WEBVTT - STBYM presents Weirdhouse Cinema: Without Warning 0:00:03.040 --> 0:00:06.080 Welcome to Stuff to Blow Your Mind, a production of iHeartRadio. 0:00:13.039 --> 0:00:15.200 Hey, welcome to Weird House Cinema. 0:00:15.280 --> 0:00:18.800 This is Rob and this is Joe. Were we not 0:00:18.840 --> 0:00:20.920 saying our last names here? That's a change? 0:00:20.920 --> 0:00:22.239 Oh you know, no, I guess we should say our 0:00:22.280 --> 0:00:22.799 last names. 0:00:23.040 --> 0:00:28.760 Okay, Well you're Rob Lamb and I'm Joe McCormick. That's it. 0:00:29.000 --> 0:00:30.160 That sound okay, let's go with that. 0:00:30.440 --> 0:00:33.240 Okay, So it looks like this is our pilot episode. 0:00:33.280 --> 0:00:35.360 We're recording this here as a test. It may or 0:00:35.400 --> 0:00:37.159 may not see the light of day, but if you're 0:00:37.200 --> 0:00:38.720 listening to it, it obviously did. 0:00:39.080 --> 0:00:42.360 Now. We originally explored the idea of this being a 0:00:42.520 --> 0:00:46.880 standalone podcast series, but then we realized, now, the perfect 0:00:46.880 --> 0:00:48.960 place to try and roll this out would be like 0:00:49.159 --> 0:00:52.199 late night on a Friday, like at midnight. If they'd 0:00:52.280 --> 0:00:53.600 let us do that. I don't think they can to 0:00:53.680 --> 0:00:56.680 let us do that, but at any rate, Yeah, this 0:00:56.800 --> 0:00:59.080 is kind of a little bonus episode. It's not core 0:00:59.120 --> 0:01:01.800 Stuff to Blow your Mind content, but we are featuring 0:01:01.840 --> 0:01:05.640 it in the Stuff to Blow Your Mind feed on Fridays. 0:01:06.280 --> 0:01:08.280 I like to think of it as the asexual budding 0:01:08.360 --> 0:01:11.480 offspring of our science podcast stuff to blow your mind. 0:01:11.480 --> 0:01:15.440 Where Really, we've frequently over the years brought up various 0:01:15.520 --> 0:01:18.720 weird movies, generally as a means of sort of illustrating 0:01:18.920 --> 0:01:22.679 a particular scientific topic or making a particular scientific topic 0:01:22.720 --> 0:01:25.640 maybe a little more engaging, at least to us. So 0:01:25.760 --> 0:01:28.959 this is just more of the same, except we're putting 0:01:29.000 --> 0:01:31.160 the cart in front of the horse here. We're putting 0:01:32.040 --> 0:01:35.960 the movie weirdness ahead of any other concerns that would 0:01:36.000 --> 0:01:37.160 otherwise be engaged. 0:01:37.360 --> 0:01:39.400 That's right, We're putting the jack Palance in front of 0:01:39.440 --> 0:01:43.000 the horse here. Because for our inaugural episode here we 0:01:43.040 --> 0:01:47.000 are going to be talking about, without warning, a film 0:01:47.040 --> 0:01:51.400 from nineteen eighty that is so exquisite. I could not 0:01:51.640 --> 0:01:56.880 have asked for a better opening episode, Robert, you suggested 0:01:56.920 --> 0:01:59.760 this film having not seen it yourself, I believe. But 0:02:00.320 --> 0:02:02.680 when when I laid eyes on the trailer, I knew 0:02:02.720 --> 0:02:04.600 it was going to be love at first sight, and 0:02:04.600 --> 0:02:07.559 and my heart was true once I saw it. This 0:02:07.680 --> 0:02:11.200 film holds up. This is b trash for the ages. 0:02:11.680 --> 0:02:13.280 All right, let's go ahead and get a taste for 0:02:13.360 --> 0:02:18.000 this film. Let's listen to the trailer in its entirety. 0:02:18.480 --> 0:02:23.680 The Hunting Season has begun. But the Hunter isn't human, 0:02:26.840 --> 0:02:37.760 only the prey are. It came without warning, like nothing 0:02:37.800 --> 0:02:38.400 on this earth. 0:02:39.120 --> 0:02:40.680 Friends, I did. 0:02:42.800 --> 0:02:50.760 Beyond any known terror, because when it leaves this planet, 0:02:50.960 --> 0:02:52.720 no one may be left alive. 