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Speaker 1: Hey, everybody, Welcome to Weird House Cinema. Rewind and this

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Speaker 1: is Rob Lamb and this is Joe McCormick, and we

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Speaker 1: are bringing you an episode of Weird House Cinema that

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Speaker 1: aired last October. October in fact, and this was one

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Speaker 1: of our one of our all time favorites. This is

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Speaker 1: on Halloween three, a a cherished Jim in the in

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Speaker 1: the I'm running out of metaphors here, but it's a

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Speaker 1: movie we love. Yeah, this is This is a great,

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Speaker 1: we've been great, great flick and I think of fun episode.

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Speaker 1: So if you didn't listen to it last year, dive

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Speaker 1: in for the first time. If you listen to it

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Speaker 1: last year, well, hey it's been a year. Time to

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Speaker 1: listen to it again. Welcome to Stuff to Blow your

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Speaker 1: Mind production of My Heart Radio. Hey, welcome to Weird

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Speaker 1: House Cinema. This is Rob Lamb and this is Joe

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Speaker 1: McCormick and Rob or Since we started doing Weird How Cinema,

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Speaker 1: I think I knew that one day would be the

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Speaker 1: day we did Halloween three. I've always known it was coming.

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Speaker 1: It was like destiny. I could see over the mountain

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Speaker 1: ranges of time and I knew this would be waiting

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Speaker 1: for us. It was inevitable. You know. A few years back.

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

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

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Speaker 1: have been somewhere else, I don't know. You and I

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Speaker 1: were having a conversation on Mike somewhere that we were

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Speaker 1: talking about John Carpenter's Halloween, which which I of course

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

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Speaker 1: perfect horror classic movie that has been copycatted so much

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Speaker 1: and and yet somehow is still never lost its uh

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Speaker 1: it's uniqueness and it and it's thrilling, scary power. And

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Speaker 1: somebody asked it might have been Chuck asking if it

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Speaker 1: was my favorite John Carpenter movie. And I still remember

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Speaker 1: at the time being surprised by my own response, though

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Speaker 1: I can't deny that I spoke my feelings. Not only

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Speaker 1: is the original Halloween not my favorite John Carpenter movie,

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Speaker 1: It's not even my favorite Halloween movie because they're in

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Speaker 1: the back of my mind always is Halloween three, Season

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Speaker 1: of the Witch? I mean, was I joking? Was I

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Speaker 1: joking and saying that I like Halloween three better than

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Speaker 1: the original Halloween? Kind of but not really. Uh, you know,

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Speaker 1: the Halloween sequels are largely just dismal, depressing, trash. I

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Speaker 1: dare you to watch Halloween five all the way to

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

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

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Speaker 1: It's like being dared to drink like a you know,

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Speaker 1: a swimming pool full of stagnant water with mosquito eggs

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Speaker 1: in it. Um So, so, how could it be the

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Speaker 1: case that there's this Halloween sequel that I like at

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Speaker 1: least as much as I like the original Halloween movie.

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Speaker 1: I don't know, but that's what we're going to try

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Speaker 1: to figure out today. I mean, I think you're right

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Speaker 1: to single this out as a favorite John Carpenter film

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Speaker 1: because no matter where the credits end up following, John

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Speaker 1: Carpenter's fingerprints are all over this baby. Well, that's funny.

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Speaker 1: So I said it was my favorite Halloween movie, I

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Speaker 1: of a tangential connection made between the masks in this

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Speaker 1: film him in the mass worn by Michael Myers. But

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

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Speaker 1: a copy of it, but it's on my desk. It

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Speaker 1: works so Alan Dean Foster fan poser. I can't even

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Speaker 1: remember it was Allendine Foster. Oh, surely it was. We

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

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

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Speaker 1: Allen Deane Foster wrote the novelization. But I don't recall

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Speaker 1: who wrote this one. No, we were totally wrong. It's

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Speaker 1: not it's by somebody named Jack Martin. Okay, well there

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Speaker 1: we go. Are you familiar with the works of Jack Martin?

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

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

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Speaker 1: it's a pseudonym used by another author, but I was

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

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

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

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Speaker 1: You had a chance of being correct, though. That's like

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Speaker 1: some Scott Steiner math um. Okay, no, no, no, but okay,

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Speaker 1: so we said. Not directed by John Carpenter, not written

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Speaker 1: by John Carpenter, and does not feature any recurring characters

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Speaker 1: or plot elements from the original movie. And yet to me,

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Speaker 1: Halloween three feels it doesn't just feel at home in

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Speaker 1: the John Carpenter Halloween cinematic universe. It feels like dead

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

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

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

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Speaker 1: is the Carpaween Nexus. It looks like Carpaween, it sounds

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Speaker 1: like Carpaween. It feels like carpa weeen and it feels good. Now,

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

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

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

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

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

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

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

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Speaker 1: did they miss that we're picking up on? I'm not

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

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

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Speaker 1: lowbrow absurd, or maybe this is one of those movies

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Speaker 1: and there are others like that just kind of needed

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Speaker 1: to age for a while, needed to age in the

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Speaker 1: oak barrels of time before it could be appreciated for

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

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Speaker 1: was in talking about this movie that I first articulated

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Speaker 1: the concept of a of a rub the fur movie

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Speaker 1: when we were talking about it with Chuck Bryant on

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Speaker 1: on Movie Crush. There are there are movies where the

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Speaker 1: primary pleasure is not located in story elements that can

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Speaker 1: easily be described in words or you know, like plot

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

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Speaker 1: audio visual texture. They there to be experienced in the

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Speaker 1: same way that you would experience the soft fur of

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Speaker 1: a chinchilla, like you just kind of have to put

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Speaker 1: your executive function into low power mode and rubbed the fur. Yeah.

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Speaker 1: I know, I'd have some definite thoughts on this this

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Speaker 1: question though about first of all, the people who are

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Speaker 1: saying where's Michael Myers. Um, I mean, on one level,

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Speaker 1: there is an answer to that. Michael Myers is in

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Speaker 1: the film because you see the Halloween, the first Halloween

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Speaker 1: movie playing uh in a bar. I think a couple

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Speaker 1: of different times TVs are on and the original Halloween

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Speaker 1: movie is playing. Yeah, there's a great a scene where

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Speaker 1: our protagonists played by Tom Atkins, who is a surgeon

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Speaker 1: I think, is on his lunch break and he's getting

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Speaker 1: drunk in a bar and and Halloween comes on TV. Yeah,

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Speaker 1: so it's um uh so, so he's there if you

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Speaker 1: really need him to be there. But I think more

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Speaker 1: more to the point, like the reason this this this

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Speaker 1: film Halloween three discards Michael Myers is that we already

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Speaker 1: had Halloween one, which is a I mean, what was

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Speaker 1: a real trend center is an essential slasher film. Uh,

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Speaker 1: it's not one of my favorite films. I feel like

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Speaker 1: it's it's like a lot of Trailblade. There's other films

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Speaker 1: came after it, and I'm not saying they necessarily did

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

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Speaker 1: did it in ways that maybe sort of shocked the

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Speaker 1: zeitgeist a little bit more, you know. Um, but without

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Speaker 1: Michael Myers and the first Halloween movie and John Carpenter's

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Speaker 1: vision for that film, we wouldn't have had all these

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Speaker 1: other things. Um. But then we had a Halloween two

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Speaker 1: and that was the That was the bigger second scoop

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Speaker 1: of that franchise. And I'm not sure who really wanted

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Speaker 1: or needed a third helping after that. Well, I mean,

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

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Speaker 1: more as we record this. I just found out they're

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Speaker 1: doing another one of the sequel to the recent Halloween

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

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

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

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

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

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

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

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

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Speaker 1: Um that they've done that a million different ways, and

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

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

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

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

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

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

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

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Speaker 1: we've got the name. Why do we have to do

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

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

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Speaker 1: season we're gonna put out a Halloween film. But it

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Speaker 1: doesn't have to be Michael Meyer. It can be something

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Speaker 1: entirely different. It can be a weird kind of pagan

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Speaker 1: sci fi um adventure. Uh, and we'll have some of

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

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

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

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

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Speaker 1: I believe it was by stick On the script of

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

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

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

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

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Speaker 1: know that that that whole thing is kind of weird,

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Speaker 1: but but it's very similar to something we've seen. Another

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Speaker 1: franchise is including the Tales from the Crypt franchise with

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Speaker 1: Demon Night, which we I think we just reran that

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Speaker 1: episode where that was a pre existing script and then

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Speaker 1: someone said, hey, let's make this our first Tales from

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Speaker 1: the Crypt movie, and so they tweaked it a bit

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Speaker 1: and it was good to go. I think they did

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Speaker 1: that a little bit like the hell Raiser franchise as well.

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Speaker 1: I got this script looks good, Let's throw some cinembytes

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

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Speaker 1: they were saying, Okay, here's just a totally unrelated horror

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Speaker 1: horror script um and we're going to say this is

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Speaker 1: the next in the Halloween movie anthology. Yeah, and every

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Speaker 1: year there's gonna be a Halloween movie that will have

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Speaker 1: nothing to do with the Halloween movies that came out before,

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Speaker 1: except that maybe it would be I don't know, produced

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

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Speaker 1: John carr Openter and associates, and maybe directed by people

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Speaker 1: who were part of John Carpenter circle, like Halloween three

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Speaker 1: is wonderfully directed by Tommy Lee Wallace, who was who

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Speaker 1: had worked with John Carpenter on the previous Halloween movies

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Speaker 1: and would go on to do other things, like, you know,

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Speaker 1: he directed the TV version of it and stuff like that.

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Speaker 1: But um, but so I got I got the feeling

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Speaker 1: that that was kind of the idea, that it would

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Speaker 1: become sort of a thing where the Carpenter Club would

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

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

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

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

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

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

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

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

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Speaker 1: it too late. I think I aw I'd read before.

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

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

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Speaker 1: didn't think it was a turkey or anything. But it

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Speaker 1: in two, So at the time of publication, this was

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Speaker 1: the most recent Halloween movie. Um, this so it it

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Speaker 1: seemed like this was the course. Michael Myers had not

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Speaker 1: come back. Um, now, Weldon, I'm not going to read

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Speaker 1: Weldon's hole right up for it, but he he of

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Speaker 1: course digs it, but he ends his review with annual

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Speaker 1: Halloween features with unrelated plots are planned. So so it's

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Speaker 1: it's kind of an interesting time capsule to go back

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Speaker 1: and think like this was, this was the course, and

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Speaker 1: the idea was like, of course we're gonna get more

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Speaker 1: Halloween movies with weird, walky, non Michael Myers things going on.

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Speaker 1: And I wish that had happened too. I think maybe

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Speaker 1: I love the original Halloween more than than you seem to.

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Speaker 1: But even then, I you know, I I don't thirst

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Speaker 1: for additional Michael Myers movies after after that first one.

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Speaker 1: I mean I kind of enjoy a few of the sequels,

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Speaker 1: maybe a few, I don't know, Like Halloween h two

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Speaker 1: is cheesy, but it's kind of fun. Um most of

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Speaker 1: them are just direct and so I didn't need more

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Speaker 1: after the first one. And and if it had turned

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Speaker 1: into this, if this had come true, I would be

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Speaker 1: I would be so happy. Yeah, imagine the film, what

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Speaker 1: kind of films would we have received in the future.

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Speaker 1: I'm not sure that alternate reality is is tempting though. Um,

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Speaker 1: but yeah, at the end of the first hallowe movie,

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Speaker 1: I feel like it's a it's a pretty perfect slasher film.

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Speaker 1: You know. Donald Pleasant's character shoots him dad and he's like,

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Speaker 1: I got him. The nightmares over and then Halloween two

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Speaker 1: kicks off with actually I missed him. We're going to

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Speaker 1: need another picture for me to finish the job. Well, no,

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Speaker 1: you forget the stinger at the end of Halloween one

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Speaker 1: as they go out and they look and the body

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Speaker 1: is missing. But I don't think that invites a sequel.

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

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

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Speaker 1: have gone Halloween one. Then they should have made Season

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Speaker 1: of the Witch and then kept doing anthology stuff forever.

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

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Speaker 1: let's have the Elevator pitch for this puppy, just just

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Speaker 1: to get the official plot points down. Well, okay, here

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

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

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

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

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

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

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

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

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

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

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Speaker 1: that Dan o'hearla. He plays an ancient druid warlock who

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

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

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

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Speaker 1: masks which contain microchips made out of pieces of the

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Speaker 1: stone Hinge magic Rock, which, when triggered by an embedded

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Speaker 1: signal in a TV commercial that will air on Halloween night,

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Speaker 1: shoot lasers that transform the heads of these children into

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

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Speaker 1: effort to try and understand how this film was received.

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Speaker 1: When it came, I looked up Roger Ebert's review. Uh.

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Speaker 1: Ebert said that he did not understand what the villain

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Speaker 1: was trying to accomplish, and subsequently gave it one and

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Speaker 1: a half stars. Boom, Come on, Ebert, I love you,

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Speaker 1: but you missed the mark on this one. Um Man,

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Speaker 1: you should have you should you should have gone into

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Speaker 1: rub the fur mode and then I think you would

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Speaker 1: have understood he was it was certainly capable of rubbing

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Speaker 1: the fur. I mean, that's the weird thing about ebert reviews.

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Speaker 1: It's like it's half the time it feels like I'm

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Speaker 1: either with him or I'm just completely opposed to everything

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Speaker 1: he's laying down about the film. But yeah, well, I mean,

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Speaker 1: so I as somebody who adores the this this bizarre movie, UM,

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Speaker 1: I get a mixed reaction when I when I show

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Speaker 1: it to people. I mean some people I've recommended it

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Speaker 1: to love it and and they're right there on the

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Speaker 1: Halloween three train with me, and some people are like,

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Speaker 1: I can't believe I watched that. What a piece of trash,

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Speaker 1: And they're like mad about it. And you know, normally

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Speaker 1: I don't try to argue with people about some jective

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Speaker 1: responses to art and entertainment. I just don't. I don't care.

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Speaker 1: You know, if if you don't like something I like,

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Speaker 1: that's fine, vice versa. For this is like one exception.

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Speaker 1: This is one in which I'm like, oh, okay, you

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Speaker 1: didn't like it. I guess you don't know how to

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Speaker 1: have fun. Huh, all right? The line is drawn in

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Speaker 1: the sand. Regarding Halloween three. Um, there was a thing

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Speaker 1: I came across. I don't remember where I read this.

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Speaker 1: It might have been somewhere online, but I found a

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Speaker 1: quote where Vincent can Be the movie critic was talking

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Speaker 1: about this movie and he described it as quote anti children,

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Speaker 1: anti capitalism, anti television, and anti Irish all at the

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Speaker 1: same time. Oh, I don't know that if it's really

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Speaker 1: anti all of those things. It's anti at least one

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Speaker 1: of those things. But but I don't think it's particularly

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Speaker 1: anti children. No, I don't think the movies AIN'TI well,

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Speaker 1: some of the children in it are truly obnoxious, and

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Speaker 1: I think they're supposed to be. But the villain is

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Speaker 1: anti children. Oh well, well, yeah, I guess he Obviously

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Speaker 1: that doesn't mean the movie is anti children. Usually the

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Speaker 1: things that your villain hates doesn't mean that the filmmakers

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Speaker 1: hate them. Now, I just to come back to Michael Weldon,

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Speaker 1: I will read one more quote from his his write up.

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Speaker 1: He said, just to to to weigh against the anti

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Speaker 1: children uh criticism. Quote, not another Slasher sequel, but a

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Speaker 1: fun you've far fetched new Halloween story with a cheap title.

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Speaker 1: I don't know, is that far fetched? Um? I mean

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Speaker 1: maybe not. I mean there are aspects of this film

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Speaker 1: that are not that far fetched, and I think that's

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Speaker 1: one of the reasons that that it speaks like it's

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Speaker 1: not it's there's a lot of weird, wonky stuff going

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Speaker 1: on in this film, but at the end of the day,

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Speaker 1: the idea of a a large corporation doing things that

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Speaker 1: at the very least do not have your children's best

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Speaker 1: interest at heart, that you know, I mean, that's I mean,

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Speaker 1: turn on the news, that's that's that's the world we

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

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Speaker 1: constantly been in. Uh So, I think this film, this

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Speaker 1: film does have an intelligent core at the part of it.

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Speaker 1: To whatever extent that core is able to shine through

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Speaker 1: the other elements of the film, I guess you could

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Speaker 1: have a discussion there. Yeah, it's funny. So I watched

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Speaker 1: this movie with the commentary track by the director Tommy

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Speaker 1: Lee Wallace, and he talks in this about how he's like, Okay,

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Speaker 1: so I was going out to make a horror movie

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Speaker 1: and and I thought about what am I really afraid of?

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Speaker 1: And he said, well, you know, the thing that scares

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Speaker 1: me more than anything is is like surveillance and and

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Speaker 1: corporate control of things like uh, big big government and

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Speaker 1: corporations and people who want to spy on you and

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Speaker 1: control your life. And those are the things that really

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Speaker 1: scare him and uh. And he wanted that to come

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Speaker 1: through in the movie. And I say, you know what

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Speaker 1: it it's a kind of a weird fit to try

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Speaker 1: to jam that into some kind of druid magic storyline,

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Speaker 1: But that is the film you made that you succeeded.

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Speaker 1: So they're commenting about technology in the early eighties and

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Speaker 1: and trying to think about where we're going in a

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Speaker 1: weird way, like how I mean, what we have today

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Speaker 1: is kind of like this weird magical man shop of

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Speaker 1: you know, of of technology and uh and and and

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

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Speaker 1: the mark, like if you were to explain what we

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Speaker 1: have today to uh to two ancient civilizations, they'd be like, oh, yeah,

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

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

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

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

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

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

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

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

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Speaker 1: audio here in just a second. But there's a teaser

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

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Speaker 1: it's just a tarantula crawling out of a Halloween mask,

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

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

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

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

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

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Speaker 1: Rob if you'll follow along with me, the children who

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

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

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

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

427
00:22:18,920 --> 00:22:23,320
Speaker 1: out somewhere watching TV outside the home, they will come home.

428
00:22:23,440 --> 00:22:25,679
Speaker 1: They'll just they will just be killed by booby trapped

429
00:22:25,720 --> 00:22:28,920
Speaker 1: masks in the home. Yeah, I mean, because I guess

430
00:22:28,920 --> 00:22:31,800
Speaker 1: the message of the film is you should be afraid

431
00:22:31,920 --> 00:22:34,560
Speaker 1: about what's happening to your child in the home. That's

432
00:22:34,560 --> 00:22:38,320
Speaker 1: where the media is reaching them. Um. But instead the

433
00:22:38,560 --> 00:22:40,320
Speaker 1: marketers are like, well, let's just lean into the idea.

434
00:22:40,359 --> 00:22:42,240
Speaker 1: The kids are out of the house. I hope nobody's

435
00:22:42,280 --> 00:22:44,520
Speaker 1: hurting them that sort of thing. I hope the monsters

436
00:22:44,560 --> 00:22:47,159
Speaker 1: aren't getting them on the street. But even Michael Myers

437
00:22:47,160 --> 00:22:49,080
Speaker 1: in the first film, Michael Myers comes into your house.

438
00:22:49,119 --> 00:22:51,440
Speaker 1: That's the problem. Am I wrong on that? Doesn't he

439
00:22:51,480 --> 00:22:53,600
Speaker 1: come into the house? No? No, no, no, he does

440
00:22:53,680 --> 00:22:56,960
Speaker 1: I mean something? Yeah, you know he gets you in

441
00:22:56,960 --> 00:23:03,000
Speaker 1: the houses places where you should be safe. Is uh yeah.

442
00:23:03,040 --> 00:23:05,560
Speaker 1: This is something that I've often said about the the

443
00:23:05,600 --> 00:23:09,359
Speaker 1: distinction between the original Halloween and a lot of the

444
00:23:09,400 --> 00:23:13,080
Speaker 1: slasher movies that followed. I think that a big difference

445
00:23:13,240 --> 00:23:16,439
Speaker 1: is in their sort of moral outlook, whereas in a

446
00:23:16,480 --> 00:23:18,800
Speaker 1: lot of the slasher movies that followed, I think that

447
00:23:18,880 --> 00:23:23,720
Speaker 1: there is often a kind of hastily thrown together vulgar

448
00:23:23,880 --> 00:23:25,800
Speaker 1: moralism in them. I mean, this is you know, this

449
00:23:25,880 --> 00:23:28,639
Speaker 1: has been observed and everything from Screamed. You know, it

450
00:23:28,760 --> 00:23:31,679
Speaker 1: is when the when the teenagers do something that is

451
00:23:31,680 --> 00:23:34,760
Speaker 1: perceived as sinful, they are then punished by the killer

452
00:23:34,840 --> 00:23:38,080
Speaker 1: for straying outside the bounds of the straight and narrow life.

453
00:23:38,520 --> 00:23:41,440
Speaker 1: But the original Halloween, I don't think ever, really has

454
00:23:41,520 --> 00:23:45,159
Speaker 1: that sense of vulgar punishment for sin going on. And

455
00:23:45,160 --> 00:23:49,480
Speaker 1: it instead there's there's something much more frightening and uh

456
00:23:49,520 --> 00:23:52,520
Speaker 1: and irrational about it. Is just this threat coming in

457
00:23:52,640 --> 00:23:57,240
Speaker 1: from out of nowhere and for no reason. And I

458
00:23:57,240 --> 00:23:59,400
Speaker 1: think that's one of the things that made it especially

459
00:23:59,480 --> 00:24:02,960
Speaker 1: scary compared to the the the less scary and more

460
00:24:03,280 --> 00:24:06,800
Speaker 1: vulgar slasher movies that would copy it over the years. Yeah.

461
00:24:06,840 --> 00:24:10,640
Speaker 1: I mean, Michael Myers is not cackling as he does anything, uh,

462
00:24:10,680 --> 00:24:13,000
Speaker 1: in a in a weird way that that is very

463
00:24:13,040 --> 00:24:16,760
Speaker 1: much in the same spirit our villain here is not cackling.

464
00:24:16,760 --> 00:24:19,920
Speaker 1: He's maybe smiling a bit like he enjoys his work,

465
00:24:20,400 --> 00:24:23,760
Speaker 1: but he's not. Ultimately, his whole grand scheme is not

466
00:24:23,800 --> 00:24:26,719
Speaker 1: like I gotta make these demons happy. It's about like,

467
00:24:26,760 --> 00:24:29,679
Speaker 1: this is what the planets require, and this is what

468
00:24:29,920 --> 00:24:34,160
Speaker 1: must happen, uh, just cosmically for our planet, and therefore

469
00:24:34,200 --> 00:24:37,560
Speaker 1: I am doing it and it's going to happen um.

470
00:24:37,920 --> 00:24:41,560
Speaker 1: And yeah, there's there's not really any celebration beyond that. Yeah,

471
00:24:41,680 --> 00:24:44,480
Speaker 1: I mean what I was thinking about the most recent

472
00:24:44,560 --> 00:24:46,879
Speaker 1: viewing of this movie, I realized that the villain of

473
00:24:46,880 --> 00:24:51,280
Speaker 1: this movie is he's sort of a corporate technological put

474
00:24:51,400 --> 00:24:54,600
Speaker 1: Christ back in Christmas kind of guy, except instead of Christmas,

475
00:24:54,640 --> 00:24:58,120
Speaker 1: it's like put the demons back in Halloween. Like he's

476
00:24:58,240 --> 00:25:01,520
Speaker 1: mad that Halloween has been turned into this, uh, this

477
00:25:01,640 --> 00:25:04,280
Speaker 1: cheap commercialism where kids just go out and have fun,

478
00:25:04,359 --> 00:25:07,560
Speaker 1: when really the hills should be running red with blood. Yes, yes,

479
00:25:07,600 --> 00:25:10,280
Speaker 1: he's like, time was we just sacrificed all the children

480
00:25:10,320 --> 00:25:13,280
Speaker 1: on Halloween and now it's just about plastic masks. We're

481
00:25:13,320 --> 00:25:16,639
Speaker 1: taking Halloween back. Then he's disgusted by how profane our

482
00:25:16,680 --> 00:25:20,240
Speaker 1: culture has become. Yes, all right, well, on that note,

483
00:25:20,280 --> 00:25:22,280
Speaker 1: let's go ahead and have a taste of that trailer.

