WEBVTT - Weirdhouse Cinema: Paganini Horror 0:00:02.440 --> 0:00:05.519 Welcome to Stuff to Blow your Mind, a production of iHeartRadio. 0:00:13.039 --> 0:00:14.920 Hey you welcome to Weird House Cinema. 0:00:15.040 --> 0:00:18.200 This is Rob Lamb and this is Joe McCormick. And 0:00:18.239 --> 0:00:20.640 today on Weird House Cinema we're going to be talking 0:00:20.680 --> 0:00:24.400 about the nineteen eighty nine Italian rock and roll haunted 0:00:24.440 --> 0:00:29.479 house thriller Paganini horror directed by Luigi Kotzi, who we 0:00:29.520 --> 0:00:31.600 actually just talked about a few weeks ago in the 0:00:31.640 --> 0:00:34.960 podcast because he was also the director of Star Crash, 0:00:35.040 --> 0:00:38.320 which will come up again in the making of section 0:00:38.440 --> 0:00:43.600 of this episode. I want to lead off today by 0:00:44.000 --> 0:00:46.400 I wonder if you have any counter examples to this, Rob, 0:00:46.479 --> 0:00:50.559 because I think of all the films we've ever covered 0:00:50.560 --> 0:00:55.360 on Weird House, this might be the most quintessential example 0:00:55.520 --> 0:00:59.560 of to combine sort of two different showbiz cliches, a 0:01:00.120 --> 0:01:05.200 hatchwork script emerging from development. Hell, can you think of 0:01:05.200 --> 0:01:08.800 any other contenders that are really like as much to 0:01:08.880 --> 0:01:10.280 the same degree as this one? 0:01:10.959 --> 0:01:13.440 Maybe not as much as this one? Yeah, because this one, 0:01:13.600 --> 0:01:16.240 this one really feels fractured in all over the place. 0:01:16.280 --> 0:01:20.640 It feels like a like a corporate brainstorming session for 0:01:21.080 --> 0:01:24.080 a music themed horror film that it should have gone 0:01:24.080 --> 0:01:26.680 through various other stages, but they ended up just filming 0:01:26.720 --> 0:01:31.840 the list. Yeah, yeah, Yeah. Oftentimes that some sort of 0:01:32.760 --> 0:01:36.280 you know, behind the scenes like reorganizing of things can 0:01:36.319 --> 0:01:41.639 certainly make for some memorable a memorable mismatch in tone 0:01:41.760 --> 0:01:44.840 or style. One film that we're going to refer to 0:01:44.880 --> 0:01:48.200 a few different times is, of course, Extraterrestrial Visitors, known 0:01:48.200 --> 0:01:51.520 to MST three k Fens as pod People, one of 0:01:51.720 --> 0:01:53.680 one of my favorite films that we've discussed in Weird 0:01:53.680 --> 0:01:57.840 House Cinema, just straight up in and of itself. But 0:01:58.080 --> 0:02:01.040 like that's a film that is would it's unique tone 0:02:01.480 --> 0:02:03.960 comes in part because they've had there's one movie they 0:02:03.960 --> 0:02:07.280 set out to shoot and then they kind of pivoted 0:02:07.280 --> 0:02:10.200 to try and capture the et audience as well. So 0:02:10.240 --> 0:02:13.560 it feels a little too cute and a little too 0:02:13.560 --> 0:02:16.280 horrific at the same time. So I can think of 0:02:16.320 --> 0:02:18.560 plenty of examples like that where there's some sort of 0:02:18.560 --> 0:02:21.600 a pivot, some sort of a shift or two different ideas, 0:02:21.680 --> 0:02:24.600 maybe a little tug of war behind the scenes. But 0:02:25.600 --> 0:02:27.800 off the top of my head, nothing really as fractured 0:02:27.840 --> 0:02:28.120 as this. 0:02:28.880 --> 0:02:31.120 Yeah, I would say the difference there is that with 0:02:31.240 --> 0:02:35.600 pod people or extraterrestrial visitors. Yeah, it's a shift in tone, 0:02:35.880 --> 0:02:38.320 you can. Like. It starts off with the idea that 0:02:38.320 --> 0:02:41.400 they're going to make this as a bloody, brutal horror movie, 0:02:41.880 --> 0:02:43.400 and then they're like, well, maybe we can make it 0:02:43.440 --> 0:02:45.840 a more family friendly affair, and so you get something 0:02:45.880 --> 0:02:48.639 that's kind of bow with that's the same that doesn't 0:02:48.680 --> 0:02:53.079 really work as either or maybe works too well, who knows. Yeah, 0:02:53.120 --> 0:02:58.040 this one is more like totally different ideas for different movies, 0:02:58.240 --> 0:03:01.960 all just thrown into a blend together. So do you 0:03:02.080 --> 0:03:05.600 want a slasher movie where people get stabbed with a violin? 0:03:05.960 --> 0:03:08.640 We got you covered here that this movie has that 0:03:08.680 --> 0:03:11.840 for at least ninety seconds of screen time. Do you 0:03:11.880 --> 0:03:15.320 want a haunted house movie where people run around dark 0:03:15.360 --> 0:03:19.440 hallways calling out the names of friends who have mysteriously vanished. 0:03:19.919 --> 0:03:22.560 I don't know how many people actually love that as 0:03:22.600 --> 0:03:25.200 often as we get it, I know if that's anybody's 0:03:25.240 --> 0:03:28.480 favorite kind of thing. Kate, where are you? 0:03:28.480 --> 0:03:28.680 You know? 0:03:28.800 --> 0:03:29.160 Tina? 0:03:29.200 --> 0:03:29.720 Where are you? 0:03:30.840 --> 0:03:33.520 But it's got that too, all right? Sorry, I didn't 0:03:33.560 --> 0:03:34.960 mean to step on you. There were you trying to 0:03:35.000 --> 0:03:37.280 stick up for wandering around dark hall. 0:03:37.200 --> 0:03:39.840 I mean, I think I like it. I enjoy films 0:03:39.840 --> 0:03:43.320 in which it happens. So I'm always like, it's going somewhere. 0:03:43.360 --> 0:03:45.880 They're going to find something, or they're not going to 0:03:45.920 --> 0:03:48.840 find something. Either way, we're leading up to something. 0:03:49.320 --> 0:03:52.600 Fair enough, Okay, another thing? Do you want like a 0:03:52.760 --> 0:03:57.360 Twilight Zone style are we still alive or are we dead? 0:03:57.760 --> 0:04:00.280 Is this hell? Are we trapped in behind? And an 0:04:00.360 --> 0:04:03.120 invisible barrier kind of thing? Well that's in there too. 0:04:04.200 --> 0:04:07.120 Do you want some kind of science fiction thing about 0:04:07.320 --> 0:04:11.400 like time loops and wormholes might sneak past you, but 0:04:11.440 --> 0:04:14.160 that's part of this as well. How about would you 0:04:14.280 --> 0:04:16.800 like a sold my soul for rock and roll type 0:04:16.880 --> 0:04:19.599 movie about a hell raising rock band who may or 0:04:19.640 --> 0:04:22.240 may not be dabbling in satanic pack always? 0:04:22.320 --> 0:04:22.560 Yes? 0:04:22.880 --> 0:04:26.679 Yeah? What about a melt movie about a flesh eating 0:04:26.720 --> 0:04:30.279 fungus that just turns you into you know, like red oatmeal? 0:04:30.440 --> 0:04:31.520 Sure about that? Yeah? 0:04:31.760 --> 0:04:36.320 Yeah, that's like all of that's in here. It's all 0:04:36.440 --> 0:04:38.760 in this movie. I think there are probably some things 0:04:38.800 --> 0:04:40.600 I'm not even thinking of that I'm leaving out. Did 0:04:40.600 --> 0:04:41.839 I miss anything, big rob Oh? 0:04:41.920 --> 0:04:44.159 I mean there's some things that are there's a lot 0:04:44.200 --> 0:04:46.840 in this film. I think we're already alluding to that 0:04:47.000 --> 0:04:50.680 is not fully executed, and so there are teases of 0:04:50.720 --> 0:04:52.600 things where it makes you think you're going in a 0:04:52.640 --> 0:04:53.960 direction like you think, oh, this is going to be 0:04:54.000 --> 0:04:56.279 a gate Way to Hell movie. Yeah, but it's not. 0:04:57.120 --> 0:04:58.800 But for a little bit it seems like it's going 0:04:58.839 --> 0:05:02.080 to be. So it it has shades of that for sure. 0:05:02.839 --> 0:05:05.560 Yeah. So I think this is kind of the ultimate 0:05:05.760 --> 0:05:10.720 assembled from spare parts movie. And while I think as 0:05:10.760 --> 0:05:14.440 a result of that, some parts of like the second act, 0:05:14.600 --> 0:05:17.719 really drag and feel kind of directionless. I think it's 0:05:17.720 --> 0:05:21.560 because of that that amalgamated nature that some parts of 0:05:21.600 --> 0:05:23.760 the movie just feel like they're not going anywhere. It 0:05:23.800 --> 0:05:27.600 has that wandering middle problem. It also has a lot 0:05:27.600 --> 0:05:32.279 of upside in the in like some gorgeously weird and 0:05:32.480 --> 0:05:36.160 unexpected images and twists. This movie hits you with things 0:05:36.200 --> 0:05:37.599 that you did not see coming. 0:05:38.279 --> 0:05:41.800 Yeah. Absolutely, you get some bonkers turns and twists here, 0:05:42.880 --> 0:05:44.560 but again, a lot of times most of them are 0:05:44.600 --> 0:05:47.719 dead ends. They'll they'll introduce an element that seems like, oh, 0:05:47.839 --> 0:05:51.080 this is what this movie is about, this is the 0:05:51.560 --> 0:05:53.960 this is the killer Violin movie. But no, it's not 0:05:54.040 --> 0:05:56.440 really a killer violin movie, it's something else, and then 0:05:56.480 --> 0:05:58.240 it's another thing after they pivot from that. 0:05:59.320 --> 0:06:03.280 So the name of the movie Paganini Horror suggests that 0:06:03.680 --> 0:06:07.039 in some very significant way it's going to be about 0:06:07.279 --> 0:06:10.960 Paganini for various reasons that we'll get into. It's not 0:06:11.200 --> 0:06:14.279 very much, really, but I think it will still help 0:06:14.360 --> 0:06:18.440 us understand the making of story of the movie. To 0:06:18.520 --> 0:06:22.760 talk a bit about who Nicolo Paganini was. So. Nicolo 0:06:22.839 --> 0:06:28.479 Paganini was a nineteenth century Italian virtuoso violinist and composer 0:06:28.960 --> 0:06:33.560 who is often described by music historians as the precursor 0:06:33.640 --> 0:06:38.240 to the modern rock star or pop musician. So, for example, 0:06:38.360 --> 0:06:41.839 instead of having a wealthy patron or being a sort 0:06:41.880 --> 0:06:45.520 of court composer on retainer, he made money as a 0:06:45.560 --> 0:06:48.520 touring musician. So he would travel around Europe and play 0:06:48.600 --> 0:06:51.640 sold out shows, and he was incredibly famous. He was 0:06:51.720 --> 0:06:56.479 allegedly mobbed by fans in a way that almost resembles Beatlemania. 0:06:57.520 --> 0:07:01.080 His public persona was also seen as kind of wild 0:07:01.279 --> 0:07:04.960 and somewhat dangerous, like a rock star often is. There 0:07:05.000 --> 0:07:09.640 were rumors that his unparalleled skill at the violin had 0:07:09.680 --> 0:07:12.600 come from making a pact with the devil, and this 0:07:12.680 --> 0:07:14.480 is not the only time you get a story like 0:07:14.520 --> 0:07:18.680 this in the history of music. There's Robert Johnson, who 0:07:18.720 --> 0:07:20.240 you know, they told the story but he met the 0:07:20.280 --> 0:07:25.920 devil at the crossroads, and the other historical musicians where 0:07:25.960 --> 0:07:28.160 people say, oh, they were so good at their instrument, 0:07:28.200 --> 0:07:29.679 they must have made a deal with the devil. 0:07:29.760 --> 0:07:32.760 Yeah, well led Zeppelin tales and so forth. 0:07:33.240 --> 0:07:39.360 Yeah. Yeah, So lots of people allegedly actually believed this story, 0:07:39.440 --> 0:07:41.800 like it wasn't just something you told for fun. Oh 0:07:41.840 --> 0:07:45.160 like that's cool. Like allegedly some people thought he actually 0:07:45.160 --> 0:07:48.840 did some demonic stuff or he's an agent of Satan 0:07:48.880 --> 0:07:51.800 in some way. And he was also known for kind 0:07:51.840 --> 0:07:54.520 of a hard partying lifestyle. I don't want to give 0:07:54.560 --> 0:07:56.680 the wrong ideas about that. It wouldn't be like the 0:07:56.800 --> 0:07:59.040 drug kind of thing that we think of with rock 0:07:59.080 --> 0:08:02.680 stars and the sick season seventies. But he was known 0:08:02.760 --> 0:08:06.720 for a flamboyant personality, a gambling habit, and a lot 0:08:06.760 --> 0:08:11.560 of romantic affairs. And he also had a somewhat gothic appearance, 0:08:11.600 --> 0:08:14.360 so he was thin, with pale skin and dark hair, 0:08:14.400 --> 0:08:18.040 and he liked to dress in all black. His performances 0:08:18.080 --> 0:08:21.000 were also sort of rock and roll in character. So 0:08:21.040 --> 0:08:24.560 he didn't just show off his violin skills by performing 0:08:24.680 --> 0:08:30.000 classic pieces of music. He performed specially composed pieces of 0:08:30.120 --> 0:08:34.280 music that were designed to show off skills that nobody 0:08:34.320 --> 0:08:38.640 else could do and unusual performance techniques that were unique 0:08:38.640 --> 0:08:43.280 to him. So he invented some violin playing techniques that 0:08:43.360 --> 0:08:45.920 nobody had really done before, or at least nobody was 0:08:45.960 --> 0:08:49.240 known for doing before. And you can think think of 0:08:49.280 --> 0:08:53.319 this as comparable to famous rock guitar players who were 0:08:53.360 --> 0:08:56.360 known for kind of stunt guitar solos, like Jimmy Hendrix 0:08:56.440 --> 0:08:57.680 or Eddie Van Halen. 0:08:57.600 --> 0:08:59.440 So one might be tempted to sort of think of 0:08:59.520 --> 0:09:02.160 him like, you know, coming out of it, certainly coming 0:09:02.200 --> 0:09:05.640 out of like past centuries in which music belongs to 0:09:05.679 --> 0:09:08.760 the people and music is something that you know, it's 0:09:08.800 --> 0:09:11.480 in every household, it's in every town, a lot of 0:09:11.520 --> 0:09:16.240 shared songs, and for the most part, it doesn't really 0:09:16.280 --> 0:09:19.800 matter who's doing it. And even in courts, you know, 0:09:19.920 --> 0:09:22.679 the particular king or queen or you know, a high 0:09:22.760 --> 0:09:26.280 ranking individual is going to have a musician or musicians 0:09:26.320 --> 0:09:27.880 that work for them and play the songs they want 0:09:27.880 --> 0:09:30.559 to play. But here we have a specialist who is 0:09:30.600 --> 0:09:33.360 playing his own music in ways that only he can 0:09:33.440 --> 0:09:35.720 do in amassing a personal following. 0:09:36.520 --> 0:09:39.360 Yeah, and he's like he's so skilled at the instrument 0:09:39.400 --> 0:09:42.720 that he's playing pieces that basically nobody else can play, 0:09:43.720 --> 0:09:45.520 you know, with the kind of like speed, or with 0:09:45.600 --> 0:09:50.200 these techniques like plucking with the left hand. And and 0:09:50.840 --> 0:09:54.040 there are these stories about how he would sometimes before 0:09:54.080 --> 0:09:57.200 a concert do this stunt where he would intentionally fray 0:09:57.400 --> 0:09:59.839 a couple of his vilein strings so that they would 0:10:00.440 --> 0:10:03.240 during the performance, so in the middle of the song 0:10:03.280 --> 0:10:05.439 the string would break, and then he would finish the 0:10:05.600 --> 0:10:08.760 piece of music anyway, playing it on the remaining strings 0:10:08.840 --> 0:10:09.800 or on a single string. 0:10:09.920 --> 0:10:12.400 Oh wow, some great showmanship there. 0:10:12.840 --> 0:10:16.920 Yes. So he lived from seventeen eighty two to eighteen forty. 0:10:17.120 --> 0:10:20.000 And there's also this whole crazy story about what happened 0:10:20.040 --> 0:10:22.680 to his body after death. I didn't read very deeply 0:10:22.720 --> 0:10:27.280 into this, but basically, he died without having last rites performed, 0:10:27.840 --> 0:10:30.680 and then wherever it was he died, the local religious 0:10:30.679 --> 0:10:34.120 authorities would not permit him to be buried and consecrated ground, 0:10:34.559 --> 0:10:38.640 so his coffin and his embalmed remains inside kept getting 0:10:38.840 --> 0:10:42.120 shuffled around and stored in places like I think there 0:10:42.160 --> 0:10:46.680 was an olive oil press or a cement factory. And eventually, 0:10:46.800 --> 0:10:50.840 like many decades after his death, his family finally managed 0:10:50.880 --> 0:10:53.520 to get his body buried in a cemetery and I 0:10:53.520 --> 0:10:58.480 think Parma, Italy. But yeah, so a strange, interesting guy. 0:10:58.600 --> 0:11:02.719 You can imagine that his life story would make for 0:11:02.840 --> 0:11:06.960 a really interesting movie. How much of this factors into 0:11:07.040 --> 0:11:10.280 Paganini Horror? Basically not at all, except for the part 0:11:10.320 --> 0:11:12.959 about the rumors of a deal with the devil. That's 0:11:13.000 --> 0:11:13.560 pretty much it. 0:11:13.679 --> 0:11:16.760 Yeah, the film. The film holds your hand only a 0:11:16.760 --> 0:11:20.560 little bit. It seems to lean on some implied knowledge 0:11:21.000 --> 0:11:24.360 of Paganini that the viewer is supposed to already have 0:11:25.440 --> 0:11:30.720 downloaded and ready to go. But and part of that, maybe, 0:11:30.880 --> 0:11:32.040 you know, could be understandable. 0:11:32.120 --> 0:11:32.560 This is an. 0:11:32.480 --> 0:11:39.160 Italian film, maybe the intended Italian viewer would have been 0:11:39.160 --> 0:11:44.520 more familiar than certainly maybe the average international film goer today. 0:11:45.200 --> 0:11:48.240 Paganini has been the subject of various dramatic works over 0:11:48.240 --> 0:11:52.319 the years, including multiple film adaptations. Is played by Roxy 0:11:52.440 --> 0:11:54.920 Roth in nineteen forty five as a song to remember 0:11:55.400 --> 0:11:59.400 Stuart Granger in nineteen forty six, is the Magic bow 0:12:00.280 --> 0:12:05.000 Kloss Kinsky in eighty nine's Kinski Paganini, a notorious film 0:12:05.160 --> 0:12:08.360 that Kinsky wrote and directed as well. It also proved 0:12:08.400 --> 0:12:12.200 to be his last film, and then more recently, David 0:12:12.280 --> 0:12:16.720 Garrett played Paganini in twenty thirteen's The Devil's Violinist, which 0:12:16.720 --> 0:12:18.800 also features Jared Harris in a role. 0:12:19.760 --> 0:12:23.720 So the Kinski Paganini movie, which he wrote and directed 0:12:23.920 --> 0:12:28.760 and starred as Paganini, is called Kinsky Paganini. 0:12:29.080 --> 0:12:31.679 Yeah, I mean, I don't know the full history on it. 0:12:31.720 --> 0:12:33.760 That part of that would have been just like we're 0:12:33.800 --> 0:12:37.079 going to capitalize on Paganini and then also Kinsky, who 0:12:37.840 --> 0:12:39.679 I'd have to check. I'm not sure if you had 0:12:39.760 --> 0:12:42.720 died when the film was released. This is like a 0:12:42.720 --> 0:12:47.840 post death renaming of the film or whatnot. But yeah, 0:12:47.880 --> 0:12:50.040 it's got It's pretty notorious as being like you can 0:12:50.080 --> 0:12:56.400 imagine late in life klaus Kinski having full command over 0:12:56.480 --> 0:13:01.679 the direction and writing and acting of a film. It 0:13:01.760 --> 0:13:03.520 is uh And this is one that I think there 0:13:03.520 --> 0:13:05.760 are stories that he tried to get Werner Herzog to 0:13:05.840 --> 0:13:07.559 directed for him, and her said, no, I don't want 0:13:07.559 --> 0:13:11.560 any part of this. So yeah, I I I'm in 0:13:11.600 --> 0:13:13.480 no hurry to see it for myself. But it is 0:13:13.559 --> 0:13:17.400 it's rather notorious because of you, because of what it is. Uh. 0:13:17.400 --> 0:13:20.320 And it is Kinski's last film. I think there are 0:13:20.320 --> 0:13:23.840 also a number of parallels that one would draw perhaps 0:13:23.920 --> 0:13:28.079 between I mean, perhaps rather incorrectly, between the figure of 0:13:28.120 --> 0:13:30.960 Klaus Kinski and the figure of paganin Well. 0:13:31.080 --> 0:13:33.120 It just makes me think of that movie where William 0:13:33.160 --> 0:13:35.800 Shatner plays Mozart called Shatner Mozart. 0:13:36.320 --> 0:13:36.840 Is that true? 0:13:36.920 --> 0:13:39.319 Is there's such a help that Mozart? 