WEBVTT - whc-rewind-2026-04-27_mixdown-v2 0:00:04.440 --> 0:00:07.760 Hey, welcome to Weird House Cinema. Rewind, This is Rob Lamb. 0:00:07.880 --> 0:00:13.240 Yesterday was Alien Day, So here's an Alien knockoff from 0:00:13.280 --> 0:00:15.880 the vault for you. This is going to be our 0:00:15.960 --> 0:00:20.120 episode from June twenty eighth, twenty twenty four about the 0:00:20.160 --> 0:00:23.959 film Creature. This one, this one's this one's really cool 0:00:23.960 --> 0:00:28.720 because it's an obvious obviously inspired by the original Alien, 0:00:29.040 --> 0:00:32.320 but as we discuss, also kind of predicts some of 0:00:32.400 --> 0:00:36.919 the plot features of Aliens. It has has a lot 0:00:36.960 --> 0:00:38.880 of weird stuff in it. It's a lot of fun. 0:00:39.479 --> 0:00:40.360 Let's dive right in. 0:00:43.920 --> 0:00:47.000 Welcome to Stuff to blow your mind. A production of iHeartRadio. 0:00:53.960 --> 0:00:57.520 Hey you, welcome to Weird House Cinema. This is Rob Lamb. 0:00:57.320 --> 0:00:59.960 And this is Joe McCormick. And today on Weird House, 0:01:00.040 --> 0:01:02.880 we're going to be talking about the nineteen eighty five 0:01:03.040 --> 0:01:08.000 sci fi thriller Creature, widely regarded as one of the 0:01:08.040 --> 0:01:13.240 many copycats of nineteen seventy nine's Alien, though I want 0:01:13.240 --> 0:01:15.520 to say, to be fair to Creature, it actually copies 0:01:15.560 --> 0:01:16.880 a number of different movies. 0:01:17.840 --> 0:01:20.000 Yeah, you know, and he gets into you also end 0:01:20.080 --> 0:01:22.200 up getting into that area where it's like, all right, 0:01:22.200 --> 0:01:24.800 it was inspired by some of the films that inspired Alien, 0:01:25.000 --> 0:01:27.800 so you know, some of it kind of evens out 0:01:27.800 --> 0:01:31.120 in the wash, but it is. So I've been getting 0:01:31.120 --> 0:01:35.440 into Alien content a lot recently. I've been rewatching the 0:01:35.480 --> 0:01:41.119 original films. I'm gonna be running the Alien RPG game 0:01:41.360 --> 0:01:45.080 from Free League here with some friends. And also we 0:01:45.120 --> 0:01:47.280 have a new Alien picture coming up in a couple 0:01:47.319 --> 0:01:49.840 of months, Alien Romulus. So you know, I'm geeking out 0:01:49.880 --> 0:01:53.800 for all of these things. So in addition to rewatching 0:01:53.840 --> 0:01:56.280 the original films, I've also been digging in a bit 0:01:56.360 --> 0:02:00.640 into some of these Alien knockoffs an Alien inspired films, 0:02:01.240 --> 0:02:03.320 some of which I've never seen before, some of which 0:02:03.400 --> 0:02:05.400 I have been avoiding, some of which I'll probably can 0:02:05.600 --> 0:02:08.360 continue to avoid. But this one is often held up 0:02:08.400 --> 0:02:10.240 as being one of the more entertaining ones. 0:02:10.480 --> 0:02:13.840 You know, I was having a thought about that Alien RPG, 0:02:14.040 --> 0:02:16.240 which looks very fun and I would like to play it, 0:02:16.600 --> 0:02:19.280 but I was thinking about how it shows the way 0:02:19.360 --> 0:02:25.880 that character cliches turn into character types, so that like 0:02:26.200 --> 0:02:29.040 things that are established in these movies as like, oh 0:02:29.080 --> 0:02:31.720 here's just a type of character you see in Alien 0:02:31.880 --> 0:02:34.640 or Aliens, and then a lot of its copycats that 0:02:34.880 --> 0:02:38.360 apparently in this game becomes a class, like you would 0:02:38.360 --> 0:02:40.560 have classes of characters in D and D. So in 0:02:40.639 --> 0:02:44.840 D and D you've got wizards and rogues and you know, 0:02:44.919 --> 0:02:48.080 and warlocks and all that, and apparently in this alien 0:02:48.160 --> 0:02:51.040 game you've got company men. I think you can be 0:02:51.240 --> 0:02:53.960 like a Burk, You've got space marines, you can be 0:02:54.000 --> 0:02:57.760 a Vasquez. You've got like all those types of characters 0:02:57.800 --> 0:02:59.760 are classes, right, Yeah. 0:02:59.520 --> 0:03:02.640 Like you can be a marine, you can be you 0:03:02.680 --> 0:03:05.040 can be a Marshall company agent. 0:03:05.240 --> 0:03:05.960 You can be a kid. 0:03:06.000 --> 0:03:09.480 Of course kids have special rules and so forth. Yeah, 0:03:09.840 --> 0:03:12.360 so I'm really excited to play it. I think it 0:03:12.360 --> 0:03:15.440 does a pretty phenomenal job of taking the Alien films 0:03:15.919 --> 0:03:21.240 like accepting everything and then managing to do a lot 0:03:21.240 --> 0:03:25.440 of great world building out of it. So solid recommendation 0:03:25.480 --> 0:03:27.560 thus far from me. But I'm not actually playing it 0:03:27.600 --> 0:03:29.320 for the first time until tonight. 0:03:29.800 --> 0:03:32.640 I would want to play as a slimy whyland UTAWNI 0:03:32.760 --> 0:03:35.760 suit that my class. Yeah, it's pretty great. 0:03:35.760 --> 0:03:38.520 There's one of those in the scenario that I'm running tonight. 0:03:39.040 --> 0:03:40.680 Oh but wait, sorry, because you were in the middle 0:03:40.680 --> 0:03:43.120 of talking about how I know you haven't just been 0:03:43.160 --> 0:03:46.560 on a kick of strictly Alien and Alien franchise stuff, 0:03:46.640 --> 0:03:50.400 but everything in that zone of storytelling and media, right, 0:03:50.480 --> 0:03:52.920 Like you've been going back to the to the pre 0:03:53.040 --> 0:03:54.640 Alien stuff, Yeah. 0:03:54.440 --> 0:03:56.280 I mean like one of the classics, of course is 0:03:56.320 --> 0:03:58.920 Mario Bob has Planned to the Vampires, which we've previously 0:03:58.920 --> 0:04:02.960 discussed on Weird House. Another one that I recently watched, 0:04:03.800 --> 0:04:06.560 probably for the first time in full, was John Carpenter 0:04:06.640 --> 0:04:09.880 and Dan O'Bannon's Dark Star, which, on one hand, you 0:04:09.880 --> 0:04:11.840 have the Dan O'Bannon connection there, he's one of the 0:04:11.840 --> 0:04:16.040 screenwriters and one of the very instrumental in Alien obviously, 0:04:16.400 --> 0:04:20.599 but also Dark Star has this blue collar like space 0:04:20.640 --> 0:04:23.400 trucker feel to it, you know, something that is very 0:04:23.480 --> 0:04:26.800 much an essential part of the DNA of Alien, you know, 0:04:26.839 --> 0:04:30.520 because if you take out the creature and the setting 0:04:30.560 --> 0:04:32.720 is still a vital aspect of that picture. 0:04:33.080 --> 0:04:35.080 I've said this on the show before, but I have 0:04:35.160 --> 0:04:38.920 a theory that Alien is one of the best movies 0:04:38.920 --> 0:04:42.119 ever made about work, and that's kind of what makes 0:04:42.160 --> 0:04:48.280 it unique and interesting and realistic. The characters in Alien 0:04:48.760 --> 0:04:54.120 are not friends. They know each other reasonably well, not 0:04:54.240 --> 0:04:57.760 super well. They're not close, and the kind of relationship 0:04:57.800 --> 0:05:00.680 they have is the kind of relationship often have with 0:05:00.720 --> 0:05:02.600 like co workers. It's like, you know, you got to 0:05:02.640 --> 0:05:04.960 get along to get the work done, but you don't 0:05:05.000 --> 0:05:07.479 even you know, you might or might not like each other, 0:05:07.680 --> 0:05:09.920 You might or not, you know, have all these conflicts. 0:05:10.160 --> 0:05:13.200 So it's not just a movie that features blue collar workers, 0:05:13.240 --> 0:05:15.240 but is itself about work. 0:05:16.320 --> 0:05:20.840 Yeah, yeah, I think that's a solid point. There are 0:05:20.880 --> 0:05:22.920 some other films that are often thrown out as being 0:05:22.960 --> 0:05:27.000 like predecessors to Alien, nineteen fifty eight's hit The Tear 0:05:27.080 --> 0:05:30.479 from Beyond Space, which I haven't seen. I was looking 0:05:30.480 --> 0:05:32.560 at it the other day, but that's one that the 0:05:32.600 --> 0:05:34.599 director of this picture points out as being one of 0:05:34.640 --> 0:05:37.920 his inspirations. I think there's some obvious inspiration here from 0:05:37.960 --> 0:05:41.720 Planet of the Vampires, but again, I think Creature is 0:05:42.279 --> 0:05:48.560 ultimately one of the more entertaining and also, as i'll 0:05:48.600 --> 0:05:54.400 discuss tasteful alien knockoffs that has come. 0:05:54.279 --> 0:05:56.640 Out, Yeah, I know what you're saying. Some of the 0:05:56.680 --> 0:05:59.400 Alien knockoffs from the eighties, which I have seen and 0:05:59.480 --> 0:06:01.839 have in parts, some of them just get kind of 0:06:01.920 --> 0:06:06.960 gross with like the you know, the weird sort of 0:06:06.960 --> 0:06:11.560 implied sexuality of Alien is realized in a nastier way 0:06:11.600 --> 0:06:13.000 in a lot of these copycats. 0:06:13.480 --> 0:06:17.520 Yeah, because I mean, you can't take if topics and 0:06:17.640 --> 0:06:21.279 ideas of sexuality and reproduction out of Alien. It's very 0:06:21.360 --> 0:06:23.240 much part of the DNA, It's very much a part 0:06:23.240 --> 0:06:28.159 of hr Giger's visual surrealism that informs so many aspects 0:06:28.160 --> 0:06:32.680 of the film. But yeah, you'll look at various Alien 0:06:32.760 --> 0:06:36.000 knockoffs like the Corman produced Galaxy of Terror and the 0:06:36.040 --> 0:06:39.680 British and Seminoid, both from nineteen eighty one, and these 0:06:39.680 --> 0:06:42.719 are both examples of films that they end up just 0:06:42.839 --> 0:06:47.440 coming off sleazy and exploitive in my opinion, because they 0:06:47.520 --> 0:06:49.919 don't deal with these things with the nuance and that 0:06:50.000 --> 0:06:54.560 kind of almost subliminal energy that Alien does so well. Now, 0:06:54.560 --> 0:06:58.200 another thing to keep in mind about Creature here is that, Okay, 0:06:58.320 --> 0:07:02.480 Alien was of course a world class production. I think 0:07:02.480 --> 0:07:05.040 I had a budget of eleven million dollars. This is 0:07:05.120 --> 0:07:09.560 late seventies money. It had helming it one of the 0:07:09.600 --> 0:07:14.760 most visually visionary directors you know of our time, and 0:07:14.800 --> 0:07:16.240 on top of that, you know the work of hr 0:07:16.320 --> 0:07:21.200 Giger and so forth. Creature, however, was made for less 0:07:21.200 --> 0:07:23.320 than half of this amount of reported four point two 0:07:23.320 --> 0:07:27.360 million dollars, and it's a pretty ambitious project for what 0:07:28.080 --> 0:07:31.960 was reportedly even half that in budget on at the outset, 0:07:32.560 --> 0:07:35.400 because you end up having multiple sci fi sets, like, 0:07:35.760 --> 0:07:39.040 you know, over a dozen different sets, including spaceship interiors, 0:07:39.120 --> 0:07:46.040 alien planets. You've got spaceship models, planetary surface models, various 0:07:46.040 --> 0:07:50.680 special effects, and ultimately a respectable cast. You know, this 0:07:50.800 --> 0:07:53.480 is not one of those casts where everybody's green and 0:07:53.560 --> 0:07:55.200 acting like they just fell out of the back of 0:07:55.200 --> 0:07:59.560 the truck or something. It's ultimately, I think, pretty commendable 0:07:59.600 --> 0:08:03.120 what there is able to do when you remind yourself 0:08:03.200 --> 0:08:05.800 that this was low budget that was shot in a 0:08:05.880 --> 0:08:11.320 warehouse during like a super hot summer where they're just 0:08:11.440 --> 0:08:14.680 they're just totally unable to cool things down enough and 0:08:14.720 --> 0:08:17.240 having to deal with everyone's sweating in their big spacesuits. 0:08:17.840 --> 0:08:20.080 You know, I think it comes together pretty well when 0:08:20.120 --> 0:08:21.320 you take all that into account. 0:08:21.600 --> 0:08:24.200 Oh, I wonder if they sort of improvised a way 0:08:24.240 --> 0:08:26.560 of writing that into the script, because there's a whole 0:08:26.680 --> 0:08:29.080 subplot in the middle of the movie where a couple 0:08:29.080 --> 0:08:32.679 of characters are able to figure out that another character 0:08:32.960 --> 0:08:37.040 is is is brain slugged and tricking them because they're 0:08:37.120 --> 0:08:39.200 sweating in this hot ship and he's not. 0:08:39.880 --> 0:08:42.240 Yeah, yeah, I bet so, because yeah, there are all 0:08:42.320 --> 0:08:45.520 these behind the scenes tidbits about just how hot it was, 0:08:45.600 --> 0:08:47.440 and it was they were sweating and it was like 0:08:47.480 --> 0:08:51.280 steaming up the insides of the helmets. So yeah, it 0:08:51.320 --> 0:08:53.599 sounds like it was a grueling but most of the 0:08:53.600 --> 0:08:54.559 accounts seemed to say it was. 0:08:54.600 --> 0:08:55.479 You know, it's a pretty. 0:08:55.480 --> 0:08:58.360 Pretty fun shoot for the most part, with some some 0:08:58.480 --> 0:09:01.560 key caveats that we'll come back to. All right, Joe, 0:09:01.840 --> 0:09:03.680 what's your elevator pitch for creature? 0:09:04.400 --> 0:09:07.719 Oh, let's see how to create the perfect organism. Get 0:09:07.720 --> 0:09:09.720 a little bit of your alien, a little bit of 0:09:09.760 --> 0:09:12.040 your the thing, and a little bit of your the 0:09:12.160 --> 0:09:15.320 brain eaters, and put them all into blender, and here's 0:09:15.360 --> 0:09:15.920 what you got. 0:09:16.480 --> 0:09:18.560 I want to say that there's a little bit of 0:09:19.120 --> 0:09:21.760 dinosaur costume to this guy as well, especially while you're 0:09:21.800 --> 0:09:24.040 in this in the film, when you see him more 0:09:24.040 --> 0:09:26.559 of a full body shot, there's kind of like a 0:09:27.080 --> 0:09:29.400 big rubber dinosaur costume sense to him. 0:09:29.800 --> 0:09:30.000 Yeah. 0:09:31.360 --> 0:09:35.440 Again, it's an unenviable task to try to create something 0:09:35.520 --> 0:09:41.320 that is alien esque but on a budget and without 0:09:41.360 --> 0:09:44.880 a visionary artist behind its design. 0:09:45.440 --> 0:09:48.360 Now, I think it would be impossible to deny that 0:09:48.520 --> 0:09:51.920 this movie is derivative of Alien in many ways. But 0:09:52.040 --> 0:09:54.480 one thing I think is kind of surprising about it 0:09:54.520 --> 0:09:58.960 is that it also feels derivative of Aliens, and yet 0:09:59.000 --> 0:10:02.280 it's not because came before Aliens. So there are several 0:10:02.320 --> 0:10:04.000 things in it where I was like, oh, this is 0:10:04.080 --> 0:10:07.000 this is taking this thing from you know, the camera 0:10:07.080 --> 0:10:09.400 and movie, but actually it wasn't out yet, so this 0:10:09.440 --> 0:10:10.520 came first. Yeah. 0:10:10.600 --> 0:10:12.680 There's also stuff in here that reminds me a little 0:10:12.720 --> 0:10:15.520 bit of things we would later see in Prometheus, with 0:10:15.679 --> 0:10:20.520 Prometheus reaching back and drawing from things like Planet of 0:10:20.520 --> 0:10:22.120 the Vampires, but like we have the scene with like 0:10:22.160 --> 0:10:25.480 the Black Ooze we'll talk about and yeah, and then 0:10:25.720 --> 0:10:29.679 like the space zombies are abominations. So so yeah, it's 0:10:29.720 --> 0:10:31.800 a really fun one I think to watch as an 0:10:31.800 --> 0:10:35.400 alien fan, and again, it avoids, I think most of 0:10:35.440 --> 0:10:37.920 the pitfalls of lewdness that you encounter with some of 0:10:37.960 --> 0:10:41.040 these other alien knockoffs. All right, let's go ahead and 0:10:41.080 --> 0:10:43.480 listen to that trailer audio. 0:10:57.800 --> 0:11:03.840 In the near future, in the shadow of Saturn's rings, 0:11:03.840 --> 0:11:08.120 stranded beneath the surface of the barren moon called Titan 0:11:09.200 --> 0:11:12.959 scientists find the one thing they never expected. It is 0:11:13.000 --> 0:11:25.480 anybody here was expecting them God, And suddenly those who 0:11:25.520 --> 0:11:32.880 had traveled across the galaxy had one out of space. Creature. 