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Speaker 1: Welcome to Stuff to Blow Your Mind production of My

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Speaker 1: Heart Radio. Hey, welcome to Weird House Cinema. This is

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Speaker 1: Rob Lamb and I'm Joe McCormick. And today we're gonna

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Speaker 1: be talking about a long time favorite of mine, the

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Speaker 1: nineteen Mario Bava sci fi horror classic Planet of the Vampires.

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Speaker 1: And I want to start off today by saying that

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Speaker 1: I think perhaps this is the paragon example of a

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Speaker 1: concept we've talked about on the show, that the rub

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Speaker 1: the Fur movie, a movie that is more about audio

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Speaker 1: visual texture than about the characters of the contents of

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Speaker 1: the plot, and that that's absolutely the case here, because

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Speaker 1: before we watched it again for today, I've probably watched

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Speaker 1: Planet of the Vampires at least three or four times,

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Speaker 1: a couple of times without sound on, but at least

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Speaker 1: once with sound. And I honestly could not tell you

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Speaker 1: much about what happens in this movie because whenever I

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Speaker 1: watch it to the extent that I'm paying attention, and

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Speaker 1: it's a movie I kind of love to half pay

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Speaker 1: attention to, but uh, to whatever extent I'm paying attention,

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Speaker 1: the part of the mind that is engaged is not

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Speaker 1: the semantic executive of the forebrain. It is some kind

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Speaker 1: of abyssile lizard consciousness that that is only in a

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Speaker 1: realm of pure sensation and vibe. And what a vibe

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Speaker 1: this movie is. The the sets, the lighting, the costumes

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Speaker 1: are like a baroque organ fugue, just washing over your

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Speaker 1: mind and body. Oh, I I agree absolutely on all counts,

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Speaker 1: because first of all, obviously this is a beautiful looking film,

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Speaker 1: a beautiful sounding film, which we'll get into as well.

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Speaker 1: But also I'm in the same boat I this is

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Speaker 1: the second time I've watched this movie this year. Um,

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Speaker 1: I watched it, uh just under a year ago on

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Speaker 1: an airplane and uh and and yeah, but before I

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Speaker 1: rewatched it, I don't think I would have really been

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Speaker 1: able to tell you what the plot was, aside from

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Speaker 1: just the very basic strokes of of what is obviously

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Speaker 1: visually happening on the screen. I mean, I think it

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Speaker 1: really does not help with plot comprehension that I can't

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Speaker 1: tell most of the characters apart. Yes, and I'm not

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Speaker 1: even sure that's unintentional. I mean, I can recognize basically

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Speaker 1: the main characters, the ones played by by Barry Sullivan

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Speaker 1: and uh and Norma Bengal, but a lot of the

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Speaker 1: other character. I mean, there are tons of just sci

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Speaker 1: fi crew members walking around in these identical costumes, which

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Speaker 1: I love. The costumes are one of the greatest things

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Speaker 1: about this movie, but they sort of hide all of

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Speaker 1: the actors identities and make it difficult to sort one

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Speaker 1: character from another. So a guy walks into the frame

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Speaker 1: wearing his his like leather space child outfit and holding

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Speaker 1: a ray gun, and they say like, oh, hello, and

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Speaker 1: I'm like, I don't know if this is the guy

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Speaker 1: that was in the previous shot or not. Yeah, absolutely,

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Speaker 1: there's there are a number of interchangeable guys in this

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Speaker 1: film that they just kind of move in and out

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Speaker 1: in the background. Sometimes they're they're playing important roles in

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Speaker 1: the plot. But yeah, outside of the two principal actors

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Speaker 1: that we named, I'm not really sure who anybody was

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Speaker 1: at any given time unless they're really hammering it home

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Speaker 1: for me. So for me, this movie is absolutely a

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Speaker 1: vibe trip. It is a It is a huge mood.

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Speaker 1: Uh that, and what's what goes on in the plot

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Speaker 1: is not nearly as significant though if you do pay

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Speaker 1: attention to what happens in the plot, there are some

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Speaker 1: other interesting relationships to other films that you can map out,

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Speaker 1: because while I don't think anybody would accuse Planet of

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Speaker 1: the Vampires of being one of the best sci fi

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Speaker 1: horror movies ever made, I think it does appear to

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Speaker 1: have been a major inspiration point for several of the

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Speaker 1: other greatest sci fi movies ever made, includeing Alien, Ridley

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Speaker 1: Scott's original in seventy nine, which I think many would

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Speaker 1: probably say is is definitely in like top three top

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Speaker 1: five sci fi horror movies of all time, and it

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Speaker 1: is impossible not to notice the overlap between this movie

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Speaker 1: and Alien. But of course, with Planet of the Vampires

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Speaker 1: coming much earlier, right right, and I believe Dan O'Bannon

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Speaker 1: even uh made that connection as well. I think when

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Speaker 1: people ask them about it, though if memory sirs, Ridley

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Speaker 1: Scott was always like, I've never seen it, so I

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Speaker 1: can't say, oh, sure, Ridley, Okay. Well anyway, I think

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Speaker 1: you could play a really interesting game of comparing and

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Speaker 1: contrasting the the cinematography of these two movies, which are

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Speaker 1: maybe you could say, the main selling points in both cases. Uh.

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Speaker 1: Whereas Ridley Scott has a very clean cinematography style, everything

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Speaker 1: is very clear and in many ways very The textures

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Speaker 1: are realist but of course beautifully composed, and the use

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Speaker 1: of light and shadow and all that. But meanwhile, Mario

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Speaker 1: Baba's movie looks like it takes place in a magical realm. Yeah,

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Speaker 1: there is. Um, there is a stark on reality to

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Speaker 1: to a number of you know, Mario Baba's pictures, and

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Speaker 1: certainly that was the case with Black Sabbath, which we

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Speaker 1: talked about previously on this show. But in in this film, yes,

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Speaker 1: everything feels very detached from the Earth world, and and

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Speaker 1: with good reason. I mean, for starters, this is only

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Speaker 1: a mild spoiler. I think depends on how you look

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Speaker 1: at it, I guess. But uh, these are human characters

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Speaker 1: played by human actors, but they are not Karen humans.

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Speaker 1: They are not from Earth. Uh. And ultimately we don't

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Speaker 1: really see them doing much. We don't see artifacts of

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Speaker 1: Earth among their possessions. Um, it's very stripped down. There's

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Speaker 1: a lot of uniformity, not only too, you know how

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Speaker 1: they're dressed, but also just there's a there's a sort

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Speaker 1: of a tidiness and a sterility to their their lives

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Speaker 1: and in the world that they've landed on. This abyssle Uh.

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Speaker 1: Shadow realm. Yeah, it's just absolutely bonkers on a from

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Speaker 1: a visual sense. And there's another thing I would say

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Speaker 1: about the sets and the setting of this film, which

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Speaker 1: is that though it's in many ways in line with

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Speaker 1: things you would see in other sci fi of the

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Speaker 1: era like Star Trek TV show, the original series and stuff,

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Speaker 1: but there is a staginess to the sets that while

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Speaker 1: they are while they are gorgeous and and uh intricately designed,

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Speaker 1: they do not appear to be trying to evoke reality. Instead,

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Speaker 1: they're more like the set you would see in a

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Speaker 1: very well designed stage production, so it's like suggestive of

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Speaker 1: real shapes and forms. I really enjoy comparing this film

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Speaker 1: in my mind to a movie that came out the

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Speaker 1: year prior n Santa Claus Conquers the Martians, because I mean,

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Speaker 1: these are films on totally different ends of the spectrum

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Speaker 1: in terms of of of just how well they're executed.

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Speaker 1: Certainly from a visual uh standpoint, Uh, this film is beautiful.

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Speaker 1: Santa Claus versus The Martians is uh, you know, it's

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Speaker 1: it's amusing, it's funny, it's for kids. But but they're

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Speaker 1: also comparable in a number of ways. You know, there's

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Speaker 1: there is uniformity to create making your humans uh some

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Speaker 1: some sort of a space species. Uh you have these

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Speaker 1: in these using sets to create both uh spaceship environments

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Speaker 1: and um uh you know, terrestrial environments. We might compare

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Speaker 1: the alien world of this film to say, the the

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Speaker 1: polar regions that are depicted in Santa claud versus the Martians.

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Speaker 1: And then also they both rely on that old trick

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Speaker 1: of having a some sort of a tripod landing gear

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Speaker 1: on your spaceship, and that way you can have the

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Speaker 1: model shot, but then you can also incorporate get into

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Speaker 1: your set because your characters are walking amid the legs

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Speaker 1: of the landing legs of the vessel. That's right, And

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Speaker 1: there's a lot of good so there's fun model work

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Speaker 1: but also good force perspective sets where there will be

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Speaker 1: a like a miniature of clearly everything is actually just

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Speaker 1: being shot pretty close to the camera, but there will

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Speaker 1: be uh miniatures of things taking place in the background

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Speaker 1: while characters are like descending across clearly just a ramp

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Speaker 1: that's hidden by some some rocks or spires or something

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Speaker 1: in the foreground. And it's very good at while not

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Speaker 1: actually looking realistic, sort of intoxicating lee, inviting you to

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Speaker 1: suspend your disbelief. It is not something that looks real,

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Speaker 1: but you're all in on the environment because it's playful. Yeah. Yeah,

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Speaker 1: Baba leans into the unreality of everything. And also I

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Speaker 1: would say that that Baba appears to to to only

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Speaker 1: do the things that they can do really well on

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Speaker 1: the screen, and you don't see this film attempting to

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Speaker 1: do things that it cannot do all that well, you

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Speaker 1: know what I'm saying, Yeah, because it absolutely excels at

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Speaker 1: lighting and uh and and I mean lighting is at

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Speaker 1: least half of everything here. I mean, because there are

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Speaker 1: times where you can tell, Okay, in the background, yes

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Speaker 1: this is this is some sort of a cardboard box

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Speaker 1: with lights on it, but you don't notice it so

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Speaker 1: much because of how it is, you know, how everything

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Speaker 1: is lit um. And then just the integrity of the

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Speaker 1: overall set. Yeah. Another thing I wanted to mention that

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Speaker 1: I noticed on this rewatch was, as I said, several

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Speaker 1: times I've watched the movie on mute with like music playing,

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Speaker 1: or you know, while I was hanging out with people

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Speaker 1: or something. Uh, And there's a very different experience when

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Speaker 1: you actually watch it with the soundtrack not just because

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Speaker 1: you hear the lines and understand what's going on in

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Speaker 1: the plot, but also it creates another layer of a vibe,

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Speaker 1: another bid for a different kind of sensory experience, which

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Speaker 1: is I think the audio in this movie invites you

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Speaker 1: to become hypnotized and go to sleep. There are many

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Speaker 1: just types of slow, repetitive, low level sounds that going

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Speaker 1: kind of drones and hums and soft beeps and the

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Speaker 1: sounds of bubbling mud in the background and and things

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Speaker 1: like that. Yeah. Absolutely with this film. Every time I

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Speaker 1: have watched it or attempted to watch it, I have

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Speaker 1: fallen asleep multiple times. Uh. And that's not a slam

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Speaker 1: on this movie. That is not saying this movie is

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Speaker 1: boring or it's not interesting. It's I think it's it's

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Speaker 1: it's it's an exciting film in many respects, and it's

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Speaker 1: beautiful to look at. But not only does it have

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Speaker 1: this visual sort of hypnotic uh you know, pulsating feel

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Speaker 1: to it, much like Get like other Baba films, uh this. Yeah,

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Speaker 1: that the sounds here, both of them, the music, the

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Speaker 1: the electrical the sort of the electronic sound effects, and

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Speaker 1: then also just the straight up uh sound work in

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Speaker 1: the in the movie are all weirdly captivating. I mean,

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Speaker 1: on one level, and we'll will credit the musician in

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Speaker 1: a bit here, but on one level, you do have

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Speaker 1: some traditional mid sixties action movie music that occurs, but

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Speaker 1: it occurs kind of sparingly, and for a lot of

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Speaker 1: the rest of the film, we do have like a

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Speaker 1: deep ambient vibe going on. Especially when they're on the ship.

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Speaker 1: We get some nice ship humming going on, electrical sounds

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Speaker 1: here and there, and then oh, I was especially on

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Speaker 1: this watch, I was really impressed by um all the

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Speaker 1: sounds of of of footsteps and running in the ship.

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Speaker 1: There's this this metallic clanking sound that um that really

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Speaker 1: resonated with me for some reason. Totally agree. In fact,

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Speaker 1: in the very opening scene when we're first coming into

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Speaker 1: the ship's command room, there is something that I at

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Speaker 1: first thought was supposed to be a heartbeat, but then

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Speaker 1: I later thought, well, it's either machinery or I think

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Speaker 1: maybe it's just supposed to be the slow footfalls of

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Speaker 1: Barry Sullivan's character as he wanders from station to station

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Speaker 1: in this room looking over people's shoulders. Yeah, the footfalls

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Speaker 1: are great. When they're on the ship. It's that metallic sound,

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Speaker 1: and then when they're out of the ship, it's kind

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Speaker 1: of this uh it's sand grating against metal sound. Um.