0:02:54.400 --> 0:02:57.359 Good time warning. When they start eating you, don't come 0:02:57.360 --> 0:02:58.080 to me for help. 0:03:04.280 --> 0:03:04.720 Baby. 0:03:05.720 --> 0:03:07.760 He came down with a spot he wants to give 0:03:07.840 --> 0:03:10.600 some of your t is not right now, You and 0:03:10.720 --> 0:03:12.840 me we are the prize game. 0:03:14.240 --> 0:03:24.160 The Hunter, the hunting that was no true, the thing 0:03:24.400 --> 0:03:32.760 that preys on human fear and feeds on human flesh 0:03:33.280 --> 0:03:37.560 from deepest space. It came, and now man is the 0:03:37.600 --> 0:03:48.720 endangered species. It came without warning, and now it's coming 0:03:48.760 --> 0:03:49.240 for you. 0:03:49.640 --> 0:03:53.680 Wow. 0:03:53.760 --> 0:03:56.720 That was something. It's pretty wonderful for a number of 0:03:56.720 --> 0:03:59.120 reasons we're going to discuss in this episode, but for 0:03:59.480 --> 0:04:01.520 me personally, one of the things I liked about it 0:04:01.560 --> 0:04:04.320 is that while while the Internet is a wonderful means 0:04:04.360 --> 0:04:08.880 of discovering new weird films, you know, everything from b 0:04:09.040 --> 0:04:13.480 movies and exploitation films to art films and even blockbusters 0:04:13.720 --> 0:04:16.960 that didn't quite you know, bust the block back in 0:04:17.000 --> 0:04:19.880 the day, that sort of thing. But this is a 0:04:19.920 --> 0:04:22.920 film that I discovered the old fashioned Way on a 0:04:23.040 --> 0:04:26.600 video rental shelf I went to Atlanta's own video drome. 0:04:26.920 --> 0:04:29.800 I was perusing the horror and science fiction and there 0:04:29.839 --> 0:04:31.440 it was a videodrome. 0:04:31.560 --> 0:04:34.200 Is the holy temple of the show. It's been a 0:04:34.200 --> 0:04:37.640 sight of pilgrimage for us for quite some time. Yeah, 0:04:37.680 --> 0:04:40.280 and it's great that they're still operating even during these 0:04:40.279 --> 0:04:43.680 are dark times by a wonderful sort of exchange system 0:04:43.720 --> 0:04:46.159 that operates out of a table at the front door. 0:04:46.520 --> 0:04:48.320 And so you can just walk right up to them 0:04:48.320 --> 0:04:52.320 and say, give me something disgusting that reminds you of 0:04:52.360 --> 0:04:56.000 The Uninvited by Graydon Clark, and you may well get 0:04:56.080 --> 0:04:57.200 without warning. 0:04:57.920 --> 0:05:00.599 Yes, because this is a directed by great on Clark, 0:05:01.279 --> 0:05:02.880 all of that film, and we'll we'll touch based on 0:05:02.960 --> 0:05:05.280 him in a bit. But before we get any further, Joe, 0:05:05.360 --> 0:05:07.680 do you want to summarize this film for us? Give 0:05:07.720 --> 0:05:09.040 us a quick breakdown on the plot? 0:05:09.320 --> 0:05:12.720 Okay, Well, the short version is that without warning, this 0:05:12.800 --> 0:05:14.600 is a movie that came out in nineteen eighty and 0:05:14.680 --> 0:05:19.000 it's Predator before Predator. When did the Schwarzenegger Predator come out, 0:05:19.000 --> 0:05:20.920 like eighty seven, eighty eight something like that. 0:05:21.920 --> 0:05:22.640 Yeah, I believe so. 0:05:23.200 --> 0:05:27.240 Yeah, So this is Predator before Predator, except instead of 0:05:27.279 --> 0:05:30.440 a bug mouth gadget alien with like a laser cannon 0:05:30.480 --> 0:05:34.920 and dreadlocks, this is a fifty style big head alien, 0:05:35.440 --> 0:05:39.120 sort of a cross between the creepy clay monsters from 0:05:39.160 --> 0:05:42.720 Fire in the Sky and then just full camp Martians 0:05:42.800 --> 0:05:45.880 like the ones in Invasion of the Saucer Men. Big 0:05:45.920 --> 0:05:50.120 head a large alien compound eye is kind of a 0:05:50.160 --> 0:05:53.880 screeching a mouth. Does it make a noise? I think 0:05:53.880 --> 0:05:56.800 maybe at some point the does the Invasion of the 0:05:56.800 --> 0:05:58.000 Body Snatcher's screech? 0:05:58.320 --> 0:06:00.159 Yeah, it makes some sort of an animal noise at 0:06:00.200 --> 0:06:00.599 some point. 