0:11:34.080 --> 0:11:40.000 It kills to live, and it lives to kill. 0:11:42.640 --> 0:11:43.079 All right. 0:11:43.320 --> 0:11:46.040 So at this point, if you were thinking to yourself, 0:11:46.040 --> 0:11:48.679 well I would like to see Creature, I haven't seen it, 0:11:48.800 --> 0:11:50.600 or I would like to see it again before continuing 0:11:50.600 --> 0:11:53.920 on with this episode, well, Luckily, Creature has been available 0:11:53.960 --> 0:11:57.160 in various home video formats for quite a while, but 0:11:57.640 --> 0:11:59.920 in my opinion, the twenty twenty two release from Vine 0:12:00.160 --> 0:12:02.640 or Syndrome the Blu ray is definitely the way to 0:12:02.679 --> 0:12:04.920 go for physical media on this one. I rented it 0:12:04.960 --> 0:12:08.960 from Atlanta's Videodrome. It's got some cool extra features. It 0:12:09.000 --> 0:12:13.240 has the original Titan Find cut of the film, which 0:12:13.480 --> 0:12:17.440 is a bit darker compared to the main theatrical cut 0:12:17.480 --> 0:12:20.240 that you have on the disc, but still interesting to 0:12:20.320 --> 0:12:25.040 check out. You can also stream Creature digitally on multiple platforms, 0:12:25.280 --> 0:12:28.320 and there are multiple digital rental and purchase options as well. 0:12:28.960 --> 0:12:32.360 I'm in a weird situation that I watched the first 0:12:32.360 --> 0:12:35.600 half of the movie as the Titan Find cut and 0:12:35.679 --> 0:12:38.520 the second half in the theatrical cut, so I don't 0:12:38.559 --> 0:12:39.640 know what the difference is. 0:12:41.080 --> 0:12:44.040 Did you notice any changes in lighting, because I really 0:12:44.040 --> 0:12:45.960 didn't look at the Titan Find one much, so I 0:12:45.960 --> 0:12:46.720 can't speak to it. 0:12:47.960 --> 0:12:52.120 You mean, not darker in terms of tone, but darker visually, Yes, 0:12:52.480 --> 0:12:56.360 the Titan Find cut is very dark. In fact, we 0:12:56.360 --> 0:12:58.600 were talking off Mike about how one of my main 0:12:58.679 --> 0:13:01.240 complaints about the movie is that you can't see the 0:13:01.320 --> 0:13:04.000 sets at all. The characters are just standing around in 0:13:04.080 --> 0:13:06.880 darkness talking, so I can't even tell if the sets 0:13:06.880 --> 0:13:10.840 are good or not. In the theatrical cut, yeah, it 0:13:10.960 --> 0:13:14.160 was a little It did seem a little bit more illuminated, 0:13:14.200 --> 0:13:17.040 a little bit brighter, but still you couldn't see a 0:13:17.080 --> 0:13:18.400 lot of the sets on the planet. 0:13:19.559 --> 0:13:22.440 Now, speaking of physical media, I want to give a 0:13:22.480 --> 0:13:25.920 shout out to Future Shock Video in New Orleans. This 0:13:25.960 --> 0:13:29.040 is a new video rental store that we just read 0:13:29.040 --> 0:13:32.760 about in New Orleans Magazine. It's operated by Eden Chubb, 0:13:33.120 --> 0:13:37.000 who was apparently partially inspired by Weird House Cinema and 0:13:37.080 --> 0:13:41.640 certainly inspired by Atlanta's own video rental store, Videodrome. The 0:13:41.760 --> 0:13:44.040 name of the store is also a nod to the 0:13:44.080 --> 0:13:46.839 concept of Future Shock, which we've discussed on the show, 0:13:47.000 --> 0:13:50.600 So kudos to Eden for keeping the physical media circulating. 0:13:51.960 --> 0:13:55.440 You can learn more about Future Shock Video at futureshockvideo 0:13:55.520 --> 0:13:58.520 dot biz and you can follow the store on Instagram 0:13:58.760 --> 0:14:09.880 at future Shock Video. All right, Well, let's get into 0:14:10.000 --> 0:14:13.360 the people who made this film, all right. Starting at 0:14:13.360 --> 0:14:17.280 the top, director, writer, producer, it's William Malone born nineteen 0:14:17.400 --> 0:14:21.560 fifty three, UCLA Film School grad, writer and director who 0:14:21.560 --> 0:14:24.840 started out in acting and some special effects work, but then, 0:14:24.880 --> 0:14:27.080 in the wake of nineteen seventy nine's Alien, which he 0:14:27.160 --> 0:14:30.080 was inspired by, he was able to raise a reported 0:14:30.200 --> 0:14:33.600 seventy four thousand dollars to make the film Scared to Death, 0:14:34.080 --> 0:14:37.080 in which a Giger esque creature runs amok in the 0:14:37.200 --> 0:14:40.040 La sewer system. I haven't seen this one, so I 0:14:40.040 --> 0:14:42.120 can't really speak to it, but I looked at a 0:14:42.120 --> 0:14:44.000 couple of stills in the Monster Man. 0:14:44.000 --> 0:14:48.120 This must have been a really precious project to him, 0:14:48.160 --> 0:14:50.440 because he works. I don't know if you caught onto 0:14:50.440 --> 0:14:54.440 this rob how many references too Scared to Death he 0:14:54.520 --> 0:14:57.520 works into creature. Did you notice these? 0:14:57.920 --> 0:15:00.320 I didn't notice them so much for your pointing out 0:15:00.320 --> 0:15:02.040 some of them, and I guess you'll point them out 0:15:02.080 --> 0:15:04.360 as we go here. Yeah, maybe they're supposed to be 0:15:04.360 --> 0:15:05.800 the same cinematic universe. 0:15:05.920 --> 0:15:09.000 Oh I didn't consider that. Well, but I don't know 0:15:09.040 --> 0:15:11.280 if that would work, because one character is reading the 0:15:11.320 --> 0:15:13.080 novelization of Scared to Death. 0:15:15.120 --> 0:15:18.880 All right, So this film Creature, which was originally he 0:15:18.920 --> 0:15:21.280 talks about this on the extras it was originally in 0:15:21.360 --> 0:15:24.560 It originally had the working title Titan Fined, which the 0:15:24.560 --> 0:15:27.400 producers did not like the other like the main money 0:15:27.400 --> 0:15:29.360 behind it. They were like, it sounds too much like 0:15:29.480 --> 0:15:33.360 tight and fine. People are going to think it's something else, 0:15:33.680 --> 0:15:35.800 which seems like it's a little reaching there. 0:15:35.840 --> 0:15:36.200 I don't know. 0:15:36.280 --> 0:15:39.160 I didn't think about that connotation. I think Titan Fine 0:15:39.280 --> 0:15:43.440 sounds rather fascinating and very sci fi. 0:15:44.720 --> 0:15:47.440 It makes me think maybe they were thinking it sounds 0:15:47.480 --> 0:15:50.480 too intellectual and they were coming up with an excuse 0:15:51.040 --> 0:15:53.000 for why they wanted to just call it monster. 0:15:53.560 --> 0:15:59.480 Yeah, but anyway, this was the follow up. He mentions 0:16:00.120 --> 0:16:02.240 some of those extras that he was always terrible at 0:16:02.240 --> 0:16:04.560 writing to meet a particular budget, and that was very 0:16:04.600 --> 0:16:07.400 much the case here. It was apparently a real struggle 0:16:07.400 --> 0:16:10.840 to go after everything they needed to make creature, and 0:16:11.000 --> 0:16:13.280 at one point in the production, one of the producers 0:16:13.320 --> 0:16:18.160 I think this is mush Diamont Diamant, It could be wrong, 0:16:18.560 --> 0:16:21.200 but he comes in and says, oh, you guys need 0:16:21.240 --> 0:16:23.600 more money for what you're trying to do here, and 0:16:23.760 --> 0:16:26.880 essentially double their budget at that point, which Malone says 0:16:26.960 --> 0:16:29.280 was of course it was a lifeline, but also it 0:16:29.320 --> 0:16:31.320 was a bit frustrating at that stage in the production 0:16:31.400 --> 0:16:35.080 because they were already a certain way into making everything 0:16:35.160 --> 0:16:38.360 based on what you had, and suddenly you have additional resources, 0:16:38.640 --> 0:16:41.920 which and you can't really redo what you've done already. 0:16:42.120 --> 0:16:44.600 You have to think of outther other ways to make 0:16:44.680 --> 0:16:45.600 use of those funds. 0:16:45.880 --> 0:16:49.200 I feel like we have talked about more examples of 0:16:49.240 --> 0:16:51.440 it going the other way, where you start making a 0:16:51.480 --> 0:16:54.360 movie and then the budget gets cut. Yeah. 0:16:54.440 --> 0:16:56.040 So, I mean one of the things they ended up 0:16:56.040 --> 0:16:58.000 doing when more money came in on this one is 0:16:58.320 --> 0:17:01.520 hired klas Kinsky, which we'll get in, which I don't 0:17:01.520 --> 0:17:04.320 think is always I would go so far as to say, 0:17:04.400 --> 0:17:08.399 is maybe never a good use of extra money in 0:17:08.440 --> 0:17:12.000 your film to say, well, let's bring in noted nightmare 0:17:12.320 --> 0:17:14.520 klaus Kinsky. That's gonna be great for the film and 0:17:14.560 --> 0:17:15.320 great for morale. 0:17:15.800 --> 0:17:17.600 Oh, we just got a bunch of extra money. We 0:17:17.640 --> 0:17:19.760 can use that to rent a jar of red back 0:17:19.800 --> 0:17:21.800 spiders and release them onto the set. 0:17:22.880 --> 0:17:23.320 Essentially. 0:17:23.400 --> 0:17:24.960 Yeah, it really spiced things up. 0:17:25.240 --> 0:17:27.560 Yeah yeah, I mean it's gonna make people more excited 0:17:27.600 --> 0:17:28.280 in front of the camera. 0:17:28.480 --> 0:17:29.960 Let's do it. Well. 0:17:30.320 --> 0:17:33.960 More on that in a bit, but both Scared to 0:17:34.000 --> 0:17:37.760 Death and Creature were apparently successful. Creature was a theatrical release, 0:17:37.960 --> 0:17:40.840 and Malone followed the film up with some TV projects. 0:17:40.840 --> 0:17:44.320 He directed three episodes of Freddy's Nightmares, and he also 0:17:44.400 --> 0:17:47.080 directed two episodes of Tales from the Crypt, one of 0:17:47.119 --> 0:17:49.679 which he also wrote. He also did one episode of 0:17:49.680 --> 0:17:52.560 the short lived sci fi spinoff of Tales from the Crypt, 0:17:52.640 --> 0:17:56.280 Perversions of Science, and after some additional TV projects, he 0:17:56.359 --> 0:17:59.520 directed the big budget remake of House on Haunted Hill 0:17:59.600 --> 0:18:00.120 in nineth. 0:18:01.960 --> 0:18:04.359 I know you remember this one, Joe. I mean, I 0:18:04.640 --> 0:18:07.720 don't think there's any way to make the case that 0:18:07.760 --> 0:18:10.520 it's good, but it's very watchably bad. It has a 0:18:10.560 --> 0:18:13.200 great cast, kind of star studded, you know, a lot 0:18:13.240 --> 0:18:16.879 of great character actors running around doing ridiculous things. I 0:18:16.880 --> 0:18:20.600 remember it being really ugly, like a movie that's quite 0:18:20.640 --> 0:18:25.080 hard on the eyes, but it's I had a great time. 0:18:25.359 --> 0:18:28.320 Yeah, I remember Jeffrey Combs has a fun, uh I think, 0:18:28.359 --> 0:18:32.240 non speaking role in it, and then Jeffrey Rush basically 0:18:32.280 --> 0:18:36.280 plays Vincent Price in the film, like, in fact, the 0:18:36.359 --> 0:18:39.120 character's name is Stephen Price, and that is as fun 0:18:39.160 --> 0:18:42.080 as it sounds, you know, just letting Rush go wild 0:18:42.160 --> 0:18:45.480 for the duration of the film as Vincent Price. 0:18:46.080 --> 0:18:47.800 Just trying to remember who else is in it. I 0:18:47.840 --> 0:18:50.720 looked at up. It's got Tay Diggs, Chris Catan, fam 0:18:50.800 --> 0:18:52.600 Kid Janssen, It's oh Man. 0:18:53.359 --> 0:18:55.200 When Tay Diggs was in a lot of different movies. 0:18:55.280 --> 0:18:56.040 Yeah, yeah, yeah. 0:18:57.359 --> 0:19:01.320 Anyway back to Malone. His only two films after that 0:19:01.359 --> 0:19:04.480 were two thousand and two is Fear dot Com, which 0:19:04.960 --> 0:19:08.760 I remember is being quite awful, speaking of. 0:19:08.880 --> 0:19:12.400 Ugly movies that are hard on the eyes, that we're 0:19:12.480 --> 0:19:15.240 right in that zone around the turn of the millennium 0:19:15.280 --> 0:19:18.520 where movies it seems we're just the color palette and 0:19:19.440 --> 0:19:23.080 the brightness level and everything was optimized to hurt the 0:19:23.119 --> 0:19:23.959 eyes to watch. 0:19:24.320 --> 0:19:26.040 Yeah, Like, I mean, I don't even want to throw 0:19:26.080 --> 0:19:28.560 too much shade at Malone for Fear dot Com because 0:19:28.560 --> 0:19:31.600 Fear dot com was exactly the sort of movie that 0:19:31.640 --> 0:19:35.760 the Year two thousand and two wanted, And even though 0:19:35.760 --> 0:19:38.040 I do not like it, there are a number. There 0:19:38.080 --> 0:19:39.680 aren't a lot of films from two thousand and two. 0:19:39.680 --> 0:19:43.640 I'm exactly going back and feeling nostalgic for He did 0:19:43.680 --> 0:19:45.480 one more film in two thousand and eight, and he 0:19:45.480 --> 0:19:48.160 also directed one episode of two thousand and six's Masters 0:19:48.200 --> 0:19:51.399 of Horror, The Fair Haired Child. As a writer, he 0:19:51.440 --> 0:19:54.720 also worked on nineteen ninety nine's Universal Universal Soldier The 0:19:54.800 --> 0:19:59.520 Return and the Year two thousand movies Supernova. Now there's 0:19:59.520 --> 0:20:02.800 another right that is credited one Alan Reid, but I 0:20:02.800 --> 0:20:04.520 couldn't find much about them. This is not to be 0:20:04.520 --> 0:20:07.960 confused with the original voice of Freddie Flintstone, different Alan Reid, 0:20:08.000 --> 0:20:11.199 but I could not figure out exactly who this individual is. 0:20:11.600 --> 0:20:13.879 Sorry, this is completely out of order, but I just 0:20:14.000 --> 0:20:17.080 remembered another actor in his house on Haunted Hill, and 0:20:17.119 --> 0:20:20.399 it's that there's a cameo where Lisa Loebe plays a 0:20:20.440 --> 0:20:24.040 TV reporter. What, yeah, why, I don't know. 0:20:25.040 --> 0:20:28.800 I'm good for her, all right. Moving on to the 0:20:29.200 --> 0:20:32.200 actors in this film. This is of course an alien 0:20:32.920 --> 0:20:35.800 asque picture, so we have a crew and if you 0:20:35.800 --> 0:20:37.439 have a crew, you got to have a captain. And 0:20:37.520 --> 0:20:41.680 our captain is Captain Mike Davison played by Stan Ivar 0:20:42.359 --> 0:20:45.399 born nineteen forty three. Not only is is he our 0:20:45.480 --> 0:20:48.480 captain in this film, he was also he's also a 0:20:48.520 --> 0:20:52.800 future actual ship captain according to Malone, So he chalks 0:20:52.840 --> 0:20:54.640 that up to good casting, like he saw this guy 0:20:54.680 --> 0:20:56.840 and realized this dude can command a ship. 0:20:57.880 --> 0:21:01.119 I mean, he is believable as a ship captain. I 0:21:01.119 --> 0:21:03.520 will say that no offense to Stan. I don't have 0:21:03.560 --> 0:21:05.960 a lot to say about his performance here. It's sort 0:21:06.000 --> 0:21:09.080 of a It's like a slice of white toast with 0:21:09.200 --> 0:21:12.639 no butter or jam. There's nothing wrong with it, nothing 0:21:12.680 --> 0:21:15.159 to offend. But also it's very plain. 0:21:16.119 --> 0:21:18.760 Yeah, and it's fitting that at this point in his career, 0:21:19.040 --> 0:21:22.480 mostly a TV actor, he had just played John Carter 0:21:22.680 --> 0:21:25.440 on Little House on the Prairie, along with some other 0:21:25.680 --> 0:21:30.679 various guest show spots guest spots on shows. But you know, 0:21:30.920 --> 0:21:33.320 he is the kind of actor he can easily imagine 0:21:33.800 --> 0:21:36.000 doing a lot of scenes where he's just coming back 0:21:36.040 --> 0:21:38.760 from some farm work and he needs a nice drink 0:21:38.760 --> 0:21:42.359 of water back at the Little House on the Prairie. Anyway, 0:21:42.400 --> 0:21:44.560 This sort of work would would continue, with him doing 0:21:44.600 --> 0:21:46.879 a lot of one shots on popular TV series of 0:21:46.920 --> 0:21:51.280 the eighties and nineties. His latter film credits include roles 0:21:51.359 --> 0:21:54.120 in nineteen ninety one's Harley Davidson and the Marlborough Man 0:21:54.440 --> 0:21:58.000 and nineteen ninety three's Aspen Extreme. His last credits were 0:21:58.040 --> 0:22:01.640 a pair of NCIS episodes in twenty ten. But yeah, 0:22:01.680 --> 0:22:04.840 he's he's solid in this, you know, like you said, 0:22:04.920 --> 0:22:08.919 he's he does a solid job. No notes, really, but 0:22:09.760 --> 0:22:12.159 you know, he's no Tom Scarett, but he is maybe 0:22:12.240 --> 0:22:13.520 Tom Scarett esque. 