All language subtitles for [SubtitleTools.com] Horrors Greatest S02E03 1080p HEVC x265-MeGusta_track3_[eng]

Man: I hope you have something interesting to show me.

I have a few odds and ends here

that might be of some interest.

Dastmalchian: You know, every horror fan

has their own little secret movie...

Man #2: I want to make some films here.

Really weird films, and you two can be in them.

...that only they know about...

...that they are dying for you to get to know as well.

Die, you zombie bastards!

Wait, you'll fuck me when I'm dead?

Zimmerman: Hidden gems exist because there's such

a proliferation of horror,

and there's so many modes of distribution

that a movie could come out in a wide release

and still not get valued or seen.

It's in many ways about exposure and rediscovery,

or a film that in some ways was ahead of its time.

"The House of the Devil" is a movie

that basically predicted the horror wave

that was going to come in like four or five years.

There are probably plenty of movies like that

that were out of step with what was so popular.

So, now they're being rediscovered,

or five years later, they're being rediscovered.

Let's go, Ernie. This place is dead.

Yeah, where's all the weirdos?

Man: There are no weirdos here!

Gingold: One film that was made by a studio that I love

that never got the release it deserved

is called "Freaked" by Alex Winter,

which is this absolutely insane horror-comedy

where he plays this very spoiled movie star

who winds up being trapped in a compound by this guy...

I am Elijah C. Skuggs, proud proprietor

of Skuggs' Fabulous Freakland and Mutant Emporium.

...who turns people into very bizarre freaks.

And you have all kinds of weird characters.

It's like Mr. T plays the bearded lady.How are you doing?

And Bobcat Goldthwait voices this sockhead character.

It's the end of the world. The apocalypse!

And, unfortunately, after it was finished,

there was a studio regime change.

The new regime did not get it.

Gentlemen, all those in favor.

Good. It's unanimous.

I knew I couldn't trust you, corporate greaseball.

I think it opened in one theater in New York for a week.

The work that Tom Stern and I were doing

at that time was aggressive.

We had a show on MTV called "The Idiot Box"

that I also starred in.

It was aggressively violent.

Freeze! You're dead, punk!

Ow! My legs!

Winter: So, with "Freaked," we really were focused

on creating something that had the most amount

of physical effects possible...

Giant Rasta eyeballs, just like Rick said!

...largely out of necessity.

It's a great makeup effects showcase.

It was one of those films from the '90s

where they got several makeup effects crews

to handle all the work.

You had Steve Johnson,

Alterian Studios.

Screaming Mad George contributes a lot

of really bizarre stuff to this movie.

You got a problem, mister?

Winter: So, it was this idea of taking

what really ought to have been an animated movie

and making it live action.

We're gonna take something that shouldn't exist

in the physical world...

...and we're gonna figure out a way to make it exist

in the physical world.

Shit.

And that was the mission.

It was extremely ambitious

and just about killed both of us.

But it was a great deal of fun.

Now, that's entertainment.

Due: I've given some thought to what a rare gem

in horror might be, and it's tough.

There are a lot of obscure movies out there

that a lot of people love.

But I think one movie a lot of horror fans

probably missed because it came out in the 1970s --

and because it was literally in movie jail --

it was at the Museum of Modern Art, and it was locked up

and you could only see it one person at a time

or something like that --

Is "Ganja & Hess" by Bill Gunn.

It was meant to be kind of a "Blacula" ripoff.

Announcer: "Blacula," Dracula's soul brother.

Due: But Bill Gunn decided to go his own way with it,

and he used blood as a metaphor for addiction.

Gunn: The idea of desire is very much a part of it.

After all the Myrthians thought they had a desire for blood,

not a need for it, but it was a need.

And it was sort of a meditation on class differences.

Why do you live in a house this fine, alone?

That's not a polite question.

They're the only ones worth asking.

And the little racial stuff in there,

but also a love story...

I want you to live forever.

The way you're acting, you'd think I was gonna live forever.

No, I mean, I really want you to live forever.

...with some gorgeous fantasy imagery set in Africa.

It's not paced like a contemporary horror movie.

It really is a bit more of sort of a visual meditation,

almost like a poem.

But it has also some pretty shocking stuff in there.

And a lot of horror fans have not seen "Ganja & Hess."

There it is.

Carolyn: "The Stone Tape" is written by Nigel Kneale,

who's a very, very influential British screenwriter.

He's always been very good at bringing science into horror.

Sayenga: A group of researchers

are looking for a new way to record sound.

