1
00:00:02,440 --> 00:00:09,760
Speaker 1: Welcome to Stuff to Blow Your Mind, a production of iHeartRadio.

2
00:00:13,200 --> 00:00:15,160
Speaker 2: Hey you welcome to Weird House Cinema.

3
00:00:15,200 --> 00:00:17,800
Speaker 3: This is Rob Lamb and this is Joe McCormick.

4
00:00:18,160 --> 00:00:20,960
Speaker 2: And today on Weird House Cinema, we returned to one

5
00:00:20,960 --> 00:00:25,360
Speaker 2: of our favorite subgenres, a good old fashioned squatch movie.

6
00:00:25,760 --> 00:00:28,000
Speaker 2: It's been a while, though. The last time we discussed

7
00:00:28,040 --> 00:00:32,040
Speaker 2: a Bigfoot or Sasquatch film was Boggy Creek two back

8
00:00:32,040 --> 00:00:35,200
Speaker 2: in twenty twenty, so we're long overdue for a little

9
00:00:35,200 --> 00:00:40,000
Speaker 2: Sasquatch action. We're gonna be discussing nineteen eighty eight's Demon Warp,

10
00:00:40,479 --> 00:00:44,120
Speaker 2: which absolutely does feature a Sasquatch on the rampage in

11
00:00:44,159 --> 00:00:48,720
Speaker 2: southern California, but with some delirious added twists and turns

12
00:00:48,760 --> 00:00:49,240
Speaker 2: as well.

13
00:00:50,000 --> 00:00:53,199
Speaker 3: Is the Sasquatch movie one of our favorite subgenres.

14
00:00:53,280 --> 00:00:54,680
Speaker 2: I feel like it is for me.

15
00:00:54,800 --> 00:00:58,360
Speaker 3: I think it is in theory, if not in practice.

16
00:00:58,960 --> 00:01:00,920
Speaker 2: It is definitely one of those where if someone asked

17
00:01:00,920 --> 00:01:03,360
Speaker 2: me on the street, hey, you like Bigfoot movies? Yeah,

18
00:01:03,360 --> 00:01:05,440
Speaker 2: I love Bigfoot movies. And then if they were to

19
00:01:05,480 --> 00:01:07,800
Speaker 2: challenge me and say give me your top five, I

20
00:01:07,880 --> 00:01:09,200
Speaker 2: might be able to give you a top two.

21
00:01:09,800 --> 00:01:14,840
Speaker 3: Yeah, you know, Boggy Creek. It's pretty gross, But I

22
00:01:14,840 --> 00:01:16,759
Speaker 3: do kind of love A Night of the Demon, and

23
00:01:16,800 --> 00:01:20,000
Speaker 3: I have fond memories of Shriek and the Mutilated, but

24
00:01:20,040 --> 00:01:22,759
Speaker 3: I haven't seen it in a while. But we were

25
00:01:22,760 --> 00:01:26,160
Speaker 3: discussing off Mike that a lot of sasquatch movies are

26
00:01:26,200 --> 00:01:29,319
Speaker 3: just nastier than you remember or than you would expect

27
00:01:29,400 --> 00:01:31,920
Speaker 3: them to be. Like, it seems like it would almost

28
00:01:31,920 --> 00:01:36,920
Speaker 3: seem to be a relatively wholesome subgenre of horror. But yeah,

29
00:01:36,959 --> 00:01:39,679
Speaker 3: a lot of squatch movies are just gross, dude.

30
00:01:39,920 --> 00:01:42,679
Speaker 2: As we've discussed on the show before, at least back

31
00:01:42,720 --> 00:01:45,560
Speaker 2: in the Boggy Creek days, back in twenty twenty, you

32
00:01:45,640 --> 00:01:49,640
Speaker 2: basically have two sorts of cinematic squatch movies. You have

33
00:01:49,720 --> 00:01:52,640
Speaker 2: films about the savage squatch, and you have films about

34
00:01:52,680 --> 00:01:57,120
Speaker 2: the noble squatch. One kills you, one teaches you. One

35
00:01:57,160 --> 00:01:59,640
Speaker 2: is a terrorizing beast, the other is a wise man

36
00:01:59,680 --> 00:02:03,880
Speaker 2: of the One connects with our own inner and outer savagery,

37
00:02:04,000 --> 00:02:07,080
Speaker 2: our fear of the wilds. The other represents our high

38
00:02:07,160 --> 00:02:10,080
Speaker 2: regard for the holy mystery of nature and our attitudes

39
00:02:10,080 --> 00:02:14,280
Speaker 2: concerning the encroachment of the modern world on the natural world,

40
00:02:14,639 --> 00:02:17,959
Speaker 2: and obviously these two can overlap or one can turn

41
00:02:17,960 --> 00:02:21,520
Speaker 2: out to be the other. But it's interesting to reflect

42
00:02:21,560 --> 00:02:23,640
Speaker 2: on these because I do think that by and large,

43
00:02:23,720 --> 00:02:25,679
Speaker 2: most films are going to fall into one category or

44
00:02:25,720 --> 00:02:29,520
Speaker 2: the other, like Harry and the Henderson's Noble Squatch obviously

45
00:02:30,240 --> 00:02:33,880
Speaker 2: Boggy Creek two definitely a noble squatch film, and today

46
00:02:33,880 --> 00:02:36,680
Speaker 2: we're going to balance the scales with a savage squatch film,

47
00:02:36,680 --> 00:02:40,080
Speaker 2: which is also probably interesting to think about because I

48
00:02:40,160 --> 00:02:44,880
Speaker 2: feel like in the contemporary zeitgeist, in a world speaking

49
00:02:44,919 --> 00:02:47,960
Speaker 2: of at least of the US here in the United States,

50
00:02:48,000 --> 00:02:51,560
Speaker 2: that seems to be more and more obsessed with Bigfoot,

51
00:02:51,840 --> 00:02:55,400
Speaker 2: with sasquatch. I see it, you see it, I'm bumper stickers.

52
00:02:55,440 --> 00:02:58,639
Speaker 2: You see more roadside attractions kind of these kinds of

53
00:02:58,680 --> 00:03:03,079
Speaker 2: cryptids than ever before. Cutes the appreciation, cutes the appreciation,

54
00:03:03,400 --> 00:03:07,360
Speaker 2: and I think maybe a little a little woo woo

55
00:03:07,639 --> 00:03:11,880
Speaker 2: kind of almost you know, occultist sensibility kind of. I

56
00:03:11,880 --> 00:03:14,440
Speaker 2: think very much the idea of the noble squatch being

57
00:03:14,560 --> 00:03:17,679
Speaker 2: the main focus, the idea that on some level I'm

58
00:03:17,680 --> 00:03:20,560
Speaker 2: connecting with some sort of a holy spirit of the wild,

59
00:03:21,000 --> 00:03:22,959
Speaker 2: not a savage monster that wants to beat down my

60
00:03:23,080 --> 00:03:25,240
Speaker 2: door and kill a family member.

61
00:03:25,520 --> 00:03:27,959
Speaker 3: This was very much my experience. Did I tell you

62
00:03:27,960 --> 00:03:31,799
Speaker 3: about the experience that we had at the Bigfoot Museum

63
00:03:31,919 --> 00:03:36,080
Speaker 3: in North Georgia where we overheard a woman there giving

64
00:03:36,120 --> 00:03:38,680
Speaker 3: a report to the curator at the museum about her

65
00:03:38,720 --> 00:03:43,680
Speaker 3: own encounter. It was very much in the noble squatch zone.

66
00:03:44,080 --> 00:03:47,240
Speaker 3: She was talking about how in woods near where she lived.

67
00:03:47,600 --> 00:03:49,880
Speaker 3: I don't want to give away any identifying detail, but

68
00:03:50,720 --> 00:03:54,000
Speaker 3: I remember part of the story was that she was

69
00:03:54,200 --> 00:03:58,720
Speaker 3: upset because there were local teenagers, hooligan's whoever, who had

70
00:03:58,760 --> 00:04:02,040
Speaker 3: been riding a TV through his woods and that's his

71
00:04:02,160 --> 00:04:05,119
Speaker 3: sacred place and they were disrespecting it.

72
00:04:06,120 --> 00:04:09,600
Speaker 2: I mean, really, it seems troubled hacan ideas here, right, yeah,

73
00:04:09,840 --> 00:04:14,720
Speaker 2: Forest Guardian, Yeah, so yeah, it's it's interesting to take

74
00:04:14,760 --> 00:04:17,599
Speaker 2: that and then can consider a film like nineteen eighties

75
00:04:17,680 --> 00:04:21,839
Speaker 2: Night of the Demon, which is another Southern California savage

76
00:04:21,839 --> 00:04:25,039
Speaker 2: squatch film, but like you said, a much nastier one.

77
00:04:25,880 --> 00:04:29,040
Speaker 2: Demon War by comparison, is pretty tame, though still features

78
00:04:29,040 --> 00:04:32,920
Speaker 2: a lot of slasher movie violence and also at least

79
00:04:32,960 --> 00:04:34,960
Speaker 2: top only slasher movie nudity.

80
00:04:36,040 --> 00:04:38,039
Speaker 3: Yeah, I know what you're saying it is kind of

81
00:04:38,080 --> 00:04:41,480
Speaker 3: weird to think about this as a less nasty film

82
00:04:41,480 --> 00:04:44,240
Speaker 3: because it still has a lot of It has a

83
00:04:44,240 --> 00:04:47,560
Speaker 3: lot of violence and gore effects, but it's certainly less

84
00:04:47,640 --> 00:04:51,320
Speaker 3: nasty than the Sasquatch films, which classify Bigfoot as like

85
00:04:51,360 --> 00:04:54,520
Speaker 3: a sex criminal of the woods, which is the that's

86
00:04:54,520 --> 00:04:55,440
Speaker 3: always kind of a bummer.

87
00:04:55,520 --> 00:04:58,359
Speaker 2: Yeah, there's none of that in Demon Warp. Our Squatch

88
00:04:58,520 --> 00:05:01,760
Speaker 2: is savage, but he has a has a different agenda

89
00:05:01,800 --> 00:05:02,599
Speaker 2: in mind.

90
00:05:02,960 --> 00:05:05,600
Speaker 3: Now, there's another thing we should flag at the beginning,

91
00:05:05,800 --> 00:05:08,479
Speaker 3: about a way to forget what this is called. Not

92
00:05:08,560 --> 00:05:10,800
Speaker 3: Knight of the Demon, this is Demon Warp. Two different

93
00:05:10,800 --> 00:05:13,080
Speaker 3: war Demon Squatch, Demon Warp.

94
00:05:13,160 --> 00:05:15,120
Speaker 2: Yeah, one word, by the way, Demon Warp.

95
00:05:15,360 --> 00:05:20,599
Speaker 3: Interrogate the title later. But one thing I like about

96
00:05:20,640 --> 00:05:25,400
Speaker 3: Demon Warp is that I detect in it a failure

97
00:05:25,520 --> 00:05:29,440
Speaker 3: that I myself am prone to in creative work, which

98
00:05:29,520 --> 00:05:33,920
Speaker 3: is a failure to narrow the scope of the project

99
00:05:34,480 --> 00:05:38,120
Speaker 3: commensurate with the actual limitations on what can be achieved.

100
00:05:38,880 --> 00:05:41,000
Speaker 3: Do you ever have this problem, Rob, Like you're writing

101
00:05:41,040 --> 00:05:43,160
Speaker 3: a story and you just want to bring in too

102
00:05:43,240 --> 00:05:45,960
Speaker 3: many things really for the amount of space or time

103
00:05:46,040 --> 00:05:46,400
Speaker 3: you have.

104
00:05:47,279 --> 00:05:51,000
Speaker 2: Yeah, it'll be because I think sometimes you have as inspiration,

105
00:05:51,240 --> 00:05:55,960
Speaker 2: a kind of kaleidoscope flash of ideas, and then once

106
00:05:55,960 --> 00:05:59,560
Speaker 2: you try putting that on paper or whatever your medium

107
00:05:59,600 --> 00:06:01,920
Speaker 2: might be, you might run into problems and realize, well,

108
00:06:01,920 --> 00:06:04,000
Speaker 2: maybe this isn't the most economic thing. I can't fit

109
00:06:04,040 --> 00:06:06,040
Speaker 2: all of it in. Yeah, and I do think there's

110
00:06:06,040 --> 00:06:08,920
Speaker 2: something going on here, very similar with Demon Warp.

111
00:06:09,040 --> 00:06:11,760
Speaker 3: Yeah, I need to pick a subset of this, these

112
00:06:11,800 --> 00:06:13,919
Speaker 3: things and focus on them. But Demon Warp says, no,

113
00:06:14,560 --> 00:06:18,400
Speaker 3: I reject that. I will do it all, and I

114
00:06:18,440 --> 00:06:20,560
Speaker 3: won't necessarily do it all in a way that's very

115
00:06:20,600 --> 00:06:23,040
Speaker 3: developed or thought through, but I'm going to do it

116
00:06:23,080 --> 00:06:25,880
Speaker 3: all in some way or another, and I admire the

117
00:06:25,920 --> 00:06:30,479
Speaker 3: audacity there. So spoiler's incoming this episode we are going

118
00:06:30,520 --> 00:06:35,040
Speaker 3: to The movie does have major twists and surprises in it,

119
00:06:35,080 --> 00:06:37,719
Speaker 3: and we're about to spoil them. So warning, if you

120
00:06:37,720 --> 00:06:39,560
Speaker 3: want to go into the movie without knowing anything, you

121
00:06:39,560 --> 00:06:43,000
Speaker 3: should stop here go check it out. But you might assume,

122
00:06:43,680 --> 00:06:47,080
Speaker 3: based on the marketing for the film that this is

123
00:06:47,279 --> 00:06:50,320
Speaker 3: just another bigfoot horror movie, but the Bigfoot angle is

124
00:06:50,360 --> 00:06:54,359
Speaker 3: really only about sixty percent of the film. This is

125
00:06:54,400 --> 00:06:58,160
Speaker 3: also surprisingly to varying degrees. I took some notes here.

126
00:06:58,560 --> 00:07:02,760
Speaker 3: It's an alien invasion movie. It is a zombie movie,

127
00:07:02,760 --> 00:07:06,160
Speaker 3: like a shambling undead film. It is sort of a

128
00:07:06,200 --> 00:07:10,840
Speaker 3: slasher movie. It is a mind control body possession movie.

129
00:07:11,360 --> 00:07:15,400
Speaker 3: It is a religious cult thriller with human sacrifice. It

130
00:07:15,560 --> 00:07:19,080
Speaker 3: is a creature effects showcase. And it is a vehicle

131
00:07:19,280 --> 00:07:24,640
Speaker 3: on which to deliver a huge amount of narratively implausible nudity.

132
00:07:25,720 --> 00:07:27,440
Speaker 2: Yeah, yeah, I think that's all right. And then at

133
00:07:27,480 --> 00:07:30,280
Speaker 2: the same time, nobody's gonna leave this picture saying, man,

134
00:07:30,320 --> 00:07:32,160
Speaker 2: I thought this was a sad squatch movie, which there

135
00:07:32,200 --> 00:07:35,080
Speaker 2: is more squatch. There's a line of squatch. Yeah, and

136
00:07:35,120 --> 00:07:35,559
Speaker 2: they don't.

137
00:07:35,600 --> 00:07:36,720
Speaker 3: They don't delay it.

138
00:07:36,720 --> 00:07:36,960
Speaker 2: It does.

139
00:07:37,080 --> 00:07:38,800
Speaker 3: They don't make you wait to the end to see it.

140
00:07:39,200 --> 00:07:42,280
Speaker 3: And they don't they're not shy about squatch, like hiding

141
00:07:42,360 --> 00:07:45,160
Speaker 3: in behind trees and stuff. You see full squatch in

142
00:07:45,280 --> 00:07:47,240
Speaker 3: like the second scene where he appears.

143
00:07:47,600 --> 00:07:50,440
Speaker 2: Yeah, the squatch looks great. We see a lot of it.

144
00:07:50,800 --> 00:07:53,360
Speaker 2: This I think is going to tie into its effects

145
00:07:53,400 --> 00:07:58,760
Speaker 2: world origins, and most of the films them just broad daylight. Yeah,

146
00:07:58,880 --> 00:08:03,920
Speaker 2: Like we've seen this before with other Southern California rural

147
00:08:04,000 --> 00:08:07,040
Speaker 2: horror sci fi films. They all seem to be filmed

148
00:08:07,520 --> 00:08:10,560
Speaker 2: around two pm, maybe one pm in the afternoon, you know,

149
00:08:11,760 --> 00:08:16,240
Speaker 2: where I'm less concerned about the otherworldly dangers at play,

150
00:08:16,240 --> 00:08:18,880
Speaker 2: and I'm more concerned if everyone's getting enough water to drink,

151
00:08:18,920 --> 00:08:20,840
Speaker 2: because it looks kind of hot, dry.

152
00:08:21,280 --> 00:08:25,520
Speaker 3: Yeah, very very familiar looking woods. If you've watched low

153
00:08:25,560 --> 00:08:28,520
Speaker 3: budget movies before, you feel like, I've seen these woods.

154
00:08:28,560 --> 00:08:30,000
Speaker 3: I've seen this road.

155
00:08:30,720 --> 00:08:32,400
Speaker 2: I've seen this cave. Yeah.

156
00:08:32,760 --> 00:08:35,720
Speaker 3: Wasn't this in a two thousand and four made for

157
00:08:35,880 --> 00:08:38,360
Speaker 3: the Sci Fi Channel movie I watched? Yep, it was

158
00:08:38,400 --> 00:08:39,840
Speaker 3: probably in five or six of those.

159
00:08:40,160 --> 00:08:43,800
Speaker 2: I would assume sometimes these these B movie sci fi

160
00:08:43,840 --> 00:08:46,360
Speaker 2: productions just run into each other in these woods, you know,

161
00:08:46,800 --> 00:08:49,960
Speaker 2: and they're like, oh, this is a different monster from

162
00:08:50,000 --> 00:08:52,480
Speaker 2: a different film. Well keep rolling anyway.

163
00:08:53,000 --> 00:08:56,640
Speaker 3: So, despite the fact that I think it only loosely

164
00:08:56,800 --> 00:08:59,240
Speaker 3: relates to the plot, it sort of does. But I

165
00:08:59,240 --> 00:09:01,280
Speaker 3: don't know you can render a judgment on it in

166
00:09:01,320 --> 00:09:05,600
Speaker 3: a moment. I think the kitchen sink energy of Demon

167
00:09:05,679 --> 00:09:08,720
Speaker 3: Warp is pretty well captured in the tagline from a

168
00:09:08,800 --> 00:09:11,360
Speaker 3: vintage poster that you sent me, or maybe not poster.

169
00:09:11,400 --> 00:09:13,959
Speaker 3: I think this may have actually been VHS box art.

170
00:09:14,880 --> 00:09:18,120
Speaker 2: Yeah, The theatrical poster is really good. We'll come back

171
00:09:18,160 --> 00:09:20,800
Speaker 2: to that in a minute. But the VHS box art

172
00:09:20,840 --> 00:09:22,120
Speaker 2: is pretty pretty goofy.

173
00:09:22,280 --> 00:09:25,679
Speaker 3: So here's the text on it. It says somewhere between

174
00:09:25,840 --> 00:09:30,439
Speaker 3: light and shadow, ancient fear, future shock, the living and

175
00:09:30,600 --> 00:09:34,160
Speaker 3: the undead lies the realm of Demon Warp.

176
00:09:35,360 --> 00:09:38,920
Speaker 2: Yeah, I mean mentioning future shock in there. It's very

177
00:09:38,920 --> 00:09:43,920
Speaker 2: little future in this movie, but it does. You are right,

178
00:09:44,000 --> 00:09:47,160
Speaker 2: This does capture a sense of what's going on here.

179
00:09:47,400 --> 00:09:50,200
Speaker 3: Also, why are there tombstones on this Do you see

180
00:09:50,200 --> 00:09:52,840
Speaker 3: the tombstones? Is there a braveyard in the movie?

181
00:09:53,160 --> 00:09:55,800
Speaker 2: No, no, but but there, Yeah, it sure is on

182
00:09:55,840 --> 00:09:59,800
Speaker 2: this box art. Why is George Kennedy's head floating like

183
00:09:59,840 --> 00:10:04,600
Speaker 2: a glowing like sun sphere in the middle of the poster.

184
00:10:04,760 --> 00:10:05,240
Speaker 2: I don't know.

185
00:10:05,360 --> 00:10:08,120
Speaker 3: It would suggest he is like Clarence the Angel in

186
00:10:08,200 --> 00:10:11,640
Speaker 3: this movie, a heavenly being looking down on the proceedings below.

187
00:10:11,720 --> 00:10:14,319
Speaker 3: It's the poster makes it look like it's going to

188
00:10:14,360 --> 00:10:17,960
Speaker 3: be about a reptile man who attacks a cemetery full

189
00:10:18,000 --> 00:10:22,120
Speaker 3: of zombies, while George Kennedy the Angel is the heavenly

190
00:10:22,200 --> 00:10:23,720
Speaker 3: guardian of teen Wolf.

191
00:10:24,080 --> 00:10:29,440
Speaker 2: Yeah. Yeah, so yeah, they try to do a lot

192
00:10:29,480 --> 00:10:31,640
Speaker 2: of things in Demon Warp. But you know, that's why

193
00:10:31,679 --> 00:10:34,400
Speaker 2: we're talking about it because it is a it is

194
00:10:34,440 --> 00:10:37,720
Speaker 2: a huge swing, and it's a miss in many ways.

195
00:10:37,800 --> 00:10:40,400
Speaker 2: But oh man, the energy, the audacity.

196
00:10:40,440 --> 00:10:42,839
Speaker 3: As you said, now, I know you wanted to come

197
00:10:42,880 --> 00:10:46,320
Speaker 3: back to the title demon Warp. Are you where how

198
00:10:46,360 --> 00:10:48,079
Speaker 3: they got there? Where that name came from.

199
00:10:48,360 --> 00:10:50,640
Speaker 2: They might have touched on it in like some part

200
00:10:50,640 --> 00:10:53,080
Speaker 2: of the commentary track that I didn't listen to, but

201
00:10:54,120 --> 00:10:57,240
Speaker 2: my guess is that they allude to this being demon

202
00:10:57,320 --> 00:11:00,840
Speaker 2: Wood or demon Woods, I believe, And it sounds to

203
00:11:00,880 --> 00:11:02,839
Speaker 2: me like someone was like, let's call it demon Woods,

204
00:11:02,840 --> 00:11:04,880
Speaker 2: and they were like, no, demon Warp. We want to

205
00:11:04,880 --> 00:11:06,960
Speaker 2: get that sci fi element into the title.

206
00:11:07,840 --> 00:11:11,680
Speaker 3: I was wondering if it could be that the warp

207
00:11:11,960 --> 00:11:16,080
Speaker 3: refers to the way, again spoilers for the ending, how

208
00:11:16,320 --> 00:11:21,120
Speaker 3: human bodies are in fact being warped by alien technology

209
00:11:21,160 --> 00:11:23,000
Speaker 3: to become bigfoot bodies.

210
00:11:23,520 --> 00:11:26,040
Speaker 2: I think that's as good as we're going to get. Okay,

211
00:11:26,320 --> 00:11:27,120
Speaker 2: I think that works.

212
00:11:27,200 --> 00:11:30,680
Speaker 3: Yeah, Well, that leads right into if I had to

213
00:11:30,840 --> 00:11:33,640
Speaker 3: do an elevator pitch for the movie or a little tagline,

214
00:11:34,080 --> 00:11:36,479
Speaker 3: it's got to be Invasion of the body Squatchers.

215
00:11:36,640 --> 00:11:40,600
Speaker 2: That's pretty good. I can't beat that, all right. Well,

216
00:11:40,600 --> 00:11:42,319
Speaker 2: at this point you might be wondering, hey, where can

217
00:11:42,360 --> 00:11:45,960
Speaker 2: I watch this fascinating sounding picture? Where can I watch

218
00:11:46,040 --> 00:11:51,400
Speaker 2: Demon Warp? One word? Well, it was very recently released

219
00:11:51,480 --> 00:11:54,480
Speaker 2: on Blu Ray by Vinegar Syndrome with a whole load

220
00:11:54,520 --> 00:11:57,439
Speaker 2: of extras, newly scanned and restored in four K from

221
00:11:57,480 --> 00:12:02,200
Speaker 2: its thirty five milimeter original camer net negative. I rented

222
00:12:02,240 --> 00:12:05,320
Speaker 2: this one from Atlanta's own video drome. Here's my rental disc,

223
00:12:05,760 --> 00:12:07,680
Speaker 2: and Joe, I believe you pick you pick up a

224
00:12:07,679 --> 00:12:09,040
Speaker 2: copy of this one, right? I did.