0:22:14.000 --> 0:22:17.120 I think they were clearly going for a Tom Scarett type. 0:22:17.240 --> 0:22:21.920 They wanted to replicate Dallas as a relatively soft spoken, stoic, 0:22:23.200 --> 0:22:27.119 strong masculine captain, and he sort of gets there, but 0:22:27.200 --> 0:22:30.119 he doesn't really have Tom Skarett's quiet charisma. 0:22:30.520 --> 0:22:33.359 Yeah, all right. Now, he does have a girlfriend on 0:22:33.400 --> 0:22:35.919 the crew though. You know that's of course, one of 0:22:35.920 --> 0:22:38.040 the very notable things about Alien is there are no 0:22:38.160 --> 0:22:41.639 romantic entanglements. Yeah, but that's not the case here because 0:22:41.680 --> 0:22:44.359 his girlfriend is also a crew member. And this is 0:22:44.440 --> 0:22:47.240 the character Bet Slayton, played by Wendy Shaw. 0:22:47.640 --> 0:22:50.479 You know, Shaw is an interesting presence in this film. 0:22:50.720 --> 0:22:54.200 I think she is just very likable and very grounded. 0:22:54.240 --> 0:22:57.440 She feels like a real person. For the most part, 0:22:57.520 --> 0:23:02.040 her portrayal of this character is strong in its understatedness, 0:23:02.080 --> 0:23:05.720 you know, like she she plays the character as kind 0:23:05.720 --> 0:23:10.000 of quiet and not super expressive, but that works well. 0:23:10.640 --> 0:23:14.160 But she does have a couple of unintentionally funny moments. 0:23:14.200 --> 0:23:17.000 For example, do you remember the part where she's telling 0:23:17.040 --> 0:23:20.920 the story of Hofner the of you know, Klauskinsky trying 0:23:20.960 --> 0:23:24.000 to kill her, And in the scene, I could just 0:23:24.080 --> 0:23:27.199 imagine the director behind the camera gesturing at her to 0:23:27.320 --> 0:23:30.359 display more emotion, you know, like, come on, make it bigger, bigger, 0:23:30.760 --> 0:23:33.560 And so she does, and it comes off very forced 0:23:33.600 --> 0:23:37.439 in a funny way. Also, at least at least three 0:23:37.560 --> 0:23:40.160 or four times, maybe more in the movie, she says 0:23:40.200 --> 0:23:45.480 another character's name wrong. She says Davidson instead of Davison, 0:23:46.359 --> 0:23:49.040 which you might think is simply realistic. Oh maybe people, 0:23:49.080 --> 0:23:52.000 you know, people get people's names wrong, Except Davison is 0:23:52.040 --> 0:23:56.000 supposed to be her boyfriend, and she's calling him by 0:23:56.000 --> 0:23:56.720 his last name. 0:23:57.160 --> 0:23:59.840 Maybe that's his middle name. We don't know his full name. 0:24:00.160 --> 0:24:03.960 He you know, maybe, oh, maybe that's her like cutesy 0:24:04.119 --> 0:24:07.399 nickname for him. Yeah, it's an inside joke, but on 0:24:07.440 --> 0:24:09.960 the whole, as I was saying, Shall is quite good 0:24:10.040 --> 0:24:14.120 in this character and very likable. She brings a kind 0:24:14.119 --> 0:24:17.480 of human energy to the character, and I think without 0:24:17.520 --> 0:24:19.560 her we would not have a lot of reason to 0:24:19.640 --> 0:24:20.960 care about the humans. 0:24:21.440 --> 0:24:24.000 I agree, especially when you whittle it down to what 0:24:24.040 --> 0:24:26.200 we're left with towards the end of the picture, because 0:24:26.240 --> 0:24:29.920 that's always telling which characters have you chosen to sacrifice, 0:24:29.920 --> 0:24:32.639 in which characters are going to land the plane or 0:24:32.680 --> 0:24:34.119 the spaceship in this case. 0:24:34.440 --> 0:24:34.960 Yeah. 0:24:35.119 --> 0:24:38.320 So Shall born nineteen fifty four was a pretty season 0:24:38.400 --> 0:24:41.080 TV actor by this point. I think it shows, having 0:24:41.119 --> 0:24:44.720 popped up on various late seventies and early eighties network series. 0:24:45.119 --> 0:24:48.240 She'd continue to work in TV, and her latter film 0:24:48.280 --> 0:24:51.440 credits include. Film and TV credits include the likes of 0:24:51.520 --> 0:24:54.840 nineteen eighty seven's The Munchies, This is a Gromlins movie 0:24:54.880 --> 0:24:57.720 that I haven't seen, but we're not going to stop there. 0:24:57.880 --> 0:25:02.920 It gets better, eighty seven's Innerspace Batteries not included from 0:25:02.960 --> 0:25:06.280 the same year, nineteen eighty nine's The Birds, and such 0:25:06.320 --> 0:25:09.440 TV series as The X Files, six feet Under and 0:25:09.560 --> 0:25:11.960 star Trek Voyager. She's also done a lot of voice 0:25:12.000 --> 0:25:16.720 acting for the Family Guy and American Dad animated series. 0:25:17.600 --> 0:25:19.600 I just had to check to make sure, but yes, 0:25:19.760 --> 0:25:24.200 Munchies is the Roger Corman produced, a Grimlins ripoff. 0:25:24.760 --> 0:25:28.080 Yeah, it does not look good. I haven't seen it. 0:25:28.080 --> 0:25:28.680 It may be great. 0:25:28.720 --> 0:25:29.600 I don't know. I haven't seen it. 0:25:30.400 --> 0:25:30.560 Now. 0:25:30.600 --> 0:25:32.879 I mentioned earlier that there were some elements of this 0:25:32.960 --> 0:25:36.840 movie that I first mistakenly thought were lifted out of Aliens, 0:25:36.880 --> 0:25:39.680 and then realized, oh no, this movie came out before Aliens, 0:25:40.040 --> 0:25:42.560 and one of them is the next character we're about 0:25:42.600 --> 0:25:45.159 to talk about, played by lyman Ward. This is the 0:25:45.200 --> 0:25:47.760 Burke character, except he comes before Burke. 0:25:48.280 --> 0:25:51.960 That's right, Yeah, lyman Ward plays David Perkins. Ward was 0:25:52.000 --> 0:25:55.639 born nineteen forty one Canadian actor, character actor, most famous 0:25:55.680 --> 0:25:59.719 for playing Ferris Bueller's dad in nineteen eighty six, but 0:25:59.800 --> 0:26:01.919 he you also might recognize him from other things. He 0:26:01.960 --> 0:26:05.040 pops up in the likes of Independence Day in ninety six. 0:26:05.119 --> 0:26:07.720 He's in a nine rand m Street Part two. He's 0:26:07.760 --> 0:26:09.840 done a lot of TV and film work over the decades, 0:26:09.880 --> 0:26:12.639 going back to seventy one, and he's apparently still active 0:26:13.119 --> 0:26:16.720 His other credits include seventy three's Coffee, eighty four's Moscow 0:26:16.760 --> 0:26:20.280 on the Hudson, eighty seven's Planes, Trains and Automobiles, and 0:26:20.440 --> 0:26:22.280 nineteen ninety two Sleepwalkers. 0:26:23.119 --> 0:26:27.359 Yeah. So, I think lyman Ward brings a kind of 0:26:27.640 --> 0:26:29.560 and I don't necessarily mean this in a bad way, 0:26:29.600 --> 0:26:33.199 a kind of welcome cheesiness that is in some ways 0:26:33.240 --> 0:26:38.560 inseparable from his recognizability as a minor eighties character actor. 0:26:39.000 --> 0:26:42.119 I would put him almost in the klue Goolager zone, 0:26:42.200 --> 0:26:44.920 if you know what I'm saying. Yeah, I think that's fair. Yeah, 0:26:44.960 --> 0:26:48.160 and it makes it more surprising and enjoyable. In fact, 0:26:48.200 --> 0:26:52.720 when he starts like making brain slug zombie heads explode, that's. 0:26:52.600 --> 0:26:55.840 A great scene. I can't wait to talk about that one. Also, 0:26:55.880 --> 0:26:58.320 of note, he's interviewed in some of the extras on 0:26:58.400 --> 0:27:02.760 the Vinegar Syndrome disc and he's one of these individuals 0:27:02.760 --> 0:27:04.800 who says that he got along fine with Kinsky on 0:27:04.840 --> 0:27:07.200 the set and went out to lunch with him a 0:27:07.240 --> 0:27:09.960 couple of times. And I don't mention that as in 0:27:10.240 --> 0:27:15.199 any way an attempt to redeem Kinsky, who, as will discuss, 0:27:15.240 --> 0:27:17.760 I think most agree was an out of control Monster. 0:27:18.320 --> 0:27:22.480 But it is interesting how seemingly there were folks that 0:27:22.560 --> 0:27:26.040 he worked with who didn't have absolute nightmares around him, 0:27:26.440 --> 0:27:28.280 And I wonder how much of that had to do 0:27:28.359 --> 0:27:31.520 with like, to what degree Kinsky felt threatened by someone 0:27:31.640 --> 0:27:33.520 like seems like the kind of guy who's going to 0:27:33.520 --> 0:27:36.479 be very threatened by anybody that is in a position 0:27:36.520 --> 0:27:39.560 of power over him, like a director or a producer, 0:27:40.960 --> 0:27:44.080 or seemingly you know, female members of a cast, but 0:27:45.160 --> 0:27:48.320 here is just a male co star, perhaps one of 0:27:48.359 --> 0:27:50.879 the Perhaps this is one of those moments where you 0:27:50.960 --> 0:27:53.479 actually end up getting something a little more balanced out 0:27:53.520 --> 0:27:57.280 of Kinski because he's not threatened by you, his you know, 0:27:57.520 --> 0:28:01.439 his narcissistic view of himself, not feel in danger around 0:28:01.440 --> 0:28:06.520 this person. I don't know, anyway, food for thought. Moving on, 0:28:06.640 --> 0:28:11.600 we also have Robert Jeffy playing John Finnell born nineteen 0:28:11.680 --> 0:28:15.480 forty nine. Handsome young actor coming off of small roles 0:28:15.520 --> 0:28:18.560 in nineteen seventy two, including The Mechanic, but by this 0:28:18.720 --> 0:28:22.000 point he largely moved more into the production and writing 0:28:22.040 --> 0:28:24.159 side of things. He was one of the screenwriters on 0:28:24.240 --> 0:28:29.240 nineteen seventy seven's Demon Seed, the out of control AI 0:28:29.960 --> 0:28:32.840 movie based on the novel by Dean Coots, and he 0:28:32.920 --> 0:28:35.800 was also a screenwriter on nineteen eighty's Motel Hell, which 0:28:35.840 --> 0:28:39.880 he also produced and notable to the subgenre of space horror. 0:28:39.880 --> 0:28:43.800 At some point, it looks like Jeffy acquired the rights 0:28:43.840 --> 0:28:47.960 to George R. R. Martin's novella Nightflyers. He produced and wrote 0:28:48.000 --> 0:28:51.479 an adaptation of that in nineteen eighty seven, though I 0:28:51.480 --> 0:28:54.440 believe it's based more on Martin's original short story version 0:28:54.480 --> 0:28:57.080 of that tale, and he was again listed as a 0:28:57.080 --> 0:29:01.560 producer on the twenty seventeen TV minise He's adaptation. I've 0:29:01.560 --> 0:29:04.360 only seen parts of the eighty seven adaptation, and it 0:29:04.400 --> 0:29:08.040 looks really goofy and fun. I've seen the entirety of 0:29:08.080 --> 0:29:11.440 the twenty seventeen mini series, which has a great cast, 0:29:11.920 --> 0:29:14.920 looks phenomenal, but honestly kind of bored me to death 0:29:14.920 --> 0:29:15.520 after a while. 0:29:16.320 --> 0:29:18.680 Well, I've never seen the eighty seven movie, but I've 0:29:18.680 --> 0:29:20.480 wanted to for a while so that we may come 0:29:20.520 --> 0:29:22.960 back to that on Weird House. But I will say, 0:29:23.000 --> 0:29:26.000 as far as just his acting performance here, along with 0:29:26.120 --> 0:29:30.840 Wendy Shall, I think Jaffee is the other most sympathetic 0:29:30.840 --> 0:29:34.360 and realistic performance among the crew. He brings a kind 0:29:34.360 --> 0:29:37.840 of relaxed humanity that makes it all the more alarming 0:29:38.200 --> 0:29:40.560 when he starts trying to brain leach people. 0:29:40.960 --> 0:29:43.040 Yeah, it was kind of surprising that this is a 0:29:43.040 --> 0:29:45.840 guy who seemingly was, I'm assuming here making a lot 0:29:45.880 --> 0:29:48.600 of assumptions, but was drawn more towards the behind the 0:29:48.640 --> 0:29:51.320 scenes stuff as opposed to staying in front of the camera. 0:29:51.080 --> 0:29:53.080 Because he's great in front of the camera. Yeah, he is, 0:29:53.520 --> 0:29:54.040 all right. 0:29:54.160 --> 0:29:57.440 We also have a character by the name of Melanie 0:29:57.440 --> 0:30:02.280 Bryce who She is the security officer that's brought in 0:30:02.320 --> 0:30:05.520 on this, which is also kind of kind of something. 0:30:05.640 --> 0:30:08.040 I mean, this is obviously in Aliens, Like the whole 0:30:08.120 --> 0:30:10.680 plot revolves around, well, this is a problem. Let's bring 0:30:10.720 --> 0:30:14.640 in some muscle. Let's bring in the Colonial Marines. That's 0:30:14.760 --> 0:30:16.720 kind of her purpose here. They're like, we think there's 0:30:16.760 --> 0:30:19.760 going to be something Xena Morphy going on. We better 0:30:19.800 --> 0:30:24.160 bring in some tall, mysterious woman who doesn't talk and 0:30:24.200 --> 0:30:27.560 has a big gun. Bryce here is played by Diane 0:30:27.640 --> 0:30:31.480 Salinger born nineteen fifty one, tall, striking American actor who 0:30:31.680 --> 0:30:33.800 prior to this had apparently done some stage work in 0:30:33.800 --> 0:30:36.120 New York and then moved out to la At the 0:30:36.120 --> 0:30:38.560 behest of her agent. But this wasn't her only nineteen 0:30:38.600 --> 0:30:41.920 eighty five film. She also appeared in Tim Burton's Peewee's 0:30:41.960 --> 0:30:46.160 Big Adventure, playing Simone, a waitress that dreams of visiting France. 0:30:47.360 --> 0:30:50.280 After this, she'd remained friends with Paul Rubens, and Tim 0:30:50.320 --> 0:30:55.200 Burton directed her again as the Penguin's Mother, alongside Paul 0:30:55.280 --> 0:30:59.560 Rubens playing the Penguin's father in nineteen ninety two's Batman Returns. 0:31:00.040 --> 0:31:01.560 Oh Yeah, Yeah. 0:31:01.840 --> 0:31:03.480 She's done a lot of TV and film work over 0:31:03.480 --> 0:31:06.920 the years, including such titles as ninety one's The Butcher's Wife, 0:31:07.000 --> 0:31:10.160 ninety five's The Scarlet Letter, two thousand and one's Ghost World. 0:31:10.200 --> 0:31:12.960 I believe she plays a psychiatrist in that. She has 0:31:13.000 --> 0:31:17.360 a recurring role in HBO's Carnival, and she also did 0:31:17.360 --> 0:31:20.080 a couple of Star Trek Deep Space nine episodes. 0:31:20.800 --> 0:31:23.400 I want to say that there are some very weird 0:31:23.600 --> 0:31:26.960 things about her characterization here, but I think that's not 0:31:27.200 --> 0:31:30.960 her fault. It's like the character is written very oddly, 0:31:32.240 --> 0:31:36.040 that there's a complete mismatch between the ways she's portrayed 0:31:36.080 --> 0:31:38.080 in different scenes, and then when you get to the 0:31:38.160 --> 0:31:40.840 later way she's portrayed, it doesn't make any sense why 0:31:40.880 --> 0:31:44.040 they had her portrayed a different way earlier on. But 0:31:44.360 --> 0:31:47.200 doing what she can with what she has to work 0:31:47.240 --> 0:31:48.960 with in the script, I think she's good. 0:31:49.320 --> 0:31:52.280 Yeah, I mean, added caveat. This was her first film. 0:31:53.280 --> 0:31:55.760 She has great energy and a unique look. I checked 0:31:55.760 --> 0:31:57.840 out some various behind the scenes interviews that she did 0:31:57.840 --> 0:32:00.480 about this and other films, and she's a real like 0:32:00.520 --> 0:32:03.480 full of personality and insight. And we'll get back to 0:32:03.520 --> 0:32:05.600 some of that in a bit. All right, we have 0:32:05.760 --> 0:32:08.240 a let's see that we have a doctor on the crew. 0:32:08.440 --> 0:32:11.600 This is doctor Wendy h Oliver played by Annette McCarthy 0:32:11.640 --> 0:32:14.800 who lived nineteen fifty eight through twenty twenty three. Mostly 0:32:14.840 --> 0:32:17.400 a TV actor with credits that include Twin Peaks. She 0:32:17.440 --> 0:32:20.240 played Evelyn Marsh on that and she also appeared on Baywatch. 