1 00:00:04,440 --> 00:00:08,080 Speaker 1: Hey, Hey, welcome to Weird House Cinema. Rewind. My name 2 00:00:08,119 --> 00:00:11,280 Speaker 1: is Joe McCormick, and the ball is back because today 3 00:00:11,320 --> 00:00:14,560 Speaker 1: we are bringing you an older episode of Weird House Cinema. 4 00:00:14,560 --> 00:00:18,400 Speaker 1: It's the one we did on Fantasm. This originally published 5 00:00:18,440 --> 00:00:22,200 Speaker 1: September thirtieth, twenty twenty two. Let's get right in. 6 00:00:25,560 --> 00:00:31,280 Speaker 2: Welcome to Stuff to Blow your Mind, a production of iHeartRadio. 7 00:00:35,440 --> 00:00:39,080 Speaker 3: Hey, welcome to Weird House Cinema. This is Rob Lamb. 8 00:00:39,040 --> 00:00:41,760 Speaker 1: And this is Joe McCormick. And as we enter the 9 00:00:41,880 --> 00:00:45,040 Speaker 1: Halloween season on Weird House Cinema, one of our favorite 10 00:00:45,080 --> 00:00:46,920 Speaker 1: times of the year. Why would I even say one 11 00:00:47,000 --> 00:00:49,639 Speaker 1: of clearly our favorite time of the year. We are 12 00:00:49,680 --> 00:00:53,040 Speaker 1: going to be doing a series of horror movies on 13 00:00:53,560 --> 00:00:56,680 Speaker 1: Weird House this month, and we're kicking it off today 14 00:00:57,080 --> 00:01:01,960 Speaker 1: with Fantasm. I first saw this movie V projected onto 15 00:01:02,040 --> 00:01:05,720 Speaker 1: a wall when I was in college. I had absolutely 16 00:01:05,760 --> 00:01:08,520 Speaker 1: no knowledge whatsoever about it going in. I just knew 17 00:01:08,600 --> 00:01:11,240 Speaker 1: they're showing a horror movie projecting it on a wall. 18 00:01:11,319 --> 00:01:13,360 Speaker 1: I gotta go see it. And I think it was 19 00:01:13,400 --> 00:01:17,240 Speaker 1: about the time we got to Reggie Banister in his 20 00:01:17,440 --> 00:01:21,000 Speaker 1: ice cream Man outfit that I started to really wonder 21 00:01:21,040 --> 00:01:24,520 Speaker 1: what I had gotten myself into. By the end, I 22 00:01:24,640 --> 00:01:28,600 Speaker 1: was totally amazed. I was, in fact agog and I 23 00:01:28,800 --> 00:01:30,760 Speaker 1: could not tell you if what I had just watched 24 00:01:30,840 --> 00:01:34,000 Speaker 1: was a good movie or a bad movie, but either way, 25 00:01:34,040 --> 00:01:35,040 Speaker 1: I was transfixed. 26 00:01:35,480 --> 00:01:38,800 Speaker 3: Yes, it is a film that tranfixes one. It's a 27 00:01:38,800 --> 00:01:44,480 Speaker 3: film that hypnotizes you. And yeah, I think I you know, 28 00:01:44,480 --> 00:01:46,040 Speaker 3: I have our time remembering when I saw this one 29 00:01:46,080 --> 00:01:48,400 Speaker 3: for the first time, because I think I saw Phantasm 30 00:01:48,440 --> 00:01:51,680 Speaker 3: two first. I think I saw it on Joe Bob 31 00:01:51,680 --> 00:01:54,880 Speaker 3: Briggs Monster Vision on TNT back in the day. I 32 00:01:54,880 --> 00:01:58,160 Speaker 3: think they would show this film quite a lot and that. 33 00:01:58,200 --> 00:02:00,080 Speaker 3: But at that point I was hooked. And then I 34 00:02:00,120 --> 00:02:04,040 Speaker 3: started picking up these other Fantasm films, renting them and 35 00:02:04,080 --> 00:02:08,480 Speaker 3: so forth. But yeah, this is nineteen seventy nine's Fantasm 36 00:02:08,520 --> 00:02:11,800 Speaker 3: we're going to be discussing. This is definitely a film 37 00:02:12,360 --> 00:02:14,799 Speaker 3: with a dream like quality to it. It's really it's 38 00:02:14,800 --> 00:02:16,400 Speaker 3: one we've kind of had in the back pocket for 39 00:02:16,440 --> 00:02:21,079 Speaker 3: a while because it is a quintessential psychotronic film. It 40 00:02:21,240 --> 00:02:24,080 Speaker 3: just all the boxes check off on this one. 41 00:02:24,400 --> 00:02:26,720 Speaker 1: I would say that it is more than just a 42 00:02:26,840 --> 00:02:30,079 Speaker 1: dreamlike quality. So you might compare it to the films 43 00:02:30,080 --> 00:02:33,480 Speaker 1: of Luccio Fulci, or is that you know, this Italian 44 00:02:33,520 --> 00:02:38,320 Speaker 1: filmmaker who made strange, kind of beautiful but gross horror 45 00:02:38,320 --> 00:02:42,360 Speaker 1: films that often many scenes feel like a dream because 46 00:02:42,400 --> 00:02:44,680 Speaker 1: you're like, wait, why are we here? How did we 47 00:02:44,720 --> 00:02:47,280 Speaker 1: get here? Why is the person doing that? There's a 48 00:02:47,360 --> 00:02:51,799 Speaker 1: kind of dream logic connecting everything. Phantasm does have that, 49 00:02:52,120 --> 00:02:54,080 Speaker 1: but I would say it goes a step farther in that. 50 00:02:54,320 --> 00:02:59,200 Speaker 1: Unlike full Chise films, Phantasm is literally a recursive series 51 00:02:59,240 --> 00:03:01,799 Speaker 1: of dreams as best I can tell, I mean, who 52 00:03:01,919 --> 00:03:04,600 Speaker 1: who knows? Like there are at least four times in 53 00:03:04,639 --> 00:03:07,600 Speaker 1: the movie where a character appears to wake up from 54 00:03:07,639 --> 00:03:10,679 Speaker 1: a dream. It is not clear when the dream started 55 00:03:10,880 --> 00:03:14,440 Speaker 1: or when the dream ended. What's a dream and what's reality? 56 00:03:14,919 --> 00:03:18,160 Speaker 3: Yeah? Yeah, I think that's a good way of putting it. Now. 57 00:03:18,360 --> 00:03:20,520 Speaker 3: I want to also note from the get go here 58 00:03:20,560 --> 00:03:22,480 Speaker 3: that this is a film with a both a devoted 59 00:03:22,520 --> 00:03:26,440 Speaker 3: following and multiple sequels that build on its lore to 60 00:03:26,560 --> 00:03:29,880 Speaker 3: varying degrees. We're mostly just going to be focusing on 61 00:03:29,960 --> 00:03:32,840 Speaker 3: the first film on nineteen seventy nine is Fantasm. I'm 62 00:03:32,880 --> 00:03:34,880 Speaker 3: going to bring up the sequel a little bit, But 63 00:03:35,800 --> 00:03:38,280 Speaker 3: for the most part, I haven't seen the other Phantasm 64 00:03:38,320 --> 00:03:41,280 Speaker 3: films in a long while, and I haven't seen the 65 00:03:41,320 --> 00:03:45,080 Speaker 3: final entry in the series twenty sixteens Phantasm Ravager at all. 66 00:03:45,720 --> 00:03:49,200 Speaker 3: So yeah, we're mostly going to be discussing Fantasm from 67 00:03:49,200 --> 00:03:50,960 Speaker 3: seventy nine on its own terms. 68 00:03:51,360 --> 00:03:53,800 Speaker 1: I have not seen any of the sequels. If this 69 00:03:53,880 --> 00:03:57,119 Speaker 1: were years ago, I might try to mount an attempt 70 00:03:57,120 --> 00:03:59,000 Speaker 1: to watch them all, kind of like I did when 71 00:03:59,000 --> 00:04:01,320 Speaker 1: I was like, oh, this is the year I watch 72 00:04:01,360 --> 00:04:04,280 Speaker 1: all the hell Raiser movies. That was a good use 73 00:04:04,320 --> 00:04:07,920 Speaker 1: of my time. But I don't know if I'm going 74 00:04:08,000 --> 00:04:09,520 Speaker 1: to make it now. I don't know if I will 75 00:04:09,560 --> 00:04:10,480 Speaker 1: get past P two. 76 00:04:10,840 --> 00:04:13,280 Speaker 3: Yeah. P two is a good stopping play, so I'll 77 00:04:13,280 --> 00:04:16,840 Speaker 3: discuss P two in a little bit. I think that 78 00:04:16,839 --> 00:04:20,960 Speaker 3: they're both very different films, and they're both very very fun, 79 00:04:21,000 --> 00:04:24,400 Speaker 3: and they're in different ways. But coming back to seventy 80 00:04:24,480 --> 00:04:27,440 Speaker 3: nine's Fantasm, let's hit the elevator pitch on this one. 81 00:04:27,560 --> 00:04:31,960 Speaker 3: I'd like to paraphrase the words of one Shack by saying, 82 00:04:32,480 --> 00:04:36,480 Speaker 3: you can summarize this one as flying balls, dwarves just weird. 83 00:04:36,920 --> 00:04:41,200 Speaker 1: Phantasm does not shy away from the otherworldly imagery, probably 84 00:04:41,240 --> 00:04:43,920 Speaker 1: the most iconic of which is the first thing you mentioned, 85 00:04:44,040 --> 00:04:49,080 Speaker 1: the flying ball. In a way, what Jason's hockey mask 86 00:04:49,360 --> 00:04:52,440 Speaker 1: is to the Friday the Thirteenth series, I believe the 87 00:04:52,520 --> 00:04:55,920 Speaker 1: ball is to the Phantasm series in that it is 88 00:04:55,960 --> 00:04:58,880 Speaker 1: not really the human villain, but it is like the 89 00:04:59,000 --> 00:05:02,000 Speaker 1: symbol of the villain's power, right. 90 00:05:02,080 --> 00:05:04,160 Speaker 3: And also it is something just in terms of like 91 00:05:04,279 --> 00:05:08,440 Speaker 3: elements of the film that cannot just be passively copied 92 00:05:08,440 --> 00:05:11,440 Speaker 3: by another film. Like if you have a character, a killer, 93 00:05:11,520 --> 00:05:14,360 Speaker 3: especially in another movie, put on a hockey mask, well 94 00:05:14,400 --> 00:05:17,040 Speaker 3: you just cross the line. You're in Jason's territory now, 95 00:05:17,640 --> 00:05:21,200 Speaker 3: and not necessarily mean that from a legal standpoint, but 96 00:05:21,240 --> 00:05:25,400 Speaker 3: from just a creative standpoint, like you are now clearly 97 00:05:25,839 --> 00:05:28,200 Speaker 3: in the shadow of Jason. You may have already been 98 00:05:28,200 --> 00:05:31,280 Speaker 3: in the shadow, but now you've stepped entirely within the 99 00:05:31,480 --> 00:05:35,960 Speaker 3: umbral shade there. Likewise, with this film, yeah, flying silver 100 00:05:36,040 --> 00:05:38,240 Speaker 3: balls of Death. You can't just have a flying silver 101 00:05:38,320 --> 00:05:40,680 Speaker 3: ball of death in your film or your story or 102 00:05:40,720 --> 00:05:44,960 Speaker 3: what have you without clearly saying yes, I come in 103 00:05:45,000 --> 00:05:46,000 Speaker 3: the wake of Phantasm. 104 00:05:46,320 --> 00:05:49,080 Speaker 1: Before you even understand the context of the ball, we 105 00:05:49,080 --> 00:05:51,760 Speaker 1: should describe what the ball is. It's a metal ball. 106 00:05:52,400 --> 00:05:55,600 Speaker 1: It flies through the air, flies at your face, It 107 00:05:55,640 --> 00:05:58,680 Speaker 1: attaches itself to your forehead via a couple of little 108 00:05:58,920 --> 00:06:01,800 Speaker 1: hooks I guess, then get in your head, and then 109 00:06:01,839 --> 00:06:04,799 Speaker 1: it drills into your head and then drains your body 110 00:06:04,960 --> 00:06:07,520 Speaker 1: entirely of blood in a jet that shoots out the 111 00:06:07,560 --> 00:06:08,400 Speaker 1: back of the ball. 112 00:06:08,800 --> 00:06:11,680 Speaker 3: Yeah. And they're so great because and I love just 113 00:06:11,720 --> 00:06:15,600 Speaker 3: thinking about what makes them great, because they're and again 114 00:06:15,800 --> 00:06:21,280 Speaker 3: largely keeping things relegated to the original film here, they 115 00:06:21,320 --> 00:06:25,480 Speaker 3: seem to be machines. They are pieces of technology. They're 116 00:06:25,560 --> 00:06:28,120 Speaker 3: very good at what they do, but they can be evaded, 117 00:06:28,200 --> 00:06:31,400 Speaker 3: they can be to certain degrees outsmarted. And then there's 118 00:06:31,440 --> 00:06:35,200 Speaker 3: also something about the way they function that feels not 119 00:06:35,320 --> 00:06:39,799 Speaker 3: only alien in origin, but also maybe alien in function, 120 00:06:40,000 --> 00:06:44,000 Speaker 3: Like it makes me think of parasitic infections where the 121 00:06:44,040 --> 00:06:46,440 Speaker 3: parasite goes awry because it's not supposed to be in 122 00:06:46,480 --> 00:06:48,479 Speaker 3: a human body and it's not supposed to wind up 123 00:06:48,520 --> 00:06:51,159 Speaker 3: in the brain. Like you almost feel like this is 124 00:06:51,160 --> 00:06:53,839 Speaker 3: a machine that was made to interface with a different 125 00:06:54,160 --> 00:06:58,240 Speaker 3: biological form, and what we're seeing here is it executing 126 00:06:58,360 --> 00:07:02,080 Speaker 3: its purpose on a box that it wasn't designed for. 127 00:07:02,440 --> 00:07:05,120 Speaker 1: That's a very good comparison. Yes, this flying metal ball 128 00:07:05,240 --> 00:07:08,559 Speaker 1: is sort of like the toxoplasma Gandhi of the Red 129 00:07:08,640 --> 00:07:12,720 Speaker 1: planet that the aliens in this movie come from. In fact, 130 00:07:12,760 --> 00:07:15,679 Speaker 1: I was reading a bit of trivia about this movie, 131 00:07:15,720 --> 00:07:21,480 Speaker 1: and apparently the idea for Phantasm traces back to a 132 00:07:21,640 --> 00:07:25,000 Speaker 1: dream that the director Don Coscarelli had when he was 133 00:07:25,040 --> 00:07:28,760 Speaker 1: a teenager. He dreamed that he was running down these 134 00:07:29,000 --> 00:07:33,440 Speaker 1: endless corridors, marble corridors that never stopped, and he just 135 00:07:33,520 --> 00:07:36,720 Speaker 1: kept running and running because he was being chased by 136 00:07:36,760 --> 00:07:41,680 Speaker 1: a chrome sphere, a floating chrome ball that wanted to 137 00:07:41,760 --> 00:07:46,000 Speaker 1: penetrate his skull with a needle. And that's a pretty 138 00:07:46,000 --> 00:07:49,760 Speaker 1: scary image. I am surprised how well that worked on screen. 139 00:07:50,400 --> 00:07:54,200 Speaker 3: Yeah, it did, It absolutely does. All right, Well, let's 140 00:07:54,200 --> 00:08:06,920 Speaker 3: go ahead and hear the trailer for Fanfasm Fantasm. 141 00:08:07,080 --> 00:08:25,960 Speaker 4: Is it a nightmare? Phantasm? Is it an illusion? Phantasm? 142 00:08:28,480 --> 00:08:29,320 Speaker 1: Whatever it is. 143 00:08:34,800 --> 00:08:51,400 Speaker 4: If this one doesn't scare you, you're already dead fantasm. 144 00:08:51,440 --> 00:08:54,240 Speaker 3: All right. I love this trailer, great trailer. I love 145 00:08:54,480 --> 00:08:58,120 Speaker 3: the line if this one doesn't scare you, you're already dead, 146 00:08:58,800 --> 00:09:00,920 Speaker 3: because it makes it sound like they should have another 147 00:09:00,960 --> 00:09:03,760 Speaker 3: message at the end of the movie that says like, 148 00:09:03,800 --> 00:09:07,640 Speaker 3: are you alive, then we're pleased to hear you enjoyed Phantasm. 149 00:09:08,360 --> 00:09:13,319 Speaker 1: So we've already compared Phantasm to some Italian horror movies, 150 00:09:13,440 --> 00:09:18,960 Speaker 1: especially ful cheese movies, because of its dream equality and colorful, 151 00:09:19,040 --> 00:09:22,920 Speaker 1: lucid imagery. But another point of comparison I would like 152 00:09:22,960 --> 00:09:26,679 Speaker 1: to raise is that Phantasm kind of reminds me of 153 00:09:26,760 --> 00:09:32,719 Speaker 1: the films of very low budget independent amateur filmmakers, or 154 00:09:32,720 --> 00:09:36,280 Speaker 1: maybe not necessarily amateur, but low budget independent filmmakers even 155 00:09:36,320 --> 00:09:40,080 Speaker 1: going back to the fifties, like Ed Wood and Roger Corman. 156 00:09:40,320 --> 00:09:42,480 Speaker 1: Of course, you know you're gonna have different levels of 157 00:09:43,400 --> 00:09:45,839 Speaker 1: ability to realize one's vision in there, but it has 158 00:09:45,920 --> 00:09:50,800 Speaker 1: that same scrappiness that it feels like an improvised production 159 00:09:51,360 --> 00:09:54,439 Speaker 1: of young people who didn't necessarily always know what they 160 00:09:54,440 --> 00:09:57,560 Speaker 1: were doing or have all the permits they needed, or 161 00:09:57,600 --> 00:10:02,480 Speaker 1: have the money to realize everything in the glossiest possible way. 162 00:10:02,800 --> 00:10:05,400 Speaker 1: And yet it does kind of come together with an 163 00:10:05,440 --> 00:10:10,439 Speaker 1: infectious enthusiasm and a kind of irresistible energy, even though 164 00:10:10,480 --> 00:10:13,920 Speaker 1: it kind of lacks a sense of worldliness or experience. 165 00:10:14,400 --> 00:10:18,880 Speaker 3: Yeah, absolutely, it does have that scrappiness to it. So 166 00:10:19,320 --> 00:10:23,120 Speaker 3: let's get into the individuals behind this scrappiness, because yes, 167 00:10:23,200 --> 00:10:27,400 Speaker 3: this is a Don Cossarelli picture. Don Costarelli was born 168 00:10:27,480 --> 00:10:30,800 Speaker 3: in nineteen fifty four. He is the director, the writer, 169 00:10:31,000 --> 00:10:34,120 Speaker 3: the cinematographer, and the film editor on this movie. He 170 00:10:34,480 --> 00:10:37,800 Speaker 3: was I believe twenty three years old when filming started 171 00:10:38,000 --> 00:10:40,120 Speaker 3: and twenty five years old when it was released, and 172 00:10:40,160 --> 00:10:43,720 Speaker 3: this was his third picture, following nineteen seventy five's Jim 173 00:10:43,840 --> 00:10:47,640 Speaker 3: the World's Greatest in nineteen seventy six is Kinney and Company. 174 00:10:47,960 --> 00:10:51,960 Speaker 1: Phantasm makes so much more sense once you shared this 175 00:10:52,040 --> 00:10:55,599 Speaker 1: fact with me that Coscarelli was twenty three when he 176 00:10:55,679 --> 00:10:59,960 Speaker 1: started making it. It has such early twenties energy, again 177 00:11:00,160 --> 00:11:03,640 Speaker 1: coming back to that lack of wisdom and worldliness, but 178 00:11:03,760 --> 00:11:05,840 Speaker 1: at the same time a thing that makes up for it, 179 00:11:05,880 --> 00:11:09,360 Speaker 1: which is an absolutely like it is a leaky vessel 180 00:11:09,600 --> 00:11:13,080 Speaker 1: of the essence of fun. It's just like kind of 181 00:11:13,760 --> 00:11:17,360 Speaker 1: you feel the excitement about making a movie within this. 182 00:11:17,440 --> 00:11:22,280 Speaker 3: Movie, Yeah, yeah, absolutely, it's there's I think there's a 183 00:11:22,320 --> 00:11:25,040 Speaker 3: lot to this film that does line up perfectly with 184 00:11:25,080 --> 00:11:29,600 Speaker 3: this idea of the twenty three year old filmmaker of 185 00:11:29,640 --> 00:11:35,600 Speaker 3: a early twenties dreamer who's also exploring exploring some familiar topics. 186 00:11:36,080 --> 00:11:39,559 Speaker 3: A lot of horror films deal with sex and death, too. 187 00:11:39,600 --> 00:11:43,160 Speaker 3: Many horror films probably deal with the dichotomy of sex 188 00:11:43,200 --> 00:11:46,520 Speaker 3: and death, but this one does so in a I thought, 189 00:11:46,520 --> 00:11:51,600 Speaker 3: a very fascinating way. Like you get the feeling of 190 00:11:51,600 --> 00:11:55,360 Speaker 3: of of the youth standing, you know, outside of childhood 191 00:11:55,720 --> 00:11:59,960 Speaker 3: but not within the adult world, confronted by the mystery 192 00:12:00,760 --> 00:12:05,360 Speaker 3: of death, of sex, and and just trying to figure 193 00:12:05,360 --> 00:12:07,760 Speaker 3: out what these are and like what and to what 194 00:12:07,840 --> 00:12:10,679 Speaker 3: extent they are threats to him, to what extent they 195 00:12:10,720 --> 00:12:13,360 Speaker 3: are his destiny. We see all of that wound up 196 00:12:13,400 --> 00:12:17,880 Speaker 3: in the character of Mike. Yeah, it's it's really fascinating 197 00:12:17,880 --> 00:12:20,760 Speaker 3: to look back on it and really gaze long and 198 00:12:20,800 --> 00:12:22,199 Speaker 3: deep into the phantasm here. 199 00:12:22,520 --> 00:12:24,440 Speaker 1: So you mentioned that Coscarelli had made a couple of 200 00:12:24,480 --> 00:12:28,319 Speaker 1: movies before Phantasm that were not horror movies, though there 201 00:12:28,440 --> 00:12:30,959 Speaker 1: is a there's a story that I think comes from 202 00:12:31,120 --> 00:12:34,280 Speaker 1: the audio commentary track that he recorded for the movie, 203 00:12:34,360 --> 00:12:38,040 Speaker 1: but anyway, wherever it comes from, the story is that 204 00:12:38,120 --> 00:12:41,359 Speaker 1: he got the idea to make a horror film because 205 00:12:42,480 --> 00:12:45,600 Speaker 1: when he was sitting in an audience that was watching 206 00:12:45,600 --> 00:12:48,480 Speaker 1: his earlier movie Kenny in Company, which I've never seen. 207 00:12:48,679 --> 00:12:50,200 Speaker 1: I don't know what the deal with it is. Apparently 208 00:12:50,200 --> 00:12:52,280 Speaker 1: there's a jump scare moment in it, like a character 209 00:12:52,320 --> 00:12:55,360 Speaker 1: puts on a scary mask and jumps out, and he 210 00:12:55,480 --> 00:12:59,080 Speaker 1: watched the way the audience reacted to this jump scare moment, 211 00:12:59,160 --> 00:13:02,120 Speaker 1: and he is just he was so into it the 212 00:13:02,160 --> 00:13:05,000 Speaker 1: way that they like they literally jumped from their seats 213 00:13:05,000 --> 00:13:07,280 Speaker 1: and screamed, and he was like, I gotta make a 214 00:13:07,320 --> 00:13:09,200 Speaker 1: whole movie of this. I'm doing horror now. 215 00:13:09,520 --> 00:13:12,800 Speaker 3: Yeah. I do like that he came into this after 216 00:13:12,840 --> 00:13:15,440 Speaker 3: having made two non horror films that I think both 217 00:13:15,679 --> 00:13:16,920 Speaker 3: I haven't seen either of them either, but I think 218 00:13:16,960 --> 00:13:20,040 Speaker 3: they both revolve largely around young people in the lives 219 00:13:20,040 --> 00:13:22,960 Speaker 3: of young people, and then he moves on into horror. 