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Speaker 1: Welcome to Stuff to Blow Your Mind, a production of iHeartRadio.

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Speaker 2: Hey you welcome to Weird House Cinema. This is Rob Lamb.

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Speaker 3: And this is Joe McCormick. And today on Weird House,

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Speaker 3: we're going to be talking about the nineteen eighty five

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Speaker 3: sci fi thriller Creature, widely regarded as one of the

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Speaker 3: many copycats of nineteen seventy nine's Alien, though I want

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Speaker 3: to say, to be fair to Creature, it actually copies

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Speaker 3: a number of different movies.

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Speaker 2: Yeah, you know, and he gets into you also end

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Speaker 2: up getting into that area where it's like, all right,

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Speaker 2: it was inspired by some of the films that inspired Alien,

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Speaker 2: so you know, some of it kind of evens out

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Speaker 2: in the wash, but it is. So I've been getting

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Speaker 2: into Alien content a lot recently. I've been rewatching the

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Speaker 2: original films. I'm gonna be running the Alien RPG aim

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Speaker 2: from Free League here with some friends, and also we

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Speaker 2: have a new Alien picture coming up in a couple

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Speaker 2: of months, Alien Romulus. So you know, I'm geeking out

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Speaker 2: for all of these things. So in addition to rewatching

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Speaker 2: the original films, I've also been digging in a bit

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Speaker 2: into some of these Alien knockoffs and Alien inspired films,

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Speaker 2: some of which I've never seen before, some of which

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Speaker 2: I have been avoiding, some of which I'll probably can

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Speaker 2: continue to avoid. But this one is often held up

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Speaker 2: as being one of the more entertaining ones.

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Speaker 3: You know. I was having a thought about that Alien RPG,

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Speaker 3: which looks very fun and I would like to play it,

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Speaker 3: But I was thinking about how it shows the way

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Speaker 3: that character cliches turn into character types, so that like

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Speaker 3: things that are established in these movies as like, oh,

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Speaker 3: here's just a type of character you see in Alien

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Speaker 3: or Aliens, and then a lot of its copycats that

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Speaker 3: apparently in this game becomes a class. Like you would

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Speaker 3: have classes of characters in D and D, and you've

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Speaker 3: got wizards and rogues and you know, and warlocks and

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Speaker 3: all that, and apparently in this Alien game you've got

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Speaker 3: company men. I think you can be like a Burke,

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Speaker 3: You've got space marines, you can be a Vasquez. You've

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Speaker 3: got like all those types of characters are classes, right, Yeah.

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Speaker 2: Like you can be a marine, you can be you

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Speaker 2: can be a Marshall company agent.

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Speaker 3: You can be a kid.

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Speaker 2: Of course kids have special rules and so forth. Yeah,

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Speaker 2: so I'm really excited to play it. I think it

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Speaker 2: does a pretty phenomenal job of taking the Alien films

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Speaker 2: like accepting everything and then managing to do a lot

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Speaker 2: of great world building out of it. So solid recommendation

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Speaker 2: thus far from me. But I'm not actually playing it

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Speaker 2: for the first time until tonight.

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Speaker 3: I would want to play as a slimy whyland UTAWNI

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Speaker 3: suit that my class.

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Speaker 2: Yeah, it's pretty great. There's one of those in the

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Speaker 2: scenario that I'm running tonight.

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Speaker 3: Oh but wait, sorry, because you were in the middle

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Speaker 3: of talking about how I know you haven't just been

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Speaker 3: on a kick of strictly alien and Alien franchise stuff,

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Speaker 3: but everything in that zone of storytelling and media, right,

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Speaker 3: Like you've been going back to the the pre alien stuff.

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Speaker 2: Yeah, I mean like one of the classics, of course

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Speaker 2: is Mario Bob has Planet to the Vampires, which we've

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Speaker 2: previously discussed on Weird House. Another one that I recently watched,

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Speaker 2: probably for the first time in full, was John Carpenter

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Speaker 2: and Dan O'Bannon Dark Star, which, on one hand, you

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Speaker 2: have the Dan O'Bannon connection there. He's one of the

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Speaker 2: screenwriters and one of the very instrumental in Alien obviously,

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Speaker 2: but also Dark Star has this blue collar like space

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Speaker 2: trucker feel to it, you know, something that is very

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Speaker 2: much an essential part of the DNA of Alien, you know,

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Speaker 2: because if you take out the creature and the setting

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Speaker 2: is still a vital aspect of that picture.

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Speaker 3: I've said this on the show before, but I have

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Speaker 3: a theory that Alien is one of the best movies

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Speaker 3: ever made about work, and that's kind of what makes

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Speaker 3: it unique and interesting and realistic. The characters in Alien

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Speaker 3: are not friends. They know each other reasonably well, not

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Speaker 3: super well. They're not close, and the kind of relationship

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Speaker 3: they have is the kind of relationship people often have

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Speaker 3: with like co workers. It's like, you know, you got

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Speaker 3: to get along to get the work done, but you

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Speaker 3: don't even you know, you might or might not like

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Speaker 3: each other, You might or not, you know, have all

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Speaker 3: these conflicts. So it's not just a movie that features

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Speaker 3: blue collar workers, but is itself about work?

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Speaker 2: Yeah, yeah, I think that's a solid point. There are

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Speaker 2: some other films that are often thrown out as being

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Speaker 2: like predecessors to Alien, nineteen fifty eight's hit The Tear

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Speaker 2: from Beyond Space, which I haven't seen. I was looking

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Speaker 2: at it the other day but that's one that the

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Speaker 2: director of this picture points out as being one of

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Speaker 2: his inspirations. I think there's some obvious inspiration here from

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Speaker 2: Planet of the Vampires, but again, I think Creature is

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Speaker 2: ultimately one of the more entertaining and also, as I'll

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Speaker 2: discuss tasteful alien knockoffs that has come out.

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Speaker 3: Yeah, I know what you're saying. Some of the Alien

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Speaker 3: knockoffs from the eighties, which I have seen and have

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Speaker 3: enjoyable parts, some of them just get kind of gross

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Speaker 3: with like the you know, the weird sort of implied

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Speaker 3: sexuality of Alien is realized in a nastier way in

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Speaker 3: a lot of these copycats.

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Speaker 2: Yeah, because, I mean, you can't take topics and ideas

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Speaker 2: of sexuality and reproduction out of Alien. It's very much

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Speaker 2: part of the DNA, It's very much a part of

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Speaker 2: hr Giger's visual surrealism that informs so many aspects of

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Speaker 2: the film. But yeah, you'll look at various Alien knockoffs

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Speaker 2: like the Corman produced Galaxy of Terror and the British

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Speaker 2: and Seminoid, both from nineteen eighty one, and these are

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Speaker 2: both examples of film that they end up just coming

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Speaker 2: off sleazy and exploitive in my opinion, because they don't

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Speaker 2: deal with these things with the nuance and that kind

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Speaker 2: of almost subliminal energy that Alien does so well. Now,

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Speaker 2: another thing to keep in mind about Creature here is that, Okay,

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Speaker 2: Alien was of course a world class production. I think

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Speaker 2: I had a budget of eleven million dollars. This is

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Speaker 2: late seventies money. It had helming it one of the

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Speaker 2: most visually visionary directors you know of our time, and

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Speaker 2: on top of that, you know the work of hr

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Speaker 2: Giger and so forth. Creature, however, was made for less

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Speaker 2: than half of this amount of reported four point two

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Speaker 2: million dollars, and it's a pretty ambitious project for what

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Speaker 2: was reportedly even half that in budget at the outset,

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Speaker 2: because you end up having multiple sci fi sets, like,

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Speaker 2: you know, over a dozen different sets, including spaceship interiors,

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Speaker 2: alien planets. You've got spaceship models, planetary surface models, various

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Speaker 2: special effects, and ultimately a respectable cast. You know, this

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Speaker 2: is not one of those casts where everybody's green and

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Speaker 2: acting like they just though out of the back of

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Speaker 2: a truck or something. It's ultimately, I think pretty commendable

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Speaker 2: what they're able to do. When you remind yourself that

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Speaker 2: this was low budget that was shot in a warehouse

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Speaker 2: during like a super hot summer where they're just totally

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Speaker 2: unable to cool things down enough and having to deal

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Speaker 2: with everyone's sweating in their big spacesuits. You know, I

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Speaker 2: think it comes together pretty well when you take all

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Speaker 2: that into account.

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Speaker 3: Oh, I wonder if they sort of improvised a way

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Speaker 3: of writing that into the script, because there's a whole

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Speaker 3: subplot in the middle of the movie where a couple

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Speaker 3: of characters are able to figure out that another character

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Speaker 3: is brain slugged and tricking them because they're sweating in

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Speaker 3: this hot ship and he's not.

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Speaker 2: Yeah, yeah, that's so, because yeah, there are all these

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Speaker 2: behind the scenes tidbits about just how hot it was

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Speaker 2: and it was. There were sweating and it was like

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Speaker 2: steaming up the insides of the helmets. So yeah, it

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Speaker 2: sounds like it was a grueling, but most of the

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Speaker 2: accounts seem to say it was.

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Speaker 3: You know, it's a pretty.

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Speaker 2: Pretty fun shoot for the most part, with some some

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Speaker 2: key caveats that we'll come back to. All Right, Joe,

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Speaker 2: what's your elevator pitch for creature?

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Speaker 3: Oh, let's see how to create the perfect organism. Get

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Speaker 3: a little bit of your Alien, a little bit of

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Speaker 3: your the thing, and a little bit of your the

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Speaker 3: brain eaters, and put them all into blender and here's

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Speaker 3: what you got.

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Speaker 2: I want to say that there's a little bit of

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Speaker 2: dinosaur costume to this guy as well, especially if you're

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Speaker 2: in the in the film when you see him more

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Speaker 2: of a full body shot, there's kind of like a

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Speaker 2: big rubber dinosaur costume sense to him. Yeah. Again, it's

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Speaker 2: an unenviable task to try to create something that is

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Speaker 2: alien esque but on a budget without a you know,

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Speaker 2: visionary artist behind its design.

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Speaker 3: Now, I think it would be impossible to deny that

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Speaker 3: this movie is derivative of Alien in many ways. But

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Speaker 3: one thing I think is kind of surprising about it

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Speaker 3: is that it also feels derivative of Aliens, and yet

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Speaker 3: it's not because this came before Aliens. So there are

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Speaker 3: several things in it where I was like, oh, this

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Speaker 3: is this is taking this thing from you know, the

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Speaker 3: camera in movie, but actually it wasn't out yet, so

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Speaker 3: this came first.

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Speaker 2: Yeah. There's also stuff in here that reminds me a

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Speaker 2: little bit of things we would later see in Prometheus,

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Speaker 2: with Prometheus reaching back and drawing from things like Planet

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Speaker 2: of the Vampires. But like we have this scene with

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Speaker 2: like the Black Ooze we'll talk about and yeah, and

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Speaker 2: like the space zombies are abominations, so so yeah, it's

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Speaker 2: a really fun one I think to watch as an

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Speaker 2: alien fan. And again, it avoids, I think, most of

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Speaker 2: the pitfalls of lewdness that you encounter with some of

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Speaker 2: these other alien knockoffs. All right, let's go ahead and

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Speaker 2: listen to that trailer audio.

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Speaker 4: In the near future, in the shadow of Saturn's rings,

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Speaker 4: stranded beneath the surface of the barren moon called Titan,

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Speaker 4: scientists find the one thing they never expected.

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Speaker 5: Is anybody here was expecting them.

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Speaker 4: And suddenly those who had traveled across the galaxy had

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Speaker 4: one out of space. Creature. It kills to live, and

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Speaker 4: it lives to kill.

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Speaker 2: All right. So at this point, if you were thinking

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Speaker 2: to yourself, well, I would like to see Creature, I

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Speaker 2: haven't seen it, or I would like to see it

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Speaker 2: again before continuing on with this episode, well, luckily, Creature

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Speaker 2: has been available in various home video formats for quite

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Speaker 2: a while, but in my opinion, the twenty twenty two

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Speaker 2: release from Vinegar Syndrome the Blu Ray is definitely the

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Speaker 2: way to go for physical media on this one. I

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Speaker 2: rented it from Atlanta's Videodrome. It's got some cool extra features.

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Speaker 2: It has the original Titan Find cut of the film,

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Speaker 2: which is a bit darker compared to the main theatrical

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Speaker 2: cut that you have on the disc, but still interesting

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Speaker 2: to check out. You can also stream Creature digitally on

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Speaker 2: multiple platforms, and there are multiple digital rental and purchase

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Speaker 2: options as well.

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Speaker 3: I'm in a weird situation that I watched the first

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Speaker 3: half of the movie as the Titan Find cut and

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Speaker 3: the second half in the theatrical cut, so I don't

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Speaker 3: know what the difference is.

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Speaker 2: Did you did you notice any changes in lighting, because

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Speaker 2: I really didn't look at the Titan Find one much,

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Speaker 2: so I can't speak to it.

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Speaker 3: You mean, not darker in terms of tone, but darker visually, Yes,

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Speaker 3: the Titan Find cut is very dark. In fact, we

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Speaker 3: were talking off Mike about how one of my main

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Speaker 3: complaints about the movie is that you can't see the

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Speaker 3: sets at all. The characters are just standing around in

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Speaker 3: darkness talking, so I can't even tell if the sets

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Speaker 3: are good or not. In the theatrical cut. Yeah, it

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Speaker 3: was a little. It did seem a little bit more illuminated,

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Speaker 3: a little bit brighter, but still you couldn't see a

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Speaker 3: lot of the sets on the planet.

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Speaker 2: Now, speaking of physical media, I want to give a

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Speaker 2: shout out to Future Shock Video in New Orleans. This

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Speaker 2: is a new video rental store that we just read

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Speaker 2: about in New Orleans Magazine. It's operated by Eden Chubb,

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Speaker 2: who was apparently partially inspired by Weird House Cinema and

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Speaker 2: certainly inspired by Atlanta's own video rental store, Videodrome. The

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Speaker 2: name of the store is also a nod to the

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Speaker 2: concept of future Shock, which we've discussed on the show.

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Speaker 2: So kudos to Eden for keeping the physical media circulating.

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Speaker 2: You can learn more about Future Shock Video at Futureshockvideo

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Speaker 2: dot diz, and you can follow the store on Instagram

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Speaker 2: at future Shock Video. All right, Well, let's get into

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Speaker 2: the people who made this film, all right. Starting at

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Speaker 2: the top, director, writer, producer. It's William Malone born nineteen

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Speaker 2: fifty three, UCLA Film School grad, writer and director who

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Speaker 2: started out in acting and some special effects work, but then,

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Speaker 2: in the wake of nineteen seventy nine's Alien, which he

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Speaker 2: was inspired by, he was able to raise a reported

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Speaker 2: seventy four thousand dollars to make the film Scared to Death,

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Speaker 2: in which a Giger esque creature runs amok in the

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Speaker 2: La sewer system. I haven't seen this one, so I

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Speaker 2: can't really to it, but I looked at a couple

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Speaker 2: of stills in the Monster Man.

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Speaker 3: This must have been a really precious project to him,

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Speaker 3: because he works. I don't know if you caught onto this,

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Speaker 3: Rob how many references too Scared to Death? He works

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Speaker 3: into creature? Did you notice these?

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Speaker 2: I didn't notice them so much, but you were pointing

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Speaker 2: out some of them, and I guess you'll point them

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Speaker 2: out as we go here. Yeah, maybe they're supposed to

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Speaker 2: be the same cinematic universe.

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Speaker 3: Oh, I didn't consider that. Well, but I don't know

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Speaker 3: if that would work because one character is reading the

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Speaker 3: novelization of Scared to Death.

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Speaker 2: All right, So this film Creature, which was originally he

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Speaker 2: talks about this on the extras. It was originally in.

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Speaker 2: It originally had the working title Titan Fined, which the

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Speaker 2: producers did not like the other like the main money

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Speaker 2: behind it. They were like, it sounds too much like

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Speaker 2: tight and fine. People are going to think it's something else,

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Speaker 2: which seems like it's a little reaching there. I don't know,

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Speaker 2: I didn't think about that connotation. I think Titan Fine

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Speaker 2: sounds rather fascinating and very sci fi.

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Speaker 3: It makes me think maybe they were thinking sounds too

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Speaker 3: intellectual and they were coming up with an excuse for

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Speaker 3: why they wanted to just call it monster.

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Speaker 2: But anyway, this was the follow up. He mentions in

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Speaker 2: some of those extras that he was always terrible at

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Speaker 2: writing to meet a particular budget, and that was very

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Speaker 2: much the case here. It was apparently a real struggle

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Speaker 2: to go after everything they needed to make Creature, and

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Speaker 2: at one point in the production, one of the producers

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Speaker 2: I think this is Mush Diamond Diamant, It could be wrong,

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Speaker 2: but he comes in and says, oh, you guys need

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Speaker 2: more money for what you're trying to do here, and

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Speaker 2: essentially double their budget at that point, which Malone says

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Speaker 2: was of course it was a lifeline, but also it

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Speaker 2: was a bit frustrating at that stage in the production

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Speaker 2: because they were already a certain way into making everything

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Speaker 2: based on what you had, and suddenly you have additional resources,

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Speaker 2: which and you can't really redo what you've done already.

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Speaker 2: You have to think of other other ways to make

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Speaker 2: use of those funds.

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Speaker 3: I feel like we have talked about more examples of

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Speaker 3: it going the other way, where you start making a

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Speaker 3: movie and then the budget gets cut.

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Speaker 4: Yeah.

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Speaker 2: So, I mean one of the things they ended up

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Speaker 2: doing when more money came in on this one is

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Speaker 2: hired klas Kinsky, which we'll get into, which I don't

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Speaker 2: think is always I would go so far as to say,

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Speaker 2: is maybe never a good use of extra money in

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Speaker 2: your film, to say, well, let's bring in noted nightmare Kloskinski.

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Speaker 2: That's gonna be great for the film and great for morale.

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Speaker 3: Oh, we just got a bunch of extra money. We

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Speaker 3: can use that to rent a jar of red back

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Speaker 3: spiders and release them onto the set.

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Speaker 2: Essentially.

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Speaker 3: Yeah, it really spiced things up.

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Speaker 2: Yeah, yeah, I mean it's gonna make people more excited

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Speaker 2: in front of the camera.

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Speaker 3: Let's do it.

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Speaker 2: Well, more on that in a bit, But both Scared

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Speaker 2: to Death and Creature we're apparently successful. Creature was a

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Speaker 2: theatrical release, and Malone followed the film up with some

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Speaker 2: TV projects. He directed three episodes of Freddy's Nightmares, and

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Speaker 2: he also directed two episodes of Tales from the Crypt,

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Speaker 2: one of which he also wrote. He also did one

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Speaker 2: episode of the short lived sci fi spinoff of Tales

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Speaker 2: from the Crypt Perversions of Science, and after some additional

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Speaker 2: TV projects, he directed the big budget remake of House

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Speaker 2: on Haunted Hill in nineteen ninety nine.

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Speaker 3: I know you remember this one, Joe. I mean, I

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Speaker 3: don't think there's any way to make the case that

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Speaker 3: it's good, but it's very watchably bad. It has a

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Speaker 3: great cast, kind of star studded, you know, a lot

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Speaker 3: of great character actors running around doing ridiculous things. I

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Speaker 3: remember it being really ugly, like a movie that's quite

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Speaker 3: hard on the eyes, but it's I had a great time.

