1
00:00:02,440 --> 00:00:08,719
Speaker 1: Welcome to Stuff to Blow your Mind, a production of iHeartRadio.

2
00:00:13,080 --> 00:00:15,680
Speaker 2: Hey you welcome to Weird House Cinema. This is Rob

3
00:00:15,760 --> 00:00:18,960
Speaker 2: Lamb and this is Joe McCormick. On today's episode of

4
00:00:19,000 --> 00:00:21,720
Speaker 2: Weird House Cinema, We're going to discuss what's kind of

5
00:00:21,760 --> 00:00:25,319
Speaker 2: a Rare Beast? A goofy horror comedy that manages to

6
00:00:25,360 --> 00:00:30,360
Speaker 2: avoid being too self aware and takes itself its genre

7
00:00:30,560 --> 00:00:33,120
Speaker 2: and the films it inspired it seriously enough to maintain

8
00:00:33,159 --> 00:00:37,240
Speaker 2: a certain air of creepiness, seriousness, and indeed horror, while

9
00:00:37,280 --> 00:00:41,240
Speaker 2: still being ridiculous and hilarious and fun. It is nineteen

10
00:00:41,280 --> 00:00:44,240
Speaker 2: eighty eight's Killer Clowns from Outer Space.

11
00:00:44,880 --> 00:00:47,040
Speaker 3: I think I'd agree with all of that, except I

12
00:00:47,040 --> 00:00:49,240
Speaker 3: don't know if a film can be more self aware

13
00:00:49,320 --> 00:00:52,320
Speaker 3: than Killer Clowns. This seems like the ultimate kind of

14
00:00:52,360 --> 00:00:53,400
Speaker 3: meta exercise.

15
00:00:54,120 --> 00:00:57,920
Speaker 2: Well, I guess it depends how you exactly consider too

16
00:00:58,000 --> 00:01:01,440
Speaker 2: self aware in a film. For me, when a film

17
00:01:01,440 --> 00:01:04,399
Speaker 2: becomes too self aware, it's like things begin to fall apart,

18
00:01:04,840 --> 00:01:05,679
Speaker 2: you know, like.

19
00:01:07,040 --> 00:01:08,640
Speaker 3: Not taking the plot seriously.

20
00:01:08,800 --> 00:01:11,960
Speaker 2: I mean right where it becomes too much of a joke,

21
00:01:12,040 --> 00:01:14,759
Speaker 2: to where you can see the joke and the performances

22
00:01:14,840 --> 00:01:17,320
Speaker 2: you can feel the joke and the writing in the

23
00:01:17,360 --> 00:01:21,280
Speaker 2: way that just again makes things fall apart. And sometimes

24
00:01:21,400 --> 00:01:24,319
Speaker 2: I've you know, there's some obvious examples of that in

25
00:01:24,360 --> 00:01:26,440
Speaker 2: more recent films you could point to, but I mean

26
00:01:26,440 --> 00:01:28,560
Speaker 2: there are also some older films that have a cult

27
00:01:28,600 --> 00:01:31,600
Speaker 2: following that I've tried to get into, and I just

28
00:01:31,600 --> 00:01:33,600
Speaker 2: find that, like, oh, this was just one big joke

29
00:01:33,680 --> 00:01:36,759
Speaker 2: for everybody, Like if the villain can't be taken seriously,

30
00:01:36,880 --> 00:01:39,920
Speaker 2: if if everybody's if it's just too much of a party.

31
00:01:40,800 --> 00:01:42,280
Speaker 2: I mean, I guess that can be fun, but it

32
00:01:42,440 --> 00:01:44,640
Speaker 2: can it can make the narrative itself fall apart.

33
00:01:44,720 --> 00:01:46,800
Speaker 3: Oh no, well, I agree with exactly what you're talking

34
00:01:46,800 --> 00:01:50,640
Speaker 3: about there. Yeah, an effective parody does still have to

35
00:01:50,760 --> 00:01:55,440
Speaker 3: function as a story, and some parodies are, you know,

36
00:01:55,640 --> 00:01:59,080
Speaker 3: so self conscious that they just they stop even trying

37
00:01:59,120 --> 00:02:02,640
Speaker 3: to be a function story. They're just doing the jokes,

38
00:02:02,760 --> 00:02:04,640
Speaker 3: and that becomes less engaging.

39
00:02:05,080 --> 00:02:07,600
Speaker 2: Yeah, So this is one that this is one of

40
00:02:07,600 --> 00:02:09,720
Speaker 2: those films that I don't think I'd ever actually sat

41
00:02:09,760 --> 00:02:12,440
Speaker 2: down and watched it all the way through start to finish.

42
00:02:12,560 --> 00:02:15,760
Speaker 2: I recall it airing on cable back in the nineties

43
00:02:15,800 --> 00:02:18,040
Speaker 2: and early two thousands and watching you know, parts of

44
00:02:18,040 --> 00:02:21,040
Speaker 2: it on late and probably something like USA Up All Night,

45
00:02:21,120 --> 00:02:23,680
Speaker 2: but I'm not sure where exactly it was airing. Maybe

46
00:02:23,720 --> 00:02:26,240
Speaker 2: it aired on Sci Fi Channel as well. You know,

47
00:02:26,280 --> 00:02:29,760
Speaker 2: it fits a number of those molds. It was also

48
00:02:29,800 --> 00:02:33,400
Speaker 2: originally released theatrically, apparently didn't do that well, but has

49
00:02:33,480 --> 00:02:38,160
Speaker 2: enjoyed a long life via home media, apparently more than

50
00:02:38,200 --> 00:02:40,440
Speaker 2: making back. It's I think one point eight million dollar

51
00:02:40,520 --> 00:02:44,520
Speaker 2: budget over the course of time. But as the filmmakers

52
00:02:44,560 --> 00:02:46,239
Speaker 2: have said in interviews, it's one of those things where

53
00:02:46,240 --> 00:02:49,200
Speaker 2: they've they've wanted to do a follow up, but studios

54
00:02:49,200 --> 00:02:51,520
Speaker 2: aren't really interested in a movie that's going to make

55
00:02:51,919 --> 00:02:54,200
Speaker 2: you know, millions and millions of dollars over the course

56
00:02:54,240 --> 00:02:56,560
Speaker 2: of like three decades. They want something that's going to

57
00:02:56,639 --> 00:02:59,240
Speaker 2: make that much money in one weekend. And so, for

58
00:02:59,440 --> 00:03:04,680
Speaker 2: various reas, we have yet to fully cinematically return to

59
00:03:04,800 --> 00:03:06,320
Speaker 2: the universe of the Killer Clown.

60
00:03:07,040 --> 00:03:10,600
Speaker 3: I don't. I mean, on one hand, I would like

61
00:03:10,639 --> 00:03:12,600
Speaker 3: to trust them, but on the other hand, I'm like,

62
00:03:12,680 --> 00:03:14,960
Speaker 3: I don't know if I would like what this movie

63
00:03:14,960 --> 00:03:18,160
Speaker 3: would look like if it was made today.

64
00:03:18,320 --> 00:03:22,040
Speaker 2: Yeah, yeah, there. The closest thing that we have is

65
00:03:22,080 --> 00:03:25,760
Speaker 2: there was a recent video game that came out, Killer

66
00:03:25,760 --> 00:03:29,000
Speaker 2: Clowns from Outer Space. The game came out in twenty

67
00:03:29,080 --> 00:03:32,320
Speaker 2: twenty four. It's one of those asymmetrical survival horror games,

68
00:03:32,360 --> 00:03:34,000
Speaker 2: you know, kind of like the Friday the Thirteenth game.

69
00:03:34,040 --> 00:03:35,600
Speaker 2: In fact, I think some of the same people worked

70
00:03:35,640 --> 00:03:36,080
Speaker 2: on it.

71
00:03:36,120 --> 00:03:39,600
Speaker 3: That makes sense. They also made a Texas Chainsaw Mamasacre game,

72
00:03:39,640 --> 00:03:41,120
Speaker 3: which I've played one time.

73
00:03:41,560 --> 00:03:44,920
Speaker 2: Yeah, I have not played this one. It's one of

74
00:03:44,920 --> 00:03:47,720
Speaker 2: those my machine can't handle it. But I looked at

75
00:03:47,760 --> 00:03:50,720
Speaker 2: the stills and it looks pretty cool. It looks like

76
00:03:50,760 --> 00:03:53,720
Speaker 2: a lot of work went into maintaining the vibe of

77
00:03:53,720 --> 00:03:56,640
Speaker 2: the original picture. But I also agree with you on

78
00:03:56,760 --> 00:04:01,360
Speaker 2: the idea of like a modern clown remake or even

79
00:04:01,400 --> 00:04:04,200
Speaker 2: a sequel, Like even if the Kyoto brothers were just

80
00:04:04,320 --> 00:04:07,080
Speaker 2: all the way involved, it seems like there would be

81
00:04:07,120 --> 00:04:12,280
Speaker 2: a tendency to like lean into like nastier territory or

82
00:04:12,320 --> 00:04:14,640
Speaker 2: just I don't know, like, how would you maintain the

83
00:04:14,640 --> 00:04:17,479
Speaker 2: perfection that you have in this film right? At any rate,

84
00:04:17,680 --> 00:04:21,200
Speaker 2: there remains talk of a sequel, and I've recently read

85
00:04:21,240 --> 00:04:24,080
Speaker 2: that Ryan Gosling has been attached as a producer for

86
00:04:24,160 --> 00:04:28,520
Speaker 2: a potential remake so we'll see. We'll see. So what

87
00:04:28,560 --> 00:04:31,800
Speaker 2: we have here is pretty singular in many respects. It's

88
00:04:31,880 --> 00:04:35,680
Speaker 2: essentially a kind of Invaders from Mars the Blob plot,

89
00:04:36,279 --> 00:04:39,480
Speaker 2: but with clowns from outer space, and they are killer

90
00:04:39,520 --> 00:04:43,440
Speaker 2: clowns of course, and it is presented in PG thirteen forms.

91
00:04:43,200 --> 00:04:46,760
Speaker 3: So you know it's not hard PG thirteen.

92
00:04:46,880 --> 00:04:50,000
Speaker 2: It's a hard PG thirteen Like the clowns are frightening.

93
00:04:50,920 --> 00:04:56,359
Speaker 2: There's certainly some adult humor sprinkled throughout that doesn't go

94
00:04:56,440 --> 00:04:58,640
Speaker 2: too hard, but also some of it hasn't aged all

95
00:04:58,680 --> 00:05:01,680
Speaker 2: that well, was maybe a little tasteless back in the

96
00:05:01,760 --> 00:05:06,479
Speaker 2: day as well. But yeah, for my money, this film

97
00:05:06,520 --> 00:05:09,400
Speaker 2: stands out for a number of reasons. So it's a

98
00:05:09,400 --> 00:05:13,320
Speaker 2: goofy horror comedy that balances like the late eighties goofiness

99
00:05:13,320 --> 00:05:16,640
Speaker 2: and the monster horror quite well. So, like I say,

100
00:05:16,680 --> 00:05:20,000
Speaker 2: it doesn't become a complete farce, and the creatures are

101
00:05:20,000 --> 00:05:23,720
Speaker 2: all really convincing, look amazing. It really has the I

102
00:05:23,720 --> 00:05:25,360
Speaker 2: don't know how many I don't know if you can

103
00:05:25,760 --> 00:05:28,440
Speaker 2: relate to this or listeners can, but it reminds me

104
00:05:28,520 --> 00:05:32,240
Speaker 2: a lot of Mad Magazine movie parodies from back of

105
00:05:32,279 --> 00:05:32,640
Speaker 2: the day.

106
00:05:33,480 --> 00:05:40,040
Speaker 3: Yes, in multiple ways, with the slight ugliness of the caricature,

107
00:05:41,480 --> 00:05:45,039
Speaker 3: in the way the clowns are realized visually, the comedic

108
00:05:45,120 --> 00:05:49,200
Speaker 3: sensibility of the gags is very Mad Magazine And what

109
00:05:49,320 --> 00:05:53,000
Speaker 3: is that I'm recognizing there is On one hand, it's

110
00:05:53,040 --> 00:05:56,239
Speaker 3: not a dry humor. It's like a it's a very juicy,

111
00:05:56,320 --> 00:06:00,400
Speaker 3: wet humor. But also it goes a little bit hard.

112
00:06:00,440 --> 00:06:02,560
Speaker 3: As we were saying, it's a little bit more adult

113
00:06:02,680 --> 00:06:04,560
Speaker 3: than you might expect in some areas.

114
00:06:05,080 --> 00:06:08,960
Speaker 2: Yeah. Yeah, Like I'm reminded specifically when when RoboCop two

115
00:06:09,000 --> 00:06:11,560
Speaker 2: came out. I don't think I was able to watch

116
00:06:11,640 --> 00:06:15,080
Speaker 2: RoboCop two yet, but I had a Mad Magazine that

117
00:06:15,160 --> 00:06:17,760
Speaker 2: had the parody of RoboCop two in it, and of

118
00:06:17,760 --> 00:06:20,600
Speaker 2: course it was loaded with gags. It's very much, you know,

119
00:06:20,680 --> 00:06:24,080
Speaker 2: comedy and satire. But at the same time, like RoboCop

120
00:06:24,120 --> 00:06:26,280
Speaker 2: looked pretty cool in some of the in many of

121
00:06:26,320 --> 00:06:30,160
Speaker 2: the drawings, so did the nemesis of RoboCop two, and

122
00:06:30,240 --> 00:06:35,200
Speaker 2: so that comic I just have a strong memory of it,

123
00:06:35,600 --> 00:06:37,440
Speaker 2: you know, impressing me in a couple of ways, Like

124
00:06:37,480 --> 00:06:39,920
Speaker 2: it was funny, it was goofy, but also I was like, wow,

125
00:06:39,960 --> 00:06:42,200
Speaker 2: you know, there's still robots battling each other. I'll take it.

126
00:06:42,839 --> 00:06:45,120
Speaker 2: Let's see what else. We'll get into a lot of

127
00:06:45,160 --> 00:06:48,720
Speaker 2: this when we get into the plot more. But we've

128
00:06:48,760 --> 00:06:51,040
Speaker 2: already talked about it. It's PG thirteen, so it's kind

129
00:06:51,040 --> 00:06:53,080
Speaker 2: of a hard PG thirteen. But in terms of like

130
00:06:53,120 --> 00:06:57,960
Speaker 2: a late eighties, like nearly nineties monster movie that features

131
00:06:58,400 --> 00:07:02,560
Speaker 2: like college student characters, this film's not nearly as tasteless

132
00:07:02,560 --> 00:07:05,480
Speaker 2: as it could have been, and it's not really gory.

133
00:07:05,920 --> 00:07:10,440
Speaker 2: Has no nudity, despite the inclusion of the genre standard

134
00:07:10,480 --> 00:07:11,800
Speaker 2: shower scene.

135
00:07:11,480 --> 00:07:14,559
Speaker 3: Which is notable in several respects, not just for having

136
00:07:14,600 --> 00:07:15,880
Speaker 3: no nudity.

137
00:07:15,480 --> 00:07:19,000
Speaker 2: Right, but overall. I think it's just the big thing

138
00:07:19,000 --> 00:07:21,320
Speaker 2: about killer clowns from outer space is just the absolute

139
00:07:21,320 --> 00:07:24,320
Speaker 2: commitment to the bit. You know, this was clearly their

140
00:07:24,480 --> 00:07:27,880
Speaker 2: vision for this picture. Earth has been invaded by clowns

141
00:07:27,880 --> 00:07:32,720
Speaker 2: from outer space, aliens that are clowns, clowns that are aliens,

142
00:07:34,040 --> 00:07:38,320
Speaker 2: as this film actually explores humanity's knowledge of clowns and

143
00:07:38,360 --> 00:07:42,160
Speaker 2: clowning traditions. We're talking from ancient Egypt, through gesture traditions

144
00:07:42,840 --> 00:07:46,480
Speaker 2: around the world through twentieth century Circus times. All of

145
00:07:46,520 --> 00:07:50,960
Speaker 2: this was inspired, perhaps by Earth's ancient alien first contact

146
00:07:51,360 --> 00:07:53,120
Speaker 2: with clowns from outer space.

147
00:07:53,760 --> 00:07:56,760
Speaker 3: They do, in fact mention this in dialogue. Yeah, at

148
00:07:56,880 --> 00:07:59,880
Speaker 3: least as a suggestion by a character who is not

149
00:08:00,160 --> 00:08:00,800
Speaker 3: an expert.

150
00:08:01,120 --> 00:08:05,000
Speaker 2: So, but we don't know what his major speculating, We

151
00:08:05,040 --> 00:08:08,680
Speaker 2: don't know what his major is. Yeah, but but yeah,

152
00:08:08,720 --> 00:08:12,760
Speaker 2: these these aliens are not disguised as clowns. They are clowns.

153
00:08:12,800 --> 00:08:18,680
Speaker 2: Clowns are a species. Human clowns are unknowingly disguised as

154
00:08:18,760 --> 00:08:20,280
Speaker 2: clowns from outer space.

155
00:08:21,080 --> 00:08:25,600
Speaker 3: That theory is a wonderful little garnish on the feast

156
00:08:25,640 --> 00:08:27,000
Speaker 3: that is this film.

157
00:08:27,240 --> 00:08:30,040
Speaker 2: Yeah. Yeah, It's an idea that, to a certain extent,

158
00:08:30,160 --> 00:08:33,240
Speaker 2: is later explored in a different way, into a different

159
00:08:33,280 --> 00:08:37,000
Speaker 2: degree in horror writer Thomas Leggatti's nineteen ninety story The

160
00:08:37,080 --> 00:08:38,319
Speaker 2: Last Feast of Harlequin.

161
00:08:38,640 --> 00:08:39,760
Speaker 3: Oh, I haven't read that one.

162
00:08:39,920 --> 00:08:42,719
Speaker 2: Oh it's creepy and it has clowns. So if you

163
00:08:42,720 --> 00:08:45,400
Speaker 2: want a creepy clown read I recommend that one. All right,

164
00:08:45,679 --> 00:08:47,480
Speaker 2: elevator pitch for this one. I mean, this is one

165
00:08:47,480 --> 00:08:50,400
Speaker 2: of those films where the title alone tells you everything

166
00:08:50,440 --> 00:08:52,520
Speaker 2: you need to know. It's killer clowns from outer space.

167
00:08:52,559 --> 00:08:53,840
Speaker 2: What else do you need to say.

168
00:08:54,559 --> 00:08:57,800
Speaker 3: Do you know why they chose to spell clowns with

169
00:08:57,880 --> 00:08:59,160
Speaker 3: a K in the title?

170
00:09:00,000 --> 00:09:02,880
Speaker 2: I don't know offhand. I guess it just it looks funny. Uh,

171
00:09:02,920 --> 00:09:06,120
Speaker 2: it really clown is funny because the word found clown

172
00:09:06,160 --> 00:09:08,560
Speaker 2: is funny because it has that hardca kind of sound, right,

173
00:09:08,600 --> 00:09:09,920
Speaker 2: and so just go ahead and give it a K.

174
00:09:10,360 --> 00:09:10,880
Speaker 3: Fair enough?

175
00:09:11,440 --> 00:09:14,360
Speaker 2: Yeah, all right, let's go ahead and listen to just

176
00:09:14,400 --> 00:09:15,920
Speaker 2: a little bit of trailer audio here.

177
00:09:20,080 --> 00:09:26,440
Speaker 4: It was a night like any other night. Then something happened,

178
00:09:32,160 --> 00:09:41,160
Speaker 4: you see that, something different. It's still shooting star. Why here?

179
00:09:43,040 --> 00:10:14,079
Speaker 5: Why now? Why clowns? Killer clowns, Killer Clowns from outer Space?

180
00:10:14,760 --> 00:10:26,160
Speaker 2: It's crazy, all right. As of this recording, Killer Clowns

181
00:10:26,160 --> 00:10:29,560
Speaker 2: from Outer Space is streamable on to the and Amazon

182
00:10:29,640 --> 00:10:32,440
Speaker 2: Prime here in the States, but is generally just widely

183
00:10:32,480 --> 00:10:35,680
Speaker 2: available in all formats. Shout Factory put out a really

184
00:10:35,800 --> 00:10:39,840
Speaker 2: nice looking steel book edition and it's i think still

185
00:10:39,840 --> 00:10:43,560
Speaker 2: available loaded with extras. Again, this one has enjoyed a

186
00:10:43,679 --> 00:10:47,960
Speaker 2: very long life as home media, and so different editions

187
00:10:47,960 --> 00:10:49,920
Speaker 2: I think have come out over the years, and I

188
00:10:49,920 --> 00:10:52,080
Speaker 2: mean it's really at home where people have grown to

189
00:10:52,120 --> 00:10:56,280
Speaker 2: love it. I'm honestly not sure about other media that

190
00:10:56,400 --> 00:10:59,840
Speaker 2: has explored the Killer clown universe beyond the recent video game.

191
00:11:00,040 --> 00:11:02,000
Speaker 2: It seems like you could have a lot of like

192
00:11:02,080 --> 00:11:06,440
Speaker 2: comic book crossovers here. It seems like Killer Clowns Aliens

193
00:11:06,520 --> 00:11:10,200
Speaker 2: versus Predator, like the crossover absolutely should happen there because

194
00:11:10,200 --> 00:11:13,640
Speaker 2: you can get the you know, you have ancient alien visitors,

195
00:11:13,720 --> 00:11:16,120
Speaker 2: you have you could have a hybrid where you have

196
00:11:16,200 --> 00:11:19,680
Speaker 2: like a xenomorph clown hybrid. Like what does that look like?

197
00:11:19,760 --> 00:11:21,760
Speaker 2: I mean, there's there's so many places you could go

198
00:11:21,800 --> 00:11:22,080
Speaker 2: with it.

