Latest / The Director's Chair Network / Carrie - Pig Blood Scene
Transcript
- t 0:00 [Music] 0:04 hello and welcome to another episode of 0:07 this Brian Deama scene by scene journey 0:11 And this episode I am super super 0:14 excited for because this is a movie I 0:17 didn't think I'd be as excited to talk 0:18 about but I'm glad we're talking about 0:21 it And I'm bringing on my friend and 0:23 fellow podcaster Seco Sco welcome Well 0:26 thank you Craig and thank you for 0:27 letting me talk about Carrie because I 0:29 love Carrie So yes we're going to be 0:32 talking today about Brian Deama's ninth 0:35 film 1976's Carrie And it's it's one of 0:39 two films that were directed by Brian 0:41 Deama in 1976 So a busy year for him 0:45 based of course on the novel by Stephen 0:48 King I believe it's Stephen King's debut 0:50 novel It is Yeah 0:52 The more I watch Brian Deama films and 0:55 the more I talk about Brian Deama 0:57 films we see that he's got a very very 1:01 elevated style and technique influenced 1:04 by a lot of European filmmakers Do you 1:07 have any recollection of your initial 1:10 exposure to the Palomo or how he was 1:13 perceived 1:14 uh in your area well the first time I 1:18 ever watched the Dealma movie was Carrie 1:20 So that's one of the reasons I picked 1:22 this one because Oh nice And from what I 1:25 remember I mean I was three years old at 1:27 the time So I saw the movie a few years 1:30 later obviously Okay Um he was revered 1:33 highly highly revered for his type of 1:37 cinematography cuz that's really what 1:39 sets him apart from most other directors 1:40 is that he's much more u a director who 1:46 images a film who creates an entire 1:49 concept Absolutely And from the people 1:53 who do that I mean I would call Ridley 1:56 Scott I call him another one He's the 1:58 closest you can come to Cubric without 2:01 being Cubric Yeah You can tell he's 2:04 meticulous about everything Yes And it's 2:06 it's very funny because Kubric is a 2:09 filmmaker that I've always respected 2:11 I've always admired But since I've uh 2:13 made the jump into 4K I've been getting 2:15 all of the Kubric films on 4K Uh and 2:19 what an an amazing experience that has 2:21 been uh to watch the the Kubric films in 2:23 4K Yeah they're endlessly rewatchable 2:26 just from the the the visuals you get 2:28 Yeah And the Palma's the same way Oh 2:30 exactly But I think you can also use 2:32 those two filmmakers in the same breath 2:34 when you talk about their sense of 2:36 humors because I think a lot of people 2:38 see Cubri as this very sort of stuffy 2:41 filmmaker But if you watch his movies he 2:44 had a wicked wicked sense of humor And 2:47 Dama does as well And you see it in 2:49 Carrie And we're not really going to 2:50 talk about any of the funny scenes in 2:51 Carrie No But he's there's a vicious 2:54 sense of humor in it Mhm And I think I 2:56 mean Carrie influenced every horror 2:58 movie that came after it obviously Oh 3:01 absolutely Friday the 13th just flat out 3:03 stole the ending of Carrie They stole 3:05 everything Yeah They stole everything 3:08 and but that's fine because they stole 3:10 from the master Yeah Yeah So that's wild 3:13 that this was your first uh diploma film 3:16 That is that is awesome 3:17 So for those that don't know Carrie is 3:20 sort of a high school 3:23 uh set novel about uh a young girl who's 3:27 super different and it deals with high 3:31 school bullying at the same time as 3:34 she's learning she has telekinetic 3:35 powers 3:37 Yes And I was watching this and you know 3:39 what I was thinking mhm He's a school 3:42 shooter Pretty much Yeah pretty much But 3:46 it's basically kind of a pre bowling for 3:48 Coline kind of thing Yeah Uh 3:52 but it's bullied Yeah 3:56 Everywhere Cuz her mother is insane 3:59 right she's a religious zealot Hyper 4:02 Lori who was nominated for um uh an 4:06 Academy Award along with [ __ ] Spacic 4:07 who played Carrier This is uh they were 4:09 both nominated Yeah And it's I mean and 4:13 that's one of the reasons why I love 4:14 Carrie so much because those 4:16 performances stand up and they stand out 4:18 and they still do That's why you can 4:21 it's it's an inevitable classic Not just 4:24 because everybody in it became huge I 4:27 mean you you can just rattle off the 4:29 names of the people in it who were 4:30 completely unknown because they they 4:33 came cheap because that movie cost 