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Speaker 2: Yeah, I remember Jeffrey Combs has a fun, i think,

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Speaker 2: non speaking role in it, and then Jeffrey Rush basically

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Speaker 2: plays Vincent Price in the film, like in fact, the

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Speaker 2: character's name is Stephen Price, and that is as fun

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Speaker 2: as it sounds, you know, just letting Rush go wild

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Speaker 2: for the duration of the film as Vincent Price.

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Speaker 3: Just trying to remember who else is in it. I

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Speaker 3: looked at up. It's got Tay Diggs, Chris Catan, fam

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Speaker 3: Ki Janssen.

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Speaker 2: It's oh Man. When Tay Diggs was in a lot

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Speaker 2: of different movies. Yeah, yeah, yeah, anyway back to Malone.

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Speaker 2: His only two films after that were two thousand and

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Speaker 2: two is Fear dot Com, which I remember is being

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Speaker 2: quite awful, speaking of.

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Speaker 3: Ugly movies that are hard on the eyes, that we're

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Speaker 3: right in that zone around the turn of the millennium

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Speaker 3: where movies it seems we're just the color palette and

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Speaker 3: the and the brightness level and everything was optimized to

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Speaker 3: hurt the eyes to watch.

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Speaker 2: Yeah, Like I mean, I don't even want to throw

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Speaker 2: too much shade at Malone for Fear dot Com because

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Speaker 2: Fear dot Com was exactly the sort of movie that

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Speaker 2: the year two thousand and two wanted. And even though

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Speaker 2: I do not like it, there are a number There

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Speaker 2: aren't a lot of films from two thousand and two.

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Speaker 2: I'm exactly going going back and feeling nostalgic for He

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Speaker 2: did one more film in two thousand and eight, and

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Speaker 2: he also directed one episode of two thousand and six's

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Speaker 2: Masters of Horror, The Fair Haired Child. As a writer,

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Speaker 2: he also worked on nineteen ninety nine Universal Soldier, The Return,

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Speaker 2: and the Year two thousand movies Supernova. Now there's another

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Speaker 2: writer that is credited one Alan Reid. But I couldn't

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Speaker 2: find much about them. This is not to be confused

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Speaker 2: with the original voice of Fred Flintstone, different Alan Reid.

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Speaker 2: But I could not figure out exactly who this individual is.

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Speaker 3: Sorry, this is a completely out of order, but I

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Speaker 3: just remembered another actor in his house on Haunted Hill,

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Speaker 3: and that there's a cameo where Lisa Loebe plays a

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Speaker 3: TV reporter. What yeah, why, I don't know.

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Speaker 2: I'm good for her, all right, Moving on to the

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Speaker 2: actors in this film. This is of course an alien

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Speaker 2: esque picture. So we have a crew, and if you

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Speaker 2: have a crew, you got to have a captain. And

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Speaker 2: our captain is Captain Mike Davison played by Ivar born

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Speaker 2: nineteen forty three. Not only is he our captain in

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Speaker 2: this film, he's he was. Also he's also a future

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Speaker 2: actual ship captain according to Malone. So he chalks that

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Speaker 2: up to good casting, like he saw this guy and

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Speaker 2: realized this, this dude can command a ship.

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Speaker 3: I mean, he is believable as a ship captain. I

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Speaker 3: will say that no offense to Stan. I don't have

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Speaker 3: a lot to say about his performance here. It's sort

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Speaker 3: of a like a It's like a slice of white

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Speaker 3: toast with no butter or Jam's there's nothing wrong with it,

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Speaker 3: nothing to offend, but also it's very plain.

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Speaker 2: Yeah, and it's fitting that at this point in his career,

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Speaker 2: mostly a TV actor, he had just played John Carter

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Speaker 2: on Little House on the Prairie, along with some other

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Speaker 2: various guest show spots, guest spots on shows. But you know,

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Speaker 2: he is the kind of actor he can easily imagine

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Speaker 2: doing a lot of scenes where he's just coming back

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Speaker 2: from some farm work and he needs a nice drink

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Speaker 2: of water back at the Little on the Prairie. Anyway,

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Speaker 2: this sort of work would would continue with him doing

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Speaker 2: a lot of one shots on popular TV series of

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Speaker 2: the eighties and nineties. His latter film credits include roles

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Speaker 2: in nineteen ninety one's Harley Davidson and the Marlborough Man

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Speaker 2: and nineteen ninety three's Aspen Extreme. His last credits were

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Speaker 2: a pair of NCIS episodes in twenty ten. But yeah,

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Speaker 2: he's he's solid in this, you know, like you said,

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Speaker 2: he does a solid job. No notes really, but you know,

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Speaker 2: he's no Tom Scarett, but he is maybe Tom Scarett esque.

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Speaker 3: I think they were clearly going for a Tom Scarett type.

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Speaker 3: They wanted to replicate Dallas as a relatively soft spoken, stoic,

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Speaker 3: strong masculine captain, and he sort of gets there, but

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Speaker 3: he doesn't really have Tom Skarett's quiet charisma.

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Speaker 2: Yeah, all right. Now, he does have a girlfriend on

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Speaker 2: the crew though. You know. That's of course, one of

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Speaker 2: the very notable things about Alien is there are no

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Speaker 2: romantic entanglements. Yeah, but that's not the here because his

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Speaker 2: girlfriend is also a crew member. And this is the

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Speaker 2: character Beth Slaton played by Wendy Shaw.

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Speaker 3: You know, Shaul is an interesting presence in this film.

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Speaker 3: I think she is just very likable and very grounded.

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Speaker 3: She feels like a real person. For the most part.

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Speaker 3: Her portrayal of this character is strong in its understatedness,

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Speaker 3: you know, like she she plays the character as kind

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Speaker 3: of quiet and not super expressive, but that works well.

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Speaker 3: But she does have a couple of unintentionally funny moments.

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Speaker 3: For example, do you remember the part where she's telling

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Speaker 3: the story of Hofner the of you know, Klauskinsky trying

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Speaker 3: to kill her and in the scene, I could just

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Speaker 3: imagine the director behind the camera gesturing at her to

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Speaker 3: display more emotion, you know, like come on, make it bigger, bigger,

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Speaker 3: And so she does, and it comes off very forced

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Speaker 3: in a funny way. Also, at least at least three

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Speaker 3: or four times, maybe more in the movie, she says

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Speaker 3: another character's name wrong. She says Davidson instead of Davison,

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Speaker 3: which you might think is simply realistic. Oh maybe people,

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Speaker 3: you know, people get people's names wrong, Except Davison is

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Speaker 3: supposed to be her boyfriend, and she's calling him by

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Speaker 3: his last name.

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Speaker 2: Maybe that's his middle name. We don't know his full name.

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Speaker 3: He you know, maybe, oh, maybe that's her like cutesy

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Speaker 3: nickname for him. Yeah, it's an inside joke, but on

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Speaker 3: the whole, as I was saying, Shaul is quite good

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Speaker 3: in this character and very likable. She brings a kind

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Speaker 3: of human energy to the to the character, and I

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Speaker 3: think without her we would not have a lot of

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Speaker 3: reason to care about the humans.

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Speaker 2: I agree, especially when you whittle it down to what

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Speaker 2: we're left with towards the end of the picture, because

434
00:23:45,359 --> 00:23:49,040
Speaker 2: that's always telling which characters have you chosen to sacrifice,

435
00:23:49,040 --> 00:23:51,720
Speaker 2: in which characters are going to land a plane or

436
00:23:51,800 --> 00:23:55,800
Speaker 2: a spaceship in this case. Yeah, so Shall born nineteen

437
00:23:55,840 --> 00:23:58,680
Speaker 2: fifty four was a pretty seasoned TV actor by this point.

438
00:23:58,720 --> 00:24:01,600
Speaker 2: I think it shows, having popped up on various late

439
00:24:01,680 --> 00:24:05,200
Speaker 2: seventies and early eighties network series. She'd continue to work

440
00:24:05,200 --> 00:24:09,159
Speaker 2: in TV, and her latter film credits include Film and

441
00:24:09,200 --> 00:24:12,680
Speaker 2: TV credits include the likes of nineteen eighty seven's The Munchies.

442
00:24:12,920 --> 00:24:15,040
Speaker 2: This is a Gromlins movie that I haven't seen, but

443
00:24:15,920 --> 00:24:19,159
Speaker 2: we're not going to stop there. It gets better, nineteen

444
00:24:19,200 --> 00:24:22,760
Speaker 2: eighty seven's Inner Space Batteries not included from the same year,

445
00:24:22,880 --> 00:24:26,320
Speaker 2: nineteen eighty nine's The Birds, and such TV series as

446
00:24:26,359 --> 00:24:29,840
Speaker 2: The X Files, Six Feet Under and Star Trek Voyager.

447
00:24:29,920 --> 00:24:32,600
Speaker 2: She's also done a lot of voice acting for The

448
00:24:32,640 --> 00:24:35,879
Speaker 2: Family Guy and American Dad animated series.

449
00:24:36,760 --> 00:24:38,760
Speaker 3: I just had to check to make sure, but yes,

450
00:24:38,880 --> 00:24:43,359
Speaker 3: Munchies is the Roger Corman produced, a Grimlins rip off.

451
00:24:43,920 --> 00:24:47,199
Speaker 2: Yeah, it does not look good. I haven't seen it.

452
00:24:47,200 --> 00:24:47,800
Speaker 2: It may be great.

453
00:24:47,840 --> 00:24:50,199
Speaker 3: I don't know. I haven't seen it now. I mentioned

454
00:24:50,240 --> 00:24:52,439
Speaker 3: earlier that there were some elements of this movie that

455
00:24:52,520 --> 00:24:56,080
Speaker 3: I first mistakenly thought were lifted out of Aliens, and

456
00:24:56,119 --> 00:24:58,840
Speaker 3: then realized, oh no, this movie came out before Aliens,

457
00:24:59,200 --> 00:25:01,720
Speaker 3: and one of them is the next character we're about

458
00:25:01,720 --> 00:25:04,280
Speaker 3: to talk about. Played by Lymon Ward. This is the

459
00:25:04,359 --> 00:25:06,920
Speaker 3: Burke character, except he comes before Burke.

460
00:25:07,440 --> 00:25:11,119
Speaker 2: That's right. Yeah, lyman Ward plays David Perkins. Ward was

461
00:25:11,119 --> 00:25:14,800
Speaker 2: born nineteen forty one Canadian actor, character actor, most famous

462
00:25:14,800 --> 00:25:18,840
Speaker 2: for playing Ferris Buehler's dad in nineteen eighty six, but

463
00:25:19,200 --> 00:25:21,359
Speaker 2: you also might recognize him from other things. He pops

464
00:25:21,440 --> 00:25:24,200
Speaker 2: up in the likes of Independence Day in ninety six.

465
00:25:24,240 --> 00:25:26,880
Speaker 2: He's in a nine Grand m Street Part two. He's

466
00:25:26,880 --> 00:25:28,959
Speaker 2: done a lot of TV and film work over the decades,

467
00:25:29,000 --> 00:25:31,800
Speaker 2: going back to seventy one, and he's apparently still active.

468
00:25:32,240 --> 00:25:35,880
Speaker 2: His other credits include seventy three's Coffee, eighty four's Moscow

469
00:25:35,920 --> 00:25:39,399
Speaker 2: on the Hudson, eighty seven's Planes, Trains and Automobiles, and

470
00:25:39,560 --> 00:25:41,439
Speaker 2: nineteen ninety two Sleepwalkers.

471
00:25:42,240 --> 00:25:46,520
Speaker 3: Yeah. So, I think lyman Ward brings a kind of

472
00:25:46,800 --> 00:25:48,720
Speaker 3: and I don't necessarily mean this in a bad way.

473
00:25:48,720 --> 00:25:52,360
Speaker 3: I kind of welcome cheesiness that is in some ways

474
00:25:52,400 --> 00:25:57,719
Speaker 3: inseparable from his recognizability as a minor eighties character actor.

475
00:25:58,160 --> 00:26:01,280
Speaker 3: I would put him almost in the clue Gulager zone,

476
00:26:01,359 --> 00:26:02,359
Speaker 3: if you know what I'm saying.

477
00:26:02,600 --> 00:26:03,520
Speaker 2: Yeah, I think that's fair.

478
00:26:03,760 --> 00:26:07,280
Speaker 3: Yeah, and it makes it more surprising and enjoyable. In fact,

479
00:26:07,320 --> 00:26:11,080
Speaker 3: when he starts like making brain slug zombie heads explode.

480
00:26:11,520 --> 00:26:13,320
Speaker 2: That's a great scene. I can't wait to talk about

481
00:26:13,359 --> 00:26:16,840
Speaker 2: that one. Also of note, he's interviewed in some of

482
00:26:16,840 --> 00:26:21,000
Speaker 2: the extras on the Vinegar Syndrome disc and he's one

483
00:26:21,040 --> 00:26:23,280
Speaker 2: of these individuals who says that he got along fine

484
00:26:23,280 --> 00:26:25,920
Speaker 2: with Kinsky on the set and went out to lunch

485
00:26:26,000 --> 00:26:28,600
Speaker 2: with him a couple of times. And I don't mention

486
00:26:28,680 --> 00:26:32,840
Speaker 2: that as in any way an attempt to redeem Kinsky, who,

487
00:26:33,640 --> 00:26:36,000
Speaker 2: as we'll discuss, I think most agree, was an out

488
00:26:36,040 --> 00:26:40,040
Speaker 2: of control monster. But it is interesting how seemingly there

489
00:26:40,040 --> 00:26:43,240
Speaker 2: were folks that he worked with who didn't have absolute

490
00:26:43,400 --> 00:26:47,000
Speaker 2: nightmares around him, And I wonder how much of that

491
00:26:47,040 --> 00:26:49,560
Speaker 2: had to do with, like, to what degree Kinsky felt

492
00:26:49,640 --> 00:26:52,400
Speaker 2: threatened by someone? Seems like the kind of guy who's

493
00:26:52,440 --> 00:26:55,159
Speaker 2: going to be very threatened by anybody that is in

494
00:26:55,200 --> 00:26:57,960
Speaker 2: a position of power over him, like a director or

495
00:26:58,000 --> 00:27:02,159
Speaker 2: a producer, or or seemingly you know, female members of

496
00:27:02,200 --> 00:27:06,359
Speaker 2: a cast, but here is just a male co star,

497
00:27:06,800 --> 00:27:09,000
Speaker 2: perhaps one of the Perhaps this is one of those

498
00:27:09,040 --> 00:27:11,800
Speaker 2: moments where you actually end up getting something a little

499
00:27:11,840 --> 00:27:14,360
Speaker 2: more balanced out of Kinski because he's not threatened by

500
00:27:14,400 --> 00:27:14,679
Speaker 2: you his.

501
00:27:16,240 --> 00:27:16,880
Speaker 3: You know, his.

502
00:27:17,200 --> 00:27:20,200
Speaker 2: Narcissistic view of himself. It does not feel in danger

503
00:27:20,280 --> 00:27:21,040
Speaker 2: around this person.

504
00:27:21,119 --> 00:27:21,640
Speaker 3: I don't know.

505
00:27:22,800 --> 00:27:27,080
Speaker 2: Anyway, food for thought. Moving on, we also have Robert

506
00:27:27,119 --> 00:27:32,120
Speaker 2: Jeffey playing John Finnel born nineteen forty nine, handsome young

507
00:27:32,160 --> 00:27:35,880
Speaker 2: actor coming off of small roles in nineteen seventy two,

508
00:27:35,960 --> 00:27:39,600
Speaker 2: including The Mechanic, but by this point he'd largely moved

509
00:27:39,640 --> 00:27:42,119
Speaker 2: more into the production and writing side of things. He

510
00:27:42,240 --> 00:27:45,240
Speaker 2: was one of the screenwriters on nineteen seventy seven's Demon Seed,

511
00:27:46,040 --> 00:27:50,200
Speaker 2: the out of control AI movie based on the novel

512
00:27:50,240 --> 00:27:53,080
Speaker 2: by Dean Kotz, and he was also a screenwriter on

513
00:27:53,160 --> 00:27:57,120
Speaker 2: nineteen eighty's Motel Hell, which he also produced and notable

514
00:27:57,160 --> 00:28:00,600
Speaker 2: to the subgenre of space horror. At some point, it

515
00:28:00,640 --> 00:28:04,200
Speaker 2: looks like Jeffy acquired the rights to George R. R. Martin's

516
00:28:04,200 --> 00:28:08,400
Speaker 2: novella Nightflyers. He produced and wrote an adaptation of that

517
00:28:08,480 --> 00:28:11,680
Speaker 2: in nineteen eighty seven, though I believe it's based more

518
00:28:11,720 --> 00:28:14,680
Speaker 2: on Martin's original short story version of that tale, and

519
00:28:14,800 --> 00:28:17,280
Speaker 2: he was again listed as a producer on the twenty

520
00:28:17,320 --> 00:28:22,000
Speaker 2: seventeen TV mini series adaptation I've only seen parts of

521
00:28:22,080 --> 00:28:25,080
Speaker 2: the eighty seven adaptation and it looks really goofy and fun.

522
00:28:25,400 --> 00:28:29,000
Speaker 2: I've seen the entirety of the twenty seventeen mini series,

523
00:28:29,280 --> 00:28:33,280
Speaker 2: which has a great cast, looks phenomenal, but honestly kind

524
00:28:33,320 --> 00:28:34,680
Speaker 2: of bored me to death after a while.

525
00:28:35,440 --> 00:28:37,800
Speaker 3: Well, I've never seen the eighty seven movie, but I've

526
00:28:37,840 --> 00:28:39,640
Speaker 3: wanted to for a while so that we may come

527
00:28:39,640 --> 00:28:42,120
Speaker 3: back to that on Weird House. But I will say,

528
00:28:42,160 --> 00:28:45,200
Speaker 3: as far as just his acting performance here, along with

529
00:28:45,240 --> 00:28:49,960
Speaker 3: Wendy Shall, I think Jaffee is the other most sympathetic

530
00:28:50,000 --> 00:28:53,480
Speaker 3: and realistic performance among the crew. He brings a kind

531
00:28:53,480 --> 00:28:56,960
Speaker 3: of relaxed humanity that makes it all the more alarming

532
00:28:57,320 --> 00:28:59,680
Speaker 3: when he starts trying to brain leach people.

533
00:29:00,120 --> 00:29:02,160
Speaker 2: Yeah, it was kind of surprising that this is a

534
00:29:02,200 --> 00:29:05,000
Speaker 2: guy who seemingly was, I'm assuming here making a lot

535
00:29:05,000 --> 00:29:07,760
Speaker 2: of assumptions, but was drawn more towards the behind the

536
00:29:07,760 --> 00:29:09,920
Speaker 2: scenes stuff as opposed to staying in front of the

537
00:29:09,960 --> 00:29:11,920
Speaker 2: camera because he's great in front of the camera. Yeah,

538
00:29:11,960 --> 00:29:15,520
Speaker 2: he is, all right. We also have a character by

539
00:29:15,520 --> 00:29:20,400
Speaker 2: the name of Melanie Bryce who She is the security

540
00:29:20,440 --> 00:29:23,080
Speaker 2: officer that's brought in on this, which is also kind

541
00:29:23,080 --> 00:29:26,720
Speaker 2: of kind of something. I mean, this is obviously in Aliens.

542
00:29:26,800 --> 00:29:29,320
Speaker 2: Like the whole plot revolves around, well, this is a problem.