220 00:13:22,960 --> 00:13:25,199 Speaker 3: A lot of people yet jump right into the horror, 221 00:13:25,559 --> 00:13:28,040 Speaker 3: and so I think that's another reason that Phantasm works 222 00:13:28,040 --> 00:13:32,200 Speaker 3: so well, is that it's not just obsessed with like, 223 00:13:32,320 --> 00:13:34,160 Speaker 3: let's get some gore up there on the screen, like, 224 00:13:34,200 --> 00:13:38,560 Speaker 3: there is also this attention to the central youth character 225 00:13:38,720 --> 00:13:41,360 Speaker 3: in the film and what he's thinking and how he's 226 00:13:41,360 --> 00:13:42,400 Speaker 3: processing everything. 227 00:13:42,880 --> 00:13:49,680 Speaker 1: Another way that Coscarelli's vision feels as distinctly young to 228 00:13:49,760 --> 00:13:53,560 Speaker 1: me is the way the movie tries to pack in 229 00:13:54,080 --> 00:13:57,760 Speaker 1: a lot of elements that are not necessarily They don't 230 00:13:57,800 --> 00:14:01,640 Speaker 1: necessarily like fit smoothly, but he's just trying to get 231 00:14:01,679 --> 00:14:04,200 Speaker 1: a lot of stuff in there. And I think part 232 00:14:04,200 --> 00:14:06,720 Speaker 1: of that is also explained by another trivia fact I 233 00:14:06,760 --> 00:14:10,640 Speaker 1: read about the movie, which is that he apparently at 234 00:14:10,640 --> 00:14:13,920 Speaker 1: one point talked about how he remembered when he was 235 00:14:13,960 --> 00:14:18,640 Speaker 1: a kid, he would see ads and trailers for horror 236 00:14:18,679 --> 00:14:21,960 Speaker 1: movies that would seem really exciting, but then when you 237 00:14:22,000 --> 00:14:24,320 Speaker 1: would go watch the actual movie, it would just be 238 00:14:24,440 --> 00:14:26,920 Speaker 1: people sitting around talking for most of the movie. There 239 00:14:26,920 --> 00:14:29,880 Speaker 1: were actually very few scares in them. The scares were 240 00:14:29,880 --> 00:14:32,280 Speaker 1: already in the trailer, and he wanted to make a 241 00:14:32,320 --> 00:14:36,000 Speaker 1: movie that had a scary moment at least every five minutes, 242 00:14:36,080 --> 00:14:39,480 Speaker 1: that is just packed with little scares and weird things. 243 00:14:40,040 --> 00:14:41,440 Speaker 1: And it kind of reminds me of the story of 244 00:14:41,520 --> 00:14:44,240 Speaker 1: Roger Korman telling Charles B. Griffith, Okay, when you ride 245 00:14:44,200 --> 00:14:46,760 Speaker 1: to Tack of the Crab Monsters, the important thing is 246 00:14:46,800 --> 00:14:49,880 Speaker 1: it has to have action or horror on every page. 247 00:14:50,360 --> 00:14:53,040 Speaker 3: Yeah, phantasm doesn't really hold anything back, and it keeps 248 00:14:53,080 --> 00:14:55,600 Speaker 3: you on your toes that way it is, and I 249 00:14:55,600 --> 00:14:58,440 Speaker 3: think also builds into that dreamline quality. If things are 250 00:14:58,480 --> 00:15:00,960 Speaker 3: making sense and seeming normal, how long are they going 251 00:15:01,000 --> 00:15:04,240 Speaker 3: to do that? What can happen? And eventually you feel 252 00:15:04,240 --> 00:15:07,400 Speaker 3: like anything can happen at any moment. Now, this film, 253 00:15:07,440 --> 00:15:09,840 Speaker 3: like we said, the scrappiness of it, it was made for. 254 00:15:09,880 --> 00:15:12,520 Speaker 3: I think it's been estimated for around three hundred thousand, 255 00:15:12,680 --> 00:15:16,440 Speaker 3: though I think the estimation there is kind of rough 256 00:15:16,480 --> 00:15:20,480 Speaker 3: because I don't think they were really keeping super accurate records. 257 00:15:21,200 --> 00:15:26,760 Speaker 3: Ended up grossing millions, though with a success with audiences 258 00:15:26,920 --> 00:15:29,120 Speaker 3: and some critics. I was looking back, I noticed that 259 00:15:29,160 --> 00:15:32,240 Speaker 3: Ebert was not a big fan of Phantasm and liked 260 00:15:32,240 --> 00:15:36,320 Speaker 3: Phantasm too even less. But Michael Weldon of the Psychotronic 261 00:15:36,360 --> 00:15:39,960 Speaker 3: Film Guides, he loved it. It's one of his favorites. 262 00:15:40,160 --> 00:15:43,480 Speaker 3: He celebrated it as quote a unique and fascinating horror 263 00:15:43,560 --> 00:15:46,720 Speaker 3: hit with more satisfying surprises than you could find in 264 00:15:46,760 --> 00:15:50,000 Speaker 3: a dozen other recent offerings. And that was written in 265 00:15:50,040 --> 00:15:54,040 Speaker 3: I think eighty three, So this film really established Cossarelli 266 00:15:54,080 --> 00:15:57,800 Speaker 3: within the horror realm. He followed this up with nineteen 267 00:15:57,840 --> 00:16:01,280 Speaker 3: eighty three's beast Master, which I think is also a 268 00:16:01,280 --> 00:16:03,840 Speaker 3: pretty solid film in my opinion anyway, and certainly one 269 00:16:03,880 --> 00:16:05,400 Speaker 3: that has achieved cult status. 270 00:16:05,680 --> 00:16:09,200 Speaker 1: He got some stars for that one, right, Who's in it? 271 00:16:09,520 --> 00:16:12,760 Speaker 3: Rip Torn, Rip Horn is in it? The beast Master. 272 00:16:12,840 --> 00:16:14,920 Speaker 3: They got the beast Master for it, which is id 273 00:16:15,080 --> 00:16:19,280 Speaker 3: all since it's about the beast Master. What Mark Singer? Yeah, yeah, 274 00:16:19,680 --> 00:16:22,360 Speaker 3: so yeah. We talked about beast Master two on a 275 00:16:22,400 --> 00:16:24,080 Speaker 3: past episode of Weird House, So if you want more 276 00:16:24,120 --> 00:16:26,680 Speaker 3: beast Master action, go back to that one. But again, 277 00:16:26,800 --> 00:16:29,880 Speaker 3: I think eighty three's beast Mastered pretty solid. 278 00:16:30,520 --> 00:16:33,720 Speaker 1: In Coscarelli's defense, he did not direct beast Master two. 279 00:16:34,040 --> 00:16:36,960 Speaker 1: That was somebody else, right now. 280 00:16:37,080 --> 00:16:41,080 Speaker 3: Colgarelli did come back to direct and write Phantasm two 281 00:16:41,320 --> 00:16:44,640 Speaker 3: in nineteen eighty eight, Phantasm three, Lord of the Dead 282 00:16:44,680 --> 00:16:49,160 Speaker 3: in nineteen ninety four, and Phantasm four Oblivion in nineteen 283 00:16:49,240 --> 00:16:54,200 Speaker 3: ninety eight. His non Fantasm directional credits also include Survival 284 00:16:54,280 --> 00:16:57,240 Speaker 3: Quest in eighty eight, Bubba Hotep in two thousand and two. 285 00:16:57,480 --> 00:17:01,400 Speaker 3: He did a Master's of Horror episode titled Incident On 286 00:17:01,560 --> 00:17:04,200 Speaker 3: and Off a Mountain Road From two thousand and five, 287 00:17:04,600 --> 00:17:07,600 Speaker 3: both that and Bubba Hotep are based on Joe Lansdale stories. 288 00:17:08,080 --> 00:17:10,480 Speaker 3: He did John Dies at the End in twenty twelve, 289 00:17:11,040 --> 00:17:14,480 Speaker 3: and he also directed the Doo music video The Last 290 00:17:14,560 --> 00:17:16,280 Speaker 3: in Line in nineteen eighty four. 291 00:17:16,600 --> 00:17:19,080 Speaker 1: A Doo music video. I got to look that up 292 00:17:19,119 --> 00:17:19,480 Speaker 1: after this. 293 00:17:19,960 --> 00:17:22,639 Speaker 3: Yeah, I'm not familiar with their music videos. 294 00:17:23,000 --> 00:17:27,520 Speaker 1: So I read a few more Internet trivia anecdotes about 295 00:17:27,560 --> 00:17:30,160 Speaker 1: Don Coscarelli in the making of this movie, one of which, 296 00:17:30,680 --> 00:17:34,840 Speaker 1: again contributing to the general idea of budgetary scrappiness. Apparently 297 00:17:35,680 --> 00:17:38,880 Speaker 1: they really juiced every last drop they could get out 298 00:17:38,920 --> 00:17:42,399 Speaker 1: of their camera and equipment rentals. So one of the 299 00:17:42,440 --> 00:17:45,280 Speaker 1: stories is that they would shoot on the weekends. I 300 00:17:45,320 --> 00:17:47,320 Speaker 1: think that took them like over a year to shoot 301 00:17:47,359 --> 00:17:50,040 Speaker 1: this movie because they were pretty much just shooting on 302 00:17:50,160 --> 00:17:53,520 Speaker 1: weekends and they would rent their camera equipment on Fridays 303 00:17:53,600 --> 00:17:56,840 Speaker 1: and return it on Mondays. So they're technically only paying 304 00:17:57,040 --> 00:17:59,400 Speaker 1: for one business day of rental, but then they would 305 00:17:59,440 --> 00:18:03,680 Speaker 1: use it allkend. Another thing is some of the stories 306 00:18:03,720 --> 00:18:05,879 Speaker 1: about the production make it sound like they were not 307 00:18:06,160 --> 00:18:11,120 Speaker 1: practicing what industry safety standards for, say stunts and kind 308 00:18:11,160 --> 00:18:14,800 Speaker 1: of dangerous the achievement of dangerous shots. So there are 309 00:18:14,840 --> 00:18:18,800 Speaker 1: stories of the director like personally doing camera work for 310 00:18:18,960 --> 00:18:22,960 Speaker 1: like filming some of the car chase sequences in not 311 00:18:23,119 --> 00:18:25,119 Speaker 1: the best way. Like one thing they did is, you know, 312 00:18:25,280 --> 00:18:27,399 Speaker 1: usually when you see characters inside a car and a 313 00:18:27,480 --> 00:18:31,159 Speaker 1: movie talking, the car's not actually moving. They'll have you know, 314 00:18:31,520 --> 00:18:34,160 Speaker 1: them sitting in a stationary car, and then they will 315 00:18:34,240 --> 00:18:37,239 Speaker 1: somehow simulate the movement of the outside world around the car. 316 00:18:37,320 --> 00:18:39,600 Speaker 1: If it's at night, they might just like move lights around, 317 00:18:40,000 --> 00:18:42,359 Speaker 1: or they might have a rear projection or something like that. 318 00:18:43,359 --> 00:18:45,639 Speaker 1: That's often how they do it. In this movie, they 319 00:18:45,760 --> 00:18:48,480 Speaker 1: just they just actually had characters driving the cars and 320 00:18:48,560 --> 00:18:51,240 Speaker 1: they were acting at the same time. That's not usually 321 00:18:51,320 --> 00:18:53,720 Speaker 1: a great idea. But another story is that there's a 322 00:18:53,760 --> 00:18:55,720 Speaker 1: scene in the movie where there's like a car chase 323 00:18:56,160 --> 00:18:59,800 Speaker 1: where one of the characters, Jody, is shooting a gun 324 00:19:00,200 --> 00:19:02,240 Speaker 1: at another car that's chasing them. And I think they 325 00:19:02,320 --> 00:19:05,880 Speaker 1: actually did film this with moving cars, with the director 326 00:19:06,040 --> 00:19:09,520 Speaker 1: sort of like sitting on the trunk of a moving 327 00:19:09,640 --> 00:19:13,760 Speaker 1: car filming, you know, the actor playing Jody popping up 328 00:19:13,800 --> 00:19:16,240 Speaker 1: out of the window and shooting at the car behind. 329 00:19:16,000 --> 00:19:17,200 Speaker 3: Them with a shotgun. 330 00:19:17,359 --> 00:19:20,280 Speaker 1: Right, I think it had lengths, But even that can 331 00:19:20,359 --> 00:19:21,080 Speaker 1: be dangerous that. 332 00:19:21,320 --> 00:19:21,520 Speaker 3: Yeah. 333 00:19:22,200 --> 00:19:26,200 Speaker 1: I love realistic effects too, but a movie production, you know, 334 00:19:26,400 --> 00:19:28,840 Speaker 1: no movie is worth somebody actually getting hurt or killed. 335 00:19:28,920 --> 00:19:30,680 Speaker 1: You know, practice safety on sets people. 336 00:19:31,000 --> 00:19:35,840 Speaker 3: Now, this was very much a Costarelli family labor of 337 00:19:35,960 --> 00:19:40,199 Speaker 3: love here because the producer on this was Dat Cossarelli, 338 00:19:40,680 --> 00:19:44,040 Speaker 3: who was also dad investment counselor at the time, who 339 00:19:44,119 --> 00:19:46,240 Speaker 3: helped his son fund the film and later served as 340 00:19:46,320 --> 00:19:50,960 Speaker 3: EP on Don's other films. And then Mom was also involved. 341 00:19:51,400 --> 00:19:55,520 Speaker 3: Kate Cossarelli, who lived nineteen twenty seven through nineteen ninety nine. 342 00:19:55,960 --> 00:20:01,359 Speaker 3: She did makeup, production, design, wardrobe. She she also this 343 00:20:01,560 --> 00:20:05,560 Speaker 3: is super interesting. She was already a novelist apparently, if 344 00:20:05,600 --> 00:20:08,720 Speaker 3: I'm understanding this correctly, She wrote books like Leading Lady, 345 00:20:08,960 --> 00:20:12,840 Speaker 3: Fame and Fortune, but she herself wrote the novelization of 346 00:20:12,960 --> 00:20:16,000 Speaker 3: Fantasm based on her son's screenplay, which I think is 347 00:20:16,440 --> 00:20:17,360 Speaker 3: that's that's adorable. 348 00:20:17,400 --> 00:20:19,680 Speaker 1: I love that she had to knife fight Alan Dene 349 00:20:19,720 --> 00:20:20,840 Speaker 1: Foster for the rights, so. 350 00:20:22,680 --> 00:20:24,840 Speaker 3: I don't know how that went down, but it's yeah, 351 00:20:24,880 --> 00:20:27,760 Speaker 3: it's apparently I was looking around for any signs of 352 00:20:27,840 --> 00:20:33,280 Speaker 3: apparently a very sought after book for diehard Phantasm fans, 353 00:20:34,080 --> 00:20:36,119 Speaker 3: but I did run across a few quotes here and 354 00:20:36,160 --> 00:20:38,760 Speaker 3: there of her talking about at adapting it and you know, 355 00:20:39,080 --> 00:20:41,359 Speaker 3: picking up on little details in the film and working 356 00:20:41,440 --> 00:20:44,520 Speaker 3: those out. So uh yeah, it seemed like a labor 357 00:20:44,560 --> 00:20:55,760 Speaker 3: of love for her. All right, Let's get into the cast. 358 00:20:56,480 --> 00:20:59,080 Speaker 3: We mentioned Mike. Mike is the youth. Mike is the 359 00:20:59,160 --> 00:21:03,080 Speaker 3: central character and Phantasm, and Mike was played by A. 360 00:21:03,320 --> 00:21:07,639 Speaker 3: Michael Baldwin born in nineteen sixty three, apparently son of 361 00:21:07,760 --> 00:21:10,320 Speaker 3: animator Gerald Baldwin, who will work on a number of 362 00:21:10,440 --> 00:21:14,880 Speaker 3: older animated shows. So A Michael Baldwin was a child 363 00:21:14,960 --> 00:21:17,960 Speaker 3: actor who appeared as early as nineteen seventy six in 364 00:21:18,040 --> 00:21:20,800 Speaker 3: episodes of Starsky and Hutch and Eight Is Enough. Later on, 365 00:21:21,560 --> 00:21:24,800 Speaker 3: he starred as Doug and Kenny and Company from seventy six. 366 00:21:24,920 --> 00:21:28,480 Speaker 3: That's Done's one of Don's previous films, and his post 367 00:21:28,560 --> 00:21:32,040 Speaker 3: Phantasm acting career is is pretty fantasm heavy, and I 368 00:21:32,119 --> 00:21:35,800 Speaker 3: believe he went on to teach acting. None of this 369 00:21:35,920 --> 00:21:39,080 Speaker 3: matters though, because he's I think he's absolutely perfect in Phantasm. 370 00:21:39,200 --> 00:21:43,840 Speaker 3: He's just believably awkward and childlike, but still, you know, clearly, 371 00:21:44,440 --> 00:21:48,200 Speaker 3: you know, beyond the limits of childhood. He's but he's 372 00:21:48,280 --> 00:21:51,480 Speaker 3: also even though he's awkward, he's still charismatic enough to 373 00:21:51,560 --> 00:21:54,359 Speaker 3: serve as the hero of the film, and you know, 374 00:21:54,440 --> 00:21:58,640 Speaker 3: to be this action based character when it's right. So yeah, 375 00:21:58,720 --> 00:22:01,680 Speaker 3: I absolutely love a Michael Baldwin's performance here, and and 376 00:22:01,720 --> 00:22:07,000 Speaker 3: I can understand why fans were disappointed that his role 377 00:22:07,119 --> 00:22:08,719 Speaker 3: was recast in Phantasm too. 378 00:22:09,000 --> 00:22:11,200 Speaker 1: I'm going to ask a question about Mike, but this 379 00:22:11,400 --> 00:22:15,399 Speaker 1: also applies to Jody and especially Reggie. How old is 380 00:22:15,520 --> 00:22:17,320 Speaker 1: anybody in this movie supposed to be? 381 00:22:18,000 --> 00:22:22,160 Speaker 3: Yeah, it's a little little foggy, right, because Mike, for instance, 382 00:22:23,119 --> 00:22:26,399 Speaker 3: I you know, I think it would be reasonable to 383 00:22:26,440 --> 00:22:28,960 Speaker 3: think of him as like a as being a high 384 00:22:28,960 --> 00:22:30,960 Speaker 3: school graduate. We have, but we have no idea like 385 00:22:31,040 --> 00:22:33,840 Speaker 3: where he is in terms of high school. I assume 386 00:22:33,920 --> 00:22:36,480 Speaker 3: he's done. Like we don't see we don't I don't 387 00:22:36,480 --> 00:22:38,240 Speaker 3: think we really see much in the way of friends. 388 00:22:38,440 --> 00:22:39,840 Speaker 3: There are a few people here and there. There's no 389 00:22:39,960 --> 00:22:42,639 Speaker 3: I don't think mentioned of school. I don't remember anything 390 00:22:42,680 --> 00:22:45,720 Speaker 3: about like his plans for the future. But in a 391 00:22:45,800 --> 00:22:48,280 Speaker 3: way that's kind of perfect, like that it's perfect for 392 00:22:48,440 --> 00:22:51,960 Speaker 3: this this kind of character who is adrift in the 393 00:22:52,160 --> 00:22:55,240 Speaker 3: very early stages of adulthood, that has no concept of 394 00:22:55,400 --> 00:22:58,359 Speaker 3: like what the future means for him, and is already 395 00:22:58,400 --> 00:23:02,359 Speaker 3: a feeling himself attached or partially detached from the protective 396 00:23:03,000 --> 00:23:04,159 Speaker 3: aura of childhood. 397 00:23:04,520 --> 00:23:07,720 Speaker 1: That's interesting. You read him as a high school graduate, 398 00:23:07,880 --> 00:23:11,440 Speaker 1: I don't know. So he drives a car that you 399 00:23:11,560 --> 00:23:13,879 Speaker 1: can't tell if he's supposed to be doing that legally, 400 00:23:15,119 --> 00:23:17,560 Speaker 1: and he knows how to fix cars and things like that, 401 00:23:18,320 --> 00:23:20,840 Speaker 1: and there are other things that would suggest he's older, 402 00:23:20,920 --> 00:23:24,080 Speaker 1: but sometimes also he actually his character is supposed to 403 00:23:24,119 --> 00:23:24,920 Speaker 1: be twelve. 404 00:23:25,119 --> 00:23:27,440 Speaker 3: Yes, definitely, But how much of that is he like 405 00:23:27,600 --> 00:23:32,480 Speaker 3: just kind of an immature, you know, young adult, but 406 00:23:32,600 --> 00:23:34,600 Speaker 3: it is very vague, And I think that's one of 407 00:23:34,840 --> 00:23:37,879 Speaker 3: the things that works about it, Like he's he's a child, 408 00:23:38,200 --> 00:23:40,800 Speaker 3: but he's he's a youth, but he's he's not he's 409 00:23:40,840 --> 00:23:42,879 Speaker 3: certainly I don't think we would say that he's fully 410 00:23:44,040 --> 00:23:47,160 Speaker 3: in the area of adulthood yet, because on one level, 411 00:23:47,160 --> 00:23:49,359 Speaker 3: I don't think he has a job or anything. And 412 00:23:49,520 --> 00:23:51,640 Speaker 3: his room, as we'll discuss in a bit, is still 413 00:23:51,800 --> 00:23:55,639 Speaker 3: very much feels like a fortress of childhood. It feels 414 00:23:55,760 --> 00:23:58,000 Speaker 3: like a place where you were safe, where you should 415 00:23:58,040 --> 00:24:01,600 Speaker 3: be safe from from sex and death and other complexities 416 00:24:01,640 --> 00:24:02,480 Speaker 3: of the grown up world. 