199
00:11:22,600 --> 00:11:25,760
Speaker 3: Can I suggest something that is more I would say

200
00:11:26,040 --> 00:11:30,560
Speaker 3: tonally and thematically already aligned with Killer Clowns. You can

201
00:11:30,640 --> 00:11:34,120
Speaker 3: have RoboCop versus Terminator, you can have Alien versus Predator,

202
00:11:34,200 --> 00:11:36,840
Speaker 3: and you can have Killer Clowns versus Critters.

203
00:11:37,280 --> 00:11:40,480
Speaker 2: There you go, right, crites, it seems like a perfect fit, yes,

204
00:11:40,640 --> 00:11:44,600
Speaker 2: for a number of reasons. So, and that really leads

205
00:11:44,640 --> 00:11:47,600
Speaker 2: us into into our discussion of the people behind this picture,

206
00:11:47,640 --> 00:11:51,360
Speaker 2: because the main like driving creative force here is of

207
00:11:51,400 --> 00:11:56,079
Speaker 2: course the Kyoto brothers. This is Stephen Kyoto, Charles Kyoto,

208
00:11:56,160 --> 00:12:00,240
Speaker 2: and Edward Kyoto. I'm gonna basically talk about them as

209
00:12:00,280 --> 00:12:03,240
Speaker 2: a trio. But if you get into the credits, Steven

210
00:12:03,679 --> 00:12:06,720
Speaker 2: born nineteen fifty four is credited as director, one of

211
00:12:06,720 --> 00:12:09,959
Speaker 2: the writers, and the producer or one of the producers.

212
00:12:10,360 --> 00:12:15,000
Speaker 2: Charles born fifty two is credited as writer, producer, production designer,

213
00:12:15,120 --> 00:12:18,760
Speaker 2: clown designs and also plays the role of clown Zilla.

214
00:12:19,320 --> 00:12:21,120
Speaker 2: You'll find out what that is later if you haven't

215
00:12:21,120 --> 00:12:24,040
Speaker 2: seen it. And then Edward has a writer producer credit,

216
00:12:24,040 --> 00:12:25,360
Speaker 2: and he was born in nineteen sixty.

217
00:12:26,080 --> 00:12:30,480
Speaker 3: So these guys, before they were filmmakers in their own right,

218
00:12:30,520 --> 00:12:33,600
Speaker 3: they had worked on special effects for a number of things, right.

219
00:12:33,840 --> 00:12:37,720
Speaker 2: Yeah, absolutely, they were already an established effects team. And

220
00:12:37,760 --> 00:12:40,080
Speaker 2: they're still around as an established effects team. They can

221
00:12:40,120 --> 00:12:44,080
Speaker 2: continue to work even though they haven't really come back

222
00:12:44,120 --> 00:12:47,840
Speaker 2: and done any kind of like a full feature film

223
00:12:48,080 --> 00:12:50,680
Speaker 2: in the same way as Killer It Clowns from Outer Space.

224
00:12:50,720 --> 00:12:54,560
Speaker 2: But yeah, an American trio special effects siblings who specialize

225
00:12:54,559 --> 00:12:59,280
Speaker 2: in clay modeling, creature creation, stop motion animatronics, you know,

226
00:12:59,320 --> 00:13:02,320
Speaker 2: so many of those nice, you know, rub the fur

227
00:13:03,760 --> 00:13:06,240
Speaker 2: practical effects that we love in films like.

228
00:13:06,200 --> 00:13:10,080
Speaker 3: This totally And do I understand correctly that they originally

229
00:13:10,120 --> 00:13:15,439
Speaker 3: intended to include some stop motion effects in Killer Clowns,

230
00:13:15,480 --> 00:13:18,560
Speaker 3: but they weren't able to, and that's why the clown

231
00:13:18,640 --> 00:13:21,760
Speaker 3: Zilla effect. Yeah, I think it's like was originally going

232
00:13:21,840 --> 00:13:24,160
Speaker 3: to be a stop motion creature but ended up being

233
00:13:24,200 --> 00:13:25,040
Speaker 3: a man in a suit.

234
00:13:25,480 --> 00:13:28,160
Speaker 2: Yeah, that's my understanding. Yeah, that was gonna so we

235
00:13:28,160 --> 00:13:29,920
Speaker 2: were going to get some stop motion, and they've done

236
00:13:29,920 --> 00:13:32,280
Speaker 2: a lot of stop motion over the years, including him

237
00:13:32,320 --> 00:13:34,840
Speaker 2: to understand some bits for the Simpsons here and there.

238
00:13:35,040 --> 00:13:36,960
Speaker 3: But to be clear, I'm not trying to diminish the

239
00:13:36,960 --> 00:13:39,600
Speaker 3: clown effects by referring to them as a guy in

240
00:13:39,640 --> 00:13:42,720
Speaker 3: a suit, because they are more than just a person

241
00:13:42,760 --> 00:13:44,040
Speaker 3: in a suit with like makeup.

242
00:13:44,600 --> 00:13:44,760
Speaker 5: There.

243
00:13:45,320 --> 00:13:48,960
Speaker 3: There is some puppetry involved in the clowns, right, Yes, Yeah,

244
00:13:49,000 --> 00:13:51,040
Speaker 3: the clowns that we get in the film.

245
00:13:51,160 --> 00:13:53,679
Speaker 2: As we'll be talking about time and time again here,

246
00:13:53,720 --> 00:13:57,280
Speaker 2: they just look amazing, just wonderful practical effects. I mean

247
00:13:57,320 --> 00:14:00,520
Speaker 2: the way that the heads have been sculpted and fabricaded,

248
00:14:00,880 --> 00:14:04,720
Speaker 2: painted and then manipulated in a way that they just

249
00:14:04,800 --> 00:14:07,400
Speaker 2: completely come to life, Like the movements of the mouth,

250
00:14:07,800 --> 00:14:11,040
Speaker 2: the eyes, oh my goodness, the eyes of these things.

251
00:14:11,040 --> 00:14:13,040
Speaker 2: I guess it's you know, it's it's you don't have

252
00:14:13,080 --> 00:14:15,680
Speaker 2: to worry about Uncanny Valley with a creature like this

253
00:14:15,840 --> 00:14:19,240
Speaker 2: that is already supposed to be uncanny, but man, pretty

254
00:14:19,280 --> 00:14:23,760
Speaker 2: much in every shot, these clowns absolutely feel like living creatures. Yeah,

255
00:14:23,800 --> 00:14:27,240
Speaker 2: so the Kyoto Brothers. Other credits include, of course, nineteen

256
00:14:27,280 --> 00:14:29,920
Speaker 2: eighty six's Critters, which we've covered on the show before,

257
00:14:30,440 --> 00:14:35,040
Speaker 2: and that's why a Critter's killer Clown's crossover would be wonderful,

258
00:14:35,080 --> 00:14:36,880
Speaker 2: even though that would be a lot of k sounds

259
00:14:36,920 --> 00:14:40,400
Speaker 2: in the title. Yeah. They apparently also did the six

260
00:14:40,480 --> 00:14:43,680
Speaker 2: thousand sucks commercial for nineteen eighty seven's RoboCop.

261
00:14:43,840 --> 00:14:47,240
Speaker 3: Yeah, that's right, the car that is constantly being advertised

262
00:14:47,240 --> 00:14:50,000
Speaker 3: in the RoboCop universe and gets six miles to the gallon.

263
00:14:50,200 --> 00:14:53,800
Speaker 2: Yeah, let's see. Of course they did eighty eight Critters too,

264
00:14:53,920 --> 00:14:56,240
Speaker 2: as well as UHF the same year. They did some

265
00:14:56,280 --> 00:15:00,440
Speaker 2: effects in that. They did effects work in ninety one's three.

266
00:15:01,200 --> 00:15:04,920
Speaker 2: They did nineteen ninety one's Earnest Scared Stupid. This is

267
00:15:04,920 --> 00:15:07,480
Speaker 2: a film that I think a lot of us remember

268
00:15:07,600 --> 00:15:12,040
Speaker 2: from our childhoods, in part because the monster effects. The

269
00:15:12,120 --> 00:15:16,000
Speaker 2: trolls in that movie are extremely creepy and convincing and

270
00:15:16,560 --> 00:15:19,200
Speaker 2: share a certain resemblance to the creatures in this film.

271
00:15:19,440 --> 00:15:24,560
Speaker 2: Though despite rumors that they're the same sculpts like repainted.

272
00:15:24,880 --> 00:15:27,160
Speaker 2: That appears to not be the case, just I think

273
00:15:27,160 --> 00:15:28,680
Speaker 2: a similar design aesthetic.

274
00:15:29,040 --> 00:15:30,960
Speaker 3: I can't remember if we've talked about this on the

275
00:15:31,000 --> 00:15:33,640
Speaker 3: show before, but that is a film I remember very

276
00:15:33,760 --> 00:15:36,680
Speaker 3: vividly for being one of those things that was just

277
00:15:36,760 --> 00:15:39,680
Speaker 3: supposed to be funny and the kid's movie, but actually

278
00:15:39,680 --> 00:15:41,000
Speaker 3: scared me when I was a kid.

279
00:15:41,360 --> 00:15:44,120
Speaker 2: Yeah. Yeah, I don't remember how scary I found it,

280
00:15:44,160 --> 00:15:46,280
Speaker 2: but I remember liking it a lot more like I

281
00:15:46,320 --> 00:15:48,240
Speaker 2: was still at the point where I was obviously down

282
00:15:48,320 --> 00:15:51,880
Speaker 2: for earnest movies. Yeah, Like I wasn't. No one dragged

283
00:15:51,920 --> 00:15:55,000
Speaker 2: me into an earnest movie kicking and screaming. But then

284
00:15:55,040 --> 00:15:56,760
Speaker 2: I was like, oh man, I could tell, like this

285
00:15:56,800 --> 00:15:59,000
Speaker 2: is hitting harder than I had. I think these things

286
00:15:59,040 --> 00:16:02,800
Speaker 2: were like taking kids, turning them into wood. I recall

287
00:16:02,920 --> 00:16:05,480
Speaker 2: is that. I think that's right. That's one we may

288
00:16:05,480 --> 00:16:08,160
Speaker 2: come back to in the future. Let's see. They also

289
00:16:08,240 --> 00:16:12,000
Speaker 2: worked on ninety two's Critters, four ninety seven's Turbo, a

290
00:16:12,080 --> 00:16:14,720
Speaker 2: Power Rangers movie. They did some work in two thousand

291
00:16:14,720 --> 00:16:18,880
Speaker 2: and three's Elf Team America World Police in two thousand

292
00:16:18,880 --> 00:16:21,960
Speaker 2: and four, and they even had their hands in twenty

293
00:16:22,000 --> 00:16:25,080
Speaker 2: twenty one's Marcel the Shell with Shoes On, which is

294
00:16:25,120 --> 00:16:27,120
Speaker 2: a very delightful film. I saw that one in the

295
00:16:27,120 --> 00:16:31,280
Speaker 2: theater with my kid. They also did makeup on the

296
00:16:31,480 --> 00:16:35,040
Speaker 2: Monsters Horror anthology series from eighty eight through ninety, which

297
00:16:35,080 --> 00:16:39,400
Speaker 2: did indeed have some tremendous monster makeup effects. And like

298
00:16:39,440 --> 00:16:42,000
Speaker 2: I said earlier, they've done stop motion segments on The

299
00:16:42,040 --> 00:16:45,080
Speaker 2: Simpsons as well. They've remained very active in film and TV,

300
00:16:45,200 --> 00:16:47,160
Speaker 2: but again have yet to truly follow up on the

301
00:16:47,200 --> 00:16:50,880
Speaker 2: Killer Clowns from Outer Space with a sequel or spiritual successor.

302
00:16:51,200 --> 00:16:54,040
Speaker 3: Okay, wait a minute, I'm going to revise my earlier

303
00:16:54,080 --> 00:16:58,480
Speaker 3: recommendation of Killer Clowns versus critters. What about Killer Clowns

304
00:16:58,560 --> 00:17:02,320
Speaker 3: versus the Power Rangers. That's already there a skill set.

305
00:17:02,920 --> 00:17:04,679
Speaker 2: I could see that matchup maybe working.

306
00:17:04,760 --> 00:17:08,119
Speaker 3: Yeah, you know magic wand to make my clown grow.

307
00:17:08,440 --> 00:17:10,800
Speaker 2: Yeah, yeah, I mean we do get a giant clown.

308
00:17:10,840 --> 00:17:12,399
Speaker 2: That's the kind of thing that could battle a giant

309
00:17:12,440 --> 00:17:16,840
Speaker 2: robot for sure. We could do get into to Kaiju territory.

310
00:17:17,480 --> 00:17:22,359
Speaker 2: So Stephen Kyoto has claimed that the initial inspiration for

311
00:17:22,400 --> 00:17:24,840
Speaker 2: the series occurred when he was driving on a mountain

312
00:17:24,920 --> 00:17:28,119
Speaker 2: road and looked over and saw a clown driving next

313
00:17:28,119 --> 00:17:30,320
Speaker 2: to him. A clown where there shouldn't be a clown

314
00:17:31,640 --> 00:17:33,800
Speaker 2: sounds horrifying to me. It sounds like it, and I

315
00:17:33,840 --> 00:17:36,720
Speaker 2: think we get a sense of that in the film.

316
00:17:36,720 --> 00:17:38,679
Speaker 2: There's actually a scene in the movie that seems to

317
00:17:38,680 --> 00:17:42,399
Speaker 2: allude to this encounter, perhaps an encounter from another world.

318
00:17:42,720 --> 00:17:45,680
Speaker 2: They also cite strong influences from fifties and sixties sci

319
00:17:45,720 --> 00:17:49,639
Speaker 2: fi horror monster movies, which totally makes sense Mad Magazine,

320
00:17:49,640 --> 00:17:51,600
Speaker 2: which lines up with what I already said, as well

321
00:17:51,600 --> 00:17:56,359
Speaker 2: as Looney Tunes, which is perfectly believable, and they've stressed

322
00:17:56,359 --> 00:17:59,679
Speaker 2: in interviews that it was also an essential ingredient, ingredient

323
00:17:59,720 --> 00:18:03,080
Speaker 2: that the actors treat the threat itself, the threat of

324
00:18:03,080 --> 00:18:07,760
Speaker 2: the killer clowns, as absolutely serious and threatening, despite the

325
00:18:07,800 --> 00:18:12,440
Speaker 2: heavy comic veneer to everything. So again, I think that's

326
00:18:12,480 --> 00:18:14,680
Speaker 2: what the sense I get is that that's absolutely key

327
00:18:14,680 --> 00:18:18,119
Speaker 2: to this movie working, is that the clowns are legitimately

328
00:18:18,160 --> 00:18:23,680
Speaker 2: funny but also grotesque, and also there's a strong sense

329
00:18:23,680 --> 00:18:25,760
Speaker 2: of life and death here, like they are frightening.

330
00:18:26,359 --> 00:18:28,600
Speaker 3: Yeah, that's right, especially I think in the scenes where

331
00:18:28,600 --> 00:18:32,679
Speaker 3: they're like menacing children, and stuff that's like, those are

332
00:18:32,720 --> 00:18:37,280
Speaker 3: the least funny and the most actually threatening. I think,

333
00:18:37,680 --> 00:18:40,320
Speaker 3: fortunately though, the movie is kind of gentle in that regard,

334
00:18:40,400 --> 00:18:43,880
Speaker 3: and that we never actually see a child harmed, you know,

335
00:18:43,920 --> 00:18:47,160
Speaker 3: that always gets averted somehow. But the threat is kind

336
00:18:47,160 --> 00:18:55,359
Speaker 3: of looming, and that emphasizes the less funny aspects.

337
00:19:00,040 --> 00:19:02,480
Speaker 2: Let's get into the cast here a bit, all right.

338
00:19:02,880 --> 00:19:05,840
Speaker 2: Starting at the top, we have the character Mike Tobacco,

339
00:19:06,840 --> 00:19:11,280
Speaker 2: presumably a realistic name, played by Grant Kramer born in

340
00:19:11,359 --> 00:19:12,240
Speaker 2: nineteen sixty one.

341
00:19:12,720 --> 00:19:14,800
Speaker 3: This is one of our main two guys in the film.

342
00:19:14,880 --> 00:19:16,920
Speaker 3: Mike and Dave are the main two guys, and the

343
00:19:17,359 --> 00:19:20,400
Speaker 3: main lady in the film is Debbie. But Mike here

344
00:19:20,520 --> 00:19:21,600
Speaker 3: is a He's a real cut up.

345
00:19:22,480 --> 00:19:26,320
Speaker 2: Yeah, and it's a mixed bag. It's the character is

346
00:19:26,640 --> 00:19:30,359
Speaker 2: full of terrible dated jokes. For the most part. I

347
00:19:30,400 --> 00:19:32,600
Speaker 2: think we're supposed to like him more than I found

348
00:19:32,600 --> 00:19:35,120
Speaker 2: myself liking him. I never hated him. I was never

349
00:19:35,200 --> 00:19:38,199
Speaker 2: like the clowns can't kill this guy fast enough. But

350
00:19:39,680 --> 00:19:41,119
Speaker 2: I don't think I liked him as much as I

351
00:19:41,160 --> 00:19:41,720
Speaker 2: was supposed to.

352
00:19:42,200 --> 00:19:44,320
Speaker 3: Yeah, exactly how we're supposed to receive him was a

353
00:19:44,359 --> 00:19:48,840
Speaker 3: little difficult for me to read. I found myself thinking

354
00:19:48,920 --> 00:19:53,000
Speaker 3: that that, essentially Debbie's other boyfriend, Dave, was the more

355
00:19:53,080 --> 00:19:54,760
Speaker 3: likable of the two characters.

356
00:19:55,240 --> 00:19:57,280
Speaker 2: Yeah. Absolutely, It's like, come on, Debbie, you can do

357
00:19:57,320 --> 00:20:01,119
Speaker 2: better than this guy, and he's right here. Why aren't

358
00:20:01,119 --> 00:20:04,880
Speaker 2: you with Officer Dave? But anyway, none of this is

359
00:20:05,000 --> 00:20:08,719
Speaker 2: Grant Kramer's fault. I'm perfectly fine here he was. His

360
00:20:08,760 --> 00:20:12,120
Speaker 2: first film credit was nineteen eighties New Year's Evil, followed

361
00:20:12,119 --> 00:20:14,840
Speaker 2: by the nineteen eighty four sex comedy Hard Bodies, and

362
00:20:14,920 --> 00:20:18,119
Speaker 2: his subsequent credits are a bit scattered, and he produced

363
00:20:18,160 --> 00:20:21,280
Speaker 2: a number of projects as well. He reprised his role

364
00:20:21,320 --> 00:20:23,920
Speaker 2: as a vocal talent in that recent Killer Clowns video.

365
00:20:23,960 --> 00:20:29,320
Speaker 3: Okay, okay, I probably dare not go watch the nineteen

366
00:20:29,400 --> 00:20:32,480
Speaker 3: eighty four sex comedy Hard Bodies, but I'm curious about

367
00:20:32,480 --> 00:20:35,080
Speaker 3: it because it shares a name with the gym in

368
00:20:35,640 --> 00:20:40,000
Speaker 3: burn After reading oh yeah, I remember that Richard Jenkins

369
00:20:40,080 --> 00:20:43,760
Speaker 3: repeatedly just talking about their workplace by name, saying like,

370
00:20:43,840 --> 00:20:46,040
Speaker 3: we can't have this material here at Hard Bodies.

371
00:20:48,320 --> 00:20:51,320
Speaker 2: All right, Well, we mentioned Debbie already. Debbie Stone is

372
00:20:51,359 --> 00:20:55,280
Speaker 2: played by Suzanne Snyder born nineteen sixty two American actress

373
00:20:55,320 --> 00:20:59,199
Speaker 2: with some great genre film credentials. She has an uncredited

374
00:20:59,280 --> 00:21:02,240
Speaker 2: cheerleader role in nineteen eighty four as the Last Starfighter,

375
00:21:02,280 --> 00:21:05,359
Speaker 2: which we've talked about on the show. She's in eighty

376
00:21:05,400 --> 00:21:10,240
Speaker 2: five's Weird Science, eighty six's Night of the Creeps, Oh yeah, yeah,

377
00:21:10,480 --> 00:21:13,920
Speaker 2: and also nineteen eighty eight Return of the Living Dead

378
00:21:14,000 --> 00:21:16,560
Speaker 2: two and then this Glorious Picture.

379
00:21:16,840 --> 00:21:19,240
Speaker 3: You know, I love the original Return of the Living Dead,

380
00:21:19,280 --> 00:21:21,680
Speaker 3: but I've never watched the sequel. I've heard it's kind

381
00:21:21,680 --> 00:21:22,560
Speaker 3: of looney tunes.

382
00:21:23,359 --> 00:21:27,640
Speaker 2: Yeah, they're on. They're definitely the sequels that I'm familiar with,

383
00:21:27,800 --> 00:21:31,040
Speaker 2: mostly by box art. I know, the Return of the

384
00:21:31,080 --> 00:21:33,560
Speaker 2: Living Dead two has you know, kind of cool box art,

385
00:21:33,560 --> 00:21:36,400
Speaker 2: and then Living Dead Three's big selling point, I think

386
00:21:36,520 --> 00:21:40,520
Speaker 2: is Sexy Zombie. That's the one that I like. Sexy

387
00:21:40,600 --> 00:21:43,760
Speaker 2: Zombie is in the forefront, but I never actually watched

388
00:21:43,760 --> 00:21:48,880
Speaker 2: it anyway, Snyder. She had a number of subsequent TV

389
00:21:49,040 --> 00:21:51,360
Speaker 2: roles that included appearances on In the Heat of the Night,

390
00:21:51,480 --> 00:21:54,919
Speaker 2: Jake and the Fat Man, Seinfeld, and Homicide Life on

391
00:21:54,960 --> 00:21:57,520
Speaker 2: the Street, and she also reprised her role as a

392
00:21:57,600 --> 00:22:00,000
Speaker 2: vocal talent in The Killer Clams from Outer Space.