543
00:29:29,360 --> 00:29:32,560
Speaker 2: Let's bring in some muscle. Let's bring in the Colonial Marines.

544
00:29:33,600 --> 00:29:35,640
Speaker 2: That's kind of her purpose here. They're like, we think

545
00:29:35,640 --> 00:29:38,560
Speaker 2: there's going to be something Xena Morriphy going on. We

546
00:29:38,640 --> 00:29:43,160
Speaker 2: better bring in some tall, mysterious woman who doesn't talk

547
00:29:43,200 --> 00:29:46,000
Speaker 2: and has a big gun. Bryce here is played by

548
00:29:46,320 --> 00:29:50,360
Speaker 2: Diane Salinger born nineteen fifty one, tall, striking American actor

549
00:29:50,400 --> 00:29:52,840
Speaker 2: who prior to this had apparently done some stage work

550
00:29:52,840 --> 00:29:55,160
Speaker 2: in New York and then moved out to la at

551
00:29:55,160 --> 00:29:57,360
Speaker 2: the behest of her agent. But this wasn't her only

552
00:29:57,440 --> 00:29:59,880
Speaker 2: nineteen eighty five film. She also appeared in Tim bur

553
00:30:00,600 --> 00:30:04,280
Speaker 2: Pee Wee's Big Adventure, playing Simone, a waitress that dreams

554
00:30:04,280 --> 00:30:08,720
Speaker 2: of visiting France. After this, she'd remain friends with Paul Rubens,

555
00:30:09,000 --> 00:30:13,080
Speaker 2: and Tim Burton directed her again as the Penguin's Mother,

556
00:30:13,440 --> 00:30:17,400
Speaker 2: alongside Paul Rubens playing the Penguin's father in nineteen ninety

557
00:30:17,440 --> 00:30:21,479
Speaker 2: two's Batman Returns. WHOA Yeah Yeah. She's done a lot

558
00:30:21,520 --> 00:30:24,080
Speaker 2: of TV and film work over the years, including such

559
00:30:24,120 --> 00:30:26,760
Speaker 2: titles as ninety one's The Butcher's Wife ninety five's The

560
00:30:26,760 --> 00:30:29,680
Speaker 2: Scarlet Letter, two thousand and one's Ghost World. I believe

561
00:30:29,720 --> 00:30:32,680
Speaker 2: she plays a psychiatrist in that. She has a recurring

562
00:30:32,760 --> 00:30:36,880
Speaker 2: role in HBO's Carnival, and she also did a couple

563
00:30:36,880 --> 00:30:39,200
Speaker 2: of Star Trek Deep Space nine episodes.

564
00:30:39,920 --> 00:30:42,520
Speaker 3: I want to say that there are some very weird

565
00:30:42,760 --> 00:30:46,120
Speaker 3: things about her characterization here, but I think that's not

566
00:30:46,360 --> 00:30:50,120
Speaker 3: her fault. It's like the character is written very oddly,

567
00:30:51,400 --> 00:30:55,160
Speaker 3: that there's a complete mismatch between the ways she's portrayed

568
00:30:55,200 --> 00:30:57,200
Speaker 3: in different scenes, and then when you get to the

569
00:30:57,280 --> 00:30:59,920
Speaker 3: later way she's portrayed, it doesn't make any sense why

570
00:31:00,040 --> 00:31:03,200
Speaker 3: they had her portrayed a different way earlier on. But

571
00:31:03,480 --> 00:31:06,320
Speaker 3: doing what she can with what she has to work

572
00:31:06,360 --> 00:31:08,080
Speaker 3: with in the script, I think she's good.

573
00:31:08,440 --> 00:31:11,560
Speaker 2: Yeah, yeah, I mean added caveat. This was her first film.

574
00:31:11,880 --> 00:31:14,880
Speaker 2: She has great energy and a unique look. I checked

575
00:31:14,920 --> 00:31:16,920
Speaker 2: out some various behind the scenes interviews that she did

576
00:31:16,960 --> 00:31:19,479
Speaker 2: about this in other films, and she's a real blast,

577
00:31:19,520 --> 00:31:22,520
Speaker 2: like full of personality and insight. And we'll get back

578
00:31:22,560 --> 00:31:23,120
Speaker 2: to some of that.

579
00:31:23,040 --> 00:31:23,400
Speaker 3: In a bit.

580
00:31:23,920 --> 00:31:26,560
Speaker 2: All Right, we have a let's see, we have a

581
00:31:26,600 --> 00:31:29,360
Speaker 2: doctor on the crew. This is doctor Wendy h Oliver

582
00:31:29,480 --> 00:31:32,240
Speaker 2: played by Annette McCarthy who lived nineteen fifty eight through

583
00:31:32,280 --> 00:31:35,320
Speaker 2: twenty twenty three. Mostly a TV actor with credits that

584
00:31:35,360 --> 00:31:38,000
Speaker 2: include Twin Peaks. She played Evelyn Marsh on that and

585
00:31:38,000 --> 00:31:39,360
Speaker 2: she also appeared on Baywatch.

586
00:31:40,680 --> 00:31:44,240
Speaker 3: Yeah, her presence in the movie is more minor. There

587
00:31:44,320 --> 00:31:46,360
Speaker 3: is one funny moment I don't know if it's supposed

588
00:31:46,400 --> 00:31:49,080
Speaker 3: to be funny, where she's being lured off to a

589
00:31:49,200 --> 00:31:53,360
Speaker 3: dark room by a brain slug possessed Robert Jaffey and

590
00:31:53,640 --> 00:31:55,880
Speaker 3: she starts talking about how she's not a real doctor

591
00:31:55,960 --> 00:31:58,479
Speaker 3: and he's like, oh, I have a secret too. Anyway,

592
00:31:58,600 --> 00:31:59,680
Speaker 3: let's go into this room.

593
00:32:00,440 --> 00:32:03,520
Speaker 2: Yeah, that was interesting, and the character development went nowhere

594
00:32:03,520 --> 00:32:07,680
Speaker 2: because she's killed the next scene, but it also was

595
00:32:07,800 --> 00:32:10,040
Speaker 2: kind of a funny moment. And then we have the

596
00:32:10,120 --> 00:32:15,560
Speaker 2: character Susan Delambrey played by Marie Lauren. Her birthdate's not

597
00:32:15,600 --> 00:32:17,560
Speaker 2: public record, but she's in a number of the making

598
00:32:17,600 --> 00:32:22,000
Speaker 2: of bits on the disc as well. Energetic American actor

599
00:32:22,240 --> 00:32:24,840
Speaker 2: with a really solid supporting role in this film. I think,

600
00:32:24,880 --> 00:32:29,080
Speaker 2: you know, like she's a doomed character, but she gets

601
00:32:29,120 --> 00:32:31,760
Speaker 2: to do more than just be doomed, if that makes sense.

602
00:32:32,760 --> 00:32:34,800
Speaker 2: At this point in her career, she'd appeared in various

603
00:32:34,840 --> 00:32:36,800
Speaker 2: TV series, and she went on to act in David

604
00:32:36,920 --> 00:32:39,720
Speaker 2: Lynch's nineteen eighty eight short film The Cowboy and the Frenchman,

605
00:32:40,360 --> 00:32:42,920
Speaker 2: and she's been active in recent years as a writer

606
00:32:43,040 --> 00:32:45,360
Speaker 2: and producer on such films as twenty twenty three Is

607
00:32:45,440 --> 00:32:47,320
Speaker 2: the Uncanny, in which she also stars.

608
00:32:48,120 --> 00:32:52,200
Speaker 3: Okay, she has a different energy than any other character

609
00:32:52,240 --> 00:32:55,800
Speaker 3: in this movie in that she almost feels like out

610
00:32:55,800 --> 00:32:59,719
Speaker 3: of a story involving magic. She has prophetic visions of

611
00:33:00,000 --> 00:33:03,240
Speaker 3: the fact that she's going to die, which it doesn't

612
00:33:03,280 --> 00:33:06,320
Speaker 3: really fit with the story. Otherwise there's no other inkling

613
00:33:06,360 --> 00:33:09,560
Speaker 3: of like magic or psychic powers, and she just happens

614
00:33:09,600 --> 00:33:11,640
Speaker 3: to know that they're doomed and she's going to die.

615
00:33:12,200 --> 00:33:16,040
Speaker 3: And she also kind of wanders around with a dreamlike,

616
00:33:16,120 --> 00:33:18,160
Speaker 3: almost fairy like kind of spirit.

617
00:33:18,920 --> 00:33:22,400
Speaker 2: Yeah. Yeah. According to the extras on the disk, she

618
00:33:22,560 --> 00:33:24,480
Speaker 2: was the one who came to the director and said,

619
00:33:24,560 --> 00:33:28,320
Speaker 2: all right, this pivotal scene where my character seemingly comes

620
00:33:28,320 --> 00:33:30,520
Speaker 2: back from the dead and lures another character there death,

621
00:33:31,240 --> 00:33:33,600
Speaker 2: I need to be nude for this. And he was like, okay,

622
00:33:34,000 --> 00:33:34,720
Speaker 2: let's do it.

623
00:33:34,720 --> 00:33:36,880
Speaker 3: On the planet's surface. The surface of Titan.

624
00:33:37,320 --> 00:33:39,880
Speaker 2: Yeah, but I think the nudity does add to the

625
00:33:39,960 --> 00:33:42,480
Speaker 2: creepiness of the sequence because it makes it even more

626
00:33:42,520 --> 00:33:48,360
Speaker 2: of an obvious delusion, and ultimately I think one of

627
00:33:48,360 --> 00:33:49,920
Speaker 2: the creepier sequences in the picture.

628
00:33:50,440 --> 00:33:53,080
Speaker 3: She has multiple of the creepiest moments in the movie.

629
00:33:53,120 --> 00:33:55,400
Speaker 3: There's that. There's also a scene later on where she's

630
00:33:55,440 --> 00:33:58,080
Speaker 3: in a space suit and the characters come across her

631
00:33:58,080 --> 00:34:00,480
Speaker 3: and they think that she is dead, but she suddenly

632
00:34:00,520 --> 00:34:03,280
Speaker 3: like grins and all this blood bursts out of her

633
00:34:03,320 --> 00:34:06,880
Speaker 3: mouth as she sort of like pops awake and smiles.

634
00:34:06,640 --> 00:34:09,879
Speaker 3: It's gross, all right.

635
00:34:09,920 --> 00:34:13,680
Speaker 2: And then of course we have Kloskinski playing the character

636
00:34:13,840 --> 00:34:17,080
Speaker 2: Hans Rudy Hofner, which of course is an obvious nod

637
00:34:17,160 --> 00:34:20,920
Speaker 2: to alien designer hr Gieger or Hans Rudy Gieger.

638
00:34:21,360 --> 00:34:23,520
Speaker 3: There's a lot I could say about this performance. I'll

639
00:34:23,560 --> 00:34:25,680
Speaker 3: maybe save some of it for when we talk about

640
00:34:25,680 --> 00:34:30,480
Speaker 3: the plot. But also this character feels completely superfluous to

641
00:34:30,520 --> 00:34:33,040
Speaker 3: the story, like it's just sort of copy pasted in.

642
00:34:33,760 --> 00:34:36,560
Speaker 2: Yeah. Apparently it's very much the case that they got

643
00:34:36,560 --> 00:34:39,319
Speaker 2: the extra money, they realized they could cast Kloskinski if

644
00:34:39,360 --> 00:34:42,200
Speaker 2: they could get in touch with him. According to Malone,

645
00:34:42,640 --> 00:34:44,480
Speaker 2: the only way to get in touch with Kinsky at

646
00:34:44,520 --> 00:34:47,120
Speaker 2: the time was to send a telegram, and he was

647
00:34:47,280 --> 00:34:51,680
Speaker 2: reportedly living in like a shack somewhere up in the

648
00:34:51,680 --> 00:34:56,040
Speaker 2: California mountains, and he slept on straw on the floor,

649
00:34:56,560 --> 00:34:58,800
Speaker 2: and they were somehow able to get in touch with

650
00:34:58,880 --> 00:35:01,359
Speaker 2: him and cast him here. But then, of course, as

651
00:35:01,360 --> 00:35:03,640
Speaker 2: one would expect, especially at this point in his career,

652
00:35:03,680 --> 00:35:06,720
Speaker 2: he was a nightmare. You know. The thing about Kinski

653
00:35:06,920 --> 00:35:11,000
Speaker 2: is that he's famous. He's infamous for being not only

654
00:35:11,040 --> 00:35:15,319
Speaker 2: this ball of crazed intensity that can be captivating on

655
00:35:15,360 --> 00:35:19,480
Speaker 2: the screen, but also being almost impossible, if not just

656
00:35:19,640 --> 00:35:22,919
Speaker 2: almost universally impossible to work with. Like there's so many

657
00:35:22,960 --> 00:35:27,960
Speaker 2: accounts of him being either insanely difficult or being just

658
00:35:28,000 --> 00:35:32,719
Speaker 2: a loathsome human being, sometimes both, often both. You can

659
00:35:32,760 --> 00:35:35,239
Speaker 2: get both from him, And so we've talked about him

660
00:35:35,239 --> 00:35:37,160
Speaker 2: a little bit on Weird House Cinema before he was

661
00:35:37,160 --> 00:35:41,480
Speaker 2: in the killer snake movie Venom in nineteen eighty one.

662
00:35:42,040 --> 00:35:44,640
Speaker 2: I would guess he achieved his most notable work in

663
00:35:44,680 --> 00:35:48,080
Speaker 2: the films of legendary director Werner Herzog, who seems to

664
00:35:48,120 --> 00:35:50,400
Speaker 2: have been one of the very few directors like capable

665
00:35:50,440 --> 00:35:52,480
Speaker 2: of managing him to some degree.

666
00:35:52,600 --> 00:35:55,400
Speaker 3: Yeah, by whatever means necessary. Yeah.

667
00:35:55,680 --> 00:35:59,480
Speaker 2: Now on this production, he notably harassed Diane Salinger on

668
00:35:59,520 --> 00:36:04,719
Speaker 2: the set. Totally unacceptable. Would not fly it all today, obviously,

669
00:36:05,040 --> 00:36:07,799
Speaker 2: But in interviews she has reflected on this, and she's

670
00:36:07,800 --> 00:36:10,000
Speaker 2: talked about how she really had to check his bs

671
00:36:10,360 --> 00:36:13,799
Speaker 2: and put him in his place at one point. So

672
00:36:14,120 --> 00:36:18,360
Speaker 2: she's very tall, Kinsky was a short man. At one point,

673
00:36:18,400 --> 00:36:19,840
Speaker 2: she says she had to like pick him up in

674
00:36:19,880 --> 00:36:21,799
Speaker 2: a bear hug and just kind of like shake him

675
00:36:22,400 --> 00:36:25,720
Speaker 2: and in doing so like largely put him in his place.

676
00:36:25,760 --> 00:36:28,120
Speaker 2: So I get that after a while she did not

677
00:36:28,239 --> 00:36:32,600
Speaker 2: have to worry about Kinsky, but you know, he was

678
00:36:32,640 --> 00:36:36,200
Speaker 2: awful on the set and she had to put him

679
00:36:36,200 --> 00:36:37,799
Speaker 2: in his place. But she reflects on some of this

680
00:36:37,920 --> 00:36:41,680
Speaker 2: in the twenty twenty one documentary Creation Is Violent, anecdotes

681
00:36:41,719 --> 00:36:44,719
Speaker 2: on Kinsky's final years. She also talks a little bit

682
00:36:44,760 --> 00:36:48,320
Speaker 2: on the vinegar syndrome disc She points out that Kinsky

683
00:36:48,400 --> 00:36:51,359
Speaker 2: did some brilliant takes for Creature, but they couldn't use

684
00:36:51,400 --> 00:36:53,359
Speaker 2: a lot of them because he just refused to hit

685
00:36:53,400 --> 00:36:56,400
Speaker 2: his mark, so he was often out of focus. You know,

686
00:36:56,440 --> 00:36:58,480
Speaker 2: he was very much not going to listen to any

687
00:36:58,520 --> 00:37:02,279
Speaker 2: director or cameraman or anything, and so they ended up

688
00:37:02,320 --> 00:37:06,120
Speaker 2: losing a lot of footage. So what you see is,

689
00:37:06,120 --> 00:37:08,960
Speaker 2: to a certain extent, what they could actually use, like

690
00:37:09,480 --> 00:37:11,480
Speaker 2: is he in is he? Is?

691
00:37:11,480 --> 00:37:11,600
Speaker 5: He?

692
00:37:11,920 --> 00:37:12,520
Speaker 2: Is he blurry?

693
00:37:12,600 --> 00:37:12,680
Speaker 1: No?

694
00:37:12,760 --> 00:37:13,040
Speaker 3: Okay?

695
00:37:13,080 --> 00:37:15,759
Speaker 2: Is he eating a sandwich? Well? Yes, I guess we'll

696
00:37:15,840 --> 00:37:16,120
Speaker 2: use it.

697
00:37:18,040 --> 00:37:20,520
Speaker 3: That would explain it. He is he eating a sandwich?

698
00:37:20,560 --> 00:37:22,640
Speaker 3: And it almost sounds like he's making up his lines

699
00:37:22,680 --> 00:37:26,080
Speaker 3: while he choose Yeah.

700
00:37:26,160 --> 00:37:28,680
Speaker 2: I mean, because I'm assuming he's probably gonna largely say

701
00:37:28,719 --> 00:37:32,239
Speaker 2: whatever he wants either. So just an unenviable position to

702
00:37:32,280 --> 00:37:35,360
Speaker 2: imagine anyone trying to direct this man and something. Even

703
00:37:35,440 --> 00:37:39,680
Speaker 2: if you might get those moments of brilliance on camera

704
00:37:39,840 --> 00:37:43,000
Speaker 2: where you know, you get that like that raw crackling

705
00:37:43,280 --> 00:37:46,719
Speaker 2: kinsky intensity, but what what are you willing to sacrifice

706
00:37:47,000 --> 00:37:49,480
Speaker 2: for yourself or for the cast in order to get there?

707
00:37:49,880 --> 00:37:52,000
Speaker 2: All right? The music on this one the scores by

708
00:37:52,040 --> 00:37:55,239
Speaker 2: Thomas Chase and Steve Rucker, both born nineteen forty nine.

709
00:37:56,360 --> 00:37:59,280
Speaker 2: These guys went on to work extensively on animated series

710
00:37:59,440 --> 00:38:03,080
Speaker 2: including boy Dooo, Powerpuff Girls, and various other projects. Looks

711
00:38:03,080 --> 00:38:07,799
Speaker 2: like maybe some various other Cartoon Network related projects.

712
00:38:08,239 --> 00:38:11,880
Speaker 3: I think the score here feels almost consciously like an

713
00:38:11,880 --> 00:38:15,319
Speaker 3: attempt to reproduce the score of Alien. Yes, there are

714
00:38:16,000 --> 00:38:19,680
Speaker 3: even similar dynamics, where like there's kind of a swelling

715
00:38:19,719 --> 00:38:22,080
Speaker 3: of the orchestra, but then it dies away, and then

716
00:38:22,160 --> 00:38:25,120
Speaker 3: there's a single high melody line that's carried by a

717
00:38:25,120 --> 00:38:28,200
Speaker 3: woodwind like a clarinet or an obo, just like you

718
00:38:28,239 --> 00:38:32,040
Speaker 3: get in some of the Alien music. It feels familiar.

