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

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Speaker 1: My Heart Radio. Hey, welcome to Weird House Cinema. This

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Speaker 1: is Rob Lamb and this is Joe McCormick. And as

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Speaker 1: we enter the Halloween season on Weird House Cinema, one

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Speaker 1: of our favorite times of the year. Why would I

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Speaker 1: even say one of clearly our favorite time of the year.

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Speaker 1: We are going to be doing a series of horror

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Speaker 1: movies on on Weird House this month. Uh, and we're

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Speaker 1: kicking it off today with Phantasm. I first saw this

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Speaker 1: movie projected onto a wall when I was in college.

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Speaker 1: I had absolutely no knowledge whatsoever about it going in.

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Speaker 1: I just knew they're showing a horror movie projecting it

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Speaker 1: on a wall. I gotta go see it. And I

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Speaker 1: think it was about the time we got to Reggie

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Speaker 1: Banister in his ice cream Man outfit that I started

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Speaker 1: to really wonder what I had gotten myself in too.

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Speaker 1: By the end, I was totally amazed. I was, in

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Speaker 1: fact agg and I could not tell you if what

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Speaker 1: I had just watched was a good movie or a

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Speaker 1: bad movie, but either way, I was transfixed. Yes, it

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Speaker 1: is a film that that transfixes one. It's a film

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Speaker 1: that that hypnotizes you, and yeah, I think I you know,

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Speaker 1: I have our time. Remember when I saw this one

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Speaker 1: for the first time, because I think I saw Phantasm

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Speaker 1: to first. I think I saw it on Joe Bob

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Speaker 1: Briggs Monster Vision on T and T back in the day.

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Speaker 1: I think they would they would show this film quite

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Speaker 1: a lot and at that but at that point I

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Speaker 1: was hooked. And then I started picking up these other

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Speaker 1: Phantasm films, renting them and so forth. But yeah, this

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Speaker 1: is N nine Phantasm. We're going to be discussing this.

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Speaker 1: This is definitely a film with a dreamlike quality to it.

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Speaker 1: It's really it's one we've we've kind of had in

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Speaker 1: the back pocket for a while because it is a

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Speaker 1: quintessential psychotronic film. Um, it just all the this check

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Speaker 1: off on this one. I would say that it is

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Speaker 1: more than just a dream like quality. So you might

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Speaker 1: compare it to the films of Luccio Fulci years that,

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Speaker 1: you know, this Italian filmmaker who made strange, kind of

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Speaker 1: beautiful but gross horror films that often many scenes feel

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Speaker 1: like a dream because you're like, wait, why are we here,

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Speaker 1: how did we get here? Why is the person doing that?

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Speaker 1: There's a kind of dream logic connecting everything. Phantasm does

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Speaker 1: have that, but I would say it goes a step

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Speaker 1: farther in that. Unlike full cheese films, Phantasm is literally

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Speaker 1: a recursive series of dreams as best I can tell,

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Speaker 1: I mean, who who knows? Like there are at least

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Speaker 1: four times in the movie where a character appears to

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Speaker 1: wake up from a dream. It is not clear when

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Speaker 1: the dreams started or when the dream ended. What's a

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Speaker 1: dream and what's reality? Yeah, yeah, I think that's that's

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Speaker 1: a good way of putting it now. I want to

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Speaker 1: also note from from the get go here that this

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Speaker 1: is a film with a both a devoted following and

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Speaker 1: multiple sequels that build on its lore to varying degrees.

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Speaker 1: We're mostly just going to be focusing on the first

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Speaker 1: film on nine Phantasm. I'm going to bring up the

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Speaker 1: sequel a little bit, but for the most part, I

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Speaker 1: haven't seen the other Phantasm films in a long while,

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Speaker 1: and I and I haven't seen the final entry in

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Speaker 1: the series, sixteen Phantasm Ravager, at all. So yeah, we're

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Speaker 1: mostly going to be discussing Phantasm from seventy nine on

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Speaker 1: its own terms. I have not seen any of the

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Speaker 1: sequels if this were years ago, I might try to

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Speaker 1: mount an attempt to watch them all, kind of like

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Speaker 1: I did when I was like, oh, this is the

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Speaker 1: year I watch all the hell Raiser movies. That was

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Speaker 1: a good use of my time. Uh, But I don't

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Speaker 1: know if I'm going to make it now. I don't

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Speaker 1: know if I will get past P two. Yeah. P

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Speaker 1: two is a good stopping play in place, So I'll

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Speaker 1: discuss P two in a little bit. I think I

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Speaker 1: think that they're they're they're both very different films, and

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Speaker 1: they're both very very fun and they're in different ways.

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Speaker 1: But coming back to seventy nine Phantasm, let's let's hit

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Speaker 1: the elevator pitch on this one. I'd like to paraphrase

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Speaker 1: the words of one Shack by saying, um, you can

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Speaker 1: summarize this one as flying balls, dwarves just weird. Phantasm

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Speaker 1: does not shy away from the otherworldly imagery, probably the

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Speaker 1: most iconic of which is the first thing you mentioned,

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Speaker 1: the flying ball. In a way, what Jason's hockey mask

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Speaker 1: is to the Friday Thirteenth series, I believe the ball

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Speaker 1: is to the Phantasm series in that it is not

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Speaker 1: really the human villain, but it is like the symbol

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Speaker 1: of the villain's power. Right. And also it is something

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Speaker 1: just in terms of like elements of the film that

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Speaker 1: cannot just be passively copied by another film. Like if

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Speaker 1: you have a character a killer, especially in another movie,

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Speaker 1: put on a hockey mask, well, you just cross the line.

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Speaker 1: You're in Jason's territory now, uh, And not necessarily mean

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Speaker 1: that from a legal standpoint, but from just a crea

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Speaker 1: ative standpoint, like you are now clearly in the shadow

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Speaker 1: of Jason. You may have already been in the shadow,

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Speaker 1: but now you stepped entirely within the you know, the

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Speaker 1: Umbrell shade there. Likewise in with this film, Yeah, flying

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Speaker 1: silver balls of death. You can't just have a flying

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Speaker 1: silver ball of death in your film or your story

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Speaker 1: or what have you without clearly saying yes, I come

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Speaker 1: in the wake of phantasm. Before you even understand the

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Speaker 1: context of the ball, we should describe what the ball is.

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Speaker 1: It's a metal ball that flies through the air, flies

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Speaker 1: at your face. It attaches itself to your forehead via

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Speaker 1: a couple of little hooks I guess that get in

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Speaker 1: your head, and then it drills into your head and

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Speaker 1: then drains your body entirely of blood. In a jet

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Speaker 1: that shoots out the back of the ball. Yeah, and

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Speaker 1: they're so great because and I love I love just

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Speaker 1: thinking about what makes them great because there, and again

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Speaker 1: largely keeping things relegated to the original film, here, they

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Speaker 1: seem to be machine means, they are pieces of technology.

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Speaker 1: They're they're very good at what they do, but they

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Speaker 1: can be evaded, they can be to certain degrees outsmarted.

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Speaker 1: And then there's also something about the way they function

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Speaker 1: that feels not only alien in origin, but also maybe

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Speaker 1: alien in function. Like it makes me think of parasitic

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Speaker 1: infections where the parasite goes awry because it's not supposed

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Speaker 1: to be in a human body and it's not supposed

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Speaker 1: to wind up in the brain. Like you almost feel

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Speaker 1: like this is a machine that was made to interface

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Speaker 1: with a different biological form, and what we're seeing here

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Speaker 1: is it executing its purpose on a body that it

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Speaker 1: wasn't designed for. That's a very good comparison. Yes, this

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Speaker 1: flying metal ball is sort of like the toxoplasma Gandhi

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Speaker 1: of the Red Planet that the aliens in this movie

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Speaker 1: come from. In fact, I was reading a bit of

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Speaker 1: trivia about this movie, and apparently the idea for Phantasm

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Speaker 1: traces back to a dream that the director Don Costcarelli

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Speaker 1: had when he was a teenager. He dreamed that he

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Speaker 1: was running down these endless corridors, marble corridors that never stopped,

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Speaker 1: and he just kept running and running because he was

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Speaker 1: being chased by a chrome sphere, a floating chrome ball

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Speaker 1: that wanted to penetrate his skull with a needle. And

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Speaker 1: that's a pretty scary image. I am surprised how well

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Speaker 1: that worked on screen. Yeah, it did, It absolutely does.

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Speaker 1: All right, Well, let's go ahead and hear the trailer

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Speaker 1: for Phantasm. Phantasm. Is it a nightmare? Phantasm? Is it

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Speaker 1: an illusion? Phantasm? Whatever it is. If this one doesn't

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Speaker 1: scare you, you're already dead Phantasm. All right. I love

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Speaker 1: this trailer, great trailer. I love the line if this

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Speaker 1: one doesn't scare you, you're already dead, because it makes

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Speaker 1: it sound like they should have another message at the

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Speaker 1: end of the movie that says like, are you alive,

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Speaker 1: then we're pleased to hear you enjoyed Phantasm. So we've

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Speaker 1: already compared Phantasm to some Italian horror movies, especially full

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Speaker 1: cheese movies, because of its dream equality and colorful lucid imagery.

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Speaker 1: But another point of comparison I would like to raise

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Speaker 1: is that Phantasm kind of reminds me of the films

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Speaker 1: of very low budget independent amateur filmmakers, or maybe not

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Speaker 1: necessarily amateur, but but low budget independent filmmakers, even going

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Speaker 1: back to the fifties, like Ed Wood and Roger Corman.

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Speaker 1: Of course, you know you're gonna have different levels of

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Speaker 1: ability to realize one's vision in there, but it has

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Speaker 1: that same scrappiness that it feels like an improvised production

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Speaker 1: of young people who didn't necessarily always know what they

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Speaker 1: were doing or have all the permits they needed, or

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Speaker 1: have the money to to realize everything in the in

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Speaker 1: the glossiest possible way. And yet it does kind of

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Speaker 1: come together with an infectious enthusiasm and a kind of

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Speaker 1: irresistible energy, even though it kind of lacks a sense

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Speaker 1: of worldliness or experience. Yeah, absolutely, it does have that

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Speaker 1: that that scrappiness to it. So let's let's get into

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Speaker 1: the individuals behind this scrappiness, because yes, this is a

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Speaker 1: Don Cosarelli picture. Don Cosarelli was born in nineteen fifty four.

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Speaker 1: He is the director, the writer, the cinematographer, and the

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Speaker 1: film editor on this movie. He was I believe twenty

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Speaker 1: three years old when filming started, in twenty five years

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Speaker 1: old when it was released, and this was his third picture,

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Speaker 1: following Jim the World's Greatest in nineteen seventy six. Is

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Speaker 1: Kinny and Company. Phantasm makes so much more sense once

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Speaker 1: you shared this fact with me, that that Costcarelli was

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Speaker 1: twenty three when he started making it. It has such

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Speaker 1: early twenties energy, again coming back to that lack of

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Speaker 1: wisdom and worldliness, but at the same time a thing

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Speaker 1: that makes up for it, which is an absolutely like

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Speaker 1: it is a leaky vessel of the essence of fun.

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Speaker 1: It's just like kind of you feel the excitement about

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Speaker 1: making a movie within this movie. Yeah, yeah, absolutely, it's

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Speaker 1: um there's I think there's a lot to this film

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Speaker 1: that does line up perfectly, this idea of the twenty

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Speaker 1: three year old filmmaker, um of you know, early twenties

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Speaker 1: dreamer who's also exploring exploring some familiar topics. A lot

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Speaker 1: of horror films deal with sex and death, too. Many

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Speaker 1: horror films probably deal with the dichotomy of sex and death,

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Speaker 1: but this one does so in a I thought a

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Speaker 1: very uh fascinating way, Like you get the feeling of

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Speaker 1: the of of the youth standing you know, outside of

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Speaker 1: childhood but not within the adult world, confronted by the

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Speaker 1: mysteries of death, of of sex and uh and and

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Speaker 1: just trying to figure out what these are and like

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Speaker 1: why and to what extent they are threats to him,

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Speaker 1: to what extent they are his destiny. We see all

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Speaker 1: of that wound up in the character of Mike. Uh. Yeah,

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Speaker 1: it's uh, it's it's it's really fascinating to to look

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Speaker 1: back on and really gaze long and deep into the

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Speaker 1: phantasm here. So you mentioned that Costcarelli had made a

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Speaker 1: couple of movies before Phantasm that were not horror movies. Uh, though,

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Speaker 1: there is a there's a story that I think comes

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Speaker 1: from the audio commentary track that he recorded for the movie.

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Speaker 1: But anyway, wherever it comes from, the story is that

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Speaker 1: he got the idea to make a horror film because

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Speaker 1: when he was sitting in an audience that was watching

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Speaker 1: his earlier movie Kenny and Company, which I've never seen.

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Speaker 1: I don't know what to deal with it is Apparently

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Speaker 1: there's a jump scare moment in it, like a character

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Speaker 1: puts on a scary mask and jumps out, and he

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Speaker 1: watched the way the audience reacted to this jump scare moment,

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Speaker 1: and he was just he was so into it the

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Speaker 1: way that they like they literally jumped from their seats

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Speaker 1: and screamed, and he was like, I gotta make a

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Speaker 1: whole movie of this. I'm doing horror now. Yeah. I

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Speaker 1: do like that he came into this after having made

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Speaker 1: two non horror films that I think both reviven't seeen

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Speaker 1: either of than either, but I think they both revolved

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Speaker 1: largely around young people in the lives of young people.

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Speaker 1: And then he moves on into horror. A lot of

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Speaker 1: people had jumped right into the horror, and so I

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Speaker 1: think that's another reason that Phantasm works so well, is

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Speaker 1: that it it's not just obsessed with like, let's get

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Speaker 1: some gore up there on the screen, Like there is

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Speaker 1: also this attention to, uh, this the central youth character

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Speaker 1: in the in the film, and what he's thinking and

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Speaker 1: what he now he's processing everything. Another way that Costcarrelli's

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Speaker 1: vision feels it is distinctly young to me is the

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Speaker 1: way the movie tries to pack in a lot of

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Speaker 1: elements that are not necessarily they don't necessarily like fit smoothly,

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Speaker 1: but he's just trying to get a lot of stuff

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Speaker 1: in there. And I think part of that is also

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Speaker 1: explained by another trivia fact I read about the movie,

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Speaker 1: which is that um he apparently at one point talked

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Speaker 1: about how he remembered when he was a kid, he

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Speaker 1: would see like ads and trailers for horror movies that

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Speaker 1: would seem really exciting, but then when you would go,

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Speaker 1: why the actual movie of just be people sitting around

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Speaker 1: talking for most of the movie. There were actually very

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Speaker 1: few scares in them. The scares were already in the trailer,

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Speaker 1: and he wanted to make a movie that had a

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Speaker 1: scary moment at least every five minutes. That is just

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Speaker 1: packed with with little scares and weird things. And it

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Speaker 1: kind of reminds me of the story of Roger Corman

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Speaker 1: telling Charles B. Griffith, Okay, when you write Attack of

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Speaker 1: the Crab Monsters, the important thing is it has to

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Speaker 1: have action or horror on every page. Yeah. Phantasm doesn't

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Speaker 1: really hold anything back, and it keeps you on your

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Speaker 1: toes that way it is, and I think also builds

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Speaker 1: into that dreamline quality. If things are making sense and

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Speaker 1: seeming normal, how long are they going to do that?

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Speaker 1: What can happen? And eventually you feel like anything can

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Speaker 1: happen at any moment. Now, this film, like we said,

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Speaker 1: the scrappiness of it, it was made for. I think

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Speaker 1: it's been estimated for around three hundred thousand. Though um,

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Speaker 1: I think the estimation there is kind of rough because

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Speaker 1: I don't think they were really keeping super you know,

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Speaker 1: accurate records. Uh ended up grossing millions though, Uh it

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Speaker 1: was a success with with with audiences and some critics.

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Speaker 1: I was looking back, I noticed that Ebert was not

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Speaker 1: a big fan of Phantasm and like Phantasm to even less.

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Speaker 1: But Michael Weldon of the Psychotronic film Guides, Uh, he

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Speaker 1: loved it. It's one of his favorites. He celebrated it

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Speaker 1: as quote a unique, confascinating horror hit with more satisfying

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Speaker 1: surprises than you could find in a dozen other recent offerings.

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Speaker 1: And that was written and I think eighty three. So this,

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Speaker 1: this film really established Casarelli within the horror realm. He

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Speaker 1: followed this up with three's Beast Master, which I think

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Speaker 1: is also a pretty solid film in my opinion anyway,

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Speaker 1: and certainly one that is a chief cult status. You

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Speaker 1: got some stars for that one, right, Uh, who who's

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Speaker 1: in it? Ripped horn? Ripped horn? Is in it? Um

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Speaker 1: the beast Master. They got the beast Master for it,

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Speaker 1: which is ideal since it's about the beast Master. What

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Speaker 1: Mark Singer? Yeah, yeah, so yeah, we we We talked

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Speaker 1: about beast Master two on a past episode of Weird House.

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Speaker 1: So if you want more beast Master, actually go back

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Speaker 1: to that one. But again, I think eighty three beast

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Speaker 1: Master pretty solid. Uh. In In Coscarelli's defense, he did

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Speaker 1: not direct beast Master two. That was somebody else, right now.

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Speaker 1: Coscarelli did come back to direct and write Phantasm two

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Speaker 1: in Phantasm three Lord of the Dead in and Phantasm

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Speaker 1: four Oblivion in. His non Phantasm directional credits also include

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Speaker 1: Survival Quest in eighty eight Bubba Ho Tap in two

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Speaker 1: thousand and two. He did a Masters of Horror episode

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Speaker 1: uh titled in Incident On and Off a Mountain Road

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Speaker 1: from two thousand and five. Both that in Bubba Ho

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Speaker 1: Tap are based on Joe Landsdale stories. He did John

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Speaker 1: Dies at the End in twelve, and he also directed

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Speaker 1: the Dio music video The Last in Line in four,

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Speaker 1: a Dio music video, I Gotta look that up after this. Yeah,

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Speaker 1: I'm not familiar with their their music video, so I've

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Speaker 1: I read a few more Internet trivia anecdotes about about

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Speaker 1: Don Coscarelli in the making of this movie, one of

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Speaker 1: which again contributing to the general idea of budgetary scrappiness.

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Speaker 1: Apparently they they really juiced every last drop they could

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Speaker 1: get out of their camera and equipment rentals. So one

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Speaker 1: of the stories is that they would shoot on the weekends.

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Speaker 1: I think that took them like over a year to

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Speaker 1: shoot this movie because they were pretty much just shooting

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Speaker 1: on weekends and they would rent their camera equipment on

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Speaker 1: Fridays and return it on Mondays. So they're they're technically

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Speaker 1: only paying for one business day of rental, but then

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Speaker 1: they would use it all weekend. Another thing is some

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Speaker 1: of the stories about the production make it sound like

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Speaker 1: they were not practicing industry safety standards for for SAE

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Speaker 1: stunts and and kind of dangerous uh the achievement of

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Speaker 1: dangerous shots. So there were stories of the director like

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Speaker 1: personally doing camera work for like filming some of the

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Speaker 1: car chase sequences uh in and not the best way.

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Speaker 1: Like one thing they did is you know, usually when

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Speaker 1: you see characters inside a car and a movie talking. Uh,

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Speaker 1: the car is not actually moving. They'll have you know,

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Speaker 1: them sitting in a stationary car, and then they will

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Speaker 1: somehow simulate the movement of the outside world around the car.

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Speaker 1: If it's at night, they might just like move lights

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Speaker 1: around where they might have a rear projection or something

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Speaker 1: like that. Uh. That that's often how they do it.

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Speaker 1: In this movie, they just they just actually had characters

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Speaker 1: driving the cars and they were acting at the same time.

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Speaker 1: That's not usually a great idea. But another story is

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Speaker 1: that there's a scene in the movie where there's like

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Speaker 1: a car chase where one of the characters, Jodi, is

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Speaker 1: shooting a gun at another car that's chasing them. And

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Speaker 1: I think they actually did film this with moving cars,

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Speaker 1: with the director sort of like sitting on the trunk

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Speaker 1: of a moving car filming. Uh you know, the actor

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Speaker 1: playing Jody popping up out of the window and shooting

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Speaker 1: at the car behind them with a shotgun. Right. I

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Speaker 1: think it had blanks, But even that can be dangerous that.

