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Speaker 1: Hey, welcome to Weird House Cinema. Rewind. Today we have

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Speaker 1: an older episode for you of This one's not that old,

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Speaker 1: it's just from last year. It is our discussion of

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Speaker 1: the nineteen seventy two made for TV movie Gargoyles. This

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Speaker 1: one's a lot of fun stars Cornell wild Jennifer Salt,

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Speaker 1: Grayson Hall, and the great Bernie Casey. So let's jump

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Speaker 1: right into this one.

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Speaker 2: Welcome to Stuff to Blow Your Mind, a production of iHeartRadio.

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Speaker 1: Hey, welcome to Weird House Cinema. This is Rob Lamb

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Speaker 1: and this is Joe McCormick. And today on Weird House

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Speaker 1: we're going to be talking about the nineteen seventy two

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Speaker 1: made for TV horror film Gargoyles, starring Cornell Wilde, Jennifer Salt,

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Speaker 1: Grayson Hall, and Bernie Casey. This selection has been waiting

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Speaker 1: in the wings for some time, hasn't it. It comes

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Speaker 1: up frequently on our connection segment in multiple previous episodes,

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Speaker 1: and also has been recommended by multiple listeners. It was

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Speaker 1: one of the It just seemed we were faded to

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Speaker 1: cover it at some point. That's right, Let's see Lee, Steven,

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Speaker 1: Bob Tato or Bob Tato I'm not sure which pronunciation.

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Speaker 1: Are just a few of the listeners who suggested this

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Speaker 1: film in particular and said it would be a great fit. Yeah,

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Speaker 1: it's come up multiple times on the show before in

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Speaker 1: our connections, and it's also one that I finally remember

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Speaker 1: watching at least parts of on television in the nineteen nineties,

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Speaker 1: I think on the Sci Fi channel, and TV again

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Speaker 1: is the place to watch it. This was a film

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Speaker 1: made for television, and it has just this great TV

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Speaker 1: wasteland vibe to it. The sort of weird dated movie

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Speaker 1: that like during the nineteen nineties you discover on cable

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Speaker 1: when you were inside on a weekend afternoon instead of

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Speaker 1: going outside and playing in the sun, or that you

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Speaker 1: discover late at night instead of getting a good night's sleep,

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Speaker 1: that sort of picture.

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Speaker 3: The spirit of television flows through it, even to the

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Speaker 3: extent that there's one character. We'll have to talk about

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Speaker 3: this in the plot section. There's one character who seems

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Speaker 3: to have gotten completely different notes on how to play

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Speaker 3: his character over the course of a commercial break.

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Speaker 1: A lot can change during a commercial break. Yeah, you know,

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Speaker 1: it takes you out of the action. I believe we're

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Speaker 1: going to talk more about this later it takes you

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Speaker 1: out of the action, perhaps takes you out of the

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Speaker 1: room as you go to get your dinner, return your plate,

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Speaker 1: get a snack, use the restroom, put the kids to bed,

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Speaker 1: what have you, and then you're back in And yeah,

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Speaker 1: it might be a different movie by that point. Like

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Speaker 1: sometimes it is implied stuff has happened during the break.

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Speaker 3: I guess that's true. The character I have in mind

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Speaker 3: is implied to have gotten drunk as over the course

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Speaker 3: of the commercial break, but he goes from being kind

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Speaker 3: of I don't know, sly and cagey to just being

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Speaker 3: a complete mass.

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Speaker 1: Yeah, it happens pretty quickly, so yes, indeed. This film

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Speaker 1: was originally broadcast on Tuesday, November twenty first, nineteen seventy two,

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Speaker 1: for CBS's the New CBS Tuesday Night Movies. The made

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Speaker 1: for TV werewolf movie Death Moon that we previously covered

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Speaker 1: on Weird House was also a CBS affair, though it

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Speaker 1: aired on a Wednesday.

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Speaker 3: Was it one of the new CBS Wednesday Night movies?

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Speaker 1: Who I don't recall. Death Moon came out in seventy eight,

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Speaker 1: so I guess I knew had become older standard by

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Speaker 1: that point. I'm not sure. I get a little foggy

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Speaker 1: on how like the Tuesday Night movie would have differed

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Speaker 1: from the Wednesday Night movie. I just remember the Death

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Speaker 1: Moon aired, I think following an episode of The Incredible Hulk.

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Speaker 1: But this is a movie that certainly connected with plenty

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Speaker 1: of folks. It's a nice mix of early seventies television

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Speaker 1: monster suits cinematic weirdness. In nineteen eighty one's Dance Maccob

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Speaker 1: Stephen King singled it out as one of the high

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Speaker 1: points of the various one shot TV movies and specials

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Speaker 1: of the day, praising it as memorable and hideous. Likewise,

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Speaker 1: Michael Weldon in the psychotronic film Guides highlights it as unusual.

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Speaker 3: I'm a little perplexed at the amount of praise I

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Speaker 3: see people heap on this movie. But I will give

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Speaker 3: it that it is not boring, like it kind of

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Speaker 3: skips right along and is highly entertaining as to its

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Speaker 3: real horror credentials. I don't know if I can quite

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Speaker 3: go there.

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Speaker 1: I feel like it is remarkably weird to have been

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Speaker 1: on television. You know. It's like other examples will point

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Speaker 1: to from this time period when you're looking at made

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Speaker 1: for TV horror. A lot of them are a little

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Speaker 1: more you know, traditional, in the sense that maybe it's

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Speaker 1: like Gothic horror, and you know, not that this is

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Speaker 1: completely non traditional. It is based, you know, basic format

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Speaker 1: of a monster movie, and it's set with a you know,

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Speaker 1: an American background. But yeah, I mean these scenes where

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Speaker 1: you have like reptilian gargo oil creatures like rebinon big

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Speaker 1: furry eggs and in an egg cave. It's it's weird stuff.

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Speaker 3: Weirder even for its time than you might think because

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Speaker 3: we live downstream of gargoyles. An interesting claim I came across.

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Speaker 3: I can't verify this, but a claim of priority that

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Speaker 3: I've found referenced in the Ashgate Encyclopedia of Literary and

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Speaker 3: Cinematic Monsters, edited by somebody named somebody named Jeffrey Andrew Weinstock.

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Speaker 3: This book claims, quote Gargoyles, the movie we're talking about today,

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Speaker 3: Gargoyles is the first work to present gargoyles as a

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Speaker 3: species as opposed to solitary creatures.

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Speaker 1: Hmmm. Interesting. Yeah, yeah, because that is how they're there.

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Speaker 1: They are positioned here. They are not statues, come alive.

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Speaker 1: They are an ancient species of creatures, perhaps with some

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Speaker 1: sort of origins going back to Satan in the Fall

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Speaker 1: of the Balangels.

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Speaker 3: Well, it just seems kind of like a creative appropriation

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Speaker 3: of the word gargoyle, because otherwise they are treated as

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Speaker 3: just demons. They're just demons or devils, but they're also

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Speaker 3: sort of greedo.

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Speaker 1: Yeah, yeah, yeah, they're reptile men, but they are gargoyles.

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Speaker 1: They're also devils. But the title of the movie is Gargoyles,

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Speaker 1: and they make sure to call them gargoyles at various

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Speaker 1: points in the film.

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Speaker 3: I should mention that that same Encyclopedia entry also flags

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Speaker 3: a short story by Harlan Ellison called Bleeding Stones, apparently

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Speaker 3: also published in nineteen seventy two, in which there are

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Speaker 3: gargoyles on Saint Patrick's Cathedral that are animated by pollution,

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Speaker 3: like industrial waste gets into them and it turns them

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Speaker 3: into monsters that attack New York City.

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Speaker 1: I should go ahead and mention, now that we're talking

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Speaker 1: about this, if any of this sounds familiar. Back in

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Speaker 1: October of twenty twenty four, we did the Stuff to

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Speaker 1: Blow Your Mind episode titled Grimoure of Horror, Volume one.

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Speaker 1: We talked about a couple of short horror stories, one

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Speaker 1: of them being a nineteen thirty two Clark Ashton Smith

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Speaker 1: story about gargoyles in which a tormented sculptors gargoyles come

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Speaker 1: to life and commit crimes in this Gothic city, and

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Speaker 1: that is often pointed to as one of, if not

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Speaker 1: like the first stories about animate gargoyles. But then again,

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Speaker 1: that would be different than what we have here today.

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Speaker 1: These are gargoyles that were never part of the particular

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Speaker 1: of a particular architectural creation. They instead are said to

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Speaker 1: have inspired architectural flourishes. And what are those flourishes? Well,

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Speaker 1: just a reminder we're talking when we talk about gargoyles,

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Speaker 1: we're generally talking about a decorative water spout to drain

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Speaker 1: water away from a building. Then the term is used

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Speaker 1: a little loose more loosely to describe monsters perching on

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Speaker 1: the corners of buildings. So you get you get into

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Speaker 1: different terminology when you get into the specifics of all

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Speaker 1: these things. But this is linked to the old French

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Speaker 1: word gargoue as well as the Greek gargarazine. And these words,

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Speaker 1: of course may remind you of the word gargle that

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Speaker 1: we used today because you know, essentially we're talking about

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Speaker 1: a word used to describe the clearing or washing of

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Speaker 1: the throat.

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Speaker 3: Right, So, from decorative water spouts on the side of

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Speaker 3: a building to Reptilian Satanic gredo monsters that live in

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Speaker 3: caves in only a few hundred years.

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Speaker 1: That that's an evolution, yes, from European cathedrals to the

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Speaker 1: children of Lucifer living in caves in the Great American Desert.

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Speaker 3: Now, we mentioned earlier that a lot of people have

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Speaker 3: had praise for this movie, a lot of good things

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Speaker 3: to say about it, And one thing that often gets

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Speaker 3: singled out for praise is the is the creature design itself?

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Speaker 3: The monster design. They they've got these great rubber masks

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Speaker 3: and suits. And apparently this movie won a nineteen seventy

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Speaker 3: three Primetime Emmy for Outstanding Achievement in Makeup.

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Speaker 1: That's right. It beat out a TV movie of Doctor

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Speaker 1: Jekyll and Mister Hyde starring Kirk Douglas and Donald Pleasants,

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Speaker 1: as well as a TV movie of Frankenstein starring Robert

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Speaker 1: Foxworth who would go on to uppear in Death Moon,

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Speaker 1: as well as the actor Bo s Vincent, who I

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Speaker 1: believe Svincon played the monster and Foxworth played the doctor.

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Speaker 3: Foxworth was the work beast and.

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Speaker 1: Yeah, yeah, I mean who I mean, Doctor Frankenstein. Can

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Speaker 1: you think of more a bigger work beast than that?

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Speaker 3: That's right, he's the original work beast. I wonder how

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Speaker 3: my feelings about Gargoyles might be different if we'd seen

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Speaker 3: it with the hardburned Dutch subtitles. I think that would

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Speaker 3: bring a different spirit to the occasion, wouldn't it.

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Speaker 1: Yeah? Probably so. But the costumes here do look amazing.

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Speaker 1: And as we'll get into and just a little bit,

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Speaker 1: it's the work of Stan Winston, like fresh baby face

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Speaker 1: stan Winston. This is his first big, big gig as

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Speaker 1: a makeup dude before he went on to a lot

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Speaker 1: of other legendary work and legendary monster design, makeup effects

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Speaker 1: from the subtle to the extravagant. Now, are these suits

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Speaker 1: always presented in the best light? Is the rest of

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Speaker 1: the film like reaching its level? Well, you know, an

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Speaker 1: argument could be made that it is not. You know,

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Speaker 1: you put a suit like this in a gas station

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Speaker 1: in the middle of New Mexico, it might not look

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Speaker 1: as great. But I think on their own they look

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Speaker 1: amazing and compared to anything else that was on TV

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Speaker 1: at the time. I have no doubt that these really

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Speaker 1: stood out and obviously touched a nerve.

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Speaker 3: I believe these suits and makeup effects could have popped

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Speaker 3: even more if they'd been photographed a little more carefully.

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Speaker 3: I don't want to insult, you know, the cinematography too much,

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Speaker 3: but we get a lot of just straight up looking

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Speaker 3: at them, even in slow motion, sometimes in broad daylight.

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Speaker 3: Sometimes busting through a breakaway door into a hotel room.

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Speaker 3: Not the most creative or artful way of obscuring and

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Speaker 3: keeping the mystery of the gargoyle form alive.

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Speaker 1: Yes, yes, yeah, they're often shot, and yeah, it feels

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Speaker 1: like like noon sun. They're out being stealthy just in

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Speaker 1: the in broad daylight. People were like, what was that

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Speaker 1: that flew over? And it's like, you're in the middle

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Speaker 1: of nowhere in New Mexico. I think you probably could

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Speaker 1: have seen it, but I don't know. There are plenty

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Speaker 1: of plenty of animals in New Mexico that managed to

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Speaker 1: carry out their stealth roles successfully, so I guess an

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Speaker 1: argument could be made that these these creatures do as well.

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Speaker 3: It's hard to stay stealthy when you're doing trampoline stunts

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Speaker 3: in slow motion.

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Speaker 1: True. True.

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Speaker 3: So I wanted to pause here for a moment to

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Speaker 3: think about the specific flavor of today's movie, because despite

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Speaker 3: the different setting and subject matter, I noticed what felt

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Speaker 3: like a significant esthetic overlap with the other seventies American

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Speaker 3: made for TV horror movie we've covered again. That was

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Speaker 3: Death Moon with the work Beast, and this got me

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Speaker 3: interested in thinking about these movies as their own subgenre,

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Speaker 3: the made for TV movie of the seventies as its

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Speaker 3: own horror subgenre. So I went digging around for any

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Speaker 3: academic literature that has explored this idea, and I came

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Speaker 3: across a passage in a book. So the book was

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Speaker 3: by Lorna Jowett and Stacy Abbott called TV Horror Investigating

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Speaker 3: the Dark Side of the Small Screen. This was originally

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Speaker 3: published in twenty thirteen. I haven't read this whole book,

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Speaker 3: but I did read some reviews in this passage about

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Speaker 3: made for TV films of the era in question. It

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Speaker 3: seems to me the central idea of this book is

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Speaker 3: that wild TV has long been thought of as a

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Speaker 3: poor venue for horror storytelling due to many things, you know,

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Speaker 3: restrictions on content and that tend to be more restrictive

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Speaker 3: than what you would get in the movie theaters, and

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Speaker 3: horror tends to be by nature transgressive and contains objectionable material.

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Speaker 3: But also you can think about constraints due to format

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Speaker 3: format restrictions like the need to include commercial breaks. Despite

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Speaker 3: all those well known limitations, the authors argue that the

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Speaker 3: medium of TV also kind of presents its own unique

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Speaker 3: opportunities for horror, and that horror has long been incorporated

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Speaker 3: into TV storytelling, even if in cryptic forms, kind of

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Speaker 3: expressing itself in little ways, in in crime dramas on

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Speaker 3: TV and things like that. And in the words of

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Speaker 3: the authors, the quote relationship between horror and television is

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Speaker 3: one fraught with tension and potential. And so when you

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Speaker 3: try to think, like, what would be the special potential

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Speaker 3: for horror on TV as opposed to other media like

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Speaker 3: the cinema or in written literature. One example that comes

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Speaker 3: to mind for me, which they do explore in the book,

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Speaker 3: is the idea that back before home video, when movies

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Speaker 3: were something that you went to see in the theater

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Speaker 3: and you couldn't watch at home unless it just happened

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Speaker 3: to be playing on one of the few TV stations

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Speaker 3: you got TV provided provided an opportunity to project visual

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Speaker 3: horror into the domestic setting, and the domestic setting changed

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Speaker 3: how frightening stories were received. Uh And to that last point.

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Speaker 3: At one point in this book, the author's cite the

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Speaker 3: concluding voiceover from Colchak The Nightstalker, which is not a

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Speaker 3: movie but a sort of mystery horror TV series. We've

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Speaker 3: talked about this in our anthology of horror episodes in

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Speaker 3: the Halloween season sometimes, but apparently you know, at the

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Speaker 3: end of this Colchak would always say something like quote,

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Speaker 3: so think about it and try to tell yourself, wherever

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Speaker 3: you may be and the quiet of your home, in

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Speaker 3: the safety of your bed, try to tell yourself that

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Speaker 3: it couldn't have up into you. You know, the implication being, Oh,

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Speaker 3: you think you're safe just because you're at home on

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Speaker 3: your couch eating a hungry man dinner right now, but

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Speaker 3: no paramoul fay, this moss monster could come get you.

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Speaker 1: That's a great point, you know, like you could basically

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Speaker 1: have a no horror in the house rule where you

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Speaker 1: only go out to the theaters and see horror, but

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Speaker 1: then TV changes that in the same way that like,

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Speaker 1: right now, I think most of us probably well, not

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Speaker 1: most of us. I can't speak for everyone out there.

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Speaker 1: I know we have some horror efficionados out there, but

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Speaker 1: a lot of us probably have an unofficial rule of

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Speaker 1: no haunted attractions in the house. Where we go out

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Speaker 1: to a haunted attraction, we go out to a professional

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Speaker 1: haunted house, but we don't bring professional ghouls and goblins

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Speaker 1: into our home to jump scarce randomly, you know, and

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Speaker 1: if we were to do that, that would drastically change

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Speaker 1: the way we might think about our house.

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Speaker 3: Yeah, exactly. Now, of course this would change with the

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Speaker 3: advent of home video, you know, that sort of reshuffles everything,

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Speaker 3: But you can still think of ways in which TV

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Speaker 3: is a different video. I've said this on the show before,

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Speaker 3: but I'm often very partial to medium is the message

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Speaker 3: type thinking kind of mccluinist view that we really underappreciate

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Speaker 3: how much we're influenced not just by the content that

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Speaker 3: we consume, but by the format that that content takes. So,

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Speaker 3: you know, whatever technology or media we use to consume,

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Speaker 3: it that shapes us almost as much as the content itself,

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Speaker 3: and it shaped shapes over time the form the content takes.

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Speaker 1: Yeah, yeah, this has certainly come up before. When we've

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Speaker 1: talked about movies where certain changes were made because they

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Speaker 1: wanted to make sure that like the first ten minutes killed,

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Speaker 1: you know, so people wouldn't leave the theater, or I

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Speaker 1: seem to recall an example where they were like, well,

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Speaker 1: let's offset the big moment a little bit so that

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Speaker 1: people who are late to their seats don't miss out

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Speaker 1: on the excitement. Things like that, you know. And I

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Speaker 1: guess with TV are you're also probably having a factor

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Speaker 1: in well, some people are coming in maybe thirty minutes

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Speaker 1: into it. You know, there's no definite start time. It's

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Speaker 1: not like they bought a ticket.

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Speaker 3: Yeah, we'll come back to that in just a minute,

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Speaker 3: but I did want to say so. The authors here

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Speaker 3: have a sub section discussing horror within the history of

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Speaker 3: the made for TV movie, also known as the single

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Speaker 3: play a single play as opposed to like a series

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Speaker 3: or a mini series, and so they write about how

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Speaker 3: the made for TV movie was especially popular in the

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Speaker 3: nineteen sixties and seventies, with major production centers being networks

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Speaker 3: in the United States like ABC and then in this

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Speaker 3: case CBS, and then of course in Britain as well,

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Speaker 3: with things like ITV, ITV. Actually had armchair theater going

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Speaker 3: back to the nineteen fifties, so we established even earlier there.

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Speaker 3: But then the authors cite a scholar named Waller who

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Speaker 3: cataloged more than one hundred made for TV horror films

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Speaker 3: that premiered on primetime in the United States between nineteen

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Speaker 3: sixty eight and nineteen eighty seven. And that was kind

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Speaker 3: of surprising to me that there were that many, because

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Speaker 3: I don't think of horror as the most popular genre

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Speaker 3: of made for TV movies. I mean, I tend to

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Speaker 3: think of made for TV movies as like, you know,

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Speaker 3: your kind of comedies and your family dramas and things

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Speaker 3: like that, you were made for TV. Horror felt like

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Speaker 3: a more rare, rare exploration. But in discussing these movies,

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Speaker 3: Jowatt and Abbott right quote. These films include adaptations of

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Speaker 3: Gothic novels such as Count Dracula nineteen seventy seven, Frankenstein

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Speaker 3: nineteen seventy three. Oh, I wonder if that's the one

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Speaker 3: we were just talking about. I believe it talks about, Yeah,

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Speaker 3: the Turn of the Screw nineteen seventy four, or original

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Speaker 3: contemporary horror such as Fear No Evil nineteen sixty nine

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Speaker 3: Duel nineteen seventy one. I believe that's an early Steven

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Speaker 3: Spielberg movie.

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Speaker 1: Yeah. I believe matheson either a script by Mathison or

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Speaker 1: it's based on work by Mathison. I don't recall at

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Speaker 1: the top of my head. Yeah.

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Speaker 3: And then their final example is Gargoyles from nineteen seventy two,

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Speaker 3: but the passage continues.

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Speaker 1: Quote.

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Speaker 3: John Kenneth Muir argues that in this period, television became

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Speaker 3: increasingly graphic, and that the turn toward darkness in TV

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Speaker 3: horror represented, as with cinematic horror, a shift in national mood,

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Speaker 3: due at least in part to the shocking and graphic

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Speaker 3: news footage coming back from the Vietnam War. It was

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Speaker 3: as if for the first time Americans were aware of

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Speaker 3: a darker world, and television reflected that shift in perspective.

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Speaker 1: Hmm. That's fascinating. Now.

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Speaker 3: Another thing they mentioned here is about the production mode

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Speaker 3: of made for TV horror films, which was in some

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Speaker 3: ways similar to that of a cinematic film, but usually

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Speaker 3: with a lower budget and a shorter production schedule. One

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Speaker 3: major format difference that we've already alluded to here is

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Speaker 3: the necessity of incorporating commercial breaks. Now, you might be thinking, like,

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Speaker 3: do you really need to plan out commercial breaks from

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Speaker 3: a writing perspective, Maybe you just write the story like

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Speaker 3: you would otherwise and let the breaks fall wherever.

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Speaker 1: Okay, that's how we do the podcast.

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Speaker 3: That sort of is how we do the podcast now.

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Speaker 3: But like the podcast is a conversational informational exploration, it's

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Speaker 3: really hard to do that if you are writing a fiction,

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Speaker 3: a fictional narrative where you're trying to control tension and

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Speaker 3: you're trying to build to climaxes and all that. I mean,

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Speaker 3: if you just if you literally just randomly place commercial

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Speaker 3: breaks within a story. In fact, we've seen what this

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Speaker 3: is like when that happens on, like you know, something

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Speaker 3: like you're watching a maybe illicit stream of a movie

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Speaker 3: or something and the ads just pop in wherever. It's hilarious.

