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Speaker 1: Too Much Information is a production of iHeartRadio.

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Speaker 2: Greetings, Boils and Ghouls, and welcome to tear Much interre.

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Speaker 3: Information, the show that brings you the scary kill stories

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Speaker 3: and slashinating facts and figures from your favorite telekill vision bovies.

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Speaker 2: Murder, Zick and more. God, that voice is exhausting. I

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Speaker 2: can see how that got how.

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Speaker 1: That destroyed the voice a voice.

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Speaker 2: Yeah, we're your two grave robbers of Genale rotting your

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Speaker 2: skeletons of Scintillae, you're werewolves of wherewithal I'm Alex Halloween Gull,

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Speaker 2: and I.

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Speaker 1: Am you wrote several suggestions for me. I can't take

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Speaker 1: credit for these. Jordan rot Tog, which is very good.

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Speaker 1: George Dead Run Dog also very good. My person my favorite,

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Speaker 1: I think is Gore Dan gr Yeah run tg Yeah.

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Speaker 1: All just ten out of ten knocked it out of

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Speaker 1: the pod. Thank you so manly well done.

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Speaker 2: And as I said before, welcome to three weeks of

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Speaker 2: Halloween themed too much Information. Because we didn't get it

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Speaker 2: together for last week. Whoops. Yeah, we should probably should

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Speaker 2: have started this last week, but we're spookally over work,

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Speaker 2: so we'll be kicking out the seasonally appropriate jams all

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Speaker 2: the rest of the month. Before we get things underway,

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Speaker 2: I would like to give a huge shout out to

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Speaker 2: our supporters on KOFE. Still not sure that it's pronounced

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Speaker 2: that way, but whatever I drop us a message, we

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Speaker 2: will answer. If you have shout outs, they will be

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Speaker 2: taken into consideration, unless they are weird or I don't know,

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Speaker 2: I have a pretty high tolerance. Jordan probably doesn't. I mean,

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Speaker 2: like sexual stuff.

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Speaker 1: Have you gotten any of those now yet?

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Speaker 2: Maybe after this one? Yeah, here we go. Anyway, thank

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Speaker 2: you to everyone who has donated to that thus far.

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Speaker 2: You know we it means the world, it really does.

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Speaker 2: And now let us get to the desiccated meat of

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Speaker 2: this week's episode. We are taking a look inside Tales

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Speaker 2: from the Crypt, seven season strong series that terrified HBO

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Speaker 2: subscribers of a certain age from nineteen eighty nine to

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Speaker 2: nineteen ninety six. Now, my dad was too cheap to

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Speaker 2: add HBO. There was a little a sort of peripherally

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Speaker 2: aware of the cryptkeeper because that dude was everywhere.

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Speaker 1: Was he like selling like McDonald's stuff. I have a.

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Speaker 2: Vague memory of pizza hut or like a pizza pizza

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Speaker 2: related thing. Yeah, that was it. So I only got

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Speaker 2: to watch these whenever they would like pop up at

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Speaker 2: video stores, which wasn't that frequent, and then you would

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Speaker 2: get the censored versions too if you came through Blockbuster

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Speaker 2: because they were Puritans.

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Speaker 1: Did you know that that Blockbuster with Puritans.

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Speaker 2: Blockbuster was so powerful in the nineties that they would.

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Speaker 1: Have their own cuts, right different, Yeah.

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Speaker 2: Yeah, they would have their own cuts. Yeah, and I.

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Speaker 1: Think there are some for people who collect vhs' is

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Speaker 1: like my brothers. I think some of those Blockbuster versions

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Speaker 1: are like rare collectibles. Now, if I'm recalling correctly, tremendous

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Speaker 1: censorship turned to commerce.

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Speaker 2: Yeah right, the American way literally the point of this episode.

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Speaker 2: Yeah yeah, yeah. So I only got to watch more

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Speaker 2: of these when I could, you know, torrent them. But

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Speaker 2: I did buy tons of easy comic trade paperbacks, which

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Speaker 2: is what this show draws from. At any half priced books,

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Speaker 2: I could enter with my sweaty little myths, and because

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Speaker 2: of rights issues, the show continues to only be available

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Speaker 2: through less than optimal mess Jordan as a frightened child

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Speaker 2: idealizing the nineteen fifties, What was your experience with Tales

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Speaker 2: from the Crypt?

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Speaker 1: I mean, don't forget how much I loved are you

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Speaker 1: for thought that's true? So I do have I have

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Speaker 1: from characteristically high tolerance for spooky stuff. That's fair. Like

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Speaker 1: I just just want to say.

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Speaker 2: That just just not guns n' roses.

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Speaker 1: Yeah, no, just much like you. I was aware of this,

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Speaker 1: but I didn't have a ton of exposure to it,

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Speaker 1: mostly because I couldn't figure out how to work the

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Speaker 1: family cable boxes, so my HBO viewing was pretty limited.

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Speaker 1: But yeah, I loved this uniquely late eighties early nineties

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Speaker 1: type of show, which usually kind of sci fi leaning

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Speaker 1: that felt like it was being secretly broadcast out of

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Speaker 1: someone's basement, like Wayne's World style. Sure, for me, Mystery

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Speaker 1: Signs Theater three thousand is a prime example of that

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Speaker 1: for me. And it's not a comment on production quality,

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Speaker 1: but just something about it just seemed so much weirder

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Speaker 1: than anything that was on network TV. Oh and I

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Speaker 1: always got a kick out of that.

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Speaker 2: It wasn't TV, it was agest Yeah, yeah, I mean,

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Speaker 2: as we'll learn later, the production quality was quite high, it.

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Speaker 1: Was very high. Yeah, but there was something like throwback

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Speaker 1: about oh yeah for sure, Yeah, which I always appreciated.

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Speaker 1: I mean, from seeming like it was descended from the

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Speaker 1: Twilight Zone, which I always loved to the kind of

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Speaker 1: borsh Belt style comedy styling zone.

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Speaker 2: It is so like nineteen fifties borsch Belt like Yiddish

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Speaker 2: stand up stuff.

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Speaker 1: It's so great, it's so so good. So I mean,

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Speaker 1: I remember watching this at like friend's houses more than

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Speaker 1: anything else. I remember there was one with like Malcolm

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Speaker 1: McDowell was like a he was like a vampire with

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Speaker 1: a conscience who worked at a blood bank.

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Speaker 2: Watched it the other night the reluctant vampire.

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Speaker 1: And George went from cheers like owns the blood bank

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Speaker 1: he works at or something. Yeah, yeah, that was a

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Speaker 1: good one. I remember that one. Yeah, I don't know.

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Speaker 1: I just remember thinking like, oh, this is like grown up.

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Speaker 1: Are you afraid of the dark? Are you afraid of

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Speaker 1: the Dark? Is like horror training wheels. But this was

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Speaker 1: like I remember at the time thinking this was the

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Speaker 1: real deal. I bet you if I watched it now,

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Speaker 1: it would probably be pretty laughable. Does it hold up?

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Speaker 1: I haven't actually watched them.

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Speaker 2: It's pretty goofy and like you know, it's clearly meant

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Speaker 2: to be more fun than scary. But there are some

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Speaker 2: like the very first episode where Larry Drake from La

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Speaker 2: Law plays a homicidal Santa is pretty out there.

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Speaker 1: Oh wow, yeah, I mean I remember mostly thinking that,

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Speaker 1: like the scariest part of the show was the criptkeeper.

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Speaker 2: He's gross. Yeah, he's real gross looking, even when they

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Speaker 2: put him in his little costumes. There was one last

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Speaker 2: night where the where the cold open had him being

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Speaker 2: like a Walter Cronkite like newscaster. And one thing that

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Speaker 2: like one that actually made me laugh out loud was

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Speaker 2: a dagger is thrown from off screen and lands in

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Speaker 2: his skull and he picks it out and goes this

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Speaker 2: just Ian, I was like, come so good. Yeah, I

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Speaker 2: do not love that.

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Speaker 1: I'm just so looking forward to this because I know

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Speaker 1: you're gonna be in your glory. I mean, you've got comics,

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Speaker 1: you've got horror, you've got probably or Schwarzenegger having a

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Speaker 1: good time. You've got what I believe to be the

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Speaker 1: prototypical cigar chompings. Executive Joel Silver, I mean, we really

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Speaker 1: this touches on so many points for you, so I'm

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Speaker 1: really excited.

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Speaker 2: Well, from the series' tenuous connection to seventy five year

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Speaker 2: old Bible comics to the historical Senate investigation that got

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Speaker 2: the source material canceled to the absolutely bonkers roster of

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Speaker 2: Hollywood stars and power brokers seemingly gleefully involved in the series.

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Speaker 2: Here's everything you didn't know about Tales from the Cryp. So,

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Speaker 2: as we alluded to at the top of the episode,

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Speaker 2: the history of Tales from the Cryp really begins with

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Speaker 2: DC Comics, which itself begins with a guy named Max Gaines,

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Speaker 2: who's a pretty foundational figure in the history of comic

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Speaker 2: books in America. Although he lacks the name recognition of

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Speaker 2: your Stan Lee's or perhaps even your Steve Ditko's. Maybe

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Speaker 2: you're Chris Claremont's.

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Speaker 1: Nothing I knew them in descending order.

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Speaker 2: According to his son William Gaines, Max was a piece

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Speaker 2: of sh He would frequently beat his son with a

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Speaker 2: leather belt and say you'll never amount to anything. But

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Speaker 2: regarding his day job, Gaines was working as a salesperson

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Speaker 2: in the year of nineteen thirty three at Eastern Color Printing,

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Speaker 2: a company that printed Sunday newspaper comic strips. So Gaines,

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Speaker 2: being a salesman, pitched Procter and Gamble the idea of

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Speaker 2: a tabloid sized book of color comic strip reprints that

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Speaker 2: would be available for five cents and or a label

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Speaker 2: or coupon for any Procter and Gamble product. They initially

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Speaker 2: rejected the idea, but Gaines pushed his vision through at

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Speaker 2: the printing company and he produced Funnies on Parade, which

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Speaker 2: was an eight page newsprint magazine reprinting several comic strips

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Speaker 2: licensed from syndicates.

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Speaker 1: Can we change to them of our show to Trivion Parade?

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Speaker 2: Yes, yeah, that's not bad. It did retain the Procter

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Speaker 2: and Gamble, though, angle, because it was sent free to

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Speaker 2: customers who mailed in coupons, so his vision was eventually

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Speaker 2: a spot on. From an initial run of ten thousand copies,

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Speaker 2: Eastern Color Printing then went on to produce similar periodicals

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Speaker 2: for my beloved Canada Dry and others, but they got.

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Speaker 1: Up to runs of two hundred and fifty thousand printing

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Speaker 1: this stuff. Wow, So I'll try to keep my interruptions

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Speaker 1: to a minimum. But this is really fascinating to me,

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Speaker 1: and I love how much you know about it. So,

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Speaker 1: I mean comic books were basically born as a freebie

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Speaker 1: coupon cornucopia.

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Speaker 2: Well, I mean you always had comic strips, right like

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Speaker 2: you newspapers yeah, yeah, and so they were just in

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Speaker 2: a way, they're what we call trade paperbacks today, Like

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Speaker 2: if you're not a nerd about getting mint condition comics

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Speaker 2: and collecting the individual issues, your average comic reader probably

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Speaker 2: has trade paperbacks, which are all the collected runs bound

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Speaker 2: into a single paperback edition. And that's what these first

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Speaker 2: ones were pitched as. It was just like, hey, we

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Speaker 2: have all of these cartoons from several different syndicates, and

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Speaker 2: individual artists had contracts with different syndicates, and individual papers

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Speaker 2: had different contracts with different syndicates, et cetera, and I

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Speaker 2: guess fucking Max Gaines was like I'll put them together

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Speaker 2: and that that blew everyone's mind. If one thing good,

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Speaker 2: many things better. And these mad dollar signs, yeah exactly.

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Speaker 2: It was nineteen thirty three. People were dumber and poorer

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Speaker 2: and poorer. In July of nineteen thirty four, Gains then

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Speaker 2: published the compendium Famous Funnies, which ran for two hundred

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Speaker 2: and eighteen issues and is considered they're terrible whack could

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Speaker 2: do weekly You see ones get worse. I like two

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Speaker 2: fisted tales. Yeah, that's a good one.

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Speaker 1: That's good.

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Speaker 2: Famous Funnies is considered the first true American Comic Book.

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Speaker 2: There's a collection of syndicated comics distributed through Woolworths. He

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Speaker 2: then secured funding from Harry Donnenfeld, who is CEO of

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Speaker 2: both National Allied Publication and this is important. National Allied

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Speaker 2: Publications published Action Comics, which is where Superman debuted, and

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Speaker 2: he was also CEO of the sister company, Detective Comics,

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Speaker 2: which you will know is where Batman debuted, and DC

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Speaker 2: Comics since has become the namesake, somewhat redundant name of

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Speaker 2: that brand, and that all came together to form All

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Speaker 2: American Comics in nineteen thirty eight, but by nineteen forty five,

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Speaker 2: Gaines thought he saw an end to the comics craze

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Speaker 2: and sold out his share to a guy named Jack Leibowitz.

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Speaker 2: But under Gaines's tenure, All American Comics published characters that

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Speaker 2: are still mainstays of the DC roster, like Wonder Woman

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Speaker 2: for one, heard of her Green Lantern, and also Hawkman

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Speaker 2: and Hawkwoman and also and oh.

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Speaker 1: I'm sorry, I'm sorry, it was right there. It was

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Speaker 1: right there, Oh you.

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Speaker 2: Jordan. They also public the original Flash and I stopped

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Speaker 2: caring about which flashes are, Like, there's so many.

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Speaker 1: Flashes what's the relationship between Flash and Flash Gordon.

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Speaker 2: Flash Gordon precedes all of this. He was that was

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Speaker 2: like one of the original action series. Yeah, Flash Gordon's

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Speaker 2: cool though. I used to have a big, big collection

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Speaker 2: of those really. Yeah. So anyway, Wonder Woman, Green Lantern,

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Speaker 2: and again the aforementioned Hawkman and Hawk Woman all kind

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Speaker 2: of date back to the guy who created Ecy Comics

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Speaker 2: is period at the reins of DC, which is super

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Speaker 2: kind of crazy if you think about it. So then

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Speaker 2: Gaines started Educational Comics and he retained only the title

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Speaker 2: picture Stories from the Bible as its flagship series, so

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Speaker 2: he was bought out of the rest of DC, but

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Speaker 2: kept the one about Bible Stories and yes, Horror and

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Speaker 2: Gorer pioneers. Easy Comics was initially formed to sell Bible comics,

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Speaker 2: and he wanted to sell other like like scientific and

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Speaker 2: little like guides to the like the Kid's Guide to Electricity.

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Speaker 1: Yeah.

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Speaker 2: Yeah, it's kind of like how TLC used to be

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Speaker 2: the Learning Channel before it started airing My Gangrenous Armpit

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Speaker 2: and the Obese Man who Loves It? Is that offensive? No?

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Speaker 1: All right, unless it's David Eslov, I mean.

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Speaker 2: Zaslov is the gangridis arm pit that has sentience of

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Speaker 2: its own TLC right, Yeah, I think so, or no

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Speaker 2: discovery is TLC different?

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Speaker 1: Who gives it another und by discovery? Un by discovery.

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Speaker 2: So William Gaines dies in a boating accident in nineteen

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Speaker 2: forty seven and is in hell to the immense reassurance

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Speaker 2: of his son Max, who inherited the company and renamed

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Speaker 2: it Entertaining Comics, with the goal focusing on his preferred

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Speaker 2: genres science fiction, horror, suspense, and the military.

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Speaker 1: That's a great that's a great pivot from educational comics

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Speaker 1: to entertaining comics. Not a very subtle shift, but an

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Speaker 1: important shift.

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Speaker 2: Yeah, really mirroring the American discourse as well. It's kind

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Speaker 2: of funny because it did seem like awful timing at

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Speaker 2: the moment, because Universal where so many of these archetypes

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Speaker 2: and stuff, and the most visible torch bearer for horror

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Speaker 2: movies in the first part of the twentieth century was

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Speaker 2: entering its like most fallow period, like literally dribbling out.

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Speaker 2: They were well into the Abbot and Castello era where yeah,

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Speaker 2: they met the Wolfman and Dracula and so forth. The

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Speaker 2: only two originals that Universal produced in the nineteen fifties

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Speaker 2: were The Creature from the Black Lagoon in nineteen fifty

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Speaker 2: four and The Mummy in nineteen fifty five. That was it.

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Speaker 1: That's nuts.

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Speaker 2: But the two guys that mister Gaines hired as editors,

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Speaker 2: two guys named Al Feldstein and Harvey Kurtzman, and they

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Speaker 2: were the people who steered this ship ingeniously. Feldstein encouraged

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Speaker 2: a roster of artists and writers to develop their own voices,

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Speaker 2: among them Harlan Ellison. His first published work was through Feldstein.

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Speaker 2: He's the guy who probably came up with the idea

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Speaker 2: for the Terminator in a short story called Demon with

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Speaker 2: a Glass Hand, just a legend of the genre. Kurtzman meanwhile,

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Speaker 2: focused more on the action side of things and was

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Speaker 2: actually disgusted once the horror stuff started out selling his titles.

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Speaker 2: So what he did was jump ship to Mad Magazine,

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Speaker 2: which was also controlled by EC and then he left

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Speaker 2: that in nineteen fifty six before beginning Little Annie Fanny,

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Speaker 2: a strip named Playboy for the next twenty six years,

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Speaker 2: starting from nineteen sixty two.

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Speaker 1: I'm gonna have to get a visual on this thish.

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Speaker 2: You really don't it's what it sounds like oh yeah,

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Speaker 2: it is.

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Speaker 1: So.

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Speaker 2: Then when Kurtzman left Mad, Feldstein came over and then

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Speaker 2: spent nearly thirty years overseeing Mad Mad Magazine during it's

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Speaker 2: like also it's healsy on days. So these two guys

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Speaker 2: between them were responsible for not just easy comics like

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Speaker 2: the horror, ecy comics, suspense stuff, everything that flowed from that, which,

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Speaker 2: as I will go on to discuss, is like a

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Speaker 2: huge chunk of culture. But so Mad Magazine, which was

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Speaker 2: like its own enormous world unto itself, that was hugely influential.

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Speaker 2: Just like those two dudes were like, We're going to

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Speaker 2: direct American popular culture for the next half a century

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Speaker 2: and no one will know our names.

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Speaker 1: Did you used to get Mad Magazine as a kid?

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Speaker 2: I didn't. I had a bunch of my dad's old copies,

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Speaker 2: so I was, well, I was really confused by like

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Speaker 2: who Spiro Agnew was.

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Speaker 1: That's so funny, because I would get the Mad about

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Speaker 1: the Fifties, Mad about the Sixties, like compendium books, and

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Speaker 1: those were the ones that because all of my because

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Speaker 1: I basically in many ways grew up in the fifties

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Speaker 1: and sixties, so I got all the references and all

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Speaker 1: they were so funny.

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Speaker 2: Yeah, they're great, I mean, and just such a rich uh,

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Speaker 2: just as such a showcase of different art styles and personalities,

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Speaker 2: like really the proverbial lunatics in charge of the assignment.

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Speaker 1: And they're edgy like stillay, are they still publishing today? No?

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Speaker 1: Oh no, no, I meant those like fifties and sixties.

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Speaker 2: Oh, the original ones. Yeah, absolutely. But because the comics

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Speaker 2: code hadn't come in, which we will talk about so

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Speaker 2: with elt Stande Kurtzman at the Helm, Easy Comics began

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Speaker 2: its new trend in print, which, aside from the horror stuff,

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Speaker 2: was also responsible for weird science and weird fantasy, both

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Speaker 2: of which were hugely important to the science fiction and

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Speaker 2: fantasy genres. Among many of the influential people who they

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Speaker 2: would employ are Frank Frazetta, who is the guy. Anytime

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Speaker 2: you look at a sweet nineteen seventies album cover with

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Speaker 2: like a warrior on it, that's probably Frank Frazetta. Most

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Speaker 2: famous one is I think thirty eight Special. But he

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Speaker 2: did covers for Dust and didn't did he draw the

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Speaker 2: Surf's Up cover?

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Speaker 1: I don't think so. Okay, Beach Boys album.

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Speaker 2: Yeah, strike that from the record. Oh, Molly Hatchett, not

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Speaker 2: thirty eight Special, Molly Hatchet, Dust Nazareth, all of them

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Speaker 2: had these amazing I think he also did the cover

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Speaker 2: of Kiss Alive. Anyway, so Frank Fizzetta was under Weird

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Speaker 2: Fantasy and Bradbury actually came over because and this is

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Speaker 2: what's kind of funny and shady, is that Bill Gaines

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Speaker 2: would stay up. Apparently Bill Gaines like had a weight

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Speaker 2: problem and he frequently dieted with like everyone did in

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Speaker 2: those days, with dexadream. So he would stay up like

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Speaker 2: all hours of the night just reading other science fiction

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Speaker 2: and then come in the next day and give a

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Speaker 2: loose synopsis of what he had read to his editors,

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Speaker 2: and then they would churn out a comic. And people

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Speaker 2: eventually started noticing that, like Ray Bradbury, who was like, hey, guys,

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Speaker 2: I see what you're doing, and they were like, do

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Speaker 2: you want to come over to give you money? And

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Speaker 2: so they created the like some authorized adaptations of some

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Speaker 2: of his stories, including There Will Come Soft Rains, just

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Speaker 2: one of the most anthologized to Bradbury stories. Wally Wood

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Speaker 2: is another guy who was on the roster. He created

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Speaker 2: Sally Forth the strip, the daily strip of All Things

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Speaker 2: He also drew the Mars Attacks trading cards for Tops,

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Speaker 2: which later became the basis of the feature film Tim Burton,

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Speaker 2: and he also is responsible for Daredevil having that distinctive

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Speaker 2: red suit. Wood is also insanely horny. A lot of

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Speaker 2: these guys were so so horny. And Wood is also

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Speaker 2: known in comic circles for drawing the Disneyland memorial Orgy,

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Speaker 2: which was a full a spread poster for the influential

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Speaker 2: underground magazine The Realist, which is exactly what it sounds like.