0:06:00.800 --> 0:06:03.560 Oh yeah. And so instead of taking place in a 0:06:03.640 --> 0:06:07.440 vague Central American war zone, this is set somewhere in 0:06:07.760 --> 0:06:10.599 I think it's supposed to be the rural western US. 0:06:10.680 --> 0:06:14.480 I would guess rural California. And instead of Arnold Schwarzenegger 0:06:14.520 --> 0:06:17.920 and his team of commandos, you've got whiny hunters, You've 0:06:17.920 --> 0:06:22.000 got boy scouts who just sing incessantly, You've got makeout 0:06:22.000 --> 0:06:25.840 point teenes, and you've got Jack Palance. And Jack Palance, 0:06:25.880 --> 0:06:29.440 by the way, is a force of nature. In this movie. 0:06:29.120 --> 0:06:31.920 He plays a hunter. I guess half the characters are 0:06:31.920 --> 0:06:34.320 supposed to be hunters of some kind or another. We'll 0:06:34.320 --> 0:06:36.320 get to that more when we talk about the themes 0:06:36.360 --> 0:06:40.560 and message of the film later on. But Jack Palance 0:06:40.600 --> 0:06:42.719 is some kind of hunter who likes to kill animals, 0:06:42.720 --> 0:06:44.880 put their heads on the wall of his gas station, 0:06:45.240 --> 0:06:48.599 put them in jars, put them in formaldehyde. And when 0:06:48.600 --> 0:06:52.000 he talks in this film, he is human cocaine. Half 0:06:52.040 --> 0:06:55.159 of his lines are delivered literally quivering. 0:06:55.839 --> 0:06:59.560 Yeah, there is a leathery intensity to this performance that, 0:07:00.080 --> 0:07:04.440 to a certain extent, you would expect from Palants. But yeah, 0:07:04.480 --> 0:07:06.200 he really brings it. There's not a sense that he 0:07:07.160 --> 0:07:09.280 missed call and phoned it in. 0:07:09.640 --> 0:07:12.600 But as for the basic plot, there's an alien who's here. 0:07:12.760 --> 0:07:16.440 It's hunting humans. It does hunt humans, including some of 0:07:16.440 --> 0:07:18.720 the actors that we're going to mention in just a minute. 0:07:19.280 --> 0:07:22.160 As it hunts them, it collects them and puts them 0:07:22.280 --> 0:07:27.800 in a water utility shed. I guess that's functioning as 0:07:27.840 --> 0:07:30.800 his temporary like food storage locker. I think there's the 0:07:30.840 --> 0:07:33.440 implication that the alien is going to eat the people. 0:07:33.560 --> 0:07:35.840 I don't know if that's ever made entirely clear, but 0:07:35.880 --> 0:07:37.600 I recall that being suggested. 0:07:38.280 --> 0:07:41.320 And yeah, there's a lot of wonderful mystery about exactly 0:07:41.360 --> 0:07:45.040 what the alien is doing and why, which really works 0:07:45.920 --> 0:07:48.840 but yet also leads you wondering is this for food? 0:07:48.920 --> 0:07:51.040 It might be for food, or are they trophies perhaps 0:07:51.080 --> 0:07:54.440 their trophies, or is there something else in play here? 0:07:54.480 --> 0:07:57.600 And we're just taking our own human practices and sort 0:07:57.600 --> 0:08:00.920 of holding them up over the extraterrestrial in front of us. 0:08:01.160 --> 0:08:06.200 Yeah, yeah, exactly. And so this alien is hunting humans. 0:08:05.640 --> 0:08:10.160 It doesn't use technology really at all that I can 0:08:10.200 --> 0:08:13.120 think of there. Like I said, there's no laser cannon, 0:08:13.520 --> 0:08:16.560 there are no extending wrist blades, there are no magical 0:08:16.600 --> 0:08:21.040 flying circular saw discs. Instead, it uses what I would 0:08:21.080 --> 0:08:27.920 call a jellyfish shuricken. It throws these little biological creatures 0:08:28.000 --> 0:08:31.680 that attach to people and then stab into the people 0:08:31.760 --> 0:08:35.520 with their tentacles and make the people bleed and then 0:08:35.600 --> 0:08:37.240 kill them. Is that about right? 0:08:37.480 --> 0:08:39.760 That pretty much? I like to think of them as 0:08:39.760 --> 0:08:44.239 fresh frisbees, but I think murder pancakes would also. 0:08:44.080 --> 0:08:47.040 Suffice frisbees from the seafood market. 