0:13:39.440 --> 0:13:41.960 I would not, Uh, I mean, I'm picturing it now, 0:13:42.040 --> 0:13:44.320 and then let's let's try and plant the seeds of 0:13:44.360 --> 0:13:46.200 this thing so people have false memories of it. 0:13:48.720 --> 0:13:52.079 Uh. Elevator pitch on. This is the band from Pod 0:13:52.120 --> 0:13:53.439 People Goes to Hell. 0:13:53.480 --> 0:13:55.440 I would say, I would say, so, that's pretty good. 0:13:56.400 --> 0:14:01.160 Similar vibe. It's a It is a horror movie about 0:14:01.200 --> 0:14:03.640 a band. Though, here's a question I had for you, Joe, 0:14:03.760 --> 0:14:07.800 does this band have a name? I don't recall being named. 0:14:08.400 --> 0:14:10.360 I don't think they say the name of the band 0:14:10.360 --> 0:14:12.720 in the movie I was watching for I was listening 0:14:12.800 --> 0:14:15.280 for it on my second viewing, like, when do they 0:14:15.280 --> 0:14:16.920 tell you the name of the band? And I didn't 0:14:16.920 --> 0:14:19.920 find it, so either it went past me a second time, 0:14:20.120 --> 0:14:22.240 or they really in the movie don't say what the 0:14:22.240 --> 0:14:23.000 band is called. 0:14:24.080 --> 0:14:25.680 Or maybe it's one of those things where it's it's 0:14:25.680 --> 0:14:27.400 all about Kate. It's all about the lead singer, so 0:14:27.440 --> 0:14:30.960 it's just Kate and her band or the Kate Band 0:14:31.160 --> 0:14:31.840 or what have you. 0:14:32.880 --> 0:14:34.520 I don't know. I like the rest of the band. 0:14:34.560 --> 0:14:37.760 And man, they're really making the drummer Daniel, he's doing 0:14:37.800 --> 0:14:39.720 all the work and they're making him go do the 0:14:39.760 --> 0:14:42.320 deals with the devil while they just get to hang out. 0:14:42.240 --> 0:14:45.840 And they didn't ask him to do that. He that 0:14:45.920 --> 0:14:48.640 was yeah, but he meant well, he was like, I 0:14:48.640 --> 0:14:50.520 can fix this. I know, I know a dude who 0:14:50.520 --> 0:14:53.400 has a scroll. But but we're getting ahead of ourselves. 0:14:53.960 --> 0:14:56.600 At this point, you were probably wondering where can I 0:14:56.680 --> 0:15:00.840 watch Paganini Horror. It's widely available, Joe. I believe you 0:15:00.840 --> 0:15:02.720 watched it on the Severn Blu ray and you can 0:15:02.760 --> 0:15:06.160 speak more to its contents. I watched it on an airplane. 0:15:06.200 --> 0:15:08.280 I've been flying a lot this month for some reason. 0:15:08.720 --> 0:15:11.560 I watched it on the streaming platform Eternal Family, which 0:15:11.680 --> 0:15:16.120 is partnered with Severn and various other media companies. This 0:15:16.160 --> 0:15:18.200 one was a good airplane viewing experience. 0:15:18.240 --> 0:15:21.960 I have to say the making of this film is 0:15:22.120 --> 0:15:26.240 a wild, bizarre story, so I'm going to be talking 0:15:26.280 --> 0:15:28.960 pretty extensively about that in just a minute here. And 0:15:29.040 --> 0:15:32.080 one of my main sources is one of the extras 0:15:32.160 --> 0:15:34.240 on the Severn Blu ray, which is an interview with 0:15:34.280 --> 0:15:35.560 the director of Luigikotzi. 0:15:35.960 --> 0:15:47.720 Excellent. All right, well let's get into the people here. 0:15:47.800 --> 0:15:51.160 I guess starting with Luigikotzy. Is this a Lewis Coates film. 0:15:51.200 --> 0:15:53.840 I believe that's the way Lewis coach. Yes, that's the 0:15:53.840 --> 0:15:57.200 way he is credited in the actual opening credits. But yeah, 0:15:57.240 --> 0:15:59.400 he's the director co writer on this one. Born nineteen 0:15:59.440 --> 0:16:02.360 forty seven. This is our third Coats the movie, following 0:16:02.520 --> 0:16:07.280 nineteen eighty three's Hercules starring Lufarigno and seventy eight Star Crash, 0:16:07.320 --> 0:16:09.040 which of course we just did a few weeks back. 0:16:09.680 --> 0:16:12.520 He's probably best known internationally for Star Crash, as well 0:16:12.560 --> 0:16:15.720 as his work with Dario Argento and the notorious nineteen 0:16:15.760 --> 0:16:18.120 eighty alien Cash in Contamination. 0:16:19.080 --> 0:16:22.000 This just keeps coming up, and we should just. 0:16:22.000 --> 0:16:24.760 Go ahead and watch it. At some point. This film 0:16:24.880 --> 0:16:27.800 Paganini Har emerges in nineteen eighty eight. This is after 0:16:27.920 --> 0:16:31.320 his two picture Hercules series eighty three and eighty five, 0:16:31.800 --> 0:16:34.920 Lufarigno starring in both of those, and it's before his 0:16:35.040 --> 0:16:39.840 eighty nine Sinbad film, which also starred Lufarigno, and then 0:16:40.240 --> 0:16:43.320 also before eighty nine's The Black Cat, which will come 0:16:43.400 --> 0:16:46.160 up various times during the credits because there are various 0:16:46.160 --> 0:16:48.520 people involved in this film that were also involved in 0:16:48.520 --> 0:16:52.400 The Black Cat. Yeah, as we'll continue to discuss, I 0:16:52.480 --> 0:16:55.040 say I have to say, for my money, Paganini Harr 0:16:55.120 --> 0:16:59.200 fils very original compared to these other films we've looked at. 0:17:00.040 --> 0:17:03.480 It's full of interesting but again only partially explored themes 0:17:03.520 --> 0:17:06.919 and concepts and all sorts of jarring shifts as the 0:17:06.960 --> 0:17:10.760 movie kind of loses its interest in one newly introduced 0:17:10.800 --> 0:17:13.360 concept and then rushes over to explore another one. 0:17:14.000 --> 0:17:19.080 Yeah. Yeah, I agree that this is probably the messiest 0:17:19.760 --> 0:17:23.480 Luigi Cosi film I've seen, but it's also the most original. 0:17:24.280 --> 0:17:28.360 And I think that's funny because normally Cotsey I don't 0:17:28.359 --> 0:17:30.600 want to be mean to him, but in multiple sources 0:17:30.640 --> 0:17:33.600 he seems to be quite defensive about the idea that 0:17:33.680 --> 0:17:38.680 his films are derivative of other films, like that Star 0:17:38.800 --> 0:17:41.520 Crashes in some way inspired by Star Wars. Like in 0:17:41.560 --> 0:17:43.840 some moments he kind of admits that it is, and 0:17:43.880 --> 0:17:46.520 in other moments he's he's like, no, it is its 0:17:46.560 --> 0:17:47.440 own original thing. 0:17:47.520 --> 0:17:49.639 Well, we always, I think, have to we have to 0:17:49.680 --> 0:17:52.760 acknowledge that it's it's always more complicated than that, because 0:17:53.080 --> 0:17:56.119 it's not like any given director or writers like I 0:17:56.160 --> 0:17:58.199 want to make a film like Star Wars, and then 0:17:58.400 --> 0:18:01.920 and then they do, like it's you know, generally, these 0:18:01.920 --> 0:18:05.440 are creative individuals who have certain ideas, but then there 0:18:05.520 --> 0:18:08.639 is the market, and there are producers, and there's money involved, 0:18:08.680 --> 0:18:10.919 and so sometimes the way you get to make your 0:18:10.960 --> 0:18:13.359 film is by saying, hey, I have something like Star Wars, 0:18:13.560 --> 0:18:15.600 and then maybe along the way someone says, can you 0:18:15.600 --> 0:18:18.119 make it more like Star Wars? Though, And there's so 0:18:18.119 --> 0:18:21.080 many different factors involved, so I can imagine where you know, 0:18:21.080 --> 0:18:22.640 it can be both way for somebody. 0:18:23.160 --> 0:18:25.760 That's exactly the case, actually, and that is how he 0:18:26.000 --> 0:18:29.800 frames it in his Sometimes when he admits that some 0:18:30.000 --> 0:18:33.000 elements of the films are derivative of these more famous films, 0:18:33.000 --> 0:18:35.200 he's like, that's how I could get funding he gets 0:18:35.200 --> 0:18:37.159 into it and in this interview that I'm about to 0:18:37.160 --> 0:18:39.080 talk about as well, So maybe I'll just go ahead 0:18:39.119 --> 0:18:41.879 and discuss this interview. So I think this is probably 0:18:41.880 --> 0:18:45.040 the best place to try to tell this long, convoluted 0:18:45.080 --> 0:18:49.240 story of the making of Paganini Horror. And my notes 0:18:49.240 --> 0:18:51.680 here are going to be based mainly on two sources. 0:18:51.800 --> 0:18:54.960 One is this extra on the Severin disc called Play 0:18:54.960 --> 0:18:58.720 It Again Paganini, which is an extended interview with Cotzy. 0:18:59.359 --> 0:19:03.359 My other is a book called Italian Gothic Horror Films 0:19:03.480 --> 0:19:06.560 nineteen eighty to nineteen eighty nine by the Italian film 0:19:06.600 --> 0:19:10.240 historian Roberto Curti. I would note that both of these 0:19:10.280 --> 0:19:13.720 tellings are going to be primarily Cotzy's version of events, 0:19:13.720 --> 0:19:16.320 so I can't vouch for him being correct about everything. 0:19:16.400 --> 0:19:19.800 But Kurt Curtie's account also seems to largely rely on 0:19:19.880 --> 0:19:22.639 interviews with Cotzi to get the information about how all 0:19:22.680 --> 0:19:25.160 this happened. But this is the version of the story 0:19:25.160 --> 0:19:29.040 we've got. So Kotzi claims he came up with the 0:19:29.080 --> 0:19:32.760 idea for Paganini Horror in nineteen eighty six or eighty seven, 0:19:33.240 --> 0:19:36.800 and he says it began with a French American producer 0:19:36.880 --> 0:19:40.840 named Nat Wachsberger, who was also the producer of Star 0:19:40.960 --> 0:19:44.359 Crash as well as of films like Diamond Bikini in 0:19:44.480 --> 0:19:48.040 nineteen seventy one, and they came to Rob Las Vegas 0:19:49.000 --> 0:19:51.600 and I will know that Cotzy calls him French American, 0:19:51.680 --> 0:19:54.320 but online sources say he was born in Belgium. I'm 0:19:54.320 --> 0:19:59.119 not sure what nationality he identified, but anyway, Cotesy had 0:19:59.320 --> 0:20:03.000 worked with Waksburger already on Star Crash, so they had 0:20:03.000 --> 0:20:08.240 a relationship. And the situation was Waksburger came to Cotsey 0:20:08.320 --> 0:20:10.719 and said, hey, I have made a deal with a 0:20:10.760 --> 0:20:13.959 certain French actor, a man I don't know if anyone's 0:20:14.000 --> 0:20:17.480 heard of, but he's known as Christophe Lambert to make 0:20:17.520 --> 0:20:22.720 a to make a biographical film about Nicolo Paganini. So 0:20:22.920 --> 0:20:25.440 when I got to that, I watched this after I'd 0:20:25.480 --> 0:20:28.439 already watched the movie Paganini Horror, and I was like, 0:20:28.800 --> 0:20:33.240 oh my god, the movie I just watched actually started 0:20:33.720 --> 0:20:38.000 with a biopic about Paganini that was going to star 0:20:38.160 --> 0:20:41.840 Christoph Lambert. Can you imagine and how you get from 0:20:41.840 --> 0:20:42.800 point A to point B? 0:20:43.080 --> 0:20:47.879 I mean, Lambert can play any European and also Americans like, 0:20:48.000 --> 0:20:51.040 there's no he can't be stopped, and he's a master 0:20:51.160 --> 0:20:58.119 of the tongue of the accent. I don't think so so. 0:20:58.400 --> 0:21:03.280 Waksburger was anxious to work with Lambert because Gray Stoke, 0:21:03.440 --> 0:21:06.040 The Legend of Tarzan, was about to come out and 0:21:06.200 --> 0:21:08.240 everybody thought it was going to be a huge hit. 0:21:08.680 --> 0:21:11.720 Waksburger's bet was that Lambert would be a big deal 0:21:11.760 --> 0:21:14.520 after this movie was released, and he wanted to lock 0:21:14.600 --> 0:21:16.399 him down for the next project. 0:21:16.760 --> 0:21:18.440 You know, I had to look into this a bit. 0:21:18.840 --> 0:21:21.920 I don't think I've ever seen Gray Stroke in its entirety, 0:21:22.720 --> 0:21:26.440 but Stoke, Yeah, sorry, Gray Stroke a different film. Gray 0:21:26.480 --> 0:21:30.040 Stoke was certainly a critical hit, though when it came out. 0:21:30.240 --> 0:21:34.040 It's the first Tarzan movie nominated for Academy Awards, including 0:21:34.080 --> 0:21:37.800 Best Screenplay, Best Makeup, and Best Supporting Actor nomination for 0:21:38.000 --> 0:21:40.520 Sir Ralph Richardson, who we discussed in our episode on 0:21:40.600 --> 0:21:44.679 Dragon Slayer. His role in the Tarzan movie here was 0:21:44.720 --> 0:21:49.359 his final role, and the film also certainly made money. 0:21:50.080 --> 0:21:52.119 I'm always a little I'm not as good with the 0:21:54.080 --> 0:21:56.760 monetary side of understanding how pictures do or don't do, 0:21:56.880 --> 0:21:59.000 you know, but it seems like it made a fair 0:21:59.000 --> 0:22:02.120 amount of money, and it is also generally pointed out 0:22:02.119 --> 0:22:07.440 as the film that launched Christoph Lambert's international career. Highlander 0:22:07.520 --> 0:22:10.880 would never have swung a sword if Gray Stoke had 0:22:10.880 --> 0:22:12.080 not swung from a vine. 0:22:13.119 --> 0:22:16.600 This is funny because I cannot adjudicate here, I can't 0:22:16.600 --> 0:22:18.800 fact check whether the movie was a success or not. 0:22:19.240 --> 0:22:22.080 But the funny thing is that Cotzy later characterizes it 0:22:22.119 --> 0:22:25.000 as a total flop, like Gray Stoke. He says, just 0:22:25.000 --> 0:22:28.280 a failure. So I don't know if he's if he's 0:22:28.400 --> 0:22:30.600 judging it on a different metric there, or if he's 0:22:30.640 --> 0:22:35.439 just wrong about that. But so Waksburger hired Cotzy to 0:22:35.600 --> 0:22:39.400 write a script for this movie about Paganini's life, and 0:22:39.760 --> 0:22:42.520 Cotzy admits that the story he came up with was 0:22:42.560 --> 0:22:45.240 probably not going to be of the highest level of 0:22:45.359 --> 0:22:50.400 historical accuracy. It would be a somewhat fictionalized version of Paganini. 0:22:51.359 --> 0:22:54.720 And I would have loved to see that mckn you imagine. 0:22:54.760 --> 0:22:57.240 I wish we could have seen that movie, this sort 0:22:57.240 --> 0:23:01.919 of star crash, Raiden flavored Paginni biopic, But it was 0:23:02.000 --> 0:23:05.600 never meant to be, Cotzy says, quote, my script was 0:23:05.640 --> 0:23:09.119 well received. But as we were about to finalize the details, 0:23:09.440 --> 0:23:12.199 Gray Stoke was released and it fluffed. It was a 0:23:12.240 --> 0:23:16.480 total flop. This alarmed Waksburger, who panicked and decided to 0:23:16.520 --> 0:23:20.160 shelve the project because he didn't believe in using Limbert anymore. 0:23:20.480 --> 0:23:23.440 If true, that is of course ridiculous, because how many 0:23:23.480 --> 0:23:25.640 films after this were made. You know, maybe not at 0:23:25.640 --> 0:23:29.200 the highest level, but so many films afterwards were made 0:23:29.920 --> 0:23:32.480 in large part because Christoph Lambert was attached to them. 0:23:32.520 --> 0:23:38.000 You know, Oh he's an A list nineties bad but yeah, yeah, yeah. 0:23:38.000 --> 0:23:42.159 So funding was gone scrammed. But Cotzy says by this 0:23:42.240 --> 0:23:45.280 point he'd already spent a lot of time studying Paganini 0:23:45.359 --> 0:23:47.840 and like researching him and putting all this work into 0:23:47.880 --> 0:23:50.920 the script. So anything else he could do with it, well, 0:23:51.040 --> 0:23:55.520 along comes a saving angel, a younger producer named Ugo Valenti. 0:23:56.320 --> 0:24:00.520 Cotzy had recently directed the horror film Contamination again this 0:24:00.680 --> 0:24:03.080 is the one with the alien style eggs, and this 0:24:03.200 --> 0:24:06.920 movie had been shot in Colombia, in South America. Ugo 0:24:07.000 --> 0:24:10.280 Valenti wanted to do another project like that, a horror 0:24:10.280 --> 0:24:13.760 movie shot in South America, and he comes to Cotzy, 0:24:13.800 --> 0:24:16.880 and he's like, got any ideas. Cotzy says, well, I've 0:24:16.920 --> 0:24:19.840 got this biopic about the life of the violinist to 0:24:19.920 --> 0:24:22.720 Nicolo Paganini that I wrote for Christoph Lambert. Let me 0:24:22.720 --> 0:24:25.600 see if I can rewrite this into a slasher movie. 0:24:26.960 --> 0:24:29.280 You know, is on one level that's ridiculous, But on 0:24:29.320 --> 0:24:32.679 the other hand, it's not a bad idea, and you 0:24:32.720 --> 0:24:37.399 see shades of that film in Paganini Horror. It's just 0:24:37.480 --> 0:24:39.960 kind of obscured by all the other ideas that are involved. 0:24:40.480 --> 0:24:44.040 Yeah, I admire it. I cannot lie. I admire it, 0:24:44.160 --> 0:24:46.920 just I feel like I would not have the courage 0:24:47.000 --> 0:24:51.879 to push forward like that. But he says, well, actually, so. 0:24:52.000 --> 0:24:54.960 The way Kurtie explains it in his book is that 0:24:55.240 --> 0:25:00.600 first Kotzy transformed his Paganini script into a science fiction film, 0:25:01.119 --> 0:25:05.320 using some ideas left over from the Paganini research, but 0:25:05.400 --> 0:25:09.239 then cramming them into this original story of like a 0:25:09.440 --> 0:25:14.919 sci fi haunted house quote where time killed you, making 0:25:14.960 --> 0:25:19.160 you age or rejuvenate, suddenly turning you into a newborn 0:25:19.359 --> 0:25:23.240 child and then an egg cell. So I'm sort of 0:25:23.280 --> 0:25:28.680 imagining like a science fiction horror Benjamin Button where you 0:25:28.840 --> 0:25:31.359 reverse age to death instantly. 0:25:31.640 --> 0:25:33.639 Yeah, yeah, I mean I'm digging this as well. You know, 0:25:33.680 --> 0:25:36.159 I'm gonna imagine imagining a sort of a mash up 0:25:36.200 --> 0:25:39.280 between some sort of Italian haunted house film and I 0:25:39.280 --> 0:25:41.800 don't know, House of Leaves or something. Yeah. 0:25:42.200 --> 0:25:44.439 If you if you regress all the way to an 0:25:44.480 --> 0:25:46.479 egg cell, do you just stop there or do you 0:25:46.520 --> 0:25:49.720 split apart into a sperm cell and an unfertilized egg cell, 0:25:50.119 --> 0:25:52.879 and then do you further split apart into I don't know, 0:25:52.920 --> 0:25:54.160 amino acids and. 0:25:54.400 --> 0:25:58.000 Like, yeah, yeah, I think so, I think Okay, I 0:25:58.000 --> 0:26:01.080 mean it depends on how s the sciences. It might 0:26:01.119 --> 0:26:03.920 have you, like turning into apes and dinosaurs. I don't 0:26:03.960 --> 0:26:06.000 know that would be good. 0:26:07.200 --> 0:26:11.880 So, according to Kurtie, the new producer, Ugo Valenti, did 0:26:11.880 --> 0:26:14.600 not like this direction, and he had Cotzy rewrite the 0:26:14.640 --> 0:26:18.840 script and wanted to add like Slasher Gore scene splatter stuff, 0:26:18.880 --> 0:26:22.480 thinking that this would help them secure more funding. Also, 0:26:22.640 --> 0:26:25.840 Valenti hired, according to Cotzy, hired a well known Italian 0:26:25.960 --> 0:26:29.600 artist and illustrator named Zoskioti to make a poster for 0:26:29.680 --> 0:26:33.639 the film. This is classic poster first filmmaking, where you 0:26:33.640 --> 0:26:36.880 get a poster before you even have a finished, finalized script, 0:26:38.040 --> 0:26:40.320 and I just want to fly. I had never read 0:26:40.440 --> 0:26:44.679 much about Inzoskiot before, but I briefly did a just 0:26:44.760 --> 0:26:48.760 kind of dive into a lot of the posters he made. 0:26:48.920 --> 0:26:53.080 This guy made like thousands of movie posters over his career, 0:26:53.440 --> 0:26:57.919 and they're those great classic hand painted horror movie posters 0:26:57.920 --> 0:26:59.679 from the seventies and eighties you see on a lot 0:26:59.680 --> 0:27:03.919 of a horror movies, like the VHS box art or 0:27:03.960 --> 0:27:08.000 the you know, theatrical posters from this time. It is 0:27:08.359 --> 0:27:12.240 such a downgrade to go from these great vulgar works 0:27:12.280 --> 0:27:16.080 of art to that standard you know, box art style 0:27:16.160 --> 0:27:18.199 of the nineties and two thousands, where it's like a 0:27:18.320 --> 0:27:21.880 row of actor headshots with an exploding background. I love 0:27:21.960 --> 0:27:24.760 these old painted covers. I wish we got more like that. 0:27:24.960 --> 0:27:27.560 Yeah, I mean, I'm glad that so many re releases 0:27:27.600 --> 0:27:30.400 and new releases on physical media at any rate are 0:27:30.720 --> 0:27:36.280 you know, have gone back and fully fully embraced the 0:27:36.600 --> 0:27:38.439 old poster art. You know, sometimes they go in new 0:27:38.480 --> 0:27:41.440 directions and have some you know, cool new art as well, 0:27:41.480 --> 0:27:45.040 and I'm down for that certainly, But new slipcases and 0:27:45.080 --> 0:27:49.439 so forth. But this is a complete side tangent. But 0:27:49.520 --> 0:27:51.720 one of my big disappointments is you never see this, 0:27:52.119 --> 0:27:55.400 to my knowledge anyway, with books with like physical books, 0:27:56.119 --> 0:27:58.480 like just thinking about someone as popular as Stephen King, 0:27:58.560 --> 0:28:01.440 for example, they were all these like classic Stephen King 0:28:01.960 --> 0:28:06.479 paperback covers that I remember from from my childhood and 0:28:06.520 --> 0:28:11.280 you know, my middle and teen years especially, and as 0:28:11.320 --> 0:28:12.960 far as I know, like they never bring those back. 0:28:12.960 --> 0:28:16.480 It's always some new cover for new paperbacks, and those 0:28:16.520 --> 0:28:18.880 classic paper book covers are just like you know, they're 0:28:18.880 --> 0:28:20.480 just left to the old editions. 