WEBVTT - Tales from the Crypt: Everything You Didn't Know

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<v Speaker 1>Too Much Information is a production of iHeartRadio.

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<v Speaker 2>Greetings, Boils and Ghouls, and welcome to tear Much interre.

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<v Speaker 3>Information, the show that brings you the scary kill stories

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<v Speaker 3>and slashinating facts and figures from your favorite telekill vision bovies.

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<v Speaker 2>Murder, Zick and more. God, that voice is exhausting. I

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<v Speaker 2>can see how that got how.

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<v Speaker 1>That destroyed the voice a voice.

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<v Speaker 2>Yeah, we're your two grave robbers of Genale rotting your

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

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<v Speaker 2>and I.

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<v Speaker 1>Am you wrote several suggestions for me. I can't take

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<v Speaker 1>credit for these. Jordan rot Tog, which is very good.

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<v Speaker 1>George Dead Run Dog also very good. My person my favorite,

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<v Speaker 1>I think is Gore Dan gr Yeah run tg Yeah.

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<v Speaker 1>All just ten out of ten knocked it out of

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<v Speaker 1>the pod. Thank you so manly well done.

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<v Speaker 2>And as I said before, welcome to three weeks of

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<v Speaker 2>Halloween themed too much Information. Because we didn't get it

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<v Speaker 2>together for last week. Whoops. Yeah, we should probably should

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<v Speaker 2>have started this last week, but we're spookally over work,

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<v Speaker 2>so we'll be kicking out the seasonally appropriate jams all

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<v Speaker 2>the rest of the month. Before we get things underway,

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<v Speaker 2>I would like to give a huge shout out to

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<v Speaker 2>our supporters on KOFE. Still not sure that it's pronounced

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<v Speaker 2>that way, but whatever I drop us a message, we

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<v Speaker 2>will answer. If you have shout outs, they will be

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

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

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<v Speaker 2>like sexual stuff.

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<v Speaker 1>Have you gotten any of those now yet?

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<v Speaker 2>Maybe after this one? Yeah, here we go. Anyway, thank

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<v Speaker 2>you to everyone who has donated to that thus far.

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<v Speaker 2>You know we it means the world, it really does.

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<v Speaker 2>And now let us get to the desiccated meat of

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<v Speaker 2>this week's episode. We are taking a look inside Tales

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<v Speaker 2>from the Crypt, seven season strong series that terrified HBO

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<v Speaker 2>subscribers of a certain age from nineteen eighty nine to

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<v Speaker 2>nineteen ninety six. Now, my dad was too cheap to

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<v Speaker 2>add HBO. There was a little a sort of peripherally

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<v Speaker 2>aware of the cryptkeeper because that dude was everywhere.

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<v Speaker 1>Was he like selling like McDonald's stuff. I have a.

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<v Speaker 2>Vague memory of pizza hut or like a pizza pizza

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<v Speaker 2>related thing. Yeah, that was it. So I only got

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<v Speaker 2>to watch these whenever they would like pop up at

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<v Speaker 2>video stores, which wasn't that frequent, and then you would

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<v Speaker 2>get the censored versions too if you came through Blockbuster

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<v Speaker 2>because they were Puritans.

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<v Speaker 1>Did you know that that Blockbuster with Puritans.

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<v Speaker 2>Blockbuster was so powerful in the nineties that they would.

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<v Speaker 1>Have their own cuts, right different, Yeah.

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<v Speaker 2>Yeah, they would have their own cuts. Yeah, and I.

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<v Speaker 1>Think there are some for people who collect vhs' is

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<v Speaker 1>like my brothers. I think some of those Blockbuster versions

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

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<v Speaker 1>censorship turned to commerce.

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<v Speaker 2>Yeah right, the American way literally the point of this episode.

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<v Speaker 2>Yeah yeah, yeah. So I only got to watch more

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<v Speaker 2>of these when I could, you know, torrent them. But

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<v Speaker 2>I did buy tons of easy comic trade paperbacks, which

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<v Speaker 2>is what this show draws from. At any half priced books,

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<v Speaker 2>I could enter with my sweaty little myths, and because

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<v Speaker 2>of rights issues, the show continues to only be available

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<v Speaker 2>through less than optimal mess Jordan as a frightened child

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<v Speaker 2>idealizing the nineteen fifties, What was your experience with Tales

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<v Speaker 2>from the Crypt?

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<v Speaker 1>I mean, don't forget how much I loved are you

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<v Speaker 1>for thought that's true? So I do have I have

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<v Speaker 1>from characteristically high tolerance for spooky stuff. That's fair. Like

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<v Speaker 1>I just just want to say.

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<v Speaker 2>That just just not guns n' roses.

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<v Speaker 1>Yeah, no, just much like you. I was aware of this,

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<v Speaker 1>but I didn't have a ton of exposure to it,

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<v Speaker 1>mostly because I couldn't figure out how to work the

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<v Speaker 1>family cable boxes, so my HBO viewing was pretty limited.

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<v Speaker 1>But yeah, I loved this uniquely late eighties early nineties

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<v Speaker 1>type of show, which usually kind of sci fi leaning

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<v Speaker 1>that felt like it was being secretly broadcast out of

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

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<v Speaker 1>Signs Theater three thousand is a prime example of that

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

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<v Speaker 1>but just something about it just seemed so much weirder

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<v Speaker 1>than anything that was on network TV. Oh and I

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<v Speaker 1>always got a kick out of that.

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<v Speaker 2>It wasn't TV, it was agest Yeah, yeah, I mean,

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

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<v Speaker 1>Was very high. Yeah, but there was something like throwback

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<v Speaker 1>about oh yeah for sure, Yeah, which I always appreciated.

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<v Speaker 1>I mean, from seeming like it was descended from the

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<v Speaker 1>Twilight Zone, which I always loved to the kind of

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<v Speaker 1>borsh Belt style comedy styling zone.

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<v Speaker 2>It is so like nineteen fifties borsch Belt like Yiddish

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<v Speaker 2>stand up stuff.

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<v Speaker 1>It's so great, it's so so good. So I mean,

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<v Speaker 1>I remember watching this at like friend's houses more than

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<v Speaker 1>anything else. I remember there was one with like Malcolm

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<v Speaker 1>McDowell was like a he was like a vampire with

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<v Speaker 1>a conscience who worked at a blood bank.

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<v Speaker 2>Watched it the other night the reluctant vampire.

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<v Speaker 1>And George went from cheers like owns the blood bank

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<v Speaker 1>he works at or something. Yeah, yeah, that was a

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<v Speaker 1>good one. I remember that one. Yeah, I don't know.

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<v Speaker 1>I just remember thinking like, oh, this is like grown up.

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<v Speaker 1>Are you afraid of the dark? Are you afraid of

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<v Speaker 1>the Dark? Is like horror training wheels. But this was

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<v Speaker 1>like I remember at the time thinking this was the

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<v Speaker 1>real deal. I bet you if I watched it now,

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<v Speaker 1>it would probably be pretty laughable. Does it hold up?

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<v Speaker 1>I haven't actually watched them.

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<v Speaker 2>It's pretty goofy and like you know, it's clearly meant

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<v Speaker 2>to be more fun than scary. But there are some

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<v Speaker 2>like the very first episode where Larry Drake from La

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<v Speaker 2>Law plays a homicidal Santa is pretty out there.

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<v Speaker 1>Oh wow, yeah, I mean I remember mostly thinking that,

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<v Speaker 1>like the scariest part of the show was the criptkeeper.

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<v Speaker 2>He's gross. Yeah, he's real gross looking, even when they

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<v Speaker 2>put him in his little costumes. There was one last

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<v Speaker 2>night where the where the cold open had him being

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<v Speaker 2>like a Walter Cronkite like newscaster. And one thing that

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<v Speaker 2>like one that actually made me laugh out loud was

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<v Speaker 2>a dagger is thrown from off screen and lands in

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<v Speaker 2>his skull and he picks it out and goes this

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<v Speaker 2>just Ian, I was like, come so good. Yeah, I

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<v Speaker 2>do not love that.

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<v Speaker 1>I'm just so looking forward to this because I know

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

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<v Speaker 1>you've got horror, you've got probably or Schwarzenegger having a

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<v Speaker 1>good time. You've got what I believe to be the

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<v Speaker 1>prototypical cigar chompings. Executive Joel Silver, I mean, we really

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<v Speaker 1>this touches on so many points for you, so I'm

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<v Speaker 1>really excited.

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<v Speaker 2>Well, from the series' tenuous connection to seventy five year

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<v Speaker 2>old Bible comics to the historical Senate investigation that got

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<v Speaker 2>the source material canceled to the absolutely bonkers roster of

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<v Speaker 2>Hollywood stars and power brokers seemingly gleefully involved in the series.

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

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<v Speaker 2>as we alluded to at the top of the episode,

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<v Speaker 2>the history of Tales from the Cryp really begins with

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<v Speaker 2>DC Comics, which itself begins with a guy named Max Gaines,

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<v Speaker 2>who's a pretty foundational figure in the history of comic

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<v Speaker 2>books in America. Although he lacks the name recognition of

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<v Speaker 2>your Stan Lee's or perhaps even your Steve Ditko's. Maybe

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<v Speaker 2>you're Chris Claremont's.

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<v Speaker 1>Nothing I knew them in descending order.

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<v Speaker 2>According to his son William Gaines, Max was a piece

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<v Speaker 2>of sh He would frequently beat his son with a

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<v Speaker 2>leather belt and say you'll never amount to anything. But

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<v Speaker 2>regarding his day job, Gaines was working as a salesperson

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<v Speaker 2>in the year of nineteen thirty three at Eastern Color Printing,

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<v Speaker 2>a company that printed Sunday newspaper comic strips. So Gaines,

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<v Speaker 2>being a salesman, pitched Procter and Gamble the idea of

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<v Speaker 2>a tabloid sized book of color comic strip reprints that

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<v Speaker 2>would be available for five cents and or a label

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<v Speaker 2>or coupon for any Procter and Gamble product. They initially

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<v Speaker 2>rejected the idea, but Gaines pushed his vision through at

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<v Speaker 2>the printing company and he produced Funnies on Parade, which

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<v Speaker 2>was an eight page newsprint magazine reprinting several comic strips

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<v Speaker 2>licensed from syndicates.

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<v Speaker 1>Can we change to them of our show to Trivion Parade?

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

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<v Speaker 2>and Gamble, though, angle, because it was sent free to

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<v Speaker 2>customers who mailed in coupons, so his vision was eventually

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<v Speaker 2>a spot on. From an initial run of ten thousand copies,

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<v Speaker 2>Eastern Color Printing then went on to produce similar periodicals

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<v Speaker 2>for my beloved Canada Dry and others, but they got.

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<v Speaker 1>Up to runs of two hundred and fifty thousand printing

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

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<v Speaker 1>to a minimum. But this is really fascinating to me,

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<v Speaker 1>and I love how much you know about it. So,

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<v Speaker 1>I mean comic books were basically born as a freebie

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<v Speaker 1>coupon cornucopia.

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<v Speaker 2>Well, I mean you always had comic strips, right like

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<v Speaker 2>you newspapers yeah, yeah, and so they were just in

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<v Speaker 2>a way, they're what we call trade paperbacks today, Like

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<v Speaker 2>if you're not a nerd about getting mint condition comics

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<v Speaker 2>and collecting the individual issues, your average comic reader probably

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<v Speaker 2>has trade paperbacks, which are all the collected runs bound

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<v Speaker 2>into a single paperback edition. And that's what these first

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<v Speaker 2>ones were pitched as. It was just like, hey, we

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<v Speaker 2>have all of these cartoons from several different syndicates, and

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<v Speaker 2>individual artists had contracts with different syndicates, and individual papers

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<v Speaker 2>had different contracts with different syndicates, et cetera, and I

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<v Speaker 2>guess fucking Max Gaines was like I'll put them together

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<v Speaker 2>and that that blew everyone's mind. If one thing good,

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<v Speaker 2>many things better. And these mad dollar signs, yeah exactly.

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<v Speaker 2>It was nineteen thirty three. People were dumber and poorer

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<v Speaker 2>and poorer. In July of nineteen thirty four, Gains then

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<v Speaker 2>published the compendium Famous Funnies, which ran for two hundred

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<v Speaker 2>and eighteen issues and is considered they're terrible whack could

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<v Speaker 2>do weekly You see ones get worse. I like two

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<v Speaker 2>fisted tales. Yeah, that's a good one.

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<v Speaker 1>That's good.

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<v Speaker 2>Famous Funnies is considered the first true American Comic Book.

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<v Speaker 2>There's a collection of syndicated comics distributed through Woolworths. He

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<v Speaker 2>then secured funding from Harry Donnenfeld, who is CEO of

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<v Speaker 2>both National Allied Publication and this is important. National Allied

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<v Speaker 2>Publications published Action Comics, which is where Superman debuted, and

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<v Speaker 2>he was also CEO of the sister company, Detective Comics,

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<v Speaker 2>which you will know is where Batman debuted, and DC

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<v Speaker 2>Comics since has become the namesake, somewhat redundant name of

0:11:18.760 --> 0:11:22.200
<v Speaker 2>that brand, and that all came together to form All

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<v Speaker 2>American Comics in nineteen thirty eight, but by nineteen forty five,

0:11:26.200 --> 0:11:28.360
<v Speaker 2>Gaines thought he saw an end to the comics craze

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<v Speaker 2>and sold out his share to a guy named Jack Leibowitz.

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<v Speaker 2>But under Gaines's tenure, All American Comics published characters that

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<v Speaker 2>are still mainstays of the DC roster, like Wonder Woman

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<v Speaker 2>for one, heard of her Green Lantern, and also Hawkman

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<v Speaker 2>and Hawkwoman and also and oh.

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<v Speaker 1>I'm sorry, I'm sorry, it was right there. It was

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<v Speaker 1>right there, Oh you.

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<v Speaker 2>Jordan. They also public the original Flash and I stopped

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<v Speaker 2>caring about which flashes are, Like, there's so many.

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<v Speaker 1>Flashes what's the relationship between Flash and Flash Gordon.

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<v Speaker 2>Flash Gordon precedes all of this. He was that was

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

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<v Speaker 2>cool though. I used to have a big, big collection

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<v Speaker 2>of those really. Yeah. So anyway, Wonder Woman, Green Lantern,

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<v Speaker 2>and again the aforementioned Hawkman and Hawk Woman all kind

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<v Speaker 2>of date back to the guy who created Ecy Comics

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<v Speaker 2>is period at the reins of DC, which is super

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<v Speaker 2>kind of crazy if you think about it. So then

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<v Speaker 2>Gaines started Educational Comics and he retained only the title

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<v Speaker 2>picture Stories from the Bible as its flagship series, so

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<v Speaker 2>he was bought out of the rest of DC, but

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<v Speaker 2>kept the one about Bible Stories and yes, Horror and

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<v Speaker 2>Gorer pioneers. Easy Comics was initially formed to sell Bible comics,

0:12:52.000 --> 0:12:55.480
<v Speaker 2>and he wanted to sell other like like scientific and

0:12:55.520 --> 0:12:59.160
<v Speaker 2>little like guides to the like the Kid's Guide to Electricity.

0:12:59.640 --> 0:12:59.880
<v Speaker 1>Yeah.

0:13:00.120 --> 0:13:02.440
<v Speaker 2>Yeah, it's kind of like how TLC used to be

0:13:02.520 --> 0:13:06.200
<v Speaker 2>the Learning Channel before it started airing My Gangrenous Armpit

0:13:06.320 --> 0:13:11.360
<v Speaker 2>and the Obese Man who Loves It? Is that offensive? No?

0:13:11.840 --> 0:13:14.040
<v Speaker 1>All right, unless it's David Eslov, I mean.

0:13:15.520 --> 0:13:19.440
<v Speaker 2>Zaslov is the gangridis arm pit that has sentience of

0:13:19.480 --> 0:13:22.480
<v Speaker 2>its own TLC right, Yeah, I think so, or no

0:13:22.559 --> 0:13:25.120
<v Speaker 2>discovery is TLC different?

0:13:25.320 --> 0:13:29.080
<v Speaker 1>Who gives it another und by discovery? Un by discovery.

0:13:29.120 --> 0:13:31.960
<v Speaker 2>So William Gaines dies in a boating accident in nineteen

0:13:32.040 --> 0:13:35.720
<v Speaker 2>forty seven and is in hell to the immense reassurance

0:13:35.760 --> 0:13:39.000
<v Speaker 2>of his son Max, who inherited the company and renamed

0:13:39.040 --> 0:13:42.480
<v Speaker 2>it Entertaining Comics, with the goal focusing on his preferred

0:13:42.520 --> 0:13:47.000
<v Speaker 2>genres science fiction, horror, suspense, and the military.

0:13:47.400 --> 0:13:50.880
<v Speaker 1>That's a great that's a great pivot from educational comics

0:13:51.400 --> 0:13:54.640
<v Speaker 1>to entertaining comics. Not a very subtle shift, but an

0:13:54.640 --> 0:13:55.520
<v Speaker 1>important shift.

0:13:55.960 --> 0:14:00.360
<v Speaker 2>Yeah, really mirroring the American discourse as well. It's kind

0:14:00.360 --> 0:14:03.120
<v Speaker 2>of funny because it did seem like awful timing at

0:14:03.120 --> 0:14:06.880
<v Speaker 2>the moment, because Universal where so many of these archetypes

0:14:06.880 --> 0:14:10.160
<v Speaker 2>and stuff, and the most visible torch bearer for horror

0:14:10.200 --> 0:14:12.640
<v Speaker 2>movies in the first part of the twentieth century was

0:14:12.800 --> 0:14:17.400
<v Speaker 2>entering its like most fallow period, like literally dribbling out.

0:14:17.679 --> 0:14:23.440
<v Speaker 2>They were well into the Abbot and Castello era where yeah,

0:14:23.480 --> 0:14:27.360
<v Speaker 2>they met the Wolfman and Dracula and so forth. The

0:14:27.440 --> 0:14:31.680
<v Speaker 2>only two originals that Universal produced in the nineteen fifties

0:14:32.040 --> 0:14:34.320
<v Speaker 2>were The Creature from the Black Lagoon in nineteen fifty

0:14:34.360 --> 0:14:36.720
<v Speaker 2>four and The Mummy in nineteen fifty five. That was it.

0:14:37.120 --> 0:14:38.120
<v Speaker 1>That's nuts.

0:14:38.320 --> 0:14:41.560
<v Speaker 2>But the two guys that mister Gaines hired as editors,

0:14:41.920 --> 0:14:45.600
<v Speaker 2>two guys named Al Feldstein and Harvey Kurtzman, and they

0:14:45.840 --> 0:14:51.440
<v Speaker 2>were the people who steered this ship ingeniously. Feldstein encouraged

0:14:51.480 --> 0:14:54.480
<v Speaker 2>a roster of artists and writers to develop their own voices,

0:14:54.640 --> 0:14:58.480
<v Speaker 2>among them Harlan Ellison. His first published work was through Feldstein.

0:14:59.160 --> 0:15:01.960
<v Speaker 2>He's the guy who probably came up with the idea

0:15:02.080 --> 0:15:04.600
<v Speaker 2>for the Terminator in a short story called Demon with

0:15:04.600 --> 0:15:08.840
<v Speaker 2>a Glass Hand, just a legend of the genre. Kurtzman meanwhile,

0:15:08.880 --> 0:15:11.440
<v Speaker 2>focused more on the action side of things and was

0:15:11.480 --> 0:15:15.440
<v Speaker 2>actually disgusted once the horror stuff started out selling his titles.

0:15:16.040 --> 0:15:18.320
<v Speaker 2>So what he did was jump ship to Mad Magazine,

0:15:18.320 --> 0:15:20.680
<v Speaker 2>which was also controlled by EC and then he left

0:15:20.720 --> 0:15:24.880
<v Speaker 2>that in nineteen fifty six before beginning Little Annie Fanny,

0:15:25.640 --> 0:15:29.640
<v Speaker 2>a strip named Playboy for the next twenty six years,

0:15:29.960 --> 0:15:31.400
<v Speaker 2>starting from nineteen sixty two.

0:15:31.840 --> 0:15:35.120
<v Speaker 1>I'm gonna have to get a visual on this thish.

0:15:34.520 --> 0:15:36.720
<v Speaker 2>You really don't it's what it sounds like oh yeah,

0:15:36.760 --> 0:15:37.000
<v Speaker 2>it is.

0:15:37.840 --> 0:15:37.960
<v Speaker 1>So.

0:15:38.000 --> 0:15:42.040
<v Speaker 2>Then when Kurtzman left Mad, Feldstein came over and then

0:15:42.080 --> 0:15:46.200
<v Speaker 2>spent nearly thirty years overseeing Mad Mad Magazine during it's

0:15:46.280 --> 0:15:49.120
<v Speaker 2>like also it's healsy on days. So these two guys

0:15:49.240 --> 0:15:51.960
<v Speaker 2>between them were responsible for not just easy comics like

0:15:52.000 --> 0:15:55.800
<v Speaker 2>the horror, ecy comics, suspense stuff, everything that flowed from that, which,

0:15:55.840 --> 0:15:57.960
<v Speaker 2>as I will go on to discuss, is like a

0:15:58.040 --> 0:16:01.320
<v Speaker 2>huge chunk of culture. But so Mad Magazine, which was

0:16:01.360 --> 0:16:04.960
<v Speaker 2>like its own enormous world unto itself, that was hugely influential.

0:16:05.520 --> 0:16:07.960
<v Speaker 2>Just like those two dudes were like, We're going to

0:16:08.080 --> 0:16:12.080
<v Speaker 2>direct American popular culture for the next half a century

0:16:12.120 --> 0:16:13.200
<v Speaker 2>and no one will know our names.

0:16:13.400 --> 0:16:15.320
<v Speaker 1>Did you used to get Mad Magazine as a kid?

0:16:15.640 --> 0:16:17.680
<v Speaker 2>I didn't. I had a bunch of my dad's old copies,

0:16:17.720 --> 0:16:21.040
<v Speaker 2>so I was, well, I was really confused by like

0:16:21.320 --> 0:16:22.840
<v Speaker 2>who Spiro Agnew was.

0:16:23.880 --> 0:16:26.280
<v Speaker 1>That's so funny, because I would get the Mad about

0:16:26.280 --> 0:16:29.960
<v Speaker 1>the Fifties, Mad about the Sixties, like compendium books, and

0:16:30.040 --> 0:16:31.960
<v Speaker 1>those were the ones that because all of my because

0:16:32.000 --> 0:16:34.760
<v Speaker 1>I basically in many ways grew up in the fifties

0:16:34.840 --> 0:16:38.480
<v Speaker 1>and sixties, so I got all the references and all

0:16:38.560 --> 0:16:39.960
<v Speaker 1>they were so funny.

0:16:40.080 --> 0:16:42.480
<v Speaker 2>Yeah, they're great, I mean, and just such a rich uh,

0:16:44.000 --> 0:16:47.280
<v Speaker 2>just as such a showcase of different art styles and personalities,

0:16:47.360 --> 0:16:51.360
<v Speaker 2>like really the proverbial lunatics in charge of the assignment.

