All language subtitles for Twisted.Tale.The.Unmaking.Of.Spookies.2019.720p.BluRay.800MB.x264-GalaxyRG (1)

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These are the user uploaded subtitles that are being translated: Eߣ�B��B��B�B�B��matroskaB��B��S�g�M�t�M��S��I�fS��M��S��T�kS���M��S��S�kS��یM��S��T�gS�����O�I�f@�*ױ�B@M��libebml v1.3.1 + libmatroska v1.4.2WA�mkvmerge v7.9.0 ('Birds') 32bitD��AW��Da� �eid{��GalaxyRG - Twisted.Tale.The.Unmaking.Of.Spookies.2019.720p.BluRay.800MB.x264-GalaxyRGs������i��XM۟�zT�k���ׁsŁ������S_TEXT/UTF8Sn�GalaxyRG - Twisted.Tale.The.Unmaking.Of.Spookies.2019.720p.BluRay.800MB.x264-GalaxyRG�D*C�u��Y3�����(eerie orchestral music)�� 3C�u���$�����- This movie changed my life.�� m����� �It changed a lot of lives.��<C�u��날����There's quite a story to be told here,�� �����Zand I think it's time for someone to tell it.��&C�u���b�����(screams)��f������- It was not what was envisioned.�������� �(screaming)��yC�u@��������- It was amazing, it was fun.���������It was the most hellish experience of my life.��+�����V(screaming)��aC�u��.������- The forces of evil mess things up.�� ������ �(screaming)��7�����d- I was like, "What is this?"�� gC�u��N������- Mama.�������(screams)��f����� �- No, that was stupid.��C�u��bĠ����(growling)���������- I was somewhat aghast at the new footage.�� Ơ�����(screaming)���C�u��}������- This is just now a bunch of things happening.��oC�u@���������- Among the horror aficionados,��1�����Spookies is considered to be something of a turkey.�� Ǡ�����(turkey gobbling)�� �C�u���e�����- Spookies.��r�����,(screaming)�������� (manic laughter)��㠚���E- This is funny?��gC�u���Ǡ����(screaming)��&����� \- My name is Brendan Faulkner.��1C�u���������I was the co-producer, co-director, and co-writer��E������of what started life as Twisted Souls,�� �C�u�������and wound up as the infamous Spookies.�� D�¡�� �- I originally was the chief producer and the executive���C�u@��3������in charge of production,��l������but my credit somehow wound up missing��ݠ���� �from the final print of the film.��<�����o- Tom Doran I knew from childhood.�� �C�u��P̠����I think we were in first grade together,�� Ơ���� and we both liked to draw,���C�u@��d֠����and we both loved comic books.�� �����[And we became fast friends.��f����� And it basically continued over the rest of his life.���C�u���������- I met Brendan in a film class I was taking�� �����Vat the state university at Purchase,��aC�u���������taught by Roy Frumkes of Street Trash fame.�� ������ �- We came up with the idea of doing a film��-C�u@��������with all the students,�� �����Zand it was gonna be called.�������� gWell, I always called it Tales to Tear your Heart Out.���C�u@��б�����Roy would sometimes go, no,��������it's Tales that Will Tear Your Heart Out.�� ��á���- That wound up eventually as title footage for the film���C�u@���p�����"Doctor Butcher M.D."��頩���7- It was gonna be an anthology,������� �and Roy was gonna do the framing story.���C�u��;�ġ��And that's how we really started working with each other,�� D����� �and really getting to know each other.�� IC�u@��&d�¡��- We got word that they were shooting Dawn of the Dead,�������Oand there was a raging blizzard.���������And so we drove in blinding snow for 12 hours.��C�u��GM�����- We were lucky we got there.��6�ǡ���- I have an actual like recognizable zombie bit in the film.�� �C�u@��[Ԡ����I'm the Seltzer zombie.��7������Brendan, a pie is pushed into his face.��Ҡ�����- And there was a ton of stuff that we shot���C�u��ry�����that I never saw in any of the cuts.�� n������There was one scene that I did where there,���C�u���������it was Romero riding a motorcycle,�� �������and he was sort of dressed as Santa Clause,�� 3C�u��� �����and I think it was his then wife, or girlfriend,���C�u��� ����and she was dressed as, you know, an elf.�� ������ And had a bag, like a Santa Claus bag.�� �C�u@��瞠����And they're riding through all the zombies��נ����%going, "Ho, ho, ho," and whacking the zombies�� Ǡ����9with the bag.���C�u@��������(echoed speaking)��������- [Announcer] Igor and the Lunatics.������� g(high-pitched laughter)��=������- Originally it was called Like Father,��UC�u��I�����and it really wasn't a horror picture per se.��Q������It was more of maybe kind of a dramatic,���C�u@��=������or supposed to be a dramatic thriller.��%����� sAnd originally it was just supposed to be��[�����kind of a, gee, could you look over our budget?�� nC�u��Z͠����Could you look over our shooting schedule?���C�u��rꠥ���Look over the script a bit,��1�����give us any of your suggestions, pointers, and so on.�� 8C�u@������- They had shot a fair amount of footage,��6������and they had like nothing resembling a horror movie.�� ������n- There's not a lot going on here.���C�u���w�¡��It's just these endless scenes of people walking around���C�u���������and talking, and Mary Anne walking around and talking.�� D����� �So she brought us on to write and direct�� 3C�u@��զ�����some horror sequences and action sequences��̠���� to pick the picture up a bit.��1������- If you'll notice on Igor and the Lunatics,���C�u���o�����the credit is for special action horror,�� >����� �and et cetera sequences.���C�u@��̠����Because the original director did not want to share�� J����� �the actual directing credit.��f�����KHellspawn was one of numerous projects�� �C�u��J�����that we attempted to initiate around that time.�� b�����nAnd this is going from like the mid 70s,��C�u@��@ �����and up to the time that we got Spookies together.�� ������ - We had a script, and we were actually in the process�� nC�u��WҠ����of doing a trailer to try to raise money.�� h����� �We had a prospectus laid out, everything.�� sC�u��oH�����And we shot a bunch of footage.��ؠá��&- Hellspawn is in many ways a more sophisticated version�� �C�u���A�����of the type of film that Spookies is.�� ����� >There was a greater level of intelligence and subtlety��KC�u@��������and humor, and a lot of other things.��㠻���1- It was Arnold who actually made the connection�� Ơ����Eto Michael Lee.��6C�u@���ᠨ���Because we were shooting this,��頩���7Arnold had built this creature,�� s������from actually a design that Tom Doran had made.�� �C�u@��٬�����- Michael was a man who had made his fortune�������� �on the video nasties market,���������when that sort of became a controversial thing���C�u���������in England in the 80s.��f����� His company VIPCO was the first and only company�� 8C�u@�� ������to release many classic and non-classic horror movies�� 2������at that time.��������cAnd he became quite rich with this,���C�u@��'9�����like very quickly.��f������And along with that, he also had, you know,�� 𠮡���the swagger and the assumption that���C�u@��?,�����he knew what he was doing and he knew the market.�� ������ �- You would think he was, you know, adding.��Z������He was putting in millions of dollars,���C�u@��X꠨���but it was a very, very, very.��a������It's probably one of the lowest budget movies������� I ever worked on.��������- They supposedly had about $500,000 to spend,�� mC�u@��y������which, I wouldn't say it's all on the screen.��+�����y- Michael, I think, had been looking around,��נ�����and sort of combing the New York area�� C�u@���������film people on the low budget end.�������� DAnd looking for someone to make him��������Ea custom tailored film.���C�u���������- When I got the call,��頣���7he said, well I hear you,��<����� �you're trying to do this horror film.���C�u@��NJ�����You have some footage, you have a trailer.�� ��ġ���He said, well, I'm gonna be in The States for a few days,���C�u���U�����you know, I'll be in New York.�������UCan you show it to me, and we can talk.�� �C�u���������We set up in a conference room,�������Oand we show him the footage.�� C�u@��i�š��Now, we decided not to bring an actual copy of the script.�� ����� \We had a fairly full treatment, but, you know,�� C�u��*�����we didn't really know this guy.��㠥���1So, gave him the treatment.��PC�u@��@렯���And he said, "Oh, this sounds very."�� �����[I like the footage, and this sounds like it'll be,��������Vyou know, be something I might be interested in.�� �C�u@��\ �����Well, months go by.�������OWe never hear anything.��O������Then I get a call that he's coming back to The States,��zC�u��~Ԡ����and he wants to meet with us about the picture.�� ������ �And that's when the bait-and-switch came in.�� C�u��� �����He's already partially shot a film in England,���������called, "The Anger."��1C�u@���������And he's giving us this excuse,���������oh, there was something wrong with the director,���������he had a tumor or something, and he was crazy.�� �C�u���[�����And he's, you know.�� ������ We're interested in doing your film,�� �C�u���I�����but we'd like to finish this one first.�� ����� gI was like, "Well, I don't know if that's gonna work."�� >C�u@���<�����He says, "Why don't you look at the footage?"�� ����� mWell, the footage is in England.��������He takes Tom over to England to look at the footage.�� C�u��"g�����And Tom gives us a call, and he's kind of crestfallen,��C�u��96�����and he's like, "There's not much here."���C�u��SŠ����(screaming)�� �����(screaming)��%C�u���v�ġ��Michael Lee decided that he was gonna send the film over.�� ������ �And it was painful.�� bC�u���������- (crying) Please don't leave me.�� �������Please (crying).�� �C�u���������(crying)��UC�u���L�����(screaming)���������(banging)��ؠ����"So we tried the ploy of going and saying, listen,�� �C�u@���k�����we'll make a deal with you,�� ������ �but you let us make our film first,�������9and then we'll finish yours.���C�u�� ������Well, he didn't go for it.��Z������So, that was basically, we figured that was it.�� �C�u@�� )������And then we get a call again, and he says,�� �ǡ��WI'm coming back to town, and I'd like to meet with you guys.���C�u@�� M^�����So we met, and he says,�� Ǡ���� you know, I wanna do a film with you guys,��������but I don't really wanna do yours.�� C�u@�� lР����I want something where there's more going on.�� ������ �Michael Lee, his basic idea, as far as I can remember�� �C�u�� �������and Brendan would know better than me.��O����� �Was that he wanted a haunted house scenario.�� �C�u�� �J�ơ��- We were attempting to satisfy the demands of Michael Lee.�� ߠ����-- Michael was more concerned with�� C�u�� �ޠ����how he was going to sell it.�� J����� �And wanted certain things in the movie���C�u@�� ƕ�����that would make it easier for him to sell.���������- He didn't want to get caught in the same bind��%�����ithat he was with a lot of his releases�� �C�u@�� ��ǡ��during the video nasties controversy, I guess you'd call it.�� ������ �He told us no, you can have some blood,���C�u@�� �砨���but really not too much blood.�������� DLet's go for a PG rating, you know.��U������And therefore also no nudity.���C�u�� 󠶡��- I don't think he was selling sex as such.��P������I don't think he was promoting in this movie�� \C�u�� 4;�����any sort of, you know,�� ������ �sexual thing at all.��UC�u�� J������I mean, this is a rather sexless movie.��Ҡ���� - He also settled on no zombies,�� �C�u@�� _�����which seems kind of odd,��7������but I think he associated zombies with gut munching.�� D�š��So that he was like, he didn't want anything that explicit�� C�u�� ~������or potentially controversial.���ơ��1We tried to argue with him, because he was thinking of this��zC�u�� ������in terms of his market in the UK.�� ��á�� �And we were thinking of it in terms of the entire world,�� C�u@�� �ˠ����where all this stuff would help sell the movie.���������- I only did Spookies,���š��'because I had done Deadly Spawn. I mean, they had seen it.���C�u�� ���á��He distributed the Deadly Spawn in England, Michael Lee.�� h����� �He said that Deadly Spawn,��1C�u@�� �!�����the money he made from doing that paid for the house���������he now lived in.�������� �- So we wrote the treatment under Twisted Souls,���C�u�� �������and we gave it to him, and he liked it.��Q������And he said, "I'm willing to do a deal,” you know.���C�u�� ~�����We'll put together a project.���������But he didn't like the name, "Twisted Souls."�� 2C�u�� 6������And at one point he, you know.�� ������ �He came up with a title and he says,�� CC�u�� SM�����"I have a wonderful title, Bowel Erupter”��������oAnd we thought he was joking,���C�u@�� h������and then we realized he wasn't.��1�����- We had creative control,����� �but we really did not have creative control.�� mC�u@�� �n�����- We took inspiration from a lot of different sources,�� ������ from old thunderstorm mysteries all the way up.���C�u�� �������I mean, you know, we were.���������We all were very steeped in a lot of the stuff from,���C�u�� �������you know, the silent era, the sound era.��̠���� You know, all the way up into what was currently�� �C�u�� �Ơ����coming out at the time.����š���- The Evil Dead was a direct influence on Michael (laughs)�� C�u�� �������who said, "I want a film just like The Evil Dead.”�� �������And didn't, and,���C�u�� �������that seemed at odds with his orders��x����� �about no explicit violence or gore.