0:28:20.760 --> 0:28:24.879 Yeah, yeah, I also love that old style anyway. So 0:28:25.440 --> 0:28:27.920 Cotzy talks a bit about where this image came from. 0:28:28.000 --> 0:28:29.840 And by the way, I would recommend you look up 0:28:29.880 --> 0:28:32.680 the Paganini horror poster. I think it's pretty great. 0:28:32.720 --> 0:28:32.880 Yeah. 0:28:32.880 --> 0:28:35.240 It's got this skeleton playing a violin. 0:28:35.560 --> 0:28:39.520 Skeleton with one eyeball and gray hair playing a violin, 0:28:39.760 --> 0:28:43.720 and there's blood dripping from the bow. And there's a 0:28:43.720 --> 0:28:46.480 man and a woman standing in front of a haunted 0:28:46.520 --> 0:28:49.720 house with like sheet music blowing in the wind. I 0:28:49.760 --> 0:28:52.920 can't zoom in. Is this this guy in this lady 0:28:53.000 --> 0:28:55.080 or are they in the movie. They don't look very familiar. 0:28:55.240 --> 0:28:58.440 They don't look tremendously familiar. Now, yeah, so it really 0:28:58.520 --> 0:29:01.640 does feel like a different picture is on the poster, 0:29:01.680 --> 0:29:04.040 which makes sense since this again is poster first. 0:29:05.040 --> 0:29:07.560 So the image of the house used on the poster 0:29:07.720 --> 0:29:10.160 was one that Cotzy himself found on the cover of 0:29:10.200 --> 0:29:14.360 a book about the paranormal, and so they brought that 0:29:14.480 --> 0:29:16.720 in and then you know, some different design elements, but 0:29:16.800 --> 0:29:19.719 it's a beautiful poster. So at this point Cotzy and Valenti, 0:29:19.800 --> 0:29:21.640 they've got a poster and they've got like a three 0:29:21.720 --> 0:29:25.120 to four page story treatment for the way they want 0:29:25.160 --> 0:29:30.640 to do the story. Now. So the producer Valenti was like, Cotzy, 0:29:31.320 --> 0:29:34.600 come to Colombia with me to meet this local businessman. 0:29:34.720 --> 0:29:37.280 I know this is the guy who's going to co produce. 0:29:37.600 --> 0:29:40.080 Then Cotzy tells in this interview, he tells a long 0:29:40.240 --> 0:29:43.440 story about going around in Colombia trying to figure out 0:29:43.440 --> 0:29:45.000 who they're going to work with their I'm not going 0:29:45.080 --> 0:29:48.120 to go into all the details, but the very truncated 0:29:48.240 --> 0:29:51.240 version is there are all these changes like, oh, you 0:29:51.280 --> 0:29:54.200 can't work with the same crew you used on contamination, 0:29:54.320 --> 0:29:57.400 You've got to use these other guys. And then Cotzy's 0:29:57.480 --> 0:30:01.480 running around location scouting with this potential producer, who he 0:30:01.480 --> 0:30:04.960 says has armed bodyguards with him at all times, and 0:30:05.040 --> 0:30:08.560 Cotzy speculates that this guy was involved in drug trafficking, 0:30:08.600 --> 0:30:12.760 but he doesn't offer direct evidence. Ultimately, the deal falls through, 0:30:12.800 --> 0:30:24.720 so the Paganini horror movie shot in Colombia never happens. 0:30:25.720 --> 0:30:28.640 So Cotzy and Valenti they go back to Italy and 0:30:28.760 --> 0:30:31.040 Valenti is like, you know what, write the script anyway, 0:30:31.080 --> 0:30:34.080 we'll get more financing. We'll figure that out later. But 0:30:34.480 --> 0:30:39.520 Curtie says, after what they put together failed to attract backers, Valenti, 0:30:39.640 --> 0:30:43.280 the producer quote just gave up the film ando industry 0:30:43.440 --> 0:30:46.520 and left for Santo Domingo, where, according to Cotzy, he 0:30:46.600 --> 0:30:50.640 set up a successful prawn factory. Okay, there you go, 0:30:51.240 --> 0:30:53.240 So enter a new producer. We got to get a 0:30:53.280 --> 0:30:55.960 new one this time. It's a guy named Carlo Mayeto. 0:30:56.120 --> 0:30:59.400 Carlo Mayetto was an Italian producer and the husband of 0:30:59.480 --> 0:31:03.000 none other than Janet Agrin, the actress we talked about 0:31:03.040 --> 0:31:06.400 in our episodes on Ful Cheese. City of the Living Dead. 0:31:06.480 --> 0:31:10.040 She's in that, and she's also one of the leads 0:31:10.040 --> 0:31:12.240 in Hands of Steel. Were here in that? 0:31:12.480 --> 0:31:12.680 Yeah? 0:31:12.760 --> 0:31:16.680 Yeah, fans might remember us dwelling on her bizarre music 0:31:16.800 --> 0:31:20.400 video called Teddy Bear, Gimme Gimme Teddy Teddy My Teddy 0:31:20.440 --> 0:31:23.240 Bear one of the weirdest things I have ever seen. 0:31:24.200 --> 0:31:27.560 So Maeto optioned the movie, and Cotzi went on to 0:31:27.600 --> 0:31:32.080 do some other projects, including working with Dario Argento. It 0:31:32.120 --> 0:31:35.440 sounds like the Paganini script kind of got passed around 0:31:35.480 --> 0:31:38.280 from desk to desk for a while, just more development. 0:31:38.360 --> 0:31:38.600 Hell. 0:31:39.400 --> 0:31:45.240 Eventually it ended up with producer Fabricio DeAngelis of Fulvia Film, 0:31:45.280 --> 0:31:48.640 who had done financial backing for some Luccio Fulci movies, 0:31:49.080 --> 0:31:53.040 and Fabricio D'Angelis is the final the name you'll see 0:31:53.080 --> 0:31:58.000 on Paganini Horrors. That was ultimately the producer. DeAngelis called 0:31:58.040 --> 0:32:00.760 Cotzy in early nineteen eighty eight and he said, Okay, 0:32:00.760 --> 0:32:03.240 we're going to make this movie, but it's going to 0:32:03.240 --> 0:32:07.840 be shot in Miami later this year. Eventually we will 0:32:08.640 --> 0:32:12.000 come back to this. Cotzy managed to Convincedangelist not to 0:32:12.080 --> 0:32:15.000 set Paganini Horror in Miami, since he said it would 0:32:15.040 --> 0:32:19.440 not make sense for Paganini to be in Florida. Cotzy 0:32:19.480 --> 0:32:21.080 kind of he thinks about it for a second, and 0:32:21.120 --> 0:32:23.920 then he says grotesque. Even why not? 0:32:24.040 --> 0:32:26.200 I mean, I don't know. It seems like we're so 0:32:26.480 --> 0:32:30.680 far into the speculative here. Why couldn't his ghost be 0:32:30.760 --> 0:32:31.760 in in Florida? 0:32:31.800 --> 0:32:35.880 For some reason, some things you just can't let go. Also, 0:32:35.960 --> 0:32:40.480 there's another thing, like in between the time when Dangelist 0:32:40.480 --> 0:32:43.680 gets involved and when they actually shoot the movie, Cotesy 0:32:43.880 --> 0:32:46.400 was he has this whole He tells this bizarre shaggy 0:32:46.440 --> 0:32:49.840 dog story about another horror movie that he was initially 0:32:49.920 --> 0:32:52.560 hired to direct, but he wanted to make changes to 0:32:52.600 --> 0:32:55.960 the script and the producer would not agree because he 0:32:56.080 --> 0:33:00.040 had a computer program that showed him with charts and 0:33:00.480 --> 0:33:03.360 how the script was already perfect. And I was like, 0:33:03.440 --> 0:33:06.400 this is nineteen eighty eight. What I want to know 0:33:06.440 --> 0:33:09.880 what this computer software in nineteen eighty eight was that 0:33:10.000 --> 0:33:13.120 analyzed a screenplay to tell you if it's good or not. 0:33:13.200 --> 0:33:15.080 Yeah, I don't think we even had Clippi at that point. 0:33:15.120 --> 0:33:15.960 Did we know? 0:33:17.360 --> 0:33:18.840 What is he talking about? 0:33:19.680 --> 0:33:20.280 I want to know? 0:33:20.320 --> 0:33:25.720 But anyway, so finally they're moving ahead with making Paganini horror. 0:33:25.760 --> 0:33:29.640 So Cotzy wanted to shoot in Venice. The producer said, 0:33:29.640 --> 0:33:32.800 we can't afford to shoot in Venice. That's way too expensive. Instead, 0:33:32.880 --> 0:33:35.520 I'll give you like a couple of days of shooting 0:33:35.560 --> 0:33:38.520 in Venice. That's what we can afford. It's very expensive there. 0:33:39.040 --> 0:33:42.840 So he got some nice exterior shots in Venice canals 0:33:42.880 --> 0:33:45.520 and things, and then they also filmed a bit in 0:33:45.680 --> 0:33:48.120 Rome on a sound stage, and then other parts of 0:33:48.160 --> 0:33:51.520 the movie at this abandoned house the main house in 0:33:51.520 --> 0:33:54.520 the movie, which he claims was part of a former 0:33:54.680 --> 0:33:58.680 church or college that belonged to an order of nuns. 0:33:59.240 --> 0:34:02.320 And it's sort of near this road that goes around 0:34:01.800 --> 0:34:04.560 the outside of Rome, kind of like two eighty five 0:34:04.640 --> 0:34:08.840 around Atlanta, And he says it was good location for 0:34:08.880 --> 0:34:12.480 shooting because it was abandon nothing going on there. In 0:34:12.520 --> 0:34:15.640 the meantime, more writers are brought on to make further 0:34:15.760 --> 0:34:18.240 changes to the script. I got to get some more hands, 0:34:18.440 --> 0:34:21.760 more cooks in the kitchen here, so we get Raymondo 0:34:21.880 --> 0:34:25.000 del Balzo, Daria Nickelodi who will come back and talk 0:34:25.000 --> 0:34:29.799 about and Dardano Sacchetti or maybe pronouncing that room Sacchetti. 0:34:29.920 --> 0:34:35.720 Maybe they come in and they work on the script. 0:34:35.920 --> 0:34:40.560 Curti says that the final script was significantly in part 0:34:40.840 --> 0:34:45.520 due to Cotzy's collaboration with Daria Nickelode. She had worked 0:34:45.520 --> 0:34:48.160 with Cotzi before on a movie he directed that was 0:34:48.200 --> 0:34:52.480 released under multiple titles, including The Black Cat and De Profundus, 0:34:53.239 --> 0:34:56.440 and it seems to be kind of an unofficial sequel 0:34:56.480 --> 0:34:59.719 to Suspiria and Inferno. There's some positive talk about this 0:34:59.760 --> 0:35:01.800 one from users on letterboxed. I kind of want to 0:35:01.840 --> 0:35:07.319 check that one out. But Cotzy claims that Nickelode's main 0:35:07.440 --> 0:35:12.200 story contributions to Paganini Horror were quote the esoteric scenes 0:35:12.400 --> 0:35:15.799 like the one about the pact with the Devil. I 0:35:15.800 --> 0:35:18.000 thought that was kind of interesting because like, that's the 0:35:18.040 --> 0:35:22.640 main biographical stuff that's brought in from Paganini, and he's 0:35:22.640 --> 0:35:24.680 the one who wrote the Paganini movie. So now I'm 0:35:24.719 --> 0:35:27.360 confused about what came in from that. If she wrote 0:35:27.360 --> 0:35:28.360 that stuff. 0:35:28.239 --> 0:35:31.479 Yeah, yeah, I mean maybe she'd. It had been messed 0:35:31.520 --> 0:35:33.640 around so much you needed somebody to come in and 0:35:33.680 --> 0:35:36.600 be like, Okay, let's ground this a little bit around 0:35:36.680 --> 0:35:38.920 the character of Paganini. We need just a little bit 0:35:38.960 --> 0:35:42.040 of narration, a little bit of storytelling about who this 0:35:42.120 --> 0:35:44.920 guy was and what sort of evil he was up to. 0:35:45.680 --> 0:35:49.799 Yeah. Kurtie here also notes the inclusion of ideas that 0:35:49.880 --> 0:35:53.720 were recycled from an Italian TV series that Cotzy worked 0:35:53.760 --> 0:35:56.879 on in nineteen eighty seven called Turno d Note, meaning 0:35:57.000 --> 0:36:00.239 night Shift. At least one of these episodes of night 0:36:00.280 --> 0:36:04.200 Shift that he made is called La Casa dilo Strativari 0:36:04.360 --> 0:36:09.239 the you know, the house of Stratavaria, of the Stratavarius violins. 0:36:09.480 --> 0:36:12.200 I can imagine which part of the movie that probably 0:36:12.239 --> 0:36:18.400 contributed to so, Cotesy claims. DeAngelis demanded last minute changes 0:36:18.400 --> 0:36:21.719 to the script right before they started shooting. Particularly, he 0:36:21.840 --> 0:36:24.680 was told to cut out some of the splatter scenes 0:36:24.800 --> 0:36:27.759 that would be costly and time consuming to set up. 0:36:27.800 --> 0:36:30.839 So we got a gore in gore out situation here, 0:36:31.840 --> 0:36:34.280 and then to make up the difference of what was lost, 0:36:34.400 --> 0:36:38.759 Cotesy says, quote, I tried to rebalance from this, rebalance 0:36:38.840 --> 0:36:41.520 the script by inserting some of the weirdest and more 0:36:41.600 --> 0:36:45.520 fantasy oriented things from my previous version. The result was 0:36:45.560 --> 0:36:49.000 definitely not a horror movie, but a fantasy or a 0:36:49.040 --> 0:36:52.960 fantastique with lots of irony and lots of theories on 0:36:53.120 --> 0:36:57.080 music and time. I see what he's going for there, 0:36:57.080 --> 0:36:59.399 But and he says this in the other interview, He's 0:36:59.440 --> 0:37:01.719 like it's not a horror movie. I don't know why 0:37:01.760 --> 0:37:04.120 he's insisting that. I mean, obviously this is trying to 0:37:04.120 --> 0:37:04.960 be a horror movie. 0:37:05.440 --> 0:37:09.839 Yeah, I mean, I've run across various director interviews where they, 0:37:10.040 --> 0:37:12.040 you know, they'll they'll be talking about a film that's 0:37:12.040 --> 0:37:14.440 obviously hard and they're like, actually, it's really science fiction 0:37:14.920 --> 0:37:19.320 or it's really historical fantasy, and yeah, I mean, yeah, genres, 0:37:19.640 --> 0:37:23.400 genre definitions can be a little silly at times, but 0:37:23.680 --> 0:37:25.759 come on, this is the horror movie. 0:37:26.320 --> 0:37:29.000 A few other things about the making of Kotzy complained 0:37:29.040 --> 0:37:33.440 about the in his words, ridiculously low budget for special effects. 0:37:33.560 --> 0:37:36.200 Terribly low given that they had a very low budget. 0:37:36.239 --> 0:37:38.280 I don't know, I'm pretty impressed with some of the 0:37:38.320 --> 0:37:42.640 gore effects scenes, Like the fungus melt scene is pretty 0:37:42.680 --> 0:37:46.120 pretty good. The exploding behind a glass wall scene is 0:37:46.160 --> 0:37:46.600 pretty good. 0:37:46.680 --> 0:37:48.920 Yeah, yeah, I think the gore looks looks fine. I mean, 0:37:49.640 --> 0:37:52.080 there was nothing in here was was so amazing that 0:37:52.160 --> 0:37:54.000 I was like, oh man, who was the team that 0:37:54.200 --> 0:37:57.200 made this happen? But on the other hand, nothing was 0:37:57.239 --> 0:38:00.680 so bad that I was laughing at the effect or anything. 0:38:02.160 --> 0:38:05.320 Cutzi goes on a lot in the interview about various 0:38:05.440 --> 0:38:08.480 compromises to his vision for the film. He's got some 0:38:08.719 --> 0:38:12.279 you know, some grievances about he didn't it wasn't what 0:38:12.360 --> 0:38:15.400 he wanted it to be, Like, he was not allowed 0:38:15.400 --> 0:38:18.719 to work with his preferred director of photography, though he 0:38:18.800 --> 0:38:21.319 has nothing but good things to say about the the 0:38:21.400 --> 0:38:23.799 DP that did end up coming on the film. You know, 0:38:23.880 --> 0:38:26.040 he worked with this guy named Franco Leka, who he 0:38:26.080 --> 0:38:29.800 says was great. He says the producer bought the wrong 0:38:29.960 --> 0:38:32.239 kind of film for them to shoot on, but they 0:38:32.320 --> 0:38:33.799 just had to go with it because it's what they 0:38:33.880 --> 0:38:36.920 already had. He said, they planned to shoot it on Kodak, 0:38:36.960 --> 0:38:39.600 but they had to use Fuji, which, in his telling, 0:38:40.280 --> 0:38:43.560 tends to have cooler, more pastel like colors. I did 0:38:43.600 --> 0:38:47.040 a little googling and seems like maybe that's sort of true. 0:38:47.600 --> 0:38:50.359 Yeah, if if that is indeed the case, I can 0:38:50.400 --> 0:38:52.880 maybe see that in the finished product. You know, it 0:38:52.920 --> 0:38:56.280 does have maybe especially the scenes in Venice. 0:38:56.560 --> 0:38:59.839 Yeah kind of Yeah, cooler, grayer color palette, a little 0:38:59.840 --> 0:39:02.719 bit less of that that saturated orange you get from 0:39:02.760 --> 0:39:08.480 some of these Italian films. Let's see, he tried to Oh, 0:39:08.600 --> 0:39:10.799 he says, they they shot in this old house for 0:39:10.840 --> 0:39:13.520 about three weeks, and then they did the exterior scenes 0:39:13.560 --> 0:39:16.040 in Venice Last, which he describes as being almost like 0:39:16.080 --> 0:39:18.480 a vacation after spending all this time in the frigid, 0:39:18.560 --> 0:39:21.880 moldy old house. Oh and then he brings up something 0:39:21.920 --> 0:39:24.400 that we actually, I don't know how we haven't mentioned 0:39:24.520 --> 0:39:28.600 this yet. You know, we like a movie with with 0:39:28.680 --> 0:39:32.200 some good extra line deliveries, some line deliveries that go 0:39:32.239 --> 0:39:34.239 a little over the top. I can appreciate a good 0:39:34.280 --> 0:39:39.680 bit of overacting. This movie has levels of over annunciation 0:39:39.960 --> 0:39:42.560 on some of the lines and the dubbing that are 0:39:42.800 --> 0:39:47.360 just astounding. Like I love it. It's it's unbelievable. 0:39:47.880 --> 0:39:49.239 Yeah, this is one of the you know a lot 0:39:49.239 --> 0:39:50.920 of times we're like, yeah, you know what, you can 0:39:50.960 --> 0:39:53.160 watch the dub, or you can you can watch it 0:39:53.200 --> 0:39:56.000 with subtitles. I don't know. I was only the version 0:39:56.040 --> 0:39:58.560 I watched only had the option for the English dub, 0:39:59.000 --> 0:40:03.279 and I highly recommend going that route. It is. It 0:40:03.400 --> 0:40:05.480 is laugh out loud funny. And I was watching it 0:40:05.520 --> 0:40:09.200 by myself on an airplane. Yes, yes, I was probably 0:40:09.200 --> 0:40:10.720 getting some weird looks. 0:40:12.000 --> 0:40:16.000 The scene where she's talking about we will make a 0:40:16.360 --> 0:40:20.440 video clip to go with our song, just like Michael 0:40:20.640 --> 0:40:22.440 Jackson did with Thriller. 0:40:24.080 --> 0:40:26.040 Yes, a video clip. I did have to look that up, 0:40:26.080 --> 0:40:29.239 by the way, And in Italian a music video is 0:40:29.280 --> 0:40:31.200 a video clip, or that's one of the main terms 0:40:31.239 --> 0:40:33.919 for it. But still there's still accounting for the way 0:40:33.960 --> 0:40:35.520 that it is enunciated in. 0:40:35.480 --> 0:40:38.600 The dub, like the mouths are coming open, as if 0:40:38.640 --> 0:40:41.800 there's like somebody cranking a jack in between the teeth. 0:40:41.960 --> 0:40:47.080 It is awesome, but so Cotzy says he takes full 0:40:47.160 --> 0:40:49.960 responsibility for the weirdness of the dubbing in the film, 0:40:50.600 --> 0:40:53.359 but then I thought kind of strangely. He identifies the 0:40:53.360 --> 0:40:57.200 main problem with the dubbing being that the younger actors 0:40:57.200 --> 0:41:00.279 and actresses were dubbing their own lines as oppose to 0:41:00.280 --> 0:41:03.600 having professional voice actors come and dub over them, and 0:41:03.719 --> 0:41:06.520 since the young actors didn't have much experience with dubbing, 0:41:06.640 --> 0:41:09.640 he says, they came off as quote overacting a bit. 0:41:11.080 --> 0:41:13.400 But again, I wouldn't I wouldn't change it, I wouldn't 0:41:13.400 --> 0:41:17.400 try anything. But he defends the principle of having actors 0:41:17.440 --> 0:41:19.640 dubbed their own lines because he says, if you have 0:41:19.760 --> 0:41:22.400 someone else come in and do the dubbing. The actors 0:41:22.480 --> 0:41:26.240 are only quote half actors, but we have seen plenty 0:41:26.239 --> 0:41:28.279 of examples of him having other people come in and 0:41:28.360 --> 0:41:31.360 dub lines. I think, I think Donald Pleasance is dubbed 0:41:31.360 --> 0:41:31.680 by something. 