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Speaker 1: That's good a visual all that. Yeah, yes it is. Yep,

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Speaker 1: don't know what I expected.

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Speaker 2: You can google that one yourself, folks. And then there's

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Speaker 2: just like another dozen or so guys who can't get

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Speaker 2: into just based on space alone. But these guys were

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Speaker 2: either either at easy or at mad, just like again,

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Speaker 2: helping shape the latter half of twentieth century pop culture. Also,

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Speaker 2: E C was actually fairly brave in publishing stuff that

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Speaker 2: was about drug addiction, that was about racism. One of

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Speaker 2: the most famous stories is published in nineteen fifty five

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Speaker 2: with called Master Race, which portrayed a former Nazi death

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Speaker 2: camp commander successfully hiding out New York before he is

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Speaker 2: spotted by an eerie stranger who chases the Nazi to

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Speaker 2: his death in front of a train. This marked the

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Speaker 2: first time, one of the first times that the Holocaust

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Speaker 2: had even been mentioned in popular media, and the whole

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Speaker 2: twist behind it is that this guy is like alone

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Speaker 2: on a train and he sees someone like staring at him,

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Speaker 2: and gradually, throughout the course of the story through flashbacks,

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Speaker 2: it's revealed that this guy was an SS death camp

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Speaker 2: officer and that is a wild thing to publish. In

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Speaker 2: nineteen fifty five, in a comic book Art Spiegelman, who

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Speaker 2: penned Mouse, which is one of the other comics that

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Speaker 2: you're assigned to in your introduction to comic books as

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Speaker 2: an art form class or research period, has hailed it

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Speaker 2: as like one of his favorites. Would you looking at Buddy.

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Speaker 1: I'm still on the Disney memorial orgy. I'm trying to

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Speaker 1: figure out what the birds are doing the Dumbo. Does

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Speaker 1: that also count as interracial because the crows were super

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Speaker 1: racist different birds?

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Speaker 2: Ah?

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Speaker 1: Okay, is that kind of a beastiality? Then if they're interspecies? Yes?

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Speaker 2: Good?

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Speaker 1: Okay, Yeah, that's just fine. Those are just facts. Alfeld

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Speaker 1: scene maintains that he was the guy who pushed Bill

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Speaker 1: Gaines to produce horror comics, saying the pair bonded over

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Speaker 1: a love of old, spooky radio plays and horror films

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Speaker 1: from radio serials. Feldstein wanted to have a character that

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Speaker 1: would remain consistent from issue to issue, introducing the discrete

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Speaker 1: stories within, and from there the character of the Crypt

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Speaker 1: Keeper was born. He was not alone, though, the comic

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Speaker 1: would feature one tale introduced by him, one from the

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Speaker 1: Vault Keeper and one from the Old Witch, and these

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Speaker 1: three would often take potshots at each other in the

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Speaker 1: letter columns, which I love. Tales from the Crypt debut

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Speaker 1: in nineteen fifty and in its five year run because

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Speaker 1: an enormous hit with stories, frequently complaining that they couldn't

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Speaker 1: keep it in stock. And you have something to say

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Speaker 1: about this.

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Speaker 2: Yeah, this is where I would make a long winded

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Speaker 2: speech about the American complacency that was born of the

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Speaker 2: horrors of World War Two and how it created a

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Speaker 2: perfect storm for the children of war veterans to want

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Speaker 2: some kind of catharsis as they grew up in a stifling, repressive,

399
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Speaker 2: conformist society, haunted by the specter of their own annihilation

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Speaker 2: by the Cold War. Anyway, just pretend that I did

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Speaker 2: that and it was very good.

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Speaker 1: I think you did that in one of the episodes.

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Speaker 1: It might have been a razor head, oh sure, but

404
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Speaker 1: one of the horror Yeah. I mean, that's the thing.

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Speaker 1: I am fascinated by people who are real serious horror heads.

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Speaker 1: I'm fascinated by what they get out of it. It

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Speaker 1: almost seems like a physiological response to it. Well, you're

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Speaker 1: a real horror I could ask you.

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Speaker 2: I just think they're neat.

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Speaker 1: You just think they're cool.

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Speaker 2: Yeah, no, I mean I was.

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Speaker 1: I was a.

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Speaker 2: Comics person before I was a horror fan. You know

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Speaker 2: my dad had a big comics collection as a kid. Yeah,

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Speaker 2: including his mom FROMO. She sure did.

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Speaker 1: Oh yeah, yeah, she sure did.

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Speaker 2: All of our dads, including like many valuable, many valuable issues,

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Speaker 2: and also his record collection. So that's why I don't

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Speaker 2: visit grandma. No, just kidding, she's a racist.

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Speaker 1: Do we think that those issues are valuable because everybody's

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Speaker 1: mom threw them away? And if nobody's mom threw them away,

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Speaker 1: they wouldn't be valuable. Like is that supplying demand? Yeah?

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Speaker 2: I mean obviously comic books? Is this own like you know,

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Speaker 2: I didn't tell people that I was into them. It

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Speaker 2: was still considered like there was a degree of shame

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Speaker 2: Baker still when I was in school. Yeah, and only

427
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Speaker 2: like I mean, I only saw comic books become the

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Speaker 2: dominant thing and quickly become a disgusting slurry that overwhelmed

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Speaker 2: the rest of American pop culture. That only happened in

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Speaker 2: like the Dots two thousands moving onward. But yeah, I was,

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Speaker 2: I was into comics. Uh yeah, I think I got

432
00:23:50,760 --> 00:23:52,919
Speaker 2: that Flash Gordon thing when I was like I used

433
00:23:52,920 --> 00:23:54,560
Speaker 2: to always just read the comics in the paper, and

434
00:23:54,600 --> 00:23:56,520
Speaker 2: then I got that Flash Gordon thing when I was

435
00:23:56,560 --> 00:23:59,760
Speaker 2: like maybe four or five, and then just started going

436
00:23:59,760 --> 00:24:02,159
Speaker 2: in a Marvel stuff from there. Horror I think I

437
00:24:02,200 --> 00:24:04,840
Speaker 2: got into because my dad showed me the movie Alien

438
00:24:04,880 --> 00:24:08,040
Speaker 2: when I was like six. I think I've told this

439
00:24:08,080 --> 00:24:10,240
Speaker 2: story before, but my two introductions to horror were that,

440
00:24:10,920 --> 00:24:13,160
Speaker 2: which literally gave me nightmares for the next four years,

441
00:24:13,560 --> 00:24:16,439
Speaker 2: and then my down the street neighbor who was super

442
00:24:16,480 --> 00:24:18,919
Speaker 2: into the movie Halloween, and when we would like play

443
00:24:19,000 --> 00:24:22,520
Speaker 2: as children, would just dress up as Michael Myers and

444
00:24:22,800 --> 00:24:30,320
Speaker 2: stalk me through the dusk lit neighborhoods. So strong stuff

445
00:24:30,320 --> 00:24:31,200
Speaker 2: that imprinted on me.

446
00:24:31,800 --> 00:24:35,639
Speaker 1: Yeah, okay. However, details from the crypt comic soon began

447
00:24:35,720 --> 00:24:38,879
Speaker 1: facing a wave of copycats and in turn with the

448
00:24:38,880 --> 00:24:42,280
Speaker 1: increased attention from not just America's perennially uptight class of

449
00:24:42,359 --> 00:24:45,399
Speaker 1: moralists but nothing better to do, but also people sharing

450
00:24:45,400 --> 00:24:48,680
Speaker 1: that mindset who had real teeth, the people in the government.

451
00:24:49,080 --> 00:24:51,440
Speaker 2: So since we've been giving this mini history of comic books,

452
00:24:51,480 --> 00:24:54,000
Speaker 2: you'll now have context at the time from Max Gaines

453
00:24:54,040 --> 00:24:57,320
Speaker 2: publishing famous funnies to when the moral panic over comic

454
00:24:57,320 --> 00:25:00,679
Speaker 2: books began to set in was not even six full years.

455
00:25:00,920 --> 00:25:05,480
Speaker 1: That's really crazy. On May eighth, nineteen forty, Sterling North,

456
00:25:05,760 --> 00:25:08,880
Speaker 1: who would eventually write the children's Newbery Honor book Rascal,

457
00:25:09,520 --> 00:25:13,479
Speaker 1: wrote in the Chicago Daily News that quote color comic

458
00:25:13,600 --> 00:25:17,879
Speaker 1: magazines were a quote national disgrace, and that parents and

459
00:25:17,920 --> 00:25:21,840
Speaker 1: teachers throughout America must band together to break the comic magazine.

460
00:25:22,359 --> 00:25:26,080
Speaker 2: We will break it, okay, man.

461
00:25:26,640 --> 00:25:30,920
Speaker 1: The word color whenever it's used by like im morally righteous. Yeah,

462
00:25:31,160 --> 00:25:34,760
Speaker 1: that era is always I always get uncomfortable. I don't

463
00:25:34,840 --> 00:25:39,439
Speaker 1: like that. Fortunately, World War two nip North's campaign in

464
00:25:39,480 --> 00:25:41,680
Speaker 1: the bud and after the war was over, the fact

465
00:25:41,720 --> 00:25:45,720
Speaker 1: that unfortunately twenty million people died so that comics could

466
00:25:45,760 --> 00:25:49,480
Speaker 1: live kind of a wash. Yeah, and after the war

467
00:25:49,560 --> 00:25:51,920
Speaker 1: was over, the fact that comics is a medium focused

468
00:25:51,920 --> 00:25:55,399
Speaker 1: so heavily on stories of bravery with various wings of

469
00:25:55,440 --> 00:25:59,119
Speaker 1: the armed forces and a flag waving in the background

470
00:25:59,119 --> 00:26:10,800
Speaker 1: and a gig standing on the throat of Gerbels or something. Yeah, right, yeah, yeah, yeah, yeah,

471
00:26:11,200 --> 00:26:17,040
Speaker 1: we're we're getting dangerously closed to Howard d Yeah, that

472
00:26:17,119 --> 00:26:20,760
Speaker 1: helped keep negative nancies like North away. But it's a

473
00:26:20,800 --> 00:26:24,840
Speaker 1: time turned towards horror and crime across all pop culture.

474
00:26:24,840 --> 00:26:28,040
Speaker 1: It must be said. Comic books caught the attention of

475
00:26:28,119 --> 00:26:35,240
Speaker 1: no less than jag Or Hoover, who, hilariously on April

476
00:26:35,280 --> 00:26:39,560
Speaker 1: twentieth four, twenty nineteen forty seven, published an editorial in

477
00:26:39,680 --> 00:26:43,680
Speaker 1: This Week claiming in part that quote crime books, comics

478
00:26:43,720 --> 00:26:47,280
Speaker 1: and newspaper stories crammed with anti social and criminal acts,

479
00:26:47,720 --> 00:26:52,560
Speaker 1: the glorification of Unamerican vigilante action and the deification of

480
00:26:52,600 --> 00:26:57,840
Speaker 1: the criminal are extremely dangerous in the hands of the

481
00:26:58,040 --> 00:27:02,800
Speaker 1: not just any child, the Unstill, yeah, this is where.

482
00:27:02,680 --> 00:27:04,800
Speaker 2: It gets like really gross, is that they were like

483
00:27:05,680 --> 00:27:08,359
Speaker 2: basically the whole moral panic was like, oh if kids

484
00:27:08,359 --> 00:27:12,119
Speaker 2: are already bad kids, and they read comics, they'll become worse.

485
00:27:13,119 --> 00:27:17,119
Speaker 2: But like there's like a degree of socioeconomic and racial

486
00:27:17,160 --> 00:27:20,359
Speaker 2: dimension to who were bad kids or predisposed to be

487
00:27:20,440 --> 00:27:20,960
Speaker 2: bad kids.

488
00:27:21,320 --> 00:27:25,800
Speaker 1: Antisocial is such a funny word to anti social acts.

489
00:27:26,320 --> 00:27:29,640
Speaker 2: Yeah, Hoover's article, though, kind of just paved the way

490
00:27:29,720 --> 00:27:33,000
Speaker 2: for the real enemy of the comic books, Frederick Wortham.

491
00:27:33,720 --> 00:27:36,359
Speaker 2: In March of nineteen thirty eight, Wortham, who was already

492
00:27:36,400 --> 00:27:39,720
Speaker 2: somewhat famous for his testimony during the trial of notorious

493
00:27:39,840 --> 00:27:44,479
Speaker 2: child killer and cannibal Albert Fish, gave his symposium on

494
00:27:44,520 --> 00:27:48,879
Speaker 2: the quote psychopathology of comic books. This event was covered

495
00:27:48,880 --> 00:27:52,040
Speaker 2: in Colliers Weekly in late March, and Wortham himself penned

496
00:27:52,040 --> 00:27:54,439
Speaker 2: an article about comic books in the Saturday Review of

497
00:27:54,480 --> 00:27:57,760
Speaker 2: Literature in May of nineteen forty eight. And that's all

498
00:27:57,800 --> 00:28:01,520
Speaker 2: it took. Because people were had less to do in

499
00:28:01,560 --> 00:28:05,160
Speaker 2: the forties and less things to read, So by fall,

500
00:28:05,400 --> 00:28:07,840
Speaker 2: the Associated Press was already reporting on a rash of

501
00:28:07,920 --> 00:28:11,880
Speaker 2: comic book burnings that were happening in largely Catholic parishes

502
00:28:12,119 --> 00:28:13,120
Speaker 2: across the country.

503
00:28:13,240 --> 00:28:16,680
Speaker 1: Burnings are never good burning, ye just don't don't.

504
00:28:16,440 --> 00:28:21,840
Speaker 2: Burn stuff among Wortham's pet theories, where that Batman and

505
00:28:21,920 --> 00:28:25,439
Speaker 2: Robin were gay, Wonder Woman was a lesbian sadist, and

506
00:28:25,480 --> 00:28:28,679
Speaker 2: that ads for binoculars in the back of comic books

507
00:28:28,720 --> 00:28:31,480
Speaker 2: promoted children spying on their neighbors. You think he would

508
00:28:31,520 --> 00:28:33,919
Speaker 2: have been I was going to say this was the

509
00:28:33,960 --> 00:28:38,280
Speaker 2: red scare, that we were encouraging children to do so.

510
00:28:38,320 --> 00:28:41,480
Speaker 2: Then a quickly ad hoc assembled group of comic book

511
00:28:41,680 --> 00:28:45,600
Speaker 2: publishers responded by publishing their own publisher's Code that year,

512
00:28:46,040 --> 00:28:48,680
Speaker 2: and they drew on the Hollywood Production Code, which is

513
00:28:48,720 --> 00:28:51,480
Speaker 2: better known as the Hayes Code, which itself had been

514
00:28:51,520 --> 00:28:54,600
Speaker 2: explicitly designed to get the damn government off Hollywood's back

515
00:28:54,840 --> 00:28:57,280
Speaker 2: for all that sweet, sweet sex and violence it had

516
00:28:57,320 --> 00:29:00,520
Speaker 2: been portraying. The Publisher's Code followed some of the language

517
00:29:00,520 --> 00:29:03,640
Speaker 2: of the Hayes Code, and it forbade portrayals of crime

518
00:29:03,720 --> 00:29:09,120
Speaker 2: that might throw sympathy against the law or weakened respect

519
00:29:09,240 --> 00:29:14,240
Speaker 2: for established authority. Nicely, it prohibited ridicular attack on any

520
00:29:14,240 --> 00:29:18,480
Speaker 2: religious or racial group, and sexy wanton comics were banned,

521
00:29:19,120 --> 00:29:24,320
Speaker 2: and my favorite one, divorce was from being The act

522
00:29:24,360 --> 00:29:28,760
Speaker 2: of divorce was prohibited from being treated quote humorously or

523
00:29:28,840 --> 00:29:33,040
Speaker 2: represented as glamorous or alluring. Comics that complied with this

524
00:29:33,120 --> 00:29:35,960
Speaker 2: were offered a seal of approval. This failed to keep

525
00:29:36,000 --> 00:29:38,400
Speaker 2: the Worthams and Hoovers of the world satisfied, and by

526
00:29:38,520 --> 00:29:41,200
Speaker 2: nineteen fifty four, Wortham had published his most famous work,

527
00:29:41,480 --> 00:29:46,840
Speaker 2: creepily titled Seduction of the Innocence Whatever editor let that

528
00:29:46,920 --> 00:29:51,640
Speaker 2: through You failed, which argued that comic books contributed to

529
00:29:51,720 --> 00:29:56,480
Speaker 2: delinquent behavior in hughes now worth noting here that in

530
00:29:56,520 --> 00:30:00,880
Speaker 2: twenty ten, a University of Illinois librarian and PhD student

531
00:30:01,280 --> 00:30:06,600
Speaker 2: discredited much of Wortham's research as fabricated or misleading. In particular,

532
00:30:06,760 --> 00:30:09,920
Speaker 2: he was identifying children who were already being treated for

533
00:30:09,960 --> 00:30:13,280
Speaker 2: psychological issues and using them as the benchmark.

534
00:30:13,600 --> 00:30:19,600
Speaker 1: WHOA, oh wow, that's really talk about cooking the books. Yeah.

535
00:30:19,680 --> 00:30:22,360
Speaker 2: Wortham was also nothing if not a greedy publicity hound,

536
00:30:22,360 --> 00:30:25,080
Speaker 2: and had spent much of the years between that first

537
00:30:25,080 --> 00:30:27,760
Speaker 2: symposium and the publication of his book beating the drum

538
00:30:27,840 --> 00:30:29,960
Speaker 2: for this particular cause. So by the time the book

539
00:30:30,040 --> 00:30:33,040
Speaker 2: was published, he'd primed the American public and in particular,

540
00:30:33,200 --> 00:30:36,680
Speaker 2: the American legislature, to jump on board. So in nineteen

541
00:30:36,720 --> 00:30:40,480
Speaker 2: fifty three, the United States Senate Subcommittee on Juvenile Delinquency

542
00:30:40,520 --> 00:30:43,479
Speaker 2: had been established and would hold its first hearings in

543
00:30:43,520 --> 00:30:47,720
Speaker 2: April of nineteen fifty four. Easy Comics were particularly hammered

544
00:30:47,760 --> 00:30:51,280
Speaker 2: throughout the course of these hearings, chaired by SD's kiefouver

545
00:30:52,440 --> 00:30:54,400
Speaker 2: As a fifty's name if ever I've heard one. He

546
00:30:54,400 --> 00:30:56,320
Speaker 2: was supposed to be quite a liberal. Actually, I was

547
00:30:56,360 --> 00:30:59,000
Speaker 2: disappointed to learn that he was responsible for this, while

548
00:30:59,040 --> 00:31:02,600
Speaker 2: having a somewhat at voting record otherwise. But the hearings

549
00:31:02,640 --> 00:31:05,880
Speaker 2: became a landmark for repression and censorship in the US.

550
00:31:06,240 --> 00:31:10,320
Speaker 2: One exchange in particular has become very famous. Senator Keith

551
00:31:10,360 --> 00:31:13,280
Speaker 2: Hoever was grilling Easy Comics publisher Bill Gaines, and he

552
00:31:13,320 --> 00:31:16,040
Speaker 2: asked him, here is your may issue. This seems to

553
00:31:16,080 --> 00:31:18,120
Speaker 2: be a man with a bloody axe holding a woman's

554
00:31:18,160 --> 00:31:20,800
Speaker 2: head up, which has been severed from her body. Do

555
00:31:20,840 --> 00:31:24,000
Speaker 2: you think that's in good taste? And Gaines answered, yes, sir,

556
00:31:24,120 --> 00:31:27,080
Speaker 2: I do for the cover of a horror comic. That's

557
00:31:27,120 --> 00:31:30,040
Speaker 2: the quip. But the full quote, he continued, is so

558
00:31:30,120 --> 00:31:33,720
Speaker 2: much better. A cover in bad taste, for example, might

559
00:31:33,720 --> 00:31:36,080
Speaker 2: be defined as holding her head a little higher so

560
00:31:36,120 --> 00:31:38,440
Speaker 2: that blood could be seen dripping from it, and moving

561
00:31:38,480 --> 00:31:40,680
Speaker 2: the body a little further over so that the neck

562
00:31:40,720 --> 00:31:43,320
Speaker 2: of the body could be seen to be bloody. And

563
00:31:43,360 --> 00:31:46,480
Speaker 2: it's funny about that cover in particular, it had already

564
00:31:46,520 --> 00:31:49,880
Speaker 2: been edited. The original draft of it was what Gaines

565
00:31:49,960 --> 00:31:53,160
Speaker 2: was describing, a much more graphic version, and they walked

566
00:31:53,160 --> 00:31:55,959
Speaker 2: it back. Gaines would later admit that he was not

567
00:31:56,120 --> 00:31:59,400
Speaker 2: at his best during these hearings. He was a frequent

568
00:31:59,440 --> 00:32:01,760
Speaker 2: as I mentioned, he was a frequent user of Dexaderen

569
00:32:02,240 --> 00:32:05,840
Speaker 2: and just I guess was on the standalt when he

570
00:32:05,960 --> 00:32:11,280
Speaker 2: was crashing from his speed bingches. But worth them has

571
00:32:11,400 --> 00:32:15,360
Speaker 2: the record for the best SoundBite during these hearings. Quote.

572
00:32:16,000 --> 00:32:19,920
Speaker 2: I think Hitler was a beginner compared to the comic

573
00:32:19,920 --> 00:32:27,440
Speaker 2: book industry pause for commercial break. I mean insane for

574
00:32:27,520 --> 00:32:29,000
Speaker 2: a German Man to say that.

575
00:32:30,080 --> 00:32:32,880
Speaker 1: Also, I mean just of all the words he could

576
00:32:32,920 --> 00:32:37,040
Speaker 1: have used to kind of make the same point. A beginner.

