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Speaker 1: Hey, you welcome to Weird House Cinema. Rewind. This is,

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Speaker 1: of course an episode from the vaults. This is a

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Speaker 1: classic episode that originally published five six, twenty twenty two.

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Speaker 1: It is Mario Bava's nineteen sixty five sci fi classic

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Speaker 1: Planet of the Vampires, frequently cited as one of the

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Speaker 1: films to inspire Ridley Scott's Alien. So this is one

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Speaker 1: of our favorites. Hope you enjoy. Dive right in.

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Speaker 2: Welcome to Stuff to Blow your Mind, a production of iHeartRadio.

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Speaker 1: Hey, welcome to Weird House Cinema.

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Speaker 3: This is Rob Lamb and I'm Joe McCormick, and today

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Speaker 3: we're going to be talking about a longtime favorite of mine,

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Speaker 3: the nineteen sixty five Mario Bava sci fi horror cla

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Speaker 3: Planet of the Vampires. And I want to start off

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Speaker 3: today by saying that I think perhaps this is the

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Speaker 3: paragon example of a concept we've talked about on the show,

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Speaker 3: that the rub the Fur movie, a movie that is

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Speaker 3: more about audio visual texture than about the characters or

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Speaker 3: the contents of the plot. And that's absolutely the case

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Speaker 3: here because before we watched it again for today, I've

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Speaker 3: probably watched Planet of the Vampires at least three or

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Speaker 3: four times, a couple times without sound on, but at

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Speaker 3: least once with sound. And I honestly could not tell

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Speaker 3: you much about what happens in this movie because whenever

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Speaker 3: I watch it to the extent that I'm paying attention,

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Speaker 3: and it's a movie I kind of love to half

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Speaker 3: pay attention to. But to whatever extent I'm paying attention,

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Speaker 3: the part of the mind that is engaged is not

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Speaker 3: the semantic executive of the forebrain. It is some kind

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Speaker 3: of abyssal lizard, conscient busness that is only in a

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Speaker 3: realm of pure sensation and vibe. And what a vibe

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Speaker 3: this movie is. The sets, the lighting, and the costumes

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Speaker 3: are like a baroque organ fugue, just washing over your

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Speaker 3: mind and body.

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Speaker 1: Oh, I agree absolutely on all counts, because first of all,

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Speaker 1: obviously this is a beautiful looking film, a beautiful sounding film,

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Speaker 1: which we'll get into as well. But also I'm in

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Speaker 1: the same boat. This is the second time I've watched

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Speaker 1: this movie this year. I watched it just under a

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Speaker 1: year ago on an airplane. And yeah, but before I

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Speaker 1: rewatched it, I don't think I would have really been

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Speaker 1: able to tell you what the plot was aside from

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Speaker 1: just the very basic strokes of what is obviously visually

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Speaker 1: happening on the screen.

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Speaker 3: I mean, I think it really does not help with

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Speaker 3: plot comprehension that I can't tell most of the characters apart. Yes,

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Speaker 3: and I'm not even sure that's unintentional. I mean I

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Speaker 3: can reckgize basically the main characters, the ones played by

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Speaker 3: Barry Sullivan and Norma Bingal, but a lot of the

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Speaker 3: other character I mean, there are tons of just sci

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Speaker 3: fi crew members walking around in these identical costumes, which

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Speaker 3: I love. The costumes are one of the greatest things

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Speaker 3: about this movie, but they sort of hide all of

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Speaker 3: the actor's identities and make it difficult to sort one

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Speaker 3: character from another. So a guy walks into the frame

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Speaker 3: wearing his like leather Space Child outfit and holding a

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Speaker 3: ray gun, and they say like, oh hello, and I'm like,

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Speaker 3: I don't know if this is the guy that was

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Speaker 3: in the previous shot or not.

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Speaker 1: Yeah, yeah, absolutely, there a number of interchangeable guys in

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Speaker 1: this film that just kind of move in and out

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Speaker 1: in the background. Sometimes they're playing important roles in the plot.

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Speaker 1: But yeah, outside of the two principal actors that we

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Speaker 1: named I'm not really sure who anybody was at any

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Speaker 1: given time unless they're really hammering it home for me.

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Speaker 3: So for me, this movie is absolutely a vibe trip.

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Speaker 3: It is a huge mood and what's what goes on

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Speaker 3: in the plot is not nearly as significant. Though if

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Speaker 3: you do pay attention to what happens in the plot,

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Speaker 3: there are some other interesting relationships to other films that

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Speaker 3: you can map out. Because while I don't think anybody

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Speaker 3: would accuse Planet of the Vampires of being one of

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Speaker 3: the best sci fi horror movies ever made, I think

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Speaker 3: it does appear to have been a major inspiration point

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Speaker 3: for several of the other greatest sci fi movies ever made,

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Speaker 3: including Alien, Ridley Scott's original in seventy nine, which I

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Speaker 3: think many would probably say is definitely in like top

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Speaker 3: three top five sci fi horror movies of all time,

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Speaker 3: and it is impossible not to notice the overlap between

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Speaker 3: this movie and Alien, But of course, with Planet of

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Speaker 3: the Vampires coming much earlier.

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Speaker 1: Right right, And I believe Dan O'Bannon even made that

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Speaker 1: connection as well. I think when people ask about it, though,

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Speaker 1: if memory serves, Ridley Scott was always like, I've never

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Speaker 1: seen it, so I can't.

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Speaker 3: Say, oh sure, Ridley, Okay, Well, anyway, I think you

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Speaker 3: could play a really interesting game of comparing and contrasting

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Speaker 3: the cinematography of these two movies, which are maybe you

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Speaker 3: could say, the main selling points in both cases. Whereas

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Speaker 3: Ridley Scott has a very clean cinematography style, everything is

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Speaker 3: very clear and in many ways very The textures are

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Speaker 3: realistic but of course beautifully composed, and the use of

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Speaker 3: light and shadow and all that. But meanwhile, Mario Baba's

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Speaker 3: movie looks like it takes place in a magical realm.

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Speaker 1: Yeah, there is a stark on reality to a number

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Speaker 1: of you know, Mario Boba's pictures, and certainly that was

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Speaker 1: the case with Black Sabbath, which we talked about previously

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Speaker 1: on this show. But in this film, yes, everything feels

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Speaker 1: very hatched from the Earth world, and with good reason.

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Speaker 1: I mean, for starters, this is only a mild spoiler,

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Speaker 1: I think depends on how you look at it, I guess.

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Speaker 1: But these are human characters played by human actors, but

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Speaker 1: they are not tearing humans. They are not from Earth,

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Speaker 1: and ultimately we don't really see them doing much. We

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Speaker 1: don't see artifacts of Earth among their possessions. It's very

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Speaker 1: stripped down. There's a lot of uniformity, not only to

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Speaker 1: know how they're dress, but also just there's a sort

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Speaker 1: of a tidiness and a sterility to their lives and

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Speaker 1: then the world that they've landed on, this abyssle shadow realm. Yeah,

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Speaker 1: it's just absolutely bonkers from a visual sense.

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Speaker 3: And there's another thing I would say about the sets

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Speaker 3: and the setting of this film, which is that though

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Speaker 3: it's in many ways in line with things you would

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Speaker 3: see in other sci fi of the era like Star

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Speaker 3: Trek TV show, the Original series and stuff, but there

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Speaker 3: is a staginess to the sets that while they are

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Speaker 3: while they are gorgeous and intricately designed, they do not

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Speaker 3: appear to be trying to evoke reality. Instead, they're more

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Speaker 3: like the set you would see in a very well

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Speaker 3: designed stage production, so it's like suggestive of real shapes

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Speaker 3: and forms.

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Speaker 1: I really enjoy comparing this film in my mind to

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Speaker 1: a movie that came out the year prior, nineteen sixty four,

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Speaker 1: Santa Claus Conquers the Martians, because I mean, these are

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Speaker 1: films on totally different ends of the spectrum in terms

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Speaker 1: of just how well they're executed. Certainly from a visual standpoint,

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Speaker 1: this film is beautiful. Santa Claus versus The Martians is

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Speaker 1: you know, it's amusing, it's funny, it's for kids, but

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Speaker 1: they're also comparable in a number of ways. You know,

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Speaker 1: there is uniformity to create making your humans some sort

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Speaker 1: of a space species. You have these using sets to

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Speaker 1: create both spaceship environments and terrestrial environments. We might compare

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Speaker 1: the alien world of this film to say, the polar

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Speaker 1: regions that are depicted in Santa Claus Versus the Martians.

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Speaker 1: And then also they both rely on that old trick

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Speaker 1: of having some sort of a tripod landing gear on

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Speaker 1: your spaceship, and that way you can have the model shot,

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Speaker 1: but then you can also incorporate it into your set

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Speaker 1: because your characters are walking amid the legs of the

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Speaker 1: landing legs of the vessel.

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Speaker 3: That's right, and there's a lot of good So there's

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Speaker 3: fun model work, but also good force perspective sets where

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Speaker 3: there will be a like a miniature of clearly everything's

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Speaker 3: actually just being shot pretty close to the camera, but

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Speaker 3: there will be miniatures of things taking place in the

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Speaker 3: background while characters are like descending across a clearly just

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Speaker 3: a ramp that's hidden by some rocks or spires or

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Speaker 3: something in the foreground. And it's very good at while

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Speaker 3: not actually looking realistic, sort of intoxicatingly inviting you to

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Speaker 3: suspend your disbelief. It is not something that looks real,

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Speaker 3: but you're all in on the environment because it's playful.

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Speaker 1: Yeah. Yeah, Bava leans into the unreality of everything. And

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Speaker 1: also I would say that that Baba appears to to

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Speaker 1: only do the things that they can do really well

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Speaker 1: on the screen, and you don't see this film attempting

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Speaker 1: to do things that it cannot do all that well,

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Speaker 1: you know what I'm saying, right, Yeah, because it absolutely

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Speaker 1: excels at lighting. And I mean lighting is at least

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Speaker 1: half of everything here. I mean because there are times

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Speaker 1: where you can tell, Okay, in the background, yes this

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Speaker 1: is some sort of a cardboard box with lights on it,

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Speaker 1: but you don't notice it so much because of how

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Speaker 1: it is, you know, how everything is lit. And then

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Speaker 1: just the integrity of the overall set.

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Speaker 3: Yeah. Another thing I wanted to mention that I noticed

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Speaker 3: on this rewatch was, as I said, several times I've

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Speaker 3: watched the movie on mute with like music playing, or

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Speaker 3: you know, while I was hanging out with people or something.

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Speaker 3: And there's a very different experience when you actually watch

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Speaker 3: it with the soundtrack, not just because you hear the

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Speaker 3: lines and understand what's going on in the plot, but

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Speaker 3: also it creates another layer of vibe, another bid for

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Speaker 3: a different kind of sensory experience, which is I think

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Speaker 3: the audio in this movie invites you to become hypnotized

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Speaker 3: and go to sleep. There are many just types of slow, repetitive,

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Speaker 3: low level sounds that go on, kind of drones and

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Speaker 3: hums and soft beeps and the sounds of bubbling mud

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Speaker 3: in the background and things like that.

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Speaker 1: Yeah, absolutely with this film. Every time I have watched

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Speaker 1: it or attempted to watch it, I have fallen asleep

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Speaker 1: multiple times. And that's not a slam on this movie.

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Speaker 1: That's not saying this movie is boring or it's not interesting.

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Speaker 1: It's I think it's it's it's an exciting film in

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Speaker 1: many respects, and it's beautiful to look at. But not

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Speaker 1: only does it have this visual sort of hypnotic, you know,

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Speaker 1: pulsating feel to it, much like I get like other

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Speaker 1: Bava films. This, Yeah, the sounds here both then the music,

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Speaker 1: the electrical sort of the electronic sound effects and then

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Speaker 1: also just the straight up sound work in the in

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Speaker 1: the movie are all weirdly captivating. I mean, on one level,

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Speaker 1: and we'll credit the musician in a bit here, but

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Speaker 1: on one level, you do have some traditional mid sixties

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Speaker 1: action movie music that occurs, but it occurs kind of sparingly,

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Speaker 1: and for a lot of the rest of the film,

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Speaker 1: we do have like a deep ambient vibe going on,

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Speaker 1: especially when they're on the ship. We get some nice

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Speaker 1: ship hum going on, electrical sounds here and there, and

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Speaker 1: then oh, I was especially in this watch, I was

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Speaker 1: really impressed by all the sounds of footsteps and running

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Speaker 1: in the ship. There's this metallic clanking sound that really

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Speaker 1: resonated with me for some reason.

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Speaker 3: Totally agree. In fact, in the very opening scene when

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Speaker 3: we're first coming into the ship's command room, there is

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Speaker 3: something that I at first thought was supposed to be

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Speaker 3: a heartbeat, but then I later thought, well, it's either

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Speaker 3: machinery or I think maybe it's just supposed to be

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Speaker 3: the slow footfalls of Barry Sullivan's character as he wanders

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Speaker 3: from station to station in this room, looking over people's shoulders.

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Speaker 1: Yeah, the footfalls are great when they're on the ship,

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Speaker 1: it's that metallic sound, and then when they're out of

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Speaker 1: the ship, it's kind of this sand grating against metal sound.

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Speaker 1: And then there are also some scenes with kind of

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Speaker 1: plastic or rubber sheeting that also has this tremendous sound

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Speaker 1: effect to it. And so I was thinking as I

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Speaker 1: was watching this, as like, Okay, I'm not really someone

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Speaker 1: who experiences ASMR, but I feel like this movie gives

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Speaker 1: me as close to the ASMR experience as I can

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Speaker 1: personally imagine.

