Latest / Beyond The Blood: A Horror Movie Commentary Podcast / Staff Picks: 'In A Violent Nature' (2024) ft. PlanetCHH

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Staff Picks: 'In A Violent Nature' (2024) ft. PlanetCHH · Beyond The Blood: A Horror Movie Commentary Podcast

• 0:01
  Speaker 1: You are now listening to the Someone's Favorite Productions Podcast Network.
• 0:08
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• 0:11
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• 0:15
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• 0:20
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• 0:23
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• 0:27
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• 0:30
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• 0:34
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• 0:50
  Speaker 1: Nailed it.
• 1:57
  Speaker 3: So Christian. You're in the woods with a bunch of
• 1:59
  Speaker 3: your friends and you find a a necklace hanging on
• 2:01
  Speaker 3: a pipe. You're gonna take it immediately.
• 2:06
  Speaker 4: Oh but immediately because my add would like, if I
• 2:10
  Speaker 4: noticed it, I'd have to just go move it. I'd
• 2:13
  Speaker 4: have to disturb it, just like immediately grab it.
• 2:17
  Speaker 3: I feel like you would also like yell down the pipe,
• 2:19
  Speaker 3: you know, like we were kids and you would yell
• 2:21
  Speaker 3: through the ooh yeah, yeah, you'd make an echo walk away.
• 2:27
  Speaker 5: I don't see that going over well.
• 2:29
  Speaker 3: Like Johnny would like that very much, you know, I
• 2:31
  Speaker 3: don't think he would welcome back to Beyond the Blood Christian.
• 2:36
  Speaker 3: Thanks for coming back and hanging out again.
• 2:37
  Speaker 4: Man, it's my pleasure. I'm glad to be here. Absolutely.
• 2:41
  Speaker 3: Yeah. Yeah, this is a staff Picks episode, so we're
• 2:43
  Speaker 3: gonna be talking about all things and a violent nature.
• 2:45
  Speaker 3: From twenty twenty four. It feels like I feel like
• 2:49
  Speaker 3: this movie just came out six months ago.
• 2:52
  Speaker 4: Was it twenty twenty four?
• 2:53
  Speaker 3: Jesus was twenty Well, it's always confusing because it's like
• 2:58
  Speaker 3: twenty twenty four. I don't know if that was the
• 3:00
  Speaker 3: festival premiere and it didn't get the actrical until twenty
• 3:03
  Speaker 3: twenty five. But yeah, I feel like, yeah.
• 3:07
  Speaker 5: Looks like early part of it looks like in January
• 3:11
  Speaker 5: twenty twenty fours at Sundance, and then it got a
• 3:14
  Speaker 5: wider release in May of twenty twenty four.
• 3:17
  Speaker 3: Yeah. I'm doing this ranking on my letterbox of all
• 3:19
  Speaker 3: twenty twenty six movies, and it's really frustrating because it's
• 3:23
  Speaker 3: like a movie, well like Dolly came out, and it's
• 3:26
  Speaker 3: like technically a twenty twenty five release because that's when
• 3:29
  Speaker 3: it premiered at festival, but it went wide in twenty
• 3:32
  Speaker 3: twenty six, so I don't know if that's a twenty
• 3:33
  Speaker 3: twenty six move. I don't know how to be a critic.
• 3:37
  Speaker 5: I was thinking that this was last year, but I
• 3:39
  Speaker 5: think that's when the four K came out, so I
• 3:41
  Speaker 5: was kind of mixed up.
• 3:42
  Speaker 3: Well do you remember all I think Christian you did
• 3:44
  Speaker 3: a video about the debacle of this release.
• 3:47
  Speaker 4: Yeah, I mean it was I think they just under
• 3:49
  Speaker 4: either underestimated it. Also, it's weird. I remember Shutter used
• 3:53
  Speaker 4: to have like a partnership with RLJ for pretty much
• 3:57
  Speaker 4: all their titles, and I think they handled the distribution,
• 4:00
  Speaker 4: and I don't know if Shutters trying to do it
• 4:02
  Speaker 4: themselves now, but yeah, people were pissed. Everybody was pre orderate,
• 4:05
  Speaker 4: and then like it just never shipped out for so
• 4:08
  Speaker 4: many people, and then like there was like some people
• 4:12
  Speaker 4: that got posters with their release, some people didn't. I
• 4:14
  Speaker 4: actually got a poster. I looked out, but I mean
• 4:18
  Speaker 4: I made sure. I was like, come on, guys, this
• 4:19
  Speaker 4: is we're having enough trouble keeping physical media alive. But
• 4:23
  Speaker 4: when you do shit like this, or you let shit
• 4:25
  Speaker 4: like this happen, it's just like it's so disheartening for people.
• 4:28
  Speaker 4: But that now there's like what four different versions out
• 4:30
  Speaker 4: there of this movie.
• 4:31
  Speaker 3: It's supposed to it's supposed to rare because I got
• 4:34
  Speaker 3: the poster with it.
• 4:35
  Speaker 4: I don't know if it's necessarily rare or worth anything,
• 4:38
  Speaker 4: but yeah, I just know that some people they said
• 4:41
  Speaker 4: you gotta po like I remember them saying, you're skin
• 4:43
  Speaker 4: with a poster. I was like, yeah, you know, I
• 4:45
  Speaker 4: didn't get I didn't get one. So some of them,
• 4:47
  Speaker 4: I guess those Blu rays when they first went out,
• 4:50
  Speaker 4: who knows, dude, who knows?
• 4:51
  Speaker 3: I think was this the first release that wasn't attached
• 4:54
  Speaker 3: to Shutter this is I mean, I wasn't attached to RLJ.
• 4:58
  Speaker 5: No.
• 4:58
  Speaker 4: There was a movie that I have called, uh Found
• 5:02
  Speaker 4: Footage three D that was just a Shutter Blu ray
• 5:05
  Speaker 4: and that was very limited, very very limited. It's not
• 5:07
  Speaker 4: even in print anymore. So I think they're getting a
• 5:11
  Speaker 4: pretty good grip on it now though.
• 5:13
  Speaker 3: Yeah. Yeah, well now, especially with the Vinegar Syndrome partnership. Yeah,
• 5:18
  Speaker 3: but I remember it was kind of like it was
• 5:20
  Speaker 3: like I remember the debacle over Winnie Bolle Lurks because
• 5:23
  Speaker 3: like I think the inside didn't have the title printed
• 5:27
  Speaker 3: on the spine or something like that, remember remember that.
• 5:30
  Speaker 3: And then it was like the in of Violent Nature thing,
• 5:34
  Speaker 3: which like I pre ordered mine and got mine right away,
• 5:37
  Speaker 3: So I was I wasn't even where there was an
• 5:39
  Speaker 3: issue until you did a video on it talking about
• 5:42
  Speaker 3: you know, people were pissed off at them for it.
• 5:44
  Speaker 4: I can't sitder yourself, lucky dude. Yeah, it was. It
• 5:47
  Speaker 4: was just one of those things where I think a
• 5:50
  Speaker 4: lot of people gave up or they would. Some people
• 5:52
  Speaker 4: have like said that they saw the DVDs at Walmart.
• 5:54
  Speaker 4: But yeah, now I think that, you know, a bunch
• 5:57
  Speaker 4: of German releases started popping up since then, and and
• 6:00
  Speaker 4: I think that there's a it's either a steel Book,
• 6:03
  Speaker 4: Blu ray or four K that's available now. But there's
• 6:06
  Speaker 4: no problem getting it now, which at the end of
• 6:08
  Speaker 4: the day, that's good because I really like that movie,
• 6:10
  Speaker 4: so I don't want people to own it and see it.
• 6:13
  Speaker 3: Well, this movie was a big deal. This was sort
• 6:15
  Speaker 3: of a little bit of an event in our space.
• 6:17
  Speaker 3: I remember just because of the first person or not
• 6:22
  Speaker 3: first person POV, but just the point of view in
• 6:24
  Speaker 3: general of the movie. For obviously, if you're listening to this,
• 6:27
  Speaker 3: I hope you've seen the movie. This movie has a
• 6:30
  Speaker 3: very interesting perspective where we're following the killer as opposed
• 6:33
  Speaker 3: to our victims or one of our victims. And this
• 6:38
  Speaker 3: movie kind of got a lot of attention because I
• 6:42
  Speaker 3: remember people were kind of split down the middle with
• 6:44
  Speaker 3: how to feel about it. One half thought it was
• 6:47
  Speaker 3: boring and it was just a guy mindlessly walking through
• 6:51
  Speaker 3: the woods occasionally killing somebody. Other people thought it was
• 6:54
  Speaker 3: like a complete reinvention. This was like the greatest thing
• 6:56
  Speaker 3: to happen to the genre in twenty years. There's a
• 7:01
  Speaker 3: lot of people split on this, and I remember I
• 7:04
  Speaker 3: was part of the crowd that really enjoyed it, and
• 7:06
  Speaker 3: I was like, I feel like this is gonna be
• 7:09
  Speaker 3: a movie that people were going to revisit over the
• 7:11
  Speaker 3: years and kind of re analyze, you know. And now
• 7:18
  Speaker 3: two years later we have a sequel coming not from
• 7:21
  Speaker 3: Chris Nash, the director of the original, and I'm very
• 7:24
  Speaker 3: skeptical about that. I don't know how to I don't
• 7:26
  Speaker 3: know how I feel about this being dragged into a franchise,
• 7:29
  Speaker 3: but we'll see.
• 7:32
  Speaker 4: Yeah, I totally agree, totally agree.
• 7:35
  Speaker 3: How did you guys feel? Christian, I'll start with you, man,
• 7:38
  Speaker 3: how did you feel the first time that you sat
• 7:40
  Speaker 3: down and watched US? Which camp did you fall into?
• 7:43
  Speaker 5: Yeah?
• 7:43
  Speaker 4: So I think it was maybe five or six months
• 7:46
  Speaker 4: before that. I can't remember the exact timeframe, but I
• 7:49
  Speaker 4: went and saw the David dismoson Late night talk show. Yeah, yeah, yeah,
• 7:57
  Speaker 4: I saw that in the theater, and then that's where
• 7:59
  Speaker 4: I saw the trailer for In a Violent Nature, and
• 8:02
  Speaker 4: I was mesmerized by it first off, because you know,
• 8:06
  Speaker 4: I I remember just thinking to myself, I was like,
• 8:10
  Speaker 4: this looks so unique to me, and it looks I
• 8:13
  Speaker 4: genuinely this is the first movie actually not in a violeniature,
• 8:18
  Speaker 4: but late now with the Devil. Even to a certain extent,
• 8:21
  Speaker 4: I felt like we're entering this realm of hyper realistic.
• 8:27
  Speaker 4: You know, there's stuff that's supposed to feel like it's
• 8:29
  Speaker 4: from the seventies and eighties and stuff, but I feel
• 8:31
  Speaker 4: like we're getting to a level now where it's almost
• 8:35
  Speaker 4: you actually question it for a second, when was this film?
• 8:37
  Speaker 4: Because there's almost this hyperrealism to stuff looking extremely vintage,
• 8:42
  Speaker 4: and I was really impressed not only with Late Night
• 8:44
  Speaker 4: with the Devil, but also when I saw the trailer
• 8:47
  Speaker 4: for An Violent Nature, I was like, Jesus, this looks
• 8:49
  Speaker 4: like it's a vinegar syndrome, blu ray that like they
• 8:53
  Speaker 4: just put this movie out and I never heard about it.
• 8:55
  Speaker 4: Like that's the feeling I got from the trailer, and
• 8:58
  Speaker 4: I was pretty mesmerized by I couldn't wait to see it.