577
00:32:37,600 --> 00:32:39,760
Speaker 2: Yeah, what a weird guy he was. I'm trying to

578
00:32:39,760 --> 00:32:42,680
Speaker 2: think if there's anything else, I anything else that escaped

579
00:32:43,360 --> 00:32:44,360
Speaker 2: his book.

580
00:32:44,680 --> 00:32:46,960
Speaker 1: Did like a comic book artist kick Sam in his

581
00:32:47,040 --> 00:32:48,440
Speaker 1: face on the beach or something.

582
00:32:50,800 --> 00:32:54,200
Speaker 2: No, he was quite well regarded. I mean he corresponded,

583
00:32:54,280 --> 00:32:59,040
Speaker 2: visited with Freud, he actually opened a clinic that specialized

584
00:32:59,040 --> 00:33:02,520
Speaker 2: in the treatment of black teenagers, financed by voluntary contributions.

585
00:33:03,120 --> 00:33:05,959
Speaker 2: But man, he hated comic books.

586
00:33:06,400 --> 00:33:09,760
Speaker 1: That's the thing. I never really understood the bad reputation

587
00:33:10,040 --> 00:33:12,720
Speaker 1: that comic books seemed to have when we were kids.

588
00:33:12,760 --> 00:33:14,920
Speaker 1: That I never got because I was just like, well,

589
00:33:15,760 --> 00:33:20,200
Speaker 1: they're reading. It's not television, you know. I mean, I mean,

590
00:33:20,280 --> 00:33:22,760
Speaker 1: I was, I guess, you know, early nineties and stuff,

591
00:33:22,760 --> 00:33:25,280
Speaker 1: when most people were just watching TV. But yeah, I

592
00:33:25,360 --> 00:33:28,240
Speaker 1: never really understood the whole like Nay Roger brain kind

593
00:33:28,280 --> 00:33:30,600
Speaker 1: of propaganda that was put around.

594
00:33:30,920 --> 00:33:34,360
Speaker 2: Yeah, it's quite funny. The other thing that Wortham was

595
00:33:34,400 --> 00:33:41,360
Speaker 2: the court psychiatrist for another famous case, the Brooklyn thrill Killers,

596
00:33:42,000 --> 00:33:47,600
Speaker 2: who were a group of Jewish teenagers, hilariously enough, who

597
00:33:47,640 --> 00:33:51,240
Speaker 2: were just roaming around beating the people, just saying I.

598
00:33:51,160 --> 00:33:53,520
Speaker 1: Was looking up Albert Fish. Earlier, you talked about how

599
00:33:53,520 --> 00:33:56,040
Speaker 1: he was. He testified at the Albert Fish trial. I

600
00:33:56,080 --> 00:33:58,320
Speaker 1: was going to give a quick, a quick thumbnail sketch

601
00:33:58,360 --> 00:34:01,640
Speaker 1: of his crimes. And it was too Yeah, it was

602
00:34:01,680 --> 00:34:02,960
Speaker 1: too yeah.

603
00:34:02,840 --> 00:34:04,800
Speaker 2: I don't do that. No, I mean, the whole, the

604
00:34:04,840 --> 00:34:07,280
Speaker 2: whole thrust of that trial was the fact that like

605
00:34:07,640 --> 00:34:10,279
Speaker 2: worth him was like, he is insane. This man is

606
00:34:10,360 --> 00:34:13,880
Speaker 2: actually live, like truly deeply insane, that is my conclusion.

607
00:34:14,200 --> 00:34:16,560
Speaker 2: And then the whole thing was like, well, we all

608
00:34:16,600 --> 00:34:21,200
Speaker 2: agree he's insane, but we should probably kill him though,

609
00:34:21,280 --> 00:34:25,040
Speaker 2: right like. And everyone was just like, yeah, no, that

610
00:34:25,080 --> 00:34:26,880
Speaker 2: actually makes a lot. Yeah, let's just kill him and

611
00:34:26,920 --> 00:34:30,200
Speaker 2: everyone and everyone was in agreement because of the horror

612
00:34:30,400 --> 00:34:31,520
Speaker 2: that this man inflicted.

613
00:34:31,960 --> 00:34:35,000
Speaker 1: Yeah, yeah, I don't, I don't. I don't spook easily

614
00:34:35,040 --> 00:34:37,880
Speaker 1: with that kind of stuff. Well, going this way, folks,

615
00:34:37,880 --> 00:34:41,240
Speaker 1: there's a after you've done googling the Disney memorial orgy,

616
00:34:41,719 --> 00:34:44,920
Speaker 1: there is a letter that Albert Fish wrote.

617
00:34:44,680 --> 00:34:48,360
Speaker 4: To Oh God, send that to people. Oh dude, okay,

618
00:34:49,080 --> 00:34:54,680
Speaker 4: don't don't don't. Don't you look genuinely unhappy with me

619
00:34:54,800 --> 00:34:55,200
Speaker 4: right now?

620
00:34:55,719 --> 00:34:56,520
Speaker 2: It's gross?

621
00:34:56,600 --> 00:34:59,080
Speaker 1: Well, yes, yes, yes, yes it is this.

622
00:34:59,160 --> 00:34:59,600
Speaker 2: How about this?

623
00:34:59,719 --> 00:35:03,399
Speaker 1: I'll you, I'll My preferred Albert Fish nugget is that

624
00:35:03,640 --> 00:35:07,000
Speaker 1: he had allegedly he was into self mortification, and he

625
00:35:07,040 --> 00:35:12,520
Speaker 1: had allegedly inserted so many sewing needles into his bathing

626
00:35:12,560 --> 00:35:16,600
Speaker 1: suit parts that the electric share supposedly shorted out the

627
00:35:16,640 --> 00:35:18,919
Speaker 1: first time they tried to give it to him. Maybe

628
00:35:18,920 --> 00:35:22,279
Speaker 1: that was his grand plan. Maybe that was the goal.

629
00:35:22,600 --> 00:35:25,680
Speaker 1: Maybe he was playing he's playing three D chess, we're

630
00:35:25,719 --> 00:35:29,080
Speaker 1: playing checks hashtag fish tricks.

631
00:35:31,440 --> 00:35:35,480
Speaker 2: He would always huge on his grind. Oh my god, yeah,

632
00:35:35,480 --> 00:35:44,640
Speaker 2: oh how much is this for? Oh buddy, As you

633
00:35:44,719 --> 00:35:47,160
Speaker 2: meditate on that, we'll be right back with more, too

634
00:35:47,239 --> 00:35:47,960
Speaker 2: much information.

635
00:35:48,280 --> 00:36:09,640
Speaker 1: After these messages, the hearings, remember that who could forget

636
00:36:09,640 --> 00:36:12,719
Speaker 1: her name? Like Stzka. He was Adlie Stevens's running mate.

637
00:36:13,440 --> 00:36:14,880
Speaker 2: Yes, yes, These.

638
00:36:14,719 --> 00:36:18,719
Speaker 1: Hearings established the Comics Code of Authority, which essentially was

639
00:36:18,760 --> 00:36:21,720
Speaker 1: just a more stringent and powerful version of the previous code.

640
00:36:22,160 --> 00:36:26,360
Speaker 1: Although it was technically voluntary, comics not receiving the CCA

641
00:36:26,480 --> 00:36:30,359
Speaker 1: stamp of approval were essentially doomed on the newsstand, and

642
00:36:30,440 --> 00:36:34,439
Speaker 1: thus was the fate of EC Comics. Wortham, for his part,

643
00:36:34,560 --> 00:36:38,520
Speaker 1: remained unsatisfied by having stamped out EC Comics, and a

644
00:36:38,560 --> 00:36:41,080
Speaker 1: year later returned to The Saturday Review of Literature to

645
00:36:41,080 --> 00:36:42,560
Speaker 1: publish an article called.

646
00:36:44,840 --> 00:36:50,240
Speaker 5: It's Hilarious It's still Murder, in which she complained about

647
00:36:50,360 --> 00:36:56,080
Speaker 5: all caps lettering and the phrasing of word balloons. What's

648
00:36:56,560 --> 00:36:58,160
Speaker 5: what's wrong with all caps?

649
00:36:58,640 --> 00:37:01,960
Speaker 2: I believe the both of those were like things that

650
00:37:02,040 --> 00:37:07,000
Speaker 2: he identified that like either hastened or contributed to ill

651
00:37:07,160 --> 00:37:10,120
Speaker 2: psychiatry and children. He was like it was like the

652
00:37:10,520 --> 00:37:14,160
Speaker 2: phraseology of word balloons, where there was like short internal dialogue.

653
00:37:14,200 --> 00:37:18,200
Speaker 2: It was like it was still murder to him.

654
00:37:18,520 --> 00:37:21,640
Speaker 1: Did he live to see Batman look like pow wow,

655
00:37:21,680 --> 00:37:22,560
Speaker 1: like the TV the animal.

656
00:37:22,840 --> 00:37:23,680
Speaker 2: That's a great question.

657
00:37:24,320 --> 00:37:27,160
Speaker 1: Well's look this up because that would have caused his brain.

658
00:37:27,719 --> 00:37:30,880
Speaker 2: It's actually quite sad because he did. He was like

659
00:37:31,760 --> 00:37:38,000
Speaker 2: very pro like I said, protective of children and just

660
00:37:38,040 --> 00:37:43,960
Speaker 2: like helping kids. But then later his last book was

661
00:37:44,000 --> 00:37:47,680
Speaker 2: published in nineteen seventy four, so he lived through Batman.

662
00:37:48,160 --> 00:37:50,879
Speaker 2: He did live through Batman, and he concluded he wrote

663
00:37:50,880 --> 00:37:54,759
Speaker 2: a book on fanzines. He said they were constructive and

664
00:37:54,800 --> 00:37:59,000
Speaker 2: a healthy exercise of creative drives. This is crazy. He

665
00:37:59,080 --> 00:38:01,960
Speaker 2: was invited to address the New York Comic Art Convention

666
00:38:02,840 --> 00:38:05,919
Speaker 2: and they got there and people heckled it out of him,

667
00:38:06,400 --> 00:38:10,400
Speaker 2: and of course he h he stopped writing. The reception

668
00:38:10,520 --> 00:38:12,920
Speaker 2: was so bad. He stopped publishing things about comic books.

669
00:38:13,560 --> 00:38:15,319
Speaker 2: It's just like what he must have been, like that

670
00:38:15,440 --> 00:38:18,000
Speaker 2: peep show thing, like are we the baddies? He just

671
00:38:18,080 --> 00:38:22,399
Speaker 2: did not realize that everyone hated him for doing this.

672
00:38:22,840 --> 00:38:25,399
Speaker 1: Well, he lived in nineteen eighty one, so he saw

673
00:38:25,520 --> 00:38:28,440
Speaker 1: like Fritz the Cat and all that kind of stuff.

674
00:38:28,560 --> 00:38:31,680
Speaker 2: Well, so one of his big things was like eye injuries,

675
00:38:32,040 --> 00:38:35,719
Speaker 2: like he repeatedly cited like damage to the eyes as

676
00:38:35,760 --> 00:38:39,520
Speaker 2: a as like one of these huge sins that comics admitted.

677
00:38:39,600 --> 00:38:43,319
Speaker 2: So people were then playing it up in comics like

678
00:38:43,440 --> 00:38:48,400
Speaker 2: later people would have like there's a Bongo. Comics published

679
00:38:49,320 --> 00:38:55,719
Speaker 2: a story called Stab, which is about eye injuries. The

680
00:38:55,840 --> 00:38:57,800
Speaker 2: funny guy Bill Gains.

681
00:38:57,840 --> 00:39:02,239
Speaker 1: Meanwhile, I attempt to launch a new clean line at EC. Okay,

682
00:39:02,400 --> 00:39:08,520
Speaker 1: just want to quick recap EC Bible Comics horrors and

683
00:39:08,560 --> 00:39:11,279
Speaker 1: then trying to scale back the horrors now with a

684
00:39:11,320 --> 00:39:16,520
Speaker 1: new line called New Direction. These names it does what

685
00:39:16,560 --> 00:39:19,840
Speaker 1: it says on the tin, but pretty much anything with

686
00:39:19,880 --> 00:39:22,560
Speaker 1: the EC name on it was getting returned from distributors

687
00:39:22,680 --> 00:39:26,560
Speaker 1: unopened because of its reputation. The company closed its horror

688
00:39:26,560 --> 00:39:29,880
Speaker 1: and crime titles, with an editorial statement at the end, reading,

689
00:39:29,880 --> 00:39:34,440
Speaker 1: in part, economically, our situation is acute magazines that do

690
00:39:34,520 --> 00:39:37,279
Speaker 1: not get on the newsstands do not sell. We are

691
00:39:37,320 --> 00:39:42,120
Speaker 1: forced to capitulate. We give up. That's sad. Bill Gain's

692
00:39:42,120 --> 00:39:45,400
Speaker 1: empire was whittled down to Mad Magazine, which, though it

693
00:39:45,400 --> 00:39:48,319
Speaker 1: would become a huge success, is not the point of

694
00:39:48,360 --> 00:39:48,960
Speaker 1: this episode.

695
00:39:50,080 --> 00:39:54,000
Speaker 2: So's horror Roster went underground, but the impact that it

696
00:39:54,040 --> 00:39:58,160
Speaker 2: had on generations of creatives still can't be measured. So

697
00:39:58,160 --> 00:40:01,080
Speaker 2: by nineteen seventy one there was a budget UK film

698
00:40:01,120 --> 00:40:04,560
Speaker 2: company named Amicist Productions and they approached Bill Gains about

699
00:40:04,560 --> 00:40:08,000
Speaker 2: a feature length adaptation. So this was nineteen seventy two's

700
00:40:08,040 --> 00:40:11,000
Speaker 2: Tales from the Crypt. It was directed by Freddie Francis,

701
00:40:11,000 --> 00:40:14,200
Speaker 2: who had previously won an Oscar for Cinematography for nineteen

702
00:40:14,239 --> 00:40:21,000
Speaker 2: sixty's D. H. Lawrence adaptation Sons and Lovers gross Following

703
00:40:21,040 --> 00:40:23,960
Speaker 2: the same anthology format, the film collected several stories and

704
00:40:24,000 --> 00:40:26,239
Speaker 2: shot them all on a shoestring budget over the course

705
00:40:26,280 --> 00:40:30,240
Speaker 2: of about a month, notably starring Joan Collins and Hammer

706
00:40:30,280 --> 00:40:35,040
Speaker 2: horror icon Peter Cushing. Unsurprisingly, it was not good, and

707
00:40:35,120 --> 00:40:39,280
Speaker 2: also unsurprisingly, it got a sequel the year after Jordan

708
00:40:39,400 --> 00:40:42,320
Speaker 2: You'll appreciate this. The sequel was called Vault of Horror

709
00:40:42,640 --> 00:40:45,360
Speaker 2: and it was directed by a guy named roy Ward Baker,

710
00:40:45,640 --> 00:40:49,040
Speaker 2: previously best known for A Night to Remember, a nineteen

711
00:40:49,120 --> 00:40:52,600
Speaker 2: fifty eight documentary adaptation of a book about the sinking

712
00:40:52,760 --> 00:40:54,200
Speaker 2: of the Titanic.

713
00:40:54,320 --> 00:40:55,239
Speaker 1: One of my favorites.

714
00:40:55,719 --> 00:40:57,120
Speaker 2: I don't think I got a Beatles one in here

715
00:40:57,160 --> 00:41:01,120
Speaker 2: that yet, so I'll find one. I bet you will. Meanwhile,

716
00:41:01,160 --> 00:41:03,520
Speaker 2: a collective nostalgia was growing in the hearts and minds

717
00:41:03,520 --> 00:41:05,600
Speaker 2: of the boomers who had grown up on easy comics,

718
00:41:05,800 --> 00:41:07,759
Speaker 2: and they were now rapidly rising to the seats of

719
00:41:07,800 --> 00:41:11,160
Speaker 2: power in the country. First example of this is the

720
00:41:11,480 --> 00:41:17,040
Speaker 2: wonderful cult film Creep Show, and it is one of

721
00:41:17,040 --> 00:41:21,480
Speaker 2: my favorites. It's so adorable and so funny and so

722
00:41:21,760 --> 00:41:24,399
Speaker 2: good and it it's a perfect example of how much

723
00:41:24,880 --> 00:41:27,440
Speaker 2: people were willing to go to the mat for this

724
00:41:27,480 --> 00:41:31,319
Speaker 2: stuff because they just loved it so much. And it

725
00:41:31,400 --> 00:41:35,480
Speaker 2: was directed Stephen King. Hit up George Romero about this,

726
00:41:35,800 --> 00:41:39,040
Speaker 2: so like, Stephen King, you know, not quite I know,

727
00:41:39,120 --> 00:41:40,560
Speaker 2: he would have been at like the height of his

728
00:41:40,760 --> 00:41:41,360
Speaker 2: not height what.

729
00:41:41,440 --> 00:41:43,520
Speaker 1: Was his post shining yeah.

730
00:41:43,200 --> 00:41:45,040
Speaker 2: Oh yeah, yeah. So Stephen King at the height of

731
00:41:45,040 --> 00:41:46,880
Speaker 2: his powers, hit up George Romero and was like, we

732
00:41:46,960 --> 00:41:49,440
Speaker 2: got to do something about easy comics. It was an

733
00:41:49,480 --> 00:41:54,440
Speaker 2: easy comics adaptation in everything but name. This was actually

734
00:41:54,440 --> 00:41:57,160
Speaker 2: Stephen King's Hollywood debut as a screenwriter, and he acts

735
00:41:57,200 --> 00:42:00,879
Speaker 2: in the opening segment in a just wonderful pants that

736
00:42:01,239 --> 00:42:07,320
Speaker 2: really gives no doubt that the man was composed primarily

737
00:42:07,360 --> 00:42:10,600
Speaker 2: of cocaine and alcohol. At that time.

738
00:42:10,719 --> 00:42:13,280
Speaker 1: I was gonna say a sterling monument to his drug abuse.

739
00:42:14,000 --> 00:42:15,879
Speaker 2: But it is so good. Creep show is so good.

740
00:42:15,920 --> 00:42:20,120
Speaker 2: It has Hal Holbrook, Adrian Barbo, Leslie Nielsen, Ted Danson,

741
00:42:20,440 --> 00:42:25,680
Speaker 2: Ed Harris and naturally because it was directed by George Romeiro,

742
00:42:25,880 --> 00:42:28,479
Speaker 2: it was shot in and around Pittsburgh, because, as John

743
00:42:28,520 --> 00:42:33,520
Speaker 2: Carpenter famously put it, someone's got to do it. Special

744
00:42:33,520 --> 00:42:37,240
Speaker 2: effects artist whiz Tom Savini handled the effects and enlisted

745
00:42:37,280 --> 00:42:41,520
Speaker 2: something like twenty thousand cockroaches for one indelible segment. The

746
00:42:41,560 --> 00:42:45,400
Speaker 2: film is lovingly styled after the easy comics look. Individual

747
00:42:45,440 --> 00:42:49,080
Speaker 2: segments end in freeze frames that turn they transition into

748
00:42:49,120 --> 00:42:53,080
Speaker 2: illustrated comic splash panels, has all these garish lightings and

749
00:42:53,200 --> 00:42:57,040
Speaker 2: Dutch angles. It's so good, and crucially, because it was

750
00:42:57,080 --> 00:42:59,480
Speaker 2: written by King, it was able to avoid trapesing on

751
00:42:59,560 --> 00:43:02,960
Speaker 2: any eat see trademarks. The film earned twenty one million

752
00:43:03,000 --> 00:43:06,399
Speaker 2: on an estimated eight million budget, and is followed by

753
00:43:06,440 --> 00:43:10,000
Speaker 2: an oddly named TV adaptation, Tales for the Dark Side,

754
00:43:10,480 --> 00:43:15,160
Speaker 2: Tales from the Dark Side hashtag rights issues, and then

755
00:43:15,440 --> 00:43:17,160
Speaker 2: The Creep Show two came out in eighty seven, and

756
00:43:17,160 --> 00:43:19,280
Speaker 2: there are Tales from the Dark Side movies. I also

757
00:43:19,320 --> 00:43:21,400
Speaker 2: want to say, and once again I just have to

758
00:43:21,400 --> 00:43:23,960
Speaker 2: stress how good Creep Show is. Everyone. You should just

759
00:43:24,080 --> 00:43:28,040
Speaker 2: go see it or rent it. It's hilarious and it

760
00:43:28,120 --> 00:43:32,840
Speaker 2: paved the way for the absolute insane roster of Hollywood

761
00:43:33,040 --> 00:43:36,000
Speaker 2: movers and shakers that we are about to drop on you,

762
00:43:36,040 --> 00:43:39,520
Speaker 2: who pulled their own resources for their own proper adaptation,

763
00:43:40,160 --> 00:43:42,319
Speaker 2: which means we have finally gotten to the point of

764
00:43:42,360 --> 00:43:43,880
Speaker 2: this episode.

765
00:43:45,640 --> 00:43:48,440
Speaker 1: For a keen eyed student of Hollywood. The opening credits

766
00:43:48,440 --> 00:43:50,920
Speaker 1: of the HBO Tales from the Crypt series are a

767
00:43:51,120 --> 00:43:54,319
Speaker 1: gold mine. We'll get to the cavalcade of prominent guest

768
00:43:54,360 --> 00:43:57,960
Speaker 1: stars that the series enlisted shortly, but the executive producers

769
00:43:58,040 --> 00:44:00,560
Speaker 1: listed at the top of every episode are one Walter Hill,

770
00:44:01,120 --> 00:44:06,600
Speaker 1: David Geiler, Richard Donner, Joel Silver, and Robert Zemechis. Now

771
00:44:06,640 --> 00:44:08,600
Speaker 1: go ahead and hit the rewind button on your podcast

772
00:44:08,600 --> 00:44:12,000
Speaker 1: platform to take that all in again. Heigel, give us

773
00:44:12,000 --> 00:44:14,200
Speaker 1: a rundown on this murder's row. Tell us who they are?

