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Speaker 1: Welcome to Stuff to Blow your Mind production of My

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

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Speaker 1: Rob Lamb and this is Joe McCormick and Rob. Ever

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Speaker 1: since we started doing Weird How Cinema, I think I

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Speaker 1: knew that one day would be the day we did

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Speaker 1: Halloween three. I've always known it was coming. It was

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Speaker 1: like destiny. I could see over the mountain ranges of

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Speaker 1: time and I knew this would be waiting for us.

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Speaker 1: It was inevitable. You know. A few years back, I

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Speaker 1: think it was when we were doing a guest spot

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Speaker 1: on movie Crush with Chuck Bryant. Uh, it may have

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Speaker 1: been somewhere else, I don't you and I were having

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Speaker 1: a conversation on Mike somewhere that we were talking about

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Speaker 1: John Carpenter's Halloween, which which I of course cherished as

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Speaker 1: a as a wonderful horror movie, a near perfect horror

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Speaker 1: classic movie that has been copycatted so much and yet

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Speaker 1: somehow still never lost its uh it's uniqueness and it

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Speaker 1: and it's thrilling, scary power. And somebody asked it might

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Speaker 1: have been Chuck asking if it was my favorite John

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Speaker 1: Carpenter movie. And I still remember at the time being

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Speaker 1: surprised by my own response, though I can't deny that

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Speaker 1: I spoke my true feelings. Not only is the original

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Speaker 1: Halloween not my favorite John Carpenter movie, It's not even

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Speaker 1: my favorite Halloween movie because they're in the back of

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Speaker 1: my mind always. Is Halloween three Season of the Witch?

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Speaker 1: I mean, was I joking? Was I joking and saying

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Speaker 1: that I like Halloween three better than the original Halloween?

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Speaker 1: Kind of? But not really? Uh? You know, the Halloween

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Speaker 1: sequels are largely just dismal, depressing, trash. I dare you

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Speaker 1: to watch Halloween five all the way to the end.

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Speaker 1: It's like, if you can do it, it's it's it's

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Speaker 1: such a miserable experience that fills you with pain. It's

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Speaker 1: like being dared to drink like a a swimming pool

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Speaker 1: full of stagnant water with mosquito eggs in it. Um So, so,

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Speaker 1: how could it be the case that there's this Halloween

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Speaker 1: sequel that I like at least as much as I

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Speaker 1: like the original Halloween movie. I don't know, but that's

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Speaker 1: what we're going to try to figure out today. I mean,

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Speaker 1: I think you're right to single this out as a

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Speaker 1: favorite John Carpenter film, because no matter where the credits

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Speaker 1: end up following, John Carpenter's fingerprints are all over this baby. Well,

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Speaker 1: that's funny. So I said it was my favorite Halloween movie,

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Speaker 1: I would I don't know if i'd say it's my

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Speaker 1: favorite John Carpenter movie, especially since it was, as you're saying,

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Speaker 1: not directed by or written by John Carpenter. Um, well,

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Speaker 1: not officially, but I think on IMDb he gets an

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Speaker 1: uncredited rider credit. Uh so, I mean, I guess it

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Speaker 1: depends on how exactly you shake it out. But officially, no,

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Speaker 1: it was. It certainly was not directed by him, and

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Speaker 1: it was not officially written by him in any capacity.

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Speaker 1: I think he and Deborah Hill at least both get

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Speaker 1: story credits on it, which may be just a thing

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Speaker 1: that's carried over from them, like creating the franchise itself. Yeah,

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Speaker 1: created because John Carpenter wrote the original Halloween, and together

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Speaker 1: with Debra Hill, they wrote the first movie and created

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Speaker 1: the characters. Though actually the characters don't recur in this movie.

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Speaker 1: That's one of the weirdest things about it. So warning

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Speaker 1: that this discussion today, this is a forty year old movie,

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Speaker 1: but we will pretty much be revealing all of the

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Speaker 1: spoilers and plot twists and everything like that in the movie.

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Speaker 1: So don't listen yet if you haven't seen it and

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Speaker 1: you want to be surprised by everything. And this this

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Speaker 1: bonkers cinematic god mode excursion. Um. But yeah, yeah, yeah.

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Speaker 1: So one of the weird things about Halloween three, I

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Speaker 1: guess that we're just trying to allude to, is so

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Speaker 1: this is a movie that was not directed by John Carpenter,

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Speaker 1: was at least not totally written by John Carpenter. He

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Speaker 1: gets some kind of unofficial writing credit. You're saying he

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Speaker 1: may have done a pass on the script or something

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Speaker 1: like that. And it does not feature any recurring characters

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Speaker 1: or plot elements from Carpenter's original movie at all. Nothing.

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Speaker 1: Uh unless apparently I think you you, your your love

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Speaker 1: of novelizations of strange films at some point led you

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Speaker 1: to the Alan Dean Foster novelization of Season of the Witch,

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Speaker 1: which had something connecting them. Yeah, apparently there's some sort

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Speaker 1: of a tangential connection made between the Masks and this

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Speaker 1: film and the masks worn by Michael Myers. But I

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Speaker 1: have not actually read the novelization yet. I own a

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Speaker 1: copy of it. But it's on my desk. It works.

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Speaker 1: So Alan Dean Foster fan poser. I can't even remember

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Speaker 1: was Alan Dean Foster? Oh, surely it was. We got

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Speaker 1: to look this up confirm. I mean, there's there's it

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Speaker 1: stands a chance. There's always a seventy chance that Alan

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Speaker 1: Dean Foster wrote the novelization. But I don't recall who

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Speaker 1: wrote this one. No, we were totally wrong. It's not

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Speaker 1: It's by somebody named Jack Martin. Okay, well, there we go.

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Speaker 1: Are you familiar with the works of Jack Martin. I

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Speaker 1: think I looked him up when I was excited about

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Speaker 1: buying this paperback, and uh, I think it's a it's

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Speaker 1: a sued nam used by another author, but I was

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Speaker 1: I'm not familiar with that other authors, so I can't

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Speaker 1: really speak to that. Okay, we'll start this off with

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Speaker 1: a big whiff. I was completely wrong about that being

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Speaker 1: alandine chance of being correct. That's like some Scott Steiner

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Speaker 1: math um. Okay, no, no, no, but okay, so we said.

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Speaker 1: Not directed by John Carpenter, not written by John Carpenter,

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Speaker 1: and does not feature any recurring characters or plot elements

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Speaker 1: from the original movie, and yet to me Halloween three

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Speaker 1: feels it doesn't just feel at home in the John

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Speaker 1: Carpenter Halloween cinematic universe. It feels like dead center of

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Speaker 1: that universe. It is the bulls eye of of the

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Speaker 1: target that I think about when when I think about

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Speaker 1: the John Carpenter cinematic style. Uh, this movie is the

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Speaker 1: Carpaween nexus. It looks like Carpaween, it sounds like Carpaween,

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Speaker 1: it feels like carpa Weeen, and it feels good. Now,

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Speaker 1: all that aside, Uh, this movie is largely hated. Uh,

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Speaker 1: it has started to gain a sort of cult following.

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Speaker 1: I think in recent years. I think it's not just us.

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Speaker 1: Other people have started to pick up on and enjoy

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Speaker 1: this film. But when it was first released, it was

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Speaker 1: totally mocked and derided by critics. It was everybody was

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Speaker 1: just like, where's Michael Myers? What is this? Um? So,

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Speaker 1: what did they miss that we're picking up on? I'm

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Speaker 1: not quite sure, but yeah, I don't know. Maybe we

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Speaker 1: just have a heightened affinity for the this genus of

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Speaker 1: the low brow absurd, or maybe this is one of

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Speaker 1: those movies and there are others like that just kind

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Speaker 1: of needed to age for a while needed to age

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Speaker 1: in the oak barrels of time before it could be

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Speaker 1: appreciated for the succulently ludicrous concoction that it is. I

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Speaker 1: think it was in talking about this movie that I

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Speaker 1: first articulated the concept of a of a rub the

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Speaker 1: Fur movie when we were talking about it with Chuck

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Speaker 1: Bryant on on Movie Crush. There are there are movies

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Speaker 1: where the primary pleasure is not located in story elements

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Speaker 1: that can easily be described in words or you know,

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Speaker 1: like plot or character. There are just these movies that

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Speaker 1: are about audio visual texture. They there to be experienced

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Speaker 1: in the same way that you would experience the soft

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Speaker 1: fur of a chinchilla, Like you just kind of have

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Speaker 1: to put your executive function into low power mode and

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Speaker 1: rub the fur. Yeah. I know, I'd have some definite

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Speaker 1: thoughts on this this question though about first of all,

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Speaker 1: the people who are saying where's Michael Myers? Um? I mean,

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Speaker 1: on one level, there is an answer to that. Michael

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Speaker 1: Myers is in the film because you see the Halloween,

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Speaker 1: the first Halloween movie playing uh in a bar. I

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Speaker 1: think a couple of different times TVs are on and

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Speaker 1: the original Halloween movie is playing. Yeah, there's a great

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Speaker 1: a scene where our protagonists played by Tom Atkins, who

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Speaker 1: is a surgeon I think, is on his lunch break

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Speaker 1: and he's getting drunk in a bar and and Halloween

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Speaker 1: comes on TV. Yeah, so it's um uh so so

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Speaker 1: he's there if you really need him to be either.

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Speaker 1: But I think more more to the point, like the

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Speaker 1: reason this this this film Halloween three discards Michael Myers

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Speaker 1: is that we already had Halloween one, which is a

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Speaker 1: I mean, what was a real trend center is an

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Speaker 1: essential slasher film. Uh, It's not one of my favorite films.

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Speaker 1: I feel like it's it's like a lot of trailblazers.

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Speaker 1: Other films came after it, and I'm not not saying

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Speaker 1: they necessarily did it better, but maybe they did it bigger,

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Speaker 1: and they did it in ways that maybe sort of

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Speaker 1: shocked the zeitgeist a little bit more, you know. Um,

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Speaker 1: but without Michael Myers and the first Halloween movie and

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Speaker 1: John Carpenter's vision for that film, we wouldn't have had

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Speaker 1: all these other things. Um, but then we had a

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Speaker 1: Halloween two and that was the that was the bigger

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Speaker 1: second scoop of that franchise. And I'm not sure who

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Speaker 1: really wanted or needed a third helping after that? Well,

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Speaker 1: I mean they kept doing it. I mean, and they're

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Speaker 1: still doing more as we record this. I just found

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Speaker 1: out there doing another one of the sequel to the

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Speaker 1: recent Halloween movie that came out a couple of years ago. Uh.

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Speaker 1: And you notice how in the Halloween franchise, like they

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Speaker 1: keep trying to do a movie where it's like, Okay,

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Speaker 1: this is definitely the last one. You could not have

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Speaker 1: another one off after this because we chopped off Michael

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Speaker 1: Myer's head, or because Laurie Strode is now dead, or

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Speaker 1: because I don't know a million different that we set

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Speaker 1: him on fire and we watched him become a pile

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Speaker 1: of ashes. Um that they've done that a million different ways,

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Speaker 1: and every time a couple of years roll by and somebody,

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Speaker 1: I guess somebody's bank account is starting to look a

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Speaker 1: little light and they're like, we need another one, yeah,

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Speaker 1: because I guess that it comes out of the idea

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Speaker 1: like the name itself is going to be enough to

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Speaker 1: get people in theaters. And that was kind of the

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Speaker 1: idea with Halloween three, right, I mean it's like, Okay,

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Speaker 1: we've got the name, why do we have to do

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Speaker 1: this whole Michael Myers thing again. Let's turn it into

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Speaker 1: an anthology um series. Let's just have each Halloween season,

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Speaker 1: we're gonna put out a Halloween film. But it doesn't

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Speaker 1: have to be Michael Myers. It can be something entirely different.

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Speaker 1: It can be a weird kind of pagan sci fi

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Speaker 1: um adventure. Uh. And we'll have some of the same

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Speaker 1: touches there, We'll have that that that you know, the

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Speaker 1: Carpenter fingerprints will be there, but it will be its

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Speaker 1: own thing. Yes, And so that was the idea behind

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Speaker 1: the movie that became Halloween three, Season of the Witch.

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Speaker 1: I believe it was based on the script of that

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Speaker 1: was just called Season of the Witch, or at some

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Speaker 1: point in the development it was which was already the

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Speaker 1: name of another movie that had come out years before

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Speaker 1: that had different themes. So I think I don't know

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Speaker 1: that that that whole thing is kind of weird, but no, no,

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Speaker 1: but it's very similar to something we've seen another franchise is,

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Speaker 1: including the Tales from the Crypt franchise with Demon Night,

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Speaker 1: which we I think we just reran that episode where

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Speaker 1: that was a pre existing script and then someone said, hey,

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Speaker 1: let's make this our first Tales from the Crypt movie,

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Speaker 1: and so they tweaked it a bit and it was

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Speaker 1: good to go. I think they did that a little

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Speaker 1: bit in like the hell Raiser franchise as well. I

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Speaker 1: got this script looks good. Let's throw some cineambytes in

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Speaker 1: there and green light this sucker, right right, So they

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Speaker 1: were saying, Okay, here's just a totally unrelated horror horror script. Um,

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Speaker 1: and we're going to say this is the next in

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Speaker 1: the Halloween movie anthology. Yeah, and every year there's gonna

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Speaker 1: be a Halloween movie that will have nothing to do

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Speaker 1: with the Halloween movies that came out before, except that

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Speaker 1: maybe it would be I don't know, produced by the

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Speaker 1: same people. They might all be produced by John Carpenter

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Speaker 1: and associates, and maybe directed by people who were part

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Speaker 1: of John Carpenter circle, like Halloween three is wonderfully directed

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Speaker 1: by Tommy Lee Wallace, who was who had worked with

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Speaker 1: John Carpenter on the previous Halloween movies and would go

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Speaker 1: on to do other things, like, you know, he directed

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Speaker 1: the TV version of it and stuff like that. But um,

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Speaker 1: but so I got I got the feeling that that

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Speaker 1: was kind of the idea that it would become sort

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Speaker 1: of a thing where the Carpenter Club would let somebody

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Speaker 1: do a new Halloween series horror movie every year. Yeah,

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Speaker 1: And I guess I always just assumed I forget when

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Speaker 1: I watched this for the first time, but I've loved

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Speaker 1: it for a while, and I always just thought it

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Speaker 1: was one of these cases where the idea was maybe

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Speaker 1: a little ahead of its time tim the mainstream. I

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Speaker 1: guess still wanted Michael Myers and some of us found

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Speaker 1: things to love about this film, and maybe we just

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Speaker 1: did it too late. I think I always i'd read before.

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Speaker 1: You know, the carpenter was fond of the film, and

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Speaker 1: you know, he didn't have any problems with it. He

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Speaker 1: didn't think it was a turkey or anything, but it

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Speaker 1: just things didn't line up for it to be the

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Speaker 1: financial success that the studio needed it to be. Um.

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Speaker 1: But I wasn't really sure all that much how it

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Speaker 1: was received during the day. Uh. But then in the past,

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Speaker 1: you know, a couple of years, I picked up the

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Speaker 1: Michael Weldon books, the Psychotronic Film Guides, including the Psychotronic

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Speaker 1: Encyclopedia Film and I have to say, you know, I'm

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Speaker 1: the first thing I did was look up some of

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Speaker 1: my favorite films that were covered in that book and

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Speaker 1: see what what Weldon had to say about them. And

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Speaker 1: so I of course looked up Halloween three and there's

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Speaker 1: there is a listing for it. But one of the

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Speaker 1: super interesting things about it is that this book came

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Speaker 1: out in three and Halloween three came out the year before,

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Speaker 1: in nine eight two. So at the time of publication,

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Speaker 1: this was the most recent Halloween movie. Um this no,

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Speaker 1: So it's it seemed like this was the course. Michael

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Speaker 1: Myers had not come back. Um now, Weldon, I'm not

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Speaker 1: going to read Weldon's hold right up for it, but

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Speaker 1: he he of course digs it, but he ends his

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Speaker 1: review with quote, annual Halloween features with unrelated plots are planned.

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Speaker 1: So so it's it's kind of an interesting time capsule

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Speaker 1: to go back and think like this was this was

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Speaker 1: the course, and the idea was like, of course, we're

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Speaker 1: gonna get more Halloween movies with weird, wonky, non Michael

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Speaker 1: Myers things going on. And I wish that had happened too.

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Speaker 1: I think maybe I love the original Halloween more than

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Speaker 1: than you seem to. But even then, I you know,

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Speaker 1: I I don't thirst for additional Michael Myers movies after

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Speaker 1: after that first one. I mean I kind of enjoy

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Speaker 1: a few of the sequels, maybe a few, I don't know,

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Speaker 1: Like Halloween h two O is cheesy, but it's kind

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Speaker 1: of fun. Um, But most of them are just and

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Speaker 1: so I I didn't need more after the first one.

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Speaker 1: And and if it had turned into this, if this

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Speaker 1: had come true, I would be I would be so happy. Yeah,

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Speaker 1: imagine the film. What kind of films would we have

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Speaker 1: received in the future. I'm not sure that alternate reality

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Speaker 1: is is tempting though, um, but yeah, at the end

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Speaker 1: of the first Halloween movie, I feel like it's a

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Speaker 1: it's a pretty perfect slasher film. You know. Donald Pleasant's

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Speaker 1: character shoots him dead and he's like, I got him.

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Speaker 1: The nightmares over and then Halloween two kicks off with

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Speaker 1: actually I missed him. We're going to need another picture

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Speaker 1: for me to finish the job. Well, no, you forget

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Speaker 1: the stinger at the end of Halloween one as they

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Speaker 1: go out and they look and the body is missing.

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Speaker 1: But I don't think that invites a sequel. I mean,

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Speaker 1: to me, that's like Halloween one that should have should

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Speaker 1: have been done there. I think it should have gone

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Speaker 1: Halloween one, then they should have made Season of the

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Speaker 1: Witch and then kept doing anthology stuff forever. But here

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Speaker 1: we are, so let's go ahead and have let's have

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Speaker 1: the elevator pitch for this puppy, just just to get

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Speaker 1: the official plot points down. Well, okay, here you go.

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Speaker 1: It's actually pretty straightforward. Tom Atkins plays Dan Challis, a

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Speaker 1: beer chugging surgeon who joins forces with Stacy Nelkin to

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Speaker 1: investigate the mysterious assassination of her father, a humble toy

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Speaker 1: and novelty salesman, and their sleuthing leads them to a

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Speaker 1: strange company town in northern California called Santa Mira, in

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Speaker 1: which all life and culture seems to revolve around the

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Speaker 1: local Halloween mask factory. Now, that would be the more

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Speaker 1: straightforward pitch that doesn't do any spoiling. But but let

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Speaker 1: me give you the spoiler pitch because I think that

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Speaker 1: that might get our listeners more interested. And it's that

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Speaker 1: Dan O'Hara. He plays an ancient druid warlock who commands

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Speaker 1: an army of magical androids filled with frozen orange juice.

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Speaker 1: And the warlock hates children and hatches a plot to

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Speaker 1: massacre the children of America by manufacturing booby trapped Halloween

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Speaker 1: masks which contain micro chips made out of pieces of

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Speaker 1: the stone Hinge Magic Rock, which, when triggered by an

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Speaker 1: embedded signal in a TV commercial that will air on

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Speaker 1: Halloween night, shoot lasers that transformed the heads of these

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Speaker 1: children into crickets and snakes. You know, I was in

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Speaker 1: in an effort to try and understand how this film

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Speaker 1: was received when it came out. I looked up Roger

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Speaker 1: Ebert's review. Uh. Ebert said that he did not understand

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Speaker 1: what the villain was trying to accomplish, and subsequently gave

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Speaker 1: it one and a half stars. Boom. Come on, Ebert,

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Speaker 1: I love you, but you missed the mark on this one.

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Speaker 1: Um Man, you should have you should you should have

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Speaker 1: gone into rub the fur mode, and then I think

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Speaker 1: you would have understood he was it was certainly capable

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Speaker 1: of rubbing the fur. I mean, that's the weird thing

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Speaker 1: about Ebert reviews. It's like it's half the time it

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Speaker 1: feels like I'm either with him or I'm just completely

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Speaker 1: opposed to everything he's laying down about the film. But yeah, well,

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Speaker 1: I mean, so I as somebody who adores the this

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Speaker 1: this bizarre movie. Um, I get a mixed reaction when

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Speaker 1: I when I show it to people. I mean some

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Speaker 1: people I've recommended it to love it and and they're

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Speaker 1: right there on the Halloween three train with me, and

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Speaker 1: some people are like, I can't believe I watched that.

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Speaker 1: What a piece of trash and they're like mad about it.

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Speaker 1: And you know, normally I don't try to argue with

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Speaker 1: people about subjective responses to art and entertainment. I I

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Speaker 1: just don't do. I don't care. You know, if if

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Speaker 1: you don't like something I like, that's fine, vice versa.

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Speaker 1: For this is like one exception. This is one in

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Speaker 1: which I'm like, oh, okay, you didn't like it. I

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Speaker 1: guess you don't know how to have fun. Huh, all right?

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Speaker 1: The line is drawn in the sand regarding Halloween three. Um,

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Speaker 1: there was a thing I came across. I don't remember

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Speaker 1: where I read this. It might have been somewhere online,

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Speaker 1: but I found a quote where Vincent can Be the

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Speaker 1: movie critic, was talking about this movie and he described

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Speaker 1: it as quote anti children, anti capitalism, anti television, and

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Speaker 1: anti Irish all at the same time. Oh, I don't

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Speaker 1: know that if it's really anti all of those things.

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Speaker 1: Is anti at least one of those things. But but

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Speaker 1: I don't think it's particularly anti children. No, I don't

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Speaker 1: think the movies anti Well, some of the children in

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Speaker 1: it are truly obnoxious, and I think they're supposed to be.

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Speaker 1: But the villain has anti children. Oh well, well, yeah,

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Speaker 1: I guess he Obviously that doesn't mean the movie is

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Speaker 1: anti children. Usually the things that your villain hates doesn't

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Speaker 1: mean that the filmmakers hate them. Now, I just to

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Speaker 1: come back to Michael Weldon. I will read one more

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Speaker 1: quote from his his write up. He said, just to

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Speaker 1: to weigh against the anti children uh criticism quote, not

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Speaker 1: another Slasher sequel, but a fun you've far fetched new

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Speaker 1: Halloween story with a cheap title. I don't know, is

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Speaker 1: that far fetched? Um? I mean maybe not. I mean

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Speaker 1: there are aspects of this film that are not that

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Speaker 1: far fetched. I think that's one of the reasons that

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Speaker 1: that it speaks like it's not. It's there's a lot

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Speaker 1: of weird, wonky stuff going on in this film, but

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Speaker 1: at the end of the day, the idea of a

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Speaker 1: large corporation doing things that at the very least do

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Speaker 1: not have your children's best interest at heart that you know.

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Speaker 1: I mean that's I mean, turn on the news, that's

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Speaker 1: that's that's the world we live in today, and that's

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Speaker 1: the world where we we've constantly been in. Uh. So

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Speaker 1: I think this film, this film does have an intelligent

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Speaker 1: core at the heart of it. To whatever extent that

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Speaker 1: core is able to shine through the other elements of

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Speaker 1: the film, I guess you could have a discussion there. Yeah,

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Speaker 1: it's funny. So I watched this movie with the commentary

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Speaker 1: track by the director Tommy Lee Wallace, and he talks

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Speaker 1: in this about how he's like, Okay, so I was

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Speaker 1: going out to make a horror movie and and I

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Speaker 1: thought about what am I really afraid of? And he said, well,

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Speaker 1: you know, the thing that scares me more than anything

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Speaker 1: is is like surveillance and and corporate control of things

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Speaker 1: like uh, big big government and corporations and people who

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Speaker 1: want to spy on you and control your life. And

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Speaker 1: those are the things that really scare him. And uh

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Speaker 1: and he wanted that to come through in the movie.

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Speaker 1: And I say, you know what it it's a kind

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Speaker 1: of a weird fit to try to jam them that

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Speaker 1: into some kind of druid magic storyline, but that is

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Speaker 1: the film you made that you succeeded. Yeah, so they're

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Speaker 1: commenting about technology in the early eighties and and trying

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Speaker 1: to think about where we're going in a weird way,

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Speaker 1: like how I mean, what we have today is kind

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Speaker 1: of like this weird magical mash up of you know,

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Speaker 1: of of of technology and uh and and and and

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Speaker 1: pagan sorcery. So I don't think it's far off the mark.