393
00:22:00,200 --> 00:22:03,680
Speaker 3: Okay, she's great in this. She brings a very good,

394
00:22:04,480 --> 00:22:09,960
Speaker 3: straight delivery of dialogue that is funny. Yeah, like not,

395
00:22:10,400 --> 00:22:13,080
Speaker 3: she's not hamming it up in a way that is good.

396
00:22:14,040 --> 00:22:17,159
Speaker 2: Absolutely. Yeah, as we'll discuss, she spends a lot of

397
00:22:17,160 --> 00:22:22,040
Speaker 2: screen time taking a shower. But you know, we'll break

398
00:22:22,040 --> 00:22:23,919
Speaker 2: that down when we get into the plug. All right,

399
00:22:24,040 --> 00:22:27,280
Speaker 2: let's talk about Officer Dave Hanson, then played by John

400
00:22:27,320 --> 00:22:30,320
Speaker 2: Allen Nelson born nineteen fifty nine. Yeah, this character is

401
00:22:30,320 --> 00:22:35,119
Speaker 2: Debbie's ex boyfriend and current local cop. Nelson's TV credits

402
00:22:35,119 --> 00:22:38,200
Speaker 2: go back to nineteen eighty three, but I believe nineteen

403
00:22:38,240 --> 00:22:41,160
Speaker 2: eighty nine he starred in Death Stalker and the Warriors

404
00:22:41,160 --> 00:22:44,159
Speaker 2: from Hell. This is a barbarian movie. He is the

405
00:22:44,280 --> 00:22:48,320
Speaker 2: lead in it. This one I think has been riffed before.

406
00:22:48,960 --> 00:22:51,840
Speaker 2: A lot of regular mainstream, mainstream TV work from this

407
00:22:51,920 --> 00:22:54,440
Speaker 2: guy followed. But he also pops up in two thousand

408
00:22:54,480 --> 00:22:55,880
Speaker 2: and nine's Feast three.

409
00:22:56,600 --> 00:22:59,639
Speaker 3: I might have seen that Death Stalker movie or maybe not,

410
00:23:00,000 --> 00:23:02,760
Speaker 3: don't recall, but he I don't know. This guy doesn't

411
00:23:02,800 --> 00:23:04,159
Speaker 3: read barbarian to me.

412
00:23:04,600 --> 00:23:07,840
Speaker 2: Well, no, you have two different basic types of barbarian.

413
00:23:07,920 --> 00:23:10,439
Speaker 2: You have the muscle bound Barbarian, and then you have

414
00:23:10,480 --> 00:23:13,680
Speaker 2: your leaner Barbarian Oka, and I think death Stalker tends

415
00:23:13,680 --> 00:23:16,920
Speaker 2: to be your leaner of Barbarian in different installments. More

416
00:23:16,960 --> 00:23:20,360
Speaker 2: of the rogue than the fighter, yeah, or is more finesse,

417
00:23:20,400 --> 00:23:23,159
Speaker 2: you know, he's putting more into decks than strength.

418
00:23:23,160 --> 00:23:26,080
Speaker 3: Right, Okay. I would say the same thing about a

419
00:23:26,160 --> 00:23:27,960
Speaker 3: Nelson here that I would say about Snyder in the

420
00:23:28,040 --> 00:23:30,560
Speaker 3: role of Debbie. Both of them do a great job

421
00:23:30,680 --> 00:23:34,880
Speaker 3: of straight delivery of funny dialogue that if they'd been

422
00:23:34,920 --> 00:23:37,040
Speaker 3: winking a little bit more wouldn't have been as good.

423
00:23:37,480 --> 00:23:42,720
Speaker 2: Right, Okay. Now let's get to the main human antagonist

424
00:23:42,920 --> 00:23:46,720
Speaker 2: of the picture, and that is Officer Curtis Mooney, played

425
00:23:46,760 --> 00:23:49,800
Speaker 2: by the great John Vernon who lived nineteen thirty two

426
00:23:49,840 --> 00:23:52,399
Speaker 2: through two thousand and five. Yes, it is the Dean

427
00:23:52,640 --> 00:23:54,960
Speaker 2: from nineteen seventy eight's Animal House.

428
00:23:55,040 --> 00:23:57,880
Speaker 3: Oh boy, the guy who puts them on double secret probation.

429
00:23:58,160 --> 00:23:58,400
Speaker 2: Yes.

430
00:23:58,720 --> 00:24:01,560
Speaker 3: Yeah, and he's playing a sin actually the same character here,

431
00:24:01,600 --> 00:24:03,359
Speaker 3: but as a cop like with a gun.

432
00:24:03,920 --> 00:24:09,399
Speaker 2: Yeah. I mean Vernon really found a later career niche

433
00:24:09,400 --> 00:24:13,080
Speaker 2: for himself as you know, no nonsense, hard ass like.

434
00:24:13,480 --> 00:24:15,600
Speaker 2: More than that, I would say that's being too generous,

435
00:24:15,600 --> 00:24:17,200
Speaker 2: like a lot of the characters he played are just

436
00:24:17,320 --> 00:24:18,520
Speaker 2: outright malicious.

437
00:24:18,960 --> 00:24:20,480
Speaker 3: A guy who hates the youth.

438
00:24:20,760 --> 00:24:23,120
Speaker 2: He hates the youth, and he's going to do everything

439
00:24:23,280 --> 00:24:27,240
Speaker 2: within his powers given to him by his position or

440
00:24:27,240 --> 00:24:30,280
Speaker 2: his job to go after them and also maybe go

441
00:24:30,359 --> 00:24:32,520
Speaker 2: a little more as well, a little harder.

442
00:24:33,000 --> 00:24:36,439
Speaker 3: This is the character archetype that is I think hilariously

443
00:24:36,480 --> 00:24:39,240
Speaker 3: parodied in the Simpsons episode where Homer goes back to

444
00:24:39,320 --> 00:24:41,320
Speaker 3: college because the dean is super cool.

445
00:24:41,880 --> 00:24:47,320
Speaker 2: Yes, yeah, yeah, there's also a Futurama episode that parodies

446
00:24:47,359 --> 00:24:51,280
Speaker 2: this where Bender it goes to college and yeah, it's

447
00:24:51,359 --> 00:24:54,240
Speaker 2: become such a staple, but it, you know, it all

448
00:24:54,400 --> 00:24:57,200
Speaker 2: really begins with John Vernon's performance in that film, and

449
00:24:57,240 --> 00:24:59,879
Speaker 2: again he plays a similar sort of character here, just

450
00:25:00,119 --> 00:25:03,880
Speaker 2: you know, a hard ass that hates everybody. The talented actor.

451
00:25:03,920 --> 00:25:06,800
Speaker 2: The Canadian actor with filming TV credits going back to

452
00:25:06,800 --> 00:25:10,520
Speaker 2: the fifties, and his pre Animal House credits include some

453
00:25:10,640 --> 00:25:14,360
Speaker 2: voice work for Marvel animated series in the nineteen sixties.

454
00:25:15,000 --> 00:25:19,679
Speaker 2: He voiced iron Man and would later do some Marvel

455
00:25:20,000 --> 00:25:23,880
Speaker 2: voices on much later animated series. He debuted on Broadway

456
00:25:23,960 --> 00:25:26,639
Speaker 2: in sixty four. He starred in the Canadian crime series

457
00:25:26,720 --> 00:25:29,520
Speaker 2: Wojiic from sixty six to sixty eight, which I've never

458
00:25:29,560 --> 00:25:33,080
Speaker 2: seen but I'm to understand was like, you know, highly

459
00:25:33,080 --> 00:25:35,920
Speaker 2: thought of at the time. It was like a new

460
00:25:36,040 --> 00:25:40,920
Speaker 2: sensation on Canadian television. He soon crossed over into American

461
00:25:40,960 --> 00:25:45,080
Speaker 2: film with roles in Hitchcock's Topaz in sixty nine, Dirty

462
00:25:45,119 --> 00:25:48,200
Speaker 2: Harry in seventy one, he plays the mayor he pops

463
00:25:48,240 --> 00:25:51,159
Speaker 2: up in seventy six is the outlaw Josie Wales. He

464
00:25:51,240 --> 00:25:55,000
Speaker 2: followed up on Animal House with its thirteen episode TV spinoff,

465
00:25:55,080 --> 00:25:56,200
Speaker 2: Delta House. Oh.

466
00:25:57,840 --> 00:26:00,280
Speaker 3: I haven't seen it, but I don't have high hopes.

467
00:26:00,800 --> 00:26:04,400
Speaker 2: Other credits include nineteen eighties Herbie Goes Bananas, eighty two's

468
00:26:04,440 --> 00:26:08,359
Speaker 2: Airplane two, the eighty three horror movie Curtains. Oh, and

469
00:26:08,400 --> 00:26:11,880
Speaker 2: he's also in an Earnest movie nineteen eighty seven's Earnest

470
00:26:12,000 --> 00:26:14,479
Speaker 2: Goes to Camp. I think that might have been the

471
00:26:14,480 --> 00:26:17,240
Speaker 2: first full fledged Earnest movie. That's one I definitely saw.

472
00:26:18,359 --> 00:26:19,600
Speaker 3: I don't think I saw that one.

473
00:26:20,440 --> 00:26:24,160
Speaker 2: He's also in eighty seven's Blue Monkey. Let's See. There's

474
00:26:24,160 --> 00:26:27,200
Speaker 2: a nineteen seventy seven killer cat movie called The Uncanny,

475
00:26:27,280 --> 00:26:30,439
Speaker 2: and he's also in the nineteen seventy four provocative surrealist

476
00:26:30,440 --> 00:26:31,639
Speaker 2: comedy sweet movie.

477
00:26:32,240 --> 00:26:34,880
Speaker 3: I just had to look up The Uncanny to see Wait,

478
00:26:34,960 --> 00:26:37,880
Speaker 3: have I seen this? I honestly don't recall.

479
00:26:38,840 --> 00:26:41,200
Speaker 2: Yeah, it's not one that I think I'm familiar with.

480
00:26:41,520 --> 00:26:44,840
Speaker 3: I think it's like a it's an anthology film, right

481
00:26:44,920 --> 00:26:46,879
Speaker 3: that has a cat as the villain.

482
00:26:48,560 --> 00:26:50,840
Speaker 2: Yep, yep, seems to be the case. Yeah, we have

483
00:26:51,280 --> 00:26:54,120
Speaker 2: different times, you know this might did I maybe maybe

484
00:26:54,119 --> 00:26:57,359
Speaker 2: I did watch part of this. Yeah. Yeah, it's because

485
00:26:57,600 --> 00:26:59,919
Speaker 2: very familiar because we do. We have Peter Cushing and

486
00:27:00,080 --> 00:27:02,200
Speaker 2: in at least one segment.

487
00:27:01,880 --> 00:27:04,280
Speaker 3: Maybe Donald Pleasance and Raymonland.

488
00:27:04,800 --> 00:27:07,520
Speaker 2: You know, I think maybe I did watch one of

489
00:27:07,800 --> 00:27:11,720
Speaker 2: We did watch one segment from this for one of

490
00:27:11,760 --> 00:27:14,679
Speaker 2: our horror episodes in the past. I think we are

491
00:27:14,760 --> 00:27:16,359
Speaker 2: horror anthology series. Yeah.

492
00:27:16,480 --> 00:27:20,240
Speaker 3: It's got Samantha Eggar too. Yeah, I think we've seen this.

493
00:27:20,600 --> 00:27:25,000
Speaker 2: Yeah. Yeah. The segment that Vernon is in is Hollywood

494
00:27:25,080 --> 00:27:28,320
Speaker 2: nineteen thirty six. This is the segment that has Samantha Eggar,

495
00:27:28,520 --> 00:27:30,760
Speaker 2: Donald Pleasance and John Vernon.

496
00:27:31,359 --> 00:27:33,560
Speaker 3: It's maddening when I get into the state where I

497
00:27:33,600 --> 00:27:35,640
Speaker 3: can't remember if I've seen a film, but I really

498
00:27:35,680 --> 00:27:37,200
Speaker 3: think I have. And now I've got to go back

499
00:27:37,200 --> 00:27:39,520
Speaker 3: and watch it to figure out if I've already watched it.

500
00:27:41,480 --> 00:27:44,199
Speaker 2: I mean, I don't remember for sure, but there's no

501
00:27:44,320 --> 00:27:46,800
Speaker 2: way that John Vernon gets out of this movie without

502
00:27:46,840 --> 00:27:48,040
Speaker 2: being eaten by a cat. Right.

503
00:27:48,080 --> 00:27:51,480
Speaker 3: Oh he's got yeah, yeah, chump chump fancy feast.

504
00:27:52,119 --> 00:27:55,480
Speaker 2: So anyway, yeah, terrific character actor, great at this sort

505
00:27:55,520 --> 00:27:58,679
Speaker 2: of role and is tremendous sin killer clowns from outer space.

506
00:27:59,119 --> 00:28:02,000
Speaker 2: All right. We have the Trensey brothers as characters in

507
00:28:02,040 --> 00:28:07,640
Speaker 2: this There are comic relief characters. I would say they

508
00:28:07,720 --> 00:28:11,639
Speaker 2: only hold up as limitedly funny. I had to chuckle

509
00:28:11,640 --> 00:28:14,239
Speaker 2: at maybe one or two things that they do. And

510
00:28:14,280 --> 00:28:18,399
Speaker 2: they are played by the comedy team Siegel and Lakassi.

511
00:28:19,320 --> 00:28:22,040
Speaker 2: This was an actual comedy duo of the time. That's

512
00:28:22,400 --> 00:28:25,359
Speaker 2: Peter Lcassi, who lived nineteen fifty nine through twenty twenty,

513
00:28:25,600 --> 00:28:30,480
Speaker 2: and then Michael S. Siegel. Michael S. Siegel I think

514
00:28:30,640 --> 00:28:32,879
Speaker 2: ultimately went on to do more things. He got involved

515
00:28:32,920 --> 00:28:35,240
Speaker 2: in the UK film and Theater project when he moved

516
00:28:35,280 --> 00:28:37,400
Speaker 2: in projects when he moved over there, and he's done

517
00:28:37,440 --> 00:28:40,520
Speaker 2: some video game voice acting, including the recent RoboCop Rogue

518
00:28:40,520 --> 00:28:41,040
Speaker 2: City Game.

519
00:28:42,160 --> 00:28:45,800
Speaker 3: These guys occupy a strange niche in that they are

520
00:28:45,040 --> 00:28:49,480
Speaker 3: the character archetypes who would normally be the comic relief

521
00:28:49,640 --> 00:28:52,959
Speaker 3: in an otherwise not funny film. But this is a

522
00:28:53,000 --> 00:28:57,239
Speaker 3: funny film, and I found their comedy bits some of

523
00:28:57,280 --> 00:29:01,280
Speaker 3: the most failed attempts to be funny in this otherwise

524
00:29:01,320 --> 00:29:02,040
Speaker 3: funny film.

525
00:29:02,320 --> 00:29:07,160
Speaker 2: Absolutely. Yeah, yeah, the trends, Yeah, the times they succeed

526
00:29:07,200 --> 00:29:11,240
Speaker 2: in being humorous, for my money anyway, are just smaller

527
00:29:11,280 --> 00:29:13,880
Speaker 2: moments and not like the hard gag moments they're going

528
00:29:13,920 --> 00:29:14,640
Speaker 2: for with these two.

529
00:29:15,000 --> 00:29:15,680
Speaker 3: Yeah.

530
00:29:15,880 --> 00:29:18,479
Speaker 2: All right, one more actor we're gonna mention here, and

531
00:29:18,560 --> 00:29:21,920
Speaker 2: that is Royal Dano, who lived nineteen twenty two through

532
00:29:21,960 --> 00:29:26,520
Speaker 2: nineteen ninety four playing the character farmer Jane Green Curricie

533
00:29:26,560 --> 00:29:30,000
Speaker 2: American character actor with credits going back to nineteen forty three.

534
00:29:30,600 --> 00:29:33,640
Speaker 2: His credits include nineteen fifty six Is Moby Dick, in

535
00:29:33,680 --> 00:29:36,800
Speaker 2: which he plays the prophetic Elijah. This is the character

536
00:29:36,840 --> 00:29:40,960
Speaker 2: that like warns our central characters that they are doomed

537
00:29:41,160 --> 00:29:42,400
Speaker 2: if they go on the.

538
00:29:42,400 --> 00:29:44,680
Speaker 3: Ship oh before they get on the pequad.

539
00:29:44,800 --> 00:29:48,400
Speaker 2: Yeah. Yeah, let's see. He's in a seventy two TV

540
00:29:48,560 --> 00:29:51,320
Speaker 2: movie titled Moon of the Wolf. He's in seventy fours,

541
00:29:51,360 --> 00:29:55,040
Speaker 2: Messiah of Evil, seventy six is the outlaw Josie Wales,

542
00:29:55,120 --> 00:29:58,480
Speaker 2: eighty three's Something Wicked, This Way Comes eighty three is

543
00:29:58,480 --> 00:30:03,760
Speaker 2: the Right Stuff to eighty seven's Goolies two, nineteen ninety

544
00:30:03,840 --> 00:30:06,440
Speaker 2: Spaced Invaders, and nineteen ninety three's.

545
00:30:06,200 --> 00:30:06,920
Speaker 3: The Dark Half.

546
00:30:07,480 --> 00:30:10,240
Speaker 2: He also has a slew of TV credits, including one

547
00:30:10,280 --> 00:30:14,520
Speaker 2: episode of Night Gallery. You know, clearly a talented actor

548
00:30:15,000 --> 00:30:18,760
Speaker 2: with a great folksy vibe, and he just goes ahead

549
00:30:18,800 --> 00:30:20,800
Speaker 2: and just hams it up all the way here, just

550
00:30:21,200 --> 00:30:25,600
Speaker 2: absolutely amped up to eleven. This is a fun little role.

551
00:30:25,920 --> 00:30:29,120
Speaker 3: Spaced Invaders is a film that I loved when I

552
00:30:29,240 --> 00:30:31,080
Speaker 3: was a kid. I think I rented it from the

553
00:30:31,160 --> 00:30:34,080
Speaker 3: video store and I ended up watching it many times.

554
00:30:34,800 --> 00:30:38,680
Speaker 3: Also a comedy science fiction film with some you know,

555
00:30:38,840 --> 00:30:42,920
Speaker 3: zany Martians who come to Earth by accident and they

556
00:30:43,400 --> 00:30:46,080
Speaker 3: end up running around on Halloween night. Everybody thinks that

557
00:30:46,120 --> 00:30:48,720
Speaker 3: their kids in costumes while they're trying to take over

558
00:30:48,760 --> 00:30:51,640
Speaker 3: the world. Haven't seen it many years. Probably doesn't hold

559
00:30:51,720 --> 00:30:53,520
Speaker 3: up very well, but I loved it when I was

560
00:30:53,560 --> 00:30:57,360
Speaker 3: a kid. And this guy plays the exact same character

561
00:30:57,480 --> 00:30:59,440
Speaker 3: in that movie that he does in this one.

562
00:31:00,120 --> 00:31:00,320
Speaker 5: Wow.

563
00:31:00,400 --> 00:31:02,480
Speaker 2: And they're so close together too, it's like it's almost

564
00:31:02,480 --> 00:31:05,120
Speaker 2: too close together for it to have for that to

565
00:31:05,160 --> 00:31:09,080
Speaker 2: have been influenced by this. I don't know. Yeah, but

566
00:31:09,280 --> 00:31:11,120
Speaker 2: the character that he plays is kind of like it's

567
00:31:11,320 --> 00:31:14,000
Speaker 2: basically the trope that you see in the Blob. He's

568
00:31:14,480 --> 00:31:17,280
Speaker 2: like the good natured, folksy guy who just happens to

569
00:31:17,400 --> 00:31:19,160
Speaker 2: run a foul of the alien menace.

570
00:31:19,320 --> 00:31:23,400
Speaker 3: Yeah, tar Nation. He's a farmer who's you know, a

571
00:31:23,480 --> 00:31:26,000
Speaker 3: meteor has landed on his property and now he's going

572
00:31:26,040 --> 00:31:26,600
Speaker 3: to be rich.

573
00:31:27,040 --> 00:31:30,800
Speaker 2: Yeah all right. And then finally the music. The music's

574
00:31:31,040 --> 00:31:35,000
Speaker 2: really fun here. The composer is John Massari born nineteen

575
00:31:35,040 --> 00:31:37,120
Speaker 2: fifty seven. He worked a lot in TV and film

576
00:31:37,160 --> 00:31:40,920
Speaker 2: over the years. Also scored the Lorenzo Lama Snake Eater movies.

577
00:31:41,400 --> 00:31:43,600
Speaker 2: And I would say the general vibe for Killer Clowns

578
00:31:43,600 --> 00:31:47,360
Speaker 2: from Outer Space is John Carpenter esque synth that is

579
00:31:47,480 --> 00:31:51,400
Speaker 2: occasionally like quite suspenseful and very John Carpentry. But then

580
00:31:51,440 --> 00:31:54,320
Speaker 2: you also have plenty of circus music whimsy sprinkled in

581
00:31:54,320 --> 00:31:54,920
Speaker 2: there as well.

582
00:31:55,440 --> 00:31:57,640
Speaker 3: Yeah that's all right. But then also, of course a

583
00:31:57,720 --> 00:32:01,360
Speaker 3: major musical texture here is the rock music from the

584
00:32:01,440 --> 00:32:03,840
Speaker 3: from the Dickies, because right at the beginning of the

585
00:32:03,840 --> 00:32:07,320
Speaker 3: movie we get that opening theme song, which, if you

586
00:32:07,400 --> 00:32:10,120
Speaker 3: did not already know, this is one of those movies

587
00:32:10,280 --> 00:32:14,000
Speaker 3: like the Flash Gordon film that is not a musical

588
00:32:14,280 --> 00:32:18,400
Speaker 3: but does have an original rock theme song that says

589
00:32:18,440 --> 00:32:21,760
Speaker 3: the title of the movie in the lyrics and describes

590
00:32:21,800 --> 00:32:23,040
Speaker 3: the plot in the lyrics.

