Latest / The Kulturecast / Halloween II (2009) — "Man was meant to eat meat. We, all of us, have a little bit caveman in us."

Transcript

Halloween II (2009) — "Man was meant to eat meat. We, all of us, have a little bit caveman in us." · The Kulturecast

• 0:04
  Speaker 1: We're in Wayne Media. Nurse? On August 28th, enter the
• 0:52
  Speaker 1: path of evil. Explore the mind of madness. Evil is here.
• 0:57
  Speaker 1: And experience the final destiny of a legend. Michael is
• 1:02
  Speaker 1: more evolved. Halloween 2. There's blood everywhere. This film does
• 1:13
  Speaker 1: not get rated. Hello, everyone, and welcome to the CultureCast.
• 1:15
  Speaker 1: I am your host, Chris Stashue. Unfortunately, for those of
• 1:18
  Speaker 1: you out there who still listen to this and hate,
• 1:20
  Speaker 1: I'm joined by my good friend. I don't even know
• 1:22
  Speaker 1: if that's a real thing. I just love making shit up.
• 1:26
  Speaker 1: I love making shit up at this point. And let's
• 1:29
  Speaker 1: see if anybody's paying attention. And joining me once again
• 1:32
  Speaker 1: is my friend and yours. He is the newest member
• 1:36
  Speaker 1: of the Weirding Way Media family. As of this episode today,
• 1:40
  Speaker 1: though technically it's been in the works for a while now,
• 1:43
  Speaker 1: He is the host of Movie Meltdown, which you can
• 1:45
  Speaker 1: find at weirdingwaymedia.com, along with all the other great shows.
• 1:48
  Speaker 1: But more importantly, he is the host of that show,
• 1:50
  Speaker 1: and he's been podcasting longer than some of you may
• 1:53
  Speaker 1: have been alive, or as long as some of you
• 1:54
  Speaker 1: may have been alive. He's been broadcasting half of my life,
• 1:58
  Speaker 1: the host of Movie Meltdown, your friend and mine, Brian Renfro. Um, hey,
• 2:02
  Speaker 1: how's it going? I am here, once again. Not that
• 2:05
  Speaker 1: good for you, because I know what movie you watched,
• 2:07
  Speaker 1: but you know, hey, whatever. You know what? You know what?
• 2:10
  Speaker 1: Don't bury the lead quite yet, Brian, because on this
• 2:12
  Speaker 1: episode of the CultureCast, we are continuing our look at
• 2:16
  Speaker 1: the films of Rob Zombie, or more specifically, the film
• 2:20
  Speaker 1: of Rob Zombie that came out in 2009, two years
• 2:25
  Speaker 1: after the last one we talked about. This is a
• 2:26
  Speaker 1: little bit of a two-parter, two-hander, as it were. We're
• 2:30
  Speaker 1: going to be talking about 2009's sequel to to the
• 2:35
  Speaker 1: 2007 film of the same name as other films. This
• 2:39
  Speaker 1: film also shares the name of two other films at
• 2:42
  Speaker 1: this point. We're talking about 2009's Halloween II. So the
• 2:46
  Speaker 1: film is written and directed by Robert Zombie, I believe,
• 2:49
  Speaker 1: as he likes to be known by his friends. It's
• 2:51
  Speaker 1: based on characters by John Carpenter and Deborah Hill. That's
• 2:54
  Speaker 1: the only time John Carpenter's name is ever going to
• 2:56
  Speaker 1: show up on any of these Rob Zombie films. The
• 2:58
  Speaker 1: film once again stars Malcolm McDowell, Tyler Maine, Sherry Moon Zombie. Boy,
• 3:02
  Speaker 1: doesn't that name get everybody excited. I've heard of her.
• 3:05
  Speaker 1: Brad Dorff. Not Tim Conway as Dorff the... What? Dorff
• 3:12
  Speaker 1: on Brad Dorff? They need to do that. I mean,
• 3:14
  Speaker 1: Dorff on Slashing? Dorf on Golf is my favorite. Dorf
• 3:19
  Speaker 1: on Murder, I feel like, would have a following with
• 3:22
  Speaker 1: some fans. Dorf on Michael Myers, yeah. It also stars
• 3:26
  Speaker 1: Daniel Harris and scout Tyler Compton return as their roles
• 3:30
  Speaker 1: for the previous film. This is a sequel to the
• 3:33
  Speaker 1: previous Rob Zombie film, Halloween. It is not really a
• 3:39
  Speaker 1: remake of Halloween 2. It is really its own thing,
• 3:42
  Speaker 1: though it is mentioned in some... Circles as a remake
• 3:47
  Speaker 1: of Halloween 2, though I would say that that is
• 3:50
  Speaker 1: being mentioned by someone who hasn't seen this movie is
• 3:53
  Speaker 1: what it feels like. Possibly. But yeah, the film is
• 3:58
  Speaker 1: a sequel to the last film by Rob Zombie from 2007.
• 4:01
  Speaker 1: That film is, yeah, it's a retelling and a prequel
• 4:08
  Speaker 1: at the same time. If you haven't heard our thoughts
• 4:10
  Speaker 1: on that film, go ahead and head on over to
• 4:13
  Speaker 1: that episode. We have a lot of thoughts. Yeah, we
• 4:16
  Speaker 1: have a lot of thoughts on that one. And I
• 4:17
  Speaker 1: would wager we're going to have more thoughts on this
• 4:20
  Speaker 1: one because this film is, for all intents and purposes...
• 4:23
  Speaker 1: similar to Halloween 3, the David Gordon Green film, in
• 4:26
  Speaker 1: that it's just, it's literally just its own thing. It
• 4:30
  Speaker 1: doesn't really follow any other Halloween film that we've seen before,
• 4:34
  Speaker 1: other than I guess maybe it takes place in a hospital.
• 4:37
  Speaker 1: Sort of. Kind of. Does it? For a few minutes. Yeah, possibly. Technically, no, but. Technically, no, but.
• 4:44
  Speaker 1: On screen, yes. Yes. So, Brian, I'm going to kick
• 4:48
  Speaker 1: it to you first because, you know, you are my
• 4:50
  Speaker 1: guest and this is your, you know, second ever CultureCast.
• 4:54
  Speaker 1: What did you think of Halloween? I remember when I
• 4:58
  Speaker 1: watched it that first time.
• 5:00
  Speaker 2: I had a take on it and I was interested
• 5:02
  Speaker 2: to go back and revisit because I have not seen
• 5:04
  Speaker 2: it since then and see if I landed in the
• 5:07
  Speaker 2: same spot. And I feel like I kind of did
• 5:10
  Speaker 2: because I think by the end of it, I was
• 5:12
  Speaker 2: thinking earlier today, I was like, you know, in a vacuum,
• 5:15
  Speaker 2: I actually like this movie for what it is. Like, again,
• 5:18
  Speaker 2: the bar is relatively low for Rob Zombie movies. Again,
• 5:22
  Speaker 2: I apologize for Rob Zombie fans that showed up here
• 5:24
  Speaker 2: for some reason. But I usually go in with my
• 5:27
  Speaker 2: guard up, especially increasingly with each new Rob Zombie movie
• 5:31
  Speaker 2: I have seen. I'm just like, I have more and
• 5:33
  Speaker 2: more issues with him.
• 5:35
  Speaker 1: But.
• 5:35
  Speaker 2: That aside, I think we had so many problems with
• 5:39
  Speaker 2: the way it was trying to structure itself, be it
• 5:42
  Speaker 2: a prequel or a retelling last time, where it just
• 5:46
  Speaker 2: sort of throws all that out the window here. And
• 5:49
  Speaker 2: I feel like as a story, it's kind of more
• 5:51
  Speaker 2: interesting the further it gets away from trying to attach
• 5:55
  Speaker 2: itself to the Michael Myers that we've ever known before.
• 5:58
  Speaker 2: And I also think from what I've always thought about
• 6:01
  Speaker 2: Rob Zombie, visually, he is a great filmmaker. And That
• 6:05
  Speaker 2: part of it, I think, is solid in this movie.
• 6:07
  Speaker 2: I think even more so. I don't think there were
• 6:09
  Speaker 2: a ton of amazing visuals in that first movie. There
• 6:12
  Speaker 2: were some good moments here and there, but, like, nothing spectacular. This,
• 6:15
  Speaker 2: I think, goes above and beyond that visually, and I
• 6:19
  Speaker 2: think is really impressive. Like, again, I don't know how
• 6:22
  Speaker 2: much he would even give credit to, like, his DP
• 6:25
  Speaker 2: or whatever, but regardless, he's.
• 6:27
  Speaker 1: The name attached to it, so... The end of the day,
• 6:29
  Speaker 1: it's his movie and it looks really good.
• 6:31
  Speaker 2: So there's some good things up front about it. And
• 6:34
  Speaker 2: then I'll have a lot of other issues as I
• 6:36
  Speaker 2: always do.
• 6:38
  Speaker 1: I have gone on record as saying I am a
• 6:42
  Speaker 1: fan of it. Yeah. And I think I said it
• 6:44
  Speaker 1: on the last episode when we talked about it. It
• 6:46
  Speaker 1: is unlike any other Halloween. It definitely is. Really kind
• 6:50
  Speaker 1: of all over the place in a lot of ways.
• 6:53
  Speaker 1: It almost feels like less of a Rob Zombie movie
• 6:56
  Speaker 1: than the last one. Which maybe is why I like
• 6:58
  Speaker 1: it more. Right. But at other times, it also feels
• 7:02
  Speaker 1: exactly like a Rob Zombie movie. I, you know, yeah,
• 7:05
  Speaker 1: you got Richard Brake in there. You got a lot
• 7:07
  Speaker 1: of unnecessary, gratuitous, I mean, really just gratuitous violence. Yeah.
• 7:15
  Speaker 1: And I would even say, and this is probably I
• 7:17
  Speaker 1: would think for me, like the biggest knock against this movie.
• 7:20
  Speaker 1: This movie is not in any shape, form or fashion.
• 7:25
  Speaker 1: a successful sequel to the last.
• 7:27
  Speaker 2: I think that's what I was going to say. It's
• 7:28
  Speaker 2: barely a, it's barely a Halloween movie of this series.
• 7:32
  Speaker 2: It's a movie that takes place around Halloween.
• 7:35
  Speaker 1: I will give you that.
• 7:35
  Speaker 2: But like in the franchise sense, it is barely of
• 7:39
  Speaker 2: a Halloween movie.
• 7:40
  Speaker 1: It almost is like, in a lot of ways, Casino
• 7:43
  Speaker 1: Royale-esque in the terms of like, well, we're not going
• 7:46
  Speaker 1: to do any of the Michael Myers stuff. Like, he's
• 7:48
  Speaker 1: just walking around most of the movie, barely even killing anyone.
• 7:54
  Speaker 1: It's just Michael Myers walking around like... I don't even
• 7:58
  Speaker 1: know where he is. He's just walking around like that.
• 8:01
  Speaker 1: I don't. I mean, you tell me if I'm wrong,
• 8:04
  Speaker 1: but Michael's just been like presumed dead. But he's just
• 8:07
  Speaker 1: kind of like hanging out in a year time between
• 8:11
  Speaker 1: the first movie and this movie. And by the end
• 8:14
  Speaker 1: of this movie, he comes back and he comes back
• 8:16
  Speaker 1: to Haddonfield. Why? I have all these questions, too. Right.
• 8:21
  Speaker 1: Fucking why? I don't know. Like, I'm not trying to
• 8:24
  Speaker 1: be flippant here, but the thing about this movie that
• 8:26
  Speaker 1: I think I enjoy is that it's, it's a weird movie.
• 8:31
  Speaker 1: It's a fun movie, but it's not really a successful
• 8:34
  Speaker 1: Halloween movie. Cause it's such, it's just random. Yeah, it
• 8:39
  Speaker 1: is like random. They talk about David Gordon Greed's movies,
• 8:42
  Speaker 1: especially that second one where it's like, well, and Michael's
• 8:44
  Speaker 1: just wandering from house to house. And there's all these
• 8:46
  Speaker 1: like fucking random people that he's interacting with. This movie
• 8:50
  Speaker 1: has that one beat. Yeah. And, you know, from Richard
• 8:53
  Speaker 1: Brake getting decapitated by Michael Myers with a piece of
• 8:56
  Speaker 1: glass for no reason to Octavia Spencer being murdered by
• 9:00
  Speaker 1: Michael Myers in an extended dream sequence for like 25
• 9:04
  Speaker 1: minutes of this movie for no reason. Like it's it
• 9:07
  Speaker 1: is the least successful Halloween movie in a lot of
• 9:11
  Speaker 1: ways because it's not a Halloween movie. It is just
• 9:14
  Speaker 1: its own thing, which is fine. I'm not complaining about
• 9:18
  Speaker 1: it being its own thing, but I am more or less.
• 9:21
  Speaker 1: Addressing the fact that for this being a Halloween movie,
• 9:25
  Speaker 1: immensely unsuccessful as a Halloween movie, as like a slasher
• 9:30
  Speaker 1: sequel to the film that we saw in the last episode.
• 9:33
  Speaker 1: It's also unsuccessful because it's barely a sequel to that movie.
• 9:37
  Speaker 1: Like it's. This, in a lot of ways, feels like
• 9:39
  Speaker 1: an epilogue to the film we just watched. It doesn't
• 9:42
  Speaker 1: really do anything. And in a lot of ways, you know,
• 9:45
  Speaker 1: we talked about this on the last episode. There is
• 9:47
  Speaker 1: another movie that we didn't get. There is a third movie. Oh,
• 9:51
  Speaker 1: kind of.
• 9:51
  Speaker 2: But again, I don't even know if story arc wise,
• 9:55
  Speaker 2: like I don't feel like he even had anything mapped out.
• 9:57
  Speaker 1: I think he just like was signed to a movie.
• 10:00
  Speaker 1: a three picture deal and didn't want to do it
• 10:02
  Speaker 1: well i'm not talking about that as much as like
• 10:05
  Speaker 1: the way this film plays out is like there is
• 10:07
  Speaker 1: a third film that doesn't happen in between the two
• 10:10
  Speaker 1: or after this movie yes you you could that's my
• 10:14
  Speaker 1: thing is like you could have a whole nother movie
• 10:16
  Speaker 1: in between huh Yeah. Well, and I was going to
• 10:18
  Speaker 1: say like, yes to both. Like, yes, there's a movie
• 10:22
  Speaker 1: in between this one and the last one. And yes,
• 10:24
  Speaker 1: there could be a movie after this one. So a
• 10:26
  Speaker 1: quadrology is what you're looking for. I see. That's what
• 10:30
  Speaker 1: the world needed. They were like, I need four Rob
• 10:32
  Speaker 1: Zombie Halloweens. I wondered why you were going down that road,
• 10:35
  Speaker 1: but all right. Well, and that's the thing. So this
• 10:37
  Speaker 1: movie opens with a flashback to a different actor cast
• 10:42
  Speaker 1: as Michael Myers, young Michael Myers, which, by the way,
• 10:44
  Speaker 1: Chase Wright Vanek stepping into big shoes that are not
• 10:48
  Speaker 1: filled very well by him because he is not as
• 10:50
  Speaker 1: good of an actor. He's also smaller overall. These are flashbacks.
• 10:54
  Speaker 2: So it's and well, flashbacks of him in the asylum.
• 10:58
  Speaker 2: So he should have been bigger than when the murders happened.
• 11:00
  Speaker 2: But he looks like a younger kid. He's actually not.
• 11:03
  Speaker 1: I checked. He's like the same. He would have been
• 11:05
  Speaker 1: the right age, I guess, two years later versus the
• 11:08
  Speaker 1: other actor. But. He looks younger, which makes these flashbacks
• 11:12
  Speaker 1: make less sense because then you're like, wait, so is
• 11:14
  Speaker 1: he before? No, he can't be before the murders because
• 11:17
  Speaker 1: he's in the asylum. So why is he a little kid? So, yeah,
• 11:20
  Speaker 1: I feel like that was almost questionable casting. But well,
• 11:23
  Speaker 1: and I was going to say it's questionable casting for
• 11:24
  Speaker 1: a whole host of reasons, namely, why did we need
• 11:27
  Speaker 1: any of this again? Well, and that was the first
• 11:31
  Speaker 1: half of last movie. I hate to tell you. Well,
• 11:33
  Speaker 1: that's the problem, though, is like, why are we going
• 11:36
  Speaker 1: and relitigating what we've already seen? Oh, so we can
• 11:38
  Speaker 1: have this white horse. And so the film actually opens
• 11:41
  Speaker 1: with this fake quote about a white horse from something
• 11:45
  Speaker 1: that doesn't actually exist. And while that's fine that you
• 11:48
  Speaker 1: want to create this quote and in universe quote, whatever,
• 11:51
  Speaker 1: can you... Explain to me your take on what the
• 11:57
  Speaker 1: white horse is meant to be in this film. Okay,
• 11:59
  Speaker 1: I'm glad you at least threw it out there because
• 12:01
  Speaker 1: I already had a whole lot about the white horse. Okay, please,
• 12:05
  Speaker 1: please extol the wisdom of the white horse to me
• 12:07
  Speaker 1: because I am all ears. Not that I didn't understand it.
• 12:10
  Speaker 1: Far from it. It's more a... I want to hear
• 12:13
  Speaker 1: what your take is, because I don't think it's as
• 12:15
  Speaker 1: straightforward as just like, well, it's clearly just this. Like,
• 12:18
  Speaker 1: I don't think that's the case. I'm not saying that
• 12:20
  Speaker 1: Rob Zombie is like looking to mine the depths of
• 12:23
  Speaker 1: human insanity. But what is your take on the usage
• 12:26
  Speaker 1: of the white horse imagery in Halloween 2? Which, by
• 12:29
  Speaker 1: the way, crazy question to be asking about a fucking
• 12:31
  Speaker 1: Halloween film. Yeah, exactly. Well, and that's the thing.
• 12:34
  Speaker 2: I remembered that from that first time watching it. And
• 12:36
  Speaker 2: I was like, well, I definitely think we're going to
• 12:38
  Speaker 2: get to that. And then the movie starts.
• 12:40
  Speaker 1: I'm like, oh, no, we're starting with that. with it.
• 12:42
  Speaker 1: Like we're leading off the movie straight into the white horse.
• 12:45
  Speaker 1: So here we are. This was actually my thought The
• 12:50
  Speaker 1: first time I saw it, and again, as soon as
• 12:52
  Speaker 1: it popped up again this time, I was like, so again,
• 12:55
  Speaker 1: not to throw too much shade at Rob Zombie for
• 12:58
  Speaker 1: trying to be a fancy filmmaker, but I'm like, the
• 13:01
  Speaker 1: first time I saw it, I was like, so is
• 13:02
  Speaker 1: this Rob Zombie trying to be David Lynch? Because that's,
• 13:06
  Speaker 1: I mean, that's in repeated episodes of Twin Peaks.
• 13:10
  Speaker 2: Like, the white horse is a... reoccurring vision, symbol, whatever,
• 13:16
  Speaker 2: in David Lynch in general. But, like, David can back
• 13:20
  Speaker 2: that up because he was a genius and he's crazy. So, like,
• 13:23
  Speaker 2: he can come up with all kinds of crazy reasons
• 13:26
  Speaker 2: to work in this white horse symbolism. And I'm like, Rob,
• 13:30
  Speaker 2: are you really going to start wading into that pool?
• 13:33
  Speaker 1: Because I'm like, that's a lot to deal with there,
• 13:36
  Speaker 1: especially when you're Rob Zombie. And you're making a slasher
• 13:40
  Speaker 1: movie for God, so... Do you want me to keep
• 13:44
  Speaker 1: going or would you like to throw something out there
• 13:46
  Speaker 1: in between? No, keep going. I'm curious. I'm listening because
• 13:50
  Speaker 1: like I said, I don't think that Rob Zombie is
• 13:55
  Speaker 1: the right person to try and do this kind of thing.
• 13:57
  Speaker 1: That's what I'm saying. But at the same time, I
• 14:01
  Speaker 1: can't really drag him for trying something else. That's the problem.
• 14:05
  Speaker 1: I'm not going to be like, well, you're up your
• 14:06
  Speaker 1: own ass, Rob Zombie. He's allowed to be. He's a filmmaker.
• 14:10
  Speaker 1: He's making a film. It's just, this seems like a
• 14:12
  Speaker 1: weird choice, I guess, is the way I look at it.
• 14:15
  Speaker 2: Well, and that's, I think, there's parts of me that
• 14:18
  Speaker 2: that's part of why I like this movie more than
• 14:20
  Speaker 2: the first one, really, is because... I think that was
• 14:23
  Speaker 2: half of, as we said last time, like, he didn't
• 14:25
  Speaker 2: want to make another movie specifically with our producers in question.
• 14:30
  Speaker 1: Not in question. They were there, and they were.
• 14:32
  Speaker 2: Causing a horrible time on the set for all parties involved, so...
• 14:36
  Speaker 2: He didn't want to come back and work with the Weinsteins.
• 14:39
  Speaker 2: And the deal was, OK, I'll I'll do the second
• 14:42
  Speaker 2: one if I can get out of the third movie
• 14:44
  Speaker 2: in the three picture deal I made. So he came
• 14:46
  Speaker 2: back with this and that I feel like is, again,
• 14:49
  Speaker 2: using this to his best advantage. He's like, OK, I
• 14:51
  Speaker 2: didn't want to come back and do this, but if
• 14:53
  Speaker 2: I'm going to. I want to bring something new to it.
• 14:56
  Speaker 2: I want to do something different that I haven't had
• 14:58
  Speaker 2: a chance to do as a filmmaker. So like, I, again,
• 15:00
  Speaker 2: I'm fine with him doing that in theory, but then
• 15:03
  Speaker 2: you get in here and you see it in front
• 15:04
  Speaker 2: of you.
• 15:04
  Speaker 1: You're like, wait, what, what do, what are we doing?
• 15:07
  Speaker 2: Like, so there's, I mean, there's a lot of ways
• 15:10
  Speaker 2: you could take it. And I do have at least
• 15:13
  Speaker 2: one answer from Rob Zombie, which is the more interesting one.
• 15:16
  Speaker 2: And then I have my own theory. So first off,
• 15:19
  Speaker 2: there's like all these different versions of a white horse
• 15:23
  Speaker 2: in all these different pieces of history, more or less.
• 15:26
  Speaker 2: I mean, it is in Revelations going back, you know, biblically,
• 15:30
  Speaker 2: for God's sake. So it's specifically the behold a pale
• 15:33
  Speaker 2: horse and like your whole quote if you really i
• 15:35
  Speaker 2: don't think we want to go down that road but
• 15:37
  Speaker 2: it's in the bible for god's sakes pun intended uh
• 15:41
  Speaker 2: it's part of native american folklore which again made more
• 15:44
  Speaker 2: sense in twin peaks because the part of the country
• 15:48
  Speaker 2: and you've got hawk so at least there's a character
• 15:50
  Speaker 2: tied in that has reason to have it i don't
• 15:52
  Speaker 2: know so Again, it makes more sense coming from something
• 15:55
  Speaker 2: like that than like, why would we be working in
• 15:57
  Speaker 2: Native American folklore into this slasher movie that Rob Zombie's making?
• 16:01
  Speaker 1: So that's also weird.
• 16:03
  Speaker 2: So again, there's plenty of other, I saw tons of
• 16:06
  Speaker 2: other different pieces of history and different cultures that reference
• 16:11
  Speaker 2: this white horse theme. Or symbolism or whatever they want
• 16:15
  Speaker 2: to turn it into. And I was just like, is
• 16:17
  Speaker 2: he pulling from any of these? Is that what this
• 16:20
  Speaker 2: is supposed to be? So I went looking and the
• 16:23
  Speaker 2: answer I got was no. In answer to your question
• 16:27
  Speaker 2: is like, is Rob Zombie the right guy to use that?
• 16:30
  Speaker 2: Even he says no, because he says it doesn't really
• 16:33
  Speaker 2: have any deeper meaning than what is already established in
• 16:36
  Speaker 2: the film. The toy horse is simply a representation of
• 16:40
  Speaker 2: Michael's lost innocence and nothing more. A toy from his
• 16:44
  Speaker 2: once happy childhood. I'm like, wait, wait, wait, wait. Okay,
• 16:47
  Speaker 2: now we just got arguably worse. Did Rob Zombie just
• 16:50
  Speaker 2: pull a rosebud? Because that's kind of.
• 16:53
  Speaker 1: What I'm getting out of that quote. That's kind of
• 16:55
  Speaker 1: what it sounds like.
• 16:57
  Speaker 2: I mean, we get, I mean, although he kicks off
• 17:00
  Speaker 2: the movie, which I guess is also how that movie
• 17:01
  Speaker 2: kicks off. But like, if we got to the very
• 17:04
  Speaker 2: end and we just got like slow-mo shots of young
• 17:06
  Speaker 2: Michael riding a horse in a field somewhere, like I
• 17:09
  Speaker 2: guess it would really cap it off.
• 17:11
  Speaker 1: Badly. So I guess thanks. We didn't get that. But
• 17:15
  Speaker 1: I don't know. That's a weird take.
• 17:17
  Speaker 2: And even weirder that like for something that visually and
• 17:21
  Speaker 2: I think that is what he said. He wanted to
• 17:24
  Speaker 2: specifically use a white horse because it was cinematic and
• 17:27
  Speaker 2: it looked really cool on screen, which I agree. Like
• 17:30
  Speaker 2: that's some of the shots I would reference that.
• 17:32
  Speaker 1: Look amazing visually. But again, trying to work it into
• 17:35
  Speaker 1: the story or whatever the bigger.
• 17:39
  Speaker 2: Story is supposed to be makes it more difficult. But yeah,
• 17:42
  Speaker 2: according to him, it's just a toy. Could have been
• 17:45
  Speaker 2: a fire truck. So we could have, you know, little
• 17:47
  Speaker 2: Michael riding a fire truck around in these visions that
• 17:50
  Speaker 2: he also has. So there's those. And then I have
• 17:55
  Speaker 2: my theory, if you're ready for that.
• 17:58
  Speaker 1: Yeah. Oh, yeah.
• 17:59
  Speaker 2: Because it's my favorite. And I don't know how seriously
• 18:02
  Speaker 2: I'm taking this, but it's it's now. And it did
• 18:05
  Speaker 2: occur to me the very first time I watched it.
• 18:07
  Speaker 2: So this isn't even something recent that I doctored up
• 18:09
  Speaker 2: to come up with this nonsense. This did occur to
• 18:12
  Speaker 2: me the first time it happened. are we just talking
• 18:15
  Speaker 2: about heroin? Because it's the horse reference.
• 18:18
  Speaker 1: Wow.
• 18:18
  Speaker 2: And so, yeah, I'm just like, so now I'm just like,
• 18:22
  Speaker 2: so in my new canon that I'm creating in my head,
• 18:26
  Speaker 2: that's totally fake. Young Michael realizes what he's done and
• 18:29
  Speaker 2: while he's in the asylum and.
• 18:31
  Speaker 1: It's too much for his little brain to process. So,
• 18:34
  Speaker 1: he turns to drugs to escape from the guilt. So
• 18:37
  Speaker 1: you've got somebody from the outside sneaking some guard, sneaking
• 18:41
  Speaker 1: in heroin for young Michael, and he starts using it
• 18:44
  Speaker 1: to escape from all the guilt.
• 18:46
  Speaker 2: And then are, this is even more of a giant leap,
• 18:49
  Speaker 2: are all of these two movies just like crazy drug-induced delusions?
• 18:55
  Speaker 2: Because if so, it would kind of make more sense
• 18:57
  Speaker 2: why they're as weird and wacky as they are. It's
• 19:00
  Speaker 2: like from the first couple of murders is everything from
• 19:04
  Speaker 2: that point on, just crazy drug-induced delusions.
• 19:08
  Speaker 1: And that's why we have the horse. And that's the thing.
• 19:12
  Speaker 1: Where I come in at this game, or at this
• 19:15
  Speaker 1: point in the game in terms of the movie, is
• 19:18
  Speaker 1: I can't understand why there's this huge dream sequence in
• 19:21
  Speaker 1: the movie. I don't understand that at all. Like, I'm
• 19:28
  Speaker 1: so confused. Because his wife was dead already.
• 19:31
  Speaker 2: So if he's going to work her back in, which
• 19:33
  Speaker 2: we know he has to do, we've got.
• 19:35
  Speaker 1: To come up with dream sequences and flashbacks. That's fine.
• 19:38
  Speaker 1: We can do flashbacks all day long. But why a
• 19:41
  Speaker 1: dream sequence that is as long as the one? I mean,
• 19:43
  Speaker 1: the one in this movie, this dream sequence in this
• 19:45
  Speaker 1: movie is.
• 19:46
  Speaker 2: Oh, we're talking the hospital dream sequence, not just mom
• 19:49
  Speaker 2: and the horse.
• 19:49
  Speaker 1: No, I'm talking about the hospital dream sequence. Which is
• 19:51
  Speaker 1: also kind of there, too. Right. I'm talking about the
• 19:53
  Speaker 1: hospital dream sequence, which is, I mean... I mean, talk
• 19:57
  Speaker 1: about a fake out. Yeah.
• 19:59
  Speaker 2: I mean, it is a long fake out. If we're
• 20:01
  Speaker 2: going to wake up and scream and it's going to
• 20:03
  Speaker 2: be a fake, aha, gotcha.
• 20:05
  Speaker 1: I was like, it is a lengthy version of that.