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Speaker 1: Yeah, yeah, you know. I was thinking about this recently

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Speaker 1: as well, not only in watching Gargoyles, which has these moments,

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Speaker 1: but also so as a family we've been watching and

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Speaker 1: for my wife and I rewatching the sci fi series Firefly, Oh,

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Speaker 1: which you know I love back in the day. I'm

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Speaker 1: getting reacquainted with now. The footage is not the most

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Speaker 1: restored that I've seen. So it feels a little rough

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Speaker 1: around the edges and places, but still very fresh in

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Speaker 1: many other ways. But it has those those obvious baked

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Speaker 1: in commercial breaks where things lead up, you know, you

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Speaker 1: get to kind of like a little crescendo and then

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Speaker 1: there's just a little bit of darkness and then you

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Speaker 1: come back and you know, for someone like our kids

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Speaker 1: seem less and less of that, So they're like, what's

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Speaker 1: what's going on here? Why don't we keep having these moments?

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Speaker 1: They like, Oh, yeah, those are commercial breaks, Those were

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Speaker 1: those were necessary, mandated and you know, clearly constructed around Yeah.

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Speaker 3: So the authors of this book talk about how it's

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Speaker 3: been recognized for a while that, or at least argued

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Speaker 3: by other scholars previously, that the the need for commercial

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Speaker 3: breaks is especially devastating to horror as a genre for

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Speaker 3: storytelling because it interrupts the narrative flow and the building

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Speaker 3: of tension that is supposed to take place in a

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Speaker 3: horror story. But also they cite again the scholar named

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Speaker 3: Waller who says that it's really a problem that the

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Speaker 3: advertisements coming in in the middle of the story quote

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Speaker 3: themselves serve as reassurance that all is well in the world,

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Speaker 3: and I can see what's going on there. But then

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Speaker 3: coming back on the other side, the authors talk about

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Speaker 3: how writers try to get around this by, of course

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Speaker 3: structuring the story with these kind of mini climaxes, placing

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Speaker 3: breaks after each one. That's like what you were just

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Speaker 3: talking about, you know, the where even when the commercials

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Speaker 3: are no longer present, you're just watching it as one

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Speaker 3: continuous thing. You can feel where the commercial breaks are.

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Speaker 1: Yeah, and I have to admit at times, watching Gargoyles,

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Speaker 1: I really kind of wanted to see those commercials. What

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Speaker 1: would they have been, you know.

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Speaker 3: I want to see commercials for Towbor, the International Ladies

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Speaker 3: Garment Workers Union, all the good ones. But anyway, this

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Speaker 3: got me thinking about how there are multiple ways to

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Speaker 3: write around the idea of commercial breaks. The authors here

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Speaker 3: are talking about trying to structure it with many climaxes

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Speaker 3: before a commercial break, so the break doesn't unnecessarily cut

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Speaker 3: into the tension you're building. But I was thinking about

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Speaker 3: how it's actually often the case that people will try

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Speaker 3: to have a commercial break occurring right at a moment

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Speaker 3: of suspense, like the door is opening, and then you

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Speaker 3: cut to commercial to I guess the ideas that will

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Speaker 3: leave you hanging and make you avoid changing the channel

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Speaker 3: during the commercial because you want to see what happens next.

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Speaker 3: I think that can lead made for TV horror to

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Speaker 3: feel kind of hokey that often does not play very well.

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Speaker 3: But at the same time, in rare cases, I think

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Speaker 3: the juxtaposition between story and commercial breaks can itself be uncanny.

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Speaker 3: Like Made for TV horror with commercial breaks works especially well.

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Speaker 3: I think in stories where everything seems to be right

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Speaker 3: with the world, but there are hidden threats lurking behind

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Speaker 3: a facade of everyday life. It's kind of making you

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Speaker 3: question the sort of interactions and media that you go

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Speaker 3: through every single day. You know that can kind of

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Speaker 3: play well when suddenly it cuts away to people trying

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Speaker 3: to manipulate you by capturing your attention and selling you

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Speaker 3: on something.

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Speaker 1: I could see that definitely having been the case with

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Speaker 1: Death Moon, because Death Moon if you don't familiar if

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Speaker 1: you're not familiar with it or you don't remember the episode.

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Speaker 1: This is about an overworked man going on a vacation

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Speaker 1: to Hawaii where he begins to change into a werewolf.

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Speaker 1: Much of what occurs in the film, though, is exactly

432
00:24:49,000 --> 00:24:52,960
Speaker 1: the kind of life that advertisements might have been selling

433
00:24:53,000 --> 00:24:56,800
Speaker 1: you on. You know, like a successful single man, you know,

434
00:24:56,920 --> 00:25:00,960
Speaker 1: looking for love, you know, working hard, but trying to

435
00:25:01,000 --> 00:25:03,760
Speaker 1: play hard a little bit as well, but then also

436
00:25:04,440 --> 00:25:06,159
Speaker 1: changing into a murderous monster at night.

437
00:25:06,400 --> 00:25:07,800
Speaker 3: Yeah, he's a dapper dan man.

438
00:25:09,600 --> 00:25:12,480
Speaker 1: But yeah, Gargoyles, I don't know, it's maybe a harder

439
00:25:12,520 --> 00:25:13,280
Speaker 1: case to be made.

440
00:25:13,760 --> 00:25:16,200
Speaker 3: Yeah, I don't think it really fits that. As I've said,

441
00:25:16,280 --> 00:25:20,359
Speaker 3: I do think Gargoyles is very entertaining. There are some

442
00:25:20,600 --> 00:25:23,760
Speaker 3: elements of it that kind of work pretty well as intended.

443
00:25:24,160 --> 00:25:29,640
Speaker 3: It's definitely funny in some ways. I don't know how well,

444
00:25:29,680 --> 00:25:32,639
Speaker 3: at least for me, it holds up as actual horror building,

445
00:25:32,680 --> 00:25:33,639
Speaker 3: actual horror attention.

446
00:25:34,320 --> 00:25:36,280
Speaker 1: But I do want to say.

447
00:25:37,520 --> 00:25:42,680
Speaker 3: I think there is a special esthetic weirdness, and more specifically,

448
00:25:43,160 --> 00:25:47,240
Speaker 3: I would say a bleakness to the handful of made

449
00:25:47,320 --> 00:25:50,080
Speaker 3: for TV horror movies that I've seen from the seventies.

450
00:25:50,960 --> 00:25:52,840
Speaker 3: I don't know if I have exactly the right words

451
00:25:52,920 --> 00:25:56,800
Speaker 3: to explain this, but as close as I can get

452
00:25:56,920 --> 00:26:00,520
Speaker 3: is a couple of things. One is that they often

453
00:26:00,680 --> 00:26:07,119
Speaker 3: kind of incorporate a slightly alarming feeling of numbness, like

454
00:26:07,160 --> 00:26:10,560
Speaker 3: a spiritual an hedonia. Do you know what I'm talking about?

455
00:26:10,560 --> 00:26:10,880
Speaker 3: It all?

456
00:26:11,560 --> 00:26:14,480
Speaker 1: Yeah? Yeah, I mean this it you know, it's it's

457
00:26:14,480 --> 00:26:17,320
Speaker 1: impossible to think about these pictures without thinking about, like

458
00:26:17,359 --> 00:26:20,640
Speaker 1: what's going on in the nineteen seventies, late nineteen seventies,

459
00:26:20,680 --> 00:26:24,240
Speaker 1: early seventies, wherever a predicture of work, particular work happens

460
00:26:24,280 --> 00:26:28,240
Speaker 1: to fall. You know, you know, what what does it

461
00:26:28,320 --> 00:26:32,040
Speaker 1: say about about the zeitgeist at the time and the

462
00:26:32,200 --> 00:26:35,040
Speaker 1: like the general like feeling about the world and about

463
00:26:35,080 --> 00:26:38,399
Speaker 1: your place in the world. And I guess you know,

464
00:26:38,440 --> 00:26:40,840
Speaker 1: part of that comes out of like like being a

465
00:26:40,920 --> 00:26:43,359
Speaker 1: kid who was born in the seventies. You know, it's

466
00:26:43,440 --> 00:26:45,199
Speaker 1: kind of like this is this is the world that

467
00:26:45,280 --> 00:26:48,320
Speaker 1: I like emerged from, Like this is the alchemy that

468
00:26:48,400 --> 00:26:50,359
Speaker 1: produced me. It's like, what does it say about the

469
00:26:50,359 --> 00:26:51,880
Speaker 1: world I came from? What does it say about who

470
00:26:51,920 --> 00:26:53,119
Speaker 1: I am now? And so forth?

471
00:26:53,600 --> 00:26:56,280
Speaker 3: Yeah, well, I don't mean this at all as a

472
00:26:56,280 --> 00:26:59,080
Speaker 3: commentary on you where the world you came from. But

473
00:26:59,440 --> 00:27:02,000
Speaker 3: the thing I'm is, I don't know, there's this background

474
00:27:02,200 --> 00:27:07,160
Speaker 3: feeling in these movies of kind of searching after pleasures

475
00:27:07,240 --> 00:27:10,720
Speaker 3: that can no longer satisfy or something like that, this

476
00:27:10,920 --> 00:27:13,320
Speaker 3: kind of emptiness and longing.

477
00:27:13,800 --> 00:27:19,800
Speaker 1: Yeah, the post nineteen sixties world, you know, to invoke

478
00:27:19,880 --> 00:27:22,600
Speaker 1: the famous quote by Hunter S. Thompson, you know, after

479
00:27:22,640 --> 00:27:27,960
Speaker 1: the waves has crested and fallen and fallen back from

480
00:27:27,960 --> 00:27:30,720
Speaker 1: where we are now. Yeah, often get a sense of

481
00:27:30,720 --> 00:27:34,760
Speaker 1: that vibe, and at the same time, there's also part

482
00:27:34,800 --> 00:27:36,760
Speaker 1: of it again coming back to having been born in

483
00:27:36,760 --> 00:27:39,639
Speaker 1: the seventies, Like, these pictures sort of feel like home,

484
00:27:39,680 --> 00:27:42,159
Speaker 1: and I want and I feel comfortable in them, and

485
00:27:42,200 --> 00:27:45,919
Speaker 1: they make me want to to some extent, not to

486
00:27:46,040 --> 00:27:48,160
Speaker 1: like a literal extent, but it makes me to some

487
00:27:48,200 --> 00:27:50,679
Speaker 1: extent like want to crawl into them and inhabit that

488
00:27:50,760 --> 00:27:54,160
Speaker 1: world and find some sort of safety there. That, of course,

489
00:27:54,240 --> 00:27:56,520
Speaker 1: you know, has no real connection to what the nineteen

490
00:27:56,520 --> 00:27:59,800
Speaker 1: seventies were actually like or certainly the world's depicted in

491
00:27:59,800 --> 00:28:00,439
Speaker 1: these films.

492
00:28:00,640 --> 00:28:04,600
Speaker 3: I belong in this gargoyle cave. But the other thing

493
00:28:04,640 --> 00:28:08,200
Speaker 3: I was thinking is that because these made for TV

494
00:28:08,320 --> 00:28:13,920
Speaker 3: movies are restricted to FCC content standards, nothing ever gets

495
00:28:14,080 --> 00:28:17,240
Speaker 3: north of PG. You know, they're fairly tame. This one

496
00:28:17,359 --> 00:28:20,720
Speaker 3: is often singled out for being especially frightening and violent

497
00:28:21,000 --> 00:28:24,280
Speaker 3: by TV standards, but even in this case, I would

498
00:28:24,320 --> 00:28:27,800
Speaker 3: say it is very tame compared to the horror movies

499
00:28:27,880 --> 00:28:30,520
Speaker 3: of the same time in history. You know, this is

500
00:28:30,560 --> 00:28:35,440
Speaker 3: not The Exorcist, Oh certainly not. And because of that,

501
00:28:36,280 --> 00:28:43,440
Speaker 3: there is counterintuitively a feeling of restrained viciousness that is

502
00:28:43,480 --> 00:28:46,959
Speaker 3: actually quite menacing when you focus on it. It's like

503
00:28:47,160 --> 00:28:50,840
Speaker 3: the made for TV horror movie asks you to imagine

504
00:28:50,880 --> 00:28:53,800
Speaker 3: the version of the story that you could not be shown.

505
00:28:54,760 --> 00:28:56,480
Speaker 1: Yeah, that's true, that's true.

506
00:28:56,840 --> 00:28:59,320
Speaker 3: Anyway, That's all I've got on made for TV horror

507
00:28:59,400 --> 00:29:01,560
Speaker 3: right now. But maybe we can revisit this topic as

508
00:29:01,560 --> 00:29:01,920
Speaker 3: we go on.

509
00:29:02,240 --> 00:29:04,520
Speaker 1: Oh, absolutely absolutely, And I'm sure it will also come

510
00:29:04,560 --> 00:29:06,720
Speaker 1: back to more made for TV horror in the future.

511
00:29:07,320 --> 00:29:08,920
Speaker 3: I mean, as we just read, there were at least

512
00:29:08,960 --> 00:29:12,680
Speaker 3: one hundred of them by nineteen eighty seven, so you know.

513
00:29:12,640 --> 00:29:15,160
Speaker 1: There's some real dogs in there, but I could probably

514
00:29:15,160 --> 00:29:16,880
Speaker 1: have plenty of other gems as well.

515
00:29:17,120 --> 00:29:18,640
Speaker 3: Is Dracula's dog one of them?

516
00:29:19,200 --> 00:29:21,640
Speaker 1: Ooh yeah maybe so maybe So we'll come back to

517
00:29:21,720 --> 00:29:33,800
Speaker 1: Dracula's Dog in this episode. All right, elevator pitch, I'm

518
00:29:33,840 --> 00:29:37,520
Speaker 1: gonna invoke Jimmy Rodgers Desert Blues here and say, way

519
00:29:37,560 --> 00:29:40,360
Speaker 1: out on the windswept desert where nature favors no man.

520
00:29:40,480 --> 00:29:44,200
Speaker 1: The gargoyle found Diana at rest on the sun baked sand.

521
00:29:44,680 --> 00:29:48,080
Speaker 1: That's beautiful. Now, I do not have some trailer audio

522
00:29:48,120 --> 00:29:51,000
Speaker 1: to include here. I really hope to find a little

523
00:29:51,080 --> 00:29:55,120
Speaker 1: like CBS promo like tonight on the CBS New Tuesday

524
00:29:55,200 --> 00:29:57,520
Speaker 1: Night movie, but I could not find anything. I found

525
00:29:57,520 --> 00:30:00,480
Speaker 1: some things that might have been legitimate trailers of the day,

526
00:30:00,520 --> 00:30:05,800
Speaker 1: other things that we're definitely creations from a later point,

527
00:30:06,440 --> 00:30:08,320
Speaker 1: so we'll just have to imagine what it might have

528
00:30:08,400 --> 00:30:09,000
Speaker 1: consisted of.

529
00:30:09,680 --> 00:30:12,320
Speaker 3: See, this is what I want AI to help with.

530
00:30:12,440 --> 00:30:15,080
Speaker 3: When there's like footage that you know is out there

531
00:30:15,160 --> 00:30:18,360
Speaker 3: but doesn't have the proper metadata and you can't locate it,

532
00:30:18,480 --> 00:30:20,720
Speaker 3: that's what I want AI to help me do is

533
00:30:20,840 --> 00:30:23,760
Speaker 3: find that promo for the CBS movie.

534
00:30:24,600 --> 00:30:28,800
Speaker 1: Well, sorry, it's gonna make whole podcasts instead, all right,

535
00:30:28,880 --> 00:30:31,720
Speaker 1: So if you want to see Gargoyles, luckily it is

536
00:30:31,760 --> 00:30:34,280
Speaker 1: widely available. It's been widely available for a while. There

537
00:30:34,320 --> 00:30:37,560
Speaker 1: have been a few different vhs and DVD releases. Ideal

538
00:30:37,640 --> 00:30:41,080
Speaker 1: viewing is of course, on an old school television set,

539
00:30:41,480 --> 00:30:44,120
Speaker 1: but you know, do what you can with what you have.

540
00:30:44,520 --> 00:30:47,040
Speaker 1: There's been no Blu Ray release that I'm aware of,

541
00:30:47,680 --> 00:30:50,840
Speaker 1: and it's widely available on streaming right now, like various

542
00:30:51,000 --> 00:30:53,760
Speaker 1: legitimate streaming platforms have at you can. I think you

543
00:30:53,800 --> 00:30:56,200
Speaker 1: can find a few different versions of it on YouTube

544
00:30:56,240 --> 00:30:56,640
Speaker 1: as well.

545
00:30:57,160 --> 00:30:59,760
Speaker 3: I'm sorry you're not allowed to watch this movie. And

546
00:30:59,800 --> 00:31:02,280
Speaker 3: let's at least seventy percent of the mass of your

547
00:31:02,320 --> 00:31:03,640
Speaker 3: TV is wood.

548
00:31:03,880 --> 00:31:06,640
Speaker 1: Yeah, yeah, big Wooden television set. W'd serve you well? Here?

549
00:31:07,120 --> 00:31:09,400
Speaker 1: All right, Well, let's get into the people behind this picture,

550
00:31:09,920 --> 00:31:12,720
Speaker 1: starting the top with the director. It's Bill Norton born

551
00:31:12,800 --> 00:31:16,800
Speaker 1: nineteen forty three American director Norton. Here was coming off

552
00:31:16,920 --> 00:31:20,479
Speaker 1: of his most well regarded feature film, his first nineteen

553
00:31:20,520 --> 00:31:25,080
Speaker 1: seventy one Cisco Pike, starring Chris Christofferson, Karen Black, Harry

554
00:31:25,160 --> 00:31:29,840
Speaker 1: Dean Stanton, and Gene Hackman. Rip'ed all four of those individuals.

555
00:31:30,440 --> 00:31:34,600
Speaker 1: Norton also co wrote the movie Cisco Pike. Gargoyles was

556
00:31:34,640 --> 00:31:37,240
Speaker 1: his follow up, and he went on to direct more

557
00:31:37,280 --> 00:31:41,280
Speaker 1: American Graffiti in seventy nine, as well as another film

558
00:31:41,320 --> 00:31:44,719
Speaker 1: that I've seen, Baby Secret of the Lost Legend. This

559
00:31:44,760 --> 00:31:46,720
Speaker 1: is a nineteen eighty five film about people going to

560
00:31:46,800 --> 00:31:49,720
Speaker 1: the jungle and finding a cute baby dinosaur. Definitely watched

561
00:31:49,720 --> 00:31:52,360
Speaker 1: this so on VHS as a kid, and he also

562
00:31:52,360 --> 00:31:56,440
Speaker 1: did a lot of TV work, both series and films.

563
00:31:56,880 --> 00:32:00,200
Speaker 1: His credits include episodes of Buffy the Vampire Slayer, as

564
00:32:00,240 --> 00:32:02,720
Speaker 1: well as the nineteen eighties Twilight Zone revival.

565
00:32:03,040 --> 00:32:05,600
Speaker 3: Okay, I looked up Baby secret of the Lost Legend.

566
00:32:05,960 --> 00:32:08,160
Speaker 3: I want to assure people. It's cuter than what I

567
00:32:08,200 --> 00:32:10,840
Speaker 3: had in mind, which was the baby from the TV

568
00:32:10,880 --> 00:32:11,880
Speaker 3: show Dinosaurs.

569
00:32:12,800 --> 00:32:15,120
Speaker 1: Yeah, this is a different baby dinosaur. This is like

570
00:32:15,720 --> 00:32:19,800
Speaker 1: Brontosaurus or something to that effect, some sort of surapod.

571
00:32:20,440 --> 00:32:23,000
Speaker 3: The original poster for it is kind of nice. It

572
00:32:23,800 --> 00:32:26,959
Speaker 3: has that old school jungle adventure look. A more recent

573
00:32:27,120 --> 00:32:29,240
Speaker 3: poster for it, I guess this is box art for

574
00:32:29,280 --> 00:32:32,560
Speaker 3: a re release of the DVD. Seems to steal the

575
00:32:32,640 --> 00:32:34,160
Speaker 3: visual theme of Jurassic Park.

576
00:32:34,760 --> 00:32:37,400
Speaker 1: Oh well, you know it made sense. It's like look

577
00:32:37,440 --> 00:32:39,720
Speaker 1: around and see, wow, this dinosaur movie is really making

578
00:32:39,760 --> 00:32:42,520
Speaker 1: a lot of money. Well, we have one already on

579
00:32:42,560 --> 00:32:46,560
Speaker 1: the shelf ready to go. Let's go ahead and bust

580
00:32:46,560 --> 00:32:49,120
Speaker 1: it out. I don't remember anything else about it except,

581
00:32:49,320 --> 00:32:52,640
Speaker 1: you know, scenes where they're engaging with the dinosaur in

582
00:32:53,120 --> 00:32:53,640
Speaker 1: the jungle.

583
00:32:53,880 --> 00:32:56,400
Speaker 3: As I said, haven't seen it, but it looks to

584
00:32:56,440 --> 00:32:58,800
Speaker 3: me like it fits in the e Walk Adventure kind

585
00:32:58,800 --> 00:32:59,640
Speaker 3: of market.

586
00:33:00,120 --> 00:33:04,520
Speaker 1: Yeah, yeah, definitely, with a score by Jerry Goldsman. All Right,

587
00:33:05,000 --> 00:33:08,000
Speaker 1: moving on to the writing, This is the work of

588
00:33:08,200 --> 00:33:12,000
Speaker 1: the husband and wife writing duo of Stephen Carf and

589
00:33:12,040 --> 00:33:16,200
Speaker 1: Eleanor Karf. Stephen was born in nineteen thirty nine. Eleanor

590
00:33:16,280 --> 00:33:20,440
Speaker 1: lived nineteen thirty nine through twenty thirteen. Their credits include

591
00:33:20,520 --> 00:33:24,080
Speaker 1: the nineteen eighties daytime soap opera Capital, four episodes of

592
00:33:24,120 --> 00:33:27,520
Speaker 1: Kung Fu, and the nineteen seventy eight TV movie Devil

593
00:33:27,520 --> 00:33:30,120
Speaker 1: Dog the Hound of Hell starring Richard Crenna.

594
00:33:30,720 --> 00:33:33,440
Speaker 3: Oh that's the one we keep thinking is called Dracula's Dog.

595
00:33:33,600 --> 00:33:37,000
Speaker 1: No, this is a different one. Oh yeah, there's Devil

596
00:33:37,000 --> 00:33:39,960
Speaker 1: Dog Hound of Hell, and then there's Dracula's Dog, which

597
00:33:40,000 --> 00:33:41,600
Speaker 1: we will come back to in a bit because it

598
00:33:41,880 --> 00:33:43,680
Speaker 1: also is connected to this movie. And so.

599
00:33:46,440 --> 00:33:49,000
Speaker 3: I can't even count our blessings today.