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Speaker 1: Like if you were to explain what we have today

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Speaker 1: to uh to two ancient civilizations, they can be like, oh, yeah,

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Speaker 1: that's witchcraft. I know what that is. There are indeed

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Speaker 1: hob goblins in your content recommendation algorithm. Yeah yeah, so yeah,

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Speaker 1: you could really go down the rabbit hole, like making

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Speaker 1: a case for what this picture is saying about the

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Speaker 1: world today. You had a funny note somewhere about the

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Speaker 1: about the catchphrase for the movie or the tagline and

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Speaker 1: the teaser trailer. There are a couple different trailers for

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Speaker 1: this film, and I think we're gonna have some trailer

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Speaker 1: audio here in just a second, but there's a teaser

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Speaker 1: trailer that came out that I that I love, where

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Speaker 1: to just a tarrantula crawling out of a Halloween mask,

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Speaker 1: followed by a big, just silver logo, like a logo

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Speaker 1: that looks like it would it would be hidden in

408
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Speaker 1: your children's candy to cut their tongues with the catchphrase

409
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Speaker 1: the night no one comes home. This is like many

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Speaker 1: movie marketing taglines directly contradicted by the plot in which

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Speaker 1: rob if you'll follow along with me, The children who

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Speaker 1: would be massacred by the android druid plot in this

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Speaker 1: film would generally be at home when the massacring happens

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Speaker 1: because they have to be wearing their evil Halloween masks

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Speaker 1: and watching TV at the same time. So unless they're

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Speaker 1: out somewhere watching TV outside the home, they will come home.

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Speaker 1: They'll just they will just be killed by booby trapped

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Speaker 1: masks in the home. Yeah, I mean, because I guess

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Speaker 1: the message of the film is you should be afraid

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Speaker 1: about what's happening to your child in the home. That's

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Speaker 1: where the media is reaching them. Um. But instead the

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Speaker 1: marketers are like, well, let's just lean into the idea.

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Speaker 1: The kids are out of the house. I hope nobody's

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Speaker 1: hurting them that sort of thing. I hope the monsters

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Speaker 1: aren't getting them on the street. But even Michael Myers

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Speaker 1: in the first film, Michael Myers comes into your house.

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Speaker 1: That's the problem? Am I wrong on that? Doesn't he

428
00:22:10,440 --> 00:22:12,520
Speaker 1: come into the house? No? No, no, no he does.

429
00:22:12,640 --> 00:22:15,879
Speaker 1: I mean something. Yeah, you know, he gets you in

430
00:22:15,920 --> 00:22:21,880
Speaker 1: the houses places where you should be safe. Uh. Yeah.

431
00:22:21,960 --> 00:22:24,480
Speaker 1: This is something that I've often said about the the

432
00:22:24,560 --> 00:22:28,280
Speaker 1: distinction between the original Halloween and a lot of the

433
00:22:28,320 --> 00:22:32,040
Speaker 1: slasher movies that followed. I think that a big difference

434
00:22:32,200 --> 00:22:35,399
Speaker 1: is in their sort of moral outlook, whereas in a

435
00:22:35,400 --> 00:22:37,720
Speaker 1: lot of the slasher movies that followed, I think that

436
00:22:37,840 --> 00:22:42,040
Speaker 1: there is often a kind of uh, hastily thrown together

437
00:22:42,240 --> 00:22:44,679
Speaker 1: vulgar moralism in them. I mean, this is you know,

438
00:22:44,680 --> 00:22:47,040
Speaker 1: this has been observed and everything from Screamed. You know,

439
00:22:47,480 --> 00:22:50,439
Speaker 1: it is when the when the teenagers do something that

440
00:22:50,560 --> 00:22:53,320
Speaker 1: is perceived as sinful, they are then punished by the

441
00:22:53,359 --> 00:22:56,320
Speaker 1: killer for straying outside the bounds of the straight and

442
00:22:56,400 --> 00:22:59,679
Speaker 1: narrow life. But the original Halloween, I don't think ever,

443
00:22:59,760 --> 00:23:03,879
Speaker 1: really has that sense of vulgar punishment for sin going on,

444
00:23:03,960 --> 00:23:07,719
Speaker 1: and it instead there's there's something much more frightening and

445
00:23:08,200 --> 00:23:11,240
Speaker 1: uh and irrational about it. It's just this threat coming

446
00:23:11,280 --> 00:23:15,600
Speaker 1: in from out of nowhere and for no reason. Yeah,

447
00:23:15,680 --> 00:23:17,640
Speaker 1: and I think that's one of the things that made

448
00:23:17,680 --> 00:23:21,400
Speaker 1: it especially scary compared to the the the less scary

449
00:23:21,480 --> 00:23:24,399
Speaker 1: and more of vulgar slasher movies that would copy it

450
00:23:24,440 --> 00:23:27,399
Speaker 1: over the years. Yeah. I mean, Michael Myers is not

451
00:23:27,480 --> 00:23:30,359
Speaker 1: cackling as he does anything, uh, in a in a

452
00:23:30,400 --> 00:23:33,400
Speaker 1: weird way that that is very much in the same spirit.

453
00:23:34,160 --> 00:23:37,040
Speaker 1: Our villain here is not cackling. He's maybe smiling a bit,

454
00:23:37,680 --> 00:23:41,239
Speaker 1: like he enjoys his work, but he's not. Ultimately, his

455
00:23:41,240 --> 00:23:43,640
Speaker 1: whole grand scheme is not like I gotta make these

456
00:23:43,640 --> 00:23:47,680
Speaker 1: demons happy. It's about like this is what the planets require,

457
00:23:48,040 --> 00:23:51,720
Speaker 1: and this is what must happen, uh, just cosmically for

458
00:23:51,840 --> 00:23:55,080
Speaker 1: our planet, and therefore I am doing it and it's

459
00:23:55,119 --> 00:23:58,360
Speaker 1: going to happen um. And yeah, there's there's not really

460
00:23:58,400 --> 00:24:01,600
Speaker 1: any celebration beyond that. Yeah. I mean, what I was

461
00:24:01,640 --> 00:24:04,560
Speaker 1: thinking about the most recent viewing of this movie, I

462
00:24:04,600 --> 00:24:06,960
Speaker 1: realized that the villain of this movie is he's sort

463
00:24:07,000 --> 00:24:11,960
Speaker 1: of a corporate technological put Christ back in Christmas kind

464
00:24:11,960 --> 00:24:14,320
Speaker 1: of guy, except instead of Christmas, it's like put the

465
00:24:14,359 --> 00:24:18,440
Speaker 1: demons back in Halloween. Like he's mad that Halloween has

466
00:24:18,480 --> 00:24:22,160
Speaker 1: been turned into this, uh, this cheap commercialism where kids

467
00:24:22,200 --> 00:24:24,280
Speaker 1: just go out and have fun, when really the hills

468
00:24:24,320 --> 00:24:26,840
Speaker 1: should be running red with blood. Yes, yes, he's like

469
00:24:26,880 --> 00:24:30,000
Speaker 1: time was we just sacrificed all the children on Halloween

470
00:24:30,160 --> 00:24:33,000
Speaker 1: and now it's just about plastic masks. We're taking Halloween

471
00:24:33,040 --> 00:24:37,160
Speaker 1: back and he's disgusted by how profane our culture has become. Yes,

472
00:24:38,240 --> 00:24:40,119
Speaker 1: all right, well, on that note, let's go ahead and

473
00:24:40,160 --> 00:24:47,760
Speaker 1: have a taste of that trailer. You don't really know

474
00:24:47,920 --> 00:24:53,199
Speaker 1: much about Halloween. Halloween the body should be done between

475
00:24:53,240 --> 00:24:56,720
Speaker 1: the reeds in the un and the dead might be

476
00:24:57,200 --> 00:25:01,320
Speaker 1: in the last great one took is three thousand years

477
00:25:01,320 --> 00:25:06,520
Speaker 1: ago when the hills random red. Now do you have

478
00:25:06,600 --> 00:25:10,359
Speaker 1: to know anything about this? Cochrane? All I can tell you,

479
00:25:10,520 --> 00:25:17,320
Speaker 1: Mr watch out. He's watching you, friend. I guarantee you that. Hey,

480
00:25:17,440 --> 00:25:20,960
Speaker 1: Mr Cochrane, just what is the final process? Just gag?

481
00:25:23,560 --> 00:25:26,960
Speaker 1: I ask you, have asked just what I had in

482
00:25:27,040 --> 00:25:30,879
Speaker 1: mind for you, little buddy? Why do I need a reason?

483
00:25:32,520 --> 00:25:35,200
Speaker 1: I don't love a good joke and this is the

484
00:25:35,240 --> 00:25:39,120
Speaker 1: best ever a joke on the children. I'm glad you'll

485
00:25:39,160 --> 00:25:42,400
Speaker 1: be able to watch it. You've got to believe me

486
00:25:42,720 --> 00:25:54,720
Speaker 1: that quick killus Stop the World's going to change from

487
00:25:54,760 --> 00:26:07,679
Speaker 1: Night Doctor Happy Halloween yea Halloween three season of The

488
00:26:07,720 --> 00:26:22,680
Speaker 1: Witch at the Night No One Comes Home Age. Okay,

489
00:26:22,720 --> 00:26:25,199
Speaker 1: I guess it's time to talk about some people. All Right,

490
00:26:25,440 --> 00:26:28,840
Speaker 1: We've already mentioned uh the director Tommy Lee Wallace, but

491
00:26:28,880 --> 00:26:31,680
Speaker 1: I guess to to briefly describe a bit more about

492
00:26:31,720 --> 00:26:35,600
Speaker 1: his career. He's the writer director of of this movie,

493
00:26:36,000 --> 00:26:40,600
Speaker 1: and he had previously worked on other John Carpenter joints. Yeah,

494
00:26:40,680 --> 00:26:43,719
Speaker 1: this was his first directing credit, but it ultimately kick

495
00:26:43,760 --> 00:26:47,000
Speaker 1: started a long list of the films, including Friday Night Too.

496
00:26:47,800 --> 00:26:49,880
Speaker 1: I think you already mentioned the original and in many

497
00:26:49,880 --> 00:26:53,760
Speaker 1: ways quite excellent TV adaptation of Stephen King's It. I

498
00:26:53,760 --> 00:26:57,199
Speaker 1: mean maybe not everything on that one was was was

499
00:26:57,240 --> 00:27:01,680
Speaker 1: absolutely marvelous, but it had some wonderful and frightful elements

500
00:27:01,720 --> 00:27:05,160
Speaker 1: to it. I mean, among many other things, um Tim

501
00:27:05,200 --> 00:27:09,440
Speaker 1: Curry's fabulous performance as Pennywise the Clown. I loved Tim Curry.

502
00:27:09,520 --> 00:27:12,639
Speaker 1: Let's see he also directed uh one of He directed

503
00:27:12,640 --> 00:27:16,639
Speaker 1: a sequel to John Carpenter's Vampires, Vampire Los Mortos in

504
00:27:16,880 --> 00:27:19,240
Speaker 1: two thousand and two, which I didn't see that one,

505
00:27:19,840 --> 00:27:23,200
Speaker 1: so I did see Vampires. But but but not the sequel.

506
00:27:23,720 --> 00:27:27,240
Speaker 1: Uh um. Let's see. He also wrote the screenplay to

507
00:27:27,320 --> 00:27:29,600
Speaker 1: Fright Night too, and of course he was on the

508
00:27:29,640 --> 00:27:33,320
Speaker 1: screenplay for Halloween three. He also wrote the the screenplay

509
00:27:33,320 --> 00:27:37,280
Speaker 1: for Amityville to the Possession, which was also in nine two.

510
00:27:37,359 --> 00:27:39,800
Speaker 1: So he was really firing on all cylinders in the

511
00:27:39,800 --> 00:27:42,520
Speaker 1: early eighties. And like you said, he was a longtime

512
00:27:42,560 --> 00:27:45,360
Speaker 1: member of the Carpenter crew. Having a provided art direction

513
00:27:45,520 --> 00:27:50,119
Speaker 1: on nine seventies six is assault on precinct thirteen. Now

514
00:27:50,400 --> 00:27:53,440
Speaker 1: that we were debating earlier to what extent John Carpenter

515
00:27:53,640 --> 00:27:57,720
Speaker 1: was creatively involved in the story content of Halloween three,

516
00:27:57,760 --> 00:28:00,200
Speaker 1: I guess we weren't sure if maybe he had some

517
00:28:00,680 --> 00:28:04,000
Speaker 1: kind of uncredited writing, an uncredited work on the script.

518
00:28:04,119 --> 00:28:07,240
Speaker 1: Maybe he certainly didn't direct the movie. But he was

519
00:28:07,280 --> 00:28:11,240
Speaker 1: a producer on Halloween three. And most importantly, John Carpenter

520
00:28:11,320 --> 00:28:13,840
Speaker 1: did the music on Halloween three. And how have we

521
00:28:13,960 --> 00:28:16,800
Speaker 1: not mentioned the music yet? I would say, if there's

522
00:28:16,920 --> 00:28:21,160
Speaker 1: one thing to mention about Halloween three, it's the music. Yeah,

523
00:28:21,160 --> 00:28:25,240
Speaker 1: the music on this film is absolutely incredible. Now, to

524
00:28:25,320 --> 00:28:29,640
Speaker 1: be clear, it's it's not just Carpenter on the music here. Um,

525
00:28:29,680 --> 00:28:35,440
Speaker 1: it's it's John Carpenter and Alan Howorth, both born um Now.

526
00:28:35,480 --> 00:28:39,320
Speaker 1: Carpenter alone was a game changer and electronic film scores

527
00:28:39,400 --> 00:28:42,920
Speaker 1: and basically helped usher in an entire musical genre. Alan

528
00:28:42,960 --> 00:28:46,880
Speaker 1: Howorth collaborated with him on scores for Escape from New York,

529
00:28:47,160 --> 00:28:50,960
Speaker 1: Halloween to Halloween three, of course, Christine Big Trouble in

530
00:28:51,040 --> 00:28:55,880
Speaker 1: Little China, Prince of Darkness and They Live Um and

531
00:28:56,120 --> 00:28:59,400
Speaker 1: he Um Howarth also worked on some solo scores, and

532
00:28:59,440 --> 00:29:02,040
Speaker 1: he's done a lot of work in special effects sound design.

533
00:29:02,560 --> 00:29:04,719
Speaker 1: For instance, you can pull up various sci fi sound

534
00:29:04,800 --> 00:29:08,719
Speaker 1: databases like clip databases. Uh, they're used in various audio

535
00:29:08,840 --> 00:29:12,680
Speaker 1: and audio video video productions, and you'll find stuff by him.

536
00:29:12,800 --> 00:29:18,080
Speaker 1: Um and uh yeah, this score, oh man, this This

537
00:29:18,160 --> 00:29:20,440
Speaker 1: is not an extreme position to take in the slightest,

538
00:29:20,800 --> 00:29:23,800
Speaker 1: but I'd rank Halloween three as either the best or

539
00:29:23,880 --> 00:29:26,760
Speaker 1: one of the best scores from these two gentlemen. Um.

540
00:29:26,800 --> 00:29:29,600
Speaker 1: And I'm torn on that because I also really really

541
00:29:29,640 --> 00:29:32,360
Speaker 1: love Big Trouble and Little China's score. These are both

542
00:29:32,400 --> 00:29:37,120
Speaker 1: scores that I frequently listened to on their own. I've

543
00:29:37,240 --> 00:29:39,120
Speaker 1: listened to the scores to these films more than I've

544
00:29:39,160 --> 00:29:41,720
Speaker 1: seen the movies I I listened to the score for

545
00:29:41,760 --> 00:29:44,000
Speaker 1: Halloween three all the time. In fact, I just have

546
00:29:44,040 --> 00:29:47,880
Speaker 1: a big John Carpenter music playlist Carpenter music scores that

547
00:29:47,960 --> 00:29:51,080
Speaker 1: I listened to, especially around October, but all throughout the year.

548
00:29:51,120 --> 00:29:55,120
Speaker 1: Actually sometimes it's good productivity or mood music for me. Yeah,

549
00:29:55,160 --> 00:29:57,960
Speaker 1: I mean, I just cannot overstate how much I love

550
00:29:58,040 --> 00:30:00,600
Speaker 1: this score. It is just lead, hea B and light

551
00:30:00,680 --> 00:30:02,520
Speaker 1: is a feather. At the same time, it's got these

552
00:30:02,560 --> 00:30:06,840
Speaker 1: wonderful swelling bass synthesizers. Uh that that set the tone

553
00:30:06,880 --> 00:30:09,680
Speaker 1: for a lot of scenes. But then um, there's a

554
00:30:09,840 --> 00:30:14,040
Speaker 1: real kind of prickling lightness of of the high pitch

555
00:30:14,120 --> 00:30:18,720
Speaker 1: synthesizer leads throughout it, especially in uh in Chariot's Pumpkins,

556
00:30:18,720 --> 00:30:22,800
Speaker 1: which I probably my favorite track from UH from the soundtrack.

557
00:30:22,840 --> 00:30:26,000
Speaker 1: But You're just absolutely wonderful. Yeah, yeah, it's it's a

558
00:30:26,000 --> 00:30:29,120
Speaker 1: tremendous score. I will say when I do listen to it,

559
00:30:29,520 --> 00:30:32,080
Speaker 1: I use a playlist version of it where I've taken

560
00:30:32,080 --> 00:30:36,200
Speaker 1: out the silver shamrock jingle, which is vitally important to

561
00:30:36,240 --> 00:30:40,280
Speaker 1: the plot. But but it is not great listening because

562
00:30:40,280 --> 00:30:43,200
Speaker 1: it's supposed to be a commercial jingle. Um, we'll have

563
00:30:43,240 --> 00:30:46,360
Speaker 1: to describe that more in the plot breakdown. Yeah. But yeah,

564
00:30:46,400 --> 00:30:50,200
Speaker 1: the tremendous score, and I think that the science fiction

565
00:30:50,280 --> 00:30:54,080
Speaker 1: elements of the plot. It's I suspect that had if

566
00:30:54,120 --> 00:30:56,920
Speaker 1: Halloween three had been a Michael's Myers movie, I'm getting

567
00:30:57,120 --> 00:30:59,320
Speaker 1: I think it probably wouldn't have been as great of

568
00:30:59,360 --> 00:31:01,600
Speaker 1: a score. But because I feel like the science fiction

569
00:31:01,680 --> 00:31:05,760
Speaker 1: elements in this film gave them permission to lean more

570
00:31:05,800 --> 00:31:08,240
Speaker 1: heavily on the scnth, you know, to make it more

571
00:31:08,240 --> 00:31:11,280
Speaker 1: of an electronic score. Yes, you're right about that, and uh,

572
00:31:11,320 --> 00:31:13,360
Speaker 1: and I think that comes through in visual elements of

573
00:31:13,360 --> 00:31:16,480
Speaker 1: the movie as well. There are it is inflected with

574
00:31:16,560 --> 00:31:19,600
Speaker 1: a bit of a science fiction flavor that's not there

575
00:31:19,600 --> 00:31:22,280
Speaker 1: in the other visual influences on it, like the earlier

576
00:31:22,320 --> 00:31:26,720
Speaker 1: Carpenter movies. Um. But actually, in the Tommy Lee Wallace commentary,

577
00:31:26,760 --> 00:31:29,360
Speaker 1: I think there's one part where he says that the

578
00:31:29,360 --> 00:31:32,920
Speaker 1: the log line for the movie was witchcraft in the

579
00:31:32,960 --> 00:31:36,240
Speaker 1: computer age, And you know, I don't know if I

580
00:31:36,240 --> 00:31:38,239
Speaker 1: would have summed it up that way, but after hearing it,

581
00:31:38,280 --> 00:31:40,600
Speaker 1: I'm like, Yep, that that's exactly what this movie is.

582
00:31:41,680 --> 00:31:45,440
Speaker 1: It's like pixels and potions. Yes, Now, I think We

583
00:31:45,520 --> 00:31:49,000
Speaker 1: mentioned already that the script that Tommy Lee Wallace wrote

584
00:31:49,040 --> 00:31:52,640
Speaker 1: for this was I think it wasn't a totally original work.

585
00:31:52,680 --> 00:31:58,000
Speaker 1: It was based on an original script. Yeah, Nigel Neil

586
00:31:58,680 --> 00:32:00,760
Speaker 1: uh it was an uncredited do on this. He lived

587
00:32:01,640 --> 00:32:04,960
Speaker 1: two through two thousand and six. Um last names felled

588
00:32:05,040 --> 00:32:07,880
Speaker 1: K N E A L E. So I'm not totally

589
00:32:07,880 --> 00:32:11,200
Speaker 1: sure I'm saying that correctly, but um, but he wrote

590
00:32:11,240 --> 00:32:14,760
Speaker 1: the screenplay to the incredible nineteen sixty seven sci fi

591
00:32:14,840 --> 00:32:18,240
Speaker 1: film Quartermass and the Pit A k A. Five Million

592
00:32:18,320 --> 00:32:21,240
Speaker 1: Years to Earth, which is a is a film we

593
00:32:21,320 --> 00:32:24,120
Speaker 1: might cover on Weird House eventually because it's it's one

594
00:32:24,160 --> 00:32:27,200
Speaker 1: of these films that that has, I guess, for the

595
00:32:27,240 --> 00:32:30,200
Speaker 1: time pretty pretty cool effects, but effects that don't necessarily

596
00:32:30,240 --> 00:32:33,080
Speaker 1: hold up as well to modern viewers, I guess. But

597
00:32:33,320 --> 00:32:36,040
Speaker 1: in spite of those effects, in any shortcomings that might

598
00:32:36,080 --> 00:32:38,920
Speaker 1: be there, the film is incredible and has some wonderful

599
00:32:38,960 --> 00:32:42,600
Speaker 1: ideas and is legitimately creepy and I know influenced a

600
00:32:42,680 --> 00:32:47,040
Speaker 1: number of of of director of future directors, including John Carpenter.

601
00:32:47,120 --> 00:32:50,040
Speaker 1: He includes nods to it in films such as In

602
00:32:50,120 --> 00:32:52,320
Speaker 1: the Mouth of Madness, which is another another one of

603
00:32:52,360 --> 00:32:54,600
Speaker 1: his films that I adore. Can I tell you that

604
00:32:54,640 --> 00:32:57,680
Speaker 1: I've actually never seen in the Mouth of Madness in full.

605
00:32:57,760 --> 00:33:01,040
Speaker 1: I don't know how I made it this far, but

606
00:33:01,120 --> 00:33:06,000
Speaker 1: I'm planning on watching that this very night tonight. That's dot. Yeah,

607
00:33:06,440 --> 00:33:08,960
Speaker 1: well it's oh. I love it. I have nothing but

608
00:33:08,960 --> 00:33:11,480
Speaker 1: but great things to say about it. Spoil nothing. I

609
00:33:11,520 --> 00:33:14,240
Speaker 1: will spoil nothing but David Warners in it. I will

610
00:33:14,240 --> 00:33:20,320
Speaker 1: say that it's great. Perfect Alright, speaking of perfect, it's

611
00:33:20,360 --> 00:33:23,920
Speaker 1: time to talk about our star, Tom Atkins. Tom Atkins

612
00:33:24,000 --> 00:33:27,800
Speaker 1: plays the lead of this film. He dr Daniel Challis,

613
00:33:28,520 --> 00:33:31,520
Speaker 1: who I have before. I think this was on movie

614
00:33:31,560 --> 00:33:35,760
Speaker 1: Crush referred to Tom Atkins as Strawberry Burt Reynolds. Um.

615
00:33:35,840 --> 00:33:42,560
Speaker 1: He's he's this got this hilarious kind of masculinity. Um

616
00:33:42,600 --> 00:33:45,840
Speaker 1: that is put to wonderful effect in this ludicrous movie.

617
00:33:45,920 --> 00:33:48,800
Speaker 1: And I don't know who came up with the idea

618
00:33:48,880 --> 00:33:51,240
Speaker 1: for his character to be the way it is, or

619
00:33:51,280 --> 00:33:54,160
Speaker 1: if it was sort of a an evolving collaborative thing.

620
00:33:54,240 --> 00:33:58,160
Speaker 1: But this is a protagonist who's just everything is wrong

621
00:33:58,200 --> 00:34:01,400
Speaker 1: with him and he never stops drinking. Yeah, he's a

622
00:34:01,440 --> 00:34:05,920
Speaker 1: hard drinking, hard living um kind of a character. He's

623
00:34:06,400 --> 00:34:07,960
Speaker 1: I think a lot of it makes sense when you

624
00:34:08,000 --> 00:34:12,160
Speaker 1: realize that Tom Atkins veteran character actor born still with

625
00:34:12,239 --> 00:34:15,200
Speaker 1: us as of this recording. Um, you know, he's he's

626
00:34:15,200 --> 00:34:18,000
Speaker 1: been in a ton of films over the years, some

627
00:34:18,200 --> 00:34:22,160
Speaker 1: very good films, but he's he's often typecast as a cop,

628
00:34:22,800 --> 00:34:26,640
Speaker 1: and so he kind of plays that cliche you know,

629
00:34:26,760 --> 00:34:30,200
Speaker 1: hard living, hard drinking, um. You know, you know, tough,

630
00:34:30,719 --> 00:34:33,040
Speaker 1: tough guy cop character in this. But he's not a cop.

