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Speaker 1: Hey, welcome to Weird House Cinema. Rewind, This is Rob Lamb.

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Speaker 1: Yesterday was Alien Day, So here's an Alien knockoff from

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Speaker 1: the vault for you. This is going to be our

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Speaker 1: episode from June twenty eighth, twenty twenty four about the

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Speaker 1: film Creature. This one, this one's this one's really cool

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Speaker 1: because it's an obvious obviously inspired by the original Alien,

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Speaker 1: but as we discuss, also kind of predicts some of

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Speaker 1: the plot features of Aliens. It has has a lot

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Speaker 1: of weird stuff in it. It's a lot of fun.

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Speaker 1: Let's dive right in.

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Speaker 2: Welcome to Stuff to blow your mind. A production of iHeartRadio.

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Speaker 1: Hey you, welcome to Weird House Cinema. This is Rob Lamb.

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Speaker 3: And this is Joe McCormick. And today on Weird House,

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Speaker 3: we're going to be talking about the nineteen eighty five

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Speaker 3: sci fi thriller Creature, widely regarded as one of the

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Speaker 3: many copycats of nineteen seventy nine's Alien, though I want

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Speaker 3: to say, to be fair to Creature, it actually copies

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Speaker 3: a number of different movies.

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Speaker 1: Yeah, you know, and he gets into you also end

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Speaker 1: up getting into that area where it's like, all right,

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Speaker 1: it was inspired by some of the films that inspired Alien,

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Speaker 1: so you know, some of it kind of evens out

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Speaker 1: in the wash, but it is. So I've been getting

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Speaker 1: into Alien content a lot recently. I've been rewatching the

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Speaker 1: original films. I'm gonna be running the Alien RPG game

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Speaker 1: from Free League here with some friends. And also we

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Speaker 1: have a new Alien picture coming up in a couple

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Speaker 1: of months, Alien Romulus. So you know, I'm geeking out

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Speaker 1: for all of these things. So in addition to rewatching

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Speaker 1: the original films, I've also been digging in a bit

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Speaker 1: into some of these Alien knockoffs an Alien inspired films,

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Speaker 1: some of which I've never seen before, some of which

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Speaker 1: I have been avoiding, some of which I'll probably can

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Speaker 1: continue to avoid. But this one is often held up

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Speaker 1: as being one of the more entertaining ones.

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Speaker 3: You know, I was having a thought about that Alien RPG,

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Speaker 3: which looks very fun and I would like to play it,

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Speaker 3: but I was thinking about how it shows the way

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Speaker 3: that character cliches turn into character types, so that like

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Speaker 3: things that are established in these movies as like, oh

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Speaker 3: here's just a type of character you see in Alien

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Speaker 3: or Aliens, and then a lot of its copycats that

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Speaker 3: apparently in this game becomes a class, like you would

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Speaker 3: have classes of characters in D and D. So in

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Speaker 3: D and D you've got wizards and rogues and you know,

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Speaker 3: and warlocks and all that, and apparently in this alien

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Speaker 3: game you've got company men. I think you can be

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Speaker 3: like a Burk, You've got space marines, you can be

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Speaker 3: a Vasquez. You've got like all those types of characters

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Speaker 3: are classes, right, Yeah.

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Speaker 1: Like you can be a marine, you can be you

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Speaker 1: can be a Marshall company agent.

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Speaker 3: You can be a kid.

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Speaker 1: Of course kids have special rules and so forth. Yeah,

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Speaker 1: so I'm really excited to play it. I think it

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Speaker 1: does a pretty phenomenal job of taking the Alien films

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Speaker 1: like accepting everything and then managing to do a lot

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Speaker 1: of great world building out of it. So solid recommendation

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Speaker 1: thus far from me. But I'm not actually playing it

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Speaker 1: for the first time until tonight.

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Speaker 3: I would want to play as a slimy whyland UTAWNI

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Speaker 3: suit that my class. Yeah, it's pretty great.

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Speaker 1: There's one of those in the scenario that I'm running tonight.

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Speaker 3: Oh but wait, sorry, because you were in the middle

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Speaker 3: of talking about how I know you haven't just been

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Speaker 3: on a kick of strictly Alien and Alien franchise stuff,

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Speaker 3: but everything in that zone of storytelling and media, right,

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Speaker 3: Like you've been going back to the to the pre

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Speaker 3: Alien stuff, Yeah.

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Speaker 1: I mean like one of the classics, of course is

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Speaker 1: Mario Bob has Planned to the Vampires, which we've previously

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Speaker 1: discussed on Weird House. Another one that I recently watched,

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Speaker 1: probably for the first time in full, was John Carpenter

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Speaker 1: and Dan O'Bannon's Dark Star, which, on one hand, you

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Speaker 1: have the Dan O'Bannon connection there, he's one of the

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Speaker 1: screenwriters and one of the very instrumental in Alien obviously,

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Speaker 1: but also Dark Star has this blue collar like space

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Speaker 1: trucker feel to it, you know, something that is very

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Speaker 1: much an essential part of the DNA of Alien, you know,

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Speaker 1: because if you take out the creature and the setting

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Speaker 1: is still a vital aspect of that picture.

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Speaker 3: I've said this on the show before, but I have

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Speaker 3: a theory that Alien is one of the best movies

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Speaker 3: ever made about work, and that's kind of what makes

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Speaker 3: it unique and interesting and realistic. The characters in Alien

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Speaker 3: are not friends. They know each other reasonably well, not

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Speaker 3: super well. They're not close, and the kind of relationship

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Speaker 3: they have is the kind of relationship often have with

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Speaker 3: like co workers. It's like, you know, you got to

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Speaker 3: get along to get the work done, but you don't

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Speaker 3: even you know, you might or might not like each other,

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Speaker 3: You might or not, you know, have all these conflicts.

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Speaker 3: So it's not just a movie that features blue collar workers,

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Speaker 3: but is itself about work.

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Speaker 1: Yeah, yeah, I think that's a solid point. There are

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Speaker 1: some other films that are often thrown out as being

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Speaker 1: like predecessors to Alien, nineteen fifty eight's hit The Tear

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Speaker 1: from Beyond Space, which I haven't seen. I was looking

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Speaker 1: at it the other day, but that's one that the

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Speaker 1: director of this picture points out as being one of

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Speaker 1: his inspirations. I think there's some obvious inspiration here from

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Speaker 1: Planet of the Vampires, but again, I think Creature is

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Speaker 1: ultimately one of the more entertaining and also, as i'll

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Speaker 1: discuss tasteful alien knockoffs that has come.

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Speaker 3: Out, Yeah, I know what you're saying. Some of the

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Speaker 3: Alien knockoffs from the eighties, which I have seen and

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Speaker 3: have in parts, some of them just get kind of

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Speaker 3: gross with like the you know, the weird sort of

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Speaker 3: implied sexuality of Alien is realized in a nastier way

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Speaker 3: in a lot of these copycats.

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Speaker 1: Yeah, because I mean, you can't take if topics and

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Speaker 1: ideas of sexuality and reproduction out of Alien. It's very

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Speaker 1: much part of the DNA, It's very much a part

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Speaker 1: of hr Giger's visual surrealism that informs so many aspects

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Speaker 1: of the film. But yeah, you'll look at various Alien

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Speaker 1: knockoffs like the Corman produced Galaxy of Terror and the

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Speaker 1: British and Seminoid, both from nineteen eighty one, and these

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Speaker 1: are both examples of films that they end up just

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Speaker 1: coming off sleazy and exploitive in my opinion, because they

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Speaker 1: don't deal with these things with the nuance and that

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Speaker 1: kind of almost subliminal energy that Alien does so well. Now,

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Speaker 1: another thing to keep in mind about Creature here is that, Okay,

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Speaker 1: Alien was of course a world class production. I think

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Speaker 1: I had a budget of eleven million dollars. This is

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Speaker 1: late seventies money. It had helming it one of the

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Speaker 1: most visually visionary directors you know of our time, and

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Speaker 1: on top of that, you know the work of hr

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Speaker 1: Giger and so forth. Creature, however, was made for less

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Speaker 1: than half of this amount of reported four point two

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Speaker 1: million dollars, and it's a pretty ambitious project for what

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Speaker 1: was reportedly even half that in budget on at the outset,

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Speaker 1: because you end up having multiple sci fi sets, like,

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Speaker 1: you know, over a dozen different sets, including spaceship interiors,

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Speaker 1: alien planets. You've got spaceship models, planetary surface models, various

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Speaker 1: special effects, and ultimately a respectable cast. You know, this

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Speaker 1: is not one of those casts where everybody's green and

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Speaker 1: acting like they just fell out of the back of

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Speaker 1: the truck or something. It's ultimately, I think, pretty commendable

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Speaker 1: what there is able to do when you remind yourself

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Speaker 1: that this was low budget that was shot in a

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Speaker 1: warehouse during like a super hot summer where they're just

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Speaker 1: they're just totally unable to cool things down enough and

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Speaker 1: having to deal with everyone's sweating in their big spacesuits.

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Speaker 1: You know, I think it comes together pretty well when

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Speaker 1: you take all that into account.

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Speaker 3: Oh, I wonder if they sort of improvised a way

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Speaker 3: of writing that into the script, because there's a whole

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Speaker 3: subplot in the middle of the movie where a couple

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Speaker 3: of characters are able to figure out that another character

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Speaker 3: is is is brain slugged and tricking them because they're

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Speaker 3: sweating in this hot ship and he's not.

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Speaker 1: Yeah, yeah, I bet so, because yeah, there are all

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Speaker 1: these behind the scenes tidbits about just how hot it was,

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Speaker 1: and it was they were sweating and it was like

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Speaker 1: steaming up the insides of the helmets. So yeah, it

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Speaker 1: sounds like it was a grueling but most of the

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Speaker 1: accounts seemed to say it was.

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Speaker 3: You know, it's a pretty.

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Speaker 1: Pretty fun shoot for the most part, with some some

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Speaker 1: key caveats that we'll come back to. All right, Joe,

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Speaker 1: what's your elevator pitch for creature?

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Speaker 3: Oh, let's see how to create the perfect organism. Get

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Speaker 3: a little bit of your alien, a little bit of

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Speaker 3: your the thing, and a little bit of your the

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Speaker 3: brain eaters, and put them all into blender, and here's

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Speaker 3: what you got.

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Speaker 1: I want to say that there's a little bit of

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Speaker 1: dinosaur costume to this guy as well, especially while you're

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Speaker 1: in this in the film, when you see him more

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Speaker 1: of a full body shot, there's kind of like a

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Speaker 1: big rubber dinosaur costume sense to him.

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Speaker 3: Yeah.

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Speaker 1: Again, it's an unenviable task to try to create something

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Speaker 1: that is alien esque but on a budget and without

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Speaker 1: a visionary artist behind its design.

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Speaker 3: Now, I think it would be impossible to deny that

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Speaker 3: this movie is derivative of Alien in many ways. But

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Speaker 3: one thing I think is kind of surprising about it

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Speaker 3: is that it also feels derivative of Aliens, and yet

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Speaker 3: it's not because came before Aliens. So there are several

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Speaker 3: things in it where I was like, oh, this is

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Speaker 3: this is taking this thing from you know, the camera

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Speaker 3: and movie, but actually it wasn't out yet, so this

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Speaker 3: came first. Yeah.

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Speaker 1: There's also stuff in here that reminds me a little

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Speaker 1: bit of things we would later see in Prometheus, with

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Speaker 1: Prometheus reaching back and drawing from things like Planet of

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Speaker 1: the Vampires, but like we have the scene with like

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Speaker 1: the Black Ooze we'll talk about and yeah, and then

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Speaker 1: like the space zombies are abominations. So so yeah, it's

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Speaker 1: a really fun one I think to watch as an

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Speaker 1: alien fan, and again, it avoids, I think most of

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Speaker 1: the pitfalls of lewdness that you encounter with some of

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Speaker 1: these other alien knockoffs. All right, let's go ahead and

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Speaker 1: listen to that trailer audio.

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Speaker 4: In the near future, in the shadow of Saturn's rings,

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Speaker 4: stranded beneath the surface of the barren moon called Titan

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Speaker 4: scientists find the one thing they never expected. It is

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Speaker 4: anybody here was expecting them God, And suddenly those who

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Speaker 4: had traveled across the galaxy had one out of space. Creature.

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Speaker 4: It kills to live, and it lives to kill.

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Speaker 3: All right.

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Speaker 1: So at this point, if you were thinking to yourself,

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Speaker 1: well I would like to see Creature, I haven't seen it,

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Speaker 1: or I would like to see it again before continuing

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Speaker 1: on with this episode, well, Luckily, Creature has been available

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Speaker 1: in various home video formats for quite a while, but

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Speaker 1: in my opinion, the twenty twenty two release from Vine

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Speaker 1: or Syndrome the Blu ray is definitely the way to

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Speaker 1: go for physical media on this one. I rented it

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Speaker 1: from Atlanta's Videodrome. It's got some cool extra features. It

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Speaker 1: has the original Titan Find cut of the film, which

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Speaker 1: is a bit darker compared to the main theatrical cut

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Speaker 1: that you have on the disc, but still interesting to

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Speaker 1: check out. You can also stream Creature digitally on multiple platforms,

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Speaker 1: and there are multiple digital rental and purchase options as well.

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Speaker 3: I'm in a weird situation that I watched the first

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Speaker 3: half of the movie as the Titan Find cut and

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Speaker 3: the second half in the theatrical cut, so I don't

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Speaker 3: know what the difference is.

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Speaker 1: Did you notice any changes in lighting, because I really

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Speaker 1: didn't look at the Titan Find one much, so I

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Speaker 1: can't speak to it.

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Speaker 3: You mean, not darker in terms of tone, but darker visually, Yes,

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Speaker 3: the Titan Find cut is very dark. In fact, we

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Speaker 3: were talking off Mike about how one of my main

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Speaker 3: complaints about the movie is that you can't see the

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Speaker 3: sets at all. The characters are just standing around in

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Speaker 3: darkness talking, so I can't even tell if the sets

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Speaker 3: are good or not. In the theatrical cut, yeah, it

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Speaker 3: was a little It did seem a little bit more illuminated,

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Speaker 3: a little bit brighter, but still you couldn't see a

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Speaker 3: lot of the sets on the planet.

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Speaker 1: Now, speaking of physical media, I want to give a

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Speaker 1: shout out to Future Shock Video in New Orleans. This

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Speaker 1: is a new video rental store that we just read

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Speaker 1: about in New Orleans Magazine. It's operated by Eden Chubb,

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Speaker 1: who was apparently partially inspired by Weird House Cinema and

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Speaker 1: certainly inspired by Atlanta's own video rental store, Videodrome. The

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Speaker 1: name of the store is also a nod to the

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Speaker 1: concept of Future Shock, which we've discussed on the show,

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Speaker 1: So kudos to Eden for keeping the physical media circulating.

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Speaker 1: You can learn more about Future Shock Video at futureshockvideo

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Speaker 1: dot biz and you can follow the store on Instagram

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Speaker 1: at future Shock Video. All right, Well, let's get into

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Speaker 1: the people who made this film, all right. Starting at

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Speaker 1: the top, director, writer, producer, it's William Malone born nineteen

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Speaker 1: fifty three, UCLA Film School grad, writer and director who

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Speaker 1: started out in acting and some special effects work, but then,

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Speaker 1: in the wake of nineteen seventy nine's Alien, which he

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Speaker 1: was inspired by, he was able to raise a reported

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Speaker 1: seventy four thousand dollars to make the film Scared to Death,

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Speaker 1: in which a Giger esque creature runs amok in the

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Speaker 1: La sewer system. I haven't seen this one, so I

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Speaker 1: can't really speak to it, but I looked at a

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Speaker 1: couple of stills in the Monster Man.

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Speaker 3: This must have been a really precious project to him,

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Speaker 3: because he works. I don't know if you caught onto

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Speaker 3: this rob how many references too Scared to Death he

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Speaker 3: works into creature. Did you notice these?

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Speaker 1: I didn't notice them so much for your pointing out

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Speaker 1: some of them, and I guess you'll point them out

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Speaker 1: as we go here. Yeah, maybe they're supposed to be

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Speaker 1: the same cinematic universe.

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Speaker 3: Oh I didn't consider that. Well, but I don't know

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Speaker 3: if that would work, because one character is reading the

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Speaker 3: novelization of Scared to Death.

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Speaker 1: All right, So this film Creature, which was originally he

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Speaker 1: talks about this on the extras it was originally in

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Speaker 1: It originally had the working title Titan Fined, which the

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Speaker 1: producers did not like the other like the main money

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Speaker 1: behind it. They were like, it sounds too much like

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Speaker 1: tight and fine. People are going to think it's something else,

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Speaker 1: which seems like it's a little reaching there.

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Speaker 3: I don't know.

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Speaker 1: I didn't think about that connotation. I think Titan Fine

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Speaker 1: sounds rather fascinating and very sci fi.

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Speaker 3: It makes me think maybe they were thinking it sounds

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Speaker 3: too intellectual and they were coming up with an excuse

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Speaker 3: for why they wanted to just call it monster.

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Speaker 1: Yeah, but anyway, this was the follow up. He mentions

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Speaker 1: some of those extras that he was always terrible at

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Speaker 1: writing to meet a particular budget, and that was very

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Speaker 1: much the case here. It was apparently a real struggle

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Speaker 1: to go after everything they needed to make creature, and

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Speaker 1: at one point in the production, one of the producers

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Speaker 1: I think this is mush Diamont Diamant, It could be wrong,

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Speaker 1: but he comes in and says, oh, you guys need

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Speaker 1: more money for what you're trying to do here, and

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Speaker 1: essentially double their budget at that point, which Malone says

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Speaker 1: was of course it was a lifeline, but also it

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Speaker 1: was a bit frustrating at that stage in the production

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Speaker 1: because they were already a certain way into making everything

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Speaker 1: based on what you had, and suddenly you have additional resources,

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Speaker 1: which and you can't really redo what you've done already.

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Speaker 1: You have to think of outther other ways to make

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Speaker 1: use of those funds.

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Speaker 3: I feel like we have talked about more examples of

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Speaker 3: it going the other way, where you start making a

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Speaker 3: movie and then the budget gets cut. Yeah.

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Speaker 1: So, I mean one of the things they ended up

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Speaker 1: doing when more money came in on this one is

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Speaker 1: hired klas Kinsky, which we'll get in, which I don't

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Speaker 1: think is always I would go so far as to say,

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Speaker 1: is maybe never a good use of extra money in

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Speaker 1: your film to say, well, let's bring in noted nightmare

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Speaker 1: klaus Kinsky. That's gonna be great for the film and

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Speaker 1: great for morale.

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Speaker 3: Oh, we just got a bunch of extra money. We

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Speaker 3: can use that to rent a jar of red back

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Speaker 3: spiders and release them onto the set.

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Speaker 1: Essentially.

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Speaker 3: Yeah, it really spiced things up.

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Speaker 1: Yeah yeah, I mean it's gonna make people more excited

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Speaker 1: in front of the camera.

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Speaker 3: Let's do it. Well.

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Speaker 1: More on that in a bit, but both Scared to

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Speaker 1: Death and Creature were apparently successful. Creature was a theatrical release,

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Speaker 1: and Malone followed the film up with some TV projects.

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Speaker 1: He directed three episodes of Freddy's Nightmares, and he also

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Speaker 1: directed two episodes of Tales from the Crypt, one of

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Speaker 1: which he also wrote. He also did one episode of

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Speaker 1: the short lived sci fi spinoff of Tales from the Crypt,

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Speaker 1: Perversions of Science, and after some additional TV projects, he

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Speaker 1: directed the big budget remake of House on Haunted Hill

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Speaker 1: in nineth.