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Speaker 1: And and then there are also some scenes with kind

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Speaker 1: of plastic or rubber sheeting that also has this tremendous

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Speaker 1: uh sound effect to it. And so I was thinking

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Speaker 1: as I was watching this is like, Okay, I'm not

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Speaker 1: really someone who experiences a s MR, but I feel

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Speaker 1: like this movie gives me as close to the a

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Speaker 1: s m R experience as as I can personally imagine.

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Speaker 1: Oh wow, yeah, I'm the same boat. I'm not an

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Speaker 1: a SMR person, but but I can see what you're saying.

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Speaker 1: It is a movie that comes pretty close to inducing

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Speaker 1: an altered state of consciousness on its own. Just watching

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Speaker 1: it kind of lulls you and puts you. It's almost

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Speaker 1: like it synchronizes your brain waves to a different kind

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Speaker 1: of rhythm. Yeah. And and also Baba gives the scenes

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Speaker 1: a lot of room to breathe, uh, which which I

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Speaker 1: think also adds to this um, this tranquil feeling. Though

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Speaker 1: at the same time, I don't want to overstate this

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Speaker 1: movie and make it sound like it's Tarkovsky or something.

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Speaker 1: I mean, like I in most ways, I would say

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Speaker 1: the Planet of the Vampires is not a profound film,

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Speaker 1: and it's also in most ways not a very exciting film,

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Speaker 1: but it is a profound experience somehow, at least for me. Yeah, yeah, yeah,

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Speaker 1: and it's yeah, it's certainly not trying to be anything

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Speaker 1: profound either. It is it's setting out to be the

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Speaker 1: most gorgeous uh and stylish space horror film that it

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Speaker 1: can be in the mid sixties and getting to the

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Speaker 1: elevator pitch for this one, I would say you could

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Speaker 1: just basically basically sum up Planet of the Vampires by

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Speaker 1: saying it is the granddaddy of all space horror films.

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Speaker 1: You look at Alien event Horizes and all those, and

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Speaker 1: then you look at the old portrait of Planet of

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Speaker 1: the Vampires and you say, ah, they have its eyes. Yes. Uh.

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Speaker 1: So the basic plot here, and we'll get into the

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Speaker 1: more into the depths in a bit, but it concerns

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Speaker 1: a pair of spaceships piloted again by non tearing humanoids,

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Speaker 1: and these ships are responding to a signal from a

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Speaker 1: shadowy world with a dying son. Uh. They end up

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Speaker 1: getting stuck on the surface of sad shadowy planet. This

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Speaker 1: planet turns out to be a world of mystery, death, undeath,

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Speaker 1: possession and madness. Will they escape? You'll have to watch

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Speaker 1: and find out. Tune in next time. Let's hear that audio.

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Speaker 1: Planet of the vampires harboring a form of life worse

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Speaker 1: than death. Planet of the bloodless creatures who take men's

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Speaker 1: bodies but attack like vampires. I'll tell you this, If

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Speaker 1: there are any intelligent creatures on this planet, there are

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Speaker 1: enemies in this outer space world. The living dead try

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Speaker 1: to escape into life service No, just his body, and

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Speaker 1: I'm just one of many beings on this planet, and

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Speaker 1: we're finding to survive. It's imperative that our race continue

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Speaker 1: to exist. We arranged for several of you to kill

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Speaker 1: each other so that we could take over your bodies.

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Speaker 1: You are less chance. No, never will all of us

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Speaker 1: give up our lives to save our own race. All right?

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Speaker 1: Uh so this is our second Mario Bava film. But

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Speaker 1: just to mention the basics here. Mario Bava, Italian director,

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Speaker 1: legendary Italian director who of nineteen fourteen through nineteen eighty

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Speaker 1: with an unmistakable obsessive and phantasmagorical emphasis on visual composition. Um,

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Speaker 1: Like we've said before, a strong still just any screen

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Speaker 1: grab from a Bava film is instantly identifiable, especially a

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Speaker 1: certain distinctive use of colored gel lighting. Fond of shining

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Speaker 1: up on someone's face with like a purple light or

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Speaker 1: a set that's lit with like a green light or something. Yeah,

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Speaker 1: like and you know he did black and white films

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Speaker 1: as well, like sixties. Black Sunday is black and white

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Speaker 1: though he's one of these directors. Once you see him

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Speaker 1: working with color, how do you go to black and white?

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Speaker 1: Black Sunday is great though, that's a that's a more darker,

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Speaker 1: more serious sort of witchcraft witch hunting film. Yeah, most

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Speaker 1: most of his films were more easily identifiable. Is is

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Speaker 1: horror he did? He didn't just do harror. But I

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Speaker 1: think there are only two films that he did I

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Speaker 1: could be mistaken on this that that are classifiable as

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Speaker 1: science fiction, and this is one of them. Some of

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Speaker 1: his best known movies I think he would put in

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Speaker 1: the jallow genre, like um Blood and Black Lace and uh,

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Speaker 1: I think did he do Bay of Blood baby? Yeah,

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Speaker 1: that's blood. My memory is blood and Black Lace is

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Speaker 1: is pretty great looking and Bay of Blood I recall

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Speaker 1: being ugly and not not making any senses a Bova

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Speaker 1: movie and I didn't really like it. Blood and Black Lace,

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Speaker 1: that's the one with Cameron Mitchell in it. Oh yes, yes,

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Speaker 1: so Planet of the Vampire says all the touches that

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Speaker 1: you might expect from Bava, brilliant gothic colors, characters staring

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Speaker 1: through portals and windows, lots of doors and windows, like

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Speaker 1: this is a film that loves space doors and the

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Speaker 1: space doors are wonderful in it. People looking through glass

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Speaker 1: at things and I always thought that was an interesting detail,

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Speaker 1: like how much that happens in here? Yeah? Also bright blood,

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Speaker 1: high style, and of course just great lighting. Now, this

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Speaker 1: one is based on a novel, A novel by the

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Speaker 1: author Renato uh Pastronniro who was born in nineteen three,

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Speaker 1: and if I'm not mistaken, is still alive. And um,

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Speaker 1: I don't know that any of his works have been

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Speaker 1: translated into English. I looked around, I couldn't find any.

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Speaker 1: I could be wrong, but he seems to have written

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Speaker 1: um books in Italian for for a number of decades.

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Speaker 1: There's some kind of note in the credits about this

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Speaker 1: being based on something that appeared in a serial. Am

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Speaker 1: I wrong about that? Or is this a standalone novel. Um,

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Speaker 1: my understanding is the novel One Night of twenty one hours.

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Speaker 1: But we have to remind ourselves that back in this

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Speaker 1: time period sometimes novels would do this like uh, even

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Speaker 1: like big works like novels from Frank Herbert might be

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Speaker 1: serialized initially before they're published as a as a complete novel.

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Speaker 1: So it was just a different publishing world back then. Uh,

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Speaker 1: certainly in the US and I imagine in Italy as well. Now,

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Speaker 1: the screenplay credits on the film, beyond the author we

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Speaker 1: just mentioned, there are seven credits, including Baba himself and um,

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Speaker 1: you know, the more the better, Um, you know, and

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Speaker 1: if you want to read all of them, you can

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Speaker 1: certainly look up the IMDb profile the But but I

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Speaker 1: thought we mention a couple of them because they're like,

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Speaker 1: I believe, a couple of our Italian screenwriters that Bob

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Speaker 1: at least one that Boba had worked with on other films,

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Speaker 1: a couple of I believe you're Spanish screenwriters. And then

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Speaker 1: we also have two screenwriters come in for the English version.

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Speaker 1: The first is ib Mel Corps who lived nineteen seventeen

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Speaker 1: through Danish American writer with some impressive credits. He wrote

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Speaker 1: and directed fifty nine is The Angry Red Planet uh

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Speaker 1: and sixty four is The Time Travelers. He was a

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Speaker 1: co screenwriter on Robinson Crusoe on Mars and sixty four.

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Speaker 1: In his nineteen sixty five story The Racer, was adapted

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Speaker 1: into the nineteen seventy five Corman produced Paul Bartell directed

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Speaker 1: movie Death Race two thousand. Oh wow. Melkar was also

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Speaker 1: one of the writers behind the hilarious nineteen sixty one

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Speaker 1: Danish kaiju movie Reptilicus. I believe this one was covered

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Speaker 1: on MST three k Okay. I don't think I saw

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Speaker 1: that one more recent MST three Kiss Okay. Yeah, all right.

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Speaker 1: The other screenwriter on the English version Louis M. Hayward,

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Speaker 1: who lived nineteen twenty three two thousand two. Um had

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Speaker 1: his hands in a number of bikini movie screenplays back

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Speaker 1: in the day, but was also a producer on such

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Speaker 1: films as both Dr fives movies, The Vampire Lovers, The

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Speaker 1: Oblong Box, Which Finder General and more. All right, let's

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Speaker 1: get into the cast. Uh So, as previously mentioned, one

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Speaker 1: of the two principal characters, one of the characters that

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Speaker 1: we actually can instantly identify, and this is in large

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Speaker 1: part to the fact that, I mean he has a

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Speaker 1: screen presence. He's has a lot of screen time, and

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Speaker 1: he's an older actor. In this film is Barry Sullivan

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Speaker 1: playing Captain Mark Markari Marquerie Mark and the Funky Crew.

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Speaker 1: Yeah so uh. Barry Sullivan lived nineteen twelve through American

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Speaker 1: actor of TV and film, active from the nineteen thirties

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Speaker 1: up into the nineteen eighties. Um, he was never I think,

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Speaker 1: a huge name, but he seems to have been like

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Speaker 1: a very dependable hand in pictures, very very long stretch,

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Speaker 1: sometimes as the lead, but oftentimes you know, as part

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Speaker 1: of the extended cast. Some of his other notable films

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Speaker 1: include Cause for Alarm and fifty one, The Bad and

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Speaker 1: the Beautiful and fifty two and nineteen seven and four's Earthquake.

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Speaker 1: M hm. He pops up twice on Night Gallery and

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Speaker 1: he did at least one other horror movie, Pyro The

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Speaker 1: Thing Without a Face nine English Spanish co production. What

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Speaker 1: Piro The Thing Without a Face. That seems like two

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Speaker 1: different titles jammed together. Ah Yeah, I haven't seen its

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Speaker 1: like to it, but it looks like it has some

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Speaker 1: sort of creature effect or makeup effect going on in it.

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Speaker 1: I'm not even sure if it's if it's very Sullivan

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Speaker 1: in the creature effect stuff, But at anyway, he's in

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Speaker 1: this film and I think he's the lead. I don't

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Speaker 1: know exactly what to say about Barry Sullivan in this movie,

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Speaker 1: because on one hand, I feel inclined to be critical

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Speaker 1: and call his performance extremely boring. But then again, I

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Speaker 1: don't know what I would change about it. Like, I

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Speaker 1: don't know how different this movie would be if you

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Speaker 1: had a very exciting actor giving a more lively performance

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Speaker 1: in this role, and it might actually undercut some of

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Speaker 1: the other things I like so much about it. Yeah,

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Speaker 1: I was having the same experience because at first I

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Speaker 1: was thinking, like, oh, man, Barry Sullivan is such a bore,

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Speaker 1: why couldn't it have been Cameron Mitchell, for example, in Control?

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Speaker 1: But then as I started watching, As I continued watching it, um,

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Speaker 1: I was really thinking, well, what would Cameron Mitchell have

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Speaker 1: done differently? You know, this this character is what he is.

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Speaker 1: He's he's very stoic. Um. You know, he's uh, he's dry,

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Speaker 1: he's the he's in many ways sort of the typical uh,

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Speaker 1: leading man hero that you would have in classic Hollywood films.

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Speaker 1: He's a cool cucumber under pressure and yeah, he's kind

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Speaker 1: of like the dad of the picture. Yeah, so yeah,

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Speaker 1: I ultimately I'm going to land on saying Barry Sullivan

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Speaker 1: is good in this if nothing else, you can addend

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Speaker 1: that he can set him apart from all the other

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Speaker 1: male characters in the film, because most of the other

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Speaker 1: male characters are kind of interchangeable. Now, one character I

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Speaker 1: always did recognize is the character Sonia played by Norma Bengal. Yeah. Yeah,

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Speaker 1: it's very captivating screen presence, um, uh, beautiful eyes. Of course,

394
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Speaker 1: she'd dressed in stylish space suits the whole time she lived.

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Speaker 1: N W was a Brazilian actor and musician and later

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Speaker 1: director and producer. Was a big star in Brazil, and

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Speaker 1: that's where I think she was mostly active. Though naturally

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Speaker 1: she appears in some Italian films as well, obviously because

399
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Speaker 1: this is an Italian film. Uh, certainly outside of Brazil,

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Speaker 1: this is her best known work and yeah, captivating. Um,

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Speaker 1: even if I would say the you know, she's still

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Speaker 1: uh subject to the the reduced ambient acting temperature of

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Speaker 1: this movie. That's a good way of putting it. Yes,

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Speaker 1: I would say the general temperature of the acting in

405
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Speaker 1: this film is low and that affects everyone, whatever their

406
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Speaker 1: individual charisma might be. And in other contexts, it's clear

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Speaker 1: Norma Bingal has loads of charisma because she she also

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Speaker 1: had a career as a singer, as I think you mentioned,

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Speaker 1: and I was trying to find some of her music.