0:32:21.560 --> 0:32:25.120 Yeah, her presence in the movie is more minor. There 0:32:25.160 --> 0:32:27.240 is one funny moment I don't know if it's supposed 0:32:27.240 --> 0:32:29.960 to be funny where she's being lured off to a 0:32:30.040 --> 0:32:34.200 dark room by a brain slug possessed Robert Jaffe and 0:32:34.480 --> 0:32:36.760 she starts talking about how she's not a real doctor 0:32:36.840 --> 0:32:39.400 and he's like, oh, I have a secret too. Anyways, 0:32:39.480 --> 0:32:40.560 let's go into this room. 0:32:41.320 --> 0:32:44.360 Yeah, that was interesting, and the character development went nowhere 0:32:44.400 --> 0:32:47.680 because she's like killed the next scene, but it also 0:32:48.480 --> 0:32:50.800 was kind of a funny moment. And then we have 0:32:50.880 --> 0:32:55.960 the character Susan Delambrey played by Marie Lauren. Her birth 0:32:56.040 --> 0:32:57.960 date's not public record, but she's in a number of 0:32:58.000 --> 0:33:01.960 the making of a bits the disc as well. Energetic 0:33:01.960 --> 0:33:05.040 American actor with a really solid supporting role. 0:33:04.880 --> 0:33:05.400 In this film. 0:33:05.440 --> 0:33:08.840 I think, you know, like she's a doomed character, but 0:33:09.480 --> 0:33:11.960 she gets to do more than just be doomed, if 0:33:11.960 --> 0:33:14.920 that makes sense. At this point in her career, she'd 0:33:14.960 --> 0:33:17.080 appeared in various TV series, and she went on to 0:33:17.120 --> 0:33:19.520 act in David Lynch's nineteen eighty eight short film The 0:33:19.560 --> 0:33:22.920 Cowboy and the Frenchman, and she's been active in recent 0:33:23.000 --> 0:33:25.400 years as a writer and producer on such films as 0:33:25.440 --> 0:33:28.200 twenty twenty three is the Uncanny, in which she also stars. 0:33:28.960 --> 0:33:33.040 Okay, she has a different energy than any other character 0:33:33.120 --> 0:33:36.640 in this movie, and that she almost feels like out 0:33:36.640 --> 0:33:40.760 of a story involving magic. She has prophetic visions of 0:33:40.800 --> 0:33:44.120 the fact that she's going to die, which it doesn't 0:33:44.120 --> 0:33:47.200 really fit with the story. Otherwise there's no other inkling 0:33:47.240 --> 0:33:50.400 of like magic or psychic powers, and she just happens 0:33:50.440 --> 0:33:52.520 to know that they're doomed and she's going to die. 0:33:53.040 --> 0:33:56.880 And she also kind of wanders around with a dreamlike, 0:33:56.960 --> 0:33:59.040 almost fairy like kind of spirit. 0:33:59.720 --> 0:34:00.240 Yeah. 0:34:00.360 --> 0:34:00.600 Yeah. 0:34:01.120 --> 0:34:03.600 According to the extras on the disk, she was the 0:34:03.600 --> 0:34:05.719 one who came to the director and said, all right, 0:34:05.760 --> 0:34:09.520 this pivotal scene where my character seemingly comes back from 0:34:09.560 --> 0:34:12.160 the dead and lures another character of their death, I 0:34:12.280 --> 0:34:14.480 need to be nude for this. And he was like, okay, 0:34:14.840 --> 0:34:15.239 let's do. 0:34:15.200 --> 0:34:18.399 It on the planet's surface, the surface of Titan. Yeah. 0:34:18.520 --> 0:34:21.400 But I think the nudity does add to the creepiness 0:34:21.400 --> 0:34:23.400 of the sequence because it makes it even more of 0:34:23.480 --> 0:34:29.160 an obvious delusion and ultimately is like, I think one 0:34:29.160 --> 0:34:30.800 of the creepier sequences in the picture. 0:34:31.320 --> 0:34:33.960 She has multiple of the creepiest moments in the movie. 0:34:33.960 --> 0:34:36.279 There's that. There's also a scene later on where she's 0:34:36.280 --> 0:34:39.040 in a spacesuit and the characters come across her and 0:34:39.080 --> 0:34:41.480 they think that she is dead, but she suddenly like 0:34:41.680 --> 0:34:44.440 grins and all this blood bursts out of her mouth 0:34:44.480 --> 0:34:48.480 as she sort of like pops awake and smiles. It's gross. 0:34:50.320 --> 0:34:53.960 All right, And then of course we have Kloskinski playing 0:34:54.000 --> 0:34:57.160 the character Hans Rudy Hofner, which of course is an 0:34:57.200 --> 0:35:01.800 obvious nod to Alien designer HRG or Hans Rudi Gieger. 0:35:02.200 --> 0:35:04.360 There's a lot I could say about this performance. I'll 0:35:04.400 --> 0:35:06.560 maybe save some of it for when we talk about 0:35:06.560 --> 0:35:11.319 the plot. But also this character feels completely superfluous to 0:35:11.400 --> 0:35:13.920 the story, like it's just sort of copy pasted in. 0:35:14.600 --> 0:35:17.439 Yeah, apparently it's very much the case that they got 0:35:17.440 --> 0:35:20.000 the extra money they realized they could cast clost Kinski 0:35:20.080 --> 0:35:23.000 if they could get in touch with him. According to Malone, 0:35:23.520 --> 0:35:25.359 the only way to get in touch with Kinsky at 0:35:25.400 --> 0:35:28.000 the time was to send a telegram, and he was 0:35:28.120 --> 0:35:32.560 reportedly living in like a shack somewhere up in the 0:35:32.560 --> 0:35:36.920 California mountains, and he slept on straw on the floor, 0:35:37.440 --> 0:35:39.680 and they were somehow able to get in touch with 0:35:39.760 --> 0:35:42.200 him and cast him here. But then, of course, as 0:35:42.239 --> 0:35:44.480 one would expect, especially at this point in his career, 0:35:44.520 --> 0:35:47.600 he was a nightmare. You know. The thing about Kinski 0:35:47.800 --> 0:35:51.880 is that he's famous. He's infamous for being not only 0:35:51.920 --> 0:35:56.200 this ball of crazed intensity that can be captivating on 0:35:56.239 --> 0:36:00.800 the screen, but also being almost impossible, not just almost 0:36:00.920 --> 0:36:04.360 universally impossible to work with, Like, there's so many accounts 0:36:04.360 --> 0:36:09.000 of him being either insanely difficult or being just a 0:36:09.080 --> 0:36:13.759 loathsome human being, sometimes both, often both, you can get 0:36:13.800 --> 0:36:16.120 both from him. And so we've talked about him a 0:36:16.160 --> 0:36:18.120 little bit on Weird House Cinema before he was in 0:36:18.120 --> 0:36:22.920 the killer snake movie Venom in nineteen eighty one. I 0:36:22.960 --> 0:36:25.640 would guess he achieved his most notable work in the 0:36:25.640 --> 0:36:29.040 films of legendary director Werner Herzog, who seems to have 0:36:29.080 --> 0:36:32.000 been one of the very few directors capable of managing 0:36:32.040 --> 0:36:33.000 him to some degree. 0:36:33.480 --> 0:36:35.200 Yeah, by whatever means necessary. 0:36:35.520 --> 0:36:40.239 Yeah, Now, on this production, he notably harassed Diane Salinger 0:36:40.280 --> 0:36:45.600 on the set. Totally unacceptable. Would not fly it all today, obviously, 0:36:45.880 --> 0:36:48.640 but in interviews she has reflected on this, and she's 0:36:48.640 --> 0:36:50.840 talked about how she really had to check his bs 0:36:51.200 --> 0:36:54.640 and put him in his place at one point. So 0:36:55.000 --> 0:36:59.200 she's very tall, Kinski was a short man. At one point. 0:36:59.239 --> 0:37:00.719 She says she had to like pick him up in 0:37:00.760 --> 0:37:02.880 a bear hug and just kind of like shake him 0:37:03.280 --> 0:37:06.560 and in doing so like largely put him in his place. 0:37:06.640 --> 0:37:09.000 So I get that after a while she did not 0:37:09.120 --> 0:37:13.440 have to worry about Kinsky, but you know, he was 0:37:13.480 --> 0:37:17.040 awful on the set and she had to to put. 0:37:16.920 --> 0:37:17.520 Him in his place. 0:37:17.560 --> 0:37:19.480 But she reflects on some of this in the twenty 0:37:19.480 --> 0:37:23.960 twenty one documentary Creation Is Violent, anecdotes on Kinsky's final years. 0:37:24.600 --> 0:37:26.840 She also talks a little bit on the vinegar syndrome 0:37:26.880 --> 0:37:30.240 disc She points out that Kinsky did some brilliant takes 0:37:30.239 --> 0:37:32.759 for Creature, but they couldn't use a lot of them 0:37:32.760 --> 0:37:34.960 because he just refused to hit his mark, so he 0:37:35.040 --> 0:37:37.759 was often out of focus. You know, he was very 0:37:37.840 --> 0:37:40.040 much not going to listen to any director or a 0:37:40.120 --> 0:37:43.600 cameraman or anything, and so they ended up losing a 0:37:43.600 --> 0:37:47.160 lot of footage. So what you see is to a 0:37:47.200 --> 0:37:50.719 certain extent, what they could actually use, like is he 0:37:50.800 --> 0:37:52.160 in is he? 0:37:52.280 --> 0:37:53.400 Is he? Is he blurry? 0:37:53.440 --> 0:37:53.520 No? 0:37:53.640 --> 0:37:53.920 Okay? 0:37:53.960 --> 0:37:56.640 Is he eating a sandwich? Well, yes, I guess we'll 0:37:56.719 --> 0:37:56.960 use it. 0:37:58.920 --> 0:38:01.480 That would explain it. Is he eating a sandwich? And 0:38:01.520 --> 0:38:03.759 it almost sounds like he's making up his lines while 0:38:03.800 --> 0:38:05.880 he choose Yeah yeah. 0:38:06.760 --> 0:38:09.200 Yeah, I mean, because I'm assuming he's probably gonna largely 0:38:09.280 --> 0:38:12.880 say whatever he wants either, So just an unenviable position 0:38:13.040 --> 0:38:15.600 to imagine anyone trying to direct this man and something. 0:38:15.960 --> 0:38:20.040 Even if you might get those moments of brilliance on 0:38:20.160 --> 0:38:22.640 camera where you know, you get that like that raw, 0:38:23.280 --> 0:38:26.880 crackling kinsky intensity, but what what are you willing to 0:38:26.880 --> 0:38:29.960 sacrifice for yourself or for the cast in order to 0:38:29.960 --> 0:38:32.320 get there? All right? The music on this one the 0:38:32.360 --> 0:38:35.440 scores by Thomas Chase and Steve Rucker, both born nineteen 0:38:35.520 --> 0:38:39.160 forty nine. These guys went on to work extensively on 0:38:39.239 --> 0:38:43.719 animated series including Scooby Doo, Powerpuff Girls, and various other projects. 0:38:43.719 --> 0:38:48.680 Looks like maybe some various other Cartoon Network related projects. 0:38:49.080 --> 0:38:52.719 I think the score here feels almost consciously like an 0:38:52.760 --> 0:38:56.200 attempt to reproduce the score of Alien. Yes, there are 0:38:56.880 --> 0:39:00.520 even similar dynamics where like there's kind of a swelling 0:39:00.560 --> 0:39:02.960 of the orchestra, but then it dies away and then 0:39:03.000 --> 0:39:05.960 there's a single high melody line that's carried by a 0:39:06.000 --> 0:39:09.080 woodwind like a clarinet or an obo, just like you 0:39:09.080 --> 0:39:11.880 get in some of the Alien music. It's it's it 0:39:11.960 --> 0:39:14.360 feels familiar. Yeah. 0:39:14.600 --> 0:39:16.960 Now, as far as the effects go, the main team 0:39:17.040 --> 0:39:20.800 here was the La Effects Group INK, which among others, 0:39:20.800 --> 0:39:24.080 included Suzanne M. Benson who had gone to work on 0:39:24.200 --> 0:39:27.400 Aliens the following year and win an Oscar for it. 0:39:27.440 --> 0:39:30.000 In fact, Benson was the first woman apparently to win 0:39:30.040 --> 0:39:34.719 an Oscar for special effects work. Michael McCracken is credited 0:39:34.800 --> 0:39:37.840 with the initial design of the Titan find creature or 0:39:37.960 --> 0:39:41.400 monster in this He also worked on nineteen eighty nine's Leviathan. 0:39:42.080 --> 0:39:46.360 Special effects in this movie are fun. They are. I 0:39:46.360 --> 0:39:48.759 would say they are mixed in terms of quality. You 0:39:48.760 --> 0:39:51.520 can tell there were some budget limitations at some points, 0:39:51.600 --> 0:39:55.200 but almost all of the effects shots are fun. 0:39:55.840 --> 0:39:58.880 Yeah, yeah, obvious limitations, but yeah, there's a lot of 0:39:58.920 --> 0:40:01.680 fun stuff in here, and sometimes it's hilarious, you know. 0:40:03.040 --> 0:40:05.080 You know, great effects team is only going to go 0:40:05.160 --> 0:40:08.799 so far when you're up against those budgetary constraints and 0:40:08.880 --> 0:40:13.080 you're working in this super hot warehouse in the heat 0:40:13.120 --> 0:40:24.640 of the summer in California. All right, well, let's jump 0:40:24.640 --> 0:40:26.960 into the plot here. Let's go into space and see 0:40:26.960 --> 0:40:28.000 if anyone can hear a screen. 0:40:28.440 --> 0:40:31.320 Okay, Well, the first thing we get is intense music, 0:40:31.520 --> 0:40:35.600 minor chords, pounding, hollow drums, kind of a sweeping Doppler 0:40:35.760 --> 0:40:40.279 sound of symbols. Once again, I will say quite reminiscent 0:40:40.320 --> 0:40:44.160 of the Jerry Goldsmith score in Alien. And then we 0:40:44.239 --> 0:40:48.680 get some text telling us about the setting. So we 0:40:48.760 --> 0:40:52.200 are told, in the competition for new materials and advanced 0:40:52.320 --> 0:40:57.840 manufacturing techniques, two multinational corporations have invested heavily in space. 0:40:58.480 --> 0:41:02.520 The rival firms of Rick Dynamics of West Germany and 0:41:02.840 --> 0:41:06.600 NTI of the USA are locked in a fierce race 0:41:06.680 --> 0:41:09.920 for commercial supremacy. So first of all, we can note 0:41:09.960 --> 0:41:13.400 that space is being colonized for business purposes, but Germany 0:41:13.440 --> 0:41:18.720 is still divided here. And then also this will, despite 0:41:18.760 --> 0:41:21.840 how much attention they give it by including a text 0:41:21.960 --> 0:41:25.040 legend right here at the top, this will play remarkably 0:41:25.080 --> 0:41:27.319 little role in the plot. Yeah. 0:41:27.400 --> 0:41:30.000 Yeah, it's some nice background color that does feel very 0:41:30.040 --> 0:41:32.200 much in keeping with the Alien universe, you know, with 0:41:32.280 --> 0:41:37.279 the corporations like Wailand, Tutani. But yeah, it's not particularly necessary. 0:41:37.400 --> 0:41:40.600 So next week to Chiron saying that we are on Titan, 0:41:40.840 --> 0:41:45.840 which is Saturn's largest moon, on following a geological research 0:41:45.920 --> 0:41:49.720 team from NTI. And we're also told that it's April fifth, 0:41:49.760 --> 0:41:51.920 But is it April fifth on Earth or on Titan? 0:41:54.440 --> 0:41:56.400 So I don't know if there would be in April 0:41:56.440 --> 0:42:00.080 on Titan. Somewhere somewhere here on Titan. There's an opening 0:42:00.120 --> 0:42:03.440 scene where there are a couple of guys in bulky 0:42:03.480 --> 0:42:07.279 Eva suits exploring an indoor space. So it seems to 0:42:07.320 --> 0:42:12.840 be the ruins of an ancient alien civilization, though unfortunately 0:42:12.920 --> 0:42:15.719 we don't see all that much of their architecture or 0:42:15.760 --> 0:42:18.600 really much texture in here at all. It's just a 0:42:18.719 --> 0:42:22.840 dark room with some hard to identify objects scattered around 0:42:22.840 --> 0:42:23.360 on the floor. 0:42:23.760 --> 0:42:25.680 Yeah, and this is true of either kind of the film, 0:42:25.920 --> 0:42:29.600 even in the brighter theatrical cut. It's like, I don't know, 0:42:29.840 --> 0:42:33.560 they're really impressed, but this is not the egg chamber 0:42:33.920 --> 0:42:38.000 from the alien spaceship an alien. This is something more 0:42:38.239 --> 0:42:39.840 achievable based on their budget. 0:42:40.160 --> 0:42:44.360 Yeah, so the two geologists seem very excited about their find. 0:42:44.480 --> 0:42:47.200 This is a big discovery. It's some kind of ancient 0:42:47.239 --> 0:42:51.880 alien ruin. But I wasn't quite clear rob within the 0:42:51.880 --> 0:42:55.880 setting of this movie, do humans already know that aliens exist? 