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

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Speaker 2: Hey you welcome to Weird House Cinema.

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Speaker 3: This is Rob Lamb and this is Joe McCormick. And

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Speaker 3: today on Weird House Cinema we're going to be talking

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Speaker 3: about the nineteen eighty nine Italian rock and roll haunted

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Speaker 3: house thriller Paganini horror directed by Luigi Kotzi, who we

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Speaker 3: actually just talked about a few weeks ago in the

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Speaker 3: podcast because he was also the director of Star Crash,

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Speaker 3: which will come up again in the making of section

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Speaker 3: of this episode. I want to lead off today by

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Speaker 3: I wonder if you have any counter examples to this, Rob,

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Speaker 3: because I think of all the films we've ever covered

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Speaker 3: on Weird House, this might be the most quintessential example

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Speaker 3: of to combine sort of two different showbiz cliches, a

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Speaker 3: hatchwork script emerging from development. Hell, can you think of

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Speaker 3: any other contenders that are really like as much to

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Speaker 3: the same degree as this one?

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Speaker 2: Maybe not as much as this one? Yeah, because this one,

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Speaker 2: this one really feels fractured in all over the place.

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Speaker 2: It feels like a like a corporate brainstorming session for

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Speaker 2: a music themed horror film that it should have gone

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Speaker 2: through various other stages, but they ended up just filming

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Speaker 2: the list. Yeah, yeah, Yeah. Oftentimes that some sort of

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Speaker 2: you know, behind the scenes like reorganizing of things can

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Speaker 2: certainly make for some memorable a memorable mismatch in tone

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Speaker 2: or style. One film that we're going to refer to

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Speaker 2: a few different times is, of course, Extraterrestrial Visitors, known

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Speaker 2: to MST three k Fens as pod People, one of

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Speaker 2: one of my favorite films that we've discussed in Weird

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Speaker 2: House Cinema, just straight up in and of itself. But

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Speaker 2: like that's a film that is would it's unique tone

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Speaker 2: comes in part because they've had there's one movie they

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Speaker 2: set out to shoot and then they kind of pivoted

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Speaker 2: to try and capture the et audience as well. So

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Speaker 2: it feels a little too cute and a little too

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Speaker 2: horrific at the same time. So I can think of

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Speaker 2: plenty of examples like that where there's some sort of

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Speaker 2: a pivot, some sort of a shift or two different ideas,

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Speaker 2: maybe a little tug of war behind the scenes. But

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Speaker 2: off the top of my head, nothing really as fractured

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Speaker 2: as this.

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Speaker 3: Yeah, I would say the difference there is that with

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Speaker 3: pod people or extraterrestrial visitors. Yeah, it's a shift in tone,

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Speaker 3: you can. Like. It starts off with the idea that

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Speaker 3: they're going to make this as a bloody, brutal horror movie,

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Speaker 3: and then they're like, well, maybe we can make it

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Speaker 3: a more family friendly affair, and so you get something

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Speaker 3: that's kind of bow with that's the same that doesn't

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Speaker 3: really work as either or maybe works too well, who knows. Yeah,

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Speaker 3: this one is more like totally different ideas for different movies,

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Speaker 3: all just thrown into a blend together. So do you

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Speaker 3: want a slasher movie where people get stabbed with a violin?

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Speaker 3: We got you covered here that this movie has that

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Speaker 3: for at least ninety seconds of screen time. Do you

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Speaker 3: want a haunted house movie where people run around dark

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Speaker 3: hallways calling out the names of friends who have mysteriously vanished.

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Speaker 3: I don't know how many people actually love that as

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Speaker 3: often as we get it, I know if that's anybody's

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Speaker 3: favorite kind of thing. Kate, where are you?

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Speaker 2: You know?

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Speaker 3: Tina?

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Speaker 2: Where are you?

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Speaker 3: But it's got that too, all right? Sorry, I didn't

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Speaker 3: mean to step on you. There were you trying to

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Speaker 3: stick up for wandering around dark hall.

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Speaker 2: I mean, I think I like it. I enjoy films

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Speaker 2: in which it happens. So I'm always like, it's going somewhere.

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Speaker 2: They're going to find something, or they're not going to

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Speaker 2: find something. Either way, we're leading up to something.

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Speaker 3: Fair enough, Okay, another thing? Do you want like a

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Speaker 3: Twilight Zone style are we still alive or are we dead?

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Speaker 3: Is this hell? Are we trapped in behind? And an

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Speaker 3: invisible barrier kind of thing? Well that's in there too.

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Speaker 3: Do you want some kind of science fiction thing about

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Speaker 3: like time loops and wormholes might sneak past you, but

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Speaker 3: that's part of this as well. How about would you

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Speaker 3: like a sold my soul for rock and roll type

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Speaker 3: movie about a hell raising rock band who may or

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Speaker 3: may not be dabbling in satanic pack always?

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Speaker 2: Yes?

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Speaker 3: Yeah? What about a melt movie about a flesh eating

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Speaker 3: fungus that just turns you into you know, like red oatmeal?

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Speaker 2: Sure about that? Yeah?

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Speaker 3: Yeah, that's like all of that's in here. It's all

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Speaker 3: in this movie. I think there are probably some things

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Speaker 3: I'm not even thinking of that I'm leaving out. Did

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Speaker 3: I miss anything, big rob Oh?

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Speaker 2: I mean there's some things that are there's a lot

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Speaker 2: in this film. I think we're already alluding to that

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Speaker 2: is not fully executed, and so there are teases of

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Speaker 2: things where it makes you think you're going in a

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Speaker 2: direction like you think, oh, this is going to be

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Speaker 2: a gate Way to Hell movie. Yeah, but it's not.

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Speaker 2: But for a little bit it seems like it's going

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Speaker 2: to be. So it it has shades of that for sure.

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Speaker 3: Yeah. So I think this is kind of the ultimate

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Speaker 3: assembled from spare parts movie. And while I think as

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Speaker 3: a result of that, some parts of like the second act,

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Speaker 3: really drag and feel kind of directionless. I think it's

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Speaker 3: because of that that amalgamated nature that some parts of

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Speaker 3: the movie just feel like they're not going anywhere. It

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Speaker 3: has that wandering middle problem. It also has a lot

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Speaker 3: of upside in the in like some gorgeously weird and

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Speaker 3: unexpected images and twists. This movie hits you with things

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Speaker 3: that you did not see coming.

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Speaker 2: Yeah. Absolutely, you get some bonkers turns and twists here,

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Speaker 2: but again, a lot of times most of them are

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Speaker 2: dead ends. They'll they'll introduce an element that seems like, oh,

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Speaker 2: this is what this movie is about, this is the

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Speaker 2: this is the killer Violin movie. But no, it's not

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Speaker 2: really a killer violin movie, it's something else, and then

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Speaker 2: it's another thing after they pivot from that.

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Speaker 3: So the name of the movie Paganini Horror suggests that

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Speaker 3: in some very significant way it's going to be about

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Speaker 3: Paganini for various reasons that we'll get into. It's not

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Speaker 3: very much, really, but I think it will still help

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Speaker 3: us understand the making of story of the movie. To

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Speaker 3: talk a bit about who Nicolo Paganini was. So. Nicolo

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Speaker 3: Paganini was a nineteenth century Italian virtuoso violinist and composer

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Speaker 3: who is often described by music historians as the precursor

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Speaker 3: to the modern rock star or pop musician. So, for example,

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Speaker 3: instead of having a wealthy patron or being a sort

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Speaker 3: of court composer on retainer, he made money as a

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Speaker 3: touring musician. So he would travel around Europe and play

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Speaker 3: sold out shows, and he was incredibly famous. He was

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Speaker 3: allegedly mobbed by fans in a way that almost resembles Beatlemania.

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Speaker 3: His public persona was also seen as kind of wild

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Speaker 3: and somewhat dangerous, like a rock star often is. There

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Speaker 3: were rumors that his unparalleled skill at the violin had

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Speaker 3: come from making a pact with the devil, and this

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Speaker 3: is not the only time you get a story like

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Speaker 3: this in the history of music. There's Robert Johnson, who

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Speaker 3: you know, they told the story but he met the

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Speaker 3: devil at the crossroads, and the other historical musicians where

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Speaker 3: people say, oh, they were so good at their instrument,

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Speaker 3: they must have made a deal with the devil.

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Speaker 2: Yeah, well led Zeppelin tales and so forth.

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Speaker 3: Yeah. Yeah, So lots of people allegedly actually believed this story,

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Speaker 3: like it wasn't just something you told for fun. Oh

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Speaker 3: like that's cool. Like allegedly some people thought he actually

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Speaker 3: did some demonic stuff or he's an agent of Satan

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Speaker 3: in some way. And he was also known for kind

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Speaker 3: of a hard partying lifestyle. I don't want to give

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Speaker 3: the wrong ideas about that. It wouldn't be like the

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Speaker 3: drug kind of thing that we think of with rock

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Speaker 3: stars and the sick season seventies. But he was known

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Speaker 3: for a flamboyant personality, a gambling habit, and a lot

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Speaker 3: of romantic affairs. And he also had a somewhat gothic appearance,

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Speaker 3: so he was thin, with pale skin and dark hair,

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Speaker 3: and he liked to dress in all black. His performances

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Speaker 3: were also sort of rock and roll in character. So

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Speaker 3: he didn't just show off his violin skills by performing

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Speaker 3: classic pieces of music. He performed specially composed pieces of

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Speaker 3: music that were designed to show off skills that nobody

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Speaker 3: else could do and unusual performance techniques that were unique

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Speaker 3: to him. So he invented some violin playing techniques that

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Speaker 3: nobody had really done before, or at least nobody was

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Speaker 3: known for doing before. And you can think think of

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Speaker 3: this as comparable to famous rock guitar players who were

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Speaker 3: known for kind of stunt guitar solos, like Jimmy Hendrix

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Speaker 3: or Eddie Van Halen.

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Speaker 2: So one might be tempted to sort of think of

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Speaker 2: him like, you know, coming out of it, certainly coming

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Speaker 2: out of like past centuries in which music belongs to

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Speaker 2: the people and music is something that you know, it's

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Speaker 2: in every household, it's in every town, a lot of

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Speaker 2: shared songs, and for the most part, it doesn't really

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Speaker 2: matter who's doing it. And even in courts, you know,

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Speaker 2: the particular king or queen or you know, a high

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Speaker 2: ranking individual is going to have a musician or musicians

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Speaker 2: that work for them and play the songs they want

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Speaker 2: to play. But here we have a specialist who is

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Speaker 2: playing his own music in ways that only he can

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Speaker 2: do in amassing a personal following.

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Speaker 3: Yeah, and he's like he's so skilled at the instrument

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Speaker 3: that he's playing pieces that basically nobody else can play,

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Speaker 3: you know, with the kind of like speed, or with

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Speaker 3: these techniques like plucking with the left hand. And and

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Speaker 3: there are these stories about how he would sometimes before

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Speaker 3: a concert do this stunt where he would intentionally fray

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Speaker 3: a couple of his vilein strings so that they would

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Speaker 3: during the performance, so in the middle of the song

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Speaker 3: the string would break, and then he would finish the

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Speaker 3: piece of music anyway, playing it on the remaining strings

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Speaker 3: or on a single string.

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Speaker 2: Oh wow, some great showmanship there.

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Speaker 3: Yes. So he lived from seventeen eighty two to eighteen forty.

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Speaker 3: And there's also this whole crazy story about what happened

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Speaker 3: to his body after death. I didn't read very deeply

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Speaker 3: into this, but basically, he died without having last rites performed,

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Speaker 3: and then wherever it was he died, the local religious

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Speaker 3: authorities would not permit him to be buried and consecrated ground,

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Speaker 3: so his coffin and his embalmed remains inside kept getting

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Speaker 3: shuffled around and stored in places like I think there

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Speaker 3: was an olive oil press or a cement factory. And eventually,

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Speaker 3: like many decades after his death, his family finally managed

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Speaker 3: to get his body buried in a cemetery and I

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Speaker 3: think Parma, Italy. But yeah, so a strange, interesting guy.

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Speaker 3: You can imagine that his life story would make for

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Speaker 3: a really interesting movie. How much of this factors into

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Speaker 3: Paganini Horror? Basically not at all, except for the part

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Speaker 3: about the rumors of a deal with the devil. That's

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Speaker 3: pretty much it.

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Speaker 2: Yeah, the film. The film holds your hand only a

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Speaker 2: little bit. It seems to lean on some implied knowledge

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Speaker 2: of Paganini that the viewer is supposed to already have

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Speaker 2: downloaded and ready to go. But and part of that, maybe,

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Speaker 2: you know, could be understandable.

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Speaker 3: This is an.

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Speaker 2: Italian film, maybe the intended Italian viewer would have been

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Speaker 2: more familiar than certainly maybe the average international film goer today.

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Speaker 2: Paganini has been the subject of various dramatic works over

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Speaker 2: the years, including multiple film adaptations. Is played by Roxy

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Speaker 2: Roth in nineteen forty five as a song to remember

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Speaker 2: Stuart Granger in nineteen forty six, is the Magic bow

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Speaker 2: Kloss Kinsky in eighty nine's Kinski Paganini, a notorious film

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Speaker 2: that Kinsky wrote and directed as well. It also proved

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Speaker 2: to be his last film, and then more recently, David

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Speaker 2: Garrett played Paganini in twenty thirteen's The Devil's Violinist, which

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Speaker 2: also features Jared Harris in a role.

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Speaker 3: So the Kinski Paganini movie, which he wrote and directed

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Speaker 3: and starred as Paganini, is called Kinsky Paganini.

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Speaker 2: Yeah, I mean, I don't know the full history on it.

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Speaker 2: That part of that would have been just like we're

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Speaker 2: going to capitalize on Paganini and then also Kinsky, who

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Speaker 2: I'd have to check. I'm not sure if you had

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Speaker 2: died when the film was released. This is like a

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Speaker 2: post death renaming of the film or whatnot. But yeah,

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Speaker 2: it's got It's pretty notorious as being like you can

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Speaker 2: imagine late in life klaus Kinski having full command over

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Speaker 2: the direction and writing and acting of a film. It

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Speaker 2: is uh And this is one that I think there

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Speaker 2: are stories that he tried to get Werner Herzog to

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Speaker 2: directed for him, and her said, no, I don't want

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Speaker 2: any part of this. So yeah, I I I'm in

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Speaker 2: no hurry to see it for myself. But it is

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Speaker 2: it's rather notorious because of you, because of what it is. Uh.

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Speaker 2: And it is Kinski's last film. I think there are

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Speaker 2: also a number of parallels that one would draw perhaps

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Speaker 2: between I mean, perhaps rather incorrectly, between the figure of

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Speaker 2: Klaus Kinski and the figure of paganin Well.

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Speaker 3: It just makes me think of that movie where William

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Speaker 3: Shatner plays Mozart called Shatner Mozart.

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Speaker 2: Is that true?

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Speaker 3: Is there's such a help that Mozart?

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Speaker 2: I would not, Uh, I mean, I'm picturing it now,

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Speaker 2: and then let's let's try and plant the seeds of

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Speaker 2: this thing so people have false memories of it.

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Speaker 3: Uh. Elevator pitch on. This is the band from Pod

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Speaker 3: People Goes to Hell.

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Speaker 2: I would say, I would say, so, that's pretty good.

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Speaker 2: Similar vibe. It's a It is a horror movie about

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Speaker 2: a band. Though, here's a question I had for you, Joe,

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Speaker 2: does this band have a name? I don't recall being named.

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Speaker 3: I don't think they say the name of the band

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Speaker 3: in the movie I was watching for I was listening

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Speaker 3: for it on my second viewing, like, when do they

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Speaker 3: tell you the name of the band? And I didn't

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Speaker 3: find it, so either it went past me a second time,

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Speaker 3: or they really in the movie don't say what the

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Speaker 3: band is called.

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Speaker 2: Or maybe it's one of those things where it's it's

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Speaker 2: all about Kate. It's all about the lead singer, so

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Speaker 2: it's just Kate and her band or the Kate Band

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Speaker 2: or what have you.

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Speaker 3: I don't know. I like the rest of the band.

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Speaker 3: And man, they're really making the drummer Daniel, he's doing

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Speaker 3: all the work and they're making him go do the

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Speaker 3: deals with the devil while they just get to hang out.

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Speaker 2: And they didn't ask him to do that. He that

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Speaker 2: was yeah, but he meant well, he was like, I

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Speaker 2: can fix this. I know, I know a dude who

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Speaker 2: has a scroll. But but we're getting ahead of ourselves.

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Speaker 2: At this point, you were probably wondering where can I

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Speaker 2: watch Paganini Horror. It's widely available, Joe. I believe you

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Speaker 2: watched it on the Severn Blu ray and you can

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Speaker 2: speak more to its contents. I watched it on an airplane.

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Speaker 2: I've been flying a lot this month for some reason.

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Speaker 2: I watched it on the streaming platform Eternal Family, which

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Speaker 2: is partnered with Severn and various other media companies. This

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Speaker 2: one was a good airplane viewing experience.

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Speaker 3: I have to say the making of this film is

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Speaker 3: a wild, bizarre story, so I'm going to be talking

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Speaker 3: pretty extensively about that in just a minute here. And

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Speaker 3: one of my main sources is one of the extras

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Speaker 3: on the Severn Blu ray, which is an interview with

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Speaker 3: the director of Luigikotzi.

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Speaker 2: Excellent. All right, well let's get into the people here.

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Speaker 2: I guess starting with Luigikotzy. Is this a Lewis Coates film.

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Speaker 2: I believe that's the way Lewis coach. Yes, that's the

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Speaker 2: way he is credited in the actual opening credits. But yeah,

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Speaker 2: he's the director co writer on this one. Born nineteen

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Speaker 2: forty seven. This is our third Coats the movie, following

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Speaker 2: nineteen eighty three's Hercules starring Lufarigno and seventy eight Star Crash,

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Speaker 2: which of course we just did a few weeks back.

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Speaker 2: He's probably best known internationally for Star Crash, as well

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Speaker 2: as his work with Dario Argento and the notorious nineteen

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Speaker 2: eighty alien Cash in Contamination.

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Speaker 3: This just keeps coming up, and we should just.

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Speaker 2: Go ahead and watch it. At some point. This film

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Speaker 2: Paganini Har emerges in nineteen eighty eight. This is after

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Speaker 2: his two picture Hercules series eighty three and eighty five,

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Speaker 2: Lufarigno starring in both of those, and it's before his

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Speaker 2: eighty nine Sinbad film, which also starred Lufarigno, and then

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Speaker 2: also before eighty nine's The Black Cat, which will come

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Speaker 2: up various times during the credits because there are various

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Speaker 2: people involved in this film that were also involved in

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Speaker 2: The Black Cat. Yeah, as we'll continue to discuss, I

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Speaker 2: say I have to say, for my money, Paganini Harr

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Speaker 2: fils very original compared to these other films we've looked at.

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Speaker 2: It's full of interesting but again only partially explored themes

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Speaker 2: and concepts and all sorts of jarring shifts as the

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Speaker 2: movie kind of loses its interest in one newly introduced

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Speaker 2: concept and then rushes over to explore another one.

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Speaker 3: Yeah. Yeah, I agree that this is probably the messiest

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Speaker 3: Luigi Cosi film I've seen, but it's also the most original.

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Speaker 3: And I think that's funny because normally Cotsey I don't

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Speaker 3: want to be mean to him, but in multiple sources

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Speaker 3: he seems to be quite defensive about the idea that

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Speaker 3: his films are derivative of other films, like that Star

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Speaker 3: Crashes in some way inspired by Star Wars. Like in

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Speaker 3: some moments he kind of admits that it is, and

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Speaker 3: in other moments he's he's like, no, it is its

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Speaker 3: own original thing.

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Speaker 2: Well, we always, I think, have to we have to

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Speaker 2: acknowledge that it's it's always more complicated than that, because

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Speaker 2: it's not like any given director or writers like I

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Speaker 2: want to make a film like Star Wars, and then

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Speaker 2: and then they do, like it's you know, generally, these

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Speaker 2: are creative individuals who have certain ideas, but then there

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Speaker 2: is the market, and there are producers, and there's money involved,

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Speaker 2: and so sometimes the way you get to make your

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Speaker 2: film is by saying, hey, I have something like Star Wars,

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Speaker 2: and then maybe along the way someone says, can you

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Speaker 2: make it more like Star Wars? Though, And there's so

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Speaker 2: many different factors involved, so I can imagine where you know,

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Speaker 2: it can be both way for somebody.

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Speaker 3: That's exactly the case, actually, and that is how he

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Speaker 3: frames it in his Sometimes when he admits that some

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Speaker 3: elements of the films are derivative of these more famous films,

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Speaker 3: he's like, that's how I could get funding he gets

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Speaker 3: into it and in this interview that I'm about to

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Speaker 3: talk about as well, So maybe I'll just go ahead

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Speaker 3: and discuss this interview. So I think this is probably

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Speaker 3: the best place to try to tell this long, convoluted

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Speaker 3: story of the making of Paganini Horror. And my notes

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Speaker 3: here are going to be based mainly on two sources.

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Speaker 3: One is this extra on the Severin disc called Play

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Speaker 3: It Again Paganini, which is an extended interview with Cotzy.

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Speaker 3: My other is a book called Italian Gothic Horror Films

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Speaker 3: nineteen eighty to nineteen eighty nine by the Italian film

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Speaker 3: historian Roberto Curti. I would note that both of these

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Speaker 3: tellings are going to be primarily Cotzy's version of events,

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Speaker 3: so I can't vouch for him being correct about everything.

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Speaker 3: But Kurt Curtie's account also seems to largely rely on

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Speaker 3: interviews with Cotzi to get the information about how all

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Speaker 3: this happened. But this is the version of the story

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Speaker 3: we've got. So Kotzi claims he came up with the

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Speaker 3: idea for Paganini Horror in nineteen eighty six or eighty seven,

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Speaker 3: and he says it began with a French American producer

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Speaker 3: named Nat Wachsberger, who was also the producer of Star

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Speaker 3: Crash as well as of films like Diamond Bikini in

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Speaker 3: nineteen seventy one, and they came to Rob Las Vegas

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Speaker 3: and I will know that Cotzy calls him French American,

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Speaker 3: but online sources say he was born in Belgium. I'm

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Speaker 3: not sure what nationality he identified, but anyway, Cotesy had

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Speaker 3: worked with Waksburger already on Star Crash, so they had

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Speaker 3: a relationship. And the situation was Waksburger came to Cotsey

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Speaker 3: and said, hey, I have made a deal with a

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Speaker 3: certain French actor, a man I don't know if anyone's

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Speaker 3: heard of, but he's known as Christophe Lambert to make

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Speaker 3: a to make a biographical film about Nicolo Paganini. So

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Speaker 3: when I got to that, I watched this after I'd

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Speaker 3: already watched the movie Paganini Horror, and I was like,

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Speaker 3: oh my god, the movie I just watched actually started

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Speaker 3: with a biopic about Paganini that was going to star

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Speaker 3: Christoph Lambert. Can you imagine and how you get from

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Speaker 3: point A to point B?

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Speaker 2: I mean, Lambert can play any European and also Americans like,

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Speaker 2: there's no he can't be stopped, and he's a master

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Speaker 2: of the tongue of the accent. I don't think so so.

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Speaker 3: Waksburger was anxious to work with Lambert because Gray Stoke,

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Speaker 3: The Legend of Tarzan, was about to come out and

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Speaker 3: everybody thought it was going to be a huge hit.

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Speaker 3: Waksburger's bet was that Lambert would be a big deal

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Speaker 3: after this movie was released, and he wanted to lock

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Speaker 3: him down for the next project.

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Speaker 2: You know, I had to look into this a bit.

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Speaker 2: I don't think I've ever seen Gray Stroke in its entirety,

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Speaker 2: but Stoke, Yeah, sorry, Gray Stroke a different film. Gray

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Speaker 2: Stoke was certainly a critical hit, though when it came out.

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Speaker 2: It's the first Tarzan movie nominated for Academy Awards, including

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Speaker 2: Best Screenplay, Best Makeup, and Best Supporting Actor nomination for

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Speaker 2: Sir Ralph Richardson, who we discussed in our episode on

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Speaker 2: Dragon Slayer. His role in the Tarzan movie here was

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Speaker 2: his final role, and the film also certainly made money.

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Speaker 2: I'm always a little I'm not as good with the

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Speaker 2: monetary side of understanding how pictures do or don't do,

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Speaker 2: you know, but it seems like it made a fair

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Speaker 2: amount of money, and it is also generally pointed out

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Speaker 2: as the film that launched Christoph Lambert's international career. Highlander

402
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Speaker 2: would never have swung a sword if Gray Stoke had

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Speaker 2: not swung from a vine.

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Speaker 3: This is funny because I cannot adjudicate here, I can't

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Speaker 3: fact check whether the movie was a success or not.

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Speaker 3: But the funny thing is that Cotzy later characterizes it

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Speaker 3: as a total flop, like Gray Stoke. He says, just

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Speaker 3: a failure. So I don't know if he's if he's

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Speaker 3: judging it on a different metric there, or if he's

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Speaker 3: just wrong about that. But so Waksburger hired Cotzy to

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Speaker 3: write a script for this movie about Paganini's life, and

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Speaker 3: Cotzy admits that the story he came up with was

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Speaker 3: probably not going to be of the highest level of

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Speaker 3: historical accuracy. It would be a somewhat fictionalized version of Paganini.