0:41:31.680 --> 0:41:34.480 Oh, Donald's Pleasance is clearly dubbed by someone else, and 0:41:35.120 --> 0:41:38.960 that's to his detriment, you know, because yeah, Donald Pleasance 0:41:39.000 --> 0:41:41.319 has a certain kind of delivery and his voice. His 0:41:41.440 --> 0:41:44.440 voice is almost as iconic as someone like Peter Lourie's, 0:41:44.520 --> 0:41:47.840 you know, so you want to hear Donald Pleasance's voice. 0:41:48.600 --> 0:41:52.320 So it's a little weird hearing someone else's English language 0:41:52.360 --> 0:41:54.920 voice coming out of him. Probably less weird if you're 0:41:55.000 --> 0:41:58.440 used to hearing him dubbed anyway. But I don't know 0:41:59.080 --> 0:42:00.840 the whole half actors. I mean, there are plenty of 0:42:00.880 --> 0:42:04.360 examples of actors that we love who are almost always dubbed, 0:42:04.360 --> 0:42:08.160 like Paul Nashy, for example. So but I guess I 0:42:08.160 --> 0:42:10.320 see where I see where he's coming from here, especially 0:42:10.640 --> 0:42:12.560 as far as the young actors are going. So the 0:42:12.600 --> 0:42:15.279 young actors are doing their own dubbing when maybe we 0:42:15.320 --> 0:42:17.040 should have had some pros come in and do it 0:42:17.080 --> 0:42:19.640 for them. And then on the flip side, Donald pleasants 0:42:19.840 --> 0:42:21.640 they couldn't get him back to do his own dubbing. 0:42:21.680 --> 0:42:26.080 So yeah, so he says, uh, Paganini Horror. This is 0:42:26.080 --> 0:42:29.840 a quote actually in translation of Obviously he's speaking Italian 0:42:29.880 --> 0:42:32.920 in this interview, so this is all the translated subtitles. 0:42:32.920 --> 0:42:36.919 He says, Paganini Horror was poorly received, and I can 0:42:36.960 --> 0:42:40.360 tell you why because it came out when Fulci was 0:42:40.400 --> 0:42:44.719 at the peak of his fame, Fulci and his cinema. Therefore, 0:42:45.000 --> 0:42:49.080 I think he uses the word full chi simo. Therefore, 0:42:49.120 --> 0:42:51.880 the people who went to see it expected something in 0:42:51.920 --> 0:42:55.279 the style of Luccio Fulci, only the film was made 0:42:55.320 --> 0:42:59.720 by Luigi Kotsi. It was something completely different from their expectations. 0:43:00.080 --> 0:43:03.160 Also because the film is full of ironic touches and 0:43:03.320 --> 0:43:07.560 like Americans would say, inside jokes. So you know, he's 0:43:07.560 --> 0:43:09.799 saying it's made with the sense of irony. I can 0:43:10.120 --> 0:43:12.200 pick that. I think, yes, they are making it with 0:43:12.239 --> 0:43:15.440 the sense of irony. I don't really see this at all. 0:43:15.480 --> 0:43:19.200 It's funny that sometimes he's he really wants to distance 0:43:19.280 --> 0:43:24.240 himself from the idea that that you know, his film 0:43:24.239 --> 0:43:27.080 could be taken as a as a knockoff of something else. 0:43:27.120 --> 0:43:29.440 But here he's like people thought it was a copy 0:43:29.480 --> 0:43:31.560 of Fulci, And I don't see why anybody would have 0:43:31.600 --> 0:43:33.640 thought that. This doesn't really seem like a copy of 0:43:33.680 --> 0:43:34.320 Fulci to me. 0:43:35.000 --> 0:43:39.280 No, No, I didn't really get that sense. Yeah, yeah, 0:43:39.400 --> 0:43:41.240 I mean I don't know. Maybe there's something in the marketing, 0:43:41.400 --> 0:43:43.399 you know, certainly that like the guy did the poster arts, 0:43:43.400 --> 0:43:47.799 certainly did poster arts for for Fulci films, But yeah, 0:43:47.840 --> 0:43:48.279 I don't know. 0:43:48.920 --> 0:43:52.800 I would say in general, throughout these interviews, Cotesy speaks 0:43:52.840 --> 0:43:55.320 with I don't know, I could be wrong about this, 0:43:55.480 --> 0:43:59.120 so I you know, caveats ah blah blah blah, all that, 0:43:59.239 --> 0:44:01.520 but he speaks with what seems to me like a 0:44:01.800 --> 0:44:03.640 subtle resentment about Fulgi. 0:44:05.239 --> 0:44:08.200 Yeah. Yeah, I mean to be clear, Fulci, by most accounts, 0:44:08.239 --> 0:44:09.960 was not an easy guy to work with, you know, 0:44:10.160 --> 0:44:12.200 not a monster as far as I'm aware, but a 0:44:12.320 --> 0:44:15.240 very driven guy obsessed with realizing his own particular vision. 0:44:15.600 --> 0:44:18.040 Though I don't think these two ever actually work together, 0:44:18.239 --> 0:44:21.520 so I think maybe it was. I mean, it's kind 0:44:21.520 --> 0:44:25.040 of alluding to it, like Fulci was botanists at that point, 0:44:25.160 --> 0:44:28.000 like he was the top guy when it came to 0:44:28.239 --> 0:44:31.319 Italian horror and or one of the top guys at 0:44:31.360 --> 0:44:34.960 any rate, and he was compared to him, and so yeah, 0:44:34.960 --> 0:44:38.320 there's a certain amount of resentment either you know, directed 0:44:38.400 --> 0:44:42.360 or misdirected at Fulci based on perhaps an unfair comparison 0:44:42.400 --> 0:44:42.919 that was made. 0:44:43.600 --> 0:44:47.000 Yeah, maybe kind of Marsha, Marsha, Marsha, but you know 0:44:47.040 --> 0:44:50.840 another he actually Coasey tells a very nice story about 0:44:50.840 --> 0:44:56.480 how initially reviews of Paganini Horror were overwhelmingly negative and 0:44:56.560 --> 0:44:59.360 even he says, you know, when the Internet came around, 0:44:59.440 --> 0:45:01.720 he would would go on the Internet and see negative 0:45:01.719 --> 0:45:04.080 comments about it on the web. And then he said, 0:45:04.080 --> 0:45:05.640 I don't know what changed at this time, but he 0:45:05.680 --> 0:45:09.080 says around the year two thousand and five, he says 0:45:09.120 --> 0:45:11.640 he started meeting people who would who would come up 0:45:11.680 --> 0:45:13.640 to him and say they loved the movie, that they 0:45:13.640 --> 0:45:17.319 thought it was a masterpiece. And Kotzi himself says, it's 0:45:17.360 --> 0:45:20.560 not a masterpiece, but I'm glad they liked the film. 0:45:21.440 --> 0:45:25.840 And then he goes on this bit about how, you know, 0:45:26.360 --> 0:45:30.719 he's had other films that people characterized as being knockoffs, 0:45:30.760 --> 0:45:33.560 like that Star Crash was a knockoff of Star Wars, 0:45:34.239 --> 0:45:38.160 but he argues, no, it's not. We may have used 0:45:38.280 --> 0:45:41.000 the fame of Star Wars to try to secure funding, 0:45:41.120 --> 0:45:44.080 but people can now see Star Crash is its own film, 0:45:44.120 --> 0:45:47.520 which I could say is maybe partially overstating it, but 0:45:47.560 --> 0:45:48.640 also is partially true. 0:45:48.680 --> 0:45:50.960 Yeah, it can be both things. 0:45:51.040 --> 0:45:57.640 Yeah, yeah, and then also talking about about alien and 0:45:57.680 --> 0:46:02.040 contamination in similar ways. And so ultimately he's like, this 0:46:02.080 --> 0:46:05.080 film was not a ripoff of Fulci and he's and 0:46:05.160 --> 0:46:07.960 it's its own thing, and he wanted to make it 0:46:08.000 --> 0:46:10.759 really about science fiction more than horror. I don't know 0:46:10.800 --> 0:46:13.160 how successful on that front he was, but he's very 0:46:13.160 --> 0:46:16.160 into science fiction and was interested in these time loop 0:46:16.320 --> 0:46:18.480 type things that you get in the middle of the movie. 0:46:19.080 --> 0:46:20.840 And so that's the thing that you can sense in 0:46:20.880 --> 0:46:23.360 these interviews that he's really excited about, is like the 0:46:23.480 --> 0:46:27.120 science fiction stuff in there that he's like, I think 0:46:27.239 --> 0:46:28.880 you get the feeling that he wishes he could have 0:46:28.880 --> 0:46:31.919 taken that to you know, let that be its own thing. 0:46:33.080 --> 0:46:35.320 But ultimately he said, this is a quote from that 0:46:35.440 --> 0:46:38.840 Curtey book. He says, quote, there I was with this beautiful, 0:46:38.920 --> 0:46:42.400 ambitious script, and they handed me a sixteen millimeter camera 0:46:42.520 --> 0:46:45.319 which was broken, gave me a villa to set the 0:46:45.320 --> 0:46:48.720 story in and said, start shooting in conditions like these, 0:46:48.880 --> 0:46:51.960 not even the best film director in the world could 0:46:52.000 --> 0:46:55.160 have done any better. So he's proud of his work. 0:46:55.719 --> 0:46:57.640 Yeah, I mean it should be proud. It's a lot 0:46:57.680 --> 0:47:02.160 of fun. I highly recommend this movie for the folks 0:47:02.160 --> 0:47:04.680 who dig this thing. I mean, because I don't know. 0:47:04.680 --> 0:47:07.120 You still see reviews online where someone's like, this is 0:47:07.120 --> 0:47:10.040 not a very good Shallo film, and I think you're 0:47:10.080 --> 0:47:11.799 going into it the wrong expectations there. 0:47:12.000 --> 0:47:15.879 Yeah, there are different kinds of movie experiences you can 0:47:15.920 --> 0:47:20.080 go looking for. This is certainly not as not tightly 0:47:20.120 --> 0:47:23.080 executed storytelling and like some of the other great Shallo 0:47:23.200 --> 0:47:26.319 movies we've talked about, like Deep Red or Footprints on 0:47:26.320 --> 0:47:28.680 the Moon or anything like that, but it is a 0:47:28.719 --> 0:47:31.080 great time. There's a lot of fun in here, and 0:47:31.120 --> 0:47:33.880 there's a lot of talent on display, even though the 0:47:33.920 --> 0:47:37.320 film is I think even Cozy would acknowledge a mess. 0:47:37.440 --> 0:47:49.120 Yeah yeah, all right, Well, let's talk about some of 0:47:49.120 --> 0:47:51.760 the other folks above. We've already talked about Daria nickelode 0:47:51.760 --> 0:47:54.360 a bit here nineteen forty nine through twenty twenty. She 0:47:54.560 --> 0:47:57.479 is again a co writer on this or when we're 0:47:57.480 --> 0:47:59.439 at least one of the writers, one of the main 0:47:59.719 --> 0:48:02.920 credit writers, and she also has a role in the film, 0:48:02.920 --> 0:48:07.040 playing Sylvia Hackett, the current owner of the spooky mansion 0:48:07.120 --> 0:48:12.560 Lacasa des Soul. Italian actress and frequent Argento collaborator, she 0:48:12.640 --> 0:48:16.399 starred in five films directed by Argento between seventy five 0:48:16.440 --> 0:48:21.880 and eighty seven, Deep Red, Inferno, Tenebray, Phenomena, and Opera. 0:48:22.320 --> 0:48:24.759 She met Argento on Deep Red, which of course we 0:48:24.840 --> 0:48:28.640 previously did an episode on, and the two became romantic partner. 0:48:28.719 --> 0:48:31.600 She was the mother of Asia Argento, and she has 0:48:31.600 --> 0:48:35.640 screenplay credits on Suspiria and Inferno, but may have contributed 0:48:35.760 --> 0:48:39.759 to others during her time with Dari Argento. Her other 0:48:39.800 --> 0:48:43.440 film credits include Mario Baba's final film Shock from seventy seven, 0:48:43.719 --> 0:48:46.880 and her writing credits also include eighty nine's The Black Cat, 0:48:47.040 --> 0:48:48.280 which we've already mentioned. 0:48:48.760 --> 0:48:50.279 Yeah, that's the one I want to come back and 0:48:50.360 --> 0:48:50.839 check out. 0:48:51.880 --> 0:48:53.719 All right, For the rest of the cast, I'm going 0:48:53.800 --> 0:48:56.680 to deviate from billing order to try and lay out 0:48:56.680 --> 0:48:59.480 our characters in a concise way. This is a movie 0:48:59.520 --> 0:49:01.959 about a ban and we may not know that band's name. 0:49:02.440 --> 0:49:06.319 But let's meet the band. Okay, okay, So first of all, 0:49:06.400 --> 0:49:09.040 let's talk about Kate. Kate is our lead singer, and 0:49:09.080 --> 0:49:13.080 she is played by Jasmine MEEMONI sometimes I think she's 0:49:13.080 --> 0:49:16.840 credited here is Jasmine main Age unknown as far as 0:49:16.920 --> 0:49:19.800 I could tell, model turned actress, born into the profession 0:49:19.880 --> 0:49:23.319 to actor parents. She was miss Roma in nineteen eighty three, 0:49:24.840 --> 0:49:28.360 only active on the screen from seventy eight through eighty nine, 0:49:28.480 --> 0:49:31.920 according to the databases, in mostly action and horror titles, 0:49:31.960 --> 0:49:36.480 beginning with seventy eight's Fearless and including eighty five's Demons, 0:49:36.880 --> 0:49:40.120 in which she's in the horror movie within a movie. 0:49:40.200 --> 0:49:42.480 So I think, like she gets stabbed by the director 0:49:43.080 --> 0:49:45.600 in that film. And she was also an eighty five 0:49:45.719 --> 0:49:49.520 Scandalous Gilda and eighty nine's The Black Cat her final 0:49:49.560 --> 0:49:52.799 film role, and also features a film with it, a 0:49:52.840 --> 0:49:54.040 film in which she is murdered. 0:49:54.640 --> 0:49:58.760 Yes, incredibly intense presence in this movie. 0:49:58.880 --> 0:50:01.880 Yes, she's awesome. I really enjoyed her. I was like, 0:50:01.920 --> 0:50:04.120 I gotta check out some of these more movies that 0:50:04.239 --> 0:50:07.200 I guess she's barely in, but you know, like the 0:50:07.239 --> 0:50:11.240 rest of the band obviously beautiful, but also very intense 0:50:11.280 --> 0:50:13.920 in her performance, like kind of a skull trying to 0:50:14.040 --> 0:50:17.880 leave the face performance. At times, she's really giving it 0:50:17.880 --> 0:50:22.440 her all. And yeah, I mean reading a bit about her, 0:50:22.480 --> 0:50:24.840 it sounds like she was in the running for various 0:50:24.840 --> 0:50:28.880 other roles in various other notable Italian genre pictures of 0:50:28.920 --> 0:50:32.080 the day, but was maybe she didn't get those roles, 0:50:32.120 --> 0:50:34.640 or maybe she was just very choosy about the roles 0:50:34.640 --> 0:50:36.200 that she was taking hard to say. 0:50:36.840 --> 0:50:40.600 Yeah, well bravo. I enjoy her greatly in this. 0:50:42.200 --> 0:50:45.879 So that's Kate. Kate's essentially, she's sort of our protagonist. 0:50:46.760 --> 0:50:48.000 She's the leader of the band. 0:50:48.320 --> 0:50:51.080 Yeah, leader of the band. She's the front woman. So 0:50:51.320 --> 0:50:53.560 fair enough. All right, let's move on to the rest 0:50:53.600 --> 0:50:56.560 of the band. The lead guitarist is Elena, played by 0:50:56.600 --> 0:51:01.200 Michelle Klipstein, age unknown. This is her only film credit. 0:51:01.600 --> 0:51:03.200 I tried to look her up just in case, well 0:51:03.200 --> 0:51:06.080 maybe she's a real musician and she was in some 0:51:06.160 --> 0:51:08.320 of their band, but I couldn't find anything on discods 0:51:08.320 --> 0:51:09.520 about her either. 0:51:10.200 --> 0:51:12.600 I can't. Is she the one who gets stabbed with 0:51:12.640 --> 0:51:14.319 a violin that has a knife in it? 0:51:15.200 --> 0:51:22.399 I think so? The you know, as is often the case, 0:51:22.440 --> 0:51:24.400 the rest of the band is sometimes the rest of 0:51:24.440 --> 0:51:27.400 the band, and you can lose track about who's who. Yeah, 0:51:27.440 --> 0:51:31.440 because the bass player is Rita played by Luana Ravignini 0:51:32.520 --> 0:51:35.160 born nineteen sixty eight, So at least we know the 0:51:35.200 --> 0:51:38.960 age and this individual Italian actress who's other limited credits 0:51:39.000 --> 0:51:43.080 include eighty seven's Sweets from a Stranger. And then we 0:51:43.160 --> 0:51:48.640 have the drummer Daniel played by Pascal Persiano born nineteen 0:51:48.719 --> 0:51:52.360 sixty Italian actor who previously appeared in eighty six's Demons 0:51:52.400 --> 0:51:54.920 two and went on to act in eighty nine's The 0:51:54.960 --> 0:51:57.840 Sweet House of Horrors. This was a full Chy TV 0:51:58.000 --> 0:52:01.480 film and ninety one's Voices from Beyond also a full 0:52:01.560 --> 0:52:04.120 Chief film, and he also did some later erotic film 0:52:04.160 --> 0:52:04.799 work as well. 0:52:05.440 --> 0:52:08.120 Which guy was this in Demons Too? Is he one 0:52:08.160 --> 0:52:11.000 of Is he one of the exercise fitness guys. 0:52:11.000 --> 0:52:14.040 That would make sense. I'm struggling to remember if I've 0:52:14.040 --> 0:52:18.120 seen Demons Too, but that's oh, he was, you know, 0:52:18.200 --> 0:52:20.520 young fit guy, and I think was kind of a 0:52:20.560 --> 0:52:22.040 body guy, so that would make sense. 0:52:23.800 --> 0:52:26.759 So Demons won the premises. People go to a movie theater, 0:52:26.920 --> 0:52:29.120 they watch a movie about demons, and the demons come 0:52:29.160 --> 0:52:31.600 out of the movie and attack the people in the theater. 0:52:31.800 --> 0:52:37.080 Fabulous demon fabulous, Yes, yes, demons too. The same thing happens, 0:52:37.120 --> 0:52:39.960 except it's not a movie theater. It's an apartment building. 0:52:40.160 --> 0:52:40.440 Okay. 0:52:40.440 --> 0:52:44.560 And I can't remember where demons. I can't remember where 0:52:44.560 --> 0:52:47.000 the demons come out of. And maybe somebody's watching a 0:52:47.040 --> 0:52:47.760 movie on TV. 0:52:47.960 --> 0:52:51.759 There is something on TV. Yeah, and yeah, actually I 0:52:51.760 --> 0:52:54.279 think he is somebody on a TV program based on 0:52:54.760 --> 0:52:55.600 so that would make sense. 0:52:55.680 --> 0:52:59.000 Yeah, Okay, then I was misremembering that. I just remember 0:52:59.120 --> 0:53:02.080 prominently there's there's some memorable character in there who's like 0:53:02.080 --> 0:53:02.839 a fitness guy. 0:53:02.920 --> 0:53:06.719 Okay, yeah, all right, So that's the band. That's your 0:53:06.719 --> 0:53:11.520 basic band. Lead singer, lead guitarist, bass player, drummer. And 0:53:11.560 --> 0:53:14.200 then we have their manager, Lavinia. 0:53:15.440 --> 0:53:18.760 Is she their manager? What is She's just like professionally 0:53:18.840 --> 0:53:19.640 mean to them. 0:53:19.880 --> 0:53:23.080 Yes, she is so nasty. I love it, but she 0:53:23.200 --> 0:53:26.239 is just so unrealistically nasty. We'll get into the main 0:53:26.320 --> 0:53:30.160 scene here in a bit, but their manager at Lavinia 0:53:30.280 --> 0:53:35.839 is played by Maria Christina mastro Galli born nineteen sixty three, 0:53:35.960 --> 0:53:41.040 Italian French dancer turned actress. Still active, appears appeared to 0:53:41.040 --> 0:53:43.480 be in a few different more recent and more obscure 0:53:43.840 --> 0:53:46.960 Luigi Kotsey films. But she also pops up. She has 0:53:47.000 --> 0:53:49.080 popped up in some serious dramatic work as well, at 0:53:49.200 --> 0:53:52.680 least you know, further down the cast. But yeah, she's great. 0:53:52.920 --> 0:53:57.080 She's so nasty. We'll get into We'll get into her 0:53:57.120 --> 0:53:59.560 when we talk about like the scene where we meet 0:53:59.600 --> 0:54:01.080 the band for the first time. 0:54:01.600 --> 0:54:05.239 She has she just had an amazing clip reel. If 0:54:05.320 --> 0:54:07.759 you were a director, like a casting director, who is 0:54:07.800 --> 0:54:10.560 trying to hire somebody for a role, to tell other 0:54:10.560 --> 0:54:14.759 people that they're nothing, Yes, and I need I need 0:54:15.160 --> 0:54:18.040 an actress who can say you'll never be anything, your 0:54:18.080 --> 0:54:19.480 creativity is finished. 