Latest / Beyond The Blood: A Horror Movie Commentary Podcast / House of 1000 Corpses (2003) Feat. Brian from Last Movie Standing!

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House of 1000 Corpses (2003) Feat. Brian from Last Movie Standing! · Beyond The Blood: A Horror Movie Commentary Podcast

• 0:07
  Speaker 1: On April eleventh, two thousand and three, Rob Zombie's debut film,
• 0:11
  Speaker 1: House of a Thousand Corpses landed in US theaters, Starring
• 0:15
  Speaker 1: many genre legends such as Sid Hague, Bill Moseley, and
• 0:19
  Speaker 1: Karen Black, alongside Chris Hardwick, Rain Wilson, and Walton Goggins,
• 0:24
  Speaker 1: just to name a few. House of a Thousand Corpses
• 0:26
  Speaker 1: follows two young couples traveling across the back road the
• 0:29
  Speaker 1: backwoods of Texas for urban legends of murder, but end
• 0:33
  Speaker 1: up as prisoners of a bizarre and sadistic backwater family
• 0:36
  Speaker 1: of serial killers. Grossing sixteen million dollars worldwide from a
• 0:41
  Speaker 1: seven million dollar budget, House of a Thousand Corpses went
• 0:44
  Speaker 1: on to spawn two sequels, as well as a fruitful
• 0:47
  Speaker 1: directing career for Rob Zombie. The Journey to the Firefly
• 0:50
  Speaker 1: House was almost cut short, though, due to heavy cuts
• 0:53
  Speaker 1: onto films of violence and universal shelving the film, deeming
• 0:56
  Speaker 1: it unreleasable. On this episode of Beyond the Blood, We'll
• 1:00
  Speaker 1: be discussing and breaking down Rob Zombie's commentary featured on
• 1:03
  Speaker 1: the Lion's Gate twentieth anniversary release. We wanted to be
• 1:06
  Speaker 1: as current as possible, So this commentary was only available
• 1:10
  Speaker 1: on the digital release that we used out of the
• 1:13
  Speaker 1: physical release. Confusing, I know. Join us as we talk
• 1:17
  Speaker 1: about the long lost, unrated cut, the studio interference, and
• 1:21
  Speaker 1: all of the behind the scenes fun from Rob Zombie himself.
• 1:25
  Speaker 1: So to kick this off, my name is Chris Higgins.
• 1:27
  Speaker 1: I am your host on this murder ride, known on
• 1:30
  Speaker 1: the internet as Bearded film Guy. But I'm not alone
• 1:34
  Speaker 1: on this backwoods journey through Hell. I have my co
• 1:37
  Speaker 1: host here with me. What's up, chuck yo?
• 1:40
  Speaker 2: What's going on? Everyone? I will tell you though. After
• 1:42
  Speaker 2: getting off this murder ride, this fried chicken hits hard.
• 1:46
  Speaker 2: I'm so glad it was complimentary.
• 1:49
  Speaker 1: Dude. When he gives away the complimentary fried chicken to them,
• 1:52
  Speaker 1: I was like, Man, these guys just lost money. Why
• 1:54
  Speaker 1: do you give that away?
• 1:56
  Speaker 2: I mean, hey, I guess you work up an appetite
• 1:58
  Speaker 2: after learning about serial killer and whatnot.
• 2:02
  Speaker 1: Well, we have an incredible guest. This guy has become
• 2:08
  Speaker 1: one of my best friends in this community. And I
• 2:10
  Speaker 1: was shocked when we posted the guest wanted list and
• 2:17
  Speaker 1: he answered so fast to cover this movie, and I
• 2:21
  Speaker 1: was really shocked by it. But I'm so happy about it.
• 2:25
  Speaker 1: We have on Brian from last movie standing, what's up? Dude?
• 2:29
  Speaker 3: Hey, what's going on?
• 2:29
  Speaker 1: Guys?
• 2:30
  Speaker 3: What's up? Chris? It's up, Chuck?
• 2:32
  Speaker 2: How are you Manx for joining the show?
• 2:34
  Speaker 3: Thanks for having me?
• 2:35
  Speaker 1: Dude? All right, so I'll ask you right off the
• 2:37
  Speaker 1: rip here you answered the or you replied to the
• 2:43
  Speaker 1: message so fast on this movie. I had no idea
• 2:47
  Speaker 1: this would be like the one to get you. So
• 2:51
  Speaker 1: what is it about this one? What is it about
• 2:53
  Speaker 1: this movie?
• 2:55
  Speaker 3: I've just always been a fan of Rob Zombie. Rob
• 2:58
  Speaker 3: Zombie has just as a filmmaker. I remember seeing this
• 3:02
  Speaker 3: movie back when it first came out on I couldn't
• 3:06
  Speaker 3: see I was too young to see it in theaters.
• 3:08
  Speaker 3: I don't even know if it came to my small
• 3:09
  Speaker 3: little town and I had to download it off like
• 3:13
  Speaker 3: LimeWire or bear share or something, and just being awestruck
• 3:19
  Speaker 3: by this film and then following Rob Zombie's career, you know,
• 3:23
  Speaker 3: it's just I have so much respect for the man,
• 3:26
  Speaker 3: and so when you put that out, I was like, Yes,
• 3:29
  Speaker 3: I have so much to say about this movie. I
• 3:31
  Speaker 3: relate to it so much, and I'm not really the
• 3:33
  Speaker 3: biggest horror guy. But when it comes to Rob Zombie,
• 3:37
  Speaker 3: all exceptions, you know, are made because I love the guy.
• 3:42
  Speaker 1: Yeah, I think that's why I was shocked, because I
• 3:44
  Speaker 1: was hoping. I knew you weren't a giant horror guy,
• 3:48
  Speaker 1: and here I am like, oh, I have a horror
• 3:50
  Speaker 1: commentary podcast. I was like, I hope there's something that
• 3:53
  Speaker 1: one day I can get Brian on for. And when
• 3:56
  Speaker 1: you messaged me, I was genuinely shocked, happy, but shocked.
• 4:01
  Speaker 3: I will say, yeah no because when it comes to Rob,
• 4:04
  Speaker 3: I feel like it go and we'll talk about it
• 4:07
  Speaker 3: more in depth, but I feel like it goes way
• 4:08
  Speaker 3: beyond just a horror aspect of it, especially with this film.
• 4:12
  Speaker 3: I think the story behind the film is really incredible too.
• 4:16
  Speaker 1: Yeah, yeah, I completely agree too. Man. But Chuck you,
• 4:20
  Speaker 1: so for everybody kind of get like a behind the
• 4:22
  Speaker 1: scenes of the show. We pick our episodes like by
• 4:26
  Speaker 1: the season, so we picked six episodes for the season.
• 4:30
  Speaker 1: I picked three Chuck picks. Three Chuck you, this was
• 4:33
  Speaker 1: your pick and this is your birthday month. Yes, so
• 4:37
  Speaker 1: good pick. So why this movie for you is what
• 4:40
  Speaker 1: I'm asking.
• 4:41
  Speaker 2: So the reason I picked this movie is just one
• 4:44
  Speaker 2: of the earlier horror films that actually sat down and
• 4:46
  Speaker 2: watched and as Brian said, you know, I'm a big
• 4:49
  Speaker 2: Rob Zombie fan. At first it was his music and
• 4:52
  Speaker 2: the first time I saw this movie, I think I
• 4:54
  Speaker 2: mentioned that I rented it from a movie store, but
• 4:59
  Speaker 2: I lied actually watched it because my older brother actually
• 5:03
  Speaker 2: bought the DVD. So when I was snooping around his
• 5:06
  Speaker 2: room and looking aheat his movies, I just saw Rob
• 5:08
  Speaker 2: Zombie's House of a Thousand Corpses. I was like, Rob
• 5:10
  Speaker 2: Zombie made a movie. Let's check it out, popped it in,
• 5:14
  Speaker 2: watched it all struck and I was like, this is incredible.
• 5:18
  Speaker 2: And that was like one of the first like ror
• 5:20
  Speaker 2: movies that was like, all right, I'm deep diving. R
• 5:24
  Speaker 2: is my thing. Let's go.
• 5:27
  Speaker 1: What was you're a big video game guy, what was
• 5:30
  Speaker 1: the the snowmobile game on Place you Should Water or
• 5:34
  Speaker 1: two that had Dragula on it? That was my introduction
• 5:39
  Speaker 1: to Rob Zombie.
• 5:41
  Speaker 2: I wish I could tell you. Yeah, I'm not familiar
• 5:43
  Speaker 2: with any snowmobile like games.
• 5:45
  Speaker 3: Were an ATV.
• 5:48
  Speaker 1: I don't I remember being Snowy. I don't know.
• 5:52
  Speaker 2: We'll have to look it up, and I might be mistaken.
• 5:54
  Speaker 2: I think he may have had a track in one
• 5:55
  Speaker 2: of the listed metal games on PS one. I could
• 5:58
  Speaker 2: be wrong.
• 6:00
  Speaker 1: I just remember, oh no it wait was yeah, it
• 6:03
  Speaker 1: was Dragula in the in the game. I can't remember, man.
• 6:07
  Speaker 3: Dragular has been on so many different things, yeah, dude,
• 6:11
  Speaker 3: so many.
• 6:11
  Speaker 1: Because I was questioning whether it was one of the
• 6:13
  Speaker 1: Burnout games, you know, one of the four of those,
• 6:15
  Speaker 1: like maybe it was in that, but I just remember
• 6:17
  Speaker 1: some No, maybe I'm completely making this up, bro, maybe
• 6:20
  Speaker 1: this never happened. And uh, you know, it's like one
• 6:23
  Speaker 1: of those weird you know, but I mean same, same
• 6:27
  Speaker 1: with me as far as you guys. With House, this
• 6:29
  Speaker 1: was I feel like a very like lucrative title when
• 6:35
  Speaker 1: I was young, mostly because of the name of the movie,
• 6:37
  Speaker 1: like House of a Thousand Corpses. It was such a
• 6:40
  Speaker 1: you know, the assumption, yeah, the assumption of what that
• 6:44
  Speaker 1: movie is, and that poster, that theatrical poster with the
• 6:47
  Speaker 1: face is yeah, yeah, yeah, dude. So I remember seeing
• 6:54
  Speaker 1: this and just completely like open transparency. Before we start
• 7:00
  Speaker 1: research for this, I hadn't seen this movie in a
• 7:02
  Speaker 1: long time. It had been a while. The movie for
• 7:07
  Speaker 1: me is so much better now because of how much
• 7:12
  Speaker 1: I've learned about exploitation. So I take over the last
• 7:16
  Speaker 1: like five years, I've taken this deep dive into like
• 7:19
  Speaker 1: the dirtiest ruts of the exploitation genre. And it's made
• 7:24
  Speaker 1: me appreciate Zombie more because I am now educated in
• 7:27
  Speaker 1: the inspiration for his movie. So I can see in
• 7:32
  Speaker 1: his films what he's trying to do, and I understand
• 7:35
  Speaker 1: it more, so I have more respect for it.
• 7:38
  Speaker 3: Actually, if you like go back and you look at
• 7:41
  Speaker 3: even his modern stuff, at his music videos. If you
• 7:44
  Speaker 3: watch his music videos that he directs all of them, Yeah,
• 7:48
  Speaker 3: and you watch his movies, it totally makes sense. Yeah, no,
• 7:52
  Speaker 3: esp Actually this one, like this is probably the most
• 7:56
  Speaker 3: Rob Zombie movie he's ever made if you look at
• 8:00
  Speaker 3: his music videos, like with the negative effect that they
• 8:06
  Speaker 3: do in everything, like the like like all the effects
• 8:10
  Speaker 3: switching between thirty five millimeter and like handheld camera footage,
• 8:15
  Speaker 3: and it's very Rob Zombie music video.
• 8:19
  Speaker 1: Yeah, dude, he I have to give him credit. I
• 8:22
  Speaker 1: feel like Rob Zombie has never been a victim of
• 8:26
  Speaker 1: identity crisis. Everything he does is purely him and no
• 8:31
  Speaker 1: matter how much, like we'll even get in the studio
• 8:33
  Speaker 1: stuff with this movie, Like, no matter how much studio influencer.
• 8:36
  Speaker 1: It never truly compromises with what his vision is. Like,
• 8:40
  Speaker 1: sure it changes the cuts, like you know, Halloween two
• 8:43
  Speaker 1: or what We'll go over with this, Like there's some
• 8:45
  Speaker 1: stuff that gets cut and chop. But the moment you
• 8:48
  Speaker 1: play a scene from a Rob Zombie movie, I know
• 8:50
  Speaker 1: exactly who it is. I could tell. I mean, read
• 8:55
  Speaker 1: any page of dialogue from a script of any of
• 8:59
  Speaker 1: his movies and you know it's right Zombie, you know
• 9:00
  Speaker 1: what I mean. It's just that that brass and that
• 9:04
  Speaker 1: style that I feel like only he It's either he's
• 9:08
  Speaker 1: only crazy enough to put these in these movies or
• 9:10
  Speaker 1: this is genuinely what he because I know he he
• 9:13
  Speaker 1: came from like a background of carnies and these.
• 9:17
  Speaker 3: Very h Yeah he grew up in the circus.
• 9:20
  Speaker 1: Yeah, yeah, like this very southern carnie. So like the
• 9:23
  Speaker 1: dialogue in his remake of Halloween in the Kitchen, which
• 9:27
  Speaker 1: is like incredibly cringey to us, is what he grew
• 9:31
  Speaker 1: up hearing. So it's it's interesting, you know, But this
• 9:37
  Speaker 1: movie went through a ton of issues, and the story
• 9:42
  Speaker 1: behind how it actually came out is one of the
• 9:47
  Speaker 1: funniest fucking things I've ever heard. In my life, this
• 9:49
  Speaker 1: sounds like something out of like a movie. So Rob Zombie. Essentially,
• 9:57
  Speaker 1: the idea for this movie came from he was hired
• 10:00
  Speaker 1: by Halloween Harrd Knights to do a haunted house and
• 10:03
  Speaker 1: he had this concept and this is what led to
• 10:06
  Speaker 1: the movie being made. So the movie was filmed in
• 10:09
  Speaker 1: two thousand, wasn't released till two thousand and three. Are
• 10:12
  Speaker 1: actually technically a wrapped production in two thousand, So let's
• 10:15
  Speaker 1: go late ninety nine into two thousand. Universal funded this
• 10:20
  Speaker 1: movie and did everything all the way up to the
• 10:24
  Speaker 1: point where the ending he robs on. He ran out
• 10:28
  Speaker 1: of money and he was like, I'm gonna take a shot.
• 10:31
  Speaker 1: I'm going to shoot a really shitty ending and maybe
• 10:34
  Speaker 1: they'll help us make a new ending. So he shot
• 10:38
  Speaker 1: this incredibly shitty ending and went to a screener and
• 10:42
  Speaker 1: Universal was like, God, that ending sucks, and he's like, yeah,
• 10:46
  Speaker 1: ran out of money and they're like, yeah, here's cash,
• 10:49
  Speaker 1: you know, like go redo it. So he did. Then
• 10:54
  Speaker 1: Universal got cold feet because they were terribly afraid of
• 10:59
  Speaker 1: this movie, getting it NC seventeen rating, which they would
• 11:03
  Speaker 1: not put out. And this is it's really funny man,
• 11:05
  Speaker 1: because we're talking about early two thousands where I feel
• 11:08
  Speaker 1: like horror movies were at the most censored.
• 11:13
  Speaker 3: Do we know if it actually ever got an NC
• 11:17
  Speaker 3: seventeen rating or were they just scared it was going.
• 11:19
  Speaker 1: To According to lost media Wiki, which is the go
• 11:25
  Speaker 1: to site for deleted scenes on rated footage, like they
• 11:28
  Speaker 1: break it down pretty heavy, they were fearing it would
• 11:31
  Speaker 1: get an NC seventeen rating because they forced Zombie to
• 11:35
  Speaker 1: do a lot of stuff, So like there were scenes
• 11:37
  Speaker 1: where there was a lot more blood and that's why
• 11:40
  Speaker 1: there's like red lighting to make it appear more violent
• 11:43
  Speaker 1: than it actually is. Because Zombie was getting so much
• 11:47
  Speaker 1: pressure from Universal to keep it as tamed as he could,
• 11:50
  Speaker 1: but he still wanted to give that impact. So I
• 11:53
  Speaker 1: think they were afraid of it getting an NC seventeen rating,
• 11:56
  Speaker 1: which we'll talk about after this What what What was
• 12:00
  Speaker 1: in the movie originally that might have prompted that, but
• 12:04
  Speaker 1: they were afraid of it, so they shelved it. So
• 12:07
  Speaker 1: Rob Zombie was like, Okay, you're not gonna do that,
• 12:10
  Speaker 1: let me buy this, So he purchases the movie to
• 12:14
  Speaker 1: from Universal. Then he gets approached by MGM. MGM's like, hey,
• 12:18
  Speaker 1: well buy this Zombie's like, here you go, let's do this,
• 12:22
  Speaker 1: So they buy it, and then, in some weird turn
• 12:26
  Speaker 1: of events, somebody at MGM overheard Rob Zombie say to
• 12:32
  Speaker 1: somebody that MGM had no morals for purchasing this movie,
• 12:37
  Speaker 1: which is like insane, So then they shelved it. They're like, well,
• 12:42
  Speaker 1: we don't want to put we don't want this movie,
• 12:45
  Speaker 1: so they they shelve it. So Zombie's like, fuck, okay,
• 12:48
  Speaker 1: I'll buy it again. So then he bought it again
• 12:51
  Speaker 1: and finally saw the lions Gate who distributed it in
• 12:55
  Speaker 1: two thousand and three, so it's like, what the fuck?
• 13:01
  Speaker 1: I feel like, this is such a Rob Zombie thing
• 13:04
  Speaker 1: that happen anyway, Yeah, I mean, I.
• 13:07
  Speaker 3: Mean, I mean, I give him the most credit for
• 13:08
  Speaker 3: sticking to his original vision and then going through, you know,
• 13:13
  Speaker 3: making it with one studio they don't want it, and saying, well,
• 13:16
  Speaker 3: I'll buy it back, selling it to another one. I'm
• 13:19
  Speaker 3: not changing it, buy it back, and then going like,
• 13:21
  Speaker 3: I wonder what the deal with with Lionsgate, Like it's lehen,
• 13:25
  Speaker 3: you know, I'll sell it to you, but I'm not
• 13:27
  Speaker 3: changing shit. Like I feel like, even at that time,
• 13:31
  Speaker 3: Rob Zombie probably had enough money to distribute it himself
• 13:34
  Speaker 3: if he really wanted to. But you gotta think that
• 13:37
  Speaker 3: was still that was a I mean like straight to DVD.
• 13:44
  Speaker 3: Like I don't think Rob Zombie would have gone that route,
• 13:46
  Speaker 3: but I mean.
• 13:47
  Speaker 1: That was a bad market in Yeah and too.
• 13:50
  Speaker 3: Yeah, I was gonna say I was I was gonna
• 13:52
  Speaker 3: say I didn't think that market was there, but it was.
• 13:54
  Speaker 3: But it didn't really boom until like two thousand and
• 13:56
  Speaker 3: six and seven, and like those times when the straight
• 13:59
  Speaker 3: TDB he really boomed. But yeah, just way pre before that.
• 14:03
  Speaker 1: Well, I think Lionsgate forced them to do something because
• 14:07
  Speaker 1: according to I tried to research this and everything is rumored.
• 14:11
  Speaker 1: There is some quotes from Rob Zombie about missing footage.
• 14:16
  Speaker 1: There's no confirmation of exactly how much footage was cut.
• 14:19
  Speaker 1: But at the premiere of this movie, which I believe
• 14:22
  Speaker 1: it or not, I think it was in Mexico. I
• 14:24
  Speaker 1: think this movie prepeared under Lionsgate distribution. It was one
• 14:28
  Speaker 1: hundred and four minutes long, and that was confirmed by
• 14:34
  Speaker 1: a leak. So somebody had filmed or like got that
• 14:38
  Speaker 1: somehow they put it on like LimeWire, what's the other one,
• 14:41
  Speaker 1: Pirate Bay, like they leaked it and other people were
• 14:46
  Speaker 1: able to see it. So when a movie comes out
• 14:49
  Speaker 1: in the US, it's eighty eight minutes, so people are like, well,
• 14:53
  Speaker 1: well hold on, I heard this was one hundred and
• 14:56
  Speaker 1: four minutes. And since then the the leak online has disappeared,
• 15:01
  Speaker 1: and Zombie has said that he doesn't think it'll ever
• 15:05
  Speaker 1: come out because the footage has gone based, nobody gave
• 15:07
  Speaker 1: a shit about it, nobody tried to hold on to it.
• 15:10
  Speaker 1: He doesn't think it's ever going to happen, which I
• 15:13
  Speaker 1: feel like if it was a serious intent to do it,
• 15:16
  Speaker 1: we would have gotten it this year or two years
• 15:18
  Speaker 1: ago during that anniversary. But then I heard a rumor
• 15:25
  Speaker 1: or I had read about multiple rumors about the movie
• 15:29
  Speaker 1: was originally one hundred and forty minutes long, and which
• 15:35
  Speaker 1: is insane, especially for the early two thousands of horror movie,
• 15:39
  Speaker 1: because I feel like scream at like ninety nine minutes
• 15:42
  Speaker 1: is too long for that era of film. But that's
• 15:46
  Speaker 1: just me. In that one hundred and forty minutes, there
• 15:50
  Speaker 1: was a lady who there was footage of a woman
• 15:55
  Speaker 1: who would who had a bunch of dead animal bodies
• 15:59
  Speaker 1: and she would like do like interpretations of plays I
• 16:04
  Speaker 1: read that's like some of the missing footage, but the
• 16:07
  Speaker 1: most of it was of his wife, Sherry Moon Zombie,
• 16:10
  Speaker 1: who plays Baby Firefly, And it was an extension of
• 16:15
  Speaker 1: all these shots that we get in a movie already.
• 16:18
  Speaker 1: And there was supposedly a sequence in that of her
• 16:22
  Speaker 1: masturbating with the skeleton hand all the way to orgasm,
• 16:27
  Speaker 1: so that was apparently ann cut too.
• 16:30
  Speaker 3: Yeah, I don't remember that. I remember seeing it for
• 16:32
  Speaker 3: the first time back in when it came out on
• 16:36
  Speaker 3: you know, Lionwire, Bootleg, Bear Share or something, but I
• 16:39
  Speaker 3: don't It's been so long, it's been over twenty years,
• 16:41
  Speaker 3: so I don't remember specifically that. But I do remember
• 16:45
  Speaker 3: hearing about the end, reading that that was there, the
• 16:47
  Speaker 3: scene with her in the skeleton.
• 16:49
  Speaker 1: Yeah, I mean you can see, like when you watch
• 16:51
  Speaker 1: the movie, it makes sense.
• 16:53
  Speaker 3: Yeah, yeah, you see her in bed with the skeleton,
• 16:55
  Speaker 3: like you know, there's you know, yeah something.
• 16:59
  Speaker 1: Yeah, So it's really you know, I am as I'm
• 17:04
  Speaker 1: sure both of you guys are. I'm a I think
• 17:07
  Speaker 1: we should get the director's vision. Like even if the
• 17:09
  Speaker 1: director's cut, even if the unrated cut is not an
• 17:12
  Speaker 1: improvement upon the theatrical I still think it should be
• 17:15
  Speaker 1: out because it's the director's vision. It should be out there,
• 17:18
  Speaker 1: and then I can choose if I want to watch
• 17:20
  Speaker 1: that version or not. It sucks that it was kind
• 17:23
  Speaker 1: of nobody gives a shit about it and that lost supposedly,
• 17:29
  Speaker 1: but I I would watch it if they came out.
• 17:33
  Speaker 1: If Vinegar Syndrome was like, Yo, we got negatives of
• 17:37
  Speaker 1: the House of a Thousand Corpses one hundred ratia cut bro,
• 17:40
  Speaker 1: I'd be on it, dude, I'd buy it. I'd spend
• 17:43
  Speaker 1: I'd spend some money on that.
• 17:44
  Speaker 3: Oh yeah, even if it was crappy and it was
• 17:46
  Speaker 3: like those SD inserts are like VHS quality, you know,
• 17:50
  Speaker 3: where it's like this was ripped from. All we have
• 17:53
  Speaker 3: is this digital file MP four file that is degraded
• 17:56
  Speaker 3: over twenty years. Yeah, you know, and we're doing our
• 17:59
  Speaker 3: best restored. I would still check it out.
• 18:01
  Speaker 1: Yeah, for sure. This movie, though, I feel like there
• 18:06
  Speaker 1: was I feel like it's it's that thing where when
• 18:09
  Speaker 1: I did rewatch it in preparation for this episode, it
• 18:12
  Speaker 1: was much more tamed than I remembered.
• 18:15
  Speaker 3: Yeah, I think so too. Yeah for me too.
• 18:18
  Speaker 1: I remember kind of watching it and I was like, oh,
• 18:20
  Speaker 1: I thought this was I thought this was a I
• 18:22
  Speaker 1: thought this was worse. I actually think Devil's Rejects is
• 18:25
  Speaker 1: a much more violent movie than this one.
• 18:28
  Speaker 3: Is absolutely I think so too. I think so too.
• 18:32
  Speaker 3: But also you got to think too, like we're watching
• 18:34
  Speaker 3: this now, like like we're rewatching this now in the
• 18:37
  Speaker 3: age of the terrifier, history of violence, all this more
• 18:41
  Speaker 3: shock value style horror, where at the time this was it.
• 18:48
  Speaker 1: Yeah, and it depends on what you watched bro the
• 18:51
  Speaker 1: first time. One of my favorite movies of all time
• 18:53
  Speaker 1: is Countable Holocaust, which is notoriously one of the most
• 18:56
  Speaker 1: vile films ever made, according to everybody who doesn't understand
• 19:01
  Speaker 1: that movie. I watched that. I watched like a ZIP
• 19:05
  Speaker 1: file of that off Pirate Bay that I'm pretty sure
• 19:08
  Speaker 1: gave my computer, my mom's computer the virus that killed it.
• 19:12
  Speaker 1: And that was like around this time. I was like fourteen. Yeah,
• 19:14
  Speaker 1: so that's like twenty and five.
• 19:17
  Speaker 2: Yeah, this was like just shy of the quote unquote
• 19:20
  Speaker 2: gore porn era as well.
• 19:22
  Speaker 3: Of like hostile and all that.
• 19:24
  Speaker 4: Yeah, it came out the same year as Saul same year,
• 19:28
  Speaker 4: but well it did come out the same year, but
• 19:31
  Speaker 4: it was also this movie was finished three years before Saul,
• 19:35
  Speaker 4: so it was made in a different era of Yeah, but.
• 19:39
  Speaker 3: Saw One is not shot value when it comes to Gore.
• 19:42
  Speaker 3: Saw One as shot value with the plot twist, Saw
• 19:47
  Speaker 3: It didn't become a Gore fast until the sequel. Then
• 19:49
  Speaker 3: they had to keep upping the Annie. Yeah, I did everything.
• 19:53
  Speaker 1: I think Saul was so impactful because of the like
• 19:58
  Speaker 1: the the thought of like, oh, this is actually gonna
• 20:00
  Speaker 1: saw his leg off, you know what I mean, like
• 20:03
  Speaker 1: what you see of that is not is nowhere near
• 20:05
  Speaker 1: as much as I remember thinking there.
• 20:07
  Speaker 3: Was half of a thousand corpses shot value come from. Damn.
• 20:12
  Speaker 3: This is fucked up. Yeah bro, Yeah, I mean they
• 20:18
  Speaker 3: turned Rain Wilson into a fish. Yeah, crop, I mean
• 20:23
  Speaker 3: you you have all the cheerleaders. I mean they just
• 20:25
  Speaker 3: fuck with people. That's really I've seen, oh the ship scene.
• 20:30
  Speaker 3: Yeah you don't. I don't think you need the modern
• 20:33
  Speaker 3: day Gore for this movie to be effective, especially like
• 20:38
  Speaker 3: back then, and it's like these are some fucked up
• 20:41
  Speaker 3: pill ability. I'm not pulling over to the side of
• 20:43
  Speaker 3: the road with anybody, like yeah, like compare like if
• 20:47
  Speaker 3: you were to compare, like especially now, like Cherry Moon
• 20:51
  Speaker 3: Zombie's character Baby The only thing I can think of
• 20:55
  Speaker 3: is like pearl mhmm, you know, but.
• 21:00
  Speaker 1: A little bit of the Manson girls interpretation from like
• 21:04
  Speaker 1: Once upon a Time in Hollywood.
• 21:06
  Speaker 3: Yeah. Now, Manson was definitely an influence on Rob Zombie
• 21:09
  Speaker 3: with like Foreshear, especially with Otis Bill Mosley's character, like
• 21:15
  Speaker 3: you could definitely tell, and Rob talks about that in
• 21:19
  Speaker 3: the older director's commentary. I know we're gonna talk some
• 21:21
  Speaker 3: about like his new the digital commentary, but even in
• 21:25
  Speaker 3: the older one on the Blu ray and the DVD,
• 21:27
  Speaker 3: he talks about the Manson family and with the Otis.
• 21:30
  Speaker 1: Yeah, I feel like he When I think about Rob
• 21:34
  Speaker 1: Zombie movies in the context of content, I don't like.
• 21:40
  Speaker 1: The easiest one for me to go to is Halloween.