719
00:38:32,520 --> 00:38:35,680
Speaker 2: Yeah. Now, as far as the effects go, the main

720
00:38:35,800 --> 00:38:39,880
Speaker 2: team here was the La Effects Group INK, which among others,

721
00:38:39,960 --> 00:38:43,120
Speaker 2: included Suzanne M. Benson, who would go on to work

722
00:38:43,120 --> 00:38:46,560
Speaker 2: on Aliens the following year and win an Oscar for it.

723
00:38:46,600 --> 00:38:49,120
Speaker 2: In fact, Benson was the first woman apparently to win

724
00:38:49,160 --> 00:38:53,880
Speaker 2: an Oscar for special effects work. Michael McCracken is credited

725
00:38:53,920 --> 00:38:56,960
Speaker 2: with the initial design of the Titan Find Creature our

726
00:38:57,080 --> 00:38:59,840
Speaker 2: Monster in this He also worked on nineteen eighty nine's

727
00:39:00,080 --> 00:39:00,560
Speaker 2: of Iathan.

728
00:39:01,239 --> 00:39:05,480
Speaker 3: Special effects in this movie are fun. They are. I

729
00:39:05,480 --> 00:39:07,880
Speaker 3: would say they are mixed in terms of quality. You

730
00:39:07,920 --> 00:39:10,680
Speaker 3: can tell there were some budget limitations at some points,

731
00:39:10,760 --> 00:39:14,320
Speaker 3: but almost all of the effects shots are fun.

732
00:39:14,960 --> 00:39:18,040
Speaker 2: Yeah, yeah, obvious limitations, but yeah, there's a lot of

733
00:39:18,040 --> 00:39:20,840
Speaker 2: fun stuff in here, and sometimes it's hilarious. You know,

734
00:39:22,200 --> 00:39:24,239
Speaker 2: you know, great effects team is only going to go

735
00:39:24,280 --> 00:39:27,960
Speaker 2: so far when you're up against those budgetary constraints and

736
00:39:28,040 --> 00:39:32,239
Speaker 2: you're working in this super hot warehouse in the heat

737
00:39:32,280 --> 00:39:43,759
Speaker 2: of the summer in California. All right, well, let's jump

738
00:39:43,760 --> 00:39:45,920
Speaker 2: into the plot here. Let's let's go into space and

739
00:39:45,920 --> 00:39:47,120
Speaker 2: see if anyone can hear a screen.

740
00:39:47,560 --> 00:39:50,440
Speaker 3: Okay, Well, the first thing we get is intense music,

741
00:39:50,680 --> 00:39:54,719
Speaker 3: minor chords, pounding, hollow drums, kind of a sweeping Doppler

742
00:39:54,880 --> 00:39:59,400
Speaker 3: sound of symbols once again, I will say, quite reminiscent

743
00:39:59,440 --> 00:40:02,640
Speaker 3: of the Jerry go old Smith's score in Alien. And

744
00:40:02,680 --> 00:40:06,840
Speaker 3: then we get some text telling us about the setting.

745
00:40:07,400 --> 00:40:10,719
Speaker 3: So we are told in the competition for new materials

746
00:40:10,719 --> 00:40:15,800
Speaker 3: and advanced to manufacturing techniques, two multinational corporations have invested

747
00:40:15,840 --> 00:40:20,319
Speaker 3: heavily in space. The rival firms of Richter Dynamics of

748
00:40:20,360 --> 00:40:24,759
Speaker 3: West Germany and NTI of the USA are locked in

749
00:40:24,800 --> 00:40:28,520
Speaker 3: a fierce race for commercial supremacy. So, first of all,

750
00:40:28,560 --> 00:40:32,000
Speaker 3: we can note that space is being colonized for business purposes,

751
00:40:32,000 --> 00:40:36,879
Speaker 3: but Germany is still divided here. And then also this

752
00:40:36,920 --> 00:40:40,520
Speaker 3: will despite how much attention they give it by including

753
00:40:40,560 --> 00:40:43,040
Speaker 3: a text legend right here at the top. This will

754
00:40:43,040 --> 00:40:45,320
Speaker 3: play remarkably little role in the plot.

755
00:40:46,200 --> 00:40:48,959
Speaker 2: Yeah, yeah, it's some nice background color that does feel

756
00:40:49,040 --> 00:40:51,160
Speaker 2: very much in keeping with the alien universe, you know,

757
00:40:51,239 --> 00:40:55,279
Speaker 2: with the corporations like Whyland Utani. But yeah, it's not

758
00:40:55,320 --> 00:40:56,400
Speaker 2: particularly necessary.

759
00:40:56,560 --> 00:40:59,000
Speaker 3: So next we get to Chiron saying that we are

760
00:40:59,040 --> 00:41:03,680
Speaker 3: on Titan, which is Saturn's largest moon, on following a

761
00:41:03,800 --> 00:41:07,680
Speaker 3: geological research team from NTI. And we're also told that

762
00:41:07,760 --> 00:41:10,319
Speaker 3: it's April fifth, But is it April fifth on Earth

763
00:41:10,440 --> 00:41:15,000
Speaker 3: or on Titan? So I don't know if there would

764
00:41:15,000 --> 00:41:18,320
Speaker 3: be an April on Titan. Somewhere somewhere here on Titan.

765
00:41:18,480 --> 00:41:21,640
Speaker 3: There's an opening scene where there are a couple of

766
00:41:21,640 --> 00:41:25,799
Speaker 3: guys in bulky Eva suits exploring an indoor space, so

767
00:41:25,840 --> 00:41:30,160
Speaker 3: it seems to be the ruins of an ancient alien civilization,

768
00:41:30,880 --> 00:41:33,759
Speaker 3: though unfortunately we don't see all that much of their

769
00:41:33,840 --> 00:41:37,439
Speaker 3: architecture or really much texture in here at all. It's

770
00:41:37,520 --> 00:41:41,080
Speaker 3: just a dark room with some hard to identify objects

771
00:41:41,239 --> 00:41:42,480
Speaker 3: scattered around on the floor.

772
00:41:42,880 --> 00:41:44,800
Speaker 2: Yeah, and this is true of either cut of the film,

773
00:41:45,080 --> 00:41:48,640
Speaker 2: even in the brighter theatrical cut. It's like, I don't

774
00:41:48,640 --> 00:41:51,480
Speaker 2: know they're they're really impressed. But this is this is

775
00:41:51,600 --> 00:41:54,320
Speaker 2: not the egg chamber from the alien space ship and

776
00:41:54,400 --> 00:41:59,000
Speaker 2: alien this is something more achievable based on their budget.

777
00:41:59,280 --> 00:42:03,480
Speaker 3: Yeah, so the two geologists seem very excited about their find.

778
00:42:03,600 --> 00:42:06,360
Speaker 3: This is a big discovery. It's some kind of ancient

779
00:42:06,400 --> 00:42:11,000
Speaker 3: alien ruin. But I wasn't quite clear rob within the

780
00:42:11,040 --> 00:42:15,040
Speaker 3: setting of this movie, do humans already know that aliens exist?

781
00:42:15,160 --> 00:42:17,680
Speaker 3: Or is this the very first evidence of it.

782
00:42:18,080 --> 00:42:21,640
Speaker 2: I mean, they've given us nothing to indicate that aliens

783
00:42:21,640 --> 00:42:23,960
Speaker 2: were known of before. They mentioned new materials, but they

784
00:42:24,000 --> 00:42:27,239
Speaker 2: don't say whether those are organic materials or inorganic materials,

785
00:42:27,280 --> 00:42:30,880
Speaker 2: so maybe it's all new or I mean maybe they

786
00:42:30,880 --> 00:42:33,560
Speaker 2: were expecting it. So they're like, yes, of course alien life,

787
00:42:33,719 --> 00:42:34,200
Speaker 2: we don't know.

788
00:42:34,800 --> 00:42:37,640
Speaker 3: So they perform some analysis to figure out that these

789
00:42:37,680 --> 00:42:41,040
Speaker 3: structures are more than two hundred thousand years old. And

790
00:42:41,160 --> 00:42:43,200
Speaker 3: on the floor of this room they find a number

791
00:42:43,200 --> 00:42:48,680
Speaker 3: of large, damaged capsule shaped objects that have like viewing

792
00:42:48,719 --> 00:42:51,719
Speaker 3: glass on the upper lids, and they look inside one

793
00:42:51,760 --> 00:42:55,280
Speaker 3: of them and believe they see a skeleton of something amos,

794
00:42:55,640 --> 00:42:58,520
Speaker 3: almost like these are some kind of sarcophag guy. And

795
00:42:58,560 --> 00:43:01,719
Speaker 3: then they find one capsule that is actually still intact,

796
00:43:02,040 --> 00:43:04,239
Speaker 3: and they look inside. They look through the glass and

797
00:43:04,280 --> 00:43:07,600
Speaker 3: they see the face of some kind of creature. So

798
00:43:07,680 --> 00:43:09,960
Speaker 3: they start trying to move the capsule, and then one

799
00:43:09,960 --> 00:43:12,600
Speaker 3: of the scientists says like, m you know, this has

800
00:43:12,640 --> 00:43:14,799
Speaker 3: been here for a quarter of a million years. If

801
00:43:14,840 --> 00:43:17,800
Speaker 3: we wake it up, it's likely to be very pissed

802
00:43:17,920 --> 00:43:23,280
Speaker 3: and very hungry. What And then they move it anyway,

803
00:43:24,120 --> 00:43:28,120
Speaker 3: and while they're examining the alien remains through the glass

804
00:43:28,200 --> 00:43:31,360
Speaker 3: that the creature inside moves, and then they're like ah.

805
00:43:31,360 --> 00:43:34,120
Speaker 3: But then they just kind of like, ah, there's probably nothing.

806
00:43:34,200 --> 00:43:36,520
Speaker 3: Let's forget all about it. And then one of the

807
00:43:36,560 --> 00:43:39,600
Speaker 3: two guys sits on the capsule to pose for a

808
00:43:39,640 --> 00:43:40,359
Speaker 3: photo with it.

809
00:43:40,840 --> 00:43:43,080
Speaker 2: Yeah. I love this bit because the other guy that's

810
00:43:43,120 --> 00:43:44,880
Speaker 2: taking the photo is like, all right, move into the shot,

811
00:43:45,160 --> 00:43:46,839
Speaker 2: and then he's telling him I need you to set

812
00:43:46,880 --> 00:43:49,480
Speaker 2: on it for scale. Can you imagine if this had

813
00:43:49,480 --> 00:43:51,719
Speaker 2: happened in Alien, if they were like, hey, Caine, go

814
00:43:51,760 --> 00:43:54,560
Speaker 2: ahead and sit on one of those egg things because

815
00:43:54,600 --> 00:43:57,160
Speaker 2: we need folks back home to know how big it is.

816
00:43:57,880 --> 00:43:59,960
Speaker 3: Yeah, put your face right by it, open your mouth.

817
00:44:01,040 --> 00:44:02,720
Speaker 3: I need your mouth open for scale.

818
00:44:03,520 --> 00:44:05,279
Speaker 2: And so he sits on it, of course he's like,

819
00:44:05,320 --> 00:44:07,200
Speaker 2: all right, all right, let's do this photo, and.

820
00:44:07,200 --> 00:44:10,399
Speaker 3: Then chocolate syrup starts leaking out of the container and

821
00:44:10,960 --> 00:44:13,520
Speaker 3: we get an attack. There's there's actually a really good

822
00:44:13,520 --> 00:44:16,400
Speaker 3: FOLI here. There's like a good squishing sound effect when

823
00:44:16,440 --> 00:44:20,280
Speaker 3: the alien is popping out. Maybe this squishing something inside

824
00:44:20,360 --> 00:44:23,480
Speaker 3: the guy's body. But they get attacked first the goo

825
00:44:23,640 --> 00:44:24,480
Speaker 3: and then the creature.

826
00:44:24,880 --> 00:44:27,240
Speaker 2: Yeah. I like this. The goo's good. Again. This reminds

827
00:44:27,280 --> 00:44:29,880
Speaker 2: me of the black goo that would pop up in

828
00:44:29,920 --> 00:44:32,880
Speaker 2: the more recent alien films. And you know, it's a

829
00:44:32,880 --> 00:44:36,280
Speaker 2: good Like in Spacesuit Death, we get they'll they'll return

830
00:44:36,360 --> 00:44:38,200
Speaker 2: to this basic effect time and time again. But a

831
00:44:38,239 --> 00:44:40,840
Speaker 2: quick splat of blood and the inside of the EVA

832
00:44:40,960 --> 00:44:43,359
Speaker 2: helmet and you're good to go. I don't know how

833
00:44:43,400 --> 00:44:45,080
Speaker 2: it got him. I guess it came up, like I

834
00:44:45,080 --> 00:44:47,680
Speaker 2: guess through the butt that's he's setting on it.

835
00:44:47,719 --> 00:44:50,360
Speaker 3: After all, it's the it's the Ghoulies approach.

836
00:44:50,960 --> 00:44:55,120
Speaker 2: Yeah, the actual like biology of our creature here, there's

837
00:44:55,160 --> 00:44:59,160
Speaker 2: a lot left to interpretation, but I agree that the

838
00:44:59,200 --> 00:45:03,360
Speaker 2: foley work the sound effects quite nice. And credit on

839
00:45:03,400 --> 00:45:05,160
Speaker 2: this apparently goes to Marvin Kerner.

840
00:45:06,600 --> 00:45:08,360
Speaker 3: Yeah. I liked a lot of the sound effects in

841
00:45:08,400 --> 00:45:11,000
Speaker 3: the movie, though there are some that are a bit puzzling.

842
00:45:11,400 --> 00:45:15,319
Speaker 3: Did you notice how whenever a door would open or

843
00:45:15,320 --> 00:45:18,760
Speaker 3: close it played a Star Wars blaster sound effect.

844
00:45:19,800 --> 00:45:21,960
Speaker 2: I guess it did. Yeah, I hadn't thought about that,

845
00:45:22,040 --> 00:45:24,560
Speaker 2: but but yeah, on the whole, I felt like the

846
00:45:24,560 --> 00:45:27,359
Speaker 2: sound effects helped elevate things. I should also go ahead

847
00:45:27,360 --> 00:45:28,880
Speaker 2: and point out we'll probably come back to this, but

848
00:45:29,200 --> 00:45:32,520
Speaker 2: the spaceship scenes look really good. The model work, the

849
00:45:32,840 --> 00:45:36,200
Speaker 2: lighting of the model, shooting the models, space sequences in

850
00:45:36,200 --> 00:45:40,280
Speaker 2: general look great. So there's a lot in this film

851
00:45:40,320 --> 00:45:44,200
Speaker 2: effects wise that was done really well considered, especially considering

852
00:45:44,200 --> 00:45:46,640
Speaker 2: the budget, and serves to elevate the picture.

853
00:45:47,640 --> 00:45:51,279
Speaker 3: Now here's a random note about this opening scene. I

854
00:45:51,360 --> 00:45:54,600
Speaker 3: believe one of the scientists in this scene is named

855
00:45:55,040 --> 00:45:59,120
Speaker 3: Ted Laandergan, and because you see the last name Laudergan

856
00:45:59,280 --> 00:46:02,400
Speaker 3: on the space and the other guy repeatedly refers to

857
00:46:02,480 --> 00:46:05,720
Speaker 3: him as Ted. Now, that is not really notable, especially

858
00:46:05,719 --> 00:46:08,799
Speaker 3: since this character just dies and doesn't come back, but

859
00:46:09,200 --> 00:46:12,400
Speaker 3: it is notable within the meta context of the film,

860
00:46:12,719 --> 00:46:16,520
Speaker 3: because apparently that is the name of the private detective

861
00:46:16,640 --> 00:46:20,680
Speaker 3: who takes it too personal. In William Malone's previous movie

862
00:46:20,760 --> 00:46:23,040
Speaker 3: Scared to Death. So this is one of the many

863
00:46:23,320 --> 00:46:26,840
Speaker 3: Scared to Death references within Creature that I brought up earlier.

864
00:46:26,920 --> 00:46:28,959
Speaker 2: Oh man, this one's just for the Scared to death heads.

865
00:46:29,080 --> 00:46:30,239
Speaker 2: That's what we call themselves.

866
00:46:30,480 --> 00:46:33,560
Speaker 3: Anyway, After this, we get a title. The version I

867
00:46:33,640 --> 00:46:35,959
Speaker 3: was watching for this part of the movie was called

868
00:46:35,960 --> 00:46:39,360
Speaker 3: The Titan Find. An other cut is called Creature once Again.

869
00:46:40,239 --> 00:46:42,000
Speaker 3: I think I said this earlier, but I watched half

870
00:46:42,040 --> 00:46:44,000
Speaker 3: of the movie and the Titan Find cut half of

871
00:46:44,000 --> 00:46:45,880
Speaker 3: the movie and the Creature cut. And I don't know

872
00:46:45,920 --> 00:46:47,320
Speaker 3: what I missed one way or another.

873
00:46:47,719 --> 00:46:50,200
Speaker 2: I think I've read that it's mostly a little exposition,

874
00:46:50,600 --> 00:46:53,680
Speaker 2: so and I don't know that a little makes a

875
00:46:53,680 --> 00:46:54,560
Speaker 2: whole lot of difference.

876
00:46:55,520 --> 00:46:58,520
Speaker 3: All Right, after the titles, we are moving again. So

877
00:46:58,600 --> 00:47:02,240
Speaker 3: next we're told it's June twenty I assume Earth calendar,

878
00:47:02,880 --> 00:47:06,160
Speaker 3: and we're looking at the space station Concord, which is

879
00:47:06,200 --> 00:47:11,280
Speaker 3: a wheel shaped sort of the Stanford Tourists space station. Uh,

880
00:47:11,320 --> 00:47:15,120
Speaker 3: and we're told that it is owned by the NTI Corporation,

881
00:47:15,280 --> 00:47:18,359
Speaker 3: that's the USA based one in orbit around the Earth's Moon.

882
00:47:19,080 --> 00:47:23,080
Speaker 3: And we get one of you know, a classic radar

883
00:47:23,200 --> 00:47:26,279
Speaker 3: room scene where there's somebody sitting in there, and they say, sir,

884
00:47:26,320 --> 00:47:29,239
Speaker 3: we've got we're picking up something on the on the computer. Oh,

885
00:47:29,280 --> 00:47:32,960
Speaker 3: it's headed right for us. So the command center detects

886
00:47:33,280 --> 00:47:36,480
Speaker 3: a spacecraft on a collision course. Then they say, we've

887
00:47:36,480 --> 00:47:39,160
Speaker 3: got a visual here, and they tune all these TVs

888
00:47:39,160 --> 00:47:42,960
Speaker 3: into I guess the like a stream from the cockpit

889
00:47:43,080 --> 00:47:46,319
Speaker 3: of this space ship and they go, what the hell,

890
00:47:46,840 --> 00:47:50,840
Speaker 3: and the pilot of the incoming ship is a fallout gool. Yeah.

891
00:47:50,960 --> 00:47:55,680
Speaker 2: Yeah, It's like it's like a space a zombie from

892
00:47:55,760 --> 00:47:59,400
Speaker 2: Planet of the Vampires. It's like one of the abominations

893
00:47:59,719 --> 00:48:02,120
Speaker 2: that you counter in Prometheus is that, like, well, I

894
00:48:02,160 --> 00:48:07,759
Speaker 2: guess one of the guys from our opening scene is here,

895
00:48:07,880 --> 00:48:12,200
Speaker 2: like just fully zombified and is driving straight towards the

896
00:48:12,239 --> 00:48:14,320
Speaker 2: space station, no brakes or anything.

