1 00:00:18,840 --> 00:00:21,239 Speaker 1: What's happening and everybody. My name is Zeth Lundy, writer 2 00:00:21,360 --> 00:00:24,360 Speaker 1: and showrunner here at Double Elvis, and welcome to another 3 00:00:24,360 --> 00:00:26,799 Speaker 1: installment of a little thing we like to call the 4 00:00:26,840 --> 00:00:30,200 Speaker 1: Screening Room. This is a weekly episode of the Hollywood 5 00:00:30,240 --> 00:00:32,720 Speaker 1: Land podcast in which I take you on a deep 6 00:00:32,760 --> 00:00:36,400 Speaker 1: dive into one movie from the history of all cinema. 7 00:00:36,520 --> 00:00:39,440 Speaker 1: Hollywood Land, of course, is the podcast that explores the 8 00:00:39,440 --> 00:00:43,239 Speaker 1: lives of our most celebrated actors and actresses through the 9 00:00:43,280 --> 00:00:46,479 Speaker 1: true crimes that have impacted them. And as such, I 10 00:00:46,600 --> 00:00:49,440 Speaker 1: like to keep our focus here in the Screening Room 11 00:00:49,520 --> 00:00:52,600 Speaker 1: as true crime esque as I can. But today I 12 00:00:52,680 --> 00:00:54,960 Speaker 1: wanted to do something a little different. I wanted to 13 00:00:55,000 --> 00:00:57,760 Speaker 1: flip the script as it were, and let me first 14 00:00:57,880 --> 00:01:00,520 Speaker 1: tell you what went on in my brain to get 15 00:01:00,600 --> 00:01:03,560 Speaker 1: us to where we find each other right now. Okay, 16 00:01:03,600 --> 00:01:06,280 Speaker 1: So back on Monday, we ran our fully scripted and 17 00:01:06,319 --> 00:01:09,200 Speaker 1: sound design episode from the archive on The Misfits, that 18 00:01:09,319 --> 00:01:13,640 Speaker 1: is the nineteen sixty one film starring Marilyn Monroe Clark Gable, 19 00:01:13,680 --> 00:01:17,120 Speaker 1: directed by John Houston. In that episode and again in 20 00:01:17,160 --> 00:01:20,200 Speaker 1: the Rap Party episode from Wednesday of this week, we 21 00:01:20,240 --> 00:01:23,600 Speaker 1: got into the so called Curse of the Misfits, a 22 00:01:23,640 --> 00:01:27,039 Speaker 1: curse that followed its lead stars around after the completion 23 00:01:27,120 --> 00:01:29,040 Speaker 1: of the film, and we talked a little bit about 24 00:01:29,080 --> 00:01:32,360 Speaker 1: the other famous cursed films and productions from cinema history, 25 00:01:32,959 --> 00:01:35,679 Speaker 1: and so it seemed obvious that today in the screening 26 00:01:35,720 --> 00:01:37,760 Speaker 1: room I would talk about the Misfits, you know, like 27 00:01:37,840 --> 00:01:41,840 Speaker 1: do some critical analysis. But you know, that just seemed 28 00:01:41,920 --> 00:01:44,120 Speaker 1: like overkill, you know what I'm saying, Like, what else 29 00:01:44,120 --> 00:01:46,319 Speaker 1: am I going to say about the Misfits that I 30 00:01:46,319 --> 00:01:48,880 Speaker 1: haven't already said? And how much more do you guys 31 00:01:48,920 --> 00:01:51,000 Speaker 1: want to hear about it? All? Blah blah blah. So, 32 00:01:52,320 --> 00:01:55,919 Speaker 1: in keeping with our theme cursed movies, I was like, well, 33 00:01:56,200 --> 00:01:58,840 Speaker 1: what if I flip the theme so that what we 34 00:01:58,920 --> 00:02:02,720 Speaker 1: talk about is a movie that's about a curse. And 35 00:02:02,800 --> 00:02:04,480 Speaker 1: I immediately thought of the film I want to talk 36 00:02:04,520 --> 00:02:06,880 Speaker 1: about today, which is, of course, the two thousand and 37 00:02:07,000 --> 00:02:10,440 Speaker 1: nine horror film Dragged Me to Hell, directed by the 38 00:02:10,440 --> 00:02:14,840 Speaker 1: great Sam Raimie, starring Alison Lohman, Justin Long and a 39 00:02:15,000 --> 00:02:19,079 Speaker 1: super freaky Lorna Raver. There's so much I want to 40 00:02:19,120 --> 00:02:20,960 Speaker 1: get into with this movie, and I'll break it all 41 00:02:20,960 --> 00:02:23,600 Speaker 1: down for you in a minute, but real quick let's 42 00:02:23,639 --> 00:02:25,920 Speaker 1: just set the table here, okay. In this film, Drag 43 00:02:26,000 --> 00:02:30,120 Speaker 1: Me to Help. Alison Lohman plays Christine, a young loan 44 00:02:30,160 --> 00:02:33,000 Speaker 1: officer at a bank in Los Angeles, and she's going 45 00:02:33,000 --> 00:02:36,000 Speaker 1: for a promotion, but she's up against a coworker for 46 00:02:36,080 --> 00:02:39,600 Speaker 1: that promotion. Now, her boss, who's played by the great 47 00:02:39,680 --> 00:02:43,200 Speaker 1: character actor David Pamer, he advises her that if she 48 00:02:43,320 --> 00:02:46,920 Speaker 1: is truly promotion material, if she is worthy of climbing 49 00:02:46,919 --> 00:02:49,800 Speaker 1: the corporate ladder, that means she has to show that 50 00:02:49,880 --> 00:02:53,800 Speaker 1: she has the business acumen and the toughness to you know, 51 00:02:53,919 --> 00:02:57,040 Speaker 1: run with the big dogs. And that means often making 52 00:02:57,520 --> 00:03:01,000 Speaker 1: difficult decisions even if your heart is telling you that 53 00:03:01,080 --> 00:03:05,120 Speaker 1: what you're doing is wrong. Okay, corporate greed, good compassion 54 00:03:05,160 --> 00:03:11,160 Speaker 1: for humanity, bat so says the banker. So when this old, 55 00:03:11,440 --> 00:03:15,799 Speaker 1: very haggard looking romani woman named missus Ganush played by 56 00:03:16,000 --> 00:03:19,280 Speaker 1: Lorna Raver, who, by the way, was primarily a stage 57 00:03:19,320 --> 00:03:22,280 Speaker 1: actress at this time, I believe when this woman, this 58 00:03:22,360 --> 00:03:26,040 Speaker 1: old woman shows up begging for an extension on her mortgage, 59 00:03:26,160 --> 00:03:28,720 Speaker 1: Christine really wants to show empathy and give the lady 60 00:03:28,720 --> 00:03:31,760 Speaker 1: a break, but she's reminded of her professional goals in 61 00:03:31,840 --> 00:03:34,800 Speaker 1: what is expected of her. So she denies the woman 62 00:03:35,040 --> 00:03:39,839 Speaker 1: this extension, even though this woman is pathetically begging her. 63 00:03:39,880 --> 00:03:43,000 Speaker 1: You know, she's got her scarfall on, these long earrings, 64 00:03:43,040 --> 00:03:45,400 Speaker 1: she's got one funky eye. And then at some point 65 00:03:45,440 --> 00:03:49,360 Speaker 1: she's literally on her knees begging her. And when Christine 66 00:03:49,440 --> 00:03:51,520 Speaker 1: kind of backs up because she's shocked by it all, 67 00:03:52,240 --> 00:03:56,080 Speaker 1: Missus Ganush falls on the floor and she's humiliated. Okay, 68 00:03:56,840 --> 00:04:00,680 Speaker 1: so she's eventually escorted out by security. And when she's 69 00:04:00,920 --> 00:04:03,440 Speaker 1: as she is, she's telling Christine that that, you know, 70 00:04:03,520 --> 00:04:05,840 Speaker 1: I asked for I asked for your help when you 71 00:04:05,920 --> 00:04:09,360 Speaker 1: basically shamed me. You know. Later that day, when