631
00:34:33,239 --> 00:34:36,480
Speaker 1: He's a doctor. So it's kind of like cop as

632
00:34:36,560 --> 00:34:40,120
Speaker 1: doctor tom Atkins as cop as doctor um. And it

633
00:34:40,160 --> 00:34:42,400
Speaker 1: makes it a little weird, but it works, you know,

634
00:34:42,440 --> 00:34:45,640
Speaker 1: because this is a type of role that Atkins excelled at. Yeah.

635
00:34:45,920 --> 00:34:49,680
Speaker 1: Uh yeah, it's it's it's it's hard to describe how

636
00:34:49,840 --> 00:34:53,360
Speaker 1: funny this main character is not. And he doesn't tell jokes.

637
00:34:53,400 --> 00:34:58,480
Speaker 1: I mean, he's just conceptually hilarious. Like almost every scene

638
00:34:58,520 --> 00:35:01,040
Speaker 1: when he comes into the frame him and starts talking

639
00:35:01,120 --> 00:35:05,799
Speaker 1: or doing something, I start laughing. So if you if

640
00:35:05,800 --> 00:35:09,120
Speaker 1: you're having trouble picturing Tom Atkins, he's easily recognized by

641
00:35:09,120 --> 00:35:14,320
Speaker 1: his hardy mustache and his roused our esque machismo. Um.

642
00:35:14,360 --> 00:35:16,360
Speaker 1: He shows up in a couple of key Carpenter films,

643
00:35:16,400 --> 00:35:19,000
Speaker 1: including nineteen eighties The Fog, and he has a role

644
00:35:19,040 --> 00:35:22,120
Speaker 1: in es Escape from New York, did a lot of

645
00:35:22,160 --> 00:35:24,719
Speaker 1: TV work, and it appears in some other notable weird movies,

646
00:35:24,800 --> 00:35:29,120
Speaker 1: including nineteen eighties The Ninth Configuration, which is is quite

647
00:35:29,120 --> 00:35:33,399
Speaker 1: a fascinating film, Nino Creep Show nineteen eight six Night

648
00:35:33,440 --> 00:35:36,279
Speaker 1: of the Creeps, which is great. In that Night of

649
00:35:36,320 --> 00:35:39,799
Speaker 1: the Creeps, I think that is his real That's like

650
00:35:39,920 --> 00:35:42,360
Speaker 1: the tom Atkins movie to see if you want to

651
00:35:42,360 --> 00:35:45,760
Speaker 1: see him absolutely in his element and and and working

652
00:35:45,920 --> 00:35:49,319
Speaker 1: to the max. Yeah, he's also in nineteen eight eight

653
00:35:49,480 --> 00:35:52,640
Speaker 1: Maniac Cop. Um. You know, I don't think I've ever

654
00:35:52,640 --> 00:35:55,319
Speaker 1: actually watched a Maniac cop of from beginning to end,

655
00:35:55,360 --> 00:35:58,200
Speaker 1: But I suspect tom Atkins plays a cop in that film.

656
00:35:58,480 --> 00:36:02,400
Speaker 1: Not the Maniac Cop because that's that's our man um Zadar,

657
00:36:02,600 --> 00:36:06,320
Speaker 1: but um, but I assume he plays a cop. Yeah.

658
00:36:06,520 --> 00:36:08,399
Speaker 1: One thing I want to make clear, despite the fact

659
00:36:08,440 --> 00:36:13,400
Speaker 1: that I absolutely stand by his his ambient, hilarious nous

660
00:36:13,400 --> 00:36:16,200
Speaker 1: in Halloween three and some other movies, I don't mean

661
00:36:16,200 --> 00:36:19,080
Speaker 1: that tom Atkins is a bad actor. He absolutely is not.

662
00:36:19,160 --> 00:36:24,720
Speaker 1: Like tom Atkins is wonderful. He just has this undeniable

663
00:36:24,840 --> 00:36:27,919
Speaker 1: comedic aura in Halloween three and and it's it's hard

664
00:36:27,960 --> 00:36:30,320
Speaker 1: to get under it. To describe exactly how it works,

665
00:36:30,360 --> 00:36:33,760
Speaker 1: you just have to see it. Yeah, his character is

666
00:36:33,760 --> 00:36:36,560
Speaker 1: is quite a mess. Seems to have multiple relationships going on,

667
00:36:37,200 --> 00:36:40,520
Speaker 1: um you know as uh you know, is divorced and

668
00:36:40,560 --> 00:36:45,719
Speaker 1: also has some very questionable workplace behavior. Oh, yet that

669
00:36:45,960 --> 00:36:52,080
Speaker 1: he absolutely absolutely inappropriate semi romantic relationships implied with multiple

670
00:36:52,080 --> 00:36:56,520
Speaker 1: other characters. Um, but as well, character that's Daniel chellis

671
00:36:56,520 --> 00:36:58,960
Speaker 1: not Tom Sass. Now. One of these women that he

672
00:36:58,960 --> 00:37:02,040
Speaker 1: has a relationship with is our our female lead, uh,

673
00:37:02,080 --> 00:37:05,080
Speaker 1: and that is the character Ellie grim Bridge played by

674
00:37:05,360 --> 00:37:09,160
Speaker 1: Stacy Nelkin. This, this is also one of the weirdest

675
00:37:09,200 --> 00:37:13,160
Speaker 1: things about this movie. There is an absolutely baffling and

676
00:37:13,280 --> 00:37:17,520
Speaker 1: inappropriate romance that goes on between our main two characters,

677
00:37:17,920 --> 00:37:22,759
Speaker 1: makes comes out of nowhere, makes absolutely no sense. Yeah, yeah,

678
00:37:23,560 --> 00:37:26,520
Speaker 1: I don't. I can't imagine who looked at the you know,

679
00:37:26,560 --> 00:37:29,759
Speaker 1: the the dailies and said, yeah, this works works great,

680
00:37:29,840 --> 00:37:34,040
Speaker 1: let's keep it as a real chemistry. Melkin was born

681
00:37:34,080 --> 00:37:36,800
Speaker 1: in nineteen fifty nine. She was also in Graham Chapman's

682
00:37:36,880 --> 00:37:41,239
Speaker 1: Yellow Beard. The following year, she was in Bullets Over Broadway,

683
00:37:41,360 --> 00:37:45,280
Speaker 1: she was in the Tony Danza eight movie Going eight,

684
00:37:45,719 --> 00:37:48,200
Speaker 1: and she did a lot of TV work, including Star Trek,

685
00:37:48,239 --> 00:37:53,200
Speaker 1: The Next Generation and a role on the soap opera Generations. Uh,

686
00:37:53,680 --> 00:37:56,840
Speaker 1: this is funny. To go back to um Roger Ebert's review,

687
00:37:56,960 --> 00:38:00,719
Speaker 1: he wrote the one saving grace in Halloween three is

688
00:38:00,760 --> 00:38:03,600
Speaker 1: Stacy Nelkin, who plays the heroine. She has one of

689
00:38:03,680 --> 00:38:06,279
Speaker 1: those rich voices that makes you wish she had more

690
00:38:06,320 --> 00:38:08,799
Speaker 1: to say and in a better role. But watch her

691
00:38:08,840 --> 00:38:12,800
Speaker 1: too in the reaction shots when she's not talking, she's listening.

692
00:38:13,080 --> 00:38:16,239
Speaker 1: She has a kind of wrapped yet humorous attention that

693
00:38:16,320 --> 00:38:20,160
Speaker 1: I thought was really fetching. I mean, no offense to

694
00:38:20,239 --> 00:38:23,359
Speaker 1: Stacy Nelkin, like she's She's fun in this, but I'm

695
00:38:23,360 --> 00:38:25,319
Speaker 1: not sure I quite understand what he's talking about in

696
00:38:25,360 --> 00:38:28,759
Speaker 1: the reaction shots. However, one thing I really do want

697
00:38:28,760 --> 00:38:31,520
Speaker 1: to give Stacy Nelkin immense credit for in this movie

698
00:38:32,000 --> 00:38:35,400
Speaker 1: is how she handles the final twist in in the movie,

699
00:38:35,400 --> 00:38:38,520
Speaker 1: which should we spoil it, I'll go ahead, whatever, Okay,

700
00:38:38,640 --> 00:38:41,480
Speaker 1: so you know the whole movie, no indication of this whatsoever,

701
00:38:41,520 --> 00:38:43,799
Speaker 1: I mean, not even the slightest clue that this might

702
00:38:43,840 --> 00:38:46,239
Speaker 1: be coming. Uh, turns out of the very end our

703
00:38:46,320 --> 00:38:49,719
Speaker 1: our second lead character is a robot. She's just an

704
00:38:49,719 --> 00:38:53,480
Speaker 1: android and attacks Tom Atkins in a car and tries

705
00:38:53,520 --> 00:38:55,760
Speaker 1: to kill him, and like she gets her head twisted

706
00:38:55,800 --> 00:38:57,719
Speaker 1: off and gets torn to pieces and stuff and is

707
00:38:57,760 --> 00:39:00,799
Speaker 1: still acting and trying squirting out or in juice and

708
00:39:00,800 --> 00:39:04,520
Speaker 1: and trying to kill tom Atkins. And uh, and I mean, yeah,

709
00:39:05,480 --> 00:39:09,160
Speaker 1: thumbs up, thumbs up for this this android killer performance. Now,

710
00:39:09,160 --> 00:39:10,600
Speaker 1: did you take it to me that she had been

711
00:39:10,640 --> 00:39:13,680
Speaker 1: in robot the entire time? Because I could findtioned that

712
00:39:13,719 --> 00:39:17,480
Speaker 1: she had been replaced at some point. I didn't know either. Okay,

713
00:39:17,520 --> 00:39:19,880
Speaker 1: So I've seen this movie tons of times and I

714
00:39:19,920 --> 00:39:23,400
Speaker 1: have never figured that out. Is she an android the

715
00:39:23,560 --> 00:39:26,880
Speaker 1: entire movie or does she become an android at some point?

716
00:39:27,000 --> 00:39:30,440
Speaker 1: I don't know. There's some questions about the programming no

717
00:39:30,440 --> 00:39:33,520
Speaker 1: matter which way it falls, though. Yeah. I should also

718
00:39:33,520 --> 00:39:35,719
Speaker 1: point out that Ebert also singled her out as the

719
00:39:35,760 --> 00:39:38,560
Speaker 1: only good thing about yellow Beard, you know, quote a

720
00:39:38,600 --> 00:39:41,040
Speaker 1: fetching performance. So he was a big fan. Well he

721
00:39:41,080 --> 00:39:46,440
Speaker 1: said fetching twice. Well, uh, in two different reviews. Yes, Okay,

722
00:39:47,040 --> 00:39:52,719
Speaker 1: Roger Robert has been fetched alright, let's talk again about

723
00:39:52,719 --> 00:39:56,600
Speaker 1: our villain, our fabulous villain, a villain who really when

724
00:39:56,600 --> 00:40:00,279
Speaker 1: you start talking about about villains and horror film and

725
00:40:00,360 --> 00:40:03,439
Speaker 1: ones that become franchisees in and off themselves, like this

726
00:40:03,520 --> 00:40:06,240
Speaker 1: is this is one that they would have worked. Uh

727
00:40:06,480 --> 00:40:08,279
Speaker 1: if they really wanted to milk this, if this had

728
00:40:08,320 --> 00:40:10,760
Speaker 1: been a financial success, and they're like, yes, more season

729
00:40:10,800 --> 00:40:13,120
Speaker 1: of the Witch, season of the Witch to please, Uh,

730
00:40:13,120 --> 00:40:15,399
Speaker 1: then you might have had to bring him back one

731
00:40:15,400 --> 00:40:18,040
Speaker 1: way or another. Oh yeah, yeah, it doesn't matter. If

732
00:40:18,080 --> 00:40:20,040
Speaker 1: we chopped his head off and he burned him into

733
00:40:20,080 --> 00:40:22,680
Speaker 1: a pile of ashes, he's got to come back, like

734
00:40:22,680 --> 00:40:26,320
Speaker 1: like Michael Myers. Yeah, this is again. Dan o'harla hey

735
00:40:26,360 --> 00:40:31,680
Speaker 1: playing Connal Cochrane um harla hey was born nineteen nineteen

736
00:40:31,760 --> 00:40:34,640
Speaker 1: died in two thousand and five. Uh. The old Man

737
00:40:34,760 --> 00:40:38,799
Speaker 1: himself an Irish actor and eventual naturalized US citizen who

738
00:40:38,800 --> 00:40:40,840
Speaker 1: worked on the on the stage and then on the screen.

739
00:40:41,520 --> 00:40:43,960
Speaker 1: One of his first big roles was playing McDuff and

740
00:40:44,120 --> 00:40:49,560
Speaker 1: orson welles eight adaptation of Macbeth. I've seen that one

741
00:40:49,600 --> 00:40:53,040
Speaker 1: has been a long time, but yeah, Wells himself played Macbeth,

742
00:40:53,320 --> 00:40:57,600
Speaker 1: and the cast also features Roddy McDowell and Alan Napier. Interesting,

743
00:40:57,640 --> 00:41:00,600
Speaker 1: I've never seen that one that's good and back and white,

744
00:41:00,680 --> 00:41:04,279
Speaker 1: very very atmospheric. Um. Yeah, I think I took a

745
00:41:04,320 --> 00:41:07,040
Speaker 1: Shakespeare course in college and we ended up watching a

746
00:41:07,080 --> 00:41:10,400
Speaker 1: whole bunch of McBeth adaptations and that was one of them. Yeah.

747
00:41:10,520 --> 00:41:13,240
Speaker 1: So the main thing I know Dan O'Hurley he from

748
00:41:13,440 --> 00:41:16,480
Speaker 1: is RoboCop, in which he plays the old man, the

749
00:41:16,960 --> 00:41:18,880
Speaker 1: I don't know, the president or the CEO of O

750
00:41:19,080 --> 00:41:22,120
Speaker 1: c P. The evil corporations trying to buy up Detroit

751
00:41:22,280 --> 00:41:24,799
Speaker 1: in uh in RoboCop, and he's the guy in the

752
00:41:24,840 --> 00:41:27,360
Speaker 1: board meeting where he says Detroit has a cancer and

753
00:41:27,360 --> 00:41:31,400
Speaker 1: the cancer is crime. Yeah. He, I mean he especially

754
00:41:32,080 --> 00:41:34,359
Speaker 1: as an older actor, he really did a great job

755
00:41:34,400 --> 00:41:37,879
Speaker 1: playing the kind of suit villain and in this he's

756
00:41:37,960 --> 00:41:42,839
Speaker 1: essentially a corporate suit but with this warlock twist to him.

757
00:41:43,000 --> 00:41:45,440
Speaker 1: So it's, uh, it stands a little bit apart from

758
00:41:45,480 --> 00:41:48,160
Speaker 1: these other roles that he was in, but uh, but

759
00:41:48,200 --> 00:41:50,239
Speaker 1: there's still a bit of the old man there as well.

760
00:41:50,600 --> 00:41:52,960
Speaker 1: You know, Halloween three kind of shares a little bit

761
00:41:52,960 --> 00:41:56,400
Speaker 1: of thematic DNA with RoboCop. Yeah, I mean, they're emerging

762
00:41:56,480 --> 00:42:00,120
Speaker 1: from uh, you know, the same time period basically though

763
00:42:00,160 --> 00:42:04,319
Speaker 1: it makes sense. Um both commenting to some degree on

764
00:42:04,400 --> 00:42:07,760
Speaker 1: some of the same things. Yeah, like technology and corporate

765
00:42:07,800 --> 00:42:12,120
Speaker 1: control or the villains though in weird abstracted sci fi

766
00:42:12,520 --> 00:42:16,640
Speaker 1: or or supernatural ways. Yeah. So her the Hey did

767
00:42:16,680 --> 00:42:19,759
Speaker 1: a wide variety of films in his career, touching on

768
00:42:20,040 --> 00:42:22,319
Speaker 1: so many different genres. He started looking through it like

769
00:42:22,440 --> 00:42:26,840
Speaker 1: this man did Western sci fi. He did true swashbucklers

770
00:42:26,880 --> 00:42:30,120
Speaker 1: back in the day when like swashbucklers were a dependable thing.

771
00:42:30,600 --> 00:42:33,319
Speaker 1: He was in war films and uh, of course he

772
00:42:33,400 --> 00:42:36,200
Speaker 1: was in red scare movies as well. Uh. He was

773
00:42:36,280 --> 00:42:40,280
Speaker 1: an Invasion USA from ninety two, which it was actually

774
00:42:40,320 --> 00:42:42,600
Speaker 1: feature on the NST three K And I know I've

775
00:42:42,640 --> 00:42:44,880
Speaker 1: seen it, but I don't remember much about it. I

776
00:42:44,880 --> 00:42:47,200
Speaker 1: think if I went back and watch it again, I

777
00:42:47,239 --> 00:42:50,000
Speaker 1: would have to. Uh, I would have to. I would

778
00:42:50,040 --> 00:42:51,000
Speaker 1: have to. I feel like I want to see it

779
00:42:51,040 --> 00:42:54,440
Speaker 1: again just to see him in it. Um. Wait, is

780
00:42:54,480 --> 00:42:57,880
Speaker 1: Invasion USA not also the title of a like Chuck

781
00:42:57,960 --> 00:43:01,160
Speaker 1: Norris movie were a bunch of communeists invade the United

782
00:43:01,200 --> 00:43:04,200
Speaker 1: States and had scenes shot at that mall in Atlanta.

783
00:43:04,480 --> 00:43:06,719
Speaker 1: Could be I'm not that I'm not really familiar with

784
00:43:06,719 --> 00:43:09,319
Speaker 1: that picture. This one is fifty two film that has

785
00:43:09,560 --> 00:43:11,359
Speaker 1: I think a lot of stock footage in like an

786
00:43:11,400 --> 00:43:14,279
Speaker 1: alarming amount of stock footage. Oh yeah, okay, I was right.

787
00:43:14,320 --> 00:43:17,200
Speaker 1: The Invasion USA. I guess it was either either got

788
00:43:17,200 --> 00:43:19,799
Speaker 1: a remake or there was another movie of the same

789
00:43:19,920 --> 00:43:23,280
Speaker 1: name starring Chuck Norris, came out in nineteen eighty five,

790
00:43:23,360 --> 00:43:28,920
Speaker 1: directed by Joseph Zo, also starring Richard Lynch and uh

791
00:43:29,200 --> 00:43:32,239
Speaker 1: and Billy Drago and I'm sure some other I bet

792
00:43:32,320 --> 00:43:35,480
Speaker 1: Billy Drago plays a communist, but yeah, it's like a

793
00:43:35,480 --> 00:43:42,160
Speaker 1: common rist. Invasion plays a patriot. M sent me right, No,

794
00:43:42,400 --> 00:43:47,960
Speaker 1: he plays somebody named Mikhail Rosto. Of course he does. Yeah,

795
00:43:48,239 --> 00:43:50,239
Speaker 1: I've I've it's been a long time since I've seen

796
00:43:50,280 --> 00:43:51,520
Speaker 1: that one. I don't know if I've ever seen the

797
00:43:51,520 --> 00:43:55,080
Speaker 1: fifties version. Dan Oh the Hey play played a number

798
00:43:55,120 --> 00:43:57,560
Speaker 1: of different characters, and note I mean he was. He

799
00:43:57,640 --> 00:44:00,000
Speaker 1: was the lead in the nineteen four adaptation of Rob

800
00:44:00,040 --> 00:44:04,439
Speaker 1: Vincent Crusoe. He played Dr Caligari in a nineteen two

801
00:44:04,480 --> 00:44:08,920
Speaker 1: adaptation by Roger Kay. He played the good guy alien

802
00:44:08,960 --> 00:44:12,160
Speaker 1: grig in Night Is the Last Starfighter. He was on

803
00:44:12,680 --> 00:44:16,520
Speaker 1: Peaks sorry. I remember I watched a taped version of

804
00:44:16,520 --> 00:44:18,479
Speaker 1: The Last Starfighter a lot when I was a kid,

805
00:44:18,719 --> 00:44:21,759
Speaker 1: tape top TV, and Uh, yeah, that was him, wasn't it.

806
00:44:22,000 --> 00:44:25,560
Speaker 1: Yeah yeah. I found a hilarious photo online of him

807
00:44:25,920 --> 00:44:30,840
Speaker 1: and in full like Monster Alien uh costume, but also

808
00:44:31,000 --> 00:44:33,680
Speaker 1: standing in front of a bookshelf holding a pipe in

809
00:44:33,719 --> 00:44:35,680
Speaker 1: his hand. I could it's been a long time. That

810
00:44:35,760 --> 00:44:37,680
Speaker 1: might actually be a still from the movie, and I

811
00:44:37,719 --> 00:44:41,360
Speaker 1: just don't remember it, but it looks pretty hilarious. I

812
00:44:41,400 --> 00:44:44,320
Speaker 1: don't think that's in the movie. I don't think Grigg

813
00:44:44,360 --> 00:44:46,600
Speaker 1: ever comes to earth that I recall, is it not?

814
00:44:46,800 --> 00:44:49,040
Speaker 1: It's been so long, Like if you told me, oh yeah,

815
00:44:49,080 --> 00:44:52,480
Speaker 1: there's like an hour's worth of footage where Grigg sneaks

816
00:44:52,480 --> 00:44:54,680
Speaker 1: around the home of the kid's hometown and they like

817
00:44:55,000 --> 00:44:57,880
Speaker 1: buy fast food and go on an adventure at an arcade,

818
00:44:57,880 --> 00:45:00,040
Speaker 1: I would be like, Okay, that sounds like some and

819
00:45:00,080 --> 00:45:02,719
Speaker 1: you coul see at the time. The basic plot for

820
00:45:03,440 --> 00:45:06,279
Speaker 1: uh the kid, the kid, the main kid in it.

821
00:45:06,360 --> 00:45:08,680
Speaker 1: He's like good at the arcade video game and it

822
00:45:08,680 --> 00:45:11,200
Speaker 1: turns out it's a the arcade cabinet there has been

823
00:45:11,239 --> 00:45:14,239
Speaker 1: placed by an armada of space fleets that are that

824
00:45:14,280 --> 00:45:17,239
Speaker 1: are like looking for talent throughout the galaxies for pilots.

825
00:45:17,600 --> 00:45:19,719
Speaker 1: And he gets kidnapped into space by the guy who

826
00:45:19,760 --> 00:45:23,160
Speaker 1: plays the music man, and uh then he has to

827
00:45:23,200 --> 00:45:25,640
Speaker 1: go in space and and uh Greg is his co

828
00:45:25,760 --> 00:45:28,239
Speaker 1: pilot and they fly around and fight something called the

829
00:45:28,239 --> 00:45:31,920
Speaker 1: code in Armada. I remember having a lot of really

830
00:45:31,960 --> 00:45:35,640
Speaker 1: cool at the time. Anyway, really cool evil aliens in it.

831
00:45:35,840 --> 00:45:38,520
Speaker 1: Oh yeah, totally. Anyway, he has a ton of credits.

832
00:45:38,840 --> 00:45:40,560
Speaker 1: We could just go on and on. He worked a

833
00:45:40,600 --> 00:45:43,840
Speaker 1: lot his uh he had I think he had a

834
00:45:43,920 --> 00:45:46,719
Speaker 1: number of children, including a son by the name of

835
00:45:46,760 --> 00:45:50,520
Speaker 1: Gavin o'harlahy who appeared in such films as Willow. So

836
00:45:50,560 --> 00:45:53,720
Speaker 1: if you if you happen to rewatch Willow anytime soon.

837
00:45:54,160 --> 00:45:56,520
Speaker 1: This is the guy with the blonde beard, the strawberry

838
00:45:56,560 --> 00:46:00,960
Speaker 1: beard guy. Um that that is um sort a minor

839
00:46:01,160 --> 00:46:05,359
Speaker 1: second level hero in it. Uh yeah, that's that's that's

840
00:46:05,360 --> 00:46:07,800
Speaker 1: the old man's son. I had no idea. So, I

841
00:46:07,840 --> 00:46:10,320
Speaker 1: mean those are the main cast members, but we have

842
00:46:10,400 --> 00:46:12,560
Speaker 1: are have a few other just to roll through here.