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Speaker 3: I know you remember this one, Joe. I mean, I

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Speaker 3: don't think there's any way to make the case that

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Speaker 3: it's good, but it's very watchably bad. It has a

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Speaker 3: great cast, kind of star studded, you know, a lot

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Speaker 3: of great character actors running around doing ridiculous things. I

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Speaker 3: remember it being really ugly, like a movie that's quite

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Speaker 3: hard on the eyes, but it's I had a great time.

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Speaker 1: Yeah, I remember Jeffrey Combs has a fun, uh I think,

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Speaker 1: non speaking role in it, and then Jeffrey Rush basically

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Speaker 1: plays Vincent Price in the film, like, in fact, the

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Speaker 1: character's name is Stephen Price, and that is as fun

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Speaker 1: as it sounds, you know, just letting Rush go wild

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Speaker 1: for the duration of the film as Vincent Price.

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Speaker 3: Just trying to remember who else is in it. I

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Speaker 3: looked at up. It's got Tay Diggs, Chris Catan, fam

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Speaker 3: Kid Janssen, It's oh Man.

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Speaker 1: When Tay Diggs was in a lot of different movies.

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Speaker 3: Yeah, yeah, yeah.

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Speaker 1: Anyway back to Malone. His only two films after that

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Speaker 1: were two thousand and two is Fear dot Com, which

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Speaker 1: I remember is being quite awful, speaking of.

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Speaker 3: Ugly movies that are hard on the eyes, that we're

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Speaker 3: right in that zone around the turn of the millennium

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Speaker 3: where movies it seems we're just the color palette and

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Speaker 3: the brightness level and everything was optimized to hurt the

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Speaker 3: eyes to watch.

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Speaker 1: Yeah, Like, I mean, I don't even want to throw

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Speaker 1: too much shade at Malone for Fear dot Com because

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Speaker 1: Fear dot com was exactly the sort of movie that

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Speaker 1: the Year two thousand and two wanted, And even though

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Speaker 1: I do not like it, there are a number. There

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Speaker 1: aren't a lot of films from two thousand and two.

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Speaker 1: I'm exactly going back and feeling nostalgic for He did

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Speaker 1: one more film in two thousand and eight, and he

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Speaker 1: also directed one episode of two thousand and six's Masters

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Speaker 1: of Horror, The Fair Haired Child. As a writer, he

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Speaker 1: also worked on nineteen ninety nine's Universal Universal Soldier The

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Speaker 1: Return and the Year two thousand movies Supernova. Now there's

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Speaker 1: another right that is credited one Alan Reid, but I

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Speaker 1: couldn't find much about them. This is not to be

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Speaker 1: confused with the original voice of Freddie Flintstone, different Alan Reid,

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Speaker 1: but I could not figure out exactly who this individual is.

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Speaker 3: Sorry, this is completely out of order, but I just

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Speaker 3: remembered another actor in his house on Haunted Hill, and

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Speaker 3: it's that there's a cameo where Lisa Loebe plays a

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Speaker 3: TV reporter. What, yeah, why, I don't know.

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Speaker 1: I'm good for her, all right. Moving on to the

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Speaker 1: actors in this film. This is of course an alien

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Speaker 1: asque picture, so we have a crew and if you

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Speaker 1: have a crew, you got to have a captain. And

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Speaker 1: our captain is Captain Mike Davison played by Stan Ivar

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Speaker 1: born nineteen forty three. Not only is is he our

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Speaker 1: captain in this film, he was also he's also a

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Speaker 1: future actual ship captain according to Malone, So he chalks

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Speaker 1: that up to good casting, like he saw this guy

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Speaker 1: and realized this dude can command a ship.

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Speaker 3: I mean, he is believable as a ship captain. I

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Speaker 3: will say that no offense to Stan. I don't have

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Speaker 3: a lot to say about his performance here. It's sort

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Speaker 3: of a It's like a slice of white toast with

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Speaker 3: no butter or jam. There's nothing wrong with it, nothing

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Speaker 3: to offend. But also it's very plain.

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Speaker 1: Yeah, and it's fitting that at this point in his career,

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Speaker 1: mostly a TV actor, he had just played John Carter

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Speaker 1: on Little House on the Prairie, along with some other

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Speaker 1: various guest show spots guest spots on shows. But you know,

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Speaker 1: he is the kind of actor he can easily imagine

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Speaker 1: doing a lot of scenes where he's just coming back

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Speaker 1: from some farm work and he needs a nice drink

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Speaker 1: of water back at the Little House on the Prairie. Anyway,

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Speaker 1: This sort of work would would continue, with him doing

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Speaker 1: a lot of one shots on popular TV series of

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Speaker 1: the eighties and nineties. His latter film credits include roles

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Speaker 1: in nineteen ninety one's Harley Davidson and the Marlborough Man

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Speaker 1: and nineteen ninety three's Aspen Extreme. His last credits were

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Speaker 1: a pair of NCIS episodes in twenty ten. But yeah,

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Speaker 1: he's he's solid in this, you know, like you said,

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Speaker 1: he's he does a solid job. No notes, really, but

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Speaker 1: you know, he's no Tom Scarett, but he is maybe

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Speaker 1: Tom Scarett esque.

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Speaker 3: I think they were clearly going for a Tom Scarett type.

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Speaker 3: They wanted to replicate Dallas as a relatively soft spoken, stoic,

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Speaker 3: strong masculine captain, and he sort of gets there, but

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Speaker 3: he doesn't really have Tom Skarett's quiet charisma.

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Speaker 1: Yeah, all right. Now, he does have a girlfriend on

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Speaker 1: the crew though. You know that's of course, one of

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Speaker 1: the very notable things about Alien is there are no

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Speaker 1: romantic entanglements. Yeah, but that's not the case here because

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Speaker 1: his girlfriend is also a crew member. And this is

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Speaker 1: the character Bet Slayton, played by Wendy Shaw.

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Speaker 3: You know, Shaw is an interesting presence in this film.

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Speaker 3: I think she is just very likable and very grounded.

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Speaker 3: She feels like a real person. For the most part,

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Speaker 3: her portrayal of this character is strong in its understatedness,

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Speaker 3: you know, like she she plays the character as kind

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Speaker 3: of quiet and not super expressive, but that works well.

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Speaker 3: But she does have a couple of unintentionally funny moments.

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Speaker 3: For example, do you remember the part where she's telling

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Speaker 3: the story of Hofner the of you know, Klauskinsky trying

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Speaker 3: to kill her, And in the scene, I could just

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Speaker 3: imagine the director behind the camera gesturing at her to

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Speaker 3: display more emotion, you know, like, come on, make it bigger, bigger,

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Speaker 3: And so she does, and it comes off very forced

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Speaker 3: in a funny way. Also, at least at least three

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Speaker 3: or four times, maybe more in the movie, she says

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Speaker 3: another character's name wrong. She says Davidson instead of Davison,

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Speaker 3: which you might think is simply realistic. Oh maybe people,

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00:23:49,080 --> 00:23:52,000
Speaker 3: you know, people get people's names wrong, Except Davison is

435
00:23:52,040 --> 00:23:56,000
Speaker 3: supposed to be her boyfriend, and she's calling him by

436
00:23:56,000 --> 00:23:56,720
Speaker 3: his last name.

437
00:23:57,160 --> 00:23:59,840
Speaker 1: Maybe that's his middle name. We don't know his full name.

438
00:24:00,160 --> 00:24:03,960
Speaker 3: He you know, maybe, oh, maybe that's her like cutesy

439
00:24:04,119 --> 00:24:07,399
Speaker 3: nickname for him. Yeah, it's an inside joke, but on

440
00:24:07,440 --> 00:24:09,960
Speaker 3: the whole, as I was saying, Shall is quite good

441
00:24:10,040 --> 00:24:14,120
Speaker 3: in this character and very likable. She brings a kind

442
00:24:14,119 --> 00:24:17,480
Speaker 3: of human energy to the character, and I think without

443
00:24:17,520 --> 00:24:19,560
Speaker 3: her we would not have a lot of reason to

444
00:24:19,640 --> 00:24:20,960
Speaker 3: care about the humans.

445
00:24:21,440 --> 00:24:24,000
Speaker 1: I agree, especially when you whittle it down to what

446
00:24:24,040 --> 00:24:26,200
Speaker 1: we're left with towards the end of the picture, because

447
00:24:26,240 --> 00:24:29,920
Speaker 1: that's always telling which characters have you chosen to sacrifice,

448
00:24:29,920 --> 00:24:32,639
Speaker 1: in which characters are going to land the plane or

449
00:24:32,680 --> 00:24:34,119
Speaker 1: the spaceship in this case.

450
00:24:34,440 --> 00:24:34,960
Speaker 3: Yeah.

451
00:24:35,119 --> 00:24:38,320
Speaker 1: So Shall born nineteen fifty four was a pretty season

452
00:24:38,400 --> 00:24:41,080
Speaker 1: TV actor by this point. I think it shows, having

453
00:24:41,119 --> 00:24:44,720
Speaker 1: popped up on various late seventies and early eighties network series.

454
00:24:45,119 --> 00:24:48,240
Speaker 1: She'd continue to work in TV, and her latter film

455
00:24:48,280 --> 00:24:51,440
Speaker 1: credits include. Film and TV credits include the likes of

456
00:24:51,520 --> 00:24:54,840
Speaker 1: nineteen eighty seven's The Munchies, This is a Gromlins movie

457
00:24:54,880 --> 00:24:57,720
Speaker 1: that I haven't seen, but we're not going to stop there.

458
00:24:57,880 --> 00:25:02,920
Speaker 1: It gets better, eighty seven's Innerspace Batteries not included from

459
00:25:02,960 --> 00:25:06,280
Speaker 1: the same year, nineteen eighty nine's The Birds, and such

460
00:25:06,320 --> 00:25:09,440
Speaker 1: TV series as The X Files, six feet Under and

461
00:25:09,560 --> 00:25:11,960
Speaker 1: star Trek Voyager. She's also done a lot of voice

462
00:25:12,000 --> 00:25:16,720
Speaker 1: acting for the Family Guy and American Dad animated series.

463
00:25:17,600 --> 00:25:19,600
Speaker 3: I just had to check to make sure, but yes,

464
00:25:19,760 --> 00:25:24,200
Speaker 3: Munchies is the Roger Corman produced, a Grimlins ripoff.

465
00:25:24,760 --> 00:25:28,080
Speaker 1: Yeah, it does not look good. I haven't seen it.

466
00:25:28,080 --> 00:25:28,680
Speaker 1: It may be great.

467
00:25:28,720 --> 00:25:29,600
Speaker 3: I don't know. I haven't seen it.

468
00:25:30,400 --> 00:25:30,560
Speaker 1: Now.

469
00:25:30,600 --> 00:25:32,879
Speaker 3: I mentioned earlier that there were some elements of this

470
00:25:32,960 --> 00:25:36,840
Speaker 3: movie that I first mistakenly thought were lifted out of Aliens,

471
00:25:36,880 --> 00:25:39,680
Speaker 3: and then realized, oh no, this movie came out before Aliens,

472
00:25:40,040 --> 00:25:42,560
Speaker 3: and one of them is the next character we're about

473
00:25:42,600 --> 00:25:45,159
Speaker 3: to talk about, played by lyman Ward. This is the

474
00:25:45,200 --> 00:25:47,760
Speaker 3: Burke character, except he comes before Burke.

475
00:25:48,280 --> 00:25:51,960
Speaker 1: That's right, Yeah, lyman Ward plays David Perkins. Ward was

476
00:25:52,000 --> 00:25:55,639
Speaker 1: born nineteen forty one Canadian actor, character actor, most famous

477
00:25:55,680 --> 00:25:59,719
Speaker 1: for playing Ferris Bueller's dad in nineteen eighty six, but

478
00:25:59,800 --> 00:26:01,919
Speaker 1: he you also might recognize him from other things. He

479
00:26:01,960 --> 00:26:05,040
Speaker 1: pops up in the likes of Independence Day in ninety six.

480
00:26:05,119 --> 00:26:07,720
Speaker 1: He's in a nine rand m Street Part two. He's

481
00:26:07,760 --> 00:26:09,840
Speaker 1: done a lot of TV and film work over the decades,

482
00:26:09,880 --> 00:26:12,639
Speaker 1: going back to seventy one, and he's apparently still active

483
00:26:13,119 --> 00:26:16,720
Speaker 1: His other credits include seventy three's Coffee, eighty four's Moscow

484
00:26:16,760 --> 00:26:20,280
Speaker 1: on the Hudson, eighty seven's Planes, Trains and Automobiles, and

485
00:26:20,440 --> 00:26:22,280
Speaker 1: nineteen ninety two Sleepwalkers.

486
00:26:23,119 --> 00:26:27,359
Speaker 3: Yeah. So, I think lyman Ward brings a kind of

487
00:26:27,640 --> 00:26:29,560
Speaker 3: and I don't necessarily mean this in a bad way,

488
00:26:29,600 --> 00:26:33,199
Speaker 3: a kind of welcome cheesiness that is in some ways

489
00:26:33,240 --> 00:26:38,560
Speaker 3: inseparable from his recognizability as a minor eighties character actor.

490
00:26:39,000 --> 00:26:42,119
Speaker 3: I would put him almost in the klue Goolager zone,

491
00:26:42,200 --> 00:26:44,920
Speaker 3: if you know what I'm saying. Yeah, I think that's fair. Yeah,

492
00:26:44,960 --> 00:26:48,160
Speaker 3: and it makes it more surprising and enjoyable. In fact,

493
00:26:48,200 --> 00:26:52,720
Speaker 3: when he starts like making brain slug zombie heads explode, that's.

494
00:26:52,600 --> 00:26:55,840
Speaker 1: A great scene. I can't wait to talk about that one. Also,

495
00:26:55,880 --> 00:26:58,320
Speaker 1: of note, he's interviewed in some of the extras on

496
00:26:58,400 --> 00:27:02,760
Speaker 1: the Vinegar Syndrome disc and he's one of these individuals

497
00:27:02,760 --> 00:27:04,800
Speaker 1: who says that he got along fine with Kinsky on

498
00:27:04,840 --> 00:27:07,200
Speaker 1: the set and went out to lunch with him a

499
00:27:07,240 --> 00:27:09,960
Speaker 1: couple of times. And I don't mention that as in

500
00:27:10,240 --> 00:27:15,199
Speaker 1: any way an attempt to redeem Kinsky, who, as will discuss,

501
00:27:15,240 --> 00:27:17,760
Speaker 1: I think most agree was an out of control Monster.

502
00:27:18,320 --> 00:27:22,480
Speaker 1: But it is interesting how seemingly there were folks that

503
00:27:22,560 --> 00:27:26,040
Speaker 1: he worked with who didn't have absolute nightmares around him,

504
00:27:26,440 --> 00:27:28,280
Speaker 1: And I wonder how much of that had to do

505
00:27:28,359 --> 00:27:31,520
Speaker 1: with like, to what degree Kinsky felt threatened by someone

506
00:27:31,640 --> 00:27:33,520
Speaker 1: like seems like the kind of guy who's going to

507
00:27:33,520 --> 00:27:36,479
Speaker 1: be very threatened by anybody that is in a position

508
00:27:36,520 --> 00:27:39,560
Speaker 1: of power over him, like a director or a producer,

509
00:27:40,960 --> 00:27:44,080
Speaker 1: or seemingly you know, female members of a cast, but

510
00:27:45,160 --> 00:27:48,320
Speaker 1: here is just a male co star, perhaps one of

511
00:27:48,359 --> 00:27:50,879
Speaker 1: the Perhaps this is one of those moments where you

512
00:27:50,960 --> 00:27:53,479
Speaker 1: actually end up getting something a little more balanced out

513
00:27:53,520 --> 00:27:57,280
Speaker 1: of Kinski because he's not threatened by you, his you know,

514
00:27:57,520 --> 00:28:01,439
Speaker 1: his narcissistic view of himself, not feel in danger around

515
00:28:01,440 --> 00:28:06,520
Speaker 1: this person. I don't know, anyway, food for thought. Moving on,

516
00:28:06,640 --> 00:28:11,600
Speaker 1: we also have Robert Jeffy playing John Finnell born nineteen

517
00:28:11,680 --> 00:28:15,480
Speaker 1: forty nine. Handsome young actor coming off of small roles

518
00:28:15,520 --> 00:28:18,560
Speaker 1: in nineteen seventy two, including The Mechanic, but by this

519
00:28:18,720 --> 00:28:22,000
Speaker 1: point he largely moved more into the production and writing

520
00:28:22,040 --> 00:28:24,159
Speaker 1: side of things. He was one of the screenwriters on

521
00:28:24,240 --> 00:28:29,240
Speaker 1: nineteen seventy seven's Demon Seed, the out of control AI

522
00:28:29,960 --> 00:28:32,840
Speaker 1: movie based on the novel by Dean Coots, and he

523
00:28:32,920 --> 00:28:35,800
Speaker 1: was also a screenwriter on nineteen eighty's Motel Hell, which

524
00:28:35,840 --> 00:28:39,880
Speaker 1: he also produced and notable to the subgenre of space horror.

525
00:28:39,880 --> 00:28:43,800
Speaker 1: At some point, it looks like Jeffy acquired the rights

526
00:28:43,840 --> 00:28:47,960
Speaker 1: to George R. R. Martin's novella Nightflyers. He produced and wrote

527
00:28:48,000 --> 00:28:51,479
Speaker 1: an adaptation of that in nineteen eighty seven, though I

528
00:28:51,480 --> 00:28:54,440
Speaker 1: believe it's based more on Martin's original short story version

529
00:28:54,480 --> 00:28:57,080
Speaker 1: of that tale, and he was again listed as a

530
00:28:57,080 --> 00:29:01,560
Speaker 1: producer on the twenty seventeen TV minise He's adaptation. I've

531
00:29:01,560 --> 00:29:04,360
Speaker 1: only seen parts of the eighty seven adaptation, and it

532
00:29:04,400 --> 00:29:08,040
Speaker 1: looks really goofy and fun. I've seen the entirety of

533
00:29:08,080 --> 00:29:11,440
Speaker 1: the twenty seventeen mini series, which has a great cast,

534
00:29:11,920 --> 00:29:14,920
Speaker 1: looks phenomenal, but honestly kind of bored me to death

535
00:29:14,920 --> 00:29:15,520
Speaker 1: after a while.

536
00:29:16,320 --> 00:29:18,680
Speaker 3: Well, I've never seen the eighty seven movie, but I've

537
00:29:18,680 --> 00:29:20,480
Speaker 3: wanted to for a while so that we may come

538
00:29:20,520 --> 00:29:22,960
Speaker 3: back to that on Weird House. But I will say,

539
00:29:23,000 --> 00:29:26,000
Speaker 3: as far as just his acting performance here, along with

540
00:29:26,120 --> 00:29:30,840
Speaker 3: Wendy Shall, I think Jaffee is the other most sympathetic

541
00:29:30,840 --> 00:29:34,360
Speaker 3: and realistic performance among the crew. He brings a kind

542
00:29:34,360 --> 00:29:37,840
Speaker 3: of relaxed humanity that makes it all the more alarming

543
00:29:38,200 --> 00:29:40,560
Speaker 3: when he starts trying to brain leach people.

544
00:29:40,960 --> 00:29:43,040
Speaker 1: Yeah, it was kind of surprising that this is a

545
00:29:43,040 --> 00:29:45,840
Speaker 1: guy who seemingly was, I'm assuming here making a lot

546
00:29:45,880 --> 00:29:48,600
Speaker 1: of assumptions, but was drawn more towards the behind the

547
00:29:48,640 --> 00:29:51,320
Speaker 1: scenes stuff as opposed to staying in front of the camera.