0:16:51.040 --> 0:16:56.920
<v Speaker 1>And they're edgy like stillay, are they still publishing today? No?

0:16:56.960 --> 0:16:58.800
<v Speaker 1>Oh no, no, I meant those like fifties and sixties.

0:16:58.880 --> 0:17:01.960
<v Speaker 2>Oh, the original ones. Yeah, absolutely. But because the comics

0:17:02.000 --> 0:17:05.199
<v Speaker 2>code hadn't come in, which we will talk about so

0:17:05.640 --> 0:17:08.440
<v Speaker 2>with elt Stande Kurtzman at the Helm, Easy Comics began

0:17:08.480 --> 0:17:11.600
<v Speaker 2>its new trend in print, which, aside from the horror stuff,

0:17:11.640 --> 0:17:15.040
<v Speaker 2>was also responsible for weird science and weird fantasy, both

0:17:15.040 --> 0:17:17.520
<v Speaker 2>of which were hugely important to the science fiction and

0:17:17.600 --> 0:17:21.800
<v Speaker 2>fantasy genres. Among many of the influential people who they

0:17:21.800 --> 0:17:25.399
<v Speaker 2>would employ are Frank Frazetta, who is the guy. Anytime

0:17:25.480 --> 0:17:28.239
<v Speaker 2>you look at a sweet nineteen seventies album cover with

0:17:28.280 --> 0:17:32.560
<v Speaker 2>like a warrior on it, that's probably Frank Frazetta. Most

0:17:32.560 --> 0:17:34.560
<v Speaker 2>famous one is I think thirty eight Special. But he

0:17:34.560 --> 0:17:39.280
<v Speaker 2>did covers for Dust and didn't did he draw the

0:17:39.400 --> 0:17:40.160
<v Speaker 2>Surf's Up cover?

0:17:40.480 --> 0:17:43.520
<v Speaker 1>I don't think so. Okay, Beach Boys album.

0:17:43.560 --> 0:17:46.359
<v Speaker 2>Yeah, strike that from the record. Oh, Molly Hatchett, not

0:17:46.400 --> 0:17:50.600
<v Speaker 2>thirty eight Special, Molly Hatchet, Dust Nazareth, all of them

0:17:50.640 --> 0:17:53.680
<v Speaker 2>had these amazing I think he also did the cover

0:17:53.720 --> 0:17:57.680
<v Speaker 2>of Kiss Alive. Anyway, so Frank Fizzetta was under Weird

0:17:57.720 --> 0:18:03.560
<v Speaker 2>Fantasy and Bradbury actually came over because and this is

0:18:03.600 --> 0:18:06.080
<v Speaker 2>what's kind of funny and shady, is that Bill Gaines

0:18:06.119 --> 0:18:08.880
<v Speaker 2>would stay up. Apparently Bill Gaines like had a weight

0:18:08.920 --> 0:18:11.720
<v Speaker 2>problem and he frequently dieted with like everyone did in

0:18:11.720 --> 0:18:14.159
<v Speaker 2>those days, with dexadream. So he would stay up like

0:18:14.240 --> 0:18:16.960
<v Speaker 2>all hours of the night just reading other science fiction

0:18:17.080 --> 0:18:19.399
<v Speaker 2>and then come in the next day and give a

0:18:19.480 --> 0:18:24.080
<v Speaker 2>loose synopsis of what he had read to his editors,

0:18:24.440 --> 0:18:26.520
<v Speaker 2>and then they would churn out a comic. And people

0:18:26.640 --> 0:18:30.760
<v Speaker 2>eventually started noticing that, like Ray Bradbury, who was like, hey, guys,

0:18:30.800 --> 0:18:33.080
<v Speaker 2>I see what you're doing, and they were like, do

0:18:33.760 --> 0:18:36.359
<v Speaker 2>you want to come over to give you money? And

0:18:36.440 --> 0:18:40.159
<v Speaker 2>so they created the like some authorized adaptations of some

0:18:40.200 --> 0:18:43.760
<v Speaker 2>of his stories, including There Will Come Soft Rains, just

0:18:44.000 --> 0:18:47.200
<v Speaker 2>one of the most anthologized to Bradbury stories. Wally Wood

0:18:47.240 --> 0:18:50.000
<v Speaker 2>is another guy who was on the roster. He created

0:18:50.200 --> 0:18:54.320
<v Speaker 2>Sally Forth the strip, the daily strip of All Things

0:18:54.840 --> 0:18:57.800
<v Speaker 2>He also drew the Mars Attacks trading cards for Tops,

0:18:57.800 --> 0:19:00.600
<v Speaker 2>which later became the basis of the feature film Tim Burton,

0:19:01.080 --> 0:19:04.720
<v Speaker 2>and he also is responsible for Daredevil having that distinctive

0:19:04.720 --> 0:19:10.439
<v Speaker 2>red suit. Wood is also insanely horny. A lot of

0:19:10.480 --> 0:19:13.160
<v Speaker 2>these guys were so so horny. And Wood is also

0:19:13.200 --> 0:19:16.960
<v Speaker 2>known in comic circles for drawing the Disneyland memorial Orgy,

0:19:18.160 --> 0:19:22.200
<v Speaker 2>which was a full a spread poster for the influential

0:19:22.280 --> 0:19:26.480
<v Speaker 2>underground magazine The Realist, which is exactly what it sounds like.

0:19:26.760 --> 0:19:30.520
<v Speaker 1>That's good a visual all that. Yeah, yes it is. Yep,

0:19:31.480 --> 0:19:32.440
<v Speaker 1>don't know what I expected.

0:19:32.480 --> 0:19:35.000
<v Speaker 2>You can google that one yourself, folks. And then there's

0:19:35.000 --> 0:19:37.600
<v Speaker 2>just like another dozen or so guys who can't get

0:19:37.640 --> 0:19:40.720
<v Speaker 2>into just based on space alone. But these guys were

0:19:40.720 --> 0:19:43.960
<v Speaker 2>either either at easy or at mad, just like again,

0:19:44.119 --> 0:19:48.320
<v Speaker 2>helping shape the latter half of twentieth century pop culture. Also,

0:19:48.440 --> 0:19:51.880
<v Speaker 2>E C was actually fairly brave in publishing stuff that

0:19:52.119 --> 0:19:56.240
<v Speaker 2>was about drug addiction, that was about racism. One of

0:19:56.280 --> 0:19:59.840
<v Speaker 2>the most famous stories is published in nineteen fifty five

0:19:59.840 --> 0:20:03.840
<v Speaker 2>with called Master Race, which portrayed a former Nazi death

0:20:03.880 --> 0:20:07.359
<v Speaker 2>camp commander successfully hiding out New York before he is

0:20:07.400 --> 0:20:11.080
<v Speaker 2>spotted by an eerie stranger who chases the Nazi to

0:20:11.119 --> 0:20:13.879
<v Speaker 2>his death in front of a train. This marked the

0:20:13.920 --> 0:20:15.920
<v Speaker 2>first time, one of the first times that the Holocaust

0:20:15.920 --> 0:20:18.840
<v Speaker 2>had even been mentioned in popular media, and the whole

0:20:18.840 --> 0:20:21.359
<v Speaker 2>twist behind it is that this guy is like alone

0:20:21.359 --> 0:20:23.720
<v Speaker 2>on a train and he sees someone like staring at him,

0:20:23.800 --> 0:20:26.800
<v Speaker 2>and gradually, throughout the course of the story through flashbacks,

0:20:26.840 --> 0:20:29.080
<v Speaker 2>it's revealed that this guy was an SS death camp

0:20:29.119 --> 0:20:33.359
<v Speaker 2>officer and that is a wild thing to publish. In

0:20:33.440 --> 0:20:37.000
<v Speaker 2>nineteen fifty five, in a comic book Art Spiegelman, who

0:20:37.760 --> 0:20:40.679
<v Speaker 2>penned Mouse, which is one of the other comics that

0:20:40.680 --> 0:20:44.440
<v Speaker 2>you're assigned to in your introduction to comic books as

0:20:44.440 --> 0:20:48.280
<v Speaker 2>an art form class or research period, has hailed it

0:20:48.320 --> 0:20:52.240
<v Speaker 2>as like one of his favorites. Would you looking at Buddy.

0:20:52.119 --> 0:20:54.679
<v Speaker 1>I'm still on the Disney memorial orgy. I'm trying to

0:20:54.680 --> 0:21:01.080
<v Speaker 1>figure out what the birds are doing the Dumbo. Does

0:21:01.119 --> 0:21:03.320
<v Speaker 1>that also count as interracial because the crows were super

0:21:03.440 --> 0:21:04.960
<v Speaker 1>racist different birds?

0:21:05.720 --> 0:21:06.440
<v Speaker 2>Ah?

0:21:06.880 --> 0:21:11.400
<v Speaker 1>Okay, is that kind of a beastiality? Then if they're interspecies? Yes?

0:21:12.080 --> 0:21:12.399
<v Speaker 2>Good?

0:21:12.560 --> 0:21:21.920
<v Speaker 1>Okay, Yeah, that's just fine. Those are just facts. Alfeld

0:21:22.000 --> 0:21:24.520
<v Speaker 1>scene maintains that he was the guy who pushed Bill

0:21:24.600 --> 0:21:27.720
<v Speaker 1>Gaines to produce horror comics, saying the pair bonded over

0:21:27.760 --> 0:21:30.760
<v Speaker 1>a love of old, spooky radio plays and horror films

0:21:31.240 --> 0:21:33.879
<v Speaker 1>from radio serials. Feldstein wanted to have a character that

0:21:33.880 --> 0:21:37.400
<v Speaker 1>would remain consistent from issue to issue, introducing the discrete

0:21:37.440 --> 0:21:40.600
<v Speaker 1>stories within, and from there the character of the Crypt

0:21:40.680 --> 0:21:43.840
<v Speaker 1>Keeper was born. He was not alone, though, the comic

0:21:43.840 --> 0:21:46.960
<v Speaker 1>would feature one tale introduced by him, one from the

0:21:47.040 --> 0:21:51.240
<v Speaker 1>Vault Keeper and one from the Old Witch, and these

0:21:51.280 --> 0:21:53.520
<v Speaker 1>three would often take potshots at each other in the

0:21:53.600 --> 0:21:57.639
<v Speaker 1>letter columns, which I love. Tales from the Crypt debut

0:21:57.680 --> 0:22:00.000
<v Speaker 1>in nineteen fifty and in its five year run because

0:22:00.200 --> 0:22:03.359
<v Speaker 1>an enormous hit with stories, frequently complaining that they couldn't

0:22:03.440 --> 0:22:05.920
<v Speaker 1>keep it in stock. And you have something to say

0:22:05.960 --> 0:22:06.400
<v Speaker 1>about this.

0:22:07.080 --> 0:22:08.800
<v Speaker 2>Yeah, this is where I would make a long winded

0:22:08.800 --> 0:22:11.439
<v Speaker 2>speech about the American complacency that was born of the

0:22:11.480 --> 0:22:13.560
<v Speaker 2>horrors of World War Two and how it created a

0:22:13.560 --> 0:22:16.080
<v Speaker 2>perfect storm for the children of war veterans to want

0:22:16.119 --> 0:22:19.719
<v Speaker 2>some kind of catharsis as they grew up in a stifling, repressive,

0:22:19.840 --> 0:22:23.400
<v Speaker 2>conformist society, haunted by the specter of their own annihilation

0:22:23.760 --> 0:22:27.120
<v Speaker 2>by the Cold War. Anyway, just pretend that I did

0:22:27.160 --> 0:22:28.280
<v Speaker 2>that and it was very good.

0:22:28.560 --> 0:22:30.080
<v Speaker 1>I think you did that in one of the episodes.

0:22:30.119 --> 0:22:32.199
<v Speaker 1>It might have been a razor head, oh sure, but

0:22:32.240 --> 0:22:34.640
<v Speaker 1>one of the horror Yeah. I mean, that's the thing.

0:22:34.680 --> 0:22:39.840
<v Speaker 1>I am fascinated by people who are real serious horror heads.

0:22:40.240 --> 0:22:42.399
<v Speaker 1>I'm fascinated by what they get out of it. It

0:22:42.440 --> 0:22:46.040
<v Speaker 1>almost seems like a physiological response to it. Well, you're

0:22:46.040 --> 0:22:47.360
<v Speaker 1>a real horror I could ask you.

0:22:47.920 --> 0:22:48.960
<v Speaker 2>I just think they're neat.

0:22:49.080 --> 0:22:50.000
<v Speaker 1>You just think they're cool.

0:22:50.359 --> 0:22:51.679
<v Speaker 2>Yeah, no, I mean I was.

0:22:51.960 --> 0:22:52.360
<v Speaker 1>I was a.

0:22:52.280 --> 0:22:54.879
<v Speaker 2>Comics person before I was a horror fan. You know

0:22:54.920 --> 0:22:58.480
<v Speaker 2>my dad had a big comics collection as a kid. Yeah,

0:22:58.480 --> 0:23:01.040
<v Speaker 2>including his mom FROMO. She sure did.

0:23:01.080 --> 0:23:03.560
<v Speaker 1>Oh yeah, yeah, she sure did.

0:23:03.680 --> 0:23:08.520
<v Speaker 2>All of our dads, including like many valuable, many valuable issues,

0:23:09.000 --> 0:23:12.000
<v Speaker 2>and also his record collection. So that's why I don't

0:23:12.040 --> 0:23:14.160
<v Speaker 2>visit grandma. No, just kidding, she's a racist.

0:23:15.280 --> 0:23:17.879
<v Speaker 1>Do we think that those issues are valuable because everybody's

0:23:17.880 --> 0:23:20.320
<v Speaker 1>mom threw them away? And if nobody's mom threw them away,

0:23:20.320 --> 0:23:23.000
<v Speaker 1>they wouldn't be valuable. Like is that supplying demand? Yeah?

0:23:23.040 --> 0:23:26.159
<v Speaker 2>I mean obviously comic books? Is this own like you know,

0:23:26.359 --> 0:23:28.040
<v Speaker 2>I didn't tell people that I was into them. It

0:23:28.119 --> 0:23:30.159
<v Speaker 2>was still considered like there was a degree of shame

0:23:30.240 --> 0:23:34.200
<v Speaker 2>Baker still when I was in school. Yeah, and only

0:23:34.240 --> 0:23:36.439
<v Speaker 2>like I mean, I only saw comic books become the

0:23:36.480 --> 0:23:40.720
<v Speaker 2>dominant thing and quickly become a disgusting slurry that overwhelmed

0:23:40.720 --> 0:23:43.639
<v Speaker 2>the rest of American pop culture. That only happened in

0:23:43.680 --> 0:23:47.919
<v Speaker 2>like the Dots two thousands moving onward. But yeah, I was,

0:23:47.960 --> 0:23:50.760
<v Speaker 2>I was into comics. Uh yeah, I think I got

0:23:50.760 --> 0:23:52.919
<v Speaker 2>that Flash Gordon thing when I was like I used

0:23:52.920 --> 0:23:54.560
<v Speaker 2>to always just read the comics in the paper, and

0:23:54.600 --> 0:23:56.520
<v Speaker 2>then I got that Flash Gordon thing when I was

0:23:56.560 --> 0:23:59.760
<v Speaker 2>like maybe four or five, and then just started going

0:23:59.760 --> 0:24:02.159
<v Speaker 2>in a Marvel stuff from there. Horror I think I

0:24:02.200 --> 0:24:04.840
<v Speaker 2>got into because my dad showed me the movie Alien

0:24:04.880 --> 0:24:08.040
<v Speaker 2>when I was like six. I think I've told this

0:24:08.080 --> 0:24:10.240
<v Speaker 2>story before, but my two introductions to horror were that,

0:24:10.920 --> 0:24:13.160
<v Speaker 2>which literally gave me nightmares for the next four years,

0:24:13.560 --> 0:24:16.439
<v Speaker 2>and then my down the street neighbor who was super

0:24:16.480 --> 0:24:18.919
<v Speaker 2>into the movie Halloween, and when we would like play

0:24:19.000 --> 0:24:22.520
<v Speaker 2>as children, would just dress up as Michael Myers and

0:24:22.800 --> 0:24:30.320
<v Speaker 2>stalk me through the dusk lit neighborhoods. So strong stuff

0:24:30.320 --> 0:24:31.200
<v Speaker 2>that imprinted on me.

0:24:31.800 --> 0:24:35.639
<v Speaker 1>Yeah, okay. However, details from the crypt comic soon began

0:24:35.720 --> 0:24:38.879
<v Speaker 1>facing a wave of copycats and in turn with the

0:24:38.880 --> 0:24:42.280
<v Speaker 1>increased attention from not just America's perennially uptight class of

0:24:42.359 --> 0:24:45.399
<v Speaker 1>moralists but nothing better to do, but also people sharing

0:24:45.400 --> 0:24:48.680
<v Speaker 1>that mindset who had real teeth, the people in the government.

0:24:49.080 --> 0:24:51.440
<v Speaker 2>So since we've been giving this mini history of comic books,

0:24:51.480 --> 0:24:54.000
<v Speaker 2>you'll now have context at the time from Max Gaines

0:24:54.040 --> 0:24:57.320
<v Speaker 2>publishing famous funnies to when the moral panic over comic

0:24:57.320 --> 0:25:00.679
<v Speaker 2>books began to set in was not even six full years.

0:25:00.920 --> 0:25:05.480
<v Speaker 1>That's really crazy. On May eighth, nineteen forty, Sterling North,

0:25:05.760 --> 0:25:08.880
<v Speaker 1>who would eventually write the children's Newbery Honor book Rascal,

0:25:09.520 --> 0:25:13.479
<v Speaker 1>wrote in the Chicago Daily News that quote color comic

0:25:13.600 --> 0:25:17.879
<v Speaker 1>magazines were a quote national disgrace, and that parents and

0:25:17.920 --> 0:25:21.840
<v Speaker 1>teachers throughout America must band together to break the comic magazine.

0:25:22.359 --> 0:25:26.080
<v Speaker 2>We will break it, okay, man.

0:25:26.640 --> 0:25:30.920
<v Speaker 1>The word color whenever it's used by like im morally righteous. Yeah,

0:25:31.160 --> 0:25:34.760
<v Speaker 1>that era is always I always get uncomfortable. I don't

0:25:34.840 --> 0:25:39.439
<v Speaker 1>like that. Fortunately, World War two nip North's campaign in

0:25:39.480 --> 0:25:41.680
<v Speaker 1>the bud and after the war was over, the fact

0:25:41.720 --> 0:25:45.720
<v Speaker 1>that unfortunately twenty million people died so that comics could

0:25:45.760 --> 0:25:49.480
<v Speaker 1>live kind of a wash. Yeah, and after the war

0:25:49.560 --> 0:25:51.920
<v Speaker 1>was over, the fact that comics is a medium focused

0:25:51.920 --> 0:25:55.399
<v Speaker 1>so heavily on stories of bravery with various wings of

0:25:55.440 --> 0:25:59.119
<v Speaker 1>the armed forces and a flag waving in the background

0:25:59.119 --> 0:26:10.800
<v Speaker 1>and a gig standing on the throat of Gerbels or something. Yeah, right, yeah, yeah, yeah, yeah,

0:26:11.200 --> 0:26:17.040
<v Speaker 1>we're we're getting dangerously closed to Howard d Yeah, that

0:26:17.119 --> 0:26:20.760
<v Speaker 1>helped keep negative nancies like North away. But it's a

0:26:20.800 --> 0:26:24.840
<v Speaker 1>time turned towards horror and crime across all pop culture.

0:26:24.840 --> 0:26:28.040
<v Speaker 1>It must be said. Comic books caught the attention of

0:26:28.119 --> 0:26:35.240
<v Speaker 1>no less than jag Or Hoover, who, hilariously on April

0:26:35.280 --> 0:26:39.560
<v Speaker 1>twentieth four, twenty nineteen forty seven, published an editorial in

0:26:39.680 --> 0:26:43.680
<v Speaker 1>This Week claiming in part that quote crime books, comics

0:26:43.720 --> 0:26:47.280
<v Speaker 1>and newspaper stories crammed with anti social and criminal acts,

0:26:47.720 --> 0:26:52.560
<v Speaker 1>the glorification of Unamerican vigilante action and the deification of

0:26:52.600 --> 0:26:57.840
<v Speaker 1>the criminal are extremely dangerous in the hands of the

0:26:58.040 --> 0:27:02.800
<v Speaker 1>not just any child, the Unstill, yeah, this is where.

0:27:02.680 --> 0:27:04.800
<v Speaker 2>It gets like really gross, is that they were like

0:27:05.680 --> 0:27:08.359
<v Speaker 2>basically the whole moral panic was like, oh if kids

0:27:08.359 --> 0:27:12.119
<v Speaker 2>are already bad kids, and they read comics, they'll become worse.

0:27:13.119 --> 0:27:17.119
<v Speaker 2>But like there's like a degree of socioeconomic and racial

0:27:17.160 --> 0:27:20.359
<v Speaker 2>dimension to who were bad kids or predisposed to be

0:27:20.440 --> 0:27:20.960
<v Speaker 2>bad kids.

0:27:21.320 --> 0:27:25.800
<v Speaker 1>Antisocial is such a funny word to anti social acts.

0:27:26.320 --> 0:27:29.640
<v Speaker 2>Yeah, Hoover's article, though, kind of just paved the way

0:27:29.720 --> 0:27:33.000
<v Speaker 2>for the real enemy of the comic books, Frederick Wortham.

0:27:33.720 --> 0:27:36.359
<v Speaker 2>In March of nineteen thirty eight, Wortham, who was already

0:27:36.400 --> 0:27:39.720
<v Speaker 2>somewhat famous for his testimony during the trial of notorious

0:27:39.840 --> 0:27:44.479
<v Speaker 2>child killer and cannibal Albert Fish, gave his symposium on

0:27:44.520 --> 0:27:48.879
<v Speaker 2>the quote psychopathology of comic books. This event was covered

0:27:48.880 --> 0:27:52.040
<v Speaker 2>in Colliers Weekly in late March, and Wortham himself penned

0:27:52.040 --> 0:27:54.439
<v Speaker 2>an article about comic books in the Saturday Review of

0:27:54.480 --> 0:27:57.760
<v Speaker 2>Literature in May of nineteen forty eight. And that's all

0:27:57.800 --> 0:28:01.520
<v Speaker 2>it took. Because people were had less to do in

0:28:01.560 --> 0:28:05.160
<v Speaker 2>the forties and less things to read, So by fall,

0:28:05.400 --> 0:28:07.840
<v Speaker 2>the Associated Press was already reporting on a rash of

0:28:07.920 --> 0:28:11.880
<v Speaker 2>comic book burnings that were happening in largely Catholic parishes

0:28:12.119 --> 0:28:13.120
<v Speaker 2>across the country.

0:28:13.240 --> 0:28:16.680
<v Speaker 1>Burnings are never good burning, ye just don't don't.

