WEBVTT - Weirdhouse Cinema Rewind: Shock Waves 0:00:04.320 --> 0:00:07.280 Hey, welcome to Weird House Cinema. Rewind. This is Rob 0:00:07.360 --> 0:00:09.440 Lamb and Hey, this is a fun one for you. 0:00:09.680 --> 0:00:12.240 This was I think one of three or four different 0:00:12.280 --> 0:00:14.960 Florida movies that we did back in twenty twenty one, 0:00:15.320 --> 0:00:19.239 including the likes of Frogs and Zat you know, the 0:00:19.239 --> 0:00:22.800 Bloodwaters of Doctor z. But this is the nineteen seventy 0:00:22.880 --> 0:00:28.080 seven picture shock Waves. This one is indeed about Nazi 0:00:28.160 --> 0:00:32.320 zombies emerging off the coast of Florida and attacking people 0:00:32.560 --> 0:00:36.880 in the ruins of a huge Florida hotel. This is 0:00:36.920 --> 0:00:38.400 one that really creeped me out when I saw it 0:00:38.440 --> 0:00:39.960 on TBS back in the day. I think it was 0:00:40.000 --> 0:00:42.920 TBS anyway, and I think it holds up pretty well. 0:00:42.960 --> 0:00:45.159 So this is a fun discussion. Let's jump right in. 0:00:48.600 --> 0:00:55.360 Welcome to Stuff to Blow your Mind, a production of iHeartRadio. 0:00:58.480 --> 0:01:02.120 Hey, welcome to Weird Cinema. This is Rob Lamb. 0:01:02.160 --> 0:01:04.679 And I'm Joe McCormick, and we're back to complete our 0:01:04.800 --> 0:01:09.160 trilogy of Florida movies. Now recently on Weird House Cinema, 0:01:09.240 --> 0:01:12.600 we looked at the movie Frogs starring Sam Elliott, which 0:01:12.640 --> 0:01:15.520 is about as Florida as a movie can Get and 0:01:15.560 --> 0:01:18.680 then we also recently discussed the movie Zat, which is 0:01:18.720 --> 0:01:21.080 about a man who dreamed he was a catfish and 0:01:21.120 --> 0:01:23.480 then turned himself into one, though didn't really look like 0:01:23.520 --> 0:01:26.520 a catfish, but just sort of like went around settling 0:01:26.560 --> 0:01:30.920 grudges and getting revenge and semi catfish form. And it's 0:01:30.959 --> 0:01:33.480 more Florida again. This time it's going to be Florida 0:01:33.600 --> 0:01:34.600 Nazi zombies. 0:01:35.240 --> 0:01:37.560 That's right. We're going to be looking at the nineteen 0:01:37.680 --> 0:01:41.639 seventy seven film shock Waves. I believe it was actually 0:01:41.640 --> 0:01:44.360 filmed in nineteen seventy five, so it's still a few 0:01:44.440 --> 0:01:49.040 years later than our two previous Florida films, but it 0:01:49.120 --> 0:01:52.160 is very much a product of the nineteen seventies, and 0:01:52.400 --> 0:01:56.000 it is I should make it clear here. It's actually 0:01:56.080 --> 0:01:59.320 supposed to take place on a Caribbean island, but it's 0:01:59.480 --> 0:02:02.720 very much filmed in Florida, and I think it's ultimately 0:02:02.720 --> 0:02:04.880 a Florida movie to its core. It has elements in 0:02:04.920 --> 0:02:07.600 common with our previous two picks, but it's also doing 0:02:07.640 --> 0:02:08.160 its own thing. 0:02:08.919 --> 0:02:10.720 You know. I think it's fitting that we discuss our 0:02:10.760 --> 0:02:13.200 final Florida movie today because I have to be honest 0:02:13.240 --> 0:02:16.280 and say I am running like, right now, my gas 0:02:16.360 --> 0:02:18.920 tank is full of sand. So Rob, I hope you 0:02:18.960 --> 0:02:22.280 can bring the life to inject into this podcast today. 0:02:22.320 --> 0:02:24.720 I'm going to do my best, all right, All right, 0:02:24.760 --> 0:02:26.760 Well I have my tea here, so I hopefully that 0:02:26.840 --> 0:02:30.840 will invigorate me as well. Okay, So, yeah, this movie 0:02:31.400 --> 0:02:33.840 has things in common with both zat and Frogs, but 0:02:33.880 --> 0:02:36.200 it's very much doing its own thing because for starters, 0:02:36.400 --> 0:02:40.000 it's a zombie movie. Furthermore, it digs into two different 0:02:40.080 --> 0:02:43.360 sub genres of zombie movies by being both an aquatic 0:02:43.440 --> 0:02:47.520 zombie movie and a Nazi zombie movie. And you know, 0:02:47.800 --> 0:02:51.720 it's pretty early in either of these subgenre traditions. And 0:02:51.800 --> 0:02:53.400 I think you could also make a strong case that 0:02:53.480 --> 0:02:56.160 this is this film might be the true trend setter, 0:02:56.440 --> 0:02:58.360 if not one of the key trend setters, for both. 0:02:58.600 --> 0:03:00.000 You know. I think I've said on the show before 0:03:00.080 --> 0:03:03.920 for that, of all the different types of creatures in 0:03:04.000 --> 0:03:07.919 horror movies, I feel like, on average, it's zombie movies 0:03:08.000 --> 0:03:12.080 that are the most often trying to say something with 0:03:12.200 --> 0:03:14.880 the story they tell. You know, the zombies, for some 0:03:15.000 --> 0:03:20.440 reason just lend themselves quite well to cultural commentary. This movie, 0:03:20.520 --> 0:03:22.040 I don't think it's trying to say anything. 0:03:22.600 --> 0:03:25.920 No, I don't think it is. I think you can 0:03:26.040 --> 0:03:28.600 lean into we'll discuss you might be able to lean 0:03:28.639 --> 0:03:31.160 into it a little bit and draw maybe a little 0:03:31.240 --> 0:03:33.480 bit of nuance from it. But for the most part, 0:03:33.520 --> 0:03:36.240 this is a film that just wants to scare you 0:03:36.520 --> 0:03:38.880 and have some creepy stuff going on in it, and 0:03:38.880 --> 0:03:40.160 and it ultimately succeeds. 0:03:40.400 --> 0:03:43.240 Yeah, yeah, yeah, this is a I would say a 0:03:43.320 --> 0:03:46.840 success on the front of stylish horror movie, and that 0:03:46.920 --> 0:03:49.680 the creatures look creepy, and you spend a lot of 0:03:49.680 --> 0:03:52.240 this movie just looking at them. They're just like popping 0:03:52.360 --> 0:03:55.280 up out of the water, popping up from behind roots, 0:03:55.360 --> 0:03:57.560 kind of like you might open a drawer in the 0:03:57.640 --> 0:03:59.680 kitchen and there's one of these zombies in there and 0:03:59.720 --> 0:04:03.480 it's just looking up at you with those goggles. And yeah, 0:04:03.480 --> 0:04:05.600 that's what it does. It does it well, and I 0:04:05.640 --> 0:04:06.840 give it all all credit. 0:04:07.720 --> 0:04:10.520 Yeah, So we'll talk about the zombies in this film 0:04:10.560 --> 0:04:13.920 a bit more now. Now on the zombie front, on 0:04:13.960 --> 0:04:16.720 the Nazi zombie front, rather, there are only a handful 0:04:16.800 --> 0:04:20.960 of cinematic predecessors to this movie. There's nineteen forty three's 0:04:20.960 --> 0:04:23.440 Revenge of the Zombies, which had John Carodine in it. 0:04:23.440 --> 0:04:26.679 Who's also in this film that involved a mad scientist 0:04:26.680 --> 0:04:28.640 trying to create zombies for the Third Reich? 0:04:28.720 --> 0:04:31.320 But Wadiams hasn't it, hasn't it been proven that John 0:04:31.400 --> 0:04:34.359 Carodine is actually in all films ever made? 0:04:34.920 --> 0:04:38.720 Just about Yeah, well, we'll do a proper breakdown on 0:04:38.839 --> 0:04:41.200 Kerodine in a bit. But he's come up before, because yeah, 0:04:41.240 --> 0:04:42.800 he has a tremendous filmography. 0:04:43.000 --> 0:04:45.480 Well wait a minute, I challenge you name a film 0:04:45.560 --> 0:04:48.240 John Carrodine was not in. You can't do. 0:04:48.279 --> 0:04:51.320 It within his lifetime. Or well, he was actually in 0:04:51.400 --> 0:04:55.000 some films outside of his lifetime, which fu get we'll discuss. 0:04:56.000 --> 0:04:58.679 But yeah, there was also a nineteen sixty six film 0:04:58.760 --> 0:05:01.560 called The Frozen Dead which at thaw Nazis zombies in it, 0:05:02.120 --> 0:05:04.920 and there are a handful of other films that also 0:05:05.000 --> 0:05:07.720 involved Nazis in the occult as part of a general 0:05:07.720 --> 0:05:10.440 trend in science fiction and horror, as well as new 0:05:10.520 --> 0:05:16.760 age and conspiracy thinking. Because the filmmakers behind Shockwaves they're 0:05:16.760 --> 0:05:20.320 pretty upfront about citing a nineteen sixty book titled The 0:05:20.360 --> 0:05:23.359 Morning of the Magicians as a prime influence. So this 0:05:23.839 --> 0:05:26.719 I think We've briefly discussed this book before, talking about 0:05:27.279 --> 0:05:30.880 like ancient alien stuff before, but this was a popular 0:05:30.880 --> 0:05:34.360 book in conspiracy theory circles. Remains popular in conspiracy theory 0:05:34.400 --> 0:05:37.080 circles because it entails just a whole host of their 0:05:37.120 --> 0:05:41.080 favorite topics like UFOs and Nazi occultism and so forth. 0:05:41.320 --> 0:05:43.640 Though it's funny we think about the I don't know 0:05:43.720 --> 0:05:47.600 the occult Nazi sub genre as a I don't know 0:05:47.839 --> 0:05:51.200 the special remit of sort of obscure drek in the 0:05:51.200 --> 0:05:53.640 film world, but it's easy to forget that some of 0:05:53.640 --> 0:05:56.960 the most mainstream movies ever got into this territory. This 0:05:57.000 --> 0:05:59.719 is what Indiana Jones is about. It's all like occult 0:05:59.800 --> 0:06:00.640 not stuff. 0:06:00.920 --> 0:06:05.480 Yeah, Raiders the Lost Arc is the biggest Nazi occultist 0:06:05.520 --> 0:06:07.440 film of all time. And later on you had to 0:06:08.080 --> 0:06:11.640 Gaielmo de Toro's hell Boy got into the same territory, 0:06:12.240 --> 0:06:16.000 but that was that was a little bit later. Initially, 0:06:16.160 --> 0:06:19.520 like Shockwaves was was a big trendsetter. There's a film 0:06:19.560 --> 0:06:21.680 in nineteen eighty called Zombie Lake that I think was 0:06:21.720 --> 0:06:25.200 a French Spanish production that was I think heavily inspired 0:06:25.200 --> 0:06:27.960 by Shockwaves, if not just kind of a you know, 0:06:28.560 --> 0:06:31.960 very very much followed in its footsteps, because you went 0:06:32.000 --> 0:06:34.760 on to see people like Joel Schumacher get involved in 0:06:35.080 --> 0:06:38.719 the Nazi zombie subgenre, like two thousand and nine Blood Creek. 0:06:38.800 --> 0:06:41.159 You see it in all sorts of video games. So 0:06:41.640 --> 0:06:45.200 it's become something that that sci fi and horror is 0:06:45.279 --> 0:06:47.599 really latched onto. And I think a lot of that 0:06:47.640 --> 0:06:50.039 probably has to do with just the simple formula of 0:06:50.080 --> 0:06:54.120 taking you know, human evil and supernatural evil and combining them, 0:06:54.160 --> 0:06:58.440 taking traditional movie villains and traditional movie monsters and combining them. 0:06:58.640 --> 0:07:00.760 And maybe if you're, you know, daring to get a 0:07:00.800 --> 0:07:03.719 little contemplative, you might say, you know, the fear of 0:07:03.839 --> 0:07:07.360 re emergence of a dreadful and destructive ideology, plus the 0:07:07.600 --> 0:07:11.840 just the obvious metaphor of reanimated corpses. 0:07:12.160 --> 0:07:15.480 Oh yeah, I mean that would be an interesting thematic resonance, 0:07:15.560 --> 0:07:18.400 though I don't think I can honestly say that this 0:07:18.440 --> 0:07:20.720 movie seems like it had that on its mind. 0:07:20.880 --> 0:07:23.240 No, no, no, no, no, that would that would be 0:07:23.240 --> 0:07:26.200 an add on if you just think too hard about chockwtz. 0:07:25.880 --> 0:07:29.040 Right, if you were to try to make an intellectually 0:07:29.120 --> 0:07:32.080 curious zombie Nazi movie, that would be a good direction 0:07:32.200 --> 0:07:32.800 to go with it. 0:07:33.200 --> 0:07:37.720 Yeah, oh, but I should mention on the aquatic zombie front. 0:07:37.840 --> 0:07:39.160 Aren't a lot of films that may be come to 0:07:39.200 --> 0:07:43.600 mind in this category. There's nineteen seventy nine's Zombie from 0:07:44.000 --> 0:07:48.600 Lucio Fulci, which had a pretty tremendous scene with an 0:07:48.720 --> 0:07:54.120 underwater zombie, a shark and I think a snorkeler. It's 0:07:54.160 --> 0:07:55.560 been a while since I've seen Zombie. 0:07:55.880 --> 0:07:58.720 It's best remembered for the zombie fighting the shark, and 0:07:58.760 --> 0:08:01.040 I think the zombie wins. I think it like bites 0:08:01.080 --> 0:08:02.680 the shark and Okay, that's it. 0:08:03.000 --> 0:08:06.240 Well it is called zombie, not sharks, so that makes sense. 0:08:06.320 --> 0:08:07.280 But that was seventy nine. 0:08:07.400 --> 0:08:10.240 Now I can't stand by that. Sorry, I'm not sure. 0:08:11.000 --> 0:08:13.680 Maybe it's a draw, I don't know. But at any rate, 0:08:13.760 --> 0:08:18.400 that came after shock Waves. A film that came before it, 0:08:18.440 --> 0:08:21.880 but just barely was The Ghost Gallleon from nineteen seventy four. 0:08:21.960 --> 0:08:26.080 That was one of Amando Diasario's Blind Dead films. I 0:08:26.120 --> 0:08:27.640 don't know if you've seen any of these, Joe. They're 0:08:27.760 --> 0:08:29.760 they're pretty low budget and they have a bunch of 0:08:29.840 --> 0:08:34.160 undead templars engaging in generally they're just chasing people down 0:08:34.160 --> 0:08:36.440 and killing them, but in this particular one, they're engaging 0:08:36.440 --> 0:08:38.360 in some beach in underwater horror. 0:08:38.720 --> 0:08:41.520 Oh well, so the undead templars connects to a thing 0:08:41.559 --> 0:08:43.160 I was going to ask you about, which is I 0:08:43.200 --> 0:08:46.960 was trying to think if there is something else like that, 0:08:47.120 --> 0:08:50.360 you know, because there are tons of these Nazi zombie movies, 0:08:50.679 --> 0:08:53.640 if there's something else like that, like a group of 0:08:53.880 --> 0:08:57.240 like it's all zombies, but they're united by something they 0:08:57.280 --> 0:09:00.520 had in common in life, maybe like they are certain 0:09:00.679 --> 0:09:04.240 type of soldier. And I really couldn't think. I could 0:09:04.240 --> 0:09:06.760 think of tons of Nazi zombie movies, but couldn't really 0:09:06.760 --> 0:09:09.280 think of many other examples. So it makes me think 0:09:09.320 --> 0:09:12.880 that what's attractive about this subgenre is not that it's like, 0:09:13.000 --> 0:09:15.560 oh they are you know, they all have this in 0:09:15.600 --> 0:09:19.120 common and then they become undead. It's the specific historical 0:09:19.240 --> 0:09:22.600 resonances of the Nazis. And I think that's I think 0:09:22.600 --> 0:09:25.000 you're exactly right when you say it's probably as simple 0:09:25.040 --> 0:09:27.760 as what's the evilest human thing you can think of 0:09:27.920 --> 0:09:29.640 and then just make it supernatural? 