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Speaker 3: And I would have loved to see that mckn you imagine.

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Speaker 3: I wish we could have seen that movie, this sort

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Speaker 3: of star crash, Raiden flavored Paginni biopic, But it was

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Speaker 3: never meant to be, Cotzy says, quote, my script was

419
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Speaker 3: well received. But as we were about to finalize the details,

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Speaker 3: Gray Stoke was released and it fluffed. It was a

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Speaker 3: total flop. This alarmed Waksburger, who panicked and decided to

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Speaker 3: shelve the project because he didn't believe in using Limbert anymore.

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Speaker 2: If true, that is of course ridiculous, because how many

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Speaker 2: films after this were made. You know, maybe not at

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Speaker 2: the highest level, but so many films afterwards were made

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Speaker 2: in large part because Christoph Lambert was attached to them.

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Speaker 3: You know, Oh he's an A list nineties bad but yeah, yeah, yeah.

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Speaker 3: So funding was gone scrammed. But Cotzy says by this

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Speaker 3: point he'd already spent a lot of time studying Paganini

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Speaker 3: and like researching him and putting all this work into

431
00:23:47,880 --> 00:23:50,920
Speaker 3: the script. So anything else he could do with it, well,

432
00:23:51,040 --> 00:23:55,520
Speaker 3: along comes a saving angel, a younger producer named Ugo Valenti.

433
00:23:56,320 --> 00:24:00,520
Speaker 3: Cotzy had recently directed the horror film Contamination again this

434
00:24:00,680 --> 00:24:03,080
Speaker 3: is the one with the alien style eggs, and this

435
00:24:03,200 --> 00:24:06,920
Speaker 3: movie had been shot in Colombia, in South America. Ugo

436
00:24:07,000 --> 00:24:10,280
Speaker 3: Valenti wanted to do another project like that, a horror

437
00:24:10,280 --> 00:24:13,760
Speaker 3: movie shot in South America, and he comes to Cotzy,

438
00:24:13,800 --> 00:24:16,880
Speaker 3: and he's like, got any ideas. Cotzy says, well, I've

439
00:24:16,920 --> 00:24:19,840
Speaker 3: got this biopic about the life of the violinist to

440
00:24:19,920 --> 00:24:22,720
Speaker 3: Nicolo Paganini that I wrote for Christoph Lambert. Let me

441
00:24:22,720 --> 00:24:25,600
Speaker 3: see if I can rewrite this into a slasher movie.

442
00:24:26,960 --> 00:24:29,280
Speaker 2: You know, is on one level that's ridiculous, But on

443
00:24:29,320 --> 00:24:32,679
Speaker 2: the other hand, it's not a bad idea, and you

444
00:24:32,720 --> 00:24:37,399
Speaker 2: see shades of that film in Paganini Horror. It's just

445
00:24:37,480 --> 00:24:39,960
Speaker 2: kind of obscured by all the other ideas that are involved.

446
00:24:40,480 --> 00:24:44,040
Speaker 3: Yeah, I admire it. I cannot lie. I admire it,

447
00:24:44,160 --> 00:24:46,920
Speaker 3: just I feel like I would not have the courage

448
00:24:47,000 --> 00:24:51,879
Speaker 3: to push forward like that. But he says, well, actually, so.

449
00:24:52,000 --> 00:24:54,960
Speaker 3: The way Kurtie explains it in his book is that

450
00:24:55,240 --> 00:25:00,600
Speaker 3: first Kotzy transformed his Paganini script into a science fiction film,

451
00:25:01,119 --> 00:25:05,320
Speaker 3: using some ideas left over from the Paganini research, but

452
00:25:05,400 --> 00:25:09,239
Speaker 3: then cramming them into this original story of like a

453
00:25:09,440 --> 00:25:14,919
Speaker 3: sci fi haunted house quote where time killed you, making

454
00:25:14,960 --> 00:25:19,160
Speaker 3: you age or rejuvenate, suddenly turning you into a newborn

455
00:25:19,359 --> 00:25:23,240
Speaker 3: child and then an egg cell. So I'm sort of

456
00:25:23,280 --> 00:25:28,680
Speaker 3: imagining like a science fiction horror Benjamin Button where you

457
00:25:28,840 --> 00:25:31,359
Speaker 3: reverse age to death instantly.

458
00:25:31,640 --> 00:25:33,639
Speaker 2: Yeah, yeah, I mean I'm digging this as well. You know,

459
00:25:33,680 --> 00:25:36,159
Speaker 2: I'm gonna imagine imagining a sort of a mash up

460
00:25:36,200 --> 00:25:39,280
Speaker 2: between some sort of Italian haunted house film and I

461
00:25:39,280 --> 00:25:41,800
Speaker 2: don't know, House of Leaves or something. Yeah.

462
00:25:42,200 --> 00:25:44,439
Speaker 3: If you if you regress all the way to an

463
00:25:44,480 --> 00:25:46,479
Speaker 3: egg cell, do you just stop there or do you

464
00:25:46,520 --> 00:25:49,720
Speaker 3: split apart into a sperm cell and an unfertilized egg cell,

465
00:25:50,119 --> 00:25:52,879
Speaker 3: and then do you further split apart into I don't know,

466
00:25:52,920 --> 00:25:54,160
Speaker 3: amino acids and.

467
00:25:54,400 --> 00:25:58,000
Speaker 2: Like, yeah, yeah, I think so, I think Okay, I

468
00:25:58,000 --> 00:26:01,080
Speaker 2: mean it depends on how s the sciences. It might

469
00:26:01,119 --> 00:26:03,920
Speaker 2: have you, like turning into apes and dinosaurs. I don't

470
00:26:03,960 --> 00:26:06,000
Speaker 2: know that would be good.

471
00:26:07,200 --> 00:26:11,880
Speaker 3: So, according to Kurtie, the new producer, Ugo Valenti, did

472
00:26:11,880 --> 00:26:14,600
Speaker 3: not like this direction, and he had Cotzy rewrite the

473
00:26:14,640 --> 00:26:18,840
Speaker 3: script and wanted to add like Slasher Gore scene splatter stuff,

474
00:26:18,880 --> 00:26:22,480
Speaker 3: thinking that this would help them secure more funding. Also,

475
00:26:22,640 --> 00:26:25,840
Speaker 3: Valenti hired, according to Cotzy, hired a well known Italian

476
00:26:25,960 --> 00:26:29,600
Speaker 3: artist and illustrator named Zoskioti to make a poster for

477
00:26:29,680 --> 00:26:33,639
Speaker 3: the film. This is classic poster first filmmaking, where you

478
00:26:33,640 --> 00:26:36,880
Speaker 3: get a poster before you even have a finished, finalized script,

479
00:26:38,040 --> 00:26:40,320
Speaker 3: and I just want to fly. I had never read

480
00:26:40,440 --> 00:26:44,679
Speaker 3: much about Inzoskiot before, but I briefly did a just

481
00:26:44,760 --> 00:26:48,760
Speaker 3: kind of dive into a lot of the posters he made.

482
00:26:48,920 --> 00:26:53,080
Speaker 3: This guy made like thousands of movie posters over his career,

483
00:26:53,440 --> 00:26:57,919
Speaker 3: and they're those great classic hand painted horror movie posters

484
00:26:57,920 --> 00:26:59,679
Speaker 3: from the seventies and eighties you see on a lot

485
00:26:59,680 --> 00:27:03,919
Speaker 3: of a horror movies, like the VHS box art or

486
00:27:03,960 --> 00:27:08,000
Speaker 3: the you know, theatrical posters from this time. It is

487
00:27:08,359 --> 00:27:12,240
Speaker 3: such a downgrade to go from these great vulgar works

488
00:27:12,280 --> 00:27:16,080
Speaker 3: of art to that standard you know, box art style

489
00:27:16,160 --> 00:27:18,199
Speaker 3: of the nineties and two thousands, where it's like a

490
00:27:18,320 --> 00:27:21,880
Speaker 3: row of actor headshots with an exploding background. I love

491
00:27:21,960 --> 00:27:24,760
Speaker 3: these old painted covers. I wish we got more like that.

492
00:27:24,960 --> 00:27:27,560
Speaker 2: Yeah, I mean, I'm glad that so many re releases

493
00:27:27,600 --> 00:27:30,400
Speaker 2: and new releases on physical media at any rate are

494
00:27:30,720 --> 00:27:36,280
Speaker 2: you know, have gone back and fully fully embraced the

495
00:27:36,600 --> 00:27:38,439
Speaker 2: old poster art. You know, sometimes they go in new

496
00:27:38,480 --> 00:27:41,440
Speaker 2: directions and have some you know, cool new art as well,

497
00:27:41,480 --> 00:27:45,040
Speaker 2: and I'm down for that certainly, But new slipcases and

498
00:27:45,080 --> 00:27:49,439
Speaker 2: so forth. But this is a complete side tangent. But

499
00:27:49,520 --> 00:27:51,720
Speaker 2: one of my big disappointments is you never see this,

500
00:27:52,119 --> 00:27:55,400
Speaker 2: to my knowledge anyway, with books with like physical books,

501
00:27:56,119 --> 00:27:58,480
Speaker 2: like just thinking about someone as popular as Stephen King,

502
00:27:58,560 --> 00:28:01,440
Speaker 2: for example, they were all these like classic Stephen King

503
00:28:01,960 --> 00:28:06,479
Speaker 2: paperback covers that I remember from from my childhood and

504
00:28:06,520 --> 00:28:11,280
Speaker 2: you know, my middle and teen years especially, and as

505
00:28:11,320 --> 00:28:12,960
Speaker 2: far as I know, like they never bring those back.

506
00:28:12,960 --> 00:28:16,480
Speaker 2: It's always some new cover for new paperbacks, and those

507
00:28:16,520 --> 00:28:18,880
Speaker 2: classic paper book covers are just like you know, they're

508
00:28:18,880 --> 00:28:20,480
Speaker 2: just left to the old editions.

509
00:28:20,760 --> 00:28:24,879
Speaker 3: Yeah, yeah, I also love that old style anyway. So

510
00:28:25,440 --> 00:28:27,920
Speaker 3: Cotzy talks a bit about where this image came from.

511
00:28:28,000 --> 00:28:29,840
Speaker 3: And by the way, I would recommend you look up

512
00:28:29,880 --> 00:28:32,680
Speaker 3: the Paganini horror poster. I think it's pretty great.

513
00:28:32,720 --> 00:28:32,880
Speaker 4: Yeah.

514
00:28:32,880 --> 00:28:35,240
Speaker 2: It's got this skeleton playing a violin.

515
00:28:35,560 --> 00:28:39,520
Speaker 3: Skeleton with one eyeball and gray hair playing a violin,

516
00:28:39,760 --> 00:28:43,720
Speaker 3: and there's blood dripping from the bow. And there's a

517
00:28:43,720 --> 00:28:46,480
Speaker 3: man and a woman standing in front of a haunted

518
00:28:46,520 --> 00:28:49,720
Speaker 3: house with like sheet music blowing in the wind. I

519
00:28:49,760 --> 00:28:52,920
Speaker 3: can't zoom in. Is this this guy in this lady

520
00:28:53,000 --> 00:28:55,080
Speaker 3: or are they in the movie. They don't look very familiar.

521
00:28:55,240 --> 00:28:58,440
Speaker 2: They don't look tremendously familiar. Now, yeah, so it really

522
00:28:58,520 --> 00:29:01,640
Speaker 2: does feel like a different picture is on the poster,

523
00:29:01,680 --> 00:29:04,040
Speaker 2: which makes sense since this again is poster first.

524
00:29:05,040 --> 00:29:07,560
Speaker 3: So the image of the house used on the poster

525
00:29:07,720 --> 00:29:10,160
Speaker 3: was one that Cotzy himself found on the cover of

526
00:29:10,200 --> 00:29:14,360
Speaker 3: a book about the paranormal, and so they brought that

527
00:29:14,480 --> 00:29:16,720
Speaker 3: in and then you know, some different design elements, but

528
00:29:16,800 --> 00:29:19,719
Speaker 3: it's a beautiful poster. So at this point Cotzy and Valenti,

529
00:29:19,800 --> 00:29:21,640
Speaker 3: they've got a poster and they've got like a three

530
00:29:21,720 --> 00:29:25,120
Speaker 3: to four page story treatment for the way they want

531
00:29:25,160 --> 00:29:30,640
Speaker 3: to do the story. Now. So the producer Valenti was like, Cotzy,

532
00:29:31,320 --> 00:29:34,600
Speaker 3: come to Colombia with me to meet this local businessman.

533
00:29:34,720 --> 00:29:37,280
Speaker 3: I know this is the guy who's going to co produce.

534
00:29:37,600 --> 00:29:40,080
Speaker 3: Then Cotzy tells in this interview, he tells a long

535
00:29:40,240 --> 00:29:43,440
Speaker 3: story about going around in Colombia trying to figure out

536
00:29:43,440 --> 00:29:45,000
Speaker 3: who they're going to work with their I'm not going

537
00:29:45,080 --> 00:29:48,120
Speaker 3: to go into all the details, but the very truncated

538
00:29:48,240 --> 00:29:51,240
Speaker 3: version is there are all these changes like, oh, you

539
00:29:51,280 --> 00:29:54,200
Speaker 3: can't work with the same crew you used on contamination,

540
00:29:54,320 --> 00:29:57,400
Speaker 3: You've got to use these other guys. And then Cotzy's

541
00:29:57,480 --> 00:30:01,480
Speaker 3: running around location scouting with this potential producer, who he

542
00:30:01,480 --> 00:30:04,960
Speaker 3: says has armed bodyguards with him at all times, and

543
00:30:05,040 --> 00:30:08,560
Speaker 3: Cotzy speculates that this guy was involved in drug trafficking,

544
00:30:08,600 --> 00:30:12,760
Speaker 3: but he doesn't offer direct evidence. Ultimately, the deal falls through,

545
00:30:12,800 --> 00:30:24,720
Speaker 3: so the Paganini horror movie shot in Colombia never happens.

546
00:30:25,720 --> 00:30:28,640
Speaker 3: So Cotzy and Valenti they go back to Italy and

547
00:30:28,760 --> 00:30:31,040
Speaker 3: Valenti is like, you know what, write the script anyway,

548
00:30:31,080 --> 00:30:34,080
Speaker 3: we'll get more financing. We'll figure that out later. But

549
00:30:34,480 --> 00:30:39,520
Speaker 3: Curtie says, after what they put together failed to attract backers, Valenti,

550
00:30:39,640 --> 00:30:43,280
Speaker 3: the producer quote just gave up the film ando industry

551
00:30:43,440 --> 00:30:46,520
Speaker 3: and left for Santo Domingo, where, according to Cotzy, he

552
00:30:46,600 --> 00:30:50,640
Speaker 3: set up a successful prawn factory. Okay, there you go,

553
00:30:51,240 --> 00:30:53,240
Speaker 3: So enter a new producer. We got to get a

554
00:30:53,280 --> 00:30:55,960
Speaker 3: new one this time. It's a guy named Carlo Mayeto.

555
00:30:56,120 --> 00:30:59,400
Speaker 3: Carlo Mayetto was an Italian producer and the husband of

556
00:30:59,480 --> 00:31:03,000
Speaker 3: none other than Janet Agrin, the actress we talked about

557
00:31:03,040 --> 00:31:06,400
Speaker 3: in our episodes on Ful Cheese. City of the Living Dead.

558
00:31:06,480 --> 00:31:10,040
Speaker 3: She's in that, and she's also one of the leads

559
00:31:10,040 --> 00:31:12,240
Speaker 3: in Hands of Steel. Were here in that?

560
00:31:12,480 --> 00:31:12,680
Speaker 2: Yeah?

561
00:31:12,760 --> 00:31:16,680
Speaker 3: Yeah, fans might remember us dwelling on her bizarre music

562
00:31:16,800 --> 00:31:20,400
Speaker 3: video called Teddy Bear, Gimme Gimme Teddy Teddy My Teddy

563
00:31:20,440 --> 00:31:23,240
Speaker 3: Bear one of the weirdest things I have ever seen.

564
00:31:24,200 --> 00:31:27,560
Speaker 3: So Maeto optioned the movie, and Cotzi went on to

565
00:31:27,600 --> 00:31:32,080
Speaker 3: do some other projects, including working with Dario Argento. It

566
00:31:32,120 --> 00:31:35,440
Speaker 3: sounds like the Paganini script kind of got passed around

567
00:31:35,480 --> 00:31:38,280
Speaker 3: from desk to desk for a while, just more development.

568
00:31:38,360 --> 00:31:38,600
Speaker 2: Hell.

569
00:31:39,400 --> 00:31:45,240
Speaker 3: Eventually it ended up with producer Fabricio DeAngelis of Fulvia Film,

570
00:31:45,280 --> 00:31:48,640
Speaker 3: who had done financial backing for some Luccio Fulci movies,

571
00:31:49,080 --> 00:31:53,040
Speaker 3: and Fabricio D'Angelis is the final the name you'll see

572
00:31:53,080 --> 00:31:58,000
Speaker 3: on Paganini Horrors. That was ultimately the producer. DeAngelis called

573
00:31:58,040 --> 00:32:00,760
Speaker 3: Cotzy in early nineteen eighty eight and he said, Okay,

574
00:32:00,760 --> 00:32:03,240
Speaker 3: we're going to make this movie, but it's going to

575
00:32:03,240 --> 00:32:07,840
Speaker 3: be shot in Miami later this year. Eventually we will

576
00:32:08,640 --> 00:32:12,000
Speaker 3: come back to this. Cotzy managed to Convincedangelist not to

577
00:32:12,080 --> 00:32:15,000
Speaker 3: set Paganini Horror in Miami, since he said it would

578
00:32:15,040 --> 00:32:19,440
Speaker 3: not make sense for Paganini to be in Florida. Cotzy

579
00:32:19,480 --> 00:32:21,080
Speaker 3: kind of he thinks about it for a second, and

580
00:32:21,120 --> 00:32:23,920
Speaker 3: then he says grotesque. Even why not?

581
00:32:24,040 --> 00:32:26,200
Speaker 2: I mean, I don't know. It seems like we're so

582
00:32:26,480 --> 00:32:30,680
Speaker 2: far into the speculative here. Why couldn't his ghost be

583
00:32:30,760 --> 00:32:31,760
Speaker 2: in in Florida?

584
00:32:31,800 --> 00:32:35,880
Speaker 3: For some reason, some things you just can't let go. Also,

585
00:32:35,960 --> 00:32:40,480
Speaker 3: there's another thing, like in between the time when Dangelist

586
00:32:40,480 --> 00:32:43,680
Speaker 3: gets involved and when they actually shoot the movie, Cotesy

587
00:32:43,880 --> 00:32:46,400
Speaker 3: was he has this whole He tells this bizarre shaggy

588
00:32:46,440 --> 00:32:49,840
Speaker 3: dog story about another horror movie that he was initially

589
00:32:49,920 --> 00:32:52,560
Speaker 3: hired to direct, but he wanted to make changes to

590
00:32:52,600 --> 00:32:55,960
Speaker 3: the script and the producer would not agree because he

591
00:32:56,080 --> 00:33:00,040
Speaker 3: had a computer program that showed him with charts and

592
00:33:00,480 --> 00:33:03,360
Speaker 3: how the script was already perfect. And I was like,

593
00:33:03,440 --> 00:33:06,400
Speaker 3: this is nineteen eighty eight. What I want to know

594
00:33:06,440 --> 00:33:09,880
Speaker 3: what this computer software in nineteen eighty eight was that

595
00:33:10,000 --> 00:33:13,120
Speaker 3: analyzed a screenplay to tell you if it's good or not.

596
00:33:13,200 --> 00:33:15,080
Speaker 2: Yeah, I don't think we even had Clippi at that point.

597
00:33:15,120 --> 00:33:15,960
Speaker 2: Did we know?

598
00:33:17,360 --> 00:33:18,840
Speaker 3: What is he talking about?

599
00:33:19,680 --> 00:33:20,280
Speaker 2: I want to know?

600
00:33:20,320 --> 00:33:25,720
Speaker 3: But anyway, so finally they're moving ahead with making Paganini horror.

601
00:33:25,760 --> 00:33:29,640
Speaker 3: So Cotzy wanted to shoot in Venice. The producer said,

602
00:33:29,640 --> 00:33:32,800
Speaker 3: we can't afford to shoot in Venice. That's way too expensive. Instead,

603
00:33:32,880 --> 00:33:35,520
Speaker 3: I'll give you like a couple of days of shooting

604
00:33:35,560 --> 00:33:38,520
Speaker 3: in Venice. That's what we can afford. It's very expensive there.

605
00:33:39,040 --> 00:33:42,840
Speaker 3: So he got some nice exterior shots in Venice canals

606
00:33:42,880 --> 00:33:45,520
Speaker 3: and things, and then they also filmed a bit in

607
00:33:45,680 --> 00:33:48,120
Speaker 3: Rome on a sound stage, and then other parts of

608
00:33:48,160 --> 00:33:51,520
Speaker 3: the movie at this abandoned house the main house in

609
00:33:51,520 --> 00:33:54,520
Speaker 3: the movie, which he claims was part of a former

610
00:33:54,680 --> 00:33:58,680
Speaker 3: church or college that belonged to an order of nuns.

611
00:33:59,240 --> 00:34:02,320
Speaker 3: And it's sort of near this road that goes around

612
00:34:01,800 --> 00:34:04,560
Speaker 3: the outside of Rome, kind of like two eighty five

613
00:34:04,640 --> 00:34:08,840
Speaker 3: around Atlanta, And he says it was good location for

614
00:34:08,880 --> 00:34:12,480
Speaker 3: shooting because it was abandon nothing going on there. In

615
00:34:12,520 --> 00:34:15,640
Speaker 3: the meantime, more writers are brought on to make further

616
00:34:15,760 --> 00:34:18,240
Speaker 3: changes to the script. I got to get some more hands,

617
00:34:18,440 --> 00:34:21,760
Speaker 3: more cooks in the kitchen here, so we get Raymondo

618
00:34:21,880 --> 00:34:25,000
Speaker 3: del Balzo, Daria Nickelodi who will come back and talk

619
00:34:25,000 --> 00:34:29,799
Speaker 3: about and Dardano Sacchetti or maybe pronouncing that room Sacchetti.

620
00:34:29,920 --> 00:34:35,720
Speaker 3: Maybe they come in and they work on the script.

621
00:34:35,920 --> 00:34:40,560
Speaker 3: Curti says that the final script was significantly in part

622
00:34:40,840 --> 00:34:45,520
Speaker 3: due to Cotzy's collaboration with Daria Nickelode. She had worked

623
00:34:45,520 --> 00:34:48,160
Speaker 3: with Cotzi before on a movie he directed that was

624
00:34:48,200 --> 00:34:52,480
Speaker 3: released under multiple titles, including The Black Cat and De Profundus,

625
00:34:53,239 --> 00:34:56,440
Speaker 3: and it seems to be kind of an unofficial sequel

626
00:34:56,480 --> 00:34:59,719
Speaker 3: to Suspiria and Inferno. There's some positive talk about this

627
00:34:59,760 --> 00:35:01,800
Speaker 3: one from users on letterboxed. I kind of want to

628
00:35:01,840 --> 00:35:07,319
Speaker 3: check that one out. But Cotzy claims that Nickelode's main

629
00:35:07,440 --> 00:35:12,200
Speaker 3: story contributions to Paganini Horror were quote the esoteric scenes

630
00:35:12,400 --> 00:35:15,799
Speaker 3: like the one about the pact with the Devil. I

631
00:35:15,800 --> 00:35:18,000
Speaker 3: thought that was kind of interesting because like, that's the

632
00:35:18,040 --> 00:35:22,640
Speaker 3: main biographical stuff that's brought in from Paganini, and he's

633
00:35:22,640 --> 00:35:24,680
Speaker 3: the one who wrote the Paganini movie. So now I'm

634
00:35:24,719 --> 00:35:27,360
Speaker 3: confused about what came in from that. If she wrote

635
00:35:27,360 --> 00:35:28,360
Speaker 3: that stuff.

636
00:35:28,239 --> 00:35:31,479
Speaker 2: Yeah, yeah, I mean maybe she'd. It had been messed

637
00:35:31,520 --> 00:35:33,640
Speaker 2: around so much you needed somebody to come in and

638
00:35:33,680 --> 00:35:36,600
Speaker 2: be like, Okay, let's ground this a little bit around

639
00:35:36,680 --> 00:35:38,920
Speaker 2: the character of Paganini. We need just a little bit

640
00:35:38,960 --> 00:35:42,040
Speaker 2: of narration, a little bit of storytelling about who this

641
00:35:42,120 --> 00:35:44,920
Speaker 2: guy was and what sort of evil he was up to.

642
00:35:45,680 --> 00:35:49,799
Speaker 3: Yeah. Kurtie here also notes the inclusion of ideas that

643
00:35:49,880 --> 00:35:53,720
Speaker 3: were recycled from an Italian TV series that Cotzy worked

644
00:35:53,760 --> 00:35:56,879
Speaker 3: on in nineteen eighty seven called Turno d Note, meaning

645
00:35:57,000 --> 00:36:00,239
Speaker 3: night Shift. At least one of these episodes of night

646
00:36:00,280 --> 00:36:04,200
Speaker 3: Shift that he made is called La Casa dilo Strativari

647
00:36:04,360 --> 00:36:09,239
Speaker 3: the you know, the house of Stratavaria, of the Stratavarius violins.

