals were loose,
• 0:38
  Speaker 2: the laws were murky, and the intercourse was all simulated.
• 0:43
  Speaker 2: Find us now on the Someone's Favorite Productions Podcast Network OPPP.
• 2:01
  Speaker 3: We are both scientists.
• 2:04
  Speaker 4: Let us get to the point.
• 2:10
  Speaker 3: I want your discovery.
• 2:14
  Speaker 5: Whatever it is it gives the dead the appearance of life.
• 2:17
  Speaker 4: Oh, it is not the appearance of life. It is life.
• 2:20
  Speaker 4: This is not magic, as you say. I I'm a scientist.
• 2:24
  Speaker 3: I'll have you locked up for a madman murder.
• 2:48
  Speaker 4: Well you can go.
• 2:50
  Speaker 5: I'm gonna I'm gonna be here introducing Garrett back to
• 2:54
  Speaker 5: the podcast. Welcome back to Beyond the Blood Man.
• 2:57
  Speaker 4: Thank you man.
• 2:57
  Speaker 6: I appreciate you guys letting me come on again and
• 3:00
  Speaker 6: talking about one of my favorites when it comes to
• 3:02
  Speaker 6: horror movies.
• 3:03
  Speaker 4: So I'm down to talk about Reanimator.
• 3:06
  Speaker 5: Of course, Man, I hope, I hope you're ready to
• 3:07
  Speaker 5: give audio interpretations of what your re Animator collection looks like,
• 3:13
  Speaker 5: because we don't have a video version any detailed, long winded,
• 3:18
  Speaker 5: like tell me every word on the packaging so.
• 3:21
  Speaker 7: Much detail and detail was rich going to incredibly descriptive details.
• 3:27
  Speaker 6: Of the story, so we all know there's actually had
• 3:31
  Speaker 6: a lot like all their editions are actually really cool,
• 3:33
  Speaker 6: like they that's one of the only titles that like
• 3:37
  Speaker 6: a lot of their additions, Like they put a lot
• 3:39
  Speaker 6: of effort into this movie a lot of times.
• 3:41
  Speaker 4: So I kept everything.
• 3:43
  Speaker 6: Because it's always just one of those things where it's like, man,
• 3:45
  Speaker 6: they always put such great effort.
• 3:47
  Speaker 3: Where did initially start for you as far as collecting, So.
• 3:52
  Speaker 4: I've talked about this a lot.
• 3:55
  Speaker 6: I think even when we spoke last time, Steven, when
• 3:58
  Speaker 6: I talked about my uncle getting me in the horror
• 4:01
  Speaker 6: when I was a teenager, and he always had like
• 4:03
  Speaker 6: a group of movies that he put on like this
• 4:05
  Speaker 6: Pedestal as like the best, and I had mentioned Eating
• 4:08
  Speaker 6: Alive as.
• 4:09
  Speaker 4: One of those movies.
• 4:10
  Speaker 6: Which in my head was always considered a classic because
• 4:12
  Speaker 6: he made it seem like it was like a top
• 4:14
  Speaker 6: dog in horror and Reanimator was right up there. So
• 4:16
  Speaker 6: things like Phantasm, re Animator, Hills Have Eyes like those
• 4:19
  Speaker 6: were movies that in Texas Chainsaw of course that he
• 4:22
  Speaker 6: was like, these are the best of the best. So
• 4:24
  Speaker 6: to me going into the genre, I always looked at
• 4:27
  Speaker 6: Reanimator as like top dog, Like everybody who's a horror
• 4:31
  Speaker 6: fan should know this movie. And that's where it kind
• 4:34
  Speaker 6: of fell for me. And you know, he gave me
• 4:35
  Speaker 6: his VHS tape. This is not the VHS tape that
• 4:39
  Speaker 6: I had one. This is the one I had, but
• 4:42
  Speaker 6: I sold it in two thousand and eight. And I'll
• 4:45
  Speaker 6: give a shout out to Mel She actually got this
• 4:47
  Speaker 6: for me for my birthday. So she sent me in
• 4:51
  Speaker 6: a new edition of this VHS which I always had
• 4:53
  Speaker 6: a love. It's clean, man, It's one hundred percent clean.
• 4:56
  Speaker 5: So a lot of is that blue on it or
• 4:59
  Speaker 5: is it green?
• 5:00
  Speaker 3: It's blue?
• 5:00
  Speaker 6: It's blue, but the lettering is green, so but around
• 5:04
  Speaker 6: is blue. Yeah, so it's kind of like a different look. Yeah,
• 5:08
  Speaker 6: I really do like this when it's a restauran video VHS,
• 5:11
  Speaker 6: so I'm glad to have that kind of back.
• 5:12
  Speaker 3: In my line.
• 5:14
  Speaker 4: So that's where it started.
• 5:15
  Speaker 6: My uncle gave me the Restauran VHS tape when I
• 5:17
  Speaker 6: was about fifteen and said, check this out.
• 5:20
  Speaker 4: You're gonna love it, and I did.
• 5:22
  Speaker 6: It had a great blend of horror, great effects, It
• 5:25
  Speaker 6: had a little comedic elements in here. Like everything about it.
• 5:28
  Speaker 6: I just absolutely loved. I think, in my opinion this
• 5:31
  Speaker 6: is this is one of those like masterpiece horror movies.
• 5:34
  Speaker 4: Yeah.
• 5:34
  Speaker 5: Well, in physical media history for Reanimator, I think we
• 5:37
  Speaker 5: can all kind of talk about how Aero Video gave
• 5:41
  Speaker 5: it one of the greatest treatments of all time with
• 5:44
  Speaker 5: their limited edition set, both from an art piece but
• 5:47
  Speaker 5: also being if I remember correctly, you would probably know
• 5:50
  Speaker 5: better Garrett than I would. But this was before they
• 5:53
  Speaker 5: did that, before they kind of adopted the hard boxes, right,
• 5:56
  Speaker 5: because it's still the flimsy Okay, this is a hard
• 6:00
  Speaker 5: Oh that is a hard one. Oh, Bride of re Animator,
• 6:03
  Speaker 5: I believe it's hard. So was that hard? Okay?
• 6:05
  Speaker 6: Yeah, it came with a book, it came with the condition.
• 6:09
  Speaker 6: But this was definitely, you know, a top of the line,
• 6:12
  Speaker 6: like you said, like the artwork was different, but it
• 6:14
  Speaker 6: was really cool and unique for this movie. And it
• 6:18
  Speaker 6: came with a book and all this other stuff as well.
• 6:20
  Speaker 6: So yeah, it arrow killed it with that release. But
• 6:23
  Speaker 6: you know, this always had good releases like this. This
• 6:26
  Speaker 6: is an Elite Entertainment Millennium edition. It was like a
• 6:29
  Speaker 6: thick boy and you know, it was a lot bigger
• 6:31
  Speaker 6: than any other DVD. It was all green, very very
• 6:35
  Speaker 6: cool addition, it was loaded with like tons of features.
• 6:37
  Speaker 6: It was one of those things that like back in
• 6:39
  Speaker 6: the day, you didn't see like two discs just full
• 6:43
  Speaker 6: of features back then, way back, like this is going
• 6:46
  Speaker 6: back to man this was released probably I'm guessing, yeah,
• 6:50
  Speaker 6: this is two thousand and two.
• 6:51
  Speaker 4: This was released, so it was pretty early. And then
• 6:54
  Speaker 4: on top of that, Anchor Bay he got a hold
• 6:55
  Speaker 4: of re Animator and put out this unbelievable I remember
• 7:00
  Speaker 4: they set that came with a syringe pen and all
• 7:02
  Speaker 4: that stuff. Like this was a huge release for them,
• 7:05
  Speaker 4: and again it was chock full of you know, special features.
• 7:07
  Speaker 4: So Reanimator always had like really nice.
• 7:10
  Speaker 6: Additions, you know, from all these different companies, even here
• 7:15
  Speaker 6: in the States too. I'm not even talking about what
• 7:17
  Speaker 6: they did overseas and stuff like that. But yeah, it's
• 7:20
  Speaker 6: definitely one that's always got some good treatment and it
• 7:22
  Speaker 6: was awesome to see, you know that A Night kind
• 7:25
  Speaker 6: of came out and brought this re Animator on four
• 7:28
  Speaker 6: K and all restored beautifully and great addition.
• 7:32
  Speaker 4: Man, I love it.
• 7:33
  Speaker 5: Yeah, the Ignite Film's addition for the fortieth anniversary was
• 7:37
  Speaker 5: quite a surprise. I don't think we were expecting. I
• 7:39
  Speaker 5: think there was a lot of rumors about Arrow possibly
• 7:42
  Speaker 5: restoring it and that's kind of where people were putting
• 7:44
  Speaker 5: their money at. And then Ignite Films came out of
• 7:47
  Speaker 5: nowhere and kind of really disrupted the market for a
• 7:51
  Speaker 5: little bit with it, and they did the Bobblehead with it,
• 7:55
  Speaker 5: and just recently announced Bride of re Animator and doing
• 7:59
  Speaker 5: it again. Some beautiful artwork, great treatment, new bonus features,
• 8:04
  Speaker 5: really really treating this film with the respect it deserves.
• 8:09
  Speaker 5: Not only did they do like a pretty remarkable frame
• 8:12
  Speaker 5: by frame full restoration of it, but also giving it
• 8:17
  Speaker 5: a very retrospective release that's really celebrating the legacy of
• 8:21
  Speaker 5: the movie and celebrating forty years. And unfortunately Stuart Gordon
• 8:26
  Speaker 5: is no longer with us, but the release was approved
• 8:29
  Speaker 5: by Brian Usna, and I'm pretty sure if Stuart Gordon
• 8:31
  Speaker 5: was still around, he would have put his good word
• 8:34
  Speaker 5: on it. And that's where we have kind of created
• 8:38
  Speaker 5: this episode off of because this release has three commentary tracks,
• 8:43
  Speaker 5: two legacy, So we have a legacy track with Stuart
• 8:47
  Speaker 5: Gordon that was recorded in From what I Can Find
• 8:49
  Speaker 5: two thousand and four, two thousand and five ish, there
• 8:54
  Speaker 5: is another legacy commentary with Usna and some of the cast,
• 9:00
  Speaker 5: and then Steve you actually dove into a new fortieth
• 9:04
  Speaker 5: anniversary commentary track. Do you remember who was on that one?
• 9:08
  Speaker 4: Yes?
• 9:08
  Speaker 3: So for that one, it was it was more of
• 9:11
  Speaker 3: like a visual commentary that they were doing. It felt
• 9:15
  Speaker 3: more like a like a conversation between Brian Husena and
• 9:18
  Speaker 3: then Barbara Crampton and Jeffrey colmebs on it. But what
• 9:21
  Speaker 3: I thought was really interesting was this allowed for them,
• 9:25
  Speaker 3: since it was a smaller, you know group that was
• 9:28
  Speaker 3: discussed in the film, allowed them to get a little
• 9:30
  Speaker 3: bit more you know, intimate, a little bit more detailed
• 9:34
  Speaker 3: with what their experience was like, whether it was in
• 9:38
  Speaker 3: production or you know, with the cast and what their
• 9:41
  Speaker 3: experience was, you know, from their eyes. So that part
• 9:44
  Speaker 3: about it I thought was really interesting and I felt
• 9:47
  Speaker 3: like it was one of the highlights at least on
• 9:50
  Speaker 3: this release, And you know, it just goes to show
• 9:53
  Speaker 3: why this movie so iconic.
• 9:55
  Speaker 5: Yeah, and also too, I remember kind of going through
• 9:58
  Speaker 5: the bonus features when Ignited announced this, and I had
• 10:02
  Speaker 5: just at that time had finished Stuart Gordon's biography Naked
• 10:07
  Speaker 5: Theater and Uncensored Horror, so it's kind of in living
• 10:10
  Speaker 5: pretty heavy in his space for a bit. And to
• 10:14
  Speaker 5: see that this release also came with the documentary all
• 10:16
  Speaker 5: about the Organic Theater Company was incredible. So this was
• 10:20
  Speaker 5: a release that went beyond just covering Reanimator but kind
• 10:22
  Speaker 5: of gave its respect to Gordon and what he created.
• 10:25
  Speaker 5: This was obviously his first film, and this commentary track
• 10:29
  Speaker 5: I sat down with. Every time that we go into
• 10:32
  Speaker 5: a commentary track, it's you're kind of hoping you're gonna
• 10:36
  Speaker 5: get enough out of it. You never know, And this
• 10:39
  Speaker 5: was one that just felt like an endless just love
• 10:46
  Speaker 5: for from Gordon, for everybody involved, and the amount of
• 10:51
  Speaker 5: notes and anecdotes that I took from this from just
• 10:56
  Speaker 5: really cool production insights that I've never heard before too.
• 11:02
  Speaker 5: I think some pretty interesting visual practices that the movie
• 11:06
  Speaker 5: follows and does that kind of changed some of my
• 11:09
  Speaker 5: viewpoints on how I kind of see the movie a
• 11:11
  Speaker 5: little bit. So this is one that really really pays
• 11:15
  Speaker 5: off well. And before we get into that, Garrett, how
• 11:19
  Speaker 5: are you with commentaries? Are you a big commentary fellow?
• 11:24
  Speaker 4: If it's a.
• 11:24
  Speaker 6: Movie that I love that I've seen so many times,
• 11:28
  Speaker 6: I'll definitely chime in and check out some new commentaries
• 11:30
  Speaker 6: because it just gives it a whole new outlook on
• 11:33
  Speaker 6: a movie that I know so well, to kind of
• 11:35
  Speaker 6: hear these people talk about it and learn some things
• 11:37
  Speaker 6: you know that you didn't know.
• 11:39
  Speaker 4: So when it comes to this.
• 11:40
  Speaker 6: Release, the only thing I really dug into on the
• 11:43
  Speaker 6: features was the interview.
• 11:46
  Speaker 4: I think it was the one that Steven was talking about.
• 11:49
  Speaker 6: It was used not I thought was just him, but
• 11:51
  Speaker 6: maybe it's all three of them sitting there and they're
• 11:53
  Speaker 6: just kind of like talking back and forth. That I
• 11:56
  Speaker 6: dove into when I first got this release, and I
• 11:59
  Speaker 6: thought that was fantastic. I thought it was great having
• 12:01
  Speaker 6: those three kind of talking about the movie itself and
• 12:04
  Speaker 6: what was so wild about this? And I don't know
• 12:06
  Speaker 6: if you guys know, but like you're right when Reanimated
• 12:09
  Speaker 6: was one of those movies where Harold did such a
• 12:11
  Speaker 6: great job. But you know, no matter what this, I
• 12:14
  Speaker 6: could have had this Arrow release for the rest of
• 12:16
  Speaker 6: my life and been perfectly happy with the last time
• 12:19
  Speaker 6: I got Reanimator, I thought it was great. But in
• 12:21
  Speaker 6: the world that we live in now, it's always like
• 12:23
  Speaker 6: where's the four K, Like it doesn't matter what movie is.
• 12:25
  Speaker 6: Everybody wants that next thing, you know, and I'm kind
• 12:28
  Speaker 6: of like, I'm fine, but and like you said, we
• 12:31
  Speaker 6: were everybody was like, maybe this person's gonna do it,
• 12:33
  Speaker 6: maybe Arrow's gonna do it. And then a night comes
• 12:35
  Speaker 6: out of nowhere we have Reanimator and it's like, wait
• 12:36
  Speaker 6: a minute, I don't even really know this company and
• 12:39
  Speaker 6: they've got Reanimator, which to me felt like every big
• 12:42
  Speaker 6: company was probably after like do you have any idea
• 12:45
  Speaker 6: like how they stumbled upon getting Reanimator over anybody else
• 12:50
  Speaker 6: and releasing this on four K because they restored this
• 12:53
  Speaker 6: thing fantastic. It looks phenomenal. So they really did a
• 12:56
  Speaker 6: great job with this release. Every part of it, from
• 13:00
  Speaker 6: what you get inside, the features, the way it looks,
• 13:02
  Speaker 6: the way it sounds. They did an amazing job, and
• 13:05
  Speaker 6: it's awesome to see that they're doing Bride because it's
• 13:08
  Speaker 6: gonna be a companion piece, which for someone like me
• 13:10
  Speaker 6: who's been collecting a long time, like I love the
• 13:13
  Speaker 6: idea of an aesthetic where you're gonna get these two
• 13:16
  Speaker 6: movies side by side on the shelf and it looks
• 13:18
  Speaker 6: like they belong together, like it's a companion piece. It's
• 13:21
  Speaker 6: not like, hey, I've got the you know, Reanimator from
• 13:24
  Speaker 6: Ignite and then I have the screen Factory's slipcase of Bride.
• 13:28
  Speaker 6: Like to me, that bothers me. It just doesn't like
• 13:31
  Speaker 6: it doesn't work for me. Brother, Basically, I don't.
• 13:35
  Speaker 5: I don't know offhand how, and I'm hoping we've had
• 13:38
  Speaker 5: some conversations. I'm hoping here soon that we that we
• 13:41
  Speaker 5: will have a behind the blood episode with somebody from
• 13:44
  Speaker 5: McKnight that can give us a little bit more insight.
• 13:48
  Speaker 5: But it seems like they pretty much went ready to
• 13:51
  Speaker 5: use it then struck a deal because they had already
• 13:53
  Speaker 5: confirmed I mean when a little bit after Reanimator was announced,
• 13:56
  Speaker 5: they had already confirmed Bride, and they also confirmed Society
• 14:00
  Speaker 5: yeah as well. So they came out and said, hey,
• 14:02
  Speaker 5: we kind of bought this.
• 14:04
  Speaker 4: Wait little, so you're saying ignites plan is to do Society.
• 14:10
  Speaker 5: They came out and publicly said they Animator and Society
• 14:15
  Speaker 5: and I don't know what. I don't know, Like they
• 14:19
  Speaker 5: didn't mention the release is going to be anytime soon.
• 14:22
  Speaker 5: They just said, hey, we have these three titles.
• 14:25
  Speaker 6: Society in a box like this and in addition like
• 14:28
  Speaker 6: this would be absolutely bonkers.
• 14:31
  Speaker 4: Yeah.
• 14:31
  Speaker 3: I feel like these are going to become the definitive
• 14:33
  Speaker 3: versions of these films, Like at that point, really, where
• 14:38
  Speaker 3: where else can you go?
• 14:41
  Speaker 5: Well, my worry was at first I thought, oh, I'll
• 14:47
  Speaker 5: have to keep my Arrow addition, because I it's even
• 14:50
  Speaker 5: though I don't watch it, I still wanted to have
• 14:52
  Speaker 5: the integral cut. And then Ignite came in. I was like, hey,
• 14:56
  Speaker 5: we're also going to have the integral cut, you know,
• 14:58
  Speaker 5: the longer, in my opinion, less fun cut of re Animator.
• 15:03
  Speaker 5: But no, they got and while they don't have everything
• 15:06
  Speaker 5: from previous releases, I think if you have the Arrow
• 15:08
  Speaker 5: and then you have the Ignite, you kind of have
• 15:10
  Speaker 5: together the perfect What more could you ask for besides
• 15:14
  Speaker 5: the syringe Ben at that point that doesn't even work.
• 15:17
  Speaker 5: I don't think so you know, at that point, what
• 15:20
  Speaker 5: more could you get?
• 15:21
  Speaker 4: You know?
• 15:22
  Speaker 5: But you know, people had their had their opinions about
• 15:25
  Speaker 5: the release. I know there was a lot of conversation
• 15:26
  Speaker 5: out there about pricing, and I think a lot of
• 15:28
  Speaker 5: that kind of got squished when people started receiving the
• 15:32
  Speaker 5: release and kind of seeing the treatment and the booklet
• 15:36
  Speaker 5: and the the just wealth of features and the treatment.
• 15:41
  Speaker 5: The restoration got nothing but praise from what I could see.