• 9:01
  Speaker 4: I love the title, and so I did go see
• 9:04
  Speaker 4: it in theater and I had to go to like
• 9:07
  Speaker 4: a midnight showing. They played it one night in Shreveport,
• 9:11
  Speaker 4: and so I managed to go to it and see it,
• 9:13
  Speaker 4: and I personally was in love with it. And there's
• 9:16
  Speaker 4: a few things that stylistically I would change, But as
• 9:20
  Speaker 4: far as the experience, I was very big on the
• 9:24
  Speaker 4: pro side that this was very because there's not a
• 9:27
  Speaker 4: whole lot of stuff. I feel and I could be wrong,
• 9:29
  Speaker 4: but I feel like almost everything has been done and
• 9:33
  Speaker 4: that was something I haven't seen. So that was a
• 9:36
  Speaker 4: new experience to me. And I felt like it was
• 9:38
  Speaker 4: like like it reminded me of the Friday of the
• 9:41
  Speaker 4: thirteenth video game almost that perspective, and I'm a huge
• 9:45
  Speaker 4: fan of the game, still play it. But I really
• 9:49
  Speaker 4: really enjoyed it. And yeah, my going back to what
• 9:54
  Speaker 4: you said just a second ago, my concern about a
• 9:56
  Speaker 4: sequel is now you're going to take something that was
• 9:58
  Speaker 4: so unique make it less unique. If they do it
• 10:01
  Speaker 4: the exact same way. I have no idea if they
• 10:03
  Speaker 4: are from the third person perspective. But the brilliant thing
• 10:06
  Speaker 4: about the film, in my opinion, was it didn't do
• 10:09
  Speaker 4: that one hundred percent of the time. They actually showed
• 10:11
  Speaker 4: you the conversations from the kids or the kids, I
• 10:15
  Speaker 4: say the kids. They were adults, but like you know,
• 10:17
  Speaker 4: they changed perspectives to the campers for moments and gives
• 10:22
  Speaker 4: you kind of like a break. So when you go
• 10:24
  Speaker 4: back from behind the I forget the name of the
• 10:26
  Speaker 4: character in the film, but when you go behind his
• 10:28
  Speaker 4: perspective again, it's like, Okay. I loved it, and I
• 10:31
  Speaker 4: thought it was just gorgeous the woods that they were in,
• 10:34
  Speaker 4: so personally me to me, it was a two thumbs
• 10:37
  Speaker 4: up movie. I really really really enjoyed it.
• 10:40
  Speaker 3: Yeah, yes, Steve, what about you, man, how was your
• 10:42
  Speaker 3: first experience within a violent nature?
• 10:45
  Speaker 5: I thought it was really refreshing. You know, there was
• 10:50
  Speaker 5: certain aspects about it that really stood out to me.
• 10:53
  Speaker 5: I mean, I think the point of view of the
• 10:56
  Speaker 5: killer with Johnny very refreshing. It felt like very elevated.
• 11:01
  Speaker 5: As far as with the sound design, I felt like
• 11:03
  Speaker 5: the sound design, the effects that you hear throughout the
• 11:06
  Speaker 5: course of the movie almost felt like its own separate character.
• 11:10
  Speaker 5: And I feel like it's something that just kind of
• 11:12
  Speaker 5: as lost on more like modern horror. You know, typically
• 11:17
  Speaker 5: they're relying on jump scares for certain sequences. With this,
• 11:21
  Speaker 5: I mean, you're immersed. It's a whole experience, right, Yeah.
• 11:25
  Speaker 5: I like Johnny's you know, overall design, and I think
• 11:30
  Speaker 5: that there's a lot of different directions. I ultimately feel
• 11:32
  Speaker 5: like the this could potentially go in you know, later
• 11:35
  Speaker 5: on down the line. But I agree, I think you
• 11:37
  Speaker 5: have to if you were to do a sequel, you
• 11:41
  Speaker 5: just don't want to tread the same waters as you
• 11:43
  Speaker 5: did for the first one. I think that that's what
• 11:45
  Speaker 5: makes this one so unique. So I really liked it
• 11:48
  Speaker 5: and on rewatch, you know, it just made me appreciate
• 11:51
  Speaker 5: the film a lot more.
• 11:52
  Speaker 3: Yeah, Yeah, I love the too, man, I definitely like
• 11:55
  Speaker 3: I love I love when we're able to just slow
• 11:58
  Speaker 3: down in movie anymore, Like everything feels so fast paced,
• 12:04
  Speaker 3: and it almost feels like as audiences, particularly of our generation,
• 12:10
  Speaker 3: of our age, where we're able to sit down and
• 12:11
  Speaker 3: watch a movie without our phone, it feels nice to
• 12:15
  Speaker 3: have something that was slowed down, taking its time, artistic,
• 12:22
  Speaker 3: and that was what I took away from it. You know,
• 12:24
  Speaker 3: I saw a lot of people talking about how this
• 12:28
  Speaker 3: was a deconstruction of the slasher genre, and we all watch,
• 12:36
  Speaker 3: all three of us, watch a lot of slasher films.
• 12:38
  Speaker 3: I remember seeing that word over and over and over again.
• 12:41
  Speaker 3: It's deconstructing the genre. It's stripping the genre away, right,
• 12:45
  Speaker 3: It's like these like called like inflammatory critic like words
• 12:51
  Speaker 3: that they use. You know, me personally, I never felt
• 12:55
  Speaker 3: like this deconstructed the slasher genre. And anyway, I feel
• 12:59
  Speaker 3: like I give that title more to Scream than any
• 13:04
  Speaker 3: other film in recent memory because that I feel like,
• 13:06
  Speaker 3: really tore it down and kind of showed its bits.
• 13:09
  Speaker 3: But what's your guys view on that? Do you think
• 13:11
  Speaker 3: that this was outside of esthetic choices meaning perspective and approach?
• 13:18
  Speaker 3: Do you think this stripped down our genre to bare bones?
• 13:25
  Speaker 4: You can go ahead first, I.
• 13:29
  Speaker 5: Don't necessarily Yeah, I don't necessarily feel like it maybe
• 13:32
  Speaker 5: went to that extent. I think it, you know, tried
• 13:35
  Speaker 5: to reinvigorate something that kind of what Christian was saying
• 13:39
  Speaker 5: has been done so many times before with more of
• 13:42
  Speaker 5: a modern take on it. But I don't think it
• 13:45
  Speaker 5: went that part necessarily. Just how how I've seen it,
• 13:49
  Speaker 5: you know, a few times I've watched it.
• 13:51
  Speaker 3: Yeah, I mean there's there's nothing. I don't mean to
• 13:54
  Speaker 3: jump in front of you, Christian, but there's nothing. There's
• 13:57
  Speaker 3: nothing about it that was like on the surface, like
• 14:01
  Speaker 3: it's a pretty standard, fair like slasher film. Like there's
• 14:06
  Speaker 3: really not a whole lot of originality here outside of
• 14:10
  Speaker 3: the approach to the aesthetic choice of shooting it in
• 14:14
  Speaker 3: four to three eight third person perspective. Everything else is
• 14:18
  Speaker 3: pretty much paint by numbers slasher. But those aesthetic choices
• 14:24
  Speaker 3: elevate the standard slasher trope, and I think it's the
• 14:30
  Speaker 3: film is most unique in the final bit, once we're
• 14:32
  Speaker 3: actually away from Johnny and we get into like Lauren
• 14:35
  Speaker 3: Marie Taylor's character showing up. I think that's the most
• 14:38
  Speaker 3: interesting part.
• 14:39
  Speaker 4: Yeah, people really hated that too.
• 14:41
  Speaker 3: Yeah, which is funny. Because that, to me was the
• 14:44
  Speaker 3: most intriguing bit because everything kind of before that was
• 14:48
  Speaker 3: while cool to watch and I love it, I didn't
• 14:50
  Speaker 3: really find it like reinvigorating the genre or anything like that.
• 14:56
  Speaker 5: You know, well I was I wasn't exactly sure once
• 15:00
  Speaker 5: Lauren Marie Taylor shows up. I mean, on first watch,
• 15:03
  Speaker 5: I wasn't sure what direction this was going in. I'm like,
• 15:05
  Speaker 5: it is is the girl the final girl safe? I
• 15:08
  Speaker 5: don't know. I mean, she starts going off on some
• 15:12
  Speaker 5: just some bizarre story that we're trying to follow, and
• 15:16
  Speaker 5: I'm thinking, like, is she gonna drop, you know, this
• 15:18
  Speaker 5: girl off near Johnny or is she working with Johnny
• 15:21
  Speaker 5: in some capacity? I'm not really sure. Was it like
• 15:25
  Speaker 5: that for you guys or.
• 15:27
  Speaker 4: To me? It was just like like I to me,
• 15:32
  Speaker 4: what I what I liked about that scene was kind
• 15:35
  Speaker 4: of like the movie I just saw Undertone, which to
• 15:38
  Speaker 4: me was the best. It's the best movie I've seen
• 15:40
  Speaker 4: so far this year, so I thought it was absolutely phenomenal.
• 15:43
  Speaker 4: But the whole movie, that whole scene just felt like
• 15:45
  Speaker 4: a pressure cooker waiting.
• 15:47
  Speaker 3: To pop, and it.
• 15:50
  Speaker 4: Essentially doesn't, but the feeling throughout that whole scene, I
• 15:53
  Speaker 4: just loved it. I think people expect to pay off
• 15:57
  Speaker 4: sometimes and if they don't get what they feel you
• 16:01
  Speaker 4: should happen or they want to happen, it doesn't it.
• 16:05
  Speaker 4: It feels like a tease to them, and that's fine.
• 16:08
  Speaker 4: I get that. But for me, I loved it, and
• 16:11
  Speaker 4: kind of going back to what you were asking earlier,
• 16:13
  Speaker 4: to me, I don't look at it as a deconstruction.
• 16:17
  Speaker 4: I don't really understand how how it would be. To me.
• 16:19
  Speaker 4: It's just like you're watching the movie through the crystal
• 16:22
  Speaker 4: ball instead of being in front of the screen. It's
• 16:25
  Speaker 4: almost like you're almost you're almost uh, it's just like
• 16:29
  Speaker 4: you're watching a movie from a perspective you almost you're
• 16:31
  Speaker 4: the wrong perspective, not the wrong, but it's just like
• 16:34
  Speaker 4: a different perspective. Like I said, you're watching the movie
• 16:36
  Speaker 4: through the crystal ball, and you're you're like seeing everything
• 16:40
  Speaker 4: as if it's really happening from a perspective that is
• 16:43
  Speaker 4: non cinematic in a sense. So I know, I wouldn't
• 16:47
  Speaker 4: think it's deconstructing anything really, because like you said, there's
• 16:50
  Speaker 4: a lot of things about it that are very much
• 16:52
  Speaker 4: comfort food slasher film asks.
• 16:54
  Speaker 3: So yeah, I feel like that's kind of like the hyperbolic,
• 17:00
  Speaker 3: like I don't know, anytime you hear kind of like
• 17:03
  Speaker 3: I call them like catch phrases or like the things
• 17:05
  Speaker 3: that you hear in kind of the beginning of marketing
• 17:07
  Speaker 3: where it's like really hyperbolic and very uh. I don't know.
• 17:13
  Speaker 3: I feel like people who might think that this is
• 17:15
  Speaker 3: a deconstruction maybe aren't as familiar with the genre as
• 17:19
  Speaker 3: as others. You know, we've gotten so many attempts at
• 17:21
  Speaker 3: doing it different, and at the end of the day,
• 17:23
  Speaker 3: they all sort of do it the same way. It's
• 17:25
  Speaker 3: just a manner of how you shift these little tiny
• 17:28
  Speaker 3: pieces at the end that you still have a slasher
• 17:30
  Speaker 3: movie with somebody going around killing people, and the variances
• 17:34
  Speaker 3: are always very, in my opinion, very minor. You know,
• 17:40
  Speaker 3: like trying to think of another movie that kind of
• 17:42
  Speaker 3: did this, what's another movie that kind of did a
• 17:45
  Speaker 3: slasher different? I guess.
• 17:50
  Speaker 4: I look back if I always say, if there's a
• 17:52
  Speaker 4: slasher movie that I look at and some people don't
• 17:54
  Speaker 4: even call it this, but like, for me, maniac is
• 17:56
  Speaker 4: one that you are from the complete perspective of the
• 18:00
  Speaker 4: killer as opposed to being on the perspective of the
• 18:04
  Speaker 4: stars of the movie. And that's one that really even then,
• 18:09
  Speaker 4: I don't call it deconstruction. It's just here's a different
• 18:13
  Speaker 4: point of view altogether. But in essence they're stalking. It's
• 18:16
  Speaker 4: like it's a slasher film, but there's this element of
• 18:20
  Speaker 4: you know, there's different elements you're behind the perspective of Josie.
• 18:24
  Speaker 4: No Joe Spinell, Josie. I think that's the director. He
• 18:29
  Speaker 4: directed One of the Friday But you know what I'm saying.
• 18:31
  Speaker 4: So I look at that as a movie that has
• 18:33
  Speaker 4: different elements to it and it's from a different point
• 18:35
  Speaker 4: of view. But even then, I don't know if deconstruction
• 18:38
  Speaker 4: is the right word for that either. But that's when
• 18:40
  Speaker 4: I always go to. I say, if you want something
• 18:42
  Speaker 4: that's different, a little bit of a like a psychological
• 18:45
  Speaker 4: twist to it, go watch that. Hey, you know, and
• 18:47
  Speaker 4: I think you'll get your fixed, but there's something different
• 18:50
  Speaker 4: that you'll be able to sink your teeth into.
• 18:52
  Speaker 3: So my brain went to Jason Gouza. Hell, just abandoning
• 18:56
  Speaker 3: Jason and having people having it jump.
• 18:57
  Speaker 4: Oh you mean from like a st okay, yeah, yeah, yeah.