417 00:24:02,880 --> 00:24:06,960 Speaker 1: I love Mike's room, especially because he's got I don't 418 00:24:06,960 --> 00:24:09,080 Speaker 1: know how they achieve this. He's got like a wall 419 00:24:09,400 --> 00:24:12,440 Speaker 1: sized poster of the surface of the moon with the 420 00:24:12,520 --> 00:24:15,000 Speaker 1: Earth in the background. Is that supposed to be just 421 00:24:15,040 --> 00:24:17,159 Speaker 1: a single poster that you buy somewhere. I don't know 422 00:24:17,200 --> 00:24:19,399 Speaker 1: how they achieve now, but it's it's Florida ceiling. 423 00:24:19,440 --> 00:24:22,399 Speaker 3: It's gigantic, it's absolutely dope. And then he has this 424 00:24:22,800 --> 00:24:26,919 Speaker 3: this seventies crocheted blanket. It's like yellow and green, and oh, 425 00:24:26,960 --> 00:24:29,040 Speaker 3: I love those things. I think I've napped with that 426 00:24:29,320 --> 00:24:31,200 Speaker 3: very blanket before. You're wrong. 427 00:24:31,359 --> 00:24:35,399 Speaker 1: It's not yellow and green. It is white, brown and gold. 428 00:24:36,040 --> 00:24:37,520 Speaker 3: Ooh, that's very good. 429 00:24:38,000 --> 00:24:38,919 Speaker 1: Seventies colors. 430 00:24:39,200 --> 00:24:42,600 Speaker 3: All right, So that's Mike. But Mike has a brother. 431 00:24:42,960 --> 00:24:46,119 Speaker 3: Jody's Mike's brother, right, yeah, yeah, all right, I'm pretty 432 00:24:46,119 --> 00:24:48,960 Speaker 3: sure on that. But you know, you know how it goes, Okay, 433 00:24:49,040 --> 00:24:52,959 Speaker 3: So Jody is played by Bill Thornbury born nineteen fifty two, 434 00:24:53,640 --> 00:24:57,040 Speaker 3: actor and musician. Prior to Phantasm, he appeared in nineteen 435 00:24:57,080 --> 00:24:59,840 Speaker 3: seventy five Summer School Teachers and an episode of The 436 00:25:00,000 --> 00:25:04,439 Speaker 3: Oxford Files. Afterward, he appeared in the TV series Secret 437 00:25:04,560 --> 00:25:09,240 Speaker 3: of Midland Heights, the Lost Empire, and also in Phantasms 438 00:25:09,520 --> 00:25:13,080 Speaker 3: three through five. He also wrote the song in Phantasm 439 00:25:13,160 --> 00:25:16,440 Speaker 3: sitting Here at Midnight. This is a perfectly fine performance. 440 00:25:16,800 --> 00:25:20,240 Speaker 1: No notes always is this when we talk about sitting 441 00:25:20,280 --> 00:25:21,879 Speaker 1: here at midnight? Or should we save that for the 442 00:25:21,960 --> 00:25:22,680 Speaker 1: scene in the movie. 443 00:25:22,720 --> 00:25:25,119 Speaker 3: Oh, we should save that because it involves characters and 444 00:25:25,280 --> 00:25:28,720 Speaker 3: actors we haven't introduced yet. Okay, all right, but really 445 00:25:28,920 --> 00:25:32,240 Speaker 3: one of the true stars of this film and Phantasm 446 00:25:32,280 --> 00:25:35,920 Speaker 3: films in general, is the character Reggie, played by the 447 00:25:36,080 --> 00:25:42,000 Speaker 3: actor Reggie Banister born nineteen forty five. Horror action icon 448 00:25:42,119 --> 00:25:45,680 Speaker 3: and musical legend Reggie Banister. Reggie is great in this 449 00:25:45,840 --> 00:25:49,840 Speaker 3: and all subsequent Phantasm films. He's the perfect mix of 450 00:25:50,000 --> 00:25:53,639 Speaker 3: the improbable and the believable. He's cool, but he's like 451 00:25:53,720 --> 00:25:57,280 Speaker 3: every day cool. He's relatable but can sell the extreme 452 00:25:57,359 --> 00:25:59,399 Speaker 3: situations and threats happening all around him. 453 00:26:00,160 --> 00:26:02,840 Speaker 1: A story is such a weird and wonderful presence. I 454 00:26:02,880 --> 00:26:06,320 Speaker 1: could not imagine this movie without him, but every scene 455 00:26:06,359 --> 00:26:10,359 Speaker 1: where he shows up, it adds an additional level of humor. 456 00:26:10,600 --> 00:26:14,639 Speaker 1: Just like because of I don't mean to be insulting 457 00:26:14,760 --> 00:26:16,920 Speaker 1: in this way, but like the way he looks and 458 00:26:17,000 --> 00:26:20,399 Speaker 1: the way he's dressed and everything is almost always funny 459 00:26:20,600 --> 00:26:24,400 Speaker 1: in this movie. It's that they give him this ice 460 00:26:24,480 --> 00:26:27,760 Speaker 1: cream man outfit that we'll have to discuss later, but 461 00:26:27,840 --> 00:26:32,160 Speaker 1: he also brings a very strange kind of winking attitude 462 00:26:32,320 --> 00:26:35,359 Speaker 1: to things. For the longest time after I saw this movie, 463 00:26:36,400 --> 00:26:40,200 Speaker 1: I did not realize this actor was a different guy 464 00:26:40,280 --> 00:26:43,439 Speaker 1: from Dean Norris. I used to think that Dean Norris 465 00:26:43,720 --> 00:26:46,520 Speaker 1: was in Phantasm and he was playing Reggie. 466 00:26:46,800 --> 00:26:48,720 Speaker 3: Yeah, they had similar looks. He kind of looks like 467 00:26:48,800 --> 00:26:51,600 Speaker 3: Dean Norris with a ponytail and sideburns. Yeah. I feel 468 00:26:51,640 --> 00:26:55,320 Speaker 3: like the character of Reggie here is kind of again 469 00:26:55,400 --> 00:26:57,399 Speaker 3: coming back to this youthful energy. It is like a 470 00:26:58,160 --> 00:27:01,439 Speaker 3: child or a young person's eye of an adult who 471 00:27:01,480 --> 00:27:03,719 Speaker 3: has it all together, you know, where they're like, oh, 472 00:27:03,800 --> 00:27:05,680 Speaker 3: look at look at uncle Reggie. Man, he's got it. 473 00:27:06,040 --> 00:27:09,000 Speaker 3: Not he's He's got this cool job as the ice 474 00:27:09,080 --> 00:27:11,920 Speaker 3: cream Man, and he still has time to jam on 475 00:27:12,040 --> 00:27:14,320 Speaker 3: front porches. I want to be like Reggie when I 476 00:27:14,359 --> 00:27:15,879 Speaker 3: grow up and work. Of course, when you grow up, 477 00:27:15,920 --> 00:27:17,879 Speaker 3: you realize, like, oh, man, Reggie's life was kind of 478 00:27:17,920 --> 00:27:20,560 Speaker 3: a mess at the time he was going through some stuff. 479 00:27:21,560 --> 00:27:23,359 Speaker 3: You know, a good guy, but you know, he did 480 00:27:23,440 --> 00:27:24,359 Speaker 3: not have it all together. 481 00:27:24,680 --> 00:27:25,840 Speaker 1: But he seemed so cool. 482 00:27:26,080 --> 00:27:29,440 Speaker 3: Yeah, and he is within the context of this movie. Yeah, 483 00:27:29,640 --> 00:27:31,960 Speaker 3: Reggie's cool. Yeah, and part of it is Yet you 484 00:27:32,040 --> 00:27:33,960 Speaker 3: don't know anything else about him, really, I mean, you 485 00:27:34,040 --> 00:27:35,520 Speaker 3: know a little stuff, but yeah, you don't. You don't 486 00:27:35,520 --> 00:27:37,920 Speaker 3: have all these other details. In subsequent films, they have 487 00:27:38,000 --> 00:27:41,240 Speaker 3: to make him more like tragic and you know, revenge 488 00:27:41,320 --> 00:27:43,320 Speaker 3: focused and so forth. But this, in this one, he's 489 00:27:43,400 --> 00:27:46,040 Speaker 3: just a He's just a dude going about his life 490 00:27:46,200 --> 00:27:48,480 Speaker 3: and then some stuff starts going down around him and 491 00:27:48,560 --> 00:27:49,640 Speaker 3: he gets involved. 492 00:27:50,000 --> 00:27:52,720 Speaker 1: Is Reggie supposed to be twenty or fifty? 493 00:27:54,000 --> 00:27:56,600 Speaker 3: I don't know. It's it's unknown. It's as unknown as 494 00:27:56,760 --> 00:27:58,960 Speaker 3: the as it would be to the youth who is 495 00:27:59,000 --> 00:28:01,000 Speaker 3: looking up to him, I guess. But I don't think 496 00:28:01,000 --> 00:28:02,680 Speaker 3: he's supposed to be too old, right. 497 00:28:02,840 --> 00:28:06,280 Speaker 1: No, he's just generally adult. But like within the range 498 00:28:06,320 --> 00:28:09,320 Speaker 1: of adults, that's it's it's up for grabs. 499 00:28:09,640 --> 00:28:14,480 Speaker 3: Yeah. So the real Reggie Banister was Slash is a 500 00:28:14,640 --> 00:28:17,880 Speaker 3: Vietnam that turned actor who started out in these early 501 00:28:18,040 --> 00:28:20,879 Speaker 3: Cosarelli films. I think he was in all of his 502 00:28:20,960 --> 00:28:23,879 Speaker 3: films except for Beast Master and the Masters of Horror 503 00:28:23,920 --> 00:28:26,240 Speaker 3: episode that I mentioned earlier, like at least had some 504 00:28:26,280 --> 00:28:28,800 Speaker 3: sort of small role. He branched out into some other 505 00:28:28,840 --> 00:28:32,680 Speaker 3: works such as La Law, Silent Night, Deadly Night four, 506 00:28:33,280 --> 00:28:36,159 Speaker 3: Wish Master, and many other horror titles over the years. 507 00:28:36,480 --> 00:28:38,320 Speaker 3: I think a lot of it is like he had this. 508 00:28:38,840 --> 00:28:42,160 Speaker 3: He cemented his status as an icon in the Phantasm films, 509 00:28:42,440 --> 00:28:44,479 Speaker 3: and that got him a lot of work. He's apparently, 510 00:28:44,720 --> 00:28:46,440 Speaker 3: you know, does a lot of conventions or has over 511 00:28:46,520 --> 00:28:49,520 Speaker 3: the years. He also put out an album in two 512 00:28:49,520 --> 00:28:53,200 Speaker 3: thousand and eight titled Naked Truth by the Reggie Banister Band, 513 00:28:53,920 --> 00:28:56,960 Speaker 3: and yeah, Reggie Rocks. There needs to be an official 514 00:28:57,040 --> 00:29:01,120 Speaker 3: action figure of him, because we have action figures of 515 00:29:01,520 --> 00:29:02,840 Speaker 3: less noble characters. 516 00:29:03,120 --> 00:29:05,680 Speaker 1: Oh well, I wasn't going to say less noble about this, 517 00:29:05,800 --> 00:29:08,480 Speaker 1: but I've got a great action figure of Tom Atkins 518 00:29:08,560 --> 00:29:10,400 Speaker 1: from Night of the Creeps. If we've got that, we 519 00:29:10,440 --> 00:29:12,680 Speaker 1: should get a good Reggie Banister action figure. 520 00:29:12,880 --> 00:29:14,920 Speaker 3: Get Reggie on the Horn. I'm sure you can work 521 00:29:14,960 --> 00:29:18,760 Speaker 3: out the licensing on this all right. Since we're talking 522 00:29:18,800 --> 00:29:21,320 Speaker 3: about a Phantasm film, we are of course also talking 523 00:29:21,360 --> 00:29:25,520 Speaker 3: about the Tall Man played by Angus scrim who lived 524 00:29:25,600 --> 00:29:28,040 Speaker 3: nineteen twenty six through twenty sixteen. 525 00:29:28,520 --> 00:29:31,120 Speaker 1: I love the vibe of Angus Scrim as the tall 526 00:29:31,240 --> 00:29:34,640 Speaker 1: Man because it is once again not It doesn't just 527 00:29:35,000 --> 00:29:38,520 Speaker 1: totally go down smooth. It doesn't feel like, yes, this guy, 528 00:29:38,640 --> 00:29:41,320 Speaker 1: you know, he's not Doug Bradley's pin head or something. 529 00:29:41,360 --> 00:29:44,280 Speaker 1: He just feels like born to play this character. There's 530 00:29:44,320 --> 00:29:49,040 Speaker 1: a kind of occasional awkwardness to him, an awkwardness in 531 00:29:49,120 --> 00:29:51,400 Speaker 1: the way like his posture or the way he'll like 532 00:29:51,560 --> 00:29:53,840 Speaker 1: reach out for a character in a you know, jump 533 00:29:53,920 --> 00:29:57,600 Speaker 1: scare or something. But that awkwardness fits like it almost 534 00:29:57,680 --> 00:29:58,600 Speaker 1: makes the movie better. 535 00:29:59,120 --> 00:30:01,120 Speaker 3: Yeah. I think part of it to the awkwardness is 536 00:30:01,240 --> 00:30:05,440 Speaker 3: that he the real Angus Scrim was six ' four 537 00:30:06,400 --> 00:30:08,479 Speaker 3: and they made him seem even taller, you know, by 538 00:30:08,560 --> 00:30:11,160 Speaker 3: various very practical effects, but one of them was by 539 00:30:11,200 --> 00:30:14,520 Speaker 3: putting him in a smaller suit. So he looks a 540 00:30:14,560 --> 00:30:16,880 Speaker 3: little awkward just in the way he's wearing his clothing, 541 00:30:16,920 --> 00:30:18,840 Speaker 3: and it makes him feel like he's not six ' 542 00:30:18,880 --> 00:30:22,200 Speaker 3: four but like seven to four or something. So Angus 543 00:30:22,240 --> 00:30:25,120 Speaker 3: Scrim was his acting name, but his real name was 544 00:30:25,200 --> 00:30:29,760 Speaker 3: Lawrence Rory Guy. He adopted the Angus Scrim name for 545 00:30:29,920 --> 00:30:32,880 Speaker 3: this film. He'd previously been in some other works, including 546 00:30:33,000 --> 00:30:37,600 Speaker 3: Cossarelli's Jim the World's Greatest, and went on to star 547 00:30:37,800 --> 00:30:42,200 Speaker 3: in all subsequent Phantasm films, as well as appearing and 548 00:30:42,360 --> 00:30:44,880 Speaker 3: I think often smaller roles in films like The Lost 549 00:30:44,960 --> 00:30:49,600 Speaker 3: Empire Chopping Mall. He has a very brief cameo in that. 550 00:30:50,440 --> 00:30:52,880 Speaker 3: I think he's just present. I think he's like a 551 00:30:53,040 --> 00:30:56,720 Speaker 3: new reporter at a news conference about the new mall robots. 552 00:30:59,160 --> 00:31:00,280 Speaker 1: I don't remember that at all. 553 00:31:01,120 --> 00:31:03,240 Speaker 3: Even if you know it's coming, you can miss it. 554 00:31:03,320 --> 00:31:08,640 Speaker 3: It's such a small role. He is also in Subspecies Mindwarp, Munchie, 555 00:31:09,040 --> 00:31:11,520 Speaker 3: I Sell the Dead and John dies at the end. 556 00:31:11,880 --> 00:31:15,760 Speaker 3: He was also the opening narrator on Wes Craven's wish Master, 557 00:31:16,240 --> 00:31:18,480 Speaker 3: So if you check out the first ten to fifteen 558 00:31:18,480 --> 00:31:21,400 Speaker 3: minutes of wish Master, which is all you need, you'll 559 00:31:21,440 --> 00:31:24,760 Speaker 3: get a little audio from him. He was also a 560 00:31:24,920 --> 00:31:29,920 Speaker 3: five time Grammy nominated and one time Grammy winner for 561 00:31:30,160 --> 00:31:35,240 Speaker 3: writing liner notes on classical albums Huh yeah. He began 562 00:31:35,320 --> 00:31:37,320 Speaker 3: his career as a writer and a journalist, though his 563 00:31:37,440 --> 00:31:38,880 Speaker 3: degree was apparently in drama. 564 00:31:39,240 --> 00:31:42,720 Speaker 1: Yeah, and apparently the stage name Angus Skrim goes back 565 00:31:42,760 --> 00:31:45,120 Speaker 1: to his college days when he was getting a drama degree. 566 00:31:45,160 --> 00:31:48,800 Speaker 1: I read that he was doing plays off campus when 567 00:31:48,840 --> 00:31:51,160 Speaker 1: he technically was not allowed to do that by the 568 00:31:51,360 --> 00:31:54,880 Speaker 1: theater department that he was studying at. So he tried 569 00:31:54,920 --> 00:32:00,320 Speaker 1: to keep his off campus theater work secret by using 570 00:32:00,360 --> 00:32:02,640 Speaker 1: a different name, using a stage name, so in case 571 00:32:02,680 --> 00:32:04,760 Speaker 1: he got mentioned in a review or something, they wouldn't 572 00:32:05,120 --> 00:32:06,200 Speaker 1: be able to trace it to him. 573 00:32:06,600 --> 00:32:09,160 Speaker 3: Yeah, it's a great Moniker. I love it, And yeah, 574 00:32:09,240 --> 00:32:11,960 Speaker 3: I mean Angus scrim was ultimately like, this dude is 575 00:32:12,000 --> 00:32:14,640 Speaker 3: a horror icon. Like he's as much a part of 576 00:32:14,720 --> 00:32:18,720 Speaker 3: these phantasm films as Flying silver Balls and Killer Dwarfs. 577 00:32:19,040 --> 00:32:22,400 Speaker 1: So you mentioned he's in Munchie. Is that a Groblins movie. 578 00:32:23,040 --> 00:32:25,080 Speaker 3: Yes, I don't think it's one I've seen, but there 579 00:32:25,120 --> 00:32:26,920 Speaker 3: were at least a couple of Munchet movie. I think 580 00:32:27,000 --> 00:32:32,200 Speaker 3: Munchie and then Munchies or Munchi's too. Don't take me 581 00:32:32,280 --> 00:32:33,560 Speaker 3: to the bank on that one, but yeah, those are 582 00:32:33,600 --> 00:32:36,760 Speaker 3: Gromblins movies. Okay. A couple of other humans involved in this. 583 00:32:37,440 --> 00:32:40,600 Speaker 3: We have the Lady in Lavender, who is the tall 584 00:32:40,720 --> 00:32:47,680 Speaker 3: Man's female form slash sex incarnation. She's played by Kathy Lester. 585 00:32:48,680 --> 00:32:51,720 Speaker 3: Lester is an actor and a musician, but her main 586 00:32:51,880 --> 00:32:55,000 Speaker 3: roles are this nineteen ninety four's Phantasm three Lord of 587 00:32:55,120 --> 00:32:56,520 Speaker 3: the Dead, and I think she also came back in 588 00:32:56,560 --> 00:33:01,360 Speaker 3: the twenty sixteen Phantasm movie Ravager, and then Sally is 589 00:33:01,400 --> 00:33:03,440 Speaker 3: a character that pops up in this play by Lynn 590 00:33:03,560 --> 00:33:07,160 Speaker 3: Eastman Rossy. She was only active for nineteen ninety four, 591 00:33:07,200 --> 00:33:10,880 Speaker 3: but during that time she appeared in a number of notable, 592 00:33:10,880 --> 00:33:13,840 Speaker 3: at least notable to US films, the Savage Sasquatch film 593 00:33:14,000 --> 00:33:15,960 Speaker 3: Night of the Demon from nineteen eighty. 594 00:33:16,160 --> 00:33:18,480 Speaker 1: Night of the Demon I remember, I think we watched 595 00:33:18,520 --> 00:33:20,320 Speaker 1: that one for Trailer Talk years ago. 596 00:33:20,800 --> 00:33:23,719 Speaker 3: Yeah, definitely. There are two types of sasquatch movies, as 597 00:33:23,760 --> 00:33:27,200 Speaker 3: we've discussed, there's the noble Squatch and the savage Squatch. 598 00:33:27,760 --> 00:33:29,720 Speaker 3: And this is a savage Squatch film. This is where 599 00:33:29,920 --> 00:33:31,320 Speaker 3: Bigfoot is killing people. 600 00:33:31,480 --> 00:33:34,240 Speaker 1: I think I've been torn on whether Night of the 601 00:33:34,280 --> 00:33:36,479 Speaker 1: Demon is worth covering on this show, because it's got 602 00:33:36,520 --> 00:33:38,800 Speaker 1: some really funny fun stuff in it, but I think 603 00:33:38,840 --> 00:33:41,760 Speaker 1: it's also got some really gross bummer stuff too, as 604 00:33:41,800 --> 00:33:43,200 Speaker 1: a lot of Sasquatch movies do. 605 00:33:44,400 --> 00:33:47,720 Speaker 3: Lynn Eastman Rossi was also in Project X this is 606 00:33:47,760 --> 00:33:50,640 Speaker 3: the Matthew Broderick eight movie from nineteen eighty seven, and 607 00:33:50,920 --> 00:33:54,360 Speaker 3: she was also in nineteen ninety two's Unlawful Entry featuring 608 00:33:54,440 --> 00:33:58,960 Speaker 3: Kurt Russell, Ray Liota, and Sonny Carl Davis aka Rabbit. 609 00:33:59,280 --> 00:34:01,480 Speaker 1: Oh we took a minute to figure this. Yeah, I 610 00:34:01,600 --> 00:34:02,560 Speaker 1: know what you're talking about. 611 00:34:02,880 --> 00:34:08,759 Speaker 3: Trancers, Yes, okay, yeah, transfers to Rabbit. Notable performance. All right. 612 00:34:09,400 --> 00:34:12,880 Speaker 3: Getting into the effects here, I mainly wanted to commun 613 00:34:12,880 --> 00:34:15,080 Speaker 3: the effects are mostly really good in this and hold 614 00:34:15,160 --> 00:34:17,160 Speaker 3: up with one notable exception, but all the stuff with 615 00:34:17,239 --> 00:34:19,920 Speaker 3: like the flying silver balls and so forth, I think 616 00:34:20,040 --> 00:34:22,839 Speaker 3: still look really good. But I want to call out 617 00:34:22,880 --> 00:34:25,480 Speaker 3: the fact that Gene Corso, who lived nineteen thirty two 618 00:34:25,520 --> 00:34:28,680 Speaker 3: through nineteen ninety six, has sound effects credit on this, 619 00:34:29,360 --> 00:34:32,880 Speaker 3: shared with Lorraine Mitchell. But yeah, the sound effects and 620 00:34:33,000 --> 00:34:35,879 Speaker 3: phantasm are really great and I think certainly helps sell 621 00:34:35,960 --> 00:34:38,759 Speaker 3: that weird aura of the film, especially the weird r 622 00:34:38,840 --> 00:34:42,240 Speaker 3: of the flying death spheres. As a sound editor, Corso 623 00:34:42,320 --> 00:34:45,280 Speaker 3: worked on such films as Queen of Blood, Star Wars, 624 00:34:45,440 --> 00:34:50,400 Speaker 3: The China Syndrome, Mutant, Predator, Deep Star six, and The Rift. 625 00:34:51,440 --> 00:34:53,799 Speaker 3: And then Loraine Mitchell, who also worked on this, worked 626 00:34:53,800 --> 00:34:55,920 Speaker 3: on some of these films as well, along with Conan 627 00:34:56,040 --> 00:34:57,879 Speaker 3: the Destroyer and Rambo three. 