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I'm Mick Garris and I'm the director of

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Stephen King's Sleepwalkers and I'm here

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with

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>> Brian Krauss who played Charles Brady

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>> and man Ach

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innocent Virgin Tanya.

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>> Tanya Roberts.

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>> No, Tanya Robertson.

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>> Yes,

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>> Tanya.

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>> No, that's a different Tanya.

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>> Not a skater. this se this opening

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sequence we actually put in the

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description this this uh definition of

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what they are because when you see the

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movie without it you don't know where

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the hell the sleepwalkers came from

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>> and so I came up with the idea of

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putting this in there

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>> and this is really from an encyclopedia

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>> I I made it up

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>> oh you're so smart

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totally bought it Stephen King rewrote

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it but that we want people to believe

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that was written

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>> of course

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>> this scene originally was not in the

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film

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>> yeah I remember I was so surprised by

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this new scene. It was so great.

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>> And Bodega Bay, by the way, is where The

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Birds, Alfred Hitchcock's The Birds is

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set.

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>> And even though he's not credited, this

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of course is Mark Ham.

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>> That is a handsome mustache.

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>> I am living for that right now. Was it

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his real mustache at the time?

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>> Um, it was not a real mustache. It was

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definitely a uh a glued on mustache. But

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this scene and the ending were shot

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after the film was done because uh the

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studio felt it wasn't powerful enough

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and that it needed some background like

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that definition in the title.

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>> This beginning or

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>> this beginning gives a history and it

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shows

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>> the cats.

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>> The cats.

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>> E.

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>> Yeah.

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>> Yeah. Pretty nasty. Especially for me a

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vegan to watch this right now.

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>> Right. Okay. There we go. There's some

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detail.

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>> Yes. So I I I hate to say those were

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>> those were real cats.

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>> Really?

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>> They were real cat corpses and and they

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were collected by the makeup team from

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the the pound were

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>> this too.

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>> Uh that is not a real cat. No. Any of

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them that people actually interact with.

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>> How did you feel when they wanted you to

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shoot something? Did you agree that it

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needed something in the beginning or

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were you on the fence?

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>> I actually did. Uh, you know, I thought

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it was helpful to have this sequence in

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here and it was great to be able to call

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Mark and ask him if he wanted to do

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>> this and have kind of a surprise, but to

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open with a shock.

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>> Yeah, for sure.

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>> Rather than than so there, you know

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where you are. You're in the Stephen

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King world.

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>> And so who ended up writing this scene?

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>> Actually, uh, King wrote this and the

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ending.

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Cat Scare. You can't have a horror movie

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without a cat.

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>> Nope.

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>> And

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>> the one that made it.

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>> Our director of photography.

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>> Okay.

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>> And she's still in my office, by the

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way.

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>> Is she?

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>> Yes.

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>> How's she doing today?

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>> She's doing good. She Does she have a

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name?

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>> She's a little girl.

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>> Oh. And the only way you can tell she's

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a little girl, uh, we put braces on her

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teeth.

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>> Oh, right. Great.

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>> Because otherwise it could be a

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90-year-old woman.

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>> Yeah. You wouldn't know

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>> exactly.

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>> It's a little girl.

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>> What's that in her hair?

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>> I got girl.

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>> This director of photography had done uh

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Psycho 4 with me, Rodney. And I first

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found him on the Friday the 13th TV

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series, which was beautifully

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photographed.

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And now we're into it. We're in the

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world of the sleepwalkers.

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>> So the titles again give a background.

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These these ancient Egyptian

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>> I think this is why I went into assuming

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it was going to be more vampire-ish

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because I remember that in the script

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these sort of Egyptian ancient

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tales.

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But how cool is that? Like a like a

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>> Yeah, we had these pieces built and I

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actually still have that uh that piece

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as well. to give that history of the the

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cat human interaction from way back in

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Egyptian times. And uh so this was

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designed Jeff Oaken who was our visual

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effects supervisor um had uh had put

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this together. He also did the the title

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sequence and unfortunately Glenn Shadex

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is no longer with us who played Mr.

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Fallows but wonderful actor who had come

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I had first seen in Beetlejuice and he

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was fantastic. Do you know who drew that

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picture there? That's great.

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>> I'm not sure who drew them. Nicholas

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Pike was a guy I first worked with on on

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Critters 2. He did the score, this 40

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piece orchestra for a cheap little uh

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lowbudget sequel to a ripoff of

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Gremlins. And uh here we have a 60 piece

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orchestra for this that gives the movie.

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>> You add some glow to that soul sucking.

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>> We did.

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>> Yeah, I can see it.

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>> Yes. Recognize the color?

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>> Yeah.

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Brian certainly does.

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>> I'm all about the purple.

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>> So again, because in the script, it

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really doesn't explain the history of

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the Sleepwalkers. The title, it was the

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title, put it in the sequence. Yeah.

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>> And this was Steve's first screenplay

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written directly for the screen, not

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based on one of his novels or short

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stories.

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>> And Mark Victor and Michael Grace were

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the writers, the original writers on

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Poltergeist, and they moved into this

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So, this was originally the first shot

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of the movie

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>> and the song by Santo and Johnny was the

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inspiration for Steve to write this. And

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we actually

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>> that's on the back lot.

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>> Yeah, that was the Walton's house.

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>> Warner Brothers.

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>> The Warner Brothers back

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>> Warner Brothers.

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>> But now we're on a stage at Colombia at

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the on a Sony lot. And this was a tricky

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shot. The camera operator, Phil Lee, was

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really struggling because I wanted to be

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looking right down on the record and

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then go down and around it and then into

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Brian in one uncut shot. It's not

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exactly what I intended, but um

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>> but you had to work with the arc of the

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the the arm.

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>> Yes, you're going straight down, going

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around, coming up and in without a cut.

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And the attempt

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>> There he is. That's what we were waiting

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to see.

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>> Oh my gosh. Woo!

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>> Ladies and gentlemen, introducing Mr.

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Brian Cross.

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>> Are you naturally hairless, Brian?

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>> You just had you not grown your man

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hairs yet?

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>> I have no hair.

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>> You still don't have any hair?

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>> Anyway,

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>> every once in a while I get like a a

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sprig.

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>> It's all on your head. That's why.

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>> That's right.

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>> So, this was

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>> I don't recommend this to anyone.

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>> Yeah. Jailhouse tattoo.

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>> I still have that tea.

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So that was obvious

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>> such a beauty.

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>> Anyway, that was obviously a prosthetic

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on top of uh Brian's actual bicep.

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>> Yeah.

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>> That was provided by Tony Gardner and

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his team. And there was a blood bag

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underneath it. So when you cut into it,

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you'd get a little pop and it would come

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out.

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>> Look at that.

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>> A science fair president as I I was an

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accomplisher.

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National merit scholar

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>> and then Alice

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>> Alice Cregera and of course the meat in

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that trap was actually latex and this

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was wired so that it was very and it was

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a simple plastic trap. It's not a steel

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trap although we did use steel traps not

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with the actual cats. So there's a

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YouTube video for all you cat lovers

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there.

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So Alice Krieger I had first seen in

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Ghost Story and just was knocked out by

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her. And I I read a lot of actresses for

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Mary Brady, but she just blew me away.

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She was so good and and so feline. Part

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of what we talked about was the cat

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being something that motivate how would

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motivate how she was. She would rub up

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against you and you remember Brian that

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she was very sensual in this.

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So, this was one of the first scenes

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that we shot with the two of you

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together, right?

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>> I believe so.

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>> Yeah.

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>> And how did you end up uh casting her?

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>> Well,

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>> how did what did that process?

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>> Well, like I said, we we looked at a lot

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of people and some really good actors.

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Um, but she had had knocked me out with

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Ghost Story. She's

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>> creepy and sexy at the same time, but

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>> just conveys something otherworldly as

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well. And she really got into it. I

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mean, she was she stayed in character

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most of the time, right, Brian?

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>> 100%. Uh, the sensuality and passion,

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it was incredible. You know, me being a

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young budding man,

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>> uh,

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>> and actor,

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>> yeah, I was

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I was taken back.

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>> Yeah. So this was really I mean you had

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had a teen romance role right before

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this in Blue Lagoon, but this was a sexy

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role.

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>> Very different. Uh

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>> tell me what it was like, what the two

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of you rehearsed like when it was when I

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wasn't there. Well, we had met a few

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times uh at the soup plantation over

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salad uh and talked about the

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relationship and you know, she very much

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talked about, you know, following the

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movements of cats and how she was

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studying them and you know, the coming

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and going and how fickle a cat can be.

277
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And then uh so there was a lot of kind

278
00:09:55,440 --> 00:09:59,440
of watching documentaries on different

279
00:09:59,440 --> 00:10:02,160
cats, not just house cats, but you know,

280
00:10:02,160 --> 00:10:05,279
a lion, a tigers, and that that was

281
00:10:05,279 --> 00:10:09,360
definitely the passion that she brought.

282
00:10:09,360 --> 00:10:11,200
>> Yeah, you can see my nose sweat there.

283
00:10:11,200 --> 00:10:13,519
I'm a little nervous.

284
00:10:13,519 --> 00:10:14,240
>> Well,

285
00:10:14,240 --> 00:10:16,959
>> oh, picking her up, taking Yeah, here we

286
00:10:16,959 --> 00:10:18,160
go.

287
00:10:18,160 --> 00:10:18,640
>> So, this

288
00:10:18,640 --> 00:10:20,880
>> and I kind of saw a trip. How? So, tell

289
00:10:20,880 --> 00:10:21,920
us about that, Brian.

290
00:10:21,920 --> 00:10:24,959
>> The trip. Uh, again, nervous.

291
00:10:24,959 --> 00:10:26,560
>> Nervous. Nervousness.

292
00:10:26,560 --> 00:10:27,600
>> Nervous.

293
00:10:27,600 --> 00:10:30,399
>> Prince Charming needs a little practice.

294
00:10:30,399 --> 00:10:30,800
I'm just

295
00:10:30,800 --> 00:10:32,640
>> You should have seen this in the Chinese

296
00:10:32,640 --> 00:10:35,279
theater with,200 people on opening night

297
00:10:35,279 --> 00:10:37,519
when that kiss happens. Every one of

298
00:10:37,519 --> 00:10:39,920
them went

299
00:10:39,920 --> 00:10:41,279
>> and the glow.

300
00:10:41,279 --> 00:10:43,519
>> And there's the first example of the

301
00:10:43,519 --> 00:10:46,160
glow, the force, the mysterious force we

302
00:10:46,160 --> 00:10:47,519
discover. Oh, maybe the sequel to

303
00:10:47,519 --> 00:10:50,079
Sleepwalkers could be called The Glow.

304
00:10:50,079 --> 00:10:51,120
>> The Purple Glow.

305
00:10:51,120 --> 00:10:52,000
>> The Purple Glow.

306
00:10:52,000 --> 00:10:54,399
>> So, this was my first musical number.

307
00:10:54,399 --> 00:10:56,720
>> I love this sequence. I love this. This

308
00:10:56,720 --> 00:10:57,760
is brilliant. And I remember when you

309
00:10:57,760 --> 00:10:59,839
guys were doing it, I was like, "Wow,

310
00:10:59,839 --> 00:11:01,040
>> talk about technically what was

311
00:11:01,040 --> 00:11:01,760
happening."

312
00:11:01,760 --> 00:11:04,560
>> Well, there is a steady cam operator on

313
00:11:04,560 --> 00:11:08,000
a crane and the crane lowers them down

314
00:11:08,000 --> 00:11:10,640
and the steady cam steps off of the

315
00:11:10,640 --> 00:11:12,320
crane and starts walking in here.

316
00:11:12,320 --> 00:11:14,880
>> So, seamless. I considered doing the

317
00:11:14,880 --> 00:11:17,440
whole thing in one shot, but because it

318
00:11:17,440 --> 00:11:19,440
was such a lively musical number, I

319
00:11:19,440 --> 00:11:21,360
thought it could really be helped with

320
00:11:21,360 --> 00:11:23,839
>> covering it and getting more pieces and

321
00:11:23,839 --> 00:11:25,519
>> and I'd never done a musical number

322
00:11:25,519 --> 00:11:27,600
before and I really was into it.

323
00:11:27,600 --> 00:11:29,760
>> Walkman, but the the smoothness of

324
00:11:29,760 --> 00:11:32,800
Walkman thing, right? The Walkman. You

325
00:11:32,800 --> 00:11:34,640
stick it on your belt and away you went.

326
00:11:34,640 --> 00:11:36,480
>> And you know, it was Sony. That's why it

327
00:11:36,480 --> 00:11:38,800
was a Walkman and not another brand.

328
00:11:38,800 --> 00:11:41,200
Well, I loved the sequence because this

329
00:11:41,200 --> 00:11:44,399
was like I I was a dancer up until I

330
00:11:44,399 --> 00:11:47,120
moved to Los Angeles and so I'm always

331
00:11:47,120 --> 00:11:50,320
game to dance. Give me a a reason

332
00:11:50,320 --> 00:11:51,920
>> and I'm there.

333
00:11:51,920 --> 00:11:53,839
>> Well, how do you not how do you not fall

334
00:11:53,839 --> 00:11:56,000
in love with this girl? You know, Steve

335
00:11:56,000 --> 00:11:58,320
King had written a scene

336
00:11:58,320 --> 00:12:00,880
>> and nothing had started yet. Basically,

337
00:12:00,880 --> 00:12:03,040
this was something we came up with on

338
00:12:03,040 --> 00:12:03,519
the

339
00:12:03,519 --> 00:12:05,680
>> This holds up even now. I have fans that

340
00:12:05,680 --> 00:12:08,639
that post this all the time. They love

341
00:12:08,639 --> 00:12:09,920
it. They love it.

342
00:12:09,920 --> 00:12:11,519
>> But it's such a great introduction to

343
00:12:11,519 --> 00:12:14,639
this sweet, lively, smart girl who is is

344
00:12:14,639 --> 00:12:17,440
immediately embarrassed. And it's very

345
00:12:17,440 --> 00:12:20,240
Midwest, but but it just is so lively.

346
00:12:20,240 --> 00:12:21,920
And originally, like I said, this was

347
00:12:21,920 --> 00:12:23,200
going to be the second scene in the

348
00:12:23,200 --> 00:12:26,160
movie rather rather than after the long

349
00:12:26,160 --> 00:12:26,720
introduction.

350
00:12:26,720 --> 00:12:28,880
>> That that that floor sweeper was always

351
00:12:28,880 --> 00:12:31,600
a good date. Always.

352
00:12:31,600 --> 00:12:34,839
>> No comment.

353
00:12:37,360 --> 00:12:39,360
Oh, I remember we had to like

354
00:12:39,360 --> 00:12:41,920
specifically like place those popcorn

355
00:12:41,920 --> 00:12:44,079
things so that they fell on my hand.

356
00:12:44,079 --> 00:12:47,360
>> They would fall on action. Yeah.

357
00:12:47,360 --> 00:12:48,880
>> So, again, trying to do something

358
00:12:48,880 --> 00:12:52,720
playful here. And you guys were so game

359
00:12:52,720 --> 00:12:55,200
and so easy. It just felt so genuine

360
00:12:55,200 --> 00:12:57,760
here. I mean, you had met before, but

361
00:12:57,760 --> 00:12:59,440
this was I think this was your first

362
00:12:59,440 --> 00:13:01,040
scene that you shot together, or was

363
00:13:01,040 --> 00:13:03,519
that in

364
00:13:03,519 --> 00:13:05,680
>> I'm because we were shooting on

365
00:13:05,680 --> 00:13:07,600
location. Yeah, I think it was. I think

366
00:13:07,600 --> 00:13:08,480
it was.

367
00:13:08,480 --> 00:13:10,000
>> Well, isn't that great that it ends up

368
00:13:10,000 --> 00:13:11,200
being the first thing that we shot

369
00:13:11,200 --> 00:13:13,519
together? I think Brian did such a good

370
00:13:13,519 --> 00:13:16,320
job with the character because like he

371
00:13:16,320 --> 00:13:18,959
he is putting on the persona of being

372
00:13:18,959 --> 00:13:22,000
this like young guy, but he's been

373
00:13:22,000 --> 00:13:25,120
around for centuries

374
00:13:25,120 --> 00:13:27,680
de

375
00:13:27,680 --> 00:13:31,279
>> well pretty young fella at the time.

376
00:13:31,279 --> 00:13:32,240
>> You hear?

377
00:13:32,240 --> 00:13:34,160
>> Yeah. But I mean you you had this like

378
00:13:34,160 --> 00:13:35,839
maturity about you which was really good

379
00:13:35,839 --> 00:13:37,600
because in the bigger story, you know,

380
00:13:37,600 --> 00:13:40,480
you guys have been alive for how long?

381
00:13:40,480 --> 00:13:41,920
Hundreds and hundreds of years. Hundreds

382
00:13:41,920 --> 00:13:43,839
of years. Yeah. And this is shot at the

383
00:13:43,839 --> 00:13:46,240
Arrow Theater, which is now uh one of

384
00:13:46,240 --> 00:13:48,079
the two American cinema techch theaters

385
00:13:48,079 --> 00:13:49,279
in Los Angeles.

386
00:13:49,279 --> 00:13:50,560
>> Did they save it? Did it

387
00:13:50,560 --> 00:13:52,720
>> It's still there. And it is part of the

388
00:13:52,720 --> 00:13:55,120
cinematic and we actually screened this

389
00:13:55,120 --> 00:13:58,240
movie uh there a couple of years ago and

390
00:13:58,240 --> 00:14:00,560
it was amazing to go back to the scene

391
00:14:00,560 --> 00:14:01,440
of the crime.

392
00:14:01,440 --> 00:14:01,920
>> Yeah.

393
00:14:01,920 --> 00:14:03,519
>> And have the audience and it hasn't

394
00:14:03,519 --> 00:14:06,079
changed much. The theater itself hasn't.

395
00:14:06,079 --> 00:14:09,760
the uh the lobby doesn't look quite so

396
00:14:09,760 --> 00:14:11,760
quite so much the same since it's been

397
00:14:11,760 --> 00:14:12,000
uh

398
00:14:12,000 --> 00:14:15,040
>> I'm I'm a big um advocate for saving

399
00:14:15,040 --> 00:14:18,079
historic buildings. I I I'm on the board

400
00:14:18,079 --> 00:14:21,839
of saving especially like um apartment

401
00:14:21,839 --> 00:14:23,279
buildings and stuff like that. So, I'm

402
00:14:23,279 --> 00:14:25,120
constantly going downtown and testifying

403
00:14:25,120 --> 00:14:27,760
and saving them left and right. So, I'm

404
00:14:27,760 --> 00:14:29,279
glad to hear that this theater is still

405
00:14:29,279 --> 00:14:29,600
around.

406
00:14:29,600 --> 00:14:32,720
>> Oh, it's still there. Yeah. And uh it

407
00:14:32,720 --> 00:14:35,360
was quite the experience. Now, Mr. Pib.

408
00:14:35,360 --> 00:14:37,519
There's a reason we had to use Mr. Pib

409
00:14:37,519 --> 00:14:40,800
instead of Dr. Pepper because we had to

410
00:14:40,800 --> 00:14:43,600
license it. And whoever it was, I think

411
00:14:43,600 --> 00:14:45,519
maybe Coca-Cola, was it Coca-Cola or

412
00:14:45,519 --> 00:14:47,440
Pepsi that's on our fountain here.

413
00:14:47,440 --> 00:14:48,320
>> Coca-Cola.

414
00:14:48,320 --> 00:14:50,480
>> Yeah. So, Coca-Cola makes Mr. Pib and

415
00:14:50,480 --> 00:14:52,320
that's why we had to use that. We had to

416
00:14:52,320 --> 00:14:52,639
use

417
00:14:52,639 --> 00:14:53,760
>> See, that's such a great little detail

418
00:14:53,760 --> 00:14:55,199
there, too, where you turn off the

419
00:14:55,199 --> 00:14:56,560
theater lights so we know, all right,

420
00:14:56,560 --> 00:14:58,160
it's the end of the night. She's going

421
00:14:58,160 --> 00:15:01,199
home. I loved working with him. Lyman

422
00:15:01,199 --> 00:15:02,160
War.

423
00:15:02,160 --> 00:15:03,199
>> Sweet.

424
00:15:03,199 --> 00:15:06,000
>> Well, he and

425
00:15:06,000 --> 00:15:07,680
he was Mr. Beller.

426
00:15:07,680 --> 00:15:08,160
>> Yeah.

427
00:15:08,160 --> 00:15:10,720
>> And Cindy Picket was Mrs. Beller in

428
00:15:10,720 --> 00:15:12,560
Ferris Beller and we got them back for

429
00:15:12,560 --> 00:15:13,519
this

430
00:15:13,519 --> 00:15:15,600
>> and they play husband and wife and they

431
00:15:15,600 --> 00:15:17,519
were actually husband and wife

432
00:15:17,519 --> 00:15:19,440
>> until a little while after this movie

433
00:15:19,440 --> 00:15:21,440
and then they're no longer husband and

434
00:15:21,440 --> 00:15:22,560
wife.

435
00:15:22,560 --> 00:15:23,920
>> You could have hid yourself a little bit

436
00:15:23,920 --> 00:15:24,480
better here.

437
00:15:24,480 --> 00:15:26,480
>> I You didn't see me. You didn't see me?

438
00:15:26,480 --> 00:15:27,519
>> No. Okay.

439
00:15:27,519 --> 00:15:30,000
>> Or did or did you?

440
00:15:30,000 --> 00:15:32,560
I saw those pants, that's for sure.

441
00:15:32,560 --> 00:15:35,360
>> My Jord dashes. They're a widelegg. Wide

442
00:15:35,360 --> 00:15:36,880
leg in those years.

443
00:15:36,880 --> 00:15:39,920
>> So, we went from that was uh on location

444
00:15:39,920 --> 00:15:41,920
in Santa Monica. Then the car driving

445
00:15:41,920 --> 00:15:44,639
and the clock was on the back lot at

446
00:15:44,639 --> 00:15:45,600
Warner Brothers.

447
00:15:45,600 --> 00:15:48,079
>> That is the same area that they filmed

448
00:15:48,079 --> 00:15:49,759
Gilmore Girls. That was their town

449
00:15:49,759 --> 00:15:50,560
center.

450
00:15:50,560 --> 00:15:51,440
>> Ah. And this

451
00:15:51,440 --> 00:15:52,639
>> I was there all the time.

452
00:15:52,639 --> 00:15:55,759
>> The house is the house of the Waltons on

453
00:15:55,759 --> 00:15:57,600
the back lot at Warner Brothers. This

454
00:15:57,600 --> 00:16:00,480
has been torn down. Oh, how do you tear

455
00:16:00,480 --> 00:16:01,839
down the Walton's house?

456
00:16:01,839 --> 00:16:03,680
>> Well, I don't know. Or the Brady's house

457
00:16:03,680 --> 00:16:05,120
for that matter. Yeah.

458
00:16:05,120 --> 00:16:06,560
>> Yeah.

459
00:16:06,560 --> 00:16:09,040
>> I was so envious of Alice in general cuz

460
00:16:09,040 --> 00:16:12,079
she was she had so much grace and power,

461
00:16:12,079 --> 00:16:14,959
sweetness, and just so beautiful. Like

462
00:16:14,959 --> 00:16:18,079
the hair and she was in she was so fit

463
00:16:18,079 --> 00:16:19,759
and strong. I was like, "Wow, I want to

464
00:16:19,759 --> 00:16:21,360
grow up like that."

465
00:16:21,360 --> 00:16:22,880
>> And you did.

