All language subtitles for Wolfmans.Got.Nards.2018.1080p.WEBRip.x264-RARBAGS

[Fred]
Is Monster Squada cult movie?

I think a cult movie
is a movie that...

is appreciated in a way
that people don't
necessarily predict.

But ultimately
movies are good or bad

and they're accepted
or they're not,

but I don't know
What a cult movie is,

so I sure don't know
if this is one.

[light dramatic music]

So, I was at a sleepover party
at a friend of mine's house,

uh, when I was probably
12 or 13 years old,

and we watched, uh,
Raising Arizona

and it's... to this day,

one of the most
influential films I ever saw.

It fundamentally changed
what I thought movies could be

and got me hooked on
the Coen brothers as filmmakers.

Probably the first movie
that had a huge impact on me

was King Kong,the original.

It was the first movie
that sort of, for me,

created a world within that

137 frame,

the whole world was
in that frame

for an hour and a half
or however long it was.

And that was--
that was magic to me.

In my teen years, it was
probably, uh, Enter the Dragon.

-I told John Saxon of...
-Oh, really?

...I-- I was so excited
to work with John

because I saw Enter the Dragon
and it blew my mind.

I think my favorite movie
growing up was Wizard of Oz

because it was the only movie
that played annually,

every year at Thanksgiving.

So I got to see it ten,
15 times.

James Bondand-- and Creature
from the Black Lagoon.

You know,
I would show up first in line,

sleeping bag, whatever.
Anything with monsters.

I saw Chuck Russell's The Blob,

and I left going
"I want to be a director."

I think my favorite movie of all
time is Back to the Future,

and it's really the first time

that I went
to the theater as a kid

and going "I'm watching,
like, a masterpiece,

this thing is ripping
my mind apart."

Well, Exorcistfor one
because I'm Catholic.

For me, when I was in college,
it was Suspiria.

It was, like,
"Ever seen this movie?"

And people would watch it
and their minds would
be fucking blown.

Halloween,
I would watch with my dad

on VHS, over and over again.

It would scare me to death.

Jawsis my favorite movie
of all time.

It's, like, I just love
following into that world

and Monster Squadwas one
of those movies.

Top five, I would have to say
our Monster Squad...

...Monster Squad...

...Monster Squad.

-We love The Monster Squad.
-We love

-The Monster Squad.
-We love it.

One of our all times favorite
movies when we were kids.

If my four-year-old
could be here,

he would, he just watched
the movie Saturday.

He loved it,
absolutely loved it.

I love it so much,
it changed my life, it just--

I wanted to be part of that
world, and I feel like I am now,

and, um, it is an absolute
stone classic.

[inspirational music]

[André]
The Monster Squad
is a 1987 film

about a group of kids

that have to fight the classic Universal monsters.

And the squad is really a,
a group of misfits,

you know, led by Sean,

with Patrick, and Horace,
and Eugene,

the cool kid Rudy,
and the little sister, Phoebe.

And the squad has
to fight Dracula,

Frankenstein's monster,
the Mummy,

Gillman and the Wolfman.

Well, as the lead
inThe Monster Squad,
that experience

certainly changed my life,
and over the years,

I became interested
in telling the story

of how it impacted others.

[man]
How many here have seen
The Monster Squad?

-[woman] Yeah!
-[crowd cheers]

[André]
The films in the '80s
were so special

because they were a reflection of what was going on in culture.

And it was
one of the first times

that kids were really included

in everything that was going on.

And I think those really
made a deep impact

on the kids that were
coming up at that time.

And now those are the--
those are the creatives
of today.

They inspired and led to so
many other creative outlets.

An example of that is
a 30 second animation

-with some bunnies explaining
whatThe Monster Squad is.
-Okay,

-second way
to kill a vampire--
-Come on, let me in the club.

-Found it at a garage sale.
-Van Helsing's diary.

-We got to find the amulet.
-Now can I be in the club?

-[bunnies scream]
-[mommy grunts]

-[werewolf growls]
-Wolfman's got nards!

The amulet!

-Suck on this.
-Hey, asshole!

You're not a virgin.

[bunnies grunt]

Is she a virgin?

[growls] Thank you.

-[yelling]
-[gun fires]

-[screams]
-Hold us.

-[hisses]
-[soft screams]

[fleshy squeak]

Don't go away!

Bye!

I don't know, to sum
that whole movie up.

-In one s--
-Because it's kind
of been my whole life.

This is our Rocky Horror.

Monster Squadis a classic.

I guess it is kind
of a kid's film.

It was a gateway drug, so--

There's no movie
better than this.

Everybody's seen Freddy,
but not everyone is a member
of The Monster Squad.

I saw the film
at the premiere in 1987.

When did I first experience
The Monster Squad?

That would be opening night

at the Core Multiplex,
720 show.

-My entire family went.
-The first time I saw

Monster Squad,
I was actually in the theater,

and then it was kind of the
weird thing where I would note,

then I would talk
to my friends at school

and be like,
"Yeah, and Monster Squad,"

and they'd be like,
"I don't know that one."

I've said this to many,
many times before,

-I'm going to say it again.
-Okay.

This is my favorite movie

to screen
for University students.

[Mike]
So I meet people
and I tell them,

"Yeah, I teach film studies
at the University."

And they say,
"Oh, you must teach

Citizen Kaneand Casablanca,

you know, Hitchcock."And I say,

"No, have you heard
of Monster Squad?"

How many of you, again,

have never seen
Monster Squadbefore tonight?

-[André] Wow.
-How many of you had never heard

of Monster Squadbefore tonight?

You are welcome.

[students laugh]

On the whole, they--
they get it.

They understand that if they're
taking this movie too seriously,

then you're not watching
this movie correctly.

Where you do get
some interesting push back

is there are sections
of the film that remain
very politically incorrect.

[Mike]
I want to talk
about political correctness.

If we were to remake
Monster Squad,

what would we have to change?

There's some slut shaming,
uh, with the older

-sister who's--
-You're not a virgin, are you?

[Mike]
Automatically ineligible
from saving

the world because she's had sex.

Well, Steve,

but he doesn't count!

Doesn't count?

Fat shaming.

Oh, man, fat kid farted.
Oh, God!

-Did not!
-[kids speaks at the same time]

I think Horace gets called
a faggot at some point.

What did you say, faggot?
What did you say?

So, there are-- there are
certain things in there

that you can feel the room
quiet down a little bit.

I think if it would
be made today,

the leader of the squad
would probably be Phoebe,

that has to convince a bunch
of weird boys to join her.

-And-- And there would...
-It would be more
multi-ethnic, probably.

...probably be a funny scene

to decide
who's going to read the spell.

The Rudy character could be
like, "I'm out."

[chuckles]

They've had really
good experiences.

They clap and they cheer, and--

Those are the ones
who understand.

They come back and they say that
was one of the best ones we did.

Here's how I know that
their appreciation is genuine.

The real compliment is,
"I can't wait

to introduce this
to my friends."

Because their friends are
as unlikely to have seen
this film

as they were,
walking into my class.

[inspirational music]

[monsters growl]

[werewolf howls]

The Monster Squadwas a--
an original script in 1985.

I was really, really lucky.
I went to UCLA,

wanted to be a film major.

They wouldn't take me,

but I thought
the girls were cute

and I loved the campus,
so I said,

"I'll be an English major.

I can do that."

And I fell in with this crowd,

and Shane was one
of those people.

We were both young, I was 25,
he was 26, something like that.

[Fred]
He wanted to be an actor.
He was a Theater Arts major.

He was mostly into reading
Pulp, uh, Fiction.

I started writing
screenplays and he said,
"What are you doing?"

I said
"I'm writing screenplays."
And he goes, "Oh,

was it-- what are y--
how's that?"

I said, "Well, it's easier
than writing a novel

because it's shorter."

So he said, "Well, let me try."

And I said, "Listen,

I want to do The Little Rascals

meet the Universal monsters."

He goes, "Okay." [chuckles]

[Shane]
It was ignorance in a way

that led to, I think,

the enthusiasm
of that first draft.

So we broke the story together.

Eventually we came up
with sort of an outline.

I don't even think
it was written, I think
it was just in our heads.

It wasn't applying
a screenwriters template

or, you know, going off
of a book by Sid Fields.

It was just, "I'm going
to do this pretty much the way

I've set out to
and just see what happens,"

and the experiment was
a very good one for me.

[loud white noise]

[Fred]
The seed for the movie,
and I'm ashamed to say it,

was really spending too much
time in my youth watching TV.

They would run the Creature
from the Black Lagoon.

They would run Dracula,
Frankenstein,

you know, all the old monsters.

[Fred]
As the Universal
monster rallies went along,

they got cheaper
and worse and worse.

And the genius to me was
Abbott and Costello
Meet Frankenstein.

[Shane]
And what I think we liked
about it the most was that

Abbott and Costello were funnier
than they'd ever been.

[suspenseful music]

[gasps]

[Fred]
To take those two guys

and then do
the Universal monsters,

and play the monster straight,

even as a kid, I knew something
very special was going on there,

because the monsters were
actually scarier in that movie

than they are in the previous,
like, three or four...

[chuckles]
Universal monster movies.

So that was kind of our idea,
that was the notion.

The basis for it was
to create a story

that had Spielberg elements,
but didn't scrimp on the idea

that what they're doing
is real and, you know,
he really stakes

a girl in the heart
in The Monster Squad.

-[suspenseful music]
-[arrows rattle]

[hisses]

[growls]

-[whimpers]
-[Fred] So he wrote
the first draft

mostly by himself,

I think I may have written
a couple scenes,

while I was shooting
and in post-production
on Night of the Creeps.