0:42:56.040 --> 0:42:58.520 Or is this the very first evidence of it. 0:42:58.920 --> 0:43:02.480 I mean, they've given us nothing to indicate that aliens 0:43:02.480 --> 0:43:04.840 were known of before. They mentioned new materials, but they 0:43:04.840 --> 0:43:08.080 don't say whether those are organic materials or inorganic materials, 0:43:08.120 --> 0:43:11.719 so maybe it's all new, or I mean, maybe they 0:43:11.760 --> 0:43:14.400 were expecting it. So they're like, yes, of course, alien life, 0:43:14.560 --> 0:43:15.040 we don't know. 0:43:15.640 --> 0:43:18.520 So they perform some analysis to figure out that these 0:43:18.520 --> 0:43:21.920 structures are more than two hundred thousand years old. And 0:43:22.000 --> 0:43:24.080 on the floor of this room they find a number 0:43:24.080 --> 0:43:29.080 of large, damaged capsule shaped objects that have like a 0:43:29.200 --> 0:43:32.440 viewing glass on the upper lids, and they look inside 0:43:32.440 --> 0:43:35.320 one of them and believe they see a skeleton of something, 0:43:35.840 --> 0:43:39.400 almost like these are some kind of sarcophag guy. And 0:43:39.440 --> 0:43:42.800 then they find one capsule that is actually still intact, 0:43:42.920 --> 0:43:45.120 and they look inside. They look through the glass and 0:43:45.160 --> 0:43:48.480 they see the face of some kind of creature. So 0:43:48.560 --> 0:43:50.799 they start trying to move the capsule, and then one 0:43:50.840 --> 0:43:53.680 of the scientists says, like, you know, this has been 0:43:53.680 --> 0:43:55.839 here for a quarter of a million years. If we 0:43:55.920 --> 0:43:58.880 wake it up, it's likely to be very pissed and 0:43:59.080 --> 0:44:06.080 very hungry. And then they move it anyway, and while 0:44:06.200 --> 0:44:09.279 they're examining the alien remains through the glass, that the 0:44:09.320 --> 0:44:12.720 creature inside moves, and then they're like ah, but then 0:44:13.080 --> 0:44:15.239 they just kind of like, ah, there's probably nothing. Let's 0:44:15.239 --> 0:44:17.560 forget all about it. And then one of the two 0:44:17.600 --> 0:44:20.840 guys sits on the capsule to pose for a photo 0:44:20.920 --> 0:44:21.960 with it. Yeah. 0:44:22.000 --> 0:44:24.200 I love this bit because the other guy that's taking 0:44:24.200 --> 0:44:25.720 the photo is like, all right, move into the shot. 0:44:26.000 --> 0:44:27.719 And then he's telling him I need you to set 0:44:27.719 --> 0:44:30.319 on it for scale. Can you imagine if this had 0:44:30.360 --> 0:44:32.600 happened in Alien, if they were like, hey, Caine, go 0:44:32.600 --> 0:44:35.440 ahead and sit on one of those egg things because 0:44:35.440 --> 0:44:37.680 we need the folks back home to know how big 0:44:37.719 --> 0:44:38.040 it is. 0:44:38.760 --> 0:44:40.880 Yeah, put your face right by it, open your mouth. 0:44:41.920 --> 0:44:43.600 I need your mouth open for scale. 0:44:44.400 --> 0:44:46.160 And so he sits on it. Of course he's like 0:44:46.200 --> 0:44:47.720 all right, all right, let's do this photo. 0:44:48.000 --> 0:44:50.840 And then chocolate syrup starts leaking out of the container 0:44:51.040 --> 0:44:54.359 and we get an attack. There's actually a really good 0:44:54.400 --> 0:44:57.279 foli here. There's like a good squishing sound effect when 0:44:57.320 --> 0:45:01.200 the alien is popping out. Maybe this wishing something inside 0:45:01.200 --> 0:45:04.359 the guy's body. But they get attacked first the goo 0:45:04.520 --> 0:45:05.360 and then the creature. 0:45:05.760 --> 0:45:05.960 Yeah. 0:45:06.040 --> 0:45:07.520 I like this. The goo's good. Again. 0:45:07.560 --> 0:45:09.919 This reminds me of the black goo that would pop 0:45:10.040 --> 0:45:13.440 up in the more recent Alien films, And you know, 0:45:13.480 --> 0:45:16.480 it's a good Like in Spacesuit Death, we get they'll 0:45:16.520 --> 0:45:18.839 they'll return to this basic effect time and time again. 0:45:18.880 --> 0:45:20.719 But a quick splat of blood on the inside of 0:45:20.760 --> 0:45:24.000 the eva heilmet Andrew good to go. I don't know 0:45:24.040 --> 0:45:25.840 how it got him. I guess it came up, like 0:45:25.880 --> 0:45:28.560 I guess, through the butt. Thats the's setting on it. 0:45:28.600 --> 0:45:31.200 After all, it's the Ghoulies approach. 0:45:31.800 --> 0:45:36.000 Yeah, the actual like biology of our creature here. There's 0:45:36.000 --> 0:45:40.040 a lot left to interpretation, but I agree that the 0:45:40.040 --> 0:45:44.239 foley works. The sound effects quite nice, and credit on 0:45:44.280 --> 0:45:46.000 this apparently goes to Marvin Kerner. 0:45:47.480 --> 0:45:49.239 Yeah. I liked a lot of the sound effects in 0:45:49.280 --> 0:45:51.840 the movie, though there are some that are a bit puzzling. 0:45:52.239 --> 0:45:56.160 Did you notice how whenever a door would open or 0:45:56.200 --> 0:46:00.719 close it played a Star Wars blaster sound effect. I 0:46:00.760 --> 0:46:01.359 guess it did. 0:46:01.440 --> 0:46:04.560 Yeah, I hadn't thought about that, but but yeah, on 0:46:04.640 --> 0:46:07.000 the whole, I felt like the sound effects helped elevate things. 0:46:07.440 --> 0:46:09.040 I should also go ahead and point out we'll probably 0:46:09.040 --> 0:46:11.840 come back to this, but the spaceship scenes. 0:46:11.480 --> 0:46:12.200 Look really good. 0:46:12.480 --> 0:46:15.400 The model work, the lighting of the model, shooting the models, 0:46:16.120 --> 0:46:20.160 space sequences in general look great. So there's a lot 0:46:20.480 --> 0:46:24.200 in this film effects wise that was done really well considered, 0:46:24.280 --> 0:46:27.480 especially considering the budget. And serves to elevate the picture. 0:46:28.480 --> 0:46:32.160 Now here's a random note about this opening scene. I 0:46:32.239 --> 0:46:35.480 believe one of the scientists in this scene is named 0:46:35.880 --> 0:46:40.000 Ted Lauandergan, and because you see the last name Laundergan 0:46:40.160 --> 0:46:43.160 on the space suit and the other guy repeatedly refers 0:46:43.200 --> 0:46:46.120 to him as Ted. Now, that is not really notable, 0:46:46.200 --> 0:46:48.960 especially since this character just dies and doesn't come back, 0:46:49.560 --> 0:46:52.920 But it is notable within the meta context of the 0:46:52.920 --> 0:46:56.680 film because apparently that is the name of the private 0:46:56.760 --> 0:47:01.560 detective who takes it too personal in Will Malone's previous movie, 0:47:01.600 --> 0:47:03.879 Scared to Death. So this is one of the many 0:47:04.200 --> 0:47:07.680 Scared to Death references within Creature that I brought up earlier. 0:47:07.760 --> 0:47:09.839 Oh man, this one's just for the Scared to Death heads. 0:47:09.920 --> 0:47:11.080 That's what we called themselves. 0:47:11.320 --> 0:47:14.440 Anyway, after this we get a title. The version I 0:47:14.520 --> 0:47:16.799 was watching for this part of the movie was called 0:47:16.840 --> 0:47:20.240 The Titan Find. Other cut is called Creature. Once again, 0:47:21.120 --> 0:47:22.839 I think I said this earlier, but I watched half 0:47:22.880 --> 0:47:24.840 of the movie in the Titan Find cut half of 0:47:24.880 --> 0:47:26.719 the movie and the Creature cut, and I don't know 0:47:26.760 --> 0:47:28.160 what I missed one way or another. 0:47:28.600 --> 0:47:31.040 I think I've read that it's mostly a little exposition, 0:47:31.480 --> 0:47:34.560 so and I don't know that a little makes a 0:47:34.560 --> 0:47:35.400 whole lot of difference. 0:47:36.400 --> 0:47:39.360 All right, after the titles, we are moving again. So 0:47:39.440 --> 0:47:43.080 next we're told it's June twenty third, I assume Earth calendar, 0:47:43.760 --> 0:47:47.000 and we're looking at the space station Concord, which is 0:47:47.040 --> 0:47:50.880 a wheel shaped sort of the Stanford Taurres space station, 0:47:52.160 --> 0:47:54.840 and we are told that it is owned by the 0:47:54.960 --> 0:47:58.520 NTI Corporation, that's the USA based one in orbit around 0:47:58.560 --> 0:48:01.600 the Earth's Moon. And we get one of you know, 0:48:01.760 --> 0:48:05.880 a classic radar room scene where there's somebody sitting in 0:48:05.920 --> 0:48:08.080 there and they say, sir, we've got we're picking up 0:48:08.160 --> 0:48:10.879 something on the on the computer. Oh, it's headed right 0:48:10.960 --> 0:48:15.080 for us. So the command center detects a spacecraft on 0:48:15.120 --> 0:48:18.359 a collision course. Then they say, we've got a visual here, 0:48:18.480 --> 0:48:20.840 and they tune all these TVs into I guess the 0:48:21.760 --> 0:48:25.040 like a stream from the cockpit of this space ship 0:48:25.719 --> 0:48:29.040 and they go, what the hell, and the pilot of 0:48:29.080 --> 0:48:31.120 the incoming ship is a fallout gool. 0:48:31.440 --> 0:48:36.280 Yeah. Yeah, It's like it's like a space a zombie 0:48:36.360 --> 0:48:39.239 from Planet of the Vampires. It's like one of the 0:48:39.280 --> 0:48:42.960 abominations that you encounter in Prometheus, is that like, well, 0:48:42.960 --> 0:48:45.080 I guess one of the one of the guys from 0:48:45.120 --> 0:48:50.879 our our opening scene is here like just fully zombified 0:48:51.239 --> 0:48:54.640 and is driving straight towards the space station, no brakes 0:48:54.719 --> 0:48:55.160 or anything. 0:48:55.440 --> 0:48:58.480 And then it hits and the space station explodes, which 0:48:58.520 --> 0:48:59.680 I wasn't quite expecting. 0:48:59.760 --> 0:49:02.320 So I was not expecting it either, Like this feels 0:49:02.400 --> 0:49:05.680 like the worst case scenario. Like it's so bad that 0:49:05.800 --> 0:49:07.680 I assumed, Okay, we're going to get a one week 0:49:07.719 --> 0:49:10.520 earlier bit on this, because maybe this isn't the same 0:49:10.560 --> 0:49:14.560 guys from the beginning. Clearly somebody returning with an alien 0:49:14.600 --> 0:49:18.600 pathogen and destroying a massive space station. That's as bad 0:49:18.600 --> 0:49:20.640 as it gets, and we have to work backwards from 0:49:20.680 --> 0:49:21.560 this disaster. 0:49:21.880 --> 0:49:25.239 But that's not the case, right, No, we're time to 0:49:25.280 --> 0:49:27.800 meet our crew, so we go to a different ship. 0:49:27.840 --> 0:49:30.920 We're cutting around a lot. Now we're on a mission 0:49:30.960 --> 0:49:35.080 to Titan. So NTI has sent a second ship called 0:49:35.160 --> 0:49:40.160 the Shinandoah to Titan with instructions to claim the artifacts 0:49:40.160 --> 0:49:44.520 discovered by the original team of scientists. So the artifacts 0:49:44.800 --> 0:49:48.440 melted the last guys made them into space zombies. You 0:49:48.560 --> 0:49:51.400 need to go get that stuff now. And it starts 0:49:51.400 --> 0:49:55.200 off when we meet everybody. They're gathered in a room 0:49:55.680 --> 0:49:58.799 that clearly looks like the interior styling of this set 0:49:58.840 --> 0:50:01.640 is supposed to be similar to the Nostromo in Alien. 0:50:01.680 --> 0:50:04.200 It's got these, you know, just a lot of the 0:50:04.239 --> 0:50:06.840 same textures, the kind of white walls with the hoses 0:50:06.920 --> 0:50:10.719 and tubes and the ridges and all that, and everybody's 0:50:10.719 --> 0:50:14.279 sitting around and they're getting a briefing by Perkins, which 0:50:14.360 --> 0:50:16.920 is the company man, the guy played by lyman Ward, 0:50:17.880 --> 0:50:21.680 and he starts off telling them like, well, whatever reasons 0:50:21.719 --> 0:50:24.480 you had for signing up for this mission, you've got 0:50:24.480 --> 0:50:28.120 to do what the company says, which you know, okay, yeah, 0:50:28.400 --> 0:50:31.080 they probably know that. And he says, you got to 0:50:31.080 --> 0:50:34.359 get these these artifacts from the Alien site. You've got 0:50:34.400 --> 0:50:37.640 to market, document it, and return any samples to NTI. 0:50:38.480 --> 0:50:41.319 And everyone, I think is mostly okay with this. They're like, okay, yeah, 0:50:41.520 --> 0:50:43.160 there's not as much conflict over it. 0:50:43.560 --> 0:50:46.800 Yep, yep, that's what's going on except one crew member. 0:50:46.800 --> 0:50:50.640 Actually this is I think Slaydon, Beth Slaydon, played by 0:50:51.040 --> 0:50:54.120 Wendy Shawl. She's like, wait a minute, if this is 0:50:54.160 --> 0:50:58.279 a research mission where we're just supposed to recover artifacts, 0:50:58.320 --> 0:51:01.840 why do we need a security officer. And then everybody 0:51:01.920 --> 0:51:05.440 looks over at Diane Salinger just standing there in the 0:51:05.440 --> 0:51:09.360 corner of the room. She's looking very creepy at this point. 0:51:09.440 --> 0:51:13.040 She's looking very stern and robotic. It almost seems like 0:51:13.080 --> 0:51:15.840 they are setting her up to be revealed later to 0:51:15.880 --> 0:51:18.480 be an android, but they're not. She's, as far as 0:51:18.520 --> 0:51:21.160 I could tell, she's just a regular human. Yeah. 0:51:21.160 --> 0:51:23.160 Again, this is one of those characters it feels like 0:51:23.800 --> 0:51:26.320 the character was changed, either in the course of writing 0:51:26.760 --> 0:51:29.000 or in the course of shooting the film, and they 0:51:29.080 --> 0:51:33.319 just like left previous incarnations of her there because what 0:51:33.440 --> 0:51:35.319 we have here is not what we get later on, 0:51:35.480 --> 0:51:37.080 and it's not one of those things where we feel 0:51:37.120 --> 0:51:40.040 like there's significant development to get to that change. 0:51:39.760 --> 0:51:44.880 She looks very stern, and they've almost given her I 0:51:44.920 --> 0:51:47.440 don't know what you call. It's not like gothy makeup, 0:51:47.600 --> 0:51:50.400 but she looks like she looks like she's a member 0:51:50.400 --> 0:51:54.000 of a German industrial metal band, but she's also wearing 0:51:54.080 --> 0:51:56.280 the uniform of a Formula one driver. 0:51:56.960 --> 0:51:59.920 Yeah, her look is kind of I would say, zuol 0:52:00.200 --> 0:52:01.080 ask you know. 0:52:01.920 --> 0:52:05.920 Yeah, yeah, that's good. And so Perkins can offer no 0:52:05.960 --> 0:52:08.520 explanation for why Bryce is here, he just walks away, 0:52:09.520 --> 0:52:13.560 and then the next scene is the ship's doctor, doctor Oliver, 0:52:14.400 --> 0:52:20.960 arguing with Bryce here because Bryce is confiscating and impounding 0:52:21.080 --> 0:52:24.680 drugs from the ship's onboard pharmacy and she's like, you 0:52:24.760 --> 0:52:28.160 have no right to take those. And Bryce doesn't speak 0:52:28.200 --> 0:52:31.320 at all. She's just completely like zipper lips, not a word, 0:52:31.640 --> 0:52:35.400 giving this glour at the doctor. The doctor eventually backs 0:52:35.480 --> 0:52:39.520 down like she's afraid of her. She leaves. Later dialogue 0:52:39.520 --> 0:52:43.879 reveals that she was mostly taking heavy sedatives, and then 0:52:43.920 --> 0:52:46.200 the doctor talks with a couple of other crew members. 0:52:46.480 --> 0:52:49.800 This is Finnel and Dilombre about how they've been on 0:52:49.840 --> 0:52:52.320 the ship for three months and no one has heard 0:52:52.440 --> 0:52:56.600 Bryce's talk. Isn't that weird? Once again sets it up 0:52:56.640 --> 0:52:57.800 like she's going to be a robot. 0:52:58.120 --> 0:53:00.880 Yeah, I was expecting that to be the twin. And 0:53:01.200 --> 0:53:03.040 you know, this is another one of those cases where 0:53:03.200 --> 0:53:05.120 I'm reminded of something in a film that would have 0:53:05.320 --> 0:53:07.400 something in a film that would come much later. But 0:53:07.520 --> 0:53:10.719 she reminds me a bit of the android enforce her 0:53:10.800 --> 0:53:14.640 character that pops up in Jason X. She does, you know, 0:53:14.880 --> 0:53:18.120 right down to like the black Vinyl you know, style. 0:53:17.920 --> 0:53:30.319 Outfit, but without the cutesy attitude. Right, Okay, next scene, 0:53:30.320 --> 0:53:32.719 we're gonna meet some more characters. We get we get 0:53:32.719 --> 0:53:36.880 a moment with the captain and with Slayden. This is 0:53:37.000 --> 0:53:41.640 Wendy Shawl again. So Slayden. When we first meet her, 0:53:41.760 --> 0:53:44.839 she's absorbed in a book and she's sort of ignoring 0:53:44.920 --> 0:53:47.279 the captain, Captain Davison who's trying to talk to her. 0:53:47.560 --> 0:53:49.600 And what's that book she's reading that she just can't 0:53:49.640 --> 0:53:52.400 put down because it's just so good. This plot is 0:53:52.400 --> 0:53:56.320 so great. It's Scared to Death, the novelization of Scared 0:53:56.360 --> 0:53:59.640 to Death once again, the previous film of William Malone. 