1.6 4:36 million Yeah That's another mind-blowing 4:38 thing Yeah And I'm glad you mentioned 4:39 that Seiko because famously um when they 4:44 were casting this movie Depalama was 4:46 buddies with George Lucas You know they 4:48 were both up and cominging filmmakers 4:50 They cast this movie at the same time 4:52 and and Lucas was casting Star Wars And 4:54 Dama said "Hey listen Star Wars 4:56 leftovers." Yeah He said "Since we're 4:58 we're both casting you know people in 5:00 the same age range why don't we just 5:02 like you know uh share the audition 5:04 process?" So you know like William Cat 5:06 who ended up playing Tommy he auditioned 5:08 for Star Wars Yeah they could have they 5:10 could have switched over and we could 5:12 have gotten Mark Hamill for this movie 5:14 Yeah Amy Irving from what I understand 5:17 almost got Princess Leia arguably should 5:19 have Yeah And I got to say this John 5:24 Travolta say what you want about Greece 5:27 but had John Travolta not gotten 5:29 involved with TA Palama and made Carrie 5:32 of course he made Blowout after it we 5:34 would not have gotten because of this 5:36 Yeah We would not have gotten John 5:38 Travolta in Pulp Fiction and he wouldn't 5:40 have had the entire second act that he 5:42 had Nope It's pretty remarkable And if 5:45 you think of like other actors that 5:47 Deama did that with he was the first one 5:48 to professionally work with you know 5:50 Robert Dairo Yep It's just remarkable 5:53 when you look at the eye for talent that 5:55 DeAma had as well Yeah Another actor 5:58 director Yeah Right He's just good at at 6:01 directing good talent and finding it 6:04 Yeah And of course um you know some of 6:07 the other people in this movie we 6:08 already mentioned Damian Irving Nancy 6:10 Allen the beautiful Nancy Allen who uh 6:13 is wonderfully wicked in this movie Yes 6:15 And when you're a kid you look at her 6:17 differently Yeah Right Because then 6:19 she's just a meanie and she's just 6:21 annoying and an airhead and vindictive 6:23 and anything you know you'd expect from 6:25 a self-centered narcissistic what she 18 6:29 years old or something This is like 6:31 senior your senior prom Yeah Um 17 18 6:35 years old You graduated at 16 So there's 6:37 a very different kind of depending on 6:39 when your birthday is Yeah True But 6:41 basically when I watch her now 6:44 I'm like oh my she's insane That's so 6:47 ins so insanely beautiful Yeah And she's 6:52 so much more athletic than the rest of 6:53 them because they make them they have 6:55 like this scene where they um they're 6:57 doing the jump punish during gym and 6:59 they have to do calisthenics and she 7:01 just does them with ease and she has to 7:04 act like she hates it right and all the 7:06 other ones just you know just can't keep 7:08 up with her It's hilarious to watch Yeah 7:10 And she would of course work with 7:12 Dealama multiple times They were married 7:15 for a period Just a tremendous actress 7:18 And it's funny my first exposure that I 7:20 remember to Nancy Allen was as Lewis in 7:22 Robocop Yeah mine too Another Oh not 7:26 really Carrie But I was really I never 7:28 made the connection until Well you can't 7:30 because in Robocop she looks so 7:31 different She's got that Butch haircut 7:34 Yeah The performances are about as far 7:36 apart as you can get Yeah Showing a 7:38 little showing how talented she is You 7:40 never make the actual connection You 7:41 just see the character Yeah And this 7:43 does give us a chance to mention a 7:45 mutual other favorite director we have 7:47 Paul Alver Hovind Oh yeah Who I would 7:49 lump in with Cubric and and Deama as 7:52 having a wicked satire uh streak Yeah 7:58 And also a wicked sense of humor Same 8:01 kind of madness Exactly Madness is the 8:03 perfect word for it Seiko And I do want 8:06 to talk a little bit since we're going 8:07 to be focusing on such a specific 8:11 uh we're going to be talking about a 8:12 sequence within a scene which I'm really 8:14 really excited about because 8:17 I want to thank you for suggesting this 8:19 movie because it allowed me to watch 8:21 Carrie twice in a month because I 8:23 literally I watched this probably a 8:25 month ago and that's when I was starting 8:26 to put together the idea to do this 8:28 podcast Mhm And then when you suggested 8:30 we watch Carrie I'm like well obviously 8:32 I have to watch Carrie again now because 8:34 I I need to