225
00:12:09,080 --> 00:12:12,200
Speaker 3: It took a while to arrive, and so I didn't

226
00:12:12,360 --> 00:12:15,920
Speaker 3: the first time I tried to watch the movie. We

227
00:12:15,920 --> 00:12:19,520
Speaker 3: were going to record it this past Monday, and over

228
00:12:19,559 --> 00:12:21,520
Speaker 3: the weekend, I'm waiting for my disc to come in

229
00:12:21,600 --> 00:12:23,760
Speaker 3: and it's not coming in. The delivery date just keeps

230
00:12:23,760 --> 00:12:26,839
Speaker 3: getting pushed back, and I'm like, where is my Squatch movie?

231
00:12:26,880 --> 00:12:30,600
Speaker 3: I've got to watch this. So I was aware that

232
00:12:30,640 --> 00:12:33,000
Speaker 3: there's a YouTube rip out there, and I was like, well,

233
00:12:33,000 --> 00:12:35,000
Speaker 3: I'll just have to watch that, you know, to get

234
00:12:35,040 --> 00:12:38,560
Speaker 3: through so we can record the movie. But folks, this

235
00:12:38,720 --> 00:12:41,560
Speaker 3: is one of the lowest res YouTube rips i've ever seen.

236
00:12:41,800 --> 00:12:47,240
Speaker 3: The pixels were gargantuan, and so I did. For example,

237
00:12:47,240 --> 00:12:49,880
Speaker 3: in the opening scene, there is a spaceship, an alien

238
00:12:49,920 --> 00:12:53,200
Speaker 3: spaceship that crashes on Earth, and in the scene where

239
00:12:53,200 --> 00:12:55,400
Speaker 3: a character is approaching it, I did not realize it

240
00:12:55,440 --> 00:12:58,360
Speaker 3: was a spaceship because it just looks like a boulder.

241
00:12:58,800 --> 00:13:01,880
Speaker 2: Yeah, so you're missing vital detail here, not just like

242
00:13:01,960 --> 00:13:04,520
Speaker 2: I wish I could see that that monster mask in

243
00:13:04,559 --> 00:13:06,280
Speaker 2: a little more detail, right.

244
00:13:06,160 --> 00:13:08,560
Speaker 3: Not just like that, like you are unable to tell

245
00:13:08,600 --> 00:13:11,959
Speaker 3: who's talking or whatever, because because the rip is so.

246
00:13:12,000 --> 00:13:14,599
Speaker 2: Bad, I think for a long time, even if you

247
00:13:14,640 --> 00:13:17,120
Speaker 2: had access to VHS or something, I think that the

248
00:13:17,160 --> 00:13:19,160
Speaker 2: copies of Demon Warp were just not that good.

249
00:13:19,440 --> 00:13:22,720
Speaker 3: Yeah. So anyway, so this was I was afraid I

250
00:13:22,760 --> 00:13:24,120
Speaker 3: was going to have to go with this very low

251
00:13:24,200 --> 00:13:27,880
Speaker 3: quality version, but we put off recording folks. We delayed

252
00:13:27,880 --> 00:13:29,680
Speaker 3: it just so that I could get the disc and

253
00:13:29,800 --> 00:13:32,320
Speaker 3: watch it as it's meant to be seen. So I

254
00:13:32,360 --> 00:13:36,640
Speaker 3: watched it in four K, and it's gorgeous. It's a excellent, gorgeous,

255
00:13:37,679 --> 00:13:45,920
Speaker 3: cheaply made but still beautiful today.

256
00:13:49,120 --> 00:13:52,120
Speaker 2: All right, well, let's get into the folks behind this picture,

257
00:13:52,679 --> 00:13:56,920
Speaker 2: starting with the director. It's directed by Emmitt Alston. I'm

258
00:13:56,960 --> 00:13:58,960
Speaker 2: not really sure how old this guy is, but I

259
00:13:58,960 --> 00:14:01,240
Speaker 2: think he's still with us based on his participation in

260
00:14:01,280 --> 00:14:05,959
Speaker 2: the extras for the film. American director perhaps best remembered,

261
00:14:06,320 --> 00:14:09,120
Speaker 2: or at least up until now, for the nineteen eighty

262
00:14:09,120 --> 00:14:12,880
Speaker 2: slasher New Year's Evil. It's like a New Year's ev

263
00:14:12,920 --> 00:14:15,400
Speaker 2: horror movie. So you know, you've got to take note

264
00:14:15,400 --> 00:14:18,160
Speaker 2: of all the different holidays that are covered. Outside of

265
00:14:18,200 --> 00:14:21,320
Speaker 2: Demon War, most of his remaining credits are just Eighties

266
00:14:21,360 --> 00:14:24,520
Speaker 2: action schlock. So there's eighty seven's Tiger Shark. There's the

267
00:14:24,600 --> 00:14:27,680
Speaker 2: nineteen eighty five ninja film Nine Deaths of the Ninja,

268
00:14:28,080 --> 00:14:31,480
Speaker 2: but it does have a show Kasugi in it. Then

269
00:14:31,520 --> 00:14:33,760
Speaker 2: he also did eighty eight Fours of the Ninja. No

270
00:14:33,840 --> 00:14:36,640
Speaker 2: Kasugi in that one, and then ninety three's Little Ninja's

271
00:14:36,720 --> 00:14:37,960
Speaker 2: also no Kasugi.

272
00:14:38,240 --> 00:14:41,600
Speaker 3: Wait Little Ninja. Oh no wait, I'm thinking of Three Ninjas.

273
00:14:41,880 --> 00:14:43,040
Speaker 3: He didn't do Three Ninjas.

274
00:14:43,080 --> 00:14:45,400
Speaker 2: No no, there are a few other like kid based

275
00:14:45,520 --> 00:14:49,320
Speaker 2: ninja films that have nothing to do with this particular picture. Yeah, Okay,

276
00:14:50,520 --> 00:14:52,080
Speaker 2: Like I say, I think most people are going to

277
00:14:52,160 --> 00:14:54,960
Speaker 2: know him for Demon War or New Year's Evil.

278
00:14:55,280 --> 00:14:57,560
Speaker 3: Now, Rob, I wonder if you agree with me here.

279
00:14:57,600 --> 00:15:00,160
Speaker 3: I don't know if it was just a cinematic as

280
00:15:00,280 --> 00:15:03,640
Speaker 3: cibo effect because I knew the name we're about to

281
00:15:03,680 --> 00:15:07,480
Speaker 3: discuss was associated with this film, But I could not

282
00:15:07,680 --> 00:15:13,520
Speaker 3: help but keep feeling some shared DNA between this movie

283
00:15:13,760 --> 00:15:16,960
Speaker 3: and a couple of other movies we've watched, one of

284
00:15:16,960 --> 00:15:20,560
Speaker 3: which is Friday the Thirteenth, Part seven, the one with

285
00:15:20,720 --> 00:15:25,280
Speaker 3: the psychic girl in it, and another is The Dungeon Master,

286
00:15:25,560 --> 00:15:28,440
Speaker 3: the sort of Charles Band his own film we saw

287
00:15:28,480 --> 00:15:30,960
Speaker 3: that was that turned out to be an anthology film

288
00:15:31,200 --> 00:15:36,920
Speaker 3: that was basically a creature effects workshop showcase. And both

289
00:15:36,960 --> 00:15:41,560
Speaker 3: of those movies are associated with a guy named John Carl.

290
00:15:41,680 --> 00:15:44,040
Speaker 3: I think his name is pronounced bee Cler. It looks

291
00:15:44,080 --> 00:15:47,080
Speaker 3: like it's spelled buler b u e c h l

292
00:15:47,120 --> 00:15:51,360
Speaker 3: e R. Did you get that same feeling, feel that

293
00:15:50,920 --> 00:15:53,080
Speaker 3: that energy coursing through it?

294
00:15:53,760 --> 00:15:57,880
Speaker 2: Yes, especially with the creature designs, because in the ultimate

295
00:15:57,880 --> 00:16:00,600
Speaker 2: picture here he has a story credit and he built

296
00:16:00,640 --> 00:16:03,960
Speaker 2: the creatures, And if you've seen enough of Beekler's work,

297
00:16:04,400 --> 00:16:06,920
Speaker 2: you can kind of recognize there's something about it. I

298
00:16:06,920 --> 00:16:10,080
Speaker 2: don't know, you can almost see him in the monster designs,

299
00:16:10,120 --> 00:16:16,800
Speaker 2: you know, a distinctive monster design style. And I can

300
00:16:16,840 --> 00:16:19,160
Speaker 2: also see these other connections for drawing here on here.

301
00:16:19,200 --> 00:16:21,960
Speaker 2: But then again, I like, you went into it knowing

302
00:16:22,040 --> 00:16:24,160
Speaker 2: that his DNA would be in there somewhere.

303
00:16:23,880 --> 00:16:25,600
Speaker 3: Right, Like I said, I knew as well. So I

304
00:16:26,240 --> 00:16:28,160
Speaker 3: maybe I'm not as perceptive as I think I am,

305
00:16:28,200 --> 00:16:31,200
Speaker 3: but I felt like I could detect it, not just

306
00:16:31,400 --> 00:16:35,320
Speaker 3: in the very distinctive puppet design, like the alien we

307
00:16:35,360 --> 00:16:36,800
Speaker 3: get to at the end of this movie is just

308
00:16:36,920 --> 00:16:41,680
Speaker 3: pure this guy, but like it looks like the creature

309
00:16:41,720 --> 00:16:46,000
Speaker 3: that he created for the Dungeon Master. But it's not

310
00:16:46,120 --> 00:16:49,400
Speaker 3: just that. It's something about the story structure too. Feels

311
00:16:49,440 --> 00:16:52,960
Speaker 3: like Friday Part seven, the way that about a third

312
00:16:53,000 --> 00:16:56,520
Speaker 3: of the way through the movie, certain random characters that

313
00:16:56,600 --> 00:17:00,280
Speaker 3: have not been mentioned before just show up one during

314
00:17:00,320 --> 00:17:03,080
Speaker 3: in the woods to increase the body count, almost like

315
00:17:03,160 --> 00:17:06,760
Speaker 3: a third of the way through the script anxiety of like, ooh,

316
00:17:06,800 --> 00:17:08,280
Speaker 3: we need to get some more people in here, so

317
00:17:08,560 --> 00:17:12,880
Speaker 3: here are some campers. Yeah that it just feels like him.

318
00:17:13,480 --> 00:17:17,880
Speaker 2: Yeah, yeah, absolutely, I think that's spot on. Yeah. John

319
00:17:17,960 --> 00:17:21,520
Speaker 2: Carl Biechler, who lived nineteen fifty two through twenty nineteen,

320
00:17:21,800 --> 00:17:24,959
Speaker 2: he was a practical special effects and makeup really legend

321
00:17:25,320 --> 00:17:27,280
Speaker 2: did a lot of great work. He's come up on

322
00:17:27,280 --> 00:17:29,680
Speaker 2: the show before because he did special effects on eighty

323
00:17:29,720 --> 00:17:33,040
Speaker 2: six's The Eliminators as well as Terror Vision from the

324
00:17:33,080 --> 00:17:37,679
Speaker 2: same year, eighty nine's Arena. Yeah, something about I don't know,

325
00:17:38,240 --> 00:17:41,320
Speaker 2: I'd really have to like look at the specific character designs,

326
00:17:41,320 --> 00:17:43,680
Speaker 2: but there's something about, like the way the skulls are shaped,

327
00:17:43,760 --> 00:17:47,480
Speaker 2: the kind of monsters he drew and then created in

328
00:17:47,600 --> 00:17:48,440
Speaker 2: three D.

329
00:17:48,920 --> 00:17:53,200
Speaker 3: He's got a little goblin heart. It's just the goblininesses

330
00:17:54,320 --> 00:17:56,960
Speaker 3: coming through and everything. Even in the bigger beings, they

331
00:17:57,000 --> 00:18:01,639
Speaker 3: have some inherent little kind of gobliny critics to them.

332
00:18:01,040 --> 00:18:06,240
Speaker 2: M yeah, yeah, absolutely. His effects work include such cult

333
00:18:06,240 --> 00:18:10,240
Speaker 2: favorites as re Animator, Tammy and the t Rex and Goolies.

334
00:18:11,359 --> 00:18:13,640
Speaker 2: We mentioned him in our episode on Dungeon Master because

335
00:18:13,640 --> 00:18:16,640
Speaker 2: I believe he directed one of the segments on there, yeah,

336
00:18:17,800 --> 00:18:20,520
Speaker 2: or the wrap around material, so he did some directing

337
00:18:20,560 --> 00:18:23,760
Speaker 2: on it, and then he also helmed the likes of

338
00:18:23,880 --> 00:18:28,800
Speaker 2: eighty six's Troll, eighty seven's Cellar Dweller, eighty eight's Friday

339
00:18:28,840 --> 00:18:32,040
Speaker 2: the Thirteenth Part seven, The New Blood. You mentioned it already,

340
00:18:32,040 --> 00:18:35,240
Speaker 2: but you know, arguably one of the best Fridays and

341
00:18:35,560 --> 00:18:39,680
Speaker 2: terrific Jason makeup in that one. Agreed. He also directed

342
00:18:39,760 --> 00:18:43,760
Speaker 2: nineteen nineties Gooleies Three Goolies Go to College that has

343
00:18:43,840 --> 00:18:47,560
Speaker 2: Kevin McCarthy in it. I believe he plays a professor.

344
00:18:47,920 --> 00:18:49,919
Speaker 3: I did just want to briefly say I agree that

345
00:18:49,960 --> 00:18:53,159
Speaker 3: Friday Part seven has the most enjoyable makeup effects of

346
00:18:53,240 --> 00:18:58,000
Speaker 3: the series. I think it has the best undead Jason design,

347
00:18:58,160 --> 00:19:01,320
Speaker 3: and it also just has some innerting human villains. Like

348
00:19:01,359 --> 00:19:04,840
Speaker 3: it's not a well written movie, but somehow, despite being

349
00:19:05,640 --> 00:19:10,160
Speaker 3: poorly written, it has great writing elements, like its villains

350
00:19:10,200 --> 00:19:14,719
Speaker 3: are just so like it's got this evil psychiatrist character

351
00:19:14,800 --> 00:19:18,520
Speaker 3: played by Terry Kaiser who's hilarious, and it's just a

352
00:19:18,560 --> 00:19:19,479
Speaker 3: it's a fun ride.

353
00:19:21,040 --> 00:19:25,080
Speaker 2: So on this one, Beekler has the story credit and

354
00:19:25,160 --> 00:19:28,639
Speaker 2: apparently wrote an initial screenplay and originally intended to direct

355
00:19:28,640 --> 00:19:33,119
Speaker 2: it himself. But you know, clearly we're mentioning these are

356
00:19:33,200 --> 00:19:35,439
Speaker 2: key years for Beekler, and you know he was probably

357
00:19:35,440 --> 00:19:37,160
Speaker 2: working on one of these other projects at the time

358
00:19:37,680 --> 00:19:40,159
Speaker 2: and those took off, this one got left behind. But

359
00:19:40,160 --> 00:19:42,880
Speaker 2: there was already like money tied up in the project.

360
00:19:42,880 --> 00:19:45,119
Speaker 2: There were already you know, some sort of production put together,

361
00:19:45,240 --> 00:19:47,760
Speaker 2: so other folks came on. We'll get to those of

362
00:19:47,840 --> 00:19:50,720
Speaker 2: them in just a second. You know, additional rewrites of

363
00:19:50,760 --> 00:19:55,960
Speaker 2: the screenplay and his his monsters designs also remained in

364
00:19:56,000 --> 00:19:58,840
Speaker 2: the film, and some of these effects and costumes that

365
00:19:58,880 --> 00:20:01,480
Speaker 2: he'd already worked on. Apparently there was also some sort

366
00:20:01,520 --> 00:20:04,159
Speaker 2: of like an Aztec mummy and maybe a tentacle monster

367
00:20:05,440 --> 00:20:08,520
Speaker 2: based This is based on some of the interviews and

368
00:20:09,200 --> 00:20:12,720
Speaker 2: extras on the Vinegar Syndrome disc that were not used

369
00:20:12,720 --> 00:20:15,320
Speaker 2: in the final picture. But we definitely get the sasquatch

370
00:20:15,440 --> 00:20:17,359
Speaker 2: and the alien creature from the end of the end

371
00:20:17,359 --> 00:20:19,760
Speaker 2: of the film. Those are Beechler all the way. What

372
00:20:19,760 --> 00:20:23,160
Speaker 2: about the zombies, I don't know that he did any

373
00:20:23,200 --> 00:20:25,720
Speaker 2: of the zombie effects. The zombies look great too, but

374
00:20:25,800 --> 00:20:28,879
Speaker 2: I think that's other effects folk that contributed to that.

375
00:20:28,920 --> 00:20:30,760
Speaker 2: I could be wrong, but I don't think those are Beeler.

376
00:20:31,160 --> 00:20:32,960
Speaker 3: It's a bummer we didn't see the other things. I

377
00:20:33,040 --> 00:20:34,360
Speaker 3: want to see that mummy.

378
00:20:34,560 --> 00:20:36,679
Speaker 2: Yeah, yeah, I think it was a mummy. It definitely

379
00:20:36,720 --> 00:20:41,040
Speaker 2: they mean someone mentioned a tentacle monster. All right. Getting

380
00:20:41,080 --> 00:20:43,600
Speaker 2: to the writers, Well, the main one. There are two

381
00:20:44,359 --> 00:20:48,840
Speaker 2: gentlemen that are credited. There's Jim Burt Geese and then

382
00:20:48,840 --> 00:20:52,760
Speaker 2: there's a guy by the name of Bruce Akayama. Bruce

383
00:20:52,800 --> 00:20:57,520
Speaker 2: Akayama I think only has this one credit. Bert GE's

384
00:20:58,040 --> 00:21:01,919
Speaker 2: his only other two writing credits are episodes of the

385
00:21:01,920 --> 00:21:06,800
Speaker 2: animated series JC and Wield Warriors or JAC and the

386
00:21:06,800 --> 00:21:09,640
Speaker 2: Wield Warriors and Challenge of the Gobots. I think these

387
00:21:09,680 --> 00:21:13,400
Speaker 2: were like two different Transformers rip offs from around eighty five.

388
00:21:14,160 --> 00:21:15,439
Speaker 2: I could be wrong in that. I don't want to

389
00:21:15,480 --> 00:21:19,119
Speaker 2: mischaracterize mid eighties cartoons, but I think that's the case.

390
00:21:20,600 --> 00:21:24,120
Speaker 2: But yeah, he's interviewed on the Vinegar Syndrome disc and

391
00:21:24,160 --> 00:21:26,960
Speaker 2: he talks about like basically, he and Bruce Akiyama were

392
00:21:26,960 --> 00:21:29,359
Speaker 2: fanboys who jumped at the chance to work on a

393
00:21:29,359 --> 00:21:32,040
Speaker 2: script like this, and you know, they had the task

394
00:21:32,080 --> 00:21:34,880
Speaker 2: of taking this pre existing Beakler script and cleaning it up,

395
00:21:35,880 --> 00:21:39,560
Speaker 2: believe it or not, making it a little more cohesive,

396
00:21:40,320 --> 00:21:44,080
Speaker 2: like making characters show up for reasons when before they

397
00:21:44,119 --> 00:21:47,280
Speaker 2: didn't have any reason to show up, and in general

398
00:21:47,480 --> 00:21:49,240
Speaker 2: in general, getting it into shooting shape.

399
00:21:49,320 --> 00:21:51,080
Speaker 3: This is a script where I feel like I can

400
00:21:51,240 --> 00:21:55,080
Speaker 3: detect the different layers of revision or drafting in it,

401
00:21:55,160 --> 00:21:57,600
Speaker 3: do you know what I'm saying. Yeah, Like, there's one

402
00:21:57,720 --> 00:22:01,679
Speaker 3: scene that seems to happen twice. Yeah, the scene where

403
00:22:01,960 --> 00:22:06,360
Speaker 3: the characters meet George Kennedy's character has some very similar elements.

404
00:22:06,359 --> 00:22:09,040
Speaker 3: It almost feels like it got moved and then edited,

405
00:22:09,119 --> 00:22:10,640
Speaker 3: but they didn't take out the other one.

406
00:22:11,640 --> 00:22:14,720
Speaker 2: Yeah. One of the things that it was really interesting

407
00:22:14,800 --> 00:22:18,600
Speaker 2: in the Birche's interview is that he's talking about like

408
00:22:18,680 --> 00:22:21,399
Speaker 2: just the physical labor of rewriting the script. And this

409
00:22:21,440 --> 00:22:23,399
Speaker 2: is something so easy to take for granted. You and

410
00:22:23,440 --> 00:22:27,119
Speaker 2: I have both done you know, screenplay scripting work before,

411
00:22:27,200 --> 00:22:30,040
Speaker 2: and of course, you know, we have the glorious wonders

412
00:22:30,080 --> 00:22:34,719
Speaker 2: of word process or technology, and word have dedicated programs

413
00:22:34,760 --> 00:22:38,280
Speaker 2: for screenwriting. But back, like back in the day, you're

414
00:22:38,320 --> 00:22:40,320
Speaker 2: doing it on the typewriter. So I don't know, I

415
00:22:40,359 --> 00:22:42,919
Speaker 2: feel like I need to be even more gentle with

416
00:22:43,040 --> 00:22:46,720
Speaker 2: folks who were writing these scripts, because, man, give me

417
00:22:46,760 --> 00:22:49,120
Speaker 2: an old timey typewriter and ask me to write anything,

418
00:22:49,160 --> 00:22:50,880
Speaker 2: and I'm just going to make a mess of myself.

419
00:22:51,440 --> 00:22:53,960
Speaker 3: Have you ever tried to write anything on a typewriter though?

420
00:22:55,200 --> 00:22:57,720
Speaker 2: When I was a kid? Yeah, Okay, I've.

421
00:22:57,560 --> 00:23:00,280
Speaker 3: Never done anything very long, but I have experiments with

422
00:23:00,320 --> 00:23:03,800
Speaker 3: the typewriter, and one thing I noticed that's interesting about

423
00:23:03,800 --> 00:23:07,440
Speaker 3: it is it doesn't permit you to spend as much

424
00:23:07,480 --> 00:23:11,720
Speaker 3: time fiddling and editing as you go, which.

425
00:23:11,560 --> 00:23:12,760
Speaker 2: Can be a good thing. Yeah.

426
00:23:12,800 --> 00:23:15,040
Speaker 3: You kind of have to commit to a sentence once

427
00:23:15,080 --> 00:23:18,160
Speaker 3: you've written it, which is you know, or you can

428
00:23:18,160 --> 00:23:19,800
Speaker 3: think like, well, if I'm not happy with that, I'm

429
00:23:19,800 --> 00:23:22,399
Speaker 3: just gonna have to fix it later on the full rewrite.

430
00:23:23,520 --> 00:23:26,160
Speaker 3: You can't waste as much time just getting bogged down

431
00:23:26,200 --> 00:23:29,320
Speaker 3: doing the same paragraph over and over. And I like

432
00:23:29,400 --> 00:23:29,960
Speaker 3: that in a way.

433
00:23:30,040 --> 00:23:33,280
Speaker 2: Yeah, yeah, it's a great point. Yeah, all right, let's

434
00:23:33,280 --> 00:23:36,480
Speaker 2: get into the cast here, starting with the top billing.

435
00:23:37,000 --> 00:23:40,160
Speaker 2: The biggest star here, the only Oscar winner in the cast,

436
00:23:40,680 --> 00:23:43,200
Speaker 2: and that is George Kennedy, who plays Bill Crafton.

437
00:23:43,600 --> 00:23:46,320
Speaker 3: There are two sides of the George Kennedy we get here.

438
00:23:46,440 --> 00:23:50,000
Speaker 3: On one hand, you can tell that he's like, what

439
00:23:50,040 --> 00:23:52,159
Speaker 3: the heck is this? What's going on? But on the

440
00:23:52,200 --> 00:23:54,840
Speaker 3: other hand, he's not phoning it in. He's really he's

441
00:23:54,880 --> 00:23:57,680
Speaker 3: a pro. He's like, Okay, I am Bill Crafton. I'm

442
00:23:57,680 --> 00:24:00,840
Speaker 3: here because Squatch took my daughter and now you know,

443
00:24:00,920 --> 00:24:03,200
Speaker 3: I haven't been dead against Squatch and that's what I do.

444
00:24:03,600 --> 00:24:06,560
Speaker 2: Yeah. Yeah, yeah, He's he's solid here. I mean, you're not.

445
00:24:06,680 --> 00:24:09,600
Speaker 2: This is no cool hand Luke the sixty seven film

446
00:24:09,640 --> 00:24:12,119
Speaker 2: for which he Aaron you know, definitely earned his Oscar.

447
00:24:13,000 --> 00:24:16,600
Speaker 2: But you know, Kennedy's great and just about anything, no

448
00:24:16,600 --> 00:24:19,880
Speaker 2: matter how ridiculous it is. We previously talked about George

449
00:24:19,960 --> 00:24:22,199
Speaker 2: Kennedy in our episode on The Uninvited, in which he

450
00:24:22,240 --> 00:24:26,280
Speaker 2: plays one of the henchmen. Oh I forgot about that. Yeah,

451
00:24:26,320 --> 00:24:28,520
Speaker 2: that was pretty recent too, That was pretty recent. Yeah,

452
00:24:28,520 --> 00:24:30,480
Speaker 2: but it wasn't you know, it wasn't a strong role.