0:54:00.160 --> 0:54:02.840 Love it in general, I love a fake book and 0:54:03.200 --> 0:54:06.000 a film. If it's central to the plot, great, If 0:54:06.000 --> 0:54:08.000 it's incidental, I'm also there for it. 0:54:08.239 --> 0:54:09.919 This has got to be at least a second run. 0:54:09.960 --> 0:54:13.600 That's a paperback. I don't know. Maybe they never did 0:54:13.640 --> 0:54:17.520 a hardcover of Scared to Death. So anyway, this is 0:54:17.560 --> 0:54:19.960 a scene where we get to see a bit of 0:54:20.200 --> 0:54:24.520 Slayden and Davison's relationship. They are clearly they have romantic 0:54:24.600 --> 0:54:28.080 interest in each other, and they're kind of playful, like 0:54:28.160 --> 0:54:31.800 she's playfully ignoring him and reading the book. He's fussing 0:54:31.800 --> 0:54:34.960 over an asynchronous chess game that they've been playing for 0:54:35.000 --> 0:54:39.440 a while, and she's gloating about how she's going to 0:54:39.480 --> 0:54:42.240 beat him soon. She's like, three moves, I'll have checkmate, 0:54:42.800 --> 0:54:46.000 and she's like a commander doesn't need to have any brains, 0:54:46.080 --> 0:54:50.239 just a strong voice, and he's like, yeah, well, by 0:54:50.239 --> 0:54:52.759 the way, he's the captain, but she's like an engineer. 0:54:52.880 --> 0:54:56.200 She's like the tech whiz on the ship. On top 0:54:56.239 --> 0:54:59.600 of this, there's another scene where we get a romantic development, 0:54:59.640 --> 0:55:02.560 which is between these two other crew members, Fennel and Delambre. 0:55:02.719 --> 0:55:05.759 They're like looking at Titan in the observation bay. She 0:55:05.920 --> 0:55:08.440 starts talking about how she knows that they're going to 0:55:08.520 --> 0:55:12.000 die there, and then they have some space romance. 0:55:12.280 --> 0:55:14.880 Which you know it will become more important later on, 0:55:15.000 --> 0:55:17.719 and it leads into again some of the better sequences 0:55:17.719 --> 0:55:18.200 in the picture. 0:55:19.040 --> 0:55:21.560 So when the ship arrives in orbit around Titan, they 0:55:21.600 --> 0:55:25.719 discover there is another ship already there, a Richter Dynamic 0:55:26.120 --> 0:55:30.040 Dynamics ship that those are their West German corporate rivals, remember, 0:55:31.200 --> 0:55:35.360 and Captain Davison here is mad at Perkins. It seems 0:55:35.400 --> 0:55:38.800 you know, Perkins, the company man, he knows about this already, 0:55:38.840 --> 0:55:41.040 but everybody else was kept in the dark about the 0:55:41.040 --> 0:55:43.880 fact that it was a corporate arms race here. And 0:55:43.920 --> 0:55:46.880 the captain is like, these crew members are civilians. They 0:55:46.920 --> 0:55:50.120 aren't trained to handle this kind of conflict, implying that 0:55:50.160 --> 0:55:53.120 things are likely to get violent between the two corporations, 0:55:53.680 --> 0:55:56.200 and Perkins is like, I don't worry about it. Bryce 0:55:56.280 --> 0:55:59.960 here can handle any rough situations that come up. She's prepared. 0:56:00.520 --> 0:56:02.640 So it seems like they're going to be competing with 0:56:02.760 --> 0:56:05.719 Richter to get to the alien stuff. But again, this 0:56:05.840 --> 0:56:09.160 is something that's like, as with many things in this movie, 0:56:09.160 --> 0:56:11.839 like it sets up a plot dynamic, only to not 0:56:11.880 --> 0:56:16.160 really have it go anywhere. But there's conflict in this 0:56:16.239 --> 0:56:19.759 scene established between the captain and the company man. So 0:56:19.960 --> 0:56:23.000 Davison is like, Okay, before we land, let's do it 0:56:23.080 --> 0:56:26.279 the safe way, and the company man is like, no, 0:56:26.520 --> 0:56:29.080 I insist you do it the stupid and dangerous way. 0:56:29.280 --> 0:56:33.360 That's an order, yep, yep. So they do, and of 0:56:33.400 --> 0:56:36.080 course it's a bumpy landing. Once the ship lands, it 0:56:36.160 --> 0:56:39.080 ends up sinking through the surface of the planet and 0:56:39.200 --> 0:56:42.040 falls into an underground cavity. Which I thought was a 0:56:42.080 --> 0:56:43.239 cool set piece. I like that. 0:56:43.560 --> 0:56:46.920 Yeah, yeah, this possibility has come up on stuff to 0:56:46.920 --> 0:56:51.080 blow your mind before and talking about you know, landing 0:56:51.120 --> 0:56:55.360 on the Moon or on other planets, like this is 0:56:55.480 --> 0:56:59.000 an actual consideration that is taken into account, like can 0:56:59.080 --> 0:57:01.719 where can you land? Working you land safely? Where can 0:57:01.760 --> 0:57:05.319 you land and have like a stable place for the spacecraft? 0:57:06.160 --> 0:57:07.920 So yeah, I don't know that i'd actually seen it 0:57:08.000 --> 0:57:09.960 explored in this fashion in a film before, so I 0:57:10.040 --> 0:57:10.200 like it. 0:57:10.600 --> 0:57:13.080 The ship is damaged, of course, in the crash landing, 0:57:13.120 --> 0:57:14.840 so they're really in a pickle now. They're like, how 0:57:14.880 --> 0:57:17.880 are we going to get out of this? Davison's like, okay, 0:57:17.880 --> 0:57:20.520 we got to radio the richtership for help. We got 0:57:20.560 --> 0:57:22.680 to say, you know, please help us, even though you're 0:57:22.680 --> 0:57:25.000 our corporate rivals. You know, our lives are in danger. 0:57:25.240 --> 0:57:28.640 And Perkins is like, no, no, we will not do that, 0:57:28.760 --> 0:57:32.040 and he threatens the captain's job, and the captain doesn't care, 0:57:32.320 --> 0:57:34.520 you know. He's like, the lives of my crew are 0:57:34.560 --> 0:57:37.680 more important than your profits, and Perkins isn't so sure 0:57:37.680 --> 0:57:41.480 about that. But it's time to suit up and go outside. 0:57:41.560 --> 0:57:43.840 I guess I don't remember how they get to that point, but. 0:57:43.920 --> 0:57:46.160 I think they have to basically, like they try hailing 0:57:46.400 --> 0:57:48.720 the Richter Dynamic ship and they're not hearing anything back, 0:57:48.760 --> 0:57:50.960 so they basically have to go and knock, and there's 0:57:51.040 --> 0:57:55.040 headed back and forth where our corporate stooge is like, well, 0:57:55.040 --> 0:57:57.000 we got to bring Bryce and the big gun, and 0:57:57.040 --> 0:57:58.600 they're like, we're not bringing the gun. We're going to 0:57:58.600 --> 0:58:00.960 ask for help, and the like, okay, she can bring 0:58:01.000 --> 0:58:01.240 the gun. 0:58:01.720 --> 0:58:03.720 So they do that. They suit up, they go outside. 0:58:03.760 --> 0:58:06.480 Basically everybody goes except I think a couple of people, 0:58:07.600 --> 0:58:12.040 and they find some kind of so did you understand 0:58:12.200 --> 0:58:15.800 what they're going to hear as the German ship? They 0:58:15.800 --> 0:58:19.280 go to some kind of built infrastructure and at first 0:58:19.320 --> 0:58:22.080 I thought this was more of the alien ruins, But 0:58:22.800 --> 0:58:25.400 do you think it's actually the German ship they're going to. 0:58:25.520 --> 0:58:27.880 I believe so, but only because I went back and 0:58:27.920 --> 0:58:30.680 rewatched the first portion of the film and felt a 0:58:30.680 --> 0:58:32.439 little more confident that's where they're going. 0:58:32.920 --> 0:58:35.560 So the team, you know, they do very it's your 0:58:35.600 --> 0:58:38.760 standard kind of like sci fi environment exploring thing. The 0:58:38.800 --> 0:58:41.160 team splits up, and then the parts that split up 0:58:41.200 --> 0:58:43.960 split up again, so everybody's getting isolated so they can 0:58:44.000 --> 0:58:47.760 have scary little experiences. Inside the ship, they find breathable 0:58:47.760 --> 0:58:50.760 air and decide to remove their helmets. Always a good choice. 0:58:51.040 --> 0:58:52.600 Yeah, they're like, the air's good, let's do it. 0:58:53.160 --> 0:58:57.400 Inside the labs within the ship, they find some large 0:58:57.600 --> 0:59:01.560 capsule shaped chests that viewer may remember from twenty minutes 0:59:01.600 --> 0:59:05.000 ago in the opening scene, and Delombre is looking at 0:59:05.040 --> 0:59:06.960 a capsule. She thinks it looks like some kind of 0:59:07.000 --> 0:59:09.800 egg and starts to examine it. There's one part here 0:59:09.800 --> 0:59:12.640 where she just like eats something sitting on a table 0:59:12.720 --> 0:59:15.560 and I was like, did she a jolly rancher? And 0:59:15.600 --> 0:59:16.520 she picks it up? 0:59:17.040 --> 0:59:20.280 Yeah, like it feels natural for her, Like, but I'm like, 0:59:20.320 --> 0:59:23.840 what are you doing? This is this is a this 0:59:23.920 --> 0:59:27.960 is a biologically unstable environment. Don't eat random jolly ranchers 0:59:28.040 --> 0:59:28.480 or whatever. 0:59:28.960 --> 0:59:30.640 But it looks so good. You know, I had to 0:59:30.680 --> 0:59:31.800 get this jelly roll. 0:59:31.640 --> 0:59:35.600 Here the West Germans they have great confections. You know. 0:59:35.720 --> 0:59:37.040 You can't say no to it. 0:59:37.840 --> 0:59:43.160 Ik benin contaminant. So she eats whatever it is and 0:59:43.200 --> 0:59:46.240 then oh, and then she stumbles across a bunch of 0:59:46.280 --> 0:59:48.960 dead bodies in the room and then an alien pops 0:59:48.960 --> 0:59:51.840 out and is like araw. So she runs away and 0:59:51.880 --> 0:59:55.680 finds her crewmates and they investigate, and who's coming to 0:59:55.720 --> 0:59:58.280 save the day? Of course it's Bryce, the security officer. 0:59:58.360 --> 1:00:01.800 She's got her weapon drawn, and all of a sudden, 1:00:01.880 --> 1:00:04.919 just like, here's the creature. I don't know if they 1:00:05.320 --> 1:00:08.720 paste this out the right way getting to the creature revealed. 1:00:09.000 --> 1:00:11.200 It's true that you don't get a good look at 1:00:11.240 --> 1:00:14.520 it yet, but I feel like its presence and in 1:00:14.560 --> 1:00:18.800 this moment is too sudden and overt. It doesn't really 1:00:18.840 --> 1:00:19.720 have a good build up. 1:00:20.320 --> 1:00:22.800 Yeah, and we don't. I mean, they do hold back 1:00:22.840 --> 1:00:25.760 a little bit, like we're not full reveal, but I 1:00:25.760 --> 1:00:28.880 think too much is revealed, and then it ends up 1:00:28.920 --> 1:00:32.080 feeling like, Okay, here's our monster, but our monster just 1:00:32.160 --> 1:00:34.360 kind of like ends up working through underlings for the 1:00:34.400 --> 1:00:36.560 rest of the picture before coming back once more at 1:00:36.600 --> 1:00:36.880 the end. 1:00:37.120 --> 1:00:39.600 Yeah, so Bryce kind of blasts at it with her 1:00:39.680 --> 1:00:42.000 ray gun, but that doesn't do anything, so the crew 1:00:42.040 --> 1:00:45.080 members have to run away and they slip through. This 1:00:45.120 --> 1:00:47.680 is a set piece I often like in sci fi 1:00:47.760 --> 1:00:51.680 movies when there's like an automatically closing mechanical door and 1:00:51.760 --> 1:00:54.120 the characters are trying to get through it fast enough, 1:00:54.360 --> 1:00:56.480 and one character is not able to get there before 1:00:56.520 --> 1:00:59.840 it slams shut. It's delambre. She's stuck outside and the 1:01:00.520 --> 1:01:01.000 gets her. 1:01:01.440 --> 1:01:03.560 We get it, and again we get another the fact 1:01:03.560 --> 1:01:06.200 that this movie really loves quick splash of blood against 1:01:06.200 --> 1:01:08.919 the glass on that door. 1:01:09.640 --> 1:01:13.280 I remember her boyfriend was Finel and he's right there 1:01:13.320 --> 1:01:16.840 when it happens. He freaks out and Bryce just jabs 1:01:16.920 --> 1:01:20.880 him in the head with an injector. Everybody's like, what 1:01:20.920 --> 1:01:23.560 are you doing? And then for the first time Bryce speaks, 1:01:23.800 --> 1:01:28.320 She's like, don't worry, it's just a tranquilizer. Oh okay, cool, Yeah. 1:01:28.360 --> 1:01:29.760 So I guess this is what she was stealing all 1:01:29.760 --> 1:01:33.080 those drugs for, so that she could trank crew members 1:01:33.080 --> 1:01:34.160 at a moment's notice. 1:01:34.320 --> 1:01:37.240 Right, if you just saw your lover get killed by 1:01:37.280 --> 1:01:39.120 an alien, I can stab you in the head with 1:01:39.160 --> 1:01:42.400 a tranquilizer and you will fall instantly unconscious. That makes sense. 1:01:42.480 --> 1:01:45.440 She doesn't want that those stressed eyes to stack up 1:01:45.480 --> 1:01:45.840 too much. 1:01:45.840 --> 1:01:49.360 I guess. So everybody leaves the labs and they come 1:01:49.400 --> 1:01:51.840 back out into the caves where the rest of the 1:01:51.880 --> 1:01:55.320 crew members are waiting, and then here for some reason, 1:01:55.400 --> 1:01:57.680 even though there may have been a good reason for this, 1:01:57.760 --> 1:01:59.760 but I don't recall what it was. Even though one 1:02:00.000 --> 1:02:02.680 member of the crew has just been killed by an alien, 1:02:03.160 --> 1:02:06.840 they just keep exploring the caves and they come across 1:02:06.880 --> 1:02:11.000 the lab where the two geologists got gooped in the intro, 1:02:11.200 --> 1:02:14.600 I believe, And then we get a jump scare with 1:02:14.640 --> 1:02:17.240 one of them uncovering something. I think it's one of 1:02:17.240 --> 1:02:20.120 the bodies from the first mission. But eventually they go 1:02:20.240 --> 1:02:23.360 back to the ship and here we get some developments. First, 1:02:23.600 --> 1:02:27.840 there's sort of a quiet, tender, nice conversation between Davison 1:02:27.880 --> 1:02:30.400 and Slayden. She's like, do you think we're going to die? 1:02:30.520 --> 1:02:33.840 And he says no, but he gives her a task. 1:02:34.200 --> 1:02:35.920 He asks her to put together a certain kind of 1:02:35.960 --> 1:02:40.000 transmitter device to radio the space station for help. But 1:02:40.040 --> 1:02:42.600 then I was thinking, wait, the space station that exploded. 1:02:42.800 --> 1:02:44.000 Do they know it exploded? 1:02:44.480 --> 1:02:48.680 Maybe there's a closer station a little sketchy on what 1:02:48.800 --> 1:02:49.360 all's out. 1:02:49.240 --> 1:02:53.720 There, Maybe it only partially exploded. But then the movie 1:02:53.760 --> 1:02:55.560 kind of kicks into high gear because we're about to 1:02:55.560 --> 1:02:58.800 meet klaus Kinski in fact, so we see like Bryce 1:02:58.920 --> 1:03:02.920 the security officer alone, She's like in her quarters, like 1:03:03.040 --> 1:03:06.040 changing and Suddenly she is attacked from out of nowhere 1:03:06.080 --> 1:03:10.480 by Klaus Kinsky. Fortunately she manages to subdue him. But 1:03:10.560 --> 1:03:12.400 I was just thinking, no, kill him now. 1:03:12.760 --> 1:03:15.760 Yes, yeah, because he comes off like he's just a 1:03:15.800 --> 1:03:18.000 complete animal, like he might. You're like, maybe he's even 1:03:18.040 --> 1:03:20.120 a zombie at this point and you should just put 1:03:20.320 --> 1:03:21.320 put one in his head. 1:03:22.160 --> 1:03:25.840 But no, he reveals himself to be not zombified yet 1:03:25.920 --> 1:03:29.680 he is human, and he's just he's just all over 1:03:29.720 --> 1:03:31.480 the place. I mentioned her. I was going to come 1:03:31.480 --> 1:03:35.760 back to this Kinsky as usual in any movie, Like 1:03:36.760 --> 1:03:38.800 you know, whenever he's on screen, it's kind of hard 1:03:38.840 --> 1:03:41.560 to take your eyes off him. He is, he has 1:03:41.600 --> 1:03:45.800 that spellbinding quality on screen, but it's like he's doing 1:03:45.840 --> 1:03:49.840 a completely different take on the character in every shot, 1:03:50.440 --> 1:03:54.560 and some takes he's playing him as like an obsessed, 1:03:54.640 --> 1:03:58.280 paranoid madman who's trying to warn everyone else of the danger. 