WEBVTT - Weirdhouse Cinema Rewind: Without Warning 0:00:05.800 --> 0:00:10.880 Hey, Welcome to Weird House Cinema. Rewind. This is Rob Lamb. 0:00:10.960 --> 0:00:13.480 And this is Joe McCormick, and today we're bringing you 0:00:13.560 --> 0:00:16.119 an episode from the Weird House Cinema vault. This was 0:00:16.160 --> 0:00:19.000 actually our first Weird House Cinema episode ever. It was 0:00:19.040 --> 0:00:23.279 on the movie Without Warning, a Graydon Clark classic about 0:00:23.360 --> 0:00:26.639 an alien running around in the fields of Where's it. 0:00:26.720 --> 0:00:28.280 I guess it's in rural California? 0:00:28.320 --> 0:00:29.080 Maybe yep? 0:00:29.520 --> 0:00:33.280 Yeah. So this originally aired on October thirtieth, twenty twenty. 0:00:33.440 --> 0:00:35.639 It was our first ever Weird House Cinema episode when 0:00:35.640 --> 0:00:38.120 we didn't know what Weird House Cinema would be yet. 0:00:38.120 --> 0:00:39.640 I think we were still trying to figure it out. 0:00:39.680 --> 0:00:42.360 So I wonder what kind of weird little appendages and 0:00:42.479 --> 0:00:45.480 vestigial organs there will be to fined in this episode. 0:00:45.800 --> 0:00:47.120 Let's dig right in and find out. 0:00:50.479 --> 0:00:58.880 Welcome to Stuff to Blow your Mind, a production of iHeartRadio. 0:01:00.480 --> 0:01:03.960 Hey, Welcome to Weird House Cinema. This is Rob and 0:01:04.040 --> 0:01:07.000 this is Joe. Oh were we not saying our last 0:01:07.080 --> 0:01:07.600 names here? 0:01:07.720 --> 0:01:08.360 That's a change. 0:01:08.360 --> 0:01:09.679 Oh you know, No, I guess we should say our 0:01:09.720 --> 0:01:10.240 last names. 0:01:10.520 --> 0:01:16.240 Okay, well, you're Rob Lamb and I'm Joe McCormick. That's it. 0:01:16.480 --> 0:01:19.000 That sound okay, let's go with that. Okay, So it 0:01:19.040 --> 0:01:21.440 looks like this is our pilot episode. We're recording this 0:01:21.520 --> 0:01:23.480 here as a test. It may or may not see 0:01:23.520 --> 0:01:25.240 the light of day, but if you're listening to it, 0:01:25.240 --> 0:01:26.160 it obviously did. 0:01:26.520 --> 0:01:29.800 Now, we originally explored the idea of this being a 0:01:29.959 --> 0:01:34.319 standalone podcast series, but then we realize now the perfect 0:01:34.360 --> 0:01:36.399 place to try and roll this out would be like 0:01:36.600 --> 0:01:39.640 late night on a Friday, like at midnight, if they'd 0:01:39.720 --> 0:01:41.240 let us do that. I don't think they can let 0:01:41.280 --> 0:01:44.280 us do that, but at any rate, Yeah, this is 0:01:44.760 --> 0:01:46.520 kind of a little bonus episode. It is not core 0:01:46.560 --> 0:01:49.240 Stuff to Blow your Mind content, but we are featuring 0:01:49.280 --> 0:01:53.080 it in the Stuff to Blow Your Mind feed on Fridays. 0:01:53.720 --> 0:01:55.720 I like to think of it as the asexual budding 0:01:55.800 --> 0:01:58.920 offspring of our science podcast Stuff to Blow Your Mind, 0:01:58.960 --> 0:02:02.880 where really, we've frequently over the years brought up various 0:02:02.960 --> 0:02:06.200 weird movies, generally as a means of sort of illustrating 0:02:06.360 --> 0:02:10.120 a particular scientific topic or making a particular scientific topic 0:02:10.160 --> 0:02:13.080 maybe a little more engaging, at least to us. So 0:02:13.200 --> 0:02:16.400 this is just more of the same, except we're putting 0:02:16.440 --> 0:02:18.600 the cart in front of the horse here. We're putting 0:02:19.480 --> 0:02:23.440 the movie weirdness ahead of any other concerns that would 0:02:23.440 --> 0:02:24.600 otherwise be engaged. 