[telephone rings]

-Really?
-[Shane] We got a long draft,

had to cut it down a little bit
for budget and things like that.

And it was, of course,
a thousand pages long

and I had to cut it down to,

you know... [chuckles]
a 102 or whatever it was.

[Shane] But the first draft, I thought,

was one of the better things I'd
done. It was pure enthusiasm.

[Fred]
And then he went off
and wrote Lethal Weapon

and sold it immediately.

He sold it so fast
that Lethal Weapon,

I think, came out
before The Monster Squad.

It was a crazy time.
Everything happened very fast.

I think Fred and Shane
crossed the line.

Personally, I mean, I remember
watching this as a kid.

Now,
I'm in a dark movie theater,

I bring my brother Barry,
he's like, "I don't want
to see a kids movie,"

but my mom forces him
to go with me,

and I haven't watched it
in a while,

but, from what I remember,

it's burned into my brain,

it begins with a Batman ha--

webbed hand.

And then, uh, there's a--

a vampire eating a possum,

and there's blood dripping down,

and then, all of a sudden,
Van Helsing burst in,

and there're skeletons
ripping out of the floor,

and I'm 11, and I'm terrified.

And I look at my brother and,
like, "Maybe we should go."

And he's like,
"No, we should stay."

That's what makes
this movie so awesome,

like, that's burned in my brain

almost as a traumatic
experience.

[Adam Green]
And then, back here is...

the edit suite.

Which-- this is basically--
it's my high school bedroom.

I-- I just, like, saved it.

Do you remember these? These
were from when we were, like,

seven, eight years old,

these Universal monsters.

Instead of storyboarding,
I acted out

action sequences
with action figures for my DP,

and you'd, like,
put cameras on them and stuff,

and, like, that's how we figure

-stuff out.
-Not a bad way to do it.

Brittany has died a lot.

I was 12 when I saw
Monster Squad.

So I was one of those kids

and you had
this incredible script

where-- where the kids
actually spoke like kids.

And there were few movies
that-- that did that back then,

where it didn't feel like adults

writing what they think
kids would sound like.

[André]
In The Monster Squad,
our dialogue and our exchanges

are there because that's how
kids interacted with each other,

and they still do today.

Fred and Shane...

they were-- they were kids that

were saying and acting the way
I did in the 1980s.

It sounds like
these writers were like,

you know,
spying on me and my friends

because this is how we talk.
This is how we sound

and this is the kind
of language that we use.

[André]
They weren't parodies of kids,
and they weren't stupid,

and they--
they weren't dumbed down,

like, they were very smart.

It's everything. It's the kids,
it's the neighborhood,

it's the creepy guy
in the neighborhood

that everybody thinks
is a bad guy and who turns out

to be the most sympathetic
character who saves the day.

It's all of these
effortless jokes

about growing up
and sexuality and--

w-- without ever losing
the innocence of being kids.

Like,
it's such a good movie, man.

Th-- the characters were
the consistency

throughout the movie.
If you have these characters

that you can
put them in a drama,

you put them in a comedy,
it just so happens

that they happen to be
in a horror movie

or a sci-fi movie
or maybe a mash-up of the two,

if those characters are
compelling in any genre,

you can put them
through anything you want,
and we will care.

But you could tell
that they sort of had that voice

of the generation
in their minds.

They sort of knew, like,

"These kids are real kids,
you know,

and we're going to take
these real kids

that are maybe
a little too real,

and put them in this, like,

crazy situation."

It's the kind of thing

that Hollywood today dies for,

you know,
this high concept idea.

Anybody who does these things

is-- is operating
partially subconsciously.

But there was a mythic cord,
apparently,

in The Monster Squad,

that we may have tried for,

but didn't realize
would resonate.

[calm inspirational music]

[car engine revving]

[tires screeching]

Taking the monster seriously

applies to our approach
to the whole movie.

I mean, when we were casting,
for instance,

if they had that kind
of John Waters winky,
Rocky Horrorapproach,

I just said, "Nice to meet you."

Duncan Regehr came in

and scared the shit out of us,

and I went,
"Okay, that's the guy."

[Duncan]
I knew that I had to fill
some pretty big shoes.

I mean th-- this character

has been played
by some pretty wonderful actors,

but I wanted it to be

a character that was more
sociopathic in nature.

So, less bestial.

I had the availability
to approach this one

with some psychology to it.

And that was certainly
part of the discussions
that I had with Fred,

who was, at that time, more
into the bestial side of it.

And I said, "We've got
to find this other level

in order for it to work,
in order to take this character

in another direction,
retain the histrionics."

So he is arch,

but he's malevolent.

It was a question
of finding some compromises

and there were certainly
a lot of differences of opinion

about how things should be done.

But those things always work

towards making a better
creative product in the end.

And that's what we did.

We also had Peter Hyams,

who was a, you know,
a veteran and he was definitely

a-- a wonderful guy
to bounce ideas off of,

and it was very, very helpful
to both of us to have him there.

The biggest drama
on The Monster Squad

was that Peter wanted
to fire me the first week.

And the reason was that, uh,

I wasn't shooting the movie

kind of in the way
that he would have shot it.

He taught me
some valuable lessons.

In my head, I see the movie
and it may cut together,

but, if it doesn't,

I'm screwed because I haven't
done enough coverage, A,

and B, and this is
the important thing,

is that
the entire crew understands

what the whole scene is.

And what Peter taught me
was basically directing 101,

which is always start
with a master shot,

so that the crew knows
exactly what's happening

from the beginning of the scene
to the end of the scene.

And once I got the lessons

on week two
and he didn't fire me,

every scene in the movie
I shot a wide master shot

and they're wide
and they're beautiful
and they look good,

but they're all
big wide master shots and,

uh, you know, I think
that set his mind at ease.

Take a drink
for every master shot,

let's-- but let's
make it a drinking game.

Well, everybody always asks us
what our favorite part
of this movie is.

It's the final
action sequence where
we're doing the final battle.

We're on the back lot
of Warner Brothers.

Uh, it felt like we lived
in that town,

it was like, "This is epic,
this is huge.

Like, this is-- this is
probably the biggest thing

I'm ever going to do."

[André]
Even Fred to this day

says the last 20 minutes
of this movie

are his favorite.

Peter left me alone for the--

more than the second half
of the shoot.

The whole town square sequence,
the finale of the movie,

uh, he completely left me alone.

That's my favorite
part of the movie,

not because he wasn't there.

I'm just saying he--
he gave me the keys to the car,

and I drove the car and I think
I drove it pretty well.

The last reel in that movie
is still my favorite thing
I've ever done.

...eyes real big
because you're scared
that you're going to lose him.

-No, no, no, you're sad,
you're sad...
-No.

...No, no. No--
and he's trying to go,

no, no-- and you can say that.

-No, no-- Be more sad...
-No, no. [soft scream]

-...be more sad--
-No, no, no,

-no.
-And then he goes.

And then you're real sad
because he's gone.

But you still look at him b--
up at him

because you see him going in.

[mimicking cry] No...

-Good.
-It was really
just a lot of fun for me.

And because I brought
my four-year-old there,

there were scenes where,
you know,

where Wolfman beat the shit
out of me in one scene,

and to see
little Jesse look at me

with eyes like, "Oh, my God,

they're doing this
to my father."

I think we went outside,

and Wolfman's parts started
to come back together again,

and when I had my little kid

there looking at that

and seeing Wolfman's arm come
and attach to his body.

He looked at me and he said,
"Daddy, how do they do that?"

Most of the monsters were
very cognizant of being human.

However,
I was petrified of Duncan.

Because Duncan was just a man,
and he had red eyeballs

because he wore
red contact lenses,

and fangs,
and that wasn't fucking normal.

And poor Ashley Bank,

when Dracula lifted her up,

I don't think anyone bothered
to tell her that he
was going to go,

"You bitch," and, like...
[softly growls]

A lot of the movie was prepared

with those kids not knowing
what was going to happen next,

so that they had a better
sense of the reality it--
of it as being reality.

And Fred pulled me over and he
said, "All right, you're going
to go on that wooden plank,

then, you know,
it's going to rise up,

and he's going to say
something to you,

and at some point in the scene,
you're going to scream."

And being the actor that I am,
I said, "When?

When am I supposed to scream?
I follow directions,
when am I supposed to do it?"

And Fred looked at me
and he said, "You'll know."

[Duncan]
You know, you get
wrapped up into the--

the whole magic of, um,

the lights and the atmosphere,

the smoke,

the coolness of the evening.

And...

it sweeps you up
and takes you with it really.

And that-- th-- that feeds you
and forces it further.

Um...

And she was there for it,

you know, I didn't have
a lot of work to do

because she was
actually terrified.

His eyes were closed
and his mouth was shut.

And they said action,

and he opened his eyes,

he opened his mouth,
and he hissed at me.

-[screaming]
-[hisses]

That girl can scream.

She scared me, actually, it was,
um, it's the truth of it.

My first scream was
so intensely afraid

that I don't think
it was long enough.

Because the first time...
[chuckles]

...she screamed and it scared
the crap out of her

so bad that it took her breath
out and she went, "Ye--"

[man chuckles]

[crowd laughs]

-And there was no scream...
-[soft chuckles]

...so they had to do it again.

They said,
"You need to scream longer."

And so, that second scream
was the second take.

[loudly screams]

[hisses]

Phoebe! That's my daughter!

[scream continues]

Now,
I think she turned out okay.

I don't think we, uh,
we did any permanent damage,

but scaring the hell out of kids
was-- seemed like a great idea.

And then the laughs played
against that in a wonderful way.