Christine 72 00:04:09,440 --> 00:04:12,400 Speaker 1: leaves for the day, I guess it's it's nighttime. She 73 00:04:12,480 --> 00:04:15,240 Speaker 1: gets in her car in this dark parking garage only 74 00:04:15,240 --> 00:04:18,000 Speaker 1: to find missus Ganush in the rear seat. There's a 75 00:04:18,120 --> 00:04:21,400 Speaker 1: there's a great shot. First of all, there's this there's 76 00:04:21,400 --> 00:04:24,520 Speaker 1: only one other car in the lot, and you get 77 00:04:24,560 --> 00:04:28,159 Speaker 1: the sense that it's missus Ganush's car because it's this old, old, 78 00:04:28,240 --> 00:04:31,800 Speaker 1: beat up looking thing that the Griswold family drove, you know, 79 00:04:31,880 --> 00:04:35,200 Speaker 1: like fifty years ago, and you kind of get the 80 00:04:35,279 --> 00:04:39,280 Speaker 1: vibe that maybe she's there waiting for Christine. But then 81 00:04:39,360 --> 00:04:42,000 Speaker 1: Christine gets in her car and then you see this 82 00:04:42,000 --> 00:04:45,719 Speaker 1: this scarf floating through the air that you could see 83 00:04:45,760 --> 00:04:48,600 Speaker 1: Missus Ganush wearing, and it's this great thing where it 84 00:04:49,440 --> 00:04:51,640 Speaker 1: great jump scare where it lands on the front windshield 85 00:04:51,640 --> 00:04:54,559 Speaker 1: and then it comes around, floats through the air around 86 00:04:54,560 --> 00:04:56,560 Speaker 1: in the back and as it does that, the camera 87 00:04:56,640 --> 00:04:58,960 Speaker 1: reveals that missus Ganush is in the back seat and 88 00:04:59,000 --> 00:05:01,360 Speaker 1: she's sitting in shadow, and there's this awesome shot when 89 00:05:01,400 --> 00:05:04,600 Speaker 1: she sits forward, Laura Raver sits forward, her face comes 90 00:05:04,640 --> 00:05:06,280 Speaker 1: out of the shadows and the first thing you see 91 00:05:06,320 --> 00:05:11,400 Speaker 1: is that funky eye. Anyways, she attacks Christine. Incredible choreography 92 00:05:11,400 --> 00:05:13,920 Speaker 1: of this fight scene in the car. It's super gnarly 93 00:05:14,320 --> 00:05:18,400 Speaker 1: fight scene, like, you know, an eye getting stapled shut, gnarly, 94 00:05:18,440 --> 00:05:21,200 Speaker 1: you know, teeth getting knocked out, gnarly. But it's got 95 00:05:21,240 --> 00:05:23,640 Speaker 1: Sam Raimi's great black humor to it. And at the 96 00:05:23,720 --> 00:05:26,440 Speaker 1: very end of this fight, Missus Gnuch plucks a button 97 00:05:26,680 --> 00:05:29,760 Speaker 1: from Christine's coat. She does some kind of incantation with it, 98 00:05:30,000 --> 00:05:32,599 Speaker 1: and then she tells her in this eerie way, soon 99 00:05:32,839 --> 00:05:36,960 Speaker 1: it will be you who comes begging to me okay. 100 00:05:37,040 --> 00:05:41,320 Speaker 1: So with that, Christine has been cursed and the movie 101 00:05:42,040 --> 00:05:44,400 Speaker 1: is all about how Christine can get rid of this curse, 102 00:05:44,920 --> 00:05:47,400 Speaker 1: can get rid of this dark spirit which is latched 103 00:05:47,440 --> 00:05:50,080 Speaker 1: onto her all because she opted to be a heartless 104 00:05:50,240 --> 00:05:54,160 Speaker 1: banker instead of a compassionate human being. Just an incredible 105 00:05:54,160 --> 00:05:56,880 Speaker 1: opening and an incredible setup for the film, and without 106 00:05:56,960 --> 00:06:00,160 Speaker 1: spoiling it, which I will not do although I really 107 00:06:00,200 --> 00:06:02,200 Speaker 1: want to. It all leads to what I think is 108 00:06:02,200 --> 00:06:05,560 Speaker 1: one of the greatest endings of a film in the 109 00:06:05,600 --> 00:06:09,040 Speaker 1: two thousands. The ending is God Teer. I think it's 110 00:06:09,120 --> 00:06:13,200 Speaker 1: bonkers good. Now, what's really cool about this movie is 111 00:06:13,200 --> 00:06:16,599 Speaker 1: that it finds its director Sam Raimie back in his lane. 112 00:06:17,080 --> 00:06:19,719 Speaker 1: Sam Raimie in the news once again right now for 113 00:06:19,920 --> 00:06:23,760 Speaker 1: his latest film, Send Help, which is being described as 114 00:06:23,800 --> 00:06:28,920 Speaker 1: a survival horror thriller with Rachel McAdams and Dylan O'Brien. 115 00:06:29,040 --> 00:06:31,560 Speaker 1: I have not seen this yet, but I am stoked 116 00:06:31,560 --> 00:06:34,200 Speaker 1: for it because from what I've heard, it's Ramy being 117 00:06:34,279 --> 00:06:37,560 Speaker 1: Raimi again. This is his first film after he made 118 00:06:37,800 --> 00:06:41,000 Speaker 1: a Doctor Strange movie for the Marvel Universe and he 119 00:06:41,080 --> 00:06:45,640 Speaker 1: made an Oz movie for the Disney Oz Universe. Now, 120 00:06:45,680 --> 00:06:48,880 Speaker 1: for those of you who don't know. Sam Raimi made 121 00:06:48,960 --> 00:06:52,680 Speaker 1: his name way back in the early eighties, working in 122 00:06:52,880 --> 00:06:57,720 Speaker 1: low budget DIY genre filmmaking. He was basically like a 123 00:06:57,800 --> 00:07:01,600 Speaker 1: four track indie punk rocker, but in the movie world. 124 00:07:01,960 --> 00:07:04,960 Speaker 1: His early work includes The Evil Dead and The Evil 125 00:07:04,960 --> 00:07:07,400 Speaker 1: Dead Too, the latter being, in my estimation, one of 126 00:07:07,440 --> 00:07:11,160 Speaker 1: the greatest films ever. It's a supernatural horror film with 127 00:07:11,240 --> 00:07:14,040 Speaker 1: an R rated Looney Tunes performance by his lead star 128 00:07:14,120 --> 00:07:17,160 Speaker 1: Bruce Campbell. But more than that, it is a true 129 00:07:17,200 --> 00:07:21,440 Speaker 1: example of using your limitations as strengths. You don't have 130 00:07:21,520 --> 00:07:24,520 Speaker 1: the budget you need, you don't have the gear you need, 131 00:07:24,720 --> 00:07:27,840 Speaker 1: you don't have the technology that you need. Well, then 132 00:07:27,880 --> 00:07:29,920 Speaker 1: you find a way to do what you want to 133 00:07:29,920 --> 00:07:33,240 Speaker 1: do in necessity being the mother of invention and all that. 134 00:07:33,920 --> 00:07:38,960 Speaker 1: These sorts of creative problems, artistic problems, I say, they 135 00:07:39,160 --> 00:07:42,160 Speaker 1: arguably lead to some of the most incredible pieces of 136 00:07:42,280 --> 00:07:46,800 Speaker 1: art and entertainment. Sam raimie his early collaborators Joel and 137 00:07:46,880 --> 00:07:52,000 Speaker 1: Eathan Cohen, Spike Lee, Jim Jarmish, Steven Soderberg. Their early 138 00:07:52,040 --> 00:07:55,720 Speaker 1: stuff is defined by what they did with what they 139 00:07:55,800 --> 00:08:00,920 Speaker 1: did not have. So Sam Raimi makes this for himself 140 00:08:01,280 --> 00:08:04,320 Speaker 1: as a guy who can do a lot with very little. 