• 19:00
  Speaker 3: That which like I'm happy to be part of the
• 19:03
  Speaker 3: camp that thinks Jason Goes to Hell. Jason Goes to
• 19:05
  Speaker 3: Hell has become one of my favorite entries.
• 19:07
  Speaker 4: People. I can take any criticism people want to say
• 19:10
  Speaker 4: about Jason Gozel. The only thing they cannot say is
• 19:13
  Speaker 4: that it's boring, because it's not.
• 19:14
  Speaker 3: It's batshaite fucking crazy movie.
• 19:16
  Speaker 4: The only thing I will push back on is saying
• 19:19
  Speaker 4: it's boring. It's not boring, it's insane.
• 19:22
  Speaker 3: Yeah, and I'm so happy we live in a world
• 19:24
  Speaker 3: where this movie's finally getting the respect. I feel like
• 19:26
  Speaker 3: it's earned, you know what I mean, finally, which some time.
• 19:30
  Speaker 4: It's what thirty two years old? Now, like let it
• 19:32
  Speaker 4: like leave it alone, like like you relax.
• 19:37
  Speaker 3: Well, you know, I think a big conversation around in
• 19:39
  Speaker 3: a violent nature is perspective. And we've seen the POV
• 19:44
  Speaker 3: Killer countless times going back, you know, Black Christmas, Halloween. Obviously,
• 19:49
  Speaker 3: Halloween kind of made it infamous from the perspective of myers,
• 19:55
  Speaker 3: you know, peeking around. We saw it so many times.
• 19:57
  Speaker 3: How do you guys think stretching that perspective now for
• 20:01
  Speaker 3: an entire movie feels different? Like what about this perspective?
• 20:08
  Speaker 3: So okay, let me let me, let me add some
• 20:10
  Speaker 3: context for this. I saw a question that somebody opposed
• 20:14
  Speaker 3: in a Reddit form about this movie, and they said
• 20:17
  Speaker 3: something like, was I the only person who felt like
• 20:21
  Speaker 3: more more a partner into violence and not just a
• 20:26
  Speaker 3: viewer because I was following the killer?
• 20:29
  Speaker 4: I think that's fair.
• 20:31
  Speaker 3: So that's kind of the context I'm going for, Like,
• 20:33
  Speaker 3: how does this perspective really switch things up for you guys,
• 20:37
  Speaker 3: Because for me, it's it's it fills in those interesting
• 20:42
  Speaker 3: gaps where it's you know, when you're watching a slasher
• 20:44
  Speaker 3: and you're bouncing from victim the victim, you're like, well,
• 20:47
  Speaker 3: what's the killer doing in between? And actually what he's
• 20:51
  Speaker 3: doing is going in and throwing a body against the
• 20:53
  Speaker 3: glass to break to get the mask out, and you know,
• 20:57
  Speaker 3: he's putting the stick in the steering wheel to make
• 21:00
  Speaker 3: the horn go off as he hastily runs around the cabin.
• 21:05
  Speaker 3: You know. So for me, it's just more so it's
• 21:11
  Speaker 3: it's fresh in that perspective. Yeah, but what do you
• 21:16
  Speaker 3: guys think that?
• 21:17
  Speaker 4: I also feel it leaves less to the imagination of
• 21:20
  Speaker 4: how how many times do you watch, especially from the eighties,
• 21:24
  Speaker 4: whether it be any Halloween film or even some of
• 21:27
  Speaker 4: the later Fridays like part eight. I think Jason literally
• 21:31
  Speaker 4: like what do you call it? Like he disappears and
• 21:34
  Speaker 4: shows up in a different part of a building in
• 21:36
  Speaker 4: two seconds. This actually showed the movement and the progression
• 21:40
  Speaker 4: of Johnny. Thank you for ret because I forgot his name,
• 21:43
  Speaker 4: and it leaves less to the imagination that way, but
• 21:46
  Speaker 4: in a sense because it's fresh and new, I was like, oh,
• 21:49
  Speaker 4: this is interesting. I mean, he really relied on people
• 21:52
  Speaker 4: not being aware that he was there to get him,
• 21:56
  Speaker 4: like I could think of then begin and he literally
• 21:58
  Speaker 4: just moses all the way to that house, and I
• 22:02
  Speaker 4: loved it. I loved it from that perspective. Again, you know,
• 22:06
  Speaker 4: it leaves less up to the imagination, but in the
• 22:10
  Speaker 4: same sense. I what was surprising to me is I
• 22:12
  Speaker 4: didn't feel like it took away from the sense of suspense.
• 22:16
  Speaker 3: I actually was just like.
• 22:17
  Speaker 4: Please turn around, like the guy in the house. I
• 22:19
  Speaker 4: still felt it. So I understand the comment of being
• 22:25
  Speaker 4: feeling like you're more a part of being part of
• 22:29
  Speaker 4: the antagonist Johnny. But in the same sense, I still
• 22:32
  Speaker 4: felt sympathy the whole time, and I was just like,
• 22:35
  Speaker 4: you don't get it, like you just want to scream,
• 22:37
  Speaker 4: like turn around. So I was surprised that I still
• 22:40
  Speaker 4: felt those emotions too at the same time, because at
• 22:44
  Speaker 4: first I thought it would take away from that, but no,
• 22:46
  Speaker 4: if anything, it made me feel just as much of like,
• 22:50
  Speaker 4: they have no idea, they have no idea, like I
• 22:52
  Speaker 4: remember saying to myself the whole time watching it. So
• 22:55
  Speaker 4: especially when you see him in the campfire and it
• 22:57
  Speaker 4: goes away and you know you're a part of you're
• 23:00
  Speaker 4: a part of the group again, and then you can
• 23:02
  Speaker 4: see him in the background. Those moments like that too,
• 23:05
  Speaker 4: which I think was really important. I think if they
• 23:07
  Speaker 4: would have stayed from the perspective of Johnny one of
• 23:10
  Speaker 4: the time, it would have it would have it wouldn't
• 23:15
  Speaker 4: have been as I don't think the movie would have
• 23:17
  Speaker 4: worked as well. I think it was really important to
• 23:19
  Speaker 4: have those breaks. And remember, this guy is a serial
• 23:22
  Speaker 4: killer or a slash or a monster or whatever he is,
• 23:25
  Speaker 4: because clearly there's something there's something uh supernatural about him,
• 23:32
  Speaker 4: you know, so he's evil. So I that's I just
• 23:35
  Speaker 4: want to say again that balance being struck, to me,
• 23:37
  Speaker 4: was probably the most important element. But yeah, I still
• 23:40
  Speaker 4: felt sympathy for the for the humans, you know, like
• 23:44
  Speaker 4: I really did because they they they were so unsuspecting
• 23:47
  Speaker 4: of Johnny throughout most of the film.
• 23:50
  Speaker 3: Yeah. Yeah, well that it's like that campfire scene. I
• 23:55
  Speaker 3: had never noticed that he was standing next to the
• 23:58
  Speaker 3: cabin until I was listening to the commentary and they're like, oh, yeah,
• 24:02
  Speaker 3: we had a lighted a certain way that you see
• 24:03
  Speaker 3: him poking out there, And I was like, wait, he's there.
• 24:06
  Speaker 4: Oh I saw him in the theater. Man. I mean again, again,
• 24:08
  Speaker 4: that's a gigantic screen I'm seeing it on. But yeah,
• 24:10
  Speaker 4: in the theater.
• 24:11
  Speaker 5: I remember, are you referring to like when they're taking
• 24:13
  Speaker 5: the picture.
• 24:15
  Speaker 3: Well, when when the camera is spinning three sixty around
• 24:18
  Speaker 3: the fire, Yeah, you could see I see him.
• 24:20
  Speaker 4: He's in the background.
• 24:22
  Speaker 3: Yeah, you can see him. There's also another great moment
• 24:24
  Speaker 3: that I love. It's such a little moment, but when
• 24:26
  Speaker 3: he puts the stick make the car horn go off
• 24:29
  Speaker 3: and he kind of hurries around the cabin. There's a
• 24:31
  Speaker 3: quick moment where he passes a window and you see
• 24:33
  Speaker 3: that one of the characters see him. Yeah, and the
• 24:36
  Speaker 3: character like turns and watches him walk by. It's like, I.
• 24:39
  Speaker 5: Think, gets the gun right.
• 24:41
  Speaker 3: Yeah. Yeah. I pictured the other shot which would have
• 24:43
  Speaker 3: been inside where he would have briefly seen, you know,
• 24:47
  Speaker 3: past the window. The kills in this movie I think
• 24:51
  Speaker 3: are are you know, a high point of discussion. But
• 24:55
  Speaker 3: I want to bring up something that might be controversial
• 24:57
  Speaker 3: and people might people might, you know, have something to
• 25:00
  Speaker 3: say about this, But it's okay. I know that the
• 25:04
  Speaker 3: yoga kill was kind of the big deal here, right,
• 25:08
  Speaker 3: This was like Vangoria's kill of the year. People talked
• 25:12
  Speaker 3: about this and let me know your guys thoughts. But
• 25:15
  Speaker 3: I actually, for as cool as that kill is, I
• 25:19
  Speaker 3: feel like it doesn't belong in this movie. That feels
• 25:23
  Speaker 3: like a show off piece.
• 25:25
  Speaker 4: I totally agree. That was my number one complaint was
• 25:28
  Speaker 4: thought the movie felt so serious and then for a
• 25:30
  Speaker 4: few moments throughout the film it turning the hatchet m
• 25:33
  Speaker 4: and I was like not necessary to me, completely unnecessary.
• 25:38
  Speaker 3: So I agree with you.
• 25:39
  Speaker 5: I agree with you.
• 25:40
  Speaker 4: Those scenes of that extreme over the top gore stuff,
• 25:45
  Speaker 4: I wasn't a fan of that. Yeah, I completely agree.
• 25:49
  Speaker 4: Some of the other scenes I like, I think it
• 25:51
  Speaker 4: was like a some kind of like a wood machine
• 25:54
  Speaker 4: chip and the woodcutter. That's because it was expenseful and
• 25:57
  Speaker 4: it was still came across as very serious. I thought,
• 26:01
  Speaker 4: I mean, I love horror comedy so much, but you
• 26:04
  Speaker 4: don't see a lot of slasher films today be just
• 26:08
  Speaker 4: bullseye serious, and I felt like this one was doing
• 26:11
  Speaker 4: it and coming across to me really well. So when
• 26:14
  Speaker 4: those moments happened, I was just like, man, I wouldn't
• 26:17
  Speaker 4: even minded if that would have been a scene where
• 26:19
  Speaker 4: you don't even see the girl die, you know.
• 26:22
  Speaker 3: Yeah, well it's the yoga scene it was. I don't know,
• 26:29
  Speaker 3: it just felt so it was almost like you're trying
• 26:32
  Speaker 3: to kind of captivate your Terrifier audience, just like we need.
• 26:36
  Speaker 3: I agree, I think you need the bedroom scene from
• 26:39
  Speaker 3: Terrifier too, and this, you know what I mean. And
• 26:41
  Speaker 3: I don't want to take away from the technical side
• 26:44
  Speaker 3: of things because I think from a makeup effects prosthetic,
• 26:46
  Speaker 3: I think the kill was very, very cool, and I
• 26:48
  Speaker 3: actually think the best part about that is the wide
• 26:52
  Speaker 3: shot that shows kind of the cliff side and how
• 26:55
  Speaker 3: he just kind of tosses her body onto that and
• 26:59
  Speaker 3: she's kind of there with a bunch of dead trees
• 27:01
  Speaker 3: and stuff, you know. But outside of that that, every
• 27:04
  Speaker 3: time that kill comes up, I'm slightly taken out of it.
• 27:08
  Speaker 5: It's impressive looking, but I think if especially going back
• 27:13
  Speaker 5: and rewatching it, it definitely stands out as being like
• 27:17
  Speaker 5: it doesn't really have a place, I feel like in
• 27:19
  Speaker 5: the movie. As cool as it is, I think it
• 27:21
  Speaker 5: kind of takes away from what they're trying to do.
• 27:23
  Speaker 3: Yeah, well you have. My favorite kill is the woodcutter scene.
• 27:28
  Speaker 3: And the woodcutter scene is just incredibly like it's violent,
• 27:35
  Speaker 3: it's just so slow and it fits in the movie
• 27:39
  Speaker 3: in my opinion, and it's a very like technically very
• 27:45
  Speaker 3: accomplished kill scene with their switch between a puppet and
• 27:48
  Speaker 3: using edits and swipes to kind of because the camera
• 27:50
  Speaker 3: just gets put in one position. He puts his arm
• 27:53
  Speaker 3: in the woodcutter, cuts off the arm, and then he
• 27:55
  Speaker 3: moves his body and puts his head in it and
• 27:57
  Speaker 3: cuts off his head and it's all done from one perspective.