628 00:34:58,400 --> 00:35:03,320 Speaker 1: I think in general audiences really underestimate how much difference 629 00:35:03,480 --> 00:35:07,480 Speaker 1: a good audio element makes in a horror movie. Good 630 00:35:07,640 --> 00:35:11,839 Speaker 1: good sound effects, atmospheric sound design, and good music. Would 631 00:35:11,920 --> 00:35:15,360 Speaker 1: this movie be remembered anything like the way it is 632 00:35:15,800 --> 00:35:17,920 Speaker 1: if it did not have the quality of sound effects 633 00:35:17,960 --> 00:35:18,879 Speaker 1: and music that it does. 634 00:35:19,440 --> 00:35:22,800 Speaker 3: Yeah, I think that's a great question, and I'm not 635 00:35:22,880 --> 00:35:25,080 Speaker 3: sure it would have, because, yeah, the sound effects are great, 636 00:35:25,120 --> 00:35:29,120 Speaker 3: but yeah, music is wonderful as well, iconic really. The 637 00:35:29,280 --> 00:35:32,200 Speaker 3: music is credited to fred Mero, who lived nineteen thirty 638 00:35:32,280 --> 00:35:35,279 Speaker 3: nine through nineteen ninety nine, and Malcolm Segrave, who lived 639 00:35:35,360 --> 00:35:38,240 Speaker 3: nineteen twenty eight through two thousand and one. Sea Gray's 640 00:35:38,320 --> 00:35:42,040 Speaker 3: only film credits are for the Phantasm theme, but Myro 641 00:35:43,160 --> 00:35:45,560 Speaker 3: has more of a history as a well. First of all, 642 00:35:45,600 --> 00:35:49,760 Speaker 3: a third generation musical professional, his father Joseph Meiro wrote 643 00:35:50,040 --> 00:35:54,520 Speaker 3: you make Me Feel So Young that song, Yeah, and 644 00:35:54,760 --> 00:35:59,279 Speaker 3: Myro also worked on Phantasm two and Phantasm three, but 645 00:35:59,440 --> 00:36:03,800 Speaker 3: his other school include nineteen seventy three's Soilent Green and Scarecrow. 646 00:36:04,000 --> 00:36:06,880 Speaker 1: You Got the Gears turned in on some mild thematic 647 00:36:06,960 --> 00:36:11,279 Speaker 1: connections between Phantasm and Soilent Green. Both involve a discovery 648 00:36:11,400 --> 00:36:14,880 Speaker 1: of a secret science fiction manufacturing process where one of 649 00:36:14,960 --> 00:36:16,320 Speaker 1: the ingredients is people. 650 00:36:16,719 --> 00:36:18,759 Speaker 3: That's an interesting you know, it's interesting. You can think 651 00:36:18,800 --> 00:36:20,360 Speaker 3: of these various films. You can think of Season of 652 00:36:20,400 --> 00:36:25,960 Speaker 3: the Witch, Halloween three films about at least slightly about 653 00:36:27,440 --> 00:36:33,640 Speaker 3: industrial malfeasance, some sort of like evil industrial plot to 654 00:36:34,280 --> 00:36:39,280 Speaker 3: mass produce something that is destructive to humanity. Yeah, but anyway, 655 00:36:39,280 --> 00:36:43,000 Speaker 3: the Phantasm score absolutely great. I have no reservations about 656 00:36:43,080 --> 00:36:47,279 Speaker 3: saying that the theme is catchy and creepy, perfectly matching 657 00:36:47,320 --> 00:36:50,520 Speaker 3: the dreamlike quality of the film. And even outside of 658 00:36:50,600 --> 00:36:54,480 Speaker 3: the main Fantasm theme song, there are all these wonderful 659 00:36:54,680 --> 00:36:59,000 Speaker 3: hypnotic soundscapes as well. So you have synth and guitar 660 00:36:59,080 --> 00:37:01,840 Speaker 3: in there, but we also have gongs and chimes and 661 00:37:02,000 --> 00:37:07,280 Speaker 3: cymbals and bells creating this wonderful hallucinatory effect. 662 00:37:07,560 --> 00:37:10,319 Speaker 1: I agree, love all that stuff. There is one thing 663 00:37:10,400 --> 00:37:12,920 Speaker 1: I noticed. I didn't compare them side to side to 664 00:37:13,000 --> 00:37:15,399 Speaker 1: see exactly how similar they are, but I did hear 665 00:37:15,560 --> 00:37:19,399 Speaker 1: some strong overlap between I think it was the main 666 00:37:19,800 --> 00:37:24,080 Speaker 1: synth theme from Phantasm and one of the tunes that 667 00:37:24,239 --> 00:37:27,520 Speaker 1: is used in John Carpenter's The Fog, though of course 668 00:37:27,520 --> 00:37:30,480 Speaker 1: I'm not alleging musical plagiarism or anything. You know, there 669 00:37:30,480 --> 00:37:32,279 Speaker 1: are only so many notes, so you're gonna get some 670 00:37:32,360 --> 00:37:35,920 Speaker 1: similar eerie tunes. But I heard that kinship. 671 00:37:36,120 --> 00:37:38,000 Speaker 3: Of course, The Fog didn't come out till nineteen eighty. 672 00:37:38,239 --> 00:37:41,040 Speaker 1: Wait, what my god, you're right. I had the order 673 00:37:41,120 --> 00:37:44,680 Speaker 1: inverted in my head, so if there is any inspiration, 674 00:37:44,760 --> 00:37:45,919 Speaker 1: it would have gone the other way. 675 00:37:46,280 --> 00:37:47,759 Speaker 3: Yeah, but like I said, there are only so many 676 00:37:47,800 --> 00:38:01,680 Speaker 3: notes you can play. All right, well, let's jump into Phantasm. 677 00:38:02,120 --> 00:38:05,160 Speaker 1: Well, mercifully breaking our streak of movies that begin by 678 00:38:05,200 --> 00:38:07,360 Speaker 1: looking at the stars in space, this film does not 679 00:38:07,520 --> 00:38:11,560 Speaker 1: begin in space. Instead, it's just phantasm in red letters 680 00:38:11,600 --> 00:38:13,520 Speaker 1: on a black background, and then we cut to an 681 00:38:13,600 --> 00:38:18,080 Speaker 1: establishing shot of a mansion. It's a oh, I did 682 00:38:18,120 --> 00:38:21,040 Speaker 1: not look up architectural styles. Do you know what style 683 00:38:21,120 --> 00:38:23,640 Speaker 1: of house this is? It's like a big white mansion 684 00:38:23,760 --> 00:38:26,040 Speaker 1: with columns out front, three columns and sort of a 685 00:38:26,120 --> 00:38:27,240 Speaker 1: wrap around veranda. 686 00:38:27,360 --> 00:38:30,840 Speaker 3: I believe. Yeah, old American, I think is the architectural 687 00:38:30,920 --> 00:38:31,480 Speaker 3: styling here. 688 00:38:31,800 --> 00:38:35,000 Speaker 1: And then we're just straight on from this to an 689 00:38:35,280 --> 00:38:41,000 Speaker 1: absolutely hilariously awkward sex scene in a cemetery featuring a 690 00:38:41,120 --> 00:38:45,440 Speaker 1: dude who looks like Lemmy from Motorhead and a lady 691 00:38:45,480 --> 00:38:48,239 Speaker 1: with blonde hair and purple eye makeup, and. 692 00:38:48,280 --> 00:38:49,760 Speaker 3: This would be our lady in Lavender. 693 00:38:49,880 --> 00:38:53,080 Speaker 1: We find out, yes, she's a recurring character. In fact, 694 00:38:53,200 --> 00:38:54,880 Speaker 1: we find out she is just a sort of a 695 00:38:55,600 --> 00:38:59,319 Speaker 1: glamour a mirage, and in fact she is Anga Skrim, 696 00:38:59,520 --> 00:39:01,600 Speaker 1: but just in a different form. And we see that 697 00:39:01,719 --> 00:39:04,360 Speaker 1: because Okay, they're having sex in the cemetery. And then 698 00:39:04,440 --> 00:39:07,920 Speaker 1: suddenly the lady pulls out a dagger and she stabs Lemmy. 699 00:39:08,040 --> 00:39:10,360 Speaker 1: She stabs the dude, and then through the magic of 700 00:39:10,440 --> 00:39:13,440 Speaker 1: film editing, she transforms into an old man and it 701 00:39:13,600 --> 00:39:16,400 Speaker 1: is Angus Grimm. We will see him many more times 702 00:39:16,440 --> 00:39:19,400 Speaker 1: in the film. The soundtrack in the scene is symbols 703 00:39:19,480 --> 00:39:23,120 Speaker 1: and whooshing wind noises, so it's this weird mix of 704 00:39:23,280 --> 00:39:26,200 Speaker 1: like kind of cool atmosphere. But the staging of the 705 00:39:26,280 --> 00:39:28,040 Speaker 1: sex scene is so funny. 706 00:39:28,560 --> 00:39:32,560 Speaker 3: Yeah, it's absurd. I mean, obviously, depictions of human sex 707 00:39:32,800 --> 00:39:35,000 Speaker 3: and film should always be considered it with a grain 708 00:39:35,080 --> 00:39:38,239 Speaker 3: of salt, but this one feels like it was constructed 709 00:39:38,640 --> 00:39:41,520 Speaker 3: via youthful hearsay about what the grown up world of 710 00:39:41,560 --> 00:39:44,600 Speaker 3: sexuality actually consists off. You know, it's one of these 711 00:39:44,640 --> 00:39:49,799 Speaker 3: where it's like full clothing, strange positioning. If you were 712 00:39:49,840 --> 00:39:53,279 Speaker 3: to try and figure out the details of human sexuality 713 00:39:53,360 --> 00:39:55,440 Speaker 3: based on this scene, you would be left with just 714 00:39:55,520 --> 00:39:57,640 Speaker 3: a lot of questions about how everything lines up. 715 00:39:57,880 --> 00:39:59,959 Speaker 1: Yeah, I don't want to get I'm not gonna get gross. 716 00:40:00,000 --> 00:40:02,000 Speaker 1: I don't want to get too specific about the mechanics 717 00:40:02,040 --> 00:40:05,600 Speaker 1: of horror movie sex. But it is greatly confusing at 718 00:40:05,640 --> 00:40:09,280 Speaker 1: what angles these two people's bodies are supposed to be positioned. 719 00:40:09,440 --> 00:40:12,240 Speaker 3: Yeah, it just it makes you It feels like something 720 00:40:12,400 --> 00:40:15,160 Speaker 3: like Ralph Wigham would explain, you know. And then the 721 00:40:15,239 --> 00:40:18,680 Speaker 3: baby looked at me. Yeah, I have no idea. Yeah, 722 00:40:18,960 --> 00:40:21,880 Speaker 3: it's absurd, but it also, again, I think it falls 723 00:40:21,920 --> 00:40:24,000 Speaker 3: in line with that youthful energy of the film. You know. 724 00:40:24,120 --> 00:40:28,040 Speaker 3: It's like, like, what is sex? What is death? Mike 725 00:40:28,120 --> 00:40:31,200 Speaker 3: doesn't know, and part of this film is Mike's dream 726 00:40:31,280 --> 00:40:33,080 Speaker 3: quest to try and figure that out. 727 00:40:33,320 --> 00:40:35,960 Speaker 1: But okay, Lady in Lavender is actually anger scrim she 728 00:40:36,120 --> 00:40:39,920 Speaker 1: kills Lemmy and then it's morning in the cemetery and 729 00:40:40,040 --> 00:40:42,840 Speaker 1: we're back at the mansion. But it's daylight and we 730 00:40:42,920 --> 00:40:44,759 Speaker 1: hear we meet two of our main characters. By the way, 731 00:40:44,800 --> 00:40:47,600 Speaker 1: we see a science says it's morning Side Morningside Cemetery, 732 00:40:48,360 --> 00:40:52,360 Speaker 1: and we meet our main characters, Jody and Reggie. Jody 733 00:40:52,560 --> 00:40:57,320 Speaker 1: is tall, handsome, big mane of messy hair. Reggie is 734 00:40:58,160 --> 00:41:01,920 Speaker 1: he's shorter, He's wearing cool sun glasses. And I was 735 00:41:01,960 --> 00:41:05,440 Speaker 1: gonna say, so he's like bald in front with a 736 00:41:05,640 --> 00:41:08,320 Speaker 1: horseshoe of hair and then a ponytail. So I was 737 00:41:08,360 --> 00:41:10,520 Speaker 1: going to say it's like business in front, party and back, 738 00:41:10,560 --> 00:41:13,600 Speaker 1: but really it's more like closed for business in front, party. 739 00:41:13,360 --> 00:41:16,040 Speaker 3: And back and close for business mostly on the top 740 00:41:16,120 --> 00:41:22,319 Speaker 3: as well. It's a substantial bald pattern there, but still 741 00:41:22,520 --> 00:41:24,920 Speaker 3: very very cool. Look. He's got some nice sideburns there 742 00:41:25,040 --> 00:41:27,399 Speaker 3: that come to a nice little goring point. 743 00:41:27,680 --> 00:41:29,439 Speaker 1: I mean, there's no denying Reggie's cool. 744 00:41:29,680 --> 00:41:29,879 Speaker 3: Yeah. 745 00:41:30,239 --> 00:41:33,239 Speaker 1: So they meet up and they say, hey, Tommy's gone 746 00:41:33,920 --> 00:41:37,280 Speaker 1: hell of a way to end a trio. So Tommy, 747 00:41:37,400 --> 00:41:39,279 Speaker 1: I think, meaning the guy from the opening scene who 748 00:41:39,320 --> 00:41:43,400 Speaker 1: got stabbed was their friend. They believe he committed suicide. 749 00:41:43,560 --> 00:41:46,600 Speaker 1: I don't know why they think that, but that's what 750 00:41:47,080 --> 00:41:50,440 Speaker 1: they have been led to believe. Do you Rob, did 751 00:41:50,520 --> 00:41:53,040 Speaker 1: you detect that they were supposed to all be in 752 00:41:53,120 --> 00:41:54,320 Speaker 1: a band together. 753 00:41:54,760 --> 00:41:56,640 Speaker 3: Yeah. I kind of got that vibe, but I don't 754 00:41:56,640 --> 00:42:00,359 Speaker 3: remember if there was a specific line that actually nted 755 00:42:00,440 --> 00:42:03,399 Speaker 3: that concept. I mean, clearly Jody looked like a dude 756 00:42:03,440 --> 00:42:05,600 Speaker 3: that was in a band. It's just a question of 757 00:42:05,880 --> 00:42:07,480 Speaker 3: was he in the band with these two. 758 00:42:07,920 --> 00:42:10,400 Speaker 1: Jody looks like he would fit right in in a 759 00:42:10,600 --> 00:42:14,239 Speaker 1: one piece disco jumpsuit doing a musical number and like 760 00:42:14,320 --> 00:42:15,319 Speaker 1: a variety show. 761 00:42:15,719 --> 00:42:15,919 Speaker 3: Yeah. 762 00:42:16,239 --> 00:42:19,279 Speaker 1: Anyway, we go into a nice creepy atmospheric scene where 763 00:42:19,320 --> 00:42:22,480 Speaker 1: Jody walks around alone in the halls of the funeral home, 764 00:42:22,560 --> 00:42:26,600 Speaker 1: and the halls are lined with white marble covered in 765 00:42:26,680 --> 00:42:30,520 Speaker 1: a weird pattern of blue veins. I love the atmosphere 766 00:42:30,560 --> 00:42:32,480 Speaker 1: of the inside of the funeral home. 767 00:42:32,880 --> 00:42:35,160 Speaker 3: Yeah, I mean it's in many ways, it's an obvious set, 768 00:42:35,600 --> 00:42:39,839 Speaker 3: and yet the uniformity I think gives it a nice 769 00:42:39,880 --> 00:42:44,160 Speaker 3: otherworldly vibe. And you know this, it feels sterile and 770 00:42:44,320 --> 00:42:47,239 Speaker 3: like a place between and at the same time it 771 00:42:47,320 --> 00:42:50,920 Speaker 3: does feel authentically like a mausoleum, like a mini mausoleums 772 00:42:50,960 --> 00:42:54,240 Speaker 3: also have that vibe, except I don't think it's quite 773 00:42:54,280 --> 00:42:56,759 Speaker 3: as the ones I've been in anyway, it doesn't feel 774 00:42:56,800 --> 00:42:59,680 Speaker 3: quite as monotonous, it's not quite as uniform. You do 775 00:42:59,800 --> 00:43:04,280 Speaker 3: have some little details that are that differentiate one area 776 00:43:04,360 --> 00:43:07,880 Speaker 3: from another. It might be flowers in front of these remains, 777 00:43:07,920 --> 00:43:10,880 Speaker 3: et cetera. But yeah, this whole vibe here. It feels 778 00:43:11,040 --> 00:43:13,080 Speaker 3: just enough like a mausoleum that it doesn't feel like 779 00:43:13,120 --> 00:43:15,920 Speaker 3: they're on a spaceship, but it also kind of feels 780 00:43:15,960 --> 00:43:16,960 Speaker 3: like they're on a spaceship. 781 00:43:17,200 --> 00:43:20,439 Speaker 1: I have questions about how this mausoleum is supposed to work, 782 00:43:20,520 --> 00:43:23,759 Speaker 1: because I think we see later that, like many mausoleums, 783 00:43:23,800 --> 00:43:26,359 Speaker 1: it has these vaults. They're built into the walls, they 784 00:43:26,400 --> 00:43:29,040 Speaker 1: have like a name on them, and then what appears 785 00:43:29,080 --> 00:43:32,719 Speaker 1: to be some kind of covering or door. But later 786 00:43:32,840 --> 00:43:34,800 Speaker 1: we see that you can just open them up like 787 00:43:34,880 --> 00:43:37,719 Speaker 1: a file cabinet, and there is a like a file 788 00:43:37,800 --> 00:43:40,040 Speaker 1: cabinet drawer, and then there's a coffin inside which you 789 00:43:40,080 --> 00:43:42,440 Speaker 1: could presumably just open up and see the body. 790 00:43:43,000 --> 00:43:46,400 Speaker 3: Yeah. Yeah, I'm not sure. I've never opened one up, 791 00:43:46,840 --> 00:43:49,160 Speaker 3: but this, if you take this movie at face value, 792 00:43:49,640 --> 00:43:52,200 Speaker 3: it's telling you that, yeah, these are just like more 793 00:43:52,360 --> 00:43:55,000 Speaker 3: drawers you can just roll on open and look at 794 00:43:55,040 --> 00:43:55,359 Speaker 3: the body. 795 00:43:55,680 --> 00:43:58,719 Speaker 1: I am not an expert in the funerary arts and sciences, 796 00:43:58,840 --> 00:44:03,280 Speaker 1: but I think there would be problems with that design anyway. 797 00:44:03,360 --> 00:44:06,279 Speaker 1: So Jody's walking around and here's these strange sounds that 798 00:44:06,440 --> 00:44:09,120 Speaker 1: in the subtitles for the version of the movie I 799 00:44:09,200 --> 00:44:11,680 Speaker 1: watched it called the sounds warbling. I would call it 800 00:44:13,239 --> 00:44:16,680 Speaker 1: squawking or growling, maybe snarling. 801 00:44:17,000 --> 00:44:18,560 Speaker 3: And of course in a bit we'll find out what 802 00:44:18,880 --> 00:44:20,120 Speaker 3: is making that sound. 803 00:44:20,200 --> 00:44:23,719 Speaker 1: Right, and we see that. Let's see Jody visits the 804 00:44:23,840 --> 00:44:26,479 Speaker 1: grave of his parents, we find out they've passed away, 805 00:44:27,080 --> 00:44:29,520 Speaker 1: and then we meet Mike, Jody's little brother, who is 806 00:44:29,760 --> 00:44:33,400 Speaker 1: just tearing through the grass of the cemetery on a 807 00:44:33,520 --> 00:44:38,959 Speaker 1: dirt bike. It's like he's riding a chainsaw. Trivia fact 808 00:44:39,040 --> 00:44:41,959 Speaker 1: I found is that the motorbike used here is called 809 00:44:42,000 --> 00:44:46,840 Speaker 1: a Hodaka road toad. But he's literally just driving like 810 00:44:46,960 --> 00:44:48,480 Speaker 1: between the grave markers. 811 00:44:48,880 --> 00:44:52,839 Speaker 3: Yeah, some kind of psychomania vibes to this motorcycle ride here. 812 00:44:53,080 --> 00:44:56,320 Speaker 1: And he also hears the weird chittering and snarling sounds. 813 00:44:56,680 --> 00:44:58,719 Speaker 1: And we see a few glimpses of what appear to 814 00:44:58,800 --> 00:45:03,520 Speaker 1: be little figures in art cloaks dashing behind gravestones. Ooh, 815 00:45:03,880 --> 00:45:06,560 Speaker 1: the dwarves, and I think we're supposed to understand that 816 00:45:06,760 --> 00:45:09,359 Speaker 1: Mike is sort of a little engineer, like he has 817 00:45:09,400 --> 00:45:12,920 Speaker 1: an affinity for machines. We see him later repairing Jody's 818 00:45:13,000 --> 00:45:17,200 Speaker 1: muscle car at multiple points, and like there's a part 819 00:45:17,200 --> 00:45:19,279 Speaker 1: where he's working on the engine while Jody is just 820 00:45:19,360 --> 00:45:21,520 Speaker 1: standing there talking to a friend like, Yeah, I'm gonna 821 00:45:21,560 --> 00:45:25,600 Speaker 1: ditch this kid and get out of town anyway. Jody, 822 00:45:26,120 --> 00:45:29,840 Speaker 1: inside the funeral home goes investigating the weird sounds, but 823 00:45:30,000 --> 00:45:31,919 Speaker 1: he doesn't quite figure it out. Instead, there's a great 824 00:45:32,000 --> 00:45:34,480 Speaker 1: jump scare where we first hear Angus scrim talk. He 825 00:45:34,719 --> 00:45:36,879 Speaker 1: comes up behind him and slaps down on his shoulders says, 826 00:45:36,960 --> 00:45:38,799 Speaker 1: the funeral is about to begin. 827 00:45:39,560 --> 00:45:41,440 Speaker 3: Yes, now I. 828 00:45:41,560 --> 00:45:44,200 Speaker 1: Started noticing a pattern. I don't know if you picked 829 00:45:44,280 --> 00:45:46,959 Speaker 1: up on the same thing, Rob, Like in the funeral scene, 830 00:45:47,120 --> 00:45:51,000 Speaker 1: there's a very symmetrical shot where we see the church 831 00:45:51,120 --> 00:45:55,000 Speaker 1: service filmed from straight down the back of the aisle 832 00:45:55,120 --> 00:45:58,520 Speaker 1: where it's like a perfectly balanced frame. There are people 833 00:45:58,600 --> 00:46:01,440 Speaker 1: sitting in the pews on both side and the columns 834 00:46:01,520 --> 00:46:04,640 Speaker 1: lining on both sides, so it's totally symmetrical. We already 835 00:46:04,680 --> 00:46:08,799 Speaker 1: saw shots like that when Jody was walking through the mausoleum. 