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Speaker 3: Oh wow, yeah, I'm the same boat. I'm not an

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Speaker 3: ASMR person, but I can see what you're saying. It

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Speaker 3: is a movie that comes pretty close to inducing an

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Speaker 3: altered state of consciousness on its own. Just watching it

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Speaker 3: kind of lulls you and puts you. It's almost like

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Speaker 3: it synchronizes your brain waves to a different kind of rhythm.

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Speaker 1: Yeah, and also Bava gives the scenes a lot of

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Speaker 1: room to breathe, which I think also adds to this

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Speaker 1: tranquil feeling.

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Speaker 3: Though at the same time, I don't want to overstate

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Speaker 3: this movie and make it sound like it's Tarkowsky or something.

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Speaker 3: I mean, like, in most ways, I would say The

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Speaker 3: Planet of the Vampires is not a profound film, and

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Speaker 3: it's also in most ways not a very exciting film,

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Speaker 3: but it is a profound experience somehow, at least for me.

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Speaker 1: Yeah, yeah, yeah, and yeah. It's certainly not trying to

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Speaker 1: be anything profound either. It is it's setting out to

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Speaker 1: be the most gorgeous and stylish space horror film that

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Speaker 1: it can be in the mid sixties, and getting to

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Speaker 1: the elevator pitch for this one, I would say you

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Speaker 1: could just basically sum up Planet of the Vampires by

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Speaker 1: saying it is the grandaddy of all space horror films.

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Speaker 3: You look at Alien, Event, Horizon, all those, and then

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Speaker 3: you look at the old portrait of Planet of the

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Speaker 3: Vampires and you say, ah, they have its eyes.

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Speaker 1: Yes. So the basic plot here, and we'll get into

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Speaker 1: the more into the depths in a bit, but it

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Speaker 1: concerns a pair of space ships piloted again by non

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Speaker 1: tearin humanoids, and these ships are responding to a signal

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Speaker 1: from a shadowy world with a dying sun. They end

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Speaker 1: up getting stuck on the surface of said shadowy planet.

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Speaker 1: This planet turns out to be a world of mystery, death, undeath, possession,

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Speaker 1: and madness. Will they escape you'll have to watch and

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Speaker 1: find out.

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Speaker 3: Tune in next time. Let's hear that audio.

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Speaker 4: Planet of the vampires harboring a form of life worse

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Speaker 4: than death. Planet of the bloodless creatures who take men's

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Speaker 4: bodies but attack like vampires.

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Speaker 5: I'll tell you this, if there are any intelligent creatures

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Speaker 5: on this planet.

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Speaker 4: There are enemies in this outer space world. The living

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Speaker 4: dead try to escape into life.

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Speaker 5: Sallus no justice body, and I'm just one of many

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Speaker 5: beings on this planet inter survive. It's impressive that our

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Speaker 5: race continued to exist. We arranged for several of you

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Speaker 5: to kill each other so that we could take over

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Speaker 5: your bodies. You are our last chance.

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Speaker 4: No never, We'll all of us give up our lives

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Speaker 4: to save our own race.

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Speaker 1: All right, So this is our second Mario Bava film.

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Speaker 1: But just to mention the basics here. Mario Bava Italian director,

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Speaker 1: legendary Italian director who of nineteen fourteen through nineteen eighty,

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Speaker 1: with an unmistakable obsessive and phantasmagorical emphasis on visual composition.

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Speaker 1: Like we said before, a strong still. Just any screen

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Speaker 1: grab from a Bava film is instantly identifiable.

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Speaker 3: Especially a certain distinctive use of colored gel lighting, like

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Speaker 3: a fond of shining up on someone's face with like

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Speaker 3: a purple light, or a set that's lit with like

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Speaker 3: a green light or something.

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Speaker 1: Yeah, and you know he did black and white films

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Speaker 1: as well, like nineteen sixties. Black Sunday is black and white,

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Speaker 1: though he's one of these directors once you see him

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Speaker 1: working with color, how do you go to black and white?

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Speaker 3: Black Sunday is great, though, that's a more darker, more

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Speaker 3: serious sort of witchcraft witch hunting film.

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Speaker 1: Yeah, most of his films were more easily identifiable is horror.

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Speaker 1: He didn't just do horror. But I think there are

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Speaker 1: only two films that he did I could be mistaken

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Speaker 1: on this that are classifiable as science fiction, and this

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Speaker 1: is one of them.

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Speaker 3: Some of his best known movies I think you would

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Speaker 3: put in the shallow genre like Blood and Black Lace.

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Speaker 3: And I think did he do Bay of Blood bag? Yes, yeah,

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Speaker 3: that's blood. My memory is Blood and Black Lace is

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Speaker 3: pretty great looking and Bay of Blood are recall being

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Speaker 3: ugly and not not making any sense as a Bava movie,

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Speaker 3: and I didn't really like it.

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Speaker 1: Blood in Black Lace, that's the one with Cameron Mitchell

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Speaker 1: in it.

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Speaker 3: Oh yes, yes, so.

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Speaker 1: Planet of the Vampires has all the touches that you

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Speaker 1: might expect from Bava. Brilliant Gothic colors, characters staring through

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Speaker 1: portals and windows, lots of doors and windows, like this

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Speaker 1: is a film that loves space doors and the space

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Speaker 1: doors are wonderful in it.

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Speaker 3: People looking through glass at things, and I always thought

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Speaker 3: that was an interesting detail, like how much that happens

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Speaker 3: in here?

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Speaker 1: Yeah, also bright blood, high style, and of course just

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Speaker 1: great lighting. Now this one is based on a novel,

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Speaker 1: a novel by the author Renato Pesternaniro who was born

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Speaker 1: in nineteen thirty three, and if I'm not mistaken, it's

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Speaker 1: still alive. And I don't know that any of his

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Speaker 1: works have been translated into English. I looked around, I

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Speaker 1: couldn't find any. I could be wrong, but he seems

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Speaker 1: to have written books in Italian for a number of decades.

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Speaker 3: There's some kind of note in the credits about this

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Speaker 3: being based on something that appeared in a serial. Am

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Speaker 3: I wrong about that? Or is this a standalone novel?

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Speaker 1: My understanding is the novel One Night of twenty one Hours.

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Speaker 1: But we have to remind ourselves that back in this

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Speaker 1: time period, sometimes novels would do this, even like big

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Speaker 1: works like Dune novels from Frank Herbert might be serialized

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Speaker 1: initially before they're published as a complete novel. So it

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Speaker 1: was just a different publishing world back then, certainly in

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Speaker 1: the US and I imagine in Italy as well. Now,

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Speaker 1: the screenplay credits on the film, beyond the author we

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Speaker 1: just mentioned, there are seven credits, including Bava himself. Oh

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Speaker 1: and you know, the more the better, you know, And

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Speaker 1: if you want to read all of them, you can

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Speaker 1: certainly look up the IMDb profile. But I thought we

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Speaker 1: would mentioned a couple of them because they're like I

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Speaker 1: believe a couple of are Italian screenwriters that Bob, at

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Speaker 1: least one that Bob had worked with on other films,

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Speaker 1: a couple I believe for Spanish screenwriters. And then we

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Speaker 1: also have two screenwriters come in for the English version.

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Speaker 1: The first is ib Melcor who lived nineteen seventeen through

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Speaker 1: twenty fifteen. Danish American writer with some impressive credits. He

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Speaker 1: wrote and directed fifty nine's The Angry Red Planet and

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Speaker 1: sixty four as the Time Travelers. He was a co

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Speaker 1: screenwriter on Robinson Crusoe on Mars and sixty four and

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Speaker 1: his nineteen sixty five story The Racer was adapted into

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Speaker 1: the nineteen seventy five Corman produced Paul Bartel directed movie

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Speaker 1: Death Race two thousand.

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Speaker 3: Oh Wow. Melkar was also one of the writers behind

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Speaker 3: the hilarious nineteen sixty one Danish kaiju movie reptilicous Ha.

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Speaker 1: I believe this one was covered on MS two three

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Speaker 1: k oh okay.

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Speaker 3: I don't think I saw that one.

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Speaker 1: More recent to MS two three k oh okay. Yeah,

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Speaker 1: all right. The other screenwriter on the English version Louis M. Hayward,

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Speaker 1: who of nineteen twenty through two thousand and two had

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Speaker 1: his hands in a number of bikini movie screenplays back

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Speaker 1: in the day, but was also a producer on such

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Speaker 1: films as both Doctor Fibes movies, The Vampire Lovers, The

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Speaker 1: Oblong Box, Which Finder General and more. All right, let's

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Speaker 1: get into the cast. So this previously mentioned one of

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Speaker 1: the two principal characters. One of the characters that we

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Speaker 1: actually can instantly identify, and this is in large part

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Speaker 1: do the fact that, I mean he has a screen presence,

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Speaker 1: he has a lot of screen time, and he's an

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Speaker 1: older actor in this film is Barry Sullivan playing Captain.

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Speaker 3: Mar Marcari, Markery Mark and the Funky Crew.

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Speaker 1: Yeah.

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Speaker 5: So.

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Speaker 1: Barry Sullivan lived nineteen twelve through nineteen ninety four, American

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Speaker 1: actor of TV and film, active from the nineteen thirties

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Speaker 1: up into the nineteen eighties. He was never, I think,

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Speaker 1: a huge name, but he seems to have been like

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Speaker 1: a very dependable hand in pictures, very very long stretch,

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Speaker 1: sometimes as the lead, but oftentimes you is part of

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Speaker 1: extended cast. Some of his other notable films include Cause

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Speaker 1: for Alarm in fifty one, The Bad and the Beautiful

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Speaker 1: and fifty two and nineteen seventy four's Earthquake. M He

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Speaker 1: pops up twice on Night Gallery, and he did at

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Speaker 1: least one other horror movie, Pyro The Thing Without a

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Speaker 1: Face nineteen sixty four English Spanish co production.

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Speaker 3: What did Pyro The Thing Without a Face? It seems

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Speaker 3: like two different titles jammed together.

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Speaker 4: Yeah.

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Speaker 1: I haven't seen it, so I can't really speak to it,

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Speaker 1: but it looks like it has some sort of a

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Speaker 1: creature effect or makeup effect going on in it. Not

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Speaker 1: even sure if if it's Barry Sullivan and the creature

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Speaker 1: of fact stuff, but at any rate, he's in this film,

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Speaker 1: and I think he's the lead.

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Speaker 3: I don't know exactly what to say about Barry Sullivan

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Speaker 3: in this movie, because on one hand, I feel inclined

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Speaker 3: to be critical and call his performance extremely boring, But

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Speaker 3: then again, I don't know what I would change about it. Like,

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Speaker 3: I don't know how different this movie would be if

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Speaker 3: you had a very exciting actor giving a more lively

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Speaker 3: performance in this role, and it might actually undercut some

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Speaker 3: of the other things I like so much about it.

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Speaker 1: Yeah, I was having the same experience because at first

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Speaker 1: I was thinking, like, oh, man, Barry Sullivan is such

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Speaker 1: a bore. Why couldn't it have been Cameron Mitchell, for example,

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Speaker 1: in this role. But then as I started wating, as

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Speaker 1: I continued watching it, I was really thinking, well, what

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Speaker 1: would Cameron Mitchell have done differently? You know, this this

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Speaker 1: character is what he is. He's very stoic, you know,

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Speaker 1: he's dry, the he's in many ways sort of the

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Speaker 1: typical leading man hero that you would have in classic

401
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Speaker 1: Hollywood films. He's a cool cucumber under pressure and yeah,

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Speaker 1: he's kind of like the dad of the picture.

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Speaker 3: Yeah.

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00:24:13,160 --> 00:24:16,080
Speaker 1: So yeah, I ultimately I'm going to land on saying

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Speaker 1: Barry Sullivan's good in this if nothing else, you can

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Speaker 1: have doen it. He can set him apart from all

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Speaker 1: the other male characters in the film, because most of

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Speaker 1: the other male characters are kind of interchangeable.

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Speaker 3: Now, one character I always did recognize is the character

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Speaker 3: Sonya played by Norma Bingal.

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Speaker 1: Yes, yes, very captivating screen presence, beautiful eyes of course,

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Speaker 1: dressed in stylish spacesuits. The whole time she lived. Nineteen

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Speaker 1: thirty five through twenty thirteen. She was a Brazilian actor

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Speaker 1: and musician and later director and producer. Was a big

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Speaker 1: star in Brazil, and that's where I think she was

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Speaker 1: mostly active. Though Natural Issue appears in some Italian films

417
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Speaker 1: as well. Obviously, because this is an Italian film, certainly

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Speaker 1: outside of Brazil, this is her best known work and yeah, captivating,

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Speaker 1: even if I would say, you know, she's still subject

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Speaker 1: to the reduced ambient acting temperature of this movie, that's.

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Speaker 3: A good way of putting it. Yes, I would say

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Speaker 3: the general temperature of the acting in this film is low,

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Speaker 3: and that affects everyone, whatever their individual charisma might be.