-[dramatic musical sting]
-[soft howl]

Welcome to the mad--
mad house and the mess.

But this is--
this is the fun part

-because this is
where everything happens.
-Mm-hm.

[André]
We us-- everybody is
so used to seeing it,

-like, the finished product.
-Yes.

I-- I think I was 17
when Monster Squadcame out.

I already knew I would dig it

because it's the monsters--
it's the classic monsters,

but the local cinema
had called me and had said,

"We're doing
Elm Street 3: Dream Warriors.

Would you dress up
as Freddy Krueger and,

you know, come in and scare
the audience?" [mumbles]

It went down really well.

They used
to call me and said, "Hey,

The Monster Squad
it's coming in.

Will you do something for that?"

And I said, "Hell, yes.

No, I'd love to do that."

I played The Mummy,

I was a lot skinnier then.

And my other three friends were

Frankenstein,
Dracula and the Wolfman.

It was a really
good big deal within

all the local press, it was fun.

Oh, these were my kits for, um,

a movie called
The Shape of Water.

Oh, I've hear--
I've heard of it.

After I did that
and the pictures were paid

in the local paper,
a company in London,

Weekend Television, contacted me

to do some makeup
to one of their TV shows.

So, we're The Monster Squad
is what this particular producer

saw when he brought me in,

ironically not to do monsters,

it was to do old age makeups.

So that f-- pushed
my career even further.

[Mike Hill]
Yeah, this is a--
well, you can see it's,

it's some applying thi--
it's actually the very
first applyings

that Doug Jones wore
in The Shape of Water.

[André]
So these weren't just mock-ups,

-these were actual--
-No, these are
the actual very first,

first day of shooting ones.
And I know exactly

because Guillermo told me
exactly where he wanted
the spots.

[André]
Yeah, because when
he put that whole suit on,

-he's in the suit all day long.
-Yep.

-And takes one hand off
so he can have...
-At lunchtime,

-so he can uses a bathroom.
-...some salad.

Actually, this is great stuff--

[André]
What's interesting about

creature making is
everybody in the modern era

of special effects
and creature design,

we're all kids at one time
and they saw these
classic monsters.

And so, they really put that enthusiasm

into making their iteration
of these classic monsters.

I'm Tom Woodruff Jr.,
I'm the co-owner
and co-founder of a ADI.

I'm John Rosengrant and I'm one
of the owners of Legacy Effects.

I'm Shane Mahan, another
co-owner of Legacy Effects.

I'm Steve Wang.

I was hired by Stan Winston

back in 1986

to be the art director slash,

uh, builder
of the Gillman creature

along with this gentleman here,
Matt Rose.

Alec Gillis was
my business partner here

and I actually worked
for Stan Winston

for several years during which
we did Monster Squad.

On Monster Squad,
I headed up the team
to create the Wolfman.

My responsibility was the Mummy.

[Tom]
When Stan told us
about the show,

"Monster Squad,
it's got all these monsters."

And the first thing
we heard was,

"And Universal said
we can redo the monsters."

[tense music]

And those early monster movies

were really targeted for adults.

And they wer-- came out
during the Great Depression.

And they came out of a period
of enormous economic anxiety,

a sense of fear, whether you
were goin-- you know,

whether your parents
are going to put food
on the table the next day.

We'r-- we're both 20 years old.
I'm standing there, like,

kind of, you know, like excited,

thinking, "Oh, my God,
we're getting to build

the Creature
from the Black Lagoon."

[tense music]

That was totally cool.

Stan then said,
"No, Universal said no."

They put the hammer down fast on
because they trademark
those looks.

We could use the characters.

We just had to be careful
not to recreate

the exact look of the old,
uh, Jack Pierce makeups

because even then, they were
using those at the theme park.

We were a little, you know,

crestfallen
for a couple of days,

but then everyone rose
to the occasion.

And so, what we had
to do is adjust,

you know,
make minor adjustments.

Okay, fine. You can't beat
the cool out of this project.

[Shane Mahan]
Stan actually drew
and sketched by pencil

the characters themselves,
so we sort of watched him
develop these looks.

[Tom]
When we were doing
the creature builds,

Stan was always good about
splitting up the work.

The great thing about Stan was

that he was incredibly
supportive of these people

that he had hired
because he trusted them.

And so, he gave them projects,
in this case,

specific monsters that they had
never done before and didn't
even know if they could do.

"Alec, you're going
to do the bat transformation.

John, well,
you'll do the Wolfman.

Shane will do the Mummy,
and Matt and Steve,

you guys will do the Gillman."

This was one of those jobs

where it really
didn't matter which one.

It's like, "Oh, shoot,
I got stuck with Wolfman."

I remember kind of looking
to everybody and saying,

"Oh, so, how do y--

how do you guys
make monster suits?"

And it was just silence.

And then
it kind of dawned on me.

"Oh, let the newbies
figure it out." [chuckles]

[calm music]

[John]
We got to present
a lot of Wolfmans

to end up with the final one.

We got to do
the Werewolf of London,

and the whole transitions
in the phone booth

were, you know, doing
some old-school laying hair on

an-- and uti-- utilizing
some prosthetics and teeth

I'd made, and contacts.

In the final one, y-- you know,

I kept saying,
"Stan, let's get some

of the Oliver Reed the Hammer
look into it, too."

That's kind of the lighter brown
fur with the different patterns.

-[Shane Mahan] Torn shirt.
-[John] The torn shirt.

The white-- whitish kind
of torn shirt.

Our Mummy is
completely different,

that was a choice of mine
because I th--

I thought we already
had a big lumbering monster,

so let's make the Mummy little.

[Shane Mahan] The real mummies,

if you go to a museum,

they're very diminutive,

they-- they're very small,
thin people,

and maybe that'd be
a good contrast to Tom Noonan and-- and it sort of worked out.

[Fred]
And Tom Woodruff, who I just
worked with on the Predator,

always wanted to play
the monster as well
as make them.

He's creating and making
the Frankenstein's monster's
applications

for Tom to wear
on his face and head,

and he gets to be
in the Gillman suit.

Playing Gillman was a--

It had its own challenges,
a little bit different
from the makeup.

Once he was in that suit,
he couldn't really get out.

That Gillman suit is
really a one-piece,

full-length bodysuit
that you get glued into,

and he's in there for 12,
15 hours a day.

To the very first day
that I was glued into the suit,

we did the work in the lagoon,

and it was a cold night.

During lunch, I remember,

I just went
to the dressing room.

I laid down
and actually fell asleep.

You're not eating, and
you're not drinking anything.

I remember waking up
during that lunch break

and nobody was with me.

I think you only had
two little peepholes

to actually see out of in that--
in that helmet part.

I didn't know where I was,
I just felt like my body
was completely locked,

and I could feel
my heart rate going up

and my breathing
was getting shallow.

I can't imagine
the claustrophobic feel

that you'd be glued
into this foam,

latex suit
that's soaked with water

in this giant creature head
that you can't see out of.

And I had--
I just kind of talk myself down

an-- and remember that
I'm in the suit, and I--

Still, it wa-- it was frantic,
just a frantic few seconds.

I don't think everybody
can do stuff like that.

The fact
that he played the creature

and that he continued
after that to continue
to play monsters is,

uh, shows how--
how devoted he is.

What we do,

no matter
how well we make it, is...

really a piece of plastic,

you know,
it could be a beautiful model

or whatever, but it's the action
that brings it to life.

That's really the final thing

because, if it's just sitting
there as a--

as a display, that can be
great and dynamic,

but in film, you need
the actor to bring it up.

Steve Wang and Matt Rose
did a great job on the Gillman.

For its day,
set the tone for so many things.

I will go on record

and say I think our creatures
is one of the best monster
costumes ever filmed.

Having been involved
in other suits in the past,

and also having studied a lot

how monsters-- monster suits
were made back in the old days,

they usually made it
in sections and parts
and they just kind of like

put it-- put it on,
they'd do zippers and do--

and sometimes you'd just see
where all the seams are.

So the way
that Matt and I did it

is, you know,
we still did our body cast

and we sculpted the whole suit,

but instead
of making it in sections,

the main body was
all molded just as one.

And-- and, was it the first shot
he went right into the lagoon?

-Yeah.
-We're seeing you do the suit,

this perfect suit, they say,
"Put it in the water." "What?"

[Steve Wang]
Remember how nervously
we were because it's, like,

we're-- we're gluing
the hands on, we were, like...

[whispering]
"Okay, I think it's working."

And then we were-- we're putting
the feet on, you know,

"All right,
that seam went away."

And following, we're gluing
th-- the head,

his big giant seam,
I would put it on.

And we're starting to glue,
and Matt was in the front
and I'm in the back,

and we're, like, gluing it on,
and then looked at him,

Matt looked at me,
and we're just, like,

"It works." [laughs]

I mean,
it fit like a tailored suit,

-it really did--
-Stan got so many compliments
when he walked out,

all the people are like,
"I was in business 30 years,

I've never seen anything
like this before," you know,

and Stan is like,
"Thank you. Thank you.

I did it all, me, me!
And the-- these two helped."

Stan was always a jokester,
you know.

The question is
how do you create

a new Creature in Black Lagoon?
Well,

you just have
Stan Winston's guys design it

and build it,
and-- and sculpt it.

[crickets chirping]

[wolf howls]

[howls continue]

We wrapped the movie
and you've got six,

eight months
before it comes out and--

It felt...

like, all of a sudden, like,

your life was going to change...

drastically.

Fred and Shane
and the guys,

they all got together
in a limo on our opening night,

and we drove around Los Angeles

and went to all the theaters
that it was playing it.

And we went to probably
five or six theaters.

I will not forget that.