591
00:32:23,680 --> 00:32:27,120
Speaker 2: That's right, Yeah, Killer Clowns from Outer Space performed by

592
00:32:27,240 --> 00:32:29,760
Speaker 2: the Dickies. Not a band I was super familiar with,

593
00:32:29,800 --> 00:32:31,640
Speaker 2: but they've they've been around for a long time and

594
00:32:31,640 --> 00:32:35,400
Speaker 2: they seem to have a strong following American pop punk

595
00:32:35,520 --> 00:32:37,640
Speaker 2: band or I guess you'd just call him a punk band,

596
00:32:37,680 --> 00:32:40,680
Speaker 2: but I've also seen pomp pop punk or humor punk

597
00:32:40,760 --> 00:32:45,320
Speaker 2: thrown in there. Active still today, based out of la

598
00:32:45,600 --> 00:32:49,280
Speaker 2: headed up by vocalist Leonard Graves Phillips, who also has

599
00:32:49,320 --> 00:32:53,440
Speaker 2: writing production credit on this song. And it's also worth

600
00:32:53,480 --> 00:32:57,480
Speaker 2: pointing out that noted film composer and frequent Steven Soderberg

601
00:32:57,600 --> 00:33:02,080
Speaker 2: and Nicholas wending Refin collaborator Cliff Martinez was their drummer

602
00:33:02,120 --> 00:33:05,920
Speaker 2: at the time, and and so presumably listening to the

603
00:33:05,960 --> 00:33:08,400
Speaker 2: coiler Clowns from out of Space, we're hearing Cliff Martinez

604
00:33:08,440 --> 00:33:09,080
Speaker 2: on drums.

605
00:33:09,760 --> 00:33:10,400
Speaker 3: Yeah, I think so.

606
00:33:10,840 --> 00:33:14,160
Speaker 2: Yeah. The same year he would have composed the score

607
00:33:14,240 --> 00:33:18,880
Speaker 2: for Soderberg's Sex Lives and Videotapes, So an interesting little

608
00:33:18,880 --> 00:33:22,520
Speaker 2: bit of film score trivia there. But the song the

609
00:33:22,560 --> 00:33:24,760
Speaker 2: color Clowns from Out of Space was released the same

610
00:33:24,840 --> 00:33:28,040
Speaker 2: year on an EP from The Dickies with the same title.

611
00:33:28,360 --> 00:33:31,800
Speaker 3: That EP also includes a pretty amazing cover. It's a

612
00:33:31,840 --> 00:33:36,240
Speaker 3: cover of a song originally from The Jetsons The Hannah

613
00:33:36,240 --> 00:33:40,520
Speaker 3: barbera cartoon that's played on the show The Jetsons by

614
00:33:40,640 --> 00:33:46,560
Speaker 3: an in show like teen Idol named I think Screaming

615
00:33:46,840 --> 00:33:50,800
Speaker 3: Jet or Jet Screamer or something like that, and the

616
00:33:50,840 --> 00:33:55,959
Speaker 3: song is called eepop orc u Ah, it's eepop orc

617
00:33:56,080 --> 00:33:59,160
Speaker 3: I Love you, and the Dickies cover is excellent.

618
00:33:59,240 --> 00:34:01,640
Speaker 2: I think yeah, this song is really fun. I mean

619
00:34:02,400 --> 00:34:05,000
Speaker 2: it should be noted, as with the score, there's enough

620
00:34:05,000 --> 00:34:08,040
Speaker 2: circus music in there that it is going to maybe

621
00:34:08,080 --> 00:34:09,759
Speaker 2: annoy you a bit. I mean, that's the thing about

622
00:34:09,800 --> 00:34:13,480
Speaker 2: circus music. But it's a really fun track. Some of

623
00:34:13,480 --> 00:34:16,040
Speaker 2: the lyrics include the likes of everybody's running when the

624
00:34:16,040 --> 00:34:19,759
Speaker 2: circus comes into their towns. Everybody's gunning for the likes

625
00:34:19,760 --> 00:34:22,839
Speaker 2: of the Killer Clowns or this one's really this one

626
00:34:22,880 --> 00:34:25,279
Speaker 2: gets a bit hard here see a rubber nose on

627
00:34:25,320 --> 00:34:29,640
Speaker 2: a painted face bringing genocide to the human race. Yeah,

628
00:34:30,160 --> 00:34:34,239
Speaker 2: it's almost getting into almost like Misfits territory with the

629
00:34:34,320 --> 00:34:35,239
Speaker 2: lyrics on that one.

630
00:34:35,400 --> 00:34:37,080
Speaker 3: Yeah yeah, Oh it reminds me of the lyrics of

631
00:34:37,120 --> 00:34:38,000
Speaker 3: Astro Zombies.

632
00:34:38,160 --> 00:34:47,120
Speaker 2: Yeah yeah.

633
00:34:47,160 --> 00:34:49,440
Speaker 3: So the main Killer Clowns song plays while we get

634
00:34:49,440 --> 00:34:53,080
Speaker 3: a montage of nightlife in the movies setting, which is

635
00:34:53,160 --> 00:34:57,799
Speaker 3: this California town called Crescent Cove. So we see teenagers

636
00:34:57,840 --> 00:35:01,440
Speaker 3: hanging out a circus themed restaurant called Big Top Burger.

637
00:35:02,360 --> 00:35:06,239
Speaker 3: The youth are surveyed with evident disgust here by a

638
00:35:06,280 --> 00:35:09,719
Speaker 3: cop named Officer Mooney. This is again the character played

639
00:35:09,719 --> 00:35:14,000
Speaker 3: by John Vernon. Mooney's just looking around at these kids,

640
00:35:14,000 --> 00:35:16,640
Speaker 3: and he would clearly love to arrest all of these

641
00:35:16,719 --> 00:35:19,880
Speaker 3: long hairs, but he is outnumbered, so he gets his

642
00:35:19,920 --> 00:35:22,400
Speaker 3: coffee and he drives off in his squad car, looking

643
00:35:22,680 --> 00:35:26,399
Speaker 3: frustrated and fuming. Next thing we see is a young

644
00:35:26,440 --> 00:35:29,799
Speaker 3: guy with blonde hair and glasses carrying some groceries on

645
00:35:29,840 --> 00:35:33,160
Speaker 3: the sidewalk. He's drinking a beer in a can. That's

646
00:35:33,200 --> 00:35:37,000
Speaker 3: just labeled beer in all caps with nothing else, and

647
00:35:37,040 --> 00:35:39,439
Speaker 3: he sort of hides his open container as he goes

648
00:35:39,480 --> 00:35:43,360
Speaker 3: through a crosswalk in front of Mooney's car, and Mooney grumbles,

649
00:35:43,400 --> 00:35:46,080
Speaker 3: it's just like looking at this kid makes him furious,

650
00:35:46,160 --> 00:35:48,200
Speaker 3: but then he moves on. This guy, by the way,

651
00:35:48,280 --> 00:35:51,520
Speaker 3: is a minor character named Bob, played by Christopher Titus,

652
00:35:52,160 --> 00:35:55,040
Speaker 3: and after they go their separate ways, Bob says, cops,

653
00:35:57,160 --> 00:36:00,640
Speaker 3: but next we're going to check in at the local lane.

654
00:36:00,680 --> 00:36:04,720
Speaker 3: It's makeout point. So all the youths here are parking,

655
00:36:04,880 --> 00:36:08,560
Speaker 3: listening to the radio, drinking beer, stargazing and smoochin.

656
00:36:09,040 --> 00:36:10,759
Speaker 2: Yeah. And it's one of those movies where I think

657
00:36:10,760 --> 00:36:13,480
Speaker 2: they're all clearly well into their late twenties. Yes.

658
00:36:13,960 --> 00:36:15,920
Speaker 3: And in the scene we meet a lot of the

659
00:36:15,960 --> 00:36:19,359
Speaker 3: young characters who at first I was assuming we would

660
00:36:19,400 --> 00:36:21,920
Speaker 3: follow many of these characters for the rest of the film,

661
00:36:21,960 --> 00:36:26,759
Speaker 3: but no, mainly just our primary two characters here, Mike

662
00:36:26,920 --> 00:36:31,480
Speaker 3: Tobacco and Debbie Stone. They're going steady. They're hanging out

663
00:36:31,480 --> 00:36:34,239
Speaker 3: in their car. They are drinking, but while everybody else

664
00:36:34,239 --> 00:36:37,120
Speaker 3: here is drinking beer, for some reason, they're having champagne.

665
00:36:37,280 --> 00:36:40,960
Speaker 3: I don't know if here's a question did you read

666
00:36:41,360 --> 00:36:45,279
Speaker 3: Mike as like a rich or preppy guy. He's sort

667
00:36:45,280 --> 00:36:48,520
Speaker 3: of dressed in a preppy way. He's got this sweater

668
00:36:48,640 --> 00:36:52,160
Speaker 3: on with a collared shirt underneath, and he's they're drinking

669
00:36:52,280 --> 00:36:56,239
Speaker 3: champagne while everybody else is not. Is that what we're

670
00:36:56,280 --> 00:36:57,879
Speaker 3: supposed to take from this? Oh?

671
00:36:57,920 --> 00:37:00,720
Speaker 2: I had not put that together till just now. Maybe

672
00:37:00,719 --> 00:37:03,799
Speaker 2: that's what they were going for, But yeah, I don't

673
00:37:03,800 --> 00:37:06,239
Speaker 2: know his character. Yeah, about the only thing I really

674
00:37:06,239 --> 00:37:07,960
Speaker 2: get out of it is that, yeah, he is a

675
00:37:08,040 --> 00:37:12,279
Speaker 2: cut up, and he also is kind of he's a

676
00:37:12,320 --> 00:37:16,200
Speaker 2: cool kid, but he's also still friends with the weird kids. Yeah,

677
00:37:16,239 --> 00:37:19,080
Speaker 2: so he's a transitional character in that recard.

678
00:37:18,840 --> 00:37:21,640
Speaker 3: That's right. Yeah. And then of course Debbie we meet

679
00:37:21,640 --> 00:37:24,760
Speaker 3: in the scene, is depicted as very earnest and good hearted.

680
00:37:24,840 --> 00:37:29,080
Speaker 3: She's got that final girl energy. We also in the

681
00:37:29,080 --> 00:37:32,319
Speaker 3: scene meet the Trensey brothers, Paul and Rich, who are

682
00:37:32,440 --> 00:37:37,040
Speaker 3: friends of Mike's from school. These are zany low level

683
00:37:37,120 --> 00:37:40,719
Speaker 3: hustlers who make money running an ice cream truck, and

684
00:37:40,800 --> 00:37:43,759
Speaker 3: their truck has a giant clown head on top called

685
00:37:43,880 --> 00:37:47,680
Speaker 3: Jojo the ice Cream Clown. So when these brothers show up,

686
00:37:47,719 --> 00:37:51,000
Speaker 3: they cause a major ruckus at the lover's lane by

687
00:37:51,080 --> 00:37:53,359
Speaker 3: pulling up in their truck and yelling at everybody through

688
00:37:53,400 --> 00:37:57,040
Speaker 3: their loud speaker. Their ice cream slogans have a lot

689
00:37:57,040 --> 00:38:00,640
Speaker 3: of vulgar double on tundra based around the concept licking,

690
00:38:01,200 --> 00:38:04,160
Speaker 3: and they also try to upsell the frozen treats by

691
00:38:04,560 --> 00:38:06,840
Speaker 3: There's one who's doing his routine in the microphone and

692
00:38:06,880 --> 00:38:09,920
Speaker 3: he keeps humping the air while he's listing the ice creams.

693
00:38:10,239 --> 00:38:13,120
Speaker 2: Yeah. Their entire business model seems to revolve around selling

694
00:38:13,160 --> 00:38:17,200
Speaker 2: ice cream at night and put and setting their sights

695
00:38:17,239 --> 00:38:21,200
Speaker 2: on the local makeout places like where the prime business

696
00:38:21,280 --> 00:38:23,000
Speaker 2: is going to be for buying a bunch of fudge,

697
00:38:23,000 --> 00:38:24,399
Speaker 2: sickles and stuff. Yeah.

698
00:38:24,520 --> 00:38:28,320
Speaker 3: Yeah, the Tranzi brothers are After this, they are driven

699
00:38:28,360 --> 00:38:31,480
Speaker 3: away from the car park area after being brutally heckled

700
00:38:31,520 --> 00:38:35,799
Speaker 3: and pelted with beer cans and other trash. They're not popular, no,

701
00:38:36,960 --> 00:38:40,960
Speaker 3: But then after watching all this happen, Mike tells Debbie,

702
00:38:41,000 --> 00:38:43,080
Speaker 3: whenever I want to have a good time, I call

703
00:38:43,200 --> 00:38:45,840
Speaker 3: Rich and Paul. A night out with those guys is

704
00:38:45,880 --> 00:38:47,120
Speaker 3: a total adventure.

705
00:38:49,560 --> 00:38:52,480
Speaker 2: What I mean, he just knows them. That's I guess

706
00:38:52,480 --> 00:38:54,000
Speaker 2: all we really need to take away from this.

707
00:38:54,600 --> 00:38:56,319
Speaker 3: But if we don't get the sense that there's that

708
00:38:56,400 --> 00:38:59,640
Speaker 3: much adventurous about them, I don't know. Maybe it depends

709
00:38:59,640 --> 00:39:01,520
Speaker 3: on what you call an adventure. They just seem like

710
00:39:01,560 --> 00:39:03,960
Speaker 3: guys who were always trying to work some sort of scam.

711
00:39:04,120 --> 00:39:08,120
Speaker 2: Yeah, they're making poor choices. Yeah, like did they did

712
00:39:08,160 --> 00:39:10,239
Speaker 2: they run the ice cream truck truck during the day?

713
00:39:10,800 --> 00:39:13,040
Speaker 2: Like or are they? Is it maybe some sort of

714
00:39:13,040 --> 00:39:14,839
Speaker 2: weird scam where they're like, we know a guy who

715
00:39:14,880 --> 00:39:16,920
Speaker 2: runs an ice cream truck, but he doesn't run it

716
00:39:16,960 --> 00:39:19,360
Speaker 2: at night. We could rent it from him and sell

717
00:39:19,400 --> 00:39:23,799
Speaker 2: ice cream to teenagers and college students at night, and yeah,

718
00:39:23,920 --> 00:39:26,160
Speaker 2: thinking that's a great idea, that would make sense.

719
00:39:26,280 --> 00:39:28,319
Speaker 3: Wait, I think later that they do say the ice

720
00:39:28,400 --> 00:39:30,200
Speaker 3: cream truck is rented, right, Oh.

721
00:39:30,040 --> 00:39:32,200
Speaker 2: Well they do, that's right, that's right. So maybe that's

722
00:39:32,200 --> 00:39:34,320
Speaker 2: what's going on. They can only use it at night.

723
00:39:34,280 --> 00:39:36,399
Speaker 3: Because they say, you know, like use the ice cream

724
00:39:36,440 --> 00:39:38,960
Speaker 3: truck to ram the killer cloud and they're like, you,

725
00:39:39,239 --> 00:39:43,760
Speaker 3: I can't. It's a rental anyway. So Mike and Debbie

726
00:39:43,840 --> 00:39:45,920
Speaker 3: lie out in the back of their car looking at

727
00:39:45,920 --> 00:39:49,720
Speaker 3: the stars when suddenly a huge bright object streaks across

728
00:39:49,760 --> 00:39:52,600
Speaker 3: the night sky. What was that? Was it a comet?

729
00:39:53,160 --> 00:39:55,719
Speaker 3: Debbie wants to go see where it landed, and Mike

730
00:39:55,840 --> 00:39:58,400
Speaker 3: takes some convincing but she talks him into it. We

731
00:39:58,440 --> 00:40:01,719
Speaker 3: also cut to somewhere else nearby, on a farm where

732
00:40:01,719 --> 00:40:05,080
Speaker 3: an old codure this is Jean Green played by Royal Dano,

733
00:40:05,560 --> 00:40:08,120
Speaker 3: is sitting out on his porch with his bloodhound Pooh,

734
00:40:08,680 --> 00:40:12,080
Speaker 3: and he watches the light pass right overhead. And this

735
00:40:12,080 --> 00:40:16,560
Speaker 3: guy is full of oddball rural colloquialism. See He's like, well,

736
00:40:16,640 --> 00:40:19,800
Speaker 3: I'll be hornswoggle. Do you see that there? Sky Guppy

737
00:40:19,920 --> 00:40:24,360
Speaker 3: is up one by sky Guppy? Is that a saying?

738
00:40:24,640 --> 00:40:26,680
Speaker 2: I don't know? I mean I trust him?

739
00:40:27,239 --> 00:40:30,839
Speaker 3: So Green determines the object was Haley's comet, and he

740
00:40:30,920 --> 00:40:34,920
Speaker 3: also decides to go find the crash site, reasoning that

741
00:40:35,080 --> 00:40:38,200
Speaker 3: somehow this will make him filthy rich. So he grabs

742
00:40:38,239 --> 00:40:42,120
Speaker 3: his lantern and shovel and he heads out into the woods. However,

743
00:40:42,400 --> 00:40:45,160
Speaker 3: when he comes upon the landing site, it is not

744
00:40:45,280 --> 00:40:49,760
Speaker 3: an impact crater but a circus tint, and he's talking

745
00:40:49,800 --> 00:40:52,440
Speaker 3: to his dog. He says, well, I'll be greased and fried.

746
00:40:52,560 --> 00:40:56,120
Speaker 3: What's the circus doing out here? I love the circus?

747
00:40:56,200 --> 00:40:58,600
Speaker 3: Come on maybe we can get us some free passes.

748
00:41:00,440 --> 00:41:03,239
Speaker 2: Oh man, it's all it's really it's adorable. This guy

749
00:41:03,280 --> 00:41:06,040
Speaker 2: loves circuses so much, but of course he's so dimmed.

750
00:41:06,120 --> 00:41:08,279
Speaker 2: This is this guy's clearly going to get it.

751
00:41:08,640 --> 00:41:11,720
Speaker 3: Yeah, But the scene takes a turn, so the farmer

752
00:41:11,800 --> 00:41:14,719
Speaker 3: goes to investigate the tint and he determines that there

753
00:41:14,840 --> 00:41:18,440
Speaker 3: is something peculiar about the circus. Where's the ticket booth?

754
00:41:19,080 --> 00:41:22,360
Speaker 3: Here we also get our first clown stalking scene, first

755
00:41:22,400 --> 00:41:24,800
Speaker 3: in silhouette through the side of the tent, so the

756
00:41:24,840 --> 00:41:27,960
Speaker 3: guy's creeping along and then there's a there's a clown

757
00:41:28,000 --> 00:41:30,439
Speaker 3: shaped shadow following him, which for a second you could

758
00:41:30,440 --> 00:41:33,200
Speaker 3: mistake as being his shadow, and then he realized like,

759
00:41:33,280 --> 00:41:36,160
Speaker 3: oh no, wait, that's a clown. There's something in here,

760
00:41:36,239 --> 00:41:38,360
Speaker 3: kind of like the Charlie Chaplin mirror gag.

761
00:41:38,920 --> 00:41:42,560
Speaker 2: Yeah, yeah, absolutely, yeah. I love the colors here, and

762
00:41:42,680 --> 00:41:44,960
Speaker 2: I think the film's already doing a great job invoking

763
00:41:45,000 --> 00:41:50,920
Speaker 2: a surrealistic comedic menace in the clowns, and as a

764
00:41:50,920 --> 00:41:53,239
Speaker 2: sidebark here, I think this is one of the things

765
00:41:53,239 --> 00:41:55,920
Speaker 2: the film does just so well. So scary clowns are

766
00:41:55,960 --> 00:42:00,439
Speaker 2: obviously a dime a dozen nowadays, and even at point

767
00:42:00,440 --> 00:42:02,839
Speaker 2: when Killer Consorm outter Space came out, we'd already had

768
00:42:02,920 --> 00:42:06,160
Speaker 2: multiple movies with sinister clowns in them, and Stephen King's

769
00:42:06,239 --> 00:42:09,640
Speaker 2: hit the novel was a fairly recent best seller, and

770
00:42:09,719 --> 00:42:12,000
Speaker 2: you know there would be many more scary clowns to come.

771
00:42:12,239 --> 00:42:15,120
Speaker 2: But the thing about scary clowns in horror is that

772
00:42:15,480 --> 00:42:19,840
Speaker 2: their clownness is very often only skin deep or grease

773
00:42:19,880 --> 00:42:23,640
Speaker 2: paint deep, and underneath we usually get either human cruelty

774
00:42:24,080 --> 00:42:27,319
Speaker 2: or supernatural menace. And I don't wanted to dismiss all

775
00:42:27,360 --> 00:42:28,600
Speaker 2: of that out of hand. You know that can be

776
00:42:28,640 --> 00:42:31,440
Speaker 2: a lot of fun still and be very terrifying. Pennywise,

777
00:42:31,480 --> 00:42:34,040
Speaker 2: the dancing clown is one of the best, and he

778
00:42:34,120 --> 00:42:36,920
Speaker 2: totally fits this mold clown on the outside. But it's

779
00:42:37,000 --> 00:42:40,640
Speaker 2: just an illusion, just a face that's worn by an

780
00:42:40,640 --> 00:42:41,840
Speaker 2: extra dimensional menace.