548
00:29:51,080 --> 00:29:53,080
Speaker 3: Because he's great in front of the camera. Yeah, he is,

549
00:29:53,520 --> 00:29:54,040
Speaker 3: all right.

550
00:29:54,160 --> 00:29:57,440
Speaker 1: We also have a character by the name of Melanie

551
00:29:57,440 --> 00:30:02,280
Speaker 1: Bryce who She is the security officer that's brought in

552
00:30:02,320 --> 00:30:05,520
Speaker 1: on this, which is also kind of kind of something.

553
00:30:05,640 --> 00:30:08,040
Speaker 1: I mean, this is obviously in Aliens, Like the whole

554
00:30:08,120 --> 00:30:10,680
Speaker 1: plot revolves around, well, this is a problem. Let's bring

555
00:30:10,720 --> 00:30:14,640
Speaker 1: in some muscle. Let's bring in the Colonial Marines. That's

556
00:30:14,760 --> 00:30:16,720
Speaker 1: kind of her purpose here. They're like, we think there's

557
00:30:16,760 --> 00:30:19,760
Speaker 1: going to be something Xena Morphy going on. We better

558
00:30:19,800 --> 00:30:24,160
Speaker 1: bring in some tall, mysterious woman who doesn't talk and

559
00:30:24,200 --> 00:30:27,560
Speaker 1: has a big gun. Bryce here is played by Diane

560
00:30:27,640 --> 00:30:31,480
Speaker 1: Salinger born nineteen fifty one, tall, striking American actor who

561
00:30:31,680 --> 00:30:33,800
Speaker 1: prior to this had apparently done some stage work in

562
00:30:33,800 --> 00:30:36,120
Speaker 1: New York and then moved out to la At the

563
00:30:36,120 --> 00:30:38,560
Speaker 1: behest of her agent. But this wasn't her only nineteen

564
00:30:38,600 --> 00:30:41,920
Speaker 1: eighty five film. She also appeared in Tim Burton's Peewee's

565
00:30:41,960 --> 00:30:46,160
Speaker 1: Big Adventure, playing Simone, a waitress that dreams of visiting France.

566
00:30:47,360 --> 00:30:50,280
Speaker 1: After this, she'd remained friends with Paul Rubens, and Tim

567
00:30:50,320 --> 00:30:55,200
Speaker 1: Burton directed her again as the Penguin's Mother, alongside Paul

568
00:30:55,280 --> 00:30:59,560
Speaker 1: Rubens playing the Penguin's father in nineteen ninety two's Batman Returns.

569
00:31:00,040 --> 00:31:01,560
Speaker 3: Oh Yeah, Yeah.

570
00:31:01,840 --> 00:31:03,480
Speaker 1: She's done a lot of TV and film work over

571
00:31:03,480 --> 00:31:06,920
Speaker 1: the years, including such titles as ninety one's The Butcher's Wife,

572
00:31:07,000 --> 00:31:10,160
Speaker 1: ninety five's The Scarlet Letter, two thousand and one's Ghost World.

573
00:31:10,200 --> 00:31:12,960
Speaker 1: I believe she plays a psychiatrist in that. She has

574
00:31:13,000 --> 00:31:17,360
Speaker 1: a recurring role in HBO's Carnival, and she also did

575
00:31:17,360 --> 00:31:20,080
Speaker 1: a couple of Star Trek Deep Space nine episodes.

576
00:31:20,800 --> 00:31:23,400
Speaker 3: I want to say that there are some very weird

577
00:31:23,600 --> 00:31:26,960
Speaker 3: things about her characterization here, but I think that's not

578
00:31:27,200 --> 00:31:30,960
Speaker 3: her fault. It's like the character is written very oddly,

579
00:31:32,240 --> 00:31:36,040
Speaker 3: that there's a complete mismatch between the ways she's portrayed

580
00:31:36,080 --> 00:31:38,080
Speaker 3: in different scenes, and then when you get to the

581
00:31:38,160 --> 00:31:40,840
Speaker 3: later way she's portrayed, it doesn't make any sense why

582
00:31:40,880 --> 00:31:44,040
Speaker 3: they had her portrayed a different way earlier on. But

583
00:31:44,360 --> 00:31:47,200
Speaker 3: doing what she can with what she has to work

584
00:31:47,240 --> 00:31:48,960
Speaker 3: with in the script, I think she's good.

585
00:31:49,320 --> 00:31:52,280
Speaker 1: Yeah, I mean, added caveat. This was her first film.

586
00:31:53,280 --> 00:31:55,760
Speaker 1: She has great energy and a unique look. I checked

587
00:31:55,760 --> 00:31:57,840
Speaker 1: out some various behind the scenes interviews that she did

588
00:31:57,840 --> 00:32:00,480
Speaker 1: about this and other films, and she's a real like

589
00:32:00,520 --> 00:32:03,480
Speaker 1: full of personality and insight. And we'll get back to

590
00:32:03,520 --> 00:32:05,600
Speaker 1: some of that in a bit. All right, we have

591
00:32:05,760 --> 00:32:08,240
Speaker 1: a let's see that we have a doctor on the crew.

592
00:32:08,440 --> 00:32:11,600
Speaker 1: This is doctor Wendy h Oliver played by Annette McCarthy

593
00:32:11,640 --> 00:32:14,800
Speaker 1: who lived nineteen fifty eight through twenty twenty three. Mostly

594
00:32:14,840 --> 00:32:17,400
Speaker 1: a TV actor with credits that include Twin Peaks. She

595
00:32:17,440 --> 00:32:20,240
Speaker 1: played Evelyn Marsh on that and she also appeared on Baywatch.

596
00:32:21,560 --> 00:32:25,120
Speaker 3: Yeah, her presence in the movie is more minor. There

597
00:32:25,160 --> 00:32:27,240
Speaker 3: is one funny moment I don't know if it's supposed

598
00:32:27,240 --> 00:32:29,960
Speaker 3: to be funny where she's being lured off to a

599
00:32:30,040 --> 00:32:34,200
Speaker 3: dark room by a brain slug possessed Robert Jaffe and

600
00:32:34,480 --> 00:32:36,760
Speaker 3: she starts talking about how she's not a real doctor

601
00:32:36,840 --> 00:32:39,400
Speaker 3: and he's like, oh, I have a secret too. Anyways,

602
00:32:39,480 --> 00:32:40,560
Speaker 3: let's go into this room.

603
00:32:41,320 --> 00:32:44,360
Speaker 1: Yeah, that was interesting, and the character development went nowhere

604
00:32:44,400 --> 00:32:47,680
Speaker 1: because she's like killed the next scene, but it also

605
00:32:48,480 --> 00:32:50,800
Speaker 1: was kind of a funny moment. And then we have

606
00:32:50,880 --> 00:32:55,960
Speaker 1: the character Susan Delambrey played by Marie Lauren. Her birth

607
00:32:56,040 --> 00:32:57,960
Speaker 1: date's not public record, but she's in a number of

608
00:32:58,000 --> 00:33:01,960
Speaker 1: the making of a bits the disc as well. Energetic

609
00:33:01,960 --> 00:33:05,040
Speaker 1: American actor with a really solid supporting role.

610
00:33:04,880 --> 00:33:05,400
Speaker 3: In this film.

611
00:33:05,440 --> 00:33:08,840
Speaker 1: I think, you know, like she's a doomed character, but

612
00:33:09,480 --> 00:33:11,960
Speaker 1: she gets to do more than just be doomed, if

613
00:33:11,960 --> 00:33:14,920
Speaker 1: that makes sense. At this point in her career, she'd

614
00:33:14,960 --> 00:33:17,080
Speaker 1: appeared in various TV series, and she went on to

615
00:33:17,120 --> 00:33:19,520
Speaker 1: act in David Lynch's nineteen eighty eight short film The

616
00:33:19,560 --> 00:33:22,920
Speaker 1: Cowboy and the Frenchman, and she's been active in recent

617
00:33:23,000 --> 00:33:25,400
Speaker 1: years as a writer and producer on such films as

618
00:33:25,440 --> 00:33:28,200
Speaker 1: twenty twenty three is the Uncanny, in which she also stars.

619
00:33:28,960 --> 00:33:33,040
Speaker 3: Okay, she has a different energy than any other character

620
00:33:33,120 --> 00:33:36,640
Speaker 3: in this movie, and that she almost feels like out

621
00:33:36,640 --> 00:33:40,760
Speaker 3: of a story involving magic. She has prophetic visions of

622
00:33:40,800 --> 00:33:44,120
Speaker 3: the fact that she's going to die, which it doesn't

623
00:33:44,120 --> 00:33:47,200
Speaker 3: really fit with the story. Otherwise there's no other inkling

624
00:33:47,240 --> 00:33:50,400
Speaker 3: of like magic or psychic powers, and she just happens

625
00:33:50,440 --> 00:33:52,520
Speaker 3: to know that they're doomed and she's going to die.

626
00:33:53,040 --> 00:33:56,880
Speaker 3: And she also kind of wanders around with a dreamlike,

627
00:33:56,960 --> 00:33:59,040
Speaker 3: almost fairy like kind of spirit.

628
00:33:59,720 --> 00:34:00,240
Speaker 1: Yeah.

629
00:34:00,360 --> 00:34:00,600
Speaker 4: Yeah.

630
00:34:01,120 --> 00:34:03,600
Speaker 1: According to the extras on the disk, she was the

631
00:34:03,600 --> 00:34:05,719
Speaker 1: one who came to the director and said, all right,

632
00:34:05,760 --> 00:34:09,520
Speaker 1: this pivotal scene where my character seemingly comes back from

633
00:34:09,560 --> 00:34:12,160
Speaker 1: the dead and lures another character of their death, I

634
00:34:12,280 --> 00:34:14,480
Speaker 1: need to be nude for this. And he was like, okay,

635
00:34:14,840 --> 00:34:15,239
Speaker 1: let's do.

636
00:34:15,200 --> 00:34:18,399
Speaker 3: It on the planet's surface, the surface of Titan. Yeah.

637
00:34:18,520 --> 00:34:21,400
Speaker 1: But I think the nudity does add to the creepiness

638
00:34:21,400 --> 00:34:23,400
Speaker 1: of the sequence because it makes it even more of

639
00:34:23,480 --> 00:34:29,160
Speaker 1: an obvious delusion and ultimately is like, I think one

640
00:34:29,160 --> 00:34:30,800
Speaker 1: of the creepier sequences in the picture.

641
00:34:31,320 --> 00:34:33,960
Speaker 3: She has multiple of the creepiest moments in the movie.

642
00:34:33,960 --> 00:34:36,279
Speaker 3: There's that. There's also a scene later on where she's

643
00:34:36,280 --> 00:34:39,040
Speaker 3: in a spacesuit and the characters come across her and

644
00:34:39,080 --> 00:34:41,480
Speaker 3: they think that she is dead, but she suddenly like

645
00:34:41,680 --> 00:34:44,440
Speaker 3: grins and all this blood bursts out of her mouth

646
00:34:44,480 --> 00:34:48,480
Speaker 3: as she sort of like pops awake and smiles. It's gross.

647
00:34:50,320 --> 00:34:53,960
Speaker 1: All right, And then of course we have Kloskinski playing

648
00:34:54,000 --> 00:34:57,160
Speaker 1: the character Hans Rudy Hofner, which of course is an

649
00:34:57,200 --> 00:35:01,800
Speaker 1: obvious nod to Alien designer HRG or Hans Rudi Gieger.

650
00:35:02,200 --> 00:35:04,360
Speaker 3: There's a lot I could say about this performance. I'll

651
00:35:04,400 --> 00:35:06,560
Speaker 3: maybe save some of it for when we talk about

652
00:35:06,560 --> 00:35:11,319
Speaker 3: the plot. But also this character feels completely superfluous to

653
00:35:11,400 --> 00:35:13,920
Speaker 3: the story, like it's just sort of copy pasted in.

654
00:35:14,600 --> 00:35:17,439
Speaker 1: Yeah, apparently it's very much the case that they got

655
00:35:17,440 --> 00:35:20,000
Speaker 1: the extra money they realized they could cast clost Kinski

656
00:35:20,080 --> 00:35:23,000
Speaker 1: if they could get in touch with him. According to Malone,

657
00:35:23,520 --> 00:35:25,359
Speaker 1: the only way to get in touch with Kinsky at

658
00:35:25,400 --> 00:35:28,000
Speaker 1: the time was to send a telegram, and he was

659
00:35:28,120 --> 00:35:32,560
Speaker 1: reportedly living in like a shack somewhere up in the

660
00:35:32,560 --> 00:35:36,920
Speaker 1: California mountains, and he slept on straw on the floor,

661
00:35:37,440 --> 00:35:39,680
Speaker 1: and they were somehow able to get in touch with

662
00:35:39,760 --> 00:35:42,200
Speaker 1: him and cast him here. But then, of course, as

663
00:35:42,239 --> 00:35:44,480
Speaker 1: one would expect, especially at this point in his career,

664
00:35:44,520 --> 00:35:47,600
Speaker 1: he was a nightmare. You know. The thing about Kinski

665
00:35:47,800 --> 00:35:51,880
Speaker 1: is that he's famous. He's infamous for being not only

666
00:35:51,920 --> 00:35:56,200
Speaker 1: this ball of crazed intensity that can be captivating on

667
00:35:56,239 --> 00:36:00,800
Speaker 1: the screen, but also being almost impossible, not just almost

668
00:36:00,920 --> 00:36:04,360
Speaker 1: universally impossible to work with, Like, there's so many accounts

669
00:36:04,360 --> 00:36:09,000
Speaker 1: of him being either insanely difficult or being just a

670
00:36:09,080 --> 00:36:13,759
Speaker 1: loathsome human being, sometimes both, often both, you can get

671
00:36:13,800 --> 00:36:16,120
Speaker 1: both from him. And so we've talked about him a

672
00:36:16,160 --> 00:36:18,120
Speaker 1: little bit on Weird House Cinema before he was in

673
00:36:18,120 --> 00:36:22,920
Speaker 1: the killer snake movie Venom in nineteen eighty one. I

674
00:36:22,960 --> 00:36:25,640
Speaker 1: would guess he achieved his most notable work in the

675
00:36:25,640 --> 00:36:29,040
Speaker 1: films of legendary director Werner Herzog, who seems to have

676
00:36:29,080 --> 00:36:32,000
Speaker 1: been one of the very few directors capable of managing

677
00:36:32,040 --> 00:36:33,000
Speaker 1: him to some degree.

678
00:36:33,480 --> 00:36:35,200
Speaker 3: Yeah, by whatever means necessary.

679
00:36:35,520 --> 00:36:40,239
Speaker 1: Yeah, Now, on this production, he notably harassed Diane Salinger

680
00:36:40,280 --> 00:36:45,600
Speaker 1: on the set. Totally unacceptable. Would not fly it all today, obviously,

681
00:36:45,880 --> 00:36:48,640
Speaker 1: but in interviews she has reflected on this, and she's

682
00:36:48,640 --> 00:36:50,840
Speaker 1: talked about how she really had to check his bs

683
00:36:51,200 --> 00:36:54,640
Speaker 1: and put him in his place at one point. So

684
00:36:55,000 --> 00:36:59,200
Speaker 1: she's very tall, Kinski was a short man. At one point.

685
00:36:59,239 --> 00:37:00,719
Speaker 1: She says she had to like pick him up in

686
00:37:00,760 --> 00:37:02,880
Speaker 1: a bear hug and just kind of like shake him

687
00:37:03,280 --> 00:37:06,560
Speaker 1: and in doing so like largely put him in his place.

688
00:37:06,640 --> 00:37:09,000
Speaker 1: So I get that after a while she did not

689
00:37:09,120 --> 00:37:13,440
Speaker 1: have to worry about Kinsky, but you know, he was

690
00:37:13,480 --> 00:37:17,040
Speaker 1: awful on the set and she had to to put.

691
00:37:16,920 --> 00:37:17,520
Speaker 3: Him in his place.

692
00:37:17,560 --> 00:37:19,480
Speaker 1: But she reflects on some of this in the twenty

693
00:37:19,480 --> 00:37:23,960
Speaker 1: twenty one documentary Creation Is Violent, anecdotes on Kinsky's final years.

694
00:37:24,600 --> 00:37:26,840
Speaker 1: She also talks a little bit on the vinegar syndrome

695
00:37:26,880 --> 00:37:30,240
Speaker 1: disc She points out that Kinsky did some brilliant takes

696
00:37:30,239 --> 00:37:32,759
Speaker 1: for Creature, but they couldn't use a lot of them

697
00:37:32,760 --> 00:37:34,960
Speaker 1: because he just refused to hit his mark, so he

698
00:37:35,040 --> 00:37:37,759
Speaker 1: was often out of focus. You know, he was very

699
00:37:37,840 --> 00:37:40,040
Speaker 1: much not going to listen to any director or a

700
00:37:40,120 --> 00:37:43,600
Speaker 1: cameraman or anything, and so they ended up losing a

701
00:37:43,600 --> 00:37:47,160
Speaker 1: lot of footage. So what you see is to a

702
00:37:47,200 --> 00:37:50,719
Speaker 1: certain extent, what they could actually use, like is he

703
00:37:50,800 --> 00:37:52,160
Speaker 1: in is he?

704
00:37:52,280 --> 00:37:53,400
Speaker 3: Is he? Is he blurry?

705
00:37:53,440 --> 00:37:53,520
Speaker 2: No?

706
00:37:53,640 --> 00:37:53,920
Speaker 3: Okay?

707
00:37:53,960 --> 00:37:56,640
Speaker 1: Is he eating a sandwich? Well, yes, I guess we'll

708
00:37:56,719 --> 00:37:56,960
Speaker 1: use it.

709
00:37:58,920 --> 00:38:01,480
Speaker 3: That would explain it. Is he eating a sandwich? And

710
00:38:01,520 --> 00:38:03,759
Speaker 3: it almost sounds like he's making up his lines while

711
00:38:03,800 --> 00:38:05,880
Speaker 3: he choose Yeah yeah.

712
00:38:06,760 --> 00:38:09,200
Speaker 1: Yeah, I mean, because I'm assuming he's probably gonna largely

713
00:38:09,280 --> 00:38:12,880
Speaker 1: say whatever he wants either, So just an unenviable position

714
00:38:13,040 --> 00:38:15,600
Speaker 1: to imagine anyone trying to direct this man and something.

715
00:38:15,960 --> 00:38:20,040
Speaker 1: Even if you might get those moments of brilliance on

716
00:38:20,160 --> 00:38:22,640
Speaker 1: camera where you know, you get that like that raw,

717
00:38:23,280 --> 00:38:26,880
Speaker 1: crackling kinsky intensity, but what what are you willing to

718
00:38:26,880 --> 00:38:29,960
Speaker 1: sacrifice for yourself or for the cast in order to

719
00:38:29,960 --> 00:38:32,320
Speaker 1: get there? All right? The music on this one the

720
00:38:32,360 --> 00:38:35,440
Speaker 1: scores by Thomas Chase and Steve Rucker, both born nineteen

721
00:38:35,520 --> 00:38:39,160
Speaker 1: forty nine. These guys went on to work extensively on

722
00:38:39,239 --> 00:38:43,719
Speaker 1: animated series including Scooby Doo, Powerpuff Girls, and various other projects.

723
00:38:43,719 --> 00:38:48,680
Speaker 1: Looks like maybe some various other Cartoon Network related projects.

