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Speaker 1: Welcome to Stuff to Blow Your Mind, a production of iHeartRadio.

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Speaker 2: Hey, welcome to Weird House Cinema. My name is Rob Lamb.

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Speaker 3: And I'm Joe McCormick. And because of the proximity of

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Speaker 3: today's episode to United States Turkey Day, we thought it

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Speaker 3: would be very important to do a movie that had

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Speaker 3: been featured on one of our favorite TV shows of

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Speaker 3: all time, Mystery Science Theater three thousand and Rob, I

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Speaker 3: think we picked the right one because today we're going

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Speaker 3: to be talking about Boggy Creek two and the legend continues.

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Speaker 3: And you really got to love a subtitle that starts

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Speaker 3: with and.

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Speaker 2: Yes, it's just a fabulous title that I think accurately

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Speaker 2: prepares you for what is to come. It is a

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Speaker 2: wonderfully weird film in its own right. And Yeah, we

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Speaker 2: definitely wanted to drive home the MST three K Turkey

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Speaker 2: Day connection here, because I mean, I saw, I guess

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Speaker 2: a fair number of weird films on television when I

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Speaker 2: was younger outside of the Mystery Science Theater three thousand contexts,

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Speaker 2: But Mystery Science Theater three thousand had a way of

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Speaker 2: not only introducing one to new weird films, but I

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Speaker 2: think also encouraging the viewer to find not only humor

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Speaker 2: in these films, but at times a sort of joy.

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Speaker 2: And that's what we try to do on this show

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Speaker 2: as well, to find the joy in weird films, be

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Speaker 2: they good films or bad films, be films or more

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Speaker 2: expensive films. Are films? What have you speaking of? Some

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Speaker 2: you might be wondering, what is weird house Cinema? Isn't

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Speaker 2: this isn't stuff to blow your mind? A science and

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Speaker 2: culture podcast? Well it is. Our primary episodes are core

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Speaker 2: episodes air on Tuesdays and Thursdays and will remain to

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Speaker 2: be focused on science and culture. But on Fridays we're

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Speaker 2: doing this weird house Cinema thing where we're focusing in

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Speaker 2: on some weird film, some film that we find some

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Speaker 2: weirdness in, and we're discussing it. And sometimes we'll discuss

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Speaker 2: a little culture and science in there as well, but

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Speaker 2: for the most part, the focus is on the film.

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Speaker 2: Think of it as a science and culture podcast's research

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Speaker 2: excursion into the wild swamplands of weird film.

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Speaker 3: Maybe we should hear a bit of the trailer audio

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Speaker 3: from Boggy Creek two and the legend continues.

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Speaker 4: The swamps of southern Arkansaw. It's here that decades ago

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Speaker 4: a legend was boy, the legend of a huge harry

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Speaker 4: manlike creature. We're looking for the Boggy great creature. You

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Speaker 4: can take my word for it. They no monsters around here,

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Speaker 4: hey boy. Or you think you're gonna find that Marster,

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Speaker 4: I'm gonna find him in the swamp if it exists.

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Speaker 2: He's been seen over one hundred times since he.

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Speaker 4: Early fifty stain by who drops are sheady folks like

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Speaker 4: you all? Won't your name then a newspaper. Now, from

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Speaker 4: the award winning producer Charles thee Hears, comes a motion

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Speaker 4: picture that will stir your imagination. From its first classic film,

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Speaker 4: The Legend of Boggy Creek, he proudly presents Boggy Creek too,

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Speaker 4: and the legend continues.

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Speaker 3: Okay, the Elevator pitch on this movie. Doctor Brian Lockhart

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Speaker 3: is a professor of anthropology from the University of Arkansas.

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Speaker 3: After hearing reports of a bigfoot class or squatchoid creature

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Speaker 3: in the wilderness of southwest Arkansas, Lockhart and several students

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Speaker 3: traveled to the woods to investigate. Could it be that

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Speaker 3: the legends of Boggy Creek and its mysterious creature are true.

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Speaker 3: So this is this is a hairy man ape creature film, right.

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Speaker 2: Yeah, this is this is a Bigfoot movie. And to

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Speaker 2: refresh for anyone out there who's not familiar with that,

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Speaker 2: Bigfoot is just one of the many names given to

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Speaker 2: alleged ape. Black humanoids are wild men in North America,

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Speaker 2: but of course they have tons of regional names, from

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Speaker 2: the skunk apes of Florida to the Sasquatch itself. And

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Speaker 2: as much as we may want to believe in them,

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Speaker 2: these are cryptozoological creatures. There's no acceptable scientific evidence for

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Speaker 2: their existence. Though evidence in general ranges somewhat. There's the ridiculous,

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Speaker 2: there's the mysterious and the unknown, and there's a great

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Speaker 2: deal of just unverified sightings. It's people saying I saw something,

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Speaker 2: I think it was a sasquatch, And you know, there's

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Speaker 2: varying degrees of actually presented evidence.

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Speaker 3: Yeah, yeah, a whole bag full of anecdotes, some video

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Speaker 3: footage that pretty much always could be somebody in a suit.

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Speaker 2: Right, and of course when we you know it, as

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Speaker 2: we have discussed on our main show, stuff to blow

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Speaker 2: your mind plenty of times when you're getting into supernatural experiences,

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Speaker 2: such as experiences of alien abductions, experiences of UFO sightings,

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Speaker 2: experiences of sasquatch sightings. These are all things that that

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Speaker 2: are more complicated than one might initially think. There are

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Speaker 2: various reasons that one might think they saw or experience

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Speaker 2: something that was not part of objective reality. And then

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Speaker 2: when you get memory involved in the process, you know,

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Speaker 2: things become altered, and so it's always more complicated. I

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Speaker 2: feel that in many cases it's more complicated than someone

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Speaker 2: just saying something that isn't true. So you know, it's

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Speaker 2: total to me, I think a complex question.

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Speaker 3: Oh yeah, I mean I think in a lot of

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Speaker 3: cases somebody did see something. They're not just like making

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Speaker 3: up a lie. I mean some people are. But in

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Speaker 3: the example of the particular squatch oid variant that we're

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Speaker 3: going to be talking about today, I think there is

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Speaker 3: there's pretty good reason to think that people were originally

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Speaker 3: seeing a black bear seeing a bear, and then that

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Speaker 3: turned into a legend that was built upon in subsequent generations.

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Speaker 2: Yeah, and as far as legends alone go, you can

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Speaker 2: go pretty deep here where, you know, looking into tales

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Speaker 2: of wild men of the woods, from cultures around the world.

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Speaker 2: They are multiple examples of this. We've talked about several

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Speaker 2: of them on our show. You know, there's an other

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Speaker 2: ring of the outsiders in some of these legends. There's

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Speaker 2: also this fear of the wilderness as well as in

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Speaker 2: a more modern sense, irreverence for nature, tied up in

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Speaker 2: the idea of these beings that live in the wood,

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Speaker 2: these things that are like humans but not humans. And

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Speaker 2: we've driven home that on that We've we've discussed this

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Speaker 2: on the show before.

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Speaker 3: These two sentiments come together in a very funny way

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Speaker 3: in Boggy Creek two because the creator, Charles B. Pearce,

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Speaker 3: we will talk about it link throughout this episode. He

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Speaker 3: brings in both the kind of like like gross, weird,

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Speaker 3: like tabloid interest in the creature, but also this like

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Speaker 3: very much like whining about littering and the disfoliation of

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Speaker 3: the natural environment.

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Speaker 2: Yeah, and this brings us to something that we've discussed before.

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Speaker 2: I think maybe we talked about this on the old

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Speaker 2: Trailer Talk video series we did for a little bit

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Speaker 2: back in the day. But you essentially have two different

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Speaker 2: types of sasquatch movie. So first of all, there is

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Speaker 2: the savage squatch movie. This is the Bigfoot is seen

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Speaker 2: as a violent being that attacks those who venture into

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Speaker 2: his wild domain and or encroaches on the civilized realm

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Speaker 2: to cause mayhem. These, of course tend to be your

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Speaker 2: straightforward monster movies, and also you can tie this into

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Speaker 2: with Grendel and Beowulf. You know, it's the being from

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Speaker 2: the outside that lives in the wilds coming in and

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Speaker 2: causing trouble. So your sleazier bigfoot films are going to

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Speaker 2: generally fall into this category, such as nineteen eighty three's

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Speaker 2: Night of the Demon and Mike Findley's nineteen seventy four

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Speaker 2: schlock classic Shriek of the Mutilated.

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Speaker 3: Yeah, that's a good one.

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Speaker 2: The other variety of squatch film is the noble squatch,

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Speaker 2: and it portrays the Bigfoot as at worst a misunderstood

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Speaker 2: forrest guardian, a noble creature that personifies all the admirable

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Speaker 2: aspects of the wilderness and its value to a growing

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Speaker 2: industrialized world. This is the squatch of Harry and the Hendersons,

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Speaker 2: for example, and the treatment of the creatures in the

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Speaker 2: Boggy Creek movies. I feel like it falls mostly in

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Speaker 2: line with this category.

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Speaker 3: Well, I think it's always trying to sort of like

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Speaker 3: tease you with the possibility that it's going to at

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Speaker 3: any moment become the Squatch attack movie that but the

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Speaker 3: real underlying reality that is always going to be the

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Speaker 3: noble Squatch in the Boggy Creek verse.

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Speaker 2: Yeah, which I have to say, I like, you know,

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Speaker 2: I feel like that is the correct direction, and I

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Speaker 2: feel like that's the direction with the most legs, you know,

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Speaker 2: the idea that it also is the direction that allows

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Speaker 2: room for growth in the characters.

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Speaker 3: All right, So maybe we should before we get into

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Speaker 3: the plot in any deep way, talk about the creative

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Speaker 3: forces behind this movie. This is the brainchild of one

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Speaker 3: Charles B. Pierce, an autour, a writer, director, and actor

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Speaker 3: who made a number of B movies. This is I

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Speaker 3: don't know if I've seen any of his other ones,

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Speaker 3: but this one, you might well say, is enough.

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Speaker 2: Yeah, Charles B. Pierce, the bost Cephis of B movies,

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Speaker 2: the Titan of Texarcana indie filmmaking. He lived nineteen thirty

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Speaker 2: eight through twenty ten. And yeah, he's a fascinating character.

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Speaker 2: He ultimately has one of these just really inspiring filmmaking

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Speaker 2: success stories that you sometimes hear about. He grew up

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Speaker 2: shooting eight millimeter film in his backyard. He started working

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Speaker 2: in local TV, doing everything from art directing and hosting

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Speaker 2: a kid's cartoon show to doing like local weather. He

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Speaker 2: did commercials for a company that made big rigs. But

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Speaker 2: along the way here he got an idea. So he's,

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Speaker 2: you know, he's living and working down in the south

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Speaker 2: western corner of Arkansas. That's down there near the border

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Speaker 2: of Texas and Louisiana. And he got the idea there

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Speaker 2: to film something about these stories that he kept kept

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Speaker 2: hearing about, these stories of a creature, particularly dealing with

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Speaker 2: the sightings of the Falc monster in Falc, Arkansas. Now,

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Speaker 2: if you're not fouc Falc, it seems to it's a

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Speaker 2: word that yeah, and it it encourages mispronunciation like a

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Speaker 2: few other names. But Falc, yeah, And if you're not familiar, Falc,

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Speaker 2: Arkansas is in the swampy southwestern corner of the state, again,

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Speaker 2: close to the borders of Texas and Louisiana. It is

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Speaker 2: swamp country. It is just rural as hell as far

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Speaker 2: as I can tell. I've not been there myself, I

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Speaker 2: don't think, but it is a it is a swampy wilderness,

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Speaker 2: and there are tales there of encounters with a bigfoot

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Speaker 2: creature of some sort that is thought to occupy the

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Speaker 2: swamp and use Boggy Creek as a way of the

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Speaker 2: creeks in the streams as a way of moving around.

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Speaker 3: There is an expression that pops up throughout the film

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Speaker 3: to describe the place. I guess it might mean swamp

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Speaker 3: or something. But they keep saying the word bottom to

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Speaker 3: indicate a place.

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Speaker 2: Yeah, like the bottom lands.

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Speaker 3: Yeah, it's like we're down in the bottom or you know,

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Speaker 3: it's fifteen miles out of this bottom. They just keep

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Speaker 3: saying it. So I don't know if that's a regional

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Speaker 3: expression or if it's more wide and I just never

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Speaker 3: heard it anywhere else.

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Speaker 2: Well, these are definitely these are definitely bottom lands. These

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Speaker 2: these are swampy lands, you know. So this is this

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Speaker 2: is basically in the very early nineteen seventies, and Pierce

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Speaker 2: decides this is what he wants to do a film about.

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Speaker 3: Yeah, And so I looked into the actual Fouc Monster legends.

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Speaker 3: There have been sporadic reports where people claim to see

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Speaker 3: a large creature of some kind in southwest Arkansas since

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Speaker 3: maybe like the nineteen forties, But it seems the claims

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Speaker 3: really took off around nineteen seventy one when there was

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Speaker 3: a report by a guy named Bobby Ford that I

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Speaker 3: think he was sitting in this living room and suddenly

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Speaker 3: some hairy creature reached into the living room window through

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Speaker 3: with one arm.

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Speaker 2: Ah.

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Speaker 3: And then after that, I think what really got the

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Speaker 3: excitement going was there's that story. But then there was

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Speaker 3: the discovery of some physical evidence, some tracks, and here

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Speaker 3: I want to read from an AP article from July

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Speaker 3: twenty first, nineteen eighty six by Scott Charton, and Charton

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Speaker 3: writes the excitement began when a farmer found three towed

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Speaker 3: tracks size fourteen double e on the edge of a

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Speaker 3: soybean field. In June nineteen seventy one, a car load

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Speaker 3: of tech Sarcana residents said the monster dashed across US

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Speaker 3: seventy one one late spring evening, a deer hunter said

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Speaker 3: she spotted the creature in heavy timber. One man moved

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Speaker 3: his family to another town after what he described as

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Speaker 3: a terrifying encounter with the monster that sent him screaming

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Speaker 3: through a closed door. Depending on the source, the red

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Speaker 3: eyed monster was a howling ape, a swamp man or

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Speaker 3: a country cousin of the abominable Snowman. The reports captured

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Speaker 3: the imaginations of students who had monster drawing contests and

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Speaker 3: one teacher who said the creature should be protected as

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Speaker 3: an endangered species. But despite the offer of a ten

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Speaker 3: thousand dollars reward, the Fouc Monster was neither trapped nor photographed.

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Speaker 3: And I was looking up contemporaneous articles. I was looking

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Speaker 3: around in newspaper archives and I found something there pretty interesting.

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Speaker 3: So this article is from June sixteenth, nineteen seventy one

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Speaker 3: in the Hope Stars. The Star was a newspaper of

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Speaker 3: the town of Hope, Arkansas, and looks like the headline

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Speaker 3: is has theory about Fouc Monster. This is unsigned and

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Speaker 3: the article says. Frank Shambaugh, an archaeologist at Southern State College,

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Speaker 3: said today that after analyzing photographs of tracks made by

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Speaker 3: the so called Falc Monster, it was his opinion quote

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Speaker 3: there is a ninety nine percent chance that the tracks

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Speaker 3: are a hoax. The photographs were taken Tuesday by Bob Burns,

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Speaker 3: a chief photographer for the Texarcana Gazette. Shambach said after

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Speaker 3: studying the photographs, the tracks were not human and did

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Speaker 3: not look like anything belonging to the monkey family. Quote

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Speaker 3: all the primates have five toes. He said. Also, the

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Speaker 3: monkey family is not nocturnal and is, like humans, a

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Speaker 3: daytime creature, and that this would seem to clash with

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Speaker 3: a lot of the reports saying the monster was always

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Speaker 3: seen at night. But then Shamba goes on this. In

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Speaker 3: my opinion, Shamba said, would rule out any type of

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Speaker 3: monkey or ape. I think it might be some kind

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Speaker 3: of hoax, and I certainly hope someone does not get hurt,

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Speaker 3: he said. I don't think a monkey could survive a

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Speaker 3: winter here. He said, there are and have never been,

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Speaker 3: no monkeys native to North America, so that rules out

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Speaker 3: anything that could have been left over from times past.

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Speaker 3: Miller County Sheriff Leslie Greer thinks, however, that the monster

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Speaker 3: may be either a large monkey or a small ape. Greer,

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Speaker 3: along with several of his deputies and residents of the

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Speaker 3: Falc area, searched a wooded area about four miles southeast

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Speaker 3: of Falc for several hours Tuesday after the creature was

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Speaker 3: sighted by two men Tuesday morning as it crossed a

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Speaker 3: road in front of their car. The men said it

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Speaker 3: walked across the road and into a wooded area adjoining

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Speaker 3: a soybean field, where dozens of tracks were found Sunday.

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Speaker 3: The tracks were about thirteen and a half inches in

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Speaker 3: length with three large toes, sounds like a Trannosaurus Rex.

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Speaker 3: And then, finally, some area residents have theorized that there

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Speaker 3: may be more than one of the monsters, since several

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Speaker 3: differing descriptions have been reported. You know what that is.

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Speaker 3: That's logic. Several different reports that don't look anything like

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Speaker 3: each other. There are multiple monsters. And then one last

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Speaker 3: another one I came across that I thought was really funny.

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Speaker 3: This was a June twenty fourth, nineteen seventy one article

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Speaker 3: also in the Hope Star reward for foucl Monster dateline, Texarkana.

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Speaker 3: A tex Arcana man has offered a two hundred dollars

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Speaker 3: reward for the Falc monster. Raymond Skaggins, a former resident

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Speaker 3: of Falc, has offered the reward if the monster is

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Speaker 3: brought in alive.

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Speaker 2: Quote.

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Speaker 3: I believe in the monster. I want to preserve it

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Speaker 3: in a zoo or wherever it belongs. Scrag And said,

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Speaker 3: I want to discourage the killing of it. Skagin said

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Speaker 3: that and His name is spelled differently different times in

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Speaker 3: this article. Sometimes it says Skagins, sometimes Skrogin's. Also, the

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Speaker 3: article spells Frank Shambach's name wrong. I looked him up.