• 20:08
  Speaker 1: Which is crazy. Well, and it's, I'm like, tell me
• 20:11
  Speaker 1: another movie that has something like this. Genuinely.
• 20:14
  Speaker 2: I mean, there definitely are some, but they're not normally
• 20:17
  Speaker 2: this long. I've definitely seen some that like it's an
• 20:21
  Speaker 2: extended scene and then.
• 20:23
  Speaker 1: You're like, oh, wait, no, that was fake. Nevermind. So.
• 20:26
  Speaker 1: But yeah, this one is a lot. And to start
• 20:28
  Speaker 1: the movie like that. So your entire intro of the
• 20:31
  Speaker 1: movie didn't really happen. Like, that's a weird move to
• 20:34
  Speaker 1: make as well. And it's never explained as to what,
• 20:37
  Speaker 1: in fact, did happen. Yeah, we don't know how much
• 20:39
  Speaker 1: of that was based on reality. Like, did she go
• 20:42
  Speaker 1: to a hospital?
• 20:44
  Speaker 2: Did, you know, did Octavia Spencer actually work as her nurse? Like,
• 20:47
  Speaker 2: were the regular things based on what actually happened? And
• 20:50
  Speaker 2: then she inserted Michael into it and all the murder
• 20:53
  Speaker 2: and that.
• 20:54
  Speaker 1: Or didn't did they not even take her to the hospital?
• 20:57
  Speaker 2: Because that's my next question is once we jump to
• 21:00
  Speaker 2: the 15 years later, bloody Laurie, like how is she
• 21:04
  Speaker 2: wandering down the street? But the cops were right there
• 21:07
  Speaker 2: at the end of the last movie. They just let
• 21:10
  Speaker 2: her walk off.
• 21:11
  Speaker 1: Like, come on, bracket. Like, what are you doing? Like,
• 21:13
  Speaker 1: why is she just wandering down the street after blowing
• 21:15
  Speaker 1: somebody's head off? Well, and that's the other thing I
• 21:19
  Speaker 1: don't understand. And I think this movie does a very
• 21:21
  Speaker 1: good job of being like, well, there's not really a
• 21:23
  Speaker 1: good answer. And it's like, really? Drugs. It's all heroin. Yeah,
• 21:27
  Speaker 1: I just, I don't, I guess, I don't understand what
• 21:31
  Speaker 1: Laurie's deal is in this movie. Because she is a
• 21:34
  Speaker 1: completely different character. Yeah. Like a completely different character. The
• 21:39
  Speaker 1: way she acts is completely different. And they don't do
• 21:41
  Speaker 1: anything with it. I guess that's my issue. Is they
• 21:44
  Speaker 1: don't do anything with her being such a different character
• 21:47
  Speaker 1: in this movie. And I don't understand why. Because her
• 21:50
  Speaker 1: character is so drastically different. different from the way she
• 21:55
  Speaker 1: was in the first movie. I mean, I understand, oh,
• 21:57
  Speaker 1: she's living with the brackets now and she's just, she
• 21:59
  Speaker 1: was changed by Michael's attack. Really though? I could get that.
• 22:03
  Speaker 2: Like if they wanted to, because everything she went through
• 22:06
  Speaker 2: that last time, I would understand if they were dealing
• 22:10
  Speaker 2: with like PTSD, you know, if they were really going
• 22:12
  Speaker 2: to like dig into like, okay, that's, that's what, this
• 22:16
  Speaker 2: whole movie kind of is about is how much of
• 22:19
  Speaker 2: an impact he made on her life and now that
• 22:21
  Speaker 2: he's gone in quotes there because we don't know what
• 22:24
  Speaker 2: happened to him he just mysteriously disappeared so like how
• 22:27
  Speaker 2: did how did the actions that she had to witness
• 22:29
  Speaker 2: affect her and then how is she dealing with the
• 22:31
  Speaker 2: fact that she doesn't really even have a body to
• 22:33
  Speaker 2: know that.
• 22:33
  Speaker 1: He's dead so like All of that I could.
• 22:36
  Speaker 2: See being an interesting character study, but that's kind of
• 22:39
  Speaker 2: not what we get. We just flip a switch and
• 22:41
  Speaker 2: she's like, well, now I'm crazy and I don't care
• 22:43
  Speaker 2: about anything.
• 22:44
  Speaker 1: The world sucks.
• 22:45
  Speaker 2: And I'm mad about the fact that I had a
• 22:48
  Speaker 2: guy try to kill me last year. So, yeah, it
• 22:51
  Speaker 2: does just seem like she's just she seems like she's
• 22:54
  Speaker 2: angry because she had to go through that, which I
• 22:56
  Speaker 2: guess you would be. But I don't know if that
• 22:59
  Speaker 2: counts as character development.
• 23:01
  Speaker 1: Well, and that's what I don't understand is like that
• 23:03
  Speaker 1: is not character development. And to be fair, man, I'm
• 23:07
  Speaker 1: going to just go out and say it because this
• 23:09
  Speaker 1: is the part of the movie that really bothers me.
• 23:12
  Speaker 1: Why was Danielle Harris even in this movie? Because she's
• 23:15
  Speaker 1: awesome and we like her. I get that. That's not
• 23:17
  Speaker 1: what I'm asking.
• 23:18
  Speaker 2: That's the real world answer from the screenplay answer.
• 23:22
  Speaker 1: I don't know.
• 23:23
  Speaker 2: Especially watching it this time, because I mean, my my
• 23:27
  Speaker 2: real answer for me and I remember I remember this.
• 23:30
  Speaker 2: I think it was so important to me at the
• 23:32
  Speaker 2: time that I named the episode that we talked about
• 23:34
  Speaker 2: it a million years ago. I I dig Chicks with
• 23:37
  Speaker 2: Scars because I mean, if anybody's kind of pulling off
• 23:40
  Speaker 2: this look, Daniel had it going like I'm like, all right,
• 23:43
  Speaker 2: I get that.
• 23:44
  Speaker 1: But then I got back into it. I'm watching this.
• 23:46
  Speaker 1: I'm like, she has nothing to do.
• 23:48
  Speaker 2: So like, really, if you're going to bother to bring
• 23:50
  Speaker 2: her back just for, I guess, name recognition, because she's
• 23:54
  Speaker 2: so connected to the Halloween series, like why not make
• 23:57
  Speaker 2: her useful to the plot? Like all she does is
• 24:00
  Speaker 2: sit at the house and like answer the phone and
• 24:03
  Speaker 2: complain about stuff. But like, she doesn't have anything functional
• 24:06
  Speaker 2: to do and she never leaves the house.
• 24:08
  Speaker 1: She kind of, plays Laurie's partner? Kind of, yeah. I mean,
• 24:14
  Speaker 1: that's what I would, the closest comparative. And what I
• 24:18
  Speaker 1: will tell you, the thing that made me laugh about
• 24:20
  Speaker 1: this movie, watching it this time, why does Laurie have
• 24:23
  Speaker 1: Rob Zombie's hair?
• 24:24
  Speaker 2: Okay, this is what he does. And this is one
• 24:27
  Speaker 2: that I was like, I don't even know if I'll
• 24:28
  Speaker 2: bother to go into this, but I've questioned this.
• 24:32
  Speaker 1: For many, many- Bother, Brian, bother. This is what we do.
• 24:35
  Speaker 1: So it's a weird thing about him as a filmmaker. Why?
• 24:40
  Speaker 1: does he keep making all the movies about someone that
• 24:43
  Speaker 1: looks kind of like him yeah because he started doing
• 24:46
  Speaker 1: it like devil's rejects he gave he gave bill mosley
• 24:51
  Speaker 1: the big beard so like he already had long hair
• 24:53
  Speaker 1: and a big beard and then we get to like
• 24:55
  Speaker 1: this movie and michael myers has long hair and a
• 24:59
  Speaker 1: big beard like and he's a big dude and he
• 25:01
  Speaker 1: looks like rob zombie essentially and also lori has his
• 25:04
  Speaker 1: hair But then you go forward and it's like, look
• 25:07
  Speaker 1: at several of the other movies with the new guy
• 25:10
  Speaker 1: that he cast, the Jeff Daniel, that the other guy
• 25:13
  Speaker 1: that becomes lead in most of his movies after this,
• 25:16
  Speaker 1: he almost always has long hair and a big beard.
• 25:19
  Speaker 1: And like, I'm like, why? Or do you just want
• 25:20
  Speaker 1: to be the star of these movies? Just make yourself
• 25:22
  Speaker 1: that you're the director. You can cast yourself if you want.
• 25:25
  Speaker 1: But like, it's weird that he keeps like carbon copy
• 25:28
  Speaker 1: version of himself as like, well, this is what the
• 25:31
  Speaker 1: cool main character is going to look like. Me. Like, what?
• 25:35
  Speaker 1: What are you doing? Yeah, it's odd. It is so
• 25:40
  Speaker 1: it's so strange to me because I noticed it this time.
• 25:43
  Speaker 1: I was like, what? Why is Laurie Strode look like
• 25:46
  Speaker 1: Rob Zombie? Like, what's with the hair? What's with like
• 25:49
  Speaker 1: the raggedy like dread like white white person dreadlocks like.
• 25:53
  Speaker 1: Mm hmm. And like I just it's so again, like
• 25:56
  Speaker 1: I I ask the question of what's the deal with it?
• 25:59
  Speaker 1: Because in the hands of a more adept filmmaker, they
• 26:03
  Speaker 1: would have a meaning.
• 26:04
  Speaker 2: Well, this is the other thing that I think it
• 26:06
  Speaker 2: just aesthetically ties to it, because I'm also just like
• 26:09
  Speaker 2: knowing the definitely the character that Laurie was last time.
• 26:14
  Speaker 2: And I mean, Annie was a little more adventurous the
• 26:17
  Speaker 2: last movie, but like she still seemed like a relatively
• 26:20
  Speaker 2: normal like high school girl. But like now we're going
• 26:23
  Speaker 2: from the hairstyle to the set design that I want
• 26:26
  Speaker 2: to address. Why does the house they live in look
• 26:29
  Speaker 2: like it's an abandoned house that squatters trash?
• 26:32
  Speaker 1: Dude, I was going to ask you the same. What
• 26:35
  Speaker 1: the hell? Like, is this not Brackett's house that he's
• 26:39
  Speaker 1: always lived in? So like. why is he okay with
• 26:42
  Speaker 1: these two kids.
• 26:43
  Speaker 2: And by the way they're both grown-ups out of high
• 26:45
  Speaker 2: school now so like it's not like they're two 12
• 26:48
  Speaker 2: year olds that want to put stickers everywhere and like
• 26:50
  Speaker 2: let them do what they want these crazy kids they'll
• 26:53
  Speaker 2: express themselves that way but I'm like These are technically
• 26:56
  Speaker 2: adults and they've trashed your house, essentially, because.
• 27:00
  Speaker 1: Look at all my cool stickers everywhere and posters. And
• 27:03
  Speaker 1: I'm spray painting on the side of this door because
• 27:06
  Speaker 1: I just don't care. I'm like, but who are we again?
• 27:09
  Speaker 1: So it's like, once again, why is he trying to
• 27:11
  Speaker 1: turn it into what he thinks is cool? What a
• 27:14
  Speaker 1: weird old dude thinks is cool for teenagers to do.
• 27:18
  Speaker 2: Like, yeah, this is what we did when I was
• 27:20
  Speaker 2: a teenager. We spray painted on the side of the
• 27:23
  Speaker 2: pool I was skateboarding in and I want her whole house.
• 27:25
  Speaker 1: To look like that. Which is so odd. It's weird
• 27:30
  Speaker 1: because again, it's like an old white guy's house. Like
• 27:33
  Speaker 1: why all of a sudden have you turned it into this?
• 27:35
  Speaker 1: But it's not just the house. Like once you get
• 27:37
  Speaker 1: to like the weird like record store, thrift shop, coffee shop,
• 27:41
  Speaker 1: whatever the hell that is that Lori goes to work at,
• 27:44
  Speaker 1: work in quotes. it looks the same way. Like it's that,
• 27:46
  Speaker 1: and which again, I've been to record stores that look
• 27:49
  Speaker 1: like that. I understand, but I'm like, it's just the
• 27:51
  Speaker 1: aesthetic for almost this whole movie. And I'm like, what
• 27:55
  Speaker 1: are you doing? Rob's like, why do you want to
• 27:57
  Speaker 1: make everything so cool? Like, God forbid I do a
• 28:00
  Speaker 1: regular old house that looks boring. I want to make
• 28:03
  Speaker 1: sure everybody thinks I'm cool. I'm like, I don't, I
• 28:06
  Speaker 1: don't understand. It doesn't match the people. It doesn't match
• 28:10
  Speaker 1: the town. It doesn't match what you're trying to do.
• 28:13
  Speaker 1: So why aesthetically have you chosen this for the visual
• 28:17
  Speaker 1: interior design of this? I don't know.
• 28:20
  Speaker 2: And the other thing that really was weird because I
• 28:21
  Speaker 2: was like, I'm pretty sure Rob Zombie has a fancy house.
• 28:25
  Speaker 2: So I went and looked and yeah, the photos from
• 28:28
  Speaker 2: his house that he might have sold since then. But
• 28:30
  Speaker 2: at the time they did a photo shoot, it's straight
• 28:33
  Speaker 2: out of Architectural Digest.
• 28:34
  Speaker 1: Like it is the first. fancy, super classy house that
• 28:38
  Speaker 1: a rich dude would have. So he's not a punk
• 28:41
  Speaker 1: rock kid in a squatter house. Like, so what, what
• 28:43
  Speaker 1: are you trying to prove, Rob? Just why, why did
• 28:46
  Speaker 1: we go down this road with the set? Well, and that's,
• 28:49
  Speaker 1: and that's what I've never understood. It's like that. It's,
• 28:51
  Speaker 1: it's just that weird, like I am going to be
• 28:54
  Speaker 1: grungy for grungy sake. And that works in something like
• 28:57
  Speaker 1: devil's rejects or your house of a thousand corpses here.
• 29:00
  Speaker 1: It makes no sense. That bathroom in that house is
• 29:02
  Speaker 1: like the walls are spray painted. It's literally, and I'm
• 29:06
  Speaker 1: just like, what's Brackett's house for God's sake? What in
• 29:08
  Speaker 1: the fuck is this house? Like, what is the relationship
• 29:11
  Speaker 1: that Sheriff Brackett has with these people? Like, please tell me.
• 29:14
  Speaker 1: Because honestly, he's not the authority figure. No kidding. Like,
• 29:18
  Speaker 1: it's odd. Even though he's sheriff of the town, he
• 29:21
  Speaker 1: should be. Yeah, it's so odd. It's such an odd choice,
• 29:25
  Speaker 1: and I just don't get it. And, you know, we
• 29:28
  Speaker 1: talked about this a little bit on the last episode,
• 29:30
  Speaker 1: but I want to mention it here. Why here is
• 29:33
  Speaker 1: this taking place? The 90s? 91 is what we're claiming?
• 29:37
  Speaker 1: The 70s? No. It shouldn't be, really, but- It's supposed
• 29:41
  Speaker 1: to be 1991.
• 29:41
  Speaker 2: I thought that was when Michael was a kid was
• 29:44
  Speaker 2: the 90s. So shouldn't this have caught up to closer
• 29:47
  Speaker 2: to when the movie.
• 29:47
  Speaker 1: Or is this, yeah, no, you're right. Yeah, this is
• 29:50
  Speaker 1: supposed to be 15 years ahead. Is this supposed to
• 29:52
  Speaker 1: be the mid-2000s? Yeah, that's what I'm saying. Like, this
• 29:55
  Speaker 1: isn't even a period piece, really. If so, a couple
• 29:57
  Speaker 1: of years back. Like, it shouldn't even be dated.
• 30:00
  Speaker 2: Like, even though everything he makes feels like it's in
• 30:02
  Speaker 2: the 70s, this, even if it's trying to be the 90s,
• 30:05
  Speaker 2: shouldn't be the 90s.
• 30:07
  Speaker 1: No, it is. You're right. It's supposed to be like
• 30:09
  Speaker 1: 2007 or 8. Which still doesn't make any sense. It
• 30:12
  Speaker 1: still doesn't match. Like, No, because everybody feels like they're
• 30:16
  Speaker 1: in the 90s. And everybody in the last film felt
• 30:19
  Speaker 1: like they were in the 70s, even though it was
• 30:21
  Speaker 1: supposed to be the 90s and the 2000s. Like, Rob,
• 30:24
  Speaker 1: just make it this. Like, I don't understand why he
• 30:26
  Speaker 1: does it. Like, is it illegal to make a film
• 30:29
  Speaker 1: a period piece? It is. Is it? According to him,
• 30:33
  Speaker 1: I don't know. He does a lot of things I
• 30:35
  Speaker 1: don't understand. yes he well again everything he loves is
• 30:39
  Speaker 1: like from stuff from when he grew up it's like
• 30:42
  Speaker 1: tarantino yeah half of it is just like this was
• 30:45
  Speaker 1: the cool stuff from the 70s that i liked when
• 30:47
  Speaker 1: i was a kid and i'm like okay i i
• 30:49
  Speaker 1: i have a lot of these same references i said
• 30:51
  Speaker 1: that last episode like you and i share most of
• 30:54
  Speaker 1: the same references rob i totally get your love for
• 30:57
  Speaker 1: these things But you're making a movie. You got to
• 31:00
  Speaker 1: branch out a little. You got to do it based
• 31:02
  Speaker 1: on the reality of the story you're trying to tell,
• 31:05
  Speaker 1: not just what you think is cool. Like there's there's
• 31:07
  Speaker 1: a point where you got to like set that aside
• 31:10
  Speaker 1: or like work it in where it fits. Like I
• 31:12
  Speaker 1: would even let you have the record store maybe. But
• 31:14
  Speaker 1: you can't make her house look like that then. It's
• 31:16
  Speaker 1: one or the other, not both. Well, and that's and
• 31:18
  Speaker 1: that's the thing I don't understand. It's like what? At
• 31:21
  Speaker 1: what point do we say, OK, Rob Zombie, you are
• 31:24
  Speaker 1: you're good at making a certain kind of film. He
• 31:27
  Speaker 1: could like not every film needs to be like that film. Yeah. Oh, again,
• 31:31
  Speaker 1: he wants everything to be Rob Zombie's a part of
• 31:34
  Speaker 1: the feel like he wants to make sure his name
• 31:36
  Speaker 1: is stamped on it. His identity is stamped on it, which, again,
• 31:40
  Speaker 1: I get as a filmmaker. I mean, you're you're in
• 31:43
  Speaker 1: the shadow of Carpenter who did the same thing. So
• 31:46
  Speaker 1: I get it.
• 31:47
  Speaker 2: But like Carpenter had a way of making it work,
• 31:49
  Speaker 2: especially in his heyday, whereas like these just feel like
• 31:53
  Speaker 2: this fledgling artist trying to be like, no, I'm like
• 31:56
  Speaker 2: this and I do this.
• 31:57
  Speaker 1: And like it. So it always just seems kind of
• 31:59
  Speaker 1: desperate the way he like throws some of the stuff
• 32:02
  Speaker 1: in over the years that.
• 32:03
  Speaker 2: Like, I don't know, man, just get a handle on
• 32:05
  Speaker 2: what you want to make and make it because you've
• 32:07
  Speaker 2: got talent.
• 32:08
  Speaker 1: It just it's so unchecked. Like, again, I feel like
• 32:11
  Speaker 1: he needs somebody else there. He didn't have good producers.
• 32:15
  Speaker 2: He obviously wasn't relying on a writer to make a
• 32:17
  Speaker 2: sense out of any of this. So like he needs
• 32:19
  Speaker 2: somebody else to keep his creativity in check. And he
• 32:22
  Speaker 2: obviously doesn't have it as the problem.
• 32:23
  Speaker 1: Well, and that's, I mean, that goes back to what
• 32:25
  Speaker 1: we talked about in the last episode with Tarantino, right? Because,
• 32:28
  Speaker 1: you know, his editor, I think, did such a good
• 32:31
  Speaker 1: job at reining him in, you know, one of my
• 32:34
  Speaker 1: favorite Tarantino things is the script that he did for
• 32:37
  Speaker 1: True Romance. A film that had, like, the reason that
• 32:41
  Speaker 1: film is so good is because someone reined in Tarantino's bullshit.
• 32:44
  Speaker 2: Yeah, you filtered it through Tony Scott and you're like, oh, well,
• 32:47
  Speaker 2: this is a whole different kind of movie now. It's
• 32:48
  Speaker 2: just got recognizable dialogue along the way, but it feels
• 32:52
  Speaker 2: like a different movie than the other stuff that Tarantino
• 32:55
  Speaker 2: started doing around that same time.
• 32:56
  Speaker 1: Yeah. And that for me is, I think, the big
• 32:59
  Speaker 1: success of someone like Rob Zombie or Tarantino or a
• 33:03
  Speaker 1: lot of these directors, like they have other people who
• 33:05
  Speaker 1: work with them that are able to kind of pull
• 33:08
  Speaker 1: them back from the their worst excesses, I think is
• 33:12
  Speaker 1: the word I would use. They should. I mean, that's
• 33:15
  Speaker 1: what we've seen in so many directors. You tell me
• 33:18
  Speaker 1: how much of this film is excessive in terms of
• 33:20
  Speaker 1: the Rob Zombie. Because I feel like it's excessive with
• 33:22
  Speaker 1: Rob Zombie, but for once I'm like, I kind of
• 33:25
  Speaker 1: vibe with it because it's just so weird. Again, when
• 33:29
  Speaker 1: it's doing its own thing, I kind of don't care.
• 33:31
  Speaker 2: It's the fact that, and I was thinking that earlier,
• 33:34
  Speaker 2: I was like, this is the main problem with this
• 33:36
  Speaker 2: movie is, is we, as the audience, have to tie
• 33:39
  Speaker 2: it to the last movie.
• 33:41
  Speaker 1: If it was free and clear of all of that
• 33:44
  Speaker 1: nonsense that happened in the last movie, I think this
• 33:46
  Speaker 1: would be fine because it'd be like, oh, and that's
• 33:49
  Speaker 1: what I was, as I watched it that first time,
• 33:51
  Speaker 1: I was like, when we get Mountain Man Michael and
• 33:54
  Speaker 1: he's just like a weird dude with his hair and
• 33:57
  Speaker 1: his giant beard and he's just a.
• 33:59
  Speaker 2: big guy wandering the side but i mean he's got
• 34:02
  Speaker 2: like a knapsack and like he's just like.
• 34:04
  Speaker 1: Wandering the woods like michael it's literally what they wish
• 34:08
  Speaker 1: they could have done with the character up into this
• 34:10
  Speaker 1: point it is the only time i've ever seen the
• 34:13
  Speaker 1: character going anywhere else and and we don't.
• 34:16
  Speaker 2: Know where or why or what he's doing he's just
• 34:19
  Speaker 2: wandering the earth he's like kane he's just wandering the
• 34:22
  Speaker 2: earth to reference that same guy So that's the thing.
• 34:25
  Speaker 2: I was like, if he would have just gone with that,
• 34:28
  Speaker 2: I guess again, because he got roped into making Halloween
• 34:30
  Speaker 2: and he didn't want to pass up the opportunity because
• 34:32
  Speaker 2: they handed him Halloween.
• 34:34
  Speaker 1: But I was like, this is what it should have
• 34:35
  Speaker 1: been the whole time. Maybe not even with the last movie,
• 34:38
  Speaker 1: but like this movie should just be like, I want
• 34:41
  Speaker 1: to make a movie about a killer. And he's just
• 34:44
  Speaker 1: a big, weird dude with a beard that wanders out
• 34:47
  Speaker 1: in the woods. And every once in a while, he
• 34:48
  Speaker 1: comes into town and he comes to people's houses out
• 34:51
  Speaker 1: on the outskirts there and he decides to murder them.
• 34:54
  Speaker 1: And we maybe figure out why.
• 34:57
  Speaker 2: By the end of the movie, or maybe not. But
• 35:00
  Speaker 2: he's just a weird... big guy that doesn't talk and
• 35:02
  Speaker 2: lumbers into town and murders people. And like, that's, that
• 35:05
  Speaker 2: could be fun. That could be a good slasher if
• 35:08
  Speaker 2: you didn't have to tie it to everything else. But like,
• 35:11
  Speaker 2: because we as the audience have to sit there and go, wait,
• 35:14
  Speaker 2: but why, where, where is he going? Why is he,
• 35:16
  Speaker 2: why is he back here? Why is he looking for Lori? Why,
• 35:19
  Speaker 2: why is this weird mountain man dragging a mask around?
• 35:22
  Speaker 1: Like, It only doesn't make sense when you have to
• 35:26
  Speaker 1: tie it to the first movie. And, you know, I
• 35:28
  Speaker 1: think it might have been smart for Rob Zombie to
• 35:30
  Speaker 1: just do what they had done with those. They were
• 35:32
  Speaker 1: trying to do with those previous Halloween movies and just
• 35:35
  Speaker 1: don't have this feed into the last. Like, yeah, just
• 35:38
  Speaker 1: have it be something else entirely. I don't know. It
• 35:42
  Speaker 1: is the biggest problem I have with this movie is
• 35:44
  Speaker 1: that it is a sequel to the last film because
• 35:48
  Speaker 1: it doesn't want to be. It has problems with being
• 35:53
  Speaker 1: a film in reference to the last film because the
• 35:56
  Speaker 1: last film, again, was like, it's almost, I don't know,
• 35:59
  Speaker 1: I'm not going to say it's Star Wars-esque in what
• 36:02
  Speaker 1: happens in this movie, but in terms of pivoting, they
• 36:05
  Speaker 1: pivot away from the last movie so hard. Like, you know,
• 36:09
  Speaker 1: in a way that I was was not expecting the
• 36:11
  Speaker 1: first time I watched this movie and every time I've
• 36:13
  Speaker 1: watched it since I'm like, what the fuck? Or I
• 36:16
  Speaker 1: guess you've said it already. And I want to repeat
• 36:18
  Speaker 1: it again. Like Rob Zombie is such a specific kind
• 36:21
  Speaker 1: of filmmaker and makes such a specific kind of film.
• 36:24
  Speaker 1: on every single one of his films, it says, A
• 36:26
  Speaker 1: Rob Zombie Film on the poster. It's not Rob Zombie's Halloween.
• 36:29
  Speaker 1: It's A Rob Zombie Film, which, again, as far as
• 36:32
  Speaker 1: I'm concerned, is really no different. Yeah, it's still rubber
• 36:35
  Speaker 1: stamping your name right there with the title, essentially. I
• 36:40
  Speaker 1: just have a real big issue with... This film coming out,
• 36:46
  Speaker 1: it being a Halloween film. And like you said, it
• 36:49
  Speaker 1: needing to be tied to the previous Halloween film for
• 36:52
  Speaker 1: whatever reason, even though it doesn't need to be at all.
• 36:56
  Speaker 1: That's as I went back into it this time.
• 36:58
  Speaker 2: That's what like right from the beginning, there's like, well,
• 37:02
  Speaker 2: it's already just so inconsistent with the last movie. And
• 37:05
  Speaker 2: I know, like I said, if you want to be
• 37:08
  Speaker 2: a creative person and be like, you want to do
• 37:10
  Speaker 2: things kind of different this time.
• 37:12
  Speaker 1: To some extent I get that.
• 37:13
  Speaker 2: But again, because these are, it's different if you're doing
• 37:15
  Speaker 2: an entirely different movie, like every, every movie.
• 37:18
  Speaker 1: You want to do a different thing. That's fine. But
• 37:19
  Speaker 1: when you're doing a direct sequel, it's hard to steer
• 37:22
  Speaker 1: too far away from what we already had.
• 37:25
  Speaker 2: So the fact that like we get, into this and
• 37:28
  Speaker 2: like immediately we're getting these like visions of mom and
• 37:31
  Speaker 2: the horse and the snowing and all of these things
• 37:35
  Speaker 2: right off the bat and I'm like okay but we
• 37:38
  Speaker 2: didn't have those last time so why all of a
• 37:41
  Speaker 2: sudden now hell of a retcon baby well that I
• 37:44
  Speaker 2: was just like so it'd be different if like mom
• 37:47
  Speaker 2: died at the end of the last movie and then
• 37:49
  Speaker 2: you'd be like oh this is since mom died now
• 37:52
  Speaker 2: he's having these visions of mom and like so But, like, no,
• 37:55
  Speaker 2: she was gone by the time you were a kid, like,
• 37:58
  Speaker 2: from the halfway point in that movie. And all of
• 38:01
  Speaker 2: the grown-up murder times, she was already gone, but we
• 38:04
  Speaker 2: didn't get this treatment in the second half of the
• 38:06
  Speaker 2: last movie. So, like, what is it now that, like,
• 38:10
  Speaker 2: suddenly now... And it wasn't even like before he was
• 38:13
  Speaker 2: murdering people like again, he'd already murdered like four people
• 38:15
  Speaker 2: or more by the time he went into the asylum.
• 38:18
  Speaker 2: So it doesn't really have that as a dividing line.
• 38:21
  Speaker 2: So I'm just trying to figure out like what's what's
• 38:22
  Speaker 2: the reason for this? Like now, all of a sudden,
• 38:25
  Speaker 2: we're going to work in this weird, almost supernatural thing
• 38:29
  Speaker 2: that kicks in where it's like we're having visions and
• 38:32
  Speaker 2: he's like. psychically linked with his mother, maybe sort of,
• 38:36
  Speaker 2: we don't know, but I'm like, what, what is this?
