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That's Express pros dot com. Now here's 19 00:01:01,040 --> 00:01:04,800 Speaker 1: a highlight from Coast to Coast a m on iHeart Radio. 20 00:01:05,160 --> 00:01:08,760 Speaker 1: You talk about how some incredible horror films pop up 21 00:01:09,080 --> 00:01:12,960 Speaker 1: during times of social unrest. I do tell me about that. Well, 22 00:01:13,000 --> 00:01:15,720 Speaker 1: first of all, let's finish the anecdote which I before 23 00:01:15,760 --> 00:01:19,399 Speaker 1: the break, which was the sad fate or the amazing 24 00:01:19,480 --> 00:01:22,600 Speaker 1: Lazarus like rise of the fate of Mrnos nos Ferrato, 25 00:01:22,959 --> 00:01:27,440 Speaker 1: which again itself popped up in a way. Allegorically, nos 26 00:01:27,480 --> 00:01:30,280 Speaker 1: Ferranto is not really about the advents of the vampire 27 00:01:30,400 --> 00:01:33,840 Speaker 1: on on the poor unsuspecting people, but it's about the 28 00:01:33,880 --> 00:01:37,319 Speaker 1: advents of the Nazi Party in Germany, which would usurp 29 00:01:37,440 --> 00:01:40,120 Speaker 1: the entire film industry. And all those filmmakers knew it, 30 00:01:40,160 --> 00:01:42,399 Speaker 1: and many of them went Fritz Lank. They'd all run 31 00:01:42,480 --> 00:01:44,240 Speaker 1: for the hills. Some of them went to America, some 32 00:01:44,280 --> 00:01:47,160 Speaker 1: of them went to other parts of Europe, to Paris. 33 00:01:47,800 --> 00:01:50,040 Speaker 1: And in the case of nos Ferranto, with all prints 34 00:01:50,040 --> 00:01:52,640 Speaker 1: being ordered destroyed by the court, one snuck out and 35 00:01:52,640 --> 00:01:54,920 Speaker 1: it was discovered later in in nineteen six in a 36 00:01:54,960 --> 00:01:57,680 Speaker 1: butchered way, and then various other little parts of it 37 00:01:57,680 --> 00:01:59,440 Speaker 1: were discovered along the way. And now the film is 38 00:01:59,840 --> 00:02:01,400 Speaker 1: you know, it's it's in a museum. I mean, it's 39 00:02:01,440 --> 00:02:04,360 Speaker 1: considered one of the greatest films of all the time. Um. 40 00:02:04,400 --> 00:02:08,359 Speaker 1: But yeah, these films often pop up in the best 41 00:02:08,360 --> 00:02:11,120 Speaker 1: of them. The landmark films pop up in the times 42 00:02:11,160 --> 00:02:15,600 Speaker 1: of strife and political and social unrest. So all those 43 00:02:15,600 --> 00:02:19,119 Speaker 1: films stemming from Germany in the nineteen twenties, and we're 44 00:02:19,160 --> 00:02:22,400 Speaker 1: really just kind of subconscious echoes of the times in 45 00:02:22,440 --> 00:02:24,680 Speaker 1: which they were made, post World War One, leading into 46 00:02:24,720 --> 00:02:28,240 Speaker 1: World War Two, and with all those craftsmen fleeing Germany 47 00:02:28,440 --> 00:02:30,480 Speaker 1: and many of them landing in various parts of the world. 48 00:02:31,160 --> 00:02:33,359 Speaker 1: The big wave of horror films that we would see 49 00:02:33,400 --> 00:02:36,200 Speaker 1: in the nineteen thirties coming out of America, out of Hollywood, 50 00:02:36,240 --> 00:02:40,560 Speaker 1: where the Universal Pictures horror films Dracula with Bell Lagosi 51 00:02:40,720 --> 00:02:44,200 Speaker 1: and Frankenstein both being released in nineteen thirty one, with 52 00:02:44,320 --> 00:02:47,560 Speaker 1: a hefty dose of German talent, expat German talent behind 53 00:02:47,600 --> 00:02:50,519 Speaker 1: the scenes, including directors like Carl Freund, who was a 54 00:02:50,520 --> 00:02:53,440 Speaker 1: cinematographer in Germany and would end up making The Mummy 55 00:02:53,440 --> 00:02:58,360 Speaker 1: in ninety two with with Boris karlov Um. So those, uh, 56 00:02:58,400 --> 