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Speaker 2: Wait, this is Associated Press, it says AP.

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Speaker 4: Yeah, I don't know.

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Speaker 2: A AP style is a little a little lax back in

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Speaker 2: the late eighties.

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Speaker 3: Yes, so these are not especially well written articles. They're

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Speaker 3: just repeating the same words and sentence structure again and again.

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Speaker 3: But anyway, it finishes. Skagin said that the authenticity of

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Speaker 3: the monster will have to be verified by three city officials.

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Speaker 3: The deadline for reward is December thirty. First, why does

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Speaker 3: he put a deadline on it? It's like, after that,

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Speaker 3: you can kill it. I don't even care.

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Speaker 2: I mean maybe it was a calculated deadline because he's like,

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Speaker 2: how long would it take someone to get a convincing

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Speaker 2: ape suit together or to ship in a dead ape

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Speaker 2: from another part of the world. I've got to make

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Speaker 2: sure that the deadline prevents this.

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Speaker 3: Yeah. So anyway, this is the local lore that Charles B.

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Speaker 3: Pearce is working with in making the original Boggy Creek movie,

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Speaker 3: to which Boggy Creek two in the legend continues. Is

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Speaker 3: the sequel?

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Speaker 2: Absolutely, so, Yeah, he's inspired by these tales and he

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Speaker 2: decides to make what ends up being kind of a

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Speaker 2: mock you drama. This would be not the sequel, the

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Speaker 2: main sequel we're talking about here today. This would be

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Speaker 2: the original nineteen seventy two film, The Legend of Boggie Creek.

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Speaker 2: He reportedly borrowed a sum of money from the Big

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Speaker 2: Grig company that he'd worked for, getting one hundred thousand

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Speaker 2: dollars of the total one hundred and sixty thousand dollars

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Speaker 2: that he wounded up needing to finish the project. And Uh,

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Speaker 2: and you know, since I've seen the sequel the Legend

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Speaker 2: and the Legend Continues numerous times via Mystery Science Theater

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Speaker 2: three thousand over the years, Uh, this is one of

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Speaker 2: those bad films that I've seen, at least in risk form,

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Speaker 2: far more than i've seen uh you know, classic film. Yeah. So,

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Speaker 2: since I'm super familiar with with with the sequel, I thought, well,

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Speaker 2: I'm going to see the Legend of Boggie Creek, the

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Speaker 2: original nineteen seventy two film, the one that started everything

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Speaker 2: and kicked off Pierce's career. I'm going to watch that

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00:18:34,800 --> 00:18:38,040
Speaker 2: is it a beautiful work of art? It is in

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Speaker 2: a way, it's it's very interesting to watch it and

326
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Speaker 2: see the genesis of of of all of this, you know,

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Speaker 2: of his career and the Boggy Creek franchise. Such as

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Speaker 2: it is, it is very much a mock you drama,

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00:18:51,960 --> 00:18:55,760
Speaker 2: you know, think you know, recreations on unsolved mysteries or

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Speaker 2: in search of or something, and you're you're in the

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Speaker 2: right area, Okay. It was film on location in this uh,

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Speaker 2: this this tri state area that we're talking about, this

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00:19:06,720 --> 00:19:12,840
Speaker 2: swampy region near Falc, Arkansas, and and it uses mostly

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00:19:13,040 --> 00:19:18,000
Speaker 2: non actors playing themselves doing like little interview segments about

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Speaker 2: the adventures they had or the sightings they had concerning

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00:19:21,160 --> 00:19:25,440
Speaker 2: the creature, and then recreations of those scenes. So it's

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00:19:25,520 --> 00:19:27,440
Speaker 2: it's a very it's a weird film because it's first

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Speaker 2: of all, it's rated G. It's just straight up rated G.

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Speaker 2: It is. It's and it's so there's no violence or

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00:19:34,320 --> 00:19:37,120
Speaker 2: profanity or you know, nudity or anything like that. It's

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00:19:37,240 --> 00:19:41,720
Speaker 2: it's a pretty clean film and h but it's also

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00:19:42,600 --> 00:19:47,040
Speaker 2: very lovingly shot. There are lots of of long scenes

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Speaker 2: of of just the wilderness, this kind of desolate winter

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Speaker 2: swamp land. That does really a great job of setting

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Speaker 2: the scene of giving you a taste of what this

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Speaker 2: land is. I think, ultimately, you know, far better than

347
00:20:00,400 --> 00:20:02,920
Speaker 2: we even seeing the sequel, even though that one dips

348
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Speaker 2: into this as well. So he does a great job

349
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Speaker 2: of establishing the geography of the place. There's great sound,

350
00:20:10,680 --> 00:20:13,800
Speaker 2: lots of lots of just big stretches where there's no narration,

351
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Speaker 2: though there is some wonderful narration, but there's also just

352
00:20:16,920 --> 00:20:19,359
Speaker 2: a lot of nature sounds, so that works really well.

353
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Speaker 2: And then the depictions of the locals are quite It's

354
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Speaker 2: quite nice because you know, it's like a celebration not

355
00:20:26,680 --> 00:20:29,080
Speaker 2: only of the rural landscape, but also of of sort

356
00:20:29,080 --> 00:20:34,959
Speaker 2: of rural Arkansas America. Because these are not like stock

357
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Speaker 2: killbilly characters. You know, this is not Deliverance. These are

358
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Speaker 2: not people pamming it up and playing like dangerous or

359
00:20:40,920 --> 00:20:42,600
Speaker 2: deranged rednecks like.

360
00:20:42,520 --> 00:20:44,400
Speaker 3: They think in the sequel.

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Speaker 2: Right, Yeah, these are just very normal folks, you know,

362
00:20:47,880 --> 00:20:52,840
Speaker 2: trappers and farmers, wives and children who are not actors

363
00:20:53,840 --> 00:20:59,480
Speaker 2: recreating these scenes but in some cases reasonably well. So

364
00:20:59,520 --> 00:21:03,680
Speaker 2: it's it's a very calm film, like it's weird. It's

365
00:21:03,760 --> 00:21:07,040
Speaker 2: not bad at all. It's also not like amazing. It's

366
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Speaker 2: not one of these films where you're just like, oh man,

367
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Speaker 2: this moment and that moment. It has a very chill vibe.

368
00:21:12,760 --> 00:21:15,399
Speaker 2: It makes pretty decent use of what is clearly a

369
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Speaker 2: gorilla costume, you know, shooting it sparingly and from a

370
00:21:18,760 --> 00:21:22,360
Speaker 2: distance and creating the kind of vague sightings that are

371
00:21:22,400 --> 00:21:25,560
Speaker 2: often part of the story. There's a weird use of

372
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Speaker 2: both folk music. There are several sung numbers in there.

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Speaker 2: One I noticed on the credits it's attributed to a

374
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Speaker 2: vocalist by the name of Chuck Bryant's Yeah, not the

375
00:21:37,119 --> 00:21:40,480
Speaker 2: same Chuck Bryan obviously, but it made me wonder could

376
00:21:40,480 --> 00:21:43,359
Speaker 2: it be? But no, it's not. But there's also jazz music.

377
00:21:43,400 --> 00:21:46,640
Speaker 2: It's kind of like a jazzy score to the picture.

378
00:21:47,760 --> 00:21:51,119
Speaker 2: And the final sequence is pretty fun in it as well,

379
00:21:51,160 --> 00:21:53,600
Speaker 2: because it has this family in this house and this

380
00:21:53,640 --> 00:21:57,560
Speaker 2: is where the squatch, the Boggy Creek creature, starts showing

381
00:21:57,640 --> 00:21:59,720
Speaker 2: up and sticking its arm, its gorilla arm through the

382
00:21:59,720 --> 00:22:02,960
Speaker 2: wind and scaring everybody. There's a lot of shooting into

383
00:22:03,040 --> 00:22:06,920
Speaker 2: the darkness in this sequence, and there's a wonderful bit

384
00:22:07,000 --> 00:22:10,720
Speaker 2: where they call the local sheriff. He comes out and

385
00:22:10,880 --> 00:22:13,639
Speaker 2: again this non actor, and he's like, well, what you

386
00:22:13,760 --> 00:22:17,160
Speaker 2: probably got is you got a wildcat living under your house. Here,

387
00:22:17,359 --> 00:22:18,639
Speaker 2: I'll tell you what. I'm going to give you, this

388
00:22:18,680 --> 00:22:22,080
Speaker 2: shotgun in this light and you just you know, fin

389
00:22:22,200 --> 00:22:24,119
Speaker 2: for yourself. I'll come back to pick the shotgun in

390
00:22:24,160 --> 00:22:27,199
Speaker 2: the light up in the morning, which is one of

391
00:22:27,200 --> 00:22:30,680
Speaker 2: these scenes that at once feels ridiculous but also you're like, yeah,

392
00:22:30,720 --> 00:22:34,040
Speaker 2: that's probably exactly how it happened, you know. Yeah, nineteen

393
00:22:34,080 --> 00:22:37,359
Speaker 2: early nineteen seventies, rural Arkansas. That sounds about right. This

394
00:22:37,480 --> 00:22:41,880
Speaker 2: is your shotgun problem. Yeah, Now, just a few other

395
00:22:41,920 --> 00:22:45,119
Speaker 2: words here about seventy two's Boggy Creek film, again mostly

396
00:22:45,160 --> 00:22:49,320
Speaker 2: non actors playing themselves, with the only notable exceptions being

397
00:22:49,440 --> 00:22:53,600
Speaker 2: just a couple of people. One Sandra Peabody appears, apparently uncredited,

398
00:22:53,800 --> 00:22:55,560
Speaker 2: and she went on to be something of a grindhouse

399
00:22:55,600 --> 00:22:58,920
Speaker 2: scream queen of the early seventies and apparently trained under

400
00:22:59,000 --> 00:23:02,879
Speaker 2: in New York City under or Sanford Mezzner. So and

401
00:23:02,920 --> 00:23:06,639
Speaker 2: I understand she herself teaches acting to this day. Also,

402
00:23:06,680 --> 00:23:08,879
Speaker 2: there's an actor named Gene Ross who shows up. He

403
00:23:08,920 --> 00:23:11,120
Speaker 2: plays a hunter in this, and he did a fair

404
00:23:11,160 --> 00:23:13,680
Speaker 2: amount of work doing bit parts in films like Goonies

405
00:23:14,040 --> 00:23:16,680
Speaker 2: and even Friday the Thirteenth, the final chapter, in which

406
00:23:16,720 --> 00:23:18,920
Speaker 2: he played a cop. Another hunter in the film is

407
00:23:18,960 --> 00:23:21,960
Speaker 2: played by Bill Hunt, who didn't really go on to

408
00:23:21,960 --> 00:23:23,480
Speaker 2: have any kind of acting career, but he went on

409
00:23:23,520 --> 00:23:26,400
Speaker 2: to have a long career in special effects as part

410
00:23:26,400 --> 00:23:28,680
Speaker 2: of Wedda and other groups. So this is a guy

411
00:23:28,720 --> 00:23:31,919
Speaker 2: who ended up working on films like Avatar and The

412
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Speaker 2: Lord of the Rings films.

413
00:23:33,400 --> 00:23:35,919
Speaker 3: Whoa from Boggie Creek to Avatar.

414
00:23:36,560 --> 00:23:42,080
Speaker 2: Yeah, So anyway, it's it's an interesting film and certainly

415
00:23:42,160 --> 00:23:45,359
Speaker 2: historically in terms of this franchise and just Bigfoot films

416
00:23:45,400 --> 00:23:49,160
Speaker 2: in general, because the thing is it was a huge success.

417
00:23:49,280 --> 00:23:52,560
Speaker 2: This was a huge drive in cinema success. I've seen

418
00:23:52,600 --> 00:23:55,240
Speaker 2: it credited as being the tenth highest grossing film of

419
00:23:55,320 --> 00:23:58,960
Speaker 2: nineteen seventy two, So we're really talking about Blair Witch

420
00:23:59,040 --> 00:24:02,480
Speaker 2: Territory for peer. You know, it launches a career that

421
00:24:02,600 --> 00:24:06,080
Speaker 2: ultimately saw him direct to total thirteen films, several of

422
00:24:06,119 --> 00:24:09,919
Speaker 2: them Westerns, at least two of them Bigfoot films. But

423
00:24:10,000 --> 00:24:12,320
Speaker 2: there are a couple of notable standouts from his career

424
00:24:12,400 --> 00:24:15,919
Speaker 2: worth mentioning here. First of all, there's I think you

425
00:24:16,000 --> 00:24:18,320
Speaker 2: might have seen this one, Joe Oh nineteen seventy six.

426
00:24:18,440 --> 00:24:20,440
Speaker 2: Is the Town that Dreaded Sundown.

427
00:24:20,880 --> 00:24:24,520
Speaker 3: Yeah, I thought the only one I'd seen was Boggy

428
00:24:24,520 --> 00:24:27,440
Speaker 3: Creek two. But no, I've seen Town That Dreaded Sundown.

429
00:24:27,600 --> 00:24:31,440
Speaker 3: It is supposedly important in the history of I don't

430
00:24:31,480 --> 00:24:34,720
Speaker 3: know the development of slasher movies. I it's been a while,

431
00:24:34,760 --> 00:24:37,080
Speaker 3: but I remember being not all that into it. It's

432
00:24:37,119 --> 00:24:40,680
Speaker 3: got like so it's sort of a true crime slasher movie,

433
00:24:40,720 --> 00:24:43,480
Speaker 3: which is an idea I don't really love to begin with.

434
00:24:43,960 --> 00:24:46,439
Speaker 3: I mean, some slasher movies claim to be based on

435
00:24:46,520 --> 00:24:49,159
Speaker 3: a true story, but they're not. I think maybe this

436
00:24:49,240 --> 00:24:54,040
Speaker 3: one actually is. But it brings in elements that are

437
00:24:54,080 --> 00:24:56,440
Speaker 3: like there's one scene where somebody kills somebody with a

438
00:24:56,480 --> 00:24:59,240
Speaker 3: knife tied to the end of a trombone slide. They're

439
00:24:59,240 --> 00:25:01,639
Speaker 3: going like and they stabbed.

440
00:25:01,280 --> 00:25:05,520
Speaker 2: Them all right. Yeah, I haven't seen it, but I

441
00:25:05,640 --> 00:25:07,960
Speaker 2: was familiar with it just by reputation. Again, because of

442
00:25:08,000 --> 00:25:10,320
Speaker 2: its supposed place in the history of slashers.

443
00:25:10,720 --> 00:25:14,359
Speaker 3: I mean that it has that sort of real, real

444
00:25:14,400 --> 00:25:17,560
Speaker 3: life documentary kind of vibe. But then it's also intercut

445
00:25:17,560 --> 00:25:21,520
Speaker 3: with this extremely weird hammy stagey stuff like The Trombone Murder.

446
00:25:22,960 --> 00:25:25,240
Speaker 2: Now another film, this is one I haven't seen, but

447
00:25:25,280 --> 00:25:26,880
Speaker 2: I've seen trailers for it and I kind of want

448
00:25:26,880 --> 00:25:29,320
Speaker 2: to check it out at some point is The Norseman

449
00:25:29,480 --> 00:25:32,080
Speaker 2: from nineteen seventy eight. This is a Vikings in North

450
00:25:32,080 --> 00:25:35,520
Speaker 2: America movie that Pierce shot starring Lee Majors.

451
00:25:36,880 --> 00:25:38,520
Speaker 3: Looks extremely bad.

452
00:25:40,440 --> 00:25:44,760
Speaker 2: So Pierce got to work with a number of interesting

453
00:25:44,840 --> 00:25:46,439
Speaker 2: character actors back in the day. A lot of them,

454
00:25:46,520 --> 00:25:48,800
Speaker 2: you know, people did a lot of TV. But they

455
00:25:48,800 --> 00:25:51,919
Speaker 2: include Jack Elam. You're familiar Jack Elam.

456
00:25:51,720 --> 00:25:53,439
Speaker 3: Right, I'm not sure I am who is that.

457
00:25:53,560 --> 00:25:55,879
Speaker 2: You would recognize him because he has kind of like

458
00:25:55,960 --> 00:25:58,320
Speaker 2: a like one eye that stares off to the side.

459
00:25:58,359 --> 00:26:00,639
Speaker 2: It kind of has a big hammy face. He's just

460
00:26:00,680 --> 00:26:04,520
Speaker 2: like classic cowboy ruffian character actor.

461
00:26:04,640 --> 00:26:06,800
Speaker 3: Yep, yep, looked him up. I recognize him now.

462
00:26:07,280 --> 00:26:10,320
Speaker 2: So yeah, Jack Elam is in multiple films like he's

463
00:26:10,560 --> 00:26:14,840
Speaker 2: he's the main guy. Is Jack Elam is to Charles B.

464
00:26:15,000 --> 00:26:19,359
Speaker 2: Pearce as Ron Pearlman is to Guillan mel del Toro.

465
00:26:19,560 --> 00:26:21,240
Speaker 3: Oh okay, okay.

466
00:26:21,000 --> 00:26:23,520
Speaker 2: But he also worked with such names as Dennis Fimple,

467
00:26:23,840 --> 00:26:26,520
Speaker 2: who a lot of people recognize from films of this era,

468
00:26:27,320 --> 00:26:33,639
Speaker 2: Slim Pickens, Andrew Pine. Weirdly, or perhaps fittingly, Ironized Cody

469
00:26:33,720 --> 00:26:36,960
Speaker 2: shows up in one of his Native American themed films.

470
00:26:37,160 --> 00:26:40,040
Speaker 2: Ironized Cody, of course, famous for being a completely fake

471
00:26:40,119 --> 00:26:43,960
Speaker 2: Native American who acted in tons of stuff, including the

472
00:26:43,320 --> 00:26:47,399
Speaker 2: the The Crying Indian, the notorious Crying Indian trailer anti

473
00:26:47,480 --> 00:26:51,919
Speaker 2: littering campaign. Vic Morrow shows up in one of his films.