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Speaker 1: Not a lot of it seems to be all that

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Speaker 1: easy to access these days. But there's one record she

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Speaker 1: put out that I must get a physical copy of

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Speaker 1: if I can find it anywhere. It's a nineteen fifty

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Speaker 1: nine Bossa Nova album. Uh, and I dug up a

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Speaker 1: few tracks from. First of all, the album is called

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Speaker 1: you Ready for the title it's oh Norma, but I

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Speaker 1: think six or seven ohs in the UK, uh Norma.

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Speaker 1: And the tracks I heard I thought were just great,

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Speaker 1: very smooth and rough at the same time, like a

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Speaker 1: like a pad of butter melting on a crocodile's back.

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Speaker 1: Two thumbs up. Yeah, yeah, you sent me some links

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Speaker 1: to this. There's a cover of fever On here that's

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Speaker 1: quite nice. Um, there's some other tracks. Yeah. She does

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Speaker 1: a song called Hobla La La. I've never heard that before,

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Speaker 1: but it's great. Yeah. Yeah, so yes, the solid Bossa

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Speaker 1: Nova performance in my opinion. I do take a little

427
00:25:55,119 --> 00:25:58,800
Speaker 1: bossa nova from time to time. Um, does anybody out

428
00:25:58,800 --> 00:26:00,959
Speaker 1: there have a copy of this record? If you are

429
00:26:01,000 --> 00:26:04,240
Speaker 1: a listener of our show and you own oh Norma,

430
00:26:04,400 --> 00:26:07,439
Speaker 1: you must write us contact at stuff to Blow your

431
00:26:07,440 --> 00:26:09,480
Speaker 1: Mind dot com. I want to know all about this,

432
00:26:09,840 --> 00:26:12,120
Speaker 1: all right, so we'll come back to her, I'm sure.

433
00:26:12,640 --> 00:26:17,480
Speaker 1: But other actors in this let's see, there's angel um Aranda.

434
00:26:18,280 --> 00:26:21,600
Speaker 1: This is uh an actor playing the character Wes west Kint.

435
00:26:21,840 --> 00:26:26,280
Speaker 1: Another wonderful name. These Mark Marqueri and Wes west Kent.

436
00:26:26,920 --> 00:26:28,720
Speaker 1: We have to these are all you know, it's laying

437
00:26:28,720 --> 00:26:31,400
Speaker 1: the seeds for the reveal that these are not Earth

438
00:26:31,480 --> 00:26:34,399
Speaker 1: humans there from somewhere else where. They have different naming conventions.

439
00:26:34,400 --> 00:26:37,719
Speaker 1: But anyway, this actor lived ninety four through two thousand,

440
00:26:37,920 --> 00:26:40,800
Speaker 1: Spanish actor. He was also in nineteen fifty nine The

441
00:26:40,840 --> 00:26:42,879
Speaker 1: Last Days of POMPEII and seems to have done a

442
00:26:42,880 --> 00:26:46,000
Speaker 1: fair amount of Westerns and sword and Sandals sort of movies.

443
00:26:46,280 --> 00:26:48,080
Speaker 1: I think this was a big time for sword and

444
00:26:48,080 --> 00:26:52,720
Speaker 1: Sandal movies in uh In in Italy. Yeah. Now we

445
00:26:52,760 --> 00:26:56,320
Speaker 1: have another female character in the film, another crew member.

446
00:26:56,440 --> 00:27:01,359
Speaker 1: This is Tiona, played by the actor uh Evie Marandi,

447
00:27:01,800 --> 00:27:04,480
Speaker 1: who was born in ninety one and I think is

448
00:27:04,480 --> 00:27:08,000
Speaker 1: still with us, a Greek actress that was active from

449
00:27:08,040 --> 00:27:13,440
Speaker 1: around nineteen nineteen four, did mostly thrillers and crime pictures.

450
00:27:14,000 --> 00:27:16,120
Speaker 1: It also appears that she was in the Italian mass

451
00:27:16,160 --> 00:27:20,840
Speaker 1: superhero film gold Face The Fantastic Superman from nineteen I

452
00:27:20,880 --> 00:27:22,919
Speaker 1: liked her in this too, not just because she was

453
00:27:23,000 --> 00:27:26,080
Speaker 1: a person I could actually recognize, but she's she's got cool,

454
00:27:26,160 --> 00:27:31,080
Speaker 1: big hair, which compliments the costumes. Well, so the costumes.

455
00:27:31,600 --> 00:27:33,600
Speaker 1: Maybe we'll get into this more when we get down

456
00:27:33,600 --> 00:27:36,800
Speaker 1: to the costume designer credit. But the costumes have these

457
00:27:36,880 --> 00:27:41,639
Speaker 1: colors that look like Dracula capes. Did Did you also

458
00:27:41,680 --> 00:27:46,840
Speaker 1: make that connection? Um? I do when I You've pointed

459
00:27:46,840 --> 00:27:49,000
Speaker 1: this out to me before, and um, and so I

460
00:27:49,040 --> 00:27:50,680
Speaker 1: think about that when I look at the costume. But

461
00:27:50,720 --> 00:27:53,280
Speaker 1: at the same level, I don't think I ever put

462
00:27:53,320 --> 00:27:56,359
Speaker 1: that together myself looking at these costumes, and I would,

463
00:27:56,560 --> 00:27:59,320
Speaker 1: I would, I would say it's not overt. It's not

464
00:27:59,359 --> 00:28:02,439
Speaker 1: in a way very like WHOA what wacky space vampires?

465
00:28:02,480 --> 00:28:04,440
Speaker 1: You know that I think they look pretty sleek. Well,

466
00:28:04,440 --> 00:28:07,760
Speaker 1: it's also because these characters are not the vampire characters,

467
00:28:07,800 --> 00:28:10,880
Speaker 1: they're the ones who are the victims of them. But yeah,

468
00:28:10,920 --> 00:28:14,320
Speaker 1: they've got these very very high collars that like come

469
00:28:14,400 --> 00:28:18,359
Speaker 1: up past the back of their hairline and over their jaws. Yeah.

470
00:28:18,400 --> 00:28:20,480
Speaker 1: And then they have these kind of skull caps that

471
00:28:20,520 --> 00:28:23,040
Speaker 1: they something that they wear sometimes, and they have helmets

472
00:28:23,040 --> 00:28:26,280
Speaker 1: that they also wear sometimes. But then also when Sonia

473
00:28:26,920 --> 00:28:30,120
Speaker 1: and uh Tiona, when they take their hel their their

474
00:28:30,160 --> 00:28:33,720
Speaker 1: skull caps off, they both have just enormous beautiful mid

475
00:28:33,760 --> 00:28:37,040
Speaker 1: sixties hair. Yeah, And so I think those like the

476
00:28:37,119 --> 00:28:40,880
Speaker 1: tall collars on the characters are somehow well complimented by

477
00:28:40,880 --> 00:28:43,800
Speaker 1: any actors that have big hair. Yeah, and boy do

478
00:28:43,880 --> 00:28:48,440
Speaker 1: they have enormous hair. Now. Well, I guess that most

479
00:28:48,480 --> 00:28:50,800
Speaker 1: of the rest of the male characters in the film

480
00:28:51,120 --> 00:28:54,160
Speaker 1: are interchangeable, but I'm gonna mention a couple of them

481
00:28:54,200 --> 00:28:56,280
Speaker 1: because they have connections to other films we've talked about.

482
00:28:57,000 --> 00:29:00,520
Speaker 1: We have Stelio Condelli, who plays either a Rian named

483
00:29:00,520 --> 00:29:05,120
Speaker 1: Brad or mud Um according to IMDb. And again I

484
00:29:05,160 --> 00:29:07,040
Speaker 1: have to be honest, I do not know which character

485
00:29:07,160 --> 00:29:11,320
Speaker 1: Brad or mud was. I don't remember, but Kendelli pops

486
00:29:11,400 --> 00:29:14,840
Speaker 1: up in Hercules. This is the one with lufer Igno

487
00:29:14,960 --> 00:29:18,960
Speaker 1: that we watched. He's also in Five Demons and seventy

488
00:29:19,000 --> 00:29:24,240
Speaker 1: four's Nude for Satan. Wow, what a title do you

489
00:29:24,280 --> 00:29:29,760
Speaker 1: think that got people into the theaters some theaters. Um. Now,

490
00:29:30,040 --> 00:29:34,960
Speaker 1: we also have the actor Ivan Rassimof as a character

491
00:29:35,040 --> 00:29:40,240
Speaker 1: named Carter or Dervy. And this guy is interesting because

492
00:29:40,280 --> 00:29:43,480
Speaker 1: he lived two thousand three. Italian actor who played a

493
00:29:43,520 --> 00:29:46,960
Speaker 1: lot of heavies. He was in Sergio Martinos All the

494
00:29:46,960 --> 00:29:49,760
Speaker 1: Colors of the Dark from seventy two. He was in

495
00:29:49,840 --> 00:29:53,600
Speaker 1: Baba's n seventy seven film Shock, and he played Lord

496
00:29:53,640 --> 00:29:57,800
Speaker 1: Growl in the Humanoid that's the the off brand Darth

497
00:29:57,880 --> 00:30:01,479
Speaker 1: Vader in the Star Wars knock off that we watched. Wow.

498
00:30:02,400 --> 00:30:06,840
Speaker 1: Dervey Jones Locker. All right, well, let's get to some

499
00:30:06,880 --> 00:30:09,680
Speaker 1: of the behind the scenes names here, just because this

500
00:30:09,720 --> 00:30:12,280
Speaker 1: is this is very much like you said, the texture

501
00:30:12,280 --> 00:30:13,880
Speaker 1: of the film is so important. We have to discuss

502
00:30:13,920 --> 00:30:16,760
Speaker 1: some of the folks who brought that together. First of all,

503
00:30:16,880 --> 00:30:25,080
Speaker 1: we have Geno Marianosi Jr. Who son of a of

504
00:30:25,120 --> 00:30:29,360
Speaker 1: an Italian conductor and composer. Obviously the same name senior

505
00:30:29,440 --> 00:30:32,840
Speaker 1: and Junior, but Junior worked in Italian and European film

506
00:30:32,840 --> 00:30:36,280
Speaker 1: and TV. He also is credited with electronic effects on

507
00:30:36,320 --> 00:30:40,840
Speaker 1: this film. And again, those electronic effects are are are

508
00:30:40,880 --> 00:30:44,800
Speaker 1: not isolated, They are found throughout the picture and are marvelous.

509
00:30:45,080 --> 00:30:46,760
Speaker 1: I think I got even a hint of there amen

510
00:30:46,800 --> 00:30:50,520
Speaker 1: at times. Oh yeah, yeah. There's a lot of beeping

511
00:30:50,560 --> 00:30:54,440
Speaker 1: consoles and machinery inside the ships. Uh. And a great

512
00:30:54,440 --> 00:30:58,760
Speaker 1: scene where they discover some derelict artifacts and uh. And

513
00:30:59,000 --> 00:31:02,280
Speaker 1: alien technolog g that has its own sound profiles like

514
00:31:02,320 --> 00:31:07,240
Speaker 1: the remember the sonic or the high voltage sonic locks

515
00:31:07,320 --> 00:31:11,400
Speaker 1: and keys and the twin tuning fork. Yeah. Yeah, anything

516
00:31:11,560 --> 00:31:14,920
Speaker 1: interesting in this film, even halfway interesting, has a signature sound,

517
00:31:15,280 --> 00:31:17,560
Speaker 1: and if you hear a sound, you're gonna hear it again,

518
00:31:18,000 --> 00:31:22,600
Speaker 1: and probably like somewhere between four or five times minimum,

519
00:31:22,760 --> 00:31:25,280
Speaker 1: which I think adds to this sort of hypnotic feel.

520
00:31:25,360 --> 00:31:27,480
Speaker 1: It's like this is a movie that on some level

521
00:31:27,520 --> 00:31:30,640
Speaker 1: is just playing with sound. But also my memory is

522
00:31:30,680 --> 00:31:33,800
Speaker 1: that there's not a lot of music in this movie.

523
00:31:33,880 --> 00:31:36,840
Speaker 1: I didn't take specific notes on this, but my general

524
00:31:36,880 --> 00:31:38,800
Speaker 1: impression is there are a lot of scenes that have

525
00:31:38,920 --> 00:31:43,440
Speaker 1: no music and there's just ambient environmental sound. Yeah, yeah,

526
00:31:43,480 --> 00:31:46,200
Speaker 1: they're there are long stretches of ambient sound, which I love.