0:54:19.560 --> 0:54:22.200 Yeah. She's the master of negative reinforcement. If that's what 0:54:22.239 --> 0:54:24.800 you're looking for in a manager, if that's what brings 0:54:24.840 --> 0:54:26.759 out the best in you, then this is this is 0:54:26.800 --> 0:54:28.000 who you need to hire on. 0:54:28.800 --> 0:54:31.120 She makes it like almost the whole movie. She's there 0:54:31.160 --> 0:54:31.480 to the end. 0:54:31.600 --> 0:54:31.759 Yeah. 0:54:31.840 --> 0:54:34.840 Yeah, And she gets a she gets a good death. 0:54:34.760 --> 0:54:38.239 Good best best death in the film. I think, Yeah, 0:54:38.280 --> 0:54:39.640 all right, is that a quality kill? 0:54:39.840 --> 0:54:41.920 I think that would be a quality kill. Yes, okay, 0:54:42.520 --> 0:54:46.040 all right, we mentioned Donald Pleasance. Donald Pleasance plays the 0:54:46.080 --> 0:54:51.080 mysterious mister Pickett. We're not going to spoil too much 0:54:51.080 --> 0:54:53.080 about mister Pickett, but we'll get into him. We'll get 0:54:53.080 --> 0:54:56.799 into the plot. Pleasants lived, of course nineteen nineteen through 0:54:56.840 --> 0:54:59.919 nineteen ninety five, legendary British actor who played everyone from 0:55:00.200 --> 0:55:03.880 Blofeld Sam Loomis to the President of the United States. 0:55:04.400 --> 0:55:08.239 This is our third Donald Pleasants film. We talked about 0:55:08.320 --> 0:55:11.640 nineteen seventy six as The Devil's Men, we talked about 0:55:11.719 --> 0:55:14.440 nineteen eighty seven's The Prince of or nineteen eighty seven's 0:55:14.440 --> 0:55:17.840 Prince of Darkness. So we've discussed him more in depth before. 0:55:17.920 --> 0:55:21.160 But to place this film within his filmography, this was 0:55:21.200 --> 0:55:23.600 one of eight TV in film credits he had from 0:55:23.680 --> 0:55:28.040 nineteen eighty eight, including workin Yeah he Stayed Busy, Ye 0:55:28.640 --> 0:55:34.120 did various sorts of films, So his eighty eight films 0:55:34.120 --> 0:55:36.799 included the notorious Vampire in Venice that of course had 0:55:36.840 --> 0:55:40.799 Kluskin skyan it, Halloween four, the TV movie The Great 0:55:40.920 --> 0:55:44.520 Escape to the Untold Story, which was apparently a sequel 0:55:44.800 --> 0:55:48.400 to the excellent nineteen sixty three film, which also featured 0:55:48.440 --> 0:55:51.600 Donald Pleasants in a memorable role. I assume he's reprising 0:55:51.640 --> 0:55:52.680 that same character here. 0:55:53.360 --> 0:55:57.640 Huh yeah, a sequel to The Great Escape that okay. 0:55:57.400 --> 0:56:01.279 Yeah, I mean it was a major TV film, has 0:56:01.280 --> 0:56:02.960 got a good cast, but I've never seen it. I've 0:56:02.960 --> 0:56:06.239 only seen the original. But at this point we're really 0:56:06.280 --> 0:56:10.120 close to late era Donald Pleasance here, so it's entering 0:56:10.120 --> 0:56:12.160 a time period where not much is going to really 0:56:12.200 --> 0:56:16.360 stand out, aside from some lesser entries in the Halloween franchise, 0:56:16.840 --> 0:56:20.040 and even the schlocky Euro titles are few and far between. 0:56:20.080 --> 0:56:25.080 At this point, I would say Donald Pleasance is perfectly 0:56:25.080 --> 0:56:28.520 fine here, but again dubbed by another actor. It's kind 0:56:28.520 --> 0:56:30.839 of like when we talked about Christopher Lee in the 0:56:31.200 --> 0:56:35.360 Mario Bava Hercules movie Hercules in the Haunted World. 0:56:36.000 --> 0:56:39.320 Yeah, they don't use his voice. Unbelievable choice. 0:56:39.400 --> 0:56:42.439 Yeah, I mean, I imagine some of that comes down 0:56:42.480 --> 0:56:47.000 to some combination of budget and scheduling, Like you've got 0:56:47.000 --> 0:56:50.480 to get a very busy working, you know actor that 0:56:50.520 --> 0:56:54.000 you could we'll get into press barely afford to begin with, 0:56:54.239 --> 0:56:55.960 and you can really bring them back to dub their 0:56:55.960 --> 0:57:00.960 own lines, especially when the English langue, which market is 0:57:00.960 --> 0:57:02.240 maybe not the primary market. 0:57:02.480 --> 0:57:07.360 Yeah, yeah, oh yeah, I assume most listeners know this 0:57:07.440 --> 0:57:09.560 at this point if you've been listening to our shows 0:57:09.600 --> 0:57:11.800 about movies like this. But a lot of these movies 0:57:11.840 --> 0:57:14.360 don't have live sound, and this would be another example. 0:57:14.440 --> 0:57:17.120 So you know, all of the dialogue is dubbed. It's 0:57:17.160 --> 0:57:21.600 not just going across languages. It's like it's totally dubbed, 0:57:21.760 --> 0:57:27.360 all dubbed. So Kotzi explains in the interviews, Actually he's 0:57:27.480 --> 0:57:31.120 totally upfront about this that he had a strategy that 0:57:31.160 --> 0:57:34.040 he employed in most of his scripts. So he would 0:57:34.080 --> 0:57:39.000 always write one character who he planned to be played 0:57:39.080 --> 0:57:42.520 by a more famous actor, So for example, Christopher Plummer's 0:57:42.600 --> 0:57:45.760 character in Star Crash, and then he would have them 0:57:45.840 --> 0:57:48.560 appear three times in the movie, once at the beginning, 0:57:48.840 --> 0:57:51.560 once in the middle, and once at the end, so 0:57:51.680 --> 0:57:54.120 that the audience would have the feeling of this more 0:57:54.160 --> 0:57:57.000 famous actor going all the way through the plot. But 0:57:57.120 --> 0:57:59.480 really he would be able to shoot their scenes in 0:57:59.560 --> 0:58:03.520 between one in three days, therefore saving money. In this case, 0:58:03.640 --> 0:58:09.240 it was Donald Pleasants. Cotzy says that fortunately he takes 0:58:09.240 --> 0:58:11.720 a moment just to say, actually, it works out pretty 0:58:11.760 --> 0:58:14.720 well doing this, because when you hire these older famous 0:58:14.760 --> 0:58:18.280 actors shooting tends to go much faster because they don't 0:58:18.320 --> 0:58:20.680 need things explain to them multiple times, and they do 0:58:20.760 --> 0:58:21.959 great work on the first take. 0:58:22.120 --> 0:58:25.280 Yeah, yeah, it's crazy. Right. You bring in somebody of 0:58:25.320 --> 0:58:28.280 the caliber of Donald Pleasants or Peter Cushing and like 0:58:28.360 --> 0:58:32.240 they know their lines, they hit their marks, and yeah, 0:58:32.280 --> 0:58:34.000 they can often do it in one take and then 0:58:34.040 --> 0:58:39.240 you're onto the next. Yeah, all right, let's see. Other 0:58:39.520 --> 0:58:43.960 is some less important characters, but memorable. We have Mark Singer, 0:58:44.120 --> 0:58:47.479 the horror Director, King of Horror, the King of r Yes, 0:58:48.360 --> 0:58:52.360 even though he appears to be only like, like what twenties. 0:58:52.360 --> 0:58:54.720 Yeah, he's a twenty year old King of Horror. 0:58:55.040 --> 0:58:57.320 I guess it's possible. There are probably some precedents for that. 0:58:57.720 --> 0:59:01.520 He's played by Pietro Genuardi, who lived nineteen sixty two 0:59:01.520 --> 0:59:05.520 through twenty twenty five Italian actor. This was his first film, 0:59:05.640 --> 0:59:09.320 but subsequent credits included eighty nine's Killer Crocodile in ninety 0:59:09.360 --> 0:59:13.160 four Cemetery Man. Not to be confused with the beast 0:59:13.240 --> 0:59:17.440 Master Mark Singer. The beast Master is m A r C. 0:59:17.880 --> 0:59:21.000 This is m aar K m a r K Singer. 0:59:21.960 --> 0:59:26.040 They so in this movie. The character Mark Singer is 0:59:26.280 --> 0:59:29.360 the famous King of horror, the director of the world's 0:59:29.400 --> 0:59:32.240 greatest horror films. But they're going to bring him in 0:59:32.360 --> 0:59:34.400 to shoot a video clip, right. 0:59:34.480 --> 0:59:36.560 Yeah, Yeah, They're like, yeah, he's I don't know how 0:59:36.600 --> 0:59:40.440 they got him, but somehow they were able to afford him. 0:59:40.480 --> 0:59:43.640 He's enthusiastic about It's like, yeah, let's do it, let's 0:59:43.680 --> 0:59:46.480 make this. It is brought up that this will be 0:59:46.600 --> 0:59:48.760 the equivalent of Michael Jackson's thriller. 0:59:50.760 --> 0:59:53.680 So there's an extra on the severing disc that's also 0:59:53.720 --> 0:59:57.200 an interview with Pietro Jenuardi where he talks a bit 0:59:57.240 --> 0:59:59.800 about his experience making the movie, which he describes almost 1:00:00.000 --> 1:00:03.160 exclusively in very positive terms. It seems like he had 1:00:03.320 --> 1:00:06.520 a great time making this movie and felt great about it. 1:00:07.360 --> 1:00:10.320 He said he had just gotten out of acting school 1:00:10.360 --> 1:00:14.640 in Rome and Paganini Horror was his first important acting experience, 1:00:15.000 --> 1:00:17.480 and he tells this anecdote about how he got the role. 1:00:17.960 --> 1:00:20.080 He says, so he's a young actor, he had just 1:00:20.200 --> 1:00:23.320 moved to Rome from elsewhere. In this case, I think 1:00:23.360 --> 1:00:26.720 he had originally come from Milan, and a big concern 1:00:26.800 --> 1:00:28.840 when you're a young actor is getting an agent to 1:00:28.920 --> 1:00:31.240 represent you. At this time. So he says he went 1:00:31.320 --> 1:00:33.120 knocking on a lot of doors trying to find an 1:00:33.160 --> 1:00:36.840 agent to represent him, and one day he goes for 1:00:36.920 --> 1:00:39.760 a meeting with this particular agent. It's the very first 1:00:39.800 --> 1:00:43.640 time they're ever meeting, and the agent, you know, he 1:00:43.680 --> 1:00:45.680 goes to this guy's office and the agent tells him, 1:00:45.720 --> 1:00:47.800 you know what, let's send you for an audition today. 1:00:47.880 --> 1:00:50.720 Let's send you for this role in Paganini horror. And 1:00:50.880 --> 1:00:53.400 the agent secretary is like, oh no, no, we can't 1:00:53.440 --> 1:00:55.720 do that. We're supposed to send them, We're supposed to 1:00:55.760 --> 1:00:58.480 send them this other actor that we already represent. But 1:00:58.600 --> 1:01:01.560 the agent was mad at this other guy because he 1:01:01.680 --> 1:01:04.320 had flaked out on something recently and had been making 1:01:04.320 --> 1:01:07.440 a fuss. So the agent said, here's this kid, Genuardy, 1:01:07.600 --> 1:01:10.840 send him instead. So it sounds like he got this 1:01:11.000 --> 1:01:14.240 role on his very first day of looking for an agent, 1:01:14.360 --> 1:01:18.680 purely by coincidence and basically out of spite. So good 1:01:18.800 --> 1:01:21.919 good career note, kids, it can pay to be at 1:01:21.960 --> 1:01:25.480 hand when somebody with power is mad at somebody else. 1:01:27.160 --> 1:01:31.080 Beyond this, Genuardy says that he really has very little 1:01:31.120 --> 1:01:34.880 experience with horror, except that he loves Argento and he 1:01:34.920 --> 1:01:37.360 says even today he is scared every time he has 1:01:37.440 --> 1:01:39.640 to get into an elevator because of the scene with 1:01:39.680 --> 1:01:43.160 the necklace in Deep Red. But he says making the 1:01:43.160 --> 1:01:46.280 movie was a very positive experience. He describes Luigi Kotsi 1:01:46.440 --> 1:01:49.640 as a pleasure to work with, very funny and polite, 1:01:50.440 --> 1:01:54.040 and he makes this comment a couple of times in 1:01:54.320 --> 1:01:59.120 the interview that this was a contrast with his work 1:01:59.120 --> 1:02:03.000 on some other genre films where he kind of describes 1:02:03.120 --> 1:02:07.040 the directors as abrasive and domineering over the actors. He 1:02:07.040 --> 1:02:10.400 says Cotsey, by contrast, was very pleasant, quote, a gentleman 1:02:10.480 --> 1:02:14.760 through and through. He tried in the interview. It's funny 1:02:14.760 --> 1:02:17.400 because he's trying to remember the plot of Paganini Horror, 1:02:17.440 --> 1:02:20.040 which he admits that he hasn't seen it in thirty years, 1:02:20.040 --> 1:02:22.320 so he did not like rewatch it before the interview. 1:02:22.440 --> 1:02:23.920 Rewatching may not have helped. 1:02:24.880 --> 1:02:29.240 Yeah, he says, you know, I don't remember much opportunity 1:02:29.320 --> 1:02:33.040 for characterization. But he still had a great time working 1:02:33.080 --> 1:02:34.960 on it. He was amazed at the people who were 1:02:34.960 --> 1:02:38.200 doing the special effects, like at their craft. He was 1:02:38.240 --> 1:02:40.600 really interested in how they made a latex cast of 1:02:40.640 --> 1:02:42.720 his head because they have to set him on fire. 1:02:43.720 --> 1:02:46.440 He had very positive things to say about Daria Nickelode. 1:02:46.440 --> 1:02:49.600 He says she was polite and respectful to him. And 1:02:49.840 --> 1:02:51.840 as I said, he makes this aside a couple of 1:02:51.880 --> 1:02:55.320 times about mentioning people being respectful to him when he 1:02:55.360 --> 1:02:58.320 was a young actor, and he says, you know, this 1:02:58.440 --> 1:03:00.760 really used to be the exception and rather than the 1:03:00.880 --> 1:03:03.320 rule in the industry. But he said, I don't know 1:03:03.320 --> 1:03:06.240 if he's correct about this, but his perception is that 1:03:06.320 --> 1:03:09.640 the film industry now is very different. He thinks that 1:03:09.760 --> 1:03:14.320 compared to when he was young. Now generally like directors 1:03:14.360 --> 1:03:17.760 tend to treat actors better, and actors in bigger roles 1:03:17.800 --> 1:03:20.800 are more respectful to actors in smaller roles. There's less 1:03:20.840 --> 1:03:23.480 hostility than he remembers from when he was young. I 1:03:23.520 --> 1:03:24.120 hope that's true. 1:03:24.960 --> 1:03:28.120 Good to It's always nice to hear somebody reflect positively 1:03:28.200 --> 1:03:32.160 on one of these films, you know, especially given that 1:03:32.200 --> 1:03:35.240 we're often talking about lower budget films and films from 1:03:35.280 --> 1:03:38.880 previous decades, and you just kind of hope that everything 1:03:38.960 --> 1:03:40.280 went okay behind the scenes. 1:03:40.640 --> 1:03:42.800 Yeah, well, I mean that's his point of view. Who 1:03:42.840 --> 1:03:45.600 knows what other people would say, But I hope everybody 1:03:45.600 --> 1:03:49.480 had a great time making peggingy Newhorn. He says, I 1:03:49.480 --> 1:03:52.320 think the word is He says he's really astounded that 1:03:52.360 --> 1:03:54.960 people are still interested in this film. Not that he 1:03:55.000 --> 1:03:58.800 thinks it's worthless, but it's just not something he expected 1:03:58.840 --> 1:04:03.280 people would care anything about thirty years later. And then 1:04:03.280 --> 1:04:05.360 there's a quote where he says something like, it's the 1:04:05.440 --> 1:04:07.919 kind of cinema that had no money, but it's also 1:04:07.960 --> 1:04:11.000 the kind of cinema that did miracles. And I think 1:04:11.320 --> 1:04:14.160 specifically he's talking about sort of the craft of like 1:04:14.240 --> 1:04:18.280 what people could pull together with very little resources. 1:04:18.720 --> 1:04:20.720 Oh that's a good I like the way you put that. 1:04:21.760 --> 1:04:25.440 All right, Well, let's let's wind out the people involved 1:04:25.560 --> 1:04:27.640 in behind the scenes here to the limited extent that 1:04:27.680 --> 1:04:28.440 we can get into them. 1:04:28.440 --> 1:04:28.680 Here. 1:04:29.120 --> 1:04:32.120 I'm going to mention in passing that the character of 1:04:32.160 --> 1:04:34.840 the mother, I'm not going to say whose mother, though 1:04:34.920 --> 1:04:36.960 I really do not know if I was supposed to 1:04:37.080 --> 1:04:41.000 know whose mother it was early on. It's the opening 1:04:41.040 --> 1:04:43.400 scene of the film. The mother is played by Elena 1:04:43.440 --> 1:04:48.280 Pompeii born nineteen sixty six. Other credits include nineteen eighty 1:04:48.320 --> 1:04:51.240 six as the minds of killiman Jar and then Finally, 1:04:51.320 --> 1:04:55.840 the score for Paganini harr is by Vince Tempera born 1:04:55.920 --> 1:04:59.439 nineteen forty six, Italian composer best known for his work 1:04:59.480 --> 1:05:02.960 with Luccio ful chie On. The pictures include. Some of 1:05:03.000 --> 1:05:05.240 these are going to be pictures that you might some 1:05:05.320 --> 1:05:07.720 listeners might not be as familiar with because they include 1:05:07.920 --> 1:05:10.920 four of The Apocalypse from seventy five. That's a western, 1:05:11.440 --> 1:05:14.880 the nineteen seventy five comedy, and I think it's supposed 1:05:14.920 --> 1:05:18.040 to be like a goofball comedy. Dracula in the Provinces. 1:05:18.440 --> 1:05:21.240 I included the poster here for you, Joe. It includes 1:05:22.600 --> 1:05:28.440 illustrated poster art of a mustachioed vampire biting a woman 1:05:28.520 --> 1:05:33.800 on the butt. Yeah, so this is not the full 1:05:33.880 --> 1:05:36.400 chy Dracula movie that some of you might be imagining. 1:05:36.400 --> 1:05:41.440 This is supposed to be just a wide comedy. But anyway. 1:05:41.480 --> 1:05:44.200 Timpera also scored The Psychic in seventy seven. 1:05:44.680 --> 1:05:45.440 I've seen that one. 1:05:45.520 --> 1:05:49.520 Yeah, Silver Saddle in seventy eight. I've heard that is 1:05:50.000 --> 1:05:53.600 perhaps the best of fol Chee's westerns. And also eighty 1:05:53.680 --> 1:05:54.960 nine is the House of Clocks. 1:05:55.680 --> 1:05:58.720 Seen that one, that one's not sober, that's my best Later. 1:05:58.640 --> 1:06:02.800 Days fold cheese. Yeah, but he also apparently was an 1:06:02.920 --> 1:06:07.640 uncredited writer on one track for seventy nine Zombie, which 1:06:07.800 --> 1:06:12.320 was mostly officially credited to Fabio Frizzy, but perhaps yeah, 1:06:12.520 --> 1:06:14.440 he had something to do with one of the tracks there. 1:06:14.680 --> 1:06:18.360 Other credits include seventy six as Teenage Emmanuel and the 1:06:18.400 --> 1:06:21.800 Black Cat, which we've already mentioned. I'm going to say 1:06:22.480 --> 1:06:25.000 great electronics score in my opinion, and I think one 1:06:25.040 --> 1:06:28.840 of the film's strongest qualities. So no matter where you're 1:06:28.880 --> 1:06:32.440 going with the plot and these different elements, in a way, 1:06:32.920 --> 1:06:37.000 I feel like Paganini Harror is grounded in these serene, 1:06:37.800 --> 1:06:41.760 haunting synth ambient pieces that kind of like reminds you 1:06:41.840 --> 1:06:45.640 it's like, no, something coherent and spooky is going on, 1:06:46.240 --> 1:06:48.000 and it kind of like brings you back to that. 1:06:48.800 --> 1:06:50.640 I thought you would like those parts. I like those 1:06:50.680 --> 1:06:55.520 parts too. Yeah. With the there's a very subtle synth 1:06:55.640 --> 1:06:58.600 score and these these kind of swirling pads that are 1:06:58.720 --> 1:07:01.680 used a lot in the the more atmospheric scenes that 1:07:01.760 --> 1:07:05.720 I think work quite well, and they're a big contrast 1:07:05.840 --> 1:07:09.120 to the diegetic pop music that's in the film, which 1:07:09.120 --> 1:07:10.480 we will also talk about in a bit. 1:07:10.640 --> 1:07:15.160 Yeah. Yeah, this soundtrack The score has at least previously 1:07:15.200 --> 1:07:20.600 been available on vinyl from the label Subost. There's a 1:07:20.680 --> 1:07:23.840 band camp listing for the soundtrack, but I don't think that. 1:07:24.560 --> 1:07:26.720 Maybe it's region blocked, but I don't think it was 1:07:26.720 --> 1:07:28.480 put out digitally. I think it was only put out 1:07:28.480 --> 1:07:32.000 as a physical vinyl addition. But if you can listen 1:07:32.040 --> 1:07:34.440 to it and give it a go, I really liked it. 1:07:34.440 --> 1:07:44.640 I wish it was available for my stream. 