• 15:43
  Speaker 5: They screened it. They did that incredible poster I believe
• 15:46
  Speaker 5: was that. I think they did that poster with was
• 15:48
  Speaker 5: that Matt Ryan who did that for anniversary, Yeah poster,
• 15:52
  Speaker 5: and they kind of toured around with that and it's
• 15:56
  Speaker 5: it's pretty incredible what they were able to do and
• 15:58
  Speaker 5: talk about a release, it's going to get your buty
• 16:00
  Speaker 5: on the map, and they they really did that. And
• 16:03
  Speaker 5: Bride was that announcement came with open arms. People. Everybody
• 16:07
  Speaker 5: that that that was in our circle jumped on that
• 16:10
  Speaker 5: pre order pretty much immediately.
• 16:13
  Speaker 6: I wasn't gonna miss out on that little figure by
• 16:15
  Speaker 6: the way to either, I had to jump on it.
• 16:18
  Speaker 4: Like I I didn't. I didn't get the bobblehead with
• 16:21
  Speaker 4: this one. This actually I did a review on this,
• 16:24
  Speaker 4: and I had said I didn't get the Bibblehead one,
• 16:26
  Speaker 4: and then somebody sent me the Bibblehead like, so that's
• 16:30
  Speaker 4: why I have it. If someone said to me, hey,
• 16:31
  Speaker 4: I saw your review and I saw that you didn't
• 16:33
  Speaker 4: get the you didn't get the bubblehead version. I got mine.
• 16:35
  Speaker 4: I don't really want it, so I'm gonna send it
• 16:37
  Speaker 4: your way. And I was like, I'll take it, you know,
• 16:38
  Speaker 4: I'll display it on my shelf or whatever. So when
• 16:41
  Speaker 4: I saw that little figure, though, I was like, oh man,
• 16:42
  Speaker 4: that's a cool little prompt because it.
• 16:45
  Speaker 6: Feels like a real thing, right, Like it feels like
• 16:47
  Speaker 6: a real like it's the same size it was in
• 16:49
  Speaker 6: the movie. It's not like a toy. It's like a
• 16:51
  Speaker 6: like a little prop replica that can sit on a
• 16:53
  Speaker 6: shelf and look.
• 16:54
  Speaker 4: Kind of cool.
• 16:54
  Speaker 5: And well, I think, isn't it meant to be like
• 16:56
  Speaker 5: a phone holder?
• 16:57
  Speaker 4: It is.
• 16:58
  Speaker 6: Yeah, you can have it just displayed normal, or you
• 17:02
  Speaker 6: can make your phone kind of sit in it, which
• 17:04
  Speaker 6: I thought was a.
• 17:04
  Speaker 4: Pretty cool little git gag.
• 17:05
  Speaker 6: Yeah, yeah, sure, And like you said, I think people
• 17:09
  Speaker 6: did kind of open their arms to this. And the
• 17:11
  Speaker 6: thing is too is I get it, like everything's expensive now,
• 17:14
  Speaker 6: especially if you got the bundle, it's expensive. But you
• 17:16
  Speaker 6: got to look at it in this way, and I
• 17:18
  Speaker 6: say this about Redshirt Pictures as well, the amount of
• 17:21
  Speaker 6: time and effort they put in these releases, and to
• 17:24
  Speaker 6: think like Ignites only releasing, like they're not releasing all
• 17:27
  Speaker 6: these things all year, like this is their release, Like
• 17:30
  Speaker 6: they've got to put all their effort into this and
• 17:31
  Speaker 6: make sure it's profitable.
• 17:32
  Speaker 4: So if they're.
• 17:34
  Speaker 6: Going to release one thing a year and put everything
• 17:36
  Speaker 6: they have into that release, it might have to be
• 17:38
  Speaker 6: a little more expensive. They're not doing four titles a
• 17:40
  Speaker 6: month like a lot of these other companies are. Ye,
• 17:43
  Speaker 6: So you know, if you gotta look at it from
• 17:45
  Speaker 6: a different lens too, like if you want this company
• 17:46
  Speaker 6: to survive, like they're trying to base it off like
• 17:49
  Speaker 6: one title a year.
• 17:50
  Speaker 5: Yeah, nothing but love for Ignite Films. They've been They've
• 17:55
  Speaker 5: been incredible. We've been back and forth with them about
• 17:58
  Speaker 5: trying to get more info out possibly kind of getting
• 18:01
  Speaker 5: some info out about Bride before that hits, you know,
• 18:04
  Speaker 5: before that starts arriving to people. So I think they
• 18:07
  Speaker 5: did incredible work and you know, this this release is
• 18:10
  Speaker 5: kind of one of my favorites from the last couple
• 18:14
  Speaker 5: of years. So when I look back, this is one
• 18:15
  Speaker 5: that always kind of stands out to me on the shelf,
• 18:17
  Speaker 5: and I actually have it on a little I have
• 18:19
  Speaker 5: it on a little shelf with a little you know,
• 18:21
  Speaker 5: Herbert West figure, and I love this man. I can't
• 18:24
  Speaker 5: wait to see bride next to it. But getting into
• 18:27
  Speaker 5: this commentary track, I want to say, first of all,
• 18:30
  Speaker 5: like we always say always, no matter what you learn
• 18:34
  Speaker 5: from this episode, from what we took from these commentary tracks,
• 18:37
  Speaker 5: please take the time to go listen to these commentary
• 18:39
  Speaker 5: tracks yourself. You know, we're not just copy and pasting
• 18:42
  Speaker 5: what we hear and and and putting them into an
• 18:46
  Speaker 5: audio track for you to listen to. We want you
• 18:48
  Speaker 5: to go back and experience this. It's it's, you know,
• 18:52
  Speaker 5: something that I hold very dear audio commentaries. I think
• 18:55
  Speaker 5: you can learn so much and as I always say,
• 18:57
  Speaker 5: physical media is education. So please have to episode, go
• 19:00
  Speaker 5: listen to his commentary track, dive into a little bit
• 19:03
  Speaker 5: more than we did all three of them. Actually they're
• 19:06
  Speaker 5: all they're all incredible, but all in all, I think
• 19:11
  Speaker 5: this is and I've probably said this a bunch of times,
• 19:14
  Speaker 5: so This is probably one of my favorite commentary tracks
• 19:17
  Speaker 5: we've covered yet. I think I've said that about the
• 19:19
  Speaker 5: last three. Just a testament to the quality of commentary tracks,
• 19:24
  Speaker 5: which is why people need to listen to them. But
• 19:28
  Speaker 5: I want to start this by kind of talking about
• 19:30
  Speaker 5: something that Stuart Gordon says right off the rip with
• 19:33
  Speaker 5: this commentary, which was he was kind of giving some
• 19:38
  Speaker 5: some praise to Bob Greenberg, who was one of the
• 19:42
  Speaker 5: producers on Reanimator, and there's there was a quote that
• 19:45
  Speaker 5: he told Stuart. So, this was Stuart Gordon's first film
• 19:49
  Speaker 5: and he was kind of looking at possibly moving from
• 19:53
  Speaker 5: theater to film, and Bob Greenberg said to him, quote unquote,
• 19:56
  Speaker 5: if you make it for under a million dollars, it'll
• 19:59
  Speaker 5: make your money back, no matter how bad they turn out.
• 20:03
  Speaker 5: And it's interesting how well that's held up considering the
• 20:07
  Speaker 5: volume of horror films we're getting now that are moderate
• 20:12
  Speaker 5: budget but absolutely crushing it at the box office, even
• 20:16
  Speaker 5: if they're not making, you know, blockbuster levels of money.
• 20:20
  Speaker 5: These these little movies making two, three, four million dollars
• 20:23
  Speaker 5: are still three times four times five timing their their
• 20:27
  Speaker 5: production budget. So it still seems that horror is reigning
• 20:31
  Speaker 5: strong at the twenty twenty six box office. I think,
• 20:37
  Speaker 5: but opening up this movie, I had to talk about
• 20:41
  Speaker 5: some of the gore effects. I think that's the most
• 20:44
  Speaker 5: the biggest conversation point about this movie, right is how
• 20:46
  Speaker 5: just incredible the effects are. And Stort Gordon kind of
• 20:50
  Speaker 5: right off the rip gives a whole bunch of credit
• 20:52
  Speaker 5: to John Nolan for the gore effects. This opening scene
• 20:57
  Speaker 5: with doctor Gruper, which best cold open. We start off
• 21:02
  Speaker 5: to find out that he's already given them the re
• 21:04
  Speaker 5: animator serum. We're seeing the effects right mid of what's
• 21:07
  Speaker 5: going on, and we have these incredibly gross bladder effects.
• 21:12
  Speaker 5: The when when Gruber turns around and you see his
• 21:16
  Speaker 5: face and the veins running down his head, the eyeballs
• 21:20
  Speaker 5: are pulsing and eventually they fully come out and they explode,
• 21:25
  Speaker 5: splattering blood all over the nurse. Uh dude, right away.
• 21:29
  Speaker 5: I remember watching this as a kid being like, I'm
• 21:30
  Speaker 5: fucking in my shit right here, dude, this is it.
• 21:35
  Speaker 5: What did you guys think about this cold open? How
• 21:37
  Speaker 5: do you guys think this movie kicks off?
• 21:39
  Speaker 4: Same? I mean, I think that it's so huge to
• 21:42
  Speaker 4: have an open strong like that. I don't know I've
• 21:46
  Speaker 4: actually been doing some posts on Instagram about movies that
• 21:49
  Speaker 4: have strong openings where you do like you're not just
• 21:52
  Speaker 4: watching a movie all of a sudden, you're just ate
• 21:54
  Speaker 4: it like that.
• 21:55
  Speaker 6: That opening is huge if they can hook you right away.
• 21:58
  Speaker 6: I mean, that's that's important. It's not a ton of
• 22:00
  Speaker 6: movies that can do that either. And I think this
• 22:02
  Speaker 6: was definitely one that started out so hot that you
• 22:04
  Speaker 6: kind of like, I got to see where this scene
• 22:05
  Speaker 6: was here.
• 22:07
  Speaker 5: Yeah, well it doesn't. It doesn't reveal all of its tricks.
• 22:10
  Speaker 5: I mean, you might think this could be nowadays, this
• 22:13
  Speaker 5: could like the movie could open this way, and it's
• 22:15
  Speaker 5: the standout effect of the movie. Right, It's in the trailers,
• 22:18
  Speaker 5: it's in the poster, but then from there nothing else
• 22:21
  Speaker 5: tops it. This is just the beginning. This is actually
• 22:24
  Speaker 5: nothing compared to what's going to come in the next
• 22:26
  Speaker 5: eighty minutes.
• 22:27
  Speaker 6: I don't even think this was in the trailer at all. Like,
• 22:30
  Speaker 6: this wasn't even like like this. This this felt so
• 22:34
  Speaker 6: once you watched the whole movie, it was strong. But
• 22:36
  Speaker 6: at the same time, it's like it's not one of
• 22:37
  Speaker 6: those scenes you remember either.
• 22:39
  Speaker 3: Well. My understanding was a lot of these scenes were
• 22:43
  Speaker 3: filmed out of order because I believe the first opening
• 22:46
  Speaker 3: scene wasn't that film last.
• 22:49
  Speaker 5: I believe so. And also this this film had two
• 22:52
  Speaker 5: different cinematographers. I forget his name, and I didn't write
• 22:57
  Speaker 5: it down, but the film they did, I believe, two
• 23:01
  Speaker 5: weeks of filming with one cinematographer, and Charles Band wanted
• 23:07
  Speaker 5: him fired because he thought it was too dark and
• 23:10
  Speaker 5: you could actually see There are moments in the movie,
• 23:12
  Speaker 5: particularly one of the key moments being I believe it's
• 23:18
  Speaker 5: when it's in It's in Dan's house. There's a moment
• 23:24
  Speaker 5: in the hallway where it's where it's oh, it's with
• 23:28
  Speaker 5: the cat when he wakes up from the deleted nightmare
• 23:32
  Speaker 5: sequence and he goes out in little hallway and he's
• 23:34
  Speaker 5: kind of heading towards the basement to find out what
• 23:37
  Speaker 5: the sounds are and it's super dark. That was one
• 23:39
  Speaker 5: of the examples that Gordon talks about as a moment
• 23:42
  Speaker 5: that Charles Band looked at him was like, the cinematography sucks.
• 23:46
  Speaker 5: This is too dark. You gotta fire this guy. So
• 23:49
  Speaker 5: they fired him and hired another cinematographer. So there's actually
• 23:53
  Speaker 5: two different visuals happening here.
• 23:55
  Speaker 3: Mac Alberg, I believe for the cinematographer.
• 23:58
  Speaker 5: He was the replacement.
• 24:00
  Speaker 3: Yeah.
• 24:00
  Speaker 5: Yeah, And it's actually funny because I don't have a
• 24:03
  Speaker 5: note about it, but Gordon kind of talks about like
• 24:06
  Speaker 5: I wanted mood and he delivered mood, and then Charles
• 24:09
  Speaker 5: Band was like, it's too dark. Get rid of him.
• 24:11
  Speaker 5: He's like, but that's what it looked like. Then he's like,
• 24:13
  Speaker 5: now watching at the time, let's say he recorded this
• 24:16
  Speaker 5: in two thousand and four, whatever restoration was happening or
• 24:19
  Speaker 5: whatever whatever they were doing to make the film look
• 24:22
  Speaker 5: a little bit better. He's like, Oh, look at all
• 24:23
  Speaker 5: the nice detail they brought out. And I'm like, it's
• 24:25
  Speaker 5: ironic watching this on four K and he's talking about
• 24:29
  Speaker 5: the blu ray detail that was brought out and now
• 24:31
  Speaker 5: it's even amplified even more.
• 24:33
  Speaker 4: You know.
• 24:35
  Speaker 5: Did you guys ever read the Herbert West Reanimator story
• 24:41
  Speaker 5: by H. P. Lovecraft?
• 24:42
  Speaker 3: I did not, No, but it was definitely interesting to
• 24:47
  Speaker 3: hear how they got their hands on the original copy
• 24:50
  Speaker 3: and the links they had to go through in order
• 24:52
  Speaker 3: to be able to secure that.
• 24:53
  Speaker 4: Yeah.
• 24:54
  Speaker 5: Yeah, so Gordon had to go to pretty much through
• 24:58
  Speaker 5: the Chicago Public Libe. He had to put in a
• 25:00
  Speaker 5: written request because the story was out of print, and
• 25:05
  Speaker 5: it took like six months for him to hear back
• 25:07
  Speaker 5: from the library, and they eventually invited him to read it,
• 25:10
  Speaker 5: and they had this incredibly old copy that he actually
• 25:13
  Speaker 5: said was like crumbling in his hands, like this thing
• 25:16
  Speaker 5: was just fragile as hell, And I guess he had
• 25:19
  Speaker 5: convinced them to let him xerox it and then he
• 25:23
  Speaker 5: brought it home and that's how he was actually able
• 25:25
  Speaker 5: to read it. But a little insight into this story,
• 25:29
  Speaker 5: because I actually think it's just as interesting as this
• 25:32
  Speaker 5: movie is. The actual title is Herbert West Reanimator. It
• 25:36
  Speaker 5: was written between October nineteen twenty one in June nineteen
• 25:39
  Speaker 5: twenty two, and it ended up serialized in a publication
• 25:42
  Speaker 5: that was titled home Brew Research just based on HP.
• 25:47
  Speaker 5: Lovecraft's personal letters said that the story was actually written
• 25:50
  Speaker 5: as a parody to Mary Shelley's Frankenstein, which you can see,
• 25:54
  Speaker 5: you know, and even in this adaptation you can see that.
• 25:59
  Speaker 5: But the funny part was Lovecraft is on record basically
• 26:03
  Speaker 5: citing that he actually doesn't like this story and he
• 26:07
  Speaker 5: only wrote it because he got paid five dollars per
• 26:11
  Speaker 5: serialization and that's why I got broken up into six
• 26:13
  Speaker 5: different serials. So he made thirty bucks off of this
• 26:18
  Speaker 5: and just kind of wrote it for money. And this
• 26:22
  Speaker 5: film is kind of the best that Cordy could do,
• 26:25
  Speaker 5: taking all six of those and compiling all the stories
• 26:28
  Speaker 5: together the best the best way possible.
• 26:30
  Speaker 3: Well, and it was initially supposed to be a television script,
• 26:33
  Speaker 3: wasn't it.
• 26:35
  Speaker 4: This was Yeah.
• 26:35
  Speaker 5: It started off as a thirty minute treatment and then
• 26:39
  Speaker 5: it went to an hour long treatment and then eventually
• 26:42
  Speaker 5: was expanded even further because I when he when he
• 26:47
  Speaker 5: was introduced to when Greenberg introduced him to Yusna, who
• 26:52
  Speaker 5: this was the first production that used it done. He had,
• 26:55
  Speaker 5: he had a whole bunch of investors that were willing
• 26:57
  Speaker 5: to help him out. They actually handed in the hour
• 27:00
  Speaker 5: long treatment, the hour longest script, and they were like,
• 27:04
  Speaker 5: now we can we can extend this out, and they
• 27:07
  Speaker 5: you know, got it to the full eighty four minutes
• 27:10
  Speaker 5: and to even expand upon that. Eventually this movie was
• 27:16
  Speaker 5: was fully released unrated, which was unheard of at the
• 27:20
  Speaker 5: time because with the NPAA cuts, this movie was going
• 27:24
  Speaker 5: to be like forty five minutes long. Like they were
• 27:27
  Speaker 5: just they just want to fucking cut out everything, man.
• 27:30
  Speaker 5: So USNA took a chance and was like, hey, we're
• 27:32
  Speaker 5: going to release it unrated with no guarantee that any
• 27:34
  Speaker 5: theater is going to pick this up, that anybody's gonna
• 27:36
  Speaker 5: want to do anything with this, And lucky for them,
• 27:40
  Speaker 5: he got some commitments and got some people to put
• 27:42
  Speaker 5: it out, and the reaction was just so strong that
• 27:44
  Speaker 5: it stayed out unrated until Restron came along, and then Restron,
• 27:51
  Speaker 5: without using them, without Gordon Compile, made an R rated cut.
• 27:56
  Speaker 5: Then because Restron did that, for whatever reason they did that,
• 28:01
  Speaker 5: it made it made it illegal for them to distribute
• 28:05
  Speaker 5: the unrated cut anymore. So You's not actually had to
• 28:08
  Speaker 5: go back to the MPAA and be like, Yo, can
• 28:12
  Speaker 5: you please like rescind the R rating so we can
• 28:15
  Speaker 5: distribute this how we originally wanted to. And the NPA
• 28:19
  Speaker 5: was like, yeah, we've never had anybody do this before,
• 28:21
  Speaker 5: but sure, yeah, we'll take away the R ratings. So
• 28:24
  Speaker 5: they were able to finally start showing it an unrated again.
• 28:26
  Speaker 3: Which it's kind of a bold move all things considered,
• 28:29
  Speaker 3: to release as an unrated cut. You know, I know
• 28:32
  Speaker 3: that that's become like more and more common now with
• 28:34
  Speaker 3: horror films. But you know, especially for the time, I
• 28:38
  Speaker 3: feel like that's definitely pushing the boundaries.
• 28:40
  Speaker 5: Well, what else can you guys? Can you guys think
• 28:42
  Speaker 5: of anything else from the eighties that might have been
• 28:44
  Speaker 5: released that was released unrated from day one? I mean, was.
• 28:48
  Speaker 4: Evil Dad or now.
• 28:52
  Speaker 5: Was it originally rated X? Because X was still an
• 28:55
  Speaker 5: official rating, right, So maybe maybe you had a couple
• 28:58
  Speaker 5: of titles that were X or but fully unrated, zero
• 29:03
  Speaker 5: control from the MPa, zero cuts, nothing.
• 29:08
  Speaker 4: That I'm not off the top of my head.
• 29:09
  Speaker 5: No, I also don't know who wants to watch an
• 29:11
  Speaker 5: R rated re animator Looking back, I don't want to
• 29:13
  Speaker 5: watch an R rated re animator give me the full shit.