0:09:30.080 --> 0:09:33.280 Yeah, yeah, I think so, And it remains a winning formula, 0:09:33.400 --> 0:09:34.720 Like now more so than ever. 0:09:35.040 --> 0:09:37.560 But anyway, the templars thing here, you said that would 0:09:37.600 --> 0:09:40.280 be one counter example. Okay, here's something else. This is 0:09:40.400 --> 0:09:43.160 like they're all templars and now they're templar zombies. 0:09:43.559 --> 0:09:46.480 Yes, and maybe there's some other examples out there in 0:09:46.320 --> 0:09:49.520 the film world I'm just not aware of. So if 0:09:49.520 --> 0:09:52.120 they're if there's something like maybe there's are there zombie 0:09:52.160 --> 0:09:55.480 Samurai films? I don't know, nothing's coming to mind, but 0:09:55.520 --> 0:09:56.800 maybe I'm missing something obvious. 0:09:57.080 --> 0:10:01.000 Are there zombie Chicago Bears or like a specific sports team. 0:10:01.240 --> 0:10:03.640 A zombie that sounds like it could be like a 0:10:03.679 --> 0:10:06.839 good sort of field goally movie, you know where it's 0:10:06.880 --> 0:10:08.480 like there's nothing in the rule book that says a 0:10:08.520 --> 0:10:11.360 team of zombies can't take to the field and try 0:10:11.360 --> 0:10:13.480 to win the Super Bowl. And then it happens, and 0:10:13.520 --> 0:10:14.760 it's magical for everybody. 0:10:15.120 --> 0:10:17.640 You producers out there, we're just feeding your gold day 0:10:17.640 --> 0:10:20.600 after day. I know I'm going to send us the checks. 0:10:20.800 --> 0:10:22.880 All right, let's get to the elevator pitch for this film. 0:10:23.120 --> 0:10:26.600 It's pretty simple. Aquatic Nazi zombies left over from World 0:10:26.640 --> 0:10:29.320 War Two rise from the deep in the Caribbean to 0:10:29.440 --> 0:10:33.480 hunt down tourists through a desolated beach resort in the 0:10:33.520 --> 0:10:34.760 mid nineteen seventies. 0:10:35.559 --> 0:10:39.600 Yeah, with Peter Cushing. Yes, Peter Cushing just happens to 0:10:39.640 --> 0:10:40.240 be in the mix. 0:10:40.760 --> 0:10:42.880 All right, let's have some of that trailer audio. 0:10:45.920 --> 0:10:58.120 You are now in the deep end of horror, shock 0:10:58.200 --> 0:11:03.200 waves once they were almost human. You mean to say 0:11:03.200 --> 0:11:07.840 that what we all saw out there is just a mirage. 0:11:07.880 --> 0:11:12.320 It was a minor underwater disturbance, the hot sky acting 0:11:12.400 --> 0:11:18.040 on Nicole Current, coming from a mile down below. Something unknown, 0:11:18.400 --> 0:11:25.160 something unforeseen, something unspeakable, lives below, and it lives to destroy. 0:11:27.040 --> 0:11:28.400 They have risen. 0:11:30.320 --> 0:11:31.800 All right, So who directed this thing? 0:11:32.720 --> 0:11:37.839 This film was directed by Ken Viderhorn, director and writer, 0:11:38.440 --> 0:11:40.559 and while this was his big breakout film, he went 0:11:40.600 --> 0:11:42.959 on to direct a number of genre features, including Eyes 0:11:43.000 --> 0:11:46.960 of a Stranger, Return of the Living Dead two, Dark Tower, 0:11:47.000 --> 0:11:49.800 which I believe is a haunted skyscraper movie. I haven't 0:11:49.800 --> 0:11:53.000 actually seen it, and he also directed seven episodes of 0:11:53.120 --> 0:11:56.199 Freddy's Nightmares, as well as A House in the Hills. 0:11:57.240 --> 0:12:00.400 I think I have seen Dark Tower. I think somehow 0:12:00.400 --> 0:12:02.720 I just found that on the internet one night and 0:12:02.760 --> 0:12:06.719 put it on and it was pretty bad. Return to 0:12:06.720 --> 0:12:09.360 the Living Dead two I haven't seen, but Return of 0:12:09.360 --> 0:12:11.800 the Living Dead one is one of my favorite comedy 0:12:11.840 --> 0:12:14.720 horror movies. That movie is near perfect. 0:12:15.000 --> 0:12:17.800 Yeah, Dan O'Bannon on that one. Yeah, that's a great one. 0:12:17.920 --> 0:12:20.880 Yeah, but I've heard that the second one is still 0:12:21.320 --> 0:12:24.280 I've heard it described as still pretty fun, but sort 0:12:24.320 --> 0:12:26.480 of taking the premise of the first movie to a 0:12:26.559 --> 0:12:28.960 kind of Looney Tunes elevation. 0:12:29.800 --> 0:12:33.000 All right, now, I mentioned Viderhorn. It was one of 0:12:33.000 --> 0:12:36.640 the writers. The co writer on this was John Kent Harrison, 0:12:37.000 --> 0:12:39.880 who enjoyed quite a writing and directing career after this, 0:12:40.280 --> 0:12:42.920 though not a lot of stuff that I'm personally familiar with. 0:12:43.120 --> 0:12:46.360 But his credits include nineteen ninety nine's You Know My 0:12:46.520 --> 0:12:51.080 Name starring Sam Elliott, as well as a bear named Winnie, 0:12:51.120 --> 0:12:52.920 which I think it's like a Winnie the Pooh or 0:12:52.960 --> 0:12:55.520 it's a maybe it's a biopic about the creator of 0:12:55.520 --> 0:13:01.199 Winnie the Pooh. It starred Michael Fassbender as Winnie the Pooh. 0:13:01.400 --> 0:13:03.319 Michael Fassbender was in I think he was in a 0:13:03.400 --> 0:13:05.800 Nazi zombie movie, the one directed by Joel Schumacher by 0:13:05.800 --> 0:13:08.319 the way, Okay, as well as Stephen Frye. I was 0:13:08.360 --> 0:13:12.120 also in that Wow. Yeah. Also responsible for the Courageous 0:13:12.120 --> 0:13:16.440 Heart of Irene Sendler starring Anna Paquin. So yeah, this 0:13:16.480 --> 0:13:17.960 guy went on to do a lot of stuff and 0:13:18.200 --> 0:13:18.840 is still active. 0:13:19.120 --> 0:13:22.680 Did the writer of Shockwaves write mister Hollands Opus. 0:13:23.360 --> 0:13:25.440 I don't think so. But that's like the sort of 0:13:25.559 --> 0:13:27.439 genre of film that he seemed to have gone on to. 0:13:27.920 --> 0:13:28.400 Uh huh. 0:13:28.600 --> 0:13:31.800 All right, well let's talk about the cast here top billing, 0:13:31.960 --> 0:13:34.760 and we've already mentioned him. Peter Cushing is in this. 0:13:35.320 --> 0:13:39.000 He plays SS Commander no given name for this character. 0:13:39.040 --> 0:13:40.560 They're light on names, that's right. 0:13:40.679 --> 0:13:42.959 He never says his name, Yeah. 0:13:42.800 --> 0:13:44.200 Yep, doesn't introduce himself. 0:13:44.440 --> 0:13:47.480 Also, I don't think he even tries a German accent, 0:13:47.480 --> 0:13:48.840 does he. I don't recall one. 0:13:49.000 --> 0:13:50.960 You know. It's a little it's a little German. It's 0:13:51.640 --> 0:13:55.280 it's very clearly identifiable as Peter Cushing. It's Peter Cushing, 0:13:55.480 --> 0:13:57.760 like germaned up ten percent. 0:13:58.200 --> 0:14:00.880 Okay, apology for misremembering. 0:14:02.160 --> 0:14:05.040 So Peter Cushing, of course lived nineteen thirteen through nineteen 0:14:05.080 --> 0:14:09.040 ninety four. He's a legend. This is Hammer's Doctor Frankenstein, 0:14:09.080 --> 0:14:12.640 this is Star Wars Grand Moth Tarkin, enthusiastic war gamer 0:14:13.000 --> 0:14:15.320 and the man with the sharpest cheekbones and the biz 0:14:15.600 --> 0:14:16.040 he can. 0:14:16.000 --> 0:14:18.520 Use multiple parts of his face as an ice pick. 0:14:18.840 --> 0:14:24.680 Yeah. I used to own the Blue Underground DVD of 0:14:24.680 --> 0:14:27.320 this film and somehow lost it. But I remember in 0:14:27.360 --> 0:14:30.360 the various extras on that they talked to some of 0:14:30.360 --> 0:14:32.840 the cast members on this and they talked about working 0:14:32.880 --> 0:14:35.880 with Peter Cushing, and like everybody else, it seems they 0:14:35.960 --> 0:14:37.600 just had nice things to say about him. He was 0:14:37.640 --> 0:14:40.960 just like a total professional, super nice. And I think 0:14:41.000 --> 0:14:43.840 the only even slightly negative thing is like is one 0:14:43.840 --> 0:14:45.840 of the actors said something to the effect of like, yeah, 0:14:45.880 --> 0:14:47.640 he showed up and he was He just had all 0:14:47.640 --> 0:14:50.160 his lines memorized and he was so professional that he 0:14:50.200 --> 0:14:53.880 made me feel like a little crappy for not being 0:14:53.920 --> 0:14:56.680 as on top of things as he was. But yeah, 0:14:56.720 --> 0:14:58.120 everybody seems to have loved Cushing. 0:14:58.360 --> 0:15:00.360 That's something I'm always kind of curious about when you 0:15:00.440 --> 0:15:04.120 hear those little things about which actors memorize their lines 0:15:04.200 --> 0:15:04.880 in which one. 0:15:04.840 --> 0:15:07.640 Stone Yeah, cushion was. I think he was one of 0:15:07.840 --> 0:15:10.440 yea with total pro like. He doesn't matter what caliber 0:15:10.480 --> 0:15:12.720 of film it was, he showed up and he did 0:15:12.760 --> 0:15:15.800 the job all right. Did we mention you we did mention. 0:15:15.920 --> 0:15:17.080 John Carrodine is in this. 0:15:17.400 --> 0:15:17.960 Yeah. 0:15:18.000 --> 0:15:20.200 He has the distinction of playing the only character with 0:15:20.240 --> 0:15:24.480 a last name really place. Yeah, he plays Captain Ben Morris. 0:15:24.840 --> 0:15:28.120 I don't say really because I am surprised nobody else 0:15:28.200 --> 0:15:30.240 had a last name. I'm surprised because I didn't remember 0:15:30.320 --> 0:15:31.360 him having one. 0:15:31.600 --> 0:15:33.680 Now, but maybe that was one of his demands. He's like, 0:15:33.720 --> 0:15:35.800 I'll do it, but you've got to give me a 0:15:35.920 --> 0:15:37.760 last name. I'm not playing a character with just a 0:15:37.800 --> 0:15:39.640 first name or no name. You leave that to Cushing. 0:15:39.920 --> 0:15:42.160 Oh, he's kind of grizzled in this. 0:15:43.400 --> 0:15:47.160 Yeah. So yeah. This is another film legend, certainly a 0:15:47.240 --> 0:15:50.040 horror screen legend. He was in any and everything from 0:15:50.120 --> 0:15:53.600 nineteen thirty to nineteen ninety five, yes, seven years after 0:15:53.640 --> 0:15:55.720 his death. A little film called Jacko that I think 0:15:55.760 --> 0:15:56.280 you've seen. 0:15:56.480 --> 0:15:58.320 Yeah, I don't even know how to describe that one. 0:15:58.560 --> 0:16:03.240 It's like a It's an mega grade direct to video 0:16:03.440 --> 0:16:08.000 Halloween themed movie that has him in scenes where he 0:16:08.080 --> 0:16:10.320 is not on screen with anybody else because I think 0:16:10.360 --> 0:16:13.200 the footage his footage in the movie appears to have 0:16:13.200 --> 0:16:17.320 been shot approximately seventeen years before the rest of the film. 0:16:17.760 --> 0:16:20.680 Otherwise it's got like Linea Quigley and a bunch of 0:16:20.720 --> 0:16:24.200 teenagers running around getting attacked by this thing with a pumpkinhead. 0:16:24.240 --> 0:16:28.520 I think, okay, sounds like a winning concept. So yeah, Kerodeine, 0:16:28.720 --> 0:16:30.640 he was in a lot of Indian horror films, but 0:16:31.280 --> 0:16:33.680 we have to remember he was also in the Grapes 0:16:33.680 --> 0:16:36.440 of Wrath. He was in Stagecoach, he was in The 0:16:36.520 --> 0:16:42.120 Ten Commandments, which also featured Vincent Price. Speaking of horror icons. Yeah, 0:16:42.160 --> 0:16:46.200 and of course John Carrodine was also notable as the 0:16:46.200 --> 0:16:49.640 patriarch of the Carrodeine family, the father of David Keith 0:16:49.640 --> 0:16:52.800 and Robert Carrodine, who all carried on this tradition of 0:16:52.840 --> 0:16:57.280 being in you know, all different sorts of films, but 0:16:57.320 --> 0:17:00.200 also doing a good job. Like Krodine is always John Canary, 0:17:00.200 --> 0:17:01.160 He's always watchable. 0:17:01.360 --> 0:17:03.400 I was really hoping he would sing a song in 0:17:03.480 --> 0:17:05.880 this one, though, like you couldn't even do so. He's 0:17:05.920 --> 0:17:10.159 done the Night Train to Mundo Fie. He could he 0:17:10.240 --> 0:17:13.280 not come up with a you know, the Island of 0:17:13.359 --> 0:17:16.720 those shock Waves. It seems like they should have put 0:17:16.720 --> 0:17:17.280 in the effort. 0:17:18.800 --> 0:17:21.719 I've I've I've either read or remember from the digital 0:17:22.320 --> 0:17:26.080 I'm not Digital Underground Blue Underground DVD, that that he 0:17:26.119 --> 0:17:27.880 did all of his stunts in this, which don't really 0:17:27.920 --> 0:17:30.720 amount to a lot, but he was seventy one years 0:17:30.760 --> 0:17:33.360 old at the time and like he did like all 0:17:33.440 --> 0:17:35.399 the physicality that was asked of him in this, so 0:17:35.800 --> 0:17:36.679 oh so quite a. 0:17:36.680 --> 0:17:38.960 Trooper at the part when you see his dead body 0:17:39.040 --> 0:17:41.879 under the glass as they have they like ride a 0:17:41.880 --> 0:17:45.560 glass bottom boat over his corpse and he's there shirtless 0:17:45.560 --> 0:17:48.240 with his hair swinging around in the water. So that's him. 0:17:48.400 --> 0:17:51.000 That's yeah, yeah, okay, so yeah, all right. 