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Speaker 3: And in other context, it's clear that Norma Bengal has

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Speaker 3: loads of charisma because she also had a career as

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Speaker 3: a singer, as I think you mentioned, and I was

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Speaker 3: trying to find some of her music. Not a lot

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Speaker 3: of it seems to be all that easy to access

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Speaker 3: these days. But there's one record she put out that

430
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Speaker 3: I must get a physical copy of if I can

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Speaker 3: find it anywhere. It's a nineteen fifty nine Bossa Nova album,

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Speaker 3: and I dug up a few tracks from it. First

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Speaker 3: of all, the album is called you Ready for the title, Yeah,

434
00:25:52,280 --> 00:25:58,879
Speaker 3: it's Ooh Norma. I think six or seven o's in

435
00:25:58,920 --> 00:26:02,720
Speaker 3: the ooga Ooh Norma. And the tracks I heard I

436
00:26:02,720 --> 00:26:05,439
Speaker 3: thought were just great, very smooth and rough at the

437
00:26:05,480 --> 00:26:08,320
Speaker 3: same time, like a pad of butter melting on a

438
00:26:08,320 --> 00:26:10,720
Speaker 3: crocodile's back. Two thumbs up.

439
00:26:11,480 --> 00:26:13,920
Speaker 1: Yeah, yeah, you sent me some links to this. There's

440
00:26:13,920 --> 00:26:16,000
Speaker 1: a cover of fever On here that's quite nice.

441
00:26:17,040 --> 00:26:19,320
Speaker 3: Some other tracks, Yeah, she does a song called ho

442
00:26:19,560 --> 00:26:23,639
Speaker 3: Ba La La. I've never heard that before, but it's great.

443
00:26:23,960 --> 00:26:27,760
Speaker 1: Yeah yeah, so yes, solid Bossonova performance. In my opinion,

444
00:26:27,880 --> 00:26:30,520
Speaker 1: I do take a little Bosonova from time to time.

445
00:26:31,560 --> 00:26:33,879
Speaker 3: Does anybody out there have a copy of this record?

446
00:26:34,080 --> 00:26:35,960
Speaker 3: If you are a listener of our show and you

447
00:26:36,080 --> 00:26:40,560
Speaker 3: own Ooh Norma, you must write us contact it stuff

448
00:26:40,560 --> 00:26:42,280
Speaker 3: to blow your mind dot com. I want to know

449
00:26:42,359 --> 00:26:43,640
Speaker 3: all about this, all.

450
00:26:43,640 --> 00:26:46,320
Speaker 1: Right, so we'll come back to her, I'm sure. But

451
00:26:46,440 --> 00:26:52,040
Speaker 1: other actors in this, let's see, there's Angel Aranda. This

452
00:26:52,119 --> 00:26:55,760
Speaker 1: is an actor playing the character Wes west Kent. Another

453
00:26:55,800 --> 00:26:56,520
Speaker 1: wonderful name.

454
00:26:56,840 --> 00:26:59,840
Speaker 3: These Mark Marcury and Wes west Kent.

455
00:27:00,480 --> 00:27:02,280
Speaker 1: We have to these are all you know. It's laying

456
00:27:02,280 --> 00:27:05,480
Speaker 1: the seeds for the reveal that these are not Earth humans.

457
00:27:05,600 --> 00:27:08,000
Speaker 1: They're from somewhere else where. They have different naming conventions.

458
00:27:08,000 --> 00:27:11,360
Speaker 1: But anyway, this actor lived nineteen thirty four through two thousand.

459
00:27:11,520 --> 00:27:14,359
Speaker 1: Spanish actor. He was also in nineteen fifty nine's The

460
00:27:14,400 --> 00:27:16,439
Speaker 1: Last Days of Pompeii and seems to have done a

461
00:27:16,480 --> 00:27:19,640
Speaker 1: fair amount of westerns and sword and Sandals sort of movies.

462
00:27:19,880 --> 00:27:21,639
Speaker 3: I think this was a big time for sword and

463
00:27:21,720 --> 00:27:24,280
Speaker 3: sandal movies in Italy.

464
00:27:24,720 --> 00:27:28,960
Speaker 1: Yeah. Now we have another female character in the film,

465
00:27:29,000 --> 00:27:32,760
Speaker 1: another crew member. This is Tiona, played by the actor

466
00:27:33,640 --> 00:27:37,560
Speaker 1: Evi Marandi, who was born in nineteen forty one and

467
00:27:37,600 --> 00:27:40,320
Speaker 1: I think is still with us. A Greek actress that

468
00:27:40,720 --> 00:27:43,639
Speaker 1: was active from around nineteen fifty nine through nineteen fifty

469
00:27:43,640 --> 00:27:47,960
Speaker 1: seventy four, did mostly thrillers and crime pictures. It also

470
00:27:47,960 --> 00:27:50,720
Speaker 1: appears that she was in the Italian mass superhero film

471
00:27:50,760 --> 00:27:53,960
Speaker 1: gold Vase The Fantastic Superman from nineteen sixty seven.

472
00:27:54,320 --> 00:27:56,240
Speaker 3: I liked her in this too, not just because she

473
00:27:56,440 --> 00:27:59,680
Speaker 3: was a person I could actually recognize, but she's got cool,

474
00:27:59,680 --> 00:28:04,680
Speaker 3: big hair, which complements the costumes well. So the costumes.

475
00:28:05,160 --> 00:28:07,160
Speaker 3: Maybe we'll get into this more when we get down

476
00:28:07,200 --> 00:28:10,320
Speaker 3: to the costume designer credit. But the costumes have these

477
00:28:10,520 --> 00:28:15,440
Speaker 3: collars that look like Dracula capes. Did you also make

478
00:28:15,440 --> 00:28:15,960
Speaker 3: that connection?

479
00:28:18,119 --> 00:28:21,320
Speaker 1: I do when I You've pointed this out to me before,

480
00:28:21,520 --> 00:28:23,600
Speaker 1: and and so I think about that when I look

481
00:28:23,640 --> 00:28:25,520
Speaker 1: at the costume. But at the same level, I don't

482
00:28:25,520 --> 00:28:29,159
Speaker 1: think I ever put that together myself looking at these costumes,

483
00:28:29,480 --> 00:28:32,120
Speaker 1: and I would, I would. I would say it's not overt.

484
00:28:32,600 --> 00:28:34,960
Speaker 1: It's not in a way where you're like, whoa wacky

485
00:28:35,000 --> 00:28:37,680
Speaker 1: space vampires, you know, I think they look pretty sleek.

486
00:28:37,840 --> 00:28:41,320
Speaker 3: Well, it's also because these characters are not the vampire characters.

487
00:28:41,360 --> 00:28:44,480
Speaker 3: They're the ones who are the victims of them. But yeah,

488
00:28:44,520 --> 00:28:47,920
Speaker 3: they've got these very very high collars that like come

489
00:28:48,000 --> 00:28:51,240
Speaker 3: up past the back of their hairline and over their jaws.

490
00:28:51,720 --> 00:28:53,720
Speaker 1: Yeah, and then they have these kind of skull caps

491
00:28:53,920 --> 00:28:56,640
Speaker 1: that they that they wear sometimes, and they have helmets

492
00:28:56,640 --> 00:28:59,880
Speaker 1: that they also wear sometimes. But then also when Sonya

493
00:29:00,520 --> 00:29:04,640
Speaker 1: and Tiona, when they take their help their skull caps off,

494
00:29:04,960 --> 00:29:08,080
Speaker 1: they both have just enormous beautiful mid sixties hair.

495
00:29:08,560 --> 00:29:11,760
Speaker 3: Yeah, And so I think those, like the tall collars

496
00:29:12,120 --> 00:29:15,160
Speaker 3: on the characters are somehow well complimented by any actors

497
00:29:15,160 --> 00:29:16,040
Speaker 3: that have big hair.

498
00:29:16,480 --> 00:29:21,440
Speaker 1: Yeah, and boy do they ever enormous hair. Now. Well,

499
00:29:21,440 --> 00:29:23,880
Speaker 1: I say most of the rest of the male characters

500
00:29:23,920 --> 00:29:26,920
Speaker 1: in the film are interchangeable, but I I'm gonna mission

501
00:29:26,960 --> 00:29:28,600
Speaker 1: to mention a couple of them because they have connections

502
00:29:28,600 --> 00:29:32,080
Speaker 1: to other films we've talked about. We have Stilio Condelli,

503
00:29:32,440 --> 00:29:36,479
Speaker 1: who plays either a character named Brad or Mud according

504
00:29:36,520 --> 00:29:39,440
Speaker 1: to IMDb. And again I have to be honest, I

505
00:29:39,440 --> 00:29:42,680
Speaker 1: do not know which character Brad or Mud was. I

506
00:29:42,680 --> 00:29:46,840
Speaker 1: don't remember. But Candelli pops up in nineteen eighty five's Hercules.

507
00:29:46,960 --> 00:29:50,160
Speaker 1: This is the one with Lufrigno that we watched. He's

508
00:29:50,160 --> 00:29:53,280
Speaker 1: also in nineteen eighty five's Demons and seventy four's Nude

509
00:29:53,320 --> 00:29:53,800
Speaker 1: for Satan.

510
00:29:55,040 --> 00:29:58,840
Speaker 3: Wow, what a title do you think that got? People

511
00:29:58,840 --> 00:30:00,160
Speaker 3: into the theaters.

512
00:30:01,240 --> 00:30:07,240
Speaker 1: Some theaters. Now, we also have the actor Ivan Rasimov

513
00:30:07,440 --> 00:30:13,280
Speaker 1: as a character named Carter or Dervy. And this guy's

514
00:30:13,320 --> 00:30:15,520
Speaker 1: interesting because he lived nineteen thirty eight through two thousand

515
00:30:15,560 --> 00:30:17,800
Speaker 1: and three, Italian actor who played a lot of heavies.

516
00:30:18,200 --> 00:30:21,080
Speaker 1: He was in Sergio Martino's All the Colors of the

517
00:30:21,160 --> 00:30:24,840
Speaker 1: Dark from seventy two. He was in Baba's nineteen seventy

518
00:30:24,880 --> 00:30:28,320
Speaker 1: seven film Shock, and he played Lord Grau in the

519
00:30:28,400 --> 00:30:32,760
Speaker 1: Humanoid that's the off brand Darth Vader in the Star

520
00:30:32,840 --> 00:30:34,280
Speaker 1: Wars knockoff that we watched.

521
00:30:34,720 --> 00:30:37,200
Speaker 3: Wow, Dervy Jones Locker.

522
00:30:39,200 --> 00:30:40,960
Speaker 1: All right, Well, let's get to some of the behind

523
00:30:40,960 --> 00:30:44,200
Speaker 1: the scenes names here. Just because this is very much

524
00:30:45,040 --> 00:30:46,760
Speaker 1: like you say, the texture of the film is so important,

525
00:30:46,760 --> 00:30:48,640
Speaker 1: we have to discuss some of the folks who brought

526
00:30:48,640 --> 00:30:54,120
Speaker 1: that together. First of all, we have Gino Maronosi Junior,

527
00:30:54,560 --> 00:30:58,080
Speaker 1: who lived nineteen twenty through nineteen ninety six, son of

528
00:30:58,680 --> 00:31:03,000
Speaker 1: an Italian conductor and composer. Obviously the same name Senior

529
00:31:03,000 --> 00:31:06,440
Speaker 1: and Junior, but Junior worked in Italian and European film

530
00:31:06,440 --> 00:31:09,880
Speaker 1: and TV. He also is credited with electronic effects on

531
00:31:09,920 --> 00:31:15,320
Speaker 1: this film, and again those electronic effects are not isolated.

532
00:31:15,400 --> 00:31:18,760
Speaker 1: They are found throughout the picture and are marvelous. I

533
00:31:18,760 --> 00:31:20,959
Speaker 1: think I got even a hint of theram and at times.

534
00:31:21,480 --> 00:31:24,960
Speaker 3: Oh yeah, yeah, there's a lot of beeping consoles and

535
00:31:25,040 --> 00:31:28,800
Speaker 3: machinery inside the ships, and a great scene where they

536
00:31:28,840 --> 00:31:34,240
Speaker 3: discover some derelict artifacts and an alien technology that has

537
00:31:34,280 --> 00:31:37,960
Speaker 3: its own sound profiles like the you remember the sonic

538
00:31:38,400 --> 00:31:41,880
Speaker 3: or the high voltage sonic locks and keys and the

539
00:31:41,920 --> 00:31:43,040
Speaker 3: tuning fork.

540
00:31:43,480 --> 00:31:47,280
Speaker 1: Yeah. Yeah, anything interesting in this film, even halfway interesting,

541
00:31:47,400 --> 00:31:49,960
Speaker 1: has a signature sound, and if you hear a sound,

542
00:31:50,240 --> 00:31:53,400
Speaker 1: you're gonna hear it again, and probably like somewhere between

543
00:31:53,400 --> 00:31:57,400
Speaker 1: four to five times minimum, which I think adds to

544
00:31:57,440 --> 00:32:00,080
Speaker 1: this sort of hypnotic feel. It's like this is a

545
00:32:00,080 --> 00:32:02,520
Speaker 1: movie that on some level is just playing with sound.

546
00:32:02,920 --> 00:32:05,840
Speaker 3: But also my memory is that there's not a lot

547
00:32:05,960 --> 00:32:09,200
Speaker 3: of music in this movie. I didn't take specific notes

548
00:32:09,200 --> 00:32:11,440
Speaker 3: on this, but my general impression is there are a

549
00:32:11,440 --> 00:32:13,680
Speaker 3: lot of scenes that have no music and there's just

550
00:32:13,800 --> 00:32:16,080
Speaker 3: ambient environmental sound.