So they move into this very old manner in England,

and they discover that there's a room

that the workers won't renovate because they say it's hunted.

What they find out is that these ancient walls

have actually recorded the sounds

that have accrued over the years,

usually of some terrifically horrible event.

It must act like a recording, fixed

in the floor and the walls.

Right in the substance of them a trace of what happened in there,

and we pick it up.

We act as detectors, decoders, amplifiers.

A recording?

It would have to be in the stones.

Carolyn: That idea of the stones themselves, of the material

of the walls themselves storing events is something

that has been adopted into proper parapsychology,

what nowadays is referred to as the stone tape theory.

It's a mass of data

waiting for a correct interpretation.

No one's ever managed it before. I think we might.

The team is led by an egomaniac misogynist,

and there is a woman...

Oh, my Jilly. You're a very female one.

...who is the smartest person in the room, played by Jane Asher,

but nobody takes her seriously.

She's lightly psychic.

Sayenga: So essentially,

her boss uses this woman as a conduit to try

to listen to this room to find out what's going on,

basically, because they want to monetize it.

It's going to be hours, all hours.

Television without the TV set, no box,

not even a visor in front of the eyes.

The deeper they probe, the more they discover

that the initial trauma goes much deeper

and much farther back...

Man: Those walls are lot older than the rest of the house.

In fact, they must have been knocked down and rebuilt

and generally messed around a lot in the last thousand years.

What?

Oh, yes, the foundations might be Saxon.

Saxon?

...into something truly evil.

There was something about an exorcism once.

Exorcism?

Sayenga: Something very far in our past where you don't want to go.

How far are you trying to go back?

A long way.

Thompson: It's really spooky,

and the fact that it's shot on tape kind of works in his favor.

There's something about the quality of that tape stock

in the cameras they use back then.

It gives it, like, a weird kind of "you are there"

quality to it.

I almost feels like a documentary from hell.

She's gone.

Kneale is talking about the embrace

of technology driven by greed...

If you want to be millionaires,

it's a crash program. Find the medium.

Everything else follows.

...before you've actually explored the technology

and seen side effects.

Do you know what he's done?

He's wiped the tape.

It's in the computer!

Sayenga: Which of course,

we're currently seeing with social media

and artificial intelligence.

Thompson: We've had a lot of "Exorcist" knockoffs over the years

since 1973,

and if you thought that that had been exhausted beyond salvaging,

there is one real gem in the bunch,

but, unfortunately, very few people have actually seen it

and that is "The Blackcoat's Daughter".

And it's one of those movies that I love to recommend,

but the problem is you can't describe it too much

without spoiling it.

So I urge you to just check it out,

try to avoid reading about it as much as possible

because it's very twisty.

It's really haunting, beautiful, very sad film.

It takes place at a boarding school in the middle of winter,

and most of the girls are going home for winter break,

except one girl, Rose, who is going to stay behind

because she wants to meet up with a guy.

And then another girl, Katherine,

she is waiting for her parents to pick her up,

but they never come.

Meanwhile, there's a character, Joan, who's at rest stops.

Man: Hey, can we give you a lift somewhere?

You've got to be freezing.

I'm parked right over there. My wife's waiting in the car.

See? Right there.

And she hitches a ride with this couple.

And you slowly start to discover

how these two stories are connected.

Zimmerman: And it has a strange structure,

and it has a twist that I think a lot of people

have a hard time getting on board with,

which in some ways, I understand,

but in a lot of ways,

I think if you just lend yourself to it

and you meet a movie halfway,

you come away with a really great experience.

Because I don't know if we've ever seen a movie

where the ultimate goal of the main character

is to be rejoined with their demonic possessor.

Demon: You will stay here with me.

Thompson: What if the person who was possessed loved it

and that if they were no longer possessed...

Don't go.

...what would they do to get that back?

Wexler: It talks about grieving and dealing with death

through demonic tropes, which I appreciate.

I love when you can embrace horror tropes...

Get your hands off me, cunt.

...and talk about something really serious and really human.

Thompson: It was directed by Osgood Perkins,

who is the son of Anthony Perkins.

He's a really visually gifted director,

and this just has some images in it

that will just stick in your head.

Oz Perkins, in general, is a hidden gem director.

I think it's not just "The Blackcoat's Daughter".

I think it's "Gretel & Hansel",

and I think it's especially

"I Am the Pretty Thing That Lives in the House",

which I love a lot.