• 29:16
  Speaker 6: Man said, now now putting or not as much now.
• 29:20
  Speaker 6: But remember in the two thousands, it was like if
• 29:22
  Speaker 6: they just slapped unrated on like a DVD and it
• 29:25
  Speaker 6: literally was like three seconds longer than the other one.
• 29:28
  Speaker 4: It was like a selling point.
• 29:29
  Speaker 5: Remember remember in twenty twenty three when Screen Factory did
• 29:32
  Speaker 5: that with uh Crampus, they were like, oh, this is
• 29:35
  Speaker 5: a naughty cut.
• 29:37
  Speaker 4: A naughty cut.
• 29:38
  Speaker 5: It was like nothing like ten seconds of footage that
• 29:40
  Speaker 5: was too dark to see anyway, nothing nothing has changed.
• 29:46
  Speaker 6: Like, like you're gonna look at the DV section, it's
• 29:48
  Speaker 6: like hit and Run unrated.
• 29:49
  Speaker 4: It's like, what was the rated cut? It's like this
• 29:53
  Speaker 4: was like straight to DVD.
• 29:56
  Speaker 5: I think this is gonna be a really weird cut.
• 29:59
  Speaker 5: But I think they did that to the direct to
• 30:01
  Speaker 5: DVD dukes of Hazard sequel. I found that and it
• 30:04
  Speaker 5: was like unrated, and I was like, wait this this
• 30:06
  Speaker 5: ship was rated in the first place.
• 30:09
  Speaker 6: That was such a selling point though in the two thousands.
• 30:12
  Speaker 6: Was the unrated just slapped on the DVD to get
• 30:14
  Speaker 6: people to be like, Ooh.
• 30:16
  Speaker 4: Gotta pick this up. There's gonna be just crazy stuff
• 30:18
  Speaker 4: in there.
• 30:18
  Speaker 3: Wasn't it like that with the Rob Zombies Halloween.
• 30:22
  Speaker 4: Well they did it.
• 30:22
  Speaker 6: They didn't ready, but they but they did director's cut
• 30:25
  Speaker 6: and stuff too, So that had that had a lot
• 30:26
  Speaker 6: of cuts. Surprisingly as much hate as that movie gets, dude,
• 30:30
  Speaker 6: I have one, two, three, four, five, six, six.
• 30:36
  Speaker 4: DVDs of Rob Zombies Halloween of different cuts.
• 30:39
  Speaker 3: Why am I not even surprised.
• 30:42
  Speaker 6: I was obsessed with that movie when it came out, man,
• 30:45
  Speaker 6: So I was like I had like a wark print edition.
• 30:47
  Speaker 6: I had to like go deep into like the black
• 30:49
  Speaker 6: market again. I have like totally so many cuts.
• 30:52
  Speaker 3: I swear, I remember I remember seeing that in theaters,
• 30:54
  Speaker 3: and and the version of the first one, and the
• 30:57
  Speaker 3: second one was different from what I saw once it
• 30:59
  Speaker 3: was out of DVD exactly.
• 31:01
  Speaker 4: I can't wait.
• 31:02
  Speaker 5: I can't wait to see to see you. You got
• 31:04
  Speaker 5: the Halloween, the theatrical version, you got Halloween, don ray
• 31:07
  Speaker 5: to cut, Halloween, the director's cut, Halloween, the version you've
• 31:09
  Speaker 5: never seen before, Halloween the version too scary for theaters.
• 31:14
  Speaker 5: Because I even have.
• 31:15
  Speaker 4: The Halloween Blockbuster exclusive I've.
• 31:17
  Speaker 5: Got over there, You're like, I got the TBS cut
• 31:20
  Speaker 5: for television. I I before starting this, I was not
• 31:27
  Speaker 5: expecting to learn that you owned six copies of Rob
• 31:29
  Speaker 5: Zombies Halloween.
• 31:30
  Speaker 4: Actually know that.
• 31:31
  Speaker 6: I'm looking now, I own a lot of copies of
• 31:32
  Speaker 6: like the regular Halloween dv I should do like a
• 31:35
  Speaker 6: cool Instagram post where I got two hands holding the
• 31:37
  Speaker 6: Rob Zombie and the regular Halloween and.
• 31:39
  Speaker 5: See which one I have, see which one's heavier, and
• 31:42
  Speaker 5: then you got to kind of weigh them out.
• 31:44
  Speaker 4: You can only pick one instead, I do.
• 31:47
  Speaker 5: I do have a little note here that's just praising
• 31:50
  Speaker 5: h Richard Band's re Animator theme and it's owed to
• 31:53
  Speaker 5: Bernard land On how catchy that opening sequences or that
• 31:57
  Speaker 5: that that title sequences, which is in credible by the way,
• 32:00
  Speaker 5: and it's so trippy, like the way the different the
• 32:02
  Speaker 5: skulls pop up in different colors or the it's a
• 32:05
  Speaker 5: great opening.
• 32:06
  Speaker 4: Title, very psycho esque.
• 32:09
  Speaker 3: Very yeah.
• 32:09
  Speaker 5: And I think I think we need to give more
• 32:11
  Speaker 5: credit to UH to at least maybe maybe a couple
• 32:15
  Speaker 5: of decades ago to UH like opening credits and ending
• 32:18
  Speaker 5: credits artists, they were doing some incredible work and nobody
• 32:21
  Speaker 5: ever talked about it until now.
• 32:23
  Speaker 3: Some people do now, even the score, you know, especially
• 32:26
  Speaker 3: with Richard Band. But I mean you go back and
• 32:28
  Speaker 3: look at some of the films that he's attached to.
• 32:30
  Speaker 3: It's just it's crazy. You know, this one's no different.
• 32:34
  Speaker 5: I know, man, the band reach is out of control.
• 32:37
  Speaker 5: We could do a whole nother podcast that's just everything
• 32:40
  Speaker 5: to do with any band and whether it's the Father,
• 32:43
  Speaker 5: the Son, the Holy Spirit, the ghost there everywhere, dude.
• 32:50
  Speaker 5: So after the opening credits, we get our introduction of
• 32:53
  Speaker 5: Dan Kane played by Bruce Abbott. I put here he
• 32:56
  Speaker 5: was very sweaty after a long witted attempt to revive
• 32:58
  Speaker 5: a flat line patient in the hospit well, and this
• 33:01
  Speaker 5: I felt this very strongly because I've been on a
• 33:03
  Speaker 5: pretty strong binge of the pit lately. So oh yeah, yep,
• 33:06
  Speaker 5: I felt, I felt. I felt this was very appropriate.
• 33:10
  Speaker 5: I was, I was. But from here we patient dies.
• 33:17
  Speaker 5: We have Stuart Gordon's wife, Carolyn. She is in the
• 33:20
  Speaker 5: scene as the head doctor. And this is where we
• 33:23
  Speaker 5: kind of get introduced at a layout of the hospital
• 33:25
  Speaker 5: because his patient has passed and he has to roll
• 33:28
  Speaker 5: her downstairs to the morgue, exit the elevator, down the
• 33:31
  Speaker 5: long hallway, passed the security guard into the morgue, and uh,
• 33:35
  Speaker 5: just to kind of give some context to where we're
• 33:37
  Speaker 5: at in the film, this is where we meet the
• 33:40
  Speaker 5: oh so sleazy doctor Carl Hill, played by the incredible
• 33:44
  Speaker 5: David Gale, which, man, what a what a guy, what
• 33:49
  Speaker 5: a character to have here, man, probably uh, one of
• 33:53
  Speaker 5: one of the sleaziest I've ever seen. Man, this guy is, like,
• 33:57
  Speaker 5: is a fucking creep, bro. But I really loved some
• 34:04
  Speaker 5: of the commentary input here because he goes into pretty
• 34:08
  Speaker 5: much like how they conducted a lot of the research.
• 34:11
  Speaker 5: He he meaning Gordon spent some time in real Morgus
• 34:15
  Speaker 5: and spoke with employees and talks about how the actual construction,
• 34:20
  Speaker 5: the design of this morg was very very accurate to
• 34:24
  Speaker 5: Moorgs that he actually went into during this research. And
• 34:28
  Speaker 5: he talked about how you expected to be one way
• 34:31
  Speaker 5: and you walk in and you kind of get that,
• 34:33
  Speaker 5: but it's so much more what's the word I think
• 34:37
  Speaker 5: he used, like carnal than you think it would be.
• 34:40
  Speaker 5: He's like, there's bodies in black plastic bags. He's like,
• 34:43
  Speaker 5: and there's this horrendous smell, and employees are holding their breath,
• 34:47
  Speaker 5: which we see Dan do when he drops the body
• 34:49
  Speaker 5: in the in the kind of like the cold room,
• 34:51
  Speaker 5: and he comes out and he's sweating and he's breathing
• 34:53
  Speaker 5: heavy because he had to hold his breath.
• 34:55
  Speaker 3: Even the appearances of some of the bodies as well
• 34:58
  Speaker 3: was influenced by what they had say in the Morgue.
• 35:01
  Speaker 3: And I thought it was interesting because the pathologists, you know,
• 35:04
  Speaker 3: they're known for having a really dark sense of humored.
• 35:07
  Speaker 3: It sounded like Gordon had used as influence on the film.
• 35:11
  Speaker 5: Yeah, I mean, I can't imagine I would be the
• 35:14
  Speaker 5: most normal person if I that's what I did all day.
• 35:17
  Speaker 5: You know what I mean, I think of is it God?
• 35:21
  Speaker 5: What movie is it? Is it Friday thirteenth, Part four
• 35:24
  Speaker 5: when he puts the sandwich on Jason's body in the
• 35:27
  Speaker 5: when he rolled Jason to the morgue?
• 35:30
  Speaker 4: Is what was that one? Why?
• 35:33
  Speaker 5: I can see it in my head, but I.
• 35:34
  Speaker 3: Can't watching the workout video.
• 35:36
  Speaker 5: Watch is that when he's eating the sandwich and he
• 35:38
  Speaker 5: just puts it on Jason's chest, Who's laying on his lab?
• 35:41
  Speaker 4: Who's laying on Was it Halloween too?
• 35:43
  Speaker 3: What was that?
• 35:45
  Speaker 4: No?
• 35:46
  Speaker 5: I don't know which one of what there is a
• 35:47
  Speaker 5: movie where somebody's eating a sandwich and a Morgan he
• 35:49
  Speaker 5: just puts it on the chest of a body on
• 35:52
  Speaker 5: a slab, and for some reason, I'm blanking on it.
• 35:55
  Speaker 5: I'll figure it out. Is the moment this is over,
• 35:57
  Speaker 5: It'll pop in my head. I'll be like, how did
• 35:59
  Speaker 5: I not know that?
• 35:59
  Speaker 4: Yeah?
• 36:00
  Speaker 5: An hour ago, I.
• 36:02
  Speaker 4: Can picture it too. I'm just trying to think, what
• 36:03
  Speaker 4: would that? Was it? Jason goes to.
• 36:06
  Speaker 5: I don't know, Actually, yeah, I think I'm pretty sure
• 36:10
  Speaker 5: it's final chapter, but I don't I don't remember him eating,
• 36:13
  Speaker 5: so I'm not too sure. But this is such a
• 36:16
  Speaker 5: great sequence because we have the reintroduction of Herbert West
• 36:20
  Speaker 5: obviously played by Jeffrey Combs, who is absolutely incredible. But
• 36:24
  Speaker 5: we also kind of get a group introduction here of
• 36:27
  Speaker 5: Dean Halsey played by Robert Sampson. But I think what
• 36:31
  Speaker 5: this scene does so excellent as well, is it establishes
• 36:34
  Speaker 5: a lot of the dynamics between the group here, including
• 36:36
  Speaker 5: like doctor Hill's ability to make the school money, but
• 36:39
  Speaker 5: he's pretty much making money off of stealing other people's research.
• 36:44
  Speaker 5: Wes's hatred for and disdain for Hill because he's stealing research.
• 36:48
  Speaker 5: You have Kaine's relationship with Dean Halsey because he's dating
• 36:51
  Speaker 5: his daughter Meghan played by Barbara Crampton. And so there's
• 36:55
  Speaker 5: a lot of dynamics kind of being built here and
• 36:57
  Speaker 5: a lot you're you're kind of established to kind of
• 37:00
  Speaker 5: who is on whose side and kind of what's going
• 37:02
  Speaker 5: on all in this quick moment, which is very smart
• 37:04
  Speaker 5: because this movie is only eighty four minutes long, and
• 37:08
  Speaker 5: it kind of in a really nice way kind of
• 37:12
  Speaker 5: gives you everything going on without spending a whole bunch
• 37:15
  Speaker 5: of time on it. You know, right away, right after
• 37:17
  Speaker 5: the sequence is over, kind of who's who, what's going on?
• 37:21
  Speaker 5: And then in a scene after you get introduced to
• 37:23
  Speaker 5: the beautiful Barbara Crampton, deanh Has's daughter, and you know,
• 37:27
  Speaker 5: you get the you get the the the brief sex
• 37:32
  Speaker 5: scene where many people used as reference when they were
• 37:35
  Speaker 5: comparing The four K to the Blu Ray restoration. I
• 37:37
  Speaker 5: don't know why they chose that, but they did for
• 37:42
  Speaker 5: I don't know why they would go ahead and do that,
• 37:44
  Speaker 5: but I had to point out Gordon's admiration for Barbara Crampton.
• 37:49
  Speaker 5: He talks about working on her from Reanimator, and he
• 37:51
  Speaker 5: also talks about how there was a different actress originally
• 37:55
  Speaker 5: for the part of Megan, but it was the head
• 37:59
  Speaker 5: giving head scene and the girl's mother talked her out
• 38:02
  Speaker 5: of it, and Barbara Crampton eventually came in, and he
• 38:06
  Speaker 5: talks about just admiration for her from you know, her
• 38:09
  Speaker 5: bravery and her skills to be able to kind of
• 38:12
  Speaker 5: act out some of the you know, more graphic moments
• 38:17
  Speaker 5: to come at the end of the film, but also
• 38:20
  Speaker 5: how he continued to direct her in From Beyond right
• 38:23
  Speaker 5: after and then eventually Castle Freak again from Beyond Yeah,
• 38:28
  Speaker 5: from I mean yeah, he did put her in like
• 38:30
  Speaker 5: the hottest leather I've ever seen in my life and
• 38:32
  Speaker 5: from beyond what is this? Are we talking about re animatory?
• 38:40
  Speaker 5: But even more interesting though to come about? You know,
• 38:44
  Speaker 5: this sequence is is Gordon talking about Abbot's role as
• 38:49
  Speaker 5: Dan Kane and actually being the toughest due to Dan's
• 38:54
  Speaker 5: kind of normalcy as a character. So he he originated
• 38:57
  Speaker 5: as a narrator of the story in the HB Love
• 39:01
  Speaker 5: Story and in the film, he's the most normal of
• 39:04
  Speaker 5: the bunch, maybe outside of Megan, but he had to
• 39:09
  Speaker 5: be grounded for the audience to be able to attach
• 39:11
  Speaker 5: to somebody that way. There's kind of a realistic point
• 39:14
  Speaker 5: of view happening to all of these outrageous elements in
• 39:16
  Speaker 5: the movie, and he he kind of talks about how
• 39:20
  Speaker 5: I actually says, quote unquote that everybody else is having
• 39:22
  Speaker 5: more fun than Abbott was because they get to do
• 39:25
  Speaker 5: all this extravagant stuff. But I don't know if you
• 39:28
  Speaker 5: guys ever picked up on this, and this is kind
• 39:30
  Speaker 5: of one of the things that changed my whole view
• 39:32
  Speaker 5: of the movie. Gordon talks about how there are moments
• 39:36
  Speaker 5: in a movie where they literally shot over Kane's shoulder
• 39:42
  Speaker 5: to give us a pov of what he's seen. And
• 39:46
  Speaker 5: this is a literal translation because after this, after you know,
• 39:52
  Speaker 5: when West comes to the house and you know he's
• 39:54
  Speaker 5: acquiring about the room that Dan has opened, I picked
• 39:57
  Speaker 5: up on like four or five other moments where the
• 39:59
  Speaker 5: camera is quite literally looking over Dan's shoulder and we're
• 40:03
  Speaker 5: seeing the action go down from this perspective, And it's
• 40:07
  Speaker 5: just really interesting to me that I never picked up
• 40:10
  Speaker 5: on that before. Is that something that you guys noticed
• 40:13
  Speaker 5: either until you.
• 40:15
  Speaker 4: Just said that.
• 40:16
  Speaker 3: Well, I think he had mentioned that the reasoning behind
• 40:20
  Speaker 3: it is in order to achieve real attention, and I
• 40:23
  Speaker 3: guess he had taken some influence from Stanley Kuprick when
• 40:27
  Speaker 3: he was filming those sequences. But it's crazy because you know,
• 40:31
  Speaker 3: I'm sure for any of us we've seen this film
• 40:33
  Speaker 3: countless times, it's like you don't really actively pay attention
• 40:35
  Speaker 3: to that until it's actually noted within the commentary.
• 40:39
  Speaker 5: Yeah, well, this is why we preach like listening to
• 40:43
  Speaker 5: these audio commentaries because they can actually shape and pick up,
• 40:46
  Speaker 5: like show you new things you never noticed before, those insights.
• 40:50
  Speaker 5: And as I'm watching a movie, I'm like, shit, he's
• 40:52
  Speaker 5: one hundred percent right, and I just never noticed that
• 40:55
  Speaker 5: this was the angle or I never noticed the consistency
• 40:57
  Speaker 5: of it. But I never even thought of Dan as
• 41:02
  Speaker 5: being the most grounded of the bunch. That kid kind
• 41:05
  Speaker 5: of gave me a new perspective of his character and
• 41:07
  Speaker 5: kind of how we're viewing the story. And he does
• 41:10
  Speaker 5: talk about how this was his first movie. He did
• 41:13
  Speaker 5: not know how to direct the movie. He's like, I
• 41:15
  Speaker 5: didn't know what I was doing. He's like, so I
• 41:17
  Speaker 5: watched Kubrick, and I learned like, it's more important if
• 41:22
  Speaker 5: instead of cutting into a room that a character is entering,
• 41:25
  Speaker 5: we follow the character as as as they enter the
• 41:29
  Speaker 5: room to create the tension. And we see this more
• 41:33
  Speaker 5: later on, like in the moment when Megan is looking
• 41:37
  Speaker 5: for Rufus and she's going into Herbert's room in the
• 41:39
  Speaker 5: camera is just kind of floating behind her into the room.
• 41:42
  Speaker 3: It's so uncomfortable.
• 41:43
  Speaker 5: Yeah, yeah, he talks about that a lot, but it's
• 41:45
  Speaker 5: it's actually like, I kind of want to watch the
• 41:48
  Speaker 5: movie again in the next couple of days without the commentary,
• 41:50
  Speaker 5: just to see on how much I can pick up
• 41:52
  Speaker 5: on these little visual kind of like storytelling elements he
• 41:56
  Speaker 5: brought up that I never saw before.
• 41:59
  Speaker 3: Did you pick up on the fact, like he had
• 42:01
  Speaker 3: mentioned this being Stuart Gordon, that he had used Driller
• 42:05
  Speaker 3: Killer and Rosemary's Baby his influences for Reanimator, which I
• 42:10
  Speaker 3: thought was just so fascinating because they're very distinctly different films.
• 42:15
  Speaker 5: Yeah, they are, but you can see kind of where
• 42:18
  Speaker 5: there's a meshing of that because you have, you know,
• 42:20
  Speaker 5: Abel Ferrara's very gritty, handheld visual storytelling mixed with Polanski's
• 42:27
  Speaker 5: a little bit more I don't know if I would
• 42:29
  Speaker 5: call it prestigious, but more tension, slower moving, and Reanimator
• 42:37
  Speaker 5: is kind of a combination of the two of those
• 42:40
  Speaker 5: kind of being smashed together. I guess those influences well.
• 42:44
  Speaker 3: Planski definitely has some of those shots where I feel like,
• 42:48
  Speaker 3: you know, it kind of lingers a lot longer, builds
• 42:50
  Speaker 3: up the tension, we can't quite see what's going on.
