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Speaker 2: Picture Shows. Very difficult to keep the line between the.

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Speaker 3: Past and the place.

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Speaker 4: You believe that someone out of the past can enter

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Speaker 4: and take possession of a living being. We may be

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Speaker 4: through with the past, but the past is not through

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Speaker 4: with us.

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Speaker 2: Welcome to the Next Picture Show, a movie of the

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Speaker 2: week podcast devoted to a classic film and how it's

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Speaker 2: shaped our thoughts on a recent release. I'm Tasha Robinson

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Speaker 2: here again with.

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Speaker 4: Scott Tobias and Keith Pepps.

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Speaker 2: Our regular co host Jennevikowski was last seen running around

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Speaker 2: and what looked like a Java costume, and she appeared

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Speaker 2: to be about three feet tall. I'm sure that's going

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Speaker 2: to sort itself out eventually.

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Speaker 4: Though.

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Speaker 2: That said, Jenny pretty famously opts out of these recordings

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Speaker 2: whenever we focus on horror stories, which are not her

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Speaker 2: cup of tea, And yet we cover horror a lot,

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Speaker 2: probably more than any other genre except maybe mainstream prestige drama.

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Speaker 2: Why is that? Are we trying to drive gen of

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Speaker 2: you away? Is there a reason so many of the

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Speaker 2: film year's biggest conversation pieces seem to be horror movies?

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Speaker 2: These days. What do you think, Well, I.

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Speaker 5: Think it's trite and cliched to say that horror thrives

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Speaker 5: when the world isn't going through dark periods, And yet

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Speaker 5: I'm going to say it anyway, because that really seems

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Speaker 5: to be I mean, I can't really think of another

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Speaker 5: explanation for the proliferation of horror. But horror is venerable,

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Speaker 5: and you know, it tends to do fine most years.

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Speaker 5: But I do feel like it's also perhaps a time

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Speaker 5: when we're confronting a lot of new fears. I'm sure

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Speaker 5: we'll get into it with one of our selections Sweep,

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Speaker 5: but the certainly I think, you know, life online isolation

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Speaker 5: of the current state have kind of seeped their way

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Speaker 5: into some horror films. What about you, Scott, do you

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Speaker 5: have any ideas?

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Speaker 4: Yeah, I mean I think that it comes down to viability,

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Speaker 4: commercial viability, right, because I mean you have obviously these

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Speaker 4: giant tent bowl productions which are you know, IP related,

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Speaker 4: and sort of sell themselves with horror. I think horror

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Speaker 4: is a genre where you can really hook audiences pretty easily,

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Speaker 4: young audiences, specifically with a good concept, a good high concept,

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Speaker 4: and I guess I guess in the past. You could

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Speaker 4: talk about that as being true of other genres as well.

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Speaker 4: But I think there's a thing too about people's movies

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Speaker 4: going habits, not being is what they used to be about.

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Speaker 4: Genres that used to be commercially reliable, like romantic comedies,

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Speaker 4: like even some dramas kind of falling away being less

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Speaker 4: appealing for people, at least theatrically. And with horror, you

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Speaker 4: can at least anticipate a certain amount of visceral pleasure thrills,

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Speaker 4: you know, being an audience full of people jumping out

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Speaker 4: of their chair, and it's an experience that you can't

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Speaker 4: really have at home, that feels a little more communal,

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Speaker 4: feels like something that young people might go out and do.

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Speaker 2: I think those are both good ideas. I guess I

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Speaker 2: would add to all that kind of a feeling that

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Speaker 2: horror is still I mean, as it has been for

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Speaker 2: I would say, maybe at least twenty years now, kind

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Speaker 2: of an entry point for new filmmakers. You know, it's

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Speaker 2: easier to make a very cheap horror movie that's effective

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Speaker 2: and that makes you know, one hundred million dollars than

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Speaker 2: it is to make a lot of other genre movies.

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Speaker 2: For that price point with those results, and as a result,

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Speaker 2: it's kind of an entryway for new directors and new

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Speaker 2: screenwriters who are presenting things that we haven't seen before.

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Speaker 2: And that's what we love here more than anything, is

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Speaker 2: maybe something that we feel like we haven't seen before

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Speaker 2: to the point where it might be a little hard

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Speaker 2: to find pairing. That said, it's very hard to do

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Speaker 2: something that hasn't been done before. Nothing new under the

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Speaker 2: sun entire premise of this podcast, but still we love

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Speaker 2: to find people on the cutting edge, people who are

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Speaker 2: doing something that feels new and interesting, which kind of

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Speaker 2: feeds into with apologies to Genevieve, our latest pairing, which

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Speaker 2: matches up to hit horror movies made on the cheap

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Speaker 2: by very young directors who started their careers when they

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Speaker 2: were even younger, Scott, can you tell us what we're

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Speaker 2: about to get ourselves into here?

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Speaker 4: I Ken? Twenty year old director Kane Parsons started his

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Speaker 4: film career as Kane Pixels, a YouTube creator putting out

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Speaker 4: viral shorts about the back rooms, a horror concept from

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Speaker 4: an anonymous four Chan post that became the subject of

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Speaker 4: viral creepy pasta. He's wracked up tens of millions of

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Speaker 4: views for his videos about an endless, liminal space full

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Speaker 4: of connected rooms that resembled deteriorating copies of real world spaces,

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Speaker 4: and that online success prompted boutique Studio A twenty four

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Speaker 4: to reach out about making a back rooms movie. That

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Speaker 4: ten million dollar film just debuted with a remarkable ninety

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Speaker 4: seven million dollar opening weekend, making Parsons the youngest director

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Speaker 4: to ever hit number one of the box office and

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Speaker 4: making it very likely that he'll be successful in his

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Speaker 4: well publicized bid to make an entire back rooms movie series,

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Speaker 4: all of which reminded us of nineteen seventy nine's Phantasm,

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Speaker 4: a janky but memorable three hundred thousand dollars horror adventure

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Speaker 4: released by twenty five year old Don Coscarelli Junior, which

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Speaker 4: made twenty two million dollars at the box office in

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Speaker 4: its nineteen seventy nine release and launched an entire series

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Speaker 4: of further Phantasm adventures as a bonus connection. Phantasm also

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Speaker 4: involves eerie, repeating spaces, a portal to another world, and

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Speaker 4: a lot more notable features seen in back rooms.

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Speaker 2: So in this episode, we'll hop back to nineteen seventy

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Speaker 2: nine for a little Queasin art lobotomy action with creepy

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Speaker 2: toll Guy Angus scrim And in our second half, we'll

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Speaker 2: wander through an endless maze of oppressively humming yellow rooms

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Speaker 2: in search of something we probably shouldn't find. Stay with us.

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Speaker 3: Phantasm? Is it a nightmare? Phantasm? Is it an illusion? Phantasm?

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Speaker 3: He said alive.

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Speaker 2: Was libodly driving?

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Speaker 3: Whatever it is. If this one doesn't scare you, you're

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Speaker 3: already dead.

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Speaker 2: It is immensely entertaining. Twenty eighteen memoir True Indie Life

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Speaker 2: and Death in Filmmaking. Don Coscarelly Junior tells some incredible

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Speaker 2: stories from the set of his first feature film, Jim

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Speaker 2: the World's Greatest, which he shot with his friend Craig

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Speaker 2: Mitchell when Costcrelly was just eighteen years old. Bank World

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Speaker 2: for an extremely shoestring do it yourself movie by Coscarelly's dad.

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Speaker 2: The two teenagers hired a production crew largely from exploitation

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Speaker 2: movies and the nineteen seventies growing California pornography scene, all

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Speaker 2: people they thought would be relatively cheap and used to

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Speaker 2: expensive running gun filmmaking. Unfortunately, that low budget crew was

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Speaker 2: also a bunch of jaded twenty and thirty somethings who

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Speaker 2: weren't interested in taking direction or feedback from inexperienced teenagers.

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Speaker 2: Coscarelli described a contentious set where the crew routinely mocked

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Speaker 2: the boys directorial choices and took advantage of their inexperience,

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Speaker 2: for instance, demanding frequent half hour breaks to change film

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Speaker 2: magazines on the thirty five millimeter cameras, a process Coscarelli

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Speaker 2: later discovered he could do himself in about sixty seconds.

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Speaker 2: He says the breaking point came when he realized there

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Speaker 2: were five days behind schedule only five days into the shoot.

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Speaker 2: Coscarelli spent a year at UCLA before dropping out to

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Speaker 2: make this movie, and he had a bunch of friends

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Speaker 2: from the UCLA Film program who had brought in to

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Speaker 2: shadow the quote unquote professional crew. The college crew were

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Speaker 2: confident they could do everything the pros were doing on

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Speaker 2: set and in a lot less time. The problem was

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Speaker 2: how to fire the entire paid crew, something obviously far

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Speaker 2: outside the life experience of two intimidated teenagers. Fortunately, on

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Speaker 2: the very next day of filming, when Costcarelly pushed back

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Speaker 2: against the latest half hour break to reload the film

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Speaker 2: mag the entire paid crew had a sneering hissy fit

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Speaker 2: and walked off the set. Mission accomplished, Costcarelli made and

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Speaker 2: their college buddies finished making the movie. Coscarelli's dad called

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Speaker 2: Los Angeles Times film critic Charles Champlin, who not only

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Speaker 2: gamely agreed to screen the film, but wound up and

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Speaker 2: pressed enough to talk it up to Universal, which resulted

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Speaker 2: in Costcarelli becoming the youngest ever director to get a

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Speaker 2: major studio contract. His time at Universal was a tremendous

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Speaker 2: boost to his film education, and it taught him a

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Speaker 2: lot about how the industry works as well. But it

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Speaker 2: only lasted a few years, which is possibly just as well,

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Speaker 2: since the biggest thing Coscarelli learned from working on Jim

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Speaker 2: the World's Greatest was that he preferred to have as

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Speaker 2: much control as possible over the filmmaking experience. Quote. I

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Speaker 2: am willing to bet that most of the experienced crew

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Speaker 2: who walked out on that memorable Saturday night expected a

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Speaker 2: follow up call from us, begging them to come back

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Speaker 2: and help us finish their own movie, Coscarelli writes, in

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Speaker 2: true Andy will suffice to say they never heard from

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Speaker 2: us again. I learned a valuable lesson about staying close

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Speaker 2: to my roots and making movies with a small, dedicated

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Speaker 2: team of creative collaborators. He stuck to that idea for

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Speaker 2: his second movie, Kenny and Company, a four hundred Blas

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Speaker 2: inspired movie about a young boy in the edge of adolescence,

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Speaker 2: and for his third movie, Phantasm, his first attempt to

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Speaker 2: design a commercial hit that would make him a bankable,

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Speaker 2: in demand director. True, and he doesn't have any stories

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Speaker 2: from the Phantasm set that are quite as shocking and

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Speaker 2: hilarious as Coscarelli trying to figure out how to fire

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Speaker 2: an entire crew of film pros at age eighteen, But

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Speaker 2: the book does have an in depth run down on

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Speaker 2: how Coscarelli, still just in his mid twenties, drew on

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Speaker 2: that small, dedicated team of people he trusted. That included

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Speaker 2: bringing back one of Kenny and Company's stars to play

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Speaker 2: Phantasm protagonist Mike and the Frightening Father from Jim the

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Speaker 2: World's Greatest as Phantasm's signature villain, the hulking inhuman tall man,

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Speaker 2: and Reggie Banister, Phantasm's affable ice cream man and guitarist,

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Speaker 2: was a returning repertory player from both movies. Coscarelli's mom

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Speaker 2: sewed all the costumes designed the villain's signature look and

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Speaker 2: built the creepy alien fly puppet. Coscarelli served as director, producer,

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Speaker 2: deepi and screenwriter. Expanding the story from a recurring nightmare

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Speaker 2: he had had about a flying silver ball chasing him

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Speaker 2: through hallways, he found cheap ways to make that flying

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Speaker 2: silver ball, a murderous killer device later known as a

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Speaker 2: sentinel sphere, into a memorable effect. After multiple rounds of

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Speaker 2: trying to design complex mechanical effects to make it fly,

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Speaker 2: they ended up just throwing it down a hallway and

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Speaker 2: running the resulting footage and reverse Costgrelly gave a fabricator

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Speaker 2: who primarily built rotating turntables for auto company trade shows,

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Speaker 2: about eleven hundred dollars to build a version of the

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Speaker 2: sphere that would pop out blades to latch into a

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Speaker 2: victim's head, a drill to tear into his cranium, and

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Speaker 2: a blood pump that would spray a jet of gore

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Speaker 2: across a room. Coscarelli shot his big Central Car chase

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Speaker 2: at night without any other required licenses or permits on

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Speaker 2: a back country road. The effects included having one of

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Speaker 2: his stars fiery series of blank shotgun cartridges directly into

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Speaker 2: the camera with Costcarelli behind that camera wearing a tinfoil

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Speaker 2: head wrap to try to protect his face from flying debris,

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Speaker 2: as the opening of True Indy States ended up with

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Speaker 2: his head on fire. Fantasm came out when Coscarelly was

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Speaker 2: twenty five years old, and it became a cult hit,

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Speaker 2: earning twenty two million dollars on its paltry three hundred

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Speaker 2: thousand dollars budget, But the results of all this underfooted

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Speaker 2: grilla shooting are certainly rough. Fantasm crams in a lot

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Speaker 2: of ideas in a short run time, and the story

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Speaker 2: isn't always particularly linear. Characters pop in and out in

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Speaker 2: arbitrary ways, the result of Costcarelly editing the film down

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Speaker 2: from a version that bored test audiences because it spent

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Speaker 2: much too much time on mundane scenes between its protagonists,

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Speaker 2: thirteen year old Mike played by Michael Baldwin and his

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Speaker 2: adult brother Jody played by Bill Thornbury. Costcarelly describes cutting

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Speaker 2: extensive sequences involving the duo's elderly aunt, Jody's girlfriend, the

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Speaker 2: girlfriend's sister, and the two brothers just hang out having

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Speaker 2: meals together, scenes he says would have made his original

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Speaker 2: version of Phantasm run about three hours long. Instead, Fantasm

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Speaker 2: focuses fairly tightly on Mike and Jody's face off against

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Speaker 2: a creepy supernatural force. The brothers live in Oregon in

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Speaker 2: a house once owned by their recently deceased parents. Jody

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Speaker 2: left home and went his own way at some point

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Speaker 2: in the past, but now he's back in his small,

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Speaker 2: sleepy suburban hometown to take care of his adolescent brother,

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Speaker 2: though as he comments to his old friend Reggie, he's

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Speaker 2: thinking about leaving the kid with their aunt and heading

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Speaker 2: back out again. Jody is very clearly important to the

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Speaker 2: otherwise pretty independent Mike, who happens to be a capable

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Speaker 2: mechanic and a confident hand with a gun at age thirteen.