897
00:48:14,560 --> 00:48:17,640
Speaker 3: And then it hits and the space station explodes, which

898
00:48:17,680 --> 00:48:18,840
Speaker 3: I wasn't quite expecting.

899
00:48:18,920 --> 00:48:21,440
Speaker 2: So I was not expecting it either, Like this feels

900
00:48:21,520 --> 00:48:24,839
Speaker 2: like the worst case scenario. Like it's so bad that

901
00:48:24,920 --> 00:48:26,839
Speaker 2: I assumed, Okay, we're going to get a one week

902
00:48:26,880 --> 00:48:29,480
Speaker 2: earlier bit on this because this maybe this isn't the

903
00:48:29,480 --> 00:48:33,319
Speaker 2: same guys from the beginning. Clearly somebody returning with an

904
00:48:33,320 --> 00:48:37,480
Speaker 2: alien pathogen and destroying a massive space station. That's as

905
00:48:37,520 --> 00:48:39,560
Speaker 2: bad as it gets, and we have to work backwards

906
00:48:39,560 --> 00:48:40,680
Speaker 2: from this disaster.

907
00:48:41,040 --> 00:48:44,400
Speaker 3: But that's not the case, right, No, we're time to

908
00:48:44,400 --> 00:48:46,920
Speaker 3: meet our crew, so we go to a different ship.

909
00:48:46,960 --> 00:48:50,080
Speaker 3: We're cutting around a lot. Now we're on a mission

910
00:48:50,120 --> 00:48:54,240
Speaker 3: to Titan. So NTI has sent a second ship called

911
00:48:54,280 --> 00:48:59,279
Speaker 3: the Shinandoah to Titan with instructions to claim the artifacts

912
00:48:59,320 --> 00:49:03,640
Speaker 3: discovered by the original team of scientists. So the artifacts

913
00:49:03,719 --> 00:49:06,960
Speaker 3: it melted the last guys made them into space zombies.

914
00:49:07,520 --> 00:49:10,040
Speaker 3: You need to go get that stuff now. And it

915
00:49:10,120 --> 00:49:14,000
Speaker 3: starts off when we meet everybody. They're gathered in a

916
00:49:14,080 --> 00:49:17,640
Speaker 3: room that clearly looks like the interior styling of this

917
00:49:17,680 --> 00:49:20,760
Speaker 3: set is supposed to be similar to the Nostromo and Alien.

918
00:49:20,800 --> 00:49:23,360
Speaker 3: It's got these, you know, just a lot of the

919
00:49:23,360 --> 00:49:26,000
Speaker 3: same textures, the kind of white walls with the hoses

920
00:49:26,080 --> 00:49:29,840
Speaker 3: and tubes and the ridges and all that. And everybody's

921
00:49:29,840 --> 00:49:33,479
Speaker 3: sitting around and they're getting a briefing by Perkins, which

922
00:49:33,520 --> 00:49:36,040
Speaker 3: is the company man, the guy played by lyman Ward,

923
00:49:37,000 --> 00:49:40,840
Speaker 3: and he starts off telling them like, well, whatever reasons

924
00:49:40,880 --> 00:49:43,560
Speaker 3: you had for signing up for this mission, you've got

925
00:49:43,600 --> 00:49:47,280
Speaker 3: to do what the company says, which you know, okay, yeah,

926
00:49:47,560 --> 00:49:50,200
Speaker 3: they probably know that. And he says, you got to

927
00:49:50,239 --> 00:49:53,560
Speaker 3: get these these artifacts from the alien site. You've got

928
00:49:53,560 --> 00:49:56,760
Speaker 3: to market, document it, and return any samples to NTI.

929
00:49:57,640 --> 00:50:00,319
Speaker 2: And everyone I think is mostly okay with it. They're like, Okay,

930
00:50:00,640 --> 00:50:02,319
Speaker 2: there's not as much conflict over it.

931
00:50:02,719 --> 00:50:06,280
Speaker 3: Yep, yep, that's what's going on except one crew member. Actually,

932
00:50:06,320 --> 00:50:10,799
Speaker 3: this is I think Slaydon, Beth Slaydon played by Wendy Shawl.

933
00:50:11,480 --> 00:50:14,160
Speaker 3: She's like, wait a minute, if this is a research

934
00:50:14,280 --> 00:50:17,799
Speaker 3: mission where we're just supposed to recover artifacts, why do

935
00:50:17,880 --> 00:50:21,680
Speaker 3: we need a security officer? And then everybody looks over

936
00:50:22,120 --> 00:50:25,000
Speaker 3: at Diane Salingers, just standing there in the corner of

937
00:50:25,000 --> 00:50:28,799
Speaker 3: the room. She's looking very creepy at this point. She's

938
00:50:28,840 --> 00:50:32,359
Speaker 3: looking very stern and robotic. It almost seems like they

939
00:50:32,360 --> 00:50:35,080
Speaker 3: are setting her up to be revealed later to be

940
00:50:35,120 --> 00:50:37,719
Speaker 3: an android, but they're not. She's, as far as I

941
00:50:37,719 --> 00:50:39,280
Speaker 3: could tell, she's just a regular human.

942
00:50:40,040 --> 00:50:42,120
Speaker 2: Yeah. Again, this is one of those characters it feels

943
00:50:42,200 --> 00:50:45,000
Speaker 2: like the character was changed either in the course of

944
00:50:45,040 --> 00:50:47,960
Speaker 2: writing or in the course of shooting the film, and

945
00:50:48,000 --> 00:50:52,160
Speaker 2: they just like left previous incarnations of her there because

946
00:50:52,400 --> 00:50:54,440
Speaker 2: what we have here is not what we get later on,

947
00:50:54,640 --> 00:50:56,239
Speaker 2: and it's not one of those things where we feel

948
00:50:56,239 --> 00:50:59,240
Speaker 2: like there's significant development to get to that change.

949
00:50:58,880 --> 00:51:04,040
Speaker 3: She looked very stern, and they've almost given her I

950
00:51:04,080 --> 00:51:06,600
Speaker 3: don't know what you call it. It's not like gothy makeup,

951
00:51:06,760 --> 00:51:09,479
Speaker 3: but she looks like she looks like she's a member

952
00:51:09,560 --> 00:51:13,160
Speaker 3: of a German industrial metal band, but she's also wearing

953
00:51:13,200 --> 00:51:15,440
Speaker 3: the uniform of a Formula one driver.

954
00:51:16,120 --> 00:51:20,040
Speaker 2: Yeah, her look is kind of I would say Zuole esque.

955
00:51:19,880 --> 00:51:24,680
Speaker 3: You know. Yeah, Yeah, that's good. And so Perkins can

956
00:51:24,719 --> 00:51:27,040
Speaker 3: offer no explanation for why Bryce is here. He just

957
00:51:27,080 --> 00:51:31,600
Speaker 3: walks away. And then the next scene is the ship's doctor,

958
00:51:31,880 --> 00:51:38,760
Speaker 3: doctor Oliver, arguing with Bryce here because Bryce is confiscating

959
00:51:38,920 --> 00:51:43,680
Speaker 3: and impounding drugs from the ship's onboard pharmacy and she's like,

960
00:51:43,719 --> 00:51:46,960
Speaker 3: you have no right to take those, and Bryce doesn't

961
00:51:47,000 --> 00:51:50,440
Speaker 3: speak at all. She's completely like zipper, lips, not a word,

962
00:51:50,800 --> 00:51:54,520
Speaker 3: giving this glower at the doctor. The doctor eventually backs

963
00:51:54,600 --> 00:51:58,640
Speaker 3: down like she's afraid of her. She leaves. Later dialogue

964
00:51:58,680 --> 00:52:03,000
Speaker 3: reveals that she was mostly making heavy sedatives, and then

965
00:52:03,040 --> 00:52:05,320
Speaker 3: the doctor talks with a couple of other crew members.

966
00:52:05,600 --> 00:52:08,960
Speaker 3: This is Finnel and Delambre about how they've been on

967
00:52:09,000 --> 00:52:11,439
Speaker 3: the ship for three months and no one has heard

968
00:52:11,600 --> 00:52:15,759
Speaker 3: Bryce talk. Isn't that weird? Once again sets it up

969
00:52:15,760 --> 00:52:16,960
Speaker 3: like she's going to be a robot.

970
00:52:17,239 --> 00:52:19,759
Speaker 2: Yeah, I was expecting that to be the twist. And

971
00:52:20,360 --> 00:52:22,200
Speaker 2: you know, this is another one of those cases where

972
00:52:22,320 --> 00:52:24,239
Speaker 2: I'm reminded of something in a film that would have

973
00:52:24,440 --> 00:52:26,520
Speaker 2: something in a film that would come much later. But

974
00:52:26,640 --> 00:52:30,200
Speaker 2: she reminds me a bit of the Android ENFORCERR character

975
00:52:30,239 --> 00:52:33,799
Speaker 2: that pops up in Jason X. She does, you know,

976
00:52:34,040 --> 00:52:37,840
Speaker 2: right down to like the black Vinyl you know style outfit.

977
00:52:37,840 --> 00:52:49,640
Speaker 3: But without the cutesy attitude. Right, Okay, next scene, we're

978
00:52:49,640 --> 00:52:51,960
Speaker 3: gonna meet some more characters we get We get a

979
00:52:52,000 --> 00:52:56,480
Speaker 3: moment with the captain and with Slayden. This is Wendy

980
00:52:56,480 --> 00:53:01,160
Speaker 3: Shawl again, so Slayden. When we first meet her, she's

981
00:53:01,200 --> 00:53:04,560
Speaker 3: absorbed in a book and she's sort of ignoring the captain,

982
00:53:04,680 --> 00:53:07,040
Speaker 3: Captain Davison, who's trying to talk to her. And what's

983
00:53:07,080 --> 00:53:09,200
Speaker 3: that book she's reading that she just can't put down

984
00:53:09,239 --> 00:53:12,040
Speaker 3: because it's just so good. This plot is so great.

985
00:53:12,320 --> 00:53:15,879
Speaker 3: It's scared to Death, the novelization of Scared to Death

986
00:53:16,000 --> 00:53:19,080
Speaker 3: once again, the previous film of William Malone.

987
00:53:19,239 --> 00:53:21,960
Speaker 2: Love it in general, I love a fake book and

988
00:53:22,320 --> 00:53:25,120
Speaker 2: a film. If it's central to the plot, great, If

989
00:53:25,160 --> 00:53:27,160
Speaker 2: it's incidental, I'm also there for it.

990
00:53:27,360 --> 00:53:29,080
Speaker 3: This has got to be at least a second run.

991
00:53:29,120 --> 00:53:32,799
Speaker 3: That's a paperback. I don't know. Maybe they never did

992
00:53:32,800 --> 00:53:36,680
Speaker 3: a hardcover of Scared to Death. So anyway, this is

993
00:53:36,680 --> 00:53:39,080
Speaker 3: a scene where we get to see a bit of

994
00:53:39,320 --> 00:53:43,720
Speaker 3: Slayden and Davison's relationship. They are clearly they have romantic

995
00:53:43,760 --> 00:53:47,239
Speaker 3: interest in each other, and they're kind of playful, like

996
00:53:47,280 --> 00:53:50,920
Speaker 3: she's playfully ignoring him and reading the book. He's fussing

997
00:53:50,960 --> 00:53:54,120
Speaker 3: over an asynchronous chess game that they've been playing for

998
00:53:54,160 --> 00:53:58,600
Speaker 3: a while, and she's gloating about how she's going to

999
00:53:58,640 --> 00:54:02,200
Speaker 3: beat him soon. She's like, removes, I'll have checkmate, and

1000
00:54:02,560 --> 00:54:05,160
Speaker 3: she's like a commander doesn't need to have any brains,

1001
00:54:05,200 --> 00:54:09,399
Speaker 3: just a strong voice, and he's like, yeah, well, by

1002
00:54:09,400 --> 00:54:11,880
Speaker 3: the way, he's the captain, but she's like an engineer.

1003
00:54:12,000 --> 00:54:15,359
Speaker 3: She's like the tech whiz on the ship. On top

1004
00:54:15,400 --> 00:54:18,759
Speaker 3: of this, there's another scene where we get a romantic development,

1005
00:54:18,800 --> 00:54:21,680
Speaker 3: which is between these two other crew members, Fennel and Delambre.

1006
00:54:21,840 --> 00:54:24,920
Speaker 3: They're like looking at Titan in the observation bay. She

1007
00:54:25,040 --> 00:54:27,560
Speaker 3: starts talking about how she knows that they're going to

1008
00:54:27,640 --> 00:54:31,200
Speaker 3: die there, and then they have some space romance.

1009
00:54:31,400 --> 00:54:34,000
Speaker 2: Which you know it will become more important later on,

1010
00:54:34,120 --> 00:54:36,840
Speaker 2: and it leads into again some of the better sequences

1011
00:54:36,880 --> 00:54:37,360
Speaker 2: in the picture.

1012
00:54:38,200 --> 00:54:40,719
Speaker 3: So when the ship arrives in orbit around Titan, they

1013
00:54:40,719 --> 00:54:44,920
Speaker 3: discovered there is another ship already there, a Richter Dynamics

1014
00:54:45,239 --> 00:54:49,160
Speaker 3: Dynamics ship that those are their West German corporate rivals. Remember,

1015
00:54:50,320 --> 00:54:54,480
Speaker 3: and Captain Davison here is mad at Perkins. It seems

1016
00:54:54,560 --> 00:54:57,960
Speaker 3: you know, Perkins, the company man, he knows about this already,

1017
00:54:57,960 --> 00:55:00,200
Speaker 3: but everybody else was kept in the dark about the

1018
00:55:00,200 --> 00:55:03,000
Speaker 3: fact that it was a corporate arms race here and

1019
00:55:03,040 --> 00:55:06,000
Speaker 3: the captain is like, these crew members are civilians, they

1020
00:55:06,040 --> 00:55:09,279
Speaker 3: aren't trained to handle this kind of conflict, implying that

1021
00:55:09,320 --> 00:55:12,280
Speaker 3: things are likely to get violent between the two corporations,

1022
00:55:12,840 --> 00:55:15,360
Speaker 3: and Perkins is like, I don't worry about it. Bryce

1023
00:55:15,400 --> 00:55:19,160
Speaker 3: here can handle any rough situations that come up. She's prepared.

1024
00:55:19,640 --> 00:55:21,759
Speaker 3: So it seems like they're going to be competing with

1025
00:55:21,880 --> 00:55:24,840
Speaker 3: Richter to get to the alien stuff. But again this

1026
00:55:25,000 --> 00:55:28,280
Speaker 3: is something that's like as with many things in this movie,

1027
00:55:28,320 --> 00:55:31,000
Speaker 3: like it sets up a plot dynamic only to not

1028
00:55:31,040 --> 00:55:35,279
Speaker 3: really have it go anywhere. But there's conflict in this

1029
00:55:35,360 --> 00:55:38,880
Speaker 3: scene established between the captain and the company man. So

1030
00:55:39,080 --> 00:55:42,160
Speaker 3: Davison is like, okay, before we land, let's do it

1031
00:55:42,200 --> 00:55:45,440
Speaker 3: the safe way, and the company man is like, no,

1032
00:55:45,680 --> 00:55:48,200
Speaker 3: I insist you do it the stupid and dangerous way.

1033
00:55:48,440 --> 00:55:52,520
Speaker 3: That's an order, yep yep. So they do, and of

1034
00:55:52,520 --> 00:55:55,200
Speaker 3: course it's a bumpy landing. Once the ship lands, it

1035
00:55:55,280 --> 00:55:58,200
Speaker 3: ends up sinking through the surface of the planet and

1036
00:55:58,360 --> 00:56:01,200
Speaker 3: falls into an underground cavity, which I thought was a

1037
00:56:01,200 --> 00:56:02,400
Speaker 3: cool set piece. I like that.

1038
00:56:02,719 --> 00:56:06,040
Speaker 2: Yeah, yeah, this possibility has come up on stuff to

1039
00:56:06,040 --> 00:56:10,240
Speaker 2: blow your mind before and talking about you know, landing

1040
00:56:10,280 --> 00:56:14,080
Speaker 2: on on on the Moon or on other planets, like

1041
00:56:14,200 --> 00:56:17,760
Speaker 2: this is an actual consideration that is taking into account,

1042
00:56:17,840 --> 00:56:20,200
Speaker 2: like can where can you land? Where can you land safely?

1043
00:56:20,520 --> 00:56:23,320
Speaker 2: Where can you land and have like a stable place

1044
00:56:23,440 --> 00:56:26,319
Speaker 2: for the spacecraft? So yeah, I don't know that I'd

1045
00:56:26,320 --> 00:56:28,880
Speaker 2: actually seen it explored in this fashion in a film before,

1046
00:56:28,880 --> 00:56:29,360
Speaker 2: so I like it.

1047
00:56:29,760 --> 00:56:32,200
Speaker 3: The ship is damaged, of course in the crash landing,

1048
00:56:32,280 --> 00:56:34,000
Speaker 3: so They're really in a pickle now. They're like, how

1049
00:56:34,000 --> 00:56:37,000
Speaker 3: are we going to get out of this? Davison's like, okay,

1050
00:56:37,040 --> 00:56:39,440
Speaker 3: we got a radio the Richter ship for help. We

1051
00:56:39,520 --> 00:56:41,640
Speaker 3: got to say, you know, please help us, even though

1052
00:56:41,640 --> 00:56:44,120
Speaker 3: you're our corporate rivals. You know, our lives are in danger.

1053
00:56:44,400 --> 00:56:47,759
Speaker 3: And Perkins is like, no, no, we will not do that,

1054
00:56:47,880 --> 00:56:51,160
Speaker 3: and he threatens the captain's job. And the captain doesn't care,

1055
00:56:51,440 --> 00:56:53,640
Speaker 3: you know. He's like, the lives of my crew are

1056
00:56:53,680 --> 00:56:56,799
Speaker 3: more important than your profits. And Perkins isn't so sure

1057
00:56:56,840 --> 00:57:00,680
Speaker 3: about that. Yeah, but it's time to suit up, go outside.

1058
00:57:00,680 --> 00:57:03,000
Speaker 3: I guess I don't remember how they get to that point.

1059
00:57:02,719 --> 00:57:04,919
Speaker 2: But I think they have to basically, like they try

1060
00:57:04,960 --> 00:57:07,879
Speaker 2: hailing the Richter Dynamic ship and they're not hearing anything back,

1061
00:57:07,880 --> 00:57:10,080
Speaker 2: so they basically have to go and knock. And there's

1062
00:57:10,160 --> 00:57:14,160
Speaker 2: added back and forth where our corporate stooge is like, well,

1063
00:57:14,200 --> 00:57:16,160
Speaker 2: we got to bring Bryce and the big gun, and

1064
00:57:16,160 --> 00:57:17,720
Speaker 2: they're like, we're not bringing the gun. We're going to

1065
00:57:17,760 --> 00:57:20,120
Speaker 2: ask for help, and they're like, okay, she can bring

1066
00:57:20,160 --> 00:57:20,439
Speaker 2: the gun.

1067
00:57:20,880 --> 00:57:22,880
Speaker 3: So they do that. They suit up, they go outside.