836 00:46:08,960 --> 00:46:11,879 Speaker 1: You know, he'd be framed in the doorway with all 837 00:46:11,920 --> 00:46:16,040 Speaker 1: these decorations that are exactly symmetrical on both sides. The 838 00:46:16,120 --> 00:46:18,879 Speaker 1: movie seems to be fond of shots like this where 839 00:46:18,920 --> 00:46:21,640 Speaker 1: the subject is in the middle and then it's just 840 00:46:21,800 --> 00:46:23,960 Speaker 1: mirror images on both sides of the screen. 841 00:46:24,560 --> 00:46:27,279 Speaker 3: Yeah. Yeah, And I think especially with this scene, but 842 00:46:27,400 --> 00:46:30,400 Speaker 3: also with the mausoleum scenes as well, there is this 843 00:46:30,880 --> 00:46:34,320 Speaker 3: impression of narrowing, you know, as if narrowing towards the 844 00:46:34,400 --> 00:46:37,719 Speaker 3: death point, which I think lines up nicely with the 845 00:46:38,280 --> 00:46:40,960 Speaker 3: theme of the movie and the idea that you know, 846 00:46:41,080 --> 00:46:43,759 Speaker 3: we're propelled through it, that Mike is propelled through this 847 00:46:43,960 --> 00:46:47,719 Speaker 3: world and you know it keeps the pacing contributes to 848 00:46:47,800 --> 00:46:49,840 Speaker 3: that as well. Also, I want to point out, I 849 00:46:49,880 --> 00:46:51,719 Speaker 3: don't know if you noticed this, but in this particular, 850 00:46:52,040 --> 00:46:54,279 Speaker 3: I see this is a like an actual church, an 851 00:46:54,280 --> 00:46:57,239 Speaker 3: actual location, and they didn't build any of this or 852 00:46:57,520 --> 00:47:01,080 Speaker 3: or decorated a lot. But there's a weird painting above 853 00:47:01,120 --> 00:47:03,799 Speaker 3: the altar in this scene that again I assume it's 854 00:47:03,880 --> 00:47:06,319 Speaker 3: just a legit in church painting, but it has kind 855 00:47:06,360 --> 00:47:08,640 Speaker 3: of zombie Jesus vibes to it, like Jesus has his 856 00:47:08,800 --> 00:47:09,960 Speaker 3: arms up like Frankenstein. 857 00:47:10,000 --> 00:47:13,719 Speaker 1: A bit oh interesting. I didn't notice that. I was 858 00:47:13,880 --> 00:47:17,320 Speaker 1: just thinking, what church let phantasm shoot inside? 859 00:47:17,840 --> 00:47:19,680 Speaker 3: I mean maybe they. I don't know how it went down. 860 00:47:19,680 --> 00:47:21,560 Speaker 3: Maybe they didn't tell him what the film was about, 861 00:47:21,640 --> 00:47:24,239 Speaker 3: or maybe they explained the theme and the church was like, yeah, 862 00:47:24,800 --> 00:47:26,600 Speaker 3: works for us, as long as you get the Jesus 863 00:47:26,640 --> 00:47:28,680 Speaker 3: painting in there. We're very proud of this. Okay. 864 00:47:28,719 --> 00:47:31,640 Speaker 1: Anyway, So Reggie and Jody are there for the funeral 865 00:47:31,800 --> 00:47:36,399 Speaker 1: of their friend, their I guess, their bandmate maybe. And Mike, 866 00:47:36,600 --> 00:47:39,120 Speaker 1: the younger guy, is trying to peep on the funeral 867 00:47:39,200 --> 00:47:42,640 Speaker 1: with binoculars. I didn't understand this at all, Like, why 868 00:47:42,760 --> 00:47:45,880 Speaker 1: isn't he just there instead, he's like in the bushes 869 00:47:45,960 --> 00:47:48,520 Speaker 1: with binoculars watching them carry the coffin. 870 00:47:50,160 --> 00:47:53,440 Speaker 3: Mike is a consonant voyeur. He is just he's just 871 00:47:53,640 --> 00:47:57,360 Speaker 3: constantly spying on sex and death, as is the you know, 872 00:47:57,440 --> 00:48:00,759 Speaker 3: the very definition of the of the voyeuristic imput Like 873 00:48:01,480 --> 00:48:05,120 Speaker 3: his brother's meeting some lady. Well, Mike's in the bushes. 874 00:48:05,200 --> 00:48:07,600 Speaker 3: He's going to see what's happening here. Somebody's moving a 875 00:48:07,680 --> 00:48:10,799 Speaker 3: casket around. Mike's in the bushes. He's got the binoculars out. 876 00:48:11,000 --> 00:48:13,600 Speaker 3: He wants to see how these worlds work, these worlds 877 00:48:13,680 --> 00:48:16,840 Speaker 3: that he is not yet entered into but seems destined 878 00:48:16,880 --> 00:48:17,480 Speaker 3: to be a part of. 879 00:48:17,920 --> 00:48:21,560 Speaker 1: But because he's spying on the funeral, he's still watching 880 00:48:21,680 --> 00:48:26,440 Speaker 1: after all of the mourners leave, and he gets to 881 00:48:26,480 --> 00:48:29,520 Speaker 1: see something very odd happen the tall Man and Gus 882 00:48:29,560 --> 00:48:33,759 Speaker 1: scrim after everybody's gone. Instead of, you know, like letting 883 00:48:34,000 --> 00:48:37,880 Speaker 1: the workers bury the casket, he picks up the casket, 884 00:48:38,360 --> 00:48:41,080 Speaker 1: takes it back to the hearse and puts it inside. 885 00:48:41,160 --> 00:48:43,400 Speaker 1: And he's carrying the entire thing by himself. 886 00:48:43,920 --> 00:48:47,719 Speaker 3: Not only is he most probably evil, he's also cheap. 887 00:48:48,000 --> 00:48:51,279 Speaker 3: He's not hiring anybody else to carry these for him. 888 00:48:51,320 --> 00:48:53,320 Speaker 3: He's just picking it up himself. We also get a 889 00:48:53,360 --> 00:48:56,120 Speaker 3: sense of this when we see Jody's body in the casket. 890 00:48:56,600 --> 00:48:58,759 Speaker 3: Jody looks a little gooolish. It's like the tall Man 891 00:48:58,880 --> 00:49:03,880 Speaker 3: is not doing a good job, and Jody, I'm not sorry, 892 00:49:03,960 --> 00:49:07,160 Speaker 3: not Jody. What's his name, tom good friend? Tommy. Yes, 893 00:49:07,560 --> 00:49:11,719 Speaker 3: Tommy looks gholish, does not look like he's been embalmed 894 00:49:12,080 --> 00:49:14,799 Speaker 3: like a to the degree that you would want your 895 00:49:14,840 --> 00:49:17,160 Speaker 3: loved one embalmed, that would say, but he looks like 896 00:49:17,200 --> 00:49:20,239 Speaker 3: a movie corps. So yes, mission accomplished. 897 00:49:20,120 --> 00:49:23,319 Speaker 1: Right, Okay, so we got the setup. Mike has seen 898 00:49:23,400 --> 00:49:27,440 Speaker 1: something very weird at the Morningside Cemetery, and after that 899 00:49:27,640 --> 00:49:31,760 Speaker 1: weird reveal, Mike walks around alone with excellent theme music 900 00:49:31,840 --> 00:49:35,680 Speaker 1: playing some great seventies horror movie atmosphere. You know, a 901 00:49:35,760 --> 00:49:39,279 Speaker 1: lot of great horror movies from from this time get 902 00:49:39,440 --> 00:49:41,560 Speaker 1: so much mileage, like they stick in your mind, not 903 00:49:41,920 --> 00:49:44,440 Speaker 1: just because of the scary scenes, but because of the 904 00:49:44,520 --> 00:49:48,200 Speaker 1: eerie scenes where a character is merely sort of walking 905 00:49:48,280 --> 00:49:50,920 Speaker 1: through the landscape and the music is playing. I think 906 00:49:50,960 --> 00:49:54,360 Speaker 1: about the early scenes of going down the sidewalks in Halloween, 907 00:49:54,920 --> 00:49:57,200 Speaker 1: or the way Mike is just walking around, maybe going 908 00:49:57,360 --> 00:50:01,479 Speaker 1: to visit the Reverend mother guy Helen Mohayam in this movie. 909 00:50:01,840 --> 00:50:05,719 Speaker 3: Yes, yeah, this is where we get to our wonderful 910 00:50:05,960 --> 00:50:07,040 Speaker 3: Benajessa Itt scene. 911 00:50:07,560 --> 00:50:12,000 Speaker 1: Straight Dune ripoff, and I love it. Clearly Don was 912 00:50:12,040 --> 00:50:15,399 Speaker 1: a fan of Dune. In fact, it's explicit later when 913 00:50:15,880 --> 00:50:18,000 Speaker 1: Jody goes to a bar. Did you notice this in 914 00:50:18,080 --> 00:50:19,680 Speaker 1: the bar is called Dune's Bar. 915 00:50:20,440 --> 00:50:23,040 Speaker 3: Yeah. Yeah, he was obviously a big fan of the book. 916 00:50:24,120 --> 00:50:26,799 Speaker 3: The Lynch adaptation wouldn't come out to eighty four, So yeah, 917 00:50:26,920 --> 00:50:30,759 Speaker 3: definitely a written sci fi fan. In fact, we see 918 00:50:31,120 --> 00:50:33,400 Speaker 3: there's another scene where we see a sci fi paperback 919 00:50:33,920 --> 00:50:37,840 Speaker 3: on Mike's desk or bedside table, and I looked it up. 920 00:50:37,840 --> 00:50:39,560 Speaker 3: I forget what it is offhand, but it is a 921 00:50:39,640 --> 00:50:43,080 Speaker 3: particular sci fi novel that was included. I guess to 922 00:50:43,200 --> 00:50:45,359 Speaker 3: let you know that Mike's into sci fi, that maybe 923 00:50:45,360 --> 00:50:48,400 Speaker 3: he's a little more creative than other people in the 924 00:50:48,440 --> 00:50:49,480 Speaker 3: community around him. 925 00:50:50,000 --> 00:50:53,400 Speaker 1: The book was I Am Legion by Rogers Alasni Oh 926 00:50:53,520 --> 00:50:53,640 Speaker 1: is it? 927 00:50:53,760 --> 00:50:54,120 Speaker 3: Oh good? 928 00:50:54,640 --> 00:50:56,279 Speaker 1: My name is Legion? Maybe I don't know. 929 00:50:56,320 --> 00:50:58,520 Speaker 3: I've never read it, okay, but that sounds right. Yeah. 930 00:50:58,560 --> 00:51:00,840 Speaker 3: I looked it up and then forgot promptly forgot it. 931 00:51:01,200 --> 00:51:05,360 Speaker 3: But it has had very cool little late seventies paperback 932 00:51:05,440 --> 00:51:06,480 Speaker 3: sci fi cover art. 933 00:51:06,520 --> 00:51:09,360 Speaker 1: I love it so clearly. This scene is just taken 934 00:51:09,520 --> 00:51:12,319 Speaker 1: from from Doune the book. But what would you say 935 00:51:12,440 --> 00:51:14,680 Speaker 1: is literally supposed to be happening here? Is this lady 936 00:51:14,760 --> 00:51:16,920 Speaker 1: supposed to be a fortune teller. She's like dressed in 937 00:51:17,000 --> 00:51:20,879 Speaker 1: all black, wearing dark sunglasses inside and in a room 938 00:51:20,960 --> 00:51:23,719 Speaker 1: full of candles, and she speaks through her granddaughter. 939 00:51:24,320 --> 00:51:27,520 Speaker 3: Yeah, yeah, and it's you know, it's already got a 940 00:51:27,560 --> 00:51:29,680 Speaker 3: creepy vibe though you probably, if you've not seen the film, 941 00:51:29,719 --> 00:51:32,160 Speaker 3: you're thinking, well, it's not like then they make him 942 00:51:32,200 --> 00:51:35,279 Speaker 3: put his hand in a box and experience phantom pain 943 00:51:36,239 --> 00:51:39,120 Speaker 3: and then tell him that fear is the mind killer. Well, 944 00:51:39,320 --> 00:51:42,320 Speaker 3: actually all of that happens. That's exactly what happens in 945 00:51:42,440 --> 00:51:42,880 Speaker 3: the scene. 946 00:51:43,360 --> 00:51:47,279 Speaker 1: They don't say mind killer. She says, fear is the killer. Yes, 947 00:51:48,680 --> 00:51:49,919 Speaker 1: doesn't quite have the same ring. 948 00:51:50,400 --> 00:51:52,759 Speaker 3: No, And then I think the box vanishes, right, It 949 00:51:52,920 --> 00:51:55,560 Speaker 3: like straight up vanishes in front of our eyes, the 950 00:51:55,640 --> 00:51:57,040 Speaker 3: viewer's eyes on the table. 951 00:51:57,120 --> 00:51:59,680 Speaker 1: Yes, suggesting that not only in the pain is the 952 00:51:59,719 --> 00:52:03,640 Speaker 1: pain in the box an illusion created telepathically by the 953 00:52:03,920 --> 00:52:06,319 Speaker 1: reverend mother here, but that the box itself is there 954 00:52:06,400 --> 00:52:07,240 Speaker 1: wasn't even a box. 955 00:52:07,600 --> 00:52:09,520 Speaker 3: Now what does all this mean within the context of 956 00:52:09,560 --> 00:52:11,719 Speaker 3: the film. I don't know it. 957 00:52:14,320 --> 00:52:17,800 Speaker 1: Well, Mike is told not to fear, he said, The 958 00:52:18,360 --> 00:52:21,640 Speaker 1: granddaughter says, fear is the killer. Don't fear. That's what 959 00:52:21,800 --> 00:52:24,240 Speaker 1: grandmother wants you to learn. It was all in your mind. 960 00:52:24,480 --> 00:52:26,280 Speaker 1: And then Mike says, oh, yeah. 961 00:52:28,040 --> 00:52:29,719 Speaker 3: I guess it will come. We will come back around 962 00:52:29,760 --> 00:52:32,040 Speaker 3: to this later. This film does do a pretty good 963 00:52:32,120 --> 00:52:35,759 Speaker 3: job of if it establishes something, it will come back 964 00:52:35,800 --> 00:52:36,279 Speaker 3: around to it. 965 00:52:36,600 --> 00:52:38,440 Speaker 1: Okay, I think it's time to talk about sitting here 966 00:52:38,480 --> 00:52:41,920 Speaker 1: at midnight. So at Jody and Mike's house, Jody is 967 00:52:41,960 --> 00:52:45,480 Speaker 1: sitting there on the front porch playing a playing a 968 00:52:45,520 --> 00:52:50,279 Speaker 1: stratocaster plugged into a Fender amp, and then Reggie pulls up. 969 00:52:50,800 --> 00:52:54,359 Speaker 1: Reggie now is in his workoutfit. He is wearing an 970 00:52:54,600 --> 00:52:57,960 Speaker 1: ice cream suit. I don't know. He's wearing like a 971 00:52:58,040 --> 00:53:00,600 Speaker 1: white shirt and white pants with a black bow tie. 972 00:53:01,080 --> 00:53:03,960 Speaker 1: And he's driving a truck that says Reggie's ice Cream. 973 00:53:04,480 --> 00:53:06,680 Speaker 1: And it's got a guitar tucked into one of the 974 00:53:07,280 --> 00:53:10,480 Speaker 1: I don't know, the cooler boxes, I guess. And so 975 00:53:10,920 --> 00:53:13,640 Speaker 1: Reggie gets out of the car, comes up and plays 976 00:53:13,719 --> 00:53:17,600 Speaker 1: guitar alongside Jody. They play a song called Sitting Here 977 00:53:17,680 --> 00:53:20,040 Speaker 1: at Midnight, where the lyrics are I'm just sitting here 978 00:53:20,040 --> 00:53:22,839 Speaker 1: at midnight, and I'll be sitting here till noon. You see, 979 00:53:22,920 --> 00:53:25,960 Speaker 1: my lady left me lonely, Yes she did. My baby 980 00:53:26,080 --> 00:53:29,520 Speaker 1: left me blue. And then they both go oh and 981 00:53:29,600 --> 00:53:32,680 Speaker 1: then play a riff. It's and I will give him credit. 982 00:53:33,040 --> 00:53:36,960 Speaker 1: Both actors are actually playing guitars here nice just like 983 00:53:37,400 --> 00:53:39,400 Speaker 1: moving their hands while the soundtrack plays. 984 00:53:40,680 --> 00:53:44,000 Speaker 3: Ill also say that a lesser movie would have only 985 00:53:44,040 --> 00:53:46,120 Speaker 3: played part of the song, or would have cut away 986 00:53:46,800 --> 00:53:48,880 Speaker 3: and done some sort of a montage or something. But 987 00:53:49,000 --> 00:53:52,239 Speaker 3: now we get the full short performance of this song 988 00:53:52,360 --> 00:53:54,879 Speaker 3: right here on the porch, and I dig it. Also, 989 00:53:54,960 --> 00:53:57,400 Speaker 3: you mentioned that the ice cream truck says Reggie's ice 990 00:53:57,480 --> 00:54:00,399 Speaker 3: cream somehow that I missed out on that when i've 991 00:54:00,560 --> 00:54:03,640 Speaker 3: every time I watched it. That's an interesting detail, Like, 992 00:54:03,719 --> 00:54:06,840 Speaker 3: not only is Reggie the ice cream man, he's apparently 993 00:54:06,880 --> 00:54:07,560 Speaker 3: a business owner. 994 00:54:07,719 --> 00:54:10,759 Speaker 1: Yes, he owns his own business. He's really plugged in 995 00:54:10,840 --> 00:54:12,320 Speaker 1: at the local chamber of commerce. 996 00:54:14,280 --> 00:54:16,200 Speaker 3: Now we do get a nice weird moment there at 997 00:54:16,200 --> 00:54:18,320 Speaker 3: the end of the performance with a tuning fork. 998 00:54:18,200 --> 00:54:20,959 Speaker 1: Though, yes we do well. First of all, after they play, 999 00:54:21,760 --> 00:54:24,680 Speaker 1: I think Jody goes not bad, and then Reggie says 1000 00:54:24,719 --> 00:54:27,319 Speaker 1: we're hot is Love, you know, which makes me think 1001 00:54:27,400 --> 00:54:29,440 Speaker 1: Hot as Love was the name of their band. 1002 00:54:29,840 --> 00:54:32,640 Speaker 3: Oh man, that's a good that would have totally fit. 1003 00:54:32,960 --> 00:54:35,200 Speaker 1: But so Reggie pulls out a tuning fork, I guess 1004 00:54:35,280 --> 00:54:37,960 Speaker 1: to tune his guitar, but instead we just really zone 1005 00:54:38,120 --> 00:54:40,960 Speaker 1: in on the fork and we listen to it it 1006 00:54:41,120 --> 00:54:44,200 Speaker 1: humming out a tune until Reggie mutes it by putting 1007 00:54:44,239 --> 00:54:47,280 Speaker 1: his two fingers on the end of the fork. Times. 1008 00:54:47,680 --> 00:54:49,520 Speaker 3: We will come back to this detail as well. 1009 00:54:59,160 --> 00:55:01,560 Speaker 1: Some more stuff happened. We see random like a random 1010 00:55:01,640 --> 00:55:04,399 Speaker 1: blonde lady walk into the funeral home and then open 1011 00:55:04,480 --> 00:55:06,680 Speaker 1: a door and light shines on her and she screams. 1012 00:55:07,239 --> 00:55:08,719 Speaker 1: There are a few things in the movie that are 1013 00:55:08,800 --> 00:55:11,440 Speaker 1: just like random things happen and I can't really connect 1014 00:55:11,480 --> 00:55:13,920 Speaker 1: them to anything else, So you know, something like that happens. 1015 00:55:14,920 --> 00:55:17,239 Speaker 1: But hey, let's go to the bar with Jody. He's 1016 00:55:17,280 --> 00:55:21,560 Speaker 1: gonna go to Dune's Cantina, have a beer and try 1017 00:55:21,600 --> 00:55:22,640 Speaker 1: to make some friends. 1018 00:55:22,640 --> 00:55:25,880 Speaker 3: And Mike is here for this. Mike is watching the 1019 00:55:25,920 --> 00:55:26,439 Speaker 3: whole time. 1020 00:55:26,920 --> 00:55:30,240 Speaker 1: Yes, Mike of course follows Jody everywhere, so he's outside 1021 00:55:30,320 --> 00:55:34,239 Speaker 1: peeping through the window of the bar as Jody's like 1022 00:55:35,200 --> 00:55:37,520 Speaker 1: chatting up a lady, chatting up a blond lady who 1023 00:55:38,000 --> 00:55:41,200 Speaker 1: they're hitting it off, and he doesn't know who she is, 1024 00:55:41,400 --> 00:55:45,040 Speaker 1: but we do because we saw that horribly awkward opening scene. 1025 00:55:45,200 --> 00:55:47,840 Speaker 1: It's the lady who stabbed Tommy and turned into Angus 1026 00:55:47,880 --> 00:55:51,080 Speaker 1: scrim So Jody don't go home with Angus Grim, but 1027 00:55:51,200 --> 00:55:53,640 Speaker 1: it looks like he's gonna. She leads him off to 1028 00:55:53,680 --> 00:55:55,879 Speaker 1: the cemetery. I guess the goal is to kill him. 1029 00:55:56,400 --> 00:55:59,120 Speaker 1: Mike is still following them, peeping on everything, and then 1030 00:55:59,360 --> 00:56:04,040 Speaker 1: suddenly everything is interrupted because snarling, warbling noises start up again, 1031 00:56:04,600 --> 00:56:07,719 Speaker 1: and some little creature that looks like a Jawa, like 1032 00:56:07,840 --> 00:56:11,080 Speaker 1: a short figuring brown robes, charges out at him from 1033 00:56:11,160 --> 00:56:15,240 Speaker 1: the darkness, and Mike runs away, screaming. This interrupts everything. 1034 00:56:15,960 --> 00:56:19,799 Speaker 1: Everybody runs off, and Jody runs after Mike. There are 1035 00:56:19,880 --> 00:56:22,080 Speaker 1: some really goofy sex jokes in the sea, and I 1036 00:56:22,120 --> 00:56:24,440 Speaker 1: don't feel like describing, but anyway, so Jody ends up 1037 00:56:24,480 --> 00:56:25,839 Speaker 1: running off after Mike. 1038 00:56:26,160 --> 00:56:29,200 Speaker 3: Yeah, it seems a little bit bit cringy in some respects, 1039 00:56:29,239 --> 00:56:32,840 Speaker 3: but yeah, this is our first glimpse of the dwarves 1040 00:56:33,719 --> 00:56:37,040 Speaker 3: actually scampering about and causing mischief, one of the key 1041 00:56:37,120 --> 00:56:39,360 Speaker 3: aspects of the Phantasm films. 1042 00:56:39,840 --> 00:56:41,640 Speaker 1: Now, is this a good place to talk about the 1043 00:56:42,360 --> 00:56:45,640 Speaker 1: connection between the dwarves in this movie and the jawas 1044 00:56:45,680 --> 00:56:48,600 Speaker 1: in Star Wars, because we got to admit there in 1045 00:56:48,680 --> 00:56:52,520 Speaker 1: the brown robes with the pointy hoods, they look extremely similar. 1046 00:56:53,040 --> 00:56:56,000 Speaker 3: Yeah, there is a strong comparison to be made. Very 1047 00:56:56,040 --> 00:56:59,840 Speaker 3: similar vibes and of course different ultimately different energy is involved. 1048 00:56:59,880 --> 00:57:05,360 Speaker 3: Like Jawas and Star Wars, they are just technological scavengers 1049 00:57:05,840 --> 00:57:09,480 Speaker 3: looking to pick up the pieces and make a few 1050 00:57:09,560 --> 00:57:12,680 Speaker 3: deals here and there. They're not evil. They're very neutral 1051 00:57:13,000 --> 00:57:16,680 Speaker 3: creatures and as we've seen in later installments of Star Wars, 1052 00:57:16,760 --> 00:57:18,680 Speaker 3: and you can have quite good relations with the Jawas. 