0:17:51.240 --> 0:17:54.280 All right. The so that they these guys get top billing, 0:17:54.480 --> 0:17:56.199 you know, because they're the horror icons and they're the 0:17:56.200 --> 0:17:57.760 ones you want to put on your horror post here. 0:17:58.080 --> 0:18:02.000 But the real star, like our lead and our main hero, 0:18:02.600 --> 0:18:06.199 is the character Rose, played by Brooke Adams born nineteen 0:18:06.280 --> 0:18:06.960 forty nine. 0:18:07.200 --> 0:18:09.840 I love Brook Adams. Brook Adams is in one of 0:18:09.840 --> 0:18:13.120 my all time favorite horror movies, the nineteen seventy eight 0:18:13.240 --> 0:18:16.200 remake of Invasion of the Body Snatchers, which you've never 0:18:16.280 --> 0:18:20.480 seen is just excellent, just one of the best ever made. 0:18:20.640 --> 0:18:24.040 This is the Philip Kaufman win Yes, yes, yeah, So 0:18:24.280 --> 0:18:28.200 at the time of Shockwaves. She was an Indian TV actor, 0:18:28.400 --> 0:18:31.000 though she had appeared uncredited. I think a very bit 0:18:31.119 --> 0:18:34.840 role in nineteen seventy four is The Great Gatsby. But her, yeah, 0:18:34.840 --> 0:18:38.080 her career took off after Shockwaves. Maybe because of Shockwaves, 0:18:38.080 --> 0:18:41.399 I don't know. She was in Terrence Malix Days of 0:18:41.440 --> 0:18:45.679 Heaven the following year. You already mentioned Body Snatchers. She 0:18:45.880 --> 0:18:48.320 also went on to star opposite Christopher Walken and David 0:18:48.359 --> 0:18:52.679 Cronenberg's adaptation of Stephen King's The Dead Zone. She was 0:18:52.720 --> 0:18:55.520 in The Stuff The Unborn, and she did a whole 0:18:55.520 --> 0:18:57.520 lot of TV work. And it's a bit of trivia. 0:18:57.560 --> 0:18:59.960 She's been married to actor Tony Shaloub since nineteen ninety ten. 0:19:00.440 --> 0:19:03.600 Oh, I had no idea. Yeah, Broke Adams is great. 0:19:04.160 --> 0:19:06.080 She's got that great screen presence of the kind of 0:19:06.280 --> 0:19:07.879 just instantly likable always. 0:19:07.960 --> 0:19:08.280 Yeah. 0:19:08.359 --> 0:19:10.959 Yeah. She checks off all the major boxes for female 0:19:11.040 --> 0:19:13.560 lead in the seventies horror film in this while also 0:19:13.920 --> 0:19:18.040 like having that extra you know, bit of charisma and talent. 0:19:18.160 --> 0:19:20.240 You know you could it's not surprising that she went 0:19:20.280 --> 0:19:23.680 on to be in all these other things. You know. 0:19:24.040 --> 0:19:27.080 There's sometimes just the way she delivers certain lines in 0:19:27.119 --> 0:19:29.600 this that might otherwise be throwaway lines. She's able to 0:19:29.640 --> 0:19:32.359 inject a certain amount of nuance or comedy into it. 0:19:32.800 --> 0:19:35.440 Yeah, okay, So who's our mustache for the movie? 0:19:35.840 --> 0:19:40.240 Oh well, this is Luke Halpin playing Keith. Halpin was 0:19:40.280 --> 0:19:44.040 born in nineteen forty seven, a handsome fellow with a 0:19:44.119 --> 0:19:49.240 maximum mid seventies mustache, and his main claim to fame 0:19:49.960 --> 0:19:52.960 prior to this is that he played the character Sandy Rix, 0:19:54.160 --> 0:19:57.520 a child in the nineteen sixty three film Flipper opposite 0:19:57.600 --> 0:20:00.480 Chuck Connors, and then played the same role in the 0:20:00.560 --> 0:20:04.160 TV show to follow, though in this the TV show 0:20:04.200 --> 0:20:06.760 did not have Chuck Conners and a dolphin. It had 0:20:06.800 --> 0:20:10.960 Brian Kelly and a dolphin. Fun fact, Brian Kelly has 0:20:11.000 --> 0:20:14.240 a single executive producer credit on IMDb, and it's for 0:20:14.320 --> 0:20:18.240 Blade Runner. But anyway, it happens good in this. I 0:20:18.320 --> 0:20:20.359 liked him. Yeah, maybe it's his mustache. I don't know. 0:20:20.800 --> 0:20:23.040 We can call him the Mustache Runner from here on out. 0:20:23.080 --> 0:20:26.439 I always thinking he's very seventies. To me, he looks 0:20:26.480 --> 0:20:29.280 like one of the members of Still Water, You know that. 0:20:29.560 --> 0:20:31.960 He looks like he just lost four cases of beer 0:20:32.040 --> 0:20:33.680 playing cards with Humble Pie. 0:20:34.080 --> 0:20:36.040 Yeah, yeah, I mean, he's got a certain I mean 0:20:36.080 --> 0:20:39.359 he's no, he's no Sam Elliott, you know, but but 0:20:39.960 --> 0:20:42.119 he has he has a certain laid back mid seventies 0:20:42.160 --> 0:20:43.960 style to him that it works well on the film. 0:20:44.000 --> 0:20:46.960 And and he's he's he's also decent at at bringing 0:20:47.000 --> 0:20:49.840 across a certain level of fear and anxiety that becomes 0:20:50.000 --> 0:20:51.679 absolutely necessary in a film like this. 0:20:52.160 --> 0:20:52.440 Yeah. 0:20:52.480 --> 0:20:54.879 Now, the rest of the cast just sort of is 0:20:54.960 --> 0:20:58.280 rounded out mostly by these people playing tourists who are 0:20:58.359 --> 0:20:59.119 zombie fodder. 0:20:59.760 --> 0:21:02.400 Yeah. Yeah, and I'm not sure how many of them 0:21:02.560 --> 0:21:06.000 are necessarily worth spending a lot of time on, but 0:21:06.400 --> 0:21:08.119 they're all pretty good in their role. You have this 0:21:08.160 --> 0:21:12.520 guy Fred Butch I believe it is. I lived thirty 0:21:12.560 --> 0:21:17.280 five through twenty twelve. Yeah, plays the character Chuck. This 0:21:17.320 --> 0:21:20.080 is a guy who had various roles in eighties movies, 0:21:20.160 --> 0:21:23.879 including Cocoon and Caddy Shack. And he looks like he 0:21:23.920 --> 0:21:26.480 was in another Florida movie, this time of slasher titled 0:21:26.560 --> 0:21:29.879 Nightmare Beach from nineteen eighty nine that Romberto Lindsay was 0:21:29.920 --> 0:21:34.520 involved in and that also featured Michael Parks and John Saxon. 0:21:35.119 --> 0:21:37.320 But yeah, I was thinking of Chuck in this movie 0:21:37.359 --> 0:21:39.720 as Bacardi Man. I didn't know what his name was, 0:21:39.880 --> 0:21:42.160 so I just called him Bacardi Man the whole time. 0:21:42.480 --> 0:21:45.560 Yeah, he has a signature look, often shirtless, sometimes just 0:21:45.600 --> 0:21:48.920 in tidy white. He's running around on the deck of 0:21:48.960 --> 0:21:52.360 a ship. He's great because he's kind of like you. 0:21:52.359 --> 0:21:54.360 You always have to have your your array of characters 0:21:54.359 --> 0:22:01.000 from detestable to likable or lovable, and he's nicely situated 0:22:01.000 --> 0:22:02.960 in the middle. You know, you don't really hate him, 0:22:02.960 --> 0:22:05.760 but he's You're not going to be that disappointed when 0:22:05.920 --> 0:22:06.920 a zombie kills him. 0:22:06.960 --> 0:22:10.359 He also has a seemingly out of character freak out 0:22:10.400 --> 0:22:12.600 toward the end of the movie. That's pretty amusing. 0:22:12.960 --> 0:22:13.240 Yeah. 0:22:13.400 --> 0:22:16.240 Yeah, Oh, but then we also have like this angry, 0:22:16.240 --> 0:22:18.760 aggressive nerd character named Norman. 0:22:19.400 --> 0:22:23.000 Yes, Norman is great, played by Jack Davidson born nineteen 0:22:23.040 --> 0:22:25.720 thirty six. This actor did a lot of small parts 0:22:25.720 --> 0:22:28.880 in films, including eighty seven's The Secret of My Success 0:22:28.880 --> 0:22:31.840 eighty three is Trading Places. In this he is a 0:22:31.960 --> 0:22:36.120 used car salesman on vacation with his wife Beverly, and 0:22:36.520 --> 0:22:39.040 oh man, he is not satisfied and he will be 0:22:39.080 --> 0:22:40.080 speaking to your manager. 0:22:40.200 --> 0:22:44.240 Yes, he exudes not satisfied with my service. That is 0:22:44.320 --> 0:22:45.399 his personality. 0:22:45.920 --> 0:22:50.240 Yeah, Beverly is great in this too, played by DJ Sidney, 0:22:50.280 --> 0:22:51.840 but she wasn't really in much beyond this. 0:22:52.840 --> 0:22:55.280 Oh, and then there's also Dobbs. He's like Bacardi Man 0:22:55.359 --> 0:22:57.879 number two. This movie has multiple Bacardi men. 0:22:58.480 --> 0:23:01.520 Dobbs is your straight Bcarardy man, though he is going 0:23:01.520 --> 0:23:04.720 to drink the Baccardi straight, no no mixers, no ice, 0:23:04.760 --> 0:23:07.800 and he will have it for breakfast. He plays our 0:23:08.280 --> 0:23:11.240 the dive boats alcoholic cook and I guess like sort 0:23:11.240 --> 0:23:16.080 of general like boat guy played by a Cola based 0:23:16.119 --> 0:23:21.080 actor Don Scout who lived nineteen twenty three through two 0:23:21.080 --> 0:23:23.399 thousand and four. And even he's good and this is 0:23:23.480 --> 0:23:26.520 kind of a you know, a throwaway role, I guess. 0:23:26.520 --> 0:23:29.720 But he's he's amusing, He's this. Yeah, just this, this 0:23:29.840 --> 0:23:32.240 alcoholic boat guy who you know is not going to 0:23:32.280 --> 0:23:34.520 make it far into the film. But he is also 0:23:34.560 --> 0:23:36.080 not you know, you're not he's not hateable. 0:23:36.400 --> 0:23:39.000 He has an interesting death scene we'll get too later on. 0:23:39.200 --> 0:23:43.240 Yeah, just a small role. But there's a fisherman that 0:23:43.240 --> 0:23:45.840 shows up early on, played by the actor Clarence Thomas 0:23:45.840 --> 0:23:48.600 who lived thirty four through two thousand and nine. An 0:23:48.640 --> 0:23:53.120 actor and according to IMDb, which again can sometimes be incorrect, 0:23:53.200 --> 0:23:57.560 but IMDb claims he was the first African American Florida 0:23:57.560 --> 0:24:00.000 Branch president of the Screen Actors Guild from two thousd 0:24:00.320 --> 0:24:02.000 to two thousand and two. So there you go. 0:24:02.480 --> 0:24:06.000 Now, there's one reason I know you must have wanted 0:24:06.000 --> 0:24:09.000 to do this movie, which is it has an electronic score. 0:24:09.720 --> 0:24:12.080 Yes, as far as I'm concerned, one of the and 0:24:12.080 --> 0:24:14.480 I think this is essential for my understanding of the 0:24:14.520 --> 0:24:16.920 Florida movie. But yeah, one of the true stars of 0:24:16.960 --> 0:24:21.800 this film is Richard Einhorn because he is responsible for 0:24:22.280 --> 0:24:26.560 Shockwave's tremendous score. I think it's absolutely top shelf composed 0:24:26.600 --> 0:24:30.320 and performed by contemporary classic musical composer Richard Einhorn. 0:24:30.720 --> 0:24:33.760 So this is not an Italian composed score, but I 0:24:33.800 --> 0:24:35.679 would say it feels Italian to me. 0:24:36.600 --> 0:24:39.280 Yeah, yeah, it definitely has some of those vibes going on. 0:24:39.600 --> 0:24:43.600 It's it's worth that a lot of electronic music in 0:24:43.680 --> 0:24:47.679 the genre score world, they come from individuals who, in 0:24:47.720 --> 0:24:50.200 some cases they were largely self taught, or they came 0:24:50.280 --> 0:24:54.520 up playing for and working with bands. Einhorn, however, was 0:24:54.520 --> 0:24:57.879 a graduate of Columbia University where he studied electronic music 0:24:57.920 --> 0:25:02.240 and composition under the of some individuals that are apparently 0:25:02.280 --> 0:25:07.320 major names in that field of not just popular electronic 0:25:07.359 --> 0:25:12.840 music but like classical composition and electronic music, like Vladimir 0:25:13.119 --> 0:25:17.240 Yusuchevsky and Mario david Offsky. And Einhorn went on to 0:25:17.280 --> 0:25:22.000 compose such works as The Origin and opera that was 0:25:22.040 --> 0:25:25.280 inspired by Charles Darwin's life and work with lyrics by 0:25:25.280 --> 0:25:26.680 poet Katherine Barnett. 0:25:27.119 --> 0:25:27.679 Interesting. 0:25:28.280 --> 0:25:31.719 Another composition, Voices of Light, was inspired by the Silent 0:25:31.800 --> 0:25:34.359 Joan of Arc film, and you can find this particular 0:25:35.080 --> 0:25:38.359 piece of music on Spotify and various other streaming sites. 0:25:38.640 --> 0:25:40.680 Buddy also did some trash horror. 0:25:40.320 --> 0:25:45.760 Movies YEP, including ultimately several Viderhorn movies. He did Eyes 0:25:45.760 --> 0:25:49.200 of a Stranger as well as he also did the 0:25:49.640 --> 0:25:52.160 influential nineteen eighty one slasher film The Prowler. 0:25:52.760 --> 0:25:55.120 Oh yeah, that was when we talked about. When I 0:25:55.160 --> 0:25:58.680 was a guest on Movie Crush with Chuck Bryant and 0:25:59.000 --> 0:26:02.400 several of our other friends from the office, we talked 0:26:02.400 --> 0:26:06.200 about slasher movies that one's not I mean, there really 0:26:06.240 --> 0:26:09.080 are no slasher movies that are like really good movies. 0:26:09.119 --> 0:26:12.880 Maybe Halloween or something, but that one's just in terms 0:26:12.920 --> 0:26:15.760 of slasher style, it's got a lot going for it. 0:26:15.760 --> 0:26:18.359 It's got a very menacing looking killer in terms of 0:26:18.400 --> 0:26:21.560 the costume, which is similar to what this movie really 0:26:21.560 --> 0:26:22.320 has going for it. 0:26:22.640 --> 0:26:26.840 Yeah, definitely menacing looking adversaries. Now, Einhorn also did Let's 0:26:26.840 --> 0:26:29.600 See Blood Rage, Dead of Winter, The Dark Tower, but 0:26:29.640 --> 0:26:34.200 he also composed the scores for, in particular the score 0:26:34.240 --> 0:26:37.960 for nineteen ninety one's Closet Land. This starred Madeline Stowe 0:26:38.000 --> 0:26:41.280 and Alan Rickman, and Philip Glass was involved as that 0:26:41.320 --> 0:26:45.960 as well as creative musical supervision, and from there he 0:26:46.000 --> 0:26:50.800 also did various work for documentaries and art films. Now, interestingly, 0:26:51.359 --> 0:26:54.439 Einhorn lost his hearing at the age of fifty seven, 0:26:54.840 --> 0:26:57.800 and there's a twenty eleven New York Times article that 0:26:57.880 --> 0:27:00.840 details how the use of a hearing allowed him to 0:27:00.920 --> 0:27:04.800 enjoy live music again. So if you're interested, I recommend 0:27:05.080 --> 0:27:07.800 looking that article up and reading it. It's quite it's 0:27:07.880 --> 0:27:10.400 quite breath tacking because it gets into the technology a bit, 0:27:10.640 --> 0:27:13.000 but also just talking to Einhorn about how, you know 0:27:13.040 --> 0:27:15.639 he'd lost his hearing, he thought that he'd never be 0:27:15.640 --> 0:27:21.119 able to enjoy live musical performances again. And then he's 0:27:21.280 --> 0:27:24.640 trying on this loop and he went to see Wicked, 0:27:24.720 --> 0:27:26.520 I think, or something like that, and he said, I'm 0:27:26.560 --> 0:27:31.959 not even a fan of musicals, but the experience reduced 0:27:32.040 --> 0:27:34.800 him to tears, you know, because he was able to 0:27:35.119 --> 0:27:38.359 hear this again. So it's a really great read that's inspiring. 