527
00:31:46,640 --> 00:31:49,480
Speaker 1: There are a few spikes of more traditional action music,

528
00:31:49,760 --> 00:31:51,800
Speaker 1: but then they're also like say, the in credit music

529
00:31:52,280 --> 00:31:54,920
Speaker 1: is rather nice and is kind of a mix of

530
00:31:54,920 --> 00:31:58,760
Speaker 1: these things. Like it's creepy, but it's not just pure

531
00:31:58,800 --> 00:32:02,800
Speaker 1: electronic ambiance by a stretch. Now, we've been gushing over

532
00:32:02,920 --> 00:32:06,280
Speaker 1: the sets and the and all in this film, so

533
00:32:06,320 --> 00:32:09,160
Speaker 1: we should mention that the set decoration. Our direction credit

534
00:32:09,240 --> 00:32:14,240
Speaker 1: goes to um Giorgio Giovanni, who lived through two thousand

535
00:32:14,240 --> 00:32:18,240
Speaker 1: and seven. We've mentioned them before because they're credited on

536
00:32:18,320 --> 00:32:23,320
Speaker 1: Baba's Black Sabbath the Evil I and was also art

537
00:32:23,320 --> 00:32:26,720
Speaker 1: director on six is the Name of the Rose and

538
00:32:27,480 --> 00:32:30,720
Speaker 1: six is The Adventures of Baron Munchausen. Oh interesting man

539
00:32:30,800 --> 00:32:33,880
Speaker 1: Munchausen has I can see that connection. That also has

540
00:32:33,920 --> 00:32:37,720
Speaker 1: some fantastic weird sets. Yeah, and I mean certainly the

541
00:32:37,800 --> 00:32:40,760
Speaker 1: Name of the Rose from eight six is everything's very

542
00:32:40,840 --> 00:32:44,120
Speaker 1: much based in a in a specific medieval environment, but

543
00:32:44,680 --> 00:32:47,880
Speaker 1: beautiful sets in that movie as well. And in costume

544
00:32:47,960 --> 00:32:52,720
Speaker 1: designer we have Gabrielle Mayer, who also did costumes on

545
00:32:52,760 --> 00:32:58,600
Speaker 1: the stylish Mario Baba film Danger Diabolic from nine. I

546
00:32:58,640 --> 00:33:02,520
Speaker 1: can see that connection. We we've been gushing about the costumes,

547
00:33:02,560 --> 00:33:05,440
Speaker 1: but one thing that's worth admitting is there's not a

548
00:33:05,520 --> 00:33:09,120
Speaker 1: great variety of costumes in this movie. Most of the

549
00:33:09,200 --> 00:33:11,959
Speaker 1: characters for most of the movie are all wearing exactly

550
00:33:12,000 --> 00:33:15,760
Speaker 1: the same thing. And yet I love these costumes. There

551
00:33:15,760 --> 00:33:20,600
Speaker 1: these full body space leather or maybe fake leather, I

552
00:33:20,640 --> 00:33:23,680
Speaker 1: don't know, vinyl or leather jumpsuits that have they're like

553
00:33:23,760 --> 00:33:26,640
Speaker 1: black with yellow lining. And we mentioned that they have

554
00:33:26,680 --> 00:33:29,600
Speaker 1: these very tall collars that come way up, like past

555
00:33:29,680 --> 00:33:32,320
Speaker 1: the jaw, past the hairline in the back. And then

556
00:33:32,400 --> 00:33:35,160
Speaker 1: sometimes these caps that go on that I believe have

557
00:33:35,240 --> 00:33:38,400
Speaker 1: a kind of don't the cap The leather caps have

558
00:33:38,440 --> 00:33:40,680
Speaker 1: a kind of widow's peak to them, like they come

559
00:33:40,720 --> 00:33:43,840
Speaker 1: down a little bit in the forehead, almost like Dracula's

560
00:33:43,880 --> 00:33:46,560
Speaker 1: hairline or something. Yeah they do, Yeah, they do, now

561
00:33:46,600 --> 00:33:49,480
Speaker 1: that you mention it just tremendous. Is so good? Yeah,

562
00:33:49,560 --> 00:33:52,720
Speaker 1: these costumes, for one thing, you see them a lot,

563
00:33:53,240 --> 00:33:55,480
Speaker 1: and you don't really see any flaws in them. You

564
00:33:55,480 --> 00:33:59,560
Speaker 1: don't see the costum nous shining through. And then also

565
00:34:00,080 --> 00:34:03,160
Speaker 1: everyone has one and this gets into something I really

566
00:34:03,160 --> 00:34:06,160
Speaker 1: liked about the film. Like anything that exists in the film,

567
00:34:06,320 --> 00:34:09,839
Speaker 1: there's a sense of of mass production to it. So

568
00:34:10,239 --> 00:34:13,240
Speaker 1: everyone has these costumes when sometimes they wear the helmet,

569
00:34:13,280 --> 00:34:15,200
Speaker 1: but the rest of the time you see multiple helmets,

570
00:34:15,440 --> 00:34:19,200
Speaker 1: all identical setting around. It's not just one space rifle

571
00:34:19,320 --> 00:34:21,720
Speaker 1: like ray gun that they have, which is a great

572
00:34:21,760 --> 00:34:24,280
Speaker 1: design by the way, and especially with the sound effects

573
00:34:24,320 --> 00:34:29,680
Speaker 1: like sounds and feels clunky, uh and and steal, but

574
00:34:30,880 --> 00:34:33,400
Speaker 1: everybody will have one at different times, you know, and

575
00:34:33,440 --> 00:34:36,359
Speaker 1: then they're multiple one setting around on racks. We also

576
00:34:36,400 --> 00:34:40,279
Speaker 1: see this with some uh time detonator devices. When they

577
00:34:40,280 --> 00:34:42,480
Speaker 1: go to fetch one, there's like, you know, three dozen

578
00:34:42,520 --> 00:34:45,440
Speaker 1: of them or something in the cabinet, and I don't know,

579
00:34:45,480 --> 00:34:48,279
Speaker 1: there's something about that that felt like, I don't know

580
00:34:48,320 --> 00:34:50,640
Speaker 1: if it was like a mid sixties thing and realizing

581
00:34:50,680 --> 00:34:53,960
Speaker 1: like the future is mass production, like the Space Ages

582
00:34:54,320 --> 00:34:57,919
Speaker 1: mass production, and therefore, you know, anything that these these

583
00:34:58,040 --> 00:35:00,200
Speaker 1: characters have, they're gonna have a whole by each of

584
00:35:00,239 --> 00:35:02,319
Speaker 1: them and they're all going to be alike. Yeah. The

585
00:35:02,360 --> 00:35:05,239
Speaker 1: only thing that really differentiates the costumes for most of

586
00:35:05,280 --> 00:35:08,239
Speaker 1: the movie is they will have these little insignias that

587
00:35:08,280 --> 00:35:10,880
Speaker 1: seem to indicate rank, like the number of z s

588
00:35:11,040 --> 00:35:14,120
Speaker 1: you have on your upper pectoral region is is like

589
00:35:14,400 --> 00:35:17,440
Speaker 1: how what rank you are? I think now there is

590
00:35:17,640 --> 00:35:20,359
Speaker 1: one section in the middle, and I don't think this

591
00:35:20,440 --> 00:35:24,120
Speaker 1: is explained at all, But suddenly our two main characters,

592
00:35:24,160 --> 00:35:28,600
Speaker 1: at least uh Snya and Uh and Markari are wearing

593
00:35:28,719 --> 00:35:33,400
Speaker 1: different costumes, like they're wearing orange and gray jumpsuits instead

594
00:35:33,400 --> 00:35:36,279
Speaker 1: of the traditional black and I And every time I

595
00:35:36,320 --> 00:35:38,640
Speaker 1: watched it, I'm like, what, what's happening? Why are they?

596
00:35:38,800 --> 00:35:41,400
Speaker 1: Why are you wearing different outfits? And these are fine jumpsuits,

597
00:35:41,440 --> 00:35:43,800
Speaker 1: don't get me wrong, great jumpsuits. They look kind of

598
00:35:43,840 --> 00:35:49,080
Speaker 1: like the Running Man uniforms. Yeah, but yeah, I was wondering,

599
00:35:49,160 --> 00:35:51,239
Speaker 1: sort of off off hand. I was like, well, why

600
00:35:51,239 --> 00:35:53,800
Speaker 1: did they change jumpsuits? The other one is getting laundered.

601
00:35:54,080 --> 00:35:57,080
Speaker 1: This is the backup jump suit. I'm not sure, but

602
00:35:57,120 --> 00:36:02,480
Speaker 1: it still Yeah. Oh and finally, Carlo Rombaldi, who lived

603
00:36:03,760 --> 00:36:07,160
Speaker 1: twelve was the model maker on this A legend who

604
00:36:07,200 --> 00:36:09,920
Speaker 1: worked on a number of films, noted for designing et

605
00:36:10,680 --> 00:36:13,640
Speaker 1: and the mechanical head effects for the creatures in Alien.

606
00:36:14,520 --> 00:36:18,680
Speaker 1: He was a creature creator on the Dune movie, so

607
00:36:18,760 --> 00:36:22,520
Speaker 1: you know what that means. This guy was doing sandworms

608
00:36:22,600 --> 00:36:25,560
Speaker 1: or guild navigators or maybe both. Oh did he make

609
00:36:25,680 --> 00:36:29,359
Speaker 1: ederick for David Lynch. Maybe, um, I didn't look up

610
00:36:29,400 --> 00:36:31,680
Speaker 1: specifics on that, but I mean, if you're creating creatures,

611
00:36:31,760 --> 00:36:34,560
Speaker 1: they're like you basically have two to shoes from there. Uh.

612
00:36:34,640 --> 00:36:39,320
Speaker 1: And that was Gus arguably the more extravagant design and effect.

613
00:36:39,880 --> 00:36:41,959
Speaker 1: But he also worked on the never Ending Story, Close

614
00:36:42,040 --> 00:36:45,880
Speaker 1: Encounters of the Third Kind, Frankenstein, Adi Barbarella, uh, and

615
00:36:45,960 --> 00:36:49,839
Speaker 1: many more, and sometimes he's just credited as Rombaldi. Oh

616
00:36:49,880 --> 00:36:51,279
Speaker 1: you know you've made it when you can just go

617
00:36:51,320 --> 00:36:54,360
Speaker 1: by one name. Yeah, Well that that's a heck of

618
00:36:54,400 --> 00:36:57,759
Speaker 1: a resume because like basically every movie you named there

619
00:36:57,800 --> 00:37:09,520
Speaker 1: has some pretty awesome models in it. All right, let's

620
00:37:09,520 --> 00:37:12,080
Speaker 1: get let's get more into the plot of this baby. Okay, Well,

621
00:37:12,120 --> 00:37:13,920
Speaker 1: I think this is one of those movies where it

622
00:37:14,000 --> 00:37:16,400
Speaker 1: might be kind of dull to try to recap the

623
00:37:16,440 --> 00:37:18,920
Speaker 1: plot in a more granular way. So this is one

624
00:37:18,920 --> 00:37:20,479
Speaker 1: of the ones where I think it makes more sense

625
00:37:20,520 --> 00:37:23,839
Speaker 1: to summarize the whole thing briefly and then focus on

626
00:37:23,920 --> 00:37:27,520
Speaker 1: some details that stood out and maybe some interesting readings.

627
00:37:28,320 --> 00:37:30,920
Speaker 1: So here's the sort of higher level plot rundown. You

628
00:37:31,120 --> 00:37:36,200
Speaker 1: start with two deep space exploration vessels, the Galleot and

629
00:37:36,400 --> 00:37:40,279
Speaker 1: the I think this is the Greek word argo, but

630
00:37:40,480 --> 00:37:43,799
Speaker 1: I think they say argus in the movie, don't they.

631
00:37:43,960 --> 00:37:46,440
Speaker 1: So the crew members of this one are technically argonauts.

632
00:37:46,520 --> 00:37:49,640
Speaker 1: That would make sense. Yeah, so so Yeah, the Argus

633
00:37:49,640 --> 00:37:52,000
Speaker 1: and the Galleot, and they receive a signal from a

634
00:37:52,160 --> 00:37:57,719
Speaker 1: distress beacon on a previously unexplored planet called Aura, and

635
00:37:57,840 --> 00:38:00,440
Speaker 1: the two ships attempt to land, but as they were

636
00:38:00,440 --> 00:38:04,360
Speaker 1: approaching the planet's surface, the crew members aboard the Argus,

637
00:38:04,440 --> 00:38:07,640
Speaker 1: with the exception of Barry Sullivan, only Captain Marcury is

638
00:38:07,680 --> 00:38:11,200
Speaker 1: able to resist this. They all seemingly go mad or

639
00:38:11,239 --> 00:38:14,280
Speaker 1: they become possessed or something, and there's an invisible force

640
00:38:14,719 --> 00:38:18,080
Speaker 1: and that makes them start beating and choking each other. Yeah.