�� sC�u�� !�����- They went out of their way to make��~������distinct and very interesting, specific characters.��QC�u�� )������-We���ġ�� hput a notice, I think it was in Backstage and in Variety,���C�u�� L������and we got tons, I mean tons of stuff.��J������There was a movie called, "Turk 182."�� �C�u�� j�����And it seemed like every actor we got��,�����zhad that on their credit.��lC�u@�� ~D�����- We grabbed some of the people���������we had previously worked with on Igor,�������� �including Joe Niola, Igor himself.�� C�u�� �������- There was some people who we had worked with,��Ҡ���� like Peter Dain and Joan Ellen Delaney.�� 2C�u@�� �0�����- Joan Ellen, she was a wonderful, a real trooper.��n������- Joan Ellen was usually very funny and inappropriate.���C�u�� Ϻ�ǡ��- She was playing a character that was obviously voluptuous,��P������I'm gonna put it kindly.��C�u�� �ˠ¡��I don't know if I should say this but, (clears throat),�� �����[the crew had a nickname for her breasts.�� �C�u�� �|�����Huey and Louie.���������(laughs) I'm sorry.�������EAnd she took all of that with a lot of good humor.�� �C�u@�� ՠ����I mean she really was fine.��f������- The rest were just people,��1����� 3we bring them up to the location,��OC�u�� 1������because we already had the deal for the property,�������jand we had our office space there.�� sC�u�� NΠ����It was, you know, a couple of people who showed up.�������� DAnd they were like, "Well," you know.�� �C�u@�� h������I need a hotel room for myself.��Ҡ���� And all of them were like,�������oyou haven't even gotten the part yet,��+C�u@�� �������and now you're making demands?��Z������- There was Charlotte Seeley.��<����� 2She's the British woman, who's the blonde.�� C�u�� �2�����She actually had sort of a,�� \������a diverse career over in Europe, you know,���C�u�� ������years before she came to Spookies.�� �����[She had done art films, erotic films, and��VC�u�� ��ơ��she played the Virgin Mary in Monty Python's Life of Brian.���C�u�� �5�����Only seen in a very distant shot,��Ҡ���� but I mean, for us at the time, it was like wow.�� �C�u�� �������The credential is okay, you know.��������- I auditioned in late June of 1984,���C�u@�������and right after my reading,�� ������ �because I'm looking for some kind of���������quirky guy to play this role,���C�u@��8�����and they weren't really sure what they wanted.��6������That's what I heard from Peter lasillo.���������That look, there's a role available.��yC�u@��Q������They don't know what they want.��������And right after the reading, they gave me the role.�� I������- Duke, from what I remember, he was supposed to be��VC�u��v������hot-headed, tough, a punk type of guy, impatient,��9C�u���s�����arrogant, this type of person.�� 렲��� 8By the way, that's really not who I am.���C�u���������- No, it is.��Š����(laughs)�������� Mine was this nerdy, you know sort of geeky character,�� �C�u���������that was completely browbeaten by his girlfriend.��Q������Our characters, my and Charlotte,���C�u���������were like out of some strange, I don't know,���C�u@�������cartoon or something.����¡��- How did these people get together in the first place?��y������How did we all meet?��BC�u@��d�����- What the hell was that?��������B- Where do we meet?��ˠ����ZHow do we meet?��ˠ���� s- What in the hell?��H����� - [Nick] Duke, Linda, David.��䠡���9- I mean, the head guy?���C�u��7������Why would we be going out with this guy?�������OGod forgive me, Peter Dain, lovely actor.�� C�u��M>�����But what sense did that make?��͠���� He was an older guy.��1������What about the girl that--���C�u@��dޠ����- What were we doing all together?�������f- What's her name, Carol?������The one that ended up turning into the mon--�� �C�u@��z������- [Nick] The demon monster.��ˠ����- The demon monster,��Š����+where does she fit in?���¡�� \She belonged like in some weird East Village bookstore.�� �C�u@���㠲���What's interesting in the film is that,��נ����%I sound like this through most of the movie,�� Ǡ����9but you don't know why.��aC�u���������(sneezes)�������`(coughs)������� �- Thank you.��l�����z- Because in the earlier part of the film,��C�u@���k�����all the different speeches about me having allergies,�� Ǡ���� she throws my pills all over the seat in the car.���C�u���I�����You don't see, 'cause that was all cut out.���������So is it just a guy with a strange nasal condition?���C�u�� ~�����- I loved all the actors.�������aThey were all terrific.�������� hThey were doing the best they could��UC�u@��!������within that limited timeframe.��U������And thank God for Peter lasillo's humor��O�����@and the effect that he had on��,C�u@��CB�����lifting everyone's spirits.�� �����[- I'd like to try to have a couple of more beers,�������� \I mean, before I'm splattered across the landscape.��UC�u@��YA�����At the moment I'm much too sober to appreciate it.�� C����� �- Peter.��頳����Peter, for me, Peter and I are brothers.���C�u@��sR�����We go back to the time, we were 13, 14, 15 years old.����¡��EWhere Pele, I was the singer in Port Chester, New York.��C�u����¡��And Pete was the comedian doing Bill Cosby's God album.���C�u���۠����- Peter lasillo's a force onto himself.�������OI mean, he is like a person who is like,�� >C�u@���������he's always on.��C������It's always like, show time.��U����� 3- Peter just sort of like, you know, cruises along,��C�u���7�����and does whatever he does.����ġ�� You know, he's a very jovial old guy, you know, real ham.���C�u@��������We wrote the part for him.��l������And he was the guy actually that��%�����-Tom and Brendan had known since they were young.�� �C�u��������- Peter was so funny, he was hysterical.�������� DI mean.��C�u@��*H�����He said I was his best audience,��ޠ����,because everything he said I laughed at.��U������But then he was always funny.��aC�u@��@Ġ����- He worked with, you know,�������� Jreally creating something with that puppet,��%������and would really getting the character.���C�u@��em�����He'd sit there talking to himself like a lunatic�������� Iin the corner with the puppet sometimes.��������E- So what do you say we kiss and make up?��6C�u@��}6�����Hi Duke, what do you say?��������B(kissing)��頸���y- The original name of the puppet was Scummo.��������Q(laughs)��H������And he somehow became Mooky,���C�u@���S�����he became like, you know, neutered or something.�� ������ �- Some place in my house I have the Mooky puppet.�� sC�u@���������I can't find it, you know.��������I mean for years I told Peter I was gonna find Mooky,��[����� �and he would sometimes say thing like,���C�u@��ᠨ���"Oh, I miss my little friend."���������"I miss shoving my hand up my friend's ass."”���������(laughs)���C�u@��柠����- What are you, queer or something?��f������- That damn puppet annoyed me.��=����� >Constantly over my shoulder, playing around,��UC�u@���������kicking it back.��H������- Uh oh, Duke's mad now, Mook.�������� �- And we continued to know each other, literally,�� CC�u��𠝡��to his last breath.�������� I- He was fantastic, I really miss him.��a������He was just wonderful.���C�u��+ �����- I love that man.�������� �And I miss him, you know.���������And it really hit me hard when he died.���C�u��D������And he'll always live in the film,�� �����Vbecause he's part of the bright spot in the film.�� hC�u@��b���Because what you see on the film��ݠ����+is what Peter is really like in real life.��������t- [Peter Voiceover] We had a great time,��HC�u��v������and it's a wonderful film.�����<And thank you again for coming.�� ������'(applause)���C�u@���p�����- The make up effects were key in terms of anything��O����� �Michael Lee wanted to do.��Ҡ�����- When we originally were talking about it,��UC�u@���Ϡ����he wanted a lot of things going on.��������We wanted a lot of things going on.�������� �But we wanted them to be different.��C�u@���{�����We didn't want it to just be a bunch of people����ơ���getting their throat cut or their stomachs blowing out, or.���C�u���n�����We wanted to do monsters and weird things.�� 2������- We started out with, as you're aware,��ZC�u@���������Arnold Gargiulo, and who had lead us to Michael.��V������And really was, you know, responsible for helping us�� sC�u��������be able to accomplish this deal.���������He brought in Gabe Bartalos.�� �C�u��*0�����- I called him Bartalos.���������- Working on Twisted Souls, that became Spookies,�� �C�u@��? �����was really fun for me.�� �š��ZI was much younger than a lot of people on the production.�� ������?And was just so thrilled.�� >C�u@��]֠����- She was handling more of the glamor makeup.�� �ơ�� 8And I think she was on it, pretty much, from the beginning.�� �C�u@��y �����- Vincent Guastini came on also,�������Oas another assistant makeup person.��y�����Vincent had been working on stuff of his own��TC�u���à����for years previously.���ġ��7Arnold Gargiulo worked for John Dods on The Deadly Spawn.�� C�u@���P�����And he said, "Well, they're gearing up.”���������And he goes, "I'm gearing up, too."��������He goes, but John Dods is gonna need some help.��yC�u@���������He's doing a lot of these creatures.��㠤���1As the effects progressed,�� Ơ����Ebecause John was doing a great deal of the sculpting,�� C�u���\�ơ��he actually gave me a chance to sculpt on the show as well.�� ٠����'- I don't remember reading a script.���C�u@���������I think they just described what they hoped to find,�� Ơ���� and they were very loose about it.��<������They just wanted like a couple of cool monsters.��UC�u�� ������I would have been dead without Vincent Guastini.�� Ǡ���� He lived at my house for a part of the time�� �C�u��%�á��we were building the creatures and effects for Spookies.�� 8����� �The part of it that I was in charge of.���C�u��<࠶���The spider-woman constructions, mechanical,�� ������ and the snake demon puppets.�� �C�u@��T�����Tom Molinelli who was handling a lot of art direction,�� �������he would put in and work with the special effects��C�u��vc�����and makeup people when needed.���������He helped out when the hallway demon, you know,�� >C�u���堚���grabs the woman.�� I����� �The sarcophagus here is, he built.�� �C�u@���������I mean, he carved the whole thing and put it together.�� ߠ����,- Tom and I went to a shop called The Magickal Childe���C�u��Ý�¡��and that's where I bought my Egyptian Book of the Dead,��������Kas part of my research.�� IC�u����ǡ��- Maybe it was some dark secret locked away in these papers,�� 2������that he managed to unearth.��[C�u���������I don't know.���������- Got some vellum, and using my Book of The Dead,��EC�u�������put symbols and gobbledygook.�� ꠬��� 8And then soaked the paper in tea,�� �C�u��*k�����so it get the coloration.��ؠ����%And put it in the, a low heat oven to dry it.��"C�u@��C������And this is what you end up with.��͠���� - [Movie Character] What's this supposed to be?��㠒���K(laughs)���C�u@��ZQ�����- Looks sort of like a Parcheesi game or something.��f������- I know what this is.�������� �I mean, I've never seen one like this before.�������!It's a Ouija Board.���C�u��q������- The Ouija Board was��k�š���creation that basically Tom, Brendan and myself discussed.�� �C�u���g�����The original idea was that��1����� �they were spirits that had been trapped in the board.���C�u@��������And then you were supposed to get visual effects of,�� �š�� >you know, then coming off the board, which never happened.���C�u��������So what I did was I made out of acetate,�� >����� �cutouts of these monsters and then kind of glued them,��VC�u���O�����temporarily, in their place.��y����� �So that every time a monster was released, you know,���C�u@���㠭���I could just peel off the monster.�������USo it doesn't look like a, you know,�� I������your typical Ouija Board,��+C�u��H�����because we'd have copyright problems with that.��ؠ����%Tom had originally designed the planchette,�� nC�u��%(�����and I think it got messed up In the molding process.��Ԡ����!So then Tom Molinelli made one.�� C�u@��?������- What is it, art or something?��Š����You think it's worth any money?�� Ǡ����'- Now, as far as these tomb stones.���C�u��W������I went into a dangerous section of Brooklyn to buy�� ������ at the best price at the time, urethane.���C�u@��u'�����We had PAs cut up the pieces�������� Daccording to the template I had given them.���á���And I think Peter lasillo was kind of in charge of them.�� �C�u���򠡡��And they made hundreds.�������UOr a hundred, lets say 100 tomb stones.��y�����A lot, a whole lot.��fC�u@���������What people put on the tomb stones, I didn't care.�������UBut a lot of people wanted to have, you know,��������Ktheir family name, or you know.��C�u@���l�����I mean, this is my father.�������� Because he died a year before we shot this.��7����� �And everybody woke up at six o'clock at night,��OC�u��՚�����and had breakfast/dinner.��͠���� But I had to wake up at three��ؠ����@to put up the tombstones.���C�u@��������So three in the afternoon, I'm in the, you know.�� ������ Putting the tomb stones up while everybody's asleep.