We went to one
actually in the valley.

There was seven or eight people
in the theater, I think.

Seven or eight people
in the theater

which seats 300 people.

It was crushing.

[Joe]
I walked out
of that movie thinking,

"I can't wait
until the newspaper

comes out on Monday morning,"
because that's when
they would a--

they would have the top ten
movies for the weekend.

I hoped it was Monster Squad
and unfortunately,

it wasn't.
And I was really bummed.

Well, listen, it was a huge hit.

And by it, I mean The Lost Boys.

The Lost Boys
came out two weeks

before The Monster Squad.

Two weeks later,
we come out and we tank.

And it was incredibly
disappointing.

My review of Monsters Squad
appeared in the LA Times

on August 14th 1987.

"The Monster Squadis such fun.

It makes you wish
you were a kid again.

Although you can never regain
childhood innocence,

you can find compensation
in being able to appreciate

the artistry with which
director Fred Dekker

and co-writer Shane Black,
have brought

to this horror comedy-adventure
aimed at youngsters."

Yeah, and not all the critics
were so generous.

Vincent Canby
of the New York Timeswrote,

a mildly scathing review

of The Monster Squad
which I think makes it plain

that this is never
going to be a movie for him

because the last line
of his review says,

"The Monster Squad
includes vulgar language

and some sequences that
could scare already emotionally
troubled four-year-olds."

-Well...
-As a kid, you're relegated

to whoever was
in your local newspaper

or maybe Siskel and Ebert.

I would say a good majority

of the people writing
the print reviews

for newspapers weren't
film lovers themselves so much.

They-- they were
assigned that duty.

[Jen]
You think about the impact

that it had at the time,

when newspaper reviews
could make or break

a movie that might need
critical support

to find its audience,
in a time when audiences

largely depended on critics

to tell them what is worth
seeing and what is not.

Let's not tiptoe around it,
the movie bombed,

the movie bombed.

"Guys, uh,
better luck next time.

This movie just,
no one's seeing it,

no one knows about it.
No one cares."

I mean,
I don't even know if I remember

that I knew
when the release date was.

I just remember thinking
that people should've been
talking about it more.

[laughs] That's all.

But I remember
the profound disappointment,

because you spent
two years on these things

and you know in an afternoon

whether it's gone
or it's going to stay.

By Friday night, latest
Saturday morning, it's like,

"Well, you're movie is a hit,"
or, "Yeah, next time."

I'd-- I didn--
I wanted it to all go away.

I said, "No more acting.

I don't want anyone t--
to know that that happened."

And so,
I would never talk about it.

I wouldn't let anyone know.

I wouldn't let girlfriends know.

When movies come out,

they get a--
a limited time to perform.

They get all kinds
of conditions and circumstances

that have nothing to do
with the quality of the movie,

where it's released,
the date it's released.

How many screens,

what's going on that week.

[Stephen]
I saw that it
was a PG-13 rating.

And I thought...

"No." At that time,

I-- I said to my wife, I said,

"I don't think that mothers
are going to schlep their kids

to this movie, to get them in,
to watch it with them."

True is the fact it didn't last,

and I think it had to do
a lot with that rating.

[Paul]
When this film was released,
it was rated at 15,

which means that anybody
under the age of 15

wasn't able to see
this film theatrically

and wasn't able
to rent the VHS tape.

You had to be 15
or older to see this film.

So, when it was released,
it was clearly marketed

towards that Goonies-y
sort of, you know,

teen adventure film audience

whose films
typically were rated PG.

No one who wanted to
see it could see it,
I couldn't see it.

I think it's also a testament

to the fact that the movie
was maybe not properly

marketed or marketed enough

back then and it's crazy
to think of what a year
would have made,

if they just sat on it
for a few more months

and then released it with,
"From the writer of Lethal
Weapon."

I thought we had
an ability to appeal

to some people on a,

a more nostalgic emotional level

than just simply
the cartoon version

that I think the ads would--
suggested the movie to be.

Because we just had
these "wanted" posters

all over around billboards
and it just-- it was like
mug shots of the monsters

with, like, a call to action,
but nowhere to go.

[Andrew]
It's really hard to find
stuff from The Monster Squad,

but then I joined eBay
in 2005 and I was like,

-"Oh, my God,
look at all this great stuff."
-[vocalizes fanfare]

Right? So I'll--
I'll check in every couple days

-and...
-Not too many people have that.

Probably a good reason for it.

You know, I-- [stutters]
got it and then I was like,

"Well,
that's not even Duncan.

That looks like
a Halloween mask costume

-in a, like, a Kmart
or something.
-Yeah, I don't know--

Wanted poster, like an Old West,

-but new mug shot type thing.
-Right.

"For felony neck biting,
unlawful blood-sucking,

and assault and bat-tery."

-Yeah.
-Mummy.

"Armed bandage
and statutory wrap."

Today I think if you
even brought that idea

to the conference room table
in an ad pitch,

you might be
cleaning out your desk.

[André]
Like, so-- that got--
that got greenlit,

that got greenlit, right?
[chuckles]

That was on billboards,

like, giant billboards
in LA and across the country.

-It's probably why
the movie didn't do well.
-Oh-- [laughs]

And the next weekend,

it didn't get any better.

[Fred]
I never, ever,
ever got the sense

that this movie was
finding a new audience

or that its original audience
were enjoying it again.

None whatsoever.

I was still licking my wounds.

[interviewer] Until 2006.

Which is--
so that's roughly 16 years,

before I had a clue
that people liked this movie.

That's the God's truth.

[upbeat rock music]

[man shouting]
The Monster Squad!

[crowd cheering]

-[Ryan] Oh, my God! Hi!
-[André] How are you?

[André]
How you doing?

Welcome!

We're doing 17 Alamos
in 17 days.

[crowd cheers and claps]

Only because of you guys
that keep filling up

-these damn theaters.
-[Ashely] Yes.

Monster Squadfans are very
special and th-- they're
a little bit

tighter connected to this movie
than most genres fans.

I don't think
anybody in here doesn't have

a special connection
with this movie
for some reason, right?

Uh, it hit and connected
somewhere that stayed with you.

And after five or six years...

[chuckles] it just got
to be overwhelming

how interesting this fan dynamic
is with this movie.

[garage door rattles
and squeaks]

Dance to this for the, uh,
Horrorhound of Cincinnati.

It is probably
one of my favorite pieces, uh,

if someone ends up
making a t-shirt,

let me know because
I'll gladly buy at least like

seven of them so I can wear them
every single day of the week.

I decorated my garage
in the way that I imagined.

Rudy and Sean and Patrick
decorating their tree house

with all the monster stuff.

I saw that
and instantly I was like,

"Man, I would want
to emulate something like that."

You can step
into a room in your--

you can look
at someone's tattoos now

because those
are collections too.

And you could understand
and not have to ask, like,

"W-- what movies do you like?"
It's like, well,

they could possibly
be tattooed on someone's arms

or, if you look around a room,

you could pick up on it
pretty quick.

My first experience
with The Monster Squad

was, uh, spending the night
over at a buddy's house.

So we, uh, turned it on,
I was probably seven or eight.

And it was on HBO
or something like that.

And we sat there and, uh,
wolfed down popcorn

and watched the most amazing
movie of our lives.

Everything we had seen
up till then, it all
had been kid's stuff,

and this was
the first-- the first taste
of something dangerous.

[light rock music fades]

[crickets chirping]

[wolf howls]

[eerie suspenseful music]

Back in the '70s, cable was
what you did to get television

if you were in the mountains.
By the time that had been
exploited

to the point where it's
economically feasible,

then they went into the cities.

The growth kept going
and going and going.

I was at HBO when
The Monster Squadfirst aired.

We knew that, by the time
a film came out of the theaters

and maybe went to VHS,
95% of people had not seen it.

We put it in front of a network
of 20 or 25 million households,

somebody would watch
Monster Squadin HBO,

tell his next door neighbor,
the word got out.

Monster Squad
developed a word of mouth.

I think it was either HBO or--
or The Preview Channel,

I think that's
what it was called before HBO.

Monster Squadwas on a lot, um,

Beastmasterwas always on,
Dragonslayer.

And those were the movies
that really shaped my youth.

Pretty much the early days
of HBO were pretty gold
in the sense that,

if you missed an '80s movie,

it would play a hundred times

in a row over and over again.

If you grew up in the 80s,

you knew, when you watched HBO

or any of those cable
channels back then,

that eight o'clock was this,
like,

magical time where, like,
the world changed.

I think that was even
before we owned a VCR.

I think we rented our first VCR.

[Rob]
And then,
eventually I would go

and rent it
when it wasn't on cable.

[Rebekah]
The first time
I ever saw Monster Squad,

my mom had taken me
to the video store,

and I was maybe seven
or eight years old,

and I was a die-hard horror fan
and my mom let me watch

pretty much whatever I wanted.

And I was having
a slumber party that night,

and I wanted a horror film,
but mom was scared to death

that all the other parents
were going to freak out

if she brought home, like,
Nightmare on Elm Street,

and I got to watch it
with all the other girls.

So she was looking for something

that was a little bit
more kid-friendly.

And she handed me
The Monster Squad

while we were standing
in the middle of the video store

and she said, "How about this?"

And I said,
"Oh, this looks perfect!"

And I took it home
and we watched it during
the slumber party that night,

and half the girls got scared
and half of them loved it,

and it became
one of my favorite movies

throughout
my entire adolescence.

[Mike]
I couldn't tell you
when I first saw it.

I can't ever remember a time

when I didn't have
a reliable VHS copy.

I can't remember
a time when there wasn't

a Monster Squad,
kind of, in my life.