648
00:36:09,480 --> 00:36:12,200
Speaker 3: I can imagine which part of the movie that probably

649
00:36:12,239 --> 00:36:18,400
Speaker 3: contributed to so, Cotesy claims. DeAngelis demanded last minute changes

650
00:36:18,400 --> 00:36:21,719
Speaker 3: to the script right before they started shooting. Particularly, he

651
00:36:21,840 --> 00:36:24,680
Speaker 3: was told to cut out some of the splatter scenes

652
00:36:24,800 --> 00:36:27,759
Speaker 3: that would be costly and time consuming to set up.

653
00:36:27,800 --> 00:36:30,839
Speaker 3: So we got a gore in gore out situation here,

654
00:36:31,840 --> 00:36:34,280
Speaker 3: and then to make up the difference of what was lost,

655
00:36:34,400 --> 00:36:38,759
Speaker 3: Cotesy says, quote, I tried to rebalance from this, rebalance

656
00:36:38,840 --> 00:36:41,520
Speaker 3: the script by inserting some of the weirdest and more

657
00:36:41,600 --> 00:36:45,520
Speaker 3: fantasy oriented things from my previous version. The result was

658
00:36:45,560 --> 00:36:49,000
Speaker 3: definitely not a horror movie, but a fantasy or a

659
00:36:49,040 --> 00:36:52,960
Speaker 3: fantastique with lots of irony and lots of theories on

660
00:36:53,120 --> 00:36:57,080
Speaker 3: music and time. I see what he's going for there,

661
00:36:57,080 --> 00:36:59,399
Speaker 3: But and he says this in the other interview, He's

662
00:36:59,440 --> 00:37:01,719
Speaker 3: like it's not a horror movie. I don't know why

663
00:37:01,760 --> 00:37:04,120
Speaker 3: he's insisting that. I mean, obviously this is trying to

664
00:37:04,120 --> 00:37:04,960
Speaker 3: be a horror movie.

665
00:37:05,440 --> 00:37:09,839
Speaker 2: Yeah, I mean, I've run across various director interviews where they,

666
00:37:10,040 --> 00:37:12,040
Speaker 2: you know, they'll they'll be talking about a film that's

667
00:37:12,040 --> 00:37:14,440
Speaker 2: obviously hard and they're like, actually, it's really science fiction

668
00:37:14,920 --> 00:37:19,320
Speaker 2: or it's really historical fantasy, and yeah, I mean, yeah, genres,

669
00:37:19,640 --> 00:37:23,400
Speaker 2: genre definitions can be a little silly at times, but

670
00:37:23,680 --> 00:37:25,759
Speaker 2: come on, this is the horror movie.

671
00:37:26,320 --> 00:37:29,000
Speaker 3: A few other things about the making of Kotzy complained

672
00:37:29,040 --> 00:37:33,440
Speaker 3: about the in his words, ridiculously low budget for special effects.

673
00:37:33,560 --> 00:37:36,200
Speaker 3: Terribly low given that they had a very low budget.

674
00:37:36,239 --> 00:37:38,280
Speaker 3: I don't know, I'm pretty impressed with some of the

675
00:37:38,320 --> 00:37:42,640
Speaker 3: gore effects scenes, Like the fungus melt scene is pretty

676
00:37:42,680 --> 00:37:46,120
Speaker 3: pretty good. The exploding behind a glass wall scene is

677
00:37:46,160 --> 00:37:46,600
Speaker 3: pretty good.

678
00:37:46,680 --> 00:37:48,920
Speaker 2: Yeah, yeah, I think the gore looks looks fine. I mean,

679
00:37:49,640 --> 00:37:52,080
Speaker 2: there was nothing in here was was so amazing that

680
00:37:52,160 --> 00:37:54,000
Speaker 2: I was like, oh man, who was the team that

681
00:37:54,200 --> 00:37:57,200
Speaker 2: made this happen? But on the other hand, nothing was

682
00:37:57,239 --> 00:38:00,680
Speaker 2: so bad that I was laughing at the effect or anything.

683
00:38:02,160 --> 00:38:05,320
Speaker 3: Cutzi goes on a lot in the interview about various

684
00:38:05,440 --> 00:38:08,480
Speaker 3: compromises to his vision for the film. He's got some

685
00:38:08,719 --> 00:38:12,279
Speaker 3: you know, some grievances about he didn't it wasn't what

686
00:38:12,360 --> 00:38:15,400
Speaker 3: he wanted it to be, Like, he was not allowed

687
00:38:15,400 --> 00:38:18,719
Speaker 3: to work with his preferred director of photography, though he

688
00:38:18,800 --> 00:38:21,319
Speaker 3: has nothing but good things to say about the the

689
00:38:21,400 --> 00:38:23,799
Speaker 3: DP that did end up coming on the film. You know,

690
00:38:23,880 --> 00:38:26,040
Speaker 3: he worked with this guy named Franco Leka, who he

691
00:38:26,080 --> 00:38:29,800
Speaker 3: says was great. He says the producer bought the wrong

692
00:38:29,960 --> 00:38:32,239
Speaker 3: kind of film for them to shoot on, but they

693
00:38:32,320 --> 00:38:33,799
Speaker 3: just had to go with it because it's what they

694
00:38:33,880 --> 00:38:36,920
Speaker 3: already had. He said, they planned to shoot it on Kodak,

695
00:38:36,960 --> 00:38:39,600
Speaker 3: but they had to use Fuji, which, in his telling,

696
00:38:40,280 --> 00:38:43,560
Speaker 3: tends to have cooler, more pastel like colors. I did

697
00:38:43,600 --> 00:38:47,040
Speaker 3: a little googling and seems like maybe that's sort of true.

698
00:38:47,600 --> 00:38:50,359
Speaker 2: Yeah, if if that is indeed the case, I can

699
00:38:50,400 --> 00:38:52,880
Speaker 2: maybe see that in the finished product. You know, it

700
00:38:52,920 --> 00:38:56,280
Speaker 2: does have maybe especially the scenes in Venice.

701
00:38:56,560 --> 00:38:59,839
Speaker 3: Yeah kind of Yeah, cooler, grayer color palette, a little

702
00:38:59,840 --> 00:39:02,719
Speaker 3: bit less of that that saturated orange you get from

703
00:39:02,760 --> 00:39:08,480
Speaker 3: some of these Italian films. Let's see, he tried to Oh,

704
00:39:08,600 --> 00:39:10,799
Speaker 3: he says, they they shot in this old house for

705
00:39:10,840 --> 00:39:13,520
Speaker 3: about three weeks, and then they did the exterior scenes

706
00:39:13,560 --> 00:39:16,040
Speaker 3: in Venice Last, which he describes as being almost like

707
00:39:16,080 --> 00:39:18,480
Speaker 3: a vacation after spending all this time in the frigid,

708
00:39:18,560 --> 00:39:21,880
Speaker 3: moldy old house. Oh and then he brings up something

709
00:39:21,920 --> 00:39:24,400
Speaker 3: that we actually, I don't know how we haven't mentioned

710
00:39:24,520 --> 00:39:28,600
Speaker 3: this yet. You know, we like a movie with with

711
00:39:28,680 --> 00:39:32,200
Speaker 3: some good extra line deliveries, some line deliveries that go

712
00:39:32,239 --> 00:39:34,239
Speaker 3: a little over the top. I can appreciate a good

713
00:39:34,280 --> 00:39:39,680
Speaker 3: bit of overacting. This movie has levels of over annunciation

714
00:39:39,960 --> 00:39:42,560
Speaker 3: on some of the lines and the dubbing that are

715
00:39:42,800 --> 00:39:47,360
Speaker 3: just astounding. Like I love it. It's it's unbelievable.

716
00:39:47,880 --> 00:39:49,239
Speaker 2: Yeah, this is one of the you know a lot

717
00:39:49,239 --> 00:39:50,920
Speaker 2: of times we're like, yeah, you know what, you can

718
00:39:50,960 --> 00:39:53,160
Speaker 2: watch the dub, or you can you can watch it

719
00:39:53,200 --> 00:39:56,000
Speaker 2: with subtitles. I don't know. I was only the version

720
00:39:56,040 --> 00:39:58,560
Speaker 2: I watched only had the option for the English dub,

721
00:39:59,000 --> 00:40:03,279
Speaker 2: and I highly recommend going that route. It is. It

722
00:40:03,400 --> 00:40:05,480
Speaker 2: is laugh out loud funny. And I was watching it

723
00:40:05,520 --> 00:40:09,200
Speaker 2: by myself on an airplane. Yes, yes, I was probably

724
00:40:09,200 --> 00:40:10,720
Speaker 2: getting some weird looks.

725
00:40:12,000 --> 00:40:16,000
Speaker 3: The scene where she's talking about we will make a

726
00:40:16,360 --> 00:40:20,440
Speaker 3: video clip to go with our song, just like Michael

727
00:40:20,640 --> 00:40:22,440
Speaker 3: Jackson did with Thriller.

728
00:40:24,080 --> 00:40:26,040
Speaker 2: Yes, a video clip. I did have to look that up,

729
00:40:26,080 --> 00:40:29,239
Speaker 2: by the way, And in Italian a music video is

730
00:40:29,280 --> 00:40:31,200
Speaker 2: a video clip, or that's one of the main terms

731
00:40:31,239 --> 00:40:33,919
Speaker 2: for it. But still there's still accounting for the way

732
00:40:33,960 --> 00:40:35,520
Speaker 2: that it is enunciated in.

733
00:40:35,480 --> 00:40:38,600
Speaker 3: The dub, like the mouths are coming open, as if

734
00:40:38,640 --> 00:40:41,800
Speaker 3: there's like somebody cranking a jack in between the teeth.

735
00:40:41,960 --> 00:40:47,080
Speaker 3: It is awesome, but so Cotzy says he takes full

736
00:40:47,160 --> 00:40:49,960
Speaker 3: responsibility for the weirdness of the dubbing in the film,

737
00:40:50,600 --> 00:40:53,359
Speaker 3: but then I thought kind of strangely. He identifies the

738
00:40:53,360 --> 00:40:57,200
Speaker 3: main problem with the dubbing being that the younger actors

739
00:40:57,200 --> 00:41:00,279
Speaker 3: and actresses were dubbing their own lines as oppose to

740
00:41:00,280 --> 00:41:03,600
Speaker 3: having professional voice actors come and dub over them, and

741
00:41:03,719 --> 00:41:06,520
Speaker 3: since the young actors didn't have much experience with dubbing,

742
00:41:06,640 --> 00:41:09,640
Speaker 3: he says, they came off as quote overacting a bit.

743
00:41:11,080 --> 00:41:13,400
Speaker 3: But again, I wouldn't I wouldn't change it, I wouldn't

744
00:41:13,400 --> 00:41:17,400
Speaker 3: try anything. But he defends the principle of having actors

745
00:41:17,440 --> 00:41:19,640
Speaker 3: dubbed their own lines because he says, if you have

746
00:41:19,760 --> 00:41:22,400
Speaker 3: someone else come in and do the dubbing. The actors

747
00:41:22,480 --> 00:41:26,240
Speaker 3: are only quote half actors, but we have seen plenty

748
00:41:26,239 --> 00:41:28,279
Speaker 3: of examples of him having other people come in and

749
00:41:28,360 --> 00:41:31,360
Speaker 3: dub lines. I think, I think Donald Pleasance is dubbed

750
00:41:31,360 --> 00:41:31,680
Speaker 3: by something.

751
00:41:31,680 --> 00:41:34,480
Speaker 2: Oh, Donald's Pleasance is clearly dubbed by someone else, and

752
00:41:35,120 --> 00:41:38,960
Speaker 2: that's to his detriment, you know, because yeah, Donald Pleasance

753
00:41:39,000 --> 00:41:41,319
Speaker 2: has a certain kind of delivery and his voice. His

754
00:41:41,440 --> 00:41:44,440
Speaker 2: voice is almost as iconic as someone like Peter Lourie's,

755
00:41:44,520 --> 00:41:47,840
Speaker 2: you know, so you want to hear Donald Pleasance's voice.

756
00:41:48,600 --> 00:41:52,320
Speaker 2: So it's a little weird hearing someone else's English language

757
00:41:52,360 --> 00:41:54,920
Speaker 2: voice coming out of him. Probably less weird if you're

758
00:41:55,000 --> 00:41:58,440
Speaker 2: used to hearing him dubbed anyway. But I don't know

759
00:41:59,080 --> 00:42:00,840
Speaker 2: the whole half actors. I mean, there are plenty of

760
00:42:00,880 --> 00:42:04,360
Speaker 2: examples of actors that we love who are almost always dubbed,

761
00:42:04,360 --> 00:42:08,160
Speaker 2: like Paul Nashy, for example. So but I guess I

762
00:42:08,160 --> 00:42:10,320
Speaker 2: see where I see where he's coming from here, especially

763
00:42:10,640 --> 00:42:12,560
Speaker 2: as far as the young actors are going. So the

764
00:42:12,600 --> 00:42:15,279
Speaker 2: young actors are doing their own dubbing when maybe we

765
00:42:15,320 --> 00:42:17,040
Speaker 2: should have had some pros come in and do it

766
00:42:17,080 --> 00:42:19,640
Speaker 2: for them. And then on the flip side, Donald pleasants

767
00:42:19,840 --> 00:42:21,640
Speaker 2: they couldn't get him back to do his own dubbing.

768
00:42:21,680 --> 00:42:26,080
Speaker 3: So yeah, so he says, uh, Paganini Horror. This is

769
00:42:26,080 --> 00:42:29,840
Speaker 3: a quote actually in translation of Obviously he's speaking Italian

770
00:42:29,880 --> 00:42:32,920
Speaker 3: in this interview, so this is all the translated subtitles.

771
00:42:32,920 --> 00:42:36,919
Speaker 3: He says, Paganini Horror was poorly received, and I can

772
00:42:36,960 --> 00:42:40,360
Speaker 3: tell you why because it came out when Fulci was

773
00:42:40,400 --> 00:42:44,719
Speaker 3: at the peak of his fame, Fulci and his cinema. Therefore,

774
00:42:45,000 --> 00:42:49,080
Speaker 3: I think he uses the word full chi simo. Therefore,

775
00:42:49,120 --> 00:42:51,880
Speaker 3: the people who went to see it expected something in

776
00:42:51,920 --> 00:42:55,279
Speaker 3: the style of Luccio Fulci, only the film was made

777
00:42:55,320 --> 00:42:59,720
Speaker 3: by Luigi Kotsi. It was something completely different from their expectations.

778
00:43:00,080 --> 00:43:03,160
Speaker 3: Also because the film is full of ironic touches and

779
00:43:03,320 --> 00:43:07,560
Speaker 3: like Americans would say, inside jokes. So you know, he's

780
00:43:07,560 --> 00:43:09,799
Speaker 3: saying it's made with the sense of irony. I can

781
00:43:10,120 --> 00:43:12,200
Speaker 3: pick that. I think, yes, they are making it with

782
00:43:12,239 --> 00:43:15,440
Speaker 3: the sense of irony. I don't really see this at all.

783
00:43:15,480 --> 00:43:19,200
Speaker 3: It's funny that sometimes he's he really wants to distance

784
00:43:19,280 --> 00:43:24,240
Speaker 3: himself from the idea that that you know, his film

785
00:43:24,239 --> 00:43:27,080
Speaker 3: could be taken as a as a knockoff of something else.

786
00:43:27,120 --> 00:43:29,440
Speaker 3: But here he's like people thought it was a copy

787
00:43:29,480 --> 00:43:31,560
Speaker 3: of Fulci, And I don't see why anybody would have

788
00:43:31,600 --> 00:43:33,640
Speaker 3: thought that. This doesn't really seem like a copy of

789
00:43:33,680 --> 00:43:34,320
Speaker 3: Fulci to me.

790
00:43:35,000 --> 00:43:39,280
Speaker 2: No, No, I didn't really get that sense. Yeah, yeah,

791
00:43:39,400 --> 00:43:41,240
Speaker 2: I mean I don't know. Maybe there's something in the marketing,

792
00:43:41,400 --> 00:43:43,399
Speaker 2: you know, certainly that like the guy did the poster arts,

793
00:43:43,400 --> 00:43:47,799
Speaker 2: certainly did poster arts for for Fulci films, But yeah,

794
00:43:47,840 --> 00:43:48,279
Speaker 2: I don't know.

795
00:43:48,920 --> 00:43:52,800
Speaker 3: I would say in general, throughout these interviews, Cotesy speaks

796
00:43:52,840 --> 00:43:55,320
Speaker 3: with I don't know, I could be wrong about this,

797
00:43:55,480 --> 00:43:59,120
Speaker 3: so I you know, caveats ah blah blah blah, all that,

798
00:43:59,239 --> 00:44:01,520
Speaker 3: but he speaks with what seems to me like a

799
00:44:01,800 --> 00:44:03,640
Speaker 3: subtle resentment about Fulgi.

800
00:44:05,239 --> 00:44:08,200
Speaker 2: Yeah. Yeah, I mean to be clear, Fulci, by most accounts,

801
00:44:08,239 --> 00:44:09,960
Speaker 2: was not an easy guy to work with, you know,

802
00:44:10,160 --> 00:44:12,200
Speaker 2: not a monster as far as I'm aware, but a

803
00:44:12,320 --> 00:44:15,240
Speaker 2: very driven guy obsessed with realizing his own particular vision.

804
00:44:15,600 --> 00:44:18,040
Speaker 2: Though I don't think these two ever actually work together,

805
00:44:18,239 --> 00:44:21,520
Speaker 2: so I think maybe it was. I mean, it's kind

806
00:44:21,520 --> 00:44:25,040
Speaker 2: of alluding to it, like Fulci was botanists at that point,

807
00:44:25,160 --> 00:44:28,000
Speaker 2: like he was the top guy when it came to

808
00:44:28,239 --> 00:44:31,319
Speaker 2: Italian horror and or one of the top guys at

809
00:44:31,360 --> 00:44:34,960
Speaker 2: any rate, and he was compared to him, and so yeah,

810
00:44:34,960 --> 00:44:38,320
Speaker 2: there's a certain amount of resentment either you know, directed

811
00:44:38,400 --> 00:44:42,360
Speaker 2: or misdirected at Fulci based on perhaps an unfair comparison

812
00:44:42,400 --> 00:44:42,919
Speaker 2: that was made.

813
00:44:43,600 --> 00:44:47,000
Speaker 3: Yeah, maybe kind of Marsha, Marsha, Marsha, but you know

814
00:44:47,040 --> 00:44:50,840
Speaker 3: another he actually Coasey tells a very nice story about

815
00:44:50,840 --> 00:44:56,480
Speaker 3: how initially reviews of Paganini Horror were overwhelmingly negative and

816
00:44:56,560 --> 00:44:59,360
Speaker 3: even he says, you know, when the Internet came around,

817
00:44:59,440 --> 00:45:01,720
Speaker 3: he would would go on the Internet and see negative

818
00:45:01,719 --> 00:45:04,080
Speaker 3: comments about it on the web. And then he said,

819
00:45:04,080 --> 00:45:05,640
Speaker 3: I don't know what changed at this time, but he

820
00:45:05,680 --> 00:45:09,080
Speaker 3: says around the year two thousand and five, he says

821
00:45:09,120 --> 00:45:11,640
Speaker 3: he started meeting people who would who would come up

822
00:45:11,680 --> 00:45:13,640
Speaker 3: to him and say they loved the movie, that they

823
00:45:13,640 --> 00:45:17,319
Speaker 3: thought it was a masterpiece. And Kotzi himself says, it's

824
00:45:17,360 --> 00:45:20,560
Speaker 3: not a masterpiece, but I'm glad they liked the film.

825
00:45:21,440 --> 00:45:25,840
Speaker 3: And then he goes on this bit about how, you know,

826
00:45:26,360 --> 00:45:30,719
Speaker 3: he's had other films that people characterized as being knockoffs,

827
00:45:30,760 --> 00:45:33,560
Speaker 3: like that Star Crash was a knockoff of Star Wars,

828
00:45:34,239 --> 00:45:38,160
Speaker 3: but he argues, no, it's not. We may have used

829
00:45:38,280 --> 00:45:41,000
Speaker 3: the fame of Star Wars to try to secure funding,

830
00:45:41,120 --> 00:45:44,080
Speaker 3: but people can now see Star Crash is its own film,

831
00:45:44,120 --> 00:45:47,520
Speaker 3: which I could say is maybe partially overstating it, but

832
00:45:47,560 --> 00:45:48,640
Speaker 3: also is partially true.

833
00:45:48,680 --> 00:45:50,960
Speaker 2: Yeah, it can be both things.

834
00:45:51,040 --> 00:45:57,640
Speaker 3: Yeah, yeah, and then also talking about about alien and

835
00:45:57,680 --> 00:46:02,040
Speaker 3: contamination in similar ways. And so ultimately he's like, this

836
00:46:02,080 --> 00:46:05,080
Speaker 3: film was not a ripoff of Fulci and he's and

837
00:46:05,160 --> 00:46:07,960
Speaker 3: it's its own thing, and he wanted to make it

838
00:46:08,000 --> 00:46:10,759
Speaker 3: really about science fiction more than horror. I don't know

839
00:46:10,800 --> 00:46:13,160
Speaker 3: how successful on that front he was, but he's very

840
00:46:13,160 --> 00:46:16,160
Speaker 3: into science fiction and was interested in these time loop

841
00:46:16,320 --> 00:46:18,480
Speaker 3: type things that you get in the middle of the movie.

842
00:46:19,080 --> 00:46:20,840
Speaker 3: And so that's the thing that you can sense in

843
00:46:20,880 --> 00:46:23,360
Speaker 3: these interviews that he's really excited about, is like the

844
00:46:23,480 --> 00:46:27,120
Speaker 3: science fiction stuff in there that he's like, I think

845
00:46:27,239 --> 00:46:28,880
Speaker 3: you get the feeling that he wishes he could have

846
00:46:28,880 --> 00:46:31,919
Speaker 3: taken that to you know, let that be its own thing.

847
00:46:33,080 --> 00:46:35,320
Speaker 3: But ultimately he said, this is a quote from that

848
00:46:35,440 --> 00:46:38,840
Speaker 3: Curtey book. He says, quote, there I was with this beautiful,

849
00:46:38,920 --> 00:46:42,400
Speaker 3: ambitious script, and they handed me a sixteen millimeter camera

850
00:46:42,520 --> 00:46:45,319
Speaker 3: which was broken, gave me a villa to set the

851
00:46:45,320 --> 00:46:48,720
Speaker 3: story in and said, start shooting in conditions like these,

852
00:46:48,880 --> 00:46:51,960
Speaker 3: not even the best film director in the world could

853
00:46:52,000 --> 00:46:55,160
Speaker 3: have done any better. So he's proud of his work.

854
00:46:55,719 --> 00:46:57,640
Speaker 2: Yeah, I mean it should be proud. It's a lot

855
00:46:57,680 --> 00:47:02,160
Speaker 2: of fun. I highly recommend this movie for the folks

856
00:47:02,160 --> 00:47:04,680
Speaker 2: who dig this thing. I mean, because I don't know.

857
00:47:04,680 --> 00:47:07,120
Speaker 2: You still see reviews online where someone's like, this is

858
00:47:07,120 --> 00:47:10,040
Speaker 2: not a very good Shallo film, and I think you're

859
00:47:10,080 --> 00:47:11,799
Speaker 2: going into it the wrong expectations there.

860
00:47:12,000 --> 00:47:15,879
Speaker 3: Yeah, there are different kinds of movie experiences you can

861
00:47:15,920 --> 00:47:20,080
Speaker 3: go looking for. This is certainly not as not tightly

862
00:47:20,120 --> 00:47:23,080
Speaker 3: executed storytelling and like some of the other great Shallo

863
00:47:23,200 --> 00:47:26,319
Speaker 3: movies we've talked about, like Deep Red or Footprints on

864
00:47:26,320 --> 00:47:28,680
Speaker 3: the Moon or anything like that, but it is a

865
00:47:28,719 --> 00:47:31,080
Speaker 3: great time. There's a lot of fun in here, and

866
00:47:31,120 --> 00:47:33,880
Speaker 3: there's a lot of talent on display, even though the

867
00:47:33,920 --> 00:47:37,320
Speaker 3: film is I think even Cozy would acknowledge a mess.

868
00:47:37,440 --> 00:47:49,120
Speaker 2: Yeah yeah, all right, Well, let's talk about some of

869
00:47:49,120 --> 00:47:51,760
Speaker 2: the other folks above. We've already talked about Daria nickelode

870
00:47:51,760 --> 00:47:54,360
Speaker 2: a bit here nineteen forty nine through twenty twenty. She

871
00:47:54,560 --> 00:47:57,479
Speaker 2: is again a co writer on this or when we're

872
00:47:57,480 --> 00:47:59,439
Speaker 2: at least one of the writers, one of the main

873
00:47:59,719 --> 00:48:02,920
Speaker 2: credit writers, and she also has a role in the film,

874
00:48:02,920 --> 00:48:07,040
Speaker 2: playing Sylvia Hackett, the current owner of the spooky mansion

875
00:48:07,120 --> 00:48:12,560
Speaker 2: Lacasa des Soul. Italian actress and frequent Argento collaborator, she

876
00:48:12,640 --> 00:48:16,399
Speaker 2: starred in five films directed by Argento between seventy five

877
00:48:16,440 --> 00:48:21,880
Speaker 2: and eighty seven, Deep Red, Inferno, Tenebray, Phenomena, and Opera.