0:08:47.440 --> 0:08:51.360 Yeah. So basically, this tall, big headed alien, which, by 0:08:51.360 --> 0:08:53.200 the way, I want to stress this is a nineteen 0:08:53.240 --> 0:08:56.760 eighties movie, a nineteen eighty film, which is key because 0:08:56.840 --> 0:08:58.800 you certainly expect that kind of a big headed alien 0:08:58.800 --> 0:09:02.520 in these older in decades pro prior, especially stuff like 0:09:02.559 --> 0:09:05.920 outer limits and so forth. But this is eighty. There 0:09:06.000 --> 0:09:08.560 is a Star Wars beach blanket that shows up in 0:09:08.600 --> 0:09:12.600 the film, and so there's something about the weirdness of that, Like, 0:09:12.600 --> 0:09:16.800 this creature is not only from a different world, he's 0:09:16.840 --> 0:09:20.040 from a different cinematic world, so he feels even more 0:09:20.080 --> 0:09:24.280 the outsider, but unlike those other cinematic big headed aliens. Yeah, 0:09:24.280 --> 0:09:26.559 he's throwing these flesh frisbees around, and if one of 0:09:26.600 --> 0:09:31.800 these flesh frisbees attaches to your flesh, you're probably doomed. 0:09:31.920 --> 0:09:35.040 You have, like it seems like a few seconds in 0:09:35.120 --> 0:09:38.760 the movies, time to whip out a bowie knife and 0:09:38.880 --> 0:09:40.959 cut that sucker free. Otherwise you're done for. 0:09:41.240 --> 0:09:44.720 Though nobody seems to have that insight except Jack Palance himself. 0:09:44.760 --> 0:09:48.200 Everybody else who gets hit by one of the fresh frisbees. Wait, 0:09:48.240 --> 0:09:50.679 are we going with fresh frisbees or flesh frisbees? 0:09:50.720 --> 0:09:52.679 Either way, fresh flesh frisbees. 0:09:52.800 --> 0:09:57.840 Okay, one of the jellyfish meat frisbees attaches to you, 0:09:58.200 --> 0:10:02.000 Everybody else just goes h and then goo comes out 0:10:02.000 --> 0:10:04.360 of them and they fall over. But Jack Palance, yeah, 0:10:04.400 --> 0:10:06.320 of course he whips out his knife because I guess 0:10:06.360 --> 0:10:08.760 he's got more grit than any of the other ones, 0:10:09.040 --> 0:10:12.240 and he has the courage and the resolve to just 0:10:12.360 --> 0:10:14.800 stab right in there and get it off, like he's 0:10:14.800 --> 0:10:15.680 shucking an oyster. 0:10:16.040 --> 0:10:18.440 Yeah. Yeah, there is very much. There's an oyster shucking 0:10:18.520 --> 0:10:21.319 sense to these things. Seeah, it's never explained if the 0:10:22.040 --> 0:10:25.000 thing is the flesh frisbee it kills you so fast 0:10:25.040 --> 0:10:27.760 because it's like draining your essence or sucking your blood out, 0:10:28.080 --> 0:10:31.839 or if it's like a toxin situation. But it seems 0:10:31.880 --> 0:10:33.880 to work really well, and the movie does a good 0:10:33.960 --> 0:10:35.679 job of conveying that sense of danger. 0:10:35.880 --> 0:10:37.959 Yeah, and I got the sense of a toxin from 0:10:38.000 --> 0:10:41.920 it because the flesh frisbee, the fresh flesh frisbee, is 0:10:41.920 --> 0:10:44.800 also very greasy. You know, it's like got this ooze 0:10:44.800 --> 0:10:47.640 that when Jack Palance stabs into it with his linoleum 0:10:47.720 --> 0:10:53.000 knife or whatever, it produces this oleaginous extrusion that is 0:10:53.840 --> 0:10:55.559 I don't know, it looks like it would not come 0:10:55.600 --> 0:10:58.440 out with water alone. You would need you know, goo 0:10:58.520 --> 0:11:01.120 gone or something to get rid of it, and we'll 0:11:01.120 --> 0:11:02.719 come back to that in just a little bit when 0:11:02.720 --> 0:11:06.400 we explore some monster science. But maybe first we should 0:11:06.440 --> 0:11:09.560 look at a cast of characters and associated artisans. 