• 28:01
  Speaker 3: The camera never cuts away until the actual kill is over, which,
• 28:04
  Speaker 3: by the way, the ranger is not dead. He just
• 28:08
  Speaker 3: has his spine broken, so he's awake.
• 28:12
  Speaker 5: That scene in theater was I can't tell you how
• 28:16
  Speaker 5: uncomfortable I was watching that, Like, and it's not even
• 28:19
  Speaker 5: that it's it's over the graphic or anything. It's just
• 28:21
  Speaker 5: the idea. Yeah, you know, like and it's worse because
• 28:25
  Speaker 5: Johnny Johnny is setting it up, you know what's going
• 28:28
  Speaker 5: to happen. He does it initially first, I think with
• 28:31
  Speaker 5: the like the piece of wood first, then does his
• 28:34
  Speaker 5: I think it's his hand, cuts off his hand, and
• 28:37
  Speaker 5: then you obviously see kind of like the climax of
• 28:40
  Speaker 5: all of it with his head. But you you see
• 28:45
  Speaker 5: like the weird eye movements that the ranger has, like
• 28:48
  Speaker 5: after he has like the the basically his back broken.
• 28:51
  Speaker 5: He can't do anything. Can you imagine how fucking terrifying
• 28:54
  Speaker 5: that would be.
• 28:55
  Speaker 3: Yeah, Yeah, it's a brutal, brutal scene, and to me
• 28:59
  Speaker 3: it's the standout. I mean, I love I think I
• 29:03
  Speaker 3: think the overhead shot, you know, when he throws the
• 29:06
  Speaker 3: axe and hits the kid off camera, then the camera
• 29:09
  Speaker 3: kind of floats over and he crushes the head with
• 29:11
  Speaker 3: the rock. You know, like that's cool. I really love
• 29:15
  Speaker 3: when he a character who just gets his head didn't
• 29:20
  Speaker 3: like just mauled by the axe. He just takes out
• 29:23
  Speaker 3: seemingly all his anger on him for like a minute
• 29:26
  Speaker 3: and just go. You know, but these all feel like
• 29:30
  Speaker 3: these all feel like they can happen and they're here, right,
• 29:36
  Speaker 3: but like the yoga kill is just so he he
• 29:41
  Speaker 3: puts his hand through her, he puts the what's his
• 29:45
  Speaker 3: hand first, and then the hook through her and then
• 29:48
  Speaker 3: she's just standing there and he turns and then he
• 29:51
  Speaker 3: puts the hook in her head and then turns her
• 29:52
  Speaker 3: around again and then pulls her head through her torso
• 29:56
  Speaker 3: using the hook. It's just too.
• 29:57
  Speaker 5: Christopher saying that's not grounded.
• 29:59
  Speaker 3: They can't have Yeah, it's like it's it's so hatchets hatchet,
• 30:03
  Speaker 3: which in Hatchet that would make sense, you know what
• 30:05
  Speaker 3: I mean?
• 30:06
  Speaker 5: But uh, doesn't he literally tear someone's jaw like open,
• 30:11
  Speaker 5: remember correct? Hatchet? Yeah?
• 30:13
  Speaker 3: I think it was Hatchet too was my favorite one,
• 30:15
  Speaker 3: and it's when the couple's having sex in the woods
• 30:17
  Speaker 3: and che he lops off his head and he just
• 30:19
  Speaker 3: continues the twitch and she thinks he's still going at
• 30:21
  Speaker 3: it and now that's creative.
• 30:26
  Speaker 5: The uh, the one scene I think it's earlier in
• 30:29
  Speaker 5: the movie where he gets like one of the victims
• 30:33
  Speaker 5: from behind the tree and I don't I don't know
• 30:35
  Speaker 5: exactly what he was using where he basically like put
• 30:38
  Speaker 5: like pulls it from behind Yep. That reminded me as
• 30:42
  Speaker 5: like a callback. I can't remember which try the thirteenth
• 30:44
  Speaker 5: they did that, isn't it with the belt? Remember correctly?
• 30:47
  Speaker 3: Thirteenth the part five? Right, A new beginning has there?
• 30:52
  Speaker 5: Yeah, yeah, just a little bit. There was something about that.
• 30:55
  Speaker 5: I was like, oh, I see what you did there.
• 30:57
  Speaker 4: Yeah, you can kind of feel that when you're watching
• 30:59
  Speaker 4: it too. Those are my favorite kind of kills when
• 31:01
  Speaker 4: you can almost feel it. Yeah, yeah, what that feels like?
• 31:04
  Speaker 4: I love stuff like that.
• 31:06
  Speaker 3: The best part of that, though, is he drags his
• 31:09
  Speaker 3: body to the I don't know if it's like a museum,
• 31:13
  Speaker 3: you know, where he gets the hell that he gets
• 31:15
  Speaker 3: his mask from, but he brings his body inside and
• 31:18
  Speaker 3: then it cuts to a shot of the glass case
• 31:21
  Speaker 3: and he just chucks the body into the glass case
• 31:24
  Speaker 3: to break the glass.
• 31:25
  Speaker 4: Yeah.
• 31:26
  Speaker 3: It's such a great use of I'm just a dead body,
• 31:29
  Speaker 3: you know.
• 31:31
  Speaker 4: What.
• 31:31
  Speaker 5: I just I wanted to know if you guys kind
• 31:34
  Speaker 5: of picked up on this on rewatch. But obviously there's
• 31:39
  Speaker 5: no real score that's being utilized throughout this entire film,
• 31:42
  Speaker 5: and it's relying a lot of like on you know,
• 31:45
  Speaker 5: sound design. Right. I thought it was so fascinating. I
• 31:49
  Speaker 5: rewatched because I didn't really notice this in theater, is
• 31:51
  Speaker 5: that he obviously he kind of just just is aimlessly
• 31:56
  Speaker 5: kind of wandering towards like wherever whatever is is. But
• 32:00
  Speaker 5: I thought it was so interesting because as soon as
• 32:03
  Speaker 5: he picks up on like certain like key sounds, like
• 32:05
  Speaker 5: cars honking, people talking, it's like it basically it's like
• 32:09
  Speaker 5: a shark basically like deviating the direction, he just goes
• 32:12
  Speaker 5: goes straight towards this. I don't know. He just feels
• 32:17
  Speaker 5: more like a like a wild animal or force of
• 32:21
  Speaker 5: nature in a lot of ways compared to some of
• 32:23
  Speaker 5: the other slashers I've seen. I just thought it was
• 32:24
  Speaker 5: an interesting choice for his character.
• 32:29
  Speaker 3: Yeah, and there's this interesting thing too that happens when
• 32:31
  Speaker 3: he so the camera is very still when following him
• 32:37
  Speaker 3: for the first x amount of time in the movie,
• 32:39
  Speaker 3: and then when you get to I think it's about
• 32:41
  Speaker 3: the halfway point when he gets to the cabin and
• 32:44
  Speaker 3: he plays with the car. So he sits down and
• 32:47
  Speaker 3: he's playing with the car on the keys, which, by
• 32:49
  Speaker 3: the way, is like one of my favorite moments in
• 32:51
  Speaker 3: this movie because he's playing with the little car attached
• 32:53
  Speaker 3: to the keys and a character stumbles in and finds
• 32:58
  Speaker 3: the act and he Johnny realizes that he's near their cabin,
• 33:03
  Speaker 3: so he gets up, and there's a shift here before
• 33:07
  Speaker 3: he lodges the stick in the horn where the camera
• 33:10
  Speaker 3: goes handheld because there's no other way for us to
• 33:13
  Speaker 3: translate emotion for him because he doesn't speak, he has
• 33:16
  Speaker 3: no dialogue, and there's no music to tell us how
• 33:20
  Speaker 3: to feel. So they purposely went to handheld to kind
• 33:24
  Speaker 3: of accentuate the fact that he's in a little bit
• 33:27
  Speaker 3: of a rush now like now he's a little bit
• 33:29
  Speaker 3: more agitated, and that's when this whole scene kind of
• 33:34
  Speaker 3: plays out where he gets shot. And by the way,
• 33:37
  Speaker 3: fun fact, all those scenes when he's lying on the
• 33:39
  Speaker 3: ground just still are visual effects. They just kind of
• 33:43
  Speaker 3: froze him on the ground, so that way they didn't
• 33:45
  Speaker 3: force they didn't force Ry Barrett to hold his breath,
• 33:50
  Speaker 3: so they just threw visual effects frozen and then unfrozen
• 33:53
  Speaker 3: when it was time for him to get up and
• 33:54
  Speaker 3: complete the the shot. But I thought that was cool because,
• 33:59
  Speaker 3: like Christian saying earlier, how you know you still get
• 34:03
  Speaker 3: that oh he's right behind you response from this perspective.
• 34:08
  Speaker 3: But I think in most movies, we get that response
• 34:10
  Speaker 3: because of the music telling us that's how it's feeling.
• 34:14
  Speaker 3: When a characters in a room, we know the killers there,
• 34:17
  Speaker 3: We know the killer is getting closer because the music
• 34:21
  Speaker 3: is telling us to feel that way and that it
• 34:23
  Speaker 3: culminates in whatever the kill might be. So now you
• 34:28
  Speaker 3: pull that away and they have to do it in
• 34:30
  Speaker 3: unique ways to try to still tell the audience how
• 34:33
  Speaker 3: to feel, trick us and how to feel.
• 34:36
  Speaker 5: I thought a really really interesting tidbit going into this
• 34:41
  Speaker 5: rewatch was with I believe like there had been I
• 34:46
  Speaker 5: don't know if it was I don't know if there
• 34:49
  Speaker 5: was commentators that were or if it was actual director
• 34:51
  Speaker 5: Chris Nash who had mentioned this that there's a lot
• 34:56
  Speaker 5: of like underlying influence from Gus Van Sant, which I
• 34:59
  Speaker 5: thought was fast name because I you know, like one
• 35:02
  Speaker 5: film that comes to mind as Elephant. I don't know
• 35:04
  Speaker 5: if you guys have seen.
• 35:05
  Speaker 3: That, Oh yeah, but it's.
• 35:08
  Speaker 5: Kind of like it makes sense in a lot of
• 35:10
  Speaker 5: ways because you know, we're I mean, we kind of
• 35:13
  Speaker 5: know the direction of where this is going, and if
• 35:15
  Speaker 5: you're aware of like the real life events, you obviously
• 35:17
  Speaker 5: know that it's not going to end well, but I
• 35:20
  Speaker 5: thought that that was like a very very interesting way
• 35:23
  Speaker 5: to look at this film, or even Terrence Malick as
• 35:26
  Speaker 5: another influence for this movie, just with the cinematography and
• 35:28
  Speaker 5: things like that, which.
• 35:29
  Speaker 3: Well, yeah, with Gus Van Sant I think of I
• 35:32
  Speaker 3: don't know, if you've ever seen A Last Days, it
• 35:34
  Speaker 3: was kind of like his Kurt Cobain.
• 35:36
  Speaker 5: Yes, yep.
• 35:37
  Speaker 3: The first like fifteen minutes of that movie are just
• 35:39
  Speaker 3: him walking through like the woods. It's very very you
• 35:45
  Speaker 3: can tell all the inspiration is there.
• 35:49
  Speaker 5: I can respect it. I think it's, you know, stylistically,
• 35:55
  Speaker 5: some great choices, you know, outside of the horror genre
• 35:59
  Speaker 5: to utilize and you know, obviously pay homage and in
• 36:02
  Speaker 5: a lot of ways.
• 36:03
  Speaker 3: Do you do you guys think you know, as somebody
• 36:07
  Speaker 3: who watches a whole lot of horror movies, do you
• 36:10
  Speaker 3: guys think this is going to continue to inspire or
• 36:12
  Speaker 3: do you think that this is kind of like a
• 36:13
  Speaker 3: one off, niche thing because it hasn't jumped on yet,
• 36:17
  Speaker 3: nobody else has tried to do this yet or like
• 36:19
  Speaker 3: kind of rip this off, but us getting a sequel
• 36:22
  Speaker 3: is kind of showing signs that there might somebody thinks
• 36:26
  Speaker 3: there's still life in this Do you guys think this
• 36:28
  Speaker 3: is a one off or you think this is something
• 36:29
  Speaker 3: we might see a little bit more experimentation with moving forward.
• 36:35
  Speaker 4: It's kind of it's kind of so unique in a
• 36:38
  Speaker 4: sense that I feel like if I think other people
• 36:40
  Speaker 4: may say seem like it's well, I can't do that.
• 36:44
  Speaker 4: I can't encroach on that territory because it's, like I said,
• 36:47
  Speaker 4: I've never seen any movie do it that way. So
• 36:49
  Speaker 4: I almost wonder if it's like trying to do it
• 36:54
  Speaker 4: would just be going too close to the sun to
• 36:55
  Speaker 4: where people would be like, oh, he's copying in a
• 36:58
  Speaker 4: violent nature. So that's that's like I gets immediately when
• 37:00
  Speaker 4: my mind goes to it. I just feel a lot
• 37:02
  Speaker 4: of people will be like, well, shit, I can't do that.