• 42:53
  Speaker 3: If I recall there's one scene of Rosemary's Baby where
• 42:57
  Speaker 3: I believe the husband's on the phone in Cassavetti's and
• 43:01
  Speaker 3: we can't quite see exactly what's going on in that moment.
• 43:04
  Speaker 3: I believe he has to kind of us as the audience.
• 43:07
  Speaker 3: We have this natural instinct I want to kind of
• 43:10
  Speaker 3: look around the corner to see exactly what's happening, but
• 43:12
  Speaker 3: Polanski kind of you know, pulls that away from us
• 43:15
  Speaker 3: to be able to really see what's waste talking about
• 43:17
  Speaker 3: on the phone.
• 43:18
  Speaker 5: Well, I think it all, it all trickles down from
• 43:20
  Speaker 5: Hitchcock in one way or another, you know what I mean.
• 43:23
  Speaker 5: Polanski was just doing pretty much to Hitchcock stuff, you
• 43:28
  Speaker 5: know again. And it's interesting because I always think about
• 43:31
  Speaker 5: sometimes I look at these moments and I'm like, was
• 43:33
  Speaker 5: this is there actual intent here or was it just
• 43:36
  Speaker 5: an idea in the moment. Like there's that real on
• 43:39
  Speaker 5: Instagram that comes up all the time of Martin Scorsese
• 43:42
  Speaker 5: talking about the phone call scene and Taxi Driver where
• 43:46
  Speaker 5: he picks up the phone and the camera pans await
• 43:48
  Speaker 5: at a hallway and he talks about how it's like,
• 43:50
  Speaker 5: you know, filling tension. We think something's gonna happen, it doesn't,
• 43:53
  Speaker 5: but then it pans back and he's like, it's because
• 43:55
  Speaker 5: the phone call is too powerful for us to hear.
• 43:58
  Speaker 5: It's too like the audience can't handle it. And I
• 44:01
  Speaker 5: kind of have a moment where like I want to
• 44:02
  Speaker 5: believe that, but then I'm also like, it is just
• 44:05
  Speaker 5: kind of cool, like it was just a cool idea.
• 44:08
  Speaker 5: It's just interesting. And we talked about this in our
• 44:11
  Speaker 5: case of the Bloody Iris episode where h Ghito talks
• 44:15
  Speaker 5: about multiple times how that movie just does cool shots
• 44:20
  Speaker 5: to be interesting. There's nothing more to them than just
• 44:24
  Speaker 5: what captivates an audience. Then like, oh, that's a unique
• 44:27
  Speaker 5: way to shoot this, like somebody in a room. Let's
• 44:30
  Speaker 5: do it through a reflection, just because it's interesting. It
• 44:32
  Speaker 5: makes it. It gives you a quick second where you're like, oh,
• 44:35
  Speaker 5: look at that. There's no real intent behind it besides
• 44:39
  Speaker 5: just capturing your attention.
• 44:41
  Speaker 3: I believe it misspoke earlier with me of Pharaoh that
• 44:43
  Speaker 3: was on the phone that John cassabudies.
• 44:45
  Speaker 5: Okay, oh yeah, yeah, I know, yeah yeah. There is
• 44:49
  Speaker 5: a shot though that I have a note about, when
• 44:51
  Speaker 5: we cut to the brain operation classroom scene where the
• 44:58
  Speaker 5: camera starts really far back and we see the students
• 45:01
  Speaker 5: in the foreground watching in the camera pans it through
• 45:04
  Speaker 5: the middle of them all the way up to hill
• 45:07
  Speaker 5: cutting open the scalp and pulling the scalp back. I
• 45:11
  Speaker 5: just love that because I'm a I'm a dork. But Garrett,
• 45:16
  Speaker 5: I want to ask you directly this brain removal scene
• 45:20
  Speaker 5: if it had gone on for about five minutes longer
• 45:23
  Speaker 5: and showed immense graphic details of this surgery that was
• 45:26
  Speaker 5: based on actual, like pathologist stories on how this operation
• 45:32
  Speaker 5: is done. Do you think do you think you would
• 45:33
  Speaker 5: have enjoyed that?
• 45:36
  Speaker 4: I don't know.
• 45:36
  Speaker 6: I mean, I guess it would have been cool to
• 45:37
  Speaker 6: kind of see it, But at the same time, I
• 45:39
  Speaker 6: feel like the timing is good because then.
• 45:42
  Speaker 4: You got you know, you've got Herbert kind of.
• 45:44
  Speaker 6: Throwing his two cents in there like throughout the whole
• 45:47
  Speaker 6: the whole time, So I kind of feel like it works.
• 45:49
  Speaker 6: And I don't know, Like I said, as much as
• 45:51
  Speaker 6: I think the effects would have been cool, I don't
• 45:53
  Speaker 6: know if they would have been able to capture that
• 45:56
  Speaker 6: same kind of like you know, back and forth between
• 45:59
  Speaker 6: him in West like as good as they.
• 46:02
  Speaker 4: Did with this, I don't know.
• 46:03
  Speaker 5: Well, there's a perfect you gave me a perfect Allie
• 46:07
  Speaker 5: loop there, man, because that's pretty much what they shot.
• 46:11
  Speaker 5: They shot an incredibly realistic depiction of this surgery, this
• 46:15
  Speaker 5: real demonstration. It went on for about five minutes, and
• 46:19
  Speaker 5: it was actually in an original cut of the movie,
• 46:22
  Speaker 5: and when they screened the movie to a test audience.
• 46:25
  Speaker 5: It just went too far, And Gordon actually talks about
• 46:28
  Speaker 5: how this was the only example of self censorship on
• 46:31
  Speaker 5: the entire film. He's like, it's just too gross.
• 46:34
  Speaker 3: And I got it way back, didn't they.
• 46:36
  Speaker 5: Yeah, it was like five minutes from that scene alone.
• 46:39
  Speaker 5: Like that's really I mean, that's something that like nowadays
• 46:43
  Speaker 5: you would get in like a Saw movie, you know
• 46:45
  Speaker 5: what I mean, Like that's but in this I think
• 46:48
  Speaker 5: it would be you know, I was kind of like,
• 46:50
  Speaker 5: I don't know if I'm I was kind of torn
• 46:53
  Speaker 5: on if I would have wanted to see that or not.
• 46:55
  Speaker 5: I'm like, that was probably cool because it's probably a
• 46:56
  Speaker 5: great demonstration of how cool these effects were. Or but
• 47:00
  Speaker 5: I can kind of see that as like it's a
• 47:03
  Speaker 5: little it's a kind of like faces of Death all
• 47:06
  Speaker 5: of a sudden happens right in the middle of the movie,
• 47:07
  Speaker 5: you know, well.
• 47:08
  Speaker 6: Especially when you kind of look at the rest of
• 47:10
  Speaker 6: the movie, it almost it would stand out kind of Yeah,
• 47:13
  Speaker 6: and as the way it was done that way in
• 47:15
  Speaker 6: comparison to all the other kind of effects and even
• 47:17
  Speaker 6: gore that we get throughout the movie.
• 47:19
  Speaker 4: Everything is very kind of quick.
• 47:21
  Speaker 5: Yeah, you know, paste, yeah, Yeah, it's just interesting that
• 47:25
  Speaker 5: that was the one thing that they decided to cut
• 47:27
  Speaker 5: on their own, you know, and that's kind of the
• 47:30
  Speaker 5: one piece of I think the only Gore moment that
• 47:35
  Speaker 5: that that no longer exists and isn't on any cut
• 47:38
  Speaker 5: or anything like that. So it's interesting. But this is
• 47:43
  Speaker 5: where we get back to kind of Cording goes on
• 47:45
  Speaker 5: about insights to kind of approaching re Animator as this
• 47:48
  Speaker 5: first film. He mentioned the search for Rufus the cat,
• 47:52
  Speaker 5: learning from Kubrick on how to move the camera, and
• 47:56
  Speaker 5: I think, what's what's my favorite part of all this
• 47:59
  Speaker 5: is that he talks about how all the horror films
• 48:01
  Speaker 5: him and his crew watched and after all of them
• 48:06
  Speaker 5: pretty much there, their thing was like, Okay, we're gonna
• 48:09
  Speaker 5: do that, but we're gonna do it better. That was it.
• 48:12
  Speaker 5: He was like, let's just take this and we're just
• 48:13
  Speaker 5: going to do it better, which I think is kind
• 48:16
  Speaker 5: of the perfect way to just go for it, you
• 48:18
  Speaker 5: know what I mean. Absolute And then I have a
• 48:22
  Speaker 5: I have a note here that just says cat Dead.
• 48:24
  Speaker 5: Details later, I was just that's all it says, because
• 48:32
  Speaker 5: I was like, I don't know what else. It's like
• 48:34
  Speaker 5: the greatest line of dialogue, what would you prefer me
• 48:36
  Speaker 5: to leave a note?
• 48:37
  Speaker 4: Cat dead?
• 48:38
  Speaker 5: Details later, poor Rufus, Man, I can't, I can't take
• 48:44
  Speaker 5: the animal stuff. This is this late in my life. Man,
• 48:47
  Speaker 5: it just bothers me so much. You know, it's sad.
• 48:49
  Speaker 4: Why is he making that noise?
• 48:52
  Speaker 3: I know, yeah, too creepy.
• 48:55
  Speaker 5: Well, this is what's what's interesting here is and I
• 48:58
  Speaker 5: couldn't find much detail on it because supposedly it exists
• 49:02
  Speaker 5: in the vestaant r rated cut. But when we find
• 49:07
  Speaker 5: out that Rufus is dead and he's in west Fridge,
• 49:11
  Speaker 5: we cut to Dan waking up in a sweat, And
• 49:14
  Speaker 5: before that, there was supposed to be a nightmare sequence
• 49:17
  Speaker 5: that they decided to cut, and they just had him
• 49:19
  Speaker 5: waking up to the sound that he's hearing, and he
• 49:22
  Speaker 5: gets up and he goes down the hall and goes
• 49:25
  Speaker 5: downstairs to find West in a fight with a reanimated Rufus.
• 49:30
  Speaker 5: And this is where I really wanted to throw some
• 49:33
  Speaker 5: credit over to Ignite Films for the restoration, because while
• 49:36
  Speaker 5: this entire movie looks phenomenal, I think this is one
• 49:39
  Speaker 5: of the standout sequences, especially because the setup of this
• 49:44
  Speaker 5: moment when he comes down, well, he doesn't go down.
• 49:47
  Speaker 5: He falls down the stairs to find West being attacked
• 49:51
  Speaker 5: by Rufus And it's so cool because the light is swinging,
• 49:55
  Speaker 5: so it's being lit so erratically and talks about how
• 50:01
  Speaker 5: there was never obviously there was never a real cat.
• 50:03
  Speaker 5: They're just playing with this fake cat. But I think
• 50:05
  Speaker 5: the restoration looks absolutely phenomenal. And this is just one
• 50:10
  Speaker 5: of those standout moments.
• 50:13
  Speaker 4: Yeah, and and this was another moment in the movie
• 50:15
  Speaker 4: when I saw for the first time that just kept
• 50:17
  Speaker 4: me so involved in with this movie, like this this
• 50:21
  Speaker 4: scene alone, I was like, holy shit, this is something
• 50:23
  Speaker 4: special here, Like I can't believe what I'm seeing here
• 50:26
  Speaker 4: is that they just brought this cat back to life.
• 50:28
  Speaker 4: And it really this this kind of kept me in
• 50:31
  Speaker 4: the game like with this movie big time. Like I'm like, Okay,
• 50:34
  Speaker 4: they do this, and this is really cool, Like what
• 50:36
  Speaker 4: else is to come? You know?
• 50:37
  Speaker 6: Like this was an important scene for me, was when
• 50:39
  Speaker 6: they were trying to reanimate the cat. And like I said,
• 50:41
  Speaker 6: even when they you know, it's all beat up and stuff,
• 50:44
  Speaker 6: and they still it's still trying to come back to life,
• 50:46
  Speaker 6: and yeah, it's gonna broken back and it's still it's
• 50:49
  Speaker 6: it's just wild to kind of see like you're starting
• 50:51
  Speaker 6: to learn a little bit more about this what this
• 50:53
  Speaker 6: serum can do.
• 50:54
  Speaker 4: And I love the scene a lot.
• 50:57
  Speaker 3: Well, wasn't it? I think I believe the for the
• 51:00
  Speaker 3: cat rufus it was a puppet that was being works
• 51:04
  Speaker 3: underneath the table when they were filming that sequence.
• 51:08
  Speaker 5: It was, it was. And before we get to that,
• 51:11
  Speaker 5: first of all, I just love I don't know why,
• 51:14
  Speaker 5: just the shot of him chucking the cat against the
• 51:17
  Speaker 5: wall and it just like plopping little wall and falling
• 51:21
  Speaker 5: over is so great. But there's a moment there that
• 51:24
  Speaker 5: I really love that nobody ever talks about. And it's
• 51:27
  Speaker 5: when the camera cuts to West sliding down the wall
• 51:33
  Speaker 5: like after the cat is dead again, and he's just
• 51:36
  Speaker 5: maniacally laughing, and the camera sits on it for a
• 51:39
  Speaker 5: few seconds because the light is kind of swinging on
• 51:41
  Speaker 5: and off him And I don't know, for some reason,
• 51:44
  Speaker 5: last night, that shot just really got to me. There
• 51:47
  Speaker 5: was something kind of a little haunting about that that
• 51:49
  Speaker 5: you don't you know, West is you know, a character
• 51:52
  Speaker 5: that you're we love, but you know, the guy's obviously
• 51:55
  Speaker 5: as all smart men are, I believe to his level.
• 51:58
  Speaker 5: There's a bit of maniacal nature there.
• 52:01
  Speaker 3: You know, and Hinge.
• 52:03
  Speaker 5: It just really like this moment when he's when he's
• 52:05
  Speaker 5: laughing and he's drenched in sweat and he's out of
• 52:08
  Speaker 5: breath and he kind of slides down a lot of
• 52:10
  Speaker 5: exhaustion and he just is maniacally laughing. It just really
• 52:14
  Speaker 5: creeped me out. I never noticed how I had never
• 52:17
  Speaker 5: picked up on this shot before because it cuts the
• 52:20
  Speaker 5: cane real quick watching him, and it was the first
• 52:22
  Speaker 5: moment where I kind of saw like, oh, yeah, this
• 52:25
  Speaker 5: guy's really fucking unhinged, because then we cut right to
• 52:29
  Speaker 5: him pretty much explaining what he did to Rufus, and
• 52:34
  Speaker 5: now you have the great moment on the table when
• 52:36
  Speaker 5: he injects him again and Rufus is just fucking broken
• 52:40
  Speaker 5: and trying to trying to come back to life to
• 52:44
  Speaker 5: attack again, but he's just being puppeted from under the
• 52:46
  Speaker 5: table and it's it's a it's like a practical effects
• 52:50
  Speaker 5: artist's dream to see a sequence like this. And Gordon
• 52:54
  Speaker 5: talks about how all the effects were approached very theatrically,
• 52:58
  Speaker 5: which was organic to him because there there wasn't much
• 53:02
  Speaker 5: of a budget for optical effects there's like there's like
• 53:05
  Speaker 5: one I believe or two in the whole movie, So
• 53:08
  Speaker 5: they had to do everything in camera right there, and
• 53:12
  Speaker 5: they had no choice but to just try to pull
• 53:16
  Speaker 5: it off the best they can. I think it's still
• 53:17
  Speaker 5: really effective. I mean that moment when Rufus comes back,
• 53:20
  Speaker 5: it it pains me as an animal lover, but it's
• 53:23
  Speaker 5: it's a it's an effective effect. It's just interesting how
• 53:28
  Speaker 5: we see movies now that do like all this CGI,
• 53:30
  Speaker 5: and it's like none of that holds up as well
• 53:32
  Speaker 5: as a fucking puppet.
• 53:33
  Speaker 6: And even like you said in four K, it's still
• 53:37
  Speaker 6: it's to to me this, as silly as it might
• 53:40
  Speaker 6: look for some people, I'm like, this feels more real
• 53:42
  Speaker 6: than anything CGI that comes out now. I don't know
• 53:45
  Speaker 6: what it is. It's just because maybe you can actually
• 53:48
  Speaker 6: feel it and touch it if you're there in the
• 53:50
  Speaker 6: room where now it's like it's not really there.
• 53:53
  Speaker 3: Especially a lot of these movies from this decade in horror,
• 53:56
  Speaker 3: I just feel like that they've aged incredibly well. I
• 53:59
  Speaker 3: mean I always think back to the thing. I know
• 54:00
  Speaker 3: that that's considered like, you know, one of the high points,
• 54:04
  Speaker 3: but I mean you just look at how effective those
• 54:06
  Speaker 3: effects are it's crazy.
• 54:08
  Speaker 5: Well, it's because it doesn't have to be. I think
• 54:10
  Speaker 5: people think like there there's like we've talked about before
• 54:16
  Speaker 5: on the show. You watch a fault gy movie, you
• 54:17
  Speaker 5: can tell it's a dummy. You can see the very
• 54:19
  Speaker 5: clear transition from a real person to a dummy in
• 54:21
  Speaker 5: the effects, but you don't care. Your brain just knows
• 54:25
  Speaker 5: that it's there and it's real, and if the effect
• 54:27
  Speaker 5: is solid enough, you don't even really notice it, like
• 54:30
  Speaker 5: that it's part of the charm.
• 54:32
  Speaker 4: Yeah, And I was just.
• 54:32
  Speaker 6: Gonna say the charm and it sometimes it doesn't like
• 54:36
  Speaker 6: you said, sometimes it doesn't always need to be clean
• 54:38
  Speaker 6: and perfect, like you know, I always use this same
• 54:41
  Speaker 6: example because a lot of people will bust its balls.
• 54:43
  Speaker 6: But like teen Wolf when they show that scene of
• 54:45
  Speaker 6: him transforming for the first time in the mirror and
• 54:47
  Speaker 6: it's all that claymation on his face, bubbling and all
• 54:49
  Speaker 6: this stuff, and like, oh, that looks like hell now,
• 54:51
  Speaker 6: I'm like, but it doesn't because he looks creepy looking,
• 54:54
  Speaker 6: like like if you don't know what's gonna happen with
• 54:56
  Speaker 6: this guy's transforming with Wolf, his face is all distorted,
• 54:58
  Speaker 6: like yeah, it looks like clay, but like that's kind
• 55:01
  Speaker 6: of like you said, the charm of it is that
• 55:03
  Speaker 6: he looks he's fucked up, like he looks like he's
• 55:05
  Speaker 6: a mess, where now it would have been some kind
• 55:07
  Speaker 6: of weird, smooth transition that I feel like just wouldn't
• 55:10
  Speaker 6: feel as raw and real that it did back then,
• 55:14
  Speaker 6: even utilizing the school techniques.
• 55:16
  Speaker 5: You know, well, it's why, you know, it's one of
• 55:19
  Speaker 5: the reasons I really admire what Damian Leoni has done
• 55:23
  Speaker 5: with Terrifiers that he's unafraid to just it's a it's
• 55:27
  Speaker 5: a puppet, or it's a you know, a blood filled
• 55:30
  Speaker 5: mannequin that he uses, or you know, because there's moments
• 55:32
  Speaker 5: in Terrifier where Terrifier two Terrifier three, where the budget
• 55:36
  Speaker 5: went up and production raised, you'd still tell it's a
• 55:40
  Speaker 5: slab of a body on the floor that's just getting
• 55:43
  Speaker 5: cut up, and it's just as effective. And nobody, nobody
• 55:46
  Speaker 5: looks at those movies and goes, oh, that's so fake
• 55:48
  Speaker 5: because you can tell it's a puppet. People fucking love it.