641
00:38:18,120 --> 00:38:21,120
Speaker 1: Obvious shades of Event Horizon, which would of course come

642
00:38:21,200 --> 00:38:23,759
Speaker 1: much later. Event Horizon, of course, was not shy about

643
00:38:23,800 --> 00:38:28,400
Speaker 1: borrowing elements from other films. Yeah, And eventually Captain Marcury

644
00:38:28,440 --> 00:38:32,400
Speaker 1: discovers that a sufficient physical jolt breaks the trance, and

645
00:38:32,520 --> 00:38:35,840
Speaker 1: the possessed crew members are then beaten and returned to

646
00:38:35,880 --> 00:38:39,440
Speaker 1: their senses one by one. So the Argus lands on

647
00:38:39,480 --> 00:38:43,960
Speaker 1: the planet surface, which is an an infernal, chaotic terrain

648
00:38:44,120 --> 00:38:49,000
Speaker 1: of these jagged rocks and inspire shapes, boiling bogs full

649
00:38:49,040 --> 00:38:53,240
Speaker 1: of white mud, strange lights shining through the fog, and

650
00:38:53,440 --> 00:38:56,560
Speaker 1: uh and these hues of purple and yellow that very

651
00:38:56,640 --> 00:39:00,480
Speaker 1: much recall the verdu Lock. So it's another planet, but

652
00:39:00,880 --> 00:39:05,960
Speaker 1: just Carpathian sorcery crackling through the atmosphere. And they discovered

653
00:39:05,960 --> 00:39:10,240
Speaker 1: that the other ship, the Galleot, has also successfully landed nearby.

654
00:39:10,360 --> 00:39:12,440
Speaker 1: They originally didn't know its fate, but they see it

655
00:39:12,440 --> 00:39:15,719
Speaker 1: in the distance, and so several crew members make an

656
00:39:15,719 --> 00:39:18,960
Speaker 1: expedition across a simmering lake of mud to check on

657
00:39:19,000 --> 00:39:21,680
Speaker 1: the crew of the Galleot, and when they arrive, they

658
00:39:21,719 --> 00:39:25,080
Speaker 1: find the crew all dead, apparently having murdered each other

659
00:39:25,239 --> 00:39:27,600
Speaker 1: in the same kind of frenzy that sees the crew

660
00:39:27,680 --> 00:39:31,920
Speaker 1: of the Argus. So they conduct field burials of the

661
00:39:31,920 --> 00:39:35,239
Speaker 1: crew members that they can access. But there is one

662
00:39:35,239 --> 00:39:37,239
Speaker 1: section of the ship, I think it's the command room

663
00:39:37,280 --> 00:39:39,719
Speaker 1: of the ship where they can't get in. The door

664
00:39:39,760 --> 00:39:42,799
Speaker 1: is locked from the inside, and several bodies remain in there.

665
00:39:42,840 --> 00:39:44,920
Speaker 1: They look at them through the glass and they're like, okay,

666
00:39:44,920 --> 00:39:46,239
Speaker 1: we have to go back to our ship to get

667
00:39:46,239 --> 00:39:50,080
Speaker 1: a cutting torch to access the room. But upon returning,

668
00:39:50,120 --> 00:39:52,840
Speaker 1: they find that the dead bodies have disappeared from the

669
00:39:52,920 --> 00:39:58,240
Speaker 1: locked room, and so strange things start happening. Captain Marquery

670
00:39:58,360 --> 00:40:01,680
Speaker 1: decides that they have to escape planet, but their ship

671
00:40:01,800 --> 00:40:05,080
Speaker 1: can't take off because of damage, including damage to the

672
00:40:05,200 --> 00:40:09,400
Speaker 1: so called meteor rejector, which I love. It's a phrase

673
00:40:09,440 --> 00:40:11,680
Speaker 1: that has said many times in an object we look

674
00:40:11,719 --> 00:40:13,919
Speaker 1: at over and over. It's like they got these two

675
00:40:13,960 --> 00:40:16,560
Speaker 1: little tubes that are connected on the top, kind of

676
00:40:16,640 --> 00:40:20,040
Speaker 1: like a pair of binoculars. But I believe the function

677
00:40:20,080 --> 00:40:22,360
Speaker 1: of this device is to allow the ship to travel

678
00:40:22,400 --> 00:40:27,240
Speaker 1: through space without being smashed by rocks. It rejects the meteors. Yeah,

679
00:40:27,239 --> 00:40:29,319
Speaker 1: and it's a cool it's a cool looking bit of

680
00:40:28,800 --> 00:40:32,000
Speaker 1: the static. Cool looking prop. Right, So they need some

681
00:40:32,080 --> 00:40:36,760
Speaker 1: time for the engineer to finish repairs on the media rejector. Meanwhile,

682
00:40:37,000 --> 00:40:40,760
Speaker 1: the surviving crew members start disappearing while out on watch

683
00:40:40,840 --> 00:40:44,839
Speaker 1: and stuff, and some start giving reports that they've seen

684
00:40:44,920 --> 00:40:48,200
Speaker 1: dead men from the galleat up and walking around. There's

685
00:40:48,239 --> 00:40:51,759
Speaker 1: one part where this is confirmed because they open up

686
00:40:51,800 --> 00:40:53,799
Speaker 1: one of the graves that they dug and we can

687
00:40:53,840 --> 00:40:55,840
Speaker 1: talk more about the graves in a minute, because I

688
00:40:55,880 --> 00:40:59,719
Speaker 1: love them. And they find no nobody in there anymore. Eventually,

689
00:41:00,000 --> 00:41:04,480
Speaker 1: apt in Markery and Sonia Sonia's Norma Bengaligan, they investigate

690
00:41:04,520 --> 00:41:08,080
Speaker 1: a weird find. There is a derelict ship of unknown

691
00:41:08,120 --> 00:41:14,000
Speaker 1: origin and around it are the skeletons of gigantic humanoid aliens.

692
00:41:14,000 --> 00:41:16,879
Speaker 1: So the skeletons look human, but they would have been

693
00:41:16,920 --> 00:41:20,400
Speaker 1: like fifteen feet tall or something. And they conclude that

694
00:41:20,440 --> 00:41:23,280
Speaker 1: this ship and these aliens, whoever they are, were also

695
00:41:23,560 --> 00:41:26,640
Speaker 1: lured to the planet by the distress beacon, the same

696
00:41:26,640 --> 00:41:30,040
Speaker 1: one they responded to but ages ago, and we're probably

697
00:41:30,160 --> 00:41:34,240
Speaker 1: killed by whatever forces attacking them now, so obviously direct

698
00:41:34,280 --> 00:41:37,920
Speaker 1: connections to alien right here, Yeah, lured to a planet

699
00:41:38,040 --> 00:41:41,239
Speaker 1: by a distress beacon, you set down and investigate. There

700
00:41:41,400 --> 00:41:44,600
Speaker 1: is a derelict ship of unknown origin with some kind

701
00:41:44,600 --> 00:41:47,440
Speaker 1: of alien corpse inside a skeleton that looks like it's

702
00:41:47,480 --> 00:41:51,560
Speaker 1: been there for for centuries, and something on the planet

703
00:41:51,680 --> 00:41:54,680
Speaker 1: killed the aliens who operated the ship. That that's the

704
00:41:54,760 --> 00:41:58,080
Speaker 1: situation an alien and it's the situation and planet of

705
00:41:58,080 --> 00:42:01,200
Speaker 1: the vampires. So it's a pretty strong similarity. And their

706
00:42:01,320 --> 00:42:04,360
Speaker 1: visual similarities too, with like the way the skeleton looks

707
00:42:04,360 --> 00:42:07,320
Speaker 1: stretched out like the engineer and alien and the skeleton

708
00:42:07,600 --> 00:42:11,680
Speaker 1: in uh in the planet here uh. And so eventually

709
00:42:12,200 --> 00:42:15,600
Speaker 1: two crew members who had previously been thought dead show

710
00:42:15,719 --> 00:42:18,520
Speaker 1: up on the ship, and they are soon revealed to

711
00:42:18,560 --> 00:42:22,360
Speaker 1: be not their original selves but dead bodies that have

712
00:42:22,440 --> 00:42:26,800
Speaker 1: been reanimated and possessed by some kind of incorporeal beings

713
00:42:26,880 --> 00:42:30,360
Speaker 1: native to the planet somehow like the native inhabitants of

714
00:42:30,400 --> 00:42:34,759
Speaker 1: this planet Uh. It's almost suggested that because of the

715
00:42:34,880 --> 00:42:38,520
Speaker 1: decline of their species, they've been reduced to a kind

716
00:42:38,560 --> 00:42:42,400
Speaker 1: of ghost like or raith like like existence where they

717
00:42:42,400 --> 00:42:44,799
Speaker 1: have no bodies of their own and must only and

718
00:42:44,840 --> 00:42:48,480
Speaker 1: can only exist by occupying the more to vital bodies

719
00:42:48,600 --> 00:42:53,080
Speaker 1: of of still living beings from a more vital planet. Yeah. Yeah,

720
00:42:53,120 --> 00:42:56,080
Speaker 1: they're they're kind of like hungry ghosts. The planet Aura

721
00:42:56,280 --> 00:42:59,920
Speaker 1: is dying because the sun is fading, and the distroy

722
00:43:00,080 --> 00:43:03,239
Speaker 1: speaking was in fact designed to lure in aliens that

723
00:43:03,360 --> 00:43:06,680
Speaker 1: they could possess and then steal their spacecraft to escape

724
00:43:07,040 --> 00:43:10,360
Speaker 1: the planet and find greener past years elsewhere. So the

725
00:43:10,400 --> 00:43:13,719
Speaker 1: remaining humans try to prevent this by blowing up the galleat,

726
00:43:13,760 --> 00:43:17,520
Speaker 1: and they succeed there and eventually escape on the Argus

727
00:43:17,520 --> 00:43:22,120
Speaker 1: with the only survivors being Marcury, Sonia and West the engineer.

728
00:43:22,280 --> 00:43:26,920
Speaker 1: But spoiler for a twist coming. Marcury and Sonia announced

729
00:43:27,000 --> 00:43:29,880
Speaker 1: to West that they are actually also possessed by the

730
00:43:29,920 --> 00:43:32,680
Speaker 1: invisible vampires of Aura. And they give a little speech.

731
00:43:32,800 --> 00:43:35,360
Speaker 1: They say, you know, they tell us, come along, merge

732
00:43:35,440 --> 00:43:41,360
Speaker 1: with us. It's great, it's bliss and uh so West

733
00:43:41,440 --> 00:43:43,960
Speaker 1: reacts by trying to destroy the ship. He attacks the

734
00:43:44,000 --> 00:43:47,680
Speaker 1: media rejector once again and he's killed in the process.

735
00:43:47,719 --> 00:43:50,920
Speaker 1: But without a meteor rejector, the vampire versions of Marcury

736
00:43:50,960 --> 00:43:53,920
Speaker 1: and Sonia have no choice but to land at the

737
00:43:54,000 --> 00:43:57,759
Speaker 1: nearest available planet. And they zoom in on the viewscreen

738
00:43:57,840 --> 00:44:01,000
Speaker 1: and what is the planet? It is Earth. We see

739
00:44:01,080 --> 00:44:04,520
Speaker 1: like North and South America, and so I guess, oh,

740
00:44:04,640 --> 00:44:07,800
Speaker 1: or Earth is next? Yeah, this was This was very exciting,

741
00:44:07,880 --> 00:44:10,120
Speaker 1: and I think I had actually forgotten about this twist

742
00:44:10,120 --> 00:44:13,319
Speaker 1: from when I watched the film, um, just a little

743
00:44:13,400 --> 00:44:17,080
Speaker 1: less than a year ago, and so I was, Yeah,

744
00:44:17,080 --> 00:44:19,000
Speaker 1: I was. I was excited by the first of all

745
00:44:19,000 --> 00:44:22,040
Speaker 1: the dark twist here. We've talked about some other films

746
00:44:22,080 --> 00:44:25,600
Speaker 1: from this era and how at times it feels like

747
00:44:25,640 --> 00:44:28,680
Speaker 1: they were very hesitant to in things on a on

748
00:44:28,760 --> 00:44:30,800
Speaker 1: a on a bummer note or on a dark note.