600
00:33:50,360 --> 00:33:55,800
Speaker 1: All right. Getting into the cast. Top build is Cornell Wilde,

601
00:33:55,920 --> 00:33:59,760
Speaker 1: playing the character of doctor Mercer Bowley. Wild lived nineteen

602
00:33:59,760 --> 00:34:03,600
Speaker 1: twelve through nineteen eighty nine. Hungarian born American actor of stage,

603
00:34:03,600 --> 00:34:06,680
Speaker 1: screen and TV, who is nominated for an Oscar for

604
00:34:06,760 --> 00:34:09,319
Speaker 1: nineteen forty six is A Song to Remember, in which

605
00:34:09,320 --> 00:34:13,160
Speaker 1: he starred and nominated for a Hugo Award in nineteen

606
00:34:13,200 --> 00:34:16,920
Speaker 1: seventy four No Blade of Grass, which he directed. His

607
00:34:17,360 --> 00:34:20,080
Speaker 1: uncredited acting work goes back to the mid nineteen thirties,

608
00:34:20,120 --> 00:34:23,680
Speaker 1: and his actual credits include nineteen fifty two's The Greatest

609
00:34:23,680 --> 00:34:26,440
Speaker 1: Show on Earth and episodes of such TV shows as

610
00:34:26,480 --> 00:34:30,600
Speaker 1: I Love Lucy Night, Gallery, Fantasy Island, and Murder. She wrote.

611
00:34:30,719 --> 00:34:33,800
Speaker 1: He's also in Charles B. Pearce's nineteen seventy eight Viking

612
00:34:33,880 --> 00:34:35,080
Speaker 1: movie The Norseman.

613
00:34:35,480 --> 00:34:37,440
Speaker 3: Oh, I've never seen that, but that's been on my

614
00:34:37,520 --> 00:34:40,120
Speaker 3: radar for a while. Charles B. Pearce is the buggy

615
00:34:40,160 --> 00:34:40,760
Speaker 3: Creek guy.

616
00:34:40,680 --> 00:34:44,960
Speaker 1: Right correct, Yes, yeah, yeah, yeah. He did one Viking epic.

617
00:34:46,640 --> 00:34:50,799
Speaker 1: So there's a lot to say about this character, not

618
00:34:50,840 --> 00:34:52,560
Speaker 1: really as much as say about the performance. I mean,

619
00:34:52,600 --> 00:34:53,880
Speaker 1: Cornell Wild is fine.

620
00:34:53,640 --> 00:34:57,040
Speaker 3: In this He's playing it just right down the middle.

621
00:34:56,960 --> 00:35:01,000
Speaker 1: Right down the middle. He does. There is a you know,

622
00:35:01,040 --> 00:35:04,480
Speaker 1: I could be shirtless in this scene energy in this film,

623
00:35:04,680 --> 00:35:06,799
Speaker 1: which makes sense once he takes his shirt off. So

624
00:35:06,840 --> 00:35:09,160
Speaker 1: he was in his sixties at this point, and I

625
00:35:09,200 --> 00:35:11,440
Speaker 1: was looking back at I wasn't super familiar with Cornell

626
00:35:11,440 --> 00:35:14,040
Speaker 1: Wilde's work, but looking back through his filmography, he was

627
00:35:14,080 --> 00:35:18,680
Speaker 1: often shirtless, so you know, kudos to him for being

628
00:35:18,719 --> 00:35:20,880
Speaker 1: in such great shape at age sixty.

629
00:35:21,200 --> 00:35:23,919
Speaker 3: I can't believe he's in his sixties. Can't believe how

630
00:35:23,920 --> 00:35:27,399
Speaker 3: good he looks. I was thinking he did not look

631
00:35:27,520 --> 00:35:32,600
Speaker 3: old enough to be Jennifer Salt's character's dad, Like, yeah,

632
00:35:31,880 --> 00:35:35,360
Speaker 3: she's apparently supposed to be like thirty, and I was

633
00:35:35,400 --> 00:35:37,600
Speaker 3: reading him as like, I don't know, early forties.

634
00:35:38,000 --> 00:35:41,640
Speaker 1: Yeah, yeah, yeah, I mean that's one of the reasons

635
00:35:41,640 --> 00:35:45,960
Speaker 1: he had such a long career. But the character, there's much,

636
00:35:46,320 --> 00:35:47,840
Speaker 1: there's much, I don't know how much we want to

637
00:35:47,880 --> 00:35:50,759
Speaker 1: get into right now, but he's maybe not the most

638
00:35:50,800 --> 00:35:53,759
Speaker 1: likable protagonists. Like not to say he's in like full

639
00:35:53,760 --> 00:35:58,960
Speaker 1: blown anti hero domain or anything, but a lot of

640
00:35:59,040 --> 00:36:01,719
Speaker 1: a lot of questions are like, this is really the

641
00:36:01,760 --> 00:36:03,440
Speaker 1: guy we're gonna stick with, this is our hero.

642
00:36:04,160 --> 00:36:06,560
Speaker 3: This is not on Cornell Wilde as an actor, but

643
00:36:06,719 --> 00:36:09,800
Speaker 3: just the way the character is written is strange. He's

644
00:36:09,920 --> 00:36:13,640
Speaker 3: characterized oddly from the get go with the they make

645
00:36:13,719 --> 00:36:18,680
Speaker 3: some strange choices about his level of sincerity in his

646
00:36:18,719 --> 00:36:23,200
Speaker 3: own work, and then also at the end, yeah, you

647
00:36:23,239 --> 00:36:26,120
Speaker 3: really get into like, wait, who's the real bad guy here?

648
00:36:26,280 --> 00:36:29,160
Speaker 3: Territory that does not seem to be acknowledged by the film.

649
00:36:29,560 --> 00:36:33,399
Speaker 1: Yeah, yeah, I agree. Now, playing his daughter, Diana, who

650
00:36:33,440 --> 00:36:37,000
Speaker 1: we just mentioned, is Jennifer Salt born nineteen forty two

651
00:36:37,000 --> 00:36:40,160
Speaker 1: American actress who previously appeared in nineteen sixty Nine's A

652
00:36:40,200 --> 00:36:44,160
Speaker 1: Midnight Cowboy, which her father, her father Waldo Salt, wrote

653
00:36:44,880 --> 00:36:47,799
Speaker 1: the Academy Award winning screenplay for. She was also in

654
00:36:47,840 --> 00:36:52,160
Speaker 1: seventy two's Played Again Sam for TV and sixty five

655
00:36:52,200 --> 00:36:55,839
Speaker 1: episodes of the TV series Soap. She's remained very active

656
00:36:55,880 --> 00:36:58,560
Speaker 1: as a producer, and this is interesting talking about TV

657
00:36:58,680 --> 00:37:03,760
Speaker 1: horror because she is Slash was a producer on American

658
00:37:03,800 --> 00:37:08,080
Speaker 1: Horror Story, which is in a totally different TV horror

659
00:37:08,120 --> 00:37:12,920
Speaker 1: ecosystem than what we have in the nineteen seventies, but notable.

660
00:37:12,920 --> 00:37:17,200
Speaker 3: Nonetheless, you know who though in this would really fit

661
00:37:17,320 --> 00:37:20,040
Speaker 3: in on the season of American Horror Story would be

662
00:37:20,120 --> 00:37:23,560
Speaker 3: Grayson Hall as Miss Parks. Doesn't that like an American

663
00:37:23,600 --> 00:37:24,560
Speaker 3: Horror Story character?

664
00:37:24,840 --> 00:37:28,680
Speaker 1: I would say, yeah, out of the characters we encounter, definitely, definitely,

665
00:37:29,400 --> 00:37:33,799
Speaker 1: And speaking yeah, Grayson Hall, her character Miss Parks. This

666
00:37:33,880 --> 00:37:37,719
Speaker 1: is our noisy hotel lady who is always nursing a

667
00:37:37,760 --> 00:37:39,600
Speaker 1: water glass half full of dark liquor.

668
00:37:39,960 --> 00:37:44,720
Speaker 3: You know, Julian from Trailer Park Boys.

669
00:37:45,719 --> 00:37:49,839
Speaker 1: Yeah, yeah. So. Grayson Hall lived nineteen twenty two through

670
00:37:49,920 --> 00:37:53,600
Speaker 1: nineteen eighty five an American actress who was nominated for

671
00:37:53,640 --> 00:37:56,680
Speaker 1: an Oscar for her supporting role in nineteen sixty five's

672
00:37:56,719 --> 00:37:59,560
Speaker 1: The Night of the Iguana, directed by John Houston, and

673
00:37:59,640 --> 00:38:02,800
Speaker 1: she's perhaps best known for playing the psychologist doctor Julia

674
00:38:02,880 --> 00:38:06,720
Speaker 1: Hoffman on TV's Dark Shadows and the nineteen seventy movie

675
00:38:06,800 --> 00:38:12,000
Speaker 1: House of Dark Shadows. I'm only vaguely familiar with the

676
00:38:12,080 --> 00:38:14,840
Speaker 1: Dark Shadows world via seeing like bits and pieces of

677
00:38:14,880 --> 00:38:17,160
Speaker 1: episode I think on the Sci Fi Channel back in

678
00:38:17,200 --> 00:38:21,000
Speaker 1: the nineties, but this was apparently a major character. This

679
00:38:21,200 --> 00:38:24,160
Speaker 1: was essentially, I think, originally sort of a Van Helsing

680
00:38:24,280 --> 00:38:27,480
Speaker 1: sort of character who becomes more of a collaborator with

681
00:38:27,719 --> 00:38:33,240
Speaker 1: the family of supernatural characters. Huh. Grayson Hall also appeared

682
00:38:33,239 --> 00:38:36,160
Speaker 1: in nineteen sixty two's Satan in High Heels and nineteen

683
00:38:36,200 --> 00:38:38,040
Speaker 1: sixty five's That Darn Cat.

684
00:38:38,560 --> 00:38:41,759
Speaker 3: I hear it's pretty darned yeah, But.

685
00:38:41,800 --> 00:38:44,239
Speaker 1: In this film, definite character work you know, and it's

686
00:38:44,640 --> 00:38:46,160
Speaker 1: amusing for what it is.

687
00:38:46,640 --> 00:38:48,600
Speaker 3: So you mentioned she has a glass of liquor in

688
00:38:48,640 --> 00:38:51,560
Speaker 3: her hand in all of her scenes, which starts off being,

689
00:38:51,640 --> 00:38:54,600
Speaker 3: you know, she's in her apartment, or then she's walking

690
00:38:54,680 --> 00:38:57,920
Speaker 3: next door from her apartment to another apartment. But it

691
00:38:58,320 --> 00:39:02,360
Speaker 3: becomes increasingly absurd because in later scenes she's that way,

692
00:39:02,440 --> 00:39:05,680
Speaker 3: like in a police station or like getting into a

693
00:39:05,719 --> 00:39:07,000
Speaker 3: truck as a passenger.

694
00:39:07,400 --> 00:39:09,680
Speaker 1: Yeah, it's like it's glued to her hand or something.

695
00:39:09,719 --> 00:39:14,040
Speaker 1: It's absolutely part of her ensemble the whole time, all right,

696
00:39:14,680 --> 00:39:17,800
Speaker 1: playing the gargoyle, not the only gargoyle in the picture,

697
00:39:17,880 --> 00:39:20,799
Speaker 1: but the main gargoyle. The leader of the gargoyles is

698
00:39:20,840 --> 00:39:23,880
Speaker 1: Bernie Casey, who lived nineteen thirty nine through twenty seventeen

699
00:39:24,680 --> 00:39:28,480
Speaker 1: NFL Pro football player turn actor, artist and poet. He

700
00:39:28,760 --> 00:39:30,879
Speaker 1: had to look up the football details here for sure,

701
00:39:30,920 --> 00:39:33,359
Speaker 1: but he apparently played for the forty nine Ers and

702
00:39:33,400 --> 00:39:35,680
Speaker 1: the Rams, not at the same time, like one and

703
00:39:35,719 --> 00:39:37,960
Speaker 1: then the other. I don't remember which one came first.

704
00:39:38,000 --> 00:39:40,360
Speaker 1: Think forty nine Ers first, then the Rams played for

705
00:39:40,400 --> 00:39:43,840
Speaker 1: them in the nineteen sixties, and then made the transition

706
00:39:44,040 --> 00:39:47,320
Speaker 1: into acting first with nineteen sixty nine's guns of the

707
00:39:47,360 --> 00:39:50,440
Speaker 1: Magnificent Seven. So at this point in his career he'd

708
00:39:50,480 --> 00:39:53,200
Speaker 1: had a string of credits, but it was still pretty early,

709
00:39:53,360 --> 00:39:55,960
Speaker 1: and this might be part of the reason, I'm guessing

710
00:39:56,000 --> 00:39:58,759
Speaker 1: why his voice ends up being cut. More on that

711
00:39:58,800 --> 00:40:01,120
Speaker 1: in a minute. But we don't actually hear Bernie Casey

712
00:40:01,239 --> 00:40:06,240
Speaker 1: in the picture. It's but still it's a solid physical

713
00:40:06,280 --> 00:40:10,719
Speaker 1: monster suit performance. Bernie Casey was like six', four you,

714
00:40:10,760 --> 00:40:13,560
Speaker 1: know and you, know strongly, built so you, know he

715
00:40:13,880 --> 00:40:17,160
Speaker 1: occupies that monster suit rather well and looms very well

716
00:40:17,200 --> 00:40:21,399
Speaker 1: over the human. Characters also has very expressive eyes that work.

717
00:40:21,480 --> 00:40:23,880
Speaker 1: Well you, know all this works well to establish the

718
00:40:23,880 --> 00:40:25,200
Speaker 1: presence of the lead.

719
00:40:25,239 --> 00:40:28,040
Speaker 3: Gargoyle, YEAH i would say this is one of those

720
00:40:28,200 --> 00:40:32,480
Speaker 3: cases where the performance comes through even though the actor

721
00:40:32,560 --> 00:40:35,160
Speaker 3: is hidden behind makeup in a costume and we're not

722
00:40:35,280 --> 00:40:36,160
Speaker 3: hearing their original.

723
00:40:36,239 --> 00:40:36,799
Speaker 1: Voice you.

724
00:40:36,840 --> 00:40:39,799
Speaker 3: Know Some santo movies we've watched are like, that where

725
00:40:40,080 --> 00:40:42,399
Speaker 3: like a physical performance is good enough that it gets

726
00:40:42,480 --> 00:40:46,279
Speaker 3: through all of the apparatus and through the.

727
00:40:46,360 --> 00:40:49,360
Speaker 1: Dubbing, yeah, YEAH i, mean and again coming back To spanish,

728
00:40:49,360 --> 00:40:52,720
Speaker 1: cinema Like Paul, nashy we almost never Hear Paul nashi's actual,

729
00:40:52,840 --> 00:40:54,920
Speaker 1: voice and the same goes for a number Of spanish

730
00:40:54,960 --> 00:40:58,760
Speaker 1: actors at the. Time, so but, yeah So Bernie casey

731
00:40:58,920 --> 00:41:01,680
Speaker 1: is our. Gargoyle early on in his career he appeared

732
00:41:01,680 --> 00:41:05,000
Speaker 1: in such black exploitation titles As Black chariot seventy, One

733
00:41:05,040 --> 00:41:08,560
Speaker 1: Cleopatrick jones seventy, three as well as seventy. Six Is

734
00:41:08,680 --> 00:41:12,320
Speaker 1: Doctor Black Mister hyde that we've mentioned that, before because

735
00:41:12,320 --> 00:41:16,880
Speaker 1: that was the follow up To blackula by Director William,

736
00:41:16,960 --> 00:41:19,600
Speaker 1: crane WHICH i haven't seen. Yet i've got the disc

737
00:41:20,880 --> 00:41:24,120
Speaker 1: But i've heard good things about, it AND i haven't

738
00:41:24,120 --> 00:41:27,400
Speaker 1: seen these other pictures THAT i just mentioned. Either and you,

739
00:41:27,400 --> 00:41:29,239
Speaker 1: know as we've talked about before when we've brought up

740
00:41:29,320 --> 00:41:33,040
Speaker 1: black exploitation, cinema is that sometimes that's kind of a big,

741
00:41:33,080 --> 00:41:36,480
Speaker 1: tint and it may include films that are more or

742
00:41:36,600 --> 00:41:41,839
Speaker 1: less in the exploitive category of, things you. Know SO

743
00:41:42,040 --> 00:41:45,520
Speaker 1: i can't speak to any of these pictures, individually except For,

744
00:41:45,560 --> 00:41:47,680
Speaker 1: blackula which we did an episode on last year and

745
00:41:47,760 --> 00:41:51,000
Speaker 1: recently re. Ran but out of This Bernie casey ends

746
00:41:51,080 --> 00:41:53,160
Speaker 1: up moving into all manner of, films Including The Man

747
00:41:53,200 --> 00:41:57,479
Speaker 1: Who fell To, earth of which we previously discussed On Weird.

748
00:41:57,520 --> 00:42:00,720
Speaker 1: HOUSE a small but poignant. Part he won a nineteen

749
00:42:00,760 --> 00:42:03,960
Speaker 1: seventy FOUR Naacp Image award for his role In, maury

750
00:42:04,480 --> 00:42:07,319
Speaker 1: in which he starred Opposite Bose, vincent who is Not

751
00:42:07,520 --> 00:42:11,560
Speaker 1: frankenstein's monster in that. Picture subsequent film roles included eighty

752
00:42:11,560 --> 00:42:14,840
Speaker 1: One Sharky's, machine eighty Three's Never Say Never, AGAIN A

753
00:42:14,920 --> 00:42:18,200
Speaker 1: James Bond, picture eighty Four's revenge of The, nerds eighty

754
00:42:18,239 --> 00:42:20,480
Speaker 1: Eight So I'm going To Get You sucka eighty Nine's

755
00:42:20,480 --> 00:42:24,279
Speaker 1: bill And Ted's Excellent adventure nineteen nineties and other forty Eight,

756
00:42:24,320 --> 00:42:26,920
Speaker 1: hours ninety, Twos Under, siege ninety five's in The mouth Of,

757
00:42:26,960 --> 00:42:30,719
Speaker 1: madness ninety Six's Once upon A Time When We Were,

758
00:42:30,719 --> 00:42:34,120
Speaker 1: colored and his final film was two thousand and Seven's Vegas.

759
00:42:34,200 --> 00:42:36,919
Speaker 1: Vampires he also did a fair amount OF tv, work

760
00:42:37,000 --> 00:42:41,600
Speaker 1: including seventy One's Brian, song nineteen, Eighties The Martian chronicles

761
00:42:42,040 --> 00:42:44,239
Speaker 1: based on the work Of Ray, bradberry And Star Trek

762
00:42:44,320 --> 00:42:47,600
Speaker 1: Deep space, nine among. Others Now, again in this, picture

763
00:42:47,640 --> 00:42:50,440
Speaker 1: he is Dubbed he's dubbed By Vic, perrin who's also

764
00:42:50,440 --> 00:42:53,640
Speaker 1: the narrator at the beginning of the. Picture paren lived

765
00:42:53,719 --> 00:42:56,319
Speaker 1: nineteen sixteen through nineteen eighty, nine perhaps best known as

766
00:42:56,640 --> 00:43:00,320
Speaker 1: the control voice on the Original Outer Limits control The,

767
00:43:00,360 --> 00:43:03,239
Speaker 1: Horizontal We control The. Vertical he also appeared on SUCH

768
00:43:03,320 --> 00:43:06,240
Speaker 1: tv series As The Original Star trek And The Original Mission.

769
00:43:06,280 --> 00:43:10,440
Speaker 3: Impossible they give him a real metallic voice in, this don't.

770
00:43:10,440 --> 00:43:13,720
Speaker 3: They he almost sounds like HE'S i don't, know echoing

771
00:43:13,760 --> 00:43:15,600
Speaker 3: through a ten box or. Something.

772
00:43:16,160 --> 00:43:19,799
Speaker 1: YEAH i can't SAY i loved, it BUT i mean

773
00:43:20,480 --> 00:43:22,480
Speaker 1: it works well. Enough AND i don't know what the

774
00:43:22,520 --> 00:43:26,480
Speaker 1: original audio sounded. LIKE i Think i've read that the

775
00:43:27,040 --> 00:43:30,680
Speaker 1: filmmakers just thought that the original vocal performance didn't match

776
00:43:31,120 --> 00:43:33,759
Speaker 1: the creature that they were, creating and you, know they

777
00:43:33,800 --> 00:43:36,439
Speaker 1: decided they needed to go with Vic. Pearen SO i don't.

778
00:43:36,480 --> 00:43:39,440
Speaker 1: Know and again early on in the career of the

779
00:43:39,480 --> 00:43:41,319
Speaker 1: Actor Bernie casey, here SO i don't know if that

780
00:43:41,360 --> 00:43:42,440
Speaker 1: played into it at all as.

781
00:43:42,480 --> 00:43:45,200
Speaker 3: Well, well no offense to Vic, peren but give us

782
00:43:45,239 --> 00:43:48,160
Speaker 3: The Bernie casey. Cut give it to us, cowards you've got.

783
00:43:48,200 --> 00:43:50,640
Speaker 1: It, YEAH i, Mean Bernie casey had a great, voice

784
00:43:50,640 --> 00:43:53,080
Speaker 1: so you, Know i'd like to hear. It BUT i

785
00:43:53,080 --> 00:43:54,600
Speaker 1: looked around for, it in, fact BUT i couldn't find

786
00:43:54,600 --> 00:43:57,799
Speaker 1: any evidence of. It all, right moving on through the,

787
00:43:57,880 --> 00:44:01,640
Speaker 1: cast here we also Have Scott glenn popping up playing

788
00:44:01,680 --> 00:44:06,640
Speaker 1: the Character. James what is this? Reager, Reager, yeah one

789
00:44:06,680 --> 00:44:07,319
Speaker 1: of the dirt bike.

790
00:44:07,360 --> 00:44:10,000
Speaker 3: Boys we didn't mention right at the top that this

791
00:44:10,280 --> 00:44:13,320
Speaker 3: in some ways is a gargoyles versus bikers.

792
00:44:13,400 --> 00:44:17,520
Speaker 1: Movie, yes, Yeah eventually the threat of The gargoyles will

793
00:44:17,880 --> 00:44:21,919
Speaker 1: unite the natural enemies of bikers and cops will come

794
00:44:21,960 --> 00:44:25,840
Speaker 1: together to battle the gargoyle. Menace So Scott, GLENN i,

795
00:44:25,920 --> 00:44:27,839
Speaker 1: think is a name THAT i think most of you

796
00:44:27,840 --> 00:44:31,839
Speaker 1: are probably familiar, with perhaps born in nineteen thirty, nine

797
00:44:31,920 --> 00:44:34,920
Speaker 1: Though i've seen some pages and databases that are a

798
00:44:34,960 --> 00:44:38,160
Speaker 1: little vague on this as if it's. Unknown but he

799
00:44:38,239 --> 00:44:41,040
Speaker 1: is still alive because he's very, Active like he's just

800
00:44:41,080 --> 00:44:44,080
Speaker 1: in THE tv Series Bad, monkey WHICH i really, enjoyed

801
00:44:44,440 --> 00:44:46,719
Speaker 1: and also he's in the latest season Of The White,

802
00:44:46,719 --> 00:44:51,120
Speaker 1: lotus so again very. Active Great american character, actor perhaps

803
00:44:51,200 --> 00:44:54,439
Speaker 1: most appreciated for those grizzled character roles that he would,

804
00:44:54,520 --> 00:44:57,800
Speaker 1: do you, know mid and later, career but his, SCREEN

805
00:44:57,800 --> 00:45:00,200
Speaker 1: tv And broadway credits go back to the mid, sixties

806
00:45:00,320 --> 00:45:02,160
Speaker 1: so he'd already been in a handful of things Before.