466
00:16:22,880 --> 00:16:24,480
>> I don't know. I don't know if I can

467
00:16:24,480 --> 00:16:25,920
throw somebody over my shoulder like she

468
00:16:25,920 --> 00:16:27,040
threw me.

469
00:16:27,040 --> 00:16:28,720
>> Well, we'll get to that. because there's

470
00:16:28,720 --> 00:16:31,759
a lot to talk about there. Um, this

471
00:16:31,759 --> 00:16:33,360
location, I mean, we're setting up the

472
00:16:33,360 --> 00:16:34,800
fear of the cats and everything here,

473
00:16:34,800 --> 00:16:36,160
obviously, but

474
00:16:36,160 --> 00:16:39,279
>> Brian was whose idea was the blonde

475
00:16:39,279 --> 00:16:40,480
hair?

476
00:16:40,480 --> 00:16:42,560
>> I, you know, I think from Blue Lagoon, I

477
00:16:42,560 --> 00:16:46,399
was blonde and I just I think everybody

478
00:16:46,399 --> 00:16:48,959
had me keep it. I as a child I was like

479
00:16:48,959 --> 00:16:52,720
a tow head. Uh, then it just slowly went

480
00:16:52,720 --> 00:16:53,360
darker.

481
00:16:53,360 --> 00:16:54,800
>> Mine went back.

482
00:16:54,800 --> 00:16:56,320
>> Well, plus it plays into the all

483
00:16:56,320 --> 00:16:58,399
American boy, right? I think that's a

484
00:16:58,399 --> 00:17:00,480
good that's a good look.

485
00:17:00,480 --> 00:17:03,759
>> A lot of streaks and tips in there.

486
00:17:03,759 --> 00:17:06,640
>> And now Alice was born in South Africa

487
00:17:06,640 --> 00:17:10,400
and raised in Britain and uh so she

488
00:17:10,400 --> 00:17:12,640
never really tried for a full-on

489
00:17:12,640 --> 00:17:15,520
American accent and I like that. It adds

490
00:17:15,520 --> 00:17:17,600
to the exotic quality of her and I

491
00:17:17,600 --> 00:17:20,720
encouraged her to keep her voice her her

492
00:17:20,720 --> 00:17:23,600
natural accent and not to try to be

493
00:17:23,600 --> 00:17:25,679
middle American because the exotic

494
00:17:25,679 --> 00:17:28,720
quality that she has first worldly.

495
00:17:28,720 --> 00:17:32,160
>> Exactly. You feel that she has a history

496
00:17:32,160 --> 00:17:34,240
and that it just isn't in Indiana.

497
00:17:34,240 --> 00:17:35,679
>> Was she reluctant though? Because a lot

498
00:17:35,679 --> 00:17:37,360
of times British actors have to be

499
00:17:37,360 --> 00:17:38,880
really careful. They have to either be

500
00:17:38,880 --> 00:17:40,720
really pure American so they prove that

501
00:17:40,720 --> 00:17:43,200
they can do the accent or they or they

502
00:17:43,200 --> 00:17:45,440
don't go near it at all. She was great

503
00:17:45,440 --> 00:17:48,799
with it. She was terrific and uh totally

504
00:17:48,799 --> 00:17:51,600
into it. I mean, just

505
00:17:51,600 --> 00:17:53,200
>> Yeah. If I had a mom like that, that

506
00:17:53,200 --> 00:17:56,480
that would not have been way more action

507
00:17:56,480 --> 00:17:59,360
than Tanya. Way more. I'm not happy

508
00:17:59,360 --> 00:18:00,400
about this at all.

509
00:18:00,400 --> 00:18:03,679
>> Oh, Tanya was a good girl. Is she nice?

510
00:18:03,679 --> 00:18:06,000
>> Actually, she was a nice girl.

511
00:18:06,000 --> 00:18:08,080
>> Yeah. Okay. Where was this?

512
00:18:08,080 --> 00:18:10,400
>> This is in Where was this? In North

513
00:18:10,400 --> 00:18:11,120
Hollywood.

514
00:18:11,120 --> 00:18:15,440
>> Los Felas. Yeah. Yeah. Yes. It was Los

515
00:18:15,440 --> 00:18:17,840
Felis and it was this.

516
00:18:17,840 --> 00:18:21,520
>> This was a fun day for me because

517
00:18:21,520 --> 00:18:23,600
>> um

518
00:18:23,600 --> 00:18:25,760
>> I ended up meeting all of these, you

519
00:18:25,760 --> 00:18:26,960
know, actors that were playing my

520
00:18:26,960 --> 00:18:28,400
friends and we had a real fun time

521
00:18:28,400 --> 00:18:29,520
together.

522
00:18:29,520 --> 00:18:31,120
>> Oh, you kids

523
00:18:31,120 --> 00:18:33,919
>> having a good time. But like I said,

524
00:18:33,919 --> 00:18:35,600
Glenn Shadex was somebody who'd been in

525
00:18:35,600 --> 00:18:38,320
Beetlejuice and he's really funny and

526
00:18:38,320 --> 00:18:42,000
really smart and really grounded and he

527
00:18:42,000 --> 00:18:44,400
just plays the officious school teacher

528
00:18:44,400 --> 00:18:47,280
we've all had so perfectly and it just

529
00:18:47,280 --> 00:18:49,200
this feels very much like a Stephen King

530
00:18:49,200 --> 00:18:51,760
world. But originally

531
00:18:51,760 --> 00:18:54,720
he had written a book and said this is

532
00:18:54,720 --> 00:18:57,679
my last Castle Rock story. this was a

533
00:18:57,679 --> 00:19:00,160
Castle Rock script uh in the first draft

534
00:19:00,160 --> 00:19:01,919
and then he realized, wait, I said I'm

535
00:19:01,919 --> 00:19:04,160
not doing any more Castle Rock. So, he

536
00:19:04,160 --> 00:19:06,480
went back and changed the names of all

537
00:19:06,480 --> 00:19:08,799
the characters and to Travis Indiana

538
00:19:08,799 --> 00:19:10,720
instead of Castle Rock, Maine and all of

539
00:19:10,720 --> 00:19:15,200
that. So, did you draw that?

540
00:19:15,200 --> 00:19:18,080
>> I can't draw.

541
00:19:18,080 --> 00:19:21,480
>> This is the best.

542
00:19:21,840 --> 00:19:25,760
Yeah, he's a stick in the mud

543
00:19:25,760 --> 00:19:28,320
>> and becomes that literally later

544
00:19:28,320 --> 00:19:31,039
eventually. So,

545
00:19:31,039 --> 00:19:33,679
>> so when what

546
00:19:33,679 --> 00:19:35,360
>> when you were playing Tanya?

547
00:19:35,360 --> 00:19:36,080
>> Yeah.

548
00:19:36,080 --> 00:19:39,440
>> Was there a certain way that you felt to

549
00:19:39,440 --> 00:19:41,360
bring out the kind of purity of this

550
00:19:41,360 --> 00:19:43,440
this virginal character? I mean, it's

551
00:19:43,440 --> 00:19:45,039
important to the story that she was a

552
00:19:45,039 --> 00:19:45,520
virgin.

553
00:19:45,520 --> 00:19:47,840
>> Yeah, for sure. I just I just approached

554
00:19:47,840 --> 00:19:52,559
her to be just very innocent and um pure

555
00:19:52,559 --> 00:19:56,000
and I don't think that you can try to

556
00:19:56,000 --> 00:19:58,240
play innocent. You just got to be really

557
00:19:58,240 --> 00:19:59,840
genuine in everything that you do and

558
00:19:59,840 --> 00:20:03,280
kind of brideeyed and and um you know a

559
00:20:03,280 --> 00:20:05,280
lot of things surprise you and excite

560
00:20:05,280 --> 00:20:08,559
you and um so that's kind of how I

561
00:20:08,559 --> 00:20:09,360
approached her.

562
00:20:09,360 --> 00:20:11,120
>> Well, you really feel like like

563
00:20:11,120 --> 00:20:13,120
everything's dreamy. We knew those girls

564
00:20:13,120 --> 00:20:15,200
who were always upbeat and could have

565
00:20:15,200 --> 00:20:17,280
been cheerleaders at the time. That's

566
00:20:17,280 --> 00:20:18,720
very much what Tanya is.

567
00:20:18,720 --> 00:20:20,400
>> Yeah.

568
00:20:20,400 --> 00:20:22,559
>> So, time passing in a dissolve. One of

569
00:20:22,559 --> 00:20:24,640
my favorite tricks to do here with a

570
00:20:24,640 --> 00:20:26,160
lock off.

571
00:20:26,160 --> 00:20:28,559
>> But, uh, again, this look.

572
00:20:28,559 --> 00:20:31,200
>> Yes. And that's my stepfather who just

573
00:20:31,200 --> 00:20:34,080
passed by. And my, uh, really and my

574
00:20:34,080 --> 00:20:36,159
brother Donald right next to him. They

575
00:20:36,159 --> 00:20:40,000
come up again right here. Um, it is my

576
00:20:40,000 --> 00:20:43,760
brother Donald having his ear grabbed by

577
00:20:43,760 --> 00:20:45,840
That's my stepfather Don Peterson and my

578
00:20:45,840 --> 00:20:46,400
brother Donald.

579
00:20:46,400 --> 00:20:47,600
>> Oh, that's awesome.

580
00:20:47,600 --> 00:20:48,320
>> Right there.

581
00:20:48,320 --> 00:20:49,520
>> Great.

582
00:20:49,520 --> 00:20:50,960
>> I remember doing this scene. We had to

583
00:20:50,960 --> 00:20:52,559
do it a few times just to get it just

584
00:20:52,559 --> 00:20:54,480
right. Like the people that are crossing

585
00:20:54,480 --> 00:20:56,080
in front of us.

586
00:20:56,080 --> 00:20:59,120
>> Yeah, we had amount of busy and

587
00:20:59,120 --> 00:21:00,720
>> we had to have certain lines clear. And

588
00:21:00,720 --> 00:21:02,559
this we couldn't have people crossing

589
00:21:02,559 --> 00:21:04,480
because we were on a steady cam,

590
00:21:04,480 --> 00:21:06,720
>> right? The steadyic cam operator was

591
00:21:06,720 --> 00:21:09,360
walking backwards downstairs. Wow.

592
00:21:09,360 --> 00:21:10,080
>> Yes.

593
00:21:10,080 --> 00:21:12,559
>> Oh, this dress that I wore, I got to

594
00:21:12,559 --> 00:21:13,919
take that home.

595
00:21:13,919 --> 00:21:15,360
>> This was back in the day when you got to

596
00:21:15,360 --> 00:21:16,799
keep some of your wardrobe, like your

597
00:21:16,799 --> 00:21:18,400
favorite pieces. I loved that. I wore

598
00:21:18,400 --> 00:21:19,360
that dress.

599
00:21:19,360 --> 00:21:22,159
>> In fact, not too long after this is when

600
00:21:22,159 --> 00:21:25,919
I uh was pregnant with my son.

601
00:21:25,919 --> 00:21:26,320
>> Yes.

602
00:21:26,320 --> 00:21:28,640
>> Who was born a year later and the same

603
00:21:28,640 --> 00:21:31,280
year that this came out. And um I have

604
00:21:31,280 --> 00:21:33,520
great pregnancy pictures in his dress.

605
00:21:33,520 --> 00:21:34,880
>> Oh, really?

606
00:21:34,880 --> 00:21:36,720
with my big little round belly. It's

607
00:21:36,720 --> 00:21:37,360
cute.

608
00:21:37,360 --> 00:21:38,320
>> Mommy tummy.

609
00:21:38,320 --> 00:21:39,760
>> Yep.

610
00:21:39,760 --> 00:21:43,440
>> So, there's both of you have eyes that

611
00:21:43,440 --> 00:21:48,240
we went to great pains to illuminate.

612
00:21:48,240 --> 00:21:50,559
>> You know, the the light in Tanya's eyes

613
00:21:50,559 --> 00:21:52,799
and the light in Charles eyes was an

614
00:21:52,799 --> 00:21:54,320
important, you know, when you're doing

615
00:21:54,320 --> 00:21:57,200
exteriors, you can only do so much light

616
00:21:57,200 --> 00:21:59,520
in this regard without looking stuff

617
00:21:59,520 --> 00:22:00,000
like that.

618
00:22:00,000 --> 00:22:01,440
>> Yeah. So, it was bounce cards and the

619
00:22:01,440 --> 00:22:04,080
like. But when we're on the stu on the

620
00:22:04,080 --> 00:22:06,799
studio lot or on the stages, we were

621
00:22:06,799 --> 00:22:09,039
always making sure to illuminate the

622
00:22:09,039 --> 00:22:10,880
eyes because so much was going on in

623
00:22:10,880 --> 00:22:11,760
both of you.

624
00:22:11,760 --> 00:22:12,799
>> Yeah.

625
00:22:12,799 --> 00:22:13,200
>> And again,

626
00:22:13,200 --> 00:22:16,480
>> look how cute and sexy you are, Brian.

627
00:22:16,480 --> 00:22:19,520
>> Look at that. Killing killing hearts out

628
00:22:19,520 --> 00:22:19,919
there.

629
00:22:19,919 --> 00:22:20,960
>> Oh my gosh.

630
00:22:20,960 --> 00:22:22,880
>> And I love the effect of a long lens

631
00:22:22,880 --> 00:22:24,559
here where everything in the foreground

632
00:22:24,559 --> 00:22:27,039
and background is unimportant and soft.

633
00:22:27,039 --> 00:22:27,360
Yeah.

634
00:22:27,360 --> 00:22:29,679
>> But this and there's no cuts in it. Just

635
00:22:29,679 --> 00:22:30,960
the two of you back and forth

636
00:22:30,960 --> 00:22:32,720
>> just on a dolly running the whole way.

637
00:22:32,720 --> 00:22:33,440
Huh?

638
00:22:33,440 --> 00:22:35,280
>> But there was a squeak when he said

639
00:22:35,280 --> 00:22:37,440
sleepwalkers. So that one word. Do you

640
00:22:37,440 --> 00:22:38,960
remember? We had to loop it.

641
00:22:38,960 --> 00:22:39,600
>> No.

642
00:22:39,600 --> 00:22:42,080
>> Yes. And it's the only often you'll want

643
00:22:42,080 --> 00:22:44,000
to loop the words around it too so it's

644
00:22:44,000 --> 00:22:45,760
a better match. But that one

645
00:22:45,760 --> 00:22:47,679
>> you can tell there's a slight

646
00:22:47,679 --> 00:22:48,720
>> Is it still there?

647
00:22:48,720 --> 00:22:50,880
>> The loop is in there, but everything

648
00:22:50,880 --> 00:22:52,559
else is not.

649
00:22:52,559 --> 00:22:53,200
>> And of course,

650
00:22:53,200 --> 00:22:55,200
>> I mean, you can get a lot of girls with

651
00:22:55,200 --> 00:22:56,799
this kind of car.

652
00:22:56,799 --> 00:23:01,360
>> Well, we got Tanya. Hey,

653
00:23:01,360 --> 00:23:03,360
>> that was not a stunt double either. That

654
00:23:03,360 --> 00:23:05,600
was Brian Krauss himself.

655
00:23:05,600 --> 00:23:06,240
>> Y

656
00:23:06,240 --> 00:23:08,960
>> leaping into kit

657
00:23:08,960 --> 00:23:11,760
>> into kit. Yeah.

658
00:23:11,760 --> 00:23:14,240
>> And so if you notice those those leaves

659
00:23:14,240 --> 00:23:17,120
that blew after they were following it

660
00:23:17,120 --> 00:23:19,760
rather than going the other way cuz we

661
00:23:19,760 --> 00:23:22,960
waved them for the effect. Yes.

662
00:23:22,960 --> 00:23:23,840
>> On purpose.

663
00:23:23,840 --> 00:23:26,480
>> On purpose. Yeah. just so we could there

664
00:23:26,480 --> 00:23:28,400
wasn't enough coming out of the car and

665
00:23:28,400 --> 00:23:30,480
I wanted some movement of the the leaves

666
00:23:30,480 --> 00:23:33,360
and give it a kind of a fall movement.

667
00:23:33,360 --> 00:23:34,559
>> One of my favorite lines.

668
00:23:34,559 --> 00:23:36,080
>> Double antandra coming up.

669
00:23:36,080 --> 00:23:36,880
>> Here we go.

670
00:23:36,880 --> 00:23:39,440
>> My mom does gravestone rubbings. Pretty

671
00:23:39,440 --> 00:23:40,559
morbid, huh?

672
00:23:40,559 --> 00:23:41,760
>> Waiting for it.

673
00:23:41,760 --> 00:23:43,200
>> Oh, I like them.

674
00:23:43,200 --> 00:23:44,000
>> You do?

675
00:23:44,000 --> 00:23:47,000
>> Yeah.

676
00:23:48,640 --> 00:23:52,000
>> That's so cute.

677
00:23:52,000 --> 00:23:54,240
you know, Maidin and I worked again

678
00:23:54,240 --> 00:23:57,679
later on um The Witches of East End, and

679
00:23:57,679 --> 00:24:00,080
it was like, my god, no time has passed

680
00:24:00,080 --> 00:24:02,640
at all. And it was 25 years, 24 years

681
00:24:02,640 --> 00:24:03,200
later.

682
00:24:03,200 --> 00:24:03,760
>> Yeah.

683
00:24:03,760 --> 00:24:07,039
>> And it was as if and and you're also in

684
00:24:07,039 --> 00:24:09,200
a time machine. You don't age.

685
00:24:09,200 --> 00:24:10,559
>> So, it was But

686
00:24:10,559 --> 00:24:12,720
>> I do I'll look a little older than that

687
00:24:12,720 --> 00:24:13,919
right there.

688
00:24:13,919 --> 00:24:15,200
>> Just a bit.

689
00:24:15,200 --> 00:24:16,559
>> But that's all right. It's okay.

690
00:24:16,559 --> 00:24:17,279
>> Better.

691
00:24:17,279 --> 00:24:17,919
>> Yeah. Yeah. Yeah.

692
00:24:17,919 --> 00:24:19,679
>> But you know what's so nice about

693
00:24:19,679 --> 00:24:22,159
working with you, Mick, is that you know

694
00:24:22,159 --> 00:24:24,320
at this point I was fairly new in the

695
00:24:24,320 --> 00:24:25,919
business. I had done

696
00:24:25,919 --> 00:24:28,240
>> Twin Peaks, you know, like I did the

697
00:24:28,240 --> 00:24:30,400
pilot for Baywatch and

698
00:24:30,400 --> 00:24:32,559
>> um a really small guest part in Star

699
00:24:32,559 --> 00:24:35,440
Trek and an independent movie, The

700
00:24:35,440 --> 00:24:38,000
Borrowers. So, you know, you were one of

701
00:24:38,000 --> 00:24:40,240
the the few beginning directors for me

702
00:24:40,240 --> 00:24:42,159
and and I really can look back now and

703
00:24:42,159 --> 00:24:43,279
appreciate

704
00:24:43,279 --> 00:24:45,520
>> people like you that you you shaped me

705
00:24:45,520 --> 00:24:47,840
as a as an actress and you raised the

706
00:24:47,840 --> 00:24:50,720
bar of how to have a relationship with a

707
00:24:50,720 --> 00:24:52,400
director, a positive one.

708
00:24:52,400 --> 00:24:54,480
>> And not be dictated to and have it be

709
00:24:54,480 --> 00:24:55,919
collaborative and

710
00:24:55,919 --> 00:24:56,799
>> feel really great.

711
00:24:56,799 --> 00:24:59,120
>> Well, you got to get the best work from

712
00:24:59,120 --> 00:25:01,200
people who who you work together with

713
00:25:01,200 --> 00:25:03,600
and you do collaborate with and and do

714
00:25:03,600 --> 00:25:05,279
it through encouragement, you know. And

715
00:25:05,279 --> 00:25:08,000
I'm lucky enough to look this cast,

716
00:25:08,000 --> 00:25:10,080
every member of this cast was somebody I

717
00:25:10,080 --> 00:25:11,760
want to spend time with off the set,

718
00:25:11,760 --> 00:25:12,159
too.

719
00:25:12,159 --> 00:25:12,799
>> That's nice.

720
00:25:12,799 --> 00:25:15,440
>> You know, these it was such a great

721
00:25:15,440 --> 00:25:17,120
experience. And I know commentaries

722
00:25:17,120 --> 00:25:18,799
often kiss each other's ass and the

723
00:25:18,799 --> 00:25:19,360
like.

724
00:25:19,360 --> 00:25:21,200
>> But it's it's really true when you get

725
00:25:21,200 --> 00:25:23,840
people together that had a good time.

726
00:25:23,840 --> 00:25:25,919
>> It's like recreating where we were.

727
00:25:25,919 --> 00:25:26,720
>> Yeah.

728
00:25:26,720 --> 00:25:29,760
>> And Cindy Picket I had first seen in a

729
00:25:29,760 --> 00:25:31,600
Roger in a

730
00:25:31,600 --> 00:25:34,720
>> Yeah. Roger Vadim movie where it's a

731
00:25:34,720 --> 00:25:37,360
very erotic role and everything and I'd

732
00:25:37,360 --> 00:25:39,039
forgotten all about that when I saw

733
00:25:39,039 --> 00:25:40,400
Ferris Beller, right?

734
00:25:40,400 --> 00:25:42,400
>> And then we saw Ferris Buer and thought,

735
00:25:42,400 --> 00:25:43,760
wouldn't it be great to have Cindy

736
00:25:43,760 --> 00:25:46,159
Picket and her real life husband who was

737
00:25:46,159 --> 00:25:48,000
her husband in Ferris Beller play this

738
00:25:48,000 --> 00:25:51,039
part, but she had just had a baby and so

739
00:25:51,039 --> 00:25:53,279
was still embarrassed about carrying a

740
00:25:53,279 --> 00:25:54,960
little of that mommy wake with her.

741
00:25:54,960 --> 00:25:56,400
>> It worked perfectly for this role

742
00:25:56,400 --> 00:25:56,720
though.

743
00:25:56,720 --> 00:25:58,799
>> It It was so motherly and great.

744
00:25:58,799 --> 00:26:00,320
>> It was great. Uh but she was

745
00:26:00,320 --> 00:26:02,159
particularly embarrassed when she goes

746
00:26:02,159 --> 00:26:05,360
through the uh uh the plate glass window

747
00:26:05,360 --> 00:26:07,440
of the house a little bit later which

748
00:26:07,440 --> 00:26:09,520
we'll get to.

749
00:26:09,520 --> 00:26:11,120
>> Tell me Charles.

750
00:26:11,120 --> 00:26:15,200
>> So this was very playful and um so but

751
00:26:15,200 --> 00:26:17,039
Brian this was a different role for you

752
00:26:17,039 --> 00:26:19,039
because you had a lot more to do in this

753
00:26:19,039 --> 00:26:21,039
and and a lot more range than what you

754
00:26:21,039 --> 00:26:23,679
had to do in for example in Blue Lagoon.

755
00:26:23,679 --> 00:26:26,240
>> Yeah. Blue Lugan was very, you know,

756
00:26:26,240 --> 00:26:28,880
just coming of age, running around on an

757
00:26:28,880 --> 00:26:30,320
island. I I don't know that there was

758
00:26:30,320 --> 00:26:32,240
much uh

759
00:26:32,240 --> 00:26:33,200
>> emoting.