1:03:58.720 --> 1:04:02.600 In other takes he's playing as a kind of relatively calm, friendly, 1:04:02.680 --> 1:04:06.560 helpful guy making good sense. In other takes, he's a 1:04:06.680 --> 1:04:10.200 malevolent sexual predator who's like violent to the rest of 1:04:10.240 --> 1:04:14.680 the crew. There's like no consistency whatsoever from moment to 1:04:14.720 --> 1:04:15.439 moment with him. 1:04:16.000 --> 1:04:18.960 Yeah, I mean it reminds me again of that famous 1:04:18.960 --> 1:04:21.360 moment at the famous scene at the very end of 1:04:21.680 --> 1:04:25.240 her Zog's Gary The Wrath of God, where Kinsky's character 1:04:26.080 --> 1:04:29.680 has this like final monologue and it's rather subdued and 1:04:29.840 --> 1:04:33.560 very powerful. But according to her Zog, it's like Kinsky 1:04:33.600 --> 1:04:35.280 didn't want to do it subdued, wanted to do it 1:04:35.360 --> 1:04:39.560 high energy and raging, and so Herzog just made him 1:04:39.600 --> 1:04:42.800 do it over and over and over again until he 1:04:43.000 --> 1:04:47.080 was just so like weakened that he actually delivered it 1:04:47.120 --> 1:04:52.920 at the level that Herzog wanted. So it's like, that's 1:04:52.960 --> 1:04:55.400 the kind of stuff you apparently had to do to 1:04:55.480 --> 1:04:58.120 get what you wanted out of Kinsky. So yeah, and 1:04:58.400 --> 1:05:00.680 then add into the fact that some of the shots 1:05:00.680 --> 1:05:03.040 that he did for Creature were unusable because he was 1:05:03.080 --> 1:05:06.760 out of focus. So you know, they're left just having, 1:05:06.840 --> 1:05:08.480 I guessed, to use what they were able to get 1:05:08.480 --> 1:05:10.520 from him, no matter how different it is seemed to see. 1:05:10.960 --> 1:05:13.800 So from here we get a number of different plot developments. 1:05:13.800 --> 1:05:16.800 One is that the crew is running low on air, 1:05:17.000 --> 1:05:20.080 so Bryce has to go out to collect air tanks 1:05:20.080 --> 1:05:23.280 from the dead astronauts, and for some reason, Hoffner is 1:05:23.320 --> 1:05:26.280 allowed to go with her, even though he has already 1:05:26.360 --> 1:05:29.240 violently attacked her earlier, and he will continue to do 1:05:29.360 --> 1:05:30.560 so as they go out. 1:05:30.880 --> 1:05:33.040 Yeah, yeah, completely nonsensible. 1:05:33.720 --> 1:05:36.080 So they then they see a bunch of dead guys 1:05:36.120 --> 1:05:38.880 while they're collecting the air tanks, and then something pops 1:05:38.920 --> 1:05:40.960 out at them and we assume they were attacked by 1:05:40.960 --> 1:05:44.520 the alien. By the way, Hoffner does deliver some lines, 1:05:44.560 --> 1:05:46.880 but it's kind of hard to process the content of them. 1:05:46.920 --> 1:05:50.120 He's talking to the crew and he talks about how 1:05:51.200 --> 1:05:54.800 the alien let's see. He reveals that he has a 1:05:54.800 --> 1:05:57.160 bunch of bombs on his ship that they could use 1:05:57.200 --> 1:06:01.560 to destroy the alien, and he also reveals that it 1:06:01.680 --> 1:06:04.960 wasn't just the alien attacking them, but it used the 1:06:05.040 --> 1:06:08.120 crew members to get each other. He said that it 1:06:08.200 --> 1:06:11.640 was which this doesn't really match with what he was 1:06:11.680 --> 1:06:15.320 just saying, but he says it's a form of collective intelligence, 1:06:15.880 --> 1:06:17.880 and we will see how this works in just a bit. 1:06:18.400 --> 1:06:20.640 Yeah, And one of these sequences is where he's eating 1:06:20.640 --> 1:06:23.320 the sandwich right, yes, where that just took me out 1:06:23.360 --> 1:06:25.040 of it because I'm like, did they want him to 1:06:25.040 --> 1:06:27.280 eat the sandwich or is he like I'm eating the 1:06:27.320 --> 1:06:29.080 sandwich in this scene, I don't know. 1:06:29.800 --> 1:06:32.040 So we come to another scene where Finnel this is 1:06:32.080 --> 1:06:35.320 the character played by Robert Chaffey, is lying by a 1:06:35.360 --> 1:06:37.840 window in the ship. He's recovering from his wounds and 1:06:37.840 --> 1:06:42.400 from the tranquilizer dose after he saw his lover killed 1:06:42.440 --> 1:06:45.840 by an alien. And then suddenly outside the window on 1:06:45.880 --> 1:06:48.840 the surface of the planet, he sees Delambre. She's there 1:06:49.240 --> 1:06:52.360 and she asks for his help, and despite having seen 1:06:52.400 --> 1:06:54.880 her die, Finnyl does go out to find her. He 1:06:54.920 --> 1:06:57.000 puts on his suit, he goes to get her, and 1:06:57.080 --> 1:07:00.640 she is, of course now a zombie working for the alien. 1:07:00.760 --> 1:07:04.840 With this dynamic that develops is that a character who 1:07:04.840 --> 1:07:07.720 you thought was killed will come back with some kind 1:07:07.800 --> 1:07:11.160 of brain slug attached to their head. So like one 1:07:11.200 --> 1:07:14.760 side of the head, they've got a throbbing, slimy mass 1:07:14.800 --> 1:07:19.320 there and it's controlling their activity. And so the zombie 1:07:19.400 --> 1:07:24.040 brain slug Delambree seduces Fennel on the planet's surface and 1:07:24.080 --> 1:07:26.919 then seemingly infects him with the brain slug of his own. 1:07:27.200 --> 1:07:30.040 Yeah, like pulls his helmet off on the planet's surface. 1:07:30.520 --> 1:07:33.960 This whole sequence is great. Like I think Malone said 1:07:33.960 --> 1:07:35.919 that Originally they were going to shoot it entirely within 1:07:35.960 --> 1:07:39.120 the ship, but then they they ended up going with this. 1:07:39.200 --> 1:07:41.200 You know, she's outside, she's almost like it reminds me 1:07:41.280 --> 1:07:44.560 of scenes like I guess this was in Salem's Lot 1:07:44.640 --> 1:07:47.200 with the vampire on the outside of the window asking 1:07:47.280 --> 1:07:47.919 to be let in. 1:07:48.040 --> 1:07:49.200 You know, very spooky. 1:07:49.360 --> 1:07:52.200 Yeah, it has that power to it. So yeah, for 1:07:52.280 --> 1:07:55.040 my money, this is the creepiest sequence in the whole picture. 1:07:55.040 --> 1:07:58.000 It doesn't have a outright monster in it, you know, 1:07:58.120 --> 1:08:01.240 has a like a brain slug control vampire and it's 1:08:01.280 --> 1:08:01.920 really effective. 1:08:09.640 --> 1:08:12.520 After this, the crew that's left on the Shenandoah, they 1:08:12.520 --> 1:08:15.840 get like a zoom a call from Finnyl. He video 1:08:15.920 --> 1:08:18.840 calls them and he's like, hey, I'm over here on 1:08:18.880 --> 1:08:20.800 the German ship, and they're like, how'd you get there. 1:08:20.960 --> 1:08:23.600 He's like, I walked. I came over here because it 1:08:23.640 --> 1:08:26.200 has air and you know you're running out of air 1:08:26.240 --> 1:08:29.800 over there, so come join me. So Davison, Perkins, and 1:08:29.840 --> 1:08:32.000 the Doctor all go over to the German ship and 1:08:32.120 --> 1:08:35.920 join him there because they can get air there. Sladen 1:08:36.000 --> 1:08:39.000 stays behind on the other ship. They are greeted by 1:08:39.040 --> 1:08:43.160 Finnel who has a mysterious bandage around his head and 1:08:43.200 --> 1:08:45.360 they're like, hey, what's that. He's like, oh, yeah, there 1:08:45.360 --> 1:08:49.519 were some caustic chemicals that burned me. So that's why 1:08:49.560 --> 1:08:52.000 I've got this. By the way, doctor, come with me. 1:08:52.479 --> 1:08:55.280 Let's get away from everybody else. And there is actually, 1:08:55.920 --> 1:08:59.439 I think a quite effectively staged creepy moment here where 1:09:00.680 --> 1:09:03.360 so Jaffy is, you know, leading the doctor character alone 1:09:03.800 --> 1:09:06.240 down a hall. She's supposed to be, i think, checking 1:09:06.240 --> 1:09:08.880 out his wound while he fixes something in the engine 1:09:08.960 --> 1:09:12.920 room and he opens the doors to the engine room 1:09:12.920 --> 1:09:15.720 and it's just black inside. There's no light and he's like, oh, 1:09:15.920 --> 1:09:18.760 darn it, you know the lights are out. Just let 1:09:18.760 --> 1:09:21.280 me go fix it. I'll be right back, and then 1:09:21.280 --> 1:09:23.400 he just goes in the door and we don't cut away. 1:09:23.520 --> 1:09:26.720 The camera stays on the doctor just standing there at 1:09:26.760 --> 1:09:29.599 the open door leading into the dark room, and then 1:09:29.680 --> 1:09:32.160 we don't hear anything inside, and it goes on for 1:09:32.200 --> 1:09:34.400 a bit, and I thought this was a really effective 1:09:34.960 --> 1:09:37.200 moment where it just goes on and on a little 1:09:37.200 --> 1:09:39.679 bit and you don't know what's happening, and she starts 1:09:39.680 --> 1:09:42.360 calling out to him like what's going on, and then 1:09:42.400 --> 1:09:44.840 he's like, oh yeah, I'm in here, I'm almost done, 1:09:45.439 --> 1:09:49.520 and she eventually goes in and of course gets zombified 1:09:50.520 --> 1:09:53.400 to get her. Now, eventually the captain and the company man, 1:09:53.439 --> 1:09:56.400 who have been at odds the whole time, they grow 1:09:56.479 --> 1:09:59.439 suspicious because they're like, man, this ship is so hot 1:09:59.560 --> 1:10:02.800 and we are sweating through our outfits here. But they 1:10:02.840 --> 1:10:07.120 recalled that Finnyl was not sweating. That's weird. So they 1:10:07.600 --> 1:10:09.439 get suspicious and they're like, we got to go check 1:10:09.479 --> 1:10:11.320 things out. But by the time they get there, the 1:10:11.400 --> 1:10:15.080 doctor has already been killed, and then zombie Finnel attacks 1:10:15.160 --> 1:10:18.240 the captain, only to have his zombie head blown off 1:10:18.280 --> 1:10:21.400 by Perkins with his blaster, so the company man comes 1:10:21.400 --> 1:10:22.120 to the rescue. 1:10:22.600 --> 1:10:26.439 Yeah, Ferris Bueller's dad blows the head off of the 1:10:26.520 --> 1:10:29.920 Jaffy Zombie space zombie and it's a great head explosion, 1:10:30.000 --> 1:10:34.160 Like it's a full on like Scanner's esque sloppy head explosion, 1:10:35.040 --> 1:10:37.479 but also a little bit funny, like it's the right balance, 1:10:37.560 --> 1:10:38.240 the perfect bounce. 1:10:38.640 --> 1:10:43.040 Yeah. Meanwhile, back on the other ship, remember Sladen's the 1:10:43.040 --> 1:10:45.800 only character left there, so she's doing her engineering work. 1:10:45.840 --> 1:10:48.719 I think she's trying to fix the radio or something. 1:10:49.320 --> 1:10:52.599 And oh, here's Klauskinski, but he's zombie fyte also, so 1:10:52.720 --> 1:10:55.800 he's also been killed and brain slugged, and he is 1:10:55.840 --> 1:10:59.360 attacking Sladen though you know he was attacking people before 1:10:59.400 --> 1:10:59.840 he had a brain. 1:11:00.520 --> 1:11:04.240 Yeah, he's even more terrifying now because, like the Kinsky 1:11:04.320 --> 1:11:06.599 skull is a great skull upon which to build your 1:11:07.520 --> 1:11:09.759 your special effects makeup. So he looks terrifying. 1:11:10.160 --> 1:11:13.880 So he chases her outside and eventually into the German ship. 1:11:14.640 --> 1:11:17.719 There's a fight where Davison and Perkins have to save 1:11:17.760 --> 1:11:21.679 her from the Kinski zombie. They rip the slug off 1:11:21.680 --> 1:11:23.960 of Hoffner's head and throw it on the ground and 1:11:24.080 --> 1:11:29.040 stomp on it and squish it. A good conclusion, and 1:11:29.080 --> 1:11:33.000 thus concludes the tale of the Hoffner Zombie. So there 1:11:33.000 --> 1:11:36.439 are apparently only three characters left. We've got Captain Davison, 1:11:36.560 --> 1:11:39.160 the company Man Perkins and Slade in the Engineer. They're 1:11:39.200 --> 1:11:41.800 the only ones left. And what are they going to 1:11:41.880 --> 1:11:44.320 do to defeat the big alien? Because remember there's also 1:11:44.479 --> 1:11:47.000 the different thing. There's the alien they encountered at the 1:11:47.040 --> 1:11:51.080 beginning in the ship here, apart from all the zombies 1:11:51.120 --> 1:11:53.800 that it is apparently making. I think maybe the brain 1:11:53.880 --> 1:11:57.160 slug is like part of the alien that comes off 1:11:57.200 --> 1:12:00.680 of it and reanimates the corpses of the humans that 1:12:00.760 --> 1:12:01.960 it has has killed. 1:12:02.400 --> 1:12:04.280 I don't have a clear understanding. I don't know if 1:12:04.320 --> 1:12:06.840 the yeah, these are part of the alien's anatomy, or 1:12:06.880 --> 1:12:09.800 these are other organisms that it is using, or this 1:12:09.880 --> 1:12:15.240 is biotechnology. It's left wide open, so I don't know. 1:12:15.680 --> 1:12:17.080 I don't have any strong theories. 1:12:17.640 --> 1:12:19.920 But anyway, we get to a thing next that I 1:12:19.960 --> 1:12:24.240 absolutely love, which is Slaydon's plan for defeating the alien. 1:12:24.840 --> 1:12:28.360 And what she says is, I have an idea. I 1:12:28.400 --> 1:12:31.200 saw a movie once where people were trapped on an 1:12:31.240 --> 1:12:35.080 ice station by a carrot from outer space and they 1:12:35.200 --> 1:12:38.040 killed it by electrocuting it. They set up a grid 1:12:38.120 --> 1:12:40.519 on the floor as a trap, and they lured it 1:12:40.560 --> 1:12:43.560 onto the grid and they electrocuted it. And I realized, 1:12:43.680 --> 1:12:46.760 and they for Perkins and Davison laugh at her, but 1:12:46.800 --> 1:12:48.400 then they end up going with her plan. And I 1:12:48.400 --> 1:12:51.240 think this is great because she is accurately describing the 1:12:51.240 --> 1:12:53.000 plot of the thing from another world. 1:12:53.320 --> 1:12:57.680 Yeah, absolutely, it's I really enjoyed just how overt it 1:12:57.880 --> 1:13:00.880 was to it would be like, give like what if 1:13:00.960 --> 1:13:04.559 Ripley an alien had said, you know, I saw a 1:13:04.600 --> 1:13:07.599 movie once where a little boy was left home alone 1:13:07.760 --> 1:13:13.519 at Christmas and he outwitted the enemies with a series 1:13:13.560 --> 1:13:16.759 of clever traps. Let's do that. Let's do home alone 1:13:16.840 --> 1:13:17.519 on this alien. 1:13:18.240 --> 1:13:21.320 Do we have a bb gun on board? I need 1:13:21.360 --> 1:13:22.120 paint cans. 1:13:22.280 --> 1:13:24.560 But they agree, like this, we can do this, we 1:13:24.640 --> 1:13:26.680 can we have even more power on the ship. We 1:13:26.720 --> 1:13:27.880 can route into this system. 1:13:27.960 --> 1:13:31.439 Let's do it. Yep. So they do it. It's Slayton's plan, 1:13:31.520 --> 1:13:33.880 and they have to like, you know, guard her while 1:13:33.920 --> 1:13:36.280 she's doing all the electrical work that needs to be done. 1:13:36.600 --> 1:13:40.040 But she arranges it and it works, or so it seems. 