0:28:16.440 --> 0:28:21.840
<v Speaker 2>Burn stuff among Wortham's pet theories, where that Batman and

0:28:21.920 --> 0:28:25.439
<v Speaker 2>Robin were gay, Wonder Woman was a lesbian sadist, and

0:28:25.480 --> 0:28:28.679
<v Speaker 2>that ads for binoculars in the back of comic books

0:28:28.720 --> 0:28:31.480
<v Speaker 2>promoted children spying on their neighbors. You think he would

0:28:31.520 --> 0:28:33.919
<v Speaker 2>have been I was going to say this was the

0:28:33.960 --> 0:28:38.280
<v Speaker 2>red scare, that we were encouraging children to do so.

0:28:38.320 --> 0:28:41.480
<v Speaker 2>Then a quickly ad hoc assembled group of comic book

0:28:41.680 --> 0:28:45.600
<v Speaker 2>publishers responded by publishing their own publisher's Code that year,

0:28:46.040 --> 0:28:48.680
<v Speaker 2>and they drew on the Hollywood Production Code, which is

0:28:48.720 --> 0:28:51.480
<v Speaker 2>better known as the Hayes Code, which itself had been

0:28:51.520 --> 0:28:54.600
<v Speaker 2>explicitly designed to get the damn government off Hollywood's back

0:28:54.840 --> 0:28:57.280
<v Speaker 2>for all that sweet, sweet sex and violence it had

0:28:57.320 --> 0:29:00.520
<v Speaker 2>been portraying. The Publisher's Code followed some of the language

0:29:00.520 --> 0:29:03.640
<v Speaker 2>of the Hayes Code, and it forbade portrayals of crime

0:29:03.720 --> 0:29:09.120
<v Speaker 2>that might throw sympathy against the law or weakened respect

0:29:09.240 --> 0:29:14.240
<v Speaker 2>for established authority. Nicely, it prohibited ridicular attack on any

0:29:14.240 --> 0:29:18.480
<v Speaker 2>religious or racial group, and sexy wanton comics were banned,

0:29:19.120 --> 0:29:24.320
<v Speaker 2>and my favorite one, divorce was from being The act

0:29:24.360 --> 0:29:28.760
<v Speaker 2>of divorce was prohibited from being treated quote humorously or

0:29:28.840 --> 0:29:33.040
<v Speaker 2>represented as glamorous or alluring. Comics that complied with this

0:29:33.120 --> 0:29:35.960
<v Speaker 2>were offered a seal of approval. This failed to keep

0:29:36.000 --> 0:29:38.400
<v Speaker 2>the Worthams and Hoovers of the world satisfied, and by

0:29:38.520 --> 0:29:41.200
<v Speaker 2>nineteen fifty four, Wortham had published his most famous work,

0:29:41.480 --> 0:29:46.840
<v Speaker 2>creepily titled Seduction of the Innocence Whatever editor let that

0:29:46.920 --> 0:29:51.640
<v Speaker 2>through You failed, which argued that comic books contributed to

0:29:51.720 --> 0:29:56.480
<v Speaker 2>delinquent behavior in hughes now worth noting here that in

0:29:56.520 --> 0:30:00.880
<v Speaker 2>twenty ten, a University of Illinois librarian and PhD student

0:30:01.280 --> 0:30:06.600
<v Speaker 2>discredited much of Wortham's research as fabricated or misleading. In particular,

0:30:06.760 --> 0:30:09.920
<v Speaker 2>he was identifying children who were already being treated for

0:30:09.960 --> 0:30:13.280
<v Speaker 2>psychological issues and using them as the benchmark.

0:30:13.600 --> 0:30:19.600
<v Speaker 1>WHOA, oh wow, that's really talk about cooking the books. Yeah.

0:30:19.680 --> 0:30:22.360
<v Speaker 2>Wortham was also nothing if not a greedy publicity hound,

0:30:22.360 --> 0:30:25.080
<v Speaker 2>and had spent much of the years between that first

0:30:25.080 --> 0:30:27.760
<v Speaker 2>symposium and the publication of his book beating the drum

0:30:27.840 --> 0:30:29.960
<v Speaker 2>for this particular cause. So by the time the book

0:30:30.040 --> 0:30:33.040
<v Speaker 2>was published, he'd primed the American public and in particular,

0:30:33.200 --> 0:30:36.680
<v Speaker 2>the American legislature, to jump on board. So in nineteen

0:30:36.720 --> 0:30:40.480
<v Speaker 2>fifty three, the United States Senate Subcommittee on Juvenile Delinquency

0:30:40.520 --> 0:30:43.479
<v Speaker 2>had been established and would hold its first hearings in

0:30:43.520 --> 0:30:47.720
<v Speaker 2>April of nineteen fifty four. Easy Comics were particularly hammered

0:30:47.760 --> 0:30:51.280
<v Speaker 2>throughout the course of these hearings, chaired by SD's kiefouver

0:30:52.440 --> 0:30:54.400
<v Speaker 2>As a fifty's name if ever I've heard one. He

0:30:54.400 --> 0:30:56.320
<v Speaker 2>was supposed to be quite a liberal. Actually, I was

0:30:56.360 --> 0:30:59.000
<v Speaker 2>disappointed to learn that he was responsible for this, while

0:30:59.040 --> 0:31:02.600
<v Speaker 2>having a somewhat at voting record otherwise. But the hearings

0:31:02.640 --> 0:31:05.880
<v Speaker 2>became a landmark for repression and censorship in the US.

0:31:06.240 --> 0:31:10.320
<v Speaker 2>One exchange in particular has become very famous. Senator Keith

0:31:10.360 --> 0:31:13.280
<v Speaker 2>Hoever was grilling Easy Comics publisher Bill Gaines, and he

0:31:13.320 --> 0:31:16.040
<v Speaker 2>asked him, here is your may issue. This seems to

0:31:16.080 --> 0:31:18.120
<v Speaker 2>be a man with a bloody axe holding a woman's

0:31:18.160 --> 0:31:20.800
<v Speaker 2>head up, which has been severed from her body. Do

0:31:20.840 --> 0:31:24.000
<v Speaker 2>you think that's in good taste? And Gaines answered, yes, sir,

0:31:24.120 --> 0:31:27.080
<v Speaker 2>I do for the cover of a horror comic. That's

0:31:27.120 --> 0:31:30.040
<v Speaker 2>the quip. But the full quote, he continued, is so

0:31:30.120 --> 0:31:33.720
<v Speaker 2>much better. A cover in bad taste, for example, might

0:31:33.720 --> 0:31:36.080
<v Speaker 2>be defined as holding her head a little higher so

0:31:36.120 --> 0:31:38.440
<v Speaker 2>that blood could be seen dripping from it, and moving

0:31:38.480 --> 0:31:40.680
<v Speaker 2>the body a little further over so that the neck

0:31:40.720 --> 0:31:43.320
<v Speaker 2>of the body could be seen to be bloody. And

0:31:43.360 --> 0:31:46.480
<v Speaker 2>it's funny about that cover in particular, it had already

0:31:46.520 --> 0:31:49.880
<v Speaker 2>been edited. The original draft of it was what Gaines

0:31:49.960 --> 0:31:53.160
<v Speaker 2>was describing, a much more graphic version, and they walked

0:31:53.160 --> 0:31:55.959
<v Speaker 2>it back. Gaines would later admit that he was not

0:31:56.120 --> 0:31:59.400
<v Speaker 2>at his best during these hearings. He was a frequent

0:31:59.440 --> 0:32:01.760
<v Speaker 2>as I mentioned, he was a frequent user of Dexaderen

0:32:02.240 --> 0:32:05.840
<v Speaker 2>and just I guess was on the standalt when he

0:32:05.960 --> 0:32:11.280
<v Speaker 2>was crashing from his speed bingches. But worth them has

0:32:11.400 --> 0:32:15.360
<v Speaker 2>the record for the best SoundBite during these hearings. Quote.

0:32:16.000 --> 0:32:19.920
<v Speaker 2>I think Hitler was a beginner compared to the comic

0:32:19.920 --> 0:32:27.440
<v Speaker 2>book industry pause for commercial break. I mean insane for

0:32:27.520 --> 0:32:29.000
<v Speaker 2>a German Man to say that.

0:32:30.080 --> 0:32:32.880
<v Speaker 1>Also, I mean just of all the words he could

0:32:32.920 --> 0:32:37.040
<v Speaker 1>have used to kind of make the same point. A beginner.

0:32:37.600 --> 0:32:39.760
<v Speaker 2>Yeah, what a weird guy he was. I'm trying to

0:32:39.760 --> 0:32:42.680
<v Speaker 2>think if there's anything else, I anything else that escaped

0:32:43.360 --> 0:32:44.360
<v Speaker 2>his book.

0:32:44.680 --> 0:32:46.960
<v Speaker 1>Did like a comic book artist kick Sam in his

0:32:47.040 --> 0:32:48.440
<v Speaker 1>face on the beach or something.

0:32:50.800 --> 0:32:54.200
<v Speaker 2>No, he was quite well regarded. I mean he corresponded,

0:32:54.280 --> 0:32:59.040
<v Speaker 2>visited with Freud, he actually opened a clinic that specialized

0:32:59.040 --> 0:33:02.520
<v Speaker 2>in the treatment of black teenagers, financed by voluntary contributions.

0:33:03.120 --> 0:33:05.959
<v Speaker 2>But man, he hated comic books.

0:33:06.400 --> 0:33:09.760
<v Speaker 1>That's the thing. I never really understood the bad reputation

0:33:10.040 --> 0:33:12.720
<v Speaker 1>that comic books seemed to have when we were kids.

0:33:12.760 --> 0:33:14.920
<v Speaker 1>That I never got because I was just like, well,

0:33:15.760 --> 0:33:20.200
<v Speaker 1>they're reading. It's not television, you know. I mean, I mean,

0:33:20.280 --> 0:33:22.760
<v Speaker 1>I was, I guess, you know, early nineties and stuff,

0:33:22.760 --> 0:33:25.280
<v Speaker 1>when most people were just watching TV. But yeah, I

0:33:25.360 --> 0:33:28.240
<v Speaker 1>never really understood the whole like Nay Roger brain kind

0:33:28.280 --> 0:33:30.600
<v Speaker 1>of propaganda that was put around.

0:33:30.920 --> 0:33:34.360
<v Speaker 2>Yeah, it's quite funny. The other thing that Wortham was

0:33:34.400 --> 0:33:41.360
<v Speaker 2>the court psychiatrist for another famous case, the Brooklyn thrill Killers,

0:33:42.000 --> 0:33:47.600
<v Speaker 2>who were a group of Jewish teenagers, hilariously enough, who

0:33:47.640 --> 0:33:51.240
<v Speaker 2>were just roaming around beating the people, just saying I.

0:33:51.160 --> 0:33:53.520
<v Speaker 1>Was looking up Albert Fish. Earlier, you talked about how

0:33:53.520 --> 0:33:56.040
<v Speaker 1>he was. He testified at the Albert Fish trial. I

0:33:56.080 --> 0:33:58.320
<v Speaker 1>was going to give a quick, a quick thumbnail sketch

0:33:58.360 --> 0:34:01.640
<v Speaker 1>of his crimes. And it was too Yeah, it was

0:34:01.680 --> 0:34:02.960
<v Speaker 1>too yeah.

0:34:02.840 --> 0:34:04.800
<v Speaker 2>I don't do that. No, I mean, the whole, the

0:34:04.840 --> 0:34:07.280
<v Speaker 2>whole thrust of that trial was the fact that like

0:34:07.640 --> 0:34:10.279
<v Speaker 2>worth him was like, he is insane. This man is

0:34:10.360 --> 0:34:13.880
<v Speaker 2>actually live, like truly deeply insane, that is my conclusion.

0:34:14.200 --> 0:34:16.560
<v Speaker 2>And then the whole thing was like, well, we all

0:34:16.600 --> 0:34:21.200
<v Speaker 2>agree he's insane, but we should probably kill him though,

0:34:21.280 --> 0:34:25.040
<v Speaker 2>right like. And everyone was just like, yeah, no, that

0:34:25.080 --> 0:34:26.880
<v Speaker 2>actually makes a lot. Yeah, let's just kill him and

0:34:26.920 --> 0:34:30.200
<v Speaker 2>everyone and everyone was in agreement because of the horror

0:34:30.400 --> 0:34:31.520
<v Speaker 2>that this man inflicted.

0:34:31.960 --> 0:34:35.000
<v Speaker 1>Yeah, yeah, I don't, I don't. I don't spook easily

0:34:35.040 --> 0:34:37.880
<v Speaker 1>with that kind of stuff. Well, going this way, folks,

0:34:37.880 --> 0:34:41.240
<v Speaker 1>there's a after you've done googling the Disney memorial orgy,

0:34:41.719 --> 0:34:44.920
<v Speaker 1>there is a letter that Albert Fish wrote.

0:34:44.680 --> 0:34:48.360
<v Speaker 4>To Oh God, send that to people. Oh dude, okay,

0:34:49.080 --> 0:34:54.680
<v Speaker 4>don't don't don't. Don't you look genuinely unhappy with me

0:34:54.800 --> 0:34:55.200
<v Speaker 4>right now?

0:34:55.719 --> 0:34:56.520
<v Speaker 2>It's gross?

0:34:56.600 --> 0:34:59.080
<v Speaker 1>Well, yes, yes, yes, yes it is this.

0:34:59.160 --> 0:34:59.600
<v Speaker 2>How about this?

0:34:59.719 --> 0:35:03.399
<v Speaker 1>I'll you, I'll My preferred Albert Fish nugget is that

0:35:03.640 --> 0:35:07.000
<v Speaker 1>he had allegedly he was into self mortification, and he

0:35:07.040 --> 0:35:12.520
<v Speaker 1>had allegedly inserted so many sewing needles into his bathing

0:35:12.560 --> 0:35:16.600
<v Speaker 1>suit parts that the electric share supposedly shorted out the

0:35:16.640 --> 0:35:18.919
<v Speaker 1>first time they tried to give it to him. Maybe

0:35:18.920 --> 0:35:22.279
<v Speaker 1>that was his grand plan. Maybe that was the goal.

0:35:22.600 --> 0:35:25.680
<v Speaker 1>Maybe he was playing he's playing three D chess, we're

0:35:25.719 --> 0:35:29.080
<v Speaker 1>playing checks hashtag fish tricks.

0:35:31.440 --> 0:35:35.480
<v Speaker 2>He would always huge on his grind. Oh my god, yeah,

0:35:35.480 --> 0:35:44.640
<v Speaker 2>oh how much is this for? Oh buddy, As you

0:35:44.719 --> 0:35:47.160
<v Speaker 2>meditate on that, we'll be right back with more, too

0:35:47.239 --> 0:35:47.960
<v Speaker 2>much information.

0:35:48.280 --> 0:36:09.640
<v Speaker 1>After these messages, the hearings, remember that who could forget

0:36:09.640 --> 0:36:12.719
<v Speaker 1>her name? Like Stzka. He was Adlie Stevens's running mate.

0:36:13.440 --> 0:36:14.880
<v Speaker 2>Yes, yes, These.

0:36:14.719 --> 0:36:18.719
<v Speaker 1>Hearings established the Comics Code of Authority, which essentially was

0:36:18.760 --> 0:36:21.720
<v Speaker 1>just a more stringent and powerful version of the previous code.

0:36:22.160 --> 0:36:26.360
<v Speaker 1>Although it was technically voluntary, comics not receiving the CCA

0:36:26.480 --> 0:36:30.359
<v Speaker 1>stamp of approval were essentially doomed on the newsstand, and

0:36:30.440 --> 0:36:34.439
<v Speaker 1>thus was the fate of EC Comics. Wortham, for his part,

0:36:34.560 --> 0:36:38.520
<v Speaker 1>remained unsatisfied by having stamped out EC Comics, and a

0:36:38.560 --> 0:36:41.080
<v Speaker 1>year later returned to The Saturday Review of Literature to

0:36:41.080 --> 0:36:42.560
<v Speaker 1>publish an article called.

0:36:44.840 --> 0:36:50.240
<v Speaker 5>It's Hilarious It's still Murder, in which she complained about

0:36:50.360 --> 0:36:56.080
<v Speaker 5>all caps lettering and the phrasing of word balloons. What's

0:36:56.560 --> 0:36:58.160
<v Speaker 5>what's wrong with all caps?

0:36:58.640 --> 0:37:01.960
<v Speaker 2>I believe the both of those were like things that

0:37:02.040 --> 0:37:07.000
<v Speaker 2>he identified that like either hastened or contributed to ill

0:37:07.160 --> 0:37:10.120
<v Speaker 2>psychiatry and children. He was like it was like the

0:37:10.520 --> 0:37:14.160
<v Speaker 2>phraseology of word balloons, where there was like short internal dialogue.

0:37:14.200 --> 0:37:18.200
<v Speaker 2>It was like it was still murder to him.

0:37:18.520 --> 0:37:21.640
<v Speaker 1>Did he live to see Batman look like pow wow,

0:37:21.680 --> 0:37:22.560
<v Speaker 1>like the TV the animal.

0:37:22.840 --> 0:37:23.680
<v Speaker 2>That's a great question.

0:37:24.320 --> 0:37:27.160
<v Speaker 1>Well's look this up because that would have caused his brain.

0:37:27.719 --> 0:37:30.880
<v Speaker 2>It's actually quite sad because he did. He was like

0:37:31.760 --> 0:37:38.000
<v Speaker 2>very pro like I said, protective of children and just

0:37:38.040 --> 0:37:43.960
<v Speaker 2>like helping kids. But then later his last book was

0:37:44.000 --> 0:37:47.680
<v Speaker 2>published in nineteen seventy four, so he lived through Batman.

0:37:48.160 --> 0:37:50.879
<v Speaker 2>He did live through Batman, and he concluded he wrote

0:37:50.880 --> 0:37:54.759
<v Speaker 2>a book on fanzines. He said they were constructive and

0:37:54.800 --> 0:37:59.000
<v Speaker 2>a healthy exercise of creative drives. This is crazy. He

0:37:59.080 --> 0:38:01.960
<v Speaker 2>was invited to address the New York Comic Art Convention

0:38:02.840 --> 0:38:05.919
<v Speaker 2>and they got there and people heckled it out of him,

0:38:06.400 --> 0:38:10.400
<v Speaker 2>and of course he h he stopped writing. The reception

0:38:10.520 --> 0:38:12.920
<v Speaker 2>was so bad. He stopped publishing things about comic books.

0:38:13.560 --> 0:38:15.319
<v Speaker 2>It's just like what he must have been, like that

0:38:15.440 --> 0:38:18.000
<v Speaker 2>peep show thing, like are we the baddies? He just

0:38:18.080 --> 0:38:22.399
<v Speaker 2>did not realize that everyone hated him for doing this.

0:38:22.840 --> 0:38:25.399
<v Speaker 1>Well, he lived in nineteen eighty one, so he saw

0:38:25.520 --> 0:38:28.440
<v Speaker 1>like Fritz the Cat and all that kind of stuff.

0:38:28.560 --> 0:38:31.680
<v Speaker 2>Well, so one of his big things was like eye injuries,

0:38:32.040 --> 0:38:35.719
<v Speaker 2>like he repeatedly cited like damage to the eyes as

0:38:35.760 --> 0:38:39.520
<v Speaker 2>a as like one of these huge sins that comics admitted.

0:38:39.600 --> 0:38:43.319
<v Speaker 2>So people were then playing it up in comics like

0:38:43.440 --> 0:38:48.400
<v Speaker 2>later people would have like there's a Bongo. Comics published

0:38:49.320 --> 0:38:55.719
<v Speaker 2>a story called Stab, which is about eye injuries. The

0:38:55.840 --> 0:38:57.800
<v Speaker 2>funny guy Bill Gains.

0:38:57.840 --> 0:39:02.239
<v Speaker 1>Meanwhile, I attempt to launch a new clean line at EC. Okay,

0:39:02.400 --> 0:39:08.520
<v Speaker 1>just want to quick recap EC Bible Comics horrors and

0:39:08.560 --> 0:39:11.279
<v Speaker 1>then trying to scale back the horrors now with a

0:39:11.320 --> 0:39:16.520
<v Speaker 1>new line called New Direction. These names it does what

0:39:16.560 --> 0:39:19.840
<v Speaker 1>it says on the tin, but pretty much anything with

0:39:19.880 --> 0:39:22.560
<v Speaker 1>the EC name on it was getting returned from distributors

0:39:22.680 --> 0:39:26.560
<v Speaker 1>unopened because of its reputation. The company closed its horror

0:39:26.560 --> 0:39:29.880
<v Speaker 1>and crime titles, with an editorial statement at the end, reading,

0:39:29.880 --> 0:39:34.440
<v Speaker 1>in part, economically, our situation is acute magazines that do

0:39:34.520 --> 0:39:37.279
<v Speaker 1>not get on the newsstands do not sell. We are

0:39:37.320 --> 0:39:42.120
<v Speaker 1>forced to capitulate. We give up. That's sad. Bill Gain's

0:39:42.120 --> 0:39:45.400
<v Speaker 1>empire was whittled down to Mad Magazine, which, though it

0:39:45.400 --> 0:39:48.319
<v Speaker 1>would become a huge success, is not the point of

0:39:48.360 --> 0:39:48.960
<v Speaker 1>this episode.

0:39:50.080 --> 0:39:54.000
<v Speaker 2>So's horror Roster went underground, but the impact that it

0:39:54.040 --> 0:39:58.160
<v Speaker 2>had on generations of creatives still can't be measured. So

0:39:58.160 --> 0:40:01.080
<v Speaker 2>by nineteen seventy one there was a budget UK film

0:40:01.120 --> 0:40:04.560
<v Speaker 2>company named Amicist Productions and they approached Bill Gains about

0:40:04.560 --> 0:40:08.000
<v Speaker 2>a feature length adaptation. So this was nineteen seventy two's

0:40:08.040 --> 0:40:11.000
<v Speaker 2>Tales from the Crypt. It was directed by Freddie Francis,

0:40:11.000 --> 0:40:14.200
<v Speaker 2>who had previously won an Oscar for Cinematography for nineteen

0:40:14.239 --> 0:40:21.000
<v Speaker 2>sixty's D. H. Lawrence adaptation Sons and Lovers gross Following

0:40:21.040 --> 0:40:23.960
<v Speaker 2>the same anthology format, the film collected several stories and

0:40:24.000 --> 0:40:26.239
<v Speaker 2>shot them all on a shoestring budget over the course

0:40:26.280 --> 0:40:30.240
<v Speaker 2>of about a month, notably starring Joan Collins and Hammer

0:40:30.280 --> 0:40:35.040
<v Speaker 2>horror icon Peter Cushing. Unsurprisingly, it was not good, and

0:40:35.120 --> 0:40:39.280
<v Speaker 2>also unsurprisingly, it got a sequel the year after Jordan

0:40:39.400 --> 0:40:42.320
<v Speaker 2>You'll appreciate this. The sequel was called Vault of Horror

0:40:42.640 --> 0:40:45.360
<v Speaker 2>and it was directed by a guy named roy Ward Baker,

0:40:45.640 --> 0:40:49.040
<v Speaker 2>previously best known for A Night to Remember, a nineteen

0:40:49.120 --> 0:40:52.600
<v Speaker 2>fifty eight documentary adaptation of a book about the sinking

0:40:52.760 --> 0:40:54.200
<v Speaker 2>of the Titanic.