0:02:24.800 --> 0:02:26.840 That's right. We're putting the jack palance in front of 0:02:26.880 --> 0:02:30.440 the horse here because for our inaugural episode here we 0:02:30.480 --> 0:02:34.440 are going to be talking about, without warning, a film 0:02:34.480 --> 0:02:38.840 from nineteen eighty that is so exquisite. I could not 0:02:39.080 --> 0:02:44.320 have asked for a better opening episode. Robert, you suggested 0:02:44.360 --> 0:02:47.200 this film, having not seen it yourself, I believe. But 0:02:48.040 --> 0:02:50.280 when I laid eyes on the trailer, I knew it 0:02:50.320 --> 0:02:52.680 was going to be love at first sight, and my 0:02:52.760 --> 0:02:56.359 heart was true once I saw it. This film holds up. 0:02:56.480 --> 0:02:59.639 This is b trash for the ages. All right, let's 0:02:59.639 --> 0:03:02.680 go ahead and a taste for this film. Let's listen 0:03:02.919 --> 0:03:05.600 to the trailer in its entirety. 0:03:05.919 --> 0:03:14.840 The hunting season has begun, but the hunter isn't human, only. 0:03:14.639 --> 0:03:25.200 The prey are. It came without warning. It's like nothing 0:03:25.240 --> 0:03:26.920 on this earth, our friends. 0:03:27.520 --> 0:03:28.120 I did. 0:03:30.240 --> 0:03:38.200 Beyond any known terror, because one that leaves this planet, 0:03:38.400 --> 0:03:40.160 no one may be left alive. 0:03:41.840 --> 0:03:42.800 Good Time warned you. 0:03:43.240 --> 0:03:51.040 When they start eating you, don't come to me for help. 0:03:53.160 --> 0:03:55.160 He came out here a spot you want to hear 0:03:55.200 --> 0:03:55.560 some about. 0:03:55.560 --> 0:03:59.120 Eutrope is right now, you and me, we. 0:03:59.040 --> 0:04:05.840 Are the prize, the hotter, the hunted house, not true, 0:04:11.200 --> 0:04:14.960 the thing that praise on human fear and feeds on 0:04:15.120 --> 0:04:24.400 human flesh from deepest space. It came, and now man 0:04:24.800 --> 0:04:35.600 is the endangered species. It came without warning, and now 0:04:35.640 --> 0:04:36.599 it's coming for you. 0:04:40.880 --> 0:04:44.000 Wow. That was something. It's pretty wonderful for a number 0:04:44.040 --> 0:04:46.120 of reasons we're going to discuss in this episode, but 0:04:46.520 --> 0:04:48.720 for me personally, one of the things I liked about 0:04:48.760 --> 0:04:51.320 it is that while on the Internet is a wonderful 0:04:51.400 --> 0:04:56.200 means of discovering new weird films. You know, everything from 0:04:56.240 --> 0:04:59.440 B movies and exploitation films to art films and even 0:05:00.160 --> 0:05:04.800 blockbusters that didn't quite bust the block back in the day, 0:05:05.400 --> 0:05:07.719 that sort of thing. But this is a film that 0:05:07.800 --> 0:05:11.720 I discovered the old fashioned way on a video rental shelf. 0:05:11.800 --> 0:05:15.240 I went to Atlanta's own video drome. I was perusing 0:05:15.279 --> 0:05:17.720 the horror and science fiction and there it was. 0:05:18.080 --> 0:05:20.680 A video drome is the holy temple of this show. 0:05:21.200 --> 0:05:23.440 It's been a sight of pilgrimage for us for quite 0:05:23.440 --> 0:05:26.839 some time. Yeah, and it's great that they're still operating 0:05:26.880 --> 0:05:30.040 even during these are dark times by a wonderful sort 0:05:30.080 --> 0:05:32.920 of exchange system that operates out of a table at 0:05:32.920 --> 0:05:35.240 the front door. And so you can just walk right 0:05:35.320 --> 0:05:38.640 up to him and say, give me something disgusting that 0:05:38.800 --> 0:05:42.680 reminds you of The Uninvited by Graydon Clark, and you 0:05:42.720 --> 0:05:44.640 may well get without warning. 0:05:45.360 --> 0:05:48.000 Yes, because this is a directed by great on Clark 0:05:48.720 --> 0:05:50.560 all of that film, and we'll touch based on him 0:05:50.600 --> 0:05:52.760 in a bit. But before we get any further, Joe, 0:05:52.800 --> 0:05:55.120 do you want to summarize this film for us? Give 0:05:55.160 --> 0:05:56.480 us a quick breakdown of the plot. 0:05:56.760 --> 0:06:00.200 Okay, Well, the short version is that, without warning, this 0:06:00.240 --> 0:06:02.040 is a movie that came out in nineteen eighty and 0:06:02.120 --> 0:06:06.440 it's Predator before Predator. When did the Schwarzenegger Predator come out, 