760
00:26:33,200 --> 00:26:36,640
>> Emoting. Yeah. And I,

761
00:26:36,640 --> 00:26:41,200
you know, for me, I just this was

762
00:26:41,200 --> 00:26:44,080
>> far beyond my experience level. And it

763
00:26:44,080 --> 00:26:44,880
was uh

764
00:26:44,880 --> 00:26:46,559
>> well, it's a demanding role. You had to

765
00:26:46,559 --> 00:26:48,799
be charming. You had to be somebody that

766
00:26:48,799 --> 00:26:51,760
the audience would warm to and believe

767
00:26:51,760 --> 00:26:54,559
that Tanya and her mother would warm to

768
00:26:54,559 --> 00:26:56,400
and then you have to become something

769
00:26:56,400 --> 00:26:58,480
really dangerous and then you have to

770
00:26:58,480 --> 00:27:02,080
wear layers of latex and and be able to

771
00:27:02,080 --> 00:27:03,520
perform under all these cases.

772
00:27:03,520 --> 00:27:05,760
>> Who decided that you would always jump

773
00:27:05,760 --> 00:27:07,279
in your car?

774
00:27:07,279 --> 00:27:09,200
>> I think I just did it on the one take

775
00:27:09,200 --> 00:27:10,960
outside of school and they were like,

776
00:27:10,960 --> 00:27:13,440
"Oh, that's great. Do it again." Yeah,

777
00:27:13,440 --> 00:27:14,320
>> it was. Yeah,

778
00:27:14,320 --> 00:27:15,120
>> it was great.

779
00:27:15,120 --> 00:27:17,200
>> It It was great. And it's it's a

780
00:27:17,200 --> 00:27:19,600
character trait, you know. But this is

781
00:27:19,600 --> 00:27:21,600
interesting because I had never directed

782
00:27:21,600 --> 00:27:24,559
a car chase before. And uh well, this

783
00:27:24,559 --> 00:27:26,960
isn't the car chase yet, so this is

784
00:27:26,960 --> 00:27:28,559
different. We'll save the car chase talk

785
00:27:28,559 --> 00:27:30,320
until later.

786
00:27:30,320 --> 00:27:32,559
>> I I love that he drives a Beetle

787
00:27:32,559 --> 00:27:35,520
>> a little. Yeah.

788
00:27:35,520 --> 00:27:35,840
>> Great.

789
00:27:35,840 --> 00:27:36,960
>> A Midwest teacher.

790
00:27:36,960 --> 00:27:39,360
>> And he's keeping up, by the way, with

791
00:27:39,360 --> 00:27:40,400
>> your muscle car.

792
00:27:40,400 --> 00:27:41,039
>> Yeah,

793
00:27:41,039 --> 00:27:44,720
>> he's he's driving it with authority.

794
00:27:44,720 --> 00:27:46,559
>> Well, he is Mr. Ballows. The greater

795
00:27:46,559 --> 00:27:46,960
bow.

796
00:27:46,960 --> 00:27:49,360
>> I love Volkswagen bugs, by the way.

797
00:27:49,360 --> 00:27:51,279
That's like right in my

798
00:27:51,279 --> 00:27:53,039
>> wheelhouse.

799
00:27:53,039 --> 00:27:55,120
>> Oh, I love vintage cars. So,

800
00:27:55,120 --> 00:27:55,840
>> yes. Well,

801
00:27:55,840 --> 00:27:57,679
>> I had a Volkswagen, a convertible

802
00:27:57,679 --> 00:27:58,799
Volkswagen.

803
00:27:58,799 --> 00:27:59,360
>> Really?

804
00:27:59,360 --> 00:28:02,159
>> Yep. We repainted it black with sparkle.

805
00:28:02,159 --> 00:28:02,640
>> Sparkle.

806
00:28:02,640 --> 00:28:03,840
>> Yeah, we put some sparkle in it.

807
00:28:03,840 --> 00:28:05,279
>> Nice.

808
00:28:05,279 --> 00:28:07,200
Well, here we're out on location out in

809
00:28:07,200 --> 00:28:10,640
Newbury Park and uh because of the

810
00:28:10,640 --> 00:28:12,399
requirements

811
00:28:12,399 --> 00:28:16,399
>> of the makeup effects, we actually had

812
00:28:16,399 --> 00:28:20,000
to use the stunt double New Nori who who

813
00:28:20,000 --> 00:28:22,240
doubled Brian in this. And we put the

814
00:28:22,240 --> 00:28:24,399
makeup on him rather than putting it on

815
00:28:24,399 --> 00:28:26,399
Brian for this sequence because it's a

816
00:28:26,399 --> 00:28:27,679
three-hour makeup job,

817
00:28:27,679 --> 00:28:28,640
>> right?

818
00:28:28,640 --> 00:28:31,520
>> And putting him in the makeup. So, when

819
00:28:31,520 --> 00:28:33,440
we actually do the morph that comes up

820
00:28:33,440 --> 00:28:37,520
here, Brian morphs into Noon rather than

821
00:28:37,520 --> 00:28:39,600
rather than morphing into himself with

822
00:28:39,600 --> 00:28:42,159
his uh makeup on.

823
00:28:42,159 --> 00:28:46,320
>> So, Hollywood secrets

824
00:28:46,320 --> 00:28:48,240
>> he's being real creepy. I'm

825
00:28:48,240 --> 00:28:50,559
>> Yes,

826
00:28:50,559 --> 00:28:52,880
completely inappropriate.

827
00:28:52,880 --> 00:28:56,000
>> Yeah, he you know, he likes blondes.

828
00:28:56,000 --> 00:28:58,159
>> It's true.

829
00:28:58,159 --> 00:29:02,080
>> The only medium of It's really This

830
00:29:02,080 --> 00:29:06,080
whole movie is very very well.

831
00:29:06,080 --> 00:29:07,200
>> Oops.

832
00:29:07,200 --> 00:29:10,559
>> So, we had an air gun that blew the

833
00:29:10,559 --> 00:29:13,279
blood against the window which was

834
00:29:13,279 --> 00:29:16,640
settled in Brian's lap and it goes and

835
00:29:16,640 --> 00:29:18,480
that's New Norati there grinning up

836
00:29:18,480 --> 00:29:19,600
through the makeup.

837
00:29:19,600 --> 00:29:21,520
>> But he was a close enough match.

838
00:29:21,520 --> 00:29:21,840
>> Yeah.

839
00:29:21,840 --> 00:29:24,559
>> And of course, we wanted a white VW bug

840
00:29:24,559 --> 00:29:26,640
so that the blood would show up nicely.

841
00:29:26,640 --> 00:29:30,440
>> Right. So,

842
00:29:31,679 --> 00:29:34,080
I'm sorry.

843
00:29:34,080 --> 00:29:34,799
>> That's the best.

844
00:29:34,799 --> 00:29:37,960
>> I'm sorry.

845
00:29:38,159 --> 00:29:38,559
>> So,

846
00:29:38,559 --> 00:29:40,399
>> a little too late now, but

847
00:29:40,399 --> 00:29:42,480
>> yeah, I'm sorry.

848
00:29:42,480 --> 00:29:44,640
>> So, there was a stunt double for for

849
00:29:44,640 --> 00:29:46,399
Glenn, but he did a lot of his own

850
00:29:46,399 --> 00:29:49,120
running. I mean, that's not him, but um

851
00:29:49,120 --> 00:29:52,399
what's coming up here, you know, that's

852
00:29:52,399 --> 00:29:54,720
that's the double, but and that's New

853
00:29:54,720 --> 00:29:57,840
Norati chasing in the Brian makeup, the

854
00:29:57,840 --> 00:30:02,320
mustard. Now, this shot here, I was I

855
00:30:02,320 --> 00:30:05,360
suspended a camera from a rope and I was

856
00:30:05,360 --> 00:30:07,200
planning the shot and our line producer

857
00:30:07,200 --> 00:30:08,640
said, "No, no, you don't want to do it."

858
00:30:08,640 --> 00:30:11,200
Real strong New York guy, really anti-

859
00:30:11,200 --> 00:30:13,919
everything. And I said, "Yeah, we're

860
00:30:13,919 --> 00:30:16,399
going to pull the rope up a as this

861
00:30:16,399 --> 00:30:18,240
happens." He said, "No, no, you can't do

862
00:30:18,240 --> 00:30:19,679
that. It's going to spin. It's going to

863
00:30:19,679 --> 00:30:22,159
twirl." I said, "Exactly

864
00:30:22,159 --> 00:30:23,840
what I wanted it to do."

865
00:30:23,840 --> 00:30:25,919
>> And uh so it turned out great. And it's

866
00:30:25,919 --> 00:30:28,320
just a rope on a camera. He just ate He

867
00:30:28,320 --> 00:30:30,000
just ate the flesh of that man. Does

868
00:30:30,000 --> 00:30:32,240
that go with the thinking? So sometimes

869
00:30:32,240 --> 00:30:33,840
you suck the soul, but sometimes you eat

870
00:30:33,840 --> 00:30:34,720
the flesh.

871
00:30:34,720 --> 00:30:37,200
>> Well, sometimes, you know, you got to

872
00:30:37,200 --> 00:30:38,640
protect your

873
00:30:38,640 --> 00:30:40,480
>> It was more of a kill. That was a kill.

874
00:30:40,480 --> 00:30:42,320
>> I didn't know what he did with him other

875
00:30:42,320 --> 00:30:44,159
than a revenge kill.

876
00:30:44,159 --> 00:30:45,039
>> Okay. Okay.

877
00:30:45,039 --> 00:30:47,200
>> So, he knew his secret, so he had to get

878
00:30:47,200 --> 00:30:48,960
>> the bad guy. My favorite line in the

879
00:30:48,960 --> 00:30:51,440
entire film. This sequence is my

880
00:30:51,440 --> 00:30:52,640
favorite.

881
00:30:52,640 --> 00:30:56,159
>> Yes. Now, there were eight there were

882
00:30:56,159 --> 00:30:58,640
eight cats cast as Clovis. Each of them

883
00:30:58,640 --> 00:31:00,559
with a specialty. One would hiss, one

884
00:31:00,559 --> 00:31:02,960
would growl, one would swat at you.

885
00:31:02,960 --> 00:31:03,679
>> Yeah.

886
00:31:03,679 --> 00:31:07,039
>> We didn't use any of them except one

887
00:31:07,039 --> 00:31:08,960
>> except for one hissing shot. This cat

888
00:31:08,960 --> 00:31:12,320
was Sparks the cat was so great

889
00:31:12,320 --> 00:31:15,120
>> that he did everything. He really did.

890
00:31:15,120 --> 00:31:19,120
>> And Dan Martin as Andy as the deputy was

891
00:31:19,120 --> 00:31:21,120
great. I've worked with him. He's in my

892
00:31:21,120 --> 00:31:23,279
new movie uh Nightmare Cinema also.

893
00:31:23,279 --> 00:31:23,840
>> Cool.

894
00:31:23,840 --> 00:31:25,919
>> But a really wonderful actor.

895
00:31:25,919 --> 00:31:26,559
>> The best

896
00:31:26,559 --> 00:31:30,679
>> and loves horror movies.

897
00:31:30,960 --> 00:31:33,440
>> He's got a lot of swag. I love it.

898
00:31:33,440 --> 00:31:35,760
>> And uh the voice on the other end is my

899
00:31:35,760 --> 00:31:39,000
wife Cynthia.

900
00:31:40,159 --> 00:31:42,799
>> Yeah. And so now we're into the car

901
00:31:42,799 --> 00:31:45,440
chase. Originally,

902
00:31:45,440 --> 00:31:47,600
um, Mickey Moore, who was Steven

903
00:31:47,600 --> 00:31:50,559
Spielberg's second unit director on the

904
00:31:50,559 --> 00:31:52,799
Indiana Jones movies, uh, particularly

905
00:31:52,799 --> 00:31:55,200
Raiders of the Lost Ark, he was hired to

906
00:31:55,200 --> 00:31:57,039
be my second unit director on this and

907
00:31:57,039 --> 00:31:59,600
to do this chase. He had a heart attack

908
00:31:59,600 --> 00:32:02,000
before we started to shoot this scene.

909
00:32:02,000 --> 00:32:05,440
>> So, we had his cameraman uh, and worked

910
00:32:05,440 --> 00:32:06,480
with him.

911
00:32:06,480 --> 00:32:08,640
>> But I basically ended up doing this

912
00:32:08,640 --> 00:32:10,640
myself. I'd never done a car chase.

913
00:32:10,640 --> 00:32:13,760
>> Wow. myself before and so I was kind of

914
00:32:13,760 --> 00:32:18,240
learning on the job doing this and uh so

915
00:32:18,240 --> 00:32:19,919
figuring out where to mount the cameras

916
00:32:19,919 --> 00:32:21,760
and how to run them and and you know

917
00:32:21,760 --> 00:32:22,480
it's

918
00:32:22,480 --> 00:32:25,760
>> a tedious experience doing a car chase

919
00:32:25,760 --> 00:32:27,360
everything takes forever.

920
00:32:27,360 --> 00:32:28,240
>> Oh

921
00:32:28,240 --> 00:32:29,919
>> things like that.

922
00:32:29,919 --> 00:32:31,600
>> How do you do that? Let's compress that

923
00:32:31,600 --> 00:32:33,440
with a long lens and bring them close

924
00:32:33,440 --> 00:32:33,840
and

925
00:32:33,840 --> 00:32:34,399
>> right

926
00:32:34,399 --> 00:32:36,799
>> it's just a every camera mount takes

927
00:32:36,799 --> 00:32:39,679
hours to set up and you set up several

928
00:32:39,679 --> 00:32:42,640
cameras on the car itself mounted

929
00:32:42,640 --> 00:32:44,240
>> enjoying this car.

930
00:32:44,240 --> 00:32:44,880
>> Yeah, it's

931
00:32:44,880 --> 00:32:45,440
>> Brian.

932
00:32:45,440 --> 00:32:46,000
>> Me?

933
00:32:46,000 --> 00:32:47,200
>> Yeah.

934
00:32:47,200 --> 00:32:47,760
>> Yeah.

935
00:32:47,760 --> 00:32:48,960
>> Yeah.

936
00:32:48,960 --> 00:32:51,039
>> Brian and Charles were both enjoying it.

937
00:32:51,039 --> 00:32:52,399
>> Yeah.

938
00:32:52,399 --> 00:32:56,000
>> And uh the the guy with the stop sign

939
00:32:56,000 --> 00:32:58,399
was our stunt coordinator.

940
00:32:58,399 --> 00:32:59,360
>> Oh, that's great.

941
00:32:59,360 --> 00:33:00,559
>> Phil.

942
00:33:00,559 --> 00:33:02,399
Yeah, he had worked with John Landis

943
00:33:02,399 --> 00:33:04,240
before, so I knew him from that. That

944
00:33:04,240 --> 00:33:06,960
little girl who almost gets mowed down

945
00:33:06,960 --> 00:33:09,679
is our dire producer Mark Victor's

946
00:33:09,679 --> 00:33:10,960
daughter.

947
00:33:10,960 --> 00:33:13,519
>> So, lots of cameos in here.

948
00:33:13,519 --> 00:33:16,480
>> Go get him. Yeah. What the hell?

949
00:33:16,480 --> 00:33:19,120
>> So, there's Sparks looked at the camera.

950
00:33:19,120 --> 00:33:20,240
>> Looked at the camera.

951
00:33:20,240 --> 00:33:20,799
>> Great.

952
00:33:20,799 --> 00:33:22,480
>> Didn't pay attention to that lesson.

953
00:33:22,480 --> 00:33:22,799
Yeah.

954
00:33:22,799 --> 00:33:25,039
>> No,

955
00:33:25,039 --> 00:33:26,880
>> but he was there the whole time. you

956
00:33:26,880 --> 00:33:30,240
know, we that cat just never ceases to

957
00:33:30,240 --> 00:33:32,720
amaze me. And you know, now that it's 26

958
00:33:32,720 --> 00:33:35,039
years later, it's kind of obviously he's

959
00:33:35,039 --> 00:33:37,039
no longer with us anymore. But

960
00:33:37,039 --> 00:33:38,559
>> there should be a memorial built to

961
00:33:38,559 --> 00:33:39,360
Sparks.

962
00:33:39,360 --> 00:33:40,159
>> Sparks.

963
00:33:40,159 --> 00:33:42,240
>> Yeah.

964
00:33:42,240 --> 00:33:43,840
>> Now, it should also be said here,

965
00:33:43,840 --> 00:33:46,159
particularly what what happens next,

966
00:33:46,159 --> 00:33:49,760
that um that Brian is a very very

967
00:33:49,760 --> 00:33:52,000
naughty boy.

968
00:33:52,000 --> 00:33:54,720
>> Oh. Uhoh. So this

969
00:33:54,720 --> 00:33:56,880
>> this was the second morphing movie ever

970
00:33:56,880 --> 00:33:59,600
to come out and Terminator 2 had not

971
00:33:59,600 --> 00:34:01,360
been released yet when we were shooting

972
00:34:01,360 --> 00:34:02,320
this movie

973
00:34:02,320 --> 00:34:04,640
>> and planning the transitions and the the

974
00:34:04,640 --> 00:34:07,679
morphs into the Sleepwalkers. So this

975
00:34:07,679 --> 00:34:12,560
was a very very early um morphing scene

976
00:34:12,560 --> 00:34:14,879
and movie. So nobody had really worked

977
00:34:14,879 --> 00:34:16,480
all of it out yet and we were kind of

978
00:34:16,480 --> 00:34:19,599
inventing it as we went along. And the

979
00:34:19,599 --> 00:34:22,240
baby face in that was Jeff Oaken's son.

980
00:34:22,240 --> 00:34:23,839
Jeff Oaken was our visual effects

981
00:34:23,839 --> 00:34:25,839
supervisor. So, like I said, there's

982
00:34:25,839 --> 00:34:28,879
there's nepotism all over the movie.

983
00:34:28,879 --> 00:34:31,040
>> Gotta do it.

984
00:34:31,040 --> 00:34:32,560
>> That's noon.

985
00:34:32,560 --> 00:34:34,960
>> Yeah, it's noon driving. I thought that

986
00:34:34,960 --> 00:34:36,079
was you. That's you.

987
00:34:36,079 --> 00:34:36,879
>> There you go.

988
00:34:36,879 --> 00:34:37,440
>> Okay.

989
00:34:37,440 --> 00:34:38,879
>> Concentrate.

990
00:34:38,879 --> 00:34:43,280
>> Concentrate. Breathe deep.

991
00:34:43,280 --> 00:34:46,240
>> Vision what you want to be. So this was

992
00:34:46,240 --> 00:34:49,599
in the days when if you had to do a move

993
00:34:49,599 --> 00:34:51,359
where something happened like a morph

994
00:34:51,359 --> 00:34:52,000
like this,

995
00:34:52,000 --> 00:34:52,639
>> right?

996
00:34:52,639 --> 00:34:56,000
>> Uh you had to do it with motion control.

997
00:34:56,000 --> 00:34:58,160
If they tell you it's going to take

998
00:34:58,160 --> 00:35:00,079
where basically you set up a track and

999
00:35:00,079 --> 00:35:02,160
computerize the move so you can repeat

1000
00:35:02,160 --> 00:35:05,119
the move as many times as you like and

1001
00:35:05,119 --> 00:35:06,880
put in a different car, take the car

1002
00:35:06,880 --> 00:35:09,280
out, do whatever, and you don't go down

1003
00:35:09,280 --> 00:35:12,880
a generation in in the film stock. In

1004
00:35:12,880 --> 00:35:16,560
this case with motion control, it if

1005
00:35:16,560 --> 00:35:18,000
they tell you it's going to take four

1006
00:35:18,000 --> 00:35:21,200
hours, double it and then quadruple it.

1007
00:35:21,200 --> 00:35:25,520
It is such an agonizingly slow process

1008
00:35:25,520 --> 00:35:29,839
that um it it takes just endlessly. So

1009
00:35:29,839 --> 00:35:32,839
fortunately

1010
00:35:32,960 --> 00:35:34,079
>> Oh

1011
00:35:34,079 --> 00:35:35,520
>> yes, there's kitty vision.

1012
00:35:35,520 --> 00:35:37,599
>> So how did you decide to throw that that

1013
00:35:37,599 --> 00:35:38,960
tint on?

1014
00:35:38,960 --> 00:35:40,720
>> Well, we put a filter on there. We

1015
00:35:40,720 --> 00:35:42,800
decided this is what cats

1016
00:35:42,800 --> 00:35:44,560
>> like infrared kind of thing.

1017
00:35:44,560 --> 00:35:47,119
>> That's how they see it. Exactly.

1018
00:35:47,119 --> 00:35:49,119
>> So he can't hear you when you're being

1019
00:35:49,119 --> 00:35:50,560
invisible. Obviously

1020
00:35:50,560 --> 00:35:51,839
>> the cat can. I don't know.

1021
00:35:51,839 --> 00:35:53,920
>> The cat can but the human can't.

1022
00:35:53,920 --> 00:35:54,240
>> Right.

1023
00:35:54,240 --> 00:35:55,200
>> This is complicated.

1024
00:35:55,200 --> 00:35:56,400
>> We're in kitty world at that point.

1025
00:35:56,400 --> 00:35:59,359
>> That's right. Invisible. Your audio and

1026
00:35:59,359 --> 00:36:01,200
visual all gone.

1027
00:36:01,200 --> 00:36:02,079
>> Okay. It's a good

1028
00:36:02,079 --> 00:36:03,520
>> except to cats.

1029
00:36:03,520 --> 00:36:04,160
>> Except cats.

1030
00:36:04,160 --> 00:36:06,560
>> Except to cats. But again, this is a

1031
00:36:06,560 --> 00:36:08,480
testament to how well this cat takes

1032
00:36:08,480 --> 00:36:09,440
direction.

1033
00:36:09,440 --> 00:36:10,960
>> Amazing. And he had good ideas of his

1034
00:36:10,960 --> 00:36:11,440
own, too.

1035
00:36:11,440 --> 00:36:12,960
>> Right. He was feeling it.

1036
00:36:12,960 --> 00:36:14,000
>> He was feling.

1037
00:36:14,000 --> 00:36:16,079
>> Yeah. How you get him to

1038
00:36:16,079 --> 00:36:16,880
>> feline?

1039
00:36:16,880 --> 00:36:18,400
>> You set me up. I'm sorry.

1040
00:36:18,400 --> 00:36:20,240
>> Wow. Knocked that one out of the park.

1041
00:36:20,240 --> 00:36:24,000
That looks like um like Ohigh or

1042
00:36:24,000 --> 00:36:25,119
something. Where

1043
00:36:25,119 --> 00:36:25,920
>> Oaks or something?

1044
00:36:25,920 --> 00:36:27,359
>> It's Newberry Park, which is near

1045
00:36:27,359 --> 00:36:30,000
Thousand Oaks. It's just north of north

1046
00:36:30,000 --> 00:36:30,960
uh northwest.

1047
00:36:30,960 --> 00:36:32,880
>> Do you remember if it was hot that day?

1048
00:36:32,880 --> 00:36:35,280
>> I don't think it was. This was not

1049
00:36:35,280 --> 00:36:38,000
summer. Um

1050
00:36:38,000 --> 00:36:39,440
>> because it would have been agonizing.

1051
00:36:39,440 --> 00:36:42,000
>> I like your choice of cars. I agree.

1052
00:36:42,000 --> 00:36:44,079
>> Thank you. Well, uh actually I think

1053
00:36:44,079 --> 00:36:46,000
they were scripted. Uh they were

1054
00:36:46,000 --> 00:36:47,280
scripted

1055
00:36:47,280 --> 00:36:49,040
>> and go into the Mustang and they talk

1056
00:36:49,040 --> 00:36:51,760
about it.