• 21:42
  Speaker 1: His his seven Halloween. It's the scene when he goes
• 21:46
  Speaker 1: downstairs and bashes the boyfriend over that with the bat.
• 21:50
  Speaker 1: It's it's not a violent scene, but it's the fact
• 21:52
  Speaker 1: that he goes into like a seizure that ups it.
• 21:56
  Speaker 1: It brings it to that next because it's like, yeah,
• 21:59
  Speaker 1: if you get hit over ahead with a steel baseball bat,
• 22:01
  Speaker 1: you're probably gonna seize. So it's like, oh, he just
• 22:04
  Speaker 1: got hit there's a little bit of blood, but then
• 22:06
  Speaker 1: the seizure like brings it to that. Next You're like,
• 22:09
  Speaker 1: oh god, this is so much more bothersome yeah, you know,
• 22:12
  Speaker 1: so it's like those little it's almost like it's just
• 22:16
  Speaker 1: these little additions that make it seem more than it
• 22:21
  Speaker 1: is or add to that impact.
• 22:24
  Speaker 3: Yeah, Like when Baby's cutting his hair off and she's
• 22:27
  Speaker 3: quizzing him and every time he doesn't answer one right,
• 22:29
  Speaker 3: she cut, you know, like into his scalp. You know,
• 22:32
  Speaker 3: you don't really see anything, but you just it's just
• 22:35
  Speaker 3: mentally you're just like.
• 22:36
  Speaker 1: Oh yeah, yeah. So getting into our key players, obviously
• 22:40
  Speaker 1: we've talked about Rob Zombie. I want to ask you guys,
• 22:43
  Speaker 1: because I have a pretty good opinion and I don't know.
• 22:48
  Speaker 1: I know, Brian, you love Rob Zombie, so I know
• 22:50
  Speaker 1: you're gonna be fine with this. What would be your
• 22:54
  Speaker 1: top two of Rob Zombie at this point? Because I
• 22:57
  Speaker 1: feel like his his career has stalled for whatever reason.
• 23:01
  Speaker 1: You know, we haven't gotten anything new from Rob Zombie
• 23:04
  Speaker 1: since The Monsters. But at this point, if if he
• 23:08
  Speaker 1: never made another movie, what would be your your your
• 23:11
  Speaker 1: top two from him? Any if anybody? Let's start with
• 23:14
  Speaker 1: Brian's is You're our.
• 23:15
  Speaker 3: Guest, Devil's Rejects one House of a Thousand Corpses too.
• 23:20
  Speaker 2: Okay, okay, to make it easy on you, That's exactly
• 23:24
  Speaker 2: my top two as well.
• 23:25
  Speaker 3: Really, yes, I I feel like we kind of peaked
• 23:30
  Speaker 3: with Devil's Rejects. I think The Devil's Rejects is like
• 23:34
  Speaker 3: the best, one of the best sequels ever made. And
• 23:37
  Speaker 3: I think House of a Thousand Corpses is one of
• 23:39
  Speaker 3: the best directorial debuts for a for a first time filmmaker.
• 23:47
  Speaker 1: Dude, Devil's Rejects. I am not good at quotes. I'm
• 23:51
  Speaker 1: not good at any of that. But when well that
• 23:56
  Speaker 1: and when otis when Otis says and it's that shot
• 24:00
  Speaker 1: of him directly in front of the sun, when he says,
• 24:02
  Speaker 1: I am the Devil and I am here due, I'm
• 24:05
  Speaker 1: going to do work. Yes, the music stops. That scene
• 24:08
  Speaker 1: is incredibly haunting, and it's in the middle of the daylight.
• 24:12
  Speaker 1: It's it's oh, dude, I So for me, you're probably
• 24:16
  Speaker 1: gonna be a little shocked because in the in the
• 24:19
  Speaker 1: before we started recording, we did talk about this movie,
• 24:22
  Speaker 1: and I purposely didn't tell you my thoughts on it.
• 24:25
  Speaker 1: Devil's Rejects is my favorite. My second is The Lord's
• 24:27
  Speaker 1: of Salem.
• 24:28
  Speaker 3: I think Rde to Salem would be number three for me.
• 24:31
  Speaker 1: Okay, so we're not that far off.
• 24:33
  Speaker 3: We're not that far off because I like a lot
• 24:35
  Speaker 3: of people like with Halloween Halloweens. Here's the thing. I
• 24:39
  Speaker 3: don't own any of the Halloween movies except for the
• 24:42
  Speaker 3: two Rob Zombie ones. Now, I know that maybe blasphemous
• 24:45
  Speaker 3: to a lot of horror fans, but like I said,
• 24:47
  Speaker 3: I'm not the biggest when it comes to horror. But
• 24:50
  Speaker 3: Rob Zombie is why I like those movies. I don't
• 24:52
  Speaker 3: care about the Michael mas stroyliner if they messed it up,
• 24:54
  Speaker 3: because I never really I'm not attached to the original ones.
• 24:58
  Speaker 3: And I feel like he gets a a lot of
• 25:00
  Speaker 3: crack from that because he walked into somebody else's backyard,
• 25:04
  Speaker 3: you know, and or somebody else's house, you know. But
• 25:08
  Speaker 3: Lords of Salem, he made it for one million dollars.
• 25:12
  Speaker 3: That is a very low budget film. And when you
• 25:18
  Speaker 3: think of movies for one million dollars in that time frame,
• 25:20
  Speaker 3: there's only two that really come to mind, Insidious One
• 25:24
  Speaker 3: and Lords of Salem.
• 25:27
  Speaker 1: Yeah, both visually very very unique movie.
• 25:32
  Speaker 3: Very visually unique because I feel like, I feel like
• 25:34
  Speaker 3: Rob is better when he's restrained, and Lords of Salem
• 25:39
  Speaker 3: shows that. I think House of a Thousand Corpses showed that,
• 25:42
  Speaker 3: especially when you talk about all the interference Rob had
• 25:45
  Speaker 3: with the studio and you look at the Devil's Rejects
• 25:48
  Speaker 3: and they almost like, okay, we trust you. Now, you
• 25:52
  Speaker 3: know that was good. I mean the end. I mean
• 25:54
  Speaker 3: we talked about this, the end with the Freebird. I
• 25:57
  Speaker 3: think the ending of Devil's Rejects is one of the
• 25:59
  Speaker 3: best to all time. And you can just tell, like
• 26:01
  Speaker 3: that's where all the money went, Like I'm sure a
• 26:05
  Speaker 3: quarter of that budget went to just one licensing that
• 26:07
  Speaker 3: song well and all the crane shots that they used
• 26:11
  Speaker 3: for that.
• 26:12
  Speaker 1: It's funny because when I think about The Devil's Rejects
• 26:15
  Speaker 1: and I think about how he had more money, I
• 26:17
  Speaker 1: instantly think about some of the like terrible cgi violence
• 26:23
  Speaker 1: in that movie, like when Baby throws the knife and
• 26:26
  Speaker 1: then at the end when they're getting shot up, it's
• 26:28
  Speaker 1: like it's like, yeah, it's always like okay, maybe maybe
• 26:32
  Speaker 1: we should have taken like five hundred thousand away, like
• 26:34
  Speaker 1: lower that effects budget. Maybe we could have done something
• 26:36
  Speaker 1: practical here, But who am I? I mean, I got
• 26:38
  Speaker 1: a couple we talk about rob Zombie here.
• 26:41
  Speaker 3: I think the only one that comes to mind when
• 26:43
  Speaker 3: I think of CGI that stands out in that is
• 26:47
  Speaker 3: more of when the woman has to pull the knife
• 26:50
  Speaker 3: out of her is it her leg or her stomach?
• 26:52
  Speaker 3: That's the only one that I'm like, Okay, you can
• 26:54
  Speaker 3: kind of tell that's a little that that knife is
• 26:57
  Speaker 3: not real.
• 26:58
  Speaker 1: And it's really funny because at the begins I think
• 27:00
  Speaker 1: of the Devil's rejects that when Otis kills the woman
• 27:04
  Speaker 1: in the in the road, you can tell the knife
• 27:07
  Speaker 1: never like penetrats her because they just had a nave
• 27:09
  Speaker 1: and they just had it pressing into a blood pack.
• 27:11
  Speaker 1: And that doesn't bother me anywhere near as much as
• 27:15
  Speaker 1: the cgio, you know, So it's kind of funny. But
• 27:21
  Speaker 1: diving into some of the other people involved, we had
• 27:24
  Speaker 1: a little conversation about the confusing story behind who shot
• 27:27
  Speaker 1: this movie. So if anybody who's listening to this truly knows,
• 27:32
  Speaker 1: let me know. We're just shooting off the bat here.
• 27:34
  Speaker 1: So the first cinematographer listed for this movie is Tom Richmond,
• 27:39
  Speaker 1: and this is a guy responsible for shooting Little Odessa.
• 27:42
  Speaker 1: He shot hard Ball. Chopping mall hard bodies is like
• 27:47
  Speaker 1: the one thing in his career that I'm like, Okay,
• 27:49
  Speaker 1: this makes sense why he would do something like this.
• 27:53
  Speaker 1: But supposedly at some point in this movie he was
• 27:57
  Speaker 1: fired for whatever whatever reason, and Rob Zombie wanted somebody
• 28:03
  Speaker 1: more in the music video industry. So then this is
• 28:05
  Speaker 1: I think this is where Alex Papa Papa's or Papa's
• 28:09
  Speaker 1: comes into play. He just had a ton of TV
• 28:11
  Speaker 1: work after this, no credits even before this, except I
• 28:15
  Speaker 1: think for one music video, which is pretty much, you know,
• 28:19
  Speaker 1: confirmation of that. How do you guys think I know,
• 28:23
  Speaker 1: Brian obviously clearly you cinematography, coloring, How do you guys
• 28:27
  Speaker 1: think this movie is shot overall?
• 28:30
  Speaker 3: I think it's consistent, like like I would have never
• 28:34
  Speaker 3: known there was two different cinematographers. But I credit that
• 28:37
  Speaker 3: to Rob Zombie because Rob Zombie shot have to film himself,
• 28:41
  Speaker 3: like all the cutaways, all the dream sequences, that was
• 28:45
  Speaker 3: all him with his with his camcorder, filming inserts and stuff. Yeah,
• 28:55
  Speaker 3: so I credit it more to Rob knowing what he
• 28:57
  Speaker 3: wants because you can't really tell. I mean, the half
• 29:02
  Speaker 3: of a Thousand corpses goes from this super weird kind
• 29:06
  Speaker 3: of amateur style recording to the super cinematic stylized shots
• 29:12
  Speaker 3: all blend together naturally.
• 29:15
  Speaker 1: Yeah, and this movie visually is very tight. It doesn't
• 29:20
  Speaker 1: I feel like, I mean, most of the movies on
• 29:22
  Speaker 1: the set. So like when I think of when I
• 29:25
  Speaker 1: think of wider shot, wider framing this movie, I think
• 29:28
  Speaker 1: of like the Captain Spaulding, like his that introductory shot,
• 29:34
  Speaker 1: the wide shot.
• 29:35
  Speaker 3: Of the gas station, of the.
• 29:37
  Speaker 1: Gas station, the wide shot, the very purposeful wide shot
• 29:41
  Speaker 1: when we're introduced to the father. It's the guy who
• 29:44
  Speaker 1: plays the older Ryan and same private Ryan. Ye shot
• 29:48
  Speaker 1: on the universal backlot, So there was intention behind that.
• 29:51
  Speaker 3: But are you are you talking about the trigger the
• 29:54
  Speaker 3: neighborhood shot.
• 29:55
  Speaker 1: Yeah, yeah, on the back lot. Yeah, which chuckle over
• 29:59
  Speaker 1: a little bit later because there's some cool stuff with that.
• 30:01
  Speaker 1: But most of this movie shot very tight, you know,
• 30:05
  Speaker 1: Like it feels like this movie was shot on sets
• 30:08
  Speaker 1: for the most part, like they had to. They didn't
• 30:11
  Speaker 1: have the room to really branch out and do anything
• 30:16
  Speaker 1: too crazy until scenes like the shed scene when the
• 30:20
  Speaker 1: cops show up. But overall, I mean, I think we
• 30:23
  Speaker 1: were talking about how this Blu ray looks fantastic, like
• 30:27
  Speaker 1: this movie looks great.
• 30:29
  Speaker 3: Yeah, yeah, yeah, yeah, the Blu rays definitely looks way
• 30:32
  Speaker 3: better than then I thought it would because I was
• 30:34
  Speaker 3: like watching the Blu ray and then I was watching
• 30:37
  Speaker 3: it on to B and like there's night and day
• 30:40
  Speaker 3: difference and how this looks streaming versus you know, the
• 30:43
  Speaker 3: quality that they have on the disc. Yeah, it take
• 30:48
  Speaker 3: great transfer.
• 30:49
  Speaker 1: Yeah, music in this there. I don't believe there was
• 30:54
  Speaker 1: like an actual score for this movie.
• 30:57
  Speaker 3: It was called Rob Zombie and Rob Zombie's French. He
• 31:00
  Speaker 3: even talks about and like the I think he's friends
• 31:03
  Speaker 3: with Lionel Richard Richie or something, and then like they
• 31:07
  Speaker 3: have the same manager. So he just asked him if
• 31:09
  Speaker 3: he could use the song and get I don't even
• 31:10
  Speaker 3: know if Lionel knew what I was gonna use it for,
• 31:14
  Speaker 3: and hopefully never find out, he probably would never agree
• 31:16
  Speaker 3: to it.
• 31:17
  Speaker 2: Yeah, and they actually performed on one of the late
• 31:19
  Speaker 2: night shows together, him and Linel Richie did together.
• 31:23
  Speaker 3: Yeah, oh, I didn't know that on YouTube.
• 31:27
  Speaker 1: Have you guys ever seen the Foo Fighters Harve movie
• 31:29
  Speaker 1: Studio six six?
• 31:31
  Speaker 3: No, I know you're talking about, but Richie.
• 31:34
  Speaker 1: Has a great appearance in that movie. It's my favorite
• 31:36
  Speaker 1: scene of that whole movie, just.
• 31:37
  Speaker 3: Side when you just sink of it. Just think about
• 31:40
  Speaker 3: that alone, that you got Rob Zombie and Lionel Richie, Right, hey.
• 31:44
  Speaker 2: Like two people you didn't think would be on the
• 31:47
  Speaker 2: same track together, or or even or even know each other.
• 31:53
  Speaker 1: You know.
• 31:53
  Speaker 3: It's like, I think Rob Zombie is extremely smart just
• 31:57
  Speaker 3: in general. Like Rob Zombie did an artist, and he's
• 31:59
  Speaker 3: gonna use his connection, especially in the music. I mean,
• 32:03
  Speaker 3: he got free Bird. How many movies can you think
• 32:06
  Speaker 3: of with Free Bird? It was probably a super expensive
• 32:09
  Speaker 3: track that they couldn't afford. I guarantee you Rob Zombie
• 32:12
  Speaker 3: probably had some kind of end.
• 32:14
  Speaker 1: Joe Dirt too, what I think of Freebird?
• 32:18
  Speaker 2: Okay, not see that yet.
• 32:19
  Speaker 3: And that's never mind.
• 32:21
  Speaker 1: Because he goes back in time and it helps them
• 32:23
  Speaker 1: write it.
• 32:24
  Speaker 2: So that's awesome. Joe Dirt helped write free Bird, all right?
• 32:30
  Speaker 1: Yeah, Yeah, it's the it's a Joe Dirt skinnerd cinematic universe.
• 32:33
  Speaker 1: You know.
• 32:34
  Speaker 2: That's amazing.
• 32:35
  Speaker 3: But the I mean, but yeah, the music in the
• 32:37
  Speaker 3: I mean, it's mostly Rob Zombies, isn't it.
• 32:40
  Speaker 2: Yeah, Yeah, it's.
• 32:41
  Speaker 1: Rob Zombie and and Scott Humphrey, who is a frequent
• 32:44
  Speaker 1: Zombie collaborator. My favorite person to talk about with this movie,
• 32:50
  Speaker 1: because I have a long list of pretty shocking work
• 32:54
  Speaker 1: for him is Wayne Toth, who was the special effects supervisor.
• 32:58
  Speaker 1: I'm gonna I'm gonna start. So it's interesting. IMDb is
• 33:02
  Speaker 1: interesting because it does list him selectively working with K
• 33:05
  Speaker 1: and B. Obviously like one of the biggest effects one
• 33:08
  Speaker 1: of the biggest Yeah, but listen to this body of work. Okay,
• 33:12
  Speaker 1: So let's go really early in his career and start
• 33:15
  Speaker 1: with Indiana Jones and The Last Crusade. He was on
• 33:18
  Speaker 1: the effects team for that Bride of re Animator, Halloween four,
• 33:23
  Speaker 1: he was part of the mechanical effects team for Army
• 33:25
  Speaker 1: of Darkness. He did work on New Nightmare, he did
• 33:30
  Speaker 1: work on Jason Goes to Hell, Men in Black, and
• 33:33
  Speaker 1: then he's listed as a primary on or on the
• 33:38
  Speaker 1: primary team for Wish Master Vampires, The Faculty, the nineteen
• 33:42
  Speaker 1: ninety nine House on Haunted Hill, and then clearly more
• 33:46
  Speaker 1: rob Zombie Halloween Want Into the Lords of Salem. He
• 33:50
  Speaker 1: Zombie is a frequent collaborator with most of his team,
• 33:54
  Speaker 1: and when you watch the violence in this movie. It
• 33:57
  Speaker 1: looks like Halloween wanted to It looks like Lords of Sound.
• 34:01
  Speaker 1: It all kind of looks the same, you know what
• 34:03
  Speaker 1: I mean. There's a consistency to it that's that's very evident.
• 34:10
  Speaker 1: But like, holy shit, Indiana Jones in the Last Crusade,
• 34:14
  Speaker 1: it's pretty I wonder, I wonder if he did the
• 34:16
  Speaker 1: I wonder if he did the bloody nose from the beginning,
• 34:19
  Speaker 1: you know, the incredible train sequence of The Last Crusade.
• 34:23
  Speaker 1: It's my favorite Indiana Jones movie, by the way. I
• 34:26
  Speaker 1: love that movie very much.
• 34:27
  Speaker 3: Yeah, that movie grew on me late that use. When
• 34:29
  Speaker 3: I was growing up, that was my least favorite. Now
• 34:31
  Speaker 3: as I get older, I'm like, yeah, this might be
• 34:33
  Speaker 3: my favorite.
• 34:34
  Speaker 1: It's so good. It's so good, dude.
• 34:37
  Speaker 3: It's got my favorite line in any It's got one
• 34:40
  Speaker 3: of my favorite lines in cinema that I don't think
• 34:42
  Speaker 3: it's gets enough credit. The part where he's choking with
• 34:45
  Speaker 3: it Elsa and she's like, He's like, oh I gotta
• 34:48
  Speaker 3: do is squeeze and all, and she said, all I
• 34:51
  Speaker 3: got to do is scream. I'm like that line, that
• 34:53
  Speaker 3: writing choice, like, I love it.
• 34:56
  Speaker 1: I feel like there's there's some great writing in that,
• 34:58
  Speaker 1: especially with the I love the transition from him as
• 35:01
  Speaker 1: a kid to the adult on the boat with the
• 35:04
  Speaker 1: this belongs to the Museum. Such a great there. You know,
• 35:07
  Speaker 1: this is like this podcast is just we're talking about everything, bro,
• 35:11
  Speaker 1: you know, talk about everything. But yeah, I mean, clearly
• 35:15
  Speaker 1: this was a true passion project. It's it's amazing that
• 35:19
  Speaker 1: this movie even exists in the way that it does
• 35:21
  Speaker 1: with everything that happened with the studios, It's incredible. And
• 35:28
  Speaker 1: to me, it's it's better now than it was, just
• 35:31
  Speaker 1: in my personal opinion. Like so, you know, I was
• 35:36
  Speaker 1: very happy to dive into this like we have so far.
• 35:40
  Speaker 1: So if you if you were a listener of the
• 35:42
  Speaker 1: past couple episodes, we have a little bit of a
• 35:44
  Speaker 1: new format going on. Chuck, do you want to kick
• 35:50
  Speaker 1: us off with the first commentary note that you got?
• 35:54
  Speaker 2: Yeah, absolutely so.
• 35:58
  Speaker 1: Just for everyone listening, because there's no visual Well when
• 36:00
  Speaker 1: I asked that, Chuck turned from white to red.
• 36:04
  Speaker 2: Yeah. I'm on my Yeah, I'm on my computer right
• 36:07
  Speaker 2: now and I accidentally clicked on the box app and
• 36:10
  Speaker 2: I was trying to pull up my notepad to Yeah.
• 36:14
  Speaker 2: So the very beginning, we get like a shot of
• 36:16
  Speaker 2: Captain spauled and there's like a commercial going on. And
• 36:20
  Speaker 2: Rob Zombie was actually supposed to play Doctor Wolfenstein, that's
• 36:24
  Speaker 2: the way he pronounces it, but he decided not to
• 36:27
  Speaker 2: do it because he said it would be too much
• 36:29
  Speaker 2: work for him to be in front of the camera
• 36:31
  Speaker 2: and behind the camera. So what they did was they
• 36:33
  Speaker 2: got the production designer Greg Gibbs to play Dodor Wolfenstein.
• 36:39
  Speaker 1: Yeah.
• 36:40
  Speaker 3: Yeah, but Rob did have a cameo in that scene. Yeah,
• 36:43
  Speaker 3: he's the guy smashing the pumpkin.
• 36:46
  Speaker 2: Yeah dude, he.
• 36:49
  Speaker 1: I'm telling what like I try to put myself in
• 36:51
  Speaker 1: the shoes of like, let's talk about this in the
• 36:54
  Speaker 1: time that it came out. But the Doctor Wolfenstein is
• 36:57
  Speaker 1: just that's such a Rob Zombie thing. Yeah, like that
• 37:02
  Speaker 1: late night you know. I think of like my father
• 37:05
  Speaker 1: in law who every night is like watching this.
• 37:10
  Speaker 2: Or like he came to mind.
• 37:12
  Speaker 1: Yeah yeah, like even like early like even like Joe
• 37:15
  Speaker 1: Bob Briggs, you know, Alvirah all those man. It's such
• 37:19
  Speaker 1: a like his his his movies. Rob just it's it's
• 37:24
  Speaker 1: a love letter. So I feel like just a better
• 37:26
  Speaker 1: a better time, you know.
• 37:28
  Speaker 2: Yeah, and go ahead, Oh but I was just going
• 37:33
  Speaker 2: to say speak. But speaking of Greg Gibbs, that scene
• 37:36
  Speaker 2: was also shot in his apartment after Universal dropped the
• 37:39
  Speaker 2: film initially. So this whole commercial sequence not only stars
• 37:43
  Speaker 2: Greg Gibbs, but it's got in his apartment as well.
• 37:46
  Speaker 3: No, I didn't know that.
• 37:47
  Speaker 1: Yeah, dude, I don't ever want to hear any excuse
• 37:50
  Speaker 1: for set design in our apartments ever again.
• 37:54
  Speaker 3: Now, because Rob Robs on a lot of this in
• 37:56
  Speaker 3: his basement. All the shots of Sherry moon Baby, like
• 38:02
  Speaker 3: when she's looking at the camera and all like her
• 38:04
  Speaker 3: dream weird stuff that was shot in his basement.
• 38:07
  Speaker 1: But how I mean at this time, I imagine Rob
• 38:10
  Speaker 1: Zombie had a pretty nice basement.
• 38:13
  Speaker 3: Oh yeah, back in nineties. Yeah, this dude was on
• 38:15
  Speaker 3: MTV Cribs, like back in like the early nineties, like
• 38:19
  Speaker 3: the early two thousands. I mean, you know, I wonder,
• 38:22
  Speaker 3: I wonder if the.
• 38:22
  Speaker 1: MTV Cribs episode goes to the basement, you could be like, oh,
• 38:24
  Speaker 1: look that's where that's where we shot my wife masturbating
• 38:27
  Speaker 1: with a skeleton.
• 38:32
  Speaker 2: We still have the skeleton over here in the corner.
• 38:34
  Speaker 1: Yeah, which I'm gonna I'm gonna kind of steal your
• 38:39
  Speaker 1: your thunder here for a second. Chuck and talk about
• 38:42
  Speaker 1: go for it. The footage that's on the opening credits,
• 38:45
  Speaker 1: which was really shocking to me that these were shot
• 38:49
  Speaker 1: by Rob Zabbie on a on a camporder. You had
• 38:52
  Speaker 1: mentioned it was this is not new footage shot, this
• 38:56
  Speaker 1: was this was older footage that he shot.
• 38:58
  Speaker 2: This. Yeah, this was footage she said he shot back
• 39:00
  Speaker 2: when he was a kid and just kept all these
• 39:04
  Speaker 2: years and was like, you know what, I'll use it
• 39:06
  Speaker 2: in my film. He had, you know, after Universal dropped
• 39:08
  Speaker 2: the film, he needed to keep himself busy. He wanted
• 39:11
  Speaker 2: to keep the movie alive. And he was like, you
• 39:13
  Speaker 2: know what, dig through my stuff and just added to
• 39:16
  Speaker 2: the film.
• 39:17
  Speaker 1: At what age would would y'all be recording a naked
• 39:22
  Speaker 1: lady on your bed? Would you still consider yourself a kid?
• 39:27
  Speaker 3: Well, you got to think in the circus and.
• 39:31
  Speaker 1: She looks like a Carney. Yeah.
• 39:33
  Speaker 2: I don't know if it was those particular shots, but
• 39:35
  Speaker 2: some of the shots that were thrown in.
• 39:37
  Speaker 1: It's funny because like I read, I read your notes
• 39:39
  Speaker 1: and then I put on the movie and at the
• 39:41
  Speaker 1: first thing when it started, I told my wife. I
• 39:43
  Speaker 1: was like, oh, this is the stuff he shot when
• 39:45
  Speaker 1: he was a kid. According to the commentary and then
• 39:46
  Speaker 1: it's just like swinging tits and she was like, you
• 39:49
  Speaker 1: shot that as a kid. I was like, oh, that
• 39:50
  Speaker 1: might be.
• 39:53
  Speaker 2: But the little thoughts that were mixed.
• 39:55
  Speaker 3: In do you all know, was that his wife with
• 39:58
  Speaker 3: the w the black wig on short that Sherry Moon No, I.
• 40:04
  Speaker 1: Mean, looking looking at the pure volume of chest weight there,
• 40:07
  Speaker 1: I don't think.
• 40:08
  Speaker 2: That was a Yeah, with her and the skeleton earlier
• 40:13
  Speaker 2: like later on in the film, I don't think so yeah, yeah, yeah,
• 40:18
  Speaker 2: it's a.
• 40:20
  Speaker 1: I mean, it's that's part of the aesthetic of this
• 40:22
  Speaker 1: movie though. That's so cool, like the cam quarter footage
• 40:25
  Speaker 1: like this, even Devil's rejects, Like again, I mean, I
• 40:30
  Speaker 1: don't know. I feel like I can take any of
• 40:31
  Speaker 1: his movies and edit in camp quarter footage of of
• 40:34
  Speaker 1: random stuff that I find and it would fit mm hmm,
• 40:38
  Speaker 1: you know, like I feel like I feel like I
• 40:40
  Speaker 1: feel like we could do that. We can make like
• 40:41
  Speaker 1: an a f V cut of of any Rob Zombie movie.
• 40:44
  Speaker 1: We just put in some some rough cut camp quarter
• 40:47
  Speaker 1: fails and it would just fit over some music.
• 40:51
  Speaker 3: Since we're talking about the opening, do y'all know? So,
• 40:53
  Speaker 3: so you know how like after that opening it starts
• 40:56
  Speaker 3: with well, it's just before I can't remember, it's just
• 40:58
  Speaker 3: before the credits, or I think it's right after the
• 41:01
  Speaker 3: opening credits. No, no, this is before the opening credits.
• 41:05
  Speaker 3: So the Captain Spalding Chicken commercial that that kind of
• 41:10
  Speaker 3: opened the film, that was shot after the production had
• 41:13
  Speaker 3: already stopped. That was like the last thing said said
• 41:16
  Speaker 3: Hay filmed.
• 41:17
  Speaker 1: Yeah, it's a it's a lot of this is very gorilla,
• 41:21
  Speaker 1: you know what I mean?
• 41:22
  Speaker 3: This is like yeah, because they only had twenty they
• 41:25
  Speaker 3: shot the movie in twenty five days. Now, granted he
• 41:27
  Speaker 3: went back over the three years and in you know,
• 41:30
  Speaker 3: with re editing, but the initial filming was only twenty
• 41:33
  Speaker 3: five days. And he even said like though we did
• 41:36
  Speaker 3: everything like three takes. Yeah, Like he was like the
• 41:40
  Speaker 3: first one they were working it out the first the
• 41:43
  Speaker 3: second one was like okay, the third one was like
• 41:45
  Speaker 3: they knocked it out because he was like, I trusted
• 41:47
  Speaker 3: my actors. None of them really knew their lines. I
• 41:50
  Speaker 3: feel like the only thing that maybe would have slowed
• 41:51
  Speaker 3: down production. And I don't know if this was later
• 41:53
  Speaker 3: in your notes, Chuck, but shooting on Universal and kept
• 41:57
  Speaker 3: getting interrupted by like the tours and the y at
• 42:01
  Speaker 3: the backlots. That was the only thing that probably slowed
• 42:05
  Speaker 3: him down on production.