�� C�u@��젨���(laughs) That was so much fun.���������- We're gonna get in trouble if we hang around here.��������"This has got to be private property.���C�u@��D:�����- [Frank] The John Jay Estate was perfect,��������because it was like, you know,��頼��� >right in the middle of the area that we lived in.�� �C�u��Z��ơ��The house itself was, couldn't have found a better location�� �������for this type of film.���C�u��o�ơ��- I think it was a great stroke of luck and location magic.�� \������- It's the John Jay Junior Estate.��UC�u���I�����You know, all people.����ġ���But it's actually the son, it was like built for the son.���C�u���m�¡��- [Cecilia] It was an interesting location to shoot at.�� g����� �Tom was convinced that there was ghosts��[C�u���ʠ����in the back of the house.��7������I never saw any ghosts, sorry.��1�����(laughs)���C�u���������(manic laughter)�� sC�u��������- Hi there, and greetings from beyond the grave.�� ߠ����-I'm Peter lasillo Junior.���C�u���C�����Come along kiddies, let's take a quick tour��U������of the John Jay Estate.��������(manic laughter)�� �C�u��m�����This is the front lawn.��f�á�� JThis is where all the tombstones for the family cemetery�� �C�u@��2領���were laid out.���������- Hell of a way to fertilize your lawn, hey?��ޠġ�� - [Peter lasillo] This garage is where I think you'll see���C�u��H�����some additional footage were shot by the other crew,�������� �with zombies coming off the top of that.�� JC�u��iT�����We're now at the side of the mansion,�� I����� �and it was from down here,�� C�u@���Y�����the room behind these barred windows���������is where we shot the muck-man's scene.��[������And these windows, they weren't barred at the time,�� gC�u���������but we had put big wine barrel fronts,�� ��¡�� made of balsa wood, so way behind here, we had buckets.�� �C�u@���������Buckets filled with wine colored water.��%����� sAnd when she broke the wine,��=������the barrel front, the wine came spilling out.�� �C�u@���Р����Okay, so I'm in the back of the mansion right now,�� ����� mand it's from that rooftop that the Grim Reaper�� �C�u���"�����is thrown to his exploding death.��x����� �(explosion erupting)�� �C�u@�� �����This is where we see the wizard's grave sight�� ����� hin the beginning.��������QAnd the pulsating tombstone,��%C�u��䠱���which was shot by the other film crew.���C�u��Q~�����- A lot of weird things happened.�� ������ �- There was a lot of bad vibe there.���C�u��f������- The property ran all the way to the sound,�� D����� �and it would be let, get pretty overgrown.�� �C�u��~"�����Well, we needed to clear out a chunk of it,�� ����� mbecause we wanted, you know,�� sC�u���P�����to put the graveyard in.��̠���� We had all these tombstones we were gonna place.�� DC�u���������And some of the guys working on it��~������went over way down, and walked all the way down.���C�u@���Ơ����And said, you know, there's these weird circles��̠���� pressed into the grass, and these weird triangles.���C�u���%�����There was a conservancy that was right next door.�� >����� �And the woman who ran it was very nice.��UC�u���S�����And she goes, "Have you had any visitors yet?"��Ҡ���� And we said, "Well, not really."�� �C�u�� ]�����And she goes, "From up there?"��ؠ����&And we were like, "Up there?"�� CC�u�� �¡��And she said, "Oh yeah, you'll see things coming down,"�� \������and, "At late night."��`C�u��5l�����And I was like, "Oh, really?"�������OAnd I remembered thinking, "She looks so sane."�� C�u��J�����- It's okay.�� s����� �- Gabe Bartalos, when we were first setting up there,��zC�u��e������he wanted to go up and look at the mansion.�� ����� mAnd he came back down, and he goes,���C�u@���X�����"Who's the old lady?"�� ����� hWhat old lady?��������:The old lady that's up, is somebody living up there?���C�u@���������Said, "There's no old lady,"�������athere's nobody living in the house, it's closed up.��~�����-He said, "Well, there's an old lady up there."�� �C�u@���젚���(ghostly oohing)�������a- [Duke] Look at me, I'm Duke the horny ghost.����á��W- And then we actually had a coven of witches that came,���C�u@���]�����and wanted to go into the house,��O����� �and wanted to do some sort of a blessing or something.��&�����And we were still in pre-production.��"C�u���۠����So I said, well, you can go up for just a little bit,�� s����� �but then you gotta leave.���C�u�� ������And one of our production assistants�� 8����� �took them up, let them in, and came back down.���C�u��7�����And after about 20 minutes or so, I said,�� s����� �"Go up and tell them it's time to leave."��%C�u@��Oq�����She comes back and I said, "Well they're all gone?"�� ����� mIt's all locked up?��������zSaid, "They're gone."��lC�u��gd�����This is well, you told them to go.�� ������ �She says, "No, they were gone when I got there."��OC�u��|栮���- She's right, there's nobody here.�� ������ - Now, we never saw cars or anything.���C�u@��������We don't know what happened, so.��+�����yMaybe they're sucked up in a void somewhere,��~�����EI don't know.��C�u���������- Ooh, scary, I'm shaking.���C�u���񠶡��- Here we are, back at the John Jay Estate.�� 3C�u���������(eerie orchestral music)�� bC�u��ݠ�����It's the snake demon room,���������where they raised the floor approximately,�� JC�u���-�����almost two and a half feet,���������SO puppeteers could get underneath.�� sC�u@��F������Don't you remember it was the beginning of the film.��O����� �- Right.��頺����- I think it was one of our first night shoots.���C�u@��[g�����- Right, right.��Š����- That we started here, the car started here,�� �������and that's when the drive began.�� �C�u��v������Because as we got halfway down,�������� Ddidn't they throw a tree in front of the car?��?C�u@��m�����(brakes screeching)���������- Jesus Christ.�������� �- And then we had to continue around, or something,�� mC�u���㠩���to get to the Boston Post Road.��������We must have shot that like 20 times?���C�u���)�����- At least a dozen times.�������g- At least a dozen.��頯��� �- Down and around, out, and back in.���C�u���H�����- Nick and I auditioned right over there,��!�����oat the end of this particular building.�� C�u@���$�����A day in June.�������UIt could have been today.�������� 8- Like today, like today.��������9- This is June 24th.��CC�u��������I swear to you, it could have been today.�� �C�u��Ch�����- Well for me, coming back after all these years,�� gC�u@��W�����overwhelmed.��Š����It's been a long time.�������� I mean, I remember the house quite well��ޠ����Kfrom 1984/85.�� �C�u@��rT�����But being here all these years later, overwhelming.����á���Nostalgic, being back here with Anthony, it's memorable.�� �C�u���x�����- It just, the level of respect, the reverence.�������c- Right.��HC�u���q�����- I didn't expect to feel that.��1�����~But now, hearing the history of the house,�� �C�u���'�����and seeing how they have preserved this place��K������that was really crumbling when we were doing the--�� CC�u@���Q�����- [Nick] At that time.��㠯���1- It just, it's comforting. - It is.�� ������- It's comforting and it's exhilarating.��,C�u@���堬���Because like I was saying to you,��1�����it feels like 20 minutes ago.��l����� 8And I feel no different.��������:(ominous orchestral music)�� �C�u��#�¡��- Tom and Brendan, they pretty much divided the script,��������Kyou know, said, oh, you know.���C�u@��0u�����I'd like to do this, would you like to do that?��1�ơ��- Tom's approach is very different approach from Brendan's.��-C�u@��Gn�����However, I think that they were such good friends,���������they knew each other for so long,��������!that it was fairly seamless.�� �C�u@��bz�����- I mean, they organized it fairly well.��U������- These guys knew what they wanted,����� �they had story boarded everything.��ZC�u@��w�����It seemed to have a coherence that survived�� ����� hhaving two directors.��������K- Ken, we were lucky to get Ken��7C�u���Р����as a director of photography.��1�¡��He had quite a bit of experience in all types of films.���C�u���B�����- My approach was to make it look as real as possible,�� �����Vgiven the constraints of, you know,���C�u��Ď�����the antique camera that I used.�������� J- There was a lot of subtlety to the lights.�� �C�u��� ����There was a lot of cookies, and a lot of shadows, and��!�����oas he liked to put it,��fC�u���堯���you need a lot of lights to be dark.��T�¡���- He was one of those guys that, we clicked right away.�� �C�u@�� [�����Even though our ideologies are very different�� ����� mthan each other's (laughs).��������P- He ran his grips in everybody else, like (laughs)�� C�u@�� %�����like it was a military operation.����¡�� IIt was like (military-like yelling) you know, and like,��������so everybody knew that when he said something,�� bC�u@�� DJ�����you did what he said.��<������- I've been accused of being a bully.�� �š���But look, if in my career of 40, 50 years in doing movies,���C�u�� l �����you're incompetent, get the fuck out of my way.�� ������ �Just, we'll get somebody who's more competent.�� �C�u�� �������I'm always mission first, I'm always driven.��ؠ����&- I remember one day, Jane Fonda was mentioned,���C�u�� �젰���and it was like Hitler was mentioned.���������- The military, it's pretty rough.���C�u�� �"�����So, if a guy doesn't bathe himself,��PC�u@�� �n�����the rest of the guys in his barracks come in,���������and usually fill socks full of soap,��̠����and beat the crap out of him.��C�u@�� ������So he learns his lesson.�������`They don't do that anymore, I think.�������� 2You know, the military's changed.��������But anyways, blanket parties was like,���C�u@��! ������with someone with the part.��頨���7We'd throw a blanket over them������� �and shoot them with paintballs.��+�á��- And we would be running around where we were shooting,��zC�u��!0]�����all shooting these paintball guns at each other,�� ����� bwhich hurt like hell when they hit you.��~C�u@��!E������- It was all pretty much good fun.��㠣���1[, at least with my part.�������� >So I had a lot of fun doing it.��������?- They wouldn't let you know.���C�u��!^������And suddenly some blanket with come over you.��������- We tied Brendan to a tree and shot him up, and.���C�u@��!vB�����You know, everybody took it in good stride I think.�� ������ �- Essentially, everyone would get their blanket party,�� �C�u@��!� �����I eventually got mine.��7������You know, I mean people would like harass you,������� �and push you around,��H�����oand put you in a bin on wheels,�� �C�u��!�Y�����and cart you around.���������And basically humiliate and sort of hurt you.�� �C�u��!�v�����- They also had a thing called the pinhead reel.�� ������ �If you screwed up, you got on the pinhead reel.�� bC�u@��!������And all, by the end of the thing,��<������almost everybody had been on the pinhead reel.�� ������tWhere they would actually take the kind of pins that���C�u@��!�z�����you put 3, the old clothes pins that you would put on,�������Uyou know, the lines and that.����� �You would stand there with it like on your hair,�� C�u��"������or your beard if you were like me without any hair.���������And you'd have to stand there, you know.���C�u��""w�����And sometimes you have to hold a card���������saying why you were there.���C�u��"6������- Hey, a surprise party.��[����� �So you didn't forget after all.��`C�u��"Jߠ����This is really great.��㠟���yYou can come out now.��������(growling)���C�u��"b������(glass shattering)��+�����x(growling)��&C�u@��"�>�����- The reaper had to be rigged.��7������There was all sorts of belts so that we could�������� �make the bones stand out more,�� �C�u��"�Ǡ����but look like it was independent.���������For a portion of it is Jim Glenn�� �C�u��"�x�����in the reaper outfit.�������UAnd then at one point, because Jim couldn't make it,���C�u��"���¡��we had to put Pete Delynn of, "2nd A.D" in the costume,�� �����Vbecause he was also a big guy.��fC�u��"�������- It's just an empty closet.�������a(screaming)������� �(screaming)��yC�u��#������- The mummy was made by.�� ������ �I got a hold of a medical skeleton,�� �C�u��#-�����and I re-sculpted the head from scratch,��������Finto a screaming, anguished face.�� �C�u��#J������And it had remote control eyes I made.��̠���� And I fused that to the skeleton which had�� �C�u��#b𠽡��dressing of latex tissue, foam rubber all over it,��z������so it was one unified corpse.�� �C�u��#~������(growling)���������- So I did like a Ray Harryhausen inspired creation,�� �C�u��#�m�����a snake demon, so called, monster.�� ������ Which was a hand puppet, there were two of them.�� �C�u@��#�������- They had to make a false floor for that.�� n����� �- They raised the floor easily.�� �����- [Nick] Very nice.��HC�u��#�e�����- Two or three feet at least.��T������Recreated the library.��������They put these grooves.���C�u@��#�4�����- And then there was a special rig���������where this, tail, is glimpsed slithering��y������under a piece of furniture.���C�u��#� �����- John Dods, or whatever, had to be underneath�� ����� apushing those little creatures.