1057
00:36:51,760 --> 00:36:53,920
>> Boris, if you laugh, I'mma break your

1058
00:36:53,920 --> 00:36:56,920
jaw.

1059
00:36:58,640 --> 00:37:00,960
>> What is it?

1060
00:37:00,960 --> 00:37:02,400
>> Well, you know how I told you I couldn't

1061
00:37:02,400 --> 00:37:03,920
see him because of how fast we were

1062
00:37:03,920 --> 00:37:04,640
going, right?

1063
00:37:04,640 --> 00:37:08,160
>> Yeah. Well, that wasn't entirely true.

1064
00:37:08,160 --> 00:37:09,839
>> How's that?

1065
00:37:09,839 --> 00:37:11,599
>> Well, we were both doing 90. I pulled

1066
00:37:11,599 --> 00:37:12,800
right up beside him. We might as well

1067
00:37:12,800 --> 00:37:15,040
have been standing still, so you did get

1068
00:37:15,040 --> 00:37:17,440
a good look at him. But no, no, I

1069
00:37:17,440 --> 00:37:19,440
didn't. Cuz

1070
00:37:19,440 --> 00:37:21,280
see,

1071
00:37:21,280 --> 00:37:25,599
>> now obviously we shot this scene

1072
00:37:25,599 --> 00:37:28,079
>> before we shot the scene that preceded

1073
00:37:28,079 --> 00:37:30,400
it. Because it's not that he didn't have

1074
00:37:30,400 --> 00:37:33,040
a face. He had like six or seven faces,

1075
00:37:33,040 --> 00:37:35,760
>> right? But um it's something you hope

1076
00:37:35,760 --> 00:37:38,720
the audience doesn't notice at the time.

1077
00:37:38,720 --> 00:37:41,920
It it was a continuity thing that nobody

1078
00:37:41,920 --> 00:37:43,440
>> Well, I buy that. You know, he's saying

1079
00:37:43,440 --> 00:37:45,680
it's like a blur. Like he didn't see it

1080
00:37:45,680 --> 00:37:47,520
that clear. It just went from one to

1081
00:37:47,520 --> 00:37:48,560
another to another to

1082
00:37:48,560 --> 00:37:49,359
>> we did.

1083
00:37:49,359 --> 00:37:51,680
>> Well, we did. See, but

1084
00:37:51,680 --> 00:37:54,079
>> but he didn't. It was magic. That was

1085
00:37:54,079 --> 00:37:55,040
>> ah that's it.

1086
00:37:55,040 --> 00:37:56,720
>> You know, kind of like how

1087
00:37:56,720 --> 00:37:58,240
>> he didn't see him when he was invisible,

1088
00:37:58,240 --> 00:37:59,839
but the cat did see,

1089
00:37:59,839 --> 00:38:00,560
>> right?

1090
00:38:00,560 --> 00:38:02,160
>> The audience can see it, but

1091
00:38:02,160 --> 00:38:03,359
>> Okay. But he can't.

1092
00:38:03,359 --> 00:38:04,880
>> Yeah, we're like cats.

1093
00:38:04,880 --> 00:38:05,280
>> Yeah.

1094
00:38:05,280 --> 00:38:09,480
>> Okay, that makes sense.

1095
00:38:11,839 --> 00:38:12,560
>> Andy,

1096
00:38:12,560 --> 00:38:16,079
>> so Monty Bane played Horus, the deputy,

1097
00:38:16,079 --> 00:38:19,520
and Monty was a real character. He was

1098
00:38:19,520 --> 00:38:21,200
>> very much

1099
00:38:21,200 --> 00:38:25,359
>> I don't know if he was uh just really uh

1100
00:38:25,359 --> 00:38:25,839
method

1101
00:38:25,839 --> 00:38:26,960
>> method acting. Yeah.

1102
00:38:26,960 --> 00:38:29,520
>> Or that was him, but I have a strong

1103
00:38:29,520 --> 00:38:30,880
feeling that that was him. I haven't

1104
00:38:30,880 --> 00:38:32,880
seen him since, but he was he was a

1105
00:38:32,880 --> 00:38:36,720
character and really, as you can tell.

1106
00:38:36,720 --> 00:38:37,119
>> Oh,

1107
00:38:37,119 --> 00:38:38,320
>> that's my wife, Cynthia.

1108
00:38:38,320 --> 00:38:41,440
>> That's a pretty girl right there.

1109
00:38:41,440 --> 00:38:43,680
>> And uh yeah, we have a few cameos in

1110
00:38:43,680 --> 00:38:45,119
here coming up later that we'll talk

1111
00:38:45,119 --> 00:38:47,280
about. But um

1112
00:38:47,280 --> 00:38:50,560
>> if you listen closely here, you can hear

1113
00:38:50,560 --> 00:38:53,680
Clovis purring. He was such a happy cat.

1114
00:38:53,680 --> 00:38:55,680
He purr through that scene when he when

1115
00:38:55,680 --> 00:38:58,800
Dan gets close to him.

1116
00:38:59,599 --> 00:39:03,839
So now we're back on the Sony lot inside

1117
00:39:03,839 --> 00:39:04,880
the house.

1118
00:39:04,880 --> 00:39:06,160
>> Mother

1119
00:39:06,160 --> 00:39:07,760
>> mother's

1120
00:39:07,760 --> 00:39:08,160
bath.

1121
00:39:08,160 --> 00:39:10,320
>> So I think one of the reasons that King

1122
00:39:10,320 --> 00:39:12,320
approved me to direct this was because

1123
00:39:12,320 --> 00:39:15,760
he had seen Psycho 4, which was also

1124
00:39:15,760 --> 00:39:18,320
about a boy who sleeps with his mother.

1125
00:39:18,320 --> 00:39:21,040
>> Yes. Um, Henry Thomas playing a young

1126
00:39:21,040 --> 00:39:25,280
Norman Bates and his mother,

1127
00:39:25,280 --> 00:39:28,240
>> uh, played by Olivia Hussie, Mrs. Bates,

1128
00:39:28,240 --> 00:39:31,200
long before there was a Bates Motel.

1129
00:39:31,200 --> 00:39:32,960
>> Or at least a TV show called Bates

1130
00:39:32,960 --> 00:39:33,440
Motel.

1131
00:39:33,440 --> 00:39:36,000
>> Yeah.

1132
00:39:36,000 --> 00:39:39,040
>> Oh, what are you talking about?

1133
00:39:39,040 --> 00:39:42,320
>> Starving Charles. I need it.

1134
00:39:42,320 --> 00:39:44,880
>> You have to get it for me.

1135
00:39:44,880 --> 00:39:47,680
>> It's a good way to explain how this

1136
00:39:47,680 --> 00:39:50,560
works. And this you see her counting.

1137
00:39:50,560 --> 00:39:54,079
She goes one, two, because we had motion

1138
00:39:54,079 --> 00:39:56,000
control there and the camera is moving

1139
00:39:56,000 --> 00:39:58,800
and I said this is the count. You do it

1140
00:39:58,800 --> 00:40:00,800
on one and on two and she wasn't

1141
00:40:00,800 --> 00:40:01,760
supposed to say,

1142
00:40:01,760 --> 00:40:03,520
>> right? But it was one of those things

1143
00:40:03,520 --> 00:40:06,400
that overtakes you when you're acting

1144
00:40:06,400 --> 00:40:07,680
has to become technical,

1145
00:40:07,680 --> 00:40:08,720
>> right?

1146
00:40:08,720 --> 00:40:11,839
>> So it can be a real distraction.

1147
00:40:11,839 --> 00:40:12,800
>> But

1148
00:40:12,800 --> 00:40:14,480
>> see, that was that same that was at that

1149
00:40:14,480 --> 00:40:16,560
same rolling thing that I that I get on

1150
00:40:16,560 --> 00:40:19,440
later. That was very memorable.

1151
00:40:19,440 --> 00:40:22,440
>> Yes.

1152
00:40:24,240 --> 00:40:26,720
>> So, the whole point of this is kind of a

1153
00:40:26,720 --> 00:40:28,960
a a soul vampire. You know, it's not

1154
00:40:28,960 --> 00:40:31,040
sucking the blood, but it's sucking the

1155
00:40:31,040 --> 00:40:34,960
essence but of a virgin.

1156
00:40:34,960 --> 00:40:36,960
>> You know, people enjoy this movie so

1157
00:40:36,960 --> 00:40:38,560
much. Like when we got together and

1158
00:40:38,560 --> 00:40:40,560
watched at the cine family.

1159
00:40:40,560 --> 00:40:41,280
>> Yeah. Yeah.

1160
00:40:41,280 --> 00:40:43,119
>> Um it just reminds you like how

1161
00:40:43,119 --> 00:40:45,920
entertaining of a movie. every every

1162
00:40:45,920 --> 00:40:49,359
scene, every shot is just very rich, you

1163
00:40:49,359 --> 00:40:51,920
know, like I I feel like we're lacking

1164
00:40:51,920 --> 00:40:53,520
that a little bit with a lot of films

1165
00:40:53,520 --> 00:40:55,359
these days. So, I think this stands up

1166
00:40:55,359 --> 00:40:56,640
so well.

1167
00:40:56,640 --> 00:40:57,520
>> Well, you know, it's

1168
00:40:57,520 --> 00:40:58,480
>> it's a lot of fun.

1169
00:40:58,480 --> 00:41:00,079
>> It's interesting to see it after all

1170
00:41:00,079 --> 00:41:02,240
these years, plays in festivals and the

1171
00:41:02,240 --> 00:41:03,200
like and people see

1172
00:41:03,200 --> 00:41:04,319
>> a lot of times when you see something

1173
00:41:04,319 --> 00:41:07,040
that's has been done this long ago, it

1174
00:41:07,040 --> 00:41:08,319
looks a lot different.

1175
00:41:08,319 --> 00:41:11,040
>> It does. Yeah. Movies don't necessarily

1176
00:41:11,040 --> 00:41:12,560
>> It's nice when you see something hold

1177
00:41:12,560 --> 00:41:14,800
up, you know. Well, the audience seems

1178
00:41:14,800 --> 00:41:15,920
to have embraced it.

1179
00:41:15,920 --> 00:41:17,920
>> Uhoh.

1180
00:41:17,920 --> 00:41:20,319
>> Now, all of the uh this is one of my

1181
00:41:20,319 --> 00:41:21,839
favorite shots. It's just kind of an

1182
00:41:21,839 --> 00:41:24,000
elegant move into the fear

1183
00:41:24,000 --> 00:41:26,800
>> of people who incite fear, induce fear,

1184
00:41:26,800 --> 00:41:28,880
>> just enjoying being nuzzled.

1185
00:41:28,880 --> 00:41:31,760
>> Mama mama mommy.

1186
00:41:31,760 --> 00:41:35,599
>> Now, a these are very well-trained cats

1187
00:41:35,599 --> 00:41:38,960
and there are 126 of them. But they also

1188
00:41:38,960 --> 00:41:40,480
have tiny little harnesses.

1189
00:41:40,480 --> 00:41:42,960
>> I remember that. And those harnesses

1190
00:41:42,960 --> 00:41:44,800
were attached to posts.

1191
00:41:44,800 --> 00:41:46,400
>> They were like little. Yeah. Little

1192
00:41:46,400 --> 00:41:48,880
invisible harnesses that were put into

1193
00:41:48,880 --> 00:41:50,319
But they were so patient with it. They

1194
00:41:50,319 --> 00:41:50,560
were

1195
00:41:50,560 --> 00:41:52,400
>> They were They were trained to do it.

1196
00:41:52,400 --> 00:41:52,720
Now,

1197
00:41:52,720 --> 00:41:55,280
>> were they on catnip at the time?

1198
00:41:55,280 --> 00:41:56,560
>> Help them out.

1199
00:41:56,560 --> 00:41:58,640
>> No, they were method. They were method

1200
00:41:58,640 --> 00:42:00,079
method.

1201
00:42:00,079 --> 00:42:02,640
>> Now, this is an interesting scene.

1202
00:42:02,640 --> 00:42:03,280
>> Yes, it is.

1203
00:42:03,280 --> 00:42:04,079
>> I'm going to step out.

1204
00:42:04,079 --> 00:42:06,560
>> This is a very interesting scene. Well,

1205
00:42:06,560 --> 00:42:10,000
what's interesting about it is that we

1206
00:42:10,000 --> 00:42:11,920
could not get an R rating because of the

1207
00:42:11,920 --> 00:42:15,839
way it was shut shot. The intent was to

1208
00:42:15,839 --> 00:42:20,160
do it all in one shot and to reveal

1209
00:42:20,160 --> 00:42:24,000
the reality of them in the mirror as the

1210
00:42:24,000 --> 00:42:27,200
sleepwalker creatures all in one shot.

1211
00:42:27,200 --> 00:42:30,400
But because Brian's bottom was going up

1212
00:42:30,400 --> 00:42:32,480
and down, they would not give us an R

1213
00:42:32,480 --> 00:42:32,880
rating

1214
00:42:32,880 --> 00:42:35,599
>> really. So the elegance of the way

1215
00:42:35,599 --> 00:42:37,200
nowadays,

1216
00:42:37,200 --> 00:42:40,240
>> but the elegance of of how it was shot

1217
00:42:40,240 --> 00:42:43,520
was kind of destroyed by that.

1218
00:42:43,520 --> 00:42:44,240
>> Yeah.

1219
00:42:44,240 --> 00:42:45,119
>> But um

1220
00:42:45,119 --> 00:42:46,560
>> that's a compro that's an unfortunate

1221
00:42:46,560 --> 00:42:47,200
compromise.

1222
00:42:47,200 --> 00:42:48,880
>> Yeah. There were five different scenes

1223
00:42:48,880 --> 00:42:51,280
that had to be attenuated to get our R

1224
00:42:51,280 --> 00:42:53,040
rating. But there were things that could

1225
00:42:53,040 --> 00:42:55,200
be in other movies, not horror movies.

1226
00:42:55,200 --> 00:42:58,240
the the MPAA is much harder on horror

1227
00:42:58,240 --> 00:43:01,760
movies than they are on uh on dramas

1228
00:43:01,760 --> 00:43:03,839
because they don't like them basically.

1229
00:43:03,839 --> 00:43:04,960
I mean, there's no question.

1230
00:43:04,960 --> 00:43:06,480
>> They're like, you're taking off arms and

1231
00:43:06,480 --> 00:43:09,280
you're moving your butt too much. Too

1232
00:43:09,280 --> 00:43:10,480
much. Too far.

1233
00:43:10,480 --> 00:43:12,240
>> Exactly.

1234
00:43:12,240 --> 00:43:13,920
I was trying to figure out how to

1235
00:43:13,920 --> 00:43:16,079
beautifully shoot this scene and it just

1236
00:43:16,079 --> 00:43:18,640
was impossible. I I put that bowl of

1237
00:43:18,640 --> 00:43:20,640
fruit there to add the colors and

1238
00:43:20,640 --> 00:43:23,520
everything and to try and paint. One of

1239
00:43:23,520 --> 00:43:25,440
my favorite themes is Norman Rockwell

1240
00:43:25,440 --> 00:43:26,560
goes to hell

1241
00:43:26,560 --> 00:43:28,319
>> and Stephen King does that really well.

1242
00:43:28,319 --> 00:43:30,319
We did it in Critters Do and this

1243
00:43:30,319 --> 00:43:32,000
>> the whole point was to make that a

1244
00:43:32,000 --> 00:43:34,960
Norman Rockwell breakfast but I could

1245
00:43:34,960 --> 00:43:37,599
never really figure out how best to make

1246
00:43:37,599 --> 00:43:39,760
that beautiful. It's it bothers me that

1247
00:43:39,760 --> 00:43:41,920
it's so flat and

1248
00:43:41,920 --> 00:43:44,000
>> not rich. I mean, look at this. The the

1249
00:43:44,000 --> 00:43:45,680
hot spots of the sunlight coming

1250
00:43:45,680 --> 00:43:46,240
through,

1251
00:43:46,240 --> 00:43:46,720
>> right?

1252
00:43:46,720 --> 00:43:49,119
>> The soft background, the move that

1253
00:43:49,119 --> 00:43:51,760
reveals her behind him and the like. is

1254
00:43:51,760 --> 00:43:54,400
there's some feel and and elegance to it

1255
00:43:54,400 --> 00:43:56,720
and just that breakfast. You just have

1256
00:43:56,720 --> 00:44:00,240
to rely on the damned actress.

1257
00:44:00,240 --> 00:44:03,040
>> Charles,

1258
00:44:03,040 --> 00:44:05,359
>> uh-oh, there's a visitor.

1259
00:44:05,359 --> 00:44:06,880
>> You stay here.

1260
00:44:06,880 --> 00:44:09,760
>> Wait till you meet my mother.

1261
00:44:09,760 --> 00:44:11,520
>> Do we Did we know that Tanya was coming

1262
00:44:11,520 --> 00:44:13,599
over? Did we know that?

1263
00:44:13,599 --> 00:44:14,000
>> No.

1264
00:44:14,000 --> 00:44:14,800
>> Was it Was it?

1265
00:44:14,800 --> 00:44:16,960
>> No. You came over. You came over

1266
00:44:16,960 --> 00:44:18,800
unannounced.

1267
00:44:18,800 --> 00:44:20,720
>> Oh, dear. Bring her in.

1268
00:44:20,720 --> 00:44:22,560
>> The trouble she kissed herself into.

1269
00:44:22,560 --> 00:44:24,880
>> Look at those eyes. I mean, she was so

1270
00:44:24,880 --> 00:44:26,560
All of you were so committed to your

1271
00:44:26,560 --> 00:44:29,560
parts.

1272
00:44:32,319 --> 00:44:34,079
>> I like the little details. Like look at

1273
00:44:34,079 --> 00:44:36,319
the little heart earrings. You know,

1274
00:44:36,319 --> 00:44:37,440
like

1275
00:44:37,440 --> 00:44:39,839
>> every little detail tells a character

1276
00:44:39,839 --> 00:44:42,240
and costume designer thinks about those

1277
00:44:42,240 --> 00:44:43,760
little things.

1278
00:44:43,760 --> 00:44:46,079
>> See how we've got the highlights on you?

1279
00:44:46,079 --> 00:44:47,760
Look at Look at those eyes how they

1280
00:44:47,760 --> 00:44:49,920
light up. Come in, Tanya. I have

1281
00:44:49,920 --> 00:44:51,040
something for you.

1282
00:44:51,040 --> 00:44:52,160
>> Oh, do you?

1283
00:44:52,160 --> 00:44:55,440
>> Mhm. It's It was such a shame to waste

1284
00:44:55,440 --> 00:44:57,839
that beautiful face on the Borg Queen to

1285
00:44:57,839 --> 00:44:59,680
not see as much of it in the Star Trek

1286
00:44:59,680 --> 00:45:01,200
movie that she did. I mean, she's great

1287
00:45:01,200 --> 00:45:02,000
in it, but

1288
00:45:02,000 --> 00:45:02,400
>> yeah.

1289
00:45:02,400 --> 00:45:06,079
>> To to obscure so much of her.

1290
00:45:06,079 --> 00:45:08,319
>> We have a really simple trick coming up

1291
00:45:08,319 --> 00:45:10,480
here.

1292
00:45:10,480 --> 00:45:12,720
But uh it's a visual effect thing where

1293
00:45:12,720 --> 00:45:15,440
once again we're trying to hide the

1294
00:45:15,440 --> 00:45:17,599
actual look of sleepwalkers the way they

1295
00:45:17,599 --> 00:45:20,800
look in reality. That the way we did

1296
00:45:20,800 --> 00:45:23,520
that was very simple. It we did the shot

1297
00:45:23,520 --> 00:45:25,760
twice. Once with the sleepwalker in

1298
00:45:25,760 --> 00:45:27,520
place and once with Charles

1299
00:45:27,520 --> 00:45:28,880
>> you put your little splice somewhere

1300
00:45:28,880 --> 00:45:30,640
>> and then we just cut on the whip pan.

1301
00:45:30,640 --> 00:45:34,319
Yeah. So it's the oldest

1302
00:45:34,319 --> 00:45:36,480
special effect in the book and it still

1303
00:45:36,480 --> 00:45:38,960
works beautifully. You just lose it in

1304
00:45:38,960 --> 00:45:42,040
the pan.

1305
00:45:42,400 --> 00:45:44,400
>> You seem a little nervous there,

1306
00:45:44,400 --> 00:45:45,119
Charles.

1307
00:45:45,119 --> 00:45:45,839
>> Me?

1308
00:45:45,839 --> 00:45:49,040
>> Yeah. What What has you on edge?

1309
00:45:49,040 --> 00:45:49,920
>> It's the Mustang.

1310
00:45:49,920 --> 00:45:52,000
>> I don't trust my mother.

1311
00:45:52,000 --> 00:45:54,400
>> Who does?

1312
00:45:54,400 --> 00:45:57,440
>> Now, the uh production designer was John

1313
00:45:57,440 --> 00:46:01,359
Dur Jr. whose father John Decure was the

1314
00:46:01,359 --> 00:46:03,359
production designer on the original

1315
00:46:03,359 --> 00:46:07,200
Cleopatra. So, he had a long history of

1316
00:46:07,200 --> 00:46:09,040
production design and I don't know if

1317
00:46:09,040 --> 00:46:11,680
John's been working lately, but I don't

1318
00:46:11,680 --> 00:46:14,800
think he did a whole lot after this, but

1319
00:46:14,800 --> 00:46:17,200
um just an amazing production designer

1320
00:46:17,200 --> 00:46:18,400
and kind of

1321
00:46:18,400 --> 00:46:20,560
>> wanted to get that kind of craftsman

1322
00:46:20,560 --> 00:46:23,599
look inside that just a sense of history

1323
00:46:23,599 --> 00:46:25,520
to to this house.

1324
00:46:25,520 --> 00:46:27,520
>> So, that it didn't feel modern. It

1325
00:46:27,520 --> 00:46:29,680
doesn't feel like a subdivision. It just

1326
00:46:29,680 --> 00:46:32,240
>> there's pick up and move around a lot.

1327
00:46:32,240 --> 00:46:34,640
So they're going to be drawn to those

1328
00:46:34,640 --> 00:46:36,400
older

1329
00:46:36,400 --> 00:46:37,359
homes, right?

1330
00:46:37,359 --> 00:46:39,280
>> Yeah. Yes. And and just a visual

1331
00:46:39,280 --> 00:46:41,680
timeless. Yeah, it is.

1332
00:46:41,680 --> 00:46:43,280
>> Yes.

1333
00:46:43,280 --> 00:46:45,839
>> But just a a sense of timelessness and

1334
00:46:45,839 --> 00:46:48,720
to not feel the date of it.

1335
00:46:48,720 --> 00:46:50,480
>> Otherwise, I mean, in high school, we

1336
00:46:50,480 --> 00:46:52,160
feel 1992, but

1337
00:46:52,160 --> 00:46:55,520
>> feel the date of those shoes, though.

1338
00:46:55,520 --> 00:46:57,920
>> Oh my goodness.

1339
00:46:57,920 --> 00:46:59,119
>> And the hair.

1340
00:46:59,119 --> 00:47:01,359
and the hair and the white pants and my

1341
00:47:01,359 --> 00:47:04,720
really high jeans.

1342
00:47:04,720 --> 00:47:08,880
>> So, this is um Franklin Canyon in uh in

1343
00:47:08,880 --> 00:47:11,200
the literally the middle of Los Angeles.