• 42:06
  Speaker 1: It took me three days to film a real Just dude,
• 42:12
  Speaker 1: I'm filming a feature film right now, and it's I'm
• 42:14
  Speaker 1: two years then I'm not. Yeah, oh my god, yeah,
• 42:21
  Speaker 1: I mean the beginning of this movie. Uh, the whole
• 42:24
  Speaker 1: thing with Captain Spaulding is so funny, and this is
• 42:27
  Speaker 1: where you kind of get that first glimpse of the
• 42:29
  Speaker 1: dialogue that that Rob Zombies known for. You know, in
• 42:34
  Speaker 1: that conversation. Captain Spaulding is just so I sit, hey,
• 42:39
  Speaker 1: incredibly iconic, probably the most iconic thing out of his
• 42:43
  Speaker 1: Firefly trilogy.
• 42:44
  Speaker 3: Oh absolutely. That's why I can't really get on board
• 42:48
  Speaker 3: with the third one, Three from Hell, because Captain Spaulding
• 42:50
  Speaker 3: is so iconic, and especially like the opening scene to this,
• 42:55
  Speaker 3: you know, like it's such the tone for the whole movie.
• 42:59
  Speaker 1: Yeah, yeah, it's really cool. So like a little side
• 43:01
  Speaker 1: note around this time, actually around the time Devil's Rejects,
• 43:05
  Speaker 1: I met Sid haggen Bildt mostly at Monster Media. It
• 43:08
  Speaker 1: wasn't busy got the signature. It's one of my prize possessions.
• 43:12
  Speaker 1: It's on the Murder Ride poster. It's like an eight
• 43:15
  Speaker 1: x ten that he signed to. Even in this opening
• 43:19
  Speaker 1: scene there, which by the way, it's ridiculous, like when
• 43:23
  Speaker 1: the two robbers come in and the guy's got the
• 43:26
  Speaker 1: little ass monkey the monkey mat mask on the other guy,
• 43:30
  Speaker 1: you can just straight up see his whole face, you know.
• 43:34
  Speaker 1: But there there's a great moment when I forget his name.
• 43:38
  Speaker 1: It's like Ravelli, whoever works, it's yeah, when he runs
• 43:42
  Speaker 1: in and it does that three cut, so it cuts
• 43:45
  Speaker 1: to him busting into the door three times, and then
• 43:47
  Speaker 1: it cuts to the robber.
• 43:48
  Speaker 3: Reacting, reacting.
• 43:50
  Speaker 2: Yeah.
• 43:51
  Speaker 1: Yeah, it's very it's it's very seventies exploitation. It's actually
• 43:56
  Speaker 1: almost like to me, it mimics almost like an editing mistake,
• 43:59
  Speaker 1: because you know, back in sixties and seventies they're they're
• 44:02
  Speaker 1: they're raw cutting film and there's so many errors because
• 44:05
  Speaker 1: they would trim the film up and it would get
• 44:07
  Speaker 1: ruined and it would lose bits. So to me, it
• 44:09
  Speaker 1: kind of reminds me of like an error because it
• 44:11
  Speaker 1: plays it so straight like it almost it almost feels
• 44:16
  Speaker 1: like it was a miss up, like a mishap that happened.
• 44:19
  Speaker 1: But it works to the style of the movie. Yeah,
• 44:22
  Speaker 1: so like with that opening sequence and then the fact
• 44:25
  Speaker 1: that that happens pretty much right before the our our our,
• 44:29
  Speaker 1: our two couples show up, you know, to the fort
• 44:32
  Speaker 1: where like the couple show up and he's still mopping,
• 44:35
  Speaker 1: you know what I mean. Like it's so, I don't
• 44:39
  Speaker 1: know Man and Chris Hardwork and Rain Wilson. It's it's
• 44:44
  Speaker 1: it's so funny to see actors of that caliber in
• 44:46
  Speaker 1: a movie like this, obviously with who they would become.
• 44:49
  Speaker 2: You know.
• 44:52
  Speaker 1: The murder Ride is awesome, which I know, the Murder
• 44:55
  Speaker 1: Ride it was built on a sound stage. That was
• 44:58
  Speaker 1: the next note on here just onto ef so I
• 45:00
  Speaker 1: brought it up. The serial killer scenes, Chuck, you want
• 45:06
  Speaker 1: to talk about that in.
• 45:06
  Speaker 2: That murder So a lot of the serial killer scenes
• 45:10
  Speaker 2: were not at Rob's house, aside from the Doctor Satan scenes,
• 45:16
  Speaker 2: which also there's are there's some scenes of Timey later
• 45:20
  Speaker 2: on in the film that were shot in a basement,
• 45:22
  Speaker 2: but the Doctor Satan scenes they were filmed at the
• 45:26
  Speaker 2: Ambassador Hotel, which is infamous for being the location for
• 45:30
  Speaker 2: the assassination of Robert Kennedy.
• 45:33
  Speaker 1: Mm hmm, that's location scouting if I've ever heard it.
• 45:37
  Speaker 3: M m Yeah, yeah, I kept I heard him say
• 45:39
  Speaker 3: in the commentary, and I'm like, I wonder if they
• 45:41
  Speaker 3: actually know what they're doing down there, like what they're filming.
• 45:44
  Speaker 1: Yeah yeah, Rob Zombies like, uh, don't want to ask
• 45:47
  Speaker 1: any questions, please let me let me go do this,
• 45:52
  Speaker 1: which like flashing ahead in the movie that scene with
• 45:54
  Speaker 1: Tiny in his little bedroom where he just waves goodbye
• 45:57
  Speaker 1: to her eating cereal.
• 45:58
  Speaker 2: Yeah. Yeah.
• 46:03
  Speaker 3: My favorite part is when you know, he lets the
• 46:06
  Speaker 3: girl go and then you know, Bill mosley Otis comes
• 46:09
  Speaker 3: in and puts her in the cage with the other girl,
• 46:11
  Speaker 3: and then he looks back at Tiny and Tiny just
• 46:13
  Speaker 3: waves his hands like yeah, I don't know, you know,
• 46:16
  Speaker 3: what do you want from me?
• 46:19
  Speaker 2: To let her go? So I let her go.
• 46:21
  Speaker 1: It was like the funniest little like what are you doing? Yeah, dude,
• 46:25
  Speaker 1: It's it's really funny, man. Because after I learned about
• 46:28
  Speaker 1: Rob Zombie doing a haunted house, which, by the way,
• 46:30
  Speaker 1: the haunted house that he did end up designing. I
• 46:32
  Speaker 1: think it was called American Nightmare, and it actually won
• 46:34
  Speaker 1: an award for how good it was. But seems like
• 46:39
  Speaker 1: the murder ride and the ending especially feel like somebody
• 46:44
  Speaker 1: who have who has experience doing a haunted house. Yes, dude,
• 46:50
  Speaker 1: it's so cool, like the ed gyan bit in it.
• 46:54
  Speaker 1: And I even love when Ravelli's like playing with her
• 46:56
  Speaker 1: hair and she thinks it's it's her boyfriend. He like
• 46:58
  Speaker 1: puts her hair and then she's him. It's it's so
• 47:02
  Speaker 1: funny even like to me, it's so it's such a
• 47:04
  Speaker 1: weird little thing, but it's so charming that he pushes
• 47:07
  Speaker 1: the cart, you know, in the back, like the cart's
• 47:09
  Speaker 1: not even electric electric.
• 47:11
  Speaker 3: Yeah, he's just pushing the whole Yeah.
• 47:15
  Speaker 1: Yeah, but so cool, dude, Like if I if I was,
• 47:18
  Speaker 1: I would stop at this place, I would do this absolutely,
• 47:21
  Speaker 1: or even like when they when they exit and there's
• 47:24
  Speaker 1: a dead body in the in the spaceship ride like
• 47:27
  Speaker 1: quarter machine. Yeah, this is so cool.
• 47:31
  Speaker 3: And you get a complimentary bucket of chicken when you
• 47:34
  Speaker 3: get done.
• 47:35
  Speaker 1: Yeah, which, dude, there's no way that chickens hot? Where
• 47:37
  Speaker 1: did he pulled it out from?
• 47:38
  Speaker 2: Under then the counter, bro and my under there.
• 47:44
  Speaker 1: At my store at my retail job. That's why I
• 47:45
  Speaker 1: keep printer paper, Like I got chicken down there. I
• 47:48
  Speaker 1: should probably start keeping chicken down there.
• 47:51
  Speaker 3: No, but I love like going back to to to
• 47:54
  Speaker 3: to the opening center still like with Captain Spaulding, well
• 47:59
  Speaker 3: with it. The the guy, the guy he's talking to
• 48:05
  Speaker 3: the kind of slow. I don't know. I wouldn't call
• 48:09
  Speaker 3: him slow.
• 48:09
  Speaker 1: But who the hell he is?
• 48:10
  Speaker 2: Bro uh.
• 48:12
  Speaker 3: He was an actor of famous back in the day.
• 48:14
  Speaker 3: But half of the stuff Rob Zmmie was saying was
• 48:16
  Speaker 3: like improvised because he couldn't get his you know, like
• 48:18
  Speaker 3: they didn't know what he was going to say next. Yeah,
• 48:22
  Speaker 3: you know, and then if you look at it, he starts,
• 48:25
  Speaker 3: you know, he has his glasses on, he goes to
• 48:27
  Speaker 3: the bathroom and he comes out without his glasses on.
• 48:29
  Speaker 3: That's because he refused to wear them.
• 48:31
  Speaker 1: This is so. That was Michael J. Pollard, who unfortunately
• 48:34
  Speaker 1: we lost in twenty nineteen. Just going off of basic
• 48:40
  Speaker 1: IMDb search right now, he was just like going cash
• 48:43
  Speaker 1: was he?
• 48:44
  Speaker 3: And Gilligan's he They said something about him being in
• 48:46
  Speaker 3: something like really old like let's see, so he was
• 48:49
  Speaker 3: in some famous show or.
• 48:53
  Speaker 1: Two episodes of Alfred Hitchcock's or Alfred Hitchcock's Presents. He
• 48:56
  Speaker 1: was in Andy Griffith.
• 48:57
  Speaker 3: Show for an Andy Griffin show. I think that's what
• 49:00
  Speaker 3: maybe what it was.
• 49:01
  Speaker 1: Yeah, he was in he was in one episode of that.
• 49:04
  Speaker 1: He was in one episode of Lost in Space. Oh,
• 49:07
  Speaker 1: he was in The Wild Angels, which is cool. It's
• 49:09
  Speaker 1: a motorcycle exploitation movie. Wait, there was a girl from Uncle.
• 49:14
  Speaker 1: There's a man from Uncle spin off. He was in
• 49:17
  Speaker 1: the original The sixty seven Bonnie and Clyde.
• 49:21
  Speaker 3: Yes, yes, yes he was. He dated it. Yes, I
• 49:23
  Speaker 3: totally forgot about that. The woman Gene Hackman, Yeah.
• 49:26
  Speaker 1: He was in that. He was in the original Fall
• 49:29
  Speaker 1: Guy show. I mean this guy is he was an
• 49:32
  Speaker 1: American Gothic. He was in Screw Oh my god, he
• 49:36
  Speaker 1: wasn't Scrooged. Yeah, he was Herman sleep Away Camp three.
• 49:40
  Speaker 1: Like I'm just I'm just picking genre Tango and Cash,
• 49:43
  Speaker 1: which is we need a four K of just saying
• 49:49
  Speaker 1: Dick Tracy.
• 49:51
  Speaker 3: Oh, he wasn't Dick Tracy.
• 49:52
  Speaker 1: He was also in the very underrated Charlie Sheen movie
• 49:56
  Speaker 1: The Arrival.
• 49:59
  Speaker 3: Yes, yes, I forgot how I forgot about the right Yes? Yeah, yeah,
• 50:04
  Speaker 3: but apparently he could not like like half the stuff Sid.
• 50:07
  Speaker 3: Sid was just reacting to their whole opening conversation, and
• 50:10
  Speaker 3: he's talking about, you know, somebody getting like a g
• 50:13
  Speaker 3: I Joe stuck up their ass or something like kind
• 50:16
  Speaker 3: of improvising that whole thing, and then I absolutely just look,
• 50:21
  Speaker 3: I think what set the movie for me, like besides
• 50:24
  Speaker 3: just that opening scene and how crazy it was the
• 50:27
  Speaker 3: low angle shot right right before we get to the
• 50:30
  Speaker 3: credits and Captain Small standing with the gun. It's like
• 50:33
  Speaker 3: and and last off, fuck you too, shoots twice and
• 50:37
  Speaker 3: the black and then you still hear him talking like
• 50:39
  Speaker 3: ship he got blood all over my best clown suit.
• 50:42
  Speaker 3: And then it's like just like.
• 50:43
  Speaker 2: That, like little style, just Rebelli's laugh right into credits.
• 50:49
  Speaker 1: What did they sing? What is? What is he singing that?
• 50:51
  Speaker 1: A guy like little dick Wick.
• 50:53
  Speaker 3: Little sat on the sticking. Yeah, there's so much.
• 50:58
  Speaker 1: There's so much little stuff like when he tells him
• 51:01
  Speaker 1: like palms to the sky and sid Haik flips the
• 51:03
  Speaker 1: middle finger when.
• 51:05
  Speaker 3: Like comply gives zero fus about me, saying he's not scared.
• 51:13
  Speaker 3: He's counting down one, fuck you two, fuck your mama.
• 51:20
  Speaker 2: Yea.
• 51:22
  Speaker 1: Yeah, it's it's so. I mean, I don't, Bro, You've
• 51:25
  Speaker 1: got to be stupid to think that place has any cash.
• 51:27
  Speaker 1: I mean, really, I what are you getting at a
• 51:30
  Speaker 1: robin that place? Bro? Seriously, that was real dumb.
• 51:34
  Speaker 3: But like when we get to like the main characters
• 51:39
  Speaker 3: and they get to this place, do you think this
• 51:44
  Speaker 3: is the one thing that threw me off the whole time?
• 51:45
  Speaker 3: And I do have a conspiracy theory with this. But
• 51:48
  Speaker 3: so we have Rain Wilson, I don't really know their
• 51:50
  Speaker 3: character's name, says Mary. There's Jerry, there's Rain Wilson, and
• 51:53
  Speaker 3: then let's Denise.
• 51:56
  Speaker 1: For a quick run over, we have Denise.
• 52:00
  Speaker 3: And Denise is like the final girl, the one dresses
• 52:03
  Speaker 3: Alice in Wonderland.
• 52:05
  Speaker 1: Chris Hardwick is Jerry, Jerry, there's Mary, and then there
• 52:12
  Speaker 1: is h Man. This like Rain Wilson is Bill.
• 52:15
  Speaker 3: Okay, so Bill and Denise are a cup Bill and
• 52:19
  Speaker 3: Mary are a couple, and Jerry and Denise are a couple.
• 52:23
  Speaker 3: I think, so okay. First off, they don't look like
• 52:27
  Speaker 3: they those those girls would date those two guys in
• 52:31
  Speaker 3: any reality.
• 52:32
  Speaker 1: No way. It even says it when they come out
• 52:35
  Speaker 1: of the ride and Chris Hardwick says, like, don't act
• 52:37
  Speaker 1: like you don't act unimpressed in front of your girl.
• 52:40
  Speaker 3: Yeah, hard of me. Feels like Jerry and Mary were
• 52:44
  Speaker 3: like a couple. Are they fucked around or something? There's
• 52:47
  Speaker 3: some like tension between those two.
• 52:50
  Speaker 1: Hey man, maybe who knows, bro, they could have been
• 52:54
  Speaker 1: swingers for all we know, they could have been who knows, bro.
• 52:59
  Speaker 3: I mean, but I just like rewatching and I'm looking
• 53:01
  Speaker 3: at these characters and Rob don't even said, like, Mary's
• 53:04
  Speaker 3: the most annoying care and he tried to make her
• 53:06
  Speaker 3: less annoying, so people wouldn't just be like especially when
• 53:09
  Speaker 3: it gets to the Talent show scene and she just
• 53:11
  Speaker 3: pushes baby off of him, and it's like you already
• 53:15
  Speaker 3: don't like this character, yeah, where you like just kill her,
• 53:19
  Speaker 3: you know?
• 53:20
  Speaker 1: Yeah? Yeah, this opening scene is so cool, man. I
• 53:23
  Speaker 1: love that you can tell that it's on a set.
• 53:26
  Speaker 1: It's just on a black set. You know, it looks
• 53:29
  Speaker 1: so good and it looks there. When you get to
• 53:32
  Speaker 1: a point where you watch enough movies, there's a certain
• 53:34
  Speaker 1: charm to like the very clear set, you know.
• 53:37
  Speaker 3: The back look yep.
• 53:38
  Speaker 1: Yeah, like just you can tell the concrete it's not authentic,
• 53:41
  Speaker 1: like you just everything just has a weird look to
• 53:43
  Speaker 1: it that that you just love so much. Same with Chuck.
• 53:46
  Speaker 1: If you want to talk about the next commentary, you
• 53:48
  Speaker 1: know it that we have uh, same with the scene
• 53:50
  Speaker 1: as well.
• 53:53
  Speaker 2: Yeh. So uh. We get to the town shots after this,
• 53:57
  Speaker 2: and this was all shot on the Universal back lot.
• 54:00
  Speaker 2: And a couple of little fun facts about this. You
• 54:02
  Speaker 2: can see the house that was in the show Leave
• 54:04
  Speaker 2: It to Beaver, but also you see the house from
• 54:08
  Speaker 2: The Monsters, which Rob says, you know, came back around
• 54:12
  Speaker 2: because you know, as we all know, he made the
• 54:14
  Speaker 2: New Monsters movie.
• 54:16
  Speaker 3: Yeah, and they're watching The Monsters. Otis and the grandpa
• 54:20
  Speaker 3: are watching an episode of The Monsters on TV right
• 54:23
  Speaker 3: before the cops get there.
• 54:25
  Speaker 2: Yeah, which I think it was the race episode with
• 54:27
  Speaker 2: the Dragula. If I'm not mistaken, that.
• 54:30
  Speaker 1: Would be were they watching Monster Go Home? The movie?
• 54:33
  Speaker 1: Is that what they were watching?
• 54:35
  Speaker 2: Maybe I could be misremembering. I'm gonna get I'm gonna
• 54:38
  Speaker 2: get corrected in the comments.
• 54:39
  Speaker 1: I know Dragula is in Mnster Go Home, which was
• 54:42
  Speaker 1: like the first feature length Monsters movie. That's my I
• 54:46
  Speaker 1: know because it's my wife's favorite. So, and this is
• 54:50
  Speaker 1: where we're introduced to Don Willis, who is the father
• 54:53
  Speaker 1: of which.
• 54:55
  Speaker 3: Is it Denise? It's Denise. Yeah, our main Carri the
• 54:59
  Speaker 3: main characters, Denise, the final girl.
• 55:02
  Speaker 1: Okay, okay, so this is the father of Denise. Harrison Young,
• 55:06
  Speaker 1: a veteran actor. I know him. He is the older
• 55:09
  Speaker 1: Ryan and saving Private Ryan in the beginning, at the beginning,
• 55:13
  Speaker 1: in the end, which right away I was like, that's
• 55:15
  Speaker 1: the guy from Saving Brivate Ryan. Super stoked about it.
• 55:19
  Speaker 3: Cherry Moved Zombie actually the cameo on that scene too.
• 55:23
  Speaker 1: She is she one of his daughters.
• 55:25
  Speaker 3: No, she's in and in that wide in that wide
• 55:29
  Speaker 3: shot of the neighborhood because it's strict or treat Because
• 55:31
  Speaker 3: I think a lot of people forget this movie takes
• 55:33
  Speaker 3: place on Halloween.
• 55:34
  Speaker 2: Yeah.
• 55:34
  Speaker 3: Yeah, it's like the kids are trick or treating and
• 55:37
  Speaker 3: it's it's a Halloween movie. Scherry Move Zombie is one
• 55:40
  Speaker 3: of the extras pushing the baby cart.
• 55:43
  Speaker 2: You did mention that.
• 55:44
  Speaker 1: Yeah, okay, okay, that's cool. Let's go. Hey man, you
• 55:47
  Speaker 1: had a free extra right there.
• 55:48
  Speaker 3: A lot of the a lot of the actors had
• 55:50
  Speaker 3: to do double duties, like even like Bill Mosley like
• 55:53
  Speaker 3: later play the news reporter that.
• 55:56
  Speaker 2: He played Ed gaen Door in the murder Ride.
• 55:58
  Speaker 3: I forgot about that. Yeah, yeah, and they and they
• 56:02
  Speaker 3: shot that separately because Rob what's going to use the
• 56:05
  Speaker 3: original footage of Ed Gains? But he figured it was
• 56:08
  Speaker 3: cheaper to just reshoot it himself until licensed real footage.
• 56:12
  Speaker 1: Yeah. Yeah, So we found out that the house the
• 56:16
  Speaker 1: fathers in, that's the house from leaving to Beaver, and
• 56:18
  Speaker 1: then the blue house across the way he looks at
• 56:22
  Speaker 1: is the house with the monsters. It just doesn't have
• 56:24
  Speaker 1: the building on the front of it because they build
• 56:27
  Speaker 1: it up and so it had like a fake, like
• 56:30
  Speaker 1: a facade, a phasage in front of it or a facade,
• 56:33
  Speaker 1: so right away we didn't recognize it right away. I
• 56:36
  Speaker 1: had to look it up and see pictures of what
• 56:37
  Speaker 1: it actually looked like before they constructed the front of it.
• 56:41
  Speaker 1: But it's really cool, man, I mean, it's such a
• 56:42
  Speaker 1: cool little and again I love the charm of clearly
• 56:45
  Speaker 1: a back lot. You know, it's just so it's so cool.
• 56:49
  Speaker 1: And anytime, because I feel like trigger treat is not
• 56:53
  Speaker 1: the same, trigger treating is not. I this past Halloween,
• 56:57
  Speaker 1: it's the first time I've lived in a small town where,
• 57:00
  Speaker 1: like I thought I was going to be driving home
• 57:02
  Speaker 1: from work on Halloween, there's gonna be little kids running
• 57:05
  Speaker 1: around with dude.
• 57:07
  Speaker 2: There was.
• 57:07
  Speaker 1: First of all, trigger treat was like three days before Halloween. Yeah,
• 57:10
  Speaker 1: and it was at like two pm, and I was
• 57:13
  Speaker 1: severely disappointed. So this just makes me feel like a
• 57:17
  Speaker 1: kid again. When I watched this scene. It's just one
• 57:19
  Speaker 1: of those, you know, one of the.
• 57:21
  Speaker 2: Trick or treating at night, because I don't believe they
• 57:23
  Speaker 2: go out after dark anymore. No, they don't sunsets. They ended.
• 57:28
  Speaker 2: It's like, man, I remember going out when I was
• 57:29
  Speaker 2: a kid, like, oh, nice old night, getting bags of candy.
• 57:35
  Speaker 1: Bro it was two pm. They were out here. They
• 57:37
  Speaker 1: were out here trick or tree into two pm. I
• 57:38
  Speaker 1: mean they weren't coming to us because we live in
• 57:40
  Speaker 1: an apartment, but two pm.
• 57:42
  Speaker 2: Dude.
• 57:42
  Speaker 1: I remember as a kid running around my neighborhood at
• 57:47
  Speaker 1: eleven pm and I had the ghost face blood mask
• 57:50
  Speaker 1: where you would do with back yeah and uh. And
• 57:53
  Speaker 1: then I remember when I got older, before I moved
• 57:55
  Speaker 1: away from that neighborhood, we uh on. My town that
• 57:59
  Speaker 1: I grew up in was like small town vibes and
• 58:02
  Speaker 1: mischief night was always like a real problem because we
• 58:05
  Speaker 1: were getting to that age where like people were starting
• 58:08
  Speaker 1: to cause damage, you know, and this is before social media,
• 58:11
  Speaker 1: like this was MySpace. So like I remember my buddy
• 58:15
  Speaker 1: Dylan's house would get wrecked on mischief night. So we
• 58:19
  Speaker 1: hid in his bushes with paintball guns and we we
• 58:23
  Speaker 1: were like, we're like, bro, if anybody comes up, like like,
• 58:25
  Speaker 1: we're gonna light them up. And I remember this group
• 58:27
  Speaker 1: of kids came up and they we thought they were
• 58:30
  Speaker 1: about to tpe the house, so we lit them up. Dude,
• 58:34
  Speaker 1: we littered them in paintball like they were practically glowing
• 58:37
  Speaker 1: in the dark by the time we were done. Turns
• 58:39
  Speaker 1: out they weren't even they weren't even coming to fuck
• 58:42
  Speaker 1: with his house. They had just stopped to like do
• 58:45
  Speaker 1: an equipment check. And these poor kids we lit them
• 58:48
  Speaker 1: up with paintballs. Bro, if you're listening now, older, I'm
• 58:52
  Speaker 1: sorry if that was you. Uh, it's been a long time. Sorry,
• 58:56
  Speaker 1: Sorry about that. What is interesting though, in the commentary
• 59:01
  Speaker 1: notes Chuck is at thirty minutes in we finally get
• 59:03
  Speaker 1: some explanation a little bit about the cinematographer.
• 59:08
  Speaker 2: Yeah, so Rob mentions like he basically got rid of
• 59:13
  Speaker 2: the first cinematographer along with a lot of the crew
• 59:17
  Speaker 2: that he originally had working with him, because, in his words,
• 59:20
  Speaker 2: they were dicking around too much, so he just brought
• 59:23
  Speaker 2: in a second cinematographer. And a completely like a whole
• 59:26
  Speaker 2: new different team to work with them. Man, a lot
• 59:29
  Speaker 2: of them worked on music videos.
• 59:33
  Speaker 1: I mean, I get that vibe from it. It's interesting
• 59:37
  Speaker 1: that's brought up at this point because clearly this movie
• 59:39
  Speaker 1: was not shot in order. So I just wonder where
• 59:42
  Speaker 1: they were at at this point because at this point
• 59:44
  Speaker 1: in the movie, we're coming into act two. When they
• 59:48
  Speaker 1: asked for directions to go see the tree where doctor
• 59:51
  Speaker 1: Satan was rumored to be hung. They pick up Baby
• 59:56
  Speaker 1: Firefly Sherryman Zombie on the side of the road the
• 59:59
  Speaker 1: tire pops or somebody in her family has a tow truck.
• 1:00:03
  Speaker 1: How convenient. And then they wind up at the house,
• 1:00:06
  Speaker 1: which telling you, all right, now, if I walk up
• 1:00:09
  Speaker 1: to your house and it looks like they're front porch,
• 1:00:12
  Speaker 1: I'm out, dude, I'm walking.
• 1:00:13
  Speaker 3: Yeah, ain't no way.
• 1:00:15
  Speaker 1: Yeah, I'm not dealing with that, bro, There's no way.
• 1:00:18
  Speaker 1: And this is when we're introduced to the family. So
• 1:00:22
  Speaker 1: we have Sherryman Zombie. Which are you guys? Are you
• 1:00:26
  Speaker 1: guys fans of Sherryman Zombie.
• 1:00:29
  Speaker 3: I'm a fan of her character, baby, Yeah, for sure.
• 1:00:35
  Speaker 3: I don't mind her Lord to Salem. I think she's
• 1:00:37
  Speaker 3: good Lord to Salem. But it's kind of hard to
• 1:00:40
  Speaker 3: judge that because she's only been in Rob zombie movies.
• 1:00:44
  Speaker 1: Yeah, a baby is so frustrating because it's the it's
• 1:00:48
  Speaker 1: the purposeful over acting, it's the giggling and the.
• 1:00:53
  Speaker 3: I like it though. I think it works works, it does.
• 1:00:58
  Speaker 2: Yeah. Rob said like he didn't know that she was
• 1:01:00
  Speaker 2: going to do that lift. She kind of just went
• 1:01:02
  Speaker 2: off and did it. He was like, all right, she
• 1:01:04
  Speaker 2: sounds like, go enough, bro.
• 1:01:07
  Speaker 1: She is so good in this role that if you
• 1:01:10
  Speaker 1: told me she wasn't even acting, that's just who she is,
• 1:01:13
  Speaker 1: I would just fool on believe you.
• 1:01:15
  Speaker 3: She the better Harley Quinn than any Harley Quinn we've
• 1:01:18
  Speaker 3: ever got.
• 1:01:19
  Speaker 1: Yeah, yeah, Yeah, there's a little bit more prestige in
• 1:01:23
  Speaker 1: some Oro. Not Tomorrow Weaving. Oh my god, Margot Robbie, Yeah,
• 1:01:27
  Speaker 1: we met role in Sherryman Zombie. But you know, but
• 1:01:30
  Speaker 1: I want to list off and kind of talk about
• 1:01:31
  Speaker 1: this family real quick. So we're introduced to otis played
• 1:01:34
  Speaker 1: by Bill Mosley, probably outside of Captain Spaulding, my favorite
• 1:01:38
  Speaker 1: performance of the movie, because I truly wholeheartedly believe this
• 1:01:42
  Speaker 1: guy is a fucking psychopath. Yeah, Bill Mosley.
• 1:01:45
  Speaker 3: Oh yeah, yeah, yeah, his character in the monologues that
• 1:01:49
  Speaker 3: he gives and just yeah.