551
00:32:16,480 --> 00:32:19,360
Speaker 1: Yeah. Yeah, there are long stretches of ambient sound, which

552
00:32:19,400 --> 00:32:22,320
Speaker 1: I love. There are a few spikes of more traditional

553
00:32:22,320 --> 00:32:24,440
Speaker 1: action music, but then there are also, like to say,

554
00:32:24,440 --> 00:32:27,920
Speaker 1: the end credit music, is rather nice and is kind

555
00:32:27,960 --> 00:32:31,200
Speaker 1: of a mix of these things, like it's creepy, but

556
00:32:31,280 --> 00:32:34,920
Speaker 1: it's not just pure electronic ambience by any stretch. Now,

557
00:32:34,960 --> 00:32:39,680
Speaker 1: we've been gushing over the sets and all in this film,

558
00:32:39,760 --> 00:32:42,320
Speaker 1: so we should mention that the set decoration art direction

559
00:32:42,440 --> 00:32:47,120
Speaker 1: credit goes to Giorgio Giovanni, who lived nineteen twenty five

560
00:32:47,160 --> 00:32:50,959
Speaker 1: through two thousand and seven. We've mentioned them before because

561
00:32:51,000 --> 00:32:55,680
Speaker 1: they're credited on Bava's Black Sabbath the Evil Eye and

562
00:32:56,120 --> 00:32:59,080
Speaker 1: was also art director on nineteen eighty six Is the

563
00:32:59,200 --> 00:33:01,440
Speaker 1: Name of the Rose In nineteen eighty six is The

564
00:33:01,480 --> 00:33:02,960
Speaker 1: Adventures of Baron Munchausen.

565
00:33:03,280 --> 00:33:06,720
Speaker 3: Oh, interesting man Munchausen has I can see that connection.

566
00:33:06,840 --> 00:33:09,160
Speaker 3: That also has some fantastic weird sets.

567
00:33:09,600 --> 00:33:12,000
Speaker 1: Yeah, and I mean certainly the Name of the Rose

568
00:33:12,000 --> 00:33:15,320
Speaker 1: from eighty six is everything's very much based in a

569
00:33:15,360 --> 00:33:19,920
Speaker 1: specific medieval environment, but beautiful sets in that movie as well.

570
00:33:20,680 --> 00:33:25,480
Speaker 1: And then costume designer we have Gabrielle Mayer, who also

571
00:33:25,520 --> 00:33:29,960
Speaker 1: did costumes on the stylish Mario Bava film Danger Diabolic

572
00:33:30,000 --> 00:33:31,160
Speaker 1: from nineteen sixty eight.

573
00:33:32,080 --> 00:33:35,520
Speaker 3: I can see that connection. Now we've been gushing about

574
00:33:35,520 --> 00:33:38,560
Speaker 3: the costumes, but one thing that's worth admitting is there's

575
00:33:38,680 --> 00:33:42,520
Speaker 3: not a great variety of costumes in this movie. Most

576
00:33:42,520 --> 00:33:44,520
Speaker 3: of the characters for most of the movie are all

577
00:33:44,520 --> 00:33:49,000
Speaker 3: wearing exactly the same thing. And yet I love these costumes.

578
00:33:49,040 --> 00:33:54,120
Speaker 3: There are these full body space leather or maybe fake leather,

579
00:33:54,160 --> 00:33:57,120
Speaker 3: I don't know, vinyl or leather jumpsuits that have their

580
00:33:57,200 --> 00:34:00,120
Speaker 3: like black with yellow lining. And we mentioned that they

581
00:34:00,160 --> 00:34:02,880
Speaker 3: have these very tall collars that come way up, like

582
00:34:02,920 --> 00:34:05,719
Speaker 3: past the jaw, past the hairline in the back. And

583
00:34:05,760 --> 00:34:08,600
Speaker 3: then sometimes these caps that go on that I believe

584
00:34:08,680 --> 00:34:12,080
Speaker 3: have a kind of don't The leather caps have a

585
00:34:12,160 --> 00:34:14,600
Speaker 3: kind of widow's peak to them, like they come down

586
00:34:14,640 --> 00:34:18,000
Speaker 3: a little bit in the forehead, almost like Dracula's hairline

587
00:34:18,080 --> 00:34:18,560
Speaker 3: or something.

588
00:34:18,880 --> 00:34:20,800
Speaker 1: Yeah they do, Yeah, they do, now that you mention.

589
00:34:20,680 --> 00:34:22,600
Speaker 3: It, just tremendous. Is so good?

590
00:34:22,880 --> 00:34:26,680
Speaker 1: Yeah, these costumes, for one thing, you see them a lot,

591
00:34:26,840 --> 00:34:29,080
Speaker 1: and you don't really see any flaws in them. You

592
00:34:29,080 --> 00:34:34,040
Speaker 1: don't see the costuminess shining through. And then also everyone

593
00:34:34,120 --> 00:34:36,920
Speaker 1: has one and this gets into something I really liked

594
00:34:36,960 --> 00:34:39,600
Speaker 1: about the film. Like anything that exists in the film,

595
00:34:39,880 --> 00:34:44,280
Speaker 1: there's a sense of mass production to it. So everyone

596
00:34:44,320 --> 00:34:46,920
Speaker 1: has these costumes when sometimes they wear the helmet, but

597
00:34:46,920 --> 00:34:49,800
Speaker 1: the rest of the time you see multiple helmets, all identical,

598
00:34:49,880 --> 00:34:53,239
Speaker 1: setting around. It's not just one space rifle like ray

599
00:34:53,280 --> 00:34:55,920
Speaker 1: gun that they have, which is a great design by

600
00:34:55,960 --> 00:34:59,200
Speaker 1: the way, and especially with the sound effects like sounds

601
00:34:59,239 --> 00:35:05,520
Speaker 1: and feels clunky and steal, but everybody will have one

602
00:35:05,760 --> 00:35:07,760
Speaker 1: at different times, you know, and then there are multiple

603
00:35:07,800 --> 00:35:10,600
Speaker 1: ones setting around on racks. We also see this with

604
00:35:10,719 --> 00:35:14,600
Speaker 1: some time detonator devices. When they go to fetch one,

605
00:35:14,640 --> 00:35:16,920
Speaker 1: there's like, you know, three dozen of them or something

606
00:35:17,200 --> 00:35:19,520
Speaker 1: in the cabinet, and I don't know, there was something

607
00:35:19,520 --> 00:35:22,160
Speaker 1: about that that felt like, I don't know if it

608
00:35:22,200 --> 00:35:24,560
Speaker 1: was like a mid sixties thing and realizing like the

609
00:35:24,560 --> 00:35:28,640
Speaker 1: future is mass production, like the space Age is mass production,

610
00:35:29,040 --> 00:35:32,399
Speaker 1: and therefore, you know, anything that these these characters have,

611
00:35:32,680 --> 00:35:33,960
Speaker 1: they're going to have a whole bunch of them and

612
00:35:34,000 --> 00:35:35,759
Speaker 1: they're all going to be alike. Yeah.

613
00:35:35,800 --> 00:35:38,719
Speaker 3: The only thing that really differentiates the costumes for most

614
00:35:38,760 --> 00:35:41,759
Speaker 3: of the movie is they will have these little insignias

615
00:35:41,760 --> 00:35:44,480
Speaker 3: that seem to indicate rank, like the number of z's

616
00:35:44,640 --> 00:35:48,200
Speaker 3: you have on your upper pectoral region is like, how

617
00:35:48,280 --> 00:35:49,120
Speaker 3: what rank you are?

618
00:35:49,160 --> 00:35:52,759
Speaker 1: I think. Now there is the one section in the

619
00:35:52,800 --> 00:35:55,000
Speaker 1: middle and I don't think this is explained at all,

620
00:35:55,120 --> 00:36:00,399
Speaker 1: But suddenly our two main characters, at least Sonya and

621
00:36:00,400 --> 00:36:04,880
Speaker 1: and Marcari are wearing different costumes, Like they're wearing orange

622
00:36:04,880 --> 00:36:09,600
Speaker 1: and gray jumpsuits instead of the traditional black, And every

623
00:36:09,600 --> 00:36:12,560
Speaker 1: time I watch it, I'm like, what what's happening? Why

624
00:36:12,560 --> 00:36:15,000
Speaker 1: are you wearing different outfits? And these are fine jumpsuits,

625
00:36:15,000 --> 00:36:15,520
Speaker 1: don't get.

626
00:36:15,360 --> 00:36:17,600
Speaker 3: Me wrong, great jumpsuits. They look kind of like the

627
00:36:17,719 --> 00:36:19,040
Speaker 3: Running Man uniforms.

628
00:36:19,520 --> 00:36:23,839
Speaker 1: Yeah, but yeah, I was wandering sort of off hand.

629
00:36:23,880 --> 00:36:26,279
Speaker 1: I was like, well, why did they change jumpsuits? The

630
00:36:26,280 --> 00:36:29,080
Speaker 1: other one is getting laundered. This is the backup jumpsuit.

631
00:36:29,800 --> 00:36:32,399
Speaker 1: I'm not sure, but it's still as if they explain it. Yeah.

632
00:36:32,600 --> 00:36:37,080
Speaker 1: Oh and finally, Carlo Rambaldi, who lived nineteen twenty five

633
00:36:37,160 --> 00:36:39,920
Speaker 1: through twenty twelve, was the model maker on this A

634
00:36:40,040 --> 00:36:42,680
Speaker 1: legend who worked on a number of films, noted for

635
00:36:42,719 --> 00:36:46,600
Speaker 1: designing et and the mechanical head effects for the creatures

636
00:36:46,600 --> 00:36:50,920
Speaker 1: in Alien. He was a creature creator on the nineteen

637
00:36:50,960 --> 00:36:53,160
Speaker 1: eighty four Dune movie, So you know what that means.

638
00:36:53,560 --> 00:36:57,880
Speaker 1: This guy was doing sandworms or guild navigators or maybe both.

639
00:36:58,400 --> 00:37:00,400
Speaker 3: Oh did he make Edric for David Lynch.

640
00:37:01,000 --> 00:37:04,200
Speaker 1: Maybe I didn't look up specifics on that, but I mean,

641
00:37:04,200 --> 00:37:06,600
Speaker 1: if you're creating creatures, they're like, you basically have two

642
00:37:06,680 --> 00:37:10,480
Speaker 1: to shoes from there, and that was it's arguably the

643
00:37:10,560 --> 00:37:14,239
Speaker 1: more extravagant design and effect. But he also worked on

644
00:37:14,280 --> 00:37:17,480
Speaker 1: The Never Ending Story, Close Encounters of the Third Kind, Frankenstein,

645
00:37:17,560 --> 00:37:21,640
Speaker 1: eighty Barbarella, and many more, and sometimes he's just credited

646
00:37:21,719 --> 00:37:22,880
Speaker 1: as Rembaldi.

647
00:37:23,280 --> 00:37:24,759
Speaker 3: Oh you know you've made it when you can just

648
00:37:24,800 --> 00:37:27,960
Speaker 3: go by one name. Yeah, well that's a heck of

649
00:37:28,000 --> 00:37:31,359
Speaker 3: a resume, because like basically every movie you named there

650
00:37:31,400 --> 00:37:36,080
Speaker 3: has some pretty awesome models in it.

651
00:37:42,520 --> 00:37:44,400
Speaker 1: All right, let's get let's get more into the plot

652
00:37:44,440 --> 00:37:45,120
Speaker 1: of this baby.

653
00:37:45,200 --> 00:37:47,120
Speaker 3: Okay, Well, I think this is one of those movies

654
00:37:47,160 --> 00:37:49,239
Speaker 3: where it might be kind of dull to try to

655
00:37:49,360 --> 00:37:52,200
Speaker 3: recap the plot in a more granular way. So this

656
00:37:52,280 --> 00:37:53,680
Speaker 3: is one of the ones where I think it makes

657
00:37:53,680 --> 00:37:56,759
Speaker 3: more sense to summarize the whole thing briefly and then

658
00:37:56,880 --> 00:37:59,759
Speaker 3: focus on some details that stood out and maybe some

659
00:38:00,120 --> 00:38:04,400
Speaker 3: interesting readings. So here's the sort of higher level plot rundown.

660
00:38:04,600 --> 00:38:09,400
Speaker 3: You start with two deep space exploration vessels, the Galiot,

661
00:38:09,680 --> 00:38:13,920
Speaker 3: and I think this is the Greek word argo, but

662
00:38:14,080 --> 00:38:16,960
Speaker 3: I think they say argus in the movie, don't they.

663
00:38:17,560 --> 00:38:20,000
Speaker 1: So the crew members of this one are technically argonauts.

664
00:38:20,120 --> 00:38:20,919
Speaker 3: That would make sense.

665
00:38:21,040 --> 00:38:21,800
Speaker 1: Yeah.

666
00:38:21,880 --> 00:38:24,480
Speaker 3: So yeah, the Argus and the Galliot, and they receive

667
00:38:24,520 --> 00:38:28,640
Speaker 3: a signal from a distress beacon on a previously unexplored

668
00:38:28,680 --> 00:38:33,160
Speaker 3: planet called Aura, and the two ships attempt to land,

669
00:38:33,320 --> 00:38:36,600
Speaker 3: but as they're approaching the planet's surface, the crew members

670
00:38:36,640 --> 00:38:40,319
Speaker 3: aboard the Argus, with the exception of Barry Sullivan, only

671
00:38:40,360 --> 00:38:43,920
Speaker 3: Captain Marcury is able to resist this. They all seemingly

672
00:38:44,000 --> 00:38:46,920
Speaker 3: go mad, or they become possessed or something. There's an

673
00:38:46,960 --> 00:38:50,960
Speaker 3: invisible force that makes them start beating and choking each other.