0:40:54.320 --> 0:40:55.239
<v Speaker 1>One of my favorites.

0:40:55.719 --> 0:40:57.120
<v Speaker 2>I don't think I got a Beatles one in here

0:40:57.160 --> 0:41:01.120
<v Speaker 2>that yet, so I'll find one. I bet you will. Meanwhile,

0:41:01.160 --> 0:41:03.520
<v Speaker 2>a collective nostalgia was growing in the hearts and minds

0:41:03.520 --> 0:41:05.600
<v Speaker 2>of the boomers who had grown up on easy comics,

0:41:05.800 --> 0:41:07.759
<v Speaker 2>and they were now rapidly rising to the seats of

0:41:07.800 --> 0:41:11.160
<v Speaker 2>power in the country. First example of this is the

0:41:11.480 --> 0:41:17.040
<v Speaker 2>wonderful cult film Creep Show, and it is one of

0:41:17.040 --> 0:41:21.480
<v Speaker 2>my favorites. It's so adorable and so funny and so

0:41:21.760 --> 0:41:24.399
<v Speaker 2>good and it it's a perfect example of how much

0:41:24.880 --> 0:41:27.440
<v Speaker 2>people were willing to go to the mat for this

0:41:27.480 --> 0:41:31.319
<v Speaker 2>stuff because they just loved it so much. And it

0:41:31.400 --> 0:41:35.480
<v Speaker 2>was directed Stephen King. Hit up George Romero about this,

0:41:35.800 --> 0:41:39.040
<v Speaker 2>so like, Stephen King, you know, not quite I know,

0:41:39.120 --> 0:41:40.560
<v Speaker 2>he would have been at like the height of his

0:41:40.760 --> 0:41:41.360
<v Speaker 2>not height what.

0:41:41.440 --> 0:41:43.520
<v Speaker 1>Was his post shining yeah.

0:41:43.200 --> 0:41:45.040
<v Speaker 2>Oh yeah, yeah. So Stephen King at the height of

0:41:45.040 --> 0:41:46.880
<v Speaker 2>his powers, hit up George Romero and was like, we

0:41:46.960 --> 0:41:49.440
<v Speaker 2>got to do something about easy comics. It was an

0:41:49.480 --> 0:41:54.440
<v Speaker 2>easy comics adaptation in everything but name. This was actually

0:41:54.440 --> 0:41:57.160
<v Speaker 2>Stephen King's Hollywood debut as a screenwriter, and he acts

0:41:57.200 --> 0:42:00.879
<v Speaker 2>in the opening segment in a just wonderful pants that

0:42:01.239 --> 0:42:07.320
<v Speaker 2>really gives no doubt that the man was composed primarily

0:42:07.360 --> 0:42:10.600
<v Speaker 2>of cocaine and alcohol. At that time.

0:42:10.719 --> 0:42:13.280
<v Speaker 1>I was gonna say a sterling monument to his drug abuse.

0:42:14.000 --> 0:42:15.879
<v Speaker 2>But it is so good. Creep show is so good.

0:42:15.920 --> 0:42:20.120
<v Speaker 2>It has Hal Holbrook, Adrian Barbo, Leslie Nielsen, Ted Danson,

0:42:20.440 --> 0:42:25.680
<v Speaker 2>Ed Harris and naturally because it was directed by George Romeiro,

0:42:25.880 --> 0:42:28.479
<v Speaker 2>it was shot in and around Pittsburgh, because, as John

0:42:28.520 --> 0:42:33.520
<v Speaker 2>Carpenter famously put it, someone's got to do it. Special

0:42:33.520 --> 0:42:37.240
<v Speaker 2>effects artist whiz Tom Savini handled the effects and enlisted

0:42:37.280 --> 0:42:41.520
<v Speaker 2>something like twenty thousand cockroaches for one indelible segment. The

0:42:41.560 --> 0:42:45.400
<v Speaker 2>film is lovingly styled after the easy comics look. Individual

0:42:45.440 --> 0:42:49.080
<v Speaker 2>segments end in freeze frames that turn they transition into

0:42:49.120 --> 0:42:53.080
<v Speaker 2>illustrated comic splash panels, has all these garish lightings and

0:42:53.200 --> 0:42:57.040
<v Speaker 2>Dutch angles. It's so good, and crucially, because it was

0:42:57.080 --> 0:42:59.480
<v Speaker 2>written by King, it was able to avoid trapesing on

0:42:59.560 --> 0:43:02.960
<v Speaker 2>any eat see trademarks. The film earned twenty one million

0:43:03.000 --> 0:43:06.399
<v Speaker 2>on an estimated eight million budget, and is followed by

0:43:06.440 --> 0:43:10.000
<v Speaker 2>an oddly named TV adaptation, Tales for the Dark Side,

0:43:10.480 --> 0:43:15.160
<v Speaker 2>Tales from the Dark Side hashtag rights issues, and then

0:43:15.440 --> 0:43:17.160
<v Speaker 2>The Creep Show two came out in eighty seven, and

0:43:17.160 --> 0:43:19.280
<v Speaker 2>there are Tales from the Dark Side movies. I also

0:43:19.320 --> 0:43:21.400
<v Speaker 2>want to say, and once again I just have to

0:43:21.400 --> 0:43:23.960
<v Speaker 2>stress how good Creep Show is. Everyone. You should just

0:43:24.080 --> 0:43:28.040
<v Speaker 2>go see it or rent it. It's hilarious and it

0:43:28.120 --> 0:43:32.840
<v Speaker 2>paved the way for the absolute insane roster of Hollywood

0:43:33.040 --> 0:43:36.000
<v Speaker 2>movers and shakers that we are about to drop on you,

0:43:36.040 --> 0:43:39.520
<v Speaker 2>who pulled their own resources for their own proper adaptation,

0:43:40.160 --> 0:43:42.319
<v Speaker 2>which means we have finally gotten to the point of

0:43:42.360 --> 0:43:43.880
<v Speaker 2>this episode.

0:43:45.640 --> 0:43:48.440
<v Speaker 1>For a keen eyed student of Hollywood. The opening credits

0:43:48.440 --> 0:43:50.920
<v Speaker 1>of the HBO Tales from the Crypt series are a

0:43:51.120 --> 0:43:54.319
<v Speaker 1>gold mine. We'll get to the cavalcade of prominent guest

0:43:54.360 --> 0:43:57.960
<v Speaker 1>stars that the series enlisted shortly, but the executive producers

0:43:58.040 --> 0:44:00.560
<v Speaker 1>listed at the top of every episode are one Walter Hill,

0:44:01.120 --> 0:44:06.600
<v Speaker 1>David Geiler, Richard Donner, Joel Silver, and Robert Zemechis. Now

0:44:06.640 --> 0:44:08.600
<v Speaker 1>go ahead and hit the rewind button on your podcast

0:44:08.600 --> 0:44:12.000
<v Speaker 1>platform to take that all in again. Heigel, give us

0:44:12.000 --> 0:44:14.200
<v Speaker 1>a rundown on this murder's row. Tell us who they are?

0:44:14.719 --> 0:44:18.400
<v Speaker 2>You got Walter Hill, director of the Warriors forty eight Hours,

0:44:18.840 --> 0:44:21.080
<v Speaker 2>Streets of Fire, which is his own cult hit. Not

0:44:21.120 --> 0:44:23.040
<v Speaker 2>as cool as the other two, but that's fine. You've

0:44:23.040 --> 0:44:26.480
<v Speaker 2>got his business partner and other producer David Geiler, who

0:44:26.520 --> 0:44:31.960
<v Speaker 2>produced and co wrote Alien Aliens, also Myra Breckinridge, Oh My.

0:44:32.080 --> 0:44:34.799
<v Speaker 1>God, the adaptation of the Gore Vidal book that was

0:44:35.920 --> 0:44:40.200
<v Speaker 1>probably not a very delicate handling of transgender Sure.

0:44:40.000 --> 0:44:46.960
<v Speaker 2>It wasn't, Nope, and also Undisputed. David Goiler produced Undisputed,

0:44:47.239 --> 0:44:50.040
<v Speaker 2>the two thousand and two prison fight flop that starred

0:44:50.040 --> 0:44:54.760
<v Speaker 2>Wesley Snipes, Ving Raim's Peter Falk and beloved character actors

0:44:54.760 --> 0:44:58.960
<v Speaker 2>Michael Rooker and Wes Study, and also Master p I

0:44:58.960 --> 0:45:00.520
<v Speaker 2>don't know why I went so long on that. I

0:45:00.560 --> 0:45:02.319
<v Speaker 2>just think it's very funny that that guy, his like

0:45:02.520 --> 0:45:05.000
<v Speaker 2>career was sort of I mean, he's still working, he's

0:45:05.000 --> 0:45:08.759
<v Speaker 2>still alive. But anyway, You've got Richard Damn Donner of

0:45:08.840 --> 0:45:13.600
<v Speaker 2>The Omen, Superman, The Goonies, Scrooged, Lethal Weapon, and then, last,

0:45:13.640 --> 0:45:19.040
<v Speaker 2>but certainly not least, you've got Joel silver Baby producer extraordinaire.

0:45:19.400 --> 0:45:22.440
<v Speaker 2>He did all that with Walter Hill. He also did Commando,

0:45:22.600 --> 0:45:25.880
<v Speaker 2>the entirety of the Lethal Weapon franchise. He did the

0:45:25.880 --> 0:45:29.759
<v Speaker 2>first two Diehards, the first two Predators, and the fucking Matrixes.

0:45:30.400 --> 0:45:34.480
<v Speaker 2>That's in Silver Baby. He's also like kind of bad, right,

0:45:34.560 --> 0:45:37.440
<v Speaker 2>like we don't really he's got like a pretty bad reputation, right.

0:45:37.400 --> 0:45:40.080
<v Speaker 1>Yeah, he's got a cameo in uh Roger Rabbit.

0:45:40.760 --> 0:45:43.600
<v Speaker 2>Yeah, well I was getting to Roger Rabbit. Oh sorry,

0:45:43.719 --> 0:45:47.080
<v Speaker 2>you've got Robert Zemechiz, director of Romancing the Stone Back

0:45:47.120 --> 0:45:50.439
<v Speaker 2>to the Future trilogy, two of which are good. Who

0:45:50.480 --> 0:45:54.120
<v Speaker 2>framed Roger Rabbit, which whips death becomes her and then

0:45:54.160 --> 0:45:57.280
<v Speaker 2>a bunch of other stuff that sucks, like Forrest Gump

0:45:57.280 --> 0:45:58.320
<v Speaker 2>and the Polar Express.

0:45:58.440 --> 0:46:01.840
<v Speaker 1>Oh, he did Castaway, right, what do we land on

0:46:01.840 --> 0:46:05.560
<v Speaker 1>the cast Away? Yeah? Sure, Cathaway's fine, said, thought about

0:46:05.560 --> 0:46:07.239
<v Speaker 1>Dick Donner. I know, we told this story in the

0:46:07.239 --> 0:46:10.320
<v Speaker 1>Goonies episode about how all the kids in the Goonies

0:46:10.320 --> 0:46:12.719
<v Speaker 1>tormented him, and then he flew home to Hawaii the

0:46:12.840 --> 0:46:15.600
<v Speaker 1>end of the Shoot to Unwind, only to discover that

0:46:15.640 --> 0:46:19.120
<v Speaker 1>producer Steven Spielberg had flown the entire cast down to

0:46:19.200 --> 0:46:21.560
<v Speaker 1>Dick Donner's house for a party to surprise him there

0:46:21.600 --> 0:46:25.799
<v Speaker 1>when he arrived home, which is a hilarious prank and

0:46:25.840 --> 0:46:29.120
<v Speaker 1>something that only Steven Spielberg could do. I didn't realize

0:46:29.160 --> 0:46:31.799
<v Speaker 1>that Dick Donner's feud with kids dated back to when

0:46:31.800 --> 0:46:34.680
<v Speaker 1>he directed The Omen and he asked the kid auditioning

0:46:34.719 --> 0:46:37.600
<v Speaker 1>to play Damien to fight him. And so the kid

0:46:37.719 --> 0:46:41.200
<v Speaker 1>quote kicked him square in the balls and then began

0:46:41.320 --> 0:46:43.640
<v Speaker 1>scratching at his face so hard that his parents had

0:46:43.640 --> 0:46:46.440
<v Speaker 1>to pry him off. And Dick Donner kid.

0:46:46.280 --> 0:46:47.120
<v Speaker 2>Really wanted that part.

0:46:47.200 --> 0:46:49.760
<v Speaker 1>Yeah, he gave it to him. Like the kids spunk

0:46:49.960 --> 0:46:55.600
<v Speaker 1>awful anyway. Walter Hill was directing at Universal in the

0:46:55.640 --> 0:46:58.480
<v Speaker 1>early eighties when he got lost in Russ Cochrane's hardcover

0:46:58.560 --> 0:47:01.759
<v Speaker 1>reprints of the EC Comics line and became a young

0:47:01.800 --> 0:47:05.960
<v Speaker 1>boy again metaphorically speaking. He called in his partner David Geiler,

0:47:06.000 --> 0:47:08.759
<v Speaker 1>who similarly got caught up in the Russian nostalgia, and

0:47:08.840 --> 0:47:11.640
<v Speaker 1>the same collection caught the eye of Joel Silver. When

0:47:11.680 --> 0:47:14.080
<v Speaker 1>all three men were working on Lethal Weapon in nineteen

0:47:14.120 --> 0:47:16.799
<v Speaker 1>eighty three. The three of them optioned the rights from

0:47:16.800 --> 0:47:20.680
<v Speaker 1>Bill Gains, who was suitably very intimidated by several of

0:47:20.719 --> 0:47:23.960
<v Speaker 1>the most important men in Hollywood approaching him for quote

0:47:24.160 --> 0:47:28.200
<v Speaker 1>very little, As Silver recalls in the Wonderful Tone Tales

0:47:28.239 --> 0:47:31.600
<v Speaker 1>from the Crypt the Official Archives by dig b Deal.

0:47:31.719 --> 0:47:32.600
<v Speaker 1>That's a hell of a name.

0:47:33.200 --> 0:47:35.520
<v Speaker 2>Digby did some real lord's work. He's also like a

0:47:35.560 --> 0:47:39.880
<v Speaker 2>co biographer of many famous people, like that's what he

0:47:40.000 --> 0:47:43.600
<v Speaker 2>was mostly known for. And then also this awesome it's

0:47:43.640 --> 0:47:45.600
<v Speaker 2>kind of like the Big Trouble in China book. That's like, uh,

0:47:46.400 --> 0:47:50.400
<v Speaker 2>it's like four hundred dollars on you know, eBay and stuff.

0:47:50.440 --> 0:47:51.840
<v Speaker 1>I've been trying to track that down for you.

0:47:52.080 --> 0:47:54.840
<v Speaker 2>Oh, I got it. My in law has got it

0:47:54.880 --> 0:47:55.120
<v Speaker 2>for me.

0:47:56.600 --> 0:47:56.839
<v Speaker 1>Yeah.

0:47:56.920 --> 0:48:01.160
<v Speaker 2>Shouts to Charlie and Patt but yeah, uh a deal.

0:48:01.320 --> 0:48:06.879
<v Speaker 2>Digby Deal did celebrity autobiographies with like Natalie Cole, Patti LuPone.

0:48:07.760 --> 0:48:12.279
<v Speaker 2>He also did a CIA memoir, What a Memoir by

0:48:12.320 --> 0:48:18.000
<v Speaker 2>the j Paul Getty's fifth wife. So and just also

0:48:18.040 --> 0:48:20.520
<v Speaker 2>made time to pen the definitive book on Tales from

0:48:20.560 --> 0:48:21.680
<v Speaker 2>the Crypt a hero.

0:48:21.800 --> 0:48:25.040
<v Speaker 1>Digby Deal, we bestow upon you the honorary title Friend

0:48:25.040 --> 0:48:25.560
<v Speaker 1>of the Pod.

0:48:27.000 --> 0:48:28.560
<v Speaker 2>You are dead and not in hell.

0:48:29.800 --> 0:48:32.359
<v Speaker 1>Oh he's dead. He's super dead now he can still

0:48:32.360 --> 0:48:33.279
<v Speaker 1>be Friend of the Pod though.

0:48:33.640 --> 0:48:34.279
<v Speaker 2>Yeah.

0:48:34.520 --> 0:48:37.040
<v Speaker 1>Also, while working on Lethal Weapon, Dick Donner was pulled

0:48:37.040 --> 0:48:40.280
<v Speaker 1>in one night after shooting in their trailer, when Silver

0:48:40.360 --> 0:48:42.759
<v Speaker 1>simply said, Hey, I'm working on a Tales from the

0:48:42.760 --> 0:48:46.720
<v Speaker 1>Crypt series, and apparently that's all it took. Donner later said,

0:48:46.960 --> 0:48:48.759
<v Speaker 1>I have no idea what our concept was going to

0:48:48.800 --> 0:48:50.879
<v Speaker 1>be or how it evolved. And there were times when

0:48:50.880 --> 0:48:53.120
<v Speaker 1>everyone near and dear to my life said, don't put

0:48:53.160 --> 0:48:55.719
<v Speaker 1>any more of your money into this project, but I

0:48:55.840 --> 0:48:59.239
<v Speaker 1>stuck with it. Robert Tamachis, meanwhile, was swayed through a

0:48:59.280 --> 0:49:03.440
<v Speaker 1>different bill game his product Mad Magazine. He recalled us

0:49:03.480 --> 0:49:05.880
<v Speaker 1>Back to the Future co writer Bill Gail, introducing him

0:49:05.920 --> 0:49:08.520
<v Speaker 1>to Easy Comics while the pair were roommates at USC

0:49:09.560 --> 0:49:12.440
<v Speaker 1>Gail was a comics nerd who had fan letters published

0:49:12.440 --> 0:49:15.640
<v Speaker 1>in Marvel's Tales of Suspense and Iron Man in nineteen

0:49:15.719 --> 0:49:19.040
<v Speaker 1>sixty eight, and would later write for the company. While

0:49:19.040 --> 0:49:22.480
<v Speaker 1>filming Who Framed Roger Rabbit, in which Joel Silver has

0:49:22.640 --> 0:49:26.560
<v Speaker 1>a great cameo as a hot headed director, Baby Herman,

0:49:26.600 --> 0:49:28.640
<v Speaker 1>you were great, you were perfect. You're better than perfect.

0:49:28.719 --> 0:49:32.000
<v Speaker 1>It's just rot Roger. He bow his lines, what's that

0:49:32.520 --> 0:49:37.520
<v Speaker 1>tweety bird, tweety bird? What's the script saying? Stars, not

0:49:37.640 --> 0:49:41.880
<v Speaker 1>tweety bird, stars. God, it's so good it's so good

0:49:42.880 --> 0:49:45.920
<v Speaker 1>and if he watch that's sin well, how am I?

0:49:46.000 --> 0:49:49.840
<v Speaker 1>How is that? While filming your frame, Roger Rabbits and

0:49:49.880 --> 0:49:52.640
<v Speaker 1>Mecus explained, Joel mentioned that he was working on getting

0:49:52.680 --> 0:49:55.719
<v Speaker 1>easy comics on cable. I knew Tales from the Crypt

0:49:55.760 --> 0:49:58.920
<v Speaker 1>would never succeed on network television. They'd ruin it if

0:49:58.920 --> 0:50:01.400
<v Speaker 1>it was going on cable. I told him I was interested.

0:50:01.840 --> 0:50:03.840
<v Speaker 1>One of the problems was that there was a huge

0:50:04.160 --> 0:50:07.960
<v Speaker 1>pale on retro anthology stuff after the disaster of the

0:50:08.040 --> 0:50:12.279
<v Speaker 1>Twilight Zone movie. Higel, what happened during the Twilight Zone

0:50:12.280 --> 0:50:12.840
<v Speaker 1>movie shoot?

0:50:13.680 --> 0:50:17.319
<v Speaker 2>John Landis killed some kids and also Vic Morro oh uh?

0:50:17.640 --> 0:50:21.840
<v Speaker 2>And John Landis told the helicopter pilot to drive closer

0:50:21.960 --> 0:50:26.040
<v Speaker 2>to the explosions Jesus and they all died in fiery,

0:50:26.080 --> 0:50:29.200
<v Speaker 2>screaming agony, and then John Landis maintained that he did

0:50:29.239 --> 0:50:30.280
<v Speaker 2>nothing wrong for years.

0:50:30.440 --> 0:50:31.879
<v Speaker 1>Did the helicopter pilot live?

0:50:32.280 --> 0:50:33.320
<v Speaker 2>I want to say.

0:50:33.280 --> 0:50:37.560
<v Speaker 1>Yes, oh no, actually, oh, actually, I don't know the

0:50:37.600 --> 0:50:38.359
<v Speaker 1>right answer for that.

0:50:38.880 --> 0:50:41.040
<v Speaker 2>Both the three actors, No, no, it was just the

0:50:41.120 --> 0:50:46.680
<v Speaker 2>kids and in Vic Morro Jesus. Yeah, Steven Spielberg cut

0:50:46.760 --> 0:50:51.719
<v Speaker 2>him off because of that. Really, yeah, that's what it

0:50:51.880 --> 0:50:57.400
<v Speaker 2>took yeah wow. Silver told the La Times it was

0:50:57.440 --> 0:50:58.759
<v Speaker 2>an unusual.

0:50:58.320 --> 0:51:00.760
<v Speaker 1>Time because there have been a bunch of anthology shows

0:51:00.800 --> 0:51:03.720
<v Speaker 1>and films that had all just gone in the toilet.

0:51:04.360 --> 0:51:08.400
<v Speaker 2>Jesus Christ. Sorry. During a take three hours before the incident,

0:51:09.400 --> 0:51:14.479
<v Speaker 2>the helicopter pilot, who was in Vietnam, oh yeah, told

0:51:14.560 --> 0:51:17.080
<v Speaker 2>Landis that the fireballs were too large and too close

0:51:17.120 --> 0:51:20.120
<v Speaker 2>to the helicopter, to which Landis responded, you ain't seen

0:51:20.160 --> 0:51:24.440
<v Speaker 2>nothing yet. Witnesses testified that Landis was still shouting for

0:51:24.480 --> 0:51:28.960
<v Speaker 2>the helicopter to fly lower lower moments before it crashed. Also,

0:51:29.840 --> 0:51:33.359
<v Speaker 2>you know, he was also violating labor laws by having

0:51:33.400 --> 0:51:35.240
<v Speaker 2>these kids work past their hours.

0:51:35.400 --> 0:51:37.480
<v Speaker 1>I was gonna say, weren't they like not even actors.

0:51:37.520 --> 0:51:40.040
<v Speaker 1>Didn't he just like find them or something like.

0:51:40.280 --> 0:51:43.200
<v Speaker 2>He was Even the district attorney was like, this guy's

0:51:43.239 --> 0:51:47.680
<v Speaker 2>being gross. Like during the trial, I mean, did he ever.

0:51:47.680 --> 0:51:51.160
<v Speaker 1>Like recover from that? How did he not get like Alec.