• 1:01:51
  Speaker 1: I mean, I'll be honest with you, bro, If I
• 1:01:53
  Speaker 1: go on Facebook right now, I bet you I'll read
• 1:01:54
  Speaker 1: about three of those monologues from people then I'm friends
• 1:01:56
  Speaker 1: with on Facebook, you know what I mean? Like, it's
• 1:01:58
  Speaker 1: just that that out there. Man. We're introduced to baby
• 1:02:04
  Speaker 1: one of my favorite mother Firefight, played by Karen Black.
• 1:02:08
  Speaker 1: Karen Black is I mean, when I talk about a
• 1:02:11
  Speaker 1: legend in the horror community, like just an absolute legend.
• 1:02:17
  Speaker 1: It's incredible that she's in this. It's unfortunate that she
• 1:02:19
  Speaker 1: was replaced for the Devil's Rejects.
• 1:02:24
  Speaker 3: Di'angelo was the second one, or.
• 1:02:28
  Speaker 1: She is from I just watched something with her and it.
• 1:02:31
  Speaker 1: She plays the woman in Police Academy the Oh my god,
• 1:02:37
  Speaker 1: I'm so.
• 1:02:38
  Speaker 3: The only person I remember from Police Academy is Kim Cattrell.
• 1:02:43
  Speaker 1: She plays the you know, the who's the guy that's
• 1:02:45
  Speaker 1: into all the guns and stuff, the big guy in
• 1:02:50
  Speaker 1: Police Academy. So she is hold on, I have it
• 1:02:53
  Speaker 1: right here. She is Callahan. It's Leslie easter Brook. She
• 1:02:59
  Speaker 1: plays Motherfire Why in Devil's Rejects? So she It's just
• 1:03:05
  Speaker 1: so cool that I'm typing in Devil's Rejects. I'm like,
• 1:03:07
  Speaker 1: what am I doing on IMDb right now? It's just
• 1:03:10
  Speaker 1: so cool that she's in this movie. Mother Firefly is
• 1:03:16
  Speaker 1: and interesting personality in this.
• 1:03:20
  Speaker 3: Movie, especially towards the end when she gets a little
• 1:03:24
  Speaker 3: bit more to Sean, like her moment with the cop
• 1:03:27
  Speaker 3: with the sheriff.
• 1:03:28
  Speaker 1: Yeah yeah, I mean right off the rip, it's there's
• 1:03:32
  Speaker 1: some pretty ancestual.
• 1:03:36
  Speaker 3: You know, yeah, just look at yeah, yeah, yeah.
• 1:03:39
  Speaker 1: Yeah. So but then we have Dennis Fipple as Grandpa Hugo,
• 1:03:46
  Speaker 1: which unfortunately, yeah, unfortunately, chuck. He he passed during production.
• 1:03:55
  Speaker 2: Right, Yeah, he passed a rap before the movie was
• 1:03:58
  Speaker 2: about to be finished, so he never ad Yeah.
• 1:04:03
  Speaker 1: Man, that's that's a shame. That's yeah, he passed in
• 1:04:08
  Speaker 1: According to IMDb, he passed in well, he passed in
• 1:04:12
  Speaker 1: twos and two, so he probably never saw it finished. Yeah,
• 1:04:16
  Speaker 1: that's that. Rest in peace he is. That that moment
• 1:04:20
  Speaker 1: with well, the dinner sequence, I always think about him,
• 1:04:24
  Speaker 1: but the moment with him and Bill Mosley watching the
• 1:04:27
  Speaker 1: monsters and he's got that outrageous laugh.
• 1:04:30
  Speaker 3: And then when Bill Mosley leaves and he's like I'll
• 1:04:33
  Speaker 3: take care of it, and he just like flicks him
• 1:04:34
  Speaker 3: off at the very.
• 1:04:35
  Speaker 1: Yeah yeah, yeah great. What do you guys think of?
• 1:04:43
  Speaker 1: What do you guys think of? Like the So there's
• 1:04:46
  Speaker 1: little things that I think about in these like that
• 1:04:49
  Speaker 1: house would stink. Bro. That was so bad.
• 1:04:52
  Speaker 3: Right do you all know what movie that house is from?
• 1:04:56
  Speaker 1: Yeah, it's from the Best Little Whorehouse in Texas?
• 1:04:58
  Speaker 3: Right?
• 1:04:59
  Speaker 1: Yeah? Yeah, yeah another great. I mean, uh sounds like
• 1:05:04
  Speaker 1: a zombie thing to.
• 1:05:05
  Speaker 3: Do, you know, oh very much. So, yeah, he was here.
• 1:05:09
  Speaker 3: They're they're they're like, do you want to shoot on
• 1:05:11
  Speaker 3: the Psycho House. You're like, no, I want to shoot
• 1:05:12
  Speaker 3: the best Little Whorehouse in Texas.
• 1:05:15
  Speaker 1: Yeah yeah, He's like the Psycho leave it to Beaver.
• 1:05:18
  Speaker 3: Yeah, I'll take that.
• 1:05:19
  Speaker 1: Yeah yeah. He's like, you know what ty West can
• 1:05:22
  Speaker 1: have that, I'm going to take best Little Whorehouse in Texas.
• 1:05:26
  Speaker 1: Yeah there, I mean the the house it becomes like pandemonium,
• 1:05:34
  Speaker 1: like it's with with with Mother Firefly and or even
• 1:05:39
  Speaker 1: with like baby fucking around with Rain Wilson like kind
• 1:05:43
  Speaker 1: of teasing him, even even going into the scene at
• 1:05:47
  Speaker 1: the Talent Show, which the talent the Talent Show is
• 1:05:50
  Speaker 1: like so extreme with his jokes and the I mean,
• 1:05:59
  Speaker 1: it's such a what's the word I'm looking for, it's
• 1:06:02
  Speaker 1: such like an assault on the senses. At least to me,
• 1:06:05
  Speaker 1: it feels overwhelming. It's incredibly we It's so weird that
• 1:06:10
  Speaker 1: you kind of get I get like uncomfortable, you know
• 1:06:13
  Speaker 1: what I mean. I'm like, oh, I'm kind of like
• 1:06:14
  Speaker 1: squirming in my seat with it until baby comes out.
• 1:06:19
  Speaker 1: It's just such a great representation of how fucked up
• 1:06:24
  Speaker 1: this family is.
• 1:06:27
  Speaker 3: And then her putting on her little show, like I
• 1:06:29
  Speaker 3: think this is the first time like rewatching it, it
• 1:06:31
  Speaker 3: reminded me of Pearl, like her character with the whole
• 1:06:35
  Speaker 3: like she she wanted to be an actress kind of thing.
• 1:06:38
  Speaker 3: She's living in her own little world and so she's
• 1:06:41
  Speaker 3: dressed like you know, Betty Boop essentially.
• 1:06:44
  Speaker 1: Yeah. Well it's the contrast to me because you're you're
• 1:06:49
  Speaker 1: seeing her world, which is bubble gum, it's a lollipop chainsaw,
• 1:06:53
  Speaker 1: you know what I mean. Yeah, And then you're seeing
• 1:06:56
  Speaker 1: Otis's world where he's torturing cheerleaders in his bedroom, you
• 1:07:01
  Speaker 1: know what I mean, And it's so sick, it's so twisted.
• 1:07:06
  Speaker 1: He is just rambling He's like, I'll be honest with you,
• 1:07:11
  Speaker 1: I think I have an uncle that's that's like basically
• 1:07:13
  Speaker 1: otis you know what I mean. I don't I don't
• 1:07:16
  Speaker 1: think he's killing people, but he sounds like him honestly,
• 1:07:20
  Speaker 1: or like even him, even him coming down to dinner
• 1:07:25
  Speaker 1: with Uh, what's the brother the it's like the fetus, right, Yeah, yeah,
• 1:07:33
  Speaker 1: it's like it's such a it's such an I don't
• 1:07:39
  Speaker 1: would you guys rather have dinner with the Hewitt family
• 1:07:43
  Speaker 1: from sexist chainsaw asker or the Firefly family?
• 1:07:50
  Speaker 2: That's a tough question.
• 1:07:51
  Speaker 3: That is a tough question, because how do I want
• 1:07:53
  Speaker 3: to get murdered?
• 1:07:56
  Speaker 1: Well, I mean I don't. I don't know. I just
• 1:07:59
  Speaker 1: randomly thought about it. That was not planned.
• 1:08:01
  Speaker 3: I was just well, it's funny you say that, because
• 1:08:03
  Speaker 3: I because I kept thinking, you know, that dinner scene
• 1:08:06
  Speaker 3: always reminds me of Texas chainsaw massacre.
• 1:08:09
  Speaker 1: Oh, I mean, there's no doubt that that was a
• 1:08:12
  Speaker 1: callback in some way.
• 1:08:13
  Speaker 3: Yeah, like that that's all I think about when I
• 1:08:15
  Speaker 3: see that, that that dinner scene.
• 1:08:17
  Speaker 1: Yeah, I feel like had a couple more dollars, it
• 1:08:20
  Speaker 1: would have been a little bit more closer visually to
• 1:08:23
  Speaker 1: Texas change on Masker, but it's very I think every
• 1:08:27
  Speaker 1: dinner scene in a horror movie dealing with a fuck
• 1:08:30
  Speaker 1: up family is in some way in relation to Texas
• 1:08:33
  Speaker 1: Chainsaw Masker. That that kind of set that tone.
• 1:08:36
  Speaker 3: And you got to think, this is too, this is
• 1:08:38
  Speaker 3: two that. So this movie came out in two thousand
• 1:08:39
  Speaker 3: and three, but this movie was shot in two thousand,
• 1:08:42
  Speaker 3: So this is before the remake, and this is before
• 1:08:44
  Speaker 3: the Resurgence, which the Texas Chainsaw massacre.
• 1:08:48
  Speaker 1: Yeah, the remake of Texas chains and Masker doesn't even
• 1:08:51
  Speaker 1: have a dinner scene.
• 1:08:52
  Speaker 3: I thought it did, does it not?
• 1:08:54
  Speaker 1: No, it doesn't.
• 1:08:56
  Speaker 3: I think does the sequel the beginning had a table scene,
• 1:09:03
  Speaker 3: but I could be wrong.
• 1:09:04
  Speaker 1: I can't remember.
• 1:09:06
  Speaker 3: But yeah, so this was before the Resurge, and so
• 1:09:09
  Speaker 3: this is really more of like an homage to horror
• 1:09:12
  Speaker 3: from Rob I would feel, oh, dude.
• 1:09:17
  Speaker 1: This whole movie is a callback to everything that came
• 1:09:21
  Speaker 1: out in the in the late sixties too, I would
• 1:09:25
  Speaker 1: say early to mid seventies. Like even if you want
• 1:09:28
  Speaker 1: to go, like, if you really want to get into it,
• 1:09:30
  Speaker 1: you have exploitation, which was an evolution of the Rouffies,
• 1:09:33
  Speaker 1: which the Ruffies were from the late sixties. They contained
• 1:09:37
  Speaker 1: they were very exploitive, they contained sex and violence, they
• 1:09:42
  Speaker 1: were rough against women, not in the actual production, but
• 1:09:46
  Speaker 1: the stories were. And then you have the boom of
• 1:09:48
  Speaker 1: exploitation in the seventies. This is all of that wrapped up.
• 1:09:54
  Speaker 1: I mean, it's it's very clear that what Rob Zombie
• 1:09:57
  Speaker 1: grew up on and what he's calling back to everything
• 1:10:00
  Speaker 1: that he does, you know what I mean, very very clear,
• 1:10:04
  Speaker 1: and even now, you know, at this point in the movie,
• 1:10:06
  Speaker 1: we're getting into the death scenes, which again we talked
• 1:10:12
  Speaker 1: about the heavy editing. The death scenes in this art
• 1:10:16
  Speaker 1: are nowhere near as violent as I remember because they're
• 1:10:21
  Speaker 1: so cut. Where Rob z Abbie was shooting two or
• 1:10:23
  Speaker 1: three different versions of every death scene because he didn't
• 1:10:25
  Speaker 1: know which one they were going to want to do,
• 1:10:27
  Speaker 1: so he did he did something with red lighting in
• 1:10:30
  Speaker 1: the room to make it seem like it was more violent,
• 1:10:33
  Speaker 1: and then he did one where there was actual practical
• 1:10:35
  Speaker 1: effects being used, and then that's all just like lost
• 1:10:37
  Speaker 1: and gone. Unfortunately.
• 1:10:40
  Speaker 3: You know, Yeah, I feel like he shot most of
• 1:10:42
  Speaker 3: a lot of the things he wasn't sure he could
• 1:10:44
  Speaker 3: get away with. Even the ending was shot twice. He
• 1:10:46
  Speaker 3: said the ending. He shot it in the daytime and
• 1:10:48
  Speaker 3: the night time because he wasn't sure what would work
• 1:10:52
  Speaker 3: and you know what would be more scarier. So so
• 1:10:55
  Speaker 3: I can imagine the death scenes were definitely shot in
• 1:10:57
  Speaker 3: multiple ways to especially if you're finding universal the whole
• 1:11:02
  Speaker 3: time at that time period.
• 1:11:04
  Speaker 1: Yeah. Yeah, well, I don't know, if you guys want
• 1:11:07
  Speaker 1: to like really dig into the death scenes. I think
• 1:11:12
  Speaker 1: clearly the in iconography, the Rain Wilson's fish Boy is first.
• 1:11:20
  Speaker 3: Oh he got it the worst, He got it the worst.
• 1:11:22
  Speaker 2: That was definitely the most stand out one.
• 1:11:24
  Speaker 3: Yeah, and not just his the end product, but them
• 1:11:29
  Speaker 3: walking in and him tied in the shed and hits
• 1:11:33
  Speaker 3: the fear in his eyes and just you know, baby
• 1:11:35
  Speaker 3: laughing the whole time.
• 1:11:37
  Speaker 1: Yeah yeah, well he, I mean, he knew he was
• 1:11:40
  Speaker 1: about to get mm hmm messed up. But that the
• 1:11:43
  Speaker 1: reveal of the fish Boy the end product is so
• 1:11:46
  Speaker 1: funny because Otis is so proud.
• 1:11:49
  Speaker 3: Oh yeah, oh yeah, he was like an artist going
• 1:11:52
  Speaker 3: through a drought.
• 1:11:53
  Speaker 1: Oh my god, bro, it's so end by dude. The effect,
• 1:11:58
  Speaker 1: I don't know, the effect is so good, like the
• 1:12:01
  Speaker 1: transition from his abdomen into the fish fit of the
• 1:12:05
  Speaker 1: Mermaid fin is so.
• 1:12:06
  Speaker 3: Good in the post that he's in, Like, yeah.
• 1:12:09
  Speaker 1: It's like the Ian Malcolm Jurassic Park.
• 1:12:12
  Speaker 3: Yeah, you know that, you said that I will never
• 1:12:17
  Speaker 3: be able to.
• 1:12:20
  Speaker 1: Yeah, like the elbow prop. You know, it's such a
• 1:12:25
  Speaker 1: cool effect. I mean, Wayne Toth clearly incredible makeup efects artist.
• 1:12:30
  Speaker 1: He had an incredible team. That is a stunning effect.
• 1:12:33
  Speaker 1: It's it's the one effect in the movie that I
• 1:12:36
  Speaker 1: think when I think of House of those of Courses,
• 1:12:38
  Speaker 1: that's what I That's what I go to right away
• 1:12:40
  Speaker 1: is fish Boy. I think most people do.
• 1:12:43
  Speaker 3: I feel like that's the most brutal death of the
• 1:12:47
  Speaker 3: main cast.
• 1:12:50
  Speaker 1: I mean, a scalping is pretty bad.
• 1:12:52
  Speaker 3: The scalping is pretty Yeah, but he was still alive
• 1:12:54
  Speaker 3: because doctor Satan gets him is basically messing with him later,
• 1:12:58
  Speaker 3: so he's still alive.
• 1:13:00
  Speaker 1: Yeah, and that's kind of like I guess. I guess, well,
• 1:13:03
  Speaker 1: because he actually is the Rain Wilson's character gets like
• 1:13:08
  Speaker 1: Death of a Thousand cuts basically right, So yeah, I'd
• 1:13:12
  Speaker 1: probably say i'd categorize that as the worst Rain Wilson's.
• 1:13:15
  Speaker 3: I feel like the cheerleaders probably got it the worst.
• 1:13:18
  Speaker 1: Oh well, they dude. It's like the first the whole
• 1:13:22
  Speaker 1: first half of this movie, they're getting tortured and.
• 1:13:24
  Speaker 3: Not just by Otis, Like you see baby messing with them,
• 1:13:28
  Speaker 3: like she has that hole, like she didn't make the
• 1:13:30
  Speaker 3: cheer squad, so I'm gonna fuck with these you know,
• 1:13:33
  Speaker 3: pretty girls like.
• 1:13:35
  Speaker 2: Yeah, it makes her own cheer and makes them. Yes,
• 1:13:37
  Speaker 2: her name for mm hmm, it's it's unhinged man.
• 1:13:41
  Speaker 1: And you were talking about the inspiration behind fish Boy, Chuck,
• 1:13:45
  Speaker 1: if you want to go over that.
• 1:13:47
  Speaker 2: Yeah, So for anyone not familiar, fish Boy was based
• 1:13:52
  Speaker 2: off of the Fiji Mermaid, which was a sideshow attraction
• 1:13:55
  Speaker 2: at circuses where they would take the mummified torso of
• 1:13:59
  Speaker 2: a juvenile monk and sew it to the body of
• 1:14:01
  Speaker 2: a fish and they would say it was like, you know,
• 1:14:04
  Speaker 2: the corpse of a mermaid and here give me, like
• 1:14:08
  Speaker 2: you know, five cents to come see it. And that's
• 1:14:10
  Speaker 2: how they would make some money at the side shows.
• 1:14:13
  Speaker 1: It's like a have you guys ever seen Scooby Doo
• 1:14:15
  Speaker 1: the live action one?
• 1:14:17
  Speaker 2: Yes?
• 1:14:17
  Speaker 3: Unfortunately, like once it's like a.
• 1:14:19
  Speaker 1: Dead ar Newki beast. You know, it's a deep cut
• 1:14:25
  Speaker 1: reference there. But you have a note here that talks
• 1:14:29
  Speaker 1: about how Bill's death scene, which is the the death
• 1:14:34
  Speaker 1: by a thousand cuts as I call it, that was
• 1:14:35
  Speaker 1: actually filmed after Universal dropped the movie in Wayne's studio.
• 1:14:41
  Speaker 3: Yes, that was in the studio. I couldn't remember that
• 1:14:44
  Speaker 3: was the studio or the Beverly Hotel, but I think
• 1:14:45
  Speaker 3: you're right it was the studio.
• 1:14:47
  Speaker 2: Yeah. He mentions that they filmed it at Wayne's hops
• 1:14:50
  Speaker 2: effects studio after the fact that Rob stole the character's
• 1:14:53
  Speaker 2: wardrobes because he wanted to continue shooting the movie.
• 1:15:00
  Speaker 1: I mean, hey, the behind the scenes, the behind the
• 1:15:05
  Speaker 1: scenes stories of Rob Zombi are always great. I think
• 1:15:08
  Speaker 1: of Halloween two in the scene where after she escapes
• 1:15:12
  Speaker 1: the hospital and she goes into that security she goes
• 1:15:16
  Speaker 1: into that security hut and they were like, yeah, you know,
• 1:15:19
  Speaker 1: we have to build this thing to be destructible, and
• 1:15:24
  Speaker 1: they didn't, and he still ended up destroying it. Anyway,
• 1:15:28
  Speaker 1: I mean, it's the guy's a monster. Yeah. It's just
• 1:15:32
  Speaker 1: interesting to me, like what was shot before the Universal
• 1:15:38
  Speaker 1: shelving after, you know, because it makes me wonder like,
• 1:15:41
  Speaker 1: what did this movie look like before? And what? You
• 1:15:44
  Speaker 1: know what I mean just brings up a lot of
• 1:15:46
  Speaker 1: those those questions to me.
• 1:15:50
  Speaker 3: I feel like looking at The Devil's Rejects, we get
• 1:15:53
  Speaker 3: a better idea of what the original house of it
• 1:15:56
  Speaker 3: Thoian Courses could have looked like because it is way
• 1:15:59
  Speaker 3: more are intense. Yeah, and I feel like he earned,
• 1:16:04
  Speaker 3: you know, our at least Alliance Gate was like, hey,
• 1:16:06
  Speaker 3: this movie did great for us. Do whatever you want.
• 1:16:09
  Speaker 2: Yeah.
• 1:16:10
  Speaker 1: Yeah, I definitely think that's I think that's what makes
• 1:16:13
  Speaker 1: Devil's Rejects so good. Is it feels it feels like
• 1:16:18
  Speaker 1: zombie handcuffs off mm hmm, you know, but it doesn't. Again,
• 1:16:22
  Speaker 1: there's no identity crisis. It still feels like a zombie
• 1:16:26
  Speaker 1: movie from start to finish.
• 1:16:27
  Speaker 3: But that's what I'm sorry to interrupt.
• 1:16:31
  Speaker 1: No, no, no, no, you're good. I was just saying outside
• 1:16:32
  Speaker 1: of things, like, you know, obviously the beginning of Devil's Rejects,
• 1:16:36
  Speaker 1: it's not the same house, you know what I mean,
• 1:16:38
  Speaker 1: Like there's just like a clear clear things because of
• 1:16:42
  Speaker 1: you know, whatever reason. But like it, the Devil's Rejects
• 1:16:44
  Speaker 1: is a perfect example of like, you've proven what you
• 1:16:46
  Speaker 1: can do here, do it better, and he did it better.
• 1:16:51
  Speaker 3: Yeah, And I feel like that was probably the last
• 1:16:53
  Speaker 3: time outside of maybe like Lords of Salem in thirty one,
• 1:16:58
  Speaker 3: he really went full rob zombie because I mean, yeah,
• 1:17:05
  Speaker 3: House of a Thousand Corpses, Universal was very handicapped, you know,
• 1:17:08
  Speaker 3: handicapping him, and he gets the Devil's Rejects, he gets
• 1:17:13
  Speaker 3: to do whatever he wants, one of the best sequels
• 1:17:16
  Speaker 3: ever made, and then he gets The Halloween, which is
• 1:17:21
  Speaker 3: I'm sure he had to follow certain rules in lore
• 1:17:26
  Speaker 3: and restrictions based on an already existing massive franchise and
• 1:17:32
  Speaker 3: ip that. I mean, it did well enough for them
• 1:17:35
  Speaker 3: to give him a second one, but I'm sure he
• 1:17:39
  Speaker 3: was still handicapped. Well like crazy daring that that's.
• 1:17:43
  Speaker 1: The same thing, because as somebody as involved in the
• 1:17:45
  Speaker 1: horror community as I am, the horror community is very
• 1:17:50
  Speaker 1: guilty of begging for something different and then when they're
• 1:17:53
  Speaker 1: given something different, they don't like it. We've seen it
• 1:17:56
  Speaker 1: with I mean we've actually seen it twice with the
• 1:17:58
  Speaker 1: Halloween franchise, with Halloween Kills most recently, which I loved,
• 1:18:03
  Speaker 1: most people didn't. I still feel like that movie's gonna
• 1:18:06
  Speaker 1: have a resurgence in X amount of years. But again
• 1:18:09
  Speaker 1: with Halloween two, Halloween was successful. I'm pretty sure that
• 1:18:15
  Speaker 1: movie made some bucks and then they were like, here,
• 1:18:19
  Speaker 1: do your thing. But and Halloween two was like Rob
• 1:18:22
  Speaker 1: Zombie un handcuffed. They're like, oh, here you go, do
• 1:18:24
  Speaker 1: your thing. And he did his thing. But still Halloween
• 1:18:28
  Speaker 1: to thirty one House of a Thousand corpses extremely troubled production,
• 1:18:33
  Speaker 1: so much stuff shot technically, you know, off of schedule.
• 1:18:39
  Speaker 1: Halloween to the scene with her with Sherryman and the
• 1:18:44
  Speaker 1: White Horse was shot after like they were shooting for
• 1:18:47
  Speaker 1: like twenty nine hours or something, and they were told
• 1:18:50
  Speaker 1: the production assistant told him they had to stop, and
• 1:18:52
  Speaker 1: he was like, now, we're gonna keep going, and they
• 1:18:54
  Speaker 1: shot that stuff for Halloween two thirty one. As dude,
• 1:18:59
  Speaker 1: imagine you as a filmmaker, Brian, Imagine you're on set,
• 1:19:03
  Speaker 1: you're shooting, and they're like, oh, hey, by the way,
• 1:19:05
  Speaker 1: we just cut six days off of your shooting schedule
• 1:19:08
  Speaker 1: and there's seven days remaining. That's what they were doing
• 1:19:10
  Speaker 1: to him on thirty one.
• 1:19:11
  Speaker 3: Oh, I didn't know that about thirty one.
• 1:19:13
  Speaker 1: Yeah, thirty one, which just endlessly and I don't know
• 1:19:15
  Speaker 1: if it was exactly that, but it was endless issues
• 1:19:18
  Speaker 1: from the studio just just cut it back, cut it back,
• 1:19:20
  Speaker 1: cut it back. When you're already in production like that,
• 1:19:24
  Speaker 1: that's the kind of pressure he was pulling on. And
• 1:19:25
  Speaker 1: I don't I don't know if any director has ever
• 1:19:29
  Speaker 1: been more vocal about the problems of shooting with studios
• 1:19:33
  Speaker 1: than Rob Zombie's been. Like he's very upfront and saying like,
• 1:19:37
  Speaker 1: they put a lot of fucking pressure on you, and
• 1:19:41
  Speaker 1: it impacts the movie that you.
• 1:19:43
  Speaker 2: Want to make.
• 1:19:44
  Speaker 1: And he talks about that in his Joe Rogan interview,
• 1:19:47
  Speaker 1: he talks about that on his History of Horror interview
• 1:19:50
  Speaker 1: with Eli Roth like it it in a way it
• 1:19:55
  Speaker 1: makes me wish somebody, like a studio, like a twenty
• 1:19:59
  Speaker 1: four a neon would just be like here, man, here's money,
• 1:20:02
  Speaker 1: here's time. Do you let's see? Yeah, And I wonder
• 1:20:07
  Speaker 1: if that's gonna be a good thing or if that's
• 1:20:08
  Speaker 1: gonna be a bad thing, you know what I mean?
• 1:20:11
  Speaker 1: Like his Broad Street Bullies idea that that is of
• 1:20:15
  Speaker 1: all the movies that have never been made, that's one
• 1:20:17
  Speaker 1: I want to see the most. He wanted to make
• 1:20:19
  Speaker 1: a movie about the Broadstreet Bullies.
• 1:20:21
  Speaker 3: Oh yeah, I remember that, the Hockey one. Yeah.
• 1:20:25
  Speaker 2: That was just actually talking with my coworker about that
• 1:20:28
  Speaker 2: movie yesterday.
• 1:20:29
  Speaker 1: Yeah, dude, So goddamn cool and in Rob Zombie style
• 1:20:35
  Speaker 1: like that, that sounds like the plot of a Rob
• 1:20:38
  Speaker 1: Zombie movie. Hey, we're a failing hockey team, let's just
• 1:20:40
  Speaker 1: hire a bunch of brutes to literally disable other teams.
• 1:20:45
  Speaker 1: That sounds like a Rob Zombie plot, you know what
• 1:20:47
  Speaker 1: I mean? So who knows? Who knows? There's a note
• 1:20:54
  Speaker 1: here that I need that I need some explanation on
• 1:20:57
  Speaker 1: Chuck and it is the POV shot shot in a
• 1:21:00
  Speaker 1: basement of a theater during a concert.
• 1:21:03
  Speaker 2: Yeah, so the shots of tiny like his point point
• 1:21:07
  Speaker 2: of view. It was shot in a Vancouver theater during
• 1:21:11
  Speaker 2: one of Rob's concerts. He just kind of wandered down
• 1:21:13
  Speaker 2: in the basement and was like, you know what, let's
• 1:21:14
  Speaker 2: get some b roll and just shoot this again while
• 1:21:18
  Speaker 2: production was on downtime. Because you know, Rob hates Universal.
• 1:21:23
  Speaker 2: He talked about his hatres for Universal every like five
• 1:21:27
  Speaker 2: minutes in the commentaries. But but yeah, that was shot, uh,
• 1:21:32
  Speaker 2: shot right before he took the stage.
• 1:21:35
  Speaker 1: I'm just like, I'm sure one day in the future
• 1:21:39
  Speaker 1: we're going to cover another Rob Zombie movie, and I'm
• 1:21:41
  Speaker 1: just I feel like I'm gonna be watching like a
• 1:21:42
  Speaker 1: commentary for one of his movies and he's just gonna
• 1:21:44
  Speaker 1: be like, oh, and by the way, fuck Universal.
• 1:21:46
  Speaker 2: Yeah, nothing to.
• 1:21:48
  Speaker 1: Do with it. And you talk about here's some context.
• 1:21:52
  Speaker 1: When we said earlier, the quote of MGM having no
• 1:21:55
  Speaker 1: morals purchasing house one thousand corpses was put in a
• 1:21:58
  Speaker 1: Variety magazine.
• 1:21:59
  Speaker 2: Yeah, so Rob said something, and a writer from Variety
• 1:22:06
  Speaker 2: Magazine I took it out of context and decided to
• 1:22:09
  Speaker 2: publish it. Journal by MGM was like, you know what, No,
• 1:22:13
  Speaker 2: we're not going to work with you now.
• 1:22:16
  Speaker 3: Fucking I want to know how much he had to
• 1:22:20
  Speaker 3: pay to get his get it back both times?