724
00:38:49,080 --> 00:38:52,719
Speaker 3: I think the score here feels almost consciously like an

725
00:38:52,760 --> 00:38:56,200
Speaker 3: attempt to reproduce the score of Alien. Yes, there are

726
00:38:56,880 --> 00:39:00,520
Speaker 3: even similar dynamics where like there's kind of a swelling

727
00:39:00,560 --> 00:39:02,960
Speaker 3: of the orchestra, but then it dies away and then

728
00:39:03,000 --> 00:39:05,960
Speaker 3: there's a single high melody line that's carried by a

729
00:39:06,000 --> 00:39:09,080
Speaker 3: woodwind like a clarinet or an obo, just like you

730
00:39:09,080 --> 00:39:11,880
Speaker 3: get in some of the Alien music. It's it's it

731
00:39:11,960 --> 00:39:14,360
Speaker 3: feels familiar. Yeah.

732
00:39:14,600 --> 00:39:16,960
Speaker 1: Now, as far as the effects go, the main team

733
00:39:17,040 --> 00:39:20,800
Speaker 1: here was the La Effects Group INK, which among others,

734
00:39:20,800 --> 00:39:24,080
Speaker 1: included Suzanne M. Benson who had gone to work on

735
00:39:24,200 --> 00:39:27,400
Speaker 1: Aliens the following year and win an Oscar for it.

736
00:39:27,440 --> 00:39:30,000
Speaker 1: In fact, Benson was the first woman apparently to win

737
00:39:30,040 --> 00:39:34,719
Speaker 1: an Oscar for special effects work. Michael McCracken is credited

738
00:39:34,800 --> 00:39:37,840
Speaker 1: with the initial design of the Titan find creature or

739
00:39:37,960 --> 00:39:41,400
Speaker 1: monster in this He also worked on nineteen eighty nine's Leviathan.

740
00:39:42,080 --> 00:39:46,360
Speaker 3: Special effects in this movie are fun. They are. I

741
00:39:46,360 --> 00:39:48,759
Speaker 3: would say they are mixed in terms of quality. You

742
00:39:48,760 --> 00:39:51,520
Speaker 3: can tell there were some budget limitations at some points,

743
00:39:51,600 --> 00:39:55,200
Speaker 3: but almost all of the effects shots are fun.

744
00:39:55,840 --> 00:39:58,880
Speaker 1: Yeah, yeah, obvious limitations, but yeah, there's a lot of

745
00:39:58,920 --> 00:40:01,680
Speaker 1: fun stuff in here, and sometimes it's hilarious, you know.

746
00:40:03,040 --> 00:40:05,080
Speaker 1: You know, great effects team is only going to go

747
00:40:05,160 --> 00:40:08,799
Speaker 1: so far when you're up against those budgetary constraints and

748
00:40:08,880 --> 00:40:13,080
Speaker 1: you're working in this super hot warehouse in the heat

749
00:40:13,120 --> 00:40:24,640
Speaker 1: of the summer in California. All right, well, let's jump

750
00:40:24,640 --> 00:40:26,960
Speaker 1: into the plot here. Let's go into space and see

751
00:40:26,960 --> 00:40:28,000
Speaker 1: if anyone can hear a screen.

752
00:40:28,440 --> 00:40:31,320
Speaker 3: Okay, Well, the first thing we get is intense music,

753
00:40:31,520 --> 00:40:35,600
Speaker 3: minor chords, pounding, hollow drums, kind of a sweeping Doppler

754
00:40:35,760 --> 00:40:40,279
Speaker 3: sound of symbols. Once again, I will say quite reminiscent

755
00:40:40,320 --> 00:40:44,160
Speaker 3: of the Jerry Goldsmith score in Alien. And then we

756
00:40:44,239 --> 00:40:48,680
Speaker 3: get some text telling us about the setting. So we

757
00:40:48,760 --> 00:40:52,200
Speaker 3: are told, in the competition for new materials and advanced

758
00:40:52,320 --> 00:40:57,840
Speaker 3: manufacturing techniques, two multinational corporations have invested heavily in space.

759
00:40:58,480 --> 00:41:02,520
Speaker 3: The rival firms of Rick Dynamics of West Germany and

760
00:41:02,840 --> 00:41:06,600
Speaker 3: NTI of the USA are locked in a fierce race

761
00:41:06,680 --> 00:41:09,920
Speaker 3: for commercial supremacy. So first of all, we can note

762
00:41:09,960 --> 00:41:13,400
Speaker 3: that space is being colonized for business purposes, but Germany

763
00:41:13,440 --> 00:41:18,720
Speaker 3: is still divided here. And then also this will, despite

764
00:41:18,760 --> 00:41:21,840
Speaker 3: how much attention they give it by including a text

765
00:41:21,960 --> 00:41:25,040
Speaker 3: legend right here at the top, this will play remarkably

766
00:41:25,080 --> 00:41:27,319
Speaker 3: little role in the plot. Yeah.

767
00:41:27,400 --> 00:41:30,000
Speaker 1: Yeah, it's some nice background color that does feel very

768
00:41:30,040 --> 00:41:32,200
Speaker 1: much in keeping with the Alien universe, you know, with

769
00:41:32,280 --> 00:41:37,279
Speaker 1: the corporations like Wailand, Tutani. But yeah, it's not particularly necessary.

770
00:41:37,400 --> 00:41:40,600
Speaker 3: So next week to Chiron saying that we are on Titan,

771
00:41:40,840 --> 00:41:45,840
Speaker 3: which is Saturn's largest moon, on following a geological research

772
00:41:45,920 --> 00:41:49,720
Speaker 3: team from NTI. And we're also told that it's April fifth,

773
00:41:49,760 --> 00:41:51,920
Speaker 3: But is it April fifth on Earth or on Titan?

774
00:41:54,440 --> 00:41:56,400
Speaker 3: So I don't know if there would be in April

775
00:41:56,440 --> 00:42:00,080
Speaker 3: on Titan. Somewhere somewhere here on Titan. There's an opening

776
00:42:00,120 --> 00:42:03,440
Speaker 3: scene where there are a couple of guys in bulky

777
00:42:03,480 --> 00:42:07,279
Speaker 3: Eva suits exploring an indoor space. So it seems to

778
00:42:07,320 --> 00:42:12,840
Speaker 3: be the ruins of an ancient alien civilization, though unfortunately

779
00:42:12,920 --> 00:42:15,719
Speaker 3: we don't see all that much of their architecture or

780
00:42:15,760 --> 00:42:18,600
Speaker 3: really much texture in here at all. It's just a

781
00:42:18,719 --> 00:42:22,840
Speaker 3: dark room with some hard to identify objects scattered around

782
00:42:22,840 --> 00:42:23,360
Speaker 3: on the floor.

783
00:42:23,760 --> 00:42:25,680
Speaker 1: Yeah, and this is true of either kind of the film,

784
00:42:25,920 --> 00:42:29,600
Speaker 1: even in the brighter theatrical cut. It's like, I don't know,

785
00:42:29,840 --> 00:42:33,560
Speaker 1: they're really impressed, but this is not the egg chamber

786
00:42:33,920 --> 00:42:38,000
Speaker 1: from the alien spaceship an alien. This is something more

787
00:42:38,239 --> 00:42:39,840
Speaker 1: achievable based on their budget.

788
00:42:40,160 --> 00:42:44,360
Speaker 3: Yeah, so the two geologists seem very excited about their find.

789
00:42:44,480 --> 00:42:47,200
Speaker 3: This is a big discovery. It's some kind of ancient

790
00:42:47,239 --> 00:42:51,880
Speaker 3: alien ruin. But I wasn't quite clear rob within the

791
00:42:51,880 --> 00:42:55,880
Speaker 3: setting of this movie, do humans already know that aliens exist?

792
00:42:56,040 --> 00:42:58,520
Speaker 3: Or is this the very first evidence of it.

793
00:42:58,920 --> 00:43:02,480
Speaker 1: I mean, they've given us nothing to indicate that aliens

794
00:43:02,480 --> 00:43:04,840
Speaker 1: were known of before. They mentioned new materials, but they

795
00:43:04,840 --> 00:43:08,080
Speaker 1: don't say whether those are organic materials or inorganic materials,

796
00:43:08,120 --> 00:43:11,719
Speaker 1: so maybe it's all new, or I mean, maybe they

797
00:43:11,760 --> 00:43:14,400
Speaker 1: were expecting it. So they're like, yes, of course, alien life,

798
00:43:14,560 --> 00:43:15,040
Speaker 1: we don't know.

799
00:43:15,640 --> 00:43:18,520
Speaker 3: So they perform some analysis to figure out that these

800
00:43:18,520 --> 00:43:21,920
Speaker 3: structures are more than two hundred thousand years old. And

801
00:43:22,000 --> 00:43:24,080
Speaker 3: on the floor of this room they find a number

802
00:43:24,080 --> 00:43:29,080
Speaker 3: of large, damaged capsule shaped objects that have like a

803
00:43:29,200 --> 00:43:32,440
Speaker 3: viewing glass on the upper lids, and they look inside

804
00:43:32,440 --> 00:43:35,320
Speaker 3: one of them and believe they see a skeleton of something,

805
00:43:35,840 --> 00:43:39,400
Speaker 3: almost like these are some kind of sarcophag guy. And

806
00:43:39,440 --> 00:43:42,800
Speaker 3: then they find one capsule that is actually still intact,

807
00:43:42,920 --> 00:43:45,120
Speaker 3: and they look inside. They look through the glass and

808
00:43:45,160 --> 00:43:48,480
Speaker 3: they see the face of some kind of creature. So

809
00:43:48,560 --> 00:43:50,799
Speaker 3: they start trying to move the capsule, and then one

810
00:43:50,840 --> 00:43:53,680
Speaker 3: of the scientists says, like, you know, this has been

811
00:43:53,680 --> 00:43:55,839
Speaker 3: here for a quarter of a million years. If we

812
00:43:55,920 --> 00:43:58,880
Speaker 3: wake it up, it's likely to be very pissed and

813
00:43:59,080 --> 00:44:06,080
Speaker 3: very hungry. And then they move it anyway, and while

814
00:44:06,200 --> 00:44:09,279
Speaker 3: they're examining the alien remains through the glass, that the

815
00:44:09,320 --> 00:44:12,720
Speaker 3: creature inside moves, and then they're like ah, but then

816
00:44:13,080 --> 00:44:15,239
Speaker 3: they just kind of like, ah, there's probably nothing. Let's

817
00:44:15,239 --> 00:44:17,560
Speaker 3: forget all about it. And then one of the two

818
00:44:17,600 --> 00:44:20,840
Speaker 3: guys sits on the capsule to pose for a photo

819
00:44:20,920 --> 00:44:21,960
Speaker 3: with it. Yeah.

820
00:44:22,000 --> 00:44:24,200
Speaker 1: I love this bit because the other guy that's taking

821
00:44:24,200 --> 00:44:25,720
Speaker 1: the photo is like, all right, move into the shot.

822
00:44:26,000 --> 00:44:27,719
Speaker 1: And then he's telling him I need you to set

823
00:44:27,719 --> 00:44:30,319
Speaker 1: on it for scale. Can you imagine if this had

824
00:44:30,360 --> 00:44:32,600
Speaker 1: happened in Alien, if they were like, hey, Caine, go

825
00:44:32,600 --> 00:44:35,440
Speaker 1: ahead and sit on one of those egg things because

826
00:44:35,440 --> 00:44:37,680
Speaker 1: we need the folks back home to know how big

827
00:44:37,719 --> 00:44:38,040
Speaker 1: it is.

828
00:44:38,760 --> 00:44:40,880
Speaker 3: Yeah, put your face right by it, open your mouth.

829
00:44:41,920 --> 00:44:43,600
Speaker 3: I need your mouth open for scale.

830
00:44:44,400 --> 00:44:46,160
Speaker 1: And so he sits on it. Of course he's like

831
00:44:46,200 --> 00:44:47,720
Speaker 1: all right, all right, let's do this photo.

832
00:44:48,000 --> 00:44:50,840
Speaker 3: And then chocolate syrup starts leaking out of the container

833
00:44:51,040 --> 00:44:54,359
Speaker 3: and we get an attack. There's actually a really good

834
00:44:54,400 --> 00:44:57,279
Speaker 3: foli here. There's like a good squishing sound effect when

835
00:44:57,320 --> 00:45:01,200
Speaker 3: the alien is popping out. Maybe this wishing something inside

836
00:45:01,200 --> 00:45:04,359
Speaker 3: the guy's body. But they get attacked first the goo

837
00:45:04,520 --> 00:45:05,360
Speaker 3: and then the creature.

838
00:45:05,760 --> 00:45:05,960
Speaker 1: Yeah.

839
00:45:06,040 --> 00:45:07,520
Speaker 3: I like this. The goo's good. Again.

840
00:45:07,560 --> 00:45:09,919
Speaker 1: This reminds me of the black goo that would pop

841
00:45:10,040 --> 00:45:13,440
Speaker 1: up in the more recent Alien films, And you know,

842
00:45:13,480 --> 00:45:16,480
Speaker 1: it's a good Like in Spacesuit Death, we get they'll

843
00:45:16,520 --> 00:45:18,839
Speaker 1: they'll return to this basic effect time and time again.

844
00:45:18,880 --> 00:45:20,719
Speaker 1: But a quick splat of blood on the inside of

845
00:45:20,760 --> 00:45:24,000
Speaker 1: the eva heilmet Andrew good to go. I don't know

846
00:45:24,040 --> 00:45:25,840
Speaker 1: how it got him. I guess it came up, like

847
00:45:25,880 --> 00:45:28,560
Speaker 1: I guess, through the butt. Thats the's setting on it.

848
00:45:28,600 --> 00:45:31,200
Speaker 3: After all, it's the Ghoulies approach.

849
00:45:31,800 --> 00:45:36,000
Speaker 1: Yeah, the actual like biology of our creature here. There's

850
00:45:36,000 --> 00:45:40,040
Speaker 1: a lot left to interpretation, but I agree that the

851
00:45:40,040 --> 00:45:44,239
Speaker 1: foley works. The sound effects quite nice, and credit on

852
00:45:44,280 --> 00:45:46,000
Speaker 1: this apparently goes to Marvin Kerner.

853
00:45:47,480 --> 00:45:49,239
Speaker 3: Yeah. I liked a lot of the sound effects in

854
00:45:49,280 --> 00:45:51,840
Speaker 3: the movie, though there are some that are a bit puzzling.

855
00:45:52,239 --> 00:45:56,160
Speaker 3: Did you notice how whenever a door would open or

856
00:45:56,200 --> 00:46:00,719
Speaker 3: close it played a Star Wars blaster sound effect. I

857
00:46:00,760 --> 00:46:01,359
Speaker 3: guess it did.

858
00:46:01,440 --> 00:46:04,560
Speaker 1: Yeah, I hadn't thought about that, but but yeah, on

859
00:46:04,640 --> 00:46:07,000
Speaker 1: the whole, I felt like the sound effects helped elevate things.

860
00:46:07,440 --> 00:46:09,040
Speaker 1: I should also go ahead and point out we'll probably

861
00:46:09,040 --> 00:46:11,840
Speaker 1: come back to this, but the spaceship scenes.

862
00:46:11,480 --> 00:46:12,200
Speaker 3: Look really good.

863
00:46:12,480 --> 00:46:15,400
Speaker 1: The model work, the lighting of the model, shooting the models,

864
00:46:16,120 --> 00:46:20,160
Speaker 1: space sequences in general look great. So there's a lot

865
00:46:20,480 --> 00:46:24,200
Speaker 1: in this film effects wise that was done really well considered,

866
00:46:24,280 --> 00:46:27,480
Speaker 1: especially considering the budget. And serves to elevate the picture.

867
00:46:28,480 --> 00:46:32,160
Speaker 3: Now here's a random note about this opening scene. I

868
00:46:32,239 --> 00:46:35,480
Speaker 3: believe one of the scientists in this scene is named

869
00:46:35,880 --> 00:46:40,000
Speaker 3: Ted Lauandergan, and because you see the last name Laundergan

870
00:46:40,160 --> 00:46:43,160
Speaker 3: on the space suit and the other guy repeatedly refers

871
00:46:43,200 --> 00:46:46,120
Speaker 3: to him as Ted. Now, that is not really notable,

872
00:46:46,200 --> 00:46:48,960
Speaker 3: especially since this character just dies and doesn't come back,

873
00:46:49,560 --> 00:46:52,920
Speaker 3: But it is notable within the meta context of the

874
00:46:52,920 --> 00:46:56,680
Speaker 3: film because apparently that is the name of the private

875
00:46:56,760 --> 00:47:01,560
Speaker 3: detective who takes it too personal in Will Malone's previous movie,

876
00:47:01,600 --> 00:47:03,879
Speaker 3: Scared to Death. So this is one of the many

877
00:47:04,200 --> 00:47:07,680
Speaker 3: Scared to Death references within Creature that I brought up earlier.

878
00:47:07,760 --> 00:47:09,839
Speaker 1: Oh man, this one's just for the Scared to Death heads.

879
00:47:09,920 --> 00:47:11,080
Speaker 1: That's what we called themselves.

880
00:47:11,320 --> 00:47:14,440
Speaker 3: Anyway, after this we get a title. The version I

881
00:47:14,520 --> 00:47:16,799
Speaker 3: was watching for this part of the movie was called

882
00:47:16,840 --> 00:47:20,240
Speaker 3: The Titan Find. Other cut is called Creature. Once again,

883
00:47:21,120 --> 00:47:22,839
Speaker 3: I think I said this earlier, but I watched half

884
00:47:22,880 --> 00:47:24,840
Speaker 3: of the movie in the Titan Find cut half of

885
00:47:24,880 --> 00:47:26,719
Speaker 3: the movie and the Creature cut, and I don't know

886
00:47:26,760 --> 00:47:28,160
Speaker 3: what I missed one way or another.

887
00:47:28,600 --> 00:47:31,040
Speaker 1: I think I've read that it's mostly a little exposition,

888
00:47:31,480 --> 00:47:34,560
Speaker 1: so and I don't know that a little makes a

889
00:47:34,560 --> 00:47:35,400
Speaker 1: whole lot of difference.

890
00:47:36,400 --> 00:47:39,360
Speaker 3: All right, after the titles, we are moving again. So

891
00:47:39,440 --> 00:47:43,080
Speaker 3: next we're told it's June twenty third, I assume Earth calendar,

892
00:47:43,760 --> 00:47:47,000
Speaker 3: and we're looking at the space station Concord, which is

893
00:47:47,040 --> 00:47:50,880
Speaker 3: a wheel shaped sort of the Stanford Taurres space station,

894
00:47:52,160 --> 00:47:54,840
Speaker 3: and we are told that it is owned by the

895
00:47:54,960 --> 00:47:58,520
Speaker 3: NTI Corporation, that's the USA based one in orbit around

896
00:47:58,560 --> 00:48:01,600
Speaker 3: the Earth's Moon. And we get one of you know,

897
00:48:01,760 --> 00:48:05,880
Speaker 3: a classic radar room scene where there's somebody sitting in

898
00:48:05,920 --> 00:48:08,080
Speaker 3: there and they say, sir, we've got we're picking up

899
00:48:08,160 --> 00:48:10,879
Speaker 3: something on the on the computer. Oh, it's headed right

900
00:48:10,960 --> 00:48:15,080
Speaker 3: for us. So the command center detects a spacecraft on

901
00:48:15,120 --> 00:48:18,359
Speaker 3: a collision course. Then they say, we've got a visual here,

902
00:48:18,480 --> 00:48:20,840
Speaker 3: and they tune all these TVs into I guess the

903
00:48:21,760 --> 00:48:25,040
Speaker 3: like a stream from the cockpit of this space ship

904
00:48:25,719 --> 00:48:29,040
Speaker 3: and they go, what the hell, and the pilot of

905
00:48:29,080 --> 00:48:31,120
Speaker 3: the incoming ship is a fallout gool.