484
00:25:27,800 --> 00:25:33,000
Speaker 1: You don't really know much about Halloween. Halloween the body

485
00:25:33,160 --> 00:25:36,960
Speaker 1: should be done between the red and the un and

486
00:25:37,080 --> 00:25:40,680
Speaker 1: the dead might be looking in the last great One

487
00:25:40,720 --> 00:25:47,080
Speaker 1: took place three thousand years ago and the hills ran red.

488
00:25:47,280 --> 00:25:50,800
Speaker 1: Do you happen to know anything about this? Cochrane? All

489
00:25:50,840 --> 00:25:54,280
Speaker 1: I can tell you, Mr watch Out, he's watching you, friend.

490
00:25:54,320 --> 00:25:59,639
Speaker 1: I guarantee you that. Hey, Mr Cochrane, just what is

491
00:25:59,680 --> 00:26:04,639
Speaker 1: the fun little process bell? I'll just dang it. I

492
00:26:04,760 --> 00:26:07,800
Speaker 1: had asked you do I haven't asked just when I

493
00:26:07,800 --> 00:26:11,480
Speaker 1: hadn't mind view little buddy? Why cocks? Do I need

494
00:26:11,520 --> 00:26:15,600
Speaker 1: a reason? I don't love a good joke? And this

495
00:26:15,800 --> 00:26:19,560
Speaker 1: is the best ever a joke of the children. I'm

496
00:26:19,560 --> 00:26:22,760
Speaker 1: glad you'll be able to watch it. You've got to

497
00:26:22,800 --> 00:26:35,199
Speaker 1: believe me. At quick kills all start. The world's going

498
00:26:35,240 --> 00:26:48,440
Speaker 1: to change to night. Doctor Happy Halloween Halloween three, season

499
00:26:48,520 --> 00:27:03,760
Speaker 1: of The Witch of the Night, No One Comes Home. Okay,

500
00:27:03,760 --> 00:27:06,280
Speaker 1: I guess it's time to talk about some people. All right,

501
00:27:06,520 --> 00:27:09,879
Speaker 1: we've already mentioned, uh, the director Tommy Lee Wallace, but

502
00:27:09,920 --> 00:27:12,720
Speaker 1: I guess to to briefly describe a bit more about

503
00:27:12,800 --> 00:27:16,800
Speaker 1: his career. He's the writer director of of this movie,

504
00:27:17,080 --> 00:27:21,680
Speaker 1: and he had previously worked on other John Carpenter joints. Yeah,

505
00:27:21,720 --> 00:27:24,800
Speaker 1: this was his first directing credit, but it ultimately kick

506
00:27:24,840 --> 00:27:28,800
Speaker 1: started a long list of the films, including Fright Night Too. Uh.

507
00:27:28,840 --> 00:27:30,920
Speaker 1: I think you already mentioned the original and in many

508
00:27:30,960 --> 00:27:34,800
Speaker 1: ways quite excellent TV adaptation of Stephen King's It I

509
00:27:34,840 --> 00:27:38,240
Speaker 1: mean maybe not everything on that one was was was

510
00:27:38,280 --> 00:27:42,720
Speaker 1: absolutely marvelous, but it had some wonderful and frightful elements

511
00:27:42,760 --> 00:27:46,240
Speaker 1: to it. I mean, among many other things. Um, Tim

512
00:27:46,280 --> 00:27:50,199
Speaker 1: Curry's fabulous performance as Pennywise the Clown. Loved Tim Curry.

513
00:27:50,600 --> 00:27:53,679
Speaker 1: Let's see. He also directed, uh one of He directed

514
00:27:53,720 --> 00:27:57,679
Speaker 1: a sequel to John Carpenter's Vampires Vampire Los Mortos in

515
00:27:57,960 --> 00:28:00,960
Speaker 1: two thousand and two, which I didn't see one. So

516
00:28:01,119 --> 00:28:04,280
Speaker 1: I did see Vampires, but but but not the sequel.

517
00:28:04,760 --> 00:28:08,320
Speaker 1: Uh um, let's see. He also wrote the screenplay to

518
00:28:08,400 --> 00:28:10,680
Speaker 1: Fright Night Too, and of course he was on the

519
00:28:10,680 --> 00:28:14,359
Speaker 1: screenplay for Halloween three. He also wrote the the screenplay

520
00:28:14,400 --> 00:28:18,400
Speaker 1: for Amityville to the Possession, which was also in two.

521
00:28:18,440 --> 00:28:20,840
Speaker 1: So he was really firing on all cylinders in the

522
00:28:20,880 --> 00:28:23,600
Speaker 1: early eighties. And like you said, he was a longtime

523
00:28:23,600 --> 00:28:26,440
Speaker 1: member of the Carpenter crew having a provided art direction

524
00:28:26,560 --> 00:28:31,520
Speaker 1: on seventy six is assault on precinct thirteen. Now that

525
00:28:31,720 --> 00:28:34,800
Speaker 1: we were debating earlier to what extent John Carpenter was

526
00:28:34,960 --> 00:28:38,880
Speaker 1: creatively involved in the story content of Halloween three, I

527
00:28:38,880 --> 00:28:41,520
Speaker 1: guess we weren't sure if maybe he had done some

528
00:28:41,520 --> 00:28:45,080
Speaker 1: some kind of uncredited writing, any uncredited work on the script.

529
00:28:45,160 --> 00:28:48,280
Speaker 1: Maybe he certainly didn't direct the movie. But he was

530
00:28:48,320 --> 00:28:52,280
Speaker 1: a producer on Halloween three. And most importantly, John Carpenter

531
00:28:52,360 --> 00:28:54,920
Speaker 1: did the music on Halloween three. And how have we

532
00:28:55,000 --> 00:28:57,840
Speaker 1: not mentioned the music yet? I would say, if there's

533
00:28:58,000 --> 00:29:02,200
Speaker 1: one thing to mention about Halloween three, it's the music. Yeah,

534
00:29:02,240 --> 00:29:06,320
Speaker 1: the music on this film is absolutely incredible. Now, to

535
00:29:06,360 --> 00:29:10,720
Speaker 1: be clear, it's it's not just Carpenter on the music here, Um,

536
00:29:10,720 --> 00:29:16,520
Speaker 1: It's it's John Carpenter and Alan Howorth, both born um. Now.

537
00:29:16,560 --> 00:29:20,400
Speaker 1: Carpenter alone was a game changer and electronic film scores

538
00:29:20,440 --> 00:29:24,000
Speaker 1: and basically helped usher in an entire musical genre. Alan

539
00:29:24,040 --> 00:29:27,960
Speaker 1: Howorth collaborated with him on scores for Escape from New York,

540
00:29:28,240 --> 00:29:32,080
Speaker 1: Halloween to Halloween three. Of course, Christine Big Trouble in

541
00:29:32,080 --> 00:29:36,920
Speaker 1: Little China, Prince of Darkness and they Live um, and

542
00:29:37,200 --> 00:29:40,480
Speaker 1: he um, Howarth also worked on some solo scores, and

543
00:29:40,480 --> 00:29:43,080
Speaker 1: he's done a lot of work in special effects sound design.

544
00:29:43,600 --> 00:29:45,720
Speaker 1: For instance. You can pull up various sci fi sound

545
00:29:45,880 --> 00:29:49,800
Speaker 1: databases like clip databases. Uh, they're used in various audio

546
00:29:49,880 --> 00:29:53,760
Speaker 1: and audio video video productions, and you'll find stuff by him.

547
00:29:53,880 --> 00:29:59,120
Speaker 1: Um And uh yeah, this score, oh man, this This

548
00:29:59,200 --> 00:30:01,520
Speaker 1: is not an extreme position to take in the slightest,

549
00:30:01,840 --> 00:30:04,840
Speaker 1: but I'd rank Halloween three as either the best or

550
00:30:04,960 --> 00:30:07,800
Speaker 1: one of the best scores from these two gentlemen. Um.

551
00:30:07,880 --> 00:30:10,680
Speaker 1: And I'm torn on that because I also really really

552
00:30:10,720 --> 00:30:13,440
Speaker 1: love Big Trouble and Little China's score. These are both

553
00:30:13,480 --> 00:30:18,200
Speaker 1: scores that I frequently listened to on their own. I've

554
00:30:18,280 --> 00:30:20,200
Speaker 1: listened to the scores to these films more than I've

555
00:30:20,200 --> 00:30:22,760
Speaker 1: seen the movies. I I listened to the score for

556
00:30:22,800 --> 00:30:25,040
Speaker 1: Halloween three all the time. In fact, I just have

557
00:30:25,080 --> 00:30:28,960
Speaker 1: a big John Carpenter music playlist Carpenter music scores that

558
00:30:29,000 --> 00:30:32,160
Speaker 1: I listened to, especially around October, but all throughout the year.

559
00:30:32,160 --> 00:30:36,040
Speaker 1: Actually sometimes it's good productivity or mood music for me. Yeah.

560
00:30:36,200 --> 00:30:39,000
Speaker 1: I mean, I just cannot overstate how much I love

561
00:30:39,080 --> 00:30:41,800
Speaker 1: this score. It is just lead heavy and light as

562
00:30:41,840 --> 00:30:44,120
Speaker 1: a feather. At the same time, it's got these wonderful

563
00:30:44,200 --> 00:30:48,000
Speaker 1: swelling bass synthesizers. Uh that that set the tone for

564
00:30:48,080 --> 00:30:51,160
Speaker 1: a lot of scenes. But then um, there's a real

565
00:30:51,400 --> 00:30:55,880
Speaker 1: kind of prickling lightness of of the high pitch synthesizer

566
00:30:56,000 --> 00:31:00,000
Speaker 1: leads throughout it, especially in UH in Chariot's Pumpkins, which

567
00:31:00,480 --> 00:31:04,040
Speaker 1: probably my favorite track from UH from the soundtrack. But

568
00:31:04,080 --> 00:31:07,880
Speaker 1: You're just absolutely wonderful. Yeah, yeah, it's it's a tremendous score.

569
00:31:08,560 --> 00:31:11,000
Speaker 1: I will say when I do listen to it, I

570
00:31:11,200 --> 00:31:13,360
Speaker 1: use a playlist version of it where I've taken out

571
00:31:13,480 --> 00:31:17,720
Speaker 1: the silver shamrock jingle, which is vitally important to the plot.

572
00:31:18,160 --> 00:31:21,320
Speaker 1: But but it is not great listening on it because

573
00:31:21,360 --> 00:31:24,240
Speaker 1: it's supposed to be a commercial jingle. Um, we'll have

574
00:31:24,280 --> 00:31:27,400
Speaker 1: to describe that more in the plot breakdown. Yeah, but yeah,

575
00:31:27,440 --> 00:31:31,280
Speaker 1: the tremendous score, And I think that the science fiction

576
00:31:31,320 --> 00:31:35,640
Speaker 1: elements of the plot. It's I suspect that if Halloween

577
00:31:35,680 --> 00:31:38,200
Speaker 1: three had been a Michael's Myers movie I'm getting I

578
00:31:38,240 --> 00:31:40,880
Speaker 1: think it probably wouldn't have been as great of a score,

579
00:31:40,960 --> 00:31:43,640
Speaker 1: because I feel like the science fiction elements in this

580
00:31:43,720 --> 00:31:47,880
Speaker 1: film gave them permission to lean more heavily on the scynth,

581
00:31:48,000 --> 00:31:50,960
Speaker 1: you know, to make it more of an electronic score. Yes,

582
00:31:51,000 --> 00:31:52,880
Speaker 1: you're right about that, and uh and I think that

583
00:31:52,920 --> 00:31:55,160
Speaker 1: comes through in visual elements of the movie as well.

584
00:31:55,200 --> 00:31:58,360
Speaker 1: There are it is inflected with a bit of a

585
00:31:58,440 --> 00:32:01,840
Speaker 1: science fiction flavor that's not there in the other visual

586
00:32:01,880 --> 00:32:06,120
Speaker 1: influences on it, like the earlier Carpenter movies. Um. But actually,

587
00:32:06,120 --> 00:32:08,480
Speaker 1: in the Tommy Lee Wallace commentary, I think there's one

588
00:32:08,480 --> 00:32:11,560
Speaker 1: part where he says that the the log line for

589
00:32:11,800 --> 00:32:16,520
Speaker 1: the movie was witchcraft in the computer age. And you know,

590
00:32:16,640 --> 00:32:18,120
Speaker 1: I don't know if I would have summed it up

591
00:32:18,160 --> 00:32:20,000
Speaker 1: that way, but after hearing it, I'm like, yep, that

592
00:32:20,160 --> 00:32:26,120
Speaker 1: that's exactly what this movie is. It's like pixels and potions. Yes. Now,

593
00:32:26,160 --> 00:32:28,960
Speaker 1: I think we mentioned already that the script that Tommy

594
00:32:29,040 --> 00:32:32,320
Speaker 1: Lee Wallace wrote for this was I think it wasn't

595
00:32:32,360 --> 00:32:37,320
Speaker 1: a totally original work. It was based on an original script. Yeah.

596
00:32:37,520 --> 00:32:41,560
Speaker 1: Nigel Neil Uh was an uncredited writer on this. He

597
00:32:41,600 --> 00:32:46,040
Speaker 1: lived through two thousand and six. Um last names felled

598
00:32:46,120 --> 00:32:48,880
Speaker 1: K N E A L E. So I'm not totally

599
00:32:48,920 --> 00:32:52,280
Speaker 1: sure I'm saying that correctly, but um, but he wrote

600
00:32:52,280 --> 00:32:55,800
Speaker 1: the screenplay to the incredible nineteen sixty seven sci fi

601
00:32:55,880 --> 00:32:59,280
Speaker 1: film Quartermass and the Pit a k a. Five Million

602
00:32:59,360 --> 00:33:02,320
Speaker 1: Years to Earth, which is a is a film we

603
00:33:02,400 --> 00:33:05,200
Speaker 1: might cover on Weird House eventually because it's it's one

604
00:33:05,200 --> 00:33:08,280
Speaker 1: of these films that that has, I guess, for the

605
00:33:08,280 --> 00:33:11,280
Speaker 1: time pretty pretty cool effects, but effects that don't necessarily

606
00:33:11,320 --> 00:33:14,280
Speaker 1: hold up as well to modern viewers, I guess. But

607
00:33:14,400 --> 00:33:17,080
Speaker 1: in spite of those effects, in any shortcomings that might

608
00:33:17,120 --> 00:33:19,960
Speaker 1: be there, the film is incredible and has some wonderful

609
00:33:20,000 --> 00:33:23,640
Speaker 1: ideas and is legitimately creepy, and I know influenced a

610
00:33:23,720 --> 00:33:28,120
Speaker 1: number of of of director of future directors, including John Carpenter.

611
00:33:28,160 --> 00:33:31,120
Speaker 1: He includes nods to it in films such as In

612
00:33:31,160 --> 00:33:33,400
Speaker 1: the Mouth of Madness, which is another another one of

613
00:33:33,400 --> 00:33:35,680
Speaker 1: his films that I adore. Can I tell you that

614
00:33:35,720 --> 00:33:38,400
Speaker 1: I've actually never seen In the Mouth of Madness and

615
00:33:38,480 --> 00:33:41,800
Speaker 1: full I don't know how I made it this far,

616
00:33:42,000 --> 00:33:45,480
Speaker 1: but I'm planning on watching that this very night tonight.

617
00:33:45,600 --> 00:33:49,480
Speaker 1: That's yeah, well, it's oh. I love it. I have

618
00:33:49,560 --> 00:33:52,320
Speaker 1: nothing but but great things to say about it. Spoil nothing.

619
00:33:52,480 --> 00:33:55,080
Speaker 1: I will spoil nothing but David Warners in it. I

620
00:33:55,120 --> 00:33:59,719
Speaker 1: will say that it's great, perfect, all right. Speaking of perfect,

621
00:34:01,240 --> 00:34:04,440
Speaker 1: it's time to talk about our star, Tom Atkins. Tom

622
00:34:04,480 --> 00:34:08,879
Speaker 1: Atkins plays the lead of this film. He dr Daniel Challis,

623
00:34:09,600 --> 00:34:12,640
Speaker 1: who I have before. I think this was on movie

624
00:34:12,640 --> 00:34:16,840
Speaker 1: Crush referred to tom Atkins as Strawberry. Burt Reynolds. Um,

625
00:34:16,880 --> 00:34:23,600
Speaker 1: he's he's this got this hilarious kind of masculinity. Um

626
00:34:23,640 --> 00:34:26,920
Speaker 1: that is put to wonderful effect in this ludicrous movie.

627
00:34:26,960 --> 00:34:29,840
Speaker 1: And I don't know who came up with the idea

628
00:34:29,920 --> 00:34:32,319
Speaker 1: for his character to be the way it is, or

629
00:34:32,320 --> 00:34:35,200
Speaker 1: if it was sort of a an evolving collaborative thing.

630
00:34:35,280 --> 00:34:39,200
Speaker 1: But this is a protagonist who's just everything is wrong

631
00:34:39,280 --> 00:34:42,480
Speaker 1: with him and he never stops drinking. Yeah, he's a

632
00:34:42,480 --> 00:34:46,960
Speaker 1: hard drinking, hard living um kind of a character. He's.

633
00:34:47,480 --> 00:34:49,040
Speaker 1: I think a lot of it makes sense when you

634
00:34:49,040 --> 00:34:53,239
Speaker 1: realize that tom Atkins veteran character actor, born still with

635
00:34:53,320 --> 00:34:56,239
Speaker 1: us as of this recording. Um, you know, he's he's

636
00:34:56,280 --> 00:34:58,759
Speaker 1: been in a ton of films over the years, some

637
00:34:59,239 --> 00:35:03,200
Speaker 1: very good films, but he's he's often typecast as a cop,

638
00:35:03,880 --> 00:35:07,640
Speaker 1: and so he kind of plays that cliche, you know,

639
00:35:07,800 --> 00:35:11,239
Speaker 1: hard living, hard drinking um, you know, you know, tough

640
00:35:12,000 --> 00:35:14,080
Speaker 1: guy cop character in this But he's not a cop.

641
00:35:14,280 --> 00:35:17,560
Speaker 1: He's a doctor. So it's kind of like Cop as

642
00:35:17,600 --> 00:35:21,160
Speaker 1: doctor tom Atkins as Cop as doctor um, And it

643
00:35:21,239 --> 00:35:23,480
Speaker 1: makes it a little weird, but it works, you know,

644
00:35:23,480 --> 00:35:26,520
Speaker 1: because this is a type of role that Atkins excelled at. Yeah.

645
00:35:26,960 --> 00:35:30,719
Speaker 1: Uh yeah, it's it's it's it's hard to describe how

646
00:35:30,880 --> 00:35:34,400
Speaker 1: funny this main character is not. And he doesn't tell jokes.

647
00:35:34,440 --> 00:35:39,560
Speaker 1: I mean, he's just conceptually hilarious. Like almost every scene

648
00:35:39,600 --> 00:35:42,279
Speaker 1: when he comes into the frame and starts talking or

649
00:35:42,320 --> 00:35:47,000
Speaker 1: doing something, I start laughing. So if you if you're

650
00:35:47,040 --> 00:35:50,279
Speaker 1: having trouble picturing Tom Atkins, he's easily recognized by his

651
00:35:50,320 --> 00:35:55,520
Speaker 1: hardy mustache and his roused our esque machismo. Um. He

652
00:35:55,520 --> 00:35:57,800
Speaker 1: shows up in a couple of Key Carpenter films, including

653
00:35:58,440 --> 00:36:00,880
Speaker 1: Es the Fog, and he has a role in nineteen

654
00:36:01,120 --> 00:36:03,840
Speaker 1: on Escape from New York, did a lot of TV work,

655
00:36:03,880 --> 00:36:06,320
Speaker 1: and it appears in some other notable weird movies, including

656
00:36:06,600 --> 00:36:10,200
Speaker 1: nineteen eighties The Ninth Configuration, which is is quite a

657
00:36:10,239 --> 00:36:14,480
Speaker 1: fascinating film. Nine two Creep Show nineteen eight six Night

658
00:36:14,520 --> 00:36:17,320
Speaker 1: of the Creeps, which is great. In that Night of

659
00:36:17,400 --> 00:36:20,880
Speaker 1: the Creeps, I think that is his real that's like

660
00:36:20,960 --> 00:36:23,400
Speaker 1: the tom Atkins movie to see if you want to

661
00:36:23,400 --> 00:36:26,800
Speaker 1: see him absolutely in his element and and and working

662
00:36:27,000 --> 00:36:30,399
Speaker 1: to the max. Yeah, he's also in nineteen eighty eight

663
00:36:30,560 --> 00:36:33,680
Speaker 1: Maniac Cop. Um. You know, I don't think I've ever

664
00:36:33,719 --> 00:36:36,399
Speaker 1: actually watched a Maniac cop of from beginning to end,

665
00:36:36,400 --> 00:36:39,280
Speaker 1: but I suspect tom Atkins plays a cop in that film.

666
00:36:39,520 --> 00:36:43,480
Speaker 1: Not from Maniac Cop because that's that's our man um zadar,

667
00:36:43,640 --> 00:36:47,400
Speaker 1: but um, but I assume he plays a cop. Yeah.

668
00:36:47,560 --> 00:36:49,439
Speaker 1: One thing I want to make clear, despite the fact

669
00:36:49,480 --> 00:36:54,440
Speaker 1: that I absolutely stand by his his ambient, hilarious nous

670
00:36:54,440 --> 00:36:57,239
Speaker 1: in Halloween three and some other movies, I don't mean

671
00:36:57,280 --> 00:37:00,080
Speaker 1: that tom Atkins is a bad actor. He absolutely is not.

672
00:37:00,280 --> 00:37:05,760
Speaker 1: Like tom Atkins is wonderful. He just has this undeniable

673
00:37:05,880 --> 00:37:08,960
Speaker 1: comedic aura in Halloween three and and it's it's hard

674
00:37:09,000 --> 00:37:11,400
Speaker 1: to get under it. To describe exactly how it works,

675
00:37:11,400 --> 00:37:14,800
Speaker 1: you just have to see it. Yeah, his character is

676
00:37:14,800 --> 00:37:17,600
Speaker 1: is quite a mess. Seems to have multiple relationships going on.

677
00:37:18,280 --> 00:37:21,120
Speaker 1: Um you know as uh you know, has is divorced

678
00:37:21,440 --> 00:37:25,279
Speaker 1: and also has some very questionable workplace behavior. Oh yet

679
00:37:26,640 --> 00:37:33,359
Speaker 1: that absolutely inappropriate semi romantic relationships implied with multiple other

680
00:37:33,480 --> 00:37:38,920
Speaker 1: characters Um, but character that's Daniel chellis not Tomas Now.

681
00:37:38,960 --> 00:37:41,239
Speaker 1: One of these women that he has a relationship with, though,

682
00:37:41,320 --> 00:37:43,640
Speaker 1: is our our female lead. Uh, and that is the

683
00:37:43,719 --> 00:37:48,319
Speaker 1: character Ellie grim Bridge played by Stacy Nelkin. This, this

684
00:37:48,440 --> 00:37:51,280
Speaker 1: is also one of the weirdest things about this movie.