843
00:46:12,880 --> 00:46:17,040
Speaker 1: Jonathan Carey, who plays Starker, is in this. Uh. This

844
00:46:17,080 --> 00:46:19,000
Speaker 1: is a guy that just popped up. He played the

845
00:46:19,040 --> 00:46:21,480
Speaker 1: Colonel in in both Return of the Living Dead and

846
00:46:21,640 --> 00:46:25,360
Speaker 1: its sequel. Uh, there's Al Berry who plays the character

847
00:46:25,480 --> 00:46:30,160
Speaker 1: Harry grim Bridge. This is our our heroine's uh father. Uh.

848
00:46:30,160 --> 00:46:32,560
Speaker 1: This is the doom and Papa who dies trying to

849
00:46:32,600 --> 00:46:35,320
Speaker 1: save the world from Halloween mass pagan gods and robots.

850
00:46:35,480 --> 00:46:40,200
Speaker 1: He was also in ve Reanimator and appeared alongside Daniel

851
00:46:40,239 --> 00:46:43,560
Speaker 1: her Lay in The Last Starfighter. Now there's almost kind

852
00:46:43,560 --> 00:46:47,720
Speaker 1: of a cameo performance in this movie by by Nancy

853
00:46:47,880 --> 00:46:51,040
Speaker 1: Kai Is also known as Nancy Loomis. Uh. You might

854
00:46:51,080 --> 00:46:54,520
Speaker 1: remember her from the original Halloween, in which she plays

855
00:46:54,560 --> 00:46:57,640
Speaker 1: Any Brackett as she I think she's billed as Nancy

856
00:46:57,680 --> 00:47:00,120
Speaker 1: Loomis in that one. She was born ninety nine, and

857
00:47:00,760 --> 00:47:03,440
Speaker 1: I love her in Halloween, and I always wished she

858
00:47:03,480 --> 00:47:06,640
Speaker 1: had been in more movies because I don't know she

859
00:47:06,640 --> 00:47:09,920
Speaker 1: She's just got like a real fun, kind of cool,

860
00:47:10,040 --> 00:47:13,720
Speaker 1: acerbic attitude. And she only did about a half dozen

861
00:47:13,719 --> 00:47:16,560
Speaker 1: movies or so, and more than half of those are

862
00:47:17,080 --> 00:47:20,160
Speaker 1: Carpenter movies or Carpenter associated movies. So she was in

863
00:47:20,200 --> 00:47:24,719
Speaker 1: Halloween the Fog Assault on Precinct thirteen and in this

864
00:47:24,800 --> 00:47:27,319
Speaker 1: movie she makes a brief appearance at the beginning as

865
00:47:27,400 --> 00:47:32,000
Speaker 1: Tom Atkins abrasive ex wife, and she she's funny in

866
00:47:32,120 --> 00:47:34,160
Speaker 1: a little bit of screen time that she has very

867
00:47:34,239 --> 00:47:37,120
Speaker 1: much like you know, oh brother, she's just not very

868
00:47:37,160 --> 00:47:41,720
Speaker 1: impressed by Tom Atkins. Um. But the actress Nancy kais

869
00:47:42,000 --> 00:47:44,960
Speaker 1: after she mostly got out of film, I looked up

870
00:47:44,960 --> 00:47:47,880
Speaker 1: her her post Hollywood career, and among other things, I

871
00:47:47,880 --> 00:47:51,400
Speaker 1: found out she is a sculpture artist, and so I

872
00:47:51,440 --> 00:47:54,960
Speaker 1: found a gallery of sculpture that she did, all in

873
00:47:55,000 --> 00:47:58,960
Speaker 1: the medium of garbage. So these are sculptures. Images were

874
00:47:59,000 --> 00:48:03,640
Speaker 1: hosted on the Pomona College Museum website and I think

875
00:48:03,640 --> 00:48:06,640
Speaker 1: this is from the year nineteen and so you can

876
00:48:06,680 --> 00:48:08,880
Speaker 1: look up these, uh if you do a Google search

877
00:48:08,920 --> 00:48:11,280
Speaker 1: for them, and I think they look pretty cool. There's

878
00:48:11,320 --> 00:48:14,120
Speaker 1: like one that is a bunch of garbage making what

879
00:48:14,200 --> 00:48:16,560
Speaker 1: looks like it's some kind of giant leg. It's like

880
00:48:16,600 --> 00:48:19,160
Speaker 1: a thigh with a calf and a and a big

881
00:48:19,520 --> 00:48:21,719
Speaker 1: and a big robody kind of foot. And then this

882
00:48:22,000 --> 00:48:24,479
Speaker 1: this beetle board looking thing. I don't know how really

883
00:48:24,520 --> 00:48:27,840
Speaker 1: to describe it. It is this, uh, I don't know,

884
00:48:28,040 --> 00:48:31,319
Speaker 1: robot type thing with like an insect carapist body, but

885
00:48:31,360 --> 00:48:34,400
Speaker 1: it's all made out of trash. Yeah, I had not

886
00:48:34,480 --> 00:48:36,319
Speaker 1: seen these before, but these are these are great. I

887
00:48:36,360 --> 00:48:40,680
Speaker 1: love this genre of sculpture. They're like taking um refuse

888
00:48:40,840 --> 00:48:44,880
Speaker 1: and our garbage, recycled materials and then recreating something artistically

889
00:48:44,880 --> 00:48:47,239
Speaker 1: out of it. I was actually at a museum this

890
00:48:47,280 --> 00:48:50,239
Speaker 1: morning and there was an exhibit where an artist was

891
00:48:50,320 --> 00:48:53,319
Speaker 1: utilizing things of this nature um in this case, uh

892
00:48:53,800 --> 00:48:57,720
Speaker 1: like oil drums, ammunition canisters, barbed wire, and they were

893
00:48:57,760 --> 00:48:59,919
Speaker 1: you know, created. I think they created this huge snap

894
00:49:00,400 --> 00:49:04,400
Speaker 1: in this piece called not a Snake where anyway, you know,

895
00:49:04,600 --> 00:49:08,759
Speaker 1: similar technique to a certain degree. Uh. So, So I

896
00:49:08,800 --> 00:49:10,200
Speaker 1: love this kind of work. If I if I had

897
00:49:10,200 --> 00:49:13,800
Speaker 1: the chance to see this particular artist work in person,

898
00:49:13,840 --> 00:49:18,520
Speaker 1: I would jump at the chance. Yeah, Sidney Pound Snake alright, Uh,

899
00:49:18,680 --> 00:49:20,919
Speaker 1: Dick Warlock is in this, so we have to mention him.

900
00:49:21,320 --> 00:49:24,319
Speaker 1: Dick Warlock. Dick Warlock is the man. He plays an

901
00:49:24,320 --> 00:49:28,760
Speaker 1: android assassin, a pretty big role for Dick Warlock. Actually,

902
00:49:28,800 --> 00:49:31,480
Speaker 1: it's a note one of the more notable android assassins

903
00:49:31,480 --> 00:49:33,799
Speaker 1: in the picture. There's a really good scene where Tom

904
00:49:33,800 --> 00:49:36,480
Speaker 1: Atkins punches him in the stomach and then pulls out

905
00:49:36,640 --> 00:49:39,400
Speaker 1: his robot guts a bunch of wires and stuff, and

906
00:49:39,440 --> 00:49:42,640
Speaker 1: he spits frozen orange juice all over the place. Yeah,

907
00:49:42,640 --> 00:49:46,960
Speaker 1: the androids are great in this because they're they're basically indestructible,

908
00:49:47,000 --> 00:49:50,840
Speaker 1: but also entirely they're way too fragile as well, so

909
00:49:51,200 --> 00:49:54,040
Speaker 1: they're they're hard to kill. They're super strong, but the

910
00:49:54,120 --> 00:49:58,440
Speaker 1: least little thing can can actually undo them. Alright. Another

911
00:49:58,480 --> 00:50:01,680
Speaker 1: actor of note, Patty Edwards, plays a secretary, and then

912
00:50:01,680 --> 00:50:05,600
Speaker 1: she did a lot of TV work and also some

913
00:50:05,760 --> 00:50:09,160
Speaker 1: very notable voice acting roles later in her In her career,

914
00:50:09,480 --> 00:50:12,239
Speaker 1: she's the voice of the eels, Flotsam and Jetsam in

915
00:50:12,400 --> 00:50:16,759
Speaker 1: Walt Disney's The Little Mermaid, and she also plays the

916
00:50:16,800 --> 00:50:21,840
Speaker 1: fate Atropos in Disney's Hercules. Interestingly enough, she also played

917
00:50:21,840 --> 00:50:25,000
Speaker 1: Bull Shannon's mom on Night Court, so she played Richard

918
00:50:25,080 --> 00:50:29,560
Speaker 1: Mole's mom. Oh interesting, taking a spec to what was that?

919
00:50:30,360 --> 00:50:32,799
Speaker 1: Uh God, what was that movie called that? He was

920
00:50:32,840 --> 00:50:40,719
Speaker 1: in a Destruction of of Jared Jedson? Yes, yeah, metal Storm. Oh.

921
00:50:40,800 --> 00:50:44,200
Speaker 1: Now we mentioned how Michael Myers is technically in the movie. Well,

922
00:50:44,360 --> 00:50:47,160
Speaker 1: Jamie Lee Curtis is also technically in the movie. She

923
00:50:47,200 --> 00:50:50,880
Speaker 1: has a fun cameo as both a curfew announcer in

924
00:50:50,960 --> 00:50:54,480
Speaker 1: the creepy Heat Company Town, but also as a telephone operator.

925
00:50:54,800 --> 00:50:57,440
Speaker 1: Oh yeah, so just a voice cameo. Yeah, in the

926
00:50:57,440 --> 00:51:00,600
Speaker 1: same way that Michael Myers only appears on TV. Oh

927
00:51:00,760 --> 00:51:02,799
Speaker 1: you know, another thing worth noting about this film is

928
00:51:02,800 --> 00:51:07,359
Speaker 1: the cinematographer. It's Dean Cundy. Of course. Now we don't

929
00:51:07,400 --> 00:51:09,359
Speaker 1: have to go in great detail on Dean Cundy because

930
00:51:09,360 --> 00:51:11,920
Speaker 1: we've gushed about Dean Cundy before. I think we probably

931
00:51:11,920 --> 00:51:14,320
Speaker 1: spent half of the episode we did on Without Warning

932
00:51:14,320 --> 00:51:18,400
Speaker 1: talking about Dean Cundy. Um. The the Dean Cundy is

933
00:51:18,440 --> 00:51:23,399
Speaker 1: a wonderful cinematographer, and I think he is to a

934
00:51:23,520 --> 00:51:29,239
Speaker 1: great extent responsible. He's partially or maybe even mostly, the

935
00:51:29,280 --> 00:51:32,160
Speaker 1: answer to the question of how come even though this

936
00:51:32,200 --> 00:51:35,640
Speaker 1: movie wasn't directed by John Carpenter, it feels like it

937
00:51:35,719 --> 00:51:39,560
Speaker 1: feels like the bull's eye for that that John Carpenter feeling.

938
00:51:39,960 --> 00:51:44,600
Speaker 1: And it's because of the Dean Cundy. Look. Yeah Cundy,

939
00:51:44,840 --> 00:51:48,200
Speaker 1: Um yeah, you'll remember us praising him on nineteen eighties

940
00:51:48,239 --> 00:51:50,439
Speaker 1: Without Warning. But yeah, he worked on such films later

941
00:51:50,480 --> 00:51:53,120
Speaker 1: on as Jurassic Park Apollo thirteen, So he was a

942
00:51:53,120 --> 00:51:56,200
Speaker 1: big deal. Yeah, not just horror and John Carpenter stuff

943
00:51:56,239 --> 00:51:58,840
Speaker 1: like he went on to to do some do a

944
00:51:58,840 --> 00:52:01,359
Speaker 1: lot of mainstream Hollywood would work, but always Yeah, he's

945
00:52:01,400 --> 00:52:04,359
Speaker 1: just got great distinctive visual style. I've got some more

946
00:52:04,400 --> 00:52:08,160
Speaker 1: thoughts about his influence on on how this movie feels

947
00:52:08,200 --> 00:52:10,640
Speaker 1: in a bit here. I was kind of surprised to

948
00:52:10,680 --> 00:52:13,520
Speaker 1: see that Ralph Baksh has a credit on this. This

949
00:52:13,600 --> 00:52:17,440
Speaker 1: is the in the quote unquote animation department of this film,

950
00:52:17,560 --> 00:52:21,120
Speaker 1: um Box. She of course is a legendary American animator

951
00:52:21,160 --> 00:52:25,319
Speaker 1: who gave us Fritz the Cat, Wizards and The Lord

952
00:52:25,360 --> 00:52:28,919
Speaker 1: of the Rings and oh Fire and Ice as well.

953
00:52:29,360 --> 00:52:32,799
Speaker 1: But I'm not totally sure on this, but apparently one

954
00:52:32,840 --> 00:52:35,560
Speaker 1: of the cartoons that's playing on the TV in the

955
00:52:35,560 --> 00:52:39,000
Speaker 1: bar again along with like a trailer for Halloween one

956
00:52:39,120 --> 00:52:43,280
Speaker 1: or something, um that apparently is one of his cartoons playing,

957
00:52:43,360 --> 00:52:45,280
Speaker 1: And so maybe that's all he did on this film.

958
00:52:45,320 --> 00:52:50,520
Speaker 1: That's I can't imagine where else his fingerprints would be. Yeah,

959
00:52:50,560 --> 00:52:52,760
Speaker 1: I remember, what does it? It's like there's a plant

960
00:52:52,960 --> 00:52:56,960
Speaker 1: dancing around and making blank blank sound effects. Yeah, Okay,

961
00:52:57,200 --> 00:53:07,719
Speaker 1: there you go. Now, this is generally the point in

962
00:53:07,760 --> 00:53:09,880
Speaker 1: the connection to where we talk about the score. But

963
00:53:09,880 --> 00:53:12,360
Speaker 1: we've already talked about the score and the people responsible

964
00:53:12,400 --> 00:53:15,000
Speaker 1: for it. So instead of talking about it even more,

965
00:53:15,560 --> 00:53:17,640
Speaker 1: let's just go ahead and hear a little bit from it.

966
00:53:17,719 --> 00:53:21,160
Speaker 1: This is a taste of of the Chariots of Pumpkins.

967
00:53:31,600 --> 00:53:34,279
Speaker 1: Is that a take on Chariots of Fire Chariots? I

968
00:53:34,320 --> 00:53:38,440
Speaker 1: believe it is. Yes, Okay, not that it particularly sounds

969
00:53:38,480 --> 00:53:40,880
Speaker 1: like it, but I guess that was the that was

970
00:53:40,920 --> 00:53:45,759
Speaker 1: the inspiration. They were inspired by. Evangelists. Well, I think

971
00:53:45,760 --> 00:53:49,759
Speaker 1: they've surpassed their their inspiration. Vangelist is great. He just

972
00:53:49,760 --> 00:53:52,080
Speaker 1: put out a new album of space music. By the way,

973
00:53:52,160 --> 00:53:54,800
Speaker 1: I've been listening to it. It's super great. Not knocking

974
00:53:54,840 --> 00:53:58,120
Speaker 1: on evangelists, I'm just saying, like, for me, Halloween three

975
00:53:58,280 --> 00:54:01,080
Speaker 1: cannot be beat. Yeah, don't think vanjel has ever did

976
00:54:01,080 --> 00:54:04,600
Speaker 1: a horror score though. That's the real kicker. So I

977
00:54:04,640 --> 00:54:06,919
Speaker 1: guess we Yeah, we should do a sort of full

978
00:54:06,960 --> 00:54:09,120
Speaker 1: plot breakdown. I think we'll. We'll probably do a little

979
00:54:09,200 --> 00:54:12,080
Speaker 1: more tightly zoomed in towards the beginning of the movie,

980
00:54:12,360 --> 00:54:14,920
Speaker 1: uh than than towards the end. But I wanted just

981
00:54:15,040 --> 00:54:18,879
Speaker 1: to describe the very opening because it cements so much

982
00:54:18,880 --> 00:54:21,520
Speaker 1: of the feel of the movie. So the very first

983
00:54:21,520 --> 00:54:25,600
Speaker 1: thing you get is pixels. The first concept suggested by

984
00:54:25,640 --> 00:54:29,480
Speaker 1: this movie is weirdly computers, which is again not what

985
00:54:29,560 --> 00:54:33,360
Speaker 1: you would expect given Halloween or the themes of the season,

986
00:54:33,480 --> 00:54:36,640
Speaker 1: or or witchcraft or whatever. But the opening credits are

987
00:54:36,760 --> 00:54:40,279
Speaker 1: sort of filled with pixelated lines of orange on a

988
00:54:40,320 --> 00:54:44,560
Speaker 1: black void, and it is uh sort of suggestive of

989
00:54:44,640 --> 00:54:46,800
Speaker 1: the opening of the first movie, which, if you remember,

990
00:54:47,280 --> 00:54:50,239
Speaker 1: it's it's just this sort of zooming shot of a

991
00:54:50,320 --> 00:54:53,279
Speaker 1: jack O lantern. But then you eventually zoom in so

992
00:54:53,360 --> 00:54:55,879
Speaker 1: far You're like, what are these orange colors I'm looking at?

993
00:54:56,239 --> 00:54:59,600
Speaker 1: In this case, it starts zoomed very far in, but

994
00:54:59,640 --> 00:55:03,000
Speaker 1: eventually pulls out to reveal a pixel pumpkin, in fact,

995
00:55:03,120 --> 00:55:06,359
Speaker 1: a pixelated jack O lantern, which is great because it's like,

996
00:55:06,560 --> 00:55:09,359
Speaker 1: I'm so close to the technology, I cannot see its

997
00:55:09,360 --> 00:55:12,080
Speaker 1: true form, it's true intent, and it's only in time

998
00:55:12,120 --> 00:55:14,839
Speaker 1: that you realize, oh no, this is what the technology

999
00:55:14,920 --> 00:55:18,080
Speaker 1: wants and is doing. And it's also so close to

1000
00:55:18,160 --> 00:55:21,080
Speaker 1: the screen that the pixels themselves you can see them

1001
00:55:21,560 --> 00:55:25,160
Speaker 1: almost sort of decomposing into their individual little colors that

1002
00:55:25,239 --> 00:55:28,919
Speaker 1: form the the full pixels. You know, you can see

1003
00:55:28,920 --> 00:55:31,399
Speaker 1: like the little I don't know what you call them,

1004
00:55:31,719 --> 00:55:35,000
Speaker 1: little bits behind them. But the very next thing we

1005
00:55:35,040 --> 00:55:38,719
Speaker 1: see is an empty setting. There's a dark asphalt road

1006
00:55:38,960 --> 00:55:42,560
Speaker 1: illuminated only by distant street lamps, and this is under

1007
00:55:42,600 --> 00:55:45,880
Speaker 1: a roof of a freeway overpass, like a like a

1008
00:55:45,960 --> 00:55:50,759
Speaker 1: concrete cathedral, and you get swelling synth bass, and then

1009
00:55:50,880 --> 00:55:53,359
Speaker 1: titles start filling us in about what we're looking at.

1010
00:55:53,360 --> 00:55:59,160
Speaker 1: We see northern California, then October, then Saturday the twenty three,

1011
00:56:00,480 --> 00:56:03,640
Speaker 1: and for several seconds, as the titles fade in and out,

1012
00:56:03,680 --> 00:56:08,120
Speaker 1: there there's nobody in the shot until a figure emerges

1013
00:56:08,280 --> 00:56:10,839
Speaker 1: from deep in the distance and he's running toward us,

1014
00:56:11,320 --> 00:56:14,200
Speaker 1: and you get the needle pricks of the synthesizer score

1015
00:56:14,280 --> 00:56:17,840
Speaker 1: fading in and he runs closer and closer to the camera,

1016
00:56:17,920 --> 00:56:21,160
Speaker 1: and you see it's an old man and he's terrified,

1017
00:56:21,360 --> 00:56:25,920
Speaker 1: like he's running away from someone. And I love this opening.

1018
00:56:25,920 --> 00:56:28,880
Speaker 1: I love the opening shot and the music that accompanies it,

1019
00:56:28,960 --> 00:56:31,960
Speaker 1: and I think it's a perfect example of that beautiful

1020
00:56:32,080 --> 00:56:35,759
Speaker 1: John Carpenter Dean Cundy texture that their movies are full of. Again,

1021
00:56:35,840 --> 00:56:39,480
Speaker 1: even though Carpenter didn't direct this one, the Carpenter Cundy

1022
00:56:39,600 --> 00:56:43,720
Speaker 1: Wallace texture that these movies are full of uh and

1023
00:56:43,719 --> 00:56:46,480
Speaker 1: and I think it's it's a very characteristic frame of

1024
00:56:46,480 --> 00:56:50,120
Speaker 1: this cinematography style. The kind of frame I'm talking about

1025
00:56:50,239 --> 00:56:52,480
Speaker 1: is you might remember these from without warning as well,

1026
00:56:52,520 --> 00:56:56,239
Speaker 1: but especially other movies like the original Halloween, there will

1027
00:56:56,280 --> 00:57:00,800
Speaker 1: be a wide shot of an empty, desolate setting which

1028
00:57:00,800 --> 00:57:04,719
Speaker 1: we see in full without a subject before the subject

1029
00:57:04,960 --> 00:57:07,880
Speaker 1: enters it. And I'm just such a sucker for that.

1030
00:57:07,960 --> 00:57:09,880
Speaker 1: I don't know quite so why. It just makes my

1031
00:57:09,960 --> 00:57:13,360
Speaker 1: horse's winny and I love it. Um And actually in

1032
00:57:13,440 --> 00:57:16,440
Speaker 1: the in the director's commentary, Tommy Lee Wallace says that

1033
00:57:16,720 --> 00:57:20,360
Speaker 1: he often stole these shots of the empty sets from

1034
00:57:20,520 --> 00:57:24,520
Speaker 1: the tales of existing shots, so after they slated, but

1035
00:57:24,680 --> 00:57:27,440
Speaker 1: before a character walked into frame, he would just sort

1036
00:57:27,480 --> 00:57:30,440
Speaker 1: of like use that, even though maybe it wasn't originally

1037
00:57:30,480 --> 00:57:34,640
Speaker 1: meant to be used. And uh and also along with this,

1038
00:57:34,720 --> 00:57:36,800
Speaker 1: from the very first scene the musical score, it's just

1039
00:57:36,880 --> 00:57:40,240
Speaker 1: a ten just love, love, love it. But anyway, so

1040
00:57:40,320 --> 00:57:42,400
Speaker 1: on the screen we see the old man turned back

1041
00:57:42,440 --> 00:57:45,240
Speaker 1: around look behind him, and he sees what he's afraid of.

1042
00:57:45,400 --> 00:57:48,400
Speaker 1: It's car headlights cresting over the horizon in the dark,

1043
00:57:48,920 --> 00:57:52,280
Speaker 1: and he panics and he keeps on running. Um. One

1044
00:57:52,320 --> 00:57:54,720
Speaker 1: note I made while I was rewatching this was, uh,

1045
00:57:55,520 --> 00:57:58,000
Speaker 1: what year? I was thinking, what year was a marathon man?

1046
00:57:58,040 --> 00:58:00,560
Speaker 1: I think it was sometime in the seventies. But the

1047
00:58:00,640 --> 00:58:03,320
Speaker 1: opening here reminds me very much of the scenes where

1048
00:58:03,360 --> 00:58:06,200
Speaker 1: Dustin Hoffman is getting chased by the Nazis in New York,

1049
00:58:06,280 --> 00:58:09,520
Speaker 1: like running under the freeway overpass, running on foot with

1050
00:58:09,560 --> 00:58:11,960
Speaker 1: the car chasing him. Yeah, that was I That was

1051
00:58:12,000 --> 00:58:15,800
Speaker 1: I think mid seventies, so you know it definitely would

1052
00:58:15,800 --> 00:58:18,360
Speaker 1: have come before. Well anyway, so in this movie, we

1053
00:58:18,400 --> 00:58:20,200
Speaker 1: see the old man running into I think it's a

1054
00:58:20,280 --> 00:58:23,480
Speaker 1: junkyard or like a used car lot. I don't know.