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Speaker 1: I love realistic effects too, but uh, movie production note.

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Speaker 1: You know, no movie is worth somebody actually getting hurt

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Speaker 1: or killed. You know, practice safety on sets. People now

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Speaker 1: This was very much a Costcarelli family labor of love

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Speaker 1: here because the producer on this was Dat Coscarelli, who

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Speaker 1: was also dad investment counselor at the time, who helped

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Speaker 1: his son fund the film and later served as EP

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Speaker 1: on Don's other films. And then mom was also involved.

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Speaker 1: Kate Cosarelli, who lived seven through nine. She did make up, production, design, wardrobe.

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Speaker 1: She uh. She also this is super interesting. She was

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Speaker 1: already a novelist apparently, if I'm understanding this correctly, She

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Speaker 1: wrote books like Leading Lady, Fame and Fortune, but she

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Speaker 1: herself wrote the novelization of Phantasm based on her son's screenplay,

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Speaker 1: which I think is that's that's adorable. I love that

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Speaker 1: she had to knife fight Alan Dean Foster for the rights. Yeah.

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Speaker 1: I don't know how how that went down, but it's yeah,

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Speaker 1: it's apparently I was looking around for any signs of

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Speaker 1: apparently a very sought after book, uh for a die

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Speaker 1: hard Phantasm fans, But I did run across a few

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Speaker 1: quotes here and there her talking about at adapting it

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Speaker 1: and you know, picking up on little details in the

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Speaker 1: film and working those out, so uh, yeah, it was

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Speaker 1: it seemed like a labor of love for her. All right,

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Speaker 1: let's get into the cast we mentioned Mike. Mike is

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Speaker 1: the youth. Mike is the central character and Phantasm and

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Speaker 1: Mike was played by A. Michael Baldwin born nineteen sixty three,

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Speaker 1: apparently son of animator Gerald Baldwin, and Will worked on

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Speaker 1: a number of older animated shows. Uh So. A. Michael

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Speaker 1: Baldwin was a child actor who appeared as early as

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Speaker 1: nineteen seventy six and episodes of Star Ski and Hutch

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Speaker 1: and Eight Is Enough. Later on, he started as Ug

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Speaker 1: and Kenny and Company from seventy six. That's Doun's one

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Speaker 1: of Don's previous films, and his post Phantasm acting career

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Speaker 1: is is pretty phantasm heavy, and I believe he went

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Speaker 1: on to teach acting. Um, none of this matters though,

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Speaker 1: because he's I think he's absolutely perfect and phantasm. He's

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Speaker 1: this believably awkward and childlike but still you know, clearly,

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Speaker 1: you know, be beyond the limits of childhood. He's. But

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Speaker 1: he's also even though he's awkward, he's still charismatic enough

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Speaker 1: to serve as the hero of the film, and you know,

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Speaker 1: to be this action based character when it's right. Uh So, Yeah,

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Speaker 1: I absolutely love a Michael Baldwin's performance here, and I

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Speaker 1: can understand why fans were disappointed that his role was

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Speaker 1: recast in Phantasm too. I'm gonna ask a question about Mike,

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Speaker 1: but this also applies to Jody and especially Reggie. How

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Speaker 1: old is anybody in this movie supposed to be? Yeah,

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Speaker 1: it's a little a little foggy, right because Mike, for instance, I,

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Speaker 1: you know, I think it would be reasonable to think

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Speaker 1: of him as like as as being a high school graduate.

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Speaker 1: We haven't, but we have no idea like where he

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Speaker 1: is in terms of high school. I assume he's done.

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Speaker 1: Like we don't see we don't I don't think we

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Speaker 1: really see much in the way of friends. There are

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Speaker 1: a few people here and there. There's no I don't

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Speaker 1: think mentioned of school. I don't remember anything about like

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Speaker 1: his plans for the future. But in a way that's

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Speaker 1: kind of perfect, like that it's perfect for this this

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Speaker 1: kind of character who is adrift in the very early

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Speaker 1: stages of adulthood, that has no concept of like what

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Speaker 1: the future means for him, and he's already a feeling

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Speaker 1: himself detached or partially detached from the protective aura of childhood.

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Speaker 1: That's interesting, You read him as as a high school graduate.

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Speaker 1: I don't know. So he drives a car that you

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Speaker 1: can't tell if he's supposed to be doing that legally, um,

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Speaker 1: and he like knows how to fix cars and things

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Speaker 1: like that, and there are other things that would suggest

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Speaker 1: he's older. But sometimes also he actually his character is

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Speaker 1: supposed to be twelve, Yes, definitely, but how much of

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Speaker 1: that is he like just kind of an immature, you know,

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Speaker 1: young adult like, but it is very vague, and I

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Speaker 1: think that's one of the things that works about it,

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Speaker 1: Like he's he's a child, but he's he's a youth,

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Speaker 1: but he's he's not he's certainly I don't think we

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Speaker 1: would say that he's fully you know, in the area

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Speaker 1: of adulthood yet because on one level, I don't think

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Speaker 1: he has a job or anything. Uh. And his room,

402
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Speaker 1: as we'll discuss in a bit, is still very much

403
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Speaker 1: feels like a fortress of of of childhood. It feels

404
00:23:33,200 --> 00:23:35,439
Speaker 1: like a place where you were safe, or you should

405
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Speaker 1: be safe from from sex and death and other complexities

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Speaker 1: of the grown up world. I love Mike's room, especially

407
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Speaker 1: because he's got I don't know how they achieve this,

408
00:23:45,359 --> 00:23:49,080
Speaker 1: he's got like a wall sized poster of the surface

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Speaker 1: of the moon with the Earth in the background. Is

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Speaker 1: that supposed to be just a single poster that you

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Speaker 1: buy somewhere. I don't know how they achieve, but it's

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Speaker 1: it's floor to ceiling. It's gigantic. It's absolutely dope. And

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Speaker 1: then he has this the seventies crocheted blanket. It's like

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Speaker 1: yellow and green, and I love those things. I think

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Speaker 1: I've I've napped with that very blanket before You're wrong.

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Speaker 1: It's not yellow and green. It is white, brown and gold. Oh,

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Speaker 1: that's very good, seventies colors. All right, So that's Mike.

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Speaker 1: But Mike has a brother. Jody's Mike's brother, right, yeah, alright.

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Speaker 1: It's pretty sure on that, but you know, you know

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Speaker 1: how it goes, okay. So Jody is played by Bill

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Speaker 1: Thornbury born two actor, a musician. Prior to Phantasm, he

422
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Speaker 1: appeared in Summer School Teachers and an episode of The

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Speaker 1: Rockford Files. Afterward, he appeared in the TV series Secret

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Speaker 1: of Midland Heights, The Lost Empire, and also in Phantasms

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Speaker 1: three through five. He also wrote the song in Phantasm,

426
00:24:50,640 --> 00:24:53,960
Speaker 1: sitting here at Midnight. Uh, this is a perfectly fine performance.

427
00:24:54,240 --> 00:24:57,720
Speaker 1: No notes always, is this when we talk about sitting

428
00:24:57,720 --> 00:24:59,359
Speaker 1: here at midnight? Or should we save that for the

429
00:24:59,400 --> 00:25:01,959
Speaker 1: scene in the We should say that because it involves

430
00:25:02,000 --> 00:25:05,639
Speaker 1: characters and actors we haven't introduced yet. Okay, alright, but

431
00:25:05,880 --> 00:25:09,119
Speaker 1: really one of the true stars of this film and

432
00:25:09,160 --> 00:25:13,280
Speaker 1: Phantasm films in general, is the character Reggie, played by

433
00:25:13,320 --> 00:25:20,159
Speaker 1: the actor Reggie Banister. Born horror action icon and musical

434
00:25:20,240 --> 00:25:23,320
Speaker 1: legend Reggie Banister. Uh. Reggie is great in this and

435
00:25:23,440 --> 00:25:27,440
Speaker 1: all subsequent Phantasm films. Uh. He's the perfect mix of

436
00:25:27,480 --> 00:25:31,119
Speaker 1: the improbable and the believable. He's cool, but he's like

437
00:25:31,200 --> 00:25:34,760
Speaker 1: every day cool. He's relatable but can sell the extreme

438
00:25:34,840 --> 00:25:38,000
Speaker 1: situations and threats happening all around him. Reggie Banister is

439
00:25:38,040 --> 00:25:41,200
Speaker 1: such a weird and wonderful presence. I could not imagine

440
00:25:41,240 --> 00:25:44,719
Speaker 1: this movie without him. But every scene where he shows up,

441
00:25:44,800 --> 00:25:48,480
Speaker 1: it adds an additional level of of humor, just like

442
00:25:48,640 --> 00:25:52,280
Speaker 1: because of UM. I don't mean to be insulting in

443
00:25:52,320 --> 00:25:54,520
Speaker 1: this way, but like the way he looks and the

444
00:25:54,560 --> 00:25:58,159
Speaker 1: way he's dressed, and everything is almost always funny in

445
00:25:58,200 --> 00:26:01,879
Speaker 1: this movie. Uh, it's that they give him this ice

446
00:26:01,920 --> 00:26:04,600
Speaker 1: cream man outfit that we'll we'll have to discuss later.

447
00:26:05,160 --> 00:26:08,920
Speaker 1: But he also brings a very strange kind of winking

448
00:26:08,960 --> 00:26:12,360
Speaker 1: attitude to things. For the longest time after I saw

449
00:26:12,400 --> 00:26:16,960
Speaker 1: this movie, I did not realize this actor was a

450
00:26:17,040 --> 00:26:20,000
Speaker 1: different guy from Dean Norris. I used to think that

451
00:26:20,080 --> 00:26:24,440
Speaker 1: Dean Norris was in Phantasm and he was playing Reggie. Yeah,

452
00:26:24,440 --> 00:26:26,200
Speaker 1: they have similar looks. He's he kind of looks like

453
00:26:26,280 --> 00:26:29,199
Speaker 1: Dean Norris with a ponytail and sideburns. I feel like

454
00:26:29,240 --> 00:26:33,080
Speaker 1: the character of Reggie here is kind of again coming

455
00:26:33,119 --> 00:26:35,399
Speaker 1: back to this youthful energy. It is like a a

456
00:26:35,600 --> 00:26:38,879
Speaker 1: child or a young person's idea of an adult who

457
00:26:38,960 --> 00:26:41,400
Speaker 1: has it all together. You know, they're like, oh, look

458
00:26:41,440 --> 00:26:43,520
Speaker 1: at look at uncle Reggie. Man, he's got it not

459
00:26:44,240 --> 00:26:47,040
Speaker 1: he's He's got this cool job as the ice cream man,

460
00:26:47,720 --> 00:26:50,240
Speaker 1: and he still has time to jam on front porches.

461
00:26:50,600 --> 00:26:52,199
Speaker 1: I want to be like Reggie when I grow up.

462
00:26:52,320 --> 00:26:54,160
Speaker 1: And what of course, when you grow up, you realize, like, oh, man,

463
00:26:54,200 --> 00:26:56,560
Speaker 1: Reggie's life was kind of a mess at the time.

464
00:26:56,600 --> 00:26:59,280
Speaker 1: He was going through some stuff. Um, you know, a

465
00:26:59,280 --> 00:27:01,320
Speaker 1: good guy, but you know, he did not have it

466
00:27:01,359 --> 00:27:04,919
Speaker 1: all together, but he seemed so cool. Yeah, and he

467
00:27:05,040 --> 00:27:08,600
Speaker 1: is within the context that, Yeah, Reggie's cool. Yeah, and

468
00:27:08,680 --> 00:27:10,480
Speaker 1: part of it is yet you don't know anything else

469
00:27:10,480 --> 00:27:12,119
Speaker 1: about him, really, I mean, you know a little stuff,

470
00:27:12,119 --> 00:27:14,199
Speaker 1: but yeah, you don't. You don't have all these other details.

471
00:27:14,240 --> 00:27:16,840
Speaker 1: In subsequent films, they have to make him more like

472
00:27:17,200 --> 00:27:19,960
Speaker 1: tragic and you know, revenge focused and so forth. But

473
00:27:20,000 --> 00:27:21,800
Speaker 1: this and this one, he's just a He's just a

474
00:27:21,880 --> 00:27:24,840
Speaker 1: dude going about his life and then some stuff starts

475
00:27:24,840 --> 00:27:27,520
Speaker 1: going down around him and he he gets involved. Is

476
00:27:27,560 --> 00:27:31,960
Speaker 1: Reggie supposed to be twenty or fifty? I don't know.

477
00:27:32,119 --> 00:27:34,879
Speaker 1: It's it's unknown. It's as unknown as the as it

478
00:27:34,920 --> 00:27:37,240
Speaker 1: would be to the youth who is looking up to him,

479
00:27:37,280 --> 00:27:39,160
Speaker 1: I guess. But I don't think he's supposed to be

480
00:27:39,240 --> 00:27:42,800
Speaker 1: too old, right, No, he's just generally adult. But like

481
00:27:42,880 --> 00:27:47,600
Speaker 1: within the range of adults, that's it's it's up for grabs. Yeah.

482
00:27:47,760 --> 00:27:52,480
Speaker 1: So the real Reggie Banister was was Slash is Vietnam,

483
00:27:52,640 --> 00:27:56,600
Speaker 1: that turned actor who started out in these early Cossarelli films.

484
00:27:56,840 --> 00:27:59,040
Speaker 1: I think he was in all of his films except

485
00:27:59,040 --> 00:28:01,840
Speaker 1: for Beast Master and the Masters of Horror episode that

486
00:28:01,880 --> 00:28:04,000
Speaker 1: I mentioned earlier, like at least had some sort of

487
00:28:04,119 --> 00:28:06,840
Speaker 1: small role. He branched out into some other works such

488
00:28:06,920 --> 00:28:11,439
Speaker 1: as l a Law, Silent Night, Deadly Night for wish Master,

489
00:28:11,760 --> 00:28:14,159
Speaker 1: and many other horror titles over the years. I think

490
00:28:14,200 --> 00:28:15,879
Speaker 1: a lot of it is like he he had this,

491
00:28:16,280 --> 00:28:18,639
Speaker 1: he submitted his status as as an icon in the

492
00:28:18,680 --> 00:28:20,960
Speaker 1: Phantasm films, and that, you know, that got him a

493
00:28:21,000 --> 00:28:22,560
Speaker 1: lot of work. He's apparently, like you know, does a

494
00:28:22,600 --> 00:28:25,359
Speaker 1: lot of conventions or has over the years. Uh. He

495
00:28:25,400 --> 00:28:27,720
Speaker 1: also put out an album in two thousand and eight

496
00:28:27,760 --> 00:28:32,639
Speaker 1: titled Naked Truth by the Reggie Banister Band, and uh, yeah,

497
00:28:32,680 --> 00:28:35,280
Speaker 1: Reggie Rocks. There needs to be an official action figure

498
00:28:35,600 --> 00:28:38,720
Speaker 1: of him because we have we have action figures of

499
00:28:38,960 --> 00:28:42,080
Speaker 1: less noble characters. Oh well, I wouldn't. I wasn't gonna

500
00:28:42,080 --> 00:28:44,040
Speaker 1: say less noble about this, But I've got a great

501
00:28:44,080 --> 00:28:47,000
Speaker 1: action figure of Tom Atkins from Night of the Creeps.

502
00:28:47,040 --> 00:28:49,040
Speaker 1: If we've got that, we should get a good Reggie

503
00:28:49,040 --> 00:28:51,920
Speaker 1: Banister action figure. Get Reggie on the horn. I'm sure

504
00:28:51,920 --> 00:28:55,120
Speaker 1: you can work out the licensing on this all right.

505
00:28:55,680 --> 00:28:58,040
Speaker 1: Since we're talking about a Phantasm film, we're of course

506
00:28:58,080 --> 00:29:02,480
Speaker 1: also talking about the Tall Man played by Anger Scrim

507
00:29:02,560 --> 00:29:07,960
Speaker 1: who lived through I love the vibe of Anger Scrim

508
00:29:08,000 --> 00:29:11,280
Speaker 1: as the Tall Man because it is once again not.

509
00:29:11,440 --> 00:29:15,520
Speaker 1: It doesn't just totally go down smooth. It doesn't feel like, yes,

510
00:29:15,600 --> 00:29:18,080
Speaker 1: this guy, you know, he's not Doug Bradley as pin

511
00:29:18,160 --> 00:29:21,440
Speaker 1: Head or something, just feels like born to play this character.

512
00:29:21,560 --> 00:29:26,440
Speaker 1: There's a kind of occasional awkwardness to him, an awkwardness

513
00:29:26,440 --> 00:29:28,760
Speaker 1: in the way like his posture or the way he'll

514
00:29:28,800 --> 00:29:31,000
Speaker 1: like reach out for a character and a you know,

515
00:29:31,120 --> 00:29:34,480
Speaker 1: jump scare or something. But that awkwardness fits like it

516
00:29:34,800 --> 00:29:37,440
Speaker 1: almost makes the movie better. Yeah, I think part of

517
00:29:37,440 --> 00:29:40,720
Speaker 1: it to the awkwardness is that he the real Anger

518
00:29:40,800 --> 00:29:45,480
Speaker 1: Scrim was six four, and they made him seem even taller,

519
00:29:45,600 --> 00:29:48,040
Speaker 1: you know, by various very practical effects, but one of

520
00:29:48,080 --> 00:29:51,000
Speaker 1: them was by putting him in a smaller suit. Uh So,

521
00:29:51,200 --> 00:29:53,280
Speaker 1: so he looks a little awkward just in the way

522
00:29:53,280 --> 00:29:55,440
Speaker 1: he's wearing his clothing, and it makes him feel like

523
00:29:55,560 --> 00:29:58,160
Speaker 1: he's not six four but like seven four or something.

524
00:29:58,480 --> 00:30:01,400
Speaker 1: So uh Anger Scrim him was it was his acting name,

525
00:30:01,440 --> 00:30:05,480
Speaker 1: but his real name was Lawrence Rory guy Um. He

526
00:30:05,560 --> 00:30:08,920
Speaker 1: adopted the Angus Scrim name for this film. He'd previously

527
00:30:08,960 --> 00:30:12,960
Speaker 1: been in some other works, including Casarelli's Uh Jim the

528
00:30:12,960 --> 00:30:16,160
Speaker 1: World's Greatest, and went on to star in all subsequent

529
00:30:16,200 --> 00:30:20,360
Speaker 1: Phantasm films, as well as appearing and I think often

530
00:30:20,400 --> 00:30:23,720
Speaker 1: smaller roles in films like The Lost Empire Chopping Mall.

531
00:30:24,280 --> 00:30:28,200
Speaker 1: He has a very brief cameo in that. I think

532
00:30:28,200 --> 00:30:31,560
Speaker 1: he's just present. I think he's like a new reporter

533
00:30:31,760 --> 00:30:36,680
Speaker 1: at a news conference about the new mall robots. I

534
00:30:36,720 --> 00:30:39,000
Speaker 1: don't remember that at all. It's it's even if you

535
00:30:39,040 --> 00:30:41,320
Speaker 1: know it's coming, you can miss it. It's so such

536
00:30:41,360 --> 00:30:46,120
Speaker 1: a small role. Um. He's also in Subspecies Mind Warp Munchie,

537
00:30:46,480 --> 00:30:49,040
Speaker 1: I Sell the Dead and John dies at the end.

538
00:30:49,320 --> 00:30:52,000
Speaker 1: He was He was also the opening narrator on Wes

539
00:30:52,080 --> 00:30:54,960
Speaker 1: Craven's wish Master. So if you check out the first

540
00:30:55,320 --> 00:30:57,400
Speaker 1: ten to fifteen minutes of wish Master, which is all

541
00:30:57,440 --> 00:31:00,680
Speaker 1: you need, um, you'll get a little do from him.

542
00:31:01,440 --> 00:31:04,440
Speaker 1: He was also a five time Grammy nominated and one

543
00:31:04,520 --> 00:31:09,600
Speaker 1: time Grammy winner uh for writing liner notes on classical

544
00:31:09,640 --> 00:31:13,600
Speaker 1: albums Huh. Yeah. He began his career as a writer

545
00:31:13,640 --> 00:31:16,880
Speaker 1: and a journalist, though his degree was apparently in drama. Yeah,

546
00:31:16,880 --> 00:31:20,280
Speaker 1: and apparently the stage name Angus scrim goes back to

547
00:31:20,360 --> 00:31:22,600
Speaker 1: his college days when he was getting a drama degree.