674
00:38:51,440 --> 00:38:54,520
Speaker 1: Yeah, obvious shades of Event Horizon, which would of course

675
00:38:54,560 --> 00:38:57,080
Speaker 1: come much later. Event Horizon, of course, was not shy

676
00:38:57,120 --> 00:38:59,000
Speaker 1: about borrowing elements from other films.

677
00:38:59,320 --> 00:39:04,120
Speaker 3: Yeah, And eventually Captain Marcery discovers that a sufficient physical

678
00:39:04,239 --> 00:39:07,719
Speaker 3: jolt breaks the trance, and the possessed crew members are

679
00:39:07,800 --> 00:39:11,120
Speaker 3: then beaten and returned to their senses one by one.

680
00:39:11,640 --> 00:39:14,600
Speaker 3: So the Argus lands on the planet's surface, which is

681
00:39:15,640 --> 00:39:21,200
Speaker 3: an infernal, chaotic terrain of these jagged rocks and spire shapes,

682
00:39:21,320 --> 00:39:25,600
Speaker 3: boiling bogs full of white mud, strange lights shining through

683
00:39:25,640 --> 00:39:29,719
Speaker 3: the fog, and these hues of purple and yellow that

684
00:39:30,040 --> 00:39:34,120
Speaker 3: very much recall the Verdulach. So it's another planet, but

685
00:39:34,520 --> 00:39:39,480
Speaker 3: just Carpathian sorcery crackling through the atmosphere. And they discovered

686
00:39:39,560 --> 00:39:43,840
Speaker 3: that the other ship, the Galiat, has also successfully landed nearby.

687
00:39:43,960 --> 00:39:46,040
Speaker 3: They originally didn't know its fate, but they see it

688
00:39:46,040 --> 00:39:49,279
Speaker 3: in the distance, and so several crew members make an

689
00:39:49,320 --> 00:39:52,560
Speaker 3: expedition across a simmering lake of mud to check on

690
00:39:52,600 --> 00:39:55,279
Speaker 3: the crew of the Galiat, and when they arrive, they

691
00:39:55,320 --> 00:39:58,640
Speaker 3: find the crew all dead, apparently having murdered each other

692
00:39:58,840 --> 00:40:01,240
Speaker 3: in the same kind of friends that sees the crew

693
00:40:01,280 --> 00:40:05,520
Speaker 3: of the Argus. So they conduct field burials of the

694
00:40:05,520 --> 00:40:08,839
Speaker 3: crew members that they can access. But there is one

695
00:40:08,880 --> 00:40:10,839
Speaker 3: section of the ship, I think it's the command room

696
00:40:10,880 --> 00:40:13,319
Speaker 3: of the ship where they can't get in. The door

697
00:40:13,360 --> 00:40:16,359
Speaker 3: is locked from the inside, and several bodies remain in there.

698
00:40:16,440 --> 00:40:18,520
Speaker 3: They look at them through the glass and they're like, Okay,

699
00:40:18,520 --> 00:40:19,839
Speaker 3: we have to go back to our ship to get

700
00:40:19,840 --> 00:40:23,680
Speaker 3: a cutting torch to access the room. But upon returning

701
00:40:23,719 --> 00:40:26,480
Speaker 3: they find that the dead bodies have disappeared from the

702
00:40:26,520 --> 00:40:31,840
Speaker 3: locked room, and so strange things start happening. Captain Marcury

703
00:40:31,960 --> 00:40:35,000
Speaker 3: decides that they have to escape the planet, but their

704
00:40:35,000 --> 00:40:38,440
Speaker 3: ship can't take off because of damage, including damage to

705
00:40:38,600 --> 00:40:42,640
Speaker 3: the so called meteor rejector, which I love. It's a

706
00:40:42,680 --> 00:40:45,040
Speaker 3: phrase that is said many times in an object we

707
00:40:45,120 --> 00:40:47,520
Speaker 3: look at over and over. That's like, got these two

708
00:40:47,560 --> 00:40:50,239
Speaker 3: little tubes that are connected on the top, kind of

709
00:40:50,239 --> 00:40:53,600
Speaker 3: like a pair of binoculars. But I believe the function

710
00:40:53,719 --> 00:40:55,960
Speaker 3: of this device is to allow the ship to travel

711
00:40:55,960 --> 00:40:59,719
Speaker 3: through space without being smashed by rocks. It rejects the meteors.

712
00:41:00,320 --> 00:41:03,400
Speaker 1: Yeah yeah, and it's a cool looking bit of the satic.

713
00:41:03,440 --> 00:41:06,279
Speaker 3: Cool looking prop, right, So they need some time for

714
00:41:06,320 --> 00:41:10,440
Speaker 3: the engineer to finish repairs on the media rejector. Meanwhile,

715
00:41:10,600 --> 00:41:14,360
Speaker 3: the surviving crew members start disappearing while out on watch

716
00:41:14,440 --> 00:41:18,440
Speaker 3: and stuff, and some start giving reports that they've seen

717
00:41:18,520 --> 00:41:21,799
Speaker 3: dead men from the galleat up and walking around. There's

718
00:41:21,840 --> 00:41:25,360
Speaker 3: one part where this is confirmed because they open up

719
00:41:25,400 --> 00:41:27,400
Speaker 3: one of the graves that they dug and we can

720
00:41:27,440 --> 00:41:29,400
Speaker 3: talk more about the graves in a minute because I

721
00:41:29,440 --> 00:41:33,400
Speaker 3: love them, and they find nobody in there anymore. Eventually,

722
00:41:33,480 --> 00:41:38,080
Speaker 3: Captain Marcury and Sonia Sonya's Norma bengal Agan. They investigate

723
00:41:38,120 --> 00:41:41,640
Speaker 3: a weird find. There is a derelict ship of unknown

724
00:41:41,760 --> 00:41:47,600
Speaker 3: origin and around it are the skeletons of gigantic humanoid aliens.

725
00:41:47,600 --> 00:41:50,440
Speaker 3: So the skeletons look human, but they would have been

726
00:41:50,560 --> 00:41:53,960
Speaker 3: like fifteen feet tall or something. And they conclude that

727
00:41:54,040 --> 00:41:56,840
Speaker 3: this ship and these aliens, whoever they are, were also

728
00:41:57,160 --> 00:42:00,399
Speaker 3: lured to the planet by the distress beacons, same one

729
00:42:00,440 --> 00:42:04,120
Speaker 3: they responded to but ages ago, and were probably killed

730
00:42:04,160 --> 00:42:06,280
Speaker 3: by whatever force is attacking them now.

731
00:42:06,719 --> 00:42:09,120
Speaker 1: So obviously direct connections to Alien.

732
00:42:09,239 --> 00:42:12,760
Speaker 3: Right here, Yeah, lured to a planet by a distress beacon,

733
00:42:12,800 --> 00:42:16,320
Speaker 3: you set down and investigate there is a derelict ship

734
00:42:16,520 --> 00:42:19,640
Speaker 3: of unknown origin with some kind of alien corpse inside

735
00:42:19,640 --> 00:42:22,680
Speaker 3: a skeleton that looks like it's been there for centuries,

736
00:42:23,160 --> 00:42:27,080
Speaker 3: and something on the planet killed the aliens who operated

737
00:42:27,120 --> 00:42:30,359
Speaker 3: the ship. That that's the situation in Alien and it's

738
00:42:30,400 --> 00:42:32,719
Speaker 3: the situation in Planet of the Vampires. So it's a

739
00:42:32,880 --> 00:42:36,440
Speaker 3: pretty strong similarity and their visual similarities too, with like

740
00:42:36,480 --> 00:42:39,360
Speaker 3: the way the skeleton looks stretched out like the engineer

741
00:42:39,400 --> 00:42:44,279
Speaker 3: in Alien and the skeleton in Planet Here. And so

742
00:42:44,640 --> 00:42:48,640
Speaker 3: eventually two crew members who had previously been thought dead

743
00:42:49,000 --> 00:42:52,000
Speaker 3: show up on the ship, and they are soon revealed

744
00:42:52,040 --> 00:42:55,839
Speaker 3: to be not their original selves but dead bodies that

745
00:42:55,880 --> 00:42:59,840
Speaker 3: have been reanimated and possessed by some kind of incorporeal

746
00:43:00,000 --> 00:43:03,839
Speaker 3: beings native to the planet somehow like the native inhabitants

747
00:43:03,880 --> 00:43:08,440
Speaker 3: of this planet. It's almost suggested that because of the

748
00:43:08,480 --> 00:43:12,160
Speaker 3: decline of their species, they've been reduced to a kind

749
00:43:12,200 --> 00:43:16,120
Speaker 3: of ghost like or wraith like existence where they have

750
00:43:16,239 --> 00:43:18,600
Speaker 3: no bodies of their own and must only and can

751
00:43:18,640 --> 00:43:22,880
Speaker 3: only exist by occupying the more vital bodies of still

752
00:43:22,920 --> 00:43:25,320
Speaker 3: living beings from a more vital planet.

753
00:43:26,000 --> 00:43:28,320
Speaker 1: Yeah. Yeah, they're kind of like hungry ghosts.

754
00:43:28,880 --> 00:43:32,280
Speaker 3: The planet Aura is dying because the sun is fading,

755
00:43:32,480 --> 00:43:35,760
Speaker 3: and the Distress Beacon was in fact designed to lure

756
00:43:35,800 --> 00:43:38,799
Speaker 3: in aliens that they could possess and then steal their

757
00:43:38,840 --> 00:43:43,280
Speaker 3: spacecraft to escape the planet and find greener pastures elsewhere.

758
00:43:43,680 --> 00:43:46,400
Speaker 3: So the remaining humans try to prevent this by blowing

759
00:43:46,440 --> 00:43:50,320
Speaker 3: up the galleat, and they succeed there and eventually escape

760
00:43:50,320 --> 00:43:54,040
Speaker 3: on the Argus, with the only survivors being Marcury, Sonia

761
00:43:54,160 --> 00:43:57,920
Speaker 3: and Wes the Engineer. But spoiler for a twist coming,

762
00:43:58,360 --> 00:44:02,200
Speaker 3: Marcury and Sonia announce to West that they are actually

763
00:44:02,280 --> 00:44:05,359
Speaker 3: also possessed by the invisible vampires of Aura, and they

764
00:44:05,360 --> 00:44:07,879
Speaker 3: give a little speech they say, you know, they tell Wes,

765
00:44:07,960 --> 00:44:13,080
Speaker 3: come along, merge with us. It's great, it's bliss, And

766
00:44:14,440 --> 00:44:16,960
Speaker 3: so Wes reacts by trying to destroy the ship. He

767
00:44:17,000 --> 00:44:20,440
Speaker 3: attacks the media rejector once again and he's killed in

768
00:44:20,480 --> 00:44:23,960
Speaker 3: the process. But without a meteor rejector, the vampire versions

769
00:44:23,960 --> 00:44:27,240
Speaker 3: of Marcury and Sonia have no choice but to land

770
00:44:27,280 --> 00:44:30,520
Speaker 3: at the nearest available planet. And they zoom in on

771
00:44:30,560 --> 00:44:34,080
Speaker 3: the viewscreen and what is the planet? It is Earth.

772
00:44:34,200 --> 00:44:36,960
Speaker 3: We see like North and South America, and so I

773
00:44:36,960 --> 00:44:39,320
Speaker 3: guess or Earth is next.

774
00:44:39,760 --> 00:44:42,400
Speaker 1: Yeah, this is very exciting, and I think I'd actually

775
00:44:42,480 --> 00:44:45,760
Speaker 1: forgotten about this twist from when I watched the film

776
00:44:46,400 --> 00:44:50,680
Speaker 1: just a little less than a year ago, and so yeah,

777
00:44:50,680 --> 00:44:52,919
Speaker 1: I was excited by the first of all the dark

778
00:44:52,960 --> 00:44:56,080
Speaker 1: twist here. We've talked about some other films from this

779
00:44:56,920 --> 00:44:59,520
Speaker 1: era and how at times it feels like they were

780
00:44:59,680 --> 00:45:03,520
Speaker 1: very hesitant to end things on a bummer note or

781
00:45:03,560 --> 00:45:06,160
Speaker 1: on a dark note, and this is certainly kind of

782
00:45:06,280 --> 00:45:09,880
Speaker 1: a dark note because we have these like psychic parasitic

783
00:45:09,960 --> 00:45:14,239
Speaker 1: aliens that now can't can't go to the technologically advanced planet.

784
00:45:14,280 --> 00:45:16,720
Speaker 1: They have to come to this barbaric planet of Earth.