749
00:44:31,200 --> 00:44:33,560
Speaker 1: And this is certainly kind of a dark note because

750
00:44:33,600 --> 00:44:37,279
Speaker 1: we have these these like psychic parasitic aliens that have

751
00:44:37,480 --> 00:44:40,799
Speaker 1: now can't can't go to the technologically advanced planet. They

752
00:44:40,800 --> 00:44:44,120
Speaker 1: have to come to this barbaric planet of Earth. And

753
00:44:44,280 --> 00:44:47,439
Speaker 1: um we get the super zoom in and we see

754
00:44:47,480 --> 00:44:50,040
Speaker 1: the city of New York all right, believe it's supposed

755
00:44:50,040 --> 00:44:52,279
Speaker 1: to be New York, much in the same way that

756
00:44:52,280 --> 00:44:54,520
Speaker 1: we see some zoom ins of New York City in

757
00:44:54,560 --> 00:44:57,600
Speaker 1: Santa Claus versus the Martians. By the way, but um,

758
00:44:58,200 --> 00:45:02,560
Speaker 1: I part of me was a little um disappointed that

759
00:45:02,719 --> 00:45:05,680
Speaker 1: it was clear that this was a then modern day

760
00:45:05,680 --> 00:45:07,640
Speaker 1: Earth that they were arriving at, because for a second

761
00:45:07,640 --> 00:45:10,080
Speaker 1: there was thinking, oh, what if they're about to arrive

762
00:45:10,680 --> 00:45:15,040
Speaker 1: at like truly um like a prehistoric day in um

763
00:45:15,080 --> 00:45:17,920
Speaker 1: in in Earth's history or you know, very early on

764
00:45:18,040 --> 00:45:22,839
Speaker 1: in human history. And maybe because they talk about when

765
00:45:22,840 --> 00:45:25,160
Speaker 1: the aliens are pitching their whole like let us live

766
00:45:25,200 --> 00:45:27,239
Speaker 1: inside you thing, they're kind of like, well, you just

767
00:45:27,280 --> 00:45:29,160
Speaker 1: have to reduce your will a little bit. And it's

768
00:45:29,239 --> 00:45:32,560
Speaker 1: it's not like a like a parasitism, it's they're kind

769
00:45:32,560 --> 00:45:35,440
Speaker 1: of making the case that it's more like symbiosis, And

770
00:45:35,480 --> 00:45:37,239
Speaker 1: I was thinking, like, wouldn't that have been a nice

771
00:45:37,239 --> 00:45:40,439
Speaker 1: twist if they if it's kind of revealed that what

772
00:45:40,520 --> 00:45:44,560
Speaker 1: we are is due to their interference, that like the

773
00:45:44,880 --> 00:45:47,160
Speaker 1: you know, the mystery of human consciousness is wrapped up

774
00:45:47,480 --> 00:45:51,040
Speaker 1: in the fact that as psychic aliens from another world

775
00:45:51,400 --> 00:45:55,320
Speaker 1: infiltrated our species at some prior age and human evolution,

776
00:45:55,880 --> 00:46:00,960
Speaker 1: we are the vampires. The vampires are our consciousness or something. Yeah, yeah,

777
00:46:01,400 --> 00:46:03,280
Speaker 1: but I guess instead it's supposed to be like nineteen

778
00:46:03,360 --> 00:46:05,960
Speaker 1: sixties New York and they're gonna show up there instead,

779
00:46:06,200 --> 00:46:11,680
Speaker 1: which is fine, Which is fine, not a criticism, solid dancing. Yeah,

780
00:46:11,680 --> 00:46:13,759
Speaker 1: we don't need to see the I'm glad they didn't

781
00:46:13,760 --> 00:46:16,839
Speaker 1: try and actually film a sequel, but but yeah, this

782
00:46:16,880 --> 00:46:27,840
Speaker 1: is a solid twist ending. I liked it a lot. Now,

783
00:46:27,920 --> 00:46:30,160
Speaker 1: there was something I just briefly wanted to mention. I

784
00:46:30,239 --> 00:46:33,040
Speaker 1: was looking at a chapter in a book called Horror

785
00:46:33,040 --> 00:46:36,640
Speaker 1: in Space, Critical Essays on a Film sub Genre, edited

786
00:46:36,640 --> 00:46:41,080
Speaker 1: by Michelle Brittany from and there's a chapter in this

787
00:46:41,280 --> 00:46:47,280
Speaker 1: about space horror movies that are specifically quote undead planets

788
00:46:47,320 --> 00:46:50,480
Speaker 1: in vampiric dream worlds in outer space. This is by

789
00:46:50,480 --> 00:46:54,960
Speaker 1: an author named Simon Bacon. The top line title of

790
00:46:54,960 --> 00:46:58,080
Speaker 1: the chapter is under the Influence. Now. It goes into

791
00:46:58,080 --> 00:47:02,680
Speaker 1: a lot of complicated detail about like, uh postmodern theory

792
00:47:02,800 --> 00:47:06,040
Speaker 1: of of hyper reality based on Boatyard and stuff, And

793
00:47:06,239 --> 00:47:08,440
Speaker 1: I'm not going to go in depth on that. I

794
00:47:08,480 --> 00:47:11,120
Speaker 1: just want to say that it's got a cool idea

795
00:47:11,200 --> 00:47:17,960
Speaker 1: that basically that earth life and our natural society is

796
00:47:18,040 --> 00:47:21,959
Speaker 1: in an in an industrialized world, a state in which

797
00:47:22,000 --> 00:47:27,279
Speaker 1: we are constantly hyper aroused by technology and media all

798
00:47:27,320 --> 00:47:30,480
Speaker 1: around us that are presenting us uh imagery and just

799
00:47:30,719 --> 00:47:33,719
Speaker 1: a barrage of supernormal stimuli that creates a kind of

800
00:47:33,760 --> 00:47:37,759
Speaker 1: Disneyland reality where the senses never come to rest, and

801
00:47:37,840 --> 00:47:41,080
Speaker 1: as a result, we never experience something that feels like

802
00:47:41,120 --> 00:47:45,200
Speaker 1: the real world, Like we are alienated from a sense

803
00:47:45,280 --> 00:47:49,919
Speaker 1: of baseline, authentic reality by the fact that we are

804
00:47:50,600 --> 00:47:53,520
Speaker 1: that we are in a constant state of hyper stimulation

805
00:47:53,640 --> 00:47:58,000
Speaker 1: and arousal. And it contrasts that with what is often

806
00:47:58,040 --> 00:48:01,960
Speaker 1: shown to be life up ord to spaceship in science

807
00:48:02,000 --> 00:48:06,280
Speaker 1: fiction movies. So you can think about the slow tranquility

808
00:48:06,320 --> 00:48:08,880
Speaker 1: of the scenes where characters are walking around in the

809
00:48:08,920 --> 00:48:11,640
Speaker 1: command room as they're just flying through space. That that,

810
00:48:11,880 --> 00:48:15,200
Speaker 1: of course space itself being without sound in it, that's

811
00:48:15,200 --> 00:48:16,799
Speaker 1: a big part of it, you know, that that it's

812
00:48:16,840 --> 00:48:19,960
Speaker 1: just a very calming void. And in fact, in a

813
00:48:19,960 --> 00:48:22,680
Speaker 1: lot of these sci fi movies, characters literally go into

814
00:48:22,680 --> 00:48:27,000
Speaker 1: a state of suspended animation. It's like an unnaturally tranquil

815
00:48:27,600 --> 00:48:32,920
Speaker 1: condition where that hyper stimulated reality recedes and you can

816
00:48:32,960 --> 00:48:37,720
Speaker 1: almost approach a more authentic and real version of connection

817
00:48:37,760 --> 00:48:41,120
Speaker 1: to the physical environment by going into the void of space.

818
00:48:41,600 --> 00:48:43,720
Speaker 1: So I thought that was interesting. But then the second

819
00:48:43,719 --> 00:48:46,240
Speaker 1: half of it is that a lot of these space

820
00:48:46,280 --> 00:48:49,719
Speaker 1: horror movies that involve a kind of vampiric entity in

821
00:48:49,760 --> 00:48:52,640
Speaker 1: outer space, like a planet that wants to drain our

822
00:48:52,719 --> 00:48:56,040
Speaker 1: life force or something like that, it often seems to

823
00:48:56,120 --> 00:49:00,239
Speaker 1: work by taking those astronauts who have been writ dird

824
00:49:00,360 --> 00:49:02,959
Speaker 1: kind of tranquil and more in touch with a real

825
00:49:03,080 --> 00:49:06,919
Speaker 1: baseline reality by their space travels and trying to put

826
00:49:07,000 --> 00:49:10,880
Speaker 1: them in the states of hyper excitement and arousal once again.

827
00:49:11,880 --> 00:49:15,520
Speaker 1: All right, So it's it's almost like through space travel

828
00:49:15,600 --> 00:49:19,839
Speaker 1: they have disconnected from the artificial world, become more in

829
00:49:19,960 --> 00:49:23,600
Speaker 1: line with the underlying reality, kind of achieved sort of

830
00:49:23,800 --> 00:49:27,560
Speaker 1: a space Buddha hood. But now they're being like sucked

831
00:49:27,600 --> 00:49:31,520
Speaker 1: back into the into into into the material world, into

832
00:49:31,560 --> 00:49:34,640
Speaker 1: the world of again all the supernormal stimuli world of

833
00:49:34,680 --> 00:49:38,000
Speaker 1: desire and ravenous hunger. Yes, And to use a very

834
00:49:38,200 --> 00:49:41,600
Speaker 1: cliche example, it's like, by going into space, you essentially

835
00:49:41,640 --> 00:49:44,839
Speaker 1: are able to unplug from the matrix. And then there

836
00:49:44,840 --> 00:49:47,239
Speaker 1: are all these movies that in some way or other,

837
00:49:47,560 --> 00:49:50,960
Speaker 1: there's a there's a monster in space, and what it

838
00:49:51,040 --> 00:49:53,880
Speaker 1: wants you to do once you come within its influence

839
00:49:54,239 --> 00:49:58,040
Speaker 1: is to kind of uh use you use your body

840
00:49:58,239 --> 00:50:01,120
Speaker 1: or use your brain to its elf plug into your

841
00:50:01,160 --> 00:50:04,520
Speaker 1: matrix that you've just gotten out of. All right, And

842
00:50:04,520 --> 00:50:07,759
Speaker 1: so the argument here is these distant worlds are kind

843
00:50:07,800 --> 00:50:12,160
Speaker 1: of a way of holding the mirror up to Earth itself,

844
00:50:12,160 --> 00:50:16,040
Speaker 1: to what are our actual um society and culture and

845
00:50:16,120 --> 00:50:19,279
Speaker 1: media is doing to us. Yeah, so I thought that

846
00:50:19,320 --> 00:50:22,319
Speaker 1: was kind of interesting. Yeah, yeah, I like that. I

847
00:50:22,360 --> 00:50:26,759
Speaker 1: like a good uh academic read on a pictures like this.

848
00:50:26,920 --> 00:50:30,600
Speaker 1: You know, uh, we're clearly and clearly they weren't intending

849
00:50:30,640 --> 00:50:32,960
Speaker 1: to really make any statements and this sort of thing

850
00:50:33,400 --> 00:50:36,160
Speaker 1: with the Planet of the Vampires, uh no more than

851
00:50:36,239 --> 00:50:39,160
Speaker 1: event Horizon was trying to Yeah, I guess the argument

852
00:50:39,200 --> 00:50:41,399
Speaker 1: in favor of theories like this would be that there

853
00:50:41,560 --> 00:50:45,920
Speaker 1: is sort of common thoughts that people are having in

854
00:50:45,960 --> 00:50:50,160
Speaker 1: a kind of inarticulated or subconscious way that are coming

855
00:50:50,200 --> 00:50:53,080
Speaker 1: through in these works of art and entertainment. Yeah, I mean,

856
00:50:53,120 --> 00:50:56,240
Speaker 1: the myth is popular because the myth is doing something

857
00:50:56,360 --> 00:50:59,839
Speaker 1: that it's stirring certain thoughts, and sometimes there's a uniformity

858
00:50:59,880 --> 00:51:02,399
Speaker 1: to the thoughts that are stirred by the myth, and

859
00:51:02,480 --> 00:51:05,560
Speaker 1: so yeah, it's all fair game to analyze exactly what

860
00:51:05,719 --> 00:51:09,160
Speaker 1: is the collective experience of this story. Now to jut

861
00:51:09,200 --> 00:51:11,720
Speaker 1: off in a totally different direction, I want to mention

862
00:51:11,760 --> 00:51:16,160
Speaker 1: how how Rachel and I totally went down a labyrinthine

863
00:51:16,239 --> 00:51:18,799
Speaker 1: rabbit hole trying to figure out the font of the

864
00:51:18,840 --> 00:51:22,319
Speaker 1: opening credits of Planet in the Fires, because whatever it is,

865
00:51:23,239 --> 00:51:25,759
Speaker 1: it's first of all beautiful, I love the design, and

866
00:51:25,840 --> 00:51:30,120
Speaker 1: second it seems to have made uh it or something

867
00:51:30,400 --> 00:51:33,360
Speaker 1: like it seems to have become recently popular in the

868
00:51:33,400 --> 00:51:35,840
Speaker 1: publishing industry. Or Rachel was looking at the screen, she

869
00:51:35,880 --> 00:51:38,400
Speaker 1: said something like, I've read three books in the past

870
00:51:38,480 --> 00:51:40,719
Speaker 1: year that had to cover with this font on it,

871
00:51:41,400 --> 00:51:43,439
Speaker 1: and so we kind of we kind of turned into

872
00:51:43,440 --> 00:51:45,840
Speaker 1: that guy in Zodiac trying to track all this down

873
00:51:45,880 --> 00:51:49,520
Speaker 1: and pin and and much like Zodiac, the Mad investigation

874
00:51:49,600 --> 00:51:53,120
Speaker 1: had an inconclusive result. Turns out these books don't actually

875
00:51:53,480 --> 00:51:56,120
Speaker 1: use all exactly the same font as the movie or

876
00:51:56,200 --> 00:51:58,040
Speaker 1: as each other, but they all kind of look similar.

877
00:51:58,520 --> 00:52:01,520
Speaker 1: And that look is an elegant uh sans serif. We're

878
00:52:01,560 --> 00:52:04,759
Speaker 1: only barely serah to all caps font that is a

879
00:52:04,760 --> 00:52:09,320
Speaker 1: bit like hand lettering, and it emits fumes of retro Hollywood.

880
00:52:09,360 --> 00:52:12,279
Speaker 1: I think the closest real font we found too, it

881
00:52:12,360 --> 00:52:14,799
Speaker 1: was called Lydian and you so you can look that

882
00:52:14,960 --> 00:52:18,960
Speaker 1: up and and get a close approximation, but not exactly.