453
00:24:30,520 --> 00:24:33,040
Speaker 2: And you know, he's one of those guys, that big

454
00:24:33,080 --> 00:24:35,680
Speaker 2: fella he could play and intimidating hnchman, but he could

455
00:24:35,680 --> 00:24:39,840
Speaker 2: also play was probably better at playing good natured lugs. Yeah,

456
00:24:40,000 --> 00:24:43,240
Speaker 2: and we're more in the good natured lug category here

457
00:24:43,640 --> 00:24:46,320
Speaker 2: as opposed to you know, just a pure heavy.

458
00:24:46,560 --> 00:24:49,280
Speaker 3: Oh I just remembered. Yeah, he is one of the

459
00:24:49,320 --> 00:24:53,560
Speaker 3: henchmen of Wall Street Walter, Yeah, Uninvited.

460
00:24:53,640 --> 00:24:57,720
Speaker 2: Yeah, yeah, the Killer Cat movie. So yeah. Here, he's

461
00:24:57,760 --> 00:24:59,920
Speaker 2: a father who lost his daughter to the savage Squatch

462
00:25:00,080 --> 00:25:02,720
Speaker 2: demon Wood and his hell bent on revenge via a

463
00:25:02,760 --> 00:25:06,480
Speaker 2: seemingly limitless arsenal of acme bear traps and dynamite.

464
00:25:08,440 --> 00:25:09,359
Speaker 3: He comes with gear.

465
00:25:09,800 --> 00:25:13,919
Speaker 2: Yeah yeah, So go back and listen to our episode

466
00:25:13,920 --> 00:25:16,280
Speaker 2: of The Uninvited for more about George Kennedy if you

467
00:25:16,359 --> 00:25:18,840
Speaker 2: so desire. But yeah, he's He's been in a ton

468
00:25:18,880 --> 00:25:20,159
Speaker 2: of He was in a ton of films over the

469
00:25:20,200 --> 00:25:24,199
Speaker 2: course of his career, sometimes more comedic, but also he

470
00:25:24,280 --> 00:25:27,360
Speaker 2: dabbled in horror a bit. And yeah he did, he did.

471
00:25:27,440 --> 00:25:28,879
Speaker 2: He brings it here, you know. He said he was

472
00:25:28,920 --> 00:25:31,160
Speaker 2: said to be a really nice guy in Seat Real Pro.

473
00:25:31,440 --> 00:25:34,439
Speaker 2: And he also brought his own stuntman and yellow cap

474
00:25:35,040 --> 00:25:36,800
Speaker 2: so that he could trade out the yellow cap with

475
00:25:36,840 --> 00:25:39,679
Speaker 2: his stunt man. And apparently that was his idea. He's like,

476
00:25:40,040 --> 00:25:42,639
Speaker 2: they're only going to be looking at the cap in

477
00:25:42,680 --> 00:25:44,560
Speaker 2: the action. They're not going to notice as much that

478
00:25:44,840 --> 00:25:45,800
Speaker 2: it's my stunt double.

479
00:25:45,920 --> 00:25:47,960
Speaker 3: Wait, is the yellow cap in the script then?

480
00:25:48,040 --> 00:25:48,399
Speaker 2: Or was that?

481
00:25:48,440 --> 00:25:48,480
Speaker 1: No?

482
00:25:48,680 --> 00:25:50,200
Speaker 2: He brought that that was his thing.

483
00:25:50,400 --> 00:25:52,439
Speaker 3: I felt like that was one of the best story

484
00:25:52,480 --> 00:25:55,120
Speaker 3: details his character had. It was just his ad lived

485
00:25:55,160 --> 00:25:58,560
Speaker 3: there because he later on he says, Oh, I wear

486
00:25:58,600 --> 00:26:01,040
Speaker 3: this yellow hat because I want Squatch to see me.

487
00:26:01,359 --> 00:26:03,280
Speaker 3: You know he wants to bring the fight to Squatch.

488
00:26:04,040 --> 00:26:06,520
Speaker 2: It made me briefly go on a tangent where I

489
00:26:06,560 --> 00:26:09,480
Speaker 2: was looking up images of George kennedyan films with hats on,

490
00:26:09,560 --> 00:26:11,280
Speaker 2: and I was like, did he wear a funny hat

491
00:26:11,320 --> 00:26:12,040
Speaker 2: in everything?

492
00:26:12,520 --> 00:26:12,600
Speaker 1: Like?

493
00:26:12,840 --> 00:26:15,600
Speaker 2: Was this just something he insisted on so that he

494
00:26:15,680 --> 00:26:17,960
Speaker 2: felt like his stunt double would be more believable. But

495
00:26:18,200 --> 00:26:19,639
Speaker 2: I don't know. I couldn't really figure that out, but

496
00:26:19,720 --> 00:26:21,960
Speaker 2: I did see a lot of like he's wearing sombreros,

497
00:26:22,040 --> 00:26:26,439
Speaker 2: he's wearing everything. Now, Kennedy apparently only agreed to do

498
00:26:26,480 --> 00:26:29,040
Speaker 2: this film as long as they found a part for

499
00:26:29,160 --> 00:26:33,399
Speaker 2: his daughter, Shannon. And we'll get to Shannon here in

500
00:26:33,440 --> 00:26:37,040
Speaker 2: a bit, But you might expect that Shannon would play

501
00:26:37,200 --> 00:26:40,959
Speaker 2: this character's daughter who gets killed by the Squatch, And

502
00:26:41,119 --> 00:26:44,880
Speaker 2: like the first twenty minutes of the picture, now.

503
00:26:44,800 --> 00:26:46,679
Speaker 3: The first twenty minute, the first five.

504
00:26:47,000 --> 00:26:50,239
Speaker 2: Five minutes, Yeah, it happens really quickly, so you'd kind

505
00:26:50,280 --> 00:26:52,320
Speaker 2: of expect her to be cast in that role. But

506
00:26:52,520 --> 00:26:55,479
Speaker 2: that's not the case. Maybe they already had somebody lined up,

507
00:26:55,480 --> 00:26:57,960
Speaker 2: and that that somebody was an actress by the name

508
00:26:57,960 --> 00:27:01,359
Speaker 2: of Jill Marin. Find out anything about her. I believe

509
00:27:01,400 --> 00:27:04,960
Speaker 2: this is her only credited role. She plays Julie Crafton.

510
00:27:05,200 --> 00:27:08,159
Speaker 3: She's in the movie for like eighty five seconds and

511
00:27:08,320 --> 00:27:13,200
Speaker 3: she yeah, yeah, so yeah, I don't really have much

512
00:27:13,240 --> 00:27:15,440
Speaker 3: to say about her because she's so brief. It's one

513
00:27:15,440 --> 00:27:18,320
Speaker 3: of these characters where they're setting her up when you

514
00:27:18,359 --> 00:27:19,919
Speaker 3: first meet her, like, Okay, this is going to be

515
00:27:19,920 --> 00:27:22,800
Speaker 3: our main character, and then she's just gone and then

516
00:27:22,840 --> 00:27:23,600
Speaker 3: never comes back.

517
00:27:24,480 --> 00:27:27,160
Speaker 2: All right, So those are the Craftons. But now let's

518
00:27:27,160 --> 00:27:29,280
Speaker 2: get to this. Let's get to the who I think

519
00:27:29,280 --> 00:27:31,879
Speaker 2: of as the gang. This is our main core group

520
00:27:31,960 --> 00:27:36,639
Speaker 2: of young people, and they're also sort of amateur squatch investigators,

521
00:27:36,680 --> 00:27:38,280
Speaker 2: or at least one of them is. And the restaurant

522
00:27:38,240 --> 00:27:39,080
Speaker 2: along for the ride.

523
00:27:39,320 --> 00:27:42,159
Speaker 3: Yes, one of them is a squatch investigator, and he

524
00:27:42,240 --> 00:27:45,520
Speaker 3: is trying to trick the others into squatch investigating with

525
00:27:45,640 --> 00:27:48,359
Speaker 3: him by luring them to the woods on the promise

526
00:27:48,359 --> 00:27:52,359
Speaker 3: of a holiday. Yeah, and that's a cruel trick to

527
00:27:52,359 --> 00:27:53,400
Speaker 3: play in your friends.

528
00:27:53,480 --> 00:27:56,680
Speaker 2: Yeah. But this character that are sort of our lead

529
00:27:56,760 --> 00:27:59,840
Speaker 2: male character here is Jack and he is played by

530
00:28:00,080 --> 00:28:05,080
Speaker 2: David Michael O'Neill. Not sure how old this particular actor is,

531
00:28:05,560 --> 00:28:08,920
Speaker 2: but American actor active from about eighty five through twenty twenty.

532
00:28:08,960 --> 00:28:11,600
Speaker 2: It seems like kind of looks like a young Kurt

533
00:28:11,680 --> 00:28:12,240
Speaker 2: Russell here.

534
00:28:12,680 --> 00:28:14,960
Speaker 3: Yeah, I was gonna say the same thing. Reminds me

535
00:28:15,000 --> 00:28:17,560
Speaker 3: a bit of Kurt Russell. Not with the same level

536
00:28:17,600 --> 00:28:20,399
Speaker 3: of charm or charisma, but he looks a lot like Kurt.

537
00:28:21,119 --> 00:28:24,520
Speaker 2: Yeah. His acting style in this seems to go from

538
00:28:24,520 --> 00:28:29,680
Speaker 2: like normal, like handsome dude in a slasher or slasher

539
00:28:29,720 --> 00:28:33,640
Speaker 2: adjacent picture, to like almost kind of like psycho action mode,

540
00:28:34,160 --> 00:28:36,439
Speaker 2: like unhinged action hero character.

541
00:28:37,600 --> 00:28:40,920
Speaker 3: I have a comment about our main five young characters

542
00:28:41,320 --> 00:28:43,040
Speaker 3: later when we get to the plot section, I'll talk

543
00:28:43,080 --> 00:28:46,880
Speaker 3: about it, Okay. The gist is that all five of them,

544
00:28:46,920 --> 00:28:52,720
Speaker 3: basically and especially like three of them, are very inconsistently characterized,

545
00:28:52,840 --> 00:28:56,160
Speaker 3: so they're kind of hard to describe as characters because

546
00:28:56,160 --> 00:28:57,680
Speaker 3: they change from scene to scene.

547
00:28:58,080 --> 00:29:01,400
Speaker 2: Yeah, and again we can attribute a lot of this

548
00:29:01,440 --> 00:29:06,680
Speaker 2: to the fact that clearly this was a monster's first design. Here.

549
00:29:06,760 --> 00:29:10,200
Speaker 2: You know, this film originates with the monsters. Humans were

550
00:29:10,200 --> 00:29:14,080
Speaker 2: added because humans are apparently necessary for pictures like this,

551
00:29:14,200 --> 00:29:16,920
Speaker 2: and maybe and it might be a shame that you

552
00:29:17,000 --> 00:29:18,840
Speaker 2: have to have the humans and in such a movie.

553
00:29:18,960 --> 00:29:21,560
Speaker 3: Now that would be ambitious thinking about doing it the

554
00:29:21,600 --> 00:29:25,320
Speaker 3: other way. You could do an alien zombie squatch movie,

555
00:29:26,040 --> 00:29:29,160
Speaker 3: but it's just those things. So it's like aliens are

556
00:29:29,160 --> 00:29:32,760
Speaker 3: in the woods hunting for squatch and they encounter zombies.

557
00:29:33,040 --> 00:29:37,240
Speaker 2: There you go, Yeah, somebody ride it all right? Well,

558
00:29:37,480 --> 00:29:40,680
Speaker 2: David Michael O'Neill here he got into writing and directing

559
00:29:40,680 --> 00:29:42,920
Speaker 2: in the nineties. He directed and co wrote a nineteen

560
00:29:43,000 --> 00:29:45,720
Speaker 2: ninety nine film titled Five Aces, and that one starred

561
00:29:45,760 --> 00:29:50,840
Speaker 2: Charlie Sheen and Christopher MacDonald. Yeah. We'll come back to

562
00:29:50,880 --> 00:29:53,680
Speaker 2: more about this performance later, but this is our protagonist.

563
00:29:53,760 --> 00:29:58,800
Speaker 2: This is our hero, I guess. Yeah. Yeah. Now playing

564
00:29:59,000 --> 00:30:06,040
Speaker 2: his girlfriend Carrie is Pamela Gilbert. So Pamela Gilbert was

565
00:30:06,080 --> 00:30:09,800
Speaker 2: coming off of the Troma film Lust for Freedom from

566
00:30:09,800 --> 00:30:12,360
Speaker 2: eighty seven, as well as a pair of Fred Olin

567
00:30:12,440 --> 00:30:15,800
Speaker 2: ray films from the same year, Cyclone, which I think

568
00:30:15,880 --> 00:30:19,520
Speaker 2: is a motorbike film and Evil Spawn, which I believe

569
00:30:19,600 --> 00:30:22,560
Speaker 2: is aliens of one sort or another, as well as

570
00:30:22,560 --> 00:30:25,959
Speaker 2: some earlier modeling work and so forth. She'd retire from

571
00:30:26,040 --> 00:30:29,120
Speaker 2: acting the year after Demon Warp. Gilbert went on to

572
00:30:29,120 --> 00:30:32,920
Speaker 2: have an accomplished career ongoing career as an English professor,

573
00:30:33,040 --> 00:30:37,239
Speaker 2: author and expert in nineteenth century British literature in the

574
00:30:37,280 --> 00:30:40,480
Speaker 2: history of the body and medicine. She has several books

575
00:30:40,480 --> 00:30:42,640
Speaker 2: out and was looking at somebody's that look quite interesting.

576
00:30:42,880 --> 00:30:48,120
Speaker 2: They include twenty nineteen's Victorian Skin Surface Self History. Yeah.

577
00:30:48,160 --> 00:30:50,640
Speaker 3: I thought that was that's a cool transition, going from

578
00:30:50,680 --> 00:30:54,200
Speaker 3: the Bigfoot movies to the literary journals.

579
00:30:54,520 --> 00:30:57,400
Speaker 2: Yeah, yeah, absolutely. All right, let's talk about the rest

580
00:30:57,440 --> 00:31:00,520
Speaker 2: of the gang here. We also have a character Tom,

581
00:31:00,600 --> 00:31:03,240
Speaker 2: and it's confusing because, especially early on, Tom looks a

582
00:31:03,280 --> 00:31:06,120
Speaker 2: whole lot like Jack and I had trouble telling them apart.

583
00:31:06,920 --> 00:31:10,640
Speaker 2: But Tom is played by Billy Jane born nineteen sixty nine.

584
00:31:10,960 --> 00:31:14,400
Speaker 2: Child actor turned teen actor turned well grown up actor,

585
00:31:14,600 --> 00:31:17,920
Speaker 2: director and producer. As a kid, best remembered for roles

586
00:31:17,960 --> 00:31:20,840
Speaker 2: on TV, including twenty six episodes of the Bad News

587
00:31:20,840 --> 00:31:24,120
Speaker 2: Bears series and later as a supporting character on the

588
00:31:24,160 --> 00:31:27,640
Speaker 2: series Silver Spoons. He also did an episode of Tales

589
00:31:27,680 --> 00:31:30,480
Speaker 2: from the Dark Side, and in his film credits he

590
00:31:30,560 --> 00:31:33,200
Speaker 2: played he was in a film we proved. No, we've

591
00:31:33,200 --> 00:31:36,360
Speaker 2: never talked about this. This is a particular film on

592
00:31:36,480 --> 00:31:39,000
Speaker 2: Weird House. I'm sorry, we talked about the second Beast

593
00:31:39,080 --> 00:31:42,480
Speaker 2: Master movie. But this guy as a kid was in

594
00:31:42,720 --> 00:31:46,000
Speaker 2: eighty two's The beast Master playing the young Dar, so

595
00:31:46,080 --> 00:31:48,360
Speaker 2: that our young beast Master in flashback?

596
00:31:48,600 --> 00:31:50,360
Speaker 3: Okay, are we gonna have to go back and do

597
00:31:50,520 --> 00:31:53,120
Speaker 3: beast Master one even though we've already done two.

598
00:31:53,560 --> 00:31:56,160
Speaker 2: We should? We probably should. It's so much fun. You know,

599
00:31:56,200 --> 00:31:59,200
Speaker 2: you got ripped torn as the villain. It's yeah, it's

600
00:31:59,400 --> 00:32:00,320
Speaker 2: one of my favorite.

601
00:32:00,440 --> 00:32:02,920
Speaker 3: Wait oh it was wings Hauser and.

602
00:32:03,040 --> 00:32:06,480
Speaker 2: Yeah, yeah, wings Hauser in the sequel. The sequel's great too,

603
00:32:06,520 --> 00:32:10,960
Speaker 2: but the sequel's decidedly stupider. Yeah, and a lot of fun.

604
00:32:12,400 --> 00:32:15,840
Speaker 2: But anyway, So this guy played Dar in eighty two

605
00:32:15,880 --> 00:32:17,800
Speaker 2: as the beast Master. He was also in eighty three's

606
00:32:17,840 --> 00:32:20,920
Speaker 2: Kujo as a child actor, and he's in the eighty

607
00:32:20,960 --> 00:32:25,200
Speaker 2: five teen comedy and very loose Twelfth Night adaptation Just

608
00:32:25,280 --> 00:32:29,240
Speaker 2: one of the Guys, which I vaguely remember watching as

609
00:32:29,280 --> 00:32:31,600
Speaker 2: a young person, and I remember liking it back in

610
00:32:31,640 --> 00:32:33,200
Speaker 2: the day. I do not know how it holds up.

611
00:32:34,440 --> 00:32:38,720
Speaker 2: His other credits include eighty one's Bloody Birthday and Hospital Massacre,

612
00:32:39,080 --> 00:32:43,560
Speaker 2: eighty two's Superstition, and eighty nine's Doctor Alien. He remained

613
00:32:43,560 --> 00:32:46,840
Speaker 2: active as an actor and directed multiple music videos, including

614
00:32:46,960 --> 00:32:49,440
Speaker 2: various Buck Cherry music videos.

615
00:32:49,480 --> 00:32:52,080
Speaker 3: It seems, Oh, did he do the one for I

616
00:32:52,120 --> 00:32:53,080
Speaker 3: Love the Cocaine.

617
00:32:53,280 --> 00:32:56,120
Speaker 2: I don't know, but we had we had a buck

618
00:32:56,200 --> 00:33:00,000
Speaker 2: Cherry connection in Gargoyles, like one of the band Memory

619
00:33:00,400 --> 00:33:03,800
Speaker 2: Fathers was in Gargoyles, So I don't know I had.

620
00:33:03,840 --> 00:33:05,479
Speaker 2: I don't know much about buck Cherry, but I think

621
00:33:05,480 --> 00:33:08,440
Speaker 2: they're Anaheim bass so maybe they were just like various

622
00:33:09,120 --> 00:33:12,040
Speaker 2: connections to the Internet entertainment industry there. And then I

623
00:33:12,120 --> 00:33:13,800
Speaker 2: dug a little deeper and I saw that their bass

624
00:33:13,800 --> 00:33:17,000
Speaker 2: player is a huge Sasquatch enthusiast. So I don't know

625
00:33:17,040 --> 00:33:18,160
Speaker 2: the conspiracy widens.

626
00:33:18,200 --> 00:33:20,240
Speaker 3: How did you find? Were you just googling the band

627
00:33:20,240 --> 00:33:21,680
Speaker 3: members plus Sasquatch?

628
00:33:22,000 --> 00:33:25,440
Speaker 2: I was, Yes, that's the that's the that's the professional

629
00:33:25,480 --> 00:33:28,400
Speaker 2: research that I'm involved in. But I got a hit

630
00:33:28,440 --> 00:33:31,920
Speaker 2: on it, so amazing, it works. I love it all right,

631
00:33:31,960 --> 00:33:34,240
Speaker 2: So we're not done with the gang here. We also

632
00:33:34,320 --> 00:33:38,640
Speaker 2: have Fred. Fred is played by Hank Stratton born nineteen

633
00:33:38,720 --> 00:33:41,720
Speaker 2: sixty one. He's appeared in various TV shows between eighty

634
00:33:41,720 --> 00:33:45,560
Speaker 2: seven and twenty eleven, including Perfect Strangers, mcguiver Saved by

635
00:33:45,560 --> 00:33:49,720
Speaker 2: the Bell Murder. She wrote Fraser Silk stalkings, er and heroes.

636
00:33:49,960 --> 00:33:52,200
Speaker 3: I'm just mad they didn't give this guy an ascot.

637
00:33:53,520 --> 00:33:55,360
Speaker 2: Yeah, he could have used one. It would have helped

638
00:33:55,440 --> 00:33:59,120
Speaker 2: us differentiate more, all right. And then we also have

639
00:33:59,320 --> 00:34:03,920
Speaker 2: Cindy played by Colleen McDermott born nineteen sixty five. She

640
00:34:04,040 --> 00:34:07,400
Speaker 2: was coming off fourteen episodes of As the World Turns,

641
00:34:07,440 --> 00:34:09,319
Speaker 2: and she'd go on to appear in episodes of Murder.

642
00:34:09,400 --> 00:34:12,239
Speaker 2: She wrote Days of Our Lives, Dream on Charmed and

643
00:34:12,560 --> 00:34:13,720
Speaker 2: CSI Miami.

644
00:34:15,840 --> 00:34:18,319
Speaker 3: So those are our main five, but they're not the

645
00:34:18,360 --> 00:34:19,719
Speaker 3: only characters who show up.

646
00:34:20,040 --> 00:34:22,560
Speaker 2: That's right, because we're also going to get a couple

647
00:34:22,640 --> 00:34:26,440
Speaker 2: of a couple of stoner babes who are have headed

648
00:34:26,440 --> 00:34:29,160
Speaker 2: out into the woods to harvest some bud and maybe

649
00:34:29,239 --> 00:34:33,200
Speaker 2: do a little sunbathing in demon woods. So the first

650
00:34:33,200 --> 00:34:36,920
Speaker 2: of these is Betsy, and Betsy is played by certified

651
00:34:37,080 --> 00:34:40,799
Speaker 2: b movie scream queen Michelle Bauer born nineteen fifty eight,

652
00:34:41,640 --> 00:34:44,000
Speaker 2: best known for her work in the films of Fred

653
00:34:44,000 --> 00:34:47,840
Speaker 2: Olin Ray So she's in eighty eight's Hollywood Chainsaw Hookers,

654
00:34:48,360 --> 00:34:52,360
Speaker 2: eighty seven Cyclone and also eighty seven is The Phantom Empire.

655
00:34:52,920 --> 00:34:55,800
Speaker 2: She's also been in such pictures as eighty eight's Nightmare Sisters,

656
00:34:55,920 --> 00:34:59,240
Speaker 2: ninety one's puppet Master three, as well as some notable

657
00:35:00,160 --> 00:35:03,600
Speaker 2: weird deep cuts like eighty two's Cafe Flesh.

658
00:35:03,640 --> 00:35:06,720
Speaker 3: So I don't think I had ever seen a movie

659
00:35:06,719 --> 00:35:10,160
Speaker 3: with Michelle Bauer in it before, but she is a

660
00:35:10,200 --> 00:35:14,120
Speaker 3: great screen presence and really funny, obviously has a great

661
00:35:14,160 --> 00:35:17,240
Speaker 3: sense of humor. And I thought it was ironic because

662
00:35:17,800 --> 00:35:21,440
Speaker 3: there's an interview on one of the Vinegar Syndrome discs

663
00:35:21,440 --> 00:35:24,160
Speaker 3: with her where she talks about doing the movie, and

664
00:35:24,239 --> 00:35:26,520
Speaker 3: she's explaining at the beginning of this interview that she

665
00:35:26,600 --> 00:35:29,279
Speaker 3: had done some modeling and some live performances. I think

666
00:35:29,320 --> 00:35:33,400
Speaker 3: she mentioned mud wrestling, yeah, wrestling, yeah yeah, And she

667
00:35:33,440 --> 00:35:35,560
Speaker 3: says like, okay, so you know she'd done this stuff,

668
00:35:35,560 --> 00:35:38,080
Speaker 3: but she didn't have any interest in being in movies

669
00:35:38,960 --> 00:35:41,560
Speaker 3: because she thought of herself like, oh, I don't know

670
00:35:41,600 --> 00:35:44,280
Speaker 3: anything about acting, you know, I don't have any acting skills.

671
00:35:44,320 --> 00:35:48,200
Speaker 3: But I think she's easily the best actor in the movie.

672
00:35:48,719 --> 00:35:50,400
Speaker 3: I mean, I don't I've never seen her in a

673
00:35:50,440 --> 00:35:52,920
Speaker 3: dramatic role, so I couldn't comment either way on that,

674
00:35:53,040 --> 00:35:57,560
Speaker 3: But just in terms of being a funny, entertaining screen presence,

675
00:35:57,640 --> 00:36:02,560
Speaker 3: she's like the most charismatic person the film, and she's funny.