0:06:06.440 --> 0:06:09.720 like eighty seven, eighty eight something like that. 0:06:09.400 --> 0:06:10.080 Yeah, I believe so. 0:06:10.640 --> 0:06:14.680 Yeah, So this is Predator before Predator, except instead of 0:06:14.720 --> 0:06:17.880 a bug mouth gadget alien with like a laser cannon 0:06:17.920 --> 0:06:22.360 and dreadlocks, this is a fifty style big head alien, 0:06:22.880 --> 0:06:26.560 sort of a cross between the creepy clay monsters from 0:06:26.600 --> 0:06:30.160 Fire in the Sky and then just full camp Martians 0:06:30.240 --> 0:06:33.640 like the ones in Invasion of the saucer Men, big head, 0:06:34.360 --> 0:06:38.200 a large alien compound eye is kind of a screeching 0:06:38.480 --> 0:06:41.560 a mouth. Does it make a noise? I think maybe 0:06:41.600 --> 0:06:45.440 at some point does the invasion of the Body Snasher screech? 0:06:45.760 --> 0:06:47.640 Yeah, it makes some sort of an animal noise at 0:06:47.640 --> 0:06:48.120 some point. 0:06:48.240 --> 0:06:50.960 Oh yeah. And so instead of taking place in a 0:06:51.080 --> 0:06:54.920 vague Central American war zone, this is set somewhere in 0:06:55.200 --> 0:06:58.080 I think it's supposed to be the rural western US. 0:06:58.120 --> 0:07:01.920 I would guess rural California. And instead of Arnold Schwarzenegger 0:07:01.960 --> 0:07:05.360 and his team of commandos, you've got whiny hunters. You've 0:07:05.360 --> 0:07:09.440 got boy scouts who just sing incessantly, you've got makeout 0:07:09.480 --> 0:07:13.280 point tines, and you've got Jack Palance. And Jack Palance, 0:07:13.320 --> 0:07:16.880 by the way, is a force of nature. In this movie, 0:07:16.520 --> 0:07:19.360 he plays a hunter. I guess half the characters are 0:07:19.360 --> 0:07:21.760 supposed to be hunters of some kind or another. We'll 0:07:21.760 --> 0:07:23.760 get to that more when we talk about the themes 0:07:23.840 --> 0:07:28.000 and message of the film later on. But Jack Palance 0:07:28.080 --> 0:07:30.160 is some kind of hunter who likes to kill animals, 0:07:30.160 --> 0:07:32.320 put their heads on the wall of his gas station, 0:07:32.680 --> 0:07:36.040 put them in jars, put them in formaldehyde. And when 0:07:36.040 --> 0:07:39.400 he talks in this film, he is human cocaine. Half 0:07:39.480 --> 0:07:42.600 of his lines are delivered literally quivering. 0:07:43.280 --> 0:07:47.400 Yeah, there is a leathery intensity to this performance that, 0:07:47.400 --> 0:07:51.880 to a certain extent, you would expect from Palance. But yeah, 0:07:51.920 --> 0:07:53.640 he really brings it. There's not a sense that he 0:07:54.600 --> 0:07:56.720 missed call and phoned it in. 0:07:57.080 --> 0:07:59.960 But as for the basic plot, there's an alien who's here. 0:08:00.240 --> 0:08:03.880 It's hunting humans. It does hunt humans, including some of 0:08:03.880 --> 0:08:06.160 the actors that we're going to mention in just a minute. 0:08:06.720 --> 0:08:09.640 As it hunts them, it collects them and puts them 0:08:09.720 --> 0:08:15.080 in a water utility shed. I guess that is functioning 0:08:15.120 --> 0:08:18.120 as this temporary like food storage locker. I think there's 0:08:18.160 --> 0:08:20.880 the implication that the alien is going to eat the people. 0:08:21.000 --> 0:08:23.280 I don't know if that's ever made entirely clear, but 0:08:23.320 --> 0:08:25.040 I recall that being suggested. 0:08:25.720 --> 0:08:29.000 And there's a lot of wonderful mystery about exactly what 0:08:29.120 --> 0:08:33.400 the alien is doing and why, which really works but 0:08:33.640 --> 0:08:36.280 yet also leads to you wondering is this for food? 0:08:36.360 --> 0:08:38.520 It might be for food, or are they trophies, perhaps 0:08:38.520 --> 0:08:41.880 their trophies, or is there something else in play here? 0:08:41.920 --> 0:08:45.040 And we're just taking our own human practices and sort 0:08:45.040 --> 0:08:48.080 of holding them up over the extraterrestrial pattern in front 0:08:48.080 --> 0:08:48.360 of us. 0:08:48.600 --> 0:08:53.640 Yeah, yeah, exactly. And so this alien is hunting humans. 