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Speaker 2: That doesn't stop him from anxiously trailing his brother everywhere,

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Speaker 2: as if he's afraid Jody might just evaporate the way

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Speaker 2: their parents also left their lives. That explains how Mike

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Speaker 2: ends up in the bushes when Jody's at the funeral

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Speaker 2: for his old friend Tommy, who supposedly killed himself, though

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Speaker 2: in the opening scene we see him having sleepy cemetery

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Speaker 2: sex with a woman who subsequently stabs him to death.

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Speaker 2: Mike sees some weird things on the cemetery grounds at

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Speaker 2: that funeral, and even weirder things when he spies on

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Speaker 2: Jody about to have sex with that same stabbity woman

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Speaker 2: in that same cemetery. Soon, the two brothers are kicking

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Speaker 2: in windows, toning around pistols in that shotgun, and repeatedly

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Speaker 2: facing off against the mysterious sepulchral tall man and his

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Speaker 2: small army of diminutive, robed and hooded agents. Phantasm did

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Speaker 2: have some of the effect Coscarelli wanted. It did make

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Speaker 2: him an in demand director, though that demand was largely

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Speaker 2: for Phantasm sequels, a prospect that didn't interest him because

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Speaker 2: he considered the movies ending definitive alongside other projects like

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Speaker 2: The Beast Master, Bubbajotep, and John Dies. At the end,

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Speaker 2: he did eventually make several more Phantasm movies working within

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Speaker 2: the studio system. A good part of the rest of

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Speaker 2: the memoir, True Indy is devoted to more set stories

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Speaker 2: where he revels in having bigger budgets for Phantasm movies

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Speaker 2: that let him significantly up his effects game, including giant explosions,

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Speaker 2: car crashes, and a much bigger budget for his Sentinel spheres.

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Speaker 2: At the same time, though, he laments having to deal

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Speaker 2: with studio interference, which forced him to replace his star

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Speaker 2: Michael Baldwin with James le Gross for Phantasm two, nixt

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Speaker 2: Any Dream Sequences, and any of the original Phantasm's weird

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Speaker 2: dream logic mandated that quote the audience must know where

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Speaker 2: they are and exactly what was going on at every

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Speaker 2: moment in the film unquote, leading to Phantasm two's clunky

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Speaker 2: explanation of the tall Man he was a grave robber

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Speaker 2: from another dimension. Poor studio decisions also hampered the promotion

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Speaker 2: and releases of the later Phantasm movies, guaranteeing that they

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Speaker 2: would never really have the impact of that first surprising film.

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Speaker 2: I'm guessing that if Costcarelli had the option of getting

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Speaker 2: all the studio flex behind those decisions to walk off

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Speaker 2: the job in a huff, he would have still As

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Speaker 2: a proud, lifelong devotee to indie filmmaking, Costcarelli can point

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Speaker 2: to the fact that a movie that he made with

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Speaker 2: his mom as the costume designer and his friends as

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Speaker 2: the crew made more of a splash and became more

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Speaker 2: of a cult hit than the studio produced sequels with

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Speaker 2: ten times the budget and much more structural support. That's

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Speaker 2: the kind of story you can build a book out of.

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Speaker 3: I've been waiting for you.

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Speaker 2: So this movie pretty famously emerged out of Cascarelli having

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Speaker 2: as a teenager a recurring dream about running through whitehalls

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Speaker 2: being pursued by a flying silver ball. Am I wrong

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Speaker 2: in thinking that this whole movie feels like a bit

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Speaker 2: of a disjointed dream for what we find out are

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Speaker 2: very good narrative reasons, but also, you know, just because

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Speaker 2: of I think the person making it in the conditions

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Speaker 2: under which he was making it.

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Speaker 5: Oh. Absolutely, I mean it feels like I wrote this

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Speaker 5: my letterboxy. It feels like if you someone were to

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Speaker 5: say to you, I had this craziest dream the other

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Speaker 5: night and it was really spooky. But instead of describing

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Speaker 5: that dream, wrote an entire screenplay, and then filmed it.

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Speaker 5: That's basically what Phantasm is and what I I've always

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Speaker 5: I've always liked this movie and every time I've seen

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Speaker 5: it several times over the years, but I always forget

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Speaker 5: what happens in it, like what happens next? And you

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Speaker 5: know what the ultimate story is such as it is,

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Speaker 5: And I don't think that's, you know, part of a

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Speaker 5: product of my failing memory, although though certainly could be.

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Speaker 5: So much as it is, like it's just the way

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Speaker 5: the film works, like one thing kind of flows into

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Speaker 5: the other and there is a kind of a logical

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Speaker 5: progression everything, but not really. No, It's almost a unique

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Speaker 5: movie in that way, because I really can't think of

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Speaker 5: another movie that works, that has the same looseness to

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Speaker 5: it that works as well.

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Speaker 4: I'm trying to think now now that we're talking about

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Speaker 4: this is just joining a dream. I'm trying to think,

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Speaker 4: like what where you can imagine this film starting as

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Speaker 4: like like we did it start? I guess with the

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Speaker 4: it's you were saying, with this idea of whitehalls and

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Speaker 4: a flying silver ball, how do you construct a story

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Speaker 4: around that? And I kind of do wonder now now

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Speaker 4: that I think about the film again, whether Mike and

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Speaker 4: Jody's motivation for engaging with this situation to the degree

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Speaker 4: that they do is a little bit strange. You kind

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Speaker 4: of just get sort of backed into this world, which

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Speaker 4: is really the important part of the movie, which is

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Speaker 4: which you know, you're trying to trying to deal with

365
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Speaker 4: this this strange figure named the Tall Man, and this

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Speaker 4: u mausoleum, and and all of these Jahwa type you know,

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Speaker 4: squished people who are I guess, his minions. And I

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Speaker 4: mean that that's kind of like the heart of the movie.

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Speaker 4: And then everything else is this kind of odd, little

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Speaker 4: like story of I don't know, brotherly love or something

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Speaker 4: that it's kind of cobbled together around it. It is.

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Speaker 4: It is kind of a it's an odd movie. But

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Speaker 4: I also think that that's kind of the liberty that

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Speaker 4: it extends itself. That the stakes are pretty low in

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Speaker 4: terms of in terms of monetary investment, and and uh,

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Speaker 4: you know, and so Coscarelli just is able to put

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Speaker 4: himself out there completely with these these interesting kind of

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Speaker 4: abstract ideas and the rest just kind of falls into place. However,

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Speaker 4: it does. It's okay that it's a little bit, as

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Speaker 4: you say that in the opening a little JANKI.

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Speaker 2: Yeah, at the risk of, you know, jumping ahead to

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Speaker 2: kind of a big picture talk before getting into the

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00:20:28,965 --> 00:20:31,725
Speaker 2: small picture talk, both of you have kind of touched

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Speaker 2: on something that I had earmarked as maybe for a

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Speaker 2: later discussion, but maybe we should start with that. I

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Speaker 2: read a bunch of contemporaneous reviews and modern reviews of

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Speaker 2: this film that try to kind of draw a big

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Speaker 2: symbolic picture around the whole thing, like this is a

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Speaker 2: movie about processing and death and grief. This is a

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Speaker 2: movie about trauma. This is a movie about the modern

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Speaker 2: cultural separation that Americans have from death. This is a

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Speaker 2: movie about coming of age and realizing that the world

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Speaker 2: is random and unfair. This is a movie about I

394
00:21:03,845 --> 00:21:07,845
Speaker 2: read actually a really compelling letterboxed review claiming that all

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Speaker 2: of this is just kind of Mike's fantasy of what

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Speaker 2: being an adult is, like, you know, you kind of

397
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Speaker 2: go directly from having big hair and a cool car

398
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Speaker 2: and picking up chicks in bars and having sex to

399
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Speaker 2: dying and do any like big picture like symbolic reads

400
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Speaker 2: of this movie like particularly stand out or work for you.

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Speaker 5: I think the processing grief thing works best because it's

402
00:21:34,885 --> 00:21:37,245
Speaker 5: what's kind of what the reading of the movie puts

403
00:21:37,285 --> 00:21:42,645
Speaker 5: forward itself. But this processing takes some fairly baroque turns

404
00:21:42,685 --> 00:21:46,005
Speaker 5: that I think don't really kind of you know, if

405
00:21:46,045 --> 00:21:48,885
Speaker 5: you're doing it as an allegorical thing, I don't know

406
00:21:48,925 --> 00:21:53,325
Speaker 5: where the little hooded monster figures or or the silver

407
00:21:53,365 --> 00:21:57,685
Speaker 5: ball of death align with anything in the actual grieving process.

408
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Speaker 5: So I guess broadly, sure, I'll buy that, but I

409
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Speaker 5: don't think that's the explanation that that kind of unlocks

410
00:22:03,205 --> 00:22:05,165
Speaker 5: this movie. Let's put another way. I don't thin it's

411
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Speaker 5: the explanation that like drills into the skull of this

412
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Speaker 5: film that like sends its meanings spurting out across the room.

413
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Speaker 4: Yeah, oh my god, Yeah, I kind of. I do

414
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Speaker 4: have trouble sort of, you know, locking into any theme

415
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Speaker 4: because you were talking about trauma, loss, et cetera. You know,

416
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Speaker 4: because this is a film that opens with a death

417
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Speaker 4: and a murder and a funeral. If you're meant to

418
00:22:28,845 --> 00:22:34,005
Speaker 4: feel any sense of grief over anything that, it's just

419
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Speaker 4: it doesn't come across. It doesn't. It doesn't feel like

420
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Speaker 4: the loss that these young men have sustained is felt

421
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Speaker 4: with any kind of depth to the point where you

422
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Speaker 4: would make that a theme. I think when I think

423
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Speaker 4: about this movie, I think of it more about how

424
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Speaker 4: it's situated within the horror genre, about where what it

425
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Speaker 4: comes out of what kind of movies were coming out

426
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Speaker 4: at the time. I mean, you can kind of see

427
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Speaker 4: it as the tradition of of like the Evil Dead

428
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Speaker 4: of you know, Suspiria is another movie that I think

429
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Speaker 4: was a Coscarelli influence on this and bringing that sort

430
00:23:07,645 --> 00:23:11,405
Speaker 4: of European style to an American horror movie. It's just

431
00:23:11,485 --> 00:23:15,085
Speaker 4: kind of a you know, the uniqueness of Phantasm as

432
00:23:15,165 --> 00:23:18,445
Speaker 4: a horror film in the year nineteen seventy nine is

433
00:23:18,485 --> 00:23:20,205
Speaker 4: to be kind of what, you know, it's sort of

434
00:23:20,205 --> 00:23:24,205
Speaker 4: the primary fest nation with it more so than any

435
00:23:24,445 --> 00:23:28,125
Speaker 4: specific story elements of the in the movie having much residence.

436
00:23:28,125 --> 00:23:31,925
Speaker 4: It's much more of kind of a stylistic conceptual thing

437
00:23:31,965 --> 00:23:32,205
Speaker 4: for me.