906
00:48:31,440 --> 00:48:36,280
Speaker 1: Yeah. Yeah, It's like it's like a space a zombie

907
00:48:36,360 --> 00:48:39,239
Speaker 1: from Planet of the Vampires. It's like one of the

908
00:48:39,280 --> 00:48:42,960
Speaker 1: abominations that you encounter in Prometheus, is that like, well,

909
00:48:42,960 --> 00:48:45,080
Speaker 1: I guess one of the one of the guys from

910
00:48:45,120 --> 00:48:50,879
Speaker 1: our our opening scene is here like just fully zombified

911
00:48:51,239 --> 00:48:54,640
Speaker 1: and is driving straight towards the space station, no brakes

912
00:48:54,719 --> 00:48:55,160
Speaker 1: or anything.

913
00:48:55,440 --> 00:48:58,480
Speaker 3: And then it hits and the space station explodes, which

914
00:48:58,520 --> 00:48:59,680
Speaker 3: I wasn't quite expecting.

915
00:48:59,760 --> 00:49:02,320
Speaker 1: So I was not expecting it either, Like this feels

916
00:49:02,400 --> 00:49:05,680
Speaker 1: like the worst case scenario. Like it's so bad that

917
00:49:05,800 --> 00:49:07,680
Speaker 1: I assumed, Okay, we're going to get a one week

918
00:49:07,719 --> 00:49:10,520
Speaker 1: earlier bit on this, because maybe this isn't the same

919
00:49:10,560 --> 00:49:14,560
Speaker 1: guys from the beginning. Clearly somebody returning with an alien

920
00:49:14,600 --> 00:49:18,600
Speaker 1: pathogen and destroying a massive space station. That's as bad

921
00:49:18,600 --> 00:49:20,640
Speaker 1: as it gets, and we have to work backwards from

922
00:49:20,680 --> 00:49:21,560
Speaker 1: this disaster.

923
00:49:21,880 --> 00:49:25,239
Speaker 3: But that's not the case, right, No, we're time to

924
00:49:25,280 --> 00:49:27,800
Speaker 3: meet our crew, so we go to a different ship.

925
00:49:27,840 --> 00:49:30,920
Speaker 3: We're cutting around a lot. Now we're on a mission

926
00:49:30,960 --> 00:49:35,080
Speaker 3: to Titan. So NTI has sent a second ship called

927
00:49:35,160 --> 00:49:40,160
Speaker 3: the Shinandoah to Titan with instructions to claim the artifacts

928
00:49:40,160 --> 00:49:44,520
Speaker 3: discovered by the original team of scientists. So the artifacts

929
00:49:44,800 --> 00:49:48,440
Speaker 3: melted the last guys made them into space zombies. You

930
00:49:48,560 --> 00:49:51,400
Speaker 3: need to go get that stuff now. And it starts

931
00:49:51,400 --> 00:49:55,200
Speaker 3: off when we meet everybody. They're gathered in a room

932
00:49:55,680 --> 00:49:58,799
Speaker 3: that clearly looks like the interior styling of this set

933
00:49:58,840 --> 00:50:01,640
Speaker 3: is supposed to be similar to the Nostromo in Alien.

934
00:50:01,680 --> 00:50:04,200
Speaker 3: It's got these, you know, just a lot of the

935
00:50:04,239 --> 00:50:06,840
Speaker 3: same textures, the kind of white walls with the hoses

936
00:50:06,920 --> 00:50:10,719
Speaker 3: and tubes and the ridges and all that, and everybody's

937
00:50:10,719 --> 00:50:14,279
Speaker 3: sitting around and they're getting a briefing by Perkins, which

938
00:50:14,360 --> 00:50:16,920
Speaker 3: is the company man, the guy played by lyman Ward,

939
00:50:17,880 --> 00:50:21,680
Speaker 3: and he starts off telling them like, well, whatever reasons

940
00:50:21,719 --> 00:50:24,480
Speaker 3: you had for signing up for this mission, you've got

941
00:50:24,480 --> 00:50:28,120
Speaker 3: to do what the company says, which you know, okay, yeah,

942
00:50:28,400 --> 00:50:31,080
Speaker 3: they probably know that. And he says, you got to

943
00:50:31,080 --> 00:50:34,359
Speaker 3: get these these artifacts from the Alien site. You've got

944
00:50:34,400 --> 00:50:37,640
Speaker 3: to market, document it, and return any samples to NTI.

945
00:50:38,480 --> 00:50:41,319
Speaker 1: And everyone, I think is mostly okay with this. They're like, okay, yeah,

946
00:50:41,520 --> 00:50:43,160
Speaker 1: there's not as much conflict over it.

947
00:50:43,560 --> 00:50:46,800
Speaker 3: Yep, yep, that's what's going on except one crew member.

948
00:50:46,800 --> 00:50:50,640
Speaker 3: Actually this is I think Slaydon, Beth Slaydon, played by

949
00:50:51,040 --> 00:50:54,120
Speaker 3: Wendy Shawl. She's like, wait a minute, if this is

950
00:50:54,160 --> 00:50:58,279
Speaker 3: a research mission where we're just supposed to recover artifacts,

951
00:50:58,320 --> 00:51:01,840
Speaker 3: why do we need a security officer. And then everybody

952
00:51:01,920 --> 00:51:05,440
Speaker 3: looks over at Diane Salinger just standing there in the

953
00:51:05,440 --> 00:51:09,360
Speaker 3: corner of the room. She's looking very creepy at this point.

954
00:51:09,440 --> 00:51:13,040
Speaker 3: She's looking very stern and robotic. It almost seems like

955
00:51:13,080 --> 00:51:15,840
Speaker 3: they are setting her up to be revealed later to

956
00:51:15,880 --> 00:51:18,480
Speaker 3: be an android, but they're not. She's, as far as

957
00:51:18,520 --> 00:51:21,160
Speaker 3: I could tell, she's just a regular human. Yeah.

958
00:51:21,160 --> 00:51:23,160
Speaker 1: Again, this is one of those characters it feels like

959
00:51:23,800 --> 00:51:26,320
Speaker 1: the character was changed, either in the course of writing

960
00:51:26,760 --> 00:51:29,000
Speaker 1: or in the course of shooting the film, and they

961
00:51:29,080 --> 00:51:33,319
Speaker 1: just like left previous incarnations of her there because what

962
00:51:33,440 --> 00:51:35,319
Speaker 1: we have here is not what we get later on,

963
00:51:35,480 --> 00:51:37,080
Speaker 1: and it's not one of those things where we feel

964
00:51:37,120 --> 00:51:40,040
Speaker 1: like there's significant development to get to that change.

965
00:51:39,760 --> 00:51:44,880
Speaker 3: She looks very stern, and they've almost given her I

966
00:51:44,920 --> 00:51:47,440
Speaker 3: don't know what you call. It's not like gothy makeup,

967
00:51:47,600 --> 00:51:50,400
Speaker 3: but she looks like she looks like she's a member

968
00:51:50,400 --> 00:51:54,000
Speaker 3: of a German industrial metal band, but she's also wearing

969
00:51:54,080 --> 00:51:56,280
Speaker 3: the uniform of a Formula one driver.

970
00:51:56,960 --> 00:51:59,920
Speaker 1: Yeah, her look is kind of I would say, zuol

971
00:52:00,200 --> 00:52:01,080
Speaker 1: ask you know.

972
00:52:01,920 --> 00:52:05,920
Speaker 3: Yeah, yeah, that's good. And so Perkins can offer no

973
00:52:05,960 --> 00:52:08,520
Speaker 3: explanation for why Bryce is here, he just walks away,

974
00:52:09,520 --> 00:52:13,560
Speaker 3: and then the next scene is the ship's doctor, doctor Oliver,

975
00:52:14,400 --> 00:52:20,960
Speaker 3: arguing with Bryce here because Bryce is confiscating and impounding

976
00:52:21,080 --> 00:52:24,680
Speaker 3: drugs from the ship's onboard pharmacy and she's like, you

977
00:52:24,760 --> 00:52:28,160
Speaker 3: have no right to take those. And Bryce doesn't speak

978
00:52:28,200 --> 00:52:31,320
Speaker 3: at all. She's just completely like zipper lips, not a word,

979
00:52:31,640 --> 00:52:35,400
Speaker 3: giving this glour at the doctor. The doctor eventually backs

980
00:52:35,480 --> 00:52:39,520
Speaker 3: down like she's afraid of her. She leaves. Later dialogue

981
00:52:39,520 --> 00:52:43,879
Speaker 3: reveals that she was mostly taking heavy sedatives, and then

982
00:52:43,920 --> 00:52:46,200
Speaker 3: the doctor talks with a couple of other crew members.

983
00:52:46,480 --> 00:52:49,800
Speaker 3: This is Finnel and Dilombre about how they've been on

984
00:52:49,840 --> 00:52:52,320
Speaker 3: the ship for three months and no one has heard

985
00:52:52,440 --> 00:52:56,600
Speaker 3: Bryce's talk. Isn't that weird? Once again sets it up

986
00:52:56,640 --> 00:52:57,800
Speaker 3: like she's going to be a robot.

987
00:52:58,120 --> 00:53:00,880
Speaker 1: Yeah, I was expecting that to be the twin. And

988
00:53:01,200 --> 00:53:03,040
Speaker 1: you know, this is another one of those cases where

989
00:53:03,200 --> 00:53:05,120
Speaker 1: I'm reminded of something in a film that would have

990
00:53:05,320 --> 00:53:07,400
Speaker 1: something in a film that would come much later. But

991
00:53:07,520 --> 00:53:10,719
Speaker 1: she reminds me a bit of the android enforce her

992
00:53:10,800 --> 00:53:14,640
Speaker 1: character that pops up in Jason X. She does, you know,

993
00:53:14,880 --> 00:53:18,120
Speaker 1: right down to like the black Vinyl you know, style.

994
00:53:17,920 --> 00:53:30,319
Speaker 3: Outfit, but without the cutesy attitude. Right, Okay, next scene,

995
00:53:30,320 --> 00:53:32,719
Speaker 3: we're gonna meet some more characters. We get we get

996
00:53:32,719 --> 00:53:36,880
Speaker 3: a moment with the captain and with Slayden. This is

997
00:53:37,000 --> 00:53:41,640
Speaker 3: Wendy Shawl again. So Slayden. When we first meet her,

998
00:53:41,760 --> 00:53:44,839
Speaker 3: she's absorbed in a book and she's sort of ignoring

999
00:53:44,920 --> 00:53:47,279
Speaker 3: the captain, Captain Davison who's trying to talk to her.

1000
00:53:47,560 --> 00:53:49,600
Speaker 3: And what's that book she's reading that she just can't

1001
00:53:49,640 --> 00:53:52,400
Speaker 3: put down because it's just so good. This plot is

1002
00:53:52,400 --> 00:53:56,320
Speaker 3: so great. It's Scared to Death, the novelization of Scared

1003
00:53:56,360 --> 00:53:59,640
Speaker 3: to Death once again, the previous film of William Malone.

1004
00:54:00,160 --> 00:54:02,840
Speaker 1: Love it in general, I love a fake book and

1005
00:54:03,200 --> 00:54:06,000
Speaker 1: a film. If it's central to the plot, great, If

1006
00:54:06,000 --> 00:54:08,000
Speaker 1: it's incidental, I'm also there for it.

1007
00:54:08,239 --> 00:54:09,919
Speaker 3: This has got to be at least a second run.

1008
00:54:09,960 --> 00:54:13,600
Speaker 3: That's a paperback. I don't know. Maybe they never did

1009
00:54:13,640 --> 00:54:17,520
Speaker 3: a hardcover of Scared to Death. So anyway, this is

1010
00:54:17,560 --> 00:54:19,960
Speaker 3: a scene where we get to see a bit of

1011
00:54:20,200 --> 00:54:24,520
Speaker 3: Slayden and Davison's relationship. They are clearly they have romantic

1012
00:54:24,600 --> 00:54:28,080
Speaker 3: interest in each other, and they're kind of playful, like

1013
00:54:28,160 --> 00:54:31,800
Speaker 3: she's playfully ignoring him and reading the book. He's fussing

1014
00:54:31,800 --> 00:54:34,960
Speaker 3: over an asynchronous chess game that they've been playing for

1015
00:54:35,000 --> 00:54:39,440
Speaker 3: a while, and she's gloating about how she's going to

1016
00:54:39,480 --> 00:54:42,240
Speaker 3: beat him soon. She's like, three moves, I'll have checkmate,

1017
00:54:42,800 --> 00:54:46,000
Speaker 3: and she's like a commander doesn't need to have any brains,

1018
00:54:46,080 --> 00:54:50,239
Speaker 3: just a strong voice, and he's like, yeah, well, by

1019
00:54:50,239 --> 00:54:52,759
Speaker 3: the way, he's the captain, but she's like an engineer.

1020
00:54:52,880 --> 00:54:56,200
Speaker 3: She's like the tech whiz on the ship. On top

1021
00:54:56,239 --> 00:54:59,600
Speaker 3: of this, there's another scene where we get a romantic development,

1022
00:54:59,640 --> 00:55:02,560
Speaker 3: which is between these two other crew members, Fennel and Delambre.

1023
00:55:02,719 --> 00:55:05,759
Speaker 3: They're like looking at Titan in the observation bay. She

1024
00:55:05,920 --> 00:55:08,440
Speaker 3: starts talking about how she knows that they're going to

1025
00:55:08,520 --> 00:55:12,000
Speaker 3: die there, and then they have some space romance.

1026
00:55:12,280 --> 00:55:14,880
Speaker 1: Which you know it will become more important later on,

1027
00:55:15,000 --> 00:55:17,719
Speaker 1: and it leads into again some of the better sequences

1028
00:55:17,719 --> 00:55:18,200
Speaker 1: in the picture.

1029
00:55:19,040 --> 00:55:21,560
Speaker 3: So when the ship arrives in orbit around Titan, they

1030
00:55:21,600 --> 00:55:25,719
Speaker 3: discover there is another ship already there, a Richter Dynamic

1031
00:55:26,120 --> 00:55:30,040
Speaker 3: Dynamics ship that those are their West German corporate rivals, remember,

1032
00:55:31,200 --> 00:55:35,360
Speaker 3: and Captain Davison here is mad at Perkins. It seems

1033
00:55:35,400 --> 00:55:38,800
Speaker 3: you know, Perkins, the company man, he knows about this already,

1034
00:55:38,840 --> 00:55:41,040
Speaker 3: but everybody else was kept in the dark about the

1035
00:55:41,040 --> 00:55:43,880
Speaker 3: fact that it was a corporate arms race here. And

1036
00:55:43,920 --> 00:55:46,880
Speaker 3: the captain is like, these crew members are civilians. They

1037
00:55:46,920 --> 00:55:50,120
Speaker 3: aren't trained to handle this kind of conflict, implying that

1038
00:55:50,160 --> 00:55:53,120
Speaker 3: things are likely to get violent between the two corporations,

1039
00:55:53,680 --> 00:55:56,200
Speaker 3: and Perkins is like, I don't worry about it. Bryce

1040
00:55:56,280 --> 00:55:59,960
Speaker 3: here can handle any rough situations that come up. She's prepared.

1041
00:56:00,520 --> 00:56:02,640
Speaker 3: So it seems like they're going to be competing with

1042
00:56:02,760 --> 00:56:05,719
Speaker 3: Richter to get to the alien stuff. But again, this

1043
00:56:05,840 --> 00:56:09,160
Speaker 3: is something that's like, as with many things in this movie,

1044
00:56:09,160 --> 00:56:11,839
Speaker 3: like it sets up a plot dynamic, only to not

1045
00:56:11,880 --> 00:56:16,160
Speaker 3: really have it go anywhere. But there's conflict in this

1046
00:56:16,239 --> 00:56:19,759
Speaker 3: scene established between the captain and the company man. So

1047
00:56:19,960 --> 00:56:23,000
Speaker 3: Davison is like, Okay, before we land, let's do it

1048
00:56:23,080 --> 00:56:26,279
Speaker 3: the safe way, and the company man is like, no,

1049
00:56:26,520 --> 00:56:29,080
Speaker 3: I insist you do it the stupid and dangerous way.

1050
00:56:29,280 --> 00:56:33,360
Speaker 3: That's an order, yep, yep. So they do, and of

1051
00:56:33,400 --> 00:56:36,080
Speaker 3: course it's a bumpy landing. Once the ship lands, it

1052
00:56:36,160 --> 00:56:39,080
Speaker 3: ends up sinking through the surface of the planet and

1053
00:56:39,200 --> 00:56:42,040
Speaker 3: falls into an underground cavity. Which I thought was a

1054
00:56:42,080 --> 00:56:43,239
Speaker 3: cool set piece. I like that.

1055
00:56:43,560 --> 00:56:46,920
Speaker 1: Yeah, yeah, this possibility has come up on stuff to

1056
00:56:46,920 --> 00:56:51,080
Speaker 1: blow your mind before and talking about you know, landing

1057
00:56:51,120 --> 00:56:55,360
Speaker 1: on the Moon or on other planets, like this is

1058
00:56:55,480 --> 00:56:59,000
Speaker 1: an actual consideration that is taken into account, like can

1059
00:56:59,080 --> 00:57:01,719
Speaker 1: where can you land? Working you land safely? Where can

1060
00:57:01,760 --> 00:57:05,319
Speaker 1: you land and have like a stable place for the spacecraft?

1061
00:57:06,160 --> 00:57:07,920
Speaker 1: So yeah, I don't know that i'd actually seen it

1062
00:57:08,000 --> 00:57:09,960
Speaker 1: explored in this fashion in a film before, so I

1063
00:57:10,040 --> 00:57:10,200
Speaker 1: like it.

1064
00:57:10,600 --> 00:57:13,080
Speaker 3: The ship is damaged, of course, in the crash landing,

1065
00:57:13,120 --> 00:57:14,840
Speaker 3: so they're really in a pickle now. They're like, how

1066
00:57:14,880 --> 00:57:17,880
Speaker 3: are we going to get out of this? Davison's like, okay,

1067
00:57:17,880 --> 00:57:20,520
Speaker 3: we got to radio the richtership for help. We got

1068
00:57:20,560 --> 00:57:22,680
Speaker 3: to say, you know, please help us, even though you're

1069
00:57:22,680 --> 00:57:25,000
Speaker 3: our corporate rivals. You know, our lives are in danger.

1070
00:57:25,240 --> 00:57:28,640
Speaker 3: And Perkins is like, no, no, we will not do that,

1071
00:57:28,760 --> 00:57:32,040
Speaker 3: and he threatens the captain's job, and the captain doesn't care,

1072
00:57:32,320 --> 00:57:34,520
Speaker 3: you know. He's like, the lives of my crew are

1073
00:57:34,560 --> 00:57:37,680
Speaker 3: more important than your profits, and Perkins isn't so sure

1074
00:57:37,680 --> 00:57:41,480
Speaker 3: about that. But it's time to suit up and go outside.

1075
00:57:41,560 --> 00:57:43,840
Speaker 3: I guess I don't remember how they get to that point, but.

1076
00:57:43,920 --> 00:57:46,160
Speaker 1: I think they have to basically, like they try hailing

1077
00:57:46,400 --> 00:57:48,720
Speaker 1: the Richter Dynamic ship and they're not hearing anything back,

1078
00:57:48,760 --> 00:57:50,960
Speaker 1: so they basically have to go and knock, and there's

1079
00:57:51,040 --> 00:57:55,040
Speaker 1: headed back and forth where our corporate stooge is like, well,

1080
00:57:55,040 --> 00:57:57,000
Speaker 1: we got to bring Bryce and the big gun, and

1081
00:57:57,040 --> 00:57:58,600
Speaker 1: they're like, we're not bringing the gun. We're going to

1082
00:57:58,600 --> 00:58:00,960
Speaker 1: ask for help, and the like, okay, she can bring

1083
00:58:01,000 --> 00:58:01,240
Speaker 1: the gun.