1344
00:47:11,200 --> 00:47:12,400
There's a marker in the middle of

1345
00:47:12,400 --> 00:47:14,800
Franklin Canyon that says geographical

1346
00:47:14,800 --> 00:47:16,640
center of Los Angeles.

1347
00:47:16,640 --> 00:47:19,200
>> And so, we turned it into Homeland

1348
00:47:19,200 --> 00:47:21,920
Cemetery. And for those of you familiar

1349
00:47:21,920 --> 00:47:24,800
with Stephen King, Homeland is the

1350
00:47:24,800 --> 00:47:27,839
cemetery in all the Castle Rock stories.

1351
00:47:27,839 --> 00:47:28,480
And

1352
00:47:28,480 --> 00:47:30,960
>> this is the same location that I worked

1353
00:47:30,960 --> 00:47:33,359
with Anthony Perkins on.

1354
00:47:33,359 --> 00:47:34,800
>> Oh, the Toby Hooper movie.

1355
00:47:34,800 --> 00:47:38,240
>> The Toby Hooper movie. Um, we're the

1356
00:47:38,240 --> 00:47:39,760
infamous red dress.

1357
00:47:39,760 --> 00:47:40,160
>> Yes.

1358
00:47:40,160 --> 00:47:41,200
>> I'm dangerous tonight.

1359
00:47:41,200 --> 00:47:42,720
>> I'm dangerous tonight. Yeah.

1360
00:47:42,720 --> 00:47:43,839
>> Yeah.

1361
00:47:43,839 --> 00:47:46,240
>> That's interesting. And I first saw this

1362
00:47:46,240 --> 00:47:48,079
location when we were scouting it. I

1363
00:47:48,079 --> 00:47:50,000
mean, I I hike there all the time now,

1364
00:47:50,000 --> 00:47:52,720
but when we were scouting it, it was a

1365
00:47:52,720 --> 00:47:55,359
rainy 5 in the morning, uh, 6:00 in the

1366
00:47:55,359 --> 00:47:57,599
morning, and Madonna and her trainer

1367
00:47:57,599 --> 00:48:00,079
were were jogging through there. So,

1368
00:48:00,079 --> 00:48:01,599
that was my introduction to this

1369
00:48:01,599 --> 00:48:03,680
location. Now, it's very near where I

1370
00:48:03,680 --> 00:48:06,680
live.

1371
00:48:06,960 --> 00:48:08,400
>> One of the things that always bothers me

1372
00:48:08,400 --> 00:48:10,400
about this time period of my acting,

1373
00:48:10,400 --> 00:48:12,319
because I was young and new and finding

1374
00:48:12,319 --> 00:48:14,800
my way, is one of my nervous ticks was

1375
00:48:14,800 --> 00:48:17,599
to like bite my lip. So, I feel like I'm

1376
00:48:17,599 --> 00:48:20,160
just like licking and biting my lip

1377
00:48:20,160 --> 00:48:21,920
through like this entire movie,

1378
00:48:21,920 --> 00:48:24,160
>> just being adorable. That's

1379
00:48:24,160 --> 00:48:26,079
>> But, you know, it it works because Yeah.

1380
00:48:26,079 --> 00:48:28,160
She's cute and young and innocent.

1381
00:48:28,160 --> 00:48:31,680
>> Exactly. And so, the proverbial jump

1382
00:48:31,680 --> 00:48:33,520
scares where nothing really scary is

1383
00:48:33,520 --> 00:48:36,160
happening is kind of something you

1384
00:48:36,160 --> 00:48:38,000
>> that you have to put in your toolbox

1385
00:48:38,000 --> 00:48:40,079
when you're making uh films of this

1386
00:48:40,079 --> 00:48:40,640
genre.

1387
00:48:40,640 --> 00:48:41,280
>> Yeah.

1388
00:48:41,280 --> 00:48:43,520
>> But, um, this is an example of how

1389
00:48:43,520 --> 00:48:46,079
important sound is. I mean, it's a great

1390
00:48:46,079 --> 00:48:48,640
effect. And once again, it took endless

1391
00:48:48,640 --> 00:48:51,440
hours because of the motion control,

1392
00:48:51,440 --> 00:48:54,800
>> but um the sound of the metal stretching

1393
00:48:54,800 --> 00:48:57,440
and creaking and groaning really self.

1394
00:48:57,440 --> 00:48:59,680
>> So that's because he walked too far away

1395
00:48:59,680 --> 00:49:02,480
from the car and his magical morphing of

1396
00:49:02,480 --> 00:49:03,760
that car went away.

1397
00:49:03,760 --> 00:49:05,839
>> Yes. He didn't keep his concentration up

1398
00:49:05,839 --> 00:49:07,599
and it allowed itself to

1399
00:49:07,599 --> 00:49:09,599
>> I was a little distracted from some

1400
00:49:09,599 --> 00:49:13,280
high-waisted jeans.

1401
00:49:13,280 --> 00:49:16,720
>> Yeah. You have no clue. No clue how to

1402
00:49:16,720 --> 00:49:18,079
rub.

1403
00:49:18,079 --> 00:49:19,680
>> Oh,

1404
00:49:19,680 --> 00:49:22,800
>> leaving that alone, too.

1405
00:49:22,800 --> 00:49:24,319
>> Wait a minute. We just saw a scene that

1406
00:49:24,319 --> 00:49:26,559
proved he did.

1407
00:49:26,559 --> 00:49:29,520
>> Oh my god.

1408
00:49:29,520 --> 00:49:31,599
>> Originally, this scene ended with a lot

1409
00:49:31,599 --> 00:49:34,160
more punchlines,

1410
00:49:34,160 --> 00:49:36,960
>> but it seemed to undercut what had just

1411
00:49:36,960 --> 00:49:38,720
gone on here. So, there's a couple of

1412
00:49:38,720 --> 00:49:41,839
them left. Uh, but we didn't want to

1413
00:49:41,839 --> 00:49:44,960
Freddy Krueger it too much.

1414
00:49:44,960 --> 00:49:46,800
>> And this was something that I tried to

1415
00:49:46,800 --> 00:49:50,559
do here to keep them sort of stable and

1416
00:49:50,559 --> 00:49:52,480
the world around them going in a very

1417
00:49:52,480 --> 00:49:54,800
kind of dizzy romantic kind of shot. It

1418
00:49:54,800 --> 00:49:57,760
almost works, but we put a camera on a

1419
00:49:57,760 --> 00:50:01,680
sort of a a a trolley that would turn

1420
00:50:01,680 --> 00:50:03,920
>> and so just timed it with us. Yes,

1421
00:50:03,920 --> 00:50:06,000
exactly. So, we did it several times and

1422
00:50:06,000 --> 00:50:10,359
I'm sure you guys got a little dizzy.

1423
00:50:10,559 --> 00:50:12,640
I can't, Da.

1424
00:50:12,640 --> 00:50:13,520
>> So, it was

1425
00:50:13,520 --> 00:50:16,640
>> you feeling guilty. Are you feeling

1426
00:50:16,640 --> 00:50:19,599
cheating on my mother?

1427
00:50:19,599 --> 00:50:22,319
>> And then she takes over. She's not so

1428
00:50:22,319 --> 00:50:23,680
innocent, is she?

1429
00:50:23,680 --> 00:50:26,680
>> Mhm.

1430
00:50:26,880 --> 00:50:27,920
Getting on top.

1431
00:50:27,920 --> 00:50:31,880
>> Maybe she's not the one.

1432
00:50:32,640 --> 00:50:36,240
>> Nah, she's got the purple glow.

1433
00:50:36,240 --> 00:50:38,640
That was a challenge too to figure out

1434
00:50:38,640 --> 00:50:41,200
how do we indicate visually without

1435
00:50:41,200 --> 00:50:44,800
talking about it in dialogue that he's

1436
00:50:44,800 --> 00:50:47,200
removing the the virginal essence of

1437
00:50:47,200 --> 00:50:49,839
this girl and then feeding that virginal

1438
00:50:49,839 --> 00:50:52,800
essence to his mother which is what we

1439
00:50:52,800 --> 00:50:55,200
see when they're together which is how

1440
00:50:55,200 --> 00:50:57,680
we conceived of the purple glow

1441
00:50:57,680 --> 00:51:01,520
>> that it comes out of you and goes into

1442
00:51:01,520 --> 00:51:04,880
mom and it's a very strategically placed

1443
00:51:04,880 --> 00:51:11,040
virgin uh injection in in the movie. Um

1444
00:51:11,040 --> 00:51:14,160
the glow was very protective of two

1445
00:51:14,160 --> 00:51:15,440
actors.

1446
00:51:15,440 --> 00:51:17,119
>> If you listen to this commentary without

1447
00:51:17,119 --> 00:51:18,960
the visual it's incredibly

1448
00:51:18,960 --> 00:51:21,119
inappropriate.

1449
00:51:21,119 --> 00:51:22,720
>> Well, maybe with the visual it's even

1450
00:51:22,720 --> 00:51:23,599
more inappropriate.

1451
00:51:23,599 --> 00:51:25,760
>> Maybe. Maybe.

1452
00:51:25,760 --> 00:51:27,760
>> Fair enough.

1453
00:51:27,760 --> 00:51:32,079
>> So, this violence against women even in

1454
00:51:32,079 --> 00:51:34,160
making a movie is really tough for me.

1455
00:51:34,160 --> 00:51:34,640
Yeah,

1456
00:51:34,640 --> 00:51:36,720
>> this was really hard to do and I know it

1457
00:51:36,720 --> 00:51:40,640
was difficult for the both of you to to

1458
00:51:40,640 --> 00:51:43,839
orchestrate this and work this out and

1459
00:51:43,839 --> 00:51:45,520
make it

1460
00:51:45,520 --> 00:51:49,440
needy and violent without it being um

1461
00:51:49,440 --> 00:51:53,839
titilating and the violence of it being

1462
00:51:53,839 --> 00:51:56,960
just abusive in all the wrong ways

1463
00:51:56,960 --> 00:52:00,160
>> because metaphorically it is a rape,

1464
00:52:00,160 --> 00:52:02,640
>> right? But it could have gone that way

1465
00:52:02,640 --> 00:52:04,400
much more so. But

1466
00:52:04,400 --> 00:52:06,000
>> even though

1467
00:52:06,000 --> 00:52:08,480
>> it's long been history that women are

1468
00:52:08,480 --> 00:52:11,040
victims in horror films and and all

1469
00:52:11,040 --> 00:52:13,680
this, I just I didn't want brutalizing

1470
00:52:13,680 --> 00:52:14,880
here.

1471
00:52:14,880 --> 00:52:17,520
>> Um but it's a very fine line to walk.

1472
00:52:17,520 --> 00:52:20,079
It's a really difficult part to do. I

1473
00:52:20,079 --> 00:52:22,079
mean, even slugging a girl like that.

1474
00:52:22,079 --> 00:52:22,559
Yeah,

1475
00:52:22,559 --> 00:52:24,720
>> Brian, for you that

1476
00:52:24,720 --> 00:52:30,480
>> it's it's a it's a tough thing. And I've

1477
00:52:30,480 --> 00:52:32,400
In a few different movies, I've I've,

1478
00:52:32,400 --> 00:52:35,119
you know, been the bad guy and raped a

1479
00:52:35,119 --> 00:52:37,599
girl, beat up a girl, and it's murdered

1480
00:52:37,599 --> 00:52:39,359
people. And it's, you know, it's it's

1481
00:52:39,359 --> 00:52:41,760
never easy because you have to be in

1482
00:52:41,760 --> 00:52:44,960
that moment and make it a a realistic

1483
00:52:44,960 --> 00:52:46,880
moment. And it's, you know, something

1484
00:52:46,880 --> 00:52:49,440
I've never would never do, but

1485
00:52:49,440 --> 00:52:51,520
>> it's uh it's not I don't think it's easy

1486
00:52:51,520 --> 00:52:52,720
on either side.

1487
00:52:52,720 --> 00:52:53,280
>> Yeah.

1488
00:52:53,280 --> 00:52:55,599
>> Why don't you just think of yourself as

1489
00:52:55,599 --> 00:52:56,400
lunch?

1490
00:52:56,400 --> 00:52:59,800
>> So, here

1491
00:53:00,319 --> 00:53:01,920
That was fun

1492
00:53:01,920 --> 00:53:04,559
>> because we actually built a foam rubber

1493
00:53:04,559 --> 00:53:06,319
camera that you bash him in the face

1494
00:53:06,319 --> 00:53:06,800
with.

1495
00:53:06,800 --> 00:53:08,880
>> Yeah.

1496
00:53:08,880 --> 00:53:10,640
>> And here's the time when you want to be

1497
00:53:10,640 --> 00:53:12,400
in a movie theater with an audience.

1498
00:53:12,400 --> 00:53:15,760
>> Turn away

1499
00:53:15,760 --> 00:53:18,559
to leave. What are you doing?

1500
00:53:18,559 --> 00:53:20,800
>> So many cries I've heard over the years

1501
00:53:20,800 --> 00:53:24,880
of stupid What are you doing?

1502
00:53:24,880 --> 00:53:25,520
>> Literally

1503
00:53:25,520 --> 00:53:26,640
>> get out of there.

1504
00:53:26,640 --> 00:53:30,240
>> Yep. GET AWAY. WHY ARE YOU DOING THAT?

1505
00:53:30,240 --> 00:53:31,359
>> Because it's a horrible

1506
00:53:31,359 --> 00:53:34,839
>> Cuz it's true.

1507
00:53:37,760 --> 00:53:41,000
>> It does.

1508
00:53:42,240 --> 00:53:44,160
>> Now, this was also fun.

1509
00:53:44,160 --> 00:53:45,920
>> These were all very technical cuts that

1510
00:53:45,920 --> 00:53:47,839
we had to orchestrate, too.

1511
00:53:47,839 --> 00:53:49,680
>> Yeah. It's like doing a jigsaw puzzle.

1512
00:53:49,680 --> 00:53:51,200
>> And then you land here, and then you're

1513
00:53:51,200 --> 00:53:53,040
going to shoot it here. And then also to

1514
00:53:53,040 --> 00:53:53,680
stay

1515
00:53:53,680 --> 00:53:54,480
>> and that

1516
00:53:54,480 --> 00:53:57,200
>> emotionally, you know, in the right

1517
00:53:57,200 --> 00:53:59,760
place between shots and setups is

1518
00:53:59,760 --> 00:54:02,240
>> right because all of it each piece takes

1519
00:54:02,240 --> 00:54:03,920
time because it's different stages of

1520
00:54:03,920 --> 00:54:06,400
the makeup. You've got no makeup, no

1521
00:54:06,400 --> 00:54:08,240
creature makeup, then the morphed

1522
00:54:08,240 --> 00:54:11,599
makeup, then the eyeball out makeup.

1523
00:54:11,599 --> 00:54:14,240
>> And I love that you've got the ganglia

1524
00:54:14,240 --> 00:54:16,079
of the eyeball hanging on the end of the

1525
00:54:16,079 --> 00:54:16,640
cork

1526
00:54:16,640 --> 00:54:19,280
>> because it took so long

1527
00:54:19,280 --> 00:54:21,440
for the makeup. Did we shoot this in the

1528
00:54:21,440 --> 00:54:22,400
same day? We did.

1529
00:54:22,400 --> 00:54:24,559
>> Wasn't Wasn't this like a a week or two?

1530
00:54:24,559 --> 00:54:27,040
That whole sequence down in there?

1531
00:54:27,040 --> 00:54:29,040
>> Well, the sequence down in there was I

1532
00:54:29,040 --> 00:54:31,839
think that was three days or it might

1533
00:54:31,839 --> 00:54:33,119
have been more

1534
00:54:33,119 --> 00:54:34,800
>> actually. Yeah, I think it was a whole

1535
00:54:34,800 --> 00:54:35,920
week up in Franklin County.

1536
00:54:35,920 --> 00:54:37,599
>> So, some days had makeup and then other

1537
00:54:37,599 --> 00:54:38,400
days didn't have

1538
00:54:38,400 --> 00:54:40,640
>> Well, no, it was a scene at a time. So,

1539
00:54:40,640 --> 00:54:42,880
we didn't jump between scenes. So, we

1540
00:54:42,880 --> 00:54:44,319
would have to wait for the makeup

1541
00:54:44,319 --> 00:54:46,800
applications because that was all uh

1542
00:54:46,800 --> 00:54:49,280
Brian in that scene. Uh there was no new

1543
00:54:49,280 --> 00:54:52,559
noradi there. Now that song he was

1544
00:54:52,559 --> 00:54:53,839
singing, here comes Johnny with his

1545
00:54:53,839 --> 00:54:55,359
pecker in his hand, was something that

1546
00:54:55,359 --> 00:54:57,440
King had actually asked for. It wasn't

1547
00:54:57,440 --> 00:54:59,280
written in the script, but I didn't know

1548
00:54:59,280 --> 00:55:01,119
what the hell he was talking about. And

1549
00:55:01,119 --> 00:55:02,880
I talked to my brother Donald and he

1550
00:55:02,880 --> 00:55:05,119
said, "Oh yeah, that's his country song.

1551
00:55:05,119 --> 00:55:06,720
Yeah, it's called the cowboy song or

1552
00:55:06,720 --> 00:55:08,640
something like or or the pecker song. I

1553
00:55:08,640 --> 00:55:10,559
don't know what it was, but but we ended

1554
00:55:10,559 --> 00:55:12,079
up having to get the rights for it for

1555
00:55:12,079 --> 00:55:14,480
Dan to sing.

1556
00:55:14,480 --> 00:55:16,960
>> Pencil in the ear wasn't bad enough. I

1557
00:55:16,960 --> 00:55:20,319
had to do that." Oh,

1558
00:55:20,319 --> 00:55:22,079
>> cop cop on a cob.

1559
00:55:22,079 --> 00:55:25,839
>> Cop kebab. Yeah, that's it. Memorable

1560
00:55:25,839 --> 00:55:28,400
dialogue. So,

1561
00:55:28,400 --> 00:55:30,559
>> and again, now we've got another stage

1562
00:55:30,559 --> 00:55:32,800
of the makeup. And this is another It's

1563
00:55:32,800 --> 00:55:35,280
not the same day. And of course, he

1564
00:55:35,280 --> 00:55:37,280
survived the cop kebab. Of course,

1565
00:55:37,280 --> 00:55:38,800
>> he survived the cop kebab

1566
00:55:38,800 --> 00:55:40,559
>> because it's a movie.

1567
00:55:40,559 --> 00:55:42,960
>> Oh, God. But this was this was difficult

1568
00:55:42,960 --> 00:55:47,359
to to um choreograph because so many

1569
00:55:47,359 --> 00:55:51,920
things have to go on here. Um

1570
00:55:51,920 --> 00:55:54,480
>> and now you were you were rigged for the

1571
00:55:54,480 --> 00:55:55,920
squib, right?

1572
00:55:55,920 --> 00:55:58,079
>> Yeah. And then so was he. I've never

1573
00:55:58,079 --> 00:56:01,200
shot a gun in a movie here. And then I

1574
00:56:01,200 --> 00:56:03,280
remember when I shot him and you guys

1575
00:56:03,280 --> 00:56:05,040
had him on a big harness and he flew

1576
00:56:05,040 --> 00:56:07,119
back 50. pulled him back on a wire

1577
00:56:07,119 --> 00:56:09,200
>> and his chest blows up and

1578
00:56:09,200 --> 00:56:12,559
>> I made my lips purse and I went

1579
00:56:12,559 --> 00:56:14,640
>> when I fire the gun. I think you came up

1580
00:56:14,640 --> 00:56:15,839
to me and said, "Listen, I'm not going

1581
00:56:15,839 --> 00:56:17,520
to tell him why we're going again, but

1582
00:56:17,520 --> 00:56:20,960
if you if you make the sound again, I

1583
00:56:20,960 --> 00:56:22,400
will."

1584
00:56:22,400 --> 00:56:25,440
>> And the irony of it is this is Well,

1585
00:56:25,440 --> 00:56:27,599
here if you look closely at the bottom

1586
00:56:27,599 --> 00:56:29,599
of the frame, you can see the bottom of

1587
00:56:29,599 --> 00:56:30,799
the puppet.

1588
00:56:30,799 --> 00:56:31,520
>> Oh my gosh.

1589
00:56:31,520 --> 00:56:33,920
>> The cat puppet. That's the real Clovis.

1590
00:56:33,920 --> 00:56:35,760
And there it's intercut between that and

1591
00:56:35,760 --> 00:56:38,000
a puppeted cat with the claws that are

1592
00:56:38,000 --> 00:56:40,720
scratching the face and everything. But

1593
00:56:40,720 --> 00:56:43,440
uh the scene with Dan's belly blowing

1594
00:56:43,440 --> 00:56:45,200
out from the squibs and everything, we

1595
00:56:45,200 --> 00:56:47,200
actually had to cut that to get an R

1596
00:56:47,200 --> 00:56:47,839
rating.

1597
00:56:47,839 --> 00:56:49,280
>> And you've seen that in a hundred

1598
00:56:49,280 --> 00:56:50,000
movies.

1599
00:56:50,000 --> 00:56:50,480
>> Yeah.

1600
00:56:50,480 --> 00:56:53,599
>> But somehow we couldn't show it.

1601
00:56:53,599 --> 00:56:54,400
>> So

1602
00:56:54,400 --> 00:56:56,079
>> because we had butt movement.

1603
00:56:56,079 --> 00:56:56,960
>> Yeah.

1604
00:56:56,960 --> 00:56:58,640
>> Well, couldn't keep your butt. That was

1605
00:56:58,640 --> 00:57:00,480
one of the five different scene. I I

1606
00:57:00,480 --> 00:57:02,000
don't know why your bear ass was going

1607
00:57:02,000 --> 00:57:03,920
up and down in this scene, but we had to

1608
00:57:03,920 --> 00:57:07,160
cut it.

1609
00:57:09,440 --> 00:57:11,599
>> Please come.

1610
00:57:11,599 --> 00:57:16,480
>> Now look at this is an amazing shot.

1611
00:57:16,480 --> 00:57:18,799
>> Y

1612
00:57:18,799 --> 00:57:22,160
>> it's almost supernatural how how good

1613
00:57:22,160 --> 00:57:25,119
Sparks was at this. I mean, he literally

1614
00:57:25,119 --> 00:57:29,599
took direction to climb up on his chest

1615
00:57:29,599 --> 00:57:32,720
>> and just settle down there and look sad.

1616
00:57:32,720 --> 00:57:32,960
>> Yeah,

1617
00:57:32,960 --> 00:57:33,839
>> it's heartbreaking.

1618
00:57:33,839 --> 00:57:35,280
>> How did you do that?

1619
00:57:35,280 --> 00:57:39,319
>> Uh, very good trainers.

1620
00:57:41,920 --> 00:57:44,160
>> You know, you really should keep your

1621
00:57:44,160 --> 00:57:46,000
front yard in better condition. Maybe

1622
00:57:46,000 --> 00:57:49,200
you wouldn't get so many wild cats.

1623
00:57:49,200 --> 00:57:51,200
And now that you know that they're all

1624
00:57:51,200 --> 00:57:53,520
harnessed to their spots there, it kind

1625
00:57:53,520 --> 00:57:55,839
of changes how you see this.

1626
00:57:55,839 --> 00:57:57,440
>> Yeah.

1627
00:57:57,440 --> 00:57:58,880
>> Poor Charles.

1628
00:57:58,880 --> 00:58:01,680
>> This was pretty intense uh doing this

1629
00:58:01,680 --> 00:58:04,240
and it took a lot of time because the

1630
00:58:04,240 --> 00:58:06,799
makeup was rough.

1631
00:58:06,799 --> 00:58:10,040
>> Did it?