438
00:23:32,725 --> 00:23:36,525
Speaker 2: I mean, one of the things that leads to the

439
00:23:36,565 --> 00:23:39,325
Speaker 2: desjoyedness of the story and kind of the sense of

440
00:23:39,525 --> 00:23:44,965
Speaker 2: uniqueness is the relationship between Mike and Jody. Yes, the

441
00:23:45,085 --> 00:23:47,045
Speaker 2: early scene, I.

442
00:23:47,005 --> 00:23:49,445
Speaker 4: Know what you're about to say, Okay, say let's hear it.

443
00:23:49,525 --> 00:23:52,645
Speaker 2: The one where Jody is biking like on a shwin

444
00:23:52,805 --> 00:23:55,085
Speaker 2: basically like biking down the middle of the street in

445
00:23:55,125 --> 00:24:00,165
Speaker 2: this little idyllic suburb, and Mike is chasing him on foot,

446
00:24:00,725 --> 00:24:05,005
Speaker 2: like leaping over fences and hedges and eventually cannot keep

447
00:24:05,085 --> 00:24:08,165
Speaker 2: up with somebody who is oblivious to his presence riding

448
00:24:08,245 --> 00:24:13,325
Speaker 2: a bike and just does a huge mim like consarn it.

449
00:24:13,565 --> 00:24:16,965
Speaker 4: Kind of moment if you had a ten gallon hatt,

450
00:24:16,965 --> 00:24:18,005
Speaker 4: he'd throw it to the ground.

451
00:24:18,805 --> 00:24:20,925
Speaker 2: Yeah, yeah, it is kind of a ten gallon hat thrown.

452
00:24:21,245 --> 00:24:23,965
Speaker 2: And yet this is a kid who has his own

453
00:24:24,565 --> 00:24:27,645
Speaker 2: like motor scooter, you know, which he could very easily

454
00:24:27,685 --> 00:24:30,565
Speaker 2: keep up with his brother on so chasing.

455
00:24:30,605 --> 00:24:32,245
Speaker 4: He doesn't have it at that moment though.

456
00:24:32,485 --> 00:24:34,245
Speaker 2: They're coming out of their home, he's coming out of

457
00:24:34,285 --> 00:24:38,645
Speaker 2: his garage. It's like he chases after him in just

458
00:24:38,725 --> 00:24:43,245
Speaker 2: kind of a momentary like fit of anxiety almost, but

459
00:24:43,285 --> 00:24:46,565
Speaker 2: it's it's just very unclear what he's trying to do,

460
00:24:46,605 --> 00:24:49,885
Speaker 2: like what he wants. He's operating on impulse, and so

461
00:24:50,045 --> 00:24:53,205
Speaker 2: much of this movie kind of follows that logic of

462
00:24:53,365 --> 00:24:57,085
Speaker 2: let's operate on impulse, Like I don't know what's going

463
00:24:57,125 --> 00:24:59,645
Speaker 2: on with the little hooded figures running around the cemetery.

464
00:25:00,045 --> 00:25:03,685
Speaker 2: I guess I will break and enter, you know, I will.

465
00:25:03,685 --> 00:25:06,965
Speaker 2: I will kick in a window and start trying to investigate.

466
00:25:06,485 --> 00:25:06,965
Speaker 3: On my own.

467
00:25:08,205 --> 00:25:10,405
Speaker 2: Okay, my little brother has given me a severed finger

468
00:25:10,445 --> 00:25:14,645
Speaker 2: in a box. It's time to pull out the guns.

469
00:25:15,085 --> 00:25:18,484
Speaker 2: Mike and Jody, like their relationship is so odd.

470
00:25:18,605 --> 00:25:20,885
Speaker 4: What's the line he tells, is that Jody tells my

471
00:25:21,205 --> 00:25:23,085
Speaker 4: about the guns. It's like you said, don't fire any

472
00:25:23,125 --> 00:25:25,725
Speaker 4: warning shots, you know, if you're going to use the gun,

473
00:25:25,765 --> 00:25:27,325
Speaker 4: It's like you shoot to kill.

474
00:25:27,765 --> 00:25:33,245
Speaker 2: Warning shots or bs. He says, uh yeah, So I

475
00:25:33,285 --> 00:25:36,765
Speaker 2: guess before we drill into the brain pan of the

476
00:25:36,805 --> 00:25:40,285
Speaker 2: Mike and Jody relationship, we could also take a look

477
00:25:40,325 --> 00:25:43,525
Speaker 2: at I think a lot of the gun attitude, in

478
00:25:43,565 --> 00:25:45,845
Speaker 2: particular the fact that the house is just full of

479
00:25:45,885 --> 00:25:49,245
Speaker 2: guns and that Jody sees absolutely nothing wrong with like

480
00:25:50,205 --> 00:25:53,685
Speaker 2: handing his thirteen year old brother a gun and telling

481
00:25:53,765 --> 00:25:55,925
Speaker 2: him to shoot to kill. All of that comes out

482
00:25:55,965 --> 00:25:59,125
Speaker 2: of the organ setting and the nineteen seventies setting, Like

483
00:25:59,805 --> 00:26:01,965
Speaker 2: none of this is something you would see in a

484
00:26:02,005 --> 00:26:06,885
Speaker 2: movie today, But like, does that setting bring more to

485
00:26:06,965 --> 00:26:09,085
Speaker 2: the story to you or are there other kind of

486
00:26:09,125 --> 00:26:12,565
Speaker 2: like signifiers of this era or place that you felt

487
00:26:12,605 --> 00:26:13,365
Speaker 2: were significant.

488
00:26:13,485 --> 00:26:15,085
Speaker 5: Oh you think there's some seven you sent the fires

489
00:26:15,085 --> 00:26:16,045
Speaker 5: in this, Tasha.

490
00:26:16,925 --> 00:26:21,485
Speaker 2: I mean there is. Yes, the movie starts with death,

491
00:26:21,485 --> 00:26:25,965
Speaker 2: but it also starts with a topless, nighttime, badly let

492
00:26:26,045 --> 00:26:29,725
Speaker 2: sex scene, which just feels it feels like the most

493
00:26:29,765 --> 00:26:34,885
Speaker 2: seventies movie of all time. You know, You've got obligatory toplessness,

494
00:26:34,885 --> 00:26:39,045
Speaker 2: transgressive sex, and then like bloody, exploitative murder like all

495
00:26:39,085 --> 00:26:41,085
Speaker 2: in the space of just a few minutes. Yes, that's

496
00:26:41,165 --> 00:26:42,685
Speaker 2: kind of seventies, but what else.

497
00:26:42,805 --> 00:26:44,365
Speaker 4: It's what they did in the seventies. They had sex

498
00:26:44,405 --> 00:26:45,045
Speaker 4: and graveyards.

499
00:26:45,125 --> 00:26:46,605
Speaker 5: I feel like you could just paint this movie on

500
00:26:46,645 --> 00:26:49,045
Speaker 5: the side of a custom van and it would make sense.

501
00:26:51,205 --> 00:26:53,205
Speaker 2: I would bet anything there were people that had the

502
00:26:53,245 --> 00:26:56,045
Speaker 2: sent Nils phil Sphere painted on their air brushed on

503
00:26:56,085 --> 00:26:56,645
Speaker 2: their vans.

504
00:26:56,845 --> 00:26:59,925
Speaker 4: Oh absolutely. I mean I look at this movie and

505
00:27:00,005 --> 00:27:02,165
Speaker 4: this and I have this experience so much when I

506
00:27:02,245 --> 00:27:05,205
Speaker 4: watch films of this era and about this era. It's

507
00:27:05,245 --> 00:27:07,925
Speaker 4: just like people grew up differently and like the idea

508
00:27:08,045 --> 00:27:11,965
Speaker 4: of boys, you know, even if they're like Mike and

509
00:27:12,165 --> 00:27:15,925
Speaker 4: underage knowing how to having some sort of motor scooter,

510
00:27:16,165 --> 00:27:18,845
Speaker 4: motor cycle or whatever it is that he has knowing

511
00:27:18,885 --> 00:27:22,005
Speaker 4: something about cars being able to actually dry a muscle

512
00:27:22,085 --> 00:27:25,725
Speaker 4: car if need be, having that skill. That's all sort

513
00:27:25,725 --> 00:27:29,045
Speaker 4: of baked into the era to me. And then just generally,

514
00:27:29,245 --> 00:27:31,525
Speaker 4: you know, you always think about like how do people

515
00:27:31,885 --> 00:27:33,885
Speaker 4: communicate with each other? How do they know where they are?

516
00:27:34,125 --> 00:27:36,485
Speaker 4: And you know, you know, we live in an era

517
00:27:36,525 --> 00:27:39,085
Speaker 4: of cell phones where you can, you know, you can

518
00:27:39,165 --> 00:27:43,965
Speaker 4: literally track family members, you know, through GPS and know

519
00:27:43,965 --> 00:27:45,965
Speaker 4: where they're going all the time. Like there's nothing like

520
00:27:46,005 --> 00:27:48,525
Speaker 4: that there. I mean, there's something kind of always liberating

521
00:27:48,525 --> 00:27:51,845
Speaker 4: for me to just vicariously to watch a movie set

522
00:27:51,885 --> 00:27:54,845
Speaker 4: in this in a time period like this, where there's

523
00:27:55,005 --> 00:27:57,805
Speaker 4: that freedom of movement, but also a certain worry that

524
00:27:57,965 --> 00:28:00,405
Speaker 4: you know, when people fall out of touch with each other,

525
00:28:00,805 --> 00:28:02,445
Speaker 4: that they're not going to be able to find each other,

526
00:28:02,645 --> 00:28:05,005
Speaker 4: and sometimes when they do, it's it's a complete shock

527
00:28:05,805 --> 00:28:09,085
Speaker 4: and surprise. So, you know, I enjoy just kind of

528
00:28:09,085 --> 00:28:11,725
Speaker 4: being in the world of movies like this because because

529
00:28:11,765 --> 00:28:14,445
Speaker 4: it's it's become so much different from our own.

530
00:28:14,725 --> 00:28:17,165
Speaker 2: That's it. I feel like the central relationship is still

531
00:28:17,525 --> 00:28:19,965
Speaker 2: pretty unique, and we just we see it in a

532
00:28:19,965 --> 00:28:22,885
Speaker 2: bunch of different ways. Maybe one of the ones that

533
00:28:22,965 --> 00:28:26,925
Speaker 2: stands out for me most is Shody being kind of

534
00:28:27,085 --> 00:28:30,925
Speaker 2: fine with Mike going with him to various dangerous places

535
00:28:31,565 --> 00:28:33,925
Speaker 2: until he isn't and then he just literally scoops him

536
00:28:34,005 --> 00:28:36,725
Speaker 2: up over his shoulder, picks him up, deposits him in

537
00:28:36,725 --> 00:28:40,005
Speaker 2: his room. Uh, you know, he is sort of standing

538
00:28:40,045 --> 00:28:43,685
Speaker 2: in in loco parentis here, and the way the movie

539
00:28:43,965 --> 00:28:47,885
Speaker 2: has to kind of like divide his time between cool

540
00:28:48,045 --> 00:28:52,405
Speaker 2: brother guardian versus uncool I've I've got to actually be

541
00:28:52,445 --> 00:28:56,725
Speaker 2: a parent to you versus you know, we're literally just

542
00:28:56,845 --> 00:29:01,525
Speaker 2: brothers hanging out kind of stuff with occasionally an edge

543
00:29:01,565 --> 00:29:04,045
Speaker 2: of you're my younger brother and therefore you're kind of

544
00:29:04,045 --> 00:29:06,885
Speaker 2: a bore and a drag. Like the different layers of

545
00:29:06,925 --> 00:29:09,565
Speaker 2: that from scene to scene I found very interesting.