676
00:36:02,640 --> 00:36:06,200
Speaker 3: I think even in scenes where the writing isn't itself

677
00:36:06,280 --> 00:36:10,160
Speaker 3: all that funny, like she makes it work. Almost seems

678
00:36:10,200 --> 00:36:13,000
Speaker 3: to be kind of riffing on the movie she's in

679
00:36:13,000 --> 00:36:16,319
Speaker 3: in her scenes. One of the best examples is so

680
00:36:16,360 --> 00:36:18,600
Speaker 3: she's like driving up into the mountains with her friend

681
00:36:18,640 --> 00:36:22,680
Speaker 3: and they're supposed to be harvesting some cannabis from an

682
00:36:22,719 --> 00:36:25,799
Speaker 3: illegal grow site. And they get there and there's nothing there.

683
00:36:25,920 --> 00:36:28,600
Speaker 3: It's like all been taken. And then she just kind

684
00:36:28,600 --> 00:36:30,480
Speaker 3: of like looks at the camera and they're up in

685
00:36:30,520 --> 00:36:33,640
Speaker 3: the demon woods and she's like, well might as well tan,

686
00:36:35,160 --> 00:36:38,719
Speaker 3: Like she's I don't know. It felt almost like an

687
00:36:38,760 --> 00:36:42,200
Speaker 3: improvd line at the implausibility of the next scene, which

688
00:36:42,360 --> 00:36:44,000
Speaker 3: you know they had to get to somehow.

689
00:36:44,200 --> 00:36:46,879
Speaker 2: Yeah, yeah, with the top coming up. Yeah, Yeah, I agree.

690
00:36:46,920 --> 00:36:50,560
Speaker 2: I think Michelle Bauer is great here and yeah easily

691
00:36:50,640 --> 00:36:54,000
Speaker 2: has a natural charisma that works exceptionally well in a

692
00:36:54,040 --> 00:36:57,640
Speaker 2: B movie like this. Now. Her friend that you mentioned,

693
00:36:58,480 --> 00:37:01,640
Speaker 2: who were told his name, Kara, is played by Shannon Kennedy.

694
00:37:01,760 --> 00:37:04,800
Speaker 2: This is George Kennedy's daughter and the reason he agreed

695
00:37:04,840 --> 00:37:06,879
Speaker 2: to be in this film to begin with. I guess

696
00:37:06,880 --> 00:37:09,200
Speaker 2: she just wanted to try her hand at acting, or

697
00:37:09,360 --> 00:37:12,000
Speaker 2: to do a project with her dad. Even if it's

698
00:37:12,000 --> 00:37:13,840
Speaker 2: a film where her head gets ripped off by a

699
00:37:13,880 --> 00:37:18,319
Speaker 2: sasquatch while she's sunbathing, you know, it's still I guess

700
00:37:18,400 --> 00:37:20,040
Speaker 2: kind of sweet that they're in the same picture here.

701
00:37:20,520 --> 00:37:22,480
Speaker 2: I don't think she did any other films.

702
00:37:23,440 --> 00:37:25,040
Speaker 3: Wanted to be in a movie. So I play a

703
00:37:25,120 --> 00:37:28,080
Speaker 3: character who is looking for marijuana, fails to find it,

704
00:37:28,120 --> 00:37:30,160
Speaker 3: and then gets head ripped off by sasquatch.

705
00:37:30,440 --> 00:37:33,560
Speaker 2: Yeah, there you go. I mean, by this point in

706
00:37:33,640 --> 00:37:35,840
Speaker 2: his career, George Kennedy probably seen it all anyway, so

707
00:37:35,920 --> 00:37:38,719
Speaker 2: he didn't think twice about any of it. Yeah, so

708
00:37:38,920 --> 00:37:41,040
Speaker 2: he's like, yeah, yeah, this is welcome to the Welcome

709
00:37:41,040 --> 00:37:43,440
Speaker 2: to the movie industry, kid. Or maybe he wanted it

710
00:37:43,480 --> 00:37:46,000
Speaker 2: to be a picture like this, like like, you don't

711
00:37:46,040 --> 00:37:48,040
Speaker 2: want to be an entertainment, let me find a good

712
00:37:48,040 --> 00:37:49,920
Speaker 2: one to agree for us, to agree to us to

713
00:37:49,920 --> 00:37:50,200
Speaker 2: be in.

714
00:37:51,600 --> 00:37:55,120
Speaker 3: I think she qualifies as the most eighties looking of

715
00:37:55,160 --> 00:37:57,160
Speaker 3: the people in the movie. She's got a bit of

716
00:37:57,520 --> 00:37:59,239
Speaker 3: a Cindy lawper thing going on.

717
00:38:00,160 --> 00:38:05,160
Speaker 2: Yeah, all right, well, so far we've had we've got Kennedy.

718
00:38:05,440 --> 00:38:09,279
Speaker 2: We've got a bunch of young people. We have a sasquatch.

719
00:38:09,600 --> 00:38:11,600
Speaker 2: But you got to have a creep in here somewhere,

720
00:38:11,640 --> 00:38:13,880
Speaker 2: and that's where our next actor comes in. This is

721
00:38:13,960 --> 00:38:18,600
Speaker 2: John Durbin playing the Minister. I'm not sure how old

722
00:38:18,680 --> 00:38:20,799
Speaker 2: John Durbin is. He's been around for a while and

723
00:38:20,800 --> 00:38:22,880
Speaker 2: I think is still active. I see that he's attached

724
00:38:22,880 --> 00:38:27,000
Speaker 2: to some sort of upcoming Eli Roth related picture. But yeah,

725
00:38:27,000 --> 00:38:31,160
Speaker 2: he's a creepy, highly animated thin dude, and there's always

726
00:38:31,160 --> 00:38:35,280
Speaker 2: a space for someone like that in genre pictures. Durbin

727
00:38:35,360 --> 00:38:37,480
Speaker 2: had already been active on the screen in TV since

728
00:38:37,520 --> 00:38:40,600
Speaker 2: eighty three. He'd played I think his film debut was

729
00:38:40,640 --> 00:38:43,680
Speaker 2: playing Radio Corpse Number one in eighty five's Return of

730
00:38:43,719 --> 00:38:47,239
Speaker 2: the Living Dead, So early zombie roll there for him.

731
00:38:47,760 --> 00:38:52,640
Speaker 2: Subsequent credits included two episodes of TV's Max Headroom, nineteen

732
00:38:52,680 --> 00:38:56,080
Speaker 2: eighty nine's Doctor Caligari, ninety one's doll Man, ninety four's

733
00:38:56,120 --> 00:38:59,600
Speaker 2: witch Hunt That's the sequel to cast a Deadly Spell?

734
00:39:00,080 --> 00:39:03,800
Speaker 2: Is Hopper in the lead, Yeah, TV's The Shining In

735
00:39:03,920 --> 00:39:09,120
Speaker 2: ninety seven, and episodes of Star Trek's Next Generation Deep

736
00:39:09,120 --> 00:39:13,160
Speaker 2: Space nine and Voyager, playing I think different different aliens

737
00:39:13,200 --> 00:39:16,200
Speaker 2: in each one, because again, you're a thin dude that's

738
00:39:16,320 --> 00:39:18,799
Speaker 2: very expressive. You're gonna be able to act through all

739
00:39:18,840 --> 00:39:21,360
Speaker 2: the makeup that someone's going to put on you.

740
00:39:22,200 --> 00:39:24,719
Speaker 3: In this movie, they make his teeth look gross, and

741
00:39:24,760 --> 00:39:26,880
Speaker 3: he does a lot of like showing the gross teeth.

742
00:39:27,320 --> 00:39:29,759
Speaker 2: Yeah, I mean this, this guy's all in. I would

743
00:39:29,800 --> 00:39:36,000
Speaker 2: say Michelle Bauer and John Durban for the Acting Acting

744
00:39:36,520 --> 00:39:39,080
Speaker 2: Honors for Demon Warp. They both give it, give it,

745
00:39:39,120 --> 00:39:40,759
Speaker 2: they're all so he was.

746
00:39:40,840 --> 00:39:42,920
Speaker 3: I'm trying to remember who he was in Max Headroom,

747
00:39:42,920 --> 00:39:45,280
Speaker 3: which I've seen the first couple of episodes of.

748
00:39:45,400 --> 00:39:48,640
Speaker 2: A minor character that I think I don't recall the

749
00:39:48,680 --> 00:39:52,319
Speaker 2: character's name, but it's a play on Dracula. So you've

750
00:39:52,320 --> 00:39:55,120
Speaker 2: seen Max Headroom episodes more recently than I have, So

751
00:39:55,200 --> 00:39:56,359
Speaker 2: maybe that brings a bell.

752
00:39:56,800 --> 00:39:59,399
Speaker 3: I've thought before that maybe we should do a weird

753
00:39:59,400 --> 00:40:01,720
Speaker 3: house cinema the pilot of Max Headroom.

754
00:40:01,840 --> 00:40:05,839
Speaker 2: Yeah, yeah, I'm all for it, all right, I will

755
00:40:05,880 --> 00:40:08,120
Speaker 2: not you know, we love to give credit where credit

756
00:40:08,160 --> 00:40:11,319
Speaker 2: is due for people in monster suits. I couldn't find

757
00:40:11,520 --> 00:40:14,880
Speaker 2: there's no actual credit for whoever's playing the Sasquatch in

758
00:40:14,920 --> 00:40:17,560
Speaker 2: one of the extras on the Vinegar Syndrome disc. I

759
00:40:17,560 --> 00:40:20,840
Speaker 2: think it's mentioned that someone in production's boyfriend played the monster,

760
00:40:21,560 --> 00:40:25,120
Speaker 2: but they are not, to my knowledge, actually credited all

761
00:40:25,239 --> 00:40:29,640
Speaker 2: right special effects on this again. Beeckler did the original

762
00:40:29,680 --> 00:40:32,560
Speaker 2: monster designs and some of the monster elements that are

763
00:40:32,600 --> 00:40:35,280
Speaker 2: used in the picture in the end, but Mark Wolf

764
00:40:36,680 --> 00:40:40,200
Speaker 2: is the special effects lead that's credited. He's credited with

765
00:40:40,239 --> 00:40:42,440
Speaker 2: special effects work on such films as eighty six is

766
00:40:42,520 --> 00:40:45,400
Speaker 2: Flight to the Navigator, eighty six is Friday the Thirteenth,

767
00:40:45,440 --> 00:40:49,600
Speaker 2: Part six Jason Lives, eighty seven, Slave Girls from Beyond Infinity,

768
00:40:49,640 --> 00:40:53,640
Speaker 2: and eighty seven's ish Tar, And then finally the score.

769
00:40:53,840 --> 00:40:58,240
Speaker 2: It's another Dan Slider score. We previously mentioned Slider because

770
00:40:58,280 --> 00:41:02,480
Speaker 2: he also scored the Killer Cat Movie Uninvited. I don't

771
00:41:02,480 --> 00:41:04,000
Speaker 2: know what do you think about the music here, Joe.

772
00:41:04,000 --> 00:41:06,800
Speaker 2: I found it forgettable but effective.

773
00:41:07,280 --> 00:41:10,160
Speaker 3: Uh. I don't want to be mean, but I think

774
00:41:10,239 --> 00:41:13,640
Speaker 3: this is one of the funnier musical scores I can recall.

775
00:41:14,320 --> 00:41:17,040
Speaker 3: I actually I have a note about this, so maybe

776
00:41:17,040 --> 00:41:19,360
Speaker 3: I'll just go ahead and mention it. I was trying

777
00:41:19,400 --> 00:41:21,920
Speaker 3: to understand what it was that was making the music

778
00:41:21,960 --> 00:41:25,880
Speaker 3: funny to me, and I think it's the contrast between

779
00:41:25,960 --> 00:41:30,480
Speaker 3: the composition and the actual sound of it. The composition

780
00:41:30,760 --> 00:41:36,080
Speaker 3: is incredibly unsubtle, so it's this heavy, dire, dramatic minor

781
00:41:36,160 --> 00:41:39,600
Speaker 3: key music. Dun dun duh, you know, uh duh d

782
00:41:39,800 --> 00:41:42,919
Speaker 3: d d and uh. So it's that kind of thing.

783
00:41:43,480 --> 00:41:47,600
Speaker 3: But the electronic instrument voicings that they use do not

784
00:41:47,920 --> 00:41:50,880
Speaker 3: match the bigness of the music. They sound kind of

785
00:41:51,000 --> 00:41:55,239
Speaker 3: thin and plinky. So to get the feeling I'm talking about,

786
00:41:55,320 --> 00:41:59,560
Speaker 3: imagine the most dark, evil sounding music you can, like

787
00:41:59,760 --> 00:42:02,800
Speaker 3: Night on Bald Mountain to do a callback to Demon Pond,

788
00:42:03,239 --> 00:42:06,040
Speaker 3: but performed on a series of toy keyboards.

789
00:42:06,360 --> 00:42:09,440
Speaker 2: Okay, all right, so we're pretty far away from Tamta

790
00:42:09,680 --> 00:42:10,320
Speaker 2: on the score.

791
00:42:10,840 --> 00:42:14,960
Speaker 3: Yes, yeah, no offense intended to slider, but yes, the

792
00:42:15,280 --> 00:42:17,040
Speaker 3: music was given me a chuckle.

793
00:42:26,320 --> 00:42:26,680
Speaker 2: All right.

794
00:42:27,160 --> 00:42:28,960
Speaker 3: Should we talk about the plot.

795
00:42:29,400 --> 00:42:30,160
Speaker 2: Let's get into it.

796
00:42:30,239 --> 00:42:33,320
Speaker 3: Yeah, well, where could a Bigfoot movie begin but outer space?

797
00:42:34,440 --> 00:42:37,799
Speaker 3: So we see the Earth, It's floating blue, looks very

798
00:42:37,840 --> 00:42:41,240
Speaker 3: serene there in the void. And suddenly a little pink

799
00:42:41,400 --> 00:42:45,560
Speaker 3: object zooms from off screen down into the Earth's atmosphere

800
00:42:45,600 --> 00:42:49,160
Speaker 3: and it makes a whooshing sound. It comes down through

801
00:42:49,239 --> 00:42:52,120
Speaker 3: the sky and next we cut to the surface and

802
00:42:52,160 --> 00:42:55,120
Speaker 3: now we're down on the earth in the mountains of

803
00:42:55,160 --> 00:42:56,160
Speaker 3: southern California.

804
00:42:56,880 --> 00:42:58,600
Speaker 2: Yep. And we're gonna stay there. You're going to see

805
00:42:58,640 --> 00:42:59,759
Speaker 2: a lot of this landscape.

806
00:43:00,200 --> 00:43:02,040
Speaker 3: So this seems to be in the past. I guess

807
00:43:02,040 --> 00:43:05,799
Speaker 3: it's supposed to be the eighteen hundreds sometime. And we

808
00:43:05,880 --> 00:43:09,040
Speaker 3: see a priest or a minister wandering through the woods.

809
00:43:09,080 --> 00:43:11,560
Speaker 3: I originally thought this guy was supposed to be like

810
00:43:11,640 --> 00:43:15,520
Speaker 3: a Catholic padre, but you said he was credited as minister,

811
00:43:15,760 --> 00:43:18,800
Speaker 3: so maybe they're thinking he's a Protestant minister.

812
00:43:19,000 --> 00:43:21,760
Speaker 2: I don't know who knows what they're thinking, but he's

813
00:43:21,800 --> 00:43:25,919
Speaker 2: a man of the cloth, seemingly, but as we'll see,

814
00:43:26,000 --> 00:43:29,840
Speaker 2: like he's ultimately up for whatever. He's flexible, he's flexible,

815
00:43:29,840 --> 00:43:30,919
Speaker 2: and he's worshiped. Yes.

816
00:43:31,960 --> 00:43:34,520
Speaker 3: Yeah, So I'm just going to stick with thinking he's

817
00:43:34,520 --> 00:43:36,520
Speaker 3: supposed to be a Catholic priest. Maybe that's wrong, but

818
00:43:36,520 --> 00:43:39,480
Speaker 3: that's what I thought. So he's a priest leading a

819
00:43:39,520 --> 00:43:42,560
Speaker 3: horse and he's reading aloud from what looks like a

820
00:43:42,600 --> 00:43:46,560
Speaker 3: paperback Bible. He's reading. I looked up the passage he's

821
00:43:46,600 --> 00:43:49,160
Speaker 3: reading from, and it is a correct quote of the Bible,

822
00:43:49,239 --> 00:43:54,719
Speaker 3: unlike in the Prophecy. He's reading from Deuteronomy chapter twenty eight,

823
00:43:54,760 --> 00:43:57,759
Speaker 3: and I was gonna originally read this part, but it's

824
00:43:57,800 --> 00:44:01,000
Speaker 3: a bunch of grandiose threats of cong quoi an annihilation.

825
00:44:01,760 --> 00:44:03,400
Speaker 3: The main thing I'm gonna mention, because I think it

826
00:44:03,520 --> 00:44:05,760
Speaker 3: sort of gets referenced again at the end of the book,

827
00:44:06,120 --> 00:44:08,280
Speaker 3: is the part of the quote he reads that says,

828
00:44:08,640 --> 00:44:11,080
Speaker 3: and he shall eat the fruit of thy cattle and

829
00:44:11,160 --> 00:44:14,279
Speaker 3: the fruit of thy land until thou be destroyed. And

830
00:44:14,320 --> 00:44:18,480
Speaker 3: he shall also not leave thee either corn, wine, or oil.

831
00:44:20,120 --> 00:44:22,399
Speaker 3: I think they're going to try to tie this into

832
00:44:22,480 --> 00:44:25,200
Speaker 3: aliens somehow. It's like, oh, this is not about a

833
00:44:25,600 --> 00:44:28,520
Speaker 3: this is not about an ancient military conquest. It's about

834
00:44:28,560 --> 00:44:29,880
Speaker 3: aliens coming to earth.

835
00:44:30,000 --> 00:44:34,280
Speaker 2: He shall leave, not corn, not wine, not who hash. Yes.

836
00:44:36,239 --> 00:44:40,440
Speaker 3: So later we see this same priest slinking around in

837
00:44:40,480 --> 00:44:43,719
Speaker 3: the mountains singing Amazing Grace, and it actually kind of

838
00:44:43,760 --> 00:44:47,520
Speaker 3: made me wonder, like, how popular would that song have

839
00:44:47,640 --> 00:44:50,000
Speaker 3: been with the Catholic clergy in the year this is

840
00:44:50,040 --> 00:44:53,680
Speaker 3: supposed to be set. I don't know, But again this

841
00:44:53,760 --> 00:44:55,920
Speaker 3: is mixed up because maybe it's not actually supposed to

842
00:44:55,920 --> 00:44:56,720
Speaker 3: be a Catholic priest.

843
00:44:56,760 --> 00:44:58,600
Speaker 2: But yeah, maybe he only sings it when he's out

844
00:44:58,640 --> 00:44:59,759
Speaker 2: alone in the wilderness like this.

845
00:45:00,440 --> 00:45:02,760
Speaker 3: It did make me think of an alternate version where

846
00:45:02,960 --> 00:45:05,040
Speaker 3: you know, they're just thinking on the set, like, what's

847
00:45:05,080 --> 00:45:07,239
Speaker 3: a religious song we can have him doing, And they

848
00:45:07,520 --> 00:45:10,400
Speaker 3: got the padre singing Our God is an awesome god.

849
00:45:11,840 --> 00:45:12,200
Speaker 2: Anyway.

850
00:45:12,280 --> 00:45:15,279
Speaker 3: So he's out there singing with his horse, and out

851
00:45:15,320 --> 00:45:19,320
Speaker 3: of nowhere a massive object crashes down from the sky

852
00:45:19,520 --> 00:45:22,239
Speaker 3: and it lands in a ravine up ahead, and then

853
00:45:22,280 --> 00:45:25,400
Speaker 3: we get a long shot of the priest approaching the object,

854
00:45:25,680 --> 00:45:28,640
Speaker 3: which is some kind of gray metal ball or disc

855
00:45:28,920 --> 00:45:33,200
Speaker 3: encased inside this partial crust of rock. And this is

856
00:45:33,239 --> 00:45:35,919
Speaker 3: the part I mentioned earlier that on the very pixelated

857
00:45:36,000 --> 00:45:38,239
Speaker 3: version I was watching I did not realize this was

858
00:45:38,400 --> 00:45:40,239
Speaker 3: supposed to be the thing that fell from the sky.

859
00:45:41,360 --> 00:45:44,440
Speaker 3: It just looks like he's going to a boulder. But actually,

860
00:45:44,520 --> 00:45:47,000
Speaker 3: once you can see the effect, this is not a

861
00:45:47,200 --> 00:45:49,360
Speaker 3: bad looking mad or whatever.

862
00:45:49,400 --> 00:45:52,040
Speaker 2: This is. Yeah, yeah, it looks pretty cool. There's a

863
00:45:52,080 --> 00:45:55,719
Speaker 2: breakdown on the Vinegar Syndrome disc about how they did this.

864
00:45:55,760 --> 00:45:58,239
Speaker 2: It's like a perspective model shot with the model and

865
00:45:58,280 --> 00:46:01,840
Speaker 2: the foreground. Oh yeah, a little bit of cool movie

866
00:46:01,840 --> 00:46:02,439
Speaker 2: magic here.

867
00:46:02,719 --> 00:46:06,880
Speaker 3: Yeah, yeah, looks good. So the priest approaches the site.

868
00:46:06,960 --> 00:46:09,760
Speaker 3: He's got a crucifix around his neck and he raises

869
00:46:09,800 --> 00:46:11,480
Speaker 3: it up and he holds it out in front of

870
00:46:11,520 --> 00:46:14,239
Speaker 3: his face and he mutters, it was a fire. It's

871
00:46:14,280 --> 00:46:17,160
Speaker 3: the Second Coming, It's the Lord come down to Earth,

872
00:46:17,880 --> 00:46:20,600
Speaker 3: and then we cut to the credits. With the credits,

873
00:46:20,719 --> 00:46:23,400
Speaker 3: are you know they play over panning shots through the

874
00:46:23,440 --> 00:46:28,440
Speaker 3: woods while that funny music plays, and then oh, I

875
00:46:28,480 --> 00:46:31,759
Speaker 3: didn't mention this earlier, but for some reason, in the

876
00:46:31,800 --> 00:46:35,680
Speaker 3: middle of the credits, at one point, there's this big

877
00:46:36,280 --> 00:46:40,120
Speaker 3: pitch bend or warp in the music, like it's being

878
00:46:40,160 --> 00:46:42,920
Speaker 3: played on a tape, and suddenly the tape gets stretched

879
00:46:43,040 --> 00:46:45,520
Speaker 3: or sped up, and I was wondering, could this be

880
00:46:45,640 --> 00:46:49,720
Speaker 3: an intentional nod to the demon warp? It must be so,

881
00:46:49,719 --> 00:46:53,000
Speaker 3: So after the credits we get an establishing shot of

882
00:46:53,040 --> 00:46:55,600
Speaker 3: a cabin, which will be the central location for the

883
00:46:55,640 --> 00:46:58,680
Speaker 3: first third of the movie. I'd say, don't look too

884
00:46:58,760 --> 00:47:01,400
Speaker 3: close at this cabin, because if you do, it starts

885
00:47:01,440 --> 00:47:04,440
Speaker 3: to seem less remote and cabiny than I think the

886
00:47:04,480 --> 00:47:05,520
Speaker 3: movie intends.

887
00:47:05,560 --> 00:47:05,680
Speaker 2: Like.

888
00:47:06,200 --> 00:47:07,560
Speaker 3: The more I was looking at it, I was like,

889
00:47:07,560 --> 00:47:10,120
Speaker 3: I think that's a paved road running behind it. It

890
00:47:10,160 --> 00:47:12,960
Speaker 3: looks like it's got all the utilities, and I.

891
00:47:13,000 --> 00:47:14,839
Speaker 2: Know, yeah, yeah, we're supposed to be just in the

892
00:47:14,880 --> 00:47:16,560
Speaker 2: middle of nowhere here, right.

893
00:47:17,200 --> 00:47:20,080
Speaker 3: So we cut inside the cabin and we meet Bill

894
00:47:20,160 --> 00:47:23,560
Speaker 3: Crafton played by George Kennedy and his adult daughter Julie

895
00:47:23,560 --> 00:47:26,080
Speaker 3: played by Jill Marin, and they're sitting on the floor

896
00:47:26,120 --> 00:47:27,200
Speaker 3: playing trivial pursuit.

897
00:47:27,520 --> 00:47:31,520
Speaker 2: Yeah, big Bill is really slamming those pieces, like the

898
00:47:31,520 --> 00:47:33,960
Speaker 2: little pie slices or is flying out.