141 00:08:04,560 --> 00:08:08,280 Speaker 1: He goes on to make movies like dark Man, which 142 00:08:08,360 --> 00:08:11,280 Speaker 1: is like a superhero horror movie with Liam Neeson. He 143 00:08:11,400 --> 00:08:14,680 Speaker 1: makes Army of Darkness, which is technically Evil Dead three, 144 00:08:15,080 --> 00:08:17,760 Speaker 1: and then in the mid nineties Hollywood takes notice and 145 00:08:17,800 --> 00:08:21,120 Speaker 1: they bring him on to helm movies like The Quick 146 00:08:21,120 --> 00:08:23,720 Speaker 1: and the Dead, which is a western with Sharon Stone 147 00:08:23,760 --> 00:08:27,360 Speaker 1: and Leonardo DiCaprio. He makes For the Love of the Game, 148 00:08:27,480 --> 00:08:30,920 Speaker 1: a sports movie with Kevin Costner. He makes The Gift 149 00:08:31,080 --> 00:08:35,160 Speaker 1: of Fortune teller thriller with Cate Blanchette, and my favorite 150 00:08:35,240 --> 00:08:38,560 Speaker 1: from this period, a movie called A Simple Plan, a 151 00:08:38,679 --> 00:08:42,400 Speaker 1: very Coen Brothers esque suspense film with Bill Paxton and 152 00:08:42,440 --> 00:08:45,560 Speaker 1: Billy Bob Thornton about these guys who find like four 153 00:08:45,600 --> 00:08:50,280 Speaker 1: million dollars in a crashed plane in the woods, and 154 00:08:50,400 --> 00:08:52,679 Speaker 1: the great lengths they have to go in order to 155 00:08:53,559 --> 00:08:55,560 Speaker 1: keep it on our month, thieves and all that stuff. 156 00:08:56,400 --> 00:09:00,440 Speaker 1: This segue into Hollywood leads at long last to Rami 157 00:09:00,520 --> 00:09:03,439 Speaker 1: becoming the guy in the early two thousands who makes 158 00:09:03,640 --> 00:09:06,160 Speaker 1: three Spider Man movies in the course of like five 159 00:09:06,240 --> 00:09:08,440 Speaker 1: or six years. These are the Spider Man movies with 160 00:09:08,520 --> 00:09:12,760 Speaker 1: Toby maguire. This is before the marvelization of Hollywood. This 161 00:09:12,840 --> 00:09:16,240 Speaker 1: is the moment that superhero films turned into what we 162 00:09:16,360 --> 00:09:19,679 Speaker 1: now know them as, this behemoth of the industry. It's 163 00:09:19,720 --> 00:09:23,440 Speaker 1: really it's its own ecosystem. And it's cool that even 164 00:09:23,520 --> 00:09:28,240 Speaker 1: though he went Hollywood, Sam Raimi didn't completely compromise his style. 165 00:09:28,320 --> 00:09:31,319 Speaker 1: You know, even though he was working with a bigger budget, 166 00:09:31,520 --> 00:09:34,280 Speaker 1: he was still using all the flourishes and tricks and 167 00:09:34,400 --> 00:09:39,760 Speaker 1: touchstones that made him him in those movies. But these 168 00:09:39,800 --> 00:09:42,600 Speaker 1: are still big budget Hollywood superhero movies, and they are 169 00:09:42,640 --> 00:09:46,040 Speaker 1: a far cry from those first few Evil Dead pictures. 170 00:09:46,360 --> 00:09:50,440 Speaker 1: So then this is what makes Drag Me to Hell 171 00:09:51,200 --> 00:09:54,760 Speaker 1: such a breath of fresh air, you could say at 172 00:09:54,760 --> 00:09:57,160 Speaker 1: the time in two thousand and nine when it came out, 173 00:09:57,200 --> 00:09:59,960 Speaker 1: because many of us Sam Raimi fans may have thought 174 00:10:00,080 --> 00:10:02,920 Speaker 1: we lost him forever to the Hollywood machine. But he 175 00:10:02,960 --> 00:10:05,280 Speaker 1: comes out of the Spider Man saga on the other side, 176 00:10:05,600 --> 00:10:08,240 Speaker 1: back to a smaller budget, back to a more hands 177 00:10:08,240 --> 00:10:11,800 Speaker 1: on approach and with less executive oversight for the first 178 00:10:11,800 --> 00:10:14,319 Speaker 1: time in a long time. And also it brings him 179 00:10:14,320 --> 00:10:18,240 Speaker 1: back to his first love, horror films. Sam Reami once 180 00:10:18,280 --> 00:10:20,880 Speaker 1: said that he did this movie for the freedom it 181 00:10:20,960 --> 00:10:23,760 Speaker 1: offered him. Freedom was his word, and that it was 182 00:10:23,800 --> 00:10:27,920 Speaker 1: the first time, perhaps unbelievably, the first time since the 183 00:10:28,040 --> 00:10:31,400 Speaker 1: first Evil Dead film, that's nineteen eighty one, that he'd 184 00:10:31,440 --> 00:10:35,080 Speaker 1: had complete creative control and final cut of one of 185 00:10:35,080 --> 00:10:38,000 Speaker 1: his films. Drag Me to Hell isn't just in the 186 00:10:38,040 --> 00:10:41,280 Speaker 1: pantheon of films made by directors who went back to 187 00:10:41,320 --> 00:10:45,040 Speaker 1: their scrappy, indie, lower budget roots. It's also in the 188 00:10:45,040 --> 00:10:48,840 Speaker 1: pantheon of films about curses. And it's also a horror 189 00:10:48,840 --> 00:10:52,560 Speaker 1: film that bucked against the trend of twenty first century horror. 190 00:10:52,920 --> 00:11:19,199 Speaker 1: And I'm going to get into it all right after this. Okay, now, 191 00:11:19,320 --> 00:11:21,720 Speaker 1: before anyone sends me any hate mail about my thesis. 192 00:11:21,720 --> 00:11:26,040 Speaker 1: Here this Sam Raimi went from DIY indie genre guy 193 00:11:26,120 --> 00:11:28,920 Speaker 1: to big budget Hollywood guy and back again. I do 194 00:11:29,040 --> 00:11:32,880 Speaker 1: realize that these circumstances surrounding Drag Me to Hell were 195 00:11:33,000 --> 00:11:36,000 Speaker 1: vastly different than a film like The Evil Dead too, 196 00:11:36,320 --> 00:11:39,400 Speaker 1: at least in terms of money. Okay, Evil Dead two 197 00:11:39,520 --> 00:11:42,640 Speaker 1: from nineteen eighty seven had a budget of three point 198 00:11:42,679 --> 00:11:46,200 Speaker 1: five million dollars. Drag Me to Hell, which came out 199 00:11:46,200 --> 00:11:48,559 Speaker 1: twenty two years later in two thousand and nine had 200 00:11:48,559 --> 00:11:52,720 Speaker 1: a budget of thirty million dollars. That's ten times the budget. 201 00:11:53,080 --> 00:11:55,920 Speaker 1: And like I was saying before, there's no way Evil 202 00:11:55,960 --> 00:11:58,040 Speaker 1: Dead two is the masterpiece. It is if you had 203 00:11:58,080 --> 00:12:01,640 Speaker 1: given Sam Raimi ten times that budget back in nineteen 204 00:12:01,679 --> 00:12:05,880 Speaker 1: eighty seven. Okay, so that said Raimi. Still he goes 205 00:12:05,920 --> 00:12:08,120 Speaker 1: back to his roots with Drag Me to Hell, and 206 00:12:08,360 --> 00:12:11,520 Speaker 1: I'm struggling to find a comp for this. I think 207 00:12:11,559 --> 00:12:14,800 Speaker 1: the closest I can get there is Steven Soderberg, who 208 00:12:14,800 --> 00:12:19,800 Speaker 1: I mentioned briefly earlier. Soderbergh's nineteen eighty nine debut Sex 209 00:12:19,880 --> 00:12:22,680 Speaker 1: Lies and Videotape, which was at the nexus of the 210 00:12:22,880 --> 00:12:27,400 Speaker 1: American indie film boom happening at that time, was made 211 00:12:27,760 --> 00:12:32,439 Speaker 1: unbelievably for only one point two million dollars, and Soderberg 212 00:12:32,520 --> 00:12:36,160 Speaker 1: followed that film right away with other very small, very 213 00:12:36,160 --> 00:12:42,360 Speaker 1: idiosyncratic films, movies like Kafka, King of the Hill, The Underneath, Schizopolis, 214 00:12:42,440 --> 00:12:45,800 Speaker 1: and Grey's Anatomy. And then he steps up a bit. 215 00:12:45,880 --> 00:12:48,760 Speaker 1: He makes Out of Sight with George Clooney and Jennifer 216 00:12:48,760 --> 00:12:52,120 Speaker 1: Lopez in nineteen eighty eight, the incredible film Out of Sight, 217 00:12:52,840 --> 00:12:56,520 Speaker 1: which leads him to the year two thousand. This is 218 00:12:56,559 --> 00:12:59,880 Speaker 1: a year in which Steven Soderberg makes both Aaron brock 219 00:12:59,880 --> 00:13:03,600 Speaker 1: Of and Traffic, the latter for which he won Best 220 00:13:03,600 --> 00:13:06,880 Speaker 1: Director at the Academy Awards. And then from there he's 221 00:13:06,920 --> 00:13:10,720 Speaker 1: doing these huge star driven Hollywood films, most notably The 222 00:13:10,800 --> 00:13:15,080 Speaker 1: Ocean's Eleven franchise. But Soderberg's going back and forth the 223 00:13:15,080 --> 00:13:17,880 Speaker 1: whole time. He's got one foot and big budget stuff 224 00:13:17,960 --> 00:13:20,480 Speaker 1: and one foot in his roots, right, So for every 225 00:13:20,520 --> 00:13:24,160 Speaker 1: Magic Mike movie that he makes, he makes a movie 226 00:13:24,200 --> 00:13:27,640 Speaker 1: like Unsane, which he shot on an iPhone for a 227 00:13:27,760 --> 00:13:31,120 Speaker 1: very very small budget. Now that said, even a movie 228 00:13:31,160 --> 00:13:34,720 Speaker 1: like Magic Mike is a much smaller, more diy effort 229 00:13:34,760 --> 00:13:37,080 Speaker 1: than you would think when you compare it to the 230 00:13:37,080 --> 00:13:40,640 Speaker 1: budget and the scope of The Ocean's movies. My point 231 00:13:40,640 --> 00:13:43,720 Speaker 1: here is that typically once a director makes that jump, 232 00:13:43,760 --> 00:13:46,280 Speaker 1: once they prove themselves in the trenches and then they 233 00:13:46,320 --> 00:13:49,679 Speaker 1: graduate to the big leagues, they typically don't go back. 234 00:13:50,000 --> 00:13:52,560 Speaker 1: But Sam Raimi kind of did that with this film, 235 00:13:52,600 --> 00:13:55,120 Speaker 1: and he did that by making a film that is 236 00:13:55,320 --> 00:13:59,199 Speaker 1: very much cut against the grain of the contemporary horror 237 00:13:59,280 --> 00:14:02,480 Speaker 1: film at the time, or I should say horror as 238 00:14:02,480 --> 00:14:05,280 Speaker 1: it's come to be defined in the twenty first century. 239 00:14:05,720 --> 00:14:09,559 Speaker 1: I'm talking about two thousand and four, the first saw movie, 240 00:14:09,840 --> 00:14:12,760 Speaker 1: torture porn as it came to be known, gruesome gory. 241 00:14:13,080 --> 00:14:16,120 Speaker 1: I'm talking about two thousand and five and Hostile, an 242 00:14:16,160 --> 00:14:19,040 Speaker 1: Eli Roth movie, more guts and gore, more torture porn, 243 00:14:19,280 --> 00:14:23,120 Speaker 1: talking about final destination, paranormal activity. A lot of these 244 00:14:23,120 --> 00:14:26,280 Speaker 1: movies became franchises as movies seem to be destined to 245 00:14:26,320 --> 00:14:28,520 Speaker 1: become these days, and a lot of them want you 246 00:14:28,600 --> 00:14:32,240 Speaker 1: to feel like what you're seeing is totally real, that 247 00:14:32,320 --> 00:14:35,040 Speaker 1: it sounds real, and that it's a life or death thing, 248 00:14:35,320 --> 00:14:39,000 Speaker 1: that it's so serious, because only by being so serious 249 00:14:39,040 --> 00:14:42,200 Speaker 1: can it be so scary. But Sam Raimi and Drag 250 00:14:42,280 --> 00:14:45,400 Speaker 1: Me to Hell come at horror from a completely different angle. 251 00:14:45,680 --> 00:14:49,040 Speaker 1: There's the performative aspect of it. There's the black comedy 252 00:14:49,240 --> 00:14:51,800 Speaker 1: of it, the gallows humor. There's the way in which 253 00:14:51,880 --> 00:14:55,480 Speaker 1: a camera dolly can feel so hyper real, to the 254 00:14:55,520 --> 00:14:58,840 Speaker 1: point where the whole thing feels make believe because it 255 00:14:58,880 --> 00:15:03,360 Speaker 1: is make believe. It's a mo and Sam Raimi's movies 256 00:15:03,600 --> 00:15:07,280 Speaker 1: feel like movies in the best way. You're watching a 257 00:15:07,320 --> 00:15:11,160 Speaker 1: craftsman make something you know, Saw and Hostile and the like. 258 00:15:11,240 --> 00:15:14,560 Speaker 1: These are like the haunted houses you walk through at Halloween, 259 00:15:14,640 --> 00:15:17,800 Speaker 1: the ones where they've really upped the ante in order 260 00:15:17,880 --> 00:15:20,400 Speaker 1: to scare you and shock you. Not that Drag Me 261 00:15:20,520 --> 00:15:22,960 Speaker 1: to Hell doesn't have its moments of shock and jump 262 00:15:23,040 --> 00:15:25,360 Speaker 1: scares and all that. I mean, Sam Raimi knows what 263 00:15:25,400 --> 00:15:28,240 Speaker 1: he's doing, but he's got a sense of humor, which 264 00:15:28,280 --> 00:15:31,080 Speaker 1: is important. A sense of humor is important in life, 265 00:15:31,480 --> 00:15:34,840 Speaker 1: it's important in horror films. Nobody likes something that takes 266 00:15:34,840 --> 00:15:37,800 Speaker 1: itself too seriously. That's a drag. And I don't know, 267 00:15:37,920 --> 00:15:40,240 Speaker 1: probably some of you out there right now are listening 268 00:15:40,240 --> 00:15:42,440 Speaker 1: to me and you're saying, I don't know what this 269 00:15:42,520 --> 00:15:45,320 Speaker 1: dude's talking about. You know, like you're not a fan 270 00:15:45,400 --> 00:15:48,040 Speaker 1: of true horror or whatever that means. And sure, if 271 00:15:48,320 --> 00:15:52,160 Speaker 1: horror for you is like the realistic and gradual dismemberment 272 00:15:52,480 --> 00:15:55,320 Speaker 1: of a human being in peril, then I guess I'm 273 00:15:55,360 --> 00:15:58,120 Speaker 1: just not into that shit, Homiel. Right for me, horror 274 00:15:58,200 --> 00:16:01,200 Speaker 1: is not being able to shake the feeling that something 275 00:16:01,240 --> 00:16:04,240 Speaker 1: has attached itself to you, just like Christine feels in 276 00:16:04,280 --> 00:16:07,320 Speaker 1: this film. That said, what did the horror community think 277 00:16:07,400 --> 00:16:10,720 Speaker 1: about this movie? When it came out the contemporary horror community. 