• 55:50
  Speaker 5: They show up in droves. I mean, any any horror
• 55:54
  Speaker 5: fan under the age of twenty five, the only movie
• 55:55
  Speaker 5: they love is screaming terrifier. So it's doing something right,
• 55:58
  Speaker 5: you know what. I meant no offense to anybody listening
• 56:01
  Speaker 5: to this under twenty five years old, But the uh,
• 56:05
  Speaker 5: the glow of the serum uh in this movie was
• 56:09
  Speaker 5: actually pretty interesting. They used a chemical that was used
• 56:12
  Speaker 5: in flares at the time that they could just go
• 56:14
  Speaker 5: to a local hardware store and buy it. It was
• 56:19
  Speaker 5: something to do. But the best part about it is
• 56:20
  Speaker 5: that it was extremely toxic. That's my favorite part. It's
• 56:25
  Speaker 5: like and they had to kind of remix it every
• 56:27
  Speaker 5: forty minutes because that's how long it would it would
• 56:30
  Speaker 5: stay glowing for. And they just talked about how like
• 56:35
  Speaker 5: how much of a mess it was to deal with,
• 56:36
  Speaker 5: and it had to be so careful with it because
• 56:37
  Speaker 5: of the toxicity of it.
• 56:39
  Speaker 3: Why it had such an iconic look to it. I
• 56:42
  Speaker 3: always strongly associate that the re animator agent with this
• 56:46
  Speaker 3: film to a t.
• 56:48
  Speaker 5: The green that's that's everything for reanimators. That's why when
• 56:53
  Speaker 5: you held that VHS up earlier, I was like, is
• 56:54
  Speaker 5: that blue is?
• 56:56
  Speaker 4: Yeah, it's it is. It's a it's a weird blue.
• 56:59
  Speaker 6: But I went through a period of time when I
• 57:01
  Speaker 6: was like I first got my first place, and you know,
• 57:03
  Speaker 6: I had my first movie room and ever setting everything up,
• 57:06
  Speaker 6: and I wanted to get little props and stuff like that,
• 57:08
  Speaker 6: and I made it a mission to try to like
• 57:10
  Speaker 6: recreate like that serum. I tried so much stuff back then.
• 57:14
  Speaker 6: Like I found like a little bottle that was looked
• 57:16
  Speaker 6: the same. I think it came from like at the time,
• 57:19
  Speaker 6: it might have been like candle oil or something you
• 57:22
  Speaker 6: could get at Walmart, but the but the bottle was
• 57:25
  Speaker 6: identical to the serum bottle that they use. So I
• 57:27
  Speaker 6: bought a bunch of those, and I was trying everything.
• 57:29
  Speaker 6: I was putting like green stuff in there, and then
• 57:32
  Speaker 6: it got to a point where I was buying hot
• 57:34
  Speaker 6: like you know, those glow sticks. I was buying those
• 57:37
  Speaker 6: and like cutting them apart and like pouring all the
• 57:40
  Speaker 6: shit in there and like shaking it. I'll be there
• 57:42
  Speaker 6: it is, but then it literally would last like two
• 57:45
  Speaker 6: days and then it would just be like it would
• 57:46
  Speaker 6: look like piss no. But I mean that's the thing
• 57:51
  Speaker 6: I'm literally playing with like cut open like glow sticks
• 57:55
  Speaker 6: to try to get this effect and have it. And
• 58:00
  Speaker 6: I remember like getting all of my skin it's like
• 58:02
  Speaker 6: burning and stuff I'm like, oh, but I need to
• 58:03
  Speaker 6: try to make this work, you know, because I was
• 58:05
  Speaker 6: I wanted, how do I make this the most realistic looking,
• 58:08
  Speaker 6: you know, serum bottle ever? And then later down the road.
• 58:11
  Speaker 4: I bought it like a syringe and a serum bottle
• 58:15
  Speaker 4: that came in some like shadow box of this guy
• 58:18
  Speaker 4: made and all he did was whatever the liquid was
• 58:20
  Speaker 4: in there.
• 58:21
  Speaker 6: He just had a black white in there. So you
• 58:22
  Speaker 6: turn it on and it makes everything low. So it's
• 58:25
  Speaker 6: pretty cool now, but like back then, I was like
• 58:27
  Speaker 6: trying to come up with it. I was like doing
• 58:28
  Speaker 6: science experiments to try to make this thing work.
• 58:31
  Speaker 5: You're like, why did I think of that?
• 58:34
  Speaker 3: I just I just picture Garrett in the lab coat.
• 58:37
  Speaker 3: Was just trying with a syringe to put it together.
• 58:41
  Speaker 4: It was not good. I was trying everything. I had
• 58:43
  Speaker 4: a syringe.
• 58:44
  Speaker 6: I got like one of those like big like turkey
• 58:46
  Speaker 6: space or syringe putting the shit in there. Like I
• 58:50
  Speaker 6: think I have some pictures from like when I first
• 58:51
  Speaker 6: did it, and I took a picture. I was I like,
• 58:53
  Speaker 6: put it both in my in my mini fridge, and
• 58:55
  Speaker 6: I took a picture and I was like, this is
• 58:56
  Speaker 6: the best, And like I said, two days later, I was.
• 58:59
  Speaker 4: Like, this sucks. It's terrible now, just like yellow water.
• 59:02
  Speaker 5: And then we're gonna need those pictures for the marketing.
• 59:04
  Speaker 4: I will, I will try to find them. I have to.
• 59:06
  Speaker 6: I think they're on my my uh Facebook from probably
• 59:09
  Speaker 6: like two thousand and eight or something.
• 59:14
  Speaker 5: Oh my god, I remember my dad. My dad used
• 59:16
  Speaker 5: to make these, uh these like we were young, My
• 59:19
  Speaker 5: dad used to make like these peroxide bombs or like
• 59:21
  Speaker 5: the baking soda bombs you know in the water bottles,
• 59:25
  Speaker 5: and it's so much fun. And then one day I
• 59:27
  Speaker 5: think I was like an adult and I was like, oh, yeah,
• 59:29
  Speaker 5: my dad used to make these these things, and somebody
• 59:31
  Speaker 5: else with was like, yeah, my dad lost his hand
• 59:33
  Speaker 5: to one of those. I was like, oh sh my
• 59:35
  Speaker 5: dad would just make those on a Tuesday at two
• 59:37
  Speaker 5: pm at thrown in the front yard.
• 59:39
  Speaker 4: Just things for a wild back.
• 59:40
  Speaker 6: Remember like when kids used to make those like potato
• 59:42
  Speaker 6: launchers and shiit potato guns wild They would like build
• 59:46
  Speaker 6: these things and like launch potatoes like a hundred yards.
• 59:50
  Speaker 5: Oh for sure, bro we we we caused. We caused
• 59:53
  Speaker 5: some emotional distress with some potato guns.
• 59:55
  Speaker 1: Man.
• 59:55
  Speaker 5: You get some PBC pipe and used to get like
• 59:58
  Speaker 5: we used to get like the plumbing pipe and you'd
• 1:00:01
  Speaker 5: like shove the potato in and then you had I
• 1:00:03
  Speaker 5: forget what it was you put in there, and you
• 1:00:04
  Speaker 5: put the lighter to it, and it's the pressure would
• 1:00:06
  Speaker 5: blow them out and we would we would like shoot
• 1:00:08
  Speaker 5: him at my neighbor, not knowing.
• 1:00:10
  Speaker 4: What it was.
• 1:00:11
  Speaker 6: Almost scary. Someone's like, I'm gonna come at you. I'm
• 1:00:13
  Speaker 6: gonna launch you with the potato.
• 1:00:16
  Speaker 4: Hurt. Potato launches kind of like it's not really in
• 1:00:19
  Speaker 4: style anybody. Nobody talks about those.
• 1:00:22
  Speaker 5: I think that's what's wrong with today. I think kids
• 1:00:26
  Speaker 5: we need more. Like we were playing with paintball guns
• 1:00:28
  Speaker 5: BB guns, like we have potato launchers. We were we
• 1:00:32
  Speaker 5: like we run around with M eight's and you know,
• 1:00:35
  Speaker 5: blue stuff up under buckets and it was great.
• 1:00:37
  Speaker 4: Man.
• 1:00:37
  Speaker 5: I didn't now they're just doing Pokemon.
• 1:00:41
  Speaker 4: Yeah.
• 1:00:41
  Speaker 5: Now now it's just it'll all come back. It'll come
• 1:00:43
  Speaker 5: back around.
• 1:00:44
  Speaker 3: Man.
• 1:00:44
  Speaker 6: Potato guns are gonna get a resurgence, you think, Yeah,
• 1:00:46
  Speaker 6: potato guns are launchers.
• 1:00:48
  Speaker 5: You're gonna be banded airports. So fun fact for you guys,
• 1:00:54
  Speaker 5: if you remember the moment after rufus is you know,
• 1:00:58
  Speaker 5: after after it's proven that West can reanimate something that's dead.
• 1:01:03
  Speaker 5: After Dan goes and you know, gets his scholarship taken
• 1:01:08
  Speaker 5: from him and all this great stuff, right because he
• 1:01:10
  Speaker 5: wants to He's like, oh he West can reanimate dead tissue.
• 1:01:14
  Speaker 5: There's a moment where they have to prove it, so
• 1:01:16
  Speaker 5: him and West sneak into the morgue that we saw earlier,
• 1:01:21
  Speaker 5: and I remember there was a quick moment after it's
• 1:01:24
  Speaker 5: revealed that Wes was under the sheet, and I just
• 1:01:29
  Speaker 5: remember thinking, like, man, that guy put his shoes and
• 1:01:31
  Speaker 5: socks on so fast. They like he like rips the
• 1:01:35
  Speaker 5: sheet off him and he's like instantly got it, he
• 1:01:37
  Speaker 5: had to put those back on. But uh, the body
• 1:01:40
  Speaker 5: that they pick to reanimate in the scene is Peter Kent,
• 1:01:44
  Speaker 5: who is Peter Peter Kent, Oh my god, Peter Kent,
• 1:01:47
  Speaker 5: who was Arnold Schwarzenegger's body double, who was just just
• 1:01:53
  Speaker 5: used in The Terminator, which some of the crew for
• 1:01:57
  Speaker 5: Reanimator just got off of working on. And my favorite
• 1:02:00
  Speaker 5: thing that Gordon says here was he's like, you know,
• 1:02:03
  Speaker 5: at the time, he's like they got off this movie
• 1:02:06
  Speaker 5: with with with James Cameron, or he keeps saying Jim Cameron.
• 1:02:09
  Speaker 5: He's like, they get it. They get off this James
• 1:02:10
  Speaker 5: Cameron movie and nobody knows, you know, how good it's
• 1:02:13
  Speaker 5: gonna be because they just worked on it, and then
• 1:02:15
  Speaker 5: they all came back and they're like, fuck, we worked
• 1:02:16
  Speaker 5: on probably one of the greatest sci fi movies of
• 1:02:19
  Speaker 5: all time. After it came out, was finished and people
• 1:02:21
  Speaker 5: could finally see it. But my note here says, you know,
• 1:02:25
  Speaker 5: Peter Kan actor plays the re Animated corpse, was Arnold
• 1:02:28
  Speaker 5: Schartzaker's body double. And then I just wrote a big bitch.
• 1:02:32
  Speaker 5: So I don't know why. I don't know why I
• 1:02:35
  Speaker 5: said that. But for those wondering, though, Arnold actually saw
• 1:02:40
  Speaker 5: Reanimator and and approved of it. He caught a screening
• 1:02:45
  Speaker 5: at at Empire Pictures courtesy of Band and was very
• 1:02:48
  Speaker 5: vocal about how much he enjoyed it. So did he.
• 1:02:52
  Speaker 3: I have a note in here that says that he
• 1:02:55
  Speaker 3: helped get Stewart Gordon the direction job for Fortress, Yeah,
• 1:03:00
  Speaker 3: which I thought was just so interesting. It's just, you know,
• 1:03:02
  Speaker 3: completely different spectrums when it comes to the soul of
• 1:03:05
  Speaker 3: films that they're doing.
• 1:03:06
  Speaker 5: But yeah, yeah, it's it's so funny when you hear
• 1:03:08
  Speaker 5: of somebody like Arnold Swarzenegger being invited to a screening
• 1:03:11
  Speaker 5: of Reanimator, and he talks about how Gordon tells the
• 1:03:14
  Speaker 5: story of how they all show up to the He
• 1:03:17
  Speaker 5: shows up with like all these bodybuilders to the Empire
• 1:03:20
  Speaker 5: Pictures office and they all cram into this elevator and
• 1:03:25
  Speaker 5: just a bunch of bodybuilders in his elevator. They didn't
• 1:03:27
  Speaker 5: even realize that they had blocked in. Like a secretary
• 1:03:31
  Speaker 5: who was just trying to get out on a floor
• 1:03:33
  Speaker 5: book couldn't because she's surrounded by these massive men and
• 1:03:35
  Speaker 5: she was just huddled in the back of the elevator.
• 1:03:39
  Speaker 4: Stuck.
• 1:03:41
  Speaker 5: So interesting, man, this Morgan Tack scene. Though, what do
• 1:03:46
  Speaker 5: you guys think about this scene? Because I have a
• 1:03:48
  Speaker 5: note here just as it's relentless, I think all these.
• 1:03:51
  Speaker 6: Scenes like in that in the Morgue are relentless, like
• 1:03:55
  Speaker 6: from this one then later like it's nuts.
• 1:03:58
  Speaker 3: Yeah, very claustrophobic feeling and just very graphic. I mean,
• 1:04:01
  Speaker 3: I just I had uh picked up on the fact
• 1:04:05
  Speaker 3: that I believe Stuart Gordon had mentioned that throughout this
• 1:04:08
  Speaker 3: film that he was what thirty gallons of blood in Reanimator.
• 1:04:12
  Speaker 5: Yeah, something like that.
• 1:04:13
  Speaker 3: Yeah, and he was like, I felt like that that
• 1:04:15
  Speaker 3: was just such an absurd amount of blood to use on,
• 1:04:19
  Speaker 3: you know, a horror film. And then he proceeds to
• 1:04:21
  Speaker 3: mention that dead alive US three thousand gallons of blood.
• 1:04:26
  Speaker 5: He like thought he said, like, oh, I thought like
• 1:04:28
  Speaker 5: we were like shit for doing that. He's like, And
• 1:04:30
  Speaker 5: then I talked to Peter Jackson about that alive.
• 1:04:32
  Speaker 3: And hales in comparison.
• 1:04:35
  Speaker 5: But you know what though, and this was something that
• 1:04:37
  Speaker 5: I picked up on because I talk in my notes here.
• 1:04:40
  Speaker 5: I have like the you know, the biting off of
• 1:04:42
  Speaker 5: Dean Halsey's fingers, how gross that is, And then obviously
• 1:04:45
  Speaker 5: it ends in the bone saw gag. But I think
• 1:04:49
  Speaker 5: that's what sells the violence in this movie so well,
• 1:04:52
  Speaker 5: is the fact that they're just everybody's so covered in blood.
• 1:04:56
  Speaker 5: And the cool thing about blood and the color of
• 1:04:58
  Speaker 5: blood is that, obviously is it dries. It changes colors
• 1:05:02
  Speaker 5: and it looks different. You can see like the fresh
• 1:05:05
  Speaker 5: blood versus it drying on the clothing. And it's just
• 1:05:08
  Speaker 5: like there's little details that I think make help the
• 1:05:11
  Speaker 5: scenes stay memorable, or just the use of it, like
• 1:05:15
  Speaker 5: nowadays you're just getting CG. I like I watched that
• 1:05:19
  Speaker 5: movie Renfield, which I thought was fine for the most part.
• 1:05:23
  Speaker 5: But there's like a massacre fight scene in the middle
• 1:05:26
  Speaker 5: of that movie where people are getting limbs ripped off
• 1:05:29
  Speaker 5: and all kinds of shit, and then there's a wide
• 1:05:31
  Speaker 5: shot of them where the mascore just happened and there's
• 1:05:33
  Speaker 5: no blood anywhere, And instantly I was like, this takes
• 1:05:37
  Speaker 5: me out of it. I don't know why. Weird how
• 1:05:39
  Speaker 5: that happens. Weird little fun fact though, So there's a
• 1:05:47
  Speaker 5: moment when Megan Barbara Crampton is up stairs and she's
• 1:05:52
  Speaker 5: sitting on a bench and she's sitting next to a
• 1:05:54
  Speaker 5: guy that has like his jaw band aged up. I
• 1:05:58
  Speaker 5: don't know why I said bandaged banded. That's a that's
• 1:06:01
  Speaker 5: James Cameron's father. Really, I don't know why. I don't know. Yeah,
• 1:06:07
  Speaker 5: I don't know where that came from. I was like, what.
• 1:06:11
  Speaker 6: Send some people over from, you know, on set of
• 1:06:13
  Speaker 6: Terminata the body double my father?
• 1:06:16
  Speaker 5: Yeah, yeah, you're gonna have my father. This guy where
• 1:06:20
  Speaker 5: some bandages for you.
• 1:06:22
  Speaker 3: It was wild because isn't the film as a whole?
• 1:06:24
  Speaker 3: It was shot in eighteen days, wasn't it.
• 1:06:26
  Speaker 5: Yeah, it's super quick crazy super quick Man. But I
• 1:06:32
  Speaker 5: do love this little anecdote that Gordon brings up about
• 1:06:35
  Speaker 5: how much fun Robert Sampson had being a zombie for
• 1:06:40
  Speaker 5: for for the rest of this movie, because it was
• 1:06:42
  Speaker 5: so against type for him to not only be in
• 1:06:45
  Speaker 5: a horror movie, but to play, you know, a horror character.
• 1:06:49
  Speaker 5: And it's cool because you see him kind of transform
• 1:06:53
  Speaker 5: into I guess zombie is kind of the term I'm using,
• 1:06:56
  Speaker 5: but you know, whatever you want to call it.
• 1:06:57
  Speaker 4: But it's cool to.
• 1:06:58
  Speaker 5: See him even in the scenes in the uh you know,
• 1:07:00
  Speaker 5: when he's in that little like mattress room, he's just
• 1:07:03
  Speaker 5: kind of you know, walking around. Yeah, yeah, he's he's scary.
• 1:07:08
  Speaker 5: And then at the end again, you know, they have
• 1:07:10
  Speaker 5: that brief moment where he kind of recognizes that that
• 1:07:12
  Speaker 5: Megan's daughter and stuff. I think it's a cool it's
• 1:07:14
  Speaker 5: a cool little role for him. But uh I I
• 1:07:18
  Speaker 5: have another another nerd moment here where I talk about
• 1:07:21
  Speaker 5: how much I love this Dolly shot when Meghan is
• 1:07:24
  Speaker 5: exiting the elevator on her way down to the Mork
• 1:07:26
  Speaker 5: to checking on her father. She comes out of the
• 1:07:29
  Speaker 5: elevator and the camera pulls back all the way down
• 1:07:33
  Speaker 5: the hallway and then she begins to walk down and uh.
• 1:07:39
  Speaker 5: Gordon says something here that I thought was pretty funny
• 1:07:41
  Speaker 5: that he talks about how Greenberg started calling him orson
• 1:07:44
  Speaker 5: rails because of his fascination with using a dolly in
• 1:07:48
  Speaker 5: this movie. No, no, no, no, we need more, We
• 1:07:54
  Speaker 5: need more dollars. We also need more We also need
• 1:07:59
  Speaker 5: more thought going into blocking, because recently I've been watching
• 1:08:03
  Speaker 5: some older Spielberg stuff and that guy was the king
• 1:08:05
  Speaker 5: of putting people in frame in interesting ways without cutting.