781
00:42:42,800 --> 00:42:46,200
Speaker 3: Yeah, it was, Pennywise. Obviously, it is a It's a

782
00:42:46,239 --> 00:42:49,160
Speaker 3: way of salting the meat for the creature, right, because

783
00:42:49,200 --> 00:42:53,000
Speaker 3: it is a creature that thrives on fear. He savors

784
00:42:53,040 --> 00:42:56,800
Speaker 3: the fear of his victims, and the clown the guise

785
00:42:56,920 --> 00:43:00,680
Speaker 3: kind of heightens the ambiguity and the tension increases. The

786
00:43:00,719 --> 00:43:02,279
Speaker 3: tension because you don't know what to make of it.

787
00:43:02,320 --> 00:43:04,319
Speaker 3: A clown is supposed to be a funny and non

788
00:43:04,360 --> 00:43:07,520
Speaker 3: threatening thing, but obviously this is one that is causing

789
00:43:07,560 --> 00:43:12,040
Speaker 3: you fear, and that mismatch actually makes him more frightening.

790
00:43:12,480 --> 00:43:14,480
Speaker 2: Right, But there will come a point where it's like

791
00:43:14,960 --> 00:43:19,200
Speaker 2: the mask is drawn away, yeah, and the monsters revealed

792
00:43:19,760 --> 00:43:22,240
Speaker 2: and the cloudness is gone. But I think there's something

793
00:43:22,280 --> 00:43:25,040
Speaker 2: admirable where in a case like this movie where the

794
00:43:25,080 --> 00:43:28,520
Speaker 2: clownness goes absolutely all the way to the bone. I'd

795
00:43:28,560 --> 00:43:31,520
Speaker 2: venture to guess that maybe some incarnations of the Joker

796
00:43:31,680 --> 00:43:34,680
Speaker 2: in comic books land in this area, but Killer Clowns

797
00:43:34,680 --> 00:43:37,239
Speaker 2: from Outer Space definitely does. At no point is the

798
00:43:37,280 --> 00:43:41,320
Speaker 2: mask of the clown removed to reveal some horror beneath. Again,

799
00:43:41,400 --> 00:43:44,680
Speaker 2: they do not become clowns. They are clowns. Clowns are

800
00:43:44,680 --> 00:43:48,120
Speaker 2: a species in this movie. They don't paint themselves to

801
00:43:48,160 --> 00:43:52,000
Speaker 2: become what they're presented as. Like everything that they do

802
00:43:52,200 --> 00:43:56,520
Speaker 2: on a biological or civilizational level is clowning.

803
00:43:58,800 --> 00:44:02,280
Speaker 3: I think that's right. Yeah, yeah, So in this scene,

804
00:44:03,000 --> 00:44:05,120
Speaker 3: you know, you're right, we do get our first tastes

805
00:44:05,160 --> 00:44:07,840
Speaker 3: of that. So the farmer's dog disappears. I think a

806
00:44:07,880 --> 00:44:10,080
Speaker 3: hole appears in the side of the circus tent and

807
00:44:10,160 --> 00:44:14,880
Speaker 3: a big net comes out. And then the farmer turns

808
00:44:14,880 --> 00:44:17,640
Speaker 3: around and his dog's gone, And this part's actually kind

809
00:44:17,680 --> 00:44:21,759
Speaker 3: of sad, you know, But anyway, he gets enraged and

810
00:44:21,800 --> 00:44:24,359
Speaker 3: he starts shouting at the tent that he will tear

811
00:44:24,400 --> 00:44:27,640
Speaker 3: it apart with his bare hands. But then when he

812
00:44:27,680 --> 00:44:30,600
Speaker 3: grabs one of the ropes surrounding the tent, it sends

813
00:44:30,600 --> 00:44:34,440
Speaker 3: a huge jolt of electricity through him, and he says, like,

814
00:44:34,520 --> 00:44:38,080
Speaker 3: holy smokes, this thing is wired. And then uh oh,

815
00:44:38,120 --> 00:44:41,560
Speaker 3: here comes our first full view of one of the

816
00:44:41,600 --> 00:44:46,560
Speaker 3: movie's clowns. How can we describe the look? Generally, the

817
00:44:46,600 --> 00:44:50,839
Speaker 3: different clowns have somewhat different features, but they are basically

818
00:44:51,080 --> 00:44:56,000
Speaker 3: humanoid in shape, but with distorted features and proportions, generally

819
00:44:56,040 --> 00:44:59,600
Speaker 3: somewhat larger than a human but not much larger, or

820
00:45:00,160 --> 00:45:03,200
Speaker 3: have some parts of their body with larger than normal

821
00:45:03,239 --> 00:45:06,320
Speaker 3: proportions to the others, like a big head, big face,

822
00:45:06,480 --> 00:45:07,840
Speaker 3: big hands, and feet.

823
00:45:08,600 --> 00:45:13,719
Speaker 2: Yeah, like kind of like like a grotesque version of

824
00:45:13,760 --> 00:45:17,040
Speaker 2: like an old man's features underneath, but also like a

825
00:45:17,120 --> 00:45:22,560
Speaker 2: troll or an ogre's features. Yeah, you know, everything very exaggerated.

826
00:45:22,520 --> 00:45:26,040
Speaker 3: Of course, clown clothes and makeup with pale white skin,

827
00:45:26,160 --> 00:45:30,600
Speaker 3: generally candy colored hair, and big red noses. And then yeah,

828
00:45:30,600 --> 00:45:34,240
Speaker 3: like you're saying, there are these hints of monstrousness. The skin,

829
00:45:34,920 --> 00:45:37,560
Speaker 3: while made to look like a clown, it's got that

830
00:45:38,040 --> 00:45:42,840
Speaker 3: makeup look. The grease paint look is also texturally craggy.

831
00:45:43,040 --> 00:45:46,880
Speaker 3: It looks kind of rough and suggests a reptilian nature underneath,

832
00:45:46,960 --> 00:45:51,040
Speaker 3: or maybe like ancient skin. Also, the mouth on the

833
00:45:51,080 --> 00:45:54,200
Speaker 3: first guy we see is huge, with lots of glistening

834
00:45:54,239 --> 00:45:55,239
Speaker 3: teeth inside.

835
00:45:55,920 --> 00:45:59,440
Speaker 2: Yeah. Yeah, like it's sort of a cannibal more for something,

836
00:45:59,480 --> 00:46:02,920
Speaker 2: you know, like extra large mouth for consuming things.

837
00:46:03,840 --> 00:46:06,600
Speaker 3: So the clown approaches and the farmer is confused, and

838
00:46:06,640 --> 00:46:09,960
Speaker 3: then the clown says something in his alien clown language

839
00:46:10,000 --> 00:46:12,720
Speaker 3: which we hear many times in the film, then pulls

840
00:46:12,719 --> 00:46:15,520
Speaker 3: out a ray gun and appears to cook the farmer

841
00:46:15,640 --> 00:46:16,440
Speaker 3: alive with it.

842
00:46:17,320 --> 00:46:19,840
Speaker 2: That went about as well as we knew it would

843
00:46:20,320 --> 00:46:21,400
Speaker 2: for this poor farmer.

844
00:46:22,000 --> 00:46:24,880
Speaker 3: So next thing, we go to the police station, where

845
00:46:24,920 --> 00:46:28,320
Speaker 3: we get some drama between the two main cop characters

846
00:46:28,320 --> 00:46:31,319
Speaker 3: in the film. There is Mooney, the seething law and

847
00:46:31,440 --> 00:46:34,840
Speaker 3: order maniac we met earlier and a younger, more even

848
00:46:34,880 --> 00:46:38,200
Speaker 3: tempered cop named Dave Hanson played by John Allen Nelson.

849
00:46:38,800 --> 00:46:41,359
Speaker 3: The basic conflict in the scene is that Mooney has

850
00:46:41,600 --> 00:46:44,680
Speaker 3: arrested two college guys dressed like they're headed to a

851
00:46:44,680 --> 00:46:48,560
Speaker 3: Bauhause concert. He detained them I think for the crime

852
00:46:48,640 --> 00:46:51,839
Speaker 3: of walking through the park in goth makeup, or maybe

853
00:46:51,840 --> 00:46:55,400
Speaker 3: it was another open container issue I don't recall. But

854
00:46:56,000 --> 00:46:58,440
Speaker 3: Dave Hanson is trying to calm the situation and get

855
00:46:58,480 --> 00:47:01,120
Speaker 3: Mooney to take it easy, but Mooney won't be stopped.

856
00:47:01,160 --> 00:47:04,560
Speaker 3: He's freaking out and screaming like it's come like you

857
00:47:04,680 --> 00:47:07,479
Speaker 3: that are killing this town. And he hauls the guys

858
00:47:07,520 --> 00:47:11,960
Speaker 3: away for booking. But apparently these two cops have some

859
00:47:12,080 --> 00:47:16,360
Speaker 3: bad blood between them. Dave doesn't like Mooney beating people

860
00:47:16,440 --> 00:47:19,760
Speaker 3: up and raging around like a psycho, and Mooney doesn't

861
00:47:19,800 --> 00:47:23,600
Speaker 3: like Dave I think for being young, yeah, or maybe

862
00:47:23,640 --> 00:47:26,120
Speaker 3: for being weak. Maybe he's like, you know, you're not

863
00:47:26,200 --> 00:47:27,120
Speaker 3: tough enough on them.

864
00:47:27,560 --> 00:47:30,439
Speaker 2: Yeah. It quickly becomes clear that Mooney is a terrible cop.

865
00:47:30,600 --> 00:47:33,320
Speaker 2: He's a would be local tyrant who thinks the job

866
00:47:33,440 --> 00:47:37,000
Speaker 2: is all about cracking heads. And again, Vernon is the

867
00:47:37,040 --> 00:47:38,880
Speaker 2: perfect guy to play this hard ass.

868
00:47:38,960 --> 00:47:43,840
Speaker 3: Yeah. So our farmer guy already got microwaved by the clowns,

869
00:47:43,880 --> 00:47:46,240
Speaker 3: but now we gotta have another visit to the Circus Tints.

870
00:47:46,280 --> 00:47:49,239
Speaker 3: So Debbie and Mike are they were also going to

871
00:47:49,280 --> 00:47:51,279
Speaker 3: go look for where the shooting star landed, and they

872
00:47:51,360 --> 00:47:54,319
Speaker 3: end up tromping through the woods, with Mike doing a

873
00:47:54,360 --> 00:47:57,759
Speaker 3: lot of kind of cringey comedy routines as they go

874
00:47:58,280 --> 00:48:02,719
Speaker 3: until they finally come across the circus Tint Debbie. Once

875
00:48:02,760 --> 00:48:06,120
Speaker 3: they get there, Debbie is hesitant, but Mike is full

876
00:48:06,160 --> 00:48:09,440
Speaker 3: steam ahead and he leads them inside where wouldn't you

877
00:48:09,520 --> 00:48:11,880
Speaker 3: know it, This is not a circus tint but an

878
00:48:11,880 --> 00:48:17,959
Speaker 3: interstellar starship with pervasive decorative circus themes. And again, all

879
00:48:18,000 --> 00:48:20,880
Speaker 3: through this, mic is just doing this running comedy act

880
00:48:21,000 --> 00:48:24,280
Speaker 3: to impress Debbie, most of which is super cringe worthy.

881
00:48:24,680 --> 00:48:28,040
Speaker 2: Yeah, but this spaceship man looks amazing.

882
00:48:28,280 --> 00:48:31,040
Speaker 3: Yeah. So inside the spaceship they find a bunch of

883
00:48:31,120 --> 00:48:35,560
Speaker 3: fun house style corridors with wacky color schemes and angles.

884
00:48:36,600 --> 00:48:39,279
Speaker 3: There is a portal that leads to a giant reactor

885
00:48:39,360 --> 00:48:41,880
Speaker 3: room that really looks like it belongs on the Death Star.

886
00:48:42,040 --> 00:48:44,799
Speaker 3: I think because of just the vertical depth of it.

887
00:48:44,800 --> 00:48:50,320
Speaker 3: It's this giant chasm or shaft, but it is bathed

888
00:48:50,480 --> 00:48:52,680
Speaker 3: in pink and purple light. And then at the core

889
00:48:52,760 --> 00:48:55,440
Speaker 3: of this chamber is a giant crystal ball that is

890
00:48:55,600 --> 00:48:57,040
Speaker 3: arcing like a Tesla coil.

891
00:48:58,040 --> 00:49:01,920
Speaker 2: Yeah, I love this scene. Like the painting special effects

892
00:49:01,960 --> 00:49:05,560
Speaker 2: combo here looks really good, Like, well, it really didn't

893
00:49:05,560 --> 00:49:07,840
Speaker 2: even need to look this cool and clowney at the

894
00:49:07,880 --> 00:49:10,520
Speaker 2: same time, but it does. And I guess, you know,

895
00:49:10,600 --> 00:49:14,120
Speaker 2: also drives home that we're dealing with an advanced civilization here,

896
00:49:14,160 --> 00:49:19,400
Speaker 2: Like they're somewhere on the Kardashchev scale, the Kardashev clown scale.

897
00:49:19,400 --> 00:49:22,640
Speaker 2: I'm not sure how that differs from your standard Kardaschev scale,

898
00:49:23,040 --> 00:49:25,680
Speaker 2: but they're on there. They have advanced technology, but they're

899
00:49:25,680 --> 00:49:26,640
Speaker 2: clowning to the max.

900
00:49:27,239 --> 00:49:29,960
Speaker 3: They don't have dice in spheres. They have dice in balloons.

901
00:49:30,239 --> 00:49:31,120
Speaker 2: Yes, there you go.

902
00:49:40,800 --> 00:49:43,719
Speaker 3: So anyway, they you know, they're starting to get the

903
00:49:43,760 --> 00:49:46,520
Speaker 3: idea that something's a little weird here. I think Debbie says,

904
00:49:46,600 --> 00:49:50,439
Speaker 3: this is no fun house, no circus either. So Mike

905
00:49:50,520 --> 00:49:53,040
Speaker 3: and Debbie realized that the shooting star they saw was

906
00:49:53,080 --> 00:49:55,960
Speaker 3: actually an alien ship and they are now inside it,

907
00:49:56,760 --> 00:49:59,600
Speaker 3: so they hear some approaching footsteps and they duck into

908
00:49:59,640 --> 00:50:03,000
Speaker 3: a different room to hide. This room is the cotton

909
00:50:03,160 --> 00:50:06,160
Speaker 3: Candy Room, which we will visit again a couple times

910
00:50:06,160 --> 00:50:10,200
Speaker 3: in the film. This is a giant room filled with

911
00:50:10,960 --> 00:50:16,800
Speaker 3: fog swirling around the floor and large pink, almost testicular

912
00:50:16,920 --> 00:50:20,720
Speaker 3: kind of bowllesses hanging off of hooks on metal racks

913
00:50:21,200 --> 00:50:23,560
Speaker 3: with rows and rows of rack space going up to

914
00:50:23,600 --> 00:50:27,960
Speaker 3: the ceiling. And these pink bulbs, these dangling bulbs are

915
00:50:28,040 --> 00:50:30,680
Speaker 3: supposed to be cotton candy.

916
00:50:30,840 --> 00:50:33,600
Speaker 2: Yes, which you know, we did some episodes of stuff

917
00:50:33,600 --> 00:50:35,959
Speaker 2: to blow your mind on cotton candy a while back,

918
00:50:36,000 --> 00:50:38,680
Speaker 2: and you know, as we discussed there, like cotton candy

919
00:50:38,800 --> 00:50:43,360
Speaker 2: is just intrinsically bound the idea of circus and fair

920
00:50:43,520 --> 00:50:46,200
Speaker 2: and outdoor spectacle, so it makes sense that it would

921
00:50:46,200 --> 00:50:49,560
Speaker 2: be associated with clowns. But as we'll discuss, the cotton

922
00:50:49,600 --> 00:50:52,520
Speaker 2: candy here that the clowns are using must not be

923
00:50:52,600 --> 00:50:55,200
Speaker 2: true cotton candy because they can do things that cotton

924
00:50:55,239 --> 00:50:58,560
Speaker 2: candy is completely incapable of doing. It really seems to

925
00:50:58,600 --> 00:51:00,360
Speaker 2: be more like a spider's silk.

926
00:51:01,000 --> 00:51:04,840
Speaker 3: Yeah, yeah, that's right. But Mike does not catch on

927
00:51:04,960 --> 00:51:09,640
Speaker 3: too to the spider silk elements here. He first says,

928
00:51:09,760 --> 00:51:12,799
Speaker 3: look at this place smells like candy. I don't know

929
00:51:12,800 --> 00:51:14,960
Speaker 3: where we were before, but this looks like a cotton

930
00:51:15,000 --> 00:51:17,319
Speaker 3: candy factory to me. This must be where they hang

931
00:51:17,360 --> 00:51:20,080
Speaker 3: it up to dry before they ship it out. What

932
00:51:21,640 --> 00:51:24,200
Speaker 3: And Debbie says, I don't believe in UFOs, but if

933
00:51:24,239 --> 00:51:27,160
Speaker 3: they do exist, then we're trapped in one right now.

934
00:51:28,040 --> 00:51:30,080
Speaker 3: But Mike doesn't seem to agree. He gives her the

935
00:51:30,120 --> 00:51:32,240
Speaker 3: old you come on, there's got to be a logical

936
00:51:32,280 --> 00:51:37,040
Speaker 3: explanation for this, and to which Debbie replies, I don't

937
00:51:37,080 --> 00:51:40,080
Speaker 3: remember exactly how she gets here, but she says, nobody

938
00:51:40,120 --> 00:51:45,600
Speaker 3: stores cotton candy like this, and she's right, Yeah again,

939
00:51:45,640 --> 00:51:49,800
Speaker 3: we did core episodes on cotton candy. Cotton candy is hygroscopic,

940
00:51:49,960 --> 00:51:53,000
Speaker 3: meaning it absorbs moisture from the air and it will

941
00:51:53,120 --> 00:51:56,080
Speaker 3: lose its fluffiness and turn into sticky goop. Look at

942
00:51:56,080 --> 00:51:57,960
Speaker 3: all the fog in that room. That is a high

943
00:51:58,080 --> 00:52:00,799
Speaker 3: humidity room. You cannot hang cotton candy like that.

944
00:52:01,080 --> 00:52:01,880
Speaker 2: Yeah. Absolutely.

945
00:52:02,760 --> 00:52:06,160
Speaker 3: However, Mike decides he's got to prove that Debbie is

946
00:52:06,200 --> 00:52:10,080
Speaker 3: being silly and demonstrate that this is definitely normal cotton

947
00:52:10,120 --> 00:52:13,520
Speaker 3: candy and not sinister outer space cotton candy. So he

948
00:52:13,719 --> 00:52:17,960
Speaker 3: rips out a chunk of the nearest bulb, revealing underneath

949
00:52:18,120 --> 00:52:22,240
Speaker 3: the wet, bloody, skinless face of a man. So it

950
00:52:22,320 --> 00:52:25,800
Speaker 3: in fact is not just cotton candy. These are cocoons

951
00:52:25,840 --> 00:52:28,879
Speaker 3: made out of a cotton candy like substance, which again

952
00:52:29,000 --> 00:52:31,360
Speaker 3: is a terrible idea, by the way, and they appear

953
00:52:31,440 --> 00:52:33,000
Speaker 3: to dissolve your flesh.

954
00:52:34,080 --> 00:52:35,680
Speaker 2: Looks pretty grim. Looks pretty grim.

955
00:52:35,840 --> 00:52:38,600
Speaker 3: Yeah, So Mike and Debbie are interrupted when a clown

956
00:52:38,640 --> 00:52:41,000
Speaker 3: comes in to hang up a new bulb. And by

957
00:52:41,000 --> 00:52:43,360
Speaker 3: the way, just side note, in the middle of the

958
00:52:43,440 --> 00:52:46,879
Speaker 3: room there is a giant popcorn machine. He just pops

959
00:52:46,920 --> 00:52:47,960
Speaker 3: swirling popcorn.

960
00:52:48,120 --> 00:52:48,279
Speaker 4: Yeah.

961
00:52:48,320 --> 00:52:49,919
Speaker 2: We'll learn more about that popcorn later.

962
00:52:50,480 --> 00:52:53,200
Speaker 3: But Mike and Debbie are discovered and they bolt for

963
00:52:53,239 --> 00:52:56,399
Speaker 3: the exit, and the clown gives chase, bringing along a

964
00:52:56,680 --> 00:53:00,880
Speaker 3: popcorn gun. This is a big gun that shoots popcorn

965
00:53:00,920 --> 00:53:03,319
Speaker 3: that kind of flies through the air after them as

966
00:53:03,360 --> 00:53:06,920
Speaker 3: they run. The popcorn does hit Debbie and Mike just

967
00:53:06,960 --> 00:53:09,279
Speaker 3: as they escape the tent, but it doesn't kill them.

968
00:53:09,320 --> 00:53:11,680
Speaker 3: And I really wasn't sure what the popcorn was supposed

969
00:53:11,680 --> 00:53:13,440
Speaker 3: to do at this point, but they do come back

970
00:53:13,480 --> 00:53:17,799
Speaker 3: to that. Yeah, so Debbie's like popcorn? Why popcorn? And

971
00:53:17,840 --> 00:53:22,560
Speaker 3: then Mike says, because of their clowns, that's why. Also

972
00:53:22,760 --> 00:53:26,279
Speaker 3: after this, Mike and Debbie like they run away, and

973
00:53:26,360 --> 00:53:28,839
Speaker 3: when the clowns follow them outside the tent, they make

974
00:53:28,920 --> 00:53:32,799
Speaker 3: a balloon animal dog that helps them track the humans. Yes,

975
00:53:33,280 --> 00:53:35,359
Speaker 3: it's barking and roughing, you.

976
00:53:35,320 --> 00:53:37,320
Speaker 2: Know, total Looney Tunes moment.