785
00:45:17,440 --> 00:45:21,040
Speaker 1: And we get the super zoom in and we see

786
00:45:21,080 --> 00:45:23,680
Speaker 1: the city of New York. I believe it's supposed to

787
00:45:23,719 --> 00:45:26,000
Speaker 1: be New York, much in the same way that we

788
00:45:26,040 --> 00:45:28,400
Speaker 1: see some zoom INDs of New York City in Santa

789
00:45:28,400 --> 00:45:32,960
Speaker 1: Claus versus the Martians, by the way, but part of

790
00:45:32,960 --> 00:45:37,080
Speaker 1: me was a little disappointed that it was clear that

791
00:45:37,160 --> 00:45:39,920
Speaker 1: this was a then modern day Earth that they were

792
00:45:40,000 --> 00:45:42,399
Speaker 1: arriving at, because for a second there was thinking, oh,

793
00:45:42,400 --> 00:45:46,279
Speaker 1: what if they're about to arrive at truly like a

794
00:45:46,320 --> 00:45:51,320
Speaker 1: prehistoric day in Earth's history, or you know, very early

795
00:45:51,400 --> 00:45:55,440
Speaker 1: on in human history. And maybe because they talk about

796
00:45:56,280 --> 00:45:58,560
Speaker 1: when the aliens are pitching their whole like let us

797
00:45:58,600 --> 00:46:00,719
Speaker 1: live inside you thing, they're kind of like, well, you

798
00:46:00,800 --> 00:46:02,480
Speaker 1: just have to reduce your will a little bit, and

799
00:46:02,520 --> 00:46:06,200
Speaker 1: it's it's not like a parasitism, it's they're kind of

800
00:46:06,200 --> 00:46:09,200
Speaker 1: making the case that it's more like symbiosis. And I

801
00:46:09,239 --> 00:46:11,240
Speaker 1: was thinking, like, wouldn't that have been a nice twist

802
00:46:11,520 --> 00:46:14,160
Speaker 1: if they if it's kind of revealed that what we

803
00:46:14,320 --> 00:46:18,680
Speaker 1: are is due to their interference, that like the You know,

804
00:46:18,680 --> 00:46:21,360
Speaker 1: the mystery of human consciousness is wrapped up in the

805
00:46:21,400 --> 00:46:26,480
Speaker 1: fact that psychic aliens from another world infiltrated our species

806
00:46:26,520 --> 00:46:28,800
Speaker 1: at some prior age and human evolution.

807
00:46:29,480 --> 00:46:33,480
Speaker 3: We are the vampires. The vampires are our consciousness or something.

808
00:46:33,560 --> 00:46:36,360
Speaker 1: Yeah, yeah, but I guess instead it's supposed to be

809
00:46:36,400 --> 00:46:38,839
Speaker 1: like nineteen sixties New York and they're going to show

810
00:46:38,880 --> 00:46:41,600
Speaker 1: up there instead, which is fine. Which is fine, not

811
00:46:41,640 --> 00:46:45,719
Speaker 1: a criticism. It's still solid dancing. Yeah, we don't need

812
00:46:45,760 --> 00:46:48,000
Speaker 1: to see this. I'm glad they didn't try and actually

813
00:46:48,000 --> 00:46:51,759
Speaker 1: film a sequel, but yeah, this is a solid twist ending.

814
00:46:51,800 --> 00:46:56,920
Speaker 1: I liked it a lot.

815
00:47:01,360 --> 00:47:03,399
Speaker 3: Now, there was something I just briefly wanted to mention.

816
00:47:03,600 --> 00:47:06,160
Speaker 3: I was looking at a chapter in a book called

817
00:47:06,239 --> 00:47:10,200
Speaker 3: Horror in Space, Critical Essays on a film subgenre, edited

818
00:47:10,239 --> 00:47:14,320
Speaker 3: by Michelle Brittany from twenty seventeen, and there's a chapter

819
00:47:14,440 --> 00:47:19,600
Speaker 3: in this about space horror movies that are specifically quote

820
00:47:19,800 --> 00:47:23,759
Speaker 3: undead planets in vampiric dream worlds in outer space. This

821
00:47:23,840 --> 00:47:28,160
Speaker 3: is by an author named Simon Bacon. The top line

822
00:47:28,160 --> 00:47:31,160
Speaker 3: title of the chapter is under the influence. Now it

823
00:47:31,200 --> 00:47:35,799
Speaker 3: goes into a lot of complicated detail about like postmodern

824
00:47:35,920 --> 00:47:39,520
Speaker 3: theory of hyper reality based on Bouderyard and stuff, And

825
00:47:39,840 --> 00:47:42,040
Speaker 3: I'm not going to go in depth on that. I

826
00:47:42,120 --> 00:47:44,720
Speaker 3: just want to say that it's got a cool idea

827
00:47:44,800 --> 00:47:52,120
Speaker 3: that basically that earth life and our natural societies in

828
00:47:52,160 --> 00:47:56,960
Speaker 3: an industrialized world, a state in which we are constantly

829
00:47:57,880 --> 00:48:01,440
Speaker 3: hyper aroused by technology and media all around us that

830
00:48:01,480 --> 00:48:05,400
Speaker 3: are presenting us imagery and just a barrage of super

831
00:48:05,440 --> 00:48:09,080
Speaker 3: normal stimuli that creates a kind of Disneyland reality where

832
00:48:09,120 --> 00:48:12,160
Speaker 3: the senses never come to rest and as a result,

833
00:48:12,239 --> 00:48:15,720
Speaker 3: we never experience something that feels like the real world,

834
00:48:15,800 --> 00:48:20,840
Speaker 3: like we are alienated from a sense of baseline, authentic

835
00:48:20,960 --> 00:48:24,560
Speaker 3: reality by the fact that we are that we are

836
00:48:24,719 --> 00:48:29,120
Speaker 3: in a constant state of hyperstimulation and arousal. And it

837
00:48:29,200 --> 00:48:33,360
Speaker 3: contrasts that with what is often shown to be life

838
00:48:33,400 --> 00:48:37,040
Speaker 3: aboard a spaceship in science fiction movies. So you can

839
00:48:37,080 --> 00:48:41,320
Speaker 3: think about the slow tranquility of the scenes where characters

840
00:48:41,360 --> 00:48:43,759
Speaker 3: are walking around in the command room as they're just

841
00:48:43,840 --> 00:48:47,560
Speaker 3: flying through space. That of course space itself being without

842
00:48:47,719 --> 00:48:49,600
Speaker 3: sound in it, that's a big part of it. You

843
00:48:49,600 --> 00:48:53,240
Speaker 3: know that it's just a very calming void. And in fact,

844
00:48:53,360 --> 00:48:55,800
Speaker 3: in a lot of these sci fi movies, characters literally

845
00:48:55,880 --> 00:48:58,799
Speaker 3: go into a state of suspended animation. It's like an

846
00:48:58,960 --> 00:49:06,080
Speaker 3: unnaturally tranquil condition where that hyper stimulated reality recedes and

847
00:49:06,280 --> 00:49:10,400
Speaker 3: you can almost approach a more authentic and real version

848
00:49:10,600 --> 00:49:13,800
Speaker 3: of connection to the physical environment by going into the

849
00:49:13,880 --> 00:49:16,680
Speaker 3: void of space. So I thought that was interesting. But

850
00:49:16,680 --> 00:49:19,080
Speaker 3: then the second half of it is that a lot

851
00:49:19,120 --> 00:49:21,480
Speaker 3: of these space horror movies that involve a kind of

852
00:49:21,680 --> 00:49:25,560
Speaker 3: vampiric entity in outer space, like a planet that wants

853
00:49:25,600 --> 00:49:28,560
Speaker 3: to drain our life force or something like that, it

854
00:49:28,719 --> 00:49:32,960
Speaker 3: often seems to work by taking those astronauts who have

855
00:49:33,040 --> 00:49:36,080
Speaker 3: been rendered kind of tranquil and more in touch with

856
00:49:36,160 --> 00:49:40,120
Speaker 3: a real baseline reality by their space travels and trying

857
00:49:40,160 --> 00:49:43,239
Speaker 3: to put them in these states of hyper excitement and

858
00:49:43,280 --> 00:49:44,480
Speaker 3: arousal once again.

859
00:49:45,440 --> 00:49:49,359
Speaker 1: All right, So it's almost like through space travel they

860
00:49:49,400 --> 00:49:53,880
Speaker 1: have disconnected from the artificial world, become more in line

861
00:49:54,000 --> 00:49:57,480
Speaker 1: with the underlying reality, kind of achieved sort of a

862
00:49:57,560 --> 00:50:02,040
Speaker 1: space Buddha hood. They're being like sucked back into the

863
00:50:02,880 --> 00:50:05,680
Speaker 1: into into into the material world, into the world of

864
00:50:05,719 --> 00:50:08,800
Speaker 1: again all this super normal stimuli, a world of desire

865
00:50:08,920 --> 00:50:09,920
Speaker 1: and ravenous hunger.

866
00:50:10,440 --> 00:50:13,080
Speaker 3: Yes, And to use a very cliched example, it's like,

867
00:50:13,239 --> 00:50:16,520
Speaker 3: by going into space, you essentially are able to unplug

868
00:50:16,560 --> 00:50:19,680
Speaker 3: from the matrix. And then there are all these movies that,

869
00:50:19,880 --> 00:50:22,600
Speaker 3: in some way or other, there's a there's a monster

870
00:50:22,760 --> 00:50:25,759
Speaker 3: in space, and what it wants you to do once

871
00:50:25,840 --> 00:50:29,720
Speaker 3: you come within its influence is to kind of use

872
00:50:30,040 --> 00:50:33,800
Speaker 3: you use your body or use your brain to itself

873
00:50:33,880 --> 00:50:36,520
Speaker 3: plug into your matrix that you've just gotten out of.

874
00:50:37,640 --> 00:50:39,960
Speaker 1: All right, And so the argument here is these distant

875
00:50:40,000 --> 00:50:43,840
Speaker 1: worlds are kind of a way of holding the mirror

876
00:50:43,960 --> 00:50:49,000
Speaker 1: up to Earth itself, to what our actual society and

877
00:50:49,040 --> 00:50:51,399
Speaker 1: culture and media is doing to us.

878
00:50:51,840 --> 00:50:53,720
Speaker 3: Yeah, so I thought that was kind of interesting.

879
00:50:54,280 --> 00:50:58,320
Speaker 1: Yeah, Yeah, I like that. I like a good academic

880
00:50:58,400 --> 00:51:02,719
Speaker 1: read on on pictures line like this, where clearly and

881
00:51:02,760 --> 00:51:05,640
Speaker 1: clearly they weren't intending to really make any statements, and

882
00:51:05,920 --> 00:51:08,719
Speaker 1: this sort of thing with the Planet of the Vampires

883
00:51:09,320 --> 00:51:11,359
Speaker 1: no more than event Horizon was trying to.

884
00:51:11,680 --> 00:51:11,879
Speaker 4: Yeah.

885
00:51:11,920 --> 00:51:14,200
Speaker 3: I guess the argument in favor of theories like this

886
00:51:14,239 --> 00:51:18,520
Speaker 3: would be that there is sort of common thoughts that

887
00:51:18,560 --> 00:51:22,879
Speaker 3: people are having in a kind of inarticulated or subconscious

888
00:51:22,920 --> 00:51:25,080
Speaker 3: way that are coming through in these works of art

889
00:51:25,120 --> 00:51:25,840
Speaker 3: and entertainment.

890
00:51:26,160 --> 00:51:28,759
Speaker 1: Yeah, I mean, the myth is popular because the myth

891
00:51:28,840 --> 00:51:32,440
Speaker 1: is doing something that it's stirring certain thoughts, and sometimes

892
00:51:32,480 --> 00:51:34,879
Speaker 1: there's a uniformity to the thoughts that are stirred by

893
00:51:34,920 --> 00:51:37,400
Speaker 1: the myth, and so yeah, it's all fair game to

894
00:51:37,600 --> 00:51:41,480
Speaker 1: analyze exactly what is the collective experience of this story.

895
00:51:41,920 --> 00:51:44,680
Speaker 3: Now, to jut off in a totally different direction, I

896
00:51:44,719 --> 00:51:48,680
Speaker 3: want to mention how Rachel and I totally went down

897
00:51:48,719 --> 00:51:52,160
Speaker 3: a labyrinthine rabbit hole trying to figure out the font

898
00:51:52,200 --> 00:51:54,960
Speaker 3: of the opening credits of Planet of the Empowers, because

899
00:51:55,040 --> 00:51:58,640
Speaker 3: whatever it is, it's first of all beautiful, I love

900
00:51:58,719 --> 00:52:03,040
Speaker 3: the design, and second it seems to have made it

901
00:52:03,239 --> 00:52:06,760
Speaker 3: or something like it seems to have become recently popular

902
00:52:06,800 --> 00:52:09,279
Speaker 3: in the publishing industry. Rachel was looking at the screen.

903
00:52:09,400 --> 00:52:11,680
Speaker 3: She said something like, I've read three books in the

904
00:52:11,719 --> 00:52:14,359
Speaker 3: past year that had to cover with this font on it,

905
00:52:14,960 --> 00:52:17,400
Speaker 3: and so we kind of turned into that guy in

906
00:52:17,480 --> 00:52:21,719
Speaker 3: Zodiac trying to track all this down, and much like Zodiac,

907
00:52:22,000 --> 00:52:25,440
Speaker 3: the Mad Investigation had an inconclusive result. Turns out these

908
00:52:25,480 --> 00:52:28,960
Speaker 3: books don't actually use all exactly the same font as

909
00:52:29,040 --> 00:52:30,960
Speaker 3: the movie or as each other, but they all kind

910
00:52:30,960 --> 00:52:34,440
Speaker 3: of look similar, and that look is an elegant sans

911
00:52:34,520 --> 00:52:37,920
Speaker 3: Sarah or only barely Sarah to all caps font that

912
00:52:38,080 --> 00:52:41,719
Speaker 3: is a bit like hand lettering, and it emits fumes

913
00:52:41,719 --> 00:52:45,200
Speaker 3: of retro Hollywood. I think the closest real font we

914
00:52:45,320 --> 00:52:47,840
Speaker 3: found too, it was called Lydian and you so you

915
00:52:47,880 --> 00:52:51,799
Speaker 3: can look that up and get a close approximation, but

916
00:52:51,840 --> 00:52:54,640
Speaker 3: not exactly. And then after the whole thing, I realized,

917
00:52:54,960 --> 00:52:57,080
Speaker 3: in fact, this text might not even be a standard

918
00:52:57,080 --> 00:52:59,320
Speaker 3: type set at all, might just be hand painted lettering.