1632
00:58:11,040 --> 00:58:12,559
>> So, at this point, you've decided you're

1633
00:58:12,559 --> 00:58:14,720
you're you're committing to Charles not

1634
00:58:14,720 --> 00:58:15,920
having an eye now.

1635
00:58:15,920 --> 00:58:18,160
>> That's right. pretty blind at this

1636
00:58:18,160 --> 00:58:18,960
point.

1637
00:58:18,960 --> 00:58:22,720
>> And we also have under the the latex

1638
00:58:22,720 --> 00:58:25,200
where those scratches are, you've got

1639
00:58:25,200 --> 00:58:26,720
smoke coming out as well.

1640
00:58:26,720 --> 00:58:28,799
>> Tubes going everywhere. Everything is

1641
00:58:28,799 --> 00:58:29,680
running.

1642
00:58:29,680 --> 00:58:32,640
>> So, a lot of this was inspired I have

1643
00:58:32,640 --> 00:58:34,480
that lamp in my house. A lot of the

1644
00:58:34,480 --> 00:58:37,440
design here was inspired by my house,

1645
00:58:37,440 --> 00:58:40,640
the living room of my house that uh that

1646
00:58:40,640 --> 00:58:42,640
>> this was your full latex.

1647
00:58:42,640 --> 00:58:44,640
>> Yeah, I was stoked. They made me ripped.

1648
00:58:44,640 --> 00:58:45,040
Yeah.

1649
00:58:45,040 --> 00:58:46,880
>> Was this

1650
00:58:46,880 --> 00:58:48,480
>> is this is this when you were saying

1651
00:58:48,480 --> 00:58:50,079
that like it got very hot and

1652
00:58:50,079 --> 00:58:50,880
claustrophobic?

1653
00:58:50,880 --> 00:58:52,079
>> Hot. Yeah.

1654
00:58:52,079 --> 00:58:54,000
>> And you couldn't eat food?

1655
00:58:54,000 --> 00:58:55,200
>> Couldn't eat food. Not to be that

1656
00:58:55,200 --> 00:58:58,079
ripped. You got to have the right

1657
00:58:58,079 --> 00:59:00,240
>> but it would ruin your latex.

1658
00:59:00,240 --> 00:59:01,280
>> Very hot.

1659
00:59:01,280 --> 00:59:03,040
>> But you wanted to bring wanted to bring

1660
00:59:03,040 --> 00:59:04,720
this to life. And so that's why that

1661
00:59:04,720 --> 00:59:07,040
foam is there when you apply that sav

1662
00:59:07,040 --> 00:59:10,240
that she puts on. So it's not just

1663
00:59:10,240 --> 00:59:12,799
rubbing something on a pile of latex,

1664
00:59:12,799 --> 00:59:14,799
but it's interactive with the actors,

1665
00:59:14,799 --> 00:59:16,799
you know, so that it lives a little bit.

1666
00:59:16,799 --> 00:59:19,799
>> Yeah.

1667
00:59:21,839 --> 00:59:26,000
>> Also very challenging to find stages for

1668
00:59:26,000 --> 00:59:28,319
these makeups. You know, the the little

1669
00:59:28,319 --> 00:59:30,720
bit that's just mostly a brow piece that

1670
00:59:30,720 --> 00:59:32,720
you had in the earlier scene in the in

1671
00:59:32,720 --> 00:59:33,920
the graveyard.

1672
00:59:33,920 --> 00:59:37,839
>> Yeah. and then to this where you're

1673
00:59:37,839 --> 00:59:40,720
showing what the creatures are, but

1674
00:59:40,720 --> 00:59:42,559
you're not all the way there. You know,

1675
00:59:42,559 --> 00:59:45,040
it's kind of this is the halfway point.

1676
00:59:45,040 --> 00:59:46,559
>> You still got You still got your

1677
00:59:46,559 --> 00:59:47,920
original hair.

1678
00:59:47,920 --> 00:59:49,200
>> Well,

1679
00:59:49,200 --> 00:59:52,160
>> I can't, Mom. I can't do it.

1680
00:59:52,160 --> 00:59:54,799
>> It's all right on for both of us.

1681
00:59:54,799 --> 00:59:59,480
>> There's the car and the trash.

1682
00:59:59,680 --> 01:00:03,640
I'll take care of you.

1683
01:00:05,280 --> 01:00:07,599
Okay, so this

1684
01:00:07,599 --> 01:00:10,160
>> kebab didn't make it.

1685
01:00:10,160 --> 01:00:12,880
>> Obviously, this is Stephen King

1686
01:00:12,880 --> 01:00:15,680
>> and this is Toby Hooper with whom Magan

1687
01:00:15,680 --> 01:00:19,200
had made um I'm dangerous tonight.

1688
01:00:19,200 --> 01:00:20,319
>> Yeah.

1689
01:00:20,319 --> 01:00:24,720
>> And then we come up to none other than

1690
01:00:24,720 --> 01:00:26,720
Come on, come on, come on, play it

1691
01:00:26,720 --> 01:00:29,280
quick. Clive Barker. So, they're not

1692
01:00:29,280 --> 01:00:31,440
only in the same scene, but they're in

1693
01:00:31,440 --> 01:00:32,559
the same shot.

1694
01:00:32,559 --> 01:00:34,319
>> It was amazing. How did you How was it

1695
01:00:34,319 --> 01:00:35,359
directing all of them?

1696
01:00:35,359 --> 01:00:36,960
>> Well, it was really fun because Clive

1697
01:00:36,960 --> 01:00:38,319
and I had been friends and had worked

1698
01:00:38,319 --> 01:00:39,839
together, and he and King had never

1699
01:00:39,839 --> 01:00:42,720
worked before, never met before. And

1700
01:00:42,720 --> 01:00:45,040
King kind of made Clive's career in this

1701
01:00:45,040 --> 01:00:47,280
country by giving him a quote that says,

1702
01:00:47,280 --> 01:00:49,040
"I've seen the future of horror, and his

1703
01:00:49,040 --> 01:00:51,359
name is Clive Barker." And so, that made

1704
01:00:51,359 --> 01:00:53,760
him a best-selling writer. See, this was

1705
01:00:53,760 --> 01:00:55,280
hard for me to do because I was wanting

1706
01:00:55,280 --> 01:00:57,200
to enjoy all these legends in the same

1707
01:00:57,200 --> 01:00:59,760
scene, but I had to be in this state,

1708
01:00:59,760 --> 01:01:00,480
>> you know.

1709
01:01:00,480 --> 01:01:01,599
>> Yes. And

1710
01:01:01,599 --> 01:01:03,119
>> very emotional.

1711
01:01:03,119 --> 01:01:05,680
>> It's an incredibly emotional scene.

1712
01:01:05,680 --> 01:01:08,400
>> The irony of of having those guys in it,

1713
01:01:08,400 --> 01:01:10,480
that wasn't written in the script,

1714
01:01:10,480 --> 01:01:13,119
>> but it was an idea that I'd had and and

1715
01:01:13,119 --> 01:01:15,119
I wanted King to be there and these guys

1716
01:01:15,119 --> 01:01:17,680
to be there. And I'd never met Steve

1717
01:01:17,680 --> 01:01:19,520
until that scene

1718
01:01:19,520 --> 01:01:22,160
>> that morning in my morning granola

1719
01:01:22,160 --> 01:01:23,680
before we started shooting while we were

1720
01:01:23,680 --> 01:01:26,079
prepping. I broke a moler.

1721
01:01:26,079 --> 01:01:29,280
>> And I had to go down to my dentist and

1722
01:01:29,280 --> 01:01:31,920
actually get a a a temporary moler on

1723
01:01:31,920 --> 01:01:33,520
before King is coming. Hurry up. Hurry

1724
01:01:33,520 --> 01:01:35,440
up. I'm meeting Stephen King. And he was

1725
01:01:35,440 --> 01:01:37,440
only there for two hours.

1726
01:01:37,440 --> 01:01:40,160
>> So we had to do that scene in its

1727
01:01:40,160 --> 01:01:43,200
entirety with him and Clive and Toby in

1728
01:01:43,200 --> 01:01:45,520
two hours. And the funny part about it

1729
01:01:45,520 --> 01:01:49,040
is you could cut that scene completely.

1730
01:01:49,040 --> 01:01:50,960
Just cut in on where the sheriff goes to

1731
01:01:50,960 --> 01:01:51,520
Tanya.

1732
01:01:51,520 --> 01:01:51,839
>> Yeah.

1733
01:01:51,839 --> 01:01:54,799
>> And no one would ever notice except

1734
01:01:54,799 --> 01:01:57,119
>> Google Gobble, one of us, you know, we

1735
01:01:57,119 --> 01:01:59,520
we know who those guys are and to add to

1736
01:01:59,520 --> 01:02:01,760
the enjoyment to to the movie for the

1737
01:02:01,760 --> 01:02:02,720
fans.

1738
01:02:02,720 --> 01:02:04,400
>> But then this is an incredibly important

1739
01:02:04,400 --> 01:02:06,880
scene and really emotional. So let's get

1740
01:02:06,880 --> 01:02:08,720
our fun out of the way then get into it.

1741
01:02:08,720 --> 01:02:12,359
>> Get into it. Yeah.

1742
01:02:12,880 --> 01:02:16,240
And Horus is a very sensitive character.

1743
01:02:16,240 --> 01:02:19,680
>> He's got high-waisted pants, too.

1744
01:02:19,680 --> 01:02:22,160
>> Yeah, those are 92 pants. Yeah,

1745
01:02:22,160 --> 01:02:23,440
>> for sure.

1746
01:02:23,440 --> 01:02:26,160
>> 92 sheriff pants. At least movie sheriff

1747
01:02:26,160 --> 01:02:28,880
pants in '92.

1748
01:02:28,880 --> 01:02:31,440
>> Here it is.

1749
01:02:31,440 --> 01:02:33,440
>> It was very charming.

1750
01:02:33,440 --> 01:02:36,079
>> Charming is the word for Charles Brady.

1751
01:02:36,079 --> 01:02:36,720
And

1752
01:02:36,720 --> 01:02:37,280
>> man,

1753
01:02:37,280 --> 01:02:39,440
>> Tanya Robert, you broke her heart.

1754
01:02:39,440 --> 01:02:40,079
Charles,

1755
01:02:40,079 --> 01:02:43,079
>> I

1756
01:02:43,200 --> 01:02:45,119
>> wanted to keep your soul forever.

1757
01:02:45,119 --> 01:02:46,960
>> Well,

1758
01:02:46,960 --> 01:02:49,040
you asked nicely.

1759
01:02:49,040 --> 01:02:51,520
>> Maybe I would have given it to you.

1760
01:02:51,520 --> 01:02:53,839
>> Yeah, but your heart belonged to Clovis.

1761
01:02:53,839 --> 01:02:55,040
>> True.

1762
01:02:55,040 --> 01:02:57,119
>> True.

1763
01:02:57,119 --> 01:03:00,400
>> The cat saved my life.

1764
01:03:00,400 --> 01:03:01,599
>> Okay.

1765
01:03:01,599 --> 01:03:04,000
>> Thank you.

1766
01:03:04,000 --> 01:03:05,599
>> Now, here's sensitive man.

1767
01:03:05,599 --> 01:03:07,280
>> Do her parents know a class one assault

1768
01:03:07,280 --> 01:03:09,040
did not occur? You mean that they know

1769
01:03:09,040 --> 01:03:10,799
she managed to avoid being raped by the

1770
01:03:10,799 --> 01:03:13,359
bastard? Yes.

1771
01:03:13,359 --> 01:03:14,640
>> Okay.

1772
01:03:14,640 --> 01:03:16,079
>> Just what everybody wants in a

1773
01:03:16,079 --> 01:03:17,760
commentary track is when everybody goes

1774
01:03:17,760 --> 01:03:19,280
silent to listen to the line being

1775
01:03:19,280 --> 01:03:20,960
delivered.

1776
01:03:20,960 --> 01:03:22,640
>> It's so great though.

1777
01:03:22,640 --> 01:03:24,799
>> But again, all of this is in Franklin

1778
01:03:24,799 --> 01:03:26,640
Canyon in the middle of Los Angeles and

1779
01:03:26,640 --> 01:03:29,039
now we're back to the back lot at Warner

1780
01:03:29,039 --> 01:03:29,599
Brothers.

1781
01:03:29,599 --> 01:03:30,160
>> Yep.

1782
01:03:30,160 --> 01:03:34,240
>> And now we're back on the stage at Sony.

1783
01:03:34,240 --> 01:03:37,440
So this movie was the first one where I

1784
01:03:37,440 --> 01:03:39,359
really discovered how effective a wide

1785
01:03:39,359 --> 01:03:41,200
lens can be and now it's it's really

1786
01:03:41,200 --> 01:03:44,559
part of my toolbox is you know that at

1787
01:03:44,559 --> 01:03:47,119
that time really 14 was pretty ultra

1788
01:03:47,119 --> 01:03:50,079
wide then I'll go to a 10 now but to to

1789
01:03:50,079 --> 01:03:51,920
see the world around the characters and

1790
01:03:51,920 --> 01:03:55,039
really take in the entirety of their

1791
01:03:55,039 --> 01:03:57,119
plight is something that I think is

1792
01:03:57,119 --> 01:03:58,880
really important the geography and not

1793
01:03:58,880 --> 01:04:02,240
just faces in closeup but putting giving

1794
01:04:02,240 --> 01:04:04,480
them a sense of place. So,

1795
01:04:04,480 --> 01:04:07,599
>> the interior was on the Sony lot.

1796
01:04:07,599 --> 01:04:08,400
>> Sony lot. Yeah.

1797
01:04:08,400 --> 01:04:10,880
>> Yeah.

1798
01:04:10,880 --> 01:04:14,400
>> And um there's a good story coming up.

1799
01:04:14,400 --> 01:04:16,720
>> Yeah. That is a trailer shot. Her eyes

1800
01:04:16,720 --> 01:04:17,280
over

1801
01:04:17,280 --> 01:04:17,760
>> Yeah.

1802
01:04:17,760 --> 01:04:20,160
>> your bloody ruined monster face.

1803
01:04:20,160 --> 01:04:22,720
>> Sure.

1804
01:04:22,720 --> 01:04:25,760
>> But um these effects were something

1805
01:04:25,760 --> 01:04:29,039
again we kind of helped invent them.

1806
01:04:29,039 --> 01:04:30,880
There had been morphing. It had only

1807
01:04:30,880 --> 01:04:32,480
been in the Michael Jackson black and

1808
01:04:32,480 --> 01:04:34,480
white video which was directed by John

1809
01:04:34,480 --> 01:04:37,760
Landis and the same company did the

1810
01:04:37,760 --> 01:04:40,480
morphing that we did. But I'd never seen

1811
01:04:40,480 --> 01:04:42,079
anything like this before and I didn't

1812
01:04:42,079 --> 01:04:44,720
want the cars to just disappear and I

1813
01:04:44,720 --> 01:04:46,480
wanted to make sure the shot was moving

1814
01:04:46,480 --> 01:04:48,960
so that it carried the impact. You felt

1815
01:04:48,960 --> 01:04:51,039
it was really happening. So there was

1816
01:04:51,039 --> 01:04:52,720
that halfway stage where it's

1817
01:04:52,720 --> 01:04:55,440
transparent and then it's gone. It kind

1818
01:04:55,440 --> 01:04:58,319
of eats itself away. And so we were

1819
01:04:58,319 --> 01:04:59,920
really flying by the seat of our pants

1820
01:04:59,920 --> 01:05:02,079
at that time and kind of inventing how

1821
01:05:02,079 --> 01:05:04,400
to do this and combining

1822
01:05:04,400 --> 01:05:06,400
motion control, which was invented for

1823
01:05:06,400 --> 01:05:09,440
Star Wars back in 77. Combine that with

1824
01:05:09,440 --> 01:05:12,559
CGI and morphing uh qualities and and

1825
01:05:12,559 --> 01:05:14,240
really try and do something special with

1826
01:05:14,240 --> 01:05:15,200
it.

1827
01:05:15,200 --> 01:05:17,440
>> Charles Brady, if you're in there, come

1828
01:05:17,440 --> 01:05:19,520
out with your hands open and empty.

1829
01:05:19,520 --> 01:05:21,440
>> They're on to you. And the same thing

1830
01:05:21,440 --> 01:05:24,240
here once we do what we did with the

1831
01:05:24,240 --> 01:05:28,160
cars now with with Charles Brady again

1832
01:05:28,160 --> 01:05:31,680
it's motion control and uh every time

1833
01:05:31,680 --> 01:05:33,920
there's a motion control shot you just

1834
01:05:33,920 --> 01:05:35,920
basically throw away a third or a half

1835
01:05:35,920 --> 01:05:38,559
of your day to setting it over and over

1836
01:05:38,559 --> 01:05:40,319
especially when you've got stages of

1837
01:05:40,319 --> 01:05:43,119
makeup effects.

1838
01:05:43,119 --> 01:05:44,880
>> How many times did you have to do this

1839
01:05:44,880 --> 01:05:46,079
to get it right?

1840
01:05:46,079 --> 01:05:48,160
>> This was probably repeated about eight

1841
01:05:48,160 --> 01:05:50,960
times. Yeah.

1842
01:05:50,960 --> 01:05:53,359
>> And then you'd fade part of it out and

1843
01:05:53,359 --> 01:05:54,880
keep part of it solid and all that,

1844
01:05:54,880 --> 01:05:56,240
>> right? So it doesn't go at the same time

1845
01:05:56,240 --> 01:05:58,160
>> and it just feels more real. Yeah.

1846
01:05:58,160 --> 01:06:00,160
Organic if the movement is going there

1847
01:06:00,160 --> 01:06:02,640
and it it's those stages.

1848
01:06:02,640 --> 01:06:04,079
>> This is the first time I ever worked

1849
01:06:04,079 --> 01:06:07,440
with Ron Pearlman. And uh later we

1850
01:06:07,440 --> 01:06:09,039
worked on another Stephen King film

1851
01:06:09,039 --> 01:06:12,640
called Desperation where he plays uh the

1852
01:06:12,640 --> 01:06:16,079
evil Tac. Um, but uh,

1853
01:06:16,079 --> 01:06:18,559
>> and this is where he he he made you feel

1854
01:06:18,559 --> 01:06:22,200
like you were a complainer.

1855
01:06:22,640 --> 01:06:24,880
>> Tell him tell me about that, Brian.

1856
01:06:24,880 --> 01:06:27,039
>> Uh, you know, doing three hours of

1857
01:06:27,039 --> 01:06:30,000
makeup to get in and out. He told me

1858
01:06:30,000 --> 01:06:31,520
what it was like for him on Beauty and

1859
01:06:31,520 --> 01:06:33,760
the Beast and, you know, years of it.

1860
01:06:33,760 --> 01:06:38,079
Uh, which, you know, every day at 4:00

1861
01:06:38,079 --> 01:06:40,160
a.m. he'd be at work getting makeup on

1862
01:06:40,160 --> 01:06:41,520
and

1863
01:06:41,520 --> 01:06:43,440
>> over and over and over. So, um,

1864
01:06:43,440 --> 01:06:44,880
>> well, what a slacker you were.

1865
01:06:44,880 --> 01:06:47,280
>> Yeah, I was, uh, you know, I was new. I

1866
01:06:47,280 --> 01:06:49,599
was green. I was like, hey, you know.

1867
01:06:49,599 --> 01:06:51,680
>> Okay, don't complain. Got it.

1868
01:06:51,680 --> 01:06:53,680
>> Well, we put him in makeup in

1869
01:06:53,680 --> 01:06:55,599
desperation for part of that, but also

1870
01:06:55,599 --> 01:06:57,280
he was Hellboy, of course, in two

1871
01:06:57,280 --> 01:07:00,319
movies. So, there was hours of makeup

1872
01:07:00,319 --> 01:07:03,200
every day for that. And we also put him

1873
01:07:03,200 --> 01:07:06,160
in second season Masters of Horror that

1874
01:07:06,160 --> 01:07:09,760
John Carpenter directed.

1875
01:07:09,760 --> 01:07:12,760
I'd

1876
01:07:23,440 --> 01:07:25,280
>> like to set up a couple of checkpoints

1877
01:07:25,280 --> 01:07:28,079
in and out of town. The per history by

1878
01:07:28,079 --> 01:07:28,720
now. I

1879
01:07:28,720 --> 01:07:31,119
>> The most difficult thing in working on

1880
01:07:31,119 --> 01:07:33,520
movies is well driving scenes or stunt

1881
01:07:33,520 --> 01:07:36,160
scenes, but animals and kids.

1882
01:07:36,160 --> 01:07:38,559
>> Yeah. And I've done a lot with that. You

1883
01:07:38,559 --> 01:07:40,160
know, in desperation, we had a lot of

1884
01:07:40,160 --> 01:07:41,599
animals. In this, we have a lot of

1885
01:07:41,599 --> 01:07:46,480
animals. And you really need to rely on

1886
01:07:46,480 --> 01:07:48,720
really great trainers, but they have to

1887
01:07:48,720 --> 01:07:51,920
be humane trainers. Fortunately, there

1888
01:07:51,920 --> 01:07:55,440
is always a visit from the ASPCA when

1889
01:07:55,440 --> 01:07:58,319
you're shooting in in the US. So, they

1890
01:07:58,319 --> 01:08:00,079
always have to approve any animal

1891
01:08:00,079 --> 01:08:02,720
scenes. And I'm all for that. I'm a big

1892
01:08:02,720 --> 01:08:04,799
animal rights guy and and again I'm a

1893
01:08:04,799 --> 01:08:08,720
vegan so it's all because I love animals

1894
01:08:08,720 --> 01:08:10,720
and it's not necessarily for health

1895
01:08:10,720 --> 01:08:12,400
reasons although that's certainly a

1896
01:08:12,400 --> 01:08:14,799
benefit but I give a about that.

1897
01:08:14,799 --> 01:08:15,039
Yeah.

1898
01:08:15,039 --> 01:08:17,440
>> So here we are that same day that we

1899
01:08:17,440 --> 01:08:19,120
shot the earlier breakfast scene with

1900
01:08:19,120 --> 01:08:21,120
you and keeping the camera in the same

1901
01:08:21,120 --> 01:08:23,040
place because we were in a hurry trying

1902
01:08:23,040 --> 01:08:24,880
to make this beautiful night.

1903
01:08:24,880 --> 01:08:25,920
>> Now it's night.

1904
01:08:25,920 --> 01:08:27,359
>> She's been up there an awfully long

1905
01:08:27,359 --> 01:08:29,359
time. Honey, you think

1906
01:08:29,359 --> 01:08:32,239
>> she's taking a nice hot bath?

1907
01:08:32,239 --> 01:08:36,319
She just needs to get clean.

1908
01:08:36,319 --> 01:08:38,159
>> She just needs to get clean. Well,

1909
01:08:38,159 --> 01:08:39,920
that's what everybody said about Tanya

1910
01:08:39,920 --> 01:08:42,480
Robertson at this time. So,

1911
01:08:42,480 --> 01:08:47,040
>> there was a lot of suds in this scene.

1912
01:08:47,040 --> 01:08:49,520
And I remember you were so careful,

1913
01:08:49,520 --> 01:08:52,560
Mick, to make sure that I was covered. I

1914
01:08:52,560 --> 01:08:54,159
felt comfortable.

1915
01:08:54,159 --> 01:08:55,920
>> You had mole skin on your breasts. You

1916
01:08:55,920 --> 01:08:57,759
had everything was covered.