878
00:48:22,320 --> 00:48:24,759
Speaker 2: She met Argento on Deep Red, which of course we

879
00:48:24,840 --> 00:48:28,640
Speaker 2: previously did an episode on, and the two became romantic partner.

880
00:48:28,719 --> 00:48:31,600
Speaker 2: She was the mother of Asia Argento, and she has

881
00:48:31,600 --> 00:48:35,640
Speaker 2: screenplay credits on Suspiria and Inferno, but may have contributed

882
00:48:35,760 --> 00:48:39,759
Speaker 2: to others during her time with Dari Argento. Her other

883
00:48:39,800 --> 00:48:43,440
Speaker 2: film credits include Mario Baba's final film Shock from seventy seven,

884
00:48:43,719 --> 00:48:46,880
Speaker 2: and her writing credits also include eighty nine's The Black Cat,

885
00:48:47,040 --> 00:48:48,280
Speaker 2: which we've already mentioned.

886
00:48:48,760 --> 00:48:50,279
Speaker 3: Yeah, that's the one I want to come back and

887
00:48:50,360 --> 00:48:50,839
Speaker 3: check out.

888
00:48:51,880 --> 00:48:53,719
Speaker 2: All right, For the rest of the cast, I'm going

889
00:48:53,800 --> 00:48:56,680
Speaker 2: to deviate from billing order to try and lay out

890
00:48:56,680 --> 00:48:59,480
Speaker 2: our characters in a concise way. This is a movie

891
00:48:59,520 --> 00:49:01,959
Speaker 2: about a ban and we may not know that band's name.

892
00:49:02,440 --> 00:49:06,319
Speaker 2: But let's meet the band. Okay, okay, So first of all,

893
00:49:06,400 --> 00:49:09,040
Speaker 2: let's talk about Kate. Kate is our lead singer, and

894
00:49:09,080 --> 00:49:13,080
Speaker 2: she is played by Jasmine MEEMONI sometimes I think she's

895
00:49:13,080 --> 00:49:16,840
Speaker 2: credited here is Jasmine main Age unknown as far as

896
00:49:16,920 --> 00:49:19,800
Speaker 2: I could tell, model turned actress, born into the profession

897
00:49:19,880 --> 00:49:23,319
Speaker 2: to actor parents. She was miss Roma in nineteen eighty three,

898
00:49:24,840 --> 00:49:28,360
Speaker 2: only active on the screen from seventy eight through eighty nine,

899
00:49:28,480 --> 00:49:31,920
Speaker 2: according to the databases, in mostly action and horror titles,

900
00:49:31,960 --> 00:49:36,480
Speaker 2: beginning with seventy eight's Fearless and including eighty five's Demons,

901
00:49:36,880 --> 00:49:40,120
Speaker 2: in which she's in the horror movie within a movie.

902
00:49:40,200 --> 00:49:42,480
Speaker 2: So I think, like she gets stabbed by the director

903
00:49:43,080 --> 00:49:45,600
Speaker 2: in that film. And she was also an eighty five

904
00:49:45,719 --> 00:49:49,520
Speaker 2: Scandalous Gilda and eighty nine's The Black Cat her final

905
00:49:49,560 --> 00:49:52,799
Speaker 2: film role, and also features a film with it, a

906
00:49:52,840 --> 00:49:54,040
Speaker 2: film in which she is murdered.

907
00:49:54,640 --> 00:49:58,760
Speaker 3: Yes, incredibly intense presence in this movie.

908
00:49:58,880 --> 00:50:01,880
Speaker 2: Yes, she's awesome. I really enjoyed her. I was like,

909
00:50:01,920 --> 00:50:04,120
Speaker 2: I gotta check out some of these more movies that

910
00:50:04,239 --> 00:50:07,200
Speaker 2: I guess she's barely in, but you know, like the

911
00:50:07,239 --> 00:50:11,240
Speaker 2: rest of the band obviously beautiful, but also very intense

912
00:50:11,280 --> 00:50:13,920
Speaker 2: in her performance, like kind of a skull trying to

913
00:50:14,040 --> 00:50:17,880
Speaker 2: leave the face performance. At times, she's really giving it

914
00:50:17,880 --> 00:50:22,440
Speaker 2: her all. And yeah, I mean reading a bit about her,

915
00:50:22,480 --> 00:50:24,840
Speaker 2: it sounds like she was in the running for various

916
00:50:24,840 --> 00:50:28,880
Speaker 2: other roles in various other notable Italian genre pictures of

917
00:50:28,920 --> 00:50:32,080
Speaker 2: the day, but was maybe she didn't get those roles,

918
00:50:32,120 --> 00:50:34,640
Speaker 2: or maybe she was just very choosy about the roles

919
00:50:34,640 --> 00:50:36,200
Speaker 2: that she was taking hard to say.

920
00:50:36,840 --> 00:50:40,600
Speaker 3: Yeah, well bravo. I enjoy her greatly in this.

921
00:50:42,200 --> 00:50:45,879
Speaker 2: So that's Kate. Kate's essentially, she's sort of our protagonist.

922
00:50:46,760 --> 00:50:48,000
Speaker 3: She's the leader of the band.

923
00:50:48,320 --> 00:50:51,080
Speaker 2: Yeah, leader of the band. She's the front woman. So

924
00:50:51,320 --> 00:50:53,560
Speaker 2: fair enough. All right, let's move on to the rest

925
00:50:53,600 --> 00:50:56,560
Speaker 2: of the band. The lead guitarist is Elena, played by

926
00:50:56,600 --> 00:51:01,200
Speaker 2: Michelle Klipstein, age unknown. This is her only film credit.

927
00:51:01,600 --> 00:51:03,200
Speaker 2: I tried to look her up just in case, well

928
00:51:03,200 --> 00:51:06,080
Speaker 2: maybe she's a real musician and she was in some

929
00:51:06,160 --> 00:51:08,320
Speaker 2: of their band, but I couldn't find anything on discods

930
00:51:08,320 --> 00:51:09,520
Speaker 2: about her either.

931
00:51:10,200 --> 00:51:12,600
Speaker 3: I can't. Is she the one who gets stabbed with

932
00:51:12,640 --> 00:51:14,319
Speaker 3: a violin that has a knife in it?

933
00:51:15,200 --> 00:51:22,399
Speaker 2: I think so? The you know, as is often the case,

934
00:51:22,440 --> 00:51:24,400
Speaker 2: the rest of the band is sometimes the rest of

935
00:51:24,440 --> 00:51:27,400
Speaker 2: the band, and you can lose track about who's who. Yeah,

936
00:51:27,440 --> 00:51:31,440
Speaker 2: because the bass player is Rita played by Luana Ravignini

937
00:51:32,520 --> 00:51:35,160
Speaker 2: born nineteen sixty eight, So at least we know the

938
00:51:35,200 --> 00:51:38,960
Speaker 2: age and this individual Italian actress who's other limited credits

939
00:51:39,000 --> 00:51:43,080
Speaker 2: include eighty seven's Sweets from a Stranger. And then we

940
00:51:43,160 --> 00:51:48,640
Speaker 2: have the drummer Daniel played by Pascal Persiano born nineteen

941
00:51:48,719 --> 00:51:52,360
Speaker 2: sixty Italian actor who previously appeared in eighty six's Demons

942
00:51:52,400 --> 00:51:54,920
Speaker 2: two and went on to act in eighty nine's The

943
00:51:54,960 --> 00:51:57,840
Speaker 2: Sweet House of Horrors. This was a full Chy TV

944
00:51:58,000 --> 00:52:01,480
Speaker 2: film and ninety one's Voices from Beyond also a full

945
00:52:01,560 --> 00:52:04,120
Speaker 2: Chief film, and he also did some later erotic film

946
00:52:04,160 --> 00:52:04,799
Speaker 2: work as well.

947
00:52:05,440 --> 00:52:08,120
Speaker 3: Which guy was this in Demons Too? Is he one

948
00:52:08,160 --> 00:52:11,000
Speaker 3: of Is he one of the exercise fitness guys.

949
00:52:11,000 --> 00:52:14,040
Speaker 2: That would make sense. I'm struggling to remember if I've

950
00:52:14,040 --> 00:52:18,120
Speaker 2: seen Demons Too, but that's oh, he was, you know,

951
00:52:18,200 --> 00:52:20,520
Speaker 2: young fit guy, and I think was kind of a

952
00:52:20,560 --> 00:52:22,040
Speaker 2: body guy, so that would make sense.

953
00:52:23,800 --> 00:52:26,759
Speaker 3: So Demons won the premises. People go to a movie theater,

954
00:52:26,920 --> 00:52:29,120
Speaker 3: they watch a movie about demons, and the demons come

955
00:52:29,160 --> 00:52:31,600
Speaker 3: out of the movie and attack the people in the theater.

956
00:52:31,800 --> 00:52:37,080
Speaker 3: Fabulous demon fabulous, Yes, yes, demons too. The same thing happens,

957
00:52:37,120 --> 00:52:39,960
Speaker 3: except it's not a movie theater. It's an apartment building.

958
00:52:40,160 --> 00:52:40,440
Speaker 2: Okay.

959
00:52:40,440 --> 00:52:44,560
Speaker 3: And I can't remember where demons. I can't remember where

960
00:52:44,560 --> 00:52:47,000
Speaker 3: the demons come out of. And maybe somebody's watching a

961
00:52:47,040 --> 00:52:47,760
Speaker 3: movie on TV.

962
00:52:47,960 --> 00:52:51,759
Speaker 2: There is something on TV. Yeah, and yeah, actually I

963
00:52:51,760 --> 00:52:54,279
Speaker 2: think he is somebody on a TV program based on

964
00:52:54,760 --> 00:52:55,600
Speaker 2: so that would make sense.

965
00:52:55,680 --> 00:52:59,000
Speaker 3: Yeah, Okay, then I was misremembering that. I just remember

966
00:52:59,120 --> 00:53:02,080
Speaker 3: prominently there's there's some memorable character in there who's like

967
00:53:02,080 --> 00:53:02,839
Speaker 3: a fitness guy.

968
00:53:02,920 --> 00:53:06,719
Speaker 2: Okay, yeah, all right, So that's the band. That's your

969
00:53:06,719 --> 00:53:11,520
Speaker 2: basic band. Lead singer, lead guitarist, bass player, drummer. And

970
00:53:11,560 --> 00:53:14,200
Speaker 2: then we have their manager, Lavinia.

971
00:53:15,440 --> 00:53:18,760
Speaker 3: Is she their manager? What is She's just like professionally

972
00:53:18,840 --> 00:53:19,640
Speaker 3: mean to them.

973
00:53:19,880 --> 00:53:23,080
Speaker 2: Yes, she is so nasty. I love it, but she

974
00:53:23,200 --> 00:53:26,239
Speaker 2: is just so unrealistically nasty. We'll get into the main

975
00:53:26,320 --> 00:53:30,160
Speaker 2: scene here in a bit, but their manager at Lavinia

976
00:53:30,280 --> 00:53:35,839
Speaker 2: is played by Maria Christina mastro Galli born nineteen sixty three,

977
00:53:35,960 --> 00:53:41,040
Speaker 2: Italian French dancer turned actress. Still active, appears appeared to

978
00:53:41,040 --> 00:53:43,480
Speaker 2: be in a few different more recent and more obscure

979
00:53:43,840 --> 00:53:46,960
Speaker 2: Luigi Kotsey films. But she also pops up. She has

980
00:53:47,000 --> 00:53:49,080
Speaker 2: popped up in some serious dramatic work as well, at

981
00:53:49,200 --> 00:53:52,680
Speaker 2: least you know, further down the cast. But yeah, she's great.

982
00:53:52,920 --> 00:53:57,080
Speaker 2: She's so nasty. We'll get into We'll get into her

983
00:53:57,120 --> 00:53:59,560
Speaker 2: when we talk about like the scene where we meet

984
00:53:59,600 --> 00:54:01,080
Speaker 2: the band for the first time.

985
00:54:01,600 --> 00:54:05,239
Speaker 3: She has she just had an amazing clip reel. If

986
00:54:05,320 --> 00:54:07,759
Speaker 3: you were a director, like a casting director, who is

987
00:54:07,800 --> 00:54:10,560
Speaker 3: trying to hire somebody for a role, to tell other

988
00:54:10,560 --> 00:54:14,759
Speaker 3: people that they're nothing, Yes, and I need I need

989
00:54:15,160 --> 00:54:18,040
Speaker 3: an actress who can say you'll never be anything, your

990
00:54:18,080 --> 00:54:19,480
Speaker 3: creativity is finished.

991
00:54:19,560 --> 00:54:22,200
Speaker 2: Yeah. She's the master of negative reinforcement. If that's what

992
00:54:22,239 --> 00:54:24,800
Speaker 2: you're looking for in a manager, if that's what brings

993
00:54:24,840 --> 00:54:26,759
Speaker 2: out the best in you, then this is this is

994
00:54:26,800 --> 00:54:28,000
Speaker 2: who you need to hire on.

995
00:54:28,800 --> 00:54:31,120
Speaker 3: She makes it like almost the whole movie. She's there

996
00:54:31,160 --> 00:54:31,480
Speaker 3: to the end.

997
00:54:31,600 --> 00:54:31,759
Speaker 4: Yeah.

998
00:54:31,840 --> 00:54:34,840
Speaker 2: Yeah, And she gets a she gets a good death.

999
00:54:34,760 --> 00:54:38,239
Speaker 3: Good best best death in the film. I think, Yeah,

1000
00:54:38,280 --> 00:54:39,640
Speaker 3: all right, is that a quality kill?

1001
00:54:39,840 --> 00:54:41,920
Speaker 2: I think that would be a quality kill. Yes, okay,

1002
00:54:42,520 --> 00:54:46,040
Speaker 2: all right, we mentioned Donald Pleasance. Donald Pleasance plays the

1003
00:54:46,080 --> 00:54:51,080
Speaker 2: mysterious mister Pickett. We're not going to spoil too much

1004
00:54:51,080 --> 00:54:53,080
Speaker 2: about mister Pickett, but we'll get into him. We'll get

1005
00:54:53,080 --> 00:54:56,799
Speaker 2: into the plot. Pleasants lived, of course nineteen nineteen through

1006
00:54:56,840 --> 00:54:59,919
Speaker 2: nineteen ninety five, legendary British actor who played everyone from

1007
00:55:00,200 --> 00:55:03,880
Speaker 2: Blofeld Sam Loomis to the President of the United States.

1008
00:55:04,400 --> 00:55:08,239
Speaker 2: This is our third Donald Pleasants film. We talked about

1009
00:55:08,320 --> 00:55:11,640
Speaker 2: nineteen seventy six as The Devil's Men, we talked about

1010
00:55:11,719 --> 00:55:14,440
Speaker 2: nineteen eighty seven's The Prince of or nineteen eighty seven's

1011
00:55:14,440 --> 00:55:17,840
Speaker 2: Prince of Darkness. So we've discussed him more in depth before.

1012
00:55:17,920 --> 00:55:21,160
Speaker 2: But to place this film within his filmography, this was

1013
00:55:21,200 --> 00:55:23,600
Speaker 2: one of eight TV in film credits he had from

1014
00:55:23,680 --> 00:55:28,040
Speaker 2: nineteen eighty eight, including workin Yeah he Stayed Busy, Ye

1015
00:55:28,640 --> 00:55:34,120
Speaker 2: did various sorts of films, So his eighty eight films

1016
00:55:34,120 --> 00:55:36,799
Speaker 2: included the notorious Vampire in Venice that of course had

1017
00:55:36,840 --> 00:55:40,799
Speaker 2: Kluskin skyan it, Halloween four, the TV movie The Great

1018
00:55:40,920 --> 00:55:44,520
Speaker 2: Escape to the Untold Story, which was apparently a sequel

1019
00:55:44,800 --> 00:55:48,400
Speaker 2: to the excellent nineteen sixty three film, which also featured

1020
00:55:48,440 --> 00:55:51,600
Speaker 2: Donald Pleasants in a memorable role. I assume he's reprising

1021
00:55:51,640 --> 00:55:52,680
Speaker 2: that same character here.

1022
00:55:53,360 --> 00:55:57,640
Speaker 3: Huh yeah, a sequel to The Great Escape that okay.

1023
00:55:57,400 --> 00:56:01,279
Speaker 2: Yeah, I mean it was a major TV film, has

1024
00:56:01,280 --> 00:56:02,960
Speaker 2: got a good cast, but I've never seen it. I've

1025
00:56:02,960 --> 00:56:06,239
Speaker 2: only seen the original. But at this point we're really

1026
00:56:06,280 --> 00:56:10,120
Speaker 2: close to late era Donald Pleasance here, so it's entering

1027
00:56:10,120 --> 00:56:12,160
Speaker 2: a time period where not much is going to really

1028
00:56:12,200 --> 00:56:16,360
Speaker 2: stand out, aside from some lesser entries in the Halloween franchise,

1029
00:56:16,840 --> 00:56:20,040
Speaker 2: and even the schlocky Euro titles are few and far between.

1030
00:56:20,080 --> 00:56:25,080
Speaker 2: At this point, I would say Donald Pleasance is perfectly

1031
00:56:25,080 --> 00:56:28,520
Speaker 2: fine here, but again dubbed by another actor. It's kind

1032
00:56:28,520 --> 00:56:30,839
Speaker 2: of like when we talked about Christopher Lee in the

1033
00:56:31,200 --> 00:56:35,360
Speaker 2: Mario Bava Hercules movie Hercules in the Haunted World.

1034
00:56:36,000 --> 00:56:39,320
Speaker 3: Yeah, they don't use his voice. Unbelievable choice.

1035
00:56:39,400 --> 00:56:42,439
Speaker 2: Yeah, I mean, I imagine some of that comes down

1036
00:56:42,480 --> 00:56:47,000
Speaker 2: to some combination of budget and scheduling, Like you've got

1037
00:56:47,000 --> 00:56:50,480
Speaker 2: to get a very busy working, you know actor that

1038
00:56:50,520 --> 00:56:54,000
Speaker 2: you could we'll get into press barely afford to begin with,

1039
00:56:54,239 --> 00:56:55,960
Speaker 2: and you can really bring them back to dub their

1040
00:56:55,960 --> 00:57:00,960
Speaker 2: own lines, especially when the English langue, which market is

1041
00:57:00,960 --> 00:57:02,240
Speaker 2: maybe not the primary market.

1042
00:57:02,480 --> 00:57:07,360
Speaker 3: Yeah, yeah, oh yeah, I assume most listeners know this

1043
00:57:07,440 --> 00:57:09,560
Speaker 3: at this point if you've been listening to our shows

1044
00:57:09,600 --> 00:57:11,800
Speaker 3: about movies like this. But a lot of these movies

1045
00:57:11,840 --> 00:57:14,360
Speaker 3: don't have live sound, and this would be another example.

1046
00:57:14,440 --> 00:57:17,120
Speaker 3: So you know, all of the dialogue is dubbed. It's

1047
00:57:17,160 --> 00:57:21,600
Speaker 3: not just going across languages. It's like it's totally dubbed,

1048
00:57:21,760 --> 00:57:27,360
Speaker 3: all dubbed. So Kotzi explains in the interviews, Actually he's

1049
00:57:27,480 --> 00:57:31,120
Speaker 3: totally upfront about this that he had a strategy that

1050
00:57:31,160 --> 00:57:34,040
Speaker 3: he employed in most of his scripts. So he would

1051
00:57:34,080 --> 00:57:39,000
Speaker 3: always write one character who he planned to be played

1052
00:57:39,080 --> 00:57:42,520
Speaker 3: by a more famous actor, So for example, Christopher Plummer's

1053
00:57:42,600 --> 00:57:45,760
Speaker 3: character in Star Crash, and then he would have them

1054
00:57:45,840 --> 00:57:48,560
Speaker 3: appear three times in the movie, once at the beginning,

1055
00:57:48,840 --> 00:57:51,560
Speaker 3: once in the middle, and once at the end, so

1056
00:57:51,680 --> 00:57:54,120
Speaker 3: that the audience would have the feeling of this more

1057
00:57:54,160 --> 00:57:57,000
Speaker 3: famous actor going all the way through the plot. But

1058
00:57:57,120 --> 00:57:59,480
Speaker 3: really he would be able to shoot their scenes in

1059
00:57:59,560 --> 00:58:03,520
Speaker 3: between one in three days, therefore saving money. In this case,

1060
00:58:03,640 --> 00:58:09,240
Speaker 3: it was Donald Pleasants. Cotzy says that fortunately he takes

1061
00:58:09,240 --> 00:58:11,720
Speaker 3: a moment just to say, actually, it works out pretty

1062
00:58:11,760 --> 00:58:14,720
Speaker 3: well doing this, because when you hire these older famous

1063
00:58:14,760 --> 00:58:18,280
Speaker 3: actors shooting tends to go much faster because they don't

1064
00:58:18,320 --> 00:58:20,680
Speaker 3: need things explain to them multiple times, and they do

1065
00:58:20,760 --> 00:58:21,959
Speaker 3: great work on the first take.

1066
00:58:22,120 --> 00:58:25,280
Speaker 2: Yeah, yeah, it's crazy. Right. You bring in somebody of

1067
00:58:25,320 --> 00:58:28,280
Speaker 2: the caliber of Donald Pleasants or Peter Cushing and like

1068
00:58:28,360 --> 00:58:32,240
Speaker 2: they know their lines, they hit their marks, and yeah,

1069
00:58:32,280 --> 00:58:34,000
Speaker 2: they can often do it in one take and then

1070
00:58:34,040 --> 00:58:39,240
Speaker 2: you're onto the next. Yeah, all right, let's see. Other

1071
00:58:39,520 --> 00:58:43,960
Speaker 2: is some less important characters, but memorable. We have Mark Singer,

1072
00:58:44,120 --> 00:58:47,479
Speaker 2: the horror Director, King of Horror, the King of r Yes,

1073
00:58:48,360 --> 00:58:52,360
Speaker 2: even though he appears to be only like, like what twenties.

1074
00:58:52,360 --> 00:58:54,720
Speaker 3: Yeah, he's a twenty year old King of Horror.

1075
00:58:55,040 --> 00:58:57,320
Speaker 2: I guess it's possible. There are probably some precedents for that.

1076
00:58:57,720 --> 00:59:01,520
Speaker 2: He's played by Pietro Genuardi, who lived nineteen sixty two

1077
00:59:01,520 --> 00:59:05,520
Speaker 2: through twenty twenty five Italian actor. This was his first film,

1078
00:59:05,640 --> 00:59:09,320
Speaker 2: but subsequent credits included eighty nine's Killer Crocodile in ninety

1079
00:59:09,360 --> 00:59:13,160
Speaker 2: four Cemetery Man. Not to be confused with the beast

1080
00:59:13,240 --> 00:59:17,440
Speaker 2: Master Mark Singer. The beast Master is m A r C.

1081
00:59:17,880 --> 00:59:21,000
Speaker 2: This is m aar K m a r K Singer.

1082
00:59:21,960 --> 00:59:26,040
Speaker 3: They so in this movie. The character Mark Singer is

1083
00:59:26,280 --> 00:59:29,360
Speaker 3: the famous King of horror, the director of the world's

1084
00:59:29,400 --> 00:59:32,240
Speaker 3: greatest horror films. But they're going to bring him in

1085
00:59:32,360 --> 00:59:34,400
Speaker 3: to shoot a video clip, right.

1086
00:59:34,480 --> 00:59:36,560
Speaker 2: Yeah, Yeah, They're like, yeah, he's I don't know how

1087
00:59:36,600 --> 00:59:40,440
Speaker 2: they got him, but somehow they were able to afford him.

1088
00:59:40,480 --> 00:59:43,640
Speaker 2: He's enthusiastic about It's like, yeah, let's do it, let's

1089
00:59:43,680 --> 00:59:46,480
Speaker 2: make this. It is brought up that this will be

1090
00:59:46,600 --> 00:59:48,760
Speaker 2: the equivalent of Michael Jackson's thriller.

1091
00:59:50,760 --> 00:59:53,680
Speaker 3: So there's an extra on the severing disc that's also

1092
00:59:53,720 --> 00:59:57,200
Speaker 3: an interview with Pietro Jenuardi where he talks a bit

1093
00:59:57,240 --> 00:59:59,800
Speaker 3: about his experience making the movie, which he describes almost

1094
01:00:00,000 --> 01:00:03,160
Speaker 3: exclusively in very positive terms. It seems like he had

1095
01:00:03,320 --> 01:00:06,520
Speaker 3: a great time making this movie and felt great about it.

1096
01:00:07,360 --> 01:00:10,320
Speaker 3: He said he had just gotten out of acting school

1097
01:00:10,360 --> 01:00:14,640
Speaker 3: in Rome and Paganini Horror was his first important acting experience,

1098
01:00:15,000 --> 01:00:17,480
Speaker 3: and he tells this anecdote about how he got the role.