919
00:52:59,360 --> 00:53:02,640
Speaker 3: I'm not sure, but either way, it's gorgeous and it

920
00:53:03,680 --> 00:53:05,600
Speaker 3: looking at these credits it made me want to wear

921
00:53:05,640 --> 00:53:08,719
Speaker 3: sunglasses indoors and like walk around the block with a

922
00:53:08,760 --> 00:53:10,040
Speaker 3: campari on the rocks.

923
00:53:11,800 --> 00:53:14,560
Speaker 1: Yeah, yeah, it's you know, sometimes I feel like I

924
00:53:14,560 --> 00:53:19,600
Speaker 1: suffer from font blindness and ultimately can't tell some of

925
00:53:19,640 --> 00:53:21,479
Speaker 1: these fonts from each other. But this is this is nice.

926
00:53:21,520 --> 00:53:22,920
Speaker 1: These are nice fonts. I'll give you that.

927
00:53:23,320 --> 00:53:26,120
Speaker 3: Also, can we talk about how spacious the command room

928
00:53:26,200 --> 00:53:27,040
Speaker 3: in this ship is.

929
00:53:27,480 --> 00:53:30,440
Speaker 1: Oh, it's enormous. It's like a it's like a TV

930
00:53:31,360 --> 00:53:32,440
Speaker 1: church set or something.

931
00:53:32,480 --> 00:53:36,160
Speaker 3: You know, it's bigger than my house. There's gigantic, like

932
00:53:36,360 --> 00:53:40,760
Speaker 3: there is just tons of open floor space with nothing

933
00:53:40,800 --> 00:53:44,400
Speaker 3: in it, And I think about how that contrasts to

934
00:53:44,640 --> 00:53:46,759
Speaker 3: a lot of other movies where the command room is

935
00:53:46,840 --> 00:53:49,239
Speaker 3: very cramped. It's like seats right next to each other

936
00:53:49,719 --> 00:53:52,919
Speaker 3: and these consoles directly in front of them. That this

937
00:53:53,280 --> 00:53:55,200
Speaker 3: command room is like a warehouse.

938
00:53:55,760 --> 00:53:58,240
Speaker 1: Yeah, like, yeah, you can compare this to say Alien,

939
00:53:58,360 --> 00:54:02,000
Speaker 1: where everything is very cram and you certainly don't have

940
00:54:02,080 --> 00:54:05,480
Speaker 1: wide open spaces in which characters could conceivably dance with

941
00:54:05,520 --> 00:54:09,319
Speaker 1: one another. I imagine some filmmakers of the day were

942
00:54:09,320 --> 00:54:11,440
Speaker 1: probably asking, why is there not a dance number in

943
00:54:11,480 --> 00:54:12,760
Speaker 1: this Well.

944
00:54:12,600 --> 00:54:14,920
Speaker 3: But there is a well choreographed fight scene in this

945
00:54:14,960 --> 00:54:15,520
Speaker 3: big room.

946
00:54:16,080 --> 00:54:18,000
Speaker 1: Oh yeah, And you know, I have to say I

947
00:54:18,600 --> 00:54:22,840
Speaker 1: was kind of shocked to hear myself thinking this, but

948
00:54:22,960 --> 00:54:25,319
Speaker 1: I dug the fight choreography in this film. Like it's

949
00:54:25,560 --> 00:54:28,319
Speaker 1: a lot of times from this era that the action

950
00:54:28,400 --> 00:54:31,120
Speaker 1: as a little cowboy asque, you know, when you're looking

951
00:54:31,200 --> 00:54:35,040
Speaker 1: at US and European films. But there's something about the

952
00:54:35,360 --> 00:54:37,880
Speaker 1: physicality in this that it feels like it's the right level.

953
00:54:37,920 --> 00:54:40,920
Speaker 1: There's a scuffle kind of late in the film that's

954
00:54:40,960 --> 00:54:44,000
Speaker 1: pretty well put together, and there's a moment early on

955
00:54:44,200 --> 00:54:47,759
Speaker 1: when like the crew members are going crazy where one

956
00:54:47,880 --> 00:54:50,200
Speaker 1: character there are a couple characters on screen, and then

957
00:54:50,200 --> 00:54:54,600
Speaker 1: a character runs in from off screen with tremendous speed,

958
00:54:55,040 --> 00:54:58,279
Speaker 1: attempting to clobber or grapple somebody. And I think this

959
00:54:58,360 --> 00:55:00,719
Speaker 1: is the scene is accentuated by the sound of those

960
00:55:00,760 --> 00:55:05,440
Speaker 1: metallic footfalls in the ship. But it's like wop, and

961
00:55:05,480 --> 00:55:08,920
Speaker 1: there he is, and uh, yeah, it feels very real. Now.

962
00:55:08,960 --> 00:55:12,200
Speaker 3: Another scene that stands out to me every time, and

963
00:55:12,239 --> 00:55:13,680
Speaker 3: I know it stood out to you as well, that

964
00:55:13,920 --> 00:55:16,480
Speaker 3: we've got to talk about is the scene where the

965
00:55:16,520 --> 00:55:18,960
Speaker 3: buried crew members rise from the grave.

966
00:55:19,840 --> 00:55:23,840
Speaker 1: Yes, so again it's you get it's not really revealed

967
00:55:23,840 --> 00:55:26,799
Speaker 1: at this point, I think, but you certainly get the

968
00:55:26,840 --> 00:55:30,160
Speaker 1: inclination that, yeah, these are not normal Earth humans because

969
00:55:30,200 --> 00:55:34,680
Speaker 1: they're burial practices. Their field burials are weird. It involves

970
00:55:34,719 --> 00:55:36,799
Speaker 1: not just digging a pit, but in across at the

971
00:55:36,840 --> 00:55:39,399
Speaker 1: top of it. No, they dig out a hole, They

972
00:55:39,440 --> 00:55:42,440
Speaker 1: wrap the body in plastic, place the plastic wrap body

973
00:55:42,480 --> 00:55:46,440
Speaker 1: in the hole, cover said hole or ditch with metal plating,

974
00:55:46,760 --> 00:55:50,560
Speaker 1: and then erect a weird metal obelisk at the head

975
00:55:50,600 --> 00:55:51,160
Speaker 1: of the grave.

976
00:55:51,600 --> 00:55:55,680
Speaker 3: The obelisk looks like a cowtools version of a pocket

977
00:55:55,760 --> 00:55:56,560
Speaker 3: knife saw.

978
00:55:57,120 --> 00:55:59,640
Speaker 1: Yeah, and it's it's wonderfully weird, like it doesn't match

979
00:55:59,719 --> 00:56:03,640
Speaker 1: up with with human religions and funeral traditions, so it's

980
00:56:03,680 --> 00:56:06,319
Speaker 1: just like early on you're just like, what are what

981
00:56:06,360 --> 00:56:09,279
Speaker 1: are they doing? Why? Why is this what they do?

982
00:56:09,880 --> 00:56:13,760
Speaker 1: And yeah, it adds and it's enough like an actual

983
00:56:13,880 --> 00:56:16,200
Speaker 1: grave and grave traditions that we can connect with it

984
00:56:16,239 --> 00:56:18,759
Speaker 1: and we can connect with the undead stuff to follow.

985
00:56:19,239 --> 00:56:22,480
Speaker 1: But it's it's also just weird and inhuman it's it's wonderful.

986
00:56:22,880 --> 00:56:26,759
Speaker 3: But the really I'm not sure exactly why this is,

987
00:56:26,840 --> 00:56:30,560
Speaker 3: but the thing that makes the scene where the bodies

988
00:56:30,600 --> 00:56:33,080
Speaker 3: come out of the grave perfect for me is the

989
00:56:33,080 --> 00:56:35,880
Speaker 3: clear plastic they're draped in because they rise up, they

990
00:56:35,880 --> 00:56:38,080
Speaker 3: don't just like cut through it and then stand up.

991
00:56:38,440 --> 00:56:41,520
Speaker 3: They stand up with the with the plastic sheeting still

992
00:56:41,560 --> 00:56:45,719
Speaker 3: wrapped around them and ooh, it's it's chilling and it's beautiful.

993
00:56:46,120 --> 00:56:47,840
Speaker 1: Yeah, this is one of my favorite scenes in the

994
00:56:47,840 --> 00:56:51,560
Speaker 1: whole picture because of course we have this hellish lighting

995
00:56:51,680 --> 00:56:55,000
Speaker 1: behind the entities as they rise, so it's you know,

996
00:56:55,040 --> 00:56:58,880
Speaker 1: we already have this very apispheric feel to the environment.

997
00:56:59,320 --> 00:57:02,720
Speaker 1: They're rising up in this this plastic or rubber sheeting,

998
00:57:02,760 --> 00:57:06,080
Speaker 1: and we get the wonderful sound effects of that rubber

999
00:57:06,560 --> 00:57:10,040
Speaker 1: or plastic stretching and being ripped. Like when I look

1000
00:57:10,120 --> 00:57:13,000
Speaker 1: at the still I can hear the sound. That's how

1001
00:57:13,000 --> 00:57:17,040
Speaker 1: strong it is. And I think one of the things

1002
00:57:17,080 --> 00:57:19,000
Speaker 1: that works here is that on some level, I don't

1003
00:57:19,000 --> 00:57:21,480
Speaker 1: know if they intended this, but it's almost like it

1004
00:57:21,560 --> 00:57:25,160
Speaker 1: is a rebirth and it's in the plastic or rubber

1005
00:57:25,320 --> 00:57:28,520
Speaker 1: is like a birth call that must then be ripped

1006
00:57:28,560 --> 00:57:31,760
Speaker 1: from the creatures before they can go forth, and you know,

1007
00:57:31,880 --> 00:57:32,840
Speaker 1: cause their mischief.

1008
00:57:33,120 --> 00:57:36,720
Speaker 3: Do you remember the scene later This is another undead

1009
00:57:36,800 --> 00:57:40,160
Speaker 3: reveal where they're the crew members who come back and

1010
00:57:40,240 --> 00:57:43,520
Speaker 3: they're acting like that, oh yeah, sorry, we're still alive.

1011
00:57:43,560 --> 00:57:46,560
Speaker 3: We were just somewhere else and you need to let

1012
00:57:46,640 --> 00:57:49,160
Speaker 3: us onto the ship now. And there's a moment where

1013
00:57:49,480 --> 00:57:52,200
Speaker 3: one of their vests gets knocked open, like the leather

1014
00:57:52,680 --> 00:57:56,000
Speaker 3: jumpsuit comes open, and you see his torso and it's

1015
00:57:56,040 --> 00:57:59,520
Speaker 3: just like gouged out and rotting. Yeah, and he quickly

1016
00:57:59,560 --> 00:58:02,320
Speaker 3: covers back up. And somehow that felt like it was

1017
00:58:02,320 --> 00:58:04,880
Speaker 3: on the same frequency as the clear plastic.

1018
00:58:05,440 --> 00:58:09,200
Speaker 1: Yeah, yeah, absolutely, Now, oh, some other shot. I mean,

1019
00:58:09,320 --> 00:58:11,400
Speaker 1: this is a film that's just filled with beautiful shots.

1020
00:58:11,400 --> 00:58:14,600
Speaker 1: So we can't give, you know, due diligence to all

1021
00:58:14,640 --> 00:58:16,760
Speaker 1: of them, but some of the ones I loved. I

1022
00:58:16,800 --> 00:58:20,840
Speaker 1: loved how there are scenes where characters are talking to

1023
00:58:20,920 --> 00:58:26,800
Speaker 1: each other through essentially little screens. But at least some

1024
00:58:26,840 --> 00:58:28,880
Speaker 1: of these, not all of them, but I think some

1025
00:58:28,920 --> 00:58:32,280
Speaker 1: of these were created by simply having the character stand

1026
00:58:32,280 --> 00:58:34,680
Speaker 1: on the other side of a of a like a

1027
00:58:34,680 --> 00:58:40,760
Speaker 1: plastic bubble, which works really well. I don't know, I

1028
00:58:40,840 --> 00:58:43,480
Speaker 1: just again, it's something coming back to Bava, Like Bava

1029
00:58:43,520 --> 00:58:47,960
Speaker 1: excels at having characters look through windows at each other

1030
00:58:48,160 --> 00:58:50,840
Speaker 1: or at the camera, and so here we have the

1031
00:58:50,920 --> 00:58:52,480
Speaker 1: technological version of that.

1032
00:58:52,880 --> 00:58:55,320
Speaker 3: You remember the face through the window in the Verdilac.

1033
00:58:55,800 --> 00:58:59,640
Speaker 1: Yeah, yeah, So it's definitely something to look for anytime

1034
00:58:59,680 --> 00:59:03,640
Speaker 1: you watch Upava film. Now, how about that alien spaceship though, Oh,

1035
00:59:03,680 --> 00:59:06,040
Speaker 1: once we get to board that, oh, there's all sorts

1036
00:59:06,040 --> 00:59:06,920
Speaker 1: of wonderful stuff.