899
00:47:34,239 --> 00:47:36,919
Speaker 3: So he has to answer a trivia question. I wonder

900
00:47:37,000 --> 00:47:40,680
Speaker 3: can listeners get this one who played Lawrence Talbot in

901
00:47:40,719 --> 00:47:44,400
Speaker 3: the movie The wolf Man? And he thinks for a second,

902
00:47:44,440 --> 00:47:47,360
Speaker 3: and then at first he thinks it was Lynn Cheney Junior,

903
00:47:47,400 --> 00:47:49,759
Speaker 3: but then he gets it right. He remembers Lawn and

904
00:47:49,920 --> 00:47:52,840
Speaker 3: Kennedy is very proud of himself when he nails the answer.

905
00:47:52,880 --> 00:47:56,640
Speaker 3: He's got a big grin. So the character stuff in

906
00:47:56,719 --> 00:48:00,279
Speaker 3: this scene is a familiar trope. I'm trying to think,

907
00:48:00,440 --> 00:48:03,680
Speaker 3: what is the main movie I remember this from? But

908
00:48:04,080 --> 00:48:07,960
Speaker 3: it's the goofy, befuddled old dad who can't take care

909
00:48:08,000 --> 00:48:11,200
Speaker 3: of himself and his adult daughter who sort of becomes

910
00:48:11,239 --> 00:48:14,919
Speaker 3: his mother. So this is expressed in the movie through

911
00:48:15,000 --> 00:48:19,320
Speaker 3: wardrobe malfunctions, like the game is interrupted when Julie notices

912
00:48:19,360 --> 00:48:22,480
Speaker 3: that Bill is missing buttons on his shirt. She offers

913
00:48:22,560 --> 00:48:25,000
Speaker 3: to sew them back on, but when he goes to

914
00:48:25,040 --> 00:48:27,960
Speaker 3: get her sewing kitch, he notices that his socks don't match.

915
00:48:29,080 --> 00:48:29,960
Speaker 2: Yeah.

916
00:48:30,040 --> 00:48:32,200
Speaker 3: Oh, and somehow in the middle of this, he makes

917
00:48:32,239 --> 00:48:35,680
Speaker 3: these bitter comments about like the wickedness of her mother,

918
00:48:35,800 --> 00:48:36,800
Speaker 3: who is not present.

919
00:48:37,640 --> 00:48:39,799
Speaker 2: Yeah. Yeah, So we get the idea that you know,

920
00:48:39,840 --> 00:48:42,520
Speaker 2: this is a there's a divorce scenario going on here,

921
00:48:42,640 --> 00:48:44,440
Speaker 2: and that's one of the reasons that there's nobody to

922
00:48:44,480 --> 00:48:46,640
Speaker 2: look after Big Bill here, and that's why he said

923
00:48:46,680 --> 00:48:47,080
Speaker 2: a mess.

924
00:48:47,120 --> 00:48:49,360
Speaker 3: He's like, I haven't seen you in so long, thanks

925
00:48:49,360 --> 00:48:53,920
Speaker 3: to your mother. But then while they're talking about his socks,

926
00:48:53,960 --> 00:48:56,000
Speaker 3: a sasquatch crashes through the front door.

927
00:48:56,719 --> 00:49:01,840
Speaker 2: Yep, broad daylight just does knock either, just bams.

928
00:49:02,360 --> 00:49:06,239
Speaker 3: Splinters the door. So it's like, don't even bother locking up,

929
00:49:06,320 --> 00:49:09,919
Speaker 3: it will do no good. The squash and knocks Bill

930
00:49:10,000 --> 00:49:12,799
Speaker 3: to the floor. Bill lies there unconscious, and then the

931
00:49:12,840 --> 00:49:17,200
Speaker 3: sasquatch just kills Julie, so we see her body dragged

932
00:49:17,239 --> 00:49:21,600
Speaker 3: off with gashes across her face, eyes open. It seems

933
00:49:21,600 --> 00:49:23,560
Speaker 3: to me like there might have been more tension if

934
00:49:23,600 --> 00:49:26,759
Speaker 3: the audience thought she might still be alive somewhere. But no,

935
00:49:27,000 --> 00:49:30,080
Speaker 3: the movie is like, there will be no suspense. Bigfoot

936
00:49:30,160 --> 00:49:30,600
Speaker 3: killed her.

937
00:49:31,280 --> 00:49:34,040
Speaker 2: Yeah, and I guess this is if I'm not understand correctly.

938
00:49:35,200 --> 00:49:38,200
Speaker 2: The character of Bill here originally had no reason to

939
00:49:38,239 --> 00:49:40,480
Speaker 2: really be in the picture. He's just old man in

940
00:49:40,480 --> 00:49:43,279
Speaker 2: the woods hunting Bigfoot, and so they were like, we

941
00:49:43,520 --> 00:49:46,279
Speaker 2: got to give him more. And so this is considerably

942
00:49:46,320 --> 00:49:49,480
Speaker 2: more than was originally present, but still there's room for

943
00:49:49,520 --> 00:49:50,839
Speaker 2: improvement if they had time.

944
00:49:51,280 --> 00:49:55,080
Speaker 3: It does feel kind of like added on late. Yeah. Yeah,

945
00:49:55,120 --> 00:49:58,160
Speaker 3: but one thing we were talking about off Mike is man,

946
00:49:58,200 --> 00:50:00,840
Speaker 3: this movie gets right to business. I went back and

947
00:50:00,880 --> 00:50:04,480
Speaker 3: I timed it. It is about ninety to one hundred

948
00:50:04,680 --> 00:50:08,520
Speaker 3: seconds from the end of the credits until the characters

949
00:50:08,560 --> 00:50:10,960
Speaker 3: who seem like they're going to be our main characters

950
00:50:11,080 --> 00:50:12,360
Speaker 3: are attacked by Bigfoot.

951
00:50:12,600 --> 00:50:17,719
Speaker 2: Yeah, so it's like Spaceship Bible versus yeah, Bigfoot attack. Yeah.

952
00:50:17,800 --> 00:50:20,480
Speaker 3: This is all first five minutes of the movie. And

953
00:50:21,000 --> 00:50:23,640
Speaker 3: the movie does not let you get a good look

954
00:50:23,680 --> 00:50:26,759
Speaker 3: at Sasquatch in this scene, but it will also not

955
00:50:26,880 --> 00:50:29,360
Speaker 3: make you wait very long for that, Like fifteen minutes

956
00:50:29,440 --> 00:50:31,359
Speaker 3: later you're going to see full Sasquatch.

957
00:50:31,440 --> 00:50:31,959
Speaker 2: That's right.

958
00:50:32,160 --> 00:50:35,080
Speaker 3: So now we cut to the future and we're going

959
00:50:35,080 --> 00:50:37,799
Speaker 3: to meet our new five main characters. This is our

960
00:50:37,840 --> 00:50:42,160
Speaker 3: sasquatchean pin Tad. So there is Carrie and Jack they

961
00:50:42,160 --> 00:50:46,080
Speaker 3: are a couple. There is Cindy and Fred, they're another couple.

962
00:50:46,440 --> 00:50:48,920
Speaker 3: And then you've got Tom, who's a loner, a rebel,

963
00:50:49,640 --> 00:50:53,160
Speaker 3: and these characters. So I alluded to this earlier, and

964
00:50:53,200 --> 00:50:56,160
Speaker 3: now I wanted to explain a little bit more. They

965
00:50:56,640 --> 00:51:01,280
Speaker 3: do not initially have a lot of distinctive individual traits,

966
00:51:01,560 --> 00:51:04,160
Speaker 3: so it's kind of hard to tell them apart. And

967
00:51:04,200 --> 00:51:07,960
Speaker 3: this becomes more complicated as the movie goes on because

968
00:51:08,080 --> 00:51:13,279
Speaker 3: eventually some characteristics do come into focus on occasions, but

969
00:51:13,360 --> 00:51:19,200
Speaker 3: they're not consistent across different scenes. So it felt almost

970
00:51:19,239 --> 00:51:22,040
Speaker 3: like the actors were playing well, it's not just there

971
00:51:22,040 --> 00:51:23,680
Speaker 3: in the acting, it's there in the writing too. It's

972
00:51:23,680 --> 00:51:28,040
Speaker 3: like the characters were determined by a game of personality

973
00:51:28,160 --> 00:51:32,600
Speaker 3: roulette that that starts with each scene. So what is

974
00:51:32,640 --> 00:51:36,040
Speaker 3: my character like? Are they passive or assertive? Are they

975
00:51:36,200 --> 00:51:39,680
Speaker 3: kind or cruel? Are they funny or serious? Are they

976
00:51:39,719 --> 00:51:43,719
Speaker 3: brave or cowardly? Which other characters do they like or dislike?

977
00:51:44,200 --> 00:51:47,359
Speaker 3: I would say literally all of these traits seem to

978
00:51:47,520 --> 00:51:51,120
Speaker 3: shift between the five main characters somewhat at random.

979
00:51:51,640 --> 00:51:54,520
Speaker 2: Yeah, and again, it's really hard to tell the male

980
00:51:54,600 --> 00:51:58,239
Speaker 2: characters apart to the point where it's like, I'm really

981
00:51:58,280 --> 00:52:00,960
Speaker 2: happy when the film starts mutilating them, so I have

982
00:52:01,040 --> 00:52:03,960
Speaker 2: something to go on. Well, Cook, we're going to carve

983
00:52:03,960 --> 00:52:06,520
Speaker 2: it down to basically just Jack, and then I'm like, Okay,

984
00:52:06,560 --> 00:52:08,440
Speaker 2: thank god, there's just one of them to keep track of.

985
00:52:08,719 --> 00:52:11,680
Speaker 3: Yeah, So I was trying to pick out which are

986
00:52:11,719 --> 00:52:14,440
Speaker 3: the more consistent features. Most of the other things are

987
00:52:14,440 --> 00:52:15,840
Speaker 3: going to kind of shift around, but there are a

988
00:52:15,880 --> 00:52:19,440
Speaker 3: few things that are somewhat stable. One is that Fred

989
00:52:19,640 --> 00:52:24,600
Speaker 3: is a kind of preppy jokester. Imagine another Fred character.

990
00:52:24,640 --> 00:52:27,680
Speaker 3: He's kind of Fred from Scooby Doo, but more of

991
00:52:27,719 --> 00:52:30,640
Speaker 3: a jerk and kind of a dash of frat boy prankster.

992
00:52:31,040 --> 00:52:31,520
Speaker 2: Yeah.

993
00:52:31,600 --> 00:52:35,680
Speaker 3: Yeah. And then a consistent thing about Jack is that

994
00:52:35,800 --> 00:52:38,920
Speaker 3: Jack is haunted. He likes to stare into the distance,

995
00:52:40,040 --> 00:52:43,920
Speaker 3: but beyond that he is wildly inconsistent, Like, is Jack

996
00:52:44,000 --> 00:52:49,520
Speaker 3: a brave, sympathetic self sacrificing hero or is he a crazed,

997
00:52:49,640 --> 00:52:53,400
Speaker 3: selfish lunatic who's kind of a captain ahab or is

998
00:52:53,440 --> 00:52:56,279
Speaker 3: he just a spaced out weirdo it really he does

999
00:52:56,320 --> 00:52:56,960
Speaker 3: all of these.

1000
00:52:57,400 --> 00:53:00,120
Speaker 2: Yeah, it really feels like the direction was and now

1001
00:53:00,160 --> 00:53:02,080
Speaker 2: you're an action hero, so I need you to put

1002
00:53:02,120 --> 00:53:04,479
Speaker 2: on the crazy eyes and start waving as many guns

1003
00:53:04,520 --> 00:53:06,680
Speaker 2: as you can hold it at a time. And this

1004
00:53:07,000 --> 00:53:10,760
Speaker 2: that's another thing about Jack. Jack shoots so many things

1005
00:53:10,760 --> 00:53:14,839
Speaker 2: and so many people and former humans he has. He

1006
00:53:15,040 --> 00:53:16,319
Speaker 2: does not hesitate at all.

1007
00:53:16,800 --> 00:53:19,320
Speaker 3: There is, in fact, a scene later in the movie

1008
00:53:19,360 --> 00:53:22,520
Speaker 3: when they're out some characters are walking in the woods

1009
00:53:22,800 --> 00:53:24,839
Speaker 3: and like a pine cone falls out of a tree

1010
00:53:24,840 --> 00:53:27,320
Speaker 3: and he just turns and shoots in the general direction

1011
00:53:27,440 --> 00:53:28,080
Speaker 3: of the sound.

1012
00:53:28,640 --> 00:53:31,520
Speaker 2: Yeah, which I think was done because they're like, he's

1013
00:53:31,560 --> 00:53:34,520
Speaker 2: an action hero, Like we're this is this is action schlog.

1014
00:53:34,600 --> 00:53:36,799
Speaker 2: That's what we need here. But if you analyze it

1015
00:53:36,840 --> 00:53:39,000
Speaker 2: even for a second, he does come off like an

1016
00:53:39,080 --> 00:53:43,839
Speaker 2: unhinged maniac that clearly endangered all of his friends on

1017
00:53:43,880 --> 00:53:45,640
Speaker 2: this mad quest for Squatch.

1018
00:53:46,040 --> 00:53:49,000
Speaker 3: So but it also doesn't make sense because you could

1019
00:53:49,040 --> 00:53:56,480
Speaker 3: have absorbed the mad quest stuff into the George Kennedy character. Yeah, right,

1020
00:53:56,520 --> 00:53:58,319
Speaker 3: because it makes sense for him to be on a

1021
00:53:58,320 --> 00:53:58,759
Speaker 3: mad quest.

1022
00:53:58,840 --> 00:54:01,640
Speaker 2: Now, what's why is Jack? What's his backstory? He like

1023
00:54:02,080 --> 00:54:04,600
Speaker 2: saw a bush move in the night once. That's about

1024
00:54:04,640 --> 00:54:05,360
Speaker 2: all we have to go on.

1025
00:54:05,680 --> 00:54:09,719
Speaker 3: Yeah, it doesn't make sense. The only thing that's really

1026
00:54:09,719 --> 00:54:13,800
Speaker 3: consistent about Tom is that he's supposed to be weird,

1027
00:54:14,080 --> 00:54:17,160
Speaker 3: I think, But the way in which he is weird

1028
00:54:17,400 --> 00:54:22,920
Speaker 3: is extremely variable. Sometimes he's kind of a pathetic, pervy dork.

1029
00:54:23,560 --> 00:54:26,399
Speaker 3: Other times he's kind of a rock and roll rebel.

1030
00:54:26,640 --> 00:54:29,080
Speaker 3: And then at the end of the movie spoiler, he

1031
00:54:30,200 --> 00:54:33,040
Speaker 3: gets killed and then he comes back as a zombie,

1032
00:54:33,360 --> 00:54:36,520
Speaker 3: but as a zombie for some reason, unlike all the

1033
00:54:36,560 --> 00:54:39,880
Speaker 3: other zombies, he can talk and he becomes Jack Nicholson.

1034
00:54:40,640 --> 00:54:42,720
Speaker 2: Well, we can decide to dice that we can dissect

1035
00:54:42,760 --> 00:54:45,200
Speaker 2: that later, because I think some zombies do get to

1036
00:54:45,239 --> 00:54:49,560
Speaker 2: talk for like administration purposes in the worship of their

1037
00:54:49,600 --> 00:54:53,400
Speaker 2: demon alien overlord. But yeah, I would say that the

1038
00:54:53,440 --> 00:54:55,880
Speaker 2: actor here really comes into his own at this point

1039
00:54:55,880 --> 00:54:58,440
Speaker 2: in the film, playing the speaking zombie. He has that

1040
00:54:58,480 --> 00:55:01,520
Speaker 2: grade line where he's like, I'm I'm ft, but I

1041
00:55:01,560 --> 00:55:02,440
Speaker 2: feel beautiful.

1042
00:55:03,200 --> 00:55:06,080
Speaker 3: He doesn't just say that, he says it as Jack Nicholson,

1043
00:55:06,920 --> 00:55:12,880
Speaker 3: I'm dead, I feel beautiful Jack. It's great and he

1044
00:55:13,120 --> 00:55:15,359
Speaker 3: doesn't talk like that at all earlier on.

1045
00:55:17,040 --> 00:55:18,719
Speaker 2: But uh so, I.

1046
00:55:18,640 --> 00:55:22,480
Speaker 3: Would say of the five of them, Tom, Jack, and

1047
00:55:22,640 --> 00:55:27,080
Speaker 3: Cindy are the most ruelettified of the personalities, and Fred

1048
00:55:27,120 --> 00:55:31,080
Speaker 3: and Carrie feel slightly more stable. But also those last

1049
00:55:31,080 --> 00:55:35,320
Speaker 3: two maybe have less total personality on display at all.

1050
00:55:36,239 --> 00:55:36,759
Speaker 2: I don't know.

1051
00:55:38,760 --> 00:55:39,200
Speaker 3: Anyway.

1052
00:55:39,640 --> 00:55:39,879
Speaker 2: Yeah.

1053
00:55:39,920 --> 00:55:45,200
Speaker 3: Oh, and it's funny also because sometimes Jack is doing

1054
00:55:45,440 --> 00:55:48,440
Speaker 3: he's doing the haunted thing, looking off off camera in

1055
00:55:48,480 --> 00:55:50,479
Speaker 3: the distance, like what is it, what's you know, what's

1056
00:55:50,520 --> 00:55:54,120
Speaker 3: haunting him? But he's wearing this hat that says Daiwah

1057
00:55:54,320 --> 00:55:56,320
Speaker 3: or Dewa, which is like a fishing brand.

1058
00:55:56,440 --> 00:55:59,320
Speaker 2: So yeah, I had I was like, what is Dewa

1059
00:55:59,560 --> 00:56:02,920
Speaker 2: daywah or whatever, But yeah, Japanese fishing, an outdoor hobby company.

1060
00:56:03,200 --> 00:56:05,640
Speaker 3: It's this I don't know, it's just this big logo.

1061
00:56:05,760 --> 00:56:10,319
Speaker 3: It's like imagining somebody being haunted in a hat that

1062
00:56:10,320 --> 00:56:13,160
Speaker 3: has a big Cabella's thing on it, you know. It

1063
00:56:13,360 --> 00:56:14,799
Speaker 3: just I don't know.

1064
00:56:15,320 --> 00:56:18,400
Speaker 2: The only place he's free is when he's fishing. Yeah.

1065
00:56:18,440 --> 00:56:21,960
Speaker 3: So they're all heading up the mountain road and this

1066
00:56:22,000 --> 00:56:24,960
Speaker 3: big Chevy Blazer. Fred is driving. Jack is in the

1067
00:56:25,000 --> 00:56:28,680
Speaker 3: passenger seat, Carrie, Cindy and Tom are in the back

1068
00:56:29,280 --> 00:56:32,080
Speaker 3: and on real I didn't catch this the first time,

1069
00:56:32,120 --> 00:56:35,880
Speaker 3: but on rewatch I was like, wait, why are Carrie

1070
00:56:35,960 --> 00:56:39,720
Speaker 3: and Cindy both in the back seat cuddling on Tom

1071
00:56:39,880 --> 00:56:43,759
Speaker 3: and playing with his hair and stuff? That is not

1072
00:56:44,040 --> 00:56:47,120
Speaker 3: congruent with their attitude toward him in later scenes at

1073
00:56:47,160 --> 00:56:50,520
Speaker 3: all Their boyfriends are in the front seat. They I

1074
00:56:50,560 --> 00:56:53,239
Speaker 3: don't know. It's like, it doesn't make any sense, and

1075
00:56:53,280 --> 00:56:55,239
Speaker 3: I can at this point I can stop noting these

1076
00:56:55,239 --> 00:56:57,200
Speaker 3: types of things because there are too many to list.

1077
00:56:57,360 --> 00:56:59,640
Speaker 2: Yeah, it's just too inconsistent. But yeah, this is when

1078
00:56:59,680 --> 00:57:01,439
Speaker 2: I first watched it, I was like, I guess it's

1079
00:57:01,440 --> 00:57:04,840
Speaker 2: a truple in the backseat. Yeah, two single guys or

1080
00:57:04,880 --> 00:57:07,520
Speaker 2: a couple in the front. I don't know. Yeah, none

1081
00:57:07,560 --> 00:57:09,560
Speaker 2: of this will be consistent with what we see later on.

1082
00:57:09,680 --> 00:57:13,040
Speaker 3: They're literally like snuggling him and like playing with his hair.

1083
00:57:13,320 --> 00:57:13,520
Speaker 2: Yeah.

1084
00:57:15,239 --> 00:57:18,400
Speaker 3: So the first thing we hear from Tom says, so, Jack,

1085
00:57:18,560 --> 00:57:21,720
Speaker 3: you ever see anything strange up here? Jack says, no,

1086
00:57:22,080 --> 00:57:25,000
Speaker 3: I've heard some things though, I've seen weird shapes moving

1087
00:57:25,040 --> 00:57:25,960
Speaker 3: around here in the night.

1088
00:57:26,080 --> 00:57:27,920
Speaker 2: Time, great backstory.

1089
00:57:29,600 --> 00:57:33,880
Speaker 3: Fred says, maybe it was bears. Cindy says, or deer

1090
00:57:34,360 --> 00:57:37,320
Speaker 3: like Bamby, and then she says it with this big

1091
00:57:37,360 --> 00:57:40,240
Speaker 3: grin like it means something like it's a dirty joke

1092
00:57:40,400 --> 00:57:43,080
Speaker 3: or something. But what's the significance of Bamby?

1093
00:57:43,480 --> 00:57:43,880
Speaker 2: I don't know.

1094
00:57:44,320 --> 00:57:49,280
Speaker 3: Yeah, does not come up again. Tom explains that these

1095
00:57:49,280 --> 00:57:52,120
Speaker 3: woods are known as the Demon Woods and they have

1096
00:57:52,160 --> 00:57:55,760
Speaker 3: a spooky reputation. He says that quote animals stay away

1097
00:57:55,840 --> 00:58:00,560
Speaker 3: in droves, and then we learn that Jack's uncle, Clem,

1098
00:58:00,840 --> 00:58:03,520
Speaker 3: owns a big part of the Demon Woods, and Jack

1099
00:58:03,680 --> 00:58:05,720
Speaker 3: used to come here camping when he was a kid.

1100
00:58:06,200 --> 00:58:09,440
Speaker 3: Then Clem built a cabin here and started renting it

1101
00:58:09,480 --> 00:58:11,960
Speaker 3: out to people. So I guess that's the cabin that

1102
00:58:12,000 --> 00:58:13,320
Speaker 3: they are headed for right now.

1103
00:58:13,560 --> 00:58:15,360
Speaker 2: They are ready for the country.

1104
00:58:15,160 --> 00:58:18,880
Speaker 3: Ready for the country, and it's time to go. So

1105
00:58:19,040 --> 00:58:21,800
Speaker 3: Carrie is like, oh, by the way, remember those people

1106
00:58:21,840 --> 00:58:24,720
Speaker 3: who were attacked when they were on vacation, just like us,

1107
00:58:25,400 --> 00:58:27,880
Speaker 3: And then Tom says these are the woods of hell

1108
00:58:28,120 --> 00:58:31,520
Speaker 3: Jack and Jack screams, no, they're not, and then everybody

1109
00:58:31,600 --> 00:58:33,360
Speaker 3: in the car starts screaming at each other.

1110
00:58:34,720 --> 00:58:37,040
Speaker 2: They're just having fun. They're just such a fun crew.

1111
00:58:37,240 --> 00:58:48,800
Speaker 3: Yes, So our heroes arrive at the cabin and they

1112
00:58:48,840 --> 00:58:52,000
Speaker 3: find the front door smashed to pieces. Inside, their stuff

1113
00:58:52,080 --> 00:58:54,960
Speaker 3: all over the floor. Pictures on the wall are hanging

1114
00:58:55,040 --> 00:58:57,360
Speaker 3: a skew. Somebody went through and a scuwed them.

1115
00:58:58,000 --> 00:59:00,760
Speaker 2: Vacation rentals were different in the eighties. You know, he

1116
00:59:00,840 --> 00:59:05,560
Speaker 2: didn't have like star reviews and so forth on the app.

1117
00:59:05,600 --> 00:59:08,040
Speaker 2: It was you might show up in a bigfoot had

1118
00:59:08,120 --> 00:59:09,000
Speaker 2: ransacked the place.

1119
00:59:09,200 --> 00:59:11,280
Speaker 3: Yeah, and I feel like there's like a John Candy

1120
00:59:11,320 --> 00:59:12,440
Speaker 3: movie about that or something.

1121
00:59:12,760 --> 00:59:14,280
Speaker 2: Oh yeah, yeah, the Great Outdoors.

1122
00:59:14,960 --> 00:59:19,280
Speaker 3: But does this mean that Uncle Clem double booked them

1123
00:59:19,280 --> 00:59:22,200
Speaker 3: with George Kennedy or no.

1124
00:59:22,600 --> 00:59:25,040
Speaker 2: I think as we'll see later, like George Kennedy had

1125
00:59:25,040 --> 00:59:28,360
Speaker 2: an earlier booking. But George Kennedy has not left the

1126
00:59:28,400 --> 00:59:33,480
Speaker 2: woods for sasquatch revenge purposes. Okay, maybe he just comes

1127
00:59:33,560 --> 00:59:35,880
Speaker 2: back to the cabin to use the restroom. I'm not sure.