0:27:38.960 --> 0:27:41.920 Now the score for Shockwaves again, in my opinion, I 0:27:41.920 --> 0:27:46.800 think it's absolutely great, legitimately jarring, deeply disturbing. I think 0:27:46.880 --> 0:27:49.440 Shockwaves would have ultimately been an interesting film with a 0:27:49.480 --> 0:27:52.359 different score, but I'm not sure it would have really 0:27:52.359 --> 0:27:55.280 succeeded to the level that it does because Einhorn just 0:27:55.320 --> 0:27:58.840 fills the picture with sonic dread that makes everything else 0:27:58.880 --> 0:28:01.520 work ten times as well as it would otherwise. There 0:28:01.560 --> 0:28:04.280 are bits where he bleeds in the audio of like 0:28:05.160 --> 0:28:07.960 Chance from the Third Reich, and there are also some 0:28:08.000 --> 0:28:12.879 really unsettling nature sounds as well, underwater reverberations. There's this 0:28:12.960 --> 0:28:16.679 disturbing shrieking sound at one point. So the music really 0:28:17.080 --> 0:28:18.359 really keeps you on your toes. 0:28:18.800 --> 0:28:30.320 Let's hear some of it now. 0:28:30.359 --> 0:28:33.040 I don't think the score is officially available anywhere in 0:28:33.119 --> 0:28:36.040 digital form. Sadly, you may be able to find some 0:28:36.119 --> 0:28:40.320 unofficial streams, but Waxwork Records has it out on vinyl, 0:28:40.480 --> 0:28:43.200 and I'm again I'm not a vinyl collector. I don't do, 0:28:43.280 --> 0:28:46.040 not have a record player, but this looks absolutely splendid 0:28:46.080 --> 0:28:51.400 because it's remastered and it's available in Seafoam Green. The 0:28:51.440 --> 0:28:54.080 actual record is Seafoam Green, and then it has some 0:28:54.720 --> 0:28:57.680 custom art on the front and on the back and 0:28:57.720 --> 0:29:01.120 some new liner notes. So any vinyl fans out there, 0:29:01.840 --> 0:29:04.720 if you're interested, check this out, and if you already 0:29:04.720 --> 0:29:06.640 own it, tell me what it is like. 0:29:07.040 --> 0:29:09.280 Oh, I may have to order this one. Yeah, it 0:29:09.280 --> 0:29:10.680 has good art, all right. 0:29:11.160 --> 0:29:15.160 I guess a couple of more connections here in passing. 0:29:15.760 --> 0:29:18.800 Alan Ormsby was born nineteen forty three is responsible for 0:29:18.840 --> 0:29:21.200 the special makeup we see in the picture of these 0:29:21.320 --> 0:29:24.480 Nazi zombies, and while he worked special makeup in a 0:29:24.520 --> 0:29:27.760 few films previously, including Children Shouldn't Play with Dead Things, 0:29:28.040 --> 0:29:30.520 he also wrote that film and actually served as a 0:29:30.560 --> 0:29:34.120 screenwriter for many years, with credits that include Paul Schrader's 0:29:34.160 --> 0:29:38.040 Cat People, the nineteen ninety one horror anthology film Popcorn, 0:29:38.560 --> 0:29:42.160 The Substitute starring Tom Behringer and its various sequels, which 0:29:42.200 --> 0:29:46.320 I think we've talked about and confused it with other 0:29:46.360 --> 0:29:48.720 films on that previous episodes of Weird House. 0:29:48.920 --> 0:29:52.440 I think, on reflection, I have not actually seen that movie. 0:29:52.480 --> 0:29:55.680 I just find it conceptually funny because it's Tom Barringer 0:29:55.760 --> 0:29:56.640 looking so stern. 0:29:57.080 --> 0:29:59.080 Yeah yeah, I think that's the only thing he does 0:29:59.080 --> 0:30:02.240 in it. But then also Ormsby has an additional story 0:30:02.320 --> 0:30:07.520 material credit on Disney's animated version of Mulan, So yeah, 0:30:07.640 --> 0:30:10.960 strange connections on this one. But yeah, the death Cord 0:30:11.360 --> 0:30:14.080 troopers in this do look very creepy with the goggles 0:30:14.120 --> 0:30:19.040 and the model pale flesh and wet seaweed like blonde hair. 0:30:19.400 --> 0:30:21.960 This is one of those movies that knows it has 0:30:22.040 --> 0:30:25.760 a great looking monster and so they just show it. 0:30:25.840 --> 0:30:27.840 You know. It reminds me of the story about the 0:30:27.840 --> 0:30:30.520 production of the first Friday the Thirteenth movie when they 0:30:30.560 --> 0:30:33.840 had oh, what's his name, who's doing the blood the 0:30:33.840 --> 0:30:37.560 makeup effects, Tom Savini, Tom Savini doing the makeup effects, 0:30:37.600 --> 0:30:40.440 and they realized the makeup effects looked so good. They 0:30:40.440 --> 0:30:42.960 were like, wellet we got to put those more on screens. 0:30:43.160 --> 0:30:45.800 They's just play it. Up. You get the sense that's 0:30:45.840 --> 0:30:49.560 what was going on here. I suspect the zombies in 0:30:49.600 --> 0:30:53.280 this movie ended up looking creepier than the director might 0:30:53.320 --> 0:30:55.640 have hoped, and so we end up just seeing them 0:30:55.760 --> 0:31:00.680 a lot. 0:31:05.040 --> 0:31:08.080 Well, let's get into the plot breakdown for this film. 0:31:08.560 --> 0:31:10.200 Let's explore shockwaves. 0:31:10.440 --> 0:31:13.480 Okay, Well, this is one of those movies that starts 0:31:13.520 --> 0:31:18.600 with a Texas chainsaw massacre style grim voiceover before you 0:31:18.640 --> 0:31:20.840 get any action or meet any of the characters. 0:31:21.160 --> 0:31:24.240 Yeah, it wants you to know this really happened, or 0:31:24.480 --> 0:31:25.760 to a certain extent. 0:31:25.640 --> 0:31:28.480 The following is a true story about Nazi zombies. 0:31:28.760 --> 0:31:30.880 Yeah, and I'll just go ahead and read it verbatim 0:31:30.880 --> 0:31:34.000 real quick, you know, in a creepy voice. Shortly before 0:31:34.040 --> 0:31:36.200 the start of World War Two, the German High Command 0:31:36.280 --> 0:31:39.360 began a secret investigation into the powers of the supernatural. 0:31:39.840 --> 0:31:42.520 Ancient legend told of a race of warriors who used 0:31:42.680 --> 0:31:46.120 neither weapons nor shields, and whose superhuman power came from 0:31:46.160 --> 0:31:49.240 within the earth itself. As Germany prepared for war, the 0:31:49.360 --> 0:31:51.760 s s secretly enlisted a group of scientists to create 0:31:51.760 --> 0:31:54.680 an invincible soldier. It is known that the bodies of 0:31:54.720 --> 0:31:57.680 soldiers killed in battle were returned to a secret laboratory 0:31:57.800 --> 0:32:00.440 near Koblin's, where they were used in a veryvariety of 0:32:00.480 --> 0:32:03.560 scientific experiments. It was rumored that toward the end of 0:32:03.560 --> 0:32:07.200 the war, Allied forces met German squads that fought without weapons, 0:32:07.440 --> 0:32:10.200 killing only with their bare hands. No one knows who 0:32:10.200 --> 0:32:12.320 they were or what became of them, but one thing 0:32:12.360 --> 0:32:15.120 is certain. Of all the SS units, there was only 0:32:15.160 --> 0:32:17.840 one that the Allies never captured a single member of. 0:32:18.840 --> 0:32:20.160 This is not a true story. 0:32:20.360 --> 0:32:23.040 No, this is not true at all, but it does. 0:32:23.680 --> 0:32:26.280 It sets the stage, and you know you're going to 0:32:26.320 --> 0:32:29.360 see all the soldiers in the photo again in an 0:32:29.360 --> 0:32:32.040 altered form. And if you weren't paying attention, don't worry. 0:32:32.040 --> 0:32:34.200 Peter Cushing will come around later in the film and 0:32:34.240 --> 0:32:35.720 he'll basically tell you everything again. 0:32:35.800 --> 0:32:36.640 Oh yeah, that's true. 0:32:36.680 --> 0:32:36.880 Yeah. 0:32:36.920 --> 0:32:40.800 You get a second exposition dump which somewhat varies from 0:32:40.800 --> 0:32:43.239 the narration at the beginning, which makes you wonder if 0:32:43.240 --> 0:32:45.680 Peter Cushing is maybe lying a little bit, or I 0:32:45.720 --> 0:32:47.800 don't know, or maybe I don't know, maybe I'd only 0:32:47.840 --> 0:32:51.000 perceive the differences anyway. So we start off with a 0:32:51.120 --> 0:32:53.880 fishing boat rescue. There are some fishermen who were out 0:32:53.880 --> 0:32:56.840 on the high seas and they spy a small boat 0:32:56.880 --> 0:33:00.440 adrift and they pull alongside to help, and we get 0:33:00.440 --> 0:33:04.400 some more narration, not by the John Laraquet style narration 0:33:04.520 --> 0:33:07.800 from the beginning, but instead from Brook Adams. And she's 0:33:07.920 --> 0:33:10.360 lying there in the boat, and you hear her saying 0:33:10.440 --> 0:33:13.320 in voiceover, I don't know how long that dinghy floated 0:33:13.360 --> 0:33:15.880 around with me lying in it. All I can remember 0:33:16.000 --> 0:33:18.640 was the sound of the water slapping against the side. 0:33:19.000 --> 0:33:22.120 Then I heard the engine sound getting closer. That was 0:33:22.160 --> 0:33:25.720 when I realized I was still alive. And it's Brook 0:33:25.760 --> 0:33:29.080 Adams in the boat, delirious with terror. She is helped 0:33:29.120 --> 0:33:31.760 onto the fishing boat by the captain of the fishing boat, 0:33:31.800 --> 0:33:35.160 and she tries to tell her rescuers what happened, but 0:33:35.240 --> 0:33:37.560 she seems like she can't speak. She's just sitting there 0:33:37.600 --> 0:33:40.920 kind of catatonic. And she says in the voiceover that 0:33:40.960 --> 0:33:45.160 it's only now that she remembers. So we immediately cut 0:33:45.160 --> 0:33:47.520 to the past and now we're on a pleasure boat, 0:33:47.560 --> 0:33:49.040 I guess. So we're not on the boat. We see, 0:33:49.040 --> 0:33:51.600 like you know, Brook Adams is diving around a reef 0:33:51.680 --> 0:33:54.959 with flippers and the diving mask, and she says it 0:33:55.000 --> 0:33:57.640 was the second day on one of those small dive 0:33:57.680 --> 0:34:00.720 boats that takes you around the islands. The engine had 0:34:00.760 --> 0:34:05.880 broken down for the second time. And yeah, immediately you 0:34:05.960 --> 0:34:08.160 noticed something about the boat that I noticed too. 0:34:08.640 --> 0:34:11.239 Yeah, small dive boat is not how I would I 0:34:11.280 --> 0:34:13.360 would describe this. This looks pretty big. I've been on 0:34:13.400 --> 0:34:16.319 some dive boats and they were all smaller than this. 0:34:16.520 --> 0:34:18.520 Yeah, this is a large boat, but it is. It 0:34:18.600 --> 0:34:21.440 is a large boat, and it is a struggling boat. 0:34:21.640 --> 0:34:24.239 We have a struggle boat here, chugging around in the 0:34:24.280 --> 0:34:27.120 water as best it can. But they do communicate that 0:34:27.160 --> 0:34:30.960 this boat has seen better days. And then no fooling around. 0:34:31.120 --> 0:34:35.880 We have Carodine. We immediately get Carrodine, as often happened, 0:34:35.880 --> 0:34:38.719 So Carrodine, there were like two captains of the ship. 0:34:38.800 --> 0:34:42.759 Or Carodine is the captain maybe and still water boy 0:34:42.800 --> 0:34:45.960 with the mustache is the first mate. Maybe, but he's 0:34:46.040 --> 0:34:49.120 like steering the ship and John Krodine just choose him 0:34:49.160 --> 0:34:52.400 out a lot. But as often happens, when we first 0:34:52.400 --> 0:34:56.319 meet John Carodine in this movie, he walks on set 0:34:56.680 --> 0:34:59.799 looking and sounding like he just ate three jars of 0:34:59.800 --> 0:35:03.319 ca right before he came onto the camera, he's just 0:35:03.920 --> 0:35:09.640 he's just briny and dyspeptic. From word one. Absolutely, he's saying, like, 0:35:09.719 --> 0:35:12.120 keep at half speed, no sense putting strain on a 0:35:12.160 --> 0:35:17.000 crank shaft. And uh, there's immediately conflicts between them because 0:35:17.000 --> 0:35:18.720 I guess you know, you got you got your old 0:35:18.760 --> 0:35:21.280 cap'ain and you got your young captain. And old cap'n 0:35:21.880 --> 0:35:25.399 is dressed like he's in some kind of auxiliary naval unit. 0:35:25.480 --> 0:35:28.960 This is, of course Carodine, and young cap'n looks like 0:35:29.239 --> 0:35:32.520 seventies rock and roll. You know, he's been playing cards 0:35:32.520 --> 0:35:35.480 with humble Pie and now he's out here not taking 0:35:35.520 --> 0:35:40.080 his responsibilities seriously. And there's just some glorious chewing out 0:35:40.080 --> 0:35:42.600 that goes on at you know, John Carodine's saying, it's 0:35:42.680 --> 0:35:46.920 north northwest, not northwest, you slob. We must have accurate 0:35:47.000 --> 0:35:51.160 navigation the sailor's best friend. And oh, and he goes 0:35:51.200 --> 0:35:54.120 into this speech about how you can't be a good 0:35:54.160 --> 0:35:57.840 captain just by being good looking. It's his ability to 0:35:58.000 --> 0:36:02.040 navigate that makes him a good captain. Also, did you 0:36:02.120 --> 0:36:06.080 notice that so during the boat piloting scenes. There's a 0:36:06.239 --> 0:36:08.719 problem that I notice in a lot of movies, which 0:36:08.800 --> 0:36:12.960 is an implausible amount of characters who are used to 0:36:13.040 --> 0:36:16.920 doing something talking about what they're doing, you know, So 0:36:16.960 --> 0:36:19.720 they're just saying back and forth to each other steer 0:36:19.760 --> 0:36:22.239 one sixty five and keep her steady and that kind 0:36:22.239 --> 0:36:24.480 of thing. But they're standing right next to each other. 