883
00:52:19,360 --> 00:52:21,760
Speaker 1: And then after the whole thing, I realized, in fact,

884
00:52:21,800 --> 00:52:23,879
Speaker 1: this text might not even be a standard type set

885
00:52:23,920 --> 00:52:26,319
Speaker 1: at all, might just be hand painted lettering. I'm not sure,

886
00:52:26,360 --> 00:52:30,680
Speaker 1: but either way, it's gorgeous and it looking at these

887
00:52:30,680 --> 00:52:33,440
Speaker 1: credits it made me want to wear sunglasses indoors and

888
00:52:33,800 --> 00:52:38,719
Speaker 1: like walk around the block with a campari on the rocks. Yeah, yeah,

889
00:52:38,719 --> 00:52:40,960
Speaker 1: it's uh, you know, I sometimes I feel like I

890
00:52:41,000 --> 00:52:45,880
Speaker 1: suffer from font blindness, uh, and ultimately can't tell some

891
00:52:45,960 --> 00:52:47,520
Speaker 1: of these fonts from each other. But this is this

892
00:52:47,560 --> 00:52:50,040
Speaker 1: is nice. These are nice fonts. I'll give you that. Also,

893
00:52:50,080 --> 00:52:52,680
Speaker 1: can we talk about how spacious the command room in

894
00:52:52,760 --> 00:52:55,960
Speaker 1: this ship is. Oh, it's enormous. It's like, um, it's

895
00:52:55,960 --> 00:52:59,600
Speaker 1: like a TV church set or something. You know, it's

896
00:52:59,600 --> 00:53:02,560
Speaker 1: bigger than of my house there. It's gigantic, the like

897
00:53:02,719 --> 00:53:07,160
Speaker 1: there is just tons of open floor space with nothing

898
00:53:07,200 --> 00:53:10,759
Speaker 1: in it. And I think about how that contrasts to

899
00:53:11,040 --> 00:53:13,160
Speaker 1: a lot of other movies where the command room is

900
00:53:13,239 --> 00:53:15,640
Speaker 1: very cramped. It's like seats right next to each other

901
00:53:16,120 --> 00:53:19,400
Speaker 1: and these consoles directly in front of them. That this

902
00:53:19,719 --> 00:53:23,359
Speaker 1: command room is like a warehouse. Yeah. Yeah, you can

903
00:53:23,400 --> 00:53:26,560
Speaker 1: compare this to say Alien, where everything is very cramped

904
00:53:26,600 --> 00:53:29,640
Speaker 1: and you certainly don't have wide open spaces in which

905
00:53:29,719 --> 00:53:34,240
Speaker 1: characters could conceivably dance with one another. Um. I imagine

906
00:53:34,280 --> 00:53:36,680
Speaker 1: some filmmakers of the day, we're probably asking why is

907
00:53:36,719 --> 00:53:39,279
Speaker 1: there not a dance number in this well? But there

908
00:53:39,360 --> 00:53:42,440
Speaker 1: is a well choreographed fight scene in this big room.

909
00:53:42,440 --> 00:53:44,440
Speaker 1: Oh yeah, And you know, I have to say I

910
00:53:44,520 --> 00:53:47,799
Speaker 1: was I was kind of shocked to to to hear

911
00:53:47,840 --> 00:53:50,880
Speaker 1: myself thinking this, But I dug the five choreography in

912
00:53:50,880 --> 00:53:53,359
Speaker 1: this film, Like it's a lot of times from this

913
00:53:53,440 --> 00:53:56,319
Speaker 1: era that the action is a little cowboy ask, you

914
00:53:56,360 --> 00:54:00,200
Speaker 1: know when you're looking at US and European films. Um,

915
00:54:00,239 --> 00:54:03,000
Speaker 1: But there's something about the physicality in this that it

916
00:54:03,040 --> 00:54:06,040
Speaker 1: feels like it's the right level. There's a scuffle kind

917
00:54:06,080 --> 00:54:08,520
Speaker 1: of late in the film that's pretty well put together,

918
00:54:08,920 --> 00:54:11,319
Speaker 1: and there's a moment early on when like the crew

919
00:54:11,360 --> 00:54:15,040
Speaker 1: members are going crazy where one character there are a

920
00:54:15,080 --> 00:54:17,680
Speaker 1: couple of characters on screen and then a character runs

921
00:54:17,760 --> 00:54:22,200
Speaker 1: in from off screen with tremendous speed, attempting to like

922
00:54:22,239 --> 00:54:25,000
Speaker 1: clawber or grapple somebody. And I think this is the

923
00:54:25,040 --> 00:54:27,920
Speaker 1: scene is accentuated by the sound of those metallic foot

924
00:54:28,000 --> 00:54:32,400
Speaker 1: footfalls ship but it's like dat whap and there he is,

925
00:54:32,480 --> 00:54:36,759
Speaker 1: and yeah, it feels very real. Now. Another scene that

926
00:54:37,239 --> 00:54:38,880
Speaker 1: stands out to me every time, and I know it

927
00:54:38,920 --> 00:54:40,840
Speaker 1: stood out to you as well, that we've got to

928
00:54:40,880 --> 00:54:44,240
Speaker 1: talk about is the scene where the buried crew members

929
00:54:44,360 --> 00:54:48,839
Speaker 1: rise from the grave. Yes, so again it's you get

930
00:54:49,320 --> 00:54:51,200
Speaker 1: it's not really revealed at this point, I think, but

931
00:54:51,360 --> 00:54:54,880
Speaker 1: you certainly get the inclination that, yeah, these are not

932
00:54:55,040 --> 00:54:58,840
Speaker 1: normal Earth humans because their burial practices, their field burials

933
00:54:58,840 --> 00:55:02,000
Speaker 1: are weird. Um. It involves not just digging a pit,

934
00:55:02,200 --> 00:55:04,600
Speaker 1: but across at the top of it. No, they dig

935
00:55:04,640 --> 00:55:07,640
Speaker 1: out a hole, they wrap the body in plastic, place

936
00:55:07,719 --> 00:55:10,880
Speaker 1: the plastic wrap body in the hole, cover said hole

937
00:55:11,040 --> 00:55:15,000
Speaker 1: or ditch with metal plating, and then erect a weird

938
00:55:15,160 --> 00:55:18,640
Speaker 1: metal obelisk at the head of the grave. The obelisk

939
00:55:18,719 --> 00:55:23,960
Speaker 1: looks like a cow tools version of a pocket knife saw. Yeah,

940
00:55:24,040 --> 00:55:26,279
Speaker 1: and it's it's wonderfully weird, like it doesn't match up

941
00:55:26,320 --> 00:55:30,160
Speaker 1: with with human religions and funeral traditions, so it's just

942
00:55:30,239 --> 00:55:32,640
Speaker 1: like like early on you're just like, what, who are

943
00:55:32,680 --> 00:55:35,760
Speaker 1: what are they doing? Why? Why is this what they do?

944
00:55:36,320 --> 00:55:39,200
Speaker 1: And and yeah, it adds a and it's it's enough

945
00:55:39,280 --> 00:55:42,000
Speaker 1: like an actual grave and grave traditions that we can

946
00:55:42,040 --> 00:55:43,960
Speaker 1: connect with it and we can connect with the undead

947
00:55:43,960 --> 00:55:47,360
Speaker 1: stuff to follow. But it's it's also just weird and

948
00:55:47,440 --> 00:55:51,960
Speaker 1: inhuman it's it's wonderful. But the really I'm not sure

949
00:55:51,960 --> 00:55:55,440
Speaker 1: exactly why this is, but the thing that makes the

950
00:55:55,680 --> 00:55:58,200
Speaker 1: scene where the bodies come out of the grave perfect

951
00:55:58,280 --> 00:56:01,319
Speaker 1: for me is the clear plastic they're draped in because

952
00:56:01,320 --> 00:56:03,480
Speaker 1: they rise up. They don't just like cut through it

953
00:56:03,520 --> 00:56:06,239
Speaker 1: and then stand up. They stand up with the with

954
00:56:06,360 --> 00:56:10,040
Speaker 1: the plastic sheeting still wrapped around them, and oh it's

955
00:56:10,120 --> 00:56:13,359
Speaker 1: it's it's chilling and it's beautiful. Yeah, this is one

956
00:56:13,400 --> 00:56:14,960
Speaker 1: of my favorite things in the whole picture, because of

957
00:56:15,040 --> 00:56:19,600
Speaker 1: course we have this hellish lighting behind the entities as

958
00:56:19,640 --> 00:56:22,000
Speaker 1: they rise, so it's, uh, you know, we already have

959
00:56:22,040 --> 00:56:25,879
Speaker 1: this very atmospheric feel to the environment. You know, they're

960
00:56:25,960 --> 00:56:29,279
Speaker 1: rising up when this this plastic or rubber sheeting, and

961
00:56:29,280 --> 00:56:33,040
Speaker 1: we get the wonderful sound effects of that rubber or

962
00:56:33,120 --> 00:56:36,920
Speaker 1: plastic stretching and being ripped. Like when I look at

963
00:56:36,960 --> 00:56:39,760
Speaker 1: the still I can hear the sound. That's how strong

964
00:56:39,800 --> 00:56:42,920
Speaker 1: it is. Um And I think it I think one

965
00:56:42,920 --> 00:56:45,120
Speaker 1: of the things that works here is that on some level,

966
00:56:45,160 --> 00:56:47,600
Speaker 1: I don't know if they intended this, but it's almost

967
00:56:47,640 --> 00:56:51,040
Speaker 1: like it is a rebirth and it's in the plastic

968
00:56:51,120 --> 00:56:54,279
Speaker 1: or rubber is like a birth call that must then

969
00:56:54,320 --> 00:56:57,480
Speaker 1: be ripped from the creatures before they can go forth,

970
00:56:57,560 --> 00:57:00,160
Speaker 1: and you know, cause their mischief. Do you remember the

971
00:57:00,200 --> 00:57:05,080
Speaker 1: scene later this is another undead reveal where they're the

972
00:57:05,120 --> 00:57:07,719
Speaker 1: crew members who come back and they're acting like that,

973
00:57:07,800 --> 00:57:10,239
Speaker 1: Oh yeah, we're sorry, we were still alive. We were

974
00:57:10,280 --> 00:57:13,160
Speaker 1: just somewhere else. Um And you need to let us

975
00:57:13,160 --> 00:57:16,080
Speaker 1: onto the ship now. And there's a moment where one

976
00:57:16,120 --> 00:57:19,600
Speaker 1: of their vests gets knocked open, like the leather jumpsuit

977
00:57:19,680 --> 00:57:22,560
Speaker 1: comes open, and you see his torso and it's just

978
00:57:22,600 --> 00:57:26,480
Speaker 1: like gouged out and rotting, and he quickly covers it

979
00:57:26,520 --> 00:57:28,840
Speaker 1: back up. And somehow that felt like it was on

980
00:57:28,880 --> 00:57:34,040
Speaker 1: the same frequency as the as the clear plastic Yeah, yeah, absolutely, now,

981
00:57:34,200 --> 00:57:35,960
Speaker 1: um it was some other shot. I mean, this is

982
00:57:36,000 --> 00:57:38,040
Speaker 1: a film that's just filled with beautiful shots, so we

983
00:57:38,120 --> 00:57:41,360
Speaker 1: can't give you due diligence to all of them, but

984
00:57:42,000 --> 00:57:44,640
Speaker 1: some of the ones I loved. I loved how uh

985
00:57:44,680 --> 00:57:47,720
Speaker 1: there are scenes where characters are talking to each other

986
00:57:48,120 --> 00:57:53,600
Speaker 1: through essentially little screens. Um, but at least some of these,

987
00:57:54,000 --> 00:57:55,720
Speaker 1: not all of them, but I think some of these

988
00:57:55,760 --> 00:57:58,920
Speaker 1: were created by simply having the character stand on the

989
00:57:58,960 --> 00:58:03,680
Speaker 1: other side of of a like a plastic bubble um

990
00:58:03,800 --> 00:58:07,200
Speaker 1: which uh, which works really well. I don't know. I

991
00:58:07,240 --> 00:58:09,800
Speaker 1: just again, it's something coming back to Baba, Like Baba

992
00:58:09,920 --> 00:58:14,360
Speaker 1: excels at having characters look through windows at each other

993
00:58:14,600 --> 00:58:17,280
Speaker 1: or at the camera, and so here we have the

994
00:58:17,280 --> 00:58:20,440
Speaker 1: technological version of that. You remember the face through the

995
00:58:20,440 --> 00:58:25,280
Speaker 1: window in the Verdilac. Yeah, yeah, so definitely something to

996
00:58:25,320 --> 00:58:27,920
Speaker 1: look for anytime you watch a Bava film. Now, how

997
00:58:27,920 --> 00:58:31,840
Speaker 1: about that alien spaceship though, once we get to board that, oh,

998
00:58:31,880 --> 00:58:34,320
Speaker 1: there's all sorts of wonderful stuff. So this is the

999
00:58:34,360 --> 00:58:39,320
Speaker 1: scene where we're very Sullivan and uh Norma Bengal are

1000
00:58:39,320 --> 00:58:42,040
Speaker 1: wearing the gray and orange jumpsuits instead of the black

1001
00:58:42,040 --> 00:58:44,960
Speaker 1: and yellow ones, and they are I think it is

1002
00:58:45,160 --> 00:58:47,760
Speaker 1: I'm pretty sure I believe that is right. Yeah, And

1003
00:58:47,800 --> 00:58:50,480
Speaker 1: so they go to investigate the sterilic ship and inside

1004
00:58:50,480 --> 00:58:54,000
Speaker 1: there are these gigantic skeletons and there's purple lighting everywhere.