1068
00:57:22,920 --> 00:57:25,600
Speaker 3: Basically everybody goes except I think a couple of people

1069
00:57:26,720 --> 00:57:31,200
Speaker 3: and they find some kind of so did you understand

1070
00:57:31,320 --> 00:57:34,920
Speaker 3: what they're going to? Hear as the German ship. They

1071
00:57:34,960 --> 00:57:38,400
Speaker 3: go to some kind of built infrastructure, and at first

1072
00:57:38,440 --> 00:57:41,200
Speaker 3: I thought this was more of the alien ruins. But

1073
00:57:41,920 --> 00:57:44,520
Speaker 3: do you think it's actually the German ship they're going to?

1074
00:57:44,680 --> 00:57:47,000
Speaker 2: I believe so, but only because I went back and

1075
00:57:47,040 --> 00:57:49,840
Speaker 2: rewatched the first portion of the film and felt a

1076
00:57:49,840 --> 00:57:51,600
Speaker 2: little more confident that that's where they're going.

1077
00:57:52,040 --> 00:57:54,720
Speaker 3: So the team, you know, they do very it's your

1078
00:57:54,720 --> 00:57:57,920
Speaker 3: standard kind of like sci fi environment exploring thing. The

1079
00:57:57,960 --> 00:58:00,600
Speaker 3: team splits up, and then the parts that's up split

1080
00:58:00,720 --> 00:58:03,240
Speaker 3: up again, so everybody's getting isolated so they can have

1081
00:58:03,320 --> 00:58:07,120
Speaker 3: scary little experiences. Inside the ship, they find breathable air

1082
00:58:07,200 --> 00:58:09,920
Speaker 3: and decide to remove their helmets. Always a good choice.

1083
00:58:10,160 --> 00:58:11,720
Speaker 2: Yeah, they're like, the air's good, let's do it.

1084
00:58:12,280 --> 00:58:16,560
Speaker 3: Inside the labs within the ship, they find some large

1085
00:58:16,720 --> 00:58:20,720
Speaker 3: capsule shaped chests that viewers may remember from twenty minutes

1086
00:58:20,720 --> 00:58:24,160
Speaker 3: ago in the opening scene, and Delambre is looking at

1087
00:58:24,160 --> 00:58:26,080
Speaker 3: a capsule. She thinks it looks like some kind of

1088
00:58:26,160 --> 00:58:28,920
Speaker 3: egg and starts to examine it. There's one part here

1089
00:58:28,960 --> 00:58:31,800
Speaker 3: where she just like eats something sitting on a table

1090
00:58:31,840 --> 00:58:34,560
Speaker 3: and I was like, like, did you know a jolly rancher?

1091
00:58:34,600 --> 00:58:36,720
Speaker 2: And she just sticks it up and eat it. Yeah,

1092
00:58:36,760 --> 00:58:39,400
Speaker 2: like it feels natural for her. Like, but I'm like,

1093
00:58:39,440 --> 00:58:43,000
Speaker 2: what are you doing? This is this is a this

1094
00:58:43,040 --> 00:58:46,640
Speaker 2: is a biologically unstable environment. I don't eat random jolly

1095
00:58:46,720 --> 00:58:47,600
Speaker 2: ranchers or whatever.

1096
00:58:48,120 --> 00:58:49,800
Speaker 3: But it looks so good. You know, I had to

1097
00:58:49,800 --> 00:58:51,080
Speaker 3: get this jelly roll here.

1098
00:58:51,240 --> 00:58:54,960
Speaker 2: The West Germans. They have great confections. You know. You

1099
00:58:55,000 --> 00:58:56,120
Speaker 2: can't say no to it.

1100
00:58:57,000 --> 00:59:02,280
Speaker 3: Ik benin contaminant. So she eats whatever it is and

1101
00:59:02,320 --> 00:59:05,400
Speaker 3: then oh, and then she stumbles across a bunch of

1102
00:59:05,440 --> 00:59:08,080
Speaker 3: dead bodies in the room, and then an alien pops

1103
00:59:08,120 --> 00:59:11,000
Speaker 3: out and is like ah, So she runs away and

1104
00:59:11,040 --> 00:59:14,840
Speaker 3: finds her crewmates and they investigate and who's coming to

1105
00:59:14,840 --> 00:59:17,400
Speaker 3: save the day? Of course it's Bryce, the security officer.

1106
00:59:17,480 --> 00:59:20,880
Speaker 3: She's got her weapon drawn, and all of a sudden,

1107
00:59:21,040 --> 00:59:24,080
Speaker 3: just like, here's the creature. I don't know if they

1108
00:59:24,440 --> 00:59:27,880
Speaker 3: paste this out the right way. Getting to the creature revealed.

1109
00:59:28,120 --> 00:59:30,360
Speaker 3: It's true that you don't get a good look at

1110
00:59:30,360 --> 00:59:33,640
Speaker 3: it yet, but I feel like its presence and in

1111
00:59:33,680 --> 00:59:37,960
Speaker 3: this moment is too sudden and overt. It doesn't really

1112
00:59:37,960 --> 00:59:38,840
Speaker 3: have a good build up.

1113
00:59:39,480 --> 00:59:41,919
Speaker 2: Yeah, and we don't. I mean they do hold back

1114
00:59:41,960 --> 00:59:44,880
Speaker 2: a little bit like we're not full reveal, but I

1115
00:59:44,920 --> 00:59:48,040
Speaker 2: think too much is revealed, and then it ends up

1116
00:59:48,040 --> 00:59:51,200
Speaker 2: feeling like, Okay, here's our monster, but our monster just

1117
00:59:51,280 --> 00:59:53,480
Speaker 2: kind of like ends up working through underlings for the

1118
00:59:53,520 --> 00:59:55,680
Speaker 2: rest of the picture before coming back once more at

1119
00:59:55,720 --> 00:59:56,000
Speaker 2: the end.

1120
00:59:56,240 --> 00:59:58,720
Speaker 3: Yeah. So Bryce kind of blasts at it with her

1121
00:59:58,800 --> 01:00:00,920
Speaker 3: ray gun, but that does and do anything. So the

1122
01:00:00,960 --> 01:00:03,720
Speaker 3: crew members have to run away and they slip through.

1123
01:00:04,040 --> 01:00:06,640
Speaker 3: This is a set piece I often like in sci

1124
01:00:06,640 --> 01:00:10,520
Speaker 3: fi movies when there's like an automatically closing mechanical door

1125
01:00:10,720 --> 01:00:13,240
Speaker 3: and the characters are trying to get through it fast enough,

1126
01:00:13,480 --> 01:00:15,640
Speaker 3: and one character is not able to get there before

1127
01:00:15,640 --> 01:00:19,040
Speaker 3: it slams shut. It's Delambre. She's stuck outside and the

1128
01:00:19,080 --> 01:00:20,160
Speaker 3: creature gets her.

1129
01:00:20,560 --> 01:00:22,720
Speaker 2: We get it, and again we get another the fact

1130
01:00:22,720 --> 01:00:25,280
Speaker 2: that this movie really loves quick splash of blood against

1131
01:00:25,320 --> 01:00:28,080
Speaker 2: the glass on that door.

1132
01:00:28,800 --> 01:00:32,400
Speaker 3: I remember her boyfriend was Finnel and he's right there

1133
01:00:32,440 --> 01:00:35,960
Speaker 3: when it happens. He freaks out and Bryce just jabs

1134
01:00:36,040 --> 01:00:40,040
Speaker 3: him in the head with an injector. Everybody's like, what

1135
01:00:40,040 --> 01:00:42,720
Speaker 3: are you doing? And then for the first time Bryce speaks,

1136
01:00:42,960 --> 01:00:46,280
Speaker 3: she's like, don't worry, it's just a tranquilizer. Oh okay, cool.

1137
01:00:47,240 --> 01:00:48,760
Speaker 2: Yeah, So I guess this is what she was stealing

1138
01:00:48,800 --> 01:00:51,760
Speaker 2: all those drugs for, so that she could trank crew

1139
01:00:51,800 --> 01:00:53,280
Speaker 2: members at a moment's notice.

1140
01:00:53,440 --> 01:00:56,400
Speaker 3: Right, if you just saw your lover get killed by

1141
01:00:56,440 --> 01:00:58,240
Speaker 3: an alien, I can stab you in the head with

1142
01:00:58,280 --> 01:01:01,520
Speaker 3: a tranquilizer and you will fall instantly unconscious. That makes sense.

1143
01:01:01,640 --> 01:01:04,600
Speaker 2: She doesn't want that those stressed eyes to stack up

1144
01:01:04,600 --> 01:01:05,360
Speaker 2: too much, I guess.

1145
01:01:06,240 --> 01:01:09,000
Speaker 3: So everybody leaves the labs and they come back out

1146
01:01:09,040 --> 01:01:11,560
Speaker 3: into the caves where the rest of the crew members

1147
01:01:11,600 --> 01:01:15,040
Speaker 3: are waiting, and then here for some reason, even though

1148
01:01:15,560 --> 01:01:16,960
Speaker 3: there may have been a good reason for this, but

1149
01:01:17,000 --> 01:01:19,360
Speaker 3: I don't recall what it was. Even though one member

1150
01:01:19,400 --> 01:01:21,840
Speaker 3: of the crew has just been killed by an alien,

1151
01:01:22,320 --> 01:01:25,960
Speaker 3: they just keep exploring the caves and they come across

1152
01:01:26,000 --> 01:01:29,800
Speaker 3: the lab where the two geologists got gooped in the

1153
01:01:29,840 --> 01:01:33,560
Speaker 3: intro I believe, And then we get a jump scare

1154
01:01:33,600 --> 01:01:36,280
Speaker 3: with one of them uncovering something. I think it's one

1155
01:01:36,320 --> 01:01:39,160
Speaker 3: of the bodies from the first mission. But eventually they

1156
01:01:39,160 --> 01:01:42,560
Speaker 3: go back to the ship and here we get some developments. First,

1157
01:01:42,760 --> 01:01:47,000
Speaker 3: there's sort of a quiet, tender, nice conversation between Davison

1158
01:01:47,000 --> 01:01:49,560
Speaker 3: and Sladen. She's like, do you think we're going to die?

1159
01:01:49,640 --> 01:01:52,960
Speaker 3: And he says no, but he gives her a task.

1160
01:01:53,320 --> 01:01:55,000
Speaker 3: He asks her to put together a certain kind of

1161
01:01:55,080 --> 01:01:59,160
Speaker 3: transmitter device to radio the space station for help. But

1162
01:01:59,200 --> 01:02:01,760
Speaker 3: then I was thinking, wait, the space station that exploded?

1163
01:02:01,920 --> 01:02:03,160
Speaker 3: Do they know it exploded?

1164
01:02:03,600 --> 01:02:07,800
Speaker 2: Maybe there's a closer station, A little sketchy on what

1165
01:02:07,920 --> 01:02:08,600
Speaker 2: all's out there?

1166
01:02:08,720 --> 01:02:13,040
Speaker 3: Maybe it only partially exploded. But then the movie kind

1167
01:02:13,040 --> 01:02:14,840
Speaker 3: of kicks into high gear because we're about to meet

1168
01:02:14,920 --> 01:02:18,160
Speaker 3: klaus Kinski in fact, so we see like Bryce the

1169
01:02:18,200 --> 01:02:22,600
Speaker 3: security officer is alone, she's like in her quarters, like changing,

1170
01:02:22,640 --> 01:02:25,320
Speaker 3: and suddenly she is attacked from out of nowhere by

1171
01:02:25,400 --> 01:02:29,760
Speaker 3: klaus Kinski. Fortunately she manages to subdue him. But I

1172
01:02:29,880 --> 01:02:31,480
Speaker 3: was just thinking, no, kill him now.

1173
01:02:31,880 --> 01:02:34,880
Speaker 2: Yes, yeah, because he comes off like he's just a

1174
01:02:34,920 --> 01:02:37,120
Speaker 2: complete animal, like he might. You're like, maybe he's even

1175
01:02:37,160 --> 01:02:39,280
Speaker 2: a zombie at this point and you should just put

1176
01:02:39,480 --> 01:02:40,439
Speaker 2: put one in his head.

1177
01:02:41,320 --> 01:02:45,000
Speaker 3: But no, he reveals himself to be not zombified yet

1178
01:02:45,080 --> 01:02:48,800
Speaker 3: he is human and he's just he's just all over

1179
01:02:48,840 --> 01:02:50,600
Speaker 3: the place. I mentioned her, I was going to come

1180
01:02:50,640 --> 01:02:54,920
Speaker 3: back to this, Kinski as usual in any movie, Like

1181
01:02:55,920 --> 01:02:57,959
Speaker 3: you know, whenever he's on screen, it's kind of hard

1182
01:02:57,960 --> 01:03:00,680
Speaker 3: to take your eyes off him. He is, he has

1183
01:03:00,760 --> 01:03:04,959
Speaker 3: that spellbinding quality on screen, but it's like he's doing

1184
01:03:05,000 --> 01:03:09,040
Speaker 3: a completely different take on the character in every shot.

1185
01:03:09,600 --> 01:03:13,720
Speaker 3: In some takes, he's playing him as like an obsessed,

1186
01:03:13,760 --> 01:03:17,320
Speaker 3: paranoid madman who's trying to warn everyone else of the danger.

1187
01:03:17,880 --> 01:03:21,720
Speaker 3: In other takes, he's playing as a kind of relatively calm, friendly,

1188
01:03:21,840 --> 01:03:25,720
Speaker 3: helpful guy making good sense. In other takes, he's a

1189
01:03:25,840 --> 01:03:29,320
Speaker 3: malevolent sexual predator who's like violent to the rest of

1190
01:03:29,360 --> 01:03:33,840
Speaker 3: the crew. There's like no consistency whatsoever from moment to

1191
01:03:33,880 --> 01:03:34,600
Speaker 3: moment with him.

1192
01:03:35,120 --> 01:03:38,080
Speaker 2: Yeah, I mean, it reminds me again of that famous

1193
01:03:38,120 --> 01:03:40,480
Speaker 2: moment at the famous scene at the very end of

1194
01:03:40,800 --> 01:03:45,400
Speaker 2: Herzog's Gary The Wrath of God, where Kinsky's character has

1195
01:03:45,400 --> 01:03:49,760
Speaker 2: this like final monologue and it's rather subdued and very powerful.

1196
01:03:50,560 --> 01:03:53,200
Speaker 2: But according to Herzog, it's like Kinsky didn't want to

1197
01:03:53,200 --> 01:03:55,200
Speaker 2: do it subdued. He wanted to do it high energy

1198
01:03:55,240 --> 01:03:59,080
Speaker 2: and raging, and so Herzog just made him do it

1199
01:03:59,200 --> 01:04:02,240
Speaker 2: over and over, were in over again, until he was

1200
01:04:02,360 --> 01:04:07,120
Speaker 2: just so like weakened that he actually delivered it at

1201
01:04:06,520 --> 01:04:12,160
Speaker 2: the level that Herzog wanted. So it's like, that's the

1202
01:04:12,240 --> 01:04:14,800
Speaker 2: kind of stuff you apparently had to do to get

1203
01:04:14,840 --> 01:04:17,680
Speaker 2: what you wanted out of Kinski. So yeah, and then

1204
01:04:17,800 --> 01:04:19,880
Speaker 2: add into the fact that some of the shots that

1205
01:04:19,920 --> 01:04:22,320
Speaker 2: he did for Creature were unusable because he was out

1206
01:04:22,360 --> 01:04:26,240
Speaker 2: of focus. So you know, they're left just having, I guess,

1207
01:04:26,280 --> 01:04:27,920
Speaker 2: to to use what they were able to get from him,

1208
01:04:27,960 --> 01:04:29,640
Speaker 2: no matter how different it is seem to see.

1209
01:04:30,080 --> 01:04:32,920
Speaker 3: So from here we get a number of different plot developments.

1210
01:04:32,960 --> 01:04:35,959
Speaker 3: One is that the crew is running low on air,

1211
01:04:36,120 --> 01:04:39,200
Speaker 3: so Bryce has to go out to collect air tanks

1212
01:04:39,240 --> 01:04:42,400
Speaker 3: from the dead astronauts, and for some reason, Hoffner is

1213
01:04:42,440 --> 01:04:45,400
Speaker 3: allowed to go with her, even though he has already

1214
01:04:45,480 --> 01:04:48,440
Speaker 3: violently attacked her earlier and he will continue to do

1215
01:04:48,520 --> 01:04:49,680
Speaker 3: so as they go out.

1216
01:04:50,040 --> 01:04:52,200
Speaker 2: Yeah, yeah, completely nonsensible.

1217
01:04:52,840 --> 01:04:55,200
Speaker 3: So they then they see a bunch of dead guys

1218
01:04:55,240 --> 01:04:58,040
Speaker 3: while they're collecting the air tanks, and then something pops

1219
01:04:58,040 --> 01:04:59,960
Speaker 3: out at them and we assume they were attacked by

1220
01:05:00,120 --> 01:05:03,680
Speaker 3: the alien. By the way, Hoffner does deliver some lines,

1221
01:05:03,680 --> 01:05:06,040
Speaker 3: but it's kind of hard to process the content of them.

1222
01:05:06,040 --> 01:05:09,280
Speaker 3: He's talking to the crew and he talks about how

1223
01:05:10,320 --> 01:05:13,920
Speaker 3: the alien let's see. He reveals that he has a

1224
01:05:13,960 --> 01:05:16,280
Speaker 3: bunch of bombs on his ship that they could use

1225
01:05:16,360 --> 01:05:20,720
Speaker 3: to destroy the alien, and he also reveals that it

1226
01:05:20,840 --> 01:05:24,080
Speaker 3: wasn't just the alien attacking them, but it used the

1227
01:05:24,160 --> 01:05:27,240
Speaker 3: crew members to get each other. He said that it

1228
01:05:27,320 --> 01:05:30,800
Speaker 3: was which this doesn't really match with what he was

1229
01:05:30,800 --> 01:05:34,440
Speaker 3: just saying, but he says it's a form of collective intelligence.

1230
01:05:35,040 --> 01:05:37,040
Speaker 3: And we will see how this works in just a bit.

1231
01:05:37,560 --> 01:05:39,760
Speaker 2: Yeah, And one of these sequences is where he's eating

1232
01:05:39,800 --> 01:05:42,480
Speaker 2: the sandwich right, yes, where that just took me out

1233
01:05:42,520 --> 01:05:44,160
Speaker 2: of it because I'm like, did they want him to

1234
01:05:44,200 --> 01:05:46,440
Speaker 2: eat the sandwich or is he like I'm eating the

1235
01:05:46,440 --> 01:05:48,200
Speaker 2: sandwich in the scene? I don't know.