[Shawn]
The sad fact at the time was,
there were certain movies

that were being sold
to the public and certain ones

that were just being
shipped off to video stores.

And if you wanted
to buy a movie, you basically
had to buy it with,

uh, distribution
license locked into the tape.

So the tapes cost
like 100 dollars.

So it built up an obsession

where every time we'd go
to the video store,

that's what I'd rent
because I couldn't own it.

And then,
it disappeared for 19 years.

It wasn't on anybody's
mind for a very long time.

Sure.

Right off the bat, there you go.

Right off the bat.

Oh, man,
the whole squad all together.

Yeah, obviously, I love there is
like a unique style on it,
you know.

[Germain] My entire apartment
is covered in posters,
some of The Monster Squad.

And, uh, a lot of it is
that now when I walk

by that Monster Squadposter,
that Lost Boysposter
or something,

I immediately sort of have
a flash to the entire movie
in my head.

Oh, my God, look at this.

-[soft laughs]
-[Germain] Just so cool.

-Just so cool.
-And that's the same guy
that's over there.

The same guy, Geoff Trapp, yeah,
this guy is

-a Monster Squadfan.
-It's got a little,
uh, dynamite.

[Germain]
In The Monster Squad
they made those business cards

and i-- it inspired me
to make my own business card.

"We kill monsters for pleasure.
No job too weird."

Uh, and we never actually did
or performed any jobs.

We just like to have the cards.

-Holy crap.
-Okay. Now this--

What the hell is this?
This is crazy.

It's something you love
seen through the eyes
of somebody else.

And you just totally,
instantly connect to it.

I don't know if I'll ever
stop collecting, uh,

if I ever see any cool
Monster Squadstuff.

I'm always going
to think about buying it

because it's just, you know,
it reminds me

of the-- th--
some of the best times.

[wind blowing]

[soft eerie music]

[Fred]
Is Monster Squada cult movie?

I don't know
what a cult movie is.

I mean, it's either a weird
movie that people like...

or...

I struggle with the word "cult"

with films sometimes because,
to me,

a cult film is something like

Rocky Horroror even
The Room,for better
or for worse.

But they're movies
that kind of just missed,

yet, for some reason,
people still love them.

That's what it is.
That's what a cult movie is.

It's a weird movie
that people like.

I think that cult films

emerge from exploitation genres.

Cult, over time,

I don't think means
the same thing that it used to.

Because cult meant
something that nobody knew about

except, like, a very small
cult of people.

Over time, I think
it doesn't mean that same thing.

I think it now means something
that was wildly popular

but not financially successful.

I don't think a movie
that doesn't do well

but then finds
its audience later.

Because It's a Wonderful Life
did that,

The Wizard of Ozdid that,

a lot of movies did that.

[Rebekah]
If you ask five different people
what a cult film is,

you will get
five different answers.

Even if you ask five
different expert film academics

what a cult film is,
you will get five completely
different answers.

Well, I mean,
a cult film is often a film

that didn't fully find its
audience when it first came out.

That people
discover on their own

and feel like it's a kind
of private fantasy universe

that they can feel
a particular connection with.

All of a sudden, it's like
you find lifelong friends

because you have
this one weird thing in common

-that nobody else knows about.
-[Rob] They clearly
had the same thing,

where "I love this,
no one else loves it."

[Adam Murray]
Kind of a, uh, members-only

kind of mentality to it,
like a secret club.

[Ryan]
Probably not the crowd that's
going to seeTransformers.

But it's like
what real film lovers watch.

[Zach]
When you first see it,
it seems very kind of,

like, uh, out of the mainstream.

And it seems oftentimes
very odd and bizarre.

And yet, at its core,
the theme is something

that really resonates
in kind of a universal way.

When I think of a cult film,
I think of my smaller films,

uh, that have reached
a certain audience

and usually at a certain time
in their lives.

Usually when they're young.
It's like hearing that
great rock song

when you get your first kiss
or something, you always
are going to remember it.

[Germain]
So the Monster Squad
fits into that

because it was a movie
that didn't do too well

at the box office,
and then came out on VHS

and cable and it
just sort of existed.

So people had
to find it on their own.

[Adam Green]
I don't think

of Monster Squadas a--

as a cult film, I just don't.

Oh, a 1000% Monster Squad
is a cult film.

What makes it cult,
what earns it that right,

is that it's something that
wasn't financially successful,

but has fans and those fans
are rabid and loyal.

It's always been huge.

And, if anything,
I would call it a classic

more than a cult film.

I mean, for me, it-- very
definition of a cult movie,

because when I saw it as a kid,

in my mind, it was as big
as all the other movies

I loved. But I noticed
no one else seemed

to have either seen it
or even heard of it.

So what if it wasn't, you know,

number one at the box office
for a year straight

or something like that,
none of that matters.

It's nothing other
than time that allows
a movie to resonate more,

it's like, it's like marination.

I just think it's a word though,
it's like, there's a whole bunch
of words

that are really helpful in--
in conversations.

And I just don't know
that that one is.

But ultimately movies
are good or bad,

and they're accepted
or they're not.

But I don't know
what a cult movie is.

So I sure don't know
if this is one.

[Ryan]
Where's the 35mm projector?
Can I see it?

Oh, yeah, that's the stuff.

This is a film.
It's going through the thing.

It's, you know,
then it comes out and it's...
[vocalizes roll rattling]

[film roll rattles]

This is the part
that people don't know

-when they're watching a movie.
What's happening?
-[man] We-- Yeah.

Not just behind the scenes
of making the film,

but actually showing the film.

My inspirational
section of my life,

which was basically
the '70s and '80s

of film-- uh,
this is what it was.

-[man] Yeah.
-This is how it was shown to me.

So this is how I want to see it
for the rest of my life.

You know, it's just awesome
to watch it go by.

-It's definitely arou--
-No, is like my heart's
like fluttery.

-[laughs]
-With the motor, right?

It starts... [vocalizes engine]
you know, like I just felt
like that, like, "Here we go!"

[inspirational music]

[low growl]

[flash clicks]

[tape whirring]

[wind softly howls]

It's now 11 years
since Tim League and Eric Vespe

from Ain't It Cool News
put together the first
cast union screening

at the old original Alamo
here in Austin in 2006.

That all started with one man,
Eric Vespe.

I don't think, at that time,
I'd ever seen it projected.

I was familiar with it.
I'd seen it, it-- honestly,

uh, didn't make that much
of an impression on me, I guess,

because I think I was
into different things.

I just wanted
to watch the movie.

Eric's enthusiasm for the film,

it was undeniable.

And, uh,
he made a really strong case.

And, you know, frankly,
it doesn't really take much

for me to say yes to projects.

He said, "If, like, maybe
if you can find some people,

some of the cast and if they're
willing to come out,

you know, for a coach ticket,
maybe we--

we'll set up one screening,
you know, on one weekend."

This could either suck
and there was, like,
five people there,

and we'll just go
to Austin and have fun.

And so I really
have the easy part.

I just have
to open up the doors, uh,

find a film print and, uh,
and go.

Hi, I'm Matt Pennachi.

-Normally a 35mm film collector.
-Adam Hulin.

[Matt Pennache]
And we had many, many adventures

going to a lot
of run-down, burned-out,

closed down,
dangerous locations,

searching for 35mm prints
over the years.

And, uh, one of the best
ones we ever found

was a print
of The Monster Squad.

At the time
we acquired that print,

we had bought it
from a collector in New Zealand.

That's one of the last places
in the world that prints
go to die,

-South Africa and New Zealand...
-The last stops

-on the world tour.
-...because nobody wants
to pay the postage

-to get them back.
-Once they get that far away,
they don't want them back.

[Matt]
And we started getting
bombarded with requests for it.

And then,
it came to our attention that

there were no known prints
of this film left
in North America.

-Which we're not aware of that.
-We weren't aware
of that at all.

[Adam Hulin]
Amongst the myriad
of other prints we had,

a lot of them were sold
to the Drafthouse.

But even at that point,
we didn't realize how--

how much of a unicorn
this print was.

So we picked Easter Sunday,

they put up the tickets
online saying,

"Monster Squad
reunion screening,"

you know, director, the cast.

And Eric Vespe
and I got in touch.

My head spun for a second.
I'm like,

"Wait, you know this movie?"

[André]
And they ended up
putting together

what became the--
kind of the seminal event
of Monster Squad.

Was not expecting... [laughs]

...even remotely
what actually occurred.

-And it sold out.
-Uh, it sold out real fast.

I-- I think at the time, faster
than anything I've ever sold out

at the Alamo before, and they
added a second screening.

-Oh, my God, what is happening?
-And e-- and everybody was like,
"I love this movie!"

And I was like,
"You've seen this movie? Okay."

[crowd laughs]

It just... [mimics explosion]

I-- I, I couldn't believe...
[chuckles] the attention

that this thing was getting.

[Fred]
That first screening
at the Alamo,

was a real eye-opener.

And then,
to show up at the Drafthouse

and see the line of people

going around the block
waiting to get in

was astounding to me.

[André]
And it was like this amazing,

retro, nostalgic party jam.

You know,
the floodgates just opened,

that film played somewhere

every single weekend
in the month of October.

Half the questions were like,

"When is this movie coming
out on DVD?"

And we were all like, "Never.

I don't think, like, I don't
think anyone is releasing it."

You know, the question got
asked, "Where is our DVD?"

But Fred, you know, said,

"Hey, you guys are the ones
that would make this happen.

Write letters, write emails,
make posts."

I remember being on DVD forums

in 2005-2006,
when I was seventeen, eighteen.

People being like, "Can we
get Monster Squadon DVD?"