546
00:29:09,925 --> 00:29:12,965
Speaker 4: Did you feel like that was it was an example

547
00:29:13,005 --> 00:29:18,285
Speaker 4: of carefully written you know, like screenwriting, or a certain

548
00:29:18,325 --> 00:29:20,725
Speaker 4: amount of As we were talking about the disjointedness of

549
00:29:20,765 --> 00:29:23,445
Speaker 4: the movie, I mean, I think it's kind of in

550
00:29:23,485 --> 00:29:26,285
Speaker 4: between those two things. You know, it is a film

551
00:29:26,285 --> 00:29:30,045
Speaker 4: that it feels like it's being plotted on the fly

552
00:29:30,885 --> 00:29:32,245
Speaker 4: a lot a lot of the time, and so you

553
00:29:32,325 --> 00:29:33,965
Speaker 4: do get these kind of tonal shifts and you get

554
00:29:33,965 --> 00:29:38,325
Speaker 4: these shifts in terms of relationship between Mike and Jody,

555
00:29:38,485 --> 00:29:40,965
Speaker 4: whether it's whether it's big brother little brother, whether there's

556
00:29:41,005 --> 00:29:44,525
Speaker 4: a parental element to it, whether whether there's this sense

557
00:29:44,565 --> 00:29:49,285
Speaker 4: of mutual devotion, or whether it's there's annoyance on that

558
00:29:49,525 --> 00:29:52,285
Speaker 4: on Jody's part that his brother keeps falling around. All

559
00:29:52,365 --> 00:29:53,685
Speaker 4: of that is president and all of that, I guess

560
00:29:53,805 --> 00:29:57,285
Speaker 4: is probably true of a lot of sibling relationships when

561
00:29:57,325 --> 00:29:59,525
Speaker 4: the parents aren't around, you know, so it feels there's

562
00:29:59,525 --> 00:30:01,445
Speaker 4: a realness to that that comes through the movie. I

563
00:30:01,485 --> 00:30:05,005
Speaker 4: think there's actually kind of a real affection, like bottom

564
00:30:05,085 --> 00:30:09,125
Speaker 4: line that the devotion part really does come through, and

565
00:30:09,285 --> 00:30:12,085
Speaker 4: is sometimes it does come through in incredibly silly ways,

566
00:30:12,125 --> 00:30:15,165
Speaker 4: like Mike running after Jody when Jody's on the bike

567
00:30:15,205 --> 00:30:17,445
Speaker 4: and he looks, he just looks. It looks like a

568
00:30:17,525 --> 00:30:19,805
Speaker 4: you know, like a like a dog running after its

569
00:30:19,805 --> 00:30:23,325
Speaker 4: owner or something. It's like it's just so absurd. But

570
00:30:23,405 --> 00:30:25,805
Speaker 4: at the same time, I mean, I think there is that,

571
00:30:26,325 --> 00:30:29,485
Speaker 4: you know, willingness on both their parts to really stand

572
00:30:29,565 --> 00:30:31,845
Speaker 4: up for each other, fight for each other, protect each other,

573
00:30:32,285 --> 00:30:35,405
Speaker 4: and you know, there's something kind of sweet and you know,

574
00:30:35,445 --> 00:30:37,445
Speaker 4: even kind of wholesome about that in the movie.

575
00:30:37,685 --> 00:30:40,485
Speaker 2: Well, you mentioned doing things on the fly, Scott, and

576
00:30:40,765 --> 00:30:42,965
Speaker 2: we definitely need to talk about the fly in this

577
00:30:43,085 --> 00:30:46,925
Speaker 2: movie as well as the flying thing. Actually two flying

578
00:30:47,045 --> 00:30:50,165
Speaker 2: things that happened in this movie that are where it

579
00:30:50,245 --> 00:30:55,445
Speaker 2: kind of departs into weird horror slash science fiction. We're

580
00:30:55,445 --> 00:30:57,205
Speaker 2: going to take a quick break before we get to that,

581
00:30:57,245 --> 00:31:00,365
Speaker 2: and we'll be back to talk about the fly sequence

582
00:31:01,085 --> 00:31:14,445
Speaker 2: and the flying sphere sequence. Okay, So, I mean, what

583
00:31:14,565 --> 00:31:18,605
Speaker 2: people remember about this movie is the Sentinel sphere. It

584
00:31:18,645 --> 00:31:24,005
Speaker 2: wasn't named that until later elms, but it's it's the

585
00:31:24,045 --> 00:31:28,445
Speaker 2: standout thing. The poster I just remember very clearly the

586
00:31:28,485 --> 00:31:32,845
Speaker 2: poster for Phantasm to being built around the ball is back.

587
00:31:33,325 --> 00:31:36,205
Speaker 2: There was just an acknowledgment up front. People knew what

588
00:31:36,245 --> 00:31:38,885
Speaker 2: the standout memory people were going to have of of

589
00:31:38,925 --> 00:31:41,845
Speaker 2: that movie was, what does that scene look like to

590
00:31:41,885 --> 00:31:42,445
Speaker 2: you today?

591
00:31:43,125 --> 00:31:44,485
Speaker 5: Bath you see it?

592
00:31:44,845 --> 00:31:46,285
Speaker 4: Do you see it twice? Right? I mean that you

593
00:31:46,325 --> 00:31:47,965
Speaker 4: see you kind of see the ball flying around, But

594
00:31:47,965 --> 00:31:49,405
Speaker 4: you're talking about the course of the scene where it

595
00:31:49,485 --> 00:31:52,965
Speaker 4: actually hits. Uh, it's like an oil well basically a

596
00:31:53,365 --> 00:31:55,925
Speaker 4: sort of drills in there and then spot and then

597
00:31:55,965 --> 00:31:57,525
Speaker 4: out comes the comes the blood.

598
00:31:57,725 --> 00:32:02,205
Speaker 2: A random character who basically only exists to get caretaker.

599
00:32:02,205 --> 00:32:03,925
Speaker 4: He's trying to do he's trying to do right by

600
00:32:03,965 --> 00:32:05,525
Speaker 4: the tall man. He's trying to trying to be a

601
00:32:05,525 --> 00:32:08,285
Speaker 4: good employee. And that's what what does he get? He

602
00:32:08,285 --> 00:32:11,445
Speaker 4: gets a he gets the sphere to the skull.

603
00:32:10,885 --> 00:32:13,685
Speaker 2: Live by the guy that has a flying sentinel sphere

604
00:32:13,765 --> 00:32:16,365
Speaker 2: in his house, Die by being working for the guy

605
00:32:16,365 --> 00:32:18,325
Speaker 2: who has flying spon sentinel sphere in his house. I

606
00:32:18,405 --> 00:32:20,685
Speaker 2: always say, like frequently I say.

607
00:32:20,445 --> 00:32:23,125
Speaker 4: That it's an awesome effect, and it actually it kind

608
00:32:23,125 --> 00:32:25,685
Speaker 4: of like it also is is another thing that sort

609
00:32:25,685 --> 00:32:29,085
Speaker 4: of ties this movie and these movies together with Sam

610
00:32:29,205 --> 00:32:31,525
Speaker 4: Raimi and the and the Evil Dead movies. And in fact,

611
00:32:31,885 --> 00:32:35,645
Speaker 4: you know, I know, I know in this phantasm too

612
00:32:35,725 --> 00:32:40,965
Speaker 4: actually has an explicit hat tip to Sam Rami in it,

613
00:32:41,045 --> 00:32:43,085
Speaker 4: so so so there's that connection there. You think about

614
00:32:43,085 --> 00:32:46,765
Speaker 4: the flying eyeball in the second Evil Dead, which came

615
00:32:46,805 --> 00:32:49,725
Speaker 4: after afterwards, but in any case, this was, you know,

616
00:32:49,725 --> 00:32:51,685
Speaker 4: if you if you're gonna narrow it down to one

617
00:32:51,725 --> 00:32:55,205
Speaker 4: thing that you remember from Fantasma, of course it has

618
00:32:55,205 --> 00:32:56,965
Speaker 4: to be this. And it's a really cool effect and

619
00:32:57,005 --> 00:32:59,285
Speaker 4: it's a really cool kill, you know, and you know,

620
00:32:59,325 --> 00:33:03,005
Speaker 4: and that's kind of part of the less high falutant

621
00:33:04,005 --> 00:33:06,285
Speaker 4: reason to like certain horror films is that people like

622
00:33:06,325 --> 00:33:09,805
Speaker 4: a like a good kill and as you know, somebody

623
00:33:09,845 --> 00:33:14,125
Speaker 4: get getting a Swiss army knife like sphere to the

624
00:33:14,205 --> 00:33:16,725
Speaker 4: head and having all that blood spew out. I mean,

625
00:33:16,765 --> 00:33:17,725
Speaker 4: that's a pretty good effect.

626
00:33:18,085 --> 00:33:20,525
Speaker 5: I'm always like, with a lot of little bitche horror,

627
00:33:20,645 --> 00:33:23,245
Speaker 5: you can like, well, I can maybe figure out how

628
00:33:23,285 --> 00:33:26,645
Speaker 5: they did that, and I'm sure if I rewound and

629
00:33:26,725 --> 00:33:30,685
Speaker 5: rewatched it, I could probably piece it together. But it's

630
00:33:30,725 --> 00:33:33,165
Speaker 5: still a really convincing effect, like starting with a flying

631
00:33:33,245 --> 00:33:36,125
Speaker 5: through the air which has done you know, really it's

632
00:33:36,165 --> 00:33:39,725
Speaker 5: really kinetic, I mean, and then the actual landing and

633
00:33:39,805 --> 00:33:43,605
Speaker 5: drilling and then the subsequent grossness. I don't know of

634
00:33:43,605 --> 00:33:47,365
Speaker 5: anything else like it in horror movies too, and nor

635
00:33:47,645 --> 00:33:50,485
Speaker 5: having not I would like to watch More than is

636
00:33:50,525 --> 00:33:53,005
Speaker 5: the only phantasm movie I've seen, so I have no

637
00:33:53,085 --> 00:33:55,245
Speaker 5: idea like what these things were actually supposed to do

638
00:33:55,365 --> 00:34:00,125
Speaker 5: other than kill caretakers. But it's disturbing because this seems

639
00:34:00,165 --> 00:34:02,765
Speaker 5: like something that you it would be very tough to.

640
00:34:02,725 --> 00:34:06,645
Speaker 2: Avoid unless you happen to have a shotgun, which is

641
00:34:06,685 --> 00:34:09,485
Speaker 2: the ultimate anti sentinel. Sphere weapon apparently.

642
00:34:09,525 --> 00:34:09,885
Speaker 5: Sure.

643
00:34:11,085 --> 00:34:13,685
Speaker 2: I mean, I've seen Phantasm too. If I had had

644
00:34:13,685 --> 00:34:16,444
Speaker 2: more time ahead of this, I would have watched the

645
00:34:16,485 --> 00:34:19,404
Speaker 2: other ones, which are scattered around on streaming. I do

646
00:34:19,685 --> 00:34:22,045
Speaker 2: kind of want to watch the whole series, just because

647
00:34:22,125 --> 00:34:26,285
Speaker 2: I remember Phantasm to being a bit of a disappointment,

648
00:34:26,885 --> 00:34:30,845
Speaker 2: and maybe they're reasoning for that. Like Coscarelli talked in

649
00:34:30,925 --> 00:34:36,125
Speaker 2: his book about how making the second one under studio auspices,

650
00:34:36,165 --> 00:34:39,805
Speaker 2: he was basically told explain everything, and I wrote a

651
00:34:39,845 --> 00:34:42,005
Speaker 2: piece for the Dissolve that is maybe the piece that

652
00:34:42,045 --> 00:34:45,965
Speaker 2: I link back to more than anything else when I'm writing,

653
00:34:46,005 --> 00:34:48,565
Speaker 2: because it's just such a dearly held belief, and that

654
00:34:48,765 --> 00:34:53,245
Speaker 2: is that horror sequels usually break all of the stuff

655
00:34:53,245 --> 00:34:55,685
Speaker 2: that's fun about the first movie because they try to

656
00:34:55,725 --> 00:34:59,605
Speaker 2: over explain, over explain, over explain everything, and that sense

657
00:34:59,645 --> 00:35:02,444
Speaker 2: that you know, there are a lot of mysteries going

658
00:35:02,485 --> 00:35:05,085
Speaker 2: on in this movie, and the second movie had to

659
00:35:05,125 --> 00:35:09,245
Speaker 2: explain them, including the Sphere, kind of ended up being

660
00:35:09,245 --> 00:35:12,605
Speaker 2: a little bit of a disappointment. At the same time.

661
00:35:12,685 --> 00:35:15,645
Speaker 2: I just think it's really interesting that Coscarelli is showing

662
00:35:15,725 --> 00:35:21,525
Speaker 2: some of his like science fiction fixations here, both with

663
00:35:21,605 --> 00:35:24,125
Speaker 2: the Sphere, which is just a very you know, gleaming

664
00:35:24,405 --> 00:35:28,645
Speaker 2: seventies like sci fi gadget and with the scene stolen

665
00:35:28,685 --> 00:35:31,005
Speaker 2: directly from Dune with the pain box.

666
00:35:31,725 --> 00:35:34,725
Speaker 5: Yeah, but then.

667
00:35:34,645 --> 00:35:38,165
Speaker 2: The whole thing where Mike cuts off a bunch of

668
00:35:38,245 --> 00:35:41,245
Speaker 2: the tall man's fingers and is sprayed by something that

669
00:35:41,285 --> 00:35:44,165
Speaker 2: looks kind of like mac and Cheese run off, and

670
00:35:44,205 --> 00:35:46,645
Speaker 2: then one of those fingers turns into a fly, Like

671
00:35:46,685 --> 00:35:48,565
Speaker 2: that's just total dream logic.

672
00:35:49,125 --> 00:35:52,645
Speaker 4: It's fantastic too. I mean, I love that dream logic.