0:51:51.000 --> 0:51:53.640
<v Speaker 2>Baldwins a different times he made the thriller video.

0:51:55.880 --> 0:51:58.359
<v Speaker 1>It was an unusual time, Joel Silver told the La

0:51:58.480 --> 0:52:01.160
<v Speaker 1>Times because there had been a bunch of anthology shows

0:52:01.160 --> 0:52:03.600
<v Speaker 1>and films that had all just gone into the toilet.

0:52:03.800 --> 0:52:07.560
<v Speaker 1>In the aftermath of the Twilight Zone movie incident. He

0:52:07.640 --> 0:52:11.000
<v Speaker 1>was craftily pitching it too. He promised the creative freedom

0:52:11.040 --> 0:52:14.120
<v Speaker 1>of non network TV and a relatively large budget, which

0:52:14.120 --> 0:52:16.520
<v Speaker 1>he subsidized by selling the rights to the series to

0:52:16.600 --> 0:52:20.320
<v Speaker 1>foreign markets, packaging three at a time as feature length films.

0:52:20.560 --> 0:52:21.520
<v Speaker 1>That's a really good idea.

0:52:21.800 --> 0:52:24.120
<v Speaker 2>Yeah, smart guy, you know what can I say? Knows

0:52:24.160 --> 0:52:25.759
<v Speaker 2>his way around the business.

0:52:26.400 --> 0:52:29.200
<v Speaker 1>Walter Hill recalled the project stalling out for several years

0:52:29.239 --> 0:52:31.520
<v Speaker 1>until getting a phone call from Silver for what Deal

0:52:31.600 --> 0:52:36.640
<v Speaker 1>calls a quote classic micro conversation with Silver. This amounted

0:52:36.680 --> 0:52:39.560
<v Speaker 1>to Joel Silver, basically in one breath, telling Hill that

0:52:39.640 --> 0:52:42.160
<v Speaker 1>Zamechas and Donna were on board, as was HBO, and

0:52:42.239 --> 0:52:46.839
<v Speaker 1>could he'll film something in five days. Joel Silver would

0:52:46.880 --> 0:52:49.279
<v Speaker 1>end up making his directorial debut on the series with

0:52:49.360 --> 0:52:53.359
<v Speaker 1>the episode's Split Personality, which involves a typically Tails esque

0:52:53.440 --> 0:52:57.040
<v Speaker 1>murderer's row of talent. It stars Joe Peshy. The script

0:52:57.120 --> 0:52:59.759
<v Speaker 1>is written by Monster Squad and Night of the creepscribe

0:53:00.200 --> 0:53:04.480
<v Speaker 1>Decker Jurassic Parks David Lowry was a storyboard artist and

0:53:04.640 --> 0:53:09.239
<v Speaker 1>Speed and Twister director. Yon Debont was the cinematographer to

0:53:09.280 --> 0:53:12.000
<v Speaker 1>this day. It is literally the only thing that Joel

0:53:12.000 --> 0:53:13.240
<v Speaker 1>Silver has ever directed.

0:53:13.800 --> 0:53:15.399
<v Speaker 2>Why bother when you knock it out of the park

0:53:15.440 --> 0:53:19.680
<v Speaker 2>and surest that bat true. Because of this assemblage of

0:53:19.719 --> 0:53:24.200
<v Speaker 2>power players plus the nostalgia factor, TFTC as I've grown

0:53:24.239 --> 0:53:26.520
<v Speaker 2>to call it in Our Friendship was able to recruit

0:53:26.600 --> 0:53:30.000
<v Speaker 2>a seriously mind boggling array of guests during its run,

0:53:30.160 --> 0:53:34.160
<v Speaker 2>including many Oscar winners. The full list is like three

0:53:34.280 --> 0:53:37.440
<v Speaker 2>columns long on Wikipedia, so I'm not naming everyone, but

0:53:37.520 --> 0:53:40.240
<v Speaker 2>it'll feel like I am. Because of how many people

0:53:40.239 --> 0:53:42.720
<v Speaker 2>were involved in this show. You had your A listers

0:53:42.719 --> 0:53:46.120
<v Speaker 2>like Arnold Schwarzenegger, who directed an episode and was paid

0:53:46.160 --> 0:53:49.920
<v Speaker 2>fifteen thousand dollars. Everyone worked for scale on this that's

0:53:49.960 --> 0:53:53.040
<v Speaker 2>what's so crazy about it. So Arnes Schwarzenegger was took

0:53:53.040 --> 0:53:55.839
<v Speaker 2>over the director's chair for an episode and was paid

0:53:55.880 --> 0:53:59.080
<v Speaker 2>fifteen grand while also cashing a check for ten million

0:53:59.200 --> 0:54:04.360
<v Speaker 2>for total recall, Tom Hanks, who also directed, Kirk Douglas,

0:54:04.400 --> 0:54:08.440
<v Speaker 2>Christopher Reeve, Martin Sheen, Patricia r Quette, Brook Shields, Bill Paxson,

0:54:08.520 --> 0:54:11.680
<v Speaker 2>Steve BISHEMI then you had basically anyone who is hot

0:54:11.719 --> 0:54:13.560
<v Speaker 2>in the mid eighties to early nineties, and I do

0:54:13.640 --> 0:54:16.960
<v Speaker 2>mean physically as well as with your juice, if you will,

0:54:18.440 --> 0:54:21.399
<v Speaker 2>Why did I say that like that? Well, Demi Moore,

0:54:21.520 --> 0:54:24.880
<v Speaker 2>Anthony Michael Hall, Judd Nelson, Corey Feldman, Michael J. Fox,

0:54:24.880 --> 0:54:27.480
<v Speaker 2>who also directed, Kyle McLachlan, and most of the cast

0:54:27.520 --> 0:54:31.560
<v Speaker 2>of Twin Peaks Lou Diamond, Philip Kelly Preston, Key Hoy Kwan,

0:54:32.400 --> 0:54:38.880
<v Speaker 2>Lea Thompson, and John Stamos. You have comedians include Dan Ackroyd,

0:54:38.920 --> 0:54:42.240
<v Speaker 2>Don Rickles, Rickles' episode is great. He plays a ventriloquist.

0:54:43.040 --> 0:54:46.879
<v Speaker 2>It's great. Greedy's included Yeah, Dan Ackroyd, Don Rickles, John

0:54:46.920 --> 0:54:51.400
<v Speaker 2>Lovett's cheech, Marin Hanks, Area, Catherine O'Hara, Whoopi Goldberg, Katie Segal,

0:54:51.600 --> 0:54:54.520
<v Speaker 2>Ted Danson, and Rita Rudner. There were also a bunch

0:54:54.560 --> 0:54:57.520
<v Speaker 2>of people from the music world who came over Ikey Pop,

0:54:57.640 --> 0:55:02.480
<v Speaker 2>Isaac Hayes, Meet Loaf, Adultery of the Who, Slash of

0:55:02.600 --> 0:55:05.400
<v Speaker 2>Guns n' Roses and also just being Slash, Tim Curry,

0:55:05.760 --> 0:55:08.040
<v Speaker 2>Priscilla Presley, and also.

0:55:07.840 --> 0:55:11.680
<v Speaker 1>Wayne Newton said me Loaf as if Loaf was his

0:55:11.800 --> 0:55:15.719
<v Speaker 1>last name, Meat Loaf, mister Loaf, please, that was my father?

0:55:15.800 --> 0:55:16.960
<v Speaker 2>Call me meat.

0:55:18.320 --> 0:55:20.400
<v Speaker 1>From was it The Apprentice Apprentice.

0:55:20.520 --> 0:55:22.600
<v Speaker 2>Yeah, when people are trying, he's like having a tit

0:55:22.800 --> 0:55:25.040
<v Speaker 2>to meltdown and like people are trying to soothe him.

0:55:25.040 --> 0:55:28.759
<v Speaker 2>Like I think it's Mark McGrath of Sugar Ray is like.

0:55:29.400 --> 0:55:33.600
<v Speaker 1>Meat, meat, meat me.

0:55:34.520 --> 0:55:36.879
<v Speaker 2>Some of the across the Pond talent who came over

0:55:36.920 --> 0:55:41.360
<v Speaker 2>with Malcolm McDowell, uh Isabella Rossellini, Bob Hoskins who directed

0:55:41.360 --> 0:55:45.400
<v Speaker 2>an episode, Timothy Dalton, you know, the Bond guy for

0:55:45.480 --> 0:55:50.040
<v Speaker 2>Two Things of Bond Boxing, Legend, Sugar Ray Leonard and

0:55:50.080 --> 0:55:52.000
<v Speaker 2>the show also gave early gigs to a bunch of

0:55:52.040 --> 0:55:54.759
<v Speaker 2>people who would go on to become a listers like

0:55:54.800 --> 0:55:58.759
<v Speaker 2>Ewan McGregor, Beniso de Toro, Daniel Craig, Jonathan Banks of

0:55:58.800 --> 0:56:04.440
<v Speaker 2>Breaking Bad, that tall guy from Everybody Loves Raymond. I

0:56:04.480 --> 0:56:07.120
<v Speaker 2>told you about. One of my favorite Jimmy Glick put

0:56:07.120 --> 0:56:09.880
<v Speaker 2>downs is from him. Jimmany says something to him and

0:56:10.320 --> 0:56:12.480
<v Speaker 2>Brad Garrett's like, oh, I'm sure you got that from

0:56:12.480 --> 0:56:19.400
<v Speaker 2>the website, didn't you. Like A millisecond later, sweet sweet

0:56:19.600 --> 0:56:22.000
<v Speaker 2>Martin just comes out with, oh, because there's so many

0:56:22.040 --> 0:56:23.160
<v Speaker 2>books written about you.

0:56:23.320 --> 0:56:28.719
<v Speaker 1>As much as I hate Martin Short, I do love

0:56:28.800 --> 0:56:29.719
<v Speaker 1>Jimmy Glick.

0:56:30.080 --> 0:56:35.240
<v Speaker 2>Yeah, Jada Pinkett. I think it's just Jada Pinkett these days.

0:56:35.320 --> 0:56:37.959
<v Speaker 2>She was in there. Jeffrey Tambore in a fat suit

0:56:38.040 --> 0:56:42.080
<v Speaker 2>that looks suspiciously exactly like the fat suit and makeup.

0:56:42.120 --> 0:56:45.080
<v Speaker 2>They put Colin Ferrell in to play the penguin in

0:56:45.120 --> 0:56:49.080
<v Speaker 2>his current job. Like Jeffrey, google it, it's weird. Jeffrey

0:56:49.120 --> 0:56:51.879
<v Speaker 2>Tamber's fat suit in makeup in Nights from the Crip

0:56:51.960 --> 0:56:56.600
<v Speaker 2>looks eerily almost exactly similar to the penguin right now.

0:56:57.880 --> 0:57:02.120
<v Speaker 2>Obvious genre mainstays like Brad Doree, Michael Ironside, Lance Hendrickson,

0:57:02.480 --> 0:57:04.160
<v Speaker 2>ar Lee Ermie shows up at one point to do

0:57:04.239 --> 0:57:09.120
<v Speaker 2>his whole thing, and also saving the handsomest for last,

0:57:09.239 --> 0:57:14.000
<v Speaker 2>Brad Pitt. Tom Holland, who directed Child's Play and Fright Night,

0:57:14.440 --> 0:57:16.840
<v Speaker 2>was the director of the episode that Brad Pitt stars

0:57:16.840 --> 0:57:19.280
<v Speaker 2>in with music by Warren Zavaughn, which is super cool,

0:57:20.560 --> 0:57:23.320
<v Speaker 2>and he told sci Fi that after Brad Pitt appeared

0:57:23.360 --> 0:57:26.200
<v Speaker 2>in that episode, he said, I thought Brad Pitt was

0:57:26.240 --> 0:57:28.520
<v Speaker 2>so terrific in that I went out and tried to

0:57:28.520 --> 0:57:30.920
<v Speaker 2>get him an agent, and I couldn't get him an agent.

0:57:31.080 --> 0:57:33.360
<v Speaker 2>In the episode, he said, he smiled It's all he

0:57:33.400 --> 0:57:36.280
<v Speaker 2>had to do. And when he smiled, I said, well

0:57:36.280 --> 0:57:38.800
<v Speaker 2>that's a movie star, and I said light him as

0:57:38.800 --> 0:57:41.160
<v Speaker 2>well as the girl. I mean, he was as beautiful

0:57:41.200 --> 0:57:41.720
<v Speaker 2>as she was.

0:57:42.680 --> 0:57:44.640
<v Speaker 1>I love how much you love Brad Pitt.

0:57:45.000 --> 0:57:47.280
<v Speaker 2>I love Tom Holland too. He's so dim funny. When

0:57:47.320 --> 0:57:52.440
<v Speaker 2>Julian Walters died, I interviewed him about how she about it.

0:57:52.480 --> 0:57:55.240
<v Speaker 2>She was almost the voice of Chucky and he was

0:57:55.440 --> 0:57:57.720
<v Speaker 2>he was so cool on the phone. Yeah, he said,

0:57:57.720 --> 0:57:59.680
<v Speaker 2>it was just like it was a little it ended

0:57:59.720 --> 0:58:02.400
<v Speaker 2>up being like a little too effeminate and then like obviously,

0:58:02.440 --> 0:58:04.240
<v Speaker 2>but she had been in play Misty for me, so

0:58:04.280 --> 0:58:07.960
<v Speaker 2>he thought she could convinstantly pull off a psychopath. But

0:58:08.040 --> 0:58:10.200
<v Speaker 2>I think the I think the problem was that in

0:58:10.240 --> 0:58:12.680
<v Speaker 2>the test screetings people were like, well chokey sounds gay,

0:58:13.360 --> 0:58:15.080
<v Speaker 2>so they were like, okay, get a man to do it.

0:58:16.480 --> 0:58:18.480
<v Speaker 2>And those are just all the people with name recognition

0:58:18.520 --> 0:58:21.160
<v Speaker 2>in this There are so many character actors in this

0:58:21.200 --> 0:58:25.000
<v Speaker 2>show where you just go that guy like it's incredible.

0:58:25.680 --> 0:58:28.080
<v Speaker 2>You would die doing a drinking game if you were

0:58:28.120 --> 0:58:30.360
<v Speaker 2>just like take a shot every time you recognize someone.

0:58:31.080 --> 0:58:32.640
<v Speaker 1>How long is someon not seven years? I mean there

0:58:32.640 --> 0:58:35.920
<v Speaker 1>weren't even like that many episodes of this too. It's

0:58:35.960 --> 0:58:38.160
<v Speaker 1>pretty amazing how stacked this guy is.

0:58:38.800 --> 0:58:39.560
<v Speaker 2>Just wild.

0:58:39.800 --> 0:58:43.280
<v Speaker 1>Yeah, the director's list is a who's who as well.

0:58:43.440 --> 0:58:46.280
<v Speaker 1>You mentioned Tom Holland, who did Child's Play, Psycho two

0:58:46.760 --> 0:58:50.720
<v Speaker 1>and Fright Night, American Psycho and Pet Cemetery director Mary Lambert,

0:58:51.200 --> 0:58:57.439
<v Speaker 1>Texas Chainsaw Massacre director Toby Hooper, and also hopefully Paltergeist. Right,

0:58:58.120 --> 0:58:59.920
<v Speaker 1>you know, there's some debate about that.

0:59:00.280 --> 0:59:02.320
<v Speaker 2>Sorry, I should have put that in. He also directed

0:59:02.320 --> 0:59:03.360
<v Speaker 2>Poulter Guys.

0:59:03.080 --> 0:59:05.240
<v Speaker 1>Even though a lot of people think Steven Spielberg did.

0:59:05.680 --> 0:59:08.080
<v Speaker 1>Spielberg put an ad in the Trades that said he

0:59:08.120 --> 0:59:08.400
<v Speaker 1>did not.

0:59:09.520 --> 0:59:13.440
<v Speaker 2>We've also covered that story. Yeah, but it's it's kind

0:59:13.480 --> 0:59:13.880
<v Speaker 2>of sad.

0:59:14.560 --> 0:59:20.320
<v Speaker 1>Exosus director and French Connection director William Freakin, that horror

0:59:20.360 --> 0:59:21.360
<v Speaker 1>show of a man.

0:59:21.760 --> 0:59:24.200
<v Speaker 2>Yeah, right, came out and worked for Scale. I guess

0:59:24.240 --> 0:59:26.120
<v Speaker 2>he really loved ec comics man.

0:59:26.480 --> 0:59:28.280
<v Speaker 1>Yeah. I mean the fact that everybody worked for Scale

0:59:28.320 --> 0:59:31.240
<v Speaker 1>just shows the affection that so many of these people

0:59:31.680 --> 0:59:36.760
<v Speaker 1>had for this beloved bit of nostalgia from the childhood,

0:59:37.400 --> 0:59:37.840
<v Speaker 1>or in.

0:59:37.800 --> 0:59:40.640
<v Speaker 2>The more cynical reading, they were cozying up to this

0:59:40.720 --> 0:59:45.040
<v Speaker 2>crazy assemblage of hot producers, directors. Sure, I'll come by

0:59:45.040 --> 0:59:46.160
<v Speaker 2>and do your thing for peanuts.

0:59:46.680 --> 0:59:49.720
<v Speaker 1>Good point, very good point. The budget for each episode

0:59:49.760 --> 0:59:53.720
<v Speaker 1>was around nine hundred thousand dollars, which sounds high to me,

0:59:53.880 --> 0:59:56.040
<v Speaker 1>especially for today. I bet you that's like close to

0:59:56.040 --> 0:59:57.760
<v Speaker 1>to two and a half million.

0:59:58.240 --> 1:00:00.280
<v Speaker 2>It is high for an episode of TV show.

1:00:00.400 --> 1:00:05.400
<v Speaker 1>Yeah, and as you said, people just loved making these.

1:00:05.520 --> 1:00:08.280
<v Speaker 1>Arnold Swartzenegger told the La Times in nineteen ninety that

1:00:08.360 --> 1:00:10.800
<v Speaker 1>quote it was, I would say, can you do that?

1:00:10.800 --> 1:00:11.760
<v Speaker 1>I can't do the voice.

1:00:11.920 --> 1:00:14.880
<v Speaker 2>It was I would say the greatest joy I've had

1:00:14.920 --> 1:00:16.080
<v Speaker 2>in the whole movie business.

1:00:17.760 --> 1:00:21.520
<v Speaker 1>Arnold Schwartzenegger expressing the joy is the same word is

1:00:21.560 --> 1:00:24.040
<v Speaker 1>the same of him expressing sorrow.

1:00:27.080 --> 1:00:29.360
<v Speaker 2>It's because his laughter is so is his laughter is

1:00:29.400 --> 1:00:34.360
<v Speaker 2>so alienating, say, I can't picture his laugh, but it

1:00:34.520 --> 1:00:37.520
<v Speaker 2>was I would say the greatest joy I've had. It

1:00:37.520 --> 1:00:41.080
<v Speaker 2>doesn't work, man like, I'm sorry. Imagine being like around

1:00:41.160 --> 1:00:43.880
<v Speaker 2>him when he expresses genuine mirth'd be like, what the

1:00:45.000 --> 1:00:48.760
<v Speaker 2>Jesus does? Spake? Zara Fuster starts playing in the background.

1:00:52.680 --> 1:00:56.600
<v Speaker 1>What a truly horrifying image this is.

1:00:56.720 --> 1:00:59.360
<v Speaker 2>Yeah, this is why people pay the koffee big Bucks.

1:01:00.440 --> 1:01:03.560
<v Speaker 1>Wait could do the laugh and I'll splice in the sounds.

1:01:26.040 --> 1:01:29.640
<v Speaker 4>That funny sue.

1:01:30.840 --> 1:01:49.920
<v Speaker 1>Then, Oh, Joe Silvera recalled in a behind the scenes

1:01:49.960 --> 1:01:53.160
<v Speaker 1>featurette that Martin Scorsese actually expressed interest in doing an

1:01:53.160 --> 1:01:55.800
<v Speaker 1>episode at one point, and he had a specific comic

1:01:55.880 --> 1:01:58.120
<v Speaker 1>in mind to do, but I guess it never came together.

1:01:58.560 --> 1:02:00.840
<v Speaker 2>No, And he said he came up. He's like, he said,

1:02:00.840 --> 1:02:03.440
<v Speaker 2>the next time he saw Marty, like years later at

1:02:03.440 --> 1:02:06.520
<v Speaker 2>an awards show, whatever scorsees came up to him. He's like, Man,

1:02:06.560 --> 1:02:07.880
<v Speaker 2>I really wish I'd gotten to do that night a

1:02:08.280 --> 1:02:11.880
<v Speaker 2>Tees from the Crypt episode. Just like people loved it. Man,

1:02:11.960 --> 1:02:14.480
<v Speaker 2>it's so it had such a spirit of joy behind it.

1:02:14.760 --> 1:02:17.520
<v Speaker 1>Oh. For Robert Semechis, Dick Dahner and the rest of

1:02:17.520 --> 1:02:20.920
<v Speaker 1>the show's high profile producers, Tales from the Crypts financial

1:02:20.960 --> 1:02:23.840
<v Speaker 1>payoff was always thought to be a move the syndication,

1:02:24.400 --> 1:02:26.560
<v Speaker 1>which paid off when Tales from the Crypt was bought

1:02:26.600 --> 1:02:29.400
<v Speaker 1>by Fox for a late night Saturday slot in nineteen

1:02:29.480 --> 1:02:33.600
<v Speaker 1>ninety four, which I vaguely remember. But obviously all the

1:02:33.640 --> 1:02:36.240
<v Speaker 1>sex and gore wouldn't fly because this was made for

1:02:36.440 --> 1:02:38.760
<v Speaker 1>HBO after all, So the episodes were re edited to

1:02:38.800 --> 1:02:42.480
<v Speaker 1>include alternate takes that eliminated most of the original episodes

1:02:42.520 --> 1:02:46.720
<v Speaker 1>gore and nudity. The show also had actors record PG

1:02:46.920 --> 1:02:51.040
<v Speaker 1>rated versions of otherwise profane dialogue during shooting, and even

1:02:51.080 --> 1:02:53.680
<v Speaker 1>though this been extra work, it also meant extra money

1:02:53.840 --> 1:02:54.680
<v Speaker 1>for all concerns.

1:02:54.880 --> 1:02:58.640
<v Speaker 2>Yeah, it's just funny that they were like, take good blood, curling, scream,

1:02:58.760 --> 1:03:00.880
<v Speaker 2>thank you, Let's clean up all this blood and we'll

1:03:00.880 --> 1:03:05.520
<v Speaker 2>do PG one next. Everyone back to one. Donner's vision

1:03:05.560 --> 1:03:07.320
<v Speaker 2>from the jump was that the show had to look

1:03:07.440 --> 1:03:13.080
<v Speaker 2>just like the comics. His first episode, dig That Cat

1:03:13.240 --> 1:03:17.120
<v Speaker 2>whatever it was, shot entirely with extreme wide angle lenses.