�� �C�u@��$U�����- The hand goes up inside it.��B������And it's cable controlled,��<����� so it has some other functions, spatially.��������- Oh my god, there were puppeteers under the floor.�� �C�u@��$,y�����And they were there for hours.��`������- Working underneath.��ˠ���� �- Working underneath.���������Laying on their backs, and they were into it.�� C�u@��$I������It wasn't like they were griping.���������They wanted to get this shot,��㠩���they worked hard on that floor.��UC�u��$`H�����- There's the cool sequence when Anthony's��y����� �discovered in bed, they think he's sleeping.���C�u��$tR�����- There's an ass shot.���������The scene opens with one leg up,�� hC�u@��$������and there's an ass shot.��ޠ����+And Ken kept on saying,��[������"This will be great for the gay porn crowd.”��,C�u@��$�Q�����- That was weird.��������f- And they roll him over,�������� sand he reveals to the camera��������za side of his face has been chewed off.��OC�u@��$�h�����- Charlotte is supposed to roll Anthony over�� s����� �after his face has been eaten.�������!She wasn't around, so I had to put her jacket on.��iC�u@��$戠����I'm much bigger than she is,��Š����so I put it on backwards.��B������'Cause you only see the sleeves up to here.�� �C�u��$������That's my hands in the shot, rolling Anthony over.���C�u��%������- I took a cast of Anthony's face,�� m����� �and I made a foam rubber prosthetic,�� �C�u@��%(0�����that contoured to his facial features.��O����� s- Brendan kept on saying,��a������when she turns you over,��yC�u��%A���make sure that your eyes are rolled back.�� ٠����'Couldn't they matte it in?��C�u@��%U{�����Couldn't they do it themselves?���������I guess then they couldn't.��������Well, I kept on rolling my eyes back.��=C�u@��%i�����I was gonna kill myself.�������� I had the worst migraine headache.��7����� �Oh my god, we shot that so many times.���C�u@��%}������You're being pulled over, pulled over, pulled over.��Ҡ�����And then finally it was real quiet in the room.�� C�u@��%������And I looked up,�������6and they freaking left me alone in the room.�� ������Everybody was gone, they closed up for the day.�� C�u@��%������I'm in the bed, nobody even told me.�� Ơ���� Charlotte, she had such stamina doing that.��ؠ����9Because, in fact, after that scene was shot,�� nC�u@��%� �����she had had it.��Š����She stormed out of the room, she said,��1����� �"That's it, I don't wanna go to anybody, I'm done."���C�u��%蚠����-This is the way out to your friends, I saved them.�� �C�u��%�!�����- An Asian woman transforms,��ޠ����+in a series of five stages,�� �����iinto a spider creature.��&C�u��&������- The spider sequence was really, really involved.��o������- The sets were so cool.��fC�u@��&1n�á��Tom Molinelli was building the lair of the spider woman.��P������- [Brendan] The spider lady's lair was built���C�u@��&LO�����as a set within a large room.���������- They didn't have a team, it was just him (laughs)��O������doing everything.��fC�u��&dl�����- I don't know if you can see them anymore,��㠳���but there's faces on the walls in there.�� �C�u@��&y������One of which was Tom's face,��頰��� which I think he kind of helped make.������� �- Soo Paek is the actress's name,�� C�u��&�������an Asian woman, beautiful Asian woman, in a,�� ����� bthis exotic, indescribable gown.�� C�u@��&�F�����There aren't any literal transformations�������� Iin front of the camera.��r����� �It's all cut away and cut back.��0C�u@��&���ġ��Stage one is the makeup, cosmetic makeup and the costume.����š���The second stage is, she now has prosthetics on her hands,���C�u��&䥠����and on her face.��Ҡ�����Cut away to Peter and cut back,��`������and now her head is enlarged,���C�u��&�D�����and there's slits starting to open,��Ҡ���� and they're pungulating via cable control.�� �C�u��'������Cut away to Peter and cut back, and now she's got legs��W�����zgrowing out of her hip area,��=C�u��'&������coming through the black gown,�� ������ �getting longer and longer.��頦���Cut away to Peter, cut back,�� 2C�u��'F<�����and now her head's much larger,�������� and she's got eight blinking eyes.���C�u@��'aq�����We shot blinking eyes.���������I didn't see the footage, blinking, so they.�� 䠪���They tell me it didn't intercut,���C�u@��'yd�����the blinking didn't intercut���������with the shots of it not blinking, so.�������� �They didn't use this cool footage.���C�u@��'�E�����- And then there was actually model,���������a big giant model.��ݠ����'We had to like have five people working.�� �C�u@��'�������- I got to do some of the change O-heads,���������animatronically and mechanically.��0�����&And then I also got to sculpt one of the main�� C�u@��'�>�����stop-motion models that was supposed to be��㠪���1the final stage of the creature,��O�á���which was never used because they didn't have the budget��OC�u@��'������to come back and shoot the stop-motion.�� ����� C- I think he secretly hoped��頬���zmaybe if he built it we'd use it.���C�u@��'�������- I guess from the behest of the production,��%����� strying to rip off Alien,��㠶����so we had one of those mouths that come out�� �C�u��( Ѡ����and hit people and suck them dry.��OC�u��(!������- I know Pete loved running around (laughs)�� ������with his duplicate head on his hand.�� 8C�u��(=�����(screaming)�� I����� �- Ken walker,��������I always said he can make a cuckoo clock���C�u��(S8�����out of floor sweepings from the shop.��1�����Because he could make anything.���C�u@��(f���If he could make a spider walk,��������he could make anything.��������:- The muck-men, that was a blast,���C�u��(�������because I got to play one also.��̠���� - Working with the muck-man.�� �����tFirst of all, he was big.���C�u��(�X�����That stuff was sort of a little funky to touch.�� ������ I remember the feeling of the material.�� C�u@��(�à����- I started by getting coveralls,�������� Cand we set them on mannequins.��������?And then with an expanding urethane, foam,�� sC�u��(�à����burlap, sticks, dirt.�� ������ �Started to build up some form of anatomy�� C�u��(� �����that looked super aggressive��ؠ����&and something that crawled out of the earth.�� �C�u@��(�,�����We would step into these full body suits.�� s����� �Gloves would go on.����ơ���The gloves were literally blended with the rest of the suit�� C�u@��)&�����with latex rubber and dirt, packed on it,�� ������ �packet on it in layers and layers.��+�����d- I have to admit, I shouldn't say this probably.�� �C�u��):i�����But there's some body named Joan Ellen��O�¡�� �who you may know, who is playing one of the characters.���C�u��)NI�����And she's just a very attractive woman.�� ߠ����-And one of the things Tom said to me,�� �C�u@��)g`�����I think in trying to convince me was,���������there's this great scene where the muck-man��`������comes up out of the floor where Joan Ellen is laying,���C�u@��)~֠����and he gets to grab her.��<������(screaming)����ơ�� 2And I said, "Hmm, (laughs) maybe I'll do this part, right?"�� �C�u@��)��¡��So a couple of fight scenes that he shot over and over.��P������One of them, I think I just caught Nick right,���C�u@��)�v�����and he sort of flew though the air.���������Tom had said to me he had been a boxer,������� and so not to worry about damaging him.�� CC�u@��)������Okay (laughs).�������UI couldn't really see him that well.��������,The holes aren't very big in the mask.���C�u@��)�b�����So when I grabbed him, I just.��ݠ����+Not really sure exactly where he was.��������,But I must have caught him exactly right,��C�u@��)�[�����because in that take, he actually flies��~������part the way across the room.��������And that was the one, Tom wanted to leave that in.��C�u@��*������He said that looks just terrific.��������But when they did the final film,��U������that was the one that they took out.��C�u��*(p�����And put in a different take of that shot,�� ����� bwhere it's not as dramatic.���C�u��*;������Nick never saw me without the head on.��y����� �And then right after I took the mask off.�� sC�u@��*P������And he took one look at me and said,��6������"Oh god, you're old."����š���And I said, "You wanna go another couple of rounds, Nick?"��%C�u@��*hx�����- John, I'm sorry.�������� It was a long time ago, how old was I?��<����� �19, 207��`�����ESo yeah, maybe if you were 42, 43, you were old.�� DC�u@��*�N�����You were older than me, a lot older.���������Sorry about that, John.��f����� �- But I'll get him yet for that old comment,��UC�u@��*�|�����whack him around a little.�������� Do another couple of rounds with him.�� ����� h- That was a mess.��������KThat whole, 'cause you know.��7C�u@��*�K�š��You have this so called wine that's supposed to spill out,�������� Jand it's supposed to melt the muck-man.��6������And we had to figure out how to get all that mud���C�u@��*� �����out of the basement.��Š����It was really a disaster.��<����� �- Part of that was shot on Halloween night.�� C�u@��*������- Gabe decided that, you know,�������`we were gonna go out and go to some Halloween party.�� h�����And he was gonna go dressed up as the muck-man��OC�u@��*�������in his suit.��B�����fSo (laughs) he won a prize.���ǡ�� �- Then went to like some sort of an all night grocery store.���C�u��+Ǡ����You couldn't buy beer, but they sat in the isle,�� �������drinking it (laughs).��`C�u��+8������In the full muck-man costume.������� m- We had problems with the original suits�� �C�u��+R�����that Arnold had created for the muck-men.��+�����zIf you'd seen them, you'd understand.�� �C�u@��+lҠ����- It just looked fake.�������� It just looked incredibly fake,��l����� �and Tom was not happy at all.�������- Arnold was one of these people���C�u��+�������who wanted to do everything.�������UYou know, he had trouble delegating.�� �C�u@��+���¡��And you know, he wanted to have his hand in everything.���������But there's a lot being done on this picture,��C�u@��+�*�����there's a lot of things that have to be made,���������painted, so on.��l����� �And I think he got overwhelmed.���C�u@��+Ї�����- [Cecilia] I mean he was young,��H������and maybe that was the problem.���������But then so was, Gabe was younger.��O�����@- We did have to dismiss Arnold,�� �C�u@��+�������and that was unfortunate.�������UBut we, that happened at a point in the production��%������where we didn't have a choice.���C�u��,������- And we just basically went to, to Gabe, you know.�� ������ �Do you feel like you're ready to step up,�� JC�u��,+�����and maybe take over the whole thing?���������And Gabe said, "Yeah."�� �C�u@��,5 �����- So it was agreed upon that I would follow through�� 렛��� 8with the effects.�� �š���It was important to me that it was with Arnold's blessing.�� >C�u��,T,�����- Gabe and Jennifer just like, you know,��0�����~brainstormed and you know, worked for, you know,�� hC�u@��,h_�����48 hours or whatever.��頷���7And came up with what you NOW See on screen.�� ������"- To give Arnold some credit,��fC�u@��,~4�����Arnold did some really impressive effects.�������� JNow that I look back on it,��������Wwith glowing eyes and splitting heads,�� C�u@��,�������and the hallway demon,���������and then the Grim Reaper thing that Arnold did,�� �����:you know, was really, really cool stuff.�� aC�u@��,�ᠤ���- Gabe worked with Savini,���������and I think that's how it came through.���������They were doing Day of the Dead.��`C�u��,�W�����They had gotten these molds for bodies,��������Kand they wanted a number of bodies to use, you know,��!C�u��,������just scatter around as dead bodies.�� ����� gHe came to us and he said, listen, you know,��&C�u@��-렲���they'll bring up the molds, and they'll�� 3�ǡ���you know, they'll supply all the necessary stuff to do this.���C�u@��-, �����But if I could run the molds for them.��O����� �And I said, as long as it doesn't take you away��O�����:from what you gotta do, that's fine.�� �C�u@��-K)�����So he was making up the bodies.���������And what he would do is, you know,��͠�����when you get a bunch of them.��aC�u��-cà����He'd take them outside and let them kind of�������� �fully cure outside.�� �C�u��-xȠ����- Oh boy, here we go.�������� C- One day I'm setting out for something��������9Tom shooting something.�� C�u@��-�i�š��All of a sudden there's these, the scream, scream, scream.�� �������And I walk out to the foyer, Tom comes out.��C�u@�-���ȡAnd he's like, "Why are you rehearsing somebody screaming,”�� 堮��� 3"You know I'm shooting over there."��%C�u@��-�K�����And I'm like, "I didn't."��Š����And just as, you could hear the scream outside.�� C������We go out, a bunch of the crew people.��yC�u��-赠ơ��There's this woman clicking with a camera, taking pictures,���C�u��.�����of all these bodies laying in the grass.��ؠ����%And she's screaming the whole time she's doing it.�� C�u@��. �����She looks up at us, and like screams clicks at us,��Ƞ����runs back to the car, jumps into it, and takes off.���C�u@��.5���- Gabe was like a crazy person.��7������He was like a wild man.������� �- I think he got drunk���������and he painted the whole office yellow, so.