• 38:39
  Speaker 1: Is this a new problem?
• 38:40
  Speaker 2: Is this a new dysfunction in Michael's like continually deteriorating mind?
• 38:46
  Speaker 2: Cause that's the only thing that kind of makes, I
• 38:48
  Speaker 2: was like, if you have an answer, it's, you know,
• 38:50
  Speaker 2: at the end of the movie, he got shot in
• 38:52
  Speaker 2: the head.
• 38:54
  Speaker 1: Which is never explained. Never explained. Not even once.
• 38:57
  Speaker 2: They didn't even try to rush in and save him.
• 39:00
  Speaker 2: They just loaded him in the meat wagon.
• 39:04
  Speaker 1: Unless the whole white horse thing is the effects of
• 39:07
  Speaker 1: him being shot in the head. And that's what I
• 39:09
  Speaker 1: was thinking.
• 39:09
  Speaker 2: I was like, that's the only way that that almost
• 39:12
  Speaker 2: makes sense as the dividing line is if somehow, I
• 39:16
  Speaker 2: do not understand how anyone would survive point blank being
• 39:19
  Speaker 2: shot in the head, But hey, crazy medical things have happened.
• 39:23
  Speaker 1: In the world. So we'll assume he's also really thick
• 39:26
  Speaker 1: skull he's also possibly supernatural we never addressed that either
• 39:30
  Speaker 1: but like okay if for some magic reason he didn't
• 39:32
  Speaker 1: die it's still i'm assuming whatever part of your brain
• 39:36
  Speaker 1: a bullet just went through probably did some damage along
• 39:39
  Speaker 1: the way so maybe the synapses are firing and instead
• 39:42
  Speaker 1: now you just get mom and a horse like it
• 39:45
  Speaker 1: That's the closest I could come up to with a
• 39:48
  Speaker 1: reason that all of a sudden in this movie, we
• 39:50
  Speaker 1: have this new aspect that should have been going on
• 39:54
  Speaker 1: all along.
• 39:55
  Speaker 2: Otherwise, if it was just weird parts of his mind
• 39:57
  Speaker 2: or him dealing with mom from his childhood or all
• 40:00
  Speaker 2: these other things, then it should have also been in
• 40:02
  Speaker 2: the last movie, which obviously he just didn't think of
• 40:04
  Speaker 2: it for the last movie.
• 40:06
  Speaker 1: So that's the best option I could come up with is, yeah,
• 40:10
  Speaker 1: he did take a bullet to the brain. So I
• 40:12
  Speaker 1: could be part of it. Well, and that's and that's
• 40:14
  Speaker 1: the thing. I mean, like you said, I am willing
• 40:17
  Speaker 1: to give the film that kind of leeway because it's
• 40:20
  Speaker 1: a fucking slasher movie. Like, I don't need explanation, but
• 40:24
  Speaker 1: I want you to do some heavy lifting. Don't put
• 40:26
  Speaker 1: it all on me.
• 40:27
  Speaker 2: But here's the part of that that also then doesn't
• 40:30
  Speaker 2: make any sense. Because I'm like, okay, so now is
• 40:34
  Speaker 2: he psychically linked to his sister? Which we addressed last movie, too. But, like,
• 40:39
  Speaker 2: it'd be different if only these visions were happening to Michael.
• 40:41
  Speaker 2: But Laurie's also dreaming of these same things. We see
• 40:45
  Speaker 2: her wake up from the mom dreams, and it's the
• 40:47
  Speaker 2: same mom dreams that are visions in Michael's head.
• 40:50
  Speaker 1: So... Is.
• 40:51
  Speaker 2: Mom connected to both of them? And then by the end,
• 40:54
  Speaker 2: I'm like, is is mom actually a ghost? Is that
• 40:57
  Speaker 2: the supernatural part of this story? And mom is actually
• 41:00
  Speaker 2: a ghost because she also seems to be like pulling
• 41:02
  Speaker 2: the strings on some of these of like, OK, Michael,
• 41:05
  Speaker 2: time to go murder again. And Laurie, it's time for
• 41:08
  Speaker 2: you to be, you know, the crazy person. We're bringing
• 41:11
  Speaker 2: you up for the next round. So by the end,
• 41:13
  Speaker 2: is mom the villain of these movies? Like crazy ghost
• 41:16
  Speaker 2: mom is the one pulling the strings on both these
• 41:18
  Speaker 2: weird kids. Well, that for me just makes this less
• 41:22
  Speaker 2: Halloween and more Friday the 13th. Spooky ghost story. It's
• 41:27
  Speaker 2: also kind of Nightmare on Elm Street at that point.
• 41:29
  Speaker 2: Using his dreams to affect the real world.
• 41:32
  Speaker 1: It's all of those things at the same time, but
• 41:35
  Speaker 1: none of them. Yes, that's the problem. It's none of them.
• 41:38
  Speaker 1: If he would have gone down any.
• 41:40
  Speaker 2: Of those roads, I'd be like, well, at least he
• 41:42
  Speaker 2: decided to do that. But he didn't really decide to
• 41:45
  Speaker 2: do anything. He just threw out pieces of all these
• 41:47
  Speaker 2: other things and went, you know, something like that.
• 41:50
  Speaker 1: Which, you know, for me, I think is the real
• 41:52
  Speaker 1: big issue with this film is that it just it
• 41:56
  Speaker 1: introduces a lot of interesting ideas. But because it's so
• 41:59
  Speaker 1: unfocused broadly overall, a lot of those things don't go anywhere. Yeah.
• 42:04
  Speaker 1: At all. I agree. Yeah. But the things that he
• 42:08
  Speaker 1: does introduce are interesting. I mean, again, the idea of
• 42:11
  Speaker 1: Michael being this kind of drifter who isn't just wandering
• 42:14
  Speaker 1: around killing people. He's not, you know, like he at
• 42:18
  Speaker 1: times just wants to be left alone. Yeah, it's like
• 42:22
  Speaker 1: maybe he is being like murderous and just walking around
• 42:25
  Speaker 1: and killing people and we just never see it.
• 42:28
  Speaker 2: We just we don't tune in for those moments. Which
• 42:31
  Speaker 2: is weird for a slasher movie.
• 42:33
  Speaker 1: I don't know if that's the case. I just don't
• 42:35
  Speaker 1: know if that's the case, genuinely, because it doesn't seem
• 42:39
  Speaker 1: like this is the kind of film that wouldn't show it. Yeah.
• 42:43
  Speaker 1: specifically rob zombie making this kind of a movie right
• 42:47
  Speaker 1: and so in my mind it's like okay it's interesting
• 42:49
  Speaker 1: that we have a version of michael that seems like
• 42:51
  Speaker 1: put upon like he does you know it's similar to
• 42:53
  Speaker 1: what david gordon green does like in that movie michael's
• 42:56
  Speaker 1: not really doing anything like he's just kind of hanging
• 42:59
  Speaker 1: out hanging out in the sewer you know well and
• 43:01
  Speaker 1: that's serial killers do It's an interesting kind of comparative
• 43:05
  Speaker 1: to this film because that's what reminds me when I
• 43:08
  Speaker 1: watched that film of this film. It's like, we're just
• 43:10
  Speaker 1: going to do something completely different, completely new, completely unlike
• 43:15
  Speaker 1: anything else you've seen with this in this franchise. There
• 43:19
  Speaker 1: are things that it reminds me of other franchises, but yeah, no,
• 43:23
  Speaker 1: like for the most part, it's nothing like any of
• 43:26
  Speaker 1: the other Halloween films until the most recent one. And
• 43:30
  Speaker 1: that's intentional. I mean, that was the kind of complaint
• 43:32
  Speaker 1: that the new Halloween film had against it was like, well,
• 43:35
  Speaker 1: this is just this fucking weird film. That's nothing like
• 43:38
  Speaker 1: anything else. That's not my Michael Myers.
• 43:41
  Speaker 2: But it's not a rehash of the other stuff you've seen. So, yeah,
• 43:44
  Speaker 2: at least it was interesting. It wasn't necessarily a good
• 43:47
  Speaker 2: Halloween movie, but it was interesting.
• 43:49
  Speaker 1: Well, and that's the other thing. It's like the the
• 43:52
  Speaker 1: reality of that Halloween film is Michael Myers is barely
• 43:55
  Speaker 1: in that film. He's barely in this movie. I mean,
• 43:59
  Speaker 1: maybe as Michael Myers, he's in, what, 20 minutes of
• 44:02
  Speaker 1: this movie? Well, and you were talking about things that
• 44:05
  Speaker 1: it reminds you of in this this time. I think
• 44:07
  Speaker 1: I even kind of made this reference last episode, but
• 44:10
  Speaker 1: it really applies in this this movie.
• 44:13
  Speaker 2: He's almost just the Hulk now. Not only that he's
• 44:16
  Speaker 2: a giant dude, but like he's just sort of wandering
• 44:20
  Speaker 2: from town to town, getting it adventures, which in this
• 44:23
  Speaker 2: case is killing people. And he he's fine when he
• 44:26
  Speaker 2: keeps to himself. But then you've got jerks that show
• 44:28
  Speaker 2: up and want to like beat him with a baseball
• 44:30
  Speaker 2: bat when they get out the pickup truck.
• 44:32
  Speaker 1: And he's just like. Fine. And then he hulks out, a.k.a.
• 44:36
  Speaker 1: puts the mask on.
• 44:37
  Speaker 2: And there's even a moment as he's getting the mask
• 44:39
  Speaker 2: out that time and with the truck that I can
• 44:42
  Speaker 2: hear it in my head.
• 44:43
  Speaker 1: Don't make me put the mask on. You wouldn't like
• 44:45
  Speaker 1: me when I put the mask on. Like it's it's.
• 44:48
  Speaker 2: So like old school 70s Hulk that I'm just like,
• 44:51
  Speaker 2: he seems like he doesn't even want to murder these idiots,
• 44:54
  Speaker 2: but they started it. So he's like, well, all right,
• 44:56
  Speaker 2: I got to do it. So, yeah, instead of turning green,
• 44:59
  Speaker 2: he just, you know, puts the mask on and wreaks havoc.
• 45:02
  Speaker 2: on everyone around him.
• 45:04
  Speaker 1: And then he takes the mask off and goes back
• 45:06
  Speaker 1: to wandering across the land in the sad music place.
• 45:08
  Speaker 1: And I kind of wish there had been more of them. Yeah,
• 45:12
  Speaker 1: if that was what we were going to do. Like
• 45:13
  Speaker 1: I said, just make Mountain Man Michael. That is a
• 45:15
  Speaker 1: movie in between this movie and the last movie that
• 45:17
  Speaker 1: they just were... I don't know why they were so
• 45:20
  Speaker 1: hell-bent on... If you're going to just make a weird movie,
• 45:23
  Speaker 1: just make a weird movie.
• 45:24
  Speaker 2: Yeah, I mean, this one's half a weird movie. There's
• 45:26
  Speaker 2: so much of it that I'm like, yeah, that could
• 45:28
  Speaker 2: be cool.
• 45:28
  Speaker 1: That could be cool. But then we're so busy trying to...
• 45:31
  Speaker 1: retcon the last movie and make sure we get him
• 45:34
  Speaker 1: in the mask, even though it makes no sense out
• 45:36
  Speaker 1: in the woods that he's putting the mask on when
• 45:38
  Speaker 1: they just saw him without the mask on anyway. So
• 45:40
  Speaker 1: I'm like, what? What are we doing again?
• 45:42
  Speaker 2: Like, it's so much work to make it a Halloween
• 45:44
  Speaker 2: movie that I'm like, just make a regular old slasher
• 45:47
  Speaker 2: in the woods movie and quit messing with this, really.
• 45:50
  Speaker 2: But again, the business plan was made. I have to
• 45:53
  Speaker 2: make a Halloween movie, so I'm going to do both.
• 45:56
  Speaker 1: Well, and that's the thing I don't get about this
• 45:59
  Speaker 1: film is what was the intention? I have to finish
• 46:02
  Speaker 1: out my contract. Right. And I want to do something
• 46:06
  Speaker 1: cool along the way. Which really sucks. Because, again, like,
• 46:10
  Speaker 1: it is not... For as much as Rob Zombie is
• 46:13
  Speaker 1: not trying, right? Because we've kind of alluded to that already. Like,
• 46:15
  Speaker 1: this is this weird kind of confluence of, I don't
• 46:18
  Speaker 1: want to keep doing this, but I also really, like,
• 46:21
  Speaker 1: literally do not have a choice because I am contractually
• 46:25
  Speaker 1: obligated to. I find it very amusing that even for
• 46:29
  Speaker 1: that being the case, this movie is still... Really entertaining
• 46:33
  Speaker 1: for the most part. I mean, I wouldn't even say
• 46:35
  Speaker 1: he's not trying.
• 46:36
  Speaker 2: I feel like he's using this this bad situation to
• 46:40
  Speaker 2: his advantage. And it's like, well, I'm already in here.
• 46:43
  Speaker 2: They kind of again, they fired 12 guys to make this.
• 46:46
  Speaker 2: They brought me back as their saving grace so I
• 46:49
  Speaker 2: can kind of do whatever the hell I want now.
• 46:52
  Speaker 1: Maybe not. It's weird what he is and isn't doing.
• 46:58
  Speaker 2: Yeah, it's like he's just focusing on specific things and
• 47:01
  Speaker 2: he's got enough say and enough investment in this movie
• 47:05
  Speaker 2: with his name being attached to.
• 47:07
  Speaker 1: It that they're just kind of like, oh, OK, I
• 47:09
  Speaker 1: guess like we'll do that now. So I think he just.
• 47:12
  Speaker 2: Had more influence than all the other guys they fired
• 47:15
  Speaker 2: to try to make this movie better. And he just
• 47:17
  Speaker 2: used that to his advantage is like, I want to
• 47:19
  Speaker 2: do this cool visual of a giant horse in.
• 47:21
  Speaker 1: A snowstorm with this lady in a dress. And we're
• 47:24
  Speaker 1: going to work that in. And they're like, All right. OK, Rob, whatever.
• 47:29
  Speaker 2: Like, so I think he used the leverage he had
• 47:32
  Speaker 2: to make a lot of really cool aspects of this movie.
• 47:36
  Speaker 2: It still doesn't overall make it a great movie, but
• 47:39
  Speaker 2: it makes it an interesting movie nonetheless.
• 47:41
  Speaker 1: Cut to all the choices that he made in the
• 47:44
  Speaker 1: last movie, more or less being negated in this movie,
• 47:47
  Speaker 1: including but not limited to. Loomis dying, he's still alive.
• 47:51
  Speaker 1: Michael dying, still alive. Yeah. Annie possibly dying, still alive.
• 47:56
  Speaker 1: And to what end, I think, is the other question. Because,
• 48:00
  Speaker 1: you know, like I mentioned, the Danielle Harris of it all.
• 48:03
  Speaker 1: I don't understand why she's in this movie. She's barely
• 48:05
  Speaker 1: used in this movie. Like Brad Dwarf, barely used in
• 48:08
  Speaker 1: this movie. They're kind of just... It's like, well, they're
• 48:10
  Speaker 1: here because they were in the last one. It's like, well, okay.
• 48:14
  Speaker 1: So give them something to do. I mean, definitely the
• 48:17
  Speaker 1: Brad Dorf of it all, because we need somebody tracking
• 48:20
  Speaker 1: him down. And Loomis isn't doing that in this movie.
• 48:23
  Speaker 1: Why is he in this movie? That's the other one.
• 48:27
  Speaker 1: And that... I thought was funny because, yeah, rewatch it.
• 48:29
  Speaker 1: I kind of I knew there was a little bit
• 48:31
  Speaker 1: of the book.
• 48:32
  Speaker 2: Tour end of it, but I was like, I got
• 48:33
  Speaker 2: into this and I was like that first scene. I'm like, wow,
• 48:36
  Speaker 2: Loomis is just a dick now.
• 48:38
  Speaker 1: Oh, well, that's that was the other thing, right? I mean,
• 48:41
  Speaker 1: that's the thing that ends up being the other thing
• 48:43
  Speaker 1: that this movie is kind of known for is. The
• 48:46
  Speaker 1: Loomis character is wow.
• 48:49
  Speaker 2: But the thing I didn't know, and I guess like
• 48:51
  Speaker 2: in a way, what much like the Rob doing what
• 48:54
  Speaker 2: he wanted to do, because at least this will be interesting.
• 48:57
  Speaker 1: Supposedly the unlikable version of Loomis was Malcolm McDowell's idea.
• 49:02
  Speaker 1: It was. No, because he didn't want to give the
• 49:05
  Speaker 1: same performance.
• 49:06
  Speaker 2: And granted, like we even said in the last episode,
• 49:09
  Speaker 2: like he does come off like really caring in the
• 49:13
  Speaker 2: last episode. if you in the director's cut, at least
• 49:15
  Speaker 2: when we get a little more of those scenes, he
• 49:16
  Speaker 2: comes off like an actual genuine guy. But then by
• 49:19
  Speaker 2: the end of it, you're like, well, you're completely ineffective
• 49:22
  Speaker 2: and you like, you're not doing what you should be doing,
• 49:25
  Speaker 2: what you set out to do. Like, so like he,
• 49:27
  Speaker 2: it does seem like doing all of that again in
• 49:30
  Speaker 2: a second movie would make no sense or just be
• 49:32
  Speaker 2: repetitive for the audience and for Michael McDowell. So I'm like,
• 49:36
  Speaker 2: Is it a logical step though, I guess is my question.
• 49:39
  Speaker 1: I mean, I guess it depends on the person you're
• 49:42
  Speaker 1: dealing with. I'm asking you, I'm asking you, like, do
• 49:44
  Speaker 1: you feel like Loomis is a logical character in this
• 49:48
  Speaker 1: film as we've seen him from, is it a logical
• 49:49
  Speaker 1: character progression? It's a weird jump because of who we
• 49:53
  Speaker 1: saw in the last movie. Now, have I seen a
• 49:55
  Speaker 1: lot of people out there that write a book, it
• 49:57
  Speaker 1: becomes successful and they then seem like a dick? Yeah,
• 50:00
  Speaker 1: I feel like the real world version is that happens
• 50:02
  Speaker 1: a lot. Especially if you get a little bit of success.
• 50:05
  Speaker 1: I'm with you. Like, I'm with you. Like, it's not,
• 50:07
  Speaker 1: it's not a jump. I'm just wondering if they got,
• 50:10
  Speaker 1: if they got the gate, if they, if by the
• 50:13
  Speaker 1: end of their time in the film, if they get
• 50:18
  Speaker 1: Loomis to that point.
• 50:19
  Speaker 2: Well, I think it's, again, if we made that shift
• 50:22
  Speaker 2: from the first movie to the second and we have
• 50:24
  Speaker 2: jumped in time at least a year, if not two, again,
• 50:27
  Speaker 2: depending on which cut you watch on this one too.
• 50:28
  Speaker 1: Yeah.
• 50:29
  Speaker 2: Um, it would almost be enough time for him to
• 50:32
  Speaker 2: like be a little different at least. And again, he
• 50:35
  Speaker 2: kind of went through PTSD too. Like, so this could
• 50:38
  Speaker 2: be like, let's look at how the horrible things that
• 50:41
  Speaker 2: happened in that last movie affected him, affected Lori, like, uh,
• 50:45
  Speaker 2: if we really spent time, you know, addressing why they're
• 50:48
  Speaker 2: the way they are, but like this, we just flipped
• 50:50
  Speaker 2: a switch and now he's a dick, which again, like
• 50:53
  Speaker 2: I said, people do that. The thing that really makes
• 50:56
  Speaker 2: no sense to me is then all of a sudden
• 50:58
  Speaker 2: the last 12 minutes of the movie, he's back to
• 51:00
  Speaker 2: being the same guy.
• 51:01
  Speaker 1: Like he totally does a one 80 becomes a super
• 51:05
  Speaker 1: great guy again and shows up out of nowhere. And
• 51:08
  Speaker 1: I'm like, just to get the finale of the movie.
• 51:10
  Speaker 1: Cause that's what you want, I guess.
• 51:12
  Speaker 2: But like now you've completely, uh, negated everything that's come
• 51:15
  Speaker 2: in the beginning of this movie.
• 51:17
  Speaker 1: So what are we doing there? That makes no sense. Well,
• 51:20
  Speaker 1: and that's what I don't understand either about this film
• 51:22
  Speaker 1: is what is the Loomis character's art? He doesn't seem
• 51:25
  Speaker 1: to have one. No. He's gone totally the wrong way.
• 51:30
  Speaker 1: And if that was the thing, if him being a
• 51:33
  Speaker 1: horrible person is what then made Michael seek him out,
• 51:38
  Speaker 1: or if Laurie, because... she, you.
• 51:40
  Speaker 2: Know, she does kind of have this breakdown of like
• 51:42
  Speaker 2: finding out the details of the book once it comes out.
• 51:45
  Speaker 2: If she like went off the deep end and went
• 51:47
  Speaker 2: and like shot Loomis, like he would at least pay
• 51:50
  Speaker 2: for the fact that he became a dick and he
• 51:52
  Speaker 2: put out a book and, you know, made money off
• 51:54
  Speaker 2: of all these killings and her suffering and like, it
• 51:57
  Speaker 2: would almost make sense if we went to some sort
• 51:59
  Speaker 2: of conclusion like that. But instead we just, once again,
• 52:03
  Speaker 2: flip the switch back the other way and be like, no,
• 52:05
  Speaker 2: he's a great guy and he just wants to help Laurie.
• 52:07
  Speaker 2: And like, wait, really now after everything else we've seen.
• 52:11
  Speaker 2: So it makes, it doesn't make sense. No, it makes
• 52:14
  Speaker 2: no sense whatsoever.
• 52:16
  Speaker 1: And that, I think that's my like big issue with
• 52:18
  Speaker 1: so much of this movie is the, it's not, you know,
• 52:21
  Speaker 1: the last movie was fine. Like the last movie, I
• 52:23
  Speaker 1: think in a lot of ways, like, hangs together better
• 52:26
  Speaker 1: than this movie does which feels like the point in
• 52:29
  Speaker 1: a lot of ways like I don't know how else
• 52:31
  Speaker 1: to put it but it's just this movie doesn't hang
• 52:33
  Speaker 1: together very well because it's just not when you cram
• 52:36
  Speaker 1: the two parts together yeah no when you're trying to
• 52:39
  Speaker 1: do as much as this movie is attempting to do
• 52:41
  Speaker 1: some of it is going to not be as successful
• 52:44
  Speaker 1: as one would hope. This movie is a film full
• 52:47
  Speaker 1: of failures on so many levels because there's like, there's
• 52:51
  Speaker 1: so much about this that is not, it's not that
• 52:54
  Speaker 1: it's not interesting. It just doesn't seem to go anywhere.
• 52:57
  Speaker 2: Well, it doesn't seem like he or anyone involved is
• 53:01
  Speaker 2: interested in the Halloween parts of it anymore. Like again, the,
• 53:05
  Speaker 2: the stuff, the kills when he's just being crazy mountain man, Michael, like.
• 53:09
  Speaker 1: Are pretty interesting. Again, they're very gratuitous and bloody, but,
• 53:12
  Speaker 1: But like, if you're there for that, which a lot
• 53:14
  Speaker 1: of people would be going to a Rob Zombie slasher
• 53:17
  Speaker 1: movie for that in particular. it delivers like those scenes
• 53:21
  Speaker 1: are well put together. They are super bloody. They're over
• 53:24
  Speaker 1: the top in the kills.
• 53:25
  Speaker 2: So it's like that all works, but it's the cramming
• 53:28
  Speaker 2: a man with the other trying to make it fit
• 53:31
  Speaker 2: with the Halloween part of it that then sort of
• 53:33
  Speaker 2: betrays the Halloween of it all.
• 53:35
  Speaker 1: And then you're just like, well, now what have we got?
• 53:37
  Speaker 2: It's just this muddy thing in the middle that like,
• 53:40
  Speaker 2: then it takes away from the good aspects of the
• 53:42
  Speaker 2: kills with the other stuff. And if you're there for
• 53:44
  Speaker 2: the Halloween of it all, all these other weird things
• 53:47
  Speaker 2: going on, keep messing up your movies.
• 53:49
  Speaker 1: So it doesn't really work from either end. On Tubi,
• 53:53
  Speaker 1: it says, in this reimagination of the horror classic, Laurie
• 53:57
  Speaker 1: Strode must prepare after her brother, Michael, makes a deadly
• 54:00
  Speaker 1: return to Haddonfield. That is literally the last 10 minutes
• 54:03
  Speaker 1: of the movie. And why?
• 54:06
  Speaker 2: That was one of my big questions by the end
• 54:09
  Speaker 2: of it is like, what is he doing now? As
• 54:12
  Speaker 2: much as I already had that question in the last movie.
• 54:15
  Speaker 1: Which is not explained. Which is not explained. Telepathically, he's...
• 54:19
  Speaker 1: He knows where she is first and foremost. But then
• 54:21
  Speaker 1: on top of that is like, what is he doing?
• 54:23
  Speaker 2: Like, we never really, even in the last movie, get, like,
• 54:26
  Speaker 2: is he trying to reunite with her? Like, I think
• 54:29
  Speaker 2: originally in the screenplay, that's what it was supposed to be.
• 54:32
  Speaker 1: Well, and he doesn't kill her. I mean, he has
• 54:34
  Speaker 1: plenty of opportunity to kill her, and he doesn't, so
• 54:36
  Speaker 1: I don't understand. So now what is he doing, you know?
• 54:39
  Speaker 1: It's like, so now you've reunited with her last time,
• 54:42
  Speaker 1: and guess what? She tried to kill you, or killed you,
• 54:45
  Speaker 1: depending on where we stopped that movie, but she shot
• 54:48
  Speaker 1: you in the head. So obviously... This didn't work out
• 54:51
  Speaker 1: good for you last time. So this time you think...
• 54:54
  Speaker 1: we'd have a direction. At least you'd be like, well
• 54:56
  Speaker 1: now I'm pissed at her and I'm going to go
• 54:58
  Speaker 1: murder this girl. But like he gets there and I'm like,
• 55:00
  Speaker 1: I don't, what is he doing? I don't know. Like
• 55:02
  Speaker 1: he just killing all of her friends again. Yeah.
• 55:05
  Speaker 2: And it doesn't like the specifics of even that doesn't
• 55:09
  Speaker 2: make any sense with like, what is your murder plan?
• 55:12
  Speaker 2: Because he's like following her around and he follows her
• 55:16
  Speaker 2: to the like rock show and he's murdering her friends there.
• 55:20
  Speaker 2: But then like, okay, if you're there to kill her,
• 55:22
  Speaker 2: she's right there.
• 55:22
  Speaker 1: Go kill her. but no, then he leaves to go back.
• 55:26
  Speaker 2: To her house and kill her other friend that he
• 55:29
  Speaker 2: forgot to kill last time, because he's really bad at
• 55:31
  Speaker 2: killing this girl.
• 55:33
  Speaker 1: I love how picaresque this film is, don't you? I mean,
• 55:35
  Speaker 1: it is. It really is. There's beautiful moments in this.
• 55:41
  Speaker 1: There are such great shots. So like I said, he
• 55:45
  Speaker 1: can shoot a scene. He can find a visual and
• 55:49
  Speaker 1: really go with it. And I like that. And again, I.
• 55:52
  Speaker 2: Wish he could deliver that in a movie that worked better,
• 55:56
  Speaker 2: but we don't get that.
• 55:57
  Speaker 1: So instead we just get him like randomly murdering people
• 56:01
  Speaker 1: and like, you skipping around with the person he's supposed
• 56:05
  Speaker 1: to be following to go to the other place that
• 56:07
  Speaker 1: she wasn't at.
• 56:08
  Speaker 2: And as far as we know, she wasn't going home
• 56:10
  Speaker 2: anytime soon. So why did you leave the place she
• 56:12
  Speaker 2: was at if you're following her to go back to
• 56:15
  Speaker 2: the other place just to murder Annie?
• 56:17
  Speaker 1: I don't, I don't know. I don't understand it. And
• 56:19
  Speaker 1: what's the implication with the murder of Annie Brackett? Because
• 56:22
  Speaker 1: I feel like there's some implication there, right? He's really
• 56:25
  Speaker 1: bad at it, is my takeaway. Because he's really bad
• 56:27
  Speaker 1: at the implication or he's really bad at murder? He's
• 56:30
  Speaker 1: really bad at murdering her in particular.
• 56:32
  Speaker 2: Because, and again, real world answer is because we like
• 56:35
  Speaker 2: Danielle and we want her to have more scenes.
• 56:37
  Speaker 1: We want to see her. Because I was like, everybody
• 56:40
  Speaker 1: else in this, like he just... which cracks their neck,
• 56:43
  Speaker 1: stabs them 17 times. Like he is so effective at
• 56:46
  Speaker 1: just taking people out immediately. Like the beast that he is.
• 56:51
  Speaker 1: But every time it comes to Annie, it goes on
• 56:53
  Speaker 1: for a really long time and he never.
• 56:55
  Speaker 2: Finishes the job so we can have a final death
• 56:58
  Speaker 2: scene for Danielle.
• 56:59
  Speaker 1: And I'm like, again, we as the audience are like,
• 57:02
  Speaker 1: we like Danielle. Yes, more scenes. But I'm like, it
• 57:05
  Speaker 1: doesn't make sense with the rest of what he does.