It feels very influenced by Shirley Jackson, and Ruth Wilson

essentially plays a ghost alone in a home,

sort of starting to realize her predicament.

And that's another, like, Sunday afternoon

with a tea kind of movie,

'cause it's cozy,

but it's downbeat and not full of scares,

but when it builds you up to what is going to frighten you,

it works in a really big way,

and it's so difficult for a movie to do that.

It's so difficult for a slow burn to achieve that explosion.

But "I Am the Pretty Thing That Lives in House"

feels completely forgotten at this point.

Walter: My recurring dream sent to me as a warning,

a warning against the terror

that's waiting for me in this house.

It's later on. We're having drinks.

You break those glasses of yours.

Then, the room goes dark.

That's where my dream becomes a nightmare.

It's started.

Man:

Why should I want to kill you?

And this machine only affects microbes and insects.

It has no effect on humans.

Sergeant.

There are dead people trying to kill me.

Woman: They're coming here.

They're waiting at the edge of the city.

They're waiting for you and they'll take you one by one,

and no one will hear you scream!

Here are three movies,

if you're having a party,

put these movies on with no sound

and just let them play.

"Planet of Vampires"...

..."2001"...

...and a movie

that's often mentioned in the same breath as "2001",

"War of the Gargantuas".

But just to have on at a party with no sound,

you're not going to go wrong.

Man: "War of the Gargantuas",

those scenes at night

and they're being chased by a spotlight,

they're beautiful.

Dougherty: "War of the Gargantuas" messed me up

in all the best ways as a kid.

"Gargantuas" wasn't shown on cable as often

as other kaiju movies were or as often

as other American giant monster movies were shown.

It was sort of a very rare treat.

But when it came on,

I thought it was going to be like "Mighty Joe Young"

or any of the other ones,

which had a certain kid appeal to them.

But that movie wasn't pulling any punches.

There's a key scene

where the Gargantuas are sort of fighting

over a certain character.

And things don't go well.

It just gave me nightmares

because their design is vaguely human, you know,

sort of like Kong,

but they're in this sort of uncanny valley.

The visual look of those mid-'60s

Toho films -- "War of the Gargantuas", "Monster Zero" --

It's just gorgeous. The backdrop paintings.

The obvious model work.

There's just something really visually arresting about it.

A lot of really famous people love that movie.

Brad Pitt loves it.

At the end of it,

the good Gargantua had to sacrifice himself

to defeat the bad Gargantua.

Tim Burton loves it.

It's kind of a struggle between two Gargantuas.

They're like, "Yeah. Of course. It's great.

It's 'War of the Gargantuas'."

How do you like the land of the Northern Lights?

"Rare Exports" is my favorite Christmas movie.

It's a great double feature with "Gremlins"

because it is a great Christmas horror movie

that somehow manages to be scary but fun at the same time.

It all takes place in Finland,

and there's this excavation going on in this huge mound

nearby.

Leading up to Christmas,

everyone starts to see this kind of weird Santa Claus type of guy

hanging around and being real creepy.

Rodrigues: And what you realize is that what we know is

Santa Claus

are actually the elves.

They're protecting their master.

And what they are digging out of that excavation site

is what Santa Claus truly is,

which is -- Santa Claus is Krampus

and he is this big demonic thing that will steal children.

Salisbury: It's told through the eyes of this little kid.

You know, and he treats it like a kid does.

The sense of the danger is there,

but the sense of exploration is also there,

and then trying to convince people

that he knows what he knows.

This is another one of these isolation spaces

of being trapped in this wonderland

that anything else would be beautiful,

but you're looking at it, and you're going, "Well,

where do you run?

Where do you hide? You leave footprints.

These things can sniff you out."

It's a classic Christmas movie.

I think anyone who likes that kind of, like,

weird kind of Christmas horror stuff should watch it.

It's Christmas time. So let's act like it.

Holy blood! Blood! Holy blood!

"Santa Sangre" is definitely one

of those classic cult movies that you go,

"What did I just watch?"

It is so weird.

Kill her. Kill her.

Did you hear her?

She wants me to kill you with my hands.

I love the fact that it takes place in Mexico City...

...in this circus of freaks.

And already, Mexico City is full of freaks.

I mean, look at me, right? That's where we all came from.

Guerrero: You start in the setting that is so weird

and definitely not an okay place for a child,

and you meet your lead characters

that are two little kids,

this little boy that is put in a situation

with what is the most dysfunctional,

abusive father-mother relationship out there.

It's really scary.

Get up, you bastard!