be able to talk about it So 8:36 thank you You have to get out get it out 8:37 of your head that this is a simplistic 8:39 horror movie Exactly Exactly At all Yeah 8:42 But the one thing I I do want to mention 8:44 while we're talking about it is you you 8:46 know you sort of mentioned the European 8:48 influences in his direction I do want to 8:51 say that Deama is and you know he made a 8:55 lot of films that that went down this 8:58 lane but um he was uh he's like 9:02 Hitchcock if Hitchcock was able to make 9:04 films without being censored 9:07 Yeah Yeah It's it's like if if Hitchcock 9:10 was in Italy Yeah Exactly If he'd had 9:12 based himself in Italy he could have 9:13 made the movies the Palama basically 9:16 made Yeah Um and that's no slight on on 9:18 either one I mean it's it's it's not 9:20 discounting what the Palama did They 9:21 were a product of their time really Yeah 9:23 But the one thing I always look at 9:25 especially if you think about like the 9:26 opening um helicopter it's not a 9:30 helicopter shot It would be a helicopter 9:31 shot in Psycho you know like Hitchcock 9:34 had these big ideas and technology just 9:36 wasn't there yet Yeah And you can sort 9:39 of tell so does the Palma Exactly I mean 9:43 the special effects don't really stand 9:46 up You can see the miniature work and uh 9:49 you can see the low budget It's really 9:52 the performances that make this movie 9:54 what it is And it in that way it sort of 9:56 resembles a Hitchcock film because 9:58 that's the same way You just sort of 10:00 cringe through the special effects and 10:02 you watch the performances and what 10:04 these people bring to bear and that's 10:06 really what you see in this movie It's 10:08 you see a bunch of kids just going for 10:11 it Absolutely Cuz it is obvious they got 10:14 a lot of leeway with stuff Yeah And 10:17 that's again you know trusting your 10:18 actors Yeah And and you can tell how 10:20 what a big star uh John Travolta was 10:24 just how with how much charisma came off 10:26 the screen I mean he he plays a heavy he 10:29 plays a dumb 10:30 galute but there's a lot of extra in 10:33 there Oh yeah And and we're not talking 10:36 about the scene but um one scene that I 10:38 was watching it with my jaw on the floor 10:40 because I can't imagine the scene as 10:44 filmed by anybody else being the same 10:46 But it's when he's in the car with Nancy 10:49 Allen and she's putting her makeup on 10:50 and they get in that fight and she keeps 10:51 calling him a dumb [ __ ] and he 10:53 ultimately smacks her Yeah just that 10:56 back and forth and that bickering and 10:58 how intense it gets and then when he 11:00 slaps her and how quickly the slap 11:02 happens Um it's another moment where 11:04 you're just like that's any other 11:06 director with this script would not have 11:08 done what they did the way the PAM did 11:11 it and and that's why I want to get to 11:13 this sequence now So we're going to jump 11:15 to the towards the uh the you know about 11:17 50 minutes 50 or 55 minutes into the 11:20 movie We're at the prom and it's the 11:23 moment when we see that the ballot box 11:25 is is being stuffed Um so it's basically 11:29 PJ Souls Yeah picking up all the votes 11:32 switching them out and bringing them up 11:34 to get counted At this point Amy 11:36 Irming's character sneaks in and we get 11:39 this miraculous This is all one take It 11:41 it took me the third time of watching 11:43 the movie to see that it was all one 11:45 take It's one and it's one crane shot 11:48 Yes Cuz there's tremendous depth in the 11:51 scene Yeah So it starts with PJ Souls 11:53 picking up Tommy and Car's ballot Mhm 11:56 And then it ends with the reveal of them 11:59 winning king and queen of the prom 12:02 Imagine what it took mentally to block 12:04 that scene It's it's three-day level 12:07 chess Yeah I I talked to this I I talked 12:09 about this in our Snakeheads episode 12:11 which is that extended long you know 12:13 three sort of three shots that were made 12:14 into one shot you know Nick Cage 12:17 sequence right but again another thing I 12:19 love about Dama is he visualized this 12:23 shot and he did it Yeah 12:27 And basically the Palama's like when he 12:30 gets an idea in his head that's what 12:32 they're doing Yeah He's he literally 12:35 films what he can visualize Yeah and 12:37 they have to figure out how to do it And 12:38 this one like you