685
00:37:51,320 --> 00:37:56,359
Speaker 1: There is an absolutely baffling and inappropriate romance that goes

686
00:37:56,440 --> 00:38:00,760
Speaker 1: on between our main two characters, makes comes out of nowhere,

687
00:38:00,840 --> 00:38:05,399
Speaker 1: makes absolutely no sense. Yeah, yeah, I don't. I can't

688
00:38:05,400 --> 00:38:08,600
Speaker 1: imagine who looked at the you know, the the dailies

689
00:38:08,600 --> 00:38:11,720
Speaker 1: and said, yeah, this works great, let's keep it as

690
00:38:11,600 --> 00:38:16,200
Speaker 1: a real chemistry. Melkin was born in nineteen fifty nine.

691
00:38:16,320 --> 00:38:19,479
Speaker 1: She was also in Graham Chapman's Yellow Beard. The following year,

692
00:38:19,880 --> 00:38:24,400
Speaker 1: she was in Bullets Over Broadway. She was in Tony

693
00:38:24,520 --> 00:38:27,480
Speaker 1: Danza eight Movie Going eight, and she did a lot

694
00:38:27,480 --> 00:38:30,200
Speaker 1: of TV work, including Star Trek, The Next Generation and

695
00:38:30,200 --> 00:38:35,360
Speaker 1: a role on the soap opera Generations. Uh, this is funny.

696
00:38:35,360 --> 00:38:38,480
Speaker 1: To go back to um Roger Ebert's review, he wrote,

697
00:38:39,440 --> 00:38:42,600
Speaker 1: the one saving grace in Halloween three is Stacy Nelkin,

698
00:38:42,640 --> 00:38:45,200
Speaker 1: who plays the heroine. She has one of those rich

699
00:38:45,320 --> 00:38:47,759
Speaker 1: voices that makes you wish she had more to say,

700
00:38:47,880 --> 00:38:50,600
Speaker 1: and in a better role. But watch her too in

701
00:38:50,640 --> 00:38:54,200
Speaker 1: the reaction shots when she's not talking, she's listening. She

702
00:38:54,400 --> 00:38:57,480
Speaker 1: has a kind of wrapped yet humorous attention that I

703
00:38:57,520 --> 00:39:02,000
Speaker 1: thought was really fetching. I mean, no offense to Stacy Nelkin,

704
00:39:02,120 --> 00:39:04,759
Speaker 1: like she's she's fun in this, but I'm not sure

705
00:39:04,760 --> 00:39:08,320
Speaker 1: I quite understand what he's talking about in the reaction shots. However,

706
00:39:08,600 --> 00:39:10,840
Speaker 1: one thing I really do want to give Stacy Nelkin

707
00:39:10,920 --> 00:39:14,120
Speaker 1: immense credit for in this movie is how she handles

708
00:39:14,160 --> 00:39:17,080
Speaker 1: the final twist in in the movie, which should we

709
00:39:17,120 --> 00:39:20,200
Speaker 1: spoil it, I'll go ahead. Whatever, Okay, so you know,

710
00:39:20,320 --> 00:39:22,799
Speaker 1: the whole movie no indication of this whatsoever. I mean,

711
00:39:22,800 --> 00:39:25,839
Speaker 1: not even the slightest clue that this might be coming. Uh.

712
00:39:25,920 --> 00:39:28,279
Speaker 1: Turns out of the very end our our second lead

713
00:39:28,400 --> 00:39:32,160
Speaker 1: character is a robot. She's just an android, and it

714
00:39:32,280 --> 00:39:35,239
Speaker 1: attacks tom Atkins in a car and tries to kill him.

715
00:39:35,280 --> 00:39:37,359
Speaker 1: And like, she gets her head twisted off and gets

716
00:39:37,360 --> 00:39:39,600
Speaker 1: torn to pieces and stuff and is still acting and

717
00:39:39,640 --> 00:39:42,680
Speaker 1: trying squirting out orange juice and and trying to kill

718
00:39:42,719 --> 00:39:47,120
Speaker 1: tom Atkins. And uh, and I mean, yeah, thumbs up,

719
00:39:47,160 --> 00:39:50,359
Speaker 1: thumbs up for this this android killer performance. Now, did

720
00:39:50,400 --> 00:39:51,719
Speaker 1: you take it to me that she had been in

721
00:39:51,840 --> 00:39:54,880
Speaker 1: Robot the entire time, because I could findagent that she

722
00:39:54,920 --> 00:39:58,560
Speaker 1: had been replaced at some point. I didn't know either. Okay,

723
00:39:58,560 --> 00:40:00,960
Speaker 1: so I've seen this movie tons of times and I

724
00:40:00,960 --> 00:40:04,440
Speaker 1: have never figured that out. Is she an android the

725
00:40:04,600 --> 00:40:07,879
Speaker 1: entire movie or does she become an android at some point?

726
00:40:08,040 --> 00:40:11,480
Speaker 1: I don't know. There's some questions about the programming no

727
00:40:11,520 --> 00:40:14,520
Speaker 1: matter which way it falls, though. Yeah. I should also

728
00:40:14,600 --> 00:40:16,799
Speaker 1: point out that Ebert also singled her out is the

729
00:40:16,840 --> 00:40:20,680
Speaker 1: only good thing about yellow Beard and quote a fetching performance.

730
00:40:20,680 --> 00:40:23,240
Speaker 1: So he was a big fan. Well he said fetching twice,

731
00:40:23,640 --> 00:40:28,920
Speaker 1: well in two different reviews. Yes, okay, Roger Robert has

732
00:40:28,920 --> 00:40:35,000
Speaker 1: been fetched. Alright, let's talk again about our villain, our

733
00:40:35,200 --> 00:40:38,280
Speaker 1: fabulous villain, A villain who really when you start talking

734
00:40:38,280 --> 00:40:42,040
Speaker 1: about about villains and horror films and ones that become

735
00:40:42,080 --> 00:40:45,040
Speaker 1: franchising in and of themselves, like this is this is

736
00:40:45,080 --> 00:40:48,160
Speaker 1: one that they would have worked? Uh if they really

737
00:40:48,200 --> 00:40:50,520
Speaker 1: wanted to milk this, If this had been a financial success,

738
00:40:50,520 --> 00:40:52,520
Speaker 1: and they're like, yes, more season of the Witch, Season

739
00:40:52,520 --> 00:40:54,960
Speaker 1: of the Witch to please, Uh, then you might have

740
00:40:55,000 --> 00:40:58,160
Speaker 1: had to bring him back one way or another. Oh yeah, Yeah,

741
00:40:58,239 --> 00:41:00,200
Speaker 1: it doesn't matter if we chopped his head off off

742
00:41:00,200 --> 00:41:02,200
Speaker 1: and he burned him into a pile of ashes. He's

743
00:41:02,200 --> 00:41:05,120
Speaker 1: got to come back, like like Michael Myers. Yeah, this

744
00:41:05,200 --> 00:41:11,120
Speaker 1: is again Dan o'harla hey playing Connal Cochrane. Um o'erlay

745
00:41:11,280 --> 00:41:15,040
Speaker 1: was born nineteen nineteen died in two thousand and five. Uh.

746
00:41:15,080 --> 00:41:19,040
Speaker 1: The Old Man himself an Irish actor and eventual naturalized

747
00:41:19,120 --> 00:41:21,080
Speaker 1: US citizen who worked on the on the stage and

748
00:41:21,120 --> 00:41:23,759
Speaker 1: then on the screen. One of his first big roles

749
00:41:23,800 --> 00:41:28,400
Speaker 1: was playing McDuff and orson Wells NT eight adaptation of Macbeth.

750
00:41:30,000 --> 00:41:31,840
Speaker 1: I've seen that one has been a long time, but

751
00:41:32,080 --> 00:41:35,120
Speaker 1: um yeah, Wells himself played Macbeth and the cast also

752
00:41:35,200 --> 00:41:39,279
Speaker 1: features Roddy McDowell and Alan Napier. Interesting, I've never seen

753
00:41:39,320 --> 00:41:43,320
Speaker 1: that one. It's good and black and white, very very atmospheric.

754
00:41:43,840 --> 00:41:46,319
Speaker 1: Um yeah, I think I took a Shakespeare course in

755
00:41:46,400 --> 00:41:48,759
Speaker 1: college and we ended up watching a whole bunch of

756
00:41:48,840 --> 00:41:51,719
Speaker 1: McBeth adaptations and that was one of them. Yeah. So

757
00:41:51,760 --> 00:41:55,520
Speaker 1: the main thing I know Dan o'herla he from is RoboCop,

758
00:41:55,560 --> 00:41:58,279
Speaker 1: in which he plays the Old Man. The I don't

759
00:41:58,280 --> 00:42:01,120
Speaker 1: know the president or the CEO of OCP, the Evil

760
00:42:01,160 --> 00:42:05,000
Speaker 1: Corporations trying to buy up Detroit in uh in RoboCop

761
00:42:05,040 --> 00:42:06,719
Speaker 1: and he's the guy in the board meeting where he

762
00:42:06,760 --> 00:42:11,040
Speaker 1: says Detroit has a cancer and the CANSO is crime. Yeah. He,

763
00:42:11,160 --> 00:42:14,680
Speaker 1: I mean he, especially as an older actor, he really

764
00:42:14,760 --> 00:42:16,960
Speaker 1: did a great job playing the kind of suit villain

765
00:42:17,680 --> 00:42:21,480
Speaker 1: and in this he's essentially a corporate suit but with

766
00:42:21,560 --> 00:42:25,440
Speaker 1: this warlock twist to him. So it's, uh, it stands

767
00:42:25,520 --> 00:42:27,960
Speaker 1: a little bit apart from these other roles that he

768
00:42:28,040 --> 00:42:30,000
Speaker 1: was in. But uh, but there's still a bit of

769
00:42:30,040 --> 00:42:32,640
Speaker 1: the old man there as well. You know, Halloween three

770
00:42:32,760 --> 00:42:36,600
Speaker 1: kind of shares a little bit of thematic DNA with RoboCop. Yeah,

771
00:42:36,640 --> 00:42:39,640
Speaker 1: I mean they're emerging from uh, you know, the same

772
00:42:39,680 --> 00:42:43,560
Speaker 1: time period basically, so it makes sense. Um now both

773
00:42:43,640 --> 00:42:47,040
Speaker 1: commenting to some degree on some of the same themes. Yeah,

774
00:42:47,080 --> 00:42:50,960
Speaker 1: like technology and corporate control or the villains though in

775
00:42:51,440 --> 00:42:57,200
Speaker 1: weird abstracted sci fire or supernatural ways. Yeah. So the

776
00:42:57,239 --> 00:43:00,360
Speaker 1: Hey did a wide variety of films in his career,

777
00:43:00,400 --> 00:43:03,080
Speaker 1: touching on so many different genres. You started looking through

778
00:43:03,120 --> 00:43:06,239
Speaker 1: it like this man did Western sci fi. He did

779
00:43:06,560 --> 00:43:09,960
Speaker 1: true swashbucklers back in the day when like swashbucklers were

780
00:43:10,280 --> 00:43:14,000
Speaker 1: a dependable thing. He was in war films, and of

781
00:43:14,040 --> 00:43:16,920
Speaker 1: course he was in red scare movies as well. Uh.

782
00:43:17,000 --> 00:43:20,880
Speaker 1: He was an Invasion USA from ninety two, which it

783
00:43:20,960 --> 00:43:23,000
Speaker 1: was actually feature on the NST three K And I

784
00:43:23,320 --> 00:43:25,560
Speaker 1: know I've seen it, but I don't remember much about it.

785
00:43:25,840 --> 00:43:27,560
Speaker 1: I think if I went back and watch it again,

786
00:43:28,200 --> 00:43:30,840
Speaker 1: I would have to. Uh, I would have to. I

787
00:43:30,840 --> 00:43:32,040
Speaker 1: would have to. I feel like I want to see

788
00:43:32,040 --> 00:43:35,000
Speaker 1: it again just to see him in it. Um. Wait,

789
00:43:35,440 --> 00:43:38,600
Speaker 1: is Invasion USA not also the title of a like

790
00:43:38,680 --> 00:43:41,800
Speaker 1: Chuck Norris movie where a bunch of communists invade the

791
00:43:41,880 --> 00:43:45,240
Speaker 1: United States and had scenes shot at that mall in Atlanta.

792
00:43:45,560 --> 00:43:47,759
Speaker 1: Could be I'm not that I'm not really familiar with

793
00:43:47,800 --> 00:43:50,319
Speaker 1: that picture. This one is fifty two film that has

794
00:43:50,640 --> 00:43:52,239
Speaker 1: I think a lot of stock footage in it, like

795
00:43:52,320 --> 00:43:54,960
Speaker 1: an alarming amount of stock footage. Oh yeah, okay, I

796
00:43:55,040 --> 00:43:57,239
Speaker 1: was right. The Invasion USA. I guess it was either

797
00:43:57,760 --> 00:44:00,440
Speaker 1: either got a remake or there was Another movie of

798
00:44:00,520 --> 00:44:04,320
Speaker 1: the same name starring Chuck Norris, came out in nineteen five,

799
00:44:04,400 --> 00:44:09,480
Speaker 1: directed by Joseph Zo also starring Richard Lynch and uh

800
00:44:10,280 --> 00:44:13,359
Speaker 1: and Billy Drago and I'm sure some other. I bet

801
00:44:13,360 --> 00:44:16,520
Speaker 1: Billy Drago plays a communist, but yeah, it's like a

802
00:44:16,560 --> 00:44:23,920
Speaker 1: common written invasion plays a patriot. Ms No, he plays

803
00:44:23,920 --> 00:44:29,480
Speaker 1: somebody named Mikhail Rostov. Of course he does. Yeah, I've

804
00:44:29,600 --> 00:44:31,560
Speaker 1: I've it's been a long time since I've seen that one.

805
00:44:31,560 --> 00:44:33,360
Speaker 1: I don't know if I've ever seen the fifties version.

806
00:44:33,640 --> 00:44:37,240
Speaker 1: Dan Oh the Hey played a number of different characters,

807
00:44:37,239 --> 00:44:39,279
Speaker 1: and note I mean he was. He was the lead

808
00:44:39,280 --> 00:44:42,800
Speaker 1: in a nineteen four adaptation of Robinson Crusoe. He played

809
00:44:42,880 --> 00:44:47,120
Speaker 1: Dr klagar A in a nineteen sixty two adaptation by

810
00:44:47,200 --> 00:44:50,440
Speaker 1: Roger Ka. He played the good guy Alien Grig in

811
00:44:51,200 --> 00:44:55,320
Speaker 1: Four is the Last Starfighter. He was on PEKS. Sorry,

812
00:44:55,480 --> 00:44:57,919
Speaker 1: I remember I watched a taped version of The Last

813
00:44:57,920 --> 00:45:00,560
Speaker 1: Starfighter a lot when I was a kid tough TV.

814
00:45:00,800 --> 00:45:03,640
Speaker 1: And uh, yeah, that was him, wasn't it. Yeah? Yeah,

815
00:45:04,120 --> 00:45:07,239
Speaker 1: I found a hilarious photo online of him and in

816
00:45:08,000 --> 00:45:12,640
Speaker 1: full like monster Alien uh costume, but also standing in

817
00:45:12,680 --> 00:45:15,160
Speaker 1: front of a bookshelfs holding a pipe in his hand.

818
00:45:15,480 --> 00:45:17,280
Speaker 1: I could It's been a long time. It might actually

819
00:45:17,320 --> 00:45:19,160
Speaker 1: be a still from the movie and I just don't

820
00:45:19,160 --> 00:45:22,680
Speaker 1: remember it, but uh, it looks pretty hilarious. I don't

821
00:45:22,680 --> 00:45:25,600
Speaker 1: think that's in the movie. I don't think Grigg ever

822
00:45:25,680 --> 00:45:28,040
Speaker 1: comes to Earth that I recall, is it not. It's

823
00:45:28,080 --> 00:45:30,160
Speaker 1: been so long, Like if you told me, oh yeah,

824
00:45:30,160 --> 00:45:33,520
Speaker 1: there's like an hour's worth of footage where Grigg sneaks

825
00:45:33,560 --> 00:45:36,640
Speaker 1: around then the kid's hometown and they like buy fast

826
00:45:36,640 --> 00:45:39,000
Speaker 1: food and go on an adventure at an arcade. I

827
00:45:39,000 --> 00:45:41,319
Speaker 1: would be like, Okay, that sounds like something you could

828
00:45:41,320 --> 00:45:45,879
Speaker 1: see at the time. The basic Forever, the kid, the kid,

829
00:45:46,040 --> 00:45:48,360
Speaker 1: the main kid in it. He's like good at the

830
00:45:48,480 --> 00:45:50,880
Speaker 1: arcade video game and it turns out it's a the

831
00:45:51,000 --> 00:45:53,640
Speaker 1: arcade cabinet there has been placed by an armada of

832
00:45:53,719 --> 00:45:56,440
Speaker 1: space fleets that are that are like looking for talent

833
00:45:56,520 --> 00:46:00,000
Speaker 1: throughout the galaxies for pilots. And he gets kidnapped into

834
00:46:00,000 --> 00:46:02,880
Speaker 1: space by the guy who plays the music man, and

835
00:46:03,200 --> 00:46:05,279
Speaker 1: uh then he has to go in space and and

836
00:46:05,480 --> 00:46:08,000
Speaker 1: uh Grig is his co pilot and they fly around

837
00:46:08,040 --> 00:46:11,720
Speaker 1: and fight something called the code in armada. I remember

838
00:46:11,760 --> 00:46:14,560
Speaker 1: having a lot of really cool at the time. Anyway,

839
00:46:14,600 --> 00:46:18,400
Speaker 1: really cool evil aliens in it. Oh yeah, totally. Anyway,

840
00:46:18,400 --> 00:46:20,279
Speaker 1: he has a ton of credit, so we could just

841
00:46:20,320 --> 00:46:23,480
Speaker 1: go on and on. He worked a lot his Uh

842
00:46:23,560 --> 00:46:25,680
Speaker 1: he had I think he had a number of children,

843
00:46:25,680 --> 00:46:29,239
Speaker 1: including a son by the name of Gavin o'harla hey,

844
00:46:29,280 --> 00:46:31,880
Speaker 1: who appeared in such films as Willow. So if you

845
00:46:31,960 --> 00:46:35,520
Speaker 1: if you happen to rewatch Willow anytime soon. This is

846
00:46:35,560 --> 00:46:39,000
Speaker 1: the guy with the blonde beard, the strawberry beard guy. Um.

847
00:46:39,040 --> 00:46:42,920
Speaker 1: That that is um sort of a minor second level

848
00:46:43,000 --> 00:46:46,759
Speaker 1: hero in it. Uh yeah, that's that's that's the old

849
00:46:46,760 --> 00:46:49,200
Speaker 1: man's son. I had no idea. So, I mean those

850
00:46:49,239 --> 00:46:51,719
Speaker 1: are the main cast members, but we have there have

851
00:46:51,760 --> 00:46:54,880
Speaker 1: a few other just to roll through here. Jonathan Carey,

852
00:46:55,680 --> 00:46:58,239
Speaker 1: who plays Starker, is in this. Uh. This is a

853
00:46:58,239 --> 00:47:00,480
Speaker 1: guy that just popped up. He played at the Colonel

854
00:47:00,520 --> 00:47:04,439
Speaker 1: in in both Return of the Living Dead and its sequel. Uh.

855
00:47:04,480 --> 00:47:07,520
Speaker 1: There's Al Berry who plays the character Harry grim Bridge.

856
00:47:07,560 --> 00:47:11,480
Speaker 1: This is our our heroine's uh father. Uh. This is

857
00:47:11,520 --> 00:47:13,960
Speaker 1: the doom and Papa who dies trying to save the

858
00:47:14,000 --> 00:47:16,759
Speaker 1: world from Halloween mass pagan gods and robots. He was

859
00:47:16,800 --> 00:47:21,560
Speaker 1: also in Night five Reanimator and appeared alongside Daniel harla

860
00:47:21,600 --> 00:47:24,640
Speaker 1: hey in The Less Starfighter. Now there's almost kind of

861
00:47:24,680 --> 00:47:29,200
Speaker 1: a cameo performance in this movie by by Nancy Kai

862
00:47:29,360 --> 00:47:32,759
Speaker 1: is also known as Nancy Loomis. You might remember her

863
00:47:33,320 --> 00:47:36,480
Speaker 1: from the original Halloween, in which she plays Any Brackett

864
00:47:36,520 --> 00:47:39,239
Speaker 1: as she I think she's billed as Nancy Loomis in

865
00:47:39,239 --> 00:47:42,520
Speaker 1: that one. She was born ninety nine. I love her

866
00:47:42,560 --> 00:47:45,000
Speaker 1: in Halloween, and I always wished she had been in

867
00:47:45,040 --> 00:47:48,640
Speaker 1: more movies because I don't know she She's just got

868
00:47:48,680 --> 00:47:53,000
Speaker 1: like a real fun, kind of cool, acerbic attitude. And

869
00:47:53,080 --> 00:47:55,360
Speaker 1: she only did about a half dozen movies or so,

870
00:47:55,480 --> 00:47:59,120
Speaker 1: and more than half of those are Carpenter movies or

871
00:47:59,160 --> 00:48:02,359
Speaker 1: Carpenter Associate aided movies. So she was in Halloween The

872
00:48:02,400 --> 00:48:06,279
Speaker 1: Fog Assault on Precinct thirteen, and in this movie she

873
00:48:06,360 --> 00:48:09,120
Speaker 1: makes a brief appearance at the beginning as tom atkins

874
00:48:09,200 --> 00:48:13,520
Speaker 1: abrasive ex wife, and she she's funny in the little

875
00:48:13,520 --> 00:48:15,839
Speaker 1: bit of screen time that she has, very much like

876
00:48:16,440 --> 00:48:18,839
Speaker 1: you know, oh brother, She's just not very impressed by

877
00:48:18,840 --> 00:48:23,480
Speaker 1: tom Atkins um. But the actress Nancy kais. After she

878
00:48:23,600 --> 00:48:26,359
Speaker 1: mostly got out of film, I looked up her her

879
00:48:26,400 --> 00:48:29,359
Speaker 1: post Hollywood career, and among other things, I found out

880
00:48:29,400 --> 00:48:32,960
Speaker 1: she is a sculpture artist, and so I found a

881
00:48:33,040 --> 00:48:36,800
Speaker 1: gallery of sculpture that she did all in the medium

882
00:48:36,880 --> 00:48:41,160
Speaker 1: of garbage. So these are sculptures. Images were hosted on

883
00:48:41,320 --> 00:48:44,880
Speaker 1: the Pomona College Museum website and I think this is

884
00:48:44,920 --> 00:48:48,399
Speaker 1: from the year nineteen and so you can look up these,

885
00:48:48,520 --> 00:48:50,520
Speaker 1: uh if you do a Google search for them, and

886
00:48:50,640 --> 00:48:52,880
Speaker 1: I think they look pretty cool. There's like one that

887
00:48:53,120 --> 00:48:55,759
Speaker 1: is a bunch of garbage making what looks like it's

888
00:48:55,800 --> 00:48:58,359
Speaker 1: some kind of giant leg. It's like a thigh with

889
00:48:58,400 --> 00:49:01,160
Speaker 1: a calf and a and a big and a big

890
00:49:01,239 --> 00:49:03,920
Speaker 1: robody kind of foot. And then this this beetle board

891
00:49:04,000 --> 00:49:06,560
Speaker 1: looking thing. I don't know how really to describe it.