1236
01:05:48,920 --> 01:05:51,160
Speaker 3: So we come to another scene where Finnel this is

1237
01:05:51,200 --> 01:05:54,480
Speaker 3: the character played by Robert Chaffey, is lying by a

1238
01:05:54,520 --> 01:05:56,960
Speaker 3: window in the ship. He's recovering from his wounds and

1239
01:05:57,000 --> 01:06:01,040
Speaker 3: from the tranquilizer dose after he saw his his lover

1240
01:06:01,200 --> 01:06:04,760
Speaker 3: killed by an alien, and then suddenly outside the window

1241
01:06:04,880 --> 01:06:07,680
Speaker 3: on the surface of the planet, he sees Delambre. She's

1242
01:06:07,720 --> 01:06:11,240
Speaker 3: there and she asks for his help, and despite having

1243
01:06:11,280 --> 01:06:13,760
Speaker 3: seen her die, Finyl does go out to find her,

1244
01:06:13,880 --> 01:06:15,520
Speaker 3: he puts on his suit, he goes to get her,

1245
01:06:15,920 --> 01:06:19,080
Speaker 3: and she is, of course now a zombie working for

1246
01:06:19,120 --> 01:06:23,240
Speaker 3: the alien. With this dynamic that develops is that a

1247
01:06:23,360 --> 01:06:26,320
Speaker 3: character who you thought was killed will come back with

1248
01:06:26,400 --> 01:06:29,840
Speaker 3: some kind of brain slug attached to their head. So

1249
01:06:29,960 --> 01:06:31,960
Speaker 3: like one side of the head, they've got a throbbing,

1250
01:06:32,600 --> 01:06:37,520
Speaker 3: slimy mass there and it's controlling their activity. And so

1251
01:06:37,720 --> 01:06:42,320
Speaker 3: the zombie brain slug Delombree seduces Phinyl on the planet's

1252
01:06:42,360 --> 01:06:45,560
Speaker 3: surface and then seemingly infects him with the brain slug

1253
01:06:45,600 --> 01:06:46,080
Speaker 3: of his own.

1254
01:06:46,320 --> 01:06:49,200
Speaker 2: Yeah, like pulls his helmet off on the planet's surface.

1255
01:06:49,640 --> 01:06:53,080
Speaker 2: This whole sequence is great. Like I think Malone said

1256
01:06:53,080 --> 01:06:55,040
Speaker 2: that originally they were going to shoot it entirely within

1257
01:06:55,080 --> 01:06:58,240
Speaker 2: the ship, but then they ended up going with this.

1258
01:06:58,320 --> 01:07:00,520
Speaker 2: You know, she's outside, she's almost like finds me of

1259
01:07:00,640 --> 01:07:03,840
Speaker 2: scenes like I guess this was in Salem's Lot with

1260
01:07:03,920 --> 01:07:06,480
Speaker 2: the vampire on the outside of the window asking to

1261
01:07:06,520 --> 01:07:07,040
Speaker 2: be let in.

1262
01:07:07,160 --> 01:07:08,360
Speaker 3: You know, very spooky.

1263
01:07:08,480 --> 01:07:11,320
Speaker 2: Yeah, it has that power to it. So Yeah, for

1264
01:07:11,440 --> 01:07:14,160
Speaker 2: my money, this is the creepiest sequence in the whole picture.

1265
01:07:14,240 --> 01:07:17,479
Speaker 2: Doesn't have a outright monster in it, you know, has

1266
01:07:17,520 --> 01:07:21,080
Speaker 2: a like a brain slug controlled vampire and it's really effective.

1267
01:07:28,800 --> 01:07:31,680
Speaker 3: After this, the crew that's left on the Shenandoah, they

1268
01:07:31,680 --> 01:07:34,960
Speaker 3: get like a zoom a call from Finnyl. He video

1269
01:07:35,080 --> 01:07:38,000
Speaker 3: calls them and he's like, hey, I'm over here on

1270
01:07:38,040 --> 01:07:40,000
Speaker 3: the German ship, and they're like, how'd you get there?

1271
01:07:40,120 --> 01:07:42,720
Speaker 3: He's like, I walked. I came over here because it

1272
01:07:42,800 --> 01:07:45,320
Speaker 3: has air, and you know you're running out of air

1273
01:07:45,360 --> 01:07:48,960
Speaker 3: over there, so come join me. So Davison, Perkins, and

1274
01:07:49,000 --> 01:07:51,160
Speaker 3: the Doctor all go over to the German ship and

1275
01:07:51,240 --> 01:07:54,520
Speaker 3: join him there because because they can get air there,

1276
01:07:54,640 --> 01:07:57,960
Speaker 3: Sladen stays behind on the other ship. They are greeted

1277
01:07:58,000 --> 01:08:01,400
Speaker 3: by Finnel, who has a mysterious dig around his head,

1278
01:08:02,240 --> 01:08:04,360
Speaker 3: and they're like, hey, what's that. He's like, oh, yeah,

1279
01:08:04,400 --> 01:08:08,520
Speaker 3: there were some caustic chemicals that burned me, so that's

1280
01:08:08,520 --> 01:08:11,120
Speaker 3: why I've got this. By the way, doctor, come with me.

1281
01:08:11,600 --> 01:08:14,400
Speaker 3: Let's get away from everybody else. And there is actually,

1282
01:08:15,040 --> 01:08:18,559
Speaker 3: I think a quite effectively staged creepy moment here where

1283
01:08:19,800 --> 01:08:22,519
Speaker 3: so Jaffy is, you know, leading the doctor character alone

1284
01:08:22,920 --> 01:08:25,360
Speaker 3: down a hall. She's supposed to be, I think, checking

1285
01:08:25,400 --> 01:08:28,040
Speaker 3: out his wound while he fixes something in the engine

1286
01:08:28,080 --> 01:08:32,080
Speaker 3: room and he opens the doors to the engine room

1287
01:08:32,080 --> 01:08:34,920
Speaker 3: and it's just black inside. There's no light, and he's like, ah,

1288
01:08:35,080 --> 01:08:37,840
Speaker 3: darn it, you know the lights are out. Just let

1289
01:08:37,920 --> 01:08:40,400
Speaker 3: me go fix it. I'll be right back, and then

1290
01:08:40,439 --> 01:08:42,559
Speaker 3: he just goes in the door, and we don't cut away.

1291
01:08:42,680 --> 01:08:45,880
Speaker 3: The camera stays on the doctor just standing there at

1292
01:08:45,880 --> 01:08:48,760
Speaker 3: the open door leading into the dark room, and then

1293
01:08:48,800 --> 01:08:51,320
Speaker 3: we don't hear anything inside, and it goes on for

1294
01:08:51,360 --> 01:08:53,560
Speaker 3: a bit, and I thought this was a really effective

1295
01:08:54,080 --> 01:08:56,320
Speaker 3: moment where it just goes on and on a little

1296
01:08:56,360 --> 01:08:58,800
Speaker 3: bit and you don't know what's happening, and she starts

1297
01:08:58,840 --> 01:09:01,519
Speaker 3: calling out to him, like what's going on, and then

1298
01:09:01,560 --> 01:09:04,080
Speaker 3: he's like, oh, yeah, I'm in here. I'm almost done,

1299
01:09:04,560 --> 01:09:08,640
Speaker 3: and she eventually goes in and of course gets zombiefied.

1300
01:09:09,400 --> 01:09:10,160
Speaker 2: Yep, they get her.

1301
01:09:10,479 --> 01:09:12,800
Speaker 3: Now. Eventually, the captain and the company man, who have

1302
01:09:12,840 --> 01:09:16,679
Speaker 3: been at odds the whole time, they grow suspicious because

1303
01:09:16,680 --> 01:09:19,479
Speaker 3: they're like, man, this ship is so hot and we're

1304
01:09:19,520 --> 01:09:22,920
Speaker 3: sweating through our outfits here. But they recalled that Finyl

1305
01:09:23,040 --> 01:09:27,560
Speaker 3: was not sweating. That's weird. So they get suspicious and

1306
01:09:27,600 --> 01:09:29,200
Speaker 3: they're like, we got to go check things out. But

1307
01:09:29,280 --> 01:09:31,400
Speaker 3: by the time they get there, the doctor has already

1308
01:09:31,439 --> 01:09:35,160
Speaker 3: been killed, and then zombie Finnel attacks the captain, only

1309
01:09:35,200 --> 01:09:38,200
Speaker 3: to have his zombie head blown off by Perkins with

1310
01:09:38,240 --> 01:09:41,240
Speaker 3: his blaster. So the company man comes to the rescue.

1311
01:09:41,760 --> 01:09:45,560
Speaker 2: Yep, Ferris Bueller's dad blows the head off of the

1312
01:09:45,680 --> 01:09:49,080
Speaker 2: Jaffy zombie s face zombie and it's a great head explosion,

1313
01:09:49,120 --> 01:09:53,280
Speaker 2: like it's a full on like Scanner's esque sloppy head explosion,

1314
01:09:54,200 --> 01:09:56,679
Speaker 2: but also a little bit funny, like it's the right balance,

1315
01:09:56,680 --> 01:09:57,400
Speaker 2: the perfect bounce.

1316
01:09:57,800 --> 01:10:02,160
Speaker 3: Yeah. Meanwhile, back on the other ship, remember Sladen's the

1317
01:10:02,200 --> 01:10:04,960
Speaker 3: only character left there, so she's doing her engineering work.

1318
01:10:04,960 --> 01:10:07,840
Speaker 3: I think she's trying to fix the radio or something.

1319
01:10:08,439 --> 01:10:11,519
Speaker 3: And oh, here's Klaus Kinski, but he's zombie Fyte also,

1320
01:10:11,640 --> 01:10:14,320
Speaker 3: so he's also been killed and brain slugged, and he

1321
01:10:14,840 --> 01:10:18,200
Speaker 3: is attacking Sladen though you know he was attacking people

1322
01:10:18,240 --> 01:10:19,479
Speaker 3: before he had a brain slug.

1323
01:10:19,680 --> 01:10:23,400
Speaker 2: Yeah, he's even more terrifying now because, like the Kinsky

1324
01:10:23,439 --> 01:10:26,599
Speaker 2: skull is a great skull upon which to build your yeah,

1325
01:10:26,680 --> 01:10:28,919
Speaker 2: your special effects makeup. So he looks terrifying.

1326
01:10:29,320 --> 01:10:33,000
Speaker 3: So he chases her outside and eventually into the German ship.

1327
01:10:33,760 --> 01:10:36,600
Speaker 3: There's there's a fight where Davison and Perkins have to

1328
01:10:36,600 --> 01:10:40,599
Speaker 3: save her from the Kinsky zombie. They rip the slug

1329
01:10:40,640 --> 01:10:42,920
Speaker 3: off of Hoffner's head and throw it on the ground

1330
01:10:42,960 --> 01:10:46,840
Speaker 3: and stomp on it and squish it. A good conclusion,

1331
01:10:48,000 --> 01:10:52,000
Speaker 3: and thus concludes the tale of the Hoffner Zombie. So

1332
01:10:52,040 --> 01:10:55,599
Speaker 3: there are apparently only three characters left. We've got Captain Davison,

1333
01:10:55,720 --> 01:10:58,360
Speaker 3: the company man, Perkins, and Sladen the engineer. They're the

1334
01:10:58,439 --> 01:11:01,080
Speaker 3: only ones left. And what are they going to do

1335
01:11:01,160 --> 01:11:03,680
Speaker 3: to defeat the big alien? Because remember there's also the

1336
01:11:03,760 --> 01:11:06,599
Speaker 3: different thing. There's the alien they encountered at the beginning

1337
01:11:06,800 --> 01:11:10,400
Speaker 3: in the ship here, apart from all the zombies that

1338
01:11:10,479 --> 01:11:13,400
Speaker 3: it is apparently making. I think maybe the brain slug

1339
01:11:13,520 --> 01:11:16,439
Speaker 3: is like part of the alien that comes off of

1340
01:11:16,479 --> 01:11:20,000
Speaker 3: it and reanimates the corpses of the humans that it

1341
01:11:20,080 --> 01:11:21,080
Speaker 3: has killed.

1342
01:11:21,520 --> 01:11:23,439
Speaker 2: I don't have a clear understanding. I don't know if

1343
01:11:23,439 --> 01:11:25,960
Speaker 2: the yeah, these are part of the alien's anatomy, or

1344
01:11:26,000 --> 01:11:28,960
Speaker 2: these are other organisms that it is using, or this

1345
01:11:29,000 --> 01:11:34,360
Speaker 2: is biotechnology. It's left wide open, so I don't know.

1346
01:11:34,800 --> 01:11:36,240
Speaker 2: I don't have any strong theories.

1347
01:11:36,760 --> 01:11:39,040
Speaker 3: But anyway, we get to a thing next that I

1348
01:11:39,120 --> 01:11:43,400
Speaker 3: absolutely love, which is Slayden's plan for defeating the alien.

1349
01:11:43,960 --> 01:11:47,479
Speaker 3: And what she says is, I have an idea. I

1350
01:11:47,520 --> 01:11:50,280
Speaker 3: saw a movie once where people were trapped on an

1351
01:11:50,400 --> 01:11:54,240
Speaker 3: ice station by a carrot from outer space and they

1352
01:11:54,320 --> 01:11:57,160
Speaker 3: killed it by electrocuting it. They set up a grid

1353
01:11:57,280 --> 01:11:59,640
Speaker 3: on the floor as a trap and they lured it

1354
01:11:59,640 --> 01:12:02,920
Speaker 3: onto the and they electrocuted it. And I realized, and

1355
01:12:03,200 --> 01:12:06,080
Speaker 3: they for Perkins and Davison laugh at her, but then

1356
01:12:06,080 --> 01:12:07,720
Speaker 3: they end up going with her plan. And I think

1357
01:12:07,720 --> 01:12:10,679
Speaker 3: this is great because she is accurately describing the plot

1358
01:12:10,760 --> 01:12:12,120
Speaker 3: of the thing from another world.

1359
01:12:12,439 --> 01:12:16,840
Speaker 2: Yeah. Absolutely, it's I really enjoyed just how overt it

1360
01:12:17,040 --> 01:12:20,000
Speaker 2: was too. It would be like if like what if

1361
01:12:20,120 --> 01:12:23,680
Speaker 2: Ripley an alien had said, you know, I saw a

1362
01:12:23,720 --> 01:12:26,679
Speaker 2: movie once where a little boy was left home alone

1363
01:12:26,880 --> 01:12:32,679
Speaker 2: at Christmas and he outwitted the enemies with a series

1364
01:12:32,720 --> 01:12:35,960
Speaker 2: of clever traps. Let's do that. Let's do home alone

1365
01:12:35,960 --> 01:12:36,679
Speaker 2: on this alien.

1366
01:12:37,360 --> 01:12:40,479
Speaker 3: Do we have a BB gun on board? I need

1367
01:12:40,479 --> 01:12:41,240
Speaker 3: paint cans.

1368
01:12:41,439 --> 01:12:43,760
Speaker 2: But they agree, like this, we can do this. We

1369
01:12:43,800 --> 01:12:45,840
Speaker 2: can we have even more power on the ship. We

1370
01:12:45,840 --> 01:12:47,040
Speaker 2: can route into this system.

1371
01:12:47,080 --> 01:12:49,839
Speaker 3: Let's do it. Yep. So they do it, and it's

1372
01:12:49,920 --> 01:12:52,559
Speaker 3: Layton's plan and they have to like, you know, guard

1373
01:12:52,600 --> 01:12:54,960
Speaker 3: her while she's doing all the electrical work that needs

1374
01:12:55,000 --> 01:12:58,040
Speaker 3: to be done. But she she arranges it and it works,

1375
01:12:58,240 --> 01:13:01,000
Speaker 3: or so it seems. They zap the monster with all

1376
01:13:01,040 --> 01:13:05,320
Speaker 3: this electricity. It falls dead, apparently, and then the two

1377
01:13:05,360 --> 01:13:08,200
Speaker 3: guys wander off to go, I don't know, do something else.

1378
01:13:08,280 --> 01:13:11,080
Speaker 3: But then Slaydon is like, oh, she's a little curious.

1379
01:13:11,120 --> 01:13:13,960
Speaker 3: Maybe she's not sure it's dead. So she goes over

1380
01:13:14,080 --> 01:13:15,720
Speaker 3: to give it a little nudge with the tip of

1381
01:13:15,720 --> 01:13:19,800
Speaker 3: her shoe, and then we get a classic dead monster revival.

1382
01:13:19,840 --> 01:13:22,880
Speaker 3: It pops up. We get the monster pop up. Gotta

1383
01:13:22,880 --> 01:13:23,200
Speaker 3: love it.

1384
01:13:23,479 --> 01:13:25,880
Speaker 2: That's right, we're gonna have to move on to Plan B. Right,

1385
01:13:25,880 --> 01:13:27,040
Speaker 2: you know what B stands for.

1386
01:13:27,479 --> 01:13:29,960
Speaker 3: It stands for better depend on the company.

1387
01:13:30,000 --> 01:13:30,200
Speaker 2: Man.

1388
01:13:30,960 --> 01:13:35,479
Speaker 3: See, he actually has a surprising arc so per So

1389
01:13:35,920 --> 01:13:39,679
Speaker 3: the monster pops up, it seizes Slaydon. The two guys

1390
01:13:39,720 --> 01:13:42,240
Speaker 3: go to investigate, and they like look through the glass

1391
01:13:42,280 --> 01:13:44,800
Speaker 3: in the hallway and they see that Slaydon is there.

1392
01:13:44,880 --> 01:13:48,760
Speaker 3: She's alive, but she is unconscious, being held hostage, like

1393
01:13:48,840 --> 01:13:52,360
Speaker 3: hanging upside down, guarded by the alien. So they're like,

1394
01:13:52,400 --> 01:13:54,000
Speaker 3: what are we gonna do? What are we gonna do?

1395
01:13:54,880 --> 01:13:57,840
Speaker 3: And Perkins comes up with the plan. He's like, we

1396
01:13:57,880 --> 01:14:00,600
Speaker 3: got to blow it out of the airlock. There you

1397
01:14:00,680 --> 01:14:03,599
Speaker 3: go in the medh And while he's trying to set

1398
01:14:03,680 --> 01:14:07,400
Speaker 3: up this plan, he finds the bombs that Kinsky was

1399
01:14:07,400 --> 01:14:10,479
Speaker 3: talking about, so he's like, oh yeah, here are some

1400
01:14:10,560 --> 01:14:14,360
Speaker 3: bombs also. So while he's like setting up that blow

1401
01:14:14,360 --> 01:14:17,439
Speaker 3: it out the airlock trap, Davison goes into the room

1402
01:14:17,439 --> 01:14:21,720
Speaker 3: and rescues Slaydon and meanwhile the alien attacks Perkins. The

1403
01:14:21,760 --> 01:14:25,000
Speaker 3: company man. It attacks him, and then the other two

1404
01:14:25,080 --> 01:14:27,360
Speaker 3: characters come and find him as sort of in a

1405
01:14:27,479 --> 01:14:30,559
Speaker 3: gory embrace with the alien. It's like ripping out his neck.

1406
01:14:30,880 --> 01:14:33,760
Speaker 3: They're both sitting right on the trap door of the

1407
01:14:33,800 --> 01:14:36,479
Speaker 3: airlock and Perkins looks at them and he's like, you've

1408
01:14:36,520 --> 01:14:38,120
Speaker 3: got it right where you want it to do it.