977
00:53:37,600 --> 00:53:40,480
Speaker 3: Right, So there's a chase through the woods, but Debbie

978
00:53:40,480 --> 00:53:43,120
Speaker 3: and Mike get away in their car and also they

979
00:53:44,120 --> 00:53:46,160
Speaker 3: you know, there's some fighting in the car, like you know,

980
00:53:46,200 --> 00:53:47,680
Speaker 3: you end up with a clown on the hood of

981
00:53:47,719 --> 00:53:49,719
Speaker 3: the car, of course, trying to reach through the windshield.

982
00:53:50,400 --> 00:53:52,880
Speaker 3: But they get away and then while escaping the scene,

983
00:53:52,920 --> 00:53:54,959
Speaker 3: they talk about what to do next to Mike thinks

984
00:53:55,000 --> 00:53:57,880
Speaker 3: they can't tell anyone because of how crazy the story sounds,

985
00:53:58,200 --> 00:54:00,360
Speaker 3: but Debbie says she has a friend who works for

986
00:54:00,360 --> 00:54:04,240
Speaker 3: the police and he will believe them. She knows it. Meanwhile,

987
00:54:04,239 --> 00:54:08,120
Speaker 3: we watch the clowns slowly waddling toward the city limits.

988
00:54:08,320 --> 00:54:11,080
Speaker 3: Oh no, and this will be the beginning of a

989
00:54:11,120 --> 00:54:12,759
Speaker 3: lot of the movie is just going to be little

990
00:54:12,800 --> 00:54:18,440
Speaker 3: scenes of the clowns doing various clowning, clowning activities and

991
00:54:18,520 --> 00:54:23,799
Speaker 3: circus related activities within the city against the citizens, all

992
00:54:23,840 --> 00:54:26,640
Speaker 3: of which end in people being caught and cocooned.

993
00:54:26,880 --> 00:54:30,920
Speaker 2: Yeah, all acts that are at once malicious and pure clowning.

994
00:54:31,160 --> 00:54:33,440
Speaker 2: And at times it's hard, it's hard to figure out

995
00:54:33,480 --> 00:54:36,440
Speaker 2: exactly like what the mo is like. Are they entertaining

996
00:54:37,000 --> 00:54:40,239
Speaker 2: to put their victims at ease before they get them

997
00:54:40,280 --> 00:54:43,520
Speaker 2: and you know, cocon them for later, or is there

998
00:54:43,520 --> 00:54:46,359
Speaker 2: something else like is there's just something about them where

999
00:54:46,360 --> 00:54:49,000
Speaker 2: they must entertain people as well? I don't know they

1000
00:54:49,040 --> 00:54:50,080
Speaker 2: are after all.

1001
00:54:50,560 --> 00:54:53,040
Speaker 3: I really like the moment where the clown tries to

1002
00:54:53,120 --> 00:54:56,960
Speaker 3: blend in by pretending to be a motorized Halloween decoration

1003
00:54:57,080 --> 00:54:58,280
Speaker 3: outside the drug store.

1004
00:54:58,640 --> 00:55:00,120
Speaker 2: That's smart, that's stealthy.

1005
00:55:00,719 --> 00:55:04,040
Speaker 3: So the friend that Debbie was talking about is Dave Hansen,

1006
00:55:04,120 --> 00:55:07,760
Speaker 3: the nicer cop from earlier. So Debbie and Mike try

1007
00:55:07,960 --> 00:55:09,680
Speaker 3: They get to the police station and they try to

1008
00:55:09,719 --> 00:55:11,760
Speaker 3: explain to him what they saw. But in the middle

1009
00:55:11,800 --> 00:55:16,799
Speaker 3: of explaining the killer clown popcorn conspiracy, Mooney wanders in

1010
00:55:16,840 --> 00:55:19,280
Speaker 3: and he's like, ah, this is a load of hogwash.

1011
00:55:19,600 --> 00:55:22,280
Speaker 3: And Mooney says to Mike he says, I know you,

1012
00:55:22,280 --> 00:55:25,560
Speaker 3: you little fart. You hang out with the Tarnzi brothers,

1013
00:55:26,200 --> 00:55:29,640
Speaker 3: and Mooney concludes that these clowns they're talking about are

1014
00:55:29,920 --> 00:55:35,440
Speaker 3: a Tarnsi Brothers stunt to sell ice cream. Makes sense

1015
00:55:36,280 --> 00:55:39,759
Speaker 3: so much to Mooney's derision, Dave agrees to go with

1016
00:55:39,840 --> 00:55:42,239
Speaker 3: Mike and Debbie to check out the circus tent and

1017
00:55:42,280 --> 00:55:46,320
Speaker 3: see for himself. Now we eventually learn here that Dave

1018
00:55:46,680 --> 00:55:49,680
Speaker 3: is Debbie's ex boyfriend and he is still in love

1019
00:55:49,680 --> 00:55:53,040
Speaker 3: with her, still carrying a torch for her, and because

1020
00:55:53,080 --> 00:55:55,040
Speaker 3: he still cares about her, he takes this kind of

1021
00:55:55,040 --> 00:55:57,719
Speaker 3: paternalistic tone and tells her that she can't come back

1022
00:55:57,719 --> 00:56:00,800
Speaker 3: to the ship. He's dropping her off at home, and

1023
00:56:02,400 --> 00:56:04,480
Speaker 3: Mike and Debbie have a little moment talking to each

1024
00:56:04,480 --> 00:56:06,239
Speaker 3: other before Mike is going to get back in the

1025
00:56:06,239 --> 00:56:08,919
Speaker 3: car and go with Dave up to the tent, and

1026
00:56:09,000 --> 00:56:10,560
Speaker 3: he's worried. He's like, yeah, I didn't know he was

1027
00:56:10,560 --> 00:56:12,719
Speaker 3: your ex boyfriend. He's gonna shoot me when we get

1028
00:56:12,760 --> 00:56:15,960
Speaker 3: up there, and Debbie tells Mike, don't worry about Dave.

1029
00:56:16,239 --> 00:56:22,640
Speaker 3: It's those clowns you got to worry about. So let's

1030
00:56:22,640 --> 00:56:25,600
Speaker 3: talk about some of the general clown antics in town.

1031
00:56:26,040 --> 00:56:28,880
Speaker 2: Yeah, because it basically becomes that for a while, just

1032
00:56:29,000 --> 00:56:31,600
Speaker 2: one clown antic can kill after another.

1033
00:56:32,080 --> 00:56:35,239
Speaker 3: One I liked is the puppet show in the gazebo

1034
00:56:35,480 --> 00:56:39,240
Speaker 3: with a single audience member, And I was genuinely laughing

1035
00:56:39,239 --> 00:56:42,760
Speaker 3: out loud about how this guy is just at first,

1036
00:56:42,760 --> 00:56:45,959
Speaker 3: he's scoffing and rolling his eyes at a puppet show

1037
00:56:46,080 --> 00:56:48,360
Speaker 3: that he is choosing to watch alone.

1038
00:56:49,160 --> 00:56:49,440
Speaker 5: Yeah.

1039
00:56:49,520 --> 00:56:52,240
Speaker 2: Yeah, he's like, Wow, what is this crap? But then

1040
00:56:52,239 --> 00:56:55,799
Speaker 2: he's drawn in by the you know, the raw honesty

1041
00:56:56,040 --> 00:56:59,080
Speaker 2: of this two puppet performance. And one of the puppets

1042
00:56:59,160 --> 00:57:02,239
Speaker 2: draws a lake are gun of some sort ray gun

1043
00:57:02,320 --> 00:57:06,239
Speaker 2: and zaps the other puppet, making that puppet completely evaporate.

1044
00:57:06,760 --> 00:57:08,480
Speaker 3: Yeah, and then the guy's like what And then of

1045
00:57:08,480 --> 00:57:11,200
Speaker 3: course the gun gets turned on him but zaps him

1046
00:57:11,200 --> 00:57:12,680
Speaker 3: into a cotton candy cocoon.

1047
00:57:13,239 --> 00:57:15,040
Speaker 2: Yeah, so this is where we learned. This is what

1048
00:57:15,080 --> 00:57:18,560
Speaker 2: they're doing. They zap people this the ray gun like

1049
00:57:18,640 --> 00:57:22,200
Speaker 2: spins them around, and then they're in this candy cotton

1050
00:57:22,200 --> 00:57:25,320
Speaker 2: candy cocoon that can then be collected later harvested.

1051
00:57:25,600 --> 00:57:27,680
Speaker 3: We also get a lot of drug store antics. We

1052
00:57:27,680 --> 00:57:30,360
Speaker 3: saw the clown going to the drug store earlier. So

1053
00:57:30,760 --> 00:57:34,840
Speaker 3: once inside, the clown wanders around clumsily knocking things over.

1054
00:57:35,320 --> 00:57:39,880
Speaker 3: The drug store clerk is extremely nervous and bothered by this. Uh,

1055
00:57:39,920 --> 00:57:43,160
Speaker 3: and eventually the clown starts cotton can, defying everybody in

1056
00:57:43,200 --> 00:57:46,680
Speaker 3: the store. But they're also like playing with the products,

1057
00:57:46,680 --> 00:57:49,920
Speaker 3: spraying themselves with shaving cream and sneezing in the baby powder.

1058
00:57:50,160 --> 00:57:52,720
Speaker 2: They can't resist a good site guy like that. They

1059
00:57:52,720 --> 00:57:53,480
Speaker 2: got to go for it.

1060
00:57:53,880 --> 00:57:58,400
Speaker 3: We also get a pizza delivery clown gag. I think

1061
00:57:58,480 --> 00:58:02,440
Speaker 3: that this is supposed to be a Carl Hungus style

1062
00:58:03,240 --> 00:58:06,040
Speaker 3: like pornographic movie set up, or like, oh, here's the

1063
00:58:06,040 --> 00:58:08,880
Speaker 3: pizza delivery guy here and the lady's answering the door

1064
00:58:08,880 --> 00:58:12,240
Speaker 3: in her nightgown but instead wine, yeah, with a glass

1065
00:58:12,240 --> 00:58:15,720
Speaker 3: of wine. But instead it's a clown delivering the pizza.

1066
00:58:15,800 --> 00:58:18,080
Speaker 3: And then the pizza box opens and inside there are

1067
00:58:18,080 --> 00:58:18,840
Speaker 3: more clowns.

1068
00:58:19,080 --> 00:58:22,200
Speaker 2: Yeah. This actress, by the way, is Carla Sue Krawl.

1069
00:58:22,360 --> 00:58:25,680
Speaker 2: This is only credit though, but this gag, this was hilarious,

1070
00:58:25,680 --> 00:58:28,640
Speaker 2: So clearly we clearly we need to do another similar

1071
00:58:28,680 --> 00:58:30,440
Speaker 2: bit with another clown delivery.

1072
00:58:30,600 --> 00:58:33,320
Speaker 3: Yeah, basically the same setup, but instead now it's an

1073
00:58:33,320 --> 00:58:36,240
Speaker 3: older lady who opens the door and the clown at

1074
00:58:36,240 --> 00:58:40,400
Speaker 3: the door has a box of Valentine cotton candy or

1075
00:58:40,440 --> 00:58:43,360
Speaker 3: not cotton candy, sorry, Valentine like chocolates box, you know,

1076
00:58:44,840 --> 00:58:48,000
Speaker 3: in a heart shape. And she turns and I guess

1077
00:58:48,120 --> 00:58:50,320
Speaker 3: is talking to her husband and she's like, oh, you know,

1078
00:58:50,720 --> 00:58:54,040
Speaker 3: oh Phil, you got this for me, And of course

1079
00:58:54,080 --> 00:58:56,840
Speaker 3: the clown there is ready to cotton candify them once again.

1080
00:58:57,080 --> 00:58:59,960
Speaker 2: They have a great deal of cultural knowledge of our planet.

1081
00:59:00,920 --> 00:59:02,840
Speaker 2: Maybe did a lot of research. Maybe we're you know,

1082
00:59:02,840 --> 00:59:04,280
Speaker 2: they're on the dark side of the moon for a

1083
00:59:04,280 --> 00:59:06,880
Speaker 2: while before they they made their trip, they've.

1084
00:59:06,680 --> 00:59:11,600
Speaker 3: Been studying us, watching our TV. So after dropping Debbie off,

1085
00:59:11,920 --> 00:59:14,240
Speaker 3: Dave and Mike head up to check out the spaceship tent.

1086
00:59:14,360 --> 00:59:16,919
Speaker 3: But when they arrived, there's nothing there, just a big

1087
00:59:16,960 --> 00:59:20,160
Speaker 3: hole in the ground. Huh. Well here, Dave gets mad

1088
00:59:20,240 --> 00:59:25,320
Speaker 3: and he places Mike under arrest. Another antic of that

1089
00:59:25,440 --> 00:59:28,440
Speaker 3: is going on in town is the whole biker versus

1090
00:59:28,480 --> 00:59:35,000
Speaker 3: clown scene, which is very inspired. There are a there's

1091
00:59:35,040 --> 00:59:38,400
Speaker 3: like a massive congregation of bikers hanging out in an

1092
00:59:38,440 --> 00:59:41,920
Speaker 3: alley outside a building that is covered in graffiti. By

1093
00:59:41,920 --> 00:59:43,920
Speaker 3: the way, I paused it to just read what some

1094
00:59:44,000 --> 00:59:46,800
Speaker 3: of the graffiti is some of it's biker slogans, but

1095
00:59:46,880 --> 00:59:50,560
Speaker 3: other stuff is like one graffito just says Jimmy Hendrix,

1096
00:59:51,000 --> 00:59:52,760
Speaker 3: another one says beer.

1097
00:59:53,240 --> 00:59:56,160
Speaker 2: Yeah, or one says no button, no put. What does

1098
00:59:56,160 --> 00:59:57,960
Speaker 2: that even mean? I don't know. Maybe that's someone.

1099
00:59:57,840 --> 01:00:01,120
Speaker 3: That's a that's a biker thing. I actually looked that up.

1100
01:00:01,200 --> 01:00:03,919
Speaker 3: I think it means basically like, I will not give

1101
01:00:03,920 --> 01:00:05,960
Speaker 3: you a ride on my bike unless I find you

1102
01:00:06,080 --> 01:00:07,080
Speaker 3: sexually attractive.

1103
01:00:07,400 --> 01:00:08,840
Speaker 2: Oh okay, but.

1104
01:00:08,880 --> 01:00:12,000
Speaker 3: Anyway, so, yeah, all the bikers are hanging out being rowdy,

1105
01:00:12,040 --> 01:00:15,360
Speaker 3: and then a single clown rides up to them on

1106
01:00:15,440 --> 01:00:18,320
Speaker 3: a bicycle with training wheels. I think this is the

1107
01:00:18,640 --> 01:00:21,440
Speaker 3: sort of it's implied the childlike clown.

1108
01:00:21,840 --> 01:00:24,080
Speaker 2: Yeah, this is the little guy of the group that

1109
01:00:24,520 --> 01:00:26,200
Speaker 2: may be a young clown.

1110
01:00:26,520 --> 01:00:30,480
Speaker 3: Yeah. So he rides up on his little bicycle with

1111
01:00:30,560 --> 01:00:34,880
Speaker 3: training wheels. And then there's one big, gross, drooling, mean biker,

1112
01:00:34,920 --> 01:00:38,640
Speaker 3: the biker bully, who approaches this little clown and starts

1113
01:00:38,680 --> 01:00:41,640
Speaker 3: bullying him. He asks if he can ride his bicycle,

1114
01:00:41,960 --> 01:00:44,280
Speaker 3: and the little clown shakes his head, and then the

1115
01:00:44,280 --> 01:00:47,960
Speaker 3: bully smashes the clown's bicycle while all his friends cheer,

1116
01:00:48,920 --> 01:00:51,200
Speaker 3: and then you really feel sad for the clown here. Yeah,

1117
01:00:51,360 --> 01:00:53,400
Speaker 3: he cries a little bit. It's so sad. He's just

1118
01:00:53,440 --> 01:00:58,520
Speaker 3: a little guy. And then one of the other bikers

1119
01:00:58,560 --> 01:01:00,960
Speaker 3: watching this is like, yeah, he should have let the

1120
01:01:00,960 --> 01:01:06,440
Speaker 3: man ride his bike. But then the clown manifests boxing

1121
01:01:06,480 --> 01:01:08,800
Speaker 3: gloves and puts his hands up and he starts dancing

1122
01:01:08,800 --> 01:01:12,320
Speaker 3: around and cutely saying something in the alien clown language.

1123
01:01:12,520 --> 01:01:15,080
Speaker 3: It sounds a bit like Scooby Doo saying, put up

1124
01:01:15,080 --> 01:01:18,280
Speaker 3: your dukes, and then he punches the biker's head off

1125
01:01:18,320 --> 01:01:19,320
Speaker 3: into a trash can.

1126
01:01:19,480 --> 01:01:20,640
Speaker 2: Yeah, fatality.

1127
01:01:22,320 --> 01:01:24,320
Speaker 3: Back at the Big Top Burger, we get one of

1128
01:01:24,320 --> 01:01:26,880
Speaker 3: the actually creepier scenes in the movie, where there is

1129
01:01:26,920 --> 01:01:30,720
Speaker 3: a clown outside the restaurant playing peekaboo with a child

1130
01:01:30,800 --> 01:01:34,720
Speaker 3: through the window and trying to lure her outside while

1131
01:01:34,720 --> 01:01:38,640
Speaker 3: holding a giant cartoon mallet behind his back. But fortunately

1132
01:01:38,680 --> 01:01:41,400
Speaker 3: before the girl can make it outside to her clown doom,

1133
01:01:41,560 --> 01:01:44,240
Speaker 3: her scolding mother yanks her back to the table to

1134
01:01:44,240 --> 01:01:45,320
Speaker 3: finish her hamburger.

1135
01:01:45,560 --> 01:01:49,560
Speaker 2: Yeah, definitely very creepy sequence. Clown looked amazing. The music

1136
01:01:49,720 --> 01:01:53,400
Speaker 2: was very evocative here. Yeah, in that mallet, you know,

1137
01:01:53,480 --> 01:01:56,120
Speaker 2: obviously a comedic mallet but what's he going to do? Like,

1138
01:01:56,160 --> 01:01:59,520
Speaker 2: what kind of awful clown technology does it have? So

1139
01:01:59,640 --> 01:02:01,640
Speaker 2: really twin this did not come to fruition.

1140
01:02:01,880 --> 01:02:05,000
Speaker 3: I think we never see the mallet used in the film,

1141
01:02:05,080 --> 01:02:06,320
Speaker 3: so we don't know about that one.

1142
01:02:06,360 --> 01:02:07,680
Speaker 2: We're just left to imagine.

1143
01:02:08,200 --> 01:02:11,200
Speaker 3: Also, somewhere in here there is the thing that we

1144
01:02:11,280 --> 01:02:13,440
Speaker 3: really had a question about. There's a scene where there

1145
01:02:13,560 --> 01:02:16,760
Speaker 3: is a dude driving along a dark highway and he

1146
01:02:16,840 --> 01:02:19,280
Speaker 3: gets run off the road over the edge of a

1147
01:02:19,320 --> 01:02:22,240
Speaker 3: bridge by a clown driving what I took to be

1148
01:02:22,880 --> 01:02:26,440
Speaker 3: an invisible car. So I was trying it first to think, like,

1149
01:02:27,280 --> 01:02:29,800
Speaker 3: this doesn't seem clown related, like so many of the

1150
01:02:29,840 --> 01:02:32,640
Speaker 3: other attacks and gags are, what's the deal here? But

1151
01:02:32,680 --> 01:02:34,880
Speaker 3: then I was thinking, maybe it's supposed to be miming,

1152
01:02:35,080 --> 01:02:38,880
Speaker 3: because you know, clowns and mimes have some overlap, and

1153
01:02:39,000 --> 01:02:42,520
Speaker 3: mimes interact with invisible objects. That's part of clowning. I've

1154
01:02:42,520 --> 01:02:45,600
Speaker 3: never really seen an invisible car gag from a mime.

1155
01:02:46,240 --> 01:02:49,440
Speaker 2: Yeah, yeah, this one. This segment made a lot more

1156
01:02:49,480 --> 01:02:51,480
Speaker 2: sense when I read that bit about one of the

1157
01:02:51,560 --> 01:02:55,560
Speaker 2: Kyoto brothers being inspired by a supposed encounter with a

1158
01:02:55,560 --> 01:02:58,600
Speaker 2: clown driving on a mountain road, write what you know

1159
01:02:58,760 --> 01:03:00,000
Speaker 2: right exactly.

1160
01:03:00,560 --> 01:03:03,560
Speaker 3: Meanwhile, Officer Dave, with Mike handcuffed in the back of

1161
01:03:03,600 --> 01:03:06,680
Speaker 3: his squad car, comes across the Lover's lane from earlier

1162
01:03:07,240 --> 01:03:09,600
Speaker 3: and all the cars that now appear to be abandoned.

1163
01:03:09,640 --> 01:03:12,800
Speaker 3: It's dark and quiet here, and he investigates further and

1164
01:03:12,840 --> 01:03:16,160
Speaker 3: finds nobody around. All the cars are just filled with

1165
01:03:16,480 --> 01:03:19,680
Speaker 3: cobwebs of cotton candy, and so I think that's all

1166
01:03:19,720 --> 01:03:22,480
Speaker 3: the convincing Dave needs. He goes back in the uncuffs Mike.

1167
01:03:22,520 --> 01:03:24,320
Speaker 3: He's like, Okay, I believe you clowns.

1168
01:03:24,640 --> 01:03:28,080
Speaker 2: Yeah, yeah, the cotton candy cobwebs are just really convincing

1169
01:03:28,120 --> 01:03:30,960
Speaker 2: here too, Like it's everything's just bright, pink and colorful.

1170
01:03:31,000 --> 01:03:33,880
Speaker 2: But he's also legitimately unganny and creepy.