• 57:07
  Speaker 1: Like it's not, it's not what happens in every other
• 57:10
  Speaker 1: murder in this movie. So why, other than real world answers,
• 57:14
  Speaker 1: does he just suck at murdering Annie? Well, I, with
• 57:18
  Speaker 1: that scene where it's like Sherry Moon Zombie's like, now
• 57:20
  Speaker 1: go have some fun. I was like, is he like
• 57:22
  Speaker 1: torturing her? Like, is he like, I don't know. Like, again,
• 57:26
  Speaker 1: like Rob Zombie, I think it leaves enough wiggle room
• 57:29
  Speaker 1: to have that question. But it's like, to what end though?
• 57:32
  Speaker 1: Like it doesn't, it doesn't show up on the screen.
• 57:35
  Speaker 1: It doesn't present itself on the screen in an interesting way.
• 57:38
  Speaker 1: So that's why I'm like, who fucking cares? And we
• 57:41
  Speaker 1: don't want to genuinely like, it makes no sense. Like you,
• 57:44
  Speaker 1: if you're not going to do anything with it, don't
• 57:46
  Speaker 1: make the implication that something worse than what her already
• 57:49
  Speaker 1: happened to her happens here. Because like she literally exists
• 57:52
  Speaker 1: in the movie. to be murdered a second time. To
• 57:55
  Speaker 1: be tortured the entire lead up to this. Like, her
• 57:59
  Speaker 1: life sucks now because of Michael. Her life is awful. Like,
• 58:03
  Speaker 1: worse than it was before.
• 58:05
  Speaker 2: And then, like, once again, she just gets the same
• 58:08
  Speaker 2: scene again. Equally as bad, only now we've opened up
• 58:11
  Speaker 2: the door that maybe something.
• 58:14
  Speaker 1: I don't know. I, I didn't really think that. And
• 58:16
  Speaker 1: now I'm hoping that wasn't what they were hinting. That's
• 58:19
  Speaker 1: kind of what it's fucking seemed like is like, but
• 58:21
  Speaker 1: he like raped her or something. I even have a
• 58:25
  Speaker 1: problem saying that out loud, but I don't want that
• 58:27
  Speaker 1: to be the case. Not cause I'm like invested in
• 58:29
  Speaker 1: this movie, but it's like, what kind of low hanging
• 58:32
  Speaker 1: fucking fruit is that? Well, and we don't want that
• 58:35
  Speaker 1: for these movies.
• 58:36
  Speaker 2: Like that's, that's not to be that horror fan, but
• 58:39
  Speaker 2: I'm like, that's not what Michael Myers is. like no
• 58:42
  Speaker 2: there are plenty of god awful human beings on this
• 58:45
  Speaker 2: planet that are that but that's not what michael myers
• 58:48
  Speaker 2: is that's not even what he represents when he's the
• 58:50
  Speaker 2: bookie man like it's it's very different and a very
• 58:54
  Speaker 2: different form of evil to go down that road and
• 58:57
  Speaker 2: we even worked it into the director's cut on the
• 58:59
  Speaker 2: last movie and like that was horrible but at least
• 59:01
  Speaker 2: it was some other god awful characters it wasn't michael
• 59:05
  Speaker 2: so i definitely like as much as like murdering people
• 59:08
  Speaker 2: is not okay I don't want it to go even
• 59:10
  Speaker 2: worse in my mind that's worse is to take it
• 59:14
  Speaker 2: there and then kill off her and everybody else as
• 59:17
  Speaker 2: well so that yeah i really didn't go down that
• 59:20
  Speaker 2: road but maybe because i just didn't want to from
• 59:22
  Speaker 2: the get-go.
• 59:22
  Speaker 1: Well and i'm not saying i want to by any
• 59:24
  Speaker 1: stretch of the imagination it's just insanity to me that
• 59:28
  Speaker 1: that is something that is even hinted at in this
• 59:31
  Speaker 1: movie when it's like don't go there like you've not
• 59:33
  Speaker 1: you've not done anything to warrant going there a and
• 59:36
  Speaker 1: b like if she's in the movie to just be
• 59:39
  Speaker 1: tortured i'm i'm I don't know. That's a different movie. Yeah,
• 59:43
  Speaker 1: that's not Halloween. There's plenty of movies like that. Eli
• 59:46
  Speaker 1: Roth film. Yeah. Which again, we talked about Eli Roth
• 59:49
  Speaker 1: in the last episode. Let's unpack that here. I have
• 59:53
  Speaker 1: similar issues with Rob Zombie that I do with Eli Roth.
• 59:56
  Speaker 1: Where it's like, you know what? I appreciate that you
• 59:58
  Speaker 1: think you're a great filmmaker and I'm not saying you're not,
• 1:00:00
  Speaker 1: but all of the decisions you make are not the
• 1:00:02
  Speaker 1: right ones. And you do not view it that way.
• 1:00:05
  Speaker 1: You will view every decision you made as the right one,
• 1:00:08
  Speaker 1: no matter how unsuccessful broadly the things you're doing are.
• 1:00:12
  Speaker 1: And that is the sign of someone who is overly
• 1:00:14
  Speaker 1: confident and confidently incorrect.
• 1:00:17
  Speaker 2: And doesn't really even know what the audience is looking for.
• 1:00:20
  Speaker 2: Like they're going to bring their vision and doesn't really
• 1:00:24
  Speaker 2: care what the audience wants, which again, I guess in
• 1:00:26
  Speaker 2: theory is what the artist is supposed to do.
• 1:00:29
  Speaker 1: I think I even said that last time, but. you
• 1:00:31
  Speaker 1: gotta at least know what you're creating and like what
• 1:00:35
  Speaker 1: audience you're going for. Like, again, it's certainly not going
• 1:00:38
  Speaker 1: to be for everybody. Definitely when you're making a horror.
• 1:00:41
  Speaker 2: Movie, but you gotta at least know what it is
• 1:00:44
  Speaker 2: that you're putting together and who you're trying to please.
• 1:00:46
  Speaker 2: At least you would hope somebody in the audience is happy.
• 1:00:49
  Speaker 2: And like with, with these type of things, I sometimes,
• 1:00:52
  Speaker 2: I don't know.
• 1:00:53
  Speaker 1: Like, is anybody happy with this movie? Like a hundred percent.
• 1:00:56
  Speaker 1: Like there are people that like it more than others.
• 1:00:58
  Speaker 2: I like it more than the last one, but, I'm
• 1:01:00
  Speaker 2: still not happy as a film goer, really. I think
• 1:01:04
  Speaker 2: there's way too many problems for me to be okay
• 1:01:06
  Speaker 2: with it as a movie.
• 1:01:08
  Speaker 1: Well, and I'm with you there. It's weird to me
• 1:01:11
  Speaker 1: that this film, you know, it took two years to
• 1:01:13
  Speaker 1: come out. Rob Zombie didn't want to make it. He
• 1:01:16
  Speaker 1: didn't have any interest in making it. They actively tried
• 1:01:19
  Speaker 1: to replace him and they couldn't. So he ended up
• 1:01:21
  Speaker 1: coming back and doing it. I don't think that there
• 1:01:25
  Speaker 1: are lots of fans of the first movie that are
• 1:01:27
  Speaker 1: fans of this movie. And I would understand why. I
• 1:01:31
  Speaker 1: think that I am more of a fan of this
• 1:01:33
  Speaker 1: movie than the last movie in a lot of ways
• 1:01:35
  Speaker 1: because of the weird... This movie is an interesting failure,
• 1:01:40
  Speaker 1: but it is still a failure nonetheless. And the last
• 1:01:44
  Speaker 1: movie is not a failure. The last movie, I didn't
• 1:01:46
  Speaker 1: vibe with it, but it's a pretty good movie. It
• 1:01:50
  Speaker 1: tells a story from beginning to end. Maybe there's not
• 1:01:53
  Speaker 1: an arc for every character, but we get enough, I think,
• 1:01:57
  Speaker 1: in that last movie to justify and warrant it being
• 1:02:01
  Speaker 1: what it was. This movie is just like, what was
• 1:02:04
  Speaker 1: the point? I'm not sure. And that's me, as someone
• 1:02:07
  Speaker 1: who's like, somewhat enjoys this movie. Like, even I am
• 1:02:10
  Speaker 1: just like, I mean, if you want to just exist
• 1:02:12
  Speaker 1: to be kind of a nasty movie, okay, fine. But again,
• 1:02:16
  Speaker 1: there's a place for those.
• 1:02:18
  Speaker 2: I don't know why you would cram one of those
• 1:02:20
  Speaker 2: in the middle of the Halloween franchise other than you
• 1:02:23
  Speaker 2: were in the middle of making the Halloween movies. But
• 1:02:26
  Speaker 2: I'm just like, that's just such a different style and
• 1:02:29
  Speaker 2: a different story. And like, it just is weird to
• 1:02:33
  Speaker 2: try to cram parts of it, not even across the board.
• 1:02:36
  Speaker 1: If you just 100% went there, but like you're still...
• 1:02:39
  Speaker 1: So tied to the Halloween string that runs through the
• 1:02:42
  Speaker 1: whole thing that like you can't even do that right.
• 1:02:45
  Speaker 1: So now you're just screwing up your over the top
• 1:02:47
  Speaker 1: horror movie with all this Halloween nonsense. So again, it's
• 1:02:52
  Speaker 1: just weird to try to cram these two ideas together.
• 1:02:55
  Speaker 1: It does have a Devil's Rejects, Three from Hell feel
• 1:03:00
  Speaker 1: to it, but it never gets to that point consistently.
• 1:03:05
  Speaker 1: If you're going to hint at it and tease it
• 1:03:07
  Speaker 1: and show that you know you can do it with
• 1:03:09
  Speaker 1: this franchise, why not just go full bore? Why not
• 1:03:12
  Speaker 1: just do it? I don't know. Again, I feel like
• 1:03:16
  Speaker 1: either go ahead and lean into the Halloween of it
• 1:03:19
  Speaker 1: all and just make a more.
• 1:03:21
  Speaker 2: Again, doesn't he have to be a standard Halloween movie,
• 1:03:24
  Speaker 2: but at least one that follows a through line that
• 1:03:27
  Speaker 2: is Halloween, that makes sense as a Halloween movie, and
• 1:03:30
  Speaker 2: that ends up at the place you need it to
• 1:03:33
  Speaker 2: because it's a Halloween movie and you're tied to these
• 1:03:35
  Speaker 2: characters in this overall story that's been going on for
• 1:03:39
  Speaker 2: decades now. Or just tell them, hey, I don't want
• 1:03:42
  Speaker 2: to do two. I'll come back and finish out my
• 1:03:44
  Speaker 2: deal and make two weird one off movies about a
• 1:03:47
  Speaker 2: guy wandering the woods or whatever other weird, more expensive.
• 1:03:51
  Speaker 1: Experimental movie I want to make.
• 1:03:53
  Speaker 2: You know, it's like I feel like just go one
• 1:03:55
  Speaker 2: direction or the other and give us a more finalized,
• 1:03:59
  Speaker 2: a more complete vision of whatever it is you're trying
• 1:04:02
  Speaker 2: to do.
• 1:04:03
  Speaker 1: Than where we land in the middle. And, and I'm
• 1:04:06
  Speaker 1: with you. Like I, I kind of just am thinking
• 1:04:09
  Speaker 1: to myself here, like the worst part about this movie
• 1:04:11
  Speaker 1: is that it's a Halloween. Yep. And that's, it's such
• 1:04:14
  Speaker 1: a shame because I'm not going to say like, Oh,
• 1:04:17
  Speaker 1: I love the last Jedi. But the worst part about
• 1:04:19
  Speaker 1: last Jedi is that it's a star Wars. Like, you know,
• 1:04:22
  Speaker 1: if it were, if it were a movie of some
• 1:04:24
  Speaker 1: other kind of franchise, uh, but still sci-fi, it might
• 1:04:28
  Speaker 1: actually have been something that people resonated. Maybe not. I
• 1:04:31
  Speaker 1: don't know. But it being Star Wars, I think it
• 1:04:37
  Speaker 1: put it in a weird spot where people, you just
• 1:04:39
  Speaker 1: have an expectation and you're always going to be fighting
• 1:04:42
  Speaker 1: that expectation, no matter how hard you try. No matter
• 1:04:45
  Speaker 1: what you do, you're always going to be fighting the
• 1:04:47
  Speaker 1: expectation that someone else has based on the name, the
• 1:04:51
  Speaker 1: curb appeal alone. And is that fair? No. Is that
• 1:04:54
  Speaker 1: the reality? Yeah, it is. Well, that in the same
• 1:04:58
  Speaker 1: sense is the worst part of that situation for Last
• 1:05:02
  Speaker 1: Jedi was not so much... it as a movie.
• 1:05:05
  Speaker 2: Cause I feel like it as its own standalone movie
• 1:05:07
  Speaker 2: is successful in what it's trying to do. It's that
• 1:05:10
  Speaker 2: it's tied to the first movie. Like if it wasn't
• 1:05:13
  Speaker 2: part of this other trilogy, if they, what they originally.
• 1:05:16
  Speaker 1: Said was like the OG OG trilogy. Yeah.
• 1:05:19
  Speaker 2: Or, or even the first one, even the JJ movie,
• 1:05:22
  Speaker 2: like it already is like cutting ties with everything JJ
• 1:05:25
  Speaker 2: was doing in that first movie and doing its own
• 1:05:27
  Speaker 2: thing in this movie. So like, If if you just
• 1:05:30
  Speaker 2: separated because originally that's what they.
• 1:05:32
  Speaker 1: Wanted to do was give him his own trilogy. So
• 1:05:34
  Speaker 1: I'm like, if you gave this director his.
• 1:05:36
  Speaker 2: Own trilogy, let him do his own thing and not
• 1:05:39
  Speaker 2: have to be tied to what was already set up
• 1:05:42
  Speaker 2: in JJ's movie.
• 1:05:43
  Speaker 1: And where we're. inevitably going in the third movie.
• 1:05:46
  Speaker 2: Like if you just let him do his thing and
• 1:05:48
  Speaker 2: a lot of those same beats were in his separate thing. Sure,
• 1:05:52
  Speaker 2: Star Wars fans would still complain, but that's because they're
• 1:05:55
  Speaker 2: always going to complain. But I think it would be
• 1:05:56
  Speaker 2: way more successful than trying to jam it in the
• 1:05:59
  Speaker 2: middle of a JJ movie, a George Lucas theme running
• 1:06:02
  Speaker 2: through all three, like just disconnect from all of that stuff.
• 1:06:06
  Speaker 2: And that movie, I think, would hold up way better
• 1:06:09
  Speaker 2: by itself or part of.
• 1:06:10
  Speaker 1: Its own separate trilogy.
• 1:06:11
  Speaker 2: Now that we've spun off into Star Wars, which I
• 1:06:14
  Speaker 2: am assuming happens all the time. It certainly does on
• 1:06:16
  Speaker 2: my show, so I'm guessing it.
• 1:06:18
  Speaker 1: Does on yours as well. Well, it's just, it's hard
• 1:06:21
  Speaker 1: to not talk about this in the landscape of all
• 1:06:25
  Speaker 1: these other films that have come out since, because shit, dude,
• 1:06:28
  Speaker 1: this is 2009 this is coming out. This is still
• 1:06:31
  Speaker 1: a couple of years removed from Disney buying Star Wars
• 1:06:34
  Speaker 1: to begin with. Like this isn't a pre Disney owning. Well,
• 1:06:38
  Speaker 1: the last movie Halloween came out in 2007, a year
• 1:06:41
  Speaker 1: before Iron Man even came out. This film came out
• 1:06:44
  Speaker 1: a year after Iron Man. Yeah.
• 1:06:45
  Speaker 2: Well, and that, that is the overall thing we end
• 1:06:48
  Speaker 2: up talking about just as audience members is like, The
• 1:06:51
  Speaker 2: franchises and like the franchise in quotes becomes bigger than
• 1:06:56
  Speaker 2: any individual movie. And that sometimes is the problem.
• 1:06:59
  Speaker 1: And by sometimes, I mean kind of a lot of
• 1:07:01
  Speaker 1: the time.
• 1:07:02
  Speaker 2: Because you're so busy worrying about the franchise that you're
• 1:07:06
  Speaker 2: dropping the ball in specific places on the individual movie
• 1:07:09
  Speaker 2: you're supposed.
• 1:07:10
  Speaker 1: To be making. And I don't really understand, I guess,
• 1:07:15
  Speaker 1: in this day and age, like, I feel like, yes,
• 1:07:17
  Speaker 1: I understand why you give someone a franchise to make
• 1:07:20
  Speaker 1: their own movie. But what I don't understand is why
• 1:07:22
  Speaker 1: do you assume that giving someone a franchise is just
• 1:07:24
  Speaker 1: going to make their film successful? Or why do you
• 1:07:26
  Speaker 1: take they keep or they kept doing that in the
• 1:07:29
  Speaker 1: Marvel world was finding these like up and coming filmmakers
• 1:07:32
  Speaker 1: and be like, yeah, you're cool. You've got talent. We
• 1:07:34
  Speaker 1: want to bring you in on this.
• 1:07:35
  Speaker 2: And then not letting them do everything that they did
• 1:07:38
  Speaker 2: on their movies that led them to that point. They're like,
• 1:07:40
  Speaker 2: but now we want you to do exactly what we
• 1:07:42
  Speaker 2: tell you to do.
• 1:07:43
  Speaker 1: Like, then why hire? Why not just find some random
• 1:07:45
  Speaker 1: person off the street?
• 1:07:46
  Speaker 2: Like, why hire legitimately talented filmmakers and then tie their
• 1:07:50
  Speaker 2: hands to the point that they can't do anything they
• 1:07:52
  Speaker 2: want to do? And then just make what you want
• 1:07:54
  Speaker 2: to make anyway. If you want to do it, just
• 1:07:55
  Speaker 2: make what you want to make anyway. And don't bother
• 1:07:57
  Speaker 2: bringing in these up and coming filmmakers that, I don't know,
• 1:08:01
  Speaker 2: I guess at least they get to cash a paycheck.
• 1:08:03
  Speaker 2: But half the time they put such a bad attachment
• 1:08:06
  Speaker 2: to their name after that, that it hurts their career
• 1:08:09
  Speaker 2: as much as they got some money out of it.
• 1:08:11
  Speaker 1: Look at Chloe Zhao. I mean, yeah. I mean, she's
• 1:08:13
  Speaker 1: still trying to recover from that. Which, by the way, Eternals,
• 1:08:16
  Speaker 1: not that bad of a movie. Like, not any worse
• 1:08:19
  Speaker 1: than some of those other Marvel movies that came out afterwards,
• 1:08:23
  Speaker 1: like that third Spider-Man movie, or that second Ant-Man movie,
• 1:08:28
  Speaker 1: or that second Doctor Strange movie. And yet, you know,
• 1:08:32
  Speaker 1: the Eternals is like some sort of, you know, again,
• 1:08:34
  Speaker 1: like some sort of like, you've been blacklisted out of
• 1:08:36
  Speaker 1: the industry now. And I was like, what? I like
• 1:08:38
  Speaker 1: several of those you mentioned, so... I said I do
• 1:08:41
  Speaker 1: or don't like them, it's just they're all over the
• 1:08:43
  Speaker 1: place in terms of quality. They're definitely inconsistent, and even
• 1:08:48
  Speaker 1: within their own stories, because then jump to the third
• 1:08:50
  Speaker 1: Ant-Man movie, and you're like, wait, what are we doing now?
• 1:08:53
  Speaker 1: Or wait, no, excuse me, I like the second Ant-Man movie,
• 1:08:57
  Speaker 1: the third Ant-Man movie is the third one yeah it's
• 1:09:01
  Speaker 1: uh it's fucking cgi-o-matic or whatever the hell that movie's
• 1:09:05
  Speaker 1: like title should have been like it's god it's got
• 1:09:08
  Speaker 1: its moments it's trying but like it is a mess
• 1:09:11
  Speaker 1: really so Yeah, and that's the thing. It's like so
• 1:09:14
  Speaker 1: many of these movies are messes for different reasons. This
• 1:09:18
  Speaker 1: movie is a mess, I think, for the oldest reason available,
• 1:09:21
  Speaker 1: which is I don't really want to make this movie,
• 1:09:24
  Speaker 1: but I'm going to make the movie I want to
• 1:09:26
  Speaker 1: make and try to make it fit into this box,
• 1:09:29
  Speaker 1: which is like, it's not anything. Like that in and
• 1:09:31
  Speaker 1: of itself. That's been going on since the dawn of Hollywood. Right.
• 1:09:34
  Speaker 1: It's like, I want to make this movie. You want
• 1:09:36
  Speaker 1: me to make that movie. Where can I get those
• 1:09:39
  Speaker 1: two things to overlap? And like, I think Rob Zombie,
• 1:09:42
  Speaker 1: Rob Zombie did a better job than most people would
• 1:09:45
  Speaker 1: have in this situation. I mean, again, to go back
• 1:09:47
  Speaker 1: to the Star Wars of it all, like I think
• 1:09:49
  Speaker 1: he did a better job than J.J. Abrams did. Not J.J.,
• 1:09:52
  Speaker 1: I guess Rian Johnson did with that second movie. And
• 1:09:54
  Speaker 1: I think he did a better job than J.J. did
• 1:09:56
  Speaker 1: with that third movie in terms of course correcting out
• 1:09:59
  Speaker 1: of a course correct.
• 1:10:01
  Speaker 2: I was just nothing but course correcting in JJ's mind.
• 1:10:05
  Speaker 1: It is. It's a mess. It's all it's. And that's
• 1:10:08
  Speaker 1: the thing. Like this movie in and of itself is
• 1:10:10
  Speaker 1: a mess, but I don't think it's as much of
• 1:10:12
  Speaker 1: a mess.
• 1:10:13
  Speaker 2: It's a different mess. It's a mess that isn't trying
• 1:10:17
  Speaker 2: to do that stuff. It's just a mess because Rob
• 1:10:19
  Speaker 2: was like, I just want to do this.
• 1:10:20
  Speaker 1: Who cares?
• 1:10:21
  Speaker 2: Like I'll come back to that Michael Myers thing later,
• 1:10:25
  Speaker 2: but right now I want to make this scene.
• 1:10:26
  Speaker 1: Like, Oh, okay. I mean, you can. You're the director,
• 1:10:30
  Speaker 1: but this isn't going to hold together at the end
• 1:10:32
  Speaker 1: of everything. But okay, go ahead. So that brings me
• 1:10:35
  Speaker 1: to the thing that I am the most excited to
• 1:10:37
  Speaker 1: talk with you about, because I think it's the thing
• 1:10:39
  Speaker 1: that is the most interesting, one of the most interesting
• 1:10:42
  Speaker 1: things about this movie. All right. The fucking ending. Of
• 1:10:46
  Speaker 1: the director's cut, not the original. I was going to say,
• 1:10:49
  Speaker 1: which one? Because there are at least two variations. So
• 1:10:53
  Speaker 1: the original film's ending, as it were, is she kills
• 1:10:57
  Speaker 1: Michael and then sometime later is in an asylum. In
• 1:11:01
  Speaker 1: the director's cut, which actually makes sense, hilariously, the version
• 1:11:06
  Speaker 1: no one would have seen when this film came out,
• 1:11:08
  Speaker 1: Laurie attempts to kill Dr. Loomis. Which again, that's the
• 1:11:13
  Speaker 1: part I said had happened. Right. And then is shot
• 1:11:16
  Speaker 1: and killed question mark? Well, it's like it ends the
• 1:11:20
  Speaker 1: same way because I thought we've got that scene.
• 1:11:24
  Speaker 2: So it's like he plays both cards. It's like, we've
• 1:11:26
  Speaker 2: got that scene of her getting shot.
• 1:11:28
  Speaker 1: By the police. Like, repeatedly a whole lot, but then
• 1:11:32
  Speaker 1: doesn't it also fade into her in the asylum? It
• 1:11:35
  Speaker 1: cuts to her in the asylum, which doesn't explain what
• 1:11:39
  Speaker 1: does her being, well, yeah, well, A, it doesn't explain anything,
• 1:11:41
  Speaker 1: but B also doesn't explain what does her being in
• 1:11:43
  Speaker 1: the asylum. That she didn't die, I guess, is our
• 1:11:48
  Speaker 1: first thing.
• 1:11:49
  Speaker 2: It's like, oh, that 48 times the cops just shot
• 1:11:51
  Speaker 2: her didn't kill her, much like Michael getting a bullet
• 1:11:54
  Speaker 2: to the brain. So something about those Myers, they don't
• 1:11:57
  Speaker 2: go down easy after the first couple. First couple went
• 1:12:00
  Speaker 2: out pretty easy, but those last two were rough. So,
• 1:12:05
  Speaker 2: I mean, there's that, but then I guess, see, I
• 1:12:07
  Speaker 2: could almost understand if we're trying to come back around
• 1:12:10
  Speaker 2: to almost more like a four ending of like, and
• 1:12:13
  Speaker 2: now the victim becomes the new killer.
• 1:12:16
  Speaker 1: And that's what I thought they were going for. We're
• 1:12:17
  Speaker 1: setting her up for the new Michael Myers. Like, and
• 1:12:20
  Speaker 1: that would be fine, especially since it's tied to her bloodline.
• 1:12:24
  Speaker 1: She should be Michael Myers.
• 1:12:26
  Speaker 2: She's got crazy Myers blood in her, but, we we
• 1:12:29
  Speaker 2: know that's not gonna happen number one because this movie
• 1:12:31
  Speaker 2: didn't do well but also like where are we going
• 1:12:34
  Speaker 2: with that story are we really gonna come back for
• 1:12:36
  Speaker 2: a three in some universe and have her escape from
• 1:12:39
  Speaker 2: the asylum and go out killing people because really that
• 1:12:42
  Speaker 2: sounds like the most interesting thing we've gotten to at
• 1:12:44
  Speaker 2: all in any of these two movies so I guess we.
• 1:12:47
  Speaker 1: Should have gone for that third one I it was
• 1:12:50
  Speaker 1: and that's what I don't understand it's like we have
• 1:12:52
  Speaker 1: so much in this movie that is a interesting idea
• 1:12:55
  Speaker 1: that doesn't go anywhere and And for me, the biggest
• 1:12:58
  Speaker 1: part of this movie that is that is the ending,
• 1:13:01
  Speaker 1: because it seems completely uninterested in telling a take a
• 1:13:06
  Speaker 1: step back. Right. Because I think you would agree like
• 1:13:08
  Speaker 1: this movie is wildly tonally all over. And it is
• 1:13:12
  Speaker 1: not clear to me what the point of this film
• 1:13:17
  Speaker 1: is in terms of the story that it's trying to tell.
• 1:13:20
  Speaker 1: And I think that the ending of the movie really
• 1:13:23
  Speaker 1: cuts to what I'm getting at, because I assume, as
• 1:13:26
  Speaker 1: do you, clearly, that if the ending were what is
• 1:13:30
  Speaker 1: the director's cut, which let's just say that that's the
• 1:13:32
  Speaker 1: original ending, I get where Zombie's going. Maybe it doesn't
• 1:13:36
  Speaker 1: work very well, sure. But I do understand what he's
• 1:13:40
  Speaker 1: going for, right? As I'm sure you do. Like you said,
• 1:13:43
  Speaker 1: it is the Halloween four of it all. Yeah. Which again,
• 1:13:46
  Speaker 1: even they dropped the ball on that immediately. We're just like, no, no, no, no, nevermind.
• 1:13:50
  Speaker 1: Remember what we did at the end of four? Screw that.
• 1:13:52
  Speaker 1: We're doing something else in five. They pulled an alien three.
• 1:13:55
  Speaker 1: They were like, fuck, it doesn't matter. They are. also
• 1:13:58
  Speaker 1: didn't follow through with their own cool ending. So like,
• 1:14:01
  Speaker 1: I guess that's sort of what he was trying to do.
• 1:14:03
  Speaker 1: But like, even in that, we play both cards and
• 1:14:06
  Speaker 1: we're like, but she's dead, but she's also in the asylum.
• 1:14:10
  Speaker 1: You choose.
• 1:14:11
  Speaker 2: So we already have a, which way do you want
• 1:14:14
  Speaker 2: it to go? Or was she always in the asylum
• 1:14:17
  Speaker 2: and this is just all going on in her head
• 1:14:19
  Speaker 2: because now she's on the heroin.
• 1:14:20
  Speaker 1: Oh dear God, don't put that idea in their head, please. Well,
• 1:14:24
  Speaker 1: it's all in her head. Everyone was seeing the white
• 1:14:27
  Speaker 1: horse too. So this was her in the asylum on
• 1:14:30
  Speaker 1: the smack. So, and that's, and that's the thing I
• 1:14:33
  Speaker 1: also really have an issue with is if you're going
• 1:14:35
  Speaker 1: to end this movie with like, well, she's in the
• 1:14:37
  Speaker 1: asylum now. It's like, why? Like, have her be dead.
• 1:14:42
  Speaker 1: If they were going to put her away. What is
• 1:14:43
  Speaker 1: the worst thing about her being dead, really? She shot
• 1:14:45
  Speaker 1: her brother in the head last movie.
• 1:14:47
  Speaker 2: Why didn't she go to an asylum or at least
• 1:14:49
  Speaker 2: go to jail?
• 1:14:50
  Speaker 1: Or like, we were just like, nah, he killed a
• 1:14:52
  Speaker 1: bunch of people. It's fine. That was self-defense. Even though
• 1:14:55
  Speaker 1: we all witnessed you do it and he was.