892
00:49:06,560 --> 00:49:10,160
Speaker 1: It is this uh, I don't know, robot type thing

893
00:49:10,239 --> 00:49:13,000
Speaker 1: with like an insect carapist body, but it's all made

894
00:49:13,000 --> 00:49:16,200
Speaker 1: out of trash. Yeah, I had not seen these before,

895
00:49:16,239 --> 00:49:18,880
Speaker 1: but these are these are great. I love this genre

896
00:49:19,040 --> 00:49:23,120
Speaker 1: of sculpture. They're like taking um refuse and our garbage,

897
00:49:23,239 --> 00:49:26,279
Speaker 1: recycled materials and then recreating something artistically out of it.

898
00:49:26,320 --> 00:49:29,279
Speaker 1: I was actually at a museum this morning and there

899
00:49:29,360 --> 00:49:32,360
Speaker 1: was an exhibit where an artist was utilizing things of

900
00:49:32,400 --> 00:49:35,840
Speaker 1: this nature um in this case, uh, like oil drums,

901
00:49:36,000 --> 00:49:39,360
Speaker 1: ammunition canisters, barbed wire, and they were you know, created,

902
00:49:39,360 --> 00:49:42,080
Speaker 1: I think they created this huge snake in this piece

903
00:49:42,080 --> 00:49:47,640
Speaker 1: called not a Snake where anyway, you know, similar technique

904
00:49:47,920 --> 00:49:50,120
Speaker 1: to a certain degree. Uh. So, so I love this

905
00:49:50,160 --> 00:49:51,600
Speaker 1: kind of work. If I if I had the chance

906
00:49:51,640 --> 00:49:55,200
Speaker 1: to see this particular artist work in person, I would

907
00:49:55,239 --> 00:49:59,399
Speaker 1: jump at the chance. Yeah, Sidney Pound snake. Alright, Uh,

908
00:49:59,719 --> 00:50:01,960
Speaker 1: Dick Warlock is in this, so we have to mention him.

909
00:50:02,360 --> 00:50:05,359
Speaker 1: Dick Warlock. Dick Warlock is the man. He plays an

910
00:50:05,400 --> 00:50:09,840
Speaker 1: android assassin, a pretty big role for Dick Warlock. Actually,

911
00:50:09,880 --> 00:50:12,520
Speaker 1: it's a note one of the more notable android assassins

912
00:50:12,520 --> 00:50:14,839
Speaker 1: in the picture. There's a really good scene where Tom

913
00:50:14,880 --> 00:50:17,600
Speaker 1: Atkins punches him in the stomach and then pulls out

914
00:50:17,680 --> 00:50:20,440
Speaker 1: his robot, guts a bunch of wires and stuff, and

915
00:50:20,480 --> 00:50:23,680
Speaker 1: he spits frozen orange juice all over the place. Yeah.

916
00:50:23,680 --> 00:50:28,040
Speaker 1: The androids are great in this because they're they're basically indestructible,

917
00:50:28,040 --> 00:50:31,880
Speaker 1: but also entirely they're way too fragile as well, so

918
00:50:32,280 --> 00:50:35,080
Speaker 1: they're they're hard to kill. They're super strong, but the

919
00:50:35,160 --> 00:50:39,520
Speaker 1: least little thing can can actually undo them. Alright. Another

920
00:50:39,560 --> 00:50:42,719
Speaker 1: actor of note, Patty Edwards, plays a secretary and then

921
00:50:42,760 --> 00:50:46,640
Speaker 1: she did a lot of TV work and also some

922
00:50:46,840 --> 00:50:50,200
Speaker 1: very notable voice acting roles later in her in her career,

923
00:50:50,560 --> 00:50:53,319
Speaker 1: she's the voice of the eels, Flotsam and Jetsam in

924
00:50:53,440 --> 00:50:57,839
Speaker 1: Walt Disney's The Little Mermaid, and she also plays the

925
00:50:57,840 --> 00:51:02,600
Speaker 1: fate Atropos in Disney's Hercules Les. Interestingly enough, she also

926
00:51:02,600 --> 00:51:05,760
Speaker 1: played Bull Shannon's mom on Night Court. So she played

927
00:51:05,840 --> 00:51:12,280
Speaker 1: Richard Mole's mom. Oh interesting, taking a specter? What was that? Uh?

928
00:51:12,520 --> 00:51:14,640
Speaker 1: What was that movie called that he was in as

929
00:51:14,320 --> 00:51:19,080
Speaker 1: a destruction of of Jared Jared's in Yes, yeah, metal

930
00:51:19,120 --> 00:51:23,680
Speaker 1: Storm the Oh. Now we mentioned how Michael Myers is

931
00:51:23,719 --> 00:51:26,759
Speaker 1: technically in the movie, Well, Jamie Lee Curtis is also

932
00:51:26,880 --> 00:51:30,280
Speaker 1: technically in the movie. She has a fun cameo as

933
00:51:30,320 --> 00:51:33,600
Speaker 1: both a curfew announcer in the creepy heat company town

934
00:51:33,840 --> 00:51:36,600
Speaker 1: but also as a telephone operator. Oh yeah, so just

935
00:51:36,640 --> 00:51:39,320
Speaker 1: a voice cameo. Yeah, in the same way that Michael

936
00:51:39,360 --> 00:51:42,600
Speaker 1: Myers only appears on TV. Oh. You know another thing

937
00:51:42,640 --> 00:51:46,319
Speaker 1: worth noting about this film is the cinematographer. It's Dean Cundy.

938
00:51:46,440 --> 00:51:49,080
Speaker 1: Of course. Now we don't have to go in great

939
00:51:49,080 --> 00:51:52,160
Speaker 1: detail on Dean Cundy because we've gushed about Dean Cundy before.

940
00:51:52,200 --> 00:51:54,279
Speaker 1: I think we probably spent half of the episode we

941
00:51:54,320 --> 00:51:58,080
Speaker 1: did on without Warning talking about Dean Cundy. Um the

942
00:51:58,080 --> 00:52:02,640
Speaker 1: The Dean Cundy is a wonderful cinematographer, and I think

943
00:52:02,760 --> 00:52:08,239
Speaker 1: he is to a great extent responsible. He's partially or

944
00:52:08,320 --> 00:52:12,279
Speaker 1: maybe even mostly, the answer to the question of how

945
00:52:12,320 --> 00:52:15,440
Speaker 1: come even though this movie wasn't directed by John Carpenter,

946
00:52:15,480 --> 00:52:18,600
Speaker 1: it feels like it feels like the bull's eye for

947
00:52:18,719 --> 00:52:22,200
Speaker 1: that that John Carpenter feeling, And it's because of the

948
00:52:22,239 --> 00:52:27,920
Speaker 1: Dean Cundy. Look. Yeah, Candy, um, yeah, you'll remember us

949
00:52:27,960 --> 00:52:30,279
Speaker 1: praising him on nineteen eighties without Warning, But yeah, he

950
00:52:30,320 --> 00:52:33,600
Speaker 1: worked on such films later on as Jurassic Park, Apollo thirteen,

951
00:52:33,680 --> 00:52:36,160
Speaker 1: So he was a big deal. Yeah, not just horror

952
00:52:36,200 --> 00:52:38,200
Speaker 1: and John Carpenter stuff. Like he went on to to

953
00:52:38,400 --> 00:52:41,480
Speaker 1: do some do a lot of mainstream Hollywood work, but

954
00:52:41,520 --> 00:52:44,960
Speaker 1: always Yeah, he's just got great distinctive visual style. I've

955
00:52:44,960 --> 00:52:48,319
Speaker 1: got some more thoughts about his influence on on how

956
00:52:48,360 --> 00:52:51,120
Speaker 1: this movie feels in a bit here. I was kind

957
00:52:51,120 --> 00:52:54,080
Speaker 1: of surprised to see that Ralph Baksh has a credit

958
00:52:54,120 --> 00:52:56,840
Speaker 1: on this. This is the in the quote unquote animation

959
00:52:56,840 --> 00:53:00,520
Speaker 1: department of this film. Um Box. She of course is

960
00:53:00,560 --> 00:53:04,560
Speaker 1: a legendary American animator who gave us Fritz, the Cat Wizards,

961
00:53:04,600 --> 00:53:09,520
Speaker 1: and The Lord of the Rings and Fire and Ice

962
00:53:09,600 --> 00:53:12,600
Speaker 1: as well. But I'm not totally sure on this, but

963
00:53:12,960 --> 00:53:16,120
Speaker 1: apparently one of the cartoons that's playing on the TV

964
00:53:16,360 --> 00:53:18,960
Speaker 1: in the bar again along with like a trailer for

965
00:53:19,000 --> 00:53:23,279
Speaker 1: Halloween one or something. Um, that apparently is one of

966
00:53:23,320 --> 00:53:25,640
Speaker 1: his cartoons playing, And so maybe that's all he did

967
00:53:25,680 --> 00:53:29,400
Speaker 1: on this film. That's I can't imagine where else his

968
00:53:30,200 --> 00:53:32,719
Speaker 1: fingerprints would be. Yeah, I remember, what does it? It's

969
00:53:32,760 --> 00:53:35,759
Speaker 1: like there's a plant dancing around and making blink blink

970
00:53:35,880 --> 00:53:48,040
Speaker 1: sound effects. Yeah, okay, there you go. Now, this is

971
00:53:48,040 --> 00:53:50,080
Speaker 1: generally the point in the connections where we talk about

972
00:53:50,239 --> 00:53:52,360
Speaker 1: the score, but we've already talked about the score and

973
00:53:52,400 --> 00:53:55,360
Speaker 1: the people responsible for it, So instead of talking about

974
00:53:55,360 --> 00:53:57,840
Speaker 1: it even more, let's just go ahead and hear a

975
00:53:57,840 --> 00:54:00,839
Speaker 1: little bit from it. This is a taste of of

976
00:54:00,880 --> 00:54:13,840
Speaker 1: the Chariots of Pumpkins? Is that a take on Chariots

977
00:54:13,840 --> 00:54:18,160
Speaker 1: of Fire Chariots? I believe it is. Yes, Okay, not

978
00:54:18,239 --> 00:54:20,400
Speaker 1: that in particularly sounds like it, but I guess that

979
00:54:20,480 --> 00:54:26,120
Speaker 1: was the that was the inspiration. They were inspired by evangelists. Well,

980
00:54:26,200 --> 00:54:30,640
Speaker 1: I think they've surpassed their their inspiration. Vangelis is great.

981
00:54:30,640 --> 00:54:32,640
Speaker 1: He just put out a new album of space music.

982
00:54:32,680 --> 00:54:35,120
Speaker 1: By the way, I've been listening to it. It's super great.

983
00:54:35,320 --> 00:54:38,360
Speaker 1: Not knocking on Vangelists, I'm just saying, like, for me,

984
00:54:38,480 --> 00:54:41,760
Speaker 1: Halloween three cannot be beat. Yeah, I don't think Vangelis

985
00:54:41,840 --> 00:54:45,080
Speaker 1: ever did a horror score though. That's the real kicker.

986
00:54:45,400 --> 00:54:47,640
Speaker 1: So I guess we Yeah, we should do a sort

987
00:54:47,640 --> 00:54:49,840
Speaker 1: of full plot breakdown. I think we'll. We'll probably do

988
00:54:49,880 --> 00:54:52,719
Speaker 1: a little more tightly zoomed in towards the beginning of

989
00:54:52,719 --> 00:54:55,720
Speaker 1: the movie than than towards the end. But I wanted

990
00:54:55,800 --> 00:54:59,560
Speaker 1: just to describe the very opening because it cements so

991
00:54:59,680 --> 00:55:02,560
Speaker 1: much the feel of the movie. So the very first

992
00:55:02,600 --> 00:55:06,680
Speaker 1: thing you get is pixels. The first concept suggested by

993
00:55:06,680 --> 00:55:10,560
Speaker 1: this movie is weirdly computers, which is again not what

994
00:55:10,600 --> 00:55:14,000
Speaker 1: you would expect given Halloween or the themes of the

995
00:55:14,040 --> 00:55:17,719
Speaker 1: season or witchcraft or whatever. But the opening credits are

996
00:55:17,840 --> 00:55:21,319
Speaker 1: sort of filled with pixelated lines of orange on a

997
00:55:21,360 --> 00:55:25,640
Speaker 1: black void, and it is uh sort of suggestive of

998
00:55:25,680 --> 00:55:27,880
Speaker 1: the opening of the first movie, which, if you remember,

999
00:55:28,320 --> 00:55:31,319
Speaker 1: it's it's just this sort of zooming shot of a

1000
00:55:31,400 --> 00:55:34,359
Speaker 1: jack o lantern. But then you eventually zoom in so

1001
00:55:34,400 --> 00:55:37,040
Speaker 1: far you're like, what are these orange colors I'm looking at?

1002
00:55:37,320 --> 00:55:40,680
Speaker 1: In this case, it starts zoomed very far in, but

1003
00:55:40,719 --> 00:55:44,080
Speaker 1: eventually pulls out to reveal a pixel pumpkin, in fact,

1004
00:55:44,200 --> 00:55:47,440
Speaker 1: a pixelated jack O lantern, which is great because it's like,

1005
00:55:47,640 --> 00:55:50,399
Speaker 1: I'm so close to the technology, I cannot see its

1006
00:55:50,440 --> 00:55:53,160
Speaker 1: true form, it's true intent, and it's only in time

1007
00:55:53,200 --> 00:55:55,919
Speaker 1: that you realize, oh no, this is what the technology

1008
00:55:56,000 --> 00:55:59,160
Speaker 1: wants and is doing. And it's also so close to

1009
00:55:59,200 --> 00:56:03,040
Speaker 1: the screen the pixels themselves, you can see them almost

1010
00:56:03,040 --> 00:56:06,600
Speaker 1: sort of decomposing into their individual little colors that form

1011
00:56:06,719 --> 00:56:10,080
Speaker 1: the the full pixels. You know, you can see like

1012
00:56:10,120 --> 00:56:12,440
Speaker 1: the little uh, I don't know what you call them,

1013
00:56:12,760 --> 00:56:16,040
Speaker 1: little bits behind him. But the very next thing we

1014
00:56:16,080 --> 00:56:19,799
Speaker 1: see is an empty setting. There's a dark asphalt road

1015
00:56:20,040 --> 00:56:23,640
Speaker 1: illuminated only by distant street lamps, and this is under

1016
00:56:23,680 --> 00:56:26,920
Speaker 1: a roof of a freeway overpass like a like a

1017
00:56:27,000 --> 00:56:31,799
Speaker 1: concrete cathedral. And you get swelling synth bass, and then

1018
00:56:31,920 --> 00:56:34,399
Speaker 1: titles start filling us in about what we're looking at.

1019
00:56:34,440 --> 00:56:41,719
Speaker 1: We see northern California, then October, then Saturday, they and

1020
00:56:41,800 --> 00:56:44,719
Speaker 1: for several seconds as the titles fade in and out

1021
00:56:44,719 --> 00:56:49,200
Speaker 1: there there's nobody in the shot until a figure emerges

1022
00:56:49,360 --> 00:56:51,879
Speaker 1: from deep in the distance and he's running toward us,

1023
00:56:52,360 --> 00:56:55,240
Speaker 1: and you get the needle pricks of the synthesizer score

1024
00:56:55,360 --> 00:56:58,520
Speaker 1: fading in and he runs closer and closer to the

1025
00:56:58,560 --> 00:57:01,319
Speaker 1: camera and you see it. It's an old man and

1026
00:57:01,400 --> 00:57:05,480
Speaker 1: he's terrified, like he's running away from someone. And I

1027
00:57:06,040 --> 00:57:08,600
Speaker 1: love this opening. I love the opening shot and the

1028
00:57:08,719 --> 00:57:11,040
Speaker 1: music that accompanies it, and I think it's a perfect

1029
00:57:11,080 --> 00:57:15,480
Speaker 1: example of that beautiful John Carpenter Dean Cundy texture that

1030
00:57:15,520 --> 00:57:18,240
Speaker 1: their movies are full of. Again, even the Carpenter didn't

1031
00:57:18,240 --> 00:57:22,520
Speaker 1: direct this one, the Carpenter Cundy Wallace texture that these

1032
00:57:22,520 --> 00:57:25,400
Speaker 1: movies are full of, uh And and I think it's

1033
00:57:25,440 --> 00:57:29,520
Speaker 1: it's a very characteristic frame of this cinematography style. The

1034
00:57:29,800 --> 00:57:32,080
Speaker 1: kind of frame I'm talking about is you might remember

1035
00:57:32,080 --> 00:57:35,520
Speaker 1: these from without warning as well, but especially other movies

1036
00:57:35,560 --> 00:57:38,680
Speaker 1: like the original Halloween, there will be a wide shot

1037
00:57:38,800 --> 00:57:43,000
Speaker 1: of an empty, desolate setting which we see in full

1038
00:57:43,280 --> 00:57:47,560
Speaker 1: without a subject before the subject enters it. And I'm

1039
00:57:47,600 --> 00:57:49,959
Speaker 1: just such a sucker for that. I don't know quite

1040
00:57:49,960 --> 00:57:52,040
Speaker 1: so why. It just makes my horse's Winny and I

1041
00:57:52,120 --> 00:57:56,240
Speaker 1: love it. Um and actually in the in the director's commentary,

1042
00:57:56,240 --> 00:57:59,720
Speaker 1: Tommy Lee Wallace says that he often stole these shots

1043
00:57:59,760 --> 00:58:03,560
Speaker 1: of the empty sets from the tales of existing shots,

1044
00:58:03,600 --> 00:58:07,760
Speaker 1: so after they slated, but before a character walked into frame,

1045
00:58:07,880 --> 00:58:10,040
Speaker 1: he would just sort of like use that, even though

1046
00:58:10,240 --> 00:58:13,640
Speaker 1: maybe it wasn't originally meant to be used. And uh

1047
00:58:13,680 --> 00:58:16,680
Speaker 1: and also along with this, from the very first scene

1048
00:58:16,720 --> 00:58:19,720
Speaker 1: in the musical score is just a ten just love love,

1049
00:58:19,880 --> 00:58:22,200
Speaker 1: love it. But anyway, so on the screen we see

1050
00:58:22,200 --> 00:58:25,000
Speaker 1: the old man turned back around, look behind him, and

1051
00:58:25,040 --> 00:58:28,040
Speaker 1: he sees what he's afraid of. It's car headlights cresting

1052
00:58:28,080 --> 00:58:30,920
Speaker 1: over the horizon in the dark, and he panics and

1053
00:58:30,960 --> 00:58:34,040
Speaker 1: he keeps on running. Um. One note I made while

1054
00:58:34,080 --> 00:58:37,680
Speaker 1: I was rewatching this was, uh, what year I was thinking,

1055
00:58:37,720 --> 00:58:40,000
Speaker 1: what year was Marathon Man? I think it was sometime

1056
00:58:40,040 --> 00:58:43,360
Speaker 1: in the seventies. But the opening here reminds me very

1057
00:58:43,440 --> 00:58:45,880
Speaker 1: much of the scenes where Dustin Hoffman is getting chased

1058
00:58:45,920 --> 00:58:48,200
Speaker 1: by the Nazis in New York, like running under the

1059
00:58:48,200 --> 00:58:52,280
Speaker 1: freeway overpass, running on foot with the car chasing him. Yeah,

1060
00:58:52,320 --> 00:58:54,400
Speaker 1: that was I that was I think mid seventies, so

1061
00:58:55,200 --> 00:58:58,240
Speaker 1: you know, it definitely would have come before. Well anyway,

1062
00:58:58,320 --> 00:59:00,479
Speaker 1: so in this movie, we see the old in running

1063
00:59:00,520 --> 00:59:03,560
Speaker 1: into I think it's a junkyard or like a used

1064
00:59:03,600 --> 00:59:05,760
Speaker 1: car lot. I don't know. There's cars, but then there's

1065
00:59:05,800 --> 00:59:09,640
Speaker 1: also car parts and he's banging on this office trailer

1066
00:59:09,720 --> 00:59:12,440
Speaker 1: door for help, but there's nobody there. He's all alone

1067
00:59:12,440 --> 00:59:15,480
Speaker 1: out here, and the headlights are closing in. And then

1068
00:59:15,520 --> 00:59:18,120
Speaker 1: we noticed that the old man has something brightly colored

1069
00:59:18,160 --> 00:59:20,880
Speaker 1: hanging out of his pocket. It looks like a big

1070
00:59:20,960 --> 00:59:25,360
Speaker 1: floppy piece of orange fabric. What could this be? Well,

1071
00:59:25,400 --> 00:59:28,200
Speaker 1: suddenly he's trying to hide because the car is closing

1072
00:59:28,240 --> 00:59:30,680
Speaker 1: in on him. And as he's trying to hide in

1073
00:59:30,720 --> 00:59:35,160
Speaker 1: this lot, he bumps into one of his pursuers. He

1074
00:59:35,280 --> 00:59:38,920
Speaker 1: is surprised by a torpy looking guy in a gray

1075
00:59:38,960 --> 00:59:42,920
Speaker 1: business suit and black gloves. Uh. Trying to give you

1076
00:59:43,080 --> 00:59:47,520
Speaker 1: a mental picture. Uh picture a young Adam Scott with

1077
00:59:47,720 --> 00:59:50,640
Speaker 1: slicked down hair. If you worked at Lloyd's of London

1078
00:59:51,120 --> 00:59:54,360
Speaker 1: in the eighties, so you know, very very great gray

1079
00:59:54,400 --> 00:59:59,520
Speaker 1: business suit, black gloves, formal looking, but also uh, that guy.

1080
01:00:00,040 --> 01:00:01,880
Speaker 1: And the old man tries to fight back, but the

1081
01:00:01,920 --> 01:00:05,240
Speaker 1: business tworp is incredibly strong. He grabs him and he

1082
01:00:05,280 --> 01:00:07,480
Speaker 1: forces him to the ground and he pins him to

1083
01:00:07,520 --> 01:00:11,200
Speaker 1: the concrete under a car's rear fender. And so is

1084
01:00:11,240 --> 01:00:14,120
Speaker 1: this the end of the unnamed old Man? Well, no,

1085
01:00:14,440 --> 01:00:16,960
Speaker 1: because he reaches out and he manages to take hold

1086
01:00:17,000 --> 01:00:20,400
Speaker 1: of a chain that's fastened to a wedge block that's

1087
01:00:20,720 --> 01:00:23,120
Speaker 1: under the tire of a nearby car, is keeping it

1088
01:00:23,160 --> 01:00:26,000
Speaker 1: from rolling down toward them, and he yanks the chain.

1089
01:00:26,360 --> 01:00:30,120
Speaker 1: The car rolls in and it pins this bespoke attacker

1090
01:00:30,240 --> 01:00:34,400
Speaker 1: between the two bumpers, between two cars, and the business

1091
01:00:34,440 --> 01:00:37,240
Speaker 1: Tworp reacts to this in a strange way, like he

1092
01:00:37,280 --> 01:00:40,760
Speaker 1: doesn't cry out in pain. Instead, he sort of slumps

1093
01:00:40,800 --> 01:00:43,440
Speaker 1: over as if he is a machine that somehow just

1094
01:00:43,560 --> 01:00:46,640
Speaker 1: lost power. So the old Man squirms out from under

1095
01:00:46,680 --> 01:00:49,080
Speaker 1: the vehicles and then he he escapes off into the

1096
01:00:49,160 --> 01:00:52,560
Speaker 1: night with this bright orange object in his hand. Then

1097
01:00:52,560 --> 01:00:55,840
Speaker 1: we cut to another location, a service station in the rain,

1098
01:00:56,320 --> 01:01:01,479
Speaker 1: another moody, unoccupied establishing shot again of it uh and

1099
01:01:01,800 --> 01:01:05,160
Speaker 1: a few overhead lamps or just sort of like burning

1100
01:01:05,200 --> 01:01:08,240
Speaker 1: against the blue night, and rain is pouring down, and

1101
01:01:08,280 --> 01:01:11,200
Speaker 1: we see the title one hour later, and here's where

1102
01:01:11,240 --> 01:01:13,560
Speaker 1: things for So, like everything up to this point has

1103
01:01:13,560 --> 01:01:16,840
Speaker 1: been has been like, Oh wow, is moody interesting? I

1104
01:01:16,920 --> 01:01:20,560
Speaker 1: love the music, love the photography. What's going on? This

1105
01:01:20,640 --> 01:01:23,840
Speaker 1: is the first part where I noticed things start getting funny.