I was alone in my office
at work and I was like,

"Okay, I'm going to leave
the charge on this,

this is something
that I feel like

needs to happen."

So one of my ideas was when--

when I heard there was
a letter writing campaign again,

I wanted this to get seen,
not just throw it into a pile.

So I got a bunch of index cards

and crayons and magic
markers and stuff like that,

and, basically,
I would either write in

some of the characters
from the movie, like Eugene,

like desperately
wanting this on DVD.

I think I wrote like
60 letters into the company,

just to try
to get their attention
because I was afraid that--

that this jam
wouldn't make it to DVD.

I'd like to think
that it wasn't obsessive,

but, um, I think that, all
total, it was like 60 note cards

or something like that,
that I sent.

So I actually had
a bootleg DVD I bought off eBay.

I even had a bootleg DVD.

So I had to go onto eBay
and get the, uh,

bootleg DVD that was ripped
from the Japanese LaserDisc.

Nowadays, everything comes out.

Some specialty labels
putting out every movie,

but there was a time, especially
when DVD was a new format,

that that wasn't the case.

And, in particular, Fred
Dekker's movies were the ones

that everyone talked about
saying, "When is Monster Squad

and Night of the Creeps
coming out on DVD?"

[Michael]
The fan base was
letting people know,

"Hey, we really want
to re-embrace this movie.
Can we own it?"

And Lionsgate, they were very
smart and very, very attuned

to what was going on out there,
and they threw it out there
and they did it right.

I realized that Monster Squad
had made a big impact

about the time it was
coming out on DVD.

[Michael]
No one was prepared

for how successful it
would end up being.

It was their highest
selling catalog title
that they had that year.

And even I was kind
of taken aback by that.
Because I was like,

"Wow, I knew that there were
a lot of fans out there,

but that can't just be

people my age buying this.

This is their kids
going for this.

This is a whole other
generation, you know,

picking up the cover and going.
"Hey, what is this?"

Because
of Monster Squadsuccess,

it ended up winning
a Saturn Award for best, uh,

special edition DVD that year.

It brought me
a lot of attention.

It was a big calling card
for me for a lot of years.

[sharp rattling]

[soft tense music]

[Eileen]
Probably the first time
I saw Brent

was in the grocery
store with his mother.

I had my daughter
Rachel with me.

And he kind of had
a little crush on her.

So every time he saw her,

he would hide behind the produce

and then pop up and I thought
it was really cute.

[gentle inspirational music]

We were out on the beach
and we were on the swings

and he's like, "Hey,
you want to be my girlfriend?"

And I said,
"Okay, but what does that mean?"

And he said,
"I think it means we walk
around holding hands."

And I said,
"Okay, we could try that."

[Rachael]
Brent asked me to go
to a wrestling match.

He's like, "Don't worry.
I'm going to take you
to a nice dinner before."

He wanted it to be
really special.

[Rachael]
One of my friends
had made fun of him,

calling him fat.

Good evening, ladies and
gentlemen, welcome to our show.

Tonight's question,
what makes Fat Kid fat?

-Fat Kid?
-Get out of here, EJ.

And it made him so sad.

And I remember
he just ran out crying.

His defining moment,
when he levels up in this movie,

I mean, that's--

that's really that--
the nerd justice.

"My name is Horace."

[dramatic music]

Hey, Fat Kid, good job.

My name is Horace.

[gun rattles]

Having him go through
that experience in real life,

and then having to get do--
to do that in the movie
was pretty cool to see.

Brent Chalem
passed away in 1997.

It's a big hole that he can't
experience it himself

and or have great crowds
like Alamo crowds

show him that, like,
Ashley said it the other day,

it's like he's got
the best arch in the movie.

Oh. Um, can you go really quick?

I'm still, like,
freaking out about--

[softly crying] about Brent--

[Shawn]
When I was growing up,
I was Horace.

I was a fat kid in Town
& Country surf and skate shirts.

I didn't find out
the Brent passed away

until the-- the DVD push.

I think mainly because I felt
so connected to him

that now that the DVD was coming
out and people were, like,

loving this and it was on huge
news sites and everything,

it's like, you know,
this is where it would pay off.

And I thought,
"Man, I'm never going
to get to meet that guy."

And, um, you know, it's--
it's really sad and upsetting

that he couldn't
be here for this.

[Marsha]
It was wintertime and...

we got a call.

He got pneumonia.

He went to a local hospital
and after two or three days,

instead of waiting
till he was completely healed,

they sent him home
with oxygen in his nose,

and it became
dislodged that night.

[Eileen]
He couldn't breathe, so they
took him back to the hospital

in the emergency room.

And, unfortunately, they did
something in the emergency room

that caused his death.

They gave him the wrong...
medication

for an asthmatic
and he went into a coma.

We, um, packed up right away.

I didn't realize how--
how serious it was.

We all sat with him. We sat
with him in the intensive care.

I do remember, though, the
doctors giving us a time period.

It was like, "He's got
about three or four hours

and he's going to pass,
so you need to go in there

and you need to say goodbye."

Then he-- he passed
and we were all so upset.

I kind of went into a--
a crazy time after that.

I got panic attacks and just--
it was not a good time

and just--
that really affected me,

um, knowing that he wasn't
there anymore.

-[Marsha] I look the same.
This is me.
-That's after hair.

-That's after the hair?
Yes. Yeah?
-Yes. About a year after.

[soft laughs]

And this, that's a picture
of Betty Ann, his mom,

and Brent and always the dog
and this-- it was an article

that they posted
about all his commercial time,

and the commercials
that he was in.

When he went
to the first interview,

it was because
his parents said no.

A lot of his friends
were extras in film.

He called up.

He looked up
the number and called up

to get himself an interview.

And they wrote him back.

He filled out the form himself,

he was seven years old.

And when I got the call

that they were going
to be doing this documentary

on Monster Squad,

I went, "Wow.

Thirty years later
and then I found out

what a following it has.

And one of the biggest
people that they remember

is the lines that Brent said."

I think I'm more sad now
than I was then.

It was so rad for him to go
on these things, you know.

I'm sad that he's missed out
on all of this

because I think that
he would've really enjoyed this

and it--
and people would've loved him.

There's a big piece missing.

You know, one of the characters
that really connected
and resonates

with the majority
of the fans is not around...

to experience that.

That really is
the most unfortunate...

thing that we could
possibly have

in this amazing
resurgence of this movie.

One, they can't see him,

and two,
he can't be a part of that.

[all together]
"My name is Horace."

-[André] Awesome.
-[crowd cheers and applauds]

And everybody that related
to Horace, right?

Everybody that related
to getting their ass kicked

loved the moment where
he pumps the shotgun

and proves he's
the only one of these kids
with any fucking balls.

Like, that's incredible wish
fulfillment as a kid,

it's why I wanted to be
a part of that movie so hard.

That is so iconic,

seeing a kid cock a shotgun

and blow away Gillman.

It cuts from the wide shot
to the close shot,

where he goes, "My name...
[vocalizes shotgun] is Horace."

And the crowd
went fucking apeshit.

I aspire to do something
that good in a movie someday

because I just think that
that's pure cinema.

You just don't
get better than that.

That was one of those
moments that made me think,

like, "I want to be able
to do that to an audience."

People are going
to be saying that

for thousands of years.

And it's such a fucking travesty

that Brent doesn't get
to see that.

He definitely knows, like,
he's definitely watching
all this

and, um, he-- he's there.

Brent is living on
through this legacy.

He did it with his whole heart,

and he brought life even
to a monster movie. [chuckles]

[gentle inspirational music]

[tense music]

[André]
The Alamo called me and said,
would I be interested in doing

a 30th anniversary tour.

We got Ryan and Ashley,
and Ashley's baby.

We ended up doing
17 cities in 17 days.

And half of those had dual
screenings in the same night.

[Ryan]
I knew what to expect
with the screenings.

We-- we knew
there was going to be Q&A

and questions,
we're going to meet people.

The traveling part... [chuckles]

...of the tour was a whirlwind.

We know what town we're in?

-[Ashely] Where are we?
[chuckles]
-[André] Yeah.

Let's look at--
We could look on the--

There is a flip-flop
festival around here.

[André chuckles]
That's a... [unintelligible].

-[Ashley] Cool!
-See it?

-[Ashely] No.
-[André] Hang-- Okay, now look.

-Now look at the sun.
-Wha--

Wait until that cloud gets back.

-I'm blind.
-[chuckles]

-[hissing]
-[mimicking monsters]

[soft laughs]

Coming out to test
for Monster Squad,

it was probably like the third
time I've been in California,

but it really cemented that
idea that, if you want to act,

LA is the place to be.

You know,
about a year or two after that,

he ended up moving to LA,

he's had great success

because he's an intelligent,

very talented individual.

You know,
The Monster Squad,you know,

it's really come
full circle for me.

You know, I get to work

with Shane Mahan
and John Rosengrant

on a-- on a beautiful movie,
The Shape of Water.

Only seeing him now
is making me realize that,

"Yeah, I know all those guys,"

and I got André Gower
right here, so.

[André]
He designed and fabricated

the amphibian man
for The Shape of Water.

And Mike Hill to create
that aesthetic

is just a fascinating story
with someone who, as a kid,

saw The Monster Squad
in the theaters.

This is a zine I did,
it's called I heart Rudy,

it's about Rudy
and also about the Squad.

You can say that

the movie Monster Squad
and the horror genre in general

is a boys club and I wanted
to get that girl's perspective.

And I also modeled it
after the '80s teeny bopper
magazines of the day,

like Bop, TeenBeat, Big Bopper.