• 1:14:56
  Speaker 2: Unarmed and you put the gun point blank to his head.
• 1:14:59
  Speaker 2: So that kind of just seems like murder. And clicked
• 1:15:01
  Speaker 2: it a bunch of times on.
• 1:15:02
  Speaker 1: Top of everything else.
• 1:15:03
  Speaker 2: Like, you will pretend like it's self-defense because he murdered
• 1:15:07
  Speaker 2: a bunch of people.
• 1:15:07
  Speaker 1: It's fine. I don't, yeah, I don't, I guess I
• 1:15:10
  Speaker 1: don't get it. Like, at the end of the day,
• 1:15:11
  Speaker 1: when you have a film like this, and a franchise,
• 1:15:14
  Speaker 1: mind you, that's already done something like this with the
• 1:15:17
  Speaker 1: Daniel Harris character. What, in, like you said, Halloween 4. 4, yeah.
• 1:15:22
  Speaker 1: Why not, why, why not do that?
• 1:15:24
  Speaker 2: Why not deliver on that? I mean, that's been the
• 1:15:27
  Speaker 2: threat since 4. So, like, why not, as we're coming
• 1:15:30
  Speaker 2: into this, like I said, like, let's... Let's pass the baton,
• 1:15:33
  Speaker 2: which is what they keep teasing with.
• 1:15:35
  Speaker 1: But like, OK, she murdered her brother at the beginning
• 1:15:38
  Speaker 1: of that movie. Now this entire movie, she's the killer.
• 1:15:42
  Speaker 1: She's insane. Loomis has become a dick. So she's hunting
• 1:15:46
  Speaker 1: him down.
• 1:15:46
  Speaker 2: So she actually has motivation of something to go do
• 1:15:50
  Speaker 2: and murders a bunch of people along the way, I'm sure,
• 1:15:52
  Speaker 2: because it's going to be a slasher. And then in
• 1:15:54
  Speaker 2: the end, like, she's the crazy one and she either
• 1:15:58
  Speaker 2: goes to the asylum or they shoot her in the
• 1:16:00
  Speaker 2: street like they do. So any of that seems like
• 1:16:03
  Speaker 2: it would be a more interesting story and one that
• 1:16:05
  Speaker 2: we haven't seen before. And I don't understand why they
• 1:16:08
  Speaker 2: didn't just do that here. Like, why not just do
• 1:16:11
  Speaker 2: that movie this time? Like, if you, like we've already
• 1:16:14
  Speaker 2: alluded to, if you know, if you're Rob Zombie and
• 1:16:16
  Speaker 2: you know that this is it, why not just do
• 1:16:18
  Speaker 2: that here?
• 1:16:18
  Speaker 1: Why not just do that movie? Why did you feel
• 1:16:21
  Speaker 1: the need to... I don't know. Just make a. 5
• 1:16:26
  Speaker 1: is what this feels like. This doesn't feel like a
• 1:16:29
  Speaker 1: full movie. It feels like a. 5. It feels like
• 1:16:32
  Speaker 1: Halloween one and a half. Once you get into this
• 1:16:36
  Speaker 1: and you start seeing, oh, I could be going there.
• 1:16:39
  Speaker 1: maybe don't back out of your deal and be like, I, you,
• 1:16:42
  Speaker 1: these producers suck and I don't want to be around them.
• 1:16:44
  Speaker 1: But at the same time, I came up with this
• 1:16:46
  Speaker 1: third movie I want to make. So like, why not
• 1:16:49
  Speaker 1: go ahead, do.
• 1:16:49
  Speaker 2: Your weird mountain man 0.5 in the middle here, come
• 1:16:53
  Speaker 2: back and make a part three. That is all Lori,
• 1:16:55
  Speaker 2: like going crazy and murdering people.
• 1:16:57
  Speaker 1: And is at least a new cool thing. That's like,
• 1:17:00
  Speaker 1: Still continuing the Michael Myers story. It's just with a
• 1:17:03
  Speaker 1: new Myers. And I'm like, that's cool. I've I've wanted
• 1:17:07
  Speaker 1: something like that. That's a whole new different take on
• 1:17:09
  Speaker 1: it for years. But like, we never really commit to that.
• 1:17:12
  Speaker 1: The closest we get is the new part three that
• 1:17:15
  Speaker 1: gives it to a new person, but not even a
• 1:17:17
  Speaker 1: person that it'd be.
• 1:17:18
  Speaker 2: Again, it would make more sense if it was old
• 1:17:20
  Speaker 2: lady Laurie, but it's not. It's some random kid that
• 1:17:22
  Speaker 2: we've never met before. So they tried it and did
• 1:17:25
  Speaker 2: it wrong.
• 1:17:26
  Speaker 1: Even there, really. Well, that's I think to your point,
• 1:17:28
  Speaker 1: like it's not it's not like when given the opportunity
• 1:17:31
  Speaker 1: to do this the right way, they really did. And
• 1:17:33
  Speaker 1: it's like this is so many times the Halloween franchise
• 1:17:37
  Speaker 1: has been kind of taken for a ride with what
• 1:17:41
  Speaker 1: the filmmakers are wanting to do, because everybody has a
• 1:17:43
  Speaker 1: different idea as to what Halloween is. But I haven't
• 1:17:46
  Speaker 1: really seen a Halloween movie other than the first one.
• 1:17:49
  Speaker 1: That is something truly like interesting and exciting. And the
• 1:17:52
  Speaker 1: first one's not interesting and exciting. The first one was
• 1:17:55
  Speaker 1: just novel. At the time, that's it. We hadn't seen
• 1:17:59
  Speaker 1: that before. But it's like, sorry, that's not, it's not
• 1:18:03
  Speaker 1: exciting anymore. It's not. And like, that's what makes it
• 1:18:07
  Speaker 1: a classic is that it's a classic. You watch it
• 1:18:09
  Speaker 1: because you've seen it a million times. It's fun to
• 1:18:12
  Speaker 1: watch it. It's like, you know, it's like eating your
• 1:18:15
  Speaker 1: favorite meal. Like it's, you're not eating it because you've
• 1:18:18
  Speaker 1: never had it before. You're eating it because it elicits
• 1:18:21
  Speaker 1: something within you that's comforting. Watching the original Halloween was,
• 1:18:24
  Speaker 1: for a lot of people is something that is a
• 1:18:26
  Speaker 1: tradition at Halloween time. And for myself included, these movies
• 1:18:30
  Speaker 1: are not part of that. And it's because these movies
• 1:18:32
  Speaker 1: aren't trying to do that. Like Rob Zombie saw those
• 1:18:34
  Speaker 1: original Halloween movies and went, I want to make my
• 1:18:36
  Speaker 1: own thing that is suited to my taste. But he
• 1:18:39
  Speaker 1: didn't go all the way because I've seen what the
• 1:18:41
  Speaker 1: movies that he wants to do that are suited to
• 1:18:43
  Speaker 1: his tastes are. And they are not a mess, too. Right. Well,
• 1:18:48
  Speaker 1: they are a mess, but they don't at least pull anything.
• 1:18:50
  Speaker 1: yeah and they and they follow through with whatever weird
• 1:18:53
  Speaker 1: story he's trying to tell which this seems like it
• 1:18:55
  Speaker 1: just keeps starting and stopping and changing directions and like
• 1:18:58
  Speaker 1: oh yeah I'm supposed to be doing this too like
• 1:19:00
  Speaker 1: so The other ones, at least he follows through like
• 1:19:03
  Speaker 1: you're watching the devil's rejects. That's the story he wanted
• 1:19:06
  Speaker 1: to tell from the beginning to the end. And it is,
• 1:19:08
  Speaker 1: in fact, the devil's rejects. And it is there is
• 1:19:11
  Speaker 1: no confusing it for something else. This movie fails at
• 1:19:16
  Speaker 1: being a Halloween movie, first and foremost, which for me
• 1:19:19
  Speaker 1: is fine. Like, I don't really care. I think we've
• 1:19:21
  Speaker 1: talked about this maybe a little bit on the last episode.
• 1:19:24
  Speaker 1: I feel like it bears repeating here. I'm not a
• 1:19:26
  Speaker 1: super big Halloween fan as it is. I don't really
• 1:19:29
  Speaker 1: care about the franchise. Like, it's not the one that
• 1:19:31
  Speaker 1: I resonate with. That's Nightmare on Elm Street. And even then,
• 1:19:35
  Speaker 1: I'm not going to sit here and be like, well,
• 1:19:36
  Speaker 1: that's not the way that Freddy Krueger was. It's like,
• 1:19:39
  Speaker 1: shut up, dude. I am going to tell myself to
• 1:19:41
  Speaker 1: shut up. Like, it just... If that's not the way
• 1:19:43
  Speaker 1: he was, if that's not the way he is in
• 1:19:45
  Speaker 1: other movies, but that's the way he is in this movie,
• 1:19:48
  Speaker 1: as long as it's not a sequel to something else,
• 1:19:50
  Speaker 1: and even then, if it is a sequel, it doesn't
• 1:19:52
  Speaker 1: really fucking matter. Like, this movie is allowed to do
• 1:19:56
  Speaker 1: its own thing. It can be problematic for doing its
• 1:19:59
  Speaker 1: own thing and be tonally inconsistent and at odds with
• 1:20:02
  Speaker 1: the other films. But that doesn't automatically discount it because
• 1:20:05
  Speaker 1: it's doing something different, which is the part that always
• 1:20:07
  Speaker 1: irked me about Last Jedi. It's like, well, it's different
• 1:20:10
  Speaker 1: and I don't like it. It's like, well, that's not
• 1:20:12
  Speaker 1: a reason to not like something other than you just
• 1:20:15
  Speaker 1: not like it. But that's subjective. Like, objectively, Last Jedi
• 1:20:20
  Speaker 1: has problems that are nothing to do with you not
• 1:20:22
  Speaker 1: liking it. And same with this movie. This movie has
• 1:20:24
  Speaker 1: problems that have nothing to do with it being a
• 1:20:28
  Speaker 1: Halloween movie.
• 1:20:29
  Speaker 2: We don't even have to leave the franchise. We actually
• 1:20:31
  Speaker 2: have the perfect example. Halloween 3. It is 100% its
• 1:20:35
  Speaker 2: own thing, and yet it works as its own story.
• 1:20:39
  Speaker 1: It is batshit crazy. But more crazy than anything else
• 1:20:43
  Speaker 1: they do in this franchise at any other point, frankly.
• 1:20:46
  Speaker 2: If you're okay with that level of crazy in your movie,
• 1:20:49
  Speaker 2: which over the years, it's found a huge cult following.
• 1:20:52
  Speaker 2: People love it now. But as long as you're signed
• 1:20:55
  Speaker 2: on for that level of weird that it is, Like
• 1:20:58
  Speaker 2: it is solid.
• 1:21:00
  Speaker 1: It tells its story.
• 1:21:01
  Speaker 2: It even has a great ending to cap it off.
• 1:21:03
  Speaker 2: So I'm like, that is the perfect way to do.
• 1:21:06
  Speaker 1: Hey, guess what?
• 1:21:07
  Speaker 2: This isn't anything like these movies you're used to, but
• 1:21:10
  Speaker 2: it works as its own movie. And if we got
• 1:21:12
  Speaker 2: any of these other ones that did that, because I
• 1:21:15
  Speaker 2: was trying to think, I was like, is there any
• 1:21:16
  Speaker 2: that works solid as its own thing? Four is pretty good,
• 1:21:19
  Speaker 2: but again, it's so tied to the overall mythology. But three,
• 1:21:23
  Speaker 2: being not at all tied to the mythology, still works
• 1:21:27
  Speaker 2: as its own Halloween themed, once again, around the holiday,
• 1:21:31
  Speaker 2: not around the character, not around the ongoing saga. But
• 1:21:35
  Speaker 2: it still works as a movie by itself and tells
• 1:21:38
  Speaker 2: a cool story and a weird-ass story that does not
• 1:21:41
  Speaker 2: conform to what you would expect out of a normal
• 1:21:44
  Speaker 2: little movie, especially not in a slasher franchise, because it's
• 1:21:47
  Speaker 2: not even a slasher.
• 1:21:48
  Speaker 1: And I would even go as far as to say,
• 1:21:50
  Speaker 1: if you want to watch a good Rob Zombie slasher film,
• 1:21:53
  Speaker 1: go watch Devil's Rejects. I like House of a Thousand Gorges.
• 1:21:57
  Speaker 2: Again, it's not original, but it's more... I feel like
• 1:22:02
  Speaker 2: it's more of him totally following through with something he
• 1:22:06
  Speaker 2: wants to do.
• 1:22:07
  Speaker 1: Again, it's stealing from a bunch of other movies, one
• 1:22:10
  Speaker 1: in particular, but... It's super like committed to what he
• 1:22:14
  Speaker 1: is trying to tell. And he does create his own
• 1:22:18
  Speaker 1: characters along the way. And he sees those characters through
• 1:22:22
  Speaker 1: and they seem like their own real characters. By the
• 1:22:24
  Speaker 1: end of the movie, it doesn't change and force itself
• 1:22:27
  Speaker 1: to do something else. Like it finishes out that story
• 1:22:30
  Speaker 1: the way that he wanted it to. So again, I
• 1:22:32
  Speaker 1: stand by the first one is like maybe one of
• 1:22:35
  Speaker 1: his best things he's ever done. The original Halloween or
• 1:22:38
  Speaker 1: the original Rob Zombie, the original Halloween. No, the House
• 1:22:41
  Speaker 1: of a Thousand Corpses. Oh, yeah. No, I agree. I
• 1:22:43
  Speaker 1: think that it's probably his best movie. Yeah. Again, I
• 1:22:46
  Speaker 1: think visually it has a ton of really interesting stuff
• 1:22:49
  Speaker 1: in it. And that story just does his own weird thing.
• 1:22:53
  Speaker 2: It's a bastardized overall outline very heavily. But once you
• 1:22:58
  Speaker 2: get in there, it totally does its own thing and
• 1:23:01
  Speaker 2: follows its characters. And I'm like, if he did more
• 1:23:03
  Speaker 2: of that, I think he would be more successful. He
• 1:23:05
  Speaker 2: keeps taking these weird roads along the way. And like,
• 1:23:09
  Speaker 2: it doesn't seem like it follows through the way that
• 1:23:11
  Speaker 2: even that way.
• 1:23:12
  Speaker 1: No, I agree. I think, you know, it's it's hard
• 1:23:14
  Speaker 1: to it's hard to be successful in this. And it's
• 1:23:17
  Speaker 1: even harder to make a film that people resonate with.
• 1:23:19
  Speaker 1: But Rob Zombie's, I think, to your point, his first
• 1:23:21
  Speaker 1: film really is, I think, what people wanted from Rob
• 1:23:25
  Speaker 1: Zombie in terms of his kind of stylings. And he
• 1:23:28
  Speaker 1: has never really gone back to he I mean, it's
• 1:23:30
  Speaker 1: similar on The Devil's Rejects.
• 1:23:32
  Speaker 2: But again, I think it just turns everything up worse.
• 1:23:35
  Speaker 2: Like it all just gets overly gratuitous even more than
• 1:23:38
  Speaker 2: the first movie. All of a sudden these people are
• 1:23:39
  Speaker 2: out in the real world and it's like, I never
• 1:23:41
  Speaker 2: really wanted to see what them interacting with the real
• 1:23:43
  Speaker 2: world would look like.
• 1:23:44
  Speaker 1: And their characters seem to, I guess they progress, but
• 1:23:47
  Speaker 1: they just seem like they drastically change from the first
• 1:23:50
  Speaker 1: movie and they become more annoying.
• 1:23:52
  Speaker 2: She specifically does. But even like, I love Sid Haig
• 1:23:55
  Speaker 2: to death, but he still spent so much of that
• 1:23:57
  Speaker 2: time like bickering with them or like, it's just weird
• 1:24:00
  Speaker 2: dynamic between the three of them. And we spend the
• 1:24:03
  Speaker 2: whole movie with the three of them. So like it's
• 1:24:05
  Speaker 2: a weird dynamic that I don't feel like was a
• 1:24:08
  Speaker 2: problem in the first movie. So I think at least
• 1:24:10
  Speaker 2: it follows through and is still a solid him telling
• 1:24:13
  Speaker 2: his story with his characters. It's more it's more well
• 1:24:16
  Speaker 2: rounded from that angle.
• 1:24:17
  Speaker 1: But again, I don't enjoy it as much as the
• 1:24:20
  Speaker 1: first movie. No, I for as much as I'm not
• 1:24:23
  Speaker 1: a Rob Zombie fan, the House of a Thousand Corpses
• 1:24:25
  Speaker 1: is probably the only movie of his that I would
• 1:24:27
  Speaker 1: be like, that's the one that's the important. If you're
• 1:24:30
  Speaker 1: only going to watch one Rob Zombie movie, that's the one,
• 1:24:32
  Speaker 1: you know.
• 1:24:33
  Speaker 2: To what end, I guess, is always my response. Like,
• 1:24:36
  Speaker 2: I wondered if it was like I remember the first
• 1:24:38
  Speaker 2: time that like, is this just a weird one off thing? Like,
• 1:24:41
  Speaker 2: we know he's a horror fan based on all of
• 1:24:43
  Speaker 2: his references. But I'm like, when it was just the
• 1:24:46
  Speaker 2: one movie that he did, I was like, is this
• 1:24:47
  Speaker 2: just the cool side project he wanted to do? And
• 1:24:50
  Speaker 2: He got that out of the system and he's done
• 1:24:52
  Speaker 2: now and he's going to go back to making albums.
• 1:24:54
  Speaker 1: And like, I was okay with that. Like, I was like,
• 1:24:56
  Speaker 1: that was a cool movie. Way to go, Rob. And like, let's,
• 1:24:59
  Speaker 1: you know, go back to what you were doing.
• 1:25:01
  Speaker 2: And like, he still went back and he makes more music,
• 1:25:03
  Speaker 2: but like, he seemed like he was never really done
• 1:25:07
  Speaker 2: with making movies, but he never fully committed to making
• 1:25:10
  Speaker 2: them what they needed.
• 1:25:12
  Speaker 1: To be most of the time.
• 1:25:13
  Speaker 2: That's why I always find him as, as just a
• 1:25:15
  Speaker 2: frustrating character. Like I, like I've said, he's very talented.
• 1:25:19
  Speaker 2: I just, I wish, He could use it better. He
• 1:25:22
  Speaker 2: could just sort of hone it into a good movie
• 1:25:24
  Speaker 2: every time instead of like throwing things at the screen
• 1:25:27
  Speaker 2: and like some things work, some things don't.
• 1:25:29
  Speaker 1: Like, well, wouldn't that be cool? Well, wouldn't this be cool?
• 1:25:31
  Speaker 1: And it's like, yeah, it would.
• 1:25:33
  Speaker 2: But just because it would doesn't mean you have to
• 1:25:35
  Speaker 2: do that. It doesn't mean it fits with the thing
• 1:25:37
  Speaker 2: you threw next to it. Like you gotta make it
• 1:25:40
  Speaker 2: all work together as a complete movie, not just a
• 1:25:43
  Speaker 2: series of scenes.
• 1:25:44
  Speaker 1: Like it's got to hold together as a story. Has
• 1:25:48
  Speaker 1: Rob Zombie ever worked on like a anthology series? I
• 1:25:51
  Speaker 1: feel like that would be such a good thing for
• 1:25:54
  Speaker 1: him to do. You know, does seem.
• 1:25:56
  Speaker 2: Like it would again, like he would have to conform
• 1:25:59
  Speaker 2: a little to like the format and like he would
• 1:26:01
  Speaker 2: have like, I'm assuming some sort of showrunner or producer
• 1:26:05
  Speaker 2: that would come along and be like, hey, why don't
• 1:26:07
  Speaker 2: you not do this?
• 1:26:08
  Speaker 1: But you can do this. But let me see here. Hmm.
• 1:26:13
  Speaker 1: Most of it's all movies. He is in.
• 1:26:16
  Speaker 2: He did the fake trailer in Grindhouse, but that's only
• 1:26:19
  Speaker 2: a few minutes. So you don't have to.
• 1:26:20
  Speaker 1: Have a story. Oh, no. So he never has. So
• 1:26:24
  Speaker 1: let's see. Everything else is pretty much his own. Oh,
• 1:26:28
  Speaker 1: he did an episode of CSI Miami.
• 1:26:30
  Speaker 2: So that might be what you're looking because he is
• 1:26:33
  Speaker 2: going to have to stick to the overall format.
• 1:26:36
  Speaker 1: Dude's going to have to take his sunglasses off or
• 1:26:38
  Speaker 1: put them on. And then we're going to have adultery screaming.
• 1:26:41
  Speaker 2: So we got to stick to that. You know, there's
• 1:26:43
  Speaker 2: a lot of hardcore things. He's going to have to
• 1:26:46
  Speaker 2: keep it inside the, the bumpers on that episode. So
• 1:26:49
  Speaker 2: maybe what you need is CSI Miami.
• 1:26:53
  Speaker 1: I would really be shocked if that were the case. I,
• 1:26:57
  Speaker 1: and like I said, like, like I've said before, like
• 1:26:59
  Speaker 1: I don't mind Rob Zombie as a musician, but I
• 1:27:03
  Speaker 1: think as a filmmaker, I, Okay. I think that, but
• 1:27:06
  Speaker 1: let's just take like 10 steps back. Okay. Is Rob
• 1:27:09
  Speaker 1: Zombie a better filmmaker than he is a musician? No.
• 1:27:13
  Speaker 1: Is he a good musician though? Yes. Is he a
• 1:27:15
  Speaker 1: good filmmaker? Yes. Yes. Again, visually, is he a good storyteller? No.
• 1:27:22
  Speaker 1: And storytelling and writing is the hard part of the movie.
• 1:27:27
  Speaker 1: What's the hard? And as we know, it's the hardest
• 1:27:30
  Speaker 1: part to nail. You can throw all the money in
• 1:27:33
  Speaker 1: the world at all kinds of things. But if your
• 1:27:36
  Speaker 1: script sucks, your script sucks. There's just no way around it.
• 1:27:40
  Speaker 1: And if you can't write your way out of a
• 1:27:41
  Speaker 1: paper bag, you can't write your way out of a
• 1:27:43
  Speaker 1: paper bag. And that just is. It's not me saying that.
• 1:27:46
  Speaker 1: It's not you saying that. It's not you agreeing with me.
• 1:27:49
  Speaker 1: It's just, if you can't write, you can't write. I
• 1:27:52
  Speaker 1: think we have the key to his whole career.
• 1:27:54
  Speaker 2: Because if you go back before that, most of his big,
• 1:27:58
  Speaker 2: super popular videos were directed by him. So maybe in
• 1:28:02
  Speaker 2: this day and age, when the biggest thing in the world.
• 1:28:04
  Speaker 1: Is music videos... Maybe what he needs to be is
• 1:28:07
  Speaker 1: a music video director because he can do great visuals.
• 1:28:11
  Speaker 2: He knows the industry. He can deliver music like he.
• 1:28:15
  Speaker 2: Everything else about that works. And yet you don't really
• 1:28:19
  Speaker 2: have to worry about story at all. If you want
• 1:28:21
  Speaker 2: to work in a running theme, you can, but it
• 1:28:23
  Speaker 2: can just be random scenes thrown together like you're trying
• 1:28:27
  Speaker 2: to do on your movies. So maybe that's what he
• 1:28:29
  Speaker 2: needs is just make music videos.
• 1:28:32
  Speaker 1: You're good at that. Well, I was going to say,
• 1:28:34
  Speaker 1: I think that that's kind of my bigger takeaway from
• 1:28:37
  Speaker 1: this Rob Zombie experience, you you know, the me and
• 1:28:41
  Speaker 1: you watching these films together is I genuinely don't find
• 1:28:46
  Speaker 1: what he does to be off-putting. from a, this is
• 1:28:51
  Speaker 1: what someone else is into like aspect. And I, I
• 1:28:54
  Speaker 1: know that there are so many people that vibe with
• 1:28:57
  Speaker 1: what Rob Zombie is into. Like this is a me
• 1:28:59
  Speaker 1: and you thing, really not an everybody else thing. I'm
• 1:29:02
  Speaker 1: not saying everybody else, but like the people that like
• 1:29:04
  Speaker 1: his movies, like his movies and I'm not dragging them,
• 1:29:07
  Speaker 1: but I don't think that this is at the top
• 1:29:09
  Speaker 1: of their list for his movies. I'm not even sure
• 1:29:11
  Speaker 1: how many of these Halloween movies are above the Something
• 1:29:14
  Speaker 1: like a Devil's Rejects or a House of a Thousand Corpses.
• 1:29:17
  Speaker 2: Yeah, I think there are people that are big fans
• 1:29:20
  Speaker 2: of his and will rattle off a bunch of movies
• 1:29:23
  Speaker 2: that they like and probably not mention either of the
• 1:29:26
  Speaker 2: Halloween movies.
• 1:29:27
  Speaker 1: Which I understand because as Halloween movies, they're not successful.
• 1:29:31
  Speaker 1: As Rob Zombie Halloween movies, they're not able to go
• 1:29:34
  Speaker 1: as far as one would have wanted. And that is
• 1:29:36
  Speaker 1: the shame for me is like I do defend this
• 1:29:39
  Speaker 1: movie enough. If someone talks about it, it's like people
• 1:29:41
  Speaker 1: like walking up and down the street like Rob Zombie's Halloween, too.
• 1:29:44
  Speaker 1: How do you feel about that? Like nobody is doing that.
• 1:29:47
  Speaker 1: But Rob Zombie does get mentioned by film fans and
• 1:29:51
  Speaker 1: film critics like myself and yourself fairly frequently, and especially
• 1:29:55
  Speaker 1: in these kind of derided tones. And I'm not saying
• 1:29:57
  Speaker 1: that those tones aren't understood, but they're not deserved because
• 1:30:01
  Speaker 1: Rob Zombie is like any other filmmaker, just like a
• 1:30:04
  Speaker 1: Chris Nolan, just like a Tarantino, just like a David Fincher, really,
• 1:30:08
  Speaker 1: or a Scorsese, like They do their thing really well.
• 1:30:12
  Speaker 1: If you don't like their thing, that's kind of on you.
• 1:30:15
  Speaker 1: You don't have to watch. Well, and he's consistently done it.
• 1:30:19
  Speaker 2: Like, for as much as I thought, you know, in 2003,
• 1:30:22
  Speaker 2: maybe it was a weird one-off thing you just wanted
• 1:30:24
  Speaker 2: to get out of the system. But, like, every couple
• 1:30:27
  Speaker 2: of years, he's put out another movie. And, like, they're
• 1:30:30
  Speaker 2: not always huge, like, for regular audiences. But in the
• 1:30:33
  Speaker 2: horror scene... they're a big deal when a new one
• 1:30:36
  Speaker 2: comes out and the Rob Zombie fans are out there
• 1:30:38
  Speaker 2: and they're watching them and they... usually seem to like
• 1:30:41
  Speaker 2: them the last one is the exception most of the
• 1:30:43
  Speaker 2: time but I feel like it's hard enough to get
• 1:30:47
  Speaker 2: a movie made but for somebody to consistently put out
• 1:30:51
  Speaker 2: another movie that they feel is their vision like I
• 1:30:55
  Speaker 2: applaud that and like more power to you keep doing
• 1:30:57
  Speaker 2: it again I'm still gonna have problems with a lot
• 1:30:59
  Speaker 2: of them but I'm glad that he's still managing to
• 1:31:03
  Speaker 2: put together stuff that he cares about I just wish
• 1:31:05
  Speaker 2: it was a little more honed.
• 1:31:08
  Speaker 1: Well, and if you look at the last things he's
• 1:31:10
  Speaker 1: done since Halloween 2, everything he's worked on since Halloween
• 1:31:13
  Speaker 1: 2 has been self-produced. Yeah. Which is great. And his
• 1:31:15
  Speaker 1: own story.
• 1:31:16
  Speaker 2: It's not him picking up another franchise or other properties.
• 1:31:19
  Speaker 2: It's all his ideas that he just runs with and
• 1:31:24
  Speaker 2: does whatever. Which, again, is maybe a way to be
• 1:31:27
  Speaker 2: more successful is to not be tied to anybody else's
• 1:31:30
  Speaker 2: story or goings on at all.
• 1:31:32
  Speaker 1: But you know what? Hey, there's some black and white
• 1:31:34
  Speaker 1: imagery in this movie with Michael Myers' mask on a
• 1:31:36
  Speaker 1: giant skeleton, so.
• 1:31:39
  Speaker 2: Again, those shots, they're a lot of really good shots.
• 1:31:42
  Speaker 2: And I just, you can go through and just like
• 1:31:45
  Speaker 2: still frame and just be like, look at this.
• 1:31:48
  Speaker 1: Like, this looks amazing. And I'm not going to argue. Like,
• 1:31:52
  Speaker 1: So maybe it just needs to be a DP. Like,
• 1:31:54
  Speaker 1: I don't know. Well, and that's what I wonder. Like,
• 1:31:57
  Speaker 1: you know, there are some directors that are just better
• 1:31:59
  Speaker 1: visually than they are at writing scripts and not everybody
• 1:32:02
  Speaker 1: can write. Not everybody has the ability to write and
• 1:32:06
  Speaker 1: not everybody has the ability to direct. And there are
• 1:32:09
  Speaker 1: a ton of people that are like out there consistently
• 1:32:13
  Speaker 1: spending their entire career being a cinematographer. And like, that's
• 1:32:17
  Speaker 1: what they want to do. They're not there like trying
• 1:32:19
  Speaker 1: to work their way up to Roger Deakins, man. Like
• 1:32:22
  Speaker 1: there's known for doing that thing that he does. And
• 1:32:25
  Speaker 1: that's about it. Like he's never really gone and directed
• 1:32:28
  Speaker 1: his own thing or written anything else. That's, Just what
• 1:32:31
  Speaker 1: he does. There's nothing wrong with that. You don't have
• 1:32:33
  Speaker 1: to be like a quadruple threat. Yeah, your Dean Cundys
• 1:32:37
  Speaker 1: of the world know what they're doing.