1005
00:58:54,680 --> 00:58:56,880
Speaker 1: Things appear to be draped in I don't even know

1006
00:58:56,920 --> 00:58:59,640
Speaker 1: what it is. It looks again, I guess, like clear plastic,

1007
00:58:59,760 --> 00:59:02,880
Speaker 1: but it doesn't read that way in the scene. It

1008
00:59:02,880 --> 00:59:06,360
Speaker 1: reads more like some kind of organic film that has

1009
00:59:06,400 --> 00:59:10,120
Speaker 1: been deposited there. And they're trying to understand the like

1010
00:59:10,160 --> 00:59:13,040
Speaker 1: the tools and the technology of the sterile spaceship, and

1011
00:59:13,080 --> 00:59:16,080
Speaker 1: they don't actually figure it all out. I mean, they

1012
00:59:16,080 --> 00:59:18,080
Speaker 1: do get locked inside for a moment and they think

1013
00:59:18,080 --> 00:59:19,720
Speaker 1: they're going to suffocate, and they have to figure out

1014
00:59:19,760 --> 00:59:22,320
Speaker 1: how to operate one of the one of the keys,

1015
00:59:22,440 --> 00:59:25,080
Speaker 1: the electronic keys that will open the door. But the

1016
00:59:25,120 --> 00:59:28,800
Speaker 1: problem is that you can't. Their puny bodies can't handle

1017
00:59:28,880 --> 00:59:31,680
Speaker 1: these keys that they like get shocked by them. Yeah,

1018
00:59:31,880 --> 00:59:35,680
Speaker 1: and there's this wonderful sequence where they're moving through Uh.

1019
00:59:35,760 --> 00:59:39,840
Speaker 1: I guess it's like several um port holes. It's like

1020
00:59:39,880 --> 00:59:43,200
Speaker 1: concentric circles and it has a spiral feel to it

1021
00:59:43,280 --> 00:59:46,000
Speaker 1: the way that it's framed. Uh, this is you know,

1022
00:59:46,120 --> 00:59:48,160
Speaker 1: one of the more beautiful shots in the whole picture.

1023
00:59:48,480 --> 00:59:51,000
Speaker 1: That's their entrance into the space the alien spaceship, and

1024
00:59:51,000 --> 00:59:54,240
Speaker 1: then of course they have to exit that way as well. Um.

1025
00:59:54,320 --> 00:59:57,360
Speaker 1: And like I think I said earlier, anytime a door

1026
00:59:57,440 --> 01:00:00,960
Speaker 1: is opening in this uh this movie. Yeah, it's just

1027
01:00:02,080 --> 01:00:06,040
Speaker 1: I'm just enraptured. Like the doors on the the on

1028
01:00:06,320 --> 01:00:08,720
Speaker 1: the main spaceships, but also the doors on the alien

1029
01:00:08,760 --> 01:00:11,680
Speaker 1: spaceships like they have a real weight to them. They

1030
01:00:11,800 --> 01:00:17,480
Speaker 1: feel like clunky and thick. Yeah, just was totally I

1031
01:00:17,520 --> 01:00:19,960
Speaker 1: totally bought in on all the sets in this film.

1032
01:00:20,240 --> 01:00:22,720
Speaker 1: This movie makes me want to compose a list. I

1033
01:00:22,760 --> 01:00:25,919
Speaker 1: think I need to consult consult with the audience here.

1034
01:00:26,320 --> 01:00:30,960
Speaker 1: Top ten all time uh planet surface sets in sci

1035
01:00:31,000 --> 01:00:34,640
Speaker 1: fi movies? What what are your favorites. Oh wow, like

1036
01:00:34,800 --> 01:00:41,360
Speaker 1: clearly sets not and not actual environments not on locations. Yeah,

1037
01:00:41,520 --> 01:00:43,760
Speaker 1: that does complicated. I mean I do like a planet

1038
01:00:43,800 --> 01:00:46,760
Speaker 1: surface set that's more stagy in the way that this

1039
01:00:46,880 --> 01:00:49,440
Speaker 1: is as opposed to just like finding a weird landscape

1040
01:00:49,480 --> 01:00:51,960
Speaker 1: actually outdoors on Earth and using that that that can

1041
01:00:51,960 --> 01:00:54,720
Speaker 1: be cool too in a more realistic movie. Both both

1042
01:00:54,800 --> 01:00:57,959
Speaker 1: work or can work. Like I know, I've talked about

1043
01:00:57,960 --> 01:01:00,520
Speaker 1: this on the show before. Oh what's it called? The

1044
01:01:00,560 --> 01:01:06,400
Speaker 1: sequel to Prometheus, the Alien Covenant. Alien Covenant a great

1045
01:01:06,440 --> 01:01:09,320
Speaker 1: example of a terrible movie that I just really like

1046
01:01:09,560 --> 01:01:13,040
Speaker 1: for some reason despite it being bad. I recognize it's bad,

1047
01:01:13,080 --> 01:01:16,920
Speaker 1: but it just it just works for me. Um and

1048
01:01:16,960 --> 01:01:19,320
Speaker 1: the I mean, the planet surface sets in that movie

1049
01:01:19,360 --> 01:01:22,160
Speaker 1: are great, though they're all I think outdoor sets. Well,

1050
01:01:22,200 --> 01:01:24,560
Speaker 1: I would not say that Aithan Covenant is terrible. I

1051
01:01:24,560 --> 01:01:27,920
Speaker 1: would say that Alien Covenant is a buffet, and you

1052
01:01:28,000 --> 01:01:30,480
Speaker 1: don't have to load your plate up with everything from

1053
01:01:30,480 --> 01:01:34,960
Speaker 1: the buffet, just focus on the the tasty dessert treats.

1054
01:01:35,960 --> 01:01:43,479
Speaker 1: It is a buffet. If a buffet included um, nachos, pizza, sushi, beef,

1055
01:01:43,520 --> 01:01:48,520
Speaker 1: tartar uh and uh and cevich a all in the

1056
01:01:48,600 --> 01:01:51,160
Speaker 1: same place, so you don't have to load your plate

1057
01:01:51,240 --> 01:01:53,320
Speaker 1: up with all those things. But where were you going

1058
01:01:53,320 --> 01:01:55,240
Speaker 1: with that? Something about location? Oh no, I was just

1059
01:01:55,280 --> 01:01:57,960
Speaker 1: talking about how it's a great example of I mean,

1060
01:01:58,320 --> 01:02:02,080
Speaker 1: beautiful planet surface. But they're just like I think, mostly

1061
01:02:02,440 --> 01:02:06,360
Speaker 1: shot actually on Earth surface. They're just cool looking locations

1062
01:02:06,360 --> 01:02:08,840
Speaker 1: outdoors on Earth. Oh yeah. And of course Star Wars,

1063
01:02:09,000 --> 01:02:11,040
Speaker 1: the Star Wars franchise has long been grade at this,

1064
01:02:11,160 --> 01:02:14,520
Speaker 1: like find a unique environment and uh and it feels

1065
01:02:14,680 --> 01:02:17,920
Speaker 1: totally believable as an alien desert or a or a

1066
01:02:17,920 --> 01:02:21,440
Speaker 1: forest moon. All right, well we're gonna go ahead and

1067
01:02:21,600 --> 01:02:24,520
Speaker 1: uh and call it there. Um. I will say real quick,

1068
01:02:24,560 --> 01:02:26,400
Speaker 1: if you want to watch this movie for yourself, it

1069
01:02:26,480 --> 01:02:29,560
Speaker 1: is widely available. Um as of this recording, you can

1070
01:02:29,640 --> 01:02:32,360
Speaker 1: stream it on Prime is just part of your Prime membership.

1071
01:02:32,360 --> 01:02:34,880
Speaker 1: That's how I watched it. Um. It's widely available on

1072
01:02:34,960 --> 01:02:37,720
Speaker 1: DVD and Keno Laarber put out a very nice blue

1073
01:02:37,760 --> 01:02:39,480
Speaker 1: ray of this movie. Is that is that what you

1074
01:02:39,480 --> 01:02:41,280
Speaker 1: watched it on? Joe? Do you have the blue Yeah?

1075
01:02:41,320 --> 01:02:43,920
Speaker 1: I have the blue ray? Yeah, so um so yeah,

1076
01:02:44,040 --> 01:02:47,560
Speaker 1: check those out. Definitely worth seeing in the the highest

1077
01:02:47,640 --> 01:02:49,919
Speaker 1: visual quality you can you can do and I also

1078
01:02:49,920 --> 01:02:51,600
Speaker 1: have to say, yeah, the first time I watched it,

1079
01:02:52,040 --> 01:02:55,240
Speaker 1: I watched it on my iPhone, um on a on

1080
01:02:55,280 --> 01:02:58,440
Speaker 1: an airplane, and that was fine. But I enjoyed it

1081
01:02:58,520 --> 01:03:00,720
Speaker 1: much more on the big screen. Like some some films

1082
01:03:00,840 --> 01:03:02,720
Speaker 1: you can you can watch in your iPhone and you're

1083
01:03:02,760 --> 01:03:05,760
Speaker 1: not losing a lot like uh, but but this, this

1084
01:03:05,840 --> 01:03:07,400
Speaker 1: is this is one that I think you need a

1085
01:03:07,480 --> 01:03:10,680
Speaker 1: nice big screen presentation. And hey, if you fall asleep

1086
01:03:10,680 --> 01:03:13,080
Speaker 1: while watching it, don't be ashamed. That's that's part of

1087
01:03:13,080 --> 01:03:17,240
Speaker 1: the vibe. That's just the movie doing its work. Um oh,

1088
01:03:17,280 --> 01:03:20,320
Speaker 1: speaking of rubbing the Fur, Uh, we've we've we've said

1089
01:03:20,360 --> 01:03:22,560
Speaker 1: it enough. It's going to take on a physical reality.

1090
01:03:22,880 --> 01:03:24,800
Speaker 1: Keep an eye on our merch store. We're working on

1091
01:03:24,840 --> 01:03:28,160
Speaker 1: some rub the Fur emerge. Uh well, we'll see how

1092
01:03:28,200 --> 01:03:31,800
Speaker 1: it comes together. Uh, let's see what else to mention?

1093
01:03:32,040 --> 01:03:34,560
Speaker 1: Oh yeah, if you if you like the website letterboxed,

1094
01:03:34,720 --> 01:03:36,640
Speaker 1: you can check out the profile for a Weird House Cinema.

1095
01:03:36,680 --> 01:03:39,760
Speaker 1: There it's just Weird House. Uh so sign up there,

1096
01:03:39,840 --> 01:03:41,440
Speaker 1: follow us there if that's your thing. Let us know

1097
01:03:41,440 --> 01:03:43,560
Speaker 1: what you think. Um I could right now. It's just

1098
01:03:43,600 --> 01:03:45,920
Speaker 1: a list of the films that we've covered but if

1099
01:03:45,960 --> 01:03:48,160
Speaker 1: people are interested and interested enough in it, we could

1100
01:03:48,200 --> 01:03:51,960
Speaker 1: do a little more there. Um we'll see and uh yeah,

1101
01:03:52,080 --> 01:03:55,160
Speaker 1: this is Weird House Cinema every Friday. In the Stuff

1102
01:03:55,160 --> 01:03:58,160
Speaker 1: to Blow Your Mind podcast feed were primarily a science podcast,

1103
01:03:58,600 --> 01:04:01,240
Speaker 1: but one day a weequally we like to set all

1104
01:04:01,320 --> 01:04:03,720
Speaker 1: that aside and just focus in on a weird and

1105
01:04:03,800 --> 01:04:07,040
Speaker 1: wonderful film such as this one. Huge thanks to our

1106
01:04:07,080 --> 01:04:10,440
Speaker 1: excellent audio producer Seth Nicholas Johnson. If you would like

1107
01:04:10,480 --> 01:04:12,480
Speaker 1: to get in touch with us with feedback on this

1108
01:04:12,520 --> 01:04:15,040
Speaker 1: episode or any other, to suggest a topic for the future,

1109
01:04:15,120 --> 01:04:17,120
Speaker 1: or just to say hello, you can email us at

1110
01:04:17,360 --> 01:04:27,440
Speaker 1: contact at stuff to Blow your Mind dot com. Stuff

1111
01:04:27,480 --> 01:04:29,680
Speaker 1: to Blow Your Mind is production of I Heart Radio.

1112
01:04:30,000 --> 01:04:32,120
Speaker 1: For more podcasts for my heart Radio, visit the i

1113
01:04:32,200 --> 01:04:35,000
Speaker 1: heart Radio app, Apple Podcasts, or wherever you listen to

1114
01:04:35,000 --> 01:04:35,840
Speaker 1: your favorite shows.