807
00:45:02,160 --> 00:45:06,000
Speaker 1: Gargoyles he went on to appear In Apocalypse now in seventy,

808
00:45:06,080 --> 00:45:08,840
Speaker 1: nine which was kind of a shock to me because

809
00:45:08,840 --> 00:45:12,719
Speaker 1: he's largely unrecognizable to my eyes. Anyway he's, Bearded he's

810
00:45:13,000 --> 00:45:16,160
Speaker 1: kind of not one of the more prominent, characters but

811
00:45:16,480 --> 00:45:16,920
Speaker 1: he is in.

812
00:45:17,000 --> 00:45:19,400
Speaker 3: IT i don't remember.

813
00:45:19,400 --> 00:45:23,240
Speaker 1: That he's In More American, graffiti nineteen Eighty's Urban, cowboy

814
00:45:23,719 --> 00:45:26,239
Speaker 1: and he Plays rick in the nineteen eighty Two John

815
00:45:26,280 --> 00:45:31,719
Speaker 1: frankenheimer kickboxer samurai Film The. Challenge. What, YEAH i haven't seen,

816
00:45:31,760 --> 00:45:33,959
Speaker 1: it But i'm familiar with. IT i Think i've watched

817
00:45:33,960 --> 00:45:36,920
Speaker 1: the trailer a few. Times but things really picked up

818
00:45:36,920 --> 00:45:39,440
Speaker 1: at this point in his career because the subsequent pictures

819
00:45:39,480 --> 00:45:41,879
Speaker 1: he was in included nineteen eighty Three Is The Right,

820
00:45:41,960 --> 00:45:45,080
Speaker 1: stuff in which he Plays Alan. Shepard he's In Michael

821
00:45:45,120 --> 00:45:48,600
Speaker 1: Mann's The, keep and his other credits include eighty Five, silverado,

822
00:45:48,760 --> 00:45:51,720
Speaker 1: Nineties The hunt For Red october ninety, One The silence

823
00:45:51,760 --> 00:45:54,560
Speaker 1: of The lambs two thousand and One's Training, day and

824
00:45:54,680 --> 00:45:58,520
Speaker 1: SUCH tv shows As, Daredevil The leftovers and Again Bad.

825
00:45:58,560 --> 00:46:00,080
Speaker 1: Monkey in the latest season Of White, Look.

826
00:46:01,280 --> 00:46:04,359
Speaker 3: I'm not gonna Say Scott glynn is swinging for the

827
00:46:04,360 --> 00:46:07,600
Speaker 3: fences in this. Movie he's he's it feels like he's

828
00:46:07,640 --> 00:46:11,359
Speaker 3: just kind of turning in a workaday. Performance but he's

829
00:46:11,400 --> 00:46:14,080
Speaker 3: a good, actor so he does better than you might

830
00:46:14,120 --> 00:46:17,160
Speaker 3: imagine selling lines about you, know he's like in a

831
00:46:17,200 --> 00:46:20,799
Speaker 3: prison cell talking To Jennifer salt about whether gargoyles are,

832
00:46:20,840 --> 00:46:24,319
Speaker 3: real and he at one point he has to say

833
00:46:24,320 --> 00:46:26,680
Speaker 3: something like they were attacked by one of those gar,

834
00:46:26,960 --> 00:46:29,279
Speaker 3: things and you know he's making it.

835
00:46:29,320 --> 00:46:42,520
Speaker 1: Through. Yeah let's see a couple of small. Performers i'm

836
00:46:42,520 --> 00:46:45,360
Speaker 1: including them because you did a screenshot of their credit

837
00:46:45,360 --> 00:46:47,120
Speaker 1: at the. End we HAVE tv style credits at the

838
00:46:47,160 --> 00:46:50,360
Speaker 1: end of this picture right where we see their picture

839
00:46:50,960 --> 00:46:52,360
Speaker 1: in the name of the actor the name of the.

840
00:46:52,440 --> 00:46:57,320
Speaker 1: Character we Have William stevens playing Police chief dates unknown

841
00:46:57,360 --> 00:46:59,440
Speaker 1: as far AS i could tell on this actor mostly

842
00:46:59,440 --> 00:47:02,160
Speaker 1: A tv play whose credits include the Original Outer limits

843
00:47:02,160 --> 00:47:06,400
Speaker 1: in nineteen seventy One's The Mephisto. Waltz and then we

844
00:47:06,440 --> 00:47:10,120
Speaker 1: also Have John gruber Playing, jesse another cop who lived

845
00:47:10,160 --> 00:47:12,640
Speaker 1: nineteen forty two through nineteen eighty, one mostly A tv

846
00:47:12,760 --> 00:47:16,279
Speaker 1: player whose credits Include Night. Gallery now this according TO.

847
00:47:16,320 --> 00:47:19,880
Speaker 1: IMDb i have not been able to verify this, elsewhere

848
00:47:19,920 --> 00:47:23,040
Speaker 1: BUT IMDb claims that he is the father Of Joshua,

849
00:47:23,120 --> 00:47:26,640
Speaker 1: todd the lead singer often shirtless of the. Band Butck

850
00:47:26,719 --> 00:47:31,840
Speaker 1: cherry AND i have to, say this feels too random

851
00:47:31,920 --> 00:47:35,160
Speaker 1: to not be, true so please correct me If i'm

852
00:47:35,200 --> 00:47:38,160
Speaker 1: wrong out. There But i'm going, to at least for,

853
00:47:38,239 --> 00:47:39,680
Speaker 1: now accept this as.

854
00:47:39,800 --> 00:47:42,879
Speaker 3: Reality it would be a hilarious project to just make

855
00:47:42,960 --> 00:47:43,799
Speaker 3: up facts like.

856
00:47:43,840 --> 00:47:46,640
Speaker 1: That, YEAH i, MEAN i think people are that. Bored

857
00:47:46,640 --> 00:47:49,359
Speaker 1: they've done it before ON, IMDb so that's WHY i

858
00:47:49,400 --> 00:47:51,719
Speaker 1: do want to add the caveat that this might not be,

859
00:47:51,840 --> 00:47:54,840
Speaker 1: true but it also feels too weird and specific to

860
00:47:55,480 --> 00:47:56,120
Speaker 1: be anything but.

861
00:47:56,239 --> 00:47:59,880
Speaker 3: Reality you know this seventies actor you've never heard. Of

862
00:48:00,120 --> 00:48:01,880
Speaker 3: he's the dad of the like the cocaine.

863
00:48:01,920 --> 00:48:04,919
Speaker 1: Guy so, wait, wait they had a song about.

864
00:48:04,960 --> 00:48:08,040
Speaker 3: Cocaine that's the One Buck cherry. SONG i know you

865
00:48:08,080 --> 00:48:11,080
Speaker 3: know what the song. IS i love the. Cocaine oh,

866
00:48:11,160 --> 00:48:11,680
Speaker 3: MAN i.

867
00:48:11,719 --> 00:48:14,520
Speaker 1: Don't maybe maybe We're i'm remembering the same, song BUT

868
00:48:14,560 --> 00:48:16,400
Speaker 1: i didn't know what they were saying in. IT i

869
00:48:16,440 --> 00:48:18,920
Speaker 1: haven't thought About Buck cherry in a long. TIME i

870
00:48:19,000 --> 00:48:21,600
Speaker 1: just remember that he was like shirtless in the music.

871
00:48:21,680 --> 00:48:23,839
Speaker 3: VIDEOS i think we've got a lot of tattoos done.

872
00:48:23,840 --> 00:48:27,359
Speaker 1: There, yeah, yeah shirtless and, tattooed all, right and then uh,

873
00:48:27,560 --> 00:48:30,879
Speaker 1: oh we have the character Of Uncle willie played By

874
00:48:31,560 --> 00:48:36,240
Speaker 1: woodrow Or Woody, chambliss who lived nineteen fourteen through nineteen eighty,

875
00:48:36,280 --> 00:48:39,600
Speaker 1: One american character actor of, stage screen AND tv who

876
00:48:39,640 --> 00:48:43,360
Speaker 1: made numerous memorable appearances on THE tv western Gun. Smoke

877
00:48:43,880 --> 00:48:46,319
Speaker 1: and you know he has already popped up On Weird

878
00:48:46,320 --> 00:48:48,279
Speaker 1: house because he plays a very similar role In The

879
00:48:48,320 --> 00:48:50,160
Speaker 1: Devil's rain from nineteen seventy.

880
00:48:50,160 --> 00:48:54,319
Speaker 3: Five oh, yeah, yeah he just really slots right in

881
00:48:54,360 --> 00:48:56,920
Speaker 3: as the kind kind of weird old desert.

882
00:48:56,960 --> 00:48:59,440
Speaker 1: Codure, yeah you need a weird old dude in the

883
00:48:59,440 --> 00:49:03,440
Speaker 1: desert mum about dark, Secrets, well then call call Up

884
00:49:03,480 --> 00:49:07,279
Speaker 1: woody because he'll, he'll he can totally do. It his

885
00:49:07,320 --> 00:49:10,320
Speaker 1: other credits include nineteen fifty seven's three ten To yuma

886
00:49:10,800 --> 00:49:14,360
Speaker 1: and nineteen seventy Eight Sergeant Pepper's Lonely Hearts Club, band

887
00:49:14,719 --> 00:49:17,480
Speaker 1: which of course Starred Peter frampton and the Bee. Gees

888
00:49:19,680 --> 00:49:22,839
Speaker 1: i'm ALWAYS i have had that revelation many times over

889
00:49:22,840 --> 00:49:24,719
Speaker 1: the years that this is not a movie with the

890
00:49:24,719 --> 00:49:25,600
Speaker 1: Actual beatles in.

891
00:49:25,640 --> 00:49:28,360
Speaker 3: It, well you know what the song, Says Sergeant, pepper

892
00:49:28,640 --> 00:49:31,040
Speaker 3: he taught the band to, play so it's you, know

893
00:49:31,120 --> 00:49:32,320
Speaker 3: it's like the second. Generation.

894
00:49:32,880 --> 00:49:36,719
Speaker 1: YEAH i Think woody plays like the senior Sergeant pepper's in,

895
00:49:36,760 --> 00:49:38,440
Speaker 1: that BUT i Can't i've never seen, it SO i

896
00:49:38,440 --> 00:49:40,920
Speaker 1: can't say much on, that BUT i will say That

897
00:49:41,120 --> 00:49:42,799
Speaker 1: woody's a lot of fun in. THIS i feel like

898
00:49:42,880 --> 00:49:46,839
Speaker 1: it's perhaps the best performance in the whole. Movie, though

899
00:49:47,080 --> 00:49:50,040
Speaker 1: as you mentioned, earlier it does change drastically over the

900
00:49:50,120 --> 00:49:51,200
Speaker 1: course of a commercial. Break.

901
00:49:51,360 --> 00:49:54,880
Speaker 3: Yeah he goes from shrewdly negotiating a book deal to

902
00:49:55,000 --> 00:49:59,040
Speaker 3: suddenly just being like shaky and drunk and clearly making

903
00:49:59,120 --> 00:50:01,960
Speaker 3: up lies about something about like folklore he was.

904
00:50:02,000 --> 00:50:05,839
Speaker 1: Told, yeah and he also goes from being, like, hey

905
00:50:06,080 --> 00:50:08,600
Speaker 1: you need to help me write my book to you

906
00:50:08,640 --> 00:50:10,239
Speaker 1: believe me or you get out of my shed right.

907
00:50:10,239 --> 00:50:15,360
Speaker 1: Now and it happens rather. Swiftly All. Right we mentioned

908
00:50:15,400 --> 00:50:18,720
Speaker 1: that Stan winston was behind the look of the. Creatures,

909
00:50:18,760 --> 00:50:22,400
Speaker 1: indeed he is credited with The gargoyle. Makeup Stan winston

910
00:50:22,440 --> 00:50:25,000
Speaker 1: lived nineteen forty six through two thousand and, eight a legendary,

911
00:50:25,080 --> 00:50:27,680
Speaker 1: name multiple Time Oscar award winner and nominee for such

912
00:50:27,680 --> 00:50:31,560
Speaker 1: films as eighty Seven's, aliens eighty, Eight predator ninety One's

913
00:50:31,640 --> 00:50:34,920
Speaker 1: Edward Scissor, hands ninety Two's terminator, two and ninety Four's Jurassic.

914
00:50:34,960 --> 00:50:38,239
Speaker 1: Park he had studied sculpture and moved To hollywood to

915
00:50:38,239 --> 00:50:40,279
Speaker 1: pursue a career in, acting but ended up taking a

916
00:50:40,320 --> 00:50:44,240
Speaker 1: makeup apprenticeship At Walt Disney. Studios gargoyles was his first,

917
00:50:44,239 --> 00:50:46,880
Speaker 1: picture and he followed this up with a number of

918
00:50:47,160 --> 00:50:51,120
Speaker 1: early pictures of, note including nineteen seventy four as The Bat,

919
00:50:51,160 --> 00:50:54,360
Speaker 1: people WHICH i believe that one was featured On Mystery

920
00:50:54,360 --> 00:50:56,960
Speaker 1: Science theater and had, some as you'd, expect cool monster.

921
00:50:57,000 --> 00:51:00,440
Speaker 1: Effects he also did makeup on nineteen seventy six Is

922
00:51:00,440 --> 00:51:03,880
Speaker 1: Doctor Black Mister, hyde which we just. Mentioned his mini

923
00:51:03,880 --> 00:51:07,320
Speaker 1: credits range from small pictures to big, ones from serious

924
00:51:07,400 --> 00:51:11,120
Speaker 1: dramas without any kind of speculative element to just you, know,

925
00:51:11,239 --> 00:51:14,799
Speaker 1: horror sci fi and fantasy pictures with extravagant visions of

926
00:51:14,880 --> 00:51:17,920
Speaker 1: monsters and robots and what have. You as a, director

927
00:51:17,960 --> 00:51:21,320
Speaker 1: he gave us a handful of, films including nineteen eighty Eight's.

928
00:51:21,360 --> 00:51:24,879
Speaker 1: PUMPKINHEAD i will also throw in, that. Yes his other

929
00:51:24,920 --> 00:51:29,680
Speaker 1: credits include nineteen seventy Seven's Dracula's dog Aka Zoltan hound

930
00:51:29,719 --> 00:51:30,720
Speaker 1: Of dracula.

931
00:51:30,680 --> 00:51:33,880
Speaker 3: Aka a different movie than the other one we, mentioned.

932
00:51:33,760 --> 00:51:36,560
Speaker 1: Right, Right, yeah there are a number OF i don't,

933
00:51:36,560 --> 00:51:40,440
Speaker 1: know is this like canine'esploitation. Cinema there's like a whole

934
00:51:40,920 --> 00:51:45,680
Speaker 1: supernatural dog cinematic universe out there during the seventies and.

935
00:51:45,719 --> 00:51:49,600
Speaker 3: Eighties Satanicus, Rex The Bow wow Of, hell.

936
00:51:52,120 --> 00:51:54,839
Speaker 1: All, right and then finally the. Music the composer here

937
00:51:54,880 --> 00:51:57,040
Speaker 1: Is Robert, prince who live nineteen twenty nine through two

938
00:51:57,040 --> 00:51:59,359
Speaker 1: thousand and. Seven and you, KNOW i often talk about

939
00:51:59,400 --> 00:52:02,480
Speaker 1: films that have nineteen Seventies Night gallery, sound you, know

940
00:52:04,280 --> 00:52:08,320
Speaker 1: kind of slightly, surreal slightly disturbing music that's maybe a

941
00:52:08,360 --> 00:52:11,840
Speaker 1: little bit, jazzy AND i honestly can't get enough of

942
00:52:11,880 --> 00:52:16,000
Speaker 1: it with these. Films but today's selection certainly has that,

943
00:52:16,120 --> 00:52:19,680
Speaker 1: sound and the man responsible for it actually composed music

944
00:52:19,719 --> 00:52:22,560
Speaker 1: for episodes Of Night, gallery so not the theme song

945
00:52:23,000 --> 00:52:26,160
Speaker 1: From Night, gallery but he did do the episode music

946
00:52:26,320 --> 00:52:27,839
Speaker 1: for three season one.

947
00:52:27,920 --> 00:52:33,319
Speaker 3: EPISODES i would say the music In gargoyles is for

948
00:52:33,360 --> 00:52:37,239
Speaker 3: what it, is it's pretty. Good there aren't really any

949
00:52:37,760 --> 00:52:41,239
Speaker 3: especially memorable themes or melodies or anything like, that but

950
00:52:41,719 --> 00:52:44,960
Speaker 3: a lot of it's just kind of, eerie ambient, sound

951
00:52:45,000 --> 00:52:46,600
Speaker 3: and for that it's pretty.

952
00:52:46,600 --> 00:52:49,839
Speaker 1: GOOD i wonder how much of That AND i don't

953
00:52:49,880 --> 00:52:54,520
Speaker 1: know enough about how theme songs and episodic music worked

954
00:52:55,000 --> 00:52:57,080
Speaker 1: ON tv in the, day BUT i wonder how much

955
00:52:57,120 --> 00:52:59,959
Speaker 1: of it was around like you're not supposed to stand

956
00:53:00,160 --> 00:53:03,200
Speaker 1: doubt in the episode, Itself like you don't want, to

957
00:53:03,280 --> 00:53:05,200
Speaker 1: you don't want to interfere with the theme. Song like

958
00:53:05,239 --> 00:53:08,759
Speaker 1: the theme song is doing the heavy lifting and you're

959
00:53:08,840 --> 00:53:13,000
Speaker 1: just here to add the necessary ambiance and emotional support

960
00:53:13,040 --> 00:53:16,360
Speaker 1: throughout the. Episode and maybe that's part of the character

961
00:53:16,400 --> 00:53:17,960
Speaker 1: of what we have. Here you, know we don't have

962
00:53:18,000 --> 00:53:21,319
Speaker 1: something that feels like The gargoyles theme, song though what

963
00:53:21,360 --> 00:53:23,920
Speaker 1: if we, did that would be amazing as well with the. Lyrics,

964
00:53:24,040 --> 00:53:29,040
Speaker 1: yeah but, Anyway prince worked also worked on THE Tv

965
00:53:29,320 --> 00:53:32,520
Speaker 1: Richard matheson anthology Series circle Of, fear which is hosted

966
00:53:32,600 --> 00:53:36,040
Speaker 1: by hosted by The Sebastian. Cabot he worked mostly IN,

967
00:53:36,080 --> 00:53:39,560
Speaker 1: tv but also scored a pair of noteworthy nineteen seventy six,

968
00:53:39,640 --> 00:53:44,560
Speaker 1: films the black exploitation horror Film JD's revenge And Jeff Lieberman's.

969
00:53:44,560 --> 00:53:50,040
Speaker 3: Squirm, Sorry i'm distracted thinking about what nineteen seventies rocker

970
00:53:50,080 --> 00:53:53,719
Speaker 3: would write the Best gargoyles theme. Song i'm kind of

971
00:53:53,760 --> 00:53:55,760
Speaker 3: thinking in The Steve miller.

972
00:53:55,960 --> 00:53:57,880
Speaker 1: Zone, yeah can.

973
00:53:57,800 --> 00:53:59,640
Speaker 3: Can you imagine? That it's a it's a sort OF

974
00:53:59,800 --> 00:54:01,600
Speaker 3: j seventies rock.

975
00:54:01,680 --> 00:54:05,360
Speaker 1: Tune, yeah, yeah, YEAH i could see that. Working Like

976
00:54:05,400 --> 00:54:08,480
Speaker 1: i'm instantly reminded of the nineteen seventy one Film zat

977
00:54:08,600 --> 00:54:11,200
Speaker 1: or The bloodwaters Of DOCTOR z which we've talked, about

978
00:54:11,320 --> 00:54:14,680
Speaker 1: which has that great theme song that is really like

979
00:54:14,719 --> 00:54:17,480
Speaker 1: all about sympathizing with the villain of the picture in

980
00:54:17,560 --> 00:54:23,560
Speaker 1: ways that the picture maybe doesn't completely back. Up SO

981
00:54:23,600 --> 00:54:25,759
Speaker 1: i could see something like that working, here some sort

982
00:54:25,800 --> 00:54:28,240
Speaker 1: of folksy ballad about the plight of the car. Coil

983
00:54:28,440 --> 00:54:28,920
Speaker 1: what's that? One?

984
00:54:29,160 --> 00:54:32,319
Speaker 3: Is Like World war three boy or? Something World war two?

985
00:54:32,400 --> 00:54:35,120
Speaker 1: Boy That's World war two? Boy oh, yeah and, Yeah

986
00:54:35,160 --> 00:54:38,920
Speaker 1: i'm trying to remember who did that. Offhand jamie, Defrates jamie,

987
00:54:38,920 --> 00:54:42,560
Speaker 1: Defrates that's who it. Was sachet through the. Sarcasm, okay

988
00:54:42,600 --> 00:54:45,479
Speaker 1: you ready to talk about the. Plot yeah, yeah let's

989
00:54:45,520 --> 00:54:46,800
Speaker 1: dive right in with some.

990
00:54:47,000 --> 00:54:50,440
Speaker 3: Woodcuts, yeah so we get a cold open with The

991
00:54:50,480 --> 00:54:55,560
Speaker 3: Outer limits voiceover. Narration it's that metallic electronic sound Of

992
00:54:55,880 --> 00:54:58,960
Speaker 3: vic Paren, right he's the one doing. It, yeah, yeah

993
00:54:59,360 --> 00:55:03,080
Speaker 3: talking at a. Forcefully while we see various images of,

994
00:55:03,160 --> 00:55:06,680
Speaker 3: yeah old woodcuts paintings with demonic, themes there's definitely some

995
00:55:07,120 --> 00:55:11,719
Speaker 3: bosh in, there and also photos of grotesque statues on cathedral.

996
00:55:11,800 --> 00:55:15,200
Speaker 3: Architecture the very first critter we see is kind of interesting.

997
00:55:15,280 --> 00:55:18,160
Speaker 3: LOOKING i don't know what this is, from but it

998
00:55:18,200 --> 00:55:21,160
Speaker 3: looks like a cross between a lamb's face and The

999
00:55:21,280 --> 00:55:24,960
Speaker 3: Lance hendrickson morph of pumpkinhead for Another Stan winston tie.

1000
00:55:25,000 --> 00:55:27,560
Speaker 1: In oh it, does DOESN'T i, Yeah.

1001
00:55:26,960 --> 00:55:28,799
Speaker 3: But ALSO i pulled out a screenshot for you to

1002
00:55:28,800 --> 00:55:30,680
Speaker 3: look at, Here. ROB i like the demon with the

1003
00:55:30,760 --> 00:55:34,120
Speaker 3: kind of, lumpy bulbous. Face it's kind of a tumor.

1004
00:55:34,200 --> 00:55:38,200
Speaker 3: Face AND i did a reverse image search and found nothing.

1005
00:55:38,320 --> 00:55:40,520
Speaker 3: Soul this could be original to the. MOVIE i don't.