• 37:04
  Speaker 4: Because he did it. It's so unique to me that
• 37:08
  Speaker 4: I don't see how you just don't get the eye
• 37:11
  Speaker 4: roll if anybody else tries to do it, at least
• 37:14
  Speaker 4: for the immediate future. And that was the reason I
• 37:18
  Speaker 4: wasn't really excited about a sequel, because to me, it
• 37:20
  Speaker 4: was so unique, you just do another one. I just wonder,
• 37:23
  Speaker 4: now people are gonna either expect the same thing or
• 37:26
  Speaker 4: if you do something different. It won't be what. It
• 37:29
  Speaker 4: won't be what people have come to like about it,
• 37:31
  Speaker 4: the people that do like it, so that this new
• 37:33
  Speaker 4: one's gonna be such a double edged sword with whatever
• 37:37
  Speaker 4: they do. They go a new route, then the people
• 37:39
  Speaker 4: that like the first one will say, well, what the hell?
• 37:41
  Speaker 4: And if they go a different route, the people you know,
• 37:45
  Speaker 4: and then it just won't be in a violent nature.
• 37:46
  Speaker 4: So I don't think anybody's gonna do a movie like
• 37:50
  Speaker 4: this for the immediate future. Besides whatever this, besides the
• 37:54
  Speaker 4: potent the sequel potentially doing the same kind of film,
• 37:56
  Speaker 4: But I don't I don't see anybody doing a movie
• 37:58
  Speaker 4: like this because I feel like they would just be like,
• 38:00
  Speaker 4: can't I can't walk that close to the sun. The
• 38:02
  Speaker 4: would be wait, people would just be look at me
• 38:04
  Speaker 4: and say, I'm ripping them off.
• 38:06
  Speaker 3: So yeah, I also think like it takes the right
• 38:10
  Speaker 3: I think Chris Nash just had the right vision to
• 38:14
  Speaker 3: do it, like the create the little choices here, like
• 38:18
  Speaker 3: shooting in four to three, which was purposeful. They chose
• 38:22
  Speaker 3: to shoot in four three for symmetry purposes. They actually
• 38:25
  Speaker 3: shot they so for people who don't know, they actually
• 38:28
  Speaker 3: attempted to make this movie once and they didn't finish it.
• 38:32
  Speaker 3: So then this was them kind of reshooting the movie
• 38:36
  Speaker 3: again and it working. And they had did some tests
• 38:41
  Speaker 3: shooting in sixteen by nine, and essentially what they said
• 38:44
  Speaker 3: was the woods felt so big it made Johnny look small,
• 38:48
  Speaker 3: and it kind of like overcame them. It was just
• 38:49
  Speaker 3: too much. So by cutting it into a square format,
• 38:53
  Speaker 3: they were able to create symmetry, but it also wasn't overwhelming.
• 38:57
  Speaker 3: And which way it wasn't Johnny wasn't too big, it
• 38:59
  Speaker 3: took up. The nature wasn't too big and took over.
• 39:03
  Speaker 3: It was this perfect balance for them. So I think
• 39:06
  Speaker 3: that the fact that they went to this wasn't just
• 39:11
  Speaker 3: working with a sound designer. They actually went to a
• 39:14
  Speaker 3: full blown artist who he makes music based on soundscapes.
• 39:18
  Speaker 3: That's what he does. It's because they wanted to create
• 39:22
  Speaker 3: a flow with the soundscape, not just mindless nature noises
• 39:26
  Speaker 3: now mind you too. This movie takes place. It starts
• 39:28
  Speaker 3: in the day, and it goes into night, and then
• 39:30
  Speaker 3: we go back into another day and there's an evolution
• 39:34
  Speaker 3: of sounds. If you grew up in the woods, you
• 39:37
  Speaker 3: know the woods sound different in the morning than they
• 39:39
  Speaker 3: do at night. And they sound different in the middle
• 39:40
  Speaker 3: of the night than they do in the morning, you know,
• 39:43
  Speaker 3: So you have to have that flow. And I think
• 39:46
  Speaker 3: there's a lot of just genuine like beauty here. From
• 39:52
  Speaker 3: a visual perspective, there is some stunning shots here, gorgeous
• 39:58
  Speaker 3: and as somebody who like I, I have twenty five
• 40:01
  Speaker 3: years of photography experience, shoot, composing a square is hard
• 40:07
  Speaker 3: to do. And there's like these gorgeous shots of the lake,
• 40:10
  Speaker 3: especially at the the character who drowns, there's this gorgeous
• 40:15
  Speaker 3: shot of the dock, which that looks.
• 40:18
  Speaker 4: I was gonna say, dude, that scene where you see
• 40:21
  Speaker 4: the dock and where he goes into the water my
• 40:24
  Speaker 4: favorite scene of the whole entire movie.
• 40:26
  Speaker 3: It's breath take.
• 40:27
  Speaker 4: Visually, it's absolutely breathtaking when you see that shot you're
• 40:30
  Speaker 4: talking about, I mean, it just looks absolutely incredible. That
• 40:34
  Speaker 4: that alone makes me want to break down and get
• 40:36
  Speaker 4: it on four K. I don't. I just have the
• 40:39
  Speaker 4: blue rye. But that shot like took my breath away
• 40:41
  Speaker 4: in the theater.
• 40:43
  Speaker 3: Yeah, yeah, well, you know, I don't after especially after
• 40:47
  Speaker 3: listening to the commentary. They actually purposely shot this. They
• 40:51
  Speaker 3: shot this on a crop sensor camera. Which is basically, uh,
• 40:56
  Speaker 3: just it's not a full frame sensor, because they originally
• 40:59
  Speaker 3: did shoot this on a full sensor and it's just
• 41:00
  Speaker 3: it was too clean for them. They felt it was
• 41:03
  Speaker 3: just it just wasn't capturing the look they wanted. They
• 41:06
  Speaker 3: wanted to be able to kind of give it a
• 41:07
  Speaker 3: little bit of a They want to pull back on
• 41:09
  Speaker 3: the quality a little bit, so they shot crop sensor
• 41:13
  Speaker 3: and this the look that they achieve here is very
• 41:17
  Speaker 3: achievable for anybody who makes short films, like they shot
• 41:20
  Speaker 3: this on very reasonable for like camera, very reasonable lenses,
• 41:26
  Speaker 3: like this was not They talk about in the commentary
• 41:29
  Speaker 3: how they didn't even have a video village for this.
• 41:31
  Speaker 3: They just had the playing back on some iPads. There's
• 41:35
  Speaker 3: also that gorgeous shot right at sunset when he's walking
• 41:38
  Speaker 3: through the field. You can barely see him, but you
• 41:40
  Speaker 3: see the change in the sky, color of room. Yeah,
• 41:43
  Speaker 3: like that's that stuff is gorgeous. Genuinely every shot of
• 41:49
  Speaker 3: this movie. There's another one that I really like. That's
• 41:52
  Speaker 3: a really small shot, but there's a shot with Johnny
• 41:55
  Speaker 3: walking through the woods kind of far away and you
• 41:57
  Speaker 3: see a whole bunch of flies in front of the frame.
• 42:00
  Speaker 3: Ms Johnny's Walking. There's a lot of a lot of
• 42:04
  Speaker 3: you know, artistry on display here that I think you
• 42:08
  Speaker 3: would you would need to have that eye to make
• 42:12
  Speaker 3: this work again, if you were going to.
• 42:14
  Speaker 4: Rip this off.
• 42:16
  Speaker 5: I thought it was interesting. Chris Nash, he mentioned the
• 42:18
  Speaker 5: reason why they chose that specific ratio to film in
• 42:21
  Speaker 5: is because that's how he watched all slashers as a
• 42:24
  Speaker 5: kid at VHS, and that's what he considers the slasher
• 42:27
  Speaker 5: aspect ratio.
• 42:29
  Speaker 3: Yeah, Oh, the square, the patent scan.
• 42:31
  Speaker 5: I was like, I respect that, man.
• 42:34
  Speaker 3: I think what was I watching the other day? I
• 42:37
  Speaker 3: was watching a movie and they were talking about Oh,
• 42:40
  Speaker 3: I was watching The Black Cat from Lucio Fulgi. And
• 42:45
  Speaker 3: there's an interview on the disc with Stephen Thrower who
• 42:48
  Speaker 3: talks about how the movie never got a theatrical release.
• 42:53
  Speaker 3: It only got this terrible pantan scan VHS and during
• 42:55
  Speaker 3: all the iconic eye shots that Fulgie loves to shoot
• 42:58
  Speaker 3: in the movie as a kid, he just remembers they
• 43:01
  Speaker 3: were all bridges of noses because that's where the pandit
• 43:05
  Speaker 3: scan would crop to people. He's like, So, when I
• 43:08
  Speaker 3: got a chance to finally watch this on Blu ray
• 43:10
  Speaker 3: in proper format. He's like, Oh, we're supposed to be
• 43:12
  Speaker 3: seeing people's eyes. He's like, I just remember shots of noses,
• 43:15
  Speaker 3: a loaded dude, being being a kid and getting into
• 43:21
  Speaker 3: horror movies with Blu Ray and four K. It's not
• 43:24
  Speaker 3: the same, man. I feel like they're just gonna grow different.
• 43:26
  Speaker 4: You know.
• 43:28
  Speaker 5: Yeah.
• 43:29
  Speaker 4: The thing is, man, we weren't aware back then that
• 43:31
  Speaker 4: we weren't seeing the image, you know.
• 43:34
  Speaker 3: Yeah.
• 43:35
  Speaker 4: I remember watching Ciskel and Ebert talk about they weren't
• 43:41
  Speaker 4: big fans of Blade Runner, and then they they were
• 43:44
  Speaker 4: huge laser disc fans, and they would talk about laser
• 43:47
  Speaker 4: disc and Jean got a Blade Runner on the director's
• 43:51
  Speaker 4: cut widescreen on laser disc, and he said, I get
• 43:55
  Speaker 4: I see the movie now, because I don't know if
• 43:57
  Speaker 4: he didn't see it there. I remember him saying when
• 43:59
  Speaker 4: he watched and Blade Runner on laser disc and he
• 44:03
  Speaker 4: got to see it widescreen, he appreciated the movie a
• 44:05
  Speaker 4: lot more because he had no idea just how much
• 44:07
  Speaker 4: was cropped out on the VHS, which is because I
• 44:10
  Speaker 4: think Layborn was shot extremely wide in extremely wide format.
• 44:14
  Speaker 4: So yeah, it goes both ways. There's fun things about
• 44:18
  Speaker 4: going back and watching pan and scan and watching that
• 44:21
  Speaker 4: cropped image. But now it's almost like, yeah, I'm OCD
• 44:27
  Speaker 4: about missing frames. So now if I want to watch something,
• 44:30
  Speaker 4: there's something about if I know the images zoomed in
• 44:32
  Speaker 4: and I'm missing something, it annoys me.
• 44:35
  Speaker 3: You know, I want to see it all. God damn it.
• 44:38
  Speaker 5: Especially for a film with Blade Runner. I feel like
• 44:40
  Speaker 5: you wouldn't want to miss out on anything.
• 44:42
  Speaker 4: No, no, oh yeah, but I love the fact that
• 44:46
  Speaker 4: this is four to three. Sometimes I find it gimmicky,
• 44:49
  Speaker 4: but I thought this movie. I thought this movie did it,
• 44:52
  Speaker 4: so it worked. I wouldn't change it for this. The
• 44:56
  Speaker 4: way this movie looked was perfect. Like I said, this
• 44:59
  Speaker 4: looked like it was there's surrealism to the authenticity to it.
• 45:04
  Speaker 4: Like I really felt like when I was in the
• 45:06
  Speaker 4: theater and I saw the trailer playing, I was like,
• 45:09
  Speaker 4: did Vinegar Syndrome? Just like dig up this random ass
• 45:12
  Speaker 4: slasher film that I never heard of, because that's that's
• 45:15
  Speaker 4: what it felt like at first, And I was like,
• 45:17
  Speaker 4: this is incredible. Like we're past the days of like
• 45:21
  Speaker 4: the Stranger Things, where it's supposed to feel bubbly and
• 45:24
  Speaker 4: fun and just kind of like homage the eighties. Now
• 45:27
  Speaker 4: It's like, we're really getting to where this shit looks
• 45:30
  Speaker 4: like it was shot in eighty four eighty three. It's
• 45:33
  Speaker 4: just crazy how good it's getting.