00:03:02,280 Speaker 1: you know, those sensibilities ended up infecting um American films 57 00:03:02,280 --> 00:03:05,280 Speaker 1: in the nineteen thirties, those major major movies. You know, 58 00:03:05,320 --> 00:03:08,760 Speaker 1: we know that Rod Serling always tried to leak in 59 00:03:08,880 --> 00:03:13,760 Speaker 1: some editorial in his in his Twilight Zone episodes that 60 00:03:13,760 --> 00:03:16,720 Speaker 1: that he couldn't publicly talk about Well, no, and I 61 00:03:16,720 --> 00:03:20,080 Speaker 1: know you had mark marks thereon, yeah, because it was 62 00:03:20,160 --> 00:03:21,840 Speaker 1: you know, he's he's the man when it comes to 63 00:03:21,840 --> 00:03:24,440 Speaker 1: the Zone, and that's that's that's you know, that's a 64 00:03:24,480 --> 00:03:27,959 Speaker 1: great example right there. In the nineteen fifties, hugely volatile 65 00:03:28,000 --> 00:03:31,640 Speaker 1: time for for for the world, with every the Cold 66 00:03:31,639 --> 00:03:34,560 Speaker 1: War and people afraid of imminent nuclear destruction, and so 67 00:03:34,600 --> 00:03:36,720 Speaker 1: we'd see films like Invasion of the Body Snatchers and 68 00:03:36,760 --> 00:03:39,280 Speaker 1: Invaders from Mars that were really about xenophobia and about 69 00:03:39,320 --> 00:03:42,160 Speaker 1: the other and about losing your identity and and uh 70 00:03:42,600 --> 00:03:47,440 Speaker 1: and the loss of humanity. And Sterling was very concerned 71 00:03:47,440 --> 00:03:49,560 Speaker 1: with these themes, especially coming out of the war and 72 00:03:49,720 --> 00:03:52,400 Speaker 1: coming back a very different man. And you know, he's 73 00:03:52,440 --> 00:03:55,720 Speaker 1: winning Emmys for stuff like Patterns and and Requiem for 74 00:03:55,720 --> 00:03:58,400 Speaker 1: a Heavyweight. But the censors at the time would keep 75 00:03:59,400 --> 00:04:02,280 Speaker 1: censoring him, you know, trying to remove all the social 76 00:04:02,280 --> 00:04:04,960 Speaker 1: commentary from his scripts, which frustrated him to no end. 77 00:04:05,000 --> 00:04:08,760 Speaker 1: So very cannily he created the show called the Twilight Zone, 78 00:04:08,800 --> 00:04:10,800 Speaker 1: which he was adamant. There's a great interview he did 79 00:04:10,800 --> 00:04:12,680 Speaker 1: with Mike Wallace, you can find it on YouTube. In 80 00:04:13,280 --> 00:04:15,520 Speaker 1: fifty minutes. He was adamant, right to the bitter end, 81 00:04:15,520 --> 00:04:18,000 Speaker 1: that this was not a political show, this is not 82 00:04:18,080 --> 00:04:21,640 Speaker 1: a social diet tribe, this was just a fantasy, science 83 00:04:21,640 --> 00:04:24,080 Speaker 1: fiction show. But of course he was lying and each 84 00:04:24,120 --> 00:04:26,640 Speaker 1: one of those, especially in that glorious first season where 85 00:04:26,680 --> 00:04:30,400 Speaker 1: he wrote most of those episodes. We're really just trying 86 00:04:30,480 --> 00:04:32,960 Speaker 1: to tell people things about the world that they lived 87 00:04:33,000 --> 00:04:38,200 Speaker 1: and teach hard moral lessons using the tropes of the genre, 88 00:04:40,000 --> 00:04:44,080 Speaker 1: the the work of all of these directors who have 89 00:04:44,560 --> 00:04:50,160 Speaker 1: put together some incredible horror films then and they still do. Now, 90 00:04:51,560 --> 00:04:54,400 Speaker 1: what would you say might be the top three horror 91 00:04:54,400 --> 00:04:58,599 Speaker 1: films of all times? Then end? Now, Yes, such a 92 00:04:59,440 --> 00:05:02,440 Speaker 1: the if, if you're if you're in as deep as 93 00:05:02,480 --> 00:05:05,479 Speaker 1: I am with all this junk, that is the question 94 00:05:05,560 --> 00:05:08,640 Speaker 1: that that is the probably on the surface, the easiest, 95 00:05:08,640 --> 00:05:13,680 Speaker 1: and yet it's the most difficult because there's it's so subjective. 