1106
01:01:23,880 --> 01:01:26,960
Speaker 1: So the attendant at the service service station is watching

1107
01:01:27,000 --> 01:01:31,439
Speaker 1: a TV and it's a British news feature about how

1108
01:01:31,560 --> 01:01:38,800
Speaker 1: part of Stonehinge mysteriously vanished nine months ago. Uh So,

1109
01:01:39,360 --> 01:01:41,960
Speaker 1: first of all, like, isn't this Northern California? Did they

1110
01:01:41,960 --> 01:01:46,640
Speaker 1: get like the BBC News broadcast in nineteen two? Well,

1111
01:01:46,880 --> 01:01:49,720
Speaker 1: this is the Carpenter universe, so we have to remember.

1112
01:01:50,960 --> 01:01:54,960
Speaker 1: In the Carpenter universe, Donald Pleasants eventually becomes President of

1113
01:01:54,960 --> 01:02:00,520
Speaker 1: the United States. So uh, very anglophilic. Yeah, so I

1114
01:02:00,560 --> 01:02:03,320
Speaker 1: don't know it works for me, I guess. So okay,

1115
01:02:03,360 --> 01:02:06,560
Speaker 1: they were so in this world they rebroadcast BBC News

1116
01:02:06,560 --> 01:02:10,919
Speaker 1: in Northern California, Okay, um and yeah. At one point

1117
01:02:10,920 --> 01:02:13,520
Speaker 1: the announcer is like, it weighs more than five tons,

1118
01:02:13,600 --> 01:02:17,480
Speaker 1: making its disappearance a mystery indeed. And then on the

1119
01:02:17,520 --> 01:02:21,040
Speaker 1: TV after that that broadcast, we get our very first

1120
01:02:21,280 --> 01:02:26,240
Speaker 1: silver shamrock commercial. We will be subjected to this many

1121
01:02:26,280 --> 01:02:30,040
Speaker 1: many more times throughout the movie, and it is so

1122
01:02:30,200 --> 01:02:33,720
Speaker 1: intensely annoying that it goes full circle and becomes a

1123
01:02:33,760 --> 01:02:38,280
Speaker 1: gorgeous work of art that induces full body bliss. Uh.

1124
01:02:38,400 --> 01:02:40,840
Speaker 1: I feel like we should describe it in detail, Like

1125
01:02:40,920 --> 01:02:43,000
Speaker 1: Rob what what would you say to describe the Silver

1126
01:02:43,040 --> 01:02:45,920
Speaker 1: Shamrock commercial? I would say, Yeah, First of all, the

1127
01:02:46,000 --> 01:02:49,680
Speaker 1: music is intensely and intentionally annoying. It is it is

1128
01:02:49,760 --> 01:02:53,640
Speaker 1: jingle mania, it is supposed to annoy you, and and

1129
01:02:53,640 --> 01:02:58,680
Speaker 1: it's calibrated to a child's wants and needs. But then

1130
01:02:58,720 --> 01:03:01,040
Speaker 1: we also have a voice over narration in it that

1131
01:03:01,200 --> 01:03:05,440
Speaker 1: is also ingenious because it is creepy man voice trying

1132
01:03:05,480 --> 01:03:09,280
Speaker 1: to sound like kid appropriate cartoon voye, you know, like

1133
01:03:09,520 --> 01:03:12,400
Speaker 1: like a children's commercial, but it's clearly a creepy guy

1134
01:03:12,480 --> 01:03:16,360
Speaker 1: voice doing it, which gives it this unsettling flare. Yeah.

1135
01:03:16,480 --> 01:03:19,600
Speaker 1: So it's to the tune of London Bridge is falling down,

1136
01:03:19,800 --> 01:03:25,320
Speaker 1: presumably because that's public domain. But the lyrics are they

1137
01:03:25,440 --> 01:03:28,360
Speaker 1: keep counting down the days to Halloween, so like whatever

1138
01:03:28,440 --> 01:03:31,080
Speaker 1: day in the in the plot you're watching it, it'll

1139
01:03:31,080 --> 01:03:34,920
Speaker 1: be saying eight more days to Halloween, Halloween, Halloween and

1140
01:03:35,120 --> 01:03:37,280
Speaker 1: does the whole tune, and then it ends with silver

1141
01:03:37,560 --> 01:03:41,880
Speaker 1: Shamrock and so so while you're hearing this annoying UH

1142
01:03:42,120 --> 01:03:45,280
Speaker 1: tune repeat over and over again, you watch this green

1143
01:03:45,400 --> 01:03:48,760
Speaker 1: clover logo zoom at the screen, and then there's this

1144
01:03:48,880 --> 01:03:52,480
Speaker 1: demented childhead tilting back and forth. I think the child

1145
01:03:52,640 --> 01:03:57,160
Speaker 1: in that commercial might be Tommy Lee Wallace's son um

1146
01:03:57,400 --> 01:03:59,960
Speaker 1: and uh. And then you see the three Halloween math

1147
01:04:00,000 --> 01:04:03,800
Speaker 1: asks and these are the three iconic silver shamrock Halloween masks.

1148
01:04:03,840 --> 01:04:06,920
Speaker 1: You get the skeleton, the jack o lantern, and the Witch.

1149
01:04:07,760 --> 01:04:10,160
Speaker 1: And then a voice comes on. I believe also the

1150
01:04:10,280 --> 01:04:13,120
Speaker 1: voice is the voice of the director Tommy Lee Wallace,

1151
01:04:13,480 --> 01:04:17,000
Speaker 1: and he says, yes, kids YouTube can own one of

1152
01:04:17,040 --> 01:04:21,880
Speaker 1: the big Halloween three, three horrific masks to choose from

1153
01:04:21,920 --> 01:04:25,480
Speaker 1: their fun They're frightening and they glow in the dark.

1154
01:04:26,080 --> 01:04:28,000
Speaker 1: And then Robert, I wonder if you noticed this. So

1155
01:04:28,120 --> 01:04:31,080
Speaker 1: right after the commercial plays the in the scene, the

1156
01:04:31,120 --> 01:04:33,720
Speaker 1: TV loses power and it goes dark. So this is

1157
01:04:33,800 --> 01:04:35,840
Speaker 1: just as like thunder is rolling ahead. I guess the

1158
01:04:35,880 --> 01:04:38,280
Speaker 1: idea is, you know, lightning strikes and the power goes out.

1159
01:04:38,640 --> 01:04:40,920
Speaker 1: But right before that, the last thing we see on

1160
01:04:40,960 --> 01:04:43,960
Speaker 1: the TV, it looks to me for a few seconds

1161
01:04:44,000 --> 01:04:47,120
Speaker 1: like the exact same silver shamrock commercial is starting over

1162
01:04:47,200 --> 01:04:50,240
Speaker 1: from the top. Uh. So I don't know if they're

1163
01:04:50,240 --> 01:04:52,960
Speaker 1: they're looping commercial, they're like paying to play them back

1164
01:04:52,960 --> 01:04:55,080
Speaker 1: to back. But that would be ingenious if that had

1165
01:04:55,120 --> 01:04:57,600
Speaker 1: happened in the movie. You know, one of the great things.

1166
01:04:57,680 --> 01:05:00,160
Speaker 1: I didn't really think about this, but the silver shamrock

1167
01:05:00,360 --> 01:05:03,920
Speaker 1: um tune here is set to London bridges falling down

1168
01:05:04,360 --> 01:05:06,720
Speaker 1: and there there. This is of course a very old tune,

1169
01:05:07,040 --> 01:05:10,720
Speaker 1: a very old nursery rhyme kind of jangle. Uh. And

1170
01:05:10,760 --> 01:05:15,280
Speaker 1: there are various theories regarding its origin, and at least

1171
01:05:15,320 --> 01:05:19,800
Speaker 1: one of them involves child sacrifice. So it's kind of

1172
01:05:19,800 --> 01:05:24,240
Speaker 1: a perfect, perfect inclusion in this film. Oh, I wonder

1173
01:05:24,280 --> 01:05:27,640
Speaker 1: if that's intentional. I bet it is. I I bet

1174
01:05:27,680 --> 01:05:31,280
Speaker 1: it is. The thing that feels just silly and you know,

1175
01:05:31,360 --> 01:05:34,800
Speaker 1: and totally the domain of the child's care free world

1176
01:05:35,240 --> 01:05:37,800
Speaker 1: is rooted in blood. We'll have to look that up

1177
01:05:37,840 --> 01:05:41,360
Speaker 1: after this, Okay. So anyway, the power goes out, gas

1178
01:05:41,360 --> 01:05:44,200
Speaker 1: station attendant, he starts looking around. He thinks he hears

1179
01:05:44,240 --> 01:05:47,040
Speaker 1: something and he peers out into the storm and it's

1180
01:05:47,080 --> 01:05:50,520
Speaker 1: wonderful atmosphere. You've got a tower of pins, oil cans

1181
01:05:50,560 --> 01:05:54,000
Speaker 1: inside but then outside it's just rain and dark and distance.

1182
01:05:54,520 --> 01:05:58,000
Speaker 1: And then the gas station worker is surprised by the

1183
01:05:58,040 --> 01:06:00,880
Speaker 1: old man from before who is running from suits and

1184
01:06:00,920 --> 01:06:04,560
Speaker 1: he's frantic. He says, they're coming, they're coming, And in

1185
01:06:04,600 --> 01:06:07,880
Speaker 1: his hand he's still clutching that orange thing you saw earlier,

1186
01:06:08,240 --> 01:06:11,200
Speaker 1: and oh, we realize it is the Jack O lantern

1187
01:06:11,360 --> 01:06:14,920
Speaker 1: mask from the TV commercial. So already the gears are

1188
01:06:14,960 --> 01:06:17,800
Speaker 1: grinding in your head. Uh and then they hit you

1189
01:06:17,840 --> 01:06:21,400
Speaker 1: with something else. Immediately a new scene. Here comes Tom Atkins.

1190
01:06:21,680 --> 01:06:23,919
Speaker 1: He's also coming in out of the rain, but he's

1191
01:06:23,960 --> 01:06:28,120
Speaker 1: coming into a domestic foyer wearing a khaki jacket tucked

1192
01:06:28,200 --> 01:06:30,920
Speaker 1: up over his head and a red shirt and he

1193
01:06:31,000 --> 01:06:33,800
Speaker 1: is showing up at his ex wife's house to surprise

1194
01:06:33,840 --> 01:06:36,920
Speaker 1: the kids. Uh. So again tom Atkins character and this

1195
01:06:37,000 --> 01:06:40,480
Speaker 1: has played. His character is named Dan Challis and his

1196
01:06:40,560 --> 01:06:43,200
Speaker 1: ex wife, as we mentioned, is played by Nancy Kais

1197
01:06:43,280 --> 01:06:46,320
Speaker 1: or Nancy Loomis, who played Annie in the original Halloween.

1198
01:06:46,760 --> 01:06:51,440
Speaker 1: And she's immediately very unimpressed by his appearance. She's like, oh, brother,

1199
01:06:51,520 --> 01:06:54,560
Speaker 1: here's this idiot. But he shows up with presents for

1200
01:06:54,600 --> 01:06:57,320
Speaker 1: the kids. They've got two kids there at her house,

1201
01:06:57,360 --> 01:07:00,720
Speaker 1: and he has brought them Halloween masks. One of the

1202
01:07:00,760 --> 01:07:02,800
Speaker 1: things that I love about this is when when we

1203
01:07:02,920 --> 01:07:06,000
Speaker 1: when we see Atkins character Dr Challis visiting his kids.

1204
01:07:06,520 --> 01:07:10,160
Speaker 1: The kids are not excited about these older hard plastic

1205
01:07:10,440 --> 01:07:12,800
Speaker 1: um you know, plastic Halloween mass where they have the

1206
01:07:12,800 --> 01:07:15,520
Speaker 1: plastic front and a little elastic string that straps into

1207
01:07:15,560 --> 01:07:19,080
Speaker 1: your face. Um. They're excited about the prospect of these

1208
01:07:19,120 --> 01:07:23,280
Speaker 1: soft latex masks, in this case, the silver shamrock masks.

1209
01:07:23,560 --> 01:07:25,880
Speaker 1: And I remember feeling this way as a kid. You

1210
01:07:25,920 --> 01:07:29,040
Speaker 1: have those old, cheaper plastic masks, and they felt like

1211
01:07:29,160 --> 01:07:32,320
Speaker 1: kind of like kids stuff. You know, you why why

1212
01:07:32,320 --> 01:07:34,960
Speaker 1: would you wear that when you could take this latex

1213
01:07:35,080 --> 01:07:38,280
Speaker 1: mask of pure synthetic flesh and just put it over

1214
01:07:38,320 --> 01:07:41,080
Speaker 1: your entire head. I know exactly what you're talking about.

1215
01:07:41,080 --> 01:07:44,200
Speaker 1: They're incredibly ungrateful. Like he gives them the masks. He will,

1216
01:07:44,280 --> 01:07:47,000
Speaker 1: by the way to say, he brings the masks in

1217
01:07:47,000 --> 01:07:50,200
Speaker 1: in brown paper bags as if they were liquor bottles,

1218
01:07:50,200 --> 01:07:53,479
Speaker 1: which is appropriate for his character. But then he gives

1219
01:07:53,520 --> 01:07:56,440
Speaker 1: them the masks and they're just like, go to hell, dad,

1220
01:07:57,120 --> 01:07:59,120
Speaker 1: you know. Then they just don't want them at all.

1221
01:07:59,320 --> 01:08:01,720
Speaker 1: It's like the e a lent of the kid being

1222
01:08:01,760 --> 01:08:04,760
Speaker 1: sertainly because you know, he got a police station five

1223
01:08:04,920 --> 01:08:07,800
Speaker 1: from a confused grandparent. You know, this is this is

1224
01:08:07,840 --> 01:08:09,880
Speaker 1: not what you think it is. This is not cool.

1225
01:08:10,800 --> 01:08:13,000
Speaker 1: And in retrospect, those other plastic masks they were with

1226
01:08:13,080 --> 01:08:15,560
Speaker 1: cool mask. We should have been grateful. Yeah, yeah, you know,

1227
01:08:15,640 --> 01:08:18,240
Speaker 1: and these these plastic masks. If they had warned the

1228
01:08:18,240 --> 01:08:21,160
Speaker 1: crappy masks that that their dad brought them, they would

1229
01:08:21,200 --> 01:08:23,439
Speaker 1: not be killed by the TV commercial. I guess we

1230
01:08:23,439 --> 01:08:24,960
Speaker 1: we know, we don't know their fate at the end

1231
01:08:25,000 --> 01:08:27,720
Speaker 1: of the movie. But no, they say, well, mom got

1232
01:08:27,720 --> 01:08:30,639
Speaker 1: a silver shamrock masks and and those are the good ones,

1233
01:08:30,880 --> 01:08:33,559
Speaker 1: and so that you know they're they're just like, wow,

1234
01:08:33,640 --> 01:08:38,280
Speaker 1: thanks a lot, dad. But then tom Atkins his beeper

1235
01:08:38,320 --> 01:08:41,160
Speaker 1: goes off. He's he's he's a doctor and he is

1236
01:08:41,200 --> 01:08:43,280
Speaker 1: on call, and so he's like, I gotta go to

1237
01:08:43,280 --> 01:08:47,160
Speaker 1: the hospital and uh and his ex wife says drinking

1238
01:08:47,160 --> 01:08:51,320
Speaker 1: and doctor in great combination, and she is she is

1239
01:08:51,520 --> 01:08:55,040
Speaker 1: correct in pointing that out. But that won't stop him

1240
01:08:55,080 --> 01:08:59,200
Speaker 1: because I think in almost every scene tom Atkins is

1241
01:08:59,240 --> 01:09:02,120
Speaker 1: either drink king or has been implied to be drinking

1242
01:09:02,160 --> 01:09:04,960
Speaker 1: before the scene. Oh but but right before he leaves

1243
01:09:04,960 --> 01:09:07,439
Speaker 1: the house, they're like, hey, you know, are the viewers

1244
01:09:07,520 --> 01:09:09,880
Speaker 1: not annoyed enough yet? Maybe we should hit them with

1245
01:09:09,920 --> 01:09:12,960
Speaker 1: another silver shamrock commercials. So we watch another one while

1246
01:09:13,000 --> 01:09:16,120
Speaker 1: the kids watch it with their their faces approximately five

1247
01:09:16,160 --> 01:09:20,000
Speaker 1: inches from the TV screen, wearing their silver shamrock masks.

1248
01:09:20,080 --> 01:09:23,880
Speaker 1: They are just gunning for Halloween. Uh and and so

1249
01:09:24,520 --> 01:09:26,360
Speaker 1: I don't know if you noticed this too, Maybe there

1250
01:09:26,400 --> 01:09:28,360
Speaker 1: was something I missed about it, but it seems that

1251
01:09:28,400 --> 01:09:32,839
Speaker 1: in the universe of Halloween, three TV commercials are somehow

1252
01:09:33,479 --> 01:09:37,519
Speaker 1: publicly scheduled like TV shows, so that kids are able

1253
01:09:37,560 --> 01:09:42,280
Speaker 1: to deliberately tune in for silver shamrock commercials, which they

1254
01:09:42,280 --> 01:09:45,360
Speaker 1: watch repeatedly and on purpose, even though they already have

1255
01:09:45,560 --> 01:09:49,120
Speaker 1: the masks. Well, this is of what they call now

1256
01:09:49,160 --> 01:09:53,280
Speaker 1: appointment television, right, the idea that you know, back back

1257
01:09:53,280 --> 01:09:55,519
Speaker 1: in these days, like that you knew what was coming

1258
01:09:55,560 --> 01:09:59,200
Speaker 1: on TV and you watched it. You just watched TV

1259
01:09:59,320 --> 01:10:01,559
Speaker 1: in general. Uh So, I don't know this felt this

1260
01:10:01,600 --> 01:10:05,240
Speaker 1: felt appropriate? Okay? Well anyway, so, uh so Tom Atkins

1261
01:10:05,240 --> 01:10:06,880
Speaker 1: we find out that the call in his beeper is

1262
01:10:06,920 --> 01:10:09,200
Speaker 1: about the old man who is being chased. Earlier, the

1263
01:10:09,200 --> 01:10:12,080
Speaker 1: the gas station attendant who found him has brought him

1264
01:10:12,120 --> 01:10:14,880
Speaker 1: into the hospital. And at the hospital you see the

1265
01:10:14,880 --> 01:10:17,479
Speaker 1: old man. He's on a gurney and he starts freaking

1266
01:10:17,520 --> 01:10:20,280
Speaker 1: out because he sees a silver sham Rock commercial play

1267
01:10:20,400 --> 01:10:22,479
Speaker 1: on a hospital room TV. So I think this is

1268
01:10:22,520 --> 01:10:25,360
Speaker 1: the third time we're seeing it. And he starts saying,

1269
01:10:25,439 --> 01:10:29,320
Speaker 1: they're going to kill us, all of us. Uh. And

1270
01:10:29,400 --> 01:10:31,840
Speaker 1: so what to do? What to do about him saying that, Well,

1271
01:10:31,880 --> 01:10:36,040
Speaker 1: obviously Tom Atkins says a hundred milligrams thorisin. So they

1272
01:10:36,040 --> 01:10:40,240
Speaker 1: heavily sedate him. Uh. And then while he's lying there

1273
01:10:40,280 --> 01:10:44,280
Speaker 1: heavily sedated in a hospital room, oh, the suits have arrived.

1274
01:10:44,400 --> 01:10:46,880
Speaker 1: The guys in the gray business suits show up with

1275
01:10:46,920 --> 01:10:50,120
Speaker 1: their with their black gloves, and one of them is

1276
01:10:50,160 --> 01:10:53,400
Speaker 1: here at the hospital to finish the job. Uh. And

1277
01:10:53,680 --> 01:10:55,560
Speaker 1: but but by the way, before that happens, I just

1278
01:10:55,600 --> 01:10:57,240
Speaker 1: want to point out how funny it is that when

1279
01:10:57,240 --> 01:10:59,160
Speaker 1: they show the old man like drugged up in his

1280
01:10:59,240 --> 01:11:02,840
Speaker 1: hospital bed under hospital sheets in his hospital room, he's

1281
01:11:02,880 --> 01:11:07,280
Speaker 1: still clutching the silver Shamrock pumpkin mask. Uh, just there

1282
01:11:07,320 --> 01:11:10,360
Speaker 1: in his in his room. Well, that's his proof. There's

1283
01:11:10,400 --> 01:11:12,800
Speaker 1: also a funny bit here where tom Atkins. I think

1284
01:11:12,840 --> 01:11:15,080
Speaker 1: because he's drunk. He goes back to his office to

1285
01:11:15,160 --> 01:11:20,320
Speaker 1: sleep on the couch. Yes, yes, and he he briefly

1286
01:11:20,400 --> 01:11:23,920
Speaker 1: opens the refrigerator in his office, and I was trying

1287
01:11:24,000 --> 01:11:25,519
Speaker 1: to look in there and see what it was. It

1288
01:11:25,560 --> 01:11:27,400
Speaker 1: looks like he's got a bunch of cokes and he's

1289
01:11:27,400 --> 01:11:31,080
Speaker 1: got milk, and then huge cans of tomato juice and

1290
01:11:31,120 --> 01:11:34,439
Speaker 1: then champagne glasses on top of the fridge. And I

1291
01:11:34,479 --> 01:11:37,120
Speaker 1: think maybe a bunch of pieces of chicken. Yeah, I

1292
01:11:37,160 --> 01:11:40,000
Speaker 1: mean a champagne and tomato juice like that. That was

1293
01:11:40,120 --> 01:11:44,400
Speaker 1: his signature cocktail, right, The doctor challis special. Oh man,

1294
01:11:44,439 --> 01:11:47,760
Speaker 1: I'm trying to imagine that. It din sound good. It's like,

1295
01:11:48,000 --> 01:11:50,519
Speaker 1: h yeah, it's it's it's it's a it's a twist

1296
01:11:50,560 --> 01:11:55,639
Speaker 1: on the mimosa and the bloody Mary. Maybe I don't know,

1297
01:11:55,720 --> 01:11:59,519
Speaker 1: it's called a bloody tom Yeah, bloody chellis. Now I

1298
01:11:59,560 --> 01:12:02,880
Speaker 1: have to say, are our witness here, Harry Grimbridge clutching

1299
01:12:02,920 --> 01:12:05,400
Speaker 1: the mask that the androids do get to him and

1300
01:12:05,560 --> 01:12:07,680
Speaker 1: they just they murder the hell out of him. And

1301
01:12:08,640 --> 01:12:11,720
Speaker 1: this film has some some ultimately some great kills in

1302
01:12:11,760 --> 01:12:15,720
Speaker 1: it because the androids seem to be like that. It's

1303
01:12:15,720 --> 01:12:18,200
Speaker 1: almost like there's a neural network at play trying to

1304
01:12:18,240 --> 01:12:21,760
Speaker 1: figure out how to murder humans, because they do so

1305
01:12:21,840 --> 01:12:25,080
Speaker 1: in ways that that totally work but are slightly illogical.