0:36:24.640 --> 0:36:26.120 It just feels like the kind of thing that they 0:36:26.160 --> 0:36:27.600 wouldn't need to say out loud. 0:36:28.239 --> 0:36:30.279 Yeah, like even if this is the first day they've 0:36:30.320 --> 0:36:33.319 worked together, and yeah, even though you have the you know, 0:36:33.400 --> 0:36:38.120 clearly the elder captain here, you know, trying to instruct 0:36:38.239 --> 0:36:39.560 the younger seventies guy. 0:36:39.920 --> 0:36:43.680 Yeah, Now immediately we get some spooky underwater stuff. We 0:36:44.040 --> 0:36:48.680 start seeing these shots of a sunken submarine, and it's 0:36:48.719 --> 0:36:51.480 weird because in some ways, I would say this movie 0:36:51.640 --> 0:36:55.960 is for the most part, not stylistically anything to write 0:36:55.960 --> 0:36:58.520 home about in terms of photography and all that. But 0:36:58.719 --> 0:37:02.480 there they were like a select number of underwater shots 0:37:02.520 --> 0:37:06.280 and shots of the zombies that are actually very stylish 0:37:06.280 --> 0:37:08.520 and cool. And some of the underwater footage here where 0:37:08.600 --> 0:37:12.759 they capture schools of fish sort of darting around back 0:37:12.800 --> 0:37:16.360 and forth in unison, and the synchronized swimming patterns in 0:37:16.480 --> 0:37:19.280 the wreckage of this submarine. We see at the bottom 0:37:19.320 --> 0:37:21.720 of the water. That's all great stuff. 0:37:22.080 --> 0:37:24.920 Yeah, in its best moments, this film feels like a 0:37:24.960 --> 0:37:29.400 traumatic dream in the best way possible for a horror film. 0:37:29.520 --> 0:37:32.239 But okay, so something spooky is under the water. The 0:37:32.320 --> 0:37:35.040 music lets us know, you know, as we're going around 0:37:35.040 --> 0:37:38.440 this wreckage there's something wrong with it, something supernaturally wrong. 0:37:39.200 --> 0:37:42.640 And then something happens with the sun. Everything turns orange. 0:37:42.760 --> 0:37:45.319 This is not really explained, and I didn't really get 0:37:45.320 --> 0:37:47.480 what was going on, but suddenly there's just an orange 0:37:47.480 --> 0:37:48.600 filter on the camera. 0:37:49.080 --> 0:37:50.840 Yeah, I think, and I don't know how much of 0:37:50.840 --> 0:37:53.000 this is me reading into it knowing you know that 0:37:53.040 --> 0:37:55.440 they were high on the morning of the Magicians when 0:37:55.440 --> 0:37:57.719 they put this together. But I think this is like 0:37:57.760 --> 0:38:01.959 some sort of a solar phenomenon, or there's some sort 0:38:01.960 --> 0:38:04.680 of like like because later we keep hearing from them 0:38:04.680 --> 0:38:07.719 about how the compass isn't working anymore, you know, and 0:38:08.360 --> 0:38:11.120 clearly it's had some other weird effects on their surroundings. 0:38:11.200 --> 0:38:14.040 So perhaps it's kind of again, maybe kind of Texas 0:38:14.080 --> 0:38:16.320 Chainsaw MASc here in a way like that film opens 0:38:16.440 --> 0:38:21.040 up with this implied astrological disorder, and maybe here we're 0:38:21.040 --> 0:38:23.880 getting a more overt astrological disorder. 0:38:24.239 --> 0:38:27.480 Okay, so you know Saturn is in retrograde or something, 0:38:27.520 --> 0:38:29.880 and that's when the zombies wake up from the bottom 0:38:29.880 --> 0:38:33.320 of the ocean. I see. So then we start meeting 0:38:33.360 --> 0:38:37.120 the other characters. We get to meet Norman and his 0:38:37.160 --> 0:38:41.200 wife Beverly, and they're arguing about whether the captain knows 0:38:41.200 --> 0:38:45.279 what he's doing, and there's great like Norman decides he's 0:38:45.320 --> 0:38:48.520 going to go up and help the captain steer the boat. Norman, 0:38:48.600 --> 0:38:51.720 as I said earlier, is a cranky, aggressive nerd. 0:38:52.280 --> 0:38:57.359 Yeah, he's a joy to watch, but he is such 0:38:57.440 --> 0:39:01.279 a such a complainer, Like he just can't wait for 0:39:01.400 --> 0:39:04.040 yelp to be invented so he can properly review this 0:39:04.120 --> 0:39:04.880 dive company. 0:39:05.120 --> 0:39:09.040 This guy's he's a terror at restaurants. He gets cashiers 0:39:09.080 --> 0:39:13.000 fired everywhere he goes. Yeah, but on the way up 0:39:13.040 --> 0:39:16.359 to chew out the captain, he meets Biccardi Man who 0:39:16.360 --> 0:39:19.040 I think his name is Chuck, who is more laid back. 0:39:19.360 --> 0:39:21.879 Bacardi Man is making a house of cards, one might 0:39:21.920 --> 0:39:25.600 say a bunker of cards, and his characteristics when we 0:39:25.640 --> 0:39:28.600 first meet him, or that he's got his shirt unbuttoned 0:39:28.920 --> 0:39:32.879 several more buttons down than Norman does, so you can 0:39:32.920 --> 0:39:36.719 tell he's cooler. And he just drinks rum and chills out. 0:39:37.120 --> 0:39:40.440 Yep, just having having rum and coke and stacking cards. 0:39:41.320 --> 0:39:43.520 And then of course we meet Dobbs, the cook we 0:39:43.600 --> 0:39:47.680 already talked about, who takes his Bacardi straight, unlike Chuck, 0:39:47.719 --> 0:39:50.759 who likes his with Coca cola. And Dobbs is sort 0:39:50.760 --> 0:39:56.600 of Coleridge's ancient mariner. He's got strong, unhandbeat graybeard loon energy. 0:39:57.400 --> 0:39:59.759 Oh and then they all meet up for dinner. And 0:39:59.840 --> 0:40:02.080 so during this dinner you're supposed to be paying attention 0:40:02.120 --> 0:40:05.080 to the dialogue because John Carrodine and Norman get into 0:40:05.120 --> 0:40:08.280 this big blow up about I don't know about whether 0:40:08.440 --> 0:40:11.279 the ship is seaworthy or not, I think. But the 0:40:11.320 --> 0:40:14.080 main thing I couldn't stop paying attention to was this 0:40:14.200 --> 0:40:18.280 old school can of craft grated parmesan cheese on the table, 0:40:18.360 --> 0:40:22.640 and the can looks blue. Now that product is decidedly 0:40:22.680 --> 0:40:25.399 in a green can, and I was trying to figure out, Okay, 0:40:25.400 --> 0:40:28.240 were these cans blue in the eighties or the color 0:40:28.320 --> 0:40:30.040 is screwed up on the film. 0:40:30.120 --> 0:40:31.919 Yeah, or I get well, this would have been seventy five, 0:40:32.000 --> 0:40:34.360 so maybe they were blue in the mid seventies. 0:40:34.040 --> 0:40:36.320 Yeah, the seventies, okay, or. 0:40:36.080 --> 0:40:39.040 Perhaps that astrological disorder. One of the things it did 0:40:39.080 --> 0:40:43.719 is it flipped the colors on the graded parmesan cheese cannon. 0:40:43.560 --> 0:40:49.560 Products are blue now yeah, yeah, reverse polarity, and also 0:40:49.719 --> 0:40:51.800 change the color of graded parmesan canisters. 0:40:52.000 --> 0:40:55.200 Uh huh. But let's get back to Norman's mutiny here. 0:40:55.760 --> 0:40:58.200 What is Dobs serving that with? Though he's got the 0:40:58.239 --> 0:41:00.840 graded parmesan on the boat, did he make it Italian food? 0:41:03.040 --> 0:41:05.480 I guess. I mean, we see his kitchen later and 0:41:05.520 --> 0:41:08.120 it is awful looking, like it's just it's got like 0:41:08.239 --> 0:41:11.400 just it's pin ups, like plastered to the wall, like 0:41:11.400 --> 0:41:14.400 like just like a fixed in place with bile or something, 0:41:14.440 --> 0:41:17.080 and chewing them and then just like junk all over 0:41:17.120 --> 0:41:20.000 the floor. It looks like there has been some just design. 0:41:20.040 --> 0:41:21.480 I mean, maybe the idea is supposed to have been 0:41:21.480 --> 0:41:24.040 at that point there's been like rough seas, but I 0:41:24.040 --> 0:41:25.640 don't know. It just looks it looks gross. 0:41:25.880 --> 0:41:28.640 He lights the burner on his stove with old playboys. 0:41:29.080 --> 0:41:30.040 Yeah. 0:41:30.040 --> 0:41:32.160 But as I was saying earlier, Norman does not like 0:41:32.200 --> 0:41:34.680 the way Carrodine is running things, and he I think 0:41:34.719 --> 0:41:38.360 he basically literally proposes a mutiny, Like he talks to 0:41:38.400 --> 0:41:41.400 the other he's trying to talk to the other tourists 0:41:41.440 --> 0:41:42.880 into taking over the boat. 0:41:43.719 --> 0:41:46.400 Yeah, they're They're like, what you were gonna take over? 0:41:46.480 --> 0:41:47.920 He's like, now we'll have one of these other people 0:41:47.920 --> 0:41:49.520 do it. They're idiots, but they can do it, Like 0:41:49.560 --> 0:41:50.880 he's he's just awful to have. 0:41:50.960 --> 0:41:53.120 He's just like, we'll have daubs drive the boat. 0:41:54.800 --> 0:41:54.920 Uh. 0:41:55.000 --> 0:41:57.680 And this seems to be a reaction to quote what 0:41:57.920 --> 0:42:03.040 happened earlier and some unspecified story that Dobb's allegedly told 0:42:03.080 --> 0:42:06.640 about spooky doings out on the ocean, But again, what 0:42:06.760 --> 0:42:09.520 actually happened earlier, like the sky turned orange? But I 0:42:09.560 --> 0:42:12.520 don't get what happened that it is they're reacting to. 0:42:13.000 --> 0:42:17.600 Yeah, I don't know, just sort of general Bermuda triangleness occurred. 0:42:17.640 --> 0:42:19.960 You know, this guy went weird, the sun went weird, 0:42:20.280 --> 0:42:22.960 compasses aren't working. Maybe they felt weird as well. I 0:42:23.000 --> 0:42:23.319 don't know. 0:42:23.880 --> 0:42:26.759 You know, there's a great scene where Brooke Adams is 0:42:26.760 --> 0:42:28.919 she supposed to be married to Biccardi man. 0:42:29.960 --> 0:42:32.799 No, oh, it may not be completely clear in the 0:42:32.840 --> 0:42:35.200 early stages, as we're trying to feel out these characters, 0:42:35.200 --> 0:42:37.440 but it becomes clear that yeah, they're not married. 0:42:37.520 --> 0:42:40.960 Oh okay, okay, but she After this, it's like the 0:42:41.000 --> 0:42:45.200 middle of the night and maximum mustaches driving the boat 0:42:45.719 --> 0:42:48.839 and Brook Adams comes up to talk to him and 0:42:48.920 --> 0:42:51.400 it's great. So it's like nighttime out on the ocean, 0:42:51.719 --> 0:42:54.799 and we find out from this conversation that he likes 0:42:54.840 --> 0:42:57.680 to be alone up here and he doesn't know where 0:42:57.680 --> 0:43:02.600 they are. Oh. But then their little moment is interrupted 0:43:02.640 --> 0:43:04.719 because a ghost ship comes out of the dark and 0:43:04.800 --> 0:43:09.319 slams into their boat. Yeah, and so they argue about this. 0:43:09.440 --> 0:43:11.640 John Carodine does not believe it. He's like, oh the 0:43:11.760 --> 0:43:14.520 ghost ship, huh, I bet you believe in fairies too. 0:43:15.320 --> 0:43:17.040 But then they find a bunch of damage on the 0:43:17.120 --> 0:43:19.360 hull and they shoot a flare out into the dark 0:43:19.400 --> 0:43:22.040 and there it is. And this is a good creepy scene. 0:43:22.200 --> 0:43:24.359 Yeah, yeah, because what's going on? Where did this ghost 0:43:24.360 --> 0:43:25.120 ship come from? 0:43:25.880 --> 0:43:28.600 But then in the morning, all kinds of problems. In 0:43:28.640 --> 0:43:31.440 the morning, the boat is beached on a mysterious island. 0:43:32.080 --> 0:43:36.120 Captain Carrodine is just gone, and so everybody has to 0:43:36.160 --> 0:43:38.759 go ashore until they can get the ship free of 0:43:38.840 --> 0:43:42.279 the shoal that it has run aground on. Oh and 0:43:42.280 --> 0:43:44.640 then I mentioned this moment earlier, but while Norman and 0:43:44.680 --> 0:43:47.960 Beverly are being rowed ashore by Keith, they're being rowed 0:43:48.000 --> 0:43:51.239 ashore in a glass bottom dinghy, which I've never heard 0:43:51.280 --> 0:43:53.280 of before. I mean, I've heard of glass bottomed boats, 0:43:53.320 --> 0:43:56.560 but those usually tend to be have more passengers. I think. 0:43:56.719 --> 0:43:58.440 I guess it's because since this is supposed to be 0:43:58.480 --> 0:44:03.640 a vacation boat, they have a glass bottom boat on hand. 0:44:04.680 --> 0:44:08.720 But yeah, it's effective because yeah, they're they're moving right along, 0:44:08.760 --> 0:44:12.120 and then there's Carradine's corpse just bobbing up against the glass. 0:44:12.280 --> 0:44:16.279 Yeah, he's bubbling in the water right, praying to Mundopi. 0:44:17.640 --> 0:44:21.440 And so anyway on the island, Bacardi man climbs a 0:44:21.480 --> 0:44:24.640 palm tree, he sees a building and so they're like, okay, 0:44:24.719 --> 0:44:27.120 that's where we're going. So everybody hikes through the jungle 0:44:27.200 --> 0:44:30.640 to reach this building, which is a sort of classic 0:44:31.160 --> 0:44:34.640 Caribbean or Florida kind of Spanish opulent style. 0:44:35.719 --> 0:44:37.800 Yeah, so I want to mention real quick, this is 0:44:37.840 --> 0:44:42.480 pretty fun because this is this is this hotel that 0:44:42.560 --> 0:44:45.680 we visit here is very much a real place in Florida, 0:44:46.239 --> 0:44:49.600 this ruined hotel. They apparently paid something like two hundred 0:44:49.600 --> 0:44:52.240 and fifty dollars to rent the entire thing for the picture, 0:44:53.600 --> 0:44:56.480 but it was It was subsequently fixed back up a 0:44:56.480 --> 0:45:00.400 few years later and is known as the Biltmore Hotel. 0:45:00.440 --> 0:45:04.239 It's in Coral Gables, Florida, just outside of Miami, and 0:45:04.600 --> 0:45:05.920 you can look it up online. You can go to 0:45:05.920 --> 0:45:08.960 build More hotel dot com and see it. It is. 0:45:09.600 --> 0:45:14.320 It's super fancy. The story here, according to Jason Scott 0:45:14.320 --> 0:45:16.640 Degan at golf Pass, that's where I always go to 0:45:16.640 --> 0:45:21.240 get my shirts, my stories about sets in seventies zombie movies. 0:45:22.160 --> 0:45:24.759 It opened in the twenties and was the sort of 0:45:24.800 --> 0:45:27.960 fancy Florida destination for the likes of al Capone and 0:45:28.040 --> 0:45:31.600 President Franklin D. Roosevelt. But then it was converted into 0:45:31.640 --> 0:45:34.759 a hospital in nineteen forty two, and it remained one 0:45:35.160 --> 0:45:37.920 all the way through nineteen sixty eight, and then it 0:45:37.960 --> 0:45:40.520 was just empty for more than a decade, and that 0:45:40.640 --> 0:45:43.279 was during that time, that's when they filmed Shockwaves there. 