This movie was not afraid to cross every type of boundary

there is out there.

Woman:

Guerrero: You get to see how this boy, now a man, will do anything

his crazy mother will tell him.

This girl has defied you with her lust.

No, Mommy, it's not true. It's only a game.

Guerrero: That to me,

just talked so much about abusive relationships.

Just talked so much about childhood trauma.

Now you're a man. Just like me.

So it's a movie that's artsy, that's weird,

that's gory and just incredibly memorable for it.

It's weird.

Forgive me.

Please forgive me.

Zimmerman: "The Untamed is an incredible film from Mexico

by Amat Escalante

that feels directly in conversation with "Possession"

and sort of the ecstasy of beastly cosmic alien sex.

Bonilla: A married woman, Alejanda, is having a lot of issues

within her marriage.

And she comes across, through a friend,

this creature who can only give pleasure.

Then she starts to become obsessed with this pleasure.

Because everything in her life is falling apart.

She's dealing with a spouse who's abusive,

but also cheating on her with her brother.

Very telenovela here.

But there's a lot of pain in her life.

A lot of dissatisfaction,

and she's dealing with a lot of machismo or sexism

within her community through traditional gender roles

and traditional views.

Zimmerman: It really marries these tones of

really heavy domestic drama...

...and small town life, and, you know,

families and couples who have a lot of interpersonal conflict.

And then this alien

that has taken up residence in an isolated farmhouse

that gives people kind of sexual pleasure beyond measure.

So as she becomes more attached to the creature,

she starts to rebel against these social norms that have,

like, restrained her, especially in a small village.

But also the creature that supposedly only

gives pleasure starts to kill and to hurt.

It's one of kind.

It'd take an army if mice to do that.

-Maybe it's a rat. -A rat?

Bart: In some countries, they serve it as a delicacy,

like chocolate covered bees or caviar.

A filthy rat on fine china.

Woman: You never left your house!

You must do this alone.

Man: And where would you go?

Woman: Free.

Shh.

Hill: "Trollhunter" is another great found footage film.

Thomas!

People have been able to take that found footage structure

and keep it fresh and keep it exciting.

And it really works well as humor.

Andre Overdal knows tone like nobody's business.

He knows how to create a world and a reality that

from the first frame all the way to the last, you believe.

So, in "Trollhunter", five,

10 minutes into the film, you get lost.

You just are sure that this is something

that could be found footage.

You absolutely believe it.

It's so well executed.

It gets these nosy documentary folks

who want to follow behind this guy who is dead serious,

who is telling them from the jump, "This is serious business.

You could die," and they're laughing at it

and they think and he's nuts.

And then they're stuck on it when they really get to see it.

And then it's not only, you know, this one kind of troll.

It's an entire troll, you know, classification.

Not like smaller trolls like we would see,

but these massive, huge beasts of folklore and legend.

The way that we see them portrayed in the film

is this great combination of what we would imagine

a charming illustration of, like,

a fantasy-esque troll would be

and the worst possible reality of what that could be.

They are huge, drooling, disgusting messes.

This film does an amazing job making

these creatures seem real.

Man: You've seen things that have yet to happen.

You had a premonition.

You saw into the future.

Sher: Before he made his famous gore-fests,

Lucio Fulci was an amazingly accomplished filmmaker

in many genres,

and he made some really, really fabulous thrillers.

One of the very best is "The Psychic",

where Jennifer O'Neill plays a wealthy woman

whose diplomat husband is away for the weekend.

She's living in this kind of gorgeous villa,

and she starts having visions of a mysterious room

that she's never seen before

where she believes some kind of murder has taken place.

And she becomes obsessed with finding out what are

these visions about and solving this murder

that she believes that she's seen.

Darling, why don't you forget this ugly story?

I can't.

But the fact that it isn't a Fulci gore-fest

I think is what's kind of kept it under the radar.

It isn't "Zombie".

It isn't "Gates of Hell".

You know, it isn't "House by the Cemetery".

Not much blood in this movie.

It's not particularly violent,

really, but it has a very sort of Edgar Allan Poe

kind of feel to it.

It involves someone being walled up alive.

Say no more than that.

Man: So you came here today for the first time.

And the first thing

you do is grab the pickaxe,

smash in the first wall you come to,

and find a skeleton.

I know it sounds ridiculous to you.

But I'm telling the truth.

I love "The Psychic" because it is so lush.

The costumes are luxurious.

The set design is beautiful.

And it has this very kind of sophisticated feel

for a murder mystery.