0:11:10.559 --> 0:11:13.000 Yeah, well, let's start at the top. I guess with 0:11:13.240 --> 0:11:16.640 director Greaton Clark not to be confused with tad artists 0:11:16.640 --> 0:11:20.680 great Anis and I have personally made that confusion, confusing 0:11:20.720 --> 0:11:23.679 these two. But Grayton Clark is perhaps best known, I 0:11:23.760 --> 0:11:27.240 think for directing Angel's Brigade back in nineteen seventy nine, 0:11:27.480 --> 0:11:31.440 but also the MST three k riffed Final Justice with 0:11:31.600 --> 0:11:34.040 Jodn Baker back in nineteen eighty five. 0:11:34.120 --> 0:11:36.720 Oh, that's the one with a dyspeptic Jodon Baker and 0:11:36.760 --> 0:11:38.720 he's running around Malta, right. 0:11:38.679 --> 0:11:41.679 Yes, yeah, Cowboy. It has some wonderful There's this one 0:11:41.720 --> 0:11:44.160 shot in that film where he has his hand on 0:11:44.200 --> 0:11:46.880 his hip and they're shoot it like between his arm 0:11:46.960 --> 0:11:49.800 and the side of his Torso it's one of my 0:11:49.840 --> 0:11:54.160 favorite bizarre shooting choices I've ever seen in a film. 0:11:54.320 --> 0:11:57.640 I also recall a joke about a felonious monk in it. 0:11:58.160 --> 0:11:58.439 Yeah. 0:11:58.520 --> 0:12:02.800 Yeah, So Grayton Clark directed another film that came out 0:12:02.800 --> 0:12:05.120 in nineteen eighty seven, which that might be the same 0:12:05.200 --> 0:12:07.920 year that Predator came out, or maybe Predator was eighty nine, 0:12:08.000 --> 0:12:11.400 I don't know. In eighty seven, Graydon Clark made the 0:12:11.480 --> 0:12:15.280 movie Uninvited. I keep wanting to call it the Uninvited. 0:12:15.320 --> 0:12:18.040 I think there's no article. It's just Uninvited, which is 0:12:18.080 --> 0:12:21.680 about a mutant cat that gets aboard a yacht with 0:12:21.800 --> 0:12:25.319 klu Gooliger and George Kennedy and a bunch of some 0:12:25.360 --> 0:12:26.680 more makeout point teens. 0:12:26.760 --> 0:12:29.520 Basically, yeah, I haven't seen that one yet, but it's 0:12:29.520 --> 0:12:31.400 it's definitely on my list for this October. 0:12:31.520 --> 0:12:34.960 Yeah, Robert, it is a top tier creature film. You've 0:12:35.040 --> 0:12:37.439 got to see Uninvited. In fact, that should be a later, 0:12:37.640 --> 0:12:40.439 later addition to the show because it is. It is 0:12:40.480 --> 0:12:44.560 a creature film like none other. It is really unparalleled genius. 0:12:44.800 --> 0:12:47.720 It Dwelleth at the top of the creature film Zigarat. 0:12:49.200 --> 0:12:51.559 All right, well, okay, so we got Clark on board. 0:12:51.559 --> 0:12:57.240 Here another key individual makeup artist Greg Cannum. I now 0:12:57.280 --> 0:13:00.760 I should know that that sometimes Rick Baker name is 0:13:01.080 --> 0:13:05.439 attached to this film. Apparently he was involved in the 0:13:05.480 --> 0:13:08.520 film early on and actually made the alien head and 0:13:08.559 --> 0:13:11.320 designed some of the effects and then handed duties off 0:13:11.320 --> 0:13:17.640 to fellow FX makeup with Greg Cannum and Canum ends up, 0:13:17.679 --> 0:13:22.439 you know, completing everything. Canum is another superstar of special 0:13:22.480 --> 0:13:25.200 effects makeup. He went on to work on everything from 0:13:25.559 --> 0:13:30.720 Bromstoker's Dracula and Highlander two to most recently. I believe 0:13:30.720 --> 0:13:34.400 he was involved in that Christian Bale Dick Cheney makeup 0:13:34.440 --> 0:13:35.000 for that movie. 0:13:35.080 --> 0:13:39.560 Wece Oh wow, wow, Okay, well I see the through line. Actually, 0:13:40.160 --> 0:13:43.280 did he do the old man makeup for Connor MacLeod 0:13:43.320 --> 0:13:45.880 and Highlander two? And did he do the old man 0:13:46.000 --> 0:13:49.800 makeup for Gary Oldman in bram Stoker's Dracula and the 0:13:49.840 --> 0:13:51.920 old man makeup for Christian Bale and Vice? 0:13:53.000 --> 0:13:54.959 I would bet that that is the case. 0:13:55.040 --> 0:14:00.680 Yes, three extraordinary works, each of each of their own genre, 0:14:00.720 --> 0:14:03.319 as long as you consider that the stuff they put 0:14:03.360 --> 0:14:06.720 on Christoph Lambert is supposed to be oily looking and funny. 