said it's it's a crane 12:40 shot So yeah he actually I I um saw a 12:44 documentary on it and he had to fight 12:46 the studio to get the crane Yeah And 12:49 they didn't understand it and he was 12:51 like "Well I'm the director." And it 12:54 wasn't a high school That place didn't 12:56 have a roof Okay They just hung up stars 12:59 to give the illusion of a roof Oh wow 13:02 It's a 13:04 360° set Mhm And they had 13:08 assistants rip out chairs and tables and 13:11 move people while they were doing the 13:12 shot Excellent Just think about the the 13:15 the I mean the trust and the 13:17 organization Yeah And well no and 13:20 everybody has to hit their mark as well 13:22 It's not just the technical thing behind 13:25 it It's like if an actor or a performer 13:27 in front of the camera [ __ ] up Yeah 13:29 you're you're take shot You might as 13:31 well just start over Yeah And that's the 13:33 Palmer right yeah He's a He's a 30 take 13:36 director He's uh he's I mean and that's 13:38 the ' 70s when you think about it Lucas 13:41 was the same way I mean there's the 13:43 famous uh uh Death Star hallway shot 13:45 they shot like what 50 times or 13:47 something Yeah Where and it didn't and 13:49 then didn't end up in the movie 13:51 But the one thing I will say about this 13:53 uh Seco is all of the quote unquote 13:57 gimmicky shots that the PAMA does Mhm 14:01 They're the best way to tell the story 14:05 the way he needs to tell it Yeah Again 14:08 to see this flow of events from the you 14:10 know picking up of the ballot tracking 14:12 up past Amy tells what one shot he tells 14:15 the story Mhm The basic premise of the 14:19 most pivotal point in the movie Yeah 14:21 This is if they hadn't done this nobody 14:24 would have died Maybe the mother Yeah Oh 14:28 yeah because she was already plotting 14:29 her the death of her daughter Yeah Right 14:32 Uhhuh Yeah Yeah But basically uh the two 14:35 of them might have died because 14:37 obviously uh spoilers about a 14:39 50-year-old 14:41 movie Her mother attempts to kill her 14:44 and in the end she kills her mother and 14:47 then she brings her into a closet where 14:49 she's been uh you know basically 14:52 maligned all her life She pushed to the 14:53 glass to pray 14:55 and then she basically kills herself by 14:57 destroying the house around her and she 14:59 dies in the and they die in the fire Yes 15:02 Right But if that if that rope thing if 15:05 they hadn't done that stupid stuff with 15:06 the bucket Mhm if those kids hadn't been 15:09 so mean 15:11 and I mean it's it's kind of presented 15:14 as well they're just fun-loving kids and 15:16 they didn't really mean it right it's 15:19 just this 18-year-old self-centered 15:21 narcissistic You can't do this to me You 15:24 can't make me uh get detention I'm gonna 15:27 avenge myself Well they picked the wrong 15:29 girl for that didn't they absolutely 15:32 Yeah And we know as a viewer we know So 15:35 we know when we see them at the bottom 15:38 of that base where they're going to be 15:40 getting that award when we see Nancy 15:42 Allen and John Travolta hiding behind it 15:45 you like "Oh what's going on what's 15:48 going on?" And then you see the rope and 15:49 the rope goes up and where does the rope 15:51 go it goes up and it goes up and and and 15:53 Amy Irving notices it What's that rope 15:55 for notice follows it and they follow it 15:58 and they follow it and then you see the 15:59 bucket Oh that's where they were killing 16:01 the pigs And they have this bucket up 16:03 there and it's like what what's this 16:05 bucket going to do well her moment of 16:08 glory is going to be her moment of 16:10 supreme embarrassment Oh Haha Yeah Um 16:12 and you see this strand of creeper 16:14 dropping and Amy Irving notices it and 16:17 that launches it cuz she runs straight 16:20 to the teacher Yeah And the one thing um 16:23 that I wanted to sort of make sure I 16:25 talked about Hitchcock with is this is 16:27 one of Hitchcock's golden rules is 16:30 Hitchcock was always suspense not 16:33 surprise where as an audience member we 16:36 know something that's going to happen 16:38 that the character doesn't the this 16:40 strand of creeper foreshadows what's 16:42 about to happen Yes And I got to tell 16:44 you that I'll take suspense over 16:46 surprise every day of the week twice on 16:49 Sunday It's incredibly effective And the 16:52 other thing I want to say overall