673
00:35:52,685 --> 00:35:54,885
Speaker 4: Or you say, I think I love the effects. I

674
00:35:55,125 --> 00:35:58,845
Speaker 4: think you know that the finger that moves moves around

675
00:35:58,925 --> 00:36:02,125
Speaker 4: and twitches, twitches and is alive after it gets cut off,

676
00:36:02,205 --> 00:36:04,125
Speaker 4: is I mean, that's cool enough, but for it to

677
00:36:04,165 --> 00:36:08,965
Speaker 4: actually transform into this you know, very hard to deal

678
00:36:09,005 --> 00:36:13,165
Speaker 4: with insect. It's just it's such a wonderful moment in

679
00:36:13,205 --> 00:36:14,725
Speaker 4: the in the movie because I think, I think the

680
00:36:14,725 --> 00:36:18,525
Speaker 4: insect looks really cool and sort of handcrafted. And I

681
00:36:18,605 --> 00:36:22,765
Speaker 4: like the fact that you know, the verry again sort

682
00:36:22,765 --> 00:36:26,005
Speaker 4: of like amateurish in a good way, grappling with it

683
00:36:26,045 --> 00:36:28,565
Speaker 4: when you just are pretending like you have something wrapped

684
00:36:28,645 --> 00:36:30,885
Speaker 4: up in a jacket and it's causing all kinds of

685
00:36:30,925 --> 00:36:33,005
Speaker 4: problems and you try to try to stick it into

686
00:36:33,045 --> 00:36:36,045
Speaker 4: the garbage disposal. I mean, that's a you know, that's

687
00:36:36,045 --> 00:36:39,685
Speaker 4: just a fun effect, and that's a nice sequence of

688
00:36:39,685 --> 00:36:41,645
Speaker 4: the film just to have it there. I mean, there's

689
00:36:41,685 --> 00:36:44,365
Speaker 4: a lot of just concepts in this movie that Costparelli

690
00:36:44,445 --> 00:36:47,125
Speaker 4: just sort of rolls with that lead to really fun

691
00:36:47,925 --> 00:36:50,845
Speaker 4: effects and scenes, and you know, the sort of stand

692
00:36:50,885 --> 00:36:54,325
Speaker 4: on their own and that whole sequence of that finger

693
00:36:54,405 --> 00:36:57,885
Speaker 4: turning into the insect and getting loose and the brothers

694
00:36:57,885 --> 00:36:59,685
Speaker 4: having to deal with it is kind of one of

695
00:36:59,685 --> 00:37:00,885
Speaker 4: the high points of the movie for me.

696
00:37:01,445 --> 00:37:04,205
Speaker 2: The sequence where they both fight the shirt in turn,

697
00:37:04,325 --> 00:37:07,525
Speaker 2: where you kind of get to see Michael Baldwin doing

698
00:37:07,605 --> 00:37:12,725
Speaker 2: his best mim of fighting a monster for a little while,

699
00:37:12,805 --> 00:37:14,805
Speaker 2: and then the way he just sort of like hands

700
00:37:14,805 --> 00:37:16,845
Speaker 2: it off to Bill Thornberry and both Bill Thornberry is

701
00:37:16,845 --> 00:37:19,445
Speaker 2: immediately like, all right, here's my rendition of this. It

702
00:37:19,805 --> 00:37:21,845
Speaker 2: just feels like staye improv.

703
00:37:22,005 --> 00:37:22,245
Speaker 3: You know.

704
00:37:22,605 --> 00:37:26,085
Speaker 2: It feels like a moment of passing the baton in

705
00:37:26,125 --> 00:37:30,005
Speaker 2: an improv scene. And it's maybe the funniest thing in

706
00:37:30,045 --> 00:37:33,005
Speaker 2: a movie that I don't think is mostly going for laughs,

707
00:37:33,045 --> 00:37:35,525
Speaker 2: but is sometimes pretty hilarious.

708
00:37:35,725 --> 00:37:38,805
Speaker 5: I think you're right. I think it is mostly eerie,

709
00:37:38,845 --> 00:37:42,285
Speaker 5: mostly spooky, but there's room for for human. I mean,

710
00:37:42,405 --> 00:37:45,725
Speaker 5: the whole everything with Reggie just being an ice cream man,

711
00:37:45,885 --> 00:37:48,125
Speaker 5: also the whole conversation like, yeah, you might want to

712
00:37:48,165 --> 00:37:49,645
Speaker 5: come along with me because you know, we had a

713
00:37:49,645 --> 00:37:52,045
Speaker 5: really big rush last time. I could use some extra

714
00:37:52,085 --> 00:37:54,884
Speaker 5: help on the ice cream. As an ice cream man,

715
00:37:55,085 --> 00:37:57,965
Speaker 5: I guess you know, I guess he does brisk business,

716
00:37:58,285 --> 00:38:00,885
Speaker 5: but I find that I find that performance very endearing.

717
00:38:01,005 --> 00:38:03,725
Speaker 4: Reggie basis are a line too about about, you know,

718
00:38:04,045 --> 00:38:09,045
Speaker 4: expressing concern about preserving his stock at some point, like

719
00:38:09,045 --> 00:38:11,844
Speaker 4: like making sure that if you put what I can

720
00:38:12,005 --> 00:38:14,005
Speaker 4: don't know if there's a body or something that's that's

721
00:38:14,005 --> 00:38:15,045
Speaker 4: in his ice cream truck.

722
00:38:14,885 --> 00:38:16,525
Speaker 2: That there was it's a body of one of the

723
00:38:16,565 --> 00:38:19,925
Speaker 2: little Java guys. It's like it's also leaking mac and

724
00:38:20,005 --> 00:38:24,205
Speaker 2: cheese juice every where, and the chances of it turning

725
00:38:24,205 --> 00:38:27,525
Speaker 2: into a fly puppet seem very high, and they just

726
00:38:27,645 --> 00:38:28,805
Speaker 2: kind of shove it in the back of the ice

727
00:38:28,845 --> 00:38:30,805
Speaker 2: cream truck. And then he's like, wait, it's not gonna

728
00:38:30,845 --> 00:38:32,685
Speaker 2: leak all over our stuff. Of course it's gonna it's

729
00:38:32,685 --> 00:38:35,685
Speaker 2: gonna leak. Alien goog fluid all over your ice cream.

730
00:38:36,245 --> 00:38:41,085
Speaker 4: The margins, the profit margins are thin on we don't

731
00:38:41,085 --> 00:38:42,085
Speaker 4: want to set Reggie back.

732
00:38:42,565 --> 00:38:45,765
Speaker 2: Like probably the logic of making Reggie an ice cream

733
00:38:45,805 --> 00:38:49,444
Speaker 2: truck man is just like, why else would you have

734
00:38:49,645 --> 00:38:51,965
Speaker 2: a truck full of ice to put a corpse on?

735
00:38:52,285 --> 00:38:53,805
Speaker 2: Like it may be that simple.

736
00:38:54,245 --> 00:38:56,085
Speaker 5: Or we could have had access to an ice cream

737
00:38:56,085 --> 00:38:57,844
Speaker 5: truck and decided to use it.

738
00:38:58,765 --> 00:39:01,645
Speaker 2: That is also possible, But at the same time it

739
00:39:01,685 --> 00:39:04,045
Speaker 2: does sort of illustrate, you know that there is an

740
00:39:04,085 --> 00:39:08,485
Speaker 2: early conversation between Jody and Reggie where Reggie is basically

741
00:39:08,525 --> 00:39:10,445
Speaker 2: just kind of saying, like, I can't believe that you

742
00:39:10,485 --> 00:39:12,725
Speaker 2: came back to this small time dump. It just seems

743
00:39:12,725 --> 00:39:14,885
Speaker 2: like it would be too small for you. And the

744
00:39:15,085 --> 00:39:18,845
Speaker 2: idea that Reggie and Tommy and Jody were all friends

745
00:39:19,365 --> 00:39:21,565
Speaker 2: and Jody's the one that got out, you know, He's

746
00:39:21,845 --> 00:39:23,725
Speaker 2: the one that went on to some kind of bigger

747
00:39:23,725 --> 00:39:27,364
Speaker 2: and better thing and then is dragged back to this

748
00:39:27,445 --> 00:39:32,565
Speaker 2: nowhere berg by family drama, I guess, and tragedy and

749
00:39:32,925 --> 00:39:36,005
Speaker 2: is kind of tied down to his little brother, you

750
00:39:36,045 --> 00:39:40,005
Speaker 2: know again, something that the film doesn't lean on so

751
00:39:40,165 --> 00:39:42,485
Speaker 2: much as it mentions a few times and then moves on.

752
00:39:43,245 --> 00:39:45,884
Speaker 2: But I feel like you could explain a lot of

753
00:39:46,005 --> 00:39:50,685
Speaker 2: Jody's like weirdness and recklessness by just assuming that he's

754
00:39:50,765 --> 00:39:54,525
Speaker 2: kind of bored in this in this nowhere dump where

755
00:39:54,805 --> 00:39:57,005
Speaker 2: his former best friend like the best thing he could

756
00:39:57,045 --> 00:39:59,045
Speaker 2: do with his life was like pedal ice cream, just

757
00:39:59,125 --> 00:40:02,885
Speaker 2: kids on the street. But here's here's my thing about Reggie.

758
00:40:03,525 --> 00:40:07,405
Speaker 2: Reggie is responsible for some of the weirdest continuity breaks

759
00:40:07,405 --> 00:40:11,565
Speaker 2: in this movie. And I'm not sure what that's about. Well,

760
00:40:11,725 --> 00:40:14,725
Speaker 2: I like he is, all right, fine, He's at the

761
00:40:14,765 --> 00:40:17,525
Speaker 2: center of some of them. There's the whole business with

762
00:40:17,565 --> 00:40:20,205
Speaker 2: the fly where he shows up in time, just in

763
00:40:20,245 --> 00:40:22,485
Speaker 2: time to say, like, hey, you want to do crowd

764
00:40:22,525 --> 00:40:24,805
Speaker 2: control on an ice cream truck. You're good at it,

765
00:40:25,485 --> 00:40:27,565
Speaker 2: and then witness this whole thing with the monster flight,

766
00:40:27,645 --> 00:40:29,725
Speaker 2: and then he just disappears and it's suddenly nighttime.

767
00:40:31,165 --> 00:40:33,725
Speaker 4: I think they just need Isn't that is that the point?

768
00:40:33,965 --> 00:40:35,845
Speaker 4: Isn't that the point in the movie where where you

769
00:40:35,965 --> 00:40:39,404
Speaker 4: need read, you need just Reggie to recognize that something

770
00:40:39,445 --> 00:40:43,405
Speaker 4: weird it's happening needs to be involved, right, So so

771
00:40:43,605 --> 00:40:45,445
Speaker 4: he happens to kind of come in on this scene

772
00:40:45,925 --> 00:40:47,765
Speaker 4: and then and then we get him later when when

773
00:40:47,765 --> 00:40:52,645
Speaker 4: they're actually confronting the tall Man and he is experiencing

774
00:40:53,045 --> 00:40:55,845
Speaker 4: this portal into the strange.

775
00:40:56,445 --> 00:41:00,485
Speaker 2: But wait, before that, we get the overturned ice cream truck, which,

776
00:41:00,525 --> 00:41:02,005
Speaker 2: by the way, is one of the coolest shots in

777
00:41:02,045 --> 00:41:07,085
Speaker 2: the movie. Uh the just like the backlit, silhouetted inverted

778
00:41:07,125 --> 00:41:11,125
Speaker 2: truck and the implication that that Reggie is dead and

779
00:41:11,165 --> 00:41:14,085
Speaker 2: has been hauled away, like it's that's just really well shot.

780
00:41:14,285 --> 00:41:16,725
Speaker 2: But then he just appears again in the mortuary and

781
00:41:16,725 --> 00:41:19,965
Speaker 2: he's like, oh, hey, I escaped, and then I went

782
00:41:19,965 --> 00:41:21,605
Speaker 2: and hid in the coffin, and then I went and

783
00:41:21,645 --> 00:41:23,805
Speaker 2: found the girls that we haven't seen in a while,

784
00:41:23,885 --> 00:41:25,844
Speaker 2: and then I freed them. And by the way, there

785
00:41:25,845 --> 00:41:27,965
Speaker 2: are a whole bunch of extra girls and I freed

786
00:41:28,005 --> 00:41:29,925
Speaker 2: them too, and you're not going to see any of

787
00:41:29,965 --> 00:41:32,405
Speaker 2: them for the rest of this movie. Like what is

788
00:41:32,605 --> 00:41:35,924
Speaker 2: all of that just kind of reads like scene lost.

789
00:41:35,685 --> 00:41:37,805
Speaker 5: Here or here's what happened in the scene that we

790
00:41:37,845 --> 00:41:39,485
Speaker 5: scripted but couldn't afford to shoot.

791
00:41:39,685 --> 00:41:42,404
Speaker 2: Yep, yeah, we couldn't get the actresses on that day.

792
00:41:43,125 --> 00:41:45,565
Speaker 2: Who knows. And then there's the whole ending, but we'll

793
00:41:45,565 --> 00:41:48,645
Speaker 2: get into that but again Reggie just he's he's he

794
00:41:48,765 --> 00:41:50,485
Speaker 2: warps continuity around him somehow.