278 00:16:11,080 --> 00:16:13,960 Speaker 1: I truly don't know. I'm asking that question. When I 279 00:16:14,000 --> 00:16:16,600 Speaker 1: showed it to my son a year or so ago. 280 00:16:16,680 --> 00:16:19,600 Speaker 1: I've talked about him before. He's a horror nut and 281 00:16:19,640 --> 00:16:23,040 Speaker 1: he watches stuff that I just cannot stomach. Right, So 282 00:16:23,080 --> 00:16:25,120 Speaker 1: when I showed this to him, he laughed a lot, 283 00:16:25,200 --> 00:16:28,960 Speaker 1: and ultimately he thought it was weak. He didn't think 284 00:16:28,960 --> 00:16:31,520 Speaker 1: it was scary. He didn't love the ending, which is nuts, 285 00:16:31,520 --> 00:16:33,240 Speaker 1: because the ending is incredible. I'll get h I'm going 286 00:16:33,280 --> 00:16:35,320 Speaker 1: to go on about the ending without spoiling the ending. 287 00:16:36,520 --> 00:16:39,600 Speaker 1: Now Evil Dead too. He loved The Evil Dead too 288 00:16:39,640 --> 00:16:41,320 Speaker 1: when I showed him that. I think because the horror 289 00:16:41,360 --> 00:16:44,520 Speaker 1: aspects and the comedic aspects of that one are so 290 00:16:44,800 --> 00:16:47,640 Speaker 1: over the top. I mean, that's why anyone loves that movie. 291 00:16:47,680 --> 00:16:50,920 Speaker 1: It's just relentless in its pursuit of gags and thrills 292 00:16:50,920 --> 00:16:53,560 Speaker 1: and innovations. I'm not sure how much you can innovate 293 00:16:53,600 --> 00:16:55,720 Speaker 1: in two thousand and nine with a budget of thirty 294 00:16:55,720 --> 00:16:58,440 Speaker 1: million dollars and lots of new habits picked up from 295 00:16:58,440 --> 00:17:01,320 Speaker 1: the studio system. But I contend that even in two 296 00:17:01,320 --> 00:17:04,919 Speaker 1: thousand and nine, Sam Raimi was doing something different, just 297 00:17:04,960 --> 00:17:07,720 Speaker 1: as it seems he's once again doing something different now 298 00:17:08,040 --> 00:17:11,000 Speaker 1: in twenty twenty six with send Help. Or maybe he's 299 00:17:11,040 --> 00:17:13,240 Speaker 1: just doing a sam Raimi thing which no one else 300 00:17:13,240 --> 00:17:15,399 Speaker 1: can do because no one else was him back in 301 00:17:15,480 --> 00:17:17,880 Speaker 1: nineteen eighty one, trying to get a little movie off 302 00:17:17,880 --> 00:17:21,200 Speaker 1: the ground with a bunch of tiny investments by local 303 00:17:21,280 --> 00:17:24,479 Speaker 1: dentists and the like. Right now. As a curse movie, 304 00:17:25,000 --> 00:17:27,439 Speaker 1: a movie about a cursed character. This is part of 305 00:17:27,440 --> 00:17:30,359 Speaker 1: a lineage of movies about curses that were dropping in 306 00:17:30,440 --> 00:17:32,640 Speaker 1: the two thousands and have continued to come out over 307 00:17:32,680 --> 00:17:34,920 Speaker 1: the years. There was The Ring in two thousand and 308 00:17:34,920 --> 00:17:38,040 Speaker 1: two and The Grudge in two thousand and four. Both 309 00:17:38,040 --> 00:17:42,360 Speaker 1: of those were remix of Japanese films. There it follows 310 00:17:42,480 --> 00:17:46,520 Speaker 1: in twenty fourteen, The Witch in twenty fifteen, Hereditary in 311 00:17:46,560 --> 00:17:50,400 Speaker 1: twenty eighteen, Smile in twenty twenty two. These are all 312 00:17:50,480 --> 00:17:53,560 Speaker 1: films in some way about curses, but they are they're 313 00:17:53,600 --> 00:17:57,160 Speaker 1: metaphor movies too. You know, people are cursed, but people 314 00:17:57,160 --> 00:18:00,840 Speaker 1: are cursed because of whether it's sexual anxiety, or coming 315 00:18:00,880 --> 00:18:03,840 Speaker 1: of age or family trauma, which is all good, you know. 316 00:18:03,920 --> 00:18:07,159 Speaker 1: Horror has consistently been a genre where filmmakers can stuff 317 00:18:07,680 --> 00:18:11,159 Speaker 1: big ideas into scary stories. But that's the pleasure of 318 00:18:11,240 --> 00:18:13,679 Speaker 1: Drag Me to Hell. For me at least, is that 319 00:18:13,720 --> 00:18:16,720 Speaker 1: it's simpler than all that. It's just a woman is 320 00:18:16,760 --> 00:18:19,920 Speaker 1: simply cursed because she's been a jerk to an old lady. Boom, 321 00:18:19,960 --> 00:18:22,240 Speaker 1: that's it. You know. You can make the argument that 322 00:18:22,240 --> 00:18:24,480 Speaker 1: it's a morality play, which I guess it kind of is, 323 00:18:24,800 --> 00:18:27,960 Speaker 1: but you've got to admire the simplicity of the concept, like, hey, 324 00:18:28,160 --> 00:18:30,120 Speaker 1: how about we just make a movie where this old 325 00:18:30,119 --> 00:18:34,520 Speaker 1: woman curses a girl Like that's it. It's so sam 326 00:18:34,560 --> 00:18:37,160 Speaker 1: Reimi to its core, which is why it's funny that 327 00:18:37,760 --> 00:18:39,479 Speaker 1: back when he was working on the script for this 328 00:18:39,480 --> 00:18:42,200 Speaker 1: film with his brother Ivan, a script which was originally 329 00:18:42,280 --> 00:18:47,160 Speaker 1: titled Just Plainly the Curse, sam Remi actually offered this 330 00:18:47,200 --> 00:18:50,080 Speaker 1: film to Edgar Wright to direct it. Now, Edgar Wright 331 00:18:50,119 --> 00:18:52,359 Speaker 1: had just made Sean of the Dead at that time, 332 00:18:53,000 --> 00:18:55,800 Speaker 1: but he declined for two reasons. One was that he 333 00:18:55,880 --> 00:18:59,359 Speaker 1: was in the middle of making his excellent film Hot Fuzz, 334 00:19:00,040 --> 00:19:02,560 Speaker 1: And two, as he put it, quote, it was so 335 00:19:02,680 --> 00:19:04,959 Speaker 1: obvious to me that Sam Raimi should be directing this 336 00:19:05,320 --> 00:19:08,760 Speaker 1: that if I did it, it would feel like karaoke. Unquote. 337 00:19:08,960 --> 00:19:12,000 Speaker 1: See even Edgar Wright gets it. No one can make 338 00:19:12,000 --> 00:19:14,639 Speaker 1: this movie but Sam Raimi. But you know what, we 339 00:19:14,760 --> 00:19:18,480 Speaker 1: can make an old school mixtape inspired by Dragging Me 340 00:19:18,520 --> 00:19:21,280 Speaker 1: to Hell. Hang tight, and I'll come right back to 341 00:19:21,359 --> 00:19:50,080 Speaker 1: do just that. All right, Hollywood, Land Gaine, I am 342 00:19:50,119 --> 00:19:52,960 Speaker 1: back and I'm ready. I'm ready to make a mixtape 343 00:19:53,400 --> 00:19:59,520 Speaker 1: inspired by Dragging Me to Hell. Now, you all love music, 344 00:20:00,080 --> 00:20:02,400 Speaker 1: and you love movies just like me. And you know 345 00:20:02,480 --> 00:20:06,560 Speaker 1: that music history is littered with songs about the devil, 346 00:20:06,880 --> 00:20:11,119 Speaker 1: songs about hell, songs about hexes and curses, and it 347 00:20:11,160 --> 00:20:15,280 Speaker 1: goes way back. So let's go way back and start 348 00:20:15,280 --> 00:20:17,760 Speaker 1: our mixtape here with a track that dates all the 349 00:20:17,760 --> 00:20:22,080 Speaker 1: way back to nineteen thirty seven. I'm talking about Robert 350 00:20:22,119 --> 00:20:26,800 Speaker 1: Johnson and the song hell Hound on my Trail. Robert Johnson, 351 00:20:26,920 --> 00:20:31,040 Speaker 1: the great Delta blues musician, some would say, the platonic 352 00:20:31,119 --> 00:20:34,920 Speaker 1: ideal of a blues musician. That's the second time I've 353 00:20:35,000 --> 