• 1:22:23
  Speaker 1: Oh, dude, I don't. I don't know if the reported
• 1:22:27
  Speaker 1: budget reflects that, because the reported budget this movie was
• 1:22:31
  Speaker 1: seven million dollars, I don't know if like the budget
• 1:22:36
  Speaker 1: was five and then he paid one million each time
• 1:22:38
  Speaker 1: to But I don't. I don't know, dude. I know
• 1:22:42
  Speaker 1: I can't afford it. No, I can barely afford my
• 1:22:46
  Speaker 1: electric bill. I can't afford I can afford my electric bill.
• 1:22:51
  Speaker 1: I can't afforded two thousand movies on my shelf. I'm
• 1:22:53
  Speaker 1: in crippling debt. But at this point in the movie,
• 1:23:01
  Speaker 1: you know, we're an hour in we're we're coming up
• 1:23:04
  Speaker 1: to my favorite scene. So at this point, uh, guy
• 1:23:11
  Speaker 1: from Dame Preva, Ryan Harrison Young Dunbell. He has not
• 1:23:14
  Speaker 1: heard from his daughter. He knows the last time he
• 1:23:16
  Speaker 1: talked to her she was at Captain Spalding's. So he
• 1:23:21
  Speaker 1: contacts Detective George Whitel, who played by Tom Towels and
• 1:23:27
  Speaker 1: his partner. Which it's it's so funny that Walton Goggins
• 1:23:32
  Speaker 1: is in this.
• 1:23:33
  Speaker 3: I think this is the first thing I've ever seen
• 1:23:35
  Speaker 3: Walter Walton Gogginson.
• 1:23:37
  Speaker 1: Well, well, now now he's having a resurgence. This guy's
• 1:23:41
  Speaker 1: everywhere I because I just think of him and that
• 1:23:43
  Speaker 1: show going. I don't give a fuck about these ducks. Yeah,
• 1:23:48
  Speaker 1: you know, but and he plays Steve. I say, Nash,
• 1:23:52
  Speaker 1: it's niche.
• 1:23:54
  Speaker 2: Yeah. The way Rob pronounces it in the commentary is
• 1:23:56
  Speaker 2: Nash though I just pronounced it Nash. But the way
• 1:23:59
  Speaker 2: it's spelled is because they throw an eye in there.
• 1:24:02
  Speaker 1: Yeah, yep, yep, Steve Nash. I do want to go
• 1:24:05
  Speaker 1: back real quick and mentioned tiny Matthew McGrory my favorite
• 1:24:09
  Speaker 1: role of his Big Fish, Tim Burton's best movie in
• 1:24:11
  Speaker 1: my opinion, just.
• 1:24:13
  Speaker 3: Saying y'all know that that whole dinner scene, they're really
• 1:24:18
  Speaker 3: eating his birthday cake because it was his birth birthday
• 1:24:21
  Speaker 3: on set. That the the first day on set for
• 1:24:25
  Speaker 3: Tiny was when he made it the entrance into the
• 1:24:28
  Speaker 3: dinner the table scene and he's in there eating. Well,
• 1:24:31
  Speaker 3: it was the actor's real birthday, so that the cast
• 1:24:34
  Speaker 3: is really eating his birthday cake.
• 1:24:37
  Speaker 2: That's nice, that's awesome.
• 1:24:41
  Speaker 1: So we're introduced to Steve Nash and Detective George Whitell,
• 1:24:45
  Speaker 1: which George Whitell would play a bigger importance in the
• 1:24:49
  Speaker 1: sequel obviously, Devils Rejects, which I have a feeling we'll
• 1:24:53
  Speaker 1: cover that movie one day, so we'll dive into that
• 1:24:55
  Speaker 1: at a separate time. You have the sequence when they
• 1:25:00
  Speaker 1: find the car with the body in the back. Brian,
• 1:25:05
  Speaker 1: you mentioned one of your favorite shots.
• 1:25:07
  Speaker 3: Which, yeah, the other crane shot. They open up and
• 1:25:10
  Speaker 3: the camera just goes from Sheriffy Dell pans down to
• 1:25:15
  Speaker 3: the trunk and then it just cranes up to an
• 1:25:17
  Speaker 3: overhead shot and it's it's one of the few really good.
• 1:25:21
  Speaker 3: Like it's like to me two or three memorable crane
• 1:25:25
  Speaker 3: shots in the movie, and that's definitely one of them.
• 1:25:28
  Speaker 1: I feel like those are incredibly hard to coordinate because
• 1:25:32
  Speaker 1: that crane, especially in early.
• 1:25:34
  Speaker 3: Oh yeah, no, if you look at it, if you
• 1:25:36
  Speaker 3: look at the shot, the other guy, the older guy
• 1:25:38
  Speaker 3: with the white hair, he waits and he walks into
• 1:25:40
  Speaker 3: frame to the other side after the crane has already
• 1:25:44
  Speaker 3: moved out the way.
• 1:25:46
  Speaker 1: Yeah. Yeah. And when when they go to the firefly house,
• 1:25:55
  Speaker 1: our two cops George Rydell Steve Nash, when they go
• 1:25:58
  Speaker 1: and they are searching around, they come to the shed, obviously,
• 1:26:02
  Speaker 1: the shed full of bodies. This is such a change
• 1:26:07
  Speaker 1: in tone for this movie. It suddenly feels so scary
• 1:26:14
  Speaker 1: in this moment because this scene is played incredibly straight.
• 1:26:18
  Speaker 1: I mean, outside of Walton Goggins very clearly faked teeth,
• 1:26:24
  Speaker 1: which is not in the movie. He's just got very bright,
• 1:26:26
  Speaker 1: shiny it looks like he's got shiny teeth in me
• 1:26:28
  Speaker 1: from fairly odd parents going on. He's got like the
• 1:26:31
  Speaker 1: what did they call those the celebrity gets.
• 1:26:33
  Speaker 3: The celebrities get the dentures. He's got something like that,
• 1:26:37
  Speaker 3: brother Veneer, yeah, Veneers.
• 1:26:40
  Speaker 1: Yeah, it looks like he's got gum like there's whatever
• 1:26:43
  Speaker 1: that you know, the stick whatever those things are called
• 1:26:46
  Speaker 1: in his mouth. The gum.
• 1:26:48
  Speaker 3: But even before that or before they open it, like
• 1:26:51
  Speaker 3: it's it's like they they they're they're looking around and
• 1:26:54
  Speaker 3: he sees the dog and he freaks out and he
• 1:26:58
  Speaker 3: tells like two different stories about the dog, like he's
• 1:27:01
  Speaker 3: like when I was eight years old, you know, something,
• 1:27:04
  Speaker 3: he got bid. He's terrified. And then they keep walking
• 1:27:07
  Speaker 3: and he says like it's his girlfriend's the girlfriend's dog
• 1:27:11
  Speaker 3: now yeah, or it's like like the dog like just
• 1:27:15
  Speaker 3: brings like this massive PSD back to him. Cause you guys, say,
• 1:27:19
  Speaker 3: Walter gog I keep calling him Walter because Walton is
• 1:27:22
  Speaker 3: such a weird name to me. But Walton Goggin's character
• 1:27:26
  Speaker 3: is such like he's one of those cops who you
• 1:27:29
  Speaker 3: feel like he likes being the cop, he likes being
• 1:27:33
  Speaker 3: the deputy, but he's never really seen any action other
• 1:27:37
  Speaker 3: than maybe arresting some kids for you know, destroying a
• 1:27:42
  Speaker 3: tractor or something like, no real action until like, and
• 1:27:45
  Speaker 3: that makes sense. He's in this house and he's scared
• 1:27:47
  Speaker 3: to death. He's not even in the house. He's outside
• 1:27:50
  Speaker 3: scared to death the whole time, starting off as soon
• 1:27:54
  Speaker 3: as that dog starts barking at him.
• 1:27:56
  Speaker 2: And it's funny because he says, like, the reason he
• 1:27:59
  Speaker 2: was afraid of the dog is because when he was
• 1:28:00
  Speaker 2: eight years old he was attacked by a cocker spaniel.
• 1:28:03
  Speaker 2: And then as they start to walk away, he turns
• 1:28:06
  Speaker 2: around and says something about how his ex girlfriend tried
• 1:28:08
  Speaker 2: to bite his pinky toe off, and that was just
• 1:28:10
  Speaker 2: completely out of left field.
• 1:28:11
  Speaker 1: It's like, what, oh my god, dude, that's.
• 1:28:18
  Speaker 2: This is such a great It's like that he's so terrified,
• 1:28:21
  Speaker 2: like he's just his mind is just getting jumbled.
• 1:28:25
  Speaker 1: Yeah. Yeah, but this is such a great scene to
• 1:28:28
  Speaker 1: kick off the third act, you know, because you have
• 1:28:31
  Speaker 1: the shed, which is terrifying, and then you have what
• 1:28:37
  Speaker 1: is by far the best moment of this movie in
• 1:28:42
  Speaker 1: my opinion, agreed, which is Otis showing up right.
• 1:28:48
  Speaker 3: It was Otis right, yeah, yeah, yeah, yeah, yeah, yeah,
• 1:28:51
  Speaker 3: yeah yeah.
• 1:28:51
  Speaker 1: I had a reached second where I was like, wait,
• 1:28:53
  Speaker 1: hold on, who was that.
• 1:28:55
  Speaker 3: Well, it's hard to say Bill because it's real name
• 1:28:57
  Speaker 3: is Bill Moseley, but we have a character Rain Wilson
• 1:28:59
  Speaker 3: plays Bill. Yeah yeah, yeah.
• 1:29:01
  Speaker 1: So Otis shows up and forces Wantengo is down.
• 1:29:07
  Speaker 3: On his knees and there is and this is the
• 1:29:11
  Speaker 3: after he he he killed the girl's dad right in
• 1:29:13
  Speaker 3: front of him.
• 1:29:14
  Speaker 1: Yeah, oh yeah, yeah yeah he does yep, he shout.
• 1:29:16
  Speaker 1: He shoots the dad who survived World War two but
• 1:29:19
  Speaker 1: not the Firefly family. Great, pretty crazy. She shoots, He
• 1:29:24
  Speaker 1: shoots him, and then Wantngog gets down on his knees
• 1:29:28
  Speaker 1: and there is a crazy crane shot here where it
• 1:29:33
  Speaker 1: goes almost.
• 1:29:34
  Speaker 3: Silent and it shot in slow motion, slow motion.
• 1:29:38
  Speaker 1: This crane slow and it feels like forever this crane
• 1:29:43
  Speaker 1: just keeps going and going and going and finally ends
• 1:29:47
  Speaker 1: with the shot the execution.
• 1:29:50
  Speaker 4: Mm hmmm.
• 1:29:52
  Speaker 1: I don't I don't know where this shot came from, Like,
• 1:29:56
  Speaker 1: I don't know where clearly this was planned, because it
• 1:30:02
  Speaker 1: does feel almost out of place in this movie, you
• 1:30:06
  Speaker 1: know what I mean. It feels like somebody who's like
• 1:30:09
  Speaker 1: somebody had a really good idea and they're like, oh yeah,
• 1:30:12
  Speaker 1: it's so fucking good.
• 1:30:13
  Speaker 3: Dude, it really is. And to me it shows confidence.
• 1:30:18
  Speaker 1: That's ballsy.
• 1:30:20
  Speaker 3: It's extremely baldy to do that and one that movie
• 1:30:24
  Speaker 3: to your first movie in three I mean, I mean,
• 1:30:28
  Speaker 3: you shot it slow, so I guess he could have
• 1:30:30
  Speaker 3: sped it up and just done it normal. But there's
• 1:30:33
  Speaker 3: no music too. It's not like he's editing it to
• 1:30:36
  Speaker 3: the music. It goes silent and you sit there and
• 1:30:39
  Speaker 3: you wonder how long does he wait until he says
• 1:30:43
  Speaker 3: and fire?
• 1:30:45
  Speaker 1: Yeah? Yeah, well there has to be I mean, you
• 1:30:47
  Speaker 1: would probably know better than I would, but there there
• 1:30:51
  Speaker 1: has to be still timing marks with those crane shots,
• 1:30:53
  Speaker 1: you know what I mean, That crane has to get
• 1:30:55
  Speaker 1: to a certain especially they're shooting in it at this time.
• 1:30:59
  Speaker 1: Is still primarily film?
• 1:31:02
  Speaker 3: Oh oh, it's all film. Yeah, it's all film, but
• 1:31:06
  Speaker 3: you're still doing you're still doing focus measurements and all
• 1:31:09
  Speaker 3: that other like, you know what I mean. I'm trying
• 1:31:12
  Speaker 3: to think. I don't even remember if it's moving that much,
• 1:31:15
  Speaker 3: so I think it's just mostly just a high shot.
• 1:31:19
  Speaker 1: Well it starts off pretty high, but it's just good.
• 1:31:22
  Speaker 3: Yeah, yeah, yeah, yeah, it starts off pretty high, but
• 1:31:24
  Speaker 3: it's not it's not like it's a moving shot. And
• 1:31:27
  Speaker 3: they're shooting daylight, so they're shooting very wide open where
• 1:31:31
  Speaker 3: everything's in focus, probably so they're not really worried about
• 1:31:35
  Speaker 3: too much of a focus pool.
• 1:31:38
  Speaker 1: It's just it's such a great moment, dude.
• 1:31:41
  Speaker 3: It's such a great moment. And yeah, well yeah, okay,
• 1:31:43
  Speaker 3: I'm watching it. Now it's moving, but it's moving very slowly.
• 1:31:46
  Speaker 3: And then the camera just kind of stops for a
• 1:31:49
  Speaker 3: second and we hold it there. Okay, so and then
• 1:31:52
  Speaker 3: and then it hits Yes, So they probably waited until
• 1:31:57
  Speaker 3: it got to a stop mark and then and then
• 1:32:01
  Speaker 3: that was the shot. They were giving it time to
• 1:32:04
  Speaker 3: get to that mark.
• 1:32:06
  Speaker 1: It's when you think of two thousand and three. Even
• 1:32:09
  Speaker 1: if I think of two thousand the first thing I'm
• 1:32:11
  Speaker 1: thinking about is tons of jump cuts, rapid edits.
• 1:32:16
  Speaker 3: I'm thinking of. This is very much a generation of
• 1:32:19
  Speaker 3: the music video style editing in feature films.
• 1:32:22
  Speaker 1: Yeah, I'm thinking that kinetic energy, which I don't think
• 1:32:26
  Speaker 1: this movie has much of anyway. But this just feels
• 1:32:31
  Speaker 1: so like nobody at this time was doing anything like this,
• 1:32:35
  Speaker 1: holding onto a shot like this without an edit.
• 1:32:39
  Speaker 3: No, this was very much a style of like the seventies,
• 1:32:42
  Speaker 3: like the Francis four Coppolas or the you know, like
• 1:32:45
  Speaker 3: a taxi driver, you know, Marn Scorsese. This was very
• 1:32:48
  Speaker 3: much very artsy, very very artsy, you know. And then
• 1:32:52
  Speaker 3: what's crazy is so like me and you agree, this
• 1:32:55
  Speaker 3: is probably our favorite shot in the film. But the
• 1:32:58
  Speaker 3: scene that follows right after it's probably my favorite scene
• 1:33:01
  Speaker 3: in the movie where it cuts straight back to this
• 1:33:04
  Speaker 3: music video style and we cut to the Red Hot
• 1:33:07
  Speaker 3: Pussy Liquors store where Sherry Moon Zombie outside with the
• 1:33:11
  Speaker 3: bubblegum yeah you know, in that bash in that red
• 1:33:16
  Speaker 3: neon lighting, and then you go into the store and
• 1:33:19
  Speaker 3: it's a small little interaction with the guy who played Goober.
• 1:33:23
  Speaker 1: Yeah, it's it's a crazy contrast. It's actually kind of
• 1:33:27
  Speaker 1: like it's kind of like whiplash, And if you think.
• 1:33:30
  Speaker 3: About it, they're a really arty transition. There's a transition
• 1:33:34
  Speaker 3: of the sky the sunset. So we cut from this
• 1:33:39
  Speaker 3: really arsy, super bright daylight shot to this random super
• 1:33:44
  Speaker 3: still pan of this beautiful sunset, cut to Rob Zombie
• 1:33:49
  Speaker 3: music and Scherry Moon Zombie sitting there in the neon
• 1:33:53
  Speaker 3: signed about to go by alcohol.
• 1:33:55
  Speaker 2: Yeah.
• 1:33:55
  Speaker 1: Yeah, Well, let's talk for a second, Chuck, about the
• 1:34:00
  Speaker 1: Universal's reaction to this, the killing of Steve Nash.
• 1:34:05
  Speaker 2: Yeah, so, during a super early audience screening, there were
• 1:34:08
  Speaker 2: a couple Universal executives and attendance, and when this scene
• 1:34:13
  Speaker 2: was you know, Johan, as soon as Otis pulled the
• 1:34:17
  Speaker 2: trigger and killed Nash, the audience apparently erupted in cheers,
• 1:34:21
  Speaker 2: and Rob believes that may have been the nail in
• 1:34:24
  Speaker 2: the coffin for a universal wanting to work and finished
• 1:34:28
  Speaker 2: making this film.
• 1:34:30
  Speaker 1: Well, super interesting time in horror where I think, I
• 1:34:37
  Speaker 1: think in a way, Scream kind of well the eighties
• 1:34:42
  Speaker 1: did for sure, but then the resurgence of the Lasher
• 1:34:45
  Speaker 1: with Scream people people want to see the villains do good.
• 1:34:51
  Speaker 1: They want to see that, you know what I mean,
• 1:34:53
  Speaker 1: Like they no matter. It's so funny, dude. You you
• 1:34:57
  Speaker 1: remember the Firefly family more than you remember any other
• 1:35:01
  Speaker 1: good character. You know, good air quotes, you know what
• 1:35:05
  Speaker 1: I mean. You remember the terrible things that they commit
• 1:35:09
  Speaker 1: to these people much more than you remember any of
• 1:35:11
  Speaker 1: the good anybody tries to do. Yeah, So I kind
• 1:35:16
  Speaker 1: of like, I don't know, it's an interesting reaction from
• 1:35:22
  Speaker 1: the crowd, but clearly they were way more invested in
• 1:35:24
  Speaker 1: Otis than they were than they were Steve Nash.
• 1:35:29
  Speaker 3: I mean, and think about this too, because I didn't
• 1:35:31
  Speaker 3: even think about this until you just said it. But
• 1:35:34
  Speaker 3: this movie was what shot in like two thousand and everything,
• 1:35:37
  Speaker 3: so they probably did the test screenings two thousand and
• 1:35:39
  Speaker 3: two thousand and one, Like we're just getting out of
• 1:35:43
  Speaker 3: the whole just franchise horror movies that are like screams.
• 1:35:50
  Speaker 3: I know what you did last summer, the whole teen
• 1:35:54
  Speaker 3: wave that was popular at that time in the late nineties,
• 1:35:57
  Speaker 3: where you you know, the faculty disturbing behavior, you know,
• 1:36:02
  Speaker 3: this whole like teens all put the you know, put
• 1:36:05
  Speaker 3: them on and they're all basically the same movie because
• 1:36:08
  Speaker 3: they're all trying to replicate scream, you know. And then
• 1:36:11
  Speaker 3: here comes this, you know, two thousand and three, and
• 1:36:14
  Speaker 3: this is like Chuck was saying, this is like before
• 1:36:16
  Speaker 3: Hostile and before you said this was the same year
• 1:36:20
  Speaker 3: I saw well release date, yeah, yeah, yeah, yeah, release date,
• 1:36:25
  Speaker 3: you know which that was also an independent movie technically
• 1:36:29
  Speaker 3: from Lionsgate first time, another first time directorial debut from
• 1:36:35
  Speaker 3: James wand But it was kind of a turn in
• 1:36:40
  Speaker 3: horror movies. It was a turn in the direction of
• 1:36:45
  Speaker 3: where it was going.
• 1:36:47
  Speaker 1: This is back to the the down and dirty horror
• 1:36:55
  Speaker 1: fans again, because that shit barely existed in the nineties.
• 1:37:01
  Speaker 1: You know, so you have ten years a decade where
• 1:37:06
  Speaker 1: I feel like you had so many new horror fans
• 1:37:09
  Speaker 1: thanks to the teen slasher craze well late nineties, and
• 1:37:15
  Speaker 1: then technically early nineties, while there was a lot of
• 1:37:18
  Speaker 1: great slashers and a lot of great horror movies, there
• 1:37:21
  Speaker 1: was such a change in tone that people I feel
• 1:37:23
  Speaker 1: like people kind of missed that, like really down in
• 1:37:27
  Speaker 1: dirty anti hero horror, and this scene delivers that in
• 1:37:31
  Speaker 1: full force. You know, it's risky anytimes. It's so funny, man,
• 1:37:37
  Speaker 1: how you can have an action movie where your character
• 1:37:40
  Speaker 1: mows down three hundred police officers and nobody bats an
• 1:37:44
  Speaker 1: eye the moment you kill one. In a horror movie,
• 1:37:47
  Speaker 1: it's like, oh, whoa, we killed cop, you know what
• 1:37:50
  Speaker 1: I mean? And especially at this time, Yeah, I think
• 1:37:55
  Speaker 1: this is a pretty a pretty good, you know, like
• 1:38:02
  Speaker 1: representation of what was being missed in horror. And I
• 1:38:06
  Speaker 1: mean in a loose term. I might just be bullshitting
• 1:38:10
  Speaker 1: right now, who knows, but that's just how I feel
• 1:38:12
  Speaker 1: about it.
• 1:38:13
  Speaker 3: Yeah, I mean, it was definitely different than anything else
• 1:38:16
  Speaker 3: I came out at that time. I mean, in general,
• 1:38:19
  Speaker 3: there's still I can't name one movie I can't think of,
• 1:38:22
  Speaker 3: but I'm not deep into like that kind of horror,
• 1:38:26
  Speaker 3: but nothing that even looks like it, style wise, editing wise,
• 1:38:32
  Speaker 3: like outside of oh, this looks like a rob zombie
• 1:38:35
  Speaker 3: music video.
• 1:38:36
  Speaker 1: Yeah. Yeah, well I think I think a lot of
• 1:38:39
  Speaker 1: movies ended up looking like this out of no money,
• 1:38:42
  Speaker 1: you know what I mean, and like yeah, but not
• 1:38:45
  Speaker 1: with the intention of no.
• 1:38:49
  Speaker 3: Rob Zombie did it because he had to. You know,
• 1:38:52
  Speaker 3: he shot a lot of the b roll when he
• 1:38:54
  Speaker 3: was on tour. Yep, you know, he would shoot these
• 1:38:57
  Speaker 3: scenes after it was shot in between hiatus. I'm more
• 1:39:03
  Speaker 3: than sure the original cut that was screamed looks nothing
• 1:39:06
  Speaker 3: like what we got now, despite the one hundred and
• 1:39:10
  Speaker 3: forty minute cut or the one hundred and four minute cut.
• 1:39:13
  Speaker 3: I'm sure just in general, well, I'm sure one hundred
• 1:39:16
  Speaker 3: and four minute cut looked similar that was released, but
• 1:39:18
  Speaker 3: the initial cut that Universal had but before Rob Zombie
• 1:39:23
  Speaker 3: went ended all the inserts looked way different. Yeah.
• 1:39:27
  Speaker 1: Yeah, And I do want to bring up one of
• 1:39:30
  Speaker 1: these notes that Chuck sent me where to see where
• 1:39:33
  Speaker 1: Otis is skinning mister Willis, which when he runs downstairs
• 1:39:39
  Speaker 1: with that.
• 1:39:40
  Speaker 3: Face, yeah that was yes, yeah.
• 1:39:45
  Speaker 1: Yeah, the candles in that scene were actually from Stanley
• 1:39:49
  Speaker 1: Kubrick's Barry Lindon that the cinematographer had saved. Really, yeah,
• 1:39:54
  Speaker 1: somebody had saved on the crew. Yeah, which is a
• 1:39:57
  Speaker 1: cool little you know, just a cool little thing. Yeah,
• 1:40:01
  Speaker 1: when he runs down, dude, that's so and it's it's
• 1:40:04
  Speaker 1: so funny because you see that in House a Thousand Corpses,
• 1:40:07
  Speaker 1: and then it just makes you think of the Devil's
• 1:40:09
  Speaker 1: rejects with him wearing the face again, you know what
• 1:40:12
  Speaker 1: I mean. It's so it's so good man, it's so good.
• 1:40:19
  Speaker 1: You mentioned in the original script that Grandpa was gonna
• 1:40:23
  Speaker 1: be revealed as Doctor Satan.
• 1:40:26
  Speaker 2: Yeah, so when they were hanging up on the chandelier
• 1:40:29
  Speaker 2: or whatever it was that they were dangling from the
• 1:40:31
  Speaker 2: rabbit suits, it was supposed to be revealed that Grandpa
• 1:40:33
  Speaker 2: was actually Doctor Satan this whole time, and I guess.
• 1:40:37
  Speaker 1: That was I don't I don't like that. Maybe is
• 1:40:41
  Speaker 1: that just me? I don't.
• 1:40:42
  Speaker 3: I don't think that. I don't think that fits just
• 1:40:45
  Speaker 3: based off the because Grandpa's kind of an idiot.
• 1:40:48
  Speaker 1: Yeah it is. Yeah, it doesn't make it, doesn't. I Mean,
• 1:40:53
  Speaker 1: you have Doctor Satan who's literally trying to build like
• 1:40:55
  Speaker 1: a supernatural army, you know what I mean, which you
• 1:40:59
  Speaker 1: gotta I have a little bit of smarts to do that,
• 1:41:02
  Speaker 1: I think. So it's just it. But at the moment
• 1:41:06
  Speaker 1: I read that I was like, Yeah, I'm happy that
• 1:41:07
  Speaker 1: didn't happen. Yeah you know, yeah cool, Yeah, dude, I
• 1:41:13
  Speaker 1: feel like that would have ruined it. I mean at
• 1:41:16
  Speaker 1: this point in the movie, I think now we're getting
• 1:41:19
  Speaker 1: into the new the stuff that was shot after the
• 1:41:22
  Speaker 1: universal screening with the ending, and I will say there
• 1:41:26
  Speaker 1: is almost like a saved money feeling to this ending,
• 1:41:31
  Speaker 1: Like it feels like they were like, oh, we got
• 1:41:32
  Speaker 1: to hold onto as much as we can, because the
• 1:41:36
  Speaker 1: ending feels, in my opinion, of bigger budget than the
• 1:41:39
  Speaker 1: rest of the.
• 1:41:40
  Speaker 3: Movie, like like the whole Alice in Wonderland, seeing like
• 1:41:44
  Speaker 3: when they're walking and once they get in the nighttime
• 1:41:47
  Speaker 3: saying oh yeah, no, you can tell either that was
• 1:41:50
  Speaker 3: all money that they got for reshoots or they saved
• 1:41:54
  Speaker 3: that for last they knew it was the biggest yeah yeah.
• 1:41:57
  Speaker 1: And when they actually get when she acts, she gets
• 1:42:00
  Speaker 1: down and we're in what because what is the name
• 1:42:04
  Speaker 1: of the soldier that that chases her down? Here?
• 1:42:08
  Speaker 3: Dude? That is the coolest character, like visually, like he
• 1:42:12
  Speaker 3: reminds me of somebody from like like a resident Evil
• 1:42:16
  Speaker 3: like Apocalypse character or like a Silent Hill kind of character,
• 1:42:23
  Speaker 3: like especially when he when she takes the mask off
• 1:42:25
  Speaker 3: and you see like him he pukes out that mucus
• 1:42:28
  Speaker 3: and it's just like his mouth like in the in
• 1:42:31
  Speaker 3: just a po v of that. Like, that's one of
• 1:42:34
  Speaker 3: the coolest things to me about the movie is when
• 1:42:37
  Speaker 3: we get to that third act and we're introduced to
• 1:42:39
  Speaker 3: that new character, which, by the way, that was a
• 1:42:41
  Speaker 3: real act he had and he swung at her. That
• 1:42:45
  Speaker 3: was not a prop act. That was a real acts
• 1:42:47
  Speaker 3: and they had like one take to Robed Ones talking
• 1:42:49
  Speaker 3: about like, I hope she moves.
• 1:42:52
  Speaker 1: What do you guys remember what his name?
• 1:42:56
  Speaker 2: What?
• 1:42:56
  Speaker 3: I don't remember his name, to be honest.
• 1:42:59
  Speaker 1: Because trying to find and the only thing that sticks
• 1:43:03
  Speaker 1: out to me is, wait, is it Killer Carl?
• 1:43:09
  Speaker 3: I don't worry.
• 1:43:10
  Speaker 2: Honestly, it seems fitting enough.
• 1:43:14
  Speaker 1: I mean. So the actor who plays Killer Carl is
• 1:43:18
  Speaker 1: Chad Bannon, and I think he's a underwear model according
• 1:43:21
  Speaker 1: to his IMDb photo. Just saying I mean.
• 1:43:26
  Speaker 2: And another fun thing, he claims that he couldn't even
• 1:43:30
  Speaker 2: see out of that mask, so when he was in
• 1:43:32
  Speaker 2: then he was kind of just hoping he didn't hit
• 1:43:34
  Speaker 2: the actress.
• 1:43:35
  Speaker 1: Yeah yeah, yeah, well we we we can jump to
• 1:43:40
  Speaker 1: it real quick because It makes me think of our
• 1:43:42
  Speaker 1: last episode we covered My Bloody Valentine, which yeah, ends
• 1:43:46
  Speaker 1: with Harry Win swinging the pickaxe and hitting structural components.