1053 00:57:18,720 --> 00:57:22,880 Speaker 3: They're they're they're non indecent folk. Uh. These creatures the 1054 00:57:23,000 --> 00:57:26,800 Speaker 3: dwarves of phantasm. These are little monsters. 1055 00:57:27,000 --> 00:57:28,680 Speaker 1: That are snarling, little zombies. 1056 00:57:29,000 --> 00:57:31,560 Speaker 3: Yeah, they are up to no good. They will attack you, 1057 00:57:31,920 --> 00:57:34,200 Speaker 3: they will do god knows what. 1058 00:57:34,600 --> 00:57:34,680 Speaker 4: Now. 1059 00:57:34,720 --> 00:57:37,320 Speaker 1: I think a lot of people have assumed that these 1060 00:57:37,400 --> 00:57:40,400 Speaker 1: creatures were inspired by the design of the Jawas, But 1061 00:57:40,800 --> 00:57:45,040 Speaker 1: in Don Coscarelli's defense, they had apparently they had this 1062 00:57:45,160 --> 00:57:48,200 Speaker 1: idea and started shooting the movie before Star Wars came out, 1063 00:57:48,400 --> 00:57:51,360 Speaker 1: So I think it looks like this is just a coincidence. 1064 00:57:51,760 --> 00:57:55,080 Speaker 3: Yeah, and and we do, unlike the Jawas, which in 1065 00:57:55,120 --> 00:57:58,360 Speaker 3: which we never see the Jawa's face, we will get 1066 00:57:58,440 --> 00:58:00,480 Speaker 3: to see the face of one of these dwarfs later on. 1067 00:58:00,800 --> 00:58:02,480 Speaker 3: And I should also point out that by the time 1068 00:58:02,520 --> 00:58:06,760 Speaker 3: they make Phantasm two, in which they had a much 1069 00:58:06,840 --> 00:58:09,400 Speaker 3: bigger budget. By the way, one of the things they 1070 00:58:09,520 --> 00:58:13,320 Speaker 3: use that budget on is always showing the dwarves faces. 1071 00:58:13,800 --> 00:58:17,480 Speaker 3: So the dwarves look extra evil and nasty in that 1072 00:58:17,720 --> 00:58:22,040 Speaker 3: film because their faces are never really Oh they may 1073 00:58:22,160 --> 00:58:24,080 Speaker 3: their faces may be obscured in some scenes, but there 1074 00:58:24,080 --> 00:58:25,919 Speaker 3: are whole lot of scenes where you get to see 1075 00:58:25,920 --> 00:58:27,240 Speaker 3: their little snarling faces. 1076 00:58:27,600 --> 00:58:29,880 Speaker 1: So anyway, coming back to the plot, here's what some 1077 00:58:30,080 --> 00:58:33,320 Speaker 1: weird stuff happens. So Jody runs off after Mike because 1078 00:58:33,360 --> 00:58:37,640 Speaker 1: Mike was scared and screaming chased by a necro dwarf, 1079 00:58:38,240 --> 00:58:42,000 Speaker 1: and Mike tries to explain to Jody what happened, and 1080 00:58:42,160 --> 00:58:46,400 Speaker 1: Jody says it was probably just a gopher in heat, okay, 1081 00:58:47,600 --> 00:58:50,840 Speaker 1: And then and then Jody sends Mike home with his car, 1082 00:58:51,920 --> 00:58:55,400 Speaker 1: and then Mike wakes and then Mike like wakes up 1083 00:58:55,520 --> 00:58:58,720 Speaker 1: and he's in his bed with the groovy blanket with 1084 00:58:58,880 --> 00:59:02,760 Speaker 1: the brown, white and gold stripes, but the tall man 1085 00:59:02,880 --> 00:59:05,080 Speaker 1: is standing over his bed and his bed is in 1086 00:59:05,160 --> 00:59:08,600 Speaker 1: the middle of a cemetery. And then zombies like scream 1087 00:59:08,720 --> 00:59:11,600 Speaker 1: and grab him. So I guess this is a dream 1088 00:59:11,920 --> 00:59:14,640 Speaker 1: and then he wakes up. But like, if this was 1089 00:59:14,680 --> 00:59:18,440 Speaker 1: a dream, how far back does that go? Like how 1090 00:59:18,520 --> 00:59:20,760 Speaker 1: much of it was a dream? We don't know when 1091 00:59:20,840 --> 00:59:22,960 Speaker 1: the dream sequence started. 1092 00:59:23,040 --> 00:59:25,200 Speaker 3: Yeah, or when does it end? Is it still going? 1093 00:59:25,760 --> 00:59:27,840 Speaker 3: Is the tall man about to do a jump? Scare 1094 00:59:27,960 --> 00:59:31,080 Speaker 3: right behind you right now, Joe, It might happen. But 1095 00:59:31,880 --> 00:59:34,720 Speaker 3: those questions aside, this is a fabulous scene. This is 1096 00:59:34,760 --> 00:59:37,040 Speaker 3: one that I think has used in the trailer as well, 1097 00:59:37,880 --> 00:59:41,080 Speaker 3: just the symmetrical shooting of it, the way it's all 1098 00:59:41,160 --> 00:59:44,760 Speaker 3: framed up, the darkness, and it also just like it 1099 00:59:44,920 --> 00:59:47,760 Speaker 3: sums up a lot of the attitude of phantasm. Like 1100 00:59:47,840 --> 00:59:52,640 Speaker 3: here is Mike the youth in bed, clearly troubled, and 1101 00:59:53,200 --> 00:59:57,600 Speaker 3: like Death, the personification of Death is like literally at 1102 00:59:57,880 --> 01:00:00,880 Speaker 3: the head of his bed, leering over him, and then 1103 01:00:00,920 --> 01:00:03,200 Speaker 3: these things jump out and start, you know, presumably about 1104 01:00:03,200 --> 01:00:04,120 Speaker 3: to just tear him in half. 1105 01:00:04,560 --> 01:00:06,920 Speaker 1: Then one of the funniest things is it goes from 1106 01:00:07,120 --> 01:00:09,480 Speaker 1: He's waking up from a dream sequence and then it 1107 01:00:09,600 --> 01:00:14,200 Speaker 1: goes straight to another scene that feels so dream like. 1108 01:00:14,360 --> 01:00:17,320 Speaker 1: He's it's it looks kind of gauzy, and Mike is 1109 01:00:17,440 --> 01:00:21,880 Speaker 1: wandering down the sidewalk like sucking on a lollipop and 1110 01:00:22,400 --> 01:00:26,680 Speaker 1: checking the change tray and payphones for change, and then 1111 01:00:26,760 --> 01:00:29,520 Speaker 1: he looks across the street and there's the tall Man 1112 01:00:29,800 --> 01:00:33,360 Speaker 1: just walking past like a clothing store. And then there's 1113 01:00:33,480 --> 01:00:37,080 Speaker 1: Reggie's ice cream truck in the foreground, and Reggie is 1114 01:00:37,160 --> 01:00:40,600 Speaker 1: opening up the freezer and pulling ice cream out, and 1115 01:00:40,920 --> 01:00:44,560 Speaker 1: there is fog emanating from the freezer. And then the 1116 01:00:44,640 --> 01:00:48,400 Speaker 1: tall Man stops right behind Reggie and stands in the 1117 01:00:48,480 --> 01:00:53,000 Speaker 1: freezer fog and turns and looks at Mike and does 1118 01:00:53,120 --> 01:00:59,480 Speaker 1: this monstrous sniff. He's like, you know, breathing in uh 1119 01:01:00,160 --> 01:01:05,240 Speaker 1: in some kind of weird agony or something. And what 1120 01:01:05,920 --> 01:01:08,040 Speaker 1: the heck is going on here? Did this really happen? 1121 01:01:08,400 --> 01:01:11,439 Speaker 1: Is this a dream? What is the tall man doing 1122 01:01:11,520 --> 01:01:14,440 Speaker 1: when he's sniffing the freezer fog? I don't know. 1123 01:01:15,040 --> 01:01:20,160 Speaker 3: Yeah, it's definitely another great scene that has dreamlike qualities, 1124 01:01:20,640 --> 01:01:23,080 Speaker 3: and I think has that strong youth vibe of like 1125 01:01:23,240 --> 01:01:26,000 Speaker 3: here here the youth is seeing the true creepy nature 1126 01:01:26,040 --> 01:01:29,760 Speaker 3: of reality. It's lost to all the other adults, like 1127 01:01:29,840 --> 01:01:31,880 Speaker 3: here's Reggie, Reggie to notice this going on at all. 1128 01:01:31,920 --> 01:01:36,040 Speaker 3: Reggie's just doing his thing, doing his job. I also 1129 01:01:36,120 --> 01:01:38,560 Speaker 3: love how the scene it seems to imply, or it's 1130 01:01:38,560 --> 01:01:41,000 Speaker 3: always struck me this way, as being a moment where 1131 01:01:41,280 --> 01:01:44,040 Speaker 3: the tall Man is looking right at us the viewer. 1132 01:01:44,400 --> 01:01:47,800 Speaker 3: He's looking right back at Mike. So it's like the 1133 01:01:47,880 --> 01:01:52,160 Speaker 3: abyss staring back. It's game recognizing game here, it's like 1134 01:01:52,360 --> 01:01:55,240 Speaker 3: Mike and the tall Man have a connection. And we'll 1135 01:01:55,280 --> 01:01:59,160 Speaker 3: see another version of this later on in the picture. 1136 01:01:59,120 --> 01:02:00,880 Speaker 1: Yes we will. But I just want to flag again 1137 01:02:00,920 --> 01:02:03,400 Speaker 1: that I have completely lost track of what's the dream 1138 01:02:03,480 --> 01:02:05,520 Speaker 1: and what's reality by this point in the movie. 1139 01:02:06,040 --> 01:02:08,720 Speaker 3: This is This is probably a good point to mention. 1140 01:02:08,960 --> 01:02:11,840 Speaker 3: In Phantasm Too. Again, Universal comes in gives them a 1141 01:02:11,840 --> 01:02:14,920 Speaker 3: bunch of funding to finally make a sequel to Phantasm, 1142 01:02:15,520 --> 01:02:18,320 Speaker 3: and apparently they made some demands, as you might expect 1143 01:02:18,360 --> 01:02:19,760 Speaker 3: when a big studio comes in and gives you a 1144 01:02:19,800 --> 01:02:21,960 Speaker 3: whole bunch of money. They said, well, we need some 1145 01:02:22,120 --> 01:02:27,000 Speaker 3: romantic interests for our characters, especially for Mike. You can't 1146 01:02:27,160 --> 01:02:30,840 Speaker 3: bring back Baldwin and Reggie Banister. You get to bring 1147 01:02:30,920 --> 01:02:32,680 Speaker 3: back one and the other one you have to recast. 1148 01:02:33,000 --> 01:02:37,960 Speaker 3: So in Fantasm Too they recast Mike, which, given the choice, 1149 01:02:38,240 --> 01:02:42,640 Speaker 3: was the correct choice to make. Like you don't recast Reggie. 1150 01:02:42,680 --> 01:02:44,640 Speaker 3: You got it. You can't recast Reggie. 1151 01:02:44,560 --> 01:02:45,840 Speaker 1: Must have Reggie Banister. 1152 01:02:46,040 --> 01:02:46,240 Speaker 3: Yeah. 1153 01:02:46,400 --> 01:02:46,560 Speaker 4: Yeah. 1154 01:02:46,880 --> 01:02:49,520 Speaker 3: But one of the other apparently, apparently one of the 1155 01:02:49,560 --> 01:02:54,200 Speaker 3: other studio demands was no dream sequences. Nobody's dreaming in 1156 01:02:54,280 --> 01:02:57,040 Speaker 3: this film. It's I guess they thought it was too confusing, 1157 01:02:57,320 --> 01:03:00,160 Speaker 3: and they're like, everything needs to be linear, nobody has 1158 01:03:00,200 --> 01:03:02,960 Speaker 3: any dreams, which is a weird demand to make on 1159 01:03:03,400 --> 01:03:06,000 Speaker 3: a sequel to this film, a film that, like you said, 1160 01:03:06,920 --> 01:03:09,560 Speaker 3: on one hand, like that's the whole quality of it. 1161 01:03:09,640 --> 01:03:11,520 Speaker 3: It's like, we don't know when it's a dream and 1162 01:03:11,560 --> 01:03:14,240 Speaker 3: when it's not. Even the title of the film is phantasm. 1163 01:03:14,600 --> 01:03:17,760 Speaker 3: It is supposed to be like an illusion, something you're 1164 01:03:17,800 --> 01:03:20,720 Speaker 3: not sure about. But you also understand where the studio 1165 01:03:20,840 --> 01:03:22,960 Speaker 3: is like, look, this is too much. We needed to 1166 01:03:23,000 --> 01:03:25,960 Speaker 3: be nice and linear. No dreams, that's a tragedy. I'm 1167 01:03:25,960 --> 01:03:27,840 Speaker 3: gonna have to I wonder if I'll get mad when 1168 01:03:27,840 --> 01:03:30,720 Speaker 3: I watch P two. Oh. P two is still a 1169 01:03:30,760 --> 01:03:32,920 Speaker 3: lot of fun. It's very much an action film. It's 1170 01:03:33,000 --> 01:03:36,720 Speaker 3: kind of like Aliens to this film's Alien, but without 1171 01:03:36,840 --> 01:03:42,200 Speaker 3: the consistency of quality. Like Phantasm two is a dumber film, 1172 01:03:42,400 --> 01:03:45,120 Speaker 3: but also a film that clearly had more money to 1173 01:03:45,320 --> 01:03:50,480 Speaker 3: throw at killer ball effects and dwarf effects, and also, yeah, 1174 01:03:50,520 --> 01:03:54,360 Speaker 3: Reggie is transformed into a pure action hero and so 1175 01:03:54,600 --> 01:03:57,520 Speaker 3: it's a lot of fun as well. But it's very 1176 01:03:57,560 --> 01:04:00,480 Speaker 3: different and definitely there's something to be said for it. 1177 01:04:01,160 --> 01:04:03,760 Speaker 3: It's moving away from the dream imagery for the most part. 1178 01:04:04,080 --> 01:04:05,840 Speaker 1: So the next thing is we're going to spend some 1179 01:04:06,000 --> 01:04:10,040 Speaker 1: time with Mike and Jody in their house. I love 1180 01:04:10,120 --> 01:04:13,120 Speaker 1: their house. There's a part where Mike is like underneath 1181 01:04:13,320 --> 01:04:16,800 Speaker 1: Jody's muscle car doing repairs on it again because apparently, 1182 01:04:17,120 --> 01:04:20,080 Speaker 1: you know, he's got full mechanic training even though he 1183 01:04:20,280 --> 01:04:24,440 Speaker 1: is only twelve or nineteen and he's and he is 1184 01:04:24,560 --> 01:04:27,440 Speaker 1: attacked by the necro dwarves while he is under the car, 1185 01:04:27,680 --> 01:04:30,080 Speaker 1: but then in trying to defend himself, he ends up 1186 01:04:30,240 --> 01:04:34,560 Speaker 1: bonking Jody on the toe with a hammer. But anyway, 1187 01:04:34,640 --> 01:04:36,720 Speaker 1: this is when we finally get a really good look 1188 01:04:36,720 --> 01:04:40,160 Speaker 1: at their house and all of the the length of 1189 01:04:40,280 --> 01:04:43,240 Speaker 1: the carpet fibers will amaze you. 1190 01:04:44,400 --> 01:04:46,680 Speaker 3: Yeah, there's the see the scene where I think this 1191 01:04:46,800 --> 01:04:49,040 Speaker 3: is later on, but there's a scene with the stairs 1192 01:04:49,440 --> 01:04:52,040 Speaker 3: in the house. We have these like floating stairs and 1193 01:04:52,120 --> 01:04:55,360 Speaker 3: they're all carpeted, and man, you just want to you 1194 01:04:55,480 --> 01:04:57,680 Speaker 3: just want to take your shoes off and walk on those. 1195 01:04:57,560 --> 01:05:02,160 Speaker 1: Things, except they also look like they would have protruding 1196 01:05:02,240 --> 01:05:03,000 Speaker 1: hidden nails. 1197 01:05:03,560 --> 01:05:05,920 Speaker 3: Well, it is in nineteen seventies, so it's like everything's 1198 01:05:06,520 --> 01:05:09,240 Speaker 3: everything in the house looks comfy and yet possibly dangerous. 1199 01:05:09,480 --> 01:05:12,320 Speaker 1: Anyway, Mike chills out for a bit in his glorious 1200 01:05:12,360 --> 01:05:14,600 Speaker 1: bedroom with the shot of the moon on the wall 1201 01:05:14,840 --> 01:05:18,240 Speaker 1: and like a John Lennon poster, I think one of 1202 01:05:18,280 --> 01:05:21,080 Speaker 1: those maps of the world that cuts Asia in half 1203 01:05:21,200 --> 01:05:26,440 Speaker 1: instead of dividing in the Pacific Ocean. And we see 1204 01:05:26,520 --> 01:05:30,680 Speaker 1: him tuck a gigantic bowie knife into a sheet strapped 1205 01:05:30,720 --> 01:05:34,200 Speaker 1: to his calf, and the knife is as thick as 1206 01:05:34,280 --> 01:05:37,360 Speaker 1: his leg, so when he pulls his pants leg down 1207 01:05:37,480 --> 01:05:41,360 Speaker 1: over it, it looks really funny. He also packs a crucifix, 1208 01:05:41,480 --> 01:05:43,600 Speaker 1: but this is your classic suiting up scene. It's like 1209 01:05:43,640 --> 01:05:46,520 Speaker 1: when Van Helsing is packing his steaks in his holy 1210 01:05:46,600 --> 01:05:49,360 Speaker 1: water into the kit. But it's time to head off 1211 01:05:49,400 --> 01:05:52,320 Speaker 1: to the Morningside Cemetery at night for some reason, I 1212 01:05:52,400 --> 01:05:54,360 Speaker 1: guess to figure out what's going on with the tall 1213 01:05:54,480 --> 01:05:58,680 Speaker 1: man and the jawas so Mike Head's over he breaks 1214 01:05:58,720 --> 01:06:01,120 Speaker 1: through a window to sneak in, and he's walking around 1215 01:06:01,120 --> 01:06:03,520 Speaker 1: in the dark with a lighter. He ends up hiding 1216 01:06:03,600 --> 01:06:07,880 Speaker 1: in a coffin in a classic horror movie trope, somebody's 1217 01:06:07,880 --> 01:06:10,000 Speaker 1: got to hide in a coffin because somebody's looking for them, 1218 01:06:10,240 --> 01:06:13,200 Speaker 1: while a very blank faced man in a white hat 1219 01:06:13,360 --> 01:06:17,280 Speaker 1: creeps around looking for him. Rob, did you understand that 1220 01:06:17,680 --> 01:06:19,840 Speaker 1: this man in the white hat is supposed to be 1221 01:06:19,960 --> 01:06:22,400 Speaker 1: of the same species as Angus scrim. 1222 01:06:23,680 --> 01:06:27,520 Speaker 3: I think he's more well, you know, it's it's hard 1223 01:06:27,640 --> 01:06:29,480 Speaker 3: this one. This is a point where it's difficult to 1224 01:06:29,600 --> 01:06:32,800 Speaker 3: sort of think about this film completely on its own terms, 1225 01:06:32,880 --> 01:06:36,880 Speaker 3: because knowing what we know about later installments, I feel 1226 01:06:37,000 --> 01:06:39,840 Speaker 3: like it's clear that this guy's just an underling. But 1227 01:06:40,400 --> 01:06:42,640 Speaker 3: if I were just watching this film for the first time, yeah, 1228 01:06:42,680 --> 01:06:46,520 Speaker 3: I might think this must be this being must be 1229 01:06:46,600 --> 01:06:49,720 Speaker 3: of the same species or origin as the tall man, 1230 01:06:49,800 --> 01:06:52,560 Speaker 3: because they're both they like, I don't think they exchange 1231 01:06:52,560 --> 01:06:56,120 Speaker 3: any words. They have this kind of like wordless correspondence energy. 1232 01:06:56,640 --> 01:06:59,120 Speaker 3: But the scene here is really cool though, you know, 1233 01:06:59,200 --> 01:07:00,920 Speaker 3: with him hiding in the casket, I feel like it 1234 01:07:01,000 --> 01:07:03,680 Speaker 3: has genuine tension to it, and it's this cool bit 1235 01:07:03,760 --> 01:07:06,240 Speaker 3: where he's used the lighter that he was showing off 1236 01:07:06,320 --> 01:07:09,680 Speaker 3: earlier to keep the casket from closing completely because I 1237 01:07:09,720 --> 01:07:11,480 Speaker 3: don't know, maybe it would self lock and then he 1238 01:07:11,520 --> 01:07:13,880 Speaker 3: would be stuck in there and buried or found later. 1239 01:07:14,240 --> 01:07:17,920 Speaker 1: I wonder if there's there are unused scenes that describe 1240 01:07:17,960 --> 01:07:19,520 Speaker 1: who the man in the white hat is, like maybe 1241 01:07:19,560 --> 01:07:22,640 Speaker 1: he's a human wren Field to the tall man. Because 1242 01:07:23,680 --> 01:07:25,600 Speaker 1: did you read the same thing I did Rob about 1243 01:07:25,640 --> 01:07:30,640 Speaker 1: how the original cut of Phantasm was over three hours long? 1244 01:07:31,400 --> 01:07:33,720 Speaker 3: Oh wow, Well, I guess. I mean that's not out 1245 01:07:33,720 --> 01:07:36,200 Speaker 3: of character with a lot of films where the initial 1246 01:07:36,280 --> 01:07:40,840 Speaker 3: cut is just really bloated. But if that's the case 1247 01:07:40,920 --> 01:07:42,680 Speaker 3: with this film, I mean, good job on them cutting 1248 01:07:42,720 --> 01:07:47,080 Speaker 3: it down and it being this consistently entertaining. There's not 1249 01:07:47,160 --> 01:07:48,280 Speaker 3: a dull moment in the film. 1250 01:07:48,680 --> 01:07:51,439 Speaker 1: It's like an hour and twenty something. So if that's true, 1251 01:07:51,520 --> 01:07:54,439 Speaker 1: that would mean that would have meant we lost half 1252 01:07:54,520 --> 01:07:54,960 Speaker 1: the movie. 1253 01:07:55,400 --> 01:07:58,640 Speaker 3: I think they pull some stuff out later in some 1254 01:07:58,800 --> 01:08:02,720 Speaker 3: of the sequels, and like pretty decades later in some 1255 01:08:02,840 --> 01:08:04,920 Speaker 3: of the sequels, they were able to pull out whole 1256 01:08:05,000 --> 01:08:06,280 Speaker 3: sequences that they didn't use. 1257 01:08:06,680 --> 01:08:06,880 Speaker 4: Yeah. 1258 01:08:08,080 --> 01:08:12,000 Speaker 1: Well, anyway, Mike is attacked by the man in the 1259 01:08:12,040 --> 01:08:15,080 Speaker 1: white hat, but at the same time he is being 1260 01:08:15,160 --> 01:08:18,320 Speaker 1: pursued by the ball. This is when we first really 1261 01:08:19,280 --> 01:08:22,840 Speaker 1: meet the ball. There is a shiny metal sphere that 1262 01:08:23,040 --> 01:08:26,680 Speaker 1: flies through the air at Mike and it's coming at 1263 01:08:26,800 --> 01:08:30,760 Speaker 1: him to drive into his face while the man in 1264 01:08:30,760 --> 01:08:33,160 Speaker 1: the white hat is holding him. But Mike bites the 1265 01:08:33,240 --> 01:08:35,160 Speaker 1: guy on the arm and then ducks down and then 1266 01:08:35,240 --> 01:08:38,320 Speaker 1: the ball hits the guy in the white hat instead. 