1037
00:59:07,280 --> 00:59:12,320
Speaker 3: So this is the scene where Barry Sullivan and Norma

1038
00:59:12,360 --> 00:59:15,280
Speaker 3: Bengal are wearing the gray and orange jumpsuits instead of

1039
00:59:15,280 --> 00:59:18,280
Speaker 3: the black and yellow ones, and they or I think

1040
00:59:18,280 --> 00:59:18,560
Speaker 3: it is.

1041
00:59:18,720 --> 00:59:20,440
Speaker 1: I'm pretty sure I believe that is right.

1042
00:59:20,520 --> 00:59:23,040
Speaker 3: Yeah, yeah, And so they go to investigate the Stereolic

1043
00:59:23,160 --> 00:59:26,200
Speaker 3: ship and inside there are these gigantic skeletons and there's

1044
00:59:26,240 --> 00:59:29,920
Speaker 3: purple lighting everywhere. Things appear to be draped in I

1045
00:59:29,920 --> 00:59:32,200
Speaker 3: don't even know what it is. It looks again, I guess,

1046
00:59:32,200 --> 00:59:35,840
Speaker 3: like clear plastic, but it doesn't read that way in

1047
00:59:35,960 --> 00:59:38,920
Speaker 3: the scene. It reads more like some kind of organic

1048
00:59:39,120 --> 00:59:42,240
Speaker 3: film that has been deposited there. And they're trying to

1049
00:59:42,320 --> 00:59:45,480
Speaker 3: understand the like the tools and the technology of the

1050
00:59:45,480 --> 00:59:49,280
Speaker 3: Stereolic spaceship, and they don't actually figure it all out.

1051
00:59:49,320 --> 00:59:51,320
Speaker 3: I mean, they do get locked inside for a moment

1052
00:59:51,360 --> 00:59:52,840
Speaker 3: and they think they're going to suffocate, and they have

1053
00:59:52,840 --> 00:59:55,040
Speaker 3: to figure out how to operate one of the one

1054
00:59:55,080 --> 00:59:58,040
Speaker 3: of the keys, the electronic keys that'll open the door.

1055
00:59:58,440 --> 01:00:01,600
Speaker 3: But the problem is that you can't. Their puny bodies

1056
01:00:01,680 --> 01:00:04,760
Speaker 3: can't handle these keys that they like get shocked by them.

1057
01:00:05,040 --> 01:00:08,800
Speaker 1: Yeah, and there's this wonderful sequence where they're moving through

1058
01:00:09,360 --> 01:00:14,680
Speaker 1: I guess it's like several portholes. It's like concentric circles.

1059
01:00:14,720 --> 01:00:17,360
Speaker 1: It has a spiral feel to it the way that

1060
01:00:17,440 --> 01:00:21,000
Speaker 1: it's framed. This is one of the more beautiful shots

1061
01:00:21,040 --> 01:00:23,600
Speaker 1: in the whole picture. That's their entrance into the space

1062
01:00:23,720 --> 01:00:25,320
Speaker 1: the alien spaceship, and then of course they have to

1063
01:00:25,360 --> 01:00:28,800
Speaker 1: exit that way as well. And like I think I

1064
01:00:28,800 --> 01:00:34,000
Speaker 1: said earlier, anytime a door is opening in this movie,

1065
01:00:34,160 --> 01:00:38,520
Speaker 1: it's just in I'm just enraptured. Like the doors on

1066
01:00:38,560 --> 01:00:41,800
Speaker 1: the on the main spaceships, but also the doors on

1067
01:00:41,840 --> 01:00:45,040
Speaker 1: the alien spaceships, like they have a real weight to them.

1068
01:00:45,120 --> 01:00:50,720
Speaker 1: They feel like clunky and thick. I just was totally

1069
01:00:51,000 --> 01:00:53,640
Speaker 1: I totally bought in on all the sets in this film.

1070
01:00:53,800 --> 01:00:56,280
Speaker 3: This movie makes me want to compose a list. I

1071
01:00:56,320 --> 01:00:59,480
Speaker 3: think I need to consult consult with the audience here.

1072
01:01:00,040 --> 01:01:05,320
Speaker 3: Op Ten, all time planet surface sets in sci fi movies?

1073
01:01:05,840 --> 01:01:07,000
Speaker 3: What are your favorites?

1074
01:01:07,520 --> 01:01:13,120
Speaker 1: Oh? Wow, Like clearly sets in not actual environments, not

1075
01:01:13,200 --> 01:01:14,160
Speaker 1: all locations.

1076
01:01:14,760 --> 01:01:16,880
Speaker 3: Yeah, that does complicate it. I mean I do like

1077
01:01:16,920 --> 01:01:19,880
Speaker 3: a planet surface set that's more stagy in the way

1078
01:01:19,960 --> 01:01:22,160
Speaker 3: that this is as opposed to just like finding a

1079
01:01:22,160 --> 01:01:25,080
Speaker 3: weird landscape actually outdoors on Earth and using that that

1080
01:01:25,400 --> 01:01:27,440
Speaker 3: can be cool too in a more realistic movie.

1081
01:01:27,600 --> 01:01:29,760
Speaker 1: Yeah, both both work or can work.

1082
01:01:30,200 --> 01:01:33,480
Speaker 3: Like I know, I've talked about this on the show before. Oh,

1083
01:01:33,520 --> 01:01:37,240
Speaker 3: what's it called? The sequel to Prometheus, The Alien Covenant

1084
01:01:37,440 --> 01:01:41,800
Speaker 3: Alien Covenant a great example of a terrible movie that

1085
01:01:41,920 --> 01:01:45,000
Speaker 3: I just really like for some reason despite it being bad.

1086
01:01:45,320 --> 01:01:48,600
Speaker 3: I recognize it's bad, but it just it just works

1087
01:01:48,640 --> 01:01:52,440
Speaker 3: for me and the I mean, the planet surface sets

1088
01:01:52,440 --> 01:01:54,000
Speaker 3: in that movie are great though they're all I think

1089
01:01:54,040 --> 01:01:54,840
Speaker 3: outdoor sets.

1090
01:01:55,560 --> 01:01:58,000
Speaker 1: Well, I would not say that Alien Covenant is terrible.

1091
01:01:58,080 --> 01:02:01,360
Speaker 1: I would say that Alien Covenant is a buffet, and

1092
01:02:01,400 --> 01:02:03,880
Speaker 1: you don't have to load your plate up with everything

1093
01:02:03,920 --> 01:02:08,560
Speaker 1: from the buffet. Just focus on the tasty dessert treats.

1094
01:02:09,560 --> 01:02:17,600
Speaker 3: It is a buffet if a buffet included nachos, pizza, sushi, beef, tartar,

1095
01:02:18,960 --> 01:02:23,600
Speaker 3: and savice all in the same place, so.

1096
01:02:23,720 --> 01:02:25,120
Speaker 1: You don't have to load your plate up with all

1097
01:02:25,120 --> 01:02:27,400
Speaker 1: those things. But where are you going with that? Something

1098
01:02:27,440 --> 01:02:28,240
Speaker 1: about locations?

1099
01:02:28,280 --> 01:02:30,040
Speaker 3: Oh no, I was just talking about how it's a

1100
01:02:30,080 --> 01:02:33,840
Speaker 3: great example of I mean, beautiful planet surface sets, but

1101
01:02:33,840 --> 01:02:37,920
Speaker 3: they're just like I think, mostly shot actually on Earth's surface.

1102
01:02:38,040 --> 01:02:40,880
Speaker 3: They're just cool looking locations outdoors on Earth.

1103
01:02:41,120 --> 01:02:43,040
Speaker 1: Oh yeah, And of course Star Wars. The Star Wars

1104
01:02:43,080 --> 01:02:45,560
Speaker 1: franchise has long been graded this like find a unique

1105
01:02:45,600 --> 01:02:50,360
Speaker 1: environment and it feels totally believable. As an alien deser

1106
01:02:50,360 --> 01:02:54,240
Speaker 1: heerd or a Forest Moon. Right, all right, well we're

1107
01:02:54,240 --> 01:02:57,640
Speaker 1: gonna go ahead and call it there. I will say

1108
01:02:57,680 --> 01:02:59,760
Speaker 1: real quick, if you want to watch this movie for yourself,

1109
01:03:00,160 --> 01:03:03,560
Speaker 1: is widely available as of this recording. You can stream

1110
01:03:03,560 --> 01:03:05,960
Speaker 1: it on Prime is just part of your Prime membership.

1111
01:03:05,960 --> 01:03:08,880
Speaker 1: That's how I watched it. It's widely available on DVD,

1112
01:03:09,080 --> 01:03:11,520
Speaker 1: and Keno Lorber put out a very nice blu ray

1113
01:03:11,560 --> 01:03:13,320
Speaker 1: of this movie. Is that is that what you watched

1114
01:03:13,360 --> 01:03:13,520
Speaker 1: it on?

1115
01:03:13,600 --> 01:03:13,760
Speaker 5: Joe?

1116
01:03:13,800 --> 01:03:14,840
Speaker 1: Do you have the blue Yeah?

1117
01:03:14,880 --> 01:03:15,640
Speaker 3: I have the Blue ray?

1118
01:03:15,880 --> 01:03:19,400
Speaker 1: Yeah, So so yeah, check those out. Definitely worth seeing

1119
01:03:19,400 --> 01:03:23,040
Speaker 1: in the the highest visual quality you can you can do.

1120
01:03:23,080 --> 01:03:24,600
Speaker 1: And I also have to say, yeah, the first time

1121
01:03:24,640 --> 01:03:28,720
Speaker 1: I watched it, I watched it on my iPhone on

1122
01:03:28,520 --> 01:03:31,600
Speaker 1: a on an airplane and that was fine, But I

1123
01:03:31,680 --> 01:03:33,720
Speaker 1: enjoyed it much more on the big screen. Like some

1124
01:03:33,720 --> 01:03:35,920
Speaker 1: some films you can you can watch in your iPhone

1125
01:03:35,920 --> 01:03:39,200
Speaker 1: and you're not losing a lot like but but this,

1126
01:03:39,200 --> 01:03:40,800
Speaker 1: this is this is one that I think you need

1127
01:03:40,920 --> 01:03:42,480
Speaker 1: a nice big screen presentation.

1128
01:03:43,120 --> 01:03:45,240
Speaker 3: And hey, if you fall asleep while watching it, don't

1129
01:03:45,280 --> 01:03:47,240
Speaker 3: be ashamed. That's that's part of the vibe.

1130
01:03:47,320 --> 01:03:51,400
Speaker 1: That's just the movie doing its work. Oh, speaking of

1131
01:03:51,640 --> 01:03:54,800
Speaker 1: rubbing the fur. We we've said it enough. It's going

1132
01:03:54,880 --> 01:03:57,040
Speaker 1: to take on a physical reality. Keep an eye on

1133
01:03:57,080 --> 01:03:59,120
Speaker 1: our merch store. We're working on some rub the Fur

1134
01:03:59,160 --> 01:04:03,600
Speaker 1: emerge ice. Well, we'll see how it comes together. Let's

1135
01:04:03,640 --> 01:04:06,920
Speaker 1: see what else to mention. Oh yeah, if you like

1136
01:04:06,960 --> 01:04:09,440
Speaker 1: the website letterboxed, you can check out the profile for

1137
01:04:09,520 --> 01:04:12,960
Speaker 1: Weird House Cinema. There. It's just weird House. So sign

1138
01:04:13,080 --> 01:04:14,800
Speaker 1: up there, follow us there if that's your thing. Let

1139
01:04:14,880 --> 01:04:17,040
Speaker 1: us know what you think I can. Right now, it's

1140
01:04:17,080 --> 01:04:19,000
Speaker 1: just a list of the films that we've covered, but

1141
01:04:19,400 --> 01:04:21,560
Speaker 1: if people are interesting and interested enough in it, we

1142
01:04:21,560 --> 01:04:25,640
Speaker 1: could do a little more there. We'll see And yeah,

1143
01:04:25,680 --> 01:04:28,760
Speaker 1: this is Weird House Cinema every Friday. In the Stuff

1144
01:04:28,760 --> 01:04:31,760
Speaker 1: to Blow Your Mind podcast feed we're primarily a science podcast,

1145
01:04:32,200 --> 01:04:34,840
Speaker 1: but one day a weekly we like to set all

1146
01:04:34,920 --> 01:04:37,320
Speaker 1: that aside and just focus in on a weird and

1147
01:04:37,400 --> 01:04:39,439
Speaker 1: wonderful film such as this one.

1148
01:04:39,760 --> 01:04:43,400
Speaker 3: Huge thanks to our excellent audio producer Seth Nicholas Johnson.

1149
01:04:43,480 --> 01:04:45,120
Speaker 3: If you would like to get in touch with us

1150
01:04:45,120 --> 01:04:47,640
Speaker 3: with feedback on this episode or any other, to suggest

1151
01:04:47,640 --> 01:04:49,560
Speaker 3: a topic for the future, or just to say hello,

1152
01:04:49,640 --> 01:04:52,360
Speaker 3: you can email us at contact at stuff to Blow

1153
01:04:52,360 --> 01:05:00,480
Speaker 3: Your mind dot com.

1154
01:05:00,720 --> 01:05:03,680
Speaker 2: Stuff to Blow your Mind is production of iHeartRadio. For

1155
01:05:03,760 --> 01:05:07,600
Speaker 2: more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts,

1156
01:05:07,680 --> 01:05:09,440
Speaker 2: or wherever you listen to your favorite shows.