1006
00:55:40,520 --> 00:55:42,880
Speaker 1: Know, yeah it almost looks like a, Tattoo like it's

1007
00:55:42,920 --> 00:55:46,040
Speaker 1: a picture of somebody's like abs or. SOMETHING i don't.

1008
00:55:46,080 --> 00:55:49,400
Speaker 3: Know, yeah, Anyway i've got to read the opening narration

1009
00:55:49,840 --> 00:55:54,080
Speaker 3: because this will lay the, groundwork So Vic parrien, says

1010
00:55:54,360 --> 00:55:59,360
Speaker 3: as if speaking through kind of decaying. Circuitry parents says

1011
00:55:59,800 --> 00:56:03,040
Speaker 3: the devil was once the most favored of the host

1012
00:56:03,080 --> 00:56:06,520
Speaker 3: of angels serving The lord but pride welled in his.

1013
00:56:06,680 --> 00:56:10,600
Speaker 3: Breast he thought it unseemly for him to serve the

1014
00:56:10,640 --> 00:56:13,640
Speaker 3: devil In his band of, followers who likewise suffered the

1015
00:56:13,680 --> 00:56:17,120
Speaker 3: sin of, pride were defeated in battle by The lord

1016
00:56:17,520 --> 00:56:21,080
Speaker 3: and his, host and were banished to the outermost depths of,

1017
00:56:21,200 --> 00:56:24,160
Speaker 3: hell never to know the presence of The lord or

1018
00:56:24,239 --> 00:56:28,319
Speaker 3: look on heaven. Again smarting with his, wounds but all

1019
00:56:28,440 --> 00:56:31,759
Speaker 3: the more swollen with, pride the devil cried out from the.

1020
00:56:31,800 --> 00:56:35,080
Speaker 3: Depths it is better to rule in hell than serve in.

1021
00:56:35,120 --> 00:56:38,840
Speaker 1: Heaven all, right so you know thus, far you know

1022
00:56:38,880 --> 00:56:42,000
Speaker 1: there's a very strong paradise lost theme here.

1023
00:56:42,680 --> 00:56:45,920
Speaker 3: Exactly war in, heaven the, demons the rebellious angels are,

1024
00:56:45,960 --> 00:56:49,640
Speaker 3: Defeated they fall to. Pandemonium and, yeah better to serve

1025
00:56:49,640 --> 00:56:52,319
Speaker 3: in or rule in, hell than serve in. Heaven but

1026
00:56:52,400 --> 00:56:55,560
Speaker 3: it goes, on it says the devil. Proclaimed what was

1027
00:56:55,640 --> 00:56:59,000
Speaker 3: lost in heaven would be gained on. Earth he, said my,

1028
00:56:59,239 --> 00:57:04,120
Speaker 3: offspring the gargoyles will one day rule The lord's works

1029
00:57:04,400 --> 00:57:08,000
Speaker 3: earth and. Man and so it came to pass that

1030
00:57:08,080 --> 00:57:12,720
Speaker 3: while man ruled On, earth the, gargoyles, weighted, lurking hidden

1031
00:57:12,760 --> 00:57:17,360
Speaker 3: from the, light reborn every six hundred, years In man's

1032
00:57:17,400 --> 00:57:21,560
Speaker 3: reckoning of, time the gargoyles joined battle against man to

1033
00:57:21,640 --> 00:57:25,760
Speaker 3: gain dominion over the. Earth in each, coming the gargoyles

1034
00:57:25,800 --> 00:57:29,360
Speaker 3: were nearly destroyed by, men who flourished in greater. Numbers

1035
00:57:29,920 --> 00:57:32,880
Speaker 3: now it has been so many hundreds of years that

1036
00:57:32,960 --> 00:57:37,000
Speaker 3: it seems the ancient statues and paintings of gargoyles are

1037
00:57:37,120 --> 00:57:41,480
Speaker 3: just products of man's. Imagination in this, year with man's

1038
00:57:41,560 --> 00:57:44,640
Speaker 3: thoughts turned toward the many ills he has brought upon,

1039
00:57:44,720 --> 00:57:50,160
Speaker 3: himself man has forgotten his most ancient, adversary the. Gargoyles

1040
00:57:51,320 --> 00:57:53,600
Speaker 3: this is funny to me in so many. Ways first of,

1041
00:57:53,680 --> 00:57:57,800
Speaker 3: all no acknowledgment really of the architectural, connection except that

1042
00:57:57,880 --> 00:58:01,520
Speaker 3: it says like it's A now it's been many hundreds of,

1043
00:58:01,600 --> 00:58:05,280
Speaker 3: years it seems the statues and paintings are just. Imagination

1044
00:58:05,520 --> 00:58:07,920
Speaker 3: SO i guess it's saying every six hundred years of

1045
00:58:07,960 --> 00:58:10,600
Speaker 3: what from nineteen seventy. Two that would mean in thirteen

1046
00:58:10,720 --> 00:58:14,439
Speaker 3: seventy two the gargoyles were, Last they emerged and were,

1047
00:58:14,440 --> 00:58:19,320
Speaker 3: Defeated people made statues and, paintings and then since thirteen

1048
00:58:19,400 --> 00:58:21,840
Speaker 3: seventy two people were, like, ah that was all just made. Up,

1049
00:58:23,520 --> 00:58:27,360
Speaker 3: also the movie seems to simply believe gargoyle equals. Demon

1050
00:58:27,600 --> 00:58:28,360
Speaker 3: it's just the.

1051
00:58:28,400 --> 00:58:30,880
Speaker 1: Same this, also of, course feels like one of the

1052
00:58:30,880 --> 00:58:34,960
Speaker 1: most tacked on intro narration bits That i've ever, heard you,

1053
00:58:34,960 --> 00:58:37,200
Speaker 1: know where someone's, like, yeah we really need something at

1054
00:58:37,200 --> 00:58:38,880
Speaker 1: the beginning to draw folks in and let them know

1055
00:58:38,880 --> 00:58:42,680
Speaker 1: what's to. Come so let's bring in vic paren and

1056
00:58:42,760 --> 00:58:44,560
Speaker 1: have him read, something write something up for.

1057
00:58:44,600 --> 00:58:47,640
Speaker 3: Me, yeah you got to kind of reconcile. Everything also

1058
00:58:47,760 --> 00:58:50,080
Speaker 3: while that's going, On so AGAIN i, said we see

1059
00:58:50,080 --> 00:58:52,000
Speaker 3: a bunch of these paintings and, stuff BUT i wanted

1060
00:58:52,000 --> 00:58:56,040
Speaker 3: to pull out rob one picture that was pretty. Good who's, this,

1061
00:58:56,200 --> 00:58:59,360
Speaker 3: like shirtless guy who's laying, Back, well just a stream

1062
00:58:59,440 --> 00:59:01,880
Speaker 3: of on iteas to find liquid pours into his. Mouth.

1063
00:59:02,680 --> 00:59:06,040
Speaker 1: Nice. NICE i feel like this was partially recreated In.

1064
00:59:06,120 --> 00:59:10,560
Speaker 1: Labyrinth there's a scene where goblins drinking drippings from some

1065
00:59:10,560 --> 00:59:14,320
Speaker 1: sort of a. Barrel but, yeah we see a lot

1066
00:59:14,360 --> 00:59:17,320
Speaker 1: of horrific imagery in the, background some of it like

1067
00:59:17,600 --> 00:59:20,320
Speaker 1: ultimately a little harder than anything we see later, On

1068
00:59:20,440 --> 00:59:23,760
Speaker 1: but it makes sense if you're wanting to get something

1069
00:59:23,840 --> 00:59:25,520
Speaker 1: right there at the top to let folks know that

1070
00:59:25,560 --> 00:59:28,000
Speaker 1: they're in for a demonic horror, picture even if it's

1071
00:59:28,040 --> 00:59:31,160
Speaker 1: going to be mostly boring desert scenes at. First this

1072
00:59:31,240 --> 00:59:32,920
Speaker 1: is a pretty cheap way to do, It like have

1073
00:59:33,080 --> 00:59:35,920
Speaker 1: narration that mentions the devil and all, this and then

1074
00:59:36,120 --> 00:59:38,320
Speaker 1: throw in a bunch of clip, art you, know a

1075
00:59:38,360 --> 00:59:42,400
Speaker 1: bunch of you, know old woodcuts and details From bosh

1076
00:59:42,440 --> 00:59:45,920
Speaker 1: paintings that are going to really drive that home for. Folks.

1077
00:59:46,240 --> 00:59:50,080
Speaker 3: Yeah, so, anyway once the ancient mariner has let go

1078
00:59:50,120 --> 00:59:52,920
Speaker 3: of our arms and stopped yelling at, us we plunk

1079
00:59:53,040 --> 00:59:56,200
Speaker 3: down on an air strip in The American southwest and

1080
00:59:56,240 --> 00:59:59,040
Speaker 3: we see like there's a single engine prop plane coming

1081
00:59:59,080 --> 01:00:01,600
Speaker 3: to a stop in the four a bigger passenger plane

1082
01:00:01,680 --> 01:00:04,560
Speaker 3: landing in the, background and the title of the movie

1083
01:00:04,640 --> 01:00:08,080
Speaker 3: slams up on the screen in the same green slime

1084
01:00:08,200 --> 01:00:09,959
Speaker 3: font used for The goosebumps.

1085
01:00:10,000 --> 01:00:14,760
Speaker 1: Books this font just screens. Fun i'm not saying that

1086
01:00:14,840 --> 01:00:17,800
Speaker 1: fun will necessarily be had in the opening sequences of this,

1087
01:00:17,880 --> 01:00:28,800
Speaker 1: picture but the font is very. Fun so we.

1088
01:00:28,760 --> 01:00:31,040
Speaker 3: Come up on a parking lot next to the airstrip

1089
01:00:31,080 --> 01:00:33,840
Speaker 3: and Here's Cornell. Wild he parks his, car which is

1090
01:00:33,880 --> 01:00:38,800
Speaker 3: a sort of, pale drab toothpaste foam green color of

1091
01:00:38,920 --> 01:00:42,400
Speaker 3: station wagon and he gets. Out he's waiting for. Somebody

1092
01:00:42,720 --> 01:00:46,720
Speaker 3: one THING i briefly wanted to, flag just because it interested.

1093
01:00:46,760 --> 01:00:50,200
Speaker 3: ME i noticed while pausing and taking screenshots of this

1094
01:00:50,320 --> 01:00:54,880
Speaker 3: movie that there are different visual artifacts than WHAT i

1095
01:00:54,960 --> 01:00:58,200
Speaker 3: usually see WHEN i pause a. MOVIE i paused it

1096
01:00:58,240 --> 01:01:00,800
Speaker 3: here With Cornell wild in motion and running from his,

1097
01:01:00,840 --> 01:01:04,800
Speaker 3: car and he's, blurry which is not. Surprising but the

1098
01:01:04,960 --> 01:01:09,240
Speaker 3: way that he's blurry is that he seems to be

1099
01:01:09,320 --> 01:01:15,080
Speaker 3: surrounded by a haze of, horizontal dark spines protruding from

1100
01:01:15,120 --> 01:01:18,280
Speaker 3: the outline of his, body almost taking the form of

1101
01:01:18,520 --> 01:01:21,600
Speaker 3: a sort of data. Pinhead i've got to zoom in

1102
01:01:21,680 --> 01:01:24,440
Speaker 3: here for you to look. AT i don't know exactly

1103
01:01:24,520 --> 01:01:27,360
Speaker 3: what causes, this BUT i have to suspect it has

1104
01:01:27,400 --> 01:01:29,840
Speaker 3: to do with the fact that this movie was made FOR,

1105
01:01:29,960 --> 01:01:33,000
Speaker 3: tv so maybe it was shot on a different kind of,

1106
01:01:33,080 --> 01:01:35,840
Speaker 3: camera maybe A tv video camera of the, kind maybe

1107
01:01:35,880 --> 01:01:38,600
Speaker 3: shot on video to magnetic tape instead of to. Film

1108
01:01:38,640 --> 01:01:41,160
Speaker 3: AND i don't really, know BUT i thought that was. Interesting.

1109
01:01:41,960 --> 01:01:45,000
Speaker 1: Yeah, YEAH i don't THINK i did much pausing on.

1110
01:01:45,040 --> 01:01:48,280
Speaker 1: MINE i wasn't getting any screen caps and, all SO

1111
01:01:48,360 --> 01:01:49,840
Speaker 1: i didn't notice. This but this is a great.

1112
01:01:49,840 --> 01:01:53,200
Speaker 3: Point, anyway the character played By Cornell wilde is Again

1113
01:01:53,240 --> 01:01:57,080
Speaker 3: Professor Mercer, bowley and the person he is waiting for

1114
01:01:57,120 --> 01:01:59,880
Speaker 3: here at the airstrip is his adult, Daughter Diana, ble

1115
01:02:00,280 --> 01:02:04,360
Speaker 3: played By Jennifer. Salt and she she gets off the,

1116
01:02:04,400 --> 01:02:07,120
Speaker 3: plane we see her like, disembarking and she is clutching

1117
01:02:07,160 --> 01:02:10,160
Speaker 3: in the crook of her arm a cat sized demon.

1118
01:02:10,320 --> 01:02:13,640
Speaker 3: Statue so she meets up with her father and they

1119
01:02:13,720 --> 01:02:16,400
Speaker 3: hug and have their you, know they're, reunited and he,

1120
01:02:16,440 --> 01:02:19,320
Speaker 3: Says i'm so glad you decided to join me and

1121
01:02:19,560 --> 01:02:23,680
Speaker 3: bring Me. Calamudri and we see. This we never get

1122
01:02:23,680 --> 01:02:26,600
Speaker 3: a really good look at this, statue but it does

1123
01:02:26,680 --> 01:02:29,800
Speaker 3: look tremendous from from the angles we do get And,

1124
01:02:29,920 --> 01:02:33,320
Speaker 3: rob you ended up digging up something about where this

1125
01:02:33,360 --> 01:02:34,479
Speaker 3: demon statue came.

1126
01:02:34,520 --> 01:02:37,680
Speaker 1: From, YEAH i mean part of. IT i didn't remember

1127
01:02:37,720 --> 01:02:39,439
Speaker 1: that i'd seen this, before BUT i KNOW i. WASN'T

1128
01:02:39,960 --> 01:02:41,680
Speaker 1: i didn't remember all the plot, elements AND i WAS

1129
01:02:41,760 --> 01:02:43,600
Speaker 1: i was looking Up calamudri Because i'm, like all, right

1130
01:02:43,640 --> 01:02:45,880
Speaker 1: this is going to factor into the plot, Maybe AND

1131
01:02:45,960 --> 01:02:49,000
Speaker 1: i was curious if this name had any, actual you,

1132
01:02:49,040 --> 01:02:53,680
Speaker 1: know connection to demons in any culture, mythology h AND

1133
01:02:54,240 --> 01:02:56,720
Speaker 1: i don't think it, does BUT i ended up running

1134
01:02:56,760 --> 01:02:59,400
Speaker 1: across the details of the sculpture that we see. Here

1135
01:02:59,800 --> 01:03:02,440
Speaker 1: as it turns, out the sculpture of the demoning question

1136
01:03:02,640 --> 01:03:06,400
Speaker 1: was made By california based Artist Jim. Rumph that's R

1137
01:03:06,520 --> 01:03:09,440
Speaker 1: U m P h who lived nineteen forty two through

1138
01:03:09,520 --> 01:03:13,000
Speaker 1: nineteen ninety, three and as far AS i can, tell

1139
01:03:13,160 --> 01:03:15,840
Speaker 1: he was a mad potter in the grand tradition of

1140
01:03:15,920 --> 01:03:16,840
Speaker 1: mad potters for.

1141
01:03:16,880 --> 01:03:20,600
Speaker 3: Sure, yeah there's a there's like a website about his

1142
01:03:20,760 --> 01:03:23,360
Speaker 3: career THAT i didn't get all that deep, into but

1143
01:03:23,440 --> 01:03:25,840
Speaker 3: it just it exudes weird.

1144
01:03:26,000 --> 01:03:30,120
Speaker 1: Wildness that's, right the rump dot, Com so that's th

1145
01:03:30,880 --> 01:03:34,240
Speaker 1: r u mph dot. COM i highly recommend checking it.

1146
01:03:34,240 --> 01:03:35,680
Speaker 1: Out you can see a lot of his work. There

1147
01:03:36,200 --> 01:03:38,320
Speaker 1: so he was highly active in the late sixties and

1148
01:03:38,400 --> 01:03:41,040
Speaker 1: the seventies and the, eighties and he worked out of

1149
01:03:41,040 --> 01:03:45,200
Speaker 1: his own Slime factory studio In Santa. Monica that's s

1150
01:03:45,400 --> 01:03:48,280
Speaker 1: l Y me by the. Way AND i even found

1151
01:03:48,440 --> 01:03:51,960
Speaker 1: a business card printed on cardboard for the slime factory

1152
01:03:52,000 --> 01:03:54,120
Speaker 1: there for, You. Joe it has the original address AND

1153
01:03:54,160 --> 01:03:57,439
Speaker 1: i think phone number of the, studio AND i looked

1154
01:03:57,440 --> 01:03:59,120
Speaker 1: it up to see what's there, today and it's you,

1155
01:03:59,120 --> 01:04:01,920
Speaker 1: know it's like a modern house or condo or. Something

1156
01:04:02,000 --> 01:04:04,560
Speaker 1: but back in the, day this is where The Slime factory,

1157
01:04:04,760 --> 01:04:07,919
Speaker 1: was and it's, where, apparently from WHAT i could gather

1158
01:04:08,000 --> 01:04:11,479
Speaker 1: on the, website various counterculture bohemian artists seemed to gather

1159
01:04:11,960 --> 01:04:14,920
Speaker 1: for what was called The Mind. Circus according to The

1160
01:04:15,000 --> 01:04:17,960
Speaker 1: rump Dot, com this is Where jim created all manner

1161
01:04:18,000 --> 01:04:22,440
Speaker 1: of sculptures from like demon helms and wizard bongs too

1162
01:04:23,000 --> 01:04:27,880
Speaker 1: officially Licensed Star wars, tankards so you, know we're talking

1163
01:04:27,920 --> 01:04:32,520
Speaker 1: like Handcrafted Star wars mugs straight from the. Kiln and

1164
01:04:33,920 --> 01:04:36,880
Speaker 1: apparently the situation here is Like lucas knew of his.

1165
01:04:37,000 --> 01:04:41,640
Speaker 1: Work George lucas like officially allowed him to produce these

1166
01:04:41,680 --> 01:04:45,840
Speaker 1: as Licensed Star wars memorabilia in the late nineteen seventies

1167
01:04:45,920 --> 01:04:46,240
Speaker 1: or early.

1168
01:04:46,280 --> 01:04:50,080
Speaker 3: EIGHTIES i could be wrong about, this but from my,

1169
01:04:50,240 --> 01:04:55,040
Speaker 3: understanding that is a rare, honor like not Have lucas say, like, uh,

1170
01:04:55,040 --> 01:04:55,760
Speaker 3: oh you can't do.

1171
01:04:55,880 --> 01:05:01,760
Speaker 1: That, yeah But i've seen some pictures of and some

1172
01:05:01,800 --> 01:05:04,280
Speaker 1: of them a lot of his work is readily available On,

1173
01:05:04,360 --> 01:05:06,480
Speaker 1: eBay like he can pick up A rump mug or

1174
01:05:06,480 --> 01:05:09,160
Speaker 1: WHAT i believed to be an Official rump mug for

1175
01:05:09,200 --> 01:05:10,960
Speaker 1: like twenty, Bucks but if you want to get A

1176
01:05:10,960 --> 01:05:13,440
Speaker 1: Star wars one like An obi Wan, kenobi you're looking

1177
01:05:13,480 --> 01:05:17,479
Speaker 1: at two hundred bucks. Thereabouts look around explore the world

1178
01:05:17,480 --> 01:05:19,360
Speaker 1: for yourself if you want to invest in some, Art

1179
01:05:19,400 --> 01:05:22,760
Speaker 1: but they're at the Slime. Factory according to The rump dot,

1180
01:05:22,760 --> 01:05:25,360
Speaker 1: com they also made casts of everyone's navels so they

1181
01:05:25,360 --> 01:05:28,880
Speaker 1: could display them on the. Wall and, yeah it sounds

1182
01:05:28,920 --> 01:05:31,520
Speaker 1: like he was a real wild. Character and, Yeah i've

1183
01:05:31,520 --> 01:05:33,720
Speaker 1: just found it really interesting that this one little sculpture

1184
01:05:33,760 --> 01:05:36,720
Speaker 1: that doesn't factor into the plot much at all at, All,

1185
01:05:37,200 --> 01:05:41,480
Speaker 1: yeah has this connection to this underground artist who seems

1186
01:05:41,520 --> 01:05:44,360
Speaker 1: to have enjoyed us a kind of a resurgence in recent.

1187
01:05:44,440 --> 01:05:46,880
Speaker 1: Years according to that, website like a lot of people

1188
01:05:46,880 --> 01:05:50,160
Speaker 1: have kind of forgotten About Jim, rump and a lot

1189
01:05:50,200 --> 01:05:53,040
Speaker 1: of it's you, know coalescing once. More but that website

1190
01:05:53,120 --> 01:05:56,240
Speaker 1: includes listings for not only the sculpture we see, here

1191
01:05:56,520 --> 01:05:59,800
Speaker 1: but also like a painting or drawling THAT i guess

1192
01:05:59,880 --> 01:06:01,440
Speaker 1: was kind of like the concept art for the.

1193
01:06:01,480 --> 01:06:05,880
Speaker 3: Piece, well Maybe Jennifer salt's character is supposed to be

1194
01:06:05,920 --> 01:06:06,400
Speaker 3: a friend Of.

1195
01:06:06,480 --> 01:06:09,720
Speaker 1: Rum's, maybe SO i, mean she seems like a free spirited.

1196
01:06:09,720 --> 01:06:11,880
Speaker 1: GAL i don't know where she's flying in. From he's

1197
01:06:11,920 --> 01:06:12,520
Speaker 1: got some hippie.

1198
01:06:12,600 --> 01:06:17,560
Speaker 3: Energy, Yeah so she gives it to her, Dad Mercer,

1199
01:06:17,600 --> 01:06:19,640
Speaker 3: bolli and he's, like oh Boyd he like puts it

1200
01:06:19,640 --> 01:06:21,880
Speaker 3: in a box and he, Says calamudri will just about

1201
01:06:21,920 --> 01:06:27,280
Speaker 3: complete my collection of. Demons so through dialogue we learn

1202
01:06:27,320 --> 01:06:31,520
Speaker 3: a bit about their family. Situation mercer And diana's mother

1203
01:06:31,720 --> 01:06:35,760
Speaker 3: are now divorced and the mother has, remarried and it's

1204
01:06:35,840 --> 01:06:38,240
Speaker 3: discussed That diana and her mother don't see each other.