1409
01:14:38,360 --> 01:14:41,840
Speaker 3: Do it. So they hit the button and Perkins and

1410
01:14:41,880 --> 01:14:45,479
Speaker 3: the alien get dumped outside, so company Man to the

1411
01:14:45,479 --> 01:14:47,679
Speaker 3: rescue in the end. And I think it's an interesting

1412
01:14:47,880 --> 01:14:51,400
Speaker 3: arc because it's the opposite of the Burke arc in Aliens,

1413
01:14:51,400 --> 01:14:55,439
Speaker 3: where in Aliens Burke seems like a nice guy at first,

1414
01:14:55,760 --> 01:14:59,360
Speaker 3: and then as the story progresses, he is revealed to

1415
01:14:59,439 --> 01:15:02,760
Speaker 3: be a a through and through slime ball and a

1416
01:15:02,800 --> 01:15:07,120
Speaker 3: complete coward and only interested in himself. Perkins is kind

1417
01:15:07,120 --> 01:15:09,559
Speaker 3: of the opposite. At first. He's he's a you know,

1418
01:15:09,640 --> 01:15:12,960
Speaker 3: a hard nosed, you know, totally selfish, bottom line kind

1419
01:15:12,960 --> 01:15:15,080
Speaker 3: of guy who doesn't care about anybody else. But he

1420
01:15:15,400 --> 01:15:18,439
Speaker 3: sort of saves the day here. Yeah, but it doesn't

1421
01:15:18,520 --> 01:15:21,240
Speaker 3: last because well, they dump it out the airlock. But

1422
01:15:21,280 --> 01:15:22,960
Speaker 3: then the alien just sort of comes around the side

1423
01:15:22,960 --> 01:15:25,960
Speaker 3: of the building like it comes in through the other entrance.

1424
01:15:26,040 --> 01:15:29,479
Speaker 3: But when it does, it's still got the bomb that

1425
01:15:29,560 --> 01:15:33,200
Speaker 3: Perkins had stuck to it. So Davison is like, well,

1426
01:15:33,200 --> 01:15:35,160
Speaker 3: I gotta deal with this, and so he goes and

1427
01:15:35,200 --> 01:15:37,919
Speaker 3: meets it at the airlock and drop kicks the alien

1428
01:15:38,000 --> 01:15:43,280
Speaker 3: back outside. Great, yes, very good. He's like fighting it

1429
01:15:43,360 --> 01:15:46,479
Speaker 3: outside where it said that the temperature is like negative

1430
01:15:46,479 --> 01:15:49,160
Speaker 3: two hundred degrees fahrenheit, and like he can't breathe, there's

1431
01:15:49,200 --> 01:15:52,960
Speaker 3: no atmosphere he can breathe. So he's like choking and

1432
01:15:53,080 --> 01:15:55,559
Speaker 3: he sees the bomb timer on the alien go down

1433
01:15:55,600 --> 01:15:59,599
Speaker 3: to zero, but then it doesn't explode, and Davison, lying

1434
01:15:59,640 --> 01:16:04,479
Speaker 3: there on the exposed surface of Saturn's moon titan, chokes

1435
01:16:04,479 --> 01:16:09,000
Speaker 3: out the line it didn't go off to no one

1436
01:16:09,280 --> 01:16:13,040
Speaker 3: in particular. There's nobody out there to hear him, except

1437
01:16:13,360 --> 01:16:17,040
Speaker 3: suddenly a character who we thought was dead, the security

1438
01:16:17,040 --> 01:16:19,519
Speaker 3: officer Bryce. She appears from out of nowhere in a

1439
01:16:19,560 --> 01:16:24,120
Speaker 3: spacesuit with her blaster and shoots the bomb and then says, oh,

1440
01:16:24,200 --> 01:16:26,920
Speaker 3: yes it did, replying to his it didn't go off,

1441
01:16:27,280 --> 01:16:29,559
Speaker 3: and then the alien explodes and that's the end.

1442
01:16:29,800 --> 01:16:33,200
Speaker 2: That's great. They do a Jaws on it, basically, yeah, yeah,

1443
01:16:33,280 --> 01:16:36,760
Speaker 2: something explosive strapped to our monster. Shoot the object, blow

1444
01:16:36,760 --> 01:16:37,080
Speaker 2: it up.

1445
01:16:37,720 --> 01:16:38,200
Speaker 3: You see it.

1446
01:16:38,520 --> 01:16:42,080
Speaker 2: You see a Jaws pulled on monsters now and again

1447
01:16:42,160 --> 01:16:44,479
Speaker 2: in these types of films, it's always a nice moment.

1448
01:16:45,040 --> 01:16:47,680
Speaker 3: What did you so? Then we so this time it's

1449
01:16:47,720 --> 01:16:50,639
Speaker 3: defeated for real, and our survivors blast off and head

1450
01:16:50,680 --> 01:16:55,120
Speaker 3: back to Earth, I guess. And the survivors again are Davison, Slayton,

1451
01:16:55,280 --> 01:16:58,240
Speaker 3: and Bryce, And what did you make of the I

1452
01:16:58,360 --> 01:17:01,000
Speaker 3: got lost thing? They're like, what what happened to you?

1453
01:17:01,320 --> 01:17:03,720
Speaker 3: We thought you were dead? And then she sort of

1454
01:17:03,800 --> 01:17:06,840
Speaker 3: sheepishly admits I got lost, and I think she says

1455
01:17:06,880 --> 01:17:08,960
Speaker 3: it multiple times. What's going on there?

1456
01:17:09,000 --> 01:17:11,320
Speaker 2: I have no idea, no idea what they intended with

1457
01:17:11,360 --> 01:17:14,040
Speaker 2: that if it's supposed to just be funny, or if

1458
01:17:14,040 --> 01:17:15,960
Speaker 2: it was just kind of like a patchwork, like they

1459
01:17:15,960 --> 01:17:18,160
Speaker 2: felt like they had to acknowledge it. I didn't feel

1460
01:17:18,160 --> 01:17:19,800
Speaker 2: like they had to acknowledge where she was at all,

1461
01:17:19,880 --> 01:17:23,640
Speaker 2: Like she almost died in some encounter with a with

1462
01:17:23,720 --> 01:17:30,639
Speaker 2: the alien that ended up turning Hans Rudy into a zombie.

1463
01:17:30,680 --> 01:17:33,200
Speaker 2: So I don't really think I needed an explanation of

1464
01:17:33,200 --> 01:17:35,919
Speaker 2: where she was, but I guess the film felt otherwise.

1465
01:17:36,320 --> 01:17:38,800
Speaker 3: Well, anyway, they're headed home. Oh and then a laugh

1466
01:17:38,840 --> 01:17:42,360
Speaker 3: out loud moment for me was Bryce hands Slade in

1467
01:17:42,600 --> 01:17:45,720
Speaker 3: her copy of the novelization of Scared to Death, the

1468
01:17:45,760 --> 01:17:51,559
Speaker 3: director's other film, like oh great, thank you, and that's

1469
01:17:51,600 --> 01:17:51,920
Speaker 3: the end.

1470
01:17:52,280 --> 01:17:54,679
Speaker 2: She points out earlier that it's the only book she brought.

1471
01:17:54,760 --> 01:17:57,559
Speaker 2: That's why she keeps reading it, and she likes it. Yes,

1472
01:17:57,800 --> 01:18:00,479
Speaker 2: so there's not a great library on the Shenandoa a

1473
01:18:00,479 --> 01:18:01,679
Speaker 2: lot of hallendin Foster.

1474
01:18:02,600 --> 01:18:02,720
Speaker 4: Well.

1475
01:18:02,800 --> 01:18:04,840
Speaker 3: I was gonna say, you just basically they got Scared

1476
01:18:04,840 --> 01:18:06,160
Speaker 3: to Death and dianetics.

1477
01:18:06,240 --> 01:18:10,280
Speaker 2: You know, you're just speaking of novelizations. I noticed that

1478
01:18:10,280 --> 01:18:13,280
Speaker 2: there's like a contemporary author who has gone back and

1479
01:18:13,560 --> 01:18:17,879
Speaker 2: made novelizations for various films that didn't have them, including Creature.

1480
01:18:18,360 --> 01:18:20,599
Speaker 2: So there is a novelization of Creature out there, but

1481
01:18:20,640 --> 01:18:25,880
Speaker 2: it's like a recent work of fiction, so don't I

1482
01:18:25,960 --> 01:18:29,479
Speaker 2: don't know what it's like, but I admire the hustle there.

1483
01:18:29,680 --> 01:18:32,600
Speaker 3: Maybe it'll fill in some of the plot gaps and

1484
01:18:31,960 --> 01:18:35,320
Speaker 3: make more of like the okay, so things we mentioned

1485
01:18:35,360 --> 01:18:37,960
Speaker 3: earlier that did not really end up playing a big role.

1486
01:18:38,560 --> 01:18:41,320
Speaker 3: The corporate rivalry. I mean it's a little bit there

1487
01:18:41,320 --> 01:18:45,160
Speaker 3: in the setting, like, okay, so there's another a ship

1488
01:18:45,200 --> 01:18:47,439
Speaker 3: from another company, but like they play it up like

1489
01:18:47,479 --> 01:18:50,240
Speaker 3: the corporate rivalry is going to be a conflict within

1490
01:18:50,320 --> 01:18:51,920
Speaker 3: the plot, and it just isn't really.

1491
01:18:52,320 --> 01:18:55,800
Speaker 2: Yeah, yeah, there's the whole issue robot and she doesn't talk,

1492
01:18:56,040 --> 01:18:58,920
Speaker 2: doesn't really go anywhere. There are a lot of things

1493
01:18:58,960 --> 01:19:00,960
Speaker 2: like that in this film, which you know, you don't

1494
01:19:01,000 --> 01:19:03,439
Speaker 2: have to you don't. You don't have to fire every

1495
01:19:03,479 --> 01:19:07,000
Speaker 2: canon you bring on the deck, you know. I recently

1496
01:19:07,040 --> 01:19:10,160
Speaker 2: reread Frank Herbert's Done Again, and honestly, one of the

1497
01:19:10,840 --> 01:19:13,160
Speaker 2: pleasures that I really love in that book is are

1498
01:19:13,200 --> 01:19:17,080
Speaker 2: the various ideas and tangents that that aren't explored that

1499
01:19:17,080 --> 01:19:19,040
Speaker 2: we the places where it seems like the plot could go,

1500
01:19:19,120 --> 01:19:21,679
Speaker 2: but they don't. Like, there's this whole, this brief bit

1501
01:19:21,720 --> 01:19:24,000
Speaker 2: where they're like where it's mentioned that that pider de

1502
01:19:24,080 --> 01:19:28,280
Speaker 2: vere the twisted mentat of the Baron Harken and may

1503
01:19:28,320 --> 01:19:33,080
Speaker 2: be intending to obtain a Chris Knife, and then since

1504
01:19:33,120 --> 01:19:36,280
Speaker 2: he has blue the blue eyes of the Fremen, he's

1505
01:19:36,320 --> 01:19:38,200
Speaker 2: going to potentially go out and pretend to be a

1506
01:19:38,240 --> 01:19:41,600
Speaker 2: Fremen to work his evil on the surface of Aracus.

1507
01:19:41,760 --> 01:19:44,200
Speaker 2: And that never comes to fruition. But it's just one

1508
01:19:44,200 --> 01:19:46,160
Speaker 2: of those little teases of like, wow, what if what

1509
01:19:46,200 --> 01:19:47,880
Speaker 2: if it had gone in that direction? What would have

1510
01:19:47,960 --> 01:19:51,479
Speaker 2: that consisted of? So you know, it's you know, you

1511
01:19:51,479 --> 01:19:54,320
Speaker 2: can you can lay out possibilities and not follow through

1512
01:19:54,439 --> 01:19:56,759
Speaker 2: on them. But there are a number of those moments

1513
01:19:56,800 --> 01:20:01,479
Speaker 2: in this film that ultimately feel again more like in

1514
01:20:01,520 --> 01:20:06,040
Speaker 2: the moment editing and changing rather than an exploration of possibility.

1515
01:20:06,439 --> 01:20:10,600
Speaker 3: They feel more accidentally abandoned rather than intentionally abandoned.

1516
01:20:10,720 --> 01:20:14,320
Speaker 2: Yeah, but still, I have to say, a really fun flick,

1517
01:20:16,080 --> 01:20:20,320
Speaker 2: some fun effects, some fun performances, and some legitimately creepy moments,

1518
01:20:20,720 --> 01:20:22,880
Speaker 2: coupled with some moments that are a little wonk here,

1519
01:20:23,560 --> 01:20:26,559
Speaker 2: Like we were saying when the monster is finally fully

1520
01:20:26,600 --> 01:20:30,680
Speaker 2: present in these final moments, there's often an undeniable, like

1521
01:20:30,760 --> 01:20:33,160
Speaker 2: rubber suit feel to it. It's a pretty good rubber suit,

1522
01:20:33,240 --> 01:20:37,160
Speaker 2: you know, but it's you know, it is what it is.

1523
01:20:37,400 --> 01:20:39,479
Speaker 3: I liked it when we saw the monster. I mean,

1524
01:20:39,520 --> 01:20:42,799
Speaker 3: obviously it's supposed to look like the monster from Alien

1525
01:20:43,479 --> 01:20:48,040
Speaker 3: and it doesn't look realistic. But I love the look

1526
01:20:48,240 --> 01:20:48,920
Speaker 3: like it's fun.

1527
01:20:49,400 --> 01:20:52,839
Speaker 2: Yeah, yeah, yeah, it's you know, it's nice and greasy

1528
01:20:52,880 --> 01:20:56,400
Speaker 2: and oily, and it's got It looks a lot like

1529
01:20:56,439 --> 01:20:58,639
Speaker 2: a xenomorph in some respects, but it has like big

1530
01:20:58,680 --> 01:21:02,360
Speaker 2: red eyes that glow. And then of course it's slinging

1531
01:21:03,320 --> 01:21:05,800
Speaker 2: brain slugs at people, and we're not entirely sure if

1532
01:21:05,800 --> 01:21:08,880
Speaker 2: those are of its body, if those are biotechnology, or

1533
01:21:08,920 --> 01:21:11,440
Speaker 2: if it's another species that he uses who knows.

1534
01:21:12,000 --> 01:21:14,879
Speaker 3: Well. I in the end also very much enjoyed creature.

1535
01:21:15,400 --> 01:21:20,960
Speaker 2: Yeah, I mean, enjoyment is key. Absolutely all other concerns secondary.

1536
01:21:22,160 --> 01:21:24,640
Speaker 2: All right, We're gonna gohea and close the book on

1537
01:21:25,160 --> 01:21:27,960
Speaker 2: Creature aka Titan find here, but we'd love to hear

1538
01:21:27,960 --> 01:21:29,760
Speaker 2: from everyone out there if you have thoughts on it

1539
01:21:30,320 --> 01:21:32,479
Speaker 2: from watching it back in the day, from watching it

1540
01:21:32,520 --> 01:21:35,360
Speaker 2: for the first time now or rediscovering it and so forth,

1541
01:21:36,360 --> 01:21:39,439
Speaker 2: or if you have thoughts in general on Alien and

1542
01:21:39,920 --> 01:21:45,200
Speaker 2: Alien clones that came out afterwards, films that led up

1543
01:21:45,240 --> 01:21:47,599
Speaker 2: to Alien. All of this is stuff we would love

1544
01:21:47,640 --> 01:21:50,200
Speaker 2: to talk about. And we still may come back and

1545
01:21:50,240 --> 01:21:52,880
Speaker 2: do Ridley Scott's Alien here on Weird House Cinema in

1546
01:21:52,880 --> 01:21:55,880
Speaker 2: the future, or maybe we'll just do another knockoff at

1547
01:21:55,920 --> 01:21:59,120
Speaker 2: some point. I don't know that both are fun possibilities.

1548
01:21:59,560 --> 01:22:02,280
Speaker 3: I think it's unavoidable that we will do multiple Alien

1549
01:22:02,360 --> 01:22:04,519
Speaker 3: knockoffs in the future. There are a lot of them.

1550
01:22:04,640 --> 01:22:05,680
Speaker 3: We'll we'll get around to.

1551
01:22:05,640 --> 01:22:08,679
Speaker 2: Them, all right. Just a reminder that Stuff to Blow

1552
01:22:08,720 --> 01:22:11,360
Speaker 2: your Mind is primarily a science and culture podcast with

1553
01:22:11,400 --> 01:22:14,040
Speaker 2: core episodes on Tuesdays and Thursdays, but on Fridays we

1554
01:22:14,080 --> 01:22:16,000
Speaker 2: set aside most serious concerns to just talk about a

1555
01:22:16,000 --> 01:22:18,320
Speaker 2: weird film here on Weird House Cinema. You want to

1556
01:22:18,320 --> 01:22:19,800
Speaker 2: see a list of all the all the films we've

1557
01:22:19,800 --> 01:22:21,920
Speaker 2: done over the years, the best place to do that

1558
01:22:22,040 --> 01:22:24,120
Speaker 2: is go on over to letterbox dot com. It's l

1559
01:22:24,160 --> 01:22:26,320
Speaker 2: E T T E R B O x D dot com.

1560
01:22:26,560 --> 01:22:28,760
Speaker 2: Our username is weird House and we have a list.

1561
01:22:28,800 --> 01:22:30,400
Speaker 2: There you can look at all the films, you can

1562
01:22:30,400 --> 01:22:33,080
Speaker 2: look at all the box arts, almost like a little

1563
01:22:33,400 --> 01:22:38,080
Speaker 2: little digital version of of a movie rental place. And indeed,

1564
01:22:38,640 --> 01:22:40,080
Speaker 2: you know, it's hooked up so that when you click

1565
01:22:40,080 --> 01:22:42,320
Speaker 2: on a title, you can click at where to find

1566
01:22:42,439 --> 01:22:44,800
Speaker 2: and it'll tell you, oh, well, you can buy it,

1567
01:22:45,080 --> 01:22:47,200
Speaker 2: rent it digitally here, you can stream it here, you

1568
01:22:47,200 --> 01:22:50,400
Speaker 2: can buy a physical copy here. It's often a great

1569
01:22:50,800 --> 01:22:53,120
Speaker 2: like a great resource for me when I'm looking at

1570
01:22:53,160 --> 01:22:55,720
Speaker 2: potential films to cover on Weird House and I have

1571
01:22:55,800 --> 01:22:58,640
Speaker 2: to tackle that big question, how are we going to

1572
01:22:58,680 --> 01:23:01,320
Speaker 2: watch it? Where are you going to seek it out?

1573
01:23:01,640 --> 01:23:04,120
Speaker 2: Can we stream it? Can we get a hold of

1574
01:23:04,120 --> 01:23:07,160
Speaker 2: a digital release? Has it been remastered? Or are we

1575
01:23:07,240 --> 01:23:09,400
Speaker 2: going to have to you know, look for some sort

1576
01:23:09,439 --> 01:23:12,519
Speaker 2: of a what was the way that we watched the work?

1577
01:23:12,560 --> 01:23:16,160
Speaker 2: Best movie? That was like a Dutch subtitled YouTube rip

1578
01:23:16,280 --> 01:23:19,679
Speaker 2: or something? Yes, yes, not the preferred format.

1579
01:23:21,960 --> 01:23:25,960
Speaker 3: Huge things. As always to our excellent audio producer JJ Posway.

1580
01:23:26,120 --> 01:23:27,800
Speaker 3: If you would like to get in touch with us

1581
01:23:27,800 --> 01:23:30,759
Speaker 3: with feedback on this episode or any other, to suggest

1582
01:23:30,840 --> 01:23:32,960
Speaker 3: a topic for the future, or just to say hello,

1583
01:23:33,080 --> 01:23:35,719
Speaker 3: you can email us at contact at stuff to Blow

1584
01:23:35,760 --> 01:23:43,400
Speaker 3: your Mind dot com.

1585
01:23:43,560 --> 01:23:46,479
Speaker 1: Stuff to Blow your Mind is production of iHeartRadio. For

1586
01:23:46,560 --> 01:23:49,360
Speaker 1: more podcasts from my heart Radio, visit the iHeartRadio app,

1587
01:23:49,520 --> 01:23:52,840
Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.