774
00:44:14,719 --> 00:44:18,400
Speaker 2: You got Walter Hill, director of the Warriors forty eight Hours,

775
00:44:18,840 --> 00:44:21,080
Speaker 2: Streets of Fire, which is his own cult hit. Not

776
00:44:21,120 --> 00:44:23,040
Speaker 2: as cool as the other two, but that's fine. You've

777
00:44:23,040 --> 00:44:26,480
Speaker 2: got his business partner and other producer David Geiler, who

778
00:44:26,520 --> 00:44:31,960
Speaker 2: produced and co wrote Alien Aliens, also Myra Breckinridge, Oh My.

779
00:44:32,080 --> 00:44:34,799
Speaker 1: God, the adaptation of the Gore Vidal book that was

780
00:44:35,920 --> 00:44:40,200
Speaker 1: probably not a very delicate handling of transgender Sure.

781
00:44:40,000 --> 00:44:46,960
Speaker 2: It wasn't, Nope, and also Undisputed. David Goiler produced Undisputed,

782
00:44:47,239 --> 00:44:50,040
Speaker 2: the two thousand and two prison fight flop that starred

783
00:44:50,040 --> 00:44:54,760
Speaker 2: Wesley Snipes, Ving Raim's Peter Falk and beloved character actors

784
00:44:54,760 --> 00:44:58,960
Speaker 2: Michael Rooker and Wes Study, and also Master p I

785
00:44:58,960 --> 00:45:00,520
Speaker 2: don't know why I went so long on that. I

786
00:45:00,560 --> 00:45:02,319
Speaker 2: just think it's very funny that that guy, his like

787
00:45:02,520 --> 00:45:05,000
Speaker 2: career was sort of I mean, he's still working, he's

788
00:45:05,000 --> 00:45:08,759
Speaker 2: still alive. But anyway, You've got Richard Damn Donner of

789
00:45:08,840 --> 00:45:13,600
Speaker 2: The Omen, Superman, The Goonies, Scrooged, Lethal Weapon, and then, last,

790
00:45:13,640 --> 00:45:19,040
Speaker 2: but certainly not least, you've got Joel silver Baby producer extraordinaire.

791
00:45:19,400 --> 00:45:22,440
Speaker 2: He did all that with Walter Hill. He also did Commando,

792
00:45:22,600 --> 00:45:25,880
Speaker 2: the entirety of the Lethal Weapon franchise. He did the

793
00:45:25,880 --> 00:45:29,759
Speaker 2: first two Diehards, the first two Predators, and the fucking Matrixes.

794
00:45:30,400 --> 00:45:34,480
Speaker 2: That's in Silver Baby. He's also like kind of bad, right,

795
00:45:34,560 --> 00:45:37,440
Speaker 2: like we don't really he's got like a pretty bad reputation, right.

796
00:45:37,400 --> 00:45:40,080
Speaker 1: Yeah, he's got a cameo in uh Roger Rabbit.

797
00:45:40,760 --> 00:45:43,600
Speaker 2: Yeah, well I was getting to Roger Rabbit. Oh sorry,

798
00:45:43,719 --> 00:45:47,080
Speaker 2: you've got Robert Zemechiz, director of Romancing the Stone Back

799
00:45:47,120 --> 00:45:50,439
Speaker 2: to the Future trilogy, two of which are good. Who

800
00:45:50,480 --> 00:45:54,120
Speaker 2: framed Roger Rabbit, which whips death becomes her and then

801
00:45:54,160 --> 00:45:57,280
Speaker 2: a bunch of other stuff that sucks, like Forrest Gump

802
00:45:57,280 --> 00:45:58,320
Speaker 2: and the Polar Express.

803
00:45:58,440 --> 00:46:01,840
Speaker 1: Oh, he did Castaway, right, what do we land on

804
00:46:01,840 --> 00:46:05,560
Speaker 1: the cast Away? Yeah? Sure, Cathaway's fine, said, thought about

805
00:46:05,560 --> 00:46:07,239
Speaker 1: Dick Donner. I know, we told this story in the

806
00:46:07,239 --> 00:46:10,320
Speaker 1: Goonies episode about how all the kids in the Goonies

807
00:46:10,320 --> 00:46:12,719
Speaker 1: tormented him, and then he flew home to Hawaii the

808
00:46:12,840 --> 00:46:15,600
Speaker 1: end of the Shoot to Unwind, only to discover that

809
00:46:15,640 --> 00:46:19,120
Speaker 1: producer Steven Spielberg had flown the entire cast down to

810
00:46:19,200 --> 00:46:21,560
Speaker 1: Dick Donner's house for a party to surprise him there

811
00:46:21,600 --> 00:46:25,799
Speaker 1: when he arrived home, which is a hilarious prank and

812
00:46:25,840 --> 00:46:29,120
Speaker 1: something that only Steven Spielberg could do. I didn't realize

813
00:46:29,160 --> 00:46:31,799
Speaker 1: that Dick Donner's feud with kids dated back to when

814
00:46:31,800 --> 00:46:34,680
Speaker 1: he directed The Omen and he asked the kid auditioning

815
00:46:34,719 --> 00:46:37,600
Speaker 1: to play Damien to fight him. And so the kid

816
00:46:37,719 --> 00:46:41,200
Speaker 1: quote kicked him square in the balls and then began

817
00:46:41,320 --> 00:46:43,640
Speaker 1: scratching at his face so hard that his parents had

818
00:46:43,640 --> 00:46:46,440
Speaker 1: to pry him off. And Dick Donner kid.

819
00:46:46,280 --> 00:46:47,120
Speaker 2: Really wanted that part.

820
00:46:47,200 --> 00:46:49,760
Speaker 1: Yeah, he gave it to him. Like the kids spunk

821
00:46:49,960 --> 00:46:55,600
Speaker 1: awful anyway. Walter Hill was directing at Universal in the

822
00:46:55,640 --> 00:46:58,480
Speaker 1: early eighties when he got lost in Russ Cochrane's hardcover

823
00:46:58,560 --> 00:47:01,759
Speaker 1: reprints of the EC Comics line and became a young

824
00:47:01,800 --> 00:47:05,960
Speaker 1: boy again metaphorically speaking. He called in his partner David Geiler,

825
00:47:06,000 --> 00:47:08,759
Speaker 1: who similarly got caught up in the Russian nostalgia, and

826
00:47:08,840 --> 00:47:11,640
Speaker 1: the same collection caught the eye of Joel Silver. When

827
00:47:11,680 --> 00:47:14,080
Speaker 1: all three men were working on Lethal Weapon in nineteen

828
00:47:14,120 --> 00:47:16,799
Speaker 1: eighty three. The three of them optioned the rights from

829
00:47:16,800 --> 00:47:20,680
Speaker 1: Bill Gains, who was suitably very intimidated by several of

830
00:47:20,719 --> 00:47:23,960
Speaker 1: the most important men in Hollywood approaching him for quote

831
00:47:24,160 --> 00:47:28,200
Speaker 1: very little, As Silver recalls in the Wonderful Tone Tales

832
00:47:28,239 --> 00:47:31,600
Speaker 1: from the Crypt the Official Archives by dig b Deal.

833
00:47:31,719 --> 00:47:32,600
Speaker 1: That's a hell of a name.

834
00:47:33,200 --> 00:47:35,520
Speaker 2: Digby did some real lord's work. He's also like a

835
00:47:35,560 --> 00:47:39,880
Speaker 2: co biographer of many famous people, like that's what he

836
00:47:40,000 --> 00:47:43,600
Speaker 2: was mostly known for. And then also this awesome it's

837
00:47:43,640 --> 00:47:45,600
Speaker 2: kind of like the Big Trouble in China book. That's like, uh,

838
00:47:46,400 --> 00:47:50,400
Speaker 2: it's like four hundred dollars on you know, eBay and stuff.

839
00:47:50,440 --> 00:47:51,840
Speaker 1: I've been trying to track that down for you.

840
00:47:52,080 --> 00:47:54,840
Speaker 2: Oh, I got it. My in law has got it

841
00:47:54,880 --> 00:47:55,120
Speaker 2: for me.

842
00:47:56,600 --> 00:47:56,839
Speaker 1: Yeah.

843
00:47:56,920 --> 00:48:01,160
Speaker 2: Shouts to Charlie and Patt but yeah, uh a deal.

844
00:48:01,320 --> 00:48:06,879
Speaker 2: Digby Deal did celebrity autobiographies with like Natalie Cole, Patti LuPone.

845
00:48:07,760 --> 00:48:12,279
Speaker 2: He also did a CIA memoir, What a Memoir by

846
00:48:12,320 --> 00:48:18,000
Speaker 2: the j Paul Getty's fifth wife. So and just also

847
00:48:18,040 --> 00:48:20,520
Speaker 2: made time to pen the definitive book on Tales from

848
00:48:20,560 --> 00:48:21,680
Speaker 2: the Crypt a hero.

849
00:48:21,800 --> 00:48:25,040
Speaker 1: Digby Deal, we bestow upon you the honorary title Friend

850
00:48:25,040 --> 00:48:25,560
Speaker 1: of the Pod.

851
00:48:27,000 --> 00:48:28,560
Speaker 2: You are dead and not in hell.

852
00:48:29,800 --> 00:48:32,359
Speaker 1: Oh he's dead. He's super dead now he can still

853
00:48:32,360 --> 00:48:33,279
Speaker 1: be Friend of the Pod though.

854
00:48:33,640 --> 00:48:34,279
Speaker 2: Yeah.

855
00:48:34,520 --> 00:48:37,040
Speaker 1: Also, while working on Lethal Weapon, Dick Donner was pulled

856
00:48:37,040 --> 00:48:40,280
Speaker 1: in one night after shooting in their trailer, when Silver

857
00:48:40,360 --> 00:48:42,759
Speaker 1: simply said, Hey, I'm working on a Tales from the

858
00:48:42,760 --> 00:48:46,720
Speaker 1: Crypt series, and apparently that's all it took. Donner later said,

859
00:48:46,960 --> 00:48:48,759
Speaker 1: I have no idea what our concept was going to

860
00:48:48,800 --> 00:48:50,879
Speaker 1: be or how it evolved. And there were times when

861
00:48:50,880 --> 00:48:53,120
Speaker 1: everyone near and dear to my life said, don't put

862
00:48:53,160 --> 00:48:55,719
Speaker 1: any more of your money into this project, but I

863
00:48:55,840 --> 00:48:59,239
Speaker 1: stuck with it. Robert Tamachis, meanwhile, was swayed through a

864
00:48:59,280 --> 00:49:03,440
Speaker 1: different bill game his product Mad Magazine. He recalled us

865
00:49:03,480 --> 00:49:05,880
Speaker 1: Back to the Future co writer Bill Gail, introducing him

866
00:49:05,920 --> 00:49:08,520
Speaker 1: to Easy Comics while the pair were roommates at USC

867
00:49:09,560 --> 00:49:12,440
Speaker 1: Gail was a comics nerd who had fan letters published

868
00:49:12,440 --> 00:49:15,640
Speaker 1: in Marvel's Tales of Suspense and Iron Man in nineteen

869
00:49:15,719 --> 00:49:19,040
Speaker 1: sixty eight, and would later write for the company. While

870
00:49:19,040 --> 00:49:22,480
Speaker 1: filming Who Framed Roger Rabbit, in which Joel Silver has

871
00:49:22,640 --> 00:49:26,560
Speaker 1: a great cameo as a hot headed director, Baby Herman,

872
00:49:26,600 --> 00:49:28,640
Speaker 1: you were great, you were perfect. You're better than perfect.

873
00:49:28,719 --> 00:49:32,000
Speaker 1: It's just rot Roger. He bow his lines, what's that

874
00:49:32,520 --> 00:49:37,520
Speaker 1: tweety bird, tweety bird? What's the script saying? Stars, not

875
00:49:37,640 --> 00:49:41,880
Speaker 1: tweety bird, stars. God, it's so good it's so good

876
00:49:42,880 --> 00:49:45,920
Speaker 1: and if he watch that's sin well, how am I?

877
00:49:46,000 --> 00:49:49,840
Speaker 1: How is that? While filming your frame, Roger Rabbits and

878
00:49:49,880 --> 00:49:52,640
Speaker 1: Mecus explained, Joel mentioned that he was working on getting

879
00:49:52,680 --> 00:49:55,719
Speaker 1: easy comics on cable. I knew Tales from the Crypt

880
00:49:55,760 --> 00:49:58,920
Speaker 1: would never succeed on network television. They'd ruin it if

881
00:49:58,920 --> 00:50:01,400
Speaker 1: it was going on cable. I told him I was interested.

882
00:50:01,840 --> 00:50:03,840
Speaker 1: One of the problems was that there was a huge

883
00:50:04,160 --> 00:50:07,960
Speaker 1: pale on retro anthology stuff after the disaster of the

884
00:50:08,040 --> 00:50:12,279
Speaker 1: Twilight Zone movie. Higel, what happened during the Twilight Zone

885
00:50:12,280 --> 00:50:12,840
Speaker 1: movie shoot?

886
00:50:13,680 --> 00:50:17,319
Speaker 2: John Landis killed some kids and also Vic Morro oh uh?

887
00:50:17,640 --> 00:50:21,840
Speaker 2: And John Landis told the helicopter pilot to drive closer

888
00:50:21,960 --> 00:50:26,040
Speaker 2: to the explosions Jesus and they all died in fiery,

889
00:50:26,080 --> 00:50:29,200
Speaker 2: screaming agony, and then John Landis maintained that he did

890
00:50:29,239 --> 00:50:30,280
Speaker 2: nothing wrong for years.

891
00:50:30,440 --> 00:50:31,879
Speaker 1: Did the helicopter pilot live?

892
00:50:32,280 --> 00:50:33,320
Speaker 2: I want to say.

893
00:50:33,280 --> 00:50:37,560
Speaker 1: Yes, oh no, actually, oh, actually, I don't know the

894
00:50:37,600 --> 00:50:38,359
Speaker 1: right answer for that.

895
00:50:38,880 --> 00:50:41,040
Speaker 2: Both the three actors, No, no, it was just the

896
00:50:41,120 --> 00:50:46,680
Speaker 2: kids and in Vic Morro Jesus. Yeah, Steven Spielberg cut

897
00:50:46,760 --> 00:50:51,719
Speaker 2: him off because of that. Really, yeah, that's what it

898
00:50:51,880 --> 00:50:57,400
Speaker 2: took yeah wow. Silver told the La Times it was

899
00:50:57,440 --> 00:50:58,759
Speaker 2: an unusual.

900
00:50:58,320 --> 00:51:00,760
Speaker 1: Time because there have been a bunch of anthology shows

901
00:51:00,800 --> 00:51:03,720
Speaker 1: and films that had all just gone in the toilet.

902
00:51:04,360 --> 00:51:08,400
Speaker 2: Jesus Christ. Sorry. During a take three hours before the incident,

903
00:51:09,400 --> 00:51:14,479
Speaker 2: the helicopter pilot, who was in Vietnam, oh yeah, told

904
00:51:14,560 --> 00:51:17,080
Speaker 2: Landis that the fireballs were too large and too close

905
00:51:17,120 --> 00:51:20,120
Speaker 2: to the helicopter, to which Landis responded, you ain't seen

906
00:51:20,160 --> 00:51:24,440
Speaker 2: nothing yet. Witnesses testified that Landis was still shouting for

907
00:51:24,480 --> 00:51:28,960
Speaker 2: the helicopter to fly lower lower moments before it crashed. Also,

908
00:51:29,840 --> 00:51:33,359
Speaker 2: you know, he was also violating labor laws by having

909
00:51:33,400 --> 00:51:35,240
Speaker 2: these kids work past their hours.

910
00:51:35,400 --> 00:51:37,480
Speaker 1: I was gonna say, weren't they like not even actors.

911
00:51:37,520 --> 00:51:40,040
Speaker 1: Didn't he just like find them or something like.

912
00:51:40,280 --> 00:51:43,200
Speaker 2: He was Even the district attorney was like, this guy's

913
00:51:43,239 --> 00:51:47,680
Speaker 2: being gross. Like during the trial, I mean, did he ever.

914
00:51:47,680 --> 00:51:51,160
Speaker 1: Like recover from that? How did he not get like Alec.

915
00:51:51,000 --> 00:51:53,640
Speaker 2: Baldwins a different times he made the thriller video.

916
00:51:55,880 --> 00:51:58,359
Speaker 1: It was an unusual time, Joel Silver told the La

917
00:51:58,480 --> 00:52:01,160
Speaker 1: Times because there had been a bunch of anthology shows

918
00:52:01,160 --> 00:52:03,600
Speaker 1: and films that had all just gone into the toilet.

919
00:52:03,800 --> 00:52:07,560
Speaker 1: In the aftermath of the Twilight Zone movie incident. He

920
00:52:07,640 --> 00:52:11,000
Speaker 1: was craftily pitching it too. He promised the creative freedom

921
00:52:11,040 --> 00:52:14,120
Speaker 1: of non network TV and a relatively large budget, which

922
00:52:14,120 --> 00:52:16,520
Speaker 1: he subsidized by selling the rights to the series to

923
00:52:16,600 --> 00:52:20,320
Speaker 1: foreign markets, packaging three at a time as feature length films.

924
00:52:20,560 --> 00:52:21,520
Speaker 1: That's a really good idea.

925
00:52:21,800 --> 00:52:24,120
Speaker 2: Yeah, smart guy, you know what can I say? Knows

926
00:52:24,160 --> 00:52:25,759
Speaker 2: his way around the business.

927
00:52:26,400 --> 00:52:29,200
Speaker 1: Walter Hill recalled the project stalling out for several years

928
00:52:29,239 --> 00:52:31,520
Speaker 1: until getting a phone call from Silver for what Deal

929
00:52:31,600 --> 00:52:36,640
Speaker 1: calls a quote classic micro conversation with Silver. This amounted

930
00:52:36,680 --> 00:52:39,560
Speaker 1: to Joel Silver, basically in one breath, telling Hill that

931
00:52:39,640 --> 00:52:42,160
Speaker 1: Zamechas and Donna were on board, as was HBO, and

932
00:52:42,239 --> 00:52:46,839
Speaker 1: could he'll film something in five days. Joel Silver would

933
00:52:46,880 --> 00:52:49,279
Speaker 1: end up making his directorial debut on the series with

934
00:52:49,360 --> 00:52:53,359
Speaker 1: the episode's Split Personality, which involves a typically Tails esque

935
00:52:53,440 --> 00:52:57,040
Speaker 1: murderer's row of talent. It stars Joe Peshy. The script

936
00:52:57,120 --> 00:52:59,759
Speaker 1: is written by Monster Squad and Night of the creepscribe

937
00:53:00,200 --> 00:53:04,480
Speaker 1: Decker Jurassic Parks David Lowry was a storyboard artist and

938
00:53:04,640 --> 00:53:09,239
Speaker 1: Speed and Twister director. Yon Debont was the cinematographer to

939
00:53:09,280 --> 00:53:12,000
Speaker 1: this day. It is literally the only thing that Joel

940
00:53:12,000 --> 00:53:13,240
Speaker 1: Silver has ever directed.

941
00:53:13,800 --> 00:53:15,399
Speaker 2: Why bother when you knock it out of the park

942
00:53:15,440 --> 00:53:19,680
Speaker 2: and surest that bat true. Because of this assemblage of

943
00:53:19,719 --> 00:53:24,200
Speaker 2: power players plus the nostalgia factor, TFTC as I've grown

944
00:53:24,239 --> 00:53:26,520
Speaker 2: to call it in Our Friendship was able to recruit

945
00:53:26,600 --> 00:53:30,000
Speaker 2: a seriously mind boggling array of guests during its run,

946
00:53:30,160 --> 00:53:34,160
Speaker 2: including many Oscar winners. The full list is like three

947
00:53:34,280 --> 00:53:37,440
Speaker 2: columns long on Wikipedia, so I'm not naming everyone, but

948
00:53:37,520 --> 00:53:40,240
Speaker 2: it'll feel like I am. Because of how many people

949
00:53:40,239 --> 00:53:42,720
Speaker 2: were involved in this show. You had your A listers

950
00:53:42,719 --> 00:53:46,120
Speaker 2: like Arnold Schwarzenegger, who directed an episode and was paid

951
00:53:46,160 --> 00:53:49,920
Speaker 2: fifteen thousand dollars. Everyone worked for scale on this that's

952
00:53:49,960 --> 00:53:53,040
Speaker 2: what's so crazy about it. So Arnes Schwarzenegger was took

953
00:53:53,040 --> 00:53:55,839
Speaker 2: over the director's chair for an episode and was paid

954
00:53:55,880 --> 00:53:59,080
Speaker 2: fifteen grand while also cashing a check for ten million

955
00:53:59,200 --> 00:54:04,360
Speaker 2: for total recall, Tom Hanks, who also directed, Kirk Douglas,

956
00:54:04,400 --> 00:54:08,440
Speaker 2: Christopher Reeve, Martin Sheen, Patricia r Quette, Brook Shields, Bill Paxson,

957
00:54:08,520 --> 00:54:11,680
Speaker 2: Steve BISHEMI then you had basically anyone who is hot

958
00:54:11,719 --> 00:54:13,560
Speaker 2: in the mid eighties to early nineties, and I do

959
00:54:13,640 --> 00:54:16,960
Speaker 2: mean physically as well as with your juice, if you will,

960
00:54:18,440 --> 00:54:21,399
Speaker 2: Why did I say that like that? Well, Demi Moore,

961
00:54:21,520 --> 00:54:24,880
Speaker 2: Anthony Michael Hall, Judd Nelson, Corey Feldman, Michael J. Fox,

962
00:54:24,880 --> 00:54:27,480
Speaker 2: who also directed, Kyle McLachlan, and most of the cast

963
00:54:27,520 --> 00:54:31,560
Speaker 2: of Twin Peaks Lou Diamond, Philip Kelly Preston, Key Hoy Kwan,

964
00:54:32,400 --> 00:54:38,880
Speaker 2: Lea Thompson, and John Stamos. You have comedians include Dan Ackroyd,

965
00:54:38,920 --> 00:54:42,240
Speaker 2: Don Rickles, Rickles' episode is great. He plays a ventriloquist.