474
00:26:51,960 --> 00:26:53,640
Speaker 3: Oh wow, so the Norseman.

475
00:26:55,720 --> 00:26:57,600
Speaker 2: You know, I don't recall offhand. I was just going

476
00:26:57,600 --> 00:27:00,199
Speaker 2: through him all. He's there's some Vic Morro content in

477
00:27:00,240 --> 00:27:03,159
Speaker 2: there for anyone who wants it. Michael Parks shows up,

478
00:27:03,200 --> 00:27:06,359
Speaker 2: Peter Fonda, but mostly it's just Jackie Elom shown up

479
00:27:06,400 --> 00:27:10,920
Speaker 2: in every picture. He also Pierce also wrote a screenplay

480
00:27:11,080 --> 00:27:15,000
Speaker 2: that became the Dirty Harry movie Sudden Impact from nineteen

481
00:27:15,040 --> 00:27:15,639
Speaker 2: eighty three.

482
00:27:15,880 --> 00:27:18,520
Speaker 3: Wow, that is kind of hard to believe that's a

483
00:27:18,520 --> 00:27:19,720
Speaker 3: big mainstream movie.

484
00:27:20,119 --> 00:27:23,200
Speaker 2: Yeah. I think Pierce was involved like a non. I

485
00:27:23,240 --> 00:27:26,280
Speaker 2: think it was like an art direction set direction role

486
00:27:26,400 --> 00:27:30,159
Speaker 2: on the outlaw Josie Wales and somehow was able to

487
00:27:30,200 --> 00:27:33,400
Speaker 2: pitch this screenplay to Eastwood during that. I think that's

488
00:27:33,440 --> 00:27:37,280
Speaker 2: the rough story behind this. So anyway, his story for

489
00:27:38,560 --> 00:27:43,000
Speaker 2: somehow became Sudden Impact. And I don't think I've seen

490
00:27:43,040 --> 00:27:46,040
Speaker 2: Sudden Impact from nineteen eighty three, but it is, by

491
00:27:46,080 --> 00:27:48,960
Speaker 2: most estimations, not one of the good Dirty Harry films.

492
00:27:49,560 --> 00:27:52,119
Speaker 2: So it's not seventy nineteen seventy one's Dirty Harry or

493
00:27:52,240 --> 00:27:55,600
Speaker 2: nineteen seventy three's Magnum Force which started how Wholebrook is

494
00:27:55,600 --> 00:28:00,520
Speaker 2: the villain. But Sudden Impact did introduce the line go ahead,

495
00:28:00,640 --> 00:28:03,560
Speaker 2: make my day, which Pierce apparently wrote.

496
00:28:03,640 --> 00:28:07,800
Speaker 3: Huh Man, that is hard to believe. But I but

497
00:28:07,880 --> 00:28:11,240
Speaker 3: I believe you, just like I believe all of the

498
00:28:11,280 --> 00:28:13,600
Speaker 3: stories of the Boggy Creek Monster, and Charles B. Peerce

499
00:28:13,640 --> 00:28:17,080
Speaker 3: apparently does too, because that definitely comes through in the movie.

500
00:28:17,119 --> 00:28:19,240
Speaker 3: Like one of the this is one of those movies

501
00:28:19,280 --> 00:28:22,119
Speaker 3: where like, it is virtuous to believe in the monster,

502
00:28:22,320 --> 00:28:25,200
Speaker 3: and it is it is a sign of a moral

503
00:28:25,320 --> 00:28:27,040
Speaker 3: failing to not believe in it.

504
00:28:27,680 --> 00:28:30,040
Speaker 2: That makes sense. That makes a lot of sense watching

505
00:28:30,119 --> 00:28:32,680
Speaker 2: the first one too, because there is a sense that

506
00:28:33,119 --> 00:28:35,959
Speaker 2: this is a movie that believes in the land. This

507
00:28:36,040 --> 00:28:38,720
Speaker 2: is a movie that believes in the people who live here,

508
00:28:39,280 --> 00:28:42,080
Speaker 2: and therefore you have to believe in the creature because

509
00:28:42,080 --> 00:28:44,760
Speaker 2: the creature is kind of a product of both. And

510
00:28:45,280 --> 00:28:48,880
Speaker 2: it's yeah, so you very much see that that theme

511
00:28:48,960 --> 00:28:50,200
Speaker 2: in the first film.

512
00:28:50,400 --> 00:28:52,560
Speaker 3: Now, as for the rest of the cast of Boggy

513
00:28:52,640 --> 00:28:55,480
Speaker 3: Creek two And the Legend Continues, I was looking through it.

514
00:28:55,480 --> 00:28:59,000
Speaker 3: It is mostly a collection of players who appear to

515
00:28:59,120 --> 00:29:02,080
Speaker 3: have only acted in other Charles B. Pearce movies.

516
00:29:02,680 --> 00:29:06,560
Speaker 2: Yeah, and in some cases people that either were possibly

517
00:29:07,080 --> 00:29:10,320
Speaker 2: romantic interests of Pierce or in one case was his son.

518
00:29:10,520 --> 00:29:12,920
Speaker 3: Yes, his son. One of the main characters in Boggy

519
00:29:13,000 --> 00:29:16,280
Speaker 3: Creek two is Chuck Pierce Junior. And I think the

520
00:29:16,320 --> 00:29:18,720
Speaker 3: way it appears in the opening credits is you see

521
00:29:18,840 --> 00:29:21,920
Speaker 3: Charles Pierce and then you see Charles B. Pierce.

522
00:29:22,360 --> 00:29:23,240
Speaker 2: Yes, and Charles B.

523
00:29:23,400 --> 00:29:24,320
Speaker 3: Pearce is the father.

524
00:29:24,680 --> 00:29:29,000
Speaker 2: Yes, so father and son on screen together, just doing

525
00:29:29,160 --> 00:29:33,320
Speaker 2: a wonderful, wonderful time. Because yeah, if we haven't been

526
00:29:33,520 --> 00:29:36,760
Speaker 2: firm on the matter, Charles B. Pearce plays the anthropologist

527
00:29:36,880 --> 00:29:40,600
Speaker 2: in the sequel And the Legend Continues. It is a

528
00:29:40,640 --> 00:29:44,800
Speaker 2: fabulous performance. Is it is Garth morangue esque to draw

529
00:29:44,840 --> 00:29:48,720
Speaker 2: in a little dark place because he plays such a confident,

530
00:29:49,520 --> 00:29:55,320
Speaker 2: you know, self assured, capable character. You know, he's a

531
00:29:55,320 --> 00:30:01,320
Speaker 2: warrior poet and man, it's it's a sight to behold.

532
00:30:01,400 --> 00:30:05,080
Speaker 3: Yeah. Charles B. Pierce is actor, author, dream weaver.

533
00:30:05,360 --> 00:30:08,000
Speaker 2: Yeah, you get the sense that he takes himself and

534
00:30:08,040 --> 00:30:20,760
Speaker 2: the role just very seriously. It's wonderful. Now you said

535
00:30:20,760 --> 00:30:24,040
Speaker 2: that most of these people are just you know, members

536
00:30:24,040 --> 00:30:26,280
Speaker 2: of the Charles B. Pierce players, and I think that's

537
00:30:26,680 --> 00:30:30,880
Speaker 2: mostly the case. But two standouts. First of all, there's

538
00:30:30,880 --> 00:30:33,400
Speaker 2: a big creature in a little creature in this film.

539
00:30:33,640 --> 00:30:35,240
Speaker 2: The little creature is supposed to be like a young

540
00:30:36,480 --> 00:30:40,280
Speaker 2: boggy Creek monster. Apparently, according to IMDb, was played by

541
00:30:40,360 --> 00:30:44,480
Speaker 2: Victor Williams. This was his first screen credit, but he

542
00:30:44,520 --> 00:30:47,160
Speaker 2: went on to have a really great television career, still

543
00:30:47,200 --> 00:30:50,040
Speaker 2: active television career. He played a member of, for instance,

544
00:30:50,040 --> 00:30:53,000
Speaker 2: of the Guilty Remnant in the HBO series The Leftovers.

545
00:30:53,560 --> 00:30:58,400
Speaker 2: But he's had just notable roles oh Leftovers, especially the

546
00:30:58,440 --> 00:31:01,040
Speaker 2: first season, which is more basically just the based on

547
00:31:01,080 --> 00:31:04,280
Speaker 2: the book, is tremendous. The Guilty Remnant is like a

548
00:31:04,320 --> 00:31:08,160
Speaker 2: cult that's dealing with this sort of mysterious rapture that

549
00:31:08,240 --> 00:31:11,480
Speaker 2: has occurred. And so he's one of the cult members

550
00:31:11,520 --> 00:31:13,000
Speaker 2: in that. But he showed up on a number of

551
00:31:13,080 --> 00:31:16,440
Speaker 2: television shows that I haven't watched and will probably never watch,

552
00:31:16,520 --> 00:31:18,880
Speaker 2: Like I think he had a recurring role on the

553
00:31:18,920 --> 00:31:23,800
Speaker 2: King of Queen's or something. But anyway, a rare sighting

554
00:31:23,840 --> 00:31:28,520
Speaker 2: of a very successful actor beginning their career in the

555
00:31:28,560 --> 00:31:32,200
Speaker 2: Legend of Boggie Creek two. But another character of interest

556
00:31:32,200 --> 00:31:33,920
Speaker 2: in this film, and we'll talk about them in a

557
00:31:33,960 --> 00:31:38,160
Speaker 2: little bit, is this character, old Man Cringshaw, who's kind

558
00:31:38,160 --> 00:31:41,880
Speaker 2: of the Colonel Kurtz of the of Boggie Creek two,

559
00:31:42,240 --> 00:31:44,240
Speaker 2: played by an actor by the name of Jimmy Clem.

560
00:31:44,320 --> 00:31:46,520
Speaker 2: And I don't think Jimmy was in Mnchelsea. He was

561
00:31:46,600 --> 00:31:49,560
Speaker 2: very much a Charles B. Pierce player. But well, boys,

562
00:31:50,400 --> 00:31:53,200
Speaker 2: he's wonderful in this He's a he's a lot of

563
00:31:53,240 --> 00:31:56,080
Speaker 2: man and he brings it on the screen.

564
00:31:56,160 --> 00:31:57,960
Speaker 3: It's amazing. I can't wait to get to talking about

565
00:31:58,000 --> 00:31:59,960
Speaker 3: that part of the plot. But yeah, he basically like

566
00:32:00,160 --> 00:32:02,920
Speaker 3: he puts in a couple fingers a dip and he's

567
00:32:02,960 --> 00:32:06,680
Speaker 3: like I saw a snail crawl along a razor's edge.

568
00:32:08,800 --> 00:32:11,600
Speaker 2: Now that there's a man's kind of woman. Yeah, He's

569
00:32:11,600 --> 00:32:16,120
Speaker 2: got so many wonderful lines, just performs so authentically.

570
00:32:16,480 --> 00:32:19,240
Speaker 3: You know, one thing I will say I really unironically

571
00:32:19,320 --> 00:32:22,040
Speaker 3: like about this movie is the poster. The poster for

572
00:32:22,120 --> 00:32:26,120
Speaker 3: Boggy Creek two has this strange kind of setting, sun

573
00:32:26,240 --> 00:32:29,640
Speaker 3: across flat land, silhouetted days of heaven kind of look

574
00:32:29,680 --> 00:32:31,000
Speaker 3: that I really appreciate.

575
00:32:31,360 --> 00:32:33,480
Speaker 2: Yeah, everyone should look this up because this is a

576
00:32:33,520 --> 00:32:37,640
Speaker 2: notable poster. And it's also interesting that the same artist

577
00:32:37,760 --> 00:32:40,640
Speaker 2: created the poster for nineteen seventy two's The Legend of

578
00:32:40,680 --> 00:32:43,120
Speaker 2: Boggie Creek. So he came back for the sequel. The

579
00:32:43,200 --> 00:32:47,400
Speaker 2: individual in question someone you might have heard of, Ralph mcquarie.

580
00:32:47,800 --> 00:32:49,880
Speaker 3: I knew nothing about this guy before you were telling

581
00:32:49,880 --> 00:32:50,479
Speaker 3: me this stuff.

582
00:32:50,760 --> 00:32:55,080
Speaker 2: Oh well. So he lived nineteen twenty nine through twenty twelve.

583
00:32:55,440 --> 00:32:58,200
Speaker 2: He worked on such films as Close Encounters, as The

584
00:32:58,240 --> 00:33:02,320
Speaker 2: Third kind Et Raiders of the Lost Arc. But as

585
00:33:02,320 --> 00:33:06,280
Speaker 2: impressive as these accolades are, they pale in comparison to

586
00:33:06,320 --> 00:33:10,440
Speaker 2: his main achievement. He was one of the primary visual

587
00:33:10,520 --> 00:33:14,160
Speaker 2: wonder workers on the original Star Wars film and its

588
00:33:14,200 --> 00:33:15,560
Speaker 2: two initial sequels.

589
00:33:15,920 --> 00:33:16,320
Speaker 3: Wow.

590
00:33:16,880 --> 00:33:21,160
Speaker 2: So mcquarie is the man whose conceptual paintings designed such

591
00:33:21,360 --> 00:33:25,560
Speaker 2: iconic looks as Darth Vader's helmet R two D two

592
00:33:25,840 --> 00:33:29,120
Speaker 2: three CPO. If you love looking at something in the

593
00:33:29,160 --> 00:33:33,560
Speaker 2: original Star Wars trilogy, there is a high probability that

594
00:33:33,600 --> 00:33:37,440
Speaker 2: you have Ralph mcquarie to think for much of its design.

595
00:33:37,520 --> 00:33:41,200
Speaker 2: You really can't overstate his role in the creation of

596
00:33:41,240 --> 00:33:43,080
Speaker 2: the visual Star Wars universe.

597
00:33:43,520 --> 00:33:46,240
Speaker 3: This is the most tremendous connection that we have established

598
00:33:46,320 --> 00:33:49,400
Speaker 3: yet in weird House cinema. This is pretty amazing. Also,

599
00:33:49,440 --> 00:33:51,360
Speaker 3: though I have to ask, did you did you mean

600
00:33:51,640 --> 00:33:56,000
Speaker 3: was three CPO and earlier version in concept of C

601
00:33:56,120 --> 00:33:56,520
Speaker 3: three po?

602
00:33:56,640 --> 00:34:00,760
Speaker 2: Or did you mean that was a typo? But that

603
00:34:00,840 --> 00:34:03,160
Speaker 2: I just read out loud from my notes. But it's

604
00:34:03,200 --> 00:34:05,480
Speaker 2: in a way it's accurate because a lot of the

605
00:34:05,880 --> 00:34:10,399
Speaker 2: time with mccrary's early designs for for what would become

606
00:34:10,440 --> 00:34:13,560
Speaker 2: Star Wars, you know, there, everything's a little bit different.

607
00:34:13,680 --> 00:34:17,080
Speaker 2: So if you can look back at these these wonderful illustrations,

608
00:34:17,239 --> 00:34:20,080
Speaker 2: which they are published of volumes off, and you'll see

609
00:34:20,480 --> 00:34:23,839
Speaker 2: a version of Star Wars that is the same yet

610
00:34:23,920 --> 00:34:26,200
Speaker 2: slightly different, has a slightly different feel to it, and

611
00:34:26,280 --> 00:34:29,520
Speaker 2: feels like like a pre existing myth cycle, you know it,

612
00:34:29,920 --> 00:34:31,600
Speaker 2: I feel like it adds to the mystique and the

613
00:34:31,640 --> 00:34:35,839
Speaker 2: wonder of what was created and it's it's also been

614
00:34:35,960 --> 00:34:40,319
Speaker 2: utilized in curious ways and not curious ways, in very

615
00:34:40,360 --> 00:34:45,239
Speaker 2: intriguing ways by such subsequent projects as say the animated

616
00:34:45,280 --> 00:34:49,120
Speaker 2: Rebels show and other subsequent Star Wars projects, where what

617
00:34:49,200 --> 00:34:52,880
Speaker 2: they'll do is they'll go back to Ralph mccrary's designs

618
00:34:53,239 --> 00:34:56,799
Speaker 2: and they'll take something that either wasn't used or was

619
00:34:56,840 --> 00:35:00,400
Speaker 2: tweaked somewhat, uh, and they'll but they'll use the original

620
00:35:00,440 --> 00:35:02,879
Speaker 2: design and creates something that is new to the Star

621
00:35:02,960 --> 00:35:06,600
Speaker 2: Wars universe, but based on one of the pre existing designs.

622
00:35:07,320 --> 00:35:09,080
Speaker 2: And I'll touch on one example of that here in

623
00:35:09,080 --> 00:35:09,319
Speaker 2: a bit.

624
00:35:09,440 --> 00:35:12,399
Speaker 3: Oh. I love that well, I mean, I can't help

625
00:35:12,400 --> 00:35:15,120
Speaker 3: but notice if you worked on Boggie Creek two and

626
00:35:15,360 --> 00:35:18,960
Speaker 3: on Star Wars, that both have a large, hairy humanoid

627
00:35:19,080 --> 00:35:19,879
Speaker 3: creature in them.

628
00:35:20,239 --> 00:35:23,600
Speaker 2: Yep. And that is that is the direct connection here

629
00:35:23,640 --> 00:35:27,279
Speaker 2: to discuss the connection between the Boggy Creek creature and

630
00:35:27,480 --> 00:35:29,040
Speaker 2: the Wookie character Chewbacca.

631
00:35:29,280 --> 00:35:29,680
Speaker 3: Wow.