96 00:05:13,960 --> 00:05:16,400 Speaker 1: But I will say that obviously there's a handful of 97 00:05:16,400 --> 00:05:19,720 Speaker 1: important ones out there that are important for a reason 98 00:05:19,839 --> 00:05:22,359 Speaker 1: because they came at a certain time. They changed the 99 00:05:22,400 --> 00:05:26,520 Speaker 1: way we look at cinema. They were examples of us 100 00:05:26,720 --> 00:05:29,880 Speaker 1: changing up the guard if you will, and you know, 101 00:05:29,960 --> 00:05:33,440 Speaker 1: I mean films like you know, as the Old Guard 102 00:05:33,480 --> 00:05:35,720 Speaker 1: died in the nineteen sixties in Hollywood and things started 103 00:05:35,720 --> 00:05:38,200 Speaker 1: to change and television was in everyone's living room, and 104 00:05:38,240 --> 00:05:41,160 Speaker 1: people would see graphic violence on the six o'clock news, 105 00:05:41,520 --> 00:05:44,200 Speaker 1: bodies coming back from the war. Um, you know, the 106 00:05:44,240 --> 00:05:46,359 Speaker 1: audiences needed something a little more visceral. And then we 107 00:05:46,360 --> 00:05:48,640 Speaker 1: get films like Night of the Living Dead, so George 108 00:05:48,720 --> 00:05:51,560 Speaker 1: Ramrrow's Knight of the Living Dead and then ten years 109 00:05:51,640 --> 00:05:53,880 Speaker 1: later the sequel Dawn of the Dead, I think are 110 00:05:53,880 --> 00:05:59,039 Speaker 1: two of the most vital and important social political horror movies. 111 00:05:59,080 --> 00:06:03,960 Speaker 1: But they also did so much too progress. The graphic 112 00:06:04,080 --> 00:06:07,320 Speaker 1: nature of the horror film no longer where we concerned 113 00:06:07,360 --> 00:06:10,839 Speaker 1: about those postcode Hollywood movies where they had to hide 114 00:06:10,839 --> 00:06:13,920 Speaker 1: everything in the shadows and cloak it. Now the violence, 115 00:06:13,960 --> 00:06:16,960 Speaker 1: the gore, the bodies being ripped up could be shown 116 00:06:17,320 --> 00:06:21,520 Speaker 1: in all their crimson splendor. So those were important films. 117 00:06:21,680 --> 00:06:24,320 Speaker 1: And the Exorcist also, Now, when I was a little boy, 118 00:06:24,560 --> 00:06:27,080 Speaker 1: I saw a TV cut of The Exorcist where Linda 119 00:06:27,120 --> 00:06:30,320 Speaker 1: Blair doesn't say, well, let's just say she's she tells 120 00:06:30,320 --> 00:06:33,440 Speaker 1: the priest to scrub his socks in hell, he's instead 121 00:06:33,440 --> 00:06:35,320 Speaker 1: of saying what she should have said. So it never 122 00:06:35,320 --> 00:06:37,400 Speaker 1: really hit me, and I wasn't raised a Catholic, it didn't. 123 00:06:37,400 --> 00:06:39,320 Speaker 1: It didn't really affect me. I thought The Oldman was 124 00:06:39,360 --> 00:06:41,799 Speaker 1: a much scarier film. But going back on The Exorcist 125 00:06:41,839 --> 00:06:44,000 Speaker 1: as an adult, I see it and I see how 126 00:06:44,040 --> 00:06:48,320 Speaker 1: important that movie is and why it's a classic. So 127 00:06:48,400 --> 00:06:50,720 Speaker 1: there's there are those handful of films, the Texas Chainsaw 128 00:06:50,839 --> 00:06:53,920 Speaker 1: Massacre being another one of them. Of course, back in time, 129 00:06:53,920 --> 00:06:56,920 Speaker 1: Brida Frankenstein, a little movie called Night of the Hunter 130 00:06:57,000 --> 00:06:59,480 Speaker 1: made in nineteen fifty five by Charles Lawton, the actor, 131 00:06:59,720 --> 00:07:01,960 Speaker 1: the one shot movie, never made, another movie, never directed 132 00:07:02,000 --> 00:07:04,560 Speaker 