1084
00:58:01,720 --> 00:58:03,720
Speaker 3: So they do that. They suit up, they go outside.

1085
00:58:03,760 --> 00:58:06,480
Speaker 3: Basically everybody goes except I think a couple of people,

1086
00:58:07,600 --> 00:58:12,040
Speaker 3: and they find some kind of so did you understand

1087
00:58:12,200 --> 00:58:15,800
Speaker 3: what they're going to hear as the German ship? They

1088
00:58:15,800 --> 00:58:19,280
Speaker 3: go to some kind of built infrastructure and at first

1089
00:58:19,320 --> 00:58:22,080
Speaker 3: I thought this was more of the alien ruins, But

1090
00:58:22,800 --> 00:58:25,400
Speaker 3: do you think it's actually the German ship they're going to.

1091
00:58:25,520 --> 00:58:27,880
Speaker 1: I believe so, but only because I went back and

1092
00:58:27,920 --> 00:58:30,680
Speaker 1: rewatched the first portion of the film and felt a

1093
00:58:30,680 --> 00:58:32,439
Speaker 1: little more confident that's where they're going.

1094
00:58:32,920 --> 00:58:35,560
Speaker 3: So the team, you know, they do very it's your

1095
00:58:35,600 --> 00:58:38,760
Speaker 3: standard kind of like sci fi environment exploring thing. The

1096
00:58:38,800 --> 00:58:41,160
Speaker 3: team splits up, and then the parts that split up

1097
00:58:41,200 --> 00:58:43,960
Speaker 3: split up again, so everybody's getting isolated so they can

1098
00:58:44,000 --> 00:58:47,760
Speaker 3: have scary little experiences. Inside the ship, they find breathable

1099
00:58:47,760 --> 00:58:50,760
Speaker 3: air and decide to remove their helmets. Always a good choice.

1100
00:58:51,040 --> 00:58:52,600
Speaker 1: Yeah, they're like, the air's good, let's do it.

1101
00:58:53,160 --> 00:58:57,400
Speaker 3: Inside the labs within the ship, they find some large

1102
00:58:57,600 --> 00:59:01,560
Speaker 3: capsule shaped chests that viewer may remember from twenty minutes

1103
00:59:01,600 --> 00:59:05,000
Speaker 3: ago in the opening scene, and Delombre is looking at

1104
00:59:05,040 --> 00:59:06,960
Speaker 3: a capsule. She thinks it looks like some kind of

1105
00:59:07,000 --> 00:59:09,800
Speaker 3: egg and starts to examine it. There's one part here

1106
00:59:09,800 --> 00:59:12,640
Speaker 3: where she just like eats something sitting on a table

1107
00:59:12,720 --> 00:59:15,560
Speaker 3: and I was like, did she a jolly rancher? And

1108
00:59:15,600 --> 00:59:16,520
Speaker 3: she picks it up?

1109
00:59:17,040 --> 00:59:20,280
Speaker 1: Yeah, like it feels natural for her, Like, but I'm like,

1110
00:59:20,320 --> 00:59:23,840
Speaker 1: what are you doing? This is this is a this

1111
00:59:23,920 --> 00:59:27,960
Speaker 1: is a biologically unstable environment. Don't eat random jolly ranchers

1112
00:59:28,040 --> 00:59:28,480
Speaker 1: or whatever.

1113
00:59:28,960 --> 00:59:30,640
Speaker 3: But it looks so good. You know, I had to

1114
00:59:30,680 --> 00:59:31,800
Speaker 3: get this jelly roll.

1115
00:59:31,640 --> 00:59:35,600
Speaker 1: Here the West Germans they have great confections. You know.

1116
00:59:35,720 --> 00:59:37,040
Speaker 1: You can't say no to it.

1117
00:59:37,840 --> 00:59:43,160
Speaker 3: Ik benin contaminant. So she eats whatever it is and

1118
00:59:43,200 --> 00:59:46,240
Speaker 3: then oh, and then she stumbles across a bunch of

1119
00:59:46,280 --> 00:59:48,960
Speaker 3: dead bodies in the room and then an alien pops

1120
00:59:48,960 --> 00:59:51,840
Speaker 3: out and is like araw. So she runs away and

1121
00:59:51,880 --> 00:59:55,680
Speaker 3: finds her crewmates and they investigate, and who's coming to

1122
00:59:55,720 --> 00:59:58,280
Speaker 3: save the day? Of course it's Bryce, the security officer.

1123
00:59:58,360 --> 01:00:01,800
Speaker 3: She's got her weapon drawn, and all of a sudden,

1124
01:00:01,880 --> 01:00:04,919
Speaker 3: just like, here's the creature. I don't know if they

1125
01:00:05,320 --> 01:00:08,720
Speaker 3: paste this out the right way getting to the creature revealed.

1126
01:00:09,000 --> 01:00:11,200
Speaker 3: It's true that you don't get a good look at

1127
01:00:11,240 --> 01:00:14,520
Speaker 3: it yet, but I feel like its presence and in

1128
01:00:14,560 --> 01:00:18,800
Speaker 3: this moment is too sudden and overt. It doesn't really

1129
01:00:18,840 --> 01:00:19,720
Speaker 3: have a good build up.

1130
01:00:20,320 --> 01:00:22,800
Speaker 1: Yeah, and we don't. I mean, they do hold back

1131
01:00:22,840 --> 01:00:25,760
Speaker 1: a little bit, like we're not full reveal, but I

1132
01:00:25,760 --> 01:00:28,880
Speaker 1: think too much is revealed, and then it ends up

1133
01:00:28,920 --> 01:00:32,080
Speaker 1: feeling like, Okay, here's our monster, but our monster just

1134
01:00:32,160 --> 01:00:34,360
Speaker 1: kind of like ends up working through underlings for the

1135
01:00:34,400 --> 01:00:36,560
Speaker 1: rest of the picture before coming back once more at

1136
01:00:36,600 --> 01:00:36,880
Speaker 1: the end.

1137
01:00:37,120 --> 01:00:39,600
Speaker 3: Yeah, so Bryce kind of blasts at it with her

1138
01:00:39,680 --> 01:00:42,000
Speaker 3: ray gun, but that doesn't do anything, so the crew

1139
01:00:42,040 --> 01:00:45,080
Speaker 3: members have to run away and they slip through. This

1140
01:00:45,120 --> 01:00:47,680
Speaker 3: is a set piece I often like in sci fi

1141
01:00:47,760 --> 01:00:51,680
Speaker 3: movies when there's like an automatically closing mechanical door and

1142
01:00:51,760 --> 01:00:54,120
Speaker 3: the characters are trying to get through it fast enough,

1143
01:00:54,360 --> 01:00:56,480
Speaker 3: and one character is not able to get there before

1144
01:00:56,520 --> 01:00:59,840
Speaker 3: it slams shut. It's delambre. She's stuck outside and the

1145
01:01:00,520 --> 01:01:01,000
Speaker 3: gets her.

1146
01:01:01,440 --> 01:01:03,560
Speaker 1: We get it, and again we get another the fact

1147
01:01:03,560 --> 01:01:06,200
Speaker 1: that this movie really loves quick splash of blood against

1148
01:01:06,200 --> 01:01:08,919
Speaker 1: the glass on that door.

1149
01:01:09,640 --> 01:01:13,280
Speaker 3: I remember her boyfriend was Finel and he's right there

1150
01:01:13,320 --> 01:01:16,840
Speaker 3: when it happens. He freaks out and Bryce just jabs

1151
01:01:16,920 --> 01:01:20,880
Speaker 3: him in the head with an injector. Everybody's like, what

1152
01:01:20,920 --> 01:01:23,560
Speaker 3: are you doing? And then for the first time Bryce speaks,

1153
01:01:23,800 --> 01:01:28,320
Speaker 3: She's like, don't worry, it's just a tranquilizer. Oh okay, cool, Yeah.

1154
01:01:28,360 --> 01:01:29,760
Speaker 1: So I guess this is what she was stealing all

1155
01:01:29,760 --> 01:01:33,080
Speaker 1: those drugs for, so that she could trank crew members

1156
01:01:33,080 --> 01:01:34,160
Speaker 1: at a moment's notice.

1157
01:01:34,320 --> 01:01:37,240
Speaker 3: Right, if you just saw your lover get killed by

1158
01:01:37,280 --> 01:01:39,120
Speaker 3: an alien, I can stab you in the head with

1159
01:01:39,160 --> 01:01:42,400
Speaker 3: a tranquilizer and you will fall instantly unconscious. That makes sense.

1160
01:01:42,480 --> 01:01:45,440
Speaker 1: She doesn't want that those stressed eyes to stack up

1161
01:01:45,480 --> 01:01:45,840
Speaker 1: too much.

1162
01:01:45,840 --> 01:01:49,360
Speaker 3: I guess. So everybody leaves the labs and they come

1163
01:01:49,400 --> 01:01:51,840
Speaker 3: back out into the caves where the rest of the

1164
01:01:51,880 --> 01:01:55,320
Speaker 3: crew members are waiting, and then here for some reason,

1165
01:01:55,400 --> 01:01:57,680
Speaker 3: even though there may have been a good reason for this,

1166
01:01:57,760 --> 01:01:59,760
Speaker 3: but I don't recall what it was. Even though one

1167
01:02:00,000 --> 01:02:02,680
Speaker 3: member of the crew has just been killed by an alien,

1168
01:02:03,160 --> 01:02:06,840
Speaker 3: they just keep exploring the caves and they come across

1169
01:02:06,880 --> 01:02:11,000
Speaker 3: the lab where the two geologists got gooped in the intro,

1170
01:02:11,200 --> 01:02:14,600
Speaker 3: I believe, And then we get a jump scare with

1171
01:02:14,640 --> 01:02:17,240
Speaker 3: one of them uncovering something. I think it's one of

1172
01:02:17,240 --> 01:02:20,120
Speaker 3: the bodies from the first mission. But eventually they go

1173
01:02:20,240 --> 01:02:23,360
Speaker 3: back to the ship and here we get some developments. First,

1174
01:02:23,600 --> 01:02:27,840
Speaker 3: there's sort of a quiet, tender, nice conversation between Davison

1175
01:02:27,880 --> 01:02:30,400
Speaker 3: and Slayden. She's like, do you think we're going to die?

1176
01:02:30,520 --> 01:02:33,840
Speaker 3: And he says no, but he gives her a task.

1177
01:02:34,200 --> 01:02:35,920
Speaker 3: He asks her to put together a certain kind of

1178
01:02:35,960 --> 01:02:40,000
Speaker 3: transmitter device to radio the space station for help. But

1179
01:02:40,040 --> 01:02:42,600
Speaker 3: then I was thinking, wait, the space station that exploded.

1180
01:02:42,800 --> 01:02:44,000
Speaker 3: Do they know it exploded?

1181
01:02:44,480 --> 01:02:48,680
Speaker 1: Maybe there's a closer station a little sketchy on what

1182
01:02:48,800 --> 01:02:49,360
Speaker 1: all's out.

1183
01:02:49,240 --> 01:02:53,720
Speaker 3: There, Maybe it only partially exploded. But then the movie

1184
01:02:53,760 --> 01:02:55,560
Speaker 3: kind of kicks into high gear because we're about to

1185
01:02:55,560 --> 01:02:58,800
Speaker 3: meet klaus Kinski in fact, so we see like Bryce

1186
01:02:58,920 --> 01:03:02,920
Speaker 3: the security officer alone, She's like in her quarters, like

1187
01:03:03,040 --> 01:03:06,040
Speaker 3: changing and Suddenly she is attacked from out of nowhere

1188
01:03:06,080 --> 01:03:10,480
Speaker 3: by Klaus Kinsky. Fortunately she manages to subdue him. But

1189
01:03:10,560 --> 01:03:12,400
Speaker 3: I was just thinking, no, kill him now.

1190
01:03:12,760 --> 01:03:15,760
Speaker 1: Yes, yeah, because he comes off like he's just a

1191
01:03:15,800 --> 01:03:18,000
Speaker 1: complete animal, like he might. You're like, maybe he's even

1192
01:03:18,040 --> 01:03:20,120
Speaker 1: a zombie at this point and you should just put

1193
01:03:20,320 --> 01:03:21,320
Speaker 1: put one in his head.

1194
01:03:22,160 --> 01:03:25,840
Speaker 3: But no, he reveals himself to be not zombified yet

1195
01:03:25,920 --> 01:03:29,680
Speaker 3: he is human, and he's just he's just all over

1196
01:03:29,720 --> 01:03:31,480
Speaker 3: the place. I mentioned her. I was going to come

1197
01:03:31,480 --> 01:03:35,760
Speaker 3: back to this Kinsky as usual in any movie, Like

1198
01:03:36,760 --> 01:03:38,800
Speaker 3: you know, whenever he's on screen, it's kind of hard

1199
01:03:38,840 --> 01:03:41,560
Speaker 3: to take your eyes off him. He is, he has

1200
01:03:41,600 --> 01:03:45,800
Speaker 3: that spellbinding quality on screen, but it's like he's doing

1201
01:03:45,840 --> 01:03:49,840
Speaker 3: a completely different take on the character in every shot,

1202
01:03:50,440 --> 01:03:54,560
Speaker 3: and some takes he's playing him as like an obsessed,

1203
01:03:54,640 --> 01:03:58,280
Speaker 3: paranoid madman who's trying to warn everyone else of the danger.

1204
01:03:58,720 --> 01:04:02,600
Speaker 3: In other takes he's playing as a kind of relatively calm, friendly,

1205
01:04:02,680 --> 01:04:06,560
Speaker 3: helpful guy making good sense. In other takes, he's a

1206
01:04:06,680 --> 01:04:10,200
Speaker 3: malevolent sexual predator who's like violent to the rest of

1207
01:04:10,240 --> 01:04:14,680
Speaker 3: the crew. There's like no consistency whatsoever from moment to

1208
01:04:14,720 --> 01:04:15,439
Speaker 3: moment with him.

1209
01:04:16,000 --> 01:04:18,960
Speaker 1: Yeah, I mean it reminds me again of that famous

1210
01:04:18,960 --> 01:04:21,360
Speaker 1: moment at the famous scene at the very end of

1211
01:04:21,680 --> 01:04:25,240
Speaker 1: her Zog's Gary The Wrath of God, where Kinsky's character

1212
01:04:26,080 --> 01:04:29,680
Speaker 1: has this like final monologue and it's rather subdued and

1213
01:04:29,840 --> 01:04:33,560
Speaker 1: very powerful. But according to her Zog, it's like Kinsky

1214
01:04:33,600 --> 01:04:35,280
Speaker 1: didn't want to do it subdued, wanted to do it

1215
01:04:35,360 --> 01:04:39,560
Speaker 1: high energy and raging, and so Herzog just made him

1216
01:04:39,600 --> 01:04:42,800
Speaker 1: do it over and over and over again until he

1217
01:04:43,000 --> 01:04:47,080
Speaker 1: was just so like weakened that he actually delivered it

1218
01:04:47,120 --> 01:04:52,920
Speaker 1: at the level that Herzog wanted. So it's like, that's

1219
01:04:52,960 --> 01:04:55,400
Speaker 1: the kind of stuff you apparently had to do to

1220
01:04:55,480 --> 01:04:58,120
Speaker 1: get what you wanted out of Kinsky. So yeah, and

1221
01:04:58,400 --> 01:05:00,680
Speaker 1: then add into the fact that some of the shots

1222
01:05:00,680 --> 01:05:03,040
Speaker 1: that he did for Creature were unusable because he was

1223
01:05:03,080 --> 01:05:06,760
Speaker 1: out of focus. So you know, they're left just having,

1224
01:05:06,840 --> 01:05:08,480
Speaker 1: I guessed, to use what they were able to get

1225
01:05:08,480 --> 01:05:10,520
Speaker 1: from him, no matter how different it is seemed to see.

1226
01:05:10,960 --> 01:05:13,800
Speaker 3: So from here we get a number of different plot developments.

1227
01:05:13,800 --> 01:05:16,800
Speaker 3: One is that the crew is running low on air,

1228
01:05:17,000 --> 01:05:20,080
Speaker 3: so Bryce has to go out to collect air tanks

1229
01:05:20,080 --> 01:05:23,280
Speaker 3: from the dead astronauts, and for some reason, Hoffner is

1230
01:05:23,320 --> 01:05:26,280
Speaker 3: allowed to go with her, even though he has already

1231
01:05:26,360 --> 01:05:29,240
Speaker 3: violently attacked her earlier, and he will continue to do

1232
01:05:29,360 --> 01:05:30,560
Speaker 3: so as they go out.

1233
01:05:30,880 --> 01:05:33,040
Speaker 1: Yeah, yeah, completely nonsensible.

1234
01:05:33,720 --> 01:05:36,080
Speaker 3: So they then they see a bunch of dead guys

1235
01:05:36,120 --> 01:05:38,880
Speaker 3: while they're collecting the air tanks, and then something pops

1236
01:05:38,920 --> 01:05:40,960
Speaker 3: out at them and we assume they were attacked by

1237
01:05:40,960 --> 01:05:44,520
Speaker 3: the alien. By the way, Hoffner does deliver some lines,

1238
01:05:44,560 --> 01:05:46,880
Speaker 3: but it's kind of hard to process the content of them.

1239
01:05:46,920 --> 01:05:50,120
Speaker 3: He's talking to the crew and he talks about how

1240
01:05:51,200 --> 01:05:54,800
Speaker 3: the alien let's see. He reveals that he has a

1241
01:05:54,800 --> 01:05:57,160
Speaker 3: bunch of bombs on his ship that they could use

1242
01:05:57,200 --> 01:06:01,560
Speaker 3: to destroy the alien, and he also reveals that it

1243
01:06:01,680 --> 01:06:04,960
Speaker 3: wasn't just the alien attacking them, but it used the

1244
01:06:05,040 --> 01:06:08,120
Speaker 3: crew members to get each other. He said that it

1245
01:06:08,200 --> 01:06:11,640
Speaker 3: was which this doesn't really match with what he was

1246
01:06:11,680 --> 01:06:15,320
Speaker 3: just saying, but he says it's a form of collective intelligence,

1247
01:06:15,880 --> 01:06:17,880
Speaker 3: and we will see how this works in just a bit.

1248
01:06:18,400 --> 01:06:20,640
Speaker 1: Yeah, And one of these sequences is where he's eating

1249
01:06:20,640 --> 01:06:23,320
Speaker 1: the sandwich right, yes, where that just took me out

1250
01:06:23,360 --> 01:06:25,040
Speaker 1: of it because I'm like, did they want him to

1251
01:06:25,040 --> 01:06:27,280
Speaker 1: eat the sandwich or is he like I'm eating the

1252
01:06:27,320 --> 01:06:29,080
Speaker 1: sandwich in this scene, I don't know.

1253
01:06:29,800 --> 01:06:32,040
Speaker 3: So we come to another scene where Finnel this is

1254
01:06:32,080 --> 01:06:35,320
Speaker 3: the character played by Robert Chaffey, is lying by a

1255
01:06:35,360 --> 01:06:37,840
Speaker 3: window in the ship. He's recovering from his wounds and

1256
01:06:37,840 --> 01:06:42,400
Speaker 3: from the tranquilizer dose after he saw his lover killed

1257
01:06:42,440 --> 01:06:45,840
Speaker 3: by an alien. And then suddenly outside the window on

1258
01:06:45,880 --> 01:06:48,840
Speaker 3: the surface of the planet, he sees Delambre. She's there

1259
01:06:49,240 --> 01:06:52,360
Speaker 3: and she asks for his help, and despite having seen

1260
01:06:52,400 --> 01:06:54,880
Speaker 3: her die, Finnyl does go out to find her. He

1261
01:06:54,920 --> 01:06:57,000
Speaker 3: puts on his suit, he goes to get her, and

1262
01:06:57,080 --> 01:07:00,640
Speaker 3: she is, of course now a zombie working for the alien.