• 1:08:09
  Speaker 5: Just a little anecdote there from me that there was
• 1:08:14
  Speaker 5: something fun here that he talks about, which was a
• 1:08:16
  Speaker 5: side plot that was actually removed concerning doctor Hill's kind
• 1:08:20
  Speaker 5: of psychic connections, and this was supposedly reinstated for the
• 1:08:24
  Speaker 5: R rated cut. And I do remember reading the novelization
• 1:08:29
  Speaker 5: put out by Encyclopocalypse, our friends over there at encyclopoc Publications,
• 1:08:35
  Speaker 5: and the I don't know which version of the script
• 1:08:39
  Speaker 5: the novelization uses, but that's kind of that kind of
• 1:08:42
  Speaker 5: gets brought up a few times, and it's one of
• 1:08:45
  Speaker 5: those things that he talks about that's kind of why
• 1:08:48
  Speaker 5: after doctor Hill loses his head, why he's able to
• 1:08:51
  Speaker 5: kind of command his body is because of this weird
• 1:08:55
  Speaker 5: psychic power he has, but it wasn't explored, So it's
• 1:08:58
  Speaker 5: just kind of one of those little kind of like
• 1:09:03
  Speaker 5: gaps that nobody really questions, you know what I mean,
• 1:09:07
  Speaker 5: what do you guys? How do you guys, how do
• 1:09:09
  Speaker 5: you think it would have felt if you found out
• 1:09:10
  Speaker 5: that that that doctor Hill was actually kind of psychic?
• 1:09:13
  Speaker 5: You think that would have made things better? Made things worse?
• 1:09:17
  Speaker 3: I don't think it feels necessary.
• 1:09:19
  Speaker 6: Yeah, I kind of agree, Like I mean, I never
• 1:09:21
  Speaker 6: questioned why he can chat talk to his body other
• 1:09:24
  Speaker 6: than just he was dead.
• 1:09:25
  Speaker 4: And was able to do that.
• 1:09:27
  Speaker 5: Yeah, yeah, yeah, Yeah, it's a It was just a
• 1:09:30
  Speaker 5: cool little point that I thought. But this all leading
• 1:09:34
  Speaker 5: up to probably the best stretch of this film, and
• 1:09:40
  Speaker 5: one of those being this confrontation moment between West and
• 1:09:44
  Speaker 5: Hill down in in Dan's basement when he comes down
• 1:09:48
  Speaker 5: to see him and we kind of get to see
• 1:09:50
  Speaker 5: this real versus fake genius play out as Hill is
• 1:09:54
  Speaker 5: yet again literally stealing all of West's research downstairs and
• 1:10:01
  Speaker 5: doing it very blatantly, and uh, you know, this leads
• 1:10:05
  Speaker 5: to him getting his head cut off, which is which
• 1:10:07
  Speaker 5: is probably one of my favorite beheadings of all time
• 1:10:10
  Speaker 5: next to the Halloween three beheading. Yeah, I know, I know,
• 1:10:16
  Speaker 5: I know you weren't expecting to hear about Halloween three
• 1:10:18
  Speaker 5: this episode, But here we are, Steve. I think you're muted.
• 1:10:22
  Speaker 5: Just a heads up.
• 1:10:24
  Speaker 3: I was just saying Chris's power rankings for beheadings.
• 1:10:28
  Speaker 4: Well, what else, No, Pamela Boarhe's in there.
• 1:10:31
  Speaker 5: I know that's pretty good. I especially like Tom Sabanie's
• 1:10:33
  Speaker 5: hairy fingers.
• 1:10:35
  Speaker 6: That was the first beheading beheading I had ever seen,
• 1:10:37
  Speaker 6: like on a movie when I was growing up, and
• 1:10:39
  Speaker 6: it was like shocking. Outside of that, I only knew
• 1:10:41
  Speaker 6: a beheading from Johnny Cage punching heads off from other
• 1:10:44
  Speaker 6: than that, I had never really seen.
• 1:10:46
  Speaker 4: One of a movie.
• 1:10:46
  Speaker 5: So yeah, I'm trying to think of other I do
• 1:10:49
  Speaker 5: love because I recently recently revisited Halloween three. I do
• 1:10:52
  Speaker 5: love the the ripping off of that, even though it
• 1:10:55
  Speaker 5: was shot far away. I think that's great. Man.
• 1:10:59
  Speaker 3: It's just so unsettled.
• 1:11:00
  Speaker 5: I'm trying to think, like, I feel like I'm getting
• 1:11:02
  Speaker 5: confused between beheadings I watched in uh in movies or
• 1:11:05
  Speaker 5: beheadings I watched on ICE's videos. I don't know which one.
• 1:11:09
  Speaker 5: I don't know which on.
• 1:11:11
  Speaker 4: So you're saying that the New, the New, uh, the
• 1:11:15
  Speaker 4: Face of Death was about you.
• 1:11:17
  Speaker 5: Yeah, I just actually actually uh yeah, it was made
• 1:11:20
  Speaker 5: just about me. And I hope you guys get a
• 1:11:23
  Speaker 5: chance to see it, because I don't how much longer
• 1:11:24
  Speaker 5: it would it be around to promote it once. Once
• 1:11:27
  Speaker 5: I'm gonna have to edit that out. Yeah, the beheading
• 1:11:33
  Speaker 5: of doctor Hill is awesome, and it's it's super gross
• 1:11:36
  Speaker 5: man done with a shovel and uh, you know, put
• 1:11:39
  Speaker 5: right up against the neck and cut off. I just
• 1:11:41
  Speaker 5: love all the effects in this. And he talked. He
• 1:11:42
  Speaker 5: talks about how John Carl Buckler was part of the
• 1:11:46
  Speaker 5: effects team and gave a hand here to anybody who
• 1:11:50
  Speaker 5: wants to see great underrated John Carl Buckler watch Mausoleum
• 1:11:56
  Speaker 5: Putever Vinigar centro Old, very very good film for you.
• 1:12:01
  Speaker 5: So I just talk about I have nineteen notes here
• 1:12:03
  Speaker 5: about how much I love this beheading. I don't know why,
• 1:12:06
  Speaker 5: but I'm not just kidding. I do love though. Stuart
• 1:12:11
  Speaker 5: Gordon calls David Gale the man in the Pan.
• 1:12:14
  Speaker 4: I love the way he talks, like when he's in
• 1:12:17
  Speaker 4: the pan and stuff like that.
• 1:12:20
  Speaker 5: Yeah, it's it's really eerie, man, especially when he's brought
• 1:12:23
  Speaker 5: back and they put the blood in the pan to
• 1:12:25
  Speaker 5: kind of re you know, up him and give him
• 1:12:28
  Speaker 5: kind of like some some hydration we all know the
• 1:12:30
  Speaker 5: importance of electrolytes, and.
• 1:12:32
  Speaker 3: Gives him a second wind.
• 1:12:34
  Speaker 5: Yeah, I mean, yeah, yeah, but yeah, they talk about
• 1:12:37
  Speaker 5: they call him the man in the Pan because basically
• 1:12:39
  Speaker 5: David Gail was stuck under a table, forced with this
• 1:12:43
  Speaker 5: kind of neck appliance on to stick his head up
• 1:12:46
  Speaker 5: through a hole, and that's kind of how he acted
• 1:12:48
  Speaker 5: for most of the time. There's actually a lot of
• 1:12:50
  Speaker 5: really cool, uh kind of like visual magic or trickery
• 1:12:54
  Speaker 5: done to achieve a lot of these effects for the
• 1:12:57
  Speaker 5: rest of the movie with his decapitated head. I really
• 1:13:00
  Speaker 5: admire it. My favorite being the fact that he had
• 1:13:03
  Speaker 5: to like push through a three hundred pound looking version
• 1:13:08
  Speaker 5: of him to achieve like the body holding the pan effect,
• 1:13:12
  Speaker 5: and Gordon's like, yeah, if you look like David Gale's
• 1:13:15
  Speaker 5: body's kind of like jacked in these sequences because we
• 1:13:17
  Speaker 5: had to make the body so big for David Gale
• 1:13:19
  Speaker 5: to fit through to get, you know, achieve the effect.
• 1:13:24
  Speaker 5: But there's a moment when his body brings him to
• 1:13:29
  Speaker 5: his lab and he pretty much like speaks to Dean Halsey,
• 1:13:37
  Speaker 5: and there's this really great shot where Dean Halsey looks
• 1:13:41
  Speaker 5: down and you can see his reflection and then the
• 1:13:44
  Speaker 5: light changes and his head kind of lines up with
• 1:13:48
  Speaker 5: doctor Hill's head in the pan. And I thought it
• 1:13:50
  Speaker 5: was just a really really cool effect. And he talks
• 1:13:52
  Speaker 5: about how this was done just with literally lighting. They
• 1:13:56
  Speaker 5: had a two way mirror and all they did was
• 1:13:59
  Speaker 5: turn off the in one room and raise the lights
• 1:14:01
  Speaker 5: in another, and it made it look like this transition
• 1:14:04
  Speaker 5: that now would pretty much be done through visual effects.
• 1:14:08
  Speaker 5: And he's like, yeah, it was actually super simple and
• 1:14:10
  Speaker 5: it works so well. So my next note here is just, ah, yes,
• 1:14:15
  Speaker 5: the old head giving head scene. Are you guys familiar
• 1:14:19
  Speaker 5: with the sequence at all?
• 1:14:20
  Speaker 4: Of course? Yeah? Classic?
• 1:14:22
  Speaker 3: Come on man, how could you forget it?
• 1:14:26
  Speaker 5: Do you think it's appropriate that this kind of became
• 1:14:29
  Speaker 5: like the the most well known scene in this movie.
• 1:14:34
  Speaker 6: It's a very like, especially now watching it's it's I'm
• 1:14:38
  Speaker 6: not to say it's a hard watch.
• 1:14:39
  Speaker 4: It's a weird watch now, you know.
• 1:14:41
  Speaker 6: It's like it's something that you kind of like, I
• 1:14:42
  Speaker 6: can't believe they did this, like when you were When
• 1:14:45
  Speaker 6: I saw this when I was younger, I was shocked,
• 1:14:46
  Speaker 6: but I was kind of like, you know, at that time,
• 1:14:48
  Speaker 6: I was like, it's hard. I can you know this
• 1:14:50
  Speaker 6: thing's balls and the walls, this can go anywhere where.
• 1:14:53
  Speaker 6: Now is like I'm older, I'm kind of like, I'm
• 1:14:54
  Speaker 6: surprised they were even able to do that, because I
• 1:14:59
  Speaker 6: mean it was it's pretty graphic. And going back to
• 1:15:04
  Speaker 6: From Beyond, we talked about it before I did. I
• 1:15:06
  Speaker 6: saw her that at the theater with Barbara Crampton, like
• 1:15:10
  Speaker 6: she was part of a screening. So when they showed
• 1:15:12
  Speaker 6: her when she had all the leather on, everybody was
• 1:15:14
  Speaker 6: like whistling and stuff, and she just right there right
• 1:15:18
  Speaker 6: everybody's And I think to myself, how weird is it
• 1:15:20
  Speaker 6: for her to do screenings with fans for this movie
• 1:15:23
  Speaker 6: when this scene pops up? Like are you weird if
• 1:15:27
  Speaker 6: you like clap or whistle or something like the scene
• 1:15:30
  Speaker 6: and she's sitting right there, like is that awkward?
• 1:15:32
  Speaker 4: Shut up?
• 1:15:33
  Speaker 5: Barbara Crampton's right there.
• 1:15:37
  Speaker 4: I don't know.
• 1:15:37
  Speaker 6: It must be awkward for her, like to be sitting
• 1:15:39
  Speaker 6: there at her age and just watching all these guys
• 1:15:42
  Speaker 6: like watching this scene like next to them, Steve.
• 1:15:46
  Speaker 5: What do you think about it? What do you think
• 1:15:47
  Speaker 5: about this scene?
• 1:15:48
  Speaker 4: Man?
• 1:15:48
  Speaker 5: Would you would you clap in cheer when this came
• 1:15:50
  Speaker 5: on in the theater next to Barbara Crampton at the.
• 1:15:52
  Speaker 3: Screen, the man, I have no shame. I appreciate art.
• 1:15:56
  Speaker 5: You give her a fist bump? Great, like good work,
• 1:16:04
  Speaker 5: good work? Uh?
• 1:16:06
  Speaker 4: Well?
• 1:16:06
  Speaker 5: For yeah, I don't know if you're listening to this
• 1:16:08
  Speaker 5: and you've never seen the movie, I don't know why
• 1:16:10
  Speaker 5: you're listening this, but for for some context uh uh.
• 1:16:14
  Speaker 5: Megan is captured and brought to uh to doctor Hill's lab,
• 1:16:20
  Speaker 5: where she is striped nude on a table next to
• 1:16:25
  Speaker 5: doctor Hill's head, and then doctor Hill go goes ahead
• 1:16:31
  Speaker 5: and kind of begins to kind of uh assault her
• 1:16:36
  Speaker 5: while she's passed out, which leads to her waking up
• 1:16:41
  Speaker 5: and screaming, and she's completely nude on the steel table
• 1:16:45
  Speaker 5: and it's kind of beginning to be insinuated that he's
• 1:16:49
  Speaker 5: going to give her oral with his head on a
• 1:16:53
  Speaker 5: on a pan based and his body.
• 1:16:58
  Speaker 4: Father is like basically watching it from the THEO.
• 1:17:03
  Speaker 7: You think about that, it would have been great of
• 1:17:12
  Speaker 7: a cut back to to to Dean Halsey and he
• 1:17:14
  Speaker 7: like just turns around and looks the other.
• 1:17:21
  Speaker 5: But it's it's funny.
• 1:17:22
  Speaker 4: Man.
• 1:17:22
  Speaker 5: You would have think we have we'd have planned this
• 1:17:24
  Speaker 5: with with with your input you just gave. Because earlier
• 1:17:26
  Speaker 5: in the in the commentary track, Gordon mentions how you
• 1:17:30
  Speaker 5: can't be funny and scary in the same scene, which
• 1:17:34
  Speaker 5: is true because you're going to pull away from one
• 1:17:37
  Speaker 5: or the other. Right when it's scary and you try
• 1:17:39
  Speaker 5: to be funny, you're gonna pull away from the from
• 1:17:41
  Speaker 5: the scare. And if it's funny and you try to
• 1:17:42
  Speaker 5: be scary, you're pulling away from from the funny. But
• 1:17:45
  Speaker 5: this scene is so incredibly disturbing because you almost want
• 1:17:51
  Speaker 5: to laugh because it's uncomfortable because there's a visual pun
• 1:17:55
  Speaker 5: happening right in front of you. But the length of
• 1:17:59
  Speaker 5: this is just like so like I always find myself
• 1:18:03
  Speaker 5: kind of like sinking in my seat a little bit, like, oh,
• 1:18:07
  Speaker 5: this is just so well, I don't know, it's like
• 1:18:11
  Speaker 5: this is more bothersome or it gets like more of
• 1:18:13
  Speaker 5: a reaction out of me than than any of the gore,
• 1:18:16
  Speaker 5: does you know what I mean?
• 1:18:17
  Speaker 6: I totally agree. It's an uncomfortable scene. It is, and
• 1:18:22
  Speaker 6: like you said, there's parts of it that you kind
• 1:18:24
  Speaker 6: of want to laugh. Like maybe when I was first
• 1:18:26
  Speaker 6: watching this at fifteen, I probably chuckled at this scene. Yeah,
• 1:18:30
  Speaker 6: I'm watching it again. I'm kind of like, this is
• 1:18:32
  Speaker 6: a weird scene that you know, it's an uncomfortable wants
• 1:18:36
  Speaker 6: just to sit there and just.
• 1:18:36
  Speaker 4: Be like, oh, yeah, like this is this is good.
• 1:18:41
  Speaker 4: It's kind of like, okay, we move on now, Like
• 1:18:43
  Speaker 4: I I know what's gonna happen. Let's just move on.
• 1:18:45
  Speaker 4: I know.
• 1:18:45
  Speaker 5: It just keeps it just keeps going, and you're like
• 1:18:49
  Speaker 5: and then finally when it you know, when it breaks,
• 1:18:51
  Speaker 5: you're like, oh, thank God that you are.
• 1:18:54
  Speaker 4: It's like a relief, like.
• 1:18:55
  Speaker 5: Jesus, Yeah, that's uh. It's amazing. Him talking about how
• 1:19:02
  Speaker 5: this became pretty much like posters and cover art and
• 1:19:09
  Speaker 5: you know, everything that you see for this movie has
• 1:19:11
  Speaker 5: this scene reference in some way somehow, you know.
• 1:19:14
  Speaker 4: Because it weird. If you met Barbara Crampton and you
• 1:19:16
  Speaker 4: brought this, like a still of this scene to her to.
• 1:19:18
  Speaker 5: Sign with that dude, what listen, listen bro there he
• 1:19:24
  Speaker 5: actually talks about how and I don't know how you're
• 1:19:27
  Speaker 5: doing this. We we seriously did not prep this back
• 1:19:30
  Speaker 5: and forth. But Gordon talks about how he was with
• 1:19:34
  Speaker 5: her at a convention and somebody brought up like a
• 1:19:39
  Speaker 5: still from this moment to have her sign and she
• 1:19:43
  Speaker 5: forced this guy to bring him to bring her to
• 1:19:47
  Speaker 5: the vendor table that was selling these and she like
• 1:19:52
  Speaker 5: confiscated like three hundred of these photos from this guy
• 1:19:55
  Speaker 5: from this fucking vendor that was selling this, which like
• 1:19:59
  Speaker 5: good on her, what a a ship move from that vendor,
• 1:20:02
  Speaker 5: Like you know, like.
• 1:20:03
  Speaker 4: I get it, but.
• 1:20:06
  Speaker 5: You should bring this bring have her signed this.
• 1:20:08
  Speaker 6: And I bet, like you, knowing how vendors work, I
• 1:20:10
  Speaker 6: bet he had those pictures at his table and there
• 1:20:12
  Speaker 6: was a little stick you know, get this.
• 1:20:13
  Speaker 4: Signed, you know what I mean?
• 1:20:15
  Speaker 6: Like like so it kind of can senuate like insinuates
• 1:20:17
  Speaker 6: you to get it.
• 1:20:18
  Speaker 5: Like yeah, and she she gave. She gave the guy
• 1:20:21
  Speaker 5: you brought up a lashing and then literally forced forced
• 1:20:24
  Speaker 5: him to show to show her where where he got
• 1:20:26
  Speaker 5: them from. So the interesting anecdote.
• 1:20:29
  Speaker 6: There, Well, I know Justin has a has a a
• 1:20:33
  Speaker 6: penthouse with her on it or something.
• 1:20:36
  Speaker 5: Yeah she dude, she I mean, do you think she
• 1:20:41
  Speaker 5: would have any issue like if you brought up you know,
• 1:20:43
  Speaker 5: her in the in the outfit from from Beyond.
• 1:20:47
  Speaker 4: She might even have that at our table. To be
• 1:20:49
  Speaker 4: honest with you, that's true.
• 1:20:50
  Speaker 5: Yeah, you know, I didn't even think about that.
• 1:20:51
  Speaker 6: But if you brought them, if you brought her in
• 1:20:53
  Speaker 6: penthouse up, I don't know, maybe you should sign it.
• 1:20:55
  Speaker 6: And I'm sure he's Steven's probably ordering it right now.
• 1:20:57
  Speaker 3: And you bet that's why Steve hasn't talked in five minutes.
• 1:21:06
  Speaker 5: He's like actively prized.
• 1:21:08
  Speaker 3: I'm just investing in my future, that's all it is.