0:14:07.040 --> 0:14:09.360 Now, of course, the thing about effects in a film 0:14:09.440 --> 0:14:11.880 like this is they can look amazing, but it also 0:14:11.960 --> 0:14:14.360 comes down to how you shoot them and indeed how you 0:14:14.480 --> 0:14:18.080 light them. Oh, and that leads to our next future 0:14:18.120 --> 0:14:20.000 superstar that was involved in this picture. 0:14:20.320 --> 0:14:24.920 Yeah, Dean Coundy. So Dean Coundy is a legendary cinematographer 0:14:24.920 --> 0:14:28.760 and director of photography. He's a member of the ASC. 0:14:29.440 --> 0:14:32.920 If you just think about a movie that is effortlessly 0:14:33.120 --> 0:14:39.040 visually absorbing, something that is constantly pleasing and interesting to 0:14:39.120 --> 0:14:43.640 look at without really calling attention to itself as flashy photography, 0:14:44.040 --> 0:14:46.400 and I think that there is a good chance that 0:14:46.440 --> 0:14:48.120 you're watching a Dean Coundy movie. 0:14:48.480 --> 0:14:50.960 Yeah. Now, I have to say with this film, it 0:14:51.000 --> 0:14:56.200 doesn't start off feeling like Cundy's presence is there because 0:14:57.040 --> 0:14:59.800 early on in the film, everything is in just stark daylight. 0:15:00.120 --> 0:15:03.320 You wake up late and arrive in this movie around 0:15:03.360 --> 0:15:08.520 noon in Littel, California, so everything has hungover to yeah, 0:15:08.520 --> 0:15:11.480 a little bit hungover. Everything's just super bright. It looks 0:15:11.520 --> 0:15:13.720 like it's probably hot and you should maybe be in 0:15:13.720 --> 0:15:16.040 a library somewhere or you want to crawl back into 0:15:16.080 --> 0:15:21.120 a trailer or something. So you know, that's the first 0:15:21.160 --> 0:15:24.240 section of the film. But eventually the sun goes down, 0:15:24.280 --> 0:15:27.520 and when the sun goes down in this movie, Kundy's 0:15:27.600 --> 0:15:30.680 lighting comes up, and that's when everything begins to take 0:15:30.720 --> 0:15:34.360 on an entirely new feel because that's when we see 0:15:34.360 --> 0:15:36.040 more and more of the monster, but then we also 0:15:36.080 --> 0:15:38.760 see more and more of these kind of and really 0:15:38.800 --> 0:15:42.720 at times monstrous character actor faces that are also lit 0:15:42.800 --> 0:15:46.440 up just so well. Some of the best scenes in 0:15:46.440 --> 0:15:49.440 the film are just character actors well lit. 0:15:49.680 --> 0:15:51.800 Oh yeah, yeah, yeah, you know. I would actually go 0:15:52.200 --> 0:15:54.360 disagree just a little bit that I think there's some 0:15:54.440 --> 0:15:57.160 really good photography and the film has a good look 0:15:57.240 --> 0:15:59.640 even in some of the daylight scenes. I definitely agree 0:15:59.640 --> 0:16:01.720 that it became more interesting to look at once you 0:16:01.720 --> 0:16:03.840 get to the nighttime. But there are a couple of 0:16:03.920 --> 0:16:07.320 daylight scenes that remind me of scenes in Halloween. Of course, 0:16:07.320 --> 0:16:10.040 Dean Cundy famously worked with John Carpenter on movies like 0:16:10.080 --> 0:16:14.120 Halloween and the Thing you Remember in Halloween how there 0:16:14.120 --> 0:16:17.120 will be these scenes that are just in broad daylight, 0:16:17.800 --> 0:16:21.240 and it'll be a creepy wide shot with Michael Myers 0:16:21.280 --> 0:16:24.880 standing somewhere in the distance and not really moving or 0:16:24.920 --> 0:16:27.400 doing anything all that menacing. He's just there in the 0:16:27.440 --> 0:16:30.520 mid ground background. And those are I think some of 0:16:30.600 --> 0:16:33.640 the most effective shots in Halloween. They really color how 0:16:33.680 --> 0:16:36.800 you experience the film. There are shots like that in 0:16:36.920 --> 0:16:39.880 Without Warning too. There's like a shot where a hunter 0:16:40.160 --> 0:16:42.880 is looking around at a field just with kind of 0:16:42.920 --> 0:16:46.160 like dead grass and overgrown weeds, and there is some 0:16:46.360 --> 0:16:49.760 figure with a large head just kind of standing in 0:16:49.840 --> 0:16:53.680 the distance behind the tall grass, not moving, and I 0:16:53.720 --> 0:16:56.080 thought it was an incredibly effective shot for such a 0:16:56.080 --> 0:16:56.960 low grade movie. 