1263
01:07:00,760 --> 01:07:04,840
Speaker 3: With this dynamic that develops is that a character who

1264
01:07:04,840 --> 01:07:07,720
Speaker 3: you thought was killed will come back with some kind

1265
01:07:07,800 --> 01:07:11,160
Speaker 3: of brain slug attached to their head. So like one

1266
01:07:11,200 --> 01:07:14,760
Speaker 3: side of the head, they've got a throbbing, slimy mass

1267
01:07:14,800 --> 01:07:19,320
Speaker 3: there and it's controlling their activity. And so the zombie

1268
01:07:19,400 --> 01:07:24,040
Speaker 3: brain slug Delambree seduces Fennel on the planet's surface and

1269
01:07:24,080 --> 01:07:26,919
Speaker 3: then seemingly infects him with the brain slug of his own.

1270
01:07:27,200 --> 01:07:30,040
Speaker 1: Yeah, like pulls his helmet off on the planet's surface.

1271
01:07:30,520 --> 01:07:33,960
Speaker 1: This whole sequence is great. Like I think Malone said

1272
01:07:33,960 --> 01:07:35,919
Speaker 1: that Originally they were going to shoot it entirely within

1273
01:07:35,960 --> 01:07:39,120
Speaker 1: the ship, but then they they ended up going with this.

1274
01:07:39,200 --> 01:07:41,200
Speaker 1: You know, she's outside, she's almost like it reminds me

1275
01:07:41,280 --> 01:07:44,560
Speaker 1: of scenes like I guess this was in Salem's Lot

1276
01:07:44,640 --> 01:07:47,200
Speaker 1: with the vampire on the outside of the window asking

1277
01:07:47,280 --> 01:07:47,919
Speaker 1: to be let in.

1278
01:07:48,040 --> 01:07:49,200
Speaker 3: You know, very spooky.

1279
01:07:49,360 --> 01:07:52,200
Speaker 1: Yeah, it has that power to it. So yeah, for

1280
01:07:52,280 --> 01:07:55,040
Speaker 1: my money, this is the creepiest sequence in the whole picture.

1281
01:07:55,040 --> 01:07:58,000
Speaker 1: It doesn't have a outright monster in it, you know,

1282
01:07:58,120 --> 01:08:01,240
Speaker 1: has a like a brain slug control vampire and it's

1283
01:08:01,280 --> 01:08:01,920
Speaker 1: really effective.

1284
01:08:09,640 --> 01:08:12,520
Speaker 3: After this, the crew that's left on the Shenandoah, they

1285
01:08:12,520 --> 01:08:15,840
Speaker 3: get like a zoom a call from Finnyl. He video

1286
01:08:15,920 --> 01:08:18,840
Speaker 3: calls them and he's like, hey, I'm over here on

1287
01:08:18,880 --> 01:08:20,800
Speaker 3: the German ship, and they're like, how'd you get there.

1288
01:08:20,960 --> 01:08:23,600
Speaker 3: He's like, I walked. I came over here because it

1289
01:08:23,640 --> 01:08:26,200
Speaker 3: has air and you know you're running out of air

1290
01:08:26,240 --> 01:08:29,800
Speaker 3: over there, so come join me. So Davison, Perkins, and

1291
01:08:29,840 --> 01:08:32,000
Speaker 3: the Doctor all go over to the German ship and

1292
01:08:32,120 --> 01:08:35,920
Speaker 3: join him there because they can get air there. Sladen

1293
01:08:36,000 --> 01:08:39,000
Speaker 3: stays behind on the other ship. They are greeted by

1294
01:08:39,040 --> 01:08:43,160
Speaker 3: Finnel who has a mysterious bandage around his head and

1295
01:08:43,200 --> 01:08:45,360
Speaker 3: they're like, hey, what's that. He's like, oh, yeah, there

1296
01:08:45,360 --> 01:08:49,519
Speaker 3: were some caustic chemicals that burned me. So that's why

1297
01:08:49,560 --> 01:08:52,000
Speaker 3: I've got this. By the way, doctor, come with me.

1298
01:08:52,479 --> 01:08:55,280
Speaker 3: Let's get away from everybody else. And there is actually,

1299
01:08:55,920 --> 01:08:59,439
Speaker 3: I think a quite effectively staged creepy moment here where

1300
01:09:00,680 --> 01:09:03,360
Speaker 3: so Jaffy is, you know, leading the doctor character alone

1301
01:09:03,800 --> 01:09:06,240
Speaker 3: down a hall. She's supposed to be, i think, checking

1302
01:09:06,240 --> 01:09:08,880
Speaker 3: out his wound while he fixes something in the engine

1303
01:09:08,960 --> 01:09:12,920
Speaker 3: room and he opens the doors to the engine room

1304
01:09:12,920 --> 01:09:15,720
Speaker 3: and it's just black inside. There's no light and he's like, oh,

1305
01:09:15,920 --> 01:09:18,760
Speaker 3: darn it, you know the lights are out. Just let

1306
01:09:18,760 --> 01:09:21,280
Speaker 3: me go fix it. I'll be right back, and then

1307
01:09:21,280 --> 01:09:23,400
Speaker 3: he just goes in the door and we don't cut away.

1308
01:09:23,520 --> 01:09:26,720
Speaker 3: The camera stays on the doctor just standing there at

1309
01:09:26,760 --> 01:09:29,599
Speaker 3: the open door leading into the dark room, and then

1310
01:09:29,680 --> 01:09:32,160
Speaker 3: we don't hear anything inside, and it goes on for

1311
01:09:32,200 --> 01:09:34,400
Speaker 3: a bit, and I thought this was a really effective

1312
01:09:34,960 --> 01:09:37,200
Speaker 3: moment where it just goes on and on a little

1313
01:09:37,200 --> 01:09:39,679
Speaker 3: bit and you don't know what's happening, and she starts

1314
01:09:39,680 --> 01:09:42,360
Speaker 3: calling out to him like what's going on, and then

1315
01:09:42,400 --> 01:09:44,840
Speaker 3: he's like, oh yeah, I'm in here, I'm almost done,

1316
01:09:45,439 --> 01:09:49,520
Speaker 3: and she eventually goes in and of course gets zombified

1317
01:09:50,520 --> 01:09:53,400
Speaker 3: to get her. Now, eventually the captain and the company man,

1318
01:09:53,439 --> 01:09:56,400
Speaker 3: who have been at odds the whole time, they grow

1319
01:09:56,479 --> 01:09:59,439
Speaker 3: suspicious because they're like, man, this ship is so hot

1320
01:09:59,560 --> 01:10:02,800
Speaker 3: and we are sweating through our outfits here. But they

1321
01:10:02,840 --> 01:10:07,120
Speaker 3: recalled that Finnyl was not sweating. That's weird. So they

1322
01:10:07,600 --> 01:10:09,439
Speaker 3: get suspicious and they're like, we got to go check

1323
01:10:09,479 --> 01:10:11,320
Speaker 3: things out. But by the time they get there, the

1324
01:10:11,400 --> 01:10:15,080
Speaker 3: doctor has already been killed, and then zombie Finnel attacks

1325
01:10:15,160 --> 01:10:18,240
Speaker 3: the captain, only to have his zombie head blown off

1326
01:10:18,280 --> 01:10:21,400
Speaker 3: by Perkins with his blaster, so the company man comes

1327
01:10:21,400 --> 01:10:22,120
Speaker 3: to the rescue.

1328
01:10:22,600 --> 01:10:26,439
Speaker 1: Yeah, Ferris Bueller's dad blows the head off of the

1329
01:10:26,520 --> 01:10:29,920
Speaker 1: Jaffy Zombie space zombie and it's a great head explosion,

1330
01:10:30,000 --> 01:10:34,160
Speaker 1: Like it's a full on like Scanner's esque sloppy head explosion,

1331
01:10:35,040 --> 01:10:37,479
Speaker 1: but also a little bit funny, like it's the right balance,

1332
01:10:37,560 --> 01:10:38,240
Speaker 1: the perfect bounce.

1333
01:10:38,640 --> 01:10:43,040
Speaker 3: Yeah. Meanwhile, back on the other ship, remember Sladen's the

1334
01:10:43,040 --> 01:10:45,800
Speaker 3: only character left there, so she's doing her engineering work.

1335
01:10:45,840 --> 01:10:48,719
Speaker 3: I think she's trying to fix the radio or something.

1336
01:10:49,320 --> 01:10:52,599
Speaker 3: And oh, here's Klauskinski, but he's zombie fyte also, so

1337
01:10:52,720 --> 01:10:55,800
Speaker 3: he's also been killed and brain slugged, and he is

1338
01:10:55,840 --> 01:10:59,360
Speaker 3: attacking Sladen though you know he was attacking people before

1339
01:10:59,400 --> 01:10:59,840
Speaker 3: he had a brain.

1340
01:11:00,520 --> 01:11:04,240
Speaker 1: Yeah, he's even more terrifying now because, like the Kinsky

1341
01:11:04,320 --> 01:11:06,599
Speaker 1: skull is a great skull upon which to build your

1342
01:11:07,520 --> 01:11:09,759
Speaker 1: your special effects makeup. So he looks terrifying.

1343
01:11:10,160 --> 01:11:13,880
Speaker 3: So he chases her outside and eventually into the German ship.

1344
01:11:14,640 --> 01:11:17,719
Speaker 3: There's a fight where Davison and Perkins have to save

1345
01:11:17,760 --> 01:11:21,679
Speaker 3: her from the Kinski zombie. They rip the slug off

1346
01:11:21,680 --> 01:11:23,960
Speaker 3: of Hoffner's head and throw it on the ground and

1347
01:11:24,080 --> 01:11:29,040
Speaker 3: stomp on it and squish it. A good conclusion, and

1348
01:11:29,080 --> 01:11:33,000
Speaker 3: thus concludes the tale of the Hoffner Zombie. So there

1349
01:11:33,000 --> 01:11:36,439
Speaker 3: are apparently only three characters left. We've got Captain Davison,

1350
01:11:36,560 --> 01:11:39,160
Speaker 3: the company Man Perkins and Slade in the Engineer. They're

1351
01:11:39,200 --> 01:11:41,800
Speaker 3: the only ones left. And what are they going to

1352
01:11:41,880 --> 01:11:44,320
Speaker 3: do to defeat the big alien? Because remember there's also

1353
01:11:44,479 --> 01:11:47,000
Speaker 3: the different thing. There's the alien they encountered at the

1354
01:11:47,040 --> 01:11:51,080
Speaker 3: beginning in the ship here, apart from all the zombies

1355
01:11:51,120 --> 01:11:53,800
Speaker 3: that it is apparently making. I think maybe the brain

1356
01:11:53,880 --> 01:11:57,160
Speaker 3: slug is like part of the alien that comes off

1357
01:11:57,200 --> 01:12:00,680
Speaker 3: of it and reanimates the corpses of the humans that

1358
01:12:00,760 --> 01:12:01,960
Speaker 3: it has has killed.

1359
01:12:02,400 --> 01:12:04,280
Speaker 1: I don't have a clear understanding. I don't know if

1360
01:12:04,320 --> 01:12:06,840
Speaker 1: the yeah, these are part of the alien's anatomy, or

1361
01:12:06,880 --> 01:12:09,800
Speaker 1: these are other organisms that it is using, or this

1362
01:12:09,880 --> 01:12:15,240
Speaker 1: is biotechnology. It's left wide open, so I don't know.

1363
01:12:15,680 --> 01:12:17,080
Speaker 1: I don't have any strong theories.

1364
01:12:17,640 --> 01:12:19,920
Speaker 3: But anyway, we get to a thing next that I

1365
01:12:19,960 --> 01:12:24,240
Speaker 3: absolutely love, which is Slaydon's plan for defeating the alien.

1366
01:12:24,840 --> 01:12:28,360
Speaker 3: And what she says is, I have an idea. I

1367
01:12:28,400 --> 01:12:31,200
Speaker 3: saw a movie once where people were trapped on an

1368
01:12:31,240 --> 01:12:35,080
Speaker 3: ice station by a carrot from outer space and they

1369
01:12:35,200 --> 01:12:38,040
Speaker 3: killed it by electrocuting it. They set up a grid

1370
01:12:38,120 --> 01:12:40,519
Speaker 3: on the floor as a trap, and they lured it

1371
01:12:40,560 --> 01:12:43,560
Speaker 3: onto the grid and they electrocuted it. And I realized,

1372
01:12:43,680 --> 01:12:46,760
Speaker 3: and they for Perkins and Davison laugh at her, but

1373
01:12:46,800 --> 01:12:48,400
Speaker 3: then they end up going with her plan. And I

1374
01:12:48,400 --> 01:12:51,240
Speaker 3: think this is great because she is accurately describing the

1375
01:12:51,240 --> 01:12:53,000
Speaker 3: plot of the thing from another world.

1376
01:12:53,320 --> 01:12:57,680
Speaker 1: Yeah, absolutely, it's I really enjoyed just how overt it

1377
01:12:57,880 --> 01:13:00,880
Speaker 1: was to it would be like, give like what if

1378
01:13:00,960 --> 01:13:04,559
Speaker 1: Ripley an alien had said, you know, I saw a

1379
01:13:04,600 --> 01:13:07,599
Speaker 1: movie once where a little boy was left home alone

1380
01:13:07,760 --> 01:13:13,519
Speaker 1: at Christmas and he outwitted the enemies with a series

1381
01:13:13,560 --> 01:13:16,759
Speaker 1: of clever traps. Let's do that. Let's do home alone

1382
01:13:16,840 --> 01:13:17,519
Speaker 1: on this alien.

1383
01:13:18,240 --> 01:13:21,320
Speaker 3: Do we have a bb gun on board? I need

1384
01:13:21,360 --> 01:13:22,120
Speaker 3: paint cans.

1385
01:13:22,280 --> 01:13:24,560
Speaker 1: But they agree, like this, we can do this, we

1386
01:13:24,640 --> 01:13:26,680
Speaker 1: can we have even more power on the ship. We

1387
01:13:26,720 --> 01:13:27,880
Speaker 1: can route into this system.

1388
01:13:27,960 --> 01:13:31,439
Speaker 3: Let's do it. Yep. So they do it. It's Slayton's plan,

1389
01:13:31,520 --> 01:13:33,880
Speaker 3: and they have to like, you know, guard her while

1390
01:13:33,920 --> 01:13:36,280
Speaker 3: she's doing all the electrical work that needs to be done.

1391
01:13:36,600 --> 01:13:40,040
Speaker 3: But she arranges it and it works, or so it seems.

1392
01:13:40,120 --> 01:13:44,960
Speaker 3: They zap the monster with all this electricity. It falls dead, apparently,

1393
01:13:45,479 --> 01:13:47,840
Speaker 3: and then the two guys wander off to go, I

1394
01:13:47,880 --> 01:13:50,960
Speaker 3: don't know, do something else. But then Slayton is like, oh,

1395
01:13:50,960 --> 01:13:53,599
Speaker 3: she's a little curious. Maybe she's not sure it's dead.

1396
01:13:54,040 --> 01:13:56,000
Speaker 3: So she goes over to give it a little nudge

1397
01:13:56,040 --> 01:13:58,320
Speaker 3: with the tip of her shoe, and then we get

1398
01:13:58,320 --> 01:14:01,920
Speaker 3: a classic dead monster revival. It pops up. We get

1399
01:14:02,400 --> 01:14:04,040
Speaker 3: the monster pop up. Gotta love it.

1400
01:14:04,360 --> 01:14:06,680
Speaker 1: That's right, We're gonna have to move on to Plan B, right,

1401
01:14:06,760 --> 01:14:07,920
Speaker 1: you know what B stands for.

1402
01:14:08,360 --> 01:14:12,000
Speaker 3: It stands for better depend on the company man. See,

1403
01:14:12,000 --> 01:14:16,840
Speaker 3: he actually has a surprising arc so per So the

1404
01:14:17,000 --> 01:14:20,640
Speaker 3: monster pops up, it seizes Slaydon. The two guys go

1405
01:14:20,720 --> 01:14:23,200
Speaker 3: to investigate, and they like look through the glass in

1406
01:14:23,240 --> 01:14:26,479
Speaker 3: the hallway and they see that Slayden is there. She's alive,

1407
01:14:26,600 --> 01:14:30,840
Speaker 3: but she is unconscious being held hostage, like hanging upside down,

1408
01:14:31,240 --> 01:14:33,560
Speaker 3: guarded by the alien. So they're like, what are we

1409
01:14:33,600 --> 01:14:34,840
Speaker 3: gonna do? What are we gonna do?

1410
01:14:35,439 --> 01:14:35,559
Speaker 1: Uh?

1411
01:14:35,720 --> 01:14:38,680
Speaker 3: And Perkins comes up with the plan. He's like, we

1412
01:14:38,760 --> 01:14:41,479
Speaker 3: got to blow it out of the airlock there you

1413
01:14:41,520 --> 01:14:44,200
Speaker 3: go in the med O. And while he's trying to

1414
01:14:44,240 --> 01:14:48,040
Speaker 3: set up this plan, he finds the bombs that Kinsky

1415
01:14:48,200 --> 01:14:51,240
Speaker 3: was talking about, so he's like, oh yeah, here are

1416
01:14:51,280 --> 01:14:54,880
Speaker 3: some bombs also. So while he's like setting up that

1417
01:14:54,960 --> 01:14:58,040
Speaker 3: blow it out the airlock trap, Davison goes into the

1418
01:14:58,080 --> 01:15:02,400
Speaker 3: room and rescues Sladon, and meanwhile the alien attacks Perkins

1419
01:15:02,479 --> 01:15:05,680
Speaker 3: the company man. It attacks him, and then the other

1420
01:15:05,720 --> 01:15:08,080
Speaker 3: two characters come and find him as sort of in

1421
01:15:08,160 --> 01:15:10,960
Speaker 3: a gory embrace with the alien. It's like ripping out

1422
01:15:10,960 --> 01:15:14,360
Speaker 3: his neck. They're both sitting right on the trap door

1423
01:15:14,400 --> 01:15:17,160
Speaker 3: of the airlock, and Perkins looks at them and he's like,

1424
01:15:17,200 --> 01:15:18,960
Speaker 3: you've got it right where you want it to, do it.

1425
01:15:19,200 --> 01:15:22,720
Speaker 3: Do it? So they hit the button and Perkins and

1426
01:15:22,760 --> 01:15:26,320
Speaker 3: the alien get dumped outside, so company man to the

1427
01:15:26,360 --> 01:15:28,560
Speaker 3: rescue in the end. And I think it's an interesting

1428
01:15:28,720 --> 01:15:32,240
Speaker 3: arc because it's the opposite of the Burke arc in Aliens,

1429
01:15:32,280 --> 01:15:36,320
Speaker 3: where in Aliens Burke seems like a nice guy at first,

1430
01:15:36,640 --> 01:15:40,240
Speaker 3: and then as the story progresses he is revealed to

1431
01:15:40,320 --> 01:15:44,120
Speaker 3: be a through and through slime ball and a complete

1432
01:15:44,160 --> 01:15:48,040
Speaker 3: coward and only interested in himself. Perkins is kind of

1433
01:15:48,040 --> 01:15:51,439
Speaker 3: the opposite. At first. He's a, you know, a hard nosed,

1434
01:15:51,520 --> 01:15:54,120
Speaker 3: you know, totally selfish, bottom line kind of guy. He

1435
01:15:54,200 --> 01:15:56,800
Speaker 3: doesn't care about anybody else. But he sort of saves

1436
01:15:56,840 --> 01:16:01,080
Speaker 3: the day here, but it doesn't last because well they

1437
01:16:01,160 --> 01:16:02,800
Speaker 3: dump it out the airlock. But then the alien just

1438
01:16:02,840 --> 01:16:04,559
Speaker 3: sort of comes around the side of the building like

1439
01:16:04,600 --> 01:16:08,000
Speaker 3: it comes in through the other entrance. But when it does,

1440
01:16:08,120 --> 01:16:12,080
Speaker 3: it's still got the bomb that Perkins had stuck to it.