about 16:53 this movie yeah the shock scare is a 16:55 copout really It's what Stephen King 16:58 always said It's like okay first I'll 17:00 try suspense um and then I'll try to 17:03 shock you and if that doesn't work I'll 17:05 go for the gross out That's basically 17:06 how it go No And I mean there's a time 17:08 and a place for all of it I mean a 17:09 Friday the 13th movie a slasher film 17:12 isn't going to really work too well with 17:13 suspense Uh but you need surprise But I 17:16 will say this as well Seco this movie 17:20 it's nowhere near the Palama's goriest 17:24 for a horror film it's it's not as gori 17:26 He's made much gorier films that were 17:28 not horror films But at the same time 17:31 the the main takeaway from this movie 17:33 that I got was aside from being like an 17:36 incredibly sad movie Um you know I mean 17:39 [ __ ] Spacics performances incredible as 17:42 this girl that you know she gets home 17:44 and you feel her pain Yeah She just 17:45 wants her mom to hug her I mean that if 17:47 that doesn't like just crush you I don't 17:50 I don't know what will And even after 17:52 her mother's dead she still wants to 17:55 embrace her But I mean this movie it's 17:58 truly terrifying Well basically [ __ ] 18:02 Spacic just gives off the vibe with just 18:06 with the with the with her eyes Mhm And 18:10 especially how the Palma shoots those 18:12 eyes Yeah That's really makes that 18:15 that's what makes the horror because she 18:16 did And that visual of her being 18:18 completely covered in blood Yeah And of 18:20 course that's symbolic because the whole 18:22 thing starts with blood because it's 18:24 about a girl coming into her telekinetic 18:26 powers because she u uh start that's the 18:31 idea king had It's like oh yeah it's a 18:33 it's kind of a preternatural kind of 18:35 thing Yeah that you know uh a woman who 18:39 comes of age uh reaches these powers and 18:42 that's another symbolic thing because 18:43 she that's the point where she she stops 18:45 being a child and starts getting 18:47 receiving power over men basically Yeah 18:50 Right That's the idea and everything is 18:52 a motif Everything in this film is a 18:54 motif and most of it is religious Deeply 18:57 deeply religious Everything Even the 18:59 scene we were describing everything is 19:03 completely engineered to make a 19:06 commentary about organized religion Yeah 19:09 Well and and and I'm sure we'll talk 19:11 about this scene at some point if not 19:13 with you maybe with somebody else but 19:16 the the final scene between Carrie and 19:18 her mother in the book of according to 19:21 Depalama she just has a heart attack and 19:24 dies Yeah Not in this one though Yeah 19:27 Dama said "Wait a minute What she has a 19:29 heart attack Yeah Carrie a heart attack 19:31 No Carrie slowly stops her heart with 19:33 telekinetic powers 19:35 In a book in a book it works Yeah Yeah 19:38 But again this is the visual storyteller 19:40 that is the PAMA putting two and two 19:42 together and saying "We're making this 19:43 deeply religious sort of film How can 19:47 you not a house episode they would just 19:49 show it right?" But of course in the 70s 19:52 the Palma didn't have have that kind of 19:55 visual option So it's like well what's 19:57 best well we just shoot her through with 20:00 knives just like the doll in the closet 20:02 Yeah Yeah There's a doll in the closet 20:04 and that is made to represent I think St 20:06 Christopher who is like run through with 20:09 arrows and she was always made to pray 20:12 and then in the end when she murders her 20:14 mother the mother is in the exact same 20:16 pose as as the as the uh patron saint 20:22 It's very symbolic Yeah And one other 20:24 point I did want to note and 20:28 um god we're we're we're talking about a 20:30 bunch of different scenes here but I do 20:31 want to make sure that we focus on the 20:33 sequence that we were but yes after the 20:34 pig blood we get the split screen where 20:37 she looks up and the lights are red and 20:39 then the whole scene becomes red Right 20:42 This is one of one of the Palmer's 20:44 famous red movies Yes Uh probably only 20:47 outdone by Daario Arento in terms of his 20:50 use of red Right But again Carrie up 20:54 until about 45 minutes ago wasn't 20:59 incredibly high on my list of diploma 21:01 films if I was going to rank them and 21:05 it's probably close to being in my top 21:08 