It was almost like I had
stumbled upon Monster Squad,

like I found a bag of cash
in the street or something,

and no one else
seemed to know about it.

That's definitely why
I started Friday Night Frights.

I kind of just wanted to be
like a Johnny Appleseed
of horror movies.

In some ways,
it was fun to come full circle

and show Monster Squad
to a sold-out crowd

here at Friday Night Frights
with Fred Dekker there

to be able to appreciate the
fact that all these years later,

people still love his movie.

-[Wolfman growls loudly]
-[boy yells]

[Horace shouts]
Run!

-Kick him in the nards!
-Run!

-Kick him in the nards!
-He doesn't have nards!

You know,
The Goldbergsis a comedy,

essentially,
the way I pitched it was

a movie geek
growing up in the '80s.

When I saw Monster Squad,
I think--

outside
of some Mel Brooks jokes,

the idea that Wolfman has nards

was so crazy-funny to me.

And it's just
one of those jokes that kind
of defined my sense of humor.

Do it, do it!

[Horace grunts]

Wolfman's got nards!

Come on! Come on!

-[Wolfman growls]
-[Horace whimpers]

Every character on my show

is constantly going nards
in some sort

because I taught it to everyone
through The Monster Squad.

What was that? Punch
your brother in the nards?

Good luck and cover your nards.

Nards, definitely the nards.

Oh, nards.

All you did was keep us in line

and let us get hit in the nose,

head, face and nards.

In the nards!

Everybody's just standing around

scratching their nards.

How many words for nards
do you people know?

And people recognize,
"Oh, that's The Monster Squad."

So this show was about giving
a shout out to the movies that--
that shaped us.

Right now, every day I wake up

and I go and make a show

called Teenage Mutant
Ninja Turtles.

And for me,
the biggest thing it does is

it allows me to have...

kind of a squad of four heroes

just beat up
and kill monsters every week.

[chuckles] It's pretty simple.

Oh, that love of genre
and movies

led me to work at a video store.

And then,
working at the video store,

it was cool because I got
to talk about movies.

And then, one day,
you're in high school

and they say, "What do you want
to do with your life?"

And you've been watching
The Monster Squad
and these movies,

you know, "I want to get paid
to watch movies."

"How do you get paid
to watch movies?"

"Uh, well,
you become a film critic."

Certainly Monster Squadwa--

was a pretty big influence
on Beyond The Gates,

like, kind of the three
touchstones for it to pour.

Phantasm,
The Gateand Monster Squad.

Knights of Badassdom
is definitely

one of the influences that
was derived from Monster Squad

for better for worse, depending
on if you've seen the movie.

I wanted to make the sequel

to The Monster Squad
or the sequel to The Goonies

where we've all seen them now
grown up 20, 30 years later.

I wanted to see what--
what all these kids did.

I had a movie night with my cast

and we watched An American Werewolf in London,

Goonies, Monster Squad.

Sitting down with Steve Zahn
and Peter Dinklage

watching The Monster Squad--
Yeah, picture that one.

I had a VHS recording
of Monster Squadfrom HBO
growing up

and I used
to watch it every day.

And, um,
that sparked my interest

in the classic monsters,

and introduced me
to practical effects

and creature effects and--
and Stan Winston.

And I started professionally
sculpting toys,

the Creature From The
Black Lagoonspecifically,

um, when I was 15.

And from that,
it just led me to a career

of creating monsters
for movies for 15 years now.

When I think about the just--

just how important
the Gillman was to me,

my career was
always about the monster,

and I didn't know
that this would be such a--

a formative beginning
because, uh,

it showed a--
it showed that I could do it.

It showed tha-- that I was
respected for what I did

which meant I could
continue to do more of it
and be in other suits.

I wonder, had I not done that,
had I not gotten over that,

that, that feeling of,
"Am I good enough to do this?"

Had I not done it early enough,
I would still be
making monsters,

bu-- but it wouldn't feel
as complete to me as it is,

being able to-- to be
the monster at the other end
of the schedule.

[Adam Green]
I think I try to put
as much of myself

into the characters
that I write.

And it all goes back
to the movies I saw

when I was eight, nine,
ten, 11, 12,

uh, an-- and thinking,
"I know these kids,
I'm one of these kids."

And, uh, that's-- that's how
those movies spoke to me.

I mean, I-- I think I--
I probably did try to start

my own Monster Squad
at one point.

What I do now is, every
Wednesday night, no matter what,

we come here into this,
you know, sanctuary.

And, you know, we are surrounded
by monsters and some robots.

We'll build model kits,
we'll draw.

And I think
it's important because it's--

it's a chance for us to kind
of creatively take a breath

away from the things

that we do on a daily basis.

And for me, it's tricky
because I have a creative job,

but I-- I have to understand
not to take that for granted,

and I think this is kind
of a nice counterbalance.

-Like, in 1990,
it was the first time I saw...
-[man] Yeah.

...Monster Squad,I'd just
drawn an invite, you go,

-"What is this? What am I
even watching?" It was so good.
-Yeah.

[Ciro]
Like, me coming here and doing
something that's almost,

in a way, creatively selfish,

allows me to go back to work,
and it fuels that work.

[inspirational music]

An-- and I'm with a bunch
of goofy guys in here,
and we-- and, you know,

we're laughing and stuff
like that about off things
here and there,

but, at the same time,
it's like we are
very fueled visually

as-- as artists.
This place almost is
purposefully saturating me

with that stuff
and reminding me visually.

I think the dream was always to,
you know,

"Hey, let's have a--
let's have a monster club.

Like,
no one else can come to this."

But that's what you do
when you're in your 40's.

You can't do that in your 30's.

-[interviewer] No?
-[Ciro] Not really.

[calm music]

[André]
All right. So we're waiting
for the administrator

who we just spoke to
to see if, um,

we can get permission
to take the crew in

and bring us in there to go
surprise Douglas and say hi.

That's the kid for the--
that didn't come

yesterday to the screening.

Hopefully we can get
in there and give him

-a little...
-[Ashley] Surprise!

...A little surprise.

[knocks on the door]

[people laughing]

You mind if we come in
and hang out for a little bit?

You sure? We got a crew with us,
you're fine with that?

How you doing?
I'm going to give you that.

-How you feeling?
So, this is Douglas.
-Hey, buddy.

-Nice to see, I'm Ryan. Here.
-[woman] Douglas.

Oh, we taught you could
make it last night, man.

Oh, I'm-- I'm sorry too,
I wanted to, but--

I'd rather you be with us than--
I'd rather you be with us
than in here, yeah.

You feeling better, though,
a little bit or...

-Uh, getting there.
-Okay, good.

[woman]
He was so upset when he heard
he wouldn't get--

I know, that's why
we had to come say hi.

Yeah, we came to, uh,
represent a little bit.

For me, it's beyond words.
I mean, it's--

The movie's been a part--
a huge part of my life. Uh--

And you all are standing right
in front of me. I don't know.

I don't really know
what to say about that. Yeah.

How old were you when you
first saw it, you remember?

Oh, man, probably,
probably five,

-maybe.
-Wow, you started early.

-Yeah, very early.
-All right, I like that.

Yeah, me and Louise sat in boxes

and watch it in front of the TV.

-[chuckles]
-You used to sit
up late and watch it,

-together, you used
to watch it together.
-[Louise] Oh, yeah.

I think Monster Squadis
a movie about outcasts

and y-- if you identified
with that movie,

you're an outcast.

It's so sweet.
It's just so sweet.

Phoebe really wanting
Frankenstein's monster to stay,

and like, "Don't go!"
And she gives him her, like,

stuffed animal,
her little dog, that, like,

she has with her
the entire time.

It's on her belt, it's always
with her, keeping her safe.

And so, she throws out to him
so he's safe and limbo like--

Oh, I'm going to cry, I am
crying. It's-- it's the best.

I want to call it, you know,
th-- the--

I don't even know,
I don't have a word to describe

what it means to our family.

How the movie plays
into my life?

I was 12. My name is Shawn.

I got in trouble for drawing
in class, but also,

five months
before the movie opens,

um, I'd been diagnosed with HIV.

And it was devastating
for me and my family.

I was kicked out of school.

[sighs] You know.

Leaving Ecuador at 13 years old
was really tough

because it was like going
from one planet to another.

I know for me, personally,
having a physical disability,

childhood wasn't
always the easiest.

I never really felt like
I fit in anywhere.

For my situation
as an only child
and being more of an introvert,

I would usually latch on
to one or two people,

and so I'd have
one or two close friends.

I remember that night, hearing
about this monster movie,

small town in Waynesboro,
Virginia.

And me being able to go
with my friends and sit there,

and get lost in the movie,

and forget about
some of the things that,
you know, where happening.

Monster Squad,for me,
was just kind of sort of, like,

it was that group
of friends that I needed

when I kind of sort of didn't
have friends at the time.

There's a comfort to it.
And so, that emotional comfort
of coming home.

It just sort
of gives you a refresher.

Monster Squad
definitely helped me
at a time when I needed it.

I blocked out a lot of that
time period, but I remember,

I remember going to that movie
and sitting there.

I felt normal again, you know,
I didn't feel like a monster.

And I like
that I have that memory.

Movies like Monster Squad,um,

in a-- in a weird way
kind of gave me that,

um, safe net
when I didn't feel safe.

It's just so emotional, like,

this movie has been
with me forever.

So, it's just something
that I've always known,

I could always go back to it.

It's helped me through
some really hard times,

just being able to, like,

take a break
and just smile and, like,

feel accepted.

So...

[soft inspirational music]

[softly grunts]

How did Monster Squad
affect my life personally?

Um, I think it's my best movie.

I think it's reached the widest
audience of anything, uh,

that I've done as a director.