1171
01:03:34,400 --> 01:03:37,240
Speaker 3: Now there's some more police business. There's a scene where

1172
01:03:37,720 --> 01:03:41,320
Speaker 3: we're at the police station and Mooney is reading a

1173
01:03:41,360 --> 01:03:45,560
Speaker 3: magazine laughing to himself, laughing like it's a humor magazine

1174
01:03:45,640 --> 01:03:48,560
Speaker 3: or something, maybe he's reading copy of Mad. But then

1175
01:03:49,000 --> 01:03:51,800
Speaker 3: we see him turn a page and it's a gun catalog.

1176
01:03:52,560 --> 01:03:53,680
Speaker 3: What's he laughing at?

1177
01:03:54,000 --> 01:03:54,200
Speaker 2: Yeah?

1178
01:03:54,280 --> 01:03:57,720
Speaker 3: Yeah, But then the clown calls start coming in on

1179
01:03:57,760 --> 01:03:59,800
Speaker 3: the phone. The phones are ringing off the hooks with

1180
01:04:00,560 --> 01:04:04,120
Speaker 3: clown related complaints. You know, He's like, oh really, the

1181
01:04:04,160 --> 01:04:08,200
Speaker 3: clowns took your wife away in a balloon, And Mooney

1182
01:04:08,280 --> 01:04:11,240
Speaker 3: is angry. He does not like this nonsense, and he says,

1183
01:04:11,280 --> 01:04:13,320
Speaker 3: if they want to play games, they're missing with the

1184
01:04:13,360 --> 01:04:17,280
Speaker 3: wrong guy. So he resolves to ignore all of the

1185
01:04:17,320 --> 01:04:19,360
Speaker 3: phones that are ringing in the police station.

1186
01:04:19,760 --> 01:04:23,960
Speaker 2: Yeah, the perfection of his terrible job as a cop,

1187
01:04:24,320 --> 01:04:28,479
Speaker 2: actively ignoring dangerous situations going on while also just being

1188
01:04:28,520 --> 01:04:29,800
Speaker 2: a tyrannical bully.

1189
01:04:30,000 --> 01:04:33,040
Speaker 3: Now, meanwhile, we got the beginning of you alluded to

1190
01:04:33,080 --> 01:04:38,040
Speaker 3: this earlier rob the famous shower scene, not famous for

1191
01:04:38,120 --> 01:04:40,160
Speaker 3: the reasons many shower scenes are famous.

1192
01:04:41,040 --> 01:04:43,520
Speaker 2: That's right. It is a shower scene that does seem

1193
01:04:43,520 --> 01:04:47,160
Speaker 2: to go on forever. I got a sense of this one.

1194
01:04:47,200 --> 01:04:49,720
Speaker 2: I watched it through the first time in its entirety.

1195
01:04:49,760 --> 01:04:52,480
Speaker 2: But then I saw some folks referencing this online saying

1196
01:04:52,480 --> 01:04:55,160
Speaker 2: it's the longest cinematic shower of all time. I don't

1197
01:04:55,200 --> 01:04:57,200
Speaker 2: know about that. I couldn't find some stats on that.

1198
01:04:57,680 --> 01:05:01,160
Speaker 2: But again, it is remark first of all, and then

1199
01:05:01,200 --> 01:05:04,320
Speaker 2: it is a very PG thirteen shower scene. We get

1200
01:05:04,320 --> 01:05:09,120
Speaker 2: full arm nudity. We almost see an armpit. That's about it. Yeah,

1201
01:05:09,240 --> 01:05:12,400
Speaker 2: like it's it's even tamer than the full bikini shower

1202
01:05:12,440 --> 01:05:18,000
Speaker 2: scene from Piranha Mandir. We watched a while back, and

1203
01:05:17,680 --> 01:05:19,640
Speaker 2: it indeed goes on a while, so I had to

1204
01:05:19,680 --> 01:05:24,280
Speaker 2: clock it. I got out my stopwatch. Multiple scenes and

1205
01:05:24,400 --> 01:05:27,720
Speaker 2: nearly twelve minutes of screen time take place between the

1206
01:05:27,760 --> 01:05:31,680
Speaker 2: beginning and the end of Debbie's actual shower, and that's

1207
01:05:31,760 --> 01:05:33,800
Speaker 2: just when the water turns off. It is a full

1208
01:05:33,920 --> 01:05:37,200
Speaker 2: eighteen plus minutes of screen time before we see her

1209
01:05:37,360 --> 01:05:40,800
Speaker 2: fully out of the shower and dressed, but still in

1210
01:05:40,840 --> 01:05:42,040
Speaker 2: the bathroom.

1211
01:05:42,400 --> 01:05:46,160
Speaker 3: Yeah, that's right, So it's not all that much screen time,

1212
01:05:46,400 --> 01:05:48,840
Speaker 3: but it just spans a lot of the film. You

1213
01:05:48,880 --> 01:05:52,040
Speaker 3: get this feel like it starts in the middle of

1214
01:05:52,120 --> 01:05:54,800
Speaker 3: the movie and then you're like into the third act

1215
01:05:54,840 --> 01:05:55,800
Speaker 3: by the time it's over.

1216
01:05:56,080 --> 01:05:57,720
Speaker 2: Yeah, I guess screen time is maybe not the right

1217
01:05:57,760 --> 01:06:00,840
Speaker 2: discrete because it's yeah, we're not actually walked the full thing,

1218
01:06:01,000 --> 01:06:04,400
Speaker 2: but we keep coming back to it. That's the duration

1219
01:06:04,560 --> 01:06:09,680
Speaker 2: of this shower within the pacing of this movie. And yeah,

1220
01:06:09,920 --> 01:06:12,560
Speaker 2: I mean, in reality, a twelve minute or even an

1221
01:06:12,560 --> 01:06:16,360
Speaker 2: eighteen minute shower not unreasonable, but within the context of

1222
01:06:16,360 --> 01:06:18,800
Speaker 2: a film's pacing, that's one long shower. I mean, I

1223
01:06:18,840 --> 01:06:21,600
Speaker 2: think the shower scene in Psycho, the most famous shower

1224
01:06:21,680 --> 01:06:24,160
Speaker 2: scene of all, is something like a minute long, less

1225
01:06:24,200 --> 01:06:27,240
Speaker 2: than a minute even. Yeah, and that one's pivotal to

1226
01:06:27,280 --> 01:06:27,720
Speaker 2: the plot.

1227
01:06:28,640 --> 01:06:30,400
Speaker 3: But in that one, at least, you're not like cutting

1228
01:06:30,440 --> 01:06:32,480
Speaker 3: away to multiple other subplots.

1229
01:06:32,520 --> 01:06:35,360
Speaker 2: Yeah, that's the thing. We cut away to, just multiple subplots.

1230
01:06:36,240 --> 01:06:40,000
Speaker 3: So first of all, what's happening here, let's talk about

1231
01:06:40,080 --> 01:06:44,000
Speaker 3: so further developments during the span of the shower within

1232
01:06:44,120 --> 01:06:48,200
Speaker 3: Debbie's house, there are developments on the popcorn subplot. So

1233
01:06:48,360 --> 01:06:51,600
Speaker 3: we eventually find out that the popcorn does do something.

1234
01:06:52,280 --> 01:06:56,440
Speaker 3: I think it's understood to be the lauval form of

1235
01:06:56,560 --> 01:06:59,240
Speaker 3: the clown beings. Is that how you understood it?

1236
01:06:59,600 --> 01:07:03,880
Speaker 2: Yeah, because the popcorn we see is crawling around on

1237
01:07:04,440 --> 01:07:09,360
Speaker 2: the tiles of the bathroom floor like little larval creatures.

1238
01:07:09,360 --> 01:07:12,520
Speaker 2: So I think this is the larval form of the

1239
01:07:12,560 --> 01:07:16,360
Speaker 2: clown life form. What's the next phase in their development?

1240
01:07:16,360 --> 01:07:17,640
Speaker 2: I think we're about to find out.

1241
01:07:17,600 --> 01:07:20,040
Speaker 3: That's right. So, yeah, and we see this, by the way,

1242
01:07:20,080 --> 01:07:22,560
Speaker 3: because Debbie still has the popcorn stuck to her clothes,

1243
01:07:22,560 --> 01:07:24,160
Speaker 3: which are on the bathroom floor, so we see the

1244
01:07:24,360 --> 01:07:26,680
Speaker 3: popcorn kernels kind of squirming around.

1245
01:07:26,600 --> 01:07:28,680
Speaker 2: Which got blasted onto her by the clown guns.

1246
01:07:28,720 --> 01:07:31,680
Speaker 3: Yeah that's right. Yeah, so they're like little caterpillars. And

1247
01:07:31,760 --> 01:07:35,120
Speaker 3: then much later, once she's out of the shower, the

1248
01:07:35,200 --> 01:07:41,160
Speaker 3: popcorn appears to have metamorphosed into baby monster clowns, which

1249
01:07:41,200 --> 01:07:44,720
Speaker 3: are each like a little demon clown head with a

1250
01:07:44,760 --> 01:07:48,000
Speaker 3: mohawk on top of a snakelike spine.

1251
01:07:48,360 --> 01:07:51,840
Speaker 2: Yeah. Yeah, so I think it goes basically free moving

1252
01:07:51,880 --> 01:07:56,280
Speaker 2: popcorn larvae to juvenile clown snake, and then to adult

1253
01:07:56,360 --> 01:07:59,840
Speaker 2: clown form. And then I think we might assume that

1254
01:07:59,840 --> 01:08:02,560
Speaker 2: the killer clown from outer space is kind of like

1255
01:08:02,600 --> 01:08:06,400
Speaker 2: certain reptiles that keep growing throughout their entire life, because

1256
01:08:06,640 --> 01:08:08,440
Speaker 2: they seem to just get taller and taller.

1257
01:08:08,800 --> 01:08:13,040
Speaker 3: Yeah that's right. Now, these creatures, the snakelike creatures, attack

1258
01:08:13,120 --> 01:08:16,439
Speaker 3: Debbie in the bathroom, but she escapes, though she is

1259
01:08:16,520 --> 01:08:19,519
Speaker 3: later she escapes only to be menaced by fully grown

1260
01:08:19,560 --> 01:08:23,679
Speaker 3: adult clowns all around her, which ambush her and then

1261
01:08:23,720 --> 01:08:27,000
Speaker 3: prevent her escape from her apartment. There's one part where

1262
01:08:27,000 --> 01:08:28,519
Speaker 3: she's trying to get out and she runs to the

1263
01:08:28,560 --> 01:08:30,120
Speaker 3: window and looks down and there are a bunch of

1264
01:08:30,160 --> 01:08:32,479
Speaker 3: clowns holding a trampoline firemen.

1265
01:08:32,600 --> 01:08:37,519
Speaker 2: Yeah. Also worth noting that those snake clowns, they're also

1266
01:08:37,600 --> 01:08:40,200
Speaker 2: like Jack in the boxes, because again there's nothing about

1267
01:08:40,240 --> 01:08:43,840
Speaker 2: the clowns, their biology, or their life cycle, or their

1268
01:08:43,880 --> 01:08:47,320
Speaker 2: culture and civilization that is not clowning to its heart.

1269
01:08:47,720 --> 01:08:51,599
Speaker 3: Yes, so she's eventually captured and put inside a balloon,

1270
01:08:51,800 --> 01:09:03,160
Speaker 3: like we heard about on the phone. Before that, we

1271
01:09:03,320 --> 01:09:06,280
Speaker 3: get we cut away to different kinds of clown horror

1272
01:09:06,280 --> 01:09:09,080
Speaker 3: and subplots going on. We get a bit more with

1273
01:09:09,200 --> 01:09:12,000
Speaker 3: Mike and Dave in the car. Dave is kind of

1274
01:09:13,000 --> 01:09:17,240
Speaker 3: rambling about I think. Mike tries to apologize. He's like, look, man,

1275
01:09:17,280 --> 01:09:19,280
Speaker 3: I didn't want to, you know, cause any weirdness with

1276
01:09:19,320 --> 01:09:20,080
Speaker 3: you and Debbie.

1277
01:09:20,560 --> 01:09:20,880
Speaker 2: Uh.

1278
01:09:20,920 --> 01:09:23,680
Speaker 3: And Dave is like, the problem is me, obviously. She

1279
01:09:23,760 --> 01:09:26,120
Speaker 3: goes for laughs, not stability.

1280
01:09:27,680 --> 01:09:30,040
Speaker 2: Burn Yeah, but Mike's like, yeah, you got me.

1281
01:09:30,280 --> 01:09:34,320
Speaker 3: He gues and contest this, And there's more clown horror.

1282
01:09:34,360 --> 01:09:37,880
Speaker 3: There is the clown puppet show, where a clown shows

1283
01:09:37,960 --> 01:09:41,360
Speaker 3: up on a sidewalk and starts doing a oh not

1284
01:09:41,400 --> 01:09:43,519
Speaker 3: just a puppet show, a shadow puppet show. He's doing

1285
01:09:43,560 --> 01:09:46,439
Speaker 3: shadow puppetry for a group of elderly people at a

1286
01:09:46,479 --> 01:09:50,719
Speaker 3: bus stop. It begins cute and then gets increasingly absurd.

1287
01:09:50,800 --> 01:09:53,680
Speaker 3: One of the hand shadows he does is a detailed

1288
01:09:53,720 --> 01:09:55,559
Speaker 3: outline of Washington crossing the.

1289
01:09:55,520 --> 01:09:57,800
Speaker 2: Delaware yeap legitimately hilarious.

1290
01:09:57,920 --> 01:10:00,720
Speaker 3: Yeah, and then the shadow puppet turn into a big

1291
01:10:00,800 --> 01:10:03,920
Speaker 3: Tyrannosaurus rex head with glowing eyes, and it eats all

1292
01:10:03,920 --> 01:10:07,719
Speaker 3: the old people and that somehow shrinks them, which allows

1293
01:10:07,760 --> 01:10:10,040
Speaker 3: the clown to put them in a suitcase full of popcorn.

1294
01:10:10,360 --> 01:10:10,880
Speaker 2: There you go.

1295
01:10:11,760 --> 01:10:14,880
Speaker 3: So Mike and Dave witness part of this bus stop

1296
01:10:14,920 --> 01:10:18,880
Speaker 3: attack from Dave's squad car, and after this they split up.

1297
01:10:18,960 --> 01:10:21,559
Speaker 3: Dave heads to the police station and Mike goes to

1298
01:10:21,640 --> 01:10:24,200
Speaker 3: recruit his friends, the Tarnzi Brothers, the guys with the

1299
01:10:24,240 --> 01:10:27,160
Speaker 3: ice cream truck. I think the idea is they're going

1300
01:10:27,240 --> 01:10:29,800
Speaker 3: to drive around, maybe warning people to stay away from

1301
01:10:29,840 --> 01:10:32,280
Speaker 3: clowns on the megaphone, but first they've got to go

1302
01:10:32,400 --> 01:10:36,200
Speaker 3: rescue Debbie. Also back at the police station, which is

1303
01:10:36,240 --> 01:10:39,240
Speaker 3: only manned by Mooney. At this point, a clown appears

1304
01:10:39,439 --> 01:10:41,599
Speaker 3: at the station. While Mooney is sitting at his desk

1305
01:10:41,680 --> 01:10:44,640
Speaker 3: smoking a cigar and ignoring all of the ringing telephones.

1306
01:10:45,360 --> 01:10:48,120
Speaker 3: The clown offers him a bouquet, but it's a trick

1307
01:10:48,160 --> 01:10:51,559
Speaker 3: bouquet that squirts his face with water, and uh oh,

1308
01:10:51,600 --> 01:10:55,160
Speaker 3: that makes Mooney very mad. He attempts to arrest the clown,

1309
01:10:55,240 --> 01:10:59,360
Speaker 3: but encounters difficulties, including detachable clown hands that come off

1310
01:10:59,439 --> 01:11:03,760
Speaker 3: with the handcuff uffs, and so he tries to He

1311
01:11:03,800 --> 01:11:07,240
Speaker 3: does end up jailing the clown in the cell next

1312
01:11:07,280 --> 01:11:12,040
Speaker 3: to the two goth guys from earlier. When Dave later

1313
01:11:12,280 --> 01:11:14,880
Speaker 3: arrives at the police station, he finds that the clown

1314
01:11:14,920 --> 01:11:18,800
Speaker 3: has cocooned the unfortunate prisoners and has turned Mooney into

1315
01:11:18,840 --> 01:11:22,200
Speaker 3: a ventriloquist dummy. So he's got the little red cherry

1316
01:11:22,280 --> 01:11:25,479
Speaker 3: cheeks and the some blood running from the corners of

1317
01:11:25,520 --> 01:11:27,840
Speaker 3: his mouth that make it resemble the little like block

1318
01:11:27,880 --> 01:11:31,080
Speaker 3: mouth that operates on a on a ventriloquist puppet.

1319
01:11:31,400 --> 01:11:34,879
Speaker 2: Yeah, oh my god, this this scene is his is terrifying.

1320
01:11:35,160 --> 01:11:38,880
Speaker 3: The clown makes John Vernon talk and he says, don't worry, Dave,

1321
01:11:39,120 --> 01:11:40,760
Speaker 3: all we want to do is kill you.

1322
01:11:41,880 --> 01:11:44,559
Speaker 2: And then he he let that the clown lets this

1323
01:11:44,800 --> 01:11:48,800
Speaker 2: grotesque ventriloquis dummy like collapse onto the table and as

1324
01:11:48,800 --> 01:11:52,960
Speaker 2: he does so, like withdraws his now blood slit clown

1325
01:11:53,040 --> 01:11:56,600
Speaker 2: hand from the back of of of of the of

1326
01:11:56,680 --> 01:11:59,160
Speaker 2: mooney and then just kind of like flicks the blood

1327
01:11:59,200 --> 01:12:02,679
Speaker 2: off just to just a really centient here. Yeah, terrifying.

1328
01:12:03,040 --> 01:12:06,240
Speaker 3: So it's a showdown between Dave and the clown, and

1329
01:12:06,360 --> 01:12:09,799
Speaker 3: so the clown is approaching. Dave starts firing his service

1330
01:12:09,840 --> 01:12:14,280
Speaker 3: revolver at the clown, but the clown appears invulnerable until

1331
01:12:14,479 --> 01:12:19,160
Speaker 3: Dave discovers the clown's only weakness, the nose. Shooting them

1332
01:12:19,200 --> 01:12:23,720
Speaker 3: in the red, bulbous nose causes the nose to explode

1333
01:12:23,800 --> 01:12:26,519
Speaker 3: in a burst of confetti, and then the clown turns

1334
01:12:26,560 --> 01:12:31,080
Speaker 3: into a spinning, sequined Christmas ornament and then that explodes

1335
01:12:31,080 --> 01:12:34,160
Speaker 3: with pink fireworks. Is that about right?

1336
01:12:34,280 --> 01:12:36,479
Speaker 2: I think? So? Yeah, I mean you could. You could

1337
01:12:36,520 --> 01:12:38,920
Speaker 2: basically say the trick is you shoot him in the face,

1338
01:12:40,040 --> 01:12:42,400
Speaker 2: which works with a lot of things, but in this

1339
01:12:42,479 --> 01:12:44,679
Speaker 2: case it is the nose. The nose hold their.

1340
01:12:44,560 --> 01:12:49,200
Speaker 3: Power, that's right, it's their Achilles nose. Yeah. Also, Dave

1341
01:12:49,280 --> 01:12:51,719
Speaker 3: manages to get a call in to the state police

1342
01:12:51,800 --> 01:12:55,000
Speaker 3: to request help with their their killer clown issue, and

1343
01:12:55,040 --> 01:12:57,120
Speaker 3: the state police are like, Okay, we're on the way

1344
01:12:58,360 --> 01:13:00,639
Speaker 3: what's the police code for killer clowns?

1345
01:13:00,800 --> 01:13:02,760
Speaker 2: Oh, I don't know. You gotta have a new one

1346
01:13:02,800 --> 01:13:03,000
Speaker 2: for that.

1347
01:13:04,000 --> 01:13:06,120
Speaker 3: So while Mike and the Trendsy Brothers are on the

1348
01:13:06,120 --> 01:13:11,040
Speaker 3: way to pick up Debbie, they encounter a giant mechanized

1349
01:13:11,160 --> 01:13:15,320
Speaker 3: human harvesting operation where the clowns are parading through the

1350
01:13:15,360 --> 01:13:19,000
Speaker 3: streets of the city, surrounded by confetti and streamers with

1351
01:13:19,120 --> 01:13:22,720
Speaker 3: a giant vacuum cleaner machine that sucks up all of

1352
01:13:22,760 --> 01:13:25,240
Speaker 3: the people who have been pre wrapped in cotton candy.

1353
01:13:26,200 --> 01:13:28,680
Speaker 2: Yeah, it's a full blown parade here. Reminds me a

1354
01:13:28,760 --> 01:13:30,800
Speaker 2: lot of a very similar scene that we get in

1355
01:13:30,880 --> 01:13:34,000
Speaker 2: nineteen eighty seven's Masters of the Universe when Skeletor rolls

1356
01:13:34,000 --> 01:13:34,519
Speaker 2: into town.

1357
01:13:35,960 --> 01:13:39,720
Speaker 3: Somewhat recalls also the harvesting imagery and War of the Worlds,

1358
01:13:39,920 --> 01:13:43,639
Speaker 3: but obviously here it is clown themed. Yes, yes, Anyway,

1359
01:13:44,200 --> 01:13:46,879
Speaker 3: by the time Mike and the brothers arrive at Debbie's apartment,

1360
01:13:46,920 --> 01:13:49,720
Speaker 3: she's already been placed inside the balloon and attached to

1361
01:13:49,800 --> 01:13:53,439
Speaker 3: a clown car which drives away. So Mike and the

1362
01:13:53,479 --> 01:13:55,960
Speaker 3: brothers and then also Dave arrives in his squad car

1363
01:13:56,000 --> 01:14:00,720
Speaker 3: and they all give chase, but they lose track of

1364
01:14:00,720 --> 01:14:03,599
Speaker 3: the car. Some Oh, I think the Trenzi brothers like

1365
01:14:04,479 --> 01:14:07,000
Speaker 3: they pull over because there's a police car behind them.