1055
00:58:23,560 --> 00:58:26,520
Speaker 1: There's cars, but then there's also car parts, and he's

1056
00:58:26,600 --> 00:58:30,040
Speaker 1: banging on this office trailer door for help, but there's

1057
00:58:30,040 --> 00:58:32,560
Speaker 1: nobody there. He's all alone out here, and the headlights

1058
00:58:32,560 --> 00:58:35,360
Speaker 1: are closing in. And then we noticed that the old

1059
00:58:35,440 --> 00:58:38,240
Speaker 1: man has something brightly colored hanging out of his pocket.

1060
00:58:38,720 --> 00:58:42,080
Speaker 1: It looks like a big floppy piece of orange fabric.

1061
00:58:42,320 --> 00:58:45,760
Speaker 1: What could this be? Well, suddenly he's trying to hide

1062
00:58:45,800 --> 00:58:48,560
Speaker 1: because the car is closing in on him. And as

1063
00:58:48,600 --> 00:58:51,800
Speaker 1: he's trying to hide in this lot, he bumps into

1064
00:58:52,880 --> 00:58:56,280
Speaker 1: one of his pursuers. He is surprised by a torpy

1065
00:58:56,360 --> 00:59:00,960
Speaker 1: looking guy in a gray business suit and black gloves. Uh.

1066
00:59:01,280 --> 00:59:04,600
Speaker 1: Trying to give you a mental picture. Uh picture a

1067
00:59:04,720 --> 00:59:08,520
Speaker 1: young Adam Scott with slicked down hair if he worked

1068
00:59:08,520 --> 00:59:12,880
Speaker 1: at Lloyd's of London in the eighties. So very very great,

1069
00:59:13,000 --> 00:59:17,920
Speaker 1: gray business suit, black gloves, formal looking, but also uh

1070
00:59:17,960 --> 00:59:20,560
Speaker 1: that guy And the old man tries to fight back,

1071
00:59:20,600 --> 00:59:23,960
Speaker 1: but the business Twerp is incredibly strong. He grabs him

1072
00:59:24,000 --> 00:59:26,040
Speaker 1: and he forces him to the ground and he pins

1073
00:59:26,120 --> 00:59:29,600
Speaker 1: him to the concrete under a car's rear fender. And

1074
00:59:29,680 --> 00:59:32,240
Speaker 1: so is this the end of the unnamed old man?

1075
00:59:32,640 --> 00:59:35,360
Speaker 1: Well no, because he reaches out and he manages to

1076
00:59:35,440 --> 00:59:38,520
Speaker 1: take hold of a chain that's fastened to a wedge

1077
00:59:38,560 --> 00:59:41,600
Speaker 1: block that's under the tire of a nearby car, is

1078
00:59:41,680 --> 00:59:44,520
Speaker 1: keeping it from rolling down toward them, and he yanks

1079
00:59:44,560 --> 00:59:47,840
Speaker 1: the chain. The car rolls in and it pins this

1080
00:59:48,000 --> 00:59:52,640
Speaker 1: bespoke attacker between the two bumpers between two cars, and

1081
00:59:52,800 --> 00:59:55,880
Speaker 1: the business Twerp reacts to this in a strange way,

1082
00:59:55,960 --> 00:59:58,959
Speaker 1: like he doesn't cry out in pain. Instead, he sort

1083
00:59:58,960 --> 01:00:01,720
Speaker 1: of slumps over, as if he is a machine that

1084
01:00:01,880 --> 01:00:05,200
Speaker 1: somehow just lost power. So the old man squirms out

1085
01:00:05,200 --> 01:00:07,680
Speaker 1: from under the vehicles and then he he escapes off

1086
01:00:07,720 --> 01:00:10,560
Speaker 1: into the night with this bright orange object in his hand.

1087
01:00:11,360 --> 01:00:14,400
Speaker 1: Then we cut to another location, a service station in

1088
01:00:14,400 --> 01:00:19,200
Speaker 1: the rain, another moody, unoccupied establishing shot again love it,

1089
01:00:19,840 --> 01:00:23,360
Speaker 1: uh and a few overhead lamps or or just sort

1090
01:00:23,400 --> 01:00:25,960
Speaker 1: of like burning against the blue night and rain is

1091
01:00:26,000 --> 01:00:28,960
Speaker 1: pouring down and we see the title one hour later,

1092
01:00:29,400 --> 01:00:31,840
Speaker 1: and here's where things for So, like, everything up to

1093
01:00:31,880 --> 01:00:34,400
Speaker 1: this point has been has been like, oh wow, is

1094
01:00:34,640 --> 01:00:38,360
Speaker 1: moody interesting? I love the music, love the photography. What's

1095
01:00:38,360 --> 01:00:41,080
Speaker 1: going on? This is the first part where I noticed

1096
01:00:41,120 --> 01:00:44,680
Speaker 1: things start getting funny. So the attendant at the service

1097
01:00:44,760 --> 01:00:48,560
Speaker 1: service station is watching a TV and it's a British

1098
01:00:48,720 --> 01:00:53,800
Speaker 1: news feature about how part of Stone Hinge mysteriously vanished

1099
01:00:53,880 --> 01:00:59,200
Speaker 1: nine months ago. Uh So, first of all, like, isn't

1100
01:00:59,200 --> 01:01:01,920
Speaker 1: this northern Cali Fornia? Did they get like the BBC

1101
01:01:02,120 --> 01:01:07,560
Speaker 1: News broadcasts in nine two? Well, this is the Carpenter universe,

1102
01:01:07,720 --> 01:01:11,800
Speaker 1: so we have to remember. In the Carpenter universe, Donald

1103
01:01:11,800 --> 01:01:18,840
Speaker 1: Pleasants eventually becomes president of the United States. So uhhelic yeah, yeah,

1104
01:01:18,960 --> 01:01:22,280
Speaker 1: so I don't know it works for me. I guess so, okay,

1105
01:01:22,280 --> 01:01:25,480
Speaker 1: they were so in this world. They rebroadcast BBC News

1106
01:01:25,520 --> 01:01:29,800
Speaker 1: in northern California. Okay, um and yeah. At one point

1107
01:01:29,880 --> 01:01:32,520
Speaker 1: the announcer is like, it weighs more than five tons,

1108
01:01:32,560 --> 01:01:36,440
Speaker 1: making its disappearance a mystery indeed. And then on the

1109
01:01:36,480 --> 01:01:39,960
Speaker 1: TV after that that broadcast, we get our very first

1110
01:01:40,200 --> 01:01:45,160
Speaker 1: silver Shamrock commercial. We will be subjected to this many

1111
01:01:45,200 --> 01:01:49,000
Speaker 1: many more times throughout the movie, and it is so

1112
01:01:49,120 --> 01:01:52,680
Speaker 1: intensely annoying that it goes full circle and becomes a

1113
01:01:52,720 --> 01:01:57,200
Speaker 1: gorgeous work of art that induces full body bliss. Uh.

1114
01:01:57,360 --> 01:01:59,760
Speaker 1: I feel like we should describe it in detail, Like

1115
01:02:00,120 --> 01:02:02,960
Speaker 1: what what would you say to describe the Silver Shamrock commercial?

1116
01:02:03,520 --> 01:02:05,600
Speaker 1: I would say, Yeah, First of all, the music is

1117
01:02:05,720 --> 01:02:09,520
Speaker 1: intensely and intentionally annoying. It is it is jingle mania.

1118
01:02:09,880 --> 01:02:12,880
Speaker 1: It is supposed to annoy you and and and it's

1119
01:02:12,960 --> 01:02:17,720
Speaker 1: calibrated to a child's wants and needs. But then we

1120
01:02:17,760 --> 01:02:20,840
Speaker 1: also have a voiceover narration in it that is also

1121
01:02:21,080 --> 01:02:25,000
Speaker 1: ingenious because it is creepy man voice trying to sound

1122
01:02:25,480 --> 01:02:28,640
Speaker 1: like kid appropriate cartoon voice, you know, like like a

1123
01:02:28,720 --> 01:02:32,400
Speaker 1: children's commercial, but it's clearly a creepy guy voice doing it,

1124
01:02:32,920 --> 01:02:35,880
Speaker 1: which gives it this unsettling flare. Yeah, so it's to

1125
01:02:35,960 --> 01:02:39,680
Speaker 1: the tune of London Bridge is falling down, presumably because

1126
01:02:39,720 --> 01:02:45,040
Speaker 1: that's public domain, but the lyrics are they keep counting

1127
01:02:45,040 --> 01:02:48,040
Speaker 1: down the days to Halloween. So like whatever day in

1128
01:02:48,080 --> 01:02:50,360
Speaker 1: the in the plot you're watching it, it'll be saying

1129
01:02:50,400 --> 01:02:54,400
Speaker 1: eight more days to Halloween, Halloween, Halloween and does the

1130
01:02:54,400 --> 01:02:58,400
Speaker 1: whole tune, and then it ends with silver Shamrock. And

1131
01:02:58,440 --> 01:03:02,080
Speaker 1: so while you're hearing this annoying uh tune repeat over

1132
01:03:02,120 --> 01:03:05,840
Speaker 1: and over again, you watch this green clover logo zoom

1133
01:03:05,880 --> 01:03:09,520
Speaker 1: at the screen and then there's this demented childhead tilting

1134
01:03:09,560 --> 01:03:12,520
Speaker 1: back and forth. I think the child in that commercial

1135
01:03:12,920 --> 01:03:17,120
Speaker 1: might be Tommy Lee Wallace's son Um and uh. And

1136
01:03:17,160 --> 01:03:19,760
Speaker 1: then you see the three Halloween masks and these are

1137
01:03:19,800 --> 01:03:23,720
Speaker 1: the three iconic silver Shamrock Halloween masks. You get the skeleton,

1138
01:03:24,200 --> 01:03:27,360
Speaker 1: the jack o lantern, and the Witch. And then a

1139
01:03:27,480 --> 01:03:30,040
Speaker 1: voice comes on I believe also the voice is the

1140
01:03:30,160 --> 01:03:33,800
Speaker 1: voice of the director Tommy Lee Wallace, and he says, yes,

1141
01:03:34,000 --> 01:03:37,800
Speaker 1: kids YouTube can own one of the big Halloween three,

1142
01:03:38,080 --> 01:03:42,680
Speaker 1: three horrific masks to choose from their fun They're frightening

1143
01:03:42,840 --> 01:03:45,800
Speaker 1: and they glow in the dark. And then Robert, I

1144
01:03:45,840 --> 01:03:48,240
Speaker 1: wonder if you noticed this. So right after the commercial

1145
01:03:48,320 --> 01:03:51,320
Speaker 1: plays the in the scene, the TV loses power and

1146
01:03:51,360 --> 01:03:53,560
Speaker 1: it goes dark. So this is just as like thunder

1147
01:03:53,680 --> 01:03:55,960
Speaker 1: is rolling ahead. I guess the ideas, you know, lightning

1148
01:03:55,960 --> 01:03:58,600
Speaker 1: strikes and the power goes out. But right before that,

1149
01:03:58,760 --> 01:04:01,360
Speaker 1: the last thing we see on the TV, it looks

1150
01:04:01,360 --> 01:04:03,919
Speaker 1: to me for a few seconds like the exact same

1151
01:04:03,960 --> 01:04:07,960
Speaker 1: Silver Shamrock commercial is starting over from the top. Uh.

1152
01:04:08,040 --> 01:04:10,600
Speaker 1: So I don't know if they're they're looping commercial they're

1153
01:04:10,680 --> 01:04:12,560
Speaker 1: like paying to play them back to back. But that

1154
01:04:12,600 --> 01:04:14,920
Speaker 1: would be ingenious if that had happened in the movie.

1155
01:04:15,320 --> 01:04:17,120
Speaker 1: You know, one of the great things. I didn't really

1156
01:04:17,120 --> 01:04:20,640
Speaker 1: think about this, but the Silver Shamrock um tune here

1157
01:04:20,960 --> 01:04:24,120
Speaker 1: is set to London bridges falling down and there there

1158
01:04:24,280 --> 01:04:26,360
Speaker 1: This is of course a very old tune, a very

1159
01:04:26,360 --> 01:04:30,040
Speaker 1: old nursery rhyme kind of jangle. Uh. And there are

1160
01:04:30,160 --> 01:04:34,560
Speaker 1: various theories regarding its origin, and at least one of

1161
01:04:34,600 --> 01:04:40,520
Speaker 1: them involves child sacrifice. So it's kind of a perfect,

1162
01:04:40,520 --> 01:04:44,120
Speaker 1: perfect inclusion in this film. Oh, I wonder if that's intentional.

1163
01:04:44,480 --> 01:04:47,520
Speaker 1: I bet it is I I bet it is the

1164
01:04:47,520 --> 01:04:50,760
Speaker 1: thing that feels just silly, and you know, and totally

1165
01:04:50,800 --> 01:04:54,880
Speaker 1: the domain of the child's care free world is rooted

1166
01:04:55,000 --> 01:04:57,840
Speaker 1: in blood. I'll have to look that up after this, Okay.

1167
01:04:57,880 --> 01:05:01,200
Speaker 1: So anyway, the power goes out, u gas station attendant.

1168
01:05:01,200 --> 01:05:03,600
Speaker 1: He starts looking around. He thinks he hears something, and

1169
01:05:03,640 --> 01:05:07,160
Speaker 1: he peers out into the storm and it's wonderful atmosphere.

1170
01:05:07,200 --> 01:05:10,120
Speaker 1: You've got a tower of pins oil cans inside, but

1171
01:05:10,160 --> 01:05:13,600
Speaker 1: then outside is just rain and dark and distance. And

1172
01:05:13,640 --> 01:05:17,200
Speaker 1: then the gas station worker is surprised by the old

1173
01:05:17,240 --> 01:05:19,800
Speaker 1: man from before, who is running from the suits and

1174
01:05:19,840 --> 01:05:23,520
Speaker 1: he's frantic. He says, they're coming, they're coming. And in

1175
01:05:23,560 --> 01:05:26,800
Speaker 1: his hand he's still clutching that orange thing you saw earlier,

1176
01:05:27,160 --> 01:05:30,240
Speaker 1: and oh, we realize it is the jack O lantern

1177
01:05:30,280 --> 01:05:33,880
Speaker 1: mask from the TV commercial. So already the gears are

1178
01:05:33,920 --> 01:05:36,720
Speaker 1: grinding in your head. Uh, and then they hit you

1179
01:05:36,760 --> 01:05:40,400
Speaker 1: with something else. Immediately a new scene. Here comes Tom Atkins.

1180
01:05:40,640 --> 01:05:42,840
Speaker 1: He's also coming in out of the rain, but he's

1181
01:05:42,880 --> 01:05:47,040
Speaker 1: coming into a domestic foyer wearing a khaki jacket tucked

1182
01:05:47,120 --> 01:05:49,840
Speaker 1: up over his head and a red shirt and he

1183
01:05:49,960 --> 01:05:52,720
Speaker 1: is showing up at his ex wife's house to surprise

1184
01:05:52,800 --> 01:05:55,880
Speaker 1: the kids. Uh so again tom Atkins character, and this

1185
01:05:56,000 --> 01:05:59,440
Speaker 1: is played. His character is named Dan Challis and his

1186
01:05:59,480 --> 01:06:02,120
Speaker 1: ex wife, as we mentioned, is played by Nancy Kais

1187
01:06:02,200 --> 01:06:05,240
Speaker 1: or Nancy Loomis, who played Annie in the original Halloween.

1188
01:06:05,720 --> 01:06:10,360
Speaker 1: And she's immediately very unimpressed by his appearance. She's like, oh, brother,

1189
01:06:10,440 --> 01:06:13,480
Speaker 1: here's this idiot. But he shows up with presents for

1190
01:06:13,520 --> 01:06:16,240
Speaker 1: the kids. They've got two kids there at her house,

1191
01:06:16,280 --> 01:06:19,640
Speaker 1: and he has brought them Halloween masks. One of the

1192
01:06:19,720 --> 01:06:21,720
Speaker 1: things that I love about this is when when we

1193
01:06:21,880 --> 01:06:24,960
Speaker 1: when we see atkins character Dr Challis visiting his kids,

1194
01:06:25,440 --> 01:06:29,080
Speaker 1: the kids are not excited about these older hard plastic

1195
01:06:29,400 --> 01:06:31,760
Speaker 1: um you know, plastic Halloween masks where they have the

1196
01:06:31,760 --> 01:06:34,440
Speaker 1: plastic front and a little elastic string that straps into

1197
01:06:34,520 --> 01:06:38,040
Speaker 1: your face. Um. They're excited about the prospect of these

1198
01:06:38,040 --> 01:06:42,360
Speaker 1: soft latex masks, in this case, the silver shamrock masks.

1199
01:06:42,480 --> 01:06:44,800
Speaker 1: And I remember feeling this way as a kid. You

1200
01:06:44,840 --> 01:06:48,040
Speaker 1: have those old, cheaper plastic masks, and they felt like

1201
01:06:48,120 --> 01:06:51,240
Speaker 1: kind of like kids stuff. You know, you why why

1202
01:06:51,280 --> 01:06:53,920
Speaker 1: would you wear that when you could take this latex

1203
01:06:54,040 --> 01:06:57,240
Speaker 1: mask of pure synthetic flesh and just put it over

1204
01:06:57,280 --> 01:07:00,000
Speaker 1: your entire head. I know exactly what you're talking about.

1205
01:07:00,000 --> 01:07:02,920
Speaker 1: They're incredibly ungrateful. Like he gives them the masks. He

1206
01:07:03,000 --> 01:07:05,000
Speaker 1: will by the way, you're going to say, he brings

1207
01:07:05,040 --> 01:07:08,120
Speaker 1: the masks in in brown paper bags as if they

1208
01:07:08,160 --> 01:07:11,720
Speaker 1: were liquor bottles, which is appropriate for his character. But

1209
01:07:11,760 --> 01:07:13,920
Speaker 1: then he gives them the masks and they're just like,

1210
01:07:14,320 --> 01:07:17,360
Speaker 1: go to hell, dad, you know. Then they just don't

1211
01:07:17,360 --> 01:07:19,560
Speaker 1: want them at all. It's like the equivalent of the

1212
01:07:19,920 --> 01:07:22,800
Speaker 1: kid being certainly because you know he got a police

1213
01:07:22,840 --> 01:07:26,200
Speaker 1: station five from a confused grandparent. You know, this is

1214
01:07:26,400 --> 01:07:28,280
Speaker 1: this is not what you think it is. This is

1215
01:07:28,320 --> 01:07:31,520
Speaker 1: not cool. And in retrospect, those other plastic masks they

1216
01:07:31,520 --> 01:07:34,160
Speaker 1: were with cool masks. We should have been grateful. Yeah, yeah,

1217
01:07:34,280 --> 01:07:36,760
Speaker 1: you know, and these these plastic masks. If they had

1218
01:07:36,800 --> 01:07:39,480
Speaker 1: warned the crappy masks that that their dad brought them,

1219
01:07:39,760 --> 01:07:41,920
Speaker 1: they would not be killed by the TV commercial. I

1220
01:07:41,960 --> 01:07:43,680
Speaker 1: guess we we know, we don't know their fate at

1221
01:07:43,680 --> 01:07:46,160
Speaker 1: the end of the movie. But no, they say, well,

1222
01:07:46,200 --> 01:07:48,960
Speaker 1: mom got a silver shamrock masks and and those are

1223
01:07:49,000 --> 01:07:51,680
Speaker 1: the good ones, and so that you know they're they're

1224
01:07:51,720 --> 01:07:56,200
Speaker 1: just like, wow, thanks a lot. Dad. But then tom

1225
01:07:56,200 --> 01:07:59,480
Speaker 1: Atkins his beeper goes off. He's he's he's a doctor

1226
01:07:59,680 --> 01:08:01,760
Speaker 1: and he is on call, and so he's like, I

1227
01:08:01,800 --> 01:08:04,919
Speaker 1: gotta go to the hospital and uh. And his ex

1228
01:08:04,960 --> 01:08:09,280
Speaker 1: wife says drinking and doctor in great combination, and she

1229
01:08:09,520 --> 01:08:13,120
Speaker 1: is she is correct in pointing that out. But that

1230
01:08:13,160 --> 01:08:17,000
Speaker 1: won't stop him because I think in almost every scene

1231
01:08:17,080 --> 01:08:20,400
Speaker 1: tom Atkins is either drinking or has been implied to

1232
01:08:20,439 --> 01:08:23,479
Speaker 1: be drinking before the scene. Oh but but right before

1233
01:08:23,479 --> 01:08:25,519
Speaker 1: he leaves the house, they're like, hey, you know, are

1234
01:08:25,840 --> 01:08:28,599
Speaker 1: the viewers not annoyed enough yet? Maybe we should hit

1235
01:08:28,600 --> 01:08:31,519
Speaker 1: them with another Silver Shamrock commercials. So we watch another

1236
01:08:31,560 --> 01:08:33,920
Speaker 1: one while the kids watch it with their their faces

1237
01:08:33,960 --> 01:08:37,880
Speaker 1: approximately five inches from the TV screen, wearing their silver

1238
01:08:37,920 --> 01:08:42,559
Speaker 1: Shamrock masks. They are just gunning for Halloween. Uh and

1239
01:08:42,479 --> 01:08:44,800
Speaker 1: and so I don't know if you noticed this too,

1240
01:08:44,920 --> 01:08:46,800
Speaker 1: Maybe there was something I missed about it, but it

1241
01:08:46,840 --> 01:08:51,000
Speaker 1: seems that in the universe of Halloween, three TV commercials

1242
01:08:51,080 --> 01:08:55,920
Speaker 1: are somehow publicly scheduled like TV shows, so that kids

1243
01:08:55,960 --> 01:09:00,800
Speaker 1: are able to deliberately tune in for Silver Shamrock commercials,

1244
01:09:00,800 --> 01:09:03,760
Speaker 1: which they watch repeatedly and on purpose, even though they

1245
01:09:03,800 --> 01:09:07,599
Speaker 1: already have the masks. Well, this is of what they

1246
01:09:07,640 --> 01:09:11,640
Speaker 1: call now appointment television, right, the idea that you know,

1247
01:09:11,720 --> 01:09:14,080
Speaker 1: back back in these days like that you knew what

1248
01:09:14,160 --> 01:09:17,400
Speaker 1: was coming on TV and you watched it. Uh, you

1249
01:09:17,479 --> 01:09:19,960
Speaker 1: just watched TV in general. Uh So I don't know

1250
01:09:20,000 --> 01:09:23,080
Speaker 1: this felt this felt appropriate? Okay? Well anyway, so uh

1251
01:09:23,280 --> 01:09:25,160
Speaker 1: so Tom Atkins, we find out that the call in

1252
01:09:25,240 --> 01:09:27,000
Speaker 1: his beeper is about the old man who is being

1253
01:09:27,080 --> 01:09:30,479
Speaker 1: chased earlier. The the gas station attendant who found him

1254
01:09:30,479 --> 01:09:33,320
Speaker 1: has brought him into the hospital. And at the hospital

1255
01:09:33,360 --> 01:09:35,600
Speaker 1: you see the old man. He's on a gurney and

1256
01:09:35,600 --> 01:09:38,400
Speaker 1: he starts freaking out because he sees a silver Shamrock

1257
01:09:38,439 --> 01:09:41,160
Speaker 1: commercial play on a hospital room TV. So I think

1258
01:09:41,160 --> 01:09:43,600
Speaker 1: this is the third time we're seeing it. And he

1259
01:09:43,680 --> 01:09:48,040
Speaker 1: starts saying, they're going to kill us, all of us. Uh.

1260
01:09:48,040 --> 01:09:50,040
Speaker 1: And so what to do? What to do about him

1261
01:09:50,120 --> 01:09:54,120
Speaker 1: saying that? Well, obviously Tom Atkins says a hundred milligrams thorisy.

1262
01:09:54,600 --> 01:09:58,720
Speaker 1: So they heavily sedate him. Uh. And then while he's

1263
01:09:58,760 --> 01:10:02,160
Speaker 1: lying there, heavily sedate it. In the hospital room. Oh,

1264
01:10:02,200 --> 01:10:04,879
Speaker 1: the suits have arrived. The guys in the gray business

1265
01:10:04,880 --> 01:10:08,040
Speaker 1: suits show up with their with their black gloves and

1266
01:10:08,160 --> 01:10:10,639
Speaker 1: one of them is here at the hospital to finish

1267
01:10:10,680 --> 01:10:13,840
Speaker 1: the job. Uh. And but but by the way, before

1268
01:10:13,880 --> 01:10:15,599
Speaker 1: that happens, I just want to point out how funny

1269
01:10:15,600 --> 01:10:17,280
Speaker 1: it is that when they showed the old man like

1270
01:10:17,360 --> 01:10:20,280
Speaker 1: drugged up in his hospital bed under hospital sheets in

1271
01:10:20,280 --> 01:10:25,519
Speaker 1: his hospital room, he's still clutching the silver shamrock pumpkin mask. Uh,

1272
01:10:25,760 --> 01:10:28,400
Speaker 1: just there in his in his room. Well, that's his proof.