1:07:44.680 --> 1:07:46.880 All right, are you ready to talk about the plot? 1:07:47.240 --> 1:07:47.800 Let's do it. 1:07:48.320 --> 1:07:51.000 I think this is one where we're not going to 1:07:51.040 --> 1:07:53.680 try to narrate the whole movie scene by scene. It'll 1:07:53.720 --> 1:07:56.360 make more sense if I go ahead here and give 1:07:56.400 --> 1:07:59.640 a basic summary of the whole movie, and then we 1:07:59.680 --> 1:08:02.200 can come back and talk about some specific scenes in 1:08:02.240 --> 1:08:06.360 more detail, especially scenes early on. So warning that spoilers 1:08:06.360 --> 1:08:07.880 are incoming if you would like to go into the 1:08:08.360 --> 1:08:13.760 Paganini horror without anything ruined. So the basic premise is 1:08:13.880 --> 1:08:17.040 that this eighties glam rock band. Do we ever learn 1:08:17.080 --> 1:08:19.519 the band's name? I think no. The answer is now 1:08:20.200 --> 1:08:23.760 consisting of three women, Kate, Elena, and Rita, and this 1:08:23.800 --> 1:08:27.120 one guy named Daniel are having trouble coming up with 1:08:27.200 --> 1:08:29.920 a new single. That will make their record label happy. 1:08:31.080 --> 1:08:34.639 So the drummer Daniel meets with a shady character named 1:08:34.720 --> 1:08:38.040 mister Pickett played by Donald Pleasance, who sells him a 1:08:38.040 --> 1:08:42.280 piece of sheet music composed by Nicolo Paganini but never 1:08:42.360 --> 1:08:45.720 before published or played in public, and the music is 1:08:45.760 --> 1:08:51.519 called Pagandini Horror. Their manager Lavinia that this is their 1:08:51.680 --> 1:08:54.599 it stinks person. She says, hell, yeah, this is a hit. 1:08:54.720 --> 1:08:57.679 I like it. So they plan to shoot a music 1:08:57.800 --> 1:09:01.879 video for the Paganini song the famous horror movie director 1:09:01.960 --> 1:09:05.840 Mark Singer at a creepy old mansion called Lacasad Soul, 1:09:05.920 --> 1:09:08.720 which is owned by a lady named Sylvia. So they 1:09:08.760 --> 1:09:11.200 go to the mansion and then they spend the rest 1:09:11.240 --> 1:09:15.160 of the movie there at the mansion, enduring various horrors 1:09:15.200 --> 1:09:18.599 and getting killed in different ways. So we get some 1:09:18.640 --> 1:09:23.840 slashings and stabbings. These are kind of music themed slashings sometimes. 1:09:24.160 --> 1:09:27.400 Yeah, Because in fact, the murder weapon, as we've alluded 1:09:27.439 --> 1:09:32.080 to already, we have is this cursed violin with human 1:09:32.120 --> 1:09:35.720 gut strings. The strings at least allegedly made from the 1:09:35.720 --> 1:09:38.880 intestines of a human victim, though it doesn't look like that, 1:09:38.960 --> 1:09:42.200 and it just looks like violin. They look like violin strings, 1:09:42.600 --> 1:09:48.040 but this violin also has an extendable blade that shoots 1:09:48.080 --> 1:09:50.800 out the base of the violin, you know, almost like 1:09:50.840 --> 1:09:53.400 it's some sort of a James Bond gimmick, but also, 1:09:53.439 --> 1:09:57.160 I guess more tellingly, like it's some sort of Gallo 1:09:57.360 --> 1:10:00.880 murder weapon. But also it's in the correct spot on 1:10:00.920 --> 1:10:04.200 the violin that it would seem designed to like shoot 1:10:04.280 --> 1:10:08.240 into the violinist jugular whilst they were playing. Yeah, but 1:10:08.280 --> 1:10:10.719 we never get this, Like it seems like that's clearly 1:10:10.720 --> 1:10:12.280 what we're setting up for, and I'm like, oh man, 1:10:12.320 --> 1:10:14.040 I can't wait till that happens. That's going to be 1:10:14.080 --> 1:10:15.880 pretty groovy. And then it doesn't. 1:10:16.360 --> 1:10:19.240 It's a trap violin, but I think we only ever 1:10:19.280 --> 1:10:23.120 see it used offensively as somebody stabbing somebody else with. 1:10:23.160 --> 1:10:27.400 The in the most unimaginative way. Now that you mentioned, though, 1:10:27.439 --> 1:10:32.360 that he lifted some plot elements from this previous TV 1:10:32.560 --> 1:10:36.599 production about Stratavarius or some sort of haunted Stratavarius violin, 1:10:36.840 --> 1:10:38.960 it does make me wonder, is that where we get 1:10:38.960 --> 1:10:45.120 to see the jugular booby trapped violin stabbing somebody. I 1:10:45.120 --> 1:10:46.599 don't know, but I'm really curious. 1:10:46.640 --> 1:10:49.839 Now, Well, it could be that, but I was guessing 1:10:49.920 --> 1:10:54.080 that the Stratavarius TV episode was what provided the idea 1:10:54.200 --> 1:10:57.639 about the melt fungus that comes from the wood used 1:10:57.640 --> 1:11:02.000 to make Strativarius violin, which is when that scene comes 1:11:02.120 --> 1:11:06.960 up in the movie later that it is so amazingly specific. 1:11:07.040 --> 1:11:09.040 So this is one of the deaths in the film. 1:11:09.720 --> 1:11:13.400 One of the girls in the band disappears and you know, 1:11:13.439 --> 1:11:15.960 her friends are looking around for her. She's nowhere to 1:11:16.000 --> 1:11:18.559 be found. And then later she turns up melted. It's 1:11:18.560 --> 1:11:22.000 like Emil and RoboCop and them like, yeah, yeah, She's 1:11:22.080 --> 1:11:24.559 just like Hi, I've melted now, and they're like what 1:11:24.840 --> 1:11:27.519 is this? And I think it's Daria Nickelode looks at 1:11:27.520 --> 1:11:29.840 her and says, oh, I know what that is. That's 1:11:29.920 --> 1:11:32.719 the fungus that comes from the wood that was used 1:11:32.720 --> 1:11:35.879 to make Strata various violins, which is a flesh eating fungus. 1:11:36.760 --> 1:11:43.800 So possibly leftovers. It's like we've served alongside the Evening's offerings. Okay. 1:11:45.560 --> 1:11:47.360 I tried to look up as like, what is that 1:11:47.439 --> 1:11:49.800 based on anything real? I don't think so. I think 1:11:49.840 --> 1:11:54.679 it may be very very loosely inspired by a sort 1:11:54.680 --> 1:11:58.960 of theory people had about like what makes stratavarius violins 1:11:59.000 --> 1:12:02.599 sound so special? And there was a theory for a while. 1:12:02.680 --> 1:12:05.960 I think that it was because of like climate, you know, 1:12:06.200 --> 1:12:10.120 periodic climate changes in Europe leading to different growth patterns 1:12:10.160 --> 1:12:12.919 in the trees that had like would have had denser 1:12:13.120 --> 1:12:16.000 wood at a particular time when the wood was being 1:12:16.040 --> 1:12:18.679 harvested to make the violins. But I don't even think 1:12:18.720 --> 1:12:23.360 that that theory is much subscribed to anymore. That wouldn't 1:12:23.360 --> 1:12:25.599 have much to do with melt movie fungus. But anyway 1:12:25.680 --> 1:12:28.000 that I was like, where does that come from? So 1:12:28.080 --> 1:12:30.719 there's that. There's a lot of running around and people 1:12:30.760 --> 1:12:33.679 getting lost, you know, we alluded to this earlier. People 1:12:33.720 --> 1:12:35.760 like getting lost in the house. Other people are like 1:12:35.800 --> 1:12:38.560 where are they? Can we find them? And running through halls. 1:12:38.880 --> 1:12:42.080 There are these hell tunnels like pits that open in 1:12:42.120 --> 1:12:45.080 the earth and drop you into hell and electrocute you, 1:12:45.120 --> 1:12:46.400 shoot you with electricity. 1:12:46.479 --> 1:12:50.000 Yeah, it becomes very confusing about Okay, is this person 1:12:50.080 --> 1:12:52.960 now in the hell realm or are there just somewhere 1:12:53.000 --> 1:12:55.040 else in the house. Hard to say. 1:12:55.720 --> 1:12:58.840 Some people crawl into tunnels and then come out of 1:12:58.920 --> 1:13:01.919 the tunnels and it's not clear whether they went somewhere 1:13:01.920 --> 1:13:05.639 else or they're still in the same place. There are 1:13:05.840 --> 1:13:09.479 invisible walls, like they some characters try to leave the 1:13:09.520 --> 1:13:12.240 house in a car and end up smashing the car 1:13:12.479 --> 1:13:15.680 like smashing into an invisible wall around the house, and 1:13:15.720 --> 1:13:18.840 the car cutches on fire and they die. There's also 1:13:18.880 --> 1:13:21.280 I would say the best quality kill in the movie 1:13:21.760 --> 1:13:25.120 is the fate of Lavinia, the band's manager at the end, 1:13:25.400 --> 1:13:28.640 who is crushed by an invisible wall. So she's up 1:13:28.680 --> 1:13:32.599 against a wall you can see, and then suddenly she's like, uh, like, oh, 1:13:32.720 --> 1:13:36.160 I move my microphone. Sorry, but she's doing mime stuffy 1:13:37.320 --> 1:13:42.040 death death by mime. And then there's a clear pane 1:13:42.080 --> 1:13:44.400 of glass pressed against her face so you can see 1:13:44.400 --> 1:13:47.120 her being smoosed and she's like uh uh and then 1:13:47.280 --> 1:13:50.320 scanner style her head explodes. I didn't see that coming. 1:13:50.320 --> 1:13:51.000 And that was awesome. 1:13:51.040 --> 1:13:53.720 Yeah, really well done, and especially knowing that they were 1:13:53.720 --> 1:13:57.840 on very limited budgets for the special effects, so yeah, 1:13:57.960 --> 1:14:00.360 that's all terrific. But then also you have Kate getting 1:14:00.400 --> 1:14:03.840 locked in a big casket like standing base case, even 1:14:03.840 --> 1:14:07.839 though nobody's playing the standing bass or anything that large, 1:14:07.920 --> 1:14:10.640 but hey, you can fit the lead singer of a 1:14:10.640 --> 1:14:12.280 pop band in there and then you can set it 1:14:12.320 --> 1:14:12.759 on fire. 1:14:13.479 --> 1:14:15.360 Yeah, but she does survive that. 1:14:15.520 --> 1:14:18.680 Yes she does, though it seems like she might not 1:14:18.840 --> 1:14:21.799 for a minute there. We mentioned that this film involves 1:14:21.800 --> 1:14:25.479 the devil, but it also involves what the perhaps the 1:14:26.320 --> 1:14:31.280 litch of Paganini himself, like some sort of a masked 1:14:31.640 --> 1:14:34.679 ghoul who is going around killing people with the violin 1:14:34.880 --> 1:14:36.680 or seemingly unclear. 1:14:36.800 --> 1:14:40.800 Yeah, so the ending is there, Well, the ending, don't 1:14:40.800 --> 1:14:44.519 we discover that the Paganini ghul is Donald Pleasance? Am 1:14:44.560 --> 1:14:45.280 I wrong about that? 1:14:45.800 --> 1:14:48.120 I think you may be right. You might be right. 1:14:48.640 --> 1:14:52.480 Yeah, I apologize if I'm getting that wrong. That's embarrassing 1:14:52.479 --> 1:14:56.080 if I am. But truly, it is hard to remember 1:14:56.120 --> 1:14:58.559 some details about this movie, even having seen it multiple 1:14:58.640 --> 1:15:01.519 times now. I do remember at the end, Kate gets 1:15:01.560 --> 1:15:05.120 an explanation, she gets the whole villain monologue. So mister 1:15:05.200 --> 1:15:08.200 Pickett Donald Pleasant arrives at the house after all of 1:15:08.200 --> 1:15:11.080 her friends have been killed in these weird, bizarre ways 1:15:11.320 --> 1:15:15.040 through the house all night, and she he gets there, 1:15:15.120 --> 1:15:16.880 He gets out of a car and he's like, Hi, 1:15:17.000 --> 1:15:19.840 I am Satan and you're trapped in hell forever because 1:15:19.880 --> 1:15:22.360 you sold your soul for wealth and fame and that 1:15:22.560 --> 1:15:24.280 I don't like people who do that. And then he 1:15:24.320 --> 1:15:24.920 stabs her. 1:15:25.320 --> 1:15:27.640 But she did she get the wealth and fame. It 1:15:27.680 --> 1:15:30.680 seems like they haven't even finished the music video and 1:15:30.720 --> 1:15:33.400 he's already claiming her soul for all eternity. I don't know. 1:15:33.479 --> 1:15:36.200 I mean that's a good point. Yeah. Usually these packed 1:15:36.200 --> 1:15:39.600 with the devil stories the person they get the rewards 1:15:39.680 --> 1:15:42.360 up front. It's just that the bill comes due later. 1:15:42.520 --> 1:15:44.400 But she doesn't even get the rewards up front. 1:15:44.479 --> 1:15:46.280 Yeah. I mean, it'd be one thing if it was 1:15:46.360 --> 1:15:47.920 just fame, because you could be like, oh, well you 1:15:47.960 --> 1:15:50.519 will be famous for this. But I don't think she 1:15:50.560 --> 1:15:51.360 really gets the wealth. 1:15:51.520 --> 1:15:56.120 So yeah, so that's basically the whole plot, But we 1:15:56.120 --> 1:15:58.240 should zoom in on a few things. I definitely want 1:15:58.280 --> 1:16:00.080 to talk about a couple of scenes early on. I 1:16:00.080 --> 1:16:02.000 want to talk about the prologue, and I want to 1:16:02.000 --> 1:16:04.280 talk about the scene and the music studio. 1:16:04.439 --> 1:16:07.519 Yes, yes, yeah, so okay, so no, good. 1:16:07.560 --> 1:16:08.800 Well prologue first. 1:16:08.560 --> 1:16:12.680 Yeah, yeah, I mean basically, we start off with some wondrous, wonderful, 1:16:12.920 --> 1:16:16.400 you know, atmospheric scenes of a little girl wandering the streets, 1:16:16.439 --> 1:16:20.280 and then eventually, you know, taking one of the canal 1:16:20.320 --> 1:16:24.040 boats and through the canals of Venice. It's unclear at 1:16:24.080 --> 1:16:27.080 first what time zone we're actually in, Like is this 1:16:27.280 --> 1:16:29.200 the past? Is this the present? 1:16:29.640 --> 1:16:33.120 Like, oh, because she's dressed weird. Yeah, the little girls 1:16:33.200 --> 1:16:35.519 dressed like a Puritan. She looks like little you know, 1:16:35.600 --> 1:16:40.000 Prudence Proctor is out here wandering around in the Puritan village. 1:16:40.040 --> 1:16:42.080 Is she a ghost? We don't know. And there's all 1:16:42.120 --> 1:16:44.760 this hazy synth music played on top of it. It's 1:16:44.800 --> 1:16:47.760 really nice. But yeah, I was unsure, like where we 1:16:47.760 --> 1:16:49.320 were in time, in space. I mean, I knew in 1:16:49.320 --> 1:16:52.160 space we were in Venice, but in terms of time, 1:16:52.520 --> 1:16:56.519 I had very vague ideas of what was going on. Likewise, 1:16:57.120 --> 1:16:59.240 I wasn't going to be sure for a long time 1:17:00.320 --> 1:17:04.040 which grown up character this character, this little girl ends 1:17:04.120 --> 1:17:07.679 up becoming. And likewise, when we meet this this little 1:17:07.720 --> 1:17:09.840 girl's mother, I had no idea whose mother this is, 1:17:10.120 --> 1:17:13.240 whose prologue this really was. And I don't know if 1:17:13.240 --> 1:17:16.160 that was by design, if that was an error on 1:17:16.240 --> 1:17:19.160 my part, or just part of the sort of messiness 1:17:19.160 --> 1:17:19.719 of this film. 1:17:20.080 --> 1:17:24.040 No, I think it's intentional mystery and even intentional misdirection. 1:17:24.160 --> 1:17:28.040 At first. So I think the answer is we discover 1:17:28.120 --> 1:17:29.759 it's Daria Nickelode's character. 1:17:29.880 --> 1:17:32.080 But where I guess at first we're to think maybe 1:17:32.080 --> 1:17:32.799 it's Kate. 1:17:32.800 --> 1:17:36.479 Right, Yes, they misdirect you and make you think it's Kate. 1:17:37.600 --> 1:17:40.519 Well I'll explain why that why I think that is 1:17:40.760 --> 1:17:44.080 in a minute, but so just quick fact about this 1:17:44.240 --> 1:17:50.240 girl wandering around Venice and the Puritan hood. This girl 1:17:50.320 --> 1:17:53.400 is Luigi Kotsi's daughter, which I thought was a great choice, 1:17:53.439 --> 1:17:55.719 like we need a super creepy kid in the opening 1:17:55.760 --> 1:17:58.840 scene to commit mattress side. Oh I know, I'll use 1:17:58.880 --> 1:18:03.719 my own child. So this, this strange girl wanders around 1:18:03.800 --> 1:18:06.360 Venice and she gets in the gondola. She gets she 1:18:06.439 --> 1:18:08.400 goes down the canal, then she gets dropped off at 1:18:08.400 --> 1:18:10.680 a mansion. This is the house that will later re 1:18:10.760 --> 1:18:14.840 featured in the music video part of the movie. And 1:18:14.880 --> 1:18:17.479 then we go inside the house and we pan over 1:18:17.640 --> 1:18:22.160 the child's ghastly toys. What is it about children's toys 1:18:22.200 --> 1:18:25.360 in these old Italian movies always look so creepy even 1:18:25.439 --> 1:18:27.840 when they're not supposed to, you know. 1:18:28.240 --> 1:18:30.000 Yeah, yeah, I mean though, this one is like a 1:18:30.080 --> 1:18:32.479 what a doll with a skull's face or something, so. 1:18:33.200 --> 1:18:35.320 One of them. Yeah, that one's supposed to look creepy, 1:18:35.360 --> 1:18:39.160 I think. So she's playing the we pan over that 1:18:39.200 --> 1:18:41.960 she's playing this song on the violin, practicing her violin. 1:18:42.040 --> 1:18:44.880 The song is called the Witches Dance. And while the 1:18:44.920 --> 1:18:48.000 little girl plays the violin down the hall, her mother 1:18:48.160 --> 1:18:49.960 gets undressed and gets into the bath. 1:18:50.320 --> 1:18:53.920 Yeah. And some pied editing here on this just robing 1:18:53.960 --> 1:18:57.120 and getting into the bath, yes, but they pulls it off. 1:18:58.160 --> 1:19:02.400 Two things stand out about this bathroom. One is blood 1:19:02.680 --> 1:19:06.920 red tiles on the walls. Cotsey mentions that he had 1:19:06.920 --> 1:19:09.640 the idea personally to have the bathroom tiles in this 1:19:09.720 --> 1:19:12.960 room painted red. He said his set designers thought this 1:19:13.120 --> 1:19:16.040 was weird, but he stands by it. He thinks it works. 1:19:16.160 --> 1:19:17.800 It's a good idea, and I stand by it. 1:19:17.880 --> 1:19:18.640 Yeah. Absolutely. 1:19:19.360 --> 1:19:23.920 Also, this bathroom is the echo weeest room on earth. 1:19:24.000 --> 1:19:26.040 The little girl comes in and the mom and the 1:19:26.080 --> 1:19:28.520 girl start talking, and it sounds like they are inside 1:19:28.560 --> 1:19:32.080 a steel barrel the size of a football stadium. It's 1:19:32.200 --> 1:19:36.439 just like infinite echoes. And the mom and the girl talks. 1:19:36.439 --> 1:19:39.120 So the girl says she finished her violin practice for 1:19:39.160 --> 1:19:41.280 the day. Her mom tells her, Oh good, you can 1:19:41.320 --> 1:19:44.000 now go play, and she says, you know, one day 1:19:44.040 --> 1:19:45.960 you're going to grow up to be a famous musician, 1:19:46.160 --> 1:19:48.519 just like your father. We're not told who he is. 1:19:49.160 --> 1:19:52.519 But the little girl has this sinister looking doll with 1:19:52.600 --> 1:19:56.920 a gold skull mask on its face. The girl dips 1:19:56.960 --> 1:20:00.839 the doll's hair into her mom's bathwater and gets all wet. 1:20:01.200 --> 1:20:03.759 Then the little girl gets a hair dryer and starts 1:20:03.800 --> 1:20:07.200 blow drying the doll's hair while the mom watches. They're 1:20:07.200 --> 1:20:09.439 sitting there smiling at each other while the girls got 1:20:09.479 --> 1:20:13.000 the hair dryer, like, yes, where's this going m And 1:20:13.040 --> 1:20:15.759 then the girl smiles and throws the hair dryer into 1:20:15.760 --> 1:20:20.639 the bath so zap. This is an electrocution with classic 1:20:21.320 --> 1:20:25.080 you know, animated electrical zigzags shooting up into the mom's face. 1:20:25.080 --> 1:20:27.720 And then the mom is literally cooked. She looks like 1:20:27.760 --> 1:20:30.360 she has been cooked on a cast iron skillet. 1:20:30.520 --> 1:20:35.320 Yeah, so you know your creepy backstory saying here, and 1:20:36.200 --> 1:20:40.719 that's pretty well executed. And also it feels it feels true. 1:20:40.800 --> 1:20:44.160 You know, as a parent, I know that kids hate 1:20:44.200 --> 1:20:47.320 being reminded that they need to practice their musical instruments, 1:20:47.560 --> 1:20:50.000 that they need to do their due lingo and so forth. 1:20:51.240 --> 1:20:54.080 So this is perhaps going on inside the head of 1:20:54.120 --> 1:20:57.840 many a child, though most children do not actually heave 1:20:57.880 --> 1:20:59.559 a toaster or hair dryer into the. 1:20:59.560 --> 1:21:04.320 Bathtub thankfully not. Yes, uh, so here what we cut 1:21:04.520 --> 1:21:07.360 from directly from the prologue. In fact, cut from a 1:21:07.360 --> 1:21:11.000 shot of the mother's fried face to the the opening 1:21:11.240 --> 1:21:13.479 you know rock song the music number. 