• 45:35
  Speaker 3: Now, what do you guys think if this was a
• 45:38
  Speaker 3: vinegar syndrome like movie that they just found in an
• 45:42
  Speaker 3: archive somewhere, what do you guys think like the alternative
• 45:45
  Speaker 3: title would be. Because I instantly went to like, I'm
• 45:48
  Speaker 3: picturing this Zany Vinegars under cover and the title being
• 45:51
  Speaker 3: like Johnny's watching us.
• 45:52
  Speaker 4: Yeah, I was gonna say Johnny. I kept thinking the
• 45:55
  Speaker 4: Aerosmith song kept coming ahead. I was trying to find
• 45:57
  Speaker 4: like an alternative kind of name for ja Janie's got
• 46:00
  Speaker 4: a gun, Johnny's got.
• 46:02
  Speaker 3: A He's got an ax something like that.
• 46:04
  Speaker 4: Yeah.
• 46:08
  Speaker 3: The the ending of this movie, it was part of
• 46:13
  Speaker 3: part of the big conversation we Johnny gets his necklace
• 46:18
  Speaker 3: back and well it gets left on the gas can. Originally,
• 46:24
  Speaker 3: Steve just had to hear which did you watch a
• 46:26
  Speaker 3: production commentary or the technical commentary?
• 46:29
  Speaker 4: There's two.
• 46:30
  Speaker 3: It's very confusing why they split it up that way.
• 46:33
  Speaker 5: I I'm trying to think I didn't I didn't get
• 46:36
  Speaker 5: through all the way because I watched it just without
• 46:38
  Speaker 5: the commentary last night, and then I was trying to
• 46:41
  Speaker 5: get through I can't remember which one it was I
• 46:43
  Speaker 5: was listening to earlier, but I didn't get all the
• 46:46
  Speaker 5: way through it.
• 46:46
  Speaker 3: I was asking because there's an interesting piece during the ending.
• 46:49
  Speaker 3: So he gets his necklace back. Perspective switches to our
• 46:53
  Speaker 3: I guess what could be kind of considered our final girl.
• 46:56
  Speaker 3: Her name is Chris. But as she runs away from
• 46:59
  Speaker 3: Johnny or respective, switches and begins following her. She runs
• 47:03
  Speaker 3: out onto the road and she gets picked up by
• 47:05
  Speaker 3: a passer by played by Lauren Maray Taylor from Friday thirteenth,
• 47:08
  Speaker 3: Part two. Make sure you go back and listen to
• 47:11
  Speaker 3: our interview with her from last year. She was a
• 47:13
  Speaker 3: beauty had to plug that gets picked up and we
• 47:18
  Speaker 3: go into this this story that she begins to give
• 47:24
  Speaker 3: about her husband and this disease, and it's all very uh,
• 47:32
  Speaker 3: it's all very rapid, and it's change of pace. But
• 47:35
  Speaker 3: supposedly at some point there was an ending where Johnny
• 47:40
  Speaker 3: actually dies in a fire. He gets gasoline poured on
• 47:44
  Speaker 3: him and burned, and that was going to be a
• 47:48
  Speaker 3: pretty solid resolution to the movie. They decided not to
• 47:51
  Speaker 3: do that. They stuck with this very I guess, kind
• 47:55
  Speaker 3: of ambiguous, open ended ending, and essentially the whole idea
• 48:01
  Speaker 3: of the ending is that, like, we know he's still
• 48:02
  Speaker 3: out there, and the movie kind of plays with you
• 48:05
  Speaker 3: that he could come out at any moment. There's these
• 48:07
  Speaker 3: moments where they stop the car and she's trying to
• 48:09
  Speaker 3: patch Chris up and the camera keeps showing us the woods,
• 48:13
  Speaker 3: and then they're in the car driving again, and then
• 48:15
  Speaker 3: it actually ends with a shot of her looking into
• 48:18
  Speaker 3: the woods as if any moment Johnny could come out
• 48:21
  Speaker 3: and kill and give us that satisfaction. Do you guys,
• 48:28
  Speaker 3: how do you guys interpret this whole ending bit? I
• 48:32
  Speaker 3: know that's kind of a loaded question because I feel
• 48:35
  Speaker 3: like it's either it's very simple or it's very complicated.
• 48:39
  Speaker 3: Do you guys think this works? Does this amplify the
• 48:42
  Speaker 3: movie for you? Is better? Do you think it's it
• 48:45
  Speaker 3: was creative? It's in line, like, just give me your
• 48:48
  Speaker 3: general thoughts on the ending of this movie.
• 48:51
  Speaker 5: I definitely feel like it works given what she just
• 48:55
  Speaker 5: went through. I mean, us as the audience, we're expecting
• 48:59
  Speaker 5: that there's still something that's going to happen. You know,
• 49:02
  Speaker 5: we don't really know where things are going to go,
• 49:04
  Speaker 5: especially on the first watch, but I think it just
• 49:09
  Speaker 5: goes to show, especially for Chris's point of view, and
• 49:12
  Speaker 5: what happens after this point going forward. I feel like
• 49:15
  Speaker 5: she's always going to be like this. She's always going
• 49:17
  Speaker 5: to be worried that you know, Johnny could be somewhere
• 49:20
  Speaker 5: out there, or that she's never safe, or you know
• 49:24
  Speaker 5: that she could be always in danger, whatever the case is.
• 49:27
  Speaker 5: But I think stylistically it's a really really creative way
• 49:32
  Speaker 5: to approach the ending. I don't think there would have
• 49:34
  Speaker 5: been the perfect way to wrap this up, but I
• 49:37
  Speaker 5: liked how you know, especially on rewatch, it made me
• 49:40
  Speaker 5: appreciate the ending a little bit more.
• 49:43
  Speaker 3: This is like a twenty four ending, Like it's like
• 49:47
  Speaker 3: either he grows into a fifty foot tall no creature
• 49:50
  Speaker 3: and stomps on her, or like he just disappears and
• 49:52
  Speaker 3: never seen again for fifteen minutes. You know. It's like, Christian,
• 49:57
  Speaker 3: what are your thoughts on the ending? Man? How do
• 49:58
  Speaker 3: you how do you look at it?
• 50:00
  Speaker 4: I really enjoyed it. I don't like it when the killers,
• 50:04
  Speaker 4: the monsters they just get killed.
• 50:05
  Speaker 5: At the end.
• 50:06
  Speaker 4: I don't I don't like it. To me, it's it
• 50:09
  Speaker 4: when I. When I finished the movie the first time,
• 50:12
  Speaker 4: I kept saying to myself, there's so much more to
• 50:14
  Speaker 4: this character that we don't know yet, And as cool
• 50:17
  Speaker 4: as that is, I also think it would be interesting
• 50:19
  Speaker 4: to explore that. And I think, you know, to me,
• 50:24
  Speaker 4: it left me thinking about the movie, and my thing
• 50:28
  Speaker 4: that people will say a lot about stuff is well,
• 50:30
  Speaker 4: I hated the ending. I was so it had me
• 50:32
  Speaker 4: so worked up and then nothing, And I'm like, well,
• 50:35
  Speaker 4: I don't think you actually hated it. I think it
• 50:37
  Speaker 4: did something. It made you feel something. Feeling good doesn't
• 50:42
  Speaker 4: necessarily always have to be the feeling you have. You
• 50:44
  Speaker 4: wanted more, You're gonna think about it, It's gonna stick
• 50:48
  Speaker 4: with you for a bit. I think it worked if
• 50:51
  Speaker 4: that's the case. So to me, I like the ending
• 50:54
  Speaker 4: because to me it was just like it was impending.
• 50:56
  Speaker 4: I was just like, what the fuck is about to happen?
• 50:58
  Speaker 4: And I'm listening to her tell this and I'm thinking,
• 51:01
  Speaker 4: this whole story is really just a big metaphor, And
• 51:05
  Speaker 4: to me, it left me wanting more. So I actually
• 51:10
  Speaker 4: hope the movie can pick up from that scene for
• 51:13
  Speaker 4: the sequel, and there's I think there's more to this character.
• 51:17
  Speaker 4: That we're gonna learn about that we don't know yet.
• 51:20
  Speaker 4: So to me, it worked very much. So I just
• 51:23
  Speaker 4: think it's not a it's not a ending in the
• 51:28
  Speaker 4: it's not an ending that is satisfactory to general audiences.
• 51:33
  Speaker 4: I guess people like either good endings or just big endings,
• 51:40
  Speaker 4: and that's not what this one is. So for me
• 51:43
  Speaker 4: it worked. But you know, I say, I understand why
• 51:47
  Speaker 4: people don't like it. I just think that they people
• 51:50
  Speaker 4: don't get what they want. They think it's bad, and
• 51:53
  Speaker 4: I don't really think that's fair or the case. I
• 51:56
  Speaker 4: think the ending served a purpose and whether people like
• 51:58
  Speaker 4: to admit it or not, it made them feel something,
• 52:00
  Speaker 4: and that to me is the is the is the
• 52:03
  Speaker 4: case for it.
• 52:05
  Speaker 3: I felt most tense at the ending, yeah, this whole scene,
• 52:10
  Speaker 3: because it's the first time in I don't know eighty
• 52:16
  Speaker 3: minutes that we've broken away from it, so now it's
• 52:19
  Speaker 3: it's it was jarring to be pulled away, and it
• 52:21
  Speaker 3: was interesting, which kind of made me I remember kind
• 52:24
  Speaker 3: of like sitting up in my seat a little bit
• 52:26
  Speaker 3: more like, oh, okay, things are changing. But then the
• 52:29
  Speaker 3: whole time I was kind of questioning, like there's no
• 52:32
  Speaker 3: way that we can just pull away from this and
• 52:34
  Speaker 3: never go back right, like I can kind of okay,
• 52:39
  Speaker 3: we're just gonna keep and then it just ends. And
• 52:43
  Speaker 3: that's what I thought about the most. I didn't think
• 52:45
  Speaker 3: about the perspective of the movie. I didn't think about
• 52:49
  Speaker 3: you know. I mean, I definitely thought about the woodcutter
• 52:52
  Speaker 3: kill a little bit more after, but it was more
• 52:55
  Speaker 3: like just this this. I never got that that tension release.
• 53:00
  Speaker 3: It knows, I still felt that way for a while.
• 53:02
  Speaker 5: It's like haunting if the movie's done.
• 53:05
  Speaker 3: It is, but even even deeper than that, just from
• 53:08
  Speaker 3: a filmmaker, like a story perspective, it was very bold
• 53:14
  Speaker 3: to pull everything away fifteen minutes before your movie ends,
• 53:20
  Speaker 3: and or ten minutes before your movie ends, let's say,
• 53:23
  Speaker 3: and completely change up everything and never go back in.
• 53:28
  Speaker 5: I thought what was interesting is going back to the
• 53:32
  Speaker 5: beginning of the film. I believe he is Johnny's walking
• 53:36
  Speaker 5: through the woods. He comes across I don't know if
• 53:39
  Speaker 5: it wasnt a fox that had got caught in one
• 53:41
  Speaker 5: of those traps.
• 53:42
  Speaker 3: Yeah it looks like a fox.
• 53:44
  Speaker 5: Yeah, okay, So and moments later you have one of
• 53:48
  Speaker 5: the first victims he gets snagged in that bear trap
• 53:51
  Speaker 5: and then we fast forward all the way to the
• 53:55
  Speaker 5: very end of the movie and we just get Chris,
• 53:59
  Speaker 5: you know, nearly escaping out of the woods. Lar Marie
• 54:02
  Speaker 5: Taylor picks her up, and she proceeds to tell the
• 54:05
  Speaker 5: story about how, you know, her brother was a game
• 54:09
  Speaker 5: warden he was attacked by right, yeah, yeah, And one
• 54:14
  Speaker 5: of the things that she mentioned is that the bear
• 54:16
  Speaker 5: had been killing animals without eating them and just slaughtering them.
• 54:21
  Speaker 5: So that type of behavior where you know, predators essentially
• 54:26
  Speaker 5: kill more than they need to, essentially with no clear motive.
• 54:30
  Speaker 5: It's I felt like that there was such an interesting,
• 54:32
  Speaker 5: roundabout way to wrap it around to Johnny. I don't know.
• 54:38
  Speaker 5: I just think that there's little details on rewatch that
• 54:41
  Speaker 5: you can appreciate this movie a little bit more than
• 54:43
  Speaker 5: at face value.