1273
01:10:29,040 --> 01:10:31,760
Speaker 1: There's also a funny bit here where Tom Atkins. I think,

1274
01:10:31,760 --> 01:10:34,040
Speaker 1: because he's drunk, he goes back to his office to

1275
01:10:34,120 --> 01:10:38,599
Speaker 1: sleep on the couch. But he yes, yes, and he

1276
01:10:38,600 --> 01:10:42,519
Speaker 1: he briefly opens the refrigerator in his office, and I

1277
01:10:42,600 --> 01:10:44,320
Speaker 1: was trying to look in there and see what it was.

1278
01:10:44,400 --> 01:10:46,120
Speaker 1: It looks like he's got a bunch of cokes and

1279
01:10:46,160 --> 01:10:49,759
Speaker 1: he's got milk, and then huge cans of tomato juice

1280
01:10:49,920 --> 01:10:53,240
Speaker 1: and then champagne glasses on top of the fridge. And

1281
01:10:53,320 --> 01:10:55,959
Speaker 1: I think maybe a bunch of pieces of chicken. Yeah,

1282
01:10:56,000 --> 01:10:58,760
Speaker 1: I mean a champagne and tomato juice like that. That

1283
01:10:58,840 --> 01:11:01,639
Speaker 1: was his signature cock ail, right, the doctor chillis special.

1284
01:11:02,880 --> 01:11:05,760
Speaker 1: Oh man, I'm trying to imagine that. It ben sound

1285
01:11:05,800 --> 01:11:08,400
Speaker 1: good it's like, uh, yeah, it's it's it's it's a

1286
01:11:08,880 --> 01:11:12,439
Speaker 1: it's a twist on the mimosa and the bloody Mary.

1287
01:11:12,760 --> 01:11:16,400
Speaker 1: Maybe I don't know, it's called a bloody Tom. Yeah,

1288
01:11:16,520 --> 01:11:20,680
Speaker 1: bloody chellis. Now I have to say, our our witness here,

1289
01:11:20,720 --> 01:11:23,599
Speaker 1: Harry Grimbridge clutching the mask. Ye, the androids do get

1290
01:11:23,640 --> 01:11:25,880
Speaker 1: to him, and they just they murder the hell out

1291
01:11:25,920 --> 01:11:29,760
Speaker 1: of him. And this film has some some ultimately some

1292
01:11:29,840 --> 01:11:34,120
Speaker 1: great kills in it because the androids seem to be

1293
01:11:34,240 --> 01:11:36,519
Speaker 1: like that. It's almost like there's a neural network at

1294
01:11:36,560 --> 01:11:39,920
Speaker 1: play trying to figure out how to murder humans, because

1295
01:11:39,960 --> 01:11:42,760
Speaker 1: they do so in ways that that totally work but

1296
01:11:42,800 --> 01:11:46,160
Speaker 1: are slightly illogical. So they don't just necessarily like stab

1297
01:11:46,240 --> 01:11:50,560
Speaker 1: somebody or choke them. It's stuff like pinching their eyeballs

1298
01:11:51,000 --> 01:11:54,800
Speaker 1: and crunching their skull or or twisting their head off,

1299
01:11:55,240 --> 01:11:59,559
Speaker 1: you know, things that just seem uncanny, uh, in a

1300
01:11:59,680 --> 01:12:03,679
Speaker 1: very very effective manner. Yeah. So, so the the android

1301
01:12:03,720 --> 01:12:07,240
Speaker 1: here kills the old man with like an eye gouging

1302
01:12:07,400 --> 01:12:11,000
Speaker 1: pinch kind of thing. Uh. And then and then immediately

1303
01:12:11,479 --> 01:12:14,720
Speaker 1: gets rid of the evidence by dousing himself and gasoline

1304
01:12:14,760 --> 01:12:18,880
Speaker 1: in his car and and self immolating, which ultimately ends

1305
01:12:18,960 --> 01:12:22,600
Speaker 1: up becoming a great plot point because they're they're analyzing

1306
01:12:22,640 --> 01:12:25,200
Speaker 1: the remnants of the burn and they're like, oh, well,

1307
01:12:25,280 --> 01:12:27,320
Speaker 1: the body. We didn't get the body, this just car

1308
01:12:27,439 --> 01:12:29,840
Speaker 1: parts in here. What happened to the body? Somebody messed up?

1309
01:12:30,360 --> 01:12:32,759
Speaker 1: When in reality it's because Will that was an android

1310
01:12:32,800 --> 01:12:35,320
Speaker 1: and you you just don't recognize it. But before he

1311
01:12:35,360 --> 01:12:38,120
Speaker 1: does that, he started some people start screaming, and this

1312
01:12:38,320 --> 01:12:42,160
Speaker 1: rouses Tom Atkins from his his nap on the couch. Um,

1313
01:12:42,280 --> 01:12:44,559
Speaker 1: and so he gives chase. And then I'm wondering, well,

1314
01:12:44,680 --> 01:12:47,000
Speaker 1: does this hospital not have security? Why is it up

1315
01:12:47,040 --> 01:12:51,360
Speaker 1: to the resident physician to chase down murderers? Um? But anyway,

1316
01:12:51,400 --> 01:12:54,720
Speaker 1: he chases the android outside, which again we don't know

1317
01:12:54,920 --> 01:12:58,280
Speaker 1: is an android at this point, but you know, if

1318
01:12:58,280 --> 01:12:59,960
Speaker 1: you've seen in the movie enough times, it's hard not

1319
01:13:00,040 --> 01:13:01,680
Speaker 1: to refer to them that way. He chases the guy

1320
01:13:01,680 --> 01:13:03,600
Speaker 1: in the gray suit outside but the guy, yeah, he

1321
01:13:03,720 --> 01:13:06,960
Speaker 1: burns himself up and his car explodes. I remember Tommy

1322
01:13:07,000 --> 01:13:10,439
Speaker 1: Lee Wallace in the director's commentary saying, when in doubt,

1323
01:13:10,479 --> 01:13:14,080
Speaker 1: blow it up, blow it up big. We don't know

1324
01:13:14,120 --> 01:13:16,479
Speaker 1: what's power. We don't know what's powering that android? That

1325
01:13:16,600 --> 01:13:18,479
Speaker 1: that's true. Yeah, I don't think any of the other

1326
01:13:18,479 --> 01:13:21,120
Speaker 1: ones blow up, but uh, you know, still fair enough.

1327
01:13:22,200 --> 01:13:26,839
Speaker 1: He's gotta he's got an onboard nuclear nuclear fission reactor

1328
01:13:26,960 --> 01:13:30,000
Speaker 1: or something. Um. Anyway, anyway, next thing we see, Tom

1329
01:13:30,040 --> 01:13:32,519
Speaker 1: Atkins is on the phone with his wife, his ex wife,

1330
01:13:32,560 --> 01:13:35,559
Speaker 1: sorry and um he is. He's like, yeah, I won't

1331
01:13:35,560 --> 01:13:37,439
Speaker 1: be able to pick the kids up, and she starts

1332
01:13:37,479 --> 01:13:39,240
Speaker 1: yelling at him you can hear through the phone. And

1333
01:13:39,280 --> 01:13:41,200
Speaker 1: he's like, well you just relax for a minute. Two

1334
01:13:41,200 --> 01:13:45,840
Speaker 1: men died here tonight. But he gets no respect and uh.

1335
01:13:45,920 --> 01:13:49,160
Speaker 1: And so tom Atkins picks up the silver shamrock pumpkin

1336
01:13:49,240 --> 01:13:52,280
Speaker 1: mask left behind by the dead guy and he's looking

1337
01:13:52,320 --> 01:13:54,160
Speaker 1: at it and he's like, what's up with this? And

1338
01:13:54,200 --> 01:13:56,720
Speaker 1: there's good ominous music and and then you get that

1339
01:13:56,760 --> 01:13:59,759
Speaker 1: one of those you know, Daniel plan Lisa needs braces,

1340
01:13:59,800 --> 01:14:01,920
Speaker 1: but it's they're going to kill us. It's the old

1341
01:14:01,920 --> 01:14:04,360
Speaker 1: man saying that over and over in his head. Uh.

1342
01:14:04,400 --> 01:14:07,600
Speaker 1: Then we get another update on the day, so it

1343
01:14:07,680 --> 01:14:11,680
Speaker 1: cuts to Sunday, and here we meet Stacy Nelkin for

1344
01:14:11,720 --> 01:14:14,000
Speaker 1: the first time. She shows up at the hospital and

1345
01:14:14,040 --> 01:14:16,559
Speaker 1: it's revealed that the dead man, Harry grim Bridge, is

1346
01:14:16,600 --> 01:14:19,479
Speaker 1: her father. Her character's name is Ellie grim Bridge. Uh.

1347
01:14:19,600 --> 01:14:21,599
Speaker 1: So she comes in to speak to the police and

1348
01:14:21,640 --> 01:14:24,599
Speaker 1: she says, yes, that's my father. What happened? And then

1349
01:14:24,640 --> 01:14:26,880
Speaker 1: the sheriff is uh, I wanted to know what if

1350
01:14:26,920 --> 01:14:29,000
Speaker 1: I seen the sheriff in before, I'm not sure, but

1351
01:14:29,040 --> 01:14:31,640
Speaker 1: he seemed familiar, but he's just kind of gruff, and

1352
01:14:31,640 --> 01:14:34,559
Speaker 1: he goes, Uh. She says, what happened to him? And

1353
01:14:34,600 --> 01:14:37,360
Speaker 1: he's like, awesome, crazy man killed himself in the parking

1354
01:14:37,400 --> 01:14:43,880
Speaker 1: lot right after drugs probably, yeah, drugs probably. Uh. And

1355
01:14:43,960 --> 01:14:47,120
Speaker 1: so she's upset and uh and Tom Atkins sees her

1356
01:14:47,160 --> 01:14:48,760
Speaker 1: and you think he's gonna go ask her what this

1357
01:14:48,840 --> 01:14:52,040
Speaker 1: is about, but instead he just walks away. And then

1358
01:14:52,320 --> 01:14:56,560
Speaker 1: you get another thing. On Wednesday. You see Tom Atkins

1359
01:14:56,600 --> 01:14:58,639
Speaker 1: goes to visit a friend of his who works in

1360
01:14:58,720 --> 01:15:00,280
Speaker 1: one of the labs. I don't know if this is

1361
01:15:00,320 --> 01:15:03,160
Speaker 1: at the hospital or somewhere else, but uh. Tom goes

1362
01:15:03,200 --> 01:15:04,800
Speaker 1: to visit his friend to say, hey, what was up

1363
01:15:04,840 --> 01:15:07,599
Speaker 1: with this assassin? And uh, she says, well, we don't

1364
01:15:07,640 --> 01:15:10,080
Speaker 1: know yet. He's just a pile of ashes. Sheriff says

1365
01:15:10,120 --> 01:15:13,559
Speaker 1: he was on drugs, and tom says, he goes, that

1366
01:15:13,600 --> 01:15:16,639
Speaker 1: doesn't make sense. I've seen people on drugs. This man

1367
01:15:16,760 --> 01:15:20,240
Speaker 1: was in complete control. He looked like a businessman. So

1368
01:15:20,320 --> 01:15:22,200
Speaker 1: I guess the logic is he looked like a business

1369
01:15:22,400 --> 01:15:24,639
Speaker 1: Did you see a suit He couldn't have been on drugs.

1370
01:15:24,800 --> 01:15:29,760
Speaker 1: That was no hippie. Yeah. Um, And she says, she says,

1371
01:15:29,800 --> 01:15:32,320
Speaker 1: he had to be one strong businessman. You don't just

1372
01:15:32,360 --> 01:15:35,040
Speaker 1: pull someone's skull apart with a without a little lower

1373
01:15:35,160 --> 01:15:38,080
Speaker 1: arm strength and know what I mean? And I went off.

1374
01:15:38,120 --> 01:15:40,040
Speaker 1: This is subtle commentary to the idea if you are

1375
01:15:40,120 --> 01:15:43,080
Speaker 1: dressed like a businessman in this, in this at this time,

1376
01:15:43,120 --> 01:15:45,439
Speaker 1: and then you can you can go walk into a

1377
01:15:45,520 --> 01:15:48,120
Speaker 1: hospital and just murder somebody and people would just be like,

1378
01:15:48,280 --> 01:15:50,880
Speaker 1: I don't know nothing he can do. Yeah, well, I

1379
01:15:50,920 --> 01:15:52,439
Speaker 1: mean I think that would sort of fit in with

1380
01:15:52,479 --> 01:15:54,880
Speaker 1: what Tommy Lee Wallace was saying about his attitude when

1381
01:15:54,880 --> 01:15:58,080
Speaker 1: he was making a movie. So I guess that checks out. Um.

1382
01:15:58,760 --> 01:16:01,360
Speaker 1: But yeah, but anyways, Tom Atkins is like, hey, do

1383
01:16:01,439 --> 01:16:03,800
Speaker 1: me a favorite check this out yourself. I was having

1384
01:16:03,840 --> 01:16:06,760
Speaker 1: a hard time thinking exactly what he's asking for. I

1385
01:16:06,760 --> 01:16:10,800
Speaker 1: think he's asking her to do lab work on the

1386
01:16:10,880 --> 01:16:13,920
Speaker 1: burned remains of the killer to find out what kind

1387
01:16:14,000 --> 01:16:16,120
Speaker 1: of drugs he may have been on. Do you do

1388
01:16:16,160 --> 01:16:18,519
Speaker 1: you think that's what it's supposed to be. I think so.

1389
01:16:18,640 --> 01:16:20,439
Speaker 1: And this is a case where we kind of come

1390
01:16:20,439 --> 01:16:22,800
Speaker 1: back to the idea that it's Tom Atkins as cop

1391
01:16:22,880 --> 01:16:26,120
Speaker 1: as doctor. So his doctor character ultimately ends up doing

1392
01:16:26,160 --> 01:16:28,040
Speaker 1: a lot of things that are more in keeping with

1393
01:16:28,080 --> 01:16:31,679
Speaker 1: what a TV cop would do. Um, and you ultimately

1394
01:16:31,720 --> 01:16:33,840
Speaker 1: just kind of roll with it because these are things

1395
01:16:33,840 --> 01:16:36,720
Speaker 1: that protagonist does, so you just followed along. Yeah, it

1396
01:16:36,720 --> 01:16:38,680
Speaker 1: doesn't make a lot of sense also that he and

1397
01:16:38,720 --> 01:16:41,080
Speaker 1: his his friend of the lab kiss as he's departing.

1398
01:16:41,120 --> 01:16:44,240
Speaker 1: So yet again, Tom appears to have multiple inappropriate, semi

1399
01:16:44,360 --> 01:16:48,400
Speaker 1: romantic relationships with numerous co workers and other characters, and

1400
01:16:48,439 --> 01:16:50,719
Speaker 1: we we don't seem we're not asked to have thoughts

1401
01:16:50,760 --> 01:16:53,879
Speaker 1: about this one way or Yeah, it's just they're just presented.

1402
01:16:53,880 --> 01:16:57,040
Speaker 1: It happens, okay, and then okay, so we get a

1403
01:16:57,080 --> 01:16:59,840
Speaker 1: new update on the date, so it's Friday the twenty nine,

1404
01:17:00,080 --> 01:17:02,600
Speaker 1: and then we see Tom Atkins at a bar and

1405
01:17:02,680 --> 01:17:05,439
Speaker 1: I love this bar because it has this complex mural

1406
01:17:05,600 --> 01:17:07,880
Speaker 1: on the on the wall behind him. It looks like

1407
01:17:07,920 --> 01:17:11,920
Speaker 1: the it's like the hieronymous Bosh bar. Uh. You never

1408
01:17:12,000 --> 01:17:13,600
Speaker 1: get a really close look at it, so I'm not

1409
01:17:13,600 --> 01:17:15,839
Speaker 1: sure what all is in the mural, but it's very busy,

1410
01:17:16,000 --> 01:17:19,479
Speaker 1: busy decorations. Yeah, it's a very gloomy looking bar. This

1411
01:17:19,560 --> 01:17:22,320
Speaker 1: is not it's it's more in keeping with the bar

1412
01:17:22,400 --> 01:17:27,240
Speaker 1: on The Simpsons. Most like a nice comfy bar where

1413
01:17:27,320 --> 01:17:30,479
Speaker 1: you know, where everybody knows your name. Yeah, so this

1414
01:17:30,560 --> 01:17:32,800
Speaker 1: is the place where he's watching the cartoon on TV

1415
01:17:33,000 --> 01:17:36,000
Speaker 1: that may have been animated by Ralph Bakshe and then

1416
01:17:36,160 --> 01:17:39,280
Speaker 1: a Silver Shamrock commercial comes on. No wait, no, that

1417
01:17:39,320 --> 01:17:41,920
Speaker 1: this hasn't happened yet. First he says, hey, Charlie, can

1418
01:17:41,920 --> 01:17:44,160
Speaker 1: we have another station? I guess talking to the bartender,

1419
01:17:44,200 --> 01:17:45,640
Speaker 1: and he's like, you got it. So they changed to

1420
01:17:45,680 --> 01:17:49,160
Speaker 1: the channel, and then it's Halloween. Uh, the John Carpenter original,

1421
01:17:49,600 --> 01:17:53,080
Speaker 1: and I think the TV announcer says the Immortal Classic,

1422
01:17:53,160 --> 01:17:56,120
Speaker 1: followed by the big giveaway at nine brought to you

1423
01:17:56,160 --> 01:17:59,400
Speaker 1: by and then the Silver Shamrock commercial plays again. So

1424
01:17:59,439 --> 01:18:01,280
Speaker 1: I think this's my be the fifth time we hear

1425
01:18:01,320 --> 01:18:03,840
Speaker 1: it in the movie so far. But now it's two

1426
01:18:03,920 --> 01:18:08,120
Speaker 1: more days to Halloween, and when tom Atkins expresses dislike

1427
01:18:08,200 --> 01:18:11,799
Speaker 1: of the silver Shamrock commercial, the bartender kind of gets offended.

1428
01:18:11,840 --> 01:18:14,320
Speaker 1: He's like, hey, man, don't you have any Halloween spirit?

1429
01:18:16,840 --> 01:18:19,639
Speaker 1: But then so, while he's at this bar having a drink,

1430
01:18:19,680 --> 01:18:22,760
Speaker 1: he gets approached by Stacy Nelkin. She comes in and

1431
01:18:22,840 --> 01:18:25,880
Speaker 1: she introduces herself. She says, Hi, my name is Elli Grimbridge.

1432
01:18:26,160 --> 01:18:28,400
Speaker 1: One of the nurses told me I could find you here,

1433
01:18:28,640 --> 01:18:31,400
Speaker 1: which was funny. Okay, so yeah, oh yeah, he'll be

1434
01:18:31,439 --> 01:18:34,800
Speaker 1: at the bar, and she asks, did my father say

1435
01:18:34,840 --> 01:18:37,200
Speaker 1: anything to you the night he died? And so first

1436
01:18:37,200 --> 01:18:39,559
Speaker 1: he tries to lie to her and says, oh, yeah,

1437
01:18:39,600 --> 01:18:41,519
Speaker 1: he told me. Tell Ellie I love her, and she

1438
01:18:41,640 --> 01:18:43,840
Speaker 1: doesn't buy that. She's like, no, you know you're not

1439
01:18:43,840 --> 01:18:48,160
Speaker 1: good at lying U. So instead tom Atkins fills his guts.

1440
01:18:48,160 --> 01:18:50,280
Speaker 1: He says, I don't know. He came in scared. He

1441
01:18:50,360 --> 01:18:52,720
Speaker 1: was clutching a Halloween mask, and what he said was

1442
01:18:53,040 --> 01:18:56,519
Speaker 1: they're gonna kill us all and then uh oh, And

1443
01:18:56,520 --> 01:18:58,559
Speaker 1: then after that, he says, and in a little while

1444
01:18:58,640 --> 01:19:00,960
Speaker 1: he was dead, and I don't know what the hell

1445
01:19:01,080 --> 01:19:04,240
Speaker 1: is going on. Uh So, I guess at this point

1446
01:19:04,280 --> 01:19:05,920
Speaker 1: you can just tell they're going to team up and

1447
01:19:05,920 --> 01:19:07,479
Speaker 1: find out and that's what the rest of the movie

1448
01:19:07,520 --> 01:19:09,200
Speaker 1: is going to be. You know, the thing is that

1449
01:19:09,280 --> 01:19:12,880
Speaker 1: grim Bridge, he didn't have the complete truth here. They

1450
01:19:12,920 --> 01:19:15,880
Speaker 1: weren't planning to kill us all. They were only planning

1451
01:19:15,880 --> 01:19:20,880
Speaker 1: to kill most of the children, all the children who

1452
01:19:20,920 --> 01:19:24,840
Speaker 1: watched tv UM in America at least. They actually even

1453
01:19:24,880 --> 01:19:27,360
Speaker 1: more than that. They weren't going to kill all the children.

1454
01:19:27,360 --> 01:19:29,639
Speaker 1: They were going to kill all the like the cool kids,

1455
01:19:29,680 --> 01:19:33,599
Speaker 1: the kids whose parents bought them the expensive, upscale Halloween masks.

1456
01:19:34,320 --> 01:19:36,320
Speaker 1: Uh not not like the kids who were stuck with

1457
01:19:36,320 --> 01:19:38,920
Speaker 1: the hard plastic masks that tom Atkins tried to give

1458
01:19:38,960 --> 01:19:42,040
Speaker 1: his kids. Yeah, I'm not saying those are acceptable numbers either,

1459
01:19:42,560 --> 01:19:45,280
Speaker 1: but but just saying that that technically what he was

1460
01:19:45,280 --> 01:19:56,280
Speaker 1: saying was not true. So the next thing they do,

1461
01:19:56,320 --> 01:19:59,519
Speaker 1: they go to Harry Grimbridge's closed novelty store and they

1462
01:19:59,600 --> 01:20:02,320
Speaker 1: do some detective work. I guess Stacy Nelkin has done

1463
01:20:02,320 --> 01:20:04,800
Speaker 1: the detective work. Tom Atkins doesn't actually do a lot

1464
01:20:04,800 --> 01:20:08,080
Speaker 1: of figuring things out in this movie, mostly like she does.

1465
01:20:08,160 --> 01:20:12,040
Speaker 1: And then he's like, okay, and so she she has

1466
01:20:12,120 --> 01:20:15,800
Speaker 1: done detective work by looking down events from her father's diary,

1467
01:20:16,080 --> 01:20:19,760
Speaker 1: and she realizes that that he did everything in his

1468
01:20:19,840 --> 01:20:23,080
Speaker 1: schedule up until he was supposed to go up to

1469
01:20:23,400 --> 01:20:28,560
Speaker 1: a too restock Halloween masks from the Silver Shamrock Factory,

1470
01:20:28,920 --> 01:20:31,639
Speaker 1: which is in a nearby small town called Santa Meira,

1471
01:20:31,840 --> 01:20:34,600
Speaker 1: and that's the last thing from his diary that he

1472
01:20:34,640 --> 01:20:37,720
Speaker 1: actually did. So they decide they're going to go to

1473
01:20:37,760 --> 01:20:41,120
Speaker 1: Santa Maira to investigate. Uh. And then I gotta say

1474
01:20:41,200 --> 01:20:43,200
Speaker 1: when they're when they're about to head out of town,

1475
01:20:43,280 --> 01:20:47,599
Speaker 1: there is a really funny scene which always every time

1476
01:20:47,640 --> 01:20:49,560
Speaker 1: I've showed this movie to people, this is one of

1477
01:20:49,600 --> 01:20:52,080
Speaker 1: the scenes that makes people laugh the most. Is where

1478
01:20:52,080 --> 01:20:54,479
Speaker 1: Tom Atkins is on the pay phone talking to his

1479
01:20:54,520 --> 01:20:56,640
Speaker 1: ex wife. He's like, you know, yeah, I gotta be

1480
01:20:56,680 --> 01:20:59,599
Speaker 1: out of town. I'll be back soon, look see you later,

1481
01:21:00,160 --> 01:21:02,320
Speaker 1: and then he hangs up the phone. And when he

1482
01:21:02,640 --> 01:21:04,840
Speaker 1: and like, as he hangs up the phone, somehow he

1483
01:21:04,920 --> 01:21:07,800
Speaker 1: moves and the camera moves to reveal a six pack

1484
01:21:07,840 --> 01:21:12,760
Speaker 1: of Miller. It's been there the whole time, but it

1485
01:21:12,840 --> 01:21:16,040
Speaker 1: was obscured until the until he moves out of frame,

1486
01:21:16,800 --> 01:21:19,200
Speaker 1: and then he grabs the six pack and runs straight

1487
01:21:19,240 --> 01:21:21,880
Speaker 1: to the car. Uh. And then I think we see

1488
01:21:21,920 --> 01:21:24,559
Speaker 1: at this point a TV display in a storefront playing

1489
01:21:24,560 --> 01:21:27,200
Speaker 1: the Silver Shamrock commercials. So at this point we're definitely

1490
01:21:27,360 --> 01:21:30,080
Speaker 1: like six or seven times of seeing it. Yeah, yeah,

1491
01:21:30,720 --> 01:21:32,400
Speaker 1: And I think we're supposed to be sick of it. Yeah,

1492
01:21:32,400 --> 01:21:34,400
Speaker 1: we're supposed to be sick of hearing the jingle too.