1:21:14.200 --> 1:21:17.320 Yes this uh, this is the first track that we 1:21:17.400 --> 1:21:19.640 hear from Kate and the rest of the band. And 1:21:19.920 --> 1:21:21.439 I have to say, when I was listening to it, 1:21:21.479 --> 1:21:24.360 I was I was like, you know, this song is 1:21:24.439 --> 1:21:27.479 a is a real banger. I'm digging this. They're rockin 1:21:27.680 --> 1:21:31.760 it's uh, it's the lyrics are stay the Night High 1:21:31.840 --> 1:21:37.000 and sol You and the rout Row. It's the apparently 1:21:37.000 --> 1:21:38.840 actually saying rock and roll. I had to pull up 1:21:38.840 --> 1:21:41.679 the subtitles to get that. But stay the Night High 1:21:41.680 --> 1:21:43.519 and so You and the rut Row. 1:21:43.920 --> 1:21:47.800 I would think I was hearing like you can row. 1:21:49.000 --> 1:21:49.120 Uh. 1:21:50.840 --> 1:21:53.719 This song is great? Is bon Jovi, But it's great. 1:21:53.840 --> 1:21:57.040 It is absolutely John Bovi's You Give Love a Bad Name. 1:21:57.080 --> 1:21:59.880 And I didn't catch it a first, Like watching on 1:21:59.880 --> 1:22:01.920 the playing, I'm like, this is great, Like this is 1:22:01.960 --> 1:22:05.519 not like the comparison to Pod People. What was the 1:22:05.520 --> 1:22:06.280 song in pod People? 1:22:06.320 --> 1:22:08.960 Idiot control here the here the Engines roll? Oh yeah, 1:22:09.000 --> 1:22:10.080 idiot controlled. 1:22:09.880 --> 1:22:13.599 Terrible song by a terrible band. But in this case 1:22:13.640 --> 1:22:16.479 it's like, especially not realizing at the time that it 1:22:16.520 --> 1:22:21.639 was actually a John Bovy bon Jovi rather rip off, 1:22:21.920 --> 1:22:24.120 I was like, yeah, this is great, but it's yeah, 1:22:24.240 --> 1:22:26.160 it's clearly you give love a bad name. 1:22:26.720 --> 1:22:29.479 Yeah, I mean it's like they they nabbed one of 1:22:29.520 --> 1:22:33.800 the hookiest hooks in rock music. It's like an impossible 1:22:33.880 --> 1:22:34.920 to miss hooky hook. 1:22:35.280 --> 1:22:38.479 Yeah. And so yeah, they're performing it. And this is 1:22:38.520 --> 1:22:40.680 to be clear, this is not a concert. This is 1:22:40.720 --> 1:22:44.920 a recording session in a studio. Yes, but but the 1:22:44.920 --> 1:22:49.920 gals and Daniel are performing with full concert theatrics. You know, 1:22:49.960 --> 1:22:54.920 their costumes. You know they're tight pants on despite. 1:22:54.600 --> 1:22:58.960 All facing the same direction and dancing. Where is stage light? 1:22:59.120 --> 1:22:59.280 Yeah? 1:22:59.280 --> 1:23:01.160 Again, this is sort of recording session, so they could 1:23:01.200 --> 1:23:04.559 be wearing their sweats. They could be We've all seen 1:23:04.640 --> 1:23:09.040 actual footage of professional musicians recording and it generally looks 1:23:09.040 --> 1:23:12.800 pretty gross, you know, because it's not about the performed 1:23:12.880 --> 1:23:16.080 the visual performance. It's about getting the music down right. 1:23:16.640 --> 1:23:19.400 Yeah, I mean I can respect that. Maybe they've got 1:23:19.400 --> 1:23:21.840 that purest mentality where they're like, no, we're going to 1:23:21.880 --> 1:23:24.320 record it live, multi track, we're doing it all at 1:23:24.360 --> 1:23:27.280 the same time. But I think even the bands that 1:23:27.400 --> 1:23:30.479 have that kind of mentality instead of trying to one 1:23:30.600 --> 1:23:32.800 track at at a time, even the bands with that 1:23:32.880 --> 1:23:35.200 mentality are not going to have stage lights on them 1:23:35.240 --> 1:23:36.040 while they're recording. 1:23:36.040 --> 1:23:37.360 They're not going to bite the head off of a 1:23:38.000 --> 1:23:41.240 bat in the recording session. You save that for the tour. 1:23:42.000 --> 1:23:45.280 But so, as you said, now, they do not say 1:23:45.479 --> 1:23:48.840 it's not part of the movie that hey, this song 1:23:48.920 --> 1:23:51.559 is exactly the same as you give love a bad name. 1:23:52.479 --> 1:23:54.760 They don't seem to acknowledge that. So I think it 1:23:54.880 --> 1:23:57.920 is supposed to be an original song. So I would 1:23:57.920 --> 1:24:01.799 think a like pop rock producer would be pretty happy 1:24:01.840 --> 1:24:04.000 with the song they're laying down, be like, wow, that's 1:24:04.040 --> 1:24:07.280 a great hook. Do you give love of name? 1:24:07.400 --> 1:24:07.599 Yeah? 1:24:07.640 --> 1:24:11.880 Like, in this movie, these characters have delivered a song 1:24:11.960 --> 1:24:17.000 that is as good as John bon Jovi's greatest hit, 1:24:17.720 --> 1:24:20.599 and yet right after they finished, or even before they finish, 1:24:20.720 --> 1:24:24.400 like Lavinia cuts them off and says like enough of that, 1:24:24.479 --> 1:24:28.960 and proceeds to absolutely rip Kate a new one over 1:24:29.000 --> 1:24:33.360 her just complete creative bankruptcy in coming up with this song. 1:24:33.560 --> 1:24:37.320 She says things so cruel, so hateful that they would, 1:24:37.400 --> 1:24:40.599 I think realistically tend to be the last things ever 1:24:40.640 --> 1:24:44.479 said in a creative relationship. And you see it professional 1:24:44.600 --> 1:24:48.040 or unprofessional, like there are things that that Lavinia says 1:24:48.080 --> 1:24:51.160 that there just would be no coming back from. And 1:24:51.160 --> 1:24:55.920 and it's just just awful, just awful, but laugh inducingly back. 1:24:56.439 --> 1:24:59.680 It's so crazy like and I would even note that 1:25:00.160 --> 1:25:02.960 as mean as these lines are in the written form, 1:25:03.080 --> 1:25:07.360 the line deliveries make them sound ten times more venomous 1:25:07.400 --> 1:25:09.640 than they are on the page. I wrote down some 1:25:09.760 --> 1:25:12.160 of the comments, did she They're in the middle of 1:25:12.200 --> 1:25:14.920 the song. They don't even finish it, Lavinia says, stop 1:25:15.000 --> 1:25:18.240 the tape, Paul. It's a complete waste of time. It's 1:25:18.280 --> 1:25:22.240 the same old stuff. There's nothing original about it. And 1:25:22.320 --> 1:25:26.040 they get into an argument where Kate's trying to say, like, uh, oh, 1:25:26.120 --> 1:25:28.280 I know what your problem is. You don't like the 1:25:28.400 --> 1:25:30.640 violin in the song. And I was thinking, did I 1:25:30.720 --> 1:25:32.439 hear a violin in that? I didn't hear it? 1:25:32.760 --> 1:25:32.880 One? 1:25:32.920 --> 1:25:36.200 I certainly didn't see one. There's no violin in this song. 1:25:36.360 --> 1:25:39.760 Yeah, but I think that's also probably trying to be 1:25:39.840 --> 1:25:42.559 a misdirection to make the audience think maybe Kate is 1:25:42.560 --> 1:25:46.000 the girl from the prologue. Yeah, yeah, practicing the violin. 1:25:46.479 --> 1:25:49.760 But then Lavinia says, it's not the violin, it's the 1:25:49.840 --> 1:25:53.800 whole song that doesn't make it. There's something missing. I know, 1:25:53.960 --> 1:25:58.040 the difference between a hit and the mundane, and you know. 1:25:58.080 --> 1:26:01.360 So she goes on this whole rant about how she 1:26:01.479 --> 1:26:05.000 is not creative anymore. She says, you keep doing the 1:26:05.040 --> 1:26:09.839 same stupid things over and over again. And Kate's defense 1:26:09.880 --> 1:26:12.880 against the Kate's defenses are not good. She goes, I 1:26:12.920 --> 1:26:16.439 cannot make million selling records all the time. 1:26:18.560 --> 1:26:21.040 The thing I love about Kate in this is like 1:26:21.160 --> 1:26:24.639 Lavinya is so nasty to her, and then Kate decides 1:26:24.680 --> 1:26:27.000 to fall. Kate should buy all rights at this point, 1:26:27.080 --> 1:26:30.040 storm out, or like slap her in the face. You 1:26:30.080 --> 1:26:33.200 would expect that in a film, but instead she suddenly 1:26:33.520 --> 1:26:36.479 opens up and becomes vulnerable about the challenges of the 1:26:36.520 --> 1:26:39.360 creative process. So this person is just so. 1:26:39.520 --> 1:26:40.160 Mean to her. 1:26:40.360 --> 1:26:42.880 She's like, oh, I don't know, I just can't seem 1:26:42.880 --> 1:26:46.320 to come up with anything else, and then Lavinia lays 1:26:46.360 --> 1:26:47.320 into her again. 1:26:48.000 --> 1:26:51.639 She just twists the knives. She's like, this isn't it, honey. 1:26:52.400 --> 1:26:55.160 Maybe their relationship just really is this toxic? And maybe 1:26:55.200 --> 1:26:59.120 there are creative relationships this toxic out there. I hope not, 1:26:59.240 --> 1:27:00.479 because this is awful. 1:27:01.040 --> 1:27:04.200 So are we to understand this is not like a 1:27:04.280 --> 1:27:08.160 struggling band on the come up. This is a super famous, 1:27:08.320 --> 1:27:12.320 super successful band that has fallen into a creative and 1:27:12.400 --> 1:27:13.479 financial slump. 1:27:13.600 --> 1:27:17.839 Yeah, where the best they can do is produce music 1:27:18.080 --> 1:27:20.800 on the level with Jon bon Jovi's greatest hits. 1:27:20.880 --> 1:27:25.320 Yes, okay, okay, so yeah, so that's what's going on. 1:27:25.439 --> 1:27:28.280 But then meanwhile, you get these close ups of Daniel 1:27:28.360 --> 1:27:29.920 the drummer in the back of the room. He's like 1:27:30.000 --> 1:27:32.200 watching this drama and it's like, I've got to do 1:27:32.320 --> 1:27:34.799 something about this. You could tell his heart is aching. 1:27:34.960 --> 1:27:38.839 It's like those scenes in Christmas Vacation where Chevy Chase's 1:27:38.920 --> 1:27:41.240 character is talking about how someone should kidnap his boss 1:27:41.280 --> 1:27:44.200 and yeah, and cousin Eddie's in the background to like, 1:27:44.280 --> 1:27:46.759 you know, kind of like maybe, But in this case, 1:27:47.240 --> 1:27:49.800 Daniel's like, you know, I know a guy who has 1:27:49.840 --> 1:27:54.519 a cursed scroll that can help us with our current 1:27:54.600 --> 1:27:55.680 creative problems. 1:27:56.960 --> 1:27:59.960 Meanwhile, Leavinni is still over there, given more, just throwing 1:28:00.080 --> 1:28:03.160 him out, like maybe you're all washed up, already finished. 1:28:03.320 --> 1:28:06.080 Yeah, find someone who can write something from for you, 1:28:06.080 --> 1:28:07.719 you know, talent talent hack. 1:28:07.920 --> 1:28:17.800 Yeah. 1:28:17.840 --> 1:28:21.080 So in the next scene, Daniel, the band's drummer, who 1:28:21.120 --> 1:28:23.720 has been watching all this unfold, he gets on a 1:28:23.760 --> 1:28:26.400 boat and he rides out into some harbor. I wouldn't 1:28:26.400 --> 1:28:28.080 sure where this was. Is this venice, you. 1:28:28.040 --> 1:28:28.679 Think, I guess? 1:28:28.680 --> 1:28:32.920 So, yeah, yeah, he gets dropped off in this abandoned 1:28:32.960 --> 1:28:37.679 industrial area with these old, crumbling factory buildings. He cuts 1:28:37.760 --> 1:28:40.559 through a chain link fence and then he wanders into 1:28:40.600 --> 1:28:45.240 a foundry ruin to meet a man named mister Pickett. 1:28:45.640 --> 1:28:48.719 Mister Pickett is Donald Pleasance, and this is the first 1:28:48.760 --> 1:28:49.479 time we see him. 1:28:49.520 --> 1:28:52.559 I think, yeah, yeah, yeah. And when he starts talking, though, 1:28:52.560 --> 1:28:54.880 he's going to have a deeper, bubbler voice than you're 1:28:54.880 --> 1:28:55.519 accustomed to. 1:28:56.200 --> 1:28:59.920 Doesn't sound a bit, doesn't even sound close to Donald Pleasant. 1:29:01.000 --> 1:29:03.800 He's in a trench coat and a fedora, sitting in 1:29:04.120 --> 1:29:09.040 the rubble in front of a rusty refrigerator. Clutching a briefcase, 1:29:09.560 --> 1:29:11.920 and his trench coat seems a little too big for him, 1:29:11.960 --> 1:29:16.400 like the sleeves are swallowing his hands. He's a he's 1:29:16.439 --> 1:29:20.960 got this childlike smile throughout the movie where he's almost 1:29:21.040 --> 1:29:23.479 kind of like a like a kid in a toy store. 1:29:23.520 --> 1:29:26.679 You know, he's just looking around, like excited to see things. 1:29:27.760 --> 1:29:30.920 Interesting performance choice. I don't know exactly what he was 1:29:30.960 --> 1:29:33.040 going for there, but maybe that's just what it's like 1:29:33.120 --> 1:29:36.840 to be satan. Yeah, you are perpetually a child about 1:29:36.880 --> 1:29:37.559 to be treated. 1:29:37.840 --> 1:29:40.719 Yeah, I mean it's it's actually to the limited extent 1:29:40.800 --> 1:29:43.920 we can admire the work of Donald Pleasant in this film. 1:29:44.560 --> 1:29:48.000 It is I can imagine him maybe making a choice 1:29:48.000 --> 1:29:50.000 to play it up this way because a lot of times, 1:29:50.400 --> 1:29:55.120 especially in some of these lower budget you know, euro pictures, 1:29:55.160 --> 1:29:57.400 you know, genre pictures, you have the sort of the 1:29:57.479 --> 1:29:59.639 standard what you might think of as a standard Donald 1:29:59.640 --> 1:30:02.920 Pleasant delivery, where he's a very tribe villain who is 1:30:03.040 --> 1:30:06.439 very stoic about everything. I have a scroll that I 1:30:06.479 --> 1:30:09.040 will now sell you, And in this he's got a 1:30:09.040 --> 1:30:11.080 bit of the trickster about him, even early on, before 1:30:11.080 --> 1:30:14.200 we have any idea that he is actually the literal devil. 1:30:15.640 --> 1:30:18.519 Yeah, yeah, that's interesting. So it's not you may God 1:30:18.640 --> 1:30:23.519 watch over you all. It's something sillier and the like 1:30:23.640 --> 1:30:26.519 fly little Demon scene illustrates that as well. We'll get 1:30:26.520 --> 1:30:29.360 to that in a minute. But so he's hanging out 1:30:29.360 --> 1:30:31.880 there and Daniel shows up and he says, hey, couldn't 1:30:31.920 --> 1:30:33.920 we have met somewhere a little less out of the way, 1:30:34.000 --> 1:30:38.679 And Pickett says no, No, He says, this place is perfect. 1:30:39.680 --> 1:30:42.479 So they've worked out some kind of transaction ahead of time. 1:30:42.520 --> 1:30:46.679 On the telephone. Daniel hands Picket a Duffel bag. Picket 1:30:46.720 --> 1:30:49.479 hands Daniel a briefcase. He instructs him on how to 1:30:49.560 --> 1:30:52.120 open it. Can you guess what the briefcase combination is? 1:30:52.200 --> 1:30:52.360 Oh? 1:30:52.400 --> 1:30:55.200 It's six sixty six, of course, of course. 1:30:54.880 --> 1:30:58.520 He gets He lines him up, pops it open. Inside 1:30:58.600 --> 1:31:01.519 is a rolled up piece of parch with a wax seal, 1:31:01.880 --> 1:31:05.759 and Picket says the original score his own personal seal. 1:31:06.560 --> 1:31:09.080 Daniel just rips into it. He breaks open the seal 1:31:09.120 --> 1:31:11.960 and unfurls the paper and it is a piece of 1:31:12.000 --> 1:31:15.240 sheet music. This is the Paganini song in the movie. 1:31:15.920 --> 1:31:19.200 And we cut to Daniel's apartment where he is playing 1:31:19.240 --> 1:31:22.320 the song for his bandmates while they stand around the piano. 1:31:22.320 --> 1:31:25.760 Actually it's not his bandmates, it's Kate and then Lavinia, 1:31:25.880 --> 1:31:29.160 the manager or the producer. I guess they've made up. Yes, 1:31:29.520 --> 1:31:33.000 suddenly it's okay and he plays the song on the 1:31:33.040 --> 1:31:37.599 piano and Lavinia is like, yes, hell, yes, this will 1:31:37.640 --> 1:31:41.719 be a hit, really good. And many people have pointed 1:31:41.760 --> 1:31:43.919 out I didn't catch this because I wasn't as familiar 1:31:43.920 --> 1:31:46.200 with the song. I'd heard it before, but I didn't 1:31:46.200 --> 1:31:49.599 make this connection. But I saw people online pointing out 1:31:49.720 --> 1:31:52.800 that this song sounds a lot like a song by 1:31:52.880 --> 1:31:57.960 Electric Light Orchestra called What's twilight called Twilight. That's right, 1:31:58.520 --> 1:32:01.519 Twilight by ELO. I looked it up and I was like, oh, 1:32:01.640 --> 1:32:04.599 oh my god, Oh it's exactly the same. 1:32:04.680 --> 1:32:07.960 Yeah. Likewise, I'm familiar with certain ELO tracks, I wasn't 1:32:08.000 --> 1:32:09.720 familiar with this one, but when I looked it up, 1:32:09.760 --> 1:32:10.519 I'm like, yep, that's it. 1:32:12.080 --> 1:32:17.200 Yeah, oh boy, well, I mean, you know YLO, that's 1:32:17.240 --> 1:32:18.759 a Paganini elo. 1:32:19.479 --> 1:32:21.799 It's always one of the challenges when you have media 1:32:21.920 --> 1:32:24.720 within within media, when you have like something that is 1:32:24.760 --> 1:32:28.000 supposed to be a great work within what is maybe 1:32:28.040 --> 1:32:31.320 a lesser work totally, you know, be it a like 1:32:31.360 --> 1:32:34.040 a sitcom about stand up comedy or in this case, 1:32:34.040 --> 1:32:37.280 a horror movie about popular music. It's a real challenge. 1:32:37.320 --> 1:32:40.679 How do you create the idea of a great work, 1:32:40.880 --> 1:32:45.280 like something that is like significantly and genuinely good. One 1:32:45.320 --> 1:32:48.360 way is just to borrow something from the world of 1:32:48.479 --> 1:32:51.000 successful media, and that's what they did here. 1:32:51.680 --> 1:32:54.080 Yeah, yeah, I know exactly what you're talking about. This 1:32:54.120 --> 1:32:55.880 is a problem. A lot of people are tempted to 1:32:55.920 --> 1:32:59.519 write stories about, you know, the most beautiful poem ever written, 1:32:59.640 --> 1:33:02.160 or the most beautiful piece of music or something, but like, 1:33:02.200 --> 1:33:04.600 how do you instantiate that? I think a lot of 1:33:04.760 --> 1:33:07.200 a lot of the best works that have a plot 1:33:07.240 --> 1:33:11.160 element like that include it by only alluding to it. 1:33:11.200 --> 1:33:14.280 They don't ever let you experience it directly. Yeah, you know, 1:33:14.320 --> 1:33:16.439 they leave it to the imagination, and I think that 1:33:16.439 --> 1:33:19.439 that often is a good choice, even if you are 1:33:19.479 --> 1:33:22.600 capable of producing a very good song or whatever that 1:33:22.840 --> 1:33:27.240 it kind of can demystify that kind of story element 1:33:27.280 --> 1:33:31.200 to have it physically realized in the story anyway. So 1:33:31.400 --> 1:33:34.240 it's but it's a it's a good pop melody because 1:33:34.240 --> 1:33:37.240 it's yello, right, Yeah, yeah. 1:33:36.400 --> 1:33:39.120 So both of the original songs from Kate and the 1:33:39.120 --> 1:33:42.240 band here are are really great, so it is convincing 1:33:42.280 --> 1:33:42.719 at least. 1:33:42.840 --> 1:33:46.680 Yeah, it's the bon Jovi and Elo so Daniel. He 1:33:46.760 --> 1:33:50.160 explains to them the song is originally by Nicolo Paganini. 1:33:50.200 --> 1:33:52.719 He says, I have the original parchment, the real thing. 1:33:53.479 --> 1:33:57.160 And then Lavinia says, oh, well, if it's by Paganini, 1:33:57.360 --> 1:33:59.920 even though it's in the public domain, we can't use 1:33:59.920 --> 1:34:03.360 it because it's already well known. And she's adamant what 1:34:03.479 --> 1:34:07.120 the public wants. The public does not want more of 1:34:07.160 --> 1:34:11.639 the same. They want something that is totally completely freak new, 1:34:11.960 --> 1:34:15.439 brand new. They've never seen anything like it, which you know, 1:34:15.760 --> 1:34:17.200 obviously that's what people want. 1:34:18.400 --> 1:34:20.559 Yeah, they don't want to they don't want to rehash. Yeah. 1:34:20.720 --> 1:34:25.320 Yeah, So Kate says, hold it, Lavinia, this song was 1:34:25.360 --> 1:34:28.680 never published before. Paganini wrote the song two hundred years 1:34:28.680 --> 1:34:33.000 ago for a secret sect that held mysterious ceremonies at night. 1:34:33.800 --> 1:34:37.840 Don't you know about it? And she explains the whole 1:34:37.840 --> 1:34:40.160 story of how Paganini sold his soul to the devil 1:34:40.160 --> 1:34:42.320 in exchange for fame and wealth. 