• 54:45
  Speaker 3: But do you think, like I don't. I don't interpret
• 54:48
  Speaker 3: the ending as like she knows anything about Johnny being
• 54:52
  Speaker 3: alive and this is I think that it just happens
• 54:56
  Speaker 3: to be a story that just so happens to tie
• 55:01
  Speaker 3: in with what this characters experience to be just watched
• 55:05
  Speaker 3: because I saw some people kind of like I wented
• 55:07
  Speaker 3: a Reddit forums, you know, that's that's where I get
• 55:10
  Speaker 3: that's where you get the most accurate movie information. I
• 55:12
  Speaker 3: think it's like there and then IMDb trivia just kidding
• 55:15
  Speaker 3: for anybody who thinks I'm seriously And people were like saying, like, oh,
• 55:21
  Speaker 3: is this going to turn into like a you know,
• 55:24
  Speaker 3: the whole town kind of rallies around Johnny WHI wouldn't
• 55:27
  Speaker 3: make any sense because he was dead and buried until
• 55:30
  Speaker 3: his necklace was gone. So unless they decide to turn
• 55:34
  Speaker 3: this into like a Rennie Harlan Stranger's three quel series
• 55:38
  Speaker 3: that turns out, you know, the Strangers are are characters,
• 55:42
  Speaker 3: you know. I don't think that that works. I think
• 55:44
  Speaker 3: it just happens to be a great story that gives
• 55:49
  Speaker 3: some weight to this a new character that showed up,
• 55:51
  Speaker 3: but also can be used as an interpretive piece for
• 55:54
  Speaker 3: what you just witnessed loosely, you know. But I think
• 55:59
  Speaker 3: the movie's left for you to interpret it really however
• 56:02
  Speaker 3: you want, you know.
• 56:04
  Speaker 5: And I think in a lot of ways, I mean,
• 56:06
  Speaker 5: you know, Chris, I feel like she's the vehicle for
• 56:10
  Speaker 5: us as the audience. I mean, we're we're left kind
• 56:13
  Speaker 5: of like days and confused by the time that she
• 56:17
  Speaker 5: gets picked up in the truck, not really understanding what's
• 56:20
  Speaker 5: going on and where the direction of this is going.
• 56:22
  Speaker 5: And I don't know. I just think the way that
• 56:26
  Speaker 5: that Chris Nash ended up kind of wrapping this up,
• 56:29
  Speaker 5: it just it definitely is a movie that I feel
• 56:31
  Speaker 5: like gives you a lot to think about after you've
• 56:33
  Speaker 5: seen it, even the first or you know, multiple viewings.
• 56:37
  Speaker 5: But yeah, I really love this movie.
• 56:40
  Speaker 3: Christian. Did you hear any chatter when you were coming
• 56:42
  Speaker 3: out of the theater about this? Do you remember?
• 56:45
  Speaker 4: No? I think I might have. There might have been
• 56:46
  Speaker 4: one other person in the theater out. Yeah, I'm in Louisiana. Man,
• 56:50
  Speaker 4: we're far in few between up here now, which I
• 56:56
  Speaker 4: kind of which is kind of cool, honestly. But no, No,
• 56:58
  Speaker 4: I didn't know there was no body in there. Maybe
• 57:00
  Speaker 4: one person.
• 57:02
  Speaker 3: So I always try to, like when I go to
• 57:04
  Speaker 3: movies without my wife and there's other people in the theater,
• 57:08
  Speaker 3: I always think, like when it's over, like should I
• 57:10
  Speaker 3: say something? And then I remember the one time I
• 57:14
  Speaker 3: saw the Midsomar director's cut in theaters during its re release,
• 57:19
  Speaker 3: and it was me and one other person in the theater,
• 57:21
  Speaker 3: and I made the mistake of saying something to that person,
• 57:24
  Speaker 3: right before the movie started, and he moved two seats
• 57:28
  Speaker 3: next to me and proceeded to talk to me to
• 57:30
  Speaker 3: the point where I told him, okay, man, I gotta
• 57:33
  Speaker 3: focus in, I gotta move and I had to switch
• 57:35
  Speaker 3: my seats.
• 57:36
  Speaker 4: Oh my god, that sounds brutal.
• 57:39
  Speaker 3: And never again, never again take any word to anybody
• 57:42
  Speaker 3: in the theater.
• 57:45
  Speaker 5: It's a fatal mistake.
• 57:46
  Speaker 3: It made me want to go cliff diving into a rock,
• 57:48
  Speaker 3: you know what I mean. After that experience. Yeah, man,
• 57:55
  Speaker 3: this movie is it just keeps getting better from me
• 57:58
  Speaker 3: every single time I go back and rewatch it. And
• 58:01
  Speaker 3: I showed my I did my my duties as a
• 58:05
  Speaker 3: horror older brother, and I showed my nineteen year old
• 58:08
  Speaker 3: sister this and kind of got mixed, you know, reactions
• 58:13
  Speaker 3: from her. I feel like she was maybe a little
• 58:15
  Speaker 3: bored for some of it. But I do feel like
• 58:18
  Speaker 3: attention spans have diminished incredible, like in incredible ways since
• 58:25
  Speaker 3: you know, between us and them. But it's I wonder
• 58:32
  Speaker 3: where the sequel is going to go and what it's
• 58:34
  Speaker 3: gonna do, and I hope it doesn't go full blown
• 58:37
  Speaker 3: terrifier style. I'm really hoping. I'm praying we don't get that.
• 58:42
  Speaker 4: That's my biggest fear because I feel like the Terrifier
• 58:47
  Speaker 4: thing is really sort of bleed over. And I don't
• 58:51
  Speaker 4: blame them. I don't blame Terrifier. I just think not
• 58:54
  Speaker 4: everything needs to be that. You know, I even felt
• 58:56
  Speaker 4: that way woud Scream a little bit a new one.
• 58:58
  Speaker 4: But yeah, there's a lot riding on the sequel. To me,
• 59:04
  Speaker 4: I think it's gonna there's gonna be no in between.
• 59:06
  Speaker 4: It's either gonna be It's either gonna be pretty damn
• 59:09
  Speaker 4: good or a huge miss. And you know, I think
• 59:15
  Speaker 4: that's given when you got a movie like the first
• 59:17
  Speaker 4: one that was so individualistic and did something genuine, in
• 59:22
  Speaker 4: my opinion, genuinely different when it's hard to imagine doing
• 59:25
  Speaker 4: anything different nowadays. Just there's so much that's been done
• 59:30
  Speaker 4: and I don't it's commissioned, does it come out this
• 59:33
  Speaker 4: year or no?
• 59:35
  Speaker 3: Uh, let's do some Yeah, I think it's supposed to
• 59:39
  Speaker 3: be here. It is right here. It looks like we're
• 59:44
  Speaker 3: looking at Oh, it doesn't really have.
• 59:49
  Speaker 4: I mean I have released State yet.
• 59:52
  Speaker 3: Yeah, I don't see anything. Uh Ry Barrett returned. He's
• 59:56
  Speaker 3: playing Johnny again.
• 59:58
  Speaker 5: It is Nate Wilson, the director for the second one,
• 1:00:00
  Speaker 5: because it looks like, yes, Christinash is still writing the
• 1:00:06
  Speaker 5: sequels script.
• 1:00:07
  Speaker 3: Yeah, it looks like h Nate Wilson director. He directed
• 1:00:14
  Speaker 3: What's this here? The all golden, laid up, hollyamorous bicycle
• 1:00:19
  Speaker 3: carrier discovers our older scholar, Your boyfriend has been keeping
• 1:00:21
  Speaker 3: a sinister secret in his closet. That was a short
• 1:00:24
  Speaker 3: sixty four minutes. So I don't know how this guy, uh,
• 1:00:30
  Speaker 3: you know, in which way he was kind of related
• 1:00:33
  Speaker 3: to or attached. It looks like he's acted in a
• 1:00:36
  Speaker 3: bunch of stuff.
• 1:00:37
  Speaker 5: Who was an assistant director or second unit?
• 1:00:40
  Speaker 3: Oh he was second unit? Yeah, he was second unit director.
• 1:00:45
  Speaker 4: Okay, keep it in the family, Yeah, keep it.
• 1:00:50
  Speaker 3: There is like a little trailer out for it, which
• 1:00:55
  Speaker 3: I'm kind of playing now, just kind of seeing if
• 1:00:57
  Speaker 3: it shows any right now. It's just showing clips from
• 1:01:01
  Speaker 3: I Love They They have a review blurb this is
• 1:01:04
  Speaker 3: it's a slasher that really walks the walk.
• 1:01:08
  Speaker 4: That's a good tagline in about in nature to.
• 1:01:11
  Speaker 3: Walk the way the wait, wait, and then it says
• 1:01:13
  Speaker 3: this time they'll run. It's interesting. Most of this trailer
• 1:01:20
  Speaker 3: is looks to be shot traditional slasher. There's no walking
• 1:01:28
  Speaker 3: povs of Johnny. This is all following characters.
• 1:01:31
  Speaker 4: I'm not surprised. I kind of have a feeling that
• 1:01:33
  Speaker 4: they were gonna go just a straight a head route.
• 1:01:39
  Speaker 5: Do you guys think that there's gonna be any type
• 1:01:41
  Speaker 5: of upgrade to Johnny's appearance.
• 1:01:45
  Speaker 4: I don't like seeing it. I didn't like seeing it space.
• 1:01:49
  Speaker 4: That's the only thing at the back of my mouth.
• 1:01:51
  Speaker 4: I thought the back of his head looked incredible. It
• 1:01:54
  Speaker 4: was so freaky in front of his face or I
• 1:01:57
  Speaker 4: imagine something worse, you know. Aways the thing about revealing
• 1:02:02
  Speaker 4: the faces, you know, I feel like.
• 1:02:05
  Speaker 3: It would have been cool if maybe they had, like
• 1:02:07
  Speaker 3: keep it out of focus, don't show all of it.
• 1:02:10
  Speaker 3: I can to see where he's playing with the car.
• 1:02:12
  Speaker 3: Keep it just kind of you know, yeah, like you could.
• 1:02:15
  Speaker 4: Hold the thing out in front of him and then
• 1:02:17
  Speaker 4: the focus get yeah. Yeah, yeah, that would have my
• 1:02:20
  Speaker 4: my I would prefer that.
• 1:02:22
  Speaker 3: I think it would have been better if this movie
• 1:02:23
  Speaker 3: was in three D and he like held it out like,
• 1:02:26
  Speaker 3: you know, I'm waiting for a.
• 1:02:27
  Speaker 4: Good three D film to come back. Man, I'm I'm
• 1:02:30
  Speaker 4: I enjoy a good three D film.
• 1:02:31
  Speaker 3: So I just watched Freddy's Dead on four K. So
• 1:02:35
  Speaker 3: that's that's been on the brain.
• 1:02:36
  Speaker 4: There you go, there you go.
• 1:02:40
  Speaker 3: Look, I think that would work, man. I think like
• 1:02:42
  Speaker 3: last half hour of A Violent Nature too. I think like,
• 1:02:46
  Speaker 3: if Johnny finds a pair of three D.
• 1:02:47
  Speaker 5: Glasses, Chris don't rule it out, puts.
• 1:02:50
  Speaker 3: Them on and the third one we're in three D land.
• 1:02:54
  Speaker 5: Now in the Violent Nature three D that's what Christian's
• 1:02:59
  Speaker 5: been asking, or.
• 1:03:01
  Speaker 4: Yeah, I'll take it.
• 1:03:04
  Speaker 3: Well, I think we've hit everything that we can hit.
• 1:03:07
  Speaker 3: And I think that's kind of good because you know,
• 1:03:11
  Speaker 3: we've we've we've hit I think pretty much any discussion
• 1:03:16
  Speaker 3: point you can really land on when it comes to
• 1:03:18
  Speaker 3: this movie, which I love. I love a nice, simple experience,
• 1:03:24
  Speaker 3: and I don't think this is a movie that warns
• 1:03:26
  Speaker 3: a lot of interpretation. I mean outside of the ending,
• 1:03:29
  Speaker 3: you know, I think pretty much what you get is
• 1:03:31
  Speaker 3: what you get. And I'm just really like cautiously curious
• 1:03:35
  Speaker 3: at what the second one is going to do for
• 1:03:38
  Speaker 3: the Loure and for the story of Johnny or is
• 1:03:40
  Speaker 3: it just gonna be Look who's back and he's just
• 1:03:45
  Speaker 3: back doing his thing again.
• 1:03:46
  Speaker 5: If you guys were to see this as a double feature,
• 1:03:49
  Speaker 5: what would you want to see it paired with.
• 1:03:54
  Speaker 3: Nature.
• 1:03:54
  Speaker 4: Yeah, double feature, modern year, old school.
• 1:04:01
  Speaker 5: Either, what a good question I was thinking, mad Man, Yeah, that.
• 1:04:13
  Speaker 3: Was what came to mind for me first.
• 1:04:15
  Speaker 4: But I'm gonna go slaughter House.
• 1:04:20
  Speaker 5: Okay, I could see that.
• 1:04:25
  Speaker 4: Kind of keep it hill billy esque, or you can
• 1:04:29
  Speaker 4: go to the opposite. Do go to New York woods
• 1:04:31
  Speaker 4: in a big city.