548
00:31:22,640 --> 00:31:26,280
Speaker 1: I read that he was doing plays off campus when

549
00:31:26,320 --> 00:31:28,800
Speaker 1: he technically was not allowed to do that by the

550
00:31:28,560 --> 00:31:32,320
Speaker 1: theater department that he was studying at. So he tried

551
00:31:32,360 --> 00:31:36,920
Speaker 1: to keep his off campus uh theater theater work secret

552
00:31:37,240 --> 00:31:39,640
Speaker 1: by using a different name, using a stage name, so

553
00:31:39,760 --> 00:31:41,720
Speaker 1: in case he got mentioned in a review or something,

554
00:31:41,760 --> 00:31:44,320
Speaker 1: they wouldn't be able to trace it to him. Yeah,

555
00:31:44,360 --> 00:31:46,120
Speaker 1: it's a great it's a great moniker. I love it,

556
00:31:46,200 --> 00:31:48,560
Speaker 1: and yeah, I mean Angus Angus s Grim was ultimately

557
00:31:48,800 --> 00:31:51,520
Speaker 1: like this dude was a horror icon. Like he's as

558
00:31:51,600 --> 00:31:54,880
Speaker 1: much a part of these phantasm films as Flying silver

559
00:31:54,960 --> 00:31:58,240
Speaker 1: Balls and Killer Dwarfs. So you mentioned he's in Munchy.

560
00:31:58,440 --> 00:32:01,480
Speaker 1: Is that a Groblins movie? Yes, I don't think it's

561
00:32:01,520 --> 00:32:03,400
Speaker 1: one I've seen, but there were at least a couple

562
00:32:03,400 --> 00:32:07,160
Speaker 1: of Muncheet movie I think Munchie and then Munchie's or

563
00:32:07,240 --> 00:32:10,160
Speaker 1: Munchies too. I don't take me to the bank on

564
00:32:10,240 --> 00:32:12,680
Speaker 1: that one, but yeah, those are Groundlins movies. Okay. A

565
00:32:12,680 --> 00:32:15,360
Speaker 1: couple of other humans involved in this. We have the

566
00:32:15,480 --> 00:32:20,120
Speaker 1: Lady in Lavender, who is the tall Man's female form

567
00:32:20,200 --> 00:32:26,440
Speaker 1: slash sex incarnation. Uh. She's played by Kathy Lester. Lester

568
00:32:26,760 --> 00:32:29,640
Speaker 1: is an actor and a musician, but her main roles

569
00:32:29,680 --> 00:32:32,960
Speaker 1: are this fantas the three Lord of the Dead, and

570
00:32:32,960 --> 00:32:35,360
Speaker 1: I think she also came back in the sixteen phantas

571
00:32:35,440 --> 00:32:39,280
Speaker 1: a movie ravager. Oh, and then Sally as a character

572
00:32:39,320 --> 00:32:41,920
Speaker 1: that pops up in this play by Lynn Eastman Rossy.

573
00:32:42,400 --> 00:32:45,920
Speaker 1: She was only active, but during that time she appeared

574
00:32:46,000 --> 00:32:49,120
Speaker 1: in a number of notable or at least notable to

575
00:32:49,200 --> 00:32:52,200
Speaker 1: US films. The Savage Sasquatch film Night of the Demon

576
00:32:52,280 --> 00:32:55,520
Speaker 1: from Night of the Demon, I remember that. I think

577
00:32:55,560 --> 00:32:59,160
Speaker 1: we watched that one for trailer Talk years ago. Yeah, definitely.

578
00:32:59,400 --> 00:33:02,440
Speaker 1: There are two time to Sasquatch movies, as we've discussed.

579
00:33:02,440 --> 00:33:05,520
Speaker 1: There's the Noble Squatch and the Savage Squatch, and this

580
00:33:05,560 --> 00:33:08,080
Speaker 1: is a Savage Squatsch film. This is where Bigfoot is

581
00:33:08,160 --> 00:33:11,560
Speaker 1: killing people. I think I've been torn on whether Night

582
00:33:11,560 --> 00:33:13,640
Speaker 1: of the Demon is worth covering on this show, because

583
00:33:13,640 --> 00:33:16,000
Speaker 1: it's got some really funny fun stuff in it, but

584
00:33:16,080 --> 00:33:18,840
Speaker 1: I think it's also got some really gross bummer stuff too,

585
00:33:19,040 --> 00:33:22,400
Speaker 1: as a lot of Sasquatch movies do. Uh. Lynn Easman

586
00:33:22,480 --> 00:33:25,600
Speaker 1: Rossy was also in Project X, this is the Matthew

587
00:33:25,640 --> 00:33:30,840
Speaker 1: Broderick eight movie from and she was also in Unlawful

588
00:33:31,040 --> 00:33:35,600
Speaker 1: Entry featuring Kurt Russell, Ray Liotta, and Sonny Carl Davis

589
00:33:35,640 --> 00:33:37,920
Speaker 1: a k A. Rabbit. Oh it took me a minute

590
00:33:37,920 --> 00:33:41,840
Speaker 1: to figure this. Yeah, I know what you're talking about. Transfers. Yes, okay, yeah,

591
00:33:41,960 --> 00:33:47,520
Speaker 1: transfers to Rabbit. Uh notable performance alright, Um. Getting into

592
00:33:48,400 --> 00:33:50,840
Speaker 1: the effects here, I mainly wanted to commun the effects

593
00:33:50,840 --> 00:33:52,920
Speaker 1: are mostly really good in this and hold up with

594
00:33:53,000 --> 00:33:54,880
Speaker 1: one notable exception, but all the stuff with like the

595
00:33:54,880 --> 00:33:57,880
Speaker 1: flying silver balls and so forth, I think still look

596
00:33:58,000 --> 00:34:00,680
Speaker 1: really good. But I want to all out the fact

597
00:34:00,680 --> 00:34:05,880
Speaker 1: that Gene Corso, who Lived Through, has sound effects credit

598
00:34:05,960 --> 00:34:09,480
Speaker 1: on this, shared with lore and Mitchell. But yeah, the

599
00:34:09,480 --> 00:34:12,200
Speaker 1: sound effects and phantasm are really great and I think

600
00:34:12,239 --> 00:34:15,720
Speaker 1: certainly helps sell that weird aura of the film, especially

601
00:34:15,719 --> 00:34:18,560
Speaker 1: the weird are of the flying death spheres. As a

602
00:34:18,600 --> 00:34:21,040
Speaker 1: sound editor of Corso worked on such films as Queen

603
00:34:21,080 --> 00:34:26,200
Speaker 1: of Blood, Star Wars, The China Syndrome, Mutant, Predator, Deep

604
00:34:26,239 --> 00:34:29,920
Speaker 1: Star six, and The Rift Um and then Loraine Mitchell,

605
00:34:29,920 --> 00:34:31,799
Speaker 1: who also worked on this, worked on some of these

606
00:34:31,800 --> 00:34:35,400
Speaker 1: films as well, along with Conan the Destroyer and Rambo three.

607
00:34:35,880 --> 00:34:40,840
Speaker 1: I think in general audiences really underestimate how much difference

608
00:34:40,920 --> 00:34:44,960
Speaker 1: a good audio element makes in a horror movie good

609
00:34:45,080 --> 00:34:49,360
Speaker 1: good sound effects, atmospheric sound design, and good music. Would

610
00:34:49,400 --> 00:34:52,880
Speaker 1: this movie be remembered anything like the way it is

611
00:34:53,239 --> 00:34:55,400
Speaker 1: if it did not have the quality of sound effects

612
00:34:55,400 --> 00:34:57,799
Speaker 1: and music that it does. Yeah, I think I think

613
00:34:57,840 --> 00:35:00,600
Speaker 1: that's that's a great question. And I'm not sure it

614
00:35:00,640 --> 00:35:02,640
Speaker 1: would have because, yeah, the sound effects are great, but

615
00:35:02,680 --> 00:35:06,640
Speaker 1: you have music is wonderful as well iconic. Really. The

616
00:35:06,719 --> 00:35:09,879
Speaker 1: music is credited to Fred Myro, who lived ninety nine

617
00:35:09,920 --> 00:35:14,160
Speaker 1: through and Malcolm C. Gray, who lived through two thousand

618
00:35:14,200 --> 00:35:17,440
Speaker 1: and one. Sea Gray's only film credits are for the

619
00:35:17,480 --> 00:35:21,800
Speaker 1: Phantasm theme, but but Myro has more of a history

620
00:35:21,960 --> 00:35:24,920
Speaker 1: as a well. First of all, a third generation musical professional,

621
00:35:25,239 --> 00:35:28,640
Speaker 1: his father Joseph Myro wrote you make Me Feel So

622
00:35:28,719 --> 00:35:33,400
Speaker 1: Young that song um. He and Myro also worked on

623
00:35:33,800 --> 00:35:37,960
Speaker 1: Phantasm Too and Phantasm three, but his other scores include

624
00:35:38,040 --> 00:35:41,840
Speaker 1: nineteen seventy three Soilent Green and Scarecrow, You Got My

625
00:35:42,000 --> 00:35:44,360
Speaker 1: You Got the Gears Turn in On. Some mild thematic

626
00:35:44,400 --> 00:35:48,759
Speaker 1: connections between Phantasm and Soilent Green. Both involve a discovery

627
00:35:48,840 --> 00:35:52,400
Speaker 1: of a secret science fiction manufacturing process where one of

628
00:35:52,400 --> 00:35:55,120
Speaker 1: the ingredients is people. That's an interest. You know, it's

629
00:35:55,160 --> 00:35:57,359
Speaker 1: interesting you can think of these various films. You think,

630
00:35:57,400 --> 00:36:01,560
Speaker 1: a season of the Witch, Halloween, three films about at

631
00:36:01,600 --> 00:36:09,120
Speaker 1: least slightly about uh, industrial malfeasance, some sort of um

632
00:36:09,280 --> 00:36:13,360
Speaker 1: like evil industrial plot to mass produce something that is

633
00:36:13,960 --> 00:36:18,560
Speaker 1: destructive to humanity. Yeah. But anyway, the Phantasm score absolutely great.

634
00:36:18,600 --> 00:36:21,880
Speaker 1: I have no reservations about saying that the theme is

635
00:36:21,920 --> 00:36:26,360
Speaker 1: catchy and creepy, perfectly matching the dreamlin quality of the film.

636
00:36:26,440 --> 00:36:30,839
Speaker 1: And even outside of the main Phantasm theme song, there

637
00:36:30,840 --> 00:36:35,200
Speaker 1: are all these wonderful hypnotic soundscapes as well. Uh so

638
00:36:35,239 --> 00:36:37,160
Speaker 1: you have get synth and guitar, and there we also

639
00:36:37,239 --> 00:36:41,800
Speaker 1: have just gongs and chimes and symbols and bells creating

640
00:36:41,840 --> 00:36:47,000
Speaker 1: this this wonderful hallucinatory effect. I agree, love all that stuff.

641
00:36:47,040 --> 00:36:49,600
Speaker 1: There is one thing I noticed. I didn't compare them

642
00:36:49,600 --> 00:36:52,200
Speaker 1: side to side to see exactly how similar they are,

643
00:36:52,239 --> 00:36:55,879
Speaker 1: but I did hear some strong overlap between. I think

644
00:36:55,920 --> 00:37:00,640
Speaker 1: it was the main synth theme from Phantasm and one

645
00:37:00,680 --> 00:37:03,920
Speaker 1: of the tunes that is used in John Carpenter's The Fog.

646
00:37:04,520 --> 00:37:07,600
Speaker 1: Though of course I'm not alleging musical plagiarism or anything.

647
00:37:07,600 --> 00:37:09,279
Speaker 1: You know, there are only so many notes, so you're

648
00:37:09,280 --> 00:37:12,640
Speaker 1: gonna get some similar eerie tunes. But I I heard

649
00:37:12,680 --> 00:37:15,400
Speaker 1: that kinship. Of course the fog didn't come out to night.

650
00:37:15,719 --> 00:37:18,520
Speaker 1: Wait what my god? You're right, I had the order

651
00:37:18,560 --> 00:37:22,160
Speaker 1: inverted in my head, so if there is any inspiration,

652
00:37:22,200 --> 00:37:24,279
Speaker 1: it would have gone the other way. Yeah, but like

653
00:37:24,320 --> 00:37:25,919
Speaker 1: I said, there's only so many notes you can play.

654
00:37:36,120 --> 00:37:40,640
Speaker 1: All right, well, let's let's jump into phantasm. Well mercifully

655
00:37:40,680 --> 00:37:43,040
Speaker 1: breaking our streak of movies that begin by looking at

656
00:37:43,080 --> 00:37:46,520
Speaker 1: the stars in space, this film does not begin in space. Instead,

657
00:37:46,960 --> 00:37:50,040
Speaker 1: it's just phantasm in red letters on a black background,

658
00:37:50,200 --> 00:37:52,760
Speaker 1: and then we cut to an establishing shot of a mansion.

659
00:37:53,600 --> 00:37:57,240
Speaker 1: It's a oh, I did not look up architectural styles.

660
00:37:57,239 --> 00:37:58,680
Speaker 1: Do you know what? Do you know what style of

661
00:37:58,719 --> 00:38:01,279
Speaker 1: house this is? Is like a big white mansion with

662
00:38:01,360 --> 00:38:03,799
Speaker 1: columns out front, three columns and sort of a wrap

663
00:38:03,840 --> 00:38:07,560
Speaker 1: around veranda. I believe, yeah, old American. I think it's

664
00:38:07,600 --> 00:38:11,239
Speaker 1: the architectural styling here. And then we're just straight on

665
00:38:11,360 --> 00:38:16,279
Speaker 1: from this to an absolutely hilariously awkward sex scene in

666
00:38:16,320 --> 00:38:20,399
Speaker 1: a cemetery featuring a dude who looks like Lemmy from

667
00:38:20,400 --> 00:38:24,360
Speaker 1: motor Head and a lady with blonde hair and purple

668
00:38:24,440 --> 00:38:28,719
Speaker 1: eye makeup, lady and lavender. We find out, yes, she's

669
00:38:28,760 --> 00:38:31,560
Speaker 1: a recurring character. In fact, we find out she is

670
00:38:31,600 --> 00:38:35,440
Speaker 1: just a sort of a glamour a mirage, and in

671
00:38:35,480 --> 00:38:38,279
Speaker 1: fact she is Anger Scrim, but just in a different form.

672
00:38:38,520 --> 00:38:40,919
Speaker 1: And we see that because okay, they're they're having sex

673
00:38:40,920 --> 00:38:43,040
Speaker 1: in a cemetery. And then suddenly the lady pulls out

674
00:38:43,040 --> 00:38:46,440
Speaker 1: a dagger and she stabs Lemmy. She stabs the dude,

675
00:38:46,800 --> 00:38:49,560
Speaker 1: and then through the magic of film editing, she transforms

676
00:38:49,560 --> 00:38:52,640
Speaker 1: into an old man and it is Angus Scrim. We

677
00:38:52,680 --> 00:38:54,960
Speaker 1: will see him many more times in the film. The

678
00:38:55,000 --> 00:38:58,560
Speaker 1: soundtrack in the scene is symbols and whooshing wind noises.

679
00:38:59,040 --> 00:39:02,080
Speaker 1: Uh So, it's weird mix of like kind of cool atmosphere.

680
00:39:02,120 --> 00:39:06,280
Speaker 1: But the staging of the sex scene is so funny. Yeah,

681
00:39:06,440 --> 00:39:10,040
Speaker 1: it's it's absurd. I mean, obviously, depictions of human sex

682
00:39:10,080 --> 00:39:12,920
Speaker 1: and film should always be considered with a grain of salt,

683
00:39:13,040 --> 00:39:16,880
Speaker 1: but this one feels like it was constructed via youthful

684
00:39:16,920 --> 00:39:20,040
Speaker 1: hearsay about what the grown up world of sexuality actually

685
00:39:20,080 --> 00:39:22,480
Speaker 1: consists of. You know, it's one of these where it's

686
00:39:22,520 --> 00:39:27,360
Speaker 1: like full clothing, um, strange positioning, if you were to

687
00:39:27,400 --> 00:39:31,080
Speaker 1: try and figure out the details of human sexuality based

688
00:39:31,120 --> 00:39:33,080
Speaker 1: on this scene, you would be left with just a

689
00:39:33,120 --> 00:39:35,840
Speaker 1: lot of questions about how everything lines up. Yeah, I

690
00:39:35,840 --> 00:39:37,440
Speaker 1: don't want to get I'm not gonna get gross. I

691
00:39:37,480 --> 00:39:39,880
Speaker 1: don't wanna get too specific about the mechanics of horror

692
00:39:39,920 --> 00:39:44,000
Speaker 1: movie sex. But it is greatly confusing at what angles

693
00:39:44,120 --> 00:39:47,279
Speaker 1: these two people's bodies are supposed to be positioned, And

694
00:39:47,320 --> 00:39:49,920
Speaker 1: it just it makes you It feels like something like

695
00:39:50,040 --> 00:39:52,640
Speaker 1: Ralph Wiggham would would explain, you know. And then the

696
00:39:52,680 --> 00:39:56,120
Speaker 1: baby looked at me. Yeah, I have no idea. Yeah,

697
00:39:56,400 --> 00:39:59,000
Speaker 1: it's it's absurd, but it also again, I think it

698
00:39:59,040 --> 00:40:01,280
Speaker 1: falls in line with a youthful energy of the film.

699
00:40:01,320 --> 00:40:04,960
Speaker 1: You know. It's like, like, what is sex? What is death? Uh?

700
00:40:05,280 --> 00:40:07,959
Speaker 1: Mike doesn't know? Uh, And and part of this film

701
00:40:08,000 --> 00:40:10,560
Speaker 1: is Mike's dream quest to to try and figure that out.

702
00:40:10,760 --> 00:40:13,520
Speaker 1: But okay, lady and Lavender is actually anger scrim she

703
00:40:13,600 --> 00:40:17,280
Speaker 1: kills Slimmy and then it's morning. Uh in the cemetery

704
00:40:17,320 --> 00:40:20,200
Speaker 1: and we're back at the mansion, but it's daylight, and

705
00:40:20,239 --> 00:40:22,040
Speaker 1: we here we meet two of our main characters. By

706
00:40:22,040 --> 00:40:23,920
Speaker 1: the way, we see a sign says it's Morning Side

707
00:40:24,000 --> 00:40:27,920
Speaker 1: Morning Side Cemetery, and we meet our main characters, Jody

708
00:40:28,120 --> 00:40:33,080
Speaker 1: and Reggie. Jody is tall, handsome, big mane of messy hair.

709
00:40:34,040 --> 00:40:39,080
Speaker 1: Reggie is, uh, he's shorter, he's wearing cool sunglasses. And

710
00:40:39,160 --> 00:40:42,319
Speaker 1: I was gonna say, uh, so he's like bald in

711
00:40:42,400 --> 00:40:45,160
Speaker 1: front with a horseshoe of hair and then a ponytail.

712
00:40:45,480 --> 00:40:47,399
Speaker 1: So I was gonna say it's like business in front,

713
00:40:47,440 --> 00:40:49,440
Speaker 1: party and back, but really it's more like closed for

714
00:40:49,520 --> 00:40:52,160
Speaker 1: business in front, party and back and close to a

715
00:40:52,200 --> 00:40:55,839
Speaker 1: business mostly on the top as well. It's a substantial

716
00:40:55,840 --> 00:41:00,919
Speaker 1: bald bald pattern there. Um, but still eric very cool. Look,

717
00:41:00,920 --> 00:41:03,000
Speaker 1: he's got some nice sideburns there that come to a

718
00:41:03,080 --> 00:41:05,680
Speaker 1: nice little, you know, goring point. I mean, there's no

719
00:41:05,760 --> 00:41:09,920
Speaker 1: denying Reggie's cool. Yeah. So they meet up and they say, hey,

720
00:41:09,960 --> 00:41:14,760
Speaker 1: Tommy's gone hell of a way to Indo Trio. So Tommy,

721
00:41:14,840 --> 00:41:16,759
Speaker 1: I think, meaning the guy from the opening scene who

722
00:41:16,760 --> 00:41:20,920
Speaker 1: got stabbed was their friend. They believe he committed suicide.