1205
01:06:38,360 --> 01:06:40,720
Speaker 3: Much diana seems to be maybe in her like late

1206
01:06:40,760 --> 01:06:43,840
Speaker 3: twenties or maybe about. Thirty and we are going to

1207
01:06:43,920 --> 01:06:49,240
Speaker 3: learn That mercer is a professor who, researches it seems

1208
01:06:49,240 --> 01:06:54,320
Speaker 3: both archaeology and, anthropology AND i guess also like folklore under,

1209
01:06:54,360 --> 01:06:57,800
Speaker 3: anthropology and he writes books for a, living and this

1210
01:06:57,960 --> 01:06:59,920
Speaker 3: involves a lot of. Travels so it used to be

1211
01:07:00,080 --> 01:07:02,560
Speaker 3: normal For diana and her mother to accompany him on

1212
01:07:02,600 --> 01:07:05,520
Speaker 3: these research, trips but that hasn't happened in a, while

1213
01:07:06,400 --> 01:07:09,080
Speaker 3: and Now diana is excited to join her dad for

1214
01:07:09,120 --> 01:07:13,760
Speaker 3: a new. Project it's not spelled out explicitly, well it nearly.

1215
01:07:13,880 --> 01:07:17,040
Speaker 3: IS i think she is a photographer who takes pictures

1216
01:07:17,080 --> 01:07:19,760
Speaker 3: that will be used in his. Books did you understand

1217
01:07:19,760 --> 01:07:20,200
Speaker 3: it that? Way?

1218
01:07:20,800 --> 01:07:23,440
Speaker 1: Right? Right, yeah he's put working on the next, book

1219
01:07:23,640 --> 01:07:27,320
Speaker 1: like that's that's al he makes the bacon and he

1220
01:07:27,400 --> 01:07:31,360
Speaker 1: needs some photographs of. Something he's going out into the

1221
01:07:31,400 --> 01:07:33,880
Speaker 1: field to get some content for the next.

1222
01:07:33,880 --> 01:07:36,960
Speaker 3: Book so they're about to talk more about. That but

1223
01:07:37,240 --> 01:07:40,600
Speaker 3: before we get, THERE i have to MENTION i typically

1224
01:07:40,640 --> 01:07:43,280
Speaker 3: am going to avoid making fun of the appearance of child,

1225
01:07:43,440 --> 01:07:46,680
Speaker 3: actors BUT i have to point out there's this kid

1226
01:07:46,680 --> 01:07:49,160
Speaker 3: in the. Background like the way the light is falling

1227
01:07:49,240 --> 01:07:53,120
Speaker 3: on this blonde child with dark. Eyes he looks like

1228
01:07:53,240 --> 01:07:55,680
Speaker 3: he's like sorting through the baggage card at the, airport

1229
01:07:55,720 --> 01:07:58,480
Speaker 3: and he looks like the spawn Of Rutger hower And Emperor.

1230
01:07:58,520 --> 01:08:03,120
Speaker 1: PALPATINE i was confused by this kid because at, first

1231
01:08:03,240 --> 01:08:05,320
Speaker 1: like AS i was beginning to sort of ease into the,

1232
01:08:05,360 --> 01:08:07,840
Speaker 1: PICTURE i thought this kid was with, them and THEN

1233
01:08:07,920 --> 01:08:10,120
Speaker 1: i even thought he was in the station wagon with. Them,

1234
01:08:10,200 --> 01:08:12,240
Speaker 1: later because it looks like there's something moving in the

1235
01:08:12,280 --> 01:08:14,880
Speaker 1: back of the station, WAGON i was, Like, oh as a, person,

1236
01:08:15,320 --> 01:08:16,880
Speaker 1: yeah So i'm, LIKE i guess this is the younger.

1237
01:08:16,920 --> 01:08:19,080
Speaker 1: Brother but then THEN i realized, later, like, no this

1238
01:08:19,200 --> 01:08:21,760
Speaker 1: kid has no connection to these, characters so he's just.

1239
01:08:21,800 --> 01:08:23,200
Speaker 1: Gone we never see him. Again, yeah bye.

1240
01:08:23,240 --> 01:08:26,679
Speaker 3: Bye, Anyway mercer And diana they get in the station,

1241
01:08:26,760 --> 01:08:29,120
Speaker 3: wagon they drive off into the, desert and then chat

1242
01:08:29,160 --> 01:08:32,439
Speaker 3: awkwardly About mercer's career for the benefit of the. Audience,

1243
01:08:33,080 --> 01:08:34,840
Speaker 3: ROB i think you were calling attention to some of

1244
01:08:34,920 --> 01:08:37,920
Speaker 3: these dialogue scenes in the car at the beginning as

1245
01:08:38,000 --> 01:08:40,280
Speaker 3: being especially. Funny.

1246
01:08:40,479 --> 01:08:42,519
Speaker 1: Yeah, yeah we have some sequences where it's just the

1247
01:08:42,560 --> 01:08:48,280
Speaker 1: station wagon driving, along no interior shots and just dialogue. Voiceover,

1248
01:08:48,400 --> 01:08:51,880
Speaker 1: yeah we eventually do enter the vehicle with them for,

1249
01:08:52,040 --> 01:08:56,920
Speaker 1: conversations and, YEAH i enjoy all of the scenes with

1250
01:08:56,960 --> 01:09:00,000
Speaker 1: the station, wagon including some later on that are Very

1251
01:09:00,400 --> 01:09:04,480
Speaker 1: GARTH marangi dark. Place, oh it's clearly like filmed, inside

1252
01:09:04,560 --> 01:09:06,600
Speaker 1: with people shaking the car on both, sides.

1253
01:09:06,439 --> 01:09:11,600
Speaker 3: With the gargoyles clinging to the roof that's obviously secured

1254
01:09:11,600 --> 01:09:15,599
Speaker 3: there by some, anyway so we learn from their dialogue

1255
01:09:15,600 --> 01:09:19,760
Speaker 3: That Mercer bully, is AS i, said archaeologist and, anthropologist

1256
01:09:19,880 --> 01:09:25,080
Speaker 3: but his work focuses especially on demons and, monsters and

1257
01:09:25,160 --> 01:09:27,800
Speaker 3: he is not just your average. Academic he is a

1258
01:09:28,000 --> 01:09:32,000
Speaker 3: media superstar who writes best selling, books and he gets

1259
01:09:32,000 --> 01:09:37,040
Speaker 3: booked ON tv talk. Shows apparently his gig is telling

1260
01:09:37,080 --> 01:09:41,200
Speaker 3: people that, demons, devils and witchcraft are not. Real they

1261
01:09:41,200 --> 01:09:45,120
Speaker 3: are only. Superstition so they're they're setting him up as

1262
01:09:45,120 --> 01:09:49,479
Speaker 3: a kind Of James randy Of satanic. Monsterdom you may

1263
01:09:49,560 --> 01:09:52,360
Speaker 3: think demons and devils and monsters are, real but they're.

1264
01:09:52,360 --> 01:09:55,639
Speaker 1: Not, yeah you can imagine him even being On carson

1265
01:09:55,680 --> 01:09:57,439
Speaker 1: back in the, day like you, know like a Late

1266
01:09:58,160 --> 01:10:01,720
Speaker 1: tonight show ga that pops up and has some fun

1267
01:10:01,760 --> 01:10:04,120
Speaker 1: With johnny talking about some demon like maybe he even

1268
01:10:04,120 --> 01:10:04,560
Speaker 1: brings in this.

1269
01:10:04,640 --> 01:10:09,400
Speaker 3: Sculpture but Then diana is, like she, Goes, dad do

1270
01:10:09,479 --> 01:10:12,240
Speaker 3: you really believe the world of evil is nothing more

1271
01:10:12,280 --> 01:10:16,439
Speaker 3: than a? Fantasy and he, replies who knows? It sells my?

1272
01:10:16,520 --> 01:10:22,719
Speaker 3: Books what a bizarre aura of anti verisimilitude the writers

1273
01:10:22,720 --> 01:10:26,040
Speaker 3: have conjured here with this. Character so a few. Things

1274
01:10:26,040 --> 01:10:29,240
Speaker 3: first of, all the idea of like he's a professor

1275
01:10:29,479 --> 01:10:33,640
Speaker 3: who specializes in demons and monsters and who rakes in

1276
01:10:33,760 --> 01:10:37,840
Speaker 3: the cash by publishing books claiming the demons and monsters

1277
01:10:37,920 --> 01:10:40,600
Speaker 3: are not. Real let me tell you that is absolutely

1278
01:10:40,680 --> 01:10:41,639
Speaker 3: where the money IS.

1279
01:10:43,439 --> 01:10:46,600
Speaker 1: I, Mean i've bought plenty of books about demons and,

1280
01:10:46,640 --> 01:10:50,240
Speaker 1: monsters and those authors are not claiming they're. Real, well but.

1281
01:10:50,200 --> 01:10:52,439
Speaker 3: It's not just that he's not claiming they're. Real he's

1282
01:10:52,479 --> 01:10:54,960
Speaker 3: writing books to be like that demon not.

1283
01:10:55,040 --> 01:10:58,240
Speaker 1: Real yeah, Real, Yeah he's it's not just about this

1284
01:10:58,280 --> 01:11:00,840
Speaker 1: is an important folk, belief more of the sense that he's,

1285
01:11:00,880 --> 01:11:03,160
Speaker 1: like demons are. Nonsense, now let me show you some.

1286
01:11:03,200 --> 01:11:06,280
Speaker 3: Pictures, Yeah and they like set him up on THESE

1287
01:11:06,360 --> 01:11:09,200
Speaker 3: tv talk shows to like argue with witches and. Stuff

1288
01:11:10,560 --> 01:11:14,400
Speaker 3: so that's his public, persona but we find out in

1289
01:11:14,479 --> 01:11:18,160
Speaker 3: private he doesn't actually have a position on whether demons

1290
01:11:18,160 --> 01:11:21,440
Speaker 3: are real or. Not it's just a character he insincerely

1291
01:11:21,479 --> 01:11:24,639
Speaker 3: adopts because that's how he makes, money that's what the public.

1292
01:11:24,720 --> 01:11:30,120
Speaker 3: Wants Bizarre, anyway he is currently working on a book

1293
01:11:30,280 --> 01:11:34,040
Speaker 3: called five Thousand years Of, demonology and the goal of

1294
01:11:34,080 --> 01:11:37,040
Speaker 3: this book will be to quote Trace man's conception of

1295
01:11:37,080 --> 01:11:39,680
Speaker 3: evil from three THOUSAND bc to the.

1296
01:11:39,720 --> 01:11:41,960
Speaker 1: Present, yeah and he said it's going to be a

1297
01:11:41,960 --> 01:11:45,040
Speaker 1: big seller Come christmas, season like this is the one

1298
01:11:45,240 --> 01:11:50,360
Speaker 1: everyone's gonna want on their living room, table like big

1299
01:11:50,360 --> 01:11:51,439
Speaker 1: coffee table vibes.

1300
01:11:51,439 --> 01:11:54,160
Speaker 3: Here, Yeah and of Course diana's photos are going to

1301
01:11:54,160 --> 01:11:56,680
Speaker 3: be in the book as. Well but SO i guess

1302
01:11:56,760 --> 01:11:58,720
Speaker 3: this is like the first leg of the trip to

1303
01:11:58,760 --> 01:12:02,400
Speaker 3: research this. Book they're currently en route to meet a

1304
01:12:02,560 --> 01:12:06,040
Speaker 3: gin guzzling desert crank the professor has been corresponding with

1305
01:12:06,400 --> 01:12:10,360
Speaker 3: who claims to have knowledge Of Devil, monster and so

1306
01:12:10,439 --> 01:12:12,160
Speaker 3: they're going to be driving for a while to get,

1307
01:12:12,200 --> 01:12:15,040
Speaker 3: there and boy strap yourself in for these driving. Scenes

1308
01:12:15,120 --> 01:12:17,160
Speaker 3: there's even a scene where they take a wrong turn

1309
01:12:17,200 --> 01:12:18,280
Speaker 3: and have to go back five.

1310
01:12:18,320 --> 01:12:21,960
Speaker 1: Miles, yeah, yeah you. Can this is where you begin

1311
01:12:22,040 --> 01:12:24,960
Speaker 1: to understand why we have that tact on narration and

1312
01:12:25,000 --> 01:12:28,200
Speaker 1: the sequence of demonic. Imagery BUT i.

1313
01:12:28,200 --> 01:12:30,439
Speaker 3: Will, say, ACTUALLY i guess the wrong turn scene is

1314
01:12:30,479 --> 01:12:33,559
Speaker 3: the first time we see a, gargoyle not actually, see

1315
01:12:33,600 --> 01:12:36,720
Speaker 3: but indirectly, see because as the car comes to a,

1316
01:12:36,760 --> 01:12:39,400
Speaker 3: stop we see it framed from far. Away we're like

1317
01:12:39,520 --> 01:12:42,760
Speaker 3: up on a rocky hill, nearby and suddenly there is

1318
01:12:42,800 --> 01:12:47,360
Speaker 3: a winged humanoid shadow that falls over the, rocks and this,

1319
01:12:48,000 --> 01:12:52,639
Speaker 3: unsettling fluttering electronic music kicks, in and you know it's

1320
01:12:52,640 --> 01:12:53,719
Speaker 3: conjuring some decent.

1321
01:12:53,760 --> 01:12:57,400
Speaker 1: Atmosphere, yeah, YEAH i mean it's often pointed out, that you,

1322
01:12:57,439 --> 01:13:02,000
Speaker 1: know nighttime is certainly a great place for supernatural threats to,

1323
01:13:02,080 --> 01:13:04,919
Speaker 1: reside but sometimes if you do it, right the daytime

1324
01:13:05,000 --> 01:13:08,040
Speaker 1: can be equally. Terrifying AND i mean here we do

1325
01:13:08,120 --> 01:13:12,400
Speaker 1: have a desolate desert. Environment there is there is kind

1326
01:13:12,400 --> 01:13:14,120
Speaker 1: of a weird sense that like how could they not

1327
01:13:14,240 --> 01:13:16,920
Speaker 1: see something so? Big but THEN i don't know you're

1328
01:13:16,960 --> 01:13:19,920
Speaker 1: thinking about like direct. Sun it is possible for things

1329
01:13:19,920 --> 01:13:23,160
Speaker 1: to sort of hide in the, Sun So i'm willing

1330
01:13:23,200 --> 01:13:26,120
Speaker 1: to grant the believability to this.

1331
01:13:26,200 --> 01:13:29,559
Speaker 3: SCENE i think daytime in the desert can be a scary.

1332
01:13:29,640 --> 01:13:32,719
Speaker 3: Environment there's kind of still in this stillness to desert

1333
01:13:32,720 --> 01:13:34,280
Speaker 3: air that can be a little. Creepy.

1334
01:13:34,600 --> 01:13:37,639
Speaker 1: Yeah, Yeah and, again like the sun can be be bright,

1335
01:13:37,800 --> 01:13:40,960
Speaker 1: thing and they're plenty of natural creatures that can hide

1336
01:13:41,040 --> 01:13:44,960
Speaker 1: quite well in the open desert so that humans can't see.

1337
01:13:44,960 --> 01:13:47,240
Speaker 1: Them and we can easily imagine that a gargoyle could

1338
01:13:47,240 --> 01:13:47,439
Speaker 1: do the.

1339
01:13:47,439 --> 01:13:52,599
Speaker 3: SAME i like these, oyles, YEAH i like out on

1340
01:13:52,640 --> 01:13:54,960
Speaker 3: the way to the meeting, place next they start seeing

1341
01:13:55,000 --> 01:13:58,760
Speaker 3: these these signs beside the, road like they're about to

1342
01:13:58,800 --> 01:14:02,160
Speaker 3: meet The. Riddler they're just these Big riddler question, marks.

1343
01:14:02,120 --> 01:14:04,840
Speaker 1: Big like weird unofficial, Signs like there's no sense that

1344
01:14:04,840 --> 01:14:07,880
Speaker 1: these are official like highway, signs like some old kook

1345
01:14:07,960 --> 01:14:12,200
Speaker 1: has been setting these up to try and get the tourist.

1346
01:14:12,280 --> 01:14:15,720
Speaker 3: Traffic, yeah they promise a two headed mystery, lizard a

1347
01:14:15,800 --> 01:14:20,800
Speaker 3: snake de, in and a monster that flies, flys as

1348
01:14:20,800 --> 01:14:23,920
Speaker 3: well as cold. Beer and so when we get to the,

1349
01:14:23,960 --> 01:14:27,920
Speaker 3: destination it is Called Uncle Willie's Desert. Museum, yes the

1350
01:14:27,960 --> 01:14:31,320
Speaker 3: pick of fence is falling. Over, yes there's a donkey out. Front,

1351
01:14:31,680 --> 01:14:33,200
Speaker 3: yes the roof is littered with cow.

1352
01:14:33,280 --> 01:14:35,720
Speaker 1: Skulls it looks, great it.

1353
01:14:35,800 --> 01:14:38,719
Speaker 3: Does, yeah and inside it looks like The sawyer family lives.

1354
01:14:38,720 --> 01:14:41,360
Speaker 3: Here It's tcum. Mansion.

1355
01:14:42,000 --> 01:14:45,200
Speaker 1: Yeah, yeah and Again Uncle woody is. Great this is

1356
01:14:45,240 --> 01:14:49,200
Speaker 1: a great character performance. Here end up wanting more than we, get.

1357
01:14:49,200 --> 01:14:51,759
Speaker 3: Right so he's like already, sweaty AND i think probably

1358
01:14:51,800 --> 01:14:54,080
Speaker 3: been drinking when he first meets. Them he comes out

1359
01:14:54,160 --> 01:14:55,680
Speaker 3: and he's, like why DON'T i just get you some?

1360
01:14:55,720 --> 01:14:59,720
Speaker 1: Beers how cold do these? Beers end up? Looking by the,

1361
01:14:59,720 --> 01:15:11,719
Speaker 1: WAY i don't know about. That all, Right so the cold,

1362
01:15:11,720 --> 01:15:14,280
Speaker 1: beer presumably cold, beer has been. Served.

1363
01:15:14,560 --> 01:15:18,080
Speaker 3: Yeah so the short version On willie is that he

1364
01:15:18,120 --> 01:15:22,400
Speaker 3: wrote to Doctor bowley saying he has records of local

1365
01:15:22,600 --> 01:15:26,479
Speaker 3: Native american exorcism, rights and he also has some artifacts to.

1366
01:15:26,560 --> 01:15:30,840
Speaker 3: Share But willie tries to kind of flip the. Script he's, Like,

1367
01:15:30,920 --> 01:15:33,479
Speaker 3: HEY i saw you ON tv with all your fancy book.

1368
01:15:33,520 --> 01:15:37,479
Speaker 3: LEARNING i am in possession of a gargoyle, skeleton AND

1369
01:15:37,560 --> 01:15:39,519
Speaker 3: i want you to co author a book with me

1370
01:15:39,680 --> 01:15:43,040
Speaker 3: with my picture on the, cover BECAUSE i, MEAN i

1371
01:15:43,080 --> 01:15:45,439
Speaker 3: agree that would sell. BOOKS i would buy any book

1372
01:15:45,439 --> 01:15:47,400
Speaker 3: that had a picture Of Uncle willy on the.

1373
01:15:47,400 --> 01:15:51,960
Speaker 1: Cover and at, first the professor is just, like see you.

1374
01:15:52,000 --> 01:15:55,960
Speaker 1: Later we're gone. Walking we're just walking now and walking

1375
01:15:56,000 --> 01:15:58,880
Speaker 1: out of this. Store AND i guess maybe in the long,

1376
01:15:58,960 --> 01:16:01,400
Speaker 1: run like this was in a go sheiating, tactic but

1377
01:16:02,160 --> 01:16:03,840
Speaker 1: when it occurs in the, film it just makes him

1378
01:16:03,880 --> 01:16:06,400
Speaker 1: seem like a huge, Jerk, like, dude you just flew in,

1379
01:16:06,439 --> 01:16:10,719
Speaker 1: here drove however long through the desert to Meet, willie

1380
01:16:11,160 --> 01:16:13,400
Speaker 1: and you're just gonna immediately walk out on him without

1381
01:16:13,439 --> 01:16:14,320
Speaker 1: hearing him out a little.

1382
01:16:14,360 --> 01:16:18,320
Speaker 3: Bit, yeah, yeah But willy's also driving a hard. Bargain,

1383
01:16:18,560 --> 01:16:22,240
Speaker 3: Yeah SO willi takes them out to his gargoyle shack

1384
01:16:22,400 --> 01:16:25,800
Speaker 3: where he keeps the. Skeleton it's like a human skeleton

1385
01:16:25,920 --> 01:16:28,280
Speaker 3: in the body sort Of, ACTUALLY i guess it's not

1386
01:16:28,400 --> 01:16:32,120
Speaker 3: so much it's, bipedal you, know it's, upright but it's got,

1387
01:16:32,120 --> 01:16:35,120
Speaker 3: wings it's got claws instead of. Toes and then the

1388
01:16:35,160 --> 01:16:37,360
Speaker 3: head has horns and a giant.

1389
01:16:37,400 --> 01:16:41,120
Speaker 1: Beak. YEAH i think someone who has a better head

1390
01:16:41,120 --> 01:16:44,000
Speaker 1: for anatomy might look at this skeleton and have some

1391
01:16:44,040 --> 01:16:46,559
Speaker 1: serious questions about how it all comes together.

1392
01:16:46,640 --> 01:16:49,120
Speaker 3: Here, Yeah and of Course bully doesn't believe it at.

1393
01:16:49,120 --> 01:16:52,440
Speaker 3: First he's, like this is a concoction of unrelated. Bones

1394
01:16:53,600 --> 01:16:56,439
Speaker 3: he says he admires the, artistry but he rejects the

1395
01:16:56,479 --> 01:17:00,000
Speaker 3: reality of. It But willie is. Adamant so he's got

1396
01:17:00,160 --> 01:17:03,280
Speaker 3: a bunch of stories of how the local tribes had

1397
01:17:03,320 --> 01:17:06,680
Speaker 3: to hold off these monsters with sacrifices and rituals for

1398
01:17:06,800 --> 01:17:09,439
Speaker 3: hundreds of. Years and then there's a little moment Where

1399
01:17:09,479 --> 01:17:12,519
Speaker 3: diana starts taking pictures While willie's back is, turned and

1400
01:17:12,560 --> 01:17:15,720
Speaker 3: he gets very upset about. This no pictures without a.

1401
01:17:15,760 --> 01:17:18,719
Speaker 1: Deal, yeah and he's really good in the. Scene he's totally.

1402
01:17:18,840 --> 01:17:21,640
Speaker 1: Raving but NOW i will say that this mention of

1403
01:17:21,680 --> 01:17:26,400
Speaker 1: the native practices that were so effective at containing and

1404
01:17:26,439 --> 01:17:29,680
Speaker 1: holding off the, gargoyles this sounds really, intriguing and you

1405
01:17:29,760 --> 01:17:31,519
Speaker 1: might be tempted to think this is going to come

1406
01:17:31,520 --> 01:17:33,960
Speaker 1: into play now that they've rolled this cannon out on.

1407
01:17:34,040 --> 01:17:36,160
Speaker 1: Deck but, no, no it's not going to come up.