0:16:57.360 --> 0:16:59.480 Yeah, Yeah, I do admit that some of those daylight 0:16:59.520 --> 0:17:02.560 scenes are creepy in that they convey that sense of 0:17:02.960 --> 0:17:05.960 the terror that stalks in the daylight is perhaps even 0:17:06.080 --> 0:17:09.080 more dangerous than that which stalks at night. 0:17:09.600 --> 0:17:12.200 But I agree in general Dean Coundy he's just got 0:17:12.200 --> 0:17:15.359 the magic touch, and it's especially magic once night comes 0:17:15.400 --> 0:17:18.320 on and he's messing around with lighting. There are scenes 0:17:18.359 --> 0:17:21.040 that are filmed inside a house, a sort of a 0:17:21.119 --> 0:17:24.560 hunting cabin where there's a sudden boo scare where the 0:17:24.640 --> 0:17:26.720 alien pops out from the corner of a room and 0:17:26.760 --> 0:17:29.840 I think points with his finger. Very again, very invasion 0:17:29.840 --> 0:17:33.480 of the body snatcher's style, but it's a very effective 0:17:33.520 --> 0:17:34.560 boo scare. Actually. 0:17:34.920 --> 0:17:38.800 Yeah. I have to throw in that the Shout Factory 0:17:39.040 --> 0:17:42.200 Scream Factory edition of this movie that came out on 0:17:42.280 --> 0:17:46.040 DVD and Blu Ray several years back has some special features, 0:17:46.040 --> 0:17:48.320 and one of them is Kundy talking about the film 0:17:48.800 --> 0:17:51.199 and it's really insightful. He for instance, brings up the 0:17:51.200 --> 0:17:56.240 fact that the monster costume looked really good and you 0:17:56.640 --> 0:17:59.560 had this maybe temptation to want to show a lot 0:17:59.560 --> 0:18:03.320 of it, but he held back. And you know, you 0:18:03.400 --> 0:18:05.960 depend on a little bit more shadow and mystery. So 0:18:06.000 --> 0:18:08.600 there are certain details on that monster head that you 0:18:08.680 --> 0:18:11.000 just don't necessarily get in the final feature, Like it 0:18:11.320 --> 0:18:14.040 has kind of compound eyes, yes, and you never complete 0:18:14.040 --> 0:18:15.439 I don't think you ever get a sense of that 0:18:15.480 --> 0:18:18.240 in the film, But ultimately you don't need it because 0:18:18.240 --> 0:18:21.240 great costume plus great lighting equals great experience. 0:18:21.600 --> 0:18:24.480 Yeah, I agree, the monster is often in shadow, and 0:18:24.520 --> 0:18:29.119 this actually works to great effect. Again, it's a common 0:18:29.160 --> 0:18:31.760 feature you see when people are talking about Dean Kundy 0:18:31.840 --> 0:18:33.560 movies on the internet. I think a lot of times 0:18:33.600 --> 0:18:35.960 they don't even know that they're The reason they're saying 0:18:35.960 --> 0:18:38.320 this is that it's a Dean Kundy movie. But you 0:18:38.359 --> 0:18:41.680 see this thing in reviews over and over, a sentence 0:18:41.840 --> 0:18:46.240 like this trashy b movie is much more watchable than 0:18:46.240 --> 0:18:49.120 it has any right to be. I think it's that's 0:18:49.200 --> 0:18:51.639 just Dean. That's Dean work and his stuff, and a 0:18:51.640 --> 0:18:53.840 lot of it has to do with lighting. And good 0:18:53.880 --> 0:18:58.080 framing and pleasant cinematography. I don't know if pleasant's the 0:18:58.160 --> 0:19:00.800 right word, but it's interesting to look at, you know, 0:19:00.840 --> 0:19:02.360 it's visually not boring. 