723
00:41:21,040 --> 00:41:24,000
Speaker 1: I don't know why, uh they think that, but that's

724
00:41:24,080 --> 00:41:27,680
Speaker 1: what what they have been led to believe. Do you Rob,

725
00:41:27,760 --> 00:41:30,319
Speaker 1: did you detect that they were supposed to all be

726
00:41:30,440 --> 00:41:33,680
Speaker 1: in a band together. Yeah, I kind of got that vibe,

727
00:41:33,680 --> 00:41:35,800
Speaker 1: but I don't remember if there was a specific line

728
00:41:35,840 --> 00:41:40,120
Speaker 1: that that actually cemented that concept. I mean, clearly Jody

729
00:41:40,200 --> 00:41:42,239
Speaker 1: looked like a dude that was in a band. It's

730
00:41:42,280 --> 00:41:44,480
Speaker 1: just a question of was he in a band with

731
00:41:44,560 --> 00:41:47,640
Speaker 1: these two. Jody looks like he would fit right in

732
00:41:47,640 --> 00:41:51,440
Speaker 1: in a one piece disco jumpsuit doing a musical number

733
00:41:51,440 --> 00:41:54,799
Speaker 1: in like a variety show. Yeah. Anyway, we go into

734
00:41:54,880 --> 00:41:58,280
Speaker 1: a nice creepy atmospheric scene where Jody walks around alone

735
00:41:58,360 --> 00:42:01,200
Speaker 1: in the halls of the funeral home, and the halls

736
00:42:01,200 --> 00:42:05,440
Speaker 1: are lined with white marble covered in a weird pattern

737
00:42:05,520 --> 00:42:08,520
Speaker 1: of blue veins. I love the atmosphere of the the

738
00:42:08,560 --> 00:42:11,120
Speaker 1: inside of the funeral home. Yeah, I mean it's in

739
00:42:11,160 --> 00:42:16,080
Speaker 1: many ways, it's an obvious set and and yet the uniformity,

740
00:42:16,120 --> 00:42:19,719
Speaker 1: I think gives it a nice otherworldly vibe. And and

741
00:42:19,760 --> 00:42:22,360
Speaker 1: you know this, it feels sterile and like a place

742
00:42:22,440 --> 00:42:25,880
Speaker 1: between and at the same time it does feel authentically

743
00:42:25,960 --> 00:42:30,120
Speaker 1: like a mausoleum, like a mini mausoleums also have that vibe,

744
00:42:30,160 --> 00:42:32,680
Speaker 1: except I don't think it's quite as the ones I've

745
00:42:32,680 --> 00:42:35,399
Speaker 1: been in anyway, it doesn't feel quite as monotonous. It's

746
00:42:35,400 --> 00:42:38,640
Speaker 1: not quite as uniform. You do have some little details

747
00:42:38,719 --> 00:42:42,640
Speaker 1: that are that differentiate one area from another. It might

748
00:42:42,640 --> 00:42:46,359
Speaker 1: be flowers in front of these remains, etcetera. But yeah,

749
00:42:46,400 --> 00:42:48,960
Speaker 1: this this whole vibe here. It feels just enough like

750
00:42:49,000 --> 00:42:51,520
Speaker 1: a mausoleum that it doesn't feel like they're on a spaceship,

751
00:42:51,800 --> 00:42:54,440
Speaker 1: but it also kind of feels like they're on a spaceship.

752
00:42:54,640 --> 00:42:57,919
Speaker 1: I have questions about how this mausoleum is supposed to work,

753
00:42:58,000 --> 00:43:01,239
Speaker 1: because I think we see later that, like many mausoleums,

754
00:43:01,239 --> 00:43:03,839
Speaker 1: it has these vaults. They're built into the walls, they

755
00:43:03,880 --> 00:43:06,520
Speaker 1: have like a name on them, and then what appears

756
00:43:06,520 --> 00:43:10,240
Speaker 1: to be some kind of covering or door. But later

757
00:43:10,280 --> 00:43:12,279
Speaker 1: we see that you can just open them up like

758
00:43:12,320 --> 00:43:15,200
Speaker 1: a file cabinet, and there is a like a file

759
00:43:15,239 --> 00:43:17,520
Speaker 1: cabinet drawer, and then there's a coffin inside which you

760
00:43:17,560 --> 00:43:21,080
Speaker 1: could presumably just open up and see the body. Yeah, yeah,

761
00:43:21,120 --> 00:43:23,920
Speaker 1: I I I'm not sure I've never opened one up,

762
00:43:24,280 --> 00:43:26,680
Speaker 1: but this, if you take this movie at face value,

763
00:43:27,080 --> 00:43:29,400
Speaker 1: it it's telling you that, yeah, these are just like

764
00:43:29,480 --> 00:43:32,359
Speaker 1: more drawers you can just roll on open and look

765
00:43:32,360 --> 00:43:34,520
Speaker 1: at the body. I am not an expert in the

766
00:43:34,560 --> 00:43:38,080
Speaker 1: funerary Arts and Sciences, but I think there would be

767
00:43:38,120 --> 00:43:42,040
Speaker 1: problems with that design anyway. So Jody's walking around and

768
00:43:42,120 --> 00:43:45,719
Speaker 1: here's these strange sounds that in the subtitles for the

769
00:43:45,840 --> 00:43:48,400
Speaker 1: version of the movie I watched it called the sounds warbling.

770
00:43:48,520 --> 00:43:54,520
Speaker 1: I would call it squawking or growling, maybe snarling. And

771
00:43:54,560 --> 00:43:56,440
Speaker 1: of course in a bit, we'll find out what is

772
00:43:56,480 --> 00:44:00,239
Speaker 1: making that sound, right, uh, and we see that. Let's

773
00:44:00,239 --> 00:44:02,919
Speaker 1: see Jody visits the grave of his parents, we find

774
00:44:02,920 --> 00:44:06,040
Speaker 1: out they've passed away, and then we meet Mike, Jody's

775
00:44:06,080 --> 00:44:09,799
Speaker 1: little brother, who is just tearing through the grass of

776
00:44:09,840 --> 00:44:12,600
Speaker 1: the cemetery on a dirt bike. It's like he's riding

777
00:44:12,600 --> 00:44:17,480
Speaker 1: a chainsaw. Uh. Trivia fact I found is that the

778
00:44:17,840 --> 00:44:22,600
Speaker 1: motorbike used here is called a Hodaka road toad. But

779
00:44:22,800 --> 00:44:26,520
Speaker 1: he's literally just driving like between the grave markers. Yeah,

780
00:44:26,600 --> 00:44:29,920
Speaker 1: some kind of psychomania vibes to this, uh, this motorcycle

781
00:44:30,000 --> 00:44:32,719
Speaker 1: right here. And he also hears the weird chittering and

782
00:44:32,760 --> 00:44:35,640
Speaker 1: snarling sounds. And we see a few glimpses of what

783
00:44:35,719 --> 00:44:41,280
Speaker 1: appeared to be little figures in dark cloaks dashing behind gravestones. Oh,

784
00:44:41,320 --> 00:44:44,080
Speaker 1: the dwarves and I think we're supposed to understand that

785
00:44:44,200 --> 00:44:46,839
Speaker 1: Mike is sort of a little engineer, like he has

786
00:44:46,840 --> 00:44:50,360
Speaker 1: an affinity for machines. We see him later repairing Jody's

787
00:44:50,440 --> 00:44:54,439
Speaker 1: muscle car at multiple points, uh and uh, Like there's

788
00:44:54,440 --> 00:44:56,480
Speaker 1: a part where he's working on the engine while Jody

789
00:44:56,600 --> 00:44:58,560
Speaker 1: is just standing there talking to a friend like, Yeah,

790
00:44:58,600 --> 00:45:00,520
Speaker 1: I'm gonna ditch this kid and get out of town.

791
00:45:01,520 --> 00:45:05,960
Speaker 1: Um anyway, Jody inside the funeral home goes investigating the

792
00:45:06,000 --> 00:45:08,880
Speaker 1: weird sounds, but he doesn't quite figure it out. Instead,

793
00:45:08,920 --> 00:45:11,120
Speaker 1: there's a great jump scare where we first hear Angus

794
00:45:11,120 --> 00:45:13,320
Speaker 1: scrim talk. He like comes up behind him and slaps

795
00:45:13,360 --> 00:45:17,239
Speaker 1: down on his shoulders as the funeral it's about to begin. Yes,

796
00:45:18,480 --> 00:45:21,359
Speaker 1: now I started noticing a pattern. I don't know if

797
00:45:21,360 --> 00:45:23,520
Speaker 1: you picked up on the same thing, Rob, Like in

798
00:45:23,560 --> 00:45:27,239
Speaker 1: the funeral scene, there's a very symmetrical shot where we

799
00:45:27,280 --> 00:45:31,879
Speaker 1: see the church service filmed from straight down the back

800
00:45:31,880 --> 00:45:35,480
Speaker 1: of the aisle where it's like a perfectly balanced frame.

801
00:45:35,520 --> 00:45:37,840
Speaker 1: There are people sitting in the pews on both sides

802
00:45:38,120 --> 00:45:40,239
Speaker 1: and the columns lining on both sides, so it's it's

803
00:45:40,239 --> 00:45:44,280
Speaker 1: totally symmetrical. We already saw shots like that when Jody

804
00:45:44,400 --> 00:45:47,560
Speaker 1: was walking through the mausoleum, you know, he'd be framed

805
00:45:47,560 --> 00:45:52,120
Speaker 1: in doorway with all these decorations that are exactly symmetrical

806
00:45:52,200 --> 00:45:55,120
Speaker 1: on both sides. The movie seems to be fond of

807
00:45:55,160 --> 00:45:57,800
Speaker 1: shots like this where the subject is in the middle

808
00:45:58,280 --> 00:46:00,880
Speaker 1: and then it's just mirror image is on both sides

809
00:46:00,920 --> 00:46:04,080
Speaker 1: of the screen. Yeah. Yeah, And I think especially with

810
00:46:04,080 --> 00:46:07,120
Speaker 1: with this scene, but also with the mausoleum scenes as well,

811
00:46:07,480 --> 00:46:11,240
Speaker 1: there's this impression of narrowing, you know, as if narrowing

812
00:46:11,320 --> 00:46:14,840
Speaker 1: towards the death point, which I think lines up nicely

813
00:46:14,920 --> 00:46:18,040
Speaker 1: with the theme of the movie. And then the idea

814
00:46:18,120 --> 00:46:20,160
Speaker 1: that you know, we're propelled through it, that Mike is

815
00:46:20,200 --> 00:46:23,680
Speaker 1: propelled through this world, um, and you know it keeps

816
00:46:23,719 --> 00:46:26,680
Speaker 1: the pacing contributes to that as well. Also, I want

817
00:46:26,680 --> 00:46:28,160
Speaker 1: to point out, I don't know if you noticed this,

818
00:46:28,160 --> 00:46:30,759
Speaker 1: but in this particular, I assume this is a like

819
00:46:30,800 --> 00:46:33,960
Speaker 1: an actual church and actual location and they didn't build

820
00:46:34,000 --> 00:46:37,000
Speaker 1: any of this or or decorated a lot. But there's

821
00:46:37,000 --> 00:46:40,319
Speaker 1: a weird painting above the altar in this scene that

822
00:46:40,440 --> 00:46:42,920
Speaker 1: again I assume it's just a legit in church painting,

823
00:46:43,120 --> 00:46:45,319
Speaker 1: but it has kind of zombies Jesus vibes to it

824
00:46:45,400 --> 00:46:47,719
Speaker 1: like Jesus has his arms up like Frankenstein. A bit

825
00:46:47,920 --> 00:46:51,760
Speaker 1: oh interesting. I didn't notice that. Uh. I was just thinking,

826
00:46:51,800 --> 00:46:55,920
Speaker 1: what church let phantasm shoot inside? I mean maybe they,

827
00:46:55,920 --> 00:46:57,640
Speaker 1: I don't know how it went down. Maybe they didn't

828
00:46:57,680 --> 00:46:59,480
Speaker 1: tell them what the film was about, or maybe they

829
00:46:59,480 --> 00:47:02,240
Speaker 1: explained the theme and the church was like, yeah, it

830
00:47:02,239 --> 00:47:04,120
Speaker 1: works for us, as long as you get to Jesus

831
00:47:04,120 --> 00:47:06,600
Speaker 1: painting and there, we're very proud of this. Okay. Anyway,

832
00:47:06,680 --> 00:47:09,359
Speaker 1: So Reggie and Jodie are there for the funeral of

833
00:47:09,480 --> 00:47:13,880
Speaker 1: their their friend there I guess their bandmate maybe, and Mike,

834
00:47:14,040 --> 00:47:17,960
Speaker 1: the younger guys trying to peep on the funeral with binoculars.

835
00:47:18,040 --> 00:47:20,560
Speaker 1: I didn't understand this at all, Like, why isn't he

836
00:47:20,680 --> 00:47:24,480
Speaker 1: just there instead he's like in the bushes with binoculars

837
00:47:24,560 --> 00:47:29,320
Speaker 1: watching them carry the coffin. He Mike is a consonant voyeur.

838
00:47:29,719 --> 00:47:33,839
Speaker 1: He is just he's just constantly spying on sex and death,

839
00:47:34,120 --> 00:47:36,320
Speaker 1: as is the you know, the very definition of the

840
00:47:36,360 --> 00:47:41,319
Speaker 1: of the voyeuristic impulse. Like his brother's meeting some lady, well,

841
00:47:41,760 --> 00:47:44,040
Speaker 1: Mike's and the bushes, He's gonna see what's happening here,

842
00:47:44,239 --> 00:47:47,200
Speaker 1: somebody's moving a casket around Mike's and the bushes. He's

843
00:47:47,200 --> 00:47:49,680
Speaker 1: got the binoculars out. He wants to see how these

844
00:47:49,719 --> 00:47:52,919
Speaker 1: worlds work, these worlds that he is not yet entered

845
00:47:52,920 --> 00:47:55,480
Speaker 1: into but seems destined to be a part of. But

846
00:47:55,920 --> 00:47:59,400
Speaker 1: because he's spying on the funeral, he's still watching. After

847
00:47:59,440 --> 00:48:03,840
Speaker 1: all of the uh, the mourners leave and he gets

848
00:48:03,840 --> 00:48:06,680
Speaker 1: to see something very odd happen the tall man and

849
00:48:06,800 --> 00:48:10,879
Speaker 1: get scrim after everybody's gone. Instead of, you know, like

850
00:48:10,960 --> 00:48:15,360
Speaker 1: letting the workers bury the casket, he picks up the casket,

851
00:48:15,800 --> 00:48:18,600
Speaker 1: takes it back to the hearse and puts it inside.

852
00:48:18,640 --> 00:48:21,960
Speaker 1: And he's carrying the entire thing by himself. Not only

853
00:48:22,080 --> 00:48:26,160
Speaker 1: is he most probably evil, he's also cheap. He's not

854
00:48:26,160 --> 00:48:28,960
Speaker 1: not hiring anybody else to carry these for him. He's

855
00:48:28,960 --> 00:48:31,040
Speaker 1: just picking it up himself. We also get a sense

856
00:48:31,040 --> 00:48:33,640
Speaker 1: of this when we see Jody's body in the casket.

857
00:48:34,040 --> 00:48:36,200
Speaker 1: Jody looks a little googleish. It's like the tall Man

858
00:48:36,360 --> 00:48:41,360
Speaker 1: is not doing a good job. And uh, I'm not sorry,

859
00:48:41,400 --> 00:48:45,360
Speaker 1: not Jody. Uh what's his name? Tom friend? Tommy? Tommy

860
00:48:45,400 --> 00:48:49,360
Speaker 1: looks googleish, does not look like he's been embalmed to

861
00:48:49,520 --> 00:48:52,279
Speaker 1: like a to the degree that you would want your

862
00:48:52,320 --> 00:48:54,640
Speaker 1: loved woman embombed, I would say, but he looks like

863
00:48:54,640 --> 00:48:59,120
Speaker 1: a movie corpse. So mission accomplished, right, Okay, so we

864
00:48:59,160 --> 00:49:01,800
Speaker 1: got the set up. Mike has seen something very weird

865
00:49:01,880 --> 00:49:06,399
Speaker 1: at the Morningside Cemetery, and after that weird reveal, Mike

866
00:49:06,560 --> 00:49:10,680
Speaker 1: walks around alone with excellent theme music playing some great

867
00:49:11,000 --> 00:49:13,680
Speaker 1: seventies horror movie atmosphere. You know, a lot of great

868
00:49:13,680 --> 00:49:17,840
Speaker 1: horror movies from from this time get so much mileage,

869
00:49:17,840 --> 00:49:19,960
Speaker 1: like they stick in your mind, not just because of

870
00:49:20,000 --> 00:49:23,240
Speaker 1: the scary scenes, but because of the eerie scenes where

871
00:49:23,560 --> 00:49:26,879
Speaker 1: a character is merely sort of walking through the landscape

872
00:49:26,960 --> 00:49:29,000
Speaker 1: and the music is playing. I think about the early

873
00:49:29,080 --> 00:49:32,560
Speaker 1: scenes of going down the sidewalks in Halloween, or the

874
00:49:32,560 --> 00:49:35,440
Speaker 1: way Mike is just walking around, maybe going to visit,

875
00:49:35,719 --> 00:49:41,480
Speaker 1: uh the Reverend Mother guyas Helen Mohiam in this movie. Yes, yeah,

876
00:49:41,520 --> 00:49:44,239
Speaker 1: this is where we get to our wonderful Danagessor at

877
00:49:44,239 --> 00:49:48,160
Speaker 1: scene straight Dune rip off, and I love it. Uh.

878
00:49:48,480 --> 00:49:50,960
Speaker 1: Clearly Don was a fan of Dune. In fact, he

879
00:49:51,520 --> 00:49:54,839
Speaker 1: it's explicit later when Jody goes to a bar, did

880
00:49:54,840 --> 00:49:58,560
Speaker 1: you notice this in the bar is called Dunes? Bar Yeah. Yeah,

881
00:49:58,880 --> 00:50:01,640
Speaker 1: he was obviously a big out of the book. The

882
00:50:01,760 --> 00:50:04,239
Speaker 1: Lynch adaptation wouldn't come out to eighty four, so yeah,

883
00:50:04,360 --> 00:50:08,280
Speaker 1: definitely a written sci fi fan. In fact, we see

884
00:50:08,600 --> 00:50:10,880
Speaker 1: there's another scene where we see a sci fi paperback

885
00:50:11,360 --> 00:50:15,120
Speaker 1: on Mike's desk or bedside table. Uh, and I looked

886
00:50:15,120 --> 00:50:16,520
Speaker 1: it up. I forget what it is off hand, but

887
00:50:16,560 --> 00:50:20,120
Speaker 1: it is a particular sci fi novel that was included.

888
00:50:20,160 --> 00:50:22,440
Speaker 1: I guess to let you know that Mike's into sci fi,

889
00:50:22,480 --> 00:50:25,399
Speaker 1: that maybe he's a little more creative, uh than other

890
00:50:25,400 --> 00:50:28,600
Speaker 1: people in the community around him. The book was I

891
00:50:28,680 --> 00:50:31,960
Speaker 1: Am Legion by Rogers Alasnie, how is it? Oh good?

892
00:50:32,080 --> 00:50:34,120
Speaker 1: My name is Legion? Maybe I don't know. I've never

893
00:50:34,120 --> 00:50:36,239
Speaker 1: read it, okay, but that sounds right. Yeah. I looked

894
00:50:36,280 --> 00:50:38,719
Speaker 1: it up and then forgot it. Promptly forgot it. But

895
00:50:38,760 --> 00:50:41,640
Speaker 1: it has has very cool uh, a little late seventies

896
00:50:42,239 --> 00:50:45,160
Speaker 1: paperback sci fi cover art. I love it so clearly

897
00:50:45,320 --> 00:50:48,480
Speaker 1: this scene is just taken from from doing the book.

898
00:50:48,560 --> 00:50:51,080
Speaker 1: But what would you say is literally supposed to be

899
00:50:51,120 --> 00:50:52,719
Speaker 1: happening here? Is this lady is supposed to be a

900
00:50:52,800 --> 00:50:55,520
Speaker 1: fortune teller. She's like dressed in all black wearing dark

901
00:50:55,560 --> 00:50:59,440
Speaker 1: sunglasses inside and in a room full of candles, and

902
00:50:59,520 --> 00:51:04,279
Speaker 1: she speaks through her granddaughter. Yeah yeah, and it's you know,

903
00:51:04,320 --> 00:51:06,239
Speaker 1: it's already got a creepy vibe that you're probably if

904
00:51:06,239 --> 00:51:08,120
Speaker 1: you've not seen the film, you're thinking, well, it's not

905
00:51:08,200 --> 00:51:10,440
Speaker 1: like then they make him put his hand in a

906
00:51:10,520 --> 00:51:14,399
Speaker 1: box and experience phantom pain. Um, and then tell him

907
00:51:14,400 --> 00:51:17,399
Speaker 1: that fear is the mind killer. Um. Well, actually all

908
00:51:17,440 --> 00:51:20,400
Speaker 1: of that happens. That's exactly what happens in the scene.