795
00:41:51,805 --> 00:41:55,205
Speaker 4: I'm I'm not gonna put that on Reggie. It's a

796
00:41:55,485 --> 00:41:58,645
Speaker 4: Coscarelli plus budget probably, I think, But I do. I

797
00:41:58,645 --> 00:42:02,445
Speaker 4: do like that the levels to this thing of just

798
00:42:02,645 --> 00:42:08,085
Speaker 4: of of this operation in which the the in which

799
00:42:08,205 --> 00:42:14,645
Speaker 4: people are smooshed I guess into into three foot tall minions,

800
00:42:14,765 --> 00:42:18,205
Speaker 4: I guess, And then you have this portal into another

801
00:42:18,285 --> 00:42:20,844
Speaker 4: world at which they're it's implied they're almost kind of

802
00:42:20,885 --> 00:42:24,565
Speaker 4: like enslaved. It's all very part of that. It really

803
00:42:24,605 --> 00:42:28,924
Speaker 4: feels like in those moments it's shifting from horror into

804
00:42:29,725 --> 00:42:32,805
Speaker 4: science fiction really, I mean, or at least is creating this,

805
00:42:33,405 --> 00:42:37,285
Speaker 4: you know, it's creating the sort of borderless space between

806
00:42:37,325 --> 00:42:38,444
Speaker 4: those two genres.

807
00:42:39,005 --> 00:42:43,165
Speaker 2: Well, the big bridge between the horror and the science

808
00:42:43,205 --> 00:42:47,005
Speaker 2: fiction in this film is of course Angus scrim As.

809
00:42:47,245 --> 00:42:51,165
Speaker 2: The tall man. He's just this sort of nightmare figure.

810
00:42:51,205 --> 00:42:54,325
Speaker 2: Apparently he's only six', four but they put him in

811
00:42:54,445 --> 00:42:57,245
Speaker 2: like two small, suits so he would just kind of

812
00:42:57,365 --> 00:43:00,445
Speaker 2: seem to be like bulging out in all, directions and

813
00:43:00,485 --> 00:43:05,365
Speaker 2: he wore platform, shoes but mostly he just looms around

814
00:43:05,485 --> 00:43:08,605
Speaker 2: with that expression on his, face and or yells in

815
00:43:08,645 --> 00:43:11,045
Speaker 2: a deep. Voice why is he so?

816
00:43:11,245 --> 00:43:14,365
Speaker 5: CREEPY i, MEAN i Guess grim is a good. Actor

817
00:43:14,725 --> 00:43:18,005
Speaker 5: he just plays it really. Well on The Blu, ray

818
00:43:18,325 --> 00:43:21,645
Speaker 5: there's a fun bonus feature as like a half hour

819
00:43:22,205 --> 00:43:27,085
Speaker 5: interview With scrim And costcorelli from some Like Miami Local Miami,

820
00:43:27,165 --> 00:43:30,165
Speaker 5: station and with With scrim like going in and out of,

821
00:43:30,285 --> 00:43:34,485
Speaker 5: character uh in humorous, ways like he just comes on

822
00:43:34,645 --> 00:43:36,765
Speaker 5: fully in character and then kind of brings character and he's, like,

823
00:43:36,765 --> 00:43:39,085
Speaker 5: oh he just he's just a good. Actor but uh

824
00:43:39,725 --> 00:43:41,845
Speaker 5: though he does have that look about, him, RIGHT i,

825
00:43:41,845 --> 00:43:44,844
Speaker 5: mean he just he. Does he has a kind of disturbing.

826
00:43:45,165 --> 00:43:48,085
Speaker 5: Demeanor it's an oddly featured. Fellow let's put it that.

827
00:43:48,125 --> 00:43:50,725
Speaker 4: Way it's critical because he IS i, mean if you

828
00:43:50,725 --> 00:43:54,565
Speaker 4: think about like successful horror, FRANCHISES i mean you may

829
00:43:55,125 --> 00:43:59,085
Speaker 4: we may talk about the sphere as being this enduring

830
00:43:59,085 --> 00:44:03,605
Speaker 4: piece of iconography from The fantasm. Movies but like every

831
00:44:03,805 --> 00:44:07,405
Speaker 4: horror franchise needs its, villain needs It's jason, needs it's

832
00:44:07,445 --> 00:44:12,245
Speaker 4: It's Michael. Myers and HERE i think the tall, man you,

833
00:44:12,285 --> 00:44:17,205
Speaker 4: know is such a memorable, figure so imposing and, uh you,

834
00:44:17,245 --> 00:44:19,005
Speaker 4: know it's a credit to the. Conceit it's a credit

835
00:44:19,045 --> 00:44:22,725
Speaker 4: to To scrim and his performance that it that it

836
00:44:22,845 --> 00:44:26,525
Speaker 4: commands such. Attention and you, know when he's on, screen

837
00:44:26,565 --> 00:44:28,805
Speaker 4: obviously there's you, KNOW i, mean there's no other reason

838
00:44:28,845 --> 00:44:30,364
Speaker 4: to look. Away but you could never look away because

839
00:44:30,405 --> 00:44:33,085
Speaker 4: he's just got such a distinct. LOOK i mean even

840
00:44:33,125 --> 00:44:36,844
Speaker 4: even his his even his name Being Angus scrim kind

841
00:44:36,845 --> 00:44:39,045
Speaker 4: of throws you. Off it's, like is that that's actually

842
00:44:39,125 --> 00:44:42,485
Speaker 4: real character? Name that's that's His that's that's the actual actor's.

843
00:44:42,565 --> 00:44:44,965
Speaker 4: Name it seemed it almost doesn't compute because you, Know

844
00:44:45,125 --> 00:44:47,765
Speaker 4: Agus scrim would be a perfect, name uh for the

845
00:44:48,125 --> 00:44:49,525
Speaker 4: tall man as a as a as a.

846
00:44:49,565 --> 00:44:52,405
Speaker 2: PERSON i mean technically not his his real. Name his

847
00:44:52,485 --> 00:44:56,405
Speaker 2: real name Was Lawrence Rary. Guy but, yes it is

848
00:44:56,565 --> 00:45:01,245
Speaker 2: a horror villain. Name it's like A dickensian horror villain.

849
00:45:01,325 --> 00:45:05,325
Speaker 2: Name and, YES i Remembered Angus scrim as being a

850
00:45:05,365 --> 00:45:07,845
Speaker 2: part of this movie BEFORE i rewatched, it AND i,

851
00:45:08,005 --> 00:45:10,605
Speaker 2: was in fact surprised to realize that that is the

852
00:45:10,645 --> 00:45:11,925
Speaker 2: actor's name and not the character's.

853
00:45:12,005 --> 00:45:12,525
Speaker 4: Name you know.

854
00:45:12,565 --> 00:45:14,404
Speaker 5: WHAT i kind of love you're talking about the other,

855
00:45:14,445 --> 00:45:17,525
Speaker 5: franchises like you, know Nightmarel, Streets, like, oh it's. Funny

856
00:45:17,565 --> 00:45:20,285
Speaker 5: he's covered in, scars he's got knives for fingers and

857
00:45:20,405 --> 00:45:22,605
Speaker 5: oh it's j and he's got a hockey mask and

858
00:45:22,645 --> 00:45:25,525
Speaker 5: he kills people with a machete and fantastic. Movie he's,

859
00:45:25,565 --> 00:45:27,725
Speaker 5: like it's got a tall. Man but trust, me it's

860
00:45:27,805 --> 00:45:30,405
Speaker 5: it's just as scary as those other. Guys he's just

861
00:45:30,445 --> 00:45:32,405
Speaker 5: a tall. Guy but, really you know he's going to

862
00:45:32,445 --> 00:45:32,765
Speaker 5: freak you.

863
00:45:32,765 --> 00:45:35,165
Speaker 4: Out can can those other guys deadlift a? Coffin?

864
00:45:35,325 --> 00:45:36,485
Speaker 5: Though, yeah that's, true that's.

865
00:45:36,525 --> 00:45:38,844
Speaker 2: True can those other guys get to get their fingers

866
00:45:39,525 --> 00:45:43,085
Speaker 2: chopped off and just like kind of casually like show

867
00:45:43,165 --> 00:45:44,885
Speaker 2: off the next time they appear that they are not

868
00:45:45,005 --> 00:45:48,565
Speaker 2: missing any? Fingers like did they all turn into giant?

869
00:45:48,565 --> 00:45:50,085
Speaker 2: Flies did they all fly?

870
00:45:50,325 --> 00:45:50,605
Speaker 3: Home?

871
00:45:51,085 --> 00:45:53,765
Speaker 2: Uh you know who? Knows you can you can speculate

872
00:45:53,845 --> 00:45:58,725
Speaker 2: endlessly about what exactly he. Is but, honestly while the

873
00:45:58,925 --> 00:46:02,205
Speaker 2: landing of the sentinel sphere on The caretaker's face and

874
00:46:02,285 --> 00:46:06,045
Speaker 2: the moment where it just starts like spout like ejecting

875
00:46:06,725 --> 00:46:10,925
Speaker 2: suspiria colored blood as if to indicate, like, yeah, no

876
00:46:11,005 --> 00:46:12,525
Speaker 2: there's just kind of a valve back here to get

877
00:46:12,565 --> 00:46:14,645
Speaker 2: rid of the stuff that we don't, want that we're

878
00:46:14,765 --> 00:46:18,485
Speaker 2: we're generating is the byproduct of a drilling through this guy's.

879
00:46:18,485 --> 00:46:22,125
Speaker 2: Skull that's all, Shocking but, honestly especially in this, REWATCH

880
00:46:22,165 --> 00:46:25,605
Speaker 2: i was more shocked by the moment Where mike chops

881
00:46:25,645 --> 00:46:30,205
Speaker 2: off a bunch of the tall man's fingers and we

882
00:46:30,285 --> 00:46:34,045
Speaker 2: just get a very clear piece of evidence that whatever he,

883
00:46:34,205 --> 00:46:37,045
Speaker 2: is he's it's not even green, blood you, know it's

884
00:46:37,165 --> 00:46:40,165
Speaker 2: it's not even oh he's an, alien it's what the

885
00:46:40,205 --> 00:46:42,805
Speaker 2: hell is? He what is what is he made out?

886
00:46:42,845 --> 00:46:48,005
Speaker 5: Of and why is he so? Sexy sometimes he makes

887
00:46:48,005 --> 00:46:49,325
Speaker 5: a form of the lat lady in.

888
00:46:49,445 --> 00:46:53,725
Speaker 4: Lavender OH i forgot about the lady lady labor because

889
00:46:54,245 --> 00:46:54,765
Speaker 4: that's that's?

890
00:46:54,885 --> 00:46:59,005
Speaker 5: Him is? It factor to the.

891
00:46:59,125 --> 00:47:01,125
Speaker 4: Kind of LIKE i kind of like that that for

892
00:47:01,165 --> 00:47:03,645
Speaker 4: a moment, THERE i didn't know what you're talking about at.

893
00:47:03,685 --> 00:47:05,045
Speaker 2: All oh YES i didn't.

894
00:47:05,085 --> 00:47:07,325
Speaker 4: Either it's, like, oh, yeah he was a lady lavender and,

895
00:47:07,605 --> 00:47:10,165
Speaker 4: yeah and he does have some he. Slash she does

896
00:47:10,205 --> 00:47:13,645
Speaker 4: have some some uh some nude, scenes but including one

897
00:47:13,765 --> 00:47:17,405
Speaker 4: one that Makes mike kind of kind of above oom

898
00:47:18,125 --> 00:47:18,405
Speaker 4: kind of.

899
00:47:18,445 --> 00:47:21,925
Speaker 5: Expression BUT i gotta say this is a well made.

900
00:47:21,925 --> 00:47:26,605
Speaker 5: Movie it's very. CREEPY i do not think Don cospreley

901
00:47:26,645 --> 00:47:29,605
Speaker 5: has yet mastered the light of erotic lighting or the

902
00:47:29,645 --> 00:47:34,325
Speaker 5: master of the art of erotic. Lighting it's very very,

903
00:47:34,365 --> 00:47:35,725
Speaker 5: clinical it's.

904
00:47:35,645 --> 00:47:39,125
Speaker 2: Veryac the art of erotic. ANYTHING i, mean that's. True

905
00:47:39,245 --> 00:47:44,045
Speaker 2: the vavoom reaction is kind of hilarious in just like

906
00:47:44,365 --> 00:47:47,565
Speaker 2: a teenager seeing boobs kind of. Way but said teenager

907
00:47:47,645 --> 00:47:51,125
Speaker 2: is also like in the process of watching his older

908
00:47:51,245 --> 00:47:56,325
Speaker 2: brother like boning a stranger and him not taking that

909
00:47:56,405 --> 00:47:59,205
Speaker 2: moment to look. Away is it kind of leads me

910
00:47:59,245 --> 00:48:02,085
Speaker 2: back to Is mike, okay, Guys he's like he's.