632
00:35:30,280 --> 00:35:33,520
Speaker 2: So there's a wonderful article out there on kitbash dot

633
00:35:33,560 --> 00:35:37,480
Speaker 2: com by Michael Hillman. That's h E I L E

634
00:35:37,600 --> 00:35:40,440
Speaker 2: M A N N. That's that's excellent. I recommend you

635
00:35:40,520 --> 00:35:43,080
Speaker 2: check this out if you're curious about how how ideas

636
00:35:43,080 --> 00:35:45,320
Speaker 2: in Star Wars came together in general, but specifically how

637
00:35:45,520 --> 00:35:49,120
Speaker 2: Chewbacca came together. And this is one of the sources

638
00:35:49,120 --> 00:35:51,520
Speaker 2: I cited in writing a piece for HowStuffWorks dot Com

639
00:35:51,560 --> 00:35:55,919
Speaker 2: earlier this year on the connection between Bigfoot and Chewbacca.

640
00:35:56,239 --> 00:36:00,560
Speaker 2: But basically, this is what supposedly happened. Lucas asked McQuary

641
00:36:00,600 --> 00:36:03,399
Speaker 2: to create something like, quote, a lemur with fur over

642
00:36:03,440 --> 00:36:06,240
Speaker 2: his whole body and a big, huge, ape like figure.

643
00:36:08,040 --> 00:36:11,160
Speaker 2: So this resulted in a concept that if you look

644
00:36:11,200 --> 00:36:14,399
Speaker 2: it up, it's kind of startling. It has these it's tall,

645
00:36:14,440 --> 00:36:19,400
Speaker 2: it has these big eyes, it's you know, while Chewbacca

646
00:36:19,520 --> 00:36:25,640
Speaker 2: is dog like and relaxing. To look at this creature, yeah,

647
00:36:25,760 --> 00:36:29,520
Speaker 2: is kind of startling. And so they ended up tweaking

648
00:36:29,520 --> 00:36:31,200
Speaker 2: it in ways we'll discuss here in a second, but

649
00:36:31,320 --> 00:36:34,280
Speaker 2: this early concept would go on to influence the design

650
00:36:34,600 --> 00:36:38,760
Speaker 2: of the Loasatt alien species, which debuted in the twenty

651
00:36:38,840 --> 00:36:41,280
Speaker 2: fourteen animated series Star Wars Rebels.

652
00:36:42,640 --> 00:36:44,840
Speaker 3: I've got to say, I mean, I love the design,

653
00:36:44,920 --> 00:36:48,520
Speaker 3: but this is not a good buddy sidekick. This thing

654
00:36:48,640 --> 00:36:51,440
Speaker 3: looks disturbing. It looks kind of like a pervert.

655
00:36:51,719 --> 00:36:55,399
Speaker 2: Yeah, it looks a bit crazed. So Lucas came back

656
00:36:55,400 --> 00:36:58,799
Speaker 2: to McQuary with an inspiration image to tweak this, an

657
00:36:58,800 --> 00:37:03,640
Speaker 2: illustration of a Jen she This was an image created

658
00:37:03,680 --> 00:37:08,160
Speaker 2: by John shown Her for a George R. R. Martin

659
00:37:08,239 --> 00:37:12,040
Speaker 2: short story in a July nineteen seventy five edition of Analog.

660
00:37:12,520 --> 00:37:14,799
Speaker 3: What What Yeah.

661
00:37:14,960 --> 00:37:17,239
Speaker 2: So basically it was a George R. Martin story that

662
00:37:17,400 --> 00:37:23,120
Speaker 2: had these kind of like he squatch like alien creatures,

663
00:37:23,520 --> 00:37:26,080
Speaker 2: and Lucas is like, how about we tweak it more

664
00:37:26,080 --> 00:37:26,680
Speaker 2: in this direction?

665
00:37:27,000 --> 00:37:29,680
Speaker 3: And this is a this is like decades before a

666
00:37:29,719 --> 00:37:31,200
Speaker 3: Game of Thrones was published.

667
00:37:31,400 --> 00:37:33,399
Speaker 2: Oh yeah, this was back when George R. Martin's main

668
00:37:33,480 --> 00:37:35,400
Speaker 2: name was as a you know, a fiction writer.

669
00:37:36,120 --> 00:37:39,520
Speaker 3: So as oh you mean like a sci fi fiction.

670
00:37:40,000 --> 00:37:42,600
Speaker 2: Yeah, it's a short fiction and novels and whatnot. But

671
00:37:42,680 --> 00:37:45,560
Speaker 2: before yeah, before fantasy became you know, now we think

672
00:37:45,600 --> 00:37:47,200
Speaker 2: of Game of Thrones, but there was a time when

673
00:37:47,239 --> 00:37:50,759
Speaker 2: it was more you know, space aliens and whatnot. So

674
00:37:50,920 --> 00:37:54,920
Speaker 2: as a is Heilman explains, McCrory tweaked the image and

675
00:37:54,960 --> 00:38:00,120
Speaker 2: combined it with pre existing aspects of the Chewbacca character design.

676
00:38:00,360 --> 00:38:04,080
Speaker 2: But again, McCrory had already at this point created images

677
00:38:04,160 --> 00:38:07,879
Speaker 2: of hairy creatures for the original Boggie Creek poster, so

678
00:38:07,920 --> 00:38:10,840
Speaker 2: we can roughly see the poster for the nineteen seventy

679
00:38:10,880 --> 00:38:15,040
Speaker 2: two film as being one of Chewbacca's design ancestors.

680
00:38:15,440 --> 00:38:18,799
Speaker 3: We're all connected, man, It's all just part of its

681
00:38:18,840 --> 00:38:21,440
Speaker 3: one big dream in the giant's mind.

682
00:38:21,920 --> 00:38:24,000
Speaker 2: It kind of is. Yeah, the more you focus on

683
00:38:24,040 --> 00:38:27,280
Speaker 2: these connections, the more it is. But I guess the

684
00:38:27,280 --> 00:38:31,279
Speaker 2: bottom line, bottom line, the original Boggie Creek and its

685
00:38:31,280 --> 00:38:35,680
Speaker 2: sequel have just amazing posters by one of the greats,

686
00:38:36,120 --> 00:38:39,319
Speaker 2: and on the surface of things, you can easily say

687
00:38:39,320 --> 00:38:42,239
Speaker 2: that those posters outshine everything else about the projects.

688
00:38:42,760 --> 00:38:48,000
Speaker 3: It's further proof that you, Me McQuary, George R. Martin,

689
00:38:48,239 --> 00:38:51,080
Speaker 3: Charles B. Pearce, and the Boggy Creek creature are all

690
00:38:51,120 --> 00:38:53,640
Speaker 3: living in the blue eye of a giant named Macomber.

691
00:38:55,960 --> 00:38:58,440
Speaker 2: All right, well, let's get back into the legend of

692
00:38:58,480 --> 00:39:02,759
Speaker 2: Boggie Creek two and the Legend continues, which again is

693
00:39:02,800 --> 00:39:06,160
Speaker 2: the actual title of this film. I think it's time

694
00:39:06,200 --> 00:39:07,280
Speaker 2: to talk about the plot.

695
00:39:07,600 --> 00:39:10,960
Speaker 3: Okay, So, first thing you see when the movie starts

696
00:39:11,120 --> 00:39:14,480
Speaker 3: is you get opening credits with no music at all,

697
00:39:14,560 --> 00:39:16,840
Speaker 3: which is which is a bold choice. There's just like

698
00:39:16,920 --> 00:39:20,759
Speaker 3: the sweet whisper of frog song. It's like, you know,

699
00:39:20,800 --> 00:39:24,760
Speaker 3: you got some some gators whispering sweet nothings in your ear.

700
00:39:25,440 --> 00:39:28,600
Speaker 3: And you just see names appearing in this very cool

701
00:39:29,000 --> 00:39:33,800
Speaker 3: yellow almost kind of kind of grindhouse font names appearing

702
00:39:33,880 --> 00:39:39,400
Speaker 3: like Rick parentheses, Rock Hildreth. So so you know, you

703
00:39:39,440 --> 00:39:44,160
Speaker 3: see Charles B. Pierce, Charles Pierce, maybe some other pierces.

704
00:39:44,200 --> 00:39:47,040
Speaker 3: There's a whole gaggle of pierces involved in this film.

705
00:39:47,480 --> 00:39:50,439
Speaker 3: And then it comes up on b roll of the

706
00:39:50,920 --> 00:39:53,800
Speaker 3: of the swamp Lands, and you get narration with Charles B.

707
00:39:53,920 --> 00:39:57,080
Speaker 3: Pierce himself, of course he wrote, directed the film, start

708
00:39:57,120 --> 00:40:00,640
Speaker 3: in it and narrates it, and he says, the swamps

709
00:40:00,680 --> 00:40:03,520
Speaker 3: of southern Arkansas, you know, some of these cypress have

710
00:40:03,640 --> 00:40:07,239
Speaker 3: grown here since before the Vikings set sail. And he

711
00:40:07,360 --> 00:40:12,000
Speaker 3: keeps just describing the swamps over and over again, saying

712
00:40:12,120 --> 00:40:15,160
Speaker 3: like the rivers and the water and they're murky, murky,

713
00:40:15,239 --> 00:40:19,320
Speaker 3: soggy earth. He basically uses every single word except boggy

714
00:40:19,400 --> 00:40:23,880
Speaker 3: and creek. But then the first thing you see is

715
00:40:24,120 --> 00:40:27,160
Speaker 3: you get a monster attack before any characters are introduced.

716
00:40:27,520 --> 00:40:30,160
Speaker 3: So you see the water, and then there's like a

717
00:40:30,239 --> 00:40:34,680
Speaker 3: bubble monster swimming underneath the water's surface, and there's a

718
00:40:34,719 --> 00:40:38,040
Speaker 3: deer swimming and then the bubble monster attacks the swimming deer,

719
00:40:38,320 --> 00:40:42,560
Speaker 3: which is accompanied by this funky, deep electric organ music.

720
00:40:42,640 --> 00:40:45,400
Speaker 2: Do you remember this, Yeah, it's kind of a Doda

721
00:40:45,440 --> 00:40:46,480
Speaker 2: do da kind of a thing.

722
00:40:46,600 --> 00:40:50,120
Speaker 3: Yeah, I guess, a little bit jawsy. But this ape

723
00:40:50,160 --> 00:40:53,920
Speaker 3: is a swimming ape. The movie makes very clear. And

724
00:40:54,040 --> 00:40:57,000
Speaker 3: then finally you get a man in a gorilla costume

725
00:40:57,120 --> 00:40:59,520
Speaker 3: dragging a dead deer up onto the bank, and I

726
00:40:59,560 --> 00:41:01,080
Speaker 3: think this is not supposed to be a guy in

727
00:41:01,120 --> 00:41:03,600
Speaker 3: a costume. This is supposed to be the creature. I

728
00:41:03,640 --> 00:41:06,799
Speaker 3: will say. You mentioned that the original Boggy Creek does

729
00:41:06,800 --> 00:41:09,080
Speaker 3: a good job of keeping the monster at a distance,

730
00:41:09,280 --> 00:41:12,040
Speaker 3: kind of, you know, keeping it obscured so that you

731
00:41:12,040 --> 00:41:14,520
Speaker 3: don't see it too close. It doesn't look too obvious.

732
00:41:14,560 --> 00:41:16,520
Speaker 3: This movie does not do a good job with that.

733
00:41:16,640 --> 00:41:20,239
Speaker 3: It gives you a real close examination of like the

734
00:41:20,320 --> 00:41:24,520
Speaker 3: zipper on the suit and seeing the people's mouth through

735
00:41:24,560 --> 00:41:25,720
Speaker 3: the mouth of the mask.

736
00:41:26,560 --> 00:41:29,279
Speaker 2: I should clarify that the first film mostly does a

737
00:41:29,280 --> 00:41:32,239
Speaker 2: good job keep it there's maybe one scene late in

738
00:41:32,280 --> 00:41:33,759
Speaker 2: the film where you get a little too close to

739
00:41:33,800 --> 00:41:36,160
Speaker 2: the gorilla costume and you kind of see the flaws,

740
00:41:36,200 --> 00:41:38,560
Speaker 2: but for the most part it does a good job.

741
00:41:38,960 --> 00:41:41,479
Speaker 3: So it's it clearly likes to kill and eat deer.

742
00:41:41,920 --> 00:41:45,520
Speaker 3: And then immediately it just cuts to football. Are you

743
00:41:45,560 --> 00:41:49,000
Speaker 3: ready for some football? And it's a Razorbacks college football

744
00:41:49,040 --> 00:41:53,960
Speaker 3: game at the football stadium. Here is so dystopian something

745
00:41:54,000 --> 00:41:56,480
Speaker 3: about it. It's the bleakest thing in the whole movie,

746
00:41:56,520 --> 00:41:59,200
Speaker 3: even though they're deep in this swamp country for the

747
00:41:59,200 --> 00:42:01,880
Speaker 3: rest of it, because at this football stadium there's just

748
00:42:02,080 --> 00:42:05,600
Speaker 3: no shade, and like a million people are just crammed

749
00:42:05,680 --> 00:42:08,839
Speaker 3: hip to hip, all wearing the same colors. And then

750
00:42:08,920 --> 00:42:11,440
Speaker 3: here in the middle of the crowd is Charles B.

751
00:42:11,560 --> 00:42:15,759
Speaker 3: Pearce wearing dictator sunglasses like he looks like Teto, and

752
00:42:15,760 --> 00:42:18,040
Speaker 3: then he's got on a tie at the football game.

753
00:42:18,480 --> 00:42:19,839
Speaker 2: Well, you know, I always thought of him as as

754
00:42:20,040 --> 00:42:21,800
Speaker 2: Hank Williams junior glasses.

755
00:42:21,440 --> 00:42:24,560
Speaker 3: You know, Okay, yeah, yeah, there's some overlap there. Yeah,

756
00:42:24,840 --> 00:42:28,480
Speaker 3: Eastern European dictator or Hank Williams Junior. It works either way.

757
00:42:29,320 --> 00:42:32,760
Speaker 3: But so then we get the character who is played

758
00:42:32,760 --> 00:42:37,000
Speaker 3: by Chuck Pierce Junior. He answers a phone in I

759
00:42:37,000 --> 00:42:39,560
Speaker 3: guess what is supposed to be Charles B. Pearce's office,

760
00:42:40,160 --> 00:42:43,680
Speaker 3: and somebody's asking for him, and he's like get him.

761
00:42:43,719 --> 00:42:47,160
Speaker 3: He's in the stadium with seventy five thousand insane hog callers,

762
00:42:47,320 --> 00:42:50,440
Speaker 3: And I think hog callers is what Razorbacks fans are called.

763
00:42:50,719 --> 00:42:54,480
Speaker 2: Are they? I don't. I haven't heard that myself, but

764
00:42:54,840 --> 00:42:58,000
Speaker 2: I accept in this film. But I will say I

765
00:42:58,000 --> 00:43:00,640
Speaker 2: will say this about the Razorbacks scene that the football team.

766
00:43:01,080 --> 00:43:04,400
Speaker 2: You may see it as dystopia, but I think the

767
00:43:04,520 --> 00:43:08,440
Speaker 2: viewer is invited to see it is as as more utopian,

768
00:43:09,400 --> 00:43:12,080
Speaker 2: but also just like a pure order, like this is

769
00:43:12,120 --> 00:43:17,239
Speaker 2: a realm of order. Here is the civilized world itself, yes,

770
00:43:17,400 --> 00:43:22,640
Speaker 2: as as as presented in a college football game like

771
00:43:22,680 --> 00:43:26,160
Speaker 2: this is this is the world of civilization. Much of

772
00:43:26,200 --> 00:43:28,839
Speaker 2: the film is going to be about leaving this world

773
00:43:28,920 --> 00:43:31,120
Speaker 2: to depart into the you know, the heart of darkness,

774
00:43:31,160 --> 00:43:36,200
Speaker 2: into the into the wild lands where the squatch reigns king.

775
00:43:36,719 --> 00:43:40,440
Speaker 2: But but this is about showing the world that we

776
00:43:40,640 --> 00:43:41,799
Speaker 2: have to leave to get there.

777
00:43:41,880 --> 00:43:44,799
Speaker 3: You're one thousand percent right. This is Frothgar's mead Hall,

778
00:43:44,880 --> 00:43:46,640
Speaker 3: and then you have to go out into the dark

779
00:43:46,719 --> 00:43:49,160
Speaker 3: to face Grendel's mother or this is supposed to be

780
00:43:49,160 --> 00:43:51,759
Speaker 3: the Parthenon before you like leave to go out into

781
00:43:51,760 --> 00:43:57,120
Speaker 3: the lands of the Pine Bender. So so he's in

782
00:43:57,160 --> 00:43:59,799
Speaker 3: the stadium with seventy five thousand insane hog callers where

783
00:43:59,800 --> 00:44:02,960
Speaker 3: any dictator sunglasses and his tie under the hot sun,

784
00:44:03,480 --> 00:44:05,799
Speaker 3: and Chuck by Pearce goes and gets his dad or

785
00:44:05,960 --> 00:44:07,759
Speaker 3: I guess he's not supposed to be his dad in

786
00:44:07,800 --> 00:44:11,719
Speaker 3: the movie. He is his professor, I guess, and Chuck

787
00:44:11,760 --> 00:44:16,480
Speaker 3: by Pearce I've taken to calling him CBP. He comes

788
00:44:16,480 --> 00:44:19,000
Speaker 3: back to his office and he takes the call, and

789
00:44:19,040 --> 00:44:22,240
Speaker 3: then he immediately announces, okay, you know whatever was announced

790
00:44:22,280 --> 00:44:25,120
Speaker 3: on whatever was reported to him on this call, it

791
00:44:25,360 --> 00:44:30,719
Speaker 3: necessitates a trip to Texarkana, the southwestern portion of Arkansas.

792
00:44:30,800 --> 00:44:33,480
Speaker 3: There's a I guess, a city called Texarkana right on

793
00:44:33,520 --> 00:44:36,640
Speaker 3: the border with Texas. And so he's going to go

794
00:44:36,719 --> 00:44:40,239
Speaker 3: along with several students, one of which is they make

795
00:44:40,800 --> 00:44:43,279
Speaker 3: they emphasize this very early on, one of which is

796
00:44:43,320 --> 00:44:45,440
Speaker 3: a young lady who is not going to be at

797
00:44:45,520 --> 00:44:47,920
Speaker 3: home in the woods. There's a lot of Charles b

798
00:44:48,040 --> 00:44:51,920
Speaker 3: Pearce like rolling his eyes as she applies makeup and stuff.