0:45:43.440 --> 0:45:45.839 But then Coral Gables had it renovated and it opened 0:45:45.880 --> 0:45:48.840 back up in eighty seven, entered private ownership in nineteen 0:45:48.920 --> 0:45:52.040 ninety two, and I checked earlier. If you want to 0:45:52.040 --> 0:45:54.320 get a room there, it's like two hundred and sixty 0:45:54.320 --> 0:45:57.719 eight dollars a night or something like that. That probably changes. 0:45:57.760 --> 0:45:59.319 Don't quote me on that if you're planned to stay there. 0:45:59.360 --> 0:46:02.960 But the point is they rented the whole thing when 0:46:02.960 --> 0:46:06.160 it was a ruin, for the duration of the filming 0:46:06.239 --> 0:46:08.560 for just two hundred and fifty bucks. And so there 0:46:08.600 --> 0:46:10.759 are gonna be some scenes in Shockwaves where they're in 0:46:10.760 --> 0:46:13.759 like some sizable hallways and you see some columns and 0:46:13.840 --> 0:46:16.960 a big fireplace in the background. It's fun because you 0:46:17.000 --> 0:46:18.920 can pause the film and then you can go grab 0:46:18.960 --> 0:46:22.560 your computer and you can look up current photos and 0:46:22.600 --> 0:46:25.480 you can see like those same places that are now 0:46:25.520 --> 0:46:28.040 super fancy and ritzy and colorful and just you know, 0:46:28.840 --> 0:46:32.440 done up like a fancy golf course hotel. And I'm 0:46:32.480 --> 0:46:34.080 looking at that, I'm like, oh man, how many people 0:46:34.080 --> 0:46:36.560 are walking through that and they don't realize that Peter 0:46:36.640 --> 0:46:37.399 Cushing was here. 0:46:37.719 --> 0:46:41.200 You know, this was a Shockwaves no idea. They've never 0:46:41.280 --> 0:46:44.640 been on the Shockwaves tour. I was thinking, so, okay, 0:46:44.719 --> 0:46:47.319 if they had wanted to go a true direction, then 0:46:47.360 --> 0:46:51.320 with this hotel, instead of the you know ss zombies direction, 0:46:51.760 --> 0:46:54.160 they could have embraced the fact that this was where 0:46:54.200 --> 0:46:57.160 al Capone and Franklin D. Roosevelt came. So they could 0:46:57.160 --> 0:47:02.799 have zombie I guess prohibitions like liquor smugglers, and then 0:47:02.840 --> 0:47:05.560 they could have what I don't know, zombie members of 0:47:05.600 --> 0:47:07.680 the Spillion Conservation Corps. 0:47:07.680 --> 0:47:11.040 I guess dead and zing as well does it. But 0:47:11.120 --> 0:47:13.000 it could have changed the course, like that's that's of 0:47:13.360 --> 0:47:15.719 of of media, that's where we would we would have 0:47:15.719 --> 0:47:19.120 in video games now it would be uh, you know, 0:47:19.280 --> 0:47:23.040 zombie Bootlegger video games. That would be the big craze. 0:47:23.239 --> 0:47:24.880 I can maybe be interesting, I don't know. 0:47:24.960 --> 0:47:27.600 I don't know anyway in this film though, Yeah, the 0:47:27.640 --> 0:47:30.400 place looks it's just an effective Florida ruin, And I 0:47:30.400 --> 0:47:32.280 think it's one of the things that makes that helps 0:47:32.320 --> 0:47:34.759 make the movie work is that this is this is 0:47:34.960 --> 0:47:40.560 like the ruined splendor of Florida, which you inevitably encounter, 0:47:41.640 --> 0:47:44.040 you know, examples of you know, you can't have you know, 0:47:44.120 --> 0:47:48.480 coastal tourism exist in a place without things following and 0:47:48.640 --> 0:47:51.520 falling into disrepair and becoming kind of uh, you know, 0:47:51.640 --> 0:47:53.680 mysterious or half mysterious ruins. 0:47:54.040 --> 0:47:56.000 Yeah, so it's a good setting. And I would say 0:47:56.320 --> 0:47:59.799 this moment is also where the movie shifts gears and 0:48:00.000 --> 0:48:03.480 and it goes into what it remains actually for the 0:48:03.480 --> 0:48:07.400 remainder of the movie, mostly, which is shots of zombies 0:48:07.480 --> 0:48:11.440 lumen goggle zombies. Again, there's excellent costume and makeup design 0:48:11.600 --> 0:48:15.160 because it's pretty simple. They're just in these old uniforms 0:48:15.160 --> 0:48:17.600 and they've got kind of messed up looking skin, and 0:48:17.640 --> 0:48:20.360 then they have these goggles and the goggles. The goggles 0:48:20.360 --> 0:48:22.879 are just bottomless pits. It's really good. 0:48:23.239 --> 0:48:26.160 Yeah, it all comes together to make a very evocative 0:48:28.200 --> 0:48:30.319 adversary here. And at first they just seem to be 0:48:30.360 --> 0:48:33.520 scouting things out like they've been They've clearly been awakened 0:48:33.920 --> 0:48:35.760 and now they're scoping out the joint. 0:48:36.120 --> 0:48:40.600 So meanwhile, our tourists wander through the old hotel Bacardi 0:48:40.680 --> 0:48:44.640 man and Dobbs, who is also swinging Baccardy, They find 0:48:44.719 --> 0:48:49.440 a tank full of fish. Are these frogfish? Like your 0:48:49.560 --> 0:48:52.640 checklist for Florida movies? It has tanks of fish in it. 0:48:53.000 --> 0:48:54.920 Yeah. Yeah, I'm not sure off hand what this was. 0:48:54.960 --> 0:48:57.560 Maybe scorpion fish, but either way, it's got some big 0:48:57.640 --> 0:49:00.600 zat energy going on and I love it. Yeah, And 0:49:00.680 --> 0:49:03.640 Dobbs it becomes clear has this this never ending supply 0:49:03.680 --> 0:49:05.880 of booze on his person. He pulls out the largest 0:49:05.920 --> 0:49:08.880 flask I've ever seen in some of these these scenes. Like, 0:49:08.920 --> 0:49:12.000 it's not a hip flask, it's like a leg flask. 0:49:12.239 --> 0:49:13.640 It's like a backpack flask. 0:49:13.880 --> 0:49:14.840 Yeah. 0:49:14.880 --> 0:49:17.239 But also at this point it's Cushing time. So they're 0:49:17.280 --> 0:49:20.480 they're wandering around. Oh, I think they somehow come across 0:49:20.600 --> 0:49:24.200 a like a there's like an old phonograph that starts 0:49:24.200 --> 0:49:28.560 playing warped, creepy music, and everybody comes and finds that thing. 0:49:28.600 --> 0:49:31.840 And they're standing in this big hallway and then from 0:49:31.880 --> 0:49:34.560 out of somewhere you get you get Cushing voice, kind 0:49:34.560 --> 0:49:38.759 of nasal Cushing voice, disembodied eternal, saying why have you 0:49:38.800 --> 0:49:41.600 come to this place? And they say where are you? 0:49:41.719 --> 0:49:43.719 And he says, I am near but also far. 0:49:45.680 --> 0:49:46.239 Yeah. 0:49:46.280 --> 0:49:49.560 And so from this conversation, let's see, they explain how 0:49:49.600 --> 0:49:52.319 they got here. Cushing tells them he can't help them. 0:49:52.760 --> 0:49:56.520 They explain the ghost ship that rammed their boat. Actually 0:49:56.520 --> 0:49:59.240 it is a long wrecked ship that's out on the reef. 0:50:00.080 --> 0:50:02.480 And then this was pretty funny Cushing just freaks out 0:50:02.520 --> 0:50:05.840 at this news, and then you see him and he 0:50:05.960 --> 0:50:07.520 learns the name of the ship and he just sort 0:50:07.560 --> 0:50:09.719 of busts out running through the forest to go look 0:50:09.800 --> 0:50:11.120 at it. 0:50:11.120 --> 0:50:13.880 It's kind of an interesting twist on what you might 0:50:13.920 --> 0:50:15.879 expect in a lot of these films, where I mean, 0:50:16.120 --> 0:50:18.720 not too big of a twist. I guess there's always 0:50:18.719 --> 0:50:22.120 this idea that the mastermind or the mad scientist involved 0:50:22.120 --> 0:50:24.680 in a scenario is going to be consumed by his 0:50:24.680 --> 0:50:28.719 own creations. But there's never even any idea, like even 0:50:28.920 --> 0:50:32.000 a pretense that he has control over these things, like 0:50:32.320 --> 0:50:34.960 he's afraid of them as everyone else from the get go. 0:50:35.040 --> 0:50:36.920 He just has a little more information. 0:50:36.920 --> 0:50:39.399 Right exactly, So he goes out there to look at them. 0:50:39.440 --> 0:50:44.280 He clearly is he's shaken. Meanwhile, the tourists establish camp 0:50:44.480 --> 0:50:47.399 within Hotel SS. They just like go into a room 0:50:47.440 --> 0:50:50.919 and they start getting pillows and after we get comfy, yeah, 0:50:51.000 --> 0:50:54.480 they get comfy, and oh and then there's this great shot. 0:50:54.560 --> 0:50:54.840 Again. 0:50:55.120 --> 0:50:57.360 Most of what's the best about this movie is just 0:50:57.480 --> 0:51:01.760 good creepy shots of zombies with in goggles doing creepy stuff. 0:51:02.160 --> 0:51:04.400 One of my favorites is this moment that's coming right 0:51:04.480 --> 0:51:08.560 up where the zombies have like these little cubicles of 0:51:08.760 --> 0:51:11.160 coral that they appear to be sleeping in. They're like 0:51:11.280 --> 0:51:15.160 laying down horizontally in these little boxes around the reef. 0:51:15.680 --> 0:51:17.960 And there's one scene where one of them reaches up 0:51:18.000 --> 0:51:20.279 from below the water and grips the part of the 0:51:20.320 --> 0:51:22.600 reef that protrudes. It's very cool. 0:51:22.920 --> 0:51:24.480 Yeah, and again this is one of those things like 0:51:24.560 --> 0:51:25.840 imagery from a dark dream. 0:51:26.200 --> 0:51:36.919 Yeah. But anyway, we're forty minutes in and I think 0:51:36.920 --> 0:51:40.120 we've just officially reached the zombie attack part of the movie, 0:51:40.120 --> 0:51:42.439 and that defines the rest of what goes on. There's 0:51:42.440 --> 0:51:44.520 two main things that happen from here on out. It's 0:51:44.920 --> 0:51:48.920 zombies being creepy looming looking at you with the goggles, 0:51:48.920 --> 0:51:51.760 and zombies grabbing people and killing them. 0:51:51.960 --> 0:51:56.759 Yeah. And it's pretty effective because you have basically two 0:51:56.760 --> 0:51:59.360 locations go well three, I guess there's the surf and 0:51:59.440 --> 0:52:03.400 out in the water there's the sort of Florida coastal jungle, 0:52:03.800 --> 0:52:06.239 and then they are the ruins of the hotel. And 0:52:06.719 --> 0:52:10.479 in all of those the the Death Corps troopers here. 0:52:10.840 --> 0:52:14.359 They man, they just they move around in very interesting ways. 0:52:14.360 --> 0:52:19.840 They're not like shambling zombies. They're very deliberate and slow 0:52:19.960 --> 0:52:24.120 and stealthy, like when they stalk and hunt their prey 0:52:24.160 --> 0:52:26.480 in this and it's it's it's very unsettling. 0:52:26.840 --> 0:52:30.279 There is a moment where the cook Daubs he goes 0:52:30.320 --> 0:52:32.759 out to get supplies to cook food for everybody. I 0:52:32.760 --> 0:52:34.360 don't know what he plans to cook it on, but 0:52:35.040 --> 0:52:36.920 he does that, and I guess he's coming back with 0:52:37.080 --> 0:52:40.239 food supplies from the boat and he gets attacked by 0:52:40.239 --> 0:52:44.840 a goggle beast. But the attack is interesting. The goggle 0:52:44.880 --> 0:52:48.880 beast does not grab him. Instead, it menaces him until 0:52:48.920 --> 0:52:52.600 he falls to his death in a pool of sea urchins. 0:52:52.640 --> 0:52:55.000 And I think that is a first and only for me. 0:52:55.360 --> 0:52:58.120 I don't think I've ever seen pit of sea urchins 0:52:58.239 --> 0:53:00.560 otherwise used as a murder weapon movie. 0:53:01.280 --> 0:53:03.719 I winced when I saw this. It's been a while 0:53:03.800 --> 0:53:06.120 since I've seen it, so I'd forgotten about this scene. 0:53:06.160 --> 0:53:09.000 But I certainly have been around sea urchins, and you 0:53:09.040 --> 0:53:11.560 know sometimes when I'm in the water with them, and yeah, 0:53:11.600 --> 0:53:13.160 you have that in the back of your head. I 0:53:13.160 --> 0:53:14.719 don't want to touch that. I certainly don't want to 0:53:14.760 --> 0:53:18.399 fall on it with my face like Dobbs does. So 0:53:18.520 --> 0:53:19.800 this one gave me the all overs. 0:53:20.120 --> 0:53:23.520 Yeah. Oh, and then it's funny with everybody discovers that 0:53:23.640 --> 0:53:26.240 Dobbs has died. When Brooke Adams puts on the bathing 0:53:26.280 --> 0:53:28.960 suit and decides to go swimming in this fetid pond 0:53:29.040 --> 0:53:30.120 full of sea urchins. 0:53:30.520 --> 0:53:32.000 Yeah, well it's hot, it's hot out there. 0:53:32.120 --> 0:53:36.520 Yeah, but she just she literally bumps right into him. 0:53:36.560 --> 0:53:39.040 So he's all mangled laying there in the reeds and 0:53:39.080 --> 0:53:42.640 she back strokes into him and then yeah, freaks out. Whoops. 0:53:42.920 --> 0:53:47.080 This movie has more finding of drowned characters than any 0:53:47.080 --> 0:53:49.960 other film I've seen, but it's very well done, Like 0:53:50.000 --> 0:53:53.880 each discovery is horrific. And even though like all the 0:53:53.960 --> 0:53:56.080 kill I think all the kills in this film are bloodless, 0:53:57.000 --> 0:53:58.920 but they're still they tend to be disturbing. 0:53:59.080 --> 0:54:03.240 Oh yeah, yeah, they're disturbing because of the atmosphere, the music, 0:54:03.400 --> 0:54:06.200 the you know, the goggles and all that. It's, yeah, 0:54:06.880 --> 0:54:09.279 you don't need blood be to be disturbing. In fact, 0:54:09.840 --> 0:54:12.320 I was actually just talking about this with with Rachel 0:54:12.440 --> 0:54:15.680 not too long ago, about how when you go back 0:54:15.719 --> 0:54:20.120 and watch Texas Chainsaw Massacre, it's surprising how little blood 0:54:20.160 --> 0:54:20.880 there is in it. 0:54:21.000 --> 0:54:24.440 M M yeah, yes, it's definitely similar energy in this, 0:54:24.840 --> 0:54:25.400 but there's. 0:54:25.239 --> 0:54:28.320 Even less in this than there is in that. But anyway, 0:54:28.520 --> 0:54:31.000 so everybody goes back to the hotel, and in the meantime, 0:54:31.080 --> 0:54:33.239 I don't know what to make of this. Suddenly they 0:54:33.320 --> 0:54:35.640 go back to the hotel and there's stuff there that 0:54:35.760 --> 0:54:37.920 I don't remember seeing the previous time, which is that 0:54:38.040 --> 0:54:41.560 like Cushing has like swastika crap hanging up. He's like 0:54:41.920 --> 0:54:46.520 he's like put up Nazi decorations since they were last 0:54:46.600 --> 0:54:49.719 in his area. Is is that what we're supposed to understand. 