0:08:53.120 --> 0:08:57.600 It doesn't use technology really at all that I can 0:08:57.640 --> 0:09:00.520 think of. There. Like I said, there's no laser cannon, 0:09:00.960 --> 0:09:04.000 there are no extending wrist blades, there are no magical 0:09:04.040 --> 0:09:08.480 flying circular saw discs. Instead, it uses what I would 0:09:08.520 --> 0:09:15.359 call a jellyfish shuriken. It throws these little biological creatures 0:09:15.440 --> 0:09:19.120 that attach to people and then stab into the people 0:09:19.200 --> 0:09:22.959 with their tentacles and make the people bleed and then 0:09:23.040 --> 0:09:24.720 kill them. Is that about right? 0:09:24.920 --> 0:09:27.199 That pretty much. I like to think of them as 0:09:27.200 --> 0:09:32.880 fresh frisbees, but I think murder pancakes would also suffice. 0:09:32.960 --> 0:09:34.520 Frisbee from the seafood market. 0:09:34.880 --> 0:09:38.800 Yeah. So basically, this tall, big headed alien, which, by 0:09:38.800 --> 0:09:40.640 the way, I want to stress this is a nineteen 0:09:40.679 --> 0:09:44.200 eighties movie, a nineteen eighty film, which is key because 0:09:44.280 --> 0:09:46.240 you certainly expect that kind of a big headed alien 0:09:46.240 --> 0:09:49.960 in these older in decades pro prior, especially stuff like 0:09:50.000 --> 0:09:53.360 outer limits and so forth. But this is eighty. There 0:09:53.440 --> 0:09:56.000 is a Star Wars beach blanket that shows up in 0:09:56.080 --> 0:09:59.800 the film, and so there's something about the weirdness of that. 0:10:00.080 --> 0:10:04.240 This creature is not only from a different world, he's 0:10:04.280 --> 0:10:07.480 from a different cinematic world, so he feels even more 0:10:07.520 --> 0:10:11.719 the outsider, but unlike those other cinematic big headed aliens. Yeah, 0:10:11.720 --> 0:10:14.000 he's throwing these flesh frisbees around, and if one of 0:10:14.040 --> 0:10:19.240 these flesh frisbees attaches to your flesh, you're probably doomed. 0:10:19.360 --> 0:10:22.480 You have, like it seems like a few seconds in 0:10:22.559 --> 0:10:26.200 the movies, time to whip out a bowie knife and 0:10:26.320 --> 0:10:28.400 cut that sucker free. Otherwise you're done for. 0:10:28.679 --> 0:10:32.160 Though nobody seems to have that insight except Jack Palance himself. 0:10:32.200 --> 0:10:35.640 Everybody else who gets hit by one of the fresh frisbees. Wait, 0:10:35.679 --> 0:10:38.079 are we going with fresh frisbees or flesh frisbees? 0:10:38.160 --> 0:10:40.120 Either way, fresh flesh frisbees. 0:10:40.240 --> 0:10:45.280 Okay, one of the jellyfish meat frisbees attaches to you. 0:10:45.640 --> 0:10:49.439 Everybody else just goes oh and then goo comes out 0:10:49.440 --> 0:10:51.800 of them and they fall over. But Jack Palance, Yeah, 0:10:51.840 --> 0:10:53.760 of course he whips out his knife because I guess 0:10:53.800 --> 0:10:56.200 he's got more grit than any of the other ones, 0:10:56.480 --> 0:10:59.640 and he has the courage and the resolve to just 0:10:59.720 --> 0:11:02.040 stack a right in there and get it off like 0:11:02.080 --> 0:11:03.120 he's shucking an oyster. 0:11:03.480 --> 0:11:05.880 Yeah, yeah, there is very much. There's an oyster shucking 0:11:05.960 --> 0:11:08.760 sense to these things. See, it's never explained if the 0:11:09.480 --> 0:11:12.439 thing is the flesh frisbee, it kills you so fast 0:11:12.480 --> 0:11:15.280 because it's like draining your essence or sucking your blood out, 0:11:15.520 --> 0:11:19.320 or if it's like a toxin situation. But it seems 0:11:19.360 --> 0:11:21.319 to work really well, and the movie does a good 0:11:21.400 --> 0:11:23.200 job of conveying that sense of danger. 