1099
01:00:17,960 --> 01:00:20,080
Speaker 3: He says, so he's a young actor, he had just

1100
01:00:20,200 --> 01:00:23,320
Speaker 3: moved to Rome from elsewhere. In this case, I think

1101
01:00:23,360 --> 01:00:26,720
Speaker 3: he had originally come from Milan, and a big concern

1102
01:00:26,800 --> 01:00:28,840
Speaker 3: when you're a young actor is getting an agent to

1103
01:00:28,920 --> 01:00:31,240
Speaker 3: represent you. At this time. So he says he went

1104
01:00:31,320 --> 01:00:33,120
Speaker 3: knocking on a lot of doors trying to find an

1105
01:00:33,160 --> 01:00:36,840
Speaker 3: agent to represent him, and one day he goes for

1106
01:00:36,920 --> 01:00:39,760
Speaker 3: a meeting with this particular agent. It's the very first

1107
01:00:39,800 --> 01:00:43,640
Speaker 3: time they're ever meeting, and the agent, you know, he

1108
01:00:43,680 --> 01:00:45,680
Speaker 3: goes to this guy's office and the agent tells him,

1109
01:00:45,720 --> 01:00:47,800
Speaker 3: you know what, let's send you for an audition today.

1110
01:00:47,880 --> 01:00:50,720
Speaker 3: Let's send you for this role in Paganini horror. And

1111
01:00:50,880 --> 01:00:53,400
Speaker 3: the agent secretary is like, oh no, no, we can't

1112
01:00:53,440 --> 01:00:55,720
Speaker 3: do that. We're supposed to send them, We're supposed to

1113
01:00:55,760 --> 01:00:58,480
Speaker 3: send them this other actor that we already represent. But

1114
01:00:58,600 --> 01:01:01,560
Speaker 3: the agent was mad at this other guy because he

1115
01:01:01,680 --> 01:01:04,320
Speaker 3: had flaked out on something recently and had been making

1116
01:01:04,320 --> 01:01:07,440
Speaker 3: a fuss. So the agent said, here's this kid, Genuardy,

1117
01:01:07,600 --> 01:01:10,840
Speaker 3: send him instead. So it sounds like he got this

1118
01:01:11,000 --> 01:01:14,240
Speaker 3: role on his very first day of looking for an agent,

1119
01:01:14,360 --> 01:01:18,680
Speaker 3: purely by coincidence and basically out of spite. So good

1120
01:01:18,800 --> 01:01:21,919
Speaker 3: good career note, kids, it can pay to be at

1121
01:01:21,960 --> 01:01:25,480
Speaker 3: hand when somebody with power is mad at somebody else.

1122
01:01:27,160 --> 01:01:31,080
Speaker 3: Beyond this, Genuardy says that he really has very little

1123
01:01:31,120 --> 01:01:34,880
Speaker 3: experience with horror, except that he loves Argento and he

1124
01:01:34,920 --> 01:01:37,360
Speaker 3: says even today he is scared every time he has

1125
01:01:37,440 --> 01:01:39,640
Speaker 3: to get into an elevator because of the scene with

1126
01:01:39,680 --> 01:01:43,160
Speaker 3: the necklace in Deep Red. But he says making the

1127
01:01:43,160 --> 01:01:46,280
Speaker 3: movie was a very positive experience. He describes Luigi Kotsi

1128
01:01:46,440 --> 01:01:49,640
Speaker 3: as a pleasure to work with, very funny and polite,

1129
01:01:50,440 --> 01:01:54,040
Speaker 3: and he makes this comment a couple of times in

1130
01:01:54,320 --> 01:01:59,120
Speaker 3: the interview that this was a contrast with his work

1131
01:01:59,120 --> 01:02:03,000
Speaker 3: on some other genre films where he kind of describes

1132
01:02:03,120 --> 01:02:07,040
Speaker 3: the directors as abrasive and domineering over the actors. He

1133
01:02:07,040 --> 01:02:10,400
Speaker 3: says Cotsey, by contrast, was very pleasant, quote, a gentleman

1134
01:02:10,480 --> 01:02:14,760
Speaker 3: through and through. He tried in the interview. It's funny

1135
01:02:14,760 --> 01:02:17,400
Speaker 3: because he's trying to remember the plot of Paganini Horror,

1136
01:02:17,440 --> 01:02:20,040
Speaker 3: which he admits that he hasn't seen it in thirty years,

1137
01:02:20,040 --> 01:02:22,320
Speaker 3: so he did not like rewatch it before the interview.

1138
01:02:22,440 --> 01:02:23,920
Speaker 2: Rewatching may not have helped.

1139
01:02:24,880 --> 01:02:29,240
Speaker 3: Yeah, he says, you know, I don't remember much opportunity

1140
01:02:29,320 --> 01:02:33,040
Speaker 3: for characterization. But he still had a great time working

1141
01:02:33,080 --> 01:02:34,960
Speaker 3: on it. He was amazed at the people who were

1142
01:02:34,960 --> 01:02:38,200
Speaker 3: doing the special effects, like at their craft. He was

1143
01:02:38,240 --> 01:02:40,600
Speaker 3: really interested in how they made a latex cast of

1144
01:02:40,640 --> 01:02:42,720
Speaker 3: his head because they have to set him on fire.

1145
01:02:43,720 --> 01:02:46,440
Speaker 3: He had very positive things to say about Daria Nickelode.

1146
01:02:46,440 --> 01:02:49,600
Speaker 3: He says she was polite and respectful to him. And

1147
01:02:49,840 --> 01:02:51,840
Speaker 3: as I said, he makes this aside a couple of

1148
01:02:51,880 --> 01:02:55,320
Speaker 3: times about mentioning people being respectful to him when he

1149
01:02:55,360 --> 01:02:58,320
Speaker 3: was a young actor, and he says, you know, this

1150
01:02:58,440 --> 01:03:00,760
Speaker 3: really used to be the exception and rather than the

1151
01:03:00,880 --> 01:03:03,320
Speaker 3: rule in the industry. But he said, I don't know

1152
01:03:03,320 --> 01:03:06,240
Speaker 3: if he's correct about this, but his perception is that

1153
01:03:06,320 --> 01:03:09,640
Speaker 3: the film industry now is very different. He thinks that

1154
01:03:09,760 --> 01:03:14,320
Speaker 3: compared to when he was young. Now generally like directors

1155
01:03:14,360 --> 01:03:17,760
Speaker 3: tend to treat actors better, and actors in bigger roles

1156
01:03:17,800 --> 01:03:20,800
Speaker 3: are more respectful to actors in smaller roles. There's less

1157
01:03:20,840 --> 01:03:23,480
Speaker 3: hostility than he remembers from when he was young. I

1158
01:03:23,520 --> 01:03:24,120
Speaker 3: hope that's true.

1159
01:03:24,960 --> 01:03:28,120
Speaker 2: Good to It's always nice to hear somebody reflect positively

1160
01:03:28,200 --> 01:03:32,160
Speaker 2: on one of these films, you know, especially given that

1161
01:03:32,200 --> 01:03:35,240
Speaker 2: we're often talking about lower budget films and films from

1162
01:03:35,280 --> 01:03:38,880
Speaker 2: previous decades, and you just kind of hope that everything

1163
01:03:38,960 --> 01:03:40,280
Speaker 2: went okay behind the scenes.

1164
01:03:40,640 --> 01:03:42,800
Speaker 3: Yeah, well, I mean that's his point of view. Who

1165
01:03:42,840 --> 01:03:45,600
Speaker 3: knows what other people would say, But I hope everybody

1166
01:03:45,600 --> 01:03:49,480
Speaker 3: had a great time making peggingy Newhorn. He says, I

1167
01:03:49,480 --> 01:03:52,320
Speaker 3: think the word is He says he's really astounded that

1168
01:03:52,360 --> 01:03:54,960
Speaker 3: people are still interested in this film. Not that he

1169
01:03:55,000 --> 01:03:58,800
Speaker 3: thinks it's worthless, but it's just not something he expected

1170
01:03:58,840 --> 01:04:03,280
Speaker 3: people would care anything about thirty years later. And then

1171
01:04:03,280 --> 01:04:05,360
Speaker 3: there's a quote where he says something like, it's the

1172
01:04:05,440 --> 01:04:07,919
Speaker 3: kind of cinema that had no money, but it's also

1173
01:04:07,960 --> 01:04:11,000
Speaker 3: the kind of cinema that did miracles. And I think

1174
01:04:11,320 --> 01:04:14,160
Speaker 3: specifically he's talking about sort of the craft of like

1175
01:04:14,240 --> 01:04:18,280
Speaker 3: what people could pull together with very little resources.

1176
01:04:18,720 --> 01:04:20,720
Speaker 2: Oh that's a good I like the way you put that.

1177
01:04:21,760 --> 01:04:25,440
Speaker 2: All right, Well, let's let's wind out the people involved

1178
01:04:25,560 --> 01:04:27,640
Speaker 2: in behind the scenes here to the limited extent that

1179
01:04:27,680 --> 01:04:28,440
Speaker 2: we can get into them.

1180
01:04:28,440 --> 01:04:28,680
Speaker 3: Here.

1181
01:04:29,120 --> 01:04:32,120
Speaker 2: I'm going to mention in passing that the character of

1182
01:04:32,160 --> 01:04:34,840
Speaker 2: the mother, I'm not going to say whose mother, though

1183
01:04:34,920 --> 01:04:36,960
Speaker 2: I really do not know if I was supposed to

1184
01:04:37,080 --> 01:04:41,000
Speaker 2: know whose mother it was early on. It's the opening

1185
01:04:41,040 --> 01:04:43,400
Speaker 2: scene of the film. The mother is played by Elena

1186
01:04:43,440 --> 01:04:48,280
Speaker 2: Pompeii born nineteen sixty six. Other credits include nineteen eighty

1187
01:04:48,320 --> 01:04:51,240
Speaker 2: six as the minds of killiman Jar and then Finally,

1188
01:04:51,320 --> 01:04:55,840
Speaker 2: the score for Paganini harr is by Vince Tempera born

1189
01:04:55,920 --> 01:04:59,439
Speaker 2: nineteen forty six, Italian composer best known for his work

1190
01:04:59,480 --> 01:05:02,960
Speaker 2: with Luccio ful chie On. The pictures include. Some of

1191
01:05:03,000 --> 01:05:05,240
Speaker 2: these are going to be pictures that you might some

1192
01:05:05,320 --> 01:05:07,720
Speaker 2: listeners might not be as familiar with because they include

1193
01:05:07,920 --> 01:05:10,920
Speaker 2: four of The Apocalypse from seventy five. That's a western,

1194
01:05:11,440 --> 01:05:14,880
Speaker 2: the nineteen seventy five comedy, and I think it's supposed

1195
01:05:14,920 --> 01:05:18,040
Speaker 2: to be like a goofball comedy. Dracula in the Provinces.

1196
01:05:18,440 --> 01:05:21,240
Speaker 2: I included the poster here for you, Joe. It includes

1197
01:05:22,600 --> 01:05:28,440
Speaker 2: illustrated poster art of a mustachioed vampire biting a woman

1198
01:05:28,520 --> 01:05:33,800
Speaker 2: on the butt. Yeah, so this is not the full

1199
01:05:33,880 --> 01:05:36,400
Speaker 2: chy Dracula movie that some of you might be imagining.

1200
01:05:36,400 --> 01:05:41,440
Speaker 2: This is supposed to be just a wide comedy. But anyway.

1201
01:05:41,480 --> 01:05:44,200
Speaker 2: Timpera also scored The Psychic in seventy seven.

1202
01:05:44,680 --> 01:05:45,440
Speaker 3: I've seen that one.

1203
01:05:45,520 --> 01:05:49,520
Speaker 2: Yeah, Silver Saddle in seventy eight. I've heard that is

1204
01:05:50,000 --> 01:05:53,600
Speaker 2: perhaps the best of fol Chee's westerns. And also eighty

1205
01:05:53,680 --> 01:05:54,960
Speaker 2: nine is the House of Clocks.

1206
01:05:55,680 --> 01:05:58,720
Speaker 3: Seen that one, that one's not sober, that's my best Later.

1207
01:05:58,640 --> 01:06:02,800
Speaker 2: Days fold cheese. Yeah, but he also apparently was an

1208
01:06:02,920 --> 01:06:07,640
Speaker 2: uncredited writer on one track for seventy nine Zombie, which

1209
01:06:07,800 --> 01:06:12,320
Speaker 2: was mostly officially credited to Fabio Frizzy, but perhaps yeah,

1210
01:06:12,520 --> 01:06:14,440
Speaker 2: he had something to do with one of the tracks there.

1211
01:06:14,680 --> 01:06:18,360
Speaker 2: Other credits include seventy six as Teenage Emmanuel and the

1212
01:06:18,400 --> 01:06:21,800
Speaker 2: Black Cat, which we've already mentioned. I'm going to say

1213
01:06:22,480 --> 01:06:25,000
Speaker 2: great electronics score in my opinion, and I think one

1214
01:06:25,040 --> 01:06:28,840
Speaker 2: of the film's strongest qualities. So no matter where you're

1215
01:06:28,880 --> 01:06:32,440
Speaker 2: going with the plot and these different elements, in a way,

1216
01:06:32,920 --> 01:06:37,000
Speaker 2: I feel like Paganini Harror is grounded in these serene,

1217
01:06:37,800 --> 01:06:41,760
Speaker 2: haunting synth ambient pieces that kind of like reminds you

1218
01:06:41,840 --> 01:06:45,640
Speaker 2: it's like, no, something coherent and spooky is going on,

1219
01:06:46,240 --> 01:06:48,000
Speaker 2: and it kind of like brings you back to that.

1220
01:06:48,800 --> 01:06:50,640
Speaker 3: I thought you would like those parts. I like those

1221
01:06:50,680 --> 01:06:55,520
Speaker 3: parts too. Yeah. With the there's a very subtle synth

1222
01:06:55,640 --> 01:06:58,600
Speaker 3: score and these these kind of swirling pads that are

1223
01:06:58,720 --> 01:07:01,680
Speaker 3: used a lot in the the more atmospheric scenes that

1224
01:07:01,760 --> 01:07:05,720
Speaker 3: I think work quite well, and they're a big contrast

1225
01:07:05,840 --> 01:07:09,120
Speaker 3: to the diegetic pop music that's in the film, which

1226
01:07:09,120 --> 01:07:10,480
Speaker 3: we will also talk about in a bit.

1227
01:07:10,640 --> 01:07:15,160
Speaker 2: Yeah. Yeah, this soundtrack The score has at least previously

1228
01:07:15,200 --> 01:07:20,600
Speaker 2: been available on vinyl from the label Subost. There's a

1229
01:07:20,680 --> 01:07:23,840
Speaker 2: band camp listing for the soundtrack, but I don't think that.

1230
01:07:24,560 --> 01:07:26,720
Speaker 2: Maybe it's region blocked, but I don't think it was

1231
01:07:26,720 --> 01:07:28,480
Speaker 2: put out digitally. I think it was only put out

1232
01:07:28,480 --> 01:07:32,000
Speaker 2: as a physical vinyl addition. But if you can listen

1233
01:07:32,040 --> 01:07:34,440
Speaker 2: to it and give it a go, I really liked it.

1234
01:07:34,440 --> 01:07:44,640
Speaker 4: I wish it was available for my stream.

1235
01:07:44,680 --> 01:07:46,880
Speaker 3: All right, are you ready to talk about the plot?

1236
01:07:47,240 --> 01:07:47,800
Speaker 2: Let's do it.

1237
01:07:48,320 --> 01:07:51,000
Speaker 3: I think this is one where we're not going to

1238
01:07:51,040 --> 01:07:53,680
Speaker 3: try to narrate the whole movie scene by scene. It'll

1239
01:07:53,720 --> 01:07:56,360
Speaker 3: make more sense if I go ahead here and give

1240
01:07:56,400 --> 01:07:59,640
Speaker 3: a basic summary of the whole movie, and then we

1241
01:07:59,680 --> 01:08:02,200
Speaker 3: can come back and talk about some specific scenes in

1242
01:08:02,240 --> 01:08:06,360
Speaker 3: more detail, especially scenes early on. So warning that spoilers

1243
01:08:06,360 --> 01:08:07,880
Speaker 3: are incoming if you would like to go into the

1244
01:08:08,360 --> 01:08:13,760
Speaker 3: Paganini horror without anything ruined. So the basic premise is

1245
01:08:13,880 --> 01:08:17,040
Speaker 3: that this eighties glam rock band. Do we ever learn

1246
01:08:17,080 --> 01:08:19,519
Speaker 3: the band's name? I think no. The answer is now

1247
01:08:20,200 --> 01:08:23,760
Speaker 3: consisting of three women, Kate, Elena, and Rita, and this

1248
01:08:23,800 --> 01:08:27,120
Speaker 3: one guy named Daniel are having trouble coming up with

1249
01:08:27,200 --> 01:08:29,920
Speaker 3: a new single. That will make their record label happy.

1250
01:08:31,080 --> 01:08:34,639
Speaker 3: So the drummer Daniel meets with a shady character named

1251
01:08:34,720 --> 01:08:38,040
Speaker 3: mister Pickett played by Donald Pleasance, who sells him a

1252
01:08:38,040 --> 01:08:42,280
Speaker 3: piece of sheet music composed by Nicolo Paganini but never

1253
01:08:42,360 --> 01:08:45,720
Speaker 3: before published or played in public, and the music is

1254
01:08:45,760 --> 01:08:51,519
Speaker 3: called Pagandini Horror. Their manager Lavinia that this is their

1255
01:08:51,680 --> 01:08:54,599
Speaker 3: it stinks person. She says, hell, yeah, this is a hit.

1256
01:08:54,720 --> 01:08:57,679
Speaker 3: I like it. So they plan to shoot a music

1257
01:08:57,800 --> 01:09:01,879
Speaker 3: video for the Paganini song the famous horror movie director

1258
01:09:01,960 --> 01:09:05,840
Speaker 3: Mark Singer at a creepy old mansion called Lacasad Soul,

1259
01:09:05,920 --> 01:09:08,720
Speaker 3: which is owned by a lady named Sylvia. So they

1260
01:09:08,760 --> 01:09:11,200
Speaker 3: go to the mansion and then they spend the rest

1261
01:09:11,240 --> 01:09:15,160
Speaker 3: of the movie there at the mansion, enduring various horrors

1262
01:09:15,200 --> 01:09:18,599
Speaker 3: and getting killed in different ways. So we get some

1263
01:09:18,640 --> 01:09:23,840
Speaker 3: slashings and stabbings. These are kind of music themed slashings sometimes.

1264
01:09:24,160 --> 01:09:27,400
Speaker 2: Yeah, Because in fact, the murder weapon, as we've alluded

1265
01:09:27,439 --> 01:09:32,080
Speaker 2: to already, we have is this cursed violin with human

1266
01:09:32,120 --> 01:09:35,720
Speaker 2: gut strings. The strings at least allegedly made from the

1267
01:09:35,720 --> 01:09:38,880
Speaker 2: intestines of a human victim, though it doesn't look like that,

1268
01:09:38,960 --> 01:09:42,200
Speaker 2: and it just looks like violin. They look like violin strings,

1269
01:09:42,600 --> 01:09:48,040
Speaker 2: but this violin also has an extendable blade that shoots

1270
01:09:48,080 --> 01:09:50,800
Speaker 2: out the base of the violin, you know, almost like

1271
01:09:50,840 --> 01:09:53,400
Speaker 2: it's some sort of a James Bond gimmick, but also,

1272
01:09:53,439 --> 01:09:57,160
Speaker 2: I guess more tellingly, like it's some sort of Gallo

1273
01:09:57,360 --> 01:10:00,880
Speaker 2: murder weapon. But also it's in the correct spot on

1274
01:10:00,920 --> 01:10:04,200
Speaker 2: the violin that it would seem designed to like shoot

1275
01:10:04,280 --> 01:10:08,240
Speaker 2: into the violinist jugular whilst they were playing. Yeah, but

1276
01:10:08,280 --> 01:10:10,719
Speaker 2: we never get this, Like it seems like that's clearly

1277
01:10:10,720 --> 01:10:12,280
Speaker 2: what we're setting up for, and I'm like, oh man,

1278
01:10:12,320 --> 01:10:14,040
Speaker 2: I can't wait till that happens. That's going to be

1279
01:10:14,080 --> 01:10:15,880
Speaker 2: pretty groovy. And then it doesn't.

1280
01:10:16,360 --> 01:10:19,240
Speaker 3: It's a trap violin, but I think we only ever

1281
01:10:19,280 --> 01:10:23,120
Speaker 3: see it used offensively as somebody stabbing somebody else with.

1282
01:10:23,160 --> 01:10:27,400
Speaker 2: The in the most unimaginative way. Now that you mentioned, though,

1283
01:10:27,439 --> 01:10:32,360
Speaker 2: that he lifted some plot elements from this previous TV

1284
01:10:32,560 --> 01:10:36,599
Speaker 2: production about Stratavarius or some sort of haunted Stratavarius violin,

1285
01:10:36,840 --> 01:10:38,960
Speaker 2: it does make me wonder, is that where we get

1286
01:10:38,960 --> 01:10:45,120
Speaker 2: to see the jugular booby trapped violin stabbing somebody. I

1287
01:10:45,120 --> 01:10:46,599
Speaker 2: don't know, but I'm really curious.

1288
01:10:46,640 --> 01:10:49,839
Speaker 3: Now, Well, it could be that, but I was guessing

1289
01:10:49,920 --> 01:10:54,080
Speaker 3: that the Stratavarius TV episode was what provided the idea

1290
01:10:54,200 --> 01:10:57,639
Speaker 3: about the melt fungus that comes from the wood used

1291
01:10:57,640 --> 01:11:02,000
Speaker 3: to make Strativarius violin, which is when that scene comes

1292
01:11:02,120 --> 01:11:06,960
Speaker 3: up in the movie later that it is so amazingly specific.

1293
01:11:07,040 --> 01:11:09,040
Speaker 3: So this is one of the deaths in the film.

1294
01:11:09,720 --> 01:11:13,400
Speaker 3: One of the girls in the band disappears and you know,

1295
01:11:13,439 --> 01:11:15,960
Speaker 3: her friends are looking around for her. She's nowhere to

1296
01:11:16,000 --> 01:11:18,559
Speaker 3: be found. And then later she turns up melted. It's

1297
01:11:18,560 --> 01:11:22,000
Speaker 3: like Emil and RoboCop and them like, yeah, yeah, She's

1298
01:11:22,080 --> 01:11:24,559
Speaker 3: just like Hi, I've melted now, and they're like what

1299
01:11:24,840 --> 01:11:27,519
Speaker 3: is this? And I think it's Daria Nickelode looks at

1300
01:11:27,520 --> 01:11:29,840
Speaker 3: her and says, oh, I know what that is. That's

1301
01:11:29,920 --> 01:11:32,719
Speaker 3: the fungus that comes from the wood that was used

1302
01:11:32,720 --> 01:11:35,879
Speaker 3: to make Strata various violins, which is a flesh eating fungus.

1303
01:11:36,760 --> 01:11:43,800
Speaker 2: So possibly leftovers. It's like we've served alongside the Evening's offerings. Okay.

1304
01:11:45,560 --> 01:11:47,360
Speaker 3: I tried to look up as like, what is that

1305
01:11:47,439 --> 01:11:49,800
Speaker 3: based on anything real? I don't think so. I think

1306
01:11:49,840 --> 01:11:54,679
Speaker 3: it may be very very loosely inspired by a sort

1307
01:11:54,680 --> 01:11:58,960
Speaker 3: of theory people had about like what makes stratavarius violins

1308
01:11:59,000 --> 01:12:02,599
Speaker 3: sound so special? And there was a theory for a while.

1309
01:12:02,680 --> 01:12:05,960
Speaker 3: I think that it was because of like climate, you know,

1310
01:12:06,200 --> 01:12:10,120
Speaker 3: periodic climate changes in Europe leading to different growth patterns

1311
01:12:10,160 --> 01:12:12,919
Speaker 3: in the trees that had like would have had denser

1312
01:12:13,120 --> 01:12:16,000
Speaker 3: wood at a particular time when the wood was being

1313
01:12:16,040 --> 01:12:18,679
Speaker 3: harvested to make the violins. But I don't even think

1314
01:12:18,720 --> 01:12:23,360
Speaker 3: that that theory is much subscribed to anymore. That wouldn't

1315
01:12:23,360 --> 01:12:25,599
Speaker 3: have much to do with melt movie fungus. But anyway

1316
01:12:25,680 --> 01:12:28,000
Speaker 3: that I was like, where does that come from? So

1317
01:12:28,080 --> 01:12:30,719
Speaker 3: there's that. There's a lot of running around and people

1318
01:12:30,760 --> 01:12:33,679
Speaker 3: getting lost, you know, we alluded to this earlier. People

1319
01:12:33,720 --> 01:12:35,760
Speaker 3: like getting lost in the house. Other people are like

1320
01:12:35,800 --> 01:12:38,560
Speaker 3: where are they? Can we find them? And running through halls.