1:34:42.280 --> 1:34:44.360 Which again, this is what we alluded to earlier. This 1:34:44.439 --> 1:34:46.720 is This feels like a bit in the movie that 1:34:47.040 --> 1:34:50.120 very much ties a lot of things together. Yes, I 1:34:50.120 --> 1:34:53.280 mean doesn't completely tie everything together, but in the same 1:34:53.320 --> 1:34:55.559 way that I think that the score kind of grounds 1:34:55.600 --> 1:35:00.880 the movie, This one little nugget of explanation and storytelling 1:35:00.960 --> 1:35:02.960 kind of grounds things to some degree and gives you, 1:35:03.040 --> 1:35:06.000 at least I don't know, a marked trail to follow 1:35:06.080 --> 1:35:06.799 through the plot. 1:35:07.360 --> 1:35:11.920 Yes, so Kate says, it's going to be fantastic, sensational. 1:35:12.320 --> 1:35:15.360 No one has ever done anything like it before except 1:35:15.600 --> 1:35:20.920 Michael Jackson with Thriller and his fantastic video clip. And 1:35:20.960 --> 1:35:24.559 then Daniel says, we could do the same. And this 1:35:24.720 --> 1:35:27.040 is one of those moments where the over anunciation of 1:35:27.080 --> 1:35:31.599 the lines is almost overwhelming. It is really awesome, and 1:35:31.680 --> 1:35:34.320 Lavinia she's all on board. She's like, yes, we're going 1:35:34.400 --> 1:35:36.920 to hire Mark Singer, the King of Horror. We're going 1:35:37.000 --> 1:35:39.439 to shoot it in a lonely house, the kind that 1:35:39.520 --> 1:35:42.200 scares you just to look at it. And then Kate 1:35:42.240 --> 1:35:44.120 actually has a house in mind. She says, we're going 1:35:44.160 --> 1:35:47.960 to use the Kasady Soul where musicians and composers lived 1:35:48.000 --> 1:35:51.639 centuries ago. Lavinia says, perfect, I know the girl who 1:35:51.680 --> 1:35:58.439 bought it, so okay, well that's good coincidence, so Lavinia explains, 1:35:58.479 --> 1:36:01.559 She says, that's it, my friends, the house of Kate's 1:36:01.640 --> 1:36:04.920 video clip, the house of Paganini and ghosts. 1:36:05.240 --> 1:36:07.599 All right, So, I mean I'd really admire the plotting 1:36:07.640 --> 1:36:10.480 at this point because we have okay, we have a 1:36:10.520 --> 1:36:16.240 mysterious figure, we have probably cursed or haunted scroll of 1:36:16.400 --> 1:36:20.360 music that was composed for witches and no one knows about. 1:36:20.520 --> 1:36:22.920 And then we're going to shoot a music video of 1:36:22.960 --> 1:36:26.599 that music at a haunted house. What could go wrong? 1:36:26.720 --> 1:36:28.280 It seems like we're going to We have a great 1:36:28.280 --> 1:36:31.080 setup here for all sorts of angles. No new additional 1:36:31.120 --> 1:36:34.759 information needs to be introduced into the plot. 1:36:35.760 --> 1:36:37.800 So we cut to the mansion where the rest of 1:36:37.840 --> 1:36:40.680 the movie takes place, and we see somebody dressed up 1:36:40.880 --> 1:36:43.840 like the little Girl's doll from the prologue. So this 1:36:44.000 --> 1:36:48.280 gold corpse mask, golden violin, black cape and hat wandering 1:36:48.280 --> 1:36:52.960 around the old villa. This leads into a double fake 1:36:53.040 --> 1:36:56.080 out scene. I would say that at first it seems 1:36:56.120 --> 1:36:59.120 like it's a murder scene, and then maybe you think, wait, 1:36:59.280 --> 1:37:01.920 is this a dream scene? And then it goes out. 1:37:01.840 --> 1:37:04.080 Too long and you're like, I guess this is really happening. 1:37:04.160 --> 1:37:05.280 We're not in the stream at all. 1:37:05.720 --> 1:37:07.960 Yeah, I guess it's real. And then it turns out, Oh, 1:37:08.040 --> 1:37:10.280 it's a movie set scene. So it's like when you 1:37:10.320 --> 1:37:13.360 are It's like in Mortal Kombat when you see Johnny 1:37:13.360 --> 1:37:16.000 Cage fighting some guys and then somebody else cut and 1:37:16.040 --> 1:37:19.280 we pull back and we see that. Yeah, so Kate. 1:37:20.240 --> 1:37:22.000 The way it goes is Kate wakes up and I 1:37:22.040 --> 1:37:24.200 guess this is the white wedding dress. She wakes up 1:37:24.240 --> 1:37:27.360 in this creepy house full of candles. She wanders around 1:37:28.520 --> 1:37:31.680 until she finds a piece of paper where Paganini has 1:37:31.720 --> 1:37:34.360 signed over his soul to the devil. She reads it, 1:37:34.520 --> 1:37:36.800 then she is stabbed to death with a knife by 1:37:36.840 --> 1:37:39.639 the guy with the violin. But then we call cut 1:37:39.720 --> 1:37:43.559 and we are just shooting the video clip. And I 1:37:43.640 --> 1:37:46.040 really do like the set design here, because they're in 1:37:46.080 --> 1:37:48.759 a room with this giant X made out of candles 1:37:48.800 --> 1:37:50.400 on the floor. I think it's cool setup. 1:37:50.520 --> 1:37:53.439 Yeah, yeah, I could imagine this being maybe not a 1:37:53.479 --> 1:37:58.840 thriller level music video, but certainly on par with some 1:37:58.920 --> 1:38:01.799 of my favorite reap your videos from the nineteen eighties, 1:38:01.840 --> 1:38:02.080 you know. 1:38:02.439 --> 1:38:05.360 Yeah, yeah, so we cut away and we see the 1:38:05.439 --> 1:38:08.920 crew and the director. Remember the King of Horror, Mark Singer. 1:38:09.400 --> 1:38:12.280 He is just jumping all over the place with a 1:38:12.320 --> 1:38:16.200 movie camera handheld on his shoulders. I'm sure the footage 1:38:16.240 --> 1:38:19.080 he's getting is great. It's going to be very in focus. 1:38:20.120 --> 1:38:24.000 And in this scene, Sylvia explains Sylvia, she remembers, this 1:38:24.080 --> 1:38:27.720 is Daria Nickelode. This is her house. She says that 1:38:27.760 --> 1:38:30.800 this is the house where Paganini sold his soul to 1:38:30.840 --> 1:38:34.120 the devil, killed his wife, and then made violin strings 1:38:34.120 --> 1:38:38.920 out of her intestines. Quote. Paganini's violin had a very 1:38:39.000 --> 1:38:42.559 unique sound. Maybe it's because the strings played forever the 1:38:42.600 --> 1:38:48.400 screams of his poor bride. And then Lavinia is like, eh, 1:38:48.400 --> 1:38:52.040 that's gross, and Daria Nickelode's like, well, it's only it's 1:38:52.040 --> 1:38:54.840 only fairy tales. And then Lavinia says, I don't believe 1:38:54.840 --> 1:38:59.400 it either. So oh, after this, we get that great 1:38:59.439 --> 1:39:02.240 scene where Donnald pleasance where the devil throws money off 1:39:02.280 --> 1:39:03.080 of the bell tower. 1:39:03.200 --> 1:39:05.960 Yeah, that big satchel full of money that he got 1:39:05.960 --> 1:39:08.559 from the drummer. Yeah, he's taking it up to the 1:39:08.560 --> 1:39:10.800 top of the tower. And at first I didn't know 1:39:10.800 --> 1:39:12.320 where this was going to go. I thought, okay, this 1:39:12.400 --> 1:39:14.519 is maybe. I thought he was still immortal at this point, 1:39:14.560 --> 1:39:17.719 amortal not immortal. I thought he was a mortal character. 1:39:17.800 --> 1:39:19.439 And I was like, is he going to throw himself 1:39:19.479 --> 1:39:21.960 off this tower with the money? Is it just one 1:39:21.960 --> 1:39:23.439 of these like I'm just so glad I'm free of 1:39:23.439 --> 1:39:26.000 the cursed item. But no, something else is going on, 1:39:26.160 --> 1:39:29.040 and he's gleefully throwing the money out, like is if 1:39:29.200 --> 1:39:31.120 you know, really kind of a commentary. It's like money 1:39:31.160 --> 1:39:35.040 only causes, you know, misery for human beings. So I 1:39:35.080 --> 1:39:37.080 have this big satchel of it. I'm just gonna give 1:39:37.080 --> 1:39:42.000 it out wherever this lands. It's gonna sew you know, unease, 1:39:42.080 --> 1:39:45.960 it's going to sow jealousy, and it's going to cause misery. 1:39:46.040 --> 1:39:48.439 So I'm just gonna gonna sprinkle it everywhere. 1:39:49.240 --> 1:39:52.200 This isn't a place called the Company. Lay is like 1:39:52.240 --> 1:39:55.800 a bell tower of Saint Mark's Basilica in Venice. So yeah, 1:39:55.840 --> 1:39:58.200 Donald pleasants. He goes inside, he goes up the stairs, 1:39:58.280 --> 1:40:00.439 goes on the spiral staircase, goes all all the way 1:40:00.479 --> 1:40:02.439 to the top of the bell tower, and then he 1:40:02.520 --> 1:40:05.120 goes out to this viewing area with the Duffel bag 1:40:05.200 --> 1:40:08.040 and he he's throwing the wad of cash out and 1:40:08.120 --> 1:40:10.639 he's saying, go go all you little demons. Oh no way, 1:40:10.880 --> 1:40:14.280 I'm actually sounding too much like Donald pleasants, go you 1:40:14.360 --> 1:40:19.040 little de Yeah, there you go, you little fly away, 1:40:19.160 --> 1:40:23.240 little demons, little demons, Yes, fly away. And then finally 1:40:23.280 --> 1:40:27.160 he says, let the price for fame be extracted by 1:40:27.160 --> 1:40:31.920 the one to whom it belongs, His Majesty, Satan. So 1:40:32.280 --> 1:40:34.840 I didn't pick up on that the first time I 1:40:34.880 --> 1:40:38.439 watched the movie, but the second time I was like, oh, okay, 1:40:38.520 --> 1:40:42.200 that explains more about the ending. So why is Satan mad? 1:40:42.439 --> 1:40:44.840 Why is he punishing these people who wanted wealth and 1:40:44.920 --> 1:40:47.320 fame because only Satan should have wealth and fame. 1:40:48.120 --> 1:40:48.360 Yeah. 1:40:48.439 --> 1:40:50.240 I mean the least they could have done is like 1:40:50.280 --> 1:40:53.400 sing about Satan, like like yeah, fit him in the lyrics. 1:40:53.400 --> 1:40:54.720 I think that buys you a little time. 1:40:55.479 --> 1:41:00.880 Yeah. Okay. So we've already talked through the road contours 1:41:00.880 --> 1:41:02.720 of the rest of the plot. Is there anything else 1:41:02.720 --> 1:41:04.720 you'd like to zoom in and focus on? I mean, 1:41:04.880 --> 1:41:07.240 I sort of we've talked about the main bits, but 1:41:07.320 --> 1:41:10.320 there there is a lot of bizarre texture throughout there. 1:41:10.360 --> 1:41:12.240 The scene where they go into the room with the 1:41:12.280 --> 1:41:15.000 pit in the floor and there are just like there's 1:41:15.200 --> 1:41:19.559 MC squared scribbled on the yeah or equals MC squared, 1:41:19.960 --> 1:41:22.040 And I was like, what is going on there when 1:41:22.080 --> 1:41:24.240 I saw it, But then that made more sense when 1:41:24.240 --> 1:41:26.400 I watched the interview with Katzy and he's like, it's 1:41:26.400 --> 1:41:28.960 science fiction. It's about Einstein and time loose. 1:41:29.040 --> 1:41:31.240 Yeah, that's what it's about. We do come back to 1:41:31.280 --> 1:41:36.360 that at the end. I love how this is. I'm 1:41:36.360 --> 1:41:38.840 not knocking this because this is a stylistic choice and 1:41:38.880 --> 1:41:41.120 it totally works for this sort of film, But I 1:41:41.160 --> 1:41:43.639 love how everyone is dressed up for the music video 1:41:44.040 --> 1:41:47.080 and they basically remain in those costumes even when things 1:41:47.120 --> 1:41:49.840 get horrific and challenging. I think the most they do 1:41:49.920 --> 1:41:52.280 is they maybe throw a jacket on over it, but 1:41:52.320 --> 1:41:55.000 like Kate's still running around and like these crazy like 1:41:55.080 --> 1:41:58.559 leggings like straps on her legs and all so. 1:42:00.120 --> 1:42:02.680 Ten for that, I feel like the band members are 1:42:02.760 --> 1:42:05.719 dressed up in there. They all look like they're dressed 1:42:05.800 --> 1:42:08.760 up for a music video, but for different music videos. 1:42:09.200 --> 1:42:11.880 Yeah, well you know, it's you know, sometimes they each 1:42:11.880 --> 1:42:14.880 have their own identity their own visual identity in this band, 1:42:15.160 --> 1:42:16.920 this band that has no name. 1:42:17.640 --> 1:42:20.360 Well, maybe that's an allusion to the man who has 1:42:20.439 --> 1:42:23.280 no name, and that man that man is Satan, of course. 1:42:23.360 --> 1:42:25.240 Yeah, yeah, they should have it should have been like 1:42:25.360 --> 1:42:27.800 Kate in the Satanic Trio or something. I don't know. 1:42:28.360 --> 1:42:30.200 Then maybe Satan would have been okay with it, but 1:42:30.240 --> 1:42:31.799 again they're not given him any credit. 1:42:32.880 --> 1:42:35.360 I did like a lot of the invisible wall effects 1:42:35.360 --> 1:42:39.200 in the movie. In the interview with Pietro Genuardi, he 1:42:39.320 --> 1:42:42.160 talks about how in the scene where the car smashes 1:42:42.200 --> 1:42:44.400 into the invisible wall, he says they did that by 1:42:44.800 --> 1:42:47.280 attaching a cable to the car and then tying the 1:42:47.280 --> 1:42:49.479 cable around a tree so they could have the car 1:42:49.640 --> 1:42:52.599 stop short at full speed for the invisible wall effect. 1:42:52.800 --> 1:42:56.320 Yeah, glad nobody died during that. Good, good, good. 1:42:56.720 --> 1:42:58.479 I mean I would hope they did that without somebody 1:42:58.479 --> 1:43:02.960 in the car. But yeah, then also they got the 1:43:02.960 --> 1:43:07.080 the the invisible wall head explosion I thought was really good. 1:43:08.240 --> 1:43:10.680 Let's see any comments on sort of the conclusion. I 1:43:10.680 --> 1:43:12.680 guess one thing we didn't even really get into or 1:43:12.720 --> 1:43:17.120 the the further discovery of the mechanics about how they're 1:43:17.160 --> 1:43:19.840 going to defeat Paganini's ghost. Do they get the idea 1:43:19.880 --> 1:43:22.760 that you have to play the Paganini song to defeat him, 1:43:22.840 --> 1:43:25.040 And then they get the idea that no, no, no, what 1:43:25.120 --> 1:43:27.760 you have to do is play the Paganini song backwards 1:43:27.800 --> 1:43:31.280 to defeat him, and somehow they never managed to do 1:43:31.360 --> 1:43:33.960 it right. So in the end, of course, all of 1:43:34.000 --> 1:43:35.439 the characters are are damned. 1:43:35.479 --> 1:43:37.760 But it seems like we're going to defeat him at 1:43:37.760 --> 1:43:39.719 one point because there's a scene where the sun comes 1:43:39.800 --> 1:43:44.120 up and like the Paganini lych character is turned to 1:43:44.800 --> 1:43:48.000 dut to dust to ashes which the ashes are shaped 1:43:48.040 --> 1:43:50.080 like a musical note on the floor. 1:43:50.720 --> 1:43:52.240 Is it a musical note? I thought it was like 1:43:52.240 --> 1:43:53.040 a trouble. 1:43:52.800 --> 1:43:57.360 Or maybe the trouble cliff. Yeah. Yeah, something improbable occurs 1:43:58.000 --> 1:44:00.599 like why would it do that? I don't know. Very 1:44:00.680 --> 1:44:04.240 stylish though, still points for style. But yeah, it seems like, okay, well, 1:44:04.280 --> 1:44:08.200 maybe we're going with the standard. You know, don defeats 1:44:08.760 --> 1:44:11.080 the Legions of Hell and everything is restored. But no, 1:44:11.760 --> 1:44:15.080 then out comes the devil. Here's mister Pickett aka Satan, 1:44:15.520 --> 1:44:18.840 and he explains like actually, yes, you're being punished now 1:44:18.880 --> 1:44:22.040 and you're in a time bubble, Like they're watching new 1:44:22.080 --> 1:44:24.760 people arrive at the mansion and. 1:44:24.720 --> 1:44:26.720 He's there's this whole gonna get them too. 1:44:26.880 --> 1:44:28.599 Yeah, he's gonna get them too. And it's like you're 1:44:28.640 --> 1:44:31.960 actually not in their time anymore. You're in a different time. 1:44:32.000 --> 1:44:34.240 We're in a bubble or something, and this is where 1:44:34.240 --> 1:44:36.559 we're getting, I guess, into the sci fi aspects of 1:44:36.560 --> 1:44:37.040 the picture. 1:44:37.640 --> 1:44:41.680 M Okay, well, I think maybe that's all I've got 1:44:41.680 --> 1:44:45.080 to say for now on Paganini Horror. But yeah, this 1:44:45.120 --> 1:44:48.160 one was quite pleasantly surprising to me. If you're in 1:44:48.200 --> 1:44:52.040 the mood for something wild, wacky, all all mixed up, 1:44:52.400 --> 1:44:53.719 this is this is a good choice. 1:44:53.880 --> 1:44:56.160 Yeah, absolutely, Yeah, Yeah, this one was a lot of fun, 1:44:57.280 --> 1:44:59.240 certainly if you're in the mood for something with again 1:44:59.840 --> 1:45:04.400 just tremendously absurd dialogue and then also just so many 1:45:04.400 --> 1:45:08.720 wild plot elements. Again it almost has it almost has 1:45:08.760 --> 1:45:12.840 first movie energy, you know, where it's like a filmmaker 1:45:13.000 --> 1:45:15.559 has so many ideas and they realized they might only 1:45:15.560 --> 1:45:17.320 get this one chance to pull it off, so they're 1:45:17.400 --> 1:45:20.080 like way too many ideas incorporated into the thing. We 1:45:20.160 --> 1:45:22.559 kind of get that here, but for different reasons. As 1:45:22.560 --> 1:45:26.679 we explained, yeah, all right, we're gonna go and close 1:45:26.720 --> 1:45:28.720 it out, but we'd love to hear from everyone out there. 1:45:28.760 --> 1:45:31.920 Were you familiar with Paganini horror? Do you have thoughts 1:45:31.920 --> 1:45:34.160 on any of the other Paganini films that we mentioned 1:45:35.400 --> 1:45:37.280 in any of the pictures or the players that came 1:45:37.400 --> 1:45:40.880 up here right in? We would love to hear from you. Indeed, 1:45:41.000 --> 1:45:46.240 you have you have recommendations for other sort of banned 1:45:46.400 --> 1:45:50.000 themed horror films we have I think we haven't really 1:45:50.040 --> 1:45:53.639 looked at any of the key metal exploitation films out there, 1:45:53.640 --> 1:45:55.720 but there are some great ones to choose from. There 1:45:55.720 --> 1:46:00.240 are also some other good all female rocker horror in 1:46:00.240 --> 1:46:02.880 sci fi films. I could easily see this coming back 1:46:02.920 --> 1:46:04.320 and doing some more of those. So if you have 1:46:04.400 --> 1:46:08.400 favorites right in Howard the Duck, Oh yeah, yeah, I 1:46:08.439 --> 1:46:09.240 forgot about that. 1:46:09.600 --> 1:46:12.080 It's got the main the main human and it is 1:46:12.400 --> 1:46:13.760 Leah Thompson as a rock and. 1:46:13.720 --> 1:46:16.040 Roll Oh there you go. Yeah, Howard the Duck is 1:46:16.160 --> 1:46:20.519 just certainly on the list. All right. Just a reminder 1:46:20.520 --> 1:46:22.479 to everyone out there that Stuff to Blow Your Mind 1:46:22.560 --> 1:46:24.799 is primarily a science and culture podcast with core episodes 1:46:24.800 --> 1:46:27.759 on Tuesdays and Thursdays, but on Fridays we set aside 1:46:27.760 --> 1:46:29.719 most serious concerns and we just talk about a weird 1:46:29.720 --> 1:46:34.040 film here on Weird House Cinema. If you you certainly 1:46:34.120 --> 1:46:37.479 follow the show wherever you get your social media, wherever 1:46:37.520 --> 1:46:41.040 you get your podcasts, rate, review, subscribe and all of that. 1:46:41.200 --> 1:46:43.600 And if you were on letterboxed that you know that 1:46:43.680 --> 1:46:47.599 excellent site for charting your own cinematic journey and your 1:46:47.600 --> 1:46:50.760 own cinematic discoveries. Look us up there. Our username is 1:46:50.840 --> 1:46:54.160 weird House. Follow us, you know, friend us, or whatever. 1:46:54.560 --> 1:46:57.519 But you'll also find a list that includes all of 1:46:57.560 --> 1:46:59.680 the films we've covered on Weird House thus far, and 1:47:00.000 --> 1:47:02.759 sometimes a peek ahead at what's coming up next. 1:47:03.120 --> 1:47:07.040 Huge thanks as always to our excellent audio producer Jjposway. 1:47:07.360 --> 1:47:08.840 If you would like to get in touch with us 1:47:08.920 --> 1:47:11.360 with feedback on this episode or any other, to suggest 1:47:11.360 --> 1:47:13.280 a topic for the future, or just to say hello, 1:47:13.400 --> 1:47:15.960 you can email us at contact at stuff to Blow 1:47:15.960 --> 1:47:23.560 your Mind dot com. 1:47:23.680 --> 1:47:26.640 Stuff to Blow Your Mind is production of iHeartRadio. For 1:47:26.720 --> 1:47:29.519 more podcasts from my Heart Radio, visit the iHeartRadio app, 1:47:29.680 --> 1:47:32.880 Apple Podcasts, or wherever you listen to your favorite shows.