• 1:43:50
  Speaker 1: The same thing here, yep, you know. But what I
• 1:43:54
  Speaker 1: love about yeah, yeah, what I love about this ending,
• 1:43:58
  Speaker 1: which is you put in the notes, is how they
• 1:44:00
  Speaker 1: built it as a figure eight to make it seem bigger.
• 1:44:02
  Speaker 1: These catacombs. This again feels like a haunted house. Like
• 1:44:06
  Speaker 1: this feels like you could just take this and make
• 1:44:09
  Speaker 1: it a haunted house and it would work because it
• 1:44:11
  Speaker 1: feels very room to room. It feels uh stagy, which
• 1:44:17
  Speaker 1: I like.
• 1:44:18
  Speaker 3: Well, they built a set, like Rob Rob said, they
• 1:44:20
  Speaker 3: built the set so small they didn't even take into
• 1:44:23
  Speaker 3: consideration like lighting and camera placement, so they literally couldn't
• 1:44:29
  Speaker 3: like it was hard to light. They he couldn't really
• 1:44:31
  Speaker 3: do much options shooting wise. And then when she's running
• 1:44:35
  Speaker 3: they built it was like a donut. She was just
• 1:44:37
  Speaker 3: running in a circle. Yeah, yeah the whole time because
• 1:44:40
  Speaker 3: it was so small.
• 1:44:40
  Speaker 1: Of a shit, they built it in a figure eight,
• 1:44:42
  Speaker 1: so there was there had to be a crisscross era,
• 1:44:45
  Speaker 1: you know what I mean? Like, yeah, it's it's cool man,
• 1:44:48
  Speaker 1: And the reveal of Doctor Seton is. You know, I
• 1:44:52
  Speaker 1: read online that a lot of people don't like it
• 1:44:53
  Speaker 1: because I think they I think the idea of Doctor
• 1:44:58
  Speaker 1: Satan existing and not seeing him is very intriguing, you know,
• 1:45:02
  Speaker 1: because it makes you question the lore. And then when
• 1:45:05
  Speaker 1: we're when we're proven that he's real and he's building
• 1:45:08
  Speaker 1: super soldiers, that does feel much more fantastical than the
• 1:45:13
  Speaker 1: rest of the movie has led you to.
• 1:45:16
  Speaker 3: Yeah, it definitely leans more into the not sci fi,
• 1:45:20
  Speaker 3: but you know that taken out of reality.
• 1:45:25
  Speaker 1: Yeah, because because everything up until this point, like even
• 1:45:30
  Speaker 1: there was a note that we somehow missed where all
• 1:45:33
  Speaker 1: of the all of those scenes of Baby were pretty
• 1:45:36
  Speaker 1: much like replicas of the actual like Manson Girl, you know,
• 1:45:42
  Speaker 1: like real footage that they filmed. And you know, so
• 1:45:46
  Speaker 1: there's a lot here that's grounded in reality, if not
• 1:45:49
  Speaker 1: just a little exaggerated. This feels very exaggerated.
• 1:45:55
  Speaker 3: Yeah, I mean you think it too. This may be,
• 1:45:58
  Speaker 3: this may be a far reach, but I'm I mean
• 1:46:00
  Speaker 3: you think of like the seventies and the whole history
• 1:46:02
  Speaker 3: of like the people who were in cults, like the
• 1:46:06
  Speaker 3: Mansion family and all the like the Waco things and
• 1:46:10
  Speaker 3: all these things were cults. And like what did they
• 1:46:12
  Speaker 3: really believe, you know, maybe they really believed there was
• 1:46:14
  Speaker 3: like something like this, like a doctor Sadan.
• 1:46:17
  Speaker 1: Yeah. Yeah. You know, well, when you think about like one,
• 1:46:21
  Speaker 1: one thing I've noticed with exploitation is that there there
• 1:46:24
  Speaker 1: always is something a little bit more I use the
• 1:46:30
  Speaker 1: word fantastical. There always is an element of it, and
• 1:46:32
  Speaker 1: it typically comes at the very end, you know, especially
• 1:46:36
  Speaker 1: if you want to get into like the you know,
• 1:46:39
  Speaker 1: Italian the Italian ripoffs that were occurring and stuff like.
• 1:46:42
  Speaker 1: There was always some science, especially in the zombie like
• 1:46:48
  Speaker 1: sub genre, there was always some scientists that was building
• 1:46:51
  Speaker 1: an undead army. I just watched it with Doctor Butcher MD,
• 1:46:54
  Speaker 1: you know, and like you hear about it the whole movie.
• 1:46:56
  Speaker 1: Then you see the experiment at the end, and that's
• 1:46:58
  Speaker 1: what this feels like.
• 1:47:00
  Speaker 3: We'll look at modern day look at Terrifier. Look at
• 1:47:03
  Speaker 3: Terrifier too. How it went from like the first one
• 1:47:06
  Speaker 3: being just like a normal guy killing people who just
• 1:47:10
  Speaker 3: doesn't talk to more of like, okay, by the time
• 1:47:12
  Speaker 3: we get to the second one, they're the whole lore
• 1:47:14
  Speaker 3: of like her with the wings and her mission and
• 1:47:18
  Speaker 3: being in you know, it takes a lot more of
• 1:47:21
  Speaker 3: a grounded out of reality into that suit. I don't
• 1:47:26
  Speaker 3: want to say supernatural kind of element to it.
• 1:47:30
  Speaker 1: No, yeah, I and I don't agree with the people
• 1:47:34
  Speaker 1: online that I was reading who who dislike the Doctor
• 1:47:38
  Speaker 1: Satan bit.
• 1:47:39
  Speaker 3: I think it adds to the I mean, it's a
• 1:47:42
  Speaker 3: it's scary. It doesn't matter what it's what's supposed to
• 1:47:46
  Speaker 3: be scary about it. It's it's horror and it's I mean, yeah,
• 1:47:51
  Speaker 3: it takes it takes it, that takes a dramatic turn.
• 1:47:54
  Speaker 3: But add all the years in twenty something year that
• 1:47:57
  Speaker 3: I've been watching this, I never once thought, oh, that
• 1:48:00
  Speaker 3: feels so out of place.
• 1:48:02
  Speaker 1: Well, I mean one movie later in the sequel, you
• 1:48:06
  Speaker 1: I mean, in Three from Hell, you're supposed to believe
• 1:48:08
  Speaker 1: that they that they survived getting shot one hundred times
• 1:48:12
  Speaker 1: in a car, you know what I mean? So like
• 1:48:13
  Speaker 1: there is a weird element to these movies anyway.
• 1:48:17
  Speaker 3: Yeah, I mean the title alone, if you think about it,
• 1:48:19
  Speaker 3: the Devil's rejects, Like, there's something just in the in
• 1:48:25
  Speaker 3: the name alone that could be supernatural. But that's another
• 1:48:28
  Speaker 3: reason I don't like Three from Hell, because I feel
• 1:48:30
  Speaker 3: like that ending for the second one was one of
• 1:48:33
  Speaker 3: the best you know. I love the Blade of Glory endings,
• 1:48:36
  Speaker 3: like imagine they made a sequel to Thelma and Luise
• 1:48:39
  Speaker 3: and they survived and now they're hiding out in the
• 1:48:42
  Speaker 3: middle of like Texas somewhere like nah, I'm good.
• 1:48:46
  Speaker 1: I think I think we can make a Thumba Louise,
• 1:48:49
  Speaker 1: Themba and Louise and like the descent that like they
• 1:48:52
  Speaker 1: survived and they went down into the.
• 1:48:54
  Speaker 3: Tumbels and then they into a case.
• 1:48:57
  Speaker 1: Yeah yeah, And I think that's the that's a cinematic
• 1:49:00
  Speaker 1: universe we need.
• 1:49:02
  Speaker 3: I do. Especially with the ending. I love the turn
• 1:49:05
  Speaker 3: to the Alice in Wonderland, like down the rabbit Hole.
• 1:49:08
  Speaker 1: I mean even literally dresses rabbits.
• 1:49:11
  Speaker 3: Literally dresses rabbits, and then those guys come and strip
• 1:49:14
  Speaker 3: her clothes off of her to reveal the Alice suit.
• 1:49:17
  Speaker 3: And then you know that speaking of like cinematography, like
• 1:49:21
  Speaker 3: the low angle shot of her entering it, and like
• 1:49:24
  Speaker 3: it goes from this blue light, it opens up and
• 1:49:28
  Speaker 3: you see the warm light and you see like the
• 1:49:31
  Speaker 3: chandelier of like bones or something above her.
• 1:49:34
  Speaker 1: Yeah, it's very good. I mean even when Baby chases
• 1:49:39
  Speaker 1: the other girl, you know what I mean, when she's
• 1:49:41
  Speaker 1: chasing her in the dark and she ends up in
• 1:49:43
  Speaker 1: the graveyard. It feels very gothic. It's got a cool
• 1:49:46
  Speaker 1: visual style. It's just all it all. It's all really cool.
• 1:49:51
  Speaker 1: But again, this ending feels like it feels like when
• 1:49:56
  Speaker 1: he was given a little bit more money. It obviously
• 1:49:58
  Speaker 1: gave him a little bit more time. He had time
• 1:50:00
  Speaker 1: to be like, Okay, let me shape this and like, actually,
• 1:50:04
  Speaker 1: because I know they build it a little small, which
• 1:50:06
  Speaker 1: you know that sucks, but like that, I would have
• 1:50:09
  Speaker 1: never thought that. Watching it, it looked very intentional.
• 1:50:12
  Speaker 3: And and and and and and you can tell his
• 1:50:15
  Speaker 3: influence just too. Like there's there's one thing he he
• 1:50:17
  Speaker 3: he said something in the commentary that I I thought
• 1:50:21
  Speaker 3: was one of the coolest names for something. So the
• 1:50:25
  Speaker 3: the scene when he enters the tunnel and it's got
• 1:50:27
  Speaker 3: that Jaws Dolly zoom shot yep, you know. Rob Zombie
• 1:50:33
  Speaker 3: called it the Corridor of Corpses. I was like, that's
• 1:50:36
  Speaker 3: such a cool name. Oh my god, that's such a
• 1:50:39
  Speaker 3: cool name.
• 1:50:40
  Speaker 1: Damn the core that that could have been the sequel,
• 1:50:42
  Speaker 1: bro that could Corridor of Corpses.
• 1:50:46
  Speaker 3: But just a shot, just a cinematic style of Zombie
• 1:50:49
  Speaker 3: doing that, Like it's like he pulls these really cinematic
• 1:50:52
  Speaker 3: styles out of nowhere with that crane shot and just
• 1:50:56
  Speaker 3: holding it and then you get you you you get
• 1:50:58
  Speaker 3: a split dioptics. You get one split diacter shot where
• 1:51:02
  Speaker 3: she's in the cave and then you see the guy
• 1:51:04
  Speaker 3: behind her Like that is some like artistic shit. Yeah,
• 1:51:08
  Speaker 3: you get the dolly zoom shot. You know, there's real
• 1:51:12
  Speaker 3: directorial choices styles that you have to take him like
• 1:51:18
  Speaker 3: way more seriously for like he knew what he was doing.
• 1:51:21
  Speaker 1: And shots, like anytime you have like a split diapter shot,
• 1:51:25
  Speaker 1: those have to be so so planned out, like I
• 1:51:28
  Speaker 1: think of Child's Play two, which uses them a couple
• 1:51:31
  Speaker 1: of times very very well. And Child's Play two being
• 1:51:35
  Speaker 1: my favorite Child's Play movie, had in my opinion, the
• 1:51:38
  Speaker 1: coolest visual style, and that's one of those like if
• 1:51:42
  Speaker 1: I'm watching a movie for the first time, seeing a
• 1:51:45
  Speaker 1: split diapter shot, to me shows extreme confidence and what
• 1:51:50
  Speaker 1: you're shooting because you can do those very wrong, like
• 1:51:53
  Speaker 1: they don't look right. You. Those have to be so
• 1:51:55
  Speaker 1: immaculately planned out, you know what I mean.
• 1:52:00
  Speaker 3: And they're not easy to do because I have a
• 1:52:03
  Speaker 3: few split diopters and they're not easy to frame up
• 1:52:07
  Speaker 3: like you like rob on me says, like they could
• 1:52:10
  Speaker 3: not move like she moves, she's got a focus. It's
• 1:52:13
  Speaker 3: literally a magnifying glass. Yeah, that's what a split diopter shouted.
• 1:52:17
  Speaker 3: It's a magnifying glass cut in half.
• 1:52:20
  Speaker 1: Well, what would that be? So thinking in photography's terms
• 1:52:23
  Speaker 1: or photography terms and then like stupid terms. That's like,
• 1:52:27
  Speaker 1: I mean, I can imagine split the actors like shooting
• 1:52:30
  Speaker 1: two images of like F one to two, you know
• 1:52:32
  Speaker 1: what I mean.
• 1:52:33
  Speaker 3: Yeah, because you got to hide that scene.
• 1:52:35
  Speaker 2: M h.
• 1:52:36
  Speaker 3: Yeah, some directors don't, like quinnin Tarantino uses them a
• 1:52:40
  Speaker 3: lot or sparingly. He uses them sparingly, but to try
• 1:52:45
  Speaker 3: to hide that line. And they hid it very well
• 1:52:48
  Speaker 3: in a house of a thousand coup I think because
• 1:52:50
  Speaker 3: it was so dark in that room, they were able
• 1:52:53
  Speaker 3: to do that. But yeah, no, they probably shot that
• 1:52:56
  Speaker 3: at the lowest aperture that they could.
• 1:52:59
  Speaker 1: Yeah, it's a really cool I mean even again, like
• 1:53:01
  Speaker 1: the Jaws shot the Dolly in zoom out, you know
• 1:53:04
  Speaker 1: what I mean, or zoom in. I forget which which
• 1:53:07
  Speaker 1: way is it.
• 1:53:08
  Speaker 3: It's it's well, you could do it either way. I'm
• 1:53:12
  Speaker 3: trying to think of how they did it.
• 1:53:14
  Speaker 1: I think it's dolly in zoom out.
• 1:53:16
  Speaker 3: Yeah, it's more dolly in zoom out in the effect,
• 1:53:19
  Speaker 3: but you can do it both ways. Some people call
• 1:53:20
  Speaker 3: it the vertigo effect because Alfred Hitchcock did it too,
• 1:53:24
  Speaker 3: and well, yeah, the vertico when when he looks down
• 1:53:29
  Speaker 3: and it does out effect. But it's more famous for Jaws.
• 1:53:32
  Speaker 1: Yeah, yeah, it's a cool I mean, it's a cool shot.
• 1:53:34
  Speaker 1: Every movie I've ever seen that they do that in
• 1:53:37
  Speaker 1: is so is so cool.
• 1:53:38
  Speaker 3: Mm hmm.
• 1:53:39
  Speaker 1: What I just watched. Oh, I was talking about on
• 1:53:42
  Speaker 1: the stream the other night. We do a stream called
• 1:53:46
  Speaker 1: Sunday Scaries, and you were on it. We were talking
• 1:53:48
  Speaker 1: about Piranha three d D and how they do that
• 1:53:51
  Speaker 1: dolly zoom shot like three times on David Hasselhoff.
• 1:53:55
  Speaker 3: Yeah, that's like a riff on Jaw.
• 1:53:58
  Speaker 1: It's it's it's so good. But like those are like
• 1:54:00
  Speaker 1: those are very intentional.
• 1:54:01
  Speaker 3: Those are and they're not easy to do. Like I
• 1:54:05
  Speaker 3: did a dollary zoom shot in my first feature film,
• 1:54:07
  Speaker 3: Hell of a Night, in the opening scene, and it
• 1:54:10
  Speaker 3: was I mean, it's a little shaky because I'm doing
• 1:54:12
  Speaker 3: it by myself, trying to push and dolly it, you know,
• 1:54:15
  Speaker 3: zoom at the same time. But like I can imagine
• 1:54:18
  Speaker 3: that set, it's also used to emphasize linked so he
• 1:54:25
  Speaker 3: probably had a very small set and he was like,
• 1:54:27
  Speaker 3: how do I show this mm hmm, yeah and not
• 1:54:31
  Speaker 3: make it look like it's like ten feet Well in.
• 1:54:35
  Speaker 1: That case too, I mean even in prep that has
• 1:54:38
  Speaker 1: to be planned because you need rails for the dolly
• 1:54:41
  Speaker 1: to be on like that. That's not just like an
• 1:54:44
  Speaker 1: in the moment. You need to rent that equipment and
• 1:54:46
  Speaker 1: have that equipment there, have it ready. That's not just
• 1:54:48
  Speaker 1: like a I'm not on set going oh, you know,
• 1:54:50
  Speaker 1: it'd be really cool if we do this real quick,
• 1:54:52
  Speaker 1: you know, I mean it could you could probably Jerry
• 1:54:55
  Speaker 1: rig something like that, you know, I mean, but that
• 1:54:58
  Speaker 1: was very intentional. I think.
• 1:55:00
  Speaker 3: Same with the crane shots. I feel the crane shots
• 1:55:02
  Speaker 3: were all done in one day, because that's not something
• 1:55:06
  Speaker 3: you just rent a crane for the production and you
• 1:55:08
  Speaker 3: have it anytime you want, not unless you're Michael Bay
• 1:55:11
  Speaker 3: where you have all the toys at your disposal at
• 1:55:13
  Speaker 3: all time. All the crane shots, if you look at it,
• 1:55:16
  Speaker 3: were all daytime exteriors. They were probably all shot on
• 1:55:19
  Speaker 3: the same day, like we have the crane. We're gonna
• 1:55:22
  Speaker 3: do these shots, all right.
• 1:55:24
  Speaker 1: There's probably one was to the right, one was to
• 1:55:26
  Speaker 1: the left, Yeah, know what I mean. Like and those
• 1:55:29
  Speaker 1: those crane shots and I don't know if you would
• 1:55:32
  Speaker 1: know those are is this with at those cranes, those
• 1:55:37
  Speaker 1: cameras are still there was still somebody on that.
• 1:55:40
  Speaker 3: Yes, at that point I think it was still because
• 1:55:43
  Speaker 3: this is the way before the techno crane where they
• 1:55:46
  Speaker 3: can just remote do it. So it's somebody on the
• 1:55:49
  Speaker 3: crane sitting down controlling it while the people at the
• 1:55:53
  Speaker 3: other end. You have people controlling the up and down
• 1:55:57
  Speaker 3: of the crane, and then you have people if it's
• 1:55:58
  Speaker 3: on a dolly because because the camera's got to move,
• 1:56:01
  Speaker 3: so the crane is on a dolly on rails, you know,
• 1:56:06
  Speaker 3: and the DP is just directing his people from the headphones.
• 1:56:10
  Speaker 3: You can tell this from the car shot when they
• 1:56:13
  Speaker 3: review when they open the carcuse, it starts on the
• 1:56:15
  Speaker 3: two sheriffs and then the camera pans down to her
• 1:56:20
  Speaker 3: and then it goes up, so he's manually doing that.
• 1:56:24
  Speaker 3: Like a great example, if any of y'all listening, watch
• 1:56:27
  Speaker 3: any behind the scenes of Quentin Tarantino, his DP Robert Richards.
• 1:56:32
  Speaker 3: Then is it Robert or Yeah, I think of Robert
• 1:56:35
  Speaker 3: Ridgeson is always using that crane. He's always sitting down
• 1:56:39
  Speaker 3: on it.
• 1:56:40
  Speaker 1: Yeah, it's a cool it's really cool man. I mean
• 1:56:43
  Speaker 1: those are all to me the most iconic moments, you know,
• 1:56:49
  Speaker 1: and I feel like those aren't used as often. I
• 1:56:52
  Speaker 1: think Lords of Salem is where I see that that
• 1:56:57
  Speaker 1: kind of camera control use the most, because Halloween is
• 1:57:01
  Speaker 1: very handheld, thirty one is very handheld. The El super
• 1:57:08
  Speaker 1: Besto is animated. You know.
• 1:57:10
  Speaker 3: I think I could be wrong, but I think thirty
• 1:57:13
  Speaker 3: one with not thirty one or the Salem was the
• 1:57:16
  Speaker 3: first movie he ever shot on digital.
• 1:57:19
  Speaker 1: I mean I believe it.
• 1:57:20
  Speaker 3: Yeah, I think that were shot on a red camera,
• 1:57:23
  Speaker 3: like a red one, like early red. I think that
• 1:57:26
  Speaker 3: was his first one on digital. I know for a
• 1:57:28
  Speaker 3: fact thirty one was shot on digital because he could.
• 1:57:32
  Speaker 3: That movie was so low budget and this could have
• 1:57:34
  Speaker 3: been a style thing. But if you notice, he doesn't
• 1:57:38
  Speaker 3: use anamorphic lenses in thirty one, he uses what's called
• 1:57:41
  Speaker 3: a lens flair, which is just a filter you put
• 1:57:44
  Speaker 3: on the lens to give it that like music video
• 1:57:47
  Speaker 3: we kind of effect. And that's why when it's not exposed, right,
• 1:57:50
  Speaker 3: you see the lines that make it look a lot
• 1:57:54
  Speaker 3: more low budget. But I feel like that was more
• 1:57:57
  Speaker 3: of a stylistic choice. You really see it in the
• 1:57:59
  Speaker 3: malcolming scenes with the candles.
• 1:58:02
  Speaker 1: Well, anamorphic is left to right lens flares.
• 1:58:04
  Speaker 3: They're not vertical, right, Yes, you're you're correct, they're left
• 1:58:09
  Speaker 3: to right. And in this one it was more of
• 1:58:11
  Speaker 3: like a star filter. Yeah, kind of saying, but you
• 1:58:14
  Speaker 3: can see the lines. With anamorphic, there's no lines to see.
• 1:58:18
  Speaker 3: That's how you can tell it's a separate filter. Yeah,
• 1:58:22
  Speaker 3: separately if you can really see, and you can turn
• 1:58:25
  Speaker 3: it to be more diagonal, more up and down, you
• 1:58:28
  Speaker 3: can kind of do whatever you want with them.
• 1:58:30
  Speaker 1: We just watched thirty one, not yesterday, the day before,
• 1:58:33
  Speaker 1: and some of those lens flares in the Malcolm mcdell
• 1:58:36
  Speaker 1: sequences are so extreme that it actually blocks Malcolm mcdell's face.
• 1:58:41
  Speaker 1: There's one shot, there's a wide shot when they're at
• 1:58:43
  Speaker 1: the table, and that lens flair.
• 1:58:44
  Speaker 3: Just like almost just cutshir. Yeah, it's like.
• 1:58:47
  Speaker 1: A blade, you know.
• 1:58:49
  Speaker 3: But I feel like that with a stylistic choice, because
• 1:58:51
  Speaker 3: I really feel it like if he wanted to he
• 1:58:53
  Speaker 3: could have got real anamorphic lenses, because I because I
• 1:58:56
  Speaker 3: think thirty not thirty one. Lord of Salem did have
• 1:59:01
  Speaker 3: anamorphic cleenses, Like if you look at the Lyn's voice
• 1:59:03
  Speaker 3: between those two movies, I'm ninety percent sure I could.
• 1:59:07
  Speaker 3: It's been a minute since i've seen Lord of Salem,
• 1:59:09
  Speaker 3: but I'm pretty sure Lord of Salem was shot with
• 1:59:11
  Speaker 3: real antomorphic quenses. And you can really see that when
• 1:59:15
  Speaker 3: she walks into the church at the end and you
• 1:59:18
  Speaker 3: see that little whatever baby at the top.
• 1:59:23
  Speaker 1: Typical Rob Zombie.
• 1:59:24
  Speaker 3: Man, Rob Zombie with his Carnie creature things. You know,
• 1:59:29
  Speaker 3: he kept that fetus that Otis walks in with, like
• 1:59:32
  Speaker 3: he has that. That's like the one prop he kept
• 1:59:35
  Speaker 3: from the thing with the fetus in the jar.
• 1:59:37
  Speaker 1: Don't let you I'll let y'all know. When I go
• 1:59:40
  Speaker 1: to Rob Zombie's house, she's got that like, what's that
• 1:59:42
  Speaker 1: thing man?
• 1:59:45
  Speaker 3: That that's wolf from house.
• 1:59:48
  Speaker 1: Yeah, he's like, he's like thirty five. Now He's like,
• 1:59:52
  Speaker 1: so let's talk about Chuck. Let's chat about the ending,
• 1:59:55
  Speaker 1: because there was a there was some some original changes
• 1:59:59
  Speaker 1: to this.
• 2:00:00
  Speaker 2: Yeah, so he was talking about how the original ending
• 2:00:04
  Speaker 2: was supposed to take place at night and featured Denise
• 2:00:07
  Speaker 2: crawling out of the catacombs like she doesn't the ending
• 2:00:11
  Speaker 2: that he went with. But when she came out, she
• 2:00:14
  Speaker 2: was supposed to be approached by Captain Spalden while he
• 2:00:16
  Speaker 2: was in a milk truck, and Ravali was supposed to
• 2:00:21
  Speaker 2: jump out and snatch her up and put her into
• 2:00:24
  Speaker 2: the milk truck, and that was going to be the
• 2:00:25
  Speaker 2: end of the film. However, he went with the true
• 2:00:29
  Speaker 2: ending because he wanted her to come out at daytime
• 2:00:32
  Speaker 2: to give the audience hope that she survived the whole ordeal,
• 2:00:36
  Speaker 2: and then changed it to Captain spalled in the invertible,
• 2:00:42
  Speaker 2: and then we get that nice shot of Otis coming
• 2:00:44
  Speaker 2: out of the back seat.
• 2:00:46
  Speaker 3: Yeah yeah, and then her waking up in doctor Sadan's chair.
• 2:00:50
  Speaker 1: Yeah it again, Texas chainsaw masker. You know, the ending
• 2:00:55
  Speaker 1: of the escape.
• 2:00:56
  Speaker 3: Yeah yeah, I didn't even think about that tor right now.
• 2:01:00
  Speaker 1: Yeah. And then I when I read that note, I
• 2:01:03
  Speaker 1: thought about a couple of years later, the descent that
• 2:01:07
  Speaker 1: ending coming out it's daylight when she's climbing out of
• 2:01:11
  Speaker 1: the caves.
• 2:01:14
  Speaker 3: Dude, I totally ripped off the descent from my first
• 2:01:16
  Speaker 3: movie and the very end, the girl escapes and she's
• 2:01:20
  Speaker 3: in she's in the car on the side of the
• 2:01:22
  Speaker 3: road and she pulls over and she just breaks down,
• 2:01:25
  Speaker 3: and then we waited for our s for eighteen wheeler
• 2:01:29
  Speaker 3: to pass by to do that like fake out. Yeah,
• 2:01:34
  Speaker 3: like we yeah.
• 2:01:36
  Speaker 1: Hey, listen, dude, imitation is the sinceres form of flattery.
• 2:01:41
  Speaker 3: Okay, exactly.
• 2:01:43
  Speaker 1: Yeah, Well you know, look, dude, this movie it's so
• 2:01:48
  Speaker 1: cool man, because and I think I've said this at
• 2:01:51
  Speaker 1: the end of every episode we've done so far, every
• 2:01:54
  Speaker 1: single time we break down movies like this, I end
• 2:01:57
  Speaker 1: up coming out of this loving the movie even or
• 2:02:00
  Speaker 1: you know what I mean. And what's really cool is
• 2:02:03
  Speaker 1: that we're able to talk about this movie and we
• 2:02:08
  Speaker 1: talked about visual we talked about some character stuff, we
• 2:02:12
  Speaker 1: talk about the effects, like we've talked about this movie
• 2:02:14
  Speaker 1: at every angle that I feel like we could. You know, obviously,
• 2:02:18
  Speaker 1: I think we can go deeper in characters and stuff,
• 2:02:20
  Speaker 1: but I'm not really too interested in that. But this
• 2:02:25
  Speaker 1: is why I love the show that we've done, this podcast,
• 2:02:29
  Speaker 1: because we talk about it this way. Because I feel
• 2:02:30
  Speaker 1: like sometimes we watch movies and in this like review
• 2:02:38
  Speaker 1: letterbox culture, we have an instant opinion, and people tend
• 2:02:42
  Speaker 1: to stand by that right. Like people see a movie,
• 2:02:45
  Speaker 1: they're like, I didn't like it, and then they'll never
• 2:02:47
  Speaker 1: watch it again because that first time they didn't like it.
• 2:02:49
  Speaker 1: I think time and rewatches are the best gift when
• 2:02:55
  Speaker 1: it comes to film, and that's why we we prize
• 2:02:58
  Speaker 1: physical media. That's what we do on on here, That's
• 2:03:00
  Speaker 1: what we do on Instagram, that's what we do on
• 2:03:02
  Speaker 1: YouTube with your channel, Brian especially, you know, like we
• 2:03:07
  Speaker 1: treasure this stuff. And there are movies on the shelf
• 2:03:10
  Speaker 1: next to me that I don't like. I've watched once
• 2:03:13
  Speaker 1: I don't like. I throw in movies that I thought
• 2:03:17
  Speaker 1: I didn't like, and I come to love them because
• 2:03:19
  Speaker 1: of whatever mood I'm in something I know going into
• 2:03:24
  Speaker 1: researching movies like this and Chuck, let me know if
• 2:03:26
  Speaker 1: you're on the same page here. I always, by the
• 2:03:32
  Speaker 1: end of this like love the movie much more than
• 2:03:35
  Speaker 1: I did going in. So I don't know how you
• 2:03:39
  Speaker 1: feel about that man being on the show with me
• 2:03:42
  Speaker 1: for every single episode, but that's what I'm finding.