1:03:17.120 --> 1:03:21.000
<v Speaker 2>He told Digby deal deliberately distorting people. He also said

1:03:21.000 --> 1:03:22.840
<v Speaker 2>that he told a young editor when he got his

1:03:22.920 --> 1:03:25.040
<v Speaker 2>first edits back from this kid, I want you to

1:03:25.080 --> 1:03:27.440
<v Speaker 2>go back into the editing room and do everything you

1:03:27.480 --> 1:03:31.200
<v Speaker 2>were trained not to do. The show picked up some

1:03:31.200 --> 1:03:35.040
<v Speaker 2>of the industry's most talented miniatures and effects artists. Chris

1:03:35.080 --> 1:03:37.560
<v Speaker 2>Waylis directed an episode. He's known for the fly and

1:03:37.960 --> 1:03:41.360
<v Speaker 2>other disgusting things. The opening credits are really incredible. That

1:03:41.440 --> 1:03:44.440
<v Speaker 2>is a mini mansion is actually a fool like a

1:03:44.760 --> 1:03:47.640
<v Speaker 2>miniature that which is designed by Richard Edlund, who is

1:03:47.640 --> 1:03:49.760
<v Speaker 2>a guy who came up through industrial light and magic,

1:03:50.320 --> 1:03:52.640
<v Speaker 2>which again is just proof that like Hollywood is like

1:03:52.680 --> 1:03:54.800
<v Speaker 2>a dozen people who all know each other and make

1:03:54.880 --> 1:03:59.280
<v Speaker 2>everything happen, particularly in this era. But Donner and Zimechis

1:03:59.360 --> 1:04:02.800
<v Speaker 2>took charge of sequence and actually piloted, Like I guess,

1:04:02.800 --> 1:04:06.240
<v Speaker 2>it was like an endoscopy camera, like a tiny little

1:04:06.280 --> 1:04:08.880
<v Speaker 2>camera on the end of a tube that they were

1:04:08.920 --> 1:04:12.320
<v Speaker 2>just kind of running from above through the rooms of

1:04:12.360 --> 1:04:15.720
<v Speaker 2>this little miniature mansion and down the staircase, and they

1:04:15.760 --> 1:04:17.960
<v Speaker 2>disguise the cut when the door opens, and then they're

1:04:18.000 --> 1:04:21.120
<v Speaker 2>in the actual set for the crypt keeper. Speaking of that,

1:04:21.360 --> 1:04:24.280
<v Speaker 2>the artist responsible for designing the crypt was Mike Vosberg.

1:04:24.360 --> 1:04:26.680
<v Speaker 2>He's the guy who does all the comic illustrations. Also

1:04:26.720 --> 1:04:29.800
<v Speaker 2>at the top of the episode, the main FX artist

1:04:30.080 --> 1:04:33.480
<v Speaker 2>associated with Tales from the Crypt TFTC was a guy

1:04:33.520 --> 1:04:36.560
<v Speaker 2>named Todd Masters, and boy did he go buck wild,

1:04:37.800 --> 1:04:41.439
<v Speaker 2>freed from the constraints of regular TV. It did eventually, though,

1:04:41.560 --> 1:04:44.600
<v Speaker 2>find a line that he couldn't cross, and I will

1:04:44.680 --> 1:04:47.640
<v Speaker 2>detail that to you now. It was for an episode

1:04:47.640 --> 1:04:51.200
<v Speaker 2>starring Steve Buscemi which involved his character suffering and then

1:04:51.280 --> 1:04:55.840
<v Speaker 2>dying from something called jungle Rot. Masters told Digby Deal

1:04:55.880 --> 1:04:57.920
<v Speaker 2>that he could have done the shot with a model,

1:04:58.080 --> 1:05:00.760
<v Speaker 2>but actually devised a way to make it look like

1:05:00.920 --> 1:05:04.720
<v Speaker 2>Steve Bishemi's face was melting off in real time and

1:05:04.800 --> 1:05:08.840
<v Speaker 2>disgustingly falling apart, and it looked so realistic that Richard

1:05:08.880 --> 1:05:11.480
<v Speaker 2>Darner was sent the dailies, and the morning after he

1:05:11.560 --> 1:05:15.880
<v Speaker 2>called them and said that was too much. But Masters

1:05:15.920 --> 1:05:18.240
<v Speaker 2>said to total Digby Deal that that was the only

1:05:18.320 --> 1:05:21.200
<v Speaker 2>time he was ever told to rein it in. This

1:05:21.240 --> 1:05:23.000
<v Speaker 2>thing picked up a bunch of Emmy nominations that it

1:05:23.040 --> 1:05:26.439
<v Speaker 2>didn't win, mostly for technical stuff, but also for wardrobe,

1:05:26.520 --> 1:05:30.160
<v Speaker 2>so shout out to Warden Neil, who's the wardrobe designer

1:05:30.200 --> 1:05:33.120
<v Speaker 2>for that. Kirk Douglas was nominated for his guest role.

1:05:34.400 --> 1:05:36.760
<v Speaker 2>I don't know what the cable Ace awards are, but

1:05:37.080 --> 1:05:41.080
<v Speaker 2>TFTC won ten, so that's cool. Danny Elfman does the theme.

1:05:41.440 --> 1:05:43.960
<v Speaker 2>I bet you can guess what it sounds like, thumping

1:05:44.120 --> 1:05:47.800
<v Speaker 2>John SUSA esque rhythms a melodic line that falls squarely

1:05:47.840 --> 1:05:49.840
<v Speaker 2>on the beat and uses the flat and fifth and

1:05:49.920 --> 1:05:54.600
<v Speaker 2>sixth from the major scale. But other musicians popped up

1:05:54.600 --> 1:05:58.000
<v Speaker 2>to help with TFTC, including as previously mentioned, my beloved

1:05:58.040 --> 1:06:02.040
<v Speaker 2>Warren zevonn Jazz bass Legends, Stanley Clark, Maha Vishu orchestra

1:06:02.200 --> 1:06:06.360
<v Speaker 2>keyboardist and Miami Vice themed composer Jan Hammer, guitarist and

1:06:06.440 --> 1:06:10.600
<v Speaker 2>musical man About Town, Ray Cooter, Titanic and many other things.

1:06:10.640 --> 1:06:14.600
<v Speaker 2>Composer James Horner, and Bruce Broughton, who is most notable

1:06:14.640 --> 1:06:17.560
<v Speaker 2>for composing for like a ton of stuff that was

1:06:17.600 --> 1:06:20.440
<v Speaker 2>never huge, But then he was embroiled in an OSCARS

1:06:20.480 --> 1:06:24.120
<v Speaker 2>controversy where while as an executive committee member of the

1:06:24.120 --> 1:06:27.640
<v Speaker 2>Academy's music branch, they discovered that he was calling other

1:06:27.760 --> 1:06:33.439
<v Speaker 2>members and stumping for himself for his own nomination. Ugh,

1:06:36.360 --> 1:06:38.840
<v Speaker 2>as you meditate on that, we'll be right back with

1:06:38.880 --> 1:06:41.280
<v Speaker 2>more too much information after these messages.

1:06:53.080 --> 1:06:55.320
<v Speaker 1>Well, folks, let's be honest. The people are here for

1:06:55.360 --> 1:06:59.080
<v Speaker 1>the crypt Keeper, the borsch belt style host who's puns

1:06:59.400 --> 1:07:02.360
<v Speaker 1>and discussed appearance and his little costumes. As you mentioned,

1:07:02.720 --> 1:07:05.840
<v Speaker 1>have this all coming back. He's descended from the rich

1:07:05.880 --> 1:07:08.160
<v Speaker 1>tradition of horror hosts that I think we may have

1:07:08.200 --> 1:07:12.280
<v Speaker 1>covered in another episode, people like Vampira and Zacherley, who'd

1:07:12.360 --> 1:07:15.479
<v Speaker 1>essentially MC in regional markets when their local affiliates aired

1:07:15.560 --> 1:07:19.040
<v Speaker 1>old schlock late at night, so the idea of having

1:07:19.040 --> 1:07:21.680
<v Speaker 1>this host was a must from the get go. What's

1:07:21.720 --> 1:07:24.560
<v Speaker 1>Wild was out Chuck Jaeger, not the guy who broke

1:07:24.600 --> 1:07:26.880
<v Speaker 1>the sound barrier for the first time, the guy who

1:07:26.960 --> 1:07:30.560
<v Speaker 1>designed Chucky from Child's Play, actually wound up for the job.

1:07:31.160 --> 1:07:33.800
<v Speaker 1>Joel Silver bumped into him in a storage facility where

1:07:33.800 --> 1:07:36.760
<v Speaker 1>they both had lockers, happened to see Jaeger's collection of

1:07:36.760 --> 1:07:39.440
<v Speaker 1>props and so forth, and offered him the job on

1:07:39.480 --> 1:07:42.320
<v Speaker 1>the spot. Now, to me, that's such a like only

1:07:42.360 --> 1:07:44.800
<v Speaker 1>in Hollywood kind of thing, and I really enjoyed that,

1:07:45.040 --> 1:07:47.400
<v Speaker 1>And that kind of set me down a little little

1:07:47.440 --> 1:07:52.000
<v Speaker 1>rabbit hole earlier tonight about yeah, about weird ways that

1:07:52.040 --> 1:07:54.360
<v Speaker 1>other people in Hollywood got discovered and I found some

1:07:54.400 --> 1:07:56.280
<v Speaker 1>good ones. May I go off on the sidebar for

1:07:56.360 --> 1:07:57.440
<v Speaker 1>a minute and share.

1:07:57.320 --> 1:08:00.080
<v Speaker 2>Someone but careful prosecutor.

1:08:02.000 --> 1:08:06.640
<v Speaker 1>Counselor. Charlie's therein was discovered while in the middle of

1:08:06.640 --> 1:08:09.200
<v Speaker 1>an argument at a bank. She later told Oprah, I

1:08:09.240 --> 1:08:11.600
<v Speaker 1>really needed the money. I began pleading with this teller

1:08:11.640 --> 1:08:14.040
<v Speaker 1>to help me, and a gentleman came over and tried

1:08:14.080 --> 1:08:15.880
<v Speaker 1>to help. What I didn't know was that I was

1:08:15.920 --> 1:08:18.759
<v Speaker 1>auditioning for a guy who had ended up being my manager.

1:08:19.200 --> 1:08:21.000
<v Speaker 1>On the way out, the man who helped me gave

1:08:21.040 --> 1:08:21.639
<v Speaker 1>me his card.

1:08:21.840 --> 1:08:23.559
<v Speaker 2>That could have just been horniness, though.

1:08:23.439 --> 1:08:27.240
<v Speaker 1>Yeah, yeah, yeah. Kate Moss was having a fight with

1:08:27.280 --> 1:08:30.040
<v Speaker 1>her dad at an airport when she was spotted by

1:08:30.080 --> 1:08:32.320
<v Speaker 1>a talent agent. She was fourteen years old.

1:08:32.560 --> 1:08:33.360
<v Speaker 2>Jesus Christ.

1:08:34.400 --> 1:08:37.400
<v Speaker 1>They boarded the plane, and according to the talent agent,

1:08:37.479 --> 1:08:39.679
<v Speaker 1>the signed her. As soon as the seatbelt switched off,

1:08:39.760 --> 1:08:41.920
<v Speaker 1>they went over to her. Kate would later say, I

1:08:42.040 --> 1:08:45.200
<v Speaker 1>was smoking. I was fourteen, and I just lost my virginity,

1:08:46.880 --> 1:08:49.240
<v Speaker 1>so I thought I was the beast knees. I was

1:08:49.240 --> 1:08:52.160
<v Speaker 1>in the airport puffing away. I'd got on the plane,

1:08:52.479 --> 1:08:54.840
<v Speaker 1>and then CEO of the model company and her brother

1:08:54.920 --> 1:08:56.639
<v Speaker 1>came up to me and said, have you ever thought

1:08:56.640 --> 1:09:00.920
<v Speaker 1>about being a model? Pamela Andrews was on a football

1:09:00.920 --> 1:09:03.120
<v Speaker 1>game and they projected her image up on the jumbo

1:09:03.160 --> 1:09:05.280
<v Speaker 1>tron that she happened to be wearing a Labat's Beer

1:09:05.400 --> 1:09:07.960
<v Speaker 1>T shirt, and the image of her and that T

1:09:08.080 --> 1:09:11.479
<v Speaker 1>shirt got back to Labat's Beer themselves, who suggested she

1:09:11.640 --> 1:09:18.120
<v Speaker 1>model for them. Know, so that's how that started. Everyone

1:09:18.120 --> 1:09:21.120
<v Speaker 1>knows about how Harrison Ford was a carpenter around Hollywood,

1:09:21.120 --> 1:09:24.400
<v Speaker 1>and he was a carpenter for a very famous casting director,

1:09:24.800 --> 1:09:28.759
<v Speaker 1>Fred Russ, who kept suggesting him for different parts. Harrison

1:09:28.800 --> 1:09:31.400
<v Speaker 1>kept getting turned down until eventually he was cast in

1:09:31.439 --> 1:09:34.920
<v Speaker 1>his breakout role in George Lucas's American Graffiti in nineteen

1:09:34.960 --> 1:09:35.559
<v Speaker 1>seventy three.

1:09:35.920 --> 1:09:39.000
<v Speaker 2>I can't believe people turned down Harrison Ford. Did you

1:09:39.160 --> 1:09:41.599
<v Speaker 2>see him? Did you look at his face and hear

1:09:41.680 --> 1:09:42.280
<v Speaker 2>his voice?

1:09:43.400 --> 1:09:50.240
<v Speaker 1>I could see people thinking that he couldn't act early on.

1:09:51.000 --> 1:09:51.720
<v Speaker 2>Yeah, what I mean?

1:09:52.520 --> 1:09:56.000
<v Speaker 1>Maybe, I don't know. He's so like stoic in a

1:09:56.240 --> 1:10:00.200
<v Speaker 1>bad way. I don't know. Ye on your tail. Her

1:10:00.280 --> 1:10:03.000
<v Speaker 1>Joy was walking her dog when she was scouted by

1:10:03.000 --> 1:10:06.120
<v Speaker 1>the founder of a top modeling agency, accord Knew. An

1:10:06.120 --> 1:10:08.679
<v Speaker 1>interview she gave with James Corden, she said, my actions

1:10:08.680 --> 1:10:11.120
<v Speaker 1>were very stupid, and I don't suggest that anybody do

1:10:11.200 --> 1:10:13.880
<v Speaker 1>what I did. A car was following me and I

1:10:13.920 --> 1:10:16.719
<v Speaker 1>started running and this guy leans out the window and says,

1:10:16.800 --> 1:10:19.439
<v Speaker 1>if you stop, you won't regret it, and I stopped.

1:10:20.920 --> 1:10:22.160
<v Speaker 2>Wow, Okay.

1:10:23.040 --> 1:10:25.639
<v Speaker 1>Tony Braxon was singing to herself at a gas station

1:10:25.880 --> 1:10:29.320
<v Speaker 1>when songwriter Bill Peteway overheard her and helped her get

1:10:29.320 --> 1:10:32.920
<v Speaker 1>a deal with Arister Records. John Wayne had a job

1:10:32.960 --> 1:10:36.120
<v Speaker 1>moving props and filming equipment at Fox Film Corporation when

1:10:36.160 --> 1:10:39.439
<v Speaker 1>the filmmakers, notably John Ford, started casting him as an

1:10:39.439 --> 1:10:43.080
<v Speaker 1>extra instead. And here's my favorite. I didn't realize this

1:10:43.120 --> 1:10:45.560
<v Speaker 1>as much Marilyn Monroe lore as I know. She was

1:10:45.640 --> 1:10:48.439
<v Speaker 1>nineteen years old and working in an aircraft factory when

1:10:48.479 --> 1:10:52.479
<v Speaker 1>a touring Army photographer took her picture. Photographer liked what

1:10:52.520 --> 1:10:54.360
<v Speaker 1>he saw when he developed the photo and came back

1:10:54.400 --> 1:10:58.240
<v Speaker 1>to use her as a basically a recurring model. And

1:10:58.439 --> 1:11:00.479
<v Speaker 1>after a while she got so many modeling for him

1:11:00.479 --> 1:11:02.920
<v Speaker 1>that she quit her factory job, divorced her husband, dyed

1:11:02.960 --> 1:11:05.240
<v Speaker 1>her hair blonde, and changed her name. She was still

1:11:05.240 --> 1:11:09.080
<v Speaker 1>a norma Jean Baker. Well, good, Yeah, I think that's

1:11:09.080 --> 1:11:09.599
<v Speaker 1>all I got.

1:11:09.680 --> 1:11:13.240
<v Speaker 2>Maybe maybe though, men in cars should and airport should

1:11:13.240 --> 1:11:14.719
<v Speaker 2>stop approaching underage women.

1:11:15.760 --> 1:11:19.559
<v Speaker 1>Yeah that's a good that's a good takeaway. So Chuck

1:11:19.640 --> 1:11:23.080
<v Speaker 1>Yeger and Joel Silver went through the typically tortuous process

1:11:23.120 --> 1:11:27.120
<v Speaker 1>of sketching and casting the Cryptkeeper from clay and basically

1:11:27.160 --> 1:11:30.360
<v Speaker 1>just hacking away at it, taking different parts of the

1:11:30.400 --> 1:11:33.879
<v Speaker 1>face away, the hair, the lips, the teeth, though crucially

1:11:33.960 --> 1:11:36.639
<v Speaker 1>he did originally have a nose, and it was Robert

1:11:36.720 --> 1:11:40.639
<v Speaker 1>Simchis Dear Sweet Robert Zamekis who gave us the Polar

1:11:40.720 --> 1:11:44.760
<v Speaker 1>Express and Forrest Gump and Back to the Future, the

1:11:44.800 --> 1:11:48.200
<v Speaker 1>movie about the mom trying to date her son, who

1:11:48.240 --> 1:11:51.599
<v Speaker 1>suggested that they take the nose away, which is kind

1:11:51.600 --> 1:11:54.000
<v Speaker 1>of the most horrifying part of the Cryptkeeper. It really

1:11:54.040 --> 1:11:57.200
<v Speaker 1>is bad. It really, it's real bad. It's real bad. Yeah,

1:11:57.320 --> 1:12:00.639
<v Speaker 1>Jaeger did add one signature touch. However, the crypt Keeper

1:12:00.840 --> 1:12:04.519
<v Speaker 1>literally has Chucky from Child's play's eyes, or at least

1:12:04.560 --> 1:12:06.640
<v Speaker 1>the same model of false eyes that was used in

1:12:06.720 --> 1:12:10.320
<v Speaker 1>Child's Blame. The other producers, Walter Hill and David Geiler,

1:12:10.400 --> 1:12:14.400
<v Speaker 1>were prepared for a more human looking host, and kind

1:12:14.400 --> 1:12:18.400
<v Speaker 1>of understandably initially balked when they gazed upon the horrifying

1:12:18.560 --> 1:12:21.120
<v Speaker 1>visage of the crypt keyts.

1:12:20.920 --> 1:12:25.360
<v Speaker 2>Somehow desiccated and moist at the same time, exist in

1:12:25.360 --> 1:12:29.000
<v Speaker 2>a state of super imposition between two states like Schrodinger's Cat.

1:12:29.560 --> 1:12:34.920
<v Speaker 1>But eventually they were convinced six different people actually piloted

1:12:34.920 --> 1:12:38.160
<v Speaker 1>the puppet, four alone just for the mouth, eyes, and face,

1:12:38.280 --> 1:12:43.320
<v Speaker 1>and two left over for everything else basically, but It

1:12:43.360 --> 1:12:46.320
<v Speaker 1>was only in the third season that the Cryptkeeper started appearing.

1:12:46.320 --> 1:12:51.240
<v Speaker 1>It bespoke outfits from pop culture, Dressica's Elvis, Uncle Sam

1:12:51.560 --> 1:12:54.600
<v Speaker 1>or in one case Forrest comp.

1:12:54.920 --> 1:12:55.639
<v Speaker 2>Yeah it's great.

1:12:56.080 --> 1:12:58.320
<v Speaker 1>Wow, he has the little box of chocolates and everything.

1:12:58.680 --> 1:13:01.280
<v Speaker 1>Oh cute, I love it. He's on a bench assuming

1:13:01.479 --> 1:13:02.320
<v Speaker 1>of course.

1:13:02.560 --> 1:13:05.160
<v Speaker 2>They had props. The one were the brad pitt one.

1:13:06.040 --> 1:13:09.880
<v Speaker 2>He drives in a motorcycle. You see his little feet

1:13:09.960 --> 1:13:11.200
<v Speaker 2>in motorcycle.

1:13:11.080 --> 1:13:15.280
<v Speaker 1>Is really funny. Jaeger said in a Making Up documentary

1:13:15.320 --> 1:13:18.400
<v Speaker 1>that there were twenty seven servo motors inside the Keeper's

1:13:18.439 --> 1:13:21.280
<v Speaker 1>head alone, and they would burn out every few weeks.

1:13:21.280 --> 1:13:23.080
<v Speaker 1>So the puppeteers that would keep a close eye on

1:13:23.120 --> 1:13:25.960
<v Speaker 1>the micro movements of the puppets face and notice of

1:13:26.000 --> 1:13:29.120
<v Speaker 1>one area was lagging or breaking down, so the motor

1:13:29.160 --> 1:13:31.439
<v Speaker 1>didn't actually go up in the flames and burn the

1:13:31.439 --> 1:13:33.960
<v Speaker 1>whole thing down. It's on fire.

1:13:34.439 --> 1:13:37.519
<v Speaker 2>Imagine watching that thing and like, oh he started to fire,

1:13:37.960 --> 1:13:40.400
<v Speaker 2>he's starting to stroke out. Nope, get to him and

1:13:40.439 --> 1:13:40.800
<v Speaker 2>then he's.

1:13:40.720 --> 1:13:46.000
<v Speaker 1>Just the damn face could be scarier. It was at

1:13:46.000 --> 1:13:47.439
<v Speaker 1>the center of a flame.

1:13:47.960 --> 1:13:48.560
<v Speaker 2>Yeah.

1:13:48.920 --> 1:13:51.439
<v Speaker 1>Wow. The voice of the Cryptkeeper was a guy named

1:13:51.520 --> 1:13:54.920
<v Speaker 1>John Cassiir previously best known as the voice of the

1:13:55.000 --> 1:14:00.120
<v Speaker 1>raccoon in Pocahontas. Pocahontas was made the nineties, though like

1:14:00.160 --> 1:14:04.320
<v Speaker 1>nineteen ninety three, Oh I guess not previously later best

1:14:04.400 --> 1:14:08.759
<v Speaker 1>known John Cassier told observer dot Com about his audition process, recalling,

1:14:09.160 --> 1:14:11.200
<v Speaker 1>I saw some of the other people auditioning were looking

1:14:11.240 --> 1:14:13.400
<v Speaker 1>at the script copy and saying, oh my god, this

1:14:13.439 --> 1:14:16.960
<v Speaker 1>stuff is terrible. They didn't get it. The crypt keeper

1:14:17.080 --> 1:14:20.240
<v Speaker 1>loves saying this stuff. He's delivering it like it's the

1:14:20.240 --> 1:14:23.320
<v Speaker 1>best Shakespeare. I wanted him to treat the language like

1:14:23.360 --> 1:14:25.719
<v Speaker 1>it was important, so he gave him a British accent.