799
00:44:52,520 --> 00:44:54,879
Speaker 3: And so then we immediately cut to a good old

800
00:44:54,960 --> 00:44:59,560
Speaker 3: jeep montage with road narration, and the character introduces himself.

801
00:44:59,560 --> 00:45:02,400
Speaker 3: So Charles Pierce is playing someone who also has a

802
00:45:02,440 --> 00:45:05,799
Speaker 3: middle initial. He goes, my name is Brian c Lockhart.

803
00:45:06,040 --> 00:45:08,640
Speaker 3: My friends call me Doc, though I don't remember if

804
00:45:08,640 --> 00:45:11,720
Speaker 3: anybody calls him doc after that anywhere in the Maybe

805
00:45:13,520 --> 00:45:16,880
Speaker 3: he says, I'm a professor of anthropology located deep in

806
00:45:16,920 --> 00:45:21,560
Speaker 3: the Ozark Mountains. And so I don't know exactly why

807
00:45:22,040 --> 00:45:25,440
Speaker 3: the professor of anthropology is really into cryptids. Maybe the

808
00:45:25,520 --> 00:45:28,360
Speaker 3: idea is that the Boggy Creek creature is some type

809
00:45:28,360 --> 00:45:29,160
Speaker 3: of human.

810
00:45:30,800 --> 00:45:33,200
Speaker 2: Or just you know, he's interested. It would it would

811
00:45:33,239 --> 00:45:35,880
Speaker 2: imply that he's more interested in the beliefs of the

812
00:45:35,920 --> 00:45:39,919
Speaker 2: people about the creature. But of course that's not really

813
00:45:39,920 --> 00:45:41,960
Speaker 2: how the film plays out, right.

814
00:45:42,000 --> 00:45:45,080
Speaker 3: I guess they don't specify whether he's a physical anthropologist

815
00:45:45,120 --> 00:45:48,839
Speaker 3: or a cultural anthropologist, right, that would seem to make

816
00:45:48,880 --> 00:45:51,399
Speaker 3: a big difference, but I'm not sure. But so they're

817
00:45:51,400 --> 00:45:53,399
Speaker 3: going to the swamp, and then along for the ride,

818
00:45:53,440 --> 00:45:55,319
Speaker 3: you get introduced to all the students and I was

819
00:45:55,360 --> 00:45:57,640
Speaker 3: trying to hear what their names were in the narration.

820
00:45:57,800 --> 00:46:00,960
Speaker 3: This is what I got best. So, Chuck Pierce Junior,

821
00:46:01,160 --> 00:46:04,920
Speaker 3: the director's son, is playing a student named Tim Thorne

822
00:46:05,360 --> 00:46:10,440
Speaker 3: who is just shirtless the entire movie, absolutely allergic to shirts.

823
00:46:10,480 --> 00:46:13,000
Speaker 3: He also has something that I think might be a boil,

824
00:46:13,120 --> 00:46:15,520
Speaker 3: but it looks like a Supernumery nipple. He has like

825
00:46:15,560 --> 00:46:18,560
Speaker 3: a third nipple like object above one of his nipples,

826
00:46:19,840 --> 00:46:22,600
Speaker 3: and just shirt off the entire time. And then the

827
00:46:22,640 --> 00:46:25,520
Speaker 3: other two students are someone who it sounds like he

828
00:46:25,560 --> 00:46:29,560
Speaker 3: introduces her as Miss Landwalker. I think maybe her name

829
00:46:29,640 --> 00:46:33,719
Speaker 3: is Leslie has established in other scenes she might be

830
00:46:33,840 --> 00:46:36,600
Speaker 3: something Anne Walker, but I'm gonna call her Miss Landwalker.

831
00:46:37,000 --> 00:46:41,319
Speaker 3: And then the other one is Tanya Yazzy and Miss

832
00:46:41,440 --> 00:46:45,880
Speaker 3: Landwalker by the way, is they just go full eighties

833
00:46:45,960 --> 00:46:47,520
Speaker 3: dance like she looks like she's about to go out

834
00:46:47,600 --> 00:46:48,800
Speaker 3: dancing at tech noir.

835
00:46:49,440 --> 00:46:54,160
Speaker 2: Yes, they are not strong characters in this film. They

836
00:46:54,239 --> 00:46:58,840
Speaker 2: I mean they basically exist to gripe about the woods,

837
00:46:59,120 --> 00:47:01,560
Speaker 2: to not be able to handle the woods, to be

838
00:47:01,680 --> 00:47:04,360
Speaker 2: in danger and to be saved by the male characters.

839
00:47:04,480 --> 00:47:08,440
Speaker 3: Yeah, I would also say the Chuck Pierce Junior character

840
00:47:08,560 --> 00:47:12,040
Speaker 3: is not strong. His only characteristic is shirtless. They're basically

841
00:47:12,080 --> 00:47:15,280
Speaker 3: two characters in this film, and it's Charles B. Pearce

842
00:47:15,320 --> 00:47:18,560
Speaker 3: and Cringshaw, who will get to later. Yes, so a

843
00:47:18,600 --> 00:47:22,840
Speaker 3: lot of the narration is just like encyclopedic geographical information.

844
00:47:23,120 --> 00:47:26,239
Speaker 3: You get narration that cuts into say Texas Arcana is

845
00:47:26,320 --> 00:47:29,440
Speaker 3: located on the border of Arkansas and Texas. It's you know,

846
00:47:29,719 --> 00:47:34,600
Speaker 3: X miles from this thing. So after the jeep montage,

847
00:47:35,040 --> 00:47:38,360
Speaker 3: CBP stops in a general store to buy cartridges for

848
00:47:38,440 --> 00:47:40,680
Speaker 3: his gun, because that's what you do when you're going

849
00:47:40,719 --> 00:47:46,080
Speaker 3: out on anthropological research mission, and the locals hanging around

850
00:47:46,120 --> 00:47:49,480
Speaker 3: in the store immediately start to mock him when he

851
00:47:49,560 --> 00:47:53,440
Speaker 3: asks about the Boggy Creek creature. They're all basically hillbilly

852
00:47:53,480 --> 00:47:56,719
Speaker 3: Carl Sagan's. They're like, only people who believe in the

853
00:47:56,719 --> 00:47:59,279
Speaker 3: monster are drunks and city folks who want to get

854
00:47:59,280 --> 00:48:04,200
Speaker 3: their names and fancy newspaper. And there's also there's a

855
00:48:04,280 --> 00:48:06,719
Speaker 3: lady in the store who I couldn't help. But notice

856
00:48:06,880 --> 00:48:08,480
Speaker 3: I'm not trying to be mean, but she really does.

857
00:48:08,600 --> 00:48:12,560
Speaker 3: She looks like Justin Wilson from the old PBS cooking videos.

858
00:48:13,000 --> 00:48:17,239
Speaker 2: Okay, you know this. This scene in the film definitely

859
00:48:18,400 --> 00:48:21,160
Speaker 2: calls back to the first Boggy Creek film where you

860
00:48:21,239 --> 00:48:23,520
Speaker 2: had there's one key scene where it's a bunch of

861
00:48:23,560 --> 00:48:28,280
Speaker 2: old Cadure's setting around a general store talking about the creature.

862
00:48:28,560 --> 00:48:31,400
Speaker 2: So like, this is him just kind of recreating this encounter.

863
00:48:31,640 --> 00:48:33,360
Speaker 3: But the weird thing is it's inverted.

864
00:48:33,400 --> 00:48:33,560
Speaker 4: Now.

865
00:48:33,600 --> 00:48:37,640
Speaker 3: You mentioned earlier the idea that you know it's because

866
00:48:37,960 --> 00:48:41,240
Speaker 3: he's got some love for the locals that he frames

867
00:48:41,320 --> 00:48:44,160
Speaker 3: believing in the creature as a morally virtuous thing to

868
00:48:44,160 --> 00:48:47,640
Speaker 3: do and disbelieving is morally bad. But in this movie,

869
00:48:47,680 --> 00:48:50,399
Speaker 3: the locals disbelieve and they make fun of the big

870
00:48:50,440 --> 00:48:52,200
Speaker 3: city professor for believing.

871
00:48:52,719 --> 00:48:56,160
Speaker 2: Yeah, I wonder one wonders how that came to be

872
00:48:56,239 --> 00:48:58,960
Speaker 2: if that comes in the wake of making the first film.

873
00:49:00,000 --> 00:49:00,360
Speaker 2: I don't know.

874
00:49:01,040 --> 00:49:02,839
Speaker 3: Another thing about this movie is that there are just

875
00:49:03,160 --> 00:49:06,920
Speaker 3: Arkansas hats everywhere, everywhere, hats that say Arkansas.

876
00:49:07,239 --> 00:49:09,239
Speaker 2: That's interesting because you really didn't see that in the

877
00:49:09,520 --> 00:49:13,120
Speaker 2: first film. In the first film, everybody's kinda like all

878
00:49:13,160 --> 00:49:17,800
Speaker 2: the men are wearing just like featureless white T shirts,

879
00:49:17,840 --> 00:49:20,680
Speaker 2: And I don't know, there's a plainness to to what

880
00:49:20,719 --> 00:49:22,880
Speaker 2: everybody's wearing. I don't know how much that was intentional

881
00:49:23,000 --> 00:49:25,360
Speaker 2: or just people you know, showed up what they were wearing,

882
00:49:25,520 --> 00:49:28,080
Speaker 2: wearing what they were wearing. I don't know, but yeah,

883
00:49:28,080 --> 00:49:33,120
Speaker 2: the Arkansas hats certainly are a force in the sequel.

884
00:49:33,880 --> 00:49:36,960
Speaker 3: I should note that as they're leaving the store, Charles B.

885
00:49:37,040 --> 00:49:40,200
Speaker 3: Pierce threatens to shoot the locals if they prank him,

886
00:49:41,239 --> 00:49:44,279
Speaker 3: which is nice. Next, they go to a place they

887
00:49:44,320 --> 00:49:49,279
Speaker 3: call WL. Slogan's farm. This is a place where some

888
00:49:49,360 --> 00:49:53,040
Speaker 3: notable barn mischief has been documented in the past. We

889
00:49:53,080 --> 00:49:57,840
Speaker 3: have barn mischief, folks. But Charles B. Pierce goes on

890
00:49:57,920 --> 00:50:00,480
Speaker 3: to tell the story of W. L. Slogan, and as

891
00:50:00,480 --> 00:50:03,120
Speaker 3: best I can tell, the story goes like this. Slogan

892
00:50:03,200 --> 00:50:05,480
Speaker 3: is bringing his cows in from the field one day

893
00:50:05,560 --> 00:50:09,080
Speaker 3: long ago. He puts them up in their stalls. Spooky

894
00:50:09,160 --> 00:50:13,000
Speaker 3: music begins to play, and then Slogan, by the way, Slogan,

895
00:50:13,080 --> 00:50:15,400
Speaker 3: they've dressed him up so that he looks and walks

896
00:50:15,480 --> 00:50:17,680
Speaker 3: like a farmer in a musical, like he's about to

897
00:50:17,680 --> 00:50:21,480
Speaker 3: start singing a song about chickens. And then Slogan just

898
00:50:21,680 --> 00:50:24,840
Speaker 3: sees an ape like creature in the barn and that's it.

899
00:50:24,920 --> 00:50:26,719
Speaker 3: Then it walks away, and he walks away, and now

900
00:50:26,760 --> 00:50:29,000
Speaker 3: the barn is famous for the Barn mischief.

901
00:50:29,760 --> 00:50:32,759
Speaker 2: Yeah, this is great because this is another scene that's

902
00:50:32,760 --> 00:50:35,040
Speaker 2: pretty much a recreation of something from the first film,

903
00:50:36,080 --> 00:50:37,799
Speaker 2: and it's very much in keeping with the first film,

904
00:50:37,880 --> 00:50:40,480
Speaker 2: Like this is like a little pocket of mochu drama

905
00:50:41,160 --> 00:50:43,719
Speaker 2: thrown in on the journey into the wilds.

906
00:50:43,760 --> 00:50:46,360
Speaker 3: And this happens throughout the movie. They just keep stopping

907
00:50:46,520 --> 00:50:49,719
Speaker 3: so that Charles B. Pearce can tell a story of

908
00:50:49,760 --> 00:50:52,080
Speaker 3: a sighting of the Boggy Creek creature.

909
00:50:52,520 --> 00:50:57,040
Speaker 2: Yeah, sometimes frightening, sometimes clearly told for laughs.

910
00:50:57,200 --> 00:50:59,719
Speaker 3: Yeah. And then so he finishes telling the story, and

911
00:50:59,719 --> 00:51:01,440
Speaker 3: then they just leave. They get in the jeep and

912
00:51:01,480 --> 00:51:04,520
Speaker 3: go off to greener pastures. Then they come across a

913
00:51:04,600 --> 00:51:07,279
Speaker 3: dead deer on the road, and this is notable for

914
00:51:07,320 --> 00:51:09,560
Speaker 3: some reason. I'm not sure why, Like, if you drive

915
00:51:09,600 --> 00:51:11,839
Speaker 3: around in the South, you're gonna come across dead deer

916
00:51:11,840 --> 00:51:14,120
Speaker 3: on the road a lot. But they decide to stop

917
00:51:14,160 --> 00:51:17,080
Speaker 3: and debate for a while about what killed it. Chuck

918
00:51:17,160 --> 00:51:19,560
Speaker 3: Junior states pretty much twice in a row in the

919
00:51:19,640 --> 00:51:23,239
Speaker 3: exact same words, I don't believe any car truck hit this, dear,

920
00:51:23,600 --> 00:51:27,680
Speaker 3: I don't believe any car truck killed this year. And

921
00:51:27,719 --> 00:51:30,239
Speaker 3: then they move on. They set up camp in the woods.

922
00:51:30,600 --> 00:51:32,200
Speaker 3: I think they're trying to go to a place where

923
00:51:32,200 --> 00:51:35,160
Speaker 3: the monster has been sighted. And we should stop and

924
00:51:35,239 --> 00:51:40,680
Speaker 3: note something about the situation of this campsite. Charles B.

925
00:51:40,800 --> 00:51:44,880
Speaker 3: Pearce has a camper trailer that basically has nor Ad

926
00:51:44,960 --> 00:51:49,120
Speaker 3: inside it. They're like computers with motion sensors and all

927
00:51:49,160 --> 00:51:53,879
Speaker 3: this technology. It turns into that scene in Congo where

928
00:51:53,880 --> 00:51:56,920
Speaker 3: they set up the perimeter with all of the cameras

929
00:51:56,960 --> 00:51:59,320
Speaker 3: and sensors and laser guns and stuff.

930
00:51:59,640 --> 00:52:03,719
Speaker 2: Yeah. I mean it's possible that he was inspired by

931
00:52:03,760 --> 00:52:06,920
Speaker 2: Congo because the novel came out in nineteen eighty, so

932
00:52:07,280 --> 00:52:10,800
Speaker 2: oh he read it. Yeah, I mean certainly Charles B.

933
00:52:10,920 --> 00:52:13,960
Speaker 2: Pearce is into films about killer apes.

934
00:52:14,200 --> 00:52:18,680
Speaker 3: You know, well, but the movie Ape movie. Yeah, that's true,

935
00:52:18,680 --> 00:52:20,359
Speaker 3: but that wouldn't come out. The movie wouldn't come out

936
00:52:20,400 --> 00:52:22,120
Speaker 3: until later, so he would have had to have read

937
00:52:22,120 --> 00:52:22,439
Speaker 3: the book.

938
00:52:22,520 --> 00:52:23,960
Speaker 2: Yeah, he would have had to have read the book,

939
00:52:24,080 --> 00:52:27,360
Speaker 2: which I think had that scene in it essentially.

940
00:52:27,440 --> 00:52:29,560
Speaker 3: Yeah. I think so, well, we'll come back to that

941
00:52:29,600 --> 00:52:32,360
Speaker 3: because it figures into the plot more later. Because so

942
00:52:32,440 --> 00:52:35,760
Speaker 3: they then they move on. They go to another ape stop,

943
00:52:36,280 --> 00:52:39,920
Speaker 3: a sort of a monster house, a house where something

944
00:52:40,000 --> 00:52:43,439
Speaker 3: supposedly happened one time, but they don't really get into

945
00:52:43,480 --> 00:52:46,640
Speaker 3: it because as they arrive at the house, they are

946
00:52:46,719 --> 00:52:50,000
Speaker 3: attacked by a mad dog. And then in this interminable

947
00:52:50,040 --> 00:52:52,239
Speaker 3: scene they just run around trying to hide from the

948
00:52:52,280 --> 00:52:57,279
Speaker 3: mad dog and then warning, Unfortunately, this movie does not

949
00:52:57,480 --> 00:53:00,960
Speaker 3: pass that does the dog die test. Just they shoot

950
00:53:01,000 --> 00:53:04,560
Speaker 3: the dog that is foaming at the mouth. And there

951
00:53:05,800 --> 00:53:08,279
Speaker 3: was a great subtitle when I was watching it. The

952
00:53:08,320 --> 00:53:13,920
Speaker 3: subtitle was just Brian Groans and afterwards Rachel and I

953
00:53:13,960 --> 00:53:16,360
Speaker 3: were talking about how this movie was the Brian Groans

954
00:53:16,440 --> 00:53:29,200
Speaker 3: town massacre. Another thing that becomes clear is this movie

955
00:53:29,280 --> 00:53:33,600
Speaker 3: is very much about jorts. Everyone's wearing cutoff jeans that

956
00:53:33,680 --> 00:53:37,160
Speaker 3: are way too short, just totally. All the characters, male

957
00:53:37,200 --> 00:53:41,400
Speaker 3: and female, are in really insufficient gene shorts that border

958
00:53:41,440 --> 00:53:43,800
Speaker 3: on being just like gene bikini bottoms.