1306
01:12:25,080 --> 01:12:28,880
Speaker 1: So they don't just necessarily like stab somebody or choke them.

1307
01:12:29,160 --> 01:12:33,479
Speaker 1: It's stuff like pinching their eyeballs and crunching their skull

1308
01:12:33,960 --> 01:12:37,679
Speaker 1: or or twisting their head off, you know, things that

1309
01:12:37,880 --> 01:12:43,519
Speaker 1: just seem uncanny, uh, in a very very effective manner. Yeah. So,

1310
01:12:43,520 --> 01:12:47,200
Speaker 1: so the the android here kills the old man with

1311
01:12:47,240 --> 01:12:50,880
Speaker 1: like an eye gouging pinch kind of thing. Uh. And

1312
01:12:50,920 --> 01:12:53,960
Speaker 1: then and then immediately gets rid of the evidence by

1313
01:12:54,240 --> 01:12:58,720
Speaker 1: dousing himself and gasoline in his car and and self immolating,

1314
01:12:59,040 --> 01:13:02,040
Speaker 1: which ultimately ends up becoming a great plot point because

1315
01:13:02,560 --> 01:13:06,040
Speaker 1: they're they're analyzing the remnants of the burn, and they're like, oh,

1316
01:13:06,080 --> 01:13:08,120
Speaker 1: well the body, we didn't get the body, it's just

1317
01:13:08,520 --> 01:13:10,400
Speaker 1: parts in here. What happened to the body is somebody

1318
01:13:10,439 --> 01:13:13,200
Speaker 1: messed up, when in reality it's because Will that was

1319
01:13:13,240 --> 01:13:15,840
Speaker 1: an android and you you just don't recognize it. But

1320
01:13:15,920 --> 01:13:18,559
Speaker 1: before he does that, he starts some people start screaming,

1321
01:13:18,960 --> 01:13:21,720
Speaker 1: and this rouses Tom Atkins from his his nap on

1322
01:13:21,760 --> 01:13:24,920
Speaker 1: the couch. Um, And so he gives chase. And then

1323
01:13:24,960 --> 01:13:27,679
Speaker 1: I'm wondering, well, does this hospital not have security? Why

1324
01:13:27,720 --> 01:13:31,760
Speaker 1: is it up to the resident physician to chase down murderers? Um,

1325
01:13:31,920 --> 01:13:35,400
Speaker 1: But anyway, he chases the android outside, which again we

1326
01:13:35,439 --> 01:13:38,200
Speaker 1: don't know is an android at this point, but you know,

1327
01:13:39,200 --> 01:13:40,960
Speaker 1: if you've seen in the movie enough times, it's hard

1328
01:13:40,960 --> 01:13:42,600
Speaker 1: not to refer to them that way. He chases the

1329
01:13:42,600 --> 01:13:44,599
Speaker 1: guy in the gray suit outside but the guy, yeah,

1330
01:13:44,640 --> 01:13:47,719
Speaker 1: he burns himself up and his car explodes. I remember

1331
01:13:47,760 --> 01:13:51,479
Speaker 1: Tommy Lee Wallace in the director's commentary saying, when in doubt,

1332
01:13:51,520 --> 01:13:55,160
Speaker 1: blow it up, blow it up big. We don't know

1333
01:13:55,200 --> 01:13:57,559
Speaker 1: what's power We don't know what's powering that android. That

1334
01:13:57,640 --> 01:13:59,519
Speaker 1: that's true. Yeah, I don't think any of the other

1335
01:13:59,520 --> 01:14:02,200
Speaker 1: ones blow up, but uh, you know, still fair enough.

1336
01:14:03,280 --> 01:14:07,919
Speaker 1: He's gotta he's got an onboard nuclear nuclear vision reactor

1337
01:14:08,000 --> 01:14:11,080
Speaker 1: or something. Um. Anyway, anyway, next thing we see, Tom

1338
01:14:11,080 --> 01:14:13,920
Speaker 1: Atkins is on the phone with his wife, his ex wife, sorry,

1339
01:14:13,920 --> 01:14:16,640
Speaker 1: and um he is. He's like, yeah, I won't be

1340
01:14:16,720 --> 01:14:18,840
Speaker 1: able to pick the kids up, and she starts yelling

1341
01:14:18,840 --> 01:14:20,760
Speaker 1: at him. You can hear through the phone, and he's like, well,

1342
01:14:20,800 --> 01:14:23,599
Speaker 1: you just relax for a minute. Two men died here tonight.

1343
01:14:24,040 --> 01:14:27,840
Speaker 1: But he gets no respect and uh. And so Tom

1344
01:14:27,840 --> 01:14:31,400
Speaker 1: Atkins picks up the silver shamrock pumpkin mask left behind

1345
01:14:31,439 --> 01:14:33,720
Speaker 1: by the dead guy and he's looking at it and

1346
01:14:33,760 --> 01:14:36,200
Speaker 1: he's like, what's up with this? And there's good ominous

1347
01:14:36,280 --> 01:14:38,320
Speaker 1: music and and then you get that one of those

1348
01:14:38,640 --> 01:14:41,519
Speaker 1: you know, Daniel plan Lisa needs braces, but it's they're

1349
01:14:41,520 --> 01:14:43,680
Speaker 1: going to kill us. It's the old man saying that

1350
01:14:43,800 --> 01:14:46,000
Speaker 1: over and over in his head. Uh. Then we get

1351
01:14:46,040 --> 01:14:50,639
Speaker 1: another update on the day, so it cuts to Sunday,

1352
01:14:50,880 --> 01:14:53,320
Speaker 1: and here we meet Stacy Nelkin for the first time.

1353
01:14:53,360 --> 01:14:55,960
Speaker 1: She shows up at the hospital and it's revealed that

1354
01:14:56,000 --> 01:14:58,280
Speaker 1: the dead man, Harry grim Bridge, is her father. Her

1355
01:14:58,360 --> 01:15:01,320
Speaker 1: character's name is Ellie grim Bridge. Uh. So she comes

1356
01:15:01,320 --> 01:15:03,280
Speaker 1: in to speak to the police and she says, yes,

1357
01:15:03,360 --> 01:15:07,120
Speaker 1: that's my father. What happened? And then the sheriff is uh,

1358
01:15:07,160 --> 01:15:08,919
Speaker 1: I wanted to know what if I seen the sheriff

1359
01:15:08,960 --> 01:15:11,120
Speaker 1: in before, I'm not sure, but he seemed familiar, but

1360
01:15:11,600 --> 01:15:14,040
Speaker 1: he's just kind of gruff, and he goes, uh. She

1361
01:15:14,080 --> 01:15:16,519
Speaker 1: says what happened to him? And he's like, ah, I'm

1362
01:15:16,600 --> 01:15:19,160
Speaker 1: crazy man killed himself in the parking lot right after

1363
01:15:19,320 --> 01:15:26,040
Speaker 1: drugs probably, yeah, drugs probably. Uh. And so she's upset

1364
01:15:26,240 --> 01:15:28,599
Speaker 1: and uh and Tom Atkins sees her, and you think

1365
01:15:28,600 --> 01:15:30,479
Speaker 1: he's gonna go ask her what this is about, but

1366
01:15:30,600 --> 01:15:34,160
Speaker 1: instead he just walks away. And then you get another thing.

1367
01:15:34,439 --> 01:15:38,360
Speaker 1: On Wednesday. You see Tom Atkins goes to visit a

1368
01:15:38,400 --> 01:15:40,559
Speaker 1: friend of his who works in one of the labs.

1369
01:15:40,640 --> 01:15:42,200
Speaker 1: I don't know if this is at the hospital or

1370
01:15:42,240 --> 01:15:44,920
Speaker 1: somewhere else, but uh. Tom goes to visit his friend

1371
01:15:44,960 --> 01:15:47,479
Speaker 1: to say, hey, what was up with this assassin? And uh.

1372
01:15:47,720 --> 01:15:49,600
Speaker 1: She says, well, we don't know yet. He's just a

1373
01:15:49,640 --> 01:15:53,040
Speaker 1: pile of ashes. Sheriff says he was on drugs, and

1374
01:15:53,160 --> 01:15:56,120
Speaker 1: Tom says, he goes, that doesn't make sense. I've seen

1375
01:15:56,160 --> 01:15:59,320
Speaker 1: people on drugs. This man was in complete control. He

1376
01:15:59,360 --> 01:16:01,760
Speaker 1: looked like a bit this man. So I guess the

1377
01:16:01,800 --> 01:16:03,960
Speaker 1: logic is he looked like a business Did you see

1378
01:16:03,960 --> 01:16:06,120
Speaker 1: a suit. He couldn't have been on drugs. That was

1379
01:16:06,160 --> 01:16:10,920
Speaker 1: no hippie. Yeah. Um, and she says she says he

1380
01:16:10,960 --> 01:16:13,639
Speaker 1: had to be one strong businessman. You don't just pull

1381
01:16:13,720 --> 01:16:16,839
Speaker 1: someone's skull apart with a without a little lower arm strength.

1382
01:16:16,840 --> 01:16:19,200
Speaker 1: And know what I mean, And I went off, this

1383
01:16:19,320 --> 01:16:21,519
Speaker 1: is subtle commentary to the idea if you're dressed like

1384
01:16:21,560 --> 01:16:24,880
Speaker 1: a businessman in this, in this at this time, and

1385
01:16:25,200 --> 01:16:27,240
Speaker 1: you can you can go walk into a hospital and

1386
01:16:27,280 --> 01:16:29,400
Speaker 1: just murder somebody and people would just be like, I

1387
01:16:29,439 --> 01:16:32,120
Speaker 1: don't know nothing he can do. Yeah, well, I mean

1388
01:16:32,160 --> 01:16:33,640
Speaker 1: I think that would sort of fit in with what

1389
01:16:33,720 --> 01:16:36,040
Speaker 1: Tommy Lee Wallace was saying about his attitude when he

1390
01:16:36,080 --> 01:16:39,160
Speaker 1: was making a movie. So I guess that checks out. Um.

1391
01:16:39,840 --> 01:16:42,320
Speaker 1: But yeah, But anyway, so tom Atkins is like, hey,

1392
01:16:42,320 --> 01:16:44,640
Speaker 1: do me a favorite check this out yourself. I was

1393
01:16:44,680 --> 01:16:47,479
Speaker 1: having a hard time thinking exactly what he's asking for.

1394
01:16:47,600 --> 01:16:51,680
Speaker 1: I think he's asking her to do lab work on

1395
01:16:51,760 --> 01:16:54,639
Speaker 1: the burned remains of the killer to find out what

1396
01:16:54,760 --> 01:16:57,080
Speaker 1: kind of drugs he may have been on. Do you

1397
01:16:57,120 --> 01:16:59,120
Speaker 1: do you think that's what it's supposed to be. I

1398
01:16:59,160 --> 01:17:01,280
Speaker 1: think so. And this is a case where we kind

1399
01:17:01,280 --> 01:17:03,320
Speaker 1: of come back to the idea that it's tom Atkins

1400
01:17:03,400 --> 01:17:06,880
Speaker 1: as cop as doctor. So his doctor character ultimately ends

1401
01:17:06,920 --> 01:17:08,519
Speaker 1: up doing a lot of things that are more in

1402
01:17:08,640 --> 01:17:12,080
Speaker 1: keeping with what a TV cop would do. Um, And

1403
01:17:12,200 --> 01:17:14,439
Speaker 1: you ultimately just kind of roll with it because these

1404
01:17:14,479 --> 01:17:17,720
Speaker 1: are things the protagonist does, so you just followed along. Yeah,

1405
01:17:17,720 --> 01:17:19,519
Speaker 1: it doesn't make a lot of sense. Also that he

1406
01:17:19,640 --> 01:17:22,120
Speaker 1: and his his friend at the lab kiss as he's departing.

1407
01:17:22,160 --> 01:17:25,280
Speaker 1: So yet again, Tom appears to have multiple inappropriate, semi

1408
01:17:25,400 --> 01:17:29,479
Speaker 1: romantic relationships with numerous co workers and other characters. And

1409
01:17:29,479 --> 01:17:31,760
Speaker 1: we we don't seem we're not asked to have thoughts

1410
01:17:31,800 --> 01:17:34,920
Speaker 1: about this one where Yeah, it's just they just presented

1411
01:17:34,960 --> 01:17:38,080
Speaker 1: it happens, okay, And then okay, so we get a

1412
01:17:38,120 --> 01:17:40,920
Speaker 1: new update on the date, so it's Friday the twenty nine,

1413
01:17:41,160 --> 01:17:43,680
Speaker 1: and then we see Tom Atkins at a bar. And

1414
01:17:43,720 --> 01:17:46,519
Speaker 1: I love this bar because it has this complex mural

1415
01:17:46,640 --> 01:17:48,920
Speaker 1: on the on the wall behind him. It looks like

1416
01:17:48,960 --> 01:17:53,040
Speaker 1: the it's like the hieronymous Bosh bar. Uh. You never

1417
01:17:53,040 --> 01:17:54,640
Speaker 1: get a really close look at it, so I'm not

1418
01:17:54,680 --> 01:17:56,880
Speaker 1: sure what all is in the mural, but it's very busy,

1419
01:17:57,040 --> 01:18:00,559
Speaker 1: busy decorations. Yeah, it's a very gloomy looking bar. This

1420
01:18:00,640 --> 01:18:03,400
Speaker 1: is not it's it's more in keeping with the bar

1421
01:18:03,479 --> 01:18:08,280
Speaker 1: on The Simpsons. Most like a nice comfy bar where

1422
01:18:08,360 --> 01:18:11,559
Speaker 1: you know, where everybody knows your name. Yeah, so this

1423
01:18:11,640 --> 01:18:13,880
Speaker 1: is the place where he's watching the cartoon on TV.

1424
01:18:14,040 --> 01:18:17,040
Speaker 1: That may have been animated by Ralph Bakshe and then

1425
01:18:17,200 --> 01:18:20,360
Speaker 1: a Silver Shamrock commercial comes on. No wait, no, that

1426
01:18:20,400 --> 01:18:22,960
Speaker 1: this hasn't happened yet. First he says, hey, Charlie, can

1427
01:18:22,960 --> 01:18:25,240
Speaker 1: we have another station? I guess talking to the bartender,

1428
01:18:25,280 --> 01:18:27,120
Speaker 1: and he's like, you got it? So they changed the channel,

1429
01:18:27,160 --> 01:18:31,000
Speaker 1: and then it's Halloween. Uh the John Carpenter original, and

1430
01:18:31,040 --> 01:18:34,559
Speaker 1: I think the TV announcer says the Immortal Classic, followed

1431
01:18:34,600 --> 01:18:38,240
Speaker 1: by the big giveaway at nine brought to you by

1432
01:18:38,320 --> 01:18:40,560
Speaker 1: and then the Silver Shamrock commercial plays again. So I

1433
01:18:40,600 --> 01:18:42,479
Speaker 1: think this might be the fifth time we hear it

1434
01:18:42,479 --> 01:18:45,120
Speaker 1: in the movie so far. But now it's two more

1435
01:18:45,200 --> 01:18:49,320
Speaker 1: days to Halloween, and when Tom Atkins expresses dislike of

1436
01:18:49,360 --> 01:18:52,839
Speaker 1: the Silver Shamrock commercial, the bartender kind of gets offended.

1437
01:18:52,880 --> 01:18:55,400
Speaker 1: He's like, hey, man, don't you have any Halloween spirit?

1438
01:18:57,880 --> 01:19:00,719
Speaker 1: But then so while he's at this bar having a drink,

1439
01:19:00,720 --> 01:19:03,840
Speaker 1: he gets approached by Stacy Nelkin. She comes in and

1440
01:19:03,920 --> 01:19:06,320
Speaker 1: she introduces herself. She says, Hi, my name is Ellie

1441
01:19:06,320 --> 01:19:08,760
Speaker 1: grim Bridge. One of the nurses told me I could

1442
01:19:08,760 --> 01:19:12,120
Speaker 1: find you here, which was funny. Okay, so yeah, oh yeah,

1443
01:19:12,160 --> 01:19:15,200
Speaker 1: He'll be at the bar and she asked, did my

1444
01:19:15,280 --> 01:19:17,720
Speaker 1: father say anything to you the night he died? And

1445
01:19:17,760 --> 01:19:20,639
Speaker 1: so first he tries to lie to her and says, oh, yeah,

1446
01:19:20,640 --> 01:19:22,559
Speaker 1: he told me. Tell Ellie I love her, and she

1447
01:19:22,680 --> 01:19:24,880
Speaker 1: doesn't buy that. She's like, no, you know you're not

1448
01:19:24,920 --> 01:19:29,240
Speaker 1: good at lying U. So instead Tom Atkins fills his guts.

1449
01:19:29,240 --> 01:19:31,360
Speaker 1: He says, I don't know. He came in scared. He

1450
01:19:31,400 --> 01:19:33,760
Speaker 1: was clutching a Halloween mask, and what he said was

1451
01:19:34,120 --> 01:19:37,559
Speaker 1: they're gonna kill us all. And then uh oh. And

1452
01:19:37,600 --> 01:19:39,639
Speaker 1: then after that he says, and in a little while

1453
01:19:39,720 --> 01:19:42,000
Speaker 1: he was dead, and I don't know what the hell

1454
01:19:42,160 --> 01:19:45,280
Speaker 1: is going on. Uh So I guess at this point

1455
01:19:45,320 --> 01:19:47,439
Speaker 1: you can just tell they're gonna team up and find out.

1456
01:19:47,479 --> 01:19:48,720
Speaker 1: And that's what the rest of the movie is going

1457
01:19:48,760 --> 01:19:51,680
Speaker 1: to be. You know. The thing is that Grimbridge he

1458
01:19:52,200 --> 01:19:55,080
Speaker 1: didn't have the complete truth here. They weren't planning to

1459
01:19:55,160 --> 01:19:58,360
Speaker 1: kill us all. They were only planning to kill most

1460
01:19:58,400 --> 01:20:03,320
Speaker 1: of the children, all the children who watched tv UM

1461
01:20:03,360 --> 01:20:06,559
Speaker 1: in America at least. They actually even more than that.

1462
01:20:06,960 --> 01:20:08,640
Speaker 1: They weren't going to kill all the children. They were

1463
01:20:08,640 --> 01:20:10,800
Speaker 1: going to kill all the like the cool kids, the

1464
01:20:10,880 --> 01:20:15,519
Speaker 1: kids whose parents bought them the expensive upscale Halloween masks. Uh,

1465
01:20:15,640 --> 01:20:17,479
Speaker 1: not not like the kids who were stuck with the

1466
01:20:17,479 --> 01:20:20,880
Speaker 1: hard plastic masks that tom Atkins tried to give his kids. Yeah,

1467
01:20:20,920 --> 01:20:24,240
Speaker 1: I'm not saying those are acceptable numbers either, but but

1468
01:20:24,400 --> 01:20:26,760
Speaker 1: just saying that that technically what he was saying was

1469
01:20:26,800 --> 01:20:37,600
Speaker 1: not true. So the next thing they do, they go

1470
01:20:37,640 --> 01:20:40,960
Speaker 1: to Harry Grimbridge's closed novelty store and they do some

1471
01:20:41,040 --> 01:20:43,479
Speaker 1: detective work, or I guess Stacy Nelkin has done the

1472
01:20:43,560 --> 01:20:45,960
Speaker 1: detective work. Tom Atkins doesn't actually do a lot of

1473
01:20:46,000 --> 01:20:49,160
Speaker 1: figuring things out in this movie, mostly like she does.

1474
01:20:49,200 --> 01:20:53,080
Speaker 1: And then he's like, okay, And so she she has

1475
01:20:53,160 --> 01:20:56,040
Speaker 1: done detective work by looking down events from her father's

1476
01:20:56,080 --> 01:21:00,680
Speaker 1: diary and she realizes that that he did everything in

1477
01:21:00,760 --> 01:21:04,000
Speaker 1: his schedule up until he was supposed to go up

1478
01:21:04,040 --> 01:21:09,599
Speaker 1: to a too restock Halloween masks from the Silver Shamrock Factory,

1479
01:21:09,960 --> 01:21:12,719
Speaker 1: which is in a nearby small town called Santa Meira,

1480
01:21:12,880 --> 01:21:15,640
Speaker 1: and that's the last thing from his diary that he

1481
01:21:15,680 --> 01:21:18,800
Speaker 1: actually did. So they decide they're going to go to

1482
01:21:18,800 --> 01:21:22,439
Speaker 1: Santamira to investigate. Uh. And then I gotta say when

1483
01:21:22,479 --> 01:21:24,519
Speaker 1: they're when they're about to head out of town, there

1484
01:21:24,640 --> 01:21:28,840
Speaker 1: is a really funny scene which always every time I've

1485
01:21:28,840 --> 01:21:30,720
Speaker 1: showed this movie Two People, this is one of the

1486
01:21:30,760 --> 01:21:33,360
Speaker 1: scenes that makes people laugh the most is where Tom

1487
01:21:33,360 --> 01:21:36,160
Speaker 1: Atkins is on the pay phone talking to his ex wife.

1488
01:21:36,479 --> 01:21:38,240
Speaker 1: He's like, you know, yeah, I gotta be out of town.

1489
01:21:38,400 --> 01:21:41,479
Speaker 1: I'll be back soon, look see you later, and then

1490
01:21:41,560 --> 01:21:44,000
Speaker 1: he hangs up the phone. And when he and like,

1491
01:21:44,120 --> 01:21:46,360
Speaker 1: as he hangs up the phone, somehow he moves and

1492
01:21:46,400 --> 01:21:49,400
Speaker 1: the camera moves to reveal a six pack of Miller.

1493
01:21:52,240 --> 01:21:54,600
Speaker 1: It's been there the whole time, but it was obscured

1494
01:21:54,760 --> 01:21:58,160
Speaker 1: until the until he moves out of frame, and then

1495
01:21:58,200 --> 01:22:01,680
Speaker 1: he grabs the six pack and runs straight to the car. Uh.

1496
01:22:01,680 --> 01:22:03,519
Speaker 1: And then I think we see at this point a

1497
01:22:03,600 --> 01:22:07,040
Speaker 1: TV display in a storefront playing the Silver Shamrock commercials.

1498
01:22:07,040 --> 01:22:09,280
Speaker 1: So at this point we're definitely like six or seven

1499
01:22:09,320 --> 01:22:12,320
Speaker 1: times of seeing it. Yeah, yeah, And I think we're

1500
01:22:12,320 --> 01:22:14,000
Speaker 1: supposed to be sick of it. Yeah, we're supposed to

1501
01:22:14,040 --> 01:22:16,040
Speaker 1: be sick of hearing the jingle too. But it's also

1502
01:22:16,080 --> 01:22:18,640
Speaker 1: growing more and more ominous because we're we're getting in

1503
01:22:19,560 --> 01:22:24,200
Speaker 1: increasing info, increasing intelligence on on what exactly this is

1504
01:22:24,240 --> 01:22:26,800
Speaker 1: all about. Yeah. So here we have basically the set

1505
01:22:26,880 --> 01:22:28,400
Speaker 1: up to the plot. You know, this is the end

1506
01:22:28,400 --> 01:22:30,360
Speaker 1: of act one. They're going off to Santa Mira to

1507
01:22:30,360 --> 01:22:32,839
Speaker 1: find out what's going on, and we get some narration

1508
01:22:32,880 --> 01:22:35,880
Speaker 1: while they're traveling at Tom Atkins or one of them

1509
01:22:35,920 --> 01:22:39,280
Speaker 1: is reading about this place. They say it was They

1510
01:22:39,280 --> 01:22:42,040
Speaker 1: say Santimira was founded in eighteen eighty seven, grew up

1511
01:22:42,040 --> 01:22:46,240
Speaker 1: around a large dairy. Around World War two. A wealthy irishman,

1512
01:22:46,320 --> 01:22:51,240
Speaker 1: conal Cochrane converted it into a toy factory silver Shamrock Novelties,

1513
01:22:51,680 --> 01:22:55,080
Speaker 1: now given over to the manufacturer and sale of Halloween masks.