• 1:21:11
  Speaker 5: Well, I mean, yeah, exactly, Yeah, I mean this was
• 1:21:15
  Speaker 5: so this was so early in her career, and you know,
• 1:21:18
  Speaker 5: there's been so many mixed discussions about the scene, and
• 1:21:21
  Speaker 5: you know from people who say like, hey, you know
• 1:21:24
  Speaker 5: it's you know, she obviously, you know, knew what she
• 1:21:27
  Speaker 5: was getting into. She agreed to do this, and and
• 1:21:30
  Speaker 5: then you have another side that's kind of like, well,
• 1:21:32
  Speaker 5: this is kind of what's wrong with with with hard
• 1:21:35
  Speaker 5: and it's very exploitative and it's this and it's that,
• 1:21:40
  Speaker 5: you know, she she and the In Search of Darkness documentaries,
• 1:21:45
  Speaker 5: I know, has been vocal about kind of the pressures
• 1:21:52
  Speaker 5: on on on actresses at this time to do the
• 1:21:55
  Speaker 5: nude stuff, and she kind of talks about like how
• 1:21:58
  Speaker 5: some people, you know, they really felt kind of in
• 1:22:02
  Speaker 5: a position that like, in order to succeed, you have
• 1:22:04
  Speaker 5: to do this, And she doesn't really specifically say that
• 1:22:07
  Speaker 5: she felt that way, but the fact that she's so
• 1:22:10
  Speaker 5: supportive of this movie knowing that that is such a
• 1:22:16
  Speaker 5: you know, that that scene had such an impact, I
• 1:22:19
  Speaker 5: think kind of shows that it's something that she doesn't
• 1:22:23
  Speaker 5: really look back on in the most negative or I
• 1:22:26
  Speaker 5: would feel that she wouldn't be supporting the movie like
• 1:22:28
  Speaker 5: she still does, you know.
• 1:22:29
  Speaker 3: But I feel like that would almost be the same
• 1:22:31
  Speaker 3: way with like Lenia Quickly like them too. I always
• 1:22:34
  Speaker 3: think about kind of from that same era of horror films.
• 1:22:38
  Speaker 3: But yeah, I mean I think if she was completely
• 1:22:41
  Speaker 3: writing it off, I don't think she would have, you know,
• 1:22:44
  Speaker 3: be a supportive or embrace the horror community the way
• 1:22:47
  Speaker 3: that she has, you know, or for either of them
• 1:22:49
  Speaker 3: for that matter.
• 1:22:50
  Speaker 4: I think Lenae is a great a great one because
• 1:22:54
  Speaker 4: it was like every movie she was in, it was
• 1:22:56
  Speaker 4: almost guaranteed to have to take her clothes off, like
• 1:22:59
  Speaker 4: it was even when she was in Elm Street doing
• 1:23:01
  Speaker 4: like that one scene where she was like in Freddy's
• 1:23:04
  Speaker 4: body as like a body double, and it was like, yeah,
• 1:23:06
  Speaker 4: we're gonna have you just push your breasts against him
• 1:23:08
  Speaker 4: and that's all we're gonna see popping out of Freddy's
• 1:23:10
  Speaker 4: chest or whatever. Right.
• 1:23:11
  Speaker 6: Like it was like even things like Savage Streets, she
• 1:23:14
  Speaker 6: played like the you know, the deaf cousin or sister
• 1:23:18
  Speaker 6: or whatever that got assaulted and you know she had
• 1:23:21
  Speaker 6: to do that scene. It was just like everything she
• 1:23:22
  Speaker 6: was in it was like part of almost like what
• 1:23:25
  Speaker 6: the expectation was for LENEA.
• 1:23:27
  Speaker 5: Well, you watch Suddenly Deadly Night and you're like, this
• 1:23:30
  Speaker 5: is just an excuse for somebody to run around topless,
• 1:23:33
  Speaker 5: right because she has pants on, but she's topless. And
• 1:23:36
  Speaker 5: then you watch you know, Return of Living Dead and
• 1:23:38
  Speaker 5: obviously she you know, pretty much bears all in Return
• 1:23:42
  Speaker 5: to Living Dead. But did either of you guys see
• 1:23:44
  Speaker 5: the Screaming in High Hills documentary about her and a
• 1:23:48
  Speaker 5: couple other It's a really interesting, like little documentary that
• 1:23:53
  Speaker 5: came out I think like twenty eighteen. I off to
• 1:23:56
  Speaker 5: send you guys. I have a Blu ray release of it.
• 1:23:58
  Speaker 5: I forget who put it out, but they it's her
• 1:24:01
  Speaker 5: and a couple other actresses who kind of talk about
• 1:24:03
  Speaker 5: kind of the same thing that Barbara Crampton does and
• 1:24:05
  Speaker 5: in search of darkness, kind of like the pressure. But
• 1:24:08
  Speaker 5: they they kind of enjoyed it, like they were like, hey,
• 1:24:10
  Speaker 5: we we enjoyed it, or we wouldn't have you know,
• 1:24:13
  Speaker 5: agreed to do these roles endlessly like like we did.
• 1:24:16
  Speaker 5: So there's different you know, I guess, I guess different
• 1:24:20
  Speaker 5: strokes for different folks. When people, you know, some people
• 1:24:23
  Speaker 5: enjoy it and they don't, they don't take it as
• 1:24:25
  Speaker 5: heavily as others. And it doesn't mean that they're that
• 1:24:28
  Speaker 5: they're they're wrong, and it doesn't mean that people who don't,
• 1:24:31
  Speaker 5: you know, like it are wrong. It's just it's different things.
• 1:24:33
  Speaker 5: And I think collectively we can say that it was
• 1:24:38
  Speaker 5: it was the the the eighties really put a lot
• 1:24:44
  Speaker 5: of pressure on women to do these scenes. And I
• 1:24:47
  Speaker 5: think we know that as a whole now, and you know,
• 1:24:51
  Speaker 5: it's it's definitely unfortunate that it happened, but to be
• 1:24:57
  Speaker 5: a part of one of the most known, uh you know,
• 1:25:01
  Speaker 5: sequences in pretty much like eighties horror history. I mean
• 1:25:04
  Speaker 5: this scene from Reanimator, I think transcends the movie itself.
• 1:25:07
  Speaker 5: People know the scene without even knowing the movie for sure,
• 1:25:11
  Speaker 5: it still is like it's not it's a very funny scene,
• 1:25:16
  Speaker 5: and at least the scene has some some levity do it.
• 1:25:20
  Speaker 5: It's meant to be disturbing and it's meant to be graphic,
• 1:25:23
  Speaker 5: and it definitely delivers impact. It's not there just to
• 1:25:26
  Speaker 5: be titillating, you know what I mean. So but yeah,
• 1:25:31
  Speaker 5: you know who knows. It's just such a great moment.
• 1:25:35
  Speaker 5: Man too. Seriously, I know, like we just said all
• 1:25:37
  Speaker 5: that and then I'm like, yeah, it's scene fucking rules,
• 1:25:39
  Speaker 5: but you know.
• 1:25:39
  Speaker 6: It's now I'm thinking about if Lenaea has pictures like
• 1:25:44
  Speaker 6: that at her tables I convenure them, trying to remember
• 1:25:46
  Speaker 6: if she she seems like a little bit more understanding,
• 1:25:48
  Speaker 6: if you were to bring pictures like that up to
• 1:25:50
  Speaker 6: have her sign.
• 1:25:53
  Speaker 4: Yeah, have so many.
• 1:25:54
  Speaker 6: And then always got me thinking we were talking about
• 1:25:56
  Speaker 6: Barbarakrampton getting mad and if someone brought that picture up
• 1:25:59
  Speaker 6: or whatever. You know, some celebrities like I went to
• 1:26:02
  Speaker 6: a convention with my buddy and he wanted to get
• 1:26:05
  Speaker 6: Stephanie Tanner from full House's autograph and you go up
• 1:26:08
  Speaker 6: to her table, and you have two choices. You either
• 1:26:10
  Speaker 6: pick her now in like lingerie or her as like
• 1:26:14
  Speaker 6: a little kid.
• 1:26:15
  Speaker 4: And he's like, he goes, dude, I don't know which
• 1:26:16
  Speaker 4: one to which one to pick? Here?
• 1:26:19
  Speaker 6: Like which one's less weird for me? And she's sitting
• 1:26:22
  Speaker 6: right there and it's like, those are your only options?
• 1:26:24
  Speaker 6: Is her barely dressed as an adult or her as
• 1:26:26
  Speaker 6: like little kid. He's like, this sucks, man, This is
• 1:26:30
  Speaker 6: like a hard decision to make.
• 1:26:32
  Speaker 5: But at that point I would just get a napkin sign.
• 1:26:35
  Speaker 4: You pick. You're just gonna tell her you pick whatever.
• 1:26:38
  Speaker 4: I don't know.
• 1:26:41
  Speaker 5: Oh my god. So back to this commentary. I only
• 1:26:47
  Speaker 5: got a few notes left here.
• 1:26:49
  Speaker 4: Uh.
• 1:26:50
  Speaker 5: I just mentioned here how I thought the reanimated army
• 1:26:53
  Speaker 5: is cool as shit, you know, which was such a
• 1:26:56
  Speaker 5: cool idea that Hill basically went back and just fucking
• 1:26:59
  Speaker 5: pre wrapped this army of of re animated badasses in
• 1:27:04
  Speaker 5: order for the showdown to occur. Yeah, talk about how
• 1:27:09
  Speaker 5: thirty gallons of blood was used. I have here and
• 1:27:12
  Speaker 5: he talks about that, especially during the head crushing scene
• 1:27:17
  Speaker 5: of Doctor Hill, which is so bloody, so so cool, man,
• 1:27:21
  Speaker 5: that's that's so cool, you.
• 1:27:23
  Speaker 6: Know, what scene I always loved in this too, is
• 1:27:25
  Speaker 6: like that I always found was just amazing.
• 1:27:27
  Speaker 4: Was like when they were trying to sneak up on
• 1:27:28
  Speaker 4: him and the head and he puts the head up
• 1:27:30
  Speaker 4: and it turned around or whatever. I love that.
• 1:27:34
  Speaker 5: It's such a good idea for him to put the
• 1:27:36
  Speaker 5: I love him sneaking past the security guard by putting
• 1:27:39
  Speaker 5: the like it's like the autopsy like structural head on
• 1:27:43
  Speaker 5: and he just kind of like creeps by, you know,
• 1:27:46
  Speaker 5: he drops the ear. But and I just have here,
• 1:27:52
  Speaker 5: you know, one more nod to ignite films this whole sequence,
• 1:27:55
  Speaker 5: this whole kind of leading up to the final moments,
• 1:27:58
  Speaker 5: the sequence with the smoke and the more looks phenomenal,
• 1:28:02
  Speaker 5: Like this was really one Yeah, this was one of
• 1:28:05
  Speaker 5: the moments where the restoration really shined for me. It's
• 1:28:09
  Speaker 5: a really really great moment. And then I have here
• 1:28:14
  Speaker 5: kind of this this note that he talks about the
• 1:28:17
  Speaker 5: burn corpse that attacks Megan and the elevator and yep,
• 1:28:21
  Speaker 5: kills her. How he was an actual amputee and they
• 1:28:24
  Speaker 5: were actually able to take that axe and mob off
• 1:28:27
  Speaker 5: that fake arm because of that. And I was trying
• 1:28:30
  Speaker 5: to think of, like, oh, what other times. You know,
• 1:28:32
  Speaker 5: have I heard of you know, amputees being used in
• 1:28:35
  Speaker 5: movies to achieve these effects? And one that came to
• 1:28:37
  Speaker 5: mind was Zack Snunder's Dawn of the Dead the likeless zombie,
• 1:28:41
  Speaker 5: and I believe it's the parking garage, right, he's the
• 1:28:43
  Speaker 5: one that's like he's like swinging on the pipe, comes
• 1:28:48
  Speaker 5: up real fast, and he was a double amputee. They
• 1:28:50
  Speaker 5: used to pull off that scene. No, it's it's a
• 1:28:53
  Speaker 5: cool you know, it's a cool, cool thing to do.
• 1:28:56
  Speaker 5: It looks great. The axe City arm always kind of
• 1:28:58
  Speaker 5: gross me out. That kind of stuff, man, it's so
• 1:29:01
  Speaker 5: gross dude. And burns. I hate burns and movies man,
• 1:29:04
  Speaker 5: they just feel like, oh what a way to go? Yeah,
• 1:29:10
  Speaker 5: not good, No way.
• 1:29:11
  Speaker 3: Man.
• 1:29:12
  Speaker 5: What do you guys think about about Megan bite in
• 1:29:14
  Speaker 5: the dust? You think it works?
• 1:29:19
  Speaker 6: It's a weird ending. I think, I don't know if
• 1:29:22
  Speaker 6: it was. Did he mention in there that there was ever?
• 1:29:25
  Speaker 6: Like there was never originally a plan for a sequel?
• 1:29:27
  Speaker 4: Was there?
• 1:29:27
  Speaker 6: And that's why they did this because she didn't return.
• 1:29:29
  Speaker 6: And I forget what the reason was that she didn't
• 1:29:32
  Speaker 6: come back. Was it money? Was it from beyond? Like
• 1:29:35
  Speaker 6: I don't remember what the reason was that she didn't
• 1:29:37
  Speaker 6: return as as the bride, because you figure it would only
• 1:29:40
  Speaker 6: makes sense that she would have been the bride.
• 1:29:43
  Speaker 5: Yeah, I mean, he doesn't mention anything. I don't know
• 1:29:46
  Speaker 5: if there's anything. Let's do some uh some quick research here.
• 1:29:53
  Speaker 5: So I love when I'm when I'm podcasting and I
• 1:29:56
  Speaker 5: and I type, and my fucking Google searches are just
• 1:30:01
  Speaker 5: like words that somehow the AI puts together. But I
• 1:30:04
  Speaker 5: was trying to ask. So it says here, according to
• 1:30:08
  Speaker 5: this this very quick research that I've conducted, it says
• 1:30:13
  Speaker 5: that Megan Halsey was written out of the script. Additionally,
• 1:30:15
  Speaker 5: she was advised by her agent that the proposed smaller
• 1:30:17
  Speaker 5: role for the sequel was actually beneath her, so that's
• 1:30:20
  Speaker 5: why she was recasted. It says that she noted in
• 1:30:24
  Speaker 5: interviews that the smaller role offered her was not seen
• 1:30:28
  Speaker 5: as a good career move at the time.
• 1:30:31
  Speaker 4: Especially to you know, feels like, no matter if it
• 1:30:35
  Speaker 4: was smaller on screen or not, it felt like it.
• 1:30:37
  Speaker 5: Was a removie that would have been perfect right.
• 1:30:39
  Speaker 4: And I'm sure now looking back, I beus she regrets it.
• 1:30:43
  Speaker 5: Probably, yeah, I can. I could definitely for sure see
• 1:30:45
  Speaker 5: her kind of wishing she took that plunge, you know.
• 1:30:49
  Speaker 6: Yeah, because she had been hooked to that complete pitch eyes.
• 1:30:52
  Speaker 5: Basically, I can't wait to see I can't wait to
• 1:30:55
  Speaker 5: see what they do with Brider reanimator. Dude, I'm so
• 1:30:57
  Speaker 5: excited for.
• 1:30:58
  Speaker 3: That same so excited that I thought the the one
• 1:31:02
  Speaker 3: scene very like close to what we were talking about
• 1:31:07
  Speaker 3: most recently, but the one scene with the intestines, that
• 1:31:11
  Speaker 3: scene was all done in reverse, which I thought was interesting,
• 1:31:14
  Speaker 3: and it just goes to show the power of just
• 1:31:18
  Speaker 3: practical effects and you know, great directing and editing choices.
• 1:31:25
  Speaker 3: I felt like all that really, you know, shined in
• 1:31:27
  Speaker 3: that sequence.
• 1:31:28
  Speaker 5: It's also so that that moment takes you so like, uh,
• 1:31:32
  Speaker 5: it's like off guard because it's nothing like that happens.
• 1:31:36
  Speaker 5: There's no other effect where body parts are shooting out
• 1:31:39
  Speaker 5: of bodies and attacking people, So I wasn't expecting him
• 1:31:42
  Speaker 5: to be wrung up by intestine shooting. It's very much
• 1:31:44
  Speaker 5: like the Thing. Oh yeah, it very much feels like
• 1:31:48
  Speaker 5: the Thing in that moment. That whole ending attack sequence,
• 1:31:52
  Speaker 5: like the whole sequence in the Morgue is so cool.
• 1:31:55
  Speaker 5: And if you're like if you're into practical effects and
• 1:32:00
  Speaker 5: you're into kind of the lost art of real on
• 1:32:04
  Speaker 5: screen like literally magic tricks, which Tom Savini has always
• 1:32:08
  Speaker 5: kind of called them. Reanimator is the perfect experience for you, man,
• 1:32:14
  Speaker 5: And it's kind of like when you go back and
• 1:32:16
  Speaker 5: you watch John Carpenter's The Thing. The stuff that Rob
• 1:32:18
  Speaker 5: Boteen was able to cool off in that movie is
• 1:32:22
  Speaker 5: like remarkable, and people were still trying to figure out
• 1:32:25
  Speaker 5: how he pulled off some of the stuff that he
• 1:32:28
  Speaker 5: did in that movie. And it's been she's what forty
• 1:32:32
  Speaker 5: some years now, it's like forty five years.
• 1:32:35
  Speaker 3: Well, that's the crazy part about this is, you know,
• 1:32:40
  Speaker 3: the fortieth anniversary when I was at Scarefest last year,
• 1:32:44
  Speaker 3: so they had Barbara Crampton, Bruce Abbott, and Jeffrey Comes.
• 1:32:50
  Speaker 3: It coincided with the anniversary when they had that going on,
• 1:32:54
  Speaker 3: and it's just kind of crazy. I think that that's why,
• 1:32:56
  Speaker 3: like doing this specific episode was just so meaningful and
• 1:33:01
  Speaker 3: I don't know, just kind of it's crazy crazy to
• 1:33:05
  Speaker 3: see where time goes.
• 1:33:06
  Speaker 5: Yeah, yeah, well before we before we kind of head
• 1:33:09
  Speaker 5: to a round up, see was there any other notes
• 1:33:11
  Speaker 5: that you had found or anything else that you wanted
• 1:33:12
  Speaker 5: to kind of throw in before we kind of start
• 1:33:16
  Speaker 5: to wrap things up here.
• 1:33:18
  Speaker 3: I thought what was interesting about this as a whole
• 1:33:22
  Speaker 3: was Brian Usna. He comments on how horror during this
• 1:33:26
  Speaker 3: time was looked down upon. In the eighties, it was
• 1:33:30
  Speaker 3: really seen as a slight step above adult films. And
• 1:33:36
  Speaker 3: to see where, you know, we have such a landmark
• 1:33:40
  Speaker 3: movie like this all the way up until now, and
• 1:33:44
  Speaker 3: to see where horror has gone, it's just it's kind
• 1:33:46
  Speaker 3: of crazy, really, if you think about it.
• 1:33:48
  Speaker 5: It is, and that's I think that's one of the
• 1:33:52
  Speaker 5: best parts of like, like we always try to encourage
• 1:33:57
  Speaker 5: people to learn about movies that you love or you know,
• 1:34:00
  Speaker 5: take the dive into learning about different decades, and it's
• 1:34:06
  Speaker 5: you know, you go back to the eighties and your
• 1:34:08
  Speaker 5: late seventies and you hear about you know, the Satanic
• 1:34:10
  Speaker 5: the Satanic Panic movement and and all this stuff, and
• 1:34:12
  Speaker 5: it's just funny how horror was looked at as this
• 1:34:15
  Speaker 5: kind of low brow art form when now it's so
• 1:34:20
  Speaker 5: highly respected. I mean, now everybody loves horror movies. And granted,
• 1:34:26
  Speaker 5: like they're they're they're so different now, but they do.
• 1:34:30
  Speaker 5: As much as I hate the coin elevated horror. They
• 1:34:34
  Speaker 5: are tackling tougher subjects now, but they're just it's because
• 1:34:39
  Speaker 5: there it's more, we're more open to it. Whereas the
• 1:34:43
  Speaker 5: thing that you constantly see in horror, I mean, even
• 1:34:45
  Speaker 5: if you want to go back to the Video Nasties
• 1:34:48
  Speaker 5: is every time somebody was trying to blame an art
• 1:34:53
  Speaker 5: form for its impact on on on society, whether it
• 1:34:58
  Speaker 5: was music or MOVI or video games, it's it's like
• 1:35:02
  Speaker 5: a repression, right like, I don't like this, I don't
• 1:35:04
  Speaker 5: agree with it. And instead of instead of kind of
• 1:35:08
  Speaker 5: just letting this be what it is, like, we have
• 1:35:10
  Speaker 5: to try to just like repress this, and I got
• 1:35:12
  Speaker 5: to fight against this, and every single time, the complete
• 1:35:17
  Speaker 5: opposite happened. All these people ended up doing was was
• 1:35:19
  Speaker 5: driving more people into it every single time. Right Like you,
• 1:35:24
  Speaker 5: the Video Nasties were a prime you You you say
• 1:35:27
  Speaker 5: these movies are illegal or they're cut, and all it
• 1:35:30
  Speaker 5: did was make people want to see them more. Like
• 1:35:33
  Speaker 5: you slap explicit on the front of a CD, and
• 1:35:36
  Speaker 5: all it did was make us want to buy it more.