1493
01:21:34,479 --> 01:21:36,719
Speaker 1: But it's also growing more and more ominous because we're

1494
01:21:36,960 --> 01:21:42,880
Speaker 1: we're getting increasing info, increasing intelligence on on what exactly

1495
01:21:42,920 --> 01:21:45,439
Speaker 1: this is all about. Yeah. So here we have basically

1496
01:21:45,439 --> 01:21:47,040
Speaker 1: the set up to the plot. You know, this is

1497
01:21:47,080 --> 01:21:48,840
Speaker 1: the end of act one. They're going off to Santa

1498
01:21:48,880 --> 01:21:51,120
Speaker 1: Mira to find out what's going on, and we get

1499
01:21:51,120 --> 01:21:54,479
Speaker 1: some narration while they're traveling at tom Atkins or one

1500
01:21:54,520 --> 01:21:57,439
Speaker 1: of them is reading about this place. They say it was.

1501
01:21:58,080 --> 01:22:00,800
Speaker 1: They say Santamira was founded in eighteen eighty seven, grew

1502
01:22:00,880 --> 01:22:04,040
Speaker 1: up around a large dairy. Around World War Two, a

1503
01:22:04,120 --> 01:22:08,280
Speaker 1: wealthy irishman, Conal Cochrane converted it into a toy factory

1504
01:22:08,520 --> 01:22:12,479
Speaker 1: Silver Shamrock novelties, now given over to the manufacturer and

1505
01:22:12,520 --> 01:22:17,240
Speaker 1: sale of Halloween masks. Proud community predominantly Irish. I don't

1506
01:22:17,240 --> 01:22:19,040
Speaker 1: know where they're reading that is, if that's in like

1507
01:22:19,120 --> 01:22:22,800
Speaker 1: the road Atlas or whatever. Um. But as they're driving

1508
01:22:22,840 --> 01:22:25,719
Speaker 1: up there, I gotta comment on the landscape so green,

1509
01:22:26,160 --> 01:22:28,880
Speaker 1: so green. Maybe that's just how northern California is, but

1510
01:22:28,960 --> 01:22:32,080
Speaker 1: it was beautiful. Yeah yeah. And then ultimately we get,

1511
01:22:32,120 --> 01:22:34,559
Speaker 1: you know, the entry into the creepy town, the town

1512
01:22:34,600 --> 01:22:37,599
Speaker 1: where things are not quite right, which is a staple

1513
01:22:37,600 --> 01:22:40,639
Speaker 1: of so many horror tales. Uh, and it is they

1514
01:22:40,680 --> 01:22:43,559
Speaker 1: pulled off effectively here as well. Oh yeah, so they're

1515
01:22:43,640 --> 01:22:45,960
Speaker 1: driving her. I love these parts too. They're driving around

1516
01:22:45,960 --> 01:22:48,720
Speaker 1: and everybody's just peeping out at them, peeping out through

1517
01:22:48,760 --> 01:22:52,400
Speaker 1: windows and looking around corners as they drive in. And

1518
01:22:52,640 --> 01:22:55,679
Speaker 1: Stacy Nelkins says, wow, I feel like a goldfish. And

1519
01:22:55,680 --> 01:22:58,760
Speaker 1: and Tom Atkins says, yeah, it's a company town. And

1520
01:22:58,800 --> 01:23:01,679
Speaker 1: we see their security cameras everywhere. This is a town

1521
01:23:01,800 --> 01:23:06,479
Speaker 1: under strict surveillance. And there's just technology and and and

1522
01:23:06,520 --> 01:23:09,519
Speaker 1: it's and it's a panopticon here. And of course, as

1523
01:23:09,560 --> 01:23:12,840
Speaker 1: with a with a with a with a natural panopticon, uh,

1524
01:23:12,880 --> 01:23:15,320
Speaker 1: the boss, the oversight can show up at any moment.

1525
01:23:15,400 --> 01:23:17,599
Speaker 1: And that's that's one of the things we see here,

1526
01:23:17,640 --> 01:23:20,639
Speaker 1: is that there's the there's the limo that's Conald Cochrane

1527
01:23:20,640 --> 01:23:22,679
Speaker 1: in there. Oh yeah, after this, so they check into

1528
01:23:22,680 --> 01:23:26,639
Speaker 1: a hotel. Yeah, and the the hotel proprietor or motel.

1529
01:23:26,680 --> 01:23:28,559
Speaker 1: I guess it's a place that's got these little like

1530
01:23:28,840 --> 01:23:31,439
Speaker 1: uh rooms that are side by side at one level

1531
01:23:31,520 --> 01:23:34,760
Speaker 1: that are this garish combination of pink and white. Um,

1532
01:23:35,200 --> 01:23:39,000
Speaker 1: and the proprietor as this this limo cruises down the street,

1533
01:23:39,320 --> 01:23:41,880
Speaker 1: he says, ah, here's Mr Cochrane. Now he says he's

1534
01:23:41,880 --> 01:23:45,280
Speaker 1: a great man, Conald Cochrane, a true genius and in

1535
01:23:45,360 --> 01:23:47,840
Speaker 1: it is we We get more information on this later,

1536
01:23:47,880 --> 01:23:50,599
Speaker 1: but he was a maker of toys, but also a

1537
01:23:50,640 --> 01:23:55,200
Speaker 1: collector and ultimately a master of automatons because uh, you know,

1538
01:23:55,200 --> 01:23:59,480
Speaker 1: the lines are drawn between you know, old clockwork novelties

1539
01:23:59,800 --> 01:24:03,800
Speaker 1: and these modern android servants that he's created to carry

1540
01:24:03,840 --> 01:24:07,240
Speaker 1: out his uh, his strange plan. Yeah. Now, so far

1541
01:24:07,320 --> 01:24:09,800
Speaker 1: this movie is a little light on characters for a

1542
01:24:09,800 --> 01:24:12,519
Speaker 1: horror movie, because you know, a horror movie, especially a

1543
01:24:12,560 --> 01:24:15,040
Speaker 1: more vulgar one, it's always got to have some characters

1544
01:24:15,040 --> 01:24:17,559
Speaker 1: who must suffer an ill fate that can't be uh

1545
01:24:17,800 --> 01:24:20,200
Speaker 1: you know, can't be visited upon your main characters, at

1546
01:24:20,280 --> 01:24:22,960
Speaker 1: least not until the end. Um So some other people

1547
01:24:22,960 --> 01:24:25,240
Speaker 1: show up. That's right. We have this family in an

1548
01:24:25,360 --> 01:24:28,439
Speaker 1: RV and uh and and there're a lot there, Yes,

1549
01:24:28,800 --> 01:24:31,280
Speaker 1: they're a lot. Yeah, they're in a Winnebago. I think

1550
01:24:31,320 --> 01:24:34,400
Speaker 1: they're they're blasting loud music. Uh. They have the most

1551
01:24:34,439 --> 01:24:38,799
Speaker 1: the world's most disgusting redheaded child. Dad's name is Buddy

1552
01:24:38,880 --> 01:24:41,080
Speaker 1: Cup for he's from San Diego, and he's like a

1553
01:24:41,080 --> 01:24:45,120
Speaker 1: big halloween store guy, I think, or costume store or something.

1554
01:24:45,160 --> 01:24:47,639
Speaker 1: He he buys a lot of silver sham rock masks

1555
01:24:48,439 --> 01:24:51,360
Speaker 1: and uh. And then they reveal their child, Buddy Jr.

1556
01:24:51,680 --> 01:24:54,559
Speaker 1: And as Buddy Jr. Is like riding off on his bicycle,

1557
01:24:54,680 --> 01:24:59,080
Speaker 1: he gives his mom the finger. So very very ill

1558
01:24:59,120 --> 01:25:01,840
Speaker 1: behaved child. And I think I recall from the Tommy

1559
01:25:01,880 --> 01:25:04,400
Speaker 1: Lee Wallace commentary track him saying that the kid who

1560
01:25:04,479 --> 01:25:07,240
Speaker 1: plays the obnoxious child grew up to become like a

1561
01:25:07,240 --> 01:25:11,400
Speaker 1: priest or a rabbi or something. So, yeah, they're in town.

1562
01:25:11,439 --> 01:25:14,800
Speaker 1: Apparently people come to the company town to to buy

1563
01:25:15,160 --> 01:25:18,439
Speaker 1: wholesale masks and other products so that they can sell

1564
01:25:18,439 --> 01:25:21,680
Speaker 1: them at their like their mom and pop shop or

1565
01:25:21,720 --> 01:25:24,320
Speaker 1: in wayne or or chain they happen to run. That

1566
01:25:24,320 --> 01:25:26,919
Speaker 1: seems to be the situation. Here. Yeah, but it's already

1567
01:25:26,960 --> 01:25:29,679
Speaker 1: like two days till Halloween. It seems a little late

1568
01:25:29,760 --> 01:25:33,080
Speaker 1: for them to be like scoping out sources for Halloween masks.

1569
01:25:33,320 --> 01:25:35,439
Speaker 1: Yeah you think, I mean it's it seems to be

1570
01:25:35,479 --> 01:25:37,400
Speaker 1: the case at least now like they stopped they start

1571
01:25:37,439 --> 01:25:39,800
Speaker 1: clearing out the Halloween stuff that close to the date,

1572
01:25:39,800 --> 01:25:42,840
Speaker 1: it's time to start selling all that Christmas stuff. Yeah.

1573
01:25:42,520 --> 01:25:45,519
Speaker 1: Uh oh, but another buyer arrives at the motel. This

1574
01:25:45,600 --> 01:25:48,320
Speaker 1: is like an angry lady who's the character is named

1575
01:25:48,320 --> 01:25:51,760
Speaker 1: Marge Gutman. She's played by Garden Stevens, who at some

1576
01:25:51,880 --> 01:25:56,639
Speaker 1: point Tom Atkins was her husband. Uh so in real life.

1577
01:25:57,400 --> 01:26:01,360
Speaker 1: But anyway, on the detective front, you get Tom Atkins.

1578
01:26:01,439 --> 01:26:05,320
Speaker 1: He reveals that, oh, Harry grim Bridge was here. He

1579
01:26:05,400 --> 01:26:08,640
Speaker 1: stayed at the motel right before he disappeared. So so

1580
01:26:08,680 --> 01:26:11,799
Speaker 1: he goes and he tells Stacy Nelkin that and she's like, oh, okay,

1581
01:26:11,880 --> 01:26:14,320
Speaker 1: let's go right to the factory and learn more. And

1582
01:26:14,560 --> 01:26:19,200
Speaker 1: Tom goes, woe, slow down, I need a drink first. Uh.

1583
01:26:19,240 --> 01:26:22,320
Speaker 1: And then here also we get some of the development

1584
01:26:22,360 --> 01:26:26,640
Speaker 1: of the absolutely the just the baffling and totally inappropriate

1585
01:26:26,680 --> 01:26:30,599
Speaker 1: love story. Uh that that makes no sense, makes no sense,

1586
01:26:30,640 --> 01:26:34,280
Speaker 1: and then she's a robot. Yeah yeah, totally unearned love story.

1587
01:26:34,439 --> 01:26:37,840
Speaker 1: I mean, there are plenty of you know, solid tales

1588
01:26:37,920 --> 01:26:40,880
Speaker 1: you can turn to where people in in in situations

1589
01:26:40,880 --> 01:26:44,200
Speaker 1: of great stress are brought together romantically. You know, it

1590
01:26:44,560 --> 01:26:46,880
Speaker 1: can be earned, but here it is absolutely not learned.

1591
01:26:47,280 --> 01:26:50,680
Speaker 1: It's just it's just as as if someone said, and

1592
01:26:50,680 --> 01:26:52,479
Speaker 1: then we have a love story here, right to sell

1593
01:26:52,520 --> 01:26:54,519
Speaker 1: some more tickets, and they're like, okay, well we'll make

1594
01:26:54,560 --> 01:26:57,000
Speaker 1: it happen. Then yeah, anyway, so so there's like a

1595
01:26:57,080 --> 01:27:00,280
Speaker 1: very WTF kiss and then and then we cut to

1596
01:27:00,360 --> 01:27:02,599
Speaker 1: like more about the town. So we see the curfew

1597
01:27:02,720 --> 01:27:06,720
Speaker 1: going into effect and uh, and so we learned that

1598
01:27:06,760 --> 01:27:09,720
Speaker 1: Santamira has a curfew, curfew beginning in the evenings, which

1599
01:27:09,800 --> 01:27:13,360
Speaker 1: is announced over these mounted loud speakers town wide. I

1600
01:27:13,360 --> 01:27:17,240
Speaker 1: think this must be the part that was what's Jamie

1601
01:27:17,320 --> 01:27:21,000
Speaker 1: Lee Curtis doing the announcer voice, Jamie Lee curfew if

1602
01:27:21,000 --> 01:27:24,040
Speaker 1: you will, right, and then we get lots of great

1603
01:27:24,120 --> 01:27:26,680
Speaker 1: empty shots of the town. Again it's that it's that

1604
01:27:26,800 --> 01:27:30,519
Speaker 1: wonderful Dean Cundy magic, you know, just the the the

1605
01:27:30,560 --> 01:27:33,479
Speaker 1: empty settings, uh, that that he knows how to pick

1606
01:27:33,520 --> 01:27:36,719
Speaker 1: out in frame so well, and then a great scene

1607
01:27:36,760 --> 01:27:39,919
Speaker 1: between tom Atkins and the town drunk. So tom Atkins

1608
01:27:39,960 --> 01:27:42,000
Speaker 1: is out breaking curfew for some reason. I guess he

1609
01:27:42,040 --> 01:27:44,280
Speaker 1: was going to a liquor store because he is somehow

1610
01:27:44,320 --> 01:27:47,400
Speaker 1: acquired liquor at the beginning of the scene. This is

1611
01:27:47,400 --> 01:27:49,240
Speaker 1: a good This is a great sequence though, because this

1612
01:27:49,280 --> 01:27:51,760
Speaker 1: is another staple. You come to the weird town where

1613
01:27:51,760 --> 01:27:54,000
Speaker 1: something's not up. What do you do, Well, you get

1614
01:27:54,000 --> 01:27:55,960
Speaker 1: some You find the town drunk, and you get him

1615
01:27:56,000 --> 01:27:58,639
Speaker 1: some liquor, and then he'll spill the beans. He'll tell

1616
01:27:58,680 --> 01:28:01,439
Speaker 1: you about all the dark, horrible secrets going on here.

1617
01:28:02,000 --> 01:28:04,600
Speaker 1: But this was like incidental, Like tom Atkins clearly he

1618
01:28:04,600 --> 01:28:06,800
Speaker 1: bought the liquor for himself, and then when he meets

1619
01:28:06,840 --> 01:28:09,040
Speaker 1: the town drunk, he's like, yeah, okay, you can have some,

1620
01:28:09,520 --> 01:28:11,920
Speaker 1: that's right. Yeah, And other tales it's very intentional, like

1621
01:28:12,000 --> 01:28:14,040
Speaker 1: here's the guy. I need to milk this source to

1622
01:28:14,080 --> 01:28:16,559
Speaker 1: find out what's going on. Here's just a happy accident.

1623
01:28:17,000 --> 01:28:20,160
Speaker 1: But the the guy tells him, he informs tom Atkins,

1624
01:28:20,160 --> 01:28:22,960
Speaker 1: He's like, okay, here's the deal. Conald Cochrane, Uh, he

1625
01:28:23,080 --> 01:28:25,439
Speaker 1: brought all of his factory workers in from the outside.

1626
01:28:25,439 --> 01:28:28,120
Speaker 1: He won't hire any locals like me, so I I

1627
01:28:28,160 --> 01:28:31,680
Speaker 1: hate him. And he's he's heard strange rumors about uh

1628
01:28:33,200 --> 01:28:36,360
Speaker 1: unsavory of doings at the factory, and he says he's

1629
01:28:36,360 --> 01:28:39,000
Speaker 1: going to make a bunch of Molotov cocktails and burn

1630
01:28:39,080 --> 01:28:43,320
Speaker 1: the place down. Bad move, because of course, uh, the

1631
01:28:43,400 --> 01:28:46,639
Speaker 1: ears of the corporation are everywhere, so that the androids

1632
01:28:46,680 --> 01:28:49,200
Speaker 1: come from him and they rip his head off. Dick

1633
01:28:49,240 --> 01:28:52,800
Speaker 1: Warlock appears and literally pulls the town drunk's head off,

1634
01:28:52,840 --> 01:28:55,639
Speaker 1: just pulls it off with his hands. And now somewhere

1635
01:28:55,640 --> 01:28:58,280
Speaker 1: around here we find out that Tom Atkins. He calls

1636
01:28:58,280 --> 01:29:00,000
Speaker 1: his friend back in the lab and he's like, hey,

1637
01:29:00,040 --> 01:29:01,880
Speaker 1: you know, what's the deal with that, uh with the

1638
01:29:02,000 --> 01:29:04,639
Speaker 1: with the remains, And she's like, somebody got this all

1639
01:29:04,680 --> 01:29:07,240
Speaker 1: screwed up. We were running tests on parts of the car.

1640
01:29:07,400 --> 01:29:13,400
Speaker 1: Nothing here but metal and plastic. Yeah. Uh, now what

1641
01:29:13,439 --> 01:29:15,160
Speaker 1: was the next I think? After this, it just goes

1642
01:29:15,400 --> 01:29:17,760
Speaker 1: to Marge Gutman, one of the one of the toy

1643
01:29:17,840 --> 01:29:23,000
Speaker 1: store Halloween store owners, who starts messing around ill advisedly

1644
01:29:23,160 --> 01:29:27,200
Speaker 1: with her silver shamrock mask. Yeah, the badge comes off

1645
01:29:27,600 --> 01:29:30,960
Speaker 1: and it ends up being triggered. Uh. Yeah, she messes

1646
01:29:30,960 --> 01:29:33,280
Speaker 1: with the silver shamrock tech and then it gets shocked

1647
01:29:33,280 --> 01:29:36,600
Speaker 1: directly in the teeth with horrifying results like it like

1648
01:29:36,680 --> 01:29:39,800
Speaker 1: blast her face open, and then these big crickets start

1649
01:29:40,680 --> 01:29:43,040
Speaker 1: wandering out of her mouth. And uh, I had to

1650
01:29:43,040 --> 01:29:44,920
Speaker 1: look this up because I for the first time, I

1651
01:29:44,960 --> 01:29:47,280
Speaker 1: was thinking, well, those are not really crickets I'm used

1652
01:29:47,320 --> 01:29:50,320
Speaker 1: to seeing. It turns out their Jerusalem crickets native to

1653
01:29:50,360 --> 01:29:53,439
Speaker 1: the Western United States. Um, they actually have nothing to

1654
01:29:53,439 --> 01:29:56,000
Speaker 1: do with Jerusalem. But um, if you haven't seen those

1655
01:29:56,000 --> 01:29:58,800
Speaker 1: crickets before, well that's why. Ah. Yeah, well, there there

1656
01:29:58,800 --> 01:30:01,400
Speaker 1: are some cool looking bow in this, but I didn't

1657
01:30:01,400 --> 01:30:04,559
Speaker 1: Doug wrangling on the film, and she's reading a weird

1658
01:30:04,640 --> 01:30:08,400
Speaker 1: looking book right before she blasts her teeth off. Oh yeah,

1659
01:30:08,400 --> 01:30:09,920
Speaker 1: I had to look at up to the The The Eagles

1660
01:30:09,920 --> 01:30:15,040
Speaker 1: Gift by Carlos Costaaneta um quote A challenging foray into

1661
01:30:15,080 --> 01:30:17,639
Speaker 1: the heart of Sorcery creates a landscape full of terrors,

1662
01:30:17,840 --> 01:30:21,840
Speaker 1: mysterious forces and insights, and landscape of the sorcerer's realm,

1663
01:30:21,920 --> 01:30:25,920
Speaker 1: of brilliant visions, lonely task and human warmth and comradeship.

1664
01:30:26,600 --> 01:30:29,840
Speaker 1: That's the just the Amazon discription for that book. I've

1665
01:30:29,840 --> 01:30:31,960
Speaker 1: never heard of it before, but a pan maybe it was,

1666
01:30:32,280 --> 01:30:34,960
Speaker 1: you know, a flash in the pan back in the day. Yeah,

1667
01:30:35,360 --> 01:30:37,760
Speaker 1: I've definitely heard of the author, but I don't know

1668
01:30:37,800 --> 01:30:40,840
Speaker 1: that book. Yeah, contains sorcerers. So there you go, there

1669
01:30:40,840 --> 01:30:43,559
Speaker 1: you go. But of course white lab coats and a

1670
01:30:43,560 --> 01:30:47,760
Speaker 1: white van arrived to remove the body. Um, and they're like,

1671
01:30:48,000 --> 01:30:50,679
Speaker 1: she's going to get medical care. And so they're they're

1672
01:30:50,720 --> 01:30:53,600
Speaker 1: taking her out. Uh. And and Tom Atkins and and

1673
01:30:53,640 --> 01:30:55,479
Speaker 1: Stacy Nell can come out and they're like, what's going on?

1674
01:30:55,600 --> 01:30:58,920
Speaker 1: And uh, Conald Cochrane arrives. I think this is the

1675
01:30:58,920 --> 01:31:01,839
Speaker 1: first time we actually see Dan o'hardy. He he arrives

1676
01:31:02,040 --> 01:31:04,280
Speaker 1: in person to reassure them. He's like, don't worry, we

1677
01:31:04,320 --> 01:31:07,759
Speaker 1: will be getting the very the very best cared off factory.

1678
01:31:07,800 --> 01:31:11,439
Speaker 1: We have a wonderful facility. Yes, yes, he's he's very

1679
01:31:11,479 --> 01:31:14,920
Speaker 1: hands on. Uh, it's it's excellent. So the next day

1680
01:31:14,960 --> 01:31:18,040
Speaker 1: they go to the Silver Shamrock factory for a tour

1681
01:31:18,280 --> 01:31:21,679
Speaker 1: along with the Buddy Cup for family, and the tour

1682
01:31:21,840 --> 01:31:25,160
Speaker 1: is given by Connal Cochrane himself. I should say that

1683
01:31:25,520 --> 01:31:28,120
Speaker 1: I know from the commentary that the exterior of the

1684
01:31:28,200 --> 01:31:33,200
Speaker 1: factory was actually filmed at a dairy works that manufactured

1685
01:31:33,240 --> 01:31:35,880
Speaker 1: like powdered milk products. And this is a in a

1686
01:31:35,960 --> 01:31:40,200
Speaker 1: town in California. I think that's called Little Lada. And uh,

1687
01:31:40,280 --> 01:31:43,120
Speaker 1: the interior shop floor where you see them making the

1688
01:31:43,240 --> 01:31:48,360
Speaker 1: masks was actually the legendary Don Post Studios in l A,

1689
01:31:48,640 --> 01:31:52,640
Speaker 1: which is a famous mask making studio. Of course, this

1690
01:31:52,720 --> 01:31:55,600
Speaker 1: was the studio that made the William Shatner mask that

1691
01:31:55,680 --> 01:31:59,080
Speaker 1: was spray painted white to create the Michael Myers mask

1692
01:31:59,200 --> 01:32:02,840
Speaker 1: in the original Halloween. Yeah, that that is Nate. No.