909
00:51:20,800 --> 00:51:24,839
Speaker 1: They don't say mind killer. She says, fear is the killer. Yes,

910
00:51:26,040 --> 00:51:28,719
Speaker 1: it doesn't quite have the same ring. No, And then

911
00:51:28,719 --> 00:51:31,480
Speaker 1: I think the box vanishes, right like, straight up vanishes

912
00:51:31,680 --> 00:51:34,839
Speaker 1: in front of our eyes, the viewer's eyes on the table, yes,

913
00:51:35,080 --> 00:51:37,560
Speaker 1: suggesting that not only in the pain is the pain

914
00:51:37,760 --> 00:51:41,760
Speaker 1: in the box and illusion created telepathically by the reverend

915
00:51:41,760 --> 00:51:44,080
Speaker 1: mother here, but that the box itself is there wasn't

916
00:51:44,080 --> 00:51:46,279
Speaker 1: even a box. Now what does all this mean within

917
00:51:46,320 --> 00:51:51,960
Speaker 1: the context of the film. I don't know what unknown, Well,

918
00:51:52,160 --> 00:51:56,640
Speaker 1: Mike is told not to fear, he said, The granddaughter says,

919
00:51:56,680 --> 00:52:00,000
Speaker 1: fear is the killer. Don't fear. That's what grandmother wants

920
00:52:00,040 --> 00:52:02,040
Speaker 1: you to learn. It was all in your mind. And

921
00:52:02,080 --> 00:52:06,279
Speaker 1: then Mike says, oh, yeah, I guess it will come.

922
00:52:06,320 --> 00:52:08,520
Speaker 1: We will come back around to this later. This film

923
00:52:08,560 --> 00:52:11,880
Speaker 1: does do a pretty good job of if it establishes something,

924
00:52:12,520 --> 00:52:14,560
Speaker 1: it will come back around to it. Okay, I think

925
00:52:14,560 --> 00:52:17,000
Speaker 1: it's time to talk about sitting here at midnight. So

926
00:52:17,400 --> 00:52:20,200
Speaker 1: at Jody and Mike's house, Jodi is sitting there on

927
00:52:20,239 --> 00:52:24,359
Speaker 1: the front porch playing a playing a stratocaster plugged into

928
00:52:24,400 --> 00:52:27,759
Speaker 1: a Fender amp and uh, and then Reggie pulls up.

929
00:52:28,200 --> 00:52:31,960
Speaker 1: Reggie now is in his workoutfit. He is wearing an

930
00:52:32,000 --> 00:52:35,440
Speaker 1: ice cream suit. I don't know. He's wearing like a

931
00:52:35,480 --> 00:52:38,160
Speaker 1: white shirt and white pants with a black bow type

932
00:52:38,560 --> 00:52:41,440
Speaker 1: and he's driving a truck that says Reggie's ice Cream.

933
00:52:41,920 --> 00:52:44,200
Speaker 1: And it's got a guitar tucked into one of the

934
00:52:44,760 --> 00:52:47,960
Speaker 1: I don't know, the cooler boxes, I guess. And so

935
00:52:48,200 --> 00:52:50,640
Speaker 1: so Reggie gets out of the car, comes up and

936
00:52:50,800 --> 00:52:54,840
Speaker 1: plays guitar alongside Jody. They play a song called Sitting

937
00:52:54,920 --> 00:52:57,320
Speaker 1: Here at Midnight, where the lyrics are I'm just sitting

938
00:52:57,360 --> 00:52:59,640
Speaker 1: here at midnight, and I'll be sitting here till noon.

939
00:53:00,040 --> 00:53:02,520
Speaker 1: You see, my lady left me lonely. Yes she did.

940
00:53:02,920 --> 00:53:06,160
Speaker 1: My baby left me blue. And then they both go

941
00:53:06,440 --> 00:53:09,480
Speaker 1: oh and then play a riff. It's and I will

942
00:53:09,480 --> 00:53:12,600
Speaker 1: give him credit. Both actors are actually playing guitars here,

943
00:53:14,160 --> 00:53:18,319
Speaker 1: just like moving their hands while the soundtrack plays. I'll

944
00:53:18,320 --> 00:53:21,800
Speaker 1: also say that a lesser movie would have only played

945
00:53:21,800 --> 00:53:24,239
Speaker 1: part of the song or would have cut away to

946
00:53:24,520 --> 00:53:26,600
Speaker 1: done some sort of a montage or something. But now

947
00:53:26,640 --> 00:53:29,279
Speaker 1: we did get. We get the full short performance of

948
00:53:29,320 --> 00:53:32,319
Speaker 1: this song right here on the porch, and I dig it. Also,

949
00:53:32,440 --> 00:53:34,920
Speaker 1: you mentioned that the ice cream truck says Reggie's ice

950
00:53:34,920 --> 00:53:37,959
Speaker 1: cream somehow that I missed out on that when i've

951
00:53:38,000 --> 00:53:41,120
Speaker 1: every time I've watched it. That that's that's an interesting detail, Like,

952
00:53:41,160 --> 00:53:44,320
Speaker 1: not only is Reggie the ice cream man, he's apparently

953
00:53:44,320 --> 00:53:48,239
Speaker 1: a business owner his own business. He's really plugged in

954
00:53:48,280 --> 00:53:52,359
Speaker 1: at the local chamber of commerce. Now we do get

955
00:53:52,400 --> 00:53:54,040
Speaker 1: a nice weird moment there at the end of the

956
00:53:54,040 --> 00:53:57,120
Speaker 1: performance with a tuning fork, though, yes, we do well.

957
00:53:57,160 --> 00:54:00,279
Speaker 1: First of all, after they play I think Jody is

958
00:54:00,560 --> 00:54:03,080
Speaker 1: not bad, and then Reggie says we're Hot is Love,

959
00:54:03,200 --> 00:54:05,839
Speaker 1: you know, which makes me think Hot is Love was

960
00:54:05,880 --> 00:54:09,080
Speaker 1: the name of their band. Oh man, that's good, that

961
00:54:09,120 --> 00:54:11,759
Speaker 1: would have totally fit. But so Reggie pulls out a

962
00:54:11,760 --> 00:54:14,160
Speaker 1: tuning fork. I guess to tune his guitar, but instead

963
00:54:14,239 --> 00:54:17,279
Speaker 1: we just really zone in on the fork and we

964
00:54:17,480 --> 00:54:20,640
Speaker 1: listen to it it humming out a tune until Reggie

965
00:54:20,680 --> 00:54:23,080
Speaker 1: mutes it by putting his two fingers on the end

966
00:54:23,120 --> 00:54:25,839
Speaker 1: of the of the fork. Times. We will come back

967
00:54:25,840 --> 00:54:37,560
Speaker 1: to this detail as well. Now, some more stuff happens.

968
00:54:37,600 --> 00:54:40,320
Speaker 1: We see random like a random blond lady walk into

969
00:54:40,320 --> 00:54:42,680
Speaker 1: the funeral home and then open a door and light

970
00:54:42,719 --> 00:54:45,000
Speaker 1: shines on her and she screams. And there are a

971
00:54:45,040 --> 00:54:46,960
Speaker 1: few things in the movie that are just like random

972
00:54:47,000 --> 00:54:49,839
Speaker 1: things happen and I can't really connect them to anything else.

973
00:54:49,840 --> 00:54:53,359
Speaker 1: So you know, something like that happens. But hey, let's

974
00:54:53,360 --> 00:54:55,040
Speaker 1: go to the bar with Jody. He's going to go

975
00:54:55,120 --> 00:54:58,759
Speaker 1: to Dunes Cantina, have a beer and and try to

976
00:54:58,800 --> 00:55:01,279
Speaker 1: try to make some friends. And Mike is here for this.

977
00:55:01,480 --> 00:55:05,359
Speaker 1: Mike is watching the whole time. Yes, Mike, oh of

978
00:55:05,400 --> 00:55:08,600
Speaker 1: course follows Jody everywhere, so he's outside peeping through the

979
00:55:08,640 --> 00:55:13,120
Speaker 1: window of the bar. As as Jody's like chatting up

980
00:55:13,160 --> 00:55:15,959
Speaker 1: a lady, chatting up a blond lady who they're hitting

981
00:55:15,960 --> 00:55:18,920
Speaker 1: it off, and he doesn't know who she is, but

982
00:55:19,080 --> 00:55:22,520
Speaker 1: we do because we saw that that horribly awkward opening scene.

983
00:55:22,640 --> 00:55:26,240
Speaker 1: It's the lady who stabbed Tommy and turned into Anger Scrim.

984
00:55:26,280 --> 00:55:28,759
Speaker 1: So Jody don't go home with Anger Scrim. But it

985
00:55:28,760 --> 00:55:31,759
Speaker 1: looks like he's gonna. She leads him off to the cemetery.

986
00:55:31,800 --> 00:55:34,200
Speaker 1: I guess the goal is to kill him. Mike is

987
00:55:34,200 --> 00:55:37,800
Speaker 1: still following them, peeping on everything, and then suddenly everything

988
00:55:37,880 --> 00:55:42,279
Speaker 1: is interrupted because snarling, warbling noises start up again, and

989
00:55:42,520 --> 00:55:45,360
Speaker 1: some little creature that looks like a jahwa, like a

990
00:55:45,400 --> 00:55:49,200
Speaker 1: short figuring brown robes, charges out at him from the darkness,

991
00:55:49,320 --> 00:55:53,920
Speaker 1: and and Mike runs away, screaming. This interrupts everything. Everybody

992
00:55:54,000 --> 00:55:57,880
Speaker 1: runs off, and Jody runs after Mike. There's some really

993
00:55:57,920 --> 00:56:00,000
Speaker 1: goofy sex jokes in the scene, and I don't feel

994
00:56:00,040 --> 00:56:02,399
Speaker 1: like describing, but anyway, so Jody ends up running off

995
00:56:02,440 --> 00:56:05,279
Speaker 1: after after Mike. Yeah, it seems a little bit big

996
00:56:05,280 --> 00:56:08,560
Speaker 1: cringe e in some respects, but yeah, this is our

997
00:56:08,600 --> 00:56:13,640
Speaker 1: first glimpse of the dwarves actually scampering about and causing mischief,

998
00:56:13,920 --> 00:56:17,480
Speaker 1: one of the key aspects of the Phantasm films. Now,

999
00:56:17,520 --> 00:56:20,320
Speaker 1: is this a good place to talk about the connection

1000
00:56:20,400 --> 00:56:23,160
Speaker 1: between the Dwarves in this movie and the Jaws in

1001
00:56:23,280 --> 00:56:26,200
Speaker 1: Star Wars. Because we gotta admit in their in the

1002
00:56:26,239 --> 00:56:30,800
Speaker 1: brown robes with the pointy hoods, they look extremely similar. Yeah,

1003
00:56:30,840 --> 00:56:33,480
Speaker 1: there is a strong comparison to be made, very very

1004
00:56:33,480 --> 00:56:37,360
Speaker 1: similar vibes. It of course different, ultimately different energies involved,

1005
00:56:37,360 --> 00:56:42,879
Speaker 1: like Jawas and Star Wars. They are just technological scavengers

1006
00:56:43,280 --> 00:56:46,759
Speaker 1: looking to pick up the pieces and and make a

1007
00:56:46,800 --> 00:56:49,719
Speaker 1: few deals here and there. They're not evil. They're very

1008
00:56:49,719 --> 00:56:53,560
Speaker 1: neutral creatures and and as we've seen in later installments

1009
00:56:53,560 --> 00:56:55,520
Speaker 1: of Star Wars, and you can have quite good relations

1010
00:56:55,520 --> 00:56:59,239
Speaker 1: with the job was. They're they're they're not indecent folk. Uh,

1011
00:56:59,320 --> 00:57:03,799
Speaker 1: these creature here's the dwarves of phantasm. These are little monsters.

1012
00:57:04,239 --> 00:57:07,520
Speaker 1: Uh that snarling little zombies. Yeah, they are up to

1013
00:57:07,560 --> 00:57:11,319
Speaker 1: no good. They will attack you, they will do god

1014
00:57:11,400 --> 00:57:13,120
Speaker 1: knows what. Now. I think a lot of people have

1015
00:57:13,200 --> 00:57:17,040
Speaker 1: assumed that these creatures were inspired by the design of

1016
00:57:17,080 --> 00:57:21,160
Speaker 1: the Jawas. But in uh Don costa Ali's defense, they

1017
00:57:21,240 --> 00:57:23,760
Speaker 1: had apparently they had this idea and started shooting the

1018
00:57:23,800 --> 00:57:27,240
Speaker 1: movie before Star Wars came out, So I think it

1019
00:57:27,280 --> 00:57:30,160
Speaker 1: looks like this is just a coincidence. Yeah, and um,

1020
00:57:30,240 --> 00:57:33,080
Speaker 1: and we do. Unlike the Jawas which in which we

1021
00:57:33,080 --> 00:57:35,960
Speaker 1: we never see the Jawas face, we will get to

1022
00:57:35,960 --> 00:57:38,040
Speaker 1: see the face of one of these dwarves later on.

1023
00:57:38,280 --> 00:57:39,960
Speaker 1: And I should also point out that by the time

1024
00:57:40,000 --> 00:57:43,920
Speaker 1: they make Phantasm Too, uh, in which they had a

1025
00:57:44,000 --> 00:57:46,760
Speaker 1: much bigger budget. By the way, one of the things

1026
00:57:46,800 --> 00:57:50,800
Speaker 1: they use that budget on is always showing the dwarves faces.

1027
00:57:51,240 --> 00:57:55,080
Speaker 1: So the dwarves look extra evil and nasty in that

1028
00:57:55,160 --> 00:57:59,760
Speaker 1: film because their faces are never really they may be there.

1029
00:57:59,800 --> 00:58:01,600
Speaker 1: They is maybe obscured in some scenes, but there a

1030
00:58:01,680 --> 00:58:03,520
Speaker 1: whole lot of scenes where you get to see their

1031
00:58:03,560 --> 00:58:06,520
Speaker 1: little snarling faces. So anyway, coming back to the plot,

1032
00:58:06,720 --> 00:58:09,840
Speaker 1: here's what some weird stuff happened. So Jody runs off

1033
00:58:09,880 --> 00:58:14,120
Speaker 1: after Mike because Mike was scared and screaming, uh, chased

1034
00:58:14,120 --> 00:58:18,320
Speaker 1: by a necro dwarf and uh. Mike tries to explain

1035
00:58:18,320 --> 00:58:21,280
Speaker 1: to Jodie what happened, and Jody says it was probably

1036
00:58:21,320 --> 00:58:25,760
Speaker 1: just a gopher in heat, okay, uh. And then and

1037
00:58:25,800 --> 00:58:29,800
Speaker 1: then Jody sends Mike home with his car, and then

1038
00:58:30,240 --> 00:58:33,320
Speaker 1: Mike wakes and then Mike like wakes up and he's

1039
00:58:33,320 --> 00:58:37,360
Speaker 1: in his bed with the groovy blanket with the brown,

1040
00:58:37,440 --> 00:58:40,800
Speaker 1: white and gold stripes. But the tall man is standing

1041
00:58:40,800 --> 00:58:42,960
Speaker 1: over his bed and his bed is in the middle

1042
00:58:42,960 --> 00:58:46,919
Speaker 1: of a cemetery, and then zombies like scream and grab him.

1043
00:58:47,720 --> 00:58:49,760
Speaker 1: So I guess this is a dream and then he

1044
00:58:49,800 --> 00:58:53,000
Speaker 1: wakes up. But like, if this was a dream, how

1045
00:58:53,120 --> 00:58:56,440
Speaker 1: far back does that go? Like how how much of

1046
00:58:56,480 --> 00:58:58,720
Speaker 1: it was a dream? We don't know when the dream

1047
00:58:58,800 --> 00:59:02,040
Speaker 1: sequence started? Yeah, more, when does it end? Is it

1048
00:59:02,120 --> 00:59:04,960
Speaker 1: still going? Is the tall man about to do a jump?

1049
00:59:05,040 --> 00:59:07,840
Speaker 1: Scare right behind you right now, Joe? It might have.

1050
00:59:08,520 --> 00:59:12,120
Speaker 1: But those questions aside, this is a fabulous scene. This

1051
00:59:12,160 --> 00:59:14,080
Speaker 1: is one that I think is used in the trailer

1052
00:59:14,120 --> 00:59:18,080
Speaker 1: as well, just the symmetrical shut shooting of it, the

1053
00:59:18,120 --> 00:59:21,360
Speaker 1: way it's all framed up, the darkness, and it also

1054
00:59:21,480 --> 00:59:24,280
Speaker 1: just like it sums up a lot of the attitude

1055
00:59:24,280 --> 00:59:28,160
Speaker 1: of phantasm. Like here is Mike, the youth in bed,

1056
00:59:28,280 --> 00:59:33,840
Speaker 1: clearly troubled, and like Death, the personification of Death is

1057
00:59:33,880 --> 00:59:37,720
Speaker 1: like literally at the head of his bed, leering over him,

1058
00:59:38,000 --> 00:59:39,920
Speaker 1: and then these things jump out and start, you know,

1059
00:59:39,960 --> 00:59:42,400
Speaker 1: presumably about to just tear him in half. Then one

1060
00:59:42,400 --> 00:59:45,120
Speaker 1: of the funniest things is it goes from he's waking

1061
00:59:45,160 --> 00:59:47,680
Speaker 1: up from a dream sequence, and then it goes straight

1062
00:59:47,720 --> 00:59:52,880
Speaker 1: to another scene that feels so dream like. He's it's

1063
00:59:52,920 --> 00:59:55,680
Speaker 1: it looks kind of gauzy, and Mike is wandering down

1064
00:59:55,680 --> 01:00:00,160
Speaker 1: the sidewalk like sucking on a lollypop and check king

1065
01:00:00,200 --> 01:00:04,160
Speaker 1: the change tray and pay phones for change, and then

1066
01:00:04,240 --> 01:00:06,960
Speaker 1: he looks across the street and there's the Tall Man

1067
01:00:07,200 --> 01:00:10,880
Speaker 1: just walking past like a clothing store. And then there's

1068
01:00:10,920 --> 01:00:14,600
Speaker 1: Reggie's ice cream truck in the foreground, and Reggie is

1069
01:00:14,640 --> 01:00:18,200
Speaker 1: opening up the freezer and pulling ice cream out, and

1070
01:00:18,360 --> 01:00:22,040
Speaker 1: there is fog emanating from the freezer. And then the

1071
01:00:22,080 --> 01:00:25,920
Speaker 1: tall Man stops right behind Reggie and stands in the

1072
01:00:25,960 --> 01:00:30,480
Speaker 1: freezer fog and turns and looks at Mike and does

1073
01:00:30,600 --> 01:00:37,200
Speaker 1: this monstrous sniff. He's like, you know, breathing in uh,

1074
01:00:37,240 --> 01:00:41,640
Speaker 1: looking in something some kind of weird agony or something. Uh.

1075
01:00:41,680 --> 01:00:44,680
Speaker 1: And what what the heck is going on here? Did

1076
01:00:44,720 --> 01:00:48,120
Speaker 1: this really happen? Is this a dream? What is the

1077
01:00:48,160 --> 01:00:51,520
Speaker 1: tall Man doing when he's sniffing the freezer fog? I

1078
01:00:51,560 --> 01:00:56,439
Speaker 1: don't know. Yeah, it's definitely another great scene that has

1079
01:00:56,560 --> 01:01:00,040
Speaker 1: dreamline qualities, and I think has that strong youth I

1080
01:01:00,160 --> 01:01:02,400
Speaker 1: have of like here here the youth is seeing the

1081
01:01:02,440 --> 01:01:05,800
Speaker 1: true creepy nature of reality. It's lost to all the

1082
01:01:05,960 --> 01:01:09,080
Speaker 1: other adults. Like here's Reggie Reggieta. Notice that's going on

1083
01:01:09,120 --> 01:01:13,000
Speaker 1: at all. Reggie's just doing his thing, doing his job. Um.