10 right now Yes And it's also so 21:10 important to the Palma himself because 21:12 this was his first real commercial 21:14 success that we probably wouldn't have 21:17 had gotten the Palma after the 70s if 21:19 this one had bombed Yeah And you know 21:22 what's funny about that is he did um uh 21:25 his the movie he did after this was 21:27 called The Fury with Kirk Douglas which 21:30 also deals with telekinesis 21:33 Mhm And there's a wonderful documentary 21:35 I know we've talked about it offline and 21:36 you haven't seen it yet called Deama 21:38 where it's just basically Deama sitting 21:40 down like you are right now and just 21:42 talking through each one of his films 21:44 and he basically says that the fury was 21:47 the only thing he could get So you're 21:50 incredibly correct when you say that had 21:53 Carrie not done what it did uh because 21:55 of course it it became sort of a runaway 21:57 hit and also got nominated for two 21:59 Oscars but Mhm in the immediate 22:01 aftermath of it he was scrambling to 22:03 find a project to do Yeah And then again 22:06 I think after you know Carrie did what 22:09 it did he was sort of given a little bit 22:11 more um of an opportunity to sort of 22:14 pick and choose his projects Yes Well it 22:17 it is when you think about it is it is 22:18 really a showcase of of the ultimate 22:20 talent that he has because he had a 22:22 budget made of nothing He had 1.6 22:25 million What is that so and I mean 22:28 that's why he doesn't blow up the 22:29 village He just blows up the the high 22:31 school gym right 22:33 But the thing is his uh superior film 22:37 making gets him through it all Anyone 22:41 else with 1.6 22:43 million would have delivered a third 22:46 Yeah But the other thing the other thing 22:48 I I I want to stress and I've tried to 22:50 stress this in every episode we've done 22:51 so far is that and I said it already in 22:55 this episode is that when Deama does a a 22:59 shot uh that other filmmakers will do 23:02 and and I'll bring Michael Bay to mind 23:04 and I I I enjoy Michael Bay I like his 23:07 films I think when I want to you know 23:09 eat some popcorn and put my brain on the 23:11 you know on the couch next to me I I can 23:13 watch Michael Ba Bay bay film But but 23:15 when you see one of his like you know 23:16 patented bad boy shots where he's 23:18 revolving around somebody sure you're 23:21 made acutely aware of what he's doing 23:24 whereas anytime the PAMA is doing a 23:26 gimmicky shot or a shot that's very 23:28 complex or very artistic 23:31 there's a very particular reason behind 23:33 it It's serving the story but it's also 23:36 showcasing his technique and his mastery 23:38 of the art And I think that's one thing 23:41 that DeAma doesn't get enough credit for 23:43 because a lot of filmmakers that are 23:46 known for um their cinematography or 23:49 their their use of the camera Mhm get 23:52 highlighted a lot 23:53 more or get you know considered as as 23:56 very sort of stylistic directors Well 23:58 it's it's kind of haunted him to a 23:59 certain extent Yes People think of his 24:02 films as too artsy But that's the other 24:04 thing I wanted to get to because I 24:06 mentioned it in our Snake Eyes episode 24:07 is Deama sort of makes artistic films 24:11 for gutter viewers right he's he's 24:14 Mozart when you think about it Yeah And 24:16 I mean a lot of filmmakers I think they 24:18 operate at a level above a lot of the 24:21 the common you know movie goers heads 24:23 but I think that at his heart is really 24:26 making popcorn films Yes And he he does 24:29 it to great effect That's the difference 24:31 It's not art for art's sake He uses 24:35 technique to elevate the scene Yeah Yeah 24:38 And again it doesn't seem self- serving 24:40 It all is in service of the story But if 24:43 you haven't watched Carrie it's it's I 24:45 don't know where you watched it where 24:46 you are but here in the States it's on 24:48 HBO Max or just Max right now It's 24:51 available there So I own the I own it So 24:54 okay But for for listeners who don't 24:56 have the DVD on their shelf um or their 24:58 Blu-ray or the the new 4K 25:01 it it is on Max here So if you have a 25:03 Mac subscription you can either uh watch 25:05 it there or sign up for the free trial 25:06 and watch it But I encourage you to 25:08 watch this movie Uh but also pay 25:10 attention to this shot because it took 25:13 