• 1:32:38
  Speaker 2: And like, this is my strong suit and I'm going
• 1:32:40
  Speaker 2: to show up and I'm going to do a damn
• 1:32:42
  Speaker 2: good job.
• 1:32:43
  Speaker 1: And sometimes it's going to be.
• 1:32:44
  Speaker 2: For a director and it works and it's a great movie.
• 1:32:47
  Speaker 2: And other times I just did a great job. So
• 1:32:49
  Speaker 2: it's going to look great whether you like the story
• 1:32:51
  Speaker 2: or not.
• 1:32:51
  Speaker 1: That's up to somebody else because I'm just here to
• 1:32:54
  Speaker 1: make sure this Looks amazing. And it does. So yeah,
• 1:32:58
  Speaker 1: maybe that's what it is. And I'm with you. Like that's,
• 1:33:00
  Speaker 1: I think, you know, Rob Zombie's best suited for the
• 1:33:03
  Speaker 1: visual medium. And, you know, someone I just mentioned, David Fincher,
• 1:33:07
  Speaker 1: he came from the world of music videos. But just
• 1:33:10
  Speaker 1: because you come from the world of music videos doesn't
• 1:33:12
  Speaker 1: mean you don't know what you're doing. And just because
• 1:33:14
  Speaker 1: you come from the world of music videos doesn't mean
• 1:33:16
  Speaker 1: you do know what you're doing. Maybe more so in
• 1:33:19
  Speaker 1: the world of visuals, but definitely not more so in
• 1:33:22
  Speaker 1: the world of writing a script. Again, it's not necessary
• 1:33:27
  Speaker 1: for music videos. So it doesn't, it's not a one-to-one
• 1:33:30
  Speaker 1: that you're going to bring that over. And even if
• 1:33:31
  Speaker 1: it is, it's not to the extent that a feature-length
• 1:33:33
  Speaker 1: film would. Yeah, you can do it.
• 1:33:36
  Speaker 2: You can have a plot line going through the background
• 1:33:39
  Speaker 2: of your music video, but it's not essential. It's not
• 1:33:41
  Speaker 2: even all that important from the selling the song aspect
• 1:33:46
  Speaker 2: of it. Like the studio just wants you to get
• 1:33:47
  Speaker 2: this out there, or at least used to. Now nobody
• 1:33:49
  Speaker 2: really cares. Even though videos are.
• 1:33:51
  Speaker 1: Kind of back, they just don't, They don't treat them
• 1:33:54
  Speaker 1: like they're important anymore. But like when you see the
• 1:33:57
  Speaker 1: new ones come out for these huge artists now, there's
• 1:34:00
  Speaker 1: a million platforms for them to pop up on now.
• 1:34:03
  Speaker 1: And like it's easier for everybody to see them, but
• 1:34:05
  Speaker 1: they just don't treat them like they're a big deal
• 1:34:07
  Speaker 1: like they did, which is a shame because there's actually
• 1:34:09
  Speaker 1: some really good videos going on out there. But people
• 1:34:12
  Speaker 1: just don't give them any importance anymore. Well, there's nowhere
• 1:34:15
  Speaker 1: to watch them. Don't you know MTV? It's YouTube. I know.
• 1:34:18
  Speaker 1: Don't you know MTV is gone, Brian? It always lives
• 1:34:22
  Speaker 1: on in my heart. And it's everywhere now.
• 1:34:25
  Speaker 2: It doesn't need to be a channel because the channel
• 1:34:27
  Speaker 2: platform fell apart. But the fact that you can watch.
• 1:34:31
  Speaker 1: any video you ever want streaming on some service and
• 1:34:35
  Speaker 1: or YouTube, you can watch it on your phone.
• 1:34:37
  Speaker 2: You can watch it on your watch, you know? So like,
• 1:34:40
  Speaker 2: to me, it should be more of a thing now
• 1:34:43
  Speaker 2: because you can see it on so many different places now.
• 1:34:47
  Speaker 2: And there's so many other people out there that are
• 1:34:49
  Speaker 2: clued into watching short.
• 1:34:51
  Speaker 1: Form things in particular now. So like, it seems like
• 1:34:54
  Speaker 1: it should be bigger. And yet somehow, once again, it
• 1:34:57
  Speaker 1: just didn't transfer over to this new wave of entertainment
• 1:35:01
  Speaker 1: and new delivery services like it just doesn't hit the
• 1:35:05
  Speaker 1: way that it did back in the MTV day no
• 1:35:08
  Speaker 1: and and you said it yourself like expecting that someone
• 1:35:11
  Speaker 1: who directs a music video is going to be able
• 1:35:13
  Speaker 1: to direct a film as well I understand that there
• 1:35:15
  Speaker 1: are people that have made that leap, but not everybody.
• 1:35:18
  Speaker 1: And frankly, not most. Just because you're an actor doesn't
• 1:35:20
  Speaker 1: mean you're good at other things. Look at Bruce Willis
• 1:35:23
  Speaker 1: and Eddie Murphy and a whole host of other people
• 1:35:25
  Speaker 1: who attempted to branch out, speaking of the music of
• 1:35:28
  Speaker 1: it all. And they did a great job. Return of
• 1:35:30
  Speaker 1: Bruno is a wonderful album. Return of Bruno. This man
• 1:35:33
  Speaker 1: is a liar, folks. Thank you. So do I. And
• 1:35:36
  Speaker 1: it's wonderful. i own that shit on vinyl hey if
• 1:35:39
  Speaker 1: it don't kill you it just makes you stronger yeah
• 1:35:42
  Speaker 1: my girl wants to party all the time but yeah
• 1:35:46
  Speaker 1: i i heard it i that's the thing like not
• 1:35:48
  Speaker 1: everybody is unsuccessful at being a double or triple threat
• 1:35:52
  Speaker 1: but not everybody can be.
• 1:35:54
  Speaker 2: I recently heard that song if not that entire album
• 1:35:57
  Speaker 2: was done to prove a point.
• 1:35:59
  Speaker 1: It was a bet I mean, it sounds like, what, Scientology?
• 1:36:03
  Speaker 1: Like Heinlein and fucking Whatchamajiggy Hubbard sitting at a bar together.
• 1:36:09
  Speaker 1: He's like, I bet you can't make a religion. It's like,
• 1:36:11
  Speaker 1: betcha I can. Betcha I can. Well, that was, yeah,
• 1:36:13
  Speaker 1: it was like him doing his Stevie Wonder on SNL,
• 1:36:17
  Speaker 1: and they were like, you can't sing. And they were like,
• 1:36:20
  Speaker 1: betcha I can. How about I put an album out?
• 1:36:23
  Speaker 1: And all of that came about because of that. I
• 1:36:25
  Speaker 1: will say, between the return of Bruno and Eddie Murphy's
• 1:36:28
  Speaker 1: sung album, Neither one of them are nearly as good
• 1:36:31
  Speaker 1: as Macho Man Randy Savage's rap album. So if we're
• 1:36:34
  Speaker 1: talking about double or triple threats, ooh, yeah. I mean,
• 1:36:37
  Speaker 1: Macho Man is here. He'll cook it. You're a big homo. Oh, yeah.
• 1:36:42
  Speaker 1: That's like literally what he says in the rap. It's like, Hogan,
• 1:36:45
  Speaker 1: you're a big sissy. And it's like, Jesus Christ, the
• 1:36:48
  Speaker 1: 90s were a wild time to be alive, folks. Hogan
• 1:36:52
  Speaker 1: was a horrible human being. I mean, Hogan is a
• 1:36:54
  Speaker 1: horrible human being, brother. He was. Oh, he is. I mean,
• 1:36:58
  Speaker 1: even in hell, he's probably sitting there like, you're telling me, dude,
• 1:37:03
  Speaker 1: that there's not a place in hell for people that
• 1:37:05
  Speaker 1: don't look like me? Like, oh, Jesus, Hogan, you're still
• 1:37:08
  Speaker 1: on that? Even now? Yeah, yeah. Not everybody can do everything.
• 1:37:14
  Speaker 1: You know, like, and that's, I think ultimately with Rob Zombie,
• 1:37:17
  Speaker 1: like I, you look at his wife, right? Look at
• 1:37:19
  Speaker 1: his wife as the, as kind of the example. She
• 1:37:22
  Speaker 1: can't do everything either. So why did he think he could?
• 1:37:26
  Speaker 1: That's my question.
• 1:37:27
  Speaker 2: And if you need that proven to you, once again,
• 1:37:30
  Speaker 2: go watch her new music video, which is on YouTube
• 1:37:32
  Speaker 2: right now.
• 1:37:33
  Speaker 1: And you'll be sorry one, and you'll know that we're
• 1:37:36
  Speaker 1: right because she does not need to be singing. At
• 1:37:39
  Speaker 1: least she's not in this movie a whole lot. And
• 1:37:41
  Speaker 1: when she is in this film, she is just... She
• 1:37:45
  Speaker 1: looks nice and doesn't say much. Which again, I'm not
• 1:37:48
  Speaker 1: saying that as any attack on women in general. I'm
• 1:37:51
  Speaker 1: just saying her in particular, when he puts her in
• 1:37:54
  Speaker 1: movies and has her... Again, devil's rejects. All of her
• 1:37:58
  Speaker 1: dialogue is atrocious. She just has this high-pitched laugh that
• 1:38:03
  Speaker 1: she's constantly doing. It all gets super grating. Whereas here...
• 1:38:07
  Speaker 1: She looks very nice. She's not saying too much. She's
• 1:38:10
  Speaker 1: just pulling their strings and making her kids do horrible things.
• 1:38:13
  Speaker 1: And then it's very nicely photographed and like she's hanging
• 1:38:16
  Speaker 1: out with a horse. So it's like this is the
• 1:38:18
  Speaker 1: best use of her maybe ever really. Yeah, I would
• 1:38:21
  Speaker 1: I would I would be inclined to agree with you. Yeah,
• 1:38:24
  Speaker 1: I would be inclined to agree with you. I don't
• 1:38:26
  Speaker 1: think that she adds anything to the proceedings in this film.
• 1:38:30
  Speaker 1: I think more than anything else, it's just like, oh, look,
• 1:38:32
  Speaker 1: his wife is in this movie. And maybe a normal
• 1:38:34
  Speaker 1: person who doesn't know Rob Zombie doesn't think that, but
• 1:38:37
  Speaker 1: I've got to assume if you're watching a Rob Zombie movie,
• 1:38:40
  Speaker 1: you know who this person is. I mean, who is
• 1:38:42
  Speaker 1: this woman that keeps showing up in all these films? Like, what?
• 1:38:45
  Speaker 2: Like, even the first one, I was just like, what? wait,
• 1:38:48
  Speaker 2: isn't that the, cause they were already kind of together. Like,
• 1:38:50
  Speaker 2: I don't think she had his name yet in that
• 1:38:52
  Speaker 2: first one, but like, I was already like, that's kind
• 1:38:55
  Speaker 2: of why she's the other main lead in this.
• 1:38:58
  Speaker 1: Right.
• 1:38:58
  Speaker 2: Cause otherwise I hadn't seen anything before that.
• 1:39:02
  Speaker 1: So I feel like that's kind of how she got
• 1:39:04
  Speaker 1: in her foot in the door there. And, you know,
• 1:39:06
  Speaker 1: I think it's very funny, you know, some weird anachronisms
• 1:39:09
  Speaker 1: in this movie that we haven't mentioned are kind of
• 1:39:11
  Speaker 1: just weird idiosyncrasies, I guess. Do you notice how Daniel
• 1:39:14
  Speaker 1: Roebuck plays Herman Munster in this movie for a minute
• 1:39:18
  Speaker 1: or two? Or I guess Frankenstein? That's probably what he
• 1:39:21
  Speaker 1: wanted to do. But at that point, it was too far.
• 1:39:24
  Speaker 1: You know, he'd aged out. He had to be grandpa.
• 1:39:26
  Speaker 1: But like, again, Jeff Daniels is in that scene with him,
• 1:39:29
  Speaker 1: which is even crazier. Yeah. Again, his new muse shows
• 1:39:33
  Speaker 1: up in this movie. Jeff Daniel Phillips is.
• 1:39:35
  Speaker 2: Then in like every movie after that and looks like
• 1:39:38
  Speaker 2: Rob Zombie and takes his place in his new stand-in.
• 1:39:41
  Speaker 1: I do like Jeff Daniel Phillips though. He seems like
• 1:39:44
  Speaker 1: he's having fun. Like every time I see him like
• 1:39:47
  Speaker 1: as himself, like he always seems like he's just having
• 1:39:50
  Speaker 1: a good time.
• 1:39:51
  Speaker 2: So I'm like, well, he seems like a genuine person
• 1:39:53
  Speaker 2: at least. So I like that more than, you know,
• 1:39:55
  Speaker 2: a lot of your weird actors that they bring in
• 1:39:58
  Speaker 2: horror movies that just seem like they're super serious and like,
• 1:40:02
  Speaker 2: or trying to take themselves very serious where he, he
• 1:40:05
  Speaker 2: always seems like he's very laid back about it all.
• 1:40:07
  Speaker 1: So that's, that's cool. Yeah, no, I, I like, I
• 1:40:10
  Speaker 1: like him a lot. I think it's very funny. Like
• 1:40:12
  Speaker 1: when they have him opposite Tyler Maine in that scene, uh,
• 1:40:16
  Speaker 1: and he's, he looks, he's a big guy, but even,
• 1:40:19
  Speaker 1: but not that big. Yeah. He's not that big. He looked,
• 1:40:21
  Speaker 1: even he looks small opposite Tyler Maine, which I really appreciate.
• 1:40:24
  Speaker 1: Like that's, Those are the successes of this movie. Like
• 1:40:26
  Speaker 1: the best, the best thing I can say about this
• 1:40:28
  Speaker 1: movie is it makes Michael Myers for like one time
• 1:40:32
  Speaker 1: in this entire, like in this entire franchise, they make
• 1:40:36
  Speaker 1: him an interesting character. Well, and even like the, using
• 1:40:39
  Speaker 1: that example, him with the little kid. Like that shot.
• 1:40:43
  Speaker 1: And then the kid is like, are you a giant?
• 1:40:45
  Speaker 1: And I'm like, yeah, he is actually. No shit, he's
• 1:40:48
  Speaker 1: a fucking giant. Look at how big he is. So
• 1:40:50
  Speaker 1: that scene, again, of the things that stick to the wall,
• 1:40:53
  Speaker 1: I'm like, that scene's pretty cool. Like in the right movie,
• 1:40:56
  Speaker 1: that could work as a scene with Michael Myers. It's
• 1:40:59
  Speaker 1: weird that it's thrown in this movie, but for that moment,
• 1:41:02
  Speaker 1: like that's a cool shot. That's a fun scene. I
• 1:41:04
  Speaker 1: guess what's weird to me about this movie is why
• 1:41:07
  Speaker 1: not just make it a movie where it's Michael Myers,
• 1:41:10
  Speaker 1: like you said, doing the Bruce Banner. Yeah. I mean, well,
• 1:41:13
  Speaker 1: how weird would that have been? We skipped over the
• 1:41:15
  Speaker 1: most Hulk thing. He picks up a car and flips
• 1:41:19
  Speaker 1: it over. That was the most Hulk moment. I was like,
• 1:41:22
  Speaker 1: good God, he is just the Hulk now. And he
• 1:41:25
  Speaker 1: barely talks. Yeah. He just... Michael Myers smash. If he
• 1:41:29
  Speaker 1: makes any... He doesn't make any noise at all, I
• 1:41:31
  Speaker 1: don't think, in this movie. He's just... Yeah. Mute. Well,
• 1:41:34
  Speaker 1: he spared us from his one line in the last movie,
• 1:41:37
  Speaker 1: because you know he was supposed to have a line
• 1:41:39
  Speaker 1: in the first Halloween, which... In a different movie, it
• 1:41:43
  Speaker 1: would almost be funny what his one line was going
• 1:41:46
  Speaker 1: to be. Well, he technically has one line in this movie,
• 1:41:49
  Speaker 1: doesn't he? I guess it depends on what cut you're watching. Yeah.
• 1:41:52
  Speaker 1: But at the end of the last one, he was
• 1:41:54
  Speaker 1: supposed to say boo, which is pretty funny. Which is amazing.
• 1:41:58
  Speaker 1: On Halloween, that's spooky. And his one line is boo.
• 1:42:02
  Speaker 1: But thankfully, I think even Rob was like, oh, that's
• 1:42:05
  Speaker 1: going to come off real cheesy. Nope. Let's throw that out.
• 1:42:08
  Speaker 1: So they didn't go with it. But yeah. I love
• 1:42:11
  Speaker 1: that he has one line in this movie. Where does,
• 1:42:14
  Speaker 1: I'm assuming at the end there, what does he say?
• 1:42:16
  Speaker 1: He says, die, Salumis. Which I vibe with. Like, I
• 1:42:23
  Speaker 1: enjoyed that. Like, I enjoy that they give him that line.
• 1:42:26
  Speaker 1: I do. think that there was like such an opportunity
• 1:42:29
  Speaker 1: in this movie to make this a story about Michael
• 1:42:32
  Speaker 1: getting revenge on Loomis and just leave Laurie out of
• 1:42:34
  Speaker 1: it complete. Like that's, you know, I think that if
• 1:42:37
  Speaker 1: I had wanted to see a movie, if you ask
• 1:42:39
  Speaker 1: me what this movie, what I would have wanted out
• 1:42:42
  Speaker 1: of this movie after the end of the last movie,
• 1:42:45
  Speaker 1: not that Loomis was at all antagonistic towards Michael because
• 1:42:49
  Speaker 1: he really wasn't. He definitely wasn't in the first movie. No,
• 1:42:52
  Speaker 1: if you had asked me though at the end of
• 1:42:53
  Speaker 1: the last movie what I would have wanted from this
• 1:42:55
  Speaker 1: movie- I guess my answer would have been, well, I
• 1:42:58
  Speaker 1: would have wanted to see Michael doing something he'd never
• 1:43:01
  Speaker 1: done before. I don't know how much I would have
• 1:43:03
  Speaker 1: wanted to see of Loomis or Laurie. But if you're
• 1:43:06
  Speaker 1: going to do Loomis, have Loomis be so different from Loomis.
• 1:43:09
  Speaker 1: But like they just don't do enough with it. And
• 1:43:11
  Speaker 1: Michael isn't in this enough. Again, it goes back to
• 1:43:14
  Speaker 1: that Halloween three, the David Gordon Green movie. Like, why
• 1:43:17
  Speaker 1: is he not in that movie anymore? why is he
• 1:43:18
  Speaker 1: not in this movie more like this is the only
• 1:43:21
  Speaker 1: other time other I mean I said never but I
• 1:43:24
  Speaker 1: guess maybe other than that fucking Michael Myers in Halloween
• 1:43:28
  Speaker 1: 3 where he's in the sewer like that's maybe the
• 1:43:31
  Speaker 1: only other time where I'm like genuinely interested in him
• 1:43:34
  Speaker 1: as a character otherwise he's intentionally a cypher well and
• 1:43:37
  Speaker 1: at that point.
• 1:43:37
  Speaker 2: Why not just work him out all together and then
• 1:43:39
  Speaker 2: it's more of the legacy of Michael Myers just hand
• 1:43:43
  Speaker 2: over the evil to someone else, which is what they
• 1:43:45
  Speaker 2: do essentially. And they, well, they, they pussied out.
• 1:43:49
  Speaker 1: I mean, they did that like half in half out
• 1:43:51
  Speaker 1: bullshit where it's like, well, but not really though, because
• 1:43:54
  Speaker 1: he looks into the eyes of him, but it doesn't
• 1:43:56
  Speaker 1: do anything. It's like, but what does it even matter then?
• 1:43:59
  Speaker 1: I guess I've never understood what the... But I'll tell you, though,
• 1:44:03
  Speaker 1: put that movie up against most of the Halloween movies,
• 1:44:05
  Speaker 1: and I'd rather watch that movie over most of them
• 1:44:07
  Speaker 1: other than the original. Because it is what this movie
• 1:44:10
  Speaker 1: is not, which is weird and successful at being weird.
• 1:44:15
  Speaker 1: I think this movie has made me appreciate that Halloween
• 1:44:17
  Speaker 1: 3 a lot more, because that movie is more successful
• 1:44:20
  Speaker 1: than this one. It at least hangs together. This movie
• 1:44:22
  Speaker 1: does not... Rewatching it for this episode... This movie does
• 1:44:25
  Speaker 1: not hang together. This movie is such a disjointed mess.
• 1:44:28
  Speaker 1: It's just broken, yeah. I can't tell anybody to watch
• 1:44:31
  Speaker 1: this movie on its own. You have to have seen
• 1:44:35
  Speaker 1: the last movie. And if I'm going to suggest you
• 1:44:37
  Speaker 1: watch the last movie, I'm just going to tell you
• 1:44:39
  Speaker 1: to watch the original one. On YouTube, for fucking free even.
• 1:44:46
  Speaker 1: Is there anything better than the original one?
• 1:44:48
  Speaker 2: No, and again, I think that's because the original doesn't
• 1:44:51
  Speaker 2: even have to be about all these specifics.
• 1:44:54
  Speaker 1: Oh, because the original works as the original. It's well,
• 1:44:57
  Speaker 1: but I mean, it's, it's, it's own concept. It's its own.
• 1:45:00
  Speaker 2: That's why it's not as action packed and bloody and
• 1:45:03
  Speaker 2: over the top because it's working on theme. You know,
• 1:45:06
  Speaker 2: it's working at the base level where this one drops
• 1:45:09
  Speaker 2: the ball almost immediately. It's working as like, here's the
• 1:45:13
  Speaker 2: overall arcing story. Here's the creepy vibe. Here's the boogeyman
• 1:45:18
  Speaker 2: plot line, which is really all you want out of
• 1:45:19
  Speaker 2: a Halloween story. So like the Michael Myers of it
• 1:45:22
  Speaker 2: all just happened to work and catch on.
• 1:45:25
  Speaker 1: And guess what? That's why we did number two. Like
• 1:45:27
  Speaker 1: they weren't going to do anything else with it, but
• 1:45:29
  Speaker 1: because it caught on the way it did, they had to.
• 1:45:32
  Speaker 1: But it just worked as its own one off thing
• 1:45:35
  Speaker 1: that first time because it was so well done and
• 1:45:38
  Speaker 1: it was so like universal and simple in the way
• 1:45:41
  Speaker 1: that it approached horror that That's why it still works.
• 1:45:44
  Speaker 1: Like even now I can watch it and it's creepy
• 1:45:46
  Speaker 1: because it's just a simple platform of how to tell
• 1:45:50
  Speaker 1: a scary story on Halloween. Yeah, I watch parts of
• 1:45:53
  Speaker 1: this movie and I wish that they had expounded further.
• 1:45:56
  Speaker 1: Like Rob Zombie was like, I've got these great ideas,
• 1:45:59
  Speaker 1: but I just don't I don't have anybody else helping
• 1:46:01
  Speaker 1: me hone them down. Like that scene with Loomis with
• 1:46:04
  Speaker 1: the like clearly what would end up being like a
• 1:46:06
  Speaker 1: true crime fan. Yeah. And he's like, get this fucking
• 1:46:11
  Speaker 1: guy out of here. I'm sorry. He would not react
• 1:46:13
  Speaker 1: that way. He's literally complaining about not being recognized by
• 1:46:16
  Speaker 1: people like well and having like fallen out with stuff
• 1:46:19
  Speaker 1: like you're not going to react that way. Like there's
• 1:46:21
  Speaker 1: interesting ideas here that even when they introduce them, they
• 1:46:24
  Speaker 1: don't do anything with them. It's like Rob Zombie. You
• 1:46:27
  Speaker 1: need someone else to come in and go. Here are
• 1:46:29
  Speaker 1: the four ideas that are interesting that you've brought up.
• 1:46:31
  Speaker 1: Let's go further with those ideas. Don't just keep introducing ideas. Well,
• 1:46:35
  Speaker 1: and that one.
• 1:46:36
  Speaker 2: Doesn't make sense to me at all anyway, because not
• 1:46:39
  Speaker 2: even the Loomis of it.
• 1:46:40
  Speaker 1: I'm like, is... is he talking about himself? Because like,
• 1:46:45
  Speaker 1: I'm like, what is Rob Zombie saying with that part
• 1:46:47
  Speaker 1: of it? It's like, this guy is super hardcore into
• 1:46:50
  Speaker 1: horror and like, he's into real, you know, he wants the,
• 1:46:54
  Speaker 1: he wants more. Not that bitch Braid, bitch Bundy and Dahmer.
• 1:46:58
  Speaker 1: Bundy and Dahmer, like, he wants even more extreme murders
• 1:47:02
  Speaker 1: and i'm like what wait so are you trying to
• 1:47:04
  Speaker 1: make a comment about you know ghoulish horror fans but
• 1:47:07
  Speaker 1: i'm like but you are like the king of those
• 1:47:10
  Speaker 1: kind of guys like you are the one that's into
• 1:47:12
  Speaker 1: making super over-the-top gory gratuitous violent movies like so what
• 1:47:17
  Speaker 1: what is the point of that line coming from you
• 1:47:20
  Speaker 1: that was a really weird aspect i was just like
• 1:47:23
  Speaker 1: i Is that a joke? Like, are you saying that
• 1:47:26
  Speaker 1: on purpose because that's you? I don't know. That was
• 1:47:29
  Speaker 1: the weird part for me in a different horror movie
• 1:47:31
  Speaker 1: that would be there to comment on these type of movies.
• 1:47:35
  Speaker 1: But like in this movie, it makes no sense. Well,
• 1:47:37
  Speaker 1: that's what I mean. Like it literally just needed someone
• 1:47:40
  Speaker 1: else to come in and be like, this makes sense.
• 1:47:42
  Speaker 1: This doesn't. This makes sense. This doesn't like that's all
• 1:47:46
  Speaker 1: this movie needed because it's, it's that I would say it's,
• 1:47:49
  Speaker 1: and I don't know how you would feel about this.
• 1:47:50
  Speaker 1: Like that's how close this movie is. It's not that
• 1:47:53
  Speaker 1: far away from being like, would you agree that the
• 1:47:56
  Speaker 1: last movie is not a bad movie? It's an interesting movie.
• 1:48:00
  Speaker 1: It has its faults, but like it, it hangs together
• 1:48:02
  Speaker 1: as a movie. Yeah. I will give you that.
• 1:48:04
  Speaker 2: It holds together as a story and it tells you
• 1:48:07
  Speaker 2: that story from beginning to end.
• 1:48:09
  Speaker 1: Way more than this one. This movie's not that far
• 1:48:12
  Speaker 1: off because we've seen him do it elsewhere. That's my point.
• 1:48:15
  Speaker 2: This one's just harder to do as the continued tie-in
• 1:48:19
  Speaker 2: to Halloween. Like it, it has more working in its favor.
• 1:48:22
  Speaker 1: That's the non Halloween stuff.
• 1:48:24
  Speaker 2: So trying to then keep it as a sequel to
• 1:48:27
  Speaker 2: that last movie, but trying to pick and choose, like I, I,
• 1:48:31
  Speaker 2: you'd almost.
• 1:48:31
  Speaker 1: Have to do like a almost complete rewrite.
• 1:48:33
  Speaker 2: I feel like, because it's, The only things that are
• 1:48:36
  Speaker 2: working are the things that aren't tied to that last movie.
• 1:48:39
  Speaker 2: So if you have to come in and do a sequel,
• 1:48:41
  Speaker 2: you'd have to get rid of most of the stuff
• 1:48:43
  Speaker 2: that I actually like in this movie, unfortunately. Well, and
• 1:48:45
  Speaker 2: that's I think that that's the thing. I think if
• 1:48:48
  Speaker 2: it's if it's me making this movie. You just make
• 1:48:51
  Speaker 2: something that is completely away from the last, which is
• 1:48:55
  Speaker 2: the stuff that works for me and you in this.
• 1:48:57
  Speaker 2: And you do that because you're Rob Zombie and you
• 1:49:00
  Speaker 2: didn't have a soured relationship with the fucking producers of
• 1:49:04
  Speaker 2: this movie.
• 1:49:04
  Speaker 1: That's the problem, right? I mean, that's the ultimate issue
• 1:49:07
  Speaker 1: I have with where this is now become as a
• 1:49:10
  Speaker 1: as a film is that. This was a three picture
• 1:49:14
  Speaker 1: deal that became a two picture deal because of one
• 1:49:17
  Speaker 1: of the worst people in Hollywood being allowed to be
• 1:49:20
  Speaker 1: anywhere near this film. That person being Harvey Weinstein. And
• 1:49:24
  Speaker 1: then we go further than that because this movie then
• 1:49:27
  Speaker 1: ends up feeling like a truncated weird film because the
• 1:49:31
  Speaker 1: people who made this movie. didn't want to make any
• 1:49:35
  Speaker 1: more movies, even though they were clearly thinking of three
• 1:49:38
  Speaker 1: movies when they made the first. Let's not sit here
• 1:49:40
  Speaker 1: and pretend like Rob Zombie didn't have an idea of
• 1:49:42
  Speaker 1: what these three movies were going to be.