1084
01:01:13,120 --> 01:01:15,680
Speaker 1: I also love how this scene it seems to imply

1085
01:01:15,800 --> 01:01:17,880
Speaker 1: or it's always struck me this way, this being a

1086
01:01:17,920 --> 01:01:20,840
Speaker 1: moment where the tall man is looking right at us

1087
01:01:21,040 --> 01:01:25,000
Speaker 1: the viewer. He's looking right back at Mike. So it's

1088
01:01:25,040 --> 01:01:28,480
Speaker 1: like the abyss staring back. It's game recognizing game here,

1089
01:01:28,920 --> 01:01:32,080
Speaker 1: it's like Mike and the tall Man have a connection.

1090
01:01:32,360 --> 01:01:35,840
Speaker 1: And we'll see another version of this later on in

1091
01:01:35,880 --> 01:01:37,760
Speaker 1: the picture, Yes we will. But I just want to

1092
01:01:37,760 --> 01:01:40,440
Speaker 1: flag again that I have completely lost track of what's

1093
01:01:40,440 --> 01:01:43,000
Speaker 1: the dream and what's reality by this point in the movie.

1094
01:01:43,480 --> 01:01:46,240
Speaker 1: This is This is probably a good point to mention

1095
01:01:46,400 --> 01:01:49,320
Speaker 1: in Phantasm to again. Universal comes in gives him a

1096
01:01:49,320 --> 01:01:52,920
Speaker 1: bunch of funding to finally make a sequel to Phantasm,

1097
01:01:53,000 --> 01:01:55,800
Speaker 1: and apparently they made some demands, as you might expect

1098
01:01:55,800 --> 01:01:57,240
Speaker 1: when a big studio comes in and gives you a

1099
01:01:57,240 --> 01:01:59,360
Speaker 1: whole bunch of money. Uh, they said, well, we need

1100
01:01:59,400 --> 01:02:03,840
Speaker 1: some romantic uh interests for our characters, especially for Mike. Um,

1101
01:02:03,960 --> 01:02:08,040
Speaker 1: you can't bring back Baldwin and Reggie Banister. You get

1102
01:02:08,080 --> 01:02:09,520
Speaker 1: to bring back one and the other one you have

1103
01:02:09,560 --> 01:02:13,800
Speaker 1: to recast. So in Phantasm too, they recast Mike, which,

1104
01:02:14,240 --> 01:02:18,760
Speaker 1: given the choice, was the correct choice to make. Like,

1105
01:02:18,840 --> 01:02:21,800
Speaker 1: you don't recast Reggie, you gotta you can't recast Reggie,

1106
01:02:22,000 --> 01:02:24,840
Speaker 1: must have Reggie Banister. Yeah. Yeah. But one of the

1107
01:02:24,880 --> 01:02:29,120
Speaker 1: other apparently, apparently one of the other studio demands was

1108
01:02:29,360 --> 01:02:32,920
Speaker 1: no dream sequences. Nobody's dreaming in this film. It's I

1109
01:02:32,920 --> 01:02:35,200
Speaker 1: guess what they thought. It was too confusing, and they're like,

1110
01:02:35,240 --> 01:02:38,880
Speaker 1: everything needs to be linear. Nobody has any dreams, which

1111
01:02:38,960 --> 01:02:41,640
Speaker 1: is a weird demand to make on a sequel to

1112
01:02:41,760 --> 01:02:45,000
Speaker 1: this film, a film that, like you said, on one hand,

1113
01:02:45,040 --> 01:02:47,640
Speaker 1: like that's the whole quality of it. It's like we

1114
01:02:47,720 --> 01:02:49,520
Speaker 1: don't know when it's a dream and when it's not.

1115
01:02:49,720 --> 01:02:52,280
Speaker 1: Even the title of the film is Phantasm. It is

1116
01:02:52,320 --> 01:02:55,360
Speaker 1: supposed to be like an illusion, uh, something you're not

1117
01:02:55,400 --> 01:02:58,760
Speaker 1: sure about. But you also understand where the studio is like, look,

1118
01:02:58,840 --> 01:03:01,440
Speaker 1: this is too much needed to be nice and linear.

1119
01:03:01,560 --> 01:03:04,080
Speaker 1: No dreams, that's a tragedy. I'm gonna have to I

1120
01:03:04,080 --> 01:03:06,920
Speaker 1: wonder if I'll get mad when I watch P two. Oh.

1121
01:03:07,320 --> 01:03:09,080
Speaker 1: PP two is still a lot of fun. It's very

1122
01:03:09,160 --> 01:03:12,560
Speaker 1: much an action film. It's kind of like the Aliens

1123
01:03:12,600 --> 01:03:16,440
Speaker 1: to this film's Alien, but without the consistency of quality.

1124
01:03:16,960 --> 01:03:20,600
Speaker 1: Like Phantasm Too is a dumber film, but also a

1125
01:03:20,640 --> 01:03:24,120
Speaker 1: film that clearly had more money to throw at killer

1126
01:03:24,160 --> 01:03:28,600
Speaker 1: ball effects and dwarf effects. And also, yeah, Reggie is

1127
01:03:28,600 --> 01:03:32,560
Speaker 1: transformed into a pure action hero. And so it's, uh,

1128
01:03:33,000 --> 01:03:34,600
Speaker 1: it's it's a lot of fun as well, but it's

1129
01:03:34,640 --> 01:03:37,440
Speaker 1: it's very different and definitely, uh, there's something to be

1130
01:03:37,480 --> 01:03:39,919
Speaker 1: said for it's um, it's moving away from the dream

1131
01:03:39,920 --> 01:03:42,400
Speaker 1: imagery for the most part. So the next thing is

1132
01:03:42,480 --> 01:03:45,240
Speaker 1: we're going to spend some time with Mike and Jody

1133
01:03:45,440 --> 01:03:48,600
Speaker 1: in their house. I love their house. There's a part

1134
01:03:48,600 --> 01:03:52,720
Speaker 1: where Mike is like underneath Jody's muscle car doing repairs

1135
01:03:52,800 --> 01:03:55,800
Speaker 1: on it again because apparently, you know, he's he's got

1136
01:03:55,800 --> 01:03:59,360
Speaker 1: full mechanic training even though he is only twelve or nineteen,

1137
01:04:00,120 --> 01:04:03,120
Speaker 1: and he is, and he is attacked by the necro

1138
01:04:03,240 --> 01:04:05,840
Speaker 1: Dwarves while he is under the car, but then in

1139
01:04:05,960 --> 01:04:09,240
Speaker 1: trying to defend himself, he ends up bonking Jody on

1140
01:04:09,360 --> 01:04:12,560
Speaker 1: the toe with a hammer. But anyway, this is when

1141
01:04:12,600 --> 01:04:14,720
Speaker 1: we finally get a really good look at their house

1142
01:04:14,800 --> 01:04:18,960
Speaker 1: and all of the the length of the carpet fibers

1143
01:04:19,440 --> 01:04:23,520
Speaker 1: will amaze you. Yeah, there's the secret the scene where

1144
01:04:23,880 --> 01:04:25,800
Speaker 1: I think this is later on, but there's a scene

1145
01:04:25,800 --> 01:04:28,720
Speaker 1: with the stairs in the house where these like floating

1146
01:04:28,760 --> 01:04:32,240
Speaker 1: stairs and they're all carpeted in and you just want

1147
01:04:32,280 --> 01:04:34,200
Speaker 1: to you just want to take your shoes off and

1148
01:04:34,200 --> 01:04:38,440
Speaker 1: and walk on those things. Except they also look like

1149
01:04:38,480 --> 01:04:42,320
Speaker 1: they would have protruding hidden nails. Well, it is the venties,

1150
01:04:42,400 --> 01:04:45,360
Speaker 1: so it's like everything's everything in the house looks comfy

1151
01:04:45,440 --> 01:04:48,160
Speaker 1: and yet possibly dangerous. Anyway, Mike chills out for a

1152
01:04:48,160 --> 01:04:51,240
Speaker 1: bit in his glorious bedroom with the shot of the

1153
01:04:51,240 --> 01:04:54,520
Speaker 1: moon on the wall and like a John Lennon poster,

1154
01:04:54,680 --> 01:04:57,200
Speaker 1: I think, one of those maps of the world that

1155
01:04:57,240 --> 01:05:00,200
Speaker 1: cuts Asia in half instead of dividing in the pick

1156
01:05:00,240 --> 01:05:06,200
Speaker 1: ocean um. And we see him tuck a gigantic bowie

1157
01:05:06,280 --> 01:05:09,520
Speaker 1: knife into a sheet strap to his calf and the

1158
01:05:10,000 --> 01:05:12,840
Speaker 1: knife is as thick as his leg, so when he

1159
01:05:12,880 --> 01:05:15,680
Speaker 1: put pulls his pants leg down over it, it looks

1160
01:05:15,760 --> 01:05:19,200
Speaker 1: really funny. Uh. He also packs a crucifix, but this

1161
01:05:19,240 --> 01:05:21,640
Speaker 1: is your classic suiting up scene. It's like when Van

1162
01:05:21,680 --> 01:05:24,560
Speaker 1: Helsing is packing his steaks in his holy water into

1163
01:05:24,600 --> 01:05:27,040
Speaker 1: the kid. But it's time to head off to the

1164
01:05:27,080 --> 01:05:30,200
Speaker 1: Morningside Cemetery at night for some reason, I guess to

1165
01:05:30,240 --> 01:05:32,880
Speaker 1: figure out what's going on with the tall man and

1166
01:05:33,080 --> 01:05:35,760
Speaker 1: uh and the jaw was so mike Head's over. He

1167
01:05:35,840 --> 01:05:38,560
Speaker 1: breaks through a window to sneak in. He's walking around

1168
01:05:38,560 --> 01:05:41,040
Speaker 1: in the dark with a lighter. He ends up hiding

1169
01:05:41,040 --> 01:05:45,280
Speaker 1: in a coffin in a classic horror movie trope, somebody

1170
01:05:45,280 --> 01:05:47,520
Speaker 1: gotta hide in a coffin because somebody's looking for them

1171
01:05:47,680 --> 01:05:50,680
Speaker 1: while a very blank faced man in a white hat

1172
01:05:50,800 --> 01:05:55,000
Speaker 1: creeps around looking for him. Rob, did you understand that

1173
01:05:55,120 --> 01:05:57,360
Speaker 1: this man in the white hat is supposed to be

1174
01:05:57,440 --> 01:06:01,600
Speaker 1: of the same species as Anger scrim Um? I think

1175
01:06:01,680 --> 01:06:05,360
Speaker 1: he's more well, you know, it's it's hard this one.

1176
01:06:05,560 --> 01:06:07,440
Speaker 1: This is a point where it's difficult to sort of

1177
01:06:07,760 --> 01:06:10,680
Speaker 1: think about this film completely on its own terms, because

1178
01:06:11,440 --> 01:06:14,640
Speaker 1: knowing what we know about later installments, I feel like

1179
01:06:15,160 --> 01:06:17,440
Speaker 1: it's clear that this guy is just an underling. But

1180
01:06:17,880 --> 01:06:20,120
Speaker 1: if I were just watching this film for the first time, yeah,

1181
01:06:20,160 --> 01:06:24,000
Speaker 1: I might think this must be this being must be

1182
01:06:24,040 --> 01:06:27,200
Speaker 1: of the same species or origin as the Tall Man,

1183
01:06:27,240 --> 01:06:29,520
Speaker 1: because they're both the they're like they I don't think

1184
01:06:29,520 --> 01:06:31,720
Speaker 1: they exchange any words. They have this kind of like

1185
01:06:31,800 --> 01:06:36,400
Speaker 1: wordless correspondence energy. But the scene here is really cool though,

1186
01:06:36,440 --> 01:06:38,200
Speaker 1: you know, with him hiding in the casket, I feel

1187
01:06:38,200 --> 01:06:40,720
Speaker 1: like it has genuine tension to it. And this is

1188
01:06:40,760 --> 01:06:43,080
Speaker 1: cool bit where he's he's used the lighter that he

1189
01:06:43,160 --> 01:06:45,880
Speaker 1: was showing off earlier to keep the casket from closing

1190
01:06:45,920 --> 01:06:48,560
Speaker 1: completely because I don't know, maybe it would self lock

1191
01:06:48,680 --> 01:06:50,520
Speaker 1: and then he would be stuck in there and buried

1192
01:06:50,640 --> 01:06:53,760
Speaker 1: or found later. I wonder if there's there are unused

1193
01:06:53,800 --> 01:06:56,640
Speaker 1: scenes that describe who the man in the white hat is,

1194
01:06:56,680 --> 01:06:59,280
Speaker 1: like maybe he's a human rin Field to the Tall Man,

1195
01:06:59,640 --> 01:07:02,480
Speaker 1: because is Did you read the same thing I did

1196
01:07:02,560 --> 01:07:06,000
Speaker 1: Rob about how the original cut of Phantasm was over

1197
01:07:06,280 --> 01:07:10,640
Speaker 1: three hours long? Oh wow, Well, I guess. I mean

1198
01:07:10,640 --> 01:07:13,000
Speaker 1: that's not out of character with a lot of films

1199
01:07:13,000 --> 01:07:17,520
Speaker 1: where the initial cut is just really bloated. But if

1200
01:07:17,560 --> 01:07:19,520
Speaker 1: that's the case with this film, I mean, good job

1201
01:07:19,560 --> 01:07:24,040
Speaker 1: on them cutting it down and it being this consistently entertaining.

1202
01:07:24,080 --> 01:07:26,440
Speaker 1: There's not a dull moment in the film. It's like

1203
01:07:26,480 --> 01:07:29,280
Speaker 1: an hour and twentysomething. So if that's true, that would

1204
01:07:29,280 --> 01:07:32,440
Speaker 1: have mean that would have meant we lost half the movie.

1205
01:07:32,840 --> 01:07:35,760
Speaker 1: I think they pull some stuff out later in uh

1206
01:07:36,080 --> 01:07:38,800
Speaker 1: some of the sequels, like even like pretty you know,

1207
01:07:38,800 --> 01:07:41,200
Speaker 1: like decades later in some of the sequels, they like,

1208
01:07:41,360 --> 01:07:43,520
Speaker 1: We're able to pull out whole sequences that they didn't

1209
01:07:43,600 --> 01:07:49,360
Speaker 1: use well. Anyway, Mike is attacked by the man in

1210
01:07:49,400 --> 01:07:52,160
Speaker 1: the white hat, but at the same time he is

1211
01:07:52,320 --> 01:07:55,400
Speaker 1: being pursued by the ball. This is when we first

1212
01:07:55,480 --> 01:07:59,800
Speaker 1: really meet the ball. There is a shiny metal sphere

1213
01:08:00,280 --> 01:08:03,959
Speaker 1: that flies through the air at Mike and it's coming

1214
01:08:04,000 --> 01:08:07,000
Speaker 1: at him to uh to to drive into his face

1215
01:08:07,440 --> 01:08:09,480
Speaker 1: while the man in the white hat is holding him.

1216
01:08:09,520 --> 01:08:11,640
Speaker 1: But Mike bites the guy on the arm and then

1217
01:08:11,720 --> 01:08:14,600
Speaker 1: ducks down. And then the ball hits the guy in

1218
01:08:14,640 --> 01:08:18,000
Speaker 1: the white hat instead, and it I remember when I

1219
01:08:18,040 --> 01:08:21,519
Speaker 1: first saw this, the entire room was just in shock

1220
01:08:21,720 --> 01:08:24,519
Speaker 1: watching what the ball did. It's it's a roll that

1221
01:08:24,600 --> 01:08:27,920
Speaker 1: beautiful ball footage moment where the drill goes in between

1222
01:08:27,960 --> 01:08:30,599
Speaker 1: the eyes and then it just squirts out a jet

1223
01:08:30,640 --> 01:08:33,360
Speaker 1: of blood from the back of the ball. Yeah, like

1224
01:08:33,360 --> 01:08:35,400
Speaker 1: it's not trying to keep the blood it's just take

1225
01:08:35,479 --> 01:08:38,840
Speaker 1: the blood out of the thing that it is embedded in.

1226
01:08:38,960 --> 01:08:43,360
Speaker 1: It's just absolutely glorious sequence. Uh, one of the coolest,

1227
01:08:43,439 --> 01:08:46,759
Speaker 1: weirdest horror movie deaths you'll ever find an a harm movie.

1228
01:08:46,960 --> 01:08:49,400
Speaker 1: To take it out of the context of horror movie violence,

1229
01:08:49,520 --> 01:08:52,719
Speaker 1: this device, if it existed would be a wonderful fruit juicer.

1230
01:08:52,840 --> 01:08:54,600
Speaker 1: It looks, you know, flying to the side of a

1231
01:08:54,600 --> 01:08:59,000
Speaker 1: watermelon and then just drain all the watermelon juice straight out. Yeah.

1232
01:08:59,000 --> 01:09:01,000
Speaker 1: I mean you have to stand behind it and I

1233
01:09:01,040 --> 01:09:03,320
Speaker 1: guess catch it all in your mouth. There's something you

1234
01:09:03,360 --> 01:09:06,639
Speaker 1: need a receptacle. Yeah, But that's again that's another quality

1235
01:09:06,680 --> 01:09:09,120
Speaker 1: of the sphere that I like because it doesn't feel

1236
01:09:09,200 --> 01:09:12,360
Speaker 1: like it was designed to function in this world or

1237
01:09:12,400 --> 01:09:15,600
Speaker 1: in these circumstances. You know, just attaching to things and

1238
01:09:15,600 --> 01:09:17,719
Speaker 1: sucking all the liquid out of them and just blasting

1239
01:09:17,800 --> 01:09:21,600
Speaker 1: the liquid over whatever is behind it. I love it.

1240
01:09:21,600 --> 01:09:23,799
Speaker 1: It's so weird. But there are a lot of effects

1241
01:09:23,840 --> 01:09:28,000
Speaker 1: in this movie that are great low tech, low cost effects,

1242
01:09:28,000 --> 01:09:30,679
Speaker 1: and the ball effects. I think this is a great

1243
01:09:30,680 --> 01:09:34,320
Speaker 1: example because there are scenes where the this metal sphere

1244
01:09:34,360 --> 01:09:37,280
Speaker 1: is actually flying through the air towards the camera and

1245
01:09:37,400 --> 01:09:40,000
Speaker 1: you don't necessarily see any wires or anything. So how

1246
01:09:40,000 --> 01:09:42,320
Speaker 1: did they do this? I think what they did is

1247
01:09:42,360 --> 01:09:44,840
Speaker 1: they just had somebody stand behind the camera and pitch

1248
01:09:44,960 --> 01:09:46,839
Speaker 1: the ball, or they might have used a pitching machine.

1249
01:09:46,880 --> 01:09:50,200
Speaker 1: In any case, the ball was being a throne or

1250
01:09:50,280 --> 01:09:53,760
Speaker 1: ejected down the hall past the camera, and then they

1251
01:09:53,800 --> 01:09:55,760
Speaker 1: just used the shot in reverse. So the ball is

1252
01:09:55,800 --> 01:09:58,240
Speaker 1: just flying towards the camera from out of nowhere. It

1253
01:09:58,280 --> 01:10:00,920
Speaker 1: looks good. It looks good. How where they did it? Like?

1254
01:10:01,000 --> 01:10:04,480
Speaker 1: These are sequences? Um that that that hold up? Absolutely?