1321
01:12:38,880 --> 01:12:42,080
Speaker 3: There are these hell tunnels like pits that open in

1322
01:12:42,120 --> 01:12:45,080
Speaker 3: the earth and drop you into hell and electrocute you,

1323
01:12:45,120 --> 01:12:46,400
Speaker 3: shoot you with electricity.

1324
01:12:46,479 --> 01:12:50,000
Speaker 2: Yeah, it becomes very confusing about Okay, is this person

1325
01:12:50,080 --> 01:12:52,960
Speaker 2: now in the hell realm or are there just somewhere

1326
01:12:53,000 --> 01:12:55,040
Speaker 2: else in the house. Hard to say.

1327
01:12:55,720 --> 01:12:58,840
Speaker 3: Some people crawl into tunnels and then come out of

1328
01:12:58,920 --> 01:13:01,919
Speaker 3: the tunnels and it's not clear whether they went somewhere

1329
01:13:01,920 --> 01:13:05,639
Speaker 3: else or they're still in the same place. There are

1330
01:13:05,840 --> 01:13:09,479
Speaker 3: invisible walls, like they some characters try to leave the

1331
01:13:09,520 --> 01:13:12,240
Speaker 3: house in a car and end up smashing the car

1332
01:13:12,479 --> 01:13:15,680
Speaker 3: like smashing into an invisible wall around the house, and

1333
01:13:15,720 --> 01:13:18,840
Speaker 3: the car cutches on fire and they die. There's also

1334
01:13:18,880 --> 01:13:21,280
Speaker 3: I would say the best quality kill in the movie

1335
01:13:21,760 --> 01:13:25,120
Speaker 3: is the fate of Lavinia, the band's manager at the end,

1336
01:13:25,400 --> 01:13:28,640
Speaker 3: who is crushed by an invisible wall. So she's up

1337
01:13:28,680 --> 01:13:32,599
Speaker 3: against a wall you can see, and then suddenly she's like, uh, like, oh,

1338
01:13:32,720 --> 01:13:36,160
Speaker 3: I move my microphone. Sorry, but she's doing mime stuffy

1339
01:13:37,320 --> 01:13:42,040
Speaker 3: death death by mime. And then there's a clear pane

1340
01:13:42,080 --> 01:13:44,400
Speaker 3: of glass pressed against her face so you can see

1341
01:13:44,400 --> 01:13:47,120
Speaker 3: her being smoosed and she's like uh uh and then

1342
01:13:47,280 --> 01:13:50,320
Speaker 3: scanner style her head explodes. I didn't see that coming.

1343
01:13:50,320 --> 01:13:51,000
Speaker 3: And that was awesome.

1344
01:13:51,040 --> 01:13:53,720
Speaker 2: Yeah, really well done, and especially knowing that they were

1345
01:13:53,720 --> 01:13:57,840
Speaker 2: on very limited budgets for the special effects, so yeah,

1346
01:13:57,960 --> 01:14:00,360
Speaker 2: that's all terrific. But then also you have Kate getting

1347
01:14:00,400 --> 01:14:03,840
Speaker 2: locked in a big casket like standing base case, even

1348
01:14:03,840 --> 01:14:07,839
Speaker 2: though nobody's playing the standing bass or anything that large,

1349
01:14:07,920 --> 01:14:10,640
Speaker 2: but hey, you can fit the lead singer of a

1350
01:14:10,640 --> 01:14:12,280
Speaker 2: pop band in there and then you can set it

1351
01:14:12,320 --> 01:14:12,759
Speaker 2: on fire.

1352
01:14:13,479 --> 01:14:15,360
Speaker 3: Yeah, but she does survive that.

1353
01:14:15,520 --> 01:14:18,680
Speaker 2: Yes she does, though it seems like she might not

1354
01:14:18,840 --> 01:14:21,799
Speaker 2: for a minute there. We mentioned that this film involves

1355
01:14:21,800 --> 01:14:25,479
Speaker 2: the devil, but it also involves what the perhaps the

1356
01:14:26,320 --> 01:14:31,280
Speaker 2: litch of Paganini himself, like some sort of a masked

1357
01:14:31,640 --> 01:14:34,679
Speaker 2: ghoul who is going around killing people with the violin

1358
01:14:34,880 --> 01:14:36,680
Speaker 2: or seemingly unclear.

1359
01:14:36,800 --> 01:14:40,800
Speaker 3: Yeah, so the ending is there, Well, the ending, don't

1360
01:14:40,800 --> 01:14:44,519
Speaker 3: we discover that the Paganini ghul is Donald Pleasance? Am

1361
01:14:44,560 --> 01:14:45,280
Speaker 3: I wrong about that?

1362
01:14:45,800 --> 01:14:48,120
Speaker 2: I think you may be right. You might be right.

1363
01:14:48,640 --> 01:14:52,480
Speaker 3: Yeah, I apologize if I'm getting that wrong. That's embarrassing

1364
01:14:52,479 --> 01:14:56,080
Speaker 3: if I am. But truly, it is hard to remember

1365
01:14:56,120 --> 01:14:58,559
Speaker 3: some details about this movie, even having seen it multiple

1366
01:14:58,640 --> 01:15:01,519
Speaker 3: times now. I do remember at the end, Kate gets

1367
01:15:01,560 --> 01:15:05,120
Speaker 3: an explanation, she gets the whole villain monologue. So mister

1368
01:15:05,200 --> 01:15:08,200
Speaker 3: Pickett Donald Pleasant arrives at the house after all of

1369
01:15:08,200 --> 01:15:11,080
Speaker 3: her friends have been killed in these weird, bizarre ways

1370
01:15:11,320 --> 01:15:15,040
Speaker 3: through the house all night, and she he gets there,

1371
01:15:15,120 --> 01:15:16,880
Speaker 3: He gets out of a car and he's like, Hi,

1372
01:15:17,000 --> 01:15:19,840
Speaker 3: I am Satan and you're trapped in hell forever because

1373
01:15:19,880 --> 01:15:22,360
Speaker 3: you sold your soul for wealth and fame and that

1374
01:15:22,560 --> 01:15:24,280
Speaker 3: I don't like people who do that. And then he

1375
01:15:24,320 --> 01:15:24,920
Speaker 3: stabs her.

1376
01:15:25,320 --> 01:15:27,640
Speaker 2: But she did she get the wealth and fame. It

1377
01:15:27,680 --> 01:15:30,680
Speaker 2: seems like they haven't even finished the music video and

1378
01:15:30,720 --> 01:15:33,400
Speaker 2: he's already claiming her soul for all eternity. I don't know.

1379
01:15:33,479 --> 01:15:36,200
Speaker 3: I mean that's a good point. Yeah. Usually these packed

1380
01:15:36,200 --> 01:15:39,600
Speaker 3: with the devil stories the person they get the rewards

1381
01:15:39,680 --> 01:15:42,360
Speaker 3: up front. It's just that the bill comes due later.

1382
01:15:42,520 --> 01:15:44,400
Speaker 3: But she doesn't even get the rewards up front.

1383
01:15:44,479 --> 01:15:46,280
Speaker 2: Yeah. I mean, it'd be one thing if it was

1384
01:15:46,360 --> 01:15:47,920
Speaker 2: just fame, because you could be like, oh, well you

1385
01:15:47,960 --> 01:15:50,519
Speaker 2: will be famous for this. But I don't think she

1386
01:15:50,560 --> 01:15:51,360
Speaker 2: really gets the wealth.

1387
01:15:51,520 --> 01:15:56,120
Speaker 3: So yeah, so that's basically the whole plot, But we

1388
01:15:56,120 --> 01:15:58,240
Speaker 3: should zoom in on a few things. I definitely want

1389
01:15:58,280 --> 01:16:00,080
Speaker 3: to talk about a couple of scenes early on. I

1390
01:16:00,080 --> 01:16:02,000
Speaker 3: want to talk about the prologue, and I want to

1391
01:16:02,000 --> 01:16:04,280
Speaker 3: talk about the scene and the music studio.

1392
01:16:04,439 --> 01:16:07,519
Speaker 2: Yes, yes, yeah, so okay, so no, good.

1393
01:16:07,560 --> 01:16:08,800
Speaker 3: Well prologue first.

1394
01:16:08,560 --> 01:16:12,680
Speaker 2: Yeah, yeah, I mean basically, we start off with some wondrous, wonderful,

1395
01:16:12,920 --> 01:16:16,400
Speaker 2: you know, atmospheric scenes of a little girl wandering the streets,

1396
01:16:16,439 --> 01:16:20,280
Speaker 2: and then eventually, you know, taking one of the canal

1397
01:16:20,320 --> 01:16:24,040
Speaker 2: boats and through the canals of Venice. It's unclear at

1398
01:16:24,080 --> 01:16:27,080
Speaker 2: first what time zone we're actually in, Like is this

1399
01:16:27,280 --> 01:16:29,200
Speaker 2: the past? Is this the present?

1400
01:16:29,640 --> 01:16:33,120
Speaker 3: Like, oh, because she's dressed weird. Yeah, the little girls

1401
01:16:33,200 --> 01:16:35,519
Speaker 3: dressed like a Puritan. She looks like little you know,

1402
01:16:35,600 --> 01:16:40,000
Speaker 3: Prudence Proctor is out here wandering around in the Puritan village.

1403
01:16:40,040 --> 01:16:42,080
Speaker 2: Is she a ghost? We don't know. And there's all

1404
01:16:42,120 --> 01:16:44,760
Speaker 2: this hazy synth music played on top of it. It's

1405
01:16:44,800 --> 01:16:47,760
Speaker 2: really nice. But yeah, I was unsure, like where we

1406
01:16:47,760 --> 01:16:49,320
Speaker 2: were in time, in space. I mean, I knew in

1407
01:16:49,320 --> 01:16:52,160
Speaker 2: space we were in Venice, but in terms of time,

1408
01:16:52,520 --> 01:16:56,519
Speaker 2: I had very vague ideas of what was going on. Likewise,

1409
01:16:57,120 --> 01:16:59,240
Speaker 2: I wasn't going to be sure for a long time

1410
01:17:00,320 --> 01:17:04,040
Speaker 2: which grown up character this character, this little girl ends

1411
01:17:04,120 --> 01:17:07,679
Speaker 2: up becoming. And likewise, when we meet this this little

1412
01:17:07,720 --> 01:17:09,840
Speaker 2: girl's mother, I had no idea whose mother this is,

1413
01:17:10,120 --> 01:17:13,240
Speaker 2: whose prologue this really was. And I don't know if

1414
01:17:13,240 --> 01:17:16,160
Speaker 2: that was by design, if that was an error on

1415
01:17:16,240 --> 01:17:19,160
Speaker 2: my part, or just part of the sort of messiness

1416
01:17:19,160 --> 01:17:19,719
Speaker 2: of this film.

1417
01:17:20,080 --> 01:17:24,040
Speaker 3: No, I think it's intentional mystery and even intentional misdirection.

1418
01:17:24,160 --> 01:17:28,040
Speaker 3: At first. So I think the answer is we discover

1419
01:17:28,120 --> 01:17:29,759
Speaker 3: it's Daria Nickelode's character.

1420
01:17:29,880 --> 01:17:32,080
Speaker 2: But where I guess at first we're to think maybe

1421
01:17:32,080 --> 01:17:32,799
Speaker 2: it's Kate.

1422
01:17:32,800 --> 01:17:36,479
Speaker 3: Right, Yes, they misdirect you and make you think it's Kate.

1423
01:17:37,600 --> 01:17:40,519
Speaker 3: Well I'll explain why that why I think that is

1424
01:17:40,760 --> 01:17:44,080
Speaker 3: in a minute, but so just quick fact about this

1425
01:17:44,240 --> 01:17:50,240
Speaker 3: girl wandering around Venice and the Puritan hood. This girl

1426
01:17:50,320 --> 01:17:53,400
Speaker 3: is Luigi Kotsi's daughter, which I thought was a great choice,

1427
01:17:53,439 --> 01:17:55,719
Speaker 3: like we need a super creepy kid in the opening

1428
01:17:55,760 --> 01:17:58,840
Speaker 3: scene to commit mattress side. Oh I know, I'll use

1429
01:17:58,880 --> 01:18:03,719
Speaker 3: my own child. So this, this strange girl wanders around

1430
01:18:03,800 --> 01:18:06,360
Speaker 3: Venice and she gets in the gondola. She gets she

1431
01:18:06,439 --> 01:18:08,400
Speaker 3: goes down the canal, then she gets dropped off at

1432
01:18:08,400 --> 01:18:10,680
Speaker 3: a mansion. This is the house that will later re

1433
01:18:10,760 --> 01:18:14,840
Speaker 3: featured in the music video part of the movie. And

1434
01:18:14,880 --> 01:18:17,479
Speaker 3: then we go inside the house and we pan over

1435
01:18:17,640 --> 01:18:22,160
Speaker 3: the child's ghastly toys. What is it about children's toys

1436
01:18:22,200 --> 01:18:25,360
Speaker 3: in these old Italian movies always look so creepy even

1437
01:18:25,439 --> 01:18:27,840
Speaker 3: when they're not supposed to, you know.

1438
01:18:28,240 --> 01:18:30,000
Speaker 2: Yeah, yeah, I mean though, this one is like a

1439
01:18:30,080 --> 01:18:32,479
Speaker 2: what a doll with a skull's face or something, so.

1440
01:18:33,200 --> 01:18:35,320
Speaker 3: One of them. Yeah, that one's supposed to look creepy,

1441
01:18:35,360 --> 01:18:39,160
Speaker 3: I think. So she's playing the we pan over that

1442
01:18:39,200 --> 01:18:41,960
Speaker 3: she's playing this song on the violin, practicing her violin.

1443
01:18:42,040 --> 01:18:44,880
Speaker 3: The song is called the Witches Dance. And while the

1444
01:18:44,920 --> 01:18:48,000
Speaker 3: little girl plays the violin down the hall, her mother

1445
01:18:48,160 --> 01:18:49,960
Speaker 3: gets undressed and gets into the bath.

1446
01:18:50,320 --> 01:18:53,920
Speaker 2: Yeah. And some pied editing here on this just robing

1447
01:18:53,960 --> 01:18:57,120
Speaker 2: and getting into the bath, yes, but they pulls it off.

1448
01:18:58,160 --> 01:19:02,400
Speaker 3: Two things stand out about this bathroom. One is blood

1449
01:19:02,680 --> 01:19:06,920
Speaker 3: red tiles on the walls. Cotsey mentions that he had

1450
01:19:06,920 --> 01:19:09,640
Speaker 3: the idea personally to have the bathroom tiles in this

1451
01:19:09,720 --> 01:19:12,960
Speaker 3: room painted red. He said his set designers thought this

1452
01:19:13,120 --> 01:19:16,040
Speaker 3: was weird, but he stands by it. He thinks it works.

1453
01:19:16,160 --> 01:19:17,800
Speaker 3: It's a good idea, and I stand by it.

1454
01:19:17,880 --> 01:19:18,640
Speaker 2: Yeah. Absolutely.

1455
01:19:19,360 --> 01:19:23,920
Speaker 3: Also, this bathroom is the echo weeest room on earth.

1456
01:19:24,000 --> 01:19:26,040
Speaker 3: The little girl comes in and the mom and the

1457
01:19:26,080 --> 01:19:28,520
Speaker 3: girl start talking, and it sounds like they are inside

1458
01:19:28,560 --> 01:19:32,080
Speaker 3: a steel barrel the size of a football stadium. It's

1459
01:19:32,200 --> 01:19:36,439
Speaker 3: just like infinite echoes. And the mom and the girl talks.

1460
01:19:36,439 --> 01:19:39,120
Speaker 3: So the girl says she finished her violin practice for

1461
01:19:39,160 --> 01:19:41,280
Speaker 3: the day. Her mom tells her, Oh good, you can

1462
01:19:41,320 --> 01:19:44,000
Speaker 3: now go play, and she says, you know, one day

1463
01:19:44,040 --> 01:19:45,960
Speaker 3: you're going to grow up to be a famous musician,

1464
01:19:46,160 --> 01:19:48,519
Speaker 3: just like your father. We're not told who he is.

1465
01:19:49,160 --> 01:19:52,519
Speaker 3: But the little girl has this sinister looking doll with

1466
01:19:52,600 --> 01:19:56,920
Speaker 3: a gold skull mask on its face. The girl dips

1467
01:19:56,960 --> 01:20:00,839
Speaker 3: the doll's hair into her mom's bathwater and gets all wet.

1468
01:20:01,200 --> 01:20:03,759
Speaker 3: Then the little girl gets a hair dryer and starts

1469
01:20:03,800 --> 01:20:07,200
Speaker 3: blow drying the doll's hair while the mom watches. They're

1470
01:20:07,200 --> 01:20:09,439
Speaker 3: sitting there smiling at each other while the girls got

1471
01:20:09,479 --> 01:20:13,000
Speaker 3: the hair dryer, like, yes, where's this going m And

1472
01:20:13,040 --> 01:20:15,759
Speaker 3: then the girl smiles and throws the hair dryer into

1473
01:20:15,760 --> 01:20:20,639
Speaker 3: the bath so zap. This is an electrocution with classic

1474
01:20:21,320 --> 01:20:25,080
Speaker 3: you know, animated electrical zigzags shooting up into the mom's face.

1475
01:20:25,080 --> 01:20:27,720
Speaker 3: And then the mom is literally cooked. She looks like

1476
01:20:27,760 --> 01:20:30,360
Speaker 3: she has been cooked on a cast iron skillet.

1477
01:20:30,520 --> 01:20:35,320
Speaker 2: Yeah, so you know your creepy backstory saying here, and

1478
01:20:36,200 --> 01:20:40,719
Speaker 2: that's pretty well executed. And also it feels it feels true.

1479
01:20:40,800 --> 01:20:44,160
Speaker 2: You know, as a parent, I know that kids hate

1480
01:20:44,200 --> 01:20:47,320
Speaker 2: being reminded that they need to practice their musical instruments,

1481
01:20:47,560 --> 01:20:50,000
Speaker 2: that they need to do their due lingo and so forth.

1482
01:20:51,240 --> 01:20:54,080
Speaker 2: So this is perhaps going on inside the head of

1483
01:20:54,120 --> 01:20:57,840
Speaker 2: many a child, though most children do not actually heave

1484
01:20:57,880 --> 01:20:59,559
Speaker 2: a toaster or hair dryer into the.

1485
01:20:59,560 --> 01:21:04,320
Speaker 3: Bathtub thankfully not. Yes, uh, so here what we cut

1486
01:21:04,520 --> 01:21:07,360
Speaker 3: from directly from the prologue. In fact, cut from a

1487
01:21:07,360 --> 01:21:11,000
Speaker 3: shot of the mother's fried face to the the opening

1488
01:21:11,240 --> 01:21:13,479
Speaker 3: you know rock song the music number.

1489
01:21:14,200 --> 01:21:17,320
Speaker 2: Yes this uh, this is the first track that we

1490
01:21:17,400 --> 01:21:19,640
Speaker 2: hear from Kate and the rest of the band. And

1491
01:21:19,920 --> 01:21:21,439
Speaker 2: I have to say, when I was listening to it,

1492
01:21:21,479 --> 01:21:24,360
Speaker 2: I was I was like, you know, this song is

1493
01:21:24,439 --> 01:21:27,479
Speaker 2: a is a real banger. I'm digging this. They're rockin

1494
01:21:27,680 --> 01:21:31,760
Speaker 2: it's uh, it's the lyrics are stay the Night High

1495
01:21:31,840 --> 01:21:37,000
Speaker 2: and sol You and the rout Row. It's the apparently

1496
01:21:37,000 --> 01:21:38,840
Speaker 2: actually saying rock and roll. I had to pull up

1497
01:21:38,840 --> 01:21:41,679
Speaker 2: the subtitles to get that. But stay the Night High

1498
01:21:41,680 --> 01:21:43,519
Speaker 2: and so You and the rut Row.

1499
01:21:43,920 --> 01:21:47,800
Speaker 3: I would think I was hearing like you can row.

1500
01:21:49,000 --> 01:21:49,120
Speaker 4: Uh.

1501
01:21:50,840 --> 01:21:53,719
Speaker 3: This song is great? Is bon Jovi, But it's great.

1502
01:21:53,840 --> 01:21:57,040
Speaker 2: It is absolutely John Bovi's You Give Love a Bad Name.

1503
01:21:57,080 --> 01:21:59,880
Speaker 2: And I didn't catch it a first, Like watching on

1504
01:21:59,880 --> 01:22:01,920
Speaker 2: the playing, I'm like, this is great, Like this is

1505
01:22:01,960 --> 01:22:05,519
Speaker 2: not like the comparison to Pod People. What was the

1506
01:22:05,520 --> 01:22:06,280
Speaker 2: song in pod People?

1507
01:22:06,320 --> 01:22:08,960
Speaker 3: Idiot control here the here the Engines roll? Oh yeah,

1508
01:22:09,000 --> 01:22:10,080
Speaker 3: idiot controlled.

1509
01:22:09,880 --> 01:22:13,599
Speaker 2: Terrible song by a terrible band. But in this case

1510
01:22:13,640 --> 01:22:16,479
Speaker 2: it's like, especially not realizing at the time that it

1511
01:22:16,520 --> 01:22:21,639
Speaker 2: was actually a John Bovy bon Jovi rather rip off,

1512
01:22:21,920 --> 01:22:24,120
Speaker 2: I was like, yeah, this is great, but it's yeah,

1513
01:22:24,240 --> 01:22:26,160
Speaker 2: it's clearly you give love a bad name.

1514
01:22:26,720 --> 01:22:29,479
Speaker 3: Yeah, I mean it's like they they nabbed one of

1515
01:22:29,520 --> 01:22:33,800
Speaker 3: the hookiest hooks in rock music. It's like an impossible

1516
01:22:33,880 --> 01:22:34,920
Speaker 3: to miss hooky hook.

1517
01:22:35,280 --> 01:22:38,479
Speaker 2: Yeah. And so yeah, they're performing it. And this is

1518
01:22:38,520 --> 01:22:40,680
Speaker 2: to be clear, this is not a concert. This is

1519
01:22:40,720 --> 01:22:44,920
Speaker 2: a recording session in a studio. Yes, but but the

1520
01:22:44,920 --> 01:22:49,920
Speaker 2: gals and Daniel are performing with full concert theatrics. You know,

1521
01:22:49,960 --> 01:22:54,920
Speaker 2: their costumes. You know they're tight pants on despite.

1522
01:22:54,600 --> 01:22:58,960
Speaker 3: All facing the same direction and dancing. Where is stage light?

1523
01:22:59,120 --> 01:22:59,280
Speaker 4: Yeah?

1524
01:22:59,280 --> 01:23:01,160
Speaker 2: Again, this is sort of recording session, so they could

1525
01:23:01,200 --> 01:23:04,559
Speaker 2: be wearing their sweats. They could be We've all seen

1526
01:23:04,640 --> 01:23:09,040
Speaker 2: actual footage of professional musicians recording and it generally looks

1527
01:23:09,040 --> 01:23:12,800
Speaker 2: pretty gross, you know, because it's not about the performed

1528
01:23:12,880 --> 01:23:16,080
Speaker 2: the visual performance. It's about getting the music down right.

1529
01:23:16,640 --> 01:23:19,400
Speaker 3: Yeah, I mean I can respect that. Maybe they've got

1530
01:23:19,400 --> 01:23:21,840
Speaker 3: that purest mentality where they're like, no, we're going to

1531
01:23:21,880 --> 01:23:24,320
Speaker 3: record it live, multi track, we're doing it all at

1532
01:23:24,360 --> 01:23:27,280
Speaker 3: the same time. But I think even the bands that

1533
01:23:27,400 --> 01:23:30,479
Speaker 3: have that kind of mentality instead of trying to one

1534
01:23:30,600 --> 01:23:32,800
Speaker 3: track at at a time, even the bands with that

1535
01:23:32,880 --> 01:23:35,200
Speaker 3: mentality are not going to have stage lights on them

1536
01:23:35,240 --> 01:23:36,040
Speaker 3: while they're recording.

1537
01:23:36,040 --> 01:23:37,360
Speaker 2: They're not going to bite the head off of a

1538
01:23:38,000 --> 01:23:41,240
Speaker 2: bat in the recording session. You save that for the tour.

1539
01:23:42,000 --> 01:23:45,280
Speaker 3: But so, as you said, now, they do not say

1540
01:23:45,479 --> 01:23:48,840
Speaker 3: it's not part of the movie that hey, this song

1541
01:23:48,920 --> 01:23:51,559
Speaker 3: is exactly the same as you give love a bad name.

1542
01:23:52,479 --> 01:23:54,760
Speaker 3: They don't seem to acknowledge that. So I think it

1543
01:23:54,880 --> 01:23:57,920
Speaker 3: is supposed to be an original song. So I would

1544
01:23:57,920 --> 01:24:01,799
Speaker 3: think a like pop rock producer would be pretty happy

1545
01:24:01,840 --> 01:24:04,000
Speaker 3: with the song they're laying down, be like, wow, that's

1546
01:24:04,040 --> 01:24:07,280
Speaker 3: a great hook. Do you give love of name?

1547
01:24:07,400 --> 01:24:07,599
Speaker 4: Yeah?