��xC�u��.U7�����(laughs)�� s����� �So now there's one crazy story.���C�u@��.k �����- [Producer] Hold on, you just went in one day��������and the office was yellow?��r����� �- It's just, it was yellow.��`�����:Including the light, and so.�� mC�u@��.������You know you have those overhang ceilings�������`with the plastic in them?��l����� Where the fluorescent light goes through.��ݠ����EAnd that's painted yellow,���C�u@��.�X�����so when you walked in,��頿���7not only were the walls yellow, but that was yellow.�� ������"- Gabe is like a linebacker.���C�u��.�j�����I mean, he's big guy.��y����� �And he was asking Michael,�� sC�u��.�񠱡��he needed extra money to do something.�� ������And Michael was like,���C�u@��.�m�����"Well, I don't know, I don't for."��U������You know, I'll have to think.��䠴����And he goes, "Well, I need to do it now."���C�u��.�`�����And you need to be able to clear it that I get this,�� ������ so I can pick up these supplies.��C�u��/;�����Well, you know, I have to.��~������Well, Michael had rented this little car,��tC�u��/.�����and he goes out and (laughs)��Π����he goes to leave, Gabe walks over��&C�u@��/H������and lifts the whole front end of it�������� Jand holds it.���������And Michael is like, it's front wheel drive.�� �C�u@��/fà����And Michael is starting it,�����=and the wheels are going around.������� �And he's like, do I get my money?���C�u@��/}?�����Do I get my money?�����=I need it.���ơ�� �And he's like, "Yes, yes, tell them to give you the money."��7�����!And he's like, and he's.��C�u@��/�������Gabe is like laughing and he's holding the car.��P����� �And it's not like for a second or two.��頚����He's holding it.���C�u��/�������And then he puts the car down.�� >����� �But I always thought that was precious���C�u��/�1�����that he did (laughs) you know.��ݠ���� hAnd that's one way to get something on your budget.��OC�u@��/�5�����- [Movie Monster] Soon, even those fools will realize�� ������ �it is I who controls the movement of all my players.���C�u@��/�Y�����- We had been shooting, principal shooting,�� ����� nat least a month.��������And then Michael Lee showed up on the set.��%C�u��0������And he comes on and he just has this attitude like��C�u��0*������you know, I own everything around here,�������� CI'm the big shot (laughs) you know.�� �C�u@��0Bߠ����- He started out with this attitude,��7������I don't know anything, you guys are the experts,��ݠ���� �I trust you to do, but he didn't trust us, it was.�� �C�u��0cK�����Everything we did was a struggle.���������- He's such a creepy guy.��C�u��0w�����Your skin crawls immediately,��[������and of course he brags about how he got rich���C�u@��0�r�����by stealing other people's films��1�����with his little company.��7�����And you're saying to yourself, really?��WC�u��0������You're saying that out loud?��7������Really?�������� �- He was laughing and into everything.���C�u��0›�����He wanted to see���������(chatter)�������� �Behind in.���������- Knowing, wanted to see.��BC�u��0������- Yeah.��H������Wanted to see what was going on.�� s�����V- Truthfully.��C�u��0𶠥���- Circus-like, circus-like.�������O- At an annoying level.��l����� -Yeah, P. T. Barnum.���C�u@��1꠺���- Sometimes he would come on, and he would say,�� ��ǡ���"I think you need to put this or that lens on the camera.”���C�u��1)栩���Which drove Tom crazy, because,�� ꠜ����you never (laughs)��%C�u@��1C������I don't care if you're the producer,���������you don't tell the camera operator what lens�� g������he's supposed to put.���C�u@��1ZƠ����And especially when the director's right there,�������1because it's the only people who should discuss this,�� ������:are the director and the camera person.��C�u@��1uU�����- Sometimes you just have to placate him,���������and tell him what he wanted to hear.�� s������And I remember we're having a talk,�� mC�u@��1�������and at the end of it Brendan says,�� D����� �And you know what Michael?��������zWe're shooting on the same kind of film��C�u��1�w�����that Stephen Spielberg uses.��͠���� And Michael was like, "Really?"��C�u@��1�������- I don't know how Tom put up with it.��g������At some point I think��f������they had to take Tom aside and say,�� C�u��1ד�����"You can't kill the producer.”��7������- When we were doing the foyer scene,�� �C�u@��1������it was eight o'clock in the morning.��7������I always remember.��Š���� �I hadn't had my first cup of coffee, and I was���������in particularly a bad mood.�� �C�u@��2������He comes in all cheery,�������Uyes, pull my finger, you know.��ޠ�����And he goes, "I have some wonderful news."���C�u��2-o�����I'm like, "You only have a day to live?"�� m������And he goes, "I can get a gorilla suit."���C�u��2U������And again, for a second I'm like,��ؠ�����that's a joke, right?��C�u��2k������I said, "A gorilla suit.”����š�� He goes, "Yes I found somebody, they have a gorilla suit."���C�u@��29�����I said, "What do we want with a gorilla suit?"�� �������And he says, Well, I've heard in those old pictures,���C�u��2������they had gorillas running around.��1C�u@��2� �����I said, "Well where this is gonna fit in?"��䠢���1Well, it'll just pop in.�� �����oAnd I said, tell you what,���C�u@��2κ�����they're still getting the lights and stuff.���������Let's go out on the porch here,�� �����ibecause we were right in the foyer.��C�u@��2愠����I said, let's go out on the porch and talk about this.��������He walks out, I close the door, I lock it.�� �������So we're getting the stuff set up.�� C�u@��2�Š����About 10 minutes later I get a (knocking)��%����� s"Cause he's trying the nob and it (knocking).��������I said, "Michael, Michael."���C�u��3v�����"We're just getting ready to shoot,"��%����� s"I have to talk to you later."���C�u��3(,�����He never brought it up again.��+�����y- Tom and Brendan were in daily arguments�� mC�u��3<`�����over the cutting of scenes.��������I remember these was a scene that Brendan did��~C�u@��3S֠����where there was,��B������like something wouldn't cut together.�������� �And Michael spun into a tizzy about this,�� C�u@��3gࠟ���and it was, you know.��l������His immediate response to any time��+�¡�� 3he wasn't getting what he wanted when he wanted it was,�� =C�u@��3�������"Oh, you're going to fuck me, aren't you?"��U������- When, they.�������� �They sent somebody up from MGM/UA���C�u@��3�D�����and they were looking at a lot of the footage.�� ����� aAnd afterwords the guys,��頼����yeah I really like the picture, I really like it,���C�u��3�������but.�������It all takes place in this house.�� �����iLike, yeah, that's the point of the picture.�� >C�u@��3�٠����I think you need to break things out.��ޠ����,The editor was saying you're gonna do stuff��������-with a ghost and stuff.��1C�u��3녠����Why don't you have like the ghost��T����� �fly to a nearby town and start attacking people.��VC�u@��4������And I'm like sitting there like, am,���������am I asleep and having a bad night?�� C�����iAnd Michael's eyes are starting to twinkle.�� 2C�u@��4'������And he's going, "Oh, yes, yes."���������And I just looked at him, I said,���������"Are you paying for it?"���C�u��4?������Suddenly that was not such a good idea.��O����� �- Our only desire was to make the best possible�� sC�u@��4T�����movie we could make, you know.���������We certainly weren't there for the money,������� 8because the money we were actually paid��=������is just plain laughable.��C�u��4m4�����Our contracts were like, you know,�� 񠝡�� >totally strangling.�� C�u@��4�ࠜ���I mean they, they.��<������They didn't give us an inch of leeway������� �in terms of what we could and couldn't do,��+C�u@��4�7�����or how we couldn't or couldn't do it.��P����� �We were in a position, we.���������The way we contracted that we could be,���C�u��4�𠨡��we could be fired at any time.�� �����ZWe could have the film taken away from us.�� 8C�u��4�Р����- Your future no longer belongs to you.��1�����- But it wasn't until editing that things�� 2C�u��4�Ϡ����really took a turn for the worst.�� ������Because suddenly I don't know why,�� sC�u��4�������he suddenly decided that he�� Ǡ����knew everything about film making.�� C�u@��5�����- John Donaldson, who was our editor,��̠���� who was trying to sort of straddle the line.��������Technically we had hired him,��UC�u��5,͠����but Michael was paying his salary.��������So he was just trying to keep the situation peaceful.�� �C�u��5Fߠ����- I wasn't working on the set,��Ҡ¡�� I was working in an editing room pretty much by myself.�� �C�u��5[<�����And, but you can feel like tensions mounting.��{������- He had no patience.��fC�u��5q������He didn't understand how editing works.�� ������ - One day he's going, what, I was watching this cut,�� C�u��5�(�����and things need to move faster.�� D����� �They need to move faster.���C�u��5�������And he goes, "Like this scene you're cutting."��%����� sThere's like a person walking across the room.�� 8C�u@��5�������Why don't you just cut out the center frames?�� �ǡ���And we're like, "Because then it looks like the film broke."�� C�u@��5�栓���(yelling)��f������John said, "Well, we'll show you.”�������� �We'll give you a visual demonstration,��Z�����:as you do to all people who, all children.��C�u��6������(laughs)��`������He cuts out the center, puts it together,��VC�u��6������plays it, so you have (beeping),��ݠ�����well, he saw nothing wrong with that.���C�u@��6:������He saw nothing wrong with that.�������UHe goes, "Well, it moves faster."��U������It got down to like fighting, and��%C�u��6T�����arguing over single cuts, and why things don't work.���C�u��6j������- One day his son came in,��͠����and took all the trims, and started spinning.���C�u@��6�9�����He was only like two years old.��Ҡ���� Started spinning them on the ground,��a������and pouring water on them.���C�u@�6��ġ��And I was just like, "Why do you even have to come here?"���������- We had a rough assembly, we had about�� �C�u@��6�栱���close to two and a half hours of that.�� m����� �But that was like, I mean,��q�����zeverything was greatly stretched out.���C�u@��6ש�����Nothing was cut for suspense or, you know.�� >����� �It was just an assembly of shots.��㠤����- Michael Lee, supposedly,�� sC�u��6�������didn't understand the concept of rough cut.�� Ǡ���� - Michael then arranged for screening��+C�u@��7 I�����for a gentleman named Tom Gray,��Ҡ���� who was an executive at Golden Harvest,�������owhich was a major Hong Kong movie company at the time.��OC�u@��7'U�����And Michael was trying to sell it to the Chinese,�������� Iyou know, the Hong Kong market.��������&And Tom's reaction was just, what it should have been,�� C�u@��7@頺���which is, oh, this is really kinda slow moving.�� ������ �And Hong Kong, they like action.�������PThey like everything to move at lightning pace.�� C�u��7[������I can't really consider this.��[������- At some point���C�u��7q󠞡��things just blew up.���á��U- The real turning point was that Tom had been out sick.�� �C�u@��7�z�����He got like a flu, and he was really, desperately ill.�� ��á�� �And so it delayed the whole process another week or two.��WC�u��7�������And while he was out, Michael had insisted that John,�� �������our editor, work with him to recut.���C�u@��7�𠸡��It was specifically, it was the spider scene.�������� JAnd so Tom comes in, and this scene��������that he had left in a certain shape��C�u@��7�l�ġ��is completely disassembled and recut into something else.�� 堳��� 2And he became outraged, and I, you know,��,C�u@��7������I can't say I blame him.��7������At the time, I remember, I was in the outside room.��Ҡ�����I heard, you know, some of the screaming and arguing.��OC�u��8X�á��And eventually Tom came out of the room fuming, he said,��'�����uthat's it, we're off the picture.���C�u��8������- We didn't all leave at the same time.��%����� sOne day we're screaming in the hallway,�� 8C�u��8.�š��and Leonard Maltin, who was doing some sort of documentary���C�u@��8DƠ����down the hall.��f������And he came out, I was pretty sure it was him.��͠�����And just said, "Can you people keep it down?"�� >C�u@��8a�����You know, 'cause we were like in each other's face.��V�á���And it got to the point where it's like, "You're fired."���C�u��8x������"You can't fire me, I quit”�� >����� �- You talking mister, I'm gonna fix your ass.��C�u��8�u�¡��- Tom said, you know, he's gonna try to stick in there.�� \������Two weeks later I get a call from Tom,�� C�u@��8�������and he just says, "Well, I'm done."�������O- At this point I can see, you know,��������Jthat it, it was, it.�� �C�u��8�������It was gonna take forever.�������U- John, you know, he was.��<����� �He was also trying to stay there���C�u@��8�䠺���to be kind of the voice of reason with Michael,����¡���saying, "No, you, you can't cut the thing like that.”�� �C�u��8������- You can only������� �allow so much of your life to go in one project�� �C�u��9�š��that you have no idea whether it's ever gonna be finished.�� n����� �I made up my mind in about a minute.���C�u��9'������(laughs)��頣���6In the middle of one day.