me the third time I was watching the 25:16 scene 25:18 before I I had to rewind it and I said I 25:20 paused the movie and I said "Wait a 25:21 minute." Yeah This is one long shot 25:24 which isn't even the thing that really 25:27 blew me away about this When you 25:28 suggested we do the sequence I was just 25:30 like "Oh it climbs up and then it goes 25:32 through the pillar to reveal Tommy and 25:35 Carrie." But then I was like "Wait 25:36 there's a whole other half." And then I 25:38 was like "Son of a bitch." Sico knew 25:40 what he was doing when he picked 25:42 sequence Because the the one of the 25:44 reasons why the scene is so important is 25:46 because what comes next is all short 25:49 cuts It's all cut cut And I've heard the 25:52 Palmer say that you can get away with 25:55 something like that because cutting is 25:57 considered you know ugly But you can get 25:59 away with that something like that if 26:01 you don't cut before it cuz that makes 26:05 the cutting more effective It's like 26:07 taking a deep breath Speeds up the film 26:09 And having one long pivotal scene like 26:13 this like you said not just building 26:15 tension but it it kind of stretches out 26:18 time And then when you start cutting 26:21 it's like building power in an engine 26:23 and then releasing it And because the 26:25 final act of the film is again a very 26:29 small uh 26:31 very harshly blocked scene right the 26:35 death of the mother the the um the 26:37 confrontation with the mother It's I 26:39 mean it's back in the house and it's 26:40 dark overtones with all those candles 26:43 and this 26:45 scene perfectly connects everything that 26:48 came before it and everything that comes 26:49 after Yeah It's brilliant Yeah And it's 26:53 it's like I can watch this scene again 26:55 and again and again and again and think 26:57 about like okay how did he come up with 26:59 this because in any other movie it would 27:03 have just been a pan shot and that's it 27:05 Yep No absolutely It would have been a 27:06 throw cut you know Go Yeah Back to back 27:10 basically back to the portrait shots 27:12 because they're pretty young people He 27:13 doesn't do that He shows them from 27:15 really odd angles as well Yeah No I mean 27:17 it's it's one of my favorite aspects of 27:19 of Dealama is just you know that he's 27:22 going to find the most interesting way 27:23 to shoot the scene He sets another thing 27:26 that this scene does it sets up the 27:28 motivation for Nancy Allen to do all 27:31 this Mhm It's a sex thing for her Oh 27:35 yeah Yeah Well you're looking She looks 27:37 like she orgasms when she releases the 27:39 rope trailer And that's why you're 27:40 showing the rope Yeah cuz that rope is 27:42 basically Nancy Allen having sex Yeah Oh 27:45 my goodness Well see Yeah I know We 27:48 could probably you know what at some 27:50 point maybe I'll start doing long form 27:52 episodes on on movies and we can talk 27:54 about Carrie and we can talk about it 27:55 for hours and hours Yeah Yeah Uh but 27:57 yeah again this sequence uh the the pig 28:00 blood bucket reveal is a masterful uh 28:03 sequence in a in a a masterful movie 28:06 possibly to Palama's first masterpiece 28:08 of many But Seiko I want to thank you 28:10 for sitting down and picking this movie 28:12 and picking this sequence I enjoyed 28:15 watching the movie uh immensely and I 28:17 enjoy I really enjoyed speaking through 28:19 it with you Before we go though I know 28:21 uh we're both on the Last of the Action 28:23 Heroes Network podcast together 28:25 Technically I still am Yeah Do you want 28:27 to talk a little bit about what's on the 28:29 podcasting horizon or where people can 28:31 find Oh those are there are big things 28:33 coming Okay Yeah Uh I've been working 28:36 for almost a year now uh to bring the my 28:39 my podcast the Mel Gibson podcast 28:41 Hugging the Cactus to bring it to 28:43 YouTube and we're almost there So yeah 28:46 I've uh because I'm taking it from radio 28:49 to television Excellent Visual entity 28:52 now Yeah And we've done it we've done 28:53 two episodes of that show together right 28:55 yes we have Yeah So I'll be sure to link 28:58 uh where you can find that uh on the 29:00 network And Seco I'm sure uh we'll 29:03 hopefully talk again for uh this Palama 29:05 show because I know we're both big fans 29:08 Definitely All right Take care Thanks 29:10 for having me on 29:13 [Music]