0:19:03.000 --> 0:19:06.480 Speaking of visually not boring, we've already touched on Jack 0:19:06.520 --> 0:19:10.600 Palance's presence in this and I think one of the 0:19:10.680 --> 0:19:13.120 key things about Jack Palance again, the intensity is great, 0:19:13.160 --> 0:19:16.320 but there is an inherent weirdness that Palance brings to 0:19:16.400 --> 0:19:19.720 any picture, whether you're looking at a blockbuster film that 0:19:19.760 --> 0:19:21.280 he was in. You know, if you're looking at you 0:19:21.320 --> 0:19:24.240 could be looking at City Slickers or Batman or Shane 0:19:24.320 --> 0:19:27.919 or Outlaw of Gore or anything like when he shows up, Like, 0:19:28.160 --> 0:19:31.080 if there's nothing else weird about the film, Palance is 0:19:31.080 --> 0:19:31.760 the weirdness. 0:19:32.160 --> 0:19:35.479 It's like he's always just about to start telling you 0:19:35.560 --> 0:19:40.639 about his erotic model train hobby. It's just he's got 0:19:40.680 --> 0:19:44.280 secrets and they're bursting out, they're about to leak out 0:19:44.280 --> 0:19:44.919 of his face. 0:19:45.400 --> 0:19:47.320 I should also add that Palance has this kind of 0:19:47.760 --> 0:19:51.440 captain ahab vibe throughout the film too, so you're never 0:19:51.480 --> 0:19:54.760 really sure if you can trust him him. You're not 0:19:54.760 --> 0:19:56.240 really sure if you can trust the character. And I 0:19:56.240 --> 0:19:59.040 think there's there's something about that that Palance brings to 0:19:59.119 --> 0:20:01.879 most films, like you look, just look at him, and 0:20:01.920 --> 0:20:04.680 this is not leading man, this is not the hero. 0:20:05.119 --> 0:20:08.920 This is a potential villain at least. And so, yeah, 0:20:08.920 --> 0:20:10.600 he really feels like this tweener character. 0:20:10.840 --> 0:20:13.280 Yeah, I agree with that. You walk into his gas 0:20:13.359 --> 0:20:15.920 station and he starts talking to you about hunting and 0:20:16.640 --> 0:20:18.480 that sort of thing. You don't know if you can 0:20:18.520 --> 0:20:20.639 rely on him when he later shows up in the 0:20:20.760 --> 0:20:21.600 dark with a gun. 0:20:22.080 --> 0:20:25.080 Yeah. Now, one of the beautiful things about this film 0:20:25.200 --> 0:20:28.239 is that Jack Palance is not the only creepy old 0:20:28.320 --> 0:20:31.560 man character played by an established character actor, because we 0:20:31.600 --> 0:20:33.560 also have Martin Landau in this picture. 0:20:33.760 --> 0:20:36.159 No, they really swung for the bleachers, I mean with 0:20:36.320 --> 0:20:40.159 the casting here. So it's got Martin Landel. Also Martin Landel, 0:20:40.320 --> 0:20:43.280 I'd say one of my favorite old character actors. He 0:20:44.200 --> 0:20:47.480 gives one of the best movie performances of all time 0:20:47.560 --> 0:20:51.920 playing Bello Legosi and Tim Burton's ed Wood. I've kind 0:20:51.920 --> 0:20:55.520 of you know, I hate to talk smack, but I've 0:20:55.600 --> 0:20:58.399 kind of gotten tired of Tim Burton movies in the 0:20:58.440 --> 0:21:00.240 modern era. But when you go back to some of 0:21:00.280 --> 0:21:03.520 the Tim Burton stuff from the nineties, it's so lively 0:21:03.600 --> 0:21:06.879 and fantastic, and Edwood is one of the best examples 0:21:06.880 --> 0:21:10.200 of that. Of course, it's about a schlock movie maker himself. 0:21:11.320 --> 0:21:15.000 What's his name, Edward? No, no, no, I mean no, 0:21:15.040 --> 0:21:20.280 who plays Edwood? What's the actor? The actor Johnny Depp? 0:21:20.320 --> 0:21:22.240 So, yeah, yeah, Johnny dep Yeah, yeah, sorry. 0:21:22.080 --> 0:21:26.520 Johnny Depp plays Edwood. And of course, late in life, Edwood, 0:21:26.560 --> 0:21:29.600 the schlock filmmaker, actually did form a relationship with the 0:21:29.600 --> 0:21:32.600 great actor Bella Lagosi and cast him in some of 0:21:32.640 --> 0:21:35.680 his films, and this is portrayed in the movie with 0:21:35.680 --> 0:21:39.760 with Martin Landau playing Bella Lagosi as a kind of tired, 0:21:40.080 --> 0:21:42.480 washed up, ornery version of himself. 0:21:42.960 --> 0:21:46.080 A quick note, Martin Landau has a lot of vampire 0:21:46.240 --> 0:21:49.520