1:14:26.160 --> 1:14:28.760
<v Speaker 1>I used to love the Alfred Hitchcock Presents and the

1:14:28.760 --> 1:14:31.280
<v Speaker 1>way he would introduce those episodes with such a tongue

1:14:31.280 --> 1:14:33.959
<v Speaker 1>in cheek delivery. That is pretty great. What a great

1:14:34.320 --> 1:14:36.919
<v Speaker 1>way to approach that. That's so wutiful.

1:14:37.240 --> 1:14:38.800
<v Speaker 2>In one of the ones we watched last night, they

1:14:38.840 --> 1:14:42.160
<v Speaker 2>put him in a little Shakespearean rough because he was

1:14:42.200 --> 1:14:44.640
<v Speaker 2>he was the acting episode, and he was like, He's like,

1:14:44.800 --> 1:14:47.480
<v Speaker 2>next time doing Shakespeare.

1:14:47.880 --> 1:14:52.200
<v Speaker 1>Is a little rough caller? Was it cuter or less

1:14:52.240 --> 1:14:55.160
<v Speaker 1>cute or as cute as Wishbone the Dog and the

1:14:55.200 --> 1:14:56.320
<v Speaker 1>Shakespearean rough call.

1:14:56.400 --> 1:15:00.240
<v Speaker 2>Oh great, call less cute, but with a similar charm.

1:15:00.320 --> 1:15:05.160
<v Speaker 1>Yeah yeah. Supposedly, Michael Winslow and Charles Fleischer, the voice

1:15:05.200 --> 1:15:07.280
<v Speaker 1>of Roger Rabbit, also sent in tapes.

1:15:07.960 --> 1:15:09.280
<v Speaker 2>Please Eddie Wait.

1:15:09.320 --> 1:15:11.120
<v Speaker 1>Who's Michael Winslow, the.

1:15:11.240 --> 1:15:14.080
<v Speaker 2>Police academy guy, the guy who makes all the weird sounds.

1:15:13.920 --> 1:15:17.760
<v Speaker 2>He's he's in space balls. He's like, we've lost the

1:15:17.760 --> 1:15:20.479
<v Speaker 2>bleeps and the bloops in that, but we've got the root.

1:15:21.080 --> 1:15:23.800
<v Speaker 1>Oh yeah, the Man of ten thousand sound effects. Yeah. Yeah.

1:15:24.760 --> 1:15:27.880
<v Speaker 1>The Keeper's of noxious laugh was inspired by Margaret Hamilton's

1:15:27.880 --> 1:15:30.720
<v Speaker 1>Wicked Witch of the West, which caught Jaeger's ear when

1:15:30.800 --> 1:15:34.720
<v Speaker 1>Casiir sent in a tape. Unfortunately, the demands of the

1:15:34.800 --> 1:15:37.680
<v Speaker 1>voice weigh heavily on Casiir, as you can attest from

1:15:37.720 --> 1:15:40.760
<v Speaker 1>doing the impression at the top of the episode, he

1:15:40.760 --> 1:15:42.600
<v Speaker 1>could only track a few minutes at a time and

1:15:42.800 --> 1:15:47.160
<v Speaker 1>was drinking lemonon honey constantly. He told Digby Deal colorfully

1:15:47.160 --> 1:15:49.400
<v Speaker 1>that the intensity of the Keeper voice quote left his

1:15:49.479 --> 1:15:51.920
<v Speaker 1>vocal cords like raw meat by the time we were

1:15:51.960 --> 1:15:54.240
<v Speaker 1>done with a session. He eventually had to modify the

1:15:54.320 --> 1:15:57.080
<v Speaker 1>voice a little as the show progressed Also during the

1:15:57.120 --> 1:15:59.840
<v Speaker 1>early seasons he had to slow down his delivery because

1:15:59.840 --> 1:16:03.000
<v Speaker 1>the puppet can't keep up with them. That eventually picked

1:16:03.040 --> 1:16:04.280
<v Speaker 1>up as the tech got better.

1:16:05.120 --> 1:16:08.639
<v Speaker 2>That's like a little shop of horrors. Rick moranis genius

1:16:08.640 --> 1:16:10.320
<v Speaker 2>that he is, was performing all of his stuff at

1:16:10.360 --> 1:16:12.559
<v Speaker 2>half speed when he was in scenes with the full

1:16:12.640 --> 1:16:18.519
<v Speaker 2>Audrey puppet. Really yeah wow? Well, you know, as I

1:16:18.560 --> 1:16:22.280
<v Speaker 2>mentioned before, or did I as we alluded to before,

1:16:22.520 --> 1:16:25.639
<v Speaker 2>we even have TFTC to thank for HBO's famous slogan.

1:16:26.400 --> 1:16:28.519
<v Speaker 2>The network pitched a reel of its original programming to

1:16:28.560 --> 1:16:31.440
<v Speaker 2>an ad agency and when it got to the gratuitous

1:16:31.479 --> 1:16:34.840
<v Speaker 2>sex and violence portion, someone from the agency said, it's

1:16:34.840 --> 1:16:38.479
<v Speaker 2>not TV and I know the responded, no, it's HBO.

1:16:39.520 --> 1:16:43.040
<v Speaker 2>So from that twenty minute meeting, people made like five

1:16:43.120 --> 1:16:47.040
<v Speaker 2>hundred thousand dollars I'm sure because ad and marketing work

1:16:47.280 --> 1:16:47.720
<v Speaker 2>is not real.

1:16:47.800 --> 1:16:50.320
<v Speaker 1>Oh way, way more than that way.

1:16:51.960 --> 1:16:54.520
<v Speaker 2>Crypt made its debut. Why did I say that TFTC

1:16:54.640 --> 1:16:57.439
<v Speaker 2>made its debut? Might I say that like that Tales

1:16:57.439 --> 1:17:00.880
<v Speaker 2>from the Crypt made its debut? In this casey caseum

1:17:00.920 --> 1:17:04.400
<v Speaker 2>over here, Tells from the Crypt made its debut June

1:17:04.439 --> 1:17:05.320
<v Speaker 2>nineteen eighty nine.

1:17:06.000 --> 1:17:06.719
<v Speaker 1>Here's a letter.

1:17:07.400 --> 1:17:10.919
<v Speaker 2>I'm working on it, beating out the networks in HBO's

1:17:11.000 --> 1:17:14.120
<v Speaker 2>seventeen million homes according to Nielsen figures, with a twenty

1:17:14.160 --> 1:17:22.200
<v Speaker 2>four percent share of the audience. You're thinking about the Yeah.

1:17:21.520 --> 1:17:23.720
<v Speaker 1>I never want to see you or your boyfriend ever

1:17:23.800 --> 1:17:25.599
<v Speaker 1>again again, Casey Kiss.

1:17:27.040 --> 1:17:29.400
<v Speaker 2>The success of the show was so dramatic and immediate

1:17:29.439 --> 1:17:32.040
<v Speaker 2>that Universal offered the team a three picture deal to

1:17:32.040 --> 1:17:36.000
<v Speaker 2>be spun off the series. These were also predated, bizarrely enough,

1:17:36.080 --> 1:17:39.360
<v Speaker 2>by a children's animated TV show, Tells from the Cryptkeeper,

1:17:39.360 --> 1:17:42.080
<v Speaker 2>which ran on ABC and CBS until nineteen ninety nine.

1:17:42.120 --> 1:17:43.439
<v Speaker 1>Oh my god, I forgot.

1:17:43.479 --> 1:17:45.400
<v Speaker 2>I think that's where I might have I definitely had

1:17:45.439 --> 1:17:48.200
<v Speaker 2>watch episodes of that. There was also a children's game

1:17:48.280 --> 1:17:51.439
<v Speaker 2>show called Secrets of the Cryptkeeper's Haunted House that ran

1:17:51.439 --> 1:17:54.439
<v Speaker 2>for a year on CBS. The first of the feature

1:17:54.520 --> 1:17:58.080
<v Speaker 2>length adaptations was Demon Night, which was officially a subtitle

1:17:58.120 --> 1:18:01.880
<v Speaker 2>with the TFTC branding as a concept. It weirdly enough

1:18:01.920 --> 1:18:05.040
<v Speaker 2>predates the entire series, and it wasn't adapted from the comics.

1:18:05.800 --> 1:18:08.280
<v Speaker 2>First draft was written in nineteen eighty seven, and Tom

1:18:08.320 --> 1:18:10.240
<v Speaker 2>Holland initially wanted to have it be his fall up

1:18:10.280 --> 1:18:13.400
<v Speaker 2>to Child's play. He then made a movie called Fatal Beauty,

1:18:13.479 --> 1:18:16.200
<v Speaker 2>which bombed at the box office. The script then went

1:18:16.240 --> 1:18:19.720
<v Speaker 2>to Pumpkinhead screenwriter Mark Carducci, and then a few years

1:18:19.760 --> 1:18:23.639
<v Speaker 2>later was kicked to Pet Cemetery director Mary Lambert. Lambert

1:18:23.680 --> 1:18:27.200
<v Speaker 2>bless Her had some radical ideas for it, including casting

1:18:27.360 --> 1:18:30.840
<v Speaker 2>all African American leads, but Pet Cemetery too bombed, so

1:18:30.840 --> 1:18:33.840
<v Speaker 2>she couldn't get her money to make her vision. Screenwriter

1:18:33.920 --> 1:18:36.960
<v Speaker 2>Ethan Rife told Fangoria, this is when we thought this

1:18:37.040 --> 1:18:40.280
<v Speaker 2>script was cursed. The joke was that the curse wasn't

1:18:40.280 --> 1:18:43.160
<v Speaker 2>on us, but whoever optioned the script usually had serious

1:18:43.200 --> 1:18:46.000
<v Speaker 2>career problems afterwards if they didn't make the movie. The

1:18:46.000 --> 1:18:48.960
<v Speaker 2>script later went to Charles Bands notoriously low budget but

1:18:49.040 --> 1:18:52.759
<v Speaker 2>scrappy Full Moon Features. It was optioned as a potential

1:18:52.880 --> 1:18:56.559
<v Speaker 2>middle picture in the branded trilogy, although neither of the

1:18:56.600 --> 1:18:59.559
<v Speaker 2>films on either side of it ever got made. The

1:18:59.560 --> 1:19:02.680
<v Speaker 2>budget problems and headache surrounding this thing were so pervasive

1:19:03.040 --> 1:19:04.320
<v Speaker 2>that they didn't know if they were going to have

1:19:04.400 --> 1:19:07.680
<v Speaker 2>enough money to pull off the eponymous demons, and they

1:19:07.680 --> 1:19:10.040
<v Speaker 2>were just gonna have this army of the of evil

1:19:10.240 --> 1:19:12.519
<v Speaker 2>just be guys. In black suits and sunglasses like the

1:19:12.520 --> 1:19:16.439
<v Speaker 2>Agents of the Matrix. Universal wisely kicked in money for

1:19:16.600 --> 1:19:19.479
<v Speaker 2>the full treatment, and Ernest Dickerson was tapped to direct.

1:19:19.880 --> 1:19:22.719
<v Speaker 2>Dickerson had been working primarily as a cinematographer on Spike

1:19:22.760 --> 1:19:25.320
<v Speaker 2>Lee's early films, but he was coming off his directorial

1:19:25.400 --> 1:19:30.960
<v Speaker 2>debuts Juice starring Tupac, great movie Surviving the Game starring

1:19:31.160 --> 1:19:33.559
<v Speaker 2>Iced Tea, which is also a great movie I love

1:19:33.560 --> 1:19:35.960
<v Speaker 2>in Juice like Dickerson was a huge fan of the

1:19:36.000 --> 1:19:40.760
<v Speaker 2>horror genre. Interestingly enough, love like Lovecraft and everything, and

1:19:40.800 --> 1:19:43.519
<v Speaker 2>you can see it in Juice, where like Tupac like

1:19:43.640 --> 1:19:47.559
<v Speaker 2>pops up like Michael Myers in the frame sometimes, like

1:19:47.600 --> 1:19:50.559
<v Speaker 2>there's literally scenes in which he does like the Michael

1:19:50.600 --> 1:19:53.280
<v Speaker 2>Myers face just coming out of the shadows thing. It's

1:19:53.320 --> 1:19:55.879
<v Speaker 2>so funny. I have to think it was a deliberate tribute,

1:19:55.880 --> 1:19:59.920
<v Speaker 2>because Dickerson knew that much stuff and he jumped at

1:19:59.920 --> 1:20:02.360
<v Speaker 2>the chance to play around in the genre. He said

1:20:02.400 --> 1:20:05.360
<v Speaker 2>that with directorial assignments sometimes I'd be told, well, we

1:20:05.400 --> 1:20:08.800
<v Speaker 2>never saw this as a black film, and he said, actually,

1:20:08.880 --> 1:20:11.439
<v Speaker 2>neither did I. But with Demon Knight, I was able

1:20:11.439 --> 1:20:14.799
<v Speaker 2>to put some African american Ism into it. For example,

1:20:14.800 --> 1:20:16.599
<v Speaker 2>I put Jada Pinkett in the role of the heroine,

1:20:17.240 --> 1:20:19.960
<v Speaker 2>and for me, this was the perfect setup as until then,

1:20:20.000 --> 1:20:21.720
<v Speaker 2>if you put a black person in a movie, they

1:20:21.720 --> 1:20:24.040
<v Speaker 2>would usually be one of the first to die, and

1:20:24.120 --> 1:20:27.040
<v Speaker 2>she wound up being the final lady. In another interview,

1:20:27.160 --> 1:20:29.000
<v Speaker 2>I saw him just say that he was happy to

1:20:29.040 --> 1:20:31.240
<v Speaker 2>make the first film in which a black woman saves

1:20:31.280 --> 1:20:35.000
<v Speaker 2>the world. Unfortunately, the film did just okay. It made

1:20:35.040 --> 1:20:37.439
<v Speaker 2>twenty one million on a twelve million dollar budget, but

1:20:37.520 --> 1:20:40.160
<v Speaker 2>that is far from a hit in Hollywood. So after

1:20:40.320 --> 1:20:44.599
<v Speaker 2>Demon Knight, the Tales from the Crypt Cinematic Universe TFTCCU

1:20:45.080 --> 1:20:48.400
<v Speaker 2>gets a little screwy. The story goes that Quentin Tarantino

1:20:49.040 --> 1:20:52.160
<v Speaker 2>ended up writing From Dusk Till Dawn, his own screwy

1:20:52.280 --> 1:20:55.320
<v Speaker 2>movie of the mid nineties, directed by Robert Rodriguez, thanks

1:20:55.360 --> 1:20:58.760
<v Speaker 2>to Robert Kurtzman. Robert Kurtzman is one third of K

1:20:58.840 --> 1:21:01.400
<v Speaker 2>and B Effects over this ledge and very practical effects house.

1:21:02.640 --> 1:21:06.160
<v Speaker 2>His other partners were included Greg Nicotero, who went on

1:21:06.240 --> 1:21:10.400
<v Speaker 2>to run The Walking Dead for many seasons, and Kurtzman

1:21:10.520 --> 1:21:12.719
<v Speaker 2>came up this for this idea From Dust Till Dawn

1:21:13.680 --> 1:21:15.559
<v Speaker 2>just to have a project that would be a showcase

1:21:15.560 --> 1:21:18.360
<v Speaker 2>for what his effects company could do. So in nineteen

1:21:18.439 --> 1:21:21.559
<v Speaker 2>ninety he hired a young video store clerk named Quentin

1:21:21.560 --> 1:21:24.559
<v Speaker 2>Tarantino to flesh out a twenty four page outline and

1:21:24.600 --> 1:21:28.719
<v Speaker 2>paid him fifteen hundred dollars to do so. Kurtzman initially

1:21:28.800 --> 1:21:31.120
<v Speaker 2>wanted to direct and so that he could, just couldn't

1:21:31.120 --> 1:21:33.759
<v Speaker 2>convince anyone to let him do it until after Pulp Fiction,

1:21:34.240 --> 1:21:36.719
<v Speaker 2>when Tarantino went to Mirrimax and said, the next movie

1:21:36.720 --> 1:21:39.640
<v Speaker 2>I do will be From Dust Till Dawn. In the

1:21:39.680 --> 1:21:42.920
<v Speaker 2>interim though there were talks about it becoming the next

1:21:43.240 --> 1:21:45.960
<v Speaker 2>Tales from the Crypt movie and those broke Down, which

1:21:46.000 --> 1:21:50.080
<v Speaker 2>brings us to Bordello of Blood. Bob Zemchas must have

1:21:50.120 --> 1:21:53.240
<v Speaker 2>been pissed when From Dust Till Dawn escaped his clutches

1:21:53.280 --> 1:21:55.599
<v Speaker 2>because he'd written a script with Robert Gail right out

1:21:55.600 --> 1:21:58.719
<v Speaker 2>of film school that was strikingly similar about a whorehouse

1:21:58.760 --> 1:22:02.080
<v Speaker 2>full of vampires. They pitched it to John and Milius,

1:22:02.720 --> 1:22:06.920
<v Speaker 2>the insane gunnut libertarian director who wrote Apocalypse Now directed

1:22:06.960 --> 1:22:10.440
<v Speaker 2>Conan the Barbarian and is the inspiration for Walter Soachek

1:22:10.560 --> 1:22:12.599
<v Speaker 2>in The Big Lebowski I didn't know that.

1:22:13.479 --> 1:22:14.880
<v Speaker 1>Oh my god.

1:22:15.240 --> 1:22:18.800
<v Speaker 2>Milius expressed interest, but the film just didn't get made.

1:22:18.960 --> 1:22:22.479
<v Speaker 2>But at some point, after Tales from a Crib had

1:22:22.520 --> 1:22:26.240
<v Speaker 2>done so well, the newly formed DreamWorks Pictures tried to

1:22:26.280 --> 1:22:32.400
<v Speaker 2>poach Robert Zemechiz from Universal and he said, no, I'll

1:22:32.400 --> 1:22:35.759
<v Speaker 2>stay with Universal if I can make Bordello of Blood.

1:22:36.200 --> 1:22:39.720
<v Speaker 2>This was a mistake. Zamecas didn't even end up directing it.

1:22:39.840 --> 1:22:43.000
<v Speaker 2>That chair went to Gilbert Adler, who is a producer

1:22:43.040 --> 1:22:45.320
<v Speaker 2>in all of those Guys Orbits. It was the first

1:22:45.320 --> 1:22:48.880
<v Speaker 2>and last time he would direct. The thing nearly went

1:22:48.920 --> 1:22:51.640
<v Speaker 2>down the tubes from the start thanks to casting. It

1:22:51.720 --> 1:22:54.680
<v Speaker 2>starred Dennis Miller, who had parlayed his whole shtick on

1:22:55.000 --> 1:22:59.200
<v Speaker 2>sno's Weekend Update into Dennis Miller Live and Boy he sucks.

1:22:59.800 --> 1:23:03.839
<v Speaker 2>H Dennis Miller sucks. He sucks so hard I hate him.

1:23:04.360 --> 1:23:06.800
<v Speaker 2>Miller wanted a million dollars to make the film, which

1:23:06.840 --> 1:23:10.120
<v Speaker 2>he had not made before or I believe after, and

1:23:10.320 --> 1:23:14.080
<v Speaker 2>Universal wisely refused to pay. So Joel Silver wanted him

1:23:14.160 --> 1:23:16.920
<v Speaker 2>so much that he cut seven hundred and fifty grand

1:23:16.960 --> 1:23:19.760
<v Speaker 2>from the FX budget to pay Dennis Miller to be

1:23:19.760 --> 1:23:23.280
<v Speaker 2>in this movie. Dennis Miller didn't like the dialogue as

1:23:23.280 --> 1:23:26.880
<v Speaker 2>written and proceeded to improvise much of his lines, which

1:23:26.920 --> 1:23:28.720
<v Speaker 2>not only screwed over the rest of the cast but

1:23:28.760 --> 1:23:32.519
<v Speaker 2>the film's continuity. It was filmed in Vancouver because of

1:23:32.600 --> 1:23:38.160
<v Speaker 2>Joel Silver's apparently contentious history with Hollywood labor unions and

1:23:38.600 --> 1:23:42.639
<v Speaker 2>Ben selzre Yeah, and Vancouver doesn't have many night hours

1:23:42.680 --> 1:23:45.559
<v Speaker 2>in July and August, which, as you might surmise, was

1:23:45.560 --> 1:23:49.439
<v Speaker 2>a hindrance to filming a vampire movie. Because Miller insisted

1:23:49.439 --> 1:23:52.160
<v Speaker 2>that the film shoot around tapings of Dennis Miller Live,

1:23:52.520 --> 1:23:55.519
<v Speaker 2>the crew were forced to work weekends, which pissed them off.

1:23:55.800 --> 1:23:58.559
<v Speaker 1>There was also the problem of Erica Aleniak, who just

1:23:58.640 --> 1:24:01.160
<v Speaker 1>come off of Baywatch was hoping to launch herself as

1:24:01.200 --> 1:24:04.799
<v Speaker 1>a serious actress. She also demanded rewrites for her character

1:24:04.840 --> 1:24:07.120
<v Speaker 1>before they'd even gotten onto the set, though she said

1:24:07.120 --> 1:24:09.720
<v Speaker 1>they were related to Joel Silver attempting to force a

1:24:09.800 --> 1:24:13.160
<v Speaker 1>girl on girl's scene between her and Angie Everheart. The

1:24:13.200 --> 1:24:17.440
<v Speaker 1>other female lead. Everheart meanwhile had almost no acting experience,

1:24:17.479 --> 1:24:20.800
<v Speaker 1>but was dating Sylvester Stallone, who was then starring in

1:24:20.920 --> 1:24:24.200
<v Speaker 1>The Assassins, produced by Joel Silver. That movie was being

1:24:24.240 --> 1:24:27.880
<v Speaker 1>shot in Seattle. So yes, Sylvester Stallone basically got his

1:24:27.920 --> 1:24:30.599
<v Speaker 1>girlfriend Cass as a lead in a movie to make

1:24:30.720 --> 1:24:34.720
<v Speaker 1>visiting her on weekends easier because Seattle and Vancouver are

1:24:34.760 --> 1:24:36.040
<v Speaker 1>fairly close to one another.

1:24:36.280 --> 1:24:38.720
<v Speaker 2>That is such a dick swinging move. I almost have

1:24:38.800 --> 1:24:39.439
<v Speaker 2>to respect it.

1:24:39.880 --> 1:24:43.360
<v Speaker 1>Oh, I totally respect it. Hilariously, in a making of

1:24:43.479 --> 1:24:46.120
<v Speaker 1>doc a Fresh out of Rehab, Corey Felban threw the

1:24:46.160 --> 1:24:50.240
<v Speaker 1>pair under the bus for acting like divas, the pair

1:24:50.360 --> 1:24:53.000
<v Speaker 1>meaning Everheart and Eric Eleniak.

1:24:53.360 --> 1:24:54.400
<v Speaker 2>Eleniak and Miller.