• 2:03:45
  Speaker 2: Yeah, I agree with you one definitely, grot To. I
• 2:03:49
  Speaker 2: appreciate the movies a lot more, especially going in depth
• 2:03:52
  Speaker 2: and learning behind the scenes and doing the multiple rewatches
• 2:03:55
  Speaker 2: and catching everything that you miss on your first view
• 2:03:58
  Speaker 2: and that you would miss if you never watch it again. Yeah. Now,
• 2:04:03
  Speaker 2: So it definitely makes me appreciate the films more from
• 2:04:06
  Speaker 2: doing this show, and like you said, just doing the
• 2:04:09
  Speaker 2: multiple rewatches.
• 2:04:11
  Speaker 1: Yeah, or like Brian, even even getting a chance to
• 2:04:13
  Speaker 1: like nerd out with you on die after shots and
• 2:04:17
  Speaker 1: all that, you know what I mean, It just makes me, like,
• 2:04:19
  Speaker 1: it makes me excited to want to throw on this
• 2:04:21
  Speaker 1: movie again, even though like I should be sick and
• 2:04:24
  Speaker 1: tired of it at this point, you know, having a
• 2:04:26
  Speaker 1: month of research leading up to a thing, but I'm not.
• 2:04:29
  Speaker 1: I'm even more excited to watch it. So it's just
• 2:04:32
  Speaker 1: funny how that how that happens, you know. I just
• 2:04:34
  Speaker 1: wanted to shout that out because it's cool. I love
• 2:04:39
  Speaker 1: what we've built here, and I'm so excited to continue,
• 2:04:44
  Speaker 1: you know, driving this forward and check it out more
• 2:04:46
  Speaker 1: movies in this way, I would. I wish we can
• 2:04:52
  Speaker 1: get that unrated cut, whether it's one hundred and four
• 2:04:54
  Speaker 1: minute cut or it's one hundred and forty minute cut.
• 2:04:57
  Speaker 3: I'm trying to think, what would it just you think,
• 2:05:00
  Speaker 3: just more violence.
• 2:05:04
  Speaker 1: I'm well, I don't know, because I thought, from my understanding,
• 2:05:09
  Speaker 1: the violent scenes were shot three different times, so I
• 2:05:12
  Speaker 1: don't know if that would add runtime. I think those
• 2:05:14
  Speaker 1: would just be alternate takes.
• 2:05:16
  Speaker 3: True.
• 2:05:17
  Speaker 1: Yeah, I mean, to be honest, I don't think many
• 2:05:21
  Speaker 1: of the missing footage, much of the missing footage, would
• 2:05:24
  Speaker 1: add much value to the film, because it sounds like
• 2:05:29
  Speaker 1: it's just footage for the sake of footage.
• 2:05:32
  Speaker 2: You know.
• 2:05:32
  Speaker 1: I mean, it sounds like it's it's all the crazy
• 2:05:35
  Speaker 1: transition stuff, which just is adding atmosphere or helping out
• 2:05:41
  Speaker 1: with the I don't know the inspiration. Like, do I
• 2:05:47
  Speaker 1: think the scene with baby and a skeleton hand adds
• 2:05:50
  Speaker 1: value to this movie?
• 2:05:52
  Speaker 3: No, you just want to see.
• 2:05:54
  Speaker 1: Yeah, my thoughts exactly you said it, not me.
• 2:06:03
  Speaker 3: But but how much does like an extended cut really
• 2:06:06
  Speaker 3: add Like let's go to Nightmare on Elm Street for example,
• 2:06:11
  Speaker 3: that came out on four K this year or last year,
• 2:06:16
  Speaker 3: and it was marketed with the extended cut or something
• 2:06:22
  Speaker 3: uncut uncut, But I mean, what was that like a minute,
• 2:06:26
  Speaker 3: less than a minute, a few seconds or something.
• 2:06:29
  Speaker 1: Yeah, well, I think there's a difference between so unrated
• 2:06:33
  Speaker 1: and uncut. To me, mostly signifies like more gore or
• 2:06:36
  Speaker 1: more nudity, you know what I mean. Director's cut to
• 2:06:41
  Speaker 1: me typically means like, uh, director changes, director alterations, alternates,
• 2:06:48
  Speaker 1: you know, additional footage, whatever it might be.
• 2:06:51
  Speaker 3: I feel like director cut leans more into story.
• 2:06:55
  Speaker 1: Yeah, because you have director's cuts out there where it's
• 2:06:59
  Speaker 1: the same movie, but like maybe some of the scenes
• 2:07:02
  Speaker 1: are shifted where like the timing or the story structure
• 2:07:05
  Speaker 1: is a little bit different because of pacing or whatever
• 2:07:08
  Speaker 1: it might be. You know, there's some rearranging and stuff.
• 2:07:12
  Speaker 1: Maybe there are actually director's cuts where they remove scenes
• 2:07:17
  Speaker 1: from the theatrical because they felt like it it didn't
• 2:07:20
  Speaker 1: add anything, so they remove it. There are director's cuts
• 2:07:24
  Speaker 1: that are shorter than.
• 2:07:25
  Speaker 3: The oh yeah, oh yeah, that which always confuses me.
• 2:07:29
  Speaker 3: It always confuses me when I'm like, well wait, wait
• 2:07:31
  Speaker 3: it's shorter.
• 2:07:33
  Speaker 1: Yeah, people don't always. I don't think a lot of
• 2:07:34
  Speaker 1: directors alike a lot of times that longer cut. You know,
• 2:07:38
  Speaker 1: Like there I'm trying to think off hand. I thought
• 2:07:40
  Speaker 1: I had a perfect example, like lined up. There was
• 2:07:44
  Speaker 1: something I was researching the other day and it was like,
• 2:07:47
  Speaker 1: now I prefer it was some movie and it was like, no,
• 2:07:49
  Speaker 1: I prefer the ninety minute cut, not thee hundred and
• 2:07:51
  Speaker 1: ten minute cut. You know, there's just I can't remember
• 2:07:55
  Speaker 1: what movie it was. It was a pretty big movie,
• 2:07:58
  Speaker 1: so it's it's it's interesting because studio interference is such
• 2:08:01
  Speaker 1: a fickle bitch man. It's like, you know, that's in
• 2:08:06
  Speaker 1: my opinion, the worst thing to happen to movies is
• 2:08:10
  Speaker 1: studio interference because when they get involved, they're looking at
• 2:08:14
  Speaker 1: things like, oh, do a happy ending instead of a
• 2:08:18
  Speaker 1: sad ending because audiences love that more. And it's like, yeah,
• 2:08:22
  Speaker 1: but at the detriment of the story, they don't fucking
• 2:08:24
  Speaker 1: care about the story.
• 2:08:25
  Speaker 3: I do feel and I'm saying this as a creative
• 2:08:28
  Speaker 3: and I suffer through this too. I feel like there's
• 2:08:32
  Speaker 3: they're the difference between a creative mindset and a business mindset,
• 2:08:36
  Speaker 3: and the best products come from a mixture of both.
• 2:08:42
  Speaker 3: I feel like sometimes Sarah films where it's like like
• 2:08:46
  Speaker 3: even modern Day from I'm like, oh, that director shouldn't
• 2:08:49
  Speaker 3: have got final cut, you know, like I much prefer
• 2:08:52
  Speaker 3: the theatrical version or something, you know, maybe and it
• 2:08:56
  Speaker 3: goes back to how you saw it too, Like if
• 2:08:58
  Speaker 3: I spent twenty years watching one cut of the film
• 2:09:01
  Speaker 3: and I see a new version and it's not what
• 2:09:03
  Speaker 3: I like.
• 2:09:05
  Speaker 1: Yeah, no, yeah, it's I don't know, man, it's it's
• 2:09:09
  Speaker 1: incredibly interesting. And I think at the end of the day,
• 2:09:13
  Speaker 1: you know, making movies, as much as it is a art,
• 2:09:20
  Speaker 1: as much as it is art, it's also an entertainment industry.
• 2:09:23
  Speaker 1: Mm hmmm, which, like you said, there has to be balance.
• 2:09:26
  Speaker 1: There has to be an entertainment factor and there has
• 2:09:28
  Speaker 1: to be a crowd pleasing factor to it, but it
• 2:09:31
  Speaker 1: also has to be artistic. So how do we not
• 2:09:35
  Speaker 1: we we're not producers, But like I think that's where
• 2:09:38
  Speaker 1: A twenty four and Neon, these these I say smaller,
• 2:09:42
  Speaker 1: but they're huge. These these companies end up with that
• 2:09:47
  Speaker 1: that perfect balance where they understand what audio, what what
• 2:09:51
  Speaker 1: audiences want, and they get projects that already have that
• 2:09:56
  Speaker 1: entertainment factor and the art and let the dry. They're
• 2:10:00
  Speaker 1: pretty much do what they gotta do, you know, they're
• 2:10:02
  Speaker 1: not just taking everything and anything on.
• 2:10:05
  Speaker 3: Like if you look at I agree with that, but
• 2:10:07
  Speaker 3: at the same time, with the A twenty four, I
• 2:10:09
  Speaker 3: completely agree with that, to be honest. But at the
• 2:10:11
  Speaker 3: same time, I feel like lately beginning A twenty four, Yes,
• 2:10:16
  Speaker 3: modern a twenty four. I feel like they're the formula
• 2:10:19
  Speaker 3: that they're following.
• 2:10:21
  Speaker 1: Well, yeah, there might be like a there's like a template.
• 2:10:25
  Speaker 3: A template. Yeah, that's a perfect word.
• 2:10:27
  Speaker 1: Yeah, But I think I think a lot of people
• 2:10:30
  Speaker 1: now are making or writing, like clearly, if you're gonna
• 2:10:36
  Speaker 1: sit down, you're gonna write an animated movie in the
• 2:10:38
  Speaker 1: in the nineties, you know, you're writing a Disney movie, right, yeah, yeah,
• 2:10:44
  Speaker 1: So I think you have filmmakers who are making a
• 2:10:48
  Speaker 1: twenty four movies in hopes of getting the attention of
• 2:10:51
  Speaker 1: a twenty four.
• 2:10:53
  Speaker 3: Very yeah, no, that's very true, and.
• 2:10:55
  Speaker 1: That becomes the typical a twenty four piece. But then
• 2:11:02
  Speaker 1: that's why it's funny, because like the conversation of A
• 2:11:04
  Speaker 1: twenty four and Neon is so interesting because like a
• 2:11:07
  Speaker 1: twenty four movies fit a twenty four perfectly. Neon nothing
• 2:11:12
  Speaker 1: Neon doesn't have like a template. Neon puts out. You know,
• 2:11:16
  Speaker 1: like that movie we were talking about, what the hell
• 2:11:17
  Speaker 1: is it called the Panthonon Penothyleon. Remember the movie we
• 2:11:22
  Speaker 1: were talking about eight twenty four is coming out?
• 2:11:23
  Speaker 3: Oh oh yes, that is Yes.
• 2:11:26
  Speaker 1: If you played that trailer ten seconds in before the
• 2:11:30
  Speaker 1: studio comes up, I would be like, this looks like
• 2:11:34
  Speaker 1: an eight twenty four movie. I don't watch a trailer
• 2:11:38
  Speaker 1: and go like, oh, that looks like a Neon movie.
• 2:11:40
  Speaker 1: I watch a trailer and it looks like an eight
• 2:11:41
  Speaker 1: twenty four movie. Either. There's eight twenty four movies that
• 2:11:44
  Speaker 1: aren't even made by a twenty four, but they just
• 2:11:46
  Speaker 1: they're eight. That's like it's a like an eight twenty
• 2:11:48
  Speaker 1: four movie.
• 2:11:49
  Speaker 3: Mm hmm. So it's actually like Neon's Neon's coming back out.
• 2:11:54
  Speaker 3: I think what what recent I'm trying to was Companion Neon?
• 2:12:00
  Speaker 1: I don't I didn't see Companions, so I'm not sure i'd.
• 2:12:03
  Speaker 3: Say, because I know Heretic was a twenty four.
• 2:12:07
  Speaker 1: I think of Strange Darling, I think was Neon.
• 2:12:11
  Speaker 3: That might be the one. I'm thinking. See. Strange Darling
• 2:12:13
  Speaker 3: was one of my favorite Have you seen Strange Darling?
• 2:12:16
  Speaker 1: I just bought it on four K, so not yet.
• 2:12:19
  Speaker 3: Visually really good. I think you'll really like to shot
• 2:12:22
  Speaker 3: and there's some split diopter shots in there.
• 2:12:25
  Speaker 1: Shot but I forget his name.
• 2:12:27
  Speaker 3: Giboni, Yeah by an at that baffled me? Who that
• 2:12:32
  Speaker 3: baffled me?
• 2:12:33
  Speaker 1: Yeah?
• 2:12:33
  Speaker 3: I think he'll dig it. I think it'll be right
• 2:12:35
  Speaker 3: up your alley, especially the ending shot. I think he'll
• 2:12:39
  Speaker 3: dig it.
• 2:12:40
  Speaker 1: Just goes to show. I mean, all the stuff that
• 2:12:42
  Speaker 1: was once because you gotta think, like if you want
• 2:12:45
  Speaker 1: to talk about exploitation, a lot of stuff was also
• 2:12:47
  Speaker 1: limitations of like we only have I mean a lot
• 2:12:50
  Speaker 1: of those movies were shot on like spare film or
• 2:12:54
  Speaker 1: even like you know, they would like flip the film
• 2:12:57
  Speaker 1: and shoot on previous existing like you know what I mean,
• 2:13:00
  Speaker 1: Like they would do all kinds of shit just to
• 2:13:01
  Speaker 1: make the movie. And yeah, zooms, there's long zooms or pans.
• 2:13:08
  Speaker 1: A lot of this stuff was just out of like
• 2:13:09
  Speaker 1: we don't have the time or the money or the
• 2:13:12
  Speaker 1: resources to cut, so we just need to get this
• 2:13:14
  Speaker 1: done in this in this way. And it became a style,
• 2:13:19
  Speaker 1: you know what I mean. And I feel like now
• 2:13:23
  Speaker 1: it's it's become a style again. To the camera, there's
• 2:13:26
  Speaker 1: not a lot of cutting. There's long zooms and pans
• 2:13:32
  Speaker 1: and all this stuff is back, and I mean, I'm
• 2:13:34
  Speaker 1: here for it. But Strange Darling gives me that vibe.
• 2:13:38
  Speaker 3: Strange Starlings definitely like that the closest I can like
• 2:13:43
  Speaker 3: like hearing you talk about it a refresher when it
• 2:13:46
  Speaker 3: came to horror. That made me feel like, Okay, this
• 2:13:49
  Speaker 3: is I like this style which brought that back was
• 2:13:52
  Speaker 3: Strangers Prey at Night. Yeah, a lot of I mean,
• 2:13:56
  Speaker 3: it had that eighties nostalgia feel. But you had these
• 2:13:59
  Speaker 3: very long and take so these like slow zoom in shots.
• 2:14:03
  Speaker 1: It's like the why to the medium.
• 2:14:05
  Speaker 3: The why to the medium, and you know, bringing something
• 2:14:09
  Speaker 3: bringing style back into horror, which I feel like. I
• 2:14:14
  Speaker 3: feel like just because the torror doesn't mean it has style.
• 2:14:18
  Speaker 3: Like for example, I haven't seen in a Violent Nature.
• 2:14:24
  Speaker 3: I just look at the trailer and I'm like, this
• 2:14:26
  Speaker 3: is all shot outside in the woods, Like I can
• 2:14:28
  Speaker 3: you know to me, that's not appealing.
• 2:14:32
  Speaker 1: I don't. I don't consider In a Violent Nature stylish.
• 2:14:37
  Speaker 1: It's not. It has a it has a style, but
• 2:14:43
  Speaker 1: that style is not stylish.
• 2:14:46
  Speaker 3: But it's very low budget, right it is.
• 2:14:50
  Speaker 1: It is, and it's very intentional, you know what I mean?
• 2:14:55
  Speaker 3: Mm hmm.
• 2:14:56
  Speaker 1: It doesn't like I can't say, oh, there's some you know,
• 2:15:04
  Speaker 1: like interesting shots in there. Most of the shots are
• 2:15:07
  Speaker 1: like the video game character behind, you know, like medium.
• 2:15:12
  Speaker 1: There's not a lot of there is a kill scene
• 2:15:16
  Speaker 1: and in violent Nature that's very long, and it's done
• 2:15:18
  Speaker 1: in a single take.
• 2:15:20
  Speaker 3: I've heard about that shot.
• 2:15:21
  Speaker 1: Yeah, that's that is very cool, but it is very
• 2:15:26
  Speaker 1: like okay, camera on a tripod right here, and I
• 2:15:28
  Speaker 1: think it's it's more meant to show off the effects
• 2:15:32
  Speaker 1: than it is too like storytelling. It is interesting. I mean,
• 2:15:38
  Speaker 1: I think the biggest one would be ty West with
• 2:15:41
  Speaker 1: the ex trilogy. I think that was very I mean
• 2:15:45
  Speaker 1: the opening shot of X slowly dollying out of the barn,
• 2:15:52
  Speaker 1: the barn doors framing the shot as you exit the
• 2:15:56
  Speaker 1: barn in the why you have the wide of the
• 2:15:59
  Speaker 1: house and then you see the cop car pulling up,
• 2:16:02
  Speaker 1: and then it kind of turns into a slow zoom
• 2:16:04
  Speaker 1: as the cop gets out and then you cut. That
• 2:16:07
  Speaker 1: feels very old school to me. That more of that
• 2:16:14
  Speaker 1: X style.
• 2:16:16
  Speaker 3: Just a small little rant about that whole trilogy. I
• 2:16:19
  Speaker 3: think there were a and it bugs me every time
• 2:16:21
  Speaker 3: I see the artwork. There was a huge marketing mishap
• 2:16:25
  Speaker 3: with Pearl where you have the first movie where she's
• 2:16:29
  Speaker 3: crossing her legs and it's forming an X right, the
• 2:16:33
  Speaker 3: third movie where it's spelled Maxine with three x's, and
• 2:16:37
  Speaker 3: you have the second one Pearl with her standing in
• 2:16:40
  Speaker 3: front of a barn, but she's just standing in front
• 2:16:42
  Speaker 3: of one X when both doors have the exes. I
• 2:16:46
  Speaker 3: feel like that with a misopportunity to be like double X,
• 2:16:50
  Speaker 3: double X. That's all I see When I see that
• 2:16:53
  Speaker 3: barn poster, I'm like, because I've shot on a barn,
• 2:16:55
  Speaker 3: I know what barn though the old School looks like
• 2:16:57
  Speaker 3: there's two x'es right there.
• 2:17:00
  Speaker 1: I feel like, I feel like I love that trilogy,
• 2:17:05
  Speaker 1: but I feel like it was like Pearl was the
• 2:17:07
  Speaker 1: main idea and X and Maxine had to be there
• 2:17:11
  Speaker 1: to just make an excuse to tell the story of Pearl,
• 2:17:14
  Speaker 1: you know what I mean?
• 2:17:15
  Speaker 3: Well, didn't Pearl come out of like they they had
• 2:17:19
  Speaker 3: already made X and they're like, well, we're already here,
• 2:17:20
  Speaker 3: let's just make something else while we're here.
• 2:17:23
  Speaker 1: Yeah. Yeah, But think of it from from a business
• 2:17:26
  Speaker 1: perspective of like, what are you going to fund quicker
• 2:17:29
  Speaker 1: a slasher the seventies inspired slasher which X xes? Or
• 2:17:33
  Speaker 1: are you going to do a technicolor true? You know
• 2:17:36
  Speaker 1: what I mean? Yeah, it feels like Pearl was the
• 2:17:40
  Speaker 1: idea and then X was the Will this work?
• 2:17:45
  Speaker 2: You know?
• 2:17:46
  Speaker 1: I mean, like, is there a a thing for this
• 2:17:49
  Speaker 1: because that Maxine feels like, oh well, now we got
• 2:17:53
  Speaker 1: to do a trilogy, even though they were shot back
• 2:17:56
  Speaker 1: to back. But I think Pearl exist because of X,
• 2:18:01
  Speaker 1: you know what I mean?
• 2:18:02
  Speaker 3: Mm hmm. Didn't they film Pearl and X in New Zealand?
• 2:18:07
  Speaker 1: I'm not sure I remember.
• 2:18:08
  Speaker 3: I think they filmed them in Australia or New Zealand,
• 2:18:10
  Speaker 3: which always baffles me when they should because so with
• 2:18:13
  Speaker 3: how of a thousand corpses, I honestly didn't even remember,
• 2:18:16
  Speaker 3: and I'm from Texas that that movie takes place in Texas.
• 2:18:18
  Speaker 3: When you were saying they were driving across Texas, well.
• 2:18:22
  Speaker 1: There's no there's no like, there's no standout setting that
• 2:18:29
  Speaker 1: gives away that it's Texas.
• 2:18:32
  Speaker 3: No. I mean, I feel like there's so much about
• 2:18:33
  Speaker 3: this movie that you don't really realize unless you pay
• 2:18:39
  Speaker 3: attention to the movie. Like they're driving across Texas, there's
• 2:18:43
  Speaker 3: no Texas flag, and being from Texas and they're not
• 2:18:46
  Speaker 3: being a Texas flag is one weird anywhere, especially in
• 2:18:50
  Speaker 3: a gas station in the middle of nowhere.
• 2:18:52
  Speaker 1: Yea.
• 2:18:53
  Speaker 3: And it takes place on Halloween, but they only mention
• 2:18:58
  Speaker 3: Mother Firefly says it's all Hallows Eve and she wants
• 2:19:01
  Speaker 3: to put on the the you know that's the Halloween tradition,
• 2:19:04
  Speaker 3: and then you see the trick or treaterd at the beginning,
• 2:19:06
  Speaker 3: but it's almost a blink and you miss it. There's
• 2:19:08
  Speaker 3: almost like only three references. There's mother Firefly said that
• 2:19:12
  Speaker 3: there's a scene where we introduce to the dad outside
• 2:19:15
  Speaker 3: on the back lot and we see the kids trick
• 2:19:17
  Speaker 3: or treating, and then when they open the truck and
• 2:19:20
  Speaker 3: revealed the cheerleader and he's got trick or treat carved
• 2:19:24
  Speaker 3: into her. But historically there's nothing Halloween about that movie. Yeah,
• 2:19:29
  Speaker 3: there's no orange, there's no pumpkins, there's no fall.
• 2:19:34
  Speaker 1: Yeah. I mean, I think there are small details that
• 2:19:37
  Speaker 1: give you in the moment, you know, some clarification of
• 2:19:43
  Speaker 1: setting and time. M Hm. Movies like X feel like text,
• 2:19:48
  Speaker 1: like Texas feels like a character, you know what I mean.
• 2:19:51
  Speaker 1: It's sweaty, it's hot, this is the people, this is
• 2:19:55
  Speaker 1: the culture, this is the time. It almost feels like
• 2:19:57
  Speaker 1: a character in Halloween. I mean John Carpenter's Halloween is
• 2:20:02
  Speaker 1: that the holiday of Halloween is a character in Trick
• 2:20:06
  Speaker 1: or Try. The Holiday of Halloween is a character in
• 2:20:09
  Speaker 1: this It's it's just kind of like, hey, here's a
• 2:20:12
  Speaker 1: brief idea of where we're at, you know what I mean,
• 2:20:15
  Speaker 1: and then it plays no other importance. And I think
• 2:20:19
  Speaker 1: that's I think that's fine, you know, because I didn't
• 2:20:21
  Speaker 1: remember before I rewatched it that it was on Halloween
• 2:20:23
  Speaker 1: or that this was in Texas. Had no idea. I
• 2:20:26
  Speaker 1: was like, this could have been anywhere, you know what
• 2:20:28
  Speaker 1: I mean, Like.
• 2:20:29
  Speaker 3: You know, what's funny when you're a very Texas thing
• 2:20:31
  Speaker 3: to do? I think the original Texas chainsaw masacre House
• 2:20:34
  Speaker 3: of the restaurant now such a chicken waffles barbecue.
• 2:20:40
  Speaker 1: Yeah yeah, barbecues.
• 2:20:42
  Speaker 3: Do y'all think Speaking of that, do y'all think the
• 2:20:45
  Speaker 3: chicken he was serving with like the people are actual chicken.
• 2:20:50
  Speaker 1: I think it was actual chicken.
• 2:20:52
  Speaker 2: Yeah, because I didn't think about that until just now.
• 2:20:56
  Speaker 1: Now you're like, oh, wait, sid Hag to me doesn't
• 2:21:00
  Speaker 1: give off cannibal.
• 2:21:03
  Speaker 3: No, he's not even part of the you don't. He's
• 2:21:06
  Speaker 3: not really even associated with the other one until we
• 2:21:08
  Speaker 3: get to the sequel. Yeah, yeah, yeah yeah, and even
• 2:21:12
  Speaker 3: then him and Otis are going at each other's throats.
• 2:21:16
  Speaker 1: Yeah. No, he he gives me more of high blood
• 2:21:18
  Speaker 1: pressure or high cluster of from eating too much fried
• 2:21:21
  Speaker 1: chicken then eating human fried chicken, you know what I mean.
• 2:21:26
  Speaker 3: And and I love the continuity between the first and
• 2:21:29
  Speaker 3: second one where he's talking to the cop when they
• 2:21:33
  Speaker 3: come to investigate and he's talking about how he likes
• 2:21:35
  Speaker 3: his women thick, and then it cuts to his introduction
• 2:21:38
  Speaker 3: in the second one is him bumming down this really
• 2:21:41
  Speaker 3: big chicken.
• 2:21:42
  Speaker 1: Yeah yeah, I thought about that too. I was like, oh,
• 2:21:45
  Speaker 1: this is good.
• 2:21:47
  Speaker 3: Good, like they kept his character consistent, which I really liked.
• 2:21:51
  Speaker 1: Yeah. Yeah, So just to kind of like wrap this up,
• 2:21:59
  Speaker 1: chuck the commentary listen to How did you feel about it?
• 2:22:02
  Speaker 1: Do you think it's it's worth our our our listeners
• 2:22:06
  Speaker 1: to give it a listen?
• 2:22:08
  Speaker 2: You know what do you think? Yeah? I would definitely
• 2:22:11
  Speaker 2: say check it out because I didn't list everything that
• 2:22:14
  Speaker 2: Rob Zombie talked about obviously, just because you know, I
• 2:22:17
  Speaker 2: do want people to check the commentary tracks out themselves.
• 2:22:21
  Speaker 2: But yeah, I would highly recommend it. It was fun little insights.
• 2:22:25
  Speaker 2: It was cool to learn about some things. Yeah yeah, yeah.
• 2:22:31
  Speaker 1: What about you, Brian, do you think you think people
• 2:22:33
  Speaker 1: should give give these commentaries a listen?
• 2:22:36
  Speaker 3: Oh? Absolutely, Like I learned so much from director commentary,
• 2:22:40
  Speaker 3: especially with anything with Rob Zombie. Rob Zombie is very
• 2:22:44
  Speaker 3: he'll tell you how it was made. He does not care. Yeah,
• 2:22:47
  Speaker 3: he'll be like, oh that was it. He'll just randomly
• 2:22:49
  Speaker 3: be like, oh that wasn't we didn't shoot that that day.
• 2:22:52
  Speaker 1: You know.
• 2:22:53
  Speaker 3: He's it's very informative to how he made the movie.
• 2:22:57
  Speaker 3: And it's it's very transparent, Like you can tell he's
• 2:23:00
  Speaker 3: not trying to be like, oh shit, I shouldn't tell
• 2:23:02
  Speaker 3: him how we really did that.
• 2:23:04
  Speaker 1: Yeah, he his commentary tracks and even his body it's
• 2:23:08
  Speaker 1: a little like kinetic. I feel like you have to
• 2:23:10
  Speaker 1: keep up with it because like he'll say things and
• 2:23:13
  Speaker 1: you're like, and then all of a sudden he's on
• 2:23:15
  Speaker 1: the you know, it moves at one hundred miles per hour,
• 2:23:19
  Speaker 1: and I think it's incredibly interesting. And that's that's what
• 2:23:22
  Speaker 1: the show is like. It's I really hope that somebody
• 2:23:26
  Speaker 1: listens to us who has never listened to a director's
• 2:23:28
  Speaker 1: commentary and gives it a shot. You know, and even
• 2:23:31
  Speaker 1: if I mean all of us, we know so much
• 2:23:35
  Speaker 1: about these movies and these genres, and we know so
• 2:23:37
  Speaker 1: much that will never repeat, you know what I mean,
• 2:23:40
  Speaker 1: Like there's so much shit in my brain, so many
• 2:23:43
  Speaker 1: weird facts about movies that'll never tell anybody because it'll
• 2:23:46
  Speaker 1: just never come up in conversation.
• 2:23:47
  Speaker 3: Oh exactly, so you know and believe it or not.