1917
01:08:57,759 --> 01:09:00,000
And I I just felt like you were a Tanya,

1918
01:09:00,000 --> 01:09:02,799
this sweet virginal kind of girl. And

1919
01:09:02,799 --> 01:09:05,679
and I felt very fatherly toward you and

1920
01:09:05,679 --> 01:09:09,000
very protective.

1921
01:09:17,440 --> 01:09:19,600
Is everything okay?

1922
01:09:19,600 --> 01:09:21,199
>> Yeah, I'm just getting out.

1923
01:09:21,199 --> 01:09:22,719
>> Your mother's keeping supper warm for

1924
01:09:22,719 --> 01:09:23,440
you.

1925
01:09:23,440 --> 01:09:26,400
>> This could easily have been a toddry

1926
01:09:26,400 --> 01:09:28,159
moment

1927
01:09:28,159 --> 01:09:30,000
having the high school girl in a

1928
01:09:30,000 --> 01:09:30,480
bathtub,

1929
01:09:30,480 --> 01:09:31,199
>> right? Yeah.

1930
01:09:31,199 --> 01:09:33,679
>> But the point of it is to make her put

1931
01:09:33,679 --> 01:09:35,359
her at her most vulnerable,

1932
01:09:35,359 --> 01:09:36,400
>> right?

1933
01:09:36,400 --> 01:09:38,239
>> And to to reflect the fear of this

1934
01:09:38,239 --> 01:09:39,199
character.

1935
01:09:39,199 --> 01:09:41,520
>> It is very bright though, isn't it? for

1936
01:09:41,520 --> 01:09:44,239
nighttime.

1937
01:09:44,239 --> 01:09:47,040
>> She just wants to protect her cat. Leave

1938
01:09:47,040 --> 01:09:48,000
me alone.

1939
01:09:48,000 --> 01:09:49,199
>> Where is he?

1940
01:09:49,199 --> 01:09:50,880
>> He's coming with the sheriff.

1941
01:09:50,880 --> 01:09:54,000
>> That's right. If I had if I were doing

1942
01:09:54,000 --> 01:09:55,679
that now, I would have turned off the

1943
01:09:55,679 --> 01:09:57,280
lights and put candles in there.

1944
01:09:57,280 --> 01:09:57,760
>> Oh, yeah.

1945
01:09:57,760 --> 01:09:59,040
>> Would have been much more effective.

1946
01:09:59,040 --> 01:10:00,400
>> Yeah, but then you might have been going

1947
01:10:00,400 --> 01:10:02,719
into a romantic feel, and that's not

1948
01:10:02,719 --> 01:10:05,360
what You know, she's she's

1949
01:10:05,360 --> 01:10:08,400
>> she's she's afraid. She's not going to

1950
01:10:08,400 --> 01:10:09,360
dim the lights.

1951
01:10:09,360 --> 01:10:11,040
>> You're right. Lights up.

1952
01:10:11,040 --> 01:10:11,679
>> Lights.

1953
01:10:11,679 --> 01:10:14,000
>> Lights up. Now, Roger Nolan, who's one

1954
01:10:14,000 --> 01:10:16,239
of the guys here who gets his head

1955
01:10:16,239 --> 01:10:18,320
bashed into the other, the guy on the

1956
01:10:18,320 --> 01:10:20,000
right, he was my next door neighbor at

1957
01:10:20,000 --> 01:10:22,480
the time. So,

1958
01:10:22,480 --> 01:10:24,719
>> actually, not at this time. I was living

1959
01:10:24,719 --> 01:10:26,480
in my other house, but a previous

1960
01:10:26,480 --> 01:10:29,440
nextoor neighbor.

1961
01:10:29,440 --> 01:10:30,960
>> So,

1962
01:10:30,960 --> 01:10:32,880
how do you crash people's heads together

1963
01:10:32,880 --> 01:10:34,320
in a movie? That was

1964
01:10:34,320 --> 01:10:35,360
>> melons.

1965
01:10:35,360 --> 01:10:38,719
>> Yes. But to do it actually like that.

1966
01:10:38,719 --> 01:10:41,679
>> Yeah. that we did it in reverse. We put

1967
01:10:41,679 --> 01:10:43,040
their heads together and pulled them

1968
01:10:43,040 --> 01:10:44,080
apart.

1969
01:10:44,080 --> 01:10:47,040
>> So, uh because it can be dangerous to do

1970
01:10:47,040 --> 01:10:48,560
it the other way

1971
01:10:48,560 --> 01:10:51,120
>> and especially because Alice

1972
01:10:51,120 --> 01:10:52,880
>> is really strong.

1973
01:10:52,880 --> 01:10:54,880
>> Yeah. No, this is when I got I got to

1974
01:10:54,880 --> 01:10:57,040
really realize her strength and power.

1975
01:10:57,040 --> 01:10:58,159
>> Yeah. You'll see this

1976
01:10:58,159 --> 01:10:59,679
>> during this sequence.

1977
01:10:59,679 --> 01:11:02,679
>> Mhm.

1978
01:11:07,120 --> 01:11:10,640
State police problem with S. Hope you

1979
01:11:10,640 --> 01:11:11,840
don't think he's going to question her

1980
01:11:11,840 --> 01:11:14,960
before I ever gets here.

1981
01:11:14,960 --> 01:11:18,440
>> I'll get this.

1982
01:11:20,480 --> 01:11:24,080
>> Oh, for this now. That's a breakaway

1983
01:11:24,080 --> 01:11:27,280
vase that she breaks on Lyman's face. So

1984
01:11:27,280 --> 01:11:29,199
Lyman said, "Well, wait. I'm not sure I

1985
01:11:29,199 --> 01:11:30,880
want this. You know, I I can't do that."

1986
01:11:30,880 --> 01:11:33,040
And so I said, "Look, I won't ask you to

1987
01:11:33,040 --> 01:11:36,080
do anything I wouldn't do." So I had the

1988
01:11:36,080 --> 01:11:38,800
stunt guy come up and go ahead and smash

1989
01:11:38,800 --> 01:11:40,080
it against my face.

1990
01:11:40,080 --> 01:11:40,800
>> Yeah.

1991
01:11:40,800 --> 01:11:44,400
>> And he did. And I said, "See, no

1992
01:11:44,400 --> 01:11:46,800
problem." And then I turned away and oh

1993
01:11:46,800 --> 01:11:49,679
Jesus,

1994
01:11:49,679 --> 01:11:51,760
>> that's terrible.

1995
01:11:51,760 --> 01:11:54,560
>> But it worked. So that's not normally my

1996
01:11:54,560 --> 01:11:58,159
directing style, but but in this case

1997
01:11:58,159 --> 01:11:58,560
>> now

1998
01:11:58,560 --> 01:12:00,560
>> the lengths that you filmmakers will go

1999
01:12:00,560 --> 01:12:00,880
to.

2000
01:12:00,880 --> 01:12:02,880
>> I know.

2001
01:12:02,880 --> 01:12:05,760
>> If you just call your daughter for me.

2002
01:12:05,760 --> 01:12:08,320
>> What? My son is badly hurt. He may be

2003
01:12:08,320 --> 01:12:11,760
dying. Your daughter tried to kill my

2004
01:12:11,760 --> 01:12:12,800
Charles.

2005
01:12:12,800 --> 01:12:15,920
>> Blood. I hope he dies. I hope you both

2006
01:12:15,920 --> 01:12:18,239
die. I HOPE YOU BOTH DIE AND RUN IN

2007
01:12:18,239 --> 01:12:19,600
HELL.

2008
01:12:19,600 --> 01:12:23,280
>> He's my son. My only son.

2009
01:12:23,280 --> 01:12:26,080
here. She went out the went to the

2010
01:12:26,080 --> 01:12:27,520
window and that's a stunt double. But

2011
01:12:27,520 --> 01:12:29,199
she said, "Thanks a lot for having her

2012
01:12:29,199 --> 01:12:30,880
come out with our legs open."

2013
01:12:30,880 --> 01:12:31,600
>> Yeah.

2014
01:12:31,600 --> 01:12:32,880
>> Landing that way.

2015
01:12:32,880 --> 01:12:35,199
>> But I love how terri This is like a

2016
01:12:35,199 --> 01:12:37,360
Warner Brothers cartoony.

2017
01:12:37,360 --> 01:12:39,520
>> He misses every

2018
01:12:39,520 --> 01:12:41,520
>> He's trying though. You got to give him

2019
01:12:41,520 --> 01:12:42,719
an A for trying.

2020
01:12:42,719 --> 01:12:45,760
>> Yep. Monty. Monty. Monty.

2021
01:12:45,760 --> 01:12:49,000
>> He's amazing.

2022
01:12:50,960 --> 01:12:51,280
So,

2023
01:12:51,280 --> 01:12:54,320
>> see? Yeah, this is when I realized this

2024
01:12:54,320 --> 01:12:55,840
is a very strong woman.

2025
01:12:55,840 --> 01:12:56,960
>> You cannot pull away.

2026
01:12:56,960 --> 01:13:00,800
>> She's a big yogi, Pilates.

2027
01:13:00,800 --> 01:13:03,040
>> I mean, you just look at her shoulders.

2028
01:13:03,040 --> 01:13:04,080
>> I know.

2029
01:13:04,080 --> 01:13:05,120
>> That's it.

2030
01:13:05,120 --> 01:13:06,960
>> And now we have a couple other cameos

2031
01:13:06,960 --> 01:13:08,640
right here. That's John Landis on the

2032
01:13:08,640 --> 01:13:09,520
right

2033
01:13:09,520 --> 01:13:13,440
>> and that's Joe Dante on the left. And uh

2034
01:13:13,440 --> 01:13:15,760
Joe actually we just worked together. We

2035
01:13:15,760 --> 01:13:18,080
he did a a segment of the Nightmare

2036
01:13:18,080 --> 01:13:21,040
Cinema anthology movie we just did.

2037
01:13:21,040 --> 01:13:24,480
There's Cynthia. There's Monty. And here

2038
01:13:24,480 --> 01:13:26,560
is, I think, the world, the cinema

2039
01:13:26,560 --> 01:13:30,159
world's first ever death by cobbing.

2040
01:13:30,159 --> 01:13:31,040
>> The best.

2041
01:13:31,040 --> 01:13:32,159
>> Yes.

2042
01:13:32,159 --> 01:13:34,159
>> It takes a lot of strength to get a cob

2043
01:13:34,159 --> 01:13:35,199
through a human body.

2044
01:13:35,199 --> 01:13:36,480
>> Through the spine. It's

2045
01:13:36,480 --> 01:13:38,080
>> And through his shirt, by the way.

2046
01:13:38,080 --> 01:13:40,560
>> And par boiled, not too boiled. Right.

2047
01:13:40,560 --> 01:13:42,000
It's got to be still solid.

2048
01:13:42,000 --> 01:13:44,000
>> Yeah. It's got to have some al denteness

2049
01:13:44,000 --> 01:13:44,640
to it.

2050
01:13:44,640 --> 01:13:46,800
>> You don't want mushy corn. Yeah. No. You

2051
01:13:46,800 --> 01:13:47,520
know, that's not

2052
01:13:47,520 --> 01:13:49,120
>> And it's got to get through that plastic

2053
01:13:49,120 --> 01:13:50,560
police suit, you know.

2054
01:13:50,560 --> 01:13:51,920
>> That's right. The whole

2055
01:13:51,920 --> 01:13:52,719
>> That's the

2056
01:13:52,719 --> 01:13:56,400
>> the penetration thing, you know.

2057
01:13:56,400 --> 01:13:58,960
>> Oh. Oh, Horus. Now,

2058
01:13:58,960 --> 01:14:01,280
>> here is a great show of strength coming

2059
01:14:01,280 --> 01:14:04,800
up. Oh, well, all of these cats I never

2060
01:14:04,800 --> 01:14:07,360
knew that cats ran with their tails up

2061
01:14:07,360 --> 01:14:10,640
until this scene. Look at all of them

2062
01:14:10,640 --> 01:14:11,760
have their Well,

2063
01:14:11,760 --> 01:14:13,760
>> if I'm correct, this is I heard that we

2064
01:14:13,760 --> 01:14:16,239
had a certain amount of trained cats

2065
01:14:16,239 --> 01:14:17,840
>> and there because there were so many

2066
01:14:17,840 --> 01:14:20,480
cats that lived on the the lot, they

2067
01:14:20,480 --> 01:14:22,800
joined in on this run.

2068
01:14:22,800 --> 01:14:25,280
>> Yes, there are feral cats there that had

2069
01:14:25,280 --> 01:14:27,440
escaped from earlier productions,

2070
01:14:27,440 --> 01:14:29,120
generations of them on the Warner

2071
01:14:29,120 --> 01:14:30,560
Brothers back lot

2072
01:14:30,560 --> 01:14:33,120
>> and our our line producer Dick Stenta

2073
01:14:33,120 --> 01:14:34,960
did the second unit for that because we

2074
01:14:34,960 --> 01:14:37,760
were busy shooting this. But um we shot

2075
01:14:37,760 --> 01:14:40,159
it at slow motion at like 48 frames a

2076
01:14:40,159 --> 01:14:42,239
second, so it gave them a little more

2077
01:14:42,239 --> 01:14:44,800
grace in the run. But uh yeah, there are

2078
01:14:44,800 --> 01:14:48,320
feral cats that joined in uh and were

2079
01:14:48,320 --> 01:14:49,679
parading around. Uh

2080
01:14:49,679 --> 01:14:52,159
>> I was wearing a harness for this so that

2081
01:14:52,159 --> 01:14:53,840
she could pull my hair without pulling

2082
01:14:53,840 --> 01:14:55,520
my hair.

2083
01:14:55,520 --> 01:14:58,480
>> Yep. And then here's another sequence

2084
01:14:58,480 --> 01:15:00,800
that had to be cut short to get our R

2085
01:15:00,800 --> 01:15:04,239
rating because those fingers did pull

2086
01:15:04,239 --> 01:15:06,560
out of her mouth with stretchy bands of

2087
01:15:06,560 --> 01:15:09,280
flesh that came out and then they spit

2088
01:15:09,280 --> 01:15:12,880
out and hit them.

2089
01:15:12,880 --> 01:15:15,840
>> Yeah.

2090
01:15:16,480 --> 01:15:20,400
So, it should be said, too, that that

2091
01:15:20,400 --> 01:15:22,640
the music is a really important part of

2092
01:15:22,640 --> 01:15:25,199
this. And it was great to be on the Sony

2093
01:15:25,199 --> 01:15:28,640
lot with one of with Nicholas Pike and a

2094
01:15:28,640 --> 01:15:31,440
60piece acoustic orchestra and have all

2095
01:15:31,440 --> 01:15:33,040
the orchestra members. They knew they

2096
01:15:33,040 --> 01:15:35,600
were doing a quote horror film and

2097
01:15:35,600 --> 01:15:37,520
looking back and going, "Wow, what is

2098
01:15:37,520 --> 01:15:39,520
this music? This is way better than

2099
01:15:39,520 --> 01:15:41,760
>> stunt doubles." No, this we had a stunt

2100
01:15:41,760 --> 01:15:44,400
double to pick up man and do all of this

2101
01:15:44,400 --> 01:15:45,280
>> and in heels

2102
01:15:45,280 --> 01:15:46,000
>> and in heels

2103
01:15:46,000 --> 01:15:47,199
>> and in heels and she

2104
01:15:47,199 --> 01:15:48,960
>> but the stunt double couldn't pick up

2105
01:15:48,960 --> 01:15:51,360
man and Alice did it without even

2106
01:15:51,360 --> 01:15:52,000
struggling.

2107
01:15:52,000 --> 01:15:54,800
>> Yeah in heels in heels.

2108
01:15:54,800 --> 01:15:58,080
>> Now one of my pet peeves is how big the

2109
01:15:58,080 --> 01:16:00,400
head is on the cop who bursts into

2110
01:16:00,400 --> 01:16:02,880
flames because he's got a protective

2111
01:16:02,880 --> 01:16:04,960
helmet on basically and the hat is way

2112
01:16:04,960 --> 01:16:07,360
too small.

2113
01:16:07,360 --> 01:16:10,560
>> And now we're in a Burbank neighborhood.

2114
01:16:10,560 --> 01:16:14,080
shooting in not on a studio lot.

2115
01:16:14,080 --> 01:16:15,520
>> Jump out of the window, Tanya.

2116
01:16:15,520 --> 01:16:15,920
>> Yes.

2117
01:16:15,920 --> 01:16:17,360
>> Jump out.

2118
01:16:17,360 --> 01:16:20,159
>> Well, she tried to get out, but yeah.

2119
01:16:20,159 --> 01:16:22,000
And

2120
01:16:22,000 --> 01:16:23,600
>> so this was shooting in the middle of

2121
01:16:23,600 --> 01:16:25,199
the night in a neighborhood. I'm sure

2122
01:16:25,199 --> 01:16:27,679
annoying the hell out of all of the poor

2123
01:16:27,679 --> 01:16:31,800
Burbank neighbors there.

2124
01:16:32,000 --> 01:16:33,360
>> You just got to roll down the window,

2125
01:16:33,360 --> 01:16:34,480
Tanya, and jump out.

2126
01:16:34,480 --> 01:16:36,239
>> Yeah. You know, don't make such a big

2127
01:16:36,239 --> 01:16:39,239
move.

2128
01:16:39,440 --> 01:16:40,000
>> Too strong.

2129
01:16:40,000 --> 01:16:41,280
>> More and more cats.

2130
01:16:41,280 --> 01:16:41,920
>> Yeah.

2131
01:16:41,920 --> 01:16:44,400
>> This I think we're tapped out at our 126

2132
01:16:44,400 --> 01:16:47,560
right here.

2133
01:16:51,840 --> 01:16:53,120
>> Yeah.

2134
01:16:53,120 --> 01:16:55,440
>> So,

2135
01:16:55,440 --> 01:16:58,640
the best way to not confront cats in the

2136
01:16:58,640 --> 01:17:00,239
world of Stephen King

2137
01:17:00,239 --> 01:17:01,280
>> is

2138
01:17:01,280 --> 01:17:02,239
>> is to crash.

2139
01:17:02,239 --> 01:17:03,280
>> Wait for it.

2140
01:17:03,280 --> 01:17:05,600
>> Yes. Drum roll everyone

2141
01:17:05,600 --> 01:17:08,320
>> is to put your pedal to the metal and

2142
01:17:08,320 --> 01:17:10,320
just crash into the house.

2143
01:17:10,320 --> 01:17:11,920
>> But I appreciate she put on the perfect

2144
01:17:11,920 --> 01:17:13,280
red lip for this occasion.

2145
01:17:13,280 --> 01:17:15,199
>> Exactly. Well, she was meeting the

2146
01:17:15,199 --> 01:17:15,760
parents.

2147
01:17:15,760 --> 01:17:16,719
>> Yeah.

2148
01:17:16,719 --> 01:17:17,040
>> Yeah.

2149
01:17:17,040 --> 01:17:18,640
>> Now, that was one of the cats who was

2150
01:17:18,640 --> 01:17:23,040
doubling for Clovis because he did hiss.

2151
01:17:23,040 --> 01:17:25,520
>> Wow.

2152
01:17:25,520 --> 01:17:29,280
>> And this is a favorite. So, fake cat,

2153
01:17:29,280 --> 01:17:32,800
not a not a real cat,

2154
01:17:32,800 --> 01:17:35,199
>> but we did rig it so that it broke when

2155
01:17:35,199 --> 01:17:36,000
she

2156
01:17:36,000 --> 01:17:36,560
>> snapped.

2157
01:17:36,560 --> 01:17:38,159
>> Why was I trying to push the window and

2158
01:17:38,159 --> 01:17:39,679
not just open the door again?

2159
01:17:39,679 --> 01:17:41,520
>> Because it was too tight. It was pushed

2160
01:17:41,520 --> 01:17:42,960
up against the wall

2161
01:17:42,960 --> 01:17:44,400
>> and you couldn't get out.

2162
01:17:44,400 --> 01:17:45,360
>> I remember that.

2163
01:17:45,360 --> 01:17:47,360
>> Okay. Oh, he's not looking good.

2164
01:17:47,360 --> 01:17:48,800
>> We've gone even further.

2165
01:17:48,800 --> 01:17:49,920
>> Not looking good.

2166
01:17:49,920 --> 01:17:52,080
>> Gone even further. And now, let's bring

2167
01:17:52,080 --> 01:17:55,280
ourselves back to the theme. the piece

2168
01:17:55,280 --> 01:17:57,280
of music that inspired this movie in the

2169
01:17:57,280 --> 01:18:01,520
first place because Charles

2170
01:18:01,520 --> 01:18:04,840
>> He's pining.

2171
01:18:06,480 --> 01:18:07,520
He's not dead.

2172
01:18:07,520 --> 01:18:08,000
>> Yeah,

2173
01:18:08,000 --> 01:18:08,880
>> look at that.

2174
01:18:08,880 --> 01:18:11,520
>> Even his hair is not looking good now.

2175
01:18:11,520 --> 01:18:15,440
>> Big head. Got a big head. It's a lot of

2176
01:18:15,440 --> 01:18:16,400
latex there.

2177
01:18:16,400 --> 01:18:17,600
>> There's a lot of crying that happened

2178
01:18:17,600 --> 01:18:18,880
this day. Remember?

2179
01:18:18,880 --> 01:18:23,159
>> Yes. This was a tearful day.

2180
01:18:26,080 --> 01:18:28,159
We're all stopping and watching. She

2181
01:18:28,159 --> 01:18:30,400
captivated us.

2182
01:18:30,400 --> 01:18:32,480
>> She's kicking it in.

2183
01:18:32,480 --> 01:18:33,840
>> The theme comes back.

2184
01:18:33,840 --> 01:18:36,239
>> You know, that's a good trick for every

2185
01:18:36,239 --> 01:18:38,960
party.

2186
01:18:38,960 --> 01:18:42,000
>> Yes. Telekinetic uh music launch. Yes.

2187
01:18:42,000 --> 01:18:43,280
Yeah. Everyone should have it.

2188
01:18:43,280 --> 01:18:44,239
>> On the record player.

2189
01:18:44,239 --> 01:18:46,320
>> That's a power.

2190
01:18:46,320 --> 01:18:49,840
So the most interesting thing about this

2191
01:18:49,840 --> 01:18:53,360
scene in many ways once the dancing

2192
01:18:53,360 --> 01:18:56,640
starts is that we had a visitor.

2193
01:18:56,640 --> 01:18:57,760
>> There was

2194
01:18:57,760 --> 01:18:59,440
>> there were three movies shooting on the

2195
01:18:59,440 --> 01:19:01,840
lot at the time on the Sony lot.

2196
01:19:01,840 --> 01:19:05,120
>> Francis Copela was shooting Dracula and

2197
01:19:05,120 --> 01:19:06,960
Steven Spielberg was shooting Hook

2198
01:19:06,960 --> 01:19:09,199
>> which I had been cast in Dracula.

2199
01:19:09,199 --> 01:19:09,760
>> Really?

2200
01:19:09,760 --> 01:19:12,640
>> Yeah. Francis cast me in Dracula and the

2201
01:19:12,640 --> 01:19:14,400
studio

2202
01:19:14,400 --> 01:19:16,400
uh made them fire everyone who wasn't

2203
01:19:16,400 --> 01:19:18,560
British because they were very concerned

2204
01:19:18,560 --> 01:19:20,000
about accents.

2205
01:19:20,000 --> 01:19:20,800
>> Really?

2206
01:19:20,800 --> 01:19:24,239
>> Um and my my voice coach went to bat for

2207
01:19:24,239 --> 01:19:25,920
me and said, "No, no, no, no, no. M's

2208
01:19:25,920 --> 01:19:27,199
like one of the few that actually knows

2209
01:19:27,199 --> 01:19:28,239
how to do the accent."