959
00:53:44,280 --> 00:53:44,480
Speaker 2: Yeah.

960
00:53:45,200 --> 00:53:47,520
Speaker 3: But then so you get back to right after they

961
00:53:47,600 --> 00:53:50,280
Speaker 3: kill the dog, it just immediately cuts to a lighthearted

962
00:53:50,360 --> 00:53:53,520
Speaker 3: driving montage with happy music, and then they come back

963
00:53:53,560 --> 00:53:56,719
Speaker 3: to camp and then Charles B. Pierce just starts telling us

964
00:53:56,800 --> 00:53:59,200
Speaker 3: things that we know about the monster. Okay, so what

965
00:53:59,239 --> 00:54:01,879
Speaker 3: do we know about them? We know they're nocturnal, even

966
00:54:01,920 --> 00:54:04,400
Speaker 3: though a lot of the sightings seem to happen in

967
00:54:04,400 --> 00:54:05,000
Speaker 3: the daytime.

968
00:54:05,560 --> 00:54:08,560
Speaker 2: Well or at least the footage was shot day for night.

969
00:54:08,920 --> 00:54:10,800
Speaker 3: Yes, there's a good bit of that in the movie.

970
00:54:11,719 --> 00:54:15,080
Speaker 3: They roam about at night in search of food. They

971
00:54:15,120 --> 00:54:17,920
Speaker 3: emit a foul odor, and I think he says they

972
00:54:17,960 --> 00:54:20,400
Speaker 3: go in single file to hide their numbers.

973
00:54:20,840 --> 00:54:21,080
Speaker 4: Hmm.

974
00:54:22,120 --> 00:54:24,640
Speaker 2: That sounds a bit like a bit of cryptid lure

975
00:54:24,760 --> 00:54:25,160
Speaker 2: right there.

976
00:54:25,239 --> 00:54:27,560
Speaker 3: Huh Yeah. And so well, it's like that in those

977
00:54:27,600 --> 00:54:30,920
Speaker 3: newspaper articles. Remember how like there were different appearances of

978
00:54:30,960 --> 00:54:33,239
Speaker 3: the monsters, so it could be concluded that there were

979
00:54:33,320 --> 00:54:39,160
Speaker 3: multiple monsters. And then there's another thing that's funny, which

980
00:54:39,160 --> 00:54:43,000
Speaker 3: is that when Charles B. Pierce starts narrating, sometimes we

981
00:54:43,200 --> 00:54:46,839
Speaker 3: just see b roll of the creature. It's like it's

982
00:54:46,880 --> 00:54:49,640
Speaker 3: a nature documentary and we just see the creature walking

983
00:54:49,680 --> 00:54:52,640
Speaker 3: around and doing stuff. It's not connected to the present action.

984
00:54:52,800 --> 00:54:55,480
Speaker 3: It's not like walking around in the presence of the characters.

985
00:54:55,520 --> 00:54:58,040
Speaker 3: No character can see it. It's just as if it

986
00:54:58,080 --> 00:55:01,400
Speaker 3: were stock footage. But then we get to one of

987
00:55:01,400 --> 00:55:03,560
Speaker 3: my favorite parts of the movie where Charles B. Pearce

988
00:55:03,719 --> 00:55:06,680
Speaker 3: tells the story of another sighting and it becomes blowout

989
00:55:06,800 --> 00:55:11,400
Speaker 3: the Otis Tucker story. So this is the what happened

990
00:55:11,440 --> 00:55:13,960
Speaker 3: to a guy named Otis Tucker. He's driving at night

991
00:55:14,040 --> 00:55:17,080
Speaker 3: on a lonely country road and he stops to change

992
00:55:17,080 --> 00:55:20,799
Speaker 3: attire and then the Boggy Creek Monster just pops up

993
00:55:20,840 --> 00:55:23,040
Speaker 3: and kind of knocks him on the head. And then

994
00:55:23,120 --> 00:55:27,360
Speaker 3: Charles B. Pearce tells us that Otis Tucker never regained consciousness,

995
00:55:27,719 --> 00:55:30,720
Speaker 3: which leads to one of the great conundrums about this movie,

996
00:55:31,160 --> 00:55:34,359
Speaker 3: which is, how did he know this story? Then he's

997
00:55:34,400 --> 00:55:37,960
Speaker 3: the only person there and he never regained consciousness after

998
00:55:38,000 --> 00:55:38,440
Speaker 3: the event.

999
00:55:38,880 --> 00:55:42,080
Speaker 2: Didn't we see a scene similar to this in that

1000
00:55:42,200 --> 00:55:45,640
Speaker 2: Savage Squatch movie Night of the Demon. Isn't there a

1001
00:55:45,640 --> 00:55:49,239
Speaker 2: scene where like a Squatch murders two people by the roadside,

1002
00:55:49,400 --> 00:55:52,000
Speaker 2: And yet somehow this is presented as if a story

1003
00:55:52,040 --> 00:55:53,560
Speaker 2: that was known and told me, yes.

1004
00:55:53,520 --> 00:55:57,640
Speaker 3: Yes, exactly this that happens. I think multiple times in

1005
00:55:57,680 --> 00:56:00,880
Speaker 3: this other movie, Squatch kills somebody, there's nobody else present

1006
00:56:00,920 --> 00:56:03,600
Speaker 3: to witness it, and then it is told from one

1007
00:56:03,719 --> 00:56:07,600
Speaker 3: character to another as a like an account that was witnessed.

1008
00:56:07,719 --> 00:56:09,319
Speaker 2: Yeah.

1009
00:56:09,400 --> 00:56:12,560
Speaker 3: Anyway, After telling the story, Charles says, anyway, it's getting late.

1010
00:56:13,760 --> 00:56:16,799
Speaker 3: It looks like it's about eleven am out and then

1011
00:56:16,840 --> 00:56:20,160
Speaker 3: he decides to run some tests on his camper equipment.

1012
00:56:20,239 --> 00:56:23,600
Speaker 3: So the next twenty minutes of the movie become a

1013
00:56:23,680 --> 00:56:28,640
Speaker 3: Michael Crichton techno thriller. It's all looking at radar blips

1014
00:56:28,719 --> 00:56:31,399
Speaker 3: on the screen and the computers and the camper van,

1015
00:56:32,080 --> 00:56:34,799
Speaker 3: and you know, it turns into a get out of there,

1016
00:56:34,920 --> 00:56:36,920
Speaker 3: it's coming right for you kind of thing. We got

1017
00:56:36,920 --> 00:56:40,239
Speaker 3: a bogie on radar. It's closing in. So it's like

1018
00:56:40,280 --> 00:56:42,879
Speaker 3: those shark movies where there's a character down and they're

1019
00:56:42,920 --> 00:56:45,239
Speaker 3: all radio radioing to them. You don't get out of

1020
00:56:45,280 --> 00:56:48,720
Speaker 3: there right now. And so everybody gets back into the camper.

1021
00:56:48,960 --> 00:56:52,040
Speaker 3: And later that night the monster attacks and Charles B.

1022
00:56:52,160 --> 00:56:54,480
Speaker 3: Pierce gets right up close with it and he shoots

1023
00:56:54,520 --> 00:56:57,240
Speaker 3: it with a dart of some kind out of a rifle.

1024
00:56:57,320 --> 00:57:00,560
Speaker 3: It's it's not clear what the dart is. The monster

1025
00:57:00,719 --> 00:57:02,840
Speaker 3: just sort of rips the dart out of its torso

1026
00:57:02,960 --> 00:57:03,720
Speaker 3: and runs away.

1027
00:57:04,520 --> 00:57:06,680
Speaker 2: One as soon as he bought that trank guard at

1028
00:57:06,760 --> 00:57:07,520
Speaker 2: the general.

1029
00:57:07,200 --> 00:57:10,080
Speaker 3: Store, right, Oh yeah, they sell those at the general store.

1030
00:57:11,640 --> 00:57:15,200
Speaker 3: Next up we get another story, like another anecdote. This

1031
00:57:15,280 --> 00:57:18,520
Speaker 3: time the people did survive, so it is clear how

1032
00:57:18,520 --> 00:57:20,520
Speaker 3: you could have heard the story. This is the story

1033
00:57:20,520 --> 00:57:27,080
Speaker 3: of Oscar Cullpotter aka Outhouse Oscar, and he's he's looking

1034
00:57:27,120 --> 00:57:29,520
Speaker 3: for the Sears Roebuck catalog because he has to go

1035
00:57:29,560 --> 00:57:33,160
Speaker 3: to the outhouse, and he does, and then the monster

1036
00:57:33,200 --> 00:57:36,040
Speaker 3: attacks him in the outhouse and then he gets poop

1037
00:57:36,040 --> 00:57:39,200
Speaker 3: all over his pants. And the characters regard this story

1038
00:57:39,640 --> 00:57:44,440
Speaker 3: as hilarious. Almost they're almost losing sanity from how funny

1039
00:57:44,480 --> 00:57:45,800
Speaker 3: it is.

1040
00:57:45,760 --> 00:57:45,800
Speaker 1: Is.

1041
00:57:46,360 --> 00:57:48,440
Speaker 2: Yeah, this is a great well, it is a great

1042
00:57:48,480 --> 00:57:51,240
Speaker 2: sequence because yeat it. He is presented as being hilarious.

1043
00:57:51,640 --> 00:57:56,320
Speaker 2: It is a bit he haul and its actual presentation

1044
00:57:57,240 --> 00:58:01,320
Speaker 2: that is amusing. Nonetheless, there's also a scene in the

1045
00:58:01,360 --> 00:58:04,080
Speaker 2: first Boggy Creek in which a character goes into the

1046
00:58:04,120 --> 00:58:07,400
Speaker 2: bathroom and where we see the scene through the window

1047
00:58:07,440 --> 00:58:09,680
Speaker 2: or a shot from outside. He goes into the bathroom

1048
00:58:09,920 --> 00:58:12,800
Speaker 2: and he's clearly setting down on the toilet, uh, you know,

1049
00:58:13,480 --> 00:58:17,040
Speaker 2: presumably to poop, and that's when the sasquatch starts coming

1050
00:58:17,080 --> 00:58:20,960
Speaker 2: in through the window, Like why why why is the

1051
00:58:21,000 --> 00:58:24,480
Speaker 2: sasquatch coming in? Now why that room, Well, that's when

1052
00:58:24,640 --> 00:58:27,480
Speaker 2: that's when we're vulnerable. You know, you know this the

1053
00:58:27,680 --> 00:58:31,840
Speaker 2: whole subject of vulnerability whilst pooping. Uh, this is a

1054
00:58:31,920 --> 00:58:33,840
Speaker 2: this is a favorite topic of mind that will have

1055
00:58:33,920 --> 00:58:36,800
Speaker 2: to return to in the future. If we ever discussed

1056
00:58:36,840 --> 00:58:37,760
Speaker 2: some goolies movies.

1057
00:58:37,840 --> 00:58:40,040
Speaker 3: Ooh yeah, absolutely.

1058
00:58:39,680 --> 00:58:42,560
Speaker 2: Because you do see it in some in some terrible

1059
00:58:42,560 --> 00:58:45,000
Speaker 2: films from time to time where they just can't It's

1060
00:58:45,000 --> 00:58:47,360
Speaker 2: like it's the idea of like if I'm if I'm pooping,

1061
00:58:47,400 --> 00:58:49,440
Speaker 2: something could come and try and kill me and eat me,

1062
00:58:50,760 --> 00:58:52,680
Speaker 2: like you see it in bird Demick, for example, there's

1063
00:58:52,680 --> 00:58:55,640
Speaker 2: a scene where a character is peeing and she's killed

1064
00:58:55,640 --> 00:58:56,120
Speaker 2: by birds.

1065
00:58:56,440 --> 00:58:57,880
Speaker 3: I mean, it's a good reason never to go to

1066
00:58:57,880 --> 00:59:00,280
Speaker 3: the bathroom unless you've got like a computer. It's got

1067
00:59:00,320 --> 00:59:04,360
Speaker 3: a radar readout surrounding you and you can charge anything

1068
00:59:04,400 --> 00:59:05,120
Speaker 3: that's on the way.

1069
00:59:05,560 --> 00:59:08,440
Speaker 2: Yeah, Charles by Pierce has his toilet system secure.

1070
00:59:09,200 --> 00:59:12,840
Speaker 3: So next in the movie, Professor Brian Lockhart, I keep

1071
00:59:12,880 --> 00:59:15,600
Speaker 3: forgetting guy, just call him charlesby Pierce CBP goes to

1072
00:59:15,680 --> 00:59:18,920
Speaker 3: meet with Sheriff Dewey from Scream. It is just David

1073
00:59:19,000 --> 00:59:22,760
Speaker 3: Arquette pretty much. It's a a sheriff with a mustache.

1074
00:59:22,960 --> 00:59:25,280
Speaker 3: They meet in a restaurant that this has never explained.

1075
00:59:25,280 --> 00:59:29,920
Speaker 3: It's just a gigantic watermelon sitting on a table behind them.

1076
00:59:30,360 --> 00:59:33,919
Speaker 3: And then Dewey tells a story. He says, well, one

1077
00:59:33,960 --> 00:59:35,920
Speaker 3: time I went fishing and I came home with a

1078
00:59:35,960 --> 00:59:38,200
Speaker 3: bunch of fish on a line. Then you know, I

1079
00:59:38,240 --> 00:59:40,600
Speaker 3: was going round back when I got home to the

1080
00:59:40,600 --> 00:59:43,280
Speaker 3: fish gut and shed to gut them. And on the

1081
00:59:43,280 --> 00:59:46,000
Speaker 3: way I got attacked by a creature. And this it

1082
00:59:46,080 --> 00:59:49,160
Speaker 3: shows a reenactment, as it always does. And the creature

1083
00:59:49,240 --> 00:59:53,600
Speaker 3: is the size and texture of Elmo's. You know, it

1084
00:59:53,680 --> 00:59:56,800
Speaker 3: has fur like the Buggy Creek creature. But he gets

1085
00:59:56,840 --> 00:59:59,560
Speaker 3: attacked by Elmo pretty much. It's a little baby monster.

1086
01:00:00,080 --> 01:00:02,600
Speaker 3: It could be kind of Lumpy from the Star Wars

1087
01:00:02,680 --> 01:00:05,440
Speaker 3: Holiday Special a little bit, oh yeah. And then the

1088
01:00:05,480 --> 01:00:08,920
Speaker 3: little baby monster steals his fish and then leaves with

1089
01:00:08,960 --> 01:00:09,720
Speaker 3: a bigger monster.

1090
01:00:10,120 --> 01:00:12,400
Speaker 2: All right, So now he has a lead. He has

1091
01:00:12,440 --> 01:00:14,480
Speaker 2: a lead definding the creature.

1092
01:00:14,320 --> 01:00:17,400
Speaker 3: Right, and Dewey gives him another lead. He says, there's

1093
01:00:17,440 --> 01:00:19,640
Speaker 3: somebody you can talk to. You got to talk to

1094
01:00:19,720 --> 01:00:22,800
Speaker 3: old man Cringshaw. He says he's lived on the bottoms

1095
01:00:22,880 --> 01:00:26,840
Speaker 3: his whole life, and apparently Crinshaw is always like talking

1096
01:00:26,920 --> 01:00:29,560
Speaker 3: to the police and people in town complaining about the

1097
01:00:29,560 --> 01:00:32,720
Speaker 3: creature coming around his cabin. He lives like way out

1098
01:00:32,760 --> 01:00:36,040
Speaker 3: there in a place that's not accessible by car, and

1099
01:00:36,520 --> 01:00:40,880
Speaker 3: Sheriff Dewey says, old man Cringshaw always said one thing

1100
01:00:40,920 --> 01:00:44,360
Speaker 3: about the creature, and I'm like, okay, I'm ready, what

1101
01:00:44,480 --> 01:00:44,720
Speaker 3: is it?

1102
01:00:45,520 --> 01:00:45,680
Speaker 4: Here?

1103
01:00:45,720 --> 01:00:50,080
Speaker 3: You go? It's an incredible runner and an unbelievable swimmer.

1104
01:00:55,040 --> 01:00:58,240
Speaker 3: So what that's what he says about it?

1105
01:01:01,200 --> 01:01:03,240
Speaker 2: All right, Well, let's keep going. We get we gotta

1106
01:01:03,240 --> 01:01:05,400
Speaker 2: get to Crenshaw. Okay, okay, so much to say about

1107
01:01:05,400 --> 01:01:06,160
Speaker 2: Crenshaw CBP.

1108
01:01:06,280 --> 01:01:08,720
Speaker 3: So he's yeah, he's like, okay, gotta find Crenshaw. So

1109
01:01:08,800 --> 01:01:12,640
Speaker 3: back at the camp there's tech noir Landwalker. She's mad

1110
01:01:12,640 --> 01:01:15,040
Speaker 3: about being in the woods. She wants makeup, and she

1111
01:01:15,120 --> 01:01:18,800
Speaker 3: wants city food. She doesn't like baloney. So she and

1112
01:01:19,080 --> 01:01:23,000
Speaker 3: Tanya steal the jeep and try to drive off by themselves.

1113
01:01:23,040 --> 01:01:25,400
Speaker 3: So they get stuck in the mud because it is

1114
01:01:25,920 --> 01:01:27,560
Speaker 3: said that they don't know how to put the jeep

1115
01:01:27,600 --> 01:01:31,320
Speaker 3: in four wheel drive. You know, they talk a lot

1116
01:01:31,360 --> 01:01:34,280
Speaker 3: about being stuck. It's fifteen miles out of this bottom.

1117
01:01:34,360 --> 01:01:36,600
Speaker 3: We're stuck in the swamp. They think a gator is

1118
01:01:36,600 --> 01:01:39,800
Speaker 3: going to get them, and then the monster attacks while

1119
01:01:39,840 --> 01:01:42,840
Speaker 3: they're in the jeep and it's like it's menacing them.