1514
01:22:55,400 --> 01:22:59,200
Speaker 1: Proud community predominantly Irish. I don't know where they're reading,

1515
01:22:59,200 --> 01:23:02,800
Speaker 1: that is, if that's in like the road Atlas or whatever. Um.

1516
01:23:02,840 --> 01:23:05,120
Speaker 1: But as they're driving up there, I gotta comment on

1517
01:23:05,160 --> 01:23:08,639
Speaker 1: the landscape so green, so green. Maybe that's just how

1518
01:23:08,680 --> 01:23:11,840
Speaker 1: northern California is, but it was beautiful. Yeah yeah. And

1519
01:23:11,880 --> 01:23:14,360
Speaker 1: then ultimately we get you know, the entry into the

1520
01:23:14,360 --> 01:23:17,599
Speaker 1: creepy town, the town where things are not quite right,

1521
01:23:17,640 --> 01:23:20,800
Speaker 1: which is the staple so many horror tales. Uh, and

1522
01:23:20,680 --> 01:23:24,320
Speaker 1: it is they pulled off effectively here as well. Oh yeah,

1523
01:23:24,320 --> 01:23:26,679
Speaker 1: so they're driving I love these parts too. They're driving

1524
01:23:26,720 --> 01:23:29,559
Speaker 1: around and everybody's just peeping out at them, peeping out

1525
01:23:29,600 --> 01:23:32,760
Speaker 1: through windows and looking around corners as they drive in.

1526
01:23:33,320 --> 01:23:36,280
Speaker 1: And Stacy Nelkins says, wow, I feel like a goldfish.

1527
01:23:36,400 --> 01:23:39,200
Speaker 1: And and Tom Atkins says, yeah, it's a company town.

1528
01:23:39,720 --> 01:23:42,439
Speaker 1: And we see their security cameras everywhere. This is a

1529
01:23:42,479 --> 01:23:47,200
Speaker 1: town under strict surveillance. And there's just technology and and

1530
01:23:47,400 --> 01:23:50,200
Speaker 1: and it's and it's a panopticon here. And of course,

1531
01:23:50,400 --> 01:23:53,880
Speaker 1: as with a with a with a natural panopticon, uh,

1532
01:23:53,920 --> 01:23:56,360
Speaker 1: the boss, the oversight can show up at any moment.

1533
01:23:56,479 --> 01:23:58,680
Speaker 1: And that's that's one of the things we see here

1534
01:23:58,680 --> 01:24:01,719
Speaker 1: is that there's the there's the limb, that's Conald Cochrane

1535
01:24:01,720 --> 01:24:03,720
Speaker 1: in there. Oh yeah, after this, so they check into

1536
01:24:03,760 --> 01:24:07,679
Speaker 1: a hotel. Yeah, and the the hotel proprietor or motel.

1537
01:24:07,720 --> 01:24:09,640
Speaker 1: I guess it's a place that's got these little like

1538
01:24:09,880 --> 01:24:12,519
Speaker 1: uh rooms that are side by side at one level

1539
01:24:12,560 --> 01:24:15,840
Speaker 1: that are this garish combination of pink and white. Um.

1540
01:24:16,240 --> 01:24:20,040
Speaker 1: And the proprietor as this this limo cruises down the street,

1541
01:24:20,400 --> 01:24:22,920
Speaker 1: he says, ah, here's Mr Cochrane. Now, he says, he's

1542
01:24:22,960 --> 01:24:26,280
Speaker 1: a great man, Conald Cochrane, a true genius. And and

1543
01:24:26,280 --> 01:24:28,880
Speaker 1: and it is We We get more information on this later,

1544
01:24:28,920 --> 01:24:31,680
Speaker 1: but he was a maker of toys but also a

1545
01:24:31,720 --> 01:24:36,240
Speaker 1: collector and ultimately a master of automatons because uh, you know,

1546
01:24:36,280 --> 01:24:40,560
Speaker 1: the lines are drawn between you know, old clockwork novelties

1547
01:24:40,920 --> 01:24:44,880
Speaker 1: and these modern android servants that he's created to carry

1548
01:24:44,880 --> 01:24:48,280
Speaker 1: out his uh, his strange plan. Yeah. Now, so far

1549
01:24:48,400 --> 01:24:50,880
Speaker 1: this movie is a little light on characters for a

1550
01:24:50,880 --> 01:24:53,599
Speaker 1: horror movie, because you know, a horror movie, especially a

1551
01:24:53,600 --> 01:24:56,080
Speaker 1: more vulgar one, it's always got to have some characters

1552
01:24:56,120 --> 01:24:59,080
Speaker 1: who must suffer an ill fate that can't be you know,

1553
01:24:59,240 --> 01:25:01,519
Speaker 1: can't be visited it upon your main characters, at least

1554
01:25:01,520 --> 01:25:04,479
Speaker 1: not until the end. Um. So some other people show up.

1555
01:25:04,720 --> 01:25:07,400
Speaker 1: That's right. We have this family in an RV and

1556
01:25:07,520 --> 01:25:10,960
Speaker 1: uh and and there're a lot there, Yes, they're a lot. Yeah,

1557
01:25:11,000 --> 01:25:14,760
Speaker 1: they're in a Winnebago. I think they're they're blasting loud music. Uh.

1558
01:25:14,800 --> 01:25:17,960
Speaker 1: They have the most the world's most disgusting redheaded child.

1559
01:25:18,840 --> 01:25:21,479
Speaker 1: Dad's name is Buddy Cup for he's from San Diego,

1560
01:25:21,560 --> 01:25:24,280
Speaker 1: and he's like a big halloween store guy, I think,

1561
01:25:24,360 --> 01:25:27,280
Speaker 1: or costume store or something. He he buys a lot

1562
01:25:27,320 --> 01:25:30,519
Speaker 1: of silver sham rock masks and uh. And then they

1563
01:25:30,520 --> 01:25:34,120
Speaker 1: reveal their child, Buddy Jr. And as Buddy Jr. Is

1564
01:25:34,160 --> 01:25:36,519
Speaker 1: like riding off on his bicycle, he gives his mom

1565
01:25:36,560 --> 01:25:41,680
Speaker 1: the finger. So very very ill behaved child. And I

1566
01:25:41,720 --> 01:25:44,280
Speaker 1: think I recall from the Tommy Lee Wallace commentary track

1567
01:25:44,400 --> 01:25:46,920
Speaker 1: him saying that the kid who plays the obnoxious child

1568
01:25:47,000 --> 01:25:49,439
Speaker 1: grew up to become like a priest or a rabbi

1569
01:25:49,640 --> 01:25:53,479
Speaker 1: or something. So, yeah, they're in town. Apparently people come

1570
01:25:53,560 --> 01:25:57,960
Speaker 1: to the company town to to buy wholesale masks and

1571
01:25:58,000 --> 01:26:00,320
Speaker 1: other products so that they can sell them at they're

1572
01:26:00,600 --> 01:26:03,320
Speaker 1: like their mom and pop shop or in Wayne, or

1573
01:26:03,560 --> 01:26:05,679
Speaker 1: or a chain they happen to run. How that seems

1574
01:26:05,680 --> 01:26:08,120
Speaker 1: to be the situation here. Yeah, but it's already like

1575
01:26:08,200 --> 01:26:10,920
Speaker 1: two days till Halloween. It seems a little late for

1576
01:26:10,960 --> 01:26:14,160
Speaker 1: them to be like scoping out sources for Halloween masks.

1577
01:26:14,360 --> 01:26:16,519
Speaker 1: Yeah you think, I mean, it's it seems to be

1578
01:26:16,560 --> 01:26:18,479
Speaker 1: the case at least now like they stopped they start

1579
01:26:18,520 --> 01:26:20,840
Speaker 1: clearing out the Halloween stuff that close to the date,

1580
01:26:20,880 --> 01:26:23,880
Speaker 1: it's time to start selling all that Christmas stuff. Yeah

1581
01:26:23,600 --> 01:26:26,599
Speaker 1: uh oh, but another buyer arrives at the motel. This

1582
01:26:26,680 --> 01:26:29,360
Speaker 1: is like an angry lady who's The character is named

1583
01:26:29,400 --> 01:26:32,840
Speaker 1: Marge Gutman. She's played by Garden Stevens, who at some

1584
01:26:32,920 --> 01:26:37,679
Speaker 1: point Tom Atkins was her husband. Uh so in real life.

1585
01:26:38,479 --> 01:26:42,479
Speaker 1: But anyway, on the detective front, you get Tom Atkins.

1586
01:26:42,520 --> 01:26:46,360
Speaker 1: He reveals that, oh, Harry grim Bridge was here. He

1587
01:26:46,479 --> 01:26:49,680
Speaker 1: stayed at the motel right before he disappeared. So so

1588
01:26:49,760 --> 01:26:52,840
Speaker 1: he goes and he tells Stacy Nelkin that and she's like, oh, okay,

1589
01:26:52,920 --> 01:26:55,360
Speaker 1: let's go right to the factory and learn more. And

1590
01:26:55,640 --> 01:27:00,280
Speaker 1: Tom goes, woe, slow down, I need to drink first. Uh.

1591
01:27:00,320 --> 01:27:03,400
Speaker 1: And then here also we get some of the development

1592
01:27:03,400 --> 01:27:07,680
Speaker 1: of the absolutely the just the baffling and totally inappropriate

1593
01:27:07,760 --> 01:27:11,639
Speaker 1: love story. Uh that that makes no sense, makes no sense.

1594
01:27:11,680 --> 01:27:15,320
Speaker 1: And then she's a robot. Yeah, yeah, totally unearned love story.

1595
01:27:15,520 --> 01:27:18,559
Speaker 1: I mean, there are plenty of of, you know, solid

1596
01:27:18,600 --> 01:27:21,080
Speaker 1: tales you can turn to where people in in in

1597
01:27:21,360 --> 01:27:25,200
Speaker 1: situations of great stress are brought together romantically. You know,

1598
01:27:25,240 --> 01:27:27,960
Speaker 1: it can be earned, but here it is absolutely not learned.

1599
01:27:28,320 --> 01:27:31,720
Speaker 1: It's just it's just as as if someone said, and

1600
01:27:31,760 --> 01:27:33,559
Speaker 1: then we have a love story here, right to sell

1601
01:27:33,600 --> 01:27:36,000
Speaker 1: some more tickets, and they're like, okay, we'll make it happen.

1602
01:27:36,000 --> 01:27:39,000
Speaker 1: Then yeah. Anyway, So so there's like a very WTF

1603
01:27:39,200 --> 01:27:41,680
Speaker 1: kiss and then and then we cut to like more

1604
01:27:41,720 --> 01:27:44,320
Speaker 1: about the town. So we see the curfew going into

1605
01:27:44,320 --> 01:27:48,360
Speaker 1: effect and uh, and so we we learned that Santamira

1606
01:27:48,400 --> 01:27:50,880
Speaker 1: has a curfew, curfew beginning in the evenings, which is

1607
01:27:50,920 --> 01:27:54,599
Speaker 1: announced over these mounted loud speakers town wide. I think

1608
01:27:54,640 --> 01:27:58,320
Speaker 1: this must be the part that was, um, what's Jamie

1609
01:27:58,360 --> 01:28:02,040
Speaker 1: Lee Curtis doing? Then ouncer voice Jamie Lee curfew if

1610
01:28:02,040 --> 01:28:05,080
Speaker 1: you will, right, And then we get lots of great

1611
01:28:05,160 --> 01:28:07,720
Speaker 1: empty shots of the town. Again it's that it's that

1612
01:28:07,880 --> 01:28:11,599
Speaker 1: wonderful Dean Cundy magic, you know, just the the the

1613
01:28:11,600 --> 01:28:14,559
Speaker 1: empty settings. Uh, that that he knows how to pick

1614
01:28:14,560 --> 01:28:17,759
Speaker 1: out in frame so well. And then a great scene

1615
01:28:17,800 --> 01:28:21,000
Speaker 1: between Tom Atkins and the town drunk. So tom Atkins

1616
01:28:21,040 --> 01:28:23,040
Speaker 1: is out breaking curfew for some reason. I guess he

1617
01:28:23,080 --> 01:28:25,320
Speaker 1: was going to a liquor store because he is somehow

1618
01:28:25,360 --> 01:28:28,320
Speaker 1: acquired liquor at the beginning of the scene. Yeah, this

1619
01:28:28,400 --> 01:28:30,120
Speaker 1: is a good This is a great sequence though, because

1620
01:28:30,160 --> 01:28:32,559
Speaker 1: this is another staple. You come to the weird town

1621
01:28:32,600 --> 01:28:34,880
Speaker 1: where something's not up. What do you do, Well, you

1622
01:28:34,880 --> 01:28:36,800
Speaker 1: get some you find the town drunk, and you get

1623
01:28:36,880 --> 01:28:39,479
Speaker 1: him some liquor and then he'll spill the beans. He'll

1624
01:28:39,520 --> 01:28:42,519
Speaker 1: tell you about all the dark, horrible secrets going on here.

1625
01:28:43,040 --> 01:28:45,640
Speaker 1: But this was like incidental, Like tom Atkins clearly he

1626
01:28:45,680 --> 01:28:47,880
Speaker 1: bought the liquor for himself, and then when he meets

1627
01:28:47,880 --> 01:28:50,080
Speaker 1: the town drunk, he's like, yeah, okay, you can have some,

1628
01:28:50,600 --> 01:28:53,000
Speaker 1: that's right. Yeah. In other tales, it's very intentional, like

1629
01:28:53,040 --> 01:28:55,120
Speaker 1: here's the guy. I need to milk this source to

1630
01:28:55,160 --> 01:28:57,599
Speaker 1: find out what's going on. Here's just a happy accident.

1631
01:28:58,040 --> 01:29:01,160
Speaker 1: But the the guy tells him. He he informs tom Atkins,

1632
01:29:01,200 --> 01:29:04,040
Speaker 1: He's like, okay, here's the deal. Conald Cochrane. Uh, he

1633
01:29:04,120 --> 01:29:06,519
Speaker 1: brought all of his factory workers in from the outside.

1634
01:29:06,520 --> 01:29:09,160
Speaker 1: He won't hire any locals like me, so I I

1635
01:29:09,240 --> 01:29:13,760
Speaker 1: hate him. And he's he's heard strange rumors about uh

1636
01:29:14,240 --> 01:29:17,400
Speaker 1: unsavory of doings at the factory, and he says he's

1637
01:29:17,400 --> 01:29:20,040
Speaker 1: going to make a bunch of Molotov cocktails and burn

1638
01:29:20,160 --> 01:29:24,400
Speaker 1: the place down. Bad move, because of course, uh, the

1639
01:29:24,439 --> 01:29:27,720
Speaker 1: ears of the corporation are everywhere, so that the androids

1640
01:29:27,760 --> 01:29:30,280
Speaker 1: come from him and they rip his head off. Dick

1641
01:29:30,320 --> 01:29:33,840
Speaker 1: Warlock appears and literally pulls the town Drunk's head off,

1642
01:29:33,920 --> 01:29:36,719
Speaker 1: just pulls it off with his hands. And now somewhere

1643
01:29:36,720 --> 01:29:39,320
Speaker 1: around here we find out that Tom Atkins. He calls

1644
01:29:39,360 --> 01:29:41,120
Speaker 1: his friend back in the lab and he's like, hey,

1645
01:29:41,280 --> 01:29:43,920
Speaker 1: what's the deal with that? Uh with the with the remains,

1646
01:29:43,960 --> 01:29:46,479
Speaker 1: And she's like, somebody got this all screwed up. We

1647
01:29:46,479 --> 01:29:48,960
Speaker 1: were running tests on parts of the car. Nothing here

1648
01:29:48,960 --> 01:29:54,920
Speaker 1: but metal and plastic. Uh now what was the next

1649
01:29:54,960 --> 01:29:57,360
Speaker 1: I think? After this, it just goes to Marge Gutman,

1650
01:29:57,479 --> 01:30:00,000
Speaker 1: one of the one of the toy store Halloween Store

1651
01:30:00,000 --> 01:30:04,720
Speaker 1: our owners, who starts messing around ill advisedly with her

1652
01:30:04,760 --> 01:30:09,080
Speaker 1: silver shamrock mask. Yeah, the badge comes off and it

1653
01:30:09,200 --> 01:30:12,200
Speaker 1: ends up being triggered. Uh yeah, she messes with the

1654
01:30:12,200 --> 01:30:14,840
Speaker 1: silver shamrock tech and then it gets shocked directly in

1655
01:30:14,880 --> 01:30:18,240
Speaker 1: the teeth with horrifying results like it like glass. Her

1656
01:30:18,280 --> 01:30:22,439
Speaker 1: face open, and then these big crickets start wandering out

1657
01:30:22,439 --> 01:30:24,360
Speaker 1: of her mouth. And Uh. I had to look this

1658
01:30:24,439 --> 01:30:26,439
Speaker 1: up because I for the first time I was thinking, well,

1659
01:30:26,479 --> 01:30:28,800
Speaker 1: those are not really crickets I'm used to seeing. It

1660
01:30:28,880 --> 01:30:33,240
Speaker 1: turns out their Jerusalem crickets native to the Western United States. Um,

1661
01:30:33,520 --> 01:30:36,000
Speaker 1: they actually have nothing to do with Jerusalem. But um,

1662
01:30:36,200 --> 01:30:38,559
Speaker 1: if you haven't seen those crickets before, Well that's why.

1663
01:30:38,880 --> 01:30:41,200
Speaker 1: Ah yeah, well there there are some cool looking bugs

1664
01:30:41,200 --> 01:30:43,639
Speaker 1: in this, but I didn't bug wrangling on the film.

1665
01:30:43,800 --> 01:30:47,240
Speaker 1: And she's reading a weird looking book right before she

1666
01:30:47,360 --> 01:30:49,880
Speaker 1: blasts her teeth off. Oh yeah, I had to look

1667
01:30:49,880 --> 01:30:54,120
Speaker 1: at Up to the Eagles Gift by Carlos Costaaneta um

1668
01:30:54,479 --> 01:30:57,400
Speaker 1: quote A challenging foray into the Heart of Sorcery creates

1669
01:30:57,400 --> 01:31:00,600
Speaker 1: a landscape full of terrors, mysterious forces and sites, and

1670
01:31:00,760 --> 01:31:04,719
Speaker 1: landscape of the sorcerer's realm of brilliant visions, lonely task

1671
01:31:04,920 --> 01:31:09,000
Speaker 1: and human warmth and comradeship. That's the just the Amazon

1672
01:31:09,360 --> 01:31:11,799
Speaker 1: description for that book. I've never heard of it before.

1673
01:31:12,000 --> 01:31:13,960
Speaker 1: But a pan maybe he was, you know, a flash

1674
01:31:13,960 --> 01:31:17,040
Speaker 1: in the pan back in the day. Yeah, I've definitely

1675
01:31:17,120 --> 01:31:19,280
Speaker 1: heard of the author, but I don't know that book.

1676
01:31:19,600 --> 01:31:22,120
Speaker 1: Ye contains sorceress. So there you go, there you go.

1677
01:31:22,840 --> 01:31:25,200
Speaker 1: But of course, white lab coats and a white van

1678
01:31:25,560 --> 01:31:29,320
Speaker 1: arrived to remove the body. Um, and they're like, she's

1679
01:31:29,320 --> 01:31:32,080
Speaker 1: going to get medical care, and so they're they're taking

1680
01:31:32,120 --> 01:31:35,040
Speaker 1: her out. Uh, and and Tom Atkins and and Stacy

1681
01:31:35,080 --> 01:31:36,559
Speaker 1: Nell can come out. And they're like what's going on?

1682
01:31:36,680 --> 01:31:39,960
Speaker 1: And uh, Conald Cochrane arrives. I think this is the

1683
01:31:39,960 --> 01:31:42,400
Speaker 1: first time we actually see Dan or hardly. He he

1684
01:31:42,479 --> 01:31:45,240
Speaker 1: arrives in person to reassure them. He's like, don't worry,

1685
01:31:45,280 --> 01:31:48,040
Speaker 1: we will be getting the very the very best cared

1686
01:31:48,120 --> 01:31:51,960
Speaker 1: off factory. We have a wonderful facility. Yes, yes, he's

1687
01:31:52,040 --> 01:31:55,519
Speaker 1: he's very hands on. Uh, it's it's excellent. So the

1688
01:31:55,560 --> 01:31:58,559
Speaker 1: next day they go to the Silver Shamrock factory for

1689
01:31:58,640 --> 01:32:02,360
Speaker 1: a tour along with the Buddy Cup for family, and

1690
01:32:02,400 --> 01:32:05,840
Speaker 1: the tour is given by Connal Cochrane himself. I should

1691
01:32:05,880 --> 01:32:08,880
Speaker 1: say that I know from the commentary that the exterior

1692
01:32:08,920 --> 01:32:13,200
Speaker 1: of the factory was actually filmed at a dairy works

1693
01:32:13,320 --> 01:32:16,519
Speaker 1: that manufactured like powdered milk products. And this is in

1694
01:32:16,600 --> 01:32:19,439
Speaker 1: a town in California. I think that was called Little Lada.

1695
01:32:20,479 --> 01:32:23,760
Speaker 1: And uh, the interior shop floor where you see them

1696
01:32:23,800 --> 01:32:28,880
Speaker 1: making the masks was actually the legendary Don Post Studios

1697
01:32:28,920 --> 01:32:32,439
Speaker 1: in l A, which is a famous mask making studio.

1698
01:32:33,120 --> 01:32:35,559
Speaker 1: Of course, this was the studio that made the William

1699
01:32:35,640 --> 01:32:39,000
Speaker 1: Shatner mask that was spray painted white to create the

1700
01:32:39,040 --> 01:32:43,000
Speaker 1: Michael Myers mask in the original Halloween. Yeah, that is

1701
01:32:43,040 --> 01:32:46,000
Speaker 1: nnate No that this this sequence is also fun because

1702
01:32:46,000 --> 01:32:47,720
Speaker 1: you know, nothing's good is going to come of any

1703
01:32:47,760 --> 01:32:52,920
Speaker 1: of this. But the two the the tour of the factory. Uh,

1704
01:32:53,280 --> 01:32:56,920
Speaker 1: it was slightly reminiscent of Willy Wonka's Tour of the factory,

1705
01:32:57,000 --> 01:32:59,080
Speaker 1: you know where he's like, you know, this is where

1706
01:32:59,080 --> 01:33:01,960
Speaker 1: the magic happened. And don't don't worry about what goes

1707
01:33:02,000 --> 01:33:05,960
Speaker 1: on back there behind those doors. It's quality control. You

1708
01:33:06,000 --> 01:33:07,960
Speaker 1: don't need to worry about it. Oh no, no, no,

1709
01:33:08,200 --> 01:33:11,960
Speaker 1: not qualite. Uh final processing, final processing, yes, right, they

1710
01:33:11,960 --> 01:33:15,440
Speaker 1: get curious about they see these doors labeled final processing,

1711
01:33:16,040 --> 01:33:18,960
Speaker 1: and uh you know, oh one of the Buddy Jr.

1712
01:33:18,960 --> 01:33:20,920
Speaker 1: He tries to grab a mask. He's like, I want

1713
01:33:20,960 --> 01:33:25,320
Speaker 1: this mask, and Conald Cochrane's like, hasn't been through final processing.