00:20:40,800 Speaker 1: used that phrase today. There will be points for anybody 354 00:20:40,800 --> 00:20:43,320 Speaker 1: who can find the other place that I said that today, 355 00:20:43,600 --> 00:20:46,159 Speaker 1: out there in the ether wherever wherever it ends up. 356 00:20:46,600 --> 00:20:49,840 Speaker 1: Robert Johnson was a man who some say even sold 357 00:20:49,840 --> 00:20:52,199 Speaker 1: his own soul to the devil in order to play 358 00:20:52,359 --> 00:20:55,520 Speaker 1: the way he did. And this song, Hellhound on My 359 00:20:55,640 --> 00:20:58,960 Speaker 1: Trail is the song of the traveling musician, the touring 360 00:20:59,040 --> 00:21:03,240 Speaker 1: musician going from ten to town, juke to juke, playing, drinking, 361 00:21:03,600 --> 00:21:06,919 Speaker 1: sleeping with married women, all the while getting that feeling 362 00:21:06,960 --> 00:21:08,880 Speaker 1: that his lifestyle is going to catch up with him 363 00:21:08,920 --> 00:21:12,359 Speaker 1: and get him in the end. My first memory of 364 00:21:12,400 --> 00:21:16,120 Speaker 1: Robert Johnson, I think, is the Led Zeppelin box set 365 00:21:16,160 --> 00:21:18,160 Speaker 1: that came out in the early nineties. Do you guys 366 00:21:18,200 --> 00:21:21,480 Speaker 1: remember this. The cover was orange, it had like the 367 00:21:21,520 --> 00:21:23,959 Speaker 1: crop circles on the cover. You could get it on 368 00:21:24,400 --> 00:21:27,679 Speaker 1: CD or cassette. I got it on cassette and it 369 00:21:27,760 --> 00:21:31,880 Speaker 1: included a cover of Traveling Riverside Blues, the Robert Johnson 370 00:21:32,000 --> 00:21:35,760 Speaker 1: song that Zeppelin recorded I believe at the BBC, and 371 00:21:35,800 --> 00:21:39,360 Speaker 1: it was used as the promo single for this box set. 372 00:21:39,600 --> 00:21:42,040 Speaker 1: So the local radio station in my town, which was 373 00:21:42,080 --> 00:21:45,840 Speaker 1: Stephen King's radio station. Yes, Stephen King, that Stephen King. 374 00:21:46,000 --> 00:21:49,240 Speaker 1: He owned a rock radio station here in town for 375 00:21:49,280 --> 00:21:51,560 Speaker 1: a very long time until just a few years back. 376 00:21:52,119 --> 00:21:55,040 Speaker 1: The station played that song a lot, and honestly, I 377 00:21:55,080 --> 00:21:57,800 Speaker 1: think that's what ignited my interest in Zeppelin got the 378 00:21:57,840 --> 00:22:02,200 Speaker 1: box set, and it was round this time that Columbia 379 00:22:02,600 --> 00:22:06,639 Speaker 1: Records polished off every recording Robert Johnson ever made and 380 00:22:06,680 --> 00:22:09,720 Speaker 1: they released this like two disc or two cassette set, 381 00:22:10,280 --> 00:22:13,720 Speaker 1: which I also got around the same time. So it 382 00:22:13,840 --> 00:22:16,920 Speaker 1: was at this time that I was became completely obsessed 383 00:22:16,960 --> 00:22:21,400 Speaker 1: with blues music via all these English bands from the sixties, right, 384 00:22:21,760 --> 00:22:24,120 Speaker 1: But I got obsessed with like, you know, the real shit, 385 00:22:24,200 --> 00:22:27,400 Speaker 1: you know, Delta and Chicago Blues for a very very 386 00:22:27,400 --> 00:22:29,720 Speaker 1: long time. I still love it, but for a while 387 00:22:29,760 --> 00:22:33,040 Speaker 1: there that was my jam. So Hellhound on my trail, 388 00:22:33,200 --> 00:22:36,040 Speaker 1: Robert Johnson the next song we're gonna put on here, 389 00:22:36,359 --> 00:22:37,840 Speaker 1: We're gonna crank it up a little bit and we're 390 00:22:37,880 --> 00:22:41,360 Speaker 1: gonna do nib by Black Sabbath. This is from their 391 00:22:41,400 --> 00:22:45,320 Speaker 1: self titled debut. It's the one one of many Sabbath 392 00:22:45,359 --> 00:22:50,720 Speaker 1: songs where Aussy's lyric includes oh yeah right. He says 393 00:22:50,760 --> 00:22:53,280 Speaker 1: that with the guitar riff, he's he's a god. When 394 00:22:53,280 --> 00:22:57,639 Speaker 1: it comes to the oh yeah declarations, this of course 395 00:22:57,720 --> 00:23:00,399 Speaker 1: is a heavy, heavy riff. The riff is as simple 396 00:23:00,640 --> 00:23:04,159 Speaker 1: as the premise to drag Me to Hell. The lyrics 397 00:23:04,160 --> 00:23:08,000 Speaker 1: are from the point of view of Lucifer himself. You know, listen, 398 00:23:08,240 --> 00:23:11,199 Speaker 1: this is my take on Sabbath. Okay, Black Sabbath is 399 00:23:11,320 --> 00:23:14,520 Speaker 1: a jam band. Nobody talks about this, or maybe it's 400 00:23:14,560 --> 00:23:18,520 Speaker 1: more Maybe the argument is that Sabbath they wanted to 401 00:23:18,560 --> 00:23:21,920 Speaker 1: be a jam band. Like, listen to this song. When 402 00:23:21,920 --> 00:23:24,400 Speaker 1: Tony Iomi goes off on his guitar solo, you can 403 00:23:24,440 --> 00:23:26,879 Speaker 1: hear the other guys. They want to ride off with 404 00:23:26,960 --> 00:23:30,680 Speaker 1: them into the mystical dark universe of noodling. Right, It's 405 00:23:30,680 --> 00:23:33,520 Speaker 1: like the flip side of the Grateful Dead. It's ominous 406 00:23:33,520 --> 00:23:37,200 Speaker 1: and it's dark, and I feel them wanting to go there, 407 00:23:37,760 --> 00:23:40,160 Speaker 1: but something's preventing them from going there. And if these 408 00:23:40,200 --> 00:23:43,040 Speaker 1: guys actually wanted to jam, if they wanted to do 409 00:23:43,119 --> 00:23:46,639 Speaker 1: their own sort of like Lucifer version of the Alma 410 00:23:46,680 --> 00:23:50,400 Speaker 1: Brothers Whipping Post, but someone prohibited them from doing that, 411 00:23:50,400 --> 00:23:53,879 Speaker 1: that's a goddamn tragedy. I would love to hear a 412 00:23:54,000 --> 00:23:57,920 Speaker 1: nineteen minute workout of NIB, Bye Bye Bye Black Sabbath. 413 00:23:58,400 --> 00:24:01,400 Speaker 1: NIB what does it stand for? Nativity in black? Name 414 00:24:01,560 --> 00:24:04,760 Speaker 1: in Blood Geezer Butler said that when he wrote the lyrics, 415 00:24:04,800 --> 00:24:08,159 Speaker 1: he just called it NIB after Bill Ward's Beard that 416 00:24:08,200 --> 00:24:10,840 Speaker 1: he couldn't think of any other title, and the record 417 00:24:10,840 --> 00:24:16,720 Speaker 1: company put the the periods between the letters and IB. 418 00:24:17,359 --> 00:24:19,960 Speaker 1: And one more thing about this song. This was the 419 00:24:20,080 --> 00:24:23,119 Speaker 1: song NIB was listed on the original European release as 420 00:24:23,160 --> 00:24:25,679 Speaker 1: his own track on record. But if you're listening on 421 00:24:25,720 --> 00:24:28,760 Speaker 1: streaming these days in the US at least, it's like 422 00:24:28,840 --> 00:24:31,840 Speaker 1: the third song or fourth song in this medley track 423 00:24:31,960 --> 00:24:36,840 Speaker 1: called Wasp Slash behind the Wall of Sleep Slash basically 424 00:24:36,920 --> 00:24:39,320 Speaker 1: slash NIB. I don't know what the fuck is going 425 00:24:39,359 --> 00:24:41,520 Speaker 1: on there, but it's super confusing in a way that 426 00:24:41,560 --> 00:24:43,920 Speaker 1: Black Sabbath music is not, and I wish that someone 427 00:24:43,920 --> 00:24:48,000 Speaker 1: would rectify that. Okay, the next track here on our mixtape, 428 00:24:48,040 --> 00:24:51,239 Speaker 1: inspired by Drag Me to Hell, is I Put a 429 00:24:51,280 --> 00:24:54,879 Speaker 1: Spell on You. Now. The real question here, which version 430 00:24:54,920 --> 00:24:58,840 Speaker 1: do you use? Do you use the og screamin Jay 431 00:24:58,840 --> 00:25:02,800 Speaker 1: Hawkins take from nineteen fifty six, one of the greatest 432 00:25:02,920 --> 00:25:06,240 Speaker 1: vocal performances of all time, a performance in which you 433 00:25:06,240 --> 00:25:08,159 Speaker 1: think he's gonna split apart at the seams and he 434 00:25:08,200 --> 00:25:10,840 Speaker 1: does that weird snarly thing at the very end, you know, 435 00:25:11,880 --> 00:25:15,800 Speaker 1: or do you choose Nina Simone's version from a decade later, 436 00:25:15,920 --> 00:25:20,399 Speaker 1: nineteen sixty five, with its spell casting string arrangement and 437 00:25:20,440 --> 00:25:23,280 Speaker 1: it's haunting vocal performance from a woman who sounds like 438 00:25:23,320 --> 00:25:25,920 Speaker 1: she's at the end of her rope. There's also the 439 00:25:25,920 --> 00:25:30,200 Speaker 1: CCR version nineteen sixty eight from their eponymous debut album, 440 00:25:30,280 --> 00:25:33,600 Speaker 1: which swirls all around and sounds like you're slowly being 441 00:25:33,640 --> 00:25:37,400 Speaker 1: swallowed down this pit of despair, all while John Fogerty 442 00:25:37,520 --> 00:25:41,840 Speaker 1: is chuggling all around you, chuogling with another killer vocal performance, 443 00:25:42,200 --> 00:25:45,159 Speaker 1: three killer vocal performances on the song. I don't know 444 00:25:45,160 --> 00:25:47,200 Speaker 1: what it is about the song that inspires really good 445 00:25:47,480 --> 00:25:51,120 Speaker 1: performances by people in completely different genres. But I don't know. Man, 446 00:25:51,200 --> 00:25:52,760 Speaker 1: this is a hard choice. I don't think you can 447 00:25:52,800 --> 00:25:55,400 Speaker 1: go wrong. So this is the dealer's choice for all 448 00:25:55,400 --> 00:25:57,920 Speaker 1: of you out there. Okay, next track on our mixtape 449 00:25:57,960 --> 00:26:01,600 Speaker 1: here is the song Season of the Witch by Donovan 450 00:26:02,440 --> 00:26:04,640 Speaker 1: Jake and I gave Donovan a bunch of shit over 451 00:26:04,680 --> 00:26:07,720 Speaker 1: in our video podcast. This film should be played loud. 452 00:26:08,680 --> 00:26:11,760 Speaker 1: But that said, you know, Donovan's one of those artists 453 00:26:11,800 --> 00:26:16,400 Speaker 1: that I've really come around to loving as of late, 454 00:26:16,440 --> 00:26:20,600 Speaker 1: whether it's Atlantis or Sunshine Superman or Hurdy Gurdy Man 455 00:26:20,720 --> 00:26:23,760 Speaker 1: or Mellow Yellow, which was one of my oldest daughter's 456 00:26:23,760 --> 00:26:25,960 Speaker 1: favorite songs to sing along to in the car back 457 00:26:26,000 --> 00:26:29,080 Speaker 1: when she was little, which would probably embarrass her if 458 00:26:29,080 --> 00:26:32,560 Speaker 1: you guys all knew that. And of course Season of 459 00:26:32,560 --> 00:26:36,760 Speaker 1: the Witch featuring guess who on electric guitar. Yes, you 460 00:26:36,840 --> 00:26:39,879 Speaker 1: are correct, that is a London session musician from the 461 00:26:39,920 --> 00:26:43,879 Speaker 1: time named Jimmy Page. Jimmy and his future led Zeppelin 462 00:26:43,920 --> 00:26:46,679 Speaker 1: band mate John Paul Jones did a ton of session 463 00:26:46,720 --> 00:26:49,359 Speaker 1: work in the sixties, and that's Jimmy Page playing that 464 00:26:49,480 --> 00:26:53,720 Speaker 1: slinky stop and start riff, probably on his telecaster, since 465 00:26:53,720 --> 00:26:56,800 Speaker 1: we learned from that recent ZEP documentary that Jimmy was 466 00:26:56,800 --> 00:26:59,240 Speaker 1: doing just about everything back then, not with a les 467 00:26:59,240 --> 00:27:01,920 Speaker 1: Paul but with his Telly. I love the song. It's 468 00:27:01,960 --> 00:27:04,879 Speaker 1: got that sixties hippie dippy thing going on, but just 469 00:27:04,920 --> 00:27:07,480 Speaker 1: like Hurdy Gurdy Man, there's something a little devilish going 470 00:27:07,520 --> 00:27:11,360 Speaker 1: on beneath the surface, no doubt, provided in part by 471 00:27:11,640 --> 00:27:14,560 Speaker 1: mister Page. What else we got here? We could include 472 00:27:14,640 --> 00:27:18,120 Speaker 1: songs like Highway to Hell by ac DC, What about 473 00:27:18,200 --> 00:27:21,919 Speaker 1: Lucifer Sam by Pink Floyd, Maybe Devil Got My Woman 474 00:27:22,200 --> 00:27:25,440 Speaker 1: by Skip James, or the number of the Beast by 475 00:27:25,480 --> 00:27:29,200 Speaker 1: Iron Maiden, hypnotized by Fleetwood Mac. This is the pre 476 00:27:29,800 --> 00:27:35,280 Speaker 1: Lindsey Buckingham, pre Stevie Nicks Fleetwood Mac hypnotized Total Soft 477 00:27:35,359 --> 00:27:39,919 Speaker 1: Rock Jam or great song My Curse by Afghan Wiggs 478 00:27:40,040 --> 00:27:44,159 Speaker 1: off their classic record Gentlemen featuring a vocal by Marcy 479 00:27:44,280 --> 00:27:47,840 Speaker 1: Mays of Scrawl. What do you guys think It's your turn? Now? 480 00:27:48,119 --> 00:27:51,440 Speaker 1: What songs am I missing? Give us some good songs 481 00:27:51,440 --> 00:27:54,760 Speaker 1: for our mixtape about being cursed? About being dragged to hell? 482 00:27:55,160 --> 00:27:58,080 Speaker 1: Call or text me at six one seven nine oh 483 00:27:58,200 --> 00:28:02,959 Speaker 1: six six six three eight, email me at disgracelamdpod at 484 00:28:03,000 --> 00:28:06,400 Speaker 1: gmail dot com, or if you're a member of Patreon 485 00:28:06,600 --> 00:28:09,320 Speaker 1: All Access, you can get at me in the chat 486 00:28:09,400 --> 00:28:11,720 Speaker 1: over there. Let me know. Maybe your answer will be 487 00:28:11,800 --> 00:28:14,880 Speaker 1: read in one of the shows next week here in 488 00:28:14,920 --> 00:28:18,560 Speaker 1: Hollywood Lands. All right, let me know. And while you're 489 00:28:18,560 --> 00:28:20,480 Speaker 1: doing that, I'm going to take one more quick break. 