1120
01:01:42,880 --> 01:01:44,600
Speaker 3: It's like, look at my teeth and it goes uh.

1121
01:01:45,280 --> 01:01:48,440
Speaker 3: And then they walk back to camp uneventfully. And so

1122
01:01:48,600 --> 01:01:50,640
Speaker 3: the next morning they all get together to go to

1123
01:01:50,760 --> 01:01:54,320
Speaker 3: the Sulfur River, and then it cuts to the Sulfur River.

1124
01:01:54,360 --> 01:01:56,800
Speaker 3: There's like a beach area. I don't know if it's natural.

1125
01:01:56,840 --> 01:01:59,360
Speaker 3: Maybe it's like a swimming hole basically in the river,

1126
01:01:59,600 --> 01:02:02,160
Speaker 3: and they're children swimming and playing in the water. A

1127
01:02:02,200 --> 01:02:05,160
Speaker 3: lot of the children are chewing bubble gum while they're swimming.

1128
01:02:05,440 --> 01:02:08,880
Speaker 3: I don't think you're supposed to do that parents, but

1129
01:02:08,960 --> 01:02:11,680
Speaker 3: you know, don't let your kids chew gum in the water.

1130
01:02:12,320 --> 01:02:15,479
Speaker 3: The movie briefly becomes Jaws. There's even music that rips

1131
01:02:15,520 --> 01:02:19,360
Speaker 3: off the Jaws theme, as a child who looks like

1132
01:02:19,440 --> 01:02:22,280
Speaker 3: the bubble monster under the water is approaching swimmers, but

1133
01:02:22,320 --> 01:02:25,800
Speaker 3: then he jumps up and he just yells Jaws. And

1134
01:02:25,840 --> 01:02:28,240
Speaker 3: then our heroes show up and Charles B. Pierce when

1135
01:02:28,240 --> 01:02:30,600
Speaker 3: he shows up at the beach, is dressed exactly like

1136
01:02:30,680 --> 01:02:34,800
Speaker 3: Fidel Castro. He's wearing like a green shirt with a

1137
01:02:34,800 --> 01:02:38,040
Speaker 3: bunch of pockets and a green Fidel Castro hat and

1138
01:02:38,080 --> 01:02:43,120
Speaker 3: the sunglasses. I can't imagine that's on purpose. But anyway,

1139
01:02:43,240 --> 01:02:45,400
Speaker 3: they're here at the beach to rent a boat, and

1140
01:02:46,240 --> 01:02:48,520
Speaker 3: just as a side note, I noticed something very interesting.

1141
01:02:48,560 --> 01:02:50,919
Speaker 3: When they're going out to rent the boat. They walk

1142
01:02:51,040 --> 01:02:54,880
Speaker 3: past a beach umbrella that looked so familiar to us,

1143
01:02:54,920 --> 01:02:57,480
Speaker 3: and then we realized what it was. This beach umbrella

1144
01:02:57,600 --> 01:03:00,400
Speaker 3: must have been mass produced in the seventies because it

1145
01:03:00,520 --> 01:03:04,320
Speaker 3: is the exact same umbrella that's on the cover of

1146
01:03:04,360 --> 01:03:06,560
Speaker 3: the Neil Young album On the Beach.

1147
01:03:07,280 --> 01:03:09,720
Speaker 2: Oh. Yeah, I had to look this up because I'm

1148
01:03:09,720 --> 01:03:14,520
Speaker 2: not I'm not super well versed in every Neil Young album,

1149
01:03:14,520 --> 01:03:16,440
Speaker 2: but yeah, this was from seventy four. This is the

1150
01:03:16,520 --> 01:03:19,240
Speaker 2: album that had a walk one on it.

1151
01:03:19,640 --> 01:03:21,440
Speaker 3: For the Trampire balloon and stuff like that.

1152
01:03:21,520 --> 01:03:25,560
Speaker 2: Yeah, but it's yeah, it's a very singular umbrella. It's

1153
01:03:25,560 --> 01:03:30,480
Speaker 2: like this kind of kind of semi gotty yellow umbrella.

1154
01:03:30,240 --> 01:03:32,480
Speaker 3: With a white fringe and it's got a floral print

1155
01:03:32,520 --> 01:03:33,480
Speaker 3: on the inside.

1156
01:03:34,000 --> 01:03:35,640
Speaker 2: Yeah, it's it's it's pretty.

1157
01:03:35,720 --> 01:03:38,560
Speaker 3: It's the same one in the movie. So very cool connection.

1158
01:03:39,000 --> 01:03:40,720
Speaker 2: Yeah, I'd love to hear from anybody who has that

1159
01:03:40,800 --> 01:03:42,960
Speaker 2: exact umbrella, because I mean it's cool looking. It's it's

1160
01:03:43,000 --> 01:03:45,160
Speaker 2: like today, this would be I have some friends who

1161
01:03:45,160 --> 01:03:47,360
Speaker 2: would kill for this, this umbrella and chair set.

1162
01:03:47,520 --> 01:03:50,520
Speaker 3: Yeah, right in, right in if you have personal experience.

1163
01:03:51,280 --> 01:03:53,200
Speaker 3: But so anyway, they're in a boat. They're gonna go

1164
01:03:53,240 --> 01:03:55,760
Speaker 3: try to go up river and find old Man Crenshaw.

1165
01:03:55,840 --> 01:03:58,160
Speaker 3: But on the way they get harassed by jet ski

1166
01:03:58,240 --> 01:04:00,560
Speaker 3: hooligans who are like, there's like a kid who's like

1167
01:04:00,560 --> 01:04:03,280
Speaker 3: a biker but on jet ski, and then the jet

1168
01:04:03,320 --> 01:04:06,000
Speaker 3: ski hooligan. I was like, why are we seeing this?

1169
01:04:06,080 --> 01:04:07,800
Speaker 3: But then I realized, oh, they got to set up

1170
01:04:07,800 --> 01:04:10,400
Speaker 3: a suspenseful scene because it's been a while. So the

1171
01:04:10,440 --> 01:04:13,080
Speaker 3: jet ski hooligan gets knocked off his hog by the

1172
01:04:13,080 --> 01:04:15,520
Speaker 3: creature swimming around in the water, but he gets back

1173
01:04:15,560 --> 01:04:16,480
Speaker 3: on it and he escapes.

1174
01:04:17,040 --> 01:04:20,320
Speaker 2: Yeah, this is a scene that's very much in the

1175
01:04:20,360 --> 01:04:22,479
Speaker 2: same vein as in any moment in a slasher film

1176
01:04:22,520 --> 01:04:26,120
Speaker 2: where the killer kills somebody who deserves it, because there's

1177
01:04:26,120 --> 01:04:28,880
Speaker 2: a sense of like, you know, jet ski hilligans, you know,

1178
01:04:28,920 --> 01:04:31,240
Speaker 2: they're just they're just ruined it for everybody. It's all

1179
01:04:31,320 --> 01:04:32,880
Speaker 2: right that the squatch is murdering them, but.

1180
01:04:32,880 --> 01:04:35,880
Speaker 3: He gets away, so the squatch doesn't kill anybody in

1181
01:04:35,920 --> 01:04:37,440
Speaker 3: the movie except maybe Otis Tucker.

1182
01:04:38,240 --> 01:04:40,600
Speaker 2: Yeah, but he does not like jet Skis.

1183
01:04:40,680 --> 01:04:45,280
Speaker 3: Yeah. And then while they're going upriver, there's more CBP narration.

1184
01:04:45,480 --> 01:04:48,840
Speaker 3: He's complaining about how nature should be kept unspoiled like this,

1185
01:04:49,000 --> 01:04:52,960
Speaker 3: And then finally we arrive at the Cringshaw cabin. He's

1186
01:04:53,000 --> 01:04:55,880
Speaker 3: got a river cabin and it's Cringshaw time, and from

1187
01:04:55,920 --> 01:04:59,920
Speaker 3: here on the movie is just maximum Cringshaw. Crinshaw arrived

1188
01:05:00,280 --> 01:05:03,760
Speaker 3: like a hurricane and completely takes over the film.

1189
01:05:04,160 --> 01:05:06,960
Speaker 2: Cringshaw I think I already described him as being kind

1190
01:05:06,960 --> 01:05:09,480
Speaker 2: of the Colonel Kurtz of this film, But another way

1191
01:05:09,520 --> 01:05:11,720
Speaker 2: I think of him is this, Joe, have you ever

1192
01:05:11,880 --> 01:05:14,200
Speaker 2: seen or read The Last Unicorn? No?

1193
01:05:14,240 --> 01:05:14,720
Speaker 3: I haven't.

1194
01:05:14,960 --> 01:05:17,560
Speaker 2: Well, there's a scene in The Last Unicorn where our character,

1195
01:05:17,640 --> 01:05:21,360
Speaker 2: who's a unicorn, trans well, she ends up being transformed

1196
01:05:21,360 --> 01:05:23,000
Speaker 2: in to a human. But at this point she's a unicorn.

1197
01:05:23,280 --> 01:05:27,320
Speaker 2: No one can see her horn. The adults, normal people

1198
01:05:27,360 --> 01:05:30,600
Speaker 2: can't see it. So when a witch traps her, she

1199
01:05:30,640 --> 01:05:33,320
Speaker 2: has to give her a fake horn so that normal

1200
01:05:33,400 --> 01:05:36,320
Speaker 2: humans can behold her, and she's put into this this

1201
01:05:36,440 --> 01:05:39,800
Speaker 2: circus of oddities where each cage has a different monster

1202
01:05:39,920 --> 01:05:44,080
Speaker 2: in it, but almost all of the monsters are fake.

1203
01:05:44,160 --> 01:05:47,919
Speaker 2: It's like an old lion, that is being that has

1204
01:05:47,960 --> 01:05:51,000
Speaker 2: a spell on it so that it looks like a manticore,

1205
01:05:51,080 --> 01:05:52,960
Speaker 2: that sort of thing. Each and every one of these

1206
01:05:53,320 --> 01:05:57,600
Speaker 2: is an inauthentic magical creature, except for one. In one

1207
01:05:57,720 --> 01:06:01,960
Speaker 2: cage there is the Harpy Harpie we're told is the

1208
01:06:02,000 --> 01:06:05,360
Speaker 2: real deal. The witches cast no spell on this creature.

1209
01:06:05,400 --> 01:06:07,480
Speaker 2: It's pure luck that she was able to capture it

1210
01:06:07,600 --> 01:06:10,479
Speaker 2: all without dying, and one day it will break free

1211
01:06:10,480 --> 01:06:12,960
Speaker 2: from the cage and kill her because it is more

1212
01:06:13,040 --> 01:06:15,640
Speaker 2: powerful than she is. Like, it is the one pure

1213
01:06:15,680 --> 01:06:18,800
Speaker 2: thing at the center of this circus of illusion. And

1214
01:06:18,880 --> 01:06:21,440
Speaker 2: that is what I feel Cringshaw is in this film.

1215
01:06:21,840 --> 01:06:25,080
Speaker 2: Like I know that there's an actor credit who's playing

1216
01:06:25,120 --> 01:06:27,680
Speaker 2: the character, but I get the sense that like Cringshaw

1217
01:06:27,880 --> 01:06:31,240
Speaker 2: is real. Cringshaw is this this black hole at the

1218
01:06:31,280 --> 01:06:33,919
Speaker 2: center of the film, and he at any moment might

1219
01:06:33,960 --> 01:06:36,120
Speaker 2: break free and just consume everything.

1220
01:06:36,400 --> 01:06:36,600
Speaker 3: Yeah.

1221
01:06:37,040 --> 01:06:37,320
Speaker 4: M A. D.

1222
01:06:37,440 --> 01:06:40,320
Speaker 3: Seven Crenshaw, You're bringing tears to my eyes, by the way,

1223
01:06:41,520 --> 01:06:46,760
Speaker 3: Absolutely Crinshaw is the is suey generous? How to describe

1224
01:06:46,840 --> 01:06:51,680
Speaker 3: him physically, He's a no shirt, single strap overalls guy. Ye,

1225
01:06:52,240 --> 01:06:58,000
Speaker 3: And so they keep calling him old man Cringshaw. I'm

1226
01:06:58,000 --> 01:06:59,640
Speaker 3: not sure how old he is. He looks like he

1227
01:06:59,640 --> 01:07:02,280
Speaker 3: could in his late thirties with some rough livin.

1228
01:07:03,240 --> 01:07:07,120
Speaker 2: Yeah. Yeah, he's just a heavy, hardworn late thirties I

1229
01:07:07,120 --> 01:07:08,400
Speaker 2: feel like that's what he looks like.

1230
01:07:08,720 --> 01:07:12,680
Speaker 3: Yeah, he's got a big old beard. And so they

1231
01:07:12,760 --> 01:07:14,720
Speaker 3: arrive at his house and he's a little bit ornery

1232
01:07:14,760 --> 01:07:16,920
Speaker 3: at first, but then he says, my bark's worse than

1233
01:07:16,920 --> 01:07:19,200
Speaker 3: my bite, and they all have a set and then

1234
01:07:19,520 --> 01:07:22,800
Speaker 3: Chuck Junior just immediately takes his shirt off. He had

1235
01:07:22,840 --> 01:07:25,320
Speaker 3: a shirt on when they arrived, and he's just like, oh,

1236
01:07:25,360 --> 01:07:28,440
Speaker 3: I forgot, and he takes it off. I don't know

1237
01:07:28,480 --> 01:07:31,040
Speaker 3: if he's trying to fit in with Crenshaw because Crenshaw

1238
01:07:31,120 --> 01:07:32,400
Speaker 3: is a no shirt guy as well.

1239
01:07:32,880 --> 01:07:37,560
Speaker 2: Crenshaw also has a curious headband on. Yes, that looks

1240
01:07:37,640 --> 01:07:40,400
Speaker 2: way too tight, like I'm not sure exactly what purpose

1241
01:07:40,440 --> 01:07:44,040
Speaker 2: it's serving on his body, but it's there and it's tight.

1242
01:07:44,320 --> 01:07:48,240
Speaker 3: Yeah. And then Crenshaw and Tanya Yazzi bond over dip.

1243
01:07:48,640 --> 01:07:52,560
Speaker 3: They like dip tobacco together, which is great. And then

1244
01:07:52,680 --> 01:07:57,040
Speaker 3: it's established that Crenshaw knows the Boggy Creek creature. He

1245
01:07:57,120 --> 01:07:59,360
Speaker 3: reports that he hears the creature making noise in the

1246
01:07:59,360 --> 01:08:03,440
Speaker 3: woods all night, and he says there are multiple creatures.

1247
01:08:03,480 --> 01:08:05,640
Speaker 3: He says, the little and looks just like the biggin

1248
01:08:06,560 --> 01:08:10,600
Speaker 3: And there's a weird thing here where They keep emphasizing

1249
01:08:10,600 --> 01:08:13,120
Speaker 3: that you can only get to Cringehaw's house by the river.

1250
01:08:13,240 --> 01:08:15,400
Speaker 3: But then when they show his house, you can see

1251
01:08:15,400 --> 01:08:18,160
Speaker 3: a road. You can see a road right next to it.

1252
01:08:18,360 --> 01:08:20,680
Speaker 3: I don't know if they're trying to if that was

1253
01:08:20,680 --> 01:08:22,519
Speaker 3: a goof or if they're like, oh, yeah, that road

1254
01:08:22,520 --> 01:08:25,280
Speaker 3: got closed off somehow, but there is a road there.

1255
01:08:25,400 --> 01:08:28,439
Speaker 2: Yeah, Because again it's the day they do present it like,

1256
01:08:28,520 --> 01:08:30,280
Speaker 2: yet the only way to get there is by the river,

1257
01:08:30,439 --> 01:08:34,320
Speaker 2: like there is no civilized way into Cringshaw's country, like

1258
01:08:34,400 --> 01:08:36,560
Speaker 2: his is the realm of wildness.

1259
01:08:36,840 --> 01:08:39,760
Speaker 3: And another thing I've forgotten to say so far, but

1260
01:08:39,800 --> 01:08:43,880
Speaker 3: this is absolutely true. Every single wall in this film

1261
01:08:44,280 --> 01:08:47,280
Speaker 3: has mounted animal heads on it, including the wall of

1262
01:08:48,240 --> 01:08:52,160
Speaker 3: CBP's office at the beginning is the university office inside

1263
01:08:52,240 --> 01:08:56,000
Speaker 3: all the stores, all the houses, every wall has mounted heads.

1264
01:08:56,400 --> 01:08:59,240
Speaker 3: You get the impression that in southwest Arkansas, like if

1265
01:08:59,280 --> 01:09:01,439
Speaker 3: you went into a order Patty, there'd be a mounted

1266
01:09:01,439 --> 01:09:02,680
Speaker 3: deer head inside it.

1267
01:09:03,000 --> 01:09:04,920
Speaker 2: Yeah. And this is again, this is so weird to

1268
01:09:04,960 --> 01:09:08,400
Speaker 2: compare this, this house in these scenes to the original

1269
01:09:09,120 --> 01:09:12,160
Speaker 2: Boggy Creek film, because in that, again, there was they

1270
01:09:12,240 --> 01:09:16,080
Speaker 2: weren't like ratcheting up any of the like the rural

1271
01:09:16,160 --> 01:09:19,320
Speaker 2: qualities of the people. It felt felt very kind of straightforward,

1272
01:09:19,360 --> 01:09:22,080
Speaker 2: and the sets were very simple and almost really like

1273
01:09:22,120 --> 01:09:24,320
Speaker 2: they shot it in an empty house and just moved

1274
01:09:24,320 --> 01:09:26,559
Speaker 2: in minimal furniture to make it look like someone lived there.

1275
01:09:26,760 --> 01:09:31,080
Speaker 2: But this scene Crenshaw's house is like, oh, it's almost

1276
01:09:31,080 --> 01:09:33,720
Speaker 2: it's like Texas chainsaw house levels of filling it with

1277
01:09:33,840 --> 01:09:34,639
Speaker 2: spooky junks.