And it's sort of killed
my career for a period of time.

I think it's probably
my epithet--

it's probably going
to be on my...

gravestone, and I'm...

ambivalent about that.

The analogy I make is,
you do a piano concerto

in front of an audience,

and a couple people applaud
and then they leave.

And then, 20 years later,

somebody comes up to you
in the street and goes,

"I saw that piano concerto
you did. That was incredible."

There's such a disconnect

from what you did
to the response

that it's really hard
to codify emotionally.

It's like shooting
a basket in 1987

and then it doesn't
go in until 2006.

That's-- that's weird.

That's really hard for me
to kind of make sense of.

It's not--
it's not the sexy answer.

It's not the answer
you want and it doesn't,

you know, sort of wrap
things up with a bow.

I mean, I-- I don't--
I don't mean to downplay it.

I just have a very personal
relationship with it

because I put my heart
and soul int-- into it

and nobody noticed for 20 years.

[inspirational music]

[Ryan]
London was a total dream.

I was like that's
definitely not happening.

It's just something that, when you try to explain it to people,

there's a-- th-- they just--
it-- they can't get
a grasp on it.

They're like, "What did you do
in 2017?"[softly laughs]

You're like,

"I went out and met
a bunch of people

that feel very strongly
about something that I did
when I was 15."

And, uh, you got to love them.

[man]
I got a dog called Rudy as well.

You have a dog--
your dog's name is Rudy?

-I gave it when I was five
years old. Thank you, sir.
-That's awesome.

[André]
So we set up a screening

in London,
at the Prince Charles Cinema,

which is something
I've always wanted to attend.

We get there and we have
a mom and her daughter,

and we learned
that even 30 years later,

the 15 rating still
holds effect in the UK.

And she's not allowed
to come into the theater.

They bought their tickets,
they waited in line,

and they can't come in.

"You're going
to meet Sean and Rudy."

And I'm like, "Wow!"

And I just started jumping
around and, you know, saying,

"What am I going to wear?
What am I going to do?"
And, you know--

We made sure that she was
allowed to at least come in

-for the Q&A.
-Allegra is in here. Yes?

-[man] Allegra? Hi.
-She in the back? Where's
she at? There she is.

She was a trooper.
She understood,
she knows the thing.

Her mom was great, and we got
to hang out afterwards.

I'm more of an '80s girl than
more of, like, a now modern one.
[chuckles]

Because my mom always says,

"Be a modern girl!"
And I'm like,

"No, I want to be
an '80s star, you know."

Just like it.

[inspirational music]

[Shane]
Here we are, 30 years later.

And, in the last ten years,
what we've seen is this movie

attain this almost
unprecedented cult popularity.

I think it's the love
of kids and monsters

and just the tone of the movie

that sustained it.

[André]
This growth in the love

and the attachment
to The Monster Squad

has not died down.

There's more fans today
than there were in 2006.

And there's new fans today.

We have a whole
second generation

of Monster Squadfans.

[Matthew]
It is fantastic

to be here
in the Warner Brothers lot

whereMonster Squad
was originally filmed.

We got all these amazing
sights right here.

[André]
And you've got your family
here with you today.

So what's it like sharing
something likeMonster Squad,

that meant so much to you
with your own kids?

As-- as it being
one of my favorite movies,

it just-- they were--
they grew up with it,

and they loved it from--
from the beginning.

It has so many aspects
to it that attracted me

and-- and them that
it's just part of us.

But what a surprise,
what a-- what a really odd
but pleasant surprise

that this thing that we planted

then it grew into something

and we come around
20 years later

and there's a freaking
tree there where there was
a seed before.

-You got to have the dead
media. [chuckles]
-Have all the media, right?

Okay. So let's go
through the countries.

So, Mexico, Poland, France.

At one point, someone asked me,
"I need to meet you in real
life at some point

because I can't wait
to look at your Monster
Squadcollection."

And all the sudden it dawned
on me that I didn't really have

a lot of Monster Squadstuff.

I remember, like, uh,
going on eBay and looking

and seeing that there were some,
like, copies from the UK

kind of circling around
and I thought, "You know
what would be really cool?

It's buying some of those,
something that I could display,

but also knowing
that each tape has a heritage

of being an ex-rental that--
that there's a-- there's a life

in each one of these tapes,
even if I don't watch them."

I would just love the idea
of having a bit of Monster Squad

that touched every continent
on the planet.

And I'm pretty close.

[Shane]
Wasn't it interesting...

that a movie that is...

basically a pastiche
about nostalgia for childhood

now lets you,
the actor in the movie,

relive the nostalgia
for your childhood?

You know, in essence
you were a monster fighter
when you were a kid

and now you get to go back
and relive that.

[Fred]
As an adult, you develop
this kind of distance.

It becomes about ideas and aesthetics and you lose the kid.

[Shane]
Kids who have this peculiar
belief in imagination

that's died
within the cynical adults,

and they say, "We believe
that this is the key to life,

not growing up."

[André]
I always have to see
through the eyes of the kid.

That's what people are responding to in
Monster Squad.

Monster Squadwas something
that I, whenever I saw it,

I related to it, but I didn't
know why I related to it.

We know these characters,

we went to school
with them and we are them.

[Jem]
I wish I had that experience.

[Shane]
And I think the idea of kids
preserving that is important.

And I think that's
whatThe Monster Squad
appeals to as well.

[Ryan] I mean, we are a family,
that's how, you know,
that-- that's how it is.

We were a part of the squad.
Someone in school was
just like Sean.

Who isn't that young kid?

Whether it's
fighting the Wolfman

or just having to get through
really sucky sixth grade.

[Germain]
Every time I watch
The Monster Squad,

it takes me back
to my childhood,

every single time.

[Fred]
Whether they're 40 or-- or 12,

they're seeing it through the eyes of a kid because it was told through the eyes of a kid.

[Shane]
In essence,
we made the movie for you,

and you just had to grow up in time to really appreciate it,

you know.[chuckles]

[inspirational music]

I have memories
of driving my parents crazy

with repeat viewings
and repeating certain phrases

that-- that just
caught on with me.

I'd just always
get chills every time

Rudy says, "I'm in
a goddamn club, aren't I?"

"Give me the amulet, you bitch."

[laughs]

"Kick him in the nards,"
right? It's the most, uh,
iconic scene from the movie.

-Or your dad's fighting
off Wolfman.
-Yeah.

"Stick it down right
in his pants."

[all laugh]

She was Phoebe.

I had a deal with an older sis--

two older sisters that would
bully me and everything.

-Oh, my God!
-They were--

-We beat people's asses
for you...
-[loud laughs]

...in Staten Island. Holy shit!

-You did!
-I did!

Dracula was always
really sexy to me.

-I'm like,
"Restrain yourself, girl."
-I forgot,

-I just forgot.
-Right?

Showed it to friends
in Saudi Arabia,

and then kind of formed a little
Monster SquadSaudi Arabia.

Never found any monsters.

we've raided our mom's pantries

to get garlic salt
and garlic powder.

I used to imagine,
before going to bed at night,

that Dracula would visit me
and turn me into his apprentice.

I could, um,
I could bring up The Goonies

-first--
-Cut. Cut, no. Yeah, no.
We're out.

We're done, we're done. Let's--

[heavily sighs]

"Wolfman's got nards!"

"Wolfman's got nards!"

"Wolfman's got nards!"

"Wolfman's got nards!"

"Wolfman's got nards!"

"Wolfman's got nards!"

[crowd shouting together]

[crowd cheers and applauds]

[upbeat music]

♪ So let's keep it underground

♪ Conversation down

♪ Yeah, so love it
till it drowns ♪

♪ So let's keep dry

♪ Keep me under

[André]
Since you're a fan,
I was going to share,

you're one of the first people
that has been out of the box,

-but...
-Is that a--

[André]
This is the original

hero wardrobe
Stephen King Rules shirt.

Holy shit!

It's the actual
Stephen King Rules shirt.

-Oh! Oh, my God!
-The actual Stephen King
Rules shirt.

But I have the original--

-Oh!
-This has become a thing.

-Wow.
-That's amazing.

Wow!

Oh, nice!

Are you kidding me?

-...the original.
-Oh, my goodness.

-This is it.
-Oh!

-[water splatters]
-It's, uh--

That's incredible.

You were so tiny.

Oh, so tiny. So tiny.

-You were so tiny!
-I will let you--
we'll let you--

-You were such a little guy.
-I know, right?

-[André]
It's what everybody says.
-[laughs]

-It does look tiny.
-[chuckles]

-You wore this?
-That was it.

Did you wash it?

Smells like movie magic.

[Joe Magna]
When I designed this clubhouse,

I just thought,
"Wow, wouldn't it be cool

to try to make
the Monster Squadclubhouse?"

And just make it as screen
accurate as I possibly could.

My friends that are
Monster Squadfans
always see it and go,

"Oh, man, this is incredible."

We are on people's bodies.

We were at Spooky Empire
and a gal came up

who is a big Monster Squadfan,
and she said,

"I figured out
what I want for my birthday.

I'm going to come back
tomorrow and you and Ryan
are going to sign my leg

and I'm going
to go next door to the hall

at the convention room where
all the tattoo artists work."

[upbeat rock music]

[needles buzzing]

But tell them about Danny.

[Ryan]
He'd had-- he already had
all the monsters,

except Gillman.

[Danny]
Putting Gillman on my arm today,

especially with you guys around,
is a no-brainer.

[needles buzzing]

[music continues]

Turns out that André
and I got to actually
grab the gun and ink him.

[needles buzzing]

So, forever, uh, his Gillman
will be totally fucked up.