• 1:49:44
  Speaker 2: I'm sure outside of the I mean, by the time
• 1:49:47
  Speaker 2: he got into making that first movie, I think he
• 1:49:50
  Speaker 2: already knew.
• 1:49:50
  Speaker 1: But it was like David Gordon Green's Exorcist, right? Like,
• 1:49:54
  Speaker 1: that's the way I look. like it's that same it's
• 1:49:56
  Speaker 1: that same thing where it's like I'm sure don't let's
• 1:49:59
  Speaker 1: sit here and not pretend like David Gordon Green didn't
• 1:50:01
  Speaker 1: know where he was going with those exes he had
• 1:50:02
  Speaker 1: three they gave him what three movies Rob Zombie knew
• 1:50:05
  Speaker 1: what he was doing here it's just you can't blame
• 1:50:08
  Speaker 1: it all on that because the last movie's not amazing
• 1:50:11
  Speaker 1: the last movie's fine that's the ultimate I think problem
• 1:50:14
  Speaker 1: with this movie is it could have been good but
• 1:50:17
  Speaker 1: it's not the movie it's not as good as isn't
• 1:50:20
  Speaker 1: really that good anyways it's just in comparison interesting like
• 1:50:25
  Speaker 1: I mean, I never liked him to be- He's still
• 1:50:26
  Speaker 1: working that game show. I never liked him to begin with.
• 1:50:29
  Speaker 1: So it's not like, it's fine. Like his schtick, I
• 1:50:32
  Speaker 1: don't know, like those kinds of guys' schticks never resonated
• 1:50:35
  Speaker 1: with me. Like Jeff Keighley and Chris Hardwick. Like they're
• 1:50:39
  Speaker 1: the same of just like, we represent nerd culture. And
• 1:50:42
  Speaker 1: I'm like, okay, like- yeah yeah but that's i mean
• 1:50:45
  Speaker 1: is that not what they are though they're like arbiters
• 1:50:48
  Speaker 1: of nerd culture they definitely feels like especially in the
• 1:50:50
  Speaker 1: beginning because he was like the first one that sort
• 1:50:53
  Speaker 1: of made it over the hump and like got out
• 1:50:55
  Speaker 1: there and got a huge audience because of that and
• 1:50:58
  Speaker 1: he was banking on the geeky things that he was
• 1:51:01
  Speaker 1: into and the guests that he could bring in because
• 1:51:03
  Speaker 1: of it so right i feel like he was very
• 1:51:05
  Speaker 1: competent at that job but whether or not you like
• 1:51:09
  Speaker 1: him that's the thing.
• 1:51:10
  Speaker 2: I always felt it was almost weird. Once you got
• 1:51:13
  Speaker 2: in there and started listening to the shows, it's like,
• 1:51:15
  Speaker 2: he's like always playing the nice guy card. And I'm like,
• 1:51:18
  Speaker 2: almost too much. Like to the point, I.
• 1:51:21
  Speaker 1: Don't know that I trust that. So like, that was
• 1:51:24
  Speaker 1: just a little weird to me. Are you in fact
• 1:51:26
  Speaker 1: a nice guy? Yeah, I was like, and then when
• 1:51:29
  Speaker 1: the stories came, I was like, oh, maybe it was
• 1:51:30
  Speaker 1: all an act. But then I think that girl was
• 1:51:33
  Speaker 1: kind of crazy. So I don't know. I don't want
• 1:51:34
  Speaker 1: to sell them down the river for the wrong reasons.
• 1:51:37
  Speaker 1: But I also never got a really great vibe so
• 1:51:40
  Speaker 1: i don't know what to do no i don't know
• 1:51:41
  Speaker 1: that he belongs in this movie either No, there's a
• 1:51:45
  Speaker 1: lot of weird stuff in this movie. Chris Hardwick and
• 1:51:48
  Speaker 1: Weird Al being in this movie is just one of
• 1:51:52
  Speaker 1: those things. Again, it's a strange, strange film that, again,
• 1:51:58
  Speaker 1: that Halloween 3, the David Gordon Green one, is a
• 1:52:00
  Speaker 1: strange film as well. But its strangeness is still held together.
• 1:52:05
  Speaker 1: It's not just all over the place completely. This movie
• 1:52:08
  Speaker 1: is genuinely one of the more all over the place
• 1:52:11
  Speaker 1: things I've ever seen. Yeah.
• 1:52:13
  Speaker 2: I don't I don't think the third one in that
• 1:52:15
  Speaker 2: series is even that strange. It's just strange in the
• 1:52:18
  Speaker 2: middle of a Halloween trilogy, like as its own movie.
• 1:52:21
  Speaker 1: If it once again, if you somehow removed the Michael
• 1:52:24
  Speaker 1: Myers of it all, which I feel like that movie holds.
• 1:52:28
  Speaker 1: Michael Myers is barely even is almost and is almost done.
• 1:52:32
  Speaker 1: But if you took out.
• 1:52:32
  Speaker 2: All the Jamie Lee and all that other stuff and
• 1:52:35
  Speaker 2: it just worked as its own separate movie, I think
• 1:52:37
  Speaker 2: it would be pretty successful.
• 1:52:38
  Speaker 1: But this is just like crazy all over the map stuff.
• 1:52:41
  Speaker 2: And like with or without the Michael Myers as it stands,
• 1:52:44
  Speaker 2: like it's still kind of a mess. So like it
• 1:52:47
  Speaker 2: it once again, it would need to be totally rewritten
• 1:52:49
  Speaker 2: to tell either version of these stories it's trying to tell.
• 1:52:52
  Speaker 1: And for me, the biggest bummer about this movie is
• 1:52:55
  Speaker 1: you can't watch this on its own. This movie is hard,
• 1:52:58
  Speaker 1: not hard to follow, but hard to find intelligible. On
• 1:53:02
  Speaker 1: its own, like as someone who watched the last film
• 1:53:05
  Speaker 1: like twice in the last week, but as someone who
• 1:53:08
  Speaker 1: wouldn't if you had never seen like movie before this one,
• 1:53:12
  Speaker 1: you would watch this movie and be like, what? What
• 1:53:14
  Speaker 1: is this? What is going on? Because it is completely
• 1:53:18
  Speaker 1: unintelligible for anyone other than someone who is, I guess, a.
• 1:53:21
  Speaker 1: die-hard fan of the last movie, which I don't know
• 1:53:24
  Speaker 1: if that was a thing in 2009. Well, and even
• 1:53:27
  Speaker 1: if you like the last movie, this one is still
• 1:53:30
  Speaker 1: so drastically different in so many ways from the last
• 1:53:34
  Speaker 1: movie that I feel like that's why it also upset
• 1:53:36
  Speaker 1: fans of the last movie. So, like, I don't know
• 1:53:39
  Speaker 1: who it's for because, like, it doesn't work on its own.
• 1:53:43
  Speaker 1: It doesn't work for fans of the last movie. It
• 1:53:45
  Speaker 1: doesn't work for fans of the franchise overall. So, like... Again,
• 1:53:49
  Speaker 1: it just.
• 1:53:50
  Speaker 2: Came together for all the wrong reasons, I guess. And
• 1:53:53
  Speaker 2: now we have this weird movie and it's weird for
• 1:53:55
  Speaker 2: weird sake. And that's kind of the best thing you
• 1:53:57
  Speaker 2: can take from.
• 1:53:58
  Speaker 1: And it's funny to me that it's. It being weird
• 1:54:02
  Speaker 1: for weird sake shouldn't be an issue because there are
• 1:54:05
  Speaker 1: so many other movies that I enjoy because they're weird
• 1:54:07
  Speaker 1: for weird sake. But this movie, it's just it's hard
• 1:54:10
  Speaker 1: to be unintelligible and weird for weird sake. And I
• 1:54:14
  Speaker 1: don't really want to. I don't know. I don't want
• 1:54:16
  Speaker 1: to watch a movie that's unintelligibly weird because there are
• 1:54:19
  Speaker 1: movies that I can enjoy that are just weird and
• 1:54:21
  Speaker 1: I actually can enjoy. And it's not that, you know,
• 1:54:24
  Speaker 1: maybe that is the like one drop in the bucket
• 1:54:26
  Speaker 1: of it being a Rob Zombie thing. I'm just not
• 1:54:28
  Speaker 1: a Rob Zombie guy. You know, at the end of
• 1:54:30
  Speaker 1: the day, I'm just not. You can see the strings
• 1:54:32
  Speaker 1: on this one. That's the thing. If it's just one
• 1:54:34
  Speaker 1: of those weird movies that you're like, what is going on?
• 1:54:38
  Speaker 1: But this one, you can see all the moving pieces
• 1:54:41
  Speaker 1: trying to still put together a Halloween story. And that's
• 1:54:44
  Speaker 1: what keeps getting in the way. So you're just like, well,
• 1:54:47
  Speaker 1: it's still weird and it still doesn't make sense. But
• 1:54:49
  Speaker 1: now we've got this other stuff going on. It's trying
• 1:54:52
  Speaker 1: to lead me over here. It's not even a complete movie.
• 1:54:55
  Speaker 1: Like it's not even a complete movie. It's a, you know,
• 1:54:58
  Speaker 1: for me, this might be the best comparative. And I
• 1:55:01
  Speaker 1: think a lot of people really dislike this movie because it's, again,
• 1:55:04
  Speaker 1: so atypical of the franchise it's in. This movie probably
• 1:55:07
  Speaker 1: has more in common with Quantum of Solace than most
• 1:55:10
  Speaker 1: films that are a second in a trilogy do. Like
• 1:55:13
  Speaker 1: that movie is really hard to, if you're not watching
• 1:55:16
  Speaker 1: it immediately after watching the first one, Yeah, it doesn't
• 1:55:18
  Speaker 1: really work on its own. No, it does not work
• 1:55:21
  Speaker 1: on its own at all because it is not really
• 1:55:23
  Speaker 1: a sequel. It's like the epilogue to the last film.
• 1:55:25
  Speaker 1: I don't think that Rob Zombie's Halloween was so successful
• 1:55:29
  Speaker 1: they needed to give that film an epilogue, but that
• 1:55:32
  Speaker 1: is in fact what they did because this film does
• 1:55:35
  Speaker 1: not stand on its own. I like Michael Myers swinging
• 1:55:37
  Speaker 1: around on those ropes and shooting that other guy. That
• 1:55:40
  Speaker 1: part was really cool. Can we get that? Because I
• 1:55:44
  Speaker 1: would watch that. I would watch so many things with
• 1:55:47
  Speaker 1: the Halloween name tied to it. I would watch Halloween
• 1:55:50
  Speaker 1: if it was actually, in fact, them going back to
• 1:55:53
  Speaker 1: doing the franchise as an anthology. But they'll never do that.
• 1:55:57
  Speaker 2: They really should at this point because they've burned so
• 1:56:00
  Speaker 2: many bridges in the other direction.
• 1:56:01
  Speaker 1: It's like they should just be like, All right, you
• 1:56:03
  Speaker 1: know what? We're starting over. We're going back. That's the
• 1:56:06
  Speaker 1: move anyway most of the time is, oh, we're going
• 1:56:07
  Speaker 1: back to the original movie. We're going back to the
• 1:56:10
  Speaker 1: original novel. They always try to go old school. Do
• 1:56:13
  Speaker 1: that with this one.
• 1:56:14
  Speaker 2: And then get rid of the Michael Myers, do anthology movies,
• 1:56:18
  Speaker 2: and then a handful of horror people will like it
• 1:56:20
  Speaker 2: and everybody else will complain. And if you're making these
• 1:56:23
  Speaker 2: movies for horror fans, actually just ignore what a normal
• 1:56:28
  Speaker 2: person would want. And that's the other thing that I
• 1:56:30
  Speaker 2: think we kind of have to mention with these kind
• 1:56:33
  Speaker 2: of Rob Zombie movies. And I think that that's maybe
• 1:56:35
  Speaker 2: the one positive that you can really take away from
• 1:56:38
  Speaker 2: the industry is he did help pave the way for
• 1:56:41
  Speaker 2: directors who are clearly in need of just.
• 1:56:45
  Speaker 1: Being not let loose. But Rob Zombie doesn't really need
• 1:56:49
  Speaker 1: to be making studio films. He doesn't really need studio money.
• 1:56:53
  Speaker 1: And I think him now self-producing is a fact of that.
• 1:56:57
  Speaker 1: He just got into it a little earlier than a
• 1:56:59
  Speaker 1: lot of his other, not contemporaries, but other people doing
• 1:57:02
  Speaker 1: similar things. I don't think Rob Zombie should have ever
• 1:57:05
  Speaker 1: been involved with the studio system because he's honestly not
• 1:57:09
  Speaker 1: that kind of director. And I think this movie, I
• 1:57:12
  Speaker 1: think that Halloween 1 and 2, all it did for
• 1:57:14
  Speaker 1: Rob Zombie was probably hurt his career because it showed
• 1:57:16
  Speaker 1: that he's not really... super financially viable as like a
• 1:57:20
  Speaker 1: mainstream direct. Yeah, that's what I was going to say.
• 1:57:23
  Speaker 1: I was like, with the name attached to any horror project,
• 1:57:27
  Speaker 1: he should be able to, if at this point, probably
• 1:57:30
  Speaker 1: self-fund it or at least a good portion of what
• 1:57:32
  Speaker 1: he needs and then make it back once it comes out.
• 1:57:34
  Speaker 1: Or just find backers in the horror world that put
• 1:57:38
  Speaker 1: out nothing but horror movies for indie budgets. And just
• 1:57:41
  Speaker 1: be like, once you've got the Rob Zombie name attached,
• 1:57:44
  Speaker 1: like that's it. You're already going to make your money back.
• 1:57:46
  Speaker 1: So like he could go that route and do whatever
• 1:57:48
  Speaker 1: he wants, which he kind of has been for years now.
• 1:57:51
  Speaker 1: So it's like, yeah, the fact that he got suckered
• 1:57:54
  Speaker 1: into doing Halloween movies was kind of maybe that first
• 1:57:58
  Speaker 1: misstep on his part. And I think, you know, ultimately,
• 1:58:01
  Speaker 1: when we have a director like Rob Zombie, who is,
• 1:58:04
  Speaker 1: you know, making his bones with a again, like we've
• 1:58:09
  Speaker 1: already alluded to. House of a Thousand Corpses really is
• 1:58:12
  Speaker 1: just really is just not it's it's it's wearing its
• 1:58:15
  Speaker 1: influences right there on its sleeve. It's just Texas Chainsaw Massacre.
• 1:58:19
  Speaker 2: It's pretty much Texas Chainsaw Massacre with little bits and
• 1:58:22
  Speaker 2: pieces of other movies thrown in, too. But the framework
• 1:58:25
  Speaker 2: is Texas Chainsaw Massacre.
• 1:58:26
  Speaker 1: He already did a movie like Halloween. And I guess
• 1:58:30
  Speaker 1: the thinking was, he's already done a movie like Halloween,
• 1:58:33
  Speaker 1: so why doesn't he just do Halloween? I guess? Again,
• 1:58:37
  Speaker 1: that's kind of a lazy way to go about it. Right,
• 1:58:40
  Speaker 1: but that's kind of my thinking, and that's kind of
• 1:58:42
  Speaker 1: where my brain is at. Because, you know, House of
• 1:58:44
  Speaker 1: a Thousand Corpses was immensely successful. It wasn't Blair Witch
• 1:58:47
  Speaker 1: Project successful. It wasn't Back Rooms or Obsession successful. But
• 1:58:52
  Speaker 1: it was successful in its own right. In the horror world,
• 1:58:55
  Speaker 1: it was.
• 1:58:55
  Speaker 2: really successful you know because they set the bar a
• 1:58:58
  Speaker 2: lot lower normally this year aside but normally they set the.
• 1:59:02
  Speaker 1: Bar a lot lower for horror.
• 1:59:04
  Speaker 2: Movies and then when they they don't cost as much
• 1:59:06
  Speaker 2: so when they make a really good profit they're like
• 1:59:09
  Speaker 2: okay this worked let's do another one but It ebbs
• 1:59:11
  Speaker 2: and flows.
• 1:59:12
  Speaker 1: We see it every now and then. This is nothing new.
• 1:59:16
  Speaker 1: Rob Zombie's career as a horror director is similar to
• 1:59:20
  Speaker 1: Cain Parsons and Curry Barker. Whether or not they ever
• 1:59:24
  Speaker 1: make another successful movie, similarly to Rob Zombie, they all
• 1:59:28
  Speaker 1: made successful indie horror films that got them jobs elsewhere
• 1:59:32
  Speaker 1: doing bigger things because of a movie that they made
• 1:59:35
  Speaker 1: that they wrote and directed of their own volition. And
• 1:59:38
  Speaker 1: that is impressive. That can never be taken away from
• 1:59:41
  Speaker 1: Rob Zombie or any of these other directors. But once
• 1:59:44
  Speaker 1: you start going down this route, it's when things start
• 1:59:46
  Speaker 1: getting kind of hinky. Because I just... I almost... And
• 1:59:50
  Speaker 1: this is... I think maybe this is probably the funniest
• 1:59:52
  Speaker 1: way to put it because it just doesn't sound like
• 1:59:54
  Speaker 1: a thing that... makes any sense. Similarly, the way we
• 1:59:56
  Speaker 1: were talking about the last film, I almost feel like
• 1:59:59
  Speaker 1: Halloween is beneath Rob Zombie. Do you know what I
• 2:00:01
  Speaker 1: mean though?
• 2:00:02
  Speaker 2: It's like, I don't know if he adds anything to it.
• 2:00:05
  Speaker 2: I think it's just in a different lane than he is.
• 2:00:07
  Speaker 2: Like he's over here doing his weird, crazy over the
• 2:00:10
  Speaker 2: top thing.
• 2:00:11
  Speaker 1: And he wants to do that. And he's, good in his...
• 2:00:14
  Speaker 1: It's not high concept, though, at all. He just wants
• 2:00:18
  Speaker 1: to be this high concept fucking weirdo. Look at all
• 2:00:21
  Speaker 1: the other stuff he's done since this. It's all this
• 2:00:23
  Speaker 1: weird high concept horror movie. I'm not saying it's actually
• 2:00:27
  Speaker 1: beneath him, but that's probably should have been his thinking.
• 2:00:31
  Speaker 1: This is beneath. I don't know if that's actually the case,
• 2:00:34
  Speaker 1: but I think in his mind, he should have viewed
• 2:00:37
  Speaker 1: this as this is beneath. I don't know if it
• 2:00:39
  Speaker 1: actually is, but he's... He has higher concept stuff than
• 2:00:42
  Speaker 1: a dude walking around slashing people with a knife. I
• 2:00:44
  Speaker 1: just feel like now, because of what Halloween is, it's
• 2:00:48
  Speaker 1: such a different category.
• 2:00:50
  Speaker 2: Because in the early days, you know, the Carpenter win
• 2:00:53
  Speaker 2: is just some random dude putting out a weird indie
• 2:00:56
  Speaker 2: horror movie. So, like, that was fine back then. But now,
• 2:00:59
  Speaker 2: it's not just a franchise. It's a studio franchise. It's
• 2:01:03
  Speaker 2: an industry in and of itself, almost, at this point.
• 2:01:07
  Speaker 1: So... to try to cram a weirdo like Rob Zombie
• 2:01:10
  Speaker 1: into that mold, it's just not going to work. And
• 2:01:13
  Speaker 1: we saw it. It didn't.
• 2:01:14
  Speaker 2: Like, your first one is your best bet, and even
• 2:01:17
  Speaker 2: that didn't really work. It worked just enough for them
• 2:01:20
  Speaker 2: to try to make a sequel. But it still wasn't like...
• 2:01:22
  Speaker 2: Gangbuster successful. It wasn't lines wrapped around the block. It
• 2:01:26
  Speaker 2: just like won its week. It made back a good
• 2:01:28
  Speaker 2: amount of money, but like it's still only worked as
• 2:01:31
  Speaker 2: much as it was going to work trying to put
• 2:01:34
  Speaker 2: Rob Zombie in that box because that's not what's going
• 2:01:37
  Speaker 2: to work for you.
• 2:01:37
  Speaker 1: Well, and if you listen to our episode on that movie,
• 2:01:40
  Speaker 1: you'll know that the things that worked for Brian were
• 2:01:43
  Speaker 1: essentially Rob Zombie doing a riff on something that was
• 2:01:46
  Speaker 1: not his to begin with. It was literally just the
• 2:01:49
  Speaker 1: original Halloween film But with Rob Zombie's kind of twist
• 2:01:53
  Speaker 1: on it, the part that worked for me was the
• 2:01:55
  Speaker 1: part that was kind of more Rob Zombie specific in
• 2:01:58
  Speaker 1: terms of like his ideas. But even then, it was
• 2:02:01
  Speaker 1: still working within a pre-established framework. It's not like he
• 2:02:04
  Speaker 1: really it's not like if you said to me, Chris
• 2:02:07
  Speaker 1: and Brian, come up with why Michael Myers is the
• 2:02:09
  Speaker 1: way that he is. We probably would have come to
• 2:02:10
  Speaker 1: the same exact conclusion that Rob Zombie did like. parental
• 2:02:15
  Speaker 1: abuse a bad household like bully okay so rob zombie
• 2:02:19
  Speaker 1: did all of those things as opposed to even just
• 2:02:21
  Speaker 1: picking one in that case he did all of them
• 2:02:24
  Speaker 1: and i think that that's like for me rob zombie
• 2:02:26
  Speaker 1: as a director is just a throw everything at the
• 2:02:30
  Speaker 1: wall kind of guy but it's not everything in terms
• 2:02:33
  Speaker 1: of a widespread of things it is a very specific
• 2:02:37
  Speaker 1: slice of throwing everything at the wall And it's just gratuitous.
• 2:02:43
  Speaker 1: Everything that he's into. I mean, there's a certain F
• 2:02:47
  Speaker 1: word that gets used 112 times in this movie.
• 2:02:53
  Speaker 2: I saw that and I was like, wow, yeah, that
• 2:02:55
  Speaker 2: seems about right, actually, because I just watched this movie
• 2:02:58
  Speaker 2: and that is so constant. I mean, one scene is
• 2:03:01
  Speaker 2: just someone repeatedly saying it over and over.
• 2:03:05
  Speaker 1: And I was like, OK. And there are many times
• 2:03:08
  Speaker 1: in his movie that I say, OK, we get it. Like, OK,
• 2:03:12
  Speaker 1: maybe more in the last one. I feel like this
• 2:03:14
  Speaker 1: one is just weird. So but last time is like
• 2:03:17
  Speaker 1: we're as we're like just blasted.
• 2:03:19
  Speaker 2: Beating that guy's head into the wall and I'm like
• 2:03:21
  Speaker 2: okay he's dead now we get it like it just
• 2:03:24
  Speaker 2: there's sometimes when he takes it so over the top
• 2:03:27
  Speaker 2: that I'm just like once again I'm like all right
• 2:03:29
  Speaker 2: well you're so cool we get it calm down Rob
• 2:03:33
  Speaker 2: like so it it's the same thing we get here
• 2:03:35
  Speaker 2: as he's smashing this poor girl's face into a mirror
• 2:03:38
  Speaker 2: repeatedly over and over and I'm like yeah okay you've
• 2:03:43
  Speaker 2: you've killed a stripper you're so cool we get it
• 2:03:46
  Speaker 2: like it's just I don't know like he's just.
• 2:03:49
  Speaker 1: A little too much even for his own good sometimes
• 2:03:52
  Speaker 1: I would say the word I would use is Rob Zombie,
• 2:03:55
  Speaker 1: I would perceive him as crin. Like he just kind
• 2:03:58
  Speaker 1: of goes to, yeah, just goes, just like going too far.
• 2:04:01
  Speaker 1: I'm not sure it wasn't then.
• 2:04:03
  Speaker 2: I just don't know if there was a people's attention then,
• 2:04:05
  Speaker 2: but now we're even more, we're setting lines that did
• 2:04:09
  Speaker 2: not exist back then. You're like that one loud kid
• 2:04:12
  Speaker 2: in the classroom just yelling at everybody else. And we're
• 2:04:15
  Speaker 2: just like, man, I get it and you might make
• 2:04:18
  Speaker 2: us laugh from time to time, but.
• 2:04:20
  Speaker 1: But you're still going to the principal's office, Robbie, so
• 2:04:23
  Speaker 1: calm down. It's just, like you've said, excessive to the
• 2:04:28
  Speaker 1: point of exhausting. I'm exhausted by the time I watch
• 2:04:31
  Speaker 1: one of these.
• 2:04:32
  Speaker 2: It's just eye-rolling for me at certain points.
• 2:04:34
  Speaker 1: I'm like, yeah, okay, I get it. It's just so
• 2:04:38
  Speaker 1: Rob Zombie. Or even just the trashiness. Same thing with
• 2:04:41
  Speaker 1: the interior design here, or They're trashy house in the
• 2:04:45
  Speaker 1: in the last one. Like, it's just OK. I get it.
• 2:04:48
  Speaker 1: They're poor. That's the reason he's evil. Poor people suck.
• 2:04:52
  Speaker 1: What are we saying? Sometimes it's so busy making that
• 2:04:57
  Speaker 1: over the top point that it's like, I don't even
• 2:04:59
  Speaker 1: know if you're saying the thing you need to say anymore. Like,
• 2:05:02
  Speaker 1: it's just it's so weird the way he goes about
• 2:05:04
  Speaker 1: some things just to be over the top and trashy
• 2:05:07
  Speaker 1: because he thinks it's his brand. Well, I'm not sure
• 2:05:10
  Speaker 1: that it isn't his brand, right? Like it is his brand.
• 2:05:13
  Speaker 1: It's his brand, but it's not him. It doesn't. No,
• 2:05:17
  Speaker 1: because he lives in a mansion. It's obviously like that's
• 2:05:22
  Speaker 1: the problem I have with a lot of these things.
• 2:05:24
  Speaker 1: It's like it's all very, I don't know. It's all
• 2:05:27
  Speaker 1: very performative. Yeah, anything else. It's just overly performative. And
• 2:05:31
  Speaker 1: that that for me is very irritating, because like you said,
• 2:05:35
  Speaker 1: like it's the trashiness needs to serve a purpose. And
• 2:05:37
  Speaker 1: if it doesn't serve a purpose, don't do it. And
• 2:05:39
  Speaker 1: I'm not saying it can't serve a purpose. There are
• 2:05:41
  Speaker 1: plenty of films that I've seen Texas Chainsaw Massacre being
• 2:05:44
  Speaker 1: one of them where the trashiness totally works. And it's
• 2:05:48
  Speaker 1: not something that I'm like questioning why the characters are
• 2:05:51
  Speaker 1: trashy in this film. I am questioning it all the
• 2:05:53
  Speaker 1: time as to why is the house painted like this?
• 2:05:57
  Speaker 1: She grew up in a normal house in the last film,
• 2:05:59
  Speaker 1: literally like a normal house. Super middle class, like super polished.
• 2:06:04
  Speaker 1: And now she's just like a complete psycho. Like, okay.
• 2:06:08
  Speaker 1: All right.
• 2:06:09
  Speaker 2: Here's a good counterbalance of someone who also has a
• 2:06:12
  Speaker 2: very specific vibe they're going for, also works in the
• 2:06:16
  Speaker 2: music industry and is even in the background of her
• 2:06:19
  Speaker 2: trashy room.
• 2:06:20
  Speaker 1: Alice Cooper.
• 2:06:21
  Speaker 2: Now, Alice Cooper has been selling this brand of I'm
• 2:06:24
  Speaker 2: spooky and gothy and these are my songs and this
• 2:06:27
  Speaker 2: is my vibe forever.
• 2:06:28
  Speaker 1: Since before Rob Zombie was born. So the fact that
• 2:06:33
  Speaker 1: when you see Rob, when you see Alice Cooper in
• 2:06:37
  Speaker 1: Out in the World, he's playing golf. He's well-spoken and
• 2:06:41
  Speaker 1: well-read and he's a dork. And that's why I think
• 2:06:44
  Speaker 1: he's awesome because he's not trying to prove to me
• 2:06:48
  Speaker 1: how spooky he is in the real world. That's his job.
• 2:06:51
  Speaker 1: I live my brand, brother. Yeah.
• 2:06:53
  Speaker 2: He has a brand it is his brand you can
• 2:06:56
  Speaker 2: go buy a t-shirt with a spooky makeup on it
• 2:06:59
  Speaker 2: but when you stop and talk to him he's not
• 2:07:01
  Speaker 2: like that he has no want to be that ridiculous
• 2:07:06
  Speaker 2: and gratuitous and over the top about it all because
• 2:07:08
  Speaker 2: he knows it's just a show it's part of the
• 2:07:11
  Speaker 2: show it's what he does it's not who he is.
• 2:07:14
  Speaker 2: And Rob wants you to buy that this is who
• 2:07:16
  Speaker 2: he is. When once again, go look at his house
• 2:07:19
  Speaker 2: in that magazine shoot. And I'm like, you live in
• 2:07:22
  Speaker 2: a big fancy house, dude. Like now don't get me wrong.
• 2:07:24
  Speaker 2: You're a dork because I love the collection of his
• 2:07:28
  Speaker 2: stuff that I've seen over the years and all the
• 2:07:30
  Speaker 2: weird sci-fi and horror stuff that he's bought over the
• 2:07:32
  Speaker 2: years because he is also a big dork, but he's the.