1128
00:59:36,280 --> 00:59:40,480
Speaker 3: Yeah, So jack Jack is like, wow, vandals must have

1129
00:59:40,560 --> 00:59:44,520
Speaker 3: hit this place, kids or something. And there's a good

1130
00:59:44,560 --> 00:59:48,160
Speaker 3: boombox scene where Tom pulls a cassette deck out of

1131
00:59:48,200 --> 00:59:50,120
Speaker 3: the back of the car and he starts playing the

1132
00:59:50,200 --> 00:59:52,720
Speaker 3: rock music on it, and he's dancing, and we notice

1133
00:59:52,720 --> 00:59:55,960
Speaker 3: he's got some really good yanked my cord here. He's

1134
00:59:56,000 --> 00:59:59,360
Speaker 3: got some really good ripped jeans, not just in the knees,

1135
00:59:59,400 --> 01:00:03,760
Speaker 3: but the butcher a rip too. And so we learn

1136
01:00:03,840 --> 01:00:06,760
Speaker 3: that Jack has asked Tom to bring a bunch of

1137
01:00:06,880 --> 01:00:11,080
Speaker 3: electronic equipment with them. He's got long range listening devices

1138
01:00:11,160 --> 01:00:14,560
Speaker 3: and motion detectors and all kinds of stuff. Jack has

1139
01:00:14,600 --> 01:00:18,120
Speaker 3: also brought a bolt action rifle, which the characters repeatedly

1140
01:00:18,160 --> 01:00:20,920
Speaker 3: referred to as a shotgun. I am no gun expert.

1141
01:00:20,960 --> 01:00:22,560
Speaker 3: I don't know a lot about guns, but I know

1142
01:00:22,640 --> 01:00:27,320
Speaker 3: that's not a shotgun. Tom also has brought a big

1143
01:00:27,320 --> 01:00:30,000
Speaker 3: foot mask. Fred finds it and he decides he wants

1144
01:00:30,000 --> 01:00:33,840
Speaker 3: to use it to scare Cindy, but this gets interrupted

1145
01:00:33,840 --> 01:00:37,040
Speaker 3: when they have their first meeting with Bill crafton So

1146
01:00:37,160 --> 01:00:41,240
Speaker 3: George Kennedy's outside. He scares everybody by doing a warning

1147
01:00:41,280 --> 01:00:43,840
Speaker 3: shot on his rifle and they come out and he's

1148
01:00:43,880 --> 01:00:46,720
Speaker 3: this big guy standing there in overalls and the yellow hat,

1149
01:00:47,120 --> 01:00:49,760
Speaker 3: and he confronts the gang and tells them that there

1150
01:00:49,800 --> 01:00:52,360
Speaker 3: are bad things in these woods and they need to

1151
01:00:52,400 --> 01:00:56,800
Speaker 3: clear out. But while he's talking to them, Jack sneaks

1152
01:00:56,880 --> 01:00:59,800
Speaker 3: up behind him. Puts a pistol to his head and says,

1153
01:00:59,840 --> 01:01:02,880
Speaker 3: we know all about it, mister. So they take his

1154
01:01:02,960 --> 01:01:07,600
Speaker 3: gun and the tension sort of comes down. Kennedy introduces

1155
01:01:07,680 --> 01:01:10,280
Speaker 3: himself and tells the story of what happened to him.

1156
01:01:10,640 --> 01:01:14,440
Speaker 3: He doesn't tell the whole story. Actually, he vaguely alludes

1157
01:01:14,480 --> 01:01:18,800
Speaker 3: to something bad having happened, and oh, this is the

1158
01:01:18,840 --> 01:01:20,760
Speaker 3: part where he says, I should have remembered this. He

1159
01:01:20,800 --> 01:01:25,680
Speaker 3: says that it was a few months ago. So then Jack,

1160
01:01:25,760 --> 01:01:28,040
Speaker 3: Then it gets weirder because Jack says, I heard you

1161
01:01:28,120 --> 01:01:31,120
Speaker 3: barely made it out alive. Mister Crafton, why did you

1162
01:01:31,160 --> 01:01:33,520
Speaker 3: come back? It's like, wait, so he knows the story.

1163
01:01:34,040 --> 01:01:36,000
Speaker 2: Yeah, I guess it's all over the local papers.

1164
01:01:36,120 --> 01:01:39,080
Speaker 3: So Crafton says, well, there's a thing out here. It

1165
01:01:39,160 --> 01:01:41,960
Speaker 3: took my little girl, and I wasn't prepared to stop

1166
01:01:42,000 --> 01:01:44,760
Speaker 3: it then, but I'm going to stop it now. And

1167
01:01:45,240 --> 01:01:48,040
Speaker 3: he says that They ask why he didn't tell the police.

1168
01:01:48,080 --> 01:01:50,439
Speaker 3: He says he tried to tell them, but they think

1169
01:01:50,440 --> 01:01:52,919
Speaker 3: it was just a wild animal. And then Cindy says,

1170
01:01:52,960 --> 01:01:57,480
Speaker 3: there's no wildlife up here in the woods? Are there

1171
01:01:57,480 --> 01:01:58,800
Speaker 3: woods with no wildlife?

1172
01:01:58,800 --> 01:02:02,160
Speaker 2: It stays away and drug remember or it's like the

1173
01:02:02,880 --> 01:02:05,280
Speaker 2: you know, the it's like the Wilderness and Alien Covenant.

1174
01:02:05,280 --> 01:02:06,720
Speaker 2: That one also had no wildlife.

1175
01:02:07,600 --> 01:02:11,800
Speaker 3: Yeah. So he tries to order them to get back

1176
01:02:11,800 --> 01:02:13,720
Speaker 3: in their truck and go home, but they won't listen,

1177
01:02:13,800 --> 01:02:16,800
Speaker 3: so he heads off into the woods. Later that night,

1178
01:02:16,840 --> 01:02:19,200
Speaker 3: there is a scene at the kitchen table where everybody

1179
01:02:19,240 --> 01:02:22,480
Speaker 3: is gathered around and Jack explains to them. This is

1180
01:02:22,520 --> 01:02:24,919
Speaker 3: the part where he reveals that he lured them all

1181
01:02:25,000 --> 01:02:26,800
Speaker 3: out here to the woods on the promise of a

1182
01:02:26,840 --> 01:02:29,520
Speaker 3: weekend to get away, but in reality he wants their

1183
01:02:29,560 --> 01:02:33,520
Speaker 3: help to hunt bigfoot. Everybody has that friend, you.

1184
01:02:33,480 --> 01:02:38,400
Speaker 2: Know, Yeah, and yeah, everyone loves to be manipulated into

1185
01:02:38,440 --> 01:02:39,400
Speaker 2: a vacation like this.

1186
01:02:39,640 --> 01:02:41,840
Speaker 3: Yeah, let me take you out to lunch. Actually, you're

1187
01:02:41,840 --> 01:02:42,480
Speaker 3: helping me move.

1188
01:02:42,800 --> 01:02:45,480
Speaker 2: Yeah. What are the hikes like here? No hikes, just

1189
01:02:45,560 --> 01:02:46,440
Speaker 2: bigfoot tracking.

1190
01:02:47,280 --> 01:02:51,200
Speaker 3: So he explains that Klem, his uncle who owns this place,

1191
01:02:51,240 --> 01:02:55,800
Speaker 3: has actually disappeared, and Jack has been tracking reports of

1192
01:02:55,920 --> 01:03:02,480
Speaker 3: bigfoot attacks, strange sightings, or other disappearances. Quo, I marked everything, everything,

1193
01:03:02,840 --> 01:03:06,360
Speaker 3: no matter how unbelievable it sounded. And then he unfurls

1194
01:03:06,400 --> 01:03:11,440
Speaker 3: this map that has like five x's on it. Yeah,

1195
01:03:11,480 --> 01:03:14,120
Speaker 3: he's also got a bunch of newspaper clippings and stuff.

1196
01:03:14,240 --> 01:03:16,720
Speaker 2: Yeah. One of them just says those evil interests, which

1197
01:03:16,840 --> 01:03:18,600
Speaker 2: I was wondering if this might be a weekly column.

1198
01:03:18,640 --> 01:03:21,760
Speaker 3: I don't know, I wonder if it's a financial column.

1199
01:03:21,800 --> 01:03:25,000
Speaker 2: But interest rates those evil interests. Yes.

1200
01:03:25,560 --> 01:03:28,360
Speaker 3: So anyway, the thing is everything points to these woods,

1201
01:03:28,400 --> 01:03:30,560
Speaker 3: and he needs his friends to help him find Uncle

1202
01:03:30,600 --> 01:03:35,080
Speaker 3: Clem and solve the mystery of bigfoot. And so his

1203
01:03:35,120 --> 01:03:37,040
Speaker 3: friends kind of make fun of him for a minute,

1204
01:03:37,080 --> 01:03:39,240
Speaker 3: but then Tom says, you know, Jack, I don't know

1205
01:03:39,280 --> 01:03:43,000
Speaker 3: about any bigfoots, but we're in man. It's like, that's

1206
01:03:43,000 --> 01:03:45,760
Speaker 3: what friends are for. Also in this scene, we have

1207
01:03:45,880 --> 01:03:49,920
Speaker 3: Chekhov's watch alarm. Tom's watch makes a weird little beeping

1208
01:03:49,960 --> 01:03:52,480
Speaker 3: sound and everyone looks at it and they're like, I'm

1209
01:03:52,480 --> 01:03:55,800
Speaker 3: making a mental note of that. I'll recognize that sound

1210
01:03:55,880 --> 01:03:59,600
Speaker 3: later if I hear it. Another thing I wanted to

1211
01:03:59,600 --> 01:04:02,960
Speaker 3: point out in the scene is that Jack kind of

1212
01:04:03,000 --> 01:04:08,000
Speaker 3: does a reverse She's all that here, So the trope

1213
01:04:08,040 --> 01:04:11,040
Speaker 3: from these high school movies like She's all that is

1214
01:04:11,440 --> 01:04:13,960
Speaker 3: the girl, the nerdy girl with the glasses takes the

1215
01:04:13,960 --> 01:04:18,080
Speaker 3: glasses off and everyone discovers she's cool and beautiful, Jack

1216
01:04:18,360 --> 01:04:22,280
Speaker 3: arrives seeming like a cool hunk, but in this scene

1217
01:04:22,320 --> 01:04:26,160
Speaker 3: he puts glasses on and he becomes a weird nerd

1218
01:04:26,240 --> 01:04:28,840
Speaker 3: who everybody is making fun of. Did you realize that?

1219
01:04:28,960 --> 01:04:29,960
Speaker 2: Yeah, that's a good point.

1220
01:04:31,960 --> 01:04:34,440
Speaker 3: So there are some other general goings on at the

1221
01:04:34,440 --> 01:04:36,640
Speaker 3: cabin that There is a love scene with Jack and

1222
01:04:36,720 --> 01:04:40,800
Speaker 3: Carry which Tom uses the electronic squatch hunting equipment to

1223
01:04:40,840 --> 01:04:44,680
Speaker 3: spy on. There is a gorilla mask prank scene, but

1224
01:04:44,840 --> 01:04:47,480
Speaker 3: it all leads up to the first big squatch attack.

1225
01:04:47,960 --> 01:04:51,360
Speaker 3: So while Fred is locked outside with a gorilla mask,

1226
01:04:51,760 --> 01:04:55,480
Speaker 3: the fog machine flares up and a shadow passes over him.

1227
01:04:55,560 --> 01:04:58,920
Speaker 3: We know something's about to happen. A hairy thing is

1228
01:04:58,920 --> 01:05:02,800
Speaker 3: creeping into frame and then Fred disappears, so the remaining

1229
01:05:02,840 --> 01:05:05,320
Speaker 3: friends go outside to look for him, but there's no

1230
01:05:05,360 --> 01:05:07,760
Speaker 3: sign of him. They find the car with the hood

1231
01:05:07,800 --> 01:05:12,280
Speaker 3: popped open, and they realize that the engine has been destroyed. So, oh,

1232
01:05:12,480 --> 01:05:13,400
Speaker 3: can't go back home?

1233
01:05:13,600 --> 01:05:15,919
Speaker 2: Yeah, how can I do this? It's just an animal, right.

1234
01:05:16,280 --> 01:05:19,280
Speaker 3: Then they retreat inside the house and they put a

1235
01:05:19,280 --> 01:05:22,080
Speaker 3: big board over the front door. But what's the board

1236
01:05:22,120 --> 01:05:24,360
Speaker 3: going to do? It smashed the door to pieces and

1237
01:05:24,440 --> 01:05:27,760
Speaker 3: it just knocks the board in runs inside and starts

1238
01:05:27,880 --> 01:05:29,040
Speaker 3: roaring and kind of saying.

1239
01:05:29,080 --> 01:05:34,680
Speaker 2: Oh. Now we begin to get to see the Beakler

1240
01:05:34,800 --> 01:05:38,960
Speaker 2: squatch suit in a lot more detail here, And I

1241
01:05:39,040 --> 01:05:41,920
Speaker 2: really loved the look of the sad squatch. Here. You

1242
01:05:41,960 --> 01:05:46,120
Speaker 2: get your standard issue bigfoot body, some really great hands

1243
01:05:46,120 --> 01:05:49,200
Speaker 2: and feet, But then the face of the bigfoot is

1244
01:05:49,240 --> 01:05:52,800
Speaker 2: really nice. It's kind of like snarling evil, a ring

1245
01:05:52,880 --> 01:05:56,640
Speaker 2: atang kind of caveman face, but in a really cool way.

1246
01:05:56,920 --> 01:05:59,880
Speaker 2: I'm really struggling to think of a better savage squatch design.

1247
01:06:00,640 --> 01:06:05,720
Speaker 3: It's sasquatch, but it has a skull face, deeply sunken eyes,

1248
01:06:05,920 --> 01:06:08,440
Speaker 3: like really, you don't even see eyeballs at all, the

1249
01:06:08,480 --> 01:06:10,800
Speaker 3: sunken eyes or just sockets almost.

1250
01:06:11,120 --> 01:06:14,160
Speaker 2: Yeah, and especially in the close ups, great manipulation of

1251
01:06:14,160 --> 01:06:16,959
Speaker 2: the lips around these gnarly teeth.

1252
01:06:16,760 --> 01:06:20,959
Speaker 3: Yeah, but not sharp teeth, human like teeth, but creepy teeth.

1253
01:06:21,000 --> 01:06:24,120
Speaker 2: Yeah. But he's always like snarling and sneering. This is

1254
01:06:24,160 --> 01:06:26,320
Speaker 2: a squatch with bad intentions.

1255
01:06:26,560 --> 01:06:29,880
Speaker 3: Yeah. So what does Bigfoot do here? Well, he kills Tom.

1256
01:06:30,640 --> 01:06:33,920
Speaker 3: Later we will see squatch rip people's heads off, but

1257
01:06:34,000 --> 01:06:37,160
Speaker 3: here he doesn't fully rip the head off. He just

1258
01:06:37,360 --> 01:06:39,400
Speaker 3: kind of lifts and twists the head.

1259
01:06:39,480 --> 01:06:41,200
Speaker 2: Yeah. I mean, he's got the technique down, but I

1260
01:06:41,200 --> 01:06:42,760
Speaker 2: think it's one of those things where it's always like

1261
01:06:42,800 --> 01:06:44,680
Speaker 2: fifty to fifty weather you're going to actually pull the

1262
01:06:44,720 --> 01:06:45,440
Speaker 2: head off, you know.

1263
01:06:47,160 --> 01:06:50,960
Speaker 3: The main object of Squatch's interest here seems to be

1264
01:06:51,040 --> 01:06:55,520
Speaker 3: Jack's electronic monitoring equipment. So he picks it up and

1265
01:06:55,560 --> 01:06:58,880
Speaker 3: he takes it away with him, and then before he leaves,

1266
01:06:58,920 --> 01:07:01,800
Speaker 3: he has this moment with Jack, like they make eyes

1267
01:07:01,840 --> 01:07:04,320
Speaker 3: at each other. They both stop and look, and Jack's

1268
01:07:04,360 --> 01:07:07,680
Speaker 3: like pointing a gun at Sasquatch, but he can't bring

1269
01:07:07,760 --> 01:07:10,240
Speaker 3: himself to pull the trigger. What's going on?

1270
01:07:11,200 --> 01:07:14,200
Speaker 2: In some Squatch movies this would have happened because our

1271
01:07:14,680 --> 01:07:18,360
Speaker 2: protagonist comes to see the true gentle or noble Squatch, right,

1272
01:07:19,040 --> 01:07:22,880
Speaker 2: but the demon warp Squatch has no such dimensions. This

1273
01:07:23,000 --> 01:07:26,240
Speaker 2: might be just a senseless moment between these two, but

1274
01:07:26,360 --> 01:07:29,040
Speaker 2: it might loosely connect to something that will happen later.

1275
01:07:29,120 --> 01:07:30,760
Speaker 2: I think maybe that is what they're getting at.

1276
01:07:30,840 --> 01:07:33,880
Speaker 3: Yeah, I think it's that he Yeah, so it will

1277
01:07:33,880 --> 01:07:36,800
Speaker 3: come up later that these Squatches again, it's invasion of

1278
01:07:36,840 --> 01:07:40,280
Speaker 3: the body Squatchers. So these Squatches are in fact people,

1279
01:07:40,440 --> 01:07:43,080
Speaker 3: and this is a squatch made from a person who

1280
01:07:43,240 --> 01:07:44,280
Speaker 3: Jack actually knows.

1281
01:07:44,640 --> 01:07:48,120
Speaker 2: Yeah, but are we to imply here that Jack recognizes

1282
01:07:48,400 --> 01:07:50,920
Speaker 2: this person in the squatch? Yeah, surely not.

1283
01:07:51,200 --> 01:07:54,640
Speaker 3: They all just look like the same squatch. Yeah, there

1284
01:07:54,640 --> 01:07:57,880
Speaker 3: are no traces of the original human form left.

1285
01:07:58,640 --> 01:08:01,520
Speaker 2: And for the Sasquatches part, he's just glad to make

1286
01:08:01,600 --> 01:08:03,320
Speaker 2: up with some electronic equipment.

1287
01:08:03,560 --> 01:08:07,600
Speaker 3: I just wanted this circuit board. Yeah. But also here

1288
01:08:07,680 --> 01:08:10,440
Speaker 3: there is a scene of Jack steering into the camera

1289
01:08:10,640 --> 01:08:14,120
Speaker 3: with his face turned down making demon eyes like that

1290
01:08:14,200 --> 01:08:15,720
Speaker 3: shot in the Shining.

1291
01:08:15,440 --> 01:08:20,439
Speaker 2: Mm hmm, Okay, Yeah, I mean I'm guessing here, but

1292
01:08:20,680 --> 01:08:22,840
Speaker 2: I think they just really wanted him to come off

1293
01:08:22,920 --> 01:08:26,400
Speaker 2: like total action hero mode here, you know, like he's

1294
01:08:28,280 --> 01:08:30,200
Speaker 2: but in a way that ends up making him look

1295
01:08:30,280 --> 01:08:31,840
Speaker 2: like a maniac. Yeah.

1296
01:08:31,920 --> 01:08:34,280
Speaker 3: I don't know if I buy that explanation on this part,

1297
01:08:34,320 --> 01:08:37,559
Speaker 3: because he just it seems so overtly like he's supposed

1298
01:08:37,560 --> 01:08:39,120
Speaker 3: to look like like psychotic.

1299
01:08:39,640 --> 01:08:42,720
Speaker 2: Yeah, but for what purpose, Like it doesn't know, what

1300
01:08:42,720 --> 01:08:45,320
Speaker 2: purpose does it serve in the narrative. I think it's

1301
01:08:45,360 --> 01:08:48,160
Speaker 2: just rule of cool yea coming first here.

1302
01:08:48,680 --> 01:08:51,200
Speaker 3: It would it would make more sense if they're setting

1303
01:08:51,240 --> 01:08:53,920
Speaker 3: it up, setting it up to be that Oh no,

1304
01:08:54,760 --> 01:08:58,880
Speaker 3: Jack is being like hypnotized or possessed to buy Sasquatch

1305
01:08:58,920 --> 01:08:59,479
Speaker 3: in some way.

1306
01:08:59,720 --> 01:09:02,439
Speaker 2: Yeah, we were going to do like a face turn

1307
01:09:02,520 --> 01:09:05,719
Speaker 2: where oh, savage Squatch is actually noble squatch and humans

1308
01:09:05,760 --> 01:09:08,080
Speaker 2: are the real monster. Yeah, well that would work too,

1309
01:09:08,120 --> 01:09:09,400
Speaker 2: but we're not going on that tretch.

1310
01:09:09,640 --> 01:09:12,519
Speaker 3: It doesn't do anything. Yeah, so I this never turns

1311
01:09:12,560 --> 01:09:15,479
Speaker 3: into anything. He's just making weird faces at the camera

1312
01:09:15,560 --> 01:09:18,720
Speaker 3: when no one's looking. Yea, and nothing happens with that.

1313
01:09:18,960 --> 01:09:21,120
Speaker 2: And this is where he falls asleep with guns in

1314
01:09:21,120 --> 01:09:22,599
Speaker 2: each hand, right and yeah.

1315
01:09:22,920 --> 01:09:26,559
Speaker 3: Yeah, So the next day, now we're entering the middle

1316
01:09:26,600 --> 01:09:28,879
Speaker 3: third of the movie, which is about wandering in the woods.

1317
01:09:29,360 --> 01:09:32,080
Speaker 3: The next day, the car is wrecked. Tom is dead,

1318
01:09:32,160 --> 01:09:35,800
Speaker 3: but his body goes missing, and Fred is missing too,

1319
01:09:36,080 --> 01:09:39,200
Speaker 3: and he was already missing, but now Tom's body has

1320
01:09:39,200 --> 01:09:43,599
Speaker 3: additionally gone missing, and Jack arms carry with a gun

1321
01:09:43,760 --> 01:09:48,040
Speaker 3: and Cindy with a small knife, and Cindy doesn't seem

1322
01:09:48,080 --> 01:09:48,600
Speaker 3: bothered by this.

1323
01:09:48,880 --> 01:09:51,040
Speaker 2: She's like, Cindy, you good with that knife, and she's like, yeah,

1324
01:09:51,040 --> 01:09:52,840
Speaker 2: I'm ready to go, Like I'm gonna take on a

1325
01:09:52,880 --> 01:09:56,080
Speaker 2: sasquat eight foot tall sas squatch, but I've got a

1326
01:09:56,080 --> 01:09:56,919
Speaker 2: pocket knife.

1327
01:09:57,000 --> 01:09:59,720
Speaker 3: And she will. There's a scene where she jumps into

1328
01:09:59,760 --> 01:10:01,440
Speaker 3: the front lines against the Sasquatch.

1329
01:10:01,520 --> 01:10:01,680
Speaker 2: Yeah.

1330
01:10:01,760 --> 01:10:04,479
Speaker 3: Yeah, but they're gonna hike out of the woods and

1331
01:10:04,520 --> 01:10:08,000
Speaker 3: seek help for They explain the reasons for this, but

1332
01:10:08,040 --> 01:10:11,559
Speaker 3: I didn't understand what they were saying. For whatever reason

1333
01:10:11,600 --> 01:10:14,040
Speaker 3: it is, they're not going to follow the road they

1334
01:10:14,120 --> 01:10:16,400
Speaker 3: drove in on that They're sort of like, there have

1335
01:10:16,479 --> 01:10:20,760
Speaker 3: been sightings of Squatch there, you know that Squatch's road now,

1336
01:10:20,840 --> 01:10:21,920
Speaker 3: so we can't take it.

1337
01:10:22,560 --> 01:10:23,559
Speaker 2: All, right, fair enough?

1338
01:10:23,920 --> 01:10:28,160
Speaker 3: Yeah? He also and at this point Jack is concealing

1339
01:10:28,240 --> 01:10:30,960
Speaker 3: from Carrie and Cindy the fact that Tom's body has

1340
01:10:30,960 --> 01:10:34,720
Speaker 3: gone missing. So we also this is where we meet

1341
01:10:34,720 --> 01:10:37,800
Speaker 3: the new characters, you know, the people who show up

1342
01:10:38,120 --> 01:10:40,400
Speaker 3: randomly in the woods about a third of the way

1343
01:10:40,520 --> 01:10:42,960
Speaker 3: through the movie to crank up the body count. We've

1344
01:10:43,000 --> 01:10:46,280
Speaker 3: got a random hiker with a camera. He just keeps

1345
01:10:46,320 --> 01:10:48,559
Speaker 3: hiking around. We check in with him every now and then,

1346
01:10:48,640 --> 01:10:51,200
Speaker 3: but he's just walking around in the woods until he

1347
01:10:51,240 --> 01:10:53,600
Speaker 3: gets caught in a bear trap and then stabbed in

1348
01:10:53,640 --> 01:10:57,479
Speaker 3: the stomach with a stick by Bigfoot. And also before this,

1349
01:10:57,600 --> 01:11:00,360
Speaker 3: he runs into a zombie, just a human zombie, just.