966
00:54:43,040 --> 00:54:46,879
Speaker 2: It's great. Greedy's included Yeah, Dan Ackroyd, Don Rickles, John

967
00:54:46,920 --> 00:54:51,400
Speaker 2: Lovett's cheech, Marin Hanks, Area, Catherine O'Hara, Whoopi Goldberg, Katie Segal,

968
00:54:51,600 --> 00:54:54,520
Speaker 2: Ted Danson, and Rita Rudner. There were also a bunch

969
00:54:54,560 --> 00:54:57,520
Speaker 2: of people from the music world who came over Ikey Pop,

970
00:54:57,640 --> 00:55:02,480
Speaker 2: Isaac Hayes, Meet Loaf, Adultery of the Who, Slash of

971
00:55:02,600 --> 00:55:05,400
Speaker 2: Guns n' Roses and also just being Slash, Tim Curry,

972
00:55:05,760 --> 00:55:08,040
Speaker 2: Priscilla Presley, and also.

973
00:55:07,840 --> 00:55:11,680
Speaker 1: Wayne Newton said me Loaf as if Loaf was his

974
00:55:11,800 --> 00:55:15,719
Speaker 1: last name, Meat Loaf, mister Loaf, please, that was my father?

975
00:55:15,800 --> 00:55:16,960
Speaker 2: Call me meat.

976
00:55:18,320 --> 00:55:20,400
Speaker 1: From was it The Apprentice Apprentice.

977
00:55:20,520 --> 00:55:22,600
Speaker 2: Yeah, when people are trying, he's like having a tit

978
00:55:22,800 --> 00:55:25,040
Speaker 2: to meltdown and like people are trying to soothe him.

979
00:55:25,040 --> 00:55:28,759
Speaker 2: Like I think it's Mark McGrath of Sugar Ray is like.

980
00:55:29,400 --> 00:55:33,600
Speaker 1: Meat, meat, meat me.

981
00:55:34,520 --> 00:55:36,879
Speaker 2: Some of the across the Pond talent who came over

982
00:55:36,920 --> 00:55:41,360
Speaker 2: with Malcolm McDowell, uh Isabella Rossellini, Bob Hoskins who directed

983
00:55:41,360 --> 00:55:45,400
Speaker 2: an episode, Timothy Dalton, you know, the Bond guy for

984
00:55:45,480 --> 00:55:50,040
Speaker 2: Two Things of Bond Boxing, Legend, Sugar Ray Leonard and

985
00:55:50,080 --> 00:55:52,000
Speaker 2: the show also gave early gigs to a bunch of

986
00:55:52,040 --> 00:55:54,759
Speaker 2: people who would go on to become a listers like

987
00:55:54,800 --> 00:55:58,759
Speaker 2: Ewan McGregor, Beniso de Toro, Daniel Craig, Jonathan Banks of

988
00:55:58,800 --> 00:56:04,440
Speaker 2: Breaking Bad, that tall guy from Everybody Loves Raymond. I

989
00:56:04,480 --> 00:56:07,120
Speaker 2: told you about. One of my favorite Jimmy Glick put

990
00:56:07,120 --> 00:56:09,880
Speaker 2: downs is from him. Jimmany says something to him and

991
00:56:10,320 --> 00:56:12,480
Speaker 2: Brad Garrett's like, oh, I'm sure you got that from

992
00:56:12,480 --> 00:56:19,400
Speaker 2: the website, didn't you. Like A millisecond later, sweet sweet

993
00:56:19,600 --> 00:56:22,000
Speaker 2: Martin just comes out with, oh, because there's so many

994
00:56:22,040 --> 00:56:23,160
Speaker 2: books written about you.

995
00:56:23,320 --> 00:56:28,719
Speaker 1: As much as I hate Martin Short, I do love

996
00:56:28,800 --> 00:56:29,719
Speaker 1: Jimmy Glick.

997
00:56:30,080 --> 00:56:35,240
Speaker 2: Yeah, Jada Pinkett. I think it's just Jada Pinkett these days.

998
00:56:35,320 --> 00:56:37,959
Speaker 2: She was in there. Jeffrey Tambore in a fat suit

999
00:56:38,040 --> 00:56:42,080
Speaker 2: that looks suspiciously exactly like the fat suit and makeup.

1000
00:56:42,120 --> 00:56:45,080
Speaker 2: They put Colin Ferrell in to play the penguin in

1001
00:56:45,120 --> 00:56:49,080
Speaker 2: his current job. Like Jeffrey, google it, it's weird. Jeffrey

1002
00:56:49,120 --> 00:56:51,879
Speaker 2: Tamber's fat suit in makeup in Nights from the Crip

1003
00:56:51,960 --> 00:56:56,600
Speaker 2: looks eerily almost exactly similar to the penguin right now.

1004
00:56:57,880 --> 00:57:02,120
Speaker 2: Obvious genre mainstays like Brad Doree, Michael Ironside, Lance Hendrickson,

1005
00:57:02,480 --> 00:57:04,160
Speaker 2: ar Lee Ermie shows up at one point to do

1006
00:57:04,239 --> 00:57:09,120
Speaker 2: his whole thing, and also saving the handsomest for last,

1007
00:57:09,239 --> 00:57:14,000
Speaker 2: Brad Pitt. Tom Holland, who directed Child's Play and Fright Night,

1008
00:57:14,440 --> 00:57:16,840
Speaker 2: was the director of the episode that Brad Pitt stars

1009
00:57:16,840 --> 00:57:19,280
Speaker 2: in with music by Warren Zavaughn, which is super cool,

1010
00:57:20,560 --> 00:57:23,320
Speaker 2: and he told sci Fi that after Brad Pitt appeared

1011
00:57:23,360 --> 00:57:26,200
Speaker 2: in that episode, he said, I thought Brad Pitt was

1012
00:57:26,240 --> 00:57:28,520
Speaker 2: so terrific in that I went out and tried to

1013
00:57:28,520 --> 00:57:30,920
Speaker 2: get him an agent, and I couldn't get him an agent.

1014
00:57:31,080 --> 00:57:33,360
Speaker 2: In the episode, he said, he smiled It's all he

1015
00:57:33,400 --> 00:57:36,280
Speaker 2: had to do. And when he smiled, I said, well

1016
00:57:36,280 --> 00:57:38,800
Speaker 2: that's a movie star, and I said light him as

1017
00:57:38,800 --> 00:57:41,160
Speaker 2: well as the girl. I mean, he was as beautiful

1018
00:57:41,200 --> 00:57:41,720
Speaker 2: as she was.

1019
00:57:42,680 --> 00:57:44,640
Speaker 1: I love how much you love Brad Pitt.

1020
00:57:45,000 --> 00:57:47,280
Speaker 2: I love Tom Holland too. He's so dim funny. When

1021
00:57:47,320 --> 00:57:52,440
Speaker 2: Julian Walters died, I interviewed him about how she about it.

1022
00:57:52,480 --> 00:57:55,240
Speaker 2: She was almost the voice of Chucky and he was

1023
00:57:55,440 --> 00:57:57,720
Speaker 2: he was so cool on the phone. Yeah, he said,

1024
00:57:57,720 --> 00:57:59,680
Speaker 2: it was just like it was a little it ended

1025
00:57:59,720 --> 00:58:02,400
Speaker 2: up being like a little too effeminate and then like obviously,

1026
00:58:02,440 --> 00:58:04,240
Speaker 2: but she had been in play Misty for me, so

1027
00:58:04,280 --> 00:58:07,960
Speaker 2: he thought she could convinstantly pull off a psychopath. But

1028
00:58:08,040 --> 00:58:10,200
Speaker 2: I think the I think the problem was that in

1029
00:58:10,240 --> 00:58:12,680
Speaker 2: the test screetings people were like, well chokey sounds gay,

1030
00:58:13,360 --> 00:58:15,080
Speaker 2: so they were like, okay, get a man to do it.

1031
00:58:16,480 --> 00:58:18,480
Speaker 2: And those are just all the people with name recognition

1032
00:58:18,520 --> 00:58:21,160
Speaker 2: in this There are so many character actors in this

1033
00:58:21,200 --> 00:58:25,000
Speaker 2: show where you just go that guy like it's incredible.

1034
00:58:25,680 --> 00:58:28,080
Speaker 2: You would die doing a drinking game if you were

1035
00:58:28,120 --> 00:58:30,360
Speaker 2: just like take a shot every time you recognize someone.

1036
00:58:31,080 --> 00:58:32,640
Speaker 1: How long is someon not seven years? I mean there

1037
00:58:32,640 --> 00:58:35,920
Speaker 1: weren't even like that many episodes of this too. It's

1038
00:58:35,960 --> 00:58:38,160
Speaker 1: pretty amazing how stacked this guy is.

1039
00:58:38,800 --> 00:58:39,560
Speaker 2: Just wild.

1040
00:58:39,800 --> 00:58:43,280
Speaker 1: Yeah, the director's list is a who's who as well.

1041
00:58:43,440 --> 00:58:46,280
Speaker 1: You mentioned Tom Holland, who did Child's Play, Psycho two

1042
00:58:46,760 --> 00:58:50,720
Speaker 1: and Fright Night, American Psycho and Pet Cemetery director Mary Lambert,

1043
00:58:51,200 --> 00:58:57,439
Speaker 1: Texas Chainsaw Massacre director Toby Hooper, and also hopefully Paltergeist. Right,

1044
00:58:58,120 --> 00:58:59,920
Speaker 1: you know, there's some debate about that.

1045
00:59:00,280 --> 00:59:02,320
Speaker 2: Sorry, I should have put that in. He also directed

1046
00:59:02,320 --> 00:59:03,360
Speaker 2: Poulter Guys.

1047
00:59:03,080 --> 00:59:05,240
Speaker 1: Even though a lot of people think Steven Spielberg did.

1048
00:59:05,680 --> 00:59:08,080
Speaker 1: Spielberg put an ad in the Trades that said he

1049
00:59:08,120 --> 00:59:08,400
Speaker 1: did not.

1050
00:59:09,520 --> 00:59:13,440
Speaker 2: We've also covered that story. Yeah, but it's it's kind

1051
00:59:13,480 --> 00:59:13,880
Speaker 2: of sad.

1052
00:59:14,560 --> 00:59:20,320
Speaker 1: Exosus director and French Connection director William Freakin, that horror

1053
00:59:20,360 --> 00:59:21,360
Speaker 1: show of a man.

1054
00:59:21,760 --> 00:59:24,200
Speaker 2: Yeah, right, came out and worked for Scale. I guess

1055
00:59:24,240 --> 00:59:26,120
Speaker 2: he really loved ec comics man.

1056
00:59:26,480 --> 00:59:28,280
Speaker 1: Yeah. I mean the fact that everybody worked for Scale

1057
00:59:28,320 --> 00:59:31,240
Speaker 1: just shows the affection that so many of these people

1058
00:59:31,680 --> 00:59:36,760
Speaker 1: had for this beloved bit of nostalgia from the childhood,

1059
00:59:37,400 --> 00:59:37,840
Speaker 1: or in.

1060
00:59:37,800 --> 00:59:40,640
Speaker 2: The more cynical reading, they were cozying up to this

1061
00:59:40,720 --> 00:59:45,040
Speaker 2: crazy assemblage of hot producers, directors. Sure, I'll come by

1062
00:59:45,040 --> 00:59:46,160
Speaker 2: and do your thing for peanuts.

1063
00:59:46,680 --> 00:59:49,720
Speaker 1: Good point, very good point. The budget for each episode

1064
00:59:49,760 --> 00:59:53,720
Speaker 1: was around nine hundred thousand dollars, which sounds high to me,

1065
00:59:53,880 --> 00:59:56,040
Speaker 1: especially for today. I bet you that's like close to

1066
00:59:56,040 --> 00:59:57,760
Speaker 1: to two and a half million.

1067
00:59:58,240 --> 01:00:00,280
Speaker 2: It is high for an episode of TV show.

1068
01:00:00,400 --> 01:00:05,400
Speaker 1: Yeah, and as you said, people just loved making these.

1069
01:00:05,520 --> 01:00:08,280
Speaker 1: Arnold Swartzenegger told the La Times in nineteen ninety that

1070
01:00:08,360 --> 01:00:10,800
Speaker 1: quote it was, I would say, can you do that?

1071
01:00:10,800 --> 01:00:11,760
Speaker 1: I can't do the voice.

1072
01:00:11,920 --> 01:00:14,880
Speaker 2: It was I would say the greatest joy I've had

1073
01:00:14,920 --> 01:00:16,080
Speaker 2: in the whole movie business.

1074
01:00:17,760 --> 01:00:21,520
Speaker 1: Arnold Schwartzenegger expressing the joy is the same word is

1075
01:00:21,560 --> 01:00:24,040
Speaker 1: the same of him expressing sorrow.

1076
01:00:27,080 --> 01:00:29,360
Speaker 2: It's because his laughter is so is his laughter is

1077
01:00:29,400 --> 01:00:34,360
Speaker 2: so alienating, say, I can't picture his laugh, but it

1078
01:00:34,520 --> 01:00:37,520
Speaker 2: was I would say the greatest joy I've had. It

1079
01:00:37,520 --> 01:00:41,080
Speaker 2: doesn't work, man like, I'm sorry. Imagine being like around

1080
01:00:41,160 --> 01:00:43,880
Speaker 2: him when he expresses genuine mirth'd be like, what the

1081
01:00:45,000 --> 01:00:48,760
Speaker 2: Jesus does? Spake? Zara Fuster starts playing in the background.

1082
01:00:52,680 --> 01:00:56,600
Speaker 1: What a truly horrifying image this is.

1083
01:00:56,720 --> 01:00:59,360
Speaker 2: Yeah, this is why people pay the koffee big Bucks.

1084
01:01:00,440 --> 01:01:03,560
Speaker 1: Wait could do the laugh and I'll splice in the sounds.

1085
01:01:26,040 --> 01:01:29,640
Speaker 4: That funny sue.

1086
01:01:30,840 --> 01:01:49,920
Speaker 1: Then, Oh, Joe Silvera recalled in a behind the scenes

1087
01:01:49,960 --> 01:01:53,160
Speaker 1: featurette that Martin Scorsese actually expressed interest in doing an

1088
01:01:53,160 --> 01:01:55,800
Speaker 1: episode at one point, and he had a specific comic

1089
01:01:55,880 --> 01:01:58,120
Speaker 1: in mind to do, but I guess it never came together.

1090
01:01:58,560 --> 01:02:00,840
Speaker 2: No, And he said he came up. He's like, he said,

1091
01:02:00,840 --> 01:02:03,440
Speaker 2: the next time he saw Marty, like years later at

1092
01:02:03,440 --> 01:02:06,520
Speaker 2: an awards show, whatever scorsees came up to him. He's like, Man,

1093
01:02:06,560 --> 01:02:07,880
Speaker 2: I really wish I'd gotten to do that night a

1094
01:02:08,280 --> 01:02:11,880
Speaker 2: Tees from the Crypt episode. Just like people loved it. Man,

1095
01:02:11,960 --> 01:02:14,480
Speaker 2: it's so it had such a spirit of joy behind it.

1096
01:02:14,760 --> 01:02:17,520
Speaker 1: Oh. For Robert Semechis, Dick Dahner and the rest of

1097
01:02:17,520 --> 01:02:20,920
Speaker 1: the show's high profile producers, Tales from the Crypts financial

1098
01:02:20,960 --> 01:02:23,840
Speaker 1: payoff was always thought to be a move the syndication,

1099
01:02:24,400 --> 01:02:26,560
Speaker 1: which paid off when Tales from the Crypt was bought

1100
01:02:26,600 --> 01:02:29,400
Speaker 1: by Fox for a late night Saturday slot in nineteen

1101
01:02:29,480 --> 01:02:33,600
Speaker 1: ninety four, which I vaguely remember. But obviously all the

1102
01:02:33,640 --> 01:02:36,240
Speaker 1: sex and gore wouldn't fly because this was made for

1103
01:02:36,440 --> 01:02:38,760
Speaker 1: HBO after all, So the episodes were re edited to

1104
01:02:38,800 --> 01:02:42,480
Speaker 1: include alternate takes that eliminated most of the original episodes

1105
01:02:42,520 --> 01:02:46,720
Speaker 1: gore and nudity. The show also had actors record PG

1106
01:02:46,920 --> 01:02:51,040
Speaker 1: rated versions of otherwise profane dialogue during shooting, and even

1107
01:02:51,080 --> 01:02:53,680
Speaker 1: though this been extra work, it also meant extra money

1108
01:02:53,840 --> 01:02:54,680
Speaker 1: for all concerns.

1109
01:02:54,880 --> 01:02:58,640
Speaker 2: Yeah, it's just funny that they were like, take good blood, curling, scream,

1110
01:02:58,760 --> 01:03:00,880
Speaker 2: thank you, Let's clean up all this blood and we'll

1111
01:03:00,880 --> 01:03:05,520
Speaker 2: do PG one next. Everyone back to one. Donner's vision

1112
01:03:05,560 --> 01:03:07,320
Speaker 2: from the jump was that the show had to look

1113
01:03:07,440 --> 01:03:13,080
Speaker 2: just like the comics. His first episode, dig That Cat

1114
01:03:13,240 --> 01:03:17,120
Speaker 2: whatever it was, shot entirely with extreme wide angle lenses.

1115
01:03:17,120 --> 01:03:21,000
Speaker 2: He told Digby deal deliberately distorting people. He also said

1116
01:03:21,000 --> 01:03:22,840
Speaker 2: that he told a young editor when he got his

1117
01:03:22,920 --> 01:03:25,040
Speaker 2: first edits back from this kid, I want you to

1118
01:03:25,080 --> 01:03:27,440
Speaker 2: go back into the editing room and do everything you

1119
01:03:27,480 --> 01:03:31,200
Speaker 2: were trained not to do. The show picked up some

1120
01:03:31,200 --> 01:03:35,040
Speaker 2: of the industry's most talented miniatures and effects artists. Chris

1121
01:03:35,080 --> 01:03:37,560
Speaker 2: Waylis directed an episode. He's known for the fly and

1122
01:03:37,960 --> 01:03:41,360
Speaker 2: other disgusting things. The opening credits are really incredible. That

1123
01:03:41,440 --> 01:03:44,440
Speaker 2: is a mini mansion is actually a fool like a

1124
01:03:44,760 --> 01:03:47,640
Speaker 2: miniature that which is designed by Richard Edlund, who is

1125
01:03:47,640 --> 01:03:49,760
Speaker 2: a guy who came up through industrial light and magic,

1126
01:03:50,320 --> 01:03:52,640
Speaker 2: which again is just proof that like Hollywood is like

1127
01:03:52,680 --> 01:03:54,800
Speaker 2: a dozen people who all know each other and make

1128
01:03:54,880 --> 01:03:59,280
Speaker 2: everything happen, particularly in this era. But Donner and Zimechis

1129
01:03:59,360 --> 01:04:02,800
Speaker 2: took charge of sequence and actually piloted, Like I guess,

1130
01:04:02,800 --> 01:04:06,240
Speaker 2: it was like an endoscopy camera, like a tiny little

1131
01:04:06,280 --> 01:04:08,880
Speaker 2: camera on the end of a tube that they were

1132
01:04:08,920 --> 01:04:12,320
Speaker 2: just kind of running from above through the rooms of

1133
01:04:12,360 --> 01:04:15,720
Speaker 2: this little miniature mansion and down the staircase, and they

1134
01:04:15,760 --> 01:04:17,960
Speaker 2: disguise the cut when the door opens, and then they're

1135
01:04:18,000 --> 01:04:21,120
Speaker 2: in the actual set for the crypt keeper. Speaking of that,

1136
01:04:21,360 --> 01:04:24,280
Speaker 2: the artist responsible for designing the crypt was Mike Vosberg.

1137
01:04:24,360 --> 01:04:26,680
Speaker 2: He's the guy who does all the comic illustrations. Also

1138
01:04:26,720 --> 01:04:29,800
Speaker 2: at the top of the episode, the main FX artist

1139
01:04:30,080 --> 01:04:33,480
Speaker 2: associated with Tales from the Crypt TFTC was a guy

1140
01:04:33,520 --> 01:04:36,560
Speaker 2: named Todd Masters, and boy did he go buck wild,

1141
01:04:37,800 --> 01:04:41,439
Speaker 2: freed from the constraints of regular TV. It did eventually, though,

1142
01:04:41,560 --> 01:04:44,600
Speaker 2: find a line that he couldn't cross, and I will

1143
01:04:44,680 --> 01:04:47,640
Speaker 2: detail that to you now. It was for an episode

1144
01:04:47,640 --> 01:04:51,200
Speaker 2: starring Steve Buscemi which involved his character suffering and then

1145
01:04:51,280 --> 01:04:55,840
Speaker 2: dying from something called jungle Rot. Masters told Digby Deal

1146
01:04:55,880 --> 01:04:57,920
Speaker 2: that he could have done the shot with a model,

1147
01:04:58,080 --> 01:05:00,760
Speaker 2: but actually devised a way to make it look like

1148
01:05:00,920 --> 01:05:04,720
Speaker 2: Steve Bishemi's face was melting off in real time and

1149
01:05:04,800 --> 01:05:08,840
Speaker 2: disgustingly falling apart, and it looked so realistic that Richard

1150
01:05:08,880 --> 01:05:11,480
Speaker 2: Darner was sent the dailies, and the morning after he

1151
01:05:11,560 --> 01:05:15,880
Speaker 2: called them and said that was too much. But Masters

1152
01:05:15,920 --> 01:05:18,240
Speaker 2: said to total Digby Deal that that was the only

1153
01:05:18,320 --> 01:05:21,200
Speaker 2: time he was ever told to rein it in. This

1154
01:05:21,240 --> 01:05:23,000
Speaker 2: thing picked up a bunch of Emmy nominations that it

1155
01:05:23,040 --> 01:05:26,439
Speaker 2: didn't win, mostly for technical stuff, but also for wardrobe,

1156
01:05:26,520 --> 01:05:30,160
Speaker 2: so shout out to Warden Neil, who's the wardrobe designer

1157
01:05:30,200 --> 01:05:33,120
Speaker 2: for that. Kirk Douglas was nominated for his guest role.