1255
01:10:04,720 --> 01:10:07,880
Speaker 1: Uh you know that these He's he's totally by this

1256
01:10:08,040 --> 01:10:20,040
Speaker 1: flying silver sphere from another world. Anyway, there's a big

1257
01:10:20,120 --> 01:10:23,240
Speaker 1: chase scene the tall Man chases Mike. At one point

1258
01:10:23,479 --> 01:10:26,679
Speaker 1: Mike manages to before the chase. Before the chase, Joe,

1259
01:10:26,760 --> 01:10:29,000
Speaker 1: you have one of my favorite moments. This is the

1260
01:10:29,080 --> 01:10:32,080
Speaker 1: showdown between Mike and the tall Man. This is the

1261
01:10:32,080 --> 01:10:35,880
Speaker 1: moment is another game recognized game moment where they both

1262
01:10:36,640 --> 01:10:40,080
Speaker 1: they freeze. They kind of Mike kind of like cautiously

1263
01:10:40,200 --> 01:10:44,400
Speaker 1: walks up the tall Man's cautiously walking up and then

1264
01:10:44,479 --> 01:10:47,400
Speaker 1: and they're kind of mirror images of each other. Um

1265
01:10:47,400 --> 01:10:49,120
Speaker 1: but but kind of like one to one side, one

1266
01:10:49,120 --> 01:10:52,040
Speaker 1: to the other and then boom, Mike runs for it

1267
01:10:52,200 --> 01:10:54,439
Speaker 1: and the tall Man chases after him. And the tall

1268
01:10:54,439 --> 01:10:55,920
Speaker 1: Man he's got a lot of he's got a lot

1269
01:10:55,960 --> 01:10:59,519
Speaker 1: of go, he's got some energy. He may look like

1270
01:10:59,640 --> 01:11:02,479
Speaker 1: he's somewhere between the ages of fifty and eighty. Again,

1271
01:11:02,560 --> 01:11:05,760
Speaker 1: his age is also suitably vague. Um, And of course

1272
01:11:05,800 --> 01:11:07,960
Speaker 1: he's probably he's not of this world anyway, so it

1273
01:11:07,960 --> 01:11:10,680
Speaker 1: doesn't matter. But yeah, he can move. This leads to

1274
01:11:10,800 --> 01:11:16,120
Speaker 1: the finger sequence, which is a whole like series of

1275
01:11:16,240 --> 01:11:21,639
Speaker 1: scenes which are so so. Mike manages to escape from

1276
01:11:21,640 --> 01:11:23,919
Speaker 1: the tall Man and cut off some of his fingers.

1277
01:11:24,800 --> 01:11:28,000
Speaker 1: It squirts out yellow blood, and his fingers are like

1278
01:11:28,040 --> 01:11:31,080
Speaker 1: still moving around on the floor. Mike takes one of

1279
01:11:31,120 --> 01:11:33,839
Speaker 1: the fingers, takes it home, keeps it in a box,

1280
01:11:34,960 --> 01:11:37,720
Speaker 1: falls asleep on the floating shag carpet stairs with a

1281
01:11:37,760 --> 01:11:41,839
Speaker 1: shotgun in his hand. That's not safe. Um. Then Jody

1282
01:11:42,120 --> 01:11:45,840
Speaker 1: finds him asleep on the stairs. Uh. Mike explains it

1283
01:11:45,880 --> 01:11:48,320
Speaker 1: to Jody. He's like, here's what happened. I'm going to

1284
01:11:48,400 --> 01:11:50,439
Speaker 1: show you a finger in a box. And then he

1285
01:11:50,479 --> 01:11:53,120
Speaker 1: shows him the finger and then Jody's like, Okay, I'm

1286
01:11:53,160 --> 01:11:57,439
Speaker 1: convinced I appreciated that that he didn't persist in denying

1287
01:11:57,439 --> 01:11:59,559
Speaker 1: it once he saw the finger in the yellow blood

1288
01:11:59,560 --> 01:12:02,680
Speaker 1: in the box. And then the finger turns into a

1289
01:12:02,680 --> 01:12:06,040
Speaker 1: beatle demon which attacks Jody and Mike, and then they

1290
01:12:06,040 --> 01:12:08,759
Speaker 1: try to kill it in the garbage disposal in the sink,

1291
01:12:09,240 --> 01:12:11,919
Speaker 1: and then Reggie arrives to witness this, and now Reggie's

1292
01:12:11,960 --> 01:12:15,840
Speaker 1: in on the whole demon conspiracy. Uh. And then and

1293
01:12:15,880 --> 01:12:19,799
Speaker 1: then after this, Jody starts giving Mike a gun safety lesson,

1294
01:12:20,120 --> 01:12:22,200
Speaker 1: and then Jody heads off to the funeral home to

1295
01:12:22,280 --> 01:12:26,160
Speaker 1: investigate things for himself. Yeah, and I love the love

1296
01:12:26,200 --> 01:12:28,400
Speaker 1: how we go from this scene where Jody is giving

1297
01:12:28,439 --> 01:12:32,080
Speaker 1: Mike the gun safety lesson, and then Jody brave goes

1298
01:12:32,120 --> 01:12:35,960
Speaker 1: into the basement of of the mausoleum at night is

1299
01:12:36,000 --> 01:12:39,360
Speaker 1: immediately attacked by dwarves. And there's a scene where a

1300
01:12:39,439 --> 01:12:43,000
Speaker 1: dwarf is on Jody's back and Jody is trying to

1301
01:12:43,120 --> 01:12:45,760
Speaker 1: shoot the dwarf off of his back with a handgun

1302
01:12:46,040 --> 01:12:50,160
Speaker 1: by essentially aiming the gun at his own head. Like

1303
01:12:50,240 --> 01:12:53,639
Speaker 1: it's just so dangerous. It's like, really, you're just giving

1304
01:12:53,720 --> 01:12:56,240
Speaker 1: pointers on gun safety and now you're doing this. That

1305
01:12:56,360 --> 01:13:00,360
Speaker 1: scene is so funny. But anyway, Jody yes, so he

1306
01:13:00,520 --> 01:13:03,000
Speaker 1: Jody and has this fight with one of the necro

1307
01:13:03,160 --> 01:13:06,439
Speaker 1: dwarves in the funeral home and then he flees. And

1308
01:13:06,439 --> 01:13:08,880
Speaker 1: then this leads into a car chase where Jody and

1309
01:13:08,920 --> 01:13:12,599
Speaker 1: Mike are driving around shooting at a hearse I think

1310
01:13:12,640 --> 01:13:16,360
Speaker 1: that's being driven by one of the creatures, and then

1311
01:13:16,400 --> 01:13:19,920
Speaker 1: they crash. They get the other car to crash, and

1312
01:13:20,280 --> 01:13:23,280
Speaker 1: they go up to the creature and they pull back

1313
01:13:23,320 --> 01:13:25,640
Speaker 1: its hood and you're wondering, what's its face going to

1314
01:13:25,720 --> 01:13:28,559
Speaker 1: be like? And they realize, oh, no, this was our friend.

1315
01:13:28,600 --> 01:13:32,639
Speaker 1: Tommy's the limmy guy, but he's covered in yellow slime. Oh,

1316
01:13:32,720 --> 01:13:36,639
Speaker 1: and this is great the reveal that the dwarves are

1317
01:13:37,280 --> 01:13:40,400
Speaker 1: the bodies of the dead that have been like compressed

1318
01:13:40,479 --> 01:13:45,519
Speaker 1: down into um, into little necro dwarves like this. I

1319
01:13:45,560 --> 01:13:48,400
Speaker 1: remember when I when I when I watched one of

1320
01:13:48,439 --> 01:13:50,559
Speaker 1: these films for the first time and realized this, and

1321
01:13:50,560 --> 01:13:53,160
Speaker 1: I was like, oh, my goodness, that's that's genius. That's

1322
01:13:53,200 --> 01:13:56,479
Speaker 1: so beautiful. So they summoned Reggie's ice cream truck, which

1323
01:13:56,520 --> 01:13:59,639
Speaker 1: is now doubling as a body removal truck. So they're

1324
01:13:59,680 --> 01:14:03,439
Speaker 1: putting it in the in the freezer and Reggie by

1325
01:14:03,479 --> 01:14:06,599
Speaker 1: this scene. I think he was dressed like this earlier.

1326
01:14:06,640 --> 01:14:09,599
Speaker 1: But he looks so funny because he's wearing a black

1327
01:14:09,840 --> 01:14:14,080
Speaker 1: vest over his ice cream outfit, so he looks like

1328
01:14:14,080 --> 01:14:17,839
Speaker 1: a combination of a milkman and a riverboat casino dealer.

1329
01:14:18,760 --> 01:14:21,120
Speaker 1: So Reggie, Jodi, and Mike go back to their house

1330
01:14:21,120 --> 01:14:24,280
Speaker 1: and they have a strategy session. Jody's going, why why,

1331
01:14:24,320 --> 01:14:27,280
Speaker 1: why why are they taking people's bodies and crushing them

1332
01:14:27,280 --> 01:14:30,600
Speaker 1: down to half size. And then Reggie suggests, well, we

1333
01:14:30,640 --> 01:14:32,880
Speaker 1: got to catch the tall man and drive a steak

1334
01:14:32,880 --> 01:14:34,840
Speaker 1: through his heart. I don't know why they think that

1335
01:14:34,840 --> 01:14:40,440
Speaker 1: would work. Uh. And then Mike, Um, Mike is incredulous.

1336
01:14:40,520 --> 01:14:42,680
Speaker 1: He's like, how do you think we could drive a

1337
01:14:42,720 --> 01:14:45,920
Speaker 1: steak through his heart? That mother is strong, and many

1338
01:14:45,960 --> 01:14:49,599
Speaker 1: times in this movie people use the word mother as

1339
01:14:49,640 --> 01:14:52,320
Speaker 1: a general now to refer to a person or a thing.

1340
01:14:54,920 --> 01:14:57,559
Speaker 1: It will gives so nicely with Mike here though, because

1341
01:14:58,400 --> 01:15:02,320
Speaker 1: because it's like Mike's talking tough. He's talking like like

1342
01:15:02,640 --> 01:15:04,879
Speaker 1: like he thinks an adult should be talking in the situation.

1343
01:15:04,960 --> 01:15:07,400
Speaker 1: I love it. Okay, Well, we're heading into the final

1344
01:15:07,439 --> 01:15:09,760
Speaker 1: sequence here, so I think Reggie and Jody are going

1345
01:15:09,800 --> 01:15:12,920
Speaker 1: to go investigate the funeral home again, and they're gonna

1346
01:15:13,000 --> 01:15:18,160
Speaker 1: make Mike stay at uh Sally's an antique store. I

1347
01:15:18,160 --> 01:15:20,439
Speaker 1: think these are characters who we should have met before,

1348
01:15:20,479 --> 01:15:23,759
Speaker 1: but we haven't. Actually, maybe that got cut. The antique

1349
01:15:23,760 --> 01:15:26,679
Speaker 1: store is a nice sequence though, because it's just Mike

1350
01:15:27,120 --> 01:15:30,040
Speaker 1: wandering around looking at strange things in an antique store,

1351
01:15:30,280 --> 01:15:33,400
Speaker 1: and we get some fabulous percussion, like all the gongs

1352
01:15:33,439 --> 01:15:37,280
Speaker 1: and bells. Uh. It's a scene that I yeah, without

1353
01:15:37,280 --> 01:15:38,880
Speaker 1: the music, I guess it might be a little boring,

1354
01:15:38,960 --> 01:15:41,719
Speaker 1: but with the music, it's it's really cool and creepy. Yeah.

1355
01:15:41,760 --> 01:15:44,160
Speaker 1: And he just wanders around looking at things until he

1356
01:15:44,200 --> 01:15:46,960
Speaker 1: finds an old photograph of the Tall Man in the

1357
01:15:47,080 --> 01:15:51,280
Speaker 1: nineteenth century driving a horse drawn carriage. And then from

1358
01:15:51,320 --> 01:15:54,160
Speaker 1: here he's like, you must take me home immediately. I

1359
01:15:54,200 --> 01:15:56,880
Speaker 1: don't know what this changes. Why does that mean he

1360
01:15:56,960 --> 01:16:01,240
Speaker 1: must leave? You're like, yeah, that didn't they already know

1361
01:16:01,320 --> 01:16:03,720
Speaker 1: that the tall Man was the other world? Like why

1362
01:16:03,760 --> 01:16:06,760
Speaker 1: would he be that surprised? I don't know. So they're

1363
01:16:06,840 --> 01:16:10,879
Speaker 1: driving around and the car gets attacked by the creatures again. Uh,

1364
01:16:10,960 --> 01:16:15,639
Speaker 1: and then let's see Mike goes back home and then

1365
01:16:15,800 --> 01:16:19,360
Speaker 1: Jody locks Mike in his bedroom where he's like, I'm

1366
01:16:19,360 --> 01:16:22,040
Speaker 1: going to go go to the funeral home. You have

1367
01:16:22,120 --> 01:16:24,600
Speaker 1: to stay here, And then we get one of the

1368
01:16:24,640 --> 01:16:27,559
Speaker 1: moments that actually stuck in my mind the most from

1369
01:16:27,640 --> 01:16:31,080
Speaker 1: when I first saw this movie. It is when Mike

1370
01:16:31,320 --> 01:16:34,840
Speaker 1: comes up with a system to escape being locked in

1371
01:16:34,920 --> 01:16:39,360
Speaker 1: his room, and it is an improvised explosive device that

1372
01:16:39,400 --> 01:16:43,000
Speaker 1: he makes out of a shotgun shell, a hammer, attack,

1373
01:16:43,240 --> 01:16:48,280
Speaker 1: and some tape. Yeah, absolutely do not do this at yeah,

1374
01:16:48,400 --> 01:16:50,880
Speaker 1: So he like, yeah, he puts attack in the back

1375
01:16:50,920 --> 01:16:53,000
Speaker 1: of a shotgun shell and then tapes it to the

1376
01:16:53,120 --> 01:16:55,439
Speaker 1: end of a hammer, and then like and then swings

1377
01:16:55,439 --> 01:16:59,120
Speaker 1: it at the door, and this makes the shell explode

1378
01:16:59,360 --> 01:17:02,040
Speaker 1: and it shoots sits shot through the door, and then

1379
01:17:02,040 --> 01:17:04,519
Speaker 1: he's able to reach through and and open up the

1380
01:17:04,840 --> 01:17:08,200
Speaker 1: knob or dislodge a screwdriver. I think that Jody jammed

1381
01:17:08,200 --> 01:17:10,680
Speaker 1: in there to prevent the door from opening. I was

1382
01:17:10,680 --> 01:17:13,280
Speaker 1: trying to figure out what this technique actually work. I

1383
01:17:13,320 --> 01:17:15,639
Speaker 1: have no idea. All I could find was people doing

1384
01:17:15,760 --> 01:17:18,960
Speaker 1: forum posts on it, so I can't vouch for this

1385
01:17:19,040 --> 01:17:21,680
Speaker 1: at all, but people on the forum posts, so some

1386
01:17:21,720 --> 01:17:23,599
Speaker 1: people were saying, yeah, it seems like this would work,

1387
01:17:23,640 --> 01:17:28,040
Speaker 1: except the shot would not explode, you know, going straight

1388
01:17:28,080 --> 01:17:29,800
Speaker 1: forward like it would if it were coming out the

1389
01:17:29,800 --> 01:17:33,320
Speaker 1: barrel of a shotgun. It would explode in all directions

1390
01:17:33,360 --> 01:17:35,559
Speaker 1: because of the lack of a barrel. Please do not

1391
01:17:35,720 --> 01:17:38,840
Speaker 1: try this out. We are not asking anybody to experiment

1392
01:17:39,439 --> 01:17:42,040
Speaker 1: and and create and generate an answer on this. Do

1393
01:17:42,080 --> 01:17:44,800
Speaker 1: not attempt. But it was all for nothing, really, because

1394
01:17:44,840 --> 01:17:47,640
Speaker 1: Mike gets out and then immediately runs into Anger scrim

1395
01:17:47,800 --> 01:17:50,519
Speaker 1: Ambush at the door. Anger scrims like, I've been waiting

1396
01:17:50,600 --> 01:17:54,000
Speaker 1: for you. So he takes him. Uh. Tallman takes him

1397
01:17:54,000 --> 01:17:56,920
Speaker 1: to the funeral home, where he escapes a hearse by

1398
01:17:56,920 --> 01:18:00,599
Speaker 1: shooting out a window. Meanwhile, Jody's already there. We get

1399
01:18:00,600 --> 01:18:03,760
Speaker 1: a bunch of action. There's like the ball attacks again

1400
01:18:03,800 --> 01:18:06,479
Speaker 1: and we get ball cam. Jodie comes to the rescue

1401
01:18:06,520 --> 01:18:10,040
Speaker 1: with a shotgun and blows up the ball and uh.

1402
01:18:10,120 --> 01:18:12,280
Speaker 1: And now they got to check out the scary door.

1403
01:18:12,400 --> 01:18:15,640
Speaker 1: So they're they're creeping over to the scary door that

1404
01:18:15,680 --> 01:18:18,640
Speaker 1: we saw the blonde girl open earlier. She sees the

1405
01:18:18,720 --> 01:18:21,479
Speaker 1: light and then she screams, yeah. And this this is

1406
01:18:21,520 --> 01:18:22,920
Speaker 1: the point in the film where if you've never seen

1407
01:18:22,960 --> 01:18:25,040
Speaker 1: it before, you might wonder like how do they how

1408
01:18:25,040 --> 01:18:26,479
Speaker 1: do they keep it going? How do they out the

1409
01:18:26,520 --> 01:18:30,280
Speaker 1: auntie here? But they do, Like the weirdness intensifies in

1410
01:18:30,320 --> 01:18:32,880
Speaker 1: this scene. Well, first of all, we get jump scare Reggie.

1411
01:18:32,960 --> 01:18:36,720
Speaker 1: Reggie just comes out. Yeah, he's like hey, and they're like, oh,

1412
01:18:36,800 --> 01:18:39,639
Speaker 1: we thought you were dead, but no, he's good. And

1413
01:18:39,720 --> 01:18:42,360
Speaker 1: he reveals that he found Sally and Susie and some

1414
01:18:42,439 --> 01:18:44,840
Speaker 1: other people in there and they're not dead. They're all okay,

1415
01:18:44,840 --> 01:18:46,599
Speaker 1: And he's like, yeah, I snuck him out of windows.

1416
01:18:47,280 --> 01:18:50,400
Speaker 1: Just a whole other story was happening while we were watching.

1417
01:18:50,640 --> 01:18:53,280
Speaker 1: The characters we barely knew are also now safe. So

1418
01:18:53,360 --> 01:18:56,519
Speaker 1: don't they're they're fine. Yeah, So okay, they want to

1419
01:18:56,520 --> 01:18:58,080
Speaker 1: go in the room. They open up the door and

1420
01:18:58,160 --> 01:19:03,080
Speaker 1: inside the room is full of these black barrels with

1421
01:19:03,200 --> 01:19:06,599
Speaker 1: little glass windows on them. Huh, what's going on there?

1422
01:19:06,640 --> 01:19:09,040
Speaker 1: We get a loud hum And then also in the

1423
01:19:09,120 --> 01:19:12,480
Speaker 1: room with the black barrels, there is some weird furniture.

1424
01:19:12,640 --> 01:19:16,200
Speaker 1: There's there are just these two metal prongs coming up

1425
01:19:16,240 --> 01:19:19,280
Speaker 1: from the floor and they look inside the barrels and

1426
01:19:19,320 --> 01:19:22,040
Speaker 1: they're like, oh, it's those necro dwarves there they are,

1427
01:19:22,600 --> 01:19:25,559
Speaker 1: And so they're being created in these barrels, I guess,

1428
01:19:25,920 --> 01:19:29,240
Speaker 1: and then or at least created and then like pickled

1429
01:19:29,240 --> 01:19:32,040
Speaker 1: in the barrel, finished in the barrel, or stored in

1430
01:19:32,040 --> 01:19:35,120
Speaker 1: the barrel for transit, I don't know. And then Mike

1431
01:19:35,240 --> 01:19:38,240
Speaker 1: realizes that the two metal prongs coming up from the

1432
01:19:38,280 --> 01:19:42,400
Speaker 1: floor are actually a transdimensional portal, and he reaches his

1433
01:19:42,439 --> 01:19:45,559
Speaker 1: hand through and then he falls entirely through and sees

1434
01:19:45,600 --> 01:19:48,360
Speaker 1: what's on the other side, and it is a desert

1435
01:19:48,479 --> 01:19:51,400
Speaker 1: planet made of just like stones and gravel with a

1436
01:19:51,520 --> 01:19:55,320
Speaker 1: red sky, where all of the necro dwarves are are

1437
01:19:55,400 --> 01:19:57,559
Speaker 1: lined up in a row going all the way to

1438
01:19:57,640 --> 01:20:01,040
Speaker 1: the horizon as if they're like carrying stuff off. And

1439
01:20:01,320 --> 01:20:03,760
Speaker 1: then Jody and Reggie save Mike. They pull him out

1440
01:20:03,840 --> 01:20:07,200
Speaker 1: from from the portal, and they put everything together. They

1441
01:20:07,240 --> 01:20:10,240
Speaker 1: figure out ah, the Tall Man is using the human

1442
01:20:10,240 --> 01:20:14,599
Speaker 1: corpses as alien slave labor on another planet, but because

1443
01:20:14,640 --> 01:20:19,040
Speaker 1: of that planet's gravity and uh I guess atmospheric pressure

1444
01:20:19,120 --> 01:20:21,080
Speaker 1: or heat, they have to be crushed down to a

1445
01:20:21,120 --> 01:20:24,560
Speaker 1: smaller size so they can work there as zombies. I

1446
01:20:24,600 --> 01:20:28,679
Speaker 1: absolutely love this. This is a marvelous reveal, like there's

1447
01:20:28,720 --> 01:20:32,559
Speaker 1: another world out there, some sort of giant, high gravity world.