1:24:55.080 --> 1:24:58.680
<v Speaker 1>Oh yeah. Corey Felban also claimed in his autobiography, The

1:24:58.760 --> 1:25:03.080
<v Speaker 1>incredibly named Corey Biography, that Dennis Miller literally told people

1:25:03.160 --> 1:25:05.439
<v Speaker 1>on air on his TV show not to watch the

1:25:05.479 --> 1:25:09.360
<v Speaker 1>movie before it even came out, because, as you've correctly

1:25:09.439 --> 1:25:13.960
<v Speaker 1>noted before, he sucks and it's kind of so bad. Yeah,

1:25:14.040 --> 1:25:16.160
<v Speaker 1>well tell me, why, tell me more about why he sucks.

1:25:17.000 --> 1:25:18.880
<v Speaker 2>I don't know, he's weakend up that it was always

1:25:18.880 --> 1:25:22.719
<v Speaker 2>super weak. Yeah, he's like the weakest part of that show.

1:25:23.000 --> 1:25:25.560
<v Speaker 2>He cannot act for sure, and just he's one of

1:25:25.600 --> 1:25:27.960
<v Speaker 2>those guys who clearly thought, like, I'm cool enough to

1:25:28.080 --> 1:25:31.720
<v Speaker 2>just do me throughout an entire movies. Yeah, I don't know, man,

1:25:31.880 --> 1:25:35.479
<v Speaker 2>it just it's it's the smarm of Miller, and I

1:25:35.880 --> 1:25:38.519
<v Speaker 2>just associated him with Bill maher Of. He's like, yeah,

1:25:38.840 --> 1:25:42.519
<v Speaker 2>loser boomers who like came out with their shirt tucked

1:25:42.520 --> 1:25:46.040
<v Speaker 2>into their dark washed jeans, and really I don't want

1:25:46.040 --> 1:25:49.920
<v Speaker 2>to get out of Iran here. But women, you know, like, okay.

1:25:49.720 --> 1:25:52.000
<v Speaker 1>Dude, this is going to send you into such a

1:25:52.320 --> 1:25:55.439
<v Speaker 1>it's sending me into a rage. This just single line

1:25:55.479 --> 1:25:59.120
<v Speaker 1>from his Wikipedia page. In nineteen seventy nine, after seeing

1:25:59.120 --> 1:26:02.760
<v Speaker 1>a Robin Williams comedy special on HBO, Miller began to

1:26:02.800 --> 1:26:06.600
<v Speaker 1>pursue his dream of being a stand up comedian. He

1:26:06.720 --> 1:26:12.960
<v Speaker 1>saw Robin Williams, those dynamic, electrifying, colorful performers of the

1:26:13.040 --> 1:26:14.000
<v Speaker 1>twentieth century.

1:26:14.120 --> 1:26:16.640
<v Speaker 2>How what was he like twenty five thirty? Like it

1:26:16.720 --> 1:26:19.559
<v Speaker 2>must have been like it's like watching Michael Jordans sink

1:26:19.640 --> 1:26:22.000
<v Speaker 2>the shot and being like I could do that. Now

1:26:22.040 --> 1:26:23.480
<v Speaker 2>I must play basketball.

1:26:23.680 --> 1:26:25.439
<v Speaker 1>You know, Yeah, he was twenty six.

1:26:25.960 --> 1:26:29.080
<v Speaker 2>M Night Shaimo on writing The Sixth Sense and looking

1:26:29.120 --> 1:26:32.200
<v Speaker 2>around at pictures of like posters from like Jaws and

1:26:32.640 --> 1:26:34.960
<v Speaker 2>Aliens and being like, yeah, I just have to write

1:26:34.960 --> 1:26:39.320
<v Speaker 2>something as good as those but he kind of kind

1:26:39.320 --> 1:26:43.559
<v Speaker 2>of did you love the sixth sense? I do? Did

1:26:43.560 --> 1:26:44.360
<v Speaker 2>you see his new one?

1:26:45.200 --> 1:26:45.280
<v Speaker 1>No?

1:26:46.080 --> 1:26:49.439
<v Speaker 2>What a piece of movie is? Cut all that out?

1:26:49.479 --> 1:26:51.599
<v Speaker 2>I don't want to get from the weird m night

1:26:51.680 --> 1:26:53.760
<v Speaker 2>shamal on stands that are out there.

1:26:54.760 --> 1:26:55.240
<v Speaker 1>What prick.

1:26:56.040 --> 1:26:59.200
<v Speaker 2>So the pathetic five point six million dollar debut of

1:26:59.280 --> 1:27:02.200
<v Speaker 2>Bordello Blood pretty much put the proverbial nail in the

1:27:02.200 --> 1:27:05.519
<v Speaker 2>coffin of the further big screen adventures of Tales from

1:27:05.520 --> 1:27:08.439
<v Speaker 2>the cryp So in a sense, we did get another

1:27:08.560 --> 1:27:12.679
<v Speaker 2>unaffiliated movie out of it, Peter Jackson's The Frighteners, which

1:27:12.720 --> 1:27:15.639
<v Speaker 2>I think is just an underappreciated little gem from the nineties.

1:27:15.680 --> 1:27:17.439
<v Speaker 2>Not a lot of people know about this movie. It

1:27:17.520 --> 1:27:21.200
<v Speaker 2>was completely dominated by Independence Day, but I think it's

1:27:21.240 --> 1:27:21.839
<v Speaker 2>just a delight.

1:27:22.160 --> 1:27:24.320
<v Speaker 1>You might say that not a lot of people know that.

1:27:24.800 --> 1:27:28.640
<v Speaker 2>Yes I might. Peter Jackson and his wife Maybe not

1:27:28.720 --> 1:27:32.080
<v Speaker 2>at the time, but I think now. Wife Fran Walsh

1:27:32.120 --> 1:27:35.120
<v Speaker 2>wrote this idea of a psychic who uses real ghosts

1:27:35.200 --> 1:27:38.719
<v Speaker 2>to fleece people into thinking that their house is haunted

1:27:39.040 --> 1:27:41.880
<v Speaker 2>and then getting him to cleanse it. They were writing

1:27:41.880 --> 1:27:43.920
<v Speaker 2>this in nineteen ninety two while they were also working

1:27:43.960 --> 1:27:47.840
<v Speaker 2>on Heavenly Creatures by Peter Jackson. Then they turned the

1:27:47.840 --> 1:27:51.240
<v Speaker 2>Frighteners into a treatment and sent it off. Robert Simchis

1:27:51.240 --> 1:27:53.000
<v Speaker 2>found it and wanted to make it the next Tales

1:27:53.000 --> 1:27:55.320
<v Speaker 2>from the Cryp movie, so he hired the two of

1:27:55.320 --> 1:27:57.720
<v Speaker 2>them to turn their treatment into a full length screenplay

1:27:57.880 --> 1:28:00.519
<v Speaker 2>in January of ninety three, and the pair it a

1:28:00.600 --> 1:28:04.120
<v Speaker 2>year later. This script so impressed Zemechis that he told

1:28:04.200 --> 1:28:07.559
<v Speaker 2>Jackson to direct it and that he would produce. Stars

1:28:07.560 --> 1:28:11.760
<v Speaker 2>Michael J. Fox and a few other interesting people. And

1:28:11.800 --> 1:28:12.400
<v Speaker 2>it just flopped.

1:28:12.400 --> 1:28:12.559
<v Speaker 1>Man.

1:28:12.680 --> 1:28:16.479
<v Speaker 2>The marketing was off. As I mentioned earlier, Independence Day

1:28:16.600 --> 1:28:18.760
<v Speaker 2>was its competition, so that was a fool's errand if

1:28:18.800 --> 1:28:21.439
<v Speaker 2>ever there was one. But I really like it, you

1:28:21.520 --> 1:28:24.080
<v Speaker 2>might too. Maybe probably not, ye you know you've said

1:28:24.080 --> 1:28:25.519
<v Speaker 2>that to me a few times. Okay.

1:28:26.120 --> 1:28:28.120
<v Speaker 1>I mean, anyone likes the Beatles as much as Peter

1:28:28.240 --> 1:28:31.639
<v Speaker 1>Jackson does. Can't be all that he got my Beatles

1:28:31.640 --> 1:28:34.640
<v Speaker 1>reference in there there. It is what killed Tales from

1:28:34.680 --> 1:28:40.000
<v Speaker 1>the Crypts though was unfortunately I belove it. British Gilbert

1:28:40.040 --> 1:28:42.840
<v Speaker 1>Adler told The Daily Dead, I thought if we went

1:28:42.840 --> 1:28:44.559
<v Speaker 1>to England it would be great to get all these

1:28:44.600 --> 1:28:47.360
<v Speaker 1>actors and directors that do tails from the Crypt. Yeah.

1:28:47.439 --> 1:28:49.640
<v Speaker 1>He added that locations were a big deal to him,

1:28:49.800 --> 1:28:53.160
<v Speaker 1>specifically castles. I couldn't do that in America, he said.

1:28:53.400 --> 1:28:56.040
<v Speaker 1>In America, if something is two hundred years old, it's old,

1:28:56.320 --> 1:28:59.280
<v Speaker 1>and England if something is five hundred years old, it's young.

1:28:59.520 --> 1:29:01.520
<v Speaker 1>Also if there was a little bit of the Muppets

1:29:02.080 --> 1:29:06.520
<v Speaker 1>in there too, then they shot the Muppet Show in London. Oh,

1:29:06.600 --> 1:29:09.799
<v Speaker 1>I don't know. It's puppets and kind of weird, weird,

1:29:10.080 --> 1:29:14.479
<v Speaker 1>kitchy Bodvillian borsch belt stuff at the beginning. I don't know.

1:29:14.840 --> 1:29:17.160
<v Speaker 2>I'm listening key pitching, key pitching a.

1:29:17.240 --> 1:29:19.280
<v Speaker 1>Muppets tails from the Crypt crossover.

1:29:19.360 --> 1:29:22.519
<v Speaker 2>That has to have it has to have happened, is

1:29:22.560 --> 1:29:24.080
<v Speaker 2>piggy like Karate chops him.

1:29:25.479 --> 1:29:28.000
<v Speaker 1>It must have happened, like Google that while I finished this.

1:29:28.000 --> 1:29:29.439
<v Speaker 1>This must this must have happened.

1:29:30.760 --> 1:29:33.400
<v Speaker 2>This may have been a case of Adler's overt anglophilia

1:29:33.479 --> 1:29:35.479
<v Speaker 2>before anything else though. Yeah.

1:29:35.479 --> 1:29:38.799
<v Speaker 1>His wife is English and his first project was produced

1:29:38.800 --> 1:29:41.080
<v Speaker 1>in London, and at one point he made a failed

1:29:41.080 --> 1:29:43.320
<v Speaker 1>bid to bring The Rocky Horror Picture Show over to

1:29:43.360 --> 1:29:45.719
<v Speaker 1>the US when it was just a theater production in London.

1:29:45.920 --> 1:29:50.040
<v Speaker 1>Good instincts, good instincts. Yeah, unfortunately not in the case

1:29:50.080 --> 1:29:52.000
<v Speaker 1>of bringing The Tail from the Crypt over to England.

1:29:52.720 --> 1:29:55.920
<v Speaker 1>HBO was initially concerned about the cost, but Adler convinced

1:29:55.960 --> 1:29:58.280
<v Speaker 1>them and Tail from the Crypt production took over the

1:29:58.360 --> 1:30:01.760
<v Speaker 1>historic Ealing Studio in West London for six months in

1:30:01.840 --> 1:30:07.400
<v Speaker 1>nineteen ninety five. That's when problems began. Almost immediately. Gilbert

1:30:07.400 --> 1:30:10.040
<v Speaker 1>wasn't able to attract American directors to work in England

1:30:10.080 --> 1:30:14.600
<v Speaker 1>because of the country's taxes. Even Roger Moore, who's you

1:30:14.720 --> 1:30:18.160
<v Speaker 1>note as British as they get, told Gilbert from Switzerland

1:30:18.560 --> 1:30:20.719
<v Speaker 1>call me when you get back to la I can't

1:30:20.760 --> 1:30:24.479
<v Speaker 1>afford to work in London. So why in the seventies

1:30:24.479 --> 1:30:28.200
<v Speaker 1>all those rock stars from England became tax exiles in

1:30:28.360 --> 1:30:33.759
<v Speaker 1>la or Switzerland. Freddie Mercury, Ringo, John Lennon, Fith milling

1:30:33.840 --> 1:30:36.880
<v Speaker 1>Stones just took to a yacht. Yeah. There are also

1:30:36.920 --> 1:30:40.880
<v Speaker 1>the cultural differences, mainly the mandated twice daily tea breaks

1:30:41.360 --> 1:30:46.120
<v Speaker 1>and the pub lunch hour each day of shooting. Also, Adler,

1:30:46.200 --> 1:30:49.360
<v Speaker 1>the director, was completing production on the ill fated Bordello

1:30:49.439 --> 1:30:51.759
<v Speaker 1>of Blood while working on the UK season of Tales

1:30:51.760 --> 1:30:54.240
<v Speaker 1>from the Crypt, which really hung him out to dry.

1:30:55.240 --> 1:30:57.720
<v Speaker 1>That said, he did end up getting his precious locations,

1:30:57.960 --> 1:31:01.920
<v Speaker 1>shooting at Nebworth House Worthim and indeed dover.

1:31:01.840 --> 1:31:05.920
<v Speaker 2>Castle, Nedworth House also being where they cut Zeppelin four.

1:31:06.160 --> 1:31:10.439
<v Speaker 1>I believe no that was it was Headley Grange, wasn't it?

1:31:10.920 --> 1:31:11.200
<v Speaker 3>Yeah?

1:31:11.240 --> 1:31:12.880
<v Speaker 2>But why do I have Nedworth in.

1:31:12.840 --> 1:31:14.719
<v Speaker 1>My head because of Nedworth?

1:31:14.840 --> 1:31:16.479
<v Speaker 2>Like the oh the festival? Right?

1:31:16.560 --> 1:31:21.080
<v Speaker 1>Yeah, I was wrong. There's a chain of chicken places

1:31:21.120 --> 1:31:24.920
<v Speaker 1>near me called Mad for Chicken, and I always rooted

1:31:24.920 --> 1:31:30.559
<v Speaker 1>in Liam Gallagher's voice, Mad for It. The tone of

1:31:30.600 --> 1:31:33.360
<v Speaker 1>Tales from the Crypt in England also lightened up, leaning

1:31:33.400 --> 1:31:37.680
<v Speaker 1>away from its trademark gore and horror, something more British or,

1:31:37.720 --> 1:31:42.639
<v Speaker 1>as you write, something more constipateous. Thank you for that, Sorry,

1:31:42.680 --> 1:31:45.200
<v Speaker 1>John and Lee w and all our friends over in

1:31:45.200 --> 1:31:49.439
<v Speaker 1>the UK. Additionally, Bill Gains died in nineteen ninety two.

1:31:49.600 --> 1:31:51.400
<v Speaker 1>The guy had kicked this all off, and the rights

1:31:51.439 --> 1:31:54.280
<v Speaker 1>to e s reverted back to his family, who simply

1:31:54.320 --> 1:31:56.519
<v Speaker 1>refused to sell them back to producers to make more

1:31:56.560 --> 1:32:00.000
<v Speaker 1>Tales from the Crypt episodes. There was an alleged reboots

1:32:00.080 --> 1:32:03.240
<v Speaker 1>series in the works from Tell Them Heigel.

1:32:03.360 --> 1:32:10.200
<v Speaker 2>M Night, Hiamela my favorite humble and talented man in Hollywood.

1:32:10.600 --> 1:32:11.679
<v Speaker 1>How do you think that would have gone?

1:32:12.400 --> 1:32:16.240
<v Speaker 2>Probably Doug. He would have been forcing dumb like. He

1:32:16.240 --> 1:32:18.519
<v Speaker 2>would have been forcing twists into it. By the way,

1:32:18.880 --> 1:32:22.760
<v Speaker 2>there is a Muppets Tells from the Crypt connection good

1:32:22.800 --> 1:32:28.240
<v Speaker 2>it is. In Muppets Tonight, there was a recurring bit

1:32:28.400 --> 1:32:32.479
<v Speaker 2>called Tales from the Vet which was in the intro

1:32:32.560 --> 1:32:35.960
<v Speaker 2>to that mimicked the tracking shot through the old mansion

1:32:36.120 --> 1:32:40.320
<v Speaker 2>with passing by a bunch of animals and cages through

1:32:40.320 --> 1:32:42.719
<v Speaker 2>the Vets office while doing a work on the Danny

1:32:42.720 --> 1:32:43.360
<v Speaker 2>Elfman theme.

1:32:43.560 --> 1:32:44.400
<v Speaker 1>That's incredible.

1:32:44.600 --> 1:32:47.040
<v Speaker 2>Muppets Tonight was one of the bad ones, right.

1:32:47.600 --> 1:32:49.880
<v Speaker 1>I remember liking it. I remember watching it when it

1:32:49.960 --> 1:32:51.960
<v Speaker 1>first premiered, but I was just so excited out The

1:32:52.000 --> 1:32:55.080
<v Speaker 1>Muppets are coming Back came out like ninety eight, right.

1:32:55.520 --> 1:32:56.200
<v Speaker 2>Ninety six?

1:32:56.640 --> 1:32:59.919
<v Speaker 1>Ninety six order a full order of twenty two episodes

1:33:00.120 --> 1:33:05.559
<v Speaker 1>canceled after broadcasting ten Really you remembered falsely? It was

1:33:05.640 --> 1:33:07.840
<v Speaker 1>that much of a bomb. And there's the Muppet Show.

1:33:07.920 --> 1:33:13.080
<v Speaker 1>What was the difference between Uppets Night and the Muppet Show? Wow,

1:33:13.240 --> 1:33:15.920
<v Speaker 1>I don't knowze people hated it did taste just change

1:33:16.560 --> 1:33:18.479
<v Speaker 1>because it was all like Friday Night. It was on

1:33:18.600 --> 1:33:20.160
<v Speaker 1>like the TGIF lineup, wasn't it.

1:33:20.200 --> 1:33:22.080
<v Speaker 2>We're so close to finishing this, don't get bogged down

1:33:22.080 --> 1:33:23.519
<v Speaker 2>in the details.

1:33:23.080 --> 1:33:24.000
<v Speaker 1>All right, take us home.

1:33:24.920 --> 1:33:27.120
<v Speaker 2>Yeah, I mean I think it really was a combination

1:33:27.160 --> 1:33:29.559
<v Speaker 2>of it. It was probably the rights things, because in

1:33:29.600 --> 1:33:32.759
<v Speaker 2>the limited information I could find about this they had

1:33:33.120 --> 1:33:36.439
<v Speaker 2>in the original contract, it was like up to amount

1:33:36.479 --> 1:33:39.679
<v Speaker 2>of time right that they had these, And when Bill

1:33:39.720 --> 1:33:42.479
<v Speaker 2>Gaines died, they couldn't renegotiate it with his estate who

1:33:42.520 --> 1:33:46.760
<v Speaker 2>probably realized they got fleeced initially and wanted way more

1:33:46.800 --> 1:33:47.439
<v Speaker 2>money for it.

1:33:48.240 --> 1:33:50.439
<v Speaker 1>And did Joel Silver say that we paid very little?

1:33:51.040 --> 1:33:53.760
<v Speaker 2>Yeah, and that is currently why you can't watch this

1:33:53.840 --> 1:33:58.320
<v Speaker 2>thing anywhere unless you they're all on YouTube, which is great,

1:33:59.080 --> 1:34:01.160
<v Speaker 2>but yeah, there's there really die in for, like a

1:34:01.200 --> 1:34:06.720
<v Speaker 2>big authorized Blu ray treatment or HD remaster regrade. But

1:34:07.760 --> 1:34:10.559
<v Speaker 2>sad to say that is sad. Yeah, and I don't

1:34:10.560 --> 1:34:13.680
<v Speaker 2>have much. And you know why that's sad, Jordan, is

1:34:13.680 --> 1:34:16.360
<v Speaker 2>because the repeated theme that kept coming out in all

1:34:16.400 --> 1:34:18.799
<v Speaker 2>of my research for this was just how much fun

1:34:19.120 --> 1:34:22.920
<v Speaker 2>everyone had working on this. You know. It was also

1:34:22.960 --> 1:34:25.240
<v Speaker 2>sad that the original comics were victim of one of

1:34:25.280 --> 1:34:30.920
<v Speaker 2>America's seemingly biannual moral panics. But it just rules so

1:34:31.240 --> 1:34:33.120
<v Speaker 2>hard that all of these people at the top of

1:34:33.160 --> 1:34:37.120
<v Speaker 2>their respective games came together and created just a working situation,

1:34:37.320 --> 1:34:40.720
<v Speaker 2>a creative environment that so many people were just completely

1:34:40.760 --> 1:34:43.120
<v Speaker 2>overjoyed to be a part of. For a few years

1:34:43.160 --> 1:34:46.799
<v Speaker 2>at least, Hollywood worked as it was designed to. Talented

1:34:46.800 --> 1:34:50.479
<v Speaker 2>people got resources to make cool stuff, the working conditions

1:34:50.520 --> 1:34:54.360
<v Speaker 2>were rewarding, and everyone walked away. Happened. That doesn't happen

1:34:54.400 --> 1:34:57.720
<v Speaker 2>that much in any creative field anymore. And that's the

1:34:57.760 --> 1:35:01.200
<v Speaker 2>truly scary part. But at least we can ghoulishly cackle

1:35:01.240 --> 1:35:04.519
<v Speaker 2>with joy that it ever happened at all. Folks, Thank

1:35:04.520 --> 1:35:06.880
<v Speaker 2>you all for listening so much. This has been too

1:35:06.960 --> 1:35:09.599
<v Speaker 2>much information. I'm Alex Heigel and.

1:35:09.520 --> 1:35:17.479
<v Speaker 1>I'm Jordan run Talgg. We'll catch you next time. Too

1:35:17.520 --> 1:35:19.800
<v Speaker 1>Much Information was a production of iHeartRadio.

1:35:20.040 --> 1:35:23.280
<v Speaker 2>The show's executive producers are Noel Brown and Jordan Runtogg.

1:35:23.479 --> 1:35:26.439
<v Speaker 1>The show's supervising producer is Michael Alder June.

1:35:26.600 --> 1:35:29.719
<v Speaker 2>The show was researched, written and hosted by Jordan Runtogg

1:35:29.760 --> 1:35:30.840
<v Speaker 2>and Alex Heigel.

1:35:30.680 --> 1:35:33.920
<v Speaker 1>With original music by Seth Applebaum and The Ghost Funk Orchestra.

1:35:34.240 --> 1:35:36.280
<v Speaker 1>If you like what you heard, please subscribe and leave

1:35:36.360 --> 1:35:39.320
<v Speaker 1>us a review. For more podcasts on iHeartRadio, visit the

1:35:39.320 --> 1:35:42.639
<v Speaker 1>iHeartRadio app, Apple Podcasts, or wherever you listen to your

1:35:42.640 --> 1:35:44.200
<v Speaker 1>favorite shows.