1350
01:11:00,320 --> 01:11:05,960
Speaker 2: A zombie wandering through the southern California wilderness. We'll find

1351
01:11:05,960 --> 01:11:08,600
Speaker 2: out more about this soon, but when it happens, you're like,

1352
01:11:08,640 --> 01:11:13,200
Speaker 2: what the Maybe this was another film that was in

1353
01:11:13,240 --> 01:11:14,759
Speaker 2: production just over the horizon.

1354
01:11:15,120 --> 01:11:18,679
Speaker 3: The other characters we meet are the fun girls Betsy

1355
01:11:18,720 --> 01:11:21,240
Speaker 3: and Tara. They're driving the mountain roads in a jeep

1356
01:11:21,760 --> 01:11:25,120
Speaker 3: blasting classic rock, getting up to no good. They're slamming

1357
01:11:25,160 --> 01:11:28,640
Speaker 3: some cores and Betsy is telling a story about a

1358
01:11:29,920 --> 01:11:33,640
Speaker 3: guy she dated who thought she was asleep in the

1359
01:11:33,720 --> 01:11:36,439
Speaker 3: car on the way home and was picking his nose

1360
01:11:36,479 --> 01:11:38,639
Speaker 3: and she caught him picking his nose and she starts

1361
01:11:38,680 --> 01:11:42,400
Speaker 3: talking about whether his brain was itching. And their plan

1362
01:11:42,520 --> 01:11:45,200
Speaker 3: is to go again to this illegal cannabis grove site,

1363
01:11:45,360 --> 01:11:47,960
Speaker 3: which they call the Secret Garden. They're going to steal

1364
01:11:48,040 --> 01:11:50,280
Speaker 3: some stuff from there, but when they get there, it's

1365
01:11:50,320 --> 01:11:54,320
Speaker 3: all gone. Somebody took it all already. And then Betsy says, well,

1366
01:11:54,360 --> 01:11:57,040
Speaker 3: we came all this way, might as well get a tan, right,

1367
01:11:57,280 --> 01:12:01,360
Speaker 3: and takes her shirt off. But while they're tanning, they

1368
01:12:01,400 --> 01:12:05,080
Speaker 3: are attacked by sasquatch. Tara gets her head pulled right

1369
01:12:05,120 --> 01:12:07,960
Speaker 3: off and Betsy runs screaming away into the woods and

1370
01:12:08,000 --> 01:12:10,320
Speaker 3: she's going to meet up with our main characters later.

1371
01:12:10,479 --> 01:12:12,720
Speaker 2: We never find out what happened to the marijuana. Do

1372
01:12:13,280 --> 01:12:15,879
Speaker 2: we think the Sasquatch took the marijuana? Oh?

1373
01:12:16,120 --> 01:12:19,799
Speaker 3: Maybe, maybe We're going to find out that a certain

1374
01:12:19,880 --> 01:12:22,879
Speaker 3: Asdath was going to take it back to his heavenly abode.

1375
01:12:22,960 --> 01:12:24,160
Speaker 2: There you go, There you go.

1376
01:12:25,320 --> 01:12:30,360
Speaker 3: As for the three remaining characters from our original five characters,

1377
01:12:30,400 --> 01:12:32,320
Speaker 3: through the middle of the movie, they do just a

1378
01:12:32,320 --> 01:12:36,679
Speaker 3: lot of walking around and having weird interactions that don't

1379
01:12:36,680 --> 01:12:39,880
Speaker 3: connect to anything else. Like one thing I did want

1380
01:12:39,880 --> 01:12:42,160
Speaker 3: to flag is through this whole stretch of the film,

1381
01:12:42,240 --> 01:12:46,560
Speaker 3: across multiple scenes, Jack keeps holding his rifle in a

1382
01:12:46,640 --> 01:12:49,839
Speaker 3: resting position where it is fully pointed at his friends.

1383
01:12:50,920 --> 01:12:53,120
Speaker 3: And it's not like he's holding them up or something.

1384
01:12:53,160 --> 01:12:57,000
Speaker 3: They're just not practicing gun safety at all. So like

1385
01:12:57,080 --> 01:12:59,599
Speaker 3: Cindy is walking behind him and he's got the guns

1386
01:12:59,680 --> 01:13:03,840
Speaker 3: slung over his shoulder just pointed at her head. Also,

1387
01:13:04,400 --> 01:13:09,400
Speaker 3: random conflicts and character dynamics arise that did not previously

1388
01:13:09,479 --> 01:13:13,080
Speaker 3: exist and do not continue later. Examples of this are

1389
01:13:13,800 --> 01:13:16,880
Speaker 3: Jack and Cindy at each other's throats, like screaming at

1390
01:13:16,920 --> 01:13:19,880
Speaker 3: each other about stuff. But then also little moments like

1391
01:13:19,880 --> 01:13:20,879
Speaker 3: they're going to kiss.

1392
01:13:21,439 --> 01:13:25,760
Speaker 2: Yeah, okay, yeah, what possible purpose does that serve? Here?

1393
01:13:25,800 --> 01:13:30,760
Speaker 3: Hunter, Jack, Cindy, and Carrie find booby traps all over

1394
01:13:30,800 --> 01:13:33,880
Speaker 3: the woods. There are these big steel bear traps and

1395
01:13:33,920 --> 01:13:37,320
Speaker 3: then trip wires rigged with dynamite, and they trace these

1396
01:13:37,360 --> 01:13:39,880
Speaker 3: traps back to a camp site, which is the camp

1397
01:13:39,960 --> 01:13:43,280
Speaker 3: of none other than Bill crafton George Kennedy from earlier.

1398
01:13:44,680 --> 01:13:47,320
Speaker 3: This is the place where there's that standoff scene that's

1399
01:13:47,360 --> 01:13:50,000
Speaker 3: almost a repeat of the first scene where they met,

1400
01:13:51,000 --> 01:13:54,880
Speaker 3: but here Bill has a beeping digital watch and it's like,

1401
01:13:54,920 --> 01:13:59,240
Speaker 3: wait a minute, remember that sound. That's Tom's watch. So

1402
01:13:59,479 --> 01:14:03,000
Speaker 3: Jack arches Bill into his camp at gunpoint, and they're

1403
01:14:03,000 --> 01:14:05,960
Speaker 3: trying to find out did he kill Tom? But I

1404
01:14:06,040 --> 01:14:08,200
Speaker 3: was just thinking, like, they know he didn't kill Tom.

1405
01:14:08,280 --> 01:14:12,560
Speaker 3: They saw bigfoot kill Tom. Yeah, maybe they think he

1406
01:14:13,240 --> 01:14:16,880
Speaker 3: took Tom's body or something, but I don't know. So

1407
01:14:17,080 --> 01:14:19,519
Speaker 3: Bill just he explains that he found the watch in

1408
01:14:19,560 --> 01:14:22,320
Speaker 3: the woods, and then he pleads his case. He says

1409
01:14:22,360 --> 01:14:25,559
Speaker 3: that he wants to avenge, avenge his daughter and kill

1410
01:14:25,680 --> 01:14:28,360
Speaker 3: this thing, and that he's been out here for a week.

1411
01:14:28,439 --> 01:14:29,880
Speaker 3: This is the part where he says, I wear this

1412
01:14:29,920 --> 01:14:32,519
Speaker 3: well yellow hat. So it's easier for the thing to

1413
01:14:32,560 --> 01:14:36,720
Speaker 3: see me because I want this fight. Also, somewhere in here,

1414
01:14:36,880 --> 01:14:41,680
Speaker 3: there's a scene where Bigfoot disarms dynamite tripwires, and so

1415
01:14:41,920 --> 01:14:44,439
Speaker 3: that's kind of strange. It's like, wait a minute, Bigfoot

1416
01:14:44,520 --> 01:14:47,639
Speaker 3: has the technological know how to disarm a trigger trap.

1417
01:14:47,960 --> 01:14:51,880
Speaker 2: Well, we saw him like steal an amp or something earlier. Yeah,

1418
01:14:52,040 --> 01:14:53,320
Speaker 2: there's something going on here.

1419
01:14:54,200 --> 01:14:57,479
Speaker 3: Bigfoots he's starting a career as a sound guy at

1420
01:14:57,479 --> 01:15:03,280
Speaker 3: the Woods venue. So Bill and Jack here compare notes

1421
01:15:03,320 --> 01:15:07,280
Speaker 3: on Bigfoot. Jack explains that moment of recognition he had

1422
01:15:07,320 --> 01:15:11,640
Speaker 3: with Bigfoot, and also he explains that it stole some

1423
01:15:11,680 --> 01:15:15,000
Speaker 3: of his electronic equipment, and Bill is like, I just

1424
01:15:15,040 --> 01:15:19,120
Speaker 3: have a feeling that killing isn't its only motive. What

1425
01:15:19,160 --> 01:15:21,519
Speaker 3: could this be? But before they can hash it out,

1426
01:15:21,600 --> 01:15:26,280
Speaker 3: Squatch attacks the camp. Several humans have guns, but for

1427
01:15:26,320 --> 01:15:29,599
Speaker 3: some reason, Cindy runs in to attack it at close

1428
01:15:29,680 --> 01:15:32,200
Speaker 3: range with her three inch knife so they can't shoot

1429
01:15:32,200 --> 01:15:36,599
Speaker 3: at it. Jack and Cindy get knocked out. Carrie shoots

1430
01:15:36,600 --> 01:15:40,639
Speaker 3: at sasquatch. Bill grabs an axe and lures it away

1431
01:15:40,640 --> 01:15:43,960
Speaker 3: from camp like it chases him and eventually it smashes

1432
01:15:44,000 --> 01:15:46,880
Speaker 3: his head. So goodbye, goodbye Bill crafton.

1433
01:15:46,720 --> 01:15:48,920
Speaker 2: You know, and I was sure, like, this is our lead.

1434
01:15:49,080 --> 01:15:51,760
Speaker 2: I thought, Okay, he's actually just knocked unconscious and he's

1435
01:15:51,760 --> 01:15:54,120
Speaker 2: going to come back at the last minute and help

1436
01:15:54,160 --> 01:15:57,599
Speaker 2: save the day once our main characters get into a jam.

1437
01:15:58,120 --> 01:16:00,360
Speaker 2: But no, no, he's really dead. He's not coming back.

1438
01:16:00,800 --> 01:16:04,280
Speaker 3: Unfortunately, he's not our lead. Unfortunately Jack is our lead.

1439
01:16:04,520 --> 01:16:04,760
Speaker 2: Yeah.

1440
01:16:04,920 --> 01:16:17,679
Speaker 3: Yeah, So Jack wakes up alone in camp. He arms

1441
01:16:17,720 --> 01:16:19,880
Speaker 3: himself with a pistol and some dynamite, and then he

1442
01:16:19,960 --> 01:16:24,080
Speaker 3: leaves and he crosses paths in the woods with Cindy.

1443
01:16:24,320 --> 01:16:28,240
Speaker 3: But she's acting weird. Her back is turned and she's

1444
01:16:28,360 --> 01:16:32,120
Speaker 3: walking strangely, and when he finally catches up to her

1445
01:16:32,280 --> 01:16:35,639
Speaker 3: and turns her around, half of her face is warped.

1446
01:16:35,880 --> 01:16:39,040
Speaker 3: There's your demon warp. It's warped bizarrely, like her eyeball

1447
01:16:39,160 --> 01:16:42,559
Speaker 3: is hanging out of the socket and it's just all

1448
01:16:42,640 --> 01:16:46,519
Speaker 3: messed up. And then she walks, as if in a trance,

1449
01:16:46,640 --> 01:16:49,360
Speaker 3: into the mouth of a nearby cave and Jack follows,

1450
01:16:49,800 --> 01:16:52,360
Speaker 3: and this goes to the final act. In the cave,

1451
01:16:52,960 --> 01:16:55,759
Speaker 3: this is where things start going off the rails.

1452
01:16:56,240 --> 01:16:59,880
Speaker 2: Yeah, yeah, this is everything has been entertaining up up

1453
01:17:00,040 --> 01:17:01,439
Speaker 2: up into this point, but now it's going to go

1454
01:17:01,439 --> 01:17:04,320
Speaker 2: into overdrive and we get all these weird elements we've

1455
01:17:04,320 --> 01:17:07,640
Speaker 2: been alluding to when we enter into that cave. And

1456
01:17:07,680 --> 01:17:11,040
Speaker 2: if that cave exterior looks familiar, that's because this movie,

1457
01:17:11,240 --> 01:17:15,800
Speaker 2: like so many films that b movies that shot in

1458
01:17:15,840 --> 01:17:20,280
Speaker 2: southern California, it shot in Bronze and Canyon and those

1459
01:17:20,280 --> 01:17:22,559
Speaker 2: different caves. This used to be a quarry, and the

1460
01:17:22,600 --> 01:17:26,080
Speaker 2: work there left behind multiple caves and tunnels, caves and

1461
01:17:26,080 --> 01:17:29,280
Speaker 2: tunnels that are just asking for various aliens to crawl

1462
01:17:29,360 --> 01:17:30,519
Speaker 2: in or out of them.

1463
01:17:30,840 --> 01:17:33,559
Speaker 3: Is this the cave that's in It conquered the world?

1464
01:17:33,800 --> 01:17:36,000
Speaker 2: Yes, well, I don't know if it's the exact cave.

1465
01:17:36,040 --> 01:17:38,320
Speaker 2: I was comparing photos and I don't know. There are

1466
01:17:38,400 --> 01:17:41,760
Speaker 2: multiple caves there that cave entrances and tunnel entrances that

1467
01:17:41,760 --> 01:17:44,080
Speaker 2: have been used. But yeah, it conquered the world. I

1468
01:17:44,080 --> 01:17:46,679
Speaker 2: think Robot Monster, tons of films.

1469
01:17:47,360 --> 01:17:50,280
Speaker 3: So this is when all hell breaks loose. So Jack

1470
01:17:50,320 --> 01:17:52,720
Speaker 3: goes into the cave and he's confronted by a bigfoot.

1471
01:17:53,160 --> 01:17:56,080
Speaker 3: He shoots it, but once it is mortally wounded, it

1472
01:17:56,160 --> 01:18:00,640
Speaker 3: starts transforming. Yeah, it's a reverse werewolf transformed where the

1473
01:18:00,680 --> 01:18:04,160
Speaker 3: hair starts kind of sucking in and disappearing, and the

1474
01:18:04,200 --> 01:18:07,000
Speaker 3: skin set. The skin is first bubbling and boiling, and

1475
01:18:07,040 --> 01:18:10,160
Speaker 3: then it settles down and it's a man. Why it's

1476
01:18:10,320 --> 01:18:13,600
Speaker 3: Jack's uncle Clem. Uncle Clem was a sasquatch.

1477
01:18:13,600 --> 01:18:17,360
Speaker 2: All yeah, And this is again the point where you're

1478
01:18:17,400 --> 01:18:20,280
Speaker 2: just like, what is happening? Where are we going with

1479
01:18:20,360 --> 01:18:20,960
Speaker 2: this movie?

1480
01:18:21,920 --> 01:18:24,719
Speaker 3: Uncle Clem said, he's sobbing. He says, Jack, I didn't

1481
01:18:24,760 --> 01:18:27,920
Speaker 3: want to hurt you. They made me, they changed me.

1482
01:18:28,160 --> 01:18:31,240
Speaker 3: And then he dies. And then further in the cave

1483
01:18:31,360 --> 01:18:34,880
Speaker 3: we see electronic equipment and dead body parts everywhere. It's

1484
01:18:34,920 --> 01:18:37,800
Speaker 3: a combination slaughterhouse and radio shat.

1485
01:18:37,760 --> 01:18:38,400
Speaker 2: Yeah it is.

1486
01:18:38,640 --> 01:18:41,759
Speaker 3: And then further in the cave we get zombies everywhere,

1487
01:18:41,800 --> 01:18:46,400
Speaker 3: tons of them, not bigfoot, just various kinds of shambling undead,

1488
01:18:46,920 --> 01:18:50,360
Speaker 3: many of which are carrying or working on circuit boards

1489
01:18:50,400 --> 01:18:51,639
Speaker 3: and electrical panels.

1490
01:18:52,240 --> 01:18:53,960
Speaker 2: Yeah, and one of them has what is it other

1491
01:18:54,040 --> 01:18:56,120
Speaker 2: resident shirt? He's got a ban shirt.

1492
01:18:56,680 --> 01:18:58,760
Speaker 3: Really good, cool, cool classic band tea.

1493
01:18:59,080 --> 01:19:00,479
Speaker 2: Yeah, I had to look it up. They'll cost you

1494
01:19:00,479 --> 01:19:05,040
Speaker 2: a couple hundred bucks on eBay. What condition though, Oh,

1495
01:19:05,080 --> 01:19:06,600
Speaker 2: I would hope, I mean, you don't want it? And

1496
01:19:06,720 --> 01:19:09,719
Speaker 2: meant right, it's got to be a little little funky. Otherwise,

1497
01:19:09,720 --> 01:19:10,400
Speaker 2: what are you paying for?

1498
01:19:10,680 --> 01:19:15,200
Speaker 3: I need some oil stains. Yeah. So Jack finds Fred

1499
01:19:15,320 --> 01:19:17,519
Speaker 3: in the cave. Remember Fred, the preppy guy.

1500
01:19:17,640 --> 01:19:18,880
Speaker 2: Yeah, yeah, I thought he was dead.

1501
01:19:19,160 --> 01:19:22,320
Speaker 3: He's alive and he's wearing his gorilla mask. He's injured

1502
01:19:22,360 --> 01:19:25,479
Speaker 3: and tied up on the cave floor. Fred tells Jack

1503
01:19:25,600 --> 01:19:29,200
Speaker 3: they've got Carrie inside the craft and he's like, what

1504
01:19:29,400 --> 01:19:32,880
Speaker 3: the craft? What's that? What's he talking about? And Fred

1505
01:19:32,920 --> 01:19:36,280
Speaker 3: says it's this thing, this priest. He wants to use

1506
01:19:36,400 --> 01:19:39,920
Speaker 3: her and another girl, and so Fred tells Jack to

1507
01:19:39,960 --> 01:19:42,760
Speaker 3: go on and get out of here. Jack tries to

1508
01:19:42,800 --> 01:19:46,000
Speaker 3: go inside the craft, which is this metal door behind

1509
01:19:46,080 --> 01:19:48,280
Speaker 3: them in the cave, but he gets blocked at the

1510
01:19:48,320 --> 01:19:52,760
Speaker 3: door by zombie Tom. Remember this is Tom, the rock

1511
01:19:52,800 --> 01:19:56,080
Speaker 3: and roll radio geek from earlier. Now he's a zombie,

1512
01:19:56,120 --> 01:19:59,439
Speaker 3: but unlike the other zombies, he talks and this is

1513
01:19:59,479 --> 01:20:01,960
Speaker 3: the part where he has turned into Jack Nicholson. So

1514
01:20:02,000 --> 01:20:05,880
Speaker 3: he's like, yeah, Jack, I'm dead, You're still alive. But

1515
01:20:06,080 --> 01:20:11,280
Speaker 3: I feel beautiful, man. You know these are my friends Jack,

1516
01:20:12,120 --> 01:20:13,240
Speaker 3: And he's like.

1517
01:20:13,200 --> 01:20:16,080
Speaker 2: They're good people and the zombies are just kind of

1518
01:20:16,439 --> 01:20:18,479
Speaker 2: hanging out behind him. And then again the zombies look

1519
01:20:18,479 --> 01:20:18,960
Speaker 2: pretty cool.

1520
01:20:19,200 --> 01:20:22,760
Speaker 3: What is all this about? I don't know, but so yeah,

1521
01:20:22,920 --> 01:20:27,360
Speaker 3: and then also we see some maintenance going on where

1522
01:20:27,920 --> 01:20:31,960
Speaker 3: the zombies are now working on a spaceship. You see

1523
01:20:32,000 --> 01:20:36,519
Speaker 3: them screwing in greebles to a to a gray spray

1524
01:20:36,560 --> 01:20:38,320
Speaker 3: painted piece of cardboard.

1525
01:20:38,960 --> 01:20:41,679
Speaker 2: Yeah, yeah, it's like needs more greebels, more greebels.

1526
01:20:41,680 --> 01:20:45,639
Speaker 3: Here solo cups and yeah, just I don't know, various

1527
01:20:45,680 --> 01:20:49,799
Speaker 3: little dude ads going up on the wall. And here's

1528
01:20:49,840 --> 01:20:53,080
Speaker 3: where we're finally gonna have well, all will be revealed.

1529
01:20:53,400 --> 01:20:54,200
Speaker 2: What is it.

1530
01:20:54,200 --> 01:20:57,400
Speaker 3: It's we're gonna go watch a human sacrifice for an

1531
01:20:57,439 --> 01:20:58,760
Speaker 3: alien named Asdrath.

1532
01:20:59,320 --> 01:21:02,720
Speaker 2: Yes, yeah, and we're meeting our our priest friend the

1533
01:21:02,760 --> 01:21:07,680
Speaker 2: Padre from earlier, except now he is an undead speaking

1534
01:21:08,479 --> 01:21:11,479
Speaker 2: He's an undead priest with the ability to speak, who

1535
01:21:11,560 --> 01:21:18,280
Speaker 2: is serving this alien overlord Asidrath, wearing the black occultist robe.

1536
01:21:18,360 --> 01:21:21,040
Speaker 2: Like we're in just straight up dungeons and dragon's territory

1537
01:21:21,040 --> 01:21:22,120
Speaker 2: at this point. I love it.

1538
01:21:22,200 --> 01:21:25,200
Speaker 3: So you took him to be a zombie at this point.

1539
01:21:25,320 --> 01:21:28,360
Speaker 2: I guess so, because he's over one hundred years old.

1540
01:21:28,439 --> 01:21:30,720
Speaker 3: Now, yeah, I guess I was just thinking he had

1541
01:21:30,720 --> 01:21:32,320
Speaker 3: a magically prolonged life.

1542
01:21:32,360 --> 01:21:34,800
Speaker 2: But well, maybe maybe that's it, but not prolonged in

1543
01:21:34,840 --> 01:21:39,839
Speaker 2: a very good way. That could be the distinction. Speaking

1544
01:21:39,960 --> 01:21:43,519
Speaker 2: zombies are actually they are, Actually they haven't died all

1545
01:21:43,520 --> 01:21:47,559
Speaker 2: the way yet. Maybe they're just artificially sustained in a

1546
01:21:47,680 --> 01:21:49,559
Speaker 2: very nasty way.

1547
01:21:50,640 --> 01:21:55,599
Speaker 3: So this guy has the character Betsy tied to the table,

1548
01:21:55,920 --> 01:21:58,120
Speaker 3: and she's going to be a human sacrifice. He's got

1549
01:21:58,200 --> 01:22:01,360
Speaker 3: like the Night, you know, your standard movie human sacrifice.

1550
01:22:01,400 --> 01:22:04,160
Speaker 3: The knife is up and he's chanting. He's saying, as

1551
01:22:04,280 --> 01:22:07,840
Speaker 3: Dreath is Lord, as Dreath is Lord. He's got a

1552
01:22:07,840 --> 01:22:09,800
Speaker 3: whole speech. I'm not going to read the whole thing here,

1553
01:22:09,800 --> 01:22:11,800
Speaker 3: but it's a lot of my master dwells within the

1554
01:22:11,840 --> 01:22:16,719
Speaker 3: sacred chamber. His sacred dagger is raised in trembling, in dissipation.

1555
01:22:16,880 --> 01:22:19,920
Speaker 3: I think he says that as Dreth. We get from

1556
01:22:19,920 --> 01:22:24,160
Speaker 3: this speech that this guy worships the alien that crashed

1557
01:22:24,160 --> 01:22:26,880
Speaker 3: one hundred years ago and thinks he is an archangel

1558
01:22:27,000 --> 01:22:31,360
Speaker 3: named as Dreth, and he's now this guy's god. And

1559
01:22:31,520 --> 01:22:35,000
Speaker 3: this guy has been helping him repair his spaceship for

1560
01:22:35,040 --> 01:22:37,960
Speaker 3: one hundred years. So that he can finally go back

1561
01:22:38,000 --> 01:22:39,280
Speaker 3: to his heavenly abode.