1548
01:24:07,640 --> 01:24:11,880
Speaker 2: Like, in this movie, these characters have delivered a song

1549
01:24:11,960 --> 01:24:17,000
Speaker 2: that is as good as John bon Jovi's greatest hit,

1550
01:24:17,720 --> 01:24:20,599
Speaker 2: and yet right after they finished, or even before they finish,

1551
01:24:20,720 --> 01:24:24,400
Speaker 2: like Lavinia cuts them off and says like enough of that,

1552
01:24:24,479 --> 01:24:28,960
Speaker 2: and proceeds to absolutely rip Kate a new one over

1553
01:24:29,000 --> 01:24:33,360
Speaker 2: her just complete creative bankruptcy in coming up with this song.

1554
01:24:33,560 --> 01:24:37,320
Speaker 2: She says things so cruel, so hateful that they would,

1555
01:24:37,400 --> 01:24:40,599
Speaker 2: I think realistically tend to be the last things ever

1556
01:24:40,640 --> 01:24:44,479
Speaker 2: said in a creative relationship. And you see it professional

1557
01:24:44,600 --> 01:24:48,040
Speaker 2: or unprofessional, like there are things that that Lavinia says

1558
01:24:48,080 --> 01:24:51,160
Speaker 2: that there just would be no coming back from. And

1559
01:24:51,160 --> 01:24:55,920
Speaker 2: and it's just just awful, just awful, but laugh inducingly back.

1560
01:24:56,439 --> 01:24:59,680
Speaker 3: It's so crazy like and I would even note that

1561
01:25:00,160 --> 01:25:02,960
Speaker 3: as mean as these lines are in the written form,

1562
01:25:03,080 --> 01:25:07,360
Speaker 3: the line deliveries make them sound ten times more venomous

1563
01:25:07,400 --> 01:25:09,640
Speaker 3: than they are on the page. I wrote down some

1564
01:25:09,760 --> 01:25:12,160
Speaker 3: of the comments, did she They're in the middle of

1565
01:25:12,200 --> 01:25:14,920
Speaker 3: the song. They don't even finish it, Lavinia says, stop

1566
01:25:15,000 --> 01:25:18,240
Speaker 3: the tape, Paul. It's a complete waste of time. It's

1567
01:25:18,280 --> 01:25:22,240
Speaker 3: the same old stuff. There's nothing original about it. And

1568
01:25:22,320 --> 01:25:26,040
Speaker 3: they get into an argument where Kate's trying to say, like, uh, oh,

1569
01:25:26,120 --> 01:25:28,280
Speaker 3: I know what your problem is. You don't like the

1570
01:25:28,400 --> 01:25:30,640
Speaker 3: violin in the song. And I was thinking, did I

1571
01:25:30,720 --> 01:25:32,439
Speaker 3: hear a violin in that? I didn't hear it?

1572
01:25:32,760 --> 01:25:32,880
Speaker 4: One?

1573
01:25:32,920 --> 01:25:36,200
Speaker 2: I certainly didn't see one. There's no violin in this song.

1574
01:25:36,360 --> 01:25:39,760
Speaker 3: Yeah, but I think that's also probably trying to be

1575
01:25:39,840 --> 01:25:42,559
Speaker 3: a misdirection to make the audience think maybe Kate is

1576
01:25:42,560 --> 01:25:46,000
Speaker 3: the girl from the prologue. Yeah, yeah, practicing the violin.

1577
01:25:46,479 --> 01:25:49,760
Speaker 3: But then Lavinia says, it's not the violin, it's the

1578
01:25:49,840 --> 01:25:53,800
Speaker 3: whole song that doesn't make it. There's something missing. I know,

1579
01:25:53,960 --> 01:25:58,040
Speaker 3: the difference between a hit and the mundane, and you know.

1580
01:25:58,080 --> 01:26:01,360
Speaker 3: So she goes on this whole rant about how she

1581
01:26:01,479 --> 01:26:05,000
Speaker 3: is not creative anymore. She says, you keep doing the

1582
01:26:05,040 --> 01:26:09,839
Speaker 3: same stupid things over and over again. And Kate's defense

1583
01:26:09,880 --> 01:26:12,880
Speaker 3: against the Kate's defenses are not good. She goes, I

1584
01:26:12,920 --> 01:26:16,439
Speaker 3: cannot make million selling records all the time.

1585
01:26:18,560 --> 01:26:21,040
Speaker 2: The thing I love about Kate in this is like

1586
01:26:21,160 --> 01:26:24,639
Speaker 2: Lavinya is so nasty to her, and then Kate decides

1587
01:26:24,680 --> 01:26:27,000
Speaker 2: to fall. Kate should buy all rights at this point,

1588
01:26:27,080 --> 01:26:30,040
Speaker 2: storm out, or like slap her in the face. You

1589
01:26:30,080 --> 01:26:33,200
Speaker 2: would expect that in a film, but instead she suddenly

1590
01:26:33,520 --> 01:26:36,479
Speaker 2: opens up and becomes vulnerable about the challenges of the

1591
01:26:36,520 --> 01:26:39,360
Speaker 2: creative process. So this person is just so.

1592
01:26:39,520 --> 01:26:40,160
Speaker 3: Mean to her.

1593
01:26:40,360 --> 01:26:42,880
Speaker 2: She's like, oh, I don't know, I just can't seem

1594
01:26:42,880 --> 01:26:46,320
Speaker 2: to come up with anything else, and then Lavinia lays

1595
01:26:46,360 --> 01:26:47,320
Speaker 2: into her again.

1596
01:26:48,000 --> 01:26:51,639
Speaker 3: She just twists the knives. She's like, this isn't it, honey.

1597
01:26:52,400 --> 01:26:55,160
Speaker 2: Maybe their relationship just really is this toxic? And maybe

1598
01:26:55,200 --> 01:26:59,120
Speaker 2: there are creative relationships this toxic out there. I hope not,

1599
01:26:59,240 --> 01:27:00,479
Speaker 2: because this is awful.

1600
01:27:01,040 --> 01:27:04,200
Speaker 3: So are we to understand this is not like a

1601
01:27:04,280 --> 01:27:08,160
Speaker 3: struggling band on the come up. This is a super famous,

1602
01:27:08,320 --> 01:27:12,320
Speaker 3: super successful band that has fallen into a creative and

1603
01:27:12,400 --> 01:27:13,479
Speaker 3: financial slump.

1604
01:27:13,600 --> 01:27:17,839
Speaker 2: Yeah, where the best they can do is produce music

1605
01:27:18,080 --> 01:27:20,800
Speaker 2: on the level with Jon bon Jovi's greatest hits.

1606
01:27:20,880 --> 01:27:25,320
Speaker 3: Yes, okay, okay, so yeah, so that's what's going on.

1607
01:27:25,439 --> 01:27:28,280
Speaker 3: But then meanwhile, you get these close ups of Daniel

1608
01:27:28,360 --> 01:27:29,920
Speaker 3: the drummer in the back of the room. He's like

1609
01:27:30,000 --> 01:27:32,200
Speaker 3: watching this drama and it's like, I've got to do

1610
01:27:32,320 --> 01:27:34,799
Speaker 3: something about this. You could tell his heart is aching.

1611
01:27:34,960 --> 01:27:38,839
Speaker 2: It's like those scenes in Christmas Vacation where Chevy Chase's

1612
01:27:38,920 --> 01:27:41,240
Speaker 2: character is talking about how someone should kidnap his boss

1613
01:27:41,280 --> 01:27:44,200
Speaker 2: and yeah, and cousin Eddie's in the background to like,

1614
01:27:44,280 --> 01:27:46,759
Speaker 2: you know, kind of like maybe, But in this case,

1615
01:27:47,240 --> 01:27:49,800
Speaker 2: Daniel's like, you know, I know a guy who has

1616
01:27:49,840 --> 01:27:54,519
Speaker 2: a cursed scroll that can help us with our current

1617
01:27:54,600 --> 01:27:55,680
Speaker 2: creative problems.

1618
01:27:56,960 --> 01:27:59,960
Speaker 3: Meanwhile, Leavinni is still over there, given more, just throwing

1619
01:28:00,080 --> 01:28:03,160
Speaker 3: him out, like maybe you're all washed up, already finished.

1620
01:28:03,320 --> 01:28:06,080
Speaker 2: Yeah, find someone who can write something from for you,

1621
01:28:06,080 --> 01:28:07,719
Speaker 2: you know, talent talent hack.

1622
01:28:07,920 --> 01:28:17,800
Speaker 4: Yeah.

1623
01:28:17,840 --> 01:28:21,080
Speaker 3: So in the next scene, Daniel, the band's drummer, who

1624
01:28:21,120 --> 01:28:23,720
Speaker 3: has been watching all this unfold, he gets on a

1625
01:28:23,760 --> 01:28:26,400
Speaker 3: boat and he rides out into some harbor. I wouldn't

1626
01:28:26,400 --> 01:28:28,080
Speaker 3: sure where this was. Is this venice, you.

1627
01:28:28,040 --> 01:28:28,679
Speaker 2: Think, I guess?

1628
01:28:28,680 --> 01:28:32,920
Speaker 3: So, yeah, yeah, he gets dropped off in this abandoned

1629
01:28:32,960 --> 01:28:37,679
Speaker 3: industrial area with these old, crumbling factory buildings. He cuts

1630
01:28:37,760 --> 01:28:40,559
Speaker 3: through a chain link fence and then he wanders into

1631
01:28:40,600 --> 01:28:45,240
Speaker 3: a foundry ruin to meet a man named mister Pickett.

1632
01:28:45,640 --> 01:28:48,719
Speaker 3: Mister Pickett is Donald Pleasance, and this is the first

1633
01:28:48,760 --> 01:28:49,479
Speaker 3: time we see him.

1634
01:28:49,520 --> 01:28:52,559
Speaker 2: I think, yeah, yeah, yeah. And when he starts talking, though,

1635
01:28:52,560 --> 01:28:54,880
Speaker 2: he's going to have a deeper, bubbler voice than you're

1636
01:28:54,880 --> 01:28:55,519
Speaker 2: accustomed to.

1637
01:28:56,200 --> 01:28:59,920
Speaker 3: Doesn't sound a bit, doesn't even sound close to Donald Pleasant.

1638
01:29:01,000 --> 01:29:03,800
Speaker 3: He's in a trench coat and a fedora, sitting in

1639
01:29:04,120 --> 01:29:09,040
Speaker 3: the rubble in front of a rusty refrigerator. Clutching a briefcase,

1640
01:29:09,560 --> 01:29:11,920
Speaker 3: and his trench coat seems a little too big for him,

1641
01:29:11,960 --> 01:29:16,400
Speaker 3: like the sleeves are swallowing his hands. He's a he's

1642
01:29:16,439 --> 01:29:20,960
Speaker 3: got this childlike smile throughout the movie where he's almost

1643
01:29:21,040 --> 01:29:23,479
Speaker 3: kind of like a like a kid in a toy store.

1644
01:29:23,520 --> 01:29:26,679
Speaker 3: You know, he's just looking around, like excited to see things.

1645
01:29:27,760 --> 01:29:30,920
Speaker 3: Interesting performance choice. I don't know exactly what he was

1646
01:29:30,960 --> 01:29:33,040
Speaker 3: going for there, but maybe that's just what it's like

1647
01:29:33,120 --> 01:29:36,840
Speaker 3: to be satan. Yeah, you are perpetually a child about

1648
01:29:36,880 --> 01:29:37,559
Speaker 3: to be treated.

1649
01:29:37,840 --> 01:29:40,719
Speaker 2: Yeah, I mean it's it's actually to the limited extent

1650
01:29:40,800 --> 01:29:43,920
Speaker 2: we can admire the work of Donald Pleasant in this film.

1651
01:29:44,560 --> 01:29:48,000
Speaker 2: It is I can imagine him maybe making a choice

1652
01:29:48,000 --> 01:29:50,000
Speaker 2: to play it up this way because a lot of times,

1653
01:29:50,400 --> 01:29:55,120
Speaker 2: especially in some of these lower budget you know, euro pictures,

1654
01:29:55,160 --> 01:29:57,400
Speaker 2: you know, genre pictures, you have the sort of the

1655
01:29:57,479 --> 01:29:59,639
Speaker 2: standard what you might think of as a standard Donald

1656
01:29:59,640 --> 01:30:02,920
Speaker 2: Pleasant delivery, where he's a very tribe villain who is

1657
01:30:03,040 --> 01:30:06,439
Speaker 2: very stoic about everything. I have a scroll that I

1658
01:30:06,479 --> 01:30:09,040
Speaker 2: will now sell you, And in this he's got a

1659
01:30:09,040 --> 01:30:11,080
Speaker 2: bit of the trickster about him, even early on, before

1660
01:30:11,080 --> 01:30:14,200
Speaker 2: we have any idea that he is actually the literal devil.

1661
01:30:15,640 --> 01:30:18,519
Speaker 3: Yeah, yeah, that's interesting. So it's not you may God

1662
01:30:18,640 --> 01:30:23,519
Speaker 3: watch over you all. It's something sillier and the like

1663
01:30:23,640 --> 01:30:26,519
Speaker 3: fly little Demon scene illustrates that as well. We'll get

1664
01:30:26,520 --> 01:30:29,360
Speaker 3: to that in a minute. But so he's hanging out

1665
01:30:29,360 --> 01:30:31,880
Speaker 3: there and Daniel shows up and he says, hey, couldn't

1666
01:30:31,920 --> 01:30:33,920
Speaker 3: we have met somewhere a little less out of the way,

1667
01:30:34,000 --> 01:30:38,679
Speaker 3: And Pickett says no, No, He says, this place is perfect.

1668
01:30:39,680 --> 01:30:42,479
Speaker 3: So they've worked out some kind of transaction ahead of time.

1669
01:30:42,520 --> 01:30:46,679
Speaker 3: On the telephone. Daniel hands Picket a Duffel bag. Picket

1670
01:30:46,720 --> 01:30:49,479
Speaker 3: hands Daniel a briefcase. He instructs him on how to

1671
01:30:49,560 --> 01:30:52,120
Speaker 3: open it. Can you guess what the briefcase combination is?

1672
01:30:52,200 --> 01:30:52,360
Speaker 4: Oh?

1673
01:30:52,400 --> 01:30:55,200
Speaker 2: It's six sixty six, of course, of course.

1674
01:30:54,880 --> 01:30:58,520
Speaker 3: He gets He lines him up, pops it open. Inside

1675
01:30:58,600 --> 01:31:01,519
Speaker 3: is a rolled up piece of parch with a wax seal,

1676
01:31:01,880 --> 01:31:05,759
Speaker 3: and Picket says the original score his own personal seal.

1677
01:31:06,560 --> 01:31:09,080
Speaker 3: Daniel just rips into it. He breaks open the seal

1678
01:31:09,120 --> 01:31:11,960
Speaker 3: and unfurls the paper and it is a piece of

1679
01:31:12,000 --> 01:31:15,240
Speaker 3: sheet music. This is the Paganini song in the movie.

1680
01:31:15,920 --> 01:31:19,200
Speaker 3: And we cut to Daniel's apartment where he is playing

1681
01:31:19,240 --> 01:31:22,320
Speaker 3: the song for his bandmates while they stand around the piano.

1682
01:31:22,320 --> 01:31:25,760
Speaker 3: Actually it's not his bandmates, it's Kate and then Lavinia,

1683
01:31:25,880 --> 01:31:29,160
Speaker 3: the manager or the producer. I guess they've made up. Yes,

1684
01:31:29,520 --> 01:31:33,000
Speaker 3: suddenly it's okay and he plays the song on the

1685
01:31:33,040 --> 01:31:37,599
Speaker 3: piano and Lavinia is like, yes, hell, yes, this will

1686
01:31:37,640 --> 01:31:41,719
Speaker 3: be a hit, really good. And many people have pointed

1687
01:31:41,760 --> 01:31:43,919
Speaker 3: out I didn't catch this because I wasn't as familiar

1688
01:31:43,920 --> 01:31:46,200
Speaker 3: with the song. I'd heard it before, but I didn't

1689
01:31:46,200 --> 01:31:49,599
Speaker 3: make this connection. But I saw people online pointing out

1690
01:31:49,720 --> 01:31:52,800
Speaker 3: that this song sounds a lot like a song by

1691
01:31:52,880 --> 01:31:57,960
Speaker 3: Electric Light Orchestra called What's twilight called Twilight. That's right,

1692
01:31:58,520 --> 01:32:01,519
Speaker 3: Twilight by ELO. I looked it up and I was like, oh,

1693
01:32:01,640 --> 01:32:04,599
Speaker 3: oh my god, Oh it's exactly the same.

1694
01:32:04,680 --> 01:32:07,960
Speaker 2: Yeah. Likewise, I'm familiar with certain ELO tracks, I wasn't

1695
01:32:08,000 --> 01:32:09,720
Speaker 2: familiar with this one, but when I looked it up,

1696
01:32:09,760 --> 01:32:10,519
Speaker 2: I'm like, yep, that's it.

1697
01:32:12,080 --> 01:32:17,200
Speaker 3: Yeah, oh boy, well, I mean, you know YLO, that's

1698
01:32:17,240 --> 01:32:18,759
Speaker 3: a Paganini elo.

1699
01:32:19,479 --> 01:32:21,799
Speaker 2: It's always one of the challenges when you have media

1700
01:32:21,920 --> 01:32:24,720
Speaker 2: within within media, when you have like something that is

1701
01:32:24,760 --> 01:32:28,000
Speaker 2: supposed to be a great work within what is maybe

1702
01:32:28,040 --> 01:32:31,320
Speaker 2: a lesser work totally, you know, be it a like

1703
01:32:31,360 --> 01:32:34,040
Speaker 2: a sitcom about stand up comedy or in this case,

1704
01:32:34,040 --> 01:32:37,280
Speaker 2: a horror movie about popular music. It's a real challenge.

1705
01:32:37,320 --> 01:32:40,679
Speaker 2: How do you create the idea of a great work,

1706
01:32:40,880 --> 01:32:45,280
Speaker 2: like something that is like significantly and genuinely good. One

1707
01:32:45,320 --> 01:32:48,360
Speaker 2: way is just to borrow something from the world of

1708
01:32:48,479 --> 01:32:51,000
Speaker 2: successful media, and that's what they did here.

1709
01:32:51,680 --> 01:32:54,080
Speaker 3: Yeah, yeah, I know exactly what you're talking about. This

1710
01:32:54,120 --> 01:32:55,880
Speaker 3: is a problem. A lot of people are tempted to

1711
01:32:55,920 --> 01:32:59,519
Speaker 3: write stories about, you know, the most beautiful poem ever written,

1712
01:32:59,640 --> 01:33:02,160
Speaker 3: or the most beautiful piece of music or something, but like,

1713
01:33:02,200 --> 01:33:04,600
Speaker 3: how do you instantiate that? I think a lot of

1714
01:33:04,760 --> 01:33:07,200
Speaker 3: a lot of the best works that have a plot

1715
01:33:07,240 --> 01:33:11,160
Speaker 3: element like that include it by only alluding to it.

1716
01:33:11,200 --> 01:33:14,280
Speaker 3: They don't ever let you experience it directly. Yeah, you know,

1717
01:33:14,320 --> 01:33:16,439
Speaker 3: they leave it to the imagination, and I think that

1718
01:33:16,439 --> 01:33:19,439
Speaker 3: that often is a good choice, even if you are

1719
01:33:19,479 --> 01:33:22,600
Speaker 3: capable of producing a very good song or whatever that

1720
01:33:22,840 --> 01:33:27,240
Speaker 3: it kind of can demystify that kind of story element

1721
01:33:27,280 --> 01:33:31,200
Speaker 3: to have it physically realized in the story anyway. So

1722
01:33:31,400 --> 01:33:34,240
Speaker 3: it's but it's a it's a good pop melody because

1723
01:33:34,240 --> 01:33:37,240
Speaker 3: it's yello, right, Yeah, yeah.

1724
01:33:36,400 --> 01:33:39,120
Speaker 2: So both of the original songs from Kate and the

1725
01:33:39,120 --> 01:33:42,240
Speaker 2: band here are are really great, so it is convincing

1726
01:33:42,280 --> 01:33:42,719
Speaker 2: at least.

1727
01:33:42,840 --> 01:33:46,680
Speaker 3: Yeah, it's the bon Jovi and Elo so Daniel. He

1728
01:33:46,760 --> 01:33:50,160
Speaker 3: explains to them the song is originally by Nicolo Paganini.

1729
01:33:50,200 --> 01:33:52,719
Speaker 3: He says, I have the original parchment, the real thing.

1730
01:33:53,479 --> 01:33:57,160
Speaker 3: And then Lavinia says, oh, well, if it's by Paganini,

1731
01:33:57,360 --> 01:33:59,920
Speaker 3: even though it's in the public domain, we can't use

1732
01:33:59,920 --> 01:34:03,360
Speaker 3: it because it's already well known. And she's adamant what

1733
01:34:03,479 --> 01:34:07,120
Speaker 3: the public wants. The public does not want more of

1734
01:34:07,160 --> 01:34:11,639
Speaker 3: the same. They want something that is totally completely freak new,

1735
01:34:11,960 --> 01:34:15,439
Speaker 3: brand new. They've never seen anything like it, which you know,

1736
01:34:15,760 --> 01:34:17,200
Speaker 3: obviously that's what people want.

1737
01:34:18,400 --> 01:34:20,559
Speaker 2: Yeah, they don't want to they don't want to rehash. Yeah.

1738
01:34:20,720 --> 01:34:25,320
Speaker 3: Yeah, So Kate says, hold it, Lavinia, this song was

1739
01:34:25,360 --> 01:34:28,680
Speaker 3: never published before. Paganini wrote the song two hundred years

1740
01:34:28,680 --> 01:34:33,000
Speaker 3: ago for a secret sect that held mysterious ceremonies at night.

1741
01:34:33,800 --> 01:34:37,840
Speaker 3: Don't you know about it? And she explains the whole

1742
01:34:37,840 --> 01:34:40,160
Speaker 3: story of how Paganini sold his soul to the devil

1743
01:34:40,160 --> 01:34:42,320
Speaker 3: in exchange for fame and wealth.

1744
01:34:42,280 --> 01:34:44,360
Speaker 2: Which again, this is what we alluded to earlier. This

1745
01:34:44,439 --> 01:34:46,720
Speaker 2: is This feels like a bit in the movie that

1746
01:34:47,040 --> 01:34:50,120
Speaker 2: very much ties a lot of things together. Yes, I

1747
01:34:50,120 --> 01:34:53,280
Speaker 2: mean doesn't completely tie everything together, but in the same

1748
01:34:53,320 --> 01:34:55,559
Speaker 2: way that I think that the score kind of grounds

1749
01:34:55,600 --> 01:35:00,880
Speaker 2: the movie, This one little nugget of explanation and storytelling

1750
01:35:00,960 --> 01:35:02,960
Speaker 2: kind of grounds things to some degree and gives you,

1751
01:35:03,040 --> 01:35:06,000
Speaker 2: at least I don't know, a marked trail to follow

1752
01:35:06,080 --> 01:35:06,799
Speaker 2: through the plot.

1753
01:35:07,360 --> 01:35:11,920
Speaker 3: Yes, so Kate says, it's going to be fantastic, sensational.

1754
01:35:12,320 --> 01:35:15,360
Speaker 3: No one has ever done anything like it before except

1755
01:35:15,600 --> 01:35:20,920
Speaker 3: Michael Jackson with Thriller and his fantastic video clip. And

1756
01:35:20,960 --> 01:35:24,559
Speaker 3: then Daniel says, we could do the same. And this

1757
01:35:24,720 --> 01:35:27,040
Speaker 3: is one of those moments where the over anunciation of

1758
01:35:27,080 --> 01:35:31,599
Speaker 3: the lines is almost overwhelming. It is really awesome, and

1759
01:35:31,680 --> 01:35:34,320
Speaker 3: Lavinia she's all on board. She's like, yes, we're going

1760
01:35:34,400 --> 01:35:36,920
Speaker 3: to hire Mark Singer, the King of Horror. We're going

1761
01:35:37,000 --> 01:35:39,439
Speaker 3: to shoot it in a lonely house, the kind that

1762
01:35:39,520 --> 01:35:42,200
Speaker 3: scares you just to look at it. And then Kate

1763
01:35:42,240 --> 01:35:44,120
Speaker 3: actually has a house in mind. She says, we're going

1764
01:35:44,160 --> 01:35:47,960
Speaker 3: to use the Kasady Soul where musicians and composers lived

1765
01:35:48,000 --> 01:35:51,639
Speaker 3: centuries ago. Lavinia says, perfect, I know the girl who

1766
01:35:51,680 --> 01:35:58,439
Speaker 3: bought it, so okay, well that's good coincidence, so Lavinia explains,

1767
01:35:58,479 --> 01:36:01,559
Speaker 3: She says, that's it, my friends, the house of Kate's

1768
01:36:01,640 --> 01:36:04,920
Speaker 3: video clip, the house of Paganini and ghosts.

1769
01:36:05,240 --> 01:36:07,599
Speaker 2: All right, So, I mean I'd really admire the plotting

1770
01:36:07,640 --> 01:36:10,480
Speaker 2: at this point because we have okay, we have a

1771
01:36:10,520 --> 01:36:16,240
Speaker 2: mysterious figure, we have probably cursed or haunted scroll of

1772
01:36:16,400 --> 01:36:20,360
Speaker 2: music that was composed for witches and no one knows about.