�� ����� �Nope, can't do this anymore (laughs).��yC�u@�9<砷���- And suddenly John was gone, you know, and.�� h����� �And she came.�������- The infamous Genie Joseph.��+C�u��9Wv�����- And that was the beginning of the end.��V������- [Monster] They are your toys now.��C�u��9r��ġ��- Having another director come in and take over a picture�� ����� ]is not rare in Hollywood at all.�� �C�u��9������Obviously around that time it had just happened��P����� �with "Superman 2," with Richard Lester coming in�� �C�u@��9�Ǡ����and replacing Richard Donner.���������And re-shooting a bunch of his footage.��7�ǡ�� gThe thing that all those movies have in common is, you know,�� JC�u��9�Š����they're all big studio movies, and the���������filmmaker coming in to replace the previous filmmaker�� C�u@��9������use the same cast, use the same.��+�����yYou know, and it's like, these space.�� ������cThey're all basically trying to tell the same story�� �C�u��9�y�����you know, after the original directors screwed up,�� ����� bor fell out, or whatever.���C�u@��: �����Spookies is different.�����=- I knew before even I left��Ҡ���� ]that he was talking to Eugenie Joseph.���C�u@��:,��á��- She was editing another film at the same editing house�� ����� nat the time, Michael met her and got to know her.�� C�u@��:ET�����And I guess got to talking to her���������about his problems with us.��ݠ���� - One time he said, well, I'm gonna go down,��C�u@��:Y������and I'm gonna talk to her.�������� Because maybe the film that she's editing,��%������they want to sell it to me.��OC�u��:qΠ����Then somewhere down the line,��Ҡ���� suddenly she was in the editing seat.�� >C�u��:�z�����And then, you know.�� ٠����&The director seat.��=C�u��:�+�����- He went off and found some porn star��,�����zto direct and edit this, crap.��,C�u@��:������- She got a big break in the business��O����� �on this film called, "Acting Out,"��7�����!which is a soft-core porn in which she worked under���C�u��:�a�����Susan Morris, who was Woody Allen's editor.�� D����� �- I'd heard even then that oh, she was in porn.��+C�u��:�l�����And I mean, like, not just behind the camera,�� Ơ���� but in front of it.��B������Not that that.�� C�u��;j�����I mean, I worked on a few porns behind the scenes.�� >�����'As a matter of fact, so did Gabe,��<C�u��;�����and a few other people that I know.��U������One called, "Driller," which was a horror porn.�� 8C�u@��;0C�����- Originally, they try to get back the original cast.�������� �- He called everybody up.���������He called all the actors, and me,�� �C�u��;Ls�����and I guess a few other people.��%����� s- You know, Joan Ellen and I had spoken several times.���C�u��;f1�����And we were sort of debating on whether or not��%����� swe should go back.��BC�u��;y蠟���Obviously, we didn't.�������OYou know, I guess like the rest of the cast and crew,�� C�u��;�������our loyalties lied with Brendan and Tom.��Ƞ����- And he called me and said, "Well where's the,"�� �C�u��;�젢���"Do you have any props?"��7������And I said, "I don't know where they went." (laughs)�� 3C�u@��;�𠞡��I wasn't gonna tell.�������gI mean, I don't mind lying to a liar.�� ������- Our people for the most part were very loyal,��1C�u��;�7�����and they didn't wanna be a part of it.��1�����- And then, of course, they wound up shooting�� gC�u��;�k�����this other stuff.��<������- Okay, so you want me to cut the cake?��~�����V- Billy, that idiot,���C�u@��<򠶡��showing up at the mansion for his birthday,��y����� �you stupid bitch.���������And you go in.��H�����:(laughs)���C�u��<9�����The upside down balloons, come on!�� 䠳���!Even a kid who sees upside down balloons�� >C�u@��<6堶���and the whole place set up, you gonna stay?��U������- Of course not.��<�����-- There was no need for a cat creature.��~C�u�� ������And I think that had to have been very intentional,��O����� �so that she could take the directing credit�� �C�u@�> '�����the way she did.���������- In the living room,��䠻��� there was a beautiful Italian marble fire place.�� C�u��>7������And supposedly, they actually broke off pieces of it.��-�����{Evidently, they went and and they,���C�u��>M�����I think they punched some holes in walls, and.���������They did some bad things.��+C�u��>f`�����And we were very careful.��נ�����Maria Pechukas, who played the bride.��'C�u@��>�g�����She was coming down this trellis, and she fell.��̠���� 2And she got hurt.��=������And she had to be taken to the doctor's.��gC�u@�>�נ����And tried to stick our insurance with the bill.�� 𠼡��KAnd it's like, "We have nothing to do with this."���C�u��>Ҏ�����- [Bride Voiceover] I know now what I must do.���C�u��>������- I had met Maria Pechukas in '92��̠���� and we did a couple of movies on Long Island together,�� \C�u@��?ڠ����as a matter of fact.��Š����And so before that, she had done Spookies.�� b������That was the film work she had done prior.��~C�u��?!i�����And she had done like a lot of stage,�� I����� �and she had awards for her stage work.���C�u��?5 �����She was really a method actress.�� =����� �And I know that she always said to me that,�� �C�u��?M������she had hoped Spookies would get seen�� ������ �and develop some sort of a cult following.���C�u@��?c⠽���Because she had such a good time making the movie.�� ꠿��� 8- I control your past, your present and your future.���C�u��?������- Not unlike in the movie,�������`where the bad guy sort of like,���C�u��?�:�����controlling her, trying to control her.��O����� �Maria did go through like a really strange period,��zC�u��?�������when we were making the movies together.���¡��PThere was a director that she had gotten involved with,�� gC�u��?ţ�����and he had sort of taken control of her life.���C�u��?�[�����- Even if you keep me prisoner for another 70 years,�� ����� byou'll never have me.���C�u@��?�[�����- But I do have you.���������- She was kind of going downhill a little bit.��������And it seemed to me from the relationship�� �C�u@��@[�����and some of the things that she would tell me was,���������it was sort of like affecting her psychologically.�� �C�u��@/`�����In about 2000 or 2001, he had told everybody���C�u��@D:�����that she died.��������And he even put on the IMDB that she was dead.��iC�u@��@^򠨡��But in fact, she was not dead.��ؠ����&She was alive.��㠻���WHer family had gotten her away from this person,�� gC�u@��@y������and she was down in like the DC area�� ������ �to get her well again.�����!So she was, she wasn't in hiding I would say.�� �C�u@��@�]�����She was doing what she wanted to.���������But, I would say that�� C�š��ithey were doing what was in her best interest at the time.�� bC�u��@�v�����When I first heard, I thought it was true myself.�� 2������So there was a number of us that were writing���C�u��@�͠����for various magazines.����á���And so we did tribute pieces, found out that she wasn't.���C�u��@䵠á��I started at IMDB saying she's not dead, take this down,�� ������you know, on and on, and on,��1C�u��@�6�����once I found out that she wasn't.�������UFinally after a few years with IMDB,�� �C�u��A������got that she was alive again.�������OThen it turns out in 2017 she actually did pass away,��C�u��A)v�����at the age of 50.�������� So unfortunately, now it is true.��C�u��A=Ӡ����It wasn't true for many years,��Ҡ���� but 2017 she had passed away in February.�� �C�u��AR�����And really just wanted to add�������Ohow amazing of a person and actress that she was,��{C�u��Ak�á��and that she is so thrilled that Spookies is being seen,�� ������and that this documentary's being made.���C�u��A��á��Because she was outrageously proud of the film Spookies.�� bC�u@��A�������- Then we, originally shooting��l������a lot of the scenes in the mansion,��ݠ���� �there were fairly complex and elegant camera moves.��KC�u@��A�{�����All of that was chopped out eventually in the film.��~������There is none of that�������,that really is evident in the final cut.�� nC�u��A�b�ġ��- I did a scene which didn't wind up in the movie at all.���C�u��BP�����It was supposed to be the opening scene in the movie.�������� IWhere Joe Niola who played Igor,�� �C�u��B������where he's playing a hobo named Jakey.��O����� �And Jakey talks to himself in the third person.�� �C�u��B+4�����- Joe Niola was supposed to be like,��ؠ����&a Dwight Frye character.��C�u@��B>������You know, really weird.��[������- You know go, oh Jakey,�������� �this looks like a good place we could stay tonight.�� �C�u��BW������Yeah, let's go.�� �����ZSo he goes into the mansion,��U������he starts knowing something is happening.�� �C�u��Br䠶���He gets picked up and flung against a wall.�� ������ �At one point he goes to run up the staircase.�� �C�u��B������Now, we had Jimmy Muro who was just starting then�� ����� \doing steady cam work.���C�u��B�������And so we were gonna have him do this scene�� Ǡ���� where as Joe Niola ran up the stairs,���C�u@��B�ᠴ���kind of a point of view shot of something��y����� �coming at Joe.��������And we had, Gabe fastened these very thin wires���C�u��B�'�����on Joe's face.��נ����%And when the camera got up,���C�u��CP�����these would be ripped away,���������and you'd see a big claw mark.�� �������And then Joe would go back,�� C�u��C g�����and the thing would go sweeping up in the air.�� ������ Like, you know, it was flying away.��yC�u��C6<�����When Joe Niola was contacted to come back,�� s����� �they wanted him to appear with the cat-man creature.���C�u��CXI�����And that was supposed to become Jakey.����ġ��He was supposed to be talking to the cat person as Jakey.���C�u��Cpf�����And he thought that was really stupid.��[�¡���I think that's the reason they really slashed that out,�� =C�u@��C���ơ��because they couldn't just stick the cat creature in there,�� ����� mwhich would have made absolutely no sense.���C�u@��C���¡��- The climax called for ghosts and spirits, and demons,��Ƞ����to be flying and circling around the house.���C�u��C������- Towards the end,����¡�� when there's some of the people running from the house.��C�u@��C֍�����If you really watch close, it looks like they're doing���������these weird movements, like.��������(manic laughter)�� DC�u@��C�k�á��- There's that scene where I look like I have Tourette's�� ߠ����-outside of the house, where I'm dipping and weaving���C�u��D������at nothing.���C�u@��D6נá��- Everything was choreographed that you have to do this,��O����� �because the ghost is gonna come down this way,�� �C�u@��DK������this ghost is gonna come over this way.�������� - Because I was told, come out of the house,�� �����zand weave and dip, because there's gonna be,��UC�u@��Dc������(ghostly oohing)�������� - Ghost, spirits, ghosts and spirits--��H������- Spirits coming at you.���������Well, nobody knows what the hell I'm doing.�� C�u@��D�������It looks like I'm having stomach cramps.���������- Al Magliochetti had.�� 񠧡��He built these ghost puppets.��yC�u@��D�p�����And, you know, at the end it's supposed to be,�� ������ they come out of the grave and they're flying around.�� C�u��D�栺���And you know, the house is starting to shimmer.�� ������ �And then it eventually like implodes.���C�u@��D������- We did see some of the work he had started,�� I����� �but that got kind of nipped in the bud.��������That was also mostly going to be shot in post,���C�u��D������after we had a cut of the film.���������- And even the scene where Al gets sucked down�� mC�u@��D�������into the ground,��������there's supposed to be ghosts whirling around him,�������� dragging him down.�� �����cIn fact, at one point I asked Tom.�� sC�u@��Eˠ����I said, "Tom, is there a."��Ҡ���� Is there a single shot cut to another shot��������that is the way you intended?��C�u@��E3 �����He said no, nothing.��6�ǡ���There is not anything in that film that cuts to another shot�� >�����that is the way it should be.��C�u��ER*�����(farting)��O������- The farts, oh geez.���C�u��Et������(farting)�� 렓��� 8(farting)���C�u��E�������(farting)�� ������ (farting)���C�u@��E�������- That's a quick, cheap laugh.�� �����[- That's the scene that almost invariably is mentioned��Ҡ����zin every review.���C�u��E�h�����And everyone thinks it's so hilarious.��̠���� And we hate it.�� sC�u��E�C�����- The farting muck-men sequence�� ����� mwas something that was born out of the�� �C�u��E�⠦���twisted mind of Michael Lee.�� ������ Who apparently loved farts and bowel movements.�� �C�u��E����- He was into all things anal.�� g������He would walk up to people, whether it was cast, crew,��KC�u@��FN�����some stranger, and he'll go, "Pull my finger."�� n����� �And sometimes he'd actually fart.��[�����d(farting)��fC�u@��F7e�����- But I don't even understand where it comes from��g������to use that in a scene.�������� �It doesn't even--���������- That's like second, third grade humor.��HC�u��FL������Goes to show, he knows nothing.���������Well, knew nothing about making a film.�� hC�u��F`!�����- The muck-man was supposed to be pretty scary.��x�����cAnd I think if it had been edited properly���C�u@��F{V�����it would have been.