2210
01:19:28,239 --> 01:19:29,440
>> Yeah, no kidding.

2211
01:19:29,440 --> 01:19:31,600
>> So, he was very sad to give me the news

2212
01:19:31,600 --> 01:19:33,360
that I couldn't do that movie.

2213
01:19:33,360 --> 01:19:34,400
>> Oh,

2214
01:19:34,400 --> 01:19:35,120
>> yeah.

2215
01:19:35,120 --> 01:19:36,800
>> Well,

2216
01:19:36,800 --> 01:19:38,560
at the same time that movie was being

2217
01:19:38,560 --> 01:19:40,080
shot on the lot. Well, see, there you

2218
01:19:40,080 --> 01:19:40,960
go. I wouldn't have been able to have

2219
01:19:40,960 --> 01:19:41,760
done this one.

2220
01:19:41,760 --> 01:19:42,880
>> Exactly.

2221
01:19:42,880 --> 01:19:45,679
>> And it was the lead. So, there you go.

2222
01:19:45,679 --> 01:19:46,800
>> Y

2223
01:19:46,800 --> 01:19:48,480
>> Anyway, there was another shoot, movie

2224
01:19:48,480 --> 01:19:50,159
shooting there, and that was Hook,

2225
01:19:50,159 --> 01:19:50,800
>> right?

2226
01:19:50,800 --> 01:19:53,760
>> So, Steven Spielberg was directing Hook

2227
01:19:53,760 --> 01:19:56,560
and visiting, everybody was visiting

2228
01:19:56,560 --> 01:20:00,320
each other's sets. Um, this day when

2229
01:20:00,320 --> 01:20:03,199
this dance was taking place, Spielberg

2230
01:20:03,199 --> 01:20:04,960
decided he wanted to come and visit.

2231
01:20:04,960 --> 01:20:06,400
>> Yeah. which was one of the hardest

2232
01:20:06,400 --> 01:20:08,480
things for me to film acting wise

2233
01:20:08,480 --> 01:20:09,600
because I just felt like I was doing

2234
01:20:09,600 --> 01:20:10,719
such a bad job.

2235
01:20:10,719 --> 01:20:12,080
>> Oh, and that's not

2236
01:20:12,080 --> 01:20:14,000
>> And then I had Spilbergs watching me. I

2237
01:20:14,000 --> 01:20:15,280
was like, I'm great.

2238
01:20:15,280 --> 01:20:16,800
>> And I kept saying, you know, what can I

2239
01:20:16,800 --> 01:20:18,400
do for you? I I thought he might be

2240
01:20:18,400 --> 01:20:20,000
there for a reason. No, no, I just want

2241
01:20:20,000 --> 01:20:21,440
to watch. And he went back in the corner

2242
01:20:21,440 --> 01:20:24,080
and just for a couple of hours and I was

2243
01:20:24,080 --> 01:20:25,360
on edge as well, of course.

2244
01:20:25,360 --> 01:20:26,960
>> Now, Stephen is the guy who gave me a

2245
01:20:26,960 --> 01:20:28,560
career. He's the first guy to hire me as

2246
01:20:28,560 --> 01:20:31,199
a screenwriter on Amazing Stories and

2247
01:20:31,199 --> 01:20:35,120
then as a director later on.

2248
01:20:35,120 --> 01:20:38,120
No,

2249
01:20:38,960 --> 01:20:40,560
no,

2250
01:20:40,560 --> 01:20:42,080
>> this shot. That was hard.

2251
01:20:42,080 --> 01:20:44,719
>> But that was me. That was me on a on a

2252
01:20:44,719 --> 01:20:46,239
little dolly thing. And that was

2253
01:20:46,239 --> 01:20:48,239
>> You were mounted with the camera.

2254
01:20:48,239 --> 01:20:50,320
>> Yeah. I was on the monster.

2255
01:20:50,320 --> 01:20:54,000
>> Yeah. And so he has one eye. So what do

2256
01:20:54,000 --> 01:20:55,600
you do?

2257
01:20:55,600 --> 01:20:57,120
>> Shoot from the other side.

2258
01:20:57,120 --> 01:21:00,880
>> No, you poked his eye out.

2259
01:21:00,880 --> 01:21:02,640
>> But yeah, so Spielberg was there. And

2260
01:21:02,640 --> 01:21:04,640
what I didn't realize is afterwards he

2261
01:21:04,640 --> 01:21:06,480
wanted to talk to me about directing a

2262
01:21:06,480 --> 01:21:08,080
movie from Plastic Man.

2263
01:21:08,080 --> 01:21:08,719
>> Yeah.

2264
01:21:08,719 --> 01:21:11,120
>> And uh the movie never got made. But

2265
01:21:11,120 --> 01:21:12,000
there you go.

2266
01:21:12,000 --> 01:21:13,840
>> Well, you know, now you're blind.

2267
01:21:13,840 --> 01:21:14,400
>> Get him.

2268
01:21:14,400 --> 01:21:16,560
>> She You know, don't mess with Tanya.

2269
01:21:16,560 --> 01:21:18,640
>> That's pretty nasty. And that's the

2270
01:21:18,640 --> 01:21:22,000
hissing uh the hissing cat. The only

2271
01:21:22,000 --> 01:21:24,400
other one that plays Clovis here besides

2272
01:21:24,400 --> 01:21:27,360
Sparks.

2273
01:21:27,360 --> 01:21:30,000
And now I remember we had to think of a

2274
01:21:30,000 --> 01:21:32,080
way to knock his hat off to match the

2275
01:21:32,080 --> 01:21:34,880
shot that we'd shot afterwards

2276
01:21:34,880 --> 01:21:37,360
or we shot before. Right there he knocks

2277
01:21:37,360 --> 01:21:39,760
his hat off because the scene the shot

2278
01:21:39,760 --> 01:21:43,280
that comes up after he's without a hat.

2279
01:21:43,280 --> 01:21:45,199
>> So

2280
01:21:45,199 --> 01:21:46,800
this was great. I mean obviously the

2281
01:21:46,800 --> 01:21:49,040
cats are being thrown onto her or

2282
01:21:49,040 --> 01:21:51,600
they're running up onto a double. Uh and

2283
01:21:51,600 --> 01:21:53,440
we had a couple fake ones that were

2284
01:21:53,440 --> 01:21:57,520
stitched onto her back including

2285
01:21:57,520 --> 01:22:01,199
There's a fake. That one is attached and

2286
01:22:01,199 --> 01:22:04,960
blown away. Literally blown away.

2287
01:22:04,960 --> 01:22:07,920
>> So now this motion control shot to save

2288
01:22:07,920 --> 01:22:11,199
time, we had to move in and stop before

2289
01:22:11,199 --> 01:22:12,480
we did the morph.

2290
01:22:12,480 --> 01:22:14,000
>> So we wouldn't have to keep repeating

2291
01:22:14,000 --> 01:22:15,679
it. It would have taken us another four

2292
01:22:15,679 --> 01:22:16,639
hours.

2293
01:22:16,639 --> 01:22:19,199
>> Now this when those doors don't work.

2294
01:22:19,199 --> 01:22:20,960
He's like, "Don't wor don't worry about

2295
01:22:20,960 --> 01:22:22,560
the door."

2296
01:22:22,560 --> 01:22:24,239
>> Well, it's nothing compared to trying to

2297
01:22:24,239 --> 01:22:26,719
start a car. And then and then you trip.

2298
01:22:26,719 --> 01:22:28,239
You always trip when you're trying to

2299
01:22:28,239 --> 01:22:29,679
get away. Always.

2300
01:22:29,679 --> 01:22:31,600
>> Clumsy girls. Yeah. Uh

2301
01:22:31,600 --> 01:22:33,199
>> oh.

2302
01:22:33,199 --> 01:22:34,719
>> Invisible.

2303
01:22:34,719 --> 01:22:37,360
>> Yeah.

2304
01:22:37,360 --> 01:22:39,120
So originally

2305
01:22:39,120 --> 01:22:40,800
>> Oh yeah.

2306
01:22:40,800 --> 01:22:43,840
>> He not only lands well

2307
01:22:43,840 --> 01:22:45,440
>> everything awful that can happen.

2308
01:22:45,440 --> 01:22:47,120
>> Yeah. That's a bad day.

2309
01:22:47,120 --> 01:22:48,239
>> You go. Really bad day.

2310
01:22:48,239 --> 01:22:49,840
>> And this scene too was not in the

2311
01:22:49,840 --> 01:22:51,360
original script or in the original

2312
01:22:51,360 --> 01:22:51,679
shoot.

2313
01:22:51,679 --> 01:22:52,960
>> They must not be very strong. on these

2314
01:22:52,960 --> 01:22:54,880
seat belts. They can't get into Oh,

2315
01:22:54,880 --> 01:22:57,280
>> she broke the glass. There we go. Okay,

2316
01:22:57,280 --> 01:22:59,440
>> now here's a little gratuitous moment

2317
01:22:59,440 --> 01:23:02,840
right there.

2318
01:23:03,280 --> 01:23:03,600
>> Yeah.

2319
01:23:03,600 --> 01:23:04,639
>> Wham.

2320
01:23:04,639 --> 01:23:05,520
>> Wow.

2321
01:23:05,520 --> 01:23:06,560
>> So,

2322
01:23:06,560 --> 01:23:08,239
>> that's that's a good aim.

2323
01:23:08,239 --> 01:23:10,080
>> Cars have trouble starting in

2324
01:23:10,080 --> 01:23:11,600
>> They do. They you know, doors don't

2325
01:23:11,600 --> 01:23:13,280
open.

2326
01:23:13,280 --> 01:23:14,800
>> Engines won't start.

2327
01:23:14,800 --> 01:23:17,600
>> It's what King referred to Roger Eert

2328
01:23:17,600 --> 01:23:19,840
called it the kidding battery. Oh,

2329
01:23:19,840 --> 01:23:21,840
that's originally unfortunate.

2330
01:23:21,840 --> 01:23:23,760
>> Originally, there was a shot of him of

2331
01:23:23,760 --> 01:23:26,320
her pushing him onto those spikes and

2332
01:23:26,320 --> 01:23:28,560
they come out through his chest.

2333
01:23:28,560 --> 01:23:30,480
>> That went for the R rating also.

2334
01:23:30,480 --> 01:23:31,920
>> So, you had to reshoot it or you just

2335
01:23:31,920 --> 01:23:32,400
had to cut

2336
01:23:32,400 --> 01:23:34,400
>> No, I had to cut it cut that shot out of

2337
01:23:34,400 --> 01:23:36,000
it.

2338
01:23:36,000 --> 01:23:38,880
So, here we've got a bunch of cats on

2339
01:23:38,880 --> 01:23:42,960
there, but also some of them we did the

2340
01:23:42,960 --> 01:23:45,199
close ones with the actual cat

2341
01:23:45,199 --> 01:23:47,840
scratching at the sleepwalkers with its

2342
01:23:47,840 --> 01:23:49,760
with their paws.

2343
01:23:49,760 --> 01:23:51,120
are puppeted cats.

2344
01:23:51,120 --> 01:23:52,080
>> There we go.

2345
01:23:52,080 --> 01:23:53,920
>> There it finally starts.

2346
01:23:53,920 --> 01:23:54,639
>> It's going to turn.

2347
01:23:54,639 --> 01:23:55,840
>> Come on. Come on. Come on.

2348
01:23:55,840 --> 01:23:56,800
>> Come on.

2349
01:23:56,800 --> 01:23:59,679
>> But we had like the equivalent of

2350
01:23:59,679 --> 01:24:01,760
matches and striking pieces under the

2351
01:24:01,760 --> 01:24:03,840
latex so that it would actually ignite

2352
01:24:03,840 --> 01:24:05,920
with the claws as they did that.

2353
01:24:05,920 --> 01:24:07,120
>> The real cats.

2354
01:24:07,120 --> 01:24:08,400
>> No, no, with the puppet cats.

2355
01:24:08,400 --> 01:24:09,360
>> Oh, okay.

2356
01:24:09,360 --> 01:24:11,040
>> But they were all trained to jump onto

2357
01:24:11,040 --> 01:24:13,440
the stunt double and do all this. This

2358
01:24:13,440 --> 01:24:15,679
had to be done very quickly because

2359
01:24:15,679 --> 01:24:17,920
stunt people can't breathe when they're

2360
01:24:17,920 --> 01:24:18,560
a flame

2361
01:24:18,560 --> 01:24:19,600
>> on fire.

2362
01:24:19,600 --> 01:24:20,800
>> Yes.

2363
01:24:20,800 --> 01:24:22,159
>> Well, you got a lot of footage out of

2364
01:24:22,159 --> 01:24:22,719
it.

2365
01:24:22,719 --> 01:24:23,120
>> Yeah,

2366
01:24:23,120 --> 01:24:25,600
>> we did multiple camera.

2367
01:24:25,600 --> 01:24:26,000
>> Um,

2368
01:24:26,000 --> 01:24:28,880
>> so there's there's Yeah, there's a shot

2369
01:24:28,880 --> 01:24:30,080
coming up.

2370
01:24:30,080 --> 01:24:32,960
>> Are you going to go back into the house?

2371
01:24:32,960 --> 01:24:35,920
>> And there's Alice on fire. She was quite

2372
01:24:35,920 --> 01:24:37,280
quite

2373
01:24:37,280 --> 01:24:38,719
>> She's hot.

2374
01:24:38,719 --> 01:24:41,840
>> She's hot and very helpful. Just a very

2375
01:24:41,840 --> 01:24:42,719
cooperative actor.

2376
01:24:42,719 --> 01:24:44,000
>> Of course, she hit the tree.

2377
01:24:44,000 --> 01:24:45,679
>> Damn it. The tree is in the way. Oh,

2378
01:24:45,679 --> 01:24:47,600
well. At least she's away from the

2379
01:24:47,600 --> 01:24:48,719
burning corpse.

2380
01:24:48,719 --> 01:24:49,679
>> True.

2381
01:24:49,679 --> 01:24:52,719
>> Of Mary Brady.

2382
01:24:52,719 --> 01:24:54,560
>> Oh, see, it was just too much.

2383
01:24:54,560 --> 01:24:56,239
>> Oh, cat scare.

2384
01:24:56,239 --> 01:24:59,120
>> It's too much.

2385
01:24:59,120 --> 01:25:00,000
>> Until

2386
01:25:00,000 --> 01:25:03,000
>> until

2387
01:25:03,920 --> 01:25:06,159
>> Okay, good.

2388
01:25:06,159 --> 01:25:10,719
>> Yeah. Um, I didn't want to reveal to you

2389
01:25:10,719 --> 01:25:13,120
guys as I was up for this part how

2390
01:25:13,120 --> 01:25:16,159
allergic I am to cats. What?

2391
01:25:16,159 --> 01:25:16,560
>> So,

2392
01:25:16,560 --> 01:25:18,239
>> here's another one. So am I.

2393
01:25:18,239 --> 01:25:20,880
>> Here we go. So, I waited until I was

2394
01:25:20,880 --> 01:25:22,880
cast. I waited until I'd gone through

2395
01:25:22,880 --> 01:25:24,960
wardrobe fittings and rehearsals and

2396
01:25:24,960 --> 01:25:27,520
then I very gently said, "Oh, um, so by

2397
01:25:27,520 --> 01:25:31,600
the way, I'm really allergic to cats."

2398
01:25:31,600 --> 01:25:33,120
>> Do you think that maybe when we do that

2399
01:25:33,120 --> 01:25:34,639
shot where I'm hugging the cat, we do it

2400
01:25:34,639 --> 01:25:36,960
at the end of the night?

2401
01:25:36,960 --> 01:25:37,920
You got your wish?

2402
01:25:37,920 --> 01:25:39,440
>> Yeah, I got my wish.

2403
01:25:39,440 --> 01:25:41,440
>> And I love cats, but I'm so allergic to

2404
01:25:41,440 --> 01:25:41,760
them.

2405
01:25:41,760 --> 01:25:43,920
>> Yeah. Wow. I used to be badly allergic.

2406
01:25:43,920 --> 01:25:45,040
Not so much anymore.

2407
01:25:45,040 --> 01:25:46,719
>> Really? I haven't grown out of mine. I

2408
01:25:46,719 --> 01:25:48,880
wish I I wish I could.

2409
01:25:48,880 --> 01:25:51,760
>> This piece of music by Enya is

2410
01:25:51,760 --> 01:25:53,920
beautiful. It's beautiful and beloved.

2411
01:25:53,920 --> 01:25:55,120
But originally,

2412
01:25:55,120 --> 01:25:57,040
>> I showed this a rough cut of this movie

2413
01:25:57,040 --> 01:25:58,880
to my favorite band at the time, Crowded

2414
01:25:58,880 --> 01:26:02,480
House. and Crowded House gave me a song.

2415
01:26:02,480 --> 01:26:05,040
Well, they wrote a song, an original

2416
01:26:05,040 --> 01:26:09,040
song for the end of this and I wasn't

2417
01:26:09,040 --> 01:26:11,280
allowed to use it because Sony would not

2418
01:26:11,280 --> 01:26:13,920
pay for it and so we ended up choosing

2419
01:26:13,920 --> 01:26:16,719
this piece by Enya instead. This may be

2420
01:26:16,719 --> 01:26:18,960
more appropriate, but the Crowded House

2421
01:26:18,960 --> 01:26:20,239
song was great

2422
01:26:20,239 --> 01:26:22,080
>> and I love Crowded House,

2423
01:26:22,080 --> 01:26:24,719
>> but this really works great. So, there

2424
01:26:24,719 --> 01:26:26,480
you are. That is Stephen King's

2425
01:26:26,480 --> 01:26:28,000
Sleepwalkers.

2426
01:26:28,000 --> 01:26:28,560
>> Amazing.

2427
01:26:28,560 --> 01:26:29,679
>> Yay. Great job.

2428
01:26:29,679 --> 01:26:31,760
>> That was a great experience

2429
01:26:31,760 --> 01:26:34,080
>> for all of us, I'm sure. You know, it

2430
01:26:34,080 --> 01:26:36,159
was it was a rough one to make and it

2431
01:26:36,159 --> 01:26:38,960
was tough to make a studio movie. Um,

2432
01:26:38,960 --> 01:26:40,239
>> how many days did it take? Do you

2433
01:26:40,239 --> 01:26:40,800
remember?

2434
01:26:40,800 --> 01:26:43,679
>> I think it was 40

2435
01:26:43,679 --> 01:26:44,400
>> 40 days.

2436
01:26:44,400 --> 01:26:47,920
>> 40 days. And on a studio level, I mean,

2437
01:26:47,920 --> 01:26:50,159
the the budget for a studio movie was

2438
01:26:50,159 --> 01:26:53,360
very very low. If it were an independent

2439
01:26:53,360 --> 01:26:55,520
movie, it would have been plenty. But um

2440
01:26:55,520 --> 01:26:58,880
the producer really had a whip and at

2441
01:26:58,880 --> 01:27:00,639
the end of every day would say I'm

2442
01:27:00,639 --> 01:27:02,480
pulling the plug after 12 hours and then

2443
01:27:02,480 --> 01:27:05,840
we came in $300,000 under budget he told

2444
01:27:05,840 --> 01:27:07,920
me. So he said make sure you get to use

2445
01:27:07,920 --> 01:27:10,239
the orchestra and I said um

2446
01:27:10,239 --> 01:27:13,199
>> you know $300,000 is several days worth

2447
01:27:13,199 --> 01:27:15,040
of work that I could have put into this

2448
01:27:15,040 --> 01:27:15,920
movie

2449
01:27:15,920 --> 01:27:17,840
>> that you didn't let me. So

2450
01:27:17,840 --> 01:27:18,159
>> yeah,

2451
01:27:18,159 --> 01:27:21,440
>> but I'm sure he got a a nice bonus.

2452
01:27:21,440 --> 01:27:25,480
>> I didn't see any of that.

2453
01:27:26,080 --> 01:27:29,080
everybody.

2454
01:27:33,440 --> 01:27:35,679
>> It is kind of sad.

2455
01:27:35,679 --> 01:27:38,800
>> I this I played this song for my kids.

2456
01:27:38,800 --> 01:27:41,760
>> Um my son would listen to the song over

2457
01:27:41,760 --> 01:27:43,280
and over and over. I'm sure he probably

2458
01:27:43,280 --> 01:27:46,159
has like PTSD from it.

2459
01:27:46,159 --> 01:27:47,600
>> But it's so beautiful. That whole album

2460
01:27:47,600 --> 01:27:49,360
was so beautiful, especially for like

2461
01:27:49,360 --> 01:27:51,440
kids to fall asleep to at night.

2462
01:27:51,440 --> 01:27:53,679
>> Well, it's a good lullabi. Yeah,

2463
01:27:53,679 --> 01:27:55,760
>> especially knowing that you lived. Then

2464
01:27:55,760 --> 01:27:56,719
it's okay.

2465
01:27:56,719 --> 01:27:58,320
>> That's right. Have your kids seen this

2466
01:27:58,320 --> 01:27:59,360
movie.

2467
01:27:59,360 --> 01:28:02,080
>> I don't I don't know if they have

2468
01:28:02,080 --> 01:28:02,639
actually.

2469
01:28:02,639 --> 01:28:04,560
>> Mine hasn't.

2470
01:28:04,560 --> 01:28:06,239
>> My son hasn't watched anything.

2471
01:28:06,239 --> 01:28:07,840
>> Are you kidding? You've got to get them

2472
01:28:07,840 --> 01:28:09,280
to watch this movie.

2473
01:28:09,280 --> 01:28:11,520
>> Nothing.

2474
01:28:11,520 --> 01:28:13,600
I If I had kids, I'd have raised them on

2475
01:28:13,600 --> 01:28:15,199
this movie.

2476
01:28:15,199 --> 01:28:16,480
>> Yeah. My kids did. My kids

2477
01:28:16,480 --> 01:28:18,880
>> My my son wouldn't watch it. My my well

2478
01:28:18,880 --> 01:28:20,239
my kids always heard about Twin Peaks

2479
01:28:20,239 --> 01:28:21,600
but they didn't watch Twin Peaks until

2480
01:28:21,600 --> 01:28:23,040
they were in high school and they were

2481
01:28:23,040 --> 01:28:24,320
actually studying it

2482
01:28:24,320 --> 01:28:26,400
>> and at one point they were like mom how

2483
01:28:26,400 --> 01:28:27,840
did you not tell us that you were in the

2484
01:28:27,840 --> 01:28:30,800
best TV show ever and I was like well

2485
01:28:30,800 --> 01:28:32,400
you guys didn't seem very interested in

2486
01:28:32,400 --> 01:28:34,560
it so that's I think what the moment

2487
01:28:34,560 --> 01:28:36,159
then they were like oh you're an actress

2488
01:28:36,159 --> 01:28:37,360
and you've been on interesting things

2489
01:28:37,360 --> 01:28:38,560
and they started to pay more attention

2490
01:28:38,560 --> 01:28:41,960
by that point

2491
01:28:42,159 --> 01:28:44,239
>> anyway Stephen King Sleepwalkers

2492
01:28:44,239 --> 01:28:46,960
>> yay Y

2493
01:28:46,960 --> 01:28:48,960
>> Mitch and Brian, thanks so much. It's

2494
01:28:48,960 --> 01:28:50,639
always great to spend time having us

2495
01:28:50,639 --> 01:28:51,120
here.

2496
01:28:51,120 --> 01:28:54,120
>> Yeah.