0:11:23.320 --> 0:11:25.440 Yeah, and I got the sense of a toxin from 0:11:25.440 --> 0:11:29.360 it because the flesh frisbee, the fresh flesh frisbee, is 0:11:29.360 --> 0:11:32.240 also very greasy. You know, it's like got this ooze 0:11:32.240 --> 0:11:35.080 that when Jack Palance stabs into it with his linoleum 0:11:35.160 --> 0:11:40.480 knife or whatever, it produces this oleaginous extrusion that is 0:11:41.280 --> 0:11:43.000 I don't know, it looks like it would not come 0:11:43.040 --> 0:11:46.239 out with water alone. You would need you know, googne 0:11:46.400 --> 0:11:48.719 or something to get rid of it. And we'll come 0:11:48.760 --> 0:11:50.280 back to that in just a little bit when we 0:11:50.320 --> 0:11:54.040 explore some monster science. But maybe first we should look 0:11:54.080 --> 0:11:57.000 at a cast of characters and associated artisans. 0:11:58.000 --> 0:12:01.120 Yeah, well, let's start at the top. I with director 0:12:01.280 --> 0:12:04.920 Graydon Clark not to be confused with tad artist Great Anus, 0:12:05.360 --> 0:12:08.480 and I have personally made that confusion confusing these two. 0:12:08.480 --> 0:12:11.480 But Graydon Clark is perhaps best known, I think for 0:12:11.559 --> 0:12:15.000 directing Aimed Angel's Brigade back in nineteen seventy nine, but 0:12:15.120 --> 0:12:19.400 also the MST three k riffed Final Justice with Joden 0:12:19.480 --> 0:12:21.480 Baker back in nineteen eighty five. 0:12:21.559 --> 0:12:24.160 Oh, that's the one with a dyspeptic Jodon Baker and 0:12:24.200 --> 0:12:26.199 he's running around Malta, right. 0:12:26.120 --> 0:12:29.120 Yes, yeah, cowboy. It has some wonderful There's this one 0:12:29.160 --> 0:12:31.600 shot in that film where he has his hand on 0:12:31.640 --> 0:12:34.320 his hip and they're shoot it like between his arm 0:12:34.400 --> 0:12:37.240 and the side of his Torso it's one of my 0:12:37.280 --> 0:12:41.640 favorite bizarre shooting choices I've ever seen in a film. 0:12:41.760 --> 0:12:45.120 I also recall a joke about a felonious monk in it. 0:12:45.600 --> 0:12:45.880 Yeah. 0:12:45.960 --> 0:12:50.079 Yeah, But so, Graydon Clark directed another film that came 0:12:50.080 --> 0:12:52.320 out in nineteen eighty seven, which that might be the 0:12:52.360 --> 0:12:54.959 same year that Predator came out, or maybe Predator was 0:12:54.960 --> 0:12:58.120 eighty nine, I don't know. In eighty seven, Graydon Clark 0:12:58.200 --> 0:13:01.559 made the movie un in I keep pointing to call 0:13:01.600 --> 0:13:05.160 it the Uninvited. I think there's no article. It's just Uninvited, 0:13:05.200 --> 0:13:08.200 which is about a mutant cat that gets aboard a 0:13:08.320 --> 0:13:12.120 yacht with klu Gooliger and George Kennedy and a bunch 0:13:12.160 --> 0:13:14.120 of some more makeout point teams. 0:13:14.200 --> 0:13:16.959 Basically, yeah, I haven't seen that one yet, but it's 0:13:17.120 --> 0:13:18.760 definitely on my love for this October. 0:13:18.960 --> 0:13:22.439 Yeah, Robert, it is a top tier creature film you've 0:13:22.480 --> 0:13:24.480 got to see uninvited, and in fact that should be 0:13:24.480 --> 0:13:27.600 a later, later addition to the show because it is. 0:13:27.679 --> 0:13:30.280 It is a creature film like none other. It is 0:13:30.360 --> 0:13:33.840 really unparalleled genius. It Dwelleth at the top of the 0:13:33.840 --> 0:13:35.160 creature film Zigarat. 0:13:36.640 --> 0:13:39.240 All right, well, okay, so we've got Clark on board here. 0:13:40.200 --> 0:13:44.760 Another key individual makeup artist Greg Cannum. I now I 0:13:44.760 --> 0:13:48.880 should note that that sometimes Rick Baker's name is attached 0:13:48.880 --> 0:13:53.160 to this film. Apparently he was involved in the film 0:13:53.200 --> 0:13:56.400 early on and actually made the alien head and designed 0:13:56.400 --> 0:13:58.840 some of the effects and then handed duties off to 0:14:00.120 --> 0:14:05.040 fellow FX makeup with Greg Cannum and Canum ends up 0:14:05.320 --> 0:14:10.720 completing everything. Canum is another superstar of special effects makeup. 