• 2:07:35
  Speaker 1: One that's like putting on an act for everybody. So
• 2:07:38
  Speaker 1: they think he's cool. Versus somebody like Alice Cooper is
• 2:07:41
  Speaker 1: just like, yeah, I don't care. I'm a dork. Like
• 2:07:44
  Speaker 1: I was on The Muppet Show and that's why I'm awesome.
• 2:07:48
  Speaker 1: I'm cool because I'm.
• 2:07:49
  Speaker 2: Not putting on a big, you know, pretend to be
• 2:07:52
  Speaker 2: goth and super cool the rest of the time when
• 2:07:55
  Speaker 2: I'm on stage and I decapitate myself.
• 2:07:58
  Speaker 1: Yeah, that's the show. And I'm. good at that. And
• 2:08:00
  Speaker 1: I've been doing it for most of my life. And
• 2:08:03
  Speaker 1: that's why he's awesome. But the fact that he doesn't
• 2:08:05
  Speaker 1: pretend to be.
• 2:08:06
  Speaker 2: Something else the rest of the time, he's just like, nah,
• 2:08:09
  Speaker 2: that's my day job. I'm somebody like Alice Cooper is
• 2:08:16
  Speaker 2: actually cool.
• 2:08:17
  Speaker 1: He's not living the gimmick. That's the thing. There's edginess,
• 2:08:21
  Speaker 1: but edginess has a finite level of edginess that needs
• 2:08:26
  Speaker 1: to be brought to things. I guess when I think
• 2:08:29
  Speaker 1: of Rob Zombie, I think of someone like Jared Leto,
• 2:08:31
  Speaker 1: where it's just like, dude, don't you know that you're
• 2:08:34
  Speaker 1: not really in on the joke anymore because you are
• 2:08:37
  Speaker 1: the joke? You are the joke. You are the joke.
• 2:08:39
  Speaker 1: You're not even in on it. Definitely Jared Leto. yes
• 2:08:43
  Speaker 1: you were in on it at one point but you're
• 2:08:44
  Speaker 1: not anymore like having our main character in this film
• 2:08:47
  Speaker 1: have a mayor i would say marilyn manson would actually
• 2:08:49
  Speaker 1: work but a charles manson poster behind her bed like
• 2:08:53
  Speaker 1: give me a fucking like that's just anyone g and
• 2:08:57
  Speaker 1: weird and just.
• 2:08:58
  Speaker 2: Traumatized to the point that no they don't want true
• 2:09:02
  Speaker 2: crime hanging around in the room they lived it They
• 2:09:05
  Speaker 2: don't want to re-experience it every time they wake up
• 2:09:08
  Speaker 2: in the morning screaming from nightmares, by the way.
• 2:09:10
  Speaker 1: Hey, look, it's Manson's face behind your bed. What the
• 2:09:13
  Speaker 1: fuck are we talking? Jesus. And that's my point. This
• 2:09:17
  Speaker 1: movie just, I think, generally doesn't get it with the
• 2:09:21
  Speaker 1: Laurie character, which is weird that they even included her
• 2:09:24
  Speaker 1: at all in this movie. If you're going to just
• 2:09:25
  Speaker 1: have Michael roaming around, just make it Michael roaming around.
• 2:09:29
  Speaker 1: And you know what? I think this movie would have fared,
• 2:09:33
  Speaker 1: maybe not way better, but I think it would have
• 2:09:35
  Speaker 1: fared better than it does with just, you know, oh, well,
• 2:09:38
  Speaker 1: it's Laurie again, and it's sort of Halloween 2, but
• 2:09:41
  Speaker 1: not really, because if we do Halloween 2 again, then
• 2:09:45
  Speaker 1: it might also be criticized as Rob Zombie not doing
• 2:09:47
  Speaker 1: his own thing. You know what? He did do his
• 2:09:49
  Speaker 1: own thing. You can't drag him for that. He did.
• 2:09:52
  Speaker 1: He did. But you also can't give him any other
• 2:09:56
  Speaker 1: compliment for anything else, because all the other things that
• 2:09:58
  Speaker 1: he did just are all pulling in, separate directions not
• 2:10:03
  Speaker 1: in not utilizing the same kind of world that he
• 2:10:06
  Speaker 1: crafted in the first movie it's almost like this movie
• 2:10:09
  Speaker 1: is being made by someone else who's not Rob Zombie
• 2:10:12
  Speaker 1: trying to capture the Rob Zombie tone but in fact
• 2:10:16
  Speaker 1: spoilers this film is made by Rob Zombie so I
• 2:10:19
  Speaker 1: don't understand what the issue is other than the thing
• 2:10:22
  Speaker 1: we've talked about which is the Weinstein of it all
• 2:10:24
  Speaker 1: but even then just don't come back.
• 2:10:27
  Speaker 2: Is this Rob Zombie AI is like they fed all
• 2:10:30
  Speaker 2: the aspects of rob zombie into the machine and they're
• 2:10:33
  Speaker 2: like all right give us the movie that's you know
• 2:10:35
  Speaker 2: all rob zombie like and then it's out you're like
• 2:10:38
  Speaker 2: well uh it's close everybody's got six fingers on one
• 2:10:43
  Speaker 2: hand do.
• 2:10:44
  Speaker 1: You think anyone will notice the six fingers it's a
• 2:10:46
  Speaker 1: little weird but it's it's close it's close that's always
• 2:10:50
  Speaker 1: my question will anyone notice the six fingers And that's
• 2:10:53
  Speaker 1: the thing. How is it that a director's own film
• 2:10:56
  Speaker 1: is diminished return? But it is. It's diminished returns in
• 2:10:59
  Speaker 1: a way that I'm not used to. Because normally when
• 2:11:02
  Speaker 1: you see a sequel to a film, it's diminishing returns
• 2:11:06
  Speaker 1: because it's just not as good as the last one,
• 2:11:09
  Speaker 1: because it's just kind of doing the same things as
• 2:11:11
  Speaker 1: the last one. And that's not what's happening here. This
• 2:11:13
  Speaker 1: movie is literally doing everything differently than the last film.
• 2:11:17
  Speaker 1: And yet somehow in that being the goal, It fails
• 2:11:21
  Speaker 1: even harder than it would have if this had been
• 2:11:24
  Speaker 1: just a direct sequel to the last film in terms
• 2:11:27
  Speaker 1: of like, I guess it just being a remake of
• 2:11:29
  Speaker 1: Halloween 2.
• 2:11:29
  Speaker 2: Yeah, just following the normal beats of a Halloween movie,
• 2:11:33
  Speaker 2: if not that exact Halloween.
• 2:11:35
  Speaker 1: Right. It doesn't do that on this one. No, I
• 2:11:37
  Speaker 1: don't know if it would have been any better or
• 2:11:39
  Speaker 1: worse than it is now. But I think that criticism
• 2:11:41
  Speaker 1: of like, well, this isn't a Michael. This is, you know,
• 2:11:44
  Speaker 1: this is not an original idea. This Michael Myers movie
• 2:11:46
  Speaker 1: is not a Rob Zombie thing. It's like, well, OK, fine,
• 2:11:49
  Speaker 1: I guess. Well, this one is. Have fun with that. Yeah, exactly.
• 2:11:53
  Speaker 1: And that was, I think, you know, to bring this
• 2:11:54
  Speaker 1: full circle. That was why when we initially were talking
• 2:11:57
  Speaker 1: about what we wanted to launch your show on the
• 2:12:00
  Speaker 1: network with and what you and I kind of wanted
• 2:12:02
  Speaker 1: to do as our first two episodes together, I wanted
• 2:12:05
  Speaker 1: to be kind of a of a piece. you know,
• 2:12:07
  Speaker 1: bring this all the way back. These movies are not
• 2:12:10
  Speaker 1: movies that I think most people who do what we
• 2:12:12
  Speaker 1: do want to talk about readily for a whole host
• 2:12:16
  Speaker 1: of reasons. And I think that those reasons are deserved
• 2:12:19
  Speaker 1: and understood. But at the same time, Rob Zombie is
• 2:12:23
  Speaker 1: not making films that are completely beyond reproach. I think
• 2:12:26
  Speaker 1: even for you and I who, you know, our enjoyment
• 2:12:29
  Speaker 1: of this film has varied all over the place. I,
• 2:12:33
  Speaker 1: I don't think I didn't enjoy these movies. I just,
• 2:12:36
  Speaker 1: I feel like the rap that they get is deserved
• 2:12:39
  Speaker 1: but undeserved at the same.
• 2:12:40
  Speaker 2: I feel like the level of it is deserved but
• 2:12:43
  Speaker 2: for different reasons in both movies.
• 2:12:46
  Speaker 1: Yeah. They should have a weird reputation but maybe not
• 2:12:50
  Speaker 1: for the reasons that you're thinking of. Right. Which is
• 2:12:53
  Speaker 1: crazy because, and again, the reasons I think most people
• 2:12:55
  Speaker 1: stay away from these movies are, like you said, well-deserved,
• 2:12:58
  Speaker 1: but that's not what's going on here. Like the reason
• 2:13:01
  Speaker 1: that these movies aren't successful are actually in spite of
• 2:13:04
  Speaker 1: the things that work and the things that work are
• 2:13:05
  Speaker 1: the things that we would be complaining about in most,
• 2:13:08
  Speaker 1: if not all of these other Rob Zombie films, which
• 2:13:10
  Speaker 1: is him being Rob Zombie too much. Here I kind
• 2:13:13
  Speaker 1: of want more of them. So it's just a weird mixture. Yeah, it's... Yeah,
• 2:13:18
  Speaker 1: I was not expecting to feel this way about it
• 2:13:21
  Speaker 1: coming into it this last... I was more expecting it
• 2:13:24
  Speaker 1: to be just like, well, this is a gross movie
• 2:13:26
  Speaker 1: and I don't like it. Like, this time I'm like, oh, okay.
• 2:13:29
  Speaker 1: I actually... wish that these were better for a very
• 2:13:32
  Speaker 1: different reason than last time. Last time I would just
• 2:13:35
  Speaker 1: avoid these things like the plague and be done with it.
• 2:13:37
  Speaker 2: So yeah, I think I just, I think I landed
• 2:13:41
  Speaker 2: pretty much where I did the first time, but now
• 2:13:43
  Speaker 2: I found all new reasons to be there. I had
• 2:13:48
  Speaker 2: the same like take on it, but now I've just
• 2:13:51
  Speaker 2: reinforced it with so many more points along the way.
• 2:13:55
  Speaker 1: Now, if someone is like, I love Rob Zombie's Halloween,
• 2:13:57
  Speaker 1: you could be like, listen here. Sit down. I have
• 2:13:59
  Speaker 1: several hours of notes. Yeah, I have plenty of time
• 2:14:02
  Speaker 1: and time to tell you about why I feel the
• 2:14:05
  Speaker 1: way I do. And yeah, like, you know, like like
• 2:14:08
  Speaker 1: Brian just said, I think, you know, it's it is
• 2:14:11
  Speaker 1: not a franchise that for me is one that I'm
• 2:14:15
  Speaker 1: going to come back to. And it's not one that
• 2:14:16
  Speaker 1: I even really like. I'm not a Rob Zombie guy,
• 2:14:18
  Speaker 1: but I can at least respect that. the decisions that
• 2:14:21
  Speaker 1: he's making when he makes ones that are successful. And
• 2:14:24
  Speaker 1: even when he makes ones that are unsuccessful, he's still
• 2:14:27
  Speaker 1: getting to do something that so many people, myself included,
• 2:14:30
  Speaker 1: wish they could do, which is being given the opportunity
• 2:14:32
  Speaker 1: to make a big budget Hollywood film. And while this
• 2:14:36
  Speaker 1: is not, neither of these are the most stunning example
• 2:14:39
  Speaker 1: of his work, I think, resonating with a large group
• 2:14:43
  Speaker 1: of people, he's still got to make a Halloween movie.
• 2:14:45
  Speaker 2: Yeah, I mean, it's it's the same thing I've said
• 2:14:47
  Speaker 2: about many people that were offered a major franchise movie
• 2:14:51
  Speaker 2: and took that opportunity.
• 2:14:53
  Speaker 1: I'm like, yeah, I don't blame you. I will, too.
• 2:14:55
  Speaker 1: I don't necessarily have to like what you made in
• 2:14:57
  Speaker 1: the end, but like I sure as hell wouldn't point
• 2:15:00
  Speaker 1: the finger at you for deciding to do it and
• 2:15:03
  Speaker 1: cashing a nice check to do something that you've wanted
• 2:15:06
  Speaker 1: to do since you were a kid like.
• 2:15:08
  Speaker 2: Yeah, all of those parts make sense. Like whether or
• 2:15:11
  Speaker 2: not it's going to turn out, that's a case by
• 2:15:13
  Speaker 2: case basis. But I do not blame you for going
• 2:15:15
  Speaker 2: along with this opportunity because it was given to you.
• 2:15:18
  Speaker 1: Yeah. Well, and, you know, he earned it with House
• 2:15:21
  Speaker 1: of a Thousand Corpses. Yeah. I'm glad we talked about
• 2:15:25
  Speaker 1: these movies, but I am also glad that I will
• 2:15:27
  Speaker 1: probably never have to watch them. I mean, we can
• 2:15:30
  Speaker 1: revisit them. Just give them a decade or two. Ten years.
• 2:15:35
  Speaker 1: See if we feel different. I don't think I will
• 2:15:37
  Speaker 1: change how I feel about these movies. They can't retroactively
• 2:15:40
  Speaker 1: get better.
• 2:15:41
  Speaker 2: I didn't since last time, so I feel like I'm
• 2:15:43
  Speaker 2: probably not going to come around in a whole different way.
• 2:15:46
  Speaker 1: Yeah, I think you're like where you need to be
• 2:15:49
  Speaker 1: right now. There's no further do you need to go
• 2:15:51
  Speaker 1: at this point. I don't think so, no. So, yeah,
• 2:15:55
  Speaker 1: if you want to hear more of what I do
• 2:15:58
  Speaker 1: weekly on this show, you can head on over to weirdingwaymedia.com
• 2:16:02
  Speaker 1: where this show and so many other shows can be
• 2:16:04
  Speaker 1: found online. But more importantly, Brian, where can people find
• 2:16:08
  Speaker 1: you and what can people expect to hear if they
• 2:16:10
  Speaker 1: go and listen to your show, Movie Meltdown?
• 2:16:12
  Speaker 2: Well, as of now, you can actually hear it at
• 2:16:15
  Speaker 2: Weirding Way Media. So that's, you know, your first stop, obviously.
• 2:16:19
  Speaker 1: But I was going to say, I think last time
• 2:16:22
  Speaker 1: we threw out the basic website, but also I was,
• 2:16:25
  Speaker 1: I was thinking if people wanted to follow social media stuff,
• 2:16:30
  Speaker 1: there are, if you go to MovieMeltdown.com, there are the links. Again, I,
• 2:16:35
  Speaker 1: I'm not thrilled with most of the options out there
• 2:16:37
  Speaker 1: at this point. Instagram is really the only thing that's cool.
• 2:16:39
  Speaker 1: Like that's the one that most people agree upon.
• 2:16:42
  Speaker 2: And like your cool celebrities are still posting good pictures
• 2:16:45
  Speaker 2: out there. And like, that's the one that still seems
• 2:16:47
  Speaker 2: like people have a little respect for. So, you know,
• 2:16:51
  Speaker 2: I don't know that I'd put anything useful out there,
• 2:16:53
  Speaker 2: but it is one of those there used to be.
• 2:16:56
  Speaker 2: I was thinking about this today when, when I started
• 2:16:59
  Speaker 2: this a thousand years ago, there was a lot less shows,
• 2:17:02
  Speaker 2: but there was such a Nice community built around it
• 2:17:05
  Speaker 2: that I feel like with the arrival of a million
• 2:17:08
  Speaker 2: new shows out there, it also kind of killed the
• 2:17:11
  Speaker 2: like close knit little family that was built out of
• 2:17:14
  Speaker 2: not just the shows that were out there, but also
• 2:17:17
  Speaker 2: the listeners. I do remember starting out, there was a
• 2:17:20
  Speaker 2: handful of shows and then there were like a group
• 2:17:23
  Speaker 2: of like hardcore listeners that were fans of all of
• 2:17:27
  Speaker 2: the shows. And they would like write into all the
• 2:17:29
  Speaker 2: shows and they would like comment on the shows online.
• 2:17:33
  Speaker 2: And like it became a really cool community that like
• 2:17:37
  Speaker 2: slowly that version of it shows fell away. You know,
• 2:17:40
  Speaker 2: people moved on as the listeners. But like that was
• 2:17:43
  Speaker 2: a cool aspect. So it's like that's something that I
• 2:17:46
  Speaker 2: would like to to work with you, Chris and Mike
• 2:17:49
  Speaker 2: and like try to. to try to find a new
• 2:17:51
  Speaker 2: version of that, that not just are we putting out
• 2:17:53
  Speaker 2: good shows, but we're also like connecting with people. And
• 2:17:56
  Speaker 2: then finding a good way to like interact with them
• 2:17:59
  Speaker 2: online and build like a nice little community of people
• 2:18:03
  Speaker 2: that like talking about weird movies and pop culture and
• 2:18:06
  Speaker 2: all of the things that we, you know, yammer on
• 2:18:08
  Speaker 2: about it for long, long amounts of time.
• 2:18:11
  Speaker 1: Long. Very long amounts of time. There's nothing wrong with that.
• 2:18:14
  Speaker 1: And no, you know, like Brian mentioned, we're really lucky
• 2:18:19
  Speaker 1: to have Brian on the network as someone who has been,
• 2:18:22
  Speaker 1: like I've told you, privately, like someone who's been working
• 2:18:26
  Speaker 1: in podcasting for a very long time and been very...
• 2:18:29
  Speaker 1: I think, instrumental in getting podcasting where it is now
• 2:18:33
  Speaker 1: for a lot of us, especially for essentially having done
• 2:18:36
  Speaker 1: movie podcasting since as long as movies or movie pod...
• 2:18:40
  Speaker 1: I guess movies, not really, but podcasting about movies has
• 2:18:43
  Speaker 1: been around. Since silent films, I started back in the day. Yeah,
• 2:18:46
  Speaker 1: since 1903. With sending out telegraphs about them. That's right.
• 2:18:50
  Speaker 1: But I'm really glad that you're part of the network.
• 2:18:53
  Speaker 1: I look forward to the rest of the shows we
• 2:18:55
  Speaker 1: have planned for this month together. And then where it
• 2:18:58
  Speaker 1: kind of goes beyond that, Brian and I don't know yet, but, uh,
• 2:19:01
  Speaker 1: to speak to the next episode that we're going to
• 2:19:03
  Speaker 1: be doing together, we are going to be doing a, uh,
• 2:19:06
  Speaker 1: a little crossover between Brian's show and my show talking
• 2:19:10
  Speaker 1: about the soon, uh, to be released punching bag of
• 2:19:14
  Speaker 1: a film resident evil, which poor Zach Kreger just can't
• 2:19:17
  Speaker 1: catch a goddamn break. Uh, You just can't catch a break.
• 2:19:20
  Speaker 1: I don't know. I think that's not a fan of
• 2:19:22
  Speaker 1: Resident Evil, I don't think. I think the trailer looks
• 2:19:23
  Speaker 1: really good. So whether or not, again, like if we're
• 2:19:27
  Speaker 1: using what we've talked about for two movies now. What
• 2:19:30
  Speaker 1: a fucking, what an ironic movie to be talking about
• 2:19:33
  Speaker 1: to lead into Resident Evil. Because we didn't really plan
• 2:19:35
  Speaker 1: that part of it. This just became the, oh, and
• 2:19:37
  Speaker 1: this is coming out the next week and this is
• 2:19:39
  Speaker 1: coming out. And so like everything just sort of fell
• 2:19:41
  Speaker 1: into place, but we didn't plan the one, two, three
• 2:19:44
  Speaker 1: of it all. The one, two was planned. Yeah. And
• 2:19:47
  Speaker 1: then next week, this movie's coming out. Let's go talk
• 2:19:49
  Speaker 1: about that.
• 2:19:49
  Speaker 2: And then now, the more we dig into this, we're
• 2:19:52
  Speaker 2: just like, well, and then next week, you've got this
• 2:19:54
  Speaker 2: up-and-coming filmmaker that gets kind of successful. And then they
• 2:19:57
  Speaker 2: hand him a big franchise movie for a studio.
• 2:20:00
  Speaker 1: Oh, man. And it's being rejected before the goddamn film
• 2:20:03
  Speaker 1: has even come out. Which, man, the times sure have changed.
• 2:20:07
  Speaker 1: As they say, the internet has just gotten worse, folks. Yeah.
• 2:20:11
  Speaker 1: I'm looking forward to Resident Evil. It looks interesting. I
• 2:20:15
  Speaker 1: am a huge fan of Resident Evil. I can say
• 2:20:17
  Speaker 1: that there are at least two games in that series
• 2:20:19
  Speaker 1: that I would consider some of my favorite video games
• 2:20:22
  Speaker 1: of all time that I will readily go back and replay.
• 2:20:25
  Speaker 1: So just to bury the lead, that's where I'm coming
• 2:20:27
  Speaker 1: at it from. But I am giving him a lot
• 2:20:29
  Speaker 1: of grace because you know what? The last Resident Evil
• 2:20:31
  Speaker 1: movies were pretty bad. So I don't know if they're
• 2:20:35
  Speaker 1: going to be better or worse than those movies, but
• 2:20:39
  Speaker 1: the bar is pretty low. And also, again, to bury
• 2:20:42
  Speaker 1: the lead, Zack Craig, you're not a guy whose films
• 2:20:44
  Speaker 1: I'm a huge fan of. They're fine. I'm not sitting
• 2:20:47
  Speaker 1: here and saying like, well, Weapons was my favorite film
• 2:20:49
  Speaker 1: of the year because it wasn't. And I'm not going
• 2:20:51
  Speaker 1: to pretend like the when it came out, it was
• 2:20:53
  Speaker 1: it was fine. So I'm kind of already coming into
• 2:20:56
  Speaker 1: this apprehensive. So not, you know, angry that the fact
• 2:20:59
  Speaker 1: that they gave Resident Evil to someone who's not a.
• 2:21:01
  Speaker 1: fan of the franchise question mark but it is weird
• 2:21:04
  Speaker 1: that the the weird parallel here of rob zombie being
• 2:21:08
  Speaker 1: given halloween and now it's like and zach crager being
• 2:21:10
  Speaker 1: given resident evil and to be fair curry barker being
• 2:21:13
  Speaker 1: given um there's a curry barker kane parsons one of
• 2:21:16
  Speaker 1: them is doing a texas chainsaw move and it's just
• 2:21:18
  Speaker 1: like yeah what the hell like is it another prequel
• 2:21:22
  Speaker 1: is it one of six prequels that now happen please
• 2:21:24
  Speaker 1: just be a goddamn reboot at this point like for
• 2:21:27
  Speaker 1: the love of god and all that is holy just
• 2:21:28
  Speaker 1: reboot it again for like the eight millionth time Can
• 2:21:31
  Speaker 1: we please... The real sequel to the original. Oh, wait.
• 2:21:34
  Speaker 1: They already did that. No, can we please remake the
• 2:21:37
  Speaker 1: fourth one? Because that might be my favorite. Is that
• 2:21:39
  Speaker 1: the McConaughey one? Yes. That movie is wild. Get Matthew McConaughey.
• 2:21:43
  Speaker 1: Just bring him back. I mean, he does some crazy stuff.
• 2:21:47
  Speaker 1: He'll probably do it. Isn't Renee Zellweger in that film too? Yeah, yeah.
• 2:21:51
  Speaker 1: Young Renee Zellweger and McConaughey with a weird contraption on
• 2:21:56
  Speaker 1: his leg with a remote control. That's right.
• 2:21:59
  Speaker 2: The most dangerous different leather face you've ever seen which
• 2:22:03
  Speaker 2: oddly has like found the following now i've seen like
• 2:22:07
  Speaker 2: they're selling pre-made halloween costumes of that version of leather
• 2:22:11
  Speaker 2: face in the last couple years so like i don't
• 2:22:13
  Speaker 2: know maybe it's time maybe it'll come full circle and
• 2:22:16
  Speaker 2: that'll be the preferred texas chainsaw massacre so.
• 2:22:20
  Speaker 1: Many things come full circle thanks spirit halloween ha ha
• 2:22:24
  Speaker 1: ha Jesus Christ. I'm shopping there on a regular basis.
• 2:22:27
  Speaker 1: Thank goodness. I only wear clothing from Spirit Halloween.
• 2:22:30
  Speaker 2: Well, I mean, it's where I pick up my house accessories,
• 2:22:33
  Speaker 2: you know, for the whole year.
• 2:22:34
  Speaker 1: I have to be good.
• 2:22:35
  Speaker 2: It's time to get some new housewares and like, you know,
• 2:22:37
  Speaker 2: stock up. I need my Art the Clown spoon.
• 2:22:41
  Speaker 1: I mean, mostly I need guest towels that have, you know, the...
• 2:22:46
  Speaker 1: cast of nightmare before christmas on them of course that's
• 2:22:48
  Speaker 1: right that's right that's where most if not all of
• 2:22:50
  Speaker 1: nightmare before christmas things come from that's spirit all the
• 2:22:54
  Speaker 1: way or i mean now well well i mean it
• 2:22:57
  Speaker 1: used to be spencers now truthfully if they haven't closed
• 2:23:00
  Speaker 1: down the disney store in your town disney has whole
• 2:23:03
  Speaker 1: whole gone in on that thing the thing that they
• 2:23:06
  Speaker 1: once the director they once threw out we're like no
• 2:23:09
  Speaker 1: you're too weird get lost And then the movie that
• 2:23:11
  Speaker 1: they even then were just like, eh, we're not that
• 2:23:14
  Speaker 1: into your weirdo movie. Eventually, when they.
• 2:23:16
  Speaker 2: Realized how much money that property was making, now they
• 2:23:19
  Speaker 2: have fully embraced it. I saw their website had a
• 2:23:23
  Speaker 2: whole little Halloween pop up the other day and I
• 2:23:26
  Speaker 2: was like, all right, let's see.
• 2:23:27
  Speaker 1: What they put out. It is so much Halloween stuff
• 2:23:29
  Speaker 1: and a lot of it is Nightmare Before Christmas because
• 2:23:32
  Speaker 1: they are all in on making money off that property.
• 2:23:35
  Speaker 1: And maybe at some point they'll release another Halloween movie.
• 2:23:38
  Speaker 1: I guess that's never crossed their minds at any point.
• 2:23:42
  Speaker 1: Why would you if you can just keep cranking out
• 2:23:44
  Speaker 1: merchandise from the same one? Because there's shockingly little to
• 2:23:48
  Speaker 1: mine from that fucking movie at this point. I mean,
• 2:23:52
  Speaker 1: every character has now been featured. No matter how minor
• 2:23:56
  Speaker 1: a character, there's a giant sweater that was the ad
• 2:24:00
  Speaker 1: that popped up.
• 2:24:02
  Speaker 2: Of the teddy bear, the teddy bear with the fangs,
• 2:24:05
  Speaker 2: the most minimal of all characters. They've now made this
• 2:24:09
  Speaker 2: giant image on a sweater that they're selling. That's how
• 2:24:12
  Speaker 2: far down they've run out of every side character on
• 2:24:14
  Speaker 2: Nightmare Before Christmas.
• 2:24:16
  Speaker 1: I love it. I love it, though. You'd probably look
• 2:24:18
  Speaker 1: at it, and if you didn't know who it was,
• 2:24:20
  Speaker 1: you'd at least go, the style kind of looks like
• 2:24:22
  Speaker 1: a Tim Burton drawing. And like, yep, you're right. It actually...
• 2:24:26
  Speaker 1: So yeah, that's where they're going now. Just making money
• 2:24:30
  Speaker 1: off of it. well and that's you know that's all
• 2:24:32
  Speaker 1: of these things you got if you got a franchise
• 2:24:34
  Speaker 1: and it's halloween time let's let's milk the shit out
• 2:24:37
  Speaker 1: of it yeah again right next to that in your
• 2:24:40
  Speaker 1: spirit is uh an entire wall full of stuff with
• 2:24:42
  Speaker 1: michael myers head on it so you know yeah yeah
• 2:24:45
  Speaker 1: again literally bringing it back around there's a whole franchise
• 2:24:49
  Speaker 1: merchandising uh opportunity waiting for you you just got to
• 2:24:53
  Speaker 1: come out with the right movie And that's how we
• 2:24:55
  Speaker 1: got Terrifier. So on that note, like, rate, and review
• 2:24:59
  Speaker 1: the show wherever you get it, more than likely iTunes
• 2:25:01
  Speaker 1: and Spotify. And if it's not on iTunes and Spotify,
• 2:25:03
  Speaker 1: make that where you get the show, because that helps
• 2:25:06
  Speaker 1: us out all the most. Patreon.com slash CultureCast is where
• 2:25:09
  Speaker 1: you can go to kick a couple dollars my way,
• 2:25:11
  Speaker 1: but liking and rating and reviewing the show on iTunes
• 2:25:14
  Speaker 1: and Spotify is more important than money any day of
• 2:25:17
  Speaker 1: the week. So as always, thanks for listening, and we'll
• 2:25:20
  Speaker 1: catch you on the next episode.