��㠺���1- I mean, and Tom Doran who directed that scene�� ������was just disgusted with that.�� �C�u@��F�2�����- Certainly if I was an editor,��`������I would have never done it, because.��+�����'You, when you're doing a horror movie,�� CC�u��F�ꠦ���you try to play it straight.���������- Spookies was my first sound editing gig�� IC�u��F�w�����on a feature film.��ޠơ��+Prior to that I did, had only really worked on porno films.�� >C�u@��F�.�����After I watched Spookies the first time, you know.����á�� CI thought it was pretty much, you know, a piece of crap.�� nC�u��F�젴���But I'm a fan of crappy movies, you know,�� ����� bsome of them at least.���C�u@��Gs�����And you know, I really love working on them.��+�����yI prefer to work on a crappy movie.��������iAnd then once I met Genie,���C�u@��G�����she gave me Jimmy Mcdonough to work as my assistant��V������sound editor.��H�����9And Jimmy's actually gone on���C�u@��G70�����to have a pretty successful career as an author.�������� IBack then he was working with��������JBill Landis on Sleazoid Express.�� �C�u@��GR������I mean obviously the movie strong points�� ꠥ��� 8are in the monster effects.��������?And some of them are pretty good.���C�u@��Gl������And they were a lot of fun, you know,���������to add sound effects to.��נ����!I got that Goop Hand Mechanic soap,��yC�u@��G�������and you know, I stuck my fist in it,��������and got all lubed up.��頨��� 9And then I took a raw chicken,�� ������and I basically just, you know, fist fucked .�� �C�u��G�������(chicken clucking)�� �¡��[And got all those good gushy sounds inside the chicken,�� ������iyou know.���C�u@��G�u�����But I want to, you know, that was.��H������That was not a live chicken.������� �That was a dead chicken, store bought.�� �C�u��GՌ�á��I want to make sure the animal rights people understand.�� ������ I don't condone, you know,���C�u��G꺠����fist fucking live chickens, no way.�� ����� \Or any other animal, you know, for that matter.�� �C�u��H꠽���I guess, unless it's, you know, consensual, right?�� ٠����'I don't know.���C�u��HG�����As far as the muck-men and making them fart,�� 堥��� 3that was my brilliant idea.�� �C�u@��H8�����And you know, I thought they kind of��ݠ����+looked like swamp thing,��頯��� aand they came from under the ground.��C�u��HKԠġ��So you know, made a lot of sense to make them real gassy.�� ٠����'- Well, I suppose it make some sense.��BC�u@��H_������Because if you think of the muck-men��f������as Muck & Meyer, that's probably a good deal��O�����Qof what's in there anyway.�� C�u��Hu6�����- So you know, and as far as we we recorded the farts,�� 8����� �you know, a standard technique, you know.���C�u@��H�ܠ����(farting)��H������On the arm, under the arm.��㠳��� �I remember me and Jimmy were going at it��U�����itaking turns under the arm.��C�u��H�������You know, we just recorded a ton of farts��ؠ����%and it was a pretty giddy time.��ؠ����K(farting)���C�u@��H������So I remember Michael, he just wanted to hear�� I����� �the muck-men scene play out���ơ���with all the sound effects, all the sound, music, whatever.�� sC�u@��Hؘ�����All of it going.�����=To see how it sounded before he decided��Z����� �if he wanted Aaron to mix it with the farts in or not.���C�u@��H�]�����And Aaron was the mixer, while, Aaron Nathanson.�������QAnd while we're watching it, Aaron is cracking up�� �C�u@��I������the whole time.�������� He thought it was hilarious, you know.��Š���� - And Michael said, "Oh, see there, it works."�������oIt works, we'll keep that in.���C�u@��I-Π����- Genie, she just freaked out.��1�����~Boy, she got really pissed off.��ؠ�����- Genie didn't want to put the fart noises�� gC�u@��IJ'�����into the muck-men sequence.��7������She was adamant against it.��[�����-She said it was her one knock down, drag out�� �C�u@��Ie3�����fight with Michael.�������`- She just thought this was just gonna ruin her movie,��������Pthe whole thing.��lC�u@��Iy=�����And she got really upset.��1�����~And she's saying all these things to Michael,��������and he, you know, he took umbrage to it.�� C�u@��I�x�����And I remember he got all pissed off then.�� ������ �And he's yelling at her, you know,��ޠ����"Woman, I'll not be talked to that way!”���C�u��I�Ѡ����You know, it's words to that effect, or something.�� ������ �And then he fired her on the spot.�� �C�u��Iɏ�����And so Genie, she left the mix in tears.��������E(screaming)�� sC�u@��I啠����Genie and Michael made up, like I don't know,��~������maybe the next day or soon after, so.��U�����oYou know.��6C�u��I�������It all worked out.��l�����y- I remember somebody telling me��������othat Italy loved that stuff�� mC�u��Jq�����and it went over big in the Italy.�� 𠹡�� >- [Movie Character] Eenie-meeny, chili beanie.�� sC�u��J4p�����(farting)���C�u@�JK?�š��- Vestron came up, and they looked at a lot of the footage�� ����� \and they watched some of the shooting.���C�u��J_������And they actually made an offer�������Uof a million dollars upfront.��&C�u��Juq�����But they wanted like, you know, worldwide rights.��&������And I contacted the backer, and I told him.��:C�u��J�'�����This is a great deal, you know.�������TAnd he goes, "Ask them for two million."��-C�u��J���á��- [Announcer] They're hungry, and you're gonna get rich.�� bC�u��J�������- I said, look, this is a great deal.�� ������ �Well, ask them for two million.���C�u@��J丠����So I called back and I talked to them,�������Oand I said, well what about, you know, two million.�� s�ġ��And they go, "No, we wouldn't go any higher than that.”�� C�u��K$�š��- [Announcer] Gremlins chased you, Ghoulies terrified you,�� h����� �now beg for your life.��C�u��K(�����(screaming)��[������(manic laughter)��T�����KSpookies.��C�u@��K2�����- The Sony Video company, which was the distributor.�� ����� hAnd it seems to be the case so often in distribution.��UC�u@��KF&�����They had very little idea what they were doing.��Z������They gave a copy of their press kit,�������� �and I said, look, can I rewrite this entire press kit,�� sC�u@��K]������because it's like, it's illiterate, and you know.��̠���� It's full of misinformation.���������- [Announcer] Spookies will be backed���C�u@��Ks������by our monstrous marketing attack,��U������currently in theatrical release.��������z- We all went to see it theatrically.��1C�u��K�������I said, I'm not 100% sure where.��O����� �They had a TV with a tape running,�� >C�u��K�������and it was running like scenes.��&�¡�� sThis guy is standing there, and he's looking at the TV.��{C�u@��K�������And one of the shots is of the scene with�� ����� bthe spider woman and Pete.��7�¡���And he's looking at it, and then he looks over at Pete,�� sC�u��K؝�����and he looks back at that, and he looks at.��͠���� And he's like, "That's you."�� �C�u��K�ˠ����And Pete goes, "Yeah."��[������Oh, he runs, grabs a ticket, and runs inside.�� m�����dIt's like.���C�u��LA�����I said to Pete that day, I said,���ġ��7"You should just stand out here, you make more business."�� �C�u@��Ld�����- I went to a screening with several of the people�� 堞��� 2from the production.��頳���iAnd it was the first time for all of us.��C�u@��L7�����I mean it was not an easy thing to watch.�� ������ �I mean we all felt, you know, going in��נ����a sense of dread.���C�u��LTp�����And the film itself,�������� bI mean quite frankly, I hated it.���C�u��LiǠ����- We were all completely bummed.��������FI mean it was just like, "Oh my god."��C�u��L�\�����And when the muck-men started farting,�� �������Tom, you could, even in the dark,���C�u@��L�O�����you could see like the smoke coming off��U������the top of his head, you know.���������"Cause he worked very, very hard on that scene.���C�u��L������- I mean, whatever good you see in Spookies��U������is just leftover from whatever Tom and Brendan��C�u��L������were able to get out there.��f������But it could have been a much better film, and�� �C�u��Lﴠ����to say that we're disappointed is��Ҡ�����the understatement of the century.��,C�u@��M������- I was sad to see what they did.��ؠ����&I didn't like the finished product,��������!I didn't like the end.�� �C�u@��M#�����It was foreign to me.�����<- Well, I mean, I was mortified.��U����� �- I haven't even watched the movie,��頷���because it brings back so many bad memories.���C�u��M>�����A lot of stuff, you know.��a����� �I have repressed from the film.���C�u��MR������- Ken's baby died on the film, in the mansion.��K������The baby's left in the crib,��C�u@��Mi������and they said it was crib death.���������- It was the hardest, roughest day of my life.��������And I've had, in combat, I've had guys die in my arms.�� 8C�u@��M�3�����So, but this is something I brought into the world.�� 2������And you know, someone who's been dead for 35 years,�� �C�u@��M�������and every birthday I go into mourning.��㠥���1- Just going to set one day�������� and seeing Ken Kelch's face just fall apart,�� C�u@��M�������and people hugging him,�� �¡��[was probably the worst thing I've ever seen in my life.����á��W- That this jumbled mess that Michael Lee made out of it���C�u��M�J�����was very heartbreaking to me.�� ����� mAfter especially the sacrifice I made on many levels.���C�u��M������- It's very apparent that you're watching, you know,�� �����Vsomething that does not blend, you know.��PC�u@��N ������It's like, you know.�������aYeah, you got peanut butter in my chocolate, you know.������� �- Even if we've had misgivings about the screenplay,�� �C�u@��N)Ѡ����even if we had problems with Michael,���������we felt the monsters would make up for it.���������We, we though, we had, we, we.���C�u��N@������As kids we got into movies because we loved monsters.�� ꠬��� 8- It's a big 80s rubber festival.��ZC�u��NT������80s was the decade of rubber and genre films.���C�u@��Nj������- I went to this sleazy theater,�������� and I saw the movie that I worked on,�� �����iand did the effects for.��lC�u��N�̠����And it was a real thrill.���������- However, even all those monster and effects scenes�� 8C�u@��N�$�����are butchered.���������They're like, they're not cut properly.��ݠ���� - The way it looked, I wouldn't have released it to,���C�u��N�Y�����you know, a school for the, you know,���������The Helen Keller Society.��fC�u��N�ڠ����- A lot of people worked on this film,�������� �and a lot of them did good work.���C�u��N�ߠ����And I guess some of it shows.����ġ�� I- To have shot something and have it show it theatrically��C�u��N�������is against the odds.��+�����yNo matter what had to happen�� DC�u@��O ������to get it into a theater.�������U- We were expecting to use the heat of this��y�����to get other projects going.��UC�u��O&Y�����But by the time it sort of dribbled out�� ߠ����-and came into, you know,��EC�u��OG�����the public view.��頿���6It was already kind of, you know, the heat was gone.���C�u@��O^e�ǡ��- Well, many people have called it, "The curse of Spookies."�� 𠕡�� >Because it.�������You know, the idea was certainly at the time, is an,�� �C�u@��Ox�����we get this, just get the first film made,��%����� swe get it out there, it makes some money.��Ҡ�����And then we can finance other films.��OC�u@��O�a�����It put us in a bizarre position in that we felt very�� �������reluctant to even tell people we had made the film.�� �C�u��O�������- It really hit Tom the hardest.��7������I mean it really, really hit him the hardest.�� \C�u@��O�*�����- His disappointment was the most profound.�� ����� hAnd of course he had the most to lose.��ݠ�����Because his name, I mean with Brendan,���C�u@��O𳠦���was like plastered up there.��U������- He actually had gotten to the point where��<�����-he thought he wanted his name removed from the film.���C�u@�PР����And he was that upset about what they had done to it.�� 堶��� 2- And people would look at Spookies and go,���C�u��P(�����"Oh, he can't direct."�� m����� �Because they're looking at horrible editing.�� �C�u@��P4������- At one point,��頳���7Tom went to Corman's New World Pictures,�� 𠭡��tand was like looking to, you know,���C�u@��PL������try and get some kind of a job.�� �����ZAnd he showed him some of his effect scenes,��y�����!and was told by some executive assistant at Corman,�� bC�u@��Pjg�����look, no, you really don't have it.�������UI don't even think you can direct��<����� �second unit effect scenes for us.��C�u@��P������- At one point we said,��B������we want to take the rough cut,��[����� 8and we want to make a three quarter inch master,���C�u��P�O�����just so we have it.�������`And John was, "I don't wanna do that."���C�u@��P�������You know, this guy shows up at any time,��U������he's gonna suddenly notice, where's all the film gone?���������- And so when he couldn't even get the copy���C�u@��P������of the print he wanted.��`������He was, I think that really tore him up at the end.��y�����tIt was really bad.��C�u@��P�ՠ����- Tom wanted to be able to especially have the footage�� I����� �of the spider sequence, so that he could show��OC�u��P� �����what he was capable of doing as a director��~������and an editor, really.�� bC�u@��Q������Because he could edit the film.