But then Jennifer Neill's visions

are very trippy and '70s.

And I love that juxtaposition of kind of timeless sophistication

with very, very '70s stylistic conventions.

It's one that really kind of sticks with you.

And, of course, it has this little watch theme.

Listen.

There's a central musical motif in it

that later became used in "Kill Bill: Volume 1".

Aah!

If nothing else, everybody knows that piece of music.

So -- But go see the movie that it came from, really.

It's worth it.

How do you spell that word, "psychotic"?

You might have to spell it M-U-R-D-E-R, murder,

if you don't get someone over there quickly.

Berger: Peter Collinson

was a director who the last thing

you expected him to do was going to be something

in the horror genre.

He did "The Italian Job"...

Well, look happy, you stupid bastards.

...which is a lightweight kind of fun, pop British

comic heist movie.

And he suddenly took a really interesting sort of left turn

with some people from Hammer

who had tried to form their own company,

and he made a movie with Susan George called "Fright".

It is probably the very first time

I remember seeing a movie about a killer stalking a babysitter.

This was, like, 1971, and it is crap-spurt scary movie.

No two ways about it.

Critically destroyed when it came out, of course.

Back then, you thought you had to be entertained

in the conventional way,

and no one was prepared for the sheer downbeat moral obfuscation

that Peter Collinson wanted to throw on his audience,

even in a pop horror movie.

The first half of that movie

exploits everything you can imagine

that, you know, has been retread again in very clever ways with,

of course,

"Halloween" and 100 other films in the ten years after that.

But this movie really got it down.

Please.

There are some very, very disturbing things.

You try moving again, you try,

and I'll be forced to attack.

I'll kill you and I'll cut you!

And it attacks relationships.

She's absolutely bloody impossible sometimes.

I can't tell you.

You're just annoyed with yourself,

'cause you know you wanted it, so you're taking it out on me.

I said get out.

It attacks the idea of family.

Why do you hate me?! Why, why why?!

And it has a perverse sympathetic concern

for the people who are the assailants.

Hey. Hey. Hey. Hey.

...as well as the victims

and how easy they can switch modes.

You try it and I'll kill these two!

Are you listening?! Both of them!

He means it.

Very clever film, really scary,

and not an easy one to get over.

Hi. I'm Emily.

I'm Jessica.

Zimmerman: "Let's Scare Jessica to Death".

That's a hidden gem in my mind,

because so many people knew the title.

The title was instantly iconic,

but it languished in VHS for so long.

It didn't make a DVD debut until the mid 2000s.

So we have a movie that I think people knew existed

but never actually saw.

Woman: Dreams or nightmares?

Madness or sanity?

-I don't know which is which.

It's creepy.

It's unusual.

Very effective movie.

Woman: You want to die. You want to die.

It is one of the most essential horror films

of the '70s,

and maybe the preeminent example of a kind of

gauzy psychological horror subgenre,

these films that are defined by being isolated

and paranoid and scary,

and maybe there's something supernatural going on,

but maybe there isn't.

He was lying right here.

And the best of those movies ride the perfect line between.

-Where you folks going? -Other side of Brookfield.

It's a farm on Cove Road called the Old Bishop Place.

Do you know it?

Yes, I do.

Niles: It's about this, I guess they're a hippie couple,

and their friend.

They drive around in a hearse.

It's cheaper than the station wagon.

And really annoy everybody in this small town.

-Damn hippies. -Creeps.

Man: Good riddance.

A lot of the themes of "Let's Scare Jessica to Death"

are kind of the death of the hippie movement.

Hey, watch it.

Zimmerman: Or at least mourning what it promised.

Woman: Jessica, why have you come here?

The character, Jessica, just had a nervous breakdown.

So she's trying to get her head back together.

Jessica: For the first time in months, I'm free.

Forget the doctors. Forget that place.

I'm okay now. We'll start over.

They find a drifter, a woman named Emily.

I just found this place, and I thought it was abandoned,

so I just sort of moved in.

Zimmerman: And over the course of this,

Jessica is growing more paranoid,

more concerned that Emily is not who she says she is.

Because there is the local legend of a woman named Abigail

who drowned in the lake the day before her wedding.

Looking at the picture,

looks so much like you.

My Lord, it does.

Don't worry. I won't go away.

And the townspeople say Abigail still roams the hills.

The legend is that she's still alive.

Some say she's a vampire.

It's kind of a ghost.

Woman: ...alive. I'm still alive.

Kind of a vampire.