• 1:35:39
  Speaker 5: You know you you put mature rating on Grand Theft
• 1:35:43
  Speaker 5: Auto and it just made my thirteen year old self
• 1:35:46
  Speaker 5: want to play that even more, Like it does nothing
• 1:35:48
  Speaker 5: but drive us towards what you're trying to keep us.
• 1:35:52
  Speaker 3: Well, I know, Chris, you always talk about this with
• 1:35:55
  Speaker 3: you know, movies like Cannibal Holocaust and that being so
• 1:35:58
  Speaker 3: infamous it was, you know, can or a video store staple,
• 1:36:02
  Speaker 3: just kind of the notoriety behind or even more recently,
• 1:36:05
  Speaker 3: you know, hearkening back to the original Faces of Death
• 1:36:09
  Speaker 3: films like that. You know, they have this reputation and
• 1:36:12
  Speaker 3: just because they're so sought out, harder to come by,
• 1:36:16
  Speaker 3: it almost makes us, as you know, horror fans, want
• 1:36:19
  Speaker 3: to pursue them that much more.
• 1:36:21
  Speaker 5: Yeah, it does. And that's just the human psyche, Like
• 1:36:24
  Speaker 5: we just want what we're told we can't have, and
• 1:36:27
  Speaker 5: we want to have that. And like here's the reality, right,
• 1:36:30
  Speaker 5: Like the movie Room was nice enough to send me
• 1:36:34
  Speaker 5: Faces of Death to review for them, and that movie
• 1:36:38
  Speaker 5: on my shelves is not me saying, hey, I stand
• 1:36:44
  Speaker 5: for what this movie is because most of Faces of
• 1:36:46
  Speaker 5: Death I can't stand, Like I fucking hate animal cruelty.
• 1:36:49
  Speaker 5: I hate anything having to do with animals, and that's
• 1:36:51
  Speaker 5: like majority of what that movie is. So but to me,
• 1:36:57
  Speaker 5: it's it's it's history, right, and it's like when I
• 1:37:00
  Speaker 5: watch Kind of a Holocaust, that's one of my favorite
• 1:37:02
  Speaker 5: movies of all time. I watched the Peda cut. I
• 1:37:05
  Speaker 5: don't need the animal stuff, and I always tell people
• 1:37:08
  Speaker 5: want to watch it the first time, try to see
• 1:37:09
  Speaker 5: if you can find the Peda cut. You know then
• 1:37:12
  Speaker 5: that we don't. You don't you don't see the animal
• 1:37:14
  Speaker 5: stuff because I don't think it does anything for for
• 1:37:18
  Speaker 5: the impact of the movie. It's like, what's done to
• 1:37:21
  Speaker 5: humans in that movie is works so much more bothersome
• 1:37:24
  Speaker 5: than than it's done to the animals. But sure, you
• 1:37:28
  Speaker 5: know when when when we were kids, like finding Faces
• 1:37:33
  Speaker 5: of Death was was such a a just like it's
• 1:37:38
  Speaker 5: a moment that kind of changed everything more so because
• 1:37:42
  Speaker 5: it was kind of like even though it was proven fake,
• 1:37:44
  Speaker 5: it was like exposing us to like a reality that
• 1:37:50
  Speaker 5: we were never shown. Right, Like you you see, you
• 1:37:55
  Speaker 5: see horrific stuff in movies all the time, and you
• 1:37:57
  Speaker 5: never really think about how it's how it's real until
• 1:37:59
  Speaker 5: you you're you're, you know, thirteen years old and you
• 1:38:03
  Speaker 5: find faces of Death under your friend's bed, like you said, Garrett,
• 1:38:06
  Speaker 5: or you know, we found it in in our in
• 1:38:10
  Speaker 5: my buddy's uh dad's drawer in his in his office,
• 1:38:14
  Speaker 5: Like you get exposed at stuff and we all ended
• 1:38:17
  Speaker 5: up fine, you know what I mean, Like we just
• 1:38:19
  Speaker 5: look back and we're like, fuck, dude, that was cool
• 1:38:20
  Speaker 5: as shit. Remember that now?
• 1:38:24
  Speaker 4: Your friends like, why is your dad have this in
• 1:38:26
  Speaker 4: this drawer? Well?
• 1:38:28
  Speaker 5: What's what's funny now is I I look back and
• 1:38:33
  Speaker 5: I'm like, holy shit, we could have found so much worse,
• 1:38:35
  Speaker 5: you know what I mean, Like, thank god we found
• 1:38:37
  Speaker 5: Faces of Death.
• 1:38:38
  Speaker 4: His dad's like Patrick Bateman or.
• 1:38:40
  Speaker 5: Well, why's your dad on all these videotapes with women's name?
• 1:38:47
  Speaker 5: Uh grab that one. It's called Faces of Death. But nowadays,
• 1:38:53
  Speaker 5: like you know, there there's no what like there's there's
• 1:38:58
  Speaker 5: no horror movie. There's there's no movie that have that effect.
• 1:39:01
  Speaker 5: Like there's no nobody is like in twenty years, we're
• 1:39:05
  Speaker 5: not going to be interviewing somebody on this podcast who's
• 1:39:07
  Speaker 5: like yeah, man, I was looking at my dad's four
• 1:39:10
  Speaker 5: K collection. I found the Babbodocte and it just changed
• 1:39:13
  Speaker 5: my life. Like talk to me, you know, or like
• 1:39:16
  Speaker 5: talk to me, yeah, I mean maybe like if you
• 1:39:20
  Speaker 5: if you if you stumbled across a copy of like
• 1:39:22
  Speaker 5: the coffee table, you know, you want one to have
• 1:39:24
  Speaker 5: kids or something like that.
• 1:39:25
  Speaker 6: But you know, but I agree. What you're saying is
• 1:39:31
  Speaker 6: it's like it doesn't It's that the effect isn't there.
• 1:39:33
  Speaker 6: And I don't know if it's just desensitized of like
• 1:39:35
  Speaker 6: how easy things are to access now or back then.
• 1:39:38
  Speaker 6: You know, seeing this stuff for the first time you said,
• 1:39:40
  Speaker 6: like you said, it put us in a reality in
• 1:39:43
  Speaker 6: a world that we didn't really know, Like we didn't
• 1:39:46
  Speaker 6: we heard about these things, but we never saw these things.
• 1:39:49
  Speaker 6: So to us seeing these for the first time, you're like, Wow,
• 1:39:52
  Speaker 6: this is really happening out there. And Cannibal Holocaust is
• 1:39:54
  Speaker 6: the same way with me, Like I actually do think
• 1:39:57
  Speaker 6: it's a good movie.
• 1:39:58
  Speaker 4: But it scarred me.
• 1:40:00
  Speaker 7: Man.
• 1:40:00
  Speaker 6: When I saw that for the first time, my uncle
• 1:40:02
  Speaker 6: that was one that he put on a pedestal and
• 1:40:04
  Speaker 6: I was like, yeah, I'll check it out, and I regret.
• 1:40:07
  Speaker 4: It every second of it. I was like, I can't
• 1:40:09
  Speaker 4: believe I just watched.
• 1:40:10
  Speaker 6: This and I had bought it, you know, to watch
• 1:40:12
  Speaker 6: it specifically without really knowing what I was getting into.
• 1:40:15
  Speaker 6: And after I watched that one time, I shut it
• 1:40:17
  Speaker 6: off and I said, I'll never watch this damn thing again.
• 1:40:19
  Speaker 4: And it was only I think two years ago I did.
• 1:40:22
  Speaker 6: A live commentary with Dead Pit watch it for the
• 1:40:25
  Speaker 6: first time in like twenty years, because everybody thought it
• 1:40:29
  Speaker 6: was funny, and they paid big money for.
• 1:40:32
  Speaker 4: Me to watch this thing again to get my reaction.
• 1:40:35
  Speaker 6: And like you said, it's not a it's a good movie,
• 1:40:38
  Speaker 6: you know, when you were when you take that part
• 1:40:40
  Speaker 6: out of it and you actually understand like the movie itself,
• 1:40:43
  Speaker 6: Like if I was to watch it again, one hundred percent,
• 1:40:45
  Speaker 6: I would I would go without those those scenes. I
• 1:40:47
  Speaker 6: don't think that besides shock value, I don't think it
• 1:40:50
  Speaker 6: adds anything to what the story's trying to tell.
• 1:40:53
  Speaker 3: Yeah, and that that was very much of that, you know,
• 1:40:57
  Speaker 3: that specific subgenre. I mean you kind of see.
• 1:40:59
  Speaker 4: That with fair ox is the same way, Yeah.
• 1:41:01
  Speaker 3: Yeah, exactly, or eating Alive, right, yeah, so yeah, any
• 1:41:08
  Speaker 3: of those. It's just it feels like a very uh
• 1:41:11
  Speaker 3: common trope throughout those films.
• 1:41:13
  Speaker 5: So that's that's because not to turn this into Accountable Holocaust,
• 1:41:16
  Speaker 5: you know episode, which we will be doing eventually, but
• 1:41:20
  Speaker 5: you know that's because no other filmmaker was able to
• 1:41:23
  Speaker 5: approach it as smart as as Rigardio data, did you
• 1:41:27
  Speaker 5: know what I mean? So like they just went for
• 1:41:29
  Speaker 5: the shock factor. Where I've said before on this podcast,
• 1:41:32
  Speaker 5: the scariest part of Cannibal Holocaust is the very end
• 1:41:35
  Speaker 5: when the news program wants to play the footage. That's
• 1:41:39
  Speaker 5: the scariest part of the movie and you realize like, fuck, dude,
• 1:41:43
  Speaker 5: like this is real life, Like this is still I
• 1:41:47
  Speaker 5: don't know, what's it been fifty some years now since
• 1:41:49
  Speaker 5: cannibal Holocausts or almost fifty years and it's like this
• 1:41:53
  Speaker 5: is still this is still something that that that you
• 1:41:57
  Speaker 5: can relate to, and you know, it's I don't know, man,
• 1:42:01
  Speaker 5: I think I think movies like re Animator are are
• 1:42:04
  Speaker 5: just such such great examples of horror working on all aspects,
• 1:42:11
  Speaker 5: Like you can be funny, you can be dark. There
• 1:42:14
  Speaker 5: is you know, if you really want to dive in
• 1:42:16
  Speaker 5: and you want to do like a letterbox style look
• 1:42:18
  Speaker 5: at the movie. You know you can say that this
• 1:42:20
  Speaker 5: is a commentary on discovery and you know it do
• 1:42:24
  Speaker 5: we need to have the ability to to you know,
• 1:42:27
  Speaker 5: reanimate life and kind of like where's the where is
• 1:42:30
  Speaker 5: the line where we just let let you know the
• 1:42:33
  Speaker 5: dead rest and you you you can make all those interpretations.
• 1:42:36
  Speaker 5: But at the end of the day, like it's just
• 1:42:38
  Speaker 5: a it's just a really great way to you know,
• 1:42:42
  Speaker 5: gross yourself out and have some fun for under ninety minutes.
• 1:42:45
  Speaker 4: Yeah, it's a fun it's fun as a horror movie
• 1:42:48
  Speaker 4: as well.
• 1:42:48
  Speaker 5: Yeah.
• 1:42:49
  Speaker 3: The one thing that I love about it is it
• 1:42:52
  Speaker 3: wraps around from towards the beginning of the film where
• 1:42:56
  Speaker 3: we're first introduced to Dan he's administering CPR on that victim,
• 1:43:02
  Speaker 3: and then it wraps around and this time, you know,
• 1:43:05
  Speaker 3: he's trying to bring life, you know, back into Megan.
• 1:43:08
  Speaker 3: I just I love that aspect of it. Just there's
• 1:43:10
  Speaker 3: something about it. It's just you know, a small detail,
• 1:43:13
  Speaker 3: but it just kind of wraps the story up nicely.
• 1:43:16
  Speaker 5: And what's most incredible as an ending note is this
• 1:43:19
  Speaker 5: is a really fucking impressive directorial debut. You know, like Gordon,
• 1:43:28
  Speaker 5: Stuart Gordon has always been, you know, one of my
• 1:43:31
  Speaker 5: favorite filmmakers, and you know, I think that this is
• 1:43:36
  Speaker 5: the strongest kickoff. And this is somebody who had no
• 1:43:38
  Speaker 5: idea what they were doing when he came from theater,
• 1:43:40
  Speaker 5: you know, and he had no idea how to do
• 1:43:43
  Speaker 5: any of this, and he just used what already existed
• 1:43:46
  Speaker 5: in the genre to kind of get a brief idea
• 1:43:49
  Speaker 5: of how to do it, and he just made the Luckily,
• 1:43:53
  Speaker 5: like all the pieces fell together. You know, you had
• 1:43:55
  Speaker 5: to use the who was brave enough to release the
• 1:43:56
  Speaker 5: movie unrated, he had, the investors, he had like, there
• 1:43:59
  Speaker 5: was a lot of pieces that had to fall together
• 1:44:02
  Speaker 5: for this to work out the way it did. But
• 1:44:05
  Speaker 5: you know, looking at this commentary and reading everything that
• 1:44:08
  Speaker 5: I've ever read, I mean, he's Gordon, you know, was
• 1:44:12
  Speaker 5: extremely proud of the legacy of this movie. And you know,
• 1:44:16
  Speaker 5: if there's yeah and and you know, looking back on
• 1:44:20
  Speaker 5: your career to say like, hey, that was my first
• 1:44:22
  Speaker 5: time doing that, that's really fucking incredible to look at
• 1:44:26
  Speaker 5: this movie as the first time you try something, you
• 1:44:29
  Speaker 5: know what I mean. So, yeah, great commentary as always,
• 1:44:35
  Speaker 5: Please go go listen to his commentary track. It's it's
• 1:44:38
  Speaker 5: a pleasure.
• 1:44:39
  Speaker 4: Sir.
• 1:44:39
  Speaker 5: Gordon just seems like the most loving, gentle guy and
• 1:44:43
  Speaker 5: he spends the whole commentary track basically giving everybody but
• 1:44:47
  Speaker 5: himself credit for all the you know, for for all
• 1:44:52
  Speaker 5: this successive reanimator and it's so great to hear. And
• 1:44:55
  Speaker 5: there was so much more that he talked about besides
• 1:44:57
  Speaker 5: you know the notes that we got into, so definitely
• 1:45:00
  Speaker 5: go back and check this out. We'll make sure to
• 1:45:02
  Speaker 5: link below the Ignite films for KVE release. I think
• 1:45:05
  Speaker 5: at this point I think it's just a standard. It's
• 1:45:07
  Speaker 5: still available.
• 1:45:08
  Speaker 3: I think the totally worth.
• 1:45:10
  Speaker 5: It, you know, Yeah, definitely worth definitely worth the pick up.
• 1:45:14
  Speaker 5: Any last words on Reanimator before we before we close
• 1:45:17
  Speaker 5: out here.
• 1:45:19
  Speaker 4: I think it's one of the best. It's one of
• 1:45:21
  Speaker 4: the best, and I'm excited for the for the companion
• 1:45:23
  Speaker 4: piece to it from Ignite.
• 1:45:25
  Speaker 5: Yeah. Absolutely, well, it does. It does. So a huge
• 1:45:30
  Speaker 5: thank you to Ignite for the work put out on us.
• 1:45:32
  Speaker 5: Thank you for giving us, uh, you know, the ability
• 1:45:35
  Speaker 5: to make this episode, for for keeping these features alive
• 1:45:39
  Speaker 5: and keeping them on the updated releases for for more
• 1:45:42
  Speaker 5: people to to discover over and over again. So Garrett,
• 1:45:45
  Speaker 5: as always, man, thank you for joining, uh, thank you
• 1:45:48
  Speaker 5: for coming back and hanging out with us again. Let
• 1:45:50
  Speaker 5: people know, let people know what's going on where they
• 1:45:54
  Speaker 5: can find you. I already already mentioned I'm an avid
• 1:45:56
  Speaker 5: supporter of the Anchor Bay Archives podcast, so I hope
• 1:45:59
  Speaker 5: everyone goes and check that out as well.
• 1:46:01
  Speaker 6: Yeah, man, you can find me on all platforms. Are
• 1:46:04
  Speaker 6: Born to Be Rad also too. I'm a co host
• 1:46:06
  Speaker 6: of the Ancobay Archives podcast. You can find us anywhere
• 1:46:09
  Speaker 6: audio podcasts are. You can watch the video versions on
• 1:46:12
  Speaker 6: my YouTube channel at Born to Be Rad as well.
• 1:46:15
  Speaker 6: And if you're into you know, movies, nostalgia collecting, overlooked
• 1:46:19
  Speaker 6: our movies, and overlooked physical media, definitely come check me
• 1:46:22
  Speaker 6: out over on the born Rerad YouTube channel and on
• 1:46:25
  Speaker 6: Facebook and Instagram.
• 1:46:27
  Speaker 4: Thank you, guys.
• 1:46:27
  Speaker 6: I appreciate you guys asking me to come on here
• 1:46:29
  Speaker 6: with It's such a great movie. I I couldn't say no.
• 1:46:32
  Speaker 6: You know, Animated is one of my favorites, so of
• 1:46:34
  Speaker 6: course I need to be here.
• 1:46:35
  Speaker 5: Well, well, we appreciate you man, one of the one
• 1:46:37
  Speaker 5: of the best, one of the best out there, man, Steve.
• 1:46:41
  Speaker 5: Where where are people going to find you at?
• 1:46:43
  Speaker 3: You guys can find me after hours video all over
• 1:46:47
  Speaker 3: social media. YouTube obviously a co host some Beyond the Blood,
• 1:46:52
  Speaker 3: so be on the lookout for some upcoming episodes that
• 1:46:55
  Speaker 3: we have in the works.
• 1:46:56
  Speaker 5: Yeah, yeah, and always how about you. I am just onta,
• 1:47:00
  Speaker 5: just a bearded, just bearded film guy. That's it. And
• 1:47:03
  Speaker 5: uh and here on Beyond the Blood. Also on the
• 1:47:05
  Speaker 5: Fireside Collection with with our friend Jordan, just weekly episodes
• 1:47:09
  Speaker 5: talking about what we've been watching.
• 1:47:10
  Speaker 1: Uh.
• 1:47:11
  Speaker 5: Other than that, I just I'll just be out here
• 1:47:15
  Speaker 5: listening to audio commentaries. Man, that's it, just just just
• 1:47:18
  Speaker 5: being a geek on my own, which is great. It's
• 1:47:22
  Speaker 5: a lonely life, but you know, I chose this. I
• 1:47:25
  Speaker 5: chose this existence on my own.
• 1:47:26
  Speaker 3: Listen, someone's got to do it.
• 1:47:29
  Speaker 5: Nobody else is out here listening to these audio commentaries,
• 1:47:31
  Speaker 5: so I got to keep it alive, keep it well.
• 1:47:33
  Speaker 5: And you know, as always, I got great people to
• 1:47:35
  Speaker 5: help me out. Now I'm just kidding. There's everybody's listening
• 1:47:37
  Speaker 5: to audio commentaries the days. All right, guys, We'll see
• 1:47:40
  Speaker 5: you on the next one.
• 1:47:42
  Speaker 3: See you on the next one.
• 1:47:52
  Speaker 1: Thank you for listening to hear more shows from the
• 1:47:55
  Speaker 1: Someone's Favorite Productions podcast network. Please select the link in
• 1:47:58
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