��������Especially that portion of it.��<�����WAnd he just never got that opportunity,��ZC�u��Q)������and that really is a giant tragedy.���������And I hope Michael Lee is burning in Hell�� �C�u@��QJ������wherever he is.��+�����x- There was a time when Tom Doran had��������went to Sony shortly after they released the film,�� �C�u��Qia�����and tried to pitch them an idea for a sequel, and�� �������that hopefully we would be able to make�� C�u@��Q�T�����and have actual control over.�������� And they were, you know,�� �����tthey were pretty upfront saying, you know,���C�u@��Q�������we don't own actual rights.��㠰���1We have American distribution rights,��<����� �you would have to go to the Miggles Corporation.���������The Miggles Corporation of course being Michael Lee,�� �C�u@��Q�Р����who would make sure that nothing that we wanted to do�� ����� mcould happen.��������z- The tragedy is, Tom never really was able to���C�u��Q�e�����make a film that he could be proud of�� ������ that was like representative of his true talent.�� �C�u@��Q�M�����- Tom Doran was a very talented and artistic man,�� Ơ���� and he had very high aspirations for his work there,���C�u@��R������and in almost everything else he did,�������`as long as I knew him.�������� >- Tom always had a vision of what he wanted,��Z������and he was very clear about it.���C�u@��R.������Actors as well as crew always respond well to that.�� ޠ����,You know, they need someone who is gonna be a leader,�� �C�u@��RJ �ǡ��and who's gonna know which direction everybody's going into.�� ����� \- Tom and I, we had a good relationship,���C�u@��R`������friendship and working relationship,���������because we both, we understood.��y������Each understood where the other was coming from.�� �C�u@��Rzp�ġ��And we had tremendous respect for each other, creatively.�� D����� �- He was very multi-talented, I mean.��������cHe did sculpting and drawing, and writing.���C�u��R������- Tom sculpted this himself.�������� And it is actually the muck-man I am in the movie.��'C�u@��R�������Which is interesting, 'cause he could tell them apart.�� Ơ���� I always had trouble doing that.�����P- My aunt called him the Renaissance Man,��1C�u@��R�o�����because he knew so much about history,�������Oand about different films, and about,��1������music, and about everything.�� C�u@��R夠����How many people do you know���������take a class in learning hieroglyphics,�� Ơ����and can still read hieroglyphics years later?�� C�u@��S�����- Sawney Beane was a true historical tale.�� �ơ�� ]The movie, "The Hills have Eyes," is based on Sawney Beane.�� �C�u��S������Tom wrote a elaborate 16th century period piece�� ߠ����-that was really quite a nice piece of work.��'C�u@��S;W�����He came very close to getting it financed�������Ton a few occasions.����� �Things never quite worked.���C�u@��SOޠ¡��- He was trying to do a film about another Scottish guy�� ꠟ��� 8named Christie Cleek,��������and he was working on that and he was hoping�� C�u��SnU�����to be able to show a trailer for Christie Cleek�� �������in order to raise funds for it.���C�u��S�*�����And then of course, he died.�� 렴��� 8- Right to the day he died, he literally.��C�u��S����The last thing he was doing was writing an article�� ����� gfor something John wanted.�� hC�u��S� �����And, you know.�������� IHe died with his boots on, basically.���C�u��SȘ�����You know.��l������So that's the kind of person he was.��������zHe was just incredibly creative.���C�u@��S������- Tom had a very Scottish bend to him,��[������as you probably can tell.�� �ǡ��Because Sawney was Scottish, and Christie Cleek is Scottish.��C�u@��S�[�ǡ��And he had gone to Scotland to try to shoot film over there.�� ����� bAnd so when they said they were gonna cremate him,���C�u��T������I asked his sister, how would she feel about�� 堣��� 3giving me half the ashes,�� C�u@��T&�����and I would take them to Scotland and bury them there.��͠���� There's a guy named Keith Bradley,�� �����uwho is a very good friend of his, who is in Scotland.�� �C�u@��TA������And they'd been in contact for years,���������the filmmaker on the internet.��U�����zAnd Keith had the only photograph of Tom in Scotland���C�u@��Tgq�����that we know of.��=������Tom did not like to be photographed.��a����� 8So the result was,����¡��he actually was able to identify the place in Edinburgh�� �C�u@��T�������where Tom was when the picture was taken,��O�ġ�� �which was on Arthur's Seat, which is this big hill there.�� �C�u@�T������And he actually went and found the actual spot�� 8����� �where Tom was standing when they took the picture.�� IC�u@��T�4�����So I had broken the ashes up into four sections,�� m����� �well, half of them.��B�����KWe buried some in Glasgow,���C�u@��Tɯ�����and we went to the spot where we had the photograph,��͠���� and we buried some of them there.��a������- Here we are at Arthur's Seat,���C�u@��T�I�����and Keith and I have come up here���������to put some of Tom's final remains��ؠá��in a place in Scotland he would have loved to have been.�� �C�u��T�s�����And we have done so, this is the spot right here.�� ������(gospel guitar music)�� 8C�u@��UAo�����- Tom had said to me at one point,��7������he wanted to be buried in a place��������Vwhere people would have to travel to see him.�� �C�u@��UZ������So I said to Cecilia,�������� now they have to make a pilgrimage.�������� Have to go to New York, and to Glasgow,���C�u@��Up������and to Edinburgh, and Inverness, and to Culloden�� ������ in order to see all the places where��<������he's actually buried.���C�u��U�,�����(gospel guitar music)�� 8C�u��U�������- So glad we ended up here, Nick.���������Because he.���������Tom was such a man of integrity.��nC�u��U������- He was.��Š����- And he felt that way about this film.�� C������- He did, yeah.�� C�u@��U������- And it bothered him greatly when it was��������in his mind, destroyed.��Z������- When it didn't go the way he thought,���C�u@��Vʠ����he hoped it would.��Š����I mean I personally remember Tom with me,�� �������being patient and kind, and happy to show,��FC�u��V8C�����happy to instruct, happy to guide me.�� D������At that time he was always willing to help�� gC�u��VU�����and just be there to make sure you did things nicely.���C�u��Vlf�����And never impatient.��ؠ����%So ll miss him.����� bI miss Tom an awful lot.���C�u��V�������Think about him all the time.��נ����%- From one, two struggling artists,��VC�u@��V�c�����who understand what it's like to live that life,�� ������ �he did live that life.���������And he struggled, but he kept his integrity.�� DC�u��V�۠����And I'm glad that this is being documented,�� ꠨��� 8so that people can really see.��ZC�u��Vʻ�����- And understand.��頷���7- And understand what it is to be an artist.��%�����i(gospel guitar music)�� �C�u��W&򠱡��- I was going through a bunch of mail,�� ����� gand papers and stuff on my desk.���C�u��WC�u��WWҠġ��Really just a month and a half before he had passed away.���C�u@��Wo�����And I opened it up, it was a beautiful Christmas card�� ������ �from Peter.��Š�����And at the end he wrote,���C�u��W�G�����always love talking to you, Nick.��O����� \Don't forget, blood brothers to the end, love Pete.���C�u@��W�q�����Shortly thereafter, and hour or two,���������Anthony had gotten in touch with me,��~������regarding the documentary and the filming�� CC�u��W�������of us getting together for Twisted Souls.�� �����VSo I said yes, the time is right.�� C�u��W�^�����- A cautionary note that,���������if you're a young film maker and you're out there,�� hC�u��W�렮���just realize bad things can happen.�� ������ �And they happen on both sides of the camera.�� �C�u��X��¡��- I never felt like Genie was the bad guy in the story.��������EI felt like she.�� �C�u@��X#P�����The worst thing you can say about Genie,��7������is she was opportunistic.����� �You know, she convinced this guy,���C�u��XE3�����this financier, Michael Lee, to let her��Q������grab hold of the reigns of Twisted Souls�� �C�u@��X`������and do what she did with it.��7������You know, it's like, you.���������I feel like the blame rests less on her��ZC�u��Xx2�����than it does on Michael Lee.��C�u@��X�U�����- I was lucky that I had been asked���������to work on another picture, Street Trash,�������Kalmost, you know, about a year or so after.���C�u@��X�頬���Brendan made his own little film,�� ����� hfor a much smaller budget than Spookies,��������cthe Killer Dead.��fC�u@�X������- Killer Dead, which eventually was released around�� 2������in a lot of places as Non-Vegetarian Zombies.�� �C�u��Xރ�����Which was never a title I particularly cared for.���������- A lot of people who worked on Spookies���C�u��X�R�����had very substantial busy careers.��-�����zCertainly Jennifer Aspinall.��C�u��Y ������She won an Emmy, for Christ sake, for Mad TV.�� g����� �Vincent Guastini is the busiest person I know.���C�u��Y+@�����- I worked on HBO's From the Earth to the Moon,�� �����Vthat got 17 Emmy nominations,��C�u@��YA堩���including a visual effects Emmy��O����� �for one of the episodes I worked on.��y�����c- I had a short, relatively short film career.�� C�u@��Y_������Once I started doing Broadway shows,���������I just didn't stop.�� �����V- The film started getting a lot of popularity,�� >C�u��Yz������and people looking for it and trying to find it,�� ������ �and getting VHS copies of it.�� �C�u��Y�g�����- And I know so many people that are a fan of it,�� 𠱡�� >you know, that'll watch it every year.�� �C�u@��Y�⠻���- [Announcer] All right, what did you guys think��ˠ����of Spookies?��r������(applause)��+�����Q- I like that people seem to enjoy it.��OC�u��Y�Р¡��They take something away from it that makes them happy,�� 𠱡�� >and I think they take it in the spirit��C�u��Y�]�����which it was intended.���š��O- I started seeing websites popping up all over the place.�� DC�u@��Y�������I started seeing people that were involved���������in the flmmaking coming together.��a������- A lot of people feel the need to be heard,���C�u@��Z𠡡��and want to say things.��Š����Some nasty, some good, some stupid.�� �����zWhatever it might be.��r�����9- They'd be going, hey, did, do,��1C�u��Z������do you remember, how was it like working on Spookies?��%����� sAnd I'd just be like flabbergasted, like.�� IC�u@��Z2������You're gonna go back to the first thing I worked on,��y����� �and this Kind of cheesy, horrible, fun movie I guess.�� �C�u��ZJ{�����So I had kind of an attitude towards it.�� ������ �But then I got to appreciate it, because��UC�u@��Z^�����those type of films now are beloved.�� J����� �- He felt embarrassed that his name was on it.��,�����But then over the years, you know.���C�u@��Zzb�����He grew to realize, possibly with my urging (laughs),��,�����zthat he should just accept the fact that if people,���C�u��Z�Ӡ����some people really enjoy it, what the hell?�� �����W- They knew what they were doing,��<C�u��Z���ġ��and they were trying to make a good film for Michael Lee.���C�u��Zŧ�����And I think they are still the heroes of the story.�� �����c(eerie orchestral music)�� �C�u@��[������- We were suing each other,��������he was telling us he was gonna.������� bYou know, "I'll crush you like a bug.”�� ������And then we handed him, and like you know,�� �C�u@��[=������had him served with a notice like a day or two later.�� m����� �- Tom did talk about the fact that��㠮����the biggest comment about the movie���C�u@��[X���that people were upset with,��=������was that there was no nudity in it.��a����� 8And I said, "What are you talking about?"��������@The muck-men are all nude.��fC�u@��[v�����- And it's weird, because if you look at the series��%����� sFriday the 13th,��[�����there's an episode called Scarecrow.�� JC�u��[�ˠ����And they almost use the entire reaper scene,��o������they redo it.��C�u@��[������You know, even to the guy smashing through the door�� ����� mat the end to escape.��������iIt's almost, I remember sitting there watching���C�u��[�Ѡ����and going, "Well, this looks familiar."�� n����� �- I need Rosemary's Baby to calm down.�� �C�u��[䏠����I put it on, I can go to sleep.�� �á�� >Some parts of Spookies, I wanna believe for some people,�� �C�u��[�������that they can have their milk and cookies,�������� Isit down with Spookies, and get cozy.�� �C�u��\f�����- That's probably vinegar.�������� >(energetic techno music)�� 8C�u��\P������(ghostly laughter)�� �S�k �򻔳�Y3��������� 3�����$���������� m�����߷�������-��<����낷�������� �����ܷ������7��&�����b�����z����f���������z��������� �����z��G��y��������������������{��������.��+����'�������i��a����.������c���� �����;������c��6��7����B�����c��M�� g����N���������������T�����������f����Zu��������-������bķ����2���������h������2���� ƻ���s������2��S�������}�����������o����������������1�����x��������0�� ǻ�������������p�� ǻ����e�����z����r����‘�����z����������z�����z��3��㻕��̪�����z��O��g�����Ƿ���������&�����#����������1�����������5����E���� 5�����5��C�� ��������������� 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