1366
01:14:07,080 --> 01:14:10,040
Speaker 3: Maybe is that what happens? And so they end up

1367
01:14:10,080 --> 01:14:13,679
Speaker 3: losing the clown car, but they figure out where it's

1368
01:14:13,720 --> 01:14:16,439
Speaker 3: where it's going. Where are these clowns headed with Debbie? Well,

1369
01:14:16,479 --> 01:14:18,920
Speaker 3: if you were a clown, where would you go? The

1370
01:14:18,960 --> 01:14:22,080
Speaker 3: amusement park? Obviously, that's right. That's where they fill at home,

1371
01:14:22,160 --> 01:14:24,760
Speaker 3: that's where they can blend in. So when we see

1372
01:14:24,760 --> 01:14:28,960
Speaker 3: the clowns arrive, we pack multiple gags into the same scene.

1373
01:14:29,040 --> 01:14:31,439
Speaker 3: Where the clowns show up at the amusement park and

1374
01:14:31,439 --> 01:14:34,439
Speaker 3: there's a security guard there. We first of all get

1375
01:14:34,479 --> 01:14:37,120
Speaker 3: many clowns climbing out of a single tiny clown car

1376
01:14:37,200 --> 01:14:38,200
Speaker 3: while the guard watches.

1377
01:14:38,600 --> 01:14:39,360
Speaker 2: Yeah, gotcha.

1378
01:14:39,840 --> 01:14:44,920
Speaker 3: And then they also produce like banana cream pies and

1379
01:14:45,080 --> 01:14:46,559
Speaker 3: the guards like, what are you going to do with

1380
01:14:46,600 --> 01:14:49,360
Speaker 3: those pies? And of course they give him pies to

1381
01:14:49,400 --> 01:14:51,720
Speaker 3: the face, but uh oh, the pies are some kind

1382
01:14:51,760 --> 01:14:55,599
Speaker 3: of corrosive material, you know, their their lye pies or something,

1383
01:14:55,640 --> 01:14:58,879
Speaker 3: and they melt the guard into this pile of whipped

1384
01:14:58,920 --> 01:15:02,240
Speaker 3: cream basically, and then as the clowns walk past his

1385
01:15:02,360 --> 01:15:05,720
Speaker 3: melted form. Uh, the little clown puts a cherry on top.

1386
01:15:05,960 --> 01:15:10,000
Speaker 2: Oh, it's the dedication to the art form.

1387
01:15:10,400 --> 01:15:13,040
Speaker 3: So our heroes arrive on scene to the rescue, and

1388
01:15:13,080 --> 01:15:15,920
Speaker 3: they head into the funhouse for the final showdown. And

1389
01:15:16,200 --> 01:15:18,680
Speaker 3: while they're exploring the clown's layer, here's where we get

1390
01:15:18,720 --> 01:15:22,880
Speaker 3: to the curious exchange we talked about earlier. Dave is saying,

1391
01:15:22,920 --> 01:15:25,360
Speaker 3: where do the clowns come from? Why are they here?

1392
01:15:25,600 --> 01:15:29,600
Speaker 3: Why are they clowns? And Mike says, they're not clowns,

1393
01:15:29,640 --> 01:15:32,240
Speaker 3: some kind of animal from another world that just look

1394
01:15:32,439 --> 01:15:35,599
Speaker 3: like clowns. And then this is suddenly dawning on him.

1395
01:15:35,800 --> 01:15:39,200
Speaker 3: He says, Dave, maybe they're the ancient astronauts, you know

1396
01:15:39,320 --> 01:15:42,360
Speaker 3: that came to our planet centuries ago, and our idea

1397
01:15:42,400 --> 01:15:43,920
Speaker 3: of clowns comes from them.

1398
01:15:44,320 --> 01:15:49,040
Speaker 2: Yes, absolutely, that's that's one I love it.

1399
01:15:49,120 --> 01:15:53,080
Speaker 3: They built the pyramids, had to be no other explanation.

1400
01:15:53,040 --> 01:15:56,760
Speaker 2: Everything in our clowning cultures, which again, you know, not

1401
01:15:56,760 --> 01:15:59,040
Speaker 2: to get too deep here. You know they're they're clowning

1402
01:15:59,280 --> 01:16:01,760
Speaker 2: cultures around the world, and they go back a very

1403
01:16:01,800 --> 01:16:05,080
Speaker 2: long way. What if they're all based on something we

1404
01:16:05,200 --> 01:16:09,120
Speaker 2: observed when these ancient alien creatures came to our world

1405
01:16:09,160 --> 01:16:09,880
Speaker 2: and did clowning.

1406
01:16:10,320 --> 01:16:13,320
Speaker 3: One of the Tornsi brothers says, how come they're not funny,

1407
01:16:14,120 --> 01:16:15,480
Speaker 3: that they are funny.

1408
01:16:15,200 --> 01:16:18,240
Speaker 2: But Therenzi brothers they are funny. You might not know funny,

1409
01:16:18,600 --> 01:16:19,360
Speaker 2: see it they.

1410
01:16:19,280 --> 01:16:21,960
Speaker 3: Are, And then the other one says, how come they're

1411
01:16:22,000 --> 01:16:23,600
Speaker 3: not funny. The other one says, maybe they're from a

1412
01:16:23,680 --> 01:16:24,519
Speaker 3: dying planet.

1413
01:16:27,280 --> 01:16:27,719
Speaker 2: Anyway.

1414
01:16:27,800 --> 01:16:31,479
Speaker 3: At some point, our heroes become separated, and the Tornsi

1415
01:16:31,600 --> 01:16:36,360
Speaker 3: brothers fall into a ball pit, where they are later

1416
01:16:36,680 --> 01:16:40,599
Speaker 3: seduced by clowns in wigs that have made themselves appear

1417
01:16:40,680 --> 01:16:42,640
Speaker 3: buxom with the aid of balloons.

1418
01:16:43,360 --> 01:16:45,880
Speaker 2: Okay, I'm just gonna put a pin in this one

1419
01:16:46,000 --> 01:16:47,920
Speaker 2: and trying to figure out how this factors into the

1420
01:16:47,920 --> 01:16:48,880
Speaker 2: clown life cycle.

1421
01:16:49,120 --> 01:16:54,040
Speaker 3: Yeah. Meanwhile, Mike and Dave they find the cotton candy

1422
01:16:54,080 --> 01:16:58,040
Speaker 3: storage room, and then while hiding, they watch a clown

1423
01:16:58,560 --> 01:17:02,000
Speaker 3: drink blood from one of their cocooned victims through a

1424
01:17:02,040 --> 01:17:06,320
Speaker 3: silly straw. Yes, this makes me wonder what is the

1425
01:17:06,320 --> 01:17:08,479
Speaker 3: origin of silly straws? When do we get the first

1426
01:17:08,520 --> 01:17:09,240
Speaker 3: silly straws?

1427
01:17:09,560 --> 01:17:13,160
Speaker 2: Hmmm, well, there's definitely I think material requirements for that,

1428
01:17:14,040 --> 01:17:16,200
Speaker 2: but of course this would have been something we observed

1429
01:17:16,280 --> 01:17:19,360
Speaker 2: long ago when the Killer Clowns visited our world in

1430
01:17:19,479 --> 01:17:20,240
Speaker 2: ancient times.

1431
01:17:20,800 --> 01:17:23,000
Speaker 3: So we got the idea for silly straws from their

1432
01:17:23,080 --> 01:17:25,280
Speaker 3: visits to ancient Egypt and Mesopotamia.

1433
01:17:25,360 --> 01:17:26,800
Speaker 2: Yeah, it would just be a long time. I mean,

1434
01:17:26,800 --> 01:17:28,639
Speaker 2: I guess you could have made a glass silly straw

1435
01:17:28,680 --> 01:17:31,439
Speaker 2: at some point before you could make a plastic one. Well,

1436
01:17:31,880 --> 01:17:33,920
Speaker 2: we'll have to roll out an invention episode on the

1437
01:17:34,280 --> 01:17:35,680
Speaker 2: straw and figure that out.

1438
01:17:35,720 --> 01:17:36,160
Speaker 3: That would act.

1439
01:17:36,200 --> 01:17:38,960
Speaker 2: That would be fun. I'm actually down for that anyway.

1440
01:17:39,520 --> 01:17:42,599
Speaker 3: So they eventually find Debbie inside the balloon and Dave

1441
01:17:42,680 --> 01:17:45,559
Speaker 3: shoots the balloon to release her, but the sound draws

1442
01:17:45,600 --> 01:17:47,920
Speaker 3: the attention of the clowns and this leads into a

1443
01:17:47,920 --> 01:17:50,559
Speaker 3: big chase scene where they're running around the spaceship the

1444
01:17:50,600 --> 01:17:55,799
Speaker 3: funhouse corridors. There's a good silly firehouse pole gag where

1445
01:17:56,360 --> 01:17:59,200
Speaker 3: they like slide down a pole and then they hop

1446
01:17:59,240 --> 01:18:01,679
Speaker 3: off at one leg before going down all the way,

1447
01:18:02,200 --> 01:18:04,439
Speaker 3: and Dave comes down after them and he's like, why

1448
01:18:04,479 --> 01:18:06,240
Speaker 3: didn't you go any lower? And then we just see

1449
01:18:06,240 --> 01:18:08,920
Speaker 3: a giant sarlac mouth at the bottom of the pole

1450
01:18:09,200 --> 01:18:14,880
Speaker 3: and he says, oh, good reason. But eventually they get

1451
01:18:14,880 --> 01:18:17,680
Speaker 3: cornered by clowns in a big funhouse room full of

1452
01:18:17,680 --> 01:18:20,840
Speaker 3: wacky painted blocks and furniture, and how are they going

1453
01:18:20,920 --> 01:18:24,200
Speaker 3: to escape? The clowns are crowding in, menacing them, and

1454
01:18:24,240 --> 01:18:26,679
Speaker 3: then it's the Trenzi brothers to the rescue. I don't

1455
01:18:26,720 --> 01:18:30,320
Speaker 3: recall how they got out of the clown seduction situation.

1456
01:18:30,520 --> 01:18:31,759
Speaker 3: Maybe that's never revealed.

1457
01:18:31,840 --> 01:18:33,760
Speaker 2: Yeah, it seems like they were done for, but they

1458
01:18:33,880 --> 01:18:35,280
Speaker 2: I don't know, they love their way out of it,

1459
01:18:35,320 --> 01:18:35,679
Speaker 2: I guess.

1460
01:18:35,800 --> 01:18:39,280
Speaker 3: Yeah, So they crashed through the wall in their ice

1461
01:18:39,400 --> 01:18:42,559
Speaker 3: cream truck. Now, remember the ice cream truck had a

1462
01:18:42,640 --> 01:18:46,320
Speaker 3: giant clown on top, and so they get on the

1463
01:18:46,439 --> 01:18:49,439
Speaker 3: loud speaker and they say, I am the Great and

1464
01:18:49,560 --> 01:18:53,800
Speaker 3: powerful Jojo that you will obey my command. And this

1465
01:18:53,920 --> 01:18:57,519
Speaker 3: does seem to work. It temporarily hypnotizes the clowns and

1466
01:18:57,560 --> 01:19:02,120
Speaker 3: they stand frozen in awe their their giant clown god.

1467
01:19:03,120 --> 01:19:06,080
Speaker 3: So this buys some time for our other heroes to run,

1468
01:19:06,400 --> 01:19:08,200
Speaker 3: you know, run out of the middle of the room

1469
01:19:08,200 --> 01:19:12,600
Speaker 3: to safety. But this leads into the final final showdown,

1470
01:19:12,640 --> 01:19:16,160
Speaker 3: which is the lowering from the ceiling of a gigantic

1471
01:19:16,360 --> 01:19:20,200
Speaker 3: clown on marionette strings. And what do we call this.

1472
01:19:20,280 --> 01:19:22,599
Speaker 3: Is this the King Clown or clown Zilla?

1473
01:19:23,200 --> 01:19:26,200
Speaker 2: I think in the credits it's referred to as clown Zilla,

1474
01:19:26,240 --> 01:19:27,920
Speaker 2: but yeah, we might think of it as as kind

1475
01:19:27,960 --> 01:19:30,200
Speaker 2: of a ruler of the bunch, or just maybe the

1476
01:19:30,320 --> 01:19:32,559
Speaker 2: largest I don't know, Like I have this theory that

1477
01:19:32,600 --> 01:19:35,400
Speaker 2: these clowns grow throughout their life, and so some of

1478
01:19:35,439 --> 01:19:36,920
Speaker 2: them are just extra huge.

1479
01:19:37,479 --> 01:19:40,880
Speaker 3: I would say it is a cross between a clown

1480
01:19:40,920 --> 01:19:43,960
Speaker 3: of monstrous size and Bowser from Mario. Do you know

1481
01:19:44,000 --> 01:19:46,160
Speaker 3: it's the Bowser like shape and movements.

1482
01:19:46,360 --> 01:19:49,120
Speaker 2: Yeah, Like if you were if you could remove the

1483
01:19:49,160 --> 01:19:51,880
Speaker 2: grease paint from this face, which you can't because it's

1484
01:19:52,120 --> 01:19:54,720
Speaker 2: the clown space, Yeah, you would have had you have

1485
01:19:54,800 --> 01:19:58,360
Speaker 2: a very and even more monstrous inhuman skull for this creature.

1486
01:19:59,080 --> 01:20:02,040
Speaker 3: So the giant clown attacks it, grabs and hurls the

1487
01:20:02,080 --> 01:20:05,240
Speaker 3: ice cream truck across the room, seemingly with the trendsy

1488
01:20:05,360 --> 01:20:07,559
Speaker 3: rows inside. So I was like, well, they're dead now,

1489
01:20:08,680 --> 01:20:11,920
Speaker 3: and then Dave distracts clown Zilla while Mike and Debbie

1490
01:20:12,000 --> 01:20:15,240
Speaker 3: run outside through a hole in the wall. Outside, the

1491
01:20:15,240 --> 01:20:18,800
Speaker 3: state police are arriving and Dave is cornered, so it

1492
01:20:18,800 --> 01:20:21,240
Speaker 3: seems like he's done for because clown Zilla picks him

1493
01:20:21,280 --> 01:20:23,439
Speaker 3: up in his giant hand as if to bite his

1494
01:20:23,520 --> 01:20:27,360
Speaker 3: head off. And meanwhile, the big top clown spaceship is

1495
01:20:27,400 --> 01:20:30,600
Speaker 3: taking off into the sky and Dave is there in

1496
01:20:30,640 --> 01:20:33,120
Speaker 3: the monster clown's hand. How is he going to survive this?

1497
01:20:33,280 --> 01:20:37,360
Speaker 3: What's going to happen? The solution is pretty ingenious. He

1498
01:20:37,560 --> 01:20:40,960
Speaker 3: takes the police badge off of his shirt, which I

1499
01:20:40,960 --> 01:20:43,640
Speaker 3: guess is held in place by a safety pin, and

1500
01:20:43,800 --> 01:20:47,320
Speaker 3: uses the pin to pop the nose. Pop the nose

1501
01:20:47,360 --> 01:20:52,559
Speaker 3: on the big which this super clown is actually quite fragile.

1502
01:20:52,600 --> 01:20:54,439
Speaker 3: I mean, if just a pin prick on the nose

1503
01:20:54,560 --> 01:20:57,680
Speaker 3: completely destroys it, and not only the clown Zilla but

1504
01:20:57,720 --> 01:21:03,160
Speaker 3: also destroys the entire ship, maybe is like only powered

1505
01:21:03,160 --> 01:21:06,559
Speaker 3: by the magic of the clown Zilla. I don't know.

1506
01:21:06,600 --> 01:21:08,840
Speaker 3: That's a weakness in the design, I would say.

1507
01:21:09,040 --> 01:21:11,080
Speaker 2: I would say so as well. It seems like even

1508
01:21:11,120 --> 01:21:15,960
Speaker 2: a very primitive prey culture would be able to overcome you.

1509
01:21:16,439 --> 01:21:19,720
Speaker 2: Potentially that's just one well placed arrow. They're victorious.

1510
01:21:20,280 --> 01:21:24,160
Speaker 3: So the entire spaceship explodes in fireworks. It seems like

1511
01:21:24,240 --> 01:21:27,120
Speaker 3: Dave's got to be dead, right, But somehow no. A

1512
01:21:27,240 --> 01:21:30,639
Speaker 3: clown car falls out of the sky and Dave emerges

1513
01:21:30,680 --> 01:21:34,920
Speaker 3: from it unhurt. Also, somehow the Trenzi brothers are fine.

1514
01:21:34,960 --> 01:21:39,120
Speaker 3: They emerge from the same car eating popsicles. So basically

1515
01:21:39,200 --> 01:21:41,880
Speaker 3: all the main characters are okay, and we get our

1516
01:21:41,920 --> 01:21:44,280
Speaker 3: final stinger of the heroes looking up into the sky

1517
01:21:44,400 --> 01:21:47,080
Speaker 3: and Debbie says, do you think it's over? And then

1518
01:21:47,160 --> 01:21:48,479
Speaker 3: pies fall in their faces.

1519
01:21:49,040 --> 01:21:52,240
Speaker 2: Presumably these are not acid clown pies like we saw earlier.

1520
01:21:52,720 --> 01:21:55,040
Speaker 2: This is just supposed to be a goofy send up

1521
01:21:55,080 --> 01:21:57,559
Speaker 2: of that sort of keep watching the skies ending that

1522
01:21:57,640 --> 01:21:59,720
Speaker 2: we get in a lot of those old fifties and

1523
01:21:59,760 --> 01:22:02,280
Speaker 2: six these movies, whereas like, is is there something else

1524
01:22:02,320 --> 01:22:04,519
Speaker 2: out there? Is the end, and you know, we get

1525
01:22:04,520 --> 01:22:08,000
Speaker 2: a little philosophic in our victory at the end, and here,

1526
01:22:08,120 --> 01:22:09,800
Speaker 2: you know, it's just one more reason for a nice

1527
01:22:09,840 --> 01:22:15,720
Speaker 2: clown gag to close it all out. Bravo, All right,

1528
01:22:16,360 --> 01:22:21,760
Speaker 2: Killer Clowns from Outer Space, Like I say, commendable. There

1529
01:22:21,760 --> 01:22:25,280
Speaker 2: are some other films in the horror comedy genre from

1530
01:22:25,320 --> 01:22:27,840
Speaker 2: this time period that I also really love, Terror Vision

1531
01:22:27,880 --> 01:22:30,559
Speaker 2: being one of them, But it's really hard to think

1532
01:22:30,560 --> 01:22:33,559
Speaker 2: of anything quite like Killer Clowns from Outer Space. It

1533
01:22:33,600 --> 01:22:37,599
Speaker 2: does stand alone absolutely, and hey, everybody loves a clown,

1534
01:22:38,280 --> 01:22:43,600
Speaker 2: keep up orc uh uh. All right, well, we're going

1535
01:22:43,680 --> 01:22:47,160
Speaker 2: to go ahead and close out this our first full

1536
01:22:47,200 --> 01:22:52,000
Speaker 2: fledged October episode of Weird House Cinema for this October season,

1537
01:22:52,040 --> 01:22:56,160
Speaker 2: but we have more October selections to come, so stay tuned.

1538
01:22:57,000 --> 01:22:59,280
Speaker 2: We will have a Weird House Cinema every Friday in

1539
01:22:59,280 --> 01:23:01,360
Speaker 2: the Stuff to blow your podcast feed. We're primarily a

1540
01:23:01,400 --> 01:23:04,600
Speaker 2: science and culture podcast, with core episodes on Tuesdays and Thursdays,

1541
01:23:04,760 --> 01:23:06,840
Speaker 2: but Friday is our time to set aside most serious

1542
01:23:06,880 --> 01:23:09,439
Speaker 2: concerns and just talk about a weird film. If you

1543
01:23:09,439 --> 01:23:11,000
Speaker 2: want to keep up with all the films that we've

1544
01:23:11,000 --> 01:23:13,040
Speaker 2: covered over the years and sometimes get a peek ahead

1545
01:23:13,040 --> 01:23:15,960
Speaker 2: at what comes up next, go to letterbox dot com

1546
01:23:16,080 --> 01:23:19,160
Speaker 2: our account. There is Weird House search us find us,

1547
01:23:19,320 --> 01:23:22,240
Speaker 2: look at that list, and yeah, wherever you get your podcasts,

1548
01:23:22,280 --> 01:23:24,360
Speaker 2: just make sure that you rate, review and subscribe to

1549
01:23:24,360 --> 01:23:25,280
Speaker 2: get more episodes.

1550
01:23:25,640 --> 01:23:29,440
Speaker 3: Huge thanks as always to our excellent audio producer Jjposway.

1551
01:23:29,680 --> 01:23:31,240
Speaker 3: If you would like to get in touch with us

1552
01:23:31,240 --> 01:23:33,799
Speaker 3: with feedback on this episode or any other, to suggest

1553
01:23:33,800 --> 01:23:35,880
Speaker 3: a topic for the future, or just to say hello,

1554
01:23:36,040 --> 01:23:38,519
Speaker 3: you can email us at contact at Stuff to Blow

1555
01:23:38,520 --> 01:23:46,240
Speaker 3: Your Mind dot com.

1556
01:23:46,360 --> 01:23:49,280
Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For

1557
01:23:49,400 --> 01:23:52,200
Speaker 1: more podcasts from my heart Radio, visit the iHeartRadio app,

1558
01:23:52,320 --> 01:23:55,440
Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.