1158
01:05:34,400 --> 01:05:36,760
Speaker 2: I don't know what the cable Ace awards are, but

1159
01:05:37,080 --> 01:05:41,080
Speaker 2: TFTC won ten, so that's cool. Danny Elfman does the theme.

1160
01:05:41,440 --> 01:05:43,960
Speaker 2: I bet you can guess what it sounds like, thumping

1161
01:05:44,120 --> 01:05:47,800
Speaker 2: John SUSA esque rhythms a melodic line that falls squarely

1162
01:05:47,840 --> 01:05:49,840
Speaker 2: on the beat and uses the flat and fifth and

1163
01:05:49,920 --> 01:05:54,600
Speaker 2: sixth from the major scale. But other musicians popped up

1164
01:05:54,600 --> 01:05:58,000
Speaker 2: to help with TFTC, including as previously mentioned, my beloved

1165
01:05:58,040 --> 01:06:02,040
Speaker 2: Warren zevonn Jazz bass Legends, Stanley Clark, Maha Vishu orchestra

1166
01:06:02,200 --> 01:06:06,360
Speaker 2: keyboardist and Miami Vice themed composer Jan Hammer, guitarist and

1167
01:06:06,440 --> 01:06:10,600
Speaker 2: musical man About Town, Ray Cooter, Titanic and many other things.

1168
01:06:10,640 --> 01:06:14,600
Speaker 2: Composer James Horner, and Bruce Broughton, who is most notable

1169
01:06:14,640 --> 01:06:17,560
Speaker 2: for composing for like a ton of stuff that was

1170
01:06:17,600 --> 01:06:20,440
Speaker 2: never huge, But then he was embroiled in an OSCARS

1171
01:06:20,480 --> 01:06:24,120
Speaker 2: controversy where while as an executive committee member of the

1172
01:06:24,120 --> 01:06:27,640
Speaker 2: Academy's music branch, they discovered that he was calling other

1173
01:06:27,760 --> 01:06:33,439
Speaker 2: members and stumping for himself for his own nomination. Ugh,

1174
01:06:36,360 --> 01:06:38,840
Speaker 2: as you meditate on that, we'll be right back with

1175
01:06:38,880 --> 01:06:41,280
Speaker 2: more too much information after these messages.

1176
01:06:53,080 --> 01:06:55,320
Speaker 1: Well, folks, let's be honest. The people are here for

1177
01:06:55,360 --> 01:06:59,080
Speaker 1: the crypt Keeper, the borsch belt style host who's puns

1178
01:06:59,400 --> 01:07:02,360
Speaker 1: and discussed appearance and his little costumes. As you mentioned,

1179
01:07:02,720 --> 01:07:05,840
Speaker 1: have this all coming back. He's descended from the rich

1180
01:07:05,880 --> 01:07:08,160
Speaker 1: tradition of horror hosts that I think we may have

1181
01:07:08,200 --> 01:07:12,280
Speaker 1: covered in another episode, people like Vampira and Zacherley, who'd

1182
01:07:12,360 --> 01:07:15,479
Speaker 1: essentially MC in regional markets when their local affiliates aired

1183
01:07:15,560 --> 01:07:19,040
Speaker 1: old schlock late at night, so the idea of having

1184
01:07:19,040 --> 01:07:21,680
Speaker 1: this host was a must from the get go. What's

1185
01:07:21,720 --> 01:07:24,560
Speaker 1: Wild was out Chuck Jaeger, not the guy who broke

1186
01:07:24,600 --> 01:07:26,880
Speaker 1: the sound barrier for the first time, the guy who

1187
01:07:26,960 --> 01:07:30,560
Speaker 1: designed Chucky from Child's Play, actually wound up for the job.

1188
01:07:31,160 --> 01:07:33,800
Speaker 1: Joel Silver bumped into him in a storage facility where

1189
01:07:33,800 --> 01:07:36,760
Speaker 1: they both had lockers, happened to see Jaeger's collection of

1190
01:07:36,760 --> 01:07:39,440
Speaker 1: props and so forth, and offered him the job on

1191
01:07:39,480 --> 01:07:42,320
Speaker 1: the spot. Now, to me, that's such a like only

1192
01:07:42,360 --> 01:07:44,800
Speaker 1: in Hollywood kind of thing, and I really enjoyed that,

1193
01:07:45,040 --> 01:07:47,400
Speaker 1: And that kind of set me down a little little

1194
01:07:47,440 --> 01:07:52,000
Speaker 1: rabbit hole earlier tonight about yeah, about weird ways that

1195
01:07:52,040 --> 01:07:54,360
Speaker 1: other people in Hollywood got discovered and I found some

1196
01:07:54,400 --> 01:07:56,280
Speaker 1: good ones. May I go off on the sidebar for

1197
01:07:56,360 --> 01:07:57,440
Speaker 1: a minute and share.

1198
01:07:57,320 --> 01:08:00,080
Speaker 2: Someone but careful prosecutor.

1199
01:08:02,000 --> 01:08:06,640
Speaker 1: Counselor. Charlie's therein was discovered while in the middle of

1200
01:08:06,640 --> 01:08:09,200
Speaker 1: an argument at a bank. She later told Oprah, I

1201
01:08:09,240 --> 01:08:11,600
Speaker 1: really needed the money. I began pleading with this teller

1202
01:08:11,640 --> 01:08:14,040
Speaker 1: to help me, and a gentleman came over and tried

1203
01:08:14,080 --> 01:08:15,880
Speaker 1: to help. What I didn't know was that I was

1204
01:08:15,920 --> 01:08:18,759
Speaker 1: auditioning for a guy who had ended up being my manager.

1205
01:08:19,200 --> 01:08:21,000
Speaker 1: On the way out, the man who helped me gave

1206
01:08:21,040 --> 01:08:21,639
Speaker 1: me his card.

1207
01:08:21,840 --> 01:08:23,559
Speaker 2: That could have just been horniness, though.

1208
01:08:23,439 --> 01:08:27,240
Speaker 1: Yeah, yeah, yeah. Kate Moss was having a fight with

1209
01:08:27,280 --> 01:08:30,040
Speaker 1: her dad at an airport when she was spotted by

1210
01:08:30,080 --> 01:08:32,320
Speaker 1: a talent agent. She was fourteen years old.

1211
01:08:32,560 --> 01:08:33,360
Speaker 2: Jesus Christ.

1212
01:08:34,400 --> 01:08:37,400
Speaker 1: They boarded the plane, and according to the talent agent,

1213
01:08:37,479 --> 01:08:39,679
Speaker 1: the signed her. As soon as the seatbelt switched off,

1214
01:08:39,760 --> 01:08:41,920
Speaker 1: they went over to her. Kate would later say, I

1215
01:08:42,040 --> 01:08:45,200
Speaker 1: was smoking. I was fourteen, and I just lost my virginity,

1216
01:08:46,880 --> 01:08:49,240
Speaker 1: so I thought I was the beast knees. I was

1217
01:08:49,240 --> 01:08:52,160
Speaker 1: in the airport puffing away. I'd got on the plane,

1218
01:08:52,479 --> 01:08:54,840
Speaker 1: and then CEO of the model company and her brother

1219
01:08:54,920 --> 01:08:56,639
Speaker 1: came up to me and said, have you ever thought

1220
01:08:56,640 --> 01:09:00,920
Speaker 1: about being a model? Pamela Andrews was on a football

1221
01:09:00,920 --> 01:09:03,120
Speaker 1: game and they projected her image up on the jumbo

1222
01:09:03,160 --> 01:09:05,280
Speaker 1: tron that she happened to be wearing a Labat's Beer

1223
01:09:05,400 --> 01:09:07,960
Speaker 1: T shirt, and the image of her and that T

1224
01:09:08,080 --> 01:09:11,479
Speaker 1: shirt got back to Labat's Beer themselves, who suggested she

1225
01:09:11,640 --> 01:09:18,120
Speaker 1: model for them. Know, so that's how that started. Everyone

1226
01:09:18,120 --> 01:09:21,120
Speaker 1: knows about how Harrison Ford was a carpenter around Hollywood,

1227
01:09:21,120 --> 01:09:24,400
Speaker 1: and he was a carpenter for a very famous casting director,

1228
01:09:24,800 --> 01:09:28,759
Speaker 1: Fred Russ, who kept suggesting him for different parts. Harrison

1229
01:09:28,800 --> 01:09:31,400
Speaker 1: kept getting turned down until eventually he was cast in

1230
01:09:31,439 --> 01:09:34,920
Speaker 1: his breakout role in George Lucas's American Graffiti in nineteen

1231
01:09:34,960 --> 01:09:35,559
Speaker 1: seventy three.

1232
01:09:35,920 --> 01:09:39,000
Speaker 2: I can't believe people turned down Harrison Ford. Did you

1233
01:09:39,160 --> 01:09:41,599
Speaker 2: see him? Did you look at his face and hear

1234
01:09:41,680 --> 01:09:42,280
Speaker 2: his voice?

1235
01:09:43,400 --> 01:09:50,240
Speaker 1: I could see people thinking that he couldn't act early on.

1236
01:09:51,000 --> 01:09:51,720
Speaker 2: Yeah, what I mean?

1237
01:09:52,520 --> 01:09:56,000
Speaker 1: Maybe, I don't know. He's so like stoic in a

1238
01:09:56,240 --> 01:10:00,200
Speaker 1: bad way. I don't know. Ye on your tail. Her

1239
01:10:00,280 --> 01:10:03,000
Speaker 1: Joy was walking her dog when she was scouted by

1240
01:10:03,000 --> 01:10:06,120
Speaker 1: the founder of a top modeling agency, accord Knew. An

1241
01:10:06,120 --> 01:10:08,679
Speaker 1: interview she gave with James Corden, she said, my actions

1242
01:10:08,680 --> 01:10:11,120
Speaker 1: were very stupid, and I don't suggest that anybody do

1243
01:10:11,200 --> 01:10:13,880
Speaker 1: what I did. A car was following me and I

1244
01:10:13,920 --> 01:10:16,719
Speaker 1: started running and this guy leans out the window and says,

1245
01:10:16,800 --> 01:10:19,439
Speaker 1: if you stop, you won't regret it, and I stopped.

1246
01:10:20,920 --> 01:10:22,160
Speaker 2: Wow, Okay.

1247
01:10:23,040 --> 01:10:25,639
Speaker 1: Tony Braxon was singing to herself at a gas station

1248
01:10:25,880 --> 01:10:29,320
Speaker 1: when songwriter Bill Peteway overheard her and helped her get

1249
01:10:29,320 --> 01:10:32,920
Speaker 1: a deal with Arister Records. John Wayne had a job

1250
01:10:32,960 --> 01:10:36,120
Speaker 1: moving props and filming equipment at Fox Film Corporation when

1251
01:10:36,160 --> 01:10:39,439
Speaker 1: the filmmakers, notably John Ford, started casting him as an

1252
01:10:39,439 --> 01:10:43,080
Speaker 1: extra instead. And here's my favorite. I didn't realize this

1253
01:10:43,120 --> 01:10:45,560
Speaker 1: as much Marilyn Monroe lore as I know. She was

1254
01:10:45,640 --> 01:10:48,439
Speaker 1: nineteen years old and working in an aircraft factory when

1255
01:10:48,479 --> 01:10:52,479
Speaker 1: a touring Army photographer took her picture. Photographer liked what

1256
01:10:52,520 --> 01:10:54,360
Speaker 1: he saw when he developed the photo and came back

1257
01:10:54,400 --> 01:10:58,240
Speaker 1: to use her as a basically a recurring model. And

1258
01:10:58,439 --> 01:11:00,479
Speaker 1: after a while she got so many modeling for him

1259
01:11:00,479 --> 01:11:02,920
Speaker 1: that she quit her factory job, divorced her husband, dyed

1260
01:11:02,960 --> 01:11:05,240
Speaker 1: her hair blonde, and changed her name. She was still

1261
01:11:05,240 --> 01:11:09,080
Speaker 1: a norma Jean Baker. Well, good, Yeah, I think that's

1262
01:11:09,080 --> 01:11:09,599
Speaker 1: all I got.

1263
01:11:09,680 --> 01:11:13,240
Speaker 2: Maybe maybe though, men in cars should and airport should

1264
01:11:13,240 --> 01:11:14,719
Speaker 2: stop approaching underage women.

1265
01:11:15,760 --> 01:11:19,559
Speaker 1: Yeah that's a good that's a good takeaway. So Chuck

1266
01:11:19,640 --> 01:11:23,080
Speaker 1: Yeger and Joel Silver went through the typically tortuous process

1267
01:11:23,120 --> 01:11:27,120
Speaker 1: of sketching and casting the Cryptkeeper from clay and basically

1268
01:11:27,160 --> 01:11:30,360
Speaker 1: just hacking away at it, taking different parts of the

1269
01:11:30,400 --> 01:11:33,879
Speaker 1: face away, the hair, the lips, the teeth, though crucially

1270
01:11:33,960 --> 01:11:36,639
Speaker 1: he did originally have a nose, and it was Robert

1271
01:11:36,720 --> 01:11:40,639
Speaker 1: Simchis Dear Sweet Robert Zamekis who gave us the Polar

1272
01:11:40,720 --> 01:11:44,760
Speaker 1: Express and Forrest Gump and Back to the Future, the

1273
01:11:44,800 --> 01:11:48,200
Speaker 1: movie about the mom trying to date her son, who

1274
01:11:48,240 --> 01:11:51,599
Speaker 1: suggested that they take the nose away, which is kind

1275
01:11:51,600 --> 01:11:54,000
Speaker 1: of the most horrifying part of the Cryptkeeper. It really

1276
01:11:54,040 --> 01:11:57,200
Speaker 1: is bad. It really, it's real bad. It's real bad. Yeah,

1277
01:11:57,320 --> 01:12:00,639
Speaker 1: Jaeger did add one signature touch. However, the crypt Keeper

1278
01:12:00,840 --> 01:12:04,519
Speaker 1: literally has Chucky from Child's play's eyes, or at least

1279
01:12:04,560 --> 01:12:06,640
Speaker 1: the same model of false eyes that was used in

1280
01:12:06,720 --> 01:12:10,320
Speaker 1: Child's Blame. The other producers, Walter Hill and David Geiler,

1281
01:12:10,400 --> 01:12:14,400
Speaker 1: were prepared for a more human looking host, and kind

1282
01:12:14,400 --> 01:12:18,400
Speaker 1: of understandably initially balked when they gazed upon the horrifying

1283
01:12:18,560 --> 01:12:21,120
Speaker 1: visage of the crypt keyts.

1284
01:12:20,920 --> 01:12:25,360
Speaker 2: Somehow desiccated and moist at the same time, exist in

1285
01:12:25,360 --> 01:12:29,000
Speaker 2: a state of super imposition between two states like Schrodinger's Cat.

1286
01:12:29,560 --> 01:12:34,920
Speaker 1: But eventually they were convinced six different people actually piloted

1287
01:12:34,920 --> 01:12:38,160
Speaker 1: the puppet, four alone just for the mouth, eyes, and face,

1288
01:12:38,280 --> 01:12:43,320
Speaker 1: and two left over for everything else basically, but It

1289
01:12:43,360 --> 01:12:46,320
Speaker 1: was only in the third season that the Cryptkeeper started appearing.

1290
01:12:46,320 --> 01:12:51,240
Speaker 1: It bespoke outfits from pop culture, Dressica's Elvis, Uncle Sam

1291
01:12:51,560 --> 01:12:54,600
Speaker 1: or in one case Forrest comp.

1292
01:12:54,920 --> 01:12:55,639
Speaker 2: Yeah it's great.

1293
01:12:56,080 --> 01:12:58,320
Speaker 1: Wow, he has the little box of chocolates and everything.

1294
01:12:58,680 --> 01:13:01,280
Speaker 1: Oh cute, I love it. He's on a bench assuming

1295
01:13:01,479 --> 01:13:02,320
Speaker 1: of course.

1296
01:13:02,560 --> 01:13:05,160
Speaker 2: They had props. The one were the brad pitt one.

1297
01:13:06,040 --> 01:13:09,880
Speaker 2: He drives in a motorcycle. You see his little feet

1298
01:13:09,960 --> 01:13:11,200
Speaker 2: in motorcycle.

1299
01:13:11,080 --> 01:13:15,280
Speaker 1: Is really funny. Jaeger said in a Making Up documentary

1300
01:13:15,320 --> 01:13:18,400
Speaker 1: that there were twenty seven servo motors inside the Keeper's

1301
01:13:18,439 --> 01:13:21,280
Speaker 1: head alone, and they would burn out every few weeks.

1302
01:13:21,280 --> 01:13:23,080
Speaker 1: So the puppeteers that would keep a close eye on

1303
01:13:23,120 --> 01:13:25,960
Speaker 1: the micro movements of the puppets face and notice of

1304
01:13:26,000 --> 01:13:29,120
Speaker 1: one area was lagging or breaking down, so the motor

1305
01:13:29,160 --> 01:13:31,439
Speaker 1: didn't actually go up in the flames and burn the

1306
01:13:31,439 --> 01:13:33,960
Speaker 1: whole thing down. It's on fire.

1307
01:13:34,439 --> 01:13:37,519
Speaker 2: Imagine watching that thing and like, oh he started to fire,

1308
01:13:37,960 --> 01:13:40,400
Speaker 2: he's starting to stroke out. Nope, get to him and

1309
01:13:40,439 --> 01:13:40,800
Speaker 2: then he's.

1310
01:13:40,720 --> 01:13:46,000
Speaker 1: Just the damn face could be scarier. It was at

1311
01:13:46,000 --> 01:13:47,439
Speaker 1: the center of a flame.

1312
01:13:47,960 --> 01:13:48,560
Speaker 2: Yeah.

1313
01:13:48,920 --> 01:13:51,439
Speaker 1: Wow. The voice of the Cryptkeeper was a guy named

1314
01:13:51,520 --> 01:13:54,920
Speaker 1: John Cassiir previously best known as the voice of the

1315
01:13:55,000 --> 01:14:00,120
Speaker 1: raccoon in Pocahontas. Pocahontas was made the nineties, though like

1316
01:14:00,160 --> 01:14:04,320
Speaker 1: nineteen ninety three, Oh I guess not previously later best

1317
01:14:04,400 --> 01:14:08,759
Speaker 1: known John Cassier told observer dot Com about his audition process, recalling,

1318
01:14:09,160 --> 01:14:11,200
Speaker 1: I saw some of the other people auditioning were looking

1319
01:14:11,240 --> 01:14:13,400
Speaker 1: at the script copy and saying, oh my god, this

1320
01:14:13,439 --> 01:14:16,960
Speaker 1: stuff is terrible. They didn't get it. The crypt keeper

1321
01:14:17,080 --> 01:14:20,240
Speaker 1: loves saying this stuff. He's delivering it like it's the

1322
01:14:20,240 --> 01:14:23,320
Speaker 1: best Shakespeare. I wanted him to treat the language like

1323
01:14:23,360 --> 01:14:25,719
Speaker 1: it was important, so he gave him a British accent.

1324
01:14:26,160 --> 01:14:28,760
Speaker 1: I used to love the Alfred Hitchcock Presents and the

1325
01:14:28,760 --> 01:14:31,280
Speaker 1: way he would introduce those episodes with such a tongue

1326
01:14:31,280 --> 01:14:33,959
Speaker 1: in cheek delivery. That is pretty great. What a great

1327
01:14:34,320 --> 01:14:36,919
Speaker 1: way to approach that. That's so wutiful.

1328
01:14:37,240 --> 01:14:38,800
Speaker 2: In one of the ones we watched last night, they

1329
01:14:38,840 --> 01:14:42,160
Speaker 2: put him in a little Shakespearean rough because he was

1330
01:14:42,200 --> 01:14:44,640
Speaker 2: he was the acting episode, and he was like, He's like,

1331
01:14:44,800 --> 01:14:47,480
Speaker 2: next time doing Shakespeare.

1332
01:14:47,880 --> 01:14:52,200
Speaker 1: Is a little rough caller? Was it cuter or less

1333
01:14:52,240 --> 01:14:55,160
Speaker 1: cute or as cute as Wishbone the Dog and the

1334
01:14:55,200 --> 01:14:56,320
Speaker 1: Shakespearean rough call.

1335
01:14:56,400 --> 01:15:00,240
Speaker 2: Oh great, call less cute, but with a similar charm.

1336
01:15:00,320 --> 01:15:05,160
Speaker 1: Yeah yeah. Supposedly, Michael Winslow and Charles Fleischer, the voice

1337
01:15:05,200 --> 01:15:07,280
Speaker 1: of Roger Rabbit, also sent in tapes.

1338
01:15:07,960 --> 01:15:09,280
Speaker 2: Please Eddie Wait.

1339
01:15:09,320 --> 01:15:11,120
Speaker 1: Who's Michael Winslow, the.

1340
01:15:11,240 --> 01:15:14,080
Speaker 2: Police academy guy, the guy who makes all the weird sounds.

1341
01:15:13,920 --> 01:15:17,760
Speaker 2: He's he's in space balls. He's like, we've lost the

1342
01:15:17,760 --> 01:15:20,479
Speaker 2: bleeps and the bloops in that, but we've got the root.

1343
01:15:21,080 --> 01:15:23,800
Speaker 1: Oh yeah, the Man of ten thousand sound effects. Yeah. Yeah.