1773
01:36:20,520 --> 01:36:22,920
Speaker 2: And then we're going to shoot a music video of

1774
01:36:22,960 --> 01:36:26,599
Speaker 2: that music at a haunted house. What could go wrong?

1775
01:36:26,720 --> 01:36:28,280
Speaker 2: It seems like we're going to We have a great

1776
01:36:28,280 --> 01:36:31,080
Speaker 2: setup here for all sorts of angles. No new additional

1777
01:36:31,120 --> 01:36:34,759
Speaker 2: information needs to be introduced into the plot.

1778
01:36:35,760 --> 01:36:37,800
Speaker 3: So we cut to the mansion where the rest of

1779
01:36:37,840 --> 01:36:40,680
Speaker 3: the movie takes place, and we see somebody dressed up

1780
01:36:40,880 --> 01:36:43,840
Speaker 3: like the little Girl's doll from the prologue. So this

1781
01:36:44,000 --> 01:36:48,280
Speaker 3: gold corpse mask, golden violin, black cape and hat wandering

1782
01:36:48,280 --> 01:36:52,960
Speaker 3: around the old villa. This leads into a double fake

1783
01:36:53,040 --> 01:36:56,080
Speaker 3: out scene. I would say that at first it seems

1784
01:36:56,120 --> 01:36:59,120
Speaker 3: like it's a murder scene, and then maybe you think, wait,

1785
01:36:59,280 --> 01:37:01,920
Speaker 3: is this a dream scene? And then it goes out.

1786
01:37:01,840 --> 01:37:04,080
Speaker 2: Too long and you're like, I guess this is really happening.

1787
01:37:04,160 --> 01:37:05,280
Speaker 2: We're not in the stream at all.

1788
01:37:05,720 --> 01:37:07,960
Speaker 3: Yeah, I guess it's real. And then it turns out, Oh,

1789
01:37:08,040 --> 01:37:10,280
Speaker 3: it's a movie set scene. So it's like when you

1790
01:37:10,320 --> 01:37:13,360
Speaker 3: are It's like in Mortal Kombat when you see Johnny

1791
01:37:13,360 --> 01:37:16,000
Speaker 3: Cage fighting some guys and then somebody else cut and

1792
01:37:16,040 --> 01:37:19,280
Speaker 3: we pull back and we see that. Yeah, so Kate.

1793
01:37:20,240 --> 01:37:22,000
Speaker 3: The way it goes is Kate wakes up and I

1794
01:37:22,040 --> 01:37:24,200
Speaker 3: guess this is the white wedding dress. She wakes up

1795
01:37:24,240 --> 01:37:27,360
Speaker 3: in this creepy house full of candles. She wanders around

1796
01:37:28,520 --> 01:37:31,680
Speaker 3: until she finds a piece of paper where Paganini has

1797
01:37:31,720 --> 01:37:34,360
Speaker 3: signed over his soul to the devil. She reads it,

1798
01:37:34,520 --> 01:37:36,800
Speaker 3: then she is stabbed to death with a knife by

1799
01:37:36,840 --> 01:37:39,639
Speaker 3: the guy with the violin. But then we call cut

1800
01:37:39,720 --> 01:37:43,559
Speaker 3: and we are just shooting the video clip. And I

1801
01:37:43,640 --> 01:37:46,040
Speaker 3: really do like the set design here, because they're in

1802
01:37:46,080 --> 01:37:48,759
Speaker 3: a room with this giant X made out of candles

1803
01:37:48,800 --> 01:37:50,400
Speaker 3: on the floor. I think it's cool setup.

1804
01:37:50,520 --> 01:37:53,439
Speaker 2: Yeah, yeah, I could imagine this being maybe not a

1805
01:37:53,479 --> 01:37:58,840
Speaker 2: thriller level music video, but certainly on par with some

1806
01:37:58,920 --> 01:38:01,799
Speaker 2: of my favorite reap your videos from the nineteen eighties,

1807
01:38:01,840 --> 01:38:02,080
Speaker 2: you know.

1808
01:38:02,439 --> 01:38:05,360
Speaker 3: Yeah, yeah, so we cut away and we see the

1809
01:38:05,439 --> 01:38:08,920
Speaker 3: crew and the director. Remember the King of Horror, Mark Singer.

1810
01:38:09,400 --> 01:38:12,280
Speaker 3: He is just jumping all over the place with a

1811
01:38:12,320 --> 01:38:16,200
Speaker 3: movie camera handheld on his shoulders. I'm sure the footage

1812
01:38:16,240 --> 01:38:19,080
Speaker 3: he's getting is great. It's going to be very in focus.

1813
01:38:20,120 --> 01:38:24,000
Speaker 3: And in this scene, Sylvia explains Sylvia, she remembers, this

1814
01:38:24,080 --> 01:38:27,720
Speaker 3: is Daria Nickelode. This is her house. She says that

1815
01:38:27,760 --> 01:38:30,800
Speaker 3: this is the house where Paganini sold his soul to

1816
01:38:30,840 --> 01:38:34,120
Speaker 3: the devil, killed his wife, and then made violin strings

1817
01:38:34,120 --> 01:38:38,920
Speaker 3: out of her intestines. Quote. Paganini's violin had a very

1818
01:38:39,000 --> 01:38:42,559
Speaker 3: unique sound. Maybe it's because the strings played forever the

1819
01:38:42,600 --> 01:38:48,400
Speaker 3: screams of his poor bride. And then Lavinia is like, eh,

1820
01:38:48,400 --> 01:38:52,040
Speaker 3: that's gross, and Daria Nickelode's like, well, it's only it's

1821
01:38:52,040 --> 01:38:54,840
Speaker 3: only fairy tales. And then Lavinia says, I don't believe

1822
01:38:54,840 --> 01:38:59,400
Speaker 3: it either. So oh, after this, we get that great

1823
01:38:59,439 --> 01:39:02,240
Speaker 3: scene where Donnald pleasance where the devil throws money off

1824
01:39:02,280 --> 01:39:03,080
Speaker 3: of the bell tower.

1825
01:39:03,200 --> 01:39:05,960
Speaker 2: Yeah, that big satchel full of money that he got

1826
01:39:05,960 --> 01:39:08,559
Speaker 2: from the drummer. Yeah, he's taking it up to the

1827
01:39:08,560 --> 01:39:10,800
Speaker 2: top of the tower. And at first I didn't know

1828
01:39:10,800 --> 01:39:12,320
Speaker 2: where this was going to go. I thought, okay, this

1829
01:39:12,400 --> 01:39:14,519
Speaker 2: is maybe. I thought he was still immortal at this point,

1830
01:39:14,560 --> 01:39:17,719
Speaker 2: amortal not immortal. I thought he was a mortal character.

1831
01:39:17,800 --> 01:39:19,439
Speaker 2: And I was like, is he going to throw himself

1832
01:39:19,479 --> 01:39:21,960
Speaker 2: off this tower with the money? Is it just one

1833
01:39:21,960 --> 01:39:23,439
Speaker 2: of these like I'm just so glad I'm free of

1834
01:39:23,439 --> 01:39:26,000
Speaker 2: the cursed item. But no, something else is going on,

1835
01:39:26,160 --> 01:39:29,040
Speaker 2: and he's gleefully throwing the money out, like is if

1836
01:39:29,200 --> 01:39:31,120
Speaker 2: you know, really kind of a commentary. It's like money

1837
01:39:31,160 --> 01:39:35,040
Speaker 2: only causes, you know, misery for human beings. So I

1838
01:39:35,080 --> 01:39:37,080
Speaker 2: have this big satchel of it. I'm just gonna give

1839
01:39:37,080 --> 01:39:42,000
Speaker 2: it out wherever this lands. It's gonna sew you know, unease,

1840
01:39:42,080 --> 01:39:45,960
Speaker 2: it's going to sow jealousy, and it's going to cause misery.

1841
01:39:46,040 --> 01:39:48,439
Speaker 2: So I'm just gonna gonna sprinkle it everywhere.

1842
01:39:49,240 --> 01:39:52,200
Speaker 3: This isn't a place called the Company. Lay is like

1843
01:39:52,240 --> 01:39:55,800
Speaker 3: a bell tower of Saint Mark's Basilica in Venice. So yeah,

1844
01:39:55,840 --> 01:39:58,200
Speaker 3: Donald pleasants. He goes inside, he goes up the stairs,

1845
01:39:58,280 --> 01:40:00,439
Speaker 3: goes on the spiral staircase, goes all all the way

1846
01:40:00,479 --> 01:40:02,439
Speaker 3: to the top of the bell tower, and then he

1847
01:40:02,520 --> 01:40:05,120
Speaker 3: goes out to this viewing area with the Duffel bag

1848
01:40:05,200 --> 01:40:08,040
Speaker 3: and he he's throwing the wad of cash out and

1849
01:40:08,120 --> 01:40:10,639
Speaker 3: he's saying, go go all you little demons. Oh no way,

1850
01:40:10,880 --> 01:40:14,280
Speaker 3: I'm actually sounding too much like Donald pleasants, go you

1851
01:40:14,360 --> 01:40:19,040
Speaker 3: little de Yeah, there you go, you little fly away,

1852
01:40:19,160 --> 01:40:23,240
Speaker 3: little demons, little demons, Yes, fly away. And then finally

1853
01:40:23,280 --> 01:40:27,160
Speaker 3: he says, let the price for fame be extracted by

1854
01:40:27,160 --> 01:40:31,920
Speaker 3: the one to whom it belongs, His Majesty, Satan. So

1855
01:40:32,280 --> 01:40:34,840
Speaker 3: I didn't pick up on that the first time I

1856
01:40:34,880 --> 01:40:38,439
Speaker 3: watched the movie, but the second time I was like, oh, okay,

1857
01:40:38,520 --> 01:40:42,200
Speaker 3: that explains more about the ending. So why is Satan mad?

1858
01:40:42,439 --> 01:40:44,840
Speaker 3: Why is he punishing these people who wanted wealth and

1859
01:40:44,920 --> 01:40:47,320
Speaker 3: fame because only Satan should have wealth and fame.

1860
01:40:48,120 --> 01:40:48,360
Speaker 4: Yeah.

1861
01:40:48,439 --> 01:40:50,240
Speaker 2: I mean the least they could have done is like

1862
01:40:50,280 --> 01:40:53,400
Speaker 2: sing about Satan, like like yeah, fit him in the lyrics.

1863
01:40:53,400 --> 01:40:54,720
Speaker 2: I think that buys you a little time.

1864
01:40:55,479 --> 01:41:00,880
Speaker 3: Yeah. Okay. So we've already talked through the road contours

1865
01:41:00,880 --> 01:41:02,720
Speaker 3: of the rest of the plot. Is there anything else

1866
01:41:02,720 --> 01:41:04,720
Speaker 3: you'd like to zoom in and focus on? I mean,

1867
01:41:04,880 --> 01:41:07,240
Speaker 3: I sort of we've talked about the main bits, but

1868
01:41:07,320 --> 01:41:10,320
Speaker 3: there there is a lot of bizarre texture throughout there.

1869
01:41:10,360 --> 01:41:12,240
Speaker 3: The scene where they go into the room with the

1870
01:41:12,280 --> 01:41:15,000
Speaker 3: pit in the floor and there are just like there's

1871
01:41:15,200 --> 01:41:19,559
Speaker 3: MC squared scribbled on the yeah or equals MC squared,

1872
01:41:19,960 --> 01:41:22,040
Speaker 3: And I was like, what is going on there when

1873
01:41:22,080 --> 01:41:24,240
Speaker 3: I saw it, But then that made more sense when

1874
01:41:24,240 --> 01:41:26,400
Speaker 3: I watched the interview with Katzy and he's like, it's

1875
01:41:26,400 --> 01:41:28,960
Speaker 3: science fiction. It's about Einstein and time loose.

1876
01:41:29,040 --> 01:41:31,240
Speaker 2: Yeah, that's what it's about. We do come back to

1877
01:41:31,280 --> 01:41:36,360
Speaker 2: that at the end. I love how this is. I'm

1878
01:41:36,360 --> 01:41:38,840
Speaker 2: not knocking this because this is a stylistic choice and

1879
01:41:38,880 --> 01:41:41,120
Speaker 2: it totally works for this sort of film, But I

1880
01:41:41,160 --> 01:41:43,639
Speaker 2: love how everyone is dressed up for the music video

1881
01:41:44,040 --> 01:41:47,080
Speaker 2: and they basically remain in those costumes even when things

1882
01:41:47,120 --> 01:41:49,840
Speaker 2: get horrific and challenging. I think the most they do

1883
01:41:49,920 --> 01:41:52,280
Speaker 2: is they maybe throw a jacket on over it, but

1884
01:41:52,320 --> 01:41:55,000
Speaker 2: like Kate's still running around and like these crazy like

1885
01:41:55,080 --> 01:41:58,559
Speaker 2: leggings like straps on her legs and all so.

1886
01:42:00,120 --> 01:42:02,680
Speaker 3: Ten for that, I feel like the band members are

1887
01:42:02,760 --> 01:42:05,719
Speaker 3: dressed up in there. They all look like they're dressed

1888
01:42:05,800 --> 01:42:08,760
Speaker 3: up for a music video, but for different music videos.

1889
01:42:09,200 --> 01:42:11,880
Speaker 2: Yeah, well you know, it's you know, sometimes they each

1890
01:42:11,880 --> 01:42:14,880
Speaker 2: have their own identity their own visual identity in this band,

1891
01:42:15,160 --> 01:42:16,920
Speaker 2: this band that has no name.

1892
01:42:17,640 --> 01:42:20,360
Speaker 3: Well, maybe that's an allusion to the man who has

1893
01:42:20,439 --> 01:42:23,280
Speaker 3: no name, and that man that man is Satan, of course.

1894
01:42:23,360 --> 01:42:25,240
Speaker 2: Yeah, yeah, they should have it should have been like

1895
01:42:25,360 --> 01:42:27,800
Speaker 2: Kate in the Satanic Trio or something. I don't know.

1896
01:42:28,360 --> 01:42:30,200
Speaker 2: Then maybe Satan would have been okay with it, but

1897
01:42:30,240 --> 01:42:31,799
Speaker 2: again they're not given him any credit.

1898
01:42:32,880 --> 01:42:35,360
Speaker 3: I did like a lot of the invisible wall effects

1899
01:42:35,360 --> 01:42:39,200
Speaker 3: in the movie. In the interview with Pietro Genuardi, he

1900
01:42:39,320 --> 01:42:42,160
Speaker 3: talks about how in the scene where the car smashes

1901
01:42:42,200 --> 01:42:44,400
Speaker 3: into the invisible wall, he says they did that by

1902
01:42:44,800 --> 01:42:47,280
Speaker 3: attaching a cable to the car and then tying the

1903
01:42:47,280 --> 01:42:49,479
Speaker 3: cable around a tree so they could have the car

1904
01:42:49,640 --> 01:42:52,599
Speaker 3: stop short at full speed for the invisible wall effect.

1905
01:42:52,800 --> 01:42:56,320
Speaker 2: Yeah, glad nobody died during that. Good, good, good.

1906
01:42:56,720 --> 01:42:58,479
Speaker 3: I mean I would hope they did that without somebody

1907
01:42:58,479 --> 01:43:02,960
Speaker 3: in the car. But yeah, then also they got the

1908
01:43:02,960 --> 01:43:07,080
Speaker 3: the the invisible wall head explosion I thought was really good.

1909
01:43:08,240 --> 01:43:10,680
Speaker 3: Let's see any comments on sort of the conclusion. I

1910
01:43:10,680 --> 01:43:12,680
Speaker 3: guess one thing we didn't even really get into or

1911
01:43:12,720 --> 01:43:17,120
Speaker 3: the the further discovery of the mechanics about how they're

1912
01:43:17,160 --> 01:43:19,840
Speaker 3: going to defeat Paganini's ghost. Do they get the idea

1913
01:43:19,880 --> 01:43:22,760
Speaker 3: that you have to play the Paganini song to defeat him,

1914
01:43:22,840 --> 01:43:25,040
Speaker 3: And then they get the idea that no, no, no, what

1915
01:43:25,120 --> 01:43:27,760
Speaker 3: you have to do is play the Paganini song backwards

1916
01:43:27,800 --> 01:43:31,280
Speaker 3: to defeat him, and somehow they never managed to do

1917
01:43:31,360 --> 01:43:33,960
Speaker 3: it right. So in the end, of course, all of

1918
01:43:34,000 --> 01:43:35,439
Speaker 3: the characters are are damned.

1919
01:43:35,479 --> 01:43:37,760
Speaker 2: But it seems like we're going to defeat him at

1920
01:43:37,760 --> 01:43:39,719
Speaker 2: one point because there's a scene where the sun comes

1921
01:43:39,800 --> 01:43:44,120
Speaker 2: up and like the Paganini lych character is turned to

1922
01:43:44,800 --> 01:43:48,000
Speaker 2: dut to dust to ashes which the ashes are shaped

1923
01:43:48,040 --> 01:43:50,080
Speaker 2: like a musical note on the floor.

1924
01:43:50,720 --> 01:43:52,240
Speaker 3: Is it a musical note? I thought it was like

1925
01:43:52,240 --> 01:43:53,040
Speaker 3: a trouble.

1926
01:43:52,800 --> 01:43:57,360
Speaker 2: Or maybe the trouble cliff. Yeah. Yeah, something improbable occurs

1927
01:43:58,000 --> 01:44:00,599
Speaker 2: like why would it do that? I don't know. Very

1928
01:44:00,680 --> 01:44:04,240
Speaker 2: stylish though, still points for style. But yeah, it seems like, okay, well,

1929
01:44:04,280 --> 01:44:08,200
Speaker 2: maybe we're going with the standard. You know, don defeats

1930
01:44:08,760 --> 01:44:11,080
Speaker 2: the Legions of Hell and everything is restored. But no,

1931
01:44:11,760 --> 01:44:15,080
Speaker 2: then out comes the devil. Here's mister Pickett aka Satan,

1932
01:44:15,520 --> 01:44:18,840
Speaker 2: and he explains like actually, yes, you're being punished now

1933
01:44:18,880 --> 01:44:22,040
Speaker 2: and you're in a time bubble, Like they're watching new

1934
01:44:22,080 --> 01:44:24,760
Speaker 2: people arrive at the mansion and.

1935
01:44:24,720 --> 01:44:26,720
Speaker 3: He's there's this whole gonna get them too.

1936
01:44:26,880 --> 01:44:28,599
Speaker 2: Yeah, he's gonna get them too. And it's like you're

1937
01:44:28,640 --> 01:44:31,960
Speaker 2: actually not in their time anymore. You're in a different time.

1938
01:44:32,000 --> 01:44:34,240
Speaker 2: We're in a bubble or something, and this is where

1939
01:44:34,240 --> 01:44:36,559
Speaker 2: we're getting, I guess, into the sci fi aspects of

1940
01:44:36,560 --> 01:44:37,040
Speaker 2: the picture.

1941
01:44:37,640 --> 01:44:41,680
Speaker 3: M Okay, well, I think maybe that's all I've got

1942
01:44:41,680 --> 01:44:45,080
Speaker 3: to say for now on Paganini Horror. But yeah, this

1943
01:44:45,120 --> 01:44:48,160
Speaker 3: one was quite pleasantly surprising to me. If you're in

1944
01:44:48,200 --> 01:44:52,040
Speaker 3: the mood for something wild, wacky, all all mixed up,

1945
01:44:52,400 --> 01:44:53,719
Speaker 3: this is this is a good choice.

1946
01:44:53,880 --> 01:44:56,160
Speaker 2: Yeah, absolutely, Yeah, Yeah, this one was a lot of fun,

1947
01:44:57,280 --> 01:44:59,240
Speaker 2: certainly if you're in the mood for something with again

1948
01:44:59,840 --> 01:45:04,400
Speaker 2: just tremendously absurd dialogue and then also just so many

1949
01:45:04,400 --> 01:45:08,720
Speaker 2: wild plot elements. Again it almost has it almost has

1950
01:45:08,760 --> 01:45:12,840
Speaker 2: first movie energy, you know, where it's like a filmmaker

1951
01:45:13,000 --> 01:45:15,559
Speaker 2: has so many ideas and they realized they might only

1952
01:45:15,560 --> 01:45:17,320
Speaker 2: get this one chance to pull it off, so they're

1953
01:45:17,400 --> 01:45:20,080
Speaker 2: like way too many ideas incorporated into the thing. We

1954
01:45:20,160 --> 01:45:22,559
Speaker 2: kind of get that here, but for different reasons. As

1955
01:45:22,560 --> 01:45:26,679
Speaker 2: we explained, yeah, all right, we're gonna go and close

1956
01:45:26,720 --> 01:45:28,720
Speaker 2: it out, but we'd love to hear from everyone out there.

1957
01:45:28,760 --> 01:45:31,920
Speaker 2: Were you familiar with Paganini horror? Do you have thoughts

1958
01:45:31,920 --> 01:45:34,160
Speaker 2: on any of the other Paganini films that we mentioned

1959
01:45:35,400 --> 01:45:37,280
Speaker 2: in any of the pictures or the players that came

1960
01:45:37,400 --> 01:45:40,880
Speaker 2: up here right in? We would love to hear from you. Indeed,

1961
01:45:41,000 --> 01:45:46,240
Speaker 2: you have you have recommendations for other sort of banned

1962
01:45:46,400 --> 01:45:50,000
Speaker 2: themed horror films we have I think we haven't really

1963
01:45:50,040 --> 01:45:53,639
Speaker 2: looked at any of the key metal exploitation films out there,

1964
01:45:53,640 --> 01:45:55,720
Speaker 2: but there are some great ones to choose from. There

1965
01:45:55,720 --> 01:46:00,240
Speaker 2: are also some other good all female rocker horror in

1966
01:46:00,240 --> 01:46:02,880
Speaker 2: sci fi films. I could easily see this coming back

1967
01:46:02,920 --> 01:46:04,320
Speaker 2: and doing some more of those. So if you have

1968
01:46:04,400 --> 01:46:08,400
Speaker 2: favorites right in Howard the Duck, Oh yeah, yeah, I

1969
01:46:08,439 --> 01:46:09,240
Speaker 2: forgot about that.

1970
01:46:09,600 --> 01:46:12,080
Speaker 3: It's got the main the main human and it is

1971
01:46:12,400 --> 01:46:13,760
Speaker 3: Leah Thompson as a rock and.

1972
01:46:13,720 --> 01:46:16,040
Speaker 2: Roll Oh there you go. Yeah, Howard the Duck is

1973
01:46:16,160 --> 01:46:20,519
Speaker 2: just certainly on the list. All right. Just a reminder

1974
01:46:20,520 --> 01:46:22,479
Speaker 2: to everyone out there that Stuff to Blow Your Mind

1975
01:46:22,560 --> 01:46:24,799
Speaker 2: is primarily a science and culture podcast with core episodes

1976
01:46:24,800 --> 01:46:27,759
Speaker 2: on Tuesdays and Thursdays, but on Fridays we set aside

1977
01:46:27,760 --> 01:46:29,719
Speaker 2: most serious concerns and we just talk about a weird

1978
01:46:29,720 --> 01:46:34,040
Speaker 2: film here on Weird House Cinema. If you you certainly

1979
01:46:34,120 --> 01:46:37,479
Speaker 2: follow the show wherever you get your social media, wherever

1980
01:46:37,520 --> 01:46:41,040
Speaker 2: you get your podcasts, rate, review, subscribe and all of that.

1981
01:46:41,200 --> 01:46:43,600
Speaker 2: And if you were on letterboxed that you know that

1982
01:46:43,680 --> 01:46:47,599
Speaker 2: excellent site for charting your own cinematic journey and your

1983
01:46:47,600 --> 01:46:50,760
Speaker 2: own cinematic discoveries. Look us up there. Our username is

1984
01:46:50,840 --> 01:46:54,160
Speaker 2: weird House. Follow us, you know, friend us, or whatever.

1985
01:46:54,560 --> 01:46:57,519
Speaker 2: But you'll also find a list that includes all of

1986
01:46:57,560 --> 01:46:59,680
Speaker 2: the films we've covered on Weird House thus far, and

1987
01:47:00,000 --> 01:47:02,759
Speaker 2: sometimes a peek ahead at what's coming up next.

1988
01:47:03,120 --> 01:47:07,040
Speaker 3: Huge thanks as always to our excellent audio producer Jjposway.

1989
01:47:07,360 --> 01:47:08,840
Speaker 3: If you would like to get in touch with us

1990
01:47:08,920 --> 01:47:11,360
Speaker 3: with feedback on this episode or any other, to suggest

1991
01:47:11,360 --> 01:47:13,280
Speaker 3: a topic for the future, or just to say hello,

1992
01:47:13,400 --> 01:47:15,960
Speaker 3: you can email us at contact at stuff to Blow

1993
01:47:15,960 --> 01:47:23,560
Speaker 3: your Mind dot com.

1994
01:47:23,680 --> 01:47:26,640
Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For

1995
01:47:26,720 --> 01:47:29,519
Speaker 1: more podcasts from my Heart Radio, visit the iHeartRadio app,

1996
01:47:29,680 --> 01:47:32,880
Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.