1267 01:08:39,080 --> 01:08:42,559 Speaker 1: And I remember when I first saw this, the entire 1268 01:08:42,760 --> 01:08:45,639 Speaker 1: room was just in shock watching what the ball did. 1269 01:08:45,920 --> 01:08:49,160 Speaker 1: It's a roll that beautiful ball footage moment where the 1270 01:08:49,280 --> 01:08:51,840 Speaker 1: drill goes in between the eyes and then it just 1271 01:08:51,920 --> 01:08:54,640 Speaker 1: squirts out a jet of blood from the back of 1272 01:08:54,680 --> 01:08:55,000 Speaker 1: the ball. 1273 01:08:55,560 --> 01:08:57,400 Speaker 3: Yeah, Like it's not trying to keep the blood, it's 1274 01:08:57,520 --> 01:09:00,400 Speaker 3: just take the blood out of the thing that it 1275 01:09:00,560 --> 01:09:05,000 Speaker 3: is embedded in. It's just absolutely glorious sequence. One of 1276 01:09:05,080 --> 01:09:08,640 Speaker 3: the coolest, weirdest horror movie deaths you'll ever find in 1277 01:09:08,680 --> 01:09:09,240 Speaker 3: a horror movie. 1278 01:09:09,520 --> 01:09:11,919 Speaker 1: To take it out of the context of horror movie violence, 1279 01:09:12,080 --> 01:09:15,280 Speaker 1: this device, if it existed, would be a wonderful fruit juicer. 1280 01:09:15,400 --> 01:09:17,120 Speaker 1: It looks, you know, flying to the side of a 1281 01:09:17,200 --> 01:09:21,000 Speaker 1: watermelon and then just drain all the watermelon juice straight out. 1282 01:09:21,320 --> 01:09:23,479 Speaker 3: Yeah. I mean you'd have to stand behind it and 1283 01:09:23,520 --> 01:09:25,280 Speaker 3: I guess catch it all in your mouth or something. 1284 01:09:25,560 --> 01:09:26,720 Speaker 1: Yeah, you'd need a receptacle. 1285 01:09:26,800 --> 01:09:30,160 Speaker 3: Yeah, But that's again that's another quality of the sphere 1286 01:09:30,240 --> 01:09:32,200 Speaker 3: that I like because it doesn't feel like it was 1287 01:09:32,280 --> 01:09:36,160 Speaker 3: designed to function in this world or in these circumstances. 1288 01:09:36,240 --> 01:09:38,680 Speaker 3: You know, just attaching to things and sucking all the 1289 01:09:38,720 --> 01:09:41,400 Speaker 3: liquid out of them and just blasting the liquid over 1290 01:09:41,520 --> 01:09:44,719 Speaker 3: what's whatever's behind it. I love it. It's so weird. 1291 01:09:45,160 --> 01:09:47,000 Speaker 1: But there are a lot of effects in this movie 1292 01:09:47,120 --> 01:09:50,760 Speaker 1: that are great low tech, low cost effects. And the 1293 01:09:50,880 --> 01:09:54,360 Speaker 1: ball effects. I think this is a great example because 1294 01:09:54,400 --> 01:09:57,759 Speaker 1: there are scenes where this metal sphere is actually flying 1295 01:09:57,880 --> 01:10:01,040 Speaker 1: through the air toward the camera. Don't necessarily see any 1296 01:10:01,160 --> 01:10:03,960 Speaker 1: wires or anything. So how did they do this? I 1297 01:10:04,040 --> 01:10:06,000 Speaker 1: think what they did is they just had somebody stand 1298 01:10:06,080 --> 01:10:08,240 Speaker 1: behind the camera and pitch the ball, or they might 1299 01:10:08,240 --> 01:10:10,360 Speaker 1: have used a pitching machine. In any case, the ball 1300 01:10:10,560 --> 01:10:15,160 Speaker 1: was being a thrown or ejected down the hall past 1301 01:10:15,280 --> 01:10:17,639 Speaker 1: the camera, and then they just used the shot in reverse. 1302 01:10:17,720 --> 01:10:19,800 Speaker 1: So the ball is just flying toward the camera from 1303 01:10:19,800 --> 01:10:20,400 Speaker 1: out of nowhere. 1304 01:10:20,720 --> 01:10:23,040 Speaker 3: It looks good. It looks good. However they did it 1305 01:10:23,400 --> 01:10:27,960 Speaker 3: like these are sequences that that hold up absolutely you 1306 01:10:28,040 --> 01:10:31,840 Speaker 3: know that these these totally buy this flying silver sphere 1307 01:10:31,920 --> 01:10:32,639 Speaker 3: from another world. 1308 01:10:41,720 --> 01:10:44,160 Speaker 1: Well, anyway, there's a big chase scene. The tall Man 1309 01:10:44,320 --> 01:10:47,000 Speaker 1: chases Mike. At one point Mike manages to. 1310 01:10:47,280 --> 01:10:49,680 Speaker 3: Before the chase. Before the chase, Joe, you have one 1311 01:10:49,680 --> 01:10:53,200 Speaker 3: of my favorite moments. This is the showdown between Mike 1312 01:10:53,280 --> 01:10:55,599 Speaker 3: and the tall Man. This is the moment, another game 1313 01:10:55,680 --> 01:11:00,479 Speaker 3: recognized game moment. They both they freeze. They kind of 1314 01:11:01,200 --> 01:11:04,800 Speaker 3: Mike kind of like cautiously walks up, the tall Man's 1315 01:11:04,840 --> 01:11:07,960 Speaker 3: cautiously walking up, and then in their kind of mirror 1316 01:11:07,960 --> 01:11:10,840 Speaker 3: images of each other, but kind of you know, like 1317 01:11:10,880 --> 01:11:13,240 Speaker 3: one to one side, one to the other, and then boom, 1318 01:11:13,520 --> 01:11:16,360 Speaker 3: Mike runs for it and the tall Man chases after him. 1319 01:11:16,520 --> 01:11:18,120 Speaker 3: And the tall Man he's got a lot of he's 1320 01:11:18,160 --> 01:11:20,240 Speaker 3: got a lot of go, he's got some energy. He 1321 01:11:20,320 --> 01:11:23,920 Speaker 3: may look like he's somewhere between the ages of fifty 1322 01:11:24,000 --> 01:11:27,640 Speaker 3: and eighty. Again, his age is also suitably vague, And 1323 01:11:27,920 --> 01:11:30,240 Speaker 3: of course he's probably he's not of this world anyway, 1324 01:11:30,320 --> 01:11:32,120 Speaker 3: so it doesn't matter, but yeah, he can move. 1325 01:11:32,520 --> 01:11:36,840 Speaker 1: This leads to the finger sequence which is a whole 1326 01:11:37,000 --> 01:11:42,439 Speaker 1: like series of scenes which are so so. Mike manages 1327 01:11:42,560 --> 01:11:45,560 Speaker 1: to escape from the tall Man and cut off some 1328 01:11:45,680 --> 01:11:49,360 Speaker 1: of his fingers. It squirts out yellow blood and his 1329 01:11:49,479 --> 01:11:52,760 Speaker 1: fingers are like still moving around on the floor. Mike 1330 01:11:53,000 --> 01:11:55,720 Speaker 1: takes one of the fingers, takes it home, keeps it 1331 01:11:55,800 --> 01:11:59,639 Speaker 1: in a box, falls asleep on the floating shag carpet 1332 01:11:59,680 --> 01:12:02,240 Speaker 1: stairs with a shotgun in his hand. That's not safe. 1333 01:12:03,640 --> 01:12:08,320 Speaker 1: Then Jody finds him asleep on the stairs. Mike explains 1334 01:12:08,360 --> 01:12:10,840 Speaker 1: it to Jody. He's like, here's what happened. I'm going 1335 01:12:10,880 --> 01:12:12,880 Speaker 1: to show you a finger in a box. And then 1336 01:12:12,920 --> 01:12:15,280 Speaker 1: he shows him the finger, and then Jody's like, okay, 1337 01:12:15,439 --> 01:12:19,360 Speaker 1: I am convinced. I appreciated that that he didn't persist 1338 01:12:19,439 --> 01:12:21,479 Speaker 1: in denying it once he saw the finger and the 1339 01:12:21,560 --> 01:12:24,840 Speaker 1: yellow blood in the box. And then the finger turns 1340 01:12:24,920 --> 01:12:28,160 Speaker 1: into a beatle demon which attacks Jody and Mike, and 1341 01:12:28,240 --> 01:12:30,720 Speaker 1: then they try to kill it in the garbage disposal 1342 01:12:30,800 --> 01:12:33,560 Speaker 1: in the sink, and then Reggie arrives to witness this, 1343 01:12:33,680 --> 01:12:38,320 Speaker 1: so now Reggie's in on the whole demon conspiracy. And 1344 01:12:38,439 --> 01:12:41,839 Speaker 1: then after this, Jody starts giving Mike a gun safety 1345 01:12:42,000 --> 01:12:44,599 Speaker 1: lesson and then Jody heads off to the funeral home 1346 01:12:44,680 --> 01:12:46,240 Speaker 1: to investigate things for himself. 1347 01:12:46,680 --> 01:12:49,479 Speaker 3: Yeah, and I love the love how we go from 1348 01:12:49,680 --> 01:12:52,240 Speaker 3: this scene where Jody's giving Mike the gun safety lesson 1349 01:12:52,320 --> 01:12:56,680 Speaker 3: and then Jody Bray goes into the basement of the 1350 01:12:57,040 --> 01:13:01,000 Speaker 3: mausoleum at night is immediately attacked by dwarf And there's 1351 01:13:01,040 --> 01:13:04,320 Speaker 3: a scene where a dwarf is on Jody's back and 1352 01:13:04,600 --> 01:13:07,080 Speaker 3: Jody is trying to shoot the dwarf off of his 1353 01:13:07,240 --> 01:13:11,080 Speaker 3: back with a handgun by essentially aiming the gun at 1354 01:13:11,120 --> 01:13:15,120 Speaker 3: his own head. Like it's just so dangerous. It's like, really, 1355 01:13:15,439 --> 01:13:17,760 Speaker 3: you were just given pointers on gun safety and now 1356 01:13:17,760 --> 01:13:18,280 Speaker 3: you're doing this. 1357 01:13:18,720 --> 01:13:22,479 Speaker 1: That scene is so funny. Yeah, but anyway, Jody. Yeah, 1358 01:13:22,560 --> 01:13:25,559 Speaker 1: so Jody has this fight with one of the necro 1359 01:13:25,680 --> 01:13:28,920 Speaker 1: dwarfs in the funeral home and then he flees, and 1360 01:13:29,000 --> 01:13:31,360 Speaker 1: then this leads into a car chase where Jody and 1361 01:13:31,439 --> 01:13:35,120 Speaker 1: Mike are driving around shooting at a hearse I think 1362 01:13:35,200 --> 01:13:38,880 Speaker 1: that's being driven by one of the creatures, and then 1363 01:13:38,960 --> 01:13:42,360 Speaker 1: they crash. They get the other car to crash, and 1364 01:13:42,560 --> 01:13:45,800 Speaker 1: they go up to the creature and they pull back 1365 01:13:45,880 --> 01:13:48,280 Speaker 1: its hood and you're wondering, what's its face? Going to 1366 01:13:48,320 --> 01:13:51,040 Speaker 1: be like and they realize, oh no, this was our friend. 1367 01:13:51,160 --> 01:13:54,599 Speaker 1: Tommy is the Lemmy guy, but he's covered in yellow slime. 1368 01:13:55,000 --> 01:13:58,320 Speaker 3: Oh, and this is great. The reveal that the dwarves 1369 01:13:58,960 --> 01:14:02,000 Speaker 3: are the bodies of the dead that have been like 1370 01:14:02,160 --> 01:14:08,040 Speaker 3: compressed down into into little necro dwarves like this. I 1371 01:14:08,120 --> 01:14:10,920 Speaker 3: remember when I when I when I watched one of 1372 01:14:10,960 --> 01:14:13,040 Speaker 3: these films for the first time and realized this, and 1373 01:14:13,120 --> 01:14:15,680 Speaker 3: I was like, oh, my goodness, that's that's genius. That's 1374 01:14:15,720 --> 01:14:16,360 Speaker 3: so beautiful. 1375 01:14:16,600 --> 01:14:19,400 Speaker 1: So they summoned Reggie's ice cream truck, which is now 1376 01:14:19,479 --> 01:14:22,760 Speaker 1: doubling his body removal truck. So they're putting it in 1377 01:14:22,840 --> 01:14:27,360 Speaker 1: the in the freezer and Reggie, by this scene, I 1378 01:14:27,439 --> 01:14:29,760 Speaker 1: think he was dressed like this earlier, but he looks 1379 01:14:29,880 --> 01:14:33,560 Speaker 1: so funny because he's wearing a black vest over his 1380 01:14:33,760 --> 01:14:37,519 Speaker 1: ice cream outfit, so he looks like a combination of 1381 01:14:37,600 --> 01:14:40,360 Speaker 1: a milkman and a riverboat casino dealer. 1382 01:14:40,760 --> 01:14:40,960 Speaker 3: Yeah. 1383 01:14:41,320 --> 01:14:43,639 Speaker 1: So Reggie, Jody, and Mike go back to their house 1384 01:14:43,680 --> 01:14:46,760 Speaker 1: and they have a strategy session. Jody's going why why, 1385 01:14:46,880 --> 01:14:49,800 Speaker 1: why why are they taking people's bodies and crushing them 1386 01:14:49,840 --> 01:14:53,160 Speaker 1: down to half size. And then Reggie suggests, well, we 1387 01:14:53,240 --> 01:14:55,360 Speaker 1: got to catch the tall man and drive a steak 1388 01:14:55,439 --> 01:14:57,320 Speaker 1: through his heart. I don't know why they think that 1389 01:14:57,400 --> 01:15:03,320 Speaker 1: would work. And then Mike, Mike is incredulous. He's like, 1390 01:15:03,960 --> 01:15:05,680 Speaker 1: how do you think we could drive a stake through 1391 01:15:05,720 --> 01:15:09,439 Speaker 1: his heart? That mother's strong. Many times in this movie 1392 01:15:09,880 --> 01:15:13,200 Speaker 1: people use the word mother as a general noun to 1393 01:15:13,360 --> 01:15:14,840 Speaker 1: refer to a person or a thing. 1394 01:15:15,439 --> 01:15:19,240 Speaker 3: Yeah, it work. Gives a looking so nicely with Mike 1395 01:15:19,320 --> 01:15:23,880 Speaker 3: here though, because because it's like Mike's talking tough, He's 1396 01:15:23,960 --> 01:15:26,360 Speaker 3: talking like like like he thinks an adult should be 1397 01:15:26,439 --> 01:15:27,880 Speaker 3: talking in the situation. I love it. 1398 01:15:28,160 --> 01:15:30,640 Speaker 1: Okay, Well, we're heading into the final sequence here, so 1399 01:15:30,760 --> 01:15:33,240 Speaker 1: I think Reggie and Jody are going to go investigate 1400 01:15:33,320 --> 01:15:36,120 Speaker 1: the funeral home again, and they're going to make Mike 1401 01:15:36,280 --> 01:15:41,200 Speaker 1: stay at Sally's an antique store. I think these are 1402 01:15:41,280 --> 01:15:44,080 Speaker 1: characters who we should have met before but we haven't. Actually, 1403 01:15:44,320 --> 01:15:45,439 Speaker 1: maybe maybe that got cut. 1404 01:15:45,760 --> 01:15:48,639 Speaker 3: The antique store is a nice sequence though, because it's 1405 01:15:48,720 --> 01:15:51,760 Speaker 3: just Mike wandering around looking at strange things in an 1406 01:15:51,800 --> 01:15:55,200 Speaker 3: antique store and we get some fabulous percussion, like all 1407 01:15:55,280 --> 01:15:59,479 Speaker 3: the gongs and bells. It's a scene that I, yeah, 1408 01:15:59,520 --> 01:16:01,439 Speaker 3: without the me I guess it might be a little boring, 1409 01:16:01,520 --> 01:16:03,639 Speaker 3: but with the music it's it's really cool and creepy. 1410 01:16:04,000 --> 01:16:06,599 Speaker 1: Yeah, And he just wanders around looking at things until 1411 01:16:06,600 --> 01:16:09,400 Speaker 1: he finds an old photograph of the Tall Man in 1412 01:16:09,479 --> 01:16:13,439 Speaker 1: the nineteenth century driving a horse drawn carriage. And then 1413 01:16:13,600 --> 01:16:16,120 Speaker 1: from here he's like, you must take me home immediately. 1414 01:16:16,640 --> 01:16:19,280 Speaker 1: I don't know what this changes. Why does that mean 1415 01:16:19,360 --> 01:16:20,120 Speaker 1: he must leave? 1416 01:16:20,760 --> 01:16:21,920 Speaker 3: You're like, didn't they's nine? 1417 01:16:22,320 --> 01:16:26,080 Speaker 1: Yeah, didn't they already know that the Tall Man was otherworld? Like, 1418 01:16:26,160 --> 01:16:29,040 Speaker 1: why would he be that surprised? I don't know. So 1419 01:16:29,120 --> 01:16:31,400 Speaker 1: they're driving around and the car gets attacked by the 1420 01:16:31,479 --> 01:16:36,920 Speaker 1: creatures again. Uh, and then let's see Mike goes back 1421 01:16:37,080 --> 01:16:41,240 Speaker 1: home and then Jody locks Mike in his bedroom where 1422 01:16:41,280 --> 01:16:44,240 Speaker 1: he's like, I'm going to go go to the funeral home. 1423 01:16:44,320 --> 01:16:46,960 Speaker 1: You have to stay here. And then we get one 1424 01:16:47,000 --> 01:16:49,160 Speaker 1: of the moments that actually stuck in my mind the 1425 01:16:49,320 --> 01:16:52,160 Speaker 1: most from when I first saw this movie. It is 1426 01:16:52,200 --> 01:16:56,880 Speaker 1: when Mike comes up with a system to escape being 1427 01:16:56,960 --> 01:17:01,120 Speaker 1: locked in his room, and it is an improv explosive 1428 01:17:01,240 --> 01:17:04,519 Speaker 1: device that he makes out of a shotgun shell, a hammer, 1429 01:17:05,040 --> 01:17:06,519 Speaker 1: a tack, and some tape. 1430 01:17:07,040 --> 01:17:09,400 Speaker 3: Yeah. Absolutely do not do this at all. 1431 01:17:10,200 --> 01:17:13,040 Speaker 1: Yeah, So he like yeah. He puts a tack in 1432 01:17:13,120 --> 01:17:15,360 Speaker 1: the back of a shotgun shell and then tapes it 1433 01:17:15,400 --> 01:17:17,200 Speaker 1: to the end of a hammer and then like and 1434 01:17:17,280 --> 01:17:20,000 Speaker 1: then swings it at the door, and this makes the 1435 01:17:20,160 --> 01:17:23,920 Speaker 1: shell explode and it shoots its shot through the door, 1436 01:17:24,320 --> 01:17:27,000 Speaker 1: and then he's able to reach through and open up 1437 01:17:27,040 --> 01:17:30,360 Speaker 1: the knob or dislodge a screwdriver. I think that Jody 1438 01:17:30,479 --> 01:17:33,040 Speaker 1: jammed in there to prevent the door from opening. I 1439 01:17:33,160 --> 01:17:35,519 Speaker 1: was trying to figure out would this technique actually work. 1440 01:17:35,760 --> 01:17:37,800 Speaker 1: I have no idea. All I could find was people 1441 01:17:37,960 --> 01:17:41,479 Speaker 1: doing forum posts on it, so can't vouch for this 1442 01:17:41,600 --> 01:17:44,160 Speaker 1: at all, but people on the forum posts, so some 1443 01:17:44,280 --> 01:17:46,120 Speaker 1: people were saying, yeah, it seems like this would work, 1444 01:17:46,200 --> 01:17:50,519 Speaker 1: except the shot would not explode, you know, going straight 1445 01:17:50,640 --> 01:17:52,320 Speaker 1: forward like it would if it were coming out the 1446 01:17:52,360 --> 01:17:55,800 Speaker 1: barrel of a shotgun. It would explode in all directions 1447 01:17:55,880 --> 01:17:57,160 Speaker 1: because of the lack of a barrel. 1448 01:17:57,439 --> 01:17:59,840 Speaker 3: Please do not try this out. We are not asked 1449 01:17:59,880 --> 01:18:03,719 Speaker 3: to anybody to experiment and create and generate an answer 1450 01:18:03,800 --> 01:18:05,200 Speaker 3: on this. Do not attempt. 1451 01:18:05,560 --> 01:18:07,760 Speaker 1: But it was all for nothing, really, because Mike gets 1452 01:18:07,760 --> 01:18:10,880 Speaker 1: out and then immediately runs into Anga scrim Ambush at 1453 01:18:10,920 --> 01:18:13,439 Speaker 1: the door. Angus Scrim's like, I've been waiting for you. 1454 01:18:13,720 --> 01:18:16,680 Speaker 1: So he takes him. Tall Man takes him to the 1455 01:18:16,720 --> 01:18:19,960 Speaker 1: funeral home, where he escapes a hearse by shooting out 1456 01:18:20,000 --> 01:18:23,439 Speaker 1: a window. Meanwhile, Jody's already there. We get a bunch 1457 01:18:23,479 --> 01:18:26,479 Speaker 1: of action. There's like the ball attacks again and we 1458 01:18:26,560 --> 01:18:29,200 Speaker 1: get ball cam. Jody comes to the rescue with a 1459 01:18:29,280 --> 01:18:33,559 Speaker 1: shotgun and blows up the ball. And now they got 1460 01:18:33,680 --> 01:18:36,080 Speaker 1: to check out the scary door. So they're they're creeping 1461 01:18:36,120 --> 01:18:39,479 Speaker 1: over to the scary door that we saw the blonde 1462 01:18:39,520 --> 01:18:41,840 Speaker 1: girl open earlier. She sees the light and then she 1463 01:18:41,960 --> 01:18:43,080 Speaker 1: screams yeah. 1464 01:18:43,240 --> 01:18:44,840 Speaker 3: And this this is the point in the film where 1465 01:18:44,920 --> 01:18:47,560 Speaker 3: you've never seen it before. You might wonder, like, how 1466 01:18:47,600 --> 01:18:49,000 Speaker 3: did they keep it going? How do they up the 1467 01:18:49,000 --> 01:18:52,800 Speaker 3: ante here? But they do, Like the weirdness intensifies in 1468 01:18:52,880 --> 01:18:53,360 Speaker 3: this scene. 