1: another film, is a major, major work of horror that 133 00:07:04,640 --> 00:07:06,960 Speaker 1: not a lot of people even call horror film. So 134 00:07:07,040 --> 00:07:10,480 Speaker 1: there are these handful of classics, uh out there that 135 00:07:11,200 --> 00:07:14,280 Speaker 1: kind of orbit in my top five as they go. 136 00:07:14,400 --> 00:07:16,320 Speaker 1: But they are always there, and they will be here 137 00:07:16,360 --> 00:07:20,600 Speaker 1: I think until the end of time. I think the 138 00:07:20,720 --> 00:07:24,200 Speaker 1: people who are so creative who put some of these 139 00:07:24,240 --> 00:07:28,480 Speaker 1: programs together should win awards, but a lot of them don't. 140 00:07:28,560 --> 00:07:30,440 Speaker 1: How come why don't they have do they have an 141 00:07:30,480 --> 00:07:34,840 Speaker 1: award for the horror films that aren't necessarily Oscars. Well, 142 00:07:34,960 --> 00:07:37,200 Speaker 1: there are awards. I mean, it's there's there's a great 143 00:07:37,240 --> 00:07:41,120 Speaker 1: little um there's a great little kind of counterculture awards 144 00:07:42,880 --> 00:07:46,240 Speaker 1: process of organization called the Rondo Awards, named after an 145 00:07:46,240 --> 00:07:49,360 Speaker 1: actor named Rondo Hatton starting movies in the nineteen four 146 00:07:49,360 --> 00:07:52,560 Speaker 1: It's like the brute man who is physically disfigured. He 147 00:07:52,640 --> 00:07:56,040 Speaker 1: was a real ugly bastard. But you know, really, I 148 00:07:56,040 --> 00:07:58,960 Speaker 1: think because he was such a strange looking dude, that's 149 00:07:58,960 --> 00:08:01,640 Speaker 1: why he became the poster out these classical awards. So 150 00:08:01,680 --> 00:08:03,280 Speaker 1: they give out every year, and it's a lot of 151 00:08:03,280 --> 00:08:05,720 Speaker 1: fun for all of us who toil making magazines and 152 00:08:05,760 --> 00:08:09,720 Speaker 1: movies and music in this counterculture to to actually have 153 00:08:09,800 --> 00:08:13,160 Speaker 1: our kind of like down market Oscars. So the Rondos 154 00:08:13,160 --> 00:08:16,080 Speaker 1: are out there doing that. The magazine I used to run, Fangoria, 155 00:08:16,120 --> 00:08:19,080 Speaker 1: had the Fangoria chainsaw Awards. At one point even had 156 00:08:19,080 --> 00:08:22,600 Speaker 1: a television show where we'd actually give out the awards. Um. 157 00:08:22,680 --> 00:08:24,560 Speaker 1: So there are people out there. But I think what's 158 00:08:24,600 --> 00:08:27,600 Speaker 1: great about horror is that we don't need awards. Uh, 159 00:08:27,680 --> 00:08:30,560 Speaker 1: It's always been the counterculture. It's always been a bit 160 00:08:30,800 --> 00:08:34,640 Speaker 1: punk rock. We're against the mainstream. If you like this stuff, 161 00:08:34,679 --> 00:08:37,640 Speaker 1: you're always trying to comment and criticize the mainstream using 162 00:08:37,679 --> 00:08:40,360 Speaker 1: the genre. So why do we need to get dolled 163 00:08:40,400 --> 00:08:43,280 Speaker 1: up and walk the red carpet and be those human cliches. 164 00:08:44,400 --> 00:08:46,520 Speaker 1: You know that the oscars are really all about and 165 00:08:46,520 --> 00:08:49,120 Speaker 1: and let's face it, a movie wins an oscar today, 166 00:08:49,120 --> 00:08:51,480 Speaker 1: it's forgotten tomorrow. But the horror movies are the ones 167 00:08:51,520 --> 00:08:55,360 Speaker 1: that they go on forever, forever, they really do. Listen 168 00:08:55,400 --> 00:08:58,320 Speaker 1: to more Coast to Coast a M. Every weeknight at 169 00:08:58,360 --> 00:09:00,920 Speaker 1: one a m. Eastern and go to Coast to Coast 170 00:09:00,960 --> 00:09:02,400 Speaker 1: a m dot com for more