1714
01:33:25,400 --> 01:33:28,559
Speaker 1: They are no good until they go through final processing. Uh.

1715
01:33:28,640 --> 01:33:31,679
Speaker 1: So he gets in a finally processed mask instead, which

1716
01:33:31,720 --> 01:33:34,240
Speaker 1: I think that means the ones that have not been

1717
01:33:34,280 --> 01:33:37,120
Speaker 1: through final processing are not yet lethal. Yeah, they don't

1718
01:33:37,160 --> 01:33:41,200
Speaker 1: have that stone hinge microchip that will fry your head

1719
01:33:41,240 --> 01:33:45,880
Speaker 1: and turn your brains into creepy Crawley's. There's there's another

1720
01:33:45,920 --> 01:33:48,879
Speaker 1: great part at this factory. Tour where um, the factory

1721
01:33:48,880 --> 01:33:52,320
Speaker 1: also includes like a museum of Conald Cochrane's other creations.

1722
01:33:52,920 --> 01:33:55,840
Speaker 1: So yeah, it's a bunch of automata and uh and

1723
01:33:55,960 --> 01:33:58,439
Speaker 1: other kind of toys and things. But also Buddy cut

1724
01:33:58,520 --> 01:34:01,280
Speaker 1: for explains to Tom Atkins, He's like, don't you know

1725
01:34:01,280 --> 01:34:04,479
Speaker 1: about Conald Cochrane? He says he invented sticky toilet paper,

1726
01:34:05,280 --> 01:34:09,719
Speaker 1: So he's some kind of famous novelty genius who invented

1727
01:34:09,800 --> 01:34:12,720
Speaker 1: like a million iconic toys and practical jokes. He's like

1728
01:34:12,760 --> 01:34:17,000
Speaker 1: the Nicola Tesla of fake vomit. Yeah, but but also

1729
01:34:17,200 --> 01:34:21,920
Speaker 1: get created killer androids and has orchestrated this massive like

1730
01:34:22,040 --> 01:34:25,680
Speaker 1: international plot like you know, like Interpol would be interested

1731
01:34:25,720 --> 01:34:28,840
Speaker 1: in what he's doing here, uh too, in order to

1732
01:34:29,040 --> 01:34:33,639
Speaker 1: bring about like the mass sacrifice of of countless children,

1733
01:34:33,920 --> 01:34:38,120
Speaker 1: so as to we're not exactly sure. And that's the

1734
01:34:38,640 --> 01:34:40,960
Speaker 1: and and that's the beauty of it. Like we we

1735
01:34:41,280 --> 01:34:44,839
Speaker 1: as normal humans, should not fully understand what a powerful

1736
01:34:44,880 --> 01:34:47,280
Speaker 1: warlock is trying to do, Like is he is he

1737
01:34:47,320 --> 01:34:50,960
Speaker 1: trying to maintain cosmic balance? Is he accumulating um, you know,

1738
01:34:51,040 --> 01:34:54,320
Speaker 1: divine powers for himself? I don't know that's warlock business.

1739
01:34:54,360 --> 01:34:57,280
Speaker 1: That's not human business. The less we understand, the more

1740
01:34:57,400 --> 01:35:00,479
Speaker 1: darkly magical it is. We do get bit of a

1741
01:35:00,520 --> 01:35:03,679
Speaker 1: Bond villain explanation later, but it doesn't seem to explain

1742
01:35:03,760 --> 01:35:07,280
Speaker 1: everything like he gives. He gives the Blowfeld speech, but

1743
01:35:07,360 --> 01:35:09,360
Speaker 1: it only goes like a quarter of the way to

1744
01:35:09,400 --> 01:35:12,000
Speaker 1: really explaining what's going on. I think he even says

1745
01:35:12,000 --> 01:35:14,880
Speaker 1: something to the effect that a Tom Atkins character. He's like, like,

1746
01:35:14,960 --> 01:35:17,200
Speaker 1: you'll you'll have to figure out the rest for yourself.

1747
01:35:18,240 --> 01:35:21,799
Speaker 1: A magician never reveals his that a magician never reveals

1748
01:35:21,840 --> 01:35:25,839
Speaker 1: his secrets. Yeah, I love that. Uh But so anyway,

1749
01:35:25,920 --> 01:35:30,559
Speaker 1: later that night, Ellie disappears, and Chalice discovers that she's gone,

1750
01:35:30,680 --> 01:35:33,280
Speaker 1: and he's ambushed by a bunch of the gray suited

1751
01:35:33,280 --> 01:35:36,559
Speaker 1: creeps and he and you get since that he's starting

1752
01:35:36,560 --> 01:35:38,400
Speaker 1: to figure out what's wrong with these guys, you know,

1753
01:35:38,439 --> 01:35:41,680
Speaker 1: could they be not human in some way? So he

1754
01:35:41,720 --> 01:35:44,320
Speaker 1: goes he escapes into the night, and eventually he breaks

1755
01:35:44,320 --> 01:35:47,360
Speaker 1: into the factory to see if he can find Ellie there.

1756
01:35:48,040 --> 01:35:50,280
Speaker 1: So a bunch of stuff happens there. He comes across

1757
01:35:50,320 --> 01:35:53,879
Speaker 1: this creepy knitting automaton, which I love, and he accidentally

1758
01:35:53,920 --> 01:35:56,800
Speaker 1: knocks its head off, and then he gets into a

1759
01:35:56,800 --> 01:36:00,719
Speaker 1: fight with an android played by Dick Warlock, and uh, well,

1760
01:36:00,760 --> 01:36:02,880
Speaker 1: one thing I like about Dick Warlock in this movie

1761
01:36:02,920 --> 01:36:05,679
Speaker 1: is that he is repeatedly shot from the neck down,

1762
01:36:05,920 --> 01:36:11,160
Speaker 1: just like Michael Myers in the original Halloween. Yeah. But

1763
01:36:11,160 --> 01:36:14,559
Speaker 1: but anyway, so he fights him and eventually tom Atkins

1764
01:36:14,560 --> 01:36:18,200
Speaker 1: overpowers this this powerful androids, so you know, good on him.

1765
01:36:18,240 --> 01:36:20,439
Speaker 1: He makes the orange juice goop come out of his mouth.

1766
01:36:21,560 --> 01:36:25,080
Speaker 1: But then he gets captured and uh, Conald Cochrane comes

1767
01:36:25,120 --> 01:36:28,080
Speaker 1: out with more androids and they grab him and then

1768
01:36:28,280 --> 01:36:31,000
Speaker 1: uh so he's their prisoner now, and then finally goes

1769
01:36:31,080 --> 01:36:34,200
Speaker 1: to the last day. It's Sunday, October thirty one. Uh

1770
01:36:34,240 --> 01:36:36,280
Speaker 1: and I guess I might skip lightly over the very

1771
01:36:36,360 --> 01:36:39,200
Speaker 1: last things to happen in the movie. But but of

1772
01:36:39,200 --> 01:36:41,840
Speaker 1: course we're now at the Finnish line, We're at Halloween,

1773
01:36:42,439 --> 01:36:45,280
Speaker 1: and uh and you get to see the whole plot revealed.

1774
01:36:45,320 --> 01:36:47,439
Speaker 1: So there's a great scene where Tom Atkins has led

1775
01:36:47,439 --> 01:36:50,480
Speaker 1: through this big warehouse. I guess this is final processing,

1776
01:36:51,160 --> 01:36:54,320
Speaker 1: and you see the huge slab of stone that is

1777
01:36:54,320 --> 01:36:59,760
Speaker 1: supposedly a stolen piece of stone hinge. Uh. Conald Cochrane says,

1778
01:36:59,800 --> 01:37:02,320
Speaker 1: it is a power in it, a force every even

1779
01:37:02,360 --> 01:37:05,519
Speaker 1: a particle of it. And he reveals the plot, the

1780
01:37:05,560 --> 01:37:08,120
Speaker 1: one we described earlier, which is that he is using

1781
01:37:08,720 --> 01:37:13,960
Speaker 1: pieces of a magic rock from Stonehenge to put those

1782
01:37:14,000 --> 01:37:18,240
Speaker 1: pieces in microchips that are embedded in each badge that

1783
01:37:18,439 --> 01:37:22,080
Speaker 1: is on each Silver Shamrock mask. And then he shows

1784
01:37:22,200 --> 01:37:25,680
Speaker 1: via a demonstration on the on Buddy Jr. Of the

1785
01:37:25,920 --> 01:37:29,879
Speaker 1: Cup First Child, that when it is triggered by watching

1786
01:37:29,960 --> 01:37:34,280
Speaker 1: the Silver Shamrock commercial with the special signal embedded, it

1787
01:37:34,400 --> 01:37:38,160
Speaker 1: makes the microchip like shoot out a laser that turns

1788
01:37:38,200 --> 01:37:41,439
Speaker 1: your head into animals, into like snakes and bugs that

1789
01:37:41,520 --> 01:37:43,720
Speaker 1: run all over the place. Yeah, And we see this

1790
01:37:43,800 --> 01:37:46,040
Speaker 1: go down and like the the in the test room

1791
01:37:46,120 --> 01:37:49,719
Speaker 1: and this this the steel plated kind of bunker version,

1792
01:37:49,800 --> 01:37:53,760
Speaker 1: like a replica of the the American living Room, and

1793
01:37:53,800 --> 01:37:56,000
Speaker 1: it's a horrific scene. Like you know, the boy he

1794
01:37:56,040 --> 01:37:59,000
Speaker 1: studies melting inside that mask and bugs are coming out.

1795
01:37:59,320 --> 01:38:02,439
Speaker 1: He's in this rest. The mother faints, the fathers screaming.

1796
01:38:02,479 --> 01:38:05,200
Speaker 1: It's a it's a rough sequence and we see Tom

1797
01:38:05,200 --> 01:38:07,160
Speaker 1: Atkins reacting to it as well. He does a very

1798
01:38:07,200 --> 01:38:10,280
Speaker 1: shot and aresque performance of anguish. He is like holding

1799
01:38:10,360 --> 01:38:15,439
Speaker 1: clinched fists up by his face. It's uh, but but

1800
01:38:15,479 --> 01:38:18,160
Speaker 1: the implication is clear, right, So it's that as children

1801
01:38:18,200 --> 01:38:21,400
Speaker 1: all over the country watched the commercial Tonight at nine

1802
01:38:21,479 --> 01:38:24,760
Speaker 1: while wearing their masks, their heads will suffer the same

1803
01:38:24,800 --> 01:38:27,280
Speaker 1: fate as Buddy Junior's head. And then we get a

1804
01:38:27,280 --> 01:38:29,960
Speaker 1: great montage of like the commercial music playing, and we

1805
01:38:30,000 --> 01:38:32,840
Speaker 1: see scenes labeled as happening in cities all over the

1806
01:38:32,920 --> 01:38:35,639
Speaker 1: USA with kids in their silver sham rock masks throughout

1807
01:38:35,640 --> 01:38:38,800
Speaker 1: trick or treating. Uh. I think it's the kids from

1808
01:38:39,000 --> 01:38:41,720
Speaker 1: Phoenix in the sequence that are used on the posters

1809
01:38:41,760 --> 01:38:44,400
Speaker 1: for the movie. Yeah, yeah, I think we've seen you

1810
01:38:44,439 --> 01:38:47,240
Speaker 1: see New Orleans in there. Um, I don't think we

1811
01:38:47,240 --> 01:38:50,759
Speaker 1: saw Atlanta. I feel like I would have remembered that more. Um.

1812
01:38:50,760 --> 01:38:52,720
Speaker 1: But yeah, it's implied that this is about to go

1813
01:38:52,760 --> 01:38:55,679
Speaker 1: down and just across the United States. Okay, Well, eventually

1814
01:38:55,720 --> 01:38:57,680
Speaker 1: we get to the part where Tom Atkins is like

1815
01:38:57,760 --> 01:39:01,200
Speaker 1: tied to a chair and Connald cochrane explains his whole plot.

1816
01:39:01,280 --> 01:39:03,479
Speaker 1: So he does the Bond villain speech and uh, and

1817
01:39:03,520 --> 01:39:06,400
Speaker 1: I wrote this down because this is good. So he

1818
01:39:06,479 --> 01:39:09,439
Speaker 1: partially explains that he says, I do love a good joke,

1819
01:39:09,640 --> 01:39:11,880
Speaker 1: and this is the best of all, a joke on

1820
01:39:12,040 --> 01:39:16,000
Speaker 1: the children. But there's a better reason. You don't really

1821
01:39:16,080 --> 01:39:19,439
Speaker 1: know much about Halloween. You've thought no further than the

1822
01:39:19,520 --> 01:39:22,640
Speaker 1: strange custom of having your children wear masks and go

1823
01:39:22,720 --> 01:39:26,200
Speaker 1: out begging for candy. It was the start of our

1824
01:39:26,320 --> 01:39:29,320
Speaker 1: year in our old Celtic lands, and we'd be waiting

1825
01:39:29,760 --> 01:39:33,400
Speaker 1: in our houses of wattles and clay. The barriers would

1826
01:39:33,439 --> 01:39:36,360
Speaker 1: be down, you see, between the real and the unreal,

1827
01:39:36,760 --> 01:39:39,519
Speaker 1: and the dead might be lurking in to sit by

1828
01:39:39,520 --> 01:39:44,439
Speaker 1: our fires of turf. Halloween, the festival of Sawin, the

1829
01:39:44,560 --> 01:39:47,760
Speaker 1: last great One, took place three thousand years ago, and

1830
01:39:47,840 --> 01:39:51,320
Speaker 1: the hills ran red with the blood of animals and children.

1831
01:39:51,800 --> 01:39:55,439
Speaker 1: And Tom Atkins says, sacrifices, and he says, part of

1832
01:39:55,439 --> 01:40:00,760
Speaker 1: our world, part of our craft. Witchcraft to us, it

1833
01:40:00,880 --> 01:40:03,880
Speaker 1: was a way of controlling our environment. Not so different

1834
01:40:03,920 --> 01:40:07,639
Speaker 1: now it's time again. In the end, we don't decide

1835
01:40:07,680 --> 01:40:11,240
Speaker 1: these things, you know, the planets do. They're in alignment,

1836
01:40:11,520 --> 01:40:15,320
Speaker 1: and it's time again. The world's going to change tonight. Doctor.

1837
01:40:15,640 --> 01:40:19,720
Speaker 1: I'm glad you'll be able to watch it. And Happy Helloween. Yeah,

1838
01:40:19,800 --> 01:40:23,280
Speaker 1: it's it's it's a wonderful villain monologue and maybe one

1839
01:40:23,280 --> 01:40:25,120
Speaker 1: maybe one of the best. I'm a little biased, but

1840
01:40:25,280 --> 01:40:28,560
Speaker 1: it's pretty great because he doesn't reveal everything, but he

1841
01:40:28,560 --> 01:40:31,920
Speaker 1: he he tips his his his hand a bit and

1842
01:40:32,000 --> 01:40:33,920
Speaker 1: uh and and relishes it. You know, he's this is

1843
01:40:33,920 --> 01:40:36,960
Speaker 1: a man who enjoys his job and and does just

1844
01:40:37,040 --> 01:40:41,360
Speaker 1: paint this the this wonderfully dark and bloody picture, you know,

1845
01:40:41,560 --> 01:40:44,120
Speaker 1: like bringing to mind the idea of the of of

1846
01:40:44,200 --> 01:40:47,640
Speaker 1: the you know, of the fires of turf, you know,

1847
01:40:48,439 --> 01:40:52,679
Speaker 1: and the old festivals and the hills running with blood. Um. Yeah,

1848
01:40:52,720 --> 01:40:55,040
Speaker 1: and the idea that we've invited this thing into our

1849
01:40:55,040 --> 01:40:58,800
Speaker 1: lives without really understanding the deep truth of it, which uh,

1850
01:40:58,840 --> 01:41:00,760
Speaker 1: you know works on several level. It's kind of like

1851
01:41:00,800 --> 01:41:03,040
Speaker 1: the the the you know, certainly the scary movie thing

1852
01:41:03,120 --> 01:41:06,200
Speaker 1: is like you didn't really think Halloween was was harmless.

1853
01:41:06,200 --> 01:41:09,559
Speaker 1: It's actually harmful. But also the technological side of it.

1854
01:41:09,800 --> 01:41:12,720
Speaker 1: You let this technology into your lives, you gave it

1855
01:41:12,760 --> 01:41:15,120
Speaker 1: to your children, and you didn't think that there would

1856
01:41:15,120 --> 01:41:19,240
Speaker 1: be ramifications for that. Well tonight there are ramifications. Right.

1857
01:41:19,320 --> 01:41:21,680
Speaker 1: You thought this was just fun, but actually there are

1858
01:41:21,680 --> 01:41:24,400
Speaker 1: real demons in it and your your child's head will

1859
01:41:24,400 --> 01:41:28,120
Speaker 1: be reduced to crickets. Yeah, and uh, I mean it

1860
01:41:28,439 --> 01:41:30,600
Speaker 1: gives me kind of chills to think about it, especially

1861
01:41:30,880 --> 01:41:34,559
Speaker 1: when you think about about the technology today and uh

1862
01:41:34,680 --> 01:41:37,000
Speaker 1: and uh and and the degree to which we've handed

1863
01:41:37,000 --> 01:41:40,400
Speaker 1: this technology to our children and and in many cases

1864
01:41:40,439 --> 01:41:43,520
Speaker 1: thought nothing of it or thought not enough of it.

1865
01:41:43,560 --> 01:41:46,080
Speaker 1: Really drives it is one of the dozens of ways

1866
01:41:46,120 --> 01:41:48,680
Speaker 1: I feel like, you know, you can't decide like, is

1867
01:41:48,720 --> 01:41:52,559
Speaker 1: this movie great because it's ridiculous and hilarious or is

1868
01:41:52,600 --> 01:41:56,080
Speaker 1: it actually just great? It's it's kind of both. Yeah,

1869
01:41:56,120 --> 01:41:58,599
Speaker 1: I would agree, uh and and uh and you again,

1870
01:41:58,600 --> 01:42:00,559
Speaker 1: we're not gonna get into the ultimate spot others here,

1871
01:42:01,360 --> 01:42:04,719
Speaker 1: but I feel like it maintains this level of quality throughout.

1872
01:42:04,800 --> 01:42:07,240
Speaker 1: It doesn't, you know, totally sell it out in the end.

1873
01:42:07,280 --> 01:42:10,599
Speaker 1: In fact, it has has a pretty great ending. I think, yeah, well,

1874
01:42:10,640 --> 01:42:13,120
Speaker 1: we did already mentioned that the big twist with with

1875
01:42:13,160 --> 01:42:15,519
Speaker 1: Ellie turning out to be an android at the end,

1876
01:42:16,240 --> 01:42:19,920
Speaker 1: so they escape. He escapes the sort of bond execution

1877
01:42:20,160 --> 01:42:23,160
Speaker 1: trap where Conal cochrane leaves him with a mask on

1878
01:42:23,240 --> 01:42:24,960
Speaker 1: and he's like, you're gonna watch the commercial and it

1879
01:42:25,000 --> 01:42:27,720
Speaker 1: will melt your head, but he somehow gets out of that,

1880
01:42:28,560 --> 01:42:31,240
Speaker 1: he finds a way out, he escapes the factory with Ellie.

1881
01:42:31,520 --> 01:42:33,760
Speaker 1: But then yeah, she turns on him and starts, I think,

1882
01:42:33,760 --> 01:42:37,000
Speaker 1: trying to choke him while he's driving a car. And

1883
01:42:37,120 --> 01:42:40,680
Speaker 1: uh and yeah, that whole sequence is just if you

1884
01:42:40,680 --> 01:42:43,000
Speaker 1: watch this with friends, people who don't know what's coming,

1885
01:42:43,040 --> 01:42:46,080
Speaker 1: they will be screaming, all right, well, we're gonna go

1886
01:42:46,080 --> 01:42:48,240
Speaker 1: ahead and end it there then, But I have a

1887
01:42:48,240 --> 01:42:50,320
Speaker 1: feeling we're gonna be discussing this one a good bit

1888
01:42:50,360 --> 01:42:52,439
Speaker 1: more on listener mail in the future. So if you

1889
01:42:52,479 --> 01:42:57,200
Speaker 1: have thoughts about the deep truth of Halloween three, right

1890
01:42:57,240 --> 01:42:58,680
Speaker 1: in and talk to us about it. We'd love to

1891
01:42:58,720 --> 01:43:01,040
Speaker 1: hear from you. We'd love to discussed this more. Really,

1892
01:43:01,080 --> 01:43:03,960
Speaker 1: any any excuse to talk more about Halloween three, we

1893
01:43:04,040 --> 01:43:07,800
Speaker 1: are down. Um, if you haven't seen Halloween three and

1894
01:43:07,920 --> 01:43:09,799
Speaker 1: uh and you would like to see it, well, luckily

1895
01:43:09,960 --> 01:43:12,439
Speaker 1: for you, it is widely available as a digital purchase

1896
01:43:12,560 --> 01:43:14,639
Speaker 1: or rental, and there have also been some really nice

1897
01:43:14,680 --> 01:43:16,519
Speaker 1: blue ray disks that have come out over the years.

1898
01:43:16,920 --> 01:43:18,479
Speaker 1: And who knows, I don't know. As we get closer

1899
01:43:18,520 --> 01:43:21,320
Speaker 1: to Halloween itself, perhaps it will be streaming on some

1900
01:43:21,479 --> 01:43:26,040
Speaker 1: service or another. Who knows, maybe like the Silver Shamrock jingle,

1901
01:43:26,080 --> 01:43:28,720
Speaker 1: it'll just it'll just suddenly appear on your television and

1902
01:43:28,760 --> 01:43:31,640
Speaker 1: it will be in your life. I wanted to have

1903
01:43:31,720 --> 01:43:34,920
Speaker 1: some pithy Conald Cochrane style saying here, but I couldn't

1904
01:43:34,920 --> 01:43:37,840
Speaker 1: think of one. Al Right. Well, if you want to

1905
01:43:37,840 --> 01:43:40,080
Speaker 1: listen to more Weird House Cinema publishes every Friday, and

1906
01:43:40,080 --> 01:43:42,759
Speaker 1: the Stuff to Blow Your Mind podcast feed Corp Science

1907
01:43:42,800 --> 01:43:47,000
Speaker 1: episodes on Tuesdays and Thursday's Artifact on Wednesday's listener Mail

1908
01:43:47,080 --> 01:43:50,160
Speaker 1: on Mondays in a rerun over the weekend. Huge thanks

1909
01:43:50,160 --> 01:43:53,439
Speaker 1: as always to our excellent audio producer Seth Nicholas Johnson.

1910
01:43:53,760 --> 01:43:55,280
Speaker 1: If you would like to get in touch with us

1911
01:43:55,280 --> 01:43:57,679
Speaker 1: with feedback on this episode or any other, to suggest

1912
01:43:57,680 --> 01:43:59,600
Speaker 1: a topic for the future, just to say hello, you

1913
01:43:59,600 --> 01:44:02,400
Speaker 1: can e mail us at contact. That's Stuff to Blow

1914
01:44:02,439 --> 01:44:12,000
Speaker 1: your Mind dot com. Stuff to Blow Your Mind is

1915
01:44:12,040 --> 01:44:14,720
Speaker 1: production of I Heart Radio. For more podcasts for My

1916
01:44:14,760 --> 01:44:17,720
Speaker 1: Heart Radio, visit the I Heart Radio app, Apple Podcasts,

1917
01:44:17,800 --> 01:44:19,559
Speaker 1: or wherever you listen to your favorite shows.