1469 01:18:53,600 --> 01:18:55,840 Speaker 1: Well, first of all, we get jump scare Reggie. Reggie 1470 01:18:55,920 --> 01:18:58,280 Speaker 1: just comes out to Reggie and the Yeah. He's like hey, 1471 01:18:58,560 --> 01:19:00,800 Speaker 1: and they're like, oh, we thought you were but no, 1472 01:19:00,960 --> 01:19:04,240 Speaker 1: he's good. And he reveals that he found Sally and 1473 01:19:04,280 --> 01:19:06,720 Speaker 1: Susie and some other people in there and they're not dead. 1474 01:19:06,720 --> 01:19:08,519 Speaker 1: They're all okay. And he's like, yeah, I snuck him 1475 01:19:08,520 --> 01:19:11,880 Speaker 1: out a window. Just a whole other story was happening 1476 01:19:11,960 --> 01:19:14,760 Speaker 1: while we were watching. The characters we barely knew are 1477 01:19:14,800 --> 01:19:18,439 Speaker 1: also now safe, so don't They're fine? Yeah, So okay, 1478 01:19:18,680 --> 01:19:20,160 Speaker 1: they want to go in the room. They open up 1479 01:19:20,200 --> 01:19:22,800 Speaker 1: the door and inside the room is full of these 1480 01:19:23,240 --> 01:19:28,479 Speaker 1: black barrels with little glass windows on them. Huh, what's 1481 01:19:28,520 --> 01:19:31,000 Speaker 1: going on there? We get a loud hum And then 1482 01:19:31,120 --> 01:19:33,840 Speaker 1: also in the room with the black barrels there is 1483 01:19:33,920 --> 01:19:38,160 Speaker 1: some weird furniture. There were just these two metal prongs 1484 01:19:38,320 --> 01:19:41,200 Speaker 1: coming up from the floor, and they look inside the 1485 01:19:41,240 --> 01:19:44,200 Speaker 1: barrels and they're like, oh, it's those necro dwarves there 1486 01:19:44,240 --> 01:19:48,000 Speaker 1: they are. So they're being created in these barrels, I guess. 1487 01:19:48,479 --> 01:19:51,080 Speaker 3: And then yeah, or at least created and then like 1488 01:19:51,320 --> 01:19:54,479 Speaker 3: pickled in the barrel, finished in the barrel, or stored 1489 01:19:54,520 --> 01:19:56,000 Speaker 3: in the barrel for transit. 1490 01:19:55,880 --> 01:19:59,320 Speaker 1: I don't know. And then Mike realizes that the two 1491 01:19:59,400 --> 01:20:02,040 Speaker 1: metal prongs coming up from the floor are actually a 1492 01:20:02,160 --> 01:20:05,760 Speaker 1: transdimensional portal, and he reaches his hand through and then 1493 01:20:05,800 --> 01:20:09,200 Speaker 1: he falls entirely through and sees what's on the other side, 1494 01:20:09,560 --> 01:20:12,360 Speaker 1: and it is a desert planet made of just like 1495 01:20:12,520 --> 01:20:16,280 Speaker 1: stones and gravel with a red sky where all of 1496 01:20:16,439 --> 01:20:19,479 Speaker 1: the necro dwarves are lined up in a row going 1497 01:20:19,560 --> 01:20:21,519 Speaker 1: all the way to the horizon as if they're like 1498 01:20:21,720 --> 01:20:25,640 Speaker 1: carrying stuff. And then Jody and Reggie save Mike. They 1499 01:20:25,720 --> 01:20:29,559 Speaker 1: pull him out from the portal and they put everything together. 1500 01:20:29,600 --> 01:20:32,400 Speaker 1: They figure out, Aha, the Tall Man is using the 1501 01:20:32,479 --> 01:20:36,640 Speaker 1: human corpses as alien slave labor on another planet, but 1502 01:20:36,800 --> 01:20:41,559 Speaker 1: because of that planet's gravity and I guess atmospheric pressure 1503 01:20:41,640 --> 01:20:43,600 Speaker 1: or heat, they have to be crushed down to a 1504 01:20:43,640 --> 01:20:46,679 Speaker 1: smaller size so they can work there as zombies. 1505 01:20:46,880 --> 01:20:50,040 Speaker 3: Yeah. I absolutely love this. This is a marvelous reveal, 1506 01:20:50,640 --> 01:20:53,719 Speaker 3: like there's another world out there, some sort of giant, 1507 01:20:53,880 --> 01:20:58,080 Speaker 3: high gravity world where crushed down necro dwarves are being 1508 01:20:58,200 --> 01:21:01,400 Speaker 3: sent to serve as labor. And also they never I 1509 01:21:01,400 --> 01:21:03,120 Speaker 3: don't know if they ever really draw this line or not, 1510 01:21:03,240 --> 01:21:05,000 Speaker 3: but I wonder if that's also why the tall Man 1511 01:21:05,120 --> 01:21:07,240 Speaker 3: is so tall, because he comes from one of these 1512 01:21:07,280 --> 01:21:09,519 Speaker 3: worlds with higher gravity, it comes to a lower gravity 1513 01:21:09,600 --> 01:21:12,880 Speaker 3: world and it like makes him taller somehow, I don't know. Huh. 1514 01:21:13,200 --> 01:21:15,760 Speaker 1: Okay, Well, anyway, there's a bunch of fighting after this 1515 01:21:16,080 --> 01:21:18,479 Speaker 1: lights go out, and then Jody and Mike end up 1516 01:21:18,520 --> 01:21:21,160 Speaker 1: chasing around with some of the with some of the creatures. 1517 01:21:21,640 --> 01:21:23,439 Speaker 1: Reggie is left behind in the room and there's a 1518 01:21:23,439 --> 01:21:26,200 Speaker 1: great moment where Reggie thinks back to the tuning fork 1519 01:21:26,200 --> 01:21:28,479 Speaker 1: because he is looking at the two metal prongs coming 1520 01:21:28,560 --> 01:21:31,640 Speaker 1: up from the floor, and he figures out how to 1521 01:21:32,200 --> 01:21:36,840 Speaker 1: do something to them, Like he puts his hands on 1522 01:21:37,080 --> 01:21:40,000 Speaker 1: the prongs like he did with his fingers on the 1523 01:21:40,040 --> 01:21:43,000 Speaker 1: tuning fork earlier, and that does something it like opens 1524 01:21:43,040 --> 01:21:45,240 Speaker 1: a portal, and then all the winds starts rushing and 1525 01:21:45,320 --> 01:21:46,320 Speaker 1: he almost gets sucked in. 1526 01:21:46,680 --> 01:21:49,080 Speaker 3: It's a great sequence, and I like how it, you know, 1527 01:21:49,160 --> 01:21:51,439 Speaker 3: connects to that moment with a tuning fork earlier in 1528 01:21:51,520 --> 01:21:53,880 Speaker 3: the film. He's like, this is it. I know what 1529 01:21:54,040 --> 01:21:56,160 Speaker 3: this is. I mean, I don't really know what this is, 1530 01:21:56,240 --> 01:22:00,760 Speaker 3: but I know the basic relationship here. I'm bad if 1531 01:22:00,800 --> 01:22:03,840 Speaker 3: I reach out with both hands and I stop the vibrations, 1532 01:22:04,200 --> 01:22:05,400 Speaker 3: I'm going to close this portal. 1533 01:22:05,680 --> 01:22:08,640 Speaker 1: Another trivia thing I saw alleged on the internet is 1534 01:22:08,800 --> 01:22:11,599 Speaker 1: that the idea to connect that to the tuning fork 1535 01:22:11,680 --> 01:22:16,240 Speaker 1: and everything was an idea that came from Susan, who 1536 01:22:16,439 --> 01:22:18,160 Speaker 1: was Reggie Banister's wife. 1537 01:22:18,640 --> 01:22:19,639 Speaker 3: Well it was a great idea. 1538 01:22:19,960 --> 01:22:22,759 Speaker 1: So Reggie makes it outside. He sees the lady in Lavender. 1539 01:22:23,320 --> 01:22:25,920 Speaker 1: I think he does not know like the audience does, 1540 01:22:26,040 --> 01:22:28,240 Speaker 1: that she is actually Angus scrim So he goes and 1541 01:22:28,320 --> 01:22:31,120 Speaker 1: tries to help her, but he gets stabbed, and there's 1542 01:22:31,200 --> 01:22:33,840 Speaker 1: general wind and chaos. There's you know, the tall Man 1543 01:22:34,000 --> 01:22:38,160 Speaker 1: standing over Reggie with a knife, and a Reggie apparently dies, 1544 01:22:38,240 --> 01:22:41,400 Speaker 1: and then we get the final show down where Jody 1545 01:22:41,479 --> 01:22:45,439 Speaker 1: and Mike escape and Jody's like, this is so out 1546 01:22:45,520 --> 01:22:49,320 Speaker 1: of nowhere, like not earned at all. Jody's like, there's 1547 01:22:49,360 --> 01:22:53,880 Speaker 1: an old mind shaft up by Singer's Creek, thousands of 1548 01:22:53,960 --> 01:22:56,240 Speaker 1: feet down. We just got to find a way to 1549 01:22:56,320 --> 01:22:59,519 Speaker 1: get him up there. And so he sends Mike into 1550 01:22:59,560 --> 01:23:01,599 Speaker 1: the house to at Ammo, and Jody says, he's going 1551 01:23:01,640 --> 01:23:05,040 Speaker 1: to go remove warning signs from around the mind shaft. 1552 01:23:06,439 --> 01:23:08,240 Speaker 1: But I don't know why they'd send Mike into the house, 1553 01:23:08,240 --> 01:23:10,720 Speaker 1: because don't they already know that the tall Man knows 1554 01:23:10,800 --> 01:23:13,840 Speaker 1: that's where they live. I don't know. Tall Man shows 1555 01:23:13,920 --> 01:23:16,439 Speaker 1: up and attacks Mike in the house. You know, he says, boy, 1556 01:23:16,960 --> 01:23:19,920 Speaker 1: you play a good game boy, But now the time 1557 01:23:20,040 --> 01:23:24,080 Speaker 1: is finished, and so they run around chasing and Mike's 1558 01:23:24,120 --> 01:23:27,400 Speaker 1: were repeating the litany against fear, except not really. Instead 1559 01:23:27,400 --> 01:23:31,320 Speaker 1: he's just saying, don't fear. And they they succeed. They 1560 01:23:31,439 --> 01:23:34,080 Speaker 1: you know, they they lure the tall Man into the 1561 01:23:34,160 --> 01:23:36,599 Speaker 1: mine shaft, which does not look like a mind shaft 1562 01:23:36,640 --> 01:23:38,680 Speaker 1: at all. It looks like a square somebody dug a 1563 01:23:38,760 --> 01:23:40,160 Speaker 1: square shaped hole in the dirt. 1564 01:23:40,520 --> 01:23:42,679 Speaker 3: Yeah, this is the one moment in the film where 1565 01:23:42,720 --> 01:23:44,759 Speaker 3: I feel like the effects feel a little bit shoddy, 1566 01:23:45,200 --> 01:23:47,400 Speaker 3: especially when the boulders roll in to fill up the 1567 01:23:47,479 --> 01:23:50,439 Speaker 3: pit after they drop the tall Man down there. It's 1568 01:23:50,520 --> 01:23:52,880 Speaker 3: not a deal breaker for the movie or anything, but 1569 01:23:54,040 --> 01:23:56,880 Speaker 3: but yeah, everything else feels fresh and believable, and this 1570 01:23:57,000 --> 01:23:58,720 Speaker 3: is a little like you can see the scenes. You 1571 01:23:58,760 --> 01:24:01,760 Speaker 3: can see the tarp there in that sequence, and. 1572 01:24:01,800 --> 01:24:03,200 Speaker 1: I was like, are they going to wake up? And 1573 01:24:03,320 --> 01:24:05,320 Speaker 1: it's all a dream and you know what happens the 1574 01:24:05,400 --> 01:24:08,240 Speaker 1: next thing, Mike wakes up as if from a dream, 1575 01:24:09,040 --> 01:24:11,320 Speaker 1: and then Mike and Reggie are hanging out next to 1576 01:24:11,439 --> 01:24:18,559 Speaker 1: a roaring fire and they're talking about how Jody died. 1577 01:24:18,960 --> 01:24:19,160 Speaker 3: Huh. 1578 01:24:19,720 --> 01:24:22,760 Speaker 1: It's like like, so instead of Reggie dying, they're saying 1579 01:24:22,840 --> 01:24:27,639 Speaker 1: Jody died. And then they show Mike visiting Jody's grave, 1580 01:24:29,080 --> 01:24:31,880 Speaker 1: and then Reggie's like, I'm going to take care of you, Mike, 1581 01:24:32,520 --> 01:24:35,640 Speaker 1: and then Reggie starts playing. He's like, let's go on 1582 01:24:35,680 --> 01:24:37,360 Speaker 1: a road trip. You know, we'll leave when the sun 1583 01:24:37,439 --> 01:24:40,439 Speaker 1: comes up. You go pack your bags. And Reggie sits 1584 01:24:40,479 --> 01:24:43,400 Speaker 1: there by the fire and starts to play that song 1585 01:24:43,520 --> 01:24:47,160 Speaker 1: sitting here at midnight again, and it is violently dissonant 1586 01:24:47,240 --> 01:24:50,160 Speaker 1: with the non diegetic soundtrack that's playing at the same time. 1587 01:24:50,360 --> 01:24:53,320 Speaker 1: Sounds horrible. And then up in Mike's room, the tall 1588 01:24:53,400 --> 01:24:55,760 Speaker 1: man appears in a mirror and he's like boy, and 1589 01:24:55,920 --> 01:24:58,479 Speaker 1: then there's a jump scare and pulls him into the mirror, 1590 01:24:58,520 --> 01:25:00,680 Speaker 1: and that's the end of the movie. I have no 1591 01:25:01,040 --> 01:25:03,200 Speaker 1: idea how to make sense of any of that. It 1592 01:25:03,320 --> 01:25:05,400 Speaker 1: does not connect at all. 1593 01:25:05,920 --> 01:25:11,600 Speaker 3: Yeah, I don't know dreams within dreams or dreams and 1594 01:25:11,760 --> 01:25:16,680 Speaker 3: images caused by by traumas and losses, because it's like 1595 01:25:16,800 --> 01:25:21,599 Speaker 3: there we start off with a growing understanding that Mike 1596 01:25:22,120 --> 01:25:25,200 Speaker 3: has lost both his parents, and then here at the 1597 01:25:25,320 --> 01:25:28,200 Speaker 3: end we get this revelation that he's lost his brother 1598 01:25:28,800 --> 01:25:32,439 Speaker 3: and that the only parental figure left in his life 1599 01:25:32,560 --> 01:25:36,880 Speaker 3: is Reggie. And yeah, it's I don't know, it's it's 1600 01:25:38,040 --> 01:25:40,680 Speaker 3: it's hard to connect all these things together, and yet 1601 01:25:40,720 --> 01:25:43,400 Speaker 3: everything shapes up in a way where you can you 1602 01:25:43,760 --> 01:25:45,360 Speaker 3: kind of buy it. You're like, there's a pattern here. 1603 01:25:45,680 --> 01:25:48,160 Speaker 3: I just can't quite piece it together. But if I 1604 01:25:48,320 --> 01:25:52,000 Speaker 3: watch it enough times then maybe it'll begin to sink in. 1605 01:25:52,400 --> 01:25:54,880 Speaker 1: I have a question about the theory of this movie. 1606 01:25:55,720 --> 01:25:58,679 Speaker 1: Why is the Tall Man doing murders at all? Because 1607 01:25:58,840 --> 01:26:01,560 Speaker 1: we discover in the end that his goal is to 1608 01:26:01,920 --> 01:26:07,479 Speaker 1: create Jawa zombies to work for him on this other planet, 1609 01:26:07,640 --> 01:26:10,120 Speaker 1: and he does that just with human corpses, so he 1610 01:26:10,280 --> 01:26:14,519 Speaker 1: just needs corpses. But he already operates a funeral parlor, 1611 01:26:15,400 --> 01:26:17,600 Speaker 1: So why is he going out of his way to 1612 01:26:18,120 --> 01:26:21,840 Speaker 1: do murders? Like I guess it would suggest that, like 1613 01:26:22,000 --> 01:26:24,439 Speaker 1: at the normal rate of natural death, he is not 1614 01:26:24,720 --> 01:26:27,200 Speaker 1: getting enough bodies to do what he needs to do. 1615 01:26:27,680 --> 01:26:31,080 Speaker 3: I guess. So yeah, Like in the second movie, they 1616 01:26:31,120 --> 01:26:34,080 Speaker 3: add this nice detail where the Tall Man moves around 1617 01:26:34,160 --> 01:26:38,919 Speaker 3: from town to town and he leaves just decimated funeral 1618 01:26:39,120 --> 01:26:42,479 Speaker 3: homes and decimated graveyards in his wake, Like all the 1619 01:26:42,560 --> 01:26:45,600 Speaker 3: bodies get claimed and turned into dwarves and send to 1620 01:26:45,720 --> 01:26:48,920 Speaker 3: this other world. So yeah, maybe he just like juices 1621 01:26:48,960 --> 01:26:51,360 Speaker 3: the numbers a little bit more. It's like, well, today, 1622 01:26:51,479 --> 01:26:56,240 Speaker 3: I could get just thirty dwarves from raiding the cemeteries 1623 01:26:56,280 --> 01:26:59,720 Speaker 3: and you know, getting some natural deaths rolling in. But 1624 01:26:59,880 --> 01:27:01,679 Speaker 3: I could also juice it a little bit and maybe 1625 01:27:01,760 --> 01:27:04,320 Speaker 3: kill a couple of people on the side. That's just 1626 01:27:04,439 --> 01:27:05,240 Speaker 3: more profits for me. 1627 01:27:05,640 --> 01:27:07,360 Speaker 1: He's trying to hit those Q four numbers. 1628 01:27:07,840 --> 01:27:11,040 Speaker 3: Yeah, I guess also it's like people who in some 1629 01:27:11,200 --> 01:27:13,560 Speaker 3: cases is there's a sense of like people who interfere 1630 01:27:14,240 --> 01:27:19,120 Speaker 3: with the process here with the with the scheme, they 1631 01:27:19,200 --> 01:27:22,719 Speaker 3: get killed and turned into zombies because why why waste 1632 01:27:22,760 --> 01:27:24,640 Speaker 3: a good body when you could turn that into a 1633 01:27:24,720 --> 01:27:27,559 Speaker 3: dwarf as well. But yeah, other times, like he's turning 1634 01:27:27,600 --> 01:27:30,840 Speaker 3: into this this woman to go out and clearly lure 1635 01:27:30,880 --> 01:27:34,439 Speaker 3: people to the cemetery for for for death. But I 1636 01:27:34,479 --> 01:27:37,800 Speaker 3: guess that that's ultimately more about this connection between sex 1637 01:27:37,880 --> 01:27:40,439 Speaker 3: and death in Mike's mind. 1638 01:27:40,720 --> 01:27:42,479 Speaker 1: But what if he goes to the trouble of doing 1639 01:27:42,560 --> 01:27:45,519 Speaker 1: that and then the person's family decides that they want 1640 01:27:45,600 --> 01:27:47,439 Speaker 1: that that person buried somewhere else. 1641 01:27:48,040 --> 01:27:49,960 Speaker 3: Oh, I don't think the tall Man would stand for that. 1642 01:27:50,280 --> 01:27:54,000 Speaker 1: He's got to use mafia tactics on grieving families to 1643 01:27:54,080 --> 01:27:55,719 Speaker 1: make sure he gets all of the bodies. 1644 01:27:56,280 --> 01:27:58,080 Speaker 3: I guess so. But it's like a small town like 1645 01:27:58,160 --> 01:28:00,759 Speaker 3: how many how many rivals? Well, I mean he's probably 1646 01:28:00,760 --> 01:28:03,920 Speaker 3: put the rival groups out of business, like you're not 1647 01:28:03,960 --> 01:28:06,600 Speaker 3: going to operate a funeral home in competition with the 1648 01:28:06,640 --> 01:28:07,080 Speaker 3: tall Man. 1649 01:28:07,479 --> 01:28:09,439 Speaker 1: I guess so, Rob, this has got to be one 1650 01:28:09,439 --> 01:28:12,640 Speaker 1: of our longest episodes ever. We must cap it here. 1651 01:28:13,400 --> 01:28:17,360 Speaker 3: Yeah, we'll go ahead and cave it off here. But yeah, Phantasm, 1652 01:28:18,040 --> 01:28:21,240 Speaker 3: it's a lot of fun. It's widely available in all formats, 1653 01:28:21,680 --> 01:28:25,479 Speaker 3: but the Phantasm remastered Blu Ray or digital release is 1654 01:28:25,560 --> 01:28:27,600 Speaker 3: certainly where you want to go for this one. I 1655 01:28:27,680 --> 01:28:32,280 Speaker 3: think I streamed the remastered version of via Prime, but 1656 01:28:32,439 --> 01:28:35,400 Speaker 3: you can again find this film just about anywhere. And yeah, 1657 01:28:35,479 --> 01:28:38,719 Speaker 3: it's a load of fun. It's a great Halloween viewing choice. 1658 01:28:39,120 --> 01:28:41,559 Speaker 3: All Right, we'll be back next Friday with more Weird 1659 01:28:41,640 --> 01:28:46,799 Speaker 3: House Cinema calibrated for your seasonal Halloween needs. In the meantime, 1660 01:28:46,840 --> 01:28:49,200 Speaker 3: will remind you that we are primarily a science podcast, 1661 01:28:49,280 --> 01:28:53,000 Speaker 3: with our core episodes on Tuesdays and Thursdays. On Mondays 1662 01:28:53,080 --> 01:28:55,240 Speaker 3: we do listener mail. On Wednesdays we do a short 1663 01:28:55,280 --> 01:28:58,160 Speaker 3: form artifact or monster fact. On Fridays we do Weird 1664 01:28:58,160 --> 01:29:00,760 Speaker 3: House cinema. If you're interested in seeing what movies we've 1665 01:29:00,800 --> 01:29:02,720 Speaker 3: covered in the past, there are two places you can go. 1666 01:29:03,280 --> 01:29:06,599 Speaker 3: You can go to somemmutomusic dot com. That's my blog 1667 01:29:06,680 --> 01:29:09,040 Speaker 3: where I just do some very casual blog posts about 1668 01:29:09,040 --> 01:29:11,280 Speaker 3: these movies that we watch. But also if you use 1669 01:29:11,320 --> 01:29:14,280 Speaker 3: a letterbox that's L E T T E R box 1670 01:29:14,400 --> 01:29:17,200 Speaker 3: d dot com, we are on there as weird House. 1671 01:29:17,880 --> 01:29:20,080 Speaker 3: You will find our profile there and you'll find a 1672 01:29:20,200 --> 01:29:22,800 Speaker 3: list of all the movies we've covered on the show, 1673 01:29:23,120 --> 01:29:26,040 Speaker 3: and sometimes there'll be a little hint or a little 1674 01:29:26,320 --> 01:29:28,240 Speaker 3: spoiler of what the next film will be. 1675 01:29:28,640 --> 01:29:31,920 Speaker 1: Huge thanks as always to our excellent audio producer Seth 1676 01:29:32,040 --> 01:29:34,519 Speaker 1: Nicholas Johnson. If you would like to get in touch 1677 01:29:34,600 --> 01:29:36,800 Speaker 1: with us with feedback on this episode or any other, 1678 01:29:36,920 --> 01:29:39,479 Speaker 1: to suggest topic for the future, or just to say hello, 1679 01:29:39,600 --> 01:29:42,439 Speaker 1: you can email us at contact stuff to Blow your 1680 01:29:42,520 --> 01:29:43,400 Speaker 1: Mind dot com. 1681 01:29:50,640 --> 01:29:53,560 Speaker 2: Stuff to Blow Your Mind is production of iHeartRadio. For 1682 01:29:53,680 --> 01:29:56,400 Speaker 2: more podcasts from My Heart Radio, visit the iHeartRadio app, 1683 01:29:56,600 --> 01:29:59,320 Speaker 2: Apple Podcasts, or wherever you listen to your favorite shows.