1408
01:17:36,200 --> 01:17:38,800
Speaker 3: Again, Well willie gets drunk and he starts trying to

1409
01:17:38,840 --> 01:17:41,360
Speaker 3: like tell some of these tales as told to, him

1410
01:17:41,400 --> 01:17:43,280
Speaker 3: but it sounds like he's just making it up as

1411
01:17:43,320 --> 01:17:43,639
Speaker 3: he goes.

1412
01:17:43,680 --> 01:17:46,800
Speaker 1: Along, Mmm, NO i don't, know are just having a

1413
01:17:46,840 --> 01:17:49,280
Speaker 1: hard time. Remembering it would have been an interesting twist

1414
01:17:49,400 --> 01:17:52,840
Speaker 1: if like these were really the like native lore was

1415
01:17:52,920 --> 01:17:56,760
Speaker 1: really key to defeating the. Gargoyles and you, know all

1416
01:17:56,800 --> 01:18:01,000
Speaker 1: these our contemporary characters here are unable to defeat the

1417
01:18:01,000 --> 01:18:03,280
Speaker 1: gargoyles in the end because they no longer have access

1418
01:18:03,320 --> 01:18:03,519
Speaker 1: to that.

1419
01:18:03,600 --> 01:18:06,360
Speaker 3: Information, no it turns out what's crucial to defeating the

1420
01:18:06,400 --> 01:18:09,800
Speaker 3: gargoyles are, guns, gasoline and bashing with.

1421
01:18:09,960 --> 01:18:10,720
Speaker 1: Rocks that's.

1422
01:18:10,800 --> 01:18:14,160
Speaker 3: Right so in the middle of all, this the gargoyle

1423
01:18:14,240 --> 01:18:17,720
Speaker 3: shack is suddenly it comes under. Attack. Outside there was

1424
01:18:17,760 --> 01:18:20,760
Speaker 3: a fluttering of leathery, wings the walls start, shaking and

1425
01:18:20,800 --> 01:18:24,720
Speaker 3: something is shredding through the door with huge catlike. Claws

1426
01:18:25,240 --> 01:18:27,080
Speaker 3: and in the middle of all, this a big roof

1427
01:18:27,120 --> 01:18:30,559
Speaker 3: beam falls down and Hits. Willy everything catches on. Fire

1428
01:18:31,320 --> 01:18:33,800
Speaker 3: mercer And diana run. Away they like run out to

1429
01:18:33,840 --> 01:18:37,240
Speaker 3: their car to, escape And diana's, like oh, Look Uncle,

1430
01:18:37,240 --> 01:18:39,760
Speaker 3: willy And mercer's just, like leave. Him he's.

1431
01:18:39,800 --> 01:18:43,559
Speaker 1: Dead, yeah very quick to write him, up and then

1432
01:18:43,920 --> 01:18:45,439
Speaker 1: he gets hit in the head and then he's caught on.

1433
01:18:45,479 --> 01:18:47,760
Speaker 1: Fire BUT i don't, know it seemed like there was a.

1434
01:18:47,760 --> 01:18:53,280
Speaker 3: Possibility, yeah they didn't really investigate too. Close they just you,

1435
01:18:53,280 --> 01:18:55,880
Speaker 3: know get to leave. Him he's dead very. Easily but

1436
01:18:55,920 --> 01:18:59,920
Speaker 3: they do stop to grab the gargoyle. Skull so there's

1437
01:19:00,040 --> 01:19:03,120
Speaker 3: an escape sequence in the Station wagon that involves several

1438
01:19:03,160 --> 01:19:06,240
Speaker 3: more gargoyle attacks in the. Dark there's like one clinging

1439
01:19:06,240 --> 01:19:08,880
Speaker 3: to the, roof WHICH i believe they dislodge by way

1440
01:19:08,920 --> 01:19:12,160
Speaker 3: of a three point. Turn and then also you, know

1441
01:19:12,160 --> 01:19:15,200
Speaker 3: they're attacking the. Window the car gets really banged. Up and,

1442
01:19:15,360 --> 01:19:18,880
Speaker 3: meanwhile while they're driving, away they're listening to the playback

1443
01:19:19,040 --> 01:19:22,760
Speaker 3: of the audio tape they were making Of willie when

1444
01:19:22,840 --> 01:19:23,439
Speaker 3: the shack was.

1445
01:19:23,439 --> 01:19:26,040
Speaker 1: Attacked, yeah on all this section, here this is where

1446
01:19:26,040 --> 01:19:29,000
Speaker 1: we get some of those Great Garth marange dark place

1447
01:19:29,120 --> 01:19:32,400
Speaker 1: ask shake the car in a dark, room yes.

1448
01:19:32,840 --> 01:19:37,240
Speaker 3: Effects so after they finned off the gargoyle, attacks it's

1449
01:19:37,280 --> 01:19:40,200
Speaker 3: time to go to The Gargoyle. Motel they like drop

1450
01:19:40,280 --> 01:19:42,600
Speaker 3: their car off at an all night service station in

1451
01:19:42,640 --> 01:19:45,439
Speaker 3: the middle of the. Desert that's. Convenient, yeah there's a

1452
01:19:45,479 --> 01:19:49,000
Speaker 3: motel right. Nearby and The gargoyles really tore the car.

1453
01:19:49,200 --> 01:19:52,960
Speaker 3: Up it is slashed to, pieces and so they go

1454
01:19:53,000 --> 01:19:56,720
Speaker 3: over to this. MOTEL i looked this. Up this was

1455
01:19:56,880 --> 01:20:01,280
Speaker 3: a real motel Near, Carlsbad New mexico that was called

1456
01:20:01,320 --> 01:20:05,080
Speaker 3: The Cactus. Motel as like a sort of Roadside america

1457
01:20:05,120 --> 01:20:07,760
Speaker 3: POST i found refers to it as The Gargoyles.

1458
01:20:07,800 --> 01:20:11,840
Speaker 1: Motel, yeah and apparently no longer. Around you, KNOW i

1459
01:20:11,920 --> 01:20:14,040
Speaker 1: might otherwise be inclined to say it's a tragedy that

1460
01:20:14,080 --> 01:20:17,240
Speaker 1: we lost such an iconic filming. Location but this place

1461
01:20:17,640 --> 01:20:21,120
Speaker 1: looks pretty rough in nineteen seventy, Two and according to

1462
01:20:21,160 --> 01:20:24,639
Speaker 1: this Roadside america, post apparently now it's a Registered New

1463
01:20:24,680 --> 01:20:28,280
Speaker 1: mexico historical, site not because of The gargoyles, movie but

1464
01:20:28,360 --> 01:20:32,200
Speaker 1: because of some archaeological digs in the, area real, ones

1465
01:20:32,439 --> 01:20:33,800
Speaker 1: Not gargoyle.

1466
01:20:33,880 --> 01:20:36,880
Speaker 3: Related so at the, motel they check in with the,

1467
01:20:36,880 --> 01:20:40,080
Speaker 3: Proprietor Missus. Parks she answers the door with a tall

1468
01:20:40,120 --> 01:20:43,880
Speaker 3: glass of. Liquor this is that, character and she takes

1469
01:20:43,920 --> 01:20:45,479
Speaker 3: them to the, room and she keeps trying to Get

1470
01:20:45,520 --> 01:20:47,880
Speaker 3: Cornell wild to like come back and party with. Her

1471
01:20:48,720 --> 01:20:51,719
Speaker 3: and she also won't stop telling stories of grizzly car

1472
01:20:51,800 --> 01:20:52,720
Speaker 3: accidents she has.

1473
01:20:52,760 --> 01:20:58,479
Speaker 1: Witnessed, yes hers is a curious seduction. Style it does

1474
01:20:58,520 --> 01:21:01,800
Speaker 1: not quite work in this, film but apparently it has worked,

1475
01:21:01,800 --> 01:21:02,680
Speaker 1: Before so who can?

1476
01:21:02,720 --> 01:21:04,760
Speaker 3: Falter AND i think this is sort of the end

1477
01:21:04,760 --> 01:21:08,479
Speaker 3: Of act. One they go to, bed so, HERE i

1478
01:21:08,520 --> 01:21:10,679
Speaker 3: guess we can zoom out and talk in some broader.

1479
01:21:10,720 --> 01:21:14,799
Speaker 3: Strokes the next morning they sort of report what, happened

1480
01:21:14,840 --> 01:21:17,400
Speaker 3: or at least a partial version of what happened to the.

1481
01:21:17,439 --> 01:21:23,120
Speaker 3: Police mercer holds back the full gargoyle, ENCOUNTER i think

1482
01:21:23,160 --> 01:21:27,040
Speaker 3: because he hasn't gotten the gargoyle skull carbon dated.

1483
01:21:27,120 --> 01:21:31,760
Speaker 1: Yet mercer is very relaxed in all of, This, Like,

1484
01:21:31,800 --> 01:21:35,160
Speaker 1: okay there was a violent encounter with creatures and somebody,

1485
01:21:35,320 --> 01:21:38,080
Speaker 1: died And will's out, There willy's out there in the desert.

1486
01:21:38,120 --> 01:21:40,760
Speaker 1: Dead let's go and get a good night's. Sleep let's

1487
01:21:40,760 --> 01:21:43,840
Speaker 1: make sure we get the car turned into to a.

1488
01:21:43,880 --> 01:21:46,080
Speaker 1: Mechanic we'll report this to the police in the.

1489
01:21:46,120 --> 01:21:50,640
Speaker 3: Morning, yeah and not tell them, everything Because i'm a

1490
01:21:50,640 --> 01:21:53,160
Speaker 3: little fuzzy on exactly why they couldn't. Yet he's, LIKE

1491
01:21:53,320 --> 01:21:55,559
Speaker 3: i haven't fully done all the research, yet so.

1492
01:21:55,880 --> 01:21:58,439
Speaker 1: Yeah and we do continue to see this as a character,

1493
01:21:58,479 --> 01:22:02,160
Speaker 1: trait like at, Times diana accuses him of being unfeeling

1494
01:22:02,640 --> 01:22:04,920
Speaker 1: and he's, like, well this is like the maximum of

1495
01:22:04,960 --> 01:22:07,680
Speaker 1: what we can do right, Now like we can come

1496
01:22:07,720 --> 01:22:10,680
Speaker 1: back later with more info and get more, done but right,

1497
01:22:10,680 --> 01:22:12,680
Speaker 1: now this is all we can. Do and SO i,

1498
01:22:12,680 --> 01:22:16,400
Speaker 1: MEAN i WILL i would acknowledge that to a certain. Degree,

1499
01:22:16,640 --> 01:22:17,240
Speaker 1: YEAH i guess.

1500
01:22:17,320 --> 01:22:20,519
Speaker 3: So, anyway so the police go to investigate the scene

1501
01:22:20,560 --> 01:22:23,519
Speaker 3: of the, fire and they find a gang of young

1502
01:22:23,560 --> 01:22:27,840
Speaker 3: motorcycle enthusiasts loitering around the crime. Scene their leader seems

1503
01:22:27,880 --> 01:22:31,680
Speaker 3: to Be Scott glenn played By Scott glenn playing this

1504
01:22:31,840 --> 01:22:34,880
Speaker 3: young guy Named James rieger who's a very very good

1505
01:22:34,960 --> 01:22:40,240
Speaker 3: looking bad boy on. Motorcycle the bullies do not implicate

1506
01:22:40,360 --> 01:22:43,200
Speaker 3: the bikers in the, crime but the cops arrest them,

1507
01:22:43,240 --> 01:22:46,360
Speaker 3: anyway and the bullies do not reveal what they do.

1508
01:22:46,520 --> 01:22:49,280
Speaker 3: Know would that would make it clear that the bikers

1509
01:22:49,320 --> 01:22:51,640
Speaker 3: were not were not to blame.

1510
01:22:51,760 --> 01:22:53,800
Speaker 1: And this should become as no surprise to anyone who's

1511
01:22:54,080 --> 01:22:57,720
Speaker 1: watched any amount of biker in the. Media even though

1512
01:22:57,720 --> 01:22:59,680
Speaker 1: these guys are not really a motorcycle clubter Just is

1513
01:23:00,240 --> 01:23:03,519
Speaker 1: pointed out they're just dirt. Bikers but, still bikers and

1514
01:23:03,600 --> 01:23:07,439
Speaker 1: cops do not like each other and our natural, enemies

1515
01:23:07,920 --> 01:23:10,400
Speaker 1: and of course the cops are gonna arrest the bikers

1516
01:23:11,000 --> 01:23:12,360
Speaker 1: for anything they can get them.

1517
01:23:12,360 --> 01:23:14,479
Speaker 3: On, yeah the cops are just, like, yeah you know

1518
01:23:14,520 --> 01:23:18,320
Speaker 3: how these dirt bikers. Are they're they probably did. Something

1519
01:23:19,720 --> 01:23:22,360
Speaker 3: so later that, night the bullies are back in their

1520
01:23:22,360 --> 01:23:24,960
Speaker 3: motel room at The Cactus motel and they are attacked

1521
01:23:25,000 --> 01:23:28,960
Speaker 3: by several. Gargoyles we get some great scenes of breakaway

1522
01:23:29,000 --> 01:23:31,760
Speaker 3: doors and walls and the motel attack they just kind

1523
01:23:31,800 --> 01:23:34,719
Speaker 3: of crumble like they're made out OF i don't, know gram.

1524
01:23:34,760 --> 01:23:37,599
Speaker 1: Crackers, yeah and it's not a siege sequence, either because

1525
01:23:37,600 --> 01:23:40,040
Speaker 1: the gargoyles are just right in, There like there's one

1526
01:23:40,040 --> 01:23:42,120
Speaker 1: in the. BATHROOM i don't know what that gargoyle is

1527
01:23:42,120 --> 01:23:45,160
Speaker 1: doing in the. Bathroom When mercer opens the, door it's

1528
01:23:45,200 --> 01:23:48,080
Speaker 1: like it's like the first stage of this attack is

1529
01:23:48,120 --> 01:23:50,720
Speaker 1: to rifle through his pills or.

1530
01:23:50,760 --> 01:23:54,200
Speaker 3: Something, yeah they just kool aid man bust through the walls,

1531
01:23:54,520 --> 01:23:57,960
Speaker 3: yeah but they're, there in fact to retrieve the gargoyle,

1532
01:23:58,080 --> 01:24:01,280
Speaker 3: skull which is. Interesting that means it seems these creatures

1533
01:24:01,320 --> 01:24:04,200
Speaker 3: must be intelligent and they are trying to cover up

1534
01:24:04,240 --> 01:24:09,120
Speaker 3: evidence of their. Existence but during this attempt to retrieve the,

1535
01:24:09,160 --> 01:24:12,040
Speaker 3: skull one of the gargoyles gets hit by a truck and,

1536
01:24:12,160 --> 01:24:16,639
Speaker 3: killed And bully takes the body back with, them and

1537
01:24:17,000 --> 01:24:19,040
Speaker 3: so and here we get to see like the different

1538
01:24:19,120 --> 01:24:21,800
Speaker 3: kinds of. Gargoyles there are like some gargoyles that are

1539
01:24:21,920 --> 01:24:25,280
Speaker 3: more lizard, men others that have more bird like, features

1540
01:24:25,360 --> 01:24:25,680
Speaker 3: kind of with.

1541
01:24:25,760 --> 01:24:29,120
Speaker 1: Beaks, yeah, YEAH i think this is of course fitting

1542
01:24:29,120 --> 01:24:32,600
Speaker 1: with the varied designs of like actual architectural. Gargoyles but

1543
01:24:33,720 --> 01:24:37,360
Speaker 1: the main ones we see attacking here are, wingless which you,

1544
01:24:37,360 --> 01:24:40,519
Speaker 1: know we can interpret as being due to the fact

1545
01:24:40,560 --> 01:24:42,600
Speaker 1: that wings are extra work and maybe you don't have

1546
01:24:42,640 --> 01:24:45,040
Speaker 1: time to make wings for, everybody but also maybe these

1547
01:24:45,040 --> 01:24:49,080
Speaker 1: are worker gargoyles or. Juveniles but, yeah there's a great

1548
01:24:49,120 --> 01:24:53,960
Speaker 1: deal of varied morphology, here and if you want to

1549
01:24:54,000 --> 01:24:57,479
Speaker 1: see some like better, imagery behind the scenes imagery of

1550
01:24:57,520 --> 01:25:00,760
Speaker 1: the different masks and. Costumes The Stan Winston school has

1551
01:25:00,800 --> 01:25:06,320
Speaker 1: a great article About stan and his cohorts work on

1552
01:25:06,400 --> 01:25:09,679
Speaker 1: gargoyles with lots of cool pictures and masks and. Suits

1553
01:25:10,360 --> 01:25:12,960
Speaker 1: so look that up at Stan Winston school dot.

1554
01:25:13,000 --> 01:25:16,280
Speaker 3: Com so there's a scene Where diana goes to the

1555
01:25:16,320 --> 01:25:19,240
Speaker 3: police station to get them to Release Scott glenn and his.

1556
01:25:19,280 --> 01:25:21,640
Speaker 3: Bros because you, know they didn't do the, murder but

1557
01:25:21,680 --> 01:25:25,840
Speaker 3: the police will not release them. Yet and, again the

1558
01:25:25,880 --> 01:25:28,479
Speaker 3: bullies could tell the whole truth now because they've got

1559
01:25:28,520 --> 01:25:31,040
Speaker 3: a dead gargoyle body has, proof they've got it in their,

1560
01:25:31,120 --> 01:25:35,160
Speaker 3: Car BUT i Think bully doesn't for some, reason still

1561
01:25:35,200 --> 01:25:37,719
Speaker 3: can't reveal. It he like doesn't want to get scooped

1562
01:25:37,760 --> 01:25:39,160
Speaker 3: on the discovery or. Something.

1563
01:25:39,920 --> 01:25:42,200
Speaker 1: Yeah, yeah it's like he it's not that he doesn't

1564
01:25:42,240 --> 01:25:46,120
Speaker 1: want to help, people but he's very calculated in how

1565
01:25:46,160 --> 01:25:48,880
Speaker 1: he wants to roll everything. Out Look out for number, One,

1566
01:25:49,120 --> 01:25:51,120
Speaker 1: yeah look out for number. One maybe make sure you

1567
01:25:51,120 --> 01:25:54,880
Speaker 1: have a good press release prepared, beforehand even if the

1568
01:25:54,880 --> 01:25:56,559
Speaker 1: bikers are just doing in the jail.

1569
01:25:56,600 --> 01:25:59,280
Speaker 3: Cell BUT i like this is one of those movie

1570
01:25:59,400 --> 01:26:03,200
Speaker 3: jails you can walk into the police station and then

1571
01:26:03,320 --> 01:26:05,400
Speaker 3: just walk up to the cells and like talk to

1572
01:26:05,400 --> 01:26:05,920
Speaker 3: the people in.

1573
01:26:05,960 --> 01:26:07,559
Speaker 1: Them, yeah it's Basically Desert.

1574
01:26:07,640 --> 01:26:11,280
Speaker 3: Mayberry, Yeah So diana walks up to the bikers and

1575
01:26:11,560 --> 01:26:14,680
Speaker 3: kind of kind of semi flirts With rieger, here but

1576
01:26:15,080 --> 01:26:18,000
Speaker 3: talks to him about, gargoyles and there's a good exchange

1577
01:26:18,040 --> 01:26:20,519
Speaker 3: Where Scott glenn, says so you and your old, man

1578
01:26:20,600 --> 01:26:24,000
Speaker 3: you're not afraid of them gar, things, Huh and she,

1579
01:26:24,080 --> 01:26:27,439
Speaker 3: says gargoyles are a scientific fact and they're no more

1580
01:26:27,520 --> 01:26:30,280
Speaker 3: dangerous than a high school dropout on a. Motorcycle.

1581
01:26:31,920 --> 01:26:33,880
Speaker 1: YEAH i don't, Know. DIANA i feel like the gar

1582
01:26:34,000 --> 01:26:36,200
Speaker 1: things by this point in the film have proven themselves

1583
01:26:36,200 --> 01:26:39,360
Speaker 1: to be rather shockingly, effective you, know tearing up the

1584
01:26:39,400 --> 01:26:43,640
Speaker 1: car and all like there is violent is a supernatural motorcycle,

1585
01:26:43,680 --> 01:26:47,520
Speaker 1: gang BUT i think they obviously trump just the motorcycle

1586
01:26:47,560 --> 01:26:49,000
Speaker 1: drop out squad that she's referring.

1587
01:26:49,040 --> 01:26:53,560
Speaker 3: To, Yeah gargoyle's on wheels. Anyway so there's another gargoyle

1588
01:26:53,600 --> 01:26:56,720
Speaker 3: attack on the. Bullies this time the gargoyles take the

1589
01:26:56,800 --> 01:27:01,160
Speaker 3: body with, Them they take the professor's, books and they Kidnapped,

1590
01:27:01,160 --> 01:27:04,160
Speaker 3: diana taking her back to the gargoyle home base within

1591
01:27:04,200 --> 01:27:09,240
Speaker 3: a local cave, system which Is Carlsbad canyon Or Canyons,

1592
01:27:09,280 --> 01:27:10,000
Speaker 3: caverns isn't.

1593
01:27:10,000 --> 01:27:12,759
Speaker 1: It, Yeah, YEAH i look this. Up the cave scenes

1594
01:27:12,840 --> 01:27:17,120
Speaker 1: were filmed In Carlsbad Caverns National. PARK i don't THINK

1595
01:27:17,200 --> 01:27:19,360
Speaker 1: i have actually been. There been To New mexico. Once

1596
01:27:19,400 --> 01:27:20,440
Speaker 1: have you been To? Carlsbad?

1597
01:27:20,640 --> 01:27:22,960
Speaker 3: No, NO i have been To New mexico but didn't

1598
01:27:22,960 --> 01:27:23,839
Speaker 3: make it to the. Caves.

1599
01:27:24,120 --> 01:27:26,680
Speaker 1: Yeah i've been to some other cave systems in this

1600
01:27:26,960 --> 01:27:29,519
Speaker 1: part of the, country but not. These but, yeah this

1601
01:27:29,640 --> 01:27:31,880
Speaker 1: is one of a number of pictures that were filmed, there,

1602
01:27:32,520 --> 01:27:36,240
Speaker 1: also including nineteen Fifties King Solomon's, minds fifty One's Unknown,

1603
01:27:36,240 --> 01:27:39,000
Speaker 1: world Fifty, Eighths The, spider fifty Nine's journey to The

1604
01:27:39,040 --> 01:27:42,120
Speaker 1: center of The, earth seventy Three's John Livingston, segull and

1605
01:27:42,200 --> 01:27:44,679
Speaker 1: seventy four Is The Bat, people which we already. REFERENCED

1606
01:27:44,760 --> 01:27:46,880
Speaker 1: i Believe Stan winston worked on that one as.