1278
01:09:34,680 --> 01:09:38,439
Speaker 3: Yeah. And then so it's immediately clear that Crnshaw has

1279
01:09:38,439 --> 01:09:41,439
Speaker 3: a secret. He's got some kind of plan going that

1280
01:09:41,600 --> 01:09:45,840
Speaker 3: involves building big fires. He seems very interested in the

1281
01:09:45,840 --> 01:09:49,599
Speaker 3: fact that Charles B. Pearce's character is a doctor. He's

1282
01:09:49,680 --> 01:09:52,400
Speaker 3: confused about the idea of being a doctor of something

1283
01:09:52,479 --> 01:09:55,200
Speaker 3: other than medicine. And there's this great line which is

1284
01:09:55,200 --> 01:09:58,040
Speaker 3: actually like, in a different context, this could be an

1285
01:09:58,080 --> 01:10:01,439
Speaker 3: amazing piece of dialogue. Crenshaws to him. He says, now

1286
01:10:01,479 --> 01:10:04,240
Speaker 3: you got the book Learning and the Doctor Power.

1287
01:10:06,240 --> 01:10:06,880
Speaker 2: I love that.

1288
01:10:08,280 --> 01:10:10,880
Speaker 3: Can can you explain what Cringshaw's plan is? I really

1289
01:10:10,880 --> 01:10:12,960
Speaker 3: don't understand what he was trying to do, do.

1290
01:10:12,960 --> 01:10:15,320
Speaker 2: You well, Well, like you said, at night, he has

1291
01:10:15,400 --> 01:10:20,320
Speaker 2: to to Mafars. He has to keep these large blazes going.

1292
01:10:20,880 --> 01:10:25,600
Speaker 2: And apparently this is what has happened. He has obtained

1293
01:10:26,560 --> 01:10:29,559
Speaker 2: a young creature and he is keeping the young creature

1294
01:10:29,920 --> 01:10:34,160
Speaker 2: and at night he has to have these big blazes

1295
01:10:34,439 --> 01:10:38,479
Speaker 2: to raise up these enormous fires to keep the creature

1296
01:10:38,600 --> 01:10:40,800
Speaker 2: parent the mother creature or what have you, at bay,

1297
01:10:40,920 --> 01:10:43,639
Speaker 2: to keep it from just rampaging in and claiming its

1298
01:10:43,720 --> 01:10:47,880
Speaker 2: young one. But in terms of Crnshaw's master plan here,

1299
01:10:48,400 --> 01:10:51,320
Speaker 2: I'm not sure. Like it's not like he loves the

1300
01:10:51,439 --> 01:10:53,960
Speaker 2: little creature and wants to, you know, keep him there

1301
01:10:53,960 --> 01:10:58,639
Speaker 2: as a pet. But he also doesn't seem really anxious

1302
01:10:58,680 --> 01:11:00,880
Speaker 2: to exploit this. You know, he's not saying he didn't.

1303
01:11:00,920 --> 01:11:02,760
Speaker 2: I don't remember there being anything where he's like, yep,

1304
01:11:02,800 --> 01:11:05,519
Speaker 2: I got I got letters out to the newspapers about this,

1305
01:11:05,680 --> 01:11:08,559
Speaker 2: or I'm trying to get a documentary shot I'm just

1306
01:11:08,600 --> 01:11:10,439
Speaker 2: looking for fun and no, there's none of that. It's

1307
01:11:10,479 --> 01:11:12,519
Speaker 2: just like he just seems to want to keep it there.

1308
01:11:12,600 --> 01:11:14,880
Speaker 3: I'm gonna sell it to the Ripleys, believe it or not.

1309
01:11:16,000 --> 01:11:18,240
Speaker 2: I mean, maybe it's deeper than we're giving a credit.

1310
01:11:18,280 --> 01:11:18,439
Speaker 1: You know.

1311
01:11:18,520 --> 01:11:21,880
Speaker 2: This is about ownership of the wilds. This is this

1312
01:11:22,000 --> 01:11:25,120
Speaker 2: is the force of Cringshaw versus the force of the creature.

1313
01:11:25,520 --> 01:11:28,080
Speaker 3: Okay, yeah, maybe we should chew a little more than

1314
01:11:28,120 --> 01:11:28,960
Speaker 3: we bite off here.

1315
01:11:29,280 --> 01:11:31,320
Speaker 2: Yeah, I mean we got to consider that just the

1316
01:11:31,640 --> 01:11:34,080
Speaker 2: primordial mass of Cringshaw.

1317
01:11:33,720 --> 01:11:37,280
Speaker 3: That's right. Okay. So anyway, whatever his plan is, it

1318
01:11:37,320 --> 01:11:39,960
Speaker 3: involves trying to keep the big creature away while he's

1319
01:11:40,000 --> 01:11:43,120
Speaker 3: got the little un in his house. Then nightfalls, Chuck

1320
01:11:43,160 --> 01:11:47,080
Speaker 3: Junior is still shirtless because he always is. Then the

1321
01:11:47,479 --> 01:11:51,719
Speaker 3: main characters overpower Cringshaw and they give the little Buggy

1322
01:11:51,800 --> 01:11:54,560
Speaker 3: Creek creature back to the big one and it departs,

1323
01:11:55,240 --> 01:11:57,160
Speaker 3: and oh and that's pretty much the end, right. You

1324
01:11:57,200 --> 01:11:59,880
Speaker 3: get the final narration where Charles B. Pierce kind of

1325
01:11:59,880 --> 01:12:04,120
Speaker 3: more oralizes about nature and about traditions, and then and

1326
01:12:04,360 --> 01:12:06,120
Speaker 3: at the very end he says, and the legend will

1327
01:12:06,120 --> 01:12:08,840
Speaker 3: continue because God intended it that way.

1328
01:12:09,880 --> 01:12:13,920
Speaker 2: Basically, Charles B. Pearce brings balance back to the force. Yes,

1329
01:12:14,040 --> 01:12:16,839
Speaker 2: at the end of this he puts things right because

1330
01:12:17,040 --> 01:12:20,160
Speaker 2: Cringshaw has disrupted everything and now it is it is

1331
01:12:20,200 --> 01:12:21,479
Speaker 2: set in its appropriate place.

1332
01:12:21,680 --> 01:12:24,360
Speaker 3: But it's weird because Cringshaw is this guy who's like,

1333
01:12:24,400 --> 01:12:27,000
Speaker 3: there's not even supposedly a road to his house. He's

1334
01:12:27,040 --> 01:12:29,719
Speaker 3: living out with the with the wilderness. And it takes

1335
01:12:29,760 --> 01:12:32,960
Speaker 3: this big city professor and his big city students, one

1336
01:12:32,960 --> 01:12:35,599
Speaker 3: of whom has got a date at tech Noir later,

1337
01:12:36,000 --> 01:12:40,360
Speaker 3: to fix the problem, the imbalance that he created with nature.

1338
01:12:40,400 --> 01:12:43,160
Speaker 3: It seems inverted from what Pierce would be trying to say.

1339
01:12:43,840 --> 01:12:46,639
Speaker 2: Yeah, yeah, it's very much an inversion of the spirit

1340
01:12:46,720 --> 01:12:47,519
Speaker 2: of the first film.

1341
01:12:47,840 --> 01:12:51,400
Speaker 3: Yeah. Anyway. The final credits are also pretty funny because

1342
01:12:51,400 --> 01:12:53,519
Speaker 3: there are a lot of Pierces. There's not just Charles B.

1343
01:12:53,640 --> 01:12:57,880
Speaker 3: Pierce and Charles Pearce Junior. There is a boat renter

1344
01:12:58,080 --> 01:13:00,320
Speaker 3: who is played by Mac Pierce. I don't know that's

1345
01:13:00,320 --> 01:13:03,240
Speaker 3: his dad. There is girl at swimming Hole played by

1346
01:13:03,280 --> 01:13:07,639
Speaker 3: Pam Pierce. I don't know if that's another relation. There's

1347
01:13:07,680 --> 01:13:09,960
Speaker 3: a great name it says the monster is played by

1348
01:13:10,080 --> 01:13:13,200
Speaker 3: Fabus Griffin and this is his only film credit. But

1349
01:13:13,240 --> 01:13:14,840
Speaker 3: I loved that name, Fabus.

1350
01:13:15,760 --> 01:13:17,560
Speaker 2: That's the big Monster, by the way, as opposed to

1351
01:13:17,600 --> 01:13:20,880
Speaker 2: the Little Monster, whose actor would go on to have

1352
01:13:21,000 --> 01:13:21,599
Speaker 2: quite a career.

1353
01:13:21,760 --> 01:13:25,040
Speaker 3: Yeah, what a wonderful name. And then finally, the very

1354
01:13:25,160 --> 01:13:27,560
Speaker 3: last thing you see in the credits, it's got acknowledgments

1355
01:13:27,560 --> 01:13:31,080
Speaker 3: where they give special thanks to like companies who supplied things,

1356
01:13:31,080 --> 01:13:34,360
Speaker 3: and they give special thanks to Capri Sun Natural fruit drinks.

1357
01:13:34,920 --> 01:13:36,280
Speaker 2: Hah, that's great.

1358
01:13:37,960 --> 01:13:40,599
Speaker 3: And there you have Boggy Creek too, and the legend

1359
01:13:40,600 --> 01:13:42,880
Speaker 3: continues because God intended.

1360
01:13:42,479 --> 01:13:47,880
Speaker 2: It it is. Yeah, it is a fabulously fun film.

1361
01:13:48,080 --> 01:13:51,000
Speaker 2: So certainly Rift like the Rift version, which by the way,

1362
01:13:51,040 --> 01:13:54,880
Speaker 2: is available on Amazon Prime, and I think you can

1363
01:13:54,880 --> 01:13:57,320
Speaker 2: still get that one on DVD. Like the Rift version

1364
01:13:57,360 --> 01:13:59,240
Speaker 2: is phenomenal. It's one of the one of my favorite

1365
01:13:59,360 --> 01:14:04,040
Speaker 2: Mystery Science Theater three thousand episodes period. But the film itself,

1366
01:14:04,120 --> 01:14:08,599
Speaker 2: like any film that riffs well, it also holds up

1367
01:14:08,640 --> 01:14:09,800
Speaker 2: well on its own right.

1368
01:14:10,120 --> 01:14:12,360
Speaker 3: Well, I'm not sure how much, because there are movies

1369
01:14:12,400 --> 01:14:14,880
Speaker 3: that I feel like are good on Mystery Science Theater

1370
01:14:15,000 --> 01:14:18,360
Speaker 3: but are kind of unwatchable on their own. This, I

1371
01:14:18,400 --> 01:14:20,320
Speaker 3: don't know. Maybe you and I could argue about that sometime,

1372
01:14:20,880 --> 01:14:23,760
Speaker 3: this one holds up on its own like it it's

1373
01:14:23,760 --> 01:14:27,280
Speaker 3: great with the jokes, but it is also very very

1374
01:14:27,880 --> 01:14:31,000
Speaker 3: interesting and engaging and funny on its own rights.

1375
01:14:31,840 --> 01:14:34,880
Speaker 2: Yeah, I think the weirdness probably comes in that. I say,

1376
01:14:35,080 --> 01:14:38,560
Speaker 2: on one level, I think the plot is fairly ambitious.

1377
01:14:38,600 --> 01:14:42,080
Speaker 2: You know, he is trying to create something with the

1378
01:14:42,120 --> 01:14:44,680
Speaker 2: story of this that feels like it is trying to

1379
01:14:44,680 --> 01:14:47,360
Speaker 2: say something. It is trying to on some level ruminate

1380
01:14:47,840 --> 01:14:52,479
Speaker 2: on the natural world and man's place in it, you know, Like,

1381
01:14:52,920 --> 01:14:55,280
Speaker 2: you know, he Charles B. Pierce, seems to be a

1382
01:14:55,320 --> 01:14:57,479
Speaker 2: filmmaker who took himself, you know it took himself seriously,

1383
01:14:57,520 --> 01:15:00,920
Speaker 2: took his ideas seriously. So I think that that bleeds

1384
01:15:00,960 --> 01:15:04,800
Speaker 2: through to the finished product. Also, old Man Crenshaw, Like,

1385
01:15:04,880 --> 01:15:08,920
Speaker 2: that's just that's just a fabulously weird performance. It's just

1386
01:15:08,680 --> 01:15:11,519
Speaker 2: it's it's just a perfect aspect of this film.

1387
01:15:11,720 --> 01:15:14,120
Speaker 3: Crenshaw is for the ages. He should be there on

1388
01:15:14,280 --> 01:15:17,240
Speaker 3: lists of you know, the best iconic characters of all times,

1389
01:15:17,280 --> 01:15:23,480
Speaker 3: like Darth Vader, Hannibal Lecter, Anton Sugar. Crenshaw.

1390
01:15:25,640 --> 01:15:29,519
Speaker 2: Yeah, he's a force in nature. All right, Well, we're

1391
01:15:29,560 --> 01:15:31,679
Speaker 2: gonna go ahead and close out this episode of Weird

1392
01:15:31,720 --> 01:15:35,160
Speaker 2: House Cinema. First of all, let me just remind everybody

1393
01:15:35,200 --> 01:15:36,680
Speaker 2: where you can where you can get this movie. If

1394
01:15:36,680 --> 01:15:39,240
Speaker 2: you want to watch the Legend of Boggie Creek two

1395
01:15:39,320 --> 01:15:42,439
Speaker 2: and the Legend continues again actual title, you can find

1396
01:15:42,439 --> 01:15:45,960
Speaker 2: it on Amazon Prime for starters, and that version is

1397
01:15:46,000 --> 01:15:51,120
Speaker 2: the four K restored version. Yeah, so that's pretty good.

1398
01:15:52,479 --> 01:15:54,160
Speaker 2: There is. I think there's a DVD version as well.

1399
01:15:54,200 --> 01:15:57,080
Speaker 2: I'm not sure if there's a Blu ray, but maybe

1400
01:15:57,120 --> 01:15:59,799
Speaker 2: that's something that can come together in the years ahead.

1401
01:16:00,080 --> 01:16:02,840
Speaker 2: The MST version as well as on Amazon Prime, so

1402
01:16:02,880 --> 01:16:05,719
Speaker 2: you can probably find find this film in either version,

1403
01:16:05,840 --> 01:16:11,160
Speaker 2: like most places you rent or purchase your digital films.

1404
01:16:12,000 --> 01:16:14,120
Speaker 2: And also the original version though one that I watch,

1405
01:16:14,200 --> 01:16:16,479
Speaker 2: that's available to rent or buy most places as well.

1406
01:16:16,720 --> 01:16:18,639
Speaker 2: And I think that one was restored as well. I'm

1407
01:16:18,640 --> 01:16:20,280
Speaker 2: not one hundred percent certain, but I think that was

1408
01:16:20,360 --> 01:16:23,040
Speaker 2: restored print that came out in the last couple of years. Nice,

1409
01:16:23,400 --> 01:16:26,360
Speaker 2: all right. Well, in the meantime, if you want to

1410
01:16:26,400 --> 01:16:28,599
Speaker 2: check out other episodes of Weird House Cinema, it comes

1411
01:16:28,600 --> 01:16:31,160
Speaker 2: out every Friday in the Stuff to Blow Your Mind

1412
01:16:31,200 --> 01:16:35,320
Speaker 2: feed again Tuesdays and Thursdays remain our core science and

1413
01:16:35,360 --> 01:16:37,640
Speaker 2: culture show. But Friday Friday is the you know, the

1414
01:16:37,720 --> 01:16:41,519
Speaker 2: late night viewing of the of the Weird And let's

1415
01:16:41,520 --> 01:16:44,080
Speaker 2: see if you know you can find that feed wherever

1416
01:16:44,080 --> 01:16:46,519
Speaker 2: you get your podcast. Just rate, review and subscribe if

1417
01:16:46,560 --> 01:16:49,639
Speaker 2: you can. If you haven't mentioned this in a while,

1418
01:16:49,640 --> 01:16:51,000
Speaker 2: but if yeah, if you want to talk with other

1419
01:16:51,080 --> 01:16:53,840
Speaker 2: listeners to the show, one place you can do it

1420
01:16:53,880 --> 01:16:55,760
Speaker 2: is if you go onto Facebook and you look for

1421
01:16:55,800 --> 01:16:58,759
Speaker 2: the Stuff to Blow your Mind discussion module. You'll find

1422
01:16:58,760 --> 01:17:00,400
Speaker 2: some Stuff to Blow your Mind listening is in there,

1423
01:17:00,400 --> 01:17:02,680
Speaker 2: and some Weird House Cinema listeners in there. That's a

1424
01:17:02,680 --> 01:17:05,080
Speaker 2: good place to sort of touch base and discuss and

1425
01:17:05,720 --> 01:17:10,439
Speaker 2: even suggest titles of topics for the future. And on

1426
01:17:10,439 --> 01:17:13,879
Speaker 2: that count, we would love to hear from everybody via email.

1427
01:17:14,240 --> 01:17:16,840
Speaker 3: Yeah that's right, so huge things as always to our

1428
01:17:16,880 --> 01:17:20,599
Speaker 3: excellent audio producer Seth Nicholas Johnson. But that email address

1429
01:17:20,640 --> 01:17:22,280
Speaker 3: if you would like to get in touch to give

1430
01:17:22,360 --> 01:17:25,240
Speaker 3: us feedback on this episode or any other, or just

1431
01:17:25,280 --> 01:17:28,320
Speaker 3: to say hello, recommend. Another film for Weird House Cinema

1432
01:17:28,520 --> 01:17:38,720
Speaker 3: is contact at Stuff to Blow your Mind dot com.

1433
01:17:38,880 --> 01:17:41,840
Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For

1434
01:17:41,920 --> 01:17:44,719
Speaker 1: more podcasts from my heart Radio, visit the iHeartRadio app,

1435
01:17:44,840 --> 01:17:47,599
Speaker 1: Apple podcasts, or wherever you listen to your favorite shows.