• 2:23:52
  Speaker 1: Man, even people like you who who who make independent films,
• 2:23:57
  Speaker 1: like it's inspiring to you. It's even inspiring to me
• 2:24:00
  Speaker 1: as a fan and as somebody who's like shooting reels
• 2:24:03
  Speaker 1: in my in my movie room, you know, like I
• 2:24:05
  Speaker 1: watch movies and I listen to ideas, and it it
• 2:24:10
  Speaker 1: does kind of like make me realize that, like this,
• 2:24:12
  Speaker 1: there's no gatekeeping to this. Anybody can do this. It
• 2:24:16
  Speaker 1: just has to be a matter of you know, put
• 2:24:20
  Speaker 1: wanting it enough to go after it and understanding what
• 2:24:24
  Speaker 1: the industry is. And you can tell when these commentary
• 2:24:27
  Speaker 1: tracks are like are like studio bullshit, you know what
• 2:24:31
  Speaker 1: I mean, where you can't talk about those, you can't
• 2:24:33
  Speaker 1: talk about this, you can't talk about this, And I
• 2:24:36
  Speaker 1: feel like that's that's more relevant in every other genre.
• 2:24:39
  Speaker 1: But horror seems pretty open most of the time, not
• 2:24:43
  Speaker 1: all the time, most of the.
• 2:24:45
  Speaker 3: Time, you know, and commentary tracks are kind of a
• 2:24:49
  Speaker 3: dying thing.
• 2:24:52
  Speaker 1: I think. I think in studio, I think boutique is
• 2:24:57
  Speaker 1: where that lives much like everything else, you know.
• 2:25:00
  Speaker 3: I mean, I think so too, But I also my
• 2:25:03
  Speaker 3: only here's my only issue with some of these boutiques
• 2:25:07
  Speaker 3: with old I'm gonna say this for older movies is
• 2:25:12
  Speaker 3: people change over time. So I feel it's different listening
• 2:25:17
  Speaker 3: to a commentary track when the movie is just comes
• 2:25:22
  Speaker 3: out versus twenty years later and you have to think
• 2:25:25
  Speaker 3: about it and your opinions have changed. Yeah, on the movie.
• 2:25:29
  Speaker 3: I feel like that's a difference. And I'm not saying
• 2:25:32
  Speaker 3: everybody does that, But at the same time, a lot
• 2:25:35
  Speaker 3: of these boutiques, I don't want to hear a film
• 2:25:37
  Speaker 3: critic tell me about the movie. Yeah, I want to
• 2:25:41
  Speaker 3: hear the director talk about it. I don't want to
• 2:25:42
  Speaker 3: hear the set designer tell me about the movie. When
• 2:25:46
  Speaker 3: it comes to writers, one of my favorite commentary tracks
• 2:25:53
  Speaker 3: is True Romance. Quentin Tarantino has his own commentary track,
• 2:25:58
  Speaker 3: Tony Scott has his own, Quinnon has his own, and
• 2:26:02
  Speaker 3: Quinnin's is extremely fascinating hearing the writers respective, especially him
• 2:26:07
  Speaker 3: being a director and hearing how he would have done it.
• 2:26:11
  Speaker 3: But at the same time giving all the praise to Tony, Yeah,
• 2:26:16
  Speaker 3: you know, but when it comes to like director's cuts,
• 2:26:22
  Speaker 3: I mean directors of director's commentaries, Like I feel like
• 2:26:27
  Speaker 3: it's not as popular anymore, maybe because physical media is
• 2:26:31
  Speaker 3: not as the mainstream as it was. Like I didn't
• 2:26:33
  Speaker 3: even know, like Chuck was saying his commentary that he
• 2:26:35
  Speaker 3: watched was on digital, I didn't even know that was
• 2:26:38
  Speaker 3: a that he had anyone on digital. I know there
• 2:26:41
  Speaker 3: are some filmmakers like, who's the guy who did lights Out?
• 2:26:45
  Speaker 3: He's also a YouTuber he dish as I am. That's
• 2:26:49
  Speaker 3: David Samberg or something.
• 2:26:51
  Speaker 1: Yeah, Yeahberg, David F.
• 2:26:53
  Speaker 3: Samberg. He did a because I remember he did a
• 2:26:56
  Speaker 3: commentary track maybe it was for lights Out because he
• 2:26:58
  Speaker 3: didn't get to do it on his on the physical
• 2:27:01
  Speaker 3: media really, so he did it on YouTube.
• 2:27:03
  Speaker 2: That's awesome.
• 2:27:04
  Speaker 3: And you know it was more of those like sync
• 2:27:06
  Speaker 3: it up with your movie because he couldn't put the
• 2:27:09
  Speaker 3: movie on it, but he did his own.
• 2:27:11
  Speaker 2: Yeah.
• 2:27:13
  Speaker 1: It's it's really cool, man. And it's it depends because
• 2:27:17
  Speaker 1: if you go back to our first episode with Spider Labyrinth,
• 2:27:22
  Speaker 1: we were relying on film historians and just film fans
• 2:27:28
  Speaker 1: to lead that. And while we still had a great
• 2:27:30
  Speaker 1: conversation about that movie. Most of that conversation was great
• 2:27:34
  Speaker 1: because of us giving our interpretations, you know what I mean.
• 2:27:37
  Speaker 1: It was a good comment It was a great commentary
• 2:27:39
  Speaker 1: track with a very good friend of mine on it.
• 2:27:42
  Speaker 1: But when we got into My Bloody Valentine where we
• 2:27:44
  Speaker 1: were doing a commentary with the director, suddenly we had
• 2:27:48
  Speaker 1: so much more information, you know what I mean, We
• 2:27:50
  Speaker 1: were able to have such a unique discussion. I don't
• 2:27:53
  Speaker 1: think we would be two and a half hours into
• 2:27:56
  Speaker 1: a house of a thousand corpses commentary if we were
• 2:27:58
  Speaker 1: going off of a film history or a film critic,
• 2:28:01
  Speaker 1: you know what I mean, or yeah, And if we were,
• 2:28:04
  Speaker 1: it was purely off of what we were bringing to
• 2:28:07
  Speaker 1: the table, not what the commentary track was.
• 2:28:10
  Speaker 3: You know, exactly. Because I feel like film historians, no
• 2:28:14
  Speaker 3: I no, I love film historians and I find them
• 2:28:16
  Speaker 3: very fascinating. I feel like it's different when a film
• 2:28:19
  Speaker 3: historian does an essay versus a commentary track.
• 2:28:23
  Speaker 1: Yeah, And it's really hard because especially when it comes
• 2:28:27
  Speaker 1: to like old gallos and stuff, where like the directors
• 2:28:30
  Speaker 1: are unfortunately like gone or in like they don't they're
• 2:28:35
  Speaker 1: not interested, they're law you know, because they're especially in
• 2:28:38
  Speaker 1: the sixties seventies eighties. Most of those directors they probably
• 2:28:41
  Speaker 1: got out of film or they're you know, whatever the
• 2:28:44
  Speaker 1: case might be. So it's interesting having any perspective, especially
• 2:28:48
  Speaker 1: a film historian, where they can actually like they're diving
• 2:28:51
  Speaker 1: into like Spider Labyrinth. Will Dotson on that commentary track,
• 2:28:55
  Speaker 1: like dove into public records and tried to find information
• 2:28:57
  Speaker 1: on the movie. So he gave more info than I
• 2:29:00
  Speaker 1: could discover on Google. But that information is so minuscule
• 2:29:07
  Speaker 1: as opposed to the director talking about on set experience
• 2:29:11
  Speaker 1: or anything, you know. So that's what this show is.
• 2:29:19
  Speaker 1: It's we want to give you and lead the conversation
• 2:29:25
  Speaker 1: based on what we learned in the commentary, right, which
• 2:29:29
  Speaker 1: is like that's the conversation guide. So that's our chapters essentially,
• 2:29:34
  Speaker 1: you know what I mean. But everything from there is
• 2:29:37
  Speaker 1: our discussion as a fan of the movie or our
• 2:29:39
  Speaker 1: interpretations of it. So are we reviewing the movie, yes,
• 2:29:45
  Speaker 1: are we critiquing it? Yes? I think we're more so
• 2:29:50
  Speaker 1: discussing our passion for it, you know, which is why
• 2:29:53
  Speaker 1: we cover movies we love. So it's interesting, you know,
• 2:29:57
  Speaker 1: because anybody can do a commentary. I mean shit, somebody
• 2:30:01
  Speaker 1: can email us and be like, yeah, we want you
• 2:30:03
  Speaker 1: guys to do a commentary. We won't bring fucking shit
• 2:30:04
  Speaker 1: to the table. Who the hell are we? You know,
• 2:30:10
  Speaker 1: so like it's it's cool, man. I mean I think
• 2:30:17
  Speaker 1: I think give all commentaries a shot and give it
• 2:30:19
  Speaker 1: like fifteen minutes and see what you can see if
• 2:30:22
  Speaker 1: it's worth sticking around with.
• 2:30:24
  Speaker 3: You know, some commentaries have made me really especially ones
• 2:30:28
  Speaker 3: that have more deeper messaging, have really helped me understand
• 2:30:33
  Speaker 3: the film better, which enhances my experience. They're one movie
• 2:30:36
  Speaker 3: it's not horror, but Guy Ritchie did a movie called
• 2:30:39
  Speaker 3: Revolver with Jason Statham, a movie that's very just symbolic
• 2:30:44
  Speaker 3: in the whole thing. It's very weird and it's very symbolic.
• 2:30:47
  Speaker 3: But if you watch the director's commentary, he almost walked
• 2:30:50
  Speaker 3: you through it, where when you rewatch it again, you
• 2:30:53
  Speaker 3: have these new things in your head so you understand
• 2:30:57
  Speaker 3: it more. Yeah, you know, like imagine I mean Christopher Nolan,
• 2:31:01
  Speaker 3: Like imagine watching his movie and you know, I didn't
• 2:31:03
  Speaker 3: understand half that shit, and then he does. If he
• 2:31:06
  Speaker 3: does the director's commentary and he kind of walks you
• 2:31:08
  Speaker 3: through it and then you rewatch it, it's like, oh,
• 2:31:11
  Speaker 3: like They're the movie that I do not like. It's
• 2:31:14
  Speaker 3: a horror movie, but I respect it be based off
• 2:31:17
  Speaker 3: all the stories and interviews from the director and people.
• 2:31:21
  Speaker 3: That's Jordan Peel' to us. Not a fan of that movie.
• 2:31:24
  Speaker 3: It just does not work for me. But I've read
• 2:31:27
  Speaker 3: so much on it and I've seen so much on
• 2:31:29
  Speaker 3: it that I respect everything he was doing. Yeah, with
• 2:31:33
  Speaker 3: that movie, it's just not for me. But I can
• 2:31:36
  Speaker 3: maybe go back and rewatch it one of these days,
• 2:31:39
  Speaker 3: kind of knowing all the hidden messages in there and
• 2:31:42
  Speaker 3: appreciate it more.
• 2:31:44
  Speaker 1: Yeah. Yeah, it's very you know, it's almost like do
• 2:31:47
  Speaker 1: you remember the DVDs that would have like the pop
• 2:31:49
  Speaker 1: up trivia, you know what I mean, Like it's little
• 2:31:53
  Speaker 1: things or like the old not even old, going back,
• 2:31:57
  Speaker 1: I don't know, twenty years where you had like almost
• 2:31:59
  Speaker 1: like the Joe Bob briggstyle where they would play a
• 2:32:02
  Speaker 1: movie and then it would it would be five minutes
• 2:32:04
  Speaker 1: of two people talking about trivia from a scene or whatever.
• 2:32:08
  Speaker 1: You know. We we we we need I feel like
• 2:32:11
  Speaker 1: sometimes that information to understand or to form, you know,
• 2:32:16
  Speaker 1: our our opinion on a movie. And I think it's awesome.
• 2:32:21
  Speaker 2: Man.
• 2:32:21
  Speaker 1: It's like I said, we we learned so much and
• 2:32:26
  Speaker 1: are we ever going to regurgitate it? Probably not, but
• 2:32:29
  Speaker 1: like it's still cool to have and it's still fascinating
• 2:32:32
  Speaker 1: to learn, you know. Like it's amazing to me that
• 2:32:36
  Speaker 1: somebody will sit down and listen to one hundred Joe
• 2:32:41
  Speaker 1: Rogan episodes that are four hours long and not learn
• 2:32:45
  Speaker 1: a single thing, you know what I mean. But like
• 2:32:48
  Speaker 1: you don't want to sit down with your favorite movie
• 2:32:49
  Speaker 1: and hear the director talk about it like it's it's like,
• 2:32:53
  Speaker 1: I don't know, maybe it's a maybe it's a hard comparison.
• 2:32:55
  Speaker 1: But my favorite commentary in the last couple of years
• 2:32:59
  Speaker 1: is Halloween four with the director Dwight h. Little, And
• 2:33:03
  Speaker 1: that commentary is really cool because there's a moderator who
• 2:33:07
  Speaker 1: kind of leads the conversation. And what's cool about that
• 2:33:11
  Speaker 1: is that that's moderating from a fan point of view,
• 2:33:14
  Speaker 1: so he's able to guide the conversation from a fans
• 2:33:17
  Speaker 1: perspective and we see that sometimes. I think it was
• 2:33:21
  Speaker 1: my buddy Valentine. There was a moderator on that commentary
• 2:33:24
  Speaker 1: track who you would hear chime in, you know, and
• 2:33:27
  Speaker 1: ask little questions, and that was a little you know,
• 2:33:29
  Speaker 1: like some of the questions were like, oh, the dirt
• 2:33:31
  Speaker 1: on their face was a real and George mcala would
• 2:33:34
  Speaker 1: be like, no, that was just we put makeup on
• 2:33:36
  Speaker 1: to make a look and you're like, okay, this is
• 2:33:39
  Speaker 1: kind of you know. But like sometimes there's just nothing
• 2:33:43
  Speaker 1: to say. Sometimes it's like this is what it is.
• 2:33:46
  Speaker 1: So yeah, go ahead.
• 2:33:50
  Speaker 3: I'm gonna say on a sign note because you made
• 2:33:53
  Speaker 3: me think of this when you were talking about DVDs.
• 2:33:56
  Speaker 3: Y'all have the DVD for House one thousand Corpses now.
• 2:34:01
  Speaker 2: I do somewhere.
• 2:34:03
  Speaker 3: The DVD has one of the coolest menus with Captain
• 2:34:07
  Speaker 3: Spaulding interacting with you during the menu. That's really cool.
• 2:34:15
  Speaker 3: It's like one of those things kind of like he's
• 2:34:17
  Speaker 3: like sitting there talking to you, like like one of
• 2:34:20
  Speaker 3: his commercials, you know, waiting for you to hit play
• 2:34:23
  Speaker 3: or wait.
• 2:34:23
  Speaker 1: You know.
• 2:34:24
  Speaker 3: Yeah, it's one of those really fun interactive things.
• 2:34:28
  Speaker 1: Menus suck anymore, dude.
• 2:34:31
  Speaker 2: Yeah, that just reminded me of the menu from euro
• 2:34:34
  Speaker 2: Trip with the little green floating guy. Yeah, at the
• 2:34:37
  Speaker 2: menu and if you don't hit play fast enough, he's like,
• 2:34:39
  Speaker 2: you're gonna play the fucking movie anytime soon. It's just
• 2:34:42
  Speaker 2: like fun stuff like that. I wish they would bring
• 2:34:44
  Speaker 2: that back, dude.
• 2:34:45
  Speaker 1: You know what it makes me think about. It makes
• 2:34:47
  Speaker 1: me think of way off topic before we end this,
• 2:34:50
  Speaker 1: but it makes me think of Sex Drive and how
• 2:34:52
  Speaker 1: they made a unrated edition with more nudity and it
• 2:34:55
  Speaker 1: was just naked women walking across the screen at random times.
• 2:35:00
  Speaker 1: Did you guys ever see that? No, it's literally in
• 2:35:04
  Speaker 1: the movie Sex Drive and the unrated edition there was
• 2:35:07
  Speaker 1: no more footage to put in, so they just had
• 2:35:10
  Speaker 1: naked models walk on the green screen and then put
• 2:35:14
  Speaker 1: them over the movie. So at random times in the background,
• 2:35:17
  Speaker 1: just some naked lady would walk by, who clearly is
• 2:35:19
  Speaker 1: not in the scene. She would just walk by and
• 2:35:22
  Speaker 1: she's very clearly you know, like basically cut into it.
• 2:35:27
  Speaker 3: That's funny. Now there's one I forgot what movie that
• 2:35:30
  Speaker 3: off the top of my head. It might be Cougar Club.
• 2:35:32
  Speaker 3: A movie called Cougar Club, which is like a straight
• 2:35:35
  Speaker 3: to DVD kind of raunchy comedy. But they have top
• 2:35:39
  Speaker 3: of the DVD at topless menus, so the girls would
• 2:35:42
  Speaker 3: just be sitting there, just moving, waiting for you, and
• 2:35:45
  Speaker 3: then as soon as you hit play, they would like
• 2:35:47
  Speaker 3: remove their shirt for a second and then it would
• 2:35:49
  Speaker 3: play the movie.
• 2:35:50
  Speaker 1: I feel like there was a really cool missed opportunity
• 2:35:52
  Speaker 1: with House of a Thousand Corpses for the bonus features
• 2:35:55
  Speaker 1: to be like you navigating through the murder ride.
• 2:35:58
  Speaker 2: That would be amazing.
• 2:36:00
  Speaker 3: That cool.
• 2:36:01
  Speaker 1: All right, Rob, to give me a call. You want
• 2:36:03
  Speaker 1: to talk about that that we was up a for
• 2:36:06
  Speaker 1: that fortieth anniversary edition, Aneria, we can chat about that,
• 2:36:11
  Speaker 1: but uh, let's round this out. Two hours and thirty
• 2:36:13
  Speaker 1: six minutes. This is our longest episode yet on House
• 2:36:15
  Speaker 1: of a Thousand Courses. But I think it was. I
• 2:36:19
  Speaker 1: think this was fucking awesome, dude. I you know, because
• 2:36:22
  Speaker 1: I want to be transparent with audience. Uh, chuck, because
• 2:36:26
  Speaker 1: you know you're my co host. I think this this
• 2:36:29
  Speaker 1: style was so much better than our other ones.
• 2:36:33
  Speaker 2: Oh I agree with you on ndred percent and definitely
• 2:36:35
  Speaker 2: uh I had conversation going a lot longer. Yeah.
• 2:36:40
  Speaker 1: Yeah, and then and then Brian, you awesome, dude, Thank
• 2:36:43
  Speaker 1: you so much for coming on.
• 2:36:44
  Speaker 2: Man.
• 2:36:44
  Speaker 1: I can't thank you enough.
• 2:36:46
  Speaker 3: Absolutely, Man, I think it's twenty that you're like, Yo,
• 2:36:49
  Speaker 3: this is the longest. Wanted so great the next beginning
• 2:36:51
  Speaker 3: of this year, like we're going to shorten it.
• 2:36:53
  Speaker 1: Yeah, dude, I mean, look, I I I very clearly
• 2:36:59
  Speaker 1: told you guys that I wanted this to be the
• 2:37:02
  Speaker 1: most in depth conversation ever, and I I'll try to
• 2:37:06
  Speaker 1: find it a longer podcast episode on House of a
• 2:37:08
  Speaker 1: Thousand Corpses somewhere, but uh, I don't know if I'm
• 2:37:11
  Speaker 1: gonna find it.
• 2:37:12
  Speaker 3: I told you that. You see why I was excited
• 2:37:15
  Speaker 3: to like jump on this, Like I it's fun. It's
• 2:37:19
  Speaker 3: a fun movie to talk about, especially to deep dive,
• 2:37:21
  Speaker 3: because even I learned stuff like I didn't know about
• 2:37:24
  Speaker 3: the Leave It to Beaver House, I didn't know about
• 2:37:28
  Speaker 3: the commentary on digital, Like that's hugely fascinating. I'm probably
• 2:37:33
  Speaker 3: gonna go look that up just because I've like the
• 2:37:36
  Speaker 3: Joe Rogan podcast with Rob Zombie is my favorite. I've
• 2:37:39
  Speaker 3: seen it like three it's like four hours long or something.
• 2:37:42
  Speaker 3: It's it's like that in mckemith smith episode of like
• 2:37:45
  Speaker 3: my two favorites, but the Rob Zombie one, I've probably
• 2:37:47
  Speaker 3: revisited it four or five times.
• 2:37:49
  Speaker 1: But see, that's the thing I thought, when when when
• 2:37:53
  Speaker 1: I was constructing this in my head, before Chuck was
• 2:37:55
  Speaker 1: even involved or anything, when I was thinking of doing
• 2:37:57
  Speaker 1: a podcast. I was like, I know I listened to
• 2:38:00
  Speaker 1: long podcast episodes, but to other people. And every episode
• 2:38:03
  Speaker 1: we've put out has been outside of our introductory episode
• 2:38:05
  Speaker 1: has been two hours. And it's amazing how our statistics show.
• 2:38:12
  Speaker 1: Our statistics, which I don't look at often, will tell
• 2:38:15
  Speaker 1: us how long people stay in an episode for and
• 2:38:19
  Speaker 1: it's it's an hour plus. And that's those statistics are
• 2:38:24
  Speaker 1: based on a single listen, you know what I mean. So, like,
• 2:38:29
  Speaker 1: there are plenty times where I listen to a podcast
• 2:38:31
  Speaker 1: for an hour and then I'm I'll pick it back
• 2:38:33
  Speaker 1: up tomorrow or whatever the case might be. This is
• 2:38:35
  Speaker 1: that platform where I cannot do this on YouTube, you
• 2:38:39
  Speaker 1: know what I mean? Like, I can't make a YouTube
• 2:38:41
  Speaker 1: video it's two hours and thirty eight minutes on House
• 2:38:43
  Speaker 1: of a Thousand Corpses. But I can do it on
• 2:38:45
  Speaker 1: a podcast and people will listen, you know, because you're
• 2:38:48
  Speaker 1: gonna listen to it in your car, You're gonna listen
• 2:38:50
  Speaker 1: to it on a walk, You're gonna listen to it
• 2:38:52
  Speaker 1: whatever whatever you do. And if you don't want to
• 2:38:56
  Speaker 1: listen to it, I understand if it's too long for you,
• 2:38:59
  Speaker 1: I understand this isn't for you. You know, I'm not making
• 2:39:04
  Speaker 1: this is not a mass appeal idea. This is for
• 2:39:06
  Speaker 1: the people who who want to get involved in get
• 2:39:09
  Speaker 1: in these long term. Just like Joe Rogan, there are
• 2:39:11
  Speaker 1: people who won't watch a four hour Joe Rogan episode.
• 2:39:14
  Speaker 1: I've watched the Kevin Smith one or listened to it
• 2:39:16
  Speaker 1: like six times at things like three I've spent eighteen
• 2:39:19
  Speaker 1: hours of my life listening to the same Kevin Smith
• 2:39:21
  Speaker 1: Joe Rogan episode. Bro stay with you, you know. So it
• 2:39:26
  Speaker 1: is what it is, man, and I'm super proud of it,
• 2:39:28
  Speaker 1: and i want to thank everybody who has listened. Every
• 2:39:32
  Speaker 1: single time I do check the statistics, which is, like
• 2:39:35
  Speaker 1: I said, maybe once a month, so once per episode posting.
• 2:39:39
  Speaker 1: I'm blown away to even have I expect one listener,
• 2:39:44
  Speaker 1: and I expect that to be like my wife, you
• 2:39:46
  Speaker 1: know what I mean, like who clicked play to give
• 2:39:48
  Speaker 1: us a thing? But I'm always very happy to see
• 2:39:53
  Speaker 1: the support and the love and all of that stuff.
• 2:39:56
  Speaker 1: It's incredible because we already have more listeners than I
• 2:40:00
  Speaker 1: expected to get.
• 2:40:01
  Speaker 3: In a year in so that's amazing. Man.
• 2:40:05
  Speaker 1: I'm stoked about it.
• 2:40:06
  Speaker 2: I'm sure you are too, Chuck, Yeah, for sure. And
• 2:40:09
  Speaker 2: I just want to like say one thing. It's it's
• 2:40:11
  Speaker 2: really cool getting you know, dms from people on Instagram saying,
• 2:40:15
  Speaker 2: you know, how much they're enjoying the show and how
• 2:40:17
  Speaker 2: they like listen to us talk about the films and stuff.
• 2:40:20
  Speaker 2: So that's a pretty cool experience. Yeah. Yeah, shout out
• 2:40:25
  Speaker 2: to you guys.
• 2:40:27
  Speaker 1: Yeah, it's incredible, man. We this is this community is
• 2:40:30
  Speaker 1: so receptive to this stuff, and it's like just a
• 2:40:34
  Speaker 1: bunch of other geeks that want to that want to
• 2:40:36
  Speaker 1: hear about this stuff, just like I do. You know,
• 2:40:39
  Speaker 1: and when you make a movie, Brian, or when when
• 2:40:42
  Speaker 1: we make a podcast episode, I'm making things that I
• 2:40:45
  Speaker 1: want to watch or I want to hear. That's the idea,
• 2:40:49
  Speaker 1: is like I'm gonna do this because I want to
• 2:40:52
  Speaker 1: hear this or I would want to hear this. So
• 2:40:54
  Speaker 1: there's got to be somebody else out there who does
• 2:40:56
  Speaker 1: you know what I mean, and it'll it'll reach them.
• 2:40:58
  Speaker 1: I mean, dude, this is episode what four four episodes.
• 2:41:03
  Speaker 2: In four third movie.
• 2:41:05
  Speaker 1: We're like we're nothing, you know what I mean, This
• 2:41:09
  Speaker 1: is not we have no experience at all at this point,
• 2:41:12
  Speaker 1: you know what I mean. We're full training wheels, full
• 2:41:16
  Speaker 1: full outfit of pads.
• 2:41:19
  Speaker 2: Swimmy's you know, shaking off the nerves, but they're almost gone.
• 2:41:23
  Speaker 2: I feel like I'm doing better this episode.
• 2:41:26
  Speaker 1: Constant improvement from all of us, man. So yeah, I
• 2:41:31
  Speaker 1: can't thank you guys enough. Just to give a little
• 2:41:33
  Speaker 1: heads up for the next episode. This is the March.
• 2:41:36
  Speaker 1: I know it's coming out already quartering way into the month,
• 2:41:39
  Speaker 1: which is insane, but that's okay. For April, we're covering
• 2:41:43
  Speaker 1: Killer Clowns from Matter Space. We're gonna be talking about
• 2:41:45
  Speaker 1: the Chiota Brothers commentary on that release, which I'm sure
• 2:41:48
  Speaker 1: we're gonna be this length talking about Killer Clowns and
• 2:41:54
  Speaker 1: on that we have miles of from Miles of Horror,
• 2:41:58
  Speaker 1: He's gonna be on talking he massive Killer Clowns fan,
• 2:42:01
  Speaker 1: So I can't wait for that. And I think we're
• 2:42:06
  Speaker 1: gearing up to I know, I just started working on
• 2:42:09
  Speaker 1: some marketing stuff for our arts Christmas in July, which
• 2:42:12
  Speaker 1: is we're gonna be covering all three Terrifier movies this
• 2:42:14
  Speaker 1: summer with the commentary tracks from the Umbrella releases for those.
• 2:42:20
  Speaker 1: So no slowing down yet, Brian. You should come on
• 2:42:24
  Speaker 1: for one of those, man.
• 2:42:25
  Speaker 3: Yeah, man, I'm totally down. Terrified two is my favorite.
• 2:42:28
  Speaker 3: So that's I can talk that one.
• 2:42:30
  Speaker 1: Bro that that episode is gonna be like five hours long.
• 2:42:35
  Speaker 1: We already I'm pretty sure, like we're right now we
• 2:42:38
  Speaker 1: are at the Terrifier to run time with credits. I
• 2:42:40
  Speaker 1: think we're just talking about how some of a thousand courses.
• 2:42:44
  Speaker 2: Oh definitely, what's.
• 2:42:46
  Speaker 3: To for Dobin courses eighty minutes, eighty eight.
• 2:42:49
  Speaker 1: Minutes Terrified and forty one and fifty minutes.
• 2:42:53
  Speaker 3: You don't how many times I've hit back on my
• 2:42:56
  Speaker 3: you know, play again on the movie playing in the background.
• 2:43:02
  Speaker 2: The length of the film we're talking about.
• 2:43:04
  Speaker 3: We've watched the movie and we watched the special features.
• 2:43:08
  Speaker 1: Yeah, yeah, yeah, oh my god. All right, we'll see
• 2:43:12
  Speaker 1: you guys next time. Until then, make sure you follow
• 2:43:15
  Speaker 1: me on Instagram. It is Bearded film Guy Chuck. Where
• 2:43:17
  Speaker 1: can our listeners find you dat?
• 2:43:20
  Speaker 2: You can also find me on Instagram at Chuck Underscore
• 2:43:22
  Speaker 2: Savage Brian. How about you?
• 2:43:26
  Speaker 3: I am Last Movie Standing. I'm trying to think I've
• 2:43:30
  Speaker 3: actually never had to research this. I'm like, is it
• 2:43:32
  Speaker 3: Last Movie Standing or the Last Movie Standing? What I
• 2:43:35
  Speaker 3: have on? Yeah, the Last Movie Standing? On YouTube?
• 2:43:40
  Speaker 1: I feel like you need to change that. Man.
• 2:43:42
  Speaker 3: I tried, it's taken. It's taken.
• 2:43:46
  Speaker 1: God, we're gonna we're gonna hunt them down.
• 2:43:48
  Speaker 3: I know.
• 2:43:49
  Speaker 1: All right. Well, I hope everyone has a great day.
• 2:43:51
  Speaker 1: We'll see you guys on the next episode later.
• 2:43:54
  Speaker 2: Thank you for listening. P