• 1:04:35
  Speaker 3: I actually think, uh, hold on, let me I have
• 1:04:41
  Speaker 3: an idea here. I think I would do let's see,
• 1:04:49
  Speaker 3: because if I'm gonna do a double feature, I kind
• 1:04:52
  Speaker 3: of do want to change up the the vibe a
• 1:04:56
  Speaker 3: little bit. So I'm on probably gonna say I would
• 1:05:01
  Speaker 3: love to do this, and then instantly turned to Tucker
• 1:05:04
  Speaker 3: and del Versus Evil. M dude, I fucking love that
• 1:05:08
  Speaker 3: movie and it like fits kind of well, like that
• 1:05:14
  Speaker 3: would be like a like they're both similar in theme,
• 1:05:16
  Speaker 3: but ones, you know, in a violent nature's dark and
• 1:05:18
  Speaker 3: then you kind of can relieve it with Tucker and
• 1:05:20
  Speaker 3: del Verus Evil.
• 1:05:21
  Speaker 4: That movie did not get the love it deserved.
• 1:05:24
  Speaker 5: Ever.
• 1:05:26
  Speaker 3: Yeah, too bad, Too bad that Eli Craig went and
• 1:05:30
  Speaker 3: directed Clown in a Cornfield.
• 1:05:33
  Speaker 4: It's the same director. Yeah, oh man, I liked Will
• 1:05:36
  Speaker 4: Sasso in it. Though I'm a big Will Sasso fan.
• 1:05:41
  Speaker 3: Hated Clown in a Corn and my wife and I
• 1:05:43
  Speaker 3: love that book. We almost walked out of the movie
• 1:05:45
  Speaker 3: when we saw it in theaters.
• 1:05:46
  Speaker 4: Yeah, it was just it wasn't it wasn't really that good.
• 1:05:51
  Speaker 4: But that's the only thing that carried me through is Sasso.
• 1:05:54
  Speaker 3: Will Sasso. Yeah.
• 1:05:56
  Speaker 4: I used to watch him as a kid on Mad
• 1:05:58
  Speaker 4: TV all the time.
• 1:05:59
  Speaker 3: Oh yeah, yeah, I know everybody loves Uh my god,
• 1:06:03
  Speaker 3: what's his name? Kevin? Kevin? Where is it Kevin? He's
• 1:06:09
  Speaker 3: He's in Abigail, He's in Uh god, what am I
• 1:06:15
  Speaker 3: blanking on his name?
• 1:06:17
  Speaker 4: I'm sure I know his face?
• 1:06:19
  Speaker 5: Duran is it?
• 1:06:21
  Speaker 3: Yeah, Kevin Durant. I know he's kind of been a
• 1:06:24
  Speaker 3: big character actor lately and kind of the horror scene
• 1:06:26
  Speaker 3: between this and Abigail, which is still one of the
• 1:06:30
  Speaker 3: most underdiscussed movies I think of that movie was good.
• 1:06:35
  Speaker 4: I didn't I didn't watch it in the theater because
• 1:06:37
  Speaker 4: I'm not really into horror movies that start like kids
• 1:06:40
  Speaker 4: or anything like that. But I was very mistaken on
• 1:06:44
  Speaker 4: my assumptions on that movie. I thought I thought it
• 1:06:47
  Speaker 4: was really good. Yeah, I just got danzigg In the soundtrack.
• 1:06:50
  Speaker 4: It's automatic prestars automatic.
• 1:06:55
  Speaker 3: All right, guys, Well, Christian, let people know where they
• 1:06:58
  Speaker 3: can find you at. Man.
• 1:07:00
  Speaker 4: Yeah, just you could search me up on YouTube, Facebook, Instagram,
• 1:07:04
  Speaker 4: Planet Chh. You can check out me and my wife's
• 1:07:08
  Speaker 4: small business. You need a candles, We have an Instagram
• 1:07:10
  Speaker 4: page there. We constantly have stuff we're rolling out. Everything's handmade.
• 1:07:15
  Speaker 4: There's this weird thing where some people think I just
• 1:07:17
  Speaker 4: buy them and then throw stickers on them. Know, we
• 1:07:19
  Speaker 4: make it all in our house. Every candle is made
• 1:07:22
  Speaker 4: here in our house. It's all fresh ingredients, no weird
• 1:07:26
  Speaker 4: chemicals like u stuff you buy the store, no headaches
• 1:07:29
  Speaker 4: when you melt anything. So you check us out on
• 1:07:31
  Speaker 4: that and my Facebook page.
• 1:07:32
  Speaker 5: I've been posting on that a lot more.
• 1:07:33
  Speaker 4: I have a lot more fun on the Facebook page.
• 1:07:35
  Speaker 5: Check me out there.
• 1:07:36
  Speaker 4: But yeah, Planet Chh.
• 1:07:39
  Speaker 3: Well, thank you for coming on again.
• 1:07:41
  Speaker 4: Man, it's my pleasure anytime, anytime you guys want me on,
• 1:07:44
  Speaker 4: I'm more than happy to hell.
• 1:07:45
  Speaker 3: Yeah, dude, our audience loves it, and I mean, I know.
• 1:07:49
  Speaker 3: We were talking about doing another summer special in the
• 1:07:52
  Speaker 3: next couple of months, getting a bunch of people together
• 1:07:54
  Speaker 3: and just kind.
• 1:07:54
  Speaker 4: Of make it some stuff I do want to add.
• 1:07:56
  Speaker 4: I do want to add seriously, I want to add
• 1:07:58
  Speaker 4: this because I don't know if you guys have seen it.
• 1:08:00
  Speaker 4: Even if y'all don't like it, I want to say
• 1:08:02
  Speaker 4: I got kind of like a kick and a rejuvenation
• 1:08:07
  Speaker 4: for horror last this couple days ago with this movie
• 1:08:13
  Speaker 4: called Undertone. I don't know if you guys have seen it.
• 1:08:15
  Speaker 3: I haven't seen it, but I know what it is.
• 1:08:17
  Speaker 4: So I'm oh, don't worry. I'm not gonna say anything
• 1:08:19
  Speaker 4: spoiler about the movie. This movie cost maybe a twentieth
• 1:08:26
  Speaker 4: of what Scream seven did, and to me, Undertone was
• 1:08:32
  Speaker 4: a movie that gave me the feeling of watching something
• 1:08:36
  Speaker 4: huge and experiencing something like Blair Witch Project for the
• 1:08:39
  Speaker 4: first time again the way it made me feel, how
• 1:08:42
  Speaker 4: intense it was, And it cost a twentieth of a
• 1:08:47
  Speaker 4: movie like Scream seven, and I had all these feelings
• 1:08:50
  Speaker 4: and I walked out of theaters saying, holy shit, it's
• 1:08:53
  Speaker 4: never been about money. Horror has never been about money, actors,
• 1:08:58
  Speaker 4: famous people. It's out how scary can something be? I
• 1:09:02
  Speaker 4: implore everybody go see this movie. It really was to me,
• 1:09:06
  Speaker 4: it was I don't like giving out five stars to anything.
• 1:09:10
  Speaker 4: I have a hard time not giving Undertone a five
• 1:09:13
  Speaker 4: star review. I was in love with it. It scared
• 1:09:15
  Speaker 4: the shit out of me and it was so incredible.
• 1:09:18
  Speaker 4: Please go check that out, everybody. And it's an original
• 1:09:20
  Speaker 4: idea made by a couple people that defied the odds.
• 1:09:25
  Speaker 4: And I'm only referencing Scream seven because that was first off.
• 1:09:29
  Speaker 4: I can't get away from it. That's all everybody was
• 1:09:30
  Speaker 4: talking about. And it was the last movie I saw
• 1:09:33
  Speaker 4: before that. It's night and day. What burns me out
• 1:09:36
  Speaker 4: about horror? A movie like Scream seven and in a
• 1:09:39
  Speaker 4: movie like Undertone, I implore people to go see it.
• 1:09:42
  Speaker 4: It was fucking incredible.
• 1:09:43
  Speaker 5: I have to go check it out.
• 1:09:44
  Speaker 3: Damn Undertone. Okay, yeah, I know it's an eight twenty four.
• 1:09:48
  Speaker 4: Yeah, from an understand they kind of just bought the movie. Yeah,
• 1:09:51
  Speaker 4: made by a couple Canadian people, and they truly haunting,
• 1:09:56
  Speaker 4: truly haunting. So I implore people to get go see that.
• 1:10:00
  Speaker 3: Go see it, okay, Undertone?
• 1:10:03
  Speaker 4: Undertone great?
• 1:10:05
  Speaker 3: Great? Now I gotta go out to a theater, please do,
• 1:10:07
  Speaker 3: please do.
• 1:10:07
  Speaker 5: I was looking show times for tonight and.
• 1:10:09
  Speaker 4: There really is. It scared the ship out of me.
• 1:10:12
  Speaker 4: It was phenomenal Undertone.
• 1:10:15
  Speaker 3: Okay, I'm not gonna.
• 1:10:16
  Speaker 4: Say anything else. I'm not gonna say anything about the movie.
• 1:10:18
  Speaker 4: I want you to go in blind if you don't
• 1:10:20
  Speaker 4: know much about it.
• 1:10:21
  Speaker 5: If I if I go see it tonight, Christian, you
• 1:10:23
  Speaker 5: might get a late night message. I'll be at work.
• 1:10:26
  Speaker 5: I'll be at work all night.
• 1:10:27
  Speaker 4: But please do support it and go check it out,
• 1:10:29
  Speaker 4: because there are brilliant people out there that all they
• 1:10:34
  Speaker 4: they just need to do their idea and leave them alone.
• 1:10:37
  Speaker 4: And it has nothing to do with movie stars, all
• 1:10:40
  Speaker 4: this hooplah using big name. It's just a great idea
• 1:10:45
  Speaker 4: and executed by people that know what they're doing. They're
• 1:10:48
  Speaker 4: out there, those movies are out there. Undertone Rejuvenated. I
• 1:10:53
  Speaker 4: really felt like I saw something that I'm gonna I
• 1:10:55
  Speaker 4: felt like I was watching a Blair Witch project for
• 1:10:58
  Speaker 4: the first time, and the way it made me feels
• 1:11:00
  Speaker 4: like I'm not going to forget this movie for a
• 1:11:03
  Speaker 4: very long maybe ever. So I implore you to check
• 1:11:05
  Speaker 4: it out.
• 1:11:06
  Speaker 3: Okay, big wreck for Undertone now out in theaters. Steve,
• 1:11:11
  Speaker 3: where can people find you? Amn?
• 1:11:12
  Speaker 5: You guys can find me after ours video on YouTube, Instagram, Facebook,
• 1:11:19
  Speaker 5: TikTok you name it and you can either find me
• 1:11:22
  Speaker 5: there or maybe I'll be out in Ontario looking for
• 1:11:25
  Speaker 5: Johnny's necklace somewhere trying to bring him back.
• 1:11:30
  Speaker 3: Well, I'm always a bearded film guy. I will not
• 1:11:34
  Speaker 3: be in Ontario looking for Johnny's necklace. You can, actually
• 1:11:38
  Speaker 3: you can find me in Canada pretending to be in
• 1:11:41
  Speaker 3: New York City reliving Scream six. I mean a Canadian
• 1:11:46
  Speaker 3: bodega somewhere out there, buying Canadian bread, and then ghost
• 1:11:50
  Speaker 3: Face will come in and blow me away with a shotgun.
• 1:11:56
  Speaker 3: As always, Thank you guys again. If you're listening to
• 1:11:58
  Speaker 3: this now, we're only a couple of days a week
• 1:12:00
  Speaker 3: from dropping well, we're actually getting ready to record it.
• 1:12:02
  Speaker 3: Our main episode for the month. We're covering the case
• 1:12:06
  Speaker 3: of the Bloody Iris from Celluloyd Dreams that commentary track,
• 1:12:09
  Speaker 3: so be sure to check that out, and then if
• 1:12:11
  Speaker 3: you want to go kind of backwards and check out
• 1:12:14
  Speaker 3: a previous episode, we just interviewed author Clark Cullis, who
• 1:12:17
  Speaker 3: wrote Screaming and Conjuring put out from nineteen eighty four Publishing,
• 1:12:21
  Speaker 3: as well as he previously put out You've Got Read
• 1:12:25
  Speaker 3: on You The Shawn the Dead. Behind the scenes book,
• 1:12:28
  Speaker 3: which is remarkable. So we have an interview up with
• 1:12:30
  Speaker 3: him and yeah, we're always everywhere. You can find us
• 1:12:34
  Speaker 3: at Beyond the Blood and we'll see you guys on
• 1:12:36
  Speaker 3: the next one.
• 1:12:37
  Speaker 5: See the next one.
• 1:12:37
  Speaker 4: See you