1:13:40.120 --> 1:13:44.960 They zap the monster with all this electricity. It falls dead, apparently, 1:13:45.479 --> 1:13:47.840 and then the two guys wander off to go, I 1:13:47.880 --> 1:13:50.960 don't know, do something else. But then Slayton is like, oh, 1:13:50.960 --> 1:13:53.599 she's a little curious. Maybe she's not sure it's dead. 1:13:54.040 --> 1:13:56.000 So she goes over to give it a little nudge 1:13:56.040 --> 1:13:58.320 with the tip of her shoe, and then we get 1:13:58.320 --> 1:14:01.920 a classic dead monster revival. It pops up. We get 1:14:02.400 --> 1:14:04.040 the monster pop up. Gotta love it. 1:14:04.360 --> 1:14:06.680 That's right, We're gonna have to move on to Plan B, right, 1:14:06.760 --> 1:14:07.920 you know what B stands for. 1:14:08.360 --> 1:14:12.000 It stands for better depend on the company man. See, 1:14:12.000 --> 1:14:16.840 he actually has a surprising arc so per So the 1:14:17.000 --> 1:14:20.640 monster pops up, it seizes Slaydon. The two guys go 1:14:20.720 --> 1:14:23.200 to investigate, and they like look through the glass in 1:14:23.240 --> 1:14:26.479 the hallway and they see that Slayden is there. She's alive, 1:14:26.600 --> 1:14:30.840 but she is unconscious being held hostage, like hanging upside down, 1:14:31.240 --> 1:14:33.560 guarded by the alien. So they're like, what are we 1:14:33.600 --> 1:14:34.840 gonna do? What are we gonna do? 1:14:35.439 --> 1:14:35.559 Uh? 1:14:35.720 --> 1:14:38.680 And Perkins comes up with the plan. He's like, we 1:14:38.760 --> 1:14:41.479 got to blow it out of the airlock there you 1:14:41.520 --> 1:14:44.200 go in the med O. And while he's trying to 1:14:44.240 --> 1:14:48.040 set up this plan, he finds the bombs that Kinsky 1:14:48.200 --> 1:14:51.240 was talking about, so he's like, oh yeah, here are 1:14:51.280 --> 1:14:54.880 some bombs also. So while he's like setting up that 1:14:54.960 --> 1:14:58.040 blow it out the airlock trap, Davison goes into the 1:14:58.080 --> 1:15:02.400 room and rescues Sladon, and meanwhile the alien attacks Perkins 1:15:02.479 --> 1:15:05.680 the company man. It attacks him, and then the other 1:15:05.720 --> 1:15:08.080 two characters come and find him as sort of in 1:15:08.160 --> 1:15:10.960 a gory embrace with the alien. It's like ripping out 1:15:10.960 --> 1:15:14.360 his neck. They're both sitting right on the trap door 1:15:14.400 --> 1:15:17.160 of the airlock, and Perkins looks at them and he's like, 1:15:17.200 --> 1:15:18.960 you've got it right where you want it to, do it. 1:15:19.200 --> 1:15:22.720 Do it? So they hit the button and Perkins and 1:15:22.760 --> 1:15:26.320 the alien get dumped outside, so company man to the 1:15:26.360 --> 1:15:28.560 rescue in the end. And I think it's an interesting 1:15:28.720 --> 1:15:32.240 arc because it's the opposite of the Burke arc in Aliens, 1:15:32.280 --> 1:15:36.320 where in Aliens Burke seems like a nice guy at first, 1:15:36.640 --> 1:15:40.240 and then as the story progresses he is revealed to 1:15:40.320 --> 1:15:44.120 be a through and through slime ball and a complete 1:15:44.160 --> 1:15:48.040 coward and only interested in himself. Perkins is kind of 1:15:48.040 --> 1:15:51.439 the opposite. At first. He's a, you know, a hard nosed, 1:15:51.520 --> 1:15:54.120 you know, totally selfish, bottom line kind of guy. He 1:15:54.200 --> 1:15:56.800 doesn't care about anybody else. But he sort of saves 1:15:56.840 --> 1:16:01.080 the day here, but it doesn't last because well they 1:16:01.160 --> 1:16:02.800 dump it out the airlock. But then the alien just 1:16:02.840 --> 1:16:04.559 sort of comes around the side of the building like 1:16:04.600 --> 1:16:08.000 it comes in through the other entrance. But when it does, 1:16:08.120 --> 1:16:12.080 it's still got the bomb that Perkins had stuck to it. 1:16:12.880 --> 1:16:14.920 So Davison is like, well, I got to deal with this, 1:16:15.120 --> 1:16:17.120 and so he goes and meets it at the airlock 1:16:17.160 --> 1:16:22.200 and drop kicks the alien back outside. Great, yes, very good. 1:16:23.080 --> 1:16:26.120 He's like fighting it outside where it said that the 1:16:26.160 --> 1:16:29.040 temperature is like negative two hundred degrees fahrenheit, and like 1:16:29.080 --> 1:16:31.800 he can't breathe, there's no atmosphere he can breathe. So 1:16:31.840 --> 1:16:35.360 he's like choking and he sees the bomb timer on 1:16:35.439 --> 1:16:38.839 the alien go down to zero, but then it doesn't explode, 1:16:39.160 --> 1:16:43.719 and Davison, lying there on the exposed surface of Saturn's 1:16:43.720 --> 1:16:47.400 moon titan, chokes out the line it didn't go off 1:16:48.840 --> 1:16:52.120 to no one in particular. There's nobody out there to 1:16:52.160 --> 1:16:57.080 hear him, except suddenly a character who we thought was dead, 1:16:57.320 --> 1:17:00.200 the security officer Bryce. She appears from out of nowhere 1:17:00.200 --> 1:17:03.879 in a spacesuit with her blaster and shoots the bomb 1:17:04.000 --> 1:17:06.880 and then says, oh, yes it did, replying to his 1:17:06.960 --> 1:17:09.680 it didn't go off, and then the alien explodes and 1:17:09.800 --> 1:17:11.160 that's the end. That's great. 1:17:11.560 --> 1:17:14.400 They do a Jaws on it, basically, yeah, yeah, something 1:17:14.439 --> 1:17:17.920 explosive strapped to our monster. Shoot the object, blow it up. 1:17:18.600 --> 1:17:19.040 You see it. 1:17:19.360 --> 1:17:22.920 You see a Jaws pulled on monsters now and again 1:17:23.040 --> 1:17:25.320 in these types of films, it's always a nice moment. 1:17:25.920 --> 1:17:28.559 What did you so? Then we so this time it's 1:17:28.560 --> 1:17:31.479 defeated for real, and our survivors blast off and head 1:17:31.520 --> 1:17:35.960 back to Earth. I guess. And the survivors again are Davison, Slayton, 1:17:36.120 --> 1:17:39.120 and Bryce, And what did you make of the I 1:17:39.240 --> 1:17:41.880 Got lost thing? They're like, what what happened to you? 1:17:42.160 --> 1:17:44.599 We thought you were dead? And then she sort of 1:17:44.640 --> 1:17:47.719 sheepishly admits I got lost, and I think she says 1:17:47.720 --> 1:17:49.800 it multiple times. What's going on there? 1:17:49.840 --> 1:17:52.280 I have no idea, no idea what they intended with that, 1:17:52.400 --> 1:17:55.040 if it's supposed to just be funny, or if it 1:17:55.080 --> 1:17:57.040 was just kind of like a patchwork, like they felt 1:17:57.040 --> 1:17:59.080 like they had to acknowledge it. I didn't feel like 1:17:59.080 --> 1:18:01.400 they had to acknowledge she was at all, Like she 1:18:01.920 --> 1:18:05.120 almost died in some encounter with a with the alien 1:18:05.520 --> 1:18:11.680 that ended up turning Hans Rudy into a zombie. So 1:18:11.760 --> 1:18:14.240 I don't really think I needed an explanation of where 1:18:14.280 --> 1:18:16.799 she was, but I guess the film felt otherwise. 1:18:17.160 --> 1:18:19.679 Well, anyway, they're headed home. Oh and then a laugh 1:18:19.720 --> 1:18:23.400 out loud moment for me was Bryce hands Slayte in 1:18:23.479 --> 1:18:26.559 her copy of the novelization of Scared to Death the 1:18:26.600 --> 1:18:32.439 director's other film, like oh great, thank you, and that's 1:18:32.439 --> 1:18:32.800 the end. 1:18:33.160 --> 1:18:35.519 She points out earlier that it's the only book she brought. 1:18:35.640 --> 1:18:38.400 That's why she keeps rereading it, and she likes it. Yes, 1:18:38.680 --> 1:18:40.599 so there's not a great library on the shep into 1:18:40.640 --> 1:18:42.519 a a lot of hallandin Foster. 1:18:43.439 --> 1:18:45.360 Well, I was gonna say, you just basically they got 1:18:45.360 --> 1:18:47.040 scared to death and dianetics. 1:18:47.080 --> 1:18:51.120 You know, you're just speaking of novelizations. I noticed that 1:18:51.160 --> 1:18:54.160 there's like a contemporary author who has gone back and 1:18:54.439 --> 1:18:58.759 made novelizations for various films that didn't have them, including Creature. 1:18:59.240 --> 1:19:01.439 So there is an novelization of Creature out there, but 1:19:01.479 --> 1:19:06.800 it's like a recent work of fiction, So don't I 1:19:06.800 --> 1:19:10.360 don't know what it's like, but I admire the hustle there. 1:19:10.520 --> 1:19:13.480 Maybe it'll fill in some of the plot gaps and 1:19:12.840 --> 1:19:16.160 make more of like the Okay, so things we mentioned 1:19:16.200 --> 1:19:18.840 earlier that did not really end up playing a big role. 1:19:19.439 --> 1:19:22.200 The corporate rivalry. I mean it's a little bit there 1:19:22.200 --> 1:19:26.040 in the setting, like, okay, so there's another a ship 1:19:26.040 --> 1:19:28.320 from another company, but like they play it up like 1:19:28.360 --> 1:19:31.080 the corporate rivalry is going to be a conflict within 1:19:31.200 --> 1:19:32.799 the plot, and it just isn't really. 1:19:33.200 --> 1:19:36.679 Yeah, yeah, there's the whole issue robot and she doesn't talk, 1:19:36.920 --> 1:19:39.559 doesn't really go anywhere. Uh. There are a lot of 1:19:39.560 --> 1:19:41.559 things like that in this film, which you know, you 1:19:41.600 --> 1:19:44.040 don't have to you don't You don't have to fire 1:19:44.080 --> 1:19:47.320 every cannon you bring on the deck, you know. I 1:19:47.400 --> 1:19:50.880 recently reread Frank Herbert to Done Again, and honestly, one 1:19:50.920 --> 1:19:53.759 of the pleasures that I really love in that book 1:19:53.800 --> 1:19:57.799 is are the various ideas and tangents that that aren't explored, 1:19:57.840 --> 1:19:59.559 that we the places where it seems like the plot 1:19:59.600 --> 1:20:02.559 could go but they don't. Like there's this brief bit 1:20:02.600 --> 1:20:05.280 where they're like where it's mentioned that that pider de Vere, 1:20:05.280 --> 1:20:10.040 the twisted mentat of the Baron Harkenan, may be intending 1:20:10.640 --> 1:20:14.280 to obtain a Chris Knife and then since he has 1:20:14.360 --> 1:20:17.479 blue the blue eyes of the Fremen, he's going to 1:20:17.520 --> 1:20:19.880 potentially go out and pretend to be a Fremen to 1:20:20.000 --> 1:20:23.240 work his evil on the surface of Aracus. And that 1:20:23.320 --> 1:20:25.280 never comes to fruition. But it's just one of those 1:20:25.280 --> 1:20:27.280 little teases of like, wow, what if what if it 1:20:27.360 --> 1:20:29.559 had gone in that direction? What would have that consisted of? 1:20:29.680 --> 1:20:32.920 So you know, it's you know, you can you can 1:20:33.120 --> 1:20:35.800 lay out possibilities and not follow through on them. But 1:20:36.320 --> 1:20:38.200 there are a number of those moments in this film 1:20:38.479 --> 1:20:43.280 that ultimately feel again more like in the moment editing 1:20:43.320 --> 1:20:46.880 and changing, rather than an exploration of possibility. 1:20:47.320 --> 1:20:51.480 They feel more accidentally abandoned rather than intentionally abandoned. 1:20:51.560 --> 1:20:55.200 Yeah, but still, I have to say, a really fun flick, 1:20:56.960 --> 1:21:00.400 some fun effects, some fun performances, and some legit nimtally 1:21:00.439 --> 1:21:03.760 creepy moments, coupled with some moments that are a little blonk here, 1:21:04.400 --> 1:21:06.040 Like we were saying when the when the monster is 1:21:06.080 --> 1:21:10.519 finally fully present. In these final moments, there's often an 1:21:10.640 --> 1:21:13.240 undeniable like rubber suit feel to it. It's a pretty 1:21:13.240 --> 1:21:17.240 good rubber suit, you know, but it's you know, it's 1:21:17.240 --> 1:21:18.000 it is what it is. 1:21:18.280 --> 1:21:20.360 I liked it when we saw the monster. I mean, 1:21:20.400 --> 1:21:23.679 obviously it's supposed to look like the monster from Alien 1:21:24.320 --> 1:21:28.880 and it doesn't look realistic, but I love the look 1:21:29.080 --> 1:21:29.759 like it's fun. 1:21:30.280 --> 1:21:33.120 Yeah, yeah, yeah, it's you know, it's nice and and 1:21:33.280 --> 1:21:37.040 greasy and oily and it's got It looks a lot 1:21:37.200 --> 1:21:39.280 like a xenomorph in some respects, but it has like 1:21:39.320 --> 1:21:40.639 big red eyes that glow. 1:21:41.080 --> 1:21:41.280 Yeah. 1:21:41.600 --> 1:21:45.280 And then of course it's it's swinging brain slugs at people, 1:21:45.360 --> 1:21:47.799 and we're not entirely sure if those are of its body, 1:21:47.960 --> 1:21:50.960 if those are biotechnology, or if it's another species that 1:21:51.040 --> 1:21:53.200 it uses who knows well. 1:21:53.360 --> 1:21:55.719 I in the end also very much enjoyed creature. 1:21:56.280 --> 1:22:01.840 Yeah, I mean it. Enjoyment is keys. All other concerns secondary. 1:22:03.000 --> 1:22:05.200 All Right, we're gonna go ahead and close the book 1:22:05.400 --> 1:22:08.680 on Creature aka Titan find here, but we'd love to 1:22:08.680 --> 1:22:10.439 hear from everyone out there if you have thoughts on 1:22:10.479 --> 1:22:13.240 it from watching it back in the day, from watching 1:22:13.240 --> 1:22:15.640 it for the first time now or rediscovering it and 1:22:15.640 --> 1:22:18.920 so forth, or if you have thoughts in general on 1:22:19.400 --> 1:22:25.519 Alien and alien clones that came out afterwards, films that 1:22:25.640 --> 1:22:28.120 led up to Alien. All of this is stuff we 1:22:28.120 --> 1:22:30.559 would love to talk about. And we still may come 1:22:30.600 --> 1:22:33.320 back and do Ridley Scott's Alien Here on Weird House 1:22:33.320 --> 1:22:36.160 Cinema in the future, or maybe we'll just do another 1:22:36.240 --> 1:22:38.880 knockoff at some point. I don't know that both are 1:22:38.880 --> 1:22:40.000 fun possibilities. 1:22:40.439 --> 1:22:43.160 I think it's unavoidable that we will do multiple Alien 1:22:43.240 --> 1:22:45.400 knockoffs in the future. There are a lot of them. 1:22:45.479 --> 1:22:48.040 We'll get around to them, all right. 1:22:48.160 --> 1:22:50.000 Just a reminder that Stuff to Blow Your Mind is 1:22:50.040 --> 1:22:52.880 primarily a science and culture podcast with core episodes on 1:22:52.920 --> 1:22:55.599 Tuesdays and Thursdays, but on Fridays we set aside most 1:22:55.600 --> 1:22:57.439 serious concerns to just talk about a weird film here 1:22:57.479 --> 1:22:59.639 on Weird House Cinema. You want to see a list 1:22:59.640 --> 1:23:01.400 of all the all the films we've done over the years. 1:23:01.720 --> 1:23:03.599 The best place to do that is go on over 1:23:03.600 --> 1:23:05.600 to letterbox dot com. It's l E T T E 1:23:05.760 --> 1:23:08.160 R B O x D dot com. Our username is 1:23:08.200 --> 1:23:10.160 weird House, and we have a list there. You can 1:23:10.200 --> 1:23:11.680 look at all the films. You can look at all 1:23:11.680 --> 1:23:15.120 the the box arts, almost like a little little digital 1:23:15.200 --> 1:23:17.479 version of a of a movie rental place. 1:23:17.880 --> 1:23:18.000 Uh. 1:23:18.160 --> 1:23:20.439 And indeed it you know, it hooked up so that 1:23:20.479 --> 1:23:22.400 when you click on a title, you can click at 1:23:22.439 --> 1:23:25.040 where to find and it'll tell you, oh, well, you 1:23:25.080 --> 1:23:27.559 can buy it, rent it digitally here, you can stream 1:23:27.560 --> 1:23:30.200 it here, you can buy a physical copy here, copy here. 1:23:30.439 --> 1:23:33.160 It's often a great like a great resource for me 1:23:33.240 --> 1:23:35.679 when I'm looking at potential films to cover on Weird 1:23:35.680 --> 1:23:38.960 House and I have to tackle that big question, how 1:23:38.960 --> 1:23:41.080 are we going to watch it? Where are we going 1:23:41.120 --> 1:23:44.400 to seek it? Out, Can we stream it, can we 1:23:44.400 --> 1:23:47.120 get ahold of a digital release? Has it been remastered? 1:23:47.640 --> 1:23:49.719 Or are we going to have to, you know, look 1:23:49.760 --> 1:23:52.080 for some sort of a what what? What was the 1:23:52.080 --> 1:23:53.360 way that we watched the work? 1:23:53.400 --> 1:23:53.679 Best? 1:23:53.760 --> 1:23:57.040 The movie that was like a Dutch subtitled YouTube rip 1:23:57.120 --> 1:24:03.120 or something. Yes, yes, not the preferred format. A huge 1:24:03.120 --> 1:24:06.800 thanks as always to our excellent audio producer JJ Posway. 1:24:06.960 --> 1:24:08.680 If you would like to get in touch with us 1:24:08.680 --> 1:24:11.679 with feedback on this episode or any other, to suggest 1:24:11.680 --> 1:24:13.840 a topic for the future, or just to say hello, 1:24:13.920 --> 1:24:16.559 you can email us at contact at stuff to Blow 1:24:16.640 --> 1:24:24.280 your Mind dot com. 1:24:24.400 --> 1:24:27.360 Stuff to Blow Your Mind is production of iHeartRadio. For 1:24:27.439 --> 1:24:30.240 more podcasts from my Heart Radio, visit the iHeartRadio app, 1:24:30.360 --> 1:24:33.120 Apple Podcasts, or wherever you listen to your favorite shows.