911
00:48:01,965 --> 00:48:04,285
Speaker 4: Like probably like one hundred yards, away and we can

912
00:48:04,325 --> 00:48:06,605
Speaker 4: actually see the angle in which he's looking at looking

913
00:48:06,605 --> 00:48:09,605
Speaker 4: at the. Scene there's no way he's he's not he's

914
00:48:09,605 --> 00:48:12,045
Speaker 4: probably not seen much anything from from the. Distance he's

915
00:48:12,045 --> 00:48:15,085
Speaker 4: at very very. Strange but but we but we the,

916
00:48:15,165 --> 00:48:18,925
Speaker 4: viewer we get a close up because it is a horror,

917
00:48:18,925 --> 00:48:20,685
Speaker 4: film and you got to check that box in the

918
00:48:20,725 --> 00:48:22,404
Speaker 4: buck box gets checked a couple.

919
00:48:22,445 --> 00:48:24,645
Speaker 2: Times well it was in her box that we were looking.

920
00:48:24,685 --> 00:48:28,485
Speaker 2: At but, anyway moving moving on towards the ending of this,

921
00:48:28,565 --> 00:48:32,925
Speaker 2: conversation via the ending of this, movie this kind of

922
00:48:33,005 --> 00:48:36,885
Speaker 2: looks like a. Classic it was just a dream or

923
00:48:37,205 --> 00:48:41,845
Speaker 2: was it? Ending but you, know given that the subsequent

924
00:48:41,885 --> 00:48:44,805
Speaker 2: sequels take up exactly where this one left, off and

925
00:48:44,845 --> 00:48:48,884
Speaker 2: obviously you, know the characters, continue whatever kind of fake

926
00:48:48,925 --> 00:48:52,765
Speaker 2: out is going on there doesn't really. Track it just

927
00:48:52,805 --> 00:48:56,565
Speaker 2: doesn't really hold. TOGETHER i ever read some pretty fascinating

928
00:48:56,645 --> 00:49:00,245
Speaker 2: theories On reddit where people are trying to like justify

929
00:49:01,045 --> 00:49:04,765
Speaker 2: like later discoveries about the Tall man and, like, oh

930
00:49:04,805 --> 00:49:08,405
Speaker 2: he can change between bodies and like the trauma of

931
00:49:08,445 --> 00:49:11,565
Speaker 2: what happened like created a whole new universe That mike

932
00:49:11,685 --> 00:49:15,525
Speaker 2: got shunted off, into possibly by the Tall man's, death

933
00:49:15,645 --> 00:49:18,085
Speaker 2: and then he comes like universe hops like all of,

934
00:49:18,125 --> 00:49:22,005
Speaker 2: this like elaborate foufarad. Justification does this sending make any

935
00:49:22,005 --> 00:49:22,525
Speaker 2: sense to, you?

936
00:49:22,565 --> 00:49:24,445
Speaker 5: GUYS i, mean It's heart of The knightmaul On Elm,

937
00:49:24,485 --> 00:49:26,924
Speaker 5: street ending right where it's all a, dream but then it's,

938
00:49:26,965 --> 00:49:29,925
Speaker 5: not you, know but, no not.

939
00:49:30,005 --> 00:49:34,485
Speaker 4: Really it makes kind of sense in both Name street and,

940
00:49:34,525 --> 00:49:38,005
Speaker 4: here just because you're at least dealing with a character

941
00:49:38,125 --> 00:49:41,605
Speaker 4: who is able to operate in some sort of you,

942
00:49:41,645 --> 00:49:46,045
Speaker 4: know interdimensional you, know different in a dimension other than

943
00:49:46,365 --> 00:49:48,805
Speaker 4: the one we're all we all, occupy like like a

944
00:49:49,445 --> 00:49:52,605
Speaker 4: dream world or or or something a little bit stranger,

945
00:49:52,645 --> 00:49:56,325
Speaker 4: really even in, phantasm where normal physics don't, apply and

946
00:49:56,365 --> 00:49:59,285
Speaker 4: where where he could you, know haunt you from you,

947
00:49:59,285 --> 00:50:02,285
Speaker 4: know a mirror or, so or you, know get from

948
00:50:02,285 --> 00:50:06,125
Speaker 4: one place to another more fluidly than than than a

949
00:50:06,125 --> 00:50:08,205
Speaker 4: regular human. Being so SO i THINK i, think you,

950
00:50:08,205 --> 00:50:10,925
Speaker 4: know if if you have the potential for your hacked

951
00:50:10,965 --> 00:50:15,125
Speaker 4: off finger to turn into a flying, BUG i think

952
00:50:15,165 --> 00:50:17,404
Speaker 4: you can do a lot of things that the film

953
00:50:17,405 --> 00:50:18,565
Speaker 4: doesn't necessarily have to account.

954
00:50:18,605 --> 00:50:21,685
Speaker 2: For, well there is no accounting for, taste and there

955
00:50:21,725 --> 00:50:23,484
Speaker 2: is no accounting for some of the things that happen

956
00:50:23,525 --> 00:50:27,525
Speaker 2: in this, movie but we can certainly try comparing them

957
00:50:27,645 --> 00:50:32,245
Speaker 2: to another recent movie made by another very young filmmaker

958
00:50:32,285 --> 00:50:35,805
Speaker 2: and see how they compare in terms of continuity storytelling

959
00:50:36,045 --> 00:50:38,125
Speaker 2: in the. Theme we'll get at that next time here

960
00:50:38,165 --> 00:50:40,325
Speaker 2: at the next picture. Show in the, meantime we're going

961
00:50:40,325 --> 00:50:42,285
Speaker 2: to take a break and come back with some. Feedback

962
00:50:53,005 --> 00:50:55,404
Speaker 2: now it's time for, Feedback but first let's talk about

963
00:50:55,445 --> 00:50:57,765
Speaker 2: what's going on over on the other shows that comprise

964
00:50:57,845 --> 00:51:00,645
Speaker 2: our happy film spotting. Family on The Film Spotting. Feed

965
00:51:00,725 --> 00:51:04,165
Speaker 2: as we're recording, this a new podcast just, launched Movie,

966
00:51:04,165 --> 00:51:08,165
Speaker 2: deathmatch which kicks off with Critic Agen cheney dueling Doctor MARGARET.

967
00:51:08,165 --> 00:51:11,005
Speaker 2: A White, Camp chair Of Space history at The National

968
00:51:11,005 --> 00:51:14,325
Speaker 2: air And Space, museum over Which Spielberg Alien movie is

969
00:51:14,325 --> 00:51:18,125
Speaker 2: better et Or Close encounters of The Third. Kind longtime

970
00:51:18,165 --> 00:51:20,765
Speaker 2: friend of the Show Chris klemick presides over that. Battle

971
00:51:21,205 --> 00:51:23,805
Speaker 2: as for Hosts Adam kevinaar And Josh, larson they're talking

972
00:51:23,805 --> 00:51:26,805
Speaker 2: through The mandalorian And grogu And Boots RILEY'S I Love,

973
00:51:26,845 --> 00:51:29,965
Speaker 2: boosters and At Film SPOTTING, Svu Matt singer And Jordan

974
00:51:30,045 --> 00:51:33,805
Speaker 2: hoffman discussed prime videos straight to streaming, Time Clancy, Movie Jack,

975
00:51:33,885 --> 00:51:36,445
Speaker 2: Ryan ghost To. War, meanwhile we're getting down to the

976
00:51:36,445 --> 00:51:39,325
Speaker 2: wire On Film Spotting fest, two a weekend of films

977
00:51:39,365 --> 00:51:42,445
Speaker 2: curated By adam And josh Hitting chicago On june twenty

978
00:51:42,485 --> 00:51:44,805
Speaker 2: seven and twenty eight with a line up of films

979
00:51:44,805 --> 00:51:48,605
Speaker 2: that explore time and personal, history From Agnes Varda's cleo

980
00:51:48,645 --> 00:51:53,725
Speaker 2: from five to seven to the twenty fifth anniversary screening

981
00:51:53,725 --> 00:51:56,924
Speaker 2: with The royal ten In. Bombs you, guys The Film

982
00:51:56,965 --> 00:51:59,325
Speaker 2: spotting family is getting big.

983
00:51:59,405 --> 00:52:04,885
Speaker 5: Here, yes, well Welcome Chris. Climac that's, yeah. EXACTLY i

984
00:52:04,965 --> 00:52:07,045
Speaker 5: declined to. Listen i've listened to the first episode yet

985
00:52:07,045 --> 00:52:07,765
Speaker 5: if you, HAVE i.

986
00:52:07,805 --> 00:52:11,444
Speaker 4: Did, ACTUALLY i think it's very. ENTERTAINING i thought good

987
00:52:11,485 --> 00:52:14,885
Speaker 4: guests for. SURE i THINK i Think Chris chris had

988
00:52:15,085 --> 00:52:18,485
Speaker 4: had a, back you, know had a stretch where he

989
00:52:18,565 --> 00:52:21,765
Speaker 4: was writing for The smithsonian for, them they are In Space,

990
00:52:21,845 --> 00:52:24,605
Speaker 4: museum and so that uses that connection quite. Well so

991
00:52:25,085 --> 00:52:25,364
Speaker 4: a nice.

992
00:52:25,965 --> 00:52:27,765
Speaker 5: Genie it's one of our favorite guests as, well so

993
00:52:27,765 --> 00:52:28,205
Speaker 5: it see's.

994
00:52:28,245 --> 00:52:31,645
Speaker 4: Great so so, yeah it's fun to have these the,

995
00:52:31,765 --> 00:52:34,725
Speaker 4: family the Film spotting family. Expand it's substantially as it

996
00:52:34,765 --> 00:52:38,005
Speaker 4: has and insall to everyone's, benefit and hopefully our listeners

997
00:52:38,005 --> 00:52:39,605
Speaker 4: are going over and listening to those shows as.

998
00:52:39,645 --> 00:52:41,605
Speaker 2: Well are you going to spoil us on who Won

999
00:52:41,805 --> 00:52:45,404
Speaker 2: scott which is now definitively Recognized World round is the better?

1000
00:52:45,445 --> 00:52:47,965
Speaker 4: MOVIE i. Can't i'm not going to spoil, it and

1001
00:52:47,965 --> 00:52:50,285
Speaker 4: there's NO i can't personally resolve that. Question AND i

1002
00:52:50,405 --> 00:52:53,405
Speaker 4: like those movies so much for different. Reasons so, Deathmatch

1003
00:52:53,445 --> 00:52:56,525
Speaker 4: i'm not a good deathmatch participant in this particular.

1004
00:52:56,565 --> 00:52:58,885
Speaker 2: Battle all, Right, well now it's time for some feedback

1005
00:52:58,925 --> 00:53:01,045
Speaker 2: where we read are listening to some of the responses

1006
00:53:01,045 --> 00:53:03,925
Speaker 2: we've gotten to recent. Episodes here's a letter taking us

1007
00:53:03,925 --> 00:53:06,765
Speaker 2: to task for not getting why audiences might actually enjoy

1008
00:53:06,805 --> 00:53:10,045
Speaker 2: The mandalorian and Grogu, keith would you like to take this? One?

1009
00:53:10,245 --> 00:53:14,005
Speaker 5: Sure Richard wright does a very pronounced critics slash audience

1010
00:53:14,045 --> 00:53:15,925
Speaker 5: divide on this, film AND i don't think it's the

1011
00:53:16,005 --> 00:53:19,605
Speaker 5: usual critics don't understand what audiences want situation that people

1012
00:53:19,685 --> 00:53:21,885
Speaker 5: often talk about a lot of Our i'm generally not

1013
00:53:21,925 --> 00:53:24,924
Speaker 5: sympathetic to, me and Neither. Richard i'm not a Major

1014
00:53:24,965 --> 00:53:27,325
Speaker 5: Star wars fan. BOY i saw the original film in

1015
00:53:27,365 --> 00:53:29,404
Speaker 5: theaters as a child and loved, it But i've been

1016
00:53:29,445 --> 00:53:32,645
Speaker 5: fairly lukewarm on Every Star wars movie after The empire strikes,

1017
00:53:32,685 --> 00:53:35,485
Speaker 5: back AND i haven't consumed EVERY tv. Series WHAT i

1018
00:53:35,485 --> 00:53:38,165
Speaker 5: think audiences are responding to is that this is simply

1019
00:53:38,205 --> 00:53:41,364
Speaker 5: a straightforward story set in The Star wars. Universe it's

1020
00:53:41,445 --> 00:53:44,085
Speaker 5: not tied to The Skywalker. Soka and is it trying

1021
00:53:44,085 --> 00:53:46,485
Speaker 5: to pile even more lore onto a franchise that has

1022
00:53:46,525 --> 00:53:50,485
Speaker 5: become so overloaded with conflicting, details, retcons and fan service

1023
00:53:50,605 --> 00:53:54,765
Speaker 5: that coherent continuity is increasingly difficult to. MAINTAIN a, simple

1024
00:53:54,805 --> 00:53:57,805
Speaker 5: self contained film may not be a, masterpiece but it

1025
00:53:57,845 --> 00:53:59,885
Speaker 5: feels like a breath of fresh air to the large

1026
00:53:59,965 --> 00:54:02,285
Speaker 5: number of Casual Star wars fans who have no desire

1027
00:54:02,285 --> 00:54:05,085
Speaker 5: to see yet another character from the original trilogy brought

1028
00:54:05,125 --> 00:54:07,765
Speaker 5: back for another. Appearance most critics you can to be

1029
00:54:07,765 --> 00:54:10,165
Speaker 5: complaining in the film feels, minor low stakes and relatively

1030
00:54:10,205 --> 00:54:12,525
Speaker 5: unimportant in the grand scheme of the. FRANCHISE a lot

1031
00:54:12,565 --> 00:54:16,085
Speaker 5: of audience fambers are responding, with, yes. Exactly not Every

1032
00:54:16,085 --> 00:54:19,605
Speaker 5: Star wars needs to redefine the, mythology expand the, cannon

1033
00:54:19,725 --> 00:54:22,125
Speaker 5: or serve as a stepping stone to the next galaxy shaking.