0:14:10.880 --> 0:14:13.720 He went on to work on everything from brom Stoker's 0:14:13.800 --> 0:14:18.240 Dracula and Highlander two to most recently, I believe he 0:14:18.320 --> 0:14:21.960 was involved in that Christian Bale, Dick Cheney makeup for 0:14:22.000 --> 0:14:22.800 that movie Vice. 0:14:23.160 --> 0:14:27.000 Oh wow wow, Okay, well I see the through line. Actually, 0:14:27.600 --> 0:14:30.720 did he do the old man makeup for Connor MacLeod 0:14:30.760 --> 0:14:33.320 and Highlander two? And did he do the old man 0:14:33.440 --> 0:14:37.240 makeup for Gary Oldman in bram Stoker's Dracula and the 0:14:37.280 --> 0:14:39.400 old man makeup for Christian Bale and Vice? 0:14:40.440 --> 0:14:42.400 I would bet that that is the case. 0:14:42.480 --> 0:14:48.120 Yes, three extraordinary works, each of each of their own genre, 0:14:48.160 --> 0:14:50.760 as long as you consider that the stuff they put 0:14:50.800 --> 0:14:54.240 on Christoph Lambert is supposed to be oily looking and funny. 0:14:54.480 --> 0:14:56.800 Now, of course, the thing about effects in a film 0:14:56.880 --> 0:14:59.360 like this is they can look amazing, but it also 0:14:59.400 --> 0:15:01.680 comes down to how you shoot them and indeed how 0:15:01.720 --> 0:15:04.600 you light them. Oh, and that leads to our next 0:15:05.160 --> 0:15:07.440 future superstar that was involved in this picture. 0:15:07.760 --> 0:15:12.360 Yeah, Dean Coundy. So, Dean Coundy is a legendary cinematographer 0:15:12.360 --> 0:15:16.200 and director of photography. He's he's a member of the ASC. 0:15:16.880 --> 0:15:20.360 If you just think about a movie that is effortlessly 0:15:20.560 --> 0:15:26.480 visually absorbing, something that is constantly pleasing and interesting to 0:15:26.560 --> 0:15:31.080 look at without really calling attention to itself as flashy photography, 0:15:31.480 --> 0:15:33.840 and I think that there is a good chance that 0:15:33.880 --> 0:15:35.560 you're watching a Dean Coundy movie. 0:15:35.920 --> 0:15:38.400 Yeah. Now, I have to say with this film, it 0:15:38.440 --> 0:15:43.640 doesn't start off feeling like Cundy's presence is there, because 0:15:44.480 --> 0:15:47.240 early on in the film, everything is in just stark daylight. 0:15:47.560 --> 0:15:50.040 You just you wake up late and arrive in this 0:15:50.120 --> 0:15:55.200 movie around noon in lovel California, so everything has hungover 0:15:55.280 --> 0:15:58.080 to yeah, a little bit hungover. Everything's just super bright. 0:15:58.440 --> 0:16:00.920 It looks like it's probably hot and you should maybe 0:16:00.920 --> 0:16:03.160 be in a library somewhere or you want to crawl 0:16:03.200 --> 0:16:07.920 back into a trailer or something. So you know, that's 0:16:07.960 --> 0:16:11.120 the first section of the film. But eventually the sun 0:16:11.200 --> 0:16:13.320 goes down, and when the sun goes down in this movie, 0:16:14.520 --> 0:16:17.920 Kundy's lighting comes up, and that's when everything begins to 0:16:17.920 --> 0:16:21.600 take on an entirely new feel because that's when we 0:16:21.600 --> 0:16:23.200 see more and more of the monster. But then we 0:16:23.240 --> 0:16:25.880 also see more and more of these kind of and 0:16:25.960 --> 0:16:29.880 really at times monstrous character actor faces that are also 0:16:30.000 --> 0:16:33.760 lit up just so well. Some of the best scenes 0:16:33.800 --> 0:16:37.200 in the film are just character actors well lit. 0:16:37.120 --> 0:16:39.240 Oh yeah, yeah, yeah, you know, I would actually go 0:16:39.640 --> 0:16:41.800 disagree just a little bit that I think there's some 0:16:41.880 --> 0:16:44.600 really good photography and the film has a good look, 0:16:44.680 --> 0:16:47.120 even in some of the daylight scenes. I definitely agree 0:16:47.160 --> 0:16:49.160 that it becomes more interesting to look at once you 