1344
01:15:24,760 --> 01:15:27,880
Speaker 1: The Keeper's of noxious laugh was inspired by Margaret Hamilton's

1345
01:15:27,880 --> 01:15:30,720
Speaker 1: Wicked Witch of the West, which caught Jaeger's ear when

1346
01:15:30,800 --> 01:15:34,720
Speaker 1: Casiir sent in a tape. Unfortunately, the demands of the

1347
01:15:34,800 --> 01:15:37,680
Speaker 1: voice weigh heavily on Casiir, as you can attest from

1348
01:15:37,720 --> 01:15:40,760
Speaker 1: doing the impression at the top of the episode, he

1349
01:15:40,760 --> 01:15:42,600
Speaker 1: could only track a few minutes at a time and

1350
01:15:42,800 --> 01:15:47,160
Speaker 1: was drinking lemonon honey constantly. He told Digby Deal colorfully

1351
01:15:47,160 --> 01:15:49,400
Speaker 1: that the intensity of the Keeper voice quote left his

1352
01:15:49,479 --> 01:15:51,920
Speaker 1: vocal cords like raw meat by the time we were

1353
01:15:51,960 --> 01:15:54,240
Speaker 1: done with a session. He eventually had to modify the

1354
01:15:54,320 --> 01:15:57,080
Speaker 1: voice a little as the show progressed Also during the

1355
01:15:57,120 --> 01:15:59,840
Speaker 1: early seasons he had to slow down his delivery because

1356
01:15:59,840 --> 01:16:03,000
Speaker 1: the puppet can't keep up with them. That eventually picked

1357
01:16:03,040 --> 01:16:04,280
Speaker 1: up as the tech got better.

1358
01:16:05,120 --> 01:16:08,639
Speaker 2: That's like a little shop of horrors. Rick moranis genius

1359
01:16:08,640 --> 01:16:10,320
Speaker 2: that he is, was performing all of his stuff at

1360
01:16:10,360 --> 01:16:12,559
Speaker 2: half speed when he was in scenes with the full

1361
01:16:12,640 --> 01:16:18,519
Speaker 2: Audrey puppet. Really yeah wow? Well, you know, as I

1362
01:16:18,560 --> 01:16:22,280
Speaker 2: mentioned before, or did I as we alluded to before,

1363
01:16:22,520 --> 01:16:25,639
Speaker 2: we even have TFTC to thank for HBO's famous slogan.

1364
01:16:26,400 --> 01:16:28,519
Speaker 2: The network pitched a reel of its original programming to

1365
01:16:28,560 --> 01:16:31,440
Speaker 2: an ad agency and when it got to the gratuitous

1366
01:16:31,479 --> 01:16:34,840
Speaker 2: sex and violence portion, someone from the agency said, it's

1367
01:16:34,840 --> 01:16:38,479
Speaker 2: not TV and I know the responded, no, it's HBO.

1368
01:16:39,520 --> 01:16:43,040
Speaker 2: So from that twenty minute meeting, people made like five

1369
01:16:43,120 --> 01:16:47,040
Speaker 2: hundred thousand dollars I'm sure because ad and marketing work

1370
01:16:47,280 --> 01:16:47,720
Speaker 2: is not real.

1371
01:16:47,800 --> 01:16:50,320
Speaker 1: Oh way, way more than that way.

1372
01:16:51,960 --> 01:16:54,520
Speaker 2: Crypt made its debut. Why did I say that TFTC

1373
01:16:54,640 --> 01:16:57,439
Speaker 2: made its debut? Might I say that like that Tales

1374
01:16:57,439 --> 01:17:00,880
Speaker 2: from the Crypt made its debut? In this casey caseum

1375
01:17:00,920 --> 01:17:04,400
Speaker 2: over here, Tells from the Crypt made its debut June

1376
01:17:04,439 --> 01:17:05,320
Speaker 2: nineteen eighty nine.

1377
01:17:06,000 --> 01:17:06,719
Speaker 1: Here's a letter.

1378
01:17:07,400 --> 01:17:10,919
Speaker 2: I'm working on it, beating out the networks in HBO's

1379
01:17:11,000 --> 01:17:14,120
Speaker 2: seventeen million homes according to Nielsen figures, with a twenty

1380
01:17:14,160 --> 01:17:22,200
Speaker 2: four percent share of the audience. You're thinking about the Yeah.

1381
01:17:21,520 --> 01:17:23,720
Speaker 1: I never want to see you or your boyfriend ever

1382
01:17:23,800 --> 01:17:25,599
Speaker 1: again again, Casey Kiss.

1383
01:17:27,040 --> 01:17:29,400
Speaker 2: The success of the show was so dramatic and immediate

1384
01:17:29,439 --> 01:17:32,040
Speaker 2: that Universal offered the team a three picture deal to

1385
01:17:32,040 --> 01:17:36,000
Speaker 2: be spun off the series. These were also predated, bizarrely enough,

1386
01:17:36,080 --> 01:17:39,360
Speaker 2: by a children's animated TV show, Tells from the Cryptkeeper,

1387
01:17:39,360 --> 01:17:42,080
Speaker 2: which ran on ABC and CBS until nineteen ninety nine.

1388
01:17:42,120 --> 01:17:43,439
Speaker 1: Oh my god, I forgot.

1389
01:17:43,479 --> 01:17:45,400
Speaker 2: I think that's where I might have I definitely had

1390
01:17:45,439 --> 01:17:48,200
Speaker 2: watch episodes of that. There was also a children's game

1391
01:17:48,280 --> 01:17:51,439
Speaker 2: show called Secrets of the Cryptkeeper's Haunted House that ran

1392
01:17:51,439 --> 01:17:54,439
Speaker 2: for a year on CBS. The first of the feature

1393
01:17:54,520 --> 01:17:58,080
Speaker 2: length adaptations was Demon Night, which was officially a subtitle

1394
01:17:58,120 --> 01:18:01,880
Speaker 2: with the TFTC branding as a concept. It weirdly enough

1395
01:18:01,920 --> 01:18:05,040
Speaker 2: predates the entire series, and it wasn't adapted from the comics.

1396
01:18:05,800 --> 01:18:08,280
Speaker 2: First draft was written in nineteen eighty seven, and Tom

1397
01:18:08,320 --> 01:18:10,240
Speaker 2: Holland initially wanted to have it be his fall up

1398
01:18:10,280 --> 01:18:13,400
Speaker 2: to Child's play. He then made a movie called Fatal Beauty,

1399
01:18:13,479 --> 01:18:16,200
Speaker 2: which bombed at the box office. The script then went

1400
01:18:16,240 --> 01:18:19,720
Speaker 2: to Pumpkinhead screenwriter Mark Carducci, and then a few years

1401
01:18:19,760 --> 01:18:23,639
Speaker 2: later was kicked to Pet Cemetery director Mary Lambert. Lambert

1402
01:18:23,680 --> 01:18:27,200
Speaker 2: bless Her had some radical ideas for it, including casting

1403
01:18:27,360 --> 01:18:30,840
Speaker 2: all African American leads, but Pet Cemetery too bombed, so

1404
01:18:30,840 --> 01:18:33,840
Speaker 2: she couldn't get her money to make her vision. Screenwriter

1405
01:18:33,920 --> 01:18:36,960
Speaker 2: Ethan Rife told Fangoria, this is when we thought this

1406
01:18:37,040 --> 01:18:40,280
Speaker 2: script was cursed. The joke was that the curse wasn't

1407
01:18:40,280 --> 01:18:43,160
Speaker 2: on us, but whoever optioned the script usually had serious

1408
01:18:43,200 --> 01:18:46,000
Speaker 2: career problems afterwards if they didn't make the movie. The

1409
01:18:46,000 --> 01:18:48,960
Speaker 2: script later went to Charles Bands notoriously low budget but

1410
01:18:49,040 --> 01:18:52,759
Speaker 2: scrappy Full Moon Features. It was optioned as a potential

1411
01:18:52,880 --> 01:18:56,559
Speaker 2: middle picture in the branded trilogy, although neither of the

1412
01:18:56,600 --> 01:18:59,559
Speaker 2: films on either side of it ever got made. The

1413
01:18:59,560 --> 01:19:02,680
Speaker 2: budget problems and headache surrounding this thing were so pervasive

1414
01:19:03,040 --> 01:19:04,320
Speaker 2: that they didn't know if they were going to have

1415
01:19:04,400 --> 01:19:07,680
Speaker 2: enough money to pull off the eponymous demons, and they

1416
01:19:07,680 --> 01:19:10,040
Speaker 2: were just gonna have this army of the of evil

1417
01:19:10,240 --> 01:19:12,519
Speaker 2: just be guys. In black suits and sunglasses like the

1418
01:19:12,520 --> 01:19:16,439
Speaker 2: Agents of the Matrix. Universal wisely kicked in money for

1419
01:19:16,600 --> 01:19:19,479
Speaker 2: the full treatment, and Ernest Dickerson was tapped to direct.

1420
01:19:19,880 --> 01:19:22,719
Speaker 2: Dickerson had been working primarily as a cinematographer on Spike

1421
01:19:22,760 --> 01:19:25,320
Speaker 2: Lee's early films, but he was coming off his directorial

1422
01:19:25,400 --> 01:19:30,960
Speaker 2: debuts Juice starring Tupac, great movie Surviving the Game starring

1423
01:19:31,160 --> 01:19:33,559
Speaker 2: Iced Tea, which is also a great movie I love

1424
01:19:33,560 --> 01:19:35,960
Speaker 2: in Juice like Dickerson was a huge fan of the

1425
01:19:36,000 --> 01:19:40,760
Speaker 2: horror genre. Interestingly enough, love like Lovecraft and everything, and

1426
01:19:40,800 --> 01:19:43,519
Speaker 2: you can see it in Juice, where like Tupac like

1427
01:19:43,640 --> 01:19:47,559
Speaker 2: pops up like Michael Myers in the frame sometimes, like

1428
01:19:47,600 --> 01:19:50,559
Speaker 2: there's literally scenes in which he does like the Michael

1429
01:19:50,600 --> 01:19:53,280
Speaker 2: Myers face just coming out of the shadows thing. It's

1430
01:19:53,320 --> 01:19:55,879
Speaker 2: so funny. I have to think it was a deliberate tribute,

1431
01:19:55,880 --> 01:19:59,920
Speaker 2: because Dickerson knew that much stuff and he jumped at

1432
01:19:59,920 --> 01:20:02,360
Speaker 2: the chance to play around in the genre. He said

1433
01:20:02,400 --> 01:20:05,360
Speaker 2: that with directorial assignments sometimes I'd be told, well, we

1434
01:20:05,400 --> 01:20:08,800
Speaker 2: never saw this as a black film, and he said, actually,

1435
01:20:08,880 --> 01:20:11,439
Speaker 2: neither did I. But with Demon Knight, I was able

1436
01:20:11,439 --> 01:20:14,799
Speaker 2: to put some African american Ism into it. For example,

1437
01:20:14,800 --> 01:20:16,599
Speaker 2: I put Jada Pinkett in the role of the heroine,

1438
01:20:17,240 --> 01:20:19,960
Speaker 2: and for me, this was the perfect setup as until then,

1439
01:20:20,000 --> 01:20:21,720
Speaker 2: if you put a black person in a movie, they

1440
01:20:21,720 --> 01:20:24,040
Speaker 2: would usually be one of the first to die, and

1441
01:20:24,120 --> 01:20:27,040
Speaker 2: she wound up being the final lady. In another interview,

1442
01:20:27,160 --> 01:20:29,000
Speaker 2: I saw him just say that he was happy to

1443
01:20:29,040 --> 01:20:31,240
Speaker 2: make the first film in which a black woman saves

1444
01:20:31,280 --> 01:20:35,000
Speaker 2: the world. Unfortunately, the film did just okay. It made

1445
01:20:35,040 --> 01:20:37,439
Speaker 2: twenty one million on a twelve million dollar budget, but

1446
01:20:37,520 --> 01:20:40,160
Speaker 2: that is far from a hit in Hollywood. So after

1447
01:20:40,320 --> 01:20:44,599
Speaker 2: Demon Knight, the Tales from the Crypt Cinematic Universe TFTCCU

1448
01:20:45,080 --> 01:20:48,400
Speaker 2: gets a little screwy. The story goes that Quentin Tarantino

1449
01:20:49,040 --> 01:20:52,160
Speaker 2: ended up writing From Dusk Till Dawn, his own screwy

1450
01:20:52,280 --> 01:20:55,320
Speaker 2: movie of the mid nineties, directed by Robert Rodriguez, thanks

1451
01:20:55,360 --> 01:20:58,760
Speaker 2: to Robert Kurtzman. Robert Kurtzman is one third of K

1452
01:20:58,840 --> 01:21:01,400
Speaker 2: and B Effects over this ledge and very practical effects house.

1453
01:21:02,640 --> 01:21:06,160
Speaker 2: His other partners were included Greg Nicotero, who went on

1454
01:21:06,240 --> 01:21:10,400
Speaker 2: to run The Walking Dead for many seasons, and Kurtzman

1455
01:21:10,520 --> 01:21:12,719
Speaker 2: came up this for this idea From Dust Till Dawn

1456
01:21:13,680 --> 01:21:15,559
Speaker 2: just to have a project that would be a showcase

1457
01:21:15,560 --> 01:21:18,360
Speaker 2: for what his effects company could do. So in nineteen

1458
01:21:18,439 --> 01:21:21,559
Speaker 2: ninety he hired a young video store clerk named Quentin

1459
01:21:21,560 --> 01:21:24,559
Speaker 2: Tarantino to flesh out a twenty four page outline and

1460
01:21:24,600 --> 01:21:28,719
Speaker 2: paid him fifteen hundred dollars to do so. Kurtzman initially

1461
01:21:28,800 --> 01:21:31,120
Speaker 2: wanted to direct and so that he could, just couldn't

1462
01:21:31,120 --> 01:21:33,759
Speaker 2: convince anyone to let him do it until after Pulp Fiction,

1463
01:21:34,240 --> 01:21:36,719
Speaker 2: when Tarantino went to Mirrimax and said, the next movie

1464
01:21:36,720 --> 01:21:39,640
Speaker 2: I do will be From Dust Till Dawn. In the

1465
01:21:39,680 --> 01:21:42,920
Speaker 2: interim though there were talks about it becoming the next

1466
01:21:43,240 --> 01:21:45,960
Speaker 2: Tales from the Crypt movie and those broke Down, which

1467
01:21:46,000 --> 01:21:50,080
Speaker 2: brings us to Bordello of Blood. Bob Zemchas must have

1468
01:21:50,120 --> 01:21:53,240
Speaker 2: been pissed when From Dust Till Dawn escaped his clutches

1469
01:21:53,280 --> 01:21:55,599
Speaker 2: because he'd written a script with Robert Gail right out

1470
01:21:55,600 --> 01:21:58,719
Speaker 2: of film school that was strikingly similar about a whorehouse

1471
01:21:58,760 --> 01:22:02,080
Speaker 2: full of vampires. They pitched it to John and Milius,

1472
01:22:02,720 --> 01:22:06,920
Speaker 2: the insane gunnut libertarian director who wrote Apocalypse Now directed

1473
01:22:06,960 --> 01:22:10,440
Speaker 2: Conan the Barbarian and is the inspiration for Walter Soachek

1474
01:22:10,560 --> 01:22:12,599
Speaker 2: in The Big Lebowski I didn't know that.

1475
01:22:13,479 --> 01:22:14,880
Speaker 1: Oh my god.

1476
01:22:15,240 --> 01:22:18,800
Speaker 2: Milius expressed interest, but the film just didn't get made.

1477
01:22:18,960 --> 01:22:22,479
Speaker 2: But at some point, after Tales from a Crib had

1478
01:22:22,520 --> 01:22:26,240
Speaker 2: done so well, the newly formed DreamWorks Pictures tried to

1479
01:22:26,280 --> 01:22:32,400
Speaker 2: poach Robert Zemechiz from Universal and he said, no, I'll

1480
01:22:32,400 --> 01:22:35,759
Speaker 2: stay with Universal if I can make Bordello of Blood.

1481
01:22:36,200 --> 01:22:39,720
Speaker 2: This was a mistake. Zamecas didn't even end up directing it.

1482
01:22:39,840 --> 01:22:43,000
Speaker 2: That chair went to Gilbert Adler, who is a producer

1483
01:22:43,040 --> 01:22:45,320
Speaker 2: in all of those Guys Orbits. It was the first

1484
01:22:45,320 --> 01:22:48,880
Speaker 2: and last time he would direct. The thing nearly went

1485
01:22:48,920 --> 01:22:51,640
Speaker 2: down the tubes from the start thanks to casting. It

1486
01:22:51,720 --> 01:22:54,680
Speaker 2: starred Dennis Miller, who had parlayed his whole shtick on

1487
01:22:55,000 --> 01:22:59,200
Speaker 2: sno's Weekend Update into Dennis Miller Live and Boy he sucks.

1488
01:22:59,800 --> 01:23:03,839
Speaker 2: H Dennis Miller sucks. He sucks so hard I hate him.

1489
01:23:04,360 --> 01:23:06,800
Speaker 2: Miller wanted a million dollars to make the film, which

1490
01:23:06,840 --> 01:23:10,120
Speaker 2: he had not made before or I believe after, and

1491
01:23:10,320 --> 01:23:14,080
Speaker 2: Universal wisely refused to pay. So Joel Silver wanted him

1492
01:23:14,160 --> 01:23:16,920
Speaker 2: so much that he cut seven hundred and fifty grand

1493
01:23:16,960 --> 01:23:19,760
Speaker 2: from the FX budget to pay Dennis Miller to be

1494
01:23:19,760 --> 01:23:23,280
Speaker 2: in this movie. Dennis Miller didn't like the dialogue as

1495
01:23:23,280 --> 01:23:26,880
Speaker 2: written and proceeded to improvise much of his lines, which

1496
01:23:26,920 --> 01:23:28,720
Speaker 2: not only screwed over the rest of the cast but

1497
01:23:28,760 --> 01:23:32,519
Speaker 2: the film's continuity. It was filmed in Vancouver because of

1498
01:23:32,600 --> 01:23:38,160
Speaker 2: Joel Silver's apparently contentious history with Hollywood labor unions and

1499
01:23:38,600 --> 01:23:42,639
Speaker 2: Ben selzre Yeah, and Vancouver doesn't have many night hours

1500
01:23:42,680 --> 01:23:45,559
Speaker 2: in July and August, which, as you might surmise, was

1501
01:23:45,560 --> 01:23:49,439
Speaker 2: a hindrance to filming a vampire movie. Because Miller insisted

1502
01:23:49,439 --> 01:23:52,160
Speaker 2: that the film shoot around tapings of Dennis Miller Live,

1503
01:23:52,520 --> 01:23:55,519
Speaker 2: the crew were forced to work weekends, which pissed them off.

1504
01:23:55,800 --> 01:23:58,559
Speaker 1: There was also the problem of Erica Aleniak, who just

1505
01:23:58,640 --> 01:24:01,160
Speaker 1: come off of Baywatch was hoping to launch herself as

1506
01:24:01,200 --> 01:24:04,799
Speaker 1: a serious actress. She also demanded rewrites for her character

1507
01:24:04,840 --> 01:24:07,120
Speaker 1: before they'd even gotten onto the set, though she said

1508
01:24:07,120 --> 01:24:09,720
Speaker 1: they were related to Joel Silver attempting to force a

1509
01:24:09,800 --> 01:24:13,160
Speaker 1: girl on girl's scene between her and Angie Everheart. The

1510
01:24:13,200 --> 01:24:17,440
Speaker 1: other female lead. Everheart meanwhile had almost no acting experience,

1511
01:24:17,479 --> 01:24:20,800
Speaker 1: but was dating Sylvester Stallone, who was then starring in

1512
01:24:20,920 --> 01:24:24,200
Speaker 1: The Assassins, produced by Joel Silver. That movie was being

1513
01:24:24,240 --> 01:24:27,880
Speaker 1: shot in Seattle. So yes, Sylvester Stallone basically got his

1514
01:24:27,920 --> 01:24:30,599
Speaker 1: girlfriend Cass as a lead in a movie to make

1515
01:24:30,720 --> 01:24:34,720
Speaker 1: visiting her on weekends easier because Seattle and Vancouver are

1516
01:24:34,760 --> 01:24:36,040
Speaker 1: fairly close to one another.

1517
01:24:36,280 --> 01:24:38,720
Speaker 2: That is such a dick swinging move. I almost have

1518
01:24:38,800 --> 01:24:39,439
Speaker 2: to respect it.

1519
01:24:39,880 --> 01:24:43,360
Speaker 1: Oh, I totally respect it. Hilariously, in a making of

1520
01:24:43,479 --> 01:24:46,120
Speaker 1: doc a Fresh out of Rehab, Corey Felban threw the

1521
01:24:46,160 --> 01:24:50,240
Speaker 1: pair under the bus for acting like divas, the pair

1522
01:24:50,360 --> 01:24:53,000
Speaker 1: meaning Everheart and Eric Eleniak.

1523
01:24:53,360 --> 01:24:54,400
Speaker 2: Eleniak and Miller.

1524
01:24:55,080 --> 01:24:58,680
Speaker 1: Oh yeah. Corey Felban also claimed in his autobiography, The

1525
01:24:58,760 --> 01:25:03,080
Speaker 1: incredibly named Corey Biography, that Dennis Miller literally told people

1526
01:25:03,160 --> 01:25:05,439
Speaker 1: on air on his TV show not to watch the

1527
01:25:05,479 --> 01:25:09,360
Speaker 1: movie before it even came out, because, as you've correctly

1528
01:25:09,439 --> 01:25:13,960
Speaker 1: noted before, he sucks and it's kind of so bad. Yeah,

1529
01:25:14,040 --> 01:25:16,160
Speaker 1: well tell me, why, tell me more about why he sucks.

1530
01:25:17,000 --> 01:25:18,880
Speaker 2: I don't know, he's weakend up that it was always

1531
01:25:18,880 --> 01:25:22,719
Speaker 2: super weak. Yeah, he's like the weakest part of that show.

1532
01:25:23,000 --> 01:25:25,560
Speaker 2: He cannot act for sure, and just he's one of

1533
01:25:25,600 --> 01:25:27,960
Speaker 2: those guys who clearly thought, like, I'm cool enough to

1534
01:25:28,080 --> 01:25:31,720
Speaker 2: just do me throughout an entire movies. Yeah, I don't know, man,

1535
01:25:31,880 --> 01:25:35,479
Speaker 2: it just it's it's the smarm of Miller, and I

1536
01:25:35,880 --> 01:25:38,519
Speaker 2: just associated him with Bill maher Of. He's like, yeah,

1537
01:25:38,840 --> 01:25:42,519
Speaker 2: loser boomers who like came out with their shirt tucked

1538
01:25:42,520 --> 01:25:46,040
Speaker 2: into their dark washed jeans, and really I don't want

1539
01:25:46,040 --> 01:25:49,920
Speaker 2: to get out of Iran here. But women, you know, like, okay.