1441
01:16:12,880 --> 01:16:14,920
Speaker 3: So Davison is like, well, I got to deal with this,

1442
01:16:15,120 --> 01:16:17,120
Speaker 3: and so he goes and meets it at the airlock

1443
01:16:17,160 --> 01:16:22,200
Speaker 3: and drop kicks the alien back outside. Great, yes, very good.

1444
01:16:23,080 --> 01:16:26,120
Speaker 3: He's like fighting it outside where it said that the

1445
01:16:26,160 --> 01:16:29,040
Speaker 3: temperature is like negative two hundred degrees fahrenheit, and like

1446
01:16:29,080 --> 01:16:31,800
Speaker 3: he can't breathe, there's no atmosphere he can breathe. So

1447
01:16:31,840 --> 01:16:35,360
Speaker 3: he's like choking and he sees the bomb timer on

1448
01:16:35,439 --> 01:16:38,839
Speaker 3: the alien go down to zero, but then it doesn't explode,

1449
01:16:39,160 --> 01:16:43,719
Speaker 3: and Davison, lying there on the exposed surface of Saturn's

1450
01:16:43,720 --> 01:16:47,400
Speaker 3: moon titan, chokes out the line it didn't go off

1451
01:16:48,840 --> 01:16:52,120
Speaker 3: to no one in particular. There's nobody out there to

1452
01:16:52,160 --> 01:16:57,080
Speaker 3: hear him, except suddenly a character who we thought was dead,

1453
01:16:57,320 --> 01:17:00,200
Speaker 3: the security officer Bryce. She appears from out of nowhere

1454
01:17:00,200 --> 01:17:03,879
Speaker 3: in a spacesuit with her blaster and shoots the bomb

1455
01:17:04,000 --> 01:17:06,880
Speaker 3: and then says, oh, yes it did, replying to his

1456
01:17:06,960 --> 01:17:09,680
Speaker 3: it didn't go off, and then the alien explodes and

1457
01:17:09,800 --> 01:17:11,160
Speaker 3: that's the end. That's great.

1458
01:17:11,560 --> 01:17:14,400
Speaker 1: They do a Jaws on it, basically, yeah, yeah, something

1459
01:17:14,439 --> 01:17:17,920
Speaker 1: explosive strapped to our monster. Shoot the object, blow it up.

1460
01:17:18,600 --> 01:17:19,040
Speaker 3: You see it.

1461
01:17:19,360 --> 01:17:22,920
Speaker 1: You see a Jaws pulled on monsters now and again

1462
01:17:23,040 --> 01:17:25,320
Speaker 1: in these types of films, it's always a nice moment.

1463
01:17:25,920 --> 01:17:28,559
Speaker 3: What did you so? Then we so this time it's

1464
01:17:28,560 --> 01:17:31,479
Speaker 3: defeated for real, and our survivors blast off and head

1465
01:17:31,520 --> 01:17:35,960
Speaker 3: back to Earth. I guess. And the survivors again are Davison, Slayton,

1466
01:17:36,120 --> 01:17:39,120
Speaker 3: and Bryce, And what did you make of the I

1467
01:17:39,240 --> 01:17:41,880
Speaker 3: Got lost thing? They're like, what what happened to you?

1468
01:17:42,160 --> 01:17:44,599
Speaker 3: We thought you were dead? And then she sort of

1469
01:17:44,640 --> 01:17:47,719
Speaker 3: sheepishly admits I got lost, and I think she says

1470
01:17:47,720 --> 01:17:49,800
Speaker 3: it multiple times. What's going on there?

1471
01:17:49,840 --> 01:17:52,280
Speaker 1: I have no idea, no idea what they intended with that,

1472
01:17:52,400 --> 01:17:55,040
Speaker 1: if it's supposed to just be funny, or if it

1473
01:17:55,080 --> 01:17:57,040
Speaker 1: was just kind of like a patchwork, like they felt

1474
01:17:57,040 --> 01:17:59,080
Speaker 1: like they had to acknowledge it. I didn't feel like

1475
01:17:59,080 --> 01:18:01,400
Speaker 1: they had to acknowledge she was at all, Like she

1476
01:18:01,920 --> 01:18:05,120
Speaker 1: almost died in some encounter with a with the alien

1477
01:18:05,520 --> 01:18:11,680
Speaker 1: that ended up turning Hans Rudy into a zombie. So

1478
01:18:11,760 --> 01:18:14,240
Speaker 1: I don't really think I needed an explanation of where

1479
01:18:14,280 --> 01:18:16,799
Speaker 1: she was, but I guess the film felt otherwise.

1480
01:18:17,160 --> 01:18:19,679
Speaker 3: Well, anyway, they're headed home. Oh and then a laugh

1481
01:18:19,720 --> 01:18:23,400
Speaker 3: out loud moment for me was Bryce hands Slayte in

1482
01:18:23,479 --> 01:18:26,559
Speaker 3: her copy of the novelization of Scared to Death the

1483
01:18:26,600 --> 01:18:32,439
Speaker 3: director's other film, like oh great, thank you, and that's

1484
01:18:32,439 --> 01:18:32,800
Speaker 3: the end.

1485
01:18:33,160 --> 01:18:35,519
Speaker 1: She points out earlier that it's the only book she brought.

1486
01:18:35,640 --> 01:18:38,400
Speaker 1: That's why she keeps rereading it, and she likes it. Yes,

1487
01:18:38,680 --> 01:18:40,599
Speaker 1: so there's not a great library on the shep into

1488
01:18:40,640 --> 01:18:42,519
Speaker 1: a a lot of hallandin Foster.

1489
01:18:43,439 --> 01:18:45,360
Speaker 3: Well, I was gonna say, you just basically they got

1490
01:18:45,360 --> 01:18:47,040
Speaker 3: scared to death and dianetics.

1491
01:18:47,080 --> 01:18:51,120
Speaker 1: You know, you're just speaking of novelizations. I noticed that

1492
01:18:51,160 --> 01:18:54,160
Speaker 1: there's like a contemporary author who has gone back and

1493
01:18:54,439 --> 01:18:58,759
Speaker 1: made novelizations for various films that didn't have them, including Creature.

1494
01:18:59,240 --> 01:19:01,439
Speaker 1: So there is an novelization of Creature out there, but

1495
01:19:01,479 --> 01:19:06,800
Speaker 1: it's like a recent work of fiction, So don't I

1496
01:19:06,800 --> 01:19:10,360
Speaker 1: don't know what it's like, but I admire the hustle there.

1497
01:19:10,520 --> 01:19:13,480
Speaker 3: Maybe it'll fill in some of the plot gaps and

1498
01:19:12,840 --> 01:19:16,160
Speaker 3: make more of like the Okay, so things we mentioned

1499
01:19:16,200 --> 01:19:18,840
Speaker 3: earlier that did not really end up playing a big role.

1500
01:19:19,439 --> 01:19:22,200
Speaker 3: The corporate rivalry. I mean it's a little bit there

1501
01:19:22,200 --> 01:19:26,040
Speaker 3: in the setting, like, okay, so there's another a ship

1502
01:19:26,040 --> 01:19:28,320
Speaker 3: from another company, but like they play it up like

1503
01:19:28,360 --> 01:19:31,080
Speaker 3: the corporate rivalry is going to be a conflict within

1504
01:19:31,200 --> 01:19:32,799
Speaker 3: the plot, and it just isn't really.

1505
01:19:33,200 --> 01:19:36,679
Speaker 1: Yeah, yeah, there's the whole issue robot and she doesn't talk,

1506
01:19:36,920 --> 01:19:39,559
Speaker 1: doesn't really go anywhere. Uh. There are a lot of

1507
01:19:39,560 --> 01:19:41,559
Speaker 1: things like that in this film, which you know, you

1508
01:19:41,600 --> 01:19:44,040
Speaker 1: don't have to you don't You don't have to fire

1509
01:19:44,080 --> 01:19:47,320
Speaker 1: every cannon you bring on the deck, you know. I

1510
01:19:47,400 --> 01:19:50,880
Speaker 1: recently reread Frank Herbert to Done Again, and honestly, one

1511
01:19:50,920 --> 01:19:53,759
Speaker 1: of the pleasures that I really love in that book

1512
01:19:53,800 --> 01:19:57,799
Speaker 1: is are the various ideas and tangents that that aren't explored,

1513
01:19:57,840 --> 01:19:59,559
Speaker 1: that we the places where it seems like the plot

1514
01:19:59,600 --> 01:20:02,559
Speaker 1: could go but they don't. Like there's this brief bit

1515
01:20:02,600 --> 01:20:05,280
Speaker 1: where they're like where it's mentioned that that pider de Vere,

1516
01:20:05,280 --> 01:20:10,040
Speaker 1: the twisted mentat of the Baron Harkenan, may be intending

1517
01:20:10,640 --> 01:20:14,280
Speaker 1: to obtain a Chris Knife and then since he has

1518
01:20:14,360 --> 01:20:17,479
Speaker 1: blue the blue eyes of the Fremen, he's going to

1519
01:20:17,520 --> 01:20:19,880
Speaker 1: potentially go out and pretend to be a Fremen to

1520
01:20:20,000 --> 01:20:23,240
Speaker 1: work his evil on the surface of Aracus. And that

1521
01:20:23,320 --> 01:20:25,280
Speaker 1: never comes to fruition. But it's just one of those

1522
01:20:25,280 --> 01:20:27,280
Speaker 1: little teases of like, wow, what if what if it

1523
01:20:27,360 --> 01:20:29,559
Speaker 1: had gone in that direction? What would have that consisted of?

1524
01:20:29,680 --> 01:20:32,920
Speaker 1: So you know, it's you know, you can you can

1525
01:20:33,120 --> 01:20:35,800
Speaker 1: lay out possibilities and not follow through on them. But

1526
01:20:36,320 --> 01:20:38,200
Speaker 1: there are a number of those moments in this film

1527
01:20:38,479 --> 01:20:43,280
Speaker 1: that ultimately feel again more like in the moment editing

1528
01:20:43,320 --> 01:20:46,880
Speaker 1: and changing, rather than an exploration of possibility.

1529
01:20:47,320 --> 01:20:51,480
Speaker 3: They feel more accidentally abandoned rather than intentionally abandoned.

1530
01:20:51,560 --> 01:20:55,200
Speaker 1: Yeah, but still, I have to say, a really fun flick,

1531
01:20:56,960 --> 01:21:00,400
Speaker 1: some fun effects, some fun performances, and some legit nimtally

1532
01:21:00,439 --> 01:21:03,760
Speaker 1: creepy moments, coupled with some moments that are a little blonk here,

1533
01:21:04,400 --> 01:21:06,040
Speaker 1: Like we were saying when the when the monster is

1534
01:21:06,080 --> 01:21:10,519
Speaker 1: finally fully present. In these final moments, there's often an

1535
01:21:10,640 --> 01:21:13,240
Speaker 1: undeniable like rubber suit feel to it. It's a pretty

1536
01:21:13,240 --> 01:21:17,240
Speaker 1: good rubber suit, you know, but it's you know, it's

1537
01:21:17,240 --> 01:21:18,000
Speaker 1: it is what it is.

1538
01:21:18,280 --> 01:21:20,360
Speaker 3: I liked it when we saw the monster. I mean,

1539
01:21:20,400 --> 01:21:23,679
Speaker 3: obviously it's supposed to look like the monster from Alien

1540
01:21:24,320 --> 01:21:28,880
Speaker 3: and it doesn't look realistic, but I love the look

1541
01:21:29,080 --> 01:21:29,759
Speaker 3: like it's fun.

1542
01:21:30,280 --> 01:21:33,120
Speaker 1: Yeah, yeah, yeah, it's you know, it's nice and and

1543
01:21:33,280 --> 01:21:37,040
Speaker 1: greasy and oily and it's got It looks a lot

1544
01:21:37,200 --> 01:21:39,280
Speaker 1: like a xenomorph in some respects, but it has like

1545
01:21:39,320 --> 01:21:40,639
Speaker 1: big red eyes that glow.

1546
01:21:41,080 --> 01:21:41,280
Speaker 3: Yeah.

1547
01:21:41,600 --> 01:21:45,280
Speaker 1: And then of course it's it's swinging brain slugs at people,

1548
01:21:45,360 --> 01:21:47,799
Speaker 1: and we're not entirely sure if those are of its body,

1549
01:21:47,960 --> 01:21:50,960
Speaker 1: if those are biotechnology, or if it's another species that

1550
01:21:51,040 --> 01:21:53,200
Speaker 1: it uses who knows well.

1551
01:21:53,360 --> 01:21:55,719
Speaker 3: I in the end also very much enjoyed creature.

1552
01:21:56,280 --> 01:22:01,840
Speaker 1: Yeah, I mean it. Enjoyment is keys. All other concerns secondary.

1553
01:22:03,000 --> 01:22:05,200
Speaker 1: All Right, we're gonna go ahead and close the book

1554
01:22:05,400 --> 01:22:08,680
Speaker 1: on Creature aka Titan find here, but we'd love to

1555
01:22:08,680 --> 01:22:10,439
Speaker 1: hear from everyone out there if you have thoughts on

1556
01:22:10,479 --> 01:22:13,240
Speaker 1: it from watching it back in the day, from watching

1557
01:22:13,240 --> 01:22:15,640
Speaker 1: it for the first time now or rediscovering it and

1558
01:22:15,640 --> 01:22:18,920
Speaker 1: so forth, or if you have thoughts in general on

1559
01:22:19,400 --> 01:22:25,519
Speaker 1: Alien and alien clones that came out afterwards, films that

1560
01:22:25,640 --> 01:22:28,120
Speaker 1: led up to Alien. All of this is stuff we

1561
01:22:28,120 --> 01:22:30,559
Speaker 1: would love to talk about. And we still may come

1562
01:22:30,600 --> 01:22:33,320
Speaker 1: back and do Ridley Scott's Alien Here on Weird House

1563
01:22:33,320 --> 01:22:36,160
Speaker 1: Cinema in the future, or maybe we'll just do another

1564
01:22:36,240 --> 01:22:38,880
Speaker 1: knockoff at some point. I don't know that both are

1565
01:22:38,880 --> 01:22:40,000
Speaker 1: fun possibilities.

1566
01:22:40,439 --> 01:22:43,160
Speaker 3: I think it's unavoidable that we will do multiple Alien

1567
01:22:43,240 --> 01:22:45,400
Speaker 3: knockoffs in the future. There are a lot of them.

1568
01:22:45,479 --> 01:22:48,040
Speaker 3: We'll get around to them, all right.

1569
01:22:48,160 --> 01:22:50,000
Speaker 1: Just a reminder that Stuff to Blow Your Mind is

1570
01:22:50,040 --> 01:22:52,880
Speaker 1: primarily a science and culture podcast with core episodes on

1571
01:22:52,920 --> 01:22:55,599
Speaker 1: Tuesdays and Thursdays, but on Fridays we set aside most

1572
01:22:55,600 --> 01:22:57,439
Speaker 1: serious concerns to just talk about a weird film here

1573
01:22:57,479 --> 01:22:59,639
Speaker 1: on Weird House Cinema. You want to see a list

1574
01:22:59,640 --> 01:23:01,400
Speaker 1: of all the all the films we've done over the years.

1575
01:23:01,720 --> 01:23:03,599
Speaker 1: The best place to do that is go on over

1576
01:23:03,600 --> 01:23:05,600
Speaker 1: to letterbox dot com. It's l E T T E

1577
01:23:05,760 --> 01:23:08,160
Speaker 1: R B O x D dot com. Our username is

1578
01:23:08,200 --> 01:23:10,160
Speaker 1: weird House, and we have a list there. You can

1579
01:23:10,200 --> 01:23:11,680
Speaker 1: look at all the films. You can look at all

1580
01:23:11,680 --> 01:23:15,120
Speaker 1: the the box arts, almost like a little little digital

1581
01:23:15,200 --> 01:23:17,479
Speaker 1: version of a of a movie rental place.

1582
01:23:17,880 --> 01:23:18,000
Speaker 3: Uh.

1583
01:23:18,160 --> 01:23:20,439
Speaker 1: And indeed it you know, it hooked up so that

1584
01:23:20,479 --> 01:23:22,400
Speaker 1: when you click on a title, you can click at

1585
01:23:22,439 --> 01:23:25,040
Speaker 1: where to find and it'll tell you, oh, well, you

1586
01:23:25,080 --> 01:23:27,559
Speaker 1: can buy it, rent it digitally here, you can stream

1587
01:23:27,560 --> 01:23:30,200
Speaker 1: it here, you can buy a physical copy here, copy here.

1588
01:23:30,439 --> 01:23:33,160
Speaker 1: It's often a great like a great resource for me

1589
01:23:33,240 --> 01:23:35,679
Speaker 1: when I'm looking at potential films to cover on Weird

1590
01:23:35,680 --> 01:23:38,960
Speaker 1: House and I have to tackle that big question, how

1591
01:23:38,960 --> 01:23:41,080
Speaker 1: are we going to watch it? Where are we going

1592
01:23:41,120 --> 01:23:44,400
Speaker 1: to seek it? Out, Can we stream it, can we

1593
01:23:44,400 --> 01:23:47,120
Speaker 1: get ahold of a digital release? Has it been remastered?

1594
01:23:47,640 --> 01:23:49,719
Speaker 1: Or are we going to have to, you know, look

1595
01:23:49,760 --> 01:23:52,080
Speaker 1: for some sort of a what what? What was the

1596
01:23:52,080 --> 01:23:53,360
Speaker 1: way that we watched the work?

1597
01:23:53,400 --> 01:23:53,679
Speaker 3: Best?

1598
01:23:53,760 --> 01:23:57,040
Speaker 1: The movie that was like a Dutch subtitled YouTube rip

1599
01:23:57,120 --> 01:24:03,120
Speaker 1: or something. Yes, yes, not the preferred format. A huge

1600
01:24:03,120 --> 01:24:06,800
Speaker 1: thanks as always to our excellent audio producer JJ Posway.

1601
01:24:06,960 --> 01:24:08,680
Speaker 1: If you would like to get in touch with us

1602
01:24:08,680 --> 01:24:11,679
Speaker 1: with feedback on this episode or any other, to suggest

1603
01:24:11,680 --> 01:24:13,840
Speaker 1: a topic for the future, or just to say hello,

1604
01:24:13,920 --> 01:24:16,559
Speaker 1: you can email us at contact at stuff to Blow

1605
01:24:16,640 --> 01:24:24,280
Speaker 1: your Mind dot com.

1606
01:24:24,400 --> 01:24:27,360
Speaker 2: Stuff to Blow Your Mind is production of iHeartRadio. For

1607
01:24:27,439 --> 01:24:30,240
Speaker 2: more podcasts from my Heart Radio, visit the iHeartRadio app,

1608
01:24:30,360 --> 01:24:33,120
Speaker 2: Apple Podcasts, or wherever you listen to your favorite shows.