0:16:49.200 --> 0:16:51.280 get to the nighttime. But there are a couple of 0:16:51.360 --> 0:16:54.760 daylight scenes that remind me of scenes in Halloween. Of course, 0:16:54.760 --> 0:16:57.480 Dean Kundy famously worked with John Carpenter on movies like 0:16:57.520 --> 0:17:01.840 Halloween and the thing remember in Halloween how there will 0:17:01.920 --> 0:17:05.440 be these scenes that are just in broad daylight, and 0:17:05.520 --> 0:17:09.240 it'll be a creepy wide shot with Michael Myers standing 0:17:09.280 --> 0:17:12.560 somewhere in the distance and not really moving or doing 0:17:12.600 --> 0:17:15.080 anything all that menacing. He's just there in the mid 0:17:15.119 --> 0:17:18.119 ground background. And those are I think some of the 0:17:18.119 --> 0:17:21.280 most effective shots in Halloween. They really color how you 0:17:21.359 --> 0:17:24.679 experience the film. There are shots like that in Without 0:17:24.720 --> 0:17:27.679 Warning too. There's like a shot where a hunter is 0:17:27.840 --> 0:17:30.439 looking around at a field just with kind of like 0:17:30.520 --> 0:17:34.200 dead grass and overgrown weeds, and there is some figure 0:17:34.400 --> 0:17:37.359 with a large head just kind of standing in the 0:17:37.440 --> 0:17:41.400 distance behind the tall grass, not moving, and I thought 0:17:41.400 --> 0:17:43.720 it was an incredibly effective shot for such a low 0:17:43.760 --> 0:17:44.399 grade movie. 0:17:44.800 --> 0:17:46.919 Yeah, yeah, I do admit that some of those daylight 0:17:46.960 --> 0:17:50.000 scenes are creepy in that they convey that sense of 0:17:50.400 --> 0:17:53.440 the terror that stalks in the daylight is perhaps even 0:17:53.520 --> 0:17:56.520 more dangerous than that which stalks at night. 0:17:57.080 --> 0:17:59.600 But I agree in general Dean Coundy, he's just got 0:17:59.640 --> 0:18:02.800 the magic touch, and it's especially magic once night comes 0:18:02.840 --> 0:18:05.760 on and he's messing around with lighting. There are scenes 0:18:05.800 --> 0:18:08.480 that are filmed inside a house, a sort of a 0:18:08.560 --> 0:18:11.960 hunting cabin where there is a sudden boo scare where 0:18:12.000 --> 0:18:14.040 the alien pops out from the corner of a room 0:18:14.080 --> 0:18:16.840 and I think points with his finger. Very again, very 0:18:16.840 --> 0:18:20.280 invasion of the body snatcher's style, but it's a very 0:18:20.359 --> 0:18:21.560 effective boo scare. 0:18:21.600 --> 0:18:25.719 Actually, yeah, I have to throw in that the Shout 0:18:25.760 --> 0:18:29.560 Factory Scream Factory edition of this movie that came out 0:18:29.600 --> 0:18:32.679 on DVD and Blu Ray several years back has some 0:18:32.720 --> 0:18:35.280 special features, and one of them is Kundy talking about 0:18:35.280 --> 0:18:38.359 the film, and it's really insightful. He for instance, brings 0:18:38.440 --> 0:18:42.480 up the fact that the monster costume looked really good 0:18:43.440 --> 0:18:46.680 and you had this maybe temptation to want to show 0:18:46.720 --> 0:18:50.399 a lot of it, but he held back. And you know, 0:18:50.680 --> 0:18:52.840 you depend on a little bit more shadow and mystery, 0:18:53.320 --> 0:18:55.879 So there are certain details on that monster head that 0:18:55.960 --> 0:18:58.399 you just don't necessarily get in the final feature like 0:18:58.440 --> 0:19:00.680 it has kind of compound eye is yes, and you 0:19:00.800 --> 0:19:02.680 never complete. I don't think you ever get a sense 0:19:02.680 --> 0:19:05.280 of that in the film, but ultimately you don't need 0:19:05.320 --> 0:19:08.680 it because great costume plus great lighting equals great experience. 