1448
01:20:32,880 --> 01:20:36,360
Speaker 1: Where crushed down necro dwarves or are being sent to

1449
01:20:36,439 --> 01:20:39,120
Speaker 1: serve as labor. And also they never I don't know

1450
01:20:39,120 --> 01:20:40,760
Speaker 1: if they ever really draw this line or not, but

1451
01:20:40,760 --> 01:20:42,640
Speaker 1: I wonder if that's also why the tall man is

1452
01:20:42,680 --> 01:20:45,040
Speaker 1: so tall, because he comes from one of these worlds

1453
01:20:45,080 --> 01:20:47,320
Speaker 1: with with higher gravity comes to a lower gravity world

1454
01:20:47,560 --> 01:20:51,759
Speaker 1: and it like makes him taller somehow, I don't know. Okay, Well, anyway,

1455
01:20:51,800 --> 01:20:54,240
Speaker 1: there's a bunch of fighting after this lights go out,

1456
01:20:54,360 --> 01:20:56,880
Speaker 1: and then Jody and Mike end up chasing around with

1457
01:20:56,960 --> 01:20:59,560
Speaker 1: some of the with some of the creatures. Reggie is

1458
01:20:59,600 --> 01:21:01,400
Speaker 1: left behind in the room, and there's a great moment

1459
01:21:01,400 --> 01:21:03,920
Speaker 1: where where Reggie thinks back to the tuning fork because

1460
01:21:03,920 --> 01:21:06,160
Speaker 1: he is looking at the two metal prongs coming up

1461
01:21:06,160 --> 01:21:09,840
Speaker 1: from the floor and he figures out how to do

1462
01:21:10,080 --> 01:21:13,559
Speaker 1: something to them. Uh he he like, he puts his

1463
01:21:13,680 --> 01:21:16,640
Speaker 1: hands on the on the prongs like he did with

1464
01:21:16,680 --> 01:21:19,800
Speaker 1: his fingers on the tuning fork earlier, and that does something.

1465
01:21:19,800 --> 01:21:21,800
Speaker 1: It like opens a portal and then all the wind

1466
01:21:21,920 --> 01:21:24,400
Speaker 1: starts rushing and he almost gets sucked in. It's a

1467
01:21:24,400 --> 01:21:26,560
Speaker 1: great sequence and I like how it can you know,

1468
01:21:26,600 --> 01:21:28,960
Speaker 1: connects to that moment with the tuning fork earlier in

1469
01:21:28,960 --> 01:21:31,360
Speaker 1: the film, He's like, this is it. I know what

1470
01:21:31,520 --> 01:21:33,640
Speaker 1: this is. I mean, I don't really know what this is,

1471
01:21:33,680 --> 01:21:38,240
Speaker 1: but I know the basic relationship here. I bet if

1472
01:21:38,280 --> 01:21:41,320
Speaker 1: I reach out with both hands and I stopped the vibrations,

1473
01:21:41,640 --> 01:21:44,439
Speaker 1: I'm going to close this portal. Another trivia thing I

1474
01:21:44,479 --> 01:21:47,360
Speaker 1: saw alleged on the internet is that the idea to

1475
01:21:47,439 --> 01:21:50,960
Speaker 1: connect that to the tuning fork and everything was was

1476
01:21:51,000 --> 01:21:56,240
Speaker 1: an idea that came from Susan, who was Reggie Banister's wife. Well,

1477
01:21:56,280 --> 01:21:58,799
Speaker 1: it was a great idea. So Reggie makes it outside.

1478
01:21:58,800 --> 01:22:01,200
Speaker 1: He sees the lady and laugh under. I think he

1479
01:22:01,280 --> 01:22:04,000
Speaker 1: does not know, like the audience does, that she is

1480
01:22:04,040 --> 01:22:06,599
Speaker 1: actually younger scrim So he goes and tries to help her,

1481
01:22:06,680 --> 01:22:10,000
Speaker 1: but he gets stabbed, and there's general wynd and chaos.

1482
01:22:10,120 --> 01:22:12,600
Speaker 1: There's you know, the tall man standing over Reggie with

1483
01:22:12,600 --> 01:22:16,080
Speaker 1: a knife and a Reggie apparently dies, and then we

1484
01:22:16,080 --> 01:22:19,679
Speaker 1: get the final showdown where uh, Jody and Mike escape

1485
01:22:19,680 --> 01:22:23,880
Speaker 1: and Jody's like this is so out of nowhere, like

1486
01:22:24,720 --> 01:22:27,479
Speaker 1: not earned at all. Jody's like, there's an old mine

1487
01:22:27,479 --> 01:22:32,320
Speaker 1: shaft up by Singer's Creek thousands of feet down. We

1488
01:22:32,479 --> 01:22:34,679
Speaker 1: just gotta find a way to get him up there,

1489
01:22:35,240 --> 01:22:37,439
Speaker 1: and so he sends Mike into into the house to

1490
01:22:37,439 --> 01:22:39,759
Speaker 1: get Ammo, and Jody says he's going to go remove

1491
01:22:39,920 --> 01:22:44,080
Speaker 1: warning signs from around the mine shaft. Um but I

1492
01:22:44,120 --> 01:22:45,960
Speaker 1: don't know why they's in Mike into the house because

1493
01:22:46,000 --> 01:22:48,400
Speaker 1: don't they already know that the tall Man knows that's

1494
01:22:48,400 --> 01:22:51,519
Speaker 1: where they live. I don't know. Tallman shows up and

1495
01:22:51,560 --> 01:22:54,120
Speaker 1: attacks Mike in the house. He you know, he says, boy,

1496
01:22:54,360 --> 01:22:57,400
Speaker 1: you play a good game, boy, But now the time

1497
01:22:57,520 --> 01:23:01,840
Speaker 1: is finished. And so they run around chasing and Mike's

1498
01:23:01,560 --> 01:23:04,840
Speaker 1: were repeating the litany against fear, except not really. Instead

1499
01:23:04,880 --> 01:23:08,840
Speaker 1: he's just saying, don't fear. And they they succeed. They

1500
01:23:08,880 --> 01:23:12,320
Speaker 1: you know, they lure the tall Man into the mine shaft,

1501
01:23:12,400 --> 01:23:14,360
Speaker 1: which does not look like a mind shaft at all.

1502
01:23:14,400 --> 01:23:16,840
Speaker 1: It looks like a square somebody dug a square shaped

1503
01:23:16,880 --> 01:23:19,360
Speaker 1: hole in the dirt. Yeah. This is the one moment

1504
01:23:19,400 --> 01:23:21,360
Speaker 1: in the film where I feel like the effects feel

1505
01:23:21,400 --> 01:23:24,200
Speaker 1: a little bit shoddy, especially when the boulders roll in

1506
01:23:24,240 --> 01:23:26,760
Speaker 1: to fill up the pit after they dropped the tall

1507
01:23:26,840 --> 01:23:28,960
Speaker 1: Man down. There is not a deal breaker for the

1508
01:23:29,000 --> 01:23:33,120
Speaker 1: movie or anything, but um but yeah, everything else feels

1509
01:23:33,240 --> 01:23:35,080
Speaker 1: fresh and believable. And this is a little like you

1510
01:23:35,280 --> 01:23:37,760
Speaker 1: can see the scenes. You can see the tarp uh

1511
01:23:37,880 --> 01:23:39,920
Speaker 1: there in that sequence, and I was like, are they

1512
01:23:39,920 --> 01:23:41,920
Speaker 1: gonna wake up? And it's all a dream, and you

1513
01:23:41,960 --> 01:23:44,960
Speaker 1: know what happens the next thing, Mike wakes up as

1514
01:23:44,960 --> 01:23:47,880
Speaker 1: if from a dream. And then Mike and Reggie are

1515
01:23:47,920 --> 01:23:53,120
Speaker 1: hanging out next to a roaring fire and they're talking

1516
01:23:53,160 --> 01:23:57,800
Speaker 1: about how, uh Jodi died. Huh. It's like there were

1517
01:23:58,200 --> 01:24:00,920
Speaker 1: like so instead of Reggie dying, they're saying Jody died

1518
01:24:01,640 --> 01:24:07,000
Speaker 1: and uh. Then they show Mike visiting Jody's grave and

1519
01:24:07,040 --> 01:24:09,360
Speaker 1: then Reggie's like, I'm going to take care of you, Mike,

1520
01:24:10,000 --> 01:24:13,120
Speaker 1: and then Reggie starts playing. He's like, let's go on

1521
01:24:13,120 --> 01:24:14,880
Speaker 1: a road trip. You know, we'll leave when the sun

1522
01:24:14,920 --> 01:24:17,920
Speaker 1: comes up. You go pack your bags. And Reggie sits

1523
01:24:17,920 --> 01:24:20,880
Speaker 1: there by the fire and starts to play that song

1524
01:24:21,000 --> 01:24:24,680
Speaker 1: sitting here at midnight again and it is violently dissonant

1525
01:24:24,680 --> 01:24:27,679
Speaker 1: with the non diagetic soundtrack that's playing at the same time.

1526
01:24:27,800 --> 01:24:30,800
Speaker 1: Sounds horrible. And then up in Mike's room, the tall

1527
01:24:30,840 --> 01:24:33,320
Speaker 1: man appears in a mirror and he's like boy, and

1528
01:24:33,360 --> 01:24:36,000
Speaker 1: then there's a jump scare and pulls him into the mirror,

1529
01:24:36,000 --> 01:24:38,320
Speaker 1: and that's the end of the movie. I have no

1530
01:24:38,479 --> 01:24:40,680
Speaker 1: idea how to make sense of any of that. It

1531
01:24:40,760 --> 01:24:44,680
Speaker 1: does does not connect at all. Yeah, I don't know, uh,

1532
01:24:45,320 --> 01:24:51,160
Speaker 1: dreams within dreams or dreams and images caused by by

1533
01:24:51,280 --> 01:24:55,920
Speaker 1: traumas and losses. Because it's like there we start off

1534
01:24:56,000 --> 01:24:59,680
Speaker 1: with the with the growing understanding that that Mike has

1535
01:24:59,760 --> 01:25:02,920
Speaker 1: law both his parents, and then here at the end

1536
01:25:02,920 --> 01:25:06,400
Speaker 1: we get this revelation that he's lost his brother and

1537
01:25:06,479 --> 01:25:09,960
Speaker 1: that the only like parental figure left in his life

1538
01:25:10,040 --> 01:25:13,680
Speaker 1: is Reggie, and um, yeah, it's I don't know, it's it.

1539
01:25:14,160 --> 01:25:17,880
Speaker 1: It's it's hard to connect all these things together, and

1540
01:25:17,960 --> 01:25:20,720
Speaker 1: yet everything shapes up in a way where you can

1541
01:25:20,800 --> 01:25:22,880
Speaker 1: you kind of buy it. You're like, there's a pattern here.

1542
01:25:23,120 --> 01:25:25,680
Speaker 1: I just can't quite piece it together. But if I

1543
01:25:25,720 --> 01:25:29,439
Speaker 1: watch it enough times, maybe it'll begin to sink in.

1544
01:25:29,880 --> 01:25:32,360
Speaker 1: I have a question about the theory of this movie.

1545
01:25:33,160 --> 01:25:36,120
Speaker 1: Why is the Tall Man doing murders at all? Because

1546
01:25:36,320 --> 01:25:39,040
Speaker 1: we discover in the end that his goal is to

1547
01:25:39,400 --> 01:25:43,800
Speaker 1: create uh Jawa zombies uh to work for him on

1548
01:25:43,800 --> 01:25:46,439
Speaker 1: this this other planet, and he does that just with

1549
01:25:46,520 --> 01:25:50,200
Speaker 1: human corpses. So he just needs corpses, but he already

1550
01:25:50,360 --> 01:25:54,439
Speaker 1: operates a funeral parlor, So why is he going out

1551
01:25:54,439 --> 01:25:58,240
Speaker 1: of his way to to do murders? Like I guess

1552
01:25:58,280 --> 01:26:00,720
Speaker 1: it would suggest that like at the normal rate of

1553
01:26:00,800 --> 01:26:03,880
Speaker 1: natural death, he is not getting enough bodies to do

1554
01:26:03,920 --> 01:26:06,519
Speaker 1: what he needs to do. I guess. So. Yeah, like

1555
01:26:06,600 --> 01:26:09,719
Speaker 1: in in the second movie, they add this nice detail

1556
01:26:09,760 --> 01:26:12,519
Speaker 1: where the tall Man moves around from town to town

1557
01:26:13,040 --> 01:26:18,760
Speaker 1: and he leaves just decimated funeral homes and decimated graveyards

1558
01:26:18,760 --> 01:26:21,720
Speaker 1: in his wake, like all the bodies get claimed and

1559
01:26:21,760 --> 01:26:25,360
Speaker 1: turned into dwarves and send into this other world. Uh so, yeah,

1560
01:26:25,360 --> 01:26:27,360
Speaker 1: maybe he just like juices the numbers a little bit more,

1561
01:26:27,400 --> 01:26:31,040
Speaker 1: and it's like, well, today I could get just thirty

1562
01:26:31,360 --> 01:26:35,400
Speaker 1: dwarves from raiding the cemeteries and you know, getting some

1563
01:26:35,400 --> 01:26:38,240
Speaker 1: some natural deaths rolling in, but I could also juice

1564
01:26:38,240 --> 01:26:39,720
Speaker 1: it a little bit and maybe kill a couple of

1565
01:26:39,760 --> 01:26:42,720
Speaker 1: people on the side. That's just more profits for me.

1566
01:26:43,120 --> 01:26:46,599
Speaker 1: He's trying to hit those Q four numbers. Yeah, I guess.

1567
01:26:46,640 --> 01:26:49,360
Speaker 1: Also it's like people who in some cases is there's

1568
01:26:49,360 --> 01:26:54,000
Speaker 1: a sense of like people who interfere with the the

1569
01:26:54,000 --> 01:26:57,639
Speaker 1: process here, with the with the scheme, they get killed

1570
01:26:57,920 --> 01:27:00,479
Speaker 1: and turned into zombies, because why why haste a good

1571
01:27:00,520 --> 01:27:02,920
Speaker 1: body when you could turn that into a dwarf as well.

1572
01:27:03,479 --> 01:27:05,680
Speaker 1: But yeah, other times, like he's turning into this uh,

1573
01:27:05,720 --> 01:27:08,720
Speaker 1: this woman to go out and clearly lure people to

1574
01:27:08,760 --> 01:27:12,320
Speaker 1: the cemetery for for for death. But I guess that's

1575
01:27:12,360 --> 01:27:15,400
Speaker 1: just that's ultimately more about this connection between sex and

1576
01:27:15,479 --> 01:27:19,000
Speaker 1: death in in Mike's mind. But what if he goes

1577
01:27:19,040 --> 01:27:21,240
Speaker 1: to the trouble of doing that and then the person's

1578
01:27:21,280 --> 01:27:25,639
Speaker 1: family decides that they want that that person buried somewhere else. Oh,

1579
01:27:25,800 --> 01:27:27,519
Speaker 1: I don't think the Tall Man would stand for that.

1580
01:27:27,720 --> 01:27:31,479
Speaker 1: He's got to use mafia tactics on grieving families to

1581
01:27:31,520 --> 01:27:34,160
Speaker 1: make sure he gets all of the bodies. I guess so.

1582
01:27:34,320 --> 01:27:36,519
Speaker 1: But it's like a small town like how many how

1583
01:27:36,520 --> 01:27:39,559
Speaker 1: many rival I mean, he's probably put the rival groups

1584
01:27:39,560 --> 01:27:42,160
Speaker 1: out of business, like you're not going to operate a

1585
01:27:42,160 --> 01:27:46,080
Speaker 1: funeral home in competition with the Tall Man. I guess so, Rob,

1586
01:27:46,120 --> 01:27:48,439
Speaker 1: this has got to be one of our longest episodes ever.

1587
01:27:48,600 --> 01:27:51,880
Speaker 1: We must cap it here. Yeah, we'll go ahead and

1588
01:27:52,160 --> 01:27:55,639
Speaker 1: cap it off here. But yeah, phantasm, it's a it's

1589
01:27:55,680 --> 01:27:58,720
Speaker 1: a lot of fun. It's it's widely available in all formats,

1590
01:27:59,120 --> 01:28:02,959
Speaker 1: but the fan tasm remastered, Blu Ray or digital releases

1591
01:28:03,000 --> 01:28:05,120
Speaker 1: certainly where you want to go for this one. I

1592
01:28:05,120 --> 01:28:09,760
Speaker 1: think I streamed the remastered version of via Prime. But

1593
01:28:09,920 --> 01:28:12,439
Speaker 1: you can again find this film just about anywhere. Uh.

1594
01:28:12,479 --> 01:28:14,120
Speaker 1: And yeah, it's a load of fun. It's a it's

1595
01:28:14,120 --> 01:28:17,559
Speaker 1: a great Halloween viewing choice. All right, We'll be back

1596
01:28:17,600 --> 01:28:21,160
Speaker 1: next Friday with more Weird House Cinema calibrated for your

1597
01:28:21,240 --> 01:28:24,880
Speaker 1: seasonal Halloween needs. UH. In the meantime, will remind you

1598
01:28:24,920 --> 01:28:27,280
Speaker 1: that we are primarily a science podcast, with our core

1599
01:28:27,320 --> 01:28:31,479
Speaker 1: episodes on Tuesdays and Thursdays. On Monday's we do listener mail.

1600
01:28:31,479 --> 01:28:34,400
Speaker 1: On Wednesdays we do a short form artifact or monster fact.

1601
01:28:34,600 --> 01:28:37,360
Speaker 1: On Fridays we do Weird How Cinema. If you're interested

1602
01:28:37,400 --> 01:28:39,200
Speaker 1: in seeing what movies we've covered in the past, there

1603
01:28:39,240 --> 01:28:41,280
Speaker 1: are two places you can go. You can go to

1604
01:28:41,400 --> 01:28:44,400
Speaker 1: some mut music dot com. That's my blog where I

1605
01:28:44,439 --> 01:28:46,960
Speaker 1: just do some very casual blog posts about these movies

1606
01:28:47,000 --> 01:28:50,040
Speaker 1: that we watch. But also if you use letterbox that's

1607
01:28:50,200 --> 01:28:51,880
Speaker 1: L E T T E R B O x D

1608
01:28:52,120 --> 01:28:55,439
Speaker 1: dot com. We are on there as Weird House. You

1609
01:28:55,439 --> 01:28:57,920
Speaker 1: will find our profile there and you'll find a list

1610
01:28:58,160 --> 01:29:00,680
Speaker 1: of all the movies we've covered on the show, and

1611
01:29:00,760 --> 01:29:04,280
Speaker 1: sometimes there'll be a little hint or a little spoiler

1612
01:29:04,439 --> 01:29:06,840
Speaker 1: of what the next film will be. Huge thanks as

1613
01:29:06,840 --> 01:29:10,840
Speaker 1: always to our excellent audio producer Seth Nicholas Johnson. If

1614
01:29:10,840 --> 01:29:12,479
Speaker 1: you would like to get in touch with us with

1615
01:29:12,600 --> 01:29:15,400
Speaker 1: feedback on this episode or any other, to suggest topic

1616
01:29:15,439 --> 01:29:17,320
Speaker 1: for the future, or just to say hello, you can

1617
01:29:17,400 --> 01:29:20,240
Speaker 1: email us at contact at stuff to Blow your Mind

1618
01:29:20,400 --> 01:29:29,840
Speaker 1: dot com. Stuff to Blow Your Mind is production of

1619
01:29:29,880 --> 01:29:32,519
Speaker 1: I Heart Radio. For more podcasts for my heart Radio,

1620
01:29:32,720 --> 01:29:35,360
Speaker 1: visit the i heart Radio app, Apple Podcasts, or wherever

1621
01:29:35,439 --> 01:29:36,799
Speaker 1: you listen to your favorite shows.