1540
01:25:49,720 --> 01:25:52,000
Speaker 1: Dude, this is going to send you into such a

1541
01:25:52,320 --> 01:25:55,439
Speaker 1: it's sending me into a rage. This just single line

1542
01:25:55,479 --> 01:25:59,120
Speaker 1: from his Wikipedia page. In nineteen seventy nine, after seeing

1543
01:25:59,120 --> 01:26:02,760
Speaker 1: a Robin Williams comedy special on HBO, Miller began to

1544
01:26:02,800 --> 01:26:06,600
Speaker 1: pursue his dream of being a stand up comedian. He

1545
01:26:06,720 --> 01:26:12,960
Speaker 1: saw Robin Williams, those dynamic, electrifying, colorful performers of the

1546
01:26:13,040 --> 01:26:14,000
Speaker 1: twentieth century.

1547
01:26:14,120 --> 01:26:16,640
Speaker 2: How what was he like twenty five thirty? Like it

1548
01:26:16,720 --> 01:26:19,559
Speaker 2: must have been like it's like watching Michael Jordans sink

1549
01:26:19,640 --> 01:26:22,000
Speaker 2: the shot and being like I could do that. Now

1550
01:26:22,040 --> 01:26:23,480
Speaker 2: I must play basketball.

1551
01:26:23,680 --> 01:26:25,439
Speaker 1: You know, Yeah, he was twenty six.

1552
01:26:25,960 --> 01:26:29,080
Speaker 2: M Night Shaimo on writing The Sixth Sense and looking

1553
01:26:29,120 --> 01:26:32,200
Speaker 2: around at pictures of like posters from like Jaws and

1554
01:26:32,640 --> 01:26:34,960
Speaker 2: Aliens and being like, yeah, I just have to write

1555
01:26:34,960 --> 01:26:39,320
Speaker 2: something as good as those but he kind of kind

1556
01:26:39,320 --> 01:26:43,559
Speaker 2: of did you love the sixth sense? I do? Did

1557
01:26:43,560 --> 01:26:44,360
Speaker 2: you see his new one?

1558
01:26:45,200 --> 01:26:45,280
Speaker 1: No?

1559
01:26:46,080 --> 01:26:49,439
Speaker 2: What a piece of movie is? Cut all that out?

1560
01:26:49,479 --> 01:26:51,599
Speaker 2: I don't want to get from the weird m night

1561
01:26:51,680 --> 01:26:53,760
Speaker 2: shamal on stands that are out there.

1562
01:26:54,760 --> 01:26:55,240
Speaker 1: What prick.

1563
01:26:56,040 --> 01:26:59,200
Speaker 2: So the pathetic five point six million dollar debut of

1564
01:26:59,280 --> 01:27:02,200
Speaker 2: Bordello Blood pretty much put the proverbial nail in the

1565
01:27:02,200 --> 01:27:05,519
Speaker 2: coffin of the further big screen adventures of Tales from

1566
01:27:05,520 --> 01:27:08,439
Speaker 2: the cryp So in a sense, we did get another

1567
01:27:08,560 --> 01:27:12,679
Speaker 2: unaffiliated movie out of it, Peter Jackson's The Frighteners, which

1568
01:27:12,720 --> 01:27:15,639
Speaker 2: I think is just an underappreciated little gem from the nineties.

1569
01:27:15,680 --> 01:27:17,439
Speaker 2: Not a lot of people know about this movie. It

1570
01:27:17,520 --> 01:27:21,200
Speaker 2: was completely dominated by Independence Day, but I think it's

1571
01:27:21,240 --> 01:27:21,839
Speaker 2: just a delight.

1572
01:27:22,160 --> 01:27:24,320
Speaker 1: You might say that not a lot of people know that.

1573
01:27:24,800 --> 01:27:28,640
Speaker 2: Yes I might. Peter Jackson and his wife Maybe not

1574
01:27:28,720 --> 01:27:32,080
Speaker 2: at the time, but I think now. Wife Fran Walsh

1575
01:27:32,120 --> 01:27:35,120
Speaker 2: wrote this idea of a psychic who uses real ghosts

1576
01:27:35,200 --> 01:27:38,719
Speaker 2: to fleece people into thinking that their house is haunted

1577
01:27:39,040 --> 01:27:41,880
Speaker 2: and then getting him to cleanse it. They were writing

1578
01:27:41,880 --> 01:27:43,920
Speaker 2: this in nineteen ninety two while they were also working

1579
01:27:43,960 --> 01:27:47,840
Speaker 2: on Heavenly Creatures by Peter Jackson. Then they turned the

1580
01:27:47,840 --> 01:27:51,240
Speaker 2: Frighteners into a treatment and sent it off. Robert Simchis

1581
01:27:51,240 --> 01:27:53,000
Speaker 2: found it and wanted to make it the next Tales

1582
01:27:53,000 --> 01:27:55,320
Speaker 2: from the Cryp movie, so he hired the two of

1583
01:27:55,320 --> 01:27:57,720
Speaker 2: them to turn their treatment into a full length screenplay

1584
01:27:57,880 --> 01:28:00,519
Speaker 2: in January of ninety three, and the pair it a

1585
01:28:00,600 --> 01:28:04,120
Speaker 2: year later. This script so impressed Zemechis that he told

1586
01:28:04,200 --> 01:28:07,559
Speaker 2: Jackson to direct it and that he would produce. Stars

1587
01:28:07,560 --> 01:28:11,760
Speaker 2: Michael J. Fox and a few other interesting people. And

1588
01:28:11,800 --> 01:28:12,400
Speaker 2: it just flopped.

1589
01:28:12,400 --> 01:28:12,559
Speaker 1: Man.

1590
01:28:12,680 --> 01:28:16,479
Speaker 2: The marketing was off. As I mentioned earlier, Independence Day

1591
01:28:16,600 --> 01:28:18,760
Speaker 2: was its competition, so that was a fool's errand if

1592
01:28:18,800 --> 01:28:21,439
Speaker 2: ever there was one. But I really like it, you

1593
01:28:21,520 --> 01:28:24,080
Speaker 2: might too. Maybe probably not, ye you know you've said

1594
01:28:24,080 --> 01:28:25,519
Speaker 2: that to me a few times. Okay.

1595
01:28:26,120 --> 01:28:28,120
Speaker 1: I mean, anyone likes the Beatles as much as Peter

1596
01:28:28,240 --> 01:28:31,639
Speaker 1: Jackson does. Can't be all that he got my Beatles

1597
01:28:31,640 --> 01:28:34,640
Speaker 1: reference in there there. It is what killed Tales from

1598
01:28:34,680 --> 01:28:40,000
Speaker 1: the Crypts though was unfortunately I belove it. British Gilbert

1599
01:28:40,040 --> 01:28:42,840
Speaker 1: Adler told The Daily Dead, I thought if we went

1600
01:28:42,840 --> 01:28:44,559
Speaker 1: to England it would be great to get all these

1601
01:28:44,600 --> 01:28:47,360
Speaker 1: actors and directors that do tails from the Crypt. Yeah.

1602
01:28:47,439 --> 01:28:49,640
Speaker 1: He added that locations were a big deal to him,

1603
01:28:49,800 --> 01:28:53,160
Speaker 1: specifically castles. I couldn't do that in America, he said.

1604
01:28:53,400 --> 01:28:56,040
Speaker 1: In America, if something is two hundred years old, it's old,

1605
01:28:56,320 --> 01:28:59,280
Speaker 1: and England if something is five hundred years old, it's young.

1606
01:28:59,520 --> 01:29:01,520
Speaker 1: Also if there was a little bit of the Muppets

1607
01:29:02,080 --> 01:29:06,520
Speaker 1: in there too, then they shot the Muppet Show in London. Oh,

1608
01:29:06,600 --> 01:29:09,799
Speaker 1: I don't know. It's puppets and kind of weird, weird,

1609
01:29:10,080 --> 01:29:14,479
Speaker 1: kitchy Bodvillian borsch belt stuff at the beginning. I don't know.

1610
01:29:14,840 --> 01:29:17,160
Speaker 2: I'm listening key pitching, key pitching a.

1611
01:29:17,240 --> 01:29:19,280
Speaker 1: Muppets tails from the Crypt crossover.

1612
01:29:19,360 --> 01:29:22,519
Speaker 2: That has to have it has to have happened, is

1613
01:29:22,560 --> 01:29:24,080
Speaker 2: piggy like Karate chops him.

1614
01:29:25,479 --> 01:29:28,000
Speaker 1: It must have happened, like Google that while I finished this.

1615
01:29:28,000 --> 01:29:29,439
Speaker 1: This must this must have happened.

1616
01:29:30,760 --> 01:29:33,400
Speaker 2: This may have been a case of Adler's overt anglophilia

1617
01:29:33,479 --> 01:29:35,479
Speaker 2: before anything else though. Yeah.

1618
01:29:35,479 --> 01:29:38,799
Speaker 1: His wife is English and his first project was produced

1619
01:29:38,800 --> 01:29:41,080
Speaker 1: in London, and at one point he made a failed

1620
01:29:41,080 --> 01:29:43,320
Speaker 1: bid to bring The Rocky Horror Picture Show over to

1621
01:29:43,360 --> 01:29:45,719
Speaker 1: the US when it was just a theater production in London.

1622
01:29:45,920 --> 01:29:50,040
Speaker 1: Good instincts, good instincts. Yeah, unfortunately not in the case

1623
01:29:50,080 --> 01:29:52,000
Speaker 1: of bringing The Tail from the Crypt over to England.

1624
01:29:52,720 --> 01:29:55,920
Speaker 1: HBO was initially concerned about the cost, but Adler convinced

1625
01:29:55,960 --> 01:29:58,280
Speaker 1: them and Tail from the Crypt production took over the

1626
01:29:58,360 --> 01:30:01,760
Speaker 1: historic Ealing Studio in West London for six months in

1627
01:30:01,840 --> 01:30:07,400
Speaker 1: nineteen ninety five. That's when problems began. Almost immediately. Gilbert

1628
01:30:07,400 --> 01:30:10,040
Speaker 1: wasn't able to attract American directors to work in England

1629
01:30:10,080 --> 01:30:14,600
Speaker 1: because of the country's taxes. Even Roger Moore, who's you

1630
01:30:14,720 --> 01:30:18,160
Speaker 1: note as British as they get, told Gilbert from Switzerland

1631
01:30:18,560 --> 01:30:20,719
Speaker 1: call me when you get back to la I can't

1632
01:30:20,760 --> 01:30:24,479
Speaker 1: afford to work in London. So why in the seventies

1633
01:30:24,479 --> 01:30:28,200
Speaker 1: all those rock stars from England became tax exiles in

1634
01:30:28,360 --> 01:30:33,759
Speaker 1: la or Switzerland. Freddie Mercury, Ringo, John Lennon, Fith milling

1635
01:30:33,840 --> 01:30:36,880
Speaker 1: Stones just took to a yacht. Yeah. There are also

1636
01:30:36,920 --> 01:30:40,880
Speaker 1: the cultural differences, mainly the mandated twice daily tea breaks

1637
01:30:41,360 --> 01:30:46,120
Speaker 1: and the pub lunch hour each day of shooting. Also, Adler,

1638
01:30:46,200 --> 01:30:49,360
Speaker 1: the director, was completing production on the ill fated Bordello

1639
01:30:49,439 --> 01:30:51,759
Speaker 1: of Blood while working on the UK season of Tales

1640
01:30:51,760 --> 01:30:54,240
Speaker 1: from the Crypt, which really hung him out to dry.

1641
01:30:55,240 --> 01:30:57,720
Speaker 1: That said, he did end up getting his precious locations,

1642
01:30:57,960 --> 01:31:01,920
Speaker 1: shooting at Nebworth House Worthim and indeed dover.

1643
01:31:01,840 --> 01:31:05,920
Speaker 2: Castle, Nedworth House also being where they cut Zeppelin four.

1644
01:31:06,160 --> 01:31:10,439
Speaker 1: I believe no that was it was Headley Grange, wasn't it?

1645
01:31:10,920 --> 01:31:11,200
Speaker 3: Yeah?

1646
01:31:11,240 --> 01:31:12,880
Speaker 2: But why do I have Nedworth in.

1647
01:31:12,840 --> 01:31:14,719
Speaker 1: My head because of Nedworth?

1648
01:31:14,840 --> 01:31:16,479
Speaker 2: Like the oh the festival? Right?

1649
01:31:16,560 --> 01:31:21,080
Speaker 1: Yeah, I was wrong. There's a chain of chicken places

1650
01:31:21,120 --> 01:31:24,920
Speaker 1: near me called Mad for Chicken, and I always rooted

1651
01:31:24,920 --> 01:31:30,559
Speaker 1: in Liam Gallagher's voice, Mad for It. The tone of

1652
01:31:30,600 --> 01:31:33,360
Speaker 1: Tales from the Crypt in England also lightened up, leaning

1653
01:31:33,400 --> 01:31:37,680
Speaker 1: away from its trademark gore and horror, something more British or,

1654
01:31:37,720 --> 01:31:42,639
Speaker 1: as you write, something more constipateous. Thank you for that, Sorry,

1655
01:31:42,680 --> 01:31:45,200
Speaker 1: John and Lee w and all our friends over in

1656
01:31:45,200 --> 01:31:49,439
Speaker 1: the UK. Additionally, Bill Gains died in nineteen ninety two.

1657
01:31:49,600 --> 01:31:51,400
Speaker 1: The guy had kicked this all off, and the rights

1658
01:31:51,439 --> 01:31:54,280
Speaker 1: to e s reverted back to his family, who simply

1659
01:31:54,320 --> 01:31:56,519
Speaker 1: refused to sell them back to producers to make more

1660
01:31:56,560 --> 01:32:00,000
Speaker 1: Tales from the Crypt episodes. There was an alleged reboots

1661
01:32:00,080 --> 01:32:03,240
Speaker 1: series in the works from Tell Them Heigel.

1662
01:32:03,360 --> 01:32:10,200
Speaker 2: M Night, Hiamela my favorite humble and talented man in Hollywood.

1663
01:32:10,600 --> 01:32:11,679
Speaker 1: How do you think that would have gone?

1664
01:32:12,400 --> 01:32:16,240
Speaker 2: Probably Doug. He would have been forcing dumb like. He

1665
01:32:16,240 --> 01:32:18,519
Speaker 2: would have been forcing twists into it. By the way,

1666
01:32:18,880 --> 01:32:22,760
Speaker 2: there is a Muppets Tells from the Crypt connection good

1667
01:32:22,800 --> 01:32:28,240
Speaker 2: it is. In Muppets Tonight, there was a recurring bit

1668
01:32:28,400 --> 01:32:32,479
Speaker 2: called Tales from the Vet which was in the intro

1669
01:32:32,560 --> 01:32:35,960
Speaker 2: to that mimicked the tracking shot through the old mansion

1670
01:32:36,120 --> 01:32:40,320
Speaker 2: with passing by a bunch of animals and cages through

1671
01:32:40,320 --> 01:32:42,719
Speaker 2: the Vets office while doing a work on the Danny

1672
01:32:42,720 --> 01:32:43,360
Speaker 2: Elfman theme.

1673
01:32:43,560 --> 01:32:44,400
Speaker 1: That's incredible.

1674
01:32:44,600 --> 01:32:47,040
Speaker 2: Muppets Tonight was one of the bad ones, right.

1675
01:32:47,600 --> 01:32:49,880
Speaker 1: I remember liking it. I remember watching it when it

1676
01:32:49,960 --> 01:32:51,960
Speaker 1: first premiered, but I was just so excited out The

1677
01:32:52,000 --> 01:32:55,080
Speaker 1: Muppets are coming Back came out like ninety eight, right.

1678
01:32:55,520 --> 01:32:56,200
Speaker 2: Ninety six?

1679
01:32:56,640 --> 01:32:59,919
Speaker 1: Ninety six order a full order of twenty two episodes

1680
01:33:00,120 --> 01:33:05,559
Speaker 1: canceled after broadcasting ten Really you remembered falsely? It was

1681
01:33:05,640 --> 01:33:07,840
Speaker 1: that much of a bomb. And there's the Muppet Show.

1682
01:33:07,920 --> 01:33:13,080
Speaker 1: What was the difference between Uppets Night and the Muppet Show? Wow,

1683
01:33:13,240 --> 01:33:15,920
Speaker 1: I don't knowze people hated it did taste just change

1684
01:33:16,560 --> 01:33:18,479
Speaker 1: because it was all like Friday Night. It was on

1685
01:33:18,600 --> 01:33:20,160
Speaker 1: like the TGIF lineup, wasn't it.

1686
01:33:20,200 --> 01:33:22,080
Speaker 2: We're so close to finishing this, don't get bogged down

1687
01:33:22,080 --> 01:33:23,519
Speaker 2: in the details.

1688
01:33:23,080 --> 01:33:24,000
Speaker 1: All right, take us home.

1689
01:33:24,920 --> 01:33:27,120
Speaker 2: Yeah, I mean I think it really was a combination

1690
01:33:27,160 --> 01:33:29,559
Speaker 2: of it. It was probably the rights things, because in

1691
01:33:29,600 --> 01:33:32,759
Speaker 2: the limited information I could find about this they had

1692
01:33:33,120 --> 01:33:36,439
Speaker 2: in the original contract, it was like up to amount

1693
01:33:36,479 --> 01:33:39,679
Speaker 2: of time right that they had these, And when Bill

1694
01:33:39,720 --> 01:33:42,479
Speaker 2: Gaines died, they couldn't renegotiate it with his estate who

1695
01:33:42,520 --> 01:33:46,760
Speaker 2: probably realized they got fleeced initially and wanted way more

1696
01:33:46,800 --> 01:33:47,439
Speaker 2: money for it.

1697
01:33:48,240 --> 01:33:50,439
Speaker 1: And did Joel Silver say that we paid very little?

1698
01:33:51,040 --> 01:33:53,760
Speaker 2: Yeah, and that is currently why you can't watch this

1699
01:33:53,840 --> 01:33:58,320
Speaker 2: thing anywhere unless you they're all on YouTube, which is great,

1700
01:33:59,080 --> 01:34:01,160
Speaker 2: but yeah, there's there really die in for, like a

1701
01:34:01,200 --> 01:34:06,720
Speaker 2: big authorized Blu ray treatment or HD remaster regrade. But

1702
01:34:07,760 --> 01:34:10,559
Speaker 2: sad to say that is sad. Yeah, and I don't

1703
01:34:10,560 --> 01:34:13,680
Speaker 2: have much. And you know why that's sad, Jordan, is

1704
01:34:13,680 --> 01:34:16,360
Speaker 2: because the repeated theme that kept coming out in all

1705
01:34:16,400 --> 01:34:18,799
Speaker 2: of my research for this was just how much fun

1706
01:34:19,120 --> 01:34:22,920
Speaker 2: everyone had working on this. You know. It was also

1707
01:34:22,960 --> 01:34:25,240
Speaker 2: sad that the original comics were victim of one of

1708
01:34:25,280 --> 01:34:30,920
Speaker 2: America's seemingly biannual moral panics. But it just rules so

1709
01:34:31,240 --> 01:34:33,120
Speaker 2: hard that all of these people at the top of

1710
01:34:33,160 --> 01:34:37,120
Speaker 2: their respective games came together and created just a working situation,

1711
01:34:37,320 --> 01:34:40,720
Speaker 2: a creative environment that so many people were just completely

1712
01:34:40,760 --> 01:34:43,120
Speaker 2: overjoyed to be a part of. For a few years

1713
01:34:43,160 --> 01:34:46,799
Speaker 2: at least, Hollywood worked as it was designed to. Talented

1714
01:34:46,800 --> 01:34:50,479
Speaker 2: people got resources to make cool stuff, the working conditions

1715
01:34:50,520 --> 01:34:54,360
Speaker 2: were rewarding, and everyone walked away. Happened. That doesn't happen

1716
01:34:54,400 --> 01:34:57,720
Speaker 2: that much in any creative field anymore. And that's the

1717
01:34:57,760 --> 01:35:01,200
Speaker 2: truly scary part. But at least we can ghoulishly cackle

1718
01:35:01,240 --> 01:35:04,519
Speaker 2: with joy that it ever happened at all. Folks, Thank

1719
01:35:04,520 --> 01:35:06,880
Speaker 2: you all for listening so much. This has been too

1720
01:35:06,960 --> 01:35:09,599
Speaker 2: much information. I'm Alex Heigel and.

1721
01:35:09,520 --> 01:35:17,479
Speaker 1: I'm Jordan run Talgg. We'll catch you next time. Too

1722
01:35:17,520 --> 01:35:19,800
Speaker 1: Much Information was a production of iHeartRadio.

1723
01:35:20,040 --> 01:35:23,280
Speaker 2: The show's executive producers are Noel Brown and Jordan Runtogg.

1724
01:35:23,479 --> 01:35:26,439
Speaker 1: The show's supervising producer is Michael Alder June.

1725
01:35:26,600 --> 01:35:29,719
Speaker 2: The show was researched, written and hosted by Jordan Runtogg

1726
01:35:29,760 --> 01:35:30,840
Speaker 2: and Alex Heigel.

1727
01:35:30,680 --> 01:35:33,920
Speaker 1: With original music by Seth Applebaum and The Ghost Funk Orchestra.

1728
01:35:34,240 --> 01:35:36,280
Speaker 1: If you like what you heard, please subscribe and leave

1729
01:35:36,360 --> 01:35:39,320
Speaker 1: us a review. For more podcasts on iHeartRadio, visit the

1730
01:35:39,320 --> 01:35:42,639
Speaker 1: iHeartRadio app, Apple Podcasts, or wherever you listen to your

1731
01:35:42,640 --> 01:35:44,200
Speaker 1: favorite shows.