490 00:28:20,480 --> 00:28:35,159 Speaker 1: I'll be right back in a flash. Hey, everybody, I 491 00:28:35,200 --> 00:28:37,879 Speaker 1: am back here Zeth Lundy in the screening room with you. 492 00:28:38,160 --> 00:28:40,280 Speaker 1: I hope you enjoyed hearing a little bit about dragging 493 00:28:40,280 --> 00:28:43,000 Speaker 1: me to hell today. Just wanted to do a little 494 00:28:43,000 --> 00:28:45,160 Speaker 1: bit of housekeeping before I get out of here, I 495 00:28:45,240 --> 00:28:49,000 Speaker 1: mentioned earlier this film Should be Played Loud, which is 496 00:28:49,040 --> 00:28:52,320 Speaker 1: a video podcast that Jake Brennan from Disgraceland and I 497 00:28:52,400 --> 00:28:56,000 Speaker 1: are doing together over in our Disgraceland Patreon. Of course, 498 00:28:56,160 --> 00:29:00,160 Speaker 1: Jake runs the Disgraceland the Music and True Crime podcast. 499 00:29:00,200 --> 00:29:03,800 Speaker 1: I run Hollywood Land the Movies in True Crime podcasts. 500 00:29:04,400 --> 00:29:07,840 Speaker 1: But this relatively new video podcast we got going on 501 00:29:08,040 --> 00:29:11,240 Speaker 1: is where our two Worlds Collide, the Only where, the 502 00:29:11,360 --> 00:29:14,040 Speaker 1: only place where our two worlds collide on a regular basis. 503 00:29:14,440 --> 00:29:18,120 Speaker 1: It's a monthly podcast, runs about an hour long, and 504 00:29:18,440 --> 00:29:21,040 Speaker 1: it's got lots of video components to it, and like 505 00:29:21,120 --> 00:29:25,120 Speaker 1: I said, it's available only for all Access members over 506 00:29:25,240 --> 00:29:27,640 Speaker 1: in Patreon. We got a number of tiers over there 507 00:29:28,000 --> 00:29:30,200 Speaker 1: to get you ad free listening to all of our 508 00:29:30,240 --> 00:29:33,160 Speaker 1: shows and get you bonus content. But there's a video 509 00:29:33,240 --> 00:29:36,400 Speaker 1: tier which includes this film Should be Played Loud. It's 510 00:29:36,440 --> 00:29:39,720 Speaker 1: called the Sound in Fury Tier. It's ten bucks a month, 511 00:29:40,080 --> 00:29:42,320 Speaker 1: and part of the perks there is that you get 512 00:29:42,760 --> 00:29:45,840 Speaker 1: one episode per month of this film Should be Played Loud. 513 00:29:46,280 --> 00:29:49,920 Speaker 1: And this month we just released a few days ago 514 00:29:50,560 --> 00:29:54,240 Speaker 1: our brand new episode on the film Boogie Nights that's 515 00:29:54,240 --> 00:29:58,040 Speaker 1: Paul Thomas Anderson's second film from nineteen ninety seven has 516 00:29:58,040 --> 00:30:00,960 Speaker 1: a killer, Killer, Killer soundtrack, So so we spend that 517 00:30:01,040 --> 00:30:04,200 Speaker 1: hour getting into the incredible soundtrack of that movie. We 518 00:30:04,240 --> 00:30:07,520 Speaker 1: have other episodes already available on the movies Trainspawning, and 519 00:30:07,600 --> 00:30:10,040 Speaker 1: Good Fellows. We'll have another one at the end of March. 520 00:30:10,280 --> 00:30:13,360 Speaker 1: So jump in there, join us. If you're new over there. 521 00:30:13,640 --> 00:30:16,160 Speaker 1: Maybe maybe you're not a member yet, maybe you're a 522 00:30:16,160 --> 00:30:18,840 Speaker 1: free member, maybe you're a member on a lower tier. 523 00:30:19,400 --> 00:30:22,400 Speaker 1: For a limited time, you can sign up and get 524 00:30:22,440 --> 00:30:25,280 Speaker 1: twenty percent off your first month or your first year. 525 00:30:25,680 --> 00:30:30,880 Speaker 1: Just use the code Disco that's d i sgo Disco 526 00:30:31,360 --> 00:30:35,120 Speaker 1: at checkout for that discount. All right, now, next week 527 00:30:35,200 --> 00:30:37,960 Speaker 1: on Monday, we're going to be in a new month. Okay, 528 00:30:38,200 --> 00:30:41,719 Speaker 1: new month, New me. Spring is right around the corner. 529 00:30:42,160 --> 00:30:44,360 Speaker 1: It's going to be March, which means we're going to 530 00:30:44,440 --> 00:30:48,800 Speaker 1: start our month month I'm calling Mavericks and Outliers, and 531 00:30:48,840 --> 00:30:51,160 Speaker 1: we're going to start that with an episode all about 532 00:30:51,200 --> 00:30:54,040 Speaker 1: Patty Hurst. Patty Hurst, of course, was the granddaughter of 533 00:30:54,680 --> 00:30:58,120 Speaker 1: is the granddaughter of media mogul William Randolph Hurst. She 534 00:30:58,280 --> 00:31:01,560 Speaker 1: was kidnapped back in nineteen seventy four by the Simbaionese 535 00:31:01,560 --> 00:31:04,640 Speaker 1: Liberation Army, and her story wound its way to this 536 00:31:05,080 --> 00:31:09,200 Speaker 1: wild third act in where else Hollywood. You may think 537 00:31:09,240 --> 00:31:11,320 Speaker 1: you know this story, but trust me, you don't know 538 00:31:11,360 --> 00:31:13,240 Speaker 1: the half of it and you haven't heard it told 539 00:31:13,320 --> 00:31:16,160 Speaker 1: the way that we do, with the immersive double elvis 540 00:31:16,160 --> 00:31:19,480 Speaker 1: sound design and full effect. So do not miss that. 541 00:31:19,920 --> 00:31:23,560 Speaker 1: And with that in mind, I'm thinking about next week's 542 00:31:23,680 --> 00:31:26,840 Speaker 1: question of the Week for all you guys. Since Pattihurs 543 00:31:26,880 --> 00:31:30,280 Speaker 1: wound up acting in films on this very unorthodox path, 544 00:31:30,680 --> 00:31:32,480 Speaker 1: you know she's not trained, she hasn't come from a 545 00:31:32,480 --> 00:31:35,080 Speaker 1: family of actors. It got me thinking, what is your 546 00:31:35,120 --> 00:31:38,720 Speaker 1: favorite performance by a non actor or actress? Could be 547 00:31:38,760 --> 00:31:42,440 Speaker 1: a lead role or supporting or just a cameo. Your 548 00:31:42,520 --> 00:31:46,520 Speaker 1: favorite performance by a non actor or actress? Give me 549 00:31:46,600 --> 00:31:49,960 Speaker 1: a hauler, let me know six one seven nine oh 550 00:31:50,120 --> 00:31:54,560 Speaker 1: six six six three eight, leave me a voicemail, send 551 00:31:54,560 --> 00:31:57,160 Speaker 1: me a text, and I would love to hear from you, 552 00:31:57,200 --> 00:31:59,880 Speaker 1: and perhaps we'll read it next week in the Rap Party. Okay, 553 00:32:00,240 --> 00:32:03,240 Speaker 1: until then, I'm going to leave you with this. Here's 554 00:32:03,280 --> 00:32:07,280 Speaker 1: what America was watching at the movies in May two 555 00:32:07,360 --> 00:32:10,080 Speaker 1: thousand and nine, The Month That Dragged Me to Hell 556 00:32:10,480 --> 00:32:17,640 Speaker 1: was released in theaters. Number one Star Trek directed by j. J. Abrams. 557 00:32:18,800 --> 00:32:24,280 Speaker 1: Number two X Men Origins Wolverine directed by Gavin Hoodies. 558 00:32:25,360 --> 00:32:28,480 Speaker 1: Number three is directed by Peach. Angels and Demons directed 559 00:32:28,520 --> 00:32:32,160 Speaker 1: by Ronou. Number directed by Peter Back. Tonight at the 560 00:32:32,200 --> 00:32:36,040 Speaker 1: Museums Battle of the Smithsonian Aghos directed by Sean Levy. 561 00:32:36,280 --> 00:32:40,520 Speaker 1: Directed to it was Number five Terminator Salvation directed by 562 00:32:40,680 --> 00:32:46,760 Speaker 1: McGee directed. Number six Up directed by Flip Doctor Number 563 00:32:48,400 --> 00:32:50,920 Speaker 1: Quit Talking and start mixing