Zimmerman: And it leads to this really incredible ambiguous ending of

was Emily haunting things or was Jessica truly losing it?

And she's left terrified, upset, stranded in a boat on the lake.

It's what I like to call sad horror, which I love.

Like, it's maybe my favorite genre.

It just kind of leaves you melancholy.

Leaves you a little haunted.

Boo! I bet that scared ya, didn't it?

One of my favorite hidden gems is 1992's "Ghostwatch".

This is a faux documentary

that purports to be investigating a haunted house

on the outskirts of London.

Man: So welcome live

this Halloween night to the first ever TV "Ghostwatch".

That's the house where it might all happen tonight,

or it might not. We shall see.

It's one of the scariest films I've ever seen,

and every time I watch it, it scares me.

-I don't know what's going on.

Don't leave me, Mum!

The BBC had been hyping "Ghostwatch" for months

before it came out,

claiming that they were going to send in some

of their actual on air talent

to a haunted house on Halloween night.

It all began in here on December 28, 1991.

What audiences didn't realize is that

the entire special was actually a film directed

by Leslie Manning,

and it starred all of these BBC broadcasters.

The program you're about to watch is a unique live investigation of the supernatural.

Geoghegen: So here you've got the BBC's Michael Parkinson,

someone that audiences implicitly trust,

and he is sitting there talking to all of Britain,

explaining to them that this Halloween night,

they will be heading into this haunted house

to try to figure out the mystery of a ghost

that is attacking this mother and her two daughters.

It starts out as a bit of a lark.

You're watching and

it's funny and the BBC talent interacting,

and everyone's excited.

Here, we have the thrill seekers.

Pillars of the community

all waiting to see if the ghost is going to arrive.

Welcome to Fright Night.

But then it really skillfully

and slowly creates an atmosphere of dread.

I had this overwhelming sense of evil. Spiritual decay

is the only way I can describe it as.

-Who are you talking to? -Pipes.

Audiences start to notice a figure

that appears in the background of the footage

that they're watching.

I don't have a cat.

It turns out to be a ghost with the nickname Pipes.

He is the ultimate ghost. I love him.

Pipes! Pipes! He got in!

Bonilla: As they're doing this investigation,

they're trying to figure out, is it a fraud or is it real?

These are disturbed detention stickers.

Rubbish.

And it continues to be this debate

where you have skeptics that are saying it's a bunch of garbage,

but it also feels like it's a commentary on our media

because of how easy a story can be spun

to be believed or disbelieved.

-Did you say that? -No, I didn't.

Woman: In the end, they all made us look even more like idiots.

And as it goes on, it gets crazier and crazier.

In Derby,

someone was ringing to say that her clock had stopped.

Get to bed. To your right.

Mr. Naro from Cheltenham

says his son is making glasses break.

I'm gonna go and get help, alright?

Oh, dear God.

Equipment starts to malfunction.

There's a haunted quality to the BBC set

that starts to break down.

People went nuts.

It was what you wanted, wasn't it?

We just gave you what you wanted.

People lost their minds.

They were calling the BBC.

They fielded thousands and thousands of complaint calls.

A young man in Britain had committed suicide

after watching it,

claiming that "Ghostwatch" had proven

that there was an after life,

and he had nothing more to live for.

After the BBC was made aware of this tragedy,

they put the lid on "Ghostwatch".

It was never aired again.

The BBC had washed their hands of it,

but horror audiences had not.

And it became this thing of legend.

"Ghostwatch" is, to me, one of just the ultimate hidden gems,

and it's the type of film that as soon as you see it,

you want other people to see it. It's so creepy.

It's so well made,

and the haunting past that it actually has in

both the real world and over the course of the production,

it just adds to how creepy it is.

Man: Have we lost the link completely?

Boo!

Hey, he's got a hand under there!

Man: The only perversions that can be comfortably condemned

are the perversions of others.

Man: There is no ghost!

-I said drop the knife!

Man: The monsters are heading for the city center.

Who are you?!

I saw it like it was real. It wasn't a hallucination.

Woman: It's not real, Jessica.

Man: Right, do you think Mr. Pipes has come to hurt you?

I think he's come to hurt everybody.

I think he wants to do nasty things.

-Pammy?

So what are the essential horror film scores?

-You always hear the story

that John Williams just played a couple notes.

That's all it took.

He's taken the most direct route with these kind of minimalist

electronic scores.

There's no way you can listen to that film score

and not feel the violence behind it.

Hey. I'm okay. Ah!