0:54:50.320 --> 0:54:52.239 I thought it was maybe just a section of this 0:54:52.360 --> 0:54:55.239 big hotel that we hadn't seen yet, But yeah, he 0:54:55.280 --> 0:54:58.600 has it decorated with a billion mirrors, which I don't know. 0:54:58.640 --> 0:55:01.520 Maybe that's some sort of anxiety about things creeping up 0:55:01.560 --> 0:55:05.359 on him, like his own creations here or and then 0:55:05.360 --> 0:55:09.279 he has the Nazi flags up. But this is all 0:55:09.320 --> 0:55:11.360 we see of his life here. There's no mad science 0:55:11.440 --> 0:55:14.000 lab or anything. There's no even inclination that he's been 0:55:14.080 --> 0:55:18.560 up to anything the past, you know what. Ever, since 0:55:18.600 --> 0:55:20.960 the end of the Second World War, he's just been 0:55:21.000 --> 0:55:24.440 hanging out here in this ruined hotel, just doing nothing. 0:55:24.520 --> 0:55:26.640 What's he eating, what's he surviving on that? 0:55:26.920 --> 0:55:29.839 I don't know. He's not doing great though, I mean 0:55:29.880 --> 0:55:30.840 he looks. 0:55:30.760 --> 0:55:32.640 Really shabby, Yes he does. 0:55:32.920 --> 0:55:35.000 I don't think I've ever seen Peter Cushing and short 0:55:35.000 --> 0:55:37.520 sleeves before, but he's got these raggedy short sleeves and 0:55:37.560 --> 0:55:39.879 a kerchief tied around his neck. I mean he looks 0:55:39.960 --> 0:55:41.480 he looks shipwrecked the whole time. 0:55:41.680 --> 0:55:43.920 That's a good point. I did not notice the Cushing 0:55:44.000 --> 0:55:46.600 short sleeves. But you're right, and that is a defined 0:55:46.640 --> 0:55:49.640 I mean Cushing. Cushing is somebody who needs a jacket 0:55:49.719 --> 0:55:53.359 and tie. That's part of who he is. But here 0:55:53.480 --> 0:55:57.920 is here we get our exposition dump. Should we have 0:55:58.000 --> 0:56:00.960 exposition dump music that plays every time we get to 0:56:01.000 --> 0:56:03.080 that part of the plot. I don't know, Seth. I'll 0:56:03.120 --> 0:56:08.400 let you decide that anyway. But exposition dump Cushing is 0:56:08.440 --> 0:56:11.440 now explains everything to them. He's hanging out with Norman 0:56:11.560 --> 0:56:14.160 and Chuck and these goobers. 0:56:13.719 --> 0:56:16.560 And he's very succinct though, like he doesn't mess around. 0:56:16.600 --> 0:56:18.840 There's no gloating. He just tells it like it seems 0:56:18.840 --> 0:56:19.040 to be. 0:56:19.320 --> 0:56:19.400 No. 0:56:19.560 --> 0:56:22.160 Here are the facts from his exposition dump. It is 0:56:22.360 --> 0:56:25.799 you are dumb you should have left. Now you will die. 0:56:26.200 --> 0:56:29.200 Allow me to explain. I was an SS commander in 0:56:29.239 --> 0:56:32.200 World War two. I commanded a group of aquatic zombie 0:56:32.320 --> 0:56:35.560 SS troops that could live underwater without ever having to surface. 0:56:36.480 --> 0:56:38.520 And then there was one part I wanted to quote 0:56:38.719 --> 0:56:41.680 because it was so weird. He says, we created the 0:56:41.719 --> 0:56:45.919 perfect soldier from street hoodlums and thugs and a good 0:56:46.000 --> 0:56:50.120 number of pathological murderers and sadists. We called them the 0:56:50.160 --> 0:56:54.480 Totin Core. The Death Core creatures more horrible than any 0:56:54.560 --> 0:56:58.360 you can imagine, not dead, not alive, but somewhere in between. 0:56:59.000 --> 0:57:01.560 And then he starts complain about how they wouldn't obey 0:57:01.680 --> 0:57:04.960 orders and couldn't be controlled. But he says they made them. 0:57:05.120 --> 0:57:08.520 They just like tried to get pathological murderers and sadists. 0:57:08.960 --> 0:57:11.480 And then he starts complaining about how they would not 0:57:11.560 --> 0:57:14.480 obey orders and could not be controlled. And at the 0:57:14.560 --> 0:57:17.000 end of the war, Cushing came to this island, I guess, 0:57:17.080 --> 0:57:20.600 to escape justice, and he sank the ship containing the 0:57:20.640 --> 0:57:24.600 Death Core, And somehow in the past couple days the 0:57:24.640 --> 0:57:27.840 ship unsank and the Death Corps are now on the loose. 0:57:28.360 --> 0:57:31.040 Oh Andy pulls out his Luger, and he says, now 0:57:31.080 --> 0:57:32.880 I want you to leave. If I see any of 0:57:32.920 --> 0:57:34.560 you at all, I will shoot on site. 0:57:34.880 --> 0:57:39.840 Yep. And they're like, okay, fair enough, gotcha. 0:57:40.680 --> 0:57:43.400 So then Cushing he starts running around. I couldn't quite 0:57:43.440 --> 0:57:45.480 understand what it was he was trying to do at 0:57:45.480 --> 0:57:47.760 this point, but he goes out waiting in the water, 0:57:48.120 --> 0:57:51.640 and then did you understand what he was trying to 0:57:51.680 --> 0:57:52.440 do at this point? 0:57:52.680 --> 0:57:55.280 Yeah, So my read on this, and it could be incorrect, 0:57:55.440 --> 0:57:58.640 is that is that I think ultimately that he was 0:57:58.760 --> 0:58:01.960 trying to distract them, trying to distract the death core 0:58:02.400 --> 0:58:04.360 because even though he's like, you guys are dumb. I 0:58:04.400 --> 0:58:05.960 told you how to get away and you didn't, and 0:58:06.000 --> 0:58:07.600 now you're just gonna die, like all of us are 0:58:07.600 --> 0:58:10.080 going to die. There there are a couple of lines 0:58:10.120 --> 0:58:14.680 where he admits some level of responsibility for all the 0:58:14.720 --> 0:58:17.600 deaths that have occurred because of these things, and so 0:58:17.680 --> 0:58:20.040 there's kind of a sense, but not like a super 0:58:20.400 --> 0:58:22.920 like Hammy sense, but there's this I kind of got 0:58:22.920 --> 0:58:25.080 a sense that he was he was trying to distract them, 0:58:25.120 --> 0:58:27.360 because he's like calling to the death cores and he 0:58:27.400 --> 0:58:31.440 always he can't control them. So the only alternative seems 0:58:31.480 --> 0:58:35.160 to be that he wants to distract them away from 0:58:35.160 --> 0:58:38.800 the others so that they can possibly escape and live. 0:58:40.040 --> 0:58:43.400 It's harder to buy him as remorseful given that he's 0:58:43.400 --> 0:58:46.440 still hanging up swastika flags where he lives. 0:58:46.680 --> 0:58:49.320 Yeah, he's not like, I'm not saying he's a he's 0:58:49.320 --> 0:58:52.640 not a character you feel for, but that that that's 0:58:52.680 --> 0:58:54.840 the only thing that makes any sense within the context 0:58:54.840 --> 0:58:57.960 of the plot, you know, because I otherwise, Yeah, I 0:58:58.000 --> 0:59:00.080 just I can't think of anything else. The listeners, if 0:59:00.080 --> 0:59:01.680 you've seen the film and you have an answer to this, 0:59:02.080 --> 0:59:04.160 let us know. But I think that's what they were 0:59:04.160 --> 0:59:04.640 going for. 0:59:05.080 --> 0:59:05.280 Yeah. 0:59:05.320 --> 0:59:07.800 Well, eventually, so he's running around all over the place 0:59:07.880 --> 0:59:10.520 and at some point he stops and lays down next 0:59:10.560 --> 0:59:14.280 to a pond to drink some stagnant giardia water, and 0:59:14.360 --> 0:59:16.760 a zombie just reaches up out of the water, pulls 0:59:16.800 --> 0:59:17.760 him in, drowns him. 0:59:18.040 --> 0:59:20.480 Yeah, good scene, good end of Cushing. 0:59:21.240 --> 0:59:24.320 Meanwhile, the tourists are trying to escape on a boat 0:59:24.360 --> 0:59:26.600 that Peter Cushing has told them about. It's just like 0:59:26.640 --> 0:59:29.640 a little rowboat. And there was a really funny scene 0:59:29.680 --> 0:59:33.520 of Norman the aggressive angry nerd carrying around his suitcases 0:59:33.600 --> 0:59:34.680 while he's trying to get in the boat. 0:59:34.720 --> 0:59:37.720 Ye, he still has all of his baggage. He's ready 0:59:37.800 --> 0:59:40.360 to climb on this tiny boat with several other people, 0:59:40.360 --> 0:59:41.720 and of course they call him on it. They're like, 0:59:41.760 --> 0:59:42.440 what are you doing? 0:59:42.560 --> 0:59:45.120 I know several of us have died, but I still 0:59:45.160 --> 0:59:47.320 have five suitcases I need to bring with us. 0:59:47.400 --> 0:59:48.960 Yeah, and then when they tell me can't bring him, 0:59:48.960 --> 0:59:51.640 he like throws them any tantrum. He's kind of like, fine, 0:59:51.760 --> 0:59:55.560 like I'm mad, I'm mad, don't get to keep my suitcase. 0:59:56.600 --> 0:59:58.520 One of the bags he's bringing with him looks like 0:59:58.560 --> 1:00:01.760 it's a folding one of those bat you transport suits in. 1:00:02.360 --> 1:00:05.480 So he's got like formal wear with him. Yeah, he's 1:00:05.480 --> 1:00:09.640 going to need that tuxedo after they escape. So anyway, 1:00:09.560 --> 1:00:12.680 they're trying to escape on a tiny row boat. This 1:00:12.760 --> 1:00:14.919 part I thought had some pretty cool shots of them, 1:00:15.040 --> 1:00:18.560 like paddling around through these mazes of mangrove roots while 1:00:18.600 --> 1:00:21.920 the Goggle boys are lurking beneath and all around spying 1:00:21.960 --> 1:00:25.560 on them. This part I thought was creepy. Yeah, yeah, oh, 1:00:25.600 --> 1:00:29.480 but then it just turns into a parade of errors. Mishap. 1:00:29.520 --> 1:00:32.680 After mishap, they run into a mud bank. They have 1:00:32.720 --> 1:00:35.200 to try to run the boat out of it. Beverly 1:00:35.240 --> 1:00:38.280 falls out, people go after her. Rose gets knocked out 1:00:38.280 --> 1:00:41.360 of the boat. That roses Broke Adams and then eventually, 1:00:41.400 --> 1:00:44.040 after a bunch of screwing around, the boat floats away 1:00:44.200 --> 1:00:46.320 under sail with no passengers. Whoops. 1:00:46.600 --> 1:00:49.720 Yeah, so now they've really failed. Well they failed for 1:00:49.720 --> 1:00:52.280 the second time here because now there's nothing they can 1:00:52.320 --> 1:00:54.160 do but run back to the hotel. 1:00:54.600 --> 1:00:57.840 Right, So there are various chases now, everybody's running around 1:00:57.880 --> 1:01:00.840 in different places. Norman gets attacked in the water and 1:01:00.920 --> 1:01:04.919 killed by by Norman. Brooke Adams gets chased, but there's 1:01:04.920 --> 1:01:07.840 a there's a cool moment where she manages to kill 1:01:07.920 --> 1:01:13.760 one of the zombies by knocking its goggles off. Here again, 1:01:13.880 --> 1:01:15.920 do you understand what was going on here? So the 1:01:15.960 --> 1:01:19.680 goggles come off and then somehow it's face like rapidly rots. 1:01:19.920 --> 1:01:22.000 I think it's like they're susceptible to the light, Like 1:01:22.000 --> 1:01:23.680 if the light gets in there and the sunlight gets 1:01:23.680 --> 1:01:27.360 in their eyes, it destroys them. And you know, we 1:01:27.400 --> 1:01:29.480 were also told that they draw their energy from the 1:01:29.520 --> 1:01:31.960 earth itself, So I think that's one of the reasons 1:01:32.000 --> 1:01:33.880 I guess that we have all those scenes of them 1:01:33.920 --> 1:01:37.000 like in the water, walking along on the bottom of 1:01:37.040 --> 1:01:39.400 the seafloor. Like it's nothing. Like they have some sort 1:01:39.440 --> 1:01:42.960 of supernatural connection to the earth, some sort of warped 1:01:42.960 --> 1:01:46.480 pagan magic that was co opted by the baddies. 1:01:46.720 --> 1:01:50.040 Okay, that would make sense anyway. Meanwhile, back at the hotel, 1:01:50.560 --> 1:01:54.520 so the remaining tourists, Chuck, Keith, Beverly, and Rose, they 1:01:54.520 --> 1:01:58.600 decided to hole up in a refrigerator overnight by locking 1:01:58.600 --> 1:02:00.360 the door hiding in there, we get to watch the 1:02:00.480 --> 1:02:01.400 zombies walk in. 1:02:02.120 --> 1:02:05.360 Yeah, yes, not like your refrigerator in your house, right, 1:02:05.960 --> 1:02:08.120 but a big one, a big walk in freezer thing. 1:02:08.080 --> 1:02:10.320 And it doesn't have power, so it's not like cold, 1:02:11.560 --> 1:02:13.600 but there is that. We get to watch the zombies 1:02:13.640 --> 1:02:17.000 wrecking the hotel. They're just like smashing mirrors and everything. 1:02:17.800 --> 1:02:21.120 And then inside the fridge, this is the moment I 1:02:21.160 --> 1:02:24.240 mentioned where Chuck has this kind of out of character 1:02:24.320 --> 1:02:29.520 freak out. He just starts ranting and screaming and hyperventilatings hyperventilating. 1:02:29.520 --> 1:02:32.080 He's saying, let me out, I'll take my chances. Maybe 1:02:32.120 --> 1:02:35.480 he's clusterrophobic or something, I guess, so, Yeah, but it's 1:02:35.520 --> 1:02:38.200 revealed he's got a flare gun. He starts pointing the 1:02:38.240 --> 1:02:40.680 flare gun at people and he accidentally shoots it. I 1:02:40.680 --> 1:02:44.919 think this blinds Beverly. And it's during the scene where 1:02:44.920 --> 1:02:47.280 they like all have to run out of the refrigerator 1:02:47.320 --> 1:02:50.320 because Chuck has shot this flare gun inside it that 1:02:50.400 --> 1:02:53.560 I noticed finally that Keith is wearing bell bottoms, and 1:02:53.600 --> 1:02:55.560 I suppose he has been the entire movie. 1:02:55.760 --> 1:02:58.400 Oh but of course, of course he has. Makes perfect sense. 1:02:58.640 --> 1:03:02.880 So then we're into endgame basically, like Chuck is running around, 1:03:03.040 --> 1:03:05.800 he's showing off his muscles and he's trying to fight 1:03:05.880 --> 1:03:08.320 back against the zombies. But he falls into a pool 1:03:08.440 --> 1:03:10.040 and he gets killed by zombies. 1:03:10.440 --> 1:03:13.480 Yeah, he effectively close lines one of them. Yeah, then 1:03:13.480 --> 1:03:17.040 they get him and that pool death scene is pretty horrifying. 1:03:17.080 --> 1:03:21.320 Now again, the sort of vacation world ruins of this place. 