1034
00:54:22,165 --> 00:54:25,205
Speaker 5: Event sometimes it's enough to tell a, competent self contained

1035
00:54:25,245 --> 00:54:28,925
Speaker 5: story about characters people enjoy spending their time with the

1036
00:54:28,965 --> 00:54:30,924
Speaker 5: fact that this film isn't trying to be the most

1037
00:54:30,925 --> 00:54:33,045
Speaker 5: important chapter in the franchise maybe one of the main

1038
00:54:33,085 --> 00:54:36,245
Speaker 5: reasons so many viewers are finding it. Refreshing i'd also

1039
00:54:36,325 --> 00:54:38,605
Speaker 5: Add i'm a bit confused with a confusion Over rada's.

1040
00:54:38,645 --> 00:54:42,325
Speaker 5: Muscles he just trained as. Gladiator, no, YEAH i THINK

1041
00:54:42,325 --> 00:54:44,485
Speaker 5: i was more to do with with with whether or

1042
00:54:44,485 --> 00:54:49,965
Speaker 5: not that particular species would develop muscles that resembled a

1043
00:54:50,085 --> 00:54:53,245
Speaker 5: jacked human. Being BUT i, SEE i see your.

1044
00:54:53,285 --> 00:54:55,925
Speaker 2: POINT i just it does not matter how much weightlifting

1045
00:54:56,005 --> 00:54:58,805
Speaker 2: a slug does a slug is not full of of

1046
00:54:59,285 --> 00:55:04,045
Speaker 2: just barely subcutaneous muscles that get developed to the point

1047
00:55:04,125 --> 00:55:08,445
Speaker 2: of looking like a human set of of. Abs, basically

1048
00:55:08,845 --> 00:55:09,965
Speaker 2: he's a hot.

1049
00:55:09,845 --> 00:55:12,405
Speaker 4: Character for the for THE Rfk junior.

1050
00:55:14,365 --> 00:55:16,484
Speaker 2: Or, honestly he's kind.

1051
00:55:16,365 --> 00:55:19,005
Speaker 4: Of jacked in That maha way where.

1052
00:55:20,165 --> 00:55:24,445
Speaker 5: The made muscular but it looks like weirdly. Unhealthy. Anyway,

1053
00:55:24,845 --> 00:55:25,085
Speaker 5: WELL i.

1054
00:55:25,085 --> 00:55:27,404
Speaker 2: Mean there's just a lot OF ai art coming out

1055
00:55:27,485 --> 00:55:30,445
Speaker 2: right now that's prominent politicians that are perhaps not the

1056
00:55:30,525 --> 00:55:34,285
Speaker 2: most to jacked being kind of rewritten into jacked, characters

1057
00:55:34,285 --> 00:55:37,285
Speaker 2: and they look a lot Like rada looks in this.

1058
00:55:37,405 --> 00:55:40,924
Speaker 5: Movie but to the larger point, Though, YEAH i was gonna,

1059
00:55:40,925 --> 00:55:43,485
Speaker 5: SAY i basically agree with Everything richard is. SAYING i

1060
00:55:43,525 --> 00:55:47,364
Speaker 5: just don't necessarily think that this is the best example of.

1061
00:55:47,365 --> 00:55:49,325
Speaker 5: THAT i don't hate the, movie but you, KNOW i

1062
00:55:49,325 --> 00:55:53,005
Speaker 5: think a really good movie that fit that description would

1063
00:55:53,045 --> 00:55:55,165
Speaker 5: be easier to defend on those.

1064
00:55:55,245 --> 00:55:57,965
Speaker 4: Terms, YEAH i think that's exactly, Right, Keith and that

1065
00:55:58,245 --> 00:56:01,325
Speaker 4: was sort of MY i wasn't on the, episode BUT

1066
00:56:01,605 --> 00:56:04,404
Speaker 4: i had that kind of response to the movie, too

1067
00:56:04,525 --> 00:56:07,525
Speaker 4: that it is it's very, simple and there's a part

1068
00:56:07,525 --> 00:56:10,005
Speaker 4: of me that's, like you, know the eight year old

1069
00:56:10,005 --> 00:56:13,445
Speaker 4: boy within is probably getting into this movie that's you,

1070
00:56:13,445 --> 00:56:16,965
Speaker 4: know very action oriented and streamline story, wise and it's

1071
00:56:17,005 --> 00:56:19,605
Speaker 4: kind of leading you from one action set piece to

1072
00:56:19,605 --> 00:56:23,565
Speaker 4: another and not grounding, you not really mucking up things

1073
00:56:23,605 --> 00:56:28,725
Speaker 4: too much with. Mythology but at the same, time you,

1074
00:56:28,765 --> 00:56:31,285
Speaker 4: know there's also that, part that other side of. It it's,

1075
00:56:31,325 --> 00:56:33,525
Speaker 4: like is this just two episodes of that show that

1076
00:56:33,565 --> 00:56:37,844
Speaker 4: have been heavily invested in budget? Wise and is that really?

1077
00:56:38,005 --> 00:56:40,645
Speaker 4: Enough is that a? Movie does this even feel like a? Movie,

1078
00:56:41,565 --> 00:56:44,245
Speaker 4: tho these are rhetorical QUESTIONS i left with With mendelori And,

1079
00:56:44,605 --> 00:56:47,565
Speaker 4: grogo WHICH i think is perfectly, fine and actually may

1080
00:56:47,885 --> 00:56:49,725
Speaker 4: the stakes of it might actually end up end up

1081
00:56:49,765 --> 00:56:53,404
Speaker 4: playing better once it, returns once it finds its way

1082
00:56:53,405 --> 00:56:56,885
Speaker 4: To Disney plus along with the original. Series it feels

1083
00:56:56,885 --> 00:56:58,565
Speaker 4: like a lost for season of that.

1084
00:56:58,685 --> 00:57:02,725
Speaker 2: Show, YEAH i. GUESS i mean one of the reasons

1085
00:57:02,765 --> 00:57:05,325
Speaker 2: that conversation sounded the way it did WAS i think

1086
00:57:05,605 --> 00:57:07,245
Speaker 2: none of us hated the, movie but all of us

1087
00:57:07,245 --> 00:57:09,884
Speaker 2: were kind of left unengaged by, it AND i think

1088
00:57:09,885 --> 00:57:12,364
Speaker 2: we were all trying to figure out exactly why to

1089
00:57:12,405 --> 00:57:14,885
Speaker 2: just sort of parse through the question of, like what

1090
00:57:15,045 --> 00:57:18,725
Speaker 2: is this movie missing for? Me AND i personally don't

1091
00:57:18,765 --> 00:57:21,565
Speaker 2: think that what it was missing, was you, know some

1092
00:57:21,685 --> 00:57:26,405
Speaker 2: big mythology redefining. THING i think one of the biggest

1093
00:57:26,405 --> 00:57:29,205
Speaker 2: flaws of The Star wars franchise these days is the

1094
00:57:29,205 --> 00:57:32,045
Speaker 2: way it keeps going back to the existing mythology and

1095
00:57:32,365 --> 00:57:36,045
Speaker 2: playing with the existing. Mythology so stepping outside that for

1096
00:57:36,085 --> 00:57:40,325
Speaker 2: a smaller story is. Fine it's just you, know speaking

1097
00:57:40,325 --> 00:57:44,205
Speaker 2: to the line here about a, competent self contained story

1098
00:57:44,245 --> 00:57:47,365
Speaker 2: about characters people enjoy spending time. WITH i don't really

1099
00:57:47,405 --> 00:57:50,525
Speaker 2: have all that much reason to connect with these. CHARACTERS

1100
00:57:50,685 --> 00:57:52,845
Speaker 2: i didn't hate the TIME i spent with, them BUT

1101
00:57:52,965 --> 00:57:55,765
Speaker 2: i also didn't come out of this, thinking, Man i'd

1102
00:57:55,805 --> 00:57:58,685
Speaker 2: like to see more of that guy whose face you never,

1103
00:57:58,765 --> 00:58:03,245
Speaker 2: see who is mostly just characterized by being badass and killing.

1104
00:58:03,285 --> 00:58:05,965
Speaker 2: Things and that puppet that's doing the exact same thing

1105
00:58:05,965 --> 00:58:08,485
Speaker 2: that it's been doing for years, Now like it's so,

1106
00:58:08,565 --> 00:58:09,685
Speaker 2: cute so so.

1107
00:58:09,805 --> 00:58:11,685
Speaker 4: Cute it is really, Cute But i'd be, like is

1108
00:58:11,685 --> 00:58:14,565
Speaker 4: there anything the movie is? Cute is the first season

1109
00:58:14,605 --> 00:58:19,525
Speaker 4: when it's sipping bone broth for that oh, boy you

1110
00:58:19,525 --> 00:58:22,045
Speaker 4: know the heart it's ups a beat when you see,

1111
00:58:22,405 --> 00:58:24,845
Speaker 4: grogory sipping on that bone, broth just chilling.

1112
00:58:24,885 --> 00:58:27,845
Speaker 2: Out, YEAH i mean maybe that's just a difference between

1113
00:58:27,845 --> 00:58:30,485
Speaker 2: me and apparently a lot of The Star wars go in.

1114
00:58:30,525 --> 00:58:34,445
Speaker 2: Public that character is, cute is not enough of a

1115
00:58:35,205 --> 00:58:38,045
Speaker 2: enough momentum for me to want to spend two plus

1116
00:58:38,085 --> 00:58:41,045
Speaker 2: hours watching them eat things that they shouldn't eat and

1117
00:58:41,605 --> 00:58:42,165
Speaker 2: move the ears.

1118
00:58:42,165 --> 00:58:46,845
Speaker 5: Around tasha count, argument it's so, cute it really.

1119
00:58:46,925 --> 00:58:52,285
Speaker 4: Is he does magical. Stuff sometimes it's nice get a

1120
00:58:52,285 --> 00:58:52,485
Speaker 4: lot of.

1121
00:58:52,525 --> 00:59:00,325
Speaker 2: Scrapes, well that's it for this episode of The Next Picture.

1122
00:59:00,365 --> 00:59:03,045
Speaker 2: Show in our next, episode we'll talk about Back, rooms

1123
00:59:03,085 --> 00:59:06,165
Speaker 2: a movie that makes fluorescent lighting somehow scarier than total.

1124
00:59:06,245 --> 00:59:09,485
Speaker 2: Darkness look for that episode Next tuesday on your podcatterer of.

1125
00:59:09,605 --> 00:59:12,445
Speaker 2: Choice for ad free versions of the podcast and extra,

1126
00:59:12,445 --> 00:59:15,325
Speaker 2: content find us On patreon At patreon dot com Slash

1127
00:59:15,365 --> 00:59:17,725
Speaker 2: Next Picture. Show you can find us At Next Pictures

1128
00:59:17,725 --> 00:59:20,005
Speaker 2: show dot net and On Blue sky at The Next

1129
00:59:20,005 --> 00:59:21,765
Speaker 2: Picture show if you want to keep track of when

1130
00:59:21,765 --> 00:59:25,325
Speaker 2: new episodes drop until next. Week, remember don't ad a

1131
00:59:25,365 --> 00:59:27,285
Speaker 2: gun at a man unless you intend to shoot, him

1132
00:59:27,765 --> 00:59:30,005
Speaker 2: and don't shoot a man unless you intend to kill,

1133
00:59:30,085 --> 00:59:32,605
Speaker 2: Him and don't kill a man unless you intend to

1134
00:59:32,645 --> 00:59:35,085
Speaker 2: compress his body down to three feet tall and turn

1135
00:59:35,165 --> 00:59:37,645
Speaker 2: him into a servitor on your hell. Planet you wouldn't

1136
00:59:37,645 --> 00:59:39,205
Speaker 2: waste a perfectly good, corpse would.

1137
00:59:39,245 --> 00:59:51,005
Speaker 1: You that was a good.

1138
00:59:51,045 --> 00:59:53,205
Speaker 3: Movie, YEAH i seen here before once