0:19:09.080 --> 0:19:11.680 Yeah, I agree. Yeah, the monster is often in shadow, 0:19:11.760 --> 0:19:16.199 and this actually works to great effect. Again, it's a 0:19:16.240 --> 0:19:18.800 common feature you see when people are talking about Dean 0:19:18.880 --> 0:19:20.800 Kundy movies on the internet. I think a lot of 0:19:20.800 --> 0:19:23.080 times they don't even know that they're The reason they're 0:19:23.119 --> 0:19:25.600 saying this is that it's a Dean Kundy movie. But 0:19:25.640 --> 0:19:28.560 you see this thing in reviews over and over, a 0:19:28.640 --> 0:19:33.480 sentence like this trashy b movie is much more watchable 0:19:33.520 --> 0:19:36.280 than it has any right to be. I think it's 0:19:36.359 --> 0:19:38.919 that's just Dean, that's Dean work and his stuff, and 0:19:39.000 --> 0:19:41.040 a lot of it has to do with lighting and 0:19:41.080 --> 0:19:45.440 good framing and pleasant cinematography. I don't know if pleasants 0:19:45.480 --> 0:19:48.240 the right word, but it's interesting to look at, you know, 0:19:48.280 --> 0:19:49.800 it's visually not boring. 0:19:50.440 --> 0:19:53.920 Speaking of visually not boring, we've already touched on Jack 0:19:53.960 --> 0:19:58.040 Palance's presence in this, and I think one of the 0:19:58.119 --> 0:20:00.560 key things about Jack Palance, again, the intense. He is great, 0:20:00.600 --> 0:20:03.760 but there is an inherent weirdness that Palance brings to 0:20:03.840 --> 0:20:07.159 any picture, whether you're looking at a blockbuster film that 0:20:07.200 --> 0:20:08.720 he was in. You know, if you're looking at you 0:20:08.720 --> 0:20:11.680 could be looking at City Slickers or Batman or Shane 0:20:11.760 --> 0:20:15.359 or Outlaw of Gore or anything like when he shows up, Like, 0:20:15.600 --> 0:20:18.520 if there's nothing else weird about the film, Palance is 0:20:18.560 --> 0:20:19.200 the weirdness. 0:20:19.600 --> 0:20:22.919 It's like he's always just about to start telling you 0:20:23.000 --> 0:20:28.080 about his erotic model train hobby. It's just he's got 0:20:28.119 --> 0:20:31.720 secrets and they're bursting out, they're about to leak out 0:20:31.720 --> 0:20:32.359 of his face. 0:20:32.840 --> 0:20:34.760 I should also add that Palance has this kind of 0:20:35.200 --> 0:20:38.680 captain ahab vibe throughout the film too, so you're you're 0:20:38.680 --> 0:20:42.120 never really sure if you can trust him him, You're 0:20:42.119 --> 0:20:43.600 not really sure if you can trust the character. And 0:20:43.640 --> 0:20:46.399 I think there's there's something about that that Palance brings 0:20:46.400 --> 0:20:48.840 to most films, like he is you look, just look 0:20:48.880 --> 0:20:51.199 at him, and this is not leading man, This is 0:20:51.240 --> 0:20:54.720 not the hero. This is a potential villain at least. 0:20:55.440 --> 0:20:58.040 And so yeah, he really feels like this tweener character. 0:20:58.280 --> 0:21:00.199 Yeah, I agree with that. You walk into him his 0:21:00.480 --> 0:21:03.240 gas station and he starts talking to you about hunting 0:21:03.320 --> 0:21:05.720 and that sort of thing. You don't know if you 0:21:05.760 --> 0:21:08.000 can rely on him when he later shows up in 0:21:08.040 --> 0:21:09.040 the dark with a gun. 0:21:09.520 --> 0:21:12.520 Yeah. Now, one of the beautiful things about this film 0:21:12.640 --> 0:21:15.679 is that Jack Palance is not the only creepy old 0:21:15.760 --> 0:21:19.000 man character played by an established character actor, because we 0:21:19.040 --> 0:21:21.000 also have Martin Landau in this picture. 0:21:21.200 --> 0:21:23.600 No, they really swung for the bleachers, I mean with 0:21:24.160 --> 0:21:27.359 the casting here, so it's got Martin Landel. Also Martin Landel, 0:21:27.760 --> 0:21:30.720 I'd say one of my favorite old character actors. He 0:21:31.640 --> 0:21:34.920 gives one of the best movie performances of all time 0:21:35.000 --> 0:21:39.360 playing Bella Legosi. And Tim Burton's ed Wood. I've kind 0:21:39.359 --> 0:21:42.960 of you know, I hate to talk smack, but I've 0:21:43.040 --> 0:21:45.840 kind of gotten tired of Tim Burton movies in the 0:21:45.880 --> 0:21:47.680