1:03:21.720 --> 1:03:25.640 Yeah, Keith and Roe is actually successfully hide till morning, 1:03:25.800 --> 1:03:29.240 I think inside a furnace. They like open this metal 1:03:29.280 --> 1:03:31.720 grade and hide in there, and then in the morning 1:03:31.720 --> 1:03:34.000 when they come out, they find Beverly dead in a 1:03:34.040 --> 1:03:37.120 fish tank, and they find Chuck dead in a pool, 1:03:37.120 --> 1:03:39.240 So then it's just to escape mode. It's you know, 1:03:39.280 --> 1:03:42.120 they're trying to escape in a boat. Keith doesn't do 1:03:42.240 --> 1:03:44.160 so well either. He gets dragged out of the boat 1:03:44.240 --> 1:03:48.000 multiple times, and eventually we get yet another sighting of 1:03:48.000 --> 1:03:50.840 a corpse through the glass bottom and it is only 1:03:50.880 --> 1:03:53.600 Brooke Adams who makes it out, but even does she 1:03:53.760 --> 1:03:56.520 Really Like the other Florida movies we've watched, this one 1:03:56.560 --> 1:03:58.760 has a downer ending where really nobody wins. 1:03:59.480 --> 1:04:02.120 Yeah, real gut touch of an ending, because first of all, 1:04:02.160 --> 1:04:05.120 everyone except Rose has been murdered by the Death Corps, 1:04:05.320 --> 1:04:09.040 like everybody except well the fishermen and his son. At 1:04:09.080 --> 1:04:11.400 the beginning, they're going, yeah, ok, yeah, they're doing right, 1:04:11.440 --> 1:04:14.680 but everybody else dead. And even though she survives being 1:04:14.680 --> 1:04:18.040 adrift at sea for days without water, she's obviously left 1:04:18.120 --> 1:04:21.640 terribly traumatized. And the account that she's been writing down 1:04:21.680 --> 1:04:25.520 in her journal. There's this really awesome scene there at 1:04:25.560 --> 1:04:28.240 the end where the camera pans around and we see 1:04:28.480 --> 1:04:32.240 she's been writing. We assume she's writing the narration, she's 1:04:32.280 --> 1:04:35.120 writing her story, but then we see that her journal 1:04:35.160 --> 1:04:38.480 is filled with nothing but nonsensical scribbles. So you have 1:04:38.560 --> 1:04:42.000 this this very classic weird horror ending, as our protagonist 1:04:42.080 --> 1:04:45.280 has survived physically but not mentally from a brush with 1:04:45.320 --> 1:04:46.440 supernatural horror. 1:04:46.720 --> 1:04:49.520 This is actually extremely close to the ending of Zat, 1:04:49.560 --> 1:04:53.760 where it seems like all of the human characters who 1:04:53.840 --> 1:04:58.120 are not catfishified are either dead or there's one who 1:04:58.320 --> 1:05:01.400 was apparently saved but now just wants to march into 1:05:01.400 --> 1:05:01.920 the ocean. 1:05:02.440 --> 1:05:04.920 Yeah. I guess the thing is that at least you 1:05:04.960 --> 1:05:07.480 feel good for doctor Leopold because it's like, well, doctor 1:05:07.520 --> 1:05:09.560 Leopold won, he got what he wanted, and I guess 1:05:09.560 --> 1:05:12.560 it's good for the fish. But in this like nobody 1:05:12.720 --> 1:05:16.080 really wins, like the I mean, I guess the Death 1:05:16.160 --> 1:05:19.440 Corps wins, but they don't really want things. They just murder, 1:05:19.560 --> 1:05:22.040 you know. So it's just it's kind of a nihilistic 1:05:22.160 --> 1:05:29.040 ending but feels, you know, honestly nineteen seventies, you know, 1:05:29.080 --> 1:05:31.320 it's kind of It also reminds us a little bit 1:05:31.320 --> 1:05:34.840 of Texas Chainsaw Massacre, where in that our final girl 1:05:35.040 --> 1:05:39.040 gets away but she's like laughing maniacally. There's a sense that, 1:05:39.720 --> 1:05:43.960 yeah that perhaps she has not survived completely survived physically 1:05:44.040 --> 1:05:47.640 but not you know, mentally or emotionally. 1:05:48.000 --> 1:05:49.520 Oh well, I guess you could read it that way, 1:05:49.560 --> 1:05:53.640 But then again, I don't know. I can scarcely think 1:05:53.920 --> 1:05:59.360 of a movie ending where the protagonist escaping danger is 1:05:59.440 --> 1:06:02.640 as arctic and feels as rewarding as the end of 1:06:02.680 --> 1:06:05.760 Texas Chainsaw Massacre. True, like when she gets into the 1:06:05.760 --> 1:06:08.080 truck and gets away at the end of TCM, Like 1:06:08.520 --> 1:06:13.200 that is probably like the biggest, like just absolutely visceral 1:06:13.320 --> 1:06:15.960 in the body sense of relief I can think of 1:06:16.040 --> 1:06:17.560 in any movie I've ever seen. 1:06:17.760 --> 1:06:19.880 You're right it, really it does feel like a victory 1:06:19.960 --> 1:06:21.960 at the end of TCM, like she has gotten away. 1:06:22.240 --> 1:06:27.120 Leather Face is defeated and gets it. In this though, yeah, 1:06:27.160 --> 1:06:30.560 the baddies for the most part didn't get it, and 1:06:30.640 --> 1:06:33.120 she's in kind of a sad state. So yeah, it's 1:06:33.160 --> 1:06:35.120 a like I say, I got punch of an ending, 1:06:35.160 --> 1:06:39.680 but one that feels, you know, on message. For this film. 1:06:40.040 --> 1:06:42.200 We don't get to see the Death Corps doing chainsaw 1:06:42.320 --> 1:06:45.040 ballet on the beach like we do with the Leather Pace. 1:06:45.840 --> 1:06:48.880 All right, So let's say Florida movie checklist. We had 1:06:48.880 --> 1:06:52.800 Florida ruins, we had oppressive Florida wilderness, we had marine 1:06:52.880 --> 1:06:56.760 life and tanks. We had electronic music, and we had 1:06:56.760 --> 1:06:59.760 a dark ending. So really the only things we're lacking 1:07:00.040 --> 1:07:03.240 that were present in previous movies are well, I was 1:07:03.240 --> 1:07:04.880 gonna say shots of animals in the wild, but we 1:07:04.920 --> 1:07:08.919 do have some fish scenes early on, so see urchins. Yeah, 1:07:09.080 --> 1:07:11.000 just yes, the urchins are in there, just maybe not 1:07:11.040 --> 1:07:15.120 as much wildlife as we saw in Frogs certainly or 1:07:15.160 --> 1:07:18.400 in Za. And also we don't have an ecological message. 1:07:18.520 --> 1:07:21.560 That's true this one. Uh, those two movies both, even 1:07:21.600 --> 1:07:25.680 if it was maybe not super well articulated, Yeah, they've 1:07:25.680 --> 1:07:28.240 got an ecological message. I don't think this movie really 1:07:28.240 --> 1:07:31.720 has any message at all. Yeah, none that is intended. 1:07:32.200 --> 1:07:34.919 If it is, it's just like, don't create a death core. 1:07:35.600 --> 1:07:39.280 You do not screw around with making undead superhuman Nazi soldiers. 1:07:39.680 --> 1:07:45.120 Yeah, or properly research your your your scuba outlets before 1:07:45.200 --> 1:07:49.760 you have gone a vacation. But yeah, this one I 1:07:49.840 --> 1:07:53.640 think is pretty effective. I remember seeing I think I 1:07:53.640 --> 1:07:58.360 saw the last maybe thirty percent of it on TBS 1:07:58.480 --> 1:08:00.760 or TNT back in the day, like all during the 1:08:00.840 --> 1:08:04.400 day at my grandparents' house and was really creeped out 1:08:04.480 --> 1:08:06.479 by it. And it's a it's actually It's a great 1:08:06.480 --> 1:08:08.479 horror movie to have seen during the day because most 1:08:08.520 --> 1:08:11.680 of the action takes place in the day. Like it, 1:08:11.680 --> 1:08:17.719 it makes daytime in Florida horrifying, you know, effectively horrifying. 1:08:17.800 --> 1:08:20.000 It doesn't have to be dark in Florida for you 1:08:20.080 --> 1:08:20.719 to be afraid. 1:08:21.160 --> 1:08:27.200 Actually, this violates a lot of rules about movie monsters. Usually, 1:08:27.360 --> 1:08:31.080 I think movie monsters are better when seen, less when 1:08:31.160 --> 1:08:34.960 kept in the dark more, you know, following the Jaws rule, 1:08:35.000 --> 1:08:36.880 like if you're going to finally see the monster, you 1:08:36.920 --> 1:08:38.960 want to wait towards the end of the movie to 1:08:39.000 --> 1:08:41.679 do it. This movie, no is just putting its monsters 1:08:41.680 --> 1:08:44.320 front and center, tons of screen time, showing you all 1:08:44.360 --> 1:08:48.080 the time. Much like that, actually, but very different from Za. 1:08:48.720 --> 1:08:51.439 The monsters look very menacing in this and that actually 1:08:51.520 --> 1:08:53.360 works better when you see a ton of them. 1:08:53.840 --> 1:08:56.800 Yeah. Yeah, And in fact, there's one scene in particular 1:08:56.840 --> 1:08:59.760 where I think we've effectively killed one of them at 1:08:59.760 --> 1:09:01.559 this point once you pull the goggles off, and then 1:09:01.600 --> 1:09:05.880 we still see there's so many and I mean chalk 1:09:05.920 --> 1:09:08.839 it up to a good film. I was when that happened. 1:09:08.840 --> 1:09:10.519 In my recent reviewing of it, I was like, oh 1:09:10.560 --> 1:09:12.360 my goodness, Like I felt my heart sink. There were 1:09:12.400 --> 1:09:14.280 so many of them, even though I knew what was 1:09:14.320 --> 1:09:14.880 going to happen. 1:09:15.080 --> 1:09:17.160 I wonder what those goggles actually were were They were 1:09:17.200 --> 1:09:19.160 like welding goggles. What do you think that was they 1:09:19.200 --> 1:09:19.599 were wearing. 1:09:19.920 --> 1:09:22.400 I don't know. They looked familiar, but I don't know 1:09:22.400 --> 1:09:26.360 where I've seen them before. But good find costuming department 1:09:26.360 --> 1:09:30.000 on that. Yeah, good job, all right. So you're probably 1:09:30.040 --> 1:09:33.439 wondering where can I see Shockwaves? Well, I mentioned that 1:09:33.520 --> 1:09:35.679 I used to own it on Blue Underground on DVD 1:09:35.720 --> 1:09:37.680 from Blue Underground, and I think it's on Blu Ray 1:09:37.800 --> 1:09:41.439 from Blue Underground as well. I misplaced it over the years, 1:09:41.920 --> 1:09:44.599 but it's really good. It's got a lot of good extras. 1:09:44.640 --> 1:09:47.120 It's a great restoration of the film. I think to 1:09:47.160 --> 1:09:51.720 a certain degree, there's a certain seventies graininess to this 1:09:51.800 --> 1:09:54.479 film that I think is essential, Like I wouldn't want 1:09:54.479 --> 1:09:57.519 to see it into fine a quality you know it needs. 1:09:57.560 --> 1:10:01.280 That's seventies ness to it. But yeah, the Blue Underground 1:10:01.360 --> 1:10:04.360 edition is nice, has some fun extras. You can also 1:10:04.760 --> 1:10:07.439 rent it digitally, buy it digitally most places, and if 1:10:07.479 --> 1:10:10.000 you want, if you if you want to find like 1:10:10.080 --> 1:10:13.880 a sort of a loophole to get it. I have 1:10:14.040 --> 1:10:17.559 noticed that if you do a free trial of the 1:10:17.560 --> 1:10:20.280 full Moon Entertainment channel, like you can get through like 1:10:20.320 --> 1:10:23.640 Amazon Prime, you know, like a seven day trial, you 1:10:23.680 --> 1:10:26.599 can you can watch shock Waves through that channel. 1:10:26.680 --> 1:10:29.320 There's a Charles Band app now. 1:10:30.120 --> 1:10:31.880 I guess it's an app. Yeah, it's at least it's 1:10:31.880 --> 1:10:33.720 an Amazon Prime channel, and I think you can get 1:10:33.720 --> 1:10:35.720 it on. It's probably on like Roku and stuff like that. 1:10:35.800 --> 1:10:38.560 I don't I'm not superversed in all that, okay, but 1:10:38.960 --> 1:10:40.600 but yeah, there's there are some ways to see this 1:10:40.680 --> 1:10:42.200 if you don't if you don't want to, you know, 1:10:42.200 --> 1:10:44.719 straight up rent or buy it or pick up that DVD, 1:10:44.880 --> 1:10:46.920 but subscribe. 1:10:46.320 --> 1:10:47.960 To band Tube. 1:10:48.439 --> 1:10:49.960 I didn't check too B to see if it was 1:10:49.960 --> 1:10:50.360 on two B. 1:10:50.920 --> 1:10:52.000 Oh, yeah I didn't either. 1:10:52.320 --> 1:10:52.799 Yeah. 1:10:52.880 --> 1:10:54.639 You know, you were talking about the look of this movie. 1:10:54.640 --> 1:10:56.759 One thing, last thing I have to say I realized 1:10:56.840 --> 1:10:59.920 is the look of this movie is a blue can 1:11:00.320 --> 1:11:04.519 of craft graded parmesan cheese from the seventies. That's what 1:11:04.560 --> 1:11:05.400 the esthetic is. 1:11:06.040 --> 1:11:09.120 Yes, all right, Well, on that note, we would love 1:11:09.120 --> 1:11:12.839 to hear from everyone out there about your memories, especially 1:11:12.880 --> 1:11:15.280 you know from older listeners. Your memories of craft cheese 1:11:15.280 --> 1:11:18.880 canisters of the mid nineteen seventies. When did it change? 1:11:18.920 --> 1:11:20.960 Why did it change? Did it change? I don't know. 1:11:22.200 --> 1:11:24.360 Have you seen this movie? Did you see it on 1:11:24.400 --> 1:11:26.240 TVs back in the day when you were a child 1:11:26.280 --> 1:11:29.880 and when we're partially traumatized by it like me, or 1:11:30.160 --> 1:11:32.200 you know, did you check it out later? Let us know. 1:11:32.240 --> 1:11:35.200 We'd love to hear from you and you just in 1:11:35.240 --> 1:11:37.600 general about other films we've done on Weird House Cinema, 1:11:38.000 --> 1:11:40.479 films you think we should cover in the future, or 1:11:40.720 --> 1:11:43.400 like a lot of our listeners, just continue to write 1:11:43.400 --> 1:11:46.840 in about Sean Connery's accent and Highlander and to what 1:11:46.880 --> 1:11:50.240 degree it makes sense and what kind of backflips we 1:11:50.280 --> 1:11:52.519 have to do mentally to have it make sense. 1:11:53.360 --> 1:11:56.320 Huge thanks as always to our excellent audio producer Seth 1:11:56.400 --> 1:11:58.760 Nicholas Johnson. If you would like to get in touch 1:11:58.800 --> 1:12:01.160 with us with feedback on episode or any other, to 1:12:01.200 --> 1:12:03.639 suggest a topic for the future, or just to say hello, 1:12:04.080 --> 1:12:06.760 you can email us at contact at stuff to Blow 1:12:06.800 --> 1:12:14.960 your Mind dot com. 1:12:15.200 --> 1:12:18.120 Stuff to Blow Your Mind is production of iHeartRadio. For 1:12:18.200 --> 1:12:21.000 more podcasts from my Heart Radio, visit the iHeartRadio app 1:12:21.160 --> 1:12:23.920 Apple Podcasts or wherever you listen to your favorite shows,