1607
01:27:46,880 --> 01:27:50,280
Speaker 3: Well so from here the movie finally starts to arrive

1608
01:27:50,360 --> 01:27:53,799
Speaker 3: at its core, proposition which is a gargoyle hunt featuring,

1609
01:27:53,880 --> 01:27:58,200
Speaker 3: yes of, course, cops but also. Bikers So Cornell, WILDE

1610
01:27:58,200 --> 01:28:01,040
Speaker 3: i forget how he somehow convinced the cops to release

1611
01:28:01,080 --> 01:28:03,960
Speaker 3: the bikers from, jail and they team up to help

1612
01:28:04,040 --> 01:28:07,360
Speaker 3: find the gargoyles layer and Save Diana this is after

1613
01:28:07,439 --> 01:28:09,720
Speaker 3: the second attack, there SO i guess the cops have

1614
01:28:09,760 --> 01:28:15,800
Speaker 3: been convinced. Somehow, Also Missus, parks the alcoholic lady at the,

1615
01:28:15,840 --> 01:28:18,719
Speaker 3: motel and the local mechanic drive away in a pickup

1616
01:28:18,720 --> 01:28:22,040
Speaker 3: truck to get help from out of. Town but later

1617
01:28:22,120 --> 01:28:25,800
Speaker 3: the posse finds the truck, wrecked smeared with, blood and

1618
01:28:25,840 --> 01:28:29,920
Speaker 3: they come Across Missus parks's body hanging upside down from

1619
01:28:29,920 --> 01:28:33,320
Speaker 3: a telephone, pole which is a very creepy shot in,

1620
01:28:33,479 --> 01:28:37,720
Speaker 3: concept but a little bit less so in. Execution AND

1621
01:28:37,800 --> 01:28:39,759
Speaker 3: i think she should have still had the rum glass

1622
01:28:39,800 --> 01:28:40,040
Speaker 3: in her.

1623
01:28:40,040 --> 01:28:43,080
Speaker 1: HAND i think. SO i think maybe downing the last

1624
01:28:43,080 --> 01:28:45,400
Speaker 1: of it would have been like the last act that

1625
01:28:45,520 --> 01:28:47,040
Speaker 1: she she committed before.

1626
01:28:47,080 --> 01:28:50,760
Speaker 3: Passing, anyways the posse hunts the gargoyle. Cave we get

1627
01:28:50,760 --> 01:28:54,840
Speaker 3: some action scenes of cops and bikers fighting gargoyle warriors

1628
01:28:54,840 --> 01:28:57,840
Speaker 3: and the scrub. Desert the gargoyles can, fly but they

1629
01:28:57,840 --> 01:29:01,760
Speaker 3: are not, invincible so it's a you, know it's a tough,

1630
01:29:01,800 --> 01:29:05,479
Speaker 3: fight but a somewhat fair. Fight, meanwhile as all this

1631
01:29:05,520 --> 01:29:08,439
Speaker 3: is going, on we also follow what happens To diana

1632
01:29:08,520 --> 01:29:12,240
Speaker 3: in the gargoyle. Cave so while none of The gargoyles

1633
01:29:12,280 --> 01:29:14,960
Speaker 3: that we see earlier in the Movie Ever. Speak diana

1634
01:29:15,080 --> 01:29:17,160
Speaker 3: is taken to the leader of The, gargoyles who has

1635
01:29:17,240 --> 01:29:20,400
Speaker 3: quite a lot to, say and this Is Bernie casey

1636
01:29:20,520 --> 01:29:24,439
Speaker 3: in The, suit but again dubbed by Vic paren the

1637
01:29:24,520 --> 01:29:29,040
Speaker 3: voice from The Outer. Limits so he explains that the

1638
01:29:29,120 --> 01:29:31,760
Speaker 3: history that we learned at the, beginning The gargoyles keep

1639
01:29:31,800 --> 01:29:34,720
Speaker 3: popping up in human history every six hundred years or

1640
01:29:34,720 --> 01:29:38,000
Speaker 3: so to try to destroy humankind and take over the,

1641
01:29:38,000 --> 01:29:41,360
Speaker 3: world but the humans keep beating them each, time after

1642
01:29:41,400 --> 01:29:45,080
Speaker 3: which they go into another six hundred year. Incubation but

1643
01:29:45,200 --> 01:29:47,960
Speaker 3: this time it will be. Different The gargoyles will really

1644
01:29:48,040 --> 01:29:51,280
Speaker 3: they're going to defeat us this, time and the gargoyle

1645
01:29:51,360 --> 01:29:54,639
Speaker 3: leader Makes diana read aloud to him from Doctor bowley's

1646
01:29:54,640 --> 01:29:59,200
Speaker 3: books because he's, LIKE i find your voice pleasing. Now

1647
01:29:59,280 --> 01:30:03,120
Speaker 3: the head gargo well is clearly interested In. Diana he

1648
01:30:03,240 --> 01:30:06,240
Speaker 3: is attracted to, her though for some, reason they pause

1649
01:30:06,360 --> 01:30:09,599
Speaker 3: to make it explicit that the gargoyles do not need

1650
01:30:09,800 --> 01:30:13,280
Speaker 3: humans in order to. Reproduce in, fact they've got huge

1651
01:30:13,400 --> 01:30:18,760
Speaker 3: chambers full of more gargoyle eggs already, incubating and in

1652
01:30:19,080 --> 01:30:21,360
Speaker 3: WHAT i thought was kind of a strange and interesting.

1653
01:30:21,479 --> 01:30:26,200
Speaker 3: Choice it is The King gargoyle's attraction To diana that

1654
01:30:26,320 --> 01:30:28,720
Speaker 3: ultimately helps the humans win at the end of the,

1655
01:30:28,720 --> 01:30:32,719
Speaker 3: movie because it seems that The Queen gargoyle sort of

1656
01:30:32,439 --> 01:30:37,080
Speaker 3: the his gargoyle wife becomes jealous of this and causes

1657
01:30:37,240 --> 01:30:41,439
Speaker 3: and this causes The Queen gargoyle to help lead Doctor

1658
01:30:41,479 --> 01:30:42,719
Speaker 3: bowley to the rescue.

1659
01:30:42,800 --> 01:30:45,240
Speaker 1: Later, yeah that seems to be how it plays. Out

1660
01:30:45,320 --> 01:30:48,839
Speaker 1: maybe it's the soap opera writing credentials of the writing,

1661
01:30:48,920 --> 01:30:52,760
Speaker 1: team but that seems to be how it plays, out

1662
01:30:53,680 --> 01:30:56,280
Speaker 1: which isn't you? KNOW i, MEAN i. Guess on one, Hand,

1663
01:30:56,320 --> 01:30:59,719
Speaker 1: yeah monster kidnapping the girl is just a standard monster movie,

1664
01:30:59,720 --> 01:31:01,760
Speaker 1: truth and they felt like they needed to employ, that

1665
01:31:01,800 --> 01:31:03,960
Speaker 1: and so maybe they're adding just a little soap opernuance

1666
01:31:04,000 --> 01:31:07,360
Speaker 1: to all of. That but it does seem like The

1667
01:31:07,920 --> 01:31:12,559
Speaker 1: gargoyle mission here has gone rather off. Track like you

1668
01:31:12,640 --> 01:31:14,639
Speaker 1: only get to do this every six hundred, years. Guys

1669
01:31:14,800 --> 01:31:18,000
Speaker 1: you need to pull it together beyond target because during

1670
01:31:18,040 --> 01:31:21,840
Speaker 1: those six hundred years you have fallen behind in technology a. Lot,

1671
01:31:22,080 --> 01:31:24,080
Speaker 1: yes you, know whether you realize it or, not things

1672
01:31:24,120 --> 01:31:27,040
Speaker 1: are going to be different this. Time and don't count

1673
01:31:27,040 --> 01:31:29,080
Speaker 1: too much on next, time it could be. Harder maybe

1674
01:31:29,120 --> 01:31:31,519
Speaker 1: it'll be, easier but the six hundred years is a long.

1675
01:31:31,400 --> 01:31:35,480
Speaker 3: Time that's. TRUE i, MEAN i feel like the jealousy

1676
01:31:35,720 --> 01:31:39,479
Speaker 3: is a weird thing because it makes the gargoyles seem more,

1677
01:31:39,600 --> 01:31:44,400
Speaker 3: human which also makes the ending less. Palatable where the ending,

1678
01:31:44,520 --> 01:31:47,960
Speaker 3: is it's very ripley in aliens Like Scott glenn And

1679
01:31:48,000 --> 01:31:49,960
Speaker 3: Cornell wilde go into the cave and they're, like we

1680
01:31:50,040 --> 01:31:52,640
Speaker 3: got to destroy this, whole all the, eggs you, know

1681
01:31:52,680 --> 01:31:56,120
Speaker 3: burn them all. Up but like the jealousy thing has

1682
01:31:56,200 --> 01:31:58,840
Speaker 3: made it seem, like, oh these are not just like,

1683
01:31:59,200 --> 01:32:02,760
Speaker 3: weapons not just like destruction. Machines they kind of are

1684
01:32:03,240 --> 01:32:05,879
Speaker 3: people in a, sense like they might want to destroy,

1685
01:32:06,000 --> 01:32:07,479
Speaker 3: us but they are they feel kind of.

1686
01:32:07,560 --> 01:32:12,479
Speaker 1: Human, now, yeah we see like hatchling gargoyles as, well so, like,

1687
01:32:12,600 --> 01:32:15,400
Speaker 1: yeah you end up feeling for them quite a. Bit

1688
01:32:16,080 --> 01:32:19,800
Speaker 1: and you, know, granted the gargoyles have discussed wiping out all,

1689
01:32:19,880 --> 01:32:23,439
Speaker 1: humans and you, know we obviously can't get on board

1690
01:32:23,479 --> 01:32:27,680
Speaker 1: with that, constat but the humans also seem to to

1691
01:32:27,760 --> 01:32:29,920
Speaker 1: be very much in favor of wiping out the, gargoyle

1692
01:32:30,040 --> 01:32:31,639
Speaker 1: so you, know we're in a bit of a. Standoff.

1693
01:32:31,680 --> 01:32:36,440
Speaker 3: Here, well, yeah but the show of sort of betrayal

1694
01:32:36,680 --> 01:32:39,760
Speaker 3: of The King gargoyle by The Queen gargoyle suggests there

1695
01:32:39,760 --> 01:32:43,600
Speaker 3: could be differences of opinion within the gargoyle, People, like

1696
01:32:43,640 --> 01:32:46,360
Speaker 3: what if instead we just depose The King gargoyle and

1697
01:32:46,439 --> 01:32:48,960
Speaker 3: empower some one of the gargoyles that wants to live

1698
01:32:49,000 --> 01:32:49,920
Speaker 3: in harmony with.

1699
01:32:50,000 --> 01:32:53,320
Speaker 1: Humans it seems very, possible, RIGHT i, mean gargoyles probably

1700
01:32:53,320 --> 01:32:55,479
Speaker 1: have a lot to teach. Us we have stuff to

1701
01:32:55,479 --> 01:32:58,000
Speaker 1: teach them they're interested, in so why.

1702
01:32:58,040 --> 01:33:01,840
Speaker 3: Not, anyway so we get a five confrontation where Doctor

1703
01:33:01,880 --> 01:33:05,320
Speaker 3: bully has led to the gargoyle leader who wants to

1704
01:33:05,360 --> 01:33:08,240
Speaker 3: Carry diana away with. Him as they're. ESCAPING i think

1705
01:33:08,240 --> 01:33:10,439
Speaker 3: maybe some MORE i don't, know maybe some more people are.

1706
01:33:10,520 --> 01:33:13,080
Speaker 3: Arriving oh oh, WAIT i almost forgot to Mention Scott

1707
01:33:13,120 --> 01:33:16,719
Speaker 3: glenn blows himself up in order to destroy the eggs

1708
01:33:16,720 --> 01:33:20,320
Speaker 3: in one. Room Scott glenn is already that dedicated to

1709
01:33:20,400 --> 01:33:21,720
Speaker 3: the destruction of gargoyle.

1710
01:33:21,800 --> 01:33:26,200
Speaker 1: Kind you, know he may have been no good biker,

1711
01:33:26,280 --> 01:33:28,479
Speaker 1: kid but he just needed a cause to get behind

1712
01:33:28,520 --> 01:33:28,840
Speaker 1: and here he.

1713
01:33:29,000 --> 01:33:33,000
Speaker 3: Is so, anyway AS i, said the gargoyle main gargoyle

1714
01:33:33,000 --> 01:33:36,479
Speaker 3: wants to fly away With, diana but Doctor bowley comes

1715
01:33:36,600 --> 01:33:40,000
Speaker 3: up with a solution to this. Problem he bashes the

1716
01:33:40,080 --> 01:33:44,839
Speaker 3: Gargoyle queen's wing with a rock so she can no longer.

1717
01:33:44,880 --> 01:33:48,400
Speaker 3: Fly so if The Gargoyle king wants to escape with,

1718
01:33:48,439 --> 01:33:52,320
Speaker 3: her he has to carry, her meaning he cannot also Carry,

1719
01:33:52,320 --> 01:33:55,240
Speaker 3: diana so he has to Leave diana. Behind and he

1720
01:33:55,280 --> 01:33:57,760
Speaker 3: has a. Line he, says how clever you. Are your

1721
01:33:57,840 --> 01:34:00,680
Speaker 3: choice has allowed you and your daughter to. Survey it

1722
01:34:00,760 --> 01:34:04,040
Speaker 3: also allows me and my kind to, survive perhaps at

1723
01:34:04,080 --> 01:34:07,800
Speaker 3: the price of your supremacy On. Earth one, day and

1724
01:34:07,920 --> 01:34:11,599
Speaker 3: he flies, away and that's the ending we'd like, see

1725
01:34:11,680 --> 01:34:13,760
Speaker 3: and they show him. Flying we get a kind of

1726
01:34:13,800 --> 01:34:14,960
Speaker 3: slow mo flyaway.

1727
01:34:15,000 --> 01:34:17,559
Speaker 1: Shot looks pretty good. TOO i have to, say all things,

1728
01:34:17,600 --> 01:34:21,400
Speaker 1: considered you, know, OKAY tv movie, budget it could have

1729
01:34:21,439 --> 01:34:24,840
Speaker 1: looked a lot flappier and on the, wire BUT i

1730
01:34:24,840 --> 01:34:27,519
Speaker 1: thought it looked pretty. Good but, yeah our heroes end

1731
01:34:27,600 --> 01:34:29,960
Speaker 1: up sort of taking the high, road but mostly out

1732
01:34:29,960 --> 01:34:33,160
Speaker 1: of self interest and after like getting in a cheap

1733
01:34:33,200 --> 01:34:37,639
Speaker 1: shot against the very female gargoyle who put her own

1734
01:34:37,800 --> 01:34:43,280
Speaker 1: species ascension aside to help them. Out, so you, know mixed.

1735
01:34:43,280 --> 01:34:47,639
Speaker 3: Feelings it's unclear to me exactly how conscious the film

1736
01:34:48,120 --> 01:34:53,040
Speaker 3: is of the moral ambiguity of its, heroes especially Of

1737
01:34:53,120 --> 01:34:56,640
Speaker 3: Cornell wilde's. Character BUT i don't. KNOW i don't know

1738
01:34:56,640 --> 01:34:58,360
Speaker 3: if this was an attempt to create a kind of

1739
01:34:58,400 --> 01:35:01,759
Speaker 3: morally gray protagonist who uses a lot of dirty tricks

1740
01:35:01,800 --> 01:35:05,360
Speaker 3: and often acts in self, interest or if that or

1741
01:35:05,360 --> 01:35:07,240
Speaker 3: if that was just kind of like going over their.

1742
01:35:07,280 --> 01:35:09,640
Speaker 3: Heads there's not a lot of acknowledgment of.

1743
01:35:09,720 --> 01:35:12,559
Speaker 1: It, yeah it's hard to tell if this is something

1744
01:35:12,800 --> 01:35:16,960
Speaker 1: that was deluded in the execution of the film and

1745
01:35:17,160 --> 01:35:21,120
Speaker 1: maybe more prevalent in the, script or is this something

1746
01:35:21,320 --> 01:35:24,880
Speaker 1: an energy that kind of emerges out of the filmmaking.

1747
01:35:24,960 --> 01:35:28,719
Speaker 1: Process but, yeah you can imagine if someone were to remake,

1748
01:35:28,760 --> 01:35:32,120
Speaker 1: this like imagine The Rob zombie remake Of. Garda Rob

1749
01:35:32,200 --> 01:35:33,960
Speaker 1: zombie would get in, there he would explore these.

1750
01:35:34,000 --> 01:35:39,759
Speaker 3: Themes Sid haig as Doctor Mercer, Bowley Sherry Moon zombie

1751
01:35:39,920 --> 01:35:41,160
Speaker 3: As Diana.

1752
01:35:41,200 --> 01:35:45,040
Speaker 1: Bowley, yeah, yeah OR i think now this should Be

1753
01:35:45,120 --> 01:35:46,800
Speaker 1: zombie's next, film like get her in that she can

1754
01:35:46,800 --> 01:35:50,240
Speaker 1: play The Queen. Gargoyle, okay, Yeah and who else is

1755
01:35:50,280 --> 01:35:54,960
Speaker 1: he fond of casting these? Days, Oh Richard. Brake Richard

1756
01:35:54,960 --> 01:35:58,439
Speaker 1: brake is The King. Gargoyle that's somebody that zombie cast

1757
01:35:58,520 --> 01:36:02,360
Speaker 1: loot not as tall as A Bernie, casey but you,

1758
01:36:02,400 --> 01:36:03,920
Speaker 1: know good monster makeup.

1759
01:36:03,960 --> 01:36:06,320
Speaker 3: Guy oh, okay well, anyway That's.

1760
01:36:06,360 --> 01:36:09,840
Speaker 1: Gargoyles, yeah it's a fun. ONE i, mean you can

1761
01:36:09,880 --> 01:36:12,720
Speaker 1: really see. WHY i read subsequently was reading some other

1762
01:36:12,760 --> 01:36:15,160
Speaker 1: like little reviews on, letterboxed and you know a lot

1763
01:36:15,240 --> 01:36:18,080
Speaker 1: of people were saying things about how when they were,

1764
01:36:18,160 --> 01:36:20,960
Speaker 1: kids this movie resonated with, them you, know, Yeah and

1765
01:36:21,000 --> 01:36:23,400
Speaker 1: you can totally get that with these these fun monster,

1766
01:36:23,520 --> 01:36:26,920
Speaker 1: suits and also the kind of subversive nature that it

1767
01:36:27,000 --> 01:36:30,000
Speaker 1: might feel like it has if you're a kid just

1768
01:36:30,080 --> 01:36:33,240
Speaker 1: watching stuff on, Television like what Is? Gargoyles? Like it's,

1769
01:36:34,120 --> 01:36:36,840
Speaker 1: again it's it's weirder than it probably has any right to.

1770
01:36:36,880 --> 01:36:41,440
Speaker 3: Be CAN i offer another thing that is interesting about

1771
01:36:41,479 --> 01:36:45,040
Speaker 3: television as a venue for horror movies compared to the.

1772
01:36:45,080 --> 01:36:48,959
Speaker 3: CINEMA i don't know this for sure about historical practices

1773
01:36:49,000 --> 01:36:50,840
Speaker 3: of movie, theaters BUT i bet it was hard for

1774
01:36:50,920 --> 01:36:53,439
Speaker 3: little kids to get into a movie theater to see

1775
01:36:53,479 --> 01:36:55,400
Speaker 3: like AN r rated horror, movie or maybe NOT r

1776
01:36:55,479 --> 01:36:58,519
Speaker 3: rated at the, time but a mature horror movie in

1777
01:36:58,600 --> 01:37:01,559
Speaker 3: the theaters in the. Seventies but you, know who controls

1778
01:37:01,560 --> 01:37:03,840
Speaker 3: what kids are watching ON tv in the. Home parents

1779
01:37:04,439 --> 01:37:06,160
Speaker 3: maybe they're not even in the, room so the kid

1780
01:37:06,200 --> 01:37:09,080
Speaker 3: turns this. On that might be a different kind of

1781
01:37:09,360 --> 01:37:12,200
Speaker 3: reception thing about the medium as, Well like it's easier

1782
01:37:12,240 --> 01:37:16,120
Speaker 3: for kids to tune into a horror movie that they

1783
01:37:16,120 --> 01:37:19,200
Speaker 3: are not technically mature enough for when it's shown ON.

1784
01:37:19,280 --> 01:37:23,920
Speaker 1: Tv, yeah, yeah because especially at the, time it's like it's, implied,

1785
01:37:23,960 --> 01:37:26,000
Speaker 1: well if it's on network, television they should be able

1786
01:37:26,000 --> 01:37:26,479
Speaker 1: to handle. It.

1787
01:37:26,840 --> 01:37:29,040
Speaker 3: Yeah, Yeah so that kind of changes the way the

1788
01:37:29,080 --> 01:37:32,679
Speaker 3: horror works as, well because it's like a different audience

1789
01:37:32,800 --> 01:37:36,760
Speaker 3: and different. Setting, anyway the made FOR tv nous it

1790
01:37:36,880 --> 01:37:38,960
Speaker 3: really is strong. Here it is part of what this

1791
01:37:39,080 --> 01:37:40,720
Speaker 3: film is for good and for.

1792
01:37:40,800 --> 01:37:43,639
Speaker 1: Ill all, Right, well we'd love to hear from everyone out.

1793
01:37:43,680 --> 01:37:45,600
Speaker 1: There do you HAVE i know a number of you

1794
01:37:45,680 --> 01:37:49,080
Speaker 1: do have thoughts About, Gargoyles so write in and tell

1795
01:37:49,160 --> 01:37:51,000
Speaker 1: us what your connection is to this. Movie what do

1796
01:37:51,040 --> 01:37:52,920
Speaker 1: you think about some of the themes we've discussed. Here,

1797
01:37:53,479 --> 01:37:57,000
Speaker 1: likewise any Other gargoyle related media out. There were you

1798
01:37:57,040 --> 01:37:59,800
Speaker 1: a big fan of the Animated gargoyle series and have

1799
01:37:59,800 --> 01:38:03,000
Speaker 1: thought that write. In we'd love to hear from. You

1800
01:38:03,040 --> 01:38:05,240
Speaker 1: Do joe AND i need to watch the twenty fourteen

1801
01:38:05,280 --> 01:38:11,400
Speaker 1: FILM I, frankenstein in Which frankenstein's monster battles. Gargoyles maybe

1802
01:38:11,400 --> 01:38:14,080
Speaker 1: so make a case for it or anything else we

1803
01:38:14,120 --> 01:38:16,439
Speaker 1: may be missing out. There it's all fair.

1804
01:38:16,560 --> 01:38:20,679
Speaker 3: Game huge thanks as always to our excellent audio PRODUCER Jj.

1805
01:38:20,840 --> 01:38:22,880
Speaker 3: Posway if you would like to get in touch with

1806
01:38:22,960 --> 01:38:25,000
Speaker 3: us with feedback on this episode or any, other to

1807
01:38:25,080 --> 01:38:27,280
Speaker 3: suggest a topic for the, future or just to say,

1808
01:38:27,320 --> 01:38:30,240
Speaker 3: hello you can email us at contact at stuff To

1809
01:38:30,280 --> 01:38:31,360
Speaker 3: blow Your mind dot.

1810
01:38:31,400 --> 01:38:40,800
Speaker 2: Com stuff To Blow Your mind is production Of. iHeartRadio

1811
01:38:41,120 --> 01:38:43,800
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1812
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1813
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