1562
01:22:39,760 --> 01:22:42,960
Speaker 2: Yes, yeah, like this the padre here used to love Jesus,

1563
01:22:42,960 --> 01:22:46,280
Speaker 2: but then when a hideous space monster presented itself, he's

1564
01:22:46,320 --> 01:22:51,280
Speaker 2: like close enough, I'll worship this now. And this I

1565
01:22:51,439 --> 01:22:53,240
Speaker 2: really did kind of dig this idea, you know, not

1566
01:22:53,240 --> 01:22:54,920
Speaker 2: in a very deep way, but it's like, yeah, this

1567
01:22:55,680 --> 01:22:58,759
Speaker 2: spaceship crashed one hundred years ago, what kind of repairs

1568
01:22:58,800 --> 01:23:01,599
Speaker 2: could they do? For a long time? You know, they

1569
01:23:01,640 --> 01:23:05,320
Speaker 2: were limited. They had to wait until radio shacks existed,

1570
01:23:06,520 --> 01:23:09,479
Speaker 2: and they had a shot at stealing automobile parts and

1571
01:23:09,520 --> 01:23:12,639
Speaker 2: what not to get the repairs further along. And who

1572
01:23:12,640 --> 01:23:14,439
Speaker 2: knows they might still only be at like thirty five

1573
01:23:14,479 --> 01:23:15,000
Speaker 2: percent here.

1574
01:23:15,200 --> 01:23:17,439
Speaker 3: Yeah, they've been trying to get copper all this time.

1575
01:23:17,640 --> 01:23:18,240
Speaker 2: Yeah.

1576
01:23:20,160 --> 01:23:23,000
Speaker 3: But so yeah, So he's got Betsy on the table

1577
01:23:23,000 --> 01:23:24,760
Speaker 3: there and he's going to stab her in the heart,

1578
01:23:24,920 --> 01:23:27,519
Speaker 3: cut her heart out, and give it to Azdreth. We'll

1579
01:23:27,560 --> 01:23:30,280
Speaker 3: describe this alien in just a second, and Asdreth's going

1580
01:23:30,360 --> 01:23:33,559
Speaker 3: to be eating it. So but I was confused, like, okay,

1581
01:23:33,560 --> 01:23:38,160
Speaker 3: so is this human sacrifice primarily religious or nutritional in nature?

1582
01:23:38,240 --> 01:23:41,800
Speaker 3: Is that this this alien needs to eat hearts? And

1583
01:23:41,840 --> 01:23:44,120
Speaker 3: so this guy's just going to bring him hearts or

1584
01:23:44,200 --> 01:23:47,440
Speaker 3: is this a ritual for actual religious purposes?

1585
01:23:49,760 --> 01:23:53,920
Speaker 2: Boy, that's a difficult one. Maybe maybe I is Asterath

1586
01:23:54,560 --> 01:23:58,000
Speaker 2: really divined? Does he like the does he like the

1587
01:23:58,000 --> 01:23:59,920
Speaker 2: religious aspects of this? Or is this more like the

1588
01:24:00,040 --> 01:24:03,840
Speaker 2: Padres thing where he's like, I worship you, and as

1589
01:24:03,880 --> 01:24:06,760
Speaker 2: Dereath is ultimately like, all right, I will allow it,

1590
01:24:06,920 --> 01:24:09,519
Speaker 2: I'll let you this is you really enjoyed this part

1591
01:24:09,560 --> 01:24:12,719
Speaker 2: of it? You know, this is a partnership at this point.

1592
01:24:13,080 --> 01:24:15,040
Speaker 2: I will eat the heart because I want to eat

1593
01:24:15,080 --> 01:24:18,559
Speaker 2: that juicy heart, but I don't really care personally about

1594
01:24:18,560 --> 01:24:19,759
Speaker 2: all of this religious stuff.

1595
01:24:20,160 --> 01:24:22,680
Speaker 3: Or maybe it's a psychological thing, like maybe for the

1596
01:24:22,720 --> 01:24:25,720
Speaker 3: pre it's like doing the Here comes the airplane to

1597
01:24:25,720 --> 01:24:29,679
Speaker 3: get the baby to eat the food, gets Asdreath ready

1598
01:24:29,720 --> 01:24:31,599
Speaker 3: to eat a heart. He knows he needs to eat

1599
01:24:31,640 --> 01:24:33,599
Speaker 3: the heart, but he's not in the you know, he's

1600
01:24:33,600 --> 01:24:34,599
Speaker 3: not hungry for heart.

1601
01:24:34,960 --> 01:24:38,160
Speaker 2: Or Asterreth is a true mastermind maybe and he realizes

1602
01:24:38,240 --> 01:24:41,280
Speaker 2: that religion is a great way to control humans. I mean,

1603
01:24:41,320 --> 01:24:45,360
Speaker 2: he also uses zombie magic, but also religion is good.

1604
01:24:46,320 --> 01:24:49,680
Speaker 3: Okay, so can you describe Asdreth what have we got

1605
01:24:49,760 --> 01:24:51,639
Speaker 3: going on here? With this tremendous puppet.

1606
01:24:51,840 --> 01:24:55,719
Speaker 2: Oh god, he's great again. This is a Beekler design

1607
01:24:55,960 --> 01:24:59,920
Speaker 2: and you see it through and through. So the main post,

1608
01:25:00,200 --> 01:25:02,880
Speaker 2: the main theatrical poster for the film, also has an

1609
01:25:02,920 --> 01:25:05,840
Speaker 2: illustration of what like the full healthy version of this

1610
01:25:05,960 --> 01:25:09,320
Speaker 2: monster might have looked like. We're essentially talking about a

1611
01:25:09,360 --> 01:25:15,639
Speaker 2: hairless reptilian scorpion tailed biped with a robotic robotic claw

1612
01:25:15,720 --> 01:25:19,639
Speaker 2: hand and kind of a twisted goblin or ony face

1613
01:25:19,720 --> 01:25:22,479
Speaker 2: again like that, you know, classic sort of Beekler monster design.

1614
01:25:24,240 --> 01:25:24,800
Speaker 3: He also a.

1615
01:25:24,760 --> 01:25:27,680
Speaker 2: Little bit has the feel of a hairless demon sasquatch,

1616
01:25:27,760 --> 01:25:31,960
Speaker 2: which is gonna be apt considering the bizarro relationship between

1617
01:25:32,000 --> 01:25:36,520
Speaker 2: this creature and the squatches that we've been running into,

1618
01:25:37,320 --> 01:25:40,560
Speaker 2: because it seems that the case is that that scorpion

1619
01:25:40,800 --> 01:25:44,080
Speaker 2: tail stinger that he has, if it stings a human,

1620
01:25:44,520 --> 01:25:46,240
Speaker 2: it will turn them into a sasquatch.

1621
01:25:46,520 --> 01:25:49,880
Speaker 3: Yes, yeah, so yeah, we actually see that later where

1622
01:25:49,920 --> 01:25:52,519
Speaker 3: Fred he's still alive, but he's gonna end up in

1623
01:25:52,560 --> 01:25:56,080
Speaker 3: the room and he gets poked with this little weird

1624
01:25:56,240 --> 01:26:00,080
Speaker 3: tale that comes out of Asdreth's Asdreth is like it

1625
01:26:00,240 --> 01:26:01,120
Speaker 3: in a big bucket.

1626
01:26:01,560 --> 01:26:04,760
Speaker 2: Yeah, like a bucket pedestal sort of thing. Basically, he's

1627
01:26:04,760 --> 01:26:08,280
Speaker 2: in bad shape. He's missing one arm completely. The other

1628
01:26:08,360 --> 01:26:11,120
Speaker 2: arm is replaced by a claw. We have no indication

1629
01:26:11,200 --> 01:26:14,960
Speaker 2: that he has like legs anymore. So either he was

1630
01:26:15,439 --> 01:26:20,160
Speaker 2: horrifically injured in the crash or was just previously wounded

1631
01:26:20,240 --> 01:26:24,080
Speaker 2: and debilitated, and you know, it is just left in

1632
01:26:24,120 --> 01:26:26,519
Speaker 2: the state. And I guess can get by because he

1633
01:26:26,520 --> 01:26:30,320
Speaker 2: can command a sasquatch and zombie army to do his bidding.

1634
01:26:30,520 --> 01:26:35,360
Speaker 3: Yeah, so the stinger turns humans into sasquatches. Yeah and yeah,

1635
01:26:35,560 --> 01:26:39,559
Speaker 3: and it is noted in the Michelle Bauer interview. She's

1636
01:26:39,640 --> 01:26:42,160
Speaker 3: like that stinger that's pretty phallic, isn't it.

1637
01:26:44,240 --> 01:26:48,240
Speaker 2: But in Astrath does speak, but it's kind of like

1638
01:26:48,360 --> 01:26:53,360
Speaker 2: alien warbling language, and I think the padre translates for him. Yeah.

1639
01:26:53,960 --> 01:26:59,200
Speaker 3: Yeah, So the priest he cuts out Betsy's heart and

1640
01:26:59,240 --> 01:27:01,280
Speaker 3: feeds it as dreath, and then the priest is going

1641
01:27:01,360 --> 01:27:04,120
Speaker 3: to do the same thing to carry but Jack intervenes.

1642
01:27:04,360 --> 01:27:09,280
Speaker 3: So Jack and Fred both get dragged into the sacrifice room.

1643
01:27:10,240 --> 01:27:13,120
Speaker 3: The priest commands them to kneel in the presence of

1644
01:27:13,160 --> 01:27:16,439
Speaker 3: the archangel Asdreth. He says, our Lord is ready to

1645
01:27:16,479 --> 01:27:20,040
Speaker 3: return to the glory of Heaven, and Jack starts fighting back.

1646
01:27:20,320 --> 01:27:23,080
Speaker 3: He starts like shouting in the priest to saying silence,

1647
01:27:23,880 --> 01:27:27,080
Speaker 3: but then it turns. It turns into a scuffle. He

1648
01:27:27,160 --> 01:27:30,880
Speaker 3: kills the priest, he shoots the archangel Asdreth, and then

1649
01:27:30,880 --> 01:27:31,960
Speaker 3: he cuts Carrie loose.

1650
01:27:32,040 --> 01:27:32,960
Speaker 2: Carrie sort of has.

1651
01:27:32,840 --> 01:27:35,000
Speaker 3: To remind him to free her. He seems a lot

1652
01:27:35,040 --> 01:27:36,960
Speaker 3: more focused on fighting Azdreth.

1653
01:27:37,360 --> 01:27:38,519
Speaker 2: Yeah, wow, weirdo.

1654
01:27:39,439 --> 01:27:42,559
Speaker 3: And then Fred and then they're like, come on, Fred,

1655
01:27:42,600 --> 01:27:44,000
Speaker 3: we got to get out of here. You know, we're

1656
01:27:44,000 --> 01:27:46,800
Speaker 3: gonna blow this place up and leave. But Fred has

1657
01:27:46,840 --> 01:27:51,040
Speaker 3: been stung by Asdrath in the fight, and he's like, no,

1658
01:27:51,120 --> 01:27:53,120
Speaker 3: you've got to leave me behind to blow up the ship.

1659
01:27:53,160 --> 01:27:56,240
Speaker 2: And they're like, because he's squatching out. He's starting to transform.

1660
01:27:56,320 --> 01:27:58,960
Speaker 3: Yeah, he says, look at me, and he holds up

1661
01:27:59,000 --> 01:27:59,840
Speaker 3: his arms and he's.

1662
01:27:59,720 --> 01:28:03,880
Speaker 2: Got yeah, yep, he's gonna get in the the werewolf

1663
01:28:03,920 --> 01:28:07,040
Speaker 2: pulsings under the skin, more and more hair growing on

1664
01:28:07,080 --> 01:28:10,120
Speaker 2: the face, and this is pretty exciting, Like he's turning

1665
01:28:10,160 --> 01:28:14,680
Speaker 2: into the squatch. Yeah, even though the alien overlord that

1666
01:28:14,720 --> 01:28:17,160
Speaker 2: created him is presumably all the way dead.

1667
01:28:17,240 --> 01:28:21,920
Speaker 3: Now, before you taste death, you show no squatch. So

1668
01:28:22,080 --> 01:28:24,479
Speaker 3: on the way out of the cave, Carrie and Jack

1669
01:28:24,560 --> 01:28:26,720
Speaker 3: do leave him behind, and on the way out they

1670
01:28:26,760 --> 01:28:30,120
Speaker 3: also come across Cindy. This is a bizarre moment. Yeah,

1671
01:28:30,200 --> 01:28:32,840
Speaker 3: she's still in a zombie trance and Carrie's like, we've

1672
01:28:32,840 --> 01:28:35,200
Speaker 3: got to help her. But Jack is like, no, she's dead,

1673
01:28:35,320 --> 01:28:38,160
Speaker 3: leave her And Carrie says, no, no, we've got to

1674
01:28:38,160 --> 01:28:41,839
Speaker 3: help her. And then Jack shoots zombie Cindy to convince

1675
01:28:41,920 --> 01:28:43,240
Speaker 3: Carrie to leave her behind.

1676
01:28:43,680 --> 01:28:46,519
Speaker 2: Yeah, again this kind of grip dark. Yeah, he's just

1677
01:28:48,120 --> 01:28:54,320
Speaker 2: he's just very comfortable shooting humanoids. He does not hesitate

1678
01:28:54,360 --> 01:28:57,519
Speaker 2: it all in a very, I think, either unrealistic or

1679
01:28:57,640 --> 01:28:58,479
Speaker 2: terrifying way.

1680
01:28:58,920 --> 01:29:02,120
Speaker 3: So they leave the cave and then the cave explodes,

1681
01:29:02,320 --> 01:29:06,680
Speaker 3: big explosion, and then we cut two. Jack wakes up

1682
01:29:06,720 --> 01:29:10,320
Speaker 3: in bed. But I don't know, Rob, can you describe

1683
01:29:10,320 --> 01:29:13,839
Speaker 3: this whole endings? They are like multiple fake out endings

1684
01:29:13,880 --> 01:29:15,840
Speaker 3: and I don't even know if any of them are

1685
01:29:15,880 --> 01:29:16,800
Speaker 3: a real ending.

1686
01:29:17,720 --> 01:29:20,599
Speaker 2: Yeah, this is confusing. We get yet multiple sort of

1687
01:29:20,640 --> 01:29:24,360
Speaker 2: the nightmare hasn't ended yet sort of endings where he's

1688
01:29:24,400 --> 01:29:27,240
Speaker 2: waking up in bed and carries next to him, but oh,

1689
01:29:27,320 --> 01:29:29,640
Speaker 2: carries a zombie but no, wake up from that. But

1690
01:29:29,680 --> 01:29:31,479
Speaker 2: then doesn't he think? He wakes up from that and

1691
01:29:31,520 --> 01:29:32,519
Speaker 2: Carrie's not even there.

1692
01:29:33,160 --> 01:29:36,200
Speaker 3: First he wakes up and there he's in bed with

1693
01:29:36,320 --> 01:29:40,080
Speaker 3: Carrie and there are zombies all around the bed. The

1694
01:29:40,160 --> 01:29:41,479
Speaker 3: bed is floating in space.

1695
01:29:41,720 --> 01:29:46,439
Speaker 2: Yeah. Yeah, it's like a black Garth Maringhi's garage here exactly. Yes.

1696
01:29:47,160 --> 01:29:51,160
Speaker 3: Yeah, And the zombies attack while Carrie's like, hey, let's

1697
01:29:51,160 --> 01:29:53,040
Speaker 3: go to the beach tomorrow, and the zombies are all

1698
01:29:53,080 --> 01:29:54,960
Speaker 3: getting it. So it's like he sees the zombies and

1699
01:29:55,080 --> 01:29:58,200
Speaker 3: she doesn't. And then he wakes up again and he's

1700
01:29:58,240 --> 01:30:00,920
Speaker 3: in bed again, and then Carrie turns and looks at

1701
01:30:00,960 --> 01:30:03,840
Speaker 3: him and she's she's a zombie now. And then he

1702
01:30:03,880 --> 01:30:06,839
Speaker 3: wakes up again, I think, And is he just by himself?

1703
01:30:06,920 --> 01:30:10,559
Speaker 2: Then? Yeah, there's no carry So what's real? What's not?

1704
01:30:10,880 --> 01:30:12,840
Speaker 2: Was the whole thing just in his head? No?

1705
01:30:13,200 --> 01:30:14,760
Speaker 3: Surely it was all a dream?

1706
01:30:14,800 --> 01:30:19,240
Speaker 2: Surely not. No, It's almost like they're just like, let's

1707
01:30:19,280 --> 01:30:22,040
Speaker 2: try some endings and if they work, they work, and

1708
01:30:22,080 --> 01:30:25,080
Speaker 2: if they don't work, we'll just include all of them. Anyway.

1709
01:30:25,479 --> 01:30:28,120
Speaker 3: Am I a man who dreamed he was a sasquatch

1710
01:30:28,240 --> 01:30:30,000
Speaker 3: or a sasquatch who dreamed he was a man.

1711
01:30:30,520 --> 01:30:32,200
Speaker 2: That would have been good if you'd turn into a

1712
01:30:32,200 --> 01:30:35,519
Speaker 2: sasquatch at the end. That would have made it more horrible.

1713
01:30:35,600 --> 01:30:37,800
Speaker 3: Dream that I had no hair and I lived, and

1714
01:30:37,840 --> 01:30:40,640
Speaker 3: I drove a truck and I was looking for my

1715
01:30:40,680 --> 01:30:41,200
Speaker 3: own kind.

1716
01:30:41,280 --> 01:30:44,400
Speaker 2: Yeah. Yeah, and I was trying to kill Asdreth instead

1717
01:30:44,400 --> 01:30:46,679
Speaker 2: of serving him. It was really upsetting.

1718
01:30:47,120 --> 01:30:49,559
Speaker 3: I was gonna say about this movie. I've already made

1719
01:30:49,560 --> 01:30:53,639
Speaker 3: this comparison a little bit, but you know more about

1720
01:30:53,680 --> 01:30:56,599
Speaker 3: the behind the scenes than I do. The third act

1721
01:30:56,680 --> 01:30:59,920
Speaker 3: of this movie really reminded me a lot of The Dungeon,

1722
01:31:00,640 --> 01:31:03,439
Speaker 3: this other movie we've done on Weird House, in that

1723
01:31:04,240 --> 01:31:09,759
Speaker 3: it felt like a creature makeup effects workshop showcase where

1724
01:31:09,760 --> 01:31:13,160
Speaker 3: they built the plot around We've got all these different

1725
01:31:13,360 --> 01:31:17,160
Speaker 3: masks and sets and props and puppets, and we've been

1726
01:31:17,160 --> 01:31:19,760
Speaker 3: separately working on all these things, and we want to

1727
01:31:19,800 --> 01:31:21,960
Speaker 3: find a story where we can use them all, and

1728
01:31:22,000 --> 01:31:23,240
Speaker 3: this is the movie we got.

1729
01:31:23,600 --> 01:31:26,320
Speaker 2: I think, so like, you just know that when Beekler

1730
01:31:26,880 --> 01:31:28,760
Speaker 2: shared his idea, He's like, hey, I've got an idea

1731
01:31:28,800 --> 01:31:31,920
Speaker 2: for a movie. He described the third act. He described

1732
01:31:31,920 --> 01:31:35,360
Speaker 2: this showdown in the cave, the rest is just implied,

1733
01:31:35,680 --> 01:31:39,360
Speaker 2: and it'll be a traditional Bigfoot movie up until that point. Yeah,

1734
01:31:39,560 --> 01:31:42,639
Speaker 2: but again, that's I think that's what makest even work

1735
01:31:42,720 --> 01:31:46,839
Speaker 2: so special, that it's just ultimately so unhinged and crazy

1736
01:31:46,880 --> 01:31:50,440
Speaker 2: and ambitious in its use of all these different elements

1737
01:31:51,439 --> 01:31:54,600
Speaker 2: that you know are stitched away. It has a cohesive

1738
01:31:54,680 --> 01:31:57,920
Speaker 2: lore to it that it's fun to try and fill

1739
01:31:57,960 --> 01:32:00,400
Speaker 2: in the gaps and make it all work and head

1740
01:32:00,439 --> 01:32:02,720
Speaker 2: but yeah, absolutely bonkers and I love it.

1741
01:32:03,240 --> 01:32:06,720
Speaker 3: Yellow hats off to them, Yes, yes, all right, Well

1742
01:32:06,720 --> 01:32:08,559
Speaker 3: that's all I've got on Demon Warp.

1743
01:32:09,120 --> 01:32:13,240
Speaker 2: Demon Warp one word. Yeah, I highly recommend it. You

1744
01:32:13,439 --> 01:32:16,320
Speaker 2: pick it up, and you know, physical media form or

1745
01:32:16,360 --> 01:32:18,360
Speaker 2: you know, the high quality stream of it might be

1746
01:32:18,360 --> 01:32:21,519
Speaker 2: available in the future that sometimes comes to pass with

1747
01:32:21,560 --> 01:32:22,240
Speaker 2: these pictures.

1748
01:32:22,439 --> 01:32:25,520
Speaker 3: Now, wait, Rob, I don't know if this was intentional

1749
01:32:25,560 --> 01:32:28,240
Speaker 3: on your part, but last week we did Demon Pond

1750
01:32:28,760 --> 01:32:31,479
Speaker 3: and this week we're doing Demon Warp. Next week is

1751
01:32:31,479 --> 01:32:32,240
Speaker 3: it Demon Wind?

1752
01:32:32,760 --> 01:32:36,400
Speaker 2: Oh God, I don't know. Next week is your choice.

1753
01:32:36,520 --> 01:32:40,200
Speaker 2: So it's then the balls in your court to decide

1754
01:32:40,200 --> 01:32:42,400
Speaker 2: if we continue the demon trend. You know, we could

1755
01:32:42,400 --> 01:32:45,439
Speaker 2: eat well on weird house Cinema just doing films for

1756
01:32:45,479 --> 01:32:49,280
Speaker 2: a while that have demon in the title, but we

1757
01:32:49,320 --> 01:32:52,280
Speaker 2: shall see. It was just just happenstance here because I

1758
01:32:52,320 --> 01:32:54,160
Speaker 2: knew that Demon Warp was about to come out in

1759
01:32:54,200 --> 01:32:57,240
Speaker 2: this Blu Ray edition and you happen to pick Demon

1760
01:32:57,280 --> 01:33:00,839
Speaker 2: Pond prior to that. So it's just what the universe

1761
01:33:00,880 --> 01:33:01,640
Speaker 2: wanted from us.

1762
01:33:01,920 --> 01:33:07,240
Speaker 3: Beautiful coincidence. So for next week, Demon Seed starring Julie Christie,

1763
01:33:07,280 --> 01:33:09,000
Speaker 3: it is maybe not.

1764
01:33:09,040 --> 01:33:10,920
Speaker 2: I know some people have asked for that one. We'll see.

1765
01:33:11,280 --> 01:33:14,559
Speaker 3: I don't know about that. I have my doubts about

1766
01:33:14,560 --> 01:33:15,519
Speaker 3: whether I want to watch it.

1767
01:33:16,760 --> 01:33:20,840
Speaker 2: All right, Well, hey, everybody, just a reminder that Stuff

1768
01:33:20,880 --> 01:33:23,360
Speaker 2: to Blow Your Mind is primarily a science and culture

1769
01:33:23,400 --> 01:33:27,040
Speaker 2: podcast with core episodes in Tuesdays and Thursdays. On Wednesdays

1770
01:33:27,080 --> 01:33:29,120
Speaker 2: we do a short form episode, and on Fridays we

1771
01:33:29,200 --> 01:33:31,559
Speaker 2: set aside most serious concerns to just talk about a

1772
01:33:31,560 --> 01:33:34,720
Speaker 2: weird film on Weird House Cinema. We've been doing Weird

1773
01:33:34,760 --> 01:33:37,400
Speaker 2: House Cinema episodes for what something like five years now.

1774
01:33:37,479 --> 01:33:40,760
Speaker 2: I think we did the math I leave a little yeah, yeah,

1775
01:33:40,800 --> 01:33:43,800
Speaker 2: something like that. Uh. And if you want to see

1776
01:33:43,800 --> 01:33:45,439
Speaker 2: a full list of all the movies we've covered over

1777
01:33:45,479 --> 01:33:47,840
Speaker 2: the years, go to letterbox dot com. We have a

1778
01:33:47,880 --> 01:33:51,040
Speaker 2: profile there weird House. We have a nice list everything

1779
01:33:51,040 --> 01:33:53,639
Speaker 2: we've covered in the past, and sometimes a peek ahead

1780
01:33:53,720 --> 01:33:54,759
Speaker 2: what's coming out next.

1781
01:33:55,479 --> 01:33:59,280
Speaker 3: Huge thanks as always to our excellent audio producer JJ Posway.

1782
01:33:59,520 --> 01:34:01,120
Speaker 3: If you'd like to get in touch with us with

1783
01:34:01,240 --> 01:34:03,640
Speaker 3: feedback on this episode or any other, to suggest a

1784
01:34:03,720 --> 01:34:05,800
Speaker 3: topic for the future, or just to say hello, you

1785
01:34:05,840 --> 01:34:08,599
Speaker 3: can email us at contact Stuff to Blow your Mind

1786
01:34:08,720 --> 01:34:16,160
Speaker 3: dot com.

1787
01:34:16,240 --> 01:34:19,200
Speaker 1: Stuff to Blow your Mind is production of iHeartRadio. For

1788
01:34:19,280 --> 01:34:22,080
Speaker 1: more podcasts from my Heart Radio, visit the iHeartRadio app,

1789
01:34:22,240 --> 01:34:25,240
Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.