1693
01:32:03,200 --> 01:32:05,599
Speaker 1: This this sequence is also fun because you know, nothing's

1694
01:32:05,680 --> 01:32:07,840
Speaker 1: good is going to come of any of this. But

1695
01:32:08,360 --> 01:32:12,240
Speaker 1: the two the the tour of the factory. Uh, it

1696
01:32:12,360 --> 01:32:15,839
Speaker 1: was slightly reminiscent of Willy Wonka's tour of the factory,

1697
01:32:15,920 --> 01:32:18,000
Speaker 1: you know where he's like, you know, this is where

1698
01:32:18,000 --> 01:32:20,920
Speaker 1: the magic happens. And don't don't worry about what goes

1699
01:32:20,960 --> 01:32:24,880
Speaker 1: on back there behind those doors. It's quality control. You

1700
01:32:24,920 --> 01:32:26,920
Speaker 1: don't need to worry about it. Oh no, no, no,

1701
01:32:27,120 --> 01:32:30,880
Speaker 1: not qualite. Uh final processing, final processing, yes, right, they

1702
01:32:30,920 --> 01:32:34,360
Speaker 1: get curious about they see these doors labeled final processing,

1703
01:32:34,960 --> 01:32:38,000
Speaker 1: and you know, oh, one of the Buddy Jr. He

1704
01:32:38,040 --> 01:32:40,479
Speaker 1: tries to grab a mask. He's like, I want this mask,

1705
01:32:40,960 --> 01:32:44,439
Speaker 1: and Conal Cochrane's like hasn't been through final processing. They

1706
01:32:44,439 --> 01:32:47,720
Speaker 1: are no good until they go through final processing. So

1707
01:32:47,760 --> 01:32:50,760
Speaker 1: he gets in a finally processed mask instead, which I

1708
01:32:50,800 --> 01:32:53,400
Speaker 1: think that means the ones that have not been through

1709
01:32:53,400 --> 01:32:56,160
Speaker 1: final processing are not yet lethal. Yeah, they don't have

1710
01:32:56,200 --> 01:33:00,280
Speaker 1: that stone hinge microchip that will fry your head and

1711
01:33:00,520 --> 01:33:05,080
Speaker 1: turn your brains into creepy Crawley's. There's there's another great

1712
01:33:05,120 --> 01:33:08,040
Speaker 1: part at this factory tour where um the factory also

1713
01:33:08,080 --> 01:33:12,160
Speaker 1: includes like a museum of Conald Cochrane's other creations. So yeah,

1714
01:33:12,200 --> 01:33:15,400
Speaker 1: it's a bunch of automata and uh and other kind

1715
01:33:15,400 --> 01:33:18,320
Speaker 1: of toys and things. But also Buddy Cup for explains

1716
01:33:18,360 --> 01:33:21,320
Speaker 1: to Tom Atkins. He's like, don't you know about Conald Cochrane.

1717
01:33:21,360 --> 01:33:25,120
Speaker 1: He says he invented sticky toilet paper, So he's some

1718
01:33:25,200 --> 01:33:29,320
Speaker 1: kind of famous novelty genius who invented like a million

1719
01:33:29,479 --> 01:33:32,799
Speaker 1: iconic toys and practical jokes. He's like the Nicola Tesla

1720
01:33:32,840 --> 01:33:38,520
Speaker 1: of fake vomit, but but also get created killer androids

1721
01:33:38,560 --> 01:33:42,920
Speaker 1: and has orchestrated this massive like international plot, like like

1722
01:33:43,000 --> 01:33:47,120
Speaker 1: Interpol would be interested in what he's doing here, uh too,

1723
01:33:47,160 --> 01:33:51,360
Speaker 1: in order to bring about like the mass sacrifice of

1724
01:33:51,360 --> 01:33:55,800
Speaker 1: of countless children, so as to we're not exactly sure.

1725
01:33:56,439 --> 01:33:58,720
Speaker 1: And that's the and and that's the beauty of it.

1726
01:33:58,760 --> 01:34:02,760
Speaker 1: Like we we as normal humans, should not fully understand

1727
01:34:03,040 --> 01:34:05,559
Speaker 1: what a powerful warlock is trying to do. Like is

1728
01:34:05,560 --> 01:34:08,200
Speaker 1: he is he trying to maintain cosmic balance? Is he

1729
01:34:08,240 --> 01:34:12,200
Speaker 1: accumulating um, you know, divine powers for himself? I don't know.

1730
01:34:12,240 --> 01:34:15,680
Speaker 1: That's warlock business, that's not human business. The less we understand,

1731
01:34:15,880 --> 01:34:18,960
Speaker 1: the more darkly magical it is. We do get a

1732
01:34:18,960 --> 01:34:21,799
Speaker 1: bit of a Bond villain explanation later, but it doesn't

1733
01:34:21,840 --> 01:34:24,680
Speaker 1: seem to explain everything like he gives he gives the

1734
01:34:25,080 --> 01:34:27,880
Speaker 1: Blowfeld speech, but it only goes like a quarter of

1735
01:34:27,880 --> 01:34:30,360
Speaker 1: the way to really explaining what's going on. I think

1736
01:34:30,360 --> 01:34:32,840
Speaker 1: he even says something to the effect that Tom Atkins character.

1737
01:34:32,880 --> 01:34:35,320
Speaker 1: He's like, like, you'll you'll have to figure out the

1738
01:34:35,320 --> 01:34:39,320
Speaker 1: rest for yourself. Um, a magician never reveals his assess

1739
01:34:39,400 --> 01:34:42,960
Speaker 1: that a magician never reveals his secrets. I love that.

1740
01:34:43,800 --> 01:34:47,360
Speaker 1: Uh But so anyway, later that night, Ellie disappears and

1741
01:34:47,439 --> 01:34:51,200
Speaker 1: Chalice discovers that she's gone, and he's ambushed by a

1742
01:34:51,200 --> 01:34:54,360
Speaker 1: bunch of the gray suited creeps and he and you

1743
01:34:54,400 --> 01:34:56,479
Speaker 1: get since that he's starting to figure out what's wrong

1744
01:34:56,520 --> 01:34:58,679
Speaker 1: with these guys, you know, could they be not human

1745
01:34:58,720 --> 01:35:02,120
Speaker 1: in some way? So he goes he escapes into the night,

1746
01:35:02,160 --> 01:35:05,120
Speaker 1: and eventually he breaks into the factory to see if

1747
01:35:05,120 --> 01:35:07,719
Speaker 1: he can find Ellie there, so a bunch of stuff

1748
01:35:07,720 --> 01:35:11,559
Speaker 1: happens there. He comes across this creepy knitting automaton, which

1749
01:35:11,600 --> 01:35:14,880
Speaker 1: I love, and he accidentally knocks its head off. Uh,

1750
01:35:14,920 --> 01:35:16,719
Speaker 1: and then he gets into a fight with an android

1751
01:35:16,760 --> 01:35:20,080
Speaker 1: played by Dick Warlock, and uh, well, one thing I

1752
01:35:20,240 --> 01:35:22,200
Speaker 1: like about Dick Warlock in this movie is that he

1753
01:35:22,280 --> 01:35:25,639
Speaker 1: is repeatedly shot from the neck down, just like Michael

1754
01:35:25,640 --> 01:35:30,920
Speaker 1: Myers in the original Halloween. Yeah, but but anyway, so

1755
01:35:31,040 --> 01:35:34,680
Speaker 1: he fights him and eventually tom Atkins overpowers this this

1756
01:35:34,760 --> 01:35:37,559
Speaker 1: powerful androids, so you know, good on him. He makes

1757
01:35:37,600 --> 01:35:40,559
Speaker 1: the orange juice coop come out of his mouth. But

1758
01:35:40,800 --> 01:35:44,240
Speaker 1: then he gets captured and uh, Conald Cochrane comes out

1759
01:35:44,280 --> 01:35:47,479
Speaker 1: with more androids and they grab him and then uh

1760
01:35:47,720 --> 01:35:50,080
Speaker 1: so he's their prisoner now and then finally goes to

1761
01:35:50,120 --> 01:35:53,240
Speaker 1: the Last Day. It's Sunday, October thirty one. Uh, and

1762
01:35:53,280 --> 01:35:55,519
Speaker 1: I guess I might skip lightly over the very last

1763
01:35:55,560 --> 01:35:58,400
Speaker 1: things to happen in the movie. But but of course

1764
01:35:58,439 --> 01:36:01,920
Speaker 1: we're now at the finish line at Halloween and uh,

1765
01:36:01,960 --> 01:36:04,320
Speaker 1: and you get to see the whole plot revealed. So

1766
01:36:04,360 --> 01:36:06,559
Speaker 1: there's a great scene where Tom Atkins has led through

1767
01:36:06,560 --> 01:36:10,240
Speaker 1: this big warehouse. I guess this is final processing, and

1768
01:36:10,520 --> 01:36:13,840
Speaker 1: you see the huge slab of stone that is supposedly

1769
01:36:13,880 --> 01:36:18,720
Speaker 1: a stolen piece of stone hinge uh connald cochrane as

1770
01:36:18,760 --> 01:36:21,280
Speaker 1: it has a power in it, a force every even

1771
01:36:21,280 --> 01:36:24,479
Speaker 1: a particle of it. And he reveals the plot, the

1772
01:36:24,479 --> 01:36:27,040
Speaker 1: one we described earlier, which is that he is using

1773
01:36:27,640 --> 01:36:32,920
Speaker 1: pieces of a magic rock from stoneheinge to put those

1774
01:36:32,960 --> 01:36:37,200
Speaker 1: pieces in microchips that are embedded in each badge that

1775
01:36:37,360 --> 01:36:41,040
Speaker 1: is on each Silver Shamrock mask. And then he shows

1776
01:36:41,120 --> 01:36:44,640
Speaker 1: via a demonstration on the on Buddy Jr. Of the

1777
01:36:44,880 --> 01:36:48,840
Speaker 1: Cup First Child that when it is triggered by watching

1778
01:36:48,880 --> 01:36:53,240
Speaker 1: the Silver Shamrock commercial with the special signal embedded, it

1779
01:36:53,320 --> 01:36:57,120
Speaker 1: makes the microchip like shoot out a laser that turns

1780
01:36:57,160 --> 01:37:00,400
Speaker 1: your head into animals into like snakes and bugs that

1781
01:37:00,479 --> 01:37:02,680
Speaker 1: run all over the place. Yeah, and we see this

1782
01:37:02,720 --> 01:37:05,000
Speaker 1: go down and like the the in the test room

1783
01:37:05,040 --> 01:37:08,639
Speaker 1: and this this the steel plated kind of bunker version,

1784
01:37:08,720 --> 01:37:12,720
Speaker 1: like a replica of the the American living Room. And

1785
01:37:12,760 --> 01:37:14,880
Speaker 1: it's a horrific scene. Like you know, the boy he

1786
01:37:14,960 --> 01:37:17,920
Speaker 1: studies melting inside that mask and bugs are coming out.

1787
01:37:18,240 --> 01:37:21,599
Speaker 1: He's in distress. The mother faints, the fathers screaming. It's

1788
01:37:21,600 --> 01:37:24,559
Speaker 1: a it's a rough sequence, and we see Tom Atkins

1789
01:37:24,600 --> 01:37:26,360
Speaker 1: reacting to it as well. He does a very shot

1790
01:37:26,439 --> 01:37:29,759
Speaker 1: and aresque performance of anguish. He is like holding clinched

1791
01:37:29,840 --> 01:37:34,479
Speaker 1: fists up by his face. It's uh, but but the

1792
01:37:34,520 --> 01:37:37,320
Speaker 1: implication is clear, right, So it's that as children all

1793
01:37:37,360 --> 01:37:40,679
Speaker 1: over the country watched the commercial tonight at nine while

1794
01:37:40,720 --> 01:37:43,960
Speaker 1: wearing their masks, their heads will suffer the same fate

1795
01:37:44,040 --> 01:37:46,479
Speaker 1: as Buddy Junior's head. And then we get a great

1796
01:37:46,520 --> 01:37:49,200
Speaker 1: montage of like the commercial music playing, and we see

1797
01:37:49,200 --> 01:37:52,200
Speaker 1: scenes labeled as happening in cities all over the USA

1798
01:37:52,320 --> 01:37:54,800
Speaker 1: with kids in their silver sham rock masks throughout trick

1799
01:37:54,880 --> 01:37:58,520
Speaker 1: or treating. H I think it's the kids from Phoenix

1800
01:37:58,640 --> 01:38:00,800
Speaker 1: in the sequence that are used on the posters for

1801
01:38:00,840 --> 01:38:03,559
Speaker 1: the movie. Yeah, yeah, I think we've seen you see

1802
01:38:03,600 --> 01:38:06,879
Speaker 1: New Orleans in there. Um, I don't think we saw Atlanta.

1803
01:38:07,280 --> 01:38:09,679
Speaker 1: I feel like I would have remembered that more. Um.

1804
01:38:09,720 --> 01:38:11,640
Speaker 1: But yeah, it's implied that this is about to go

1805
01:38:11,720 --> 01:38:14,639
Speaker 1: down and just across the United States. Okay, Well, eventually

1806
01:38:14,680 --> 01:38:16,640
Speaker 1: we get to the part where Tom Atkins is like

1807
01:38:16,680 --> 01:38:20,160
Speaker 1: tied to a chair and Connal cochrane explains his whole plot.

1808
01:38:20,240 --> 01:38:22,400
Speaker 1: So he does the Bond villain speech and uh, and

1809
01:38:22,439 --> 01:38:25,320
Speaker 1: I wrote this down because this is good. So he

1810
01:38:25,439 --> 01:38:28,400
Speaker 1: partially explains that. He says, I do love a good joke,

1811
01:38:28,560 --> 01:38:30,840
Speaker 1: and this is the best of all, a joke on

1812
01:38:31,000 --> 01:38:34,960
Speaker 1: the children. But there's a better reason. You don't really

1813
01:38:35,040 --> 01:38:38,360
Speaker 1: know much about Halloween. You've thought no further than the

1814
01:38:38,439 --> 01:38:41,600
Speaker 1: strange custom of having your children wear masks and go

1815
01:38:41,640 --> 01:38:45,160
Speaker 1: out begging for candy. It was the start of our

1816
01:38:45,240 --> 01:38:48,280
Speaker 1: year in our old Celtic lands, and we'd be waiting

1817
01:38:48,720 --> 01:38:52,360
Speaker 1: in our houses of wattles and clay. The barriers would

1818
01:38:52,360 --> 01:38:55,320
Speaker 1: be down, you see, between the real and the unreal,

1819
01:38:55,720 --> 01:38:58,479
Speaker 1: and the dead might be lurking in to sit by

1820
01:38:58,479 --> 01:39:03,360
Speaker 1: our fires of turf. Halloween, the festival of Sawin the

1821
01:39:03,479 --> 01:39:06,720
Speaker 1: last Great One, took place three thousand years ago, and

1822
01:39:06,760 --> 01:39:10,240
Speaker 1: the hills ran red with the blood of animals and children,

1823
01:39:10,720 --> 01:39:14,360
Speaker 1: and Tom Atkins says sacrifices, and he says part of

1824
01:39:14,400 --> 01:39:19,680
Speaker 1: our world, part of our craft. Witchcraft to us, it

1825
01:39:19,800 --> 01:39:22,839
Speaker 1: was a way of controlling our environment. Not so different.

1826
01:39:22,880 --> 01:39:26,559
Speaker 1: Now it's time again. In the end, we don't decide

1827
01:39:26,600 --> 01:39:30,160
Speaker 1: these things, you know, the planets do. They're in alignment.

1828
01:39:30,439 --> 01:39:34,280
Speaker 1: And it's time again. The world's going to change tonight. Doctor.

1829
01:39:34,560 --> 01:39:38,719
Speaker 1: I'm glad you'll be able to watch it. And happy Helloween. Yeah,

1830
01:39:38,760 --> 01:39:42,479
Speaker 1: it's it's it's a wonderful villain monologue, maybe one, maybe

1831
01:39:42,479 --> 01:39:44,760
Speaker 1: one of the best. I'm a little biased, but it's

1832
01:39:44,760 --> 01:39:47,760
Speaker 1: pretty great because he doesn't reveal everything, but he he

1833
01:39:47,760 --> 01:39:51,040
Speaker 1: he tips his his his hand a bit and uh

1834
01:39:51,120 --> 01:39:52,920
Speaker 1: and and relishes it, you know. He this is a

1835
01:39:52,960 --> 01:39:56,280
Speaker 1: man who enjoys his job. And it does just paint

1836
01:39:56,680 --> 01:40:00,320
Speaker 1: this the this wonderfully dark and bloody picture, you know,

1837
01:40:00,479 --> 01:40:03,120
Speaker 1: like bringing to mind the idea of the of of

1838
01:40:03,160 --> 01:40:07,000
Speaker 1: the you know, of the fires of turf, you know, um,

1839
01:40:07,400 --> 01:40:11,559
Speaker 1: and the old festivals and the hills running with blood, um. Yeah,

1840
01:40:11,640 --> 01:40:13,960
Speaker 1: and the idea that we've invited this thing into our

1841
01:40:14,000 --> 01:40:17,720
Speaker 1: lives without really understanding the deep truth of it, which uh,

1842
01:40:17,760 --> 01:40:19,720
Speaker 1: you know, works on several levels. It's kind of like

1843
01:40:19,760 --> 01:40:21,960
Speaker 1: the the the you know, certainly the scary movie thing

1844
01:40:22,040 --> 01:40:25,120
Speaker 1: is like you didn't really think Halloween was was harmless.

1845
01:40:25,160 --> 01:40:28,519
Speaker 1: It's actually harmful. But also the technological side of it.

1846
01:40:28,720 --> 01:40:31,640
Speaker 1: You let this technology into your lives, you gave it

1847
01:40:31,720 --> 01:40:34,040
Speaker 1: to your children, and you didn't think that there would

1848
01:40:34,080 --> 01:40:38,200
Speaker 1: be ramifications for that. Well tonight there are ramifications. Right.

1849
01:40:38,240 --> 01:40:40,599
Speaker 1: You thought this was just fun, but actually there are

1850
01:40:40,640 --> 01:40:43,320
Speaker 1: real demons in it and your your child's head will

1851
01:40:43,360 --> 01:40:47,040
Speaker 1: be reduced to crickets. Yeah, and uh, I mean it

1852
01:40:47,360 --> 01:40:49,520
Speaker 1: gives me kind of chills to think about it, especially

1853
01:40:49,840 --> 01:40:53,519
Speaker 1: when you think about about the technology today and uh

1854
01:40:53,600 --> 01:40:55,920
Speaker 1: and uh and and the degree to which we've handed

1855
01:40:55,960 --> 01:40:59,360
Speaker 1: this technology to our children and and in many cases

1856
01:40:59,360 --> 01:41:02,480
Speaker 1: thought nothing of it or thought not enough of it.

1857
01:41:02,520 --> 01:41:04,960
Speaker 1: Really drives it is one of the dozens of ways

1858
01:41:05,040 --> 01:41:07,600
Speaker 1: I feel like, you know, you can't decide like is

1859
01:41:07,680 --> 01:41:11,479
Speaker 1: this movie great because it's ridiculous and hilarious or is

1860
01:41:11,520 --> 01:41:15,000
Speaker 1: it actually just great? It's it's kind of both. Yeah,

1861
01:41:15,040 --> 01:41:17,720
Speaker 1: I would agree, uh and and uh And again we're

1862
01:41:17,720 --> 01:41:20,760
Speaker 1: not gonna get into the ultimate spoilers here, but I

1863
01:41:20,800 --> 01:41:24,280
Speaker 1: feel like it maintains this level of quality throughout it doesn't,

1864
01:41:24,560 --> 01:41:26,519
Speaker 1: you know, totally sell it out in the end. In fact,

1865
01:41:26,600 --> 01:41:29,559
Speaker 1: it has has a pretty great ending. I think, yeah, well,

1866
01:41:29,560 --> 01:41:32,040
Speaker 1: we did already mentioned that the big twist with with

1867
01:41:32,120 --> 01:41:34,400
Speaker 1: Ellie turning out to be an android at the end,

1868
01:41:35,160 --> 01:41:38,880
Speaker 1: so they escape. He escapes the sort of bond execution

1869
01:41:39,080 --> 01:41:42,080
Speaker 1: trap where Conal cochrane leaves him with a mask on

1870
01:41:42,160 --> 01:41:43,880
Speaker 1: and he's like, you're gonna watch the commercial and it

1871
01:41:43,920 --> 01:41:46,640
Speaker 1: will melt your head. But he somehow gets out of that.

1872
01:41:47,520 --> 01:41:50,200
Speaker 1: He finds a way out. He escapes the factory with Ellie,

1873
01:41:50,439 --> 01:41:52,680
Speaker 1: but then yeah, she turns on him and starts, I think,

1874
01:41:52,680 --> 01:41:56,320
Speaker 1: trying to choke him while he's driving a car, and uh,

1875
01:41:56,400 --> 01:41:59,880
Speaker 1: and yeah, that whole sequence is just if you watch

1876
01:41:59,880 --> 01:42:01,960
Speaker 1: the US with friends of people who don't know it's coming,

1877
01:42:01,960 --> 01:42:05,000
Speaker 1: they will be screaming, all right, well, we're gonna go

1878
01:42:05,040 --> 01:42:07,160
Speaker 1: ahead and end it there then, But I have a

1879
01:42:07,200 --> 01:42:09,280
Speaker 1: feeling we're gonna be discussing this one a good bit

1880
01:42:09,280 --> 01:42:11,360
Speaker 1: more on listener mail in the future. So if you

1881
01:42:11,439 --> 01:42:16,120
Speaker 1: have thoughts about the deep truth of Halloween three, right

1882
01:42:16,160 --> 01:42:17,640
Speaker 1: in and talk to us about it, we'd love to

1883
01:42:17,640 --> 01:42:20,000
Speaker 1: hear from you. We'd love to discuss this more. Really,

1884
01:42:20,040 --> 01:42:22,920
Speaker 1: any any excuse to talk more about Halloween three? We

1885
01:42:22,960 --> 01:42:26,760
Speaker 1: are down. Um, if you haven't seen Halloween three and

1886
01:42:26,880 --> 01:42:28,759
Speaker 1: uh and you would like to see it, well, luckily

1887
01:42:28,880 --> 01:42:31,400
Speaker 1: for you, it is widely available as a digital purchase

1888
01:42:31,479 --> 01:42:33,599
Speaker 1: or rental, and there have also been some really nice

1889
01:42:33,600 --> 01:42:35,479
Speaker 1: blue ray disks that have come out over the years.

1890
01:42:35,880 --> 01:42:37,400
Speaker 1: And who knows, I don't know. As we get closer

1891
01:42:37,439 --> 01:42:40,360
Speaker 1: to Halloween itself, perhaps it will be streaming on some

1892
01:42:40,439 --> 01:42:45,000
Speaker 1: service or another. Who knows. Maybe like the silver Shamrock jingle,

1893
01:42:45,040 --> 01:42:47,680
Speaker 1: it'll just it'll just suddenly appear on your television and

1894
01:42:47,680 --> 01:42:50,599
Speaker 1: it will be in your life. I wanted to have

1895
01:42:50,640 --> 01:42:53,840
Speaker 1: some pithy Conald Cochrane style saying here, but I couldn't

1896
01:42:53,880 --> 01:42:56,800
Speaker 1: think of one. Al Right, Well, if you want to

1897
01:42:56,800 --> 01:42:59,000
Speaker 1: listen to more Weird House Cinema publishes every Friday and

1898
01:42:59,000 --> 01:43:01,719
Speaker 1: the Stuff to Blow Your Mind podcast feed Core Science

1899
01:43:01,760 --> 01:43:05,960
Speaker 1: episodes on Tuesdays and Thursday's Artifact on Wednesday's Listener Mail

1900
01:43:06,040 --> 01:43:09,080
Speaker 1: on Mondays in a rerun over the weekend. Huge thanks

1901
01:43:09,120 --> 01:43:12,439
Speaker 1: as always to our excellent audio producer Seth Nicholas Johnson.

1902
01:43:12,680 --> 01:43:14,200
Speaker 1: If you would like to get in touch with us

1903
01:43:14,200 --> 01:43:16,599
Speaker 1: with feedback on this episode or any other, to suggest

1904
01:43:16,600 --> 01:43:18,559
Speaker 1: a topic for the future, just to say hello. You

1905
01:43:18,560 --> 01:43:21,519
Speaker 1: can email us at contact at stuff to Blow your

1906
01:43:21,560 --> 01:43:31,439
Speaker 1: Mind dot com. Stuff to Blow Your Mind is production

1907
01:43:31,479 --> 01:43:34,240
Speaker 1: of I Heart Radio. For more podcasts for my heart Radio,

1908
01:43:34,439 